WORK 8 by Maria Gonzalez

Work 8

Interior Sites AAS Interior Design Parsons School of Design

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WORK 8 ÂŠ2015 Parsons School of Design The New School 66 5th Ave New York, NY 10011 All rights reserved. No part of this publication may be reproduced in any manner without permission. All images of student work appear courtesy of the students. ISBN 978-0-9837425-1-7 Cover Image: Caroline Edmondson Interior Design Studio 2 Faculty: Kevin Estrada and Sean Arrasmith

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Parsons School of Design

Interior Sites WORK 8

AAS Interior Design

New York 10

Hackett

Edmondson

Cornell

Burlo

Legault

Kristersson

110

Alumnus: Yedid

118

Faculty: Manis

Deanâ&#x20AC;&#x2122;s Letter

Editorâ&#x20AC;&#x2122;s Letter

Guatemala 36

Lind

California 90

Cassiman: Inside Googie

New Jersey 68

Adeoye

Khullar & Parikh

Slavitt

Levine, Fu & Vogel

Laube, Edmondson & Likins

Brazil 54

Lalvani

Lee

Sharma

Roberts

Veneti & Fardanesh

Table of Contents

Saudi Arabia 52

Yoo

128

Faculty Credits

134

Honors

Anywhere Sudan

Yoo

Pisimisi

Kristersson & Susai

Garner

Pisimisi

Osfray

• Brazil, Cathedral of Brasília

• Saudi Arabia, Quba Mosque

• Guatemala, Tikal

• Sudan, Pyramids of Meroe

• New Jersey, Asbury Park Convention Hall

• California, Googie Cafe

• New York, Empire State Building

D E A N â&#x20AC;&#x2122;S LETTER

Work 8: Interior Sites is the eighth volume of the interior design journal founded and edited by Professor Johanne Woodcock, the Director of the Associate of Applied Science in Interior Design (AAS ID) program at Parsons School of Design. AAS ID draws most of its students from other professions and disciplines looking for the greater challenges and rewards in the creative field of interior design. With a focus on rigorous professional preparation, Professor Woodcock skillfully curates a series of thematic studios each year, sending graduates into the profession with new questions and areas of inquiry. The Work series captures and archives the history of these yearly inventions, which have become important milestones in the century long tradition of interiors at Parsons. The timely theme of interior sites represents the global reach of projects that faculty and students have brought to this yearâ&#x20AC;&#x2122;s volume. In addition to community and archival spaces in New York City, interiors projects are sited in post-gambling Atlantic City, New Jersey; a favela in Brazil,

women’s support centers in Guatemala, and Sudan, TED headquarters in Saudi Arabia, and, most provocatively “anywhere.” Work 8 vividly explores the ways that our interior environments respond to the diversity of cultural and ecological contexts. The School of Constructed Environments comprises four disciplines—Interior Design, Architecture, Lighting and Product Design—that are part of the rich intellectual context of The New School. The social, performative and political questions posed by the design projects and critical essays in this volume both inform and are informed by the wide array of Parsons and New School degree programs in Design, Performing Arts, Social Research, the Humanities and Public Policy. The New School has always been at the forefront of creative action-based research in the context of new societal challenges. Work 8: Interior Sites is an important part of the global vision and impact of Parsons and The New School.

Brian McGrath Dean, SCE

E D I TO R ’S LETTER

Many design critics point to troubling homogeneity in the newest built environments, raising questions about the difficulty of people to feel connected to such generic habitats. Some contemporary designers seem to have developed a kind of aesthetic “neutering” of spaces they create, rather than celebrating rich local design. In response, Parsons provides an environment that stimulates students through a dialectical process to engage with the widest/broadest possible design options. Our students must have the training and understanding to develop specific formal design protocols but also—and just as important—to engage with the aesthetic imperatives that enrich habitats across the globe. And we must continually open ourselves to these imperatives. Work 8: Interior Sites presents our students’ engagement with these questions through interior design. Their proposals are located in a variety of neighborhoods: New York City, Atlantic City, Guatemala City, the Sudan, Brazil and Saudi Arabia. They demonstrate a blending of cultures that challenge national borders, depend less on non-renewable resources and celebrate historical, cultural and local references.

For example, a sense of local nuance is illustrated in the design of a community center in New York’s vibrant Lower East Side. This design makes imaginative reference to the immediate culture of graffiti, dance, and music as significant cultural artifacts. Students working in a second studio created designs for women’s centers in the Sudan, Guatemala City, Brazil and Nepal. The centers were designed to address a variety of needs identified by local non-governmental agencies organized to support women. We conclude the student proposals with Sofia Pisimisi’s submission to Metropolis Magazine’s Workplace of the Future 2.0 Design Competition. I’m pleased to report that Sofia was a finalist in the competition. We are also excited to present design historian Rachel Cassiman’s text titled “Inside Googie” and the work of alumnus Edward Yedid and featured faculty Tina Manis. Enjoy.

Johanne Woodcock Director, AAS Interior Design

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G RA F F I T I WA L L

Ryann Hackett The Lower East Side Urban Arts Center is a haven to nurture the artforms of urban dance, graffiti art, skateboarding, and music. While the Center promotes these art programs individually, its primary function is to assist their growth collectively, driving further advancement and the creation of future hybrids. Housing these groups in a synergistic environment promotes the art forms both individually and collectively. The four expressions occurring in the LES Urban Arts Center are the main drivers of the design. While graffiti art is apparent throughout the space, music, dance and skating are captured in the abstract due to their temporary nature. Evidence of the organic and erratic vectors these three practices take through time and space can be viewed in many architectural elements throughout the center. The nucleus of the center is a 450-seat performance space that can present performances simultaneously inside and out. Wrapping around this central performance space are practice and education spaces. The key feature is their visual connection to one another and back to the central performance space creating a link between performances and practices of all four programs.

Degree: University of Arizona, BS Major in Finance, ryannswan@gmail.com

Faculty: Kevin Estrada and Sean Arrasmith

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S O U N D WAV E C O M U N I T Y C E N T E R

Caroline Edmondson The Soundwave Community Center is located under the Manhattan Bridge in New York City. It serves as a creative space for the local community and musicians around the city. A collaborative environment is fostered through performance, teaching, learning, practicing and recording spaces. The Center offers practice rooms for musicians, workspaces for music therapists, two recording studios, open rehearsal areas and an outdoor amphitheater. The form, a sound wave, was the point of departure for the design. Its abstraction responds to various programs and spaces, surfacing as it travels from one end of the space to the other. It begins in its original form and is then manipulated to act as an acoustic canopy, determine the shape of a wall, or create the roof for a practice room, continuously reinforcing the shared space. The materials used in the Center are influenced by materials used in the production of musical instruments. The outdoor amphitheater is mirrored at the other end of the anchorage by a green space that translates the sound-wave form with slight sweeping gestures, and features large interactive music installations. Engaging all ages, the Sound Wave Community Center aims to bring together a community in need of a creative venue. Degree: Queenâ&#x20AC;&#x2122;s University, Canada, Bachelor of Music. www.carolineedmondson.com

Faculty: Kevin Estrada and Sean Arrasmith

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S H U N K K E N D E R A RC H I V E

Holly Cornell The Shunk Kender Archive, located in the East Village, houses a vast collection of photographs and videos by Harry Shunk and János (Jean) Kender. The design of the archive space addresses artists’ intentions to question social interaction by creating intriguing moments of communication between viewers. A former Con Edison substation, the building heavily influenced the design. For example, the movement of sliding bookcases through a triple-height space evokes a “silent factory,” alluding to the industrial past of the building while maintaining a gallery-like atmosphere and a series of angled wooden ribs rise from one side of the wall and fold to create a staircase. The second floor is devoted to artist biographies and smaller compartments for videos. The screening room is reached behind a moveable bookcase, which alternatively reveals a stair to the third floor, where long oak desks and a small terrace provide a moment to pause and read. At the gallery level, photographs of the artists at work extend the relationship of observer and performer through time. While thin gaps within the paneled walls allow glimpses of other visitors, each lane is set at a slightly different height, allowing for subtle changes in the eye level as one proceeds. Degree: Duke University, BA Art History. hollywcornell@gmail.com Faculty: Anne Nixon and Kristina Kesler

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S H U N K K E N D E R A RC H I V E

Sofia Burlo Photographers Harry Shunk and János (Jean) Kender took some of the most iconic photographs of American and European mid-20th century art, producing tens of thousands of images. Some are housed in New York in the Shunk Kender Archive. To house the New York archive, a building built for Con Edison in New York City’s East Village is itself converted into a piece of art. Exploring the concepts of Collecting and Dispersing, every level in this building is connected by the design’s primary element, a polygonal system that moves through and between the floors like growing cells. This system serves as a display background for photographs and artifacts and provides seating and table surfaces for reading rooms. An additional orthogonal storage system is created with metallic scaffolding. The scaffolding also appears throughout the space, working as a structural support and providing a grid-like rational organization as a counterpoint to the polygonal structures. The design accommodates various interconnected programs that are dispersed through all of the four levels of the space: auditoriums, reading rooms, exhibition spaces, book and artifact storage, and office space.

Degree: University of Buenos Aires, B Arch. sofiburlo@gmail.com

Faculty: Anne Nixon and Kristina Kesler

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COMMUNITY CENTER 122

Danielle Legault The primary goal for this project was to design a space that takes into careful consideration tenants that include the AIDS Service Center of NYC, Mabou Mines Theatre Group, Performance Space 122, and Painting Space 122, along with their visitors. Finding a way to unite (or disjoint) the varying groups of people that would be using the community center was the driving force of the design. Considering that over half of the tenant groups are arts based, the design for the community center derives from the concept of a vitrine, a glass unit typically used to display fine art. The challenge was finding a way to allow a form that is traditionally very public to also act as private space. Adopting the concept of a vitrine, and playing with different proportions and concealment, the community center becomes a place where one can see or be seen at different scales and privacy. From peeking through a small opening to standing within a larger “vitrine,” public vs. private issues are resolved in accordance with the tenant’s program. In the end, the entire CC122 building itself becomes a vitrine to display and celebrate the diversity of New York’s East Village community.

Degree: University of Toronto, HBA Art History. Daslegault@gmail.com

Faculty: Bren Galvez-Moretti and Cary Ng

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1 22 C O M M U N I T Y C E N T E R

Tilda Kristersson Located in a former public school in New York Cityâ&#x20AC;&#x2122;s East Villageâ&#x20AC;&#x201D;a neighborhood has long been defined by its diverse culture, persistent energy and artistic influencesâ&#x20AC;&#x201D;122 Community Center functions as a vibrant community hub. The Center is an umbrella organization that serves four very different organizations: AIDS Service Center/Allied Services Center NYC, Mabou Mines (an avant-garde theatre company), Painting Space 122 and Performance Space 122. The challenge was to incorporate four very different tenants into the space and make all of the various kinds of visitors feel safe and at home. The design of 122 Community Center was inspired by the concept of belonging, creating shared experiences for the tenants and generating relationships that otherwise would not happen. The major design element is a curving screen that divides the Center into individual program spaces. Creating a sense of belonging within the Center, the screen goes throughout the space and generates a sense of distinct but overlapping programs. By replacing solid walls with a screen made of wood slats placed one inch apart, I create in each space an awareness of what is happening on the other side, producing one shared experience that brings the different tenants together. Degree: Lund University, Sweden, B Political Science, Major Human Geography. tilda_kristersson@hotmail.com

Faculty: Bren Galvez-Moretti and Cary Ng

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ASC Private Councelling

ASC Testing

ASC Private Councelling Stage ASC Waiting Area

ASC Group Counselling

Lobby/ Gallery

Backstage Area

ASC Reception

Public Lounge Area

ASC Office

Restrooms

Second Entrance

ASC MultiPurpose Event Space

Lobby/ Gallery

Event Space

Main Reception

Restaurant

9th Street

Lobby/Gallery

Main Entrance

1st Avenue

Plan

Scale: 1/8” = 1’- 0”

Mezzanine Plan Scale: 1/8” = 1’- 0”

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Section 3

1st Avenue

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CRECIENDO

ChloĂŤ Lind In Guatemala City, the capital of Guatemala, where women are systematically disadvantaged, there is a critical need for a safe and supportive center where they can come together and empower themselves through learning and collaboration. The Creciendo (â&#x20AC;&#x153;Growingâ&#x20AC;?) Center focuses on language comprehension skills, as many women come from remote villages and do not read, write, or speak Spanish. Particularly when it comes to ensuring basic human rights and matters of the law, this proves to be extremely problematic. The concept model for the Center depicts a process of nodes connecting, growing, and contracting, and the structure provides a catalyst for growth and networking on both a personal and community level. Low-cost and durable cargo containers are connected to create interactive indoor and outdoor spaces. Strong colors and changes in the elevation and orientation of the containers reflect the dynamic and shifting process of learning. Women are encouraged to move through the containers, to study, relax, reflect, or collaborate. The modularity of the structure also presents the opportunity for single modules to be deployed in additional locations, extending the reach and impact of this organization. Degree: Skidmore College, BA Major in Spanish Language & Literature and Minor in Studio Art, Business & Management. talk@chloelind.com

Faculty: Kevin Estrada and Sean Arrasmith

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PAV I L I O N O F K N O W L E D G E

Sofia Pisimisi One of the main challenges for encouraging women’s entrepreneurship in developing countries is the need for knowledge. The Pavilion of Knowledge is a non-government organization based in Khartoum, Sudan that focuses on gender equality and women ‘s empowerment through education and entrepreneurship. The organization is located in a two-story building. The design of the space is inspired by the people it is going to serve: the Sudanese women. Cultural elements are transformed into architectural forms. For example, the Sudanese tobe—a traditional female costume—becomes the inspiration for the exterior and interior space. An organic-shaped wooden band surrounds the exterior façade and organic multi-bands that are unwrapped in the interior form walls, separating the public spaces (lobby, lounge areas, library) from the private spaces (office, classrooms, meeting rooms, auditorium). In addition, wall perforations in a pattern based on the urban landscape of the streets of Khartoum are placed in the private spaces, creating a variety of densities and views. The interior spaces are designed in a relation to the two central glass courtyards. Light, coming from the courtyards finds its way in the building through different wall layers and openings. Simplicity and modesty were the key features in designing this space. Degree: Athens School of Fine Arts, BA, Art History. sofia.pisimisi@gmail.com Faculty: Kevin Estrada and Augustus Wendell

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STO RY C O N N E CT I O N

Sana Garner Story Connection, in Khartoum, the capital of Sudan, is designed as a safe space for displaced women that encourages interpersonal connections. Its curved walls and open entryways create a feeling of being enveloped in the space. With 89% of Khartoum’s buildings made of brick, it was important to use locally produced brick as the main material. Perforated brick screens, plastered walls and glass differentiate public from private spaces. Skylights create a network highlighting the presence of the sky so women understand themselves in the larger context. Gardens are positioned at the entrance and in the rear to create a place for retreat. Public spaces—reception, office, computer classroom, group therapy room, restroom and garden—are on the first floor, and the second floor has two individual therapy rooms and a small computer lab. The first-floor computer classroom is where typing and creative writing classes are held. This training has multiple purposes. In an effort to preserve history and culture, Story Connection archives the women’s writings for social anthropological reference, and as women become proficient in typing they are eligible for better employment. Story Connection helps to heal displaced women and gives them tools to better themselves and their community. Degree: University of the Arts, BFA Ballet Performance, Marie Aiello Design Studio, sanagarner@gmail.com

Faculty: Kevin Estrada and Augustus Wendell

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REAR GARDEN

RESTROOM

COMPUTER CLASSROOM

GROUP THERAPY

RECEPTION

RECEPTION LOUNGE

OFFICE

FRONT GARDEN

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AW E W E

Ksenia Ofray As a result of rapid urbanization in the 1970s, Khartoum, the capital of Sudan, has thousands of migrant families living in poverty. The conditions of displacement make it impossible for Southern Sudanese women to continue in Khartoum the cultural traditions that they had practiced at home. The AWEWE is a non-governmental organization that promotes recreation and leisure activities that address these issues. The overall design goal was to accommodate as much of this community as possible and give them a safe place, drawing a parallel between these women as unique members of the Khartoum community and the design elements of this secure and enjoyable space. In the same way that the women get together to empower themselves, the design components unite to create a strong model: the concrete plates of the entire structure integrate with wood planks that travel through the space and soften the interior. The building shape is repeated in the interior and becomes a pattern for areas such as reception, studios, and a performance hall. Some of the interior elements extend to the exterior landscape, creating a strong connection between the building and the surrounding area. The use of local materials ensures an environment the community is familiar with. Degree: Moscow State University of Railway Engineering, Russia, Bachelors of Civic Engineering. ksofray@gmail.com

Faculty: Kevin Estrada and Augustus Wendell

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T E D G LO B A L H E A DQ UA RT E RS

Soo Y. Yoo The TED Global Headquarters in Jeddah, Saudi Arabia is dedicated to making great ideas accessible, sparking conversation and helping propagate solutions to address women’s rights issues in Saudi Arabia and globally. Housed in a bank building near the financial district and the Old City of Jeddah, the spaces are accessible to TED employees as well as the wider community. The first floor is open to the public as a shared workplace and meeting rooms. The upper floors are for staff, with a women’s counseling office, executive offices and video editing suites. The material and form are inspired by the Saudi women’s all-enveloping black attire that is considered a mark of oppression. However, reinventing it as a crucial element in the interior design celebrates the pride of Saudi women and their freedom to cherish cultural and religious beliefs, while rethinking the relationship between “the body” (or “the skin”) and “clothing.” The spiral wrapping design referencing the act of women putting on their cloak is a key spatial strategy throughout the building. The repeated interconnected shape is derived from the patterns of mesh that are used to create the garments. Curtains and glass panels make it easy to divide the spaces. Degree: Rhode Island School for Design, BFA Painting. willowsoodesign@gmail.com

Faculty: Tina Manis and Sean Arrasmith

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T E D G LO B A L H E A DQ UA RT E RS

Lena Lalvani The structure designed for the TED Global headquarters blends indoor and outdoor spaces, taking advantage of Brazil’s climate and landscape. Cross ventilation negates the need for air conditioning, limiting the building’s environmental impact and showcasing natural views that enhance the energy and productivity of the team. Biodegradable textiles and local hand-woven fabrics are used for modular couches, and energy-efficient skylights form the majority of the roof. Brazil’s “golden grass,” a native plant that has a bright gold color, informs many design elements. An organic feeling is created by the main shell-shaped staircase that also serves as the stage, and by curved terrace railings, communal tables and lounge-style daybeds. Golden grass crafted by local artisans is showcased in the intricate weaving inset in oversize pivot doors and outdoor benches. The color scheme blends natural materials and colors with splashes of high gloss “TED red” and white, representing a balance between local action and global thinking. Floor patterns and materials change throughout the space, from the decking to the indoor rustic wood plank floors to the outdoor grass. A natural infinity cistern runs through the middle of the space, juxtaposed upon entry with the red TED logo on a perforated steel wall. Degrees: University of Pennsylvania, BA in Economics, AAS Fashion Institute of Technology, Fashion Design. lenalalvani@yahoo.com Faculty: Tina Manis and Sean Arrasmith

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T E D G LO B A L H E A DQ UA RT E RS

Manvee Sharma The powerful TED Talks propagate â&#x20AC;&#x153;ideas worth spreading.â&#x20AC;? The program for this project includes a net installation outside the office to encourage sharing of ideas directly with the public as well as a canopy within the office that articulates a meeting area, open office spaces and a conference room, creating places for sharing ideas and encouraging the free flow of communication. Editing suites, executive offices and phone booths have been isolated at the back of the space for acoustic control and privacy. The location for this project is a neighborhood with an important urban center close to several large favelas. It is close to the city center and several universities. The primary design element was inspired by Brazilâ&#x20AC;&#x2122;s bobbin cotton lace making culture. The cotton forms an undulating canopy in the center of the office that represents the main concept of TED talks: spreading ideas. Cotton has a tensile strength and is an organic material that is beautiful to the eye and comfortable to touch. A multi-colored tensile structure divides and unites spaces for different uses. The cotton threads act as the connective elements that hold these spaces together, again representing holding strong ideas together and spreading them in the world as TED Talks suggest. Degree: Delhi University, BA Economics and Mathematics. manvisharma3@hotmail.com

Faculty: Tina Manis and Sean Arrasmith

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T E D G LO B A L H E A DQ UA RT E RS

Rebecca Roberts The “beautiful game” of soccer inspired the new global headquarters of the not-for-profit organization TED Global, located in Rio de Janeiro. Soccer, universally and passionately enjoyed by fans spanning all ages, races, religions and levels of society, is played with a ball comprising pentagons and hexagons stitched together. The pentagon—representing strength, unity and equality—unites TED’s programs and invites the world to participate. The stars over Rio on the night of Brazilian independence are represented in Brazil’s flag, and those same constellations can be seen in the building’s ceiling and in an organic canopy structure and ceramic fritting that skirt the building, providing both a beautiful portal and shade. The glass structure provides visibility into the interior space. Visitors are greeted by a colorful suspended sculpture of tiered scrap metal pentagons representing the favelas of Rio de Janeiro. An atrium provides spaces for people to meet and share ideas while enjoying the natural light and embossed columns that draw the eye upward to the poetic detail overhead. A special space celebrates the idea of integration through soccer: a locker room and adjoining soccer pitch where anyone can come be a part of the TED club. Degrees: University of Maryland, MBA; Pennsylvania State University, BA Economics. rebecca.n.roberts@gmail.com

Faculty: Tina Manis and Sean Arrasmith

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T E D G LO B A L H E A DQ UA RT E RS

Catherine Lee TED Global wants to connect those possessing resources and those who don’t, and wants to encourage a mutual understanding and social integration. The mission of its new headquarters facility in Rio de Janeiro is to advocate for social integration and resource sharing among citizens. TED Global believes that ideas shared among the young are seeds of hope and positive changes and one way to accomplish this is to situate themselves near both college students and the poor kids from the favela. The program, then, is to create open space to share with the community while keeping parts of the building more private for working space. My design concept, inspired by the Cobogó, a Brazilian brick module invented to deal with the local climate, is to use layers of porous screens to flexibly separate public and private areas while maximizing ventilation and natural lighting. A communal space with screens that can be pulled up and down serves as a buffer between the public space and the work area. Movable library shelves with embedded desk and bench furniture showcase TED publications, host volunteer tutoring sessions, serve as gallery walls, and separate the public space and working area.

Degrees: National Taiwan University, MBA; University of California at Berkeley, BBA. catherinecllee@gmail.com

Faculty: Tina Manis and Sean Arrasmith

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H OT E L RO C I N H A

Elena Veneti Laura Fardanesh From its location at the top of Rocinha, the largest favela in Brazil and the most spectacular alternative to mainstream Rio, the Hotel Rocinha gives people the opportunity to interact with habitats often misinterpreted by portrayal. Our hotel provides a creative space that establishes a permanent place in the local and international market. Our main aim is to provide amenities and resources to people coming from a creative field looking for a truly unique experience within the hotel and its surroundings. We also hope to contribute to the enrichment of the favela through the work of artists, in the hopes of bringing together locals and visitors to inspire one another. The location in the Rocinha was chosen due to its dialogue with the surrounding buildings. The favela painting project led us to choose this artistic district. The radiating blocks of colors inspire our guests not only for their visual beauty but also for our hotel to contribute to this transformative social art movement, offering opportunity and economic stimulus to the area. We believe we will form a network of individuals that will come from anywhere in the world and interact with a truly diverse mix of people. Degrees: University of Athens, MSC in Landscape Architecture, BS Agriculture. elenaveneti@gmail.com Degree: University of Miami, BA Art History and History. lfardanesh1@gmail.com

Faculty: Douglas Grieco and Veronica Siebert

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V I RG I N AT L A N T I C LO U N G E

Lani Adeoye My design for the Virgin Atlantic Newark Airport Lounge stems from my analysis on Virgin Atlantic’s brand identity. Aside from being an innovative brand, Virgin Atlantic is also known for connecting to its customers. A passenger’s state of mind is crucial in terms of how one experiences the transitional space of an airport lounge. I therefore segmented the users based on their mindset in terms of the “Tired Body” and the “Active Spirit.” This contrast gave birth to my idea of “Polarity.” Similar to the concept of yin and yang, it is essentially a holistic system with two different parts that interact. Polarity comes into play in the layout, structural elements and furniture design. As shown in the plan, programs that are more stimulating such as the hub (café), the bar, and the cave (VIP space) are on the red central path, while the perimeter path has rejuvenating programs such as the deck (entertainment space), restaurant, and chill-and-snooze loft. Changes in wall heights, floor levels, acoustics and lighting enable passengers to navigate the space easily and experience varying ambiances as their needs change. The main programs serve as experiential microenvironments, while the space still creates a seamless flow as one navigates the lounge. Degree: McGill University, Bachelor of Commerce laniadeoye@gmail.com

Faculty: Hayes Slade

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V I RG I N AT L A N T I C LO U N G E

Haley Slavitt The concept driving the Virgin Atlantic Upper Class Lounge at Newark Airport is transcendence. While passengers are already on a specific journey, the lounge will allow them to feel as though they are beyond the limits of all possible prior experiences and knowledge. When first stepping into the entrance, passengers will feel as though they are ascending through abstract clouds, not knowing exactly what the journey will lead to ahead. Making their way through the clouds, they will enter the spacious lounge. The lounge is designed with a series of spaces, each addressing the specific needs of passengers, whether they want to eat, drink, or just simply relax. These spaces curve and bend, allowing for both social and intimate experiences and moments that are light and dark. Materials are elegant and natural, and polished: marble, stone, polished chrome, oak, and brass are complemented by wools and leathers in rich colors such as blues, greens and purples. Visually, these spaces are designed to encourage passengers to explore what is just beyond, across, or through the space they are experiencing at that moment, allowing for transcendence from beginning to end on this journey.

Degree: Loyola Marymount University, BA Urban Planning. hslavitt@gmail.com

Faculty: Hayes Slade

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C LO S

Adrienne Laube Caroline Edmondson Thomas Likins CLOS extends the existing culture in Atlantic City, where nightlife still flourishes, even in the current environment of casino foreclosures. CLOS peels back the city’s slick facade to reveal its darker, hedonistic pulse, celebrating decadence, sparking curiosity, and beckoning the inner savage of every guest. Lit Clos, a Prohibition-era speakeasy hidden with the hotel, offers a more concentrated and intense experience. An ideal spot for bachelorette and bachelor parties, Lit Clos celebrates the city as a popular destination for such events. In keeping with the theme of peeling back, CLOS uses a series of “peels” to carve out distinct spaces, creating different levels of transparency throughout the hotel. This leads guests on a journey from the curious peripheral peels to the decadent and savage interior. Materials like bronze, steel, marble, rich wood veneers, deep gray carpets, and velvet upholsteries reflect and enrich the fundamental aesthetic. Degree: Queen’s University, B Music. carolineedmondson.com Degree: McGill University, BS Behavioral Science. adrienne.laube@gmail.com Degree: Skidmore College, BS Neuroscience. hello@thomaslikins.com Faculty: Douglas Grieco and Helen Han

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B R E A K H OT E L

Ishita Khullar Laura Parikh Break Hotel is dedicated to the processes of healing and grieving, whether from divorce, death, job loss, or other devastating situations, seeing the experience of grief as an opportunity for self-transformation. The program addresses the stages of grieving by offering targeted activities and spaces that will aid in guestsâ&#x20AC;&#x2122; rest and recovery. These programs and experiences are designated by a series of screens that define and transform spaces. The materials of the screens may be highly technical or very natural, from digital screens to sophisticated acoustic material to metals and beautiful woods. These screens vary in scale and intersect the original structure. The screens are also used to establish varying levels of privacy, with an eventual progression to opening completely as guests are ready to enter back into the world. The journey of the guests at Break Hotel begins as an individualized experience and expands to allow for socialization as they progress throughout their stay.

Degree: University of Delhi, BA Economics. IshitaKhullar@hotmail.com Degree: University of North Carolina, Chapel Hill, BA Communications. lauren.parikh@gmail.com

Faculty: Douglas Grieco and Helen Han

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T H E SY L A R H OT E L

Natalie Fu Mariel Levine Eleanor Vogel Sylar, located in a former casino, combines science (SY), resort life (L) and art (AR). The redesign of the hotel required extensive study of social, technological and scientific trends. In interactive playgrounds in the hotel’s Launch Pad, guests discover trends in science and entertainment. The buffet, P-Dish, offers 3-D printed food, bioluminescent treats, hydroponic herbal gardens and liquid test-tube drinks. Meandering guests consider where food comes from and how it is made. Sylar’s spa features a bioluminescent salt water pool, seaweed detoxification pool, “doctor fish” pool for dead-skin removal, a snail pool to soften and heal skin, snail facials and snake massages. Sounds in Oscillation, a dance club, result from magnetic fields. The design of the club amplifies these sounds, and guests choose from indoor and outdoor experiences. The guest rooms, which are powered by a wall that reacts to the sun, have three zones: a brain sensory bed, a dual technology center, and a bio-growth station. Degree: The University of British Columbia, B Comm Accounting and Marketing. natfu9@hotmail.com Degree: Washington University in St. Louis mariel.levine@gmail.com Degree: LIM College, BA in Marketing. ellevoge@gmail.com Faculty: Douglas Grieco and Helen Han

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I N T E RACT I V E WA L L

Soo Y. Yoo Play Tunnels is an interactive wall that is designed according to the proportions and appropriate interactions between children and their parents. Play Tunnels, consists of two components: a childrenâ&#x20AC;&#x2122;s play wall on one side and adult socializing space on the other. For the childrenâ&#x20AC;&#x2122;s side, the proportions of the tunnels varies according to the size of children from age 3 to 13, with rthe adius referencing their seated height. The wall is made of thick Acrylite that changes from translucent to opaque, depending on the age of the children: translucent for younger children that need parental guidance, and opaque for the older children, who prefer to be left alone to play with their friends. The spaces for the younger age group are open to the adult side of the wall, so that the adults can see and play with their kids, while the spaces for the older age group are closed off to give them more privacy. Step stools on one side become large tables on the adult side, so parents can socialize while their kids are playing. LED lights illuminate each tunnel with vibrant and playful colors. The inside of the tunnels are padded for the kidsâ&#x20AC;&#x2122; safety.

Degree: Rhode Island School for Design, BFA Painting. willowsoodesign@gmail.com

Faculty: Sandra Arndt

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ELEVATOR BANK

7TH AVENUE

SELF CHECK-IN

LUXURY/ TECH SERVE

ENTRY

MAKERBOT WALL

Floor Plan - Lobby

LIGHT THERAPY/INTERACTIVE MEDIA LED PANEL

SHOWER/BATH SELF DRY

BUILT IN CLOSET/ STORAGE

ENTRY

Queen Bedroom Floor Plan - 215 SQ FT

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H OT E L 6 D E G R E E S

Tilda Kristersson Olivia Susai Creativity, collaboration, connections and high technology are words synonymous with Google, and they guided us in our design of this Google hotel. Mindful that apps such as Google + have increased the ways in which people make new connections, we interpret this as being similar to the theory of “six degrees of separation”—hence the name Hotel 6°. Our hotel exists twenty years from now, when technology has advanced and pollution is dictating a new way of living. We have the opportunity to make the hotel experience more than just a place to sleep. Our hotel creates a more engaged environment, but also a way to completely disconnect and attain peace and serenity. The lobby floor is equipped with technology that gives users a chance to connect to other visitors through syncing their check-in and Google + connection. Rooms feature light therapy that can assist visitors with overcoming jet lag and wall-to-wall LED panels that can live stream any views visitors wish to see and allow users to connect to anywhere in the world without leaving their room. Even the bathrooms are high tech: hands-free technology for showers and hand washing saves the environment by eliminating the need for towels. Degree: Lund university, Sweden, B Political Science; tilda_kristerrson@hotmail.com Degree: Queen’s University, M Urban and Regional Planning; olivia@oliviasusai.com Faculty: Pierpaolo Matridonna

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T H E H A RV E ST E R S

Sofia Pisimisi What if the workplace of the future brought people closer to a healthier and more sustainable lifestyle, serving a whole spectrum of ways of working? The Harvesters owns an urban farm and an online grocery delivery store. The farm provides local food and the opportunity for city dwellers to become part-time farmers, creating more green spaces and enhancing biodiversity. It builds a hyper-local resiliency in the face of climate change. The company’s small size fosters teamwork and ensures that resources are not wasted. Harvesters’ all-in-one rooftop reduces the costs and pollution of food transport, and artists and graphic designers create eco-friendly delivery packaging. Harvesters ideas and products are demonstrated in popup markets in public spaces, with baskets for produce and touch screens with information about the company. The Harvesters project also introduces the company’s seating booths, on the rooftop or in public locations through out the city. They offer space to meet in an interesting location, or to eat, relax and use free Wi-Fi.

Degree: Athens School of Fine Arts, BA Art History. sofia.pisimisi@gmail.com

Faculty: Nadia Elrokhsy

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INSIDE GOOGIE Living Billboards & a Look Back at the Future by Rachel Cassiman

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Photograph bySam Howzit ÂŠ (2013)

In 1949, Mortimer and Lillian Burton opened a coffee shop on Sunset Boulevard and named it Googie’s, Lillian’s nickname.1 To design the space, they hired a young architect and disciple of Frank Lloyd Wright, John Lautner, who had been working in Southern California since the mid-1930s designing both residential and commercial buildings in a new architectural style. Within three years, that humble coffee shop was synonymous with a distinct style of architecture and interiors specific to midcentury Southern California.2 In 1952, architectural critic Douglas Haskell wrote an article published in House and Home titled “Googie Architecture.”3 He used Googie’s as both the name and a definitive example of this new style, presenting a fictional conversation between a college professor and his students regarding its definition: it must look organic, but be abstract; it ignores gravity; it can use any material available; and it exercises freedom of equipment.4 The fictional discussion of the style was Haskell’s mechanism for expressing its appeal, but also his disdain for these types of commercial buildings as being outlandish, excessive and tacky.

What is Googie? As architectural historian Alan Hess explained, “One of the key things about Googie architecture was that it wasn’t custom houses for wealthy people — it was for coffee shops, gas stations, car washes, banks… the average buildings of everyday life that people of that period used and lived in. And it brought that spirit of the modern age to their daily lives.”5 Richard Poulin noted that Googie is “a modern, futuristic architectural style influenced by car culture and the space age.”6 But such architecturally focused definitions risk neglecting the complexity of the style. To say Googie was purely architectural is to minimize the importance of the interiors. Googie designs were often holistic, with meticulous attention paid not merely to the building itself, but everything that was contained within, including furniture, artwork, lighting, and a vast array of decorative objects. One might be tempted to define Googie as modern, aligning it with the Modern Movement, where architecture had both aesthetic and political meaning and was derived from European Modernism. Some architectural critics, however, spurned Googie. Thomas S. Hines, Professor of Architecture at UCLA wrote that the “Googie craze swept the world of architecture and, in turn, induced a toxic reaction that saw it as a virus corrupting the modern movement.”7 A simple definition of Googie remains elusive, but, for certain, Googie was entirely futuristic, influenced by car culture and the space age, and reflecting the spirit of Southern California during the Postwar Period.

A Star(burst) is Born. In the aftermath of World War II, Southern California reaped the benefits of wartime innovation, with technological advancements ushering in a new period of economic prosperity and a corresponding population boom. Southern California was using its newfound wealth to focus on the American Dream: marriage, family, single-family homes, personal automobiles, and free time for recreation.8 These factors, coupled with the warm Southern California climate, created the perfect backdrop for the rise of Googie. Interiors were a reflection of these aspirations. Southern Californians wanted large lawns, indoor-outdoor living areas with patios for entertaining, kitchens equipped with modern appliances, walls of glass to unify the indoors and outdoors, and open floor plans featuring connected kitchens, living rooms and dining rooms for ease of daily life and entertaining.9 Commercial spaces were not much of a departure from their ideal domestic spaces. This was demonstrated through the prevalence of Googie-style restaurants in the 1940s and 1950s, with common attributes including large plate glass windows, indoor-outdoor spaces, exhibition kitchens equipped with modern appliances, and open floor plans that provided unobstructed views of all aspects of the interior. These interiors also included colorful upholstery and combined natural elements like plants, wood, stone and terrazzo with new materials such as vinyl, formica, and laminate (fig. 1). Such materials served dual functions of contributing to the desired aesthetic of the interiors, while serving functional goals like ease of use and resilience.

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Fig 1 - Photograph by James Horecka ÂŠ (2008)

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Fig 2 - Photograph by James Horecka ÂŠ (2008)

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Indoors or Outdoors? The sunny and temperate Southern California climate allowed for both residential and commercial spaces to focus on the active outdoor lifestyle so highly valued by the general population. Large walls of glass with overhanging roofs for sun protection allowed for a connection between indoor and outdoor spaces. These glass walls replaced traditional plaster walls and small windows, emphasizing the fluidity and adaptability of the space. An open floor plan replaced separate kitchens and dining rooms and converted them into areas that could be viewed from any vantage point in the structure: the kitchen, dining, lounging and patio spaces were merged into one without removing them from the vistas of the California landscape. Interiors utilized built in planters, or small gardens within or directly outside the structure, further blurring the lines between the interior and exterior. In conjunction with the tropical foliage, natural stone walls mimicked the natural environment, giving the enclosed portions of the restaurant an almost cave-like feel, again blurring the distinction between indoor and outdoor space. Pannâ&#x20AC;&#x2122;s, a restaurant still operating on La Tijera Boulevard in Los Angeles, demonstrates these elements of Googie perfectly (figs. 2-3). The interiors appear to be nestled within a forest of tropical foliage, bathed in natural light. Planters carry the subtropical foliage theme inside, and there is an enclosed patio that offers a more intimate dining area with the feel of a residential backyard. Similarly, Johnnieâ&#x20AC;&#x2122;s Broiler, in Downey, CA, which was partially demolished in 2007 and subsequently restored and reopened as Bobâ&#x20AC;&#x2122;s Big Boy Broiler, features a decorative rock wall extending from the exterior of the building into the interior, once again emphasizing the unification of the indoors and outdoors (fig. 4).

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â&#x20AC;&#x153;Interiors utilized built in planters, or small gardens within or directly outside the structure, further blurring the lines between the interior and exterior.â&#x20AC;?

Fig 3 Fig 4 Fig 4 - Photograph by Author (2015)

Fig 3 - Photograph by James Horecka ÂŠ (2008)

The ABCs (and more) of Googie: Amoebas, Boomerangs, and (Parabolic) Curves The visual vocabulary of Googie was predominantly defined by the dynamic and energetic shapes that were reflective of the new age. In 1957, the Soviet Union launched Sputnik and the space race between the United States and the U.S.S.R. became deeply embedded in the American psyche. Predominant shapes of this time were those inspired by the national aspirations of space exploration and scientific achievement. Examples included atomic models, amoebas, boomerangs, parabolic curves, dingbats, ellipses and starbursts. All of these shapes were evocative of the new national consciousness and were present in architecture, signage, furniture designs, textiles, dinnerware patterns, and lighting. The Theme Building at the Los Angeles International Airport is one of the most iconic Googie structures in Southern California and one of the most extreme uses of the space theme. The restaurant, which opened in 1961, was designed by Luckman & Pereira architect, Paul Williams, to look like a flying saucer. The original restaurant in the space, Host International, was a conservative, upscale restaurant that rotated for optimal viewing of the bustling LAX aircraft traffic. However, when the structure was designated a Los Angeles Historic-Cultural Landmark in 1992 and underwent a much needed renovation in 1997, the designers at Walt Disney Imagineering designed the interiors using Googie elements popular during the 1960s. The new restaurant, aptly named Encounter, was a “gesamtkunstwerk”—a comprehensive work of art—where

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Fig 5 - Photograph by Sam Howzit © (2013)

“decorative motifs suggested that visitors were in their own spaceship exploring the galaxies”10 (photo on pages 90-91 and figs.5-7) . Unfortunately, the restaurant closed its doors in 2014, but the remodeled interiors captured the spirit of Googie perfectly and will hopefully be preserved in the next use of the space. Futuristic and scientific decorative elements were also used on a smaller scale. Bob’s Big Boy Broiler in Downey features a sputnik inspired chandelier surrounded by a starry backdrop, Norm’s on La Cienega incorporates George Nelson’s bubble lamps, and Pann’s address numbers have been transformed into amoeba-like characters (fig. 8). While perhaps more subtle, the common language of such Googie design elements is unmistakable.

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Fig 6-7 - Photograph by Sam Howzit ÂŠ (2013)

â&#x20AC;&#x153;Decorative motifs suggested that visitors were in their own spaceship exploring the galaxiesâ&#x20AC;? - 103 -

Photograph by Author (2015)

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The Future was Bright Lighting was, by far, one of the most important features of Googie interiors. While lighting is a certainly a necessary aspect of any establishment, it played an integral role in evoking the light, airy, and spacious design goals of Googie interiors. The lighting used in these establishments was meant to be secondary to natural light, which during the day served as the primary light source. The plate glass windows and open floor plans allowed for maximal exploitation of such natural light sources. The evenings, however, brought a remarkable shift. Googie interiors were designed to light up at night like living billboards, with its focus on post-war Californian consumption resulting in dazzling nighttime lighting displays. Large, bright, vividly shaped neon signs would identify the structures from far away and the brightly lit interiors as seen through the plate glass walls provided a glimpse of what customers could expect: cleanliness, efficiency, speedy service, and fun. Once inside the structure, they were consuming not only the goods provided to them, but the interiors, the other patrons, the cars outside – in short, the total environment. It was a place to see and be seen, and a perfect accompaniment to the new practice of “cruising the strip.”

Fig 8 - Photograph by Author (2015)

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Googie in the Future On a recent Saturday morning, these spaces were packed with customers admiring the buildings, the interiors, and their breakfasts. Consciously or not, these patrons were participating in the surviving functional art of their grandparents’ generation (fig. 9-10). There is no question that Googie is a star of the Southern California landscape and it not only inspires those who see it in person, but those who see it on the big screen. 11 Unfortunately, many of these spaces have been demolished, nearly demolished, or threatened for demolition.12 Googie is as important to the Southern California landscape as the iconic palm trees and the Hollywood Sign, and its spread throughout the country during the mid-century is a testament to its wide appeal. While people may not know of the term Googie, they certainly are familiar with the style. With today’s current fascination with mid-century American interiors, it is important that we recognize Googie’s enduring contribution. Perhaps paradoxically, these structures, designed with aspirations for a space aged future, today provide us with an important portal back in time.

About the Author: Rachel Cassiman is a Reference and Instruction Librarian at The New School and Subject Liaison for the Architecture, Decorative Arts and Interior Design programs at Parsons The New School of Design. She has a Master’s Degree in Library Science and a secondary Master’s Degree in Decorative Arts and Design with a focus in American Modern Architecture and Interiors. She is a peer-reviewer for Art Documentation: Journal of the Art Libraries Society of North America and the Site Librarian for InsideInside.org, a website to encourage and provoke innovative exploration and research of decoration as a function of design.

Fig 9 - Photography by Chris Saulit ÂŠ (2010)

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NOTES 1. Alan Hess, Googie: Fifties Coffee Shop Architecture. San Francisco: Chronicle Books, 1985: 73-74. 2. Although many directly attribute the Googie style to John Lautner, many architects working in Southern California contributed it to the California Modern movement. These architects included Frank Lloyd Wright, Richard Neutra, Rudolph Schindler, Lloyd Wright, Wane McAllister, Douglas Honnold, Louis Armet, Eldon Davis and many more. Regardless of who the style is attributed to, these creations departed greatly from the historical and revivalist styles that preceded them. 3. Alan Hess, Googie: Fifties Coffee Shop Architecture. San Francisco: Chronicle Books, 1985: 61. 4. Douglas Haskell, “Googie Architecture” House and Home, 1952, 87. 5. Matt Novak, “Googie: Architecture of the Space Age,” Smithsonian, June 15, 2012 (http://www.smithsonianmag.com/history/ googie-architecture-of-the-space-age-122837470/). 6. Richard Poulin, Graphic Design and Architecture, A 20th Century History: A Guide to Type, Image, Symbol, and Visual Storytelling in the Modern World. Beverly, MA: Rockport Publishers, 2012: 251 7. Thomas S. Hines, Architecture of the Sun: Los Angeles Modernism 1900-1980, New York: Rizzoli, 2010: 621. 8. Mark Jarzombek, “Good-Life Modernism” And Beyond: The American House in the 1950s and 1960s: A Commentary,” The Cornell Journal of Architecture 4 (Fall 1990): 76-77. 9. Mark Jarzombek, “Good-Life Modernism” And Beyond: The American House in the 1950s and 1960s: A Commentary,” The Cornell Journal of Architecture 4 (Fall 1990): 76-77. 10. Thomas S. Hines, Architecture of the Sun: Los Angeles Modernism 1900-1970, New York: Rizzoli, 2010: 692.

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11. The Jetsons was inspired heavily by Googie architecture and interiors in Southern California since the Hanna-Barbera studio was located in Hollywood during the development of the show. The Big Lebowski was filmed at various Googie locations including Hollywood Star Lanes (demolished 2002), Johnnie’s Coffee Shop (no longer open as a coffee shop, but used as a film location), and Dinah’s Original Pancake and Chicken House. Heat was filmed inside Bob’s Big Boy Broiler when it was Johnnie’s Broiler. An episode of season 4 of Mad Men was filmed at Bob’s Big Boy Broiler aptly titled “Tomorrowland.” 12. For a list of Googie buildings in Southern California, please see the LA Conservancy’s website at https://www.laconservancy.org/.

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Fig 10 - Photograph by Chris Saulit © (2010)

Featured Alumnus

Edward Yedid

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Miami Condo Photos: Francis Dzikowski

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Back in 2001, when I was working in the banking industry, I realized that I wanted to follow my passion for design. I am not the type of person to engage in anything unless I am fully committed, and when I looked at the Parsons curriculum I felt architecture and interior design would fulfill my creative desires. I have always loved beautiful things, and growing up in New York, and traveling for most of my life, I acquired a strong appreciation for the architecture, interior design, fashion and art that continue to inspire my work today. When you do what you love, the rewards are endless and your passion drives you beyond your expectations. At Parsons, for the first time in my life, I loved school. We learned how to express our thoughts and ideas through drawings and plans so that others could understand and relate to them. Parsons provided the means to develop relationships that would ultimately shape my career. People who have similar interests provide support and encouragement, and can lead to bigger opportunities. I found this in my Studio Professor at Parsons, Thomas Hickey, who has been my business partner the last 10 years. We are principles at GRADE, a full service architecture and interior design firm characterized by a holistic approach and contemporary sensibility. Our cutting-edge designs are rooted in a meticulously planned and executed conception. As we came to know each other at Parsons we both felt that architecture and interior design must be considered as one whole , rather than separate practices. This belief has been the driving force of our successâ&#x20AC;&#x201D;and we will be teaching those ideas together for the first time at Parsons in the spring of 2015.

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Modern Barn Renderings: GRADE - 115 -

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Sao Paulo Residence Photos: Leonardo Finotti - 117 -

Garfield Place Photo: Tina Manis - 118 -

Featured Faculty

Tina Manis

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Prospect Place Photo: Tina Manis - 120 -

Tina Manis Associates, LLC, is a New York based firm that creates bespoke interior architecture, approaching design at multiple levels, from specific details to fully realized interior spaces. Our projects intimately connect to our clients’ specific needs and aesthetic personalities: the smallest detail contributes to the integrity of a space. We explore each project’s resources and redefine common perceptions of beauty, resulting in spaces that subvert traditional preconceptions. Transcending conventional limitations, we recognize each project’s potential by exploring the relationship between beauty and economy. Some of our notable projects include the international-award winning Art Fund Pavilion for Tent London; TED Conferences headquarters in New York City; and a private residence in Brooklyn, New York. We are also collaborating with several Italian companies to create custom-designed furnishings and fixtures to be fabricated through industrial applications. They are being featured in the Salone del Mobile in Milan, 2015. The work of Tina Manis Associates has been featured in publications such as Surface Magazine, Wallpaper, and Fast Company; books including Brooklyn Modern: Architecture, Interiors & Design (Diana Lind, 2008) and the Guide to Contemporary New York City Architecture (John Hill, 2011); as well as numerous periodicals and design blogs. Tina Manis also co-chairs the Rosa Vera Fund, a not-for-profit organization in Montero Bolivia, that provides medical and social interventions for children, offers training and stipends to local women and men to serve as community healthcare workers; and awards educational scholarships. http://www.rosaverafund.org - 121 -

Garfield Place Photo: Tina Manis - 122 -

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TED Conferences Photo: Tina Manis

The Art Fund Pavilon Photo: Tina Manis

Faculty VIRNA ABRAHAM LC

SEAN ARRASMITH AIA LEEDAP

VirnaAbraham212@gmail.com MFA Lighting, Parsons School of Design;

www.seanarrasmith.com

BA Interior Architecture, University of

MAAD, GSAPP Columbia University;

California at Davis

BA Washington State University

Designer at Flux Studio LTD

Principal of Future Made Architecture, PLLC.

EMILY ABRUZZO AIA

ANDREW ASHEY

www.abruzzo-bodziak.com

a.ashey@gmail.com

M Arch Princeton University,

M Arch Yale University, MA

BS Columbia College.

The New School in Media Studies,

Editor of 30 60 90, Principal at

BS Northeastern University

Abruzzo-Bodziak Architects

Project Manager at Joel Sanders

ADEBOYEGA ADEFOPE RA www.gboyega.ws BFA University College Dublin, Ireland. Principal at GBOYEGA designworks.

Architect

PHILIPPE BAUMANN AIA www.philippebaumann.com M Arch Rice University, BA Brown University

SANDRA ARNDT

Principal at Baumann Architecture.

www.akte01.com M Arch Yale University; Master of Economics University of Wuerzburg, Germany; BFA Academy of Art

LORELLA BROCKELSBY BrockleL@newschool.edu

University, California.

BA Marymount Manhattan

Principal at AKTE-01

Professor of Humanities, SCPS NYU; PT Associate Teaching Professor, Parsons

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MICHELLE CIANFAGLIONE

KEVIN ESTRADA RA

cmish1011@gmail.com

kevin@goweetu.com

M Arch University of Pennsylvania, BPS

MS in Advanced Architectural Design,

University at Buffalo

Columbia University; B Arch, Illinois

Principal, Michelle Cianfaglione Design Works, LLC

Institute of Technology Partner at Weetu, Architecture and Branding

CORY COLLMAN RA LEED AP BD+C Cory.Collman@gmail.com

ANNIE EVELYN

M Arch Yale University, BS Arch

otherannie@gmail.com www.annieevelyn.com

University of Illinois Urbana-Champaign

MFA and BFA, Rhode Island School

Gluck+

for Design Founder/Designer of New

ANTONIO DI ORONZO RA

Colony Design

www.bluarch.com

BREN GALVEZ-MORETTI LEED AP BD+C

Doctor of Architecture, Sapienza Rome; MS Urban Planning, City College of New York

Bren.Galvez.Moretti@gmail.com

Principal at Bluarch Architecture

M Arch Massachusetts Institute of Technology, B Arch University of California at Berkeley

NADIA ELROKHSY AIA LEED AP

Designer at RAAD Studio

elrokhs@newschool.edu M Environmental Design in Architecture,

ILLICH GARCIA

University of Cambridge, U.K; B Arch

illich@johnbutterwortharch.com

Pratt Institute

M Arch Columbia University, BA Florida

Assistant Professor of Sustainable

International University

Design, Parsons

Designer at John Butterworth Architect

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KEITH GELDOF

HELEN HAN

www.keithgeldof.com

helenhancreative@gmail.com

BFA Illustration, AAS Interior Design,

M Arch Harvard University Graduate

Parsons School of Design

School of Design, BA Emory University

Principal at Keith Geldof Designs

Principal atHelen Han Creative

BLAKE GOBLE AIA LEED AP

CHARLOTTE HAGAN BYRD

blake@bspacearchitecture.com www.bspacearchitecture.com

charliebyrd@mac.com

M Arch Columbia University, BS Arch

Technology, BFA School of Visual Arts,

Arizona State University

AAS Parsons School of Design

Principal at B Space Architecture +

Designer and Project Manager at

Design, LLC

AZA design

M Arch Massachusetts Institute of

DOUGLAS GRIECO

LINDSAY HARKEMA

www.takeworldwide.com

lindsayharkema@gmail.com

EMBA London Business School,

M Arch Rice University, BS Arch

M Arch Columbia University,

Washington University in St. Louis

B Arch Auburn University

Designer at A+I

Principal at Take Group

ALEXA GRIFFITH WINTON griffika@newschool.edu

THOMAS HICKEY AIA www.gradenyc.com M Arch Columbia University,

MA Bard College, BA Smith College

BA University of Kentucky

PT Assistant Professor, Parsons School

Principal at Grade Architecture

of Design

and Interiors

BRAD GROFF groffb@newschool.edu M Arch Harvard, BA Penn State University Designer at Shop Architects

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KENT T. HIKIDA AIA LEED AP ID + C CDT

PAMELA KLEIN kleinp@newschool.edu

Kent_Hikida@gensler.com

MFA, BFA Pratt Institute

M Arch Columbia University,

Associate Professor, Parsons School

BA Bennington College

of Design

Project Manager at Gensler Architects and Interiors

TINA MANIS

JUSTIN HUXOL

www.tinamanis.com

www.huxhux.com

M Arch Columbia University, BFA California College of Arts

M Arch Harvard University,

Principal at Tina Manis Associates LLC,

BA Brown University

Co-Chair of Rosa Vera Fund

Principal at HUXHUX Design

PIERPAOLO MATRIDONNA AIA

LORRAINE KARAFEL PHD karafell@newschool.edu

ppmartiradonna@gmail.com

PhD New York University, MFA Columbia University, BA Rutgers University

of Architecture Bari, Italy

Assistant Professor of Art History Parsons School of Design

carolinem@yabupushelberg.com

knkesler@gmail.com

Graduate degree Philosophy, Univesitaâ&#x20AC;&#x2122;

M Arch University of Washington,

Cattolica , Milan, Italy; AAS Parsons

BA DePauw University

School of Design

Project Architect at ODA-Architecture

AUGUSTUS KIM WENDELL MFA School of Visual Arts, BS Arch Northeastern University Partner at Kim Wendell Design

Senior Associate at Solomonoff Architects

CAROLINE MEERSSEMAN

KRISTINA KESLER

www.kimwendelldesign.com

MSAAD Columbia University, BS Faculty

Design Director of Yabu Pushelberg

YURI MIYAMOTO yurimiyamoto@gmail.com MSAAD Columbia University, B Arch Tec de Monterrey Designer at RAAD Studio

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JULIA MOLLOY

ROBIN REIGI

Juliaannmolloy@gmail.com www.XLXS.org

www.robin-reigi.com

M Arch Columbia University, BA Barnard

Principal at Robin Reigi Inc

BFA School of Visual Arts

College Designer at Spacesmith, Co-Founder

RANDOLPH SABEDRA IESNYC

of XLXS

www.rsltg.com

WILLIAM MOWAT

BA Architecture, California Polytechnic

william.mowat@gmail.com

State University, Ecole des Beaux-Arts

MSAAD Columbia University, BFA &

Principal at RS Lighting Design

BArch Rhode Island School of Design Co Owner/Founder of Associated Fabrication LLC, 4-Pli and AHeirloom Inc.

ANURAG NEMA www.nemaworkshop.com M Arch Clemson Universit, B Arch National Institute of Technic

TAKA SARUI Takasmurf@gmail.com www.XLXS.org M Arch Columbia University, BA Dartmouth College Co-Founder of XLXS of Project Manager at Dâ&#x20AC;&#x2122;Apostrophe

Principal at NemaWorkshop

VERONICA SIEBERT

ANNE NIXON RA

Veronica.esme@gmail.com

www.brooklynoffice.com

M Arch Harvard University,

M Arch Yale University, B Arch

BA University of Virginia

Rice University

Designer at Gachot Studios

Principal at Brooklyn Office Architecture + Design

CARY NG c@caryng.com BS Cornell University, CADA, SCPS New York University

ROBERT SEIDEL bob@robertseidelstudio.com www.robertseidelstudio.com M Arch Princeton University, MA New York University, BS University of Virginia Principal at Robert Seidel Studio

Freelance CSI Artist

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HAYES SLADE AIA

WENDY WAHL

www.sladearch.com

www.wendywahl.com

MBA Wharton, Masters Engineering

Masters of Arts in Education (MAE),

and BS Engineering, Cornell University

Rhode Island School of Design, BA

Partner at Slade Architecture

MIKOﾅ、J SZOSKA mikoszoska@gmail.com M Arch Cranbrook Academy of Art, B Arch New York Institute of Technology Independent Artist, Architect and Educator

California State University at Northridge

JOHANNE WOODCOCK CID, AIA woodcocj@newschool.edu www.insideinside.org M Arch Columbia University, BFA Rhode Island School of Design Director for AAS Interior Design, Parsons School of Design, Founder

IOANNA THEOCHAROPOULOU PHD Theochai@newschool.edu Ph D Columbia University; MSAAD Columbia University; Diploma

of Inside Inside Digital Archive

EDWARD YEDID www.gradenyc.com

Architectural Association, London UK

AAS ID, Parsons School for Design

Assistant Professor of Interior

Principal at Grade Architecture

Design at Parsons School of Design

and Interiors

GHISLAINE VINAS www.gvinteriors.com BFA Philadelphia College of Art Principal at GVInteriors

JULIAN VON DER SCHULENBURG Schulenburg@vonarchitects.com www.vonarchitects.com M Arch Accademia di Architecttura, Mendrisio/Switzerland Principal at VON, Brooklyn, previously Zumthor and OMA

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Honors MARIEL LEVINE & CAROLINE EDMONDSON

Flight Carnegie Fabrics Wall Covering Competition, 3rd Prize

CHLOE LIND

Creciendo IIDA 2015 Student Design Award, Honorable Mention

SOFIA PISIMISI

The Harvester Metropolis and Staples, Workplace of the Future 2.0 Competition, Finalist

SOFIA BURLO AND LAUREN PARIKH Event design team for the White House Fashion Education Workshop

SHARON CROCKETT

Architecture for Humanity Garnish 2014 Competition, Finalist

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Credits JOEL TOWERS Executive Dean

BRIAN MCGRATH School of Constructed Environments Dean

JOHANNE WOODCOCK Editor

JIM O’CONNOR Editorial Associate

MARIA A. GONZÁLEZ Art Director

GALANO FAMILY, ITC CLEARFACE Typefaces

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