2013 ARCHI WORKS
CHIMAOBI IZEOGU RICE SCHOOL OF ARCHITECTURE
ARCHI WORKS CHIMAOBI IZEOG U coi@rice.edu 5504 Ardmore Street Houston TX 77021 404 583 4613 Ri ce University School of Architecture M.Arch. 2014 Yale University Architecture Major B.A. Architecture 2007
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CONTENTS
TO AND THROUGH 3 – 12
POCHÉ FIELD 13 – 16
PLATFORM OF PUBLICS 17 – 28
SHOPPING SENSORIUM 29 – 36
FROM THE GROUND, UP 37 – 50
STREAM OF STRANDS 51 – 52
A VERTICAL HOUSE 53 – 56
PLAT JOURNAL 57 – 62
BROCHURE 63 – 64
TO AND THROUGH CORE DESIGN STUDIO 1 CENTER FOR CONTEMPORARY STUDIES AT RICE An institution like Rice is an academic enclave, a walled enclosure of activity in a larger city. The campus is made up of buildings, or objects, carefully positioned and containing different academic studies that are essentially screened from each other and the outside public by heavy, brick walls. Through this project I reformalize the notion of institution encourage the interaction of multiple publics: research fellows and professors, teachers and students, and visitors and passersby. The arrangement of program into research, discourse, and teaching neighborhoods within a clearly defined object penetrated and intersected by public figures acknowledge the fact that research and academic study without outside input, exposure, and relevance are not as meaningful. Thus, the public figures, clad in warm wood, filled with light and containing public access points and circulation, become new sites of interaction, overlap, and overflow, mixing new ideas and fresh discoveries generated by the center with the superlatives of a traditional university campus.
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SITE-BASED RELATIONS I use sight lines from nearby public spaces to define the voids and create openings in the envelope. The red site lines indicate the greatest amount of foot traffic and the largest influx of potential visitors. The CCS is located on a strong axis linking a number of outdoor public spaces and academic buildings.
George R. B ro w n H a l l
Va l h a l l a
CCS
RSA
PATTERNING SPACE In the study model, I explore program adjacencies relative to cuts into the object. I use the voids to activate adjoining spaces through day lighting and circulation. Clustering of complementary programs around the voids encourages user overlap.
Rice Chapel
B ro c h s t e i n Pavilion
F o n d re n Library
OBJECT-FIGURE FORMAL CONCEPT
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A
B
A+B
VOID-FIGURE IMPACT DIAGRAM
Figure 3 Fellows’ research suite, open air terrace, open studio space for transparent research and conversation between researchers and the visitors
Figure 2 Deep daylight penetration, special collection, secondary stair, and separation of admin suite from fellows’ research suite
Figure 1 Site lines, entry, separation of teaching from research, and primary circulation
PROGRAM GROUPS Exhibition Prep / Cafe
Auditorium
Classroom / Seminar Room
Gallery
Green Room
Admin Suite
Restrooms
Library / Special Collection
Research Suite
Circulation
Reading Room
Restrooms
PLAN LEGEND 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23
Terrace Campus Entry Cafe Restrooms Exhibition Storage Exhibition Prep Room Public Entry Reception Cafe Seating Large Exhibition Green Room Auditorium Projector Room Reading Room Library Stacks Small Seminar Large Seminar Medium Classroom Large Classroom Student Lounge Fellows’ Suite Conference Room Admin Suite
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4 19
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22 23
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14 5 10 9
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2
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15 12
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1
3
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ENVELOPE
ORGANIZATION
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Roof
Exterior Skin
Structure
Interior Skin
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FONDREN LIBRARY
CCS
LOOP ROAD ELEVATION
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STUDENT CHAPEL
STUDENT CENTER
POCHÉ FIELD CORE DESIGN STUDIO 2 URBAN COMPOUND FOR CLUB LIFE
The ambition of the Poché Field is two part: internally, to establish the outdoor deck and water features as points of attraction and affiliation with a particular user and program group and externally to position club life in a way that it can engage activity on Colquitt Street, the up-and-coming gallery row, while defining a hard edge along Kirby, a major thoroughfare. The following quote from Tschumi’s Manhattan Transcripts is useful in framing the corridor as an organizational type for event space: “Rather than merely indicating directional arrows on a neutral surface, the logic of movement notation ultimately suggests real corridors of space, as if the dancer had been ‘carving space out of a pliable substance’; or the reverse, shaping continuous volumes, as if a whole movement had been literally solidified, ‘frozen’ in to a permanent and massive vector.” Bernard Tschumi Manhattan Transcripts 1976 – 1981
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View of stair and poché space between galleries
View of field of curvilinear walls and street activity
Precedent: Kimbell Art Museum 1966 – 1972
Precedent: Workers’ Dormitory 2004 – 2005
The Kimbell Art Museum was designed by Louis Kahn and is located in Fort Worth, TX. The museum houses Asian, non-Western, and Europeant art. The building contains three courtyards and is distinguished by repetitive use of the cycloid as a design motif. The cycloid allows for the conditioning of interior space into celebrated served gallery and public spaces relative to serving spaces that occur between barrel-vaulted volumes. Volume is arranged in a rigid and heavily striated field punctuated only by the light courts that occur within public, served space.
Toyo Ito designed the Dormitory for SUS Company in Fukushima, Japan. Ito endeavored to use an aluminum structural field to improve the livability of employee housing.
Club Life View Along Colquitt Street
Hard, flat, undulating Aluminum walls softly envelope private rooms, which alternate with common zones that act as meeting areas, gallery space and internalized outdoor space. Exposed aluminum to the “exterior” helps to distinguish between “inside” and “outside,” which allows a single wall to perform differently depending on program.
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Entry Entourage
Club Life: Section Looking North
Pools
Changing / Sitting Rooms
Parking & Access
PLATFORMS OF PUBLICS CORE DESIGN STUDIO 3 LOCKWOOD BRANCH LIBRARY A LANGUAGE LEARNING CENTER FOR HOUSTON Information in general proliferates while the publics that access them become increasingly dispersed through the use of and preference for technology. While the public library still functions today as a structure for the storage of information, that information takes on many forms and is contained not only in books, cds, and recordings, but also in the very people that use and work in the library. This collective knowledge is most readily accessed in sites such as the library, which give physical form to the idea that people learn from being around each other. Combining this notion of library with the specificities of a strategic architecture and the things that define culture—dance, music, literature, and the spoken word establishes a system for continued individual and collective growth.
Located on a fringe site between two ethnic enclaves, this project positions a multilingual library in Houston as a site for personal discovery. From this idea, two powerful motivations emerge linking the library with architectural ambitions: to promote physical experiences of exchange—the sharing of information and the potential to create new connections by bridging a divisive urban line, and visceral experiences of immersion—the reading of architecture combined with the library’s collection of culture within. The thickened, dual ramp is a useful organizational strategy for positioning the two languages of the library’s collection—English and Spanish—as a means of preserving the knowledge and linguistic heritage while allowing for platforms of exchange where the two language collections pinch together, to define collective space.
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AGE Of Greater Fifth Ward Residents
36% 53%
are under the age of 20 and are between 20 and 64
“Greater Fifth Ward Community Health Profiles” City of Houston, DHHS, 1999-2003
RACE & ETHNICITY In 2003, the majority of Fifth Ward Residents were
63% 35%
Black, NonHispanic Hispanic
“Greater Fifth Ward Community Health Profiles” City of Houston, DHHS, 1999-2003
NATIONAL ORIGIN Of the total population for the Fifth Ward in 2003
70% 18%
were native Texans were foreign born
“Greater Fifth Ward Community Health Profiles” City of Houston, DHHS, 1999-2003
CASE STUDY Biblothèque Sainte-Genèvieve, 1850 Sainte-Genèvieve declares itself as a library for collective gathering through its strong civic presence and location. The library was constructed when the book was particularly emblematic of a democratic society, and a large portion of the book collection literally makes up the library walls. The center space is liberated, and structural concrete and steel, which had gained popularity by the mid-19th century, elevated the main room to public status, housing an array of tables where users would congregate to consume knowledge. On the exterior, the names of notable literary figures act as sign, in part symbolizing the triumph of book over architecture in representing an enlightened society.
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STRUCTURING PUBLICS
E SNPG E A LIS SNPGNIS H ANLISH IS H H
Program/Furniture on Ghosted Floor Plates and Exploded Envelope Faces
Browsing of Knowledge Sharing of Information
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D
North Drop-Off Bus & Shared Vehicles
Outdoor Seating Planted area Shaded seating
East Parking 5 off-street spaces
“The Street” Circulation + Ref desk Cafe + Amenities
Level 4 Study Carrols/Lounge
A
C Entry Bar Book return Information counter
Bicycle Hub 20 bicycle carrols Pervious ground cover
South Drop-Off Bus & shared Vehicles
B Level 1 Reference/Cafe/ Language Tables
Site Approach Strategy
Level 3 Reprographics/ Speech Recording
Outdooor Seating Planted area Shaded seating
Circulation Strategy
Level 2 Language Learning Lab
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Section A
Elevation C
Section D
Elevation B
A LANGUAGE LEARNING CENTER
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SHOPPING SENSORIUM CORE DESIGN STUDIO 4 FOOD DISTRIBUTION AND CONSUMER RESEARCH CENTER FOR RICHLAND HILLS, TX One of the driving imperatives of the American landscape and of large scale architecture in general is the confrontation of sameness, placelessness and homogeneity most readily described by two of the largest spatial conditions of the built environment: the suburb and the highway. This architectural research and design proposal looks specifically at the edge node, the point of intersection between freeway and other transportation infrastructures, as a site for economic and disciplinary speculation. Historically, these spatial conditions provoked a number of architectural and urban planning responses to stimulate redevelopment and economic growth within the confines of traditional downtowns to bring a halt to suburban expansion. Contemporary urban theory now imagines specific qualities of fringe urbanization might be useful for
articulating an architectural project for collective experience. In Drosscape: Wasting Land in Urban America, Alan Berger calls for a reassessment of spatial terms in order to mine the potentials from sprawl and urbanization outside of traditional city centers. Similarly, in “The World According to Architecture: Beyond Cosmopolis,” Harshim Sarkis also calls for a revisitation of conceptual and spatial vocabulary, which suggests that designers should consider embracing some of the qualities of large, undefined, city-like regions. How can an organization system that embraces select qualities of sameness ever achieve any new forms of collective experience and autonomous landscape realized through an architectural project? Rapid urbanization of areas outside of traditional cities and the continued
expansion of transportation infrastructure—highways, train lines, and bicycle pathways—makes the nodes at which these infrastructure pathways cross ripe for architectural exploration in three distinct areas: 1) Overlap of large scale infrastructural systems and pedestrian pathways allowing for regional architecture’s reengagement with the pedestrian. 2) Opportunities for speculative development and architectural projects directed towards a multivalent user group 3) Opportunities to identify and reposition commercial consumption as a paradigm for collective consciousness
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FROM THE GROUND, UP T O TA L I Z AT I O N S T U D I O MULTIFAMILY HOUSING IN PARIS, FRANCE The exercise of designing a house brings into a question the designer’s bias—with respect to Architecture, and with respect to the notion of house—in response to the client’s needs. The prospect of designing multiple homes, to be inhabited by multiple families in relation to one another, calls for greater rigor and fundamental consideration of the basic premise: WHAT IS A HOUSE TODAY? This house-making process began with essential ideation and an understanding of what the house is from the perspective of an owner, an architect, and a critic. Terms such as “comfort, commodity, and delight” were faced with the banal realities of scale, orientation, and boundary, as well as the essential qualities of narrative, cadence, and whimsy. It is in fact the final three terms, and their architectural translations, that have a driving presence in this project: a site comprised of steps and terraces that establish a narrative for urban comprehension, and four forms that establish a rhythm and common structural logic, but with ample room for whimsy, playfulness, and mutation. When combined with the essential elements of the urban city and the specific characteristics of Paris—compacted earth and the impenetrable city wall—a refreshed understanding of life and city emerges. The site for the home is both horizontal and vertical, consisting of the street, the slope, and the walls of the neighboring buildings. What is the house in this condition?
It is a WINDOW, to understand the city; It is a CONTAINER, to hold one’s life between inside and outside; It is a SEQUENCE of turns, lifts, and thresholds that speak to the soul of the self. These ideals are made manifest in the project by the interaction of two spiraling structures that spring from the ground and reorient the inhabitant to different views of the city and nearby buildings. The first spiral consists of concrete beams that contain the private and support spaces of the house— bedrooms, bathrooms, kitchens, and private offices—connected to the outside via large windows and terraces. The second spiral consists of a steel structure clad in translucent stone and containing effusive light, circulation and building services. Public spaces occur on top of and between the concrete boxes, characterized by terra cotta panels and tile that wrap from outside to inside, blurring the line between exterior and interior and increasing the sense of community of individuals living in adjacent houses.
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ACC
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Rue d
TERRASE
Gymnase Alice Millat
ENTRY COURT Villa Soutine
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au
chere
t Rou
enfer
D TION O STA
METR
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CESS
des Artistes
N TATIO RER S
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BUS STOP
Metro Transit
MATERNELLE Les Petites Souris du Mont
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RER B
Greater Paris Train Line
cques
St-Ja
Level 3
42 Level 6
Level 5
Level 4
Level 2
Level 1
DENSITY
TRANSPOSITION
PROFILE
SITE STRATEGY
Figure
A HOUSE
BUILDING STRATEGY
Ground
Garden
A House
Vertical Stacked Boxes
Spiraling Structures
Re-Orientation and Views
Conceptual Spiral
CIRCULATION
SERVICE ZONES
STRUCTURE
Secondary Spiral Framing with Circulation. Framing supports transparent stone panel system and allows for dramatic shadows from light filtering through the interior.
Building Service Zones are located beneath and adjacent to stair runs. Wet walls are located next to these zones.
Primary Spiral Wall-Beam Bearing Points. Wall-beams change orientation on each floor structuring boxes that frame views of the site and adjacent buildings.
W&S CW HW
MEP
STUDY MODEL
Water & Sewage pipes fit within the spiraling service zones and are seperated into two individual systems, one for each house.
Two intertwined spirals form structural and compositional stability. The brown surfaces define primary structure.
SUNSCREEN SYSTEM Level 6
30X175mm Ovoid-shaped terracotta sunscreen Adhesive or spring-device 20X20mm metal tube
Level 5
STRUCTURAL SYSTEM Sand-blasted concrete wall finish 200mm reinforced concrete beam-wall
Level 4
FACADE SYSTEM
Level 3
Terracotta rainscreen panels 45mm airspace Mounting bracket 100mm rigid insulation Moisture barrier
Level 2
GLAZING SYSTEM Sky-Frame 2 insulated window system
Level 1
FOUNDATION 250mm reinforced concrete slab 600X600mm continuous concrete grade beam 600mm diam. concrete pylon
Foundation
RETAINING WALL SYSTEM 100x200X450mm cut stone granite blocks 50mm airspace Mounting bracket 100mm rigid insulation Moisture barrier 200mm reinforced concrete back-up wall
Overlay
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STREAM OF STRANDS TECHNOLOGY II - STRUCTURES TRAIN STATION CANOPY DESIGN FOR HOUSTON Bounded to the west and north by freeways, a new commuter train station proposed near the edge of Downtown Houston is situated between the two scales of urban towers and highway infrastructure. The form of the canopy—curving and ebbing strands of steel, glass, and light—takes cues from interlocking tracks at the platform level and the freeways beyond. The canopy and train station provides a visual transition from street to transportation and unites the elevated plazas of the adjacent buildings.
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VERTICAL HOUSE METHODS & FORM II ARTIST’S RESIDENCE AND STUDIO IN CHELSEA NY
The Vertical House is designed for a sculptor and resident interested in movement and light. This project is driven by vertical surfaces, which pin the floors together and bring unity to the spatial composition. Wood and concrete planes provide a backdrop for the display of the resident artist’s personal art work and collection of Rauschenberg Combines, respectively. Split levels make these installations visible from multiple vantage points. The dominant feature on the south elevation is the sculptural “fire escape,” which performs double duty as the resident’s main stair as well as a private platform to view public space. The occupant has views of multiple spaces at once. Large expanses of glass on the north and south orientation open the gallery and residence to daylight and views from the street. The west elevation makes a modest gesture towards the Highline, which creates a narrow, but important reveal that, coupled with north facing clerestory windows, admits light into the core of the building.
Section Diagrams
Study Sketches
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Study Models
Section Looking East
Study View Along the High Line
Ground Level Plan Showing Sight Lines and Daylight Access
Rauschenberg Combines
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PLAT JOURNAL P U B L I C AT I O N S
ARCHITECTURE JOURNAL RICE UNIVERSITY Beginning with critical conjectures that stem from studio production, PLAT Journal has branched out, seeking to position the optimism of student work and student voices with the ideas of well-established practitioners and theorists already in the field though a unique “call and response” format. We at PLAT have just published our sixth journal, and are expanding the our representational medium to include artist contributions in the form of music, video, sculpture, and image. While we remain fully devoted to producing a literary work, we continue to seek opportunities to collaborate with other authors in order to fold the launch of each issue into PLAT’s explorative and interpretive agenda.
PLAT 0.5 Off the Ground Fall 2010
PLAT 1.0 Imposter Spring 2011 Copy Editor
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PLAT 1.5 Representation Fall 2011 Copy Editor
PLAT 2.0 Mind the Gap Spring 2012 Copy Editor
Excerpt: “On the Bias,” Introduction to PLAT 2.5 Chimaobi Izeogu and Mary Casper Editors In his 1984 “(Post) Modern Polemics,” Hal Foster writes, “Architectural postmodernism exploits the fragmentary nature of late-capitalist urban life; we are conditioned to its delirium even as its causes are concealed from us.”4 Both modernist and postmodernist polemics applied a generalized, some might argue disinterested, “view from above.” Unlike past generations’ emphasis on historic representation or textuality, our spotlight on the bias as an engaged knowledge resulting from practice, lends coherence to the fragmented and multiple forces at work in every architectural operation. Postmodernism’s delirium is hereby reconciled through the subjective lens of the individual, and through the harnessing of bias, richer, more diverse architecture can exist. PLAT 2.5 On the Bias Fall 2012 Co-Editor-in-Chief
“Bias is not only present in architecture’s representation, but now constitutes a representational medium and technique of conveying architectural ideas all its own.”
Bias is not only present in architecture’s representation, but now constitutes a representational medium and technique of conveying architectural ideas all its own. The bias of the historiographer, of the architect, of the landscape architect, of the artist, of the researcher, of the institution, of the subject, and of the biographer are collected in PLAT 2.5 to counter any remaining presumptions of architecture’s universality and to forge new conceptual territory in the translation from drawing to building. The question of bias is no longer Whether, but How. 4 Hal Foster “(Post) Modern Polemics,” Perspecta Vol. 21 (1984): 148.
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Excerpt: “Collective Disruption,” Introduction to PLAT 3.0 Chimaobi Izeogu and Mary Casper Editors Our moment in history is defined by an experience of crisis – a sensitivity to our environment – ranging from the ecological to the social. Architecture is often described as a slow art, a criticism that questions architecture’s capacity to deal with rapid cultural change. Yet it is the very relationship between the speed of design and the structures in which design must operate that gives architecture particular and potent agency. When confronted with a shift or breakdown in systems, architecture can invent fresh ground. As visionaries of the collective realm, architects are uniquely trained to imagine such moments not as merely temporary disruptions of a coherent, continuous time-line, but rather as a productive pause. Virilio writes: PLAT 3.0 Collective Disruption Spring 2013 Co-Editor-in-Chief
“To regard crisis as solely destructive or worse, to cloak it in sensationalism, is to obscure what is truly interesting about the breakdown of normative operations: embedded in the catastrophic event are latent alternatives, both fantastical and every day, poised to become the future city.”
The vastness of space is no longer sought except as a means of putting into question the experience of discontinuity.. Paradoxically, it’s the extreme mobility which creates the inertia of the moment, instantaneity which would create the instant! This mobility of the synoptic trajectory, in modifying the subject’s point-ofview, is going to allow him [sic] the discovery of what, somehow, was already visible.1
In this issue of PLAT, we are not interested in extremity; rather, we have an extreme interest in intensifying the instant. PLAT 3.0 is not a disaster response but the asking and answering of questions undeniably linked to the condition of living in a volatile society. To regard crisis as solely destructive or worse, to cloak it in sensationalism, obscures what is truly interesting about the breakdown of normative operations: embedded in the catastrophic event are latent alternatives, both fantastical and every day, poised to become the future city. 1 Paul Virilio, “Part IV,” in Cyber Reader, ed. Neil Spiller (London: Phaidon, 2002), 92 – 95.
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Managing Editor Sean Billy Kizy Launch Coordinators Sam Biroscak and Amanda Li Chang Launch / Exhibition Committee Maia Simon Michael Kapinus Michael Sinai Patrick Daurio Shop Manager Kyle Byrne
BROCHURE P U B L I C AT I O N S Yale University Ink & Vellum Architecture Society
Concept
Contributing Board Members
Initially, Seema and I set out to make a strong connection between the brochure and the subject it described: the study of Architecture.
Critic & Director Sophia Gruzdys
Using a series of folds, we wanted the brochure to become a container of some kind—a useful object that a person could make when he or she was finished reading the information instead of throwing the brochure away. Sophia Gruzdys, acting Director of Undergraduate Studies for the major, liked the concept, but thought the initial execution was too cumbersome. “Metaphorically, the brochure is a container—for student work,” she told us. “But, I like the idea of the fold. Can you do what you want in a single move?” she asked. As it turns out, a single move was quite effective; the resulting “triangle shape” became part of the design aesthetic. As for the fold, it proved useful as a “pocket” to carry the would-be keepsake: an attractive vellum insert/ bookmark with the school’s name, major, and web address. The vellum insert is an image of a lamp shade, courtesy of Constance Bowen ’08.
Concept Design Chimaobi Izeogu & Seema Kairam Content Selection Chimaobi Izeogu Layout Chimaobi Izeogu Writing/Text/Font Seema Kairam & Aleksandr Bierig Printing/Finance Henry Chan Artwork Yale Undergraduate Major Class of 2006-08
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2006 - 2007
Core Classes & Electives
The Undergraduate Major in Architecture
ARCH 150a - Introduction to Architecture, Alexander Purves ARCH 249a - The Analytic Model, Emmanuel Petit ARCH 250a - Methods & Form in Architecture I, Victor Agran & Amy Lelyveld ARCH 344a - Urban Life & Landscape, Elihu Rubin ARCH 450a - Senior Studio, Turner Brooks & Adam Hopfner ARCH 490a - Senior Research Colloquium, Karla Britton ARCH 495a - Senior Research Colloquium Urban Studies, Karla Britton ARCH 152b - Introduction to Spatial Language In Design, Kent Bloomer ARCH 154b - Drawing Architecture, Sophia Gruzdys ARCH 161b - Introduction to Structures, James Axley ARCH 162b - Materials in Architecture, Susan Farricielli ARCH 251b - Methods & Form In Architecture II, Sophia Gruzdys and Dean Sakamoto ARCH 342b - Eero Saarinen and His Times, Eeva-Liisa Pelkonen ARCH 385b - New Haven & the American City, Cynthia Farrar, Stephen Lassonde, Alan Plattus & Douglas Rae ARCH 914b - Built Environments & the Politics of Place, Dolores Hayden
The undergraduate architecture major at Yale University attempts to place architecture within the context of a larger liberal arts education. The program is not envisioned as a comprehensive preparation for professional practice, rather as a general approach to architectural studies. Younger students are encouraged to explore architectural history, urban studies and other disciplines. In the sophomore year, those interested in applying to the major enroll in Alexander Purves’ Introduction to Architecture (ARCH150a), where students begin their inquiry into the basic history and fundamental tenets of architectural principles. Exploratory design projects invite students to experiment with the properties of form, light, and space. Second semester, students begin a more intensive course of study, taking two complementary classes, Drawing Architecture (ARCH154b) and Introduction to Spatial Language (ARCH152b) in Design. The former, taught by DUS Sophia Gruzdys, provides an introduction to the expression of three-dimensional space and architectural conventions on paper, while the latter, taught by Kent Bloomer provides an introduction to design, where students work on a series of conceptual exercises, concluding the semester with an architectural design project. At the end of their sophomore year, students who desire to continue their studies in the major formally apply to the architecture major by submitting a portfolio of their work completed in these pre-requisites.
HSAR 112a - Intro to History of Art: Prehistory To Renaissance, Vincent Scully HSAR 202a - Pre-Columbian Architecture, Mary Miller HSAR 252a - Roman Architecture, Diana Kleiner HSAR 321a - Global Modernism, Samuel Isenstadt HSAR 214b -American Architecture & Decorative Arts, Edward Cooke HSAR 221b - Architecture since 1945, Sean Keller HSAR 243b - Greek Art & Architecture, Milette Gaifman HSAR 251b - Ancient Rome, Bjorn Ewald HSAR 408b - Aztec Art & Architecture, Mary Miller
Architecture "is a culture, it’s a life. I love it and hate it, and I can’t get enough of it." – Carl D’Apolito-Dworkin ‘06
PHIL 334a - Philosophy of Architecture, Karsten Harries PHIL 335b - Art, Love & Beauty, Karsten Harries PLSC 228b - Perspectives on the City, Harry Wexler PLSC 259b - Making Urban Policy, Cynthia Horan PLSC 264b - City Politics: NY, LA, Chicago, Cynthia Horan
ink & vellum Yale University
V 2008 chad chovanec megan danna christopher ellington gary fox
JUNIOR STUDIO
2007 suchitra paul david sadighian maria rizzolo luis vazquez
elisa iturbe alexander sassaroli aaron otani yuan ren vanessa
jillian sala chimaobi izeogu robin swartout clay hayles
stockton alexander newman-wise konstantin nikolaev alice
elizabeth bondaryk christian nakarado claire matthews
tai katherine thompson alexandra van meghan weeks
The junior year constance bowen yonah freemark katherine wiacek proves to be an inpeter clune anya kaplan-seem sarah yin george tense introduction to beane eric bloom jason mencher elizabeth the design process. In the resor emily appelbaum ellen cameron Analytic Model (ARCH249a), students are taught key tools of architectural analysis. Through both written and model based studies, each student is asked to dissect a historically significant work of architecture. Students are also given a formal introduction to design, attempting to solve a series of architectural problems in a studio setting in Methods and Forms I (ARCH250a). Architecture majors complete one studio each semester junior year, while progressing and honing their design strategies in the spring studio, Methods and Forms II (ARCH251b). Working in a common studio space, students draw inspiration, support, and motivation from their peers.
jared enriquez erica bergman aleksandr bierig marcus
SENIOR STUDIO
During their final year, architecture henry ng elizabeth friedlander henry chan julie majors focus on their andress mei-lun xue christopher ricca selected track to conclude their studies. Students can continue in the design track, where developing their visual work and skills in a studio setting becomes the major pedagogical objective, or pursue a more traditional academic setting in the history, theory and criticism or urban studies tracks, where writing and research are the primary means of inquiry. In the design track, students are expected to further develop their design acumen in the fall semester studio (ARCH490a) in preparation of the culminating spring semester studio (ARCH494b), where students develop and submit a comprehensive design proposal to an international architectural competition. The history, theory, criticism and urban studies students continue their study through independent research. In the fall the students explore and develop topics and research techniques in a preparatory colloquium (ARCH490a, ARCH495a), completing their degree with the completion of an independent senior project (ARCH491b) in the spring semester. mclin laura cheung seema kairam danny fuchs
Mei-Lun Xue - Transcript Images - The Analytic Model
Claire Matthews & Laura Cheung - Itinerant Tropical Dwelling - Junior Studio
Alexandra Van - Hong Kong Analysis - Intro to Spatial Language
Clay Hayles - Light/Facade Study - Junior Studio
Mei-Lun Xue - Vertical House - Junior Studio
Aleksandr Bierig - Vertical House - Junior Studio
Recently, shredded tires have been used successfully as filler material, particularly in the construction of highway berms. Shredded tires are lighter, cheaper, and better insulators than normal soil. Their maximum anble of repose is 85 degrees, and when mounded, they produce a spongy surface. These forms are constructed from bulldozer-compacted tire chips. They are sealed in a transparent geotextile resin, which prevents erosion and flammability. The berms are inverted furrows. They rise from the irrigation grid, swell to accomodate the rest stop’s program, and then disappear again into the landscape. The central berm is large enough to envelope adequate bathroom space and a water-recycling mechanism. The berm is the dominant vertical presence of agricultural expanse.
The berms are built with a bias. The edges facing the highway reveal bare, steep tire surfaces. In fact, both sides of the inner-most berms are like this, discouraging ascension to the treacherous ridges directly above the highway. The four outer edges facing away from the highway are gentle and are sheathed in a layer of top-soil. Their shallow slope allows people to traverse them and low-maintenance grasses to grow.
Seema Kairam - Wooster Square Farmer’s Market - Junior Studio
Adrian Coleman - "tire agri-gate" - Senior Studio Competition
CHIMAOBI IZEOGU, LEED AP
coi@rice.edu | 404 583 4613 | 5504 Ardmore Street, Houston, TX 77021 SUMMARY
Performance and program are the key factors that define my approach to design. I have a strong interest in why and how architecture is made and stress clean construction and agile approaches to engage the multiple user groups of an architectural project.
EDUCATION
Rice University School of Architecture, Houston, TX Master of Architecture, Candidate TA, Christopher Hight, Architecture After 1968
2010 – 2014
Rice School of Architecture, Paris, France (RSAP)
2012
Yale University, New Haven, CT B.A. in Architecture, Concentration in History, Theory and Criticism
2003 – 2007
Phillips Academy Andover, Andover, MA High School Diploma
1999 – 2003
CERTIFICATES
LEED AP, Albany, NY
2008
EXPERIENCE
Llewelyn-Davies Sahni Summer Intern
2012
WW Architecture, Houston, TX 12 Towers – One Skin Facade Proposals for Changsha, China Team Longsea, Designer
2011
Einhorn Yaffee Prescott A+E, Albany, NY Embassy Studio, Intern
2007 – 2010
Zared Enterprises, New Haven, CT Designer/Drafter
2006
PLAT Journal, Houston, TX Co-Editor-in-Chief, Writer
2011 – 2013
Yale Banner Yearbook, New Haven, CT Co-Editor-in-Chief Legacy (2007), Bright and Blue (2006), Off the Record (2005)
2004 – 2007
PUBLICATIONS
SKILLS
Computer Software Adobe CS Autocad 2013 SketchUp Revit 2012 Rhino4, Vray, Brazil Hand Sketching + Drafting Model-making Digital Photography Language English Spanish Italian
INTERESTS
Soccer, Running, Cycling, Hiking, Digital Photography, Book-making
2012
Yrs Exp
REFERENCES
Randir Sahni, Principal, Llewelyn-Davies Sahni rsahni@theldnet.com, 713 850 1500 Ron Witte, Assoc. Professor, Rice; Partner, WW Architecture ron.witte@rice.edu, 713 521 0529
Sarah Whiting, Dean, Rice; Partner, WW Architecture sarah.whiting@rice.edu, 713 521 0529
Lance Ferson, Senior Designer, Einhorn Yaffee Prescott lferson@eypae.com, 518 795 3841
John Myers, Principal, Einhorn Yaffee Prescott jmyers@eypae.com, 518 795 3869
Regina Winters, Principal, Owner, Zared Enterprises regina@zaredarchitecture.com, 203 773 0747
CHIMAOBI IZEOGU 5504 ARDMORE STREET HOUSTON TX 77021 T : 404 583 4613 E: coi@rice.edu