MARLENA FLECK

Rice University School of Architecture

Design Portfolio

1
 TABLE OF CONTENTS TABLE OF CONTENTS

DESIGN STUDIO DESIGN STUDIO

5 SEMESTER ONE: Principles of Architecture

11 SEMESTER TWO: Project

23 SEMESTER THREE: The Punctuation Guidelines

HISTORY/THEORY TECHNOLOGY

35 SEMESTER THREE: Building Technology

MINI-CHARRETTE

45 ARCHI ARTS: Sheer Grandeur

3
 SEMESTER ONE

ARCH 101: Principles of Architecture

Jesus Vassallo and Gail Chen

5
FINDING BALANCE
The themes of balance and structure have been recurring motifs in my
projects since day one. The ideas of Explosion, Implosion, and Synthesis
sprung from a formal analysis of the work as a whole. Three distinct groups
jumped out to me. The Explosion grouping references three projects limit-
ed by overall size but not spatial boundaries. These projects were based on
the material of 1” x 1” foam core rectangles. Out of the three aggregation
groups in the first assignment, my last group showed an early interest in
combinations of forms that provided support and produced visual balance.
The second project then shows an extension of the most balanced model
and attempted to perfect the model with additional units that provided even
more balance both structurally and visually.

The next section, Implosion, references the assignments that were initial-
ly limited to the shape of a cube. Within the cube I used paper and matte
board pieces to form distinct spaces and provide structural support. I relied
on repetition of unit size and shape to distribute the spaces equally. I was
then assigned to renovate a classmate’s model. I appreciated their use of
repeating shapes and decide to focus on that to create more defined spaces
in the model and use the shapes to create the illusion of balanced division.

The last section, Synthesis, includes the projects that incorporate these
themes into the real world. In the first project of this chapter, I reversed the
themes of my previous projects and designed the balancing elements into
the brutalist form. The next project takes the final plaster model and incor-
porates it into a Houston residential neighborhood. The act of editing the
images had a goal of balancing the mix of artificial and real environment
and creating an understandable image for the viewer. The final project cre-
ates balance through the mixing of two modern and postmodern houses to
create a new house with elements inspired by both.

Cover of final portfolio entitled “Finding Balance”

7
Volumetric foam models Axonometric drawings of foam model
Initial orthographic drawings

Final orthographic drawings Color studies 9

 SEMESTER TWO

ARCH 102: Project

Andrew Colopy and Gail Chen

11
ENCOMPASS HOUSE
Encompass House is comprised of two integral parts: a social portion of
the house that consists of a kitchen, dining room, living room, and upstairs
studio space and a quiet portion of the house that contains a more isolated
living space, a focused office space and a bedroom. Derived from an exer-
cise in deformation sequences, the social part of the house encompasses
the quiet portion, both surrounding it and disguising it from the public eye.
The deformation resulted in a triangular void that cuts through the middle
of the house and differentiates the two spatial zones. The void also centers
a living space that stretches across both the social and quiet zones. Through
the separation of program within the living space, the traditional occupation
of living spaces is challenged as the cultural focus on technology has direct-
ed “living” to revolve around the television.

The apertures reflect this duality by utilizing combinations of horizontal

and vertical windows that also depict the shape of the public space. The
distinct types of windows are also utilized in the two different areas as the
vertical windows are more dominant in the social and living space to allow
for greater visual public access while the quiet space is lit by thin horizontal
ribbon windows that obstruct the view inward but create focused cleresto-
ry-like lighting. The quiet living space is designed with large windows that
expose the void visually but limit physical connection to the void patio. The
outside serves as an extension of the social and quiet zones as a pool aligns
horizontally with the living room and a shaded bench and garden are just
off the bedroom.

Final elevation drawings of Encompass House

13
2D deformation sequence

3D extrusion sequence

3D double orientation model

Initial occupation diagrams 15
Window and level diagrams
Social

Living B

DN
Quiet

DN

UP DN
UP

UP A

UP

Final first floor plan drawing 17

 Final section drawings

DN A
Interior view A Interior view B

Interior view C Exterior view A 19

Final model of Encompass House 21
 SEMESTER THREE

ARCH 201: The Punctuation Guidelines

Piergianna Mazzocca

23
HOUSTON CENTER FOR PHOTOGRAPHY
Throughout the semester I have explored the various thresholds that exist
within architecture and the effects they create. I started my subtractive void
strategy for the Houston Center for Photography with the creation and
distortion of 2D rectangles. 2 connected sides of the rectangles were rotated
inward 10 degrees to give the forms a sense of movement and rotation. The
voids were mirrored at a 45-degree angle. The rectangles were then offset-
ted in opposite vertical directions to create a rotation not only in plan but in
section. Using the geometry of the original rectangles I created a parallelo-
gram around the forms that further emphasized a counter clock wise rota-
tion and allowed the voids to read as extruding triangles. A perpendicular
shape was then created, dividing the voids and serving as a central form of
circulation. The building was divided into three floors to accommodate the
program of the Center for Photography. The floors become more private
and professional as one circulates up the building. The original voids were
only divided into two floors, each has one of double height. These spaces
serve as a main gallery accessible on the first floor and a lecture hall acces-
sible on the second floor. The combination of these double height space and
an aperture strategy created visual accessible spaces that stretch across the
gallery and lecture hall. A ramp system allows for two circulation sequences
while elevators on either end of the building connect all floor and spaces.
The façade and apertures on the façade reference the residential quality
of the Montrose neighborhood and playfully juxtaposes the domestic and
commercial. My design emphasizes the importance of circulation and ro-
tation within exhibition spaces and references a viewer’s circulation within
a curated exhibit. Similarly, the inclusion of delicate apertures and isolated
visual accessibility reference the historical importance of light and control
on the practice of photography.

Interior rendering of windows across a void in the Houston Center for Photography
25
 CIRCULATION DIAGRAM
SCALE: 1/16” = 1’

VOID STRATEGY
SCALE: 1/16” = 1’

VOID STRATEGY
SCALE: 1/16” = 1’

UNROLLED FACADE
SCALE: 1/16” = 1’

Deformation sequence Unrolled facade pattern

B A
B

A
B B A
A
B

A
B
CIRCULATION DIAGRAM
SCALE: 1/16” = 1’
A

CirculationCIRCULATION
systemsDIAGRAM
diagram
SCALE: 1/16” = 1’
 5
4

3
6 2

7
DN
9

DN

8 1

10

27
 3

-1

-1

Final section drawings

Final elevation drawings Southwest axonometric drawing 29
Renderings of the Houston Center for Photography 31
Final model of the Houston Center for Photography
33
 SEMESTER THREE

ARCH 207: Building Technology

David Constanza and Gordon Wittenberg

35
Axonometric drawing, unrolled drawing, and model of a discretized non-developable surface
37
 6. RIDGE BEAM

RIDGE BOARD
SHEATHING

CEILING
JOISTS 5. RAFTER
5. RAFTER 5. TOP PLATE
5.TOP PLATE

RAFTERS

TOP PLATE
(1 OF DOUBLE)
FASCIA

STUDS

4. JOIST
SOLE PLATE 4. JOIST
4. TOP PLATE
SHEATHING 4. TOP PLATE
SUBFLOOR

RIM BOARD
STRINGER

JOISTS

GIRDER

3. BASE PLATE 3. BASE PLATE

FOUNDATION 3. SUBFLOOR 3. SUBFLOOR
2. SILL PLATE 2. SILL PLATE

2. JOIST 2. JOIST
FOUNDATION FOUNDATION

Wood construction axonometic drawing Wood construction section drawing

5. RAFTER
5. TOP PLATE 5. RAFTER
5. TOP PLATE

4. JOIST 4. JOIST
4. TOP PLATE 4. TOP PLATE

3. BASE PLATE 3. BASE PLATE

3. SUBFLOOR 3. SUBFLOOR
1. SILL PLATE
1. SILL PLATE

JOIST JOIST 1. FOUNDATION

1. FOUNDATION

Wood construction longitudinal section drawing 39

 DECKING

PARAPET/WALL CAP

VENEER WALL ATTACHMENT

CURTAIN WALL ATTACHMENT

COLUMN TO COLUMN
STEEL BEAMS
10’ O.C.
JOIST TO GIRDER
GIRDER
ANGLES

COLUMN
COLUMN TO FOUNDATION
20’/30’ O.C.

JOIST TO COLUMN

FOUNDATION
BASE PLATE

GRADE BEAM

Steel construction axonometic drawing Steel construction section drawing

 CURTAIN WALL ATTACHMENT
SLOPED INSULATION ROOF
DECK TO JOIST VENEER WALL ATTACHMENT PARAPET/WALL CAP

COLUMN TO COLUMN
JOIST TO COLUMN
JOIST TO GIRDER

COLUMN TO FOUNDATION

Steel construction longitudinal section drawing 41

 7. Wall Insulation
10. Windows 5. Parapet Wall Cap
6. Sloped Roof Insulation
Core Slab

Bond Beams

3. Span-
ning
Concrete Blocks Member
over
Doors
and
Windows
3. Core Slabs
on Top of
Steel Lintel Bond Beams

Ground Slab
Bond Beam
8. 2” Air Gap

Grade Beam

9. Brick Veneer Wall

Masonry construction axonometric drawing Masonry construction section drawing

 7. Wall Insulation 6. Sloped Roof Insulation 5. Parapet Wall Cap
10. Windows

3. Span-
ning
Member
over
Doors
and
9. Brick Veneer Wall Windows

8. 2” Air Gap

2. Bond
Beams to
Reinforce
Wall

1. Reinforced
Masonry Wall
to the
Ground

Masonry construction longitudinal section drawing 43

 SPRING 2018 MINI-CHARRETTE

Archi Arts: Sheer Grandeaur

In collaboration with Phoebe Ann Cox,
Gabriella Feuillet, Anna Fritz, Melisa Pekiyi,
and Esther Tang.

45
SHEER GRANDEUR
Sheer Grandeur presents a translucent rendering of the quintessential
hedge maze as a commentary about the figurehead status of modern-day
monarchs and the progressive dissolution of their power. The maze fills
the entirety of Jury Room, and is constructed from 7-foot tall translucent
golden curtains that create a 4-foot wide, multicursal path. Because of the
opacity of the material, the viewers and artworks closest to the entrances
are only veiled by a single layer, while the people and works in the back
are more obscured by layers of ethereal fabric. Backlighting will accentu-
ate the ephemeral quality of the installation and will attract viewers to the
space. The gold color reflects that grandeur of monarchical life, but is more
simplified in the curtains’ lack of pattern or overt decoration. The translu-
cent curtains serve as a subtle way to organize the space and separate the
artworks to give each one a proper niche where the piece commands power
and attention.

Like many of its historical precedents, the pattern of the maze is central-
ized, culminating in a conceptual central space that prompts reflection both
literally and figuratively. In this space, the viewer realizes that his or her
decisions were being monitored as they see their delayed image projected
above and their reflection below in the mirror on the floor. The projected
image is a livestream of the entrance of the maze that will also be accessi-
ble on social media. A piece of translucent fabric will cover the centralized
space and act as a screen for the projection that can be viewed from within
the maze and above on the bridge, privileging the bridge as a location of
ultimate power and surveillance.

Final documentation of “Sheer Grandeur” installation

47
Progress photos
Final installation of “Sheer Grandeur” 49
Winter 2019