JESSICA HOCTORArchitectural PortfolioSelect Academic and Professional Work

TABLE OF CONTENTS

JESSICAHOCTOR

CONTACT

jessicahoctor@gmail.com

www.linkedin.com/in /JessicaDHoctor

As a talented designer, I have versatile experience in both private and public work ranging from historical to new construction in transportation, large scale residential, facilities and municipal buildings. While working towards my licensure I continue to expand upon my knowledge. I am a strong planner and problem-solver that adapts to change and I am capable of juggling multiple priorities to meet tight deadlines without compromising quality.

PROFESSIONAL WORKLogan Express Framingham Bus Terminal 04Pawtucket Central Falls Commuter Rail Station 12Boston Maritime Industrial Park Architectural Design 16

ACADEMIC WORKBoston Performing Arts Center 20Artist Live and Work Studios 34

PERSONAL WORKPhotography 40 Painting 42

All professional work depicted in this portfolio was done at DHK Architects, Inc.

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1 Exterior photograph of garage and terminal

LOCATION: Framingham, Massachusetts

CLIENT: Massachusetts Port Authority

COST: $25,000,000

PROJECT DESCRIPTION: Design of a new bus terminal for Massport’s Logan Express operation in Framingham located under a new four-story 1,100-car garage. The Logan Express system is designed to give the airport patrons, who would otherwise drive to Logan Airport, the option of parking their cars at a satellite terminal and ride the special designated express bus to the airport. The design replaces the existing bus terminal and parking operation, and allows riders to make the transfer from private car to bus under complete protection from the elements.

LOGAN EXPRESS FRAMINGHAM BUS TERMINAL

PROFESSIONAL WORK

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WALL ANCHOR FORC-WALL PROFILE.

SUPPORT BRACKETFOR C-WALL PROFILE.

STINLESS STL.ELEVATOR HOISTWAYDOORS AND FRAME BYELEVATORCONTRACTOR.

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BENT MTL. PLATE TOMATCH ELEVATORHOISTWAY FRAME FINISH.

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STAINLESS STL. ELEVATORHOISTWAY DOORS AND FRAME BYELEVATOR CONTRACTOR.

BENT MTL. PLATE TO MATCHELEVATOR FRAME.

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SCALE: 1 1/2" = 1'-0"1 ELEVATOR JAMB AT METAL PANEL LEVEL 1

SCALE: 1 1/2" = 1'-0"2 ELEVATOR HEAD AT LEVEL 1

NOTE: VERIFY ALL DIMENSIONS IN FIELD BEFORE FABRICATING.FOR FURTHER INFORMATOIN REFER TO DETAIL 3 ON AG304.

SCALE: 1 1/2" = 1'-0"3 ELEVATOR JAMB AT RECESSED BASE LEVEL 1

The design intent was to create a welcoming environment for passengers to transition from their home to the airport environment. The transitional space of the waiting area begins to dissolve the boundaries of the home and prepare the individual for the next phase in their journey. The conceptual approach of a transitional space is a challenge to define, as it can be interpreted in numerous ways. As we developed the idea of a transition it became more of the aspects of the movement from one location to another that became the focus, as a transitional space does not have to be a physical location but an experience between. To create this interpretation of the space between within the waiting area of the terminal the air of transparency and visual connection drove the design.

1 Elevator and metal wall panel jamb detail2 Ground Level Plan

PROFESSIONAL WORK

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3 Photograph of waiting area from the elevator lobby4 Rendering of waiting area from the elevator lobby

PROFESSIONAL WORK

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PROFESSIONAL WORK

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1 Photograph of waiting area from ticketing area2 Rendering of waiting area from west entrance

PROFESSIONAL WORK

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PROFESSIONAL WORK

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1 Wall section at waiting area curtain wall2 Wall section at veneer curtain wall3 Roof parapet detail

The exterior curtain wall was designed with the intent to create a continuous form as the terminal building transitions into the elevator tower and allow for as much transparency of the building as possible. Due to the programmatic requirements the building could not be completely transparent - with half of the spaces being back of house and service spaces that needed privacy and security. To combat this restriction a veneer curtain wall system with spandrel glass was used in front of the stud walls for the back of house areas. By continuing the patterning across the entire length of the terminal building and the elevator tower it gives the illusion that it is one continuous treatment of the facade.

PROFESSIONAL WORK

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1 Rendering from parking lot

LOCATION: Pawtucket, Rhode Island

CLIENT: Rhode Island Department of Transportation

PROJECT DESCRIPTION: Stations should provide a civic architecture that is permanent, functional and pleasant. It should embody the system’s character while contributing to its context – one that is not entirely derivative of the transit system, but of the neighborhoods and community of which it is a part of.

The communities connection to their past was an integral aspect of the design with contextual connections of form and materials. It was essential to not create a fuax-historic rather define a new architectural language that was sensitive to its surroundings.

COST ESTIMATE: $74,000,000

PAWTUCKET CENTRAL FALLS COMMUTER RAIL STATION

PROFESSIONAL WORK

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PROFESSIONAL WORK

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1 Rendering from bus loop2 Rendering from platform

PROFESSIONAL WORK

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LOCATION: Boston, Massachusetts

CLIENT: City of Boston BRA/EDIC

1 Rendering from channel during daytime2 Rendering from channel during nighttime

BOSTON MARITIME INDUSTRIAL PARK ARCHITECTURAL DESIGN

PROFESSIONAL WORK

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1 Rendering from street during nighttime2 Ground level plan 3 Fourth level plan

PROJECT DESCRIPTION: The Planning and Feasibility Study for a multi-use garage structure at Parcels C-1 & C-2 in the Boston Marine Industrial Park Architectural is a design of a 360,000 square foot, four story precast concrete structure intended to house various functions. Among them are two levels of open parking, a ground level dedicated to retail, fire and police stations, and an upper level intended for function rooms.

Treatment of the building exterior reflects the different programmatic elements within: retail spaces; parking garage spaces; large meeting rooms; and circulation. A select palette of materials, colors, and finishes identifies the various functions while maintaining a compositionally unified whole. In tune with its maritime environment, with its primary cladding of colored steel fins in various tonalities of blue, the façade emulates the constant movement of waves. A stainless steel mesh that encompasses the open parking area behind the steel fins will add reflective quality with the sun’s light. The exterior of retail and assembly areas are presented in aluminum framed glass systems providing a welcoming public gesture through the use of transparency and light as well as the great view towards the Reserve Channel.

PROFESSIONAL WORK

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PROFESSIONAL WORK

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1 Cognitive mapping of Boston

To understand how people move through space it needs to be understood what causes them to move. The existing physical conditions can begin to define specific movement but other forces implemented into the existing can alter how people use a space. It is then understood that individuals move based on their understanding of their surroundings and select paths that fit their needs. Whether those needs are based on speed, leisure, proximity, adjacencies, or any other factor all movement through out a city or architecture share a common factor - every path has an established beginning and end. Movement then is understood through paths which are connection between two points. These points are the “anchor points” which hold a path in place and give it a purpose.

To understand how the individual moves in the urban context their path and type of progression along that path need to be identified. Each path is a collection of factors including existing conditions, program, speed, and intensity. Each path is then more about an experience through the space rather then the physical elements along the path. The city as a whole can then be understood as a series of experiences defined by the progression through space overlapping and intertwining with one another.

BOSTON PERFORMING ARTS CENTER

ACADEMIC WORK

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ACADEMIC WORK

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Once the different types of movement can be understood and how people move through space the way in which the urban landscape is developed can be altered. The city can be altered to make more pedestrian friendly environment and allow people to interact with one another in a way that is currently not possible. Defining the different paths can also improve the congestion and intensity of areas and allow low activity areas to be revitalized. Designing with intent and understanding how people move through space can only improve the current reading of the city and inevitably improve the urban landscape.

Within the Performing Arts Center the main programmatic spaces are dance studios, a theater an amphitheater, gardens, and support spaces. Each one of these program types has a unique movement that happens within it - with an even more diverse range of movements that happen between them.

ACADEMIC WORK

1 Site Plan

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The building is designed in three horizontal planes that overlap one another and engage with one another at the anchor points within the site. These anchor points are the amphitheater and the theater, the only two elements within the site that project vertically out from the ground.

Three distinct paths through the site are established to respond to the different users’ speeds and type of movement. These users are defined as; the building user, the visitors,

and the commuter whom are the individual that only cut through the space and do not use the program with in the building. Each path - similar to the paths within the city - moves between anchor points within the site.

Each path moves in a distinctive course between the two anchors contingent on the type of users. The visitors take circuitous routes; the commuter moves in defined direct paths, and the users are rigid and multi-directional.

ACADEMIC WORK

4 Model of movement - Lot 25 Model of movement - North End6 Model of movement - North End

1 Model of movement - North End2 Model of movement - From Haymarket3 Model of movement - Lot 1

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ACADEMIC WORK

7 Site model of layered paths.

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ACADEMIC WORK

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1 Exploded axon 2 Rendering of amphitheater3 Rendering of central path through the site

ACADEMIC WORK

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1 Rendering of cafe and roof deck

ACADEMIC WORK

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ACADEMIC WORK

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1 Rendering from the south entrance of the site

ACADEMIC WORK

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ACADEMIC WORK

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1 Section through amphitheater and classrooms

ACADEMIC WORK

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ACADEMIC WORK

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1 Diagrams of circulation paths

ACADEMIC WORK

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The Fort Point channel has a large and ever growing artist community with over 300 artist currently residing in the area. With a vibrant community this neighborhood entices the public to experience a different aspect of Boston that cannot be recreated elsewhere in the city. For artist this neighborhood creates a strong community, with a large support for culture and art that has been drawing artist to this area since 1980 to learn and establish themselves. The relationship of the public and private has always been of opposing forces – the challenge is defining a new way of perceiving how to design the interface between the two. The Artist Live/Work Studios brings the public within the private spaces as they circulate around the core space of the building. The intent is to visually connect the two user groups as the areas they occupy intertwine with one another. The connection the two share – the public coming to experience the artist work and the artist expressing themselves to be viewed – becomes a reciprocal relationship that relay on the actions of the other. A harmony between the two is then created as they move amongst each other intertwining as they progress through galleries and studios, always catching glimpses of one another but rarely a full view. This enticing interplay creates a false separation of space and challenges the interpretation of the interface between the two programs as no longer being a barrier but a threshold – a space between.

ARTIST LIVE/WORK STUDIOS

ACADEMIC WORK

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1 Rendering from entry2 Rendering of artist space 3 Diagram of circulation path and gallery core

The core of the building was formed by studying the continuous route in which the patrons – public – move into the building, up through the different galleries, and back out. The building core expresses the movement and visual cues that derive from the patrons. Where the patron’s movement is faster their focus is on the path ahead of them - inward toward the building core. The core reacts by pushing in on itself creating glimpses of the path ahead and opens in some localized areas to allow glimpses to the inner core. When the path widens a platform is created in which a larger exhibit space can be held. The patrons move around the gallery space before progressing along the path around the core, creating a point of relief along the path. At these instances the views are not internal toward the core, but out towards the gallery. The core then reacts to this by pushing out towards the gallery spaces, emitting views of the path ahead as to keep the focus on the exhibit, not the path ahead.

ACADEMIC WORK

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1 Diagram of facade study2 Rendering of facade3 Rendering from gallery two

The façade is developed to express the galleries within and the relation they have with the surrounding city. The four sections bend in and out as they allow glimpses into the galleries and the artist areas. The four vertical sections react to the interior spaces; when the gallery spaces push out adjacent to the façade it too pushes out toward the city. A continuous reaction from core to façade is linked to the movement within created by the patrons. Every space and architectural barrier relies on the internal movement throughout the building.

ACADEMIC WORK

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1 Skyscraper - New York, NY2 Street scape - Lisbon, Portugal

PERSONAL WORK

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3 Arcade - Lisbon, Portugal4 Expo Center - Lisbon, Portugal

PERSONAL WORK

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1 Scripting space - Watercolor

PERSONAL WORK

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2 Owl on branch - Acrylic 3 City street on a rainy day - Watercolor4 Hummingbirds in flight - Acrylic

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