ADRIANE MAGADIA ARCHITECTURE NATURAL FORMS
PARANOID ITERATION
THORACIC CAGE STUDIO
VERTEBRAE WATCH TOWER
TOPO MUSEUM
PG 39
PG 38
PG 37
PG 36
PG 35
PG 30
PG 29
PG 4
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PATTERN
UNCANNY CITIES: BAUCIS
PINE CONE MIMICRYV
CEREBELLUM ATRIUM
PG 55
PG 52
PG 47
PG 46
PG 45
PG 42
PG 41
PG 40
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TOPO MUSEUM Spring, 2014 Shuji Suzimori BY COMBINING THE CONCEPTS OF SLOPING AND THE IDEA STACKING INTO THE PROGRAM OF A MUSEUM, IT ALLOWS THE INDIVIDUAL TO EXPERIENCE ART IN A UNIQUE WAY. TRANSITIONING FROM A PLANAR SURFACE TO SLOPED SURFACE WHILE MOVING THROUGH THESE FLOOR PLATES EMPHASIZES THESE CONCEPTS. TO EXAGGERATE THESE CONCEPTS FURTHER, VIEWING ART AT DIFFERENT SPEEDS COMES TO PLAY A ROLE WHETHER IT BE THROUGH A CAR, A PERSON WALKING, JOGGING, AND ETC. THE CONCEPT OF SLOPPING CAME FROM THE FOUR FREEDOMS PARK BY LOUIS KAHN WHERE THE SENSE OF DIRECTION POINTS TO A PLACE AND THE CONCEPT OF STACKING CAME FROM THE SENDAI MEDIATHEQUE BY TOYO ITO WHERE SENSE OF SIMILAR PLATFORMS DEFINED INDEPENDENT HIERARCHIES. THE STRUCTURE IS LOCATED BETWEEN THE FRANKLIN R. LAUTENBERG RAILROAD TRACKS AND PENHORN AVENUE TO ACCOMMODATE THE VIEWING OF ART AT DIFFERENT SPEEDS.
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STACK
SLOPE
FLIP
ROTATE
SHIFT
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PLAN 1 10’
20’
40’
CAFE
LOBBY UP
GALLERY 1
UP
SLOPE
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PLAN 2
GALLERY 3
OUTDOOR GALLERY UP DN
GIFT SHOP
DN ND
GALLERY 2
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VERTEBRAE WATCH TOWER Spring, 2013 Gregory Simon A WATCH TOWER BASED IN THE BIRD MARSH OF SANDY HOOK, NEW JERSEY. UNLIKE HUMAN BONES, BIRD BONES ARE HOLLOW FOLLOWED BY CRISS- CROSS STRUTS. THROUGHOUT THIS THREE LEVEL STRUCTURE, THE CRISS- CROSS STRUTS ACT AS VARIOUS DIFFERENT VIEWPORTS THAT ALLOWS THE INDIVIDUAL TO EXPERIENCE THE SITE IN A UNIQUE WAY.
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THORACIC CAGE RETREAT Fall, 2014 Gregory Simon THIS PROJECT WAS AN EXPLORATION OF THE HUMAN RIB CAGE TO BE USED AS AN INHABITABLE SPACE. WHEN A PERSON SNEEZES, THERE IS A PART ATTACHED WITH THE RIBS CALLED THE COSTAL CATILAGE WHICH EXPANDS FORWARD WHEN A SNEEZE OCCURS.
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PARANOID ITTERATION Spring, 2015 Julianne Gola-Papa AN EXPLORATION OF WHAT PROTOTYPES OF THE “TOPO MUSEUM” WOULD LOOK LIKE BASED ON 36 MANIPULATIONS. THE VARIATIONS ARE BASED OFF OF “GUT- FEELING” WORDS AND THE PROTOTYPE BELOW.
TWISTED
KNOTTED
EDIBLE
SPUN
GLOVE
ZIPPER
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SHIFTED
STAIRS
SLOPE
PYRAMID
RIPPLE
ROPE
WRAP
TREE
BRANCH
GROVE
CUT
PIECES
ORDERED
CROSS
OVER
ROPE
SPLIT
INTERSECT
OVERLAP
FOLD
TIGHT
COMPRESS
FLATTEN
PUNCTURE
RING
SLICE
CAKE
TOOTH
BRUSH
PILLAR
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CEREBELLUM ATRIUM Summer, 2013 Darius Sollohub A PROJECT CREATED FOR NEW JERSEY INSTITUTE OF TECHNOLOGY’S WEEK LONG SUMMER PROGRAM. THE ASSIGNMENT WAS TO CREATE A FORM BASED ON HUMAN THOUGHT. THE CONCEPT WAS THE CEREBELLUM OF THE HUMAN BRAIN. THE REASON WHY THE FORM IS ILLUSTRATED INTO THE SHAPE OF A RECTANGLE IS BECAUSE THE ATRIUM IS STRICTLY SYMMETRICALLY RECTANGULAR. THE LOCATION IS BASED IN NEWARK MUSEUM’S ATRIUM. AT THE END OF THE SUMMER PROGRAM, FINAL PRESENTATIONS AND NJIT AWARDED ME FIRST PRIZE.
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PINE CONE MIMICRY Spring, 2013 Gregory Simon A LAMP DESIGN MANIPULATION THAT GIVES FUNCTION TO A PINE CONE’S “PETALS”. THESE PETALS ARE ABLE TO PIVOT IN VERTICAL DIRECTIONS IN ORDER TO CONTROL HOW MUCH LIGHT IS BEING PROJECTED. THE MATERIAL USED IS CORRUGATED PLASTIC.
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UNCANNY CITIES:BAUCIS Spring, 2015 Julianne Gola-Papa AN INTERPRETATION OF ITALO CALVINO’S “INVISIBLE CITIES”. HIS DECRIPTION ON THE CITY OF BAUCIS: “After a seven day’s march through woodland, the traveler directed toward Baucis cannot see the city and yet he has arrived. The slender stilts that rise from the ground at a great distance from one another and are lost above the clouds support the city. You climb them with ladders. On the ground the inhabitants rarely show themselves: having already everything they need up there, they prefer not to come down. Nothing of the city touches the earth except those long flamingo legs on which it rests and, when the days are sunny, a pierced, angular shadow that falls on the foliage. There are three hypotheses about the inhabitants of Baucis: that they hate the earth; that they respect it so much they avoid all contact; that they love it as it was before they existed and with spyglasses and telescopes aimed downward they never tire of examining it, leaf by leaf, stone by stone, ant by ant, contemplating with fascination their own absence.”
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PATTERN ILLUSTRATION OF CLUSTERED DRILL-BITS MOVING IN VARIOUS DIRECTIONS. THE ORIGINAL ILLUSTRAION IS THE ONE BELOW AND THE OTHER TWO ARE VARIATIONS THROUGH A KRINK K-60 PAINT MARKER.
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