Adam New Portfolio by Adam New

2 5th AVE manhattan, ny

Project Team: Alex Blakely

Project Architect

Catherine Meng Adam New

Project Designer Project Designer

Demolition Plan

Proposed Plan

Contemporary dance focuses on the idea of percieving the possibilities of movement around oneself, and then intepreting and moving through this field of possibilities in an act of creation and exploration. The design of the dance lab was meant to facilitate this freedom of movement and space by having open ground level and elevated spaces that flowed smoothly into one another, furthe providing a variety of spaces to work off of. The dance lab was concieved as a layering of planes, starting with subtle changes in the ground plane with structure, elevated floor, and roof layered on top. This helps to create the continuous spaces and movement that gives the LAB its character. Exploded Structural Axo

URBAN DANCE LAB peretz square, ny

Studio Critic

The design of the Urban Dance Lab is meant to create a dynamic space for exploration.

Stephanie Bayard

Peretz square, located at the intersection of Houston and First Street, provided a unique opportunity as a site. It is currently a small park occupying the a triangle of site left over from the collision of the regular manhattan grid with the more chaotic streets of the lower east side. Peretz square serves as an intersection where pedestrian and vehicular traffic get overlayed on top of each other, creating their own form of urban dance and poetry. It was this overlap between pedestrian and vehicular movement that served as the initial inspiration for the urban dance lab. The program for the building was a contemporary dance studio.

Site Circulation Diagram

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The building invites passersby to step inside, overthrow their daily routine and throw themselves around the floor, reacting to the other dancers, the building, the pedestrians cutting through to save seconds, and the traffic passing by on Houston. C C 1:8 1:8

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Second Floor

all photos of this project by Alan Tansey

GAUD EXHIBIT brooklyn, ny

The exhibition for incoming graduate students was designed and built as part of a class at Prattâ&#x20AC;&#x2122;s GAUD in collaboration with Michael Szivos and SoftLAB. The fabrication for the installation included the custom generation, lasercutting, and construction of almost three thousand custom corrugated cardboard triangles and six thousand wooden clips to attach them with. The design also included the integration of models suspended from the installation and the presentation of work on the walls of the gallery.

Project Team: Michael Szivos Professor Carrie McKnelly TA Aankhi Aasopa Adam New Chung-Kuang Chao Anastasia Filippou Aylin Cinarli Chrisina Whipple Chun-Wen Chin Dhara Patel Johannes Grimme Mark Richards Michael Hoak Umberto Plaja Wen Yang

The installation was designed as a series of bridges which connect points of the gallery, suggesting relationships between the work presented on either side as well as the models suspended within.

The installation was designed as a series of bridges which connect opposite points of the gallery, suggesting relationships between the work presented on either side as well as the models suspended within. The variation of the work presented on the walls was designed to reinforce the concepts of bridging and connecting and visually play off of the form of the installation.

The organization of the building was based off a mix of the traditional planning museum organization which presents the past, present, and future in segmented, separate phases and the more contemporary approach to blend the exhibits into a single, continuous experience. The galleries rotate around a central atrium while stepping up, each one bringing the occupants closer to the top. The atrium helps to bring fresh air and natural light into the gallery spaces while also maintaining visual connections between the different stages of planning in Shenbei; past, present, and future. The program also included two auditorioms which were designed as a secondary structure linked by the facade which creates a canopy for museum goers walking between the two.

PLANNING HALL shenbei, china

rendering by BaiHui Inc courtesy ZPA

Project Team: Morgan Guimbault Andy Liu Adam New

rendering by BaiHui Inc courtesy ZPA

Entrance to the Planning Hall on the Second Floor

The design for the Shenbei planning hall was part of a larger government sponsored competition for the newly redeveloping region of Shenbei, China. The building essentially exists in a region without context, since the entire area round it was under redevelopment. The inspiration for the desing of the building therefore came from the programmatic requirements and cultural context of the building as a planning hall in an area of new growth and expansion.

Gallery Massing Diagram

rendering by BaiHui Inc courtesy ZPA

The atrium helps to bring fresh air and natural light into the gallery spaces while also maintaining visual connections between the different stages of planning in Shenbei; past, present, and future.

The primary entrance to the museum is by the grand stair which brings people up to the second floor. On the ground floor are located the planning offices, exhibition hall, archives and storage. The sequence of galleries begins with the preface hall, moving into the model hall where a large scale model of shenbei occupies the entire room, then the planning showcase, cinema, and finally the temporary exhibitions which showcase potential projects.

Facade Folding and Pattern

As the sun rises over the museum, light passing through the panels will cast a shadow map of the city over the top floor.

In addition to being a cultural symbol of beginning, the window pattern filters the natural light entering the museum. The block of the galleries are wrapped in an expressive skin which serves to provide the image of the museum as well as creating secondary circulation and pause spaces between the regularity of the boxes and the form of the skin. The pattern of the cladding is based on traditional chinese paper cutting patterns, which are often pasted on windows to celebrate a new year, and new beginnings. In addition to being a cultural symbol of beginning, which

we felt was appropriate for a planning hall, the window pattern filters the natural light entering the museum, with some of the panels completely opaque and some open. This creates unique moments in the areas of circulation where vistors pass from one gallery to the next. On the roof of the planning museum this pattern is changed to a map of Shenbei as it exists now. As the sun rises over the museum, light passing through

the panels will cast a shadow map of the city over the top floor, a constant trace of where Shenbei is coming from, providing a contrast to the large scale planning model in the galleries below.

rendering by BaiHui Inc courtesy ZPA

SKY STATION

Project Team: Jim Garrison Studio Critic Matt Richardson Project Designer Alex LaVecchia Project Designer Adam New Project Designer

las vegas, nv

Consutants: Mathew Flannery Cristobal Correa Samir Kumar

MEP Structural Design

Situated in the middle of the twenty four hour spectacle of the Las Vegas strip, the Sky Station is another iconic addition to the ostentatious hotels and casinos that have made Las Vegas famous. The new series of Las Vegas sky stations links together several of the most prominent casinos on the Las Vegas strip to the airport and downtown. The stations are located in the median of Las Vegas blvd, serving as an iconic node as well as an infrastructural transportation link.

Site Plan

In order to achieve efficiency through the repetition of station elements along the track, a system using prefabricated elements that could be repeated, redeployed, and shifted across several stations was used. This included the use of customized prefabricated concrete pylons, standard double-t structural members, concrete panels, and carbon fiber shading elements. The use of a single, repeated carbon fiber panel allows for efficiency of fabrication, while the shifting of the pylons gives the sky station a dynamic posture reflecting the change and motion inherent both in its function and context.

Panel Connections

DRAWING TITLE

30 APRIL 2012 DRAWING NO

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Train Platform

Roof Plan N

DRAWING TITLE

Pylon Shift Diagram

30 APRIL 2012 DRAWING NO DRAWING TITLE

â&#x20AC;&#x2DC;Rather than splitting expression and structure into into two separate building elements, each panel is both expressive element and integral structural member.â&#x20AC;&#x2122;

The facade panels were designed to be integrated into the structure and to work with the tension cables to create a unified, expressive shell. The panel incorporates a structural strut to introduce depth into the system and add rigidity. This strut has the added advantage of giving the interior and exterior of the station very different expressions. The exterior of the panels is gilded in gold, reflecting back and distorting the vibrancy of the strip. All of the details for connections between the panels are integrated into the ribbed structural design of the carbon fiber.

30 APRIL 2012 DRAWING NO

Rather than splitting expression and structure into into two separate building elements, the panels are both expressive element and integral structural members.

The details for the project were all designed to reinforce the main visual image of the project, the simplicity of the panels suspended above the platform. To this end the details are either integrated with the design of the panels themselves or are designed with a minimal aesthetic to compliment the expressive nature of the carbon fiber elements.

Pylon Connection Detail

Panel Details

Building Section

Pedestrians access the building from the casinos through an underground tunnel that links to both sides of the street. Subtle lighting through back-lit frosted glass leads to the vertical circulation located underneath the street, bringing passengers through street level and up to the station.

The heating and cooling strategy of the Sky Station takes advantage of the diurnal swings of the subtropical desert climate of Las Vegas. While the temperatures are uncomfortably hot during the day, at night they are equally uncomfortably cold. The Sky Station uses the thermal mass of water contained in solar thermal panels and chillers to alternately heat and cool the station. Water heated by the sun during the day is then pumped through the floor to heat

the station at night. As the sun heated hot water warms the passengers waiting on the platform, the cold desert air cools water to be pumped through the station during the day.

MONTESSORI SCHOOL staten island, ny

On a vacant lot in Staten Island looking north towards Manhattan, the community has decided to build an elementary school that will be based on the Montessori Method of education. The core of the Montessori method is the reliance on self-directed learning by students and a great deal of interaction between students of different ages as well as teachers, who are viewed less as handing down knowledge and more as collaborators.

The form of the building was derived by generating geometries based on a series of attractors that would mass together smaller individual spaces into larger ones that form classrooms. This way the larger space of the classroom maintains the traces of the smaller spaces, creating pockets that the students can inhabit in their process of selfdirected learning. The intersection of spaces also allows for a more gradual tran-

sition between the inside and outside, creating spaces in between and blending the two together. Outside the same forces that generate the form of the building create a terraced public garden, subdivided with smaller plots and blended with circulation to create a public space not only for the school but for the neighborhood.

â&#x20AC;&#x2DC;The larger space of the classroom maintains traces of the smaller spaces, creating pockets that the students can inhabit for self-directed learning.â&#x20AC;&#x2122; The site is located in a residential neighborhood in staten island. It is on a street lined mostly with two story houses and right next door to St. Johns catholic church. The site itself drops 27 feet from the southern border to the northern one, making the site project out towards the harbor and Manhattan.

Final Attractors/Massing

MOVE NODE Distorts by pulling geometry towards it. SCALE NODE Scales geometry based on distance from node. MOVE/SCALE NODE Affects both the location and size of geometry near it. Attractor/Massing Studies

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ACTIVITY SPACE

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OUTDOOR PLAY AREA

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Site Plan

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Second Floor Plan

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..parametric controls were developed to allow for control of the incremental angle..

SERPENTIFORM brooklyn, ny

Project Team: Chris Whitelaw

Professor

Erin Kelly Justin Cho Adam New

3 piece unit construction

The Serpenti(form) canopy provides a sense of enclosure and introduces a distinctive element into the cafe area. Composed of unique, three-part units that were generated through parametric controls, the structure engages the columns and mimics the curves of the arches to afford a site-specific, harmonious addition to its surroundings. THE UNIT AND ITS ASSEMBLY THE UNIT AND ITS ASSEMBLY

branching of individual units

The canopy units branch out as the structure moves from the column to the floor, widening to provide a stable base and increasing the amount of enclosure. The incremental shifting of the angle the units split off at gives the canopy itâ&#x20AC;&#x2122;s distinctive splayed form. In the course of designing the project parametric controls were developed to allow for control and adaptation of the incremental angle as well to adjust the distributed lengths of all units. Pieces were then outputted using grasshopper and prepared for CNC fabrication. Because of the efficiency of the individual units, after all the pieces were cut final construction and installation was able to be completed in a single night UNIT SPLIT AND THE CANOPY

Fabrication

pieces for fabrication PARTS ORGANIZATION

penrose tiling pattern

PENROSE WEAVE Penrose tiling is an aperiodic tiling pattern. Using only two different pieces the system can be expanded infinitely without having to repeat forms or pattern. By taking the simple diamon shaped tiles as a template and expanding them into three dimensions, the form that results from a few simple tiling rules takes on a surprisingly complex and irregular form.

The entire system is composed of only two pieces, which are repeated, repositioned, and rotated to expand the system as much as desired. Each piece has two types of sides, which correspond to two types of sides on the partner piece so that as the pieces aggregate a smooth and unnoticed transition is created. As the system expands, the

individual pieces are lost in the weaving of the overall form. While the project is conceived purely as a formal study it has implications for creating variety from a limited set of parts in facades, landscapes, or any other building component based on tiling.

The two tiles and their corresponding connections form the entire system. Red connects to red and blue connects to blue. Using the diamond forms as templates, tiles were developed using 3-d software that would blend into one another so that the individual tiles would be lost in the greater system. The system can be expanded infinitely.

tile connections

base tiles

tile connections

continuosly expanding aperiodic system

“To begin depriving death of its greatest advantage over us, let us adopt a way clean contrary to that common one; let us deprive death of its strangeness, let us frequent it, let us get used to it; let us have nothing more often in mind than death... We do not know where death awaits us: so let us wait for it everywhere.”

single panel

-Michel de Montaigne

FOLLOW ME manhattan, ny

For the Vietnam memorial, Maya Lin reduced the content of the piece to only the names of those killed or missing in from the Vietnam War (this was part of the project brief, but also something she had decided on beforehand) because she felt that a name, more than anything else, brought to mind everything associated with the individuals depicted. A picture would have singled out a specific time, a quote or passage would always indicate somebody’s idea

of the person (perhaps their own). But a name could bring forth many things to the many different people who knew that person. For the new anti-monument, the primacy of the name as identifier is usurped by the username as identifier, that by which all our digital content is related to us. In addition the username better reflects more current notions of identity as not necessarily singular, perma-

nent, or static. A name may suggest different things to different people, but within one persons mind there is a cohesion to any given name, a story or picture of that person that has been created and comes to mind upon hearing that name. The username also allows us to see new sides of people we haven’t seen, dissociated from the name we know them as, and thus the identity we have attached to them already. We can have multiple usernames, some

more tied to our physical and public selves (with real name, profile images) than others. We can change our usernames. We can hide behind them, when we don’t want the content associated with us but want to express ideas we are otherwise afraid to. We have new social platforms in which we only know each other by usernames. In short our identities are no longer encapsulated and contained in our names, and so a memorial to individuals must be one that embraces this new facet of identity.

panel array

SYSTEM DIAGRAM

MOTION SENSOR

PROJECTOR

BLUETOOTH

HUB

CLOUD PLATFORM PROJECTOR MOTION SENSOR SATELLITE SITES

panels orient to nearest user

projected information controlled my user movement

MIXED HOTEL OFFICE TOWER soho, ny

The tower is located on a currently empty site and bounded by Canal St to the south and Varrick St to the west. In order to take advantage of the required fifty percent public space at street level the building is pushed to the south western corner of the site on the corner of these two main streets, with entrances to the office and hotel on Varrick St. The public space opens up towards soho. The concept of fragmentation and consolidation proceeds in three sections. First the building moves up from a fragmented landscape, merging into a single tower. Second the interior of the tower moves from the fragmented hotel program to a more homogenous office program. The consolidation culminates into the viewing decks at the top of the building.

“as the building moves upward it consolidates and unifies” Project Team: Hina Jamelle Qian Liu

Studio Critic Studio Assistant

Jennifer Gottlieb Project Designer Christina Whipple Project Designer Adam New Project Designer The new Soho mixed use tower dynamically blends hotel and office functions in one of New York’s trendiest neighborhoods. The fragmented site engages the wide variety of occupants and passersby with entrances to the office and hotel, underground shopping with connection to subways, and hotel amenities including restaurant, cafe and public space. As the building moves upward it consolidates and unifies, carving space for hotel rooms and a shared gym before giving way to more uniform office spaces on the upper floors including a shared daycare and conference center. At the very top the façade peels away to open the skybar and viewing decks to prominent vantages of midtown Manhattan and the Hudson River.

Hotel Drop-off Ramp to parking

Access to Subway Underground Commercial Parking

First Floor Plan

9th Floor Plan

30th Floor Plan