Anthony Vischansky Architecture Portfolio 2016

ANTHONY VISCHANSKY A R C H I T E C T U R E P OR T F OL I O 2 0 1 6

ANTHONY VISCHANSKY

EDUCATION

348 W. Thurston St. Elmira, NY 607.207.69 5 4 avischansky@gmail.com

Pennsylvania State University Master of Architecture

2016

Pantheon Institute- Rome, Italy Architectural Studies

May 2015 - June 2015

Alfred State SUNY College of Technology Bachelor of Science in Architectural Technology- 3.86 GPA

WORK EXPERIENCE

2013

Johnson-Schmidt & Associates Architects Intern Examined and documented existing conditions in historic structures, produced Revit models of existing buildings, and schematic design for adaptive reuse projects: mixed-use, residential, and commercial

May 2013 - Aug. 2013 May 2014 - Aug. 2014

Penn State Graduate School Graduate Teaching Assistant Working with Profs. Nida Rehman and Katie Endresen, I grade assignments, meet with students, and answer questions in an introductory architecture and urbanism course, Architecture and Ideas (ARCH100)

Aug. 2013 - Present

Hajjar Air Wall Building Research Research Assistant Construction of Revit and physical models of an experimental building on the Penn State campus by A. William Hajjar, one of the first double-skin buildings

Sept 2015 - Present

Embrace Design Group Visualization Consultant Production of architectural renderings for a variety of clients

July 2015 - Present

Alfred State Tutoring Services Peer tutor Structural Design courses, studio, and Photoshop

HONORS

QUALIFICATIONS

Sept. 2012 - May 2013

John Stewardson Memorial Fellowship in Architecture, Penn State Finalist- One of five finalists chosen by Penn State architecture faculty, representing the school in a competition to design a Syrian refugee girl’s school. Participants include graduating BArch students, MArch students, and recent graduates from six Pennsylvania architecture schools.

January 2016

Alfred State Senior Thesis Finalist- A jury consisting of Alfred State architecture faculty chose the Chemung Valley Awareness Center senior thesis as runner-up in my class.

May 2013

Bath, New York Master Plan- My studio won a competition between three senior studios of 14 students each, where a master plan proposal for the village of Bath, New York was presented to community residents, the mayor, and practicing professionals in the field.

Oct. - Nov. 2012

Appalachian Teaching Project- Chosen alongside five other students to represent Alfred State at a conference in Washington, D.C. where I presented our studio’s Bath master plan in front of 14 other colleges and universities. The goal of the conference was to develop students’ leadership skills,awareness of community assets that foster sustainability, and their involvement in related regional projects.

Nov . 30 - Dec. 1, 2012

Revit AutoCAD Rhino Grasshopper SketchUp

Photoshop Illustrator InDesign

Microsoft Office ArcGIS QGIS Climate Consultant Google Earth Pro

Sketching Model-Building Laser Cutting CNC Fabrication 3D Printing

CONTENTS

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CHEMUNG VALLEY AWARENESS CENTER

Elmira, New York

RAYSTOWN LAKE RESORT Huntingdon, Pennsylvania

PITTSBURGH ARTS CENTER

Pittsburgh, Pennsylvania

VIA GIULIA ROMAN MUSEUM

Rome, Italy

HAJJAR AIR WALL RESEARCH BUILDING State College, Pennsylvania

SYRIAN REFUGEE SCHOOL

Al-Zaatari Refugee Camp, Jordan

SUPERSUBURBAN

Detroit, Michigan

CHEMUNG VALLEY AWARENESS CENTER ELMIRA, NEW YORK Spring 2013 Professor - David Carli The Chemung River, located in New York’s Southern Tier, is an outstanding natural resource which provides limitless opportunities for surrounding communities, not only on the river, but adjacent to it as well. The river is not only conducive to outdoor recreational activities such as fishing, kayaking, and hiking, but is an important catalyst for urban development. However, most bordering towns fail to take advantage of this natural resource, particularly Elmira, NY, the largest municipality on the Chemung. The City of Elmira suffers from numerous social and economic issues: a declining population, a high impoverished population, and one of the highest unemployment rates in the state. The downtown area also contains an insufficient amount of storefront businesses and residences. In 1972, Elmira and numerous surrounding communities were devastated by a flood caused by Hurricane Agnes, which pushed the Chemung over its walls and into downtown. Entire blocks of buildings were demolished in the following years due to flood damage, thus the shortage of downtown storefronts and housing. Despite being geographically split in half by the river, the city and river fail to share any sort of connection. Mark Twain Riverfront Park, which stretches for about four blocks through downtown, is the closest to any sort of link to the water. Despite the name implications, the park provides almost no views to the water, let alone access.

Because Elmira lacks a connection to the river, thousands of people are missing out on the opportunity to take full advantage of the waterway. Fishing, kayaking, hiking, and biking are just a few activities that the river and the surrounding area provides but are not capitalized on. Although not everyone is interested in outdoor activities, many are simply unaware of the opportunities which lie in their own backyard. Ever since the flood, both Elmira and the Chemung River have developed an undesirable image in the area. Many Elmira residents, particularly those that have lived there all their lives, even have a negative attitude toward the river. Some think it is dangerous and unclean, and this ignorance is what is truly hurting the river’s potential. Adding to this the social issues of an uneducated and impoverished population, along with very few downtown businesses and residences, it is no wonder the city is looked at in an unfavorable light.

To attempt to address and resolve Elmira’s many issues, the construction of a multi-use complex adjacent to the river on Mark Twain Riverfront Park is proposed.

The building will serve several purposes, each relating to and addressing a particular community issue. The biggest goal which the project will attempt to accomplish is to attract people to return to the struggling downtown area by using the river as a focal point. The building and site will work together in finally connecting the city to the water both visually and physically.

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04

03

04

HISTORIC MASSING

RATIONALIZED MASSING

PARTS OF THE WHOLE

VISUAL CONNECTION

FLIP DENSITY

PHYSICAL CONNECTION

VEGETATE + POPULATE

GATEWAY SIGNAGE

EXTENSIVE GREEN ROOF

PEDESTRIAN BRIDGE

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06

13

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12

13

13 13

12 12

3

13

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13

13 13

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11 12 13

4

RESIDENTIAL II

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13 13

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12

13 12

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3

13

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13

13

11

13

13

12 13 11

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13

RESIDENTIAL I

1 2 3 4 5 6

Retail Outfitter / Rental Atrium Administration Classroom Storage

7 8 9 10C 10E 10V

Temporary Gallery Orientation Conference Gallery: Corning Gallery: Elmira Gallery: The Valley

10H 10K 10A 11 12 13

3

History Gallery Children’s Area Aquarium 2-Bedroom Apartment 1-Bedroom Apartment Studio Apartment

10K

5

10A

10V

10E

3

4

10C

5

5

10H

9

8

7 7 5

5

6

EDUCATION FLOOR

2

5

1 1

4

1

3 1 1

1

1

2

1

RETAIL FLOOR

0

8 16

32

1

64

07

08

09

10

11

12

VERT CIRCULATION

RETAIL

EDUCATION

HORIZ CIRCULATION

ADMINISTRATION

RESIDENTIAL

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RAYSTOWN LAKE RESORT HUNTINGDON, PENNSYLVANIA Fall 2014 Professor - Rebecca Henn The building is intended to be an artifact, discovered at the terminus of a long path of varying slope and directionality. From the lake, the building is understood as an evident human intervention, emerging as an imposing edifice, yet giving scale to the homogeneity of the terrain through architectural constructs: exterior stairs and indications of guest rooms, through a series of punctures in the facade. On site, the monumentality of the gesture is scaled back, providing views over the building and up the valley. Guests are drawn effortlessly down into the building, using the steep slope to assist in the progression, towards a vertical panoramic view of the lake. The project makes the argument that the passerby’s peripheral encounter is as valuable as the user’s spatial experience.

The project began by using language prompts to inform aesthetics, as well as a series of provocative images. Words like “artifact, ”fragment”, and “discovery” became key terms to shape the building through multiple iterations of massing models. Students created initial conceptual models and then inherited another student’s project, in which they would impose their own design sensibilities on. We then created an additional conceptual model which was a product of this cross-pollinization of ideas.

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GUEST ROOMS RESTAURANT 1 RESTAURANT 2 MECHANICAL OUTDOOR

4

3

2

1

0 5 GUEST ROOMS

1010’ RAMP SLAB ON GRADE RAMP SLAB ON TO ROOF (1:12, 1005’ - 1010’) GRADE TO ROOF (1:12, 1005’ - 1010’)

W12 (TYP.) W12 (TYP)

W24 (TYP.) W24 (TYP) 1115 TRUSS MONO TRUSS ONONMONO W24 W24 W/ CLERESTORY W/ CLERESTORY (TYP.) W24 (TYP.) W24 (TYP)

LINE ABOVE ROOF LINEROOFABOVE

2 2 2

RR

33

3 MAX TRAVEL DISTANCE: 160’ < 200’ AREAS OF REFUGE: 2 EGRESS WIDTH: 257” > 223” STAIR WIDTH: N/A

100

RR

MAX TRAVEL DISTANCE: 160’ < 200’ AREAS OF REFUGE: 2 EGRESS WIDTH: 72” > 48” STAIR WIDTH: 104” > 48”

33

SLAB ONON GRADE ‘ROOF’ ROOF SLAB (1010’-0”) GRADE (1010’-0”) 8

6

400

2

80 2 2 2

2

W24 (TYP.) W24 (TYP)

3

2 2 2 2 4

2 3

115

5

2

75 MAX TRAVEL DISTANCE: 145’ < 200’ AREAS OF REFUGE: 3 EGRESS WIDTH: 148” > 127” STAIR WIDTH: 96” > 95”

125

5

MAX TRAVEL DISTANCE: 145’ < 200’ AREAS OF REFUGE: 2 EGRESS WIDTH: 72” > 48” STAIR WIDTH: 104” > 61”

2

W24 (TYP.) W24 (TYP)

2

W24 (TYP) W24 (TYP.)

2 2 2 2 2 3

44

MAX TRAVEL DISTANCE: 145’ < 200’ AREAS OF REFUGE: 2 EGRESS WIDTH: 72” > 48” STAIR WIDTH: 104” > 36”

11

10

44

MAX TRAVEL DISTANCE: 145’ < 200’ AREAS OF REFUGE: 2 EGRESS WIDTH: 72” > 48” STAIR WIDTH: 104” > 36”

11

W24 (TYP.) W24 (TYP)

PITS ELEVATORELEVATOR PITS

EGRESS

G G

MAX TRAVEL DISTANCE: 145’ < 200’ AREAS OF REFUGE: 3 EGRESS WIDTH: 257” > 48” STAIR WIDTH: 102” > 48”

160

STRUCTURE

G G

SLAB ON GRADE SLAB ON GRADE

19 0

8

16

32

64

128

0

8

16

32

64

20 128

21

22

GUEST ROOMS

FENESTRATION

OUTDOOR GATHERING

SUPPORT SPACE

VERTICAL CIRCULATION

INDOOR GATHERING

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PITTSBURGH ARTS CENTER PITTSBURGH, PENNSYLVANIA Spring 2015 Professor - Ute Poerschke The project is inspired by the Strip District's status as a hub for the delivery of goods, particularly produce. Instead of a distribution center for food, the art center engages the neighborhood as a hub for art, using the delivery of an exhibit module which is plugged in to the museum via gantry crane and other industrial devices. The building's aesthetic recognizes Pittsburgh's rich manufacturing history and represents a merging of machine-age and new media thinking.

Historically, the Strip districtâ&#x20AC;&#x2122;s development has been marked by increased density and massiveness along its main corridors, especially Penn Ave. Blocks of attached storefronts and warehouses soon replaced standalone buildings, and these structures were often added to haphazardly in the rear of the property along the alley.

This created a distinct separation of permanence and temporary. The Art Center reflects this notion of an enduring streetfront and ever-changing rear.

The theatrics of the machine provide a spectacle in itself to pedestrians and museum-goers alike. The crane provides all the standard equipment of a traditional fly tower, but allows each actâ&#x20AC;&#x2122;s backstage to be imported in the same manner as the exhibits- from freight to museum, truck to performance.

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28

19 14

25

15

20

1882 7

8

9

10

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THIRD FLOOR PLAN

1900

28

26

27

3

FIFTH FLOOR PLAN

17 14

15

23

13 13

23 1

2

3

4

5

6

SECOND FLOOR PLAN

1957

1-12 13 14 15 16 17 2015

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13

1923

Container Exhibits Seminar Rooms Exhibit Lobby Auditorium Lobby Cafe Computer Lab

5

18 19 20 21 22 23

Music Studio Library Workshop Offices Storage Locker Rooms

24

2

FOURTH FLOOR PLAN

24 25 26 27 28

Stage Outdoor Forum Fly Space Projection Room Electrical Room

4

Lobby

Reception

0

4

GROUND FLOOR

1

8

32

16

Machine Viewing

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30

NORTH ELEVATION 0

8

16

32

SOUTH ELEVATION

EAST ELEVATION

WEST ELEVATION

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32

1

2

3

4

5

6

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34

Roof 70’-0”

ROOF 70’-0”

Fifth Floor 56’-0”

FIFTH FLOOR 56’-0”

Fourth Floor 42’-0”

FOURTH FLOOR 42’-0”

Third Floor 28’-0”

THIRD FLOOR 28’-0”

Second Floor 14’-0”

SECOND FLOOR 14’-0”

First Floor 0’-0”

FIRST FLOOR 0’-0”

BASEMENT -14’-0”

Steel Grating Rubber Roof Membrane Rigid Polystyrene Insulation 5” Concrete Slab Metal Decking 5/8“ GWB 2” x 6” Light Gauge Metal Framing Batting Insulation 5/8” GWB Sheathing Moisture Barrier 4” Rigid Polystyrene Insulation Air Space LED Luminaire Perforated Anodized Aluminum Panel

WALL SECTION / ELEVATION 35 0

5

1

2

36

VIA GIULIA ROMAN MUSEUM / URBAN ANALYSIS ROME, ITALY Summer 2015 Professors: David Sabatello, Simone Bove Group: Marie McKenna, Megan Haines This studio was particularly context-driven, focusing on contemporary design within the historic urban landscape. Rome exhibits a unique set of challenges and opportunities given its high density of historically-significant and monumental buildings. Not only is context understood in terms of the site’s adjacencies, but the stratified remains of the city’s past, below ground. The site abuts the Tiber River, occupying one of the final unbuilt tracts of land in the city center, with ancient Roman ruins beneath.

The program consisted of both art museum and piazza, the fundamental urban space in Italian cities. The project began with the study of Piazza Santa Marie Della Pace, analyzing critical attributes of piazze: geometry, enclosure, entry and exit, hierarchy, traffic patterns, human activity in relation to time, views, and programmatic requirements. The next step focused on the interpretation of an abstract art painting in to three dimensional space by creating two physical models; one which used primarily additive means of constructing space, and one which used primarily subtractive means.

The building’s primary objective was in achieving an understanding of Rome’s profound layering, from ancient Rome up to Renaissance Via Giulia. Most buildings in Rome’s historic center meet the ground heavily, whereas the museum is slightly lifted, revealing activity below grade. The facade is conceived as a contextual wrapper, using a gridwork derived from surrounding fenestration. Pushes and pulls in the grid are intensified along the pedestrian-scaled Via Giulia side, whereas the articulation is much simpler along the more institutional Lungotevere facade. The facade acts as a receiver of information below, as incisions indicate the location of ruins in the piazza.

The piazza creates separation from the busy Lungotevere by stepping down from the street. Traditional Roman basalt pavers are used throughout, with the exception of those areas indicating ruins. A portion of ruins are left exposed, recalling Largo Argentina. Within the museum, art galleries are sculpted by extruding the space formerly enclosing the Roman structures below.

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38

Residual Space

Parking

Cafe Seating Circulation

Program Volume

Piazza Volume

SPATIAL DIVISIONS

SECTION AA

SECTION BB

Jullian de la Fuente

Additive

Subtractive

PAINTING EXERCISE

4 19

11

3

Piazza 1482

PIAZZA SANTA MARIA DELLA PACE

Piazza 1656-61

Church Facade

Projecting Pronaos

9

Pedestrian- Active

Pedestrian- Sedentary 39

40

VIEWS THROUGH SITE Two volumes of the siteâ&#x20AC;&#x2122;s buildable area are represented as transparent volumes. Darker red indicates greater visibility, thus overlapping views.

20

Sedentary People Parked Vehicles Blocked Area

11

Pedestrian Traffic Blocked Area

Primary Traffic Secondary Traffic Tertiary Traffic Blocked Area

ACTIVITY + TRAFFIC

WEST ELEVATION

SOUTH ELEVATION

EAST ELEVATION

NORTH ELEVATION

LONGITUDINAL SECTION

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SITE PLAN 0

Entry LevelDescent to Roman ruins

MassGalleries to be carved out

CrevasseTransitional void between mass and circulation

Ruin VoidsExposing the underground

8

16

Gallery CirculationAdditonal exhibit, revolves around mass gallery

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64

StructureMass is suspended from surrounding steel frame

GALLERY

ENTRY FLOOR PLAN

TERRACE GALLERY

5

GALLERY

4

GALLERY

3

2

1

29 43

44 30

1

2

3

4

5

1. Campidoglio, Rome 2. Pantheon, Rome 3. Palazzo Farnese, Rome 4. Sant-Andrea al Quirinale, Rome 5. Monument to the Fallen, Como 6. San Lorenzo, Florence 7. Duomo, Florence 8. Novocomum, Como 9. Castelvecchio, Verona

SKETCH BOOK SELECTIONS 8

6

7

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SYRIAN REFUGEE SCHOOL AL-ZAATARI REFUGEE CAMP, JORDAN The school responds to the dense and active ground plane which comprises the majority of the Al Zaatari camp, siting itself along the only qibla-paralleling road in the complex. The building is constructed of basic materials: concrete slab and roof, and wood posts and slats, using a repetitive 16 foot by 24 foot module that can be continually added to, providing space for a multitude of programs.

A rooftop play space serves as a unique vantage point to connect with or escape the humdrum of Al Zaatari, filtered through a screen of timber posts. Interior spaces including classrooms, a prayer room, and support spaces inform the façade’s level of openness and closure, creating a pulsing horizontal wave which echoes the street activity.

The roof and floor slabs are cast-in-place concrete, using 55 gallon barrels as formwork to create a subtle vaulting. This vaulting not only provides structural support and better acoustics, but allows for water draining through the floor and evaporative cooling strategies to take place through the reuse of greywater and natural ventilation through the slab.

The school seeks to provide an alternative to the tents and prefabricated units the residents are accustomed to, in exchange for dignity, well-being, and safety, discovering the permanence within the temporary.

REPLICABLE MODULE: 16’ x 24’

CENTRALIZED SERVICE CORE: MECH + STOR

GREYWATER EVAPORATIVE COOLING

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48

1 2

EAST ELEVATION

WEST ELEVATION 0

Fabric Screen Corrugated Polycarbonate 2" x 4" Lumber Slats 4" x 4" Column 2" x 12" Joists Play Space Benches Ventilated Floor Slab Metal Grate Flooring

8

16

32

1. Classroom 2. Food Prep 3. Entry / Office 4. Storage 5. Mechanical 6. Classroom 7. Ablutions 8. Prayer Room 9. Play Space

3 4 5 9 1 2 8

FIRST FLOOR PLAN

ROOF PLAN

ROOF PLAY SPACE

PRAYER SPACE

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HAJJAR AIR WALL RESEARCH BUILDING STATE COLLEGE, PENNSYLVANIA Fall 2015 to Spring 2016 Research Team: Ute Poerschke, Henry Pisciotta, David Goldberg, Moses Ling, Mahyar Hadighi, Marie McKenna, Laurin Goad

05 Third Floo 26' - 7 3/4

06 Roof 34' - 7 3/8"

Designed by architect and Penn State professor A. William Hajjar in 1959, the Air Wall Research Building was one of the first buildings which utilized a double skin facade, a system which attempted to maximized transparency and natural light without sacrificing the performance of a poorly insulated, fully glazed facade. The Air Wall Building has since been demolished.

05 Third Floor 26' - 7 3/4"

03 Second Floor 17' - 7 1/8"

Myself and another graduate student have been working with a research team of Penn State faculty, creating both a digital model for energy analysis and documentation, as well as a physical model.

03 Second Floo 17' - 7 1/8

02 First Floor 8' - 6 1/4"

01 Ground Floor 0' - 0"

02 First Floo 8' - 6 1/4

00 Top of Footer -2' - 8"

BUILDING SECTION

1 A301

DETAIL SECTION

2 A301

SCALE: 1/2" = 1'-0"

DETAIL SECTION

SCALE: 1" = 1'-0"

SECTION

23' - 5 5/8"

6"

11 14 '-

6"

27' - 0" 3' - 6 3/8"

9' - 9 1/2"

3' - 6 1/4"

11 15 '-

9' - 9 1/2"

27' - 8 7/8"

3' - 6 3/8"

1' - 4 7/8" 0' - 6 3/4" 0' - 6 3/4"

3' - 4"

5' - 11 5/8"

2' - 9 1/2"

3' - 2 1/4"

0' - 4 3/4"

2' - 9 1/2"

3' - 2 1/4"

0' - 4 3/4"

6' - 0 3/4"

0' - 6 3/4"

1' - 4 7/8"

0' - 9 3/8"

1' - 2"

3' - 10 1/2"

0' - 6 3/4"

6' - 0 3/4"

6' - 3 3/4"

0' - 4 3/4"

6' - 3 3/4"

2' - 9 1/2"

3' - 2 1/4"

0' - 4 3/4"

2' - 9 1/2"

3' - 2 1/4"

0' - 4 3/4"

6' - 0 3/4"

0' - 6 3/4"

1' - 3 5/8"

1' - 2"

6' - 3 3/4"

12' - 8"

12' - 8"

0' - 4 3/4"

3' - 3 7/8"

0' - 4 3/4"

6' - 2 1/4"

9' - 9 1/2"

6' - 8 3/4" 2' - 8 5/8"

6' - 0 3/4"

6' - 3 3/4"

6' - 0 3/4"

2' - 8 1/2"

6' - 2 1/4"

3' - 6 3/8"

3' - 4"

9' - 11 5/8"

27' - 8 7/8"

2' - 9 1/2" 0' - 4 3/4" 9' - 9 1/2"

0' - 4 3/4"

2' - 9 1/2"

27' - 0"

6' - 8 3/4"

6' - 0 3/4"

5' - 11 5/8"

AJV, MEM

GROUND FLOOR PLAN

First and Second Floor

Date Drawn By Checked By

1

Scale

FIRSTChecker + SECOND FLOOR PLAN

A101 A102

SCALE: 1/2" = 1'-0"

1st + 2nd FLOOR PLAN

Project Number Issue Date Author

Project Number

SCALE: 1/2" = 1'-0"

1/2" = 1'-0"

Project Number Date Drawn By 1 A103

A102

SCALE: 1/2" = 1'-0"

Scale

Hajjar Air Wall Building Third Floor

3rd FLOOR PLAN

Project Number Issue Date Author

Checked By FLOOR PLAN THIRD Checker

1/2" = 1'-0"

AJV, MEM

Project Number Date Drawn By Checked By

Scale

Project Number Issue Date Author Checker

A103

1/2" = 1'-0"

1/13/2016 3:20:47 PM

GROUND FLOOR PLAN

Hajjar Air Wall Building

Ground Floor

1/13/2016 3:20:45 PM

1 A101

Hajjar Air Wall Building

2 A301

1/13/2016 3:20:46 PM

0' - 6 3/4"

AJV, MEM 3' - 6 3/8"

6"

6"

3' - 6 3/8"

9' - 11 5/8"

11 17 '-

11 16 '-

6"

6"

11 18 '-

9' - 11 5/8"

23' - 5 5/8"

11 18 '-

11 17 '-

6"

9' - 11 5/8"

or 4"

or 8"

Hajjar Air Wall Building Building Section

Project Number Date Drawn By Checked By

Scale

Project Number Issue Date Author Checker

A301

As indicated

PHOTOGRAPH, 1961

REVIT MODEL, 2016

1/13/2016 3:22:28 PM

or 4"

AJV, MEM

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SUPERSUBURBAN THESIS DETROIT, MICHIGAN Fall 2015 and Spring 2016 Professor - Juan Ruescas The suburban life does not need to be lived in the suburbs. To destigmatize our decaying city centers, the unique sentiment of the American home must be allowed to operate within the quasi-urban cavity defined by urbanity and sub-urbanity.

American community ideology, rooted in antiquated agrarian ideals, would have us believe that “the good life” lies outside the realm of the city. This has promoted a culture engrossed in individual freedoms, manifesting itself in the changing settlement structures of the early twentieth century. Suburban settlements were not immune to the pervading community bias and were unable to detach themselves from a fundamentally rural sentiment of home. The resulting urban neglect has produced a perpetually stigmatized city and a disassociated domain on the urban periphery. To discourage these tendencies, cities must offer an architecture which reconciles these competing residential preferences and lifestyles.

Residential choice is currently divided: urban and not-urban. The project questions the necessity of this dichotomy, with a long term goal to reduce suburbanization’s adverse effects on the built and natural environment through offering a “middle ground” residential typology. The project identifies the boundary between residences as the most underutilized space in residential architecture. Its fundamental use as a space-making device is questioned by dividing the party wall and concentrating interactions within this gap. The ideal outcome of the project would be a shift in how we divide space and delineate ownership of property; from compartmentalization to obscured and interlacing boundaries.

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76

5

4

3 2

1 0

TIME TO CITY CENTER

alleyalley

Dogma, A Field of Walls

garage garage

back yard back yard

porch porch

home home

street street grass grass sidewalk sidewalk front front yardyard

yard back back yard

_urban/suburban detroit city

alley

garage

back yard

home

home home

yard frontfront yard porch

street

ban/suburban oit city

front yard

THRESHOLDS

grass sidewalk

street street grass grass sidewalk sidewalk

burban/suburban oit metro

Michael Maltzan, One Santa Fe

VACANCY 8#%#0%;

8#%#0%;

SUBURBAN NECESSITIES + INSCRIBED INFRASTRUCTURE

+05%4+$'& 74$#0+5/ 5722146+0) +0(4#5647%674'

Immeubles VillasLe Corbusier

Narkomfin BuildingMoisei Ginzburg

Michael Maltzan, One Santa Fe

Robin Hood GardensAlison and Peter Smithson

Spangen Quarter HousingMichiel Brinkman

PRECEDENT ANALYSIS

Unite d'HabitationLe Corbusier

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0

Avg. Influenced Area Daily [-]: Weekly: Monthly [+]: $YJ ƒ 5RXWH /HQJWK

AVG. AREA OF INFLUENCE: AVG. DAILY[-] : 0.302 0.302 mi.2mi.22 AREA OF INFLUENCE: 0.748 mi.

WEEKLY 2 DAILY[-] :: 0.302 0.748 mi.2mi.

0.959 mi.22 MONTHLY[+] 0.748 WEEKLY :: 2 0.959 mi.mi.

AVG. MONTHLY[+] 0.959 mi.2 : Σ ROUTE LENGTH: 9.93 mi.

AVG. Σ ROUTE LENGTH: 9.939.93 mi.mi.

STATE COLLEGE, PA Suburbia gives the appearance of independence through clearly defined ownership boundaries, but the reality is that the less urban one becomes, the more dependent on the system one becomes. In other words, the area that influences you becomes much larger.

James Wines, SITE, Highrise of Homes

Avg. Influenced Area Daily [-]: Weekly: Monthly [+]: $YJ ƒ 5RXWH /HQJWK

DETROIT, MI

1

2

3

4

1

2

3

4

AVG. AREA OF INFLUENCE: AVG. DAILY[-] : 0.068 0.068 mi.2mi.22 AREA OF INFLUENCE: 0.318 mi. mi.2 WEEKLY DAILY[-] :: 0.068 2 0.318 mi.2mi.

0.386 MONTHLY[+] : 2 0.318 mi.

WEEKLY : 2 2 0.386 mi.mi.

AVG. MONTHLY[+] 0.386 : Σ ROUTE LENGTH: 4.23 mi.

AVG. Σ ROUTE LENGTH: 4.23 mi.

4.23 mi.

Filip Dujardin, Fictions

1

2

3

4

1

2

3

4

1950

1950

2015

Filip Dujardin, Fictions

OIT TR IT DETRO DE

2016

2015

R R

ER IVER V I

DETROIT, MICHIGAN DOWNTOWN + MIDTOWN

Site Constraints

Vehicular Circulation

Stacked Program

Sun Exposure / Views to Downtown

Division of Units

57

58

a v i s c h a n s k y @ g m a i l , c o m