Unboxing New York by Actar Publishers

Unboxing New York, ODA

1 3 2

4 5

Acknowledgments This book is the culmination of more than ten years of transformational opportunity, ambitious design, and selfless commitment from a team of brilliant people. While these texts were written by a small group of individuals, the ideas and projects they explore were shaped and made possible by a much larger community of architects and advisors. ODA's success has been made possible by the leadership and guidance of my co-founding principals, Christian Bailey and Ryoko Okada. Their unwavering support and boundless vision continue to be the reliable foundation which we all stand upon. To the in-house authors who dedicated a tremendous amount of time, during business hours and beyond, to conceptualizing, drafting, and diagramming each article in this book, I am truly grateful for your enthusiastic undertaking of a venture so foreign. And to the outside contributors who shared their keen professional insight, I thank you for enriching these pages. Publishing is a deeply collaborative process that weaves together experts from a variety of disciplines, and the development of this book was no different. ODA and I are indebted to the editors at Original Copy, writer and literary consultant Maeve Roughton, the designers at Studio Lin, and our publisher, Actar, for refining this book's voice and graphic identity in seamless alignment with our architectural values and aesthetic profile. To the next ten years, and more. —Eran Chen

Colophon

Published by Actar Publishers, New York, Barcelona www.actar.com Authors ODA New York with Maeve Roughton Project Manager Juan Roque Urrutia Editor Original Copy: Julia van den Hout and Kyle May Graphic Design Studio Lin Contributors Richard Cantor Jon McMillan Michel Mein Metin Negrin Eliot Spitzer James Wines Impression/Printing Tiger Printing, Hong Kong All rights reserved © edition: Actar Publishers © texts and diagrams: ODA New York This work is subject to copyright. All rights are reserved, on all or part of the material, specifically translation rights, reprinting, re-use of illustrations, recitation, broadcasting, reproduction on microfilm or other media, and storage in databases. For use of any kind, permission of the copyright owner must be obtained. Distribution Actar D, Inc. New York 440 Park Avenue South, 17th Floor New York, NY 10016, USA T +1 212 966 2207 salesnewyork@actar-d.com Barcelona Roca i Batlle 2-4 08023 Barcelona, Spain T +34 933 282 183 eurosales@actar-d.com Indexing English ISBN: 978-1-945150-77-7 PCN: Library of Congress Control Number: 2017956616 A CIP catalogue record for this book is available from Library of Congress, Washington, D.C., USA . Printed in China, 2018 Every reasonable attempt has been made to identify owners of copyright. Please contact Actar if a mistake or omission has been made, and it will be corrected in subsequent editions.

Contents

Unboxing New York

Introduction .............................................................. p. 5 Living ........................................................................ p. 11 Zoning ...................................................................... p. 77 Developing ............................................................ p. 143 Marketing .............................................................. p. 209 Building ................................................................. p. 251

Vertical Village

by Patricia Gortari

residents while retaining the functionality and sense of a city. The typical suburban house with one or two floors and an outdoor space that follows the local topography couldn’t possibly be sustained with the rhythm of growth, nor would it help achieve a vibrant city core. Accordingly, many sensed that vertical construction would alleviate these woes. By the mid-1800s going up was no longer a desire but an inescapable necessity. The Industrial Revolution unleashed new heights and the creation of the elevator made vertical living a near-boundless reality. The unstoppable momentum to redefine the urban model was met with fervor by many architects—from Le Corbusier (Plan Voisin (1925), Ville Radieuse (1930), and Unité d'Habitation (1947-52)) (Fig. 1) to Frank Lloyd Wright (The Mile High Illinois (1956)) to the utopian models of Moshe Safdie and Ricardo Bofill, who both experimented with merging vertical construction and the social aspects of the village, but neither finding a successful formula that would be adopted on a larger scale. Safdie’s Habitat 67, located in Montreal next to the St. Lawrence River, was a practice in experimental architecture, influenced by Japanese Metabolism, and rich with modular tectonics and prefabrication. (Fig. 2) Intended as mid-rise condos merging the suburban model with the city tower, it did not lack vision but the idea was too advanced for the technology of its time. Similarly, social housing projects like Cité des Étoiles served as laboratories for the vertical residential experience. (Fig. 3) In many cases, these projects began as bastions of promise but were never fully completed due to lack of funding and changing politics, among other things. Sadly, so many of these great ideas were forgotten and tagged as utopianisms, impractical solutions led by isolated attempts. 16

Fig. 1 Plan Voisin, Le Corbusier, 1925

Dia. 1 Vertical Expansion For the same number of residential units, two opposite organizations can be used—compact and tall (a) versus low and sprawling (b). Can we learn from their benefits and limitations to design a new model for living?

830’

Vertical Village

Fig. 2 Habitat 67, Moshe Safdie, Montreal, Canada, 1967

1: Living Jungles of concrete, stacked apartments accommodating more and more people, rooftops rising higher and higher—this is the urban reality of today. Yet, the world is realizing that this radical vision of a soulless vertical existence is severely lacking. To put it into perspective, a vertical tower in New York City may contain as many people as a small town. But what town, small or otherwise, features no retail shops, no restaurants, no bars, no nature, just houses? What’s described here is a dormitory, not a municipality. (Dia. 1)

Fig. 3 Cité des Étoiles, Jean Renaudie, Givors, France, 1974-81

2666’ 30’

Low to High

by Eran Chen

Introducing lost qualities of the street to our vertical lives will help reduce ground level density and provided unique opportunity for the development of communal spaces.

Dia. 1 The Middle Blocks link together to create multi-layered communities of shared spaces. The city is typically described by the top and bottom, but here varied heights of connectivity usher in experiences at multiple datums. The middle spaces reflect events familiar to the bottom while providing characteristics akin to the top. The New York City grid has become fuzzy from above yet remains present below.

Low to High

1: Living While the elevator created a transformational shift, few other changes have been made to how we access public life. We are still trying to use our streets and parks to serve our needs when population density has radically changed them. Ground floor value has altered the dynamics of our city streets, and some of the social and public needs traditionally held at street level can only be sustained by growing vertically with our buildings.

Reclaiming Lost Space

1: Living projects encompass a full city block, it was the first time we were able to fully explore this idea. We started by looking very closely at the typology of a New York City block and how to apply it to a singular building. In a project of this magnitude, it would have been inconceivable for us to neglect open courtyards and roofs. We made it a point to occupy both territories with communal spaces, and build new typologies by which these resources could be used as parks, meeting grounds, and amenity sites.

123 Melrose

Dia. 2 123 Melrose Court From (a) enclosed courtyards that are only enjoyed by a small group of residents, to (b) a fragmented network of courtyards where diverse circulation loops overlap. On top, (c) bridges connect the different blocks to create a closed circulation.

Our approach yielded 17,850 square feet of public park, which bisects the development with a green promenade. Lush courtyard areas with partially covered walkways and corridors create a parade of plazas that interrupts the everyday urban grid. These loops and bridges foster natural and spontaneous interactions among residents and between community members. (Dia. 2) Through rezoning efforts and a democratic process between buildings, the same results could be achieved on city blocks throughout New York City. By reclaiming courtyards and rooftops we can enrich our social experiences and recover some of the lost qualities of life on the street.

Setback

by Juan Roque Urrutia

Setbacks are believed to be something that happens at a certain height, but they also hold the power to become a zone for playing with design and massing.

The New York City Zoning Resolution defines the term setback as “the horizontal distance measured from a street line into a zoning lot for a depth as set forth in the district regulations.” This simple rule has largely characterized Manhattan’s skyline since it was first introduced in the 1916 Zoning Resolution. Often described as the constraint that allowed sunlight to reach the streets, it was first articulated as a maneuver to reach extra heights! (Dia. 1) Each foot a building stepped back was rewarded with complementary height for such building portion; a smart way to incentivize development while protecting public welfare. This formulation became a generative design tool, the one architects deployed to maximize area by arranging diverse setback levels. It gave birth to New York’s “wedding cake” building and triggered a volumetric field test in the early development of the city. (Fig. 1) Curiously enough, the rule countered the potential of the recently debuted steel frame, which, for the first time in building history, allowed construction to rise without structural setbacks. In the 1961 Resolution, the verb to set back (as it was referred to in the 1916 text) became the noun “setback,” and it was counteracted by the modernist aesthetic the code rewarded. The term rose to stardom in today’s version of the Zoning Resolution with its 1,516 appearances (an average of once every two pages). If you consider height and setback the basic New York design boundaries, this detail can 112

Fig. 1 Several wedding cake iterations from the Financial District in the 1930s. On the right, 120 Wall Street by Ely Jacques Kahn, which features eight setbacks. Its visible waterfront location makes it the archetypical wedding cake example.

Dia. 1 The Setback Bonus In the 1916 Zoning Resolution, setbacks allowed an increase in maximum building height. It was a significant bonus for developers, and to be maximized by architects.

setback bonus x max height

Setback

2: Zoning

$$$

give you an idea of how thoroughly the Department of City Planning regulates the shape of buildings. But beyond its power as an instrument of control, by outlining buildings, setbacks create other unintended outcomes: (Dia. 2)

2 transfer at setback level

$$ $$$

For a residential lot in a contextual district, the rear-yard setback is not required per current zoning regulations, and the area above the base generally becomes a 45-foot bar. This dimension is only suitable for through-apartments. The setback line is then the division between the typical floorplates and the penthouses, making it a value line.

Because of the different floorplates between base and setback floors, it also becomes a line for structural and mechanical offsets in the building. This becomes a premium to construction budgets.

A setback floor can be more valuable than higher levels thanks to the outdoor space it provides. This represents an exception to the higher floor-higher value rule of thumb.

A setback is the base line for the dormer regulation, this makes it the beginning line for mass articulation.

(see Top Dollar, pp. 152)

dormer

Dia. 2 Unintended Setback Outcomes

4 60%

113

Top Dollar floor value rises with the levels

by Kyriakos Kyriakou create a stepping volume to maximize profit

final upside-down “wedding cake” shape

+$ = -$ typical extrusion building

floor 12 11 10 9 8 7 6 5 4 3 2 1 total

area 2,500 sf 2,500 sf 2,500 sf 4,000 sf 4,000 sf 4,000 sf 4,000 sf 4,000 sf 4,000 sf 4,000 sf 4,000 sf 4,000 sf 48,000 sf

price per sqft $2,400 per sqft $2,400 per sqft $2,200 per sqft $2,200 per sqft $2,000 per sqft $2,000 per sqft $1,800 per sqft $1,800 per sqft $1,600 per sqft $1,600 per sqft $1,500 per sqft $1,500 per sqft

floor value $6,000,000 $6,000,000 $6,000,000 $8,800,000 $8,000,000 $8,000,000 $7,200,000 $7,200,000 $6,400,000 $6,400,000 $6,000,000 $6,000,000 $82,000,000

100 Norfolk

floor 12 11 10 9 8 7 6 5 4 3 2 1 total

area 7,000 sf 7,000 sf 6,250 sf 6,250 sf 5,500 sf 5,500 sf 4,000 sf 4,000 sf 2,500 sf 0 sf 0 sf 0 sf 48,000 sf

floor value $16,800,000 $16,800,000 $13,750,000 $13,750,000 $11,000,000 $11,000,000 $7,200,000 $7,200,000 $4,000,000 $101,500,000

It was Rem Koolhaas who said, “It is strange that those with the least money inhabit the most expensive commodity—earth; those who pay, what is free—air.” [1] Globally, the value of residential space is measured in views, daylight, privacy, security, exclusivity, and ego. The greater the distance from 154

the ground, the more satisfactory it proves to these prerequisites, and thus more valuable.

[1] Rem Koolhaas, “The Generic City,” in S,M,L,XL, (New York: The Monacelli Press, 1994), pp. 1253.

Top Dollar

3: Developing In New York City, land is certainly the most expensive commodity, simply because of its latent potential for expansion: A slice of earth in Manhattan has the chance to multiple itself five to fifteen times, creating enormous amounts of revenue. The taller, the better, the more valuable. Finally, there is structure, what materializes vision and the financial form. The structure for each project is a cost, a penalty one pays in order to achieve valueâ&#x20AC;&#x201D; in this instance, to achieve an uncommon form. However, where the model has turned itself upside down so that buildings start narrow and end wide.

430 Albee Square

Dia. 2 430 Albee Square Whereas at 100 Norfolk expansion happens in two floors at a time, in 430 Albee Square the optimization of floor plates occurs through an addition and subtraction of rooms across the entire facade.

At 100 Norfolk, the building becomes a direct translation of its diagram, which we accomplished through a sophisticated system of exposed structural trusses. This unconventional methodology is celebrated on the building skin, making it a selling point, a form of identity, an element of value. The final result is so profitable that the increased construction cost is no longer a consequence. In other examples, like 430 Albee Square , a conventional concrete framework is erected only to be floor 22

$ floor 12

floor 2

155

Top Dollar partially filled. The lower apartmentsâ&#x20AC;&#x2122; enclosures extend to less than 100 percent of their floor plates and the leftover surface areas become outdoor space. This increases the value of the lower floors while allowing upper floors to grow even higher in elevation and larger in footprint. Like 100 Norfolk, the cost of creating an excess structure at 430 Albee Square is balanced by the profit that decision creates. (Dia. 2) The New York real estate market has the supreme ability to make the most extreme ventures seem reasonable. Since the 1910s and the era of the visionary skyscraper, Manhattan has become a host for ambitious developers and a ground for radical experiments. This effort is worth it in New York City because it still pays.

156

by Kyriakos Kyriakou

93 Worth

Dia. 3 93 Worth Adaptive reuse projects have their own methodology for maximizing value. Many buildings built before the 1961 Zoning Resolution exceed what today would be the maximum FAR, and new interventions cannot add additional area. In 93 Worth, we identified underutilized spaces in the existing loft building, voided them, and transferred this floor area to the top in the form of four penthouse floors.

Residential Bigness Franchise There is an inherent temporality to residing in rental developments. In fact, a new piece of program appears to reflect thisâ&#x20AC;&#x201D;the leasing office! Building spaces and full-time staff are dedicated to securing and managing leases. Targeted brackets of residents are organized like cruise ship stateroom levels. Thanks to the introduction of uses and amenities, rent becomes oneâ&#x20AC;&#x2122;s membership to the basic living package, with additional costs for extra member perks: gym, swimming pool, spa, lounge, library, music studio, basketball court. Like a vacation resort, the rent-membership dismisses the need to leave the controlled realm. The investment side shows strings connecting big developments to big retailers. The large funds big rentals require strong partnerships to finance such projects. On the retail side, only stores that also suffer from bigness can provide this solvency. In return, they will get what bigness can easily offer: large space. Big rentals and supermarkets create a perfect symbiosis. One provides a consistent number of buyers, the other sustains their needs. Big rentals are often used in areas where there are special interests for quick development, like the redevelopment of an obsolete manufacturing district. In order to capitalize on change, a catalyst is needed, and what better than a spike of population to serve that function. In 2015, we were approached to do a study for a development at Third Avenue and Third Street in Brooklynâ&#x20AC;&#x2122;s Gowanus. (Dia. 3) 196

by Juan Roque Urrutia

Residential Bigness

Dia. 3 Reconsidering The Block Massaging the bulk and sloping the court towards the Gowanus canal.

197

3: Developing

204

205

The Rendered View

by Juan Roque Urrutia

On representation through branding, anticipation, and idealization.

Image As a discipline, architecture has long relied on the custom of drawing to be articulated and shared. Over the years, architectural imagery has kept its inherent informative value, and as an alive language, it has evolved into a tool that generates design, illustrates concepts, promotes work, expresses ideas, and consolidates identities—all of them prolific outlets beyond its original purpose as a construction manual. The digital age has propelled the production and sharing of architectural imagery forward, and where once the purpose was to explain, the image now commands center stage to represent. Where its objective was once decomposing into what lies behind and between, the architectural image now composes. Like the architect, the developer often also reaches out to the same tools to promote his work. Anticipation In the field of real estate development, which is always under ubiquitous market pressure, time is of the essence. The sooner an apartment can be dispatched, the better. 217

Fig. 1 The style de rigeur for interior renderings is an empty space, so that the prospective buyer can envision themselves in the space, rather than see an “intruder” in “their” future home.

The Rendered View

by Juan Roque Urrutia Dia. 1

a g j

h d

i f

a. The wood plane propeller, Sensenich Brothers, 1930s b. A Roman style bust (available online for $5) c. Art on the wall in the style of Carmen Herrera d. The Rolleiflex 2.8F TLR camera e. Jean ProuvĂŠ Fauteil de Salon lounge chair f. Cow hide rug g. Daniel Peci anatomy study h. Extra Long 60s Capitonne Sofa i. Elliot Erwitt monograph j. A Bonsai tree k. Halcyon MK8 Goggles and the Biltwell Helmet on Walter Knoll Andoo lounge chair l. Lindsey Adelman BB.09.36 Lamp, from the Branching Collection

Here is where an image becomes a commercial tool to sell yet-to-be-built apartments. In order to match construction completion with marketing momentum, buildings will be anticipated through marketing campaigns. The observer is encouraged to envision a building before it is built, which might plant a fertile seed that leads to a sale. (Fig. 1) Among other purposes, architects can use imagery to convince developers, and developers to appeal to buyers. A rendering is therefore not just an image but an anticipation of what is going to be designed, built, and purchased. As such, it always alludes to a state of fulfillment. In composing a rendering, not every little detail needs to be resolved, and this leads to quick turnarounds and rapid propositions for studies and competitions. But completing a building without building it has consequences (see Design in Ten Days, pp. 172). A lengthier design process doesnâ&#x20AC;&#x2122;t always lead to a different design result, and since a rendering establishes an outcome, will reality satisfy rendered expectations? Brand When it comes to the composition of graphic materials for New York residential architecture, specific 218

Fig. 2 Rendering of 123 Melrose by Labtop (top) and Bloomimages (bottom)

244

245

Frames

by Eran Chen

we can frame pieces within the whole then we can start creating tension between these elements so that leftover gaps become purposeful spaces. Here’s where the duality between aesthetic and concept come into play, and the reality is that we can appeal to both. We can invite scalability and define pieces within the whole while outlining voids, all by creating tension between components. Let’s take 15 Renwick as an example. The building facade is composed of a series of individual frames, each serving as the facade of a physical window. As the eye travels up it recognizes that the structure is composed, at some points, of groups of frames (windows), as well as other assemblies that create gaps to capture outdoor space or voids. The dormers at 15 Renwick establish a clear definition of hierarchy—the frame as a recognizable component of the one, frames grouped together to create voids, and the composition of all as the one. It’s a matter of choice, and what we’ve chosen here is a clear definition of the components that make the larger one. These frames are organized in a way that makes it easy to understand what is building and what is void, what is the visual oneness we can see and where the tension erupts between individual

266

15 Renwick

Frames

5: Building

Dia. 1 Frame Within a Frame Each scale in the design process of a project is taken as a specific project in itself—a singular part in tune with the whole.

groups. It’s a natural, organic way to create separation. Whereas 15 Renwick’s framing starts with an individual window, our project on 18th Street, The Flynn, uses a component rather than a single scale. At this site, the frame that defines two floors is roughly 20 feet by 10 feet, a far cry from 15 Renwick’s 4 foot by 8 foot window dimensions. This larger frame served as the element by which we composed the entire building. It’s something we also used as an element of fragmentation toward the penthouse. The frame here is similar to 15 Renwick but executed on a slightly bigger scale, part of which has to do with the scale of adjacent buildings and the 267

width of streets in The Flynn’s Chelsea neighborhood. On every project, architects toil away with components, fitting a myriad of pieces together to create one final, complete, singular product. In pursuit of that ultimate vision, how do we preserve the individuality of each element? I've found the frame, in its myriad interpretations, to be a vehicle for the tension and order that every eye craves.

288

289

Index

ODA Projects

National Library of Israel

Parcel 8 at The Wharf

Voids.......................................................... p. 38 From Residential to Public Works....... p. 278

Vertical Village......................................... p. 15 The Question of Privacy.......................... p. 40 Less is More............................................ p. 157

Location: Client: Size: Team:

Derech Ruppin, Jerusalem, Israel Undisclosed 44,100 sf Eran Chen, Kyriakos Kyriakou, Juan Roque Urrutia, Chrysokona Mavrou, Berardo Matalucci, Ana Arnandis, Ilaria Pedrini

The pure form of this monolith contains the site for the library’s most essential function (the reading room); the volume rests on a mountain-like base that extends the surrounding topography. Our design invokes the Israeli tradition of building: a mountain excavated to reveal a cavern of programming. The journey begins at the public plaza and continues either upward to permanent and temporary exhibitions or downward to treasure collections, where a glimpse of the building’s operating systems is provided.

18i

Southwest Waterfront, Washington, DC 20024, USA PN Hoffman 385,000 sf Eran Chen, P. Christian Bailey, Ryoko Okada, June Kim, Vi Nguyen, Michael Unsicker, Seung Bum Ma, Natsumi Oba, Keren Feilgut, Brian Lee, Audrey Topp, Dawoon Jung, Joohwan Seo, Shixiao Zhang, Jaehong Chung, Joshua Wujek, Shraddha Balasubramaniam

A single, united structure in the District’s Southwest quadrant that features two distinct buildings residential and hospitality. One side of the structure climbs to form residences while the other side recedes to establish a hotel, creating clear visual distinction. A frontage setback creates living rooms that are flush with partly covered outdoor spaces. Though the hotel is cantilevered and obstructing some of the other building’s views, the thrust of the residential facade preserves sightlines for nearly every apartment.

Index

ODA Projects

Pyeongchang-dong Arts Complex

Third and Third

From Residential to Public Works....... p. 278

Zoning Comparison................................. p. 96 Residential Bigness................................ p. 192

Location:

Location: Client: Size: Team:

Client: Size: Team:

148-11 Pyeongchang-dong Jongno-gu, Seoul, South Korea Seoul Metropolitan Government 35,000 sf Eran Chen, Brian Lee, Boram Lee Jung, Steven Kocher, Juan Roque Urrutia

Our design draws on local customs by translating traditional local architecture into a modern representation that mirrors the terrain’s peaked nature. Madang is the Korean word for courtyard and our design provides one to each floor. The land is divided into various pieces and several foundations are made so that even the infrastructure is fragmented with multiple levels. A gallery, library, and classroom are housed in the L-shape and can be extended into the courtyard with a flexible wall that provides exterior exposure.

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225 Third St., Brooklyn, NY 11215, USA Undisclosed 1,000,000 sf Eran Chen, Juan Roque Urrutia, Kyriakos Kyriakou, Côme Ménage, Jennifer Endozo, Piotr Lewicki, Brona Waldron

One million square feet of mixed use program with ground-floor retail space opening to the center of the site. The edge of Gowanus Canal is engaged with a mega ramp from the water to the top of the retail space, then back out to Third Avenue, to create an elevated garden. A new pedestrian retail street crosses through the green to link recreation, residence, and business. Office and light industrial spaces surround the elevated plaza with residents sitting atop.

Index

Authors

Eran Chen

Juan Roque Urrutia

Unboxing New York................................ p. 12 Dead Ends................................................ p. 21 Designing Outdoor Space....................... p. 32 Voids.......................................................... p. 38 Scalability.................................................. p. 50 Reclaiming Lost Space............................ p. 57 Low To High............................................. p. 62 Collaborative Power.............................. p. 180 The Way We Operate............................. p. 252 Frames..................................................... p. 264 Adaptive Reuse...................................... p. 269 From Residential to Public Works....... p. 278 Unboxing The City................................. p. 280

Zoning Comparison................................. p. 96 City Development ................................. p. 105 Setback.................................................... p. 112 1916 v. 1961 v. 2018................................. p. 128 Designing With Air................................ p. 144 Residential Bigness................................ p. 192 Vision Dichotomy.................................. p. 210 The Rendered View............................... p. 217 The New York City Tub......................... p. 234 Office Evolution..................................... p. 255

Eran Chen is the founding principal of ODA. Since establishing the office in 2007 he has become one of the most prolific and influential architects in New York. Eran has gained a reputation for delivering imaginative designs that are radically innovative as well as socially, ecologically, and fiscally responsible. Seeking to reorder architectural priorities by putting people first, Eran challenges conventional perspectives of dwelling with hopes that it will, over time, influence life in our cities. Amongst others, his work has been recognized by the American Institute of Architects and the Society of American Registered Architects. Eran graduated with honors from the Bezalel School of Art and Design in Jerusalem, where he serves on the board and as guest lecturer.

Juan Roque Urrutia is an architect and the director of communications of ODA. He earned his Masters degree from the School of Architecture of San Sebastian in 2011 after studying at the Fachhochschule Potsdam and working for Jeanne Dekkers in Delft. Juan Roque joined ODA in 2012. Since then he has worked on several projects and awarded competitions and has developed the framework for the office communications. He works across teams to support with creative content and is responsible for ODAâ&#x20AC;&#x2122;s outreach across marketing and educational channels. Juan Roque has been a guest academic critic at the School of Architecture at City College and the New York Institute of Technology.

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Index

Authors

Steven Kocher

Patricia Gortari

Metamorphosis of Dormers.................. p. 122 Dormer Survey....................................... p. 126 Architectural Bullies.............................. p. 151 #architecture........................................... p. 238 Anywhere, Everywhere......................... p. 275

Vertical Village......................................... p. 15 The Question of Privacy.......................... p. 40 Alive Envelope......................................... p. 46 An Intro to Zoning.................................. p. 78 Profitable Lot......................................... p. 163 Envelope Expansion.............................. p. 259

Steven Andrew Kocher is a designer, fabricator, and communications officer at ODA. Steven received his Bachelor of Science in Architecture at the University of Southern Illinois in Carbondale and his Master of Architecture degree at PennDesign at The University of Pennsylvania. While at PennDesign, Steven studied abroad at the Paris American Academy and The Architectural Association. He joined ODA in 2014 and has worked on numerous projects and awarded competitions. Steven operates at the boundary between paper and practicality. Subsequently, he manages the model shop and has facilitated the use of 3D printing and other digital fabrication techniques for the office. Prior to ODA, he worked as a research assistant at PennDesign, a designer at Young & Ayata, and a digital fabrication technician at SIUC df_lab.

Patricia Gortari Chamorro is a project architect at ODA. She earned her masterâ&#x20AC;&#x2122;s degree from the School of Architecture of Barcelona (ETSAB) in 2013, and she was granted a scholarship to study at the Spitzer School of Architecture at City College (CCNY) under an exchange program in 2010. She also expanded her education in design at the Llotja Art & Design School of Barcelona and through international architecture workshops such as EASA (Wastelands, Helsinki). In her previous experience she worked in Spain at Joaquin Gortari Studio and Ravetllat Ribas Architects, and in the U.K. at Bond Bryan Architects. At ODA, Patricia adds her multicultural perspective expanding her role to construct an engaging office culture keeping the dialogue alive and exploring the office architectural concepts. Patricia has been a guest academic critic at the University of Miami School of Architecture.

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Index

Kyriakos Kyriakou Street Wall............................................... p. 108 50 Percent Open..................................... p. 118 Top Dollar............................................... p. 152 Less is More............................................ p. 157 Design in Ten Days................................ p. 172 Dummy Sets........................................... p. 178 Unit Mix.................................................. p. 225 Office Evolution..................................... p. 255

Kyriakos Kyriakou worked for ODA for a period of seven years between 2010 and 2018. He led several projects, design competitions, and many conversations about the identity and evolution of the office. He earned his graduate degree from the School of Architecture at the National Technical University of Athens in 2008. He also studied at the Ecole Nationale Supérieure d’Architecture de Paris LaVillette (UP6) under the Erasmus program. Under the 2009 Varangis honor scholarship, Kyriakos earned a post-professional degree in advanced architectural design from Columbia University, where he was also the recipient of a William Kinne Travel Grant. Kyriakos has been a visiting studio instructor at the University of Miami School of Architecture and a guest academic critic at Columbia University, Barnard College, and University of Pennsylvania.

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Authors

Index p.7 [bottom] Carolina Moscoso p.13 [top] Travelling Light, [bottom] Google Earth p.16 F.L.C. / ADAGP, Paris / Artists Rights Society (ARS), New York 2018 p.17 [top] Wladyslaw, [bottom] Jean-François Loiseau p.19 [top] Ian Lambot, [middle] by-encore, [bottom] IFMM p.20 Labtop p.21 Berenice Abbott / New York Public Library p.23 [top and bottom] Labtop p.25 [top and bottom] Labtop p.27 Sears, Robuck & Co. p.29 James Wines/SITE p.30 James Wines/SITE p.32 [top] Miguel de Guzman / Imagen Subliminal, [bottom] Bloomimages p.34 Erieta Attali p.36 Bloomimages p.37 [top and bottom] Miguel de Guzman / Imagen Subliminal p.40 [top] Bojune Kwon, [middle] Luxigon, [bottom] by-encore p.43 [top and bottom] Luxigon p.45 Erieta Attali p.46 [top] Irina Haynes, [bottom] Eduardo Sanz p.47 Erieta Attali p.49 Forbes Massie p.50 via Sheraton Tribeca New York Hotel p.54 [top and bottom] MOSO Studio p.56 [top and bottom] Labtop p.57 [top and bottom] Bloomimages p.61 Bloomimages p.64 [top to bottom] Steven Kocher p.65 Beyond My Ken p.78 The City of New York p.80 [top] MOSO Studio, [bottom] Miguel de Guzman / Imagen Subliminal p.105 [top] Pavel Bendov [bottom] Miguel de Guzman / Imagen Subliminal p.111 [top] Labtop, [middle] Miguel de Guzman / Imagen Subliminal, [bottom] Labtop p.112 Berenice Abbott / New York Public Library p.114 [top] Phyllis Lambert, Montréal, [bottom] Ewing Galloway / New York Public Library p.116 Miguel de Guzman / Imagen Subliminal p.117 Carft p.121 [top and bottom] MOSO Studio p.125 MOSO Studio p.126 [from top left to bottom right] Fraunces Tavern, Tom Miller, Jim Henderson, New York Public Library, Joseph Pell Lombardi, Beyond My Ken, The Dakota via Curbed, Gryffindor, Bjeffway, Dmadeo, Godsfriendschuck, MusikAnimal p.127 [from top left to bottom right] Nicola, Beyond My Ken, Joseph Pell Lombardi, GoogleMaps, Daniel Schwen, Odyssey-Images / Alamy Stock Photo, Beyond My Ken, GoogleMaps, Erieta Attali, Miguel de Guzman / Imagen Subliminal, Erieta Attali, Miguel de Guzman / Imagen Subliminal p.144 [top] Property Shark, [bottom] Alexander Severin p.146 Bezier p.148 [top and bottom] MOSO Studio p.150 MOSO Studio p.151 [from top left to bottom right] Britta Frahm, Beyond My Ken, Jules Antonio, B137, FXCollaborative, Miguel de Guzman / Imagen Subliminal, David Sundberg/ESTO, Pavel Bendov, Miguel de Guzman / Imagen Subliminal, MOSO Studio, Michael Moran / OTTO, HTO Architect p.152 [bottom] MOSO Studio p.155 Chris Shelley

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Image Credits p.156 Rinze van Brug p.172 [top] Olivera Grk p.174 [bottom] Bloomimages p.176 [top and bottom] Bloomimages p.181 [top] New York State Archives, [bottom] From, “The Health-Care of The Baby” (New York and London: Funk & Wagnalls Company, 1920), pp.6. p.184 R. Krubner, ClassicStock / Alamy Stock Photo p.185 Julius Wilcox / Brooklyn Museum p.192 [top] King of Hearts, [bottom] Bloomimages p.194 MOSO Studio p.198 Labtop p.211 [top] courtesy of Two Trees, [bottom] Heroes Visuals Inc. p.213 [from top left to bottom right] Ando Studio, MARCH, Erieta Attali, MARCH p.214 [from top left to bottom right] Ando Studio, MARCH, Erieta Attali, MARCH, Ando Studio, MARCH p.215 [from top left to bottom right] Ando Studio, MARCH, Frank Oudeman, MARCH p.216 [from top left to bottom right] Frank Oudeman, MARCH, Frank Oudeman, MARCH p.217 [top] Heroes Visuals Inc., [middle] Redundant Pixel, [bottom] V1 p.218 [top] MARCH, [middle] Labtop, [bottom] Bloomimages p.220 [top] PS New York, [bottom] Erieta Attali p.233 [top and bottom] Peter Margonelli p.234 F.L.C. / ADAGP, Paris / Artists Rights Society (ARS), New York 2018 p.235 [from top left to bottom right] M18 PR, ODA , M18 PR, Millerhare, The Neighbourhood, Hayes Davidson p.238 Instagram p.240 Instagram p.252 Carolina Moscoso p.253 [top to bottom] Carolina Moscoso p.260 [top and bottom] Jorge Taboada p.261 Labtop p.265 [top] Michael Biondo, courtesy the Glass House, [bottom] Edelteil p.266 Frank Oudeman p.269 Pavel Bendov p.272 [top and middle] Photographer unknown. Museum of the City of New York. Gift of James King & Son, Inc., 1954. 54.37.1, [bottom] Erieta Attali p.273 Dan Balilty p.274 [top] Pavel Bendov, [bottom] Albert Vecerka p.275 [top and bottom] Google Earth p.276 [top to bottom] Google Earth p.278 [top] Bloomimages, [bottom] Labtop p.279 [top to bottom] Labtop

Unboxing New York ODA