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ARCH 114 ARCHITECTURAL DESIGN CORE STUDIO II SPRING 2026

Arch. 114.01 Studio

ARCH 114.01 - 2026 SPRING Ariana Tolentino

Analytical Body This first assignment focused on teaching how to use the human body as a scale for design. It asked for photo studies of human motion, allowing us to focus on and analyze how the human body moves in space. Going further, we created abstract drawings based on concepts like density and structure. In this, we were forced to consider how these terms related to the body, and later on, how this could affect or inform design. Finally, the assignment asked us to create a set of technical drawings depicting familiar or typical motions, such as going down the stairs or movements within a specific sport. Overall, this assignment emphasized the importance of the human body as an element of design and its importance as a tool within architecture.

ARCH 114.01 - 2026 SPRING Ariana Tolentino

Body Apparatus Building off the motions we studied in the first assignment, assignment two asked us to create an apparatus that would track or amplify that motion. Working in pairs, we chose a motion to focus on and used that as a starting point for the design process. My partner and I focused on the movement associated with a hug. From that motion, we designed an apparatus made of a set of sleeves lined with rods that reached the floor; attached to the end of these rods were paint brushes which, when covered in ink, would trace the path the arms made during a hug. This project not only emphasized the lesson of the previous assignment, but also taught us how to work with other people. It also allowed us to further develop problem solving skills, as we worked through issues with our design.

ARCH 114.01 - 2026 SPRING Ariana Tolentino

Nature Assignment three focused more on the nature and how it, like the human body, is a tool used to inform design. It began with visiting and recognizing important aspects of the site. From this, we created abstract drawings and a conceptual model, which was used to help develop our designs. Within my abstract drawings and conceptual model, I focused on the separateness of each aspect of the site. This helped me design a space that would be placed on the man-made jetty on our site. Embodying the separateness I observed, the space I created had four separate structures: a triangulated roof, a rectangular gathering space, trapezoidal changing rooms, and a square pool. This assignment revealed another tool that can be used to inform design: site.

ARCH 114.01 - 2026 SPRING Ariana Tolentino

Place of Senses Assignment three served as a reference for assignment four, in which we were tasked with creating a space to house artifacts while keeping a specific sense in mind. In this way, we were combining our use of the site and the human experience from the previous projects into one final design. I focused on hearing as my sense. Since hearing is an intimate sense, I created a similar roof structure to the previous assignment, but had the roof closer to the ground and at some points connected to the ground. This project was a culmination of all the lessons taught by the previous assignments.

ARCH 114.01 - 2026 SPRING Ariana Tolentino

Final Remarks This semester built off the technical skills we learned in the last semester and allowed us to focus on designing in context. Our projects emphasized the importance of taking the human body and how it moves in space into consideration during the design process. They revealed how the site can inform the spaces we create and how good architecture will embed itself within its site. Overall, this semester has helped me enhance the way I conceptualize my ideas.

ARCH 114.01 - 2026 SPRING Ariana Tolentino

ANALYTICAL BODY Assignment 1

114.01 - 2026 SPRING ARCH ARCH 114.XX - 2026 SPRING MAGDALINI student TARASIDOU name here

The first assignment was divided into 3 parts, and we were asked to do something different in each one. Starting with the first: body parts. We had to produce a series of photographs where the body was shown in motion. I chose to do a hand opening and closing as you move forward into the series. I also chose to do a zoom in on the elbow, showing the texture and the motion of how an elbow bends. We were then asked to produce a set of abstract drawings following the pictures we have already taken. I made drawings including the stomach and the elbow in stop motion form, from different perspectives, that being plan, elevation and perspective. Lastly for the first part we were also asked to make similar drawings however this time technical drawings. I chose to draft something simpler, the hand, and this way I showed all the elements of the hand, the nails and the knuckles. The second part of the assignment focused more on the movement of the whole body. First we made abstract drawings that captured the movement of the whole drawing. mine included the movement of the stomach and the arms wrapped around it, creating a melting effect but also drawings capturing how structured the body is. We also had to make drafted drawings of how the body is moving, capturing purely the structure and form of the human body. Lastly, the third part was to show motion in space. My drawings included how students work in a common space in the studio and how someone walks down the stairs. The whole assignment was to understand how the human body works, how it bends and moves, and connect it in how it moves around a space, connecting it with the fact that architecture has to take into consideration the human body.

114.01 - 2026 SPRING ARCH ARCH 114.XX - 2026 SPRING MAGDALINI student TARASIDOU name here

114.01 - 2026 SPRING ARCHARCH 114.XX - 2026 SPRING MAGDALINI student TARASIDOU name here

BODY APPARATUS Assignment 2

114.01 - 2026 SPRING ARCH ARCH 114.XX - 2026 SPRING MAGDALINI student TARASIDOU name here

In assignment nature we were asked to use the human body’s movement to create a machine which would construct an abstract drawing. The device had to be wearable, applied on the body, and capture a motion of it through that abstract drawing. The assignment was assigned in groups of two. Ariana Tolentino and I were grouped together to create this machine. We had many different ideas and at the end we knew we wanted to work with the movement of the arms. After discussing and making sketch models, we decided we would use the hug movement. We were inspired by that movement because it is a very intimate action humans can do and this was the point of this assignment, human interaction and movement. We made a structure that goes on the hands like a jacket, with long sticks falling from it with brushes attached to each one. When someone wears the device, with paint on the paintbrushes and a paper at the bottom, it creates an abstract drawing of the hug movement. After some trials we also decided that since the action of a hug includes two people, the abstract drawings should have included the other person too. That is why we added the footprint on the paper, showing the intimacy of two people. From this assignment we learned not only how to work as a team to create a machine but also how to use the human body to make art.

114.01 - 2026 SPRING ARCHARCH 114.XX - 2026 SPRING MAGDALINI studentTARASIDOU name here

114.01 - 2026 SPRING ARCHARCH 114.XX - 2026 SPRING MAGDALINI student TARASIDOU name here

NATURE

Assignment 3

114.01 - 2026 SPRING ARCH ARCH 114.XX - 2026 SPRING MAGDALINI student TARASIDOU name here

The project that was assigned was to make a building that included an exhibition object, a pool and four changing rooms. The site that we were given was the so-called shell path in our school Roger Williams University exactly next to the soar. My building was inspired by shells and barnacles, that is why it is all cones. The colors are inspired by the object “Mountain lanspace” that I was assigned that is exhibited in the asian collection in the RISD museum in Providence RI. The main space is a space of reflection and gathering, which is why it is pretty much empty, only the object and some chairs, with a skylight on top. The windows are stained glass blue and yellow with many different shapes. The actual closed space is under one of the cones of the big structure, the biggest cone, enclosing it as a roof. My pool is exactly underneath another cone at the other side of the structure. It includes a small pool, that is of the same radius as the cone above it, and it is inside a bigger pool. Both of them are cone shaped resembling the barnacles. My changing rooms are four cylinder shaped buildings where they have a cone as a roof facing downwards like the pools. They have a very small opening allowing water to pass thought, which is why the shower is directly beneath the opening. The changing rooms do not have a door that opens and closes, it works like a shell curling into itself, and that overlapping of the two walls is what creates privacy in the changing rooms. The big structure is directly placed on top of the shell path, so when passing through it you can experience the dynamic structure above, while passing next to the pool and building if wanted to visit. The changing rooms are further away but directly aligned with the ends of the structure. This assignment taught us how to interpret nature into our design while taking into consideration the site and the program given.

114.01 - 2026 SPRING ARCHARCH 114.XX - 2026 SPRING MAGDALINI studentTARASIDOU name here

114.01 - 2026 SPRING ARCHARCH 114.XX - 2026 SPRING MAGDALINI student TARASIDOU name here

114.01 - 2026 SPRING ARCH ARCH 114.XX - 2026 SPRING MAGDALINI student TARASIDOU name here

PLACE OF SENSES Assignment 4

114.01 - 2026 SPRING ARCH ARCH 114.XX - 2026 SPRING MAGDALINI student TARASIDOU name here

114.01 - 2026 SPRING ARCHARCH 114.XX - 2026 SPRING MAGDALINI student TARASIDOU name here

This time we had a site exactly next to the one from assignment 3. It is an almost flat surface filled with trees everywhere. It has the shell path and a stone wall parallel to the shell path and vertical to the soar. We were asked to use the collection our object was from the previous assignment. The collection I had was the asian collection in the RISD museum in Providence. Also, each of us was assigned a sense to work with and establish in our building. I was assigned touch, and I interpreted the sense in two different contexts which I will explain below. My building is a geometrical version of my building of assignment 3. It is placed in the corner of our site, and exactly on top of the stone wall, which is inside the exhibition space. It goes right through the exhibition and it functions like a bench for the museum. The asian collection is mostly divided into stones and marbles, clothes, paintings and statues, and buddhas. The marbles were a very important aspect of the exhibition so I interpreted it into the flooring of my building. Each space, so the lockers, the reception and the exhibition space has a different shape of tiles and different colors inspired by the minerals of the collection. Each mineral is exhibited into the space that is inspired by it. This interpreted the sense of touch because when someone moves through the spaces they understand when the space has changed just from the shape and size of the tiles. How I also interpreted touch conceptually is how the buildings are touching each other. The intersection between the buildings is what created a halfway point for people to pass through. This intersection creates a void space so that people can pass through. Lastly, all 4 of the structures have a skylight. The exhibition space however has a different design than the basic skylight. It is extended and reaches a height of 10 feet, its a structure with four sides and a very small opening at the bottom which allows water, thus rain, to pass through. Since the opening is small the water creates a wall made of water falling down. This is why the floor of the exhibition is slightly carved into so that the water creates a small pool under the wall. When it rains, the floor drains the water as the wall is created, but when it doesn’t rain, the small pool remains in the exhibition space. This makes the water wall even more unique and it encourages people to visit the exhibition specifically when it rains. This project helped us understand how to work with concepts instead of just having a site. We managed to connect our building with the site, the sense, the collection and nature.

114.01 - 2026 SPRING ARCHARCH 114.XX - 2026 SPRING MAGDALINI student TARASIDOU name here

114.01 - 2026 SPRING ARCH ARCH 114.XX - 2026 SPRING MAGDALINI student TARASIDOU name here

Lauren Vaughan Spring 2026 Arch114.01

This first assignment focused on understanding the human body as a measuring tool for space, starting from individual body parts and extending to the whole body in motion. Through a sequence of drawings, the work explored how dimensions, reach, and form relate to the spaces people inhabit in daily routines. The process began with close observation and drawing of isolated body parts (hands, legs, arms), paying attention to proportion, range of motion, and joints. It then moved to studying the full body, capturing different poses and actions, and finally to representing the body in space, showing how movement, extension, and reach define invisible boundaries and envelopes around the body. From this assignment, the main lesson was that “scale” is not abstract; it is directly tied to how bodies move, stretch, sit, lie down, and interact with surfaces. It also reinforced that perception of space changes with posture, movement, and sensory focus, which is essential for designing spaces that feel comfortable, intentional, and responsive to occupants. The main thing I learned from this assignment was that human interaction is the most important thing to keep in mind when designing a space. The way people move through a space should be carefully considered when designing a structure they will inhabit or move through. Focusing on how people will interact with the given space should influence how it is designed.

The second assignment asked for the design and construction of a wearable device that expands and amplifies the body’s presence in space by drawing as the body moves. The device functioned as a kind of prosthetic tool: attached to the body, it both measured space and registered movement as abstract lines or maps. The process began with studying how the body moves in everyday actions (walking, turning, bending) and testing where on the body a device could be attached without restricting motion too much. Sketches and small mockups were used to explore mechanisms that could hold drawing tools and translate motion into marks, followed by a full-scale prototype tested through repeated movement sequences to generate abstract drawings. This assignment highlighted how architecture can emerge from behavior and motion, not just from fixed plans. It taught that tools and apparatuses can reveal invisible patterns of use, and that diagrammatic drawings of movement can become a bridge between the body and spatial design. It also emphasized iteration: adjusting the device based on what the test drawings revealed about movement and reach. I learned a lot when working on this project, one of which was teamwork and how to work with another person. Mainly, this assignment taught me how to relate body movement with spatial organization. By having the apparatus built, worn on a body, and drawn from, I gained a better understanding of amplification of motion, and how we can incorporate that into design.

The third assignment shifted the focus to a natural site and asked for a small architectural intervention: a set of changing rooms, an exterior pool, and an indoor space for contemplation and gathering. The project needed to respond to both human scale and a rich natural landscape, emphasizing light, views, and a contemporary, elemental language. The design process started with a careful study of the site: topography, views to the ocean, light during the day, and how water, ground, and sky interact. Program elements were then arranged to create meaningful relationships—aligning the pool, changing rooms, and contemplation space through paths, sightlines, and geometric order. The contemplation space was developed around a specific artwork, using light, openings, and proportion to enhance both the object and the framed views of the ocean. From this assignment came a deeper understanding of how program, site, and human scale intersect. It showed how architecture can intensify experiences of nature through reflection, framed views, and controlled light. It also reinforced the importance of consistent relationships among separate elements so that the project reads as a single, coherent intervention in the landscape. Through this assignment, I learned how important site and location are in the design process. By visiting the site many times, it became apparent why the site is the focal point in the beginning of designing spaces. It provided me with clues as to what I wanted my project to focus on, in terms of site. I also learned that establishing geometrical alignments and volumetric relationships becomes important when dealing with site.

The final assignment extended the previous project into an adjacent, densely forested site and introduced the idea of designing for a specific sense, while housing a collection of objects. More specifically, I was given sight as a sense, and replicas of the Asian Art collection which is housed in the RISD Museum. The program included reception, restrooms, lockers, storage, and up to 3000 square feet of exhibition space, plus a designed sequence that connects back to the previous project. The process began with analyzing the forested site, density of trees, light, paths, and how the landscape changes as one moves through it. With a specific sense as the project’s motive, spaces were developed to amplify that sense through material choices, light, sound, texture, or spatial sequence. Given my sense and the site conditions, I decided to put an emphasis on amplifying lighting in my structure, specifically in the gallery spaces. With each wing of my structure having a different roof, each space is equipped with a certain lighting condition. This creates a specific experience in each room, and when interacting with the collection. This project emphasized the role of narrative and sensory experience as generators of architecture. It reinforced that site and collection are not just constraints but active design partners, and that architecture can frame, protect, and intensify encounters with objects and nature at the same time. It also showed the importance of transitions, and how paths, changes in light and enclosure shape the overall experience as a continuous journey. This assignment taught me how spaces can react to their environment, rather than the environment reacting to the structure itself. By keeping site in mind throughout the whole design process, it guarantees that the final product will interact respectfully with the context around it.

Spring 2026 Final Portfolio ARCH 114.02 Amanda Cinelli

ARCH 114.02 - 2026 SPRING Amanda Cinelli

The Analytical Body

This project explored the relationship between the human body, movement, and architectural form through analytical drawing and spatial investigation. Throughout the project, I studied how proportion, motion, structure, and spatial interaction can influence design thinking and the development of architectural concepts. Using a combination of hand drafting and digital representation, I translated observations of the body into abstract spatial compositions and architectural studies.

ARCH 114.02 - 2026 SPRING Amanda Cinelli

During this project, I developed skills in conceptual analysis, visual communication, and iterative design processes. I created analytical drawings that examined scale, rhythm, circulation, and spatial organization while experimenting with how the body can inform architectural space. The project strengthened my understanding of formmaking, composition, and the connection between human experience and the built environmen.

ARCH 114.02 - 2026 SPRING Amanda Cinelli

The Body Apparatus: The Crane This project explored the relationship between the human body, movement, and mechanical extension through architectural experimentation and design analysis. The project focused on how apparatuses can alter, support, or respond to bodily movement while influencing spatial experience and form. Through research, sketching, modeling, and digital representation, I investigated how physical motion and interaction can generate architectural concepts and abstract art. Primarily, our project was focused on how the shoulder and arm communicate and relate to each other. This required a contraption that could both rotate and extend.

ARCH 114.02 - 2026 SPRING Amanda Cinelli

During this project, I developed skills in conceptual design, spatial thinking, and visual communication by creating drawings and models that analyzed movement, structure, and human interaction. I explored how wearable or body-connected mechanisms could shape circulation, posture, and spatial relationships while translating these ideas into architectural forms and compositions. The project strengthened my understanding of iterative design processes, humancentered design, and the connection between movement, function, and the built environment.

ARCH 114.02 - 2026 SPRING Amanda Cinelli

Nature

This project explored the design of a community focused architectural space located along Shell Path on the campus of Roger Williams University that responded to both the surrounding natural environment and opportunities for gathering and interaction. The project required the integration of a pool, bathrooms, and a communal gathering space while also incorporating the display of an object selected from the RISD Museum. Through site analysis, conceptual development, and spatial planning, I explored how architecture can connect landscape, circulation, and human interaction within a natural setting.

ARCH 114.02 - 2026 SPRING Amanda Cinelli

During this project, I developed skills in site-specific design, spatial organization, and conceptual storytelling by creating drawings, models, and digital representations that responded to the conditions of Shell Path and the surrounding campus environment. I studied how the placement of the pool, gathering areas, and exhibition space could encourage movement, social interaction, and engagement with nature while maintaining a cohesive architectural concept of flowing and bounding. The project strengthened my understanding of contextual design, program integration, and the relationship between architecture, landscape, and public experience.

ARCH 114.02 - 2026 SPRING Amanda Cinelli

Places of Senses: Branching Out This project explored how architecture can influence human perception and emotional experience through sensory - driven design. My project focused primarily on the sense of touch while also incorporating the sense of sight through the development of pathways, circulation patterns, and visual connections throughout the space. Drawing inspiration from the natural branching systems of trees and the way trees cluster together within a forest environment, I developed a concept that emphasized movement, layering, texture, and spatial progression. The project investigated how natural systems and organic growth patterns can inform architectural design while creating an immersive sensory experience for users.

Site Plan

As part of the project, I was tasked with designing a museum space that incorporated and displayed artifacts selected from a collection at the RISD Museum. This required me to think carefully about how visitors would move through and experience the building while interacting with both the architecture and the displayed objects. I explored how sensory experiences could shape exhibition spaces by designing pathways that guided visitors through moments of visual discovery and sensory awareness. The circulation throughout the museum reflected the branching structure of trees, creating interconnected spaces that encouraged exploration and engagement with the exhibits and surrounding environment. ARCH 114.02 - 2026 SPRING Amanda Cinelli

Throughout the design process, I studied how individuals physically and visually interact with space and how architecture can guide those experiences through materiality, form, and circulation. The pathways within my project were designed to mimic the branching and interconnected qualities of tree systems, creating moments of compression, openness, discovery, and interaction. Texture, proximity, and movement became central elements within the design, allowing the project to create a stronger connection between the user, the architecture, and the displayed artifacts. During this project, I developed skills in conceptual design, environmental analysis, spatial sequencing, and visual communication through the use of drawings, diagrams, physical models, and digital representations. I explored how architecture can engage multiple senses simultaneously while translating natural patterns into organized spatial compositions. The project strengthened my understanding of sensory architecture, museum design, and human-centered spatial experiences while expanding my ability to create architectural concepts rooted in observation, research, and the interpretation of natural forms and systems. ARCH 114.02 - 2026 SPRING Amanda Cinelli

ARCH 114.02 - 2026 SPRING Amanda Cinelli

PORTFOLIO OWEN OSTERDAY MAY 7, 2026 ARCH114_03`

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ANALYTICAL BODY JANUARY 2026

BODY APPARATUS FEBRUARY 2026

NATURE MARCH 2026

PLACE OF SENSES APRIL 2026 ARCH 114.03 - 2026 SPRING OWEN OSTERDAY

1. ANALYTICAL BODY

Pg. 2

To better understand the human scale and proportions, I documented how the arm moves through and occupies space. I observed and photographed two kinds of motion for my study: forward extension and rotation.

ARCH 114.03 - 2026 SPRING OWEN OSTERDAY

1. ANALYTICAL BODY

Continuing my study of the human body, I drew and abstracted much of the possible movement of the arms I witnessed. I explored different ranges of motion capable with the arms, both in the 2D plane and also rotationally.

ARCH 114.03 - 2026 SPRING OWEN OSTERDAY Pg. 3

1. ANALYTICAL BODY

I concluded my study by documenting the human body as a whole and how it interects with the space around it. I took measurements of my own body and translated them to paper, creating multiple views of my figure. Lastly, I applied those same proportions to a figure paddling a kayak, capturing the dynamic and responsive movements necessary to steer the craft.

Pg. 4

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2. BODY APPARATUS

2. BODY APPARATUS Expanding on my study of the human body from the first assignment, I designed and constructed an apparatus to amplify the motion of the human body to make marks on a canvas. I designed an offset scissor mechanism to translate the extension of my arm into an unfurling motion.

Pg. 5

ARCH 114.03 - 2026 SPRING OWEN OSTERDAY

2. BODY APPARATUS

Experimenting with ways to create a unique visual pattern with my apparatus, I created several prototypes of the scissor mechanism. I tried different combinations of rotating joints and varying proportions before settling on the final design which combined sharp angles of rotation with varying sizes of segments.

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ARCH 114.03 - 2026 SPRING OWEN OSTERDAY

2. BODY APPARATUS

I constructed my final apparatus model from paint stirring sticks, creating joints with locking nuts and washers to ensure its smooth operation. The apparatus draws on a surface through a series of charcoal sticks fastened to its side. As the apparatus unfolds across the canvas, it produces a chaotic range of dark streaks as a combination of the extension of the arm and its own complex rotation.

Pg. 7

ARCH 114.03 - 2026 SPRING OWEN OSTERDAY

3. NATURE

My third project sought to connect humans to nature through the design of a structure located on the shell path which runs along the coast by RWU. I observed several of the natural phenomena which define the site on which my building would be located, from the light refracted off the bay to the size and density of the rocks which littered the coast. I created several abstract mixed media representations of these phenomena, including a representational model which explored the varying material regions and qualities of the site.

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ARCH 114.03 - 2026 SPRING OWEN OSTERDAY

3. NATURE

The structure I designed needed to have individual spaces for a contemplation space, exterior pool, changing rooms, and bathrooms. My design takes inspiration from the clusters of small stones which dot the coast as well as the nature of the jetty which sits along the northern edge of the site and protrudes far into the water. The interior of the building follows the natural slope of the ground as it approaches the water.

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3. NATURE

Tying into the natural landscape, the interior features a prominent seating area which emulates a pile of rocks, suitable for siting upon and gazing out onto the water. To reach the prominent atrium at the front of the building, visitors must pass through a tighter corridor which gives the impression of entering a cave. Upon passing through the cave, visitors are transported to a new world filled with light and separate from their regular lives.

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ARCH 114.03 - 2026 SPRING OWEN OSTERDAY

3. NATURE

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4. PLACE OF SENSES

For my final project, I designed an exhibition space for replicas of the Asian art collection from the RISD Museum. The site, located directly west from the site of my previous project, is defined more by trees and a flat ground plane than the coastal conditions just 300 feaet away. I took a similar approach to the massing of my previous project, drawing inspiration this time from the twisted roots and decaying tree stumps which populate the surrounding forest. The museum also follows the natural flatness of the land it sits upon, the interior acting as an extension of the flat ground plane. However, the entire building is elevated slightly to protect the art pieces inside from water damage, as the coastal plain is prone to poor drainage.

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4. PLACE OF SENSES

The design of the museum is centered around an exterior courtyard which brings light and focus into the museum. The courtyard is accessible from the inside of the museum and promotes circulation while creating a permeable relationship between the indoors and outdoors. The glass curtain walls which define the courtyard contrast sharply with the thick concrete shell which composes the overall shape of the museum. This contrast brings the focus of visitors into the heart of the museum itself in a feeling of enclosure.

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ARCH 114.03 - 2026 SPRING OWEN OSTERDAY

4. PLACE OF SENSES

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ARCH 114.03 - 2026 SPRING OWEN OSTERDAY

4. PLACE OF SENSES

The design of the museum enhances the sense of touch through its dramatic use of light. As the sun shifts in the sky throughout the day, the light and shadow within the museum shift as well, highlighting the different textures of the statues from the Asian art collection. Visitors would be encouraged to touch the replica pieces as a part of a unique sensory experience.

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ARCH 114.03 - 2026 SPRING OWEN OSTERDAY

CLOSING STATEMENT This semester has certainly refined my concept of space and how people interact with it, from measuring my own proportions to designing an apparatus to harness my own movement. Taking my consideration for the human scale into the design of structures, I began to envision a variety of 3-dimensional spaces that engage the human exerience with different spatial and light conditions. Exploring abstract, organic massing led to much discovery this semester, defining spaces through irregular angles and planes, which diverged from my highly ordered designs in my first semester. Moving forward, I hope to fuse this dynamic way of defining space with the sense of order I have followed previously.

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ARCH 114.03 - 2026 SPRING OWEN OSTERDAY

COVER PAGE Final Portfolio

ARCH 2026 SPRING SPRING ARCH 114.03 114.XX - 2021 studentMcCleskey name here Madeline

A1 - The Analytical Body This assignment tasked us with exploring how the body moves. Starting with just a simple aspect of the body, like a hand or leg. I created a bit of a storyline starting with the sign language of ‘Thank you’ (fig 1 & 2) and ‘You’re welcome’ (fig 3 & 4). In the latter part of this project, I continued this idea with the whole body by showing other ways people show respect for one another (fig 5 & 6). The last part of this assignment had us look into the ways people move through a space via a plan view. I chose to do my grandma’s kitchen (fig 7). Specifically, I chose to draw the chaos of the five-course meal my mom, aunt, and I made for my grandma last January. It was difficult to figure out how to define the difference between each person in the space throughout the movement image. If I did this again, I would spend much more time defining the difference in each person.

ARCH 2026SPRING SPRING ARCH 114.03 114.XX -- 2021 Madeline McCleskey student name here

Fig 1

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ARCH 114.03 - 2026 SPRING

ARCH 114.XX - 2021 SPRING Madeline student McCleskey name here

A2 - Body Apparatus This project required us to create an apparatus that could make a mark based on the movement of the body. My partner and I wanted to figure out an apparatus that had the ability to track this movement in multiple places with little adaptation. This is how we ended up on a scissor mechanism, it has so many different variations within its simple tectonic. We ended up focusing on the adaptation of the movement of the elbow for the model. After seeing what a typical horizontal scissor mechanism looked like against the arm, I began exploring what I could do to make the movement more interesting. I shifted the center pivot point in one direction across the entire apparatus. The result was a curve that, when overextended, created the Star of David (fig 8). The idea of building an S curve for the final model was considered, but ultimately decided against it as the curve being in one direction exaggerated the extension of the arm from the elbow. To ensure the apparatus would move nicely through the entire extension, we made the center diamond two times bigger than the rest of the scissor mechanism and extended the attachment to the arm out from the rest of the apparatus.

ARCH 2026SPRING SPRING ARCH 114.03 114.XX -- 2021 Madeline McCleskey student name here

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Fig 8

A2 - Body Apparatus

Fig 13

Material-wise, we used paint stirring sticks for the long sections, as they were cheap and we knew they would all be the same size without any noticeable variation. For the pivot point, we knew it needed to be a nut and bolt. Upon exploring various versions of what this nut and bolt could be, including carriage bolts (has a little square bit at the top, which would prevent rotation) and plastic nut and bolt (did not trust its longevity). We ended up on hexagonal bolts with locking nuts (fig 9), as we knew they would last without much loosening of the nut. To extend out to the arm, we used a bit of PVC as a spacer, as well as ensuring we had longer bolts to reach the extended distance (fig 12). We initially thought elastic would be a good way to do the connection to the arm, but found it cut off our circulation. So we ended up using Velcro to attach the apparatus (fig 10) to the body (in this case, the arm). The mark our apparatus made (fig 14) did surprise us, as we were expecting the mark to be symmetrical, with charcoal near the elbow moving the least. However, we forgot that the person was not moving their feet, thus the shoulder was actually the point that would not move, creating an asymmetrical mark.

Fig 14 ARCH 2026 SPRING SPRING ARCH114.03 114.XX -- 2021 Madeline studentMcCleskey name here

Collasped Elevation

Extended Elevation

ARCH 2026SPRING SPRING ARCH 114.03 114.XX -- 2021 Madeline McCleskey student name here

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Exploded Axonometric

Fig 17 ARCH 2026 SPRING SPRING ARCH 114.03 114.XX -- 2021 Madeline studentMcCleskey name here

A3 - Nature For this project, we were given a site along the shell path and asked to create an area that had three spaces: A gathering space that could house up to 12 people, a changing area with two bathrooms and four changing rooms with showers, and a pool. Upon surveying the site, I noticed the path made by people traveling down to the beach from the shell path and the way the rocks spread out throughout the entire site, creating a less steep slope toward the waterline. So I decided to place the area for my spaces there. We were all given an object that needed to influence the ideas created in our project. I received the Lapis Lazuli as the work of art that would influence my project. The main thing I noticed on this object was the layering within the carvings. This influenced the layering in both my pool area and the heights of the other two spaces (fig 22). The pools are designed in a way that embraces the rocks surrounding them, and so the lower two would get covered by the bay as the tide rises twice a day. Because this area is tucked into a very nature-ridden space, I did not want to create anything geometric and opted to explore curves and slopes (fig 21) throughout all three spaces. This is the reason for the curved nature found when looking at both the changing and gathering spaces. ARCH 114.03 2026SPRING SPRING ARCH 114.XX -- 2021 Madeline McCleskey student name here

SECTION A-A

SECTION B-B B A

Fig 19

SECTION C-C Fig 18

A3 - Nature

NORTH ELEVATION

B A

WEST ELEVATION

Fig 20

Views were taken into consideration (fig 27, 28, & 29) through the orientation of both the gathering space and the pools. So people would be able to enjoy the space they are in and the spaces surrounding them. They were oriented in a way that allowed the bridge and sunrise to be seen. This was not the case for the changing area since it is a private space and not a space people are likely to linger in. Throughout the entire space, I utilized slopes and curves on the paths to guide people from the shell path to the spaces along the jetty (fig 26). Allowing exploration without feeling forced in one direction or another. There was a secretive explorative intention behind the walkway behind the gathering space. I extended the roof out to cover this path, creating a dark space. I did consider building seating into the space, but I ultimately decided I did not want it to be a stopping point.

Fig 21 ARCH 2026 SPRING SPRING ARCH 114.03 114.XX -- 2021 Madeline studentMcCleskey name here

ARCH 2026SPRING SPRING ARCH 114.03 114.XX -- 2021 Madeline McCleskey student name here

Axonometric

Fig 22

Fig 23

Fig 25

Fig 24

ARCH 2026 SPRING SPRING ARCH114.03 114.XX -- 2021 Madeline studentMcCleskey name here

Fig 27

Fig 28

Plan

Fig 26 Fig 29 ARCH 2026SPRING SPRING ARCH 114.03 114.XX -- 2021 Madeline McCleskey student name here

A4 - Place of Senses

SECTION A-A

Fig 31

SECTION B-B A

SECTION C-C

Fig 32 Fig 30

This project asked us to take the art collection coordinating with our previous project and one of 3 senses (sight, touch, and hearing) to create an exhibition space. The space needed to include a reception desk, storage space, five restrooms, and an exhibition space to contain replicas of the works of art. This project was located on a site adjacent to the previous project (fig 32) and was considered an addition to that project. Thus, I opted to create an organic structure (fig 36) over a geometric structure to relate to both the nature surrounding this structure and the gathering space down on the jetty. I opted to locate my structure at an existing opening along the historical stone wall separating the shell path from the woods because of the connection to the site. Another reason for placement was the swampy area of the site that is found towards the southwestern side of the site. I extended the curve of the walls to generate two paths connecting the shell path, the structure, and the previous gathering area. As one enters the building from these, they would be met with the reception desk (fig 31). Due to its centralized location, a person sitting at the reception desk would be able to have an awareness of what is going on in all of the other spaces. The exhibit areas are on a circular circulation throughout the structure. ARCH 2026 SPRING SPRING ARCH 114.03 114.XX -- 2021 Madeline studentMcCleskey name here

A4 - Place of Senses The interior spaces are enclosed to protect these replicas of the art. When it came to the roof, I wanted to continue the organic shapes found beneath. I also want to angle the roof to create apertures to bring in the natural sunlight. Similar to Gehry’s Walt Disney Concert Hall, I allowed the roofs to mimic the waves of sound. Another way the building brought in natural light was underneath the walls (fig 43). The entire structure’s walls are lifted three inches off the ground. Allowing soft light to enter the entire space. The hearing aspect of this project was extremely interesting to me because that sense is weird for me. My hearing loss makes it so I hear lower-pitched noises best. I really want to find a way to design the building so it would generate sound on its own. I wanted to tap into the windiness that is found all over this campus. So I made the walls lining the main walkways thicker to account for tubing through the middle of the walls. The ends of the tubing in the walls are open (fig 41) to the direction of prevailing winds in the southwest, creating a wind tunnel. Along this tubing, there are openings that would allow for the creation of a low, deep sound. The sounds would be in a direction that points the sounds away from the artifacts.

ARCH 114.03 2026SPRING SPRING ARCH 114.XX -- 2021 Madeline McCleskey student name here

Fig 33

AXONOMETRIC

Fig 34

Fig 35

Fig 37

Fig 36 Fig 38

ARCH 2026SPRING SPRING ARCH 114.03 114.XX -- 2021 Madeline student McCleskey name here

SOUTH ELEVATION Fig 39

WEST ELEVATION Fig 41

Fig 40 ARCH 2026SPRING SPRING ARCH 114.03 114.XX -- 2021 Madeline McCleskey student name here

Semester Summary

Fig 42

I have really enjoyed this semester. I have learned many things, big and small. I have improved my drafting skills and extended my list of tiny things to ensure are on every drawing, like site context. When I look back, even my regular skills in sketching and drawing have improved. I have learned that there is a certain way to do everything, ripping the trace paper with a scale and putting a sheet of white paper behind velum and trace drawings to make them more easily visible. This semester was also the first time I did an sort of site analysis. This is definitely a skill that will grow over the years, but it is very nice to be able to see where it started. was able to prepare myself for presentations better than I have in the past. I am very glad that I was not panicking come final crit, like I was last semester. Thank you so much for this semester.

Fig 43 ARCH 2026SPRING SPRING ARCH 114.03 114.XX -- 2021 Madeline student McCleskey name here

Anya Avis Studio Portfolio ARCH 114 Spring 2026 Prof. Sarah Kennedy

ARCH 114.03 - 2026 SP Anya Avis

THE ANALYTICAL BODY

I started this semester with a project focused on documenting the human body to gain an understanding of how we interact with space. I began by drawing my own body, focusing on my legs and feet, which played a crucial role in my practice of dance. Using both artistic and drafting techniques, I drew a variety of movements which I would perform when dancing (fig. 1-4). Once I gained an understanding of how specific parts of the body move, I shifted to drafting the body as a whole (fig. 5). Finally, I explored how the body interacts with space by drafting a bird’s eye view of my dorm room. I noticed my morning habits and drew how I would go through my routine, from getting out of bed, to leaving for the day (fig. 6).

fig. 1

fig. 3

fig. 2

fig. 4

This project helped me to develop a better understanding of proportionality in relation to the human body and the architecture which it interacts with.

ARCH 114.03 - 2026 SP Anya Avis

fig. 5

fig. 6

ARCH 114.03 - 2026 SP Anya Avis

BODY APPARATUS

The second project of the semester was a partner project, so I worked with Summer Bowtell to create an apparatus that tracts the movement of the leg when performing various kicks. We began by considering the differences between our kicks, mine being a dance high kick and her’s being a martial arts side kick. We dertermined that we could trace both movements by attatching charcoal to a band that could be adjusted to one’s body (fig. 1, 3). Thus we used wooden planks, attaching them to velcro strips with uppolstery pins. With our base complete, we attatched charcoal pencils by screwing IV tubing into the wooden planks, this tubing held the pencils in with friction, allowing them to be replaced without risk of falling out (fig. 2). Additionally, the tubing provided some flexibility so the apparatus could withstand the forces of various kicks. The device successfully documented both of our kicks (fig. 4, 5).

fig. 2

fig. 1

fig. 3 ARCH 114.03 - 2026 SP Anya Avis

photos of apparatus

fig. 4 my kick

fig. 5 Summer’s kick

Composite photo of me wearing apparatus while performing a high kick ARCH 114.03 - 2026 SP Anya Avis

NATURE

model of project The third project of the semester was a building on shell path here on campus. The program called for a pool, changing rooms and restrooms, as well as a gallery space to appreciate a piece of art from the Asian art collection from the RISD Museam and the environment in which the building sits. I built my building on the jetty off of shell path in order to capture a unique view of the shoreline. I was inspired by old military bunkers which frame views with long thin windows. This inspiration also ties back to our campus’s history as it was once home to a missile base. With this inspiration in mind, I designed an angular concrete structute with intentional appertures for light to come in and guide people through the building (fig. 1, 2). In addition to light, there is a small gap of water from the pool to flow along the main walkway, expanding the opportunities for lighting through reflection (fig. 3). This project taught me how to design with utility spaces in mind while not focusing too heavily on them. Additionally I gained more experience with intentionally directing light to serve a structure’s circulation.

collage of materials found on site

fig. 1 ARCH 114.03 - 2026 SP Anya Avis

fig. 2

fig. 3 ARCH 114.03 - 2026 SP Anya Avis

PLACE OF SENSES MEDITATION FOREST The final project of the semester was related to the nature project with an adjacent, more wooded site along shell path. The program called for a large gallery space to house replicas of the Asian art collection from the RISD Museam, as well as the incorporation of a sense, mine being hearing. I began by visiting the site, meditating on what I could hear. Unfortunately, I was surprised to hear traffic from the busy Metacom Ave, so I incorporated a wall to help block the sound as well as guiding the approach circulation to the structure (fig. 1-4). I then based the gallery space around the locations of the trees on site, creating a mix of indoor and outdoor spaces through courtyards sprinkled into the gallery (fig. 2, 3). These spaces allowed visitors to hear the contrast between the quiet gallery spaces and naturally loud courtyards. With glass being the primary divider throught the gallery space, natural light is abundant, and creates unique paterns as the sun moves through the trees throughout the day.

perspective vignettes

This project gave me experience with working with the existing nature to create space, while making mindful adjstments to serve the success of the design. I really enjoyed designing this space and I am very proud of the results.

fig. 1 ARCH 114.03 - 2026 SP Anya Avis

fig. 2

fig. 3

ARCH 114.03 - 2026 SP Anya Avis

fig. 4

fig. 5

ARCH 114.03 - 2026 SP Anya Avis

SUMMARY

To conclude, I really enjoyed this semester, I learned a lot about architecture, design, and myself. I am very grateful for this opportunity to learn. I took some time to get my footing, coming back from my first semester in architecture, but I am proud of what I have accomplished, especially in my final project. I feel that the projects which I was assigned helped me to grow and develop my continuously improving style and skillset as a designer. I really appreciated the feedback I recieved on my work and I am excited to continue to grow as an architecture student next semester.

photos of final models ARCH 114.03 - 2026 SP Anya Avis

SPRING 2026 PORTFOLIO

ARCH 114 04 2026 SPRING Justin Dolansky

PROJECT 1: ANALYTICAL BODY This first project consisted of a series of drawings to document human body movement in different mediums, ink and marker primarily. Some examples are pictured here, with my personal favorite being the image with the movement throughout the car.

PROJECT 2: BODY APPARATUS For this second project, a partner and I assembled a wearable spine apparatus, coined the “Vertabrush” which enabled her to track the movements of gymnastic skills on a piece of paper mounted on the wall. The apparatus is comprised of several wooden linkages to match spine movement, with long dowels holding them together and brushes on the ends to create markings. The featured images showcase the resulting markings, the apparatus itself and in use, and an axonometric drawing created of the assembly of this apparatus.

PROJECT 3: NATURE This third project consisted of placing a relaxation structure on a beach location on the Roger Williams University campus, featuring a pool, bathrooms, viewing space of the environment, and showcasing an object from the RISD museum collection. I created an asymmetrical, angular wooden structure inspired by organic mid century design to blend with the wooded nature of the site, and created a set of corresponding drawings and models. The project featured two primary viewing spaces on the south and east (also featuring a pool) facades, bathrooms on the north facade, and an entrance on the west facade from the shell path leading to the beach.

PROJECT 3:

PROJECT 4: PLACE OF SENSES The fourth and final project of this spring semester was the “Place of Senses”, which is a viewing gallery situated in the forest behind the site of project 3, focusing on the human sense of touch in my case and showcasing the Asian collection of artifacts at the RISD Museum. My resulting idea from these circumstances was a 3 building complex joined by a roof under cable tension with 2 paths passing between the buildings. This structure allows for visitors to pass through the outdoors when travelling between spaces, and with the middle structure being mostly glass, it enables the inhabitants to “feel” as though they are outdoors while experiencing ancient pieces, an experience that most exhibition spaces do not offer. The design of this project was inspired by space age design trends and natural formations, features woog, glass, rubber and cork, and a lofted first building to allow for bathrooms, lockers, and storage space before entering the exhibition rooms.

PROJECT 4:

TAKEAWAYS:

This semester of architecture studio has taught me many useful skills of adapting spaces to a complete human sensory experience, creating future designs that are practical and visually interesting, a better understanding of human body movement, and how to work alongside peers in a project. The creative freedom allowed on the two building projects allowed me to begin to express my own design language and ideas the most of any projects this year, and both taught me how I can improve upon those ideas from feedback. I am grateful for the skills I have acquired from working on and presenting these projects, the people I got to work with in the process, and I look forward to where these experiences will take me in the following years as an aspiring architect.

Breylen Root Portfolio

ARCH.114.05-26/SP STOPKA

LEG MOVEMENT EXPLORATION 3 Collage

EXPLORATION OF THE HUMAN BODY Within this project, I developed a new sense of the human body through precise measuring of human anatomy and the range of human motion. My studies specifically focused on the mechanics of the leg and the shepherd’s leap, an ancient Canary Islands tradition where shepherds use a wooden pole with a metal tip to navigate steep, volcanic terrain. By developing a deeper understanding of human scale and proportion, I have, in turn, gained a new level of clarity in the responsibility of creating spaces designed specifically for human occupancy.

LEG MOVEMENT EXPLORATION 1 Alcohol Marker

LEG MOVEMENT EXPLORATION 2 Graphite

SHEPHERD’S LEAP MOVEMENT EXPLORATION 1 Ink

LEG AXONOMETRIC Graphite

SHEPHERD’S LEAP MOVEMENT EXPLORATION 3 Watercolor

SHEPHERD’S LEAP MOVEMENT EXPLORATION 2 Graphite

THE METAMORPHOSIS OF LANGUAGE My team’s design represented the idea of intention versus outcome, and how easily misinterpreted communication can be, utilizing a sequence of dilution and looseness as the apparatus created marks down the page. Through an iterative process and disciplined, detail-oriented design decisions, I have learned the value of collaboration and have gained a new understanding of the skills required to design in a cooperative manner.

APPARATUS Plan, elevation A & B

APPARATUS AXONOMETRIC Axonometric, exploded wrist & mark

ABSTRACT DRAWING Marks synthesized from apparatus “translating” written text

NATURE IN DESIGN In analyzing nature, I was compelled by the natural rippling of water, which prompted me to explore how this concept could be implemented into architecture. Within this process, I explored how the rippling of water could be projected deep within architectural spaces discovering how the beauty of nature can propell design within man made spaces

INTIAL CONCEPT MODELS Light Studies

RIPPLE PROJECTION Concept Model Photograph

FINAL MODEL

SITE PLAN

SECTION DRAWINGS

CHANGING ROOM AND POOL AXONOMETRIC Exploded East Wall

MEDITATIVE SPACE AXONOMETRIC Exploded South Wall

NATURAL PROJECTIONS Further developing the concept I explored with the rippling of water, in my final project I dove into how trees and plants could create a similar experience. Through the program of studio pods and a gallery space situated deep in the landscape of nature, I investigated how nature can begin to change the experience of spaces.

SITE PLAN

SUMMARY Through the course of this semester, I have learned more about myself as a designer and the elements that are important to my individual design process. With deeper expolration of architecture, I have began to understand what I gravitate towards assisting research and design decisions. By exploring new mediums I have additionally developed a new pallette of mark making techniques that resonate with me helping push my designs forward in a way that connect with me. Moving forward I wish to continue pursuing curiorsity and discovery and to hone on my ability to make disciplined design decisions that allign with my values.

SPRING 2026 PORTFOLIO

MATTHEWS MARQUES

ARCH 114.06 - 2026 SP

MATTHEWS MARQUES

Analytical Body This first assignment of the semester is meant to develop a better understanding of and doucment the human body. The goal is to better understand the relationship between human scale, the space around us, and how we inhabit it. The main exercise of this assignment was to study the scale of the human body. In this part of the assignment, I produced drawings of a part of the body, specifically the hand. I illustrated overlapping motions of the hand, starting in a closed position and gradually opening, to acknowledge and represent its dynamic qualities. I also produced a geometric technical drawing to analyze its dimensions and structure through the use of reference grids and arches.

ARCH 114.06 - 2026 SP

MATTHEWS MARQUES

Analytical Body Density

Dynamism

This part of the assignment focused more on the body as a while, emphasizing its main dynamic qualities. Each drawing represents a different topic: Structurte, Texture, Density, and Dynamism. For Density, I represented it through shading. Dynamisn is demonstrated through analytical movement, Texture is shown through chaotic lines gradually becoming more linear, and Structure illustrates individual shapes becoming more unified toward the end. Texture

Structure

ARCH 114.06 - 2026 SP

MATTHEWS MARQUES

Body Apparatus Arachnid

In this project we worked in pairs to design and build a device that would expand and amplify the presence and interaction of the body in space The goal was to design and build a wearable apparatus applied to the body. My project partner, Bianca Cius, and I designed it inspired by the anatomy of a spider’s legs, mimicking the motion of a single arm through different sets of angles. The apparatus is attached to the body like a backpack and is linked to the arms to be able to follow its articulation. While in motion, the spiders-like arms are able to draw, demonstrating each arm’s individual motion and range.

ARCH 114.06 - 2026 SP

MATTHEWS MARQUES

Body Apparatus Arachnid

The technical exploded axonometric drawing demonstrates how the apparaatus is assembled in sequence, proving a more in depth understanding of the system by showing its parts and components. The elevation drawings shows how the apparatis is attached to the body, highlighting its main function and how it can be intereracted with.

ARCH 114.06 - 2026 SP

MATTHEWS MARQUES

Nature Erosion

In this project, my concept is Erosion. I chose this approach to relate more cloesely to the site. While examining the shores, I observed the juxtaposition between the water and the rocks, which I wanted to integrate into the structure I illustrated three abstract drawings to develop a better understanding of the aesthetic. The diagram represent the beginning of the design process, exploring how to apporach the structure while maintining the qualities of erosion.

ARCH 114.06 - 2026 SP

MATTHEWS MARQUES

Nature Erosion

I decided to make the support columns skewed to represent as rock formations shaped by the effects of water, which is demonstrated through the curved ramped pathways. The gathering space contains three different levels that allow visitors to experience various views of the ocean, while the exterior pool at the bottom represents the hierarchy and movement of ocean waves. The changing rooms are elevated and include multiple access point into the gathering space to create easier circulation throughout the area.

ARCH 114.06 - 2026 SP

MATTHEWS MARQUES

Nature Erosion

ARCH 114.06 - 2026 SP

MATTHEWS MARQUES

Place of Senses Guided Perception

The project is meant to amplify our natural senses. Sight, Hearing, and Touch are the senses that should be enchanced in some capacity, while also addressing the rest of the program. I focused on the sense of sight and developed the concept of guided perception. During the design development process, I explored three visual conditions: blocked, exposed, and reflective. To achieve this goal, I used a series of layered walls to create the illusion of these three visual conditions while integrating them into the program. The layered elements guide the perception by alternating between restriced views, open visual exposure, and reflective surfaces that distort and redirect sight throughout the space.

ARCH 114.06 - 2026 SP

MATTHEWS MARQUES

Place of Senses Guided Perception

In the entrance with the exposed glass ceiling, you’re introduced to a dramatic introduction view of the exhibition, the side corridors are completely exposed with glass for natural lightning. The exhibition is a centralized dome, with a circular circulation to that leads to left or right. in the center layer it leads to the second elevated floor with a ramped spiral paths. The goal is to make perception active rather than passive, making it clear that what is seen is being framed and manipulated by the architecture.

ARCH 114.06 - 2026 SP

MATTHEWS MARQUES

Place of Senses Guided Perception

ARCH 114.06 - 2026 SP

MATTHEWS MARQUES

FINAL STUDIO PORTFOLIO Logan St. Hilaire - Arch.114.06 5/7/2026

ARCH 114.06 - 2026 SPRING LOGAN ST. HILAIRE

ASSIGNMENT 1 ANALYTICAL BODY The first assignment - the analytical body - tasked me with depicting the human body through time, showing specific motions. In figures A-D I explored this topic, basing my designs off self-taken pictures of my own hand. Figure A, the pencil, should be viewed as the front view of figure D, the same going for B and C. By drafting the human body in different positions in time and carefully controlling my lineweights to fade through each movement, I was able to analyze them in the form of coherent narratives and realistic portrayals. I then went back to C and D to shade with charcoal, adding greater dynamism to portray the actions, and give more context to how light iinteracts with the body.

FIGURE A

FIGURE C

FIGURE D

FIGURE B

ARCH 114.06 - 2026 SPRING LOGAN ST. HILAIRE

ASSIGNMENT 1 ANALYTICAL BODY

FIGURE E - DYNAMISM

FIGURE F - STRUCTURE

FIGURE I

FIGURE G - DENSITY

FIGURE H - TEXTURE

FIGURE J

The next part of A1 required that I depict different qualities of the whole body through a series of four drawings, again using different poses through time. From E through H in order, the prompts were Dynamism, Structure, Density, and Texture. For each one, I wanted to exaggerate the theme word to best display the capabilities of the human body. For dynamism I portrayed the full motion of the body at its maximum sprinting, and portrayed the figure as running circles around the paper. For structure, I drew a body partaking in practiced, refined action, inserting squares where it was rigid and circles where jointed. I then underlayed the grid that the squares would make if their edges were all brought out to the end of the paper. For density, I showed the human body at its maximum, and overlayed it in darker lineweights while shrinking to its minimum. For Texture, I experimented with charcoal to show how we interact with the both the world’s soft and hard materials. Figures I and J are geometric abstractions of figures A and B, making sure to keep the overall form and movement while cutting them down to simple forms

ARCH 114.06 - 2026 SPRING LOGAN ST. HILAIRE

ASSIGNMENT 1 ANALYTICAL BODY

FIGURE K

The final parts of A1 were to make a plan-view movement drawing - of which I modeled mine off the RWU Writing Tutoring Center - and a drawing showing the qualities of the body as they descended down stairs, in which I drew from the previous geometric parts for inspirationg in depicting the various joints of the foot as it moved through time.

FIGURE L

ARCH 114.06 - 2026 SPRING LOGAN ST. HILAIRE

ASSIGNMENT 2 - BODY APPARATUS For A2, My team and I were tasked with creating an attatchable apparatus that somehow used the motion of the body to leave a physical mark on a large piece of paper. We decided to make an apparatus that attached to the leg, and through five individually unique arms with various loose joints, would drag behind the user leaving paint in their wake. We especially wanted to display the shifting weight of a normal footstep into our made mark, for which we decided to strategically add and subtract weight from each arm. The middle arm would be the heaviest, with the most and largest added blocks, with the rest gradually getting lighter, drilliing holes at points to take away heaviness. This, combined with using darker red paint to portray the heaviest arm, led to figure F. Figure D, the exploded axonometric, required me to be meticulous in my measurments and three-dimensional representation, requiring many iterations.

FIGURE A

FIGURE B

FIGURE C

ARCH 114.06 - 2026 SPRING LOGAN ST. HILAIRE

ASSIGNMENT 2 - BODY APPARATUS

FIGURE D

FIGURE E

FIGURE F ARCH 114.06 - 2026 SPRING LOGAN ST. HILAIRE

ASSIGNMENT 2 - BODY APPARATUS

FIGURE G

FIGURE H

FIGURE I

ARCH 114.06 - 2026 SPRING LOGAN ST. HILAIRE

ASSIGNMENT 3 -NATURE

A3 was our first project of the semester that gave us a site, on which I was asked to build a series of spaces that housed changing rooms and a gathering space to observe an ancient Roman statue, plus an outdoor reflection pool. Figures A-B were my concept drawings, taking from the seaside site’s topography and views respectively as inspiration. These eventually resulted in my final design, using verticality to ascend beyond the treeline, and making my spaces more open as they went up to reflect this. My changing room were in the bottom, most private space, and the gathering space with the artifact at the top. The reflective pools mirrored the footprint of the elevated spaces into the ground, tying the spaces to the site.

FIGURE A

FIGURE B

FIGURE C ARCH 114.06 - 2026 SPRING LOGAN ST. HILAIRE

ASSIGNMENT 3 -NATURE

FIGURE D

FIGURE F

FIGURE E

FIGURE G

ARCH 114.06 - 2026 SPRING LOGAN ST. HILAIRE

ASSIGNMENT 3 -NATURE

FIGURE H

FIGURE J

FIGURE I

ARCH 114.06 - 2026 SPRING LOGAN ST. HILAIRE

ASSIGNMENT 4 PLACE OF SENSES

The final project was on a site directly adjacent to A3, a 300 sqft. completely forested area. The project program asked me to display an expanded gallery of ancient Roman and Greek artifacts with a front desk, bathrooms, and locker area as well. It also asked I experiemnt with the sense of touch, which became vital in my design. I began with figure A, a photo from the site that showed the degradation/abstraction of a close-up tree over time, and translated that into my first concept model B by extruding these shapes upwards. I made inhabitable spaces next with figures C-E, experiementing with a partially fabric exterior.

FIGURE B

FIGURE A

FIGURE C

FIGURE D

FIGURE E

ARCH 114.06 - 2026 SPRING LOGAN ST. HILAIRE

ASSIGNMENT 4 PLACE OF SENSES

My final model, depicted here, successfully represented the abstraction over time of nature that I noticed in the site, with each face of the buildings relating to eachother, yet gaining complexity. For circulation, I chose to have all vertical and horizontal movement between buildings outdoors, this ensures that a visitors will experience each inbetween space from many different angles. The facade itself is then mirrored in the ground underneath in the form of shallow sunken reflection pools which visitors can walk between, as seen on the ground plan of figure L

FIGURE F

FIGURE G ARCH 114.06 - 2026 SPRING LOGAN ST. HILAIRE

ASSIGNMENT 4 PLACE OF SENSES

FIGURE H

FIGURE I

FIGURE J

ARCH 114.06 - 2026 SPRING LOGAN ST. HILAIRE

FIGURE K

FIGURE l

ARCH 114.06 - 2026 SPRING LOGAN ST. HILAIRE

FIGURE N

ASSIGNMENT 4 PLACE OF SENSES In my sections K-I, I showed the interior organization of my gallery spaces, in which the displays mirror the exteriors by getting more disorganized form space to space. This is the same for the content being displayed, with the more broken and disfigured artifacts being in the most abstract buildings, and the most intact in the least. My axon and perspectives give an idea of what it would be like to visit the site, showing interior and exterior scale.

FIGURE M

FIGURE O

ARCH 114.06 - 2026 SPRING LOGAN ST. HILAIRE

EMMA GIBSON Compression and Expansion Final Project Studio II

ARCH 114.07-2026 SPRING ARCH 114.XX - 2026 SPRING EMMA GIBSON student name here

Analytical Body

Our first project of the semester was the analaytical body where we focused on understnading the relationship between the human body, movement and space. We did this through capturing photos first and then using those photos to make a series of analytical and technical drawings. The project explored how the body occupies spaces and how motion can be documented as well as how geometry can be seen through human movement. The assignment encourged us to acknowledge everyday actions and interactions between the body and surrounding enviornments. Through this project I learned how architecture begins with understanding human scale, movement through spaces and human interaction with spaces. This project taught me to observe everday actions more carefully and think about them more analytically through motion, proportion and spatial relationships. Also through this project I began to realize how movement can generate geometry and influence the organization of a space. This project also introduced me to important drawing techniques since drawing was something that I stuggled with coming into studio. I learned how to move between expressive sketching and drawing what I see into precise technical drafting, developing stronger skills in compositions, line quality, layering and spatial analysis. This project really taught me that space is not stati but is constantly being shaped by the bodies moving through it.

ARCH 114.07-2026 SPRING ARCH 114.XX - 2026 SPRING EMMA GIBSON student name here

ARCHARCH 114.07-2026 SPRING 114.XX - 2026 SPRING EMMA GIBSON student name here

ARCHARCH 114.07-2026 SPRING 114.XX - 2026 SPRING student name here EMMA GIBSON

Body Apparatus

The Body Apparatus project expanded on the analytical studies from the project before however this time we explored how the body could interact with and physically register space through movement. Working collaboratively in a group of three-which was new for studiowe designed and constructed a wearable body attachment that transformed the motion of a forward roll into a physical drawing. The project focused on the relationship between movement, mechanics and spatial tracing. Since our apparatus wasn designed around the idea of the spine and motion of a forward roll we used dowels and rope to create this armor-like piece that attached directly to the body allowing physical imprints and painted imprints to be recored while the movement occured. The thick rope down the middle represented the spine while the dowels extended outward to amplify the motion and contract with the ground. As the body went through the motion of the forward roll, the apparatus produced layed traces and marks that documented the path, pressure and rythm of the movement. We also used a second media besides paint and paper and made our own salt dough to capture the imprints that could be made from the dowels and rope. This assignment made me realize that architecture and representation are not limited to staticn objects but can emerge from performance, interaction and physical traces of the body. This was also very interesting to do because it allowed me and my group members to explore with materials and their behaviors as well as the woodshop. Most importantly this project allowed me to realize the connection between the human body, movement and architecture.

ARCH 114.07-2026 SPRING ARCH 114.XX - 2026 SPRING EMMA GIBSON student name here

Nature

Our third project of the semester was the nature project which foocused on studying the relationships between architecture and the natural environment through a site analysis which was very interesting because prior to this project we had never been given a site that we were able to visit. This assignment challenged me to think beyond making architecture an isolated object and instead deeloping it by responding to the surrounding landscape, atmosphere and human perception of nature. For me this was very changing because when I visited thr site I noticed the many different views that could be captured. Rather than creating a building that dominated the landscape I wanted the architecture to guide you toward specific moments with different parts of nature. The first floor design focused of framing views of the forest, ocean, sky and the land, allowing each condition of the site to becomne a different spatial experience. Once viewers reached the top floor they were allowed to see a full panoramic view of the entirety of the site through a full trip of windows at eye level. Through this project I learned that architecture can shape perception and influence the way people experience the enviornment around them. It taught me to think more carefully about orientation, framing and sequence. This project also helped me think more about how natural elements such as light, topography, wegetation and water can become generators of design instead of obstacles to work around.

ARCH 114.07-2026 SPRING ARCH 114.XX - 2026 SPRING EMMA studentGIBSON name here

Place of Senses

For our final project of the semester we were assigned the Place of Senses which focused on creating an architectual intervention diven by a sensory experience. Each student was assigned a sense to guide the concept of their project and I was assigned smell. I explored how I could turn the only invisable sense into something very visable through spatial experience, atmosphere, movement and form. My concept came from the idea of inhaling and exhaling, necessary to smell, which lead to the idea of compression and expansion. As users traveled through myb building the architecture created changing spatial conditions which made you feel the rhthym of inhaling and exhaling or compression and expansion. To enhance smell my program consisted of a greenhouse, meditation center and tea house. Through this project I learned how architecture can be shaped by sensory experiences rather then only formal or functional requirements. Designing around smell was very challenging because it asked me to think about architecture which is a very visable thing, in a less visable and more atmospheric way considering how movement, materiality and spatial sequence affect human perception. I also learned how conceptual ideas can generate architectural forms and organization and how important progress work and progression is throughout a project. This project stregthened my ability to create narrative driven architecture by connecting concepts, programs and spatial experiences into one cohesive design.

ARCH 114.07-2026 SPRING ARCH 114.XX - 2026 SPRING EMMA GIBSON student name here

ARCHARCH 114.07-2026 SPRING 114.XX - 2026 SPRING EMMA studentGIBSON name here

ARCH 114.07-2026 SPRING ARCH 114.XX - 2026 SPRING EMMA GIBSON student name here

Spring 2026 Architecture Studio II Portfolio by Paige Botts

Assignment #1: Analytical Body For our first assignment, we had to analyze, sketch, and document the way the body, or specific parts, operate and naturally move. We then had to take what we learned from the preliminary sketches and technically draft the whole body in motion from a stationary motion, and then how the body operates throughout a space.

Assignment #2: Body Apparatus After studying how the body moves, we were tasked with coming up with a device that produced art based off of a natural bodily movement. We decided to create an apparatus that created imprints and indents on clay and paper following the motion of a somersault.

Assignment #3: Nature This project challenged me to come up with an actual design concept for a contemplation center on campus that encorporated the site, light, shadow and nature. My concept for this design was limiting perspective to the ocean and sky. I developed this concept by building under the ocean surface and using windows and glass panels to focus on the sea below and sky above.

Assignment #4: Place of Senses For my final project, I had to design a building based off of the sense of smell. I took that in a more literal sense and decided to alter the program to make a yoga and meditation studio that embodied the flow of wind and air circulating through the trees. This assignment taught me that trial and error at the beginning stages of design are crucial, as I ended up going back to square one a few times to communicate my concept in the clearest way possible.

Summary: In conclusion, I have taken my knowledge from semester one on how to technically draft and communicate designs and used these skills to produce clear and consise physical models backed by intellectual concepts communicated through technically drawn plans, sections, and elevations.

Ethan Blake Spring 26 Final Portfolio