Studio Kumpusch_Core I/II 2012/2013 by Christoph a. Kumpusch

Kumpusch Studio

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LOG ANALOGUE

IN REVIEW: JOEM ELIAS SANEZ ‘14 MELODIE YASHAR ‘14 MARTIN LODMAN ‘14

RYAN J. SIMONS MABEL WILSON MERCEDES LAT NAME CHI-FAN WONG

4 Kumpusch Studio

12.05.2011 115 AVERY HALL

ERNST MACZEK-MATEOVICS AIDA MIRRON JEFFRY BURCHARD PABLO LORENZO ‘EIROA

CHRISTOPH a. KUMPUSCH

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URI WEGMAN AIDA MIRON ANTHONY TITUS CHI-FAN WONG

YOUMNA CHLALA ERNST MACZEK-MATEOVICS

IN REVIEW: AIDA MIRRON MARK MORRIS GIUSEPPE LIGNANO

IN REVIEW: ZACK MAUER â&#x20AC;&#x2DC;14 CHI-FAN WONG ERNST MACZEK-MATEOVICS

12.05.2011 115 AVERY HALL 6 Kumpusch Studio

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BRIGITTA MACZEK ODED CALDERON ASHKENAZI ANTHONY TITUS

URI WEGMAN CHRISTOPH a. KUMPUSCH PABLO LORENZO â&#x20AC;&#x2DC;EIROA

IN REVIEW: MARK MORRIS NICK KARYTINOS YOUMNA CHLALA

CHRISTOPH a. KUMPUSCH, INTRODUCTION

//Systematic, Automatic, Generated and Modulated

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It is a risk to ask “What is Architecture for?” and even riskier to realize that no matter how basic, banal, inspiring, visionary, utopian or dystopian a project is—if built, it becomes accessible. Accessible as in walking-intoit. So projects do speak. They speak to all people that are not on reviews – also to people that are not aware that they are surrounded by architecture, or Architecture. It is exciting to be surrounded by the projects in this book. Architecture is, in one way or other, materialized thought. Thoughts that make up our planet, one we share no matter how randomly drawn or outdated the boundaries. It is there, physically, we are in the middle of it, we inhabit it.

Just as this book was about to be completed, my friend Lebbeus Woods left the planet. There was not one studio day he didn’t call and ask about what ideas we were working on; at 1:35pm, sharp. All my students met Leb in their Final Reviews. He once shared a list of words with all of us, a list he called Dead Words; because, he said, Architecture is Alive. We print a selection of this wise list in the following pages. I am sure the list looks different now. Koko and Lebbeus keep working on it. Christoph a. Kumpusch, 10/10/2014, New York

There is Process each of the projects presented in this book; and there is Progress exemplified by every single Architect that generated it. There are several risks that have been taken.

//Dead Words There are words and terms that once had currency in architecture but have become, in effect, dead. This short, annotated list contains a few, but I’m sure there are more. The point here is not merely academic, but rather to note the shifts in thinking that impact the nature of our field’s development. The words we use— and don’t use—are important.

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Radical: This term used to refer to paradigm shifts and other important changes in thinking and practice that contributed to human progress [see below]. But today, it is associated with ‘extreme.’ In the era of terrorism and the so-called ‘war on terrorism,’ radicals are seen as the enemies of the currently hunkereddown system of social order—in short, as terrorists. They are to be shunned, especially in the application of the penultimate instrument of social order, architecture. It is certainly acceptable to propose extreme forms, now and then, but only in the service of already known and familiar programs of use, and therefore as a reaffirmation of the status quo. Proposing radical forms that implement radical programs is unacceptable. Indeed, radical programs of use are more

unacceptable than they ever have been. New: Advertising and media hype have used this word to death. But that, in itself, is not the reason for its demise. The application of the word—and concept—to many things that are not really new has effectively destroyed its credibility. The rapidity of change has made everything seem new, even if it is not. The ‘new’ model of car, the ‘new’ skyscraper concept are of the same ilk: new forms of what we already know and have. We embrace the contradiction, so we can have the illusion of newness, while clinging to the old. Original In the present time of appropriation in art, as well as the mass-merchandizing of brand name products, including those of famous architects, the idea of originality is not only of minimal interest, but, being a form of the radical [see above], rather dangerous. Of far greater interest is the recycling of ideas, products, and modes. Appropriation acquired legitimacy in the post-Modernism of the 70s and 80s, when the recycling of historical styles—including Modernism—was in vogue. Today, it continues in the guise of architectural

populism and social realism, where low art, such as squatter architecture, is elevated to high, and presented as avantgarde. Principles Today, everything is about technique. ‘How’ a building is conceived and made is of great interest, but not the ‘why.’ Principles are concerned with the ‘why.’ Principles are philosophical—they define basic, inflexible reasons to do a particular thing and not just anything. Today, principles only get in the way of architects who want to do as they are told by their clients, or be free to adopt new styles and modes. Progress Considered a hopelessly old-fashioned idea, progress means that things get better, that they somehow advance, reach a higher level. Developments in technology, political thinking, and architecture were once thought to be instruments of progress, that is, change for the better in the human condition. Today, it’s difficult to say in any general way what ‘better’ is—in the cacaphony of the marketplace, there are so many different voices, options, demands. Hence, we surmise that things pretty much stay

Experimental While this word is bandied about in architecture, its meaning is all but dead. There is little architecture, or design, that truly experiments, that is, plays with the unknown. The single defining characteristic of an experiment is that no one knows at the outset how it will turn out. The experimenter is looking for something, has a hypothesis to prove, but has no idea if the experiment will verify the hypothesis, or prove it wrong, or result in something entirely unexpected. Experiments are risky. Architecture is today, and generally has been, averse to this kind of risk. Critical This word has two meanings for architecture, both of which have to do with time. There are critical moments in architecture, when profound ideas are at stake, and the outcome of debates and discourse about them will impact the future [see below] of architectural ideals and practices. At present, there are no great debates on which the course of

architectural thinking seems to hinge. And no ideals. The second meaning of the term is found in the idea of criticism. Criticism was once thought to be essential to high-stakes debates about architectural principles [see above], but, lacking those, has today become, at best, a matter of personal opinion, and, at worst, the stuff of careerist maneuverings. Housing This word refers to large-scale developments, usually sponsored by governments, that provide living units massed into large building groups. These mass-dwelling projects were the products of ‘socialistic’ thinking, that is, governance committed to the fair redistribution of a community’s wealth and resources. Today, socialism in all its forms is dead, having been soundly defeated by globalized capitalism. Further, the idea of class has been flattened out to a quotidian middle by credit-cards, retail franchises, tourism—in short, consumerism. The middle class does not live in housing, but in houses and condos. Genius Like the word ‘new,’ genius appears to have lost its meaning. If everyone will be famous for fifteen minutes, then everyone will be a genius for about the same period of time. However, the main

reason the word no longer applies is that it is too blatantly elitist. Today, the rich wear blue-jeans, not top hats. In the age of consumerism triumphant, everyone is supposed to be, or at least to look, the same—somewhere in a ‘middle’ class. The words ‘celebrity’ and ‘starchitect’ are as derogatory as they are flattering or honoring. But also, maybe the age of geniuses, of people who discover or invent great new principles [see above] about nature, science, or art—and architecture— has, for the present, passed. Future Once upon a time, the future was where wondrous and terrible things were going to happen, where the present would be transformed, for better or worse, and in a sense reach fruition. The idea of the future has all but vanished from architectural conversation and discussion. Perhaps because the present is one of selfsatisfaction—there is nothing to ripen and mature—and no great chances being taken that can succeed, or fail. Perhaps the future has become just another place we already know, or hope we know. Lebbeus Woods, September 18th, 2008

the same, changing in form, not in content. Architecture valorizes wealth and power and the egos of architects, as it always has. Architecture is for an elite who can afford to commission expensive buildings, and the architects willing to design them.

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Dedicated to Lebbeus Woods (05/31/1940) and John Kotaro Barnes (12/07/1988) who both worked with us on the content in this book - itâ&#x20AC;&#x2122;s Making and Meaning.

CONTENTS

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1 1(2) 1(3) 1(4)

AIRLAB AIR LAB URBAN HYDROLOGY LAB AIR LAB FOR A CLIMATOLOGIST

2 2(1) 2(2) 2(3) 2(4) 2(5) 2(6)

GC LABS THE CONFUSION DYSTOPIA: THE LIBRARY OF LITERACY LIBRARY OF LIGHT SEED + PLANTS + SEEDS PHYSICAL WHERE | DIGITAL WHERE LIBRARY OF NOWHERE

3 3(1) 3(2) 3(3) 3(4) 3(5)

PABULUM EMPIRES INFRASTRUCTURE CENTER FOR PHYCHEDELIC RESEARCH MANHATTANVILLE AQUAPONIC FACTORY URBAN GRAIN SILO PUBLIC FOOD

CORE I 2011 MILES FUJIKI ARKADIUSZ PIEGDON ASTRY DUARTE ANDREW MAIER III MICHAEL SCHISSEL

4 4(1) 4(2) 4(3) 4(4) 4(5) 4(6) 4(7) 4(8)

BANXIETY ECSTASIA FLESH CITY THE MEMORIUM MNEME TOWER BANK CITY THE WATCHKEEPER BANK OF DARK DESIRES EXTREME BEAUTY: NEW HEDGE FUND AS PSEUDO - CASINO BIOBANK

CORE II 2012 XIAOXI CHEN ALEJANDRO STEIN JONATHAN REQUILLO JOEM ELIAS SANEZ RAY WANG CAROLINA LLANO MELODIE YASHAR MARTIN LODMAN

5 5(1) 5(2) 5(3) 5(4) 5(5/6) 5(7) 5(8) 5(9)

PURPLISTS TO POOL, A MORNINGSIDE NATATORIUM AN EDDY THERMAE VERTICAL NATATORIUM BATHS OF TEMPTATION / PRIMARY PROCESS BOX BOURNOUZIA URBAN FINGERS MEDICAL CAPSULE

6 6(1) 6(2) 6(3) 6(4) 6(5) 6(6) 6(7)

VALUE | GROUND BANK OF WISDOM CRYONICS BANK BROOKLYN BLACK TRADE MARKET URBAN MINING LABORATORY IMMUTABLE MEMORIES INVINCIBLE RUIN PROJECT TITLE

CORE II 2010 KIM NGUYEN NICHOLAS REITER REBECCA DALE CORE II 2011 STEVEN CHOU MICHAEL GEORGOPOLOUS LUIS ALARCON BRIAN LEE DAN LUO JOHN BARNES

CORE I 2012 JULIEN GONZALEZ SISSILY HARRELL MAXIMILIAN HARTMAN SEUK HOON KIM CECIL BARNES V GEORGE LOURAS SUK WON LEE SUNGHEE CHO

CORE II 2013 CHENYU PU GAWON SHIN MEGAN MURDOCK MYUNG JAE LEE NYSSA SHERAZEE PETER FEIGENBAUM WADE COTTON

”Deformations, kinks, and eddies are the product of a reactive logic.” “Shoreline will inch back to its historic locations.” “We would require a fleet of sophisticated drones.” ”Where is Space, if Space is a moment of rest?” ”Overload takes form through sensory and non-sensory means.” ”Light of gathering, light of study, and light of movement.” “Can genetic engineering be considered an evolutionary force?” ”By physical limit or digital access?” ”Nothing is created with the absence of something.” “Infrastructure is raw.” “The psychological feeling of being stuck in a mental pattern.” “Does formal emulation guarantee functional success?” “The question is no longer “if,” it is when.” “The hyperparaboloid space frame offers a new starting point for the spatial imagination.” “The infection of the part versus whole.” “...had I returned to her womb?” “Toys aren’t just toys.” “Like a splinter - it’s rejected and begins to poke out.” “What was he to do with this slumbering giant?” “Figure and ground can be reversed and becomes a play of perception.” “You can bet on the presidency.” “When does a detail become spatial?” “It is both reflective and refractive.” “The more she loses the more she gains.” “A natatorium is a temple in which to swim.” “It can be seen as just a stagnant ‘big puddle of water.’ “ “At the bottom is a liquid pool of gold.” “The bubbles that produce a heightened level of awareness.” “These alien urban fingers need a mediator.” “Utilize the information in human waste.” “Put yourself in the vault.” “Save your life or bury it under the dirt.” “Promote hedonism on equal ground with voluntary contribution.” “There were no political slogans more effective than the ‘Gold Rush’.” “Memory becomes memorable.” “Is the ruin an invitation for a perpetual rebuilding?” “There is only energy and architecture.”

1(0) core studio i fall

AIRLABS

2010

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air [aēr]

lab [luh-bor-uh-tuh-ree, -uh-tree]

noun 1. a mixture of nitrogen, oxygen, and minute amounts of other gases that surrounds the earth and forms its atmosphere. 2. a stir in the atmosphere; a light breeze. 3. overhead space; sky: The planes filled the air. 4. circulation; publication; publicity: to give air to one’s theories. 5.the general character or complexion of anything; appearance: His early work had an air of freshness and originality.

noun 1. a building, part of a building, or other place equipped to conduct scientific experiments, tests, investigations, etc., or to manufacture chemicals, medicines, or the like. 2. any place, situation, set of conditions, or the like, conducive to experimentation, investigation, observation, etc.; anything suggestive of a scientific laboratory.

Origin: Old French and Latin from Greek aēr, the lower atmosphere

adjective 3. serving a function in a laboratory. 4. relating to techniques of work in a laboratory: laboratory methods; laboratory research.

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Origin: 1595–1605; < Medieval Latin labōrātōrium workshop, equivalent to Latin labōrā ( re ) to labor + -tōrium -tory2

AIR LABS

//Core STUDIO I Fall 2010

KIM NGUYEN The theme of our first semester studio was atmosphere. As a class, we were given four interrelated briefs that asked us to demonstrate relationships between bodies and their surroundings that would culminate in an architectural proposal for an Air Lab. Within our ten person studio, comprised of varying backgrounds, the physical model would soon become a necessity and an obsession. Making models is an interactive, dynamic conversation between the designer and material. Our models traced the evolution of our thoughts, revelations, and failures. We relied on sensitivity in this process in order to understand what could emerge from our internal dialogues and team collaboration. While generating our models, each person’s unique insight became clear. We believed in our instincts, allowing our ideas to emerge in their purest form. As the studio progressed, each person became so engrossed in his or her own interpretation of a project that it placed other members of the studio outside of their comfort zone. This discomfort allowed a greater understanding of the different perspectives toward design. We questioned our objectives and our own thoughts. In doing so we discovered it is more important to think, explore, and generate new questions than it is to solve. The combination of individuals created a distinct atmosphere. The group itself became the project, an exploration of the studio’s operation and personality.

M.Arch‘13

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AIRLABS

2010

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FEATURING FEATURING

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NICHOLAS REITER NICHOLAS REITER KIM NGUYEN KIM NGUYEN REBECCA DALE REBECCA DALE

XXX WEST HARLEM

AIRLABS //Core STUDIO I Fall 2010

1(1) nicholas m reiter

AIR LAB

NICHOLAS M. REITER sɛ sɪl bɑrns AIR LAB

20 Kumpusch Studio

How can circulation space activate collaboration? What form is needed for think tanks to investigate questions of the future, resource management, climate change, and our collective self-interest? What does it mean to build anew in a historic district? Using these questions as formal generators led to an investigation in dissolving boundaries to create fluid, adaptive space at the edge of an urban landscape at risk to climate change and rising seas.

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The continuous ramp allows an uninterrupted space where climatologists monitor, hypothesize, and collaborate to offer methods of adaptation responding to the increasingly

unpredictable changes in the Earth’s climate. Lifting the Air Lab activates once derelict land, reborn as a new meeting point in the historic district. The Air Lab completes the loop of public pedestrian space under the FDR overpass, piers and New Amsterdam market space. The typology of the lagoon provides the basic formal metaphor. Deformations, kinks, and eddies are the product of a reactive logic driven by the unique views surrounding the site. The bends in an otherwise fluid space allow for gathering and conversing. The result is a

fluid laboratory space that plays on the phenomenological aspects unique to the South Street Sea Port. The Air Lab twists, spirals, spins and torques as the volume rises; pulling back and engaging in a delicate dance with the highway. The top lab space is calibrated to an oblique view of the Brooklyn Bridge and waterfront. Sweeping panoramas running along the eastern edge welcome the sunrise. A garden along the roof descends back into the South Street Sea Port canyon, reducing polluted city runoff into the historic port - bringing soft to the hard, green to the gray, and the future within the historic.

1(1)

nicholas m reiter

AIR LAB

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1(1)

nicholas m reiter

AIR LAB

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1(2)

REBECCA DALE sɛ sɪl bɑrns

rebecca dale

URBAN HYDROLOGY LAB

When I was introduced to our future site in Lower Manhattan three years ago, I was immediately intrigued by the location’s relationship to the East River. The Urban Hydrology Lab’s form and function were inspired by the water conditions of the site over time.

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Between Water St. and the river, Peck Slip is situated on reclaimed land. Since 1600 the shoreline of Manhattan has gradually been expanded. As the water levels rise due to global warming, the shoreline will inch back to its historic locations. By mapping the projected sea level rise and

resulting flood plain in Lower Manhattan, I discovered that the site could be flooded by the next century. I did not expect this to occur just two years later. Mostly below grade, the Air Lab emerges from the ground as an archipelago of rigid yet gentle slopes, which serve to prevent flooding. Light penetrates the ground through linear light tunnels. Pathways cut across the Air Lab’s three arms, leading the visitors and researchers through canyons that open into vast spaces.

The lab reflects the past by reaching towards historic shorelines and prepares for future phenomena by allowing water to flow over its roofs. It embraces current conditions by being absorbed into the site, providing an outdoor landscape for the public.

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1(2)

rebecca dale

URBAN HYDROLOGY LAB

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1(2)

rebecca dale

URBAN HYDROLOGY LAB

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1(3) kim nguyen

AIRLAB FOR A CLIMATOLOGIST

KIM NGUYEN sɛ sɪl bɑrns AIRLAB FOR A CLIMATOLOGIST

The Air Lab is a research center where climatologists can gather and process atmospheric data to strategize ways to preserve the air we breathe - thus, preserve humans.

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We must monitor the atmosphere; Air Lab must be part of the air and human livelihood. We would need to station thousands of climatologists at key points around the world to record the slightest changes that occur over extended periods. With this thinking, I began to design Air Lab models.

Our dream Air Lab must be a port where information is collected and interpreted. We would require a fleet of sophisticated drones. Drones can do the legwork for climatologists to save time, since the job of analyzing data is already complex. I realized I needed to design drone models as well. The Air Lab will be a port for airborne drones. It will receive information downloaded by homing drones that periodically plug into an exterior lattice structure. When I started

constructing models, I sensed that the air is always in constant motion. I wanted both drones and Air Lab to capture movements. The drones are eager to come upload, then immediately return to take-off. The lab itself must involve subtle movement to accommodate the precise intercept of the drones. I found that forming a structure to convey both active and subtle movements very challenging and sometimes felt lost.

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1(3) kim nguyen

AIRLAB FOR A CLIMATOLOGIST

I began literally, with propellers and airplane wings, then finally arrived at cellular rhombic frames for the Air Lab. When there are no drones, the frame looks airy and nearly transparent. The frame structure yields when the drones land. The first series of drone models were wires shaped like abstracted wings. The final drone is a pair of curved kite-shaped wings made of thin polymers. The droneâ&#x20AC;&#x2122;s body is like a USB that plugs into the Air Lab structural frame.

Towards the end I felt the droneâ&#x20AC;&#x2122;s wings actually looked like stingray wings. So I added a Water Lab as an extension of the Air Lab, because we have to protect our water bodies too.

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1(3)

kim nguyen

AIRLAB FOR A CLIMATOLOGIST

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1(m)

core studio i fall

AIRLABS

2010

Kumpusch Studio

11.28.2010 AVERY HALL

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AIR LAB //Core STUDIO I Fall 2010

2(0) core studio ii spring

GC LABS

2011

Our studio never believed in the library as a viable contemporary project. In the absence of requiring a building for books to rot in, we turned to the remaining programmatic elements—café, community meeting space, wi-fi hub and spaces to look smart in—and expanded on those with some serious research on remotely accessing unscanned volumes held at a central off-site facility. This allowed the students and their architecture to breathe a little. All our proposals admitted that urban voids (space and absences in an overbuilt context) were the real civic luxury.

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GC LABS //Core STUDIO II Spring 2011 g-c-labs.com

STEVEN CHOU What are you seeking? Where are you seeking? You store, you keep, you preserve, you archive… You hide, you locate, you exploit, you shelter… In a digital age, as a public space, As a condition, To condition. To hoard, we love to hoard. Out of need? Out of lust? Out of pleasure? Out of fear? Fear of loss? Fear of the unknown? Fear of missing the most negligible piece of information that could be hidden somewhere in a place that has (never) been forgotten. Even a library may need a library. A public (personal) urge to make sense of a very personal (public) existential condition. A promise that what you are seeking can be found… A promise that “seeking” can be found. Unfulfilled, thus adding to it; unsatisfied, thus looking deeper; unparalleled, thus the individual journey. A collective collection of collected collectibles. What you seek is (not) there, until you see it. Where you seek does (not ) exist, until you reach there. And you (don’t) know, that library of yours, is here.

M.Arch‘13

2(r)

IN REVIEW: TRACIE MORRIS YAEL EREL CHI-FAN WONG

NICK KARYTINOS ANTHONY TITUS YOUMNA CHLALA ENRIQUE LIMON

JEFFRY BURCHARD

core studio ii spring

GC LABS

2011

FEATURING Kumpusch Studio

STEVEN CHOU BRIAN LEE DAN LOU JOHN BARNES MICHAEL GEORGEOPOLOUS LUIS ALARCON

04.26.2011 115 AVERY HALL

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GC LABS //Core STUDIO II Spring 2011

2(1)

STEVEN CHOU sɛ sɪl bɑrns

shih-ning chou THE CONFUSION

THE CONFUSION

One block north, galleries and museums will notify you that it is SoHo. One block south, a number of restaurants and grocery stores begin to resemble Chinatown. Standing right next to the historical landmark of the police station, the library once again demarcates this in-between zone. Yet, the building monstrously penetrates the neighboring residential building that is supposed to be artist lofts under the zoning law, cantilevers over the street and above an empty loft that might become the new site for Museum of Children’s Art. Why disturb the urban fabric?

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The continuous “Belt” forces constant movement onto the library reader. For one who is simply wandering against the envelope and the book stack, yet unsure about what one is searching for, the Belt is an act to integrate the structural logic of the building with the forced circulation onto the wanderer.

New questions are raised: Where is Space, if Space is a moment of rest? Where is Program, if Program is determined by the boundary against another Program?

The Belt generates unrest. But why is the person restless? The Belt links all program. But why is it necessary to show a reader everything that is happening inside the library?

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2(1) shih-ning chou THE CONFUSION

The library visitor has already forgotten when he entered this building. He remembered wandering in the street and was lured into this bizarre structure. Was it the secondhand book store or the community event that was the first thing he encountered when entering the structure? He could not remember. At one moment, the visitor to the library was enjoying the public lecture. Then he found the event that followed the lecture to be too boring and began to walk around the stacks.

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Why is the wall a continuous stack? Where does the Belt start and where does it end? He was not sure, but he continued to follow the Belt in one direction and kept on glancing at the titles of the books. Was he looking for a particular book? He was not sure about that either. At certain moments, he realized that when the Belt forms a loop, he encountered a reading room. At another moment, he realized there are some people outside the Belt/ book shelves/window/wall. And they are not inside the library...

2(1)

shih-ning chou THE CONFUSION

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STRUCTURE - FORCED JOURNEY

The continuous â&#x20AC;&#x153;BELTâ&#x20AC;? forces constant movement onto the library reader. For one who is simply wandering against the envelope and the book stack, yet unsure about what one is searching for, the BELT is an act to integrate the structural logic of the building with the forced circulation onto the wanderer. New questions are raised: Where is Space, if Space is requires a moment of rest? Where is Program, if Program is determined by the boundary against another Program? The BELT generates unrest. But why is the person restless? The BELT links all program. But why is it necessary to show a reader everything that is happening inside the library?

2(1) shih-ning chou THE CONFUSION

A monstrous penetration of the in-between; it is neither here nor there; neither beginning nor end.

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Where is Space if Space is a moment of respite? Where is Program if Program is determined only by its boundaries to other program? The Belt generates unrest. But why is one so restless? The Belt links all Program. But why is it necessary to show a reader everything that is happening inside?

2(1)

shih-ning chou THE CONFUSION

Kumpusch Studio

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The library creates a new kind of public space through the intergration and intertwining of an internal street that brings the visitors to the building (but not to the library program, into the building), through the neighboring residential lofts, over the traffic, and above the empty adjacent site. Between the â&#x20AC;&#x153;Chrystalâ&#x20AC;? steel frame and the Belt is unprogramed public space against the skin of the library programs...

2(2) michael georgeopolous

DYSTOPIA: THE LIBRARY OF LITERACY

MICHAEL GEORGEOPOLOUS sɛ sɪl bɑrns DYSTOPIA: THE LIBRARY OF LITERACY

54 Kumpusch Studio

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Information overload serves as a serious consequence to the current state of information exchange and literacy. Overload takes form through sensory and non-sensory means. Lack of responsiveness, cognitive malfunction, fast/irregular changing of situations, and novelty loaded content without discernment are sensory characteristics of information overload. High rates of new information, ease of duplication/ transmission, contradictions/ inaccuracies, and lack of adequate comparison and processing reflect non-sensory factors. As a result, a user seeking an answer to a specific query experiences a cognitive malfunction, causing a lack of processing between raw information and usable thinking information. Thus, a susceptibility to whatever is present at the time (in terms of an informational solution to a query) is accepted as true and accurate according to the user, regardless

of accuracy and relevance to the subject. The problem can be seen as a disassociation between content and object. In an age of innumerable amounts of information and limitless possibilities, the road towards utopia seems digitally paved. At present, the seemingly utopian freedom of the inte rnet has enabled access to information in a matter of seconds at the push of a button. More and more information is becoming available at a faster and faster pace. Where does the human being fit in this equation? This has taken a toll on the information literacy of society due to the lack of the essential ability for the human mind to adapt and decipher raw information as users become complacent with the fastest/’good enough’ informational result. A

disassociation has emerged between the object [information] and content [accuracy/relevancy] which can be termed as information overload. In cases past, the librarian served as a mediator between this accuracy and overload of content. However, the present day librarian goes almost unnoticed as information has become vast and particular to the individual’s interest. Therefore the library and librarian must evolve to accommodate the present situation. The user/ individual must become their own librarian and the library must manifest itself as the breeding ground for this transformation. By utilizing the qualities of a dystopia and creating an organizational strategy based on defined elements of information literacy, the library will serve to strategically infuse accurate and relevant understandings of specific user’s queries, effectively restoring the connection between content and object.

2(2)

DYSTOPIA DIVISIONS OF LITERACY:

michael georgeopolous

DYSTOPIA: THE LIBRARY OF LITERACY

Tool literacy: understand and use the practical and conceptual tools of current information technology relevant to education and the areas of work and professional life that the individual expects to inhabit. Resource literacy: understand the form, format, location and access methods of information resources, especially daily expanding networked information resources. Social-structural literacy: understanding how information is socially situated and produced.

Research literacy: understand and use the IT-based tools relevant to the work of today’s researcher and scholar.

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Publishing literacy: ability to format and publish research and ideas electronically, in textual and multimedia forms … to introduce them into the electronic public realm and the electronic community of scholars.

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Emerging technology literacy: ability to continuously adapt to, understand, evaluate and make use of the continually emerging innovations in information technology so as not to be a prisoner of prior tools and resources, and to make intelligent decisions about the adoption of new ones.

seemingly unrestricted. There is a sense of equality seemingly inherent with this with this limitless exchange. However, upon further investigation, there are many flaws with this structure of informational exchange. The main flaw takes shape through the idea of information overload, which directly effects informational literacy.

Information Overload

Information overload serves as a serious consequence to the current state of informational exchange and literacy. Overload takes form through sensory and non-sensory means. Lack of responsiveness, cognitive malfunction, fast/irregular changing of situations, and novelty loaded content without discernment are sensory characteristics of information overload; while high rates of new information, ease of duplication/transmission, contradictions/inaccuracies, and lack of adequate comparing and processing reflect non-sensory factors. As a result, a user seeking an answer to a specific query experiences a cognitive malfunction in the brain, causing a lack of processing between raw information to useable thinking information. Thus, a susceptibility to whatever is present at the time (in terms of an informational solution to a query) is accepted as true and accurate according to the user, regardless of accuracy and relevancy of subject. Hence the severity information overload has on the literacy of subject matter when it comes to the issue of a user’s query: “resulting from inadequate understanding of library sciences - 85% of information searched taps into only .03% of available information - people are content with results that are ‘ good enough’ and thus victim to inaccuracy and misinformation”. Essentially, the problem can be seen as a disassociation between content and object.

PROGRAMMATIC GUIDELINES Information Literacy: One who is information literate accesses in mation efficiently and effectively. The one who is information lite evaluates information critically and competently. One who is inf mation literate uses information accurately and creatively. Independent Learning: One who is an independent learner is inf mation literate and pursues information related to personal intere One who is an independent learner is information literate and str for excellence in information seeking and knowledge generation

nforerate for-

forests. rives n.

Social Responsibility: The one who contributes positively to the learning community and to society is information literate and recognizes the importance of information to a democratic society. The one who contributes positively to the learning community and to society is information literate and practices ethical behavior in regard to information and information technology. The library manifests conceptual ideas into a series of spatial zones that are further articulated into a classification of programmatic volumes linked through a larger circulation and speaks to ideas of structure and site.

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michael georgeopolous

DYSTOPIA: THE LIBRARY OF LITERACY

Kumpusch Studio

GSAPP

columbia university

PROGRAMMATIC GUIDELINES : Information Literacy: One who is information literate accesses information efficiently and effectively. One who is information literate evaluates information critically and competently. One who is information literate uses information accurately and creatively.

Social Responsibility: One who contributes positively to the learning community and to society is information literate and recognizes the importance of information to a democratic society. One who contributes positively to the learning community and to society is information literate and practices ethical behavior in regard to information and information technology. The library manifests conceptual ideas into a series of spatial zones that are further articulated into a classification of programmatic volumes linked through a larger circulation and speaks to ideas of structure and site.

Independent Learning: One who is an independent learner is information literate and pursues information related to personal interests. One who is an independent learner is information literate and strives for excellence in information seeking and knowledge generation.

2(2) michael georgeopolous

DYSTOPIA: THE LIBRARY OF LITERACY

INFORMATION LITERACY DEFINED AS:

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- a set of competencies that an informed citizen of an â&#x20AC;&#x2DC;information societyâ&#x20AC;&#x2122; ought to possess to participate intelligently and actively in that society - to be information literate, a person must be able to recognize when information is needed and have the ability to locate, evaluate, and use effectively the needed information

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columbia university

- a new liberal art that extends from knowing how to use computers and access information to critical reflection on the nature of information itself, its technical/infrastructural, social, cultural, and philosophical context and impact

PROGRAMMATIC GUIDELINES Information Literacy: One who is information lite mation efficiently and effectively. The one who evaluates information critically and competently mation literate uses information accurately and Independent Learning: One who is an independ mation literate and pursues information related t One who is an independent learner is informatio for excellence in information seeking and knowle

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michael georgeopolous

DYSTOPIA: THE LIBRARY OF LITERACY

Kumpusch Studio

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columbia university

2(3) luis alarcon

LIBRARY OF LIGHT

LUIS ALARCON sɛ sɪl bɑrns LIBRARY OF LIGHT

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columbia university

The Library of Light is situated within an actively evolving and transforming urban area within downtown New York City. As with all urban sites undergoing rapid change, chasms within the socioeconomic and cultural fabric begin to emerge as swaths of the urban landscape move towards establishing a new equilibrium— towards a coalescence of identity embodying a dimension of community. These urban fissures are reified in absence—in the empty space created by the lightwell...a crack through the center of the library, dually seeking to further fracture internal space to propagate the light, as well as reach a resolution and cohesion to unite spatial pockets into larger fields.

Tectonically, this gash organizes the volumes contained within the library from the top to bottom. The clearest breaks of the light-well are apparent at the highest level, largerscale rooms—islands separated by light. As the light-well is pulled down further by ever-shifting and twisting structural membranes, it becomes more dispersed within the overall volume of the library, spreading inhabitation into a spatial archipelago while creating a distinct schism between the spatial sequence containing circulating books and the various programmatic volumes. The volume containing the traditional library stacks plays the role of a small corner-bookstore, containing books relevant to the interests of the community—allowing less-wanted

books to be circulated out, and giving space for books deemed uniquely significant (collectibles) to be stored within the structural walls of the Library. The light-well is reflected on the ground plane as the general circulation, rising between the sunken territories of landscape, meant to be pools of informal social-gathering as much as pools of light. Intersecting the floor of the entry/reception level are smaller meeting rooms which descend into the volume of the ground level, spatially pushing the ground in to create pools of gathering space underneath and surrounding them.

The higher levels of the library, below the large meeting rooms, are dedicated to reading, study, and research through the digital and analog. Below these spaces, volumes for places of learning— lecture, training, and workshop spaces are further spread out by the branching light-well and volume for circulating library books. The small meeting rooms are transparent on the ground level and street, allowing them the flexibilty to become spatial ‘podiums’ from which a different level and scale of discourse can be introduced.

Paralleling the experiential goal of collecting and dispersing light, the Library of Light is programmatically organized to unify and mobilize ideas through the medium of its ‘users.’ Activities in relation to the interaction between the user and the analog/ digital book, (browse, discover, learn, discuss, debate) and activities associated with largerscale socio-communal activities ( forum, conference, exhibition, exchange) are addressed through varying interconnected spatial sequences.

2(3) luis alarcon

LIBRARY OF LIGHT

The planar membranes that define the light-well act as structural shear walls, reinforcing the structure provided by the two load bearing walls facing adjacent buildings. Through changing densities of perforations, these walls have greater porosity towards the top of the building, allowing more light to filter through to lower levels, with openings and translucency adjusted for different types of lightâ&#x20AC;&#x201D;such as light of gathering, light of study, and light of movement.

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luis alarcon

LIBRARY OF LIGHT

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columbia university

shear walls, reinforcing the structure provided by the two load bearing walls facing adjacent buildings. Through changing densities of perforations, these walls have greater porosity towards the top of the building, allowing more light to filter through to lower levels, with openings and translucency adjusted for different types of lightâ&#x20AC;&#x201D;such as light of gathering, light of study, and light of movement.

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Circulation on second floor level

Longitudinal Section - facing East

First Floo

luis alarcon

LIBRARY OF LIGHT

vation facing North

Second Floo

Kumpusch Studio

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columbia university

Cross-section facing South

Fourth Floo

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luis alarcon

LIBRARY OF LIGHT

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columbia university

2(4) brian lee

SEED & PLANT & SEEDS

BRIAN LEE sɛ sɪl bɑrns SEED & PLANT & SEEDS

This institution aims to collect genetic seed information, catalog, display and cultivate certain plant varieties, and create an environment for dialogue about the authorship of genetic information for the purposes of advancing agricultural practice.

Kumpusch Studio

The discourse between the “artificial” and the “natural” leads to decisions in our food system that may either allow fantastic solutions to be developed or suppress “mutant” / “artificial” bio-disasters waiting to happen. Individual value systems and world views underly the differing philisophical understanding of the two categories.

Can humans create anything outside of nature? Can genetic engineering be considered an evolutionary force? Are we playing God? The library has become a center for public education and knowledge seeking, as well as an indicator of cultural values. By making genetic information available for both a common gardener and a specialized genetic scientist, this dialogue is able to publicly address contemporary problems of agriculture.

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columbia university

2(4) brian lee

SEED & PLANT & SEEDS

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The core is the solid structural form set at the north end of the site. Suspended within are four stainless steel clad refrigerated seed shafts around which visitors circulate to seek out selections of seeds. Off the core, different levels are suspended to create spaces in which specialized climates are maintained in order to curate particular collections of plants, each suited for various growing conditions. In this library the visitor seeks out the type of plant that carries valuable genetic traits and can â&#x20AC;&#x153;check outâ&#x20AC;? the corresponding seeds. Moreover, if a gardener develops a new and resilient species of pepper, he/she may submit it for review along with subsequent seed collection and propagation.

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brian lee

SEED & PLANT & SEEDS

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columbia university

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brian lee

SEED & PLANT & SEEDS

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columbia university

IN REVIEW: MARK WIGLEY LEBBEUS WOODS STEVEN HOLL URI WEGMAN

2(5)

DAN LUO sɛ sɪl bɑrns

dan luo

PHYSICAL WHERE | DIGITAL WHERE

How would we define a boundary? By physical limit or digital access? Is library space supposed to host the book or allow access to the resources? Today, wireless technology wrests the digital boundary away from physical space. The project is an investigation into the collapse and resetting of the two boundaries.

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The project is located in a rundown part of the city, yet it is one block away from the main street. It’s not the audience that the neighborhood is lacking, but a seed of development.

In the design, the digital boundary is offset from the physical space of the library, creating an inter-media space. In the library, every book has a GPS chip that can locate it anywhere within the digital boundary, which extends into the adjacent building, offering the opportunities for new development. People may transit from the existing building into the library fluidly on every floor, where supplemental programs for the library such as coffee shops are provided. The library becomes a center plaza that holds the units together, creating a smooth

circulation that blends floors into a seamless adventure and allows people to explore every corner. Moreover, on the ground floor, the physical space is further streaked to create inbetween spaces. In a public plaza, people may drop by to host public events and read the copyright reserved books on their mobile device without entering the physical library. A book booth provides space for people to come and read without entering the library.

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columbia university

2(5) dan luo

PHYSICAL WHERE | DIGITAL WHERE

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THE LIBRARY: a very uniquely interesting program. It is ideally based purely in the physical world. The organization of books is based on a linear code generated by Dewey Decimal Classification (the organizational basis for the Seattle Public Library), or separated brutally and mechanically into zones by the classification of subject, place, time or type of material, disregarding the userâ&#x20AC;&#x2122;s need. For example, the required books for a single course could very likely be located in different zones or buildings. Moreover, in most of its main program, such as shelf and reading area, minimal communication is desired. Millions of people pass and go everyday with almost no impact on the space, book organization, or succeeding user experience. The books are categorized along with the reader. In a way, the vast majority of spaces in a traditional library could not be perceived as space in the digital sense, but merely as storage.

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columbia university

GPS: changes the understanding of spatial organization from a sequence of relative positions within an overall plan to a combination of limited instructions. Thus, the organization of space, program, and elements no longer need to be easily and logically comprehensible by human minds and are free to reveal the complexity of the system.

DATABASE: a comprehensive collection of related data organized for convenient access; a non-linear structure with the ability to relate and process extremely complicated sets of information with multiple inputs. INTERACTIVE INTERFACE: equipment or programs designed to obtain data or commands, give immediate results or updated information, and communicate information from one system of computing devices and programs to another. The ability to receive, collect, and process information, and inform the user through a device without entering the physical library combines with a book booth where, in the chill of winter, people could access readings in a comfortable, heated space.

2(5) dan luo

PHYSICAL WHERE | DIGITAL WHERE

SPACE (Physical): empty area; the limited expanse in which all objects are located.

DISTANCE (Physical): remoteness; The space between two points.

WWW: a platform where communication happens; for example, Facebook, Google Groups, Wiki, and Myspace are examples of online spaces, while video games, files/folders, and digital encyclopedia are not counted as space.

WWW: the amount of effort to communicate information to one another.

STRUCTURE (Physical): make-up of form, framework, support.

WWW: a template that could be edited upon with different in-fill elements, through which a diversity of outcomes is encouraged; basic code for information compatibility. CIRCULATION (Physical): defined routes through a sequence of space often with a linear organization.

Kumpusch Studio

WWW: nodes to connect space, illustrated with a none-linear web based organization. TOPOLOGY (Physical): the earthâ&#x20AC;&#x2122;s feature; study of land

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columbia university

WWW: the study of those properties of geometric forms that remain invariant under certain transformers; potential to morph.

PROGRAM (Physical): a plan or schedule of activities. WWW: the precise sequence of instructions to solve a problem. FIELD (Physical): an expanse of open or clear ground. WWW: a set of one or more characters comprising a unit of information.

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dan luo

PHYSICAL WHERE | DIGITAL WHERE

Kumpusch Studio

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columbia university

2(6)

JOHN BARNES sɛ sɪl bɑrns

john barnes

LIBRARY OF NOWHERE

In 1968, two friends embarked on a 5000 mile journey south from California, deep into Patagonia. At the top of an unclimbed, unnamed mountain - they come to an ironically satisfying realization. They are conquerors of the useless.

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columbia university

As soon as we are born, we are sewn into the web of human consciousness. There are many answers floating around but not always the right ones. In the constant search for truth and understanding in our realities, we begin to meander along our chosen branches. As the branches of one tree begin to touch and mingle with its neighbor’s - as brains are given their power not through each cell’s processing power but through the possibilities that the connective arms of the neurons allow - spaces are created where connections can thrive. Similarly, books and archived information have allowed

us to remain connected with our own journeys. There are two main components to a library: one for the storage of information, knowledge, thoughts, ideas, etc.; another where those things can be accessed, torn apart, and amalgamated back together again. As technology begins to question how we store and communicate information, the book as a means of information storage is being threatened. However, just as watching a film is a unique experience, reading a physical copy of a carefully curated book communicates information that

would be lost by the mere act of attempting to display it through a screen. If the 0s and 1s that create all digital information are capable of recording all of the valuable details and characteristics of a physical book, the book can still exist and be born again through printing. A printing press at the root of this building acts as an auxiliary library to the entire New York Public Library system. It will be able to store and, if desired, print books that are unavailable in the system. This rejuvenation of information allows this library to operate on a very small collection (or no collection at all) that constantly evolves based on demand.

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ALONE TOGETHER

john barnes

LIBRARY OF NOWHERE

In realizing that there is nowhere to go and that the journey is meant to be appreciated, the mind is liberated.

A PLACE FOR THOUGHTS TO SEEK ASYLUM

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What this allows is a space for nothing to be created. A space for nothing is just as important as spaces for the most exciting and mundane activities. In the dense urban context of New York City, providing this space for every New Yorker is a step toward more connectivity something our new globally connected world can benefit from. Nothing is created with the absence of something, not the other way around. This library hopes to be the something that creates nothing for everyone.

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columbia university

2(6)

john barnes

LIBRARY OF NOWHERE

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columbia university

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john barnes

LIBRARY OF NOWHERE

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2(r)

IN REVIEW: BIKA REBEK JEFFRY BURCHARD AIDA MIRON

ANTONIO FURGIUELE NICK KARYTINOS ANTHONY TITUS CHRISTOPH a. KUMPUSCH

URI WEGMAN EUNJEONG SEONG

core studio ii spring

GC LABS

2011

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04.26.2011 115 AVERY HALL

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columbia university

JEFFRY BURCHARD EUNJEONG SEONG MICHAEL BELL CHRISTOPH A. KUMPUSCH

BIKA REBEK MARK WASIUTA MARK WIGLEY LEBBEUS WOODS

STEVEN HOLL

IN REVIEW: ENRIQUE LIMON ANTONIO FURGIUELE NICK KARYTINOS

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EOYS 2011

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END OF YEAR SHOW — 05.09.2011 AVERY HALL

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EOYS 2011

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END OF YEAR SHOW — 05.09.2011 AVERY HALL

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3(0) core studio i fall 2011 PABULUM EMPIRES

Ep·i·cure [ep-i-kyoo r] 104

noun 1. a person who cultivates a refined taste, especially in food and wine; connoisseur. 2. a person dedicated to sensual enjoyment. Origin: 1350–1400 for earlier sense; 1555–65 for def 2; Middle English Epicures, Epicureis Epicureans (plural) < Latin Epicūrēus (singular) (see epicurean)

Kumpusch Studio

cu·ri·o [kyoo r-ee-oh]

noun, plural cu·ri·os. 1. any unusual article, object of art, etc., valued as a curiosity. Origin: 1850–55; shortened from curiosity

GSAPP

columbia university

PABULUM EMPIRES //Core STUDIO I Fall 2011

IVY HUME The first core studio focused our attention on performance and structural possibility in architecture. What was prescribed and what was discovered overlapped, as in a Venn diagram. The new intersection showed not only a new understanding of representation and design process, but how we, as architects and as occupants, perform with our architecture in the world at large. The first exercise was to analyze the decaying process of a rose. Projects looked at the stem as the sole structural member, kept vital by water. The process of dehydration was synonymous with the degradation of the structure. Systems of documentation ran in tandem with the linear and predictable performance of the subject. Whereas the inevitable fate of the rose was the control, the document became the variable. Water continued to be the focal point throughout the Core I studio. The following task was to design a cell in which a scientist would live, work, and analyze water. Many interventions chose local sites. Structures ranged from reclaimed adaptations, to theoretical frameworks through which to view Manhattan’s surrounding rivers. The culminating project of the studio asked us to design a building of up to 12 stories on a site adjacent to the elevated Broadway roadway on 125th Street in Harlem to house a hydroponic research facility. The city’s unseen infrastructure, our food and daily intake, and the potential for architecture to act as symbol were focal points in the final designs. The final reviews continually brought opportunities to act and react with our architecture and pose questions alongside guests. What would be the proper way to deliver a work that, by its author’s verbal declaration, has one singular intent? The architect will continue to ask this fundamental question relentlessly. It may be the first Core question.

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M.Arch‘14

3(m) core studio i fall 2011 PABULUM EMPIRES

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FEATURING

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MILES FUJIKI ARKADIUSZ PEIGDON MICHAEL SCHISSEL ASTRY DUARTE ANDREW MAIER III

12.05.2011 115 AVERY HALL

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columbia university

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PABULUM EMPIRES //Core STUDIO I Fall 2011

3(1) miles fujiki

INFRASTRUCTURE

MILES FUJIKI sɛ sɪl bɑrns INFRASTRUCTURE

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Infrastructure is the set of fundamental physical systems needed to sustain a society. The city is that which processes, digests, builds upon/between/over, and ignores infrastructure. Infrastructure is raw, a-aesthetic, functional. It is a fixed conduit. It is a heroic buried relic, future, monument to the city. It is romanticized, feared, and forgotten by the city. Infrastructure is humane in its end, not in its means. Infrastructure is the construction lines of the city. Infrastructure is the underlay of the city, the plan of the city. Infrastructure is made up of lines. Infrastructure extends by displacing a solid. Infrastructure is not inhabited.

GSAPP

columbia university

The city is the tissue, the fat, the imagination of infrastructure.

The city could not exist without infrastructure. The city and infrastructure are in perpetual crises. The city expands by displacing a void. The city has thickness. It is made up of volumes. It is inhabited. Infrastructure becomes the city at moments when it appears, when it is consumed or understood by inhabitants of the city, when citizens no longer fear it, when it becomes useful. How can the infrastructural line be thickened? How can infrastructure be inhabited? The potential for inhabitation exists within the skin of the city—under the asphalt in infrastructures’ interstices.

These potentials intensify as layers of infrastructure are overlaid and as public space in the city becomes tamed, mediocre, glossy. Similarly to an urban sinkhole, the forces release at a critical point—displacing infrastructure, rupturing the street, and reconfiguring the city’s skin. Cracks in the asphalt now open to enclaves within the infrastructure that can be excavated, reclaimed, and occupied. This project is a speculation on the inhabitation of infrastructure—on the moment of infrastructure becoming the city. This project has been a semester long investigation and reflection on infrastructure’s relationship to the city, specifically the urban situation it generates and the potential to inhabit the discrepant area where one becomes the other.

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miles fujiki

INFRASTRUCTURE

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3(1) miles fujiki

INFRASTRUCTURE

Within this site, the project seeks to further explore these potentials projectively. The architecture becomes a dense infrastructural grid supporting hard program and infill. In this case, linear infrastructure that underlays the city above becomes the three-dimensional skeleton of the colony, describing the volumetric imagination of the structure. Within this framework, hard program is anchored while all leftover, under-used, interstitial space anticipates its use as community garden or farm. It is a skeleton dreaming of a body.

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Obsessionsâ&#x20AC;&#x201D;the grid, openings, nothingness, boundaries, zones, endlessness, and non self-replicationâ&#x20AC;&#x201D;are explored through drawings, models, and writing.

Kumpusch Studio

The infrastructural grid carries pipes for the water/nutrient mix and electrical wires in every member so every hard surface, column, beam, can become a hydroponic system. Yet within this matrix of endless possibilities, zones or oasis are formed through their proximity to circulation or program.

GSAPP

columbia university

Cells or units of the Urban Food Lab are dedicated to the problem/possibility of growing food in the city, which includes research and design, as well as implementation in farm cells. These cells are distributed at different scales throughout the infrastructural grid.

The Cafeteria cooks and sells food produced by the Urban Food Lab to the public. The meals are sold or can be traded for labor.

The infrastructure becomes a dense, vertical, hydroponic community garden, open to members of the community, students, researchers, park goers, etc. This infuses all leftover, under-used, interstitial space so that people are growing their plants on the facade, in hallways, on the roof, in the lobby, in the walls. People are growing flowers, food for themselves, food to sell in the market, etc. In counterpoint to the intensity of the grid and the hard programs, spaces of nothing are carved out from the mass of the building. These spaces of nothing are tobe-programmed public space, pockets of reprieve from the grid and program. To generate the architectureâ&#x20AC;&#x2122;s futureâ&#x20AC;&#x201D; one that is not prescriptive and selfreplicatingâ&#x20AC;&#x201D;there must be a platform for endless possibilities, points of intense specificity, and spaces that absorb and demand new kinds of knowledge or inhabitations. This urban calibration of architecture presents a certain situation, one that does not reproduce itself to infinity, but that demands divergent futures to be imagined and inhabited.

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The Market is an extension of the street and provides a platform for the Urban Food Lab and community farmers to sell their produce.

3(2) arkadiusz simon peigdon

CENTER FOR PSYCHEDELIC RESEARCH

ARKADIUSZ SIMON PIEGDON sɛ sɪl bɑrns CENTER FOR PSYCHEDELIC RESEARCH

The Center for Psychedelic Research was created in response to a hypothetical brief that required the construction of a hydroponic facility in Harlem. My proposed facility, through the use of psychedelic drugs with their respective precursors grown hydroponically, would treat patients suffering from PTSD, obsessive compulsive disorder, alcohol/drugs dependencies and end of life anxiety for cancer patients.

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The main driver behind the building’s form is the common psychological symptom pervasive throughout the aforementioned ailments: the psychological feeling of being stuck in a mental pattern. By choosing the grid as the main pattern of the structure and then pushing/pulling the grid, the mental pattern is studied and analyzed allowing for greater control. Moreover, the main rooms that are used throughout the facility are lifted high above the ground and face each other inwardly to provide a closed and intimate space for treatment.

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columbia university

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arkadiusz simon peigdon

CENTER FOR PSYCHEDELIC RESEARCH

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The Center for Psychedelic Research was created in response to a

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arkadiusz simon peigdon

CENTER FOR PSYCHEDELIC RESEARCH

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3(3) astry duarte

MANHATTANVILLE AQUAPONIC FACTORY

ASTRY DUARTE sɛ sɪl bɑrns MANHATTANVILLE AQUAPONIC FACTORY

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The Manhattanville Aquaponic Factory is part of the Food Research Institute at Columbia University. It encourages consumers to participate in the picking of their vegetables and catching of the fish they are about to consume. By being exposed to and actively participating in the process of growing their food, the Mahanttanville Aquaponic Factory tries to change the eating habits of its consumers while promoting sustainable urban farming. Through a series of study models and sketches of the morphology of sponges, I explored the relationship between solid and

interstitial space. This analysis was translated into architectural form by creating an aquaponic blob captured between three major program blocks: a research block, a public access block, and a collection and storage block. The aquaponic blob is a roving interstitial space that simultaneously joins and separates the blocks from each other. Within this interstitial blob, the plants and fish are cultivated. The form of the blob speaks as much to the morphology of a sponge as to the recirculating nature of the sustainable food production system. The main circulation path is contained

within the aquaponic blob. As the inhabitants meander through the building they are immediately exposed to the aquaponic food growing method. The blocks shift to and fro from the site line creating a sort of frozen oscillation. Their outer skin is made of a striated, textured concrete that is reminiscent of the weathered stone from the site. The roughness of the material adds to the monolithic appearance of the blocks. They read as solid masses that are seemingly impenetrable. As the steel and glass blob peeks out beyond the blocks, following their playful

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arrangement, the carved out space reveals the hollow interior and adds a lightness to the structure.

astry duarte

MANHATTANVILLE AQUAPONIC FACTORY

122 Kumpusch Studio

This project was a formal investigation of the balance between function and symbolism. As a conceptual metaphor, the sponge provided a base for the formal exploration of the building. Much like a sponge, the interstitial blob bifurcates into smaller veins or channels that connect into the blocks. In other words, the blob is acting like a filter. Organic matter seeps from the blocks into the blob and vice versa. The translation of the diagram of the sponge into architectural form brought up questions of the significance of the architectural metaphor in the derivation of form. Where is the line between function and symbolism in architectural form? Does formal emulation guarantee functional success?

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astry duarte

MANHATTANVILLE AQUAPONIC FACTORY

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astry duarte

MANHATTANVILLE AQUAPONIC FACTORY

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3(4) andrew maier iii

URBAN GRAIN SILO

ANDREW MAIER III sɛ sɪl bɑrns URBAN GRAIN SILO

128 Kumpusch Studio

Cities were once developed and designed with food at the core of their conceptualization. But as urban density increased, food production was driven to the rural setting. The image of the grain silo, recalling expansive rural land use and surplus production, is a potent metaphor for the antiquated methods of food production and distribution which have become customary in our society. The typology of the grain silo must be reconsidered and food production must be reintroduced in the urban setting. How might the grain silo be situated in the urban context? The Urban Grain Silo is an urban food reactor that acts as a backup

food generator to protect the urban community and provide an additional food source in the event that typical channels are broken. The urban setting requires the Urban Grain Silo, with new research into hydromembrane growing technology, to overcome the extreme space limitation of urban production. Most importantly, the Urban Grain Silo will provide the essential food supply storage to protect against disease, natural disaster, and terrorist activity that might threaten the food supply. The extreme space limitation of the city is the main challenge to urban production. The Urban Grain Silo begins as a laboratory for

developing hydro-membrane growing technology and ultra-concentrated, natural, and nutritional grain superfoods. The crop will output a highly-nutrient dense, 1000-calorie meal bar which will be produced and stored for distribution when catastrophe occurs. As the research develops, the facility will become a fully operational prototype for this new typology of urban food production. The question is no longer “if,” it is when. Every city is charged to implement the Urban Grain Silo. The time is now. Disaster can and will be avoided.

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andrew maier iii

URBAN GRAIN SILO

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andrew maier iii

URBAN GRAIN SILO

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MICHAEL SCHISSEL sɛ sɪl bɑrns

michael schissel

PUBLIC FOOD

“During the last two millennia, each period has created its own form of vaulting interior space…each specific form of vaulting has almost become the symbol of its age… The hyperparaboloid space frame offers a new starting point for the spatial imagination…its balance is always contained within itself and its hovering impression derives from its inner constitution.” -- Sigfried Giedion

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Food research is beholden to the public. This is the primary organizational principle of the institute: the indispensability of public discourse and an open, accessible space for public inhabitation. The language of vaulting, historically rooted in New York City’s public spaces, is employed as a means to this end. From the flowing vaults and stairwells of Guastavino to the industrial language of the Riverside Viaduct to the aspiring poetics of the cathedral dome, the curved line is found everywhere in the city and announces the intersecting spaces of institutional power and (ideally) the guiding public will.

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PUBLIC FOOD

STRATEGY The design brief calls for 79,000 sq. ft. of specifically programmed space. Elements of this program that I will consider focused on community involvement are food prep/demo, cafeteria, reception/ lecture hall, and classrooms/ meeting areas. These combine to make up 33,000 sq ft, or 42% of the overall program allocation

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While the single largest block of programming is dedicated to the laboratory, these combined elements create the largest block in terms of publicly accessible program. It is these elements of program that will drive the formation of the building and command a constant attention paid to the larger surrounding neighborhood and its access to the food, ideas, and resources housed within the institution. The laboratories will be outfitted to engage with a wide array of agricultural strategies.

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michael schissel

PUBLIC FOOD

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PUBLIC FOOD

There should be an active exploration of multiple tactics including hydroponics, geoponics, and aquaponics, to better understand their strengths, weaknesses, and synergetic potentials. These synthetic systems can be implemented practically anywhere. However, of particular importance to their execution is the supply of nutrients, water and the infrastructural control of energy.

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The structure of the building has a secondary matrix of interstitial space that provides for just such a requirement (this is the space outside and in-between the intersected spheroids). This experimental program will necessitate varied growth environments and laboratory space, as well as unscripted space for future experimentation. Many of these lab regions will necessitate environmental isolation for controlled experimentation, some including light, but others (most) will seek maximum sun exposure in the attempt to reduce inputs and make use of readily available energy. All cells with a southern exposure (primarily growth cells) are equipped with operable louvers, increasing the differentiated environmental control of each cellular environment. The

institute will appropriate the Riverside Viaduct as productive agricultural land (pending the addition of soil and limitation or removal of automotive traffic). This will provide an on-site, traditional agricultural reference point and baseline comparative standard for future food production experimentation as well as a new civic green space. The buildings physical connection will create a public, pedestrian circulation point midway along the viaduct.

Having severed the peak of the vault and turned the body onto its side, the constitutional structural capacity is negated and the vault becomes an ornamental remnant, a form embellishing the new primary structure that is the tensile members. And yet, these members require the framework of the severed vault to remain aloft; they are an incomplete structure without it. This interdependency of systems straddles an unclear boundary between structure and ornament. The structural vault is abstracted and re-presented, yet still plays a real structural role in the newly derived, interdependent system: the occupiable ornament.

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MORPHOLOGY:

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IVY HUME sɛ sɪl bɑrns

ivy hume

FOOD RESEARCH INSTITUTE

BLAH

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As urban agriculture initatives gain traction in New York City, gentrification looms as a daily threat to middle class life that these initiatives seek to enrich. Columbia University’s recent acquisition of land in the Manhattanville corner of Harlem has exacerbated these concerns locally. The Food Research Institute creates an opportunity to bridge between the university research community and the Harlem Morningside neighborhood through something so basic

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as food.

IVY HUME FOOD RESEARCH INSTITUTE

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The building proposal seeks to connect with residents spatially and symbolically as well as functionally. While a sunken plaza dips down to bring peopole to the locavore cafeteria, a bridge brings pedestrian access from the Riverside viaduct. A hovering green roof is accessible to the public from the ground floor. The green roof garden stretches across the building footprint, visible across 125th Street and from surrounding high rises, bringing park-front views to the neighborhood, with the Hudson River beyond.

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core studio i fall 2011 PABULUM EMPIRES

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12.05.2011 115 AVERY HALL

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PALABUM EMPIRES //Core STUDIO I Fall 2011

4(0) core studio ii spring

BANXIETY

2012

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bank /bæŋk/ (bangk)

anx·i·e·ty /æŋˈzaɪɪti/ [ang-zahy-i-tee]

noun 1. an institution for receiving, lending, exchanging, and safeguarding money and, in some cases, issuing notes and transacting other financial business. 2. the office or quarters of such an institution. 3. Games. a. the stock or fund of pieces from which the players draw. b. the fund of the manager or the dealer. 4. a special storage place: a blood bank; a sperm bank. 5. a store or reserve.

noun 1. distress or uneasiness of mind caused by fear of danger or misfortune: He felt anxiety about the possible loss of his job. 2. earnest but tense desire; eagerness: He had a keen anxiety to succeed in his work. 3. Psychiatry. a state of apprehension and psychic tension occurring in some forms of mental disorder.

verb 7. to keep money in or have an account with a bank: Do you bank at the Village Savings Bank? 8. to exercise the functions of a bank or banker. 9. Games. to hold the bank. 10. to deposit in a bank: to bank one’s paycheck.

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Origin: 1425–75; late Middle English < Middle French banque < Italian banca table, counter, moneychanger’s table < Old High German bank bench

Origin: 1515–25; < Latin anxietās, equivalent to anxi ( us ) anxious + -etās, variant of -itās before a vowel

BANXIETY

//Core STUDIO II Spring 2012

BANKS RE-INVENT: THE TYPE OR THE WORLD? From tech stocks to high gas prices, banks have engineered every major market manipulation since the Great Depression. Banks are everywhere. The world’s most powerful investment bank is a great vampire squid wrapped around the face of humanity, relentlessly jamming its blood funnel into anything that smells like money. The history of the recent financial crisis, which doubles as a history of the rapid decline and fall of the suddenly swindled dry American empire, reads like a Who’s Who of investment bank graduates. The banks unprecedented reach and power has enabled it to turn all of America and Europe into a giant manipulating whole economic sectors for years at a time, and all the time gorging itself on the unseen costs that are breaking families everywhere. This studio developed five banking types: Doppelgänger Bank, Future Farming Bank, Future Power Bank, Tesla Bank and The Ponzi Bank.

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BANXIETY

core studio ii spring

BANXIETY

ELYSION DEBOLUQU ECSTASIA ALERIS

2012

FEATURING

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XIAOXI CHECN RAY WANG JOEM ELIAS SANEZ CAROLNA LLANO MARTIN LODMAN JONATHAN REQUILLO ALEJANDRO STEIN MELODIE YASHAR

12.05.2011 115 AVERY HALL Si dolorem pelitas ellabor eictotate la eos nullorio optatem porrore solore, intiunt quunda cus utemoditia perum est quas arcimus, ipsaes escitasi ut ulpa qui omnis etur?

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Odit velibus aut et vitiatiae re por si siti officit iatae. Itatur autae si quidusam, sim alicatem di tempore et repuditat ped magnati aerchil ipsam el exerum veliquiam ratiur, ne delenis minvendam

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Rias eiur? Um ime volliam nitis eturestia veliti as eost quisima ionsere storepedi unt harum fugias utem repero id quae

porio mil inust ut lautatem que most, odignam seque nectur? Qui berepellenis quae. Rorepero verum quibus unt facienturio. Dolore, volesere et oditation non rerum aceperum etur rem nimporu

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4(1)

XIAOXI CHEN sɛ sɪl bɑrns

xiaoxi chen

FLESH CITY

ECSTASIA FLESH CITY

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The organ bank will be the prototypical bank in a braver new world. Physical values, once again, will be reinstated as more reliable, more bankable reassessment of value. Graciously facilitating economic incentives that already exist on the black market, the organ bank anticipates the commodification of human assets for an imminent mainstream market. An architectural exploration of the infection of the part versus whole, the unity of the architectural

body is disassembled and reassembled. Swatches of building flesh and skin are layered and stitched together by circulation and structure. Various ‘organs’ are implanted into this scaffold as treatment rooms of various metabolic functions. The visitor, consumed upon entering, is digested through the building’s treatment organs, and finally excreted back out, back in the city, a reassembled whole.

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xiaoxi chen

FLESH CITY

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FLESH CITY

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ALEJANDRO STEIN sɛ sɪl bɑrns

alejandro stein

THE MEMORIUM

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My research this semester has been on the effects and affects of architecture in the human mind. The way we perceive, interpret and re-interpret spaces is affected by multiple variables that relate to our five senses and the memories that are formed from every experience within a space. In an attempt to achieve an “a-memorial” architecture, I went through a process of repetitive re-interpretation and subversion of spatial conditions, originally derived from physical objects, in order to achieve the desired effect. The use of light as the main element in the architecture is key in affecting the user’s perception, interpretation

and re-interpretation of the spaces in order to blur as much as possible the embedding of the experience as a clear memory. A space can be perceived in an infinite amount of ways, depending on the light configuration. In other words, the memory of a visit to these spaces would lack clarity and certainty. Comparable to the repetitive “xeroxing” of an image to the point that it becomes indistinguishable. These spaces are intended to change the user’s state of mind to a meditative state in order to successfully serve as a space in which memories would flow as

clear and uncontaminated as ever. The senses will forget about perceiving and care only about remembering.

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THE MEMORIUM

Without moving an inch, I was suddenly in a different space, with no recollection of where I was or had been... My feet promenaded unaware of their previous step and oblivious about the next. When I found myself back on the street, my senses began to perceive again.

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I might have been awake...

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I dreamt of my past, a memory as clear as reality... My motherâ&#x20AC;&#x2122;s silky hands went slowly through my hair, I was with her again... ...had I returned to her womb?

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My senses ceased to perceive and began to remember...

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alejandro stein

THE MEMORIUM

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alejandro stein

THE MEMORIUM

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JONATHAN REQUILLO sɛ sɪl bɑrns

jonathan requillo

MNEME TOWER

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In today’s society the banking system has infiltrated our entire lives and has become something very mindless, impersonal, turning us into anxious slaves that watch the fictitious number rising and falling in our bank accounts. What used to represent something physical is now an intangible idea of numbers and worth. What if the banking system were different? What if we were to go back to a more physical system, one that dealt with the personal attachment to an object in order to gauge it’s worth? A childhood memento bank... A bank that stores a childhood toy, and with it all the

memories of your past self; your family, experiences, your hopes, and dreams. When you are a child there is something mnemonic about the physicality of toys, you play with it, you touch it, you bring it everywhere. Because of this, the toy becomes some sort of physical memory storage that taps into the depth of your psyche. These childhood toys were your friends when you were lonely, your entertainment when you were bored, your strength when you were scared. But what happens to these memories and toys once we “grow up”?

We get distracted by the onslaught of information and responsibility as adults and these feelings are repressed, seemingly forgotten in the dark abyss of our minds. There is some sort of magic that happens when we suddenly see these toys again, the memories of the past reemerge in a stunning explosion and somehow overlap with our consciousness. Not only do you re-experience your past but somehow this experience has catalyzed a remembrance of your entire life and you start to compare your childhood self with who you are now:

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4(3) jonathan requillo

MNEME TOWER

“Am I a better person?,” “Have I achieved my dreams?,” “Have I changed so much?,” “Am I happy?...”.

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These childhood toys aren’t just objective playthings, they are almost alive. Like judges of time, you are the judge, the toy is the scale. They represent change and allow you to re-evaluate certain aspects of your life. You are either happy with who you are now, or you are anguished with the desire to return to happier times, plagued by the realization that you can never return to your past. That is bittersweet nostalgia. Would you be able to handle the doppelgangers which are your past? Toys aren’t just toys... They are a culmination of your entire being; they represent the value of your life.

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jonathan requillo

MNEME TOWER

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jonathan requillo

MNEME TOWER

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jonathan requillo

MNEME TOWER

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jonathan requillo

MNEME TOWER

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jonathan requillo

MNEME TOWER

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JOEM ELIAS SANEZ sɛ sɪl bɑrns

joem elias sanez

BANK CITY

At the very beginning, I was creating spatial composites out of existing objects - reassembling them to create hybrids of things that colonize each other injecting new meaning to them. A new purpose.

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This came from my study of doppelganger conditions within building types -- the adaptive reuse of old bank buildings for new purposes which presented discrepancies between form and content. Something suddenly only appeared to be what it’s supposed to be. I started constructing and collecting my very own building modules as I started to truly

dematerialize and lose reference from what it used to be. It became something else entirely. This idea of repurposing became an idea of recycling which became an idea of cycling, or archiving. The project tracks and records the city by materializing its waste into an accumulation of itself— an archive of urban form. It is archiving itself.

This is a sectional mutation timeline of the programmatic, formal and material evolution of the project. How it fossilizes the grit of the city. There is this idea of inhaling the grit of the city, displaying it, and then inhabiting it. The building is really an armature, a machine, upon which it would create itself. This would happen

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in phases and in different scales — from a membrane to a brick module — and it would become a record of things manifested through a record of the building.

joem elias sanez

BANK CITY

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This process is the Grit Fossilization Organ/Digestive System. It begins with Prehension - or collection, where the building inhales the grit of the city; Mastication – or chewing, where the building reshapes this material, compresses it within a hammer mill; Deglutition – where it swallows and delivers to the membrane; Absorption – or amalgamation, where it conforms with other elements including the building’s tissue; Fossilization – where it hardens, embodies the shape of the module. It then keeps growing until it meets the opposite module growing towards it – it would become a block with many pockets. These phases vary in forms of habitation – from machine (with operators) to what it becomes when the module meets its boundaries. (colony)

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The sections spatially allocate infrastructural moments; they are highlighting activated zones. These are spaces that may have been there or will be there, since these phases are not just happening one at a time but all at once,

joh-uhm · el-yuss

2.0

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BANK CITY

and everywhere. They are all separate chapters of the same story in different phases of how it came about. The junkyard is how it is generated and the colony is what it becomes.

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The armature/primary structure that the building begins with is a lung-like membrane with varying degrees of porosity. Material (scraps/grit) is filtered, sorted, dissolved as it reacts to a solvent (like saliva), swallowed, coagulated like how a lung bubble or nodule is produced, expanded, like a tumor. It’s like an oyster with teeth: there is a composite hardening into a pearl.

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Since we’re looking at this as an organ, a digestive system, naturally, there would be Excretion. Or, Regurgitation. When we have components penetrating the skin – like a splinter - it’s rejected and begins to poke out. And perhaps re-inhaled which introduces this feedback loop – which would mean that the collection would be recollecting itself via this notion of cycling.

GRIT GRIT

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There are also these attachments â&#x20AC;&#x201C; these large pieces that stick to the building. If you imagine how large things are stuck on but donâ&#x20AC;&#x2122;t fit through a nozzle of a vacuum cleaner, they become like an armor along the skin and start to layer vertically. This is how the modules begin to climb. And how actual building parts in their original state serve a new purpose. And how the project then generates its own components. The project is really inventing and reinventing the future based on what it is. It collects itself for future possibilities. This immense accumulation, collection, aggregation and repetition is really building an archive. An archive of itself.

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joem elias sanez

BANK CITY

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joem elias sanez

BANK CITY

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4(4) joem elias sanez

BANK CITY

I was creating spatial composites out of existing objects — reassembling them to create hybrids of things that colonize each other — and injecting new meaning to them. A new identity, a new purpose… To create something unfamiliar through the deterritorialization of the familiar.

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I was very interested in the adaptive re-use of the old bank buildings for new purposes — everything from Duane Reades to carpet stores and restaurants — but in particular, their relationship to actual banks nearby, or other building types that are or aren’t what they appear to be or not be. For there to be a doppelgänger there has to be an original. There can be no other without the self.

I was assigning new meaning to found objects. I was only able to reprogram them after I dematerialized them. It’s harder to see something for what it truly is, devoid of any meaning, than for what it isn’t. In the same way that the Duane Reades and CVSs acquired elements from old bank buildings (vaults, marble tops, vestibules with empty shells where ATMS used to be, etc.) that they either embraced or neglected, the two typologies began to, had to, operate as one — culturally, socio-economically.

Kumpusch Studio

If you ask anyone in the West Village which is their favorite CVS, it’s the one on 14th and 8th ave, the old NY Savings Bank Building, but that branch actually loses a lot of customers because it isn’t what it is! It doesn’t look like it is supposed to. The bank building will always be a bank building. The CVS will always be a CVS. Somehow, the unlikely synergy, the paring of a signifier to a new signified... It is doing something for them.

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193 The question is: how does it reach the point where it no longer resembles anything at all? In other words, how can there be a doppelgĂ¤nger of nothing? Youâ&#x20AC;&#x2122;d have to ask: to what extent can the doppelgĂ¤nger be remodified, reconfigured, reprogrammed from the self/original so that it loses all reference, meaning and definition from it, to the point where the

interdependent relationship is rendered obsolete and it is no longer defined by anything other than itself. That would be the inception of something unfamiliar through the complete deterritorialization of something so familiar.

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joem elias sanez

BANK CITY

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RAY WANG sɛ sɪl bɑrns

ray wang

THE WATCHKEEPER

THE WATCHKEEPER DAY II

The Watchkeeper’s job was one of constant diligence. The position was passed through an old machinist mentor of his - he himself was a mechanic by day. At first he thought, ‘I know nothing about buildings’; he thought, ‘They must have made a mistake.’

As he began the initial training his hesitations only became stronger. The tower seemed to be made of an assemblage of disparate parts - ship hulls and electric turbines came to mind - that had great latent energy within them. Yet the building itself was obviously inert, or at the very least, asleep. What was he to do with this slumbering giant? What did anyone expect him to do but sweep the dust off the rails?

DAY III

DAY IV

His mentor told him that this was built some time ago, but by whom he did not know. There once was a buzzing hive of actuaries and risk assessment soldiers here. Private digital watchdogs, tracking the bad debt being passed around New York City. Now these spaces lay vacant. Perhaps it was the military who built it to watch its citizens (that operating room was full of communications devices and sensors), or maybe it was built by the municipal government as local security infrastructure (there was that functioning crane as well as the water storage facilities).

Ostensibly, the mentor continued, this tower was always meant to be a structure of clear programmatic and mechanical purpose. However, in reality, it languished as a tool without a manual - and as such the Watchkeepers could only guess at what the true intent of the building was. The Watchkeepers came and went, and the tower has always remained silent. The towers’ newly trained tenant could do nothing but watch with unease as all the gears and chains and pistons around him ached for another time, another place.

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ray wang

THE WATCHKEEPER

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ray wang

THE WATCHKEEPER

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ray wang

THE WATCHKEEPER

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ray wang

THE WATCHKEEPER

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RAY WANG rw2437

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CAROLINA LLANO sɛ sɪl bɑrns

carolina llano

BANK OF DARK DESIRES

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The bank project is a study of figure/ ground and perception. The project itself takes place in a time period marked by the Occupy Wall Street movement. Studying in NYC at the time, where the 99% protests happened often, led to a strange notion of the bank. The bank, in this case, is a dual entity that can be abstracted to merely black and white. As in the tessellations of M.C Escher, the notion of mass and void is distorted which creates a drawing

of uncertainties, a ‘Gestalt figure ground.’ As Gestalt psychology suggests, the relationship between figure and ground can be reversed and becomes a play of perception. This creates a new way for architectural drawings to develop. A drawing that is not constrained by the existing typologies of the bank or by a clear definition of mass and void.

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carolina llano

BANK OF DARK DESIRES

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carolina llano

BANK OF DARK DESIRES

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MELODIE YASHAR sɛ sɪl bɑrns

melodie yashar

EXTREME BEAUTY

EXTREME BEAUTY: THE NEW HEDGE FUND AS PSEUDO-CASINO

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Imagine a bank as not a place to keep your money, but a place where it is created, or at least the illusion of its creation is sustained by dreams of winning big money.

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The bank is a place of public, unregulated and institutionalized gambling, a kind of super-casino for the masses where you can bet against the bank, or against other people and other institutions on matters of real life: on the actions or the rightfulness of another person or a collective of people within a certain period of time. You can bet on sports (the bank could negotiate and manage the bets in thousands of Super Bowl pools). You can bet on financial success or failure. You can bet on the individual welfare of those you know and others you don’t, those you admire and those you hate. You

can bet on weight loss, you can bet on the length of Kim Kardashian’s next relationship, you can bet on the presidency, and so on. My proposal for a bank operates in real-world finance along the lines of a hedge fund, albeit a public and unregulated hedge fund. This brings us to the essential paradox of the ‘banking as gambling’ concept; namely, that banking operates legally in New York and gambling does not – or do they? Is a multi-million dollar investment that relies on the probability of product x reaching a certain price point not a gamble in itself? By institutionalizing what is in essence a casino in lower Manhattan, we inevitably inflate the hopes of millions of soon-to-be gamblers to the illusion of becoming a winner— we are creating dreams that drift

within the spaces of this pseudo-casino. The illusion of thinking you’re making a reasonable bet, the illusion of the bank essentially being a profit-generating system are all part of the bank’s ethos, and these illusions likewise perform and manifest architecturally within the structure. We witness this first at the level of the site; the building consumes the entire block in a manner evocative of a Las Vegas hotel/casino – where in many areas circulating through the building is a requirement in order to reach certain attractions or even parts of Las Vegas Blvd. But more pointedly, the form eludes perspectival distortion, creating a particular anamorphism in the way that it juts outward from what would otherwise be expected to be geometry that is simply stacked and twisted.

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EXTREME BEAUTY

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I am interested in the idea of invoking psychological zones within the structure and creating programmatic experiences that are finely attuned with those zones. For example, we might envision a traditional casino as hypnotic, full of rotating wheels, flashing images, happy jingling noises, and maze-like. I envision the body of the structure, the bankâ&#x20AC;&#x2122;s betting or gambling areas, likewise, as a place saturated by media and video screens, with limited natural light, where time is easily forgotten and it becomes easy to be lost or disoriented. The skin of the building / the faĂ§ade treatment employs material and spatial ambiguities and scattered openings to render sparse and diverse qualities of light and conclusively suggest the doublenature of its illusions. The faĂ§ade skin holds the potential for embedded UV film to power the building.

Kumpusch Studio

Like all casinos, the main floor gives access / gives way to the VIP and more exclusive areas for priority members, devoted exclusively to the balcony area of the structure.

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columbia university

Program becomes progressively cryptic as we ascend the structure to the executive and administrative roles of the bank-casino. Architecturally I employ a reverse psychology for these areas, which programmatically are the most secretive and complex, and yet demonstrate a public display of greater and greater transparency and clarity, when really the illusion of lucidity is far from the truth.

Level 7 (the top floor) is dedicated exclusively to the Media and Broadcasting Center of the bank. They are the ones who report and publish information on active bets to the public. Their hold on this information is completely self-governed and autocratic. Not surprisingly, the news they publish is often biased and selfprioritizing. Whether the public is aware of it or not, it is the ‘big brother’ to the rest of the bank’s programmatic entities. Their space, despite seeming transparent, is actually anything but. They are the ones, after all, who “created” the bank.

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Portions of levels 5 and 6 are dedicated to the Financial and Investigative branches of the bank. Administratively, these form the backbone of the casino and maintain a more traditional office and bookkeeping environment. The Financial branch, as you might have guessed, handles the money put down on a bet. The Investigative branch approves and rejects bets made against the bank. They are the ones that assure the outcomes of the bet are not arbitrarily derived, but based on the actions and performance of other people or institutions. In the case of highprofile and high-risk bets, the bank’s investigative teams do as much or as little spy-work and secret-servicing as they deem necessary.

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melodie yashar

EXTREME BEAUTY

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columbia university

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MARTIN LODMAN sɛ sɪl bɑrns

martin lodman

BIOBANK

Bank as a synthesis; specific parts and functions integrated to facilitate knowledge.

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Knowledge that is open-source rather than closed-source. Expansive rather than contained Bold rather than timid...

Biobank as infrastructure for opensource biology The biobank will be a demystifier; enabling people to be comfortable with the acknowledgment of biosynthesis

Kumpusch Studio

An open collaborative scientific enterprise across multiple disciplines The BioBank will institute Bazaar production... decentralized; the user is leading to the domestication of bio technology. also the producer. A hub where people can meet and discuss bio-synthesis. The bank as an interface.

Found objects... a new typology for the bank... the building blocks of the BioBank.

A body of publicly available technology to foster a community for open source collaboration. Biotech is in your courtyard... Every surface is walkable... BioBank... creator of a data stream, at the utilization of all. Is there architecture in the bacteria world? On the micro level? What purpose does it serve? “The detachment of the author from the work in the midst of its fruition.”

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The found object discovers the program.

martin lodman

BIOBANK

The BioBank will not facilitate appropriation. There will be no formal barrier to entry. Participants can decide for themselves the nature and extent of their contributions to the bank. A horizontal user innovation network. The output is a tool, not a final product. While banks are closed-sources of control, the BioBank is open-source control.. A foundation to the possibilities of biosynthesis design.

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BioBank will perform as a gene-synthesizer screening bacteria to ensure the utmost safety and knowledge of working DNA functions.

Kumpusch Studio

Each model built with a particular purpose, a specific function. These functions can be combined and integrated amongst one another. How do we engage the ground? How do we occupy a corner? What is the roof and what is the ceiling?

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When does a detail become spatial?

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martin lodman

BIOBANK

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martin lodman

BIOBANK

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4(9) IVY HUME FERTILITY BANK

IVY HUME sɛ sɪl bɑrns FERTILITY BANK RF 78FT 5 70FT

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As the women of New York choose to delay marriage and motherhood in order to focus on their careers during their most fertile years, the need for borrowed fertility at a later age increases. Simultaneously, means of exchange for both male and female fertility exists throughout New York City, hosted often by university medical arms such as Columbia and Cornell centers for Womens Reproductive Health. The Fertility Bank of Lower Manhattan (FBLM) seeks to consolidate such corporeal, emotional and sacred actions of exchange into a new architectural type.

4M 54FT

4 48FT 3 40FT 2 30FT

Kumpusch Studio

CAFE 15FT L 7.5FT G 0FT

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RF 45FT

4 36FT

3 24FT

2 12FT

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IVY HUME FERTILITY BANK

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4(9) IVY HUME FERTILITY BANK

Three rules of engagement were studied through models and drawings to define this new typology. The split, or schism, was explored as a way to search for the meaning of symmetry and asymmetry in man and woman, and everywhere in between, as well as within the human body itself. The procession was direction to cradle the human experience as one enters the building and thus embarks on a personal and emotional journey. Anchoring and reaching were employed to bring members of the community into the building and upward to a public rooftop garden.

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columbia university

These rules of engagement functioned as objectives explored through a model making process. The site and massing strategy resulted directly from early study models. While each study began with the prominant chasm through its center, efforts to discover its asymmetrical possibilities within the site unfolded differently. The Lafayette Street facade, facing southeast, had prominant streetfront visibility. It was explored as a baffle and a screen through which to conceal interior activities and project a public face to the city. The entry and procession through it were studied in tandem with the foundation. A desire for privacy drove the move to lift the ground plane above the street. Interior atria and varying floor heights resulted from the continuity of the chasm through the building.

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IN REVIEW: CHRISTOPH a. KUMPUSCH YOUMNA CHLALA MARK MORRIS

ODED CALDERON ASHKENAZI NICK KARYTINOS ENRIQUE LIMON

ERNST MACZEK-MATEOVICS

core studio ii spring

BANXIETY

2012

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columbia university

12.05.2011 115 AVERY HALL

BRIGITTA MACZEK ANTHONY TITUS JEFFRY BURCHARD GIUSEPPE LIGNANO

URI WEGMAN

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IN REVIEW: AIDA MIRON ODED CALDRON ASHKENAZI CHRISTOPH A. KUMPUSCH

4(e)

EOYS 2012

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END OF YEAR SHOW 05.09.2012 AVERY HALL

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PURPLISTS

2012

per

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preposition (+ acc.) 1. (means/instrument) through 2. with 3. by 4. via 5. by means of

Kumpusch Studio

pello verb. pello, pellere, pepuli, pulsus 1. push 2. drive out 3. beat 4. strike 5. banish 6. drive away 7. rout

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columbia university

PURPLISTS

//Core STUDIO I Fall 2012

purplists.tumblr.com

CECIL BARNES The studio consisted of three design projects that increased in length and complexity as the semester progressed. The first was a weeklong project that asked students to observe and record the changing state of the sunflower that each had been given on the first day of class, culminating in a single final drawing of its representation. The second prompt was to design a self-contained public bathroom for at least two occupants, to be located in the nearby Harlem Piers Park and which was developed over the course of three weeks. The third and final brief was to design a natatorium for Columbia University to be shared with the local population on the corner of W 125th st. and Amsterdam Ave., in close proximity to the social housing towers that surround it; this project evolved over the course of eight weeks. Each project was approached individually, with no overt considerations for the previous briefs. Yet by the end of the semester it was apparent that each student’s body of work represented the development of a greater idea, whether it was formally, conceptually or on process. Every project demanded a thesis, one that through iteration after iteration and continuous refinement finally manifested itself in architecture. It would be fair to say that in many cases neither student nor teacher knew exactly where each project was headed from the beginning, but it is precisely this liberation and process of discovery that drives the excitement of the work and allowed a deeper level of personal exploration to emerge. No tangent was deemed irrelevant, no source of inspiration off-limits, the continuous thread of research was one of personal interest and as a result each student’s work is highly individualized. This is not to say of course that the studio was unguided, for the student’s concepts were teased out by the same hand and the projects were encouraged to be developed through similar methodologies. The studio was united under the shared rubric of work ethic and experimentation. A studio blog helped keep ideas flowing amongst the group and the task of collective site model building induced camaraderie. Model making played a central role in many of the student’s individual processes and it was understood throughout that project development would come through production, every idea was worth testing. None would claim their work to be finished, they are, as all works, “in progress.” This was a mantra kept in constant reminder and visible from the volume of study models to the prints on mylar; nothing was definitive, everything could be reinterpreted, rethought, rearticulated, remade and through this constant push, slowly the semblance of a project would emerge.

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1(m) FEATURING 238 Kumpusch Studio

JULIEN GONZALEZ SEUK HOON KIM SISSILY HARRELL SUNGHEE CHO SUK WON LEE MAXIMILIAN HARTMAN CECIL BARNES GEORGE LOURAS

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5(1)

JULIEN GONZALEZ dʒu li ɛn gɒn zɑ lɛz

julien gonzalez

TO POOL

TO POOL, a Morningside natatorium

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Water is an extremely powerful element possessing various qualities. It is both reflective and refractive. It is malleable and can fill any volume. It can express a range of temperatures, embodying a flexibility and versatility. These are the characteristics that drove To Pool, a Morningside natatorium.

Kumpusch Studio

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columbia university

The forms of To Pool were developed from a series of folded planes that explored the possible volumes that could contain and capture water. These folded planes became an outer skin that enveloped an interior glass volume. The outer skin has the potential to distinguish spatial conditions that speak to specific programmatic elements. The outer skin provides structure as well as moments of entrance, drama, and privacy while

the interior envelope houses To Pool’s activities and circulation. The temperatures of water were instrumental in determining the overall organization of this Morningside natatorium. To Pool is comprised of three different pavilions that focus on three main temperatures of water: cold, temperate and hot. The cold pavilion is pushed below grade, as it is naturally cooler below ground. The hot pavilion is raised above ground as heat rises. Despite its disparate volumes, water and To Pool’s users serve as the connective tissue that links the three pavilions. The temperatures of water were instrumental in dictating the activities to be housed within

To Pool’s volumes. The temperate is at ground level so that it is the most accessible. The temperate pavilion is also the most adaptable and accommodates the most activity. Within this pavilion there is a range of extreme physical activity, including: an Olympic sized pool, a cross-country running track, a rowing pool, a rock climbing wall, and a wave pool for surfing. The hot and cold pavilions exist at the two ends of the spectrum for which the temperate pavilion is the median. They contain programs that serve relaxation and rehabilitation to counteract the hyperactivity of the temperate pavilion. Within the cold pavilion there are: ice water baths, cold face and footbaths, and cold showers. Within the hot pavilion there are: salt water baths, hot baths, steam rooms, and a sauna.

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julien gonzalez

TO POOL

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julien gonzalez

TO POOL

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5(2) sissily harrell

AN EDDY

SISSILY HARRELL sɪ sɪ li hɛər ɛl AN EDDY

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October, 2012 - Hurricane Sandy engulfed New York City. Sitting at the vulnerable edge of the flood plain Manhattan performed like a pebble caught in a flowing stream - exposed as a stable solid body in a flow of liquid forces, subjected to the unstable change of pressure and velocity through time and space.

Kumpusch Studio

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columbia university

I noted the dual nature of water by diagramming turbulence. First, its ability to erode the body - softening edges, washing away material to be accumulated elsewhere downstream. Solid becomes liquid, formless in a sense. Conversely, the ability of water to construct - erosion acts as a place-maker as a flow gets captured in a body to create crannies or washed out markings. Liquid becomes solid in this case, and form is given to what would otherwise be a boundless

flow. This became the idea that brought a manifold of forces together for the design of the natatorium. It was to be two places at once. On the one hand, an active portion the lap pool. In this pool, a place of high momentum resistance, the instincts governing survival in water could be exercised. Strength is gained by exerted effort, movement, and a fight to stay afloat. On the other, a passive portion - hot pools and salt pools, places of low momentum diffusion. These pools facilitate flotation, freeing the body of any gravitational forces playing upon it, providing a space where relaxation, mediation, and healing can occur. Form follows forces as the ground level takes shape as a set of two washed out edges. The first is at

the corner condition where structure, ground, and enclosure meet to support the eroded lap pool above. On the other edge, an entrance funnels the visitor in from the street. Along that path from the entrance, she cuts across from one side to the other, or merges into one of three locker rooms. From these rooms the pools are accessed. Ascending upward through a central stair, a core that anchors the diving board, brings her onto the lap pool. From there, an ambiguous edge defines the lap pool with shallower pools around it for lounging or just testing the water. A reading room, abutting the library at the back edge of the site, can be accessed from this level as well. Boundary, surface area, and building skin begin to thicken and drag occurs as she descends on the ramp from the reading room. At its lowest point, she finds herself gazing into the salt pools. She follows the path back around, into

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AN EDDY

the locker room, and down into those pools. The procession has followed a vortex-like path to bring her into the most submerged level. This place is cavernous, carved with pools of erratic shape and depth - some for many people, some for only one. This subterranean layer, part of an ever-expanding ground, has no clear beginning or end - extending many lengths under the footprint of the city. Here, she floats, gazing up at the diving well suspended above her. Light filters through the translucent ceiling and becomes captured in the space between the floater and the water-filled container above.

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columbia university

The idea of turbulence that drove the design for this natatorium is an aggrandized version of what a New Yorker encounters in the daily grind. The university student in her studies, the swimmer thrown into the deep end - pressures of nature, pressures of the city, pressures of the university, pressures of the pool. Always swimming, the body is surrounded by many insecure vortices, interlaced with one another, reacting on multiple scales and dimensions. Through the promise of destruction, the shock and fear of the immeasurable forces water can unleash on the human condition, comes an awakening to a sublime sensation: â&#x20AC;&#x153;the sublime is an idea belonging to self-preservation. That it is

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therefore one of the most affecting we have. That its strongest emotion is an emotion of distress, and that not pleasure from a positive cause belongs to it.”1

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AN EDDY

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To come upon this natatorium is indeed an intimidating occurrence. The new edges, transformed spaces, and opportunity for shift brought on by the Storm allowed the typology of the natatorium to be challenged and reshaped. Yet, this promise of destruction she must face in order to act and move forward. On this path through the vortex she is searching, finding, losing and all is made awash. To be completely engulfed here means revolution, trapped in a moment between high and low momentum, swirling like an eddy on the edge of a rushing river. This is where she carves out her own space, the more she loses the more she gains.

Kumpusch Studio

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columbia university

(1) Edmund Burke, “A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful,” 1757

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sissily harrell

AN EDDY

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sissily harrell

AN EDDY

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MAXIMILIAN HARTMAN mæks i mil iæn hart mæn

maximilian hartman

THERMAE

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A natatorium is a temple in which to swim. It is unlike the world outside and is a momentary pause from ordinary life. Water is essential to life and immersing oneself in water is both a ritual and a rite. The act of swimming can be therapeutic. Since ancient times, civilizations like the Romans have viewed rituals with water to be both a luxury and a necessity. Natatoriums are unique buildings in a city. They are special spaces with an unnatural control of nature. Sometimes they transplant large bodies of water to dry spaces, sometimes they manipulate their environments to control the waters that surround it.

The water table on the site is 16’ below ground. I want to access this groundwater for the pools, just as the cenotes of the Yucatan puncture the earth to access underground rivers. The site is also on a fault line. I decided that I would use the tectonics of the site to create openings to the water. I determined fissure lines from swimmers’ strokes and fused the plates back together to create volumes. Freestyle, backstroke, and butterfly generated two main volumes. One pool system is smaller, tighter, and has many pools higher up; it is more enclosed to trap in the heat. The hot pools flow downward into a larger pool which is a lukewarm temperature. The second volume is

much more open and filled with light. Here people can see divers and lap swimmers as well as competitions. In the smaller pools one can relax and embrace the healing properties of water.

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maximilian hartman

THERMAE

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SEUK HOON KIM sʊk hun kɪm

seuk hoon kim

VERTICAL NATATORIUM

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I want to change the swimming pool to a new typology and give vital energy to the community where it is located. Instead of a swimming pool, I propose a water recreation center with a vertical swimming pool façade. A typical swimming pool is located in the middle of the building surrounded by various programs. It can be seen as just a stagnant ‘big puddle of water.’ Conventional circulation regulates internal access.

GSAPP

columbia university

However, by proposing the vertical swimming pool façade, sequences of programs are made that lead to the possibility of circulation from indoor to outdoor and vice versa. Also, taking advantage of gravity, the constant flow of water inside this vertical swimming pool

prescribes a high level of activity. The vertical swimming pool building is made up of a series of connections through various sizes of cone figures. The figure of a cone was considered because of its particular shape, which allows varied speeds of water as it flows down through the new formation. From the new formation, an imprint is made onto a conventional commercial building and then further abstracted and extracted to create new elevations. This study allows research on the relationship between the negative and positive space of the two distinctive buildings. The section of the two buildings blur and merge together in gradation as the plans are made within the new elevation.

The ways of experiencing space in the two buildings is different. In the swimming pool building, spaces are experienced through a sequence while in the water. Swimmers are allowed to enjoy the different conditions of the connected cones as they swim further through each sequence. In the imprinted building, the spaces are enjoyed through moments of varying views created by the irregular intersection of the cones. The vertical swimming pool façade has continuously changing activities that trigger new unforeseen activities. New visual interactions between the two buildings are formed as well as between the buildings and their surrounding community.

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seuk hoon kim

VERTICAL NATATORIUM

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seuk hoon kim

VERTICAL NATATORIUM

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CECIL BARNES sɛ sɪl bɑrns

cecil barnes

BATHS OF TEMPTATION

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It begins with a trope. The working class, oppressed through the burden of work, work tirelessly to free themselves from these same shackles and are baited with the elusive promise of respite. They reside high in the reaches of the project towers and toil in the bowels of the city. They are the innocents, the pure, the chaste, untainted with the luxuries of indulgence and opportunity to sin.

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columbia university

The workers will live in the towers provided. Highly visible and segregated, the towers will clearly delineate the status of its inhabitants, whose actions will be closely monitored to ensure they do not fail to meet the minimum work requirements, nor partake in any activities deemed unworthy by the State. Constant media

coverage will help perpetuate societal preconceptions and scrutinize lifestyles. Facilities will be communal where convenient and non-existent when possible. A semi-olympic pool will be built above ground and will be enclosed in an adequate stock brick shed in order to maintain a consistent aesthetic harmony throughout the Grant Houses project development. Below ground, a dependent yet separate system of pools exists in the subliminal spaces between the foundations of the society above. They are fed initially with a slow trickle from the semi-olympic pool above that eventually turns into an unstoppable river cascading forever downward. As one descends, the pools increase in size and opulence. Their forms take on the shape of one’s desires, shifting from hot tubs

to fish ponds and lap lanes, an entirely manipulable and responsive environment in contrast to the strict rigidity above; the manifestations and configurations are infinite. At the bottom is a liquid pool of gold. …it ends with an irony. The elite, selfdeluded with grandeur and slaves to desire, leap helplessly forever downward. Lured from pool to pool they become trapped in the endless caverns of the underworld and share company with the corrupt, the sinful, and the damned.

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cecil barnes

BATHS OF TEMPTATION

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5(6) cecil barnes

PRIMARY PROCESS BOX

CECIL BARNES sɛ sɪl bɑrns PRIMARY PROCESS BOX

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The brief called for a public bathroom in a park that could be occupied by two people simultaneously. My project reinterpreted the bathroom through a Freudian lens. I created a heterotopic space that floats on the river and is only accessible in 15 minute intervals. One way mirrors, CCTV cameras and lockable doors mediate the interaction between the two occupants. All history of its use is erased when the bathroom returns to shore.

Primary process thinking– The id’s direct, reality-ignoring attempts to satisfy needs irrationally. Freud argued that the process of toilet training is our first experience with imposed control. It is during this fundamental stage of development that we learn how to balance our instinctual desires driven by the id within the realities of our external world as governed by the ego. These lessons shape our identities as we mature into adulthood and further

construct the norms of our societies. Bathrooms function within our society to provide an accepted space in which to continuously satisfy our biological needs and relieve tension. Despite their necessity, their existence and reason for being is suppressed, often hidden away and unmentioned in polite conversation. The Primary Process Box seeks to rectify a latent unbalance in society from infancy.

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cecil barnes

PRIMARY PROCESS BOX

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GEORGE LOURAS dʒoʊr dʒ loʊ rɑs

george louras

BOURNOUZIA

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Bournouzia takes the natatorium typology and uses it as an opportunity to create an architecture that allows the occupant to have new kinds of spatial experiences and a new understanding of water. This develops from two main ideas. The first of which is a desire to use water and its physical properties as a building material, creating new spatial capacities and atmospheres. In tandem there exists an interest in bubbles as a geometry associated with water but also representative of the layers of spatial interaction

people occupy with themselves and others in their daily lives. This leads to an investigation of layered spaces and inhabitable skins. The form of the project is developed through a series of operations performed on the bubble morphology through extensive model studies. On the interior, circuits of water run through the bubbles using the various physical states of water to produce various atmospheric effects and aquatic circulations through the lower levels. This creates unexpected connections between the bubbles that produce

a heightened level of awareness of the occupant’s surroundings. The bubbles rest in a pool of water implying that they are in effect a product of the water, frothing outward. This allows for the both indoor and outdoor activity. Through this new level of interaction with water in all of its forms, the natatorium goes from a fairly well defined program for the containment of a pool to a multivalent house of aquatic experience.

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george louras

BOURNOUZIA

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george louras

BOURNOUZIA

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5(8) suk won lee

URBAN FINGERS

SUK WON LEE sʊk ʰwɒn li URBAN FINGERS

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columbia university

If we imagine the water container, its structural behavior is quite different from most other buildings. Typically, if a building goes up to the sky it will probably need to concern itself with axial forces against wind loads in a horizontal way. So if I draw the structural diagram, its shear force diagram looks like this. On the other hand, if I draw a water container, its shear force diagram should be inverted like this, because it struggles against gravity and water pressure. So the water container’s inherent DNA is totally different from most buildings in structural concept. This concept of structure dominates the entire form of the project, its form follows its structural behavior.

As the structure meets the ground, it splits towards all directions on the site in order to struggle with the pressure of the water. As it does so, the alien “urban fingers” are formed. The fingers continue to define the landscape and shallow pools form outside, foreshadowing the existence of the natatorium itself. The gesture of the fingers not only benefits structural behavior but also acts to attract and grasp the public, connecting the architecture with the city. A natatorium can be intimidating, considered by the public as a species from another world because learning a new sport is sometimes hard to accept for people at the very initial stage.

In other words, it is necessary to give a routine and formal gesture to the public in order to allow them to obtain a certain degree of recognition and suggest that they are able to learn, no matter how good they are at swimming or not. These alien urban fingers need a mediator. The mediator is defined with a very conventional form and plays a pivotal role in bridging between regularity and irregularity. The box-shaped encasement, the mediator, underlines the contrast between irregular space and geometrically defined shape. The two categories of physical gesture, the pure box with structural grid and curvilinear shapes of masonry, struggle with each other. It represents the struggle of learning to swim and the struggle between the new pool and existing context.

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suk won lee

URBAN FINGERS

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URBAN FINGERS

â&#x20AC;&#x153;There must be squares, crossroads, and streets. There must be regularity and fantasy, relationships and oppositions, and casual, unexpected elements that vary the scene; great order in details, confusion, uproar and tumult in the whole.â&#x20AC;? - Marc-Antoine Laugier

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suk won lee

URBAN FINGERS

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5(9) sunghee cho

MEDICAL CAPSULE

SUNGHEE CHO sʌng hi tʃoʊ MEDICAL CAPSULE

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The Medical Capsule was devised to utilize the information in human waste in a productive way rather than just disposing of it. To be more specific, human waste in the restroom can be used to analyze people’s health conditions including diabetes, their sugar rate, or even

pregnancy. On a macroscopic scale, the capsule will contribute to the improvement of public health care. They will be located in undeveloped areas that cannot afford full scale medical facilities yet need treatment.

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IN REVIEW: SIMON MCGOWN DANIEL MERIDOR THEOHARIS DAVIS

JEFFREY BURCHARD YOUMNA CHLALA JAMES WARD

core studio i fall

PURPLISTS

2012

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12.04.2012 WARE LOUNGE AVERY HALL

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columbia university

JEFFRY BURCHARD NICK KARYTINOS

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IN REVIEW: STEVEN HOLL THEOHARIS DAVIS MARK MORRIS

6(0) core studio ii spring

VALUE | GROUND

2013

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val·ue \ˈval-(ˌ)yü\ (val’yoo)

ground \ˈgrau̇nd\ (ground)

noun 1. An amount, as of goods, services, or money, considered to be a fair and suitable equivalent for something else; a fair price or return 2. a. The amount of money for which something can be exchanged on the open market; monetary or material worth. b. Power to buy or exchange 3. a. Relative worth in terms of utility, quality, desirability, or importance b. The usefulness of something in producing a particular effect or furthering a particular end

noun 1. a. The solid surface of the earth b. The floor of a body of water, especially the sea 2.a. Soil; earth b. Land or earth having a specified characteristic 3. An area of land designated for a specific purpose

verb 4. To appraise 5. To regard highly; prize; esteem 6. To rate according to relative estimate of worth or desirability; evaluate

adj. 4. of, on, or near the ground verb 5. to place or set on the ground 6. To provide a basis for (an arguement, theory, or the like); substanciate; justify 7. To supply with basic and essential information; instruct in fundamentals; school

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VALUE I GROUND //Core STUDIO II Spring 2013

Wade Cotton The concept of value, the attribution of exchangeable meaning onto material, real or perceived, comes in direct contact with the concept of ground. Through models, debate, study, and drawing, we developed projects that challenged the idea of edifying the exchange of value, or the value of edifying our exchange with the ground. Models were the ground for experimentation and externalization of ideas, conscious or subconscious. Drawings were exercises in shaping lines into constitutions, and our constitutions into legible lines. The course was a crackling field of dialectics. Experiments and discussions needed no resolve, only further work and creation. Projects were made as constitutions: propositions for ways in which we can understand the relationship between the built and the valued. We propose that death might not be the end of your life. We propose that you can hear everything that you see. We propose that money is only a social construct. We could exchange our talents. We could create healthy black markets. We could revivify dying circuits. Heal the greedy. Bank with wisdom. Bank through memory. Ruinous invincibility. Distorted imageability. Cavernous correlations. Produce value, produce ground. Break ground, break value.

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IN REVIEW: ANTHONY TITUS YAIR MILLET ANDREW HEID

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VALUE | GROUND

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FEATURING 294 Kumpusch Studio

CHENYU PU MEGAN MURDOCK WADE COTTON MYUNG JAE LEE GAWON SHIN NYSSA SHERAZEE PETER FEIGENBAUM

AIDA MIRON MERSIHA VELEDAR NICK KARYTINOS DIMITRA TSACHRELIA

CHRISTOPH a. KUMPUSCH YAEL EREL

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VALUE I GROUND //Core STUDIO II Spring 2013

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CHENYU PU kÉ&#x2018;Ë?l pu

CHENYU PU BANK OF WISDOM

BANK OF WISDOM

Everything you own is to add to your value, value that is measured by assets. Normal banks only help you with these mundane affairs. What if a bank can directly add value to your true value? The value reflected by your spirit and soul. The value that will never devalue. The wisdom.

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The value of spirit, wisdom, is the value of life gained from the everyday experience, but goes beyond the experience. The wisdom is something that directs you to the future. The wisdom can only gain from contemplation, a process like fermentation, turning the experience into something much better. There are numerous vaults in a bank of wisdom, spaces made purely for contemplation.

Put yourself in the vault. After the ritual of walking through the mind-purifying space around the interface of inside and outside, when the thick door of the vault finally closes, you deposit your time into the bank and the life experiences in your mind, and start contemplating. The investor and the subject of investment is both yourself. The vault becomes the bank itself. The physical bank becomes a collection of banks, a city for oracles.

And vice versa, when you get out of the small space, you withdraw the time frozen when in the vault, and experience starts to be deposited in your mind again. The world becomes the bank.

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You are the bank itself. The physical bank is only an incubator. The contemplation could be everywhere. And finally, the world will be the wisdom bank, a land for oracles.

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GAWON SHIN gɑwɒn ʃɪn

GAWON SHIN CRYONICS BANK

CRYONICS BANK

Save your money or hide it under the mattress. Save your life or bury it under the dirt.

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DEFINITIONS + FACTS

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Cryonics is the technique of deepfreezing the bodies of those who have died of an incurable disease, in hope of a future cure.

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Since Robert Ettinger’s book, “The Prospect of Immortality,” cryonics in a modern sense has been evolving technologically and ideologically. There are numerous active cryonics institutions and communities including the lmmortalist Society, the Cryonics Institute, Alcor Life Extension Foundation, KrioRus, American

Cryonics Society, etc. As of 2012, more than 250 patients are known to have undergone the procedure and are in the state of cryostasis. This number does not count those who selectively cryopreserved parts of their body such as DNA, tissues, brains, etc. The number of people who want to cryopreserve their pets or DNA of their pets is increasing significantly.

Cloning: to make an identical copy of. In 1998, the first human clone was created by Advanced Cell Technology. The clone was created from a man’s leg cell and cow’s egg with its DNA

removed. It was destroyed after 12 days. (An embryo is not seen as a person before 14 days.) In 2008, Wood and Andrew French created the first 5 human embryos using adult skin cells. The goal was to provide a source of viable embryonic stem cells. All embryos were destroyed.

Organ Trade The trade involving human organs for transplantation. 42% of all transplanted organs are from illegal human trafficking.

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GAWON SHIN CRYONICS BANK

In the future, the cryonics and cloning industries will work closely together to help the human species live healthier and make the dreams of prolonging our lives come true. Cryonics will develop its reversibility. Cloning will study different ways to grow organs outside a human body (i.e. xenotransplantation) and decrease the ethical and moral concerns. CUSTOMERS

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The primary benefit or interest that the customers get from depositing their organs or bodies is time. Also, the reverse cryopreservation will happen when the appropriate medical cures are available, so the customers also earn lives with better quality. Some customers will benefit from healthier organs.

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BANK

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The bank will be the distributors of the donated organs. When the neuropreservation patients first deposit their brains, the bank will distribute the rest of the original organs to those in need. The second set of organs will be cloned and transplanted to the patient, unless he/she wants more time. If the second set of organs is cloned completely, but the patient is still in cryostasis, then the second set will be distributed. The procedure

repeats until the patient is willing to be reversely cryopreserved. Other patients may choose to donate their cells, DNA, tissues, or organs to help the experiments. Some may choose to use the facilities as safe vaults for a fee. RELIGION+ FINANCES The result of cryonics is not yet to be proven scientifically. However, people choose to believe that the future technology will be advanced enough to rejuvenate the patients in cryostasis. Currently, with the published scientific technologies, cryonics is more like a religion. Therefore, the bank cannot ask its customers to “pay” for any of their services. The customers cannot “pay” for non-existing technology. The financial system of the bank will run like a religious institution, where the customers will make “offerings” or “tithes” to the future technology which will take care of their life after death.

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6(3) MEGAN MURDOCK BROOKLYN BLACK TRADE MARKET

MEGAN MURDOCK ˈmeɪɡən ˈmɜːdak BROOKLYN BLACK TRADE MARKET

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bank 1. A financial establishment that invests money deposited by customers, pays it out when required, makes loans at interest, and exchanges currency. 2. A stock of something available for use when required. 3. A place where something may be safely kept. black market 1. Illegal trade, commerce, or currency exchange which evades taxes, government oversight, or both. 2. Created when buyers and sellers meet to negotiate the exchange of a prohibited or illegal good.

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The Brooklyn Black Trade Market is a place to freely exchange goods and services without currency outside the restrictions of the law. Its purpose is to promote hedonism on equal ground with voluntary contribution, foster an underground economy that exists parallel to capitalist economy, and create new opportunities for Brooklyn’s creative culture that doesn’t exist in lawful methods of exchange.

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PROGRAM

MEGAN MURDOCK BROOKLYN BLACK TRADE MARKET

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The future bank requires no physical form. Traditional banks provided space for customers to make deposits, order transactions, or collect money, but these functions have migrated to the virtual world. Banks have since become retail stores designed to encourage customers to purchase access to their own money and, if the customer is lucky, invest in ways to acquire more. For wealthy customers a bank provides a secure place to store capital, borrow money for a small fee, and receive interest and dividends by doing a limited amount of work. For poor customers a bank is a necessary evil to access the basic essentials for living. The bank profits from taking what little capital they have, administering unwanted loans at an average annual percentage rate of 3250 percent, withholding deposits to disallow immediate access to funds, and charging fees for not maintaining an account minimum. The bank industry receives billions of dollars in revenue through charges imposed on the poorest 20 percent of Americans.

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The Brooklyn Black Trade Market is an alternative model of retail banking where every participant will receive only as much as they contribute. Wealth is measured not by excess capital accrued, but by the number of exchanges and relationships created within the social network. The bank also provides the organizing structure

and a safe place for these exchanges to take place. PARTICIPATION When a new member joins the Brooklyn Black Trade Market, they must gain credit by offering a commodity or service to another member. That credit may then be used to purchase a service or commodity from another member. Debt is not permitted. Gifts are not permitted. There are no restrictions governing what commodities can be traded or services can be exchanged. Participants in this exchange must be residents in the community. This ensures accountability in transactions and an atmosphere of friendliness, support and citizenship. PLACE Given the structure of the Brooklyn Black Trade Market, the building program will accommodate predictable functions of the market, including private rooms, secure entry, and open convention space, as well as leave room for the evolution of this experiment.

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MYUNG JAE LEE ˈmjəŋ ˈdʒeɪ liː

myung jae lee

URBAN MINING LAB

Π Urban Mining Laboratory

Oxford English Dictionary defines the term ‘Fundamentalism’ as: “The practice of following very strictly the basic rules and teachings of any religion”.

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If you substitute “economics/ money” with “any religion” in the definition, it becomes the perfect explanation of the term ‘Economic Fundamentalism’, which has dominated our society. We have valued everything with an economical criterion granted in the name of rationalism and utilitarianism. This blind belief that money is an ultimate standard of evaluating and replacing every other value has been a new religion of the present. The bank of this era, in this sense, is a new sanctuary of the belief, initiating and ending the ceremonies of all financial activities. Considering both historical and phenomenological perspectives, it is evident delusion that all people

in the society pursue the same common good, trying to construct a fair and just economical utopia. Many social activists, thinkers, scientists and artists have attempted to achieve this unrealistic goal, but no one accomplished consistent and effective success of it. Although their thoughts and attempts of constructing a better economic system were praiseworthy, those attempts likely remain as a temporary social deviation only massaging the surface of major economic problems. The reason is that people tend to concentrate more on perceivable individual profits than vague common good for many different realistic reasons, and no one can force them persistently to abandon human self-interest -

ingrained deeply into our genes - and follow common benefits; we can find the example of the failure from past communist countries. The consistent change of human behavior can be spurred only when we frankly admit our desires related to the basic human instinct and start to exploit it in effort for change. In other words, reflecting more on physical scientific values of the programs has more possibilities to induce fundamental change in our society than dealing more with metaphysical values based on social idealism. We still remember that there were no political slogans or programs more effective than the ‘Gold Rush’ event that happened in 1800’s attracting people to inhabit in bare land of North-West America even if most

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URBAN MINING LAB

of the things found in the area were identified as not gold but brass. It is not the intention to justify simple consequentialism through ‘Urban Mining Laboratory’ project. The gist of this project will be dealing with fundamental economic issues regarding basic human desires rather social idealism. In order to solve the problems of the modern economic and banking system – relying too much on “perpetual quantitative growth” to sustain existing society- this project stands on pragmatic consideration of human desire, “possession of properties.”

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As an antithetical notion to the credit creation of current banking system, the project argues society should return to the valuation system based on the present existence rather than on futuristic fictitious values. This ontological idea allows us not only to rethink the valuation system of materiality but also to introspect the existence of human beings and society.

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Therefore I insist this project’s claim that the economic system is “agreeable,” “existing,” and “present.” This explains why I chose to use the industrial term “urban mining” rather than the familiar word “recycling.” The project is aiming to up-cycle and trade

obsolete values and resources based on economic efficiency and materialistic existentialism unlike recycling’s theoretical basis, environmentalism and altruism. The laboratory placed at the edge of Brooklyn Tech Triangle is an experimental institute researching new methodologies and ideas on how to reassign and recast abandoned item’s values. The project can benefit from the site context, which produces an endless production of waste and research man power. Thus this facility would be represented as an experimental urban exhibition space and urban archive, storing and re-valuing discarded items, differentiating it from common suburban recycling factories.

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NYSSA SHERAZEE ˈnɪsə ʃɛərɑzi

nyssa sherazee

IMMUTABLE MEMORIES

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When visiting our site on Fulton and Dekalb, I observed the high density of people and the speed at which they move. In our society today, especially in urban areas such as this, it is easy to get caught up in the constant stream of demands and our most important memories are lost or fall into the background. Rarely are we forced to slow down and reflect on our most important memories. My building aims to slow down this pace. My design is dedicated to the most important memories we often forget to acknowledge in

today’s urban infrastructure. It takes advantage of the strong neurological connection between memories and space. One comes to this bank in order to focus on their most important memory. The bank becomes a shrine to an individual’s memory. It is a spiritual space, not in the relationship of the user to a higher power, but in the extension of the self into a specific space. I started working with a continuous surface and used that continuous surface to create continuous volumes. In order to understand the spaces, a registry was developed in the form of long strips. The panelization serves as

a metric as you progress through your journey. This unique measure of time intersects with your temporal memory, resulting in time moving along multiple axes. The user is removed from the rush hour mentality and inhabits their own individual temporal environment. The panels were pulled apart to create spaces. A similar logic was used with the structure. One travels through the space through a series of networks much like the synaptic network of a memory. The storage of memory in the brain is strengthened by the multiplicity of the archive.

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nyssa sherazee

IMMUTABLE MEMORIES

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Memory becomes memorable.

The building itself becomes a memento.

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PETER FEIGENBAUM ˈpiːtə ˈfaɪɡənˌbɑːwm

peter feigenbaum

INVINCIBLE RUIN

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The bank is perpetually unstable in its own self-image as an invincible ruin -these two narratives run in parallel. As a conglomerate, it is perpetually unstable yet miraculously contained. Banks are particularly monolithic and thus their interlocking potentials of ruination and invincibility become all the more dramatic in this typology. How is the potential ruin expressed in a functional institutional structure? The bank has been reduced to the function

of an enclosure for the ATM -a device that only requires a tiny sliver of real estate. Yet the bank’s image still demands that it provides grandeur and sublime awe -both positive and negative- to all of those who interact with it. The colossal basketball arena, whose real lifespan is usually only 30 years, is perhaps a best typological archetype for the bank. Is the ruin an invitation for a perpetual rebuilding and reconstructing -eroding and

degrading and ultimately regenerating new memories of form? The bank could also be an excavation and subsequent discovery that the ruin existed only in the past- an affront against pessimistic entropy. The ruin could be a parasite that grows out of this excavation and winds itself into the fabric of the surroundings like a post-apocalyptic vine. Nonetheless -great potential energy doesn’t necessarily lead to motion.

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INVINCIBLE RUIN

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The bank as ruin as building starts with a foundation as the building excavates into its own future, a labyrinth that tunnels deep into the core while never quite intersecting with the vault, protectively embedded in concrete like nuclear waste. The labyrinth then becomes flipped on its side and into three-dimensional space. Detritus slashes into the mass, while simultaneously acting as its connective tissue. The front faรงade fenestration resembles the striking yet deceptive geometry of a WWII dazzle ship. When observed at a distance, is the bank pulling away, coming towards us, or motionless?

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INVINCIBLE RUIN

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WADE COTTON weɪd ˈkɒtn̩

wade cotton

ENERGESTHETICS

“Songs are really just interesting things to be doing with the air.” -- Tom Waits

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For this project, energesthtics is defined as the syntactics, semantics, and pragmatics of energy. An alteration of Charles Morris’ tripartite analysis of semiotics, this formation allows us to analyze energy in three ways: relationships between different types of energy; the internal and explicit compositions of energy; and our relationship to energy through experience of the material/immaterial world.1

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There is no bank. There is no building. There is only energy and architecture. The depth of research required a liminal installation, a proof at body-scale, an experience to behold and critique.

By proving matter to be the temporary mask of energy, one is able to redefine architecture and our experience of it as such. The process of architecture assumes a new role as the shepherding, channeling, and artful reworking of energy. Structure becomes the dance by which potential energy belies the ground. Light is brought back to the forefront of spacemaking as both material and affect. Systems, the channels of energy flows, become framing exercises, scaling out and out and out. Kinetic energy forms the relationships between three-dimensional objects through the fourth dimension, time. Energesthetics requires new representation: it is a new vision. For reasons of tangibility, sound became the energy of focus for the brief project exercise.

Vibration, waves of interaction between molecules, connects our bodies directly to movements within matter by way of the experiential phenomena we refer to as sound. Inherently, sound assumes an event, a real or imagined object or source of the sound, and a ‘subject’ who experiences these vibrations. Sound is how we feel space, as opposed to just seeing it, and can garner a host of explicit or implicit reactions from our bodies via emotional attachment, fear, warmth, orientation, disorientation etc. “Experiments in Noise” sought to collapse this triad of external material, internal experience, and vibration (sounds) into a set of physical installations that engaged users both visually, through reflection, light, and shadow, and audibly, with each generating its own auditory experience.

(1) Charles Morris, “Esthetics and the Theory of Signs.” 1939

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IN REVIEW: NICK KARYTINOS MERSIHA VELEDAR RYAN J. SIMONS

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VALUE | GROUND

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04.30.2013 300 BUELL

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YOUMNA CHLALA GUILLERMO BERNAL ODED CALDERON ASHKENAZI

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IN REVIEW: ANTHONY TITUS GISELA BAURMAN SIMON MCGOWN

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EOYS 2013

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END OF YEAR SHOW 05.18.2013 AVERY HALL

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END OF YEAR SHOW 05.18.2013 AVERY HALL

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EDITORS

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JOEM ELIAS SANEZ

NYSSA SHERAZEE WADE COTTON CECIL BARNES STEVEN CHOU

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SISSILY HARRELL