WORK 09 10

WORK 09– 10

University of Pennsylvania School of Design Department of Architecture

WORK 09–10 University of Pennsylvania School of Design Department of Architecture William Braham, Interim Chair Winka Dubbeldam, Director of the PP@PD David Leatherbarrow, Chair of the Graduate Group in Architecture

INTRODUCTION FOUNDATION CORE ADVANCED COURSES / EVENTS / NEWS

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INTRODUCTION Since its founding in 1890, architecture at Penn has emphasized the link between theoretical speculation, professional practice, and artistic expression. Our faculty is distinguished precisely by engendering new ways of seeing, new trajectories for imagination, and new models of practice.

Our Master of Architecture program is a rigorous, first professional degree that develops expertise and pursues innovation in all aspects of design and construction. Penn provides a robust academic infrastructure for students to acquire the diverse set of skills and knowledge needed for creative practice today, as well as a critical orientation to contemporary issues of culture, technology, ecology, and urbanism. Taking advantage of continuing developments in technology and computation we create environments that support fuller and richer lives in settings around the world. Our design studios foster abilities to conceptualize latent potentials and realize new cultural formations that will contribute to the co-evolution of social and natural systems.

Digital media were initially introduced in schools over a decade ago at the upper levels. They now permeate the entire curriculum as they do contemporary practice and everyday life.

Students learn techniques of visualization in a discrete sequence of courses closely bound to the design studio, but their power to assemble information, analyze, integrate, and simulate are simultaneously developed in technology courses and examined in history-theory courses. The design studio sequence begins with abstract models and techniques— generated through diagrams, models from geometry or nature, experiment, and even computer scripts— but through the sequence they incorporate all the aspects of design, use, and construction required of architectural propositions. On the one hand, digital media have been the subject of specific experiment and inquiry in architecture, while on the other, digital models are so pervasive in engineering,

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fabrication, and project management as to engender convergence and demand collaboration. Computers provide powerful tools for analyzing sites and developing programs. They enable students to distill ever more extensive and detailed data to understand less tangible dynamics of behavior and change: flows of people, energy, water, resources, goods, information, images, and capital.

Our curriculum extends beyond traditional disciplinary boundaries at many points, allowing students to deepen their skills and explore other aspects of design. Environmental sustainability is addressed at almost every level of the program, and then more explicitly in our certificate program in Ecological Architecture and our new Master of Environmental Building Design (MEBD). These programs include the study of contemporary approaches to environmental design, of performance simulation, and of the political and cultural aspects of their implementation. The work of that program is complemented by the ambitious research agenda of the TC Chan Center of Building Simulation and Energy Studies. In other areas, new approaches to the generation of complex form are supported by an on-line Scripting Group, and complemented by the research activities of the Non-Linear Systems Organization (NSO) and the innovative collaboration in biological research of LabStudio. The new program in Integrated Product Design (IPD), offered in collaboration with the School of Engineering and the Wharton School of Business, introduces the materials and methods of industrial design and product development, and explores the integration of advanced sensing and control technologies in design products at all scales.

A range of other certificates and dual degrees provide opportunity for students to combine their studies with the other disciplines in the School of Design, especially popular have been the dualMaster degree with Landscape Architecture and the certificate

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programs in Urban Design and in Real Estate Development. Many graduates use these opportunities to launch themselves into hybrid and specialized careers. We foster a culture of research that mines fields of knowledge and activity beyond architecture as well as a capacity to integrate diverse (even competing) objectives through the creative process of design.

Research Studios and Thesis, offered in the final semester, as well as our one-year Post-Professional Program (PP@PD), have become the locus of advanced experimentation, pushing the boundaries of professional practice and advancing the discipline. With an increasing variety of arrangements, advanced studios link seminars, travel, and research units to form intellectual units of faculty and students. From Fishtown and West Philadelphia to the Delaware River Waterfront and Center City, studios at every level engage the potentials of community development in Philadelphia. At the same time, advanced studios engage situations around the world. Last year, student projects developed interventions for Dhaka, Dubai, Delhi, London, Mexico City, Monterrey, Rio de Janeiro, and along the US-Mexico border. In a new format, a sequence of seminars and studios focused on the question of Aging and Architecture.

To develop creativity a school requires more than academic programs, facilities, and financial resources. While these are vital ingredients, the infrastructure only supports the academic community of faculty and students, which is a special kind of social experiment— open, generous but loose. The freedom to form different kinds of connections, and even to disagree, is crucial for the chemistry that makes a school productive. Great things are possible in the freedom to explore ideas, exceed limits, and take risks in the company of others doing the same. Learning to design requires a social milieu disposed to welcome the anxieties of uncertain trajectories, the exhilaration of discovery, and the thirst for connectivity in new directions.

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I want to thank all the students and faculty for making 200910 such a productive year. Thanks also to our dedicated staff— Staci Kaplan, Valerie Beulah, Tanya Yang, and Nysia Petrakis, our coordinator. This publication has only been possible through Staci’s conscientious work, Phillip Crosby’s editing, and the design talents of Thumb. Dean Marilyn Jordan Taylor and her staff deserve equal thanks for all of their support and encouragement.

— Dr. William W. Braham, FAIA Interim Chair, Department of Architecture

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FOUNDATION

ARCHITECTURE 501 Architecture 501 is an introductory design studio that focuses on representational techniques, both digital and analog. The semester consists of three projects that explore the relationship between the body and spatial design.

The first of these projects requires designing and building a surface-form construction assembled from the re-appropriation of an everyday object. The object comes from the production process of coffee. The final surface-form interfaces with the human body in a precise and calibrated manner.

The second project probes the relationship between performance and form. This relationship is critical in the design of a performanceform enclosure—specifically, a temporary exhibition pavilion that is a light and re-deployable structure. The pavilion is theoretically situated in the area around Meyerson Hall.

The third and final project requires the design of an eventperformance intervention for the lobby of Avery Fisher Hall in New York City’s Lincoln Center. The intervention engages the existing building with temporal event-performances in the design of a reprogrammed Avery Fisher Hall.

—Phu Hoang, coordinator

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—PHU HOANG, critic

— Amanda Morgan, Liyan Wan In this project translucent materials introduce the question of visibility. Areas of transparency are controlled: specific views are impaired while several clearings are left for unobstructed sight. One has control of how public or private their own experience with the installation becomes: the layered modules filter the views while masking the identity of the viewer. The clustering of clear lids, which were coupled with a single opaque lid, provided density. The white lines of this formation

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provide visible orientation and direct attention to various modes of interaction.

1, 2. AMANDA MORGAN, LIYAN WAN

—SIMON KIM, critic

— Kate Rufe, Kate Sheahan, Shulei Weng This project makes use of fifteen unique sleeve components, which are either open or sealed at one end. These components are systematically joined with braids in two ways: either end-to-end to create a chain of hinged joints, or at their mid-sides to create a lateral webbing. This assembly method allows for versatility in form-construction

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and multiple possibilities in figure-field relationships. This has been accentuated in two ways: through the exploration of loose- and close-knit webs and through the vertical layering of this field to create undulations at varying depths. The surface is controlled by free moving anchor points that create numerous possibilities of catenary shapes across the field.

3, 4. KATE RUFE, KATE SHEAHAN, SHULEI WENG

— Sarah Wan, Jae Won Kim This project considers the repurposing of the paper cup sleeve as a construction component. Each sleeve is folded,

sliced, and fastened to create a new geometry with a familiar object. Due to the structure of the module there is inherent strength, flexibility, and intelligence. It can be stretched and compressed, and the resulting aggregation of the module can expand or contract according to different situations. The final form is radial in plan and curved in elevation according to a hyperbolic function, resulting in a constant mean curvature, or minimal surface.

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5-8. SARAH WAN, JAE WON KIM

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—WILLIAM FEUERMAN, critic to the structural frame, which shows — Nathan Hemming, Lea Oxenhandler the black binder clips as a spine. This The nature of interactivity is not a product, form can be utilized to filter light as well but a process. In this project the nature as create defined views through the of cause and effect is explored as the structural nodes. user is allowed to grab and pull on the 12-14. MARTIN MILLER, NATASHA DUNWOODY device’s various interlocking connections.

As a surface-form, this system acts as —JULIE BECKMAN, critic an interactive light-filtering screen that — Nam Il Joe, Michelle Ma, engages the body by allowing users to Renelle Torrico change its form. Through various pulling This project is a garment that transforms mechanisms, the device responds by into an inhabitable environment. The opening and closing its apertures. Its components, which are made of coffee deformation is not truly elastic, as the filters, have two distinguished shapes: a surface never returns to a unique stasis. beginning and an ending after the filters 9-11. NATHAN HEMMING, LEA OXENHANDLER and separation have occurred. We wanted to distinguish the separation between the — Martin Miller, Natasha Dunwoody garment and the environment through the The filter exists as a barrier between two themes of organic/rigid, interior/exterior, sides. The level of porosity determines and light/heavy. The garment begins the particulate matter that is allowed to with the arm, as an armor, that flows and pass through the surface. This project conforms to a person’s body, extending exhibits the inherent duality of the differoutwards to create a structured, rigid ent sides of filter paper while emphasizing space that becomes a part of the environthe qualities of the chosen coffee object ment as a second skin. and fastener. The filter paper is both 15-18. NAM IL JOE, MICHELLE MA, delicate and strong, represented by the RENELLE TORRICO soft white side of the form in contrast 11 16 DESIGN STUDIO — FOUNDATION — ARCH 501

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ASSIGNMENT 2 —WILLIAM FEUERMAN, critic

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— Qiyao Li The project the design of a performanceform enclosure — specifically, a temporary exhibition pavilion that is a light and deployable structure. The pavilion is formed by a module that is aggregated according to different programmatic functions. The module that is capable of changing its aperture, height, and spatial configuration: the lighting needs of the exhibition control the aperture of the surface; structural factors control the height; and the spatial configuration is determined by the route through the exhibition.

19, 20. QIYAO LI

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— Lea Oxenhandler In the repetition and aggregation of a singular folding component, an otherwise linear system becomes dynamic and performative. With subtle manipulations of the component, folds and bends lead to specific conditions of lightness and darkness, which relate specifically to the programmatic requirements of the spaces. Highly lit spaces are for work to be displayed and presented. These bright corridors also represent paths of movement throughout the pavilion. Spaces with a more filtered lighting condition are intended for resting states of occupation.

By utilizing the twisting form of the folded rectangular plane, indoor and outdoor spaces can relate to each other through a dynamic surface, that can be constructed

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and easily deployed in multiple configurations using modular components.

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—BEN KRONE, critic

— Sarah Wolf This project explores how rigorously designed systems can be used to organize space. Inspired by baroque drawings, sets of figure/pair relationships were extracted and defined by their performative qualities. The spiraling forms of the drawings cinched, pulled, bunched, and overlapped each other. These actions were used to create a configuration whose

proliferation can be characterized by the performance of its parts. These components are categorized in four groups: 1) metal cables that create tension between the parts, 2) metal pipes that support both the panels and cables, 3) wooden panels that rotate to modify the character of the space, and 4) concrete posts that divide the review space from the circulation.

25, 26. SARAH WOLF

—JULIE BECKMAN, critic

— Eva Jermyn This pavilion design employs a set of responsive, interconnected components

to achieve adaptability. Connections between components add both visual and functional flexibility. This system provides the means of altering the space for the varying program requirements: lighting needs for different types of review, changing sun conditions over the course of the day, ventilation needs that vary with the weather and the number of people, capacity requirements, and display space. The pavilion is intended to be deployed for several months, and once assembled is highly adjustable on a daily and moment-to-moment basis.

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—PHU HOANG, critic

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— Laura Lo This pavilion proposes a bifurcation of program. On one side is a long, linear wall, on the other, a sinuous one, broken at its rupture. The interior is linear/singular, and branching/binary, depending on one’s entry. The component module generates the organizing principle of the shape. Its morphology arises through a series of transformations in scale, orientation, rotation, and by additions and subtractions. These transformations create different qualities of space, but no space is so fixed as to deny other uses. The logic of the original component enables the pavilion to perform structurally and in response to light and program.

This is performance form.

30-32. LAURA LO

— Amanda Morgan Reviews are often the anti-climax to any project as a short, impersonal critique takes place and ultimately the student’s feelings of success hinge on the comments of a few jurors. My design ambition is to focus the traditional review back to the most important function it serves: providing a forum for interesting discussions about architecture, which are sparked by the projects covering the walls. Within this pavilion, a gradient of privacy presents a narrative focusing the

critics and students into a more intimate discussion by breaking up space into smaller sections and bringing student work to the center.

and elevation shifts. As a final formal operation, the pavilion is constructed as a three-dimensional axonometric projection of itself.

33, 34. AMANDA MORGAN

38-40. LESLIE CACCIAPAGLIA

—SIMON KIM, critic

—Ying Xu This project is a temporal pavilion for PennDesign to be installed near Meyerson Hall. The design of the pavilion began with an investigation of the hinged dissection of a polyhedron. This research was then translated into a system for creating architectural forms by rotating, unrolling, and unfolding the polyhedron.

35-37. YING XU

— Leslie Cacciapaglia Using Fibonacci numbers as a system of measurement and growth, this pavilion is the result of diagrammatic studies of scale, aggregation, and opacity. Formally it explores the intersection of volumes generated through two-dimensional drawing operations. A re-composition of rectilinear space, the pavilion speculates solidity, void, and ownership. Volumes intersect and a hierarchical relationship between distinct parts emerges to challenge the notion of program. Rather than generating space for specific functions, the pavilion invents program based on the results of collisions, subtractions, the thickening of walls,

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ASSIGNMENT 3 —SIMON KIM, critic

— Kate Rufe In this proposal for Avery Fisher Hall at New York’s Lincoln Center for the Performing Arts, a dynamic model was developed to analyze the interference of numerous sine waves. These sine waves were used to represent the occurrence and overlap of programmatic elements, the shifting of which results in a transformed programmatic condition. The geometric properties of these waves determined a method for the placement of upright and oblique columns as primary structural elements. The secondary structure of folding and delaminating plates then creates habitable spaces within the pockets of shifting programs.

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— Ihnil Kim Each event at Lincoln Center has its own unique timeline of activities. While the interior of Avery Fisher Hall is used primarily by specific audiences, the exterior is activated by a wider public. The openness of Avery Fisher Hall allows a great amount of freedom in the development of a form

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that will control the path of visitors. The surfaces of the Center are modeled in the computer to either attract or repel agents, allowing the positive and negative agents to maintain specific distances and angles from the attractor depending on the given set of rule.

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—PHU HOANG, critic

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— Andrew Loh Density defines the public space of New York City. A diverse, international, urban population interacts within the confines of the congested spaces of the city’s streets, sidewalks, and subways.

This demographic density contributes to the making of a successful urban public space. In response, this project focuses on creating a public lobby for Avery Fisher Hall at the Lincoln Center for the Performing Arts that is accessible and useable to the diverse population of New York City through a series of spatial expansions and compressions.

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— Amanda Morgan Public space is the void, the chasm, the nothing between all that is privately owned. By mapping the visitors’ current cognitive paths through Lincoln Center, the overlapping and intersections between the paths can be manipulated to form a new condition appropriate to each event.

Movement is controlled by ramping, with each event being directed by vertically and horizontally defined voids.

45, 46. AMANDA MORGAN

—WILLIAM FEUERMAN, critic

— Allison Weiler The public spaces of Lincoln Center are currently underused outside of peak performance times. In response, this project defines a dynamic relationship between the street and the activities within the Center, creating a public stage to draw users in. Relying on structure to form paths and space, the structural system uses contrasting materials to emphasize the importance of the path and grab the pedestrian’s attention, drawing

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users off their expected trajectory and into the public space within Avery Fisher Hall. The skin is calibrated to frame ‘stages’ to the public, offering glimpses of performance areas and emphasizing the performative nature of the lobby space.

47, 48. ALLISON WEILER

— Qiyao Li The project was critical for the lobby of Avery Fisher Hall in New York City’s Lincoln Center. The intervention engaged the existing building with temporal event-performances in the design of a reprogrammed Avery Fisher Hall. Traditional programs were re-organized according to the inner speed property of the events.

The whole structure is mainly composed of a folding ramp system and a connected surface system which defined the space and boundary of inner different programs.

The ramp system composed the continuous circulation and the structural connections. The rotating of the glass surface intends to bring the original structure closer to the street, inviting the 46 30 DESIGN STUDIO — FOUNDATION — ARCH 501

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public to go into the building by providing intersections of public events and private events at in progressive levels. The vertical uprising of the programs presents a gradient which allowed the more private program on a higher level, while more public programs closer to the street level.

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— Nathan Hemming The city can be viewed as a series of stages within stages within stages. At Lincoln Center in New York City, a ‘nested theater’ approach has been used to maximize social interaction. Modularity, flexibility, and the idea of light as a building material have been re-appropriated from a previous project. Users define their own temporal stages within larger stages such as the cafe, which serves to stitch together disparate programs from a central datum plane. Fritted glass panels allow for a coding of light and views that respond to interior conditions.

the exterior spaces to define a program while controlling its experience.

53, 54. SARAH WOLF

— Schuyler Cadwalader This project began with an investigation into the multiple ways that Times Square generates an entirely unique urban condition by bluring the performance/ spectator distinction. By isolating some of the techniques employed to generate this peculiar effect, it was then possible to redeploy them with an entirely new purpose; the retrofitting of an out-dated, socially exclusive concert hall to actively engage its urban context, granting it greater cultural significance and infusing it with the social openness it is obligated to provide as a registered city park.

55-57. SCHUYLER CADWALADER

50-52. NATHAN HEMMING

—BEN KRONE, critic

— Sarah Wolf This project explores the role that networks of individual experiences and expectations affect the way that spaces work at New York’s Lincoln Center.

The existing site takes a laissez faire approach to shaping the user’s experience. This project modifies the space so that it plays a more active role, shaping and sustaining impulse moments — the points where experiential expectations are fulfilled — in both expected places and times as well as unexpected ones.

These moments create spontaneous delight in visitors in three ways: by overlapping spaces within one program, by controlling views of destinations to heighten anticipation, and by flooding 51 32 DESIGN STUDIO — FOUNDATION — ARCH 501

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ARCHITECTURE 502 The second semester studio, Architecture 502, focuses on the reciprocal relationship between the city and its architecture. While the architectural operation consists of implanting an ultimately static object, the field in which that object is sited is dynamic.

Buildings themselves change sites for many years to come in both local and expanded contexts. In keeping with the theme of Penn’s “Arts and the City,” a yearlong compendium of events, public art was taken as a product, mechanism, and metonym of these relationships. As Patricia Phillips has written, “It [public art] need not seek some common denominator or express some common good to the public, but it can provide a visual language to express and explore the dynamic, temporal conditions of the collective.”

Public art mobilizes the relational dimensions of the city around it: It is at once a situated punctuation, as well as mechanism of change, in terms which are experiential, spatial, geographic, and economic. The program for the project is a new type of arts center for both local and international artists to produce work as a public act within public space. Functioning as a series of workshop spaces with interior and exterior components, the center is to be accessible to the public for a variety of activities, from simple studio observation to larger forms of public entertainment to casual space for drifting and connecting urban domains.

—Annette Fierro, coordinator

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—JULIE BECKMAN, critic

— Jason Jackson Reveal Design is an art center based on the belief that the process of design is equally important as the final piece.

The design was realized by establishing three relationships of spatial qualities and behavior analysis: density/blend, focus/mass, and access/void. These pairings were used to analyze the site, develop programmatic adjacencies, and organize a façade system that expresses the interior program through a gradient of opacity. A cross-pollination

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of the public and the artist occurs through hybridized program types where experiential circulation passes through both areas of production and areas of display, contributing to community development and expanding inspiration.

58, 59. JASON JACKSON

— Amanda Morgan As a haven for knowledge, culture, and social life, this art complex focuses on complete immersion into the digital realm. Screening techniques within and between the exhibition/performance

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of the work, and the interactions that engage them, create overlap between art, artist, and public and allow feedback between exhibition space and viewer response. Organized through a network of contextual nodes, the complex curates a sequence of experience that weaves through zones of art display: creation, exhibition, performance, interaction. As these elements collide and respond, the interactions between them are controlled through surface and volume properties including texture, transparency, and depth.

60-62. AMANDA MORGAN

—KIAN GOH, critic 61

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— Lea Oxenhandler With research about the community garden initiatives in the East Village of Manhattan and around Philadelphia, this arts center is designed to become a catalyst for the Kensington neighborhood.

By developing arts programming for children, resident artists, and the local community alongside an active, seasonal planting schedule, the building

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offers participation and interaction on both its interior and exterior.

63-65. LEA OXENHANDLER

— Sarah Wolf This project allows students the opportunity to control their environment by providing open-ended spaces for creating and exhibiting art. It explores the impact of fluid conditions on a fixed framework and how the relationship between the two might create spaces of indeterminacy.

It fosters within students a sense of place and a sense of ownership in their neighborhood, which is characterized by relatively high unemployment and school suspension rates. The project uses weaving as a formal strategy through which two languages (fixed and fluid) relate in a way that causes displacement and creates voids (indeterminate spaces). The relationship between these languages generates an open-ended space that students and artists claim through creating and exhibiting art.

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—ANNETTE FIERRO, critic

— Katherine Comly This project is a study of territories with both clearly delineated barriers and implied boundaries. The layering of these fissures and divisions creates the imperfect foundation of community. Since the chosen site has become a place of disillusionment and unrest, the project encourages the artists to act as agents of rupture within these stagnant zones.

Their rupture can reinvigorate the community with activity while reincorporating

the positive existing layers of the urban fabric. This art center is a place of rebellious unification, of passionate making, and of considerate change.

68. KATHERINE COMLY

— Laura Lo This building directs views, framing a series of events. One’s movement around the building shifts that series of events to yet another. The building— and the movement it encourages — presents no singular set of images; rather there is

always a suggestion of the next thing, an experience of time. This privileging of time undercuts the object, both that of the building and of the art. The building exists as part of a process, and the architecture cannot be held apart from the art and art-making within it. Each depends upon the presence of the other to approach completion. Each is incomplete, forever in the process of being made.

69, 70. LAURA LO

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—KEITH VANDERSYS, critic

— David Tao This project, both an art center and HIV clinic, explores the creation of spatial transitions through varying degrees of discretional zones. Sparked by initial research into the rising drug use and the lack of aid in the area, the project is a response to the needs of the surrounding neighborhood. Through anonymity and discretion, the building allows various 72 42 DESIGN STUDIO — FOUNDATION — ARCH 502

social groups to mingle and blur. In all stages of the project— from contextual analysis to abstraction to the definition of a discretional spatial logic — a new programmatic arrangement is proposed. The project thus allows users to freely filter through the building while being as open, or as anonymous, as one chooses to be.

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—Ying Xu The intention of this project for an art center in northeastern Philadelphia is to blur the boundary between work and play.

The building is organized around three types of play — free play, formal play and controlled play — that are further defined by the time of the day that specific program is active. By using a variety of definitions of play, the art center creates an architecture that encourages visitors to return repeatedly to this part of the city while promoting future developments that would increase density and re-stitch the urban fabric, overlaying a contemporary layer on this industrial neighborhood.

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—JENNY SABIN, critic

— Eva Jermyn This building is not intended to stand out as a nameable or identifiable object. It is not an art center, but instead a continuation of the existing urban fabric. An overall understanding of the site is withheld from the viewer except from a few key points where clearer views into the building are provided by de-densification and alignment. This arrangement gives privacy and privilege to the artists and leaves the option of discovery open to others. Both architectural form and programmatic functions are arranged according to a scripted analysis of existing site visibility: the most visible areas become voids for more public programs while the least visible areas contain private programs surrounded by solid form.

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CORE

ARCHITECTURE 601 In this studio, students engage architecture in its role as a cultural agent and examine the way buildings establish and organize dynamic relationships between site, program, and material. The design of a complex building of approximately 50,000 square feet provides the pedagogical focus for this research. Students extend skills in geometrical organization, site analysis, and building massing/orientation to relate to program organization, circulation and egress, building systems, and materials. The conceptual focus centered on the program of dwelling and how this program can be employed to develop and promote dynamic relationships and conditions through time, both within the building and between the building and the context.

Through research and experimentation students integrate ecological processes into their design methodology to support design innovations in the building’s structure, its construction assemblies, environmental systems, and materials. The studio develops design strategies that use excess energy, or save/recycle energy to help design buildings that create sustainable urban environments.

Students work towards a high level of design resolution and visual representation including the articulation of the building structure and its material assembly/enclosure.

—Cathrine Veikos, coordinator

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—BRIAN PHILLIPS, critic CONDOMAXIMUM

In response to the recent economic crisis this studio explored the notion of “value” as a crucial device for re-thinking approaches to urban housing. Research on the history of housing value and other key trends were investigated.

Furthermore, the real estate market’s emphasis on location was examined through field surveys and data analyses.

The vehicle for design proposals was the condominium; a typology that was a key driver of both recent urban housing development as well as the housing crash. The three sites for investigation within this studio were all locations of previous failed condominium proposals.

Students were asked to devise re-valued condominiums that capitalized on the dual, overlapping components of common and private ownership zones to uncover radical new housing potentials.

— Alex Vasquez Taking into consideration the imminent impact of rising sea levels, this project adapts to those future conditions through a buoyant skin that adapts to water levels while changing the programmatic possibilities of the core. The building— a resilient, global-warming-ready, multifamily condo tower— is designed to last more than 100 years, allowing it to be passed through generations until it becomes a prime waterfront property.

The building is surrounded by a buoyant

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ramp that connects to the adjacent highway and the irregular stacking of floors allows for the creation of five large public spaces within the core of the tower.

83-85. ALEX VASQUEZ

—Jihyun Jeannie Chung Many people who work in Philadelphia commute from the suburbs. On the other hand, there are people who work in the suburbs but want to enjoy the urban lifestyle of Philadelphia. This project, a “reverse commute condo,” suggests a transformation of the suburban lifestyle within the urban context. In order to maintain the aspects of suburban living— driveways, front and back gardens, and swimming pools — horizontally arranged units are rotated, cut, and stacked.

Each individual unit is one-third of a typical three-bedroom-suburban house where some spaces are reduced and some are replaced by public facilities.

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The individuality of each unit is further highlighted through the use of six different façade patterns and materials.

86-89. JIHYUN JEANNIE CHUNG

— Eli Linger This project attempts to capture and magnify the regenerative economic and cultural processes of immigration and propagate them across the landscape of Philadelphia. By integrating a communal immigrant housing complex with recreational, business, and cultural programs, this project acts as a revitalizing bridge that restores Philadelphia as an international hub, attracting

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immigrants and pairing them with new opportunities in a continuous process.

—CATHRINE VEIKOS, critic

a manufacturing process, the curriculum of a school, the domestic routine of a house, or simply the repeated movement in a circulation system.”

–John Summerson

“…A programme is a description of the spatial dimensions, spatial relationships and other physical conditions required for the convenient performance of specific functions…It is difficult to imagine any programme in which there is not some rhythmically repetitive pattern — whether

The initial objective of this studio is to produce and analyze program ecologies: new spatial and temporal relationships for urban dwelling. The studio designed student residences, rehearsal, and performance spaces for the students of the Curtis Institute of Music, one of the world’s leading conservatories. The building surface was posited as a dynamic condition whose quality of enclosure provided

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PROGRAM ECOLOGIES: RESIDENCES FOR THE CURTIS INSTITUTE OF MUSIC

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the investigative focus for a consideration of surface as a performative and dynamic perceptual field, a site for the mediation of physical and perceptual phenomena and the means and effects of daylight, temperature, and sound modulation.

— Mike Avery Music was once a tool used as a condenser; it brought people together. Today, however, music is often used more as a tool of isolation than integration. Seen as a musical mixer, this dormitory project for Philadelphia’s Curtis Institute of Music

challenges everyday conceptions of what music is by creating dynamic and shifting soundscapes of ‘noise.’ This approach promotes community through diffusion, both visual and auditory.

Through this diffusion, sound will reestablish its role as social condenser.

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— Rebecca Fuchs This project for a residency at the Curtis Institute of Music takes the relationship between surface and sound as its starting point. Sound within the building can be

can be isolated, transmitted, blended, or amplified through the manipulation of floor, wall, and skin surfaces. The surface conditions control the level and quality of sound within sealed spaces (practice rooms and performance halls) and serve to design a particular soundscape within porous spaces (common space and circulation). This interior soundscape changes on each floor according to differences in program and the given aural conditions of the site.

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a tool for making smooth transitions from otherwise disjointed elements. This studio performed collective research into the gradient tool. Subsequently this research was put to work in response to two core issues of housing design: the repetition of units and the use of the building skin as the point at which public surfaces are melded with the private body.

— Karmen Rivera This project began with the study of sound as a generative apparatus for an urban dwelling in Times Square. Noise pressure from a variety of sources on the site generated the initial gesture, including the movement of public space through the site. After a meticulous study of acoustics, a system of layers was designed to create different zones of sound. This created a gradient of noise levels, fading the harsh contrast between interior and exterior spaces.

By absorbing sound slowly, the skin of the building became habitable, allowing the inhabitant to enjoy the outer shell that would otherwise be avoided.

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—GUY ZUCKER , critic THE GRADIENT TOOL

The joint— the detail transitioning from one element to another— has always been an important topic in architecture.

From ancient city walls that distinguished urban from rural to the baseboard that bridges the gap between hardwood floor

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and sheetrock wall, the issue of transition touches upon political, social, and technological aspects of design. While the distinction between elements in the built environment is a given, there is a tool that can help us smoothly transition from one to the other— the gradient tool.

If we look beyond the superficial effect, the gradient can be a performative tool;

— Christina Dreibholz This residential project in Times Square uses gradient and camouflage techniques to design a building that integrates itself with the environment even though its program is foreign to the context. The building is comprised of a series of six long, narrow “screens” made up of hundreds of individual frames. The towers 108

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­— SCOTT ERDY, critic

tempered through another medium: The window, the roof, even clothing and shoes eliminate our ability to have direct contact with nature. Our studio thus focused on how the tectonic expression of building systems can be used to reveal nature. We used this technique of “framing” to make the relationship of our buildings to nature more legible and more responsible.

The semester began with a short project consisting of the design of an autarkic caretaker’s cabin at a remote rural site in close proximity to Philadelphia. As a means to recalibrate our awareness of nature and the site, we began with an immersive site experience (camping).

Using an adapted version of this rural outpost, the studio then designed a Communal Urban Dwelling of approximately 50,000 square feet.

In today’s world it has become difficult to directly engage nature. Much of our relationship with the environment is

—Thomas Giannino Inspired by the nine steps of ascension in the Shakerista faith, this project develops an analogous technique of

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get taller and broader from the front to the back, creating a visual gradient as well as a gradual decrease in the amount of light and noise pollution that reaches the interior. When illuminated at night, the transparent frames make the overall mass appear to taper off, becoming part of the glow of Times Square.

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COMMUNAL URBAN DWELLING

purifying the water of the river below the site. The building sets up a dichotomous relationship: looking in one direction the inhabitants of the commune reflect upon the purity of the water below the building, while in the opposite direction they reflect upon the purity of their souls. The water is cleaned by a series of nine weirs, representative of one of the Shakeristas’ nine steps toward pure body and mind.

Reverse osmosis is used to pressurize the water, forcing it through the weirs and leaving the impurities behind.

111-113. THOMAS GIANNINO

— Shannon Brennan The Shakeristas are an up-and-coming religious group with strong environmental beliefs. In order to sustain their numbers they rely heavily on recruitment, which is why the Shakerista Sanctuary has been placed within the street. This “street sanctuary” acts as a true expression of free speech, allowing for heavy exposure of Shakerista ideals while creating

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—TINA MANIS, critic

RESETTLEMENT: ASYLUM SEEKERS AND A NEW GLOBAL COMMUNITY

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opportunities for them to interact with the public. The linear building form is the result of wrapping a linear strip of program that highlights the steps one must take to become a Shakerista around the coveted Sanctuary, cradling the most vital part of the Shakerista program.

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— Brian Zilis At the edge of a West Philadelphia neighborhood riddled with crime and poverty, dense blocks of rowhouses share common space in the form of back alleys. By claiming the back alley as the new front porch, the energy of the

community is refocused onto smaller, safer, more protected backyards, or continually monitored, familial parks that are “owned” by the inhabitants of the block.

Abandoned lots within the block fabric are repurposed by communities to provide protection, environmental resources, or business opportunities. While this project is designed for a specific site at the intersection of 63rd and Market, the strategy can be applied abroad.

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The Geneva Convention defines a refugee as anyone who has a “well-founded fear of being persecuted for reasons of race, religion, nationality, membership in a particular social group, or political opinion.” The primary strategy towards the protection of asylum seekers, resettlement, creates a liability claimed by no one agency. It demands a community, and community is forged together in urban centers as a “melting pot” defining sharp cultural and economic divides.

Historically diverse, the public pool will be our space of convergence between individuals and community, community and urban public, and the reciprocation of the city to the resettlement itself.

This studio investigated, analyzed, and produced new relationships emergent within two contending programs: a multi-cultural dwelling complex and the inherent diversity of the public pool.

— Federica Von Euw Architecture, in its most basic form, provides people with shelter from the elements. It can also act as a dwelling, and when gathering a multiplicity of people in one building it can create connections.

Just as micro-financing creates connections between people resulting in a social structure that brings communities out of poverty, this project creates a structure

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that allows for physical, visual, and social connections between its inhabitants and the community surrounding them.

Although this asylum housing is not meant to be permanent, the project creates an architecture, which, like micro-financing, starts building a social and structural network for its inhabitants.

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— Alexandria Mathieu This project addresses the erosion of identity experienced by asylum seekers through an investigation of the imbalance of access and denial. Every year thousands of refugees apply for asylum, 124 70 DESIGN STUDIO — CORE — ARCH601

yet almost half of them are left seeking asylum after an incredibly difficult and emotional governmental process. An individual’s sense of identity is lost and replaced with a governmental label. This project uses three strategies to invoke integration of segregated races: the perforation and porosity of program, the circulation and interaction of water, and the use of public areas to split or merge specific spaces. These three explicit strategies are then used to shifting landscape of space out of a system of parts.

125, 126. ALEXANDRIA MATHIEU

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—HINA JAMELLE , critic

ACCUMULATIVE GEOMETRIES: TRANSFORMATIONS FOR A NEW HOTEL IN TRIBECA

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An exceptionally sophisticated part-towhole relationship resolves the integration of materials, structure, scale, and spatiality to allow for the overall formation possessing lightness and elegance. The scale of the part to the whole must be adjusted with precision and refinement to produce the desired effect. If the scale of the part is too diminutive in relation to the whole, or if the whole consists of too many smaller pieces, then the occupant

of the space may be overwhelmed and the potential of producing elegance is lost.

This studio examined emergence and its relation to the formulation of architecture through the use of digital techniques in an opportunistic fashion. In particular, this studio examined part-to-whole organizations and their potential in architecture by offering the tools to create effects that exceed the sum of their parts. These concepts were explored through the

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design of a new hotel located in the Tribeca neighborhood of Manhattan.

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— Karli Molter This proposal for a new hotel in Tribeca, New York responds to the dynamic urban fabric that is in constant flux and shows no sign of decreasing in density or vibrancy.

It exposes itself to the city, embracing diversity and social interactions. Several systems of shifting geometries have

been used to create different qualities of enclosure and planes of inhabitation throughout the hotel. Levels of privacy for the individual units are achieved through a build up of several layers of the systems — both interior and exterior.

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ARCHITECTURE 602 With the maturation of digital techniques over the past fifteen years, architecture has undergone a series of critical transformations. Chief among them is the emergence of a new ecology that has formed through the coalescing of software, fabrication, and material intelligence. The 602 Design Studios are positioned to investigate these changes and to formulate strategies that can implement them in various ways. The goal is to generate design solutions, which take full advantage of our contemporary tools and lead the way in proposing novel and unprecedented ways to improve our build environment.

Design integration in particular benefits from the convergence of design and engineering disciplines, brought along by advanced computational modeling and reciprocal information flow. Formerly autonomous, layered, and linear approaches to building development have evolved into multi-directional and updateable processes, thus allowing for deeper and more complex levels of integration.

In lockstep with these tendencies come opportunities for better performing buildings, but also the ability to express novel design characteristics and advance our field in practical, conceptual, and cultural terms.

The format of this studio evokes a practice-oriented atmosphere including teamwork and collaborations with outside experts in the fields of architecture, engineering, fabrication, and construction.

A series of mandatory reviews, lectures, and workshops are held to further assist the students in developing their comprehensive design projects.

—Ferda Kolatan, coordinator

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NOW WHAT? FUTURE VISION OF AN INTERNATIONAL ENVIRONMENTAL COURT This studio imagined a new form of global political institution that requires radically new architectural organizations and spaces. This unprecedented institution — the International Environmental Court (IEC) — does not yet exist, but if it were created the court would fulfill a global need to transparently resolve environmental disputes. The IEC would

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transparently rule on environmental law, investigate “eco-crime,” and enforce environmental compliance.

Working in groups of 2 or 3, each team designed an IEC that integrated architecture’s organizations and spaces with those of political and environmental strategies.

The design of the IEC required each group to address two types of architectural performance — one programmatic, the

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other functionally linked to the engineering disciplines. Parametric modeling software (Grasshopper) was used as a diagramming tool to model the complex programmatic and environmental relationships required. With this in mind, this studio focused on the integration of architecture with environmental engineering and façade design disciplines in an attempt to answer the question: How can 190 nations collaborate to protect the global environment?

— Sunghyun Park This project is based on three questions: Are steps essential in the design of a courtroom? Does the level of a floor equate to authority? Is it possible to design a non-hierarchic courthouse? By reducing the distance between the three primary programs of a courthouse (courtrooms, offices, and holding cells) this project develops new relations between the programs of the courthouse. As an international environmental court, the building also includes a botanical garden, which acts to decrease the physical and psychological distance between the public areas and courtrooms, resulting in a more familiar atmosphere than the conventional courthouse and its barrier of authority.

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— Sanam Salek, Michael Wetmore An international courthouse encompasses a vast number of functions and relationships, which can be thought of predominately as a network of screened conditions and devices. Thinking of the courthouse in this way, the ambition of this project is to reconfigure both the relationships of people to their environment as well as the power plays embedded within the courthouse typology. To do this, this project explores microclimates as instigators of new screening relationships through gradient, delamination, and porosity. Through these moves and the introduction of indigenous New York ecological conditions into the building’s inner volume, the project questions our interactions with the environment and suggests new relationships.

135-140. SANAM SALEK, MICHAEL WETMORE

—FERDA KOLATAN , critic

SUPERCHARGED: A PROTOTYPE FOR THE ZERO EMISSION ERA Combining parking structure, charging station, office and exhibition space, this hybrid building supersedes singular types and provides the architectural complement to a technology that is bound to transform our cities.

Driven by both economic and ecological concerns, a move away from

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gasoline-powered cars towards healthier, smarter, and more versatile alternatives has become the priority of research and development departments across the globe. Along with the technological innovations required to realize a complete switch to electrically powered vehicles, a larger cultural campaign is needed to inform the user and generate interest as well as desire to participate in achieving a Zero Emission future. In this studio students focused on this two-pronged approach, providing the needed technology and inspiring interest in it, to develop their building proposals.

—Valmik Vyas, Tyler Zembrodt Shifting Turbulence is an investigation into the synthesis of professions as a means to advance the field of architecture per contemporary techniques of fabrication.

The design of the Electrical Vehicle Hub, NYC, utilized wind as a tool guiding all facets of the design. Like the car industry, wind was a means of prescribing performance (aerodynamics) into the form of the design. Wind was used to harness energy for the charging station, and became a driving factor in the projects overall development. Fusing ideas within multiple industries yielded the opportunity to market the architecture, the EV, and our future via WIND.

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— Daniel Luegering, Michael Gloudeman, Michael Golden In response to the revival of zeroemission, electric vehicles this project rethinks the relationship between vehicle and building. More specifically, it looks to the prototype vehicle: a one-off object designed to excite and inspire the public while branding and providing research for a car company. By exploring the scalability of accentuated performative moments— creases, seams, and complex surficial conditions — the project develops a fresh approach to a typology that promotes integration between people and vehicles as a prototype for the age of electric vehicles.

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AN ARCHITECTURE OF PURITY: AN AIR PURIFYING TOWER 151

The environmental and biological impact of poor air quality has plagued civilizations throughout history. The industrialized age, in particular, has recorded unprecedented negative environmental changes. Using both digital and analog technologies this studio addressed the issue of air quality in NYC while simultaneously exploring the potential of public infrastructure to reduce energy consumption, remediate environmental degradation, harvest and distribute energy.

Part science, part creative problem solving, and part entrepreneurial invention — the studio operated as a collective research group organized into teams of no less than two members. The research and design process explored the efficiency of component-based, parametrically-derived designs to arrive at effective design and performance.

Projects evolved from practical research of natural forms of remediation and cleansing. A scientific approach to systems

analysis culminated in design concepts employed as urban purifiers that are accessible to the public, both aesthetically and functionally. Collaborative communication and workshops with engineers and software specialists complemented the studio work.

— Andrew Tétrault, Ben Lee This project is a new type of cultural and ecological infrastructure that blends the necessity for a clean and breathable city with the need for a new interpretation of public space and infrastructure. It is developed as a parasite, powered by the excess energy of public transit and the exhaust from cars and buildings.

Polluted air is collected from subway exhaust via a chimney system and at street level through the building facade.

The project provides a public space, an air-purifying utility, and a cultural venue, while deploying a series of planted ‘pods’ that take-in and de-pollute toxic city air and then releasing it at street level.

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—BEN KRONE , critic

‘AIR’ HOTEL: PASSIVE ENVIRONMENTAL STRATEGIES FOR A NEW HOTEL TYPOLOGY In the last decade architects have expanded their ability to realize complex designs through the use of sophisticated digital design tools and production strategies borrowed from other industries.

While revolutionizing our ability to realize new levels of complexity, these developments have brought to light a new set of limitations impeding our ability to match the possibilities of the design tool with suitable methods of production. These constraints have forced the architect into the role of process designer. The rationalization of a design language via issues of fabrication and constructability requires the designer to frame the context of the design process itself while remaining versatile in the translation between digital tools and manual techniques, such that one influences the other.

This studio designed a new typology of short-stay living units cooled entirely through passive means. Students

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reconsidered all facets of the hotel and its site conditions through its room typologies (both as a unit related to the whole as well as the interiors themselves).

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— Samuel Warden-Hertz, Eli Linger This project replicates the passive cooling capabilities of an African termite mound in the context of a summer tourist resort located on Governors Island, a small island in New York harbor. Through a detailed study of the structure and performance of these mounds in conjunction with extensive environmental research of the site, a system of remote induction tubes serving carefully programmed zones was developed. These tubes — driven by pressure differentials resulting from seasonal prevailing wind currents — ventilate the various spaces of the hotel while providing circulation paths and structural support throughout the tower.

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space, structure, material, and fabrication logics that combined to develop an innovative building formation.

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use the collaborative space that joins the rooms to advance their projects.

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—HINA JAMELLE , critic

SHIFTING HYBRIDS: MIXED-USE BUILDING IN CHELSEA

— David Scott and Matt Jackson,

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— David Eaton, Geoffrey Klein, Brett Wiemann This project uses passive cooling techniques to create a comfortable environment for corporate retreats, work groups, and artists to collaborate on Governors Island. By engaging with West 8’s master plan, the project brings tourists to a surprising indoor beach and roof garden, while also bringing together working groups of all sizes — from couples to trade shows. Tourists using the roof garden of the building, with its spectacular views of New York Harbor, will also be intrigued by the goings-on inside the building where hotel guests will 161 88 DESIGN STUDIO — CORE — ARCH602

The ambition for this studio was to identify potential hybrids that allow for transformations within a building. Both static and changing elements were explored via programmatic, spatial, structural, material, and fabrication logics in ways that effected the formal manifestation of the building. These innovations were accumulative and subject to shifts in type and/or kind (e.g structural systems that from concrete to a hybridized structure in steel and concrete). The ability to identify potential hybrid situations in buildings and to develop innovative formations provided a more nuanced understanding of form.

The goal for each student was to develop a sophisticated understanding of form using strategies to design an architecture that flows from topological surfaces and transformational spatial arrangements, and to apply these to a range of familiar architectural issues. The final proposal of each student emerged out of an interrelated working method between program,

— Hyungwoo Kim, Kin Ma, Sara Witschi PERFORMANCE CENTER This project examines how architecture can be a stage for seeing and being seen.

Our goal is to enhance the experience of the user as a performer as well as a spectator. The Performance Center is composed of three main stages, one in the basement, another hanging in the middle of the building, and another on the roof of the building. The orientation and location of each stage within the building is carefully orchestrated in an acoustically smart way in addition to providing an urban backdrop for the stage. Each stage has its own acoustical design strategy in relation to the other stages. The transformation from the basement stage to the roof stage was also embedded into the structural intelligence of the building. The structural logic derives from two systems in which there is a transformation from thick, concrete panels below grade, to a much lighter, steel structure at the roof.

The underground stage is fully enclosed and lit artificially using the geometry of the acoustic paneling. Heavy geometry and dim lighting set the stage for more somber performances which would take place here. The middle stage, which is hung within the building, is its own volume within the building. This seating for this stage is facing west, towards New Jersey providing a view of the Hudson River as the backdrop for this middle. This stage is framed with steel while maintaining the acoustical, concrete panels, allowing some sunlight to penetrate through, providing a space for performances which are lighter in mood yet still have control over the acoustics.

This separation from the rest of the building provides an additional acoustical barrier for the performance hall. Along the perimeter of the building are hung volumes which house the classrooms, offices, and practicing workshop spaces.

This gradient of program is organized as a gradient of sound decibels, in order

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minimize the permeation of sound. The rooftop stage is facing east, providing the New York skyline as the backdrop for this stage. This stage is uncovered and completely steel framed. This stage is for outdoor performances with an acoustical freedom. Spectators are freer to move about in that the audience is designed to stand while watching the performance.

163–165. HYUNGWOO KIM, KIN MA, SARA WITSCHI

—FRANCA TRUBIANO, critic ENERGY + MATTER: HIGH PERFORMANCE BUILDING

This studio was dedicated to the design of High Performance Buildings, integrating ecological design principles in the detailed design of a Bio-Environment Center for

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the City of Philadelphia. Through the development of strategic research skills and the application of verifiable evaluation techniques, the studio aimed to adopt low energy design solutions and material innovations. Projects explored fractal geometries, passive design principles, water remediation strategies, and energy simulation programs. Students collaborated with professionals from Front, Inc. and ARUP to advance the environmental systems design of their buildings. The building program comprised both public program venues and a management center for non-profit organizations dedicated to environmental research, advocacy, and planning. The site was a riverfront property along the Delaware River bordering William Penn Treaty Park and the abandoned Delaware Power Plant.

— Mike Avery, Bradley Schnell Located on the banks of the Delaware River, this project proposes a community center and a working landscape that mediates the beauty of its natural setting with the unfortunate outcome produced by years of urban neglect. Through the integration of smart building practices this project stands as a test site for combined sewer overflow remediation as well as an experimental push towards building sustainability through passive conditioning. Programmatically, the incorporation of an educational facility, an active composting program, and an already proposed light rail extension ensure community integration.

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ARCHITECTURE 701 Architecture 701 is the first semester of the third year of the design curriculum. This semester differentiates itself from the first two years by allowing students to pursue their own interests in contemporary architecture design, including formal, technological, critical, and post-critical explorations. The intention is for each student to be able to pursue and develop their own interests from within the discourse of architecture and to have the opportunity to explore these interests through a range of project scales. The challenge of these projects is to work within the provided framework of each studio section while exploring all the complexities that the various urban conditions provide. The resulting projects vary in scale yet are inclusive in their disposition and influenced by their contexts.

The chosen contexts are exciting; they are urban and range from London to Mexico City. Each studio section takes these contexts on in different ways, yet the primary concern for all is the relevance of design particular to its location. These issues are explored in different ways, from studying demographics to studying local methods and techniques of assembly, to perhaps developing financial models of urban renewal or relying on new ways of impacting and invigorating a city.

—Ali Rahim, coordinator

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—HOMA FARJADI , critic

ART / SITES: TRANSFORMATIONAL GEOGRAPHIES OF COOL LONDON Cool London, or other counter-cultural notations of territories, works in parallel or even against the planned city. One produces real estate value while the other is dependent on affordable space. One wants accommodating architecture while the other looks for an alternative type of space that work outside the norm and against the grain. In London the areas of Chelsea, Soho, Notting Hill, Clerkenwell and, more recently, Hoxton Square, Hackney and Bethnal Green are reminders of these moving targets of art in the development of the cultural and spatial cool in the city.

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This studio analyzed the operative geography of these sites, producing dynamic models for their historic and current developments in East London. The potential of abject sites and architecture was discovered through their alternative contiguities with noise, dilapidation, poverty, crime, the unkempt, the throwaway, and in the affinity of strategies of un-design with the sites of cool in the city.

— Erick Katzenstein, Brad Baxley This project, sited in an old industrial landscape, functions as a medium between two infrastructures: the street and Deptford Creek. Inspired by the way

that shipments were once imported, processed, and exported via the street and creek, the design focuses on a flexible and fluid program. The building, which operates as a “coolness operator,” is a study center with archives that hold the annals of work in design academia. In the study center, the social restraint obliged by each student proves to be catalytic towards a more liberated and flexible exterior program. Within the archives professionals, students, and the public experience designs, appropriating them as a generator of congregation and novel discourse.

170-173. ERICK KATZENSTEIN, BRAD BAXLEY

­­ Margaux Shindler, Julio Guzman — This project is structured around the idea that a void can serve as a receptacle for intervention, making use of the city’s industrial heritage as a material substance. The yard space is celebrated as a place of leisure, plant life, and function. New formations test and build upon the existing context, augmenting it through programmatic, structural, and framing operations. New connections complement the existing Laban Dance Center, Trinity School of Music, and Cockpit Arts both programmatically and through new access. The project remakes the Creek as a focus for local 175

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communities that is attractive to visitors, a haven for wildlife, and a pleasant place for students to study, perform, and relax.

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—MATTHIAS HOLLWICH , critic AGE-TECTURE: SENIORIZING THE BUILT ENVIRONMENT

Our culture is obsessed with long life, yet somehow getting old is not part of the equation. Our lives have been parceled into four phases: Youth, Work, Retirement, and the final phase, Phase X. Phase X is the unknown — the period in our life where we cede control to those around us and end up in places we do not want to be.

The only escape from the indignity of Phase X is death. This studio searched for a new type of architecture that envisions

a new way of life — a life that reintegrates Phase X into the normal life span.

There are 17,000 Medicare and Medicaid certified nursing homes in the United States — storage facilities where society keeps the aged. This studio was interested in the alternative. The goal was to find a way to reintegrate the elderly into society at every scale. ­­­­ Benjamin Callam, Joseph Littrell — As we age our changing lifestyle — which is nearly always one of displacement— often involves leaving behind the objects and relationships accumulated over a lifetime — away from friends, community, and the countless other amenities that a mobile lifestyle provides. The typical response to this scenario involves technological solutions for the individual. This project supports not only the individual but also the community. It combines

an “on-demand” lifestyle with more familiar spatial ideals. This is achieved through transformations at two scales: at the scale of the individual movable wall system allows residents to maintain privacy, at the communal scale an automated system allows the building to reconfigure, satisfying resident requests throughout the day before settling into an optimized nursing configuration at night.

new technology, and the prospective community it creates, eliminates the need for vehicles, resulting in a hyperindividualist space with the ultimate freedom of mobility within a socially communal environment.

180-183. DWIGHT ENGEL, KAREN WONG

—PETER MCCLEARY, DR. MOHAMAD AL-KHAYER , critics

176-179. BENJAMIN CALLAM, JOSEPH LITTRELL

SUSTAINABLE ECO-TOURISM: RINCON DE LA VIEJA, COSTA RICA

­­­­ Dwight Engel, Karen Wong — This project is the catalyst for a new form of society: individualist socialism.

Aiming to minimize the loss of mobility related to aging, it merges a typical nursing home bedroom unit with a vehicle and wheelchair. It contracts while in transit and expands to full size when parked or attached to communal elements. This

The site for this studio encompassed over fifty acres of primary rainforest on the slopes of Rincon de la Vieja Volcano in Costa Rica, where geothermal power and water coexist. Several streams and rivers run through the property; natural spring water literally bubbles up underfoot; volcanically heated mineral springs course through the property, plunging

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in therapeutic cascades and forming restorative pools.

This studio sought new ways of conceiving sustainable architecture that foster a type of dwelling that is in balance with nature. We explored architectural interventions that, while maintaining environmental equilibrium, proposed innovative constructions that sit lightly on the ground and have minimal impact on the total environment. Among the terrestrial, aquatic, arboreal, and aerial systems designed in this studio were ‘canopy’ tensile bridge airways, viewing platforms, cabins for hotel-like amenities, water systems, and other facilities. Each system was designed to be deployable, that is, fabricated in the nearby towns and deployed in our site in the forest. ­­­­ ­­­­— Jaclynn Treat Water is an omnipresent concern in the rainforest environment. This project— a deployable bridge and dwelling in Costa Rica — collects, stores, and uses water throughout each dwelling, which are

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suspended within a linear, braided cable tension structure. The structure consists of three cables turning clockwise and one cable turning counter-clockwise.

Within this system there are two possible configurations. The first combines a deployable mechanism within both ends of the dwelling(s), providing privacy and easy assembly. The second moves the deployable mechanism to the outside of the dwelling(s), as an independent element which would allow for a rigid dwelling unit to be designed and customized to hold any building program.

184-187. JACLYNN TREAT

— Julie Siu This project creates spaces in a dense≠ environment while using minimal amounts of energy and materials. The octahedron and tetrahedron are the simplest forms of polyhedra, by repeating a prototype of these structures a great diversity of permutations capable of accommodating various types of program is produced. When deployed the octahedron allows for a flexibility of interior space, depending on the kind of space the program requires (i.e. more intimate floor height and wider space for resting). A helical bridge made of a string

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of octahedrons and tetrahedrons connect the individual cabins above ground.

188-192. JULIE SIU

—ENRIQUE NORTEN, DAVID MAESTRES, critics THE AMPARO MUSEUM: A NEW ANTHROPOLOGICAL WING

The Amparo Museum — with its collection of Pre-Hispanic, Colonial, Modern, and Contemporary Art— is one of Mexico’s most important. The aim of this studio was to renovate and expand the existing

museum in the heart of the colonial downtown of Puebla, Mexico. The renovation and the expansion were expected to be functional, innovative, and contemporary while being respectful to the historic value of the building and its context.

Students were challenged to embrace ways of redefining museum typologies that are determined by both internal (program, mission, circulation, collection, curatorial intention, etc.) and external (social, political, economic, cultural, historical, urban, etc.) factors. Puebla’s architectural heritage, and the museum’s

collection itself, provided the studio with an extraordinary opportunity to rethink a contemporary and visionary anthropological museum in the context of a well-defined historical (Colonial) style.

— Jae-Hun Hur The city of Puebla is even more magnificent than the beautiful Amparo Museum.

This project captures this beauty by bringing the city into the new museum.

The six arms of new exhibition spaces frame views toward major buildings of the city as well as the active volcanic 189

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mountain. Visitors to the renovated museum will be able to view these landmarks through the end of each exhibition wing, resulting in the juxtaposition of the collection and the landmarks.

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­­­­ Ginna Nguyen, Dale Suttle, — So Sugita The new design of the Museo Amparo promotes a radical shift in programmatic organization and public integration in the building. Existing spaces have been reorganized around four active patios

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improving circulation and lighting in the spaces. The storage of artifacts has been brought out of the basement and into a central tower where they are accessible to researchers from the interior and visible to patrons on the exterior. The tower is the centerpiece of a new green urban park on the roof of the museum that draws the public up from Puebla’s sidewalks and down into the patios and galleries below.

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—ALI RAHIM , critic

MIGRATING FORMATIONS: VERTICAL URBANISM FOR NEW YORK CITY

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Vertical Urbanism creates new types of material organization that catalyze exchanges between New York City’s residents, infrastructure, facilities, and the larger city while working within the human, economic, and formal migrations that pressure the city to respond. The program for this studio was a mixed-use 75-story high-rise building located adjacent to the Museum of Modern Art in Midtown Manhattan. The only restraint was that there must be at least one connection to either the retail or cultural component of the existing museum. Each student determined and refined their

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own program during the course of the semester. Students dealt with a range of familiar issues — how to turn the corner in a high-rise, and how to design vertical circulation and structure, for example.

The resulting projects contribute to the development of the high-rise typology, exhibiting innovative architectural features in variation, produced using topological surfaces, and component arrangements with different spatial and material qualities. ­­­­ Adam Hostetler, Kristen Smith — This project proposes a continually shifting mediation of two coexisting systems that compete for dominance, constantly reforming their relationship in response to their symbiosis as well as external urban forces. The primary (structural) system gives cadence to the vertical organization, shifting in scale and fluctuating between horizontal and vertical expression. Meanwhile, the secondary system encloses the first, tiling to provide flat surfaces or pulling inside to provide spatial interaction.

The overall effect of the tower is one of constant interplay between pure surface and revealed space — creating moments of intensity and revelation.

200-203. ADAM HOSTETLER, KRISTEN SMITH

—GIONATA RIZZI , critic

FROM AVANT-GARDE TO HERITAGE: PHILIP JOHNSON’S NEW YORK STATE PAVILION Modern architecture presents a unique set of challenges and opportunities to architects, engineers, and preservation professionals charged with the conservation of this component of our cultural heritage. There is a growing need to

better define and test methodologies for husbanding the great works of the Modern Movement into appropriate new uses without the loss of their essential character.

Philip Johnson’s New York State Pavilion presents one such opportunity.

The New York State Pavilion reached the end of its useful life in just ten short years, a victim of the closing of the fair and the inability to find an appropriate and sustainable use for the complex. This studio therefore developed proposals for the renovation and adaptation of the Pavilion.

The very aim of the studio was to develop the skills to understand the nature and the values of an existing artefact— both inherent and deposited — and to design appropriate interventions, effective from the conservation point-of-view and respectful of the original: in other words, to develop the capacity to plan conservation through design. ­­­­ Andrea Hansen — This project— a reconsideration of Philip Johnson’s New York State Pavilion — subverts old and new; past becomes future and future becomes past. It creates the mood and ambiance of a secret, enclosed garden: a merged reinterpretation of the romanticism and ruinophilia of eighteenth-century English gardens and the architectectonic gardens of Renaissance Italian villas. The effects are achieved through deliberate deception: old and new are reversed to draw attention to the ironies of time, while the architecture of the new garden subtly evokes the details of the pavilion’s original state. Indeed, Johnson’s vision is not obscured in the new design, rather it becomes the foundation for a palimpsest that continues to richen with time.

204, 205. ANDREA HANSEN

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— Nathaniel Rogers This project acknowledges the sublime sense of contemporary ruin found in Philip Johnson’s New York State Pavilion while recalling the exuberant postwar optimism and techno-positivism of the early 1960s. The triangular addition, clad with double-curved polished titanium panels, contains a planetarium and annex for the nearby Hall of Science as well as a viewing location for the

Pop Art terrazzo map below. Framed by the original pavilion — and constantly referencing it through distorted reflections — the new addition creates a quality of “otherness” while opening insights about conservation and the chronological and psychological issues associated with the passage of time (past, present, and future).

206-208. NATHANIEL ROGERS

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ARCHITECTURE 703/POST-PROFESSIONAL PROGRAM FROM THE MECHANICAL TO THE ORGANIC Innovation in architectural design requires a revolutionary change in the thinking of how architecture is conceived. Rather than a building as a composite of standardized elements— columns, floors and walls—the challenge of this studio was to rethink a building as being composed of mass-customized “generative components.”

Prefabrication as pure repetition of standard elements is an outdated mode of operation; mass-customized units are evolving as a series of varying elements, defined by an analysis of specific performance, rather than just structural requirements.

This year’s project looked to invent a new architecture where social engineering and new production methods meet. We asked students to rethink the possibilities afforded by these two important objects and develop designs for how they may converge as a new settlement inspired by three related models for future cities all found in Florida: the Venus Project, EPCOT, and Celebration. With this in mind the studio analyzed, mapped, and developed versions of “smart components”, which resulted in an assembly of building components for the new settlement.

—Winka Dubbeldam, Director PP@PD

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—WINKA DUBBELDAM, critic ­­­­­­­­ Matt Choot — The very notion of designing at the urban scale is problematic and deterministic; urban complexity far exceeds the capacity of a single set of planning decisions and rules. This project thus uses procedurally generated systems based on the extracted behavioral logic of Coralline algae, yielding a series of juxtaposed conditions that draw a parallel between cellular organization and architecture on the one hand, and colony formation and urban fabric on the other. The morphological differentiations of Coralline algae specifically demonstrate an

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intelligent system with infinite variations that are responsive to its immediate environmental conditions.

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— Seongbeom, Mo The formal logic for this urban-scale housing colony is an autonomous biological system, a single-species group of organisms that live and interact closely with each other. Structural differentiation creates a systematic complexity and flexibility that allows the system to be integrated within itself and with the existing urban context. This organizational logic utilizes Maya “hair dynamics” to generate an organization that responds to present and future urban conditions.

Component changes at the local level affect the entire system, strengthening the organization network and creating a diverse spatial experience.

213-215. SEONGBEOM, MO

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—FERDA KOLATAN, critic ­­­­ Jisu Han — This project for a new beachfront community develops its formal logic from the formation of a volcanic region. Each building consists of several rooms on upper floors and more open spaces on the ground and first floors. Also included are a performance hall and a large playground.

The public spaces emphasize the activities of both the residents and visitors to the beach. In addition to constructing an artificial beach, the project creates a new cultural space on the natural beach by encouraging a variety of new activities.

216-218. JISU HAN

— Danielle Rivera The suburban home is a reckless consumer— squandering massive amounts of energy and money. Most of this squandering occurs during the creation of the infrastructure needed to support these satellite settlements.

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Each unit is wholly dependent upon its infrastructural umbilical cord, unable to support itself or its surroundings. This project develops a new architectural language that stresses thick, sited shells that provide energy, water, information, storage, and most importantly independence. As the structure is added onto the building layers upon itself leaving previous shells within the structure to retain infrastructure and mechanics.

219-221. DANIELLE RIVERA

—ROLAND SNOOKS, critic ­­­­­­­­ Han Tang — This project rethinks the relationship between function and ornament in interior design by integrating stair, chandelier, and wall. On a local scale, each of these elements is developed according to its own specific programmatic and functional needs. Each component changes in quality from closed (solid) to open (skeletal),

adding to its variation. These components aggregate through a variety of connection types, alternating through iteration and scale. Through a number of iterations different formations emerge by following a set of local rules.

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222-225. HAN TANG

— Liwen Mao This project uses a swarm intelligence system to identify potential geometries.

This bottom-up system creates a complex, global phenomena as well as unexpected, small-scale forms that give the designer more localized control within the system. Based on local rules the project uses curves to negotiate between the hierarchies of ornament and structure. This methodology of form finding allows the designer to manipulate specific parameters in order to create unlimited, yet reasonable forms by extending the limits of human imagination.

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ARCHITECTURE 704 Architecture 704, Design Research Studio, is offered in the last semester of the Master of Architecture and Post Professional design curricula. These studios encourage design innovation while providing a platform for each student to pursue their design interests after graduation. Specific modes of architectural design innovation vary across the studios according to the interests of each advisor, but there are two models of design innovation that persist throughout the semester. The first is a model that operates within the discipline of architecture and innovates by questioning particular aspects of architecture. The second borrows techniques from other disciplines and brings these techniques into architecture in an attempt develop new knowledge for the discipline of architecture itself.

Each studio makes explicit their design research intention by identifying the framework of one of the two ways stated above for innovation. In addition, modes of exploration that lead to discovery and invention, and techniques of exploration that identify techniques from disciplines outside architecture are made clear in their design research briefs. Students are encouraged to select and study with advisors who can provide them with a platform to develop their own design research agendas.

—Ali Rahim, coordinator

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—CECIL BALMOND, ROLAND SNOOKS, critics COMPLEX PHENOMENA

This studio investigated non-linear systems and self-organization at both a methodological and programmatic level.

This exploration took the form of design research into algorithmic methodologies tested through the brief for a school of architecture and design.

Since the 1960s the world in which we live has been increasingly understood as an emergent outcome of complex systems. Research into complexity cuts across traditional boundaries as the self-organizing systems that underlie one phenomenon can be found to operate at various scales within a diverse set of circumstances. Consequently this studio explored the nature and operation of complex systems and their application for design. This involved extracting the processes that operate within the physical

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world while also developing new models of self-organization. The development of non-linear design methodologies within this studio involved a shift in the design process from invention to that of orchestrating systems in the generation of an emergent architecture.

respond to one another based upon their density and orientation. The lines are expressed a series of 32 different blocks that read as both line and block.

— Joseph Littrell, Andrew Swartzell, Wenqing Zhang “Inhabiting the Rhizome” is interested in breaking down existing normative hierarchies in the practice of architecture, while seeking the emergence of new hierarchies through the complex interaction of various architectural systems.

It is the result of the controlled and calibrated self-organization of program and structure, which is then solidified by layering varied intensities of spline curves relative to programmatic function and site concerns. The project begins to question the relationship between form/function and structure/ornament, and gives rise to a design that possesses a strikingly intense quality.

MARINE SIMULATION LAB AND AQUARIUM

228-231. JOSEPH LITRELL, ANDREW SWARTZELL, WENQING ZHANG

— Liwen Mao, Joshua Evans, Jason Smith This project is a proposal for a new School of Architecture at the University of Pennsylvania. It reevaluates the traditional relationship between circulation space and program space. The enclosure of the space was developed through modification of an initial basic topological surface, breaking and reforming the topology as needed to maintain a uniform manifold while enclosing the form of the building.

The tectonic logic was developed as a weaving across this surface. Lines

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232-234. LIWEN MAO, JOSHUA EVANS, JASON SMITH

—WINKA DUBBELDAM, critic

Students in this studio developed a hybrid formation of an Aquarium and a Marine Simulation Lab in Mexico City. The Simulation Laboratory is a consultancy, research, training, and conference center and will be the scientific and educational counterpart of the Aquarium which will attract tourists to this new site, the “Texcoco Lake”, a small area surrounded by salt marshes four kilometers (2.5 miles) east of Mexico City, which covers the ancient lake bed. This area is one of a kind because of its high sodium and salt content in the soil and water. Several species indigenous to the lake are now extinct or in danger (e.g. axolotis). The studio analyzed biological systems — with particular focus on the survival skills necessary in this harsh environment— in order to develop an intelligent, systematic approach to the building. The goal was to generate a sequence of intelligent building components, which relate both to each other and as part within the whole.

—Tina Fang This project creates an interactive and generative architectural system that responds to the varying conditions at Lake Texcoco, both natural and manmade.

Operating within the biological system of an indigenous salamander, the axolotl, an

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organic system of camouflage emerges through its innate hybrid and regenerative intelligences to which the building responds. The building includes various functions ranging from small, private laboratory spaces to public marine aquariums to a salt collection system that creates jobs, potential businesses, and local networking opportunities.

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— Julio Guzman This project mediates the ecological interface between Mexico City and Lake Texcoco by learning from the intelligence of diatom anatomies and their assemblages. The transformation and adaptation to the site provides an openended solution organized as a network

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of decentralized colonies that function as aquaponic biomes. The potential for this result is undertaken by an agricultural infrastructure embedded with business footings in both agriculture and tourism.

Its manifestation is a system of varying levels of connectivity and porosity. Modulations in the system allow the project to engage the site and embed programs in response to the conditions of the surrounding context.

237-239. JULIO GUZMAN

—STEFAN BEHNISCH, MARTIN HAAS, critics ECOLOGY—DESIGN—SYNERGY

In the same way that architecture is a cultural product mankind, the built

environment shapes or influences patterns of behavior, habits, and social developments. In this context the role of the architect as someone who develops the basic pattern for human communities plays a major role. The architect’s expert knowledge is an essential factor for the development of the built environment. Architects must pay increasing attention to aspects of other disciplines and to the tasks architecture has to achieve within society.

This studio examined urban residential life through proposals for a mixed-use development on an inner-city site. The proposals were rooted in a clear urban strategy and developed innovative energy concepts that achieved the objective of CO2 neutrality.

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— Chun Fang, Ziyue Wei This project is characterized by three supportive concepts: responsive skin, responsive landscape, and in-between space. The responsive skin changes its open and closed pattern in response to the changing weather as well as indoor activities. The landscape and the activities that it allows respond according to changing tide levels. Between the exterior skin and the functional interior boxes are a variety of types of in-between spaces that accommodate accessory activities.

These in-between spaces also play an important role in the building’s sustainability strategies, acting as a water-cooling system and inducing the stack effect.

— Cheng-Wei Lin, Jihyoon Yoon This project— located on a peninsula in HafenCity, Hamburg, Germany — consists of apartments, a hotel, and a public bath.

The main challenges of the project are to activate the site and communicate with the existing city. The various structures include vertical and horizontal combinations and connections according to requirements for natural lighting and time of occupation. The leaning, twisted mass of the overall design is generated by a set of sustainability strategies.

244-248. CHENG-WEI LIN, JIHYOON YOON

240-243. CHUN FANG, ZIYUE WEI

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—JEREMY EDMISTON, critic PNG PAVILION

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The PNG Pavilion was an investigation into the way that form, material, program, and fabrication technologies are inherently linked in both the development of architecture and the design of a construction method that is responsive to its context. The context for the project is a new school in Kokoda, Papua New Guinea: a site with a volatile climate, diverse cultural traditions, and extremely limited resources. How can we develop an architecture that is viable within these constraints while also addressing the complexities of the given program?

Through an understanding of local materials coupled with knowledge of automated fabrication techniques, students developed a flexible building system that integrated structural integrity, programmatic requirements, and climactic strategies while also allowing assembly by unskilled laborers with few tools. The PNG Pavilion used these same conditions in a different site: a large scale exhibition in Meyerson Hall.

— Emaan Farhoud The PNG Pavilion is an investigation into the way that form, material, program and fabrication technology can be inherently linked in both the development of architecture as well as the design of a construction method that is responsive to its context. The context for the project is a new school in Kokoda, Papua New Guinea, with a volatile climate, diverse cultural traditions and extremely limited

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informed critique of the previous proposals. This research served as the basis for design proposals that act as catalysts, effecting change beyond their immediate circumstances to stimulate growth in more economically and environmentally sustainable directions.

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resources. The question then becomes: how can we develop an architecture that is viable within these constraints while also addressing the complexities of the given program? Through an understanding of local materials coupled with knowledge of automated fabrication techniques, students developed a flexible building system that integrates structural integrity, programmatic requirements and climactic strategies and can be assembled with few tools and unskilled laborers. The PNG Pavilion uses these same conditions, but in a different site, becoming a large scale exhibition in Meyerson Hall.

249, 250. EMAAN FARHOUD

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—STEPHEN KIERAN, JAMES TIMBERLAKE, critics OPEN SOURCE: WATER AND SHELTER IN BANGLADESH

This studio was the fourth year of an ongoing open source collaborative laboratory in which the work of each year’s students engages and builds upon that of the previous years. Focusing on Bangladesh, this studio was intended to hone research agendas developed in previous years regarding questions of fabrication logistics, building life cycle, embodied energy, infrastructure, and economic impact. Students were asked to develop proposals responding to specific conditions at the intersection of two critical problems in Bangladesh: water and shelter.

A one-week travel program to Bangladesh further supported deep research into topics exposed by an

— Andrea Guylas, Danielle Rivera This project is the culmination of research surrounding the char-lands of Bangladesh. Understanding the chars to be transient landforms, the research sought to uncover a method for improving life for char-dwellers. Emphasis was placed on the roles that NGOs could play in this improvement. The final design proposal focuses on the need to improve the connectivity between char-land and shabek-land, proposing a multifunctional facility that challenges vernacular construction methods. Char Bilashpur and Dohar were used as a case study to illustrate how the proposal could actually be deployed.

251, 252. ANDREA GUYLAS, DANIELLE RIVERA

—HOMA FARJADI, critic

FORMS OF ISOMORPHS: MATERIAL SPACE/ALMOST NOTHING Robert Le Ricolais sought the indestructible form that covers infinite dimensions with zero materials. This is a paradox of material space at the limits of lightness and density.

Like Le Ricolais, Mies van der Rohe was involved with the processes of construction of material life. While Le Ricolais

looked to engineer away materiality by achieving lightness through long, heavy members, Mies sought to achieve ‘almost nothing’ in material space.

In this studio students chose one of Le Ricolais’ structural models and one Miesian precedent as the basis of their designs.

The relationships between structure, spatial design, and material detail were thus the basis of the theoretical framing of the design. Projects resisted formal hybridity as a quick solution, seeking instead a design based on a speculative intersection of discourses set up by the strategic, formal, material, and technological values carried forward in their translation from the insights of Mies and Le Ricolais to a project relevant for our time.

— Adam Hoestetler, Rebecca Fuchs This project puts the paradoxes of Robert Le Ricolais (“zero-weight, infinite span” and “the stiff, hollow rope”) into conversation with Mies van der Rohe’s concept of “emptiness.” The building spans the East River of New York, making it the largest tower in the world. Two compression tubes and a tensioned cable rope offset one another, resolving lateral forces internally and eliminating the need for abutments.

As a horizontal tower, ‘the rope’ presents a more fluid and continuous model of urbanism than its vertical counterpart.

The congestion that is the hallmark of successful urbanism is punctuated with spaces of incredible vastness, providing the unique opportunity to be within the city but detached from it at the same time.

253-257. ADAM HOESTETLER, REBECCA FUCHS

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BOTANIC ECOLOGIES: CULTIVATED INFRASTRUCTURES Traditionally viewed as independent from cultural endeavors, nature and the cultivated landscape are entering a new and central moment of relevance in the constructed landscape. The botanic garden and its related infrastructures can be understood as a programmatic hinge between these two distinct realms.

Initial studio research established a framework for defining new agendas for a botanic garden research center.

Translated into both digital and analogue models that could be manipulated, this research provided new tools to engage a series of questions: Can we expand the restricted “collection” model of a botanic garden into a more dynamic and productive strategy for constructing the land? Is there a form of architecture that resides between the organic and constructed?

What processes and techniques, methods and catalytic effects can we design?

What radical architectural concepts will test the intersection of architecture, landscape and infrastructure?

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— Rebecca Popowsky, Riggs Skepnek The Hunters Point Botanic Island Project creates a new model for development and ecological remediation on post-industrial urban waterfronts. Hunters Point in Queens is an excellent demonstration site, due to its proximity to downtown Manhattan, its long history of industrial contamination and its draw for future high-density development. Our proposal goes against the trends in typical private and public development, which do not stray far from the Corbusian model of the ‘tower in the park,’ parsing ‘left-over’ open space into small green slivers at the bases of monolithic architecture. These ‘left-over’ green patches have little positive impact on the urban landscape, as

they lack the diversity, volume and density of vegetation that are needed to create habitat and remediate contaminated sites.

They also tend to lack the strength of design needed to sustain vibrant public space. Our proposal also moves away from the attempts of many contemporary architects and landscape architects to blur the boundary between the natural and the manmade, often creating architecture that mimics landscape either in form or in performance. Instead, our proposal seeks to reinforce this boundary — essentially, to draw a line in the sand — in order to create a polarity between the hyper-urban and the hyper-wild, in order to make both ends of the spectrum more productive.

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On Hunters Point South, we create this polarity by cutting a navigable canal straight through the existing peninsula where Newtown Creek meets the East River, creating a large artificial island.

This island becomes the seeding ground for our new botanic garden, which will support the entire spectrum of native vegetation that existed on the island of Manhattan before the 1600s. The island’s edges will recreate native wetlands, tidal

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marshes and shellfish reefs, while the island’s interior will house grass meadows and an upland forest. At the canal, the botanic garden is pushed up against the face of the city, creating vertical greenhouses that climb up the southern facades of existing buildings. This hyper-urban version of the botanic garden includes research, housing, and public gardens.

258-261. REBECCA POPOWSKY, RIGGS SKEPNEK

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—ALI RAHIM, critic

INTERIORITIES: AN URBAN CLUB FOR NEW YORK CITY For design innovation, the development of techniques is essential, however the mastery of techniques, whether in design, production or both, does not necessarily yield great architecture. In this design research studio we attempted to move beyond techniques, mastering them to achieve nuances within the formal development of projects that exude an elegant aesthetic sensibility.

The notion of interiority suggests the elaboration of tectonic systems that unfold and differentiate within the terms of their own internal logic. This can be most clearly pursued in the design of interiors; that is, without immediately exposing the architecture to external influences.

This studio was interested in developing

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complex, layered, and highly differentiated tectonic systems. We aimed to reach the level of designed luxury found, for instance, in the most filigreed Gothic spaces, or the most excessive Baroque and Rococo interiors. The studio strived to build up a multi-layered complexity with a high degree of differentiation within each system, and with a high level of correlation between the various subsystems that constitute the overall tectonic system.

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allows the potential to create and refine specific affects, which transform and differentiate according to their own internal logic. The design aims to reach an unprecedented level of designed luxury and intensities with emphasis lying in the qualitative differentiation of components and part-to-whole relationships.

262-265. JULIE ROBERTS, DAVID CHEN

— Julie Roberts, David Chen This project’s goal is to develop an integrated technique and aesthetic sensibility through interior environments. The building is a club in the heart of Tokyo in which a morphology of varying systemic concentrations take the visitor from an intense night club to a serene spa atmosphere. Working from the inside out

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ARCHITECTURE 706/800 706 Design Studio VI, Independent Thesis During their final semester, students may elect to do an independent thesis, on a topic they develop, with an advisor of their choosing, subject to approval by the Thesis Committee.

—Annette Fierro, coordinator 800 PhD Dissertation

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706 INDEPENDENT THESIS —FRANCA TRUBIANO, advisor

— Greg Hurcomb This thesis establishes a methodology through which material investigations of both analog and digital origins aim to interrogate the notion of “installation” within an industrial ruin in the city of Philadelphia. “Installation” as a technique of both art and architectural production balances on a delicate trapeze living somewhere in the space between site-specific sculpture, happenings, and conceptual and performance art that informs this inquiry into that of an architectural installation; the installing of parts comprising a larger whole. Through the translation of “installation” into three architectural categories: barrier/filter, equipment/furnishings, and communicator/skin, these categories of investigation advance the proposition of a transitional

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space that is occupied by a variety of artisans in a state of emergence.

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—BRIAN PHILIPS, advisor

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— Nakita Johnson REFAB: RESTITCHING PHILADELPHIA’S URBAN FABRIC THROUGH ADAPTIVE REUSE Historically known as “the workshop of the world,” Philadelphia was home to numerous industries anchored around residential industrial buildings. Now vacant, many of these buildings are old enough to be considered historic, however most are not historically designated. While there are numerous incentives available to ‘preserve’ historically designated buildings, it is the non-designated buildings that often offer more design flexibility.

Using the intersection of policy and design this thesis project explores how the implementation of a prefabricated, mass customizable, construction system can be deployed within an existing building to address issues of vacancy within the city.

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—HELENE FURJAN , advisor

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— Andrea Hansen FLUXSCAPE Like many rust-belt cities, Philadelphia is experiencing an ever-increasing presence of urban “ruins,” resulting in the need for a comprehensive solution that re-imagines the vestiges of post-industrial vacancy not as liabilities, but as assets.

FLUXscape provides the solution by proposing a network of “thick landscape infrastructures” for Philadelphia’s deteriorating industrial corridors. A systematic approach to post-industrial ruin, the project operates simultaneously on a citywide and local scale by inputting weighted mappings of ruin conditions into

decision-making matrices to produce a schematic design framework that guides and catalyzes flexible, dynamic, and responsive site design. The system was applied to three demonstrative sites — the Amtrak Northeast Corridor, the Reading Viaduct, and the I-95 Corridor at Port Richmond — with an emphasis on bioremediation of contaminated sites, urban agriculture, and partnerships between the City of Philadelphia, developers, and community stakeholders.

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EXCHANGE OF FORCES: ENVIRONMENTAL DEFINITION OF MATERIALS IN THE WORKS OF VITRUVIUS, ALBERTI, LE CORBUSIER, AND PETER ZUMTHOR — David Leatherbarrow, Peter McCleary, supervisors This research examines the ideas and built works of four architects from different historical periods to distinguish and clarify some ways that material qualities of architectural settings are made manifest. Presenting a contextual approach to the understanding of material qualities, it counters two attitudes that prevail in contemporary architectural theory and practice: that design is either the creation and composition of autonomous shapes (known as ‘form’), or the elaboration of the materials’ intrinsic qualities.

A critique of this divided understanding is presented along with a brief survey of its history, origins, examples, implications, and shortcomings. The works of Vitruvius, Alberti, Le Corbusier, and Peter Zumthor are examined to describe and exemplify an alternative understanding that challenges the prevailing form-ormatter choice. Each of these figures is among the most prominent architects of their epochs and has been subject of extensive research. Nevertheless, the ways building materials are understood, treated, and defined in their works have not been given due attention. Moreover,

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certain convictions have prevailed in the available accounts, which have evaluated them from the viewpoint of a form-matter duality. This dissertation critically reviews these assumptions, and investigates and interprets the ways the materials are treated. It shows that in the settings these architects described and designed, forces are exchanged between a material and its milieu, revealing the latent qualities of the material and the setting over time.

Demonstrating the presence and persistence of the notions of force, exchange, opposition, equilibrium, and environment, this research reveals the hitherto overlooked history of an environmental understanding of material qualities.

culture — all of which directly affected modern architecture. It studies an underemphasized topic: the role of the corporate client in defining American modern architecture. The clients of these four buildings brought corporate strategies to architecture, reflected most visibly in the company’s advertising.

her historically significant contributions, and the early intellectual development, influences, and writing career that led to The Death and Life of Great American Cities, while also offering new interpretations of her lifework drawn from connections between her six major books that followed Death and Life. Challenging decades of interpretation, this history shows that Jacobs was selective with her biography, in part because she initially idealized the field of city planning and supported urban redevelopment and renewal. Moreover, although she is generally known as a highly independent critic of urban renewal, her criticism of city planning theory and practice and her ideas for alternative approaches were significantly influenced by others, including Douglas Haskell, Louis Kahn, Edmund Bacon, Lewis Mumford, Victor Gruen, and Catherine Bauer. Rather than diminishing her contributions this history shows that The Death and Life of Great American Cities was not the work of an amateur, but of one of the most informed and influential critics of urban renewal.

This history shows that Jacobs’ ideas about the city and its planning were also shaped by particular interests in urban geography, the life sciences, politics, and social institutions from early in her career, and it was in bringing these interests and influences together that she developed an understanding of what made a good city and the possibilities and limits of its planning and design.

275-278. GRACE ONG YAN

279. PETER L. LAURENCE

PETER L. LAURENCE

STEVEN GRANT SWARTZ

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GRACE ONG YAN

ARCHITECTURE, ADVERTISING AND CORPORATIONS, 1929-1959 — David B. Brownlee, supervisor The modern corporate office building was the greatest achievement of American architecture after the Second World War, yet this accomplishment was misinterpreted as the triumph of International Style modernism. This dissertation offers an alternate history and analysis of this building type, arguing that corporate clients, their business perspectives, and advertising played a paramount role in modern office design. This argument is explicated through four case studies: The Philadelphia Saving Fund Society and the partnership of Howe and Lescaze; The S.C. Johnson & Son Administration Building in Racine Wisconsin and Frank Lloyd Wright; Lever House in New York and Skidmore, Owings & Merrill; and Reynolds Metals Great Lakes Sales Headquarters in Southfield, Michigan and Minoru Yamasaki. This dissertation takes a view of the history of American modern architecture as developing out of the late nineteenth-century aftermath of the Civil War, when a modern American nation emerged vastly industrialized with the rise of corporations, the growth of media, and a burgeoning consumer

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JANE JACOBS, AMERICAN ARCHITECTURAL CRITICISM, AND URBAN DESIGN THEORY — David Leatherbarrow, supervisor Jane Jacobs, author of The Death and Life of Great American Cities, did not like the term “urban design” and did not describe herself as an architectural critic, but nevertheless contributed significantly to the development of American architectural criticism and the new field of urban design. This dissertation tells the story of

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ARCHITECTURE AND POETIC INTENTION — David Leatherbarrow, supervisor Architects sometimes speak of architecture as poetry, but the definitions of either often remain vague. Both can communicate and have meaning, but whether either goal is compatible with contemporary architecture remains a subject of debate. This thesis argues that great poetry, like great architecture, is created not only through mastery of craft but also by clarity of intention. The

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sources are critical writings concerning both fields, with examples from art and architecture used to illustrate the continued potential for meaning. At stake is an understanding how architecture can continue to communicate even if literal meaning remains indeterminate.

LEJLA VUJICIC

MODELS OF HISTORICAL TIME IN ITALIAN POST-WAR ARCHITECTURAL AND URBAN DISCOURSE (1954-1977) — David Leatherbarrow, supervisor This dissertation addresses the problem of historical time theorized and practiced between 1954 and 1977 in Italian architecture and urbanism. The main argument of this research is that some Italian architects of the postwar period addressed history in a complex manner that went beyond the typical interpretations of Anglo-American historiographers who saw their discourse as historicist or monolithic. The differences in modalities of historical time presented themselves in several temporal structures. The study interprets the work of five postwar Italian architects interpreted as five episodes to make its case: (1) Ernesto

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Rogers: sensing history and recognizing pre-existing environments, (2) Giuseppe Samonà and the possibility of historicizing urban fabric as a system, (3) Between territory and architecture — topographical reading of the time-space relationship

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in Vittorio Gregotti and (4) Aldo Rossi and Carlo Aymonino: Relationship between typology and morphology — back to the city of artifacts. A common trait among the architects discussed above was an expressed desire for a

renewed humanism and cultural unity in architecture, as well as a need to soften the borders of modernist doctrine that tended to collapse historical trajectories.

280-282. LEJLA VUJICIC

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COURSES / EVENTS / NEWS

COURSES History/ Theory REQUIRED ARCH 511 History and Theory I, Nadir Lahiji The first of three required courses in the history and theory of architecture, this is a lecture course with discussion groups that meet weekly with teaching assistants. The course explores fundamental ideas and models of modern architecture as they have emerged over the past three hundred years.

ARCH 512 History and Theory II, Helene Furján This course traces the emergence of contemporary issues in the field by exploring the architecture of the twentieth century.

Buildings, projects, and texts are situated with in the historical constellations of ideas, values, and technologies that inform them through a series of close readings. Rather that presenting a parade of movements or individuals, the class introduces topics as overlaying strata, with each new issue adding greater complexity even as previous layers retain their significance. Of particular interest for the course is the relationship between architecture and the organizational regimes of modernity.

ARCH 611 History and Theory III, Helene Furján This is the third and final required course in the history and theory of architecture. It is a lecture course that examines selected topics, figures, projects, and theories from the history of architecture and related design fields during the 20th Century. The course also draws on related and parallel historical material from other disciplines and arts, placing architecture into a broader sociocultural-political-technological context.

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Recitations with teaching assistants complement the lectures.

ARCH 811 Architectural Research, David Leatherbarrow This is a required seminar for first year Ph.D. and M.S. students; also open to upper-level Masters students. This course consists of a series of presentations by members of the Graduate Group in Architecture. Each year the presentations address a common theme and demonstrate different methods or styles of research. Readings come from the professor’s own writings as well as relevant texts from other scholars.

Students lead discussion sessions, write both synopses of the presentations and a longer text that compares them. This course acts as a foundation for scholarly research and publication.

ELECTIVES ARCH 711-001 The Spaces of Tourism, Jose Castillo Tourism is not only the world’s largest industry, but also a spatial and temporal practice that transforms territories through economic, social, and physical techniques as well as the specific management of time. This seminar will look into some of these techniques and procedures undertaken by tourism as they relate to the transformation of space, and uncover the effects and potentials they have on architecture, cities, and landscapes. The seminar will dwell on specific cases, projects, histories, and readings that frame the architecture/ tourism relationship. Students are expected to use maps, diagrams, and other representational and documentation techniques to discover its impacts on architecture and planning. This seminar meets every other week.

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ARCH 711-401 Cultural Ecology: Uncovering the Roots of Green Building in the Early Modern Movement, David Leatherbarrow and Richard Wesley This course will study and argue a single thesis: that the architects of the early twentieth century did not neglect the environmental and cultural context of their buildings because they were narrowly focused on the production of free-standing and radically new objects of design, but rather developed green buildings that combined attention to environmental issues with both imaginative approaches to social and cultural purposes, and a new understanding of aesthetic content. A review of contemporary ecological mandates will begin the course. In depth studies of specific buildings will follow, looking again at works we assume we know perfectly well. The course will end with a return to contemporary conditions. With a more nuanced view of our inheritance we will ask what is not only possible but also necessary for architecture in our time.

The course is envisaged as an upper level course in architectural theory, for both graduate and undergraduate students.

Student work will involve reading, writing, and drawing.

ARCH 712-001 Philosophy, Materials & Structures, Manuel DeLanda This seminar introduces students to the basic concepts of materials science, stressing not only the usefulness of this knowledge for the purposes of design but also its intrinsic interest as a basis for a technically-sound philosophy of matter. Lectures include: Deleuze and the Genetic Algorithm in Architecture; History of Materials Science; The Importance of Scale; Metallurgy and Fracture Dynamics; The Mathematics of Structure; Nanotechnology and its Consequences; The Materials Revolution; Organic Materials; The Mathematics of Structure; and Virtual Materials.

ARCH 712-002 Architecture Between Science and Humanities: The Changing Nature of Architectural Representation, Dalibor Veseley Most of the questions facing architecture today are linked directly or indirectly with the problem of representation. This is clearly apparent as an open problem created by the growing preoccupation with the new possibilities of digital representation and virtual realities. The course will address the changing nature of representation in relation to the new kind of knowledge developed in modern science and in relation to the conditions under which any meaningful design is possible, developed, and cultivated in modern humanities.

ARCH 712-003 Designing Asia, Kazi Ashraf This seminar presents the emerging landscape of Asia as a theater of new challenges and conceptualizations for architecture and the city. A vast part of Asia, from Kazakhstan to Mumbai, and from Dubai to Shenzen, is being rearranged by the turbulent wave of a “second modernity” that is also challenging and revising received precepts of culture, identity, traditions, practices, and participations. At the same time, Asia has increasingly come to dominate the production and imagination of architecture in the West. There is a new matrix of exchanges and encounters that await understanding.

ARCH 712-004 Aging. Realizing a New Architecture, Matthias Hollwich This seminar is the final installment of the “Trilogy on Aging” begun last fall and culminating with the “New Aging” Conference April 16th and 17th, 2009.

For the last twelve months, students of PennDesign have envisioned architecture that redefines the experience of aging.

Their work has proven that although aging brings physical and social challenges, a “common life” is possible with the right spatial tools. Creating the architectural vision is only the first part of the design challenge. Like all new ideas that herald

a paradigm shift there must be a seismic change in society to make these dreams effective and realizable. To do so, this seminar will study and develop new ways to change public perception and explore ways to initiate, promote, and realize new architecture from the bottom up.

Research and development concepts include: the architect as developer; the new aging lobby group; pharmaceutical goes architecture; talk; blog; web 2.0 presence; guerilla marketing and rebel nation — how to start a revolution.

ARCH 712-006 Network Culture, Kazys Varnelis The purpose of this seminar is to introduce students to a historical understanding of our era, to come to terms with the changed conditions that characterize our new, networked age.

This course explores how the network is not merely a technology with social ramifications but rather connects changes in society, economy, aesthetics, urbanism, and ideology. As a history of the contemporary the seminar is organized around topics that trace a genealogy of present-day culture. Students will read authors such as Bruno Latour, Friedrich Kittler, Gilles Deleuze, Manuel Castells, Fredric Jameson, Jean Baudrillard, as well as Michael Hardt and Antonio Negri. The situation of architecture and urbanism is explored throughout.

ARCH 713 Ecology, Technology and Design, William Braham This course will examine the ecological nature of design at a range of scales, from the most intimate aspects of product design to the largest infrastructures, from the use of water in bathrooms to the flow of traffic on the highway. It is a first principle of ecological design that everything is connected and that activities at one scale can have quite different effects at other scales, so the immediate goal of the course will be to identify useful and characteristic modes of analyzing the systematic, ecological nature of design work, from the concept of the ecological footprint to market share. The course will

also draw on the history and philosophy of technology to understand the particular intensity of contemporary society, which is now characterized by the powerful concept of the complex, self-regulating system. The system has become both the dominant mode of explanation and the first principle of design and organization.

ARCH 715 Writing on Architecture, Witold Rybczynski The practice of architecture relies on the clear and effective communication of design ideas: to clients, reviewing agencies, the public, and other interested parties. This communication occurs not only through drawings, models, and verbal presentations, but often — especially in the early stages of a project— through the written word. The aim of this course is to train students in the principles and techniques of nonfiction writing as it relates to architecture. Readings will include different types of architectural prose, but you can only learn to write by writing. Writing exercises will include brief critical reviews of existing buildings and unbuilt projects, opinion pieces, and formal presentations of buildings and projects.

ARCH 716 Chinese Architecture, Nancy Steinhardt This course is a survey of Chinese buildings and building technology from the formative period in the second millennium B.C. through the twentieth century. The course will deal with well-known monuments such as the Buddhist monasteries of Wutai, imperial palaces in Chang’an and Beijing, the Ming tombs, the Temple of Heaven, and less frequently studied buildings. Also covered will be the theory and principles of Chinese construction.

ARCH 717 Self-Organization & Dynamics of Cities, Manuel DeLanda Cities are among the most complex entities that arise out of human activity.

For some of these cities (Versailles, Washington DC) the process through which they emerge is not hard to grasp because it is planned up to the last detail by a human bureaucracy. Other cities,

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such as Venice and its labyrinthine system of streets, emerged spontaneously without any central agency making the relevant decisions. But even those cities in which urban structure was the result of a deliberate act of planning, house many processes that, like Venice, represent the spontaneous emergence of order out of chaos. This seminar will examine a variety of these processes, from markets to symbiotic nets of small producers, from epidemics of urban diseases to the creation of new languages and urban dialects. It will also explore the interaction between these self-organized phenomena and centrally controlled processes that are the result of human planning.

ARCH 719 Archigram and Its Legacy, Annette Fierro Acknowledging the ubiquitous proliferation of “Hi-Tech” architecture in contemporary London, this research seminar examines the scope of technology as it emerges and re-emerges in the work of various architects currently dominating the city. This scope includes the last strains of post-war urbanism, which spawned a legacy of radical architecture directly contributing to the Hi-Tech. A particular focus of the course will be the contributing and contrasting influence provided by the countercultural groups of the 60’s — Archigram, Superstudio, the Metabolists and others.

Using the premise of Archigram’s ideas of infrastructure, both literal and of event, the course will attempt to discover relational networks between works of the present day (Rogers, Foster, Grimshaw, etc.) As this work practices upon and within public space, an understanding of the contribution of technology to urban theatricality will evolve which is relevant to contemporary spheres of technological design practices. Students will be required to produce and present a term research paper.

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Visual Studies and Design Techniques REQUIRED ARCH 521 Visual Studies I, Simon Kim (coordinator) This course focuses on the study of analysis and projection through drawing and computer visualization.

—JACKIE WONG, critic 283-285. JORDAN BARR 286, 287. ANDREW LOH

ARCH 522 Visual Studies II A continuation Visual Studies I, focusing on the study of analysis and projection through drawing and computer visualization.

—WEI WANG, critic 288, 289. KATE RUFE

ARCH 621 Visual Studies III, Andrew Lucia (coordinator) The final of the Visual Studies half-credit courses. Drawings are explored as visual repositories of data from which information can be gleaned, geometries tested, designs refined and transmitted.

Salient strengths of various digital media programs are identified and developed through assignments that address the specific intentions and challenges of the design studio project.

ARCH 726 Contemporary Furniture Design, Katrin Mueller-Russo and Alexandra Schmidt-Ullrich This course provides a platform, in the form of furniture, to execute and deploy architectural and engineering principles at full scale. It will be conducted as

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294. ADAM HOSTETLER

ARCH 727 Industrial Design, Peter Bressler Industrial design is the professional service of creating and developing concepts and specifications that optimize the function, value, and appearance of products and systems for the mutual benefit of both user and manufacturer.

Industrial designers develop these concepts and specifications through collection, analysis, and synthesis of user needs data guided by the special requirements of the client or manufacturer. They are trained to prepare clear and concise recommendations through drawings, models, and verbal descriptions. The profession has evolved to take its appropriate place along side engineering and marketing as one of the cornerstones of Integrated Product Design teams. The core of industrial design’s knowledge base is a mixture of fine arts, commercial arts, and applied sciences utilized with a set of priorities that are focused firstly on the needs of the end user and functionality, then the market and manufacturing criteria.

—JOSHUA FREESE, critic 290. MIKE GLOUDEMAN 293. BENJAMIN LEE —ANDREW LUCIA, critic 291. WILLIAM ZEMBRODT —WEI WANG, critic 292. VALMIK VYAS

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a seminar and workshop and will introduce students to a variety of design methodologies that are unique to product design. The course will engage in many of the considerations that are affiliated with mass production: quality control, efficient use of material, durability, and human factors. Students will conduct research into industrial design processes, both traditional and contemporary, and will adapt these processes into techniques to design a prototype for limited production. Instruction will include: model making; the full scale production of a prototype and its detailing; design for mass production and the possibility of mass customization; design for assembly and disassembly; research of materials, industrial processes, and finishing; furniture case studies; software integration, 3d scanning, and optimization studies; Computer Aided Manufacturing (CAM); and a site visit to a furniture manufacturer.

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This course will provide an overview and understanding of the theories, thought processes, and methodologies employed in the daily practice of industrial design. This includes understanding ethnographic research and methodologies, product problem solving, creative visual communication, human factors, ergonomics application, and formal and surface development in product scale. This course will not enable one to become an industrial designer but will enable one to understand and appreciate what industrial design does, what it can contribute to society, and why it is so much fun.

ARCH 728 Design of Contemporary Products, Josh Owen This course introduces students with design backgrounds in architecture, landscape architecture, and engineering to the design of products using a combination of seminar and workshop formats.

The first half of each session presents aspects of the history, theory, and practice of product design as it relates to the course. Guest lecturers and critics engage at regular intervals throughout the course to share their insights. The goal of the course is to inspire innovation in product development. By capitalizing on product design theory and process, which encourages the integration of engineering and business concerns along with the experience of human interaction and emotive qualities, students are encouraged to re-think a utilitarian product by exploring beyond models promulgated by disciplines that focus more exclusively on either form or function.

295. HYUNSOO KIM

ARCH 741 Architectural Design Innovation, Ali Rahim The mastery of techniques, whether in design, production, or both, does not necessarily yield great architecture. As we all know, the most advanced techniques can still yield average designs. Architects are becoming increasingly adept at producing complexity and integrating digital design and fabrication techniques

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into their design process — yet there are few truly elegant projects. Only certain projects that are sophisticated at the level of technique achieve elegance. This seminar explores some of the instances in which designers are able to move beyond technique, by commanding them to such a degree so as to achieve elegant aesthetics within the formal development of projects.

296. TIFFANY DAHLEN, OLGA KARNATOVA

ARCH 742 Experiments in Design Techniques: Digital Ceramics, Jenny Sabin This course uses a combination of seminar and workshop formats to explore new design techniques from a number of sources including advances in digital technology, natural models, advanced geometry, and material practices in allied arts, crafts, and design disciplines. This section of the course focuses on the use of algorithmic design techniques for the digital fabrication and production of ceramic modules at a range of scales and applications. Case studies will explore the role of the ceramic module and tile in architecture. The course will introduce scripting techniques in a parametric and associative environment with feedback derived from material constraints as well as performance assessments.

297, 298. MATT CHOOT, REBECCA FUCHS, ALEX LEE 299–301. EMAAN FARHOUD, GERA FEIGON, ANDREW SWARTZELL

ARCH 743 Form and Algorithm, Cecil Balmond and Roland Snooks This course examines the philosophy and generative tools of informal design, which is defined in terms of nonCartesian, non-linear geometries and borrows algorithmic procedures from models in mathematics and the physical sciences. The course reviews readings on the topic, introductory instruction in scripting, and assignments through which students gain familiarity and skill with specific non-linear models. This seminar meets every other week.

302. ANDREW SWARTZELL, MATT CHOOT, JACOB CHANDLER, JEFFREY PALITSCH 303, 304. MAHDI ALIBAKHSHIAN, LIWEN MAO, QI CHEN, YUNSOO KIM

ARCH 744 Digital Fabrication, Ferda Kolatan This seminar course investigates the fabrication of digital structures through the use of rapid prototyping (RP) and computer-aided manufacturing (CAM) technologies, which offer the production of building components directly from 3D digital models. In contrast to the industrial-age paradigms of prefabrication and mass production in architecture, this course focuses on the development of repetitive non-standardized building systems (mass-customization) through digitally controlled variation and serial differentiation. Various RP and CAM technologies are introduced with examples of use in contemporary building design and construction.

305–307. KARLI MOLTER, MARK SHKOLNIKOV

ARCH 745 Nonlinear Systems Biology & Design, Jenny Sabin and Peter Lloyd-Jones Systems biology examines the nature of nonlinearities, emergent properties, and loosely coupled modules that are the hallmarks of ‘complexity’. New models for research and design in architecture have grown in response to radical breakthroughs in technology and an increasing interest in the use of algorithmic and generative tools within the design process. Algorithmic imaging and molecular tools found useful in analyzing nonlinear biological systems may therefore prove to be of value to new directions in design within architecture.

This course situates itself at the nexus between architecture and nonlinear systems biology — and in the context of the Sabin+Jones LabStudio at UPenn — to gain insight into living systems, develop techniques for digital modeling, and create experimental designs with rigor at various length scales, from the microscopic to the human. Part seminar and part workshop, it serves to deepen

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knowledge of nonlinear biosynthesis, a synthesis of design thinking and tooling through the study of systems biology.

Students will develop a series of digital and physical models through the use of a 3D printer and a diverse range of scripting and modeling techniques in parametric and associative software.

The final assignment is a design project with accompanying abstract and report.

prototype. The work from the seminar will be displayed in an exhibition in Shanghai titled “Swarm Intelligence” which will feature the work of leading architects, artists, engineers, and scientists who are exploring collective behavior.

318, 319. JAMES HOWER, CHRISTOPHER ALLEN, EMAAN FARHOUD 320. JASON SMITH, MEGAN BURKE

315. FLORINA DUTT, JIEYU PU, ANA LUISA UNTIVEROS-FERREL

ARCH 746 Immersive Environments, Simon Kim This interdisciplinary course is prepared for the instruction of graduate students of architecture and engineering in the theory, design, visualization, and production of interactive machines. We will be utilizing interaction and mechatronics in the space of performance. As a collaborative agency, a local theater company will be working with the course in shaping its outcomes and behaviors.

316. SANAAM SALEK 317. MICHAEL WETMORE

ARCH 748 Swarm Intelligence: Behavioral Tectonics and Fabrication, Roland Snooks This seminar will examine the role of agency within generative design processes. This is an experiment with the emergent architectural implications of extremely high populations of computational entities interacting within a swarm logic. The seminar will focus on an abstract design methodology, recasting simple decision making ability into agents capable of self-organizing into an emergent intelligence. The seminar will introduce the lightweight programming language Processing and build from an extensive body of existing multi-agent code. The project will explore the implications of high population thinking on the generation of architectonic assemblages, specifically exploring the dissolution of modernist tectonic hierarchies. The implications of this on fabrication and materiality will be explored, culminating with the production of a small-scale

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Building Technology REQUIRED ARCH 531 Construction I, Franca Trubiano and Lindsay Falck A course on the basic principles and concepts of architectural technology that describes the interrelated nature of structure, construction, and environmental systems.

ARCH 532 Construction II, Lindsay Falck A continuation of Construction I, focusing on light and heavy steel frame construction, concrete construction, light and heavyweight cladding systems, and systems building.

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ARCH 533 Environmental Systems I, Ali Malkawi An introduction to the influence of thermal and luminous phenomenon in the history and practice of architecture. Issues of climate, health, and environmental sustainability are explored as they relate to architecture in its natural context. The classes include lectures, site visits and field exploration.

ARCH 534 Environmental Systems II, William Braham This course examines the environmental technologies of larger buildings, including heating, ventilating, air conditioning, lighting, and acoustics. Modern buildings are characterized by the use of such complex systems that not only have their own characteristics, but interact dynamically with one another and with the building skin and occupants. Questions about building size, shape, and construction become much more complex with the introduction of sophisticated feedback and control systems that radically alter their environmental behavior and resource consumption. Class meetings are divided between slide lectures, demonstrations, and site visits. Course

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work includes in-class exercises, homework assignments, and a comprehensive environmental assessment of a room in a building on campus.

ARCH 535 Structures I, Richard Farley Theory applied toward structural form.

A review of one-dimensional structural elements; a study of arches, slabs and plates, curved surface structures, lateral and dynamic loads; survey of current and future structural technology. The course comprises both lectures and a laboratory in which various structural elements, systems, materials, and technical principles are explored.

ARCH 536 Structures II, Richard Farley A continuation of the equilibrium analysis of structures covered in Structures I. The study of static and hyperstatic systems and design of their elements. flexural theory, elastic and plastic.

Design for combined stresses; prestressing. The study of graphic statics and the design of trusses. The course comprises both lectures and a weekly laboratory in which various structural elements, systems, materials, and technical principles are explored.

ARCH 631 Technology Case Studies I, Lindsay Falck and Franca Trubiano A study of the active integration of various building systems in exemplary architectural projects. To deepen students’ understanding of the process of building, the course compares the process of design and construction in buildings of similar type. The course brings forward the nature of the relationship between architectural design and engineering systems, and highlights the crucial communication skills required by both the architect and the engineer.

ARCH 632-001 Deployable Structures, Mohamad Al Khayer The objective of this course is the introduction to the history, theories, and application of the rapidly growing

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field of deployable structures and folded plates (complex geometric structural configurations that are used as temporary and rapid assembly configurations) through hands-on experiments conducted in a workshop environment. The course’s objective is to introduce various concepts and techniques to the design, modeling, simulation and the physical building and execution of deployable structures.

Experiments will be conducted using the hand (during the construction and observation of physical models), and through computer modeling of deployable structures using simulation software (Solid Works).

The course is divided into two parts: in the first part, students work individually on weekly assignments building deployable structures related to the topic taught that week; in the second half of the semester, students work as one team in the fabrication shop, designing and constructing a full-scale deployable structure (working prototype). Studies include geometric studies of Platonic and Archimedean solids, space filling geometries, topology and morphological transformations, studies of different mechanical joints, and computer simulation.

ARCH 632-002 Performance and Design, Yun Kyu Yi This course develops techniques for integrating environmental performance analysis and the design of buildings, with an emphasis on parametric methods.

Performance analysis techniques provide enormous amounts of information to support the design process, acting as feedback mechanisms for improved performance, but careful interpretation and implementation are required to achieve better buildings. Parametric descriptions will be combined with decision-making methods to achieve more complete integration. Students will begin by using analytical tools to examine the environmental performance of existing buildings.

Following the results of the analysis, the students will develop high-performance goals and use analytical tools to develop an initial design proposal. Different decision-making and parametric form

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control methods will then be introduced to achieve high performance designs.

ARCH 632-004 Design for Light Structures, Jon Morrison A course on structural design principals involved with dematerialized and weight-minimized structures. The course will include a review of fundamental structural elements, the flow of forces, and contemporary structural engineering methods using a generally visual and intuitive approach. These principals will be applied to the qualitative analysis of numerous notable realized examples of lightweight and transparent structures in a case-study format. Discussion topics will include methods of off-site fabrication, on-site assembly and disassembly (recycling), current and emerging materials and collaboration between architect, engineer, and fabricator. Design exercises will be used to apply knowledge and intuition gained within contexts reasonably distant from familiar forms.

ARCH 632-005 Constructing Technologies Integrating Matter + Energy, Franca Trubiano This seminar/workshop is dedicated to the promotion of architectural innovation in the field of construction technology.

Students will design and fabricate building related prototypes that productively respond to a well-documented and socially relevant environmental need.

Matter and energy are the two fields of enquiry that will guide and structure both the research seminars and the design/build workshop; their articulated integration is the goal of each prototype.

Materials such as composites and plastic/ polymers will be central to the investigation, as will the energy related topics of thermodynamics, light/heat studies, and solar technology. Invited design and building industry professionals will advise student teams and offer critical reviews of their process throughout the semester.

Lastly, students will be introduced to design metrics used to evaluate the environmental impact of their material and energy choices, be they embodied

energy calculations, carbon emissions, or life cycle assessments.

308, 309. CHRISTINA MARCONI, THOMAS MICHAEL

ARCH 632-006 Component-Based Design, Mark Igou This course explores how traditional and cutting edge materials in conventional and non-conventional applications are used in building assembly design. Students are exposed to actual case studies presented by scientists, engineers, and fabricators to convey the decision making process of how to arrive at innovative, highperformance design solutions for building assemblies and systems. Students participate in collaborative teams with outside professionals to develop and build their own high-performance materials and building systems. Discussion topics range from “The Fundamentals of Performance Design” to the “Exploration of Material Innovation”. These topics are overlaid with how and why the construction industry operates and what strategies are available to architects in order to realize these innovative solutions. Techniques such as “technology transfers” from other industries are explored to maximize potential innovation.

ARCH 632-401 Surface Effects, Cathrine Veikos This seminar addresses contemporary interests and debates that surround the question of surface as it relates to architecture. It sets out the proposition that the appearance of a building, both before and after its construction, manifests itself as an image. The visible surfaces of drawings and buildings and the surfaces they frame work to constitute and characterize the full range of presence for a building, organizing and structuring perception and performance through the design of its surfaces. It is a provocation that finds its bearings in the pictorial practices of architects and the drawings and buildings they produce. The subtle and dynamic effects of recent works by Herzog de Meuron, Kengo Kuma, OMA, Gigon/Guyer, Peter Zumthor, Jun Aoki,

Sejima + Nishizawa/SANAA, and others are achieved through well-orchestrated details grounded in built reality.

312. VERONICA RIVERA, GEOFF KLEIN, TIFFANY LI, ALICE CHOI 313. REBECCA POPOWSKY, LILY TRINH 314. JULIO GUZMAN, JAMIE MASTRO

ARCH 638-001 Building Acoustics, Joe Solway This six-week course covers the fundamentals of architectural acoustics.

The lectures examine the following topics: overview of acoustics in the built environment, the role of the acoustic consultant and their interaction with the architect, fundamentals of sound (sound measurement and representation, sound generation and propagation, sound absorption and reflection, and sound isolation and transmission), acoustic materials, case studies of acoustics in building projects, the history and future of performance space design. The course includes measurements and testing in Irvine Hall and two assignments, one practical (Boom Box) and one theoretical (Sound Space).

ARCH 638-002 Building Skins, Alberto Cavallero This course focuses on the parameters used in the design, analysis, and construction of high-performance building skins. Lectures focus on the understanding and critical use of design parameters; structural determinants as they pertain to industry developments involving thermal expansion, lateral and gravity loading; environmental building systems and thermal comfort; principles of architectural detailing; material selection; conceptual estimating and scheduling; procurement and bidding; construction administration; project mock-ups, simulation and testing. Lectures are hosted by Alberto Cavallero, AIA, and feature key KlingStubbins architects and engineers as guest lecturers. As a central component of the course, students complete an experimental design project.

ARCH 638-003 Sustainable Building Systems, Jonathan Weiss and Stuart Mardeusz Building systems for controlling the constructed environment play an increasingly critical role in the deployment of successful and sustainable projects.

Favorable strategies for sustainability are dependent upon thoughtfully integrating architectural concepts with those systems upon which a building is dependent to function properly and responsibly — mechanical, electrical, plumbing, lighting, and acoustics among others. This course examines how evolving sustainable technologies influence our work as architects, designers, and planners — exploring a range of topics that have enormous cultural and technical implications for architecture, landscape, and urban design. The class will trace both current and emerging sustainable strategies for building systems integration and will be structured around weekly discussions with integrated teams of architects and engineers, with a special emphasis on areas for design innovation.

Readings and a final group project will supplement the weekly lectures.

ARCH 638-004 Daylighting, Naree Phinyawatana This course introduces fundamental daylighting concepts through lectures and tools for analyzing daylighting design through design workshops. The central objective of the course is to provide students with both the fundamental knowledge and tools to analyze the effectiveness of design options. Fundamentals of daylighting availability and visual perception are introduced, and advanced design-oriented techniques are developed through workshops and a final project.

ARCH 638-005 Lighting, Craig Bernecker This course examines the fundamentals of lighting and perception, the different types and sources of artificial lighting, their interaction with materials, and advanced techniques of luminous design and analysis. The balance between design

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and energy efficiency is studied directly.

Class work involves lectures, in-class exercises, and a final project.

ELECTIVES ARCH 730 Building Product Design: TRANSWALL, Jordan Goldstein As Craig Vogel notes in The Design of Things to Come, “we are in a new economic age that is in need of a new renaissance in product development, one that leverages multiple minds working in concert.” With this mindset, this interdisciplinary workshop guides students through the product design process from design brief to concept generation in one semester, working firsthand with Transwall, a leading manufacturer of demountable wall systems, to focus on a specific product need. The design opportunity looks for the next generation of pre-manufactured wall systems; getting away from field constructed walls and looking at critical issues of mass-produced wall systems: flexibility, mobility, structural stability, acoustics, transparency/opacity, and operability. During the workshop, students will explore the context that creates the unique need for a new product and have an opportunity to conceptualize their design ideas through sketch and model studies.

310. CHRISTOPHER ALLEN, KADAMBARI SRINIVASAN 311. DING LIU, ERICK KATZENSTEIN, CHANG SOON PARK

ARCH 731 Experiments in Structure, Peter McCleary and Mohamad Al Khayer This course studies the relationships between geometric space and those structural systems that amplify tension.

Experiments using the hand (touch and force) in coordination with the eye (sight and geometry) will be done during the construction and observation of physical models. Verbal, mathematical, and computer models are secondary to the reality of the physical model. However these models will be used to give dimension and document the experiments.

Team reports will serve as interim and final examinations. In typology, masonry structures in compression (e.g., vault and dome) correlate with “Classical” space, and steel or reinforced concrete structures in flexure (e.g., frame, slab and column) with “Modernist” space. We seek the spatial correlates to tensile systems of both textiles (woven or braided fabrics where both warp and weft are tensile), and baskets (where the warp is tensile and the weft is compressive). In addition to the experiments, we will examine Robert Le Ricolais’ structural models held by the Architectural Archives.

ARCH 732 Building Systems Integration, Ali Malkawi This course explores the interrelationships of environmental control systems by means of building type studies. Innovative systems will be emphasized. Projects such as residential, educational and commercial buildings, office and assembly buildings will be analyzed in details. The main principles of “integrated building design” will be illustrated and studied. The relationship between energy conservation and the principles of initial building cost versus life cycle costs will be discussed.

ARCH 734 Architecture & Ecology, Muscoe Martin Building is an inherently exploitive act— constructing and operating buildings takes resources from the earth and produces waste and pollution. Do architects have an ethical responsibility to minimize these negative environmental effects? Is reducing the bad impacts the best we can do, or can we imagine architecture that could heal the damage and begin to improve the natural environment?

This course will explore these shifting definitions of “sustainability” in the practice of architecture. We will explore the varying strategies and approaches from neo-indigenous to eco-tech, from LEED to Living Buildings. Reflecting the fundamentally interdisciplinary nature of sustainable design, we will have frequent guest lectures from landscape architects, hydrologists, engineers, waste recyclers,

and others whose expertise is different than the architect’s. Coursework will include short assignments, class discussion, and longer research projects.

Professional Practice

ARCH 736 Design-Synergy: Performance Research and Analysis, Martin Haas and Jackie Wong This seminar consists of a series of lectures and workshops by architecture and engineering professionals who are active in performance-oriented design. It is held in conjunction with the research studio to fine tune the performative aspects of each student’s project. The goal of the seminar is to allow students to develop a deeper understanding of building performance and how to incorporate context, climate, and user experience into their architectural design.

REQUIRED ARCH 671 Professional Practice I, Mark Gardner This course consists of a series of four workshops that introduce students to a diverse range of practices that architects currently employ and the architectural profession more generally.

ARCH 672 Professional Practice II, Charles Capaldi Further study of the organizational structures of current architectural practices.

The course is designed as a stimulating workshop that allows students and future practitioners the opportunity to develop the analytical skills required to enter the world of professional practice.

ARCH 738 The Modern House: Technology Then and Now, Annette Fierro In the current age of new fabrication technologies, methods are emerging for the conception and design of the contemporary house that have radical potential for enclosure, habitation, and practices of daily life. This course begins by examining the canonical houses of the original avant-garde — Adolf Loos, Frank Lloyd Wright, Le Corbusier, Mies van der Rohe, and Alvar Aalto— on the premise that their houses were working manifestos for rethinking space, form, and indeed ideas of life itself— all of which were prompted by new concepts of construction. From this spectrum of issues, contemporary houses and contemporary methods and materials will be studied extensively to develop equally new ideas between matter and quotidian life. As the primary task of the course, students will work in teams to develop highly detailed constructional proposals for a portion of a speculative home.

ARCH 772 Professional Practice III, David McHenry The course focuses on the nature of projects in the context of activities within an architect’s practice and on the idiosyncrasies of managing multiple projects.

Detailed studies of the legal, financial, marketing, management, and administrative issues associated with the different forms of office proprietorship are studied.

The special set of contractual and ethical obligations of the architect, particularly in response to client needs and safety, are examined. Codes, standards and regulations and their relationship to the different activities in the practice of architecture are presented.

ELECTIVES ARCH 756 Sustainable Urban Form: Policy and Design, Mark Hughes This seminar provides an advanced introduction to policy development and is intended to engage students in policy-making. Policy outcomes often have formal and/or scalar qualities, yet 313

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policy developers often treat these as unintended consequences. Designers typically operate within the constraints created by such consequences. But could design thinking improve policy outcomes?

Our test bed for this examination will be the relationship between energy and urban form, which presents a critical policy challenge for young professionals from many fields. The seminar will survey current research and policy options emerging from local, regional, state, and federal governments and discuss their implications for design outcomes at the scale of buildings, neighborhoods, and regions. None of these implications have been fully explored by policy makers at any level of government. This seminar will explore each in turn, allowing students to develop a deep understanding of the policy content on this important issue as well as of the policy process in general. Students will develop projects ranging from an analysis of policy to a presentation of the design implications of existing/proposed/alternative energy policies. The intent is for the seminar to make an active contribution to this very timely policy debate.

ARCH 762 Design and Development, Witold Rybczynski This course provides an introduction to the relationship between architectural design and real estate development.

Following a discussion of fundamentals, examples focus on commercial building types and illustrate how architectural design can contribute to real estate development. Topics include housing design, commercial buildings, adaptive reuse, downtown development, mixed-use projects, and planned communities. The course consists of lectures, reading assignments, short essays, a group project, and a mid-term exam. Invited lecturers include architects and real estate developers.

design and construction of large and small construction projects. Topics include project delivery systems, management tools, cost-control and budgeting systems, and professional roles. Case studies serve to illustrate applications.

Cost and schedule control systems are described. Case studies illustrate the application of techniques in the field.

ARCH 768 Real Estate Development, Nakahara Asuka This course analyzes the development process in terms of the different functions performed by real estate developers and architects, and the interrelationships between these two professions. Emphasis is placed on property evaluation, site planning, building design, underlying economics, and discounted cash flow analysis. Outside lecturers are featured.

ARCH 780 Architecture in the Schools, William Braham Architecture in the schools is a more than twenty-year-old program of teaching architecture in Philadelphia area schools run by the American Institute of Architects.

As a participant in the Architecture In Education program students have the opportunity to work directly with children in the classroom, making an impact on their lives and on the future of our neighborhoods and cities. Students work with a classroom teacher and a design professional to develop a weekly series of eight (1-1/2 hour) interdisciplinary experiential lessons using the built environment as a laboratory to create stimulating new ways of seeing, learning, and doing.

Requirements for credit are attendance at all meetings and teaching sessions, and the submission of a brief summary report of the exercises that were used in the classroom.

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ARCH 765 Project Management, Charles Arena This course is an introduction to techniques and tools of managing the

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NEWS — STANDING FACULTY TONY ATKIN’s firm Atkin Olshin Schade Architects won two AIA awards in 2009 for their work in Santa Fe, NM. The first was an urban design award for New Mexico’s new mass transit system, the Rail Runner, for stops and transit-oriented development in Santa Fe neighborhoods. Their project for the renovation and expansion of the Center for Contemporary Arts in Santa Fe won an Honor Award. The firm also won a New Mexico Heritage Preservation Award for preservation, planning and stabilization work at Fort Stanton, New Mexico in 2010. Atkin’s book, co-edited with Nancy Steinhardt and Jeffrey Cody, Chinese Architecture and the Beaux-Arts, is scheduled for release from University of Hawaii Press and Hong Kong University Press in December, 2010. The book is based on the international conference held at Penn in 2003. Atkin was a guest professor at the University of New Mexico in 2009, and continues his studies of prehistoric New Mexico settlements and landscapes in Chaco Canyon and other sites.

CECIL BALMOND, in collaboration with artist Anish Kapoor, won the competition for the London Olympics Icon Sculpture.

Balmond’s work was also featured in a major exhibition at the Tokyo Opera City Art Gallery.

WINKA DUBBELDAM’s firm ArchiTectonics was part of four exhibitions this year: “Contemplating the Void: Interventions in the Guggeheim” at the Guggenheim Museum, New York; “The City We Imagined/The City We Made” at The Architectural League, New York; at the Frederieke Taylor Gallery, New York; and at the Museum of Modern Art, New York. Archi-Tectonics designed, on a probono basis, a school for 200 orphans

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in Liberia, Africa, which is currently under construction. Also under construction are the Vestry building, the Cibani Townhouse, and the LRH building, all in New York.

Winka was a juror for the XXII Columbian Biennial 2010, Bogota, Columbia, and for the American Academy in Rome, NYC, the Prix De Rome. She also served as the External Examiner at the Architectural Association, London, and joined the Institute for Urban Design, as a Member of the Board of Directors.

RICHARD FARLEY, and Lecturers Alberto Cavallero, Jonathan Weiss, and Stuart Mardeusz’s firm KlingStubbins has expanded its international presence with the recent opening of an office in Beijing, China, and is engaged in the design and construction of large-scale projects in Russia, Saudi Arabia, Panama, and Asia. Closer to home, the firm celebrated the opening of the Campbell Employee Center in Camden, New Jersey, and broke ground on new projects for the DuPont Corporation and The Pennsylvania State University. In the fall of 2010, KlingStubbins’ textbook entitled Sustainable Design of Research Laboratories: Planning, Design, and Operation (Wiley) will be published.

STEPHEN KIERAN AND JAMES TIMBERLAKE’s Philadelphia-based architecture firm KieranTimberlake was awarded the commission to design the United States Embassy in London and is a winner of the 2010 Cooper-Hewitt, National Design Award from the Smithsonian Institution. Additional design awards include the AIA Committee on the Environment Top Ten Green Award for post-Katrina housing in New Orleans, LA, and an AIA Housing Award for the Cellophane House shown in 2008 at The Museum of Modern Art in New York, NY. A critical detail of the Loblolly House is featured in the National Design Triennial, “Why Design Now? ” on view at the Cooper-Hewitt, National Design Museum through January 2011. KieranTimberlake was recognized by Philadelphia’s Charter High School for Architecture and Design

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and the Designing Futures Foundation.

An update of the firm’s first monograph, Manual, is due out in 2011 along with a second book project anticipated for release in Fall 2010.

321, 322. STEPHEN KIERAN AND JAMES TIMBERLAKE of KieranTimberlake

FRANK G. MATERO’s research activities include curriculum development for the Archaeology and Historic Preservation Program of the National Training Institute for the Preservation of Iraqi Heritage for the U.S. State Department and National Park Service funded research on the design and testing of vegetative “soft” caps for archaeological sites. Funded field work includes the continuation as Principal Investigator and Director of the Gordion Site Conservation and Management Program with the Penn Museum of Archaeology and Anthropology and the documentation and analysis of the 20th century Whitney Studio in New York for the World Monuments Fund. Matero curated “Ben’s House: Designing History at Franklin Court” at the PennDesign Architectural Archives and “Back on the Map: Revisiting the New York State Pavilion at the 1964-1965 New York World’s Fair” at The Queens Museum of Art and the AIA Center for Architecture, New York. Invited lectures delivered include the annual meetings of the American Institute for Conservation, The Association for Preservation Technology, and US/ICOMOS as well as a colloquium participant on architectural surfaces at the Getty Conservation Institute. A plenary address was also delivered on the subject of “Extreme Weather(ing): Measuring, Modeling and Predicting Deterioration in an Age of Climate Change.” A lecture entitled “Integrating Science and Management on the Colorado Plateau: Collaborative Conservation in Rapidly Changing Landscapes” was delivered at the 10th Biennial Conference for Research on the Colorado Plateau, Flagstaff, AZ 2009.

ALI RAHIM was the Studio Hadid Visiting Professor at the Angewandte Kunst in Vienna Austria. He lectured at Museum of Fine Arts, Houston, University of Calgary, Calgary, Canada, New York City College of Technology, New York, Tsinghua University and Cornell University. He also delivered the Keynote Lecture to the 12th Meeting of Heads of European Schools of Architecture, Chania, Greece, and delivered the Keynote Lecture on Performance in Architecture at the University of Aalborg, Aalborg, Denmark.

Rahim was featured in Nikkei Newspaper, Tokyo, Japan and 25 ans. Tokyo, Japan and his work was featured in Digital Culture in Architecture, Birkhauser, authored by Antoine Picon. His writings were published in Excess, Marjan Colletti Ed., Architectural Design, Academy Editions/John Wiley and Sons Inc., London, and Design: The Architecture of Variation, Lars Spuybroek Ed., Thames and Hudson, London. His work was exhibited at Finn Topology, Helsinki, Finland, Parametric Prototypes, Xi’an, China and Performalism, Tel Aviv, Israel. Ali Rahim was also nominated for the Ordos Prize the first architecture prize to emerge from Asia, and China’s first international prize for architectural achievement.

323. ALI RAHIM AND HINA JAMELLE, Monitor, September 2009

WITOLD RYBCZYNSKI’s collection of essays, My Two Polish Grandfathers, was published by Scribner, and he lectured on the subject in Montreal, Ottawa, and Chicago. He contributed a chapter on “Space: The Design of the Urban Environment” in Making Cities Work: Prospects and Policies for Urban America (Princeton University Press, 2009), and an Afterword to Palladio’s Homes (The Old School Press, 2009).

He was invited to be the keynote speaker at the annual meeting of the American Planning Association in Minneapolis, and at the Pierre Elliot Trudeau Conference on Public Policy in Ottawa. He gave the Lewis Lecture at the Baltimore Architecture Foundation, and was invited to lecture by the Cosmos Club Historic

Preservation Foundation in Washington, D.C. He moderated a design panel at Goldman Sachs in New York, and directed an architecture workshop for the Young Presidents Organization in New Haven.

Rybczynski continues to be architecture critic for Slate. His new book, Makeshift Metropolis: Ideas about Cities, will be out this fall.

FRANCA TRUBIANO received a Presidential Undergraduate Research Award for the design and construction of an Emerging Material’s Lab/Library; a physical and digital resource that will feature innovative materials of interest to students and faculty alike. She was an invited external reviewer for the annual Thesis Competition–Design Eminence Awards at Southern Polytechnic State University in Atlanta Georgia. A conference moderator at the ACSA National Conference in New Orleans and as editorial board member of the ARCC Journal, she was an invited panelist at the ARCC/ EAAE 2010 International Conference on Architectural Research in Washington, DC. Her edited book, High Performance Homes, their Design and Construction; Solar Technology, Innovative Materials and Integrated Practice, has been accepted by Routledge for publication in January 2012.

CATHRINE VEIKOS was faculty advisor for two installations in the lobby of Meyerson Hall, “Sheer Opacity” by Gregory Hurcomb, Nadine Kashlan, Joe Littrell and “What do you do with Rubies that Fall from Heaven? ” by Gregory Hurcomb and Nadine Kashlan. She was a guest at the International Conference, “IV Project 2009, Project as Research: Teaching, Surveys and Practice”, in São Paulo, Brazil.

competition, the center establishes a new nexus for social, cultural and intellectual life on campus and within the city. Weiss/Manfredi is currently leading one of five teams selected by a distinguished jury to participate in the “Framing a Modern Masterpiece” competition for the St. Louis Gateway Arch grounds. The firm was also recently selected to design a new campus for Aga Khan University in East Africa. Other current projects include the Brooklyn Botanic Garden Visitor Center, winner of the NYC Design Commission’s Award for Excellence in Design, the Krishna P. Singh Center for Nanotechnology at the University of Pennsylvania, and Hunters Point South Park in Long Island City, Queens. Wandering Ecologies, the firm’s proposal for Toronto’s Lower Don Lands, received the NY State AIA Excellence in Design Award, the NYC AIA Merit Award, and the Chicago Athenaeum’s American Architecture Award. Weiss/Manfredi’s Olympic Sculpture Park was featured on Sundance Channel’s eco-series “Big Ideas for a Small Planet,” and their drawing was featured in the exhibition “Contemplating the Void” at the Guggenheim in New York City. The firm’s work has been recently published in A+U, Lotus International, Metropolis, Architect Magazine, and Architect’s Newspaper, and a new monograph, Pro Architect: Weiss/Manfredi, will be published this fall in Korean and English. Weiss has recently participated in symposia at the Guggenheim Museum Bilbao, the Center for Architecture, Princeton, Yale, and Columbia.

MARION WEISS’s firm Weiss/Manfredi Architecture/Landscape/Urbanism won a Progressive Architecture Award for the Diana Center, a 98,000 square-foot multiuse arts building at Barnard College, which opened in February to students and the public. Winner of a national design

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NEWS— LECTURER FACULTY JOSE CASTILLO’s firm arquitectura 911sc, in partnership with Fernanda Canales and Alejandro Hernandez has been selected as the winner of the architectural competition for the Performing Arts Center at the University of Guadalajara’s Cultural Campus in Guadalajara, Mexico. The two-stage national public competition attracted over fifty participants and the project by arquitectura 911sc was selected as the winning entry. The $35 million and 14,000 square meters project will include three performance spaces, for 1,800, 900 and 400 people, and will be used for music, opera, dance, and theater. The project consists of three semi-autonomous boxes of different sizes connected by public vestibules and lobbies and accessed through a landscape of berms, ramps, and platforms.

324. JOSE CASTILLO, arquitectura911sc

KIAN GOH received a New York State Council on the Arts Independent Projects Grant for her project “queer|space|home,” an architectural, urban design, and policy study and proposal for homeless LGBT youth shelters in New York City.

Goh presented “queer|space|home and the Red Hook Initiative Community Center projects at the Towards a Just Metropolis: From Crises to Possibilities conference at the University of California, Berkeley. SUPER-INTERESTING!, led by Kian Goh, won the fourth place prize in the Newark Visitor Center international architectural design competition, organized by AIA Newark-Suburban. SUPERINTERESTING!’s entry, titled “Engaging Ecology - Connecting Community,” not only meets the needs of visitors but also emphasizes ecology and celebrates local action transforming the city.

MATTHIAS HOLLWICH’s firm HWKN won first prize in “Piraeus Tower 2010–Changing the Face/Façades Reformation,” a competition in Athens, Greece and honorable mention for a project in Turku, Finland. Current projects include the first retirement community in West Africa, an ice cream factory for Il Laboratorio Del Gelato in Manhattan’s Lower East Side, an array of residential work in New York City and a masterplan for the city of Dessau, Germany in conjunction with IBA 2010. HWKN’s work has been published and exhibited worldwide and received many international awards.

In November 2009, Hollwich and Marc Kushner, with Alex Diehl and Benjamin Prosky, launched ARCHITIZER, a website that revolutionizes the way architects interact, show their work, and find clients. It is an open community created by architects for architects, their fans, and clients. Architizer now has 28,000 members and 105 projects from UPenn students/alumni/faculty online.

325. MATTHIAS HOLLWICH, HWKN

MATTHIAS HOLLWICH and PHU HOANG won the second phase of the Open Fort 400 competition in Amsterdam. HWKN and Phu Hoang Office/Rachely Rotem Studio were part of a unique architecture collaboration that originated on both sides of the Atlantic.

The “New York 5” team, under the direction of Stereo Architects (Rotterdam), includes five New York City-based architecture practices — HWKN, L.E.FT, PARA-Project, Phu Hoang Office and WORKac. The competition for a site in Amsterdam North required the design of an 80,000 square foot office development. It was organized by the Netherlands Architecture Institute (NAI), the city of Amsterdam, and the Netherlands housing corporation Ymere. An exhibition showing a selection of the final competition entries will open on December 18th in the Zuiderkerk in Amsterdam. A publication from NAi Publishers will accompany the exhibition, which is scheduled to close February 27th, 2010.

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HINA JAMELLE was on diploma reviews at the Angewandte Kunst in Vienna, Austria. She was featured on the cover of Monitor Magazine, London and Moscow. Her design work was on the cover of Digital Architecture Now, Thames and Hudson, London. In addition her work was published in Vogue. jp, Tokyo, Monitor Unlimited, London, Moscow, Casa Brutus, Tokyo, Japan, Mainichi Shimbun, Tokyo, Japan, Elle Deco, Tokyo, Japan, Frame Magazine, Amsterdam, The National Newspaper of Abu Dhabi, UAE, Architectura Viva, Madrid, Spain and A+U, Tokyo, Japan.

FERDA KOLATAN’s firm su11 was selected as a collaborator for “Journey to Zero”. Guided by TED founder Saul Wurman and sponsored by Nissan, this think-tank brings together creative minds in the arts and sciences to help envision a Zero Emission world. su11’s recent work was exhibited at the Macy Art Gallery in NY and at PS1 for the YAP 10th Anniversary Review. Their project “Fuzzy Pulse” was chosen runner-up to the 2010 Times Square Valentine Sculpture. Ferda Kolatan also gave lectures at the University of Calgary and at SOM in New York City, and participated at a roundtable discussion at the AIA Center for Architecture titled Toward ‘ANARCHITECTURE.’ 327. FERDA KOLATAN, SU11

LARRY MITNICK lectured in the Department of Art and Architecture at Lehigh University on “Habitual to Ritual”.

He also has started a drawing project collaborating with Poet Kenneth Fifer, exploring the relationship between “architectural conditions” and the work of this Lehigh Valley Poet.

KEITH VANDERSYS’ firm PEG office of landscape + architecture won first place in the 2010 Emerging New York Architects open ideas competition. PEG teamed with PennDesign landscape architecture students Marisa Bernstein, Young Joon Choi, and Marguerite Graham. This year’s competition theme was HB:BX

Building Cultural Infrastructure. As part of the award, PEG will co-curate an exhibit of the work at Storefront for Architecture in New York.

BRIAN PHILLIPS’ firm ISA was awarded an ARCHITECT Magazine Design Review Honorable Mention and was named Treehugger.com’s Residential Architecture Firm of the Year.

JENNY E. SABIN was awarded the 2009/2010 G. Holmes Perkins Award for distinguished teaching by a member of the Associated Faculty at PennDesign. Branching Morphogenesis, a Sabin+Jones LabStudio installation (designed by Jenny Sabin and Andrew Lucia with Peter Lloyd Jones and Annette Fierro) won the AAAS/NSF Illustration category in the International Visualization Challenge. The winning image was featured on the cover of Science. Branching Morphogenesis is currently on view (extended through October 2010) at the Futurelab, Ars Electronica, Linz, AustriaEuropean Cultural Capital 2009. Ground Substance, a Sabin+Jones LabStudio installation (designed by Jenny Sabin and Andrew Lucia with Peter Lloyd Jones and Annette Fierro) was exhibited at the Siggraph 2009 Design and Computation Exhibition: Generative Fabrication. The project was also featured on the cover of the American Journal of Pathology.

Jenny Sabin and Peter Lloyd Jones were awarded a 2010 Graham Foundation publication grant for their upcoming book titled LabBook. The Sabin+Jones LabStudio was awarded a Wharton Interactive Media Initiative fellowship.

During 2009-2010, Sabin lectured on her work and research at a number of venues and Universities including the International Smart Geometry Conference in San Francisco, Texas A&M, Skidmore Owings and Merrill, Siggraph 2009, University of Puerto Rico at Ponce, the California College of the Arts, University of Wisconsin-Madison What is Human conference (keynote with Peter Lloyd Jones), the ACADIA 2009 conference titled reform(), Wharton School of Business

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with Peter Lloyd Jones and Andrew Lucia, and at the Penn Humanities Forum on Connections with Peter Lloyd Jones.

The Sabin+Jones LabStudio was invited to exhibit their collaborative work and research at a number of venues including Ars Electronica, the Esther M. Klein Gallery, Slought Foundation, Siggraph 2009 Design and Computation Galleries, the Fertile Ground group exhibition at the IceBox Gallery and the Processing on-line exhibition gallery. Sabin’s individual and collaborative work was published in Mark Magazine, Science, American Journal of Pathology, Computer Graphics World, The Philadelphia Inquirer, the Journal of Mathematics and the Arts, A+U, Nature, the New York Times, National Geographic Magazine, Arts Electronica Center, Digital Creativity and Wired Magazine. Meander, Variegating Architecture, a book by Ferda Kolatan and Jenny Sabin is due out fall 2010.

328. JENNY SABIN AND PETER LLOYD JONES, Sabin + Jones LabStudio, Science

JENNY SABIN and PETER LLOYD JONES of PennDesign and the School of Medicine along with Yang, Engheta and Van der Spiegel of the School of Engineering and Applied Science awarded $2,000,000 National Science Foundation (NSF) EFRI-SEED grant.

The title of their awarded proposal is: “Energy Minimization via Multi-Scalar Architectures: From Cell Contractility to Sensing Materials to Adaptive Building Skins.” EFRI stands for “Emerging Frontiers in Research Innovation” and the subtopic SEED stands for “Science in Energy and Environmental Design.”

creative scene. It also strived to promote a collaborative professional network within the city.

GUY ZUCKER of Z-A studio completed the award winning 14th Street Y community center in the East Village.

The project was featured in The New York Times, New York Magazine and The Architect’s Newspaper. His projects ‘Knot’ community center and ‘First floor penthouse’ won the IA project of the year award. ‘Cardboard Figures’ won the Green Design award from Exhibitor Magazine and ‘Delicatessen’ clothing store was selected for the Contractworld award and expo. Z-A’s projects participated in 8 international exhibitions in the past year; Experimenta, Lisbon; Compotec, Massa-Carrara; The Belarus Biannual, Minsk; and Contractworld, Hamburg to name a few. Selected publications include: Good Magazine, San Francisco; Frame, Amsterdam; The Cool Hunter, www; Interior Design, Shanghai; Sites Archi, Paris; MARU, Seoul; Mark Magazine, Amsterdam.

ALEXANDRA SCHMIDT-ULLRICH cocurated and coordinated a signature event in conjunction with Design Philadelphia entitled Philly Works 09. The exhibit had two major components: showcasing a range of products made in Philadelphia and a photographic documentation of current fabrication/manufacturing spaces in the city. This event provided a forum for designers, artists, industry and students within Philadelphia’s thriving

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NEWS— STUDENT NEWS JAMES BENNETT, ANDREA HANSEN, GREGORY HURCOMB, NAKITA JOHNSON, JOHANNA LOFSTROM, BETTY PRIME, and NATHANIEL ROGERS’ work from Gionata Rizzi’s ARCH 701 studio was featured in the AIA New York Center for Architecture’s Hefland Spotlight Series Exhibition, “Back on the Map: Revisiting the New York State Pavillion at the 1964/65 World’s Fair”.

KWEI CHANG, NICOLAS KOFF, VINCENT LEUNG, and ALEX MULLER received an Honorable Mention in the International Design Competition for the Homeless World Cup Youth and Women’s Leadership Center in Rio, Brazil.

YOUNG-HWAN CHOI won the prestigious urbanSHED International Design Competition.

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ANDREA HANSEN will join the faculty of the Harvard Graduate School of Design for the 2010-2011 academic year as a full-time Lecturer in Landscape Architecture.

BEN LEE’s project “Cloud Blanket”, from Annette Fierro’s ARCH 502 studio, received Honorable Mentions from SEAMLab’s 2010 Scholarship Competition and the 6th Cycle of the 20+10+X Architecture Community Awards.

TIFFANY LI won Silver place in the HNOMA 2009 Innovative Design Competition.

LIWEN MAO and WENQING ZHANG received Honorable Mention for “GreenWalk” their entry in the ULI Hines Competition.

JINKYUNG PARK and YU-HAN SU received Honorable Mention in the Rethinking Home Competition for their project “Circulus” from Matthias Hollwich’s ARCH 701 studio.

JOHN WHEELER received Honorable Mention from Austin’s International ‘TOGS’ Ideas Competition.

PHILLIP M. CROSBY presented a paper entitled “Holey Urbanisms” at the 2009-2010 conference of the Council of Educators in Landscape Architecture in Maastricht, The Netherlands.

DWIGHT ENGEL and KAREN WONG received Honorable Mention from the New Aging Award for their project “daCrib”.

REBECCA FUCHS and Landscape Architecture student Marguerite Graham teamed up with Sarah Cowles, Assistant Professor of Landscape Architecture at the Austin E. Knowlton School of Architecture at The Ohio State University, for “EMPOWER: Visualizing Ecosystem Infrastructure” and were runner’s up for the Pamphlet Architecture #30 Competition.

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NEWS— STUDENT PRIZES AND AWARDS American Institute of Architects Henry Adams Medal The first prize medal is awarded to the top-ranking student in the professional degree program with the highest record in all courses.

First Prize: Kristen Smith The second prize is awarded to the student in the post-professional option with the highest record in all courses.

Second Prize: Matt Choot Arthur Spayd Brooke Memorial Prize Awarded to graduating students for distinguished work in architectural design.

Gold Medal: Julio Guzman Silver Medal: Olga Karnatova Bronze Medal: Matt Choot Paul Philippe Cret Medal Awarded to the graduating student who has consistently demonstrated excellence in design in the Master in Architecture professional degree program.

Awarded to: Adam Hostetler Harry E. Parker Prize Awarded to the student who has an outstanding record in architectural construction.

Awarded to: Janine Sutton Alpha Rho Chi Medal Awarded to a graduating architectural student for leadership, willing service, and promise of professional merit.

Awarded to: Kristen Smith Warren Powers Laird Award Awarded to a student with the highest standing in all courses in the first year of the professional degree program in architecture.

Awarded to: Amanda Morgan

Charles Merrick Gay Scholarship Awarded to the student who has shown outstanding ability in architectural construction and a realization of its relationship to design.

Awarded to: Alexandra Van Orsdale Frank Miles Day Memorial Prize Awarded to the architecture student submitting the best essay in courses in the history and theory of architecture Awarded to: Jennifer Tobias Harlan Coornvelt Memorial Medal Awarded to the student who achieved the most outstanding record in required architectural structures courses.

Awarded to: Kathryn Rufe Mario J. Romanach Fellowship Established in 1984 in memory of one of Penn’s most beloved teachers, the fellowship is awarded to a student entering the final year in the professional degree program, for demonstrated excellence in design, a love for architecture, and the determination to develop as an architect.

Mario J. Romanach served as Professor of Architecture from 1962 until his death in March 1984. He was Chairman of the Department of Architecture from 1971 to 1974.

Awarded to: Valmik Vyas James Smyth Warner Memorial Prize Awarded to the second year student with the highest record in required studio courses. Established in 1938 by Professor George Walter Dawson for a student in Architecture; prize to be used for expenses for a trip to see and study American architecture.

Awarded to: Karli Molter Faculty Prize Awarded to students who have demonstrated exceptional growth and development.

Awarded to: Katherine W. Mandel and Andrea Hansen

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Walter R. Leach II Fellowship Established in memory of Walter R. Leach II, M.Arch ’67, this fellowship is awarded on the basis of academic merit and demonstrated need to students entering the third year.

Awarded to: Michael Wetmore T-Square Club Fellowship Established in 1984 and awarded annually for excellence in design to a student who has just completed the first year. Among the patrons and members of the T-Square Atelier were Penn professors Paul Philippe Cret, Walter P. Laird, John Harbeson, Jean Hebrand, and Norman Rice.

Awarded to: Shulei Weng Mr. and Mrs. William L. Van Alen Traveling Fellowship Awarded to one Architecture student and one Landscape Architecture student who are in the second year of their programs, for summer travel to Europe.

Awarded to: Benjamin Lee Will M. Mehlhorn Scholarship Established in 1989 through a bequest

by Will M. Mehlhorn, BFA ‘30, former architectural editor of House and Garden.

Awarded to the students who have done the best work in the theory sequence.

First -Year Students First Prize: Jennifer Tobias Second Prize: Alexander Knowles Third Prize: Jade Heshmatpour Second-Year Students First Prize: Geoffrey W. Klein Second Prize: Mark Shkolnikov Third Prize: Brett Wiemann Ph.D., M.S. Architecture First Prize: Daphna Half Second Prize: Phillip Crosby The Donald Prowler Memorial Prize Established in 2002 in memory of Penn’s dedicated teacher of environmental architecture. Awarded to the student with an outstanding record in required

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environmental courses and a desire to further sustainable architecture.

Awarded to: David Nix The following awards were made during the Department of Architecture’s annual competition week held at the beginning of the Spring 2010 Semester: Albert F. Schenck- Henry Gillette Woodman Scholarship Awarded to students in the first year of the professional degree program on the basis of a competition.

First Prize: Amanda Morgan Second Prize: Uhn Choi and Laura Sussman Third Prize: Schuyler Cadwalader and Steven J. Guerrisi E. Lewis Dales Traveling Fellowships Established in 1963, under the will of E. Lewis Dales, for travel abroad during the summer prior to students’ final year in the professional degree program.

Mikael L. Avery Soobong Bang Sarah F. Bulgarelli Yi-Ting (Alice) Chiu Tia G. Crocker Christina Dreibholz Michael J. Gloudeman Michael F. Golden Hyungwoo Kim Tiffany Li Chia Wei Liao Qian Liu Daniel M. Luegering Kin Chun Ma Alexandria M. Mathieu Thomas Michael Karli Molter William Netter Elizabeth Piller Cristina Rodriguez-Vazquez Nathaniel Rogers Sanam Salek Myongki Seong Mark Shkolnikov Andrew Tetrault Stephen Van Leer Alejandro Vazquez

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Alina Vilas Maria Federica von Euw Valmik Vyas Michael Wetmore Brett Wiemann Sara Witschi Ildo Yang William Zembrodt The 2009 John Stewardson Memorial Competition in Architecture Statewide competition Winner: Joseph Littrell Honorable Mention: Adam Hostetler 2009 PennDesign John Stewardson Memorial Competition Winners of the school’s internal competition; entered in the statewide competition.

First Prize: Adam Hostetler, Joseph Littrell, Kristen Smith Honorable Mention: Matt Choot 330. HYESEUNG LEE 331, 332. ARCHITECTURE 501 STUDIO 333. KITTIYA CHOOWANTHANAPAKORN 334. HUI YING CANDY CHAN 335. GREG HURCOMB

EVENTS— FALL 2009– SPRING 2010 FALL 2009 October 22 JASON JOHNSON Future Cities Lab, San Francisco November 5 FUMIHIKO MAKI Maki and Associates, Tokyo November 9 CONVERSATIONS 3.1: NEW FORMS OF PUBLIC SPACE Participants: James Corner, Matthew Ritchie, Julie Beckman, Keith Kaseman Moderator: Marilyn Jordan Taylor November 10 BJARKE INGELS Bjarke Ingels Group, Copenhagen November 16 GEOFF MANAUGH BLDGBLOG; Dwell Magazine The Turbulence Biennial November 19 JOSEPH RYKWERT Paul Philippe Cret Professor Emeritus of Architecture, University of Pennsylvania What Makes Your Eye Judicious?

December 7 DAVID LEATHERBARROW Professor of Architecture, University of Pennsylvania Sense and Nonsense in Contemporary Architecture

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178 EVENTS — FALL 09–SPRING 10

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SPRING 2010 January 28 CONVERSATIONS 3.2: THE BARNES FOUNDATION ON THE PARKWAY Participants: Billie Tsien, Tod Williams, David Leatherbarrow, Derek Gillman, Aileen Roberts Moderator: Marilyn Jordan Taylor PennDesign Conversations Series February 17 GREGG PASQUARELLI SHoP Architects, New York The EwingCole Lecture

February 24 DOMINIQUE PERRAULT DPA Dominique Perrault Architecture, Paris The Turner Construction Lecture March 1 ANTHONY VIDLER Dean, School of Architecture, Cooper Union, New York March 22 ZAHA HADID Zaha Hadid Architects, London The Integrated Product Design Lecture March 25 STAN ALLEN Dean, School of Architecture, Princeton University; Stan Allen Architect, New York April 22 THOM MAYNE Morphosis, Santa Monica The Sheldon Fox/Kohn Pedersen Fox Lecture

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ARCH 501 PHU HOANG (COORDINATOR) Jordan Barr Paul Castellana Patrick Corrigan Wei Gao Young Bum Kim Laura Lo Andrew Loh Natali Medina Amanda Morgan Jennifer Tobias Liyan Wan Meagan Whetstone JULIE BECKMAN Katherine Comly Elizabeth Hobart Eva Jermyn Nam il Joe Michelle Ma Christopher McAdams Chad Murphy David Nix Pannisa Praneeprachachon Sudipto Sengupta Renelle Torrico Hung Kit Yuen SIMON KIM Leslie Cacciapaglia Lucienne Canet Steven Guerrisi Trevor Haav Ihnil Kim Jae Won Kim Evan Litvin Kathryn Rufe Catherine Sheahan Andreas Tjeldflat Sarah Wan Shulei Weng Ying Xu WILLIAM FEUERMAN Travers Broughton Fei Chen Eric De Feo Natasha Dunwoody Brian Heller Nathan Hemming Alexander Knowles Qiyao Li Martin Miller Lea Oxenhandler Soo Kyung Suh David Tao Allison Weiler BENJAMIN KRONE Gouverneur Cadwalader Nga Ting Chan Uhn Choi Jason Jackson Hanxiao Liu Nicola Mcelroy Joseph Piorkowski Bowen Qiu Laura Sussman Anna Umantz Sarah Wolf Yang Zhao ARCH 502 ANNETTE FIERRO (COORDINATOR) Katherine Comly Trevor Haav Nathan Hemming Jade Heshmatpour Nam il Joe Ihnil Kim Young Bum Kim Laura Lo Andreas Tjeldflat Anna Umantz Allison Weiler Shulei Weng Hung Kit Yuen JULIE BECKMAN Travers Broughton Nga Ting Chan Eric De Feo Natasha Dunwoody Jason Jackson Qiyao Li Hanxiao Liu Amanda Morgan Joseph Piorkowski Catherine Sheahan Jennifer Tobias Yang Zhao

KOH KIAN GOH Uhn Choi Steven Guerrisi Andrew Loh Michelle Ma Natali Medina Martin Miller Chad Murphy Lea Oxenhandler Laura Sussman Renelle Torrico Liyan Wan Sarah Wolf KEITH VANDERSYS Leslie Cacciapaglia Fei Chen Brian Heller E Ashley Hobart Evan Litvin David Nix Oladipo Obilana Pannisa Praneeprachachon Bowen Qiu David Tao Meagan Whetstone Ying Xu JENNY SABIN Jordan Barr Gouverneur Cadwalader Lucienne Canet Patrick Corrigan Eva Jermyn Jae Won Kim Alex Knowles Christopher McAdams Nicola Mcelroy Kathryn Rufe Sudipto Sengupta Sarah Wan ARCH 601 CATHRINE VEIKOS (COORDINATOR) Mikael Avery Tia Crocker Rebecca Fuchs Boraam Han Daniel Luegering Sanam Salek John Scherer Myongki Seong Mark Shkolnikov Andrew Tetrault Michael Wetmore William Zembrodt GUY ZUCKER Young Hwan Choi Christina Dreibholz Michael Gloudeman Michael Golden Wing Kwan Benjamin Lee Sunghyun Park Elizabeth Piller Adam Pyse Karmen Rivera Stephen Van Leer Alexandra VanOrsdale John Wheeler SCOTT ERDY Shannon Brennan Daniel Ebuehi Leslie Fulton Thomas Giannino Geoffrey Klein Thomas Michael Derek Molenaar Alina Vilas Samuel Warden-Hertz Chul Ho Woo Brian Zilis BRIAN PHILLIPS Yi-Ting Chiu Jihyun Chung Ross Cockrell David Eaton Peter Hanby William Heyer Dukyoung Lee Tiffany Li Eli Linger Christina Marconi Jessica Marvin Alejandro Vazquez HINA JAMELLE Soobong Bang Lauren Giamundo Hyungwoo Kim Yongdae Kim Chia Wei Liao

Kin Chun Ma Karli Molter Bradley Schnell Valmik Vyas Brett Wiemann Sara Witschi Ildo Yang KRISTINA MANIS Sarah Bulgarelli Tzu-Ching Lai Qian Liu Alexandria Mathieu William Netter Cristina Rodriguez-Vazquez Riggs Skepnek Qianqian Sun Maria von Euw Margaret Yoo ARCH 602 FERDA KOLATAN (COORDINATOR) Yi-Ting Chiu Michael Gloudeman Michael Golden Wing Kwan Daniel Luegering Thomas Michael Myongki Seong Valmik Vyas Chul Ho Woo Ildo Yang William Zembrodt FRANCA TRUBIANO Mikael Avery Young Hwan Choi Jihyun Chung Ross Cockrell Thomas Giannino William Heyer Christina Marconi John Scherer Bradley Schnell Margaret Yoo HINA JAMELLE Tia Crocker Hyungwoo Kim Tzu-Ching Lai Tiffany Li Qian Liu Kin Chun Ma William Netter Cristina Rodriguez-Vazquez Mark Shkolnikov Qianqian Sun Sara Witschi PHU HOANG Daniel Ebuehi Alexandria Mathieu Sunghyun Park Sanam Salek Alexandra Vanorsdale Alina Vilas Maria Von Euw Michael Wetmore John Wheeler Brian Zilis SHAWN RICKENBACKER Soobong Bang Leslie Fulton Lauren Giamundo Yongdae Kim Benjamin Lee Dukyoung Lee Chia Wei Liao Derek Molenaar Elizabeth Piller Adam Pyse Andrew Tetrault BENJAMIN KRONE Shannon Brennan Sarah Bulgarelli Christina Dreibholz David Eaton Boraam Han Geoffrey Klein Eli Linger Jessica Marvin Stephen Van Leer Samuel Warden-Hertz Brett Wiemann ARCH 701 ALI RAHIM (COORDINATOR) Ian Doherty Adam Hostetler Riziki House John Jakubiec Hyunsoo Kim

Hajung Lee Thabo Lenneiye Kimberly Nofal Becky Shoemaker Kristen Smith ENRIQUE NORTEN Marcia Budet Alvarado Tiffany Dahlen Chi Dang Gera Feigon Jae-Hun Hur Olga Karnatova Ginna Nguyen Jason Smith So Sugita Dale Suttle Jessica Yubas MOHAMAD AL KHAYER, PETER MCCLEARY Justin Chitwood Weijia Dong Joshua Evans Jonathan Kayton Ding Liu Jamie Mastro James Poulin Julie Siu Karyee Tam Jaclynn Treat MATTHIAS HOLLWICH Alexa Baker Ana Blomeier Benjamin Callam Dwight Engel Adam Fettig Alexander Lee Joseph Littrell Katherine Mandel Crista McDonald Jinkyung Park Yu-Han Su Karen Wong GIONATA RIZZI James Bennett Andrea Hansen Gregory Hurcomb Nakita Johnson Johanna Lofstrom Betty Prime Nathaniel Rogers HOMA FARJADI Colin Applegate Richard Baxley Carrie Chan Hui Ying Candy Chan David Chen Kuan-Ting Fang Karen Glik Andrea Gulyas Julio Guzman Erick Katzenstein Virginia Melnyk Raphael Osuna Segarra Juliane Roberts Margaux Schindler Janine Sutton Jennifer Trumble PP@D ARCH 703 WINKA DUBBELDAM Christopher Allen Nidhi Arya Matt Choot Kittiya Choowanthanapakorn Andrew Haney Peng Hong Jun Young Lee Seongbeom Mo Jeffrey Palitsch Jieyu Pu Qiao Song Kadambari Srinivasan Ana Untiveros-Ferrel FERDA KOLATAN Mahdi Alibakhshian Jacob Chandler Yao Chen Florina Dutt Chun Fang Ji Su Han Cheng-Wei Lin Danielle Rivera Keiko Vuong Xuedong Wang Ziyue Wei Tya Winn Jihyoon Yoon Jingyi Zhao

ROLAND SNOOKS Rui Bao James Bowman Qi Chen Emaan Farhoud Hye-Seung Lee Marta Mackiewicz Liwen Mao Joo Hyung Oh Changsoon Park Andrew Swartzell Han Tang Yang Wang Yiqin Wang Wenqing Zhang ARCH 704 ALI RAHIM (COORDINATOR) Richard Baxley David Chen Matt Choot Tiffany Dahlen Olga Karnatova Alexander Lee Virginia Melnyk Jieyu Pu Juliane Roberts Margaux Schindler Kristen Smith Kadambari Srinivasan MARION WEISS Rui Bao Megan Burke Weijia Dong Gera Feigon Peng Hong Erick Katzenstein Hye-Seung Lee Thabo Lenneiye Ding Liu Katherine Mandel Jinkyung Park Rebecca Popowsky Riggs Skepnek Lily Trinh MARTIN HAAS/ STEFAN BEHNISCH Alexa Baker Ana Blomeier Kittiya Choowanthanapakorn Chi Dang Chun Fang Jun Young Lee Cheng-Wei Lin Raphael Osuna Segarra Jeffrey Palitsch Janine Sutton Xuedong Wang Ziyue Wei Sean Williams Jihyoon Yoon CECIL BALMOND/ ROLAND SNOOKS Qi Chen Dwight Engel Joshua Evans Joseph Littrell Liwen Mao Changsoon Park Jason Smith So Sugita Dale Suttle Andrew Swartzell Han Tang Yang Wang Yiqin Wang Wenqing Zhang STEPHEN J.KIERAN/ JAMES TIMBERLAKE Nidhi Arya James Bowman Marcia Budet Alvarado Benjamin Callam Justin Chitwood Andrea Gulyas Peter Hanby Andrew Haney John Jakubiec James Poulin Danielle Rivera Jaclynn Treat Jingyi Zhao HOMA FARJADI Mahdi Alibakhshian Colin Applegate Yao Chen Rebecca Fuchs Karen Glik Ji Su Han

Adam Hostetler Hajung Lee Joo Hyung Oh Qiao Song Ana Untiveros-Ferrel WINKA DUBBELDAM Carrie Chan Hui Ying Candy Chan Kuan-Ting Fang Adam Fettig Aroussiak Gabrielian Julio Guzman Jamie Mastro Melinda Mcmillan Julie Siu Karyee Tam Jennifer Trumble Karen Wong JEREMY EDMISTON Christopher Allen Jacob Chandler Florina Dutt Emaan Farhoud Jae-Hun Hur Hyunsoo Kim Johanna Lofstrom Crista McDonald Becky Shoemaker Yu-Han Su Jessica Yubas ARCH 706 ANNETTE FIERRO (COORDINATOR) Kimberly Nofal Andrea Hansen Gregory Hurcomb Nakita Johnson ARCH 800 PHD DISSERTATION Peter Laurence Esra Sahin Steven Grant Swartz Lejla Vujicic Grace Ong Yan

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