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CRITICAL MASSES
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EDITORS NOTE
CONTENTS 08
NOTE
10
THE REPETITION OF ASTHETICS
20
BANKING RE-FORM
28
LAUNGAGE
by Harrison Bush by Andras Balla
3 0 BALANCE + IMBALANCE 3 8 S E Q U E N C E 4 4 D I V I S I O N + S E PA R AT I O N 5 0 H I E R A R C H Y 62
SPOTLIGHT
246 2 7 0
BANKING REFORM
2 8 8
AFTERWORK
2 9 0
S T U D I O TA K E - O N
10 CONCLUSIONS (ALMOST ) EXHIBI-
by Christoph a. Kumpusch
we present only models
CRITICAL MASSES
columbia university gsapp KUMPUSCH STUDIO
EDITORS NOTE
Andras Balla
We are the most precise of think tanks‌.
Alessa ndra Calaguire
This book reflects on journeys and the embrace of the organic process of discovery.Thecollectivenessofourstudio,undertheinspireddirectionof ourprofessor,Dr.ChristophKumpusch,isstrengthenedbythediversityinits content.
Ry an Day
Theexplorationoflanguageandspatialrelationshipsineachofourprojects is a reflection of the self and lessons learned; fueled by a hunger for experimentationintheconceptualandabstractthroughavarietyofmaterials and techniques. We like to consider our studio as a lab; an incubator of ideas and a collaborativespiritfocusedonpushingtheconversationsaroundarchitecture and searching for the precise questions that reinvent our way of life. Weinviteyoutoexperiencewhatwe’veexperiencedandencourgeyouto challengeourprocessesandthequestionsthatwetakewithustothenext chapter.Thisbookismeanttonotonlyreflectthephilosophyofourstudio, but the unique richness of the parts that comprise the whole.
we present only models
- Harrison Radcliff Bush
Our boredom is shared. Thank god.
CRITICAL MASSES
For as a collection of individuals, we come to view its source in repetition: the repetition of aesthetics, of schools, and intellectualism of sole semantic value. Architecture shall be treated as a myth to be contested. Thus our clichĂŠs are presented clearly.Wedisplaymodels,butsadlyonlymodels: of concrete thoughts and fluid realities.
columbia university gsapp KUMPUSCH STUDIO
WeinsistuponArchitecture’sreflectionuponthe world as it is: in a material state, in everyday life, in a fanciful interpretation of our present moment. Equally, it should contain the seeds of a state of perfection, a desired ideal of the life we wish to live. No single project succeeds toaccomplishrealismandidealismwithperfect disharmony.Butitisherewefindthesignificance of our assemblage.
For together and only so, do we make, in pure accidentalform,acollection of superego-istic utopias and realities. Weinviteyoutolookuponthesemodelsfortheir truly violent deformations. We invite you to read them for their contemporary realism. Butultimatelyweprayyoutojudgeourperfect piles as models of thought; to transcend their material coldness and see that each project is optimistic in some way.
Andwithoutfurtherado,maywepresenttoyou both our reals and our ideals, in addition to our operative criticisms. We’veapproachedthemwithcautionandrigor. Values have rarely been positive accessories. Wehopeeachproposalbegsaquestion.We’ve beenlefthauntedbyamaddeningdisposition, the specter of being unable to answer them. .
_WE
D I S P L AY M O D E L S _ OF CONCRETE THOUGHTS AND _FLUID REALITIES_
N O I T I T E E P _TH _RE _OF CS I T HE T S E __A Diverse Backgrounds
Unfettered Optimism
Uncertainty in Direction
Achievement Fostered by Ambition We came in knowing that things were about to change. How or when or why remained a mystery, and to most of us, it still does. Embracing change, coupled with an openness to allow for its versatility and weight unified us, and yet we kept those attributes that made us unique. We tried, tried again, and kept trying. Whether in periods of desperation, or in moments of tranquility, craft, aesthetics andthecomplexitiesthatsurroundthemwereenrichedwitha precision that cannot be ignored. Together we created our own environment.
PROJEC TS HARRISON COLE NESBITT
ANDRAS BALLA
LAUREN JOHNSON
YUHONG DU
ESSENTIALIZING SPACE
IDEAL GEOMETRIES
COUNTERSPACE
SCULPTED SPACES
EARTH CLOSET
EARTH CLOSET
EARTH CLOSET
URBAN NATATORIUM
URBAN NATATORIUM
URBAN NATATORIUM
URBAN NATATORIUM
01 // 01
01 // 02
01 // 03
01 // 04
MELODY HO
RYAN FRANCIS DAY
LUIS MORALES
SPATIAL APERTURES
THE GAP / SPACE AESTHETICS
SENSUAL EXPERIENCES
EARTH CLOSET URBAN NATATORIUM
01 // 05
EARTH CLOSET
URBAN NATATORIUM
URBAN NATATORIUM
01 // 06
01 // 07
1 3
-
FA L L
Ivy Hume
Andras Balla
Woochan Jung
Lauren Miyata
Mel Loyola-Agosto
Catherine Qi
Lauren Johnson
Melody Ho
Yuhong Du
504 Harrison Nesbitt
ROOM \\
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we present only models
CRITICAL MASSES
columbia university gsapp KUMPUSCH STUDIO
A V E R Y
Ry an JS im th
s
An
on
on y Ti tu s
D E C 2 0 1 3
we present only models
CRITICAL MASSES
columbia university gsapp KUMPUSCH STUDIO
Th i s f i l m ta l k s a bo u t yo u… a bo u t yo u r l i fe… a bo u t yo u r f a mi l y… a bo u t yo u r wo r k … a bo u t yo u r d o u bts… a bo u t yo u r d re a ms… You will see yourself in the leading role as th o u g h yo u we re l o o k i n g i n a mi r ro r… Th i s i s yo u r f i l m
Federico FELLINI: 8 ½, 1963
B
G N I K AN
R O F e r
M
We are 12 in number; a full 5 more than 7. As a collection of individuals, we would like to politely disregard romantic traditionalism in its contemporary states. Architectural religions in all forms and ‘isms.’We look to reForm. Super precise arguments establish the vector of our contexts. Architecture shall be treated as a myth to be contested. Money is touched by few of our proposals. Fewer still have perceived it as an ends. All are obsessed with it though, for what makes our objects any exception to our commodified reality. We act with SuperEgos. Each of our 12 proposals addresses value and the human perspectives which give it multiple forms.
P R O J E C T S ANDRAS BALLA
RYAN FRANCIS DAY
HARRISON RATCLIFFE BUSH
IDEAL GEOMETRIES
THE GAP / AESTHETIC SPACES
TO BE WRITTEN BY H.R.B.
ACTIVATED PLANES
PERMANENTLY TEMPORARY
TEN SECOND SPACE
BANK OF AMNESIA
HUMANITY BANK
02 // 01
02 // 02
02 // 03
ALESSANDRA CALAGUIRE
02 // 04
TATIANA TATARINTSEVA
GUANGBIN ZHEN
LAUREN JOHNSON
MENTAL TRAJECTORIES
MONUMENTAL TOMBS
POLITICAL SPACES
KNOWLEDGE BANK
YOUR CHECKNIG OUT ACCOUNT
BANK ON HOUSING
02 // 05
02 // 006
02 // 007
1 4
-
S P R I N G
ha we present only models
C
.K op st hri
CRITICAL MASSES
columbia university gsapp KUMPUSCH STUDIO
WA R E LOUNGE
Ryan Day ch us p um
Lis Cena
Dwayne Oyler
Andrew Heid
Mark Wigley
Juli Janiski
Eirini Tsachrelia
Dimitra Tsachrelia
Jenny Wu
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L A N G
UAG E
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language BALANCE + IMBALANCE
BALANCE AND IMBALANCE
CRITICAL MASSES
HARRISON NESBITT
AXIAL RELATIONSHIPS THAT BRIDGE THE MULTI-WEIGHTED PROGRAM
ANDRAS BALLA
DYNAMICS BETWEEN EXTERIOR BALANCE AND INTERIOR IMBALANCE
YUHONG DU
THE INVISIBLE BALANCE BETWEEN THE WEIGHTLESS VOID
MELODY HO
SLIGHT IRREGULARITIES THAT COLLECTIVELY BALANCE THE EXPERIENCE
RYAN DAY
SUSPENSION OF PHYSICAL WEIGHT
HARRISON BUSH
THE ATTEMPTED BALANCE ACHIEVED THROUGH SEQUENCE
ALESSANDRA CALAGUIRE
DISTRIBUTION THROUGH FRAMING TO ACHIEVE A COMMUNAL BALANCE
01 // 01
01 // 02
01 // 04
01 // 05
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columbia university gsapp KUMPUSCH STUDIO
02 // 03
02 // 04
MATERIAL STUDY SPATIAL STUDY BUILDING MODEL DETAIL MODEL
01 // 02 01 // 04 02 // 02
language BALANCE + IMBALANCE
CRITICAL MASSES
01 // 02
columbia university gsapp KUMPUSCH STUDIO
02 // 04
02 // 02 02 // 03 01 // 01
language BALANCE + IMBALANCE
CRITICAL MASSES
02 // 04
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columbia university gsapp KUMPUSCH STUDIO
01 // 05
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SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQUENCE. SEQU
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language SEQUENCE
SEQUENCE
CRITICAL MASSES
HARRISON NESBITT
PROCESSION THROUGH SPACE AND SEQUENCE OF VULNERABILITY
LAUREN JOHNSON
CYCLICAL REPITION PROVIDES SIMULTANEOUSLY ALTERED EXPERIENCES
RYAN DAY
SEQUENTIAL MOMENTS OF CLARITIES THAT CURATE A SPATIAL EXPERIENCE
01 // 01
01 // 03
01 // 06
ANDRAS BALLA
DISCONNECTED SEQUENCES DOMINATED BY TEMPORARY NEEDS
ALESSANDRA CALAGUIRE
SEQUENCE OF TIME AND ITS CONSUEQUENCE IN SPATIAL PARTICIPATION
02 // 01
02 // 04
columbia university gsapp KUMPUSCH STUDIO
MATERIAL STUDY SPATIAL STUDY BUILDING MODEL DETAIL MODEL
01 // 06 02 // 04 02 // 01
02 // 01
language SEQUENCE
01 // 01
CRITICAL MASSES
columbia university gsapp KUMPUSCH STUDIO
01 // 006
02 // 04 01 // 03
DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. D SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + S + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. D SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + S + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. D SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + S + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. D SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + S + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. D SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + S + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. D SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + S + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. D SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + S + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. D SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + S + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION + SEPARATION. DIVISION +
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language DIVISION + SEPARATION
DIVISION AND SEPARATION
CRITICAL MASSES
MELODY HO
CREATING SEPARATION THROUGH ONE CONTINUOUS BEING
ANDRAS BALLA
THE SEPARATION OF ELEMENTS UNIFIED BY THE EDGE
RYAN DAY
THE VISUAL RELATIONSHIPS BEGIN TO SHAPE THE LANGUAGE OF FORM
HARRISON BUSH
SLIGHT SPATIAL DIVISIONS THAT BRIDGE COGNITIVE VOIDS
ALESSANDRA CALAGUIRE
THE NECESSITY OF DIVISION TO ACHIEVE A LAYERED SPATIAL INCLUSIVITY
01 // 05
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columbia university gsapp KUMPUSCH STUDIO
02 // 04
MATERIAL STUDY SPATIAL STUDY BUILDING MODEL DETAIL MODEL
01 // 05 02 // 01 02 // 04
language DIVISION + SEPARATION
CRITICAL MASSES
02 // 01
02 // 02
02 // 04
columbia university gsapp KUMPUSCH STUDIO
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HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCH HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIER HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIER HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARC
HY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. RARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. RARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. CHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY. HIERARCHY.
language HIERARCHY
HIERARCHY
CRITICAL MASSES
HARRISON NESBITT
HIERARCHY ACHIEVED THROUGH AUDITORY, HAPTIC AND EXPERIENTIAL QUALITIES
ANDRAS BALLA
MONUMENTALITY AT THE EXPENSE OF WATER
MELODY HO
APERTURE AS THE DEFINING HIERARCHY IN ITS MANAGEMENT OF LIGHT
RYAN DAY
SIMULTANEOUS REPOSITIONING
HARRISON BUSH
THE COGNITIVE SELF MANAGEMENT OF OBJECTS
TATIANA TATARINTSEVA
THE SPATIAL OCCUPATION OF KNOWLEDGE
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MATERIAL STUDY SPATIAL STUDY BUILDING MODEL DETAIL MODEL
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SYNCHR ONIZED SPACE we present only models CRITICAL MASSES
Sensuality i n a rc h i te c tu re phys i c a l o r i l l u s i o n a r y h a s e me rg e d f ro m th e d i s cove r y o f s i mu l ta n e o u s co r re l ati o n s / th e s yn c h ro n i z ati o n o f e l e me nts i n ti me a n d s pa ce / d e f i n e d by th e s i n g l e mo me nta r y me ta mo r ph o s i s of o bj e c t w i th o bje c t! ma n w i th ma n / bo u n d a r y w i th bo u n d a r y / th e co n f l i c t of k i n e ti c ve r s u s s tati c / co l d ve r s u s h o t! d a r k ve r s u s l i g ht! p erce pti o n ve r s u s u ti l i z ati o n / p er fo r m a n ce ve r s u s ex pe c tati o n / to u c h ve r s u s v i s i o n / s o l i d ve r s u s vo i d / s o u n d ve r s u s s i l e n ce R a i mu n d Ab ra h a m, Provi de n ce, 1 9 6 8
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we present only models
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SPOTL
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E S S E N T I A L I Z I N G S PA C E
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NEW YORK
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Meetings/Meanings
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_HIERARCHY BY _MEANS OF FOSTERING PHYSICAL
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CLOSENESS
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silent spaces HARRISON NESBITT CRITICAL MASSES
Designed through hyperbole, the qualities that comprise the public restroomwereresearched,aggregated andexaggeratedthroughmodeland materialstudy.Thepublicrestroom, beyond it’s immediate function and appearance, is unmistakably characteristic in it’s auditory, haptic andexperientialqualities.Throughan iterativestudyprocessofmodelmaking, materialexplorationandresearch,the publicrestroomprojectwasspringboard forunderstandingtherelationshipof phenomenology and architecture.
To essentialize the public restroom wastodistillthesalientqualities,then collectivelyexaggerate,asopposed to subtly suggest. Reverberance, confinement,dampnesscombinewith isolation,placidityandcontemplationto createbothagrotesqueandsublime reinterpretation of the restroom. This interest carried into the pool project,integratingsocialandpolitical mores into design processes such to explore the potential subversive potentialofarchitecture.Usinglessons learned from the restroom project, three spaces were conceived that soughttoaggressivelychallengesocial stratificationandhierarchybymeansof fostering physical closeness.
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73 ESSENTIALIZING SPACE
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HUMANITY BANK
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ALESSANDRA CALAGUIRE
activated planes ALLESSANDRA CALLIGUIRE
The Humanity Bank attempts to achieve a social goal through architecture: to help prevent family homelessness by banking on skills.
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Bridging over and revolving around the square, the Humanity Bank projects living and displays training. The edge mediates inside and outside with circulation, study spaces, and outdoor theater projection screen. Shifting perspectives and degrees of visibility creates dynamic spatial tenstions.
The project frames things together in
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order to negotiate a new relationship and experience within society.
77 Framing the connection.
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es n a l P d e t a v i t Ac
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ideal geometries ANDRAS BALLA
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IDEAL GEOMETRIES
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ENDLESS CONTINUUM
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Circlesattractusfrombothinsideand out.Theirperfectclosedgeometrylends itselftoenergyandamagneticforce fieldthatcertainlybreaksanyorthogonal arrangement.
Thepoolauditoriumcomplexseeks to provide centrality and unity to a neighborhoodthatnotonlylacksit,but issurroundedbyalevelofcontinuous developmentthatbothignoresitand isolatesit.Waterservesasthebackbone ofthecommunity,andisthedefining factorinprogrammaticfunction.Asthe seasonschange,waterfunnelsfromthe summerpoolintheabovegroundcone, tooccupyanauditoriumspacebelow groundtocreateadiversemultipool experiencewithvariedtemperaturesof water.Thedryprogramsswitchplaces andtheauditoriumprogramoccupies thecone.Thisdualityinbothprogram andthephysicalpresenceofwaterisan indicatorofrejuvenationandcontinuity, galvanizingitsimmediatesurroundings
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The sphere represents endless continuumandfluidityandyetitsspatial occupationinhumanscaleofferslittle cluesandrecognizableelements.How does one come to understand his or her place in such an environment. The bathroom is our most private of spacesofferingmomentsofextreme seclusion, reflection and outlets of emotion; certainly an escapes from theconflictsandstressesofeveryday life. The organic nature of our desire tounderstandthespacesweoccupy throughfamiliaritythusfindsitselfat home inside a sphere, where we can carve our own piece in a particular moment in time.
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Level -1 - Water Sphere
111 Level 2 -Viewing Gallery. Changing Rooms
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BANKING IDEAS
Temporariness surrounds us, and reflects the imbalance in life that we seek to control in
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small increments.
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Thebankseekstocapturethisdynamic throughtemporaryprograms.Banks offerusreliability,andexisttogiveus pieceofmind,knowingthattheminute we need them, they are there.
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Thefragmentsthatwecallmoments of necessity need to be satisfied, quickly.Respondingtoagrowingtech andsmallbusinesscommunity,and thedynamicallychangingwayinwhich we work, network and interact, the bankprovideshypertemporaryoffice spacesforboth larger meetings and individualwork.Thebuildingbecomes moreprivateasonemovesthroughout, respondingtourgencyandbrevityin time.Hyperactivityinsideandoutside keeps the bank in a constant state of evolution,respondingtothetemporary natureoftheprogramsandneedsthat inhabit it. The bank is in a constant state of balancing this permanently temporariness.
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117 DISCONNECTED SEQUENCES DOMINATED BY TEMPORARY NEEDS
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_ _ Id e a l s _ G e o m e t r ie
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politcal spaces LAUREN JOHNSON
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LAUREN JOHNSON
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PUBLIC W/C
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fall 2013 a public space that seeks to mediate sexuality and space.
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Counterspace
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The unit makes the user aware of the body, not only through its program, but through the user’s engagement with it: it moves to the touch, rotates, and reacts around a central spine, making them aware of their bodily functions as well as their desires.The space itself is a fluid, open space, in which the body can move freely in, out, and around.
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The public space is a unifying space, through both the singularity of the bathroom unit and the building structure; it is not organized according to gender specificity, but open to any user. The public space questions the binaries of gender throughitscombinationsofhard/soft, transparent/opaque,machine/natural, andinterior/exterior.Thecombination of opposing properties opens up the space to a spectrum of possibilites.
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135 The interior space does not attempt to isolate its user and it is not domestic in nature; it exists in the public realm.
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sculpted space YUHONG DU
SCULPTED
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sculpted space YUHONG DU CRITICAL MASSES
Activatingtherigidharmonyofthesite with dynamic form, the gymnasium creates a penetrable node: a meeting place for all residents. The sculpted shapesengageresidentmovementand pace through the site.The transparent skin of the volumetric swimming pool creates a visual connection to the surrounding site, allowing both the building to take in the site, but also the site to absorb the building. An intermediary zone, or the space betweentheinsideandoutsideresults from the extension and folding of the skin as a screen, and the insertion of a circulation platform. The platform becomes a place for viewing both the interior and exterior. The scuplted space results from a transforming, wrapping membrane.
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sculpted space YUHONG DU
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SHAPED SPACE
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d s e t e c p l a Scu _Sp
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R YA N D AY
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THE GAP S PA C E A S T H E T I C S
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THE GAP The gap shows what is stopping you becomingwhoyouwanttobe,through momentsofclarity,linkingtheseriesof personal decisions.
If image is the thought process of consumingrelationsbetweenobjects thenthisinformationbecomeshighly valuable. Timeisasequenceofimages,butfuture projections, the moments of never stopping to think now. The evolving structure that guides a sequenceofforms,createdforsociety’s protection, binds and shelters the individualwithinaninvisiblemany-layered structure of routine.
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Time: is a sequence of images. Image:isthesequenceofthoughts. Sequence: is the relationship between objects.
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language HIERARCHY CRITICAL MASSES
Thesequencemutatesadaptingthe ‘primeconcept’toalocalenvironment. Yetthesequenceholdsarepresentation ofimagefromwherewehavetheability to attach an identity, a meaning to a form.We use a serial appreciation to attachmeaningtothisform,allowingfor a personal understanding of reality.
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In te r
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THESE PLATES ARE TEN SECONDS OF TIME
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TEN SECONDS
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ONE These Plates are ten seconds of time T WO Theseplatesaretodefinetheuse,theunderstanding,theabsence,thepresence,theabilityoftimefromwhichwecancomposespace. Fromwhereanedgenolongerdefinesboundariesbutholdsgapsinspace.Spacethatbankstheknowledgeofthegap,thatreinterpretsthe incoming information of self-evaluation and projects back into its depository. THR EE Thegapshowswhatisstoppingyoubecomingwhoyouwanttobe,throughmomentsofclarity,linkingtheseriesofpersonaldecisions.
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Time: is a sequence of images. Image: is the sequence of thoughts. Sequence: is the relationship between objects. F OU R A spatial sequence that alters, mutates, redefines image of time. Why?Timeistheessenceofmansconstructedworld.Itisthefirstsensethatwelive.Timelandscapesisabankofarchetypesthatwilldeliver an account of how can time information provide a wealth of knowledge
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F IV E The eye of the spectator will be raised from representation to a whole understanding. The eye of the spectator will be everywhere at once. As the momentum constantly shifts axes, focusing on the between nature of time, the gaps of knowledge reverse.
SIX The ability of human achievement within 10 seconds. The speed of information is only achievable and yet restricted by human input and error SE V EN Abankthatexploitstime,increasingthepotentialofthegapbetweenmoments,Allowingknowledgetobeplacedontheoutcomeoftime/the absence of time. Playing on the fear of missing out. EIGHT
Perception of Information takes 5 – 10 milliseconds to reach the eye Information takes 1 millisecond from retina to brain Man constantly predicts the outcome. What can happen with 10 seconds of knowledge. NINE Thesequencemutatesadaptingthe‘primeconcept’toalocalenvironment.Yetthesequenceholdsarepresentationofimagefromwherewe havetheabilitytoattachanidentity,ameaningtoaform.Weuseaserialappreciationtoattachmeaningtothisform,allowingforapersonal understanding of reality. TEN These plates are ten seconds of time
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Placed in a site the fear of missing out escalates. Man lives in the gap of time.
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critical masses HARRISON RADCLIFF BUSH
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HARRISON R ADCLIFF-BUSH
S E N T I M E N TA L E D U C AT I O N
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SEN T IMENT A EDU L CAT ION CRITICAL MASSES
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183 AMNESIA BANK
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_IN GR AIN ED T TO HA FAM __ T EXT ILARI MU T E LIP NDS Y LE _ FO _____ RM S
Amemorybankforthosewhodonot have. Amnesiaquestionthevalueofmemories throughboththelossofapastmemory oranewfoundinabilitytocreatenew ones.
Living rooms are often a language retainedinpatients:theletterstaking theformofcouches,ferms,andrugs: thegrammarbecomingscaleandspatial definition. The proposal serves to assist those with the psychological and cultural implicationsofamnesiainoursociety questioningitheavilythroughitsuse.
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Itiscommonforthosewiththosewith amnesiatoretainlanguage—certain ingrainedfamiliaritythatextendsto multiple forms.
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Crit ic
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critical masses HARRISON RADCLIFF BUSH
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The question is left unanswered. It merely provides a sentimental education. columbia university gsapp KUMPUSCH STUDIO
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Architecturally,thebuildingimplements dialecticalquestionsofmemoryand value. Thereareaseriesofparts,alanguage, whichismanipulatedasthepartsare joinedandimposedononeanother. Thelivingroomsareconstructedaround 8 void columns.
Every room is designed to imitate a living room. There is one program, reproducedineveryroomasamatrixof spaces.Theyarepsychoanalyticoffices. Theyareglasscasesforstoringavast collection of objects. They are shop rooms.
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The interior space is a matrix of fragment rooms and continuous, incomplete perspectives.
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You can purchase the memories necessary to function in our society. Objectcontainmemoriescanbestores with our psychoanalysts while you receive object therapy. Every room hasthepotentialtodoalldepending onwhatisrequiredbyeachcustomer. We invite the public to come in, for after all, it is a shop. Let them buy the disregardedmemories.Letthembuythe objectskepttoactasnewmemories.All autobiographicalobjectsaretreatedas commodities.Thecontradictinglogicsof eachvaluesystemareleftunresolved exceptinthedestructionofoneover the other.
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A natatorium that focuses on the recreational aspect of water with an economyofresourcesfromwhichthe main element is water itself. The pool is placed on the edge of the developmentwherebuildingsdonot function as an architectural barrier to outsiders. Furthermore, the now improvedcirculationwithintheprojects aswellastheintegrationofthesidewalk servetofurtherincludethepublicinthe pools activities.
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Makingemphasisontheeconomyof resourcesandevenverbalinteractions soastoemphasizethehumanelement in all its physical capabilities for communication. Wideshotsgiveasenseofthescenery werethemainelementsarethewater andtheskydividedbyasharphorizon line,brokenonlybytheverticalityofthe human figure.
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I wanted to be sure to reach you; though my ship was on the way it got caught in some moor ings. I am always t ying up and then deciding to depar t. I n stor ms and at sunset, with the metallic coils of the tide around my fathomless ar ms, I am unable to understand the for ms of my vanit y or I am hard alee with my Polis h rudder in my hand and the sun sink ing. To you I offer my hull and the tattered cordage of my will. The ter r ible channels where the wind dr ives me against the brown lips of the reeds are not all behind me. Yet I trust the sanit y of my vessel; and if it sinks, it may well be in answer to the reasoning of the eter nal voices, the waves which have kept me from reaching you
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Fra n k O ’ H a ra To Th e H a r bo r ma s te r, 1 9 5 7
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Marta Caldeira
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1 CONCLU (A L M
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0 USIONS O S T )
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We’ve approached them with caution and rigor. Values have rarely been positive accessories. We hope each proposal begs a question. Collectively they are dialectics and therefore We would prefer not to speak. We’ve been left haunted by a maddening disposition,
the specter of being unable to answer them.
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May we present to you both our reals and our ideals: as our values for architecture and society, and their dual functions as critiques of value.
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ANDRAS BALLA CAN WE REFER TO SOMETHING AS BEING TEMPORARY?
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ALLESANDRA CALAGUIRE WHAT CONSTITUTES SUCCESS IN A SOCIET Y THAT IS SO SENSITIVE TO SCALE?
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RYAN DAY IF IMAGE IS THE SEQUENCE OF THOUGHTS. IS THE RELATIONSHIP BETWEEN OBJECTS - SEQUENCE?
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HARRISON NESBIT T CAN SPATIAL CONFIGURATION HELP US CHOOSE OUR PATHS WITHIN THE MOST PUBLIC SOCIAL SPACES?
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YUHONG DU CAN LIGHT SHAPE AND CARVE OUR INTERIOR WORLDS?
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HARRISON RADCLIFF-BUSH THANK YOU FOR THIS EDUCATION
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LAUREN JOHNSON SPACE SHAPED BY IDEOLOGIES
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TATIANA TATARINTSEVA LANGUAGE MUSCLE
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LUIS MORALES THE HORIZON LINE, BROKEN ONLY BY THE VERTICALIT Y OF THE HUMAN FIGURE.
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GUANGBIN ZHEN MONUMENTAL PRESERVATION
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G R A D UAT E S C H O O L O F A R C H I T E C T U R E P L A N N I N G A N D P R E S E R VAT I O N E N D O F Y E A R S H O W 2 0 1 4
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AFTERWORK
Scripts and codes give the illusion that it happens by itself – automated and without human input. This couldn’t be further from reality. Particularly the reality we are thinking about in the presented projects; a reality that is about to happen. It takes capital. Not just financial, but human capital. It comes in the form of ideas, ideals and Work. The work in this book contributes to this capital—and its interest rate compounds in its ideas.
Christoph a. Kumpusch, 10/17/2014, New York
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This book is not about products in technology - it is about ideas in architecture. Architecture is Work. While parts of it can be generated – Architecture does not generate itself.
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BANKS - RE:invent the Type or the World?
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From tech stocks to high gas prices, banks have engineered every major market manipulation since the Great Depression—and they’re about to do it again. The first thing you need to know about banks is that they are everywhere. The world’s most powerful investment bank is a great vampire squid wrappedaroundthefaceofhumanity,relentlesslyjammingitsbloodfunnel into anything that smells like money. In fact, 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 banks graduates.
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The Feds vs. Banks
The bank’s unprecedented reach and power have enabled it to turn all of America 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 — high gas prices, rising consumer credit rates, half-eaten pension funds, mass layoffs, future taxes to pay off bailouts. All that money that you’re losing, it’s going somewhere, and in both a literal and a figurative sense, Goldman Sachs is where it’s going: The bank is a huge, highly sophisticatedengineforconvertingtheuseful,deployedwealth of society into the least useful, most wasteful and insoluble substance on Earth — pure profit for rich individuals.
They achieve this using the same playbook over and over again. The formula is relatively simple: Banks position themselfes in the middle of a speculative bubble, selling investments they know are crap.Then they hoover up vast sums from the middle and lower floors of society with the aid of a crippled and corrupt state that allows it to rewrite the rules in exchange for the relative pennies the bank throws at political patronage. Finally, when it all goes bust, leaving millions of ordinary citizens broke and starving, they begin the entire process over again, riding in to rescue us all by lending us back our own money at interest, selling themselves as men above greed, just a bunch of really smart guys keeping the wheels greased. They’ve been pulling this same stunt over and over since the 1920s — and now they’re preparing to do it again, creating what may be the biggest and most audacious bubble yet. If you want to understand how we got into this financial crisis, you have to first understand where all the money went — and in order to understand that, you need to understand what banks have already gotten away with. It is a history exactly five bubbles long — including the strange and seemingly inexplicable spike in the price of oil. There were a lot of losers in each of those bubbles, and in the bailout that followed.
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The Invasion
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BUBBLE #1 The Great Depression Big banks weren’t always a too-big-to-failWall Street behemoth, the ruthless face of kill-or-be-killed capitalism on steroids —just almost always.The bank was actually founded in 1869 by a German immigrant named Marcus Goldman, who built it up with his son-in-law Samuel Sachs.They were pioneers in the use of commercial paper, which is just a fancy way of saying they made money lending out short-term IOUs to smalltime vendors in downtown Manhattan. You can probably guess the basic plotline of Goldman’s first 100 years in business: plucky, immigrant-led investment bank beats the odds, pulls itself up by its bootstraps, makes shitloads of money. In that ancient history there’s really only one episode that bears scrutiny now, in light of more recent events: Goldman’s disastrous foray into the speculative mania of pre-crash Wall Street in the late 1920s. Wall Street’s Big Win
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This great Hindenburg of financial history has a few features that might sound familiar. Back then, the main financial tool used to bilk investors was called an“investment trust.”Similar to modern mutual funds, the trusts took the cash of investors large and small and (theoretically, at least) invested it in a smorgasbord ofWall Street securities, though the securities and amounts were often kept hidden from the public. So a regular guy could invest $10 or $100 in a trust and feel like he was a big player. Much as in the 1990s, when new vehicles like day trading and e-trading attracted reams of new suckers from the sticks who wanted to feel like big shots, investment trusts roped a new generation of regular-guy investors into the speculation game.
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BUBBLE #2 Tech Stocks Fast-forward about 65 years. Goldman not only survived the crash that wiped out so many of the investors it duped, it went on to become the chief underwriter to the country’s wealthiest and most powerful corporations.Thanks to SidneyWeinberg, who rose from the rank of janitor’s assistant to head the firm, Goldman became the pioneer of the initial public offering, one of the principal and most lucrative means by which companies raise money. During the 1970s and 1980s, Goldman may not have been the planet-eating Death Star of political influence it is today, but it was a top-drawer firm that had a reputation for attracting the very smartest talent on the Street.
But then, something happened. It’s hard to say what it was exactly; it might have been the fact that Goldman’s cochairman in the early Nineties, Robert Rubin, followed Bill Clinton to theWhite House, where he directed the National Economic Council and eventually became Treasury secretary.While the American media fell in love with the story line of a pair of baby-boomer, Sixties-child, Fleetwood Mac yuppies nesting in the White House, it also nursed an undisguised crush on Rubin, who was hyped as without a doubt the smartest person ever to walk the face of the Earth, with Newton, Einstein, Mozart and Kant running far behind. Practices which conspired to turn the Internet bubble into one of the greatest financial disasters in world history: Some $5 trillion of wealth was wiped out on the NASDAQ alone. But the real problem wasn’t the money that was lost by shareholders, it was the money gained by investment bankers, who received hefty bonuses for tampering with the market. Instead of teachingWall Street a lesson that bubbles always deflate, the Internet years demonstrated to bankers that in the age of freely flowing capital and publicly owned financial companies, bubbles are incredibly easy to inflate, and individual bonuses are actually bigger when the mania and the irrationality are greater. Nowhere was this truer than at Goldman. Between 1999 and 2002, the firm paid out $28.5 billion in compensation and benefits — an average of roughly $350,000 a year per employee. Those numbers are important because the key legacy of the Internet boom is that the economy is now driven in large part by the pursuit of the enormous salaries and bonuses that such bubbles make possible. Goldman’s mantra of “long-term greedy” vanished into thin air as the game became about getting your check before the melon hit the pavement.
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It also, oddly enough, had a reputation for relatively solid ethics and a patient approach to investment that shunned the fast buck; its executives were trained to adopt the firm’s mantra,“long-term greedy.”One former Goldman banker who left the firm in the early Nineties recalls seeing his superiors give up a very profitable deal on the grounds that it was a long-term loser.“We gave back money to‘grownup’ corporate clients who had made bad deals with us,”he says.“Everything we did was legal and fair — but‘long-term greedy’said we didn’t want to make such a profit at the clients’ collective expense that we spoiled the marketplace.”
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BUBBLE #3 The Housing Craze Goldman’s role in the sweeping global disaster that was the housing bubble is not hard to trace. Here again, the basic trick was a decline in underwriting standards, although in this case the tandards weren’t in IPOs but in mortgages. By now almost everyone knows that for decades mortgage dealers insisted that home buyers be able to produce a down payment of 10 percent or more, show a steady income and good credit rating, and possess a real first and last name.Then, at the dawn of the new millennium, they suddenly threw all that shit out the window and started writing mortgages on the backs of napkins to cocktail waitresses and ex-cons carrying five bucks and a Snickers bar. NoneofthatwouldhavebeenpossiblewithoutinvestmentbankerslikeGoldman,whocreatedvehiclestopackagethoseshittymortgagesand sell them en masse to unsuspecting insurance companies and pension funds.This created a mass market for toxic debt that would never have existed before; in the old days, no bank would have wanted to keep some addict ex-con’s mortgage on its books, knowing how likely it was to fail. You can’t write these mortgages, in other words, unless you can sell them to someone who doesn’t know what they are.
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And once again, while the world was crashing down all around the bank, Goldman made sure it was doing just fine in the compensation department. In 2006, the firm’s payroll jumped to $16.5 billion — an average of $622,000 per employee. As a Goldman spokesman explained, “We work very hard here.” But the best was yet to come. While the collapse of the housing bubble sent most of the financial world fleeing for the exits, or to jail, Goldman boldly doubled down — and almost single-handedly created yet another bubble, one the world still barely knows the firm had anything to do with.
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BUBBLE #4 $4 a Gallon
Where to go? With the public reluctant to put money in anything that felt like a paper investment, the Street quietly moved the casino to the physical-commodities market — stuff you could touch: corn, coffee, cocoa, wheat and, above all, energy commodities, especially oil. In conjunction with a decline in the dollar, the credit crunch and the housing crash caused a“flight to commodities.”Oil futures in particular skyrocketed, as the price of a single barrel went from around $60 in the middle of 2007 to a high of $147 in the summer of 2008. That summer, as the presidential campaign heated up, the accepted explanation for why gasoline had hit $4.11 a gallon was that there was a problem with the world oil supply. In a classic example of how Republicans and Democrats respond to crises by engaging in fierce exchanges of moronic irrelevancies, John McCain insisted that ending the moratorium on offshore drilling would be“very helpful in the short term,”while Barack Obama in typical liberal-arts yuppie style argued that federal investment in hybrid cars was the way out. But it was all a lie. While the global supply of oil will eventually dry up, the short-term flow has actually been increasing. In the six months before prices spiked, according to the U.S. Energy Information Administration, the world oil supply rose from 85.24 million barrels a day to 85.72 million. Over the same period, world oil demand dropped from 86.82 million barrels a day to 86.07 million. Not only was the short-term supply of oil rising, the demand for it was falling — which, in classic economic terms, should have brought prices at the pump
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By the beginning of 2008, the financial world was in turmoil.Wall Street had spent the past two and a half decades producing one scandal after another, which didn’t leave much to sell that wasn’t tainted.The terms junk bond, IPO, sub-prime mortgage and other once-hot financial fare were now firmly associated in the public’s mind with scams; the terms credit swaps and CDOs were about to join them.The credit markets were in crisis, and the mantra that had sustained the fantasy economy throughout the Bush years — the notion that housing prices never go down — was now a fully exploded myth, leaving the Street clamoring for a new bullshit paradigm to sling.
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BUBBLE #5 Rigging the Bailout After the oil bubble collapsed last fall, there was no new bubble to keep things humming — this time, the money seems to be really gone, like worldwide-depression gone. So the financial safari has moved elsewhere, and the big game in the hunt has become the only remaining pool of dumb, unguarded capital left to feed upon: taxpayer money. Here, in the biggest bailout in history, is where Goldman Sachs really started to flex its muscle. Two more numbers stand out from that stunning first-quarter turnaround.The bank paid out an astonishing $4.7 billion in bonuses and compensation in the first three months of this year, an 18 percent increase over the first quarter of 2008. It also raised $5 billion by issuing new shares almost immediately after releasing its first quarter results.Taken together, the numbers show that Goldman essentially borrowed a $5 billion salary payout for its executives in the middle of the global economic crisis it helped cause, using half-baked accounting to reel in investors, just months after receiving billions in a taxpayer bailout.
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BUBBLE #6 Global Warming The new carbon credit market is a virtual repeat of the commodities-market casino that’s been kind to Goldman, except it has one delicious new wrinkle: If the plan goes forward as expected, the rise in prices will be government-mandated. Goldman won’t even have to rig the game. It will be rigged in advance.
The feature of this plan that has special appeal to speculators is that the“cap”on carbon will be continually lowered by the government, whichmeansthatcarboncreditswillbecomemoreandmorescarcewitheachpassingyear.Whichmeansthatthisisabrandnewcommodities market where the main commodity to be traded is guaranteed to rise in price over time.The volume of this new market will be upwards of a trillion dollars annually; for comparison’s sake, the annual combined revenues of all electricity suppliers in the U.S. total $320 billion. The bank owns a 10 percent stake in the Chicago Climate Exchange, where the carbon credits will be traded. Moreover, Goldman owns a minority stake in Blue Source LLC, a Utah-based firm that sells carbon credits of the type that will be in great demand if the bill passes. NobelPrizewinnerAlGore,whoisintimatelyinvolvedwiththeplanningofcap-and-trade,startedupacompanycalledGenerationInvestment Management with three former bigwigs from Goldman Sachs Asset Management, David Blood, Mark Ferguson and Peter Harris. Their business? Investing in carbon offsets.There’s also a $500 million Green Growth Fund set up by a Goldmanite to invest in green-tech ... the list goes on and on. Goldman is ahead of the headlines again, just waiting for someone to make it rain in the right spot. Will this market be bigger than the energy futures market?
Christoph a. Kumpusch over Matt Taibbi in Rolling Stone 1082-1083 from July 9-23, 2009.
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Here’s how it works: If the bill passes, there will be limits for coal plants, utilities, natural-gas distributors and numerous other industries on the amount of carbon emissions (a.k.a. greenhouse gases) they can produce per year. If the companies go over their allotment, they will be able to buy“allocations”or credits from other companies that have managed to produce fewer emissions. President Obama conservatively estimates that about $646 billion worth of carbon credits will be auctioned in the first seven years; one of his top economic aides speculates that the real number might be twice or even three times that amount.
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COLUMBIA UNIVERSIT Y GSAPP FALL 2013 - SPRING 2014 CORE I AND CORE II CHRISTOPH a. KUMPUSCH
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No part of this book may be used or reproduced in any form or manner whatsoever without prior written permission, except in the case of brief quotations embodied in critical articles and reviews. Printed in U.S.A.
SPRING REVIEW JURY Lis Cena Jeffry Burchard Andrew Heid Julie Janinski Nick Karytinos Simon McGown Aida Miron Naeem Mohaiemen Tracie Morris Dwayne Oyler Ryan J. Simons Anthony Titus Dimitra Tsachrelia Eirini Tsachrelia Mersiha Veledar Uri Wegman Mabel Wilson Jenny Wu
SPECIAL THANKS TO: Mark Wigley (Dean) Galia Solomonoff (Core I Coordinator) Amale Andraos (Core II Coordinator) Christoph a. Kumousch (Studio Professor) DESIGN Andras Balla Ryan Day Allie Calaguire SCORED BY Harrison Radcliff-Bush COPY EDITING / PROOFREADING Allie Calaguire Lauren Johnson EDITORS Andras Balla Ryan Day Allie Calaguire
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FALL REVIEW JURY Oded Calderon Ashkenazi Dr. Kathy Battista Ruben Caldwell Youmna Chlala Shih-Ning Chou Demetrios Comodromos Nick Karytinos Brian Lee Simon McGown Yair Millet Aida Miron Dr. Tracie Morris Ryan J. Simons Anthony Titus George Valdez Merisha Veledar