INTRODUCTION From an anthropologist’s perspective, architecture would seem a curious collection of rituals. We come together in a bright white space, soon to be cluttered with the production of artifacts, and each adorn a tiny section with our special set of accompaniments; our pencils, photographs, heavy sighs, coffee mugs, beanies, conversation. Some nest with self-built shelves and personal computer mice, while others remain mysteriously minimal and carry their work home with them each weekend. The hum of activity comes in tides - quiet mornings shift into hectic afternoons, and panicked nights fade to silly dance parties. Beyond the contrast produced between the collective space and the individual, our defining feature is the studio. Before long each studio takes on a flavor; a series of white museum board models spring up along one table, while another is overcome with research drawings and diagrams. Some meet loudly at the center of the room, while others recede to secret locations to strategize. It is easy to see when a collective plan is underway; we stand up, debate, walk out, walk back in, debate more. And then there are the times of intense individual focus, when the only thing that brings our faces up from our computer screens is a stranger walking into the room. The studio lends us a sense of specific collectivism, and the most commonly shared emotion is an utter confusion, an inability to define or explain what it is that we are doing. Because defining something like architecture is impossible without describing our methods and experiences. There is no shared goal behind the ritual; aside from vague desires to better the world, it is in the process itself that we find common ground. Likewise, it is the process that delimits our impact, and shapes our products in ways we often forget. In this volume we hope to uncover the bias of our process. Unlike a traditional portfolio made up of a curated selection of results, this volume has been formatted to include the people, events, conflicts, and progressions that determined our projects, and the insights we gained as a result.
table of contents INTRODUCTION 2014 / 2015 TIMELINE
FALL STUDIO
*NAME OF STUDIO* [intro] FALL STUDENTS PROCESS
SPRING STUDIO RE-INVEST SPRING STUDENTS PROCESS
SEQUENCE
introduction
CORE I +II
6
KUMPUSCH STUDIO
columbia university gsapp
KUMPUSCH STUDIO
columbia university gsapp
FALL STUDIO 2015
7
CORE I + II
introduction
SEQUENCE
What is architecture? This debate has deep historical routes, and far reaching implications for not only practitioners but also our culture as a whole. Differing perspectives view the architect alternatively as a master builder or an artist, and expect command of both engineering as well as philosophy. With the growing array of tools we find available to us today, architecture presents more topics and skills to explore than ever before. Designs might be inspired by contemplation of the tectonic capabilities of rough hewn stone, or blossom out of a computer generated geometric sequence. They might develop through a process of iterative sketch models, or the nascent design might live only in the digital world. The following chapters explore the variegated perspectives on and approaches to architecture, through following a semester long studio at Columbia University. All projects respond to the same brief. The first challenge was to design a public restroom and the next was a swimming pool and gym. The sites changed each year, and the discussions around the social function and formal possibilities of such a building developed according to the participants, yet the programmatic requirements and deliverables remained the same. The designers whose work is profiled here each had different interpretations of the meaning of these elements, as well as different perspectives on their agency as an architect. Each developed individual theses to describe their design intent while working with the same Professor, Christoph A. Kumpusch. However, the aesthetic and the mode of representation for each project developed individually to best represent these theses. The following chapters are intended, not as a series of project descriptions or design comparisons, but instead as a study of the various meanings which architecture can take on, and the processes that designers utilize to best inscribe their intended message into their works.
CORE I +II 8
KUMPUSCH STUDIO columbia university gsapp
REBECCA BOOK San Fransisco, CA BA in Architecture from UC Berkeley Dual Master in Arch. and Urban Planning JENNIFER FANG Reston, VA BA in Architecture from U. Virginia Class of 2013
AYESHA GHOSH San Diego, CA BA in Anthropology from UC Berkeley M.Arch. at Parsons
FEIXIA HUANG Chingdu, China Hobart & William Smith Colleges
MICHAEL NICKERSON Milwaukee, WI BA in Architecture from U. Minnesota
WILLIAM TYMMS Melbourne, Australia BA in Anthropology from U. Melbourne RENYUAN WANG Hangzhou, China BA in Architecture from U. Melbourne Intern, Arup Arch. Designer, Neri & Hu Design DA YING Tianjin, China by way of Sandy, Utah BFA in Sculpture from Cornell
RYAN LEIFIELD St. Louis, MO BA in Architecture from U. Pennsylvania Arch. Associate in Venice, CA
SEQUENCE introduction
9
CORE I + II
introduction
SEQUENCE
KUMPUSCH STUDIO
columbia university gsapp
fall 2014
REBECCA BOOK
REBECCA BOOK CORE I
10
KUMPUSCH STUDIO
columbia university gsapp
ENGAGIN
KUMPUSCH STUDIO
columbia university gsapp 11
CORE I
fall 2014
REBECCA BOOK
NG
Architecture should aim to engage the building’s occupants, encouraging passer by’s to enter and residents to rethink their relationship with the built environment. Through unexpected forms and flexible, reprogrammable spaces, we can create an inspiring new city scape which features the hopes and dreams of residents instead of sterile landscapes of glass and steel formed by capital. The following projects are experiments which synthesize analog and digital methods to hypothesis what a public space which is both democratic enough to allow for future revisions and engaging enough to encourage the current population to join this discussion might look like.
fall 2014
REBECCA BOOK
earth closet 12
CORE I
Any Intervention should enhance the user’s awareness of the city as they move through the space as well as serving as a place to stop and take in the street life, an auditorium for the city. Narrowing the path and the slight change in elevation force people to become more aware of their surroundings.
KUMPUSCH STUDIO
columbia university gsapp
The path running up to the green roof hijacks the traffic moving along Broadway so that any pedestrians that are walking along, staring at their phones, would end up on top of the restroom overlooking the city. I worked with the idea of folding the landscape around the bathroom systems so the South facing facade became an auditorium made of perforated metal which protects the rain water harvesting system and solar panels located below.
ctio
Solar Panels
Water Storage
KUMPUSCH STUDIO
columbia university gsapp
n
ater Greyw
13
olle
CORE I
rC
fall 2014
wate
REBECCA BOOK
Passive solar r wate r heate
Rain
Porous Stairs Protect Mechinary
REBECCA BOOK
fall 2014
CORE I
14
natatorium KUMPUSCH STUDIO
columbia university gsapp
Infinitely reprogrammable space is well suited to the program of a swimming pool, as a pool is a void. In conventional buildings, this negative space is the only area which users can inhabit, and only positive space can be designed or manipulated. The addition of water gives us the opportunity to reimagine the relationship between positive and negative space, and to design the void.
15
CORE I
fall 2014
REBECCA BOOK
KUMPUSCH STUDIO
columbia university gsapp
REBECCA BOOK
fall 2014
CORE I
16
KUMPUSCH STUDIO
columbia university gsapp
KUMPUSCH STUDIO
columbia university gsapp 17
CORE I
fall 2014
REBECCA BOOK
A variety of social needs which are not attainable in more explicitly designed spaces are today met in pools and gyms. A survey of vacant lots in the neighborhood reveals that community members are adept at renovating unprogrammed space to fit their needs. Vacant lots have been transformed into community gardens, picnic spots, and social spaces. Analysis of how vacant sites are used can show what community needs remain unmet in the built environment. Graffiti speaks to the need to express oneself and feel control over the environment, community gardens describe families attempt to access healthy, affordable produce, and chairs and benches help create social centers. These unprogrammed, vacant lots are now some of the most vibrant spots in the community.
REBECCA BOOK
fall 2014
CORE I
18
KUMPUSCH STUDIO
columbia university gsapp
19
CORE I
fall 2014
REBECCA BOOK
KUMPUSCH STUDIO
columbia university gsapp
JENNIFER FANG
fall 2014
CORE I
20
KUMPUSCH STUDIO
columbia university gsapp
REBIRT
jennifer fang
21
CORE I
fall 2014
JENNIIFER FANG
TH KUMPUSCH STUDIO
columbia university gsapp
introduction fall 2014
JENNIFER SEQUENCE FANG
earth closet 22
CORE I
The unattractive process of decay and deterioration, can be used to create or reveal something beautiful. Decay is inevitable. Everything that is capable of experiencing time will also experience decomposition. This bathroom is an experiment in a different way of handling decomposition by utilizing this process to improve space both programmatically and aesthetically.
KUMPUSCH STUDIO
columbia university gsapp
23
CORE I
introduction fall 2014
JENNIIFER SEQUENCE FANG
KUMPUSCH STUDIO
columbia university gsapp
JENNIFER FANG
fall 2014
CORE I
24
KUMPUSCH STUDIO
columbia university gsapp
KUMPUSCH STUDIO
columbia university gsapp 25
CORE I
introduction fall 2014
JENNIIFER SEQUENCE FANG
natatorium Water is a transitory medium, able to carry people to and from their destinations, able to wash away masks, facades, preconceptions, and able to erode away sharp edges until all are equalized. Where the Ship of Fools had carried the mad away from society, the asylum had brought the mad back, but kept them in secondary, other spaces, while attempting to heal with hydrotherapy. This project combines the natatorium with a halfway house, and hopes to use water and its associated programs, not to heal, but to reintegrate the mentally ill back into society.
JENNIFER SEQUENCE FANG
introduction fall 2014
CORE I
26
KUMPUSCH STUDIO
columbia university gsapp
27
CORE I
introduction fall 2014
JENNIIFER SEQUENCE FANG
KUMPUSCH STUDIO
columbia university gsapp
introduction fall 2014
AYESHA SEQUENCE GHOSH
28
CORE I
This project is intended to be a link between the new Columbia campus and the existing community. By creating a network of pavilions within a garden the space can be shared while meeting medical needs of both communities.
KUMPUSCH STUDIO
columbia university gsapp
The siting of the structures favors neither of its bordering streets, rather it is inviting visitors from both sides. The arrangement of the programmes within the site are an experiment in exploring the concept of thresholds.
AYESHA GHOSH
th
29
CORE I
introduction fall 2014
AYESHA SEQUENCE GHOSH
hreshold KUMPUSCH STUDIO
columbia university gsapp
fall 2014
AYESHA GHOSH
Water, therapeutic spaces, gardens and shelter are organized to extend and compress the ‘threshold,’ blurring the lines between inside and outside, up and down, thus creating unique moments of experience.
natatorium
Perforations within the walls and roofs of the structures invites natural light into each pavilion and is oriented as a guide to guide movement throughout the space. The diversity in experiences that can be curated allows visitors to enhance their experience through individualistic choices, creating both personal, and collective experiences that will facilitate the unity of new communities with those already inhabiting the neighborhood.
4
13 5
14
6
30
CORE I
18
15 17
19 16
7
8
9 10
11
20
22 21
12
KUMPUSCH STUDIO
columbia university gsapp
12 23
31
CORE I
fall 2014
AYESHA GHOSH
KUMPUSCH STUDIO
columbia university gsapp
AYESHA GHOSH
fall 2014
CORE I
32
KUMPUSCH STUDIO
columbia university gsapp
33
CORE I
fall 2014
AYESHA GHOSH
KUMPUSCH STUDIO
columbia university gsapp
fall 2014
FEIXIA HUANG
FEIXIA HUANG 34
CORE I
KUMPUSCH STUDIO
columbia university gsapp
MEMORY
KUMPUSCH STUDIO
columbia university gsapp 35
CORE I
fall 2014
FEIXIA HUANG
In the urban context of New York, there is an absence of the memory in the city’s swimming pools. My intension is to “create” a memory of swimming pool by provoking the sensory experience of space. By sensory experience of space, I mean the emphasis on the sound, (the screaming and loud noise of the swimmers, the sound effect in the water, the tranquility in the changing room, or a meditation room), the light (bright natural light, dark inside space), the color and the smell of the swimming pool. The space should flow from inside to outside, from the existing environment to several different experiences inside. The sensory experience of the swimming pool should be created by the folding and unfolding of the space from inside to outside, from opened to closed.
FEIXIA HUANG
fall 2014
CORE I
36
KUMPUSCH STUDIO
columbia university gsapp
KUMPUSCH STUDIO
columbia university gsapp 37
CORE I
fall 2014
FEIXIA HUANG
NATATORIUM Inspired by David Hockney’s collection of swimming pool paintings, my project is aims to stir a sensory memory of swimming pools. David Hockney began painting pool during his first trip to Los Angeles in 1964, and the resulting vibrant, almost abstract, planes of color captured the clean lines, flat surfaces, and the openness to the natural environment of California culture. Like these paintings, I hope to provoke the sensual memory of the outside swimming pool culture of California in my project.
FEIXIA HUANG
fall 2014
CORE I
38
KUMPUSCH STUDIO
columbia university gsapp
39
CORE I
fall 2014
FEIXIA HUANG
KUMPUSCH STUDIO
columbia university gsapp
RYAN LEIFIELD
fall 2014
TY CORE I
40
KUMPUSCH STUDIO
columbia university gsapp
RYAN LEIFIELD
KUMPUSCH STUDIO
columbia university gsapp 41
CORE I
fall 2014
A typology is not an inevitability. It has been codified through habit; institutionalized by expectation, but its resonance does not lie in the human experience.
RYAN LEIFIELD
YPOLOGY A typology is convenient. It regularizes action, it catalogs behavior, it extends the efficiency of mass production to a bespoke medium. A typology must evolve. It should be dissected and analyzed, its inherencies questioned, expanded, contracted, mutilated, reconstituted. Type is inevitable.
fall 2014
RYAN LEIFIELD
EARTH CLOSET The unattractive process of decay and deterioration, can be used to create or reveal something beautiful. Decay is inevitable. Everything that is capable of experiencing time will also experience decomposition. This bathroom is an experiment in a different way of handling decomposition by utilizing this process to improve space both programmatically and aesthetically.
CORE I
42
KUMPUSCH STUDIO
columbia university gsapp
FALL 2014 RYAN LEIFIELD
columbia university gsapp
KUMPUSCH STUDIO
43
CORE I
fall 2014
RYAN LEIFIELD
NATATORIUM The experience of swimming changes your relationship to architectural elements. WIthout the constraints of ggravity that a pool allows, one doesn’t need to travel through space perpendicular to the floor or parallel to the wall. In fact, in a body of water, the ceiling becomes the elemtn that person engages with the most. In this project, the experience becomes one of swimming in the ceiling.
CORE I
44
KUMPUSCH STUDIO
columbia university gsapp
45
CORE I
fall 2014
RYAN LEIFIELD
KUMPUSCH STUDIO
columbia university gsapp
RYAN LEIFIELD
fall 2014
CORE I
46
KUMPUSCH STUDIO
columbia university gsapp
47
CORE I
fall 2014
RYAN LEIFIELD
KUMPUSCH STUDIO
columbia university gsapp
fall 2014
MICHAEL NICKERSON
48
CORE I
PUB
KUMPUSCH STUDIO
columbia university gsapp
We are too comfortable with the term “public space.” It is too easily digested - on the tip of everyone’s tongue (including my own). It renders and implies only happy architectural outcomes of sunny plazas when in fact there is perhaps nothing happy - or public - about that particular space. In this context, architects have an opportunity to interrogate and challenge what these public spaces might be. How might our constructed environment embrace the complexities of the term while multiplying - or potentially subverting - any notion of “publicness”? Two strategies - carving lines through a park and building from the top-down - are explored here.
MICHAEL NICKERSON
49
CORE I
fall 2014
MICHAEL NICKERSON
BLICNESS KUMPUSCH STUDIO
columbia university gsapp
MICHAEL NICKERSON
fall 2014
CORE I
50
KUMPUSCH STUDIO
columbia university gsapp
Once we introduce a public toilet to a site, it can serve as an armature for a whole host of other programs. My project envisioned this “armature” as bars of program that intersect the triangular park site surrounded by busy streets - an uncommon green space along Broadway. These bars of program seek to re-activate the park by dynamically intersecting and interacting with existing paths - allowing the public to cross under, above or through the “armature.” The bars of program are like cuts in the landscape, with varying degrees of lightness.
Scale: 3/32” = 1’
EARTH CLOSET
40’
51
20’
CORE I
10’
fall 2014
5’
MICHAEL NICKERSON
0’
KUMPUSCH STUDIO
columbia university gsapp
MICHAEL NICKERSON
fall 2014
CORE I
52
KUMPUSCH STUDIO
columbia university gsapp
Medium-Depth Infinity Pools Deep Infinity Pool
1,800 sf
Shallow Pools
Children’s Play Area Steam Baths
5,200 sf
Medium-Depth Pools Hot Tubs Romance Pool Reflection Pool Island Pool Exercise Pool 4,140 sf
Deep Pools Lap Pool Cold Pool Diving Pool
1,200 sf
2,400 sf
Gathering / Cool-Down
Locker Rooms
53
CORE I
3 Spaces: Men, Women, Co-ed Lockers, Restrooms, Showers
fall 2014
In order to maximize the public amenities on the site, my proposal imagines the pool building from the top-down, leaving open a vast public plaza on street level and creating a large occupiable roof that connects to the neighboring building. Visitors enter the building through elevator towers that lead directly into the locker rooms above, from which radiates a network of pools that are suspended from the structure. Swimmers climb into and out of each pool (each with its own horizon line and specific program) as they navigate the building.
300 sf
880 sf
MICHAEL NICKERSON
NATATORIUM
KUMPUSCH STUDIO
Occupiable Room Fitness Areas Running Track Performance Space
columbia university gsapp
14,000 sf
GENERAL PUBLIC
SWIMMING PUBLIC
1,000 sf 15,000 sf
Entry
Men, Women, Co-ed, Roof Access Public Restrooms
Unprogrammed Space
Informal Seating, Markets, Movies and Performance Spaces, Winter Ice Skating
MICHAEL NICKERSON
fall 2014
CORE I
54
KUMPUSCH STUDIO
columbia university gsapp
55
CORE I
fall 2014
MICHAEL NICKERSON
KUMPUSCH STUDIO
columbia university gsapp
MICHAEL NICKERSON
fall 2014
CORE I
56
KUMPUSCH STUDIO
columbia university gsapp
KUMPUSCH STUDIO
columbia university gsapp A
B
C
D
(pool above)
(open to below)
57
CORE I
fall 2014
F
MICHAEL NICKERSON
E
(open to below)
(pool above)
G
H
(open to below)
I
(open to below)
J
(pool above)
K
0'
5'
10'
20'
40'
fall 2014
WILLIAM TYMMS
WILLIAM TYMMS 58
CORE I
KUMPUSCH STUDIO
columbia university gsapp
INFINITE
KUMPUSCH STUDIO
columbia university gsapp 59
CORE I
fall 2014
WILLIAM TYMMS
I am intrigued by how, or rather if, something starts and how, or if, something ends. As such, my proposal is an exploration of the infinite. The idea is to establish different levels of space. That is creating space, from space, from other space. What is most critical however is how the individual interacts with these spaces. As such, each subsequent space exudes a distinct quality that can alter behaviour or at least impact one’s experience of the space. The notion of how we interact with a space forces a consideration of how architecture can engage us and, therefore, how architecture can guide us.
WILLIAM TYMMS
fall 2014
CORE I
60
KUMPUSCH STUDIO
columbia university gsapp
KUMPUSCH STUDIO
columbia university gsapp 61
CORE I
fall 2014
These spatial moments are, more or less, bodies of exploration which engage with notions of volume, mass and form. As a spatial sequence, these moments develop an existential quality as they are omnipresent, that is everywhere; omniscient, that is all knowing; omnipotent, which is the creation of anything out of nothing; as well as eternal which is existing without beginning or end. The spatial sequence intends to limit limitations and encourage outward engagement and, as such, each moment investigates the dichotomy between exterior and interior, mind and body, existence and non-existence.
WILLIAM TYMMS
EARTH CLOSET
This means that the architecture is not only about space or form but also the event, action, what happens in the space and what happens in between. As such, the individual finds what they want or need.
WILLIAM TYMMS
fall 2014
CORE I
62
KUMPUSCH STUDIO
columbia university gsapp
63
CORE I
introduction fall 2014
WILLIAM SEQUENCE TYMMS
KUMPUSCH STUDIO
columbia university gsapp
WILLIAM TYMMS
fall 2014
CORE I
64
KUMPUSCH STUDIO
columbia university gsapp
NATATORIUM The idea of procession manifests in the suspended pool which ties together and links each individual component of the natatorium. The pool embodies movement and the idea of the loop by foot and by stroke (swimming). Understanding the interaction of space, procession and infinity, we can begin to acknowledge the self levelling nature of water. As such, we are forced to consider if water has an edge or if it is edgeless; if it is finite or continuous; and if it has a beginning or end. Subsequently, in the context of architecture, the exploration of how water, or space, begins, continues or ends in an intriguing way, returns us to the exploration of infinity through space.
65
CORE I
fall 2014
WILLIAM TYMMS
KUMPUSCH STUDIO
columbia university gsapp
WILLIAM TYMMS
fall 2014
CORE I
66
KUMPUSCH STUDIO
columbia university gsapp
67
CORE I
fall 2014
WILLIAM TYMMS
KUMPUSCH STUDIO
columbia university gsapp
introduction fall 2014
RENYUAN SEQUENCE WANG
CORE I
68
KUMPUSCH STUDIO
columbia university gsapp
SO
69
CORE I
introduction fall 2014
RENYUAN WANG RENYUAN SEQUENCE WANG
OLITUDE KUMPUSCH STUDIO
columbia university gsapp
RENYUAN WANG
fall 2014
CORE I
70
KUMPUSCH STUDIO
columbia university gsapp
EARTH CLOSET
71
CORE I
fall 2014
RENYUAN WANG
KUMPUSCH STUDIO
columbia university gsapp
fall 2014
RENYUAN WANG
NATATORIUM The suppression and dissolution of very individual has become a rising crisis in contemporary metropolitans. Exercise is a mental and physical discipline that unites spirit and body. Gymnasium as an architecture typology should not merely serve its function of public gathering. Most of the Gyms in New York City are in a way very theatrical. The open plan space usually leads to scene of watching and being watched. The sequential activities in Gym: the users get undressed, go to yoga room and swimming pool, take a shower and extra are all collective experiences.
CORE I
72
KUMPUSCH STUDIO
columbia university gsapp
In order to achieve the solitary experience, a series space of different qualities in a linear loop is introduced. The changing rooms are scared in the overall space, which decentralizes the crowd. While the continuous space serves individual solitary experiences, the leftover space became urban open landscape that encourages public gathering for the neighborhood.
73
CORE I
fall 2014
RENYUAN WANG
KUMPUSCH STUDIO
columbia university gsapp
RENYUAN WANG
fall 2014
CORE I
74
KUMPUSCH STUDIO
columbia university gsapp
75
CORE I
fall 2014
RENYUAN WANG
KUMPUSCH STUDIO
columbia university gsapp
SEQUENCE DA YING
introduction fall 2014
CORE I
76
KUMPUSCH STUDIO
columbia university gsapp
STIMULAT
KUMPUSCH STUDIO
columbia university gsapp 77
CORE I SEQUENCE DA YING
E
Architecture (v.) is to observe, to think, to discuss, and to exchange ideas of space in space. It is not a building, a model, a manifesto, or even a poem, but rather an experience that spans the viscous neural and social fibres that connect us. As such, to expand architecture means to redefine how we think. From the link between vision and reason to the emphasis on their eyes in photographs of star-architects, traditions in architecture have biased vision over other senses, siting sight as our most prominent mode of perception. My projects aim to broaden the architectural canon by tapping into a comparatively uncharted venue in architecture, namely making design choices influenced primarily by scent and sound.
introduction fall 2014
DA YING
DA YING
fall 2014
CORE I
78
KUMPUSCH STUDIO
columbia university gsapp
EARTH CLOSET
79
CORE I
fall 2014
DA YING
KUMPUSCH STUDIO
columbia university gsapp
DA YING
fall 2014
CORE I
80
NATATORIUM I aim to create a space where water, sound and form meander, mingle, synchronize, and instersect to sculpt a holistic experience that literally and symbolically cultivate an atmosphere of inclusiveness that subverts the inaccessibilty that exists between the low-income residents local to the site and the luxurious and costly natatorium. In this project, water, sound, and form function as equalizers. KUMPUSCH STUDIO
columbia university gsapp
81
CORE I
fall 2014
DA YING
KUMPUSCH STUDIO
columbia university gsapp
DA YING
fall 2014
CORE I
82
KUMPUSCH STUDIO
columbia university gsapp
83
CORE I
fall 2014
DA YING
KUMPUSCH STUDIO
columbia university gsapp
RE-INVEST
99
KUMPUSCH STUDIO
columbia university gsapp
+25.0 rium 0
audito
98
RE-INVEST
spring 2015
small
YUJING MANDY HAN
makers
pace
KUMPUSCH STUDIO
columbia university gsapp
RE-INVEST
97
KUMPUSCH STUDIO
columbia university gsapp
96
RE-INVEST
spring 2015
YUJING MANDY HAN
KUMPUSCH STUDIO
columbia university gsapp
95
KUMPUSCH STUDIO
columbia university gsapp
Bank of protests capitalizes on the social energy embedded in free speech, which in our current society still does not have a guaranteed and well-equipped physical space. It invests in protests with the currency of space, and generates values in forms of discussion, mediation, awareness, and possibly positive changes that these different voices bring.
RE-INVEST
The project proposes to be a privately owned public space (POPS), an amenity provided and maintained by a real estate developer on site for public use, in exchange for additional floor area. The bank itself is a conversion of values from private assets to public goods through the currency of land and space. Depositors (protesters) check in at the reception, and then are given not only the access but also instructions to uses of all the facilities: meeting rooms, mini auditorium, maker space, press room, cafĂŠ, garden and ample open air gathering spaces. Individual spaces are interconnected across floors and across programs, merging with the intersecting street grids. There are no distinctively controlled spaces, but only one vertical common consisteds of fragmented spaces with different levels of enclosure.
94
RE-INVEST
spring 2015
PROTEST YUJING MANDY HAN
Yujing Mandy Han KUMPUSCH STUDIO
columbia university gsapp
RE-INVEST
93
KUMPUSCH STUDIO
columbia university gsapp
It should be a layer-cake of street life, bringing pedestrians through busy gallerias like a climbing sidewalk. Walls are formed with metal cubbies of varying sizes, between which light slips into the building. The cubbies become transparent when facing the courtyard, displaying not only their products but also various stairs and ramps beyond. Undulating terraces, at openings in the massing, are layered so that views across and through the building show many activities simultaneously.
92
RE-INVEST
spring 2015
KEVIN MACNICHOL
KUMPUSCH STUDIO
columbia university gsapp
RE-INVEST
91
KUMPUSCH STUDIO
columbia university gsapp
90
RE-INVEST
spring 2015
KEVIN MACNICHOL
KUMPUSCH STUDIO
columbia university gsapp
89
KUMPUSCH STUDIO
columbia university gsapp
S
RE-INVEST
Instead of filling our closets at home, we should invest in a neighborhood bank of discarded goods to borrow from. Like an index fund, pooling our resources lowers the cost of individual items, so you can own thousands more products than you’d otherwise afford. And unlike a big box store, where everything is pristinely packaged, the items in this bank are open to the public for onsite uses all the time. There are artists using the paint supplies, chefs doing demos with the cooking gear, and executives learning how to tile a bathroom with salvaged tools. What would a bank of used goods and cultural pursuits look like?
88
RE-INVEST
spring 2015
KEVIN MACNICHOL KEVIN MACNICHOL
KUMPUSCH STUDIO
columbia university gsapp
PRODUCT OF CULTURE
REBECCA BOOK
fall 2014
RE-INVEST CORE I
87
KUMPUSCH STUDIO
columbia university gsapp
86
RE-INVEST
spring 2015
JULIE PEDTKE
Unlike other forms of carbon capture, pyrolysis can take place at a variety of scales - from industrial plants to your backyard. This makes the process especially adaptable to specific sites throughout the city, where centers like these could serve the surrounding neighborhood and thereby reduce the cost of transporting waste. My design tucks this processing underneath the site, while a living green roof and pathway make the site accessible for public enjoyment. Trucks carrying biomass and biochar pass through the south side, dipping down to a platform at the center of the building where the waste and char is loaded and unloaded.
KUMPUSCH STUDIO
columbia university gsapp
85
KUMPUSCH STUDIO
columbia university gsapp
The building provides a service in the form of carbon capture: organic waste that would otherwise enter the municipal waste stream and pass harmful gases into the atmosphere is instead channeled into distributed centers such as these, where it is fed into a pyrolysis kiln. Here the biowaste is transformed into biochar through a thermochemical process that locks the carbon and prevents it from entering back into the atmosphere through decomposition. The biochar can then be used as a soil amendment across city parks and farming initiatives. The bank is maintained by translating the emission offsets into carbon credits which can be exchanged locally or on the global market. Any profit is reinvested in preserving the site as a public park.
RE-INVEST
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RE-INVEST
spring 2015
JULIE PEDTKE
KUMPUSCH STUDIO
columbia university gsapp
SPRING 2015
RE-INVEST CORE II
83
KUMPUSCH STUDIO
columbia university gsapp
As financial capital becomes less and less physical with increasing use of digital technologies, the need for physical spaces to deposit, contain, and protect this capital lessens. However there are physical consequences of our exchanges that digital technology has yet to address. As financial capital enables development, construction, travel, and higher levels of comfort in our built environments, our carbon footprint becomes larger, and climate change threatens our very existence. Carbon is becoming the currency of our time. Carbon tax, carbon credits, and carbon sequestration are hailed as solutions, but the manner in which they are implemented reflects the capitalistic systems that brought about the climate crisis in the first place. Large-scale, centralized initiatives controlled by the government or its lobbying corporations dominate the carbon economy, while communities most affected by the negative consequences of climate change have access to few resources for adaptation.
JULIE PEDTKE
82
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spring 2015
JULIE PEDTKE JULIE PEDTKE
KUMPUSCH STUDIO
columbia university gsapp
CARBON BANK
JONATHAN IZEN
spring 2015
RE-INVEST
81
KUMPUSCH STUDIO
columbia university gsapp
80
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spring 2015
JONATHAN IZEN KUMPUSCH STUDIO
columbia university gsapp
With new social economic platforms such as Venmo and Kickstarter, current business practices and monetary flow are becoming highly public and transparent. The Cloud Bank houses temporary inhabitable spaces for these practices, inviting visitors to contemplate, discuss, transact, and debate. The amorphous building structure allows the extension of the street into the ground floor the site. Program is defined between permanent and temporary spaces, with temporary offices lining the exterior skin of the building, allowing visual public interaction with regional business. The Cloud Bank thus creates a playful interface for the city to reflect and indulge on the anxieties and desires of its occupants.
spring 2015
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79
KUMPUSCH STUDIO
columbia university gsapp
section
JONATHAN IZEN
78
RE-INVEST
spring 2015
JONATHAN IZEN
structure
KUMPUSCH STUDIO
columbia university gsapp
JONATHAN IZEN
spring 2015
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77
KUMPUSCH KUMPUSCHSTUDION STUDIO
columbia university gsapp
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spring 2015
JONATHAN IZEN
KUMPUSCH STUDIO
columbia university gsapp
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75
KUMPUSCH STUDIO
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CLOUD BANK
spring 2015
jonathan izen JONATHAN IZEN
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spring 2015
JONATHAN IZEN KUMPUSCH STUDIO
columbia university gsapp
Under the inescapable advent of digital technology and online resources, banking has shifted to the virtual, requiring less and less of a physical manifestation with the advance of remote capabilities. The Cloud Bank challenges the loss of the bank presence, constantly reshaping as quickly as the economy itself, growing with each deposit and dissolving with each withdrawal. Searching for equilibrium, the invisible presence of the bank becomes visible in our urban context.
STEPHEN KWOK
spring 2015
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73
KUMPUSCH STUDIO
columbia university gsapp
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spring 2015
STEPEHN KWOK
KUMPUSCH STUDIO
columbia university gsapp
First Level +3.00 1.Transitional Space 2.Skylight 3.Visitor Lift 4.Staff Lift
CC'
Ground Level +0.00 1.Plaza 2.Lobby 3.Visitor Lift 4.Staff Lift 5.Corridor CC' 6.Escape/Consultation 7.Gate 8.Staff Entrance
BB'
BB'
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1
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-1.50
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DD'
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AA'
AA'
Consisted of two towers, one for private banking and one for visitors, bank of memories would be a special space to evoke, deposit, store and exchange memories.
spring 2015
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71
KUMPUSCH STUDIO
columbia university gsapp
Inspired by the Plato’s allegory of cave, that check-in, check-out of memories are irreversible, the spatial experience is linear yet overlapping as curated time – geometry, light, shadow, projection, movement, views, allowing emotions under nature of space.
STEPHEN KWOK
3
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1
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DD'
DD'
DD'
AA'
AA'
AA'
70 2
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4
spring 2015
BB'
BB'
BB'
STEPEHN KWOK
CC'
Roof Garden 2 +15.00 1.Roof Garden 2.Skylight
Third Level +9.00 1.Gathering Space 2.Bathroom 3.Visitor Lift 4.Staff Lift 5.Skylight
CC'
CC'
Second Level +6.00 1.Gathering Space 2.Bathroom 3.Visitor Lift 4.Staff Lift 5.Void Above 6.Skylight
KUMPUSCH STUDIO columbia university gsapp
STEPHEN KWOK
spring 2015
RE-INVEST
69
KUMPUSCH STUDIO
columbia university gsapp
68
RE-INVEST
spring 2015
STEPEHN KWOK
KUMPUSCH STUDIO
columbia university gsapp
RE-INVEST
67
KUMPUSCH STUDIO
columbia university gsapp
memories
spring 2015
stephen kwok STEPHEN KWOK
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RE-INVEST
spring 2015
STEPEHN KWOK
bank of The project started with the observation that New York City is an immigrant city. City is always a place that worths our pursuit of dreams, and our sacrifices - leaving the time and space in our origin.
KUMPUSCH STUDIO
columbia university gsapp
Urbaners are always caught in memories. We could see the bakery shop in Chinatown looks like the 1970s’ bakery shop in Hong Kong. On the site of Long Island City which has very diverse races, ages, memory is the essence of values of individual and collectives.
STELLA IOAN
spring 2015
RE-INVEST
65
KUMPUSCH STUDIO
columbia university gsapp
64
RE-INVEST
spring 2015
STELLA IOAN
Ubliissidin vividem aci peresuasdam id remnima ctorbeferis culatque vicaeque nossuloc tas huspicto cero curobse ssoltor ut essatus optius, vivatum ad facchi, Ti. Cat, quam viciam liisultia issignos huconda mpopublina,
KUMPUSCH STUDIO
columbia university gsapp
Etrat, firma, se cones ad sedi taliam occhui inati ia vid ium, noccis; nostrum norarion prorit. Es pra egili in ses a popteri, quis erum nic tust arisquem Pala ditiae dum in re publis factorebati, consulum, vid rei con abem susatam mortam, que ponentrunum derfiris, spio ute, nequam porehem conferum issimmors
STELLA IOAN
spring 2015
RE-INVEST
63
KUMPUSCH STUDIO
columbia university gsapp
62
RE-INVEST
spring 2015
STELLA IOAN
KUMPUSCH STUDIO
columbia university gsapp
STELLA IOAN
spring 2015
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61
KUMPUSCH STUDIO
columbia university gsapp
60
RE-INVEST
spring 2015
STELLA IOAN
KUMPUSCH STUDIO
columbia university gsapp
spring 2015
RE-INVEST
59
KUMPUSCH STUDIO
columbia university gsapp
xx bank
STINE REDDER PEDERSEN
Ubliissidin vividem aci peresuasdam id remnima ctorbeferis culatque vicaeque nossuloc tas huspicto cero curobse ssoltor ut essatus optius, vivatum ad facchi, Ti. Cat, quam viciam liisultia issignos huconda mpopublina, Etrat, firma, se cones ad sedi taliam occhui inati ia vid ium, noccis; nostrum norarion prorit. Es pra egili in ses a popteri, quis erum nic tust arisquem Pala ditiae dum in re publis factorebati, consulum, vid rei con abem susatam mortam, que ponentrunum derfiris, spio ute, nequam porehem conferum issimmors
58
RE-INVEST
spring 2015
STELLA IOAN
stella ioan KUMPUSCH STUDIO
columbia university gsapp
CLEANING SCREENS
RESTROOM
CLEANING SCREENS
CHERRY GROVE CHERRY GROVE
BALCONY
TOOLS
DRYING SCREENS DRYING SCREENS
RECYCLING RECYCLING
CAFE
PLANTING STATIONS PLANTING STATIONS
BALCONY BALCONY
SEED STARTER FABRICATION SEED STARTER FABRICATION
LOCKERS LOCKERS GROW LIGHTS GROW LIGHTS
CHAFF SILO CHAFF SILO
RESEARCH FACILITIES RESEARCH FACILITIES
KUMPUSCH STUDIO
columbia university gsapp
CAFE
RECEPTION
57
RECEPTION
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RESTROOM
HERB GARDEN
SOIL TOOLS
HERB GARDEN
BALCONY
SOIL
please have a seed
spring 2015
STREET KITCHEN
seed KITCHEN please have aSTREET
STINE REDDER PEDERSEN
56
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spring 2015
ROOFTOP BEEHIVES
HORTICULTURIST CLASS
STINE REDDER PEDERSEN
KUMPUSCH STUDIO
columbia university gsapp
SEED DEPOSITORY
THEATER
STINE REDDER PEDERSEN
spring 2015
RE-INVEST
55
KUMPUSCH STUDIO
columbia university gsapp
54
RE-INVEST
spring 2015
STINE REDDER PEDERSEN
KUMPUSCH STUDIO
columbia university gsapp
STINE REDDER PEDERSEN
spring 2015
RE-INVEST
53
KUMPUSCH STUDIO
columbia university gsapp
STINE REDDER PEDERSEN
spring 2015
RE-INVEST
53
KUMPUSCH STUDIO
columbia university gsapp
52
RE-INVEST
spring 2015
STINE REDDER PEDERSEN
KUMPUSCH STUDIO
columbia university gsapp
52
RE-INVEST
spring 2015
STINE REDDER PEDERSEN
KUMPUSCH STUDIO
columbia university gsapp
RE-INVEST
51
KUMPUSCH STUDIO
columbia university gsapp
bank spring 2015
stine redder pedersen STINE REDDER PEDERSEN
50
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spring 2015
STINE REDDER PEDERSEN
ho r izonta l l oo k o u t to w e r s
a se ed
Ubliissidin vividem aci peresuasdam id remnima ctorbeferis culatque vicaeque nossuloc tas huspicto cero curobse ssoltor ut essatus optius, vivatum ad facchi, Ti. Cat, quam viciam liisultia issignos huconda mpopublina,
KUMPUSCH STUDIO
columbia university gsapp
Etrat, firma, se cones ad sedi taliam occhui inati ia vid ium, noccis; nostrum norarion prorit. Es pra egili in ses a popteri, quis erum nic tust arisquem Pala ditiae dum in re publis factorebati, consulum, vid rei con abem susatam mortam, que ponentrunum derfiris, spio ute, nequam porehem conferum issimmors
RE-INVEST
49
KUMPUSCH STUDION
columbia university gsapp
ERIC LI
spring 2015
columbia university gsapp
KUMPUSCH STUDION
48
RE-INVEST
RE-INVEST
47
KUMPUSCH STUDION
columbia university gsapp
ERIC LI
spring 2015
columbia university gsapp
KUMPUSCH STUDION
46
RE-INVEST
RE-INVEST
45
KUMPUSCH STUDION
columbia university gsapp
ERIC LI
spring 2015
columbia university gsapp
KUMPUSCH STUDION
44
RE-INVEST
ERIC LI 43
KUMPUSCH STUDION
columbia university gsapp
DREAM BANK RE-INVEST
ERIC LI
spring 2015
columbia university gsapp
KUMPUSCH STUDION
42
RE-INVEST
Money has its limits, while dreams are limitless. Banks traditionally hold money, yet money is only symbolic, and often cannot give us what we truly desire. Dreams, unlike money, are unhindered by either physical or mental limitations. They are universal; all of us must dream. Yet they are also personal; we are often unwilling to share our innermost desires, and are even unable to share our experiences in sleep. Thus dreams are a truer manifestation of our desire than money. Architecture can create a “dream-like” state through the program, and the activities which take place inside. In form, and in the appearance of the building In the interior, and the building’s interaction with its occupants.
RE-INVEST
41
KUMPUSCH STUDION
columbia university gsapp
columbia university gsapp
KUMPUSCH STUDION
40
RE-INVEST
RE-INVEST
39
KUMPUSCH STUDION
columbia university gsapp
spring 2015
REZA DURANI columbia university gsapp
KUMPUSCH STUDION
38
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RE-INVEST
37
KUMPUSCH STUDION
columbia university gsapp
spring 2015
REZA DURANI columbia university gsapp
KUMPUSCH STUDION
36
RE-INVEST
spring 2015
STINE REDDER PEDERSEN
RE-INVEST
35
KUMPUSCH STUDION
columbia university gsapp
REZA DURANI
spring 2015
REZA DURANI columbia university gsapp
KUMPUSCH STUDION
34
RE-INVEST
CAR BANK Ubliissidin vividem aci peresuasdam id remnima ctorbeferis culatque vicaeque nossuloc tas huspicto cero curobse ssoltor ut essatus optius, vivatum ad facchi, Ti. Cat, quam viciam liisultia issignos huconda mpopublina, Patidet in iam linatus suntus horum publis bon Etriam aperem laris At et con sidiena tantela befactores et que mo utuam pernihil hoc opula parberibus. Etrat, firma, se cones ad sedi taliam occhui inati ia vid ium, noccis; nostrum norarion prorit. Es pra egili in ses a popteri, quis erum nic tust arisquem Pala ditiae dum in re publis factorebati, consulum, vid rei con abem susatam mortam, que ponentrunum derfiris, spio ute, nequam porehem conferum issimmors
RE-INVEST
33
KUMPUSCH STUDION
columbia university gsapp
columbia university gsapp
KUMPUSCH STUDION
32
RE-INVEST
31
KUMPUSCH STUDION
columbia university gsapp
The project houses labs and maker spaces for regenerative medicine, and the creation of artificial organs by means of 3D printers. The structure responds simultaneously to the manufacturing history of the site and the global need for viable organs. Yet, the proposed program is challenging in its controversy. Public understanding and acceptance of regenerative medicine is aimed for through the hybridization of the program with maker space and their galleries.
RE-INVEST
spring 2015
RODERICK CRUZ columbia university gsapp
KUMPUSCH STUDION
30
RE-INVEST
RE-INVEST
29
KUMPUSCH STUDION
columbia university gsapp
spring 2015
RODERICK CRUZ columbia university gsapp
KUMPUSCH STUDION
28
RE-INVEST
MOMENTUM spring 2015
STINE REDDER PEDERSEN
RE-INVEST
27
KUMPUSCH STUDION
columbia university gsapp
RODERICK CRUZ
spring 2015
RODERICK CRUZ columbia university gsapp
KUMPUSCH STUDION
26
RE-INVEST
The project was approached with initial concerns of achieving an architecture of activation, giving momentum to a field of research still in its infancy. This gave rise to the conceptual diagram of the iceberg, whose mass remains largely concealed. The aim of the project was to unveil the hidden mass of the iceberg - the yet unrealized potential of that infant field. Formally, the project takes on the language of continuous ribbons that tie the two programs together while simultaneously blurring typical architectural thresholds that delineate floors, ramps, stairs, walls, and ceilings. The building provide space for 3D printing artificial organs. The space required is drastically smaller than the space needed for traditional research and experimentation. As the field continues to evolve, regenerative medicine will likely reach a point where it no longer requires research spaces ands the spaces once reserved for these labs would be consumed by maker spaces and galleries, leaving only the organ production lab to remain. Consequentially, the proposed building is not static but continuously navigates programmatic evolution.
RE-INVEST
25
KUMPUSCH STUDION
columbia university gsapp
spring 2015
CLARA DYKSTRA columbia university gsapp
KUMPUSCH STUDION
24
RE-INVEST
RE-INVEST
23
KUMPUSCH STUDION
columbia university gsapp
spring 2015
CLARA DYKSTRA columbia university gsapp
KUMPUSCH STUDION
22
RE-INVEST
RE-INVEST
21
KUMPUSCH STUDION
columbia university gsapp
spring 2015
CLARA DYKSTRA columbia university gsapp
KUMPUSCH STUDION
20
RE-INVEST
CLARA DYKSTRA
KUMPUSCH STUDION
columbia university gsapp
In the wake of the financial crisis came the realization that what we have; our job, property, and other financial investments, can be dramatically devalued or even taken away, all due to the actions of others. However we are inevitably able to retain are our intangible assets; a social network, our skills, and the ability to act. From our social, academic, and professional networks we gain access to opportunities and resources because while we all have skills and time that are valuable to others, in order to profit from them, we need a good reputation in order to get work or find customers. This bank facilitates and mediates peer to peer transactions and it stores recommendations from friends, family, co-workers, and academic affiliations as well as ratings accrued through transactions mediated by the bank. The goal is that members will be able to supplement their income with work made available through the bank and be able to use their reputation when applying for jobs or schools or to gain access to local neighborhood resources. Additionally, this bank will be a branch of a larger interconnected network, so that one’s reputation can travel with them to wherever they move. spring 2015
19
CLARA DYKSTRA
RE-INVEST
spring 2015
CLARA DYKSTRA columbia university gsapp
KUMPUSCH STUDION
18
RE-INVEST
REPUTATIO BANK
RE-INVEST
17
KUMPUSCH STUDION
columbia university gsapp
spring 2015
REBECCA BOOK columbia university gsapp
KUMPUSCH STUDION
16
RE-INVEST
RE-INVEST
15
KUMPUSCH STUDION
columbia university gsapp
columbia university gsapp
KUMPUSCH STUDION
14
RE-INVEST
RE-INVEST
13
KUMPUSCH STUDION
columbia university gsapp
spring 2015
REBECCA BOOK columbia university gsapp
KUMPUSCH STUDION
12
RE-INVEST
RE-INVEST
11
KUMPUSCH STUDION
columbia university gsapp
columbia university gsapp
KUMPUSCH STUDION
10
RE-INVEST
RE-INVEST
9
KUMPUSCH STUDION
columbia university gsapp
8
RE-INVEST
spring 2015
REBECCA BOOK
KUMPUSCH STUDION
columbia university gsapp
REBECCA BOOK spring 2015
RE-INVEST
7
KUMPUSCH STUDION
columbia university gsapp
IDEA BANK REBECCA BOOK
6
RE-INVEST
spring 2015
REBECCA BOOK KUMPUSCH STUDION
columbia university gsapp
IDEA BANK aims would shift the valuation in our financial system away from the unidirectional transfer of data towards the open exchange of ideas. At its core, after all, the numbers and algorithms which define the our hyper-financialized economy are simply quantified and digi-fied human ideas. Through uploading stock market algorythms and exporting them to an off-site ultrasecure server farm, we simply restrict access to these ideas and inhibit discussion and critique which could improve the way our economy operates. Instead of placing a premium on maintaining the hierarchy of contemporary business, IDEA BANK will allow the development of innovative ideas and projects which have been hitherto been found to be financially unviable. Thinkers and doers and bring their sketches, models and drafts to the banks vast archive of possibilities, and allow members to experiment with, and build upon the ideas invested in bank without the financial pressures and risks of research and development. Members can withdraw ideas and completed projects from IDEA BANK which can then be used as financially profitable businesses locally. removed from real estate speculation and regain its unique character through constructing a repository In interest of promoting the exchange of ideas, the building has been designed without any corridors or doorways, and interior spaces flow seamlessly into each other, cantilever over one another, and allow view into the projects other members are working on. The overall design strategy is to create an open trading floor for ideas, which weaves in elements of community history, empowering entrepreneurs, and educating innovators.
RODERICK CRUZ xxx
PIM WANGVEERAMIT XXX
MANDY YUJING HAN XXX
KEVIN MACNICHOL XXX
CLARA DYKSTRA XXX XXX XXX XXXX
JULIE PEDTKE XXX XXX XXX XXXX
STINE R PEDERSEN Odense, Denmark B.Eng. Arch. Engineering Tech. Uni. of Denmark
STEELA IOAN Athens, Greece
5
KUMPUSCH STUDION
columbia university gsapp
JONATHAN IZEN San Fransisco, CA
CORE II
STEPHEN KWOK XXX
SEQUENCE
introduction
4
CORE II introduction
SEQUENCE
KUMPUSCH STUDION columbia university gsapp
ERIC LI XXXX
REZA DURANI XXXX
REBECCA BOOK San Fransisco, CA BA in Architecture from UC Berkeley Dual Master in Arch. and Urban Planning
RE-INVEST
Conspiracy theorists of the world, believers in the hidden hands of the Rothschilds and the Masons and the Illuminati, we skeptics owe you an apology. You were right. The players may be a little different, but your basic premise is correct: The world is a rigged game. We found this out in recent months, when a series of related corruption stories spilled out of the financial sector, suggesting the world’s largest banks may be fixing the prices of, well, just about everything. The bank’s unprecedented reach and power have enabled it to turn all of America (and Europe) into a giant pump-and-dump scam, manipulating whole economic sectors for years at a time, moving the dice game as this or that market collapses, and all the time gorging itself on the unseen costs that are breaking families everywhere—rising consumer credit rates, halfeaten pension funds, mass layoffs, future taxes to pay off bailouts. All that money that you’re losing, it’s going somewhere...
ground, the tankers that move it across the sea, the refineries that turn it into fuel, and the pipelines that bring it to your home. Then, just for kicks, they’re also betting on the timing and efficiency of these same industrial processes in the financial markets –buying and selling oil stocks on the stock exchange, oil futures on the futures market, swaps on the swaps market, in a sense, we have given the financial sector an open invitation to commit mass manipulation.
KUMPUSCH STUDION
columbia university gsapp
Value is less and less “visible” and ever more experience based. This goes from the currencies we are using – think goods and gold to Apple Pay - to an ever more shared economy. Space, if not architecture becomes ever more important as a place were we share those experiences. So many of today’s values live not at the opposite ends of the spectrum—the physical space or cyber space, but the in the in-between. Spaces become places were we collect physical experiences – or receive them – rather than were we do things. We want to look at the manufacturing end of both, space and place. The studio explored this physical space – a bank of experiences. The Physical of place and space, sound and light, ideas and ideals is what this studio’s banks capitalize on.
3
They materialize ideas in form of space – Architecture as it’s very own currency.
CORE II
Today Banks own oil tankers, run airports and control huge quantities of coal, natural gas, heating oil, electric power and precious metals. But banks aren’t just buying stuff, they’re buying whole industrial processes. They’re buying oil that’s still in the
SEQUENCE
introduction
2
CORE II
introduction
SEQUENCE
KUMPUSCH STUDION
columbia university gsapp
SPRING 2O15 • CORE 2
KUMPUSCH STUDION
columbia university gsapp
FINAL REVIEW
1
BANKS & A CHOICE OF CURRENCY
CORE II
Value is less and less “visible” and ever more experience based. Space, if not architecture becomes important as a place were we share those experiences. The studio explored this physical space – a bank of experiences. The Physical of place and space, sound and light, ideas and ideals is what this studio’s banks capitalize on. They materialize • ideas in form of space – Architecture as it’s very own currency.
SEQUENCE
introduction
• MID-TERM REVIEW
SITE ANALYSIS
• END OF YEAR SHOW
•
vii
CORE II
SEQUENCE
SITE MODEL
introduction
7 WEEKS
KUMPUSCH STUDION
columbia university gsapp
SEQUENCE
introduction
CORE II
vi
KUMPUSCH STUDION
columbia university gsapp
TABLE OF CONTENT CONTENTS INTRODUCTION 2015 TIMELINE SPRING STUDIO TIMELINE RE-INVEST SPRING STUDENTS PROJECTS
1 3 4 6
v
CORE II
introduction
SEQUENCE KUMPUSCH STUDION
columbia university gsapp
SPRING STUDIO Becca Book Clara Dykstra Julie Pedtke Stine R. Pedersen Stella Ioan Jonathan Izen
Eric Li Reza Durani Roderick Cruz Pim Wangveeramit Mandy Yujing Han Kevin Macnichol Stephen Kwok
SEQUENCE
introduction
CORE I + II
iv
KUMPUSCH STUDION
columbia university gsapp
INTRODUCTION From an anthropologist’s perspective, architecture would seem a curious collection of rituals. We come together in a bright white space, soon to be cluttered with the production of artifacts, and each adorn a tiny section with our special set of accompaniments; our pencils, photographs, heavy sighs, coffee mugs, beanies, conversation. Some nest with self-built shelves and personal computer mice, while others remain mysteriously minimal and carry their work home with them each weekend. The hum of activity comes in tides - quiet mornings shift into hectic afternoons, and panicked nights fade to silly dance parties. Beyond the contrast produced between the collective space and the individual, our defining feature is the
studio. Before long each studio takes on a flavor; a series of white museum board models spring up along one table, while another is overcome with research drawings and diagrams. Some meet loudly at the center of the room, while others recede to secret locations to strategize. It is easy to see when a collective plan is underway; we stand up, debate, walk out, walk back in, debate more. And then there are the times of intense individual focus, when the only thing that brings our faces up from our computer screens is a stranger walking into the room. The studio lends us a sense of specific collectivism, and the most commonly shared emotion is an utter confusion, an inability to define or explain what it
is that we are doing. Because defining something like architecture is impossible without describing our methods and experiences. There is no shared goal behind the ritual; aside from vague desires to better the world, it is in the process itself that we find common ground. Likewise, it is the process that delimits our impact, and shapes our products in ways we often forget. In this volume we hope to uncover the bias of our process. Unlike a traditional portfolio made up of a curated selection of results, this volume has been formatted to include the people, events, conflicts, and progressions that determined our projects, and the insights we gained as a result.