2PG. 1

WHITNEY MAEHARABACHELOR OF ARCHITECTURE

SEGMENT II PORTFOLIO

W O R K E X P E R I E N C ECHARLES SPADA INTERIORS Design Associate + Market ing Co ordinator• Managehigh-endresidentialinteriordesignprojectsfromconcepttofinish,maintainprojecttimelineandbudget,prepareandprocesspurchaseorders,createfurniture,lightingandlayoutproposals,specifymaterialsandfinishes,designcustomfurniture,lightingandmillwork

• Plan,designandsupervisemajorrenovations,remodelingandadditions• Collaboratewithbuildingcontractors,electricians,paintersandinstallers• Preparecontractagreementsbetweenvendorsandclients,createpresentationlayoutsanddevelopconstructiondocuments• Developallgraphicandvisualmarketingmaterial:newcompanywebsite,designportfolio,printadvertisinginmajormagazinessuchasVeranda

Magazine,ArchitecturalDigest,BostonHome,NewEnglandHome,DeringHall,socialmediaplatformsandemailadvertising• Conductallaccounting,commissionandsalestaxreportsforbusiness

NAT’L ORGANIZATION OF MINORITY ARCHITECTS DESIGN COMPETITION Project Manager + Designer• Facilitatedcollaborationamongamockfirmoftenindesigningasingle-familyresidence• Workedonconcept,design,greenpracticestrategies,materialsandinteriordesign• Generatedpresentationgraphicsandlayout• Developedprojecttimelineandmaintainedtaskschedule

DURALEE FABRICS + FURNITURE | Boston, MADesign Assistant• Developedcolorschemesandfurniturelayoutsforhigh-endresidentialinteriordesignprojects• Preparedforclientmeetingsandpresentedfurniture,textilesanddesignconceptstoclients• Issued,trackedandupdatedinvoicesforfabricandfurnituresalesofshowroomclients• Helpedcoordinateandmarketshowroomlecturesandevents

D E S I G N + T E C H N I C A L S K I L L S • ProficientwithMacintoshandWindowsPlatforms• FluentinAdobeCreativeSuites(Photoshop,InDesign,Illustrator),MicrosoftOffice,Wordpress,Revit2O13,Sketchup/Layout,V-RayRendering,FilemakerProandMYOBAccounting

• FamiliarwithCSSandHTML• FreehandDrawingandConceptSketching• OrthogonalDrawing:Plans,Sections,Elevations,Axonometrics• PerspectiveDrawing:FreehandandTechnical• ModelMakingExperience

A W A R D S , H O N O R S + A F F I L I A T I O N S• HonorableMentioninNOMA2OO9StudentDesignCompetition• SegmentIPortfolioAwardNomination• NationalOrganizationofMinorityArchitects,StudentChapterVicePresident2OO8-2O1O

E D U C A T I O NBOSTON ARCHITECTURAL COLLEGE | Boston, MABachelor of Archi tecture

UNIVERSITY OF VIRGINIASemester at Sea: Summer Abroad in Asia

BRANDEIS UNIVERSITY | Waltham, MACandidate for Premed + Studio Arts Degre e

9/10 - PRESENTB O S T O N , M A

1/09 - 11/09B O S T O N , M A

5/07 - 8/10B O S T O N , M A

9/06 - 5/12B O S T O N , M A

6/06 - 7/06S O U T H E A S T A SI A

9/04 - 6/06W A L T H A M , M A

CONTENTSSTUDIO WORKPUBLIC MARKET..................................................................RE|LOCATE......................................................................FURNITURE DESIGN...........................................................

RELATED COURSEWORKAUTODESK REVIT...............................................................DESIGN WORKSHOP: ROADSIDE COLLAGE..................FREEHAND DRAWING......................................................

PRACTICE COMPONENTDURALEE FABRICS............................................................CHARLES SPADA INTERIORS................................................. FIREMAN RESIDENCE.............................................. ADELSON RESIDENCE............................................ SCHMAHMANN RESIDENCE....................................

COMPETITIONS + GATEWAY PROJECTSNOMAS STUDENT DESIGN COMPETITION...................AFFORDABLE HOUSING COMPETITION......................CAMBRIDGE FLOCKS...................................................MUSEUM EXHIBITION.....................................................

7-2627-4243-52

53-5859-6465-68

69-7475

76-8586-100

101-

101-116117-126127-134135-147

0

PUBLIC MARKET STUDIOFALL 2009 | JENNI KATAJAMAKI + CORTNEY KIRK

2 PG. 8

BAG ASSEMBLY + MANIPULATION

For our first assignment, students were asked to create a bag designed for a specific user, taking into account factors of strength, durability and use. The

conceptual design for this bag would then dictate the approach, site strategy and materiality we would apply

to our design of a new public market in place of the existing Haymarket on Blackstone Street.

I chose to design a bag that could easily adapt to the needs of a commuting architecture student who must

carry items that vary from day-to-day. Some days he or she may need to carry supplies which can be

thrown into compartments while other days a model must be carried and protected while traveling. For this

reason, my bag consists of two components: a soft edge for loose items and a hard edge for more fragile

items. Each is detachable from the other, can be used separately and each can be manipulated by the user

based on need and function.

SOFT EDGE COMPONENTKit-of-Parts

Adjustable Arrangements

The soft edge component consists of a large zipper pouch with snaps on its face and smaller pouches that can be attached in multiple arrangements to the front of the pouch. Pouch Selections

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CONCEPT OF BAG: ADAPTABILITY

HARD EDGE COMPONENT

The hard edge component is made of plexiglass and can be carried flat or unfolded (as shown to the left) to create a sturdy container suitable for carrying items that need more space, support or protection.

Unfolding Process Model of Adaptable Bag

2 PG. 10

THE MAKING OF THE BAG

1. Compacted Bag 2. Pull Side A Out 3. Pull Side B Out

7. Lock Side Hooks into Front Panel 8. Attach ‘Soft” Bag to Front Panel 9. Arrange Fabric Pockets As Needed

2PG. 11

BAG ASSEMBLY + MANIPULATION

4. Pull Up Last Panel 5. Fold Panel Over to Create Base 6. Rotate Bag to Create Frontside

10. Apply Hooks to Bag 11. Fill Bag 12. Enjoy!

2 PG. 12

SITE ANALYSIS: PRIVACY WITHIN PUBLIC SPACES

Existing Site Conditions

Though Haymarket is constantly bustling with tourists and Bostonians alike, one of the observations I made

is that within this large public gathering space are smaller clusters of people

seeking privacy or separation from the larger masses. I wanted to translate

this same dynamic into my design for a new public market--creating market stands that would make vendors feel like they had their own distinct space

amongst the array of other stands.

2PG. 13

SITE ANALYSIS: ADAPTATIONS

With the current conditions of the market stands, vendors seemed to distinguish their space from others with makeshift tarps that they could line along the top and sides of their spaces. The choice to use or not use these tarps and the adaptability of these spaces intrigued me.

2 PG. 14

PARTI 1: ROTATING STANDS IN PLAN

PARTI 2: VERTICAL ROTATION

PARTI 3: STAND WITHIN A STAND

Based on my analysis of how the site was being used, I knew that I wanted to incorporate units that could be distinct from one another. I also wanted these units to have an adaptable/movable element to them like the design of my bag that would allow each individual vendor to be able to manipulate their space to fit their specific needs.

I thus came up with three partis that explored how the stands could be manipulated by the user, using rotation, insets and pushing as possible methods.

PARTI DIAGRAMS

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Adaptability in Structure

Adaptability in Number of Stands

Adaptability in Use + FunctionAdaptability in Unit Orientation

ITERATIONS: A MOVABLE ELEMENT

In a more refined exploration, I thought about creating units where one element of the unit could be manipulated to redefine space as opposed to the whole unit.

ITERATION B incorporated the concept of a movable wall again, setting it within a larger unit (the control) only to be balanced by the set of movable walls that could be pushed to create stands of varied widths (the variable).

ITERATION A is a stand with two side walls that can be pushed in or pulled out to create a more enclosed or more open space, depending on the vendor’s needs. The design allows for a constant manipulation of open space, allowing the user to change the size of spaces, the placement of spaces and the function of the space.

ITERATION A ITERATION B

2 PG. 16

DEVELOPING A CONCEPT: CONTROL vs. VARIABLE

Track System Along BaseMovable Wall Allows for Change in Width of Stand

A More Controlled Adaptability

Rough Sketch of Connected Units

CONTROL VARIABLE

Relating back to the design of my bag, where there was a soft edge and a hard edge, I wanted to create a similar division in the design of the market stand. I thought about the materiality of the two bag components: one a flexible fabric and the other a rigid and sturdy piece of plexiglass.

With this iteration I wanted to continue with a connected system of units but with more distinct and separate spaces for the vendors. By applying a controlled aspect to the unit I could accompish such a task. To still allow for adaptation to the market stand, I also included a variable aspect, a movable wall, which would allow vendors to adjust the width of their space and dictate how the space would be laid out.

2PG. 17

FORMING A CONCEPT

Playing With the Shape of the Stands:A Variation in Form

Stands All Pushed In Stands All Pushed Out

To make a distinction between the control element and the variable element in the market stand, I thought about how the shape of the stand could highlight the differences between the two parts of the unit.

Using a curve for the control wall proved to be a good contrast to the rectilinear form of the movable element. The curve also served to differentiate one unit from another.

Detail of Adjustable Roof Condition

2 PG. 18

ADAPTABILITY OF SPACE

Potential Stand ArrangementsPlan, Section, Axonometric

The movable wall allows for multiple stand arrangements and a space that vendors can make their own.

2PG. 19

ENVISIONING HOW THE SITE WILL BE USED

Set-Up Process

Randomly dispersed throughout the market place are small patches of green space. Not only do they allow for a circulation path should all of the stands be pushed out to maximum width but they also provide a place for passersby to gather, rest and occupy for longer periods of time.

CIRCULATION OF SITE

PRIMARY CIRCULATION: CONSTANTSECONDARY CIRCULATION: GREEN SPACES

TERTIARY CIRCULATION: BY CHANCE OPENINGS

2 PG. 20

Modular Units within Site

MODULAR UNIT MODELS

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Functional Model of Modular Unit

Movable Wall Element

2 PG. 22

PERSPECTIVE COLLAGES

Fruit and Vegetable Stand

Using watercolor, tissue paper, fabrics, paint samples and scrap wood, I made collages of typical market stands within the site: fruits/vegetables, fish and flowers.

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Fish Market Stand Flower Market Stand

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PROPOSED SITE PLAN

N

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SITE MODEL

N

Site ModelScale: 1/16” = 1’-0”

2 PG. 26

A CLOSER PERSPECTIVE

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re|locate STUDIOFALL 2010 | ABRAHAM AHN + MARK URREA

2 PG. 28

CHINATOWN SITE

With a site specified in the open lot next to the Chinatown Gate, students were asked to design a Performing Arts Center that would connect to a relocated subway hub situated right below the Gate. The existing vent stack, though obsolete in function for this project, had to somehow be incorporated into the design. The ultimate goal of our design was to enliven public transportation and provide a constant audience for the neighborhood’s creative outlet.

View of Site from Surface Road

View of Existing Site’s Open Lot

2PG. 29

Instead of assigning individual site analysis, this studio asked students to create a collaborative site forces model, that documented:

SURROUNDING CONTEXT

BUILDING TYPES Institutional Industrial Commercial Residential

GREEN SPACES Greenway Park

PUBLIC TRANSPORTATION Bus Stop

TRAFFIC ANALYSIS High Traffic Nodes Direction of Road

The location of the site is surrounded by a mix of building types and follows along the edge of the Chinatown community. What currently works for the site is the nearby location of the Chinatown Gate which serves as a landmark to tourists and Bostonians. The close proximity to the Greenway Park also acts as an attraction along the outer edge of Chinatown, offering small gathering spaces for people to take pictures, play chess or use as a meeting point.

2 PG. 30

Given only total square footages of the three main categories within the program: Theater, Train

Station and Public Space initially, our first task was to devise strategies of how these three

components could work together to form a whole. The three massing studies that I created explored

the idea of a ‘void’ or open space situated between the two major program components, the Theater

and the Train Station, where a public space could then be defined within that ‘void.’

Massing Studies: Voids as Open Space

INITIAL PROGRAMMING

2PG. 31

The decision to create ‘voids’ within the site lent itself well to my issue with the existing conditions of the site. My initial reaction to the site was that while there were pathways that ran parallel to one another along the edges of the site, there were no cross pathways that opened the site to passersby or allowed for cross-circulation.

It was my belief that the use of ‘voids’ would not only open the site more to the public but it would make visible a more open, occupiable and welcoming space that people could begin to use in a much more fulfilling way.

Blockage into Site from Surface Road

EXISTING CONDITIONS: A CLOSED OFF SITE

2 PG. 32 Section Model

At first I imagined the building to have only one major void that could act as gathering space for passersby or building users. I envisioned an open space that would allow for outdoor performances and a viewing area. However, I wanted to incorporate the vent stack more into the design. I decided to implement a second void that would cut through a section of the stack and create a viewing platform down into the building’s rehearsal space. Doing so would make visible more of the happenings of the theater to the general public, pique their curiosities and hopefully engage them more with the site.

INITIAL PROGRAMMING

2PG. 33 Longitudinal Section

Inverse Building Model: Voids Along Entire Site (Void 1, Void 2, Chinatown Gate)

VOID AS A CONNECTIVE SPACE

2 PG. 34

FLOOR PLANS + PERSPECTIVES

Connection to Rehearsal Space Below Ground

Connection to Core of Building

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View From Train Station Into Rehearsal Space

Cross-Section

2 PG. 36

PROGRESS MARK

At the Midterm Review, general feedback from the critics was to make the transition and pathways into the voids more clear; to give more emphasis to the voids and to make the presence of the train station more visible along the street level.

Revision 1:I cut an angle along the facade of building to match the angle of vent in hopes of making the voids more visible from gate entrance.

2PG. 37

REACTIONS + REVISIONS

EVOLUTION OF VOIDS

Revision 2:I extruded Void 1 further past the surface level as a means to make more of a distinction between the building voids and the street level void made by the Chinatown Gate. With this slight change, the building voids now directly link users to the train station.

VOID 1 VOID 2

Inverse Building Model: Voids Through Building

CUT VOID

ANGLE VOID TO INFORM PROGRAM

OPEN VISIBILITY AT GROUND LEVEL

EXTRUDE VOID 2BELOW GROUND

EXTRUDE VOID 1 BELOW GROUND

2 PG. 38

FINAL DESIGN

Site Plan

Cutting the angle along the facade of the building helped establish a dominant end to the structure, breaking the symmetry of the

program and providing a more inclusive opening into the theater and ramp system

leading down to the train station.

N

2PG. 39

FINAL DESIGN

View Into Rehearsal Space+ Ramp System

View from Train Station

Viewing Area by Chinatown Gate

2 PG. 40

CROSS SECTION

Cross Section

Final Building Model

2PG. 41

LONGITUDINAL SECTION

Longitudinal Section

In the Longitudinal Section one can see the relationship that Void 1 and Void 2 have with the rehearsal space set between the two voids. The glass rehearsal space serves as a central focal point that all users circulate around. Passersby can occupy the viewing areas set in Void 1 and Void 2 that visually engage users of the train station below, thereby establishing a visual connection between train users, theater users and the general public. As users make their way out of the train station, they are immediately introduced to an essential component of the theater.

2 PG. 42

FINAL DETAILS

Close-Up of Main Ramp in Void 1

Close-Up of Viewing Ramp in Void 2 Exploded Axonometric

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FURNITURE DESIGN STUDIOSPRING 2011 | SAM BATCHELOR + JOE DEVEAU

2 PG. 44

MULTI-FUNCTIONAL

STORAGEENTERTAINMENTSHELF SPACESEATINGWALL SPACEDINING AREACLIMBINGCLIMBING

EFFICIENT DESIGN THAT SAVES SPACE and ELIMINATES ‘EXTRA’

PRECEDENT STUDIES: MULTI-FUNCTIONALITY

STORAGEENTERTAINMENT

SHELF SPACESEATING

WALL SPACECOUNTER SPACE

DINING AREACLIMBING

During this semester I lived in a small apartment with very little open space. I decided early on that because of my space limitations, I wanted to design a piece that could serve multiple functions.

I first looked at examples of efficient furniture designs that saved space and eliminated the need for ‘extra.’ My apartment was in desperate need for more storage and table space and thus I opted to design a coffee table with an inset shelf that could provide storage at its base.

2PG. 45

SCALE MODEL

1/2 Scale Model 1.5 feet wide x 1 foot deep x 0.75 feet high

Museum Board and Balsa Wood

2 PG. 46

STRUCTURAL SUPPORT

EXPLODED AXON

COFFEE TABLE W/ INSET BOOKSHELF

STRUCTURAL SUPPORT

EXPLODED AXON

COFFEE TABLE W/ INSET BOOKSHELFPARTS TO WHOLE

Kit of Parts

Furniture Design: Coffee Table with Inset Bookshelf

2PG. 47 STRUCTURAL SUPPORT

EXPLODED AXON

COFFEE TABLE W/ INSET BOOKSHELF

CONSTRUCTION ASSEMBLY

Exploded Axonometric of Construction Assembly

Base Options

A

B

C

My initial concern with this piece was that the top would not be structurally stable, especially when the free-floating inset was loaded with books. I preferred the piece as originally designed but to be safe, I came up with three schemes to add more support to the top if need be.

2 PG. 48

FULL SCALE MOCK-UP

Full Scale Mock Up3 feet wide x 2 feet deep x 1.5 feet high

Birch Plywood and MDF

2PG. 49

3 SIDE PIECES REPLACED WITH

1 SOLID PIECE TO ADD STABILITY

CORNERS MITERED TO HIDE SEAMS

FINAL REVISIONS

MOCK-UP DESIGN

FINAL DESIGNFinal Exploded Axonometric

2 PG. 50

FINAL MODEL

2PG. 51

Final Model3 feet wide x 2 feet deep x 1.5 feet high

Walnut Plywood, Birch Edging; Oil Finish

2 PG. 52

DESIGN EVOLUTION

Final Model3 feet wide x 2 feet deep x 1.5 feet highWalnut Plywood, Birch Edging; Oil Finish

1/2 Scale Model 1.5 feet wide x 1 foot deep x 0.75 feet highMuseum Board and Balsa Wood

Full Scale Mock Up3 feet wide x 2 feet deep x 1.5 feet highBirch Plywood and MDF

AUTODESK REVITFALL 2010 | HEATHER LECH + ANGELA CHAN

VILLA MAIREAalvar aalto A101whitney maehara

december 6, 2010

noormarkku, finland

A102

1/8" = 1'-0"2 Longitudinal Section

1/8" = 1'-0"1 Southw est Elevation

1/8" = 1'-0"3

Southeast Elevation

6 Exterior View of East Facade

5Aerial View f rom South Side

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AUTODESK REVITFALL 2010 | HEATHER LECH + ANGELA CHAN

2 PG. 54

VILLA MAIREA

PROJECT: VILLA MAIREALOCATION: NOORMARKKU, FINLANDPURPOSE: GUEST HOUSE + RURAL RETREAT

The Final Project for this 15-week course was to choose a building and model it in Revit. The goal was to gain a better understanding of how to model in 2D and 3D using the tools provided in this modeling program.

I chose to model Villa Mairea by Alvar Aalto. I appreciated the subtle details laden throughout the building and thought that modeling it would provide a ‘within reach’ challenge.

2PG. 55

UP

UP

DN

DN

UP

DW

DN

0' - 6 7/16"

sauna

swimming pool

wintergarden

living room

diningroom

library

entrancehall

main entrance

staff rooms

office

kitchen

office

1

A103

2

A102

A102

3

A1034

Inte

rior

Ele

va

tion

-L

ivi n

g R

oo

m +

Din

ing

Roo

m

1

A103

2

A102

studio

masterbedroom

upper hall

masterbedroom

terrace

children's hall/playroom

children's bedrooms

guestrooms

1

A104

A102

3

A1034

Inte

rior

Ele

va

tion

-L

ivi n

g R

oo

m +

Din

ing

Roo

m

VILLA MAIREAalvar aalto A101whitney maehara

december 6, 2010

noormarkku, finland

1/8" = 1'-0"1

Ground Floor Plan

1/8" = 1'-0"2

First Floor Plan

1/32" = 1'-0"3

Roof Plan

FINAL BOARD 1: PLANS

2 PG. 56

VILLA MAIREAalvar aalto A101whitney maehara

december 6, 2010

noormarkku, finland

A102

1/8" = 1'-0"2 Longitudinal Section

1/8" = 1'-0"1 Southw est Elevation

1/8" = 1'-0"3

Southeast Elevation

6 Exterior View of East Facade

5Aerial View f rom South Side

FINAL BOARD 2: BUILDING PERSPECTIVES + ELEVATIONS

2PG. 57

Ground Floor0' - 0"

Dining RoomLiving Room

5' -

9 2

1/3

2"

4' -

4 1

/2"

3' - 4 9/32" 10' - 3 25/32"

2' -

4"

0' -

2"

12' - 9 5/8"

1' -

0"

1' - 4 9/32"

2' - 6 13/32"

1' -

11 3

/8"

1' -

8"

VILLA MAIREAalvar aalto A101whitney maehara

december 6, 2010

noormarkku, finland

1/8" = 1'-0"1 Cross-Section

1/8" = 1'-0"2

Northeast Elevation

1/8" = 1'-0"3

Northw est Elevation

3/8" = 1'-0"4

Interior Elevation - Living Room + DiningRoom

5Exterior View from Terrace

6Studio

A103

FINAL BOARD 3: BUILDING ELEVATIONS AND PERSPECTIVES

2 PG. 58

RENDERINGS

Rendering of Living Room

Exterior View of Southwest Facade

2PG. 59

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DESIGN WORKSHOPFALL 2010 | CHIP PIATTI

2 PG. 60

The Design Workshops are meant to complement the architectural design studios at the BAC. Roadside Collage was a workshop designed to teach

students how to create realistic and valuable collages able to explore themes and convey specific information. Each week, students were given a theme

and asked to create a perspective most often from the vantage point one would have from the driver’s seat of a car.

ROADSIDE COLLAGE

GAS STATION COLLAGE

24” x 24”

“Create a collage that uses two different gas

station styles”

2PG. 61

MOTEL COLLAGE

24” x 24”“Create a collage that showcases two motel archetypes”

2 PG. 62

SHADOW STUDY COLLAGE

30” x 30”“Create a scene that focuses on light and shadows”

2PG. 63

CHANGE OVER TIME

36” x 36”“Create a collage that documents change over time”

2 PG. 64

VINTAGE CAR COLLAGE

24” x 24”“Create a collage inspired by

a vintage car of your choosing”

2PG. 65

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FREEHAND DRAWING

2 PG. 66

DRAWINGS, SKETCHES + VIEWS

City Sketch

2PG. 67

Freehand Sketches of Roxbury

2 PG. 68

Colored Pencil Gradient Study

Colored Pencil Colored Overlay

COLORED PENCIL