Jonathan Bonezzi and Ryan Lane from United States

Jonathan Bonezzi: "I like to pretend that I’m not as crazy as I am" Jonathan holds a B.S. in Architecture from Kent State University. He frequently looks to challenge himself with new representational techniques, theoretical discourses in architecture, and just plain trying to have fun. Every project is a new and exciting opportunity to him to try something new, experiment, and challenge his preconceptions of architecture. He holds particular interests in contemporary discourse with ideas of doubt, representational projection, and material studies.

Ryan Lane: "What am I even doing here..." Ryan holds a B.S. in Architecture from Kent State University. With his expertise in illustration, sketching and representation; the sketchbook is a link between the abstract ideas of the every day and the tangible representation of his architecture. With particular interests in the implications of historicism, and the representational techniques of the hand; he looks to blend the knowledge of such architects as Neutra, Mies and Saarinen into the conversations of contemporary architectural discourse.

Website: http://jjbonezzi.com

University: Kent State College of Architecture and Environmental Design

Professor(s): Luis Santos

Instagram Username: @jj_bonezzi; @ryan.t.lane

Name of Project: Collaged Collections

The Archiologist, Jonathan Bonezzi and Ryan Lane: Collaged Collections

Project Description: 145,000 sqft. the new art museum at 106-72 marginal street, Boston; culminates contemporary ideas in architecture about allure, collage, and collections as ideological drivers for the spatial and representational design process of the project. thinking about the irresolute and the misaligned and the unknown; the project looked towards contemporary ideas about allure and collage to produce deceptions and irregularities in the project to draw the user in. we pose to question in this post-digital age of architecture what it means to be simultaneously object and field.

This ideological approach hopes to generate a museum that acts as an art collection in itself. a museum of differences where rooms and the art subsequently contained not-quite-rightly come together producing a fundamentally maze-like and mysteriously fascinating spatial experience. with surprises through rooms, unexpected details, and controlled views, these collections are then resolved by the nominal exterior forms that pile together on the site to mimic and stitch itself into its urban context. the facade then works to disillusion and trick the eye with its repetition of parametric vertical wooden louvers. the system's ability to shear and distort softens the edges and surface of the bars making them flicker between field and object in elevation. as Paul Rudolph did in concrete with surface textures, we challenged ourselves with the use of line and texture in the design of the facade system. on the interior, material choices augment the typical and wall construction techniques challenge the everyday. the use of CLT allows for versatile construction while pushing forward the industry in the American market. in total, the project aimed to be a contemporary art museum designed for the individual, and the collective simultaneously seemed and collaged together.

Urban relationships: the project site contains four drastic elevational walls that face onto itself. the northwest contains a sizeable 70’ modern construction apartment complex, the northeast has small to mid-range 20’-30’ residential apartment buildings, the southeast is open to a public park/pier and finally, the southwest is open to the water. these elevational strategies resulted in a collection of various height objects that begin to pile together on the site. the individual yet seamed together qualities of the bars works to mitigate the surrounding context and provide a transition between each of the four site elevations. a public art museum: the main entrance is flanked by two bars, one which contains the design shop, generating an interstitial courtyard in front of the building. the front facade slips off the surface to generate the entrance vestibule which compresses the space around you before opening back onto the 45’ high top light atrium. this atrium acts as the centralized hub, with a distinctive theatre object occupying much of the space.

Five collected things: the central atrium is seamed together with four other adjacent bars. within each is another collection of distinct rooms and worlds. these collections are then organized around a sheared figure 8 loop ]that transitions one between each bar. secret gardens: the misaligned collection of the bars works to generate secret garden courtyards throughout the plan. these courtyards can only be glimpsed at from the exterior through constructed views and openings. the facade system: utilizes vertical wooden louvers that wrap the building in a textural expression. the louvers are then sheared towards the northeast to block out eastern light in crucial galleries or open up to receive light. this is done through the parametric control of points which ultimately looks to have the system generate an irresolute not-quite-right fuzziness to the building in an attempt to generate allure and seemingly hidden qualities to the spaces behind.