unconditional: NYIT foundation portfolio

f Foundation Portfolio

GROUND PLAN 1’-0”=1/8”

CONTENT X NAAB MATRIX 1 7

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3 9

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6

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REALM B

1 2 3 6

1 2 3 5 6 8

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1 4

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US Grant’s Tomb

Immigration Museum

Bailout Bank

Casa Barragan

CONTENTS PORTFOLIO COVERS

CRITERIA BASED ON “2009 CONDITIONS FOR ACCREDITATION” NAAB INC

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5

3

10

REALM C

m

1

1 2

Het Oosten Pavillon

REALM A

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1 2 3 1 2 3 4 5 6 5 6 9 8 9 10 11

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Stereocloud Music Academy

Intrepid Competition

Radial vector Rays

Fashion Headquarters

BIM: Jacobs House

Ca’ D’Oro Facade

9

DESIGN 3

PRECEDENT ANALYSIS: ICA BOSTON DILLER SCOFIDIO +RENFRO

CASA BARRAGAN

This project was a precedent analysis of the Casa Barragan. I dove into the research aspect focusing on the metaphor and spirit involved in Barragan’s own house.

Barragan was spiritual and a devout Christian, he lived his life like a monk.

He designed the space to have magical moments placing emotion and spirit in his work. The style of drawings attempt to illustrate the spirit Barragan had in his work.

All the threads weave together in the side garden illustrated on the bottom left

f1

transfer equivalency

Barragan’s supreme manipulation of planes, walls which at once frame, structure, divide unite, guide and breath life into his house. He creates not a cold residence but a mystical living sanctuary free from the entropy of a chaotic world.

The intent of the site plan (upper left) was to illustrate the concept that the house and walls of the garden acted as a sanctuary from the chaotic surrounding city. The windows and walls of the roof garden were placed above head level only revealing the sky, concealing the street.

The bottom drawing attempts to analytically dissect volumes for in a two point perspective.

BAILOUT BANK

f1

transfer equivalency

The b bank prroject re equired d CMU m masonryy construction,, a one sstory prrroject.

Myy design d g took a post post mo odern ap pproach pp p h using g a classsical front facade with h a more e mod dern entttry in th he e rear. The inte erior ce entered on a do e ome wh hich wass conce h ealed fro from the e exteriorr.

The p project was realistic, a local commu unity ba u ank with h focus into fun nctiona n all detailss, such h as com mmon plumbin plumbin ng g wallss,, egress egres g s,, ADA clearan nces,, an nnotatio on,, and accurate wall section ns. n

MUSEUM OF IMMIGRANT EXPERIENCE The Museum of Immigrant Experience was to be based upon a personal story of immigration. My grandmothers story immigrating from Italy in post WWII provided the inspiration for the project.

The story deals with fascism in different ways. The tight column grid represented this in the design.

Each passing through the grid represents a moment in the story. One symbol for Italian Fascism was a bundle of sticks.

Crossing the bridge and entering leads to another ascension to a gallery with a vista to the Southeast at the Statue of Liberty. From there the ‘reality’ sets in a long downward stair leads to the library. Above the library lies the celebration room and roof terraces culminating in a 360 vista of the city. The elevation at any point reflects the highs and lows of the narrative.

f2 arch 102

As you enter you ascend a level and walk into an open courtyard above a pool of water. Upon paying admission you enter the lower floor the darkest space, walking at the base of the columns representing war and oppression. walking around the pool again you reach a stair. The stair leads to a gallery leading to a bridge. The bridge represents the crossing of the Atlantic.

In the process of converting my Nonni’s narrative into a building, the section and sequence became important. The passage through under and over the column grid represented her dealings with fascism at different times. The schematic diagram illustrates the procession and meaning of the sequence.

The final project was to make an addition to the site of the Grant Memorial.

Existing on the site was the final resting place of Ulysses S.. Grant, American Civil War hero and President. The existing mausoleum is the largest in North America and at the time of it’s construction presided as the tallest building in the Upper West Side of Manhattan. The site lies on a promenade between the city grid and Riverside Park and the Hudson River,

US GRANT’S TOMB

The program for the visitor center and archive, asked to accommodate two specific inhabitants, Scholars who would conduct research in the archive and special archive and visitors who would circulate through exhibition space, and auditorium, cafe and bookstore. One entry and exit point had to be provided.

The challenge of the project was dealing with creating a building to complement the existing monument. A position had to be taken toward the existing memorial. The taper of the site and entrance from the city was also challenging. Another fundamental problem was the lack of interest in Grant’s Tomb.

d1 arch 201

The concept evolved into an exploration of Grant’s personality. The question loomed to me why does this grand tomb exist for Grant? I always remembered learning that he was an ineffective president, just as a war hero, who inherited a war at the right time to end it. Through research, a split personality developed about Grant. He was exceptional as a general, driving back confederate forces.

On the field he known for his aggression and strategy. As a president he was very weak an often was influenced by others. The design took on these qualities, through program and materiality.

US GRANT’S TOMB

The model was designed as a sectional model, divided on the central axis.

The structure consists of an envelope bearing wall with concrete columns on the inside to contrast the lightness of the special archive.

This project included crossing of many types.

Again there are two specific groups, visitors and scholars that require their own program elements and a degree of separation. The issue of dealing with the past, not only with the existing structure but with what the Civil War meant for America and New York. Also architecturally, creating a thoughtful addition to the existing monument. Finally through the exploration of Grant’s character, the crossing between a strong extrinsic general and a weak intrinsic statement.

d1 arch 201

The plans and section illustrate the central core of the scholars in the lower level, and the public spaces around the center.

The columns serve multiple functions in the design, it adds rhythm to the large spaces, they act structurally to support the walk on room above, they act as bookcases as detailed by the isometric above and there large size express the heaviness of the concrete, to contrast the lightness of the cube. The columns would be constructed in precast components designed to key into each other.

I started the process with the idea the visitor center would have a gesture of surrendering to the existing monument. The idea to have a sunken courtyard with the special archive became incorporated with an evergreen tree growing from it symbolizing Grant’s lasting legacy.

The special archive became the centerpiece of the design. Early designs split the cube between the public and the scholars. Later the special archive became only accessible to the scholars.

Light became a primary instrument in painting the duality of Grant’s character. The statesman Grant, would be submerged with light cutting and piercing in, with no views of the outside environment.

The special archive would project out light and a view and rise above the grade.

US GRANT’S TOMB

The exhibition space was designed with small openings to simulate “bullets of light” an attempt to recreate a civil war battle.

The special archive took the form of a cube. An idealized form for Grant’s idealized place in history as a general.

The structure is supported by four steel columns holding a space frame roof that the double curtain wall is suspended from.

The space frame also partially supports the floors around the perimeter.

The bookcases are taken off the floor to reduce floor load. The wire mesh shelves are supported by the steel columns. not supporting the books on the floor allows for lightweight flooring.

d1 arch 201

The top level of the special archive would have views in all directions as well as built in desks and benches atop the bookcases.

The exterior would be reflective glass, to reflect the surrounding environment and reduced the glare on the books.

HET OOSTEN PAVILION

This precedent analysis focused on facade and essentially a question of the honesty of a facade.

I argued Holl’s facade for the Het Oosten pavilion was actually honest like a candy wrapper.

Its a candy building wrapped in life giving paper.

Figuring out how the actual building emitted light at night was the key to comprehending the difference in layers.

Holl painted the interior hidden surfaces of certain layers cmu, and plywood so the building would paint the canal.

d2 arch 202

Holl was inspired by a Menger Sponge where section=plan=elevation. This drawings combines hardline, Feldman’s musical notation, freehand, plan, section, watercolor,day and night, interior and exterior in the spirit of one entity representing multiple views.

The enclosure of the building resembled a sponge. Studying the material and assembly helped uncover the cause of the phenomenal effects created in the actual building. Holl was additionally influenced by composer Morton Feldman music and notation, based on doubt which influenced Holl’s facade composition.

Above on the bottom left is an interpertive model comprised of 3 layers of pourous material that could be rearranged on tracks. The user would be able to create their own composition as Holl did in his building.

CA’ D’ORO FACADE

For the project I started with a study of the loom, as the facade was for the Italian Culture Ministry and textiles is a prime industry in Italy. Investigation into the components and function of a loom led into the development of a process of framing then weaving a model.

The parameters that set up the design process were type of yarn, shape of the ‘floor’ plates, spacing of the floors, and density of the string. The final design played with a oscillating pattern creating depth.

The top drawing is the original Ca’ D’oro, one of the few in class that was constructed not traced.

d2

arch 202

The process of rendering the facade seemed to be a challenge.

The final rendering involved water coloring background, pencil drawings the facade with shadows and carefully digitally collaging them together. Another challenge was enclosing the weaved facade. It was determined the facade would act as a screen and enclosure was provided further back in the building and the skin became an experience to walk through.

In what at the time was an elective class we were to develop a set of construction documents using the Building information modWEST-EAST SECTION eling platform Revit. The house I selected to analyze and draw was the Jacobs House by Frank Lloyd Wright.

BIM: JACOB’S HOUSE

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The following spread contains both content from midterm and final reviews.

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FASHION HEADQUARTERS

The final project ffor design 2 was a fashion headquarters for fashion designer Proenza and Schouler. The project became an ongoing investigation. Process was emphasized over final content. The concept changed and was refined over the course of the project.

The initial study focused on the process involved in fashion. Starting with the act of cutting fabric with a scissor, the idea developed into a structural system like a inhabitable space frame.

d2 arch 202

To the right are working drawings and images of content up to the midterm. Ideas were developed around a structural system were planes were inserted. Also the idea of continuous space and process were incorporated.

Above is a study model looking at the mechanics of scissors made of Lego’s.

FASHION HEADQUARTERS

The site is in the meatpacking district of Manhattan.

As a retrofitted constantly in flux neighborhood I found the grid shift as a means to represent the neighborhood on the facade.

The perspective diagram illustrates the early intention of a flowing program and sequence of spaces.

d2 arch 202

After the midterm, the design fundamentally changed concepts. It became about a continuous sequence, and I experimented with making it from one folded piece. I looked into Buckminster Fuller and investigated his ideas about tensegrity and point of view.

The top diagram illustrates the activities and flow of the design. The design spaces flow into a production line ending in the dressing room under the showroom.

The design became based on a diagrid. Looking at the work of Buckminster Fuller I developed a continuous floor pattern that folded and then was stood on the principals of tensegrity. However this was very unstable fragile and difficult and was abandoned.

FASHION HEADQUARTERS

The final model was made from a laser cut pattern, one sheet of it was cut into pieces, like a designer manipulates fabric.

Mylar was used to represent light transmitting panels.

The photos on the right are taken in a site context model.

d2 arch 202

The diagrid became made from triangular panels to be made of a micro spaceframe. The final enclosure was intend to be more of a space frame and less of a screen, which I used in the final model.

The final plans were developed on a diagrid. The plans were drawn not based on order but on relation to the program. Shifting floor plates and program sequences were at the heart of the design.

INTREPID COMPETITION FULLY CONDITIONED SPACE

UNCONDITIONED SPACE

FIRE RATED EGRESS CORRIDOR

PARTIALLY CONDITIONED SPACE

CLASSROOM

ADA SEATING

PUBLIC WALKTHROUGH PATH

COMPRABLE ADA PATH

HANGER

The USS Intrepid aircraft carrier held a competition in conjunction with NYIT to design a hanger to house its aircraft restoration operations. The criteria required the facility to be as sustainable as possible while appropriately complimenting the existing ship. Our approach was to create a structure from standard pieces of lumber.

Conceptually the lumber represented the original wood deck of the ship. Our design then contrasted the wood with metal components representing the reoutfitting of the ship with a metal deck and tilt to the landing runway. Our design attempted interpret the ships rich history.

ic

intrepid compeition

6'

- 0"

120 DEG BRACKET PREFABRICATED DECAHEDRON MOMENT CONNECTOR PRESSURE TREATED 2X8

2

1

DD 131

DD 131

3 DD 131

MAINTENTANCE

UPPER LEVEL PLAN SCALE: 1/8” = 1’0”

PORT

Sustainable considerations included a solar overhang and glazing on the south wall. To maximize the resource of the sun the roof was mapped into sections based on the module. The infill for the module would either be insulation, PV panel, vent, or skylight. The design also used radiant floor heating via evacuated tubes.

The idea of propeller drove the form of the shell and concept behind marketing the ship to the jury and board of the ship.

N

VATIO

RENO

FORM

STEEL WOOD

ORIGINAL

THE FORM IS GENERATED BY THE GEOMETRIES ON THE ORIGINAL SHIP DESIGN CONTRASTING THE 12 DEGREE PITCH OF THE LANDING FLIGHT DECK, AS THE AREA FOR THE STRUCTURE SITS A THE CRUX OF THESE GEOMETRIES. THE CLASSROOM SPACE WILL SERVE AS A DIDACTIC EXAMPLE OF THE SHIPS HISTORY.

TO REFLECT AND INFORM THE PUBLIC OF THE ORIGINAL WOOD CONSTRUCTION THE FLIGHT DECK, A WOOD MODULAR TILE SYSTEM WOULD ACCENT THE INTERIOR SPACE, WHILE THE EXTERIOR WOULD BE CLAD IN STEEL LIKE THE SHIP IS TODAY. THE CONTRAST IN MATERIAL ALSO SERVES AS A DIDACTIC EXPERIENCE FOR THE PUBLIC.

CE, P IS

NAUTICAL NAUTICAL

AERIAL AERIAL

WIND GENERATION WIND GENERATION

STRUCTURE STRUCTURAL MODU

THIS HANGER IS A NEW PROPELLER FOR THE INTREPID AS IT GENERATES MOVEMENT TOWARDS RESTORING HISTORY, ATTRACTING TOURISTS, AND PROMOTING SUSTAINABILITY

To accommodate the requirement of a classroom that satisfied ADA and fire requirements the classroom took a raked form like a lecture hall. This allowed accessibility at the front row of seats, without using an elevator. The classroom also lead to a viewing platform so the public can see the restoration operations. The separation also allowed for easy fire separation to be made. However the heart of the design was the entry lobby to the classroom which was made from the wood of the original deck which we were cleared to use.

RADIAL VECTOR RAYS

d2 arch 202

Visualization 2 required us to generate 2d fields and manipulate and distort them I in several variations. Then generate several virtual 3d models. Of these we selected one to explore further and make a physical 3d model using the laser cutter and ‘parametric modeling.’ In addition we made drawings included in this spread. The drawing on the bottom left shows the original field and 3 variations using line, tone and gradients. The drawing on the upper right is a composite of a cutaway axon, exploded axon and 3d details. The bottom right is a true orthographic projection including 6 cross sections 3 longitudinal section and 4 elevation with 3 plans.

V

AAID-240

VISUALIZATION 2 NYIT SCHOOL OF

2 AND DESIGN

ARCHITECTURE

12 17 11

AXONMETRIC PROJECTION

LAB 3

V

FINAL SET 3 / 4 ALEX ALAIMO PROF. E. LU

AAID-240

VISUALIZATION 2 NYIT SCHOOL OF

2 AND DESIGN

ARCHITECTURE

ORTHOGRAPHIC 12 17 11 FINAL SET 4 / 4 PROJECTION

LAB 3

ALEX ALAIMO

STEREOCLOUD MUSIC ACADEMY For a new music academy located in Red Hook Brooklyn, a fresh take on the educational institution was implemented. “Networked spaces� or sharing spaces became the concept for the entire institution. A network of these generic spaces created the unconditional field, the cloud floating above the public spaces and performance hall below. The unconditioned field eliminate conventional hierarchy in design an places the inhabitant at the center of the design analogous to the Internet. The relation between the design and Internet is in the spirit of the Internet providing a new platform for music development. The school hopes to create the culture and environment necessary to mod the next great generation of musicians and foster music creation rather than the conventional conservatory.

The concept for the music academy started from the concept of educational facility as a network. This then was closely ties to the siesmic shift in the music industry based on the internet as the new platform for sharing, creating, and consuming music. The fusion of these ideas came to attempt to generate form based on a snapshot of a network. Eventually this was refined to the notion that a network is actually a framework that provides facility for the activities within it. This concept of the unconditioned field became the three dimensional driver for the project. Studies on how to create a field appropriate for physical architecture were done including the study of packing solids. Additionally program elements were studied based on a module.

CUNY MUSIC INSTITUTE

d3 arch 301

“A LIBERAL SOCIETY CAN’T TELL ITS PEOPLE WHAT GAMES TO PLAY BUT CAN PROVIDE A PARK FOR THEM TO PLAY THEM” Gopnik, Adam . “Olmsted’s Trip.” The New Yorker. March 31 1997.

REACTION TO MODERN MUSIC INDUSTRY CRISES

UNCONDITIONED CONDITIONED

PREFABRICATED COMPONENTS

UNCONDITIONED ARCHITECTURE FACILITATING NEW CONCEPTS OF MUSICAL GENERTAION

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CREATE AN ENITIRE FACILITY OF “NETWORKED SPACE” WITHIN A UNCONDITIONED FRAME

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PROVIDE “PROGRAMMABLE” EDUCATIONAL SPACE

“NETWORKED SPACE” IS SHARED AND FLEXIBLE

INCORPORATE “LEVELS OF CONDIIONING”

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The upper three floors are designed to shade each other in the summer months and allow for light to penetrate in the winter.

Also the frame is densest in the south direction also providing shading.

CREATE A MUSICAL EDUCATION NETWORK CORRELATING TO THE SHIFT IN THE MUSIC INDUSTRY

CREATE A CULTURE FOR FUTURE GENERATION

REALITY COMPROMISES THE UNCONDITIONED FIELD

57

The wall system would operate to warm air in the winter and cool air in the summer. As the panels are faceted on is typically shaded and the other receives more direct sun. A damper controlled system would regulate the internal climate.

LIKE THE INTERNET OR CENTRAL PARK FRAME ACTIVITIES

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To make the idea of an open space feasible with a practicing music school and active noise control system was developed. It records eternal noises and transmits the anti-wave sound canceling the noise creating an isolated chamber. Simultaneously this records all students all the time allowing sharing on the database (library) as well as enforcing social transparency.

CREATE A FRAMEWORK ALLOWING FOR ENDLESS POSSIBILITIES= UNCONDITONED FIELD

ARCHITECTURAL PARTI

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MUSIC EDUCATION SUSTAINIBILITY

CUNY MUSIC CUNY INSTITUTE MUSIC INSTITUTE

STEREOCLOUD MUSIC ACADEMY

CURTAIN WALL SUMMER OPERATION

The 3d construct became the structural members in the design. Beyond structure the exposure and experience of inhabiting the frame was a key conceptual idea in the design.

The perspectives in the frame became similar to the frame tiles of 3d packing shapes.

The idea of parallax and non hierarchy are at the heart of these decisions. Egress stairs were made to comply with the buildings organization. The regularization of modules would make the building a candidate for prefabrication and rapid construction.The third floor requires an additional egress path at it does not connect to the north stair shaft.

AXONMETR EGRESS EG

STRUCTURE

ADA RESTROOMS

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STRUCTURE

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The floor planes of the upper floors also create a parallax as you would walk by in tandem with the frame and its transparency give the entire building a cloud like aesthetic both visually an perceptually as it changes with your movement.

The regularity of the concept of an unconditioned field is present in the building sections. The light grey hatch represents the core area and may include egress stair and or restrooms. The darker hatch represents what is seen in projected elevation. The cross sections also show the caving aspect of the design which rationalized the design of the cores which was a major design challenge. The two boundaries for the unconditioned ideal space become the core and air and both of these surfaces are carved. The cored are then bounded by the geometry of the lot line making the back wall.

AXONMETRIC

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SITE PLAN

SITE PLAN

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STEREOCLOUD MUSIC ACADEMY

Red Hook felt very mysterious on the day we visited. It was a drizzly overcast cool day. It felt isolated and was difficult to reach. One there was very quite and pleasant I was surprised by the amount of green, it is very different from anywhere else in New York. The site lies at the crux of two local axes, the old industrial and new cultural. From this crucial placement the school was thought to represent this situation in the musical realm. Reinventing industry and generating culture.

d3 arch 301

From comments at the midterm it was apparent you cannot just have an unconditioned field as architecture. It is actually a paradoxical as architecture is an act of conditioning.

So to compromise this paradox a system of ‘levels of conditioning’ was implemented. The cores were thought of as a rock which the ideal unconditioned space was carved from.

The semi conditioned public space took crystallized form twin hexagons which disintegrated into the unconditioned educational spaces above. The open space between the hexagons became public park space with an amphitheater.

The plans show the progression from conditioned to unconditioned space as you move from lower to upper levels. The program was broken down into components. The core, ‘unconditioned network’ which was comprised of repeated ‘programmable chambers’ and the lobby and main theater spaces which were divided hexagons.

To accommodate the educational program a hexagon attached to a rectangle became the standard module that could accommodate a classroom, public practice room, private practice room or student lounge depending on the schools needs at a certain time. In this way the school would be able to program its hardware. The library would be the database of all the recordings accessible in the editing chamber making the entire educational facility the digital library. Also the minor theater would be accommodated by the staggering of the educational space. The pattern of the frame also alternated each floor allowing for double height spaces.

d3 arch 301

JANUARY 10 AM

JUNE 10 AM

STEREOCLOUD MUSIC ACADEMY

To best express the aesthetic of the structure the enclosure strategy was to be as transparent as possible. This best displays the dynamic of the network with and allows for the parrllactic effects to the viewer. It also lightens the building so not to be such a intruder in Red Hook. The fascinating piece it when you are perpendicular to the geometry and the building opens up contrasted by standing at other ends where the overlapping projection of the frame creates a very dense appearance. This changing effect also lends it self to a cloud.

Also technically, it was a chance to cross platform Revit, AutoCAD Photoshop and Illustrator

EXTERIOR PERSPECTIVES

ELEVATIONS3/32”=1’-0” STEREOCLOUD BROOKLYN

EXTERIOR PERSPECTIVES

ELEVATIONS3/32”=1’-0”

EXTERIOR PERSPECTIVES

The architectural model at 1/8” showed structure walls and floors. It was conceived as essentially a kit of parts. The structural pattern was cut and folded and then joined at connection points. The hexagon and rectangular floor plates were set in between the frame. The cores were then added as well as any other ‘conditioned’ pieces. Essentially it was kit of parts.

S3/32”=1’-0”

Digital prototyping was used to generate models. In addition to the 1/8 in model a 16th and 1/4 were part of the final presentation. The 1/16 showed structure and enclosure. The quarter showed the condition of the facade.

CYTOPLASM

RHOMBILE TILE

Opinion: NYIT an Evaluation

When I first transferred to NYIT I was surprised with the practices and facilities available. Lack of desk space for all students was a surprise. Additionally portfolio requirements and attitude of the student body seemed different from what I had expected.

However, I have come to realize NYIT has great potential and now appreciate some of the practices that I first found problematic. NYIT does not offer a typical architectural education and the studio culture is quite unique.

Below are two lists based on futurist David Zach, it is my interpretation NYIT practices might align more with the right column when compared to other institutions which I consider positive.

best practice by the books bottom line traditional practices walls/cubicles credentials closed selectivity hierachical permanant

open source horizon line explorations open no limits smarts open opportunity non hierarchical ephermeral

The thing NYIT needs the most is community, this only comes from a rich studio culture. Being an urban commuter school in New York We have a unique studio culture but it could be improved with better space and better communication. Additionally a better student faculty relationship would help.

It is rare for teachers to actually see students while they are working.

Whether NYIT’s product is intentional or not I believe NYIT is headed in the right direction. It always would be great to have more space and technology. However students that can perform better when given less are forced to solve these problems creativity perhaps giving them an edge when they compete with students that have more given to them.