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project 1: interpolationa house for two clientscambridge, macareer discovery 2010harvard gsd

Two different lifestyles expressed two different ways.

For the Smiths and the Jones, two retired couples living together, the goal was to provide distinctive living quarters for each couple while preserving public space and the opportunity for interaction.

For Fields and Corner, a youngprofessional couple that shares a love of film, the goal was provide a house that would act as a setting for their own daily performances. For them, home life transforms into a film.

These two distinct narratives are resolved spatially through a core, which houses the only space shared by both clients. This shared volume becomes the place where two distinct lifestyles are resolved as the separate houses overlap both spatially and programmatically.

spatial operation model elevation sketch

circulation study model

programmatic arrangement

1. Building Envelope2. The building is lifted on entryway plinths to allow access to public parking.3. The massing of Fields + Corner residence is split apart in order to separate programs from each other4. Separate volumes for the private living units for both the Smiths + Jones are embedded into shared public volume.5. Circulation is added to each client’s unit based on their needs as well as the narrative for each unit.6. For Fields + Corner, views between rooms are allowed, while views to the outside are limited, enforcing the narrative of a house as a set and life as a film.7. For the Smiths + Jones, shared space is a requirement. However, privacy is also desirable. Private units are created for each couple, which are linked to a public living space.8. Programming adjacencies are organized around a shared media space. On either side of the space is a library and a screening room, but also a kitchen and entertainment space. This middle space is intended to provide the option of socialization between the two clients without requiring it of either of them.Fields + Corner Vignettes

WARE ST.

1 2 3WARE ST.

FORM GENERATION DIAGRAM

WARE ST.LIFT

ALLOWLIMIT

PARK

4WARE ST.

WARE ST.

SPLIT

EMBED

SPLIT

5WARE ST.

CIRCULATE

6WARE ST.

7PRIVATE

LIBRARYSHARED MEDIA

SCREENING ROOM

PUBLIC

WARE ST.

8

1. Building Envelope

2. The building is lifted on entryway plinths to allow access to public parking.

3. The massing of Fields + Corner residence is split apart in order to separate programs from each other

4. Separate volumes for the private living units for both the Smiths + Jones are embeded into shared public volume.

5. Circulation is added to each client’s unit based on their needs as well as the narrative for each unit.

6. For Fields + Corner, views between rooms are allowed, while views to the outside are limited, enforcing the narrative of a house as a set and life as a film.

7. For the Smiths and the Jones, shared space is a requirement. However, privacy is also desirable. Private units are created for each couple, which are linked to a public living space.

8. Programing adjacencies are organized around a shared media space. On either side of the space is a library and a screening room, but also a kitchen and entertainment space. This middle space is intended to provide the option of socialization between the two clients without requiring it of ether of them.

form generation diagram

GROUND FLOOR PLAN

1

2

9

10

11

3 4

56

7

SECOND FLOOR PLAN

FOURTH FLOOR PLANTHIRD FLOOR PLAN

12

1314

15

8

KEY:1. Entertainment Room A2. Library3. Entertainment Room B

4. Kitchen A5. Library6. Media Space7. Screening Room8. Office

9. Smith Private Quarters10. Library11. Kitchen

12. Jones Private Quarters13. Library14. Fields + Corner Bedroom15. Bathroom

SECTION AA’

A

A’

final model circulation details

final model in sitefinal model circulation details

project 2: introductiona spatial compositionarc 394: architectural design for non-majorssyracuse university

Architecture as the end result of process.

The project begins with a series of explo-rations of the orthogonal structure of the square using the four square and nine square systems as a “kit of parts.”

Special attention is paid to proportion, symmetry, and the organizational system of the composition. Through a variety of operations, a parti is found and refined.

The goal is the creation of a plan which contains an ambiguity between figure and ground.

This plan then becomes three-dimensional and the process of refinement continues, the goal of which is an architectonic composition with a clear organizing idea.

The end is a series of architectonic mod-els which demonstrate a clear system of proportion and rhythm as well as an ambiguous relationship between mass and space.

figure ground studies

relief model

taxonomies

model no. 3 model no. 4

model no. 7 model no. 10

model no. 11

model no. 12model no. 13

model no. 13

project 3: interruptionan live/work community for artistsboston, macareer discovery 2010harvard gsd

Balance and Interruption

The site is the much-maligned Boston City Hall Plaza, located in the heart of down-town Boston.

This project began with a careful site analysis through a variety of mapping exercises, first as a studio group and then on an individual basis.

While a wide range of problems became readily apparent through these exercises, many of them result from contextual spa-tial imbalance.

The strategy for improving the spatial experience of Boston City Hall Plaza is to interrupt the existing condition by aggregating a module borrowed from the facade of city hall into the various program elements in a way that results in a more comfortable, human-scaled space that is both sensitive to the site and its occupants.

existing spatial condition

interrupted spatial condition

perimiter sounds map

radial attention map

gestural noise frequency map

photoshop collage of aggregated module

early concept sketch

study model no. 1 exhibition/classroom section studies

diagram for placement of public program

study model no. 2

exhibition/classroom section studies

iterations of grid iterations of path

1. Borrow a module from the facade of Boston City Hall for the basic building block

3. Apply generic grid of hous-ing blocks to site as a method of spatial interruption

4. Adapt the grid to existing site conditions such as circulation and year-round use patterns.

2. Combine 3 modules into 1 block containing 3 separate live/work units

20’20’

40’

5. Place public programs, also created from the module, as gate-ways at all the primary entries onto the site

6. Place classroom and exhibition along linear path linking the vari-ous public programs and skirting the grided live/work units

process diagram

1. Borrow a module from the facade of Boston City Hall for the basic building block

3. Apply generic grid of hous-ing blocks to site as a method of spatial interruption

4. Adapt the grid to existing site conditions such as circulation and year-round use patterns.

2. Combine 3 modules into 1 block containing 3 separate live/work units

20’20’

40’

5. Place public programs, also created from the module, as gate-ways at all the primary entries onto the site

6. Place classroom and exhibition along linear path linking the vari-ous public programs and skirting the grided live/work units

floor plans

GROUND FLOOR PLAN SECOND FLOOR PLAN THIRD FLOOR PLAN FOURTH FLOOR PLAN

final model in site

FOURTH FLOOR PLAN

project 4: introspectiona series of drawing studiesarc 564: drawingsyracuse university

Facture, or the presence of the making.

This drawing course involves a series of studies which focus on a variety of issues related to architecture. Beginning with basic gesture drawing exercises, constructive drawing habits are developed and basic assumptions about the role of drawing in the design process are challenged.

During a continuous back-and-forth between abstract and representational drawing, issues of process, materiality, media, and facture arise.

Abstract exercises encourage experimentation with media and materials, as well as foster an understanding of the roles of connection, marking, propor-tion, and operations in creating a composition.

Gesture drawings begin to focus on the re-presentation of space, which should communicate something about materiality, light and dark, directionality, fac-ture and, ultimately, experience.

The photographic joiners use the media of photography to ‘draw’ in-between spaces at a variety of scales and continue to emphasis the issues raised in earlier exercises.

The result is a more self critical process, a better understanding of the role that intuition plays in design, and a clear insight into the interconnected rela-tionship between drawing and design.

no.1

no.3

no.2

no.4

no. 5making abstracts

constructed gesture no. 24

no. 38

no. 60

no. 63

no. 2

no. 4no. 3photo joiners

no. 5

gestural expressionno. 17no. 16

no. 14no. 11

no. 20

motif abstract

no. 2 no. 4

no. 7no. 11 no. 15

no. 12

phone: (845) 332 0423email: j.n.quick@gmail.com