CHIMAOBI IZEOGU ARCHITECURE + DESIGN SELECTED WORKS PORTFOLIO
CHIMAOBI IZEOGU ARCHITECURE + DESIGN
SELECTED WORKS PORTFOLIO
CH MA B I I Z E G
I O O U
CHIMAOBI IZEOGU, LEED AP
EDUCATION
Rice University School of Architecture, Houston TX Master of Architecture Teaching Assistant, ARCH 352: Architectural History from 1968 to Present, Instructor: Christopher Hight
2010 – 2014
Rice School of Architecture Paris Program (RSAP)
2012
Yale University, New Haven CT B.A., Architecture: Concentration in History, Theory & Criticism
2003 – 2007
Phillips Academy Andover, Andover MA High School Diploma
1999 – 2003
CERTIFICATES
LEED AP, Albany NY
2008
EXPERIENCE
Epstein Joslin Architects, Cambridge MA Project Designer
2014 – 2018
RdlR Architects, Houston TX Project Designer
2013 – 2014
Llewelyn-Davies Sahni, Houston TX Summer Architectural Intern
2012
WW Architecture, Houston TX Design Team Member, 12 Towers – One Skin Facade Proposals for Changsha, China
2011
Einhorn Yaffee Prescott A+E, Albany NY Architectural Intern
2007 – 2010
PLAT Journal, Houston TX Co-Editor-in-Chief Collective Disruption (2013), On the Bias (2012)
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 and Applications Revit, Autocad, Vectorworks, Rhino, SketchUp, Vray, Adobe Creative Suite, Asana, Toggl, Sketching, Drafting, Writing, Model Building, Wood Shop, Photography
2012
CONTENTS CONCEPTUAL
BUILT
MODELS
6 Vertical House Artist’s Home and Gallery in Chelsea, NY
7 – 12
To and Through Center for Contemporary Studies at Rice
13 – 20
From the Ground, Up Multifamily Housing in Paris
21 – 36
Diplomatic Mission U.S. Embassy Oslo, Norway
37 – 40
Bath House W Street Comfort Station at Salisbury Beach for The MA Department of Conservation and Recreation
41 – 56
A Garden Pavilion Welcome Center at The Breakers for The Preservation Society of Newport County
57 – 72
Terracotta Trellis Conrad Prebys Performing Arts Center for The La Jolla Music Society in La Jolla, CA
73 – 82
Simple Folds / Complex Designs Brochure for the Yale College Architecture Major
83 – 86
PLAT Journal Independent Publication Produced by the Students of the Rice School of Architecture
87 – 92
Study and presentation models of various projects
93 – 110
VERTICAL HOUSE 7
ARTIST’S HOME AND GALLERY IN CHELSEA, NY Methods & Form in Architecture 1 • Yale University • 4,500 sf 2006
Bounded to the east by mixed use buildings and to the west by the future Highline, the Vertical House is as much a product of constraints as it is an apparatus to harness and filter light. Only 20 feet wide, the narrow site on West 23rd Street shares a party wall to the east, has good exposure to the north and south, and has an opportunity for western views above 25 feet. In addition to these parameters, the resident artist would display his own work and collection of Rauschenberg Combines throughout the home. The resulting design develops space within three planimetric zones— south, middle, and north—and within three increasingly private sectional
striations—bottom, middle, and top— but, splits walls and floors to allow for the passage of light and views. Vertical elements, in the form of stairs, elevator, and material planes, reconnect the floors and provide surfaces for the display or enclosure of art, which remains visible from multiple vantage points. Primary circulation cascades from platform to platform, weaving between the exterior walls and nearby vertical elements. Meanwhile, secondary circulation becomes part of the southern expression from which the resident can watch activity along the street, consisting of a sculptural stair running from the ground floor to the roof and inspired by the fire escape of the demolished structure.
Along the exterior, glazed openings on the north and south orientations are bookended by courtyards and open the gallery and residence to daylight and views to and from the street. Small plants and decking add character to the stepped roof that has dramatic views of the neighborhood. The western, metal-clad wall takes a modest step towards the Highline, which creates a narrow, but important reveal that, combined with north-facing clerestory windows, admits light into the core of the building.
Across – Entrance courtyard on West 23rd Street
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9
North Elevation
West Elevation
South Elevation
6
7
5
4
5 11
8
12
3
9
1
N
10
2
Level 1
8
11
Level 2
9
5
Level 3
1 2 3 4
Entry Courtyard Reception Gallery Studio
5 6 7 8
Bathroom Rear Courtyard Office Living Room
10
Roof Terrace
9 10 11 12
Dining Area Kitchen / Prep Bedroom Roof Terrace
10
11
12
TO AND THROUGH 13
CENTER FOR CONTEMPORARY STUDIES AT RICE Core Design Studio 1 • Rice University • 20,000 sf 2010
The evolution of learning and collaboration spaces inevitably affects the architecture of the academic institution. The Rice University campus is made of buildings containing different academic departments essentially screened from each other by robust masonry walls of a defined palette. Contrastingly, the design for the Center for Contemporary Studies inverses this historic relationship by using a translucent form to house the university’s premiere program dedicated to the display, research, and discourse of 100 items from the last 100 years. The design proposes a form intersected by three objects whose profiles are derived from sight lines from nearby buildings, which create opportunities
to open the CCS to the campus. Containing building circulation, informal meeting spaces, fellow’s lounge, and display core, these object mixing chambers become sites of interaction, overlap, and overflow. Through the use of various seating strategies, the objects engage visitors and provide venues for cross-disciplinary collaboration between researchers, teachers, and students. Along the exterior, delicate ETFE and glass panels form a double skin system shrouding a white, steel structure of curved columns and trusses forming the walls and roof of the building. Internally, with the large circulation object acting as a fulcrum, research and teaching are organized in opposing stacks, with the gallery, library, and research offices to the
west, and exhibition prep, auditorium, and classrooms to the east. Positioned between the Brochstein Pavilion and the George R. Brown School of Engineering, the CCS straddles a busy pedestrian pathway linking the university’s residential colleges with the library and science buildings. Drawing from this flow of activity, the design further activates the interstitial space between the pavilion, library, and chapel, creating an expanded nexus of outdoor study and meeting spaces for the CCS and campus at large.
Across – Campus aerial view of expanded nexus
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15
SCHOOL OF
ENGINEERING
ENVIRONMENTAL ENGINEER -ING
LOOP ROAD
SCHOOL OF ARCHITECTURE
CCS STUDENT CENTER
RICE CHAPEL
BROCHSTEIN PAVILION CAFE
N
FONDREN LIBRARY
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Form
Voids
Intersection
VOID IMPACT DIAGRAM Void 3 Fellows’ research suite, open air terrace, open studio space for transparent research and conversation between researchers and the visitors
Void 2 Deep daylight penetration, special collection, secondary stair, and separation of admin suite from fellows’ research suite
Void 1 Site lines, entry, primary circulation and separation of teaching from research
PROGRAM GROUPS Exhibition Prep / Cafe Gallery Restrooms Circulation
Auditorium Green Room Library / Special Collection Reading Room
Classroom / Seminar Room Admin Suite Research Suite Restrooms
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1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18
Terrace Cafe Restrooms Exhibition Storage Exhibition Room Reception Green Room Auditorium Reading Room Library Stacks Small Seminar Large Seminar Medium Classroom Large Classroom Student Lounge Fellows’ Suite Conference Room Admin Suite
Roof
3
N
3 14 15
16 13
17
12 18
11
Second Floor
4
6
9
8
4 5
3 10 7 2
1
Ground Floor
First Floor
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Roof
19 Fellows’ Lounge
Exterior Skin
Display Core
Structure
Circulation
Interior Skin
20
FROM THE GROUND, UP 21
MULTIFAMILY HOUSING IN PARIS Totalization Studio • Rice University • 5,500 sf 2012
The exercise of designing a house brings into question the designer’s bias—with respect to architecture and to the notion of a home—in response to the client’s needs. The prospect of designing multiple homes, calls for greater rigor and consideration of the basic premise: What is a house today? My house-making process began with 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 these final three terms, and their architectural translations, that have a driving pres-
ence in this project: a site comprised of steps that establish an urban narrative, and four forms that have a rhythm and common structural logic, but with ample room for playfulness and mutation. When combined with critical elements of the urban city—public spaces and dynamic views—and the specific characteristics of Paris—the poché of 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 even the walls of the neighboring buildings. These relationships appear in the project through the interaction of two spiraling structures that spring from the ground
and reorient the rooms to different views of the city. The first spiral consists of large, concrete box beams that contain the private and support spaces of the house—bedrooms, bathrooms, kitchens, and private offices on the ground floor—connected to the outside via large windows and terraces. The second spiral consists of a steel structure clad in stone and conveying effusive light, circulation and building services. Public spaces occur on top of and between the concrete boxes. Terra cotta panels and tile wrap from outside to inside these spaces, blurring the line between exterior and interior, and increasing the sense of community and commonality between individuals living in adjacent homes.
Across – View along Avenue René Coty
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HOUSE CRITERIA
critic
architect
1. personality
narrative
2. scale
coupling
distinction
3. sequence
cadence
refuge
4. orientation
crescendo
owner 23 comfort permanence
5. front
gravity
light and shadows
6. vocabulary
whimsy
big and small
7. boundaries
water
ambience
air
8. comfort
double entendre
boundaries yard acreage views gathering scale sequence personality roof texture entries front orientation
Narrative. Cadence. Whimsy. By repeatedly folding a continuous sheet of paper, I produced a series of hyper-spatial wedges, each with a structural logic of two entwined and contiguous spaces separated by a simple plane. This discovery inspired me
to pursue two interlocking forms and to give each a distinct tectonic and material expression, the first—heavy, rough, and robust, the second—light, silky and smooth, based on their structural, performative, and programatic roles. In
earlier explorations, paper was useful for quick assembly and easy finetuning. In the final concept model, I used chip board and shaped candle wax using a heated butter knife to render and form the binary relationship.
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14th ARRONDISSEMENT CONTEXT
25
Density
Wall
Stairs
Passage
Hill
Ground
Garden
SITE DIAGRAMS
Connection
BUILDING DIAGRAMS
Figure
26
Avenue
Community
Transposition
Unit B
Unit A Street
Blocks
Units + Views
FROM THE GROUND
Plane
Sprials/Circulation
The 14th Arrondissement, is characterized by sloping streets framed by tightly-spaced buildings and extreme grade changes. The most dynamic moments exist in the passages and voids of this assemblage. I combined views from interior spaces with the natural characteristics of the site—transposition and aggregation, solid and void, public and private, seemingly natural and obviously manmade—in order to both address and celebrate the artificiality of the hill and its impact on urban experience.
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RUE DES
ARTISTE
S ACCESS
68
Rue des Artistes
BUS STOP Metro Transit
E AVENU
RENÉ
COTY
TERRACE Gymnase Alice Millat
6
ENTRY COURT
RUE D
N
'ALÉS
IA
Villa Soutine
METRO
N
STATIO
hereau
t Rouc
Denfer
28
es
Jacqu ION StT A T S RER
38
62
28
Primary School Les Petites Souris du Mont
RUE DU SAINT-GOTHARD
RER B Greater Paris Train Line
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Level 3
Level 1
N
Level 2
30
31
32
33
Circulation
Service Zones
Structure
Framing supports transparent stone panels and allows for dramatic shadows from light filtering through the stair.
Building Service Zones are located beneath and adjacent to stair runs. Wet walls are located next to these zones.
Wall-beams change orientation on each floor structuring rooms that frame views of the site and adjacent buildings.
W&S CW HW
MEP
Heating
Ventilation + Daylight
Water & Sewage pipes fit within the service zones and are seperated into two individual systems, one for each house.
The houses are warmed by a radiant floor heating system supplied by hot water located in piping in the servize zone.
Passive ventilation achieved through sliding sections of the curtain wall system at living rooms and bedrooms.
Sunscreen System Level 6
30X175mm Ovoid-shaped terracotta sunscreen Adhesive or spring-device 20X20mm metal tube
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Unit B
Level 5
Structural System Sand-blasted concrete wall finish 200mm reinforced concrete beam-wall Level 4
Facade System
Level 3
Level 2
Terracotta rainscreen panels 45mm airspace Mounting bracket 100mm rigid insulation Moisture barrier
Glazing System
Unit A
Sky-Frame 2 insulated window system
Level 1
Foundation 250mm reinforced concrete slab 600X600mm continuous concrete grade beam 600mm diam. concrete pylons
Retaining Wall System Foundation
Overlay
100x200X450mm cut stone granite blocks 50mm airspace Mounting bracket 100mm rigid insulation Moisture barrier 200mm reinforced concrete back-up wall
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DIPLOMATIC MISSION 37
U.S. EMBASSY IN OSLO, NORWAY Einhorn Yaffee Prescott, Architecture + Engineering • 80,700 sf 2017
The Overseas Building Operations Studio worked with the City of Oslo Planning and Building Agency during the planning, schematic, and design development of the compound’s structures. The design, inspired by traditional, earth-bound Norwegian construction, features materials symbolizing the U.S. and Norway. Copper sheaths horizontal roofs, cornices, and copings while building bases, clad in fieldstone, blend into the site. Site – Oslo, Norway Size – 80,700 sf Date – Completed 2017 Design Team – EYP OBO Studio Honors and Awards – 2019 AIA ENY Institutional Award of Honor
Photos provided by Einhorn Yaffee Prescott, A + E Across – Entrance Courtyard and Riparian Zone walkway
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39
A
C
E
40
B
D
F
E
C
A
D D B B F F
N
E
C
A
BATH HOUSE 41
W STREET COMFORT STATION AT SALISBURY BEACH FOR THE MASSACHUSETTS DEPARTMENT OF CONSERVATION + RECREATION Salisbury, MA • Epstein Joslin Architects • 5,450 sf 2018
Within 1,000 feet of the Merrimack River and the Atlantic Ocean, the Massachusetts Department of Conservation and Recreation maintains and operates the Salisbury Beach State Reservation, which hosts hundreds of visitors annually. This windswept, coastal site is characterized by long sandy beaches, grassy dunes, lush wetlands, and a dusty, grassy, dry lakebed, home to 484 lots constituting the Salisbury Campground. The W Street Comfort Station was commissioned by DCR to serve the western portion of the Campground, providing a larger bath house with accessible toilets, family restrooms, and rinse stations. Combined with a new camp store, elevated deck, and trellis
designed to meet flood requirements, W Street operates as a permanent, seasonal structure supporting Campground function between Memorial Day and Labor Day, and visitors of the state reservation year round. Epstein Joslin Architects cultivated the major structures of the project—the camp store, trellis, and shower area of the bath house—as a family of interwoven, sculptural canopies that provide shelter and dignity to the service and gathering spaces below. Building materials were selected for their durability and ability to weather gracefully: Ipe rafters, Douglas fir glulam beams, stainless steel connections, and ground face masonry over cast-in-place concrete foundations. Lastly, the landscape and architectural
design teams collaborated to ensure the project takes an active role in contributing positively to the site, employing bioswales and riverstone beds to capture, retain, and filter rainwater, and planting beds with native species to both mitigate erosion and promote biodiversity. Site – Salisbury Beach State Site – Reservation Campground, MA Size – 2,800 sf (building), 2,650 sf (outdoor deck) Date – Completed 2018 Design Team – Ray Porfilio, Deborah Epstein, David Foxe, Chimaobi Izeogu
Photos by Epstein Joslin Architects Across – Bath House east elevation
42
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PROJECT ROLE In 2016, EJA was selected from the Massachusetts Department of Housing and Community Development’s House Doctor Program, which develops a short list of qualified Designers to provide professional design and
construction administration services for existing and new facilities. The Bath House was EJA’s first public project in Massachusets. I was a part of the process from the beginning, working with the project manager and principal-
in-charge to define fee, schedule phases, assign hours, and perform preliminary code review and program anaylsis. I developed three schemes, which I presented to DCR alongside the project manager. The following
44
images and diagrams were part of a design booklet that I assembled at the conclusion of schematic design. The plans, sections, elevations, and details are based on construction documents that I prepared with oversight from the
project manager following the selection of the preferred scheme. I also met with product reps and selected materials, fixtures, and equipment with guidance from the principal in charge of finishes. Lastly, I performed site observations
and was the point-of-contact during construction administration, leading meetings with the owner, responding to RFIs, and issuing supplementary instructions independently to resolve issues that arose in the field.
salisbury beach ATMOSPHEREs
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Wetlands, Dunes, and Low Shrubs
Pitch Pines and Pavilions
Dry Lake Bed Campground
sitewide GRAPHIC PROGRAM SUMMARY
W Street - Proposed 2018 5 6 4 2 2
Men’s WC Urinal Lavatory Shower Rinse Stn
10 0 4 2 2
Women’s WC Urinal Lavatory Shower Rinse Stn
F Street - Existing 2016 8 5 6 2 0
Men’s WC Urinal Lavatory Shower Rinse Stn
8 0 6 2 0
Women’s WC Urinal Lavatory Shower Rinse Stn
E Street - Existing 2016 8 5 6 2 0
Men’s WC Urinal Lavatory Shower Rinse Stn
8 0 6 2 0
B Street - Existing 2016
Women’s WC Urinal Lavatory Shower Rinse Stn
2 1 2 9 0
Men’s WC Urinal Lavatory Shower Rinse Stn
3 0 2 9 0
Women’s WC Urinal Lavatory Shower Rinse Stn
B ST
W ST
F ST
E ST
Beyond Code Requirement
N
Sitewide analysis of the existing facilities revealed the western portion of the campsite was underserved by the demolished W Street Comfort Station. DCR and EJA decided early on to provide family rooms and fixtures exceeding the code required minimum.
Site Analysis
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Local Attractions The site is on a peninsula along the north bank of the Merrimack River as it empties into the Atlantic Ocean. With beaches to the east and south, boat launch to the west, and marshy inlets to the north, the site offers visitors boating, swimming, and nature walks in addition to camping.
ion Rd
State Reservat
Comfort Stations
Z St
B St
A St
D St
C St
F St
E St
G St
W Street Comfort Station Site
H St
ZS
Y St
ion Rd
B St
D St
F St
E St
C St
A St
State Reservat
t
W St X St SITE
Vehicular Circulation Pedestrian Foot Traffic
H St
G St
X St
W St
Y St
Z St
Site Circulation Z St
The central spine is for pedestrian use only, connecting the campground with parking lots and boardwalks. Vehicular traffic flows counter-clockwise along the loop road and north to south on the access roads.
Comfort Stations W Street Comfort Station Site
500
FT
500 ft Radius of Service
Service Area Each of the three bathroom facilities located along the pedestrian spine serves a portion of the campground’s 484 lots within a 500foot radius.
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Site
Rainfall / Flood Hazard Classification Summary
ZONE AE | Base Flood Elev 9 ft | Design Flood Elev 10.5 ft Summer Solstice 70ยบ Sunrise 4:10 AM Sunset 7:20 PM
Winter Solstice 24ยบ Sunrise 7:17 AM Sunset 4:07 PM
W
N N
FEMA Flood Map: Flood Insurance Rate Map
C a m p g ro u n d C o m f o r t S t a t i o n a t S a l i s b u r y B e ach State Reservat ion
S
C l i e n t - Department of Conservation & Recreation
A rc h itect - Epstein Josl in Architects
Structural Engineer - Lin Associates, Inc.
Cost Consultant - VJ A s s o c i a t e s
D a t e - 05.31.16
Landscape Architect - Brown, Richardson, & Rowe, Inc.
MEP Engineer - Johnson Engineering & Design
Specifications - Putnam A s s o c i a t e s S p e c i f i e r s , L L C
Civil Engineer - Nitsch Engineering
Code Consultant - AKF Group, LLC
E N
Salibury, MA | 70.86 W, 42.85 N
Solar Analysis
erences nd comes f ro m t he camp g ro u n d West.
Camping Season
ng should o p e n l l , narrow v e n t s
JAN
FEB
MAR
APR
MAY
JUN
JUL
AUG
SEP
OCT
NOV
DEC
N
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Wind Analysis
Southwesterly Predominant Direction
1 Elevated Deck 2 Trellis 3 Comfort Station 4 Camp Store
Standing Seam Roof Covers Douglas fir structure Overhang shades ramps Diverts rainwater to bioswales
Ipe Slat Clerestory Promotes natural ventilation Admits 40% light
Ipe Board and Batten Walls Relates to Ipe Slat Clerestory Vernacular language in modern form
Masonry Exterior Walls Consists of ground face block Includes glass blocks Includes low wall vents
Planting Beds Softens ramp edges Stabilizes sandy soil Promotes biodiversity Consists of native, drought-tolerant grasses, shrubs, and flowers
3
4
Switchgrass Bioswale Enhances infiltration Stabilizes sandy soil
1 “Pitch Pines� Protected during construction Native species provides shade
2
Shaded Vestibule Offers semi-protection from rain & sun Encourages visibility of entry points
Elevated Ipe Deck Provides communal gathering area Designed to withstand 100-year flood
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49
18 15
3
15
16
17
14
12
EET
15
1
15
3
13
2
12
EET
7
10
8 6
W STR
X STR
11
5
9
3
4
Floor / Deck Level
N
1 2 3 4 5 6
Accessible Parking Staff Parking / Deliveries Preserved Trees Plaza / Rinse Stations Elevated Deck Seating Steps
7 8 9 10 11 12
Wood Storage Shed Camp Store Trellis Comfort Station Vestibule Family Restroom
13 14 15 16 17 18
Men’s Room Women’s Room Accessible Shower Room Utility / Storage Room Plumbing Chase Dishwashing Station
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Winter Sun
Summer Sun
Rain from SW 7
2
1
5
6
1
4
5 10
3 17
11
Airflow 11
12 16 12 18 13
14
15
8
9
1 Aluminum standing seam roof with underlayment system 2 Roof cricket system 3 Furr down around glulam beam: 3/4” x 2 1/2” Douglas fir (DF) ship lap siding over weather barrier and 3/4” marine grade plywood on 2 x 6 pressure treated (PT) framing 4 2 1/2” DF ship lap siding 5 5 1/2” x 7 1/2” DF glulam beam 6 5 1/2” x 18” DF glulam beam 7 3 1/2” x 11 7/8” DF glulam beam 8 2 x 6 Diagonal DF rafter 9 2 x 6 DF knee brace 10 2 x 6 DF fascia board 11 3 1/2” Fixed vertical Ipe slats on 2 x 4 PT picture frame with insect screen 12 Ipe sill system 13 Reinforced decorative CMU wall 14 18” x 24” CIP concrete grade beam with 18” x 18” footing 15 8” Precast hollow core plank, 3” topping slab, and epoxy floor system 16 2-foot linear lighting fixture 17 6” x 6” Cube down light 18 FRP wall finish 19 Fiberglass Door and Frame
19
Shower Room Wall Section
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Comfort Station North Elevation I developed the concept for the Comfort Station from observations of the B/E/F Street facilities, which were closed off from natural air and light. The W Street Comfort Station is a concrete box capped by a clerestory band that
Comfort Station West Elevation contracts and expands to promote ventilation to long-use and high-humidity areas, such as toilet and shower rooms. A closed, board-and-batten version of this system forms the upper portion of the Camp Store exterior walls.
Meanwhile, the trellis form was based on Alan Joslin’s “slinky” concept, which I rationalized and defined as a spiraling form of rotated rafters, connected at the ends, that bend around beams and start and stop neatly between columns.
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Comfort Station South Elevation
< Columns
Trellis West Elevation
< Beams
< Orthagonal Rafters
Trellis South Elevation
< Diagonal Lower Rafters
Diagonal Upper Rafters
comfort station ROOF FRAMING Group B near Grid 5 Group C at Grid E 53
Group A at Grid 7
Group A at Grid 3 Group D at Grid A Roof Isometric View From Below
Group A Diagonal Brackets East and West Ext Wall
Group B Diagonal Brackets East and West Int Wall
1
Group C Diagonal Brackets South Ext Wall
Group D Diagonal Brackets North Ext Wall
10
Slope
Slope
1 Douglas fir decking 2 Not shown for clarity: 2 X 6 decking over cricket rafters 3 2 x 6 Cripple stud wall, secured with hurricane ties 4 2 x 8 Rafter / ledger 5 2 x 8 Rafters, sistered as required with 24” overlap minimum 6 2 x 6 Flat stack wall 7 A23 Simpson clip angle 8 2 x 8 sill plates 9 Pitchbreak blocking 10 2 x 6 Diagonal Douglas fir rafter System, below 11 3 1/2” x 11 7/8” Douglas fir glulam common rafter beams, below Slope
N
9
11
1
Roof Cricket Framing Plan
Slope 2
3
4
5 6
7
8
54
trellis framing
55 1 1” Diameter threaded SS rod with couplings centered on columns 2 2 x 8 Orthogonal Ipe rafter 3 2 x 8 Diagonal upper Ipe rafter 4 2 x 8 Diagonal lower Ipe rafter 5 (2) 2 x 10 Ipe nailer, beyond 6 10 x 12 Douglas fir beam 7 10 x 10 Douglas fir column 8 Simpson SS skewable angle 9 7 x 7 x 1/4 SS hangar tee fastened to underside of beam 10 1/8” Bent SS compression plate 11 Round neoprene shim behind SS nut and washer 12 1/4” SS attachment plate, partially concealed and installed between rafters and column 13 Douglas fir beam overhead
1 2 C 3 4
B
5 6 F
A
D E
Orthagonal Rafters Diagonal Upper Rafters Diagonal Lower Rafters
6
11
1
3
A
4
D
2
10
6
2
7
12
2
B
3
6
9
3
4
7
8
4
C
10 4
10 1
2
11
3
4
2
4
7 2
3
Trellis Connection V and W Details
E
4
3
2
3 4
2
2 4
12
13
8
3
Trellis Connection K Details
3
4
3 13
4
9
8
Trellis Connection X Details
3
F
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A GARDEN PAVILION 57
WELCOME CENTER AT THE BREAKERS FOR THE PRESERVATION SOCIETY OF NEWPORT COUNTY Newport, RI • Epstein Joslin Architects • 5,000 sf 2018
The Welcome Center is a carefully integrated addition to the historic property of The Breakers, tucked discreetly behind the Caretaker’s Cottage amidst a grove of newly planted yews and existing deciduous trees. Consisting of four, joined pavilions, the Welcome Center is a mutation and reinterpretation of the 19th century garden conservatory, using a triangular grid to organize program beneath an all-encompassing roof and ceiling volume. Projected to receive 450,000 visitors annually, the Welcome Center gives permanent form to PSNC’s visitor services in order to aid their mission to “protect, preserve, and present the collection of Newport Mansions,” which function as house museums that span from the Colonial era to the Gilded Age.
These house museums are displayed on interactive touch screens housed in custom exhibition cabinets within the windows of the Ticketing and Exhibition room, which visitors can explore when purchasing tickets. With backdrops as articulate as The Breakers mansion, the gatehouse, and the entry gate, the design team decided early on that the Welcome Center must possess a sufficient level of texture. Endowed with an envelope consisting of an exquisitely hand-crafted copper diamond shingle roof, wood slat soffits, modular, wood window system, and expertly honed wood paneling, the Welcome Center sits comfortably in the restored and reinterpreted garden grounds. To preserve the historic view of
The Breakers, the Welcome Center has an extremely compact footprint, and the landscape design team used taller elements to mask views of the Center from the carriage road. Site – The Breakers, New Port, RI Size – 5,000 sf Date – Completed June 2018 Design Team – Alan Joslin, Deborah Epstein, Ray Porfilio, Chimaobi Izeogu Diandra Maselli, Arthur Pinkham, and Robert Picardy Honors and Awards – 2018 PSNC Laurel Award for Exceptional Contributions to Historic Preservation in the Area of Artisanship
Photos by Richard Mandelkorn Across – Welcome Center north entry
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PROJECT ROLE Epstein Joslin Archiects had taken the Welcome Center through design development when I joined the office and project in 2014. I was responsible for managing and completing the construction documents, and worked
with a senior technical architect to refine details and coordinate structural and MEP systems. I also rigorously redrew the building grid and setout geometry for the curved screen wall, created code-compliant layouts and accessible
paths for the restrooms and pantry, and developed interior elevations and building sections to coordinate interior finishes and communicate spatial relationships to the contractor. While maintaining design concepts
60
established by the design team, I independently detailed schematic building elements, including plywood roof rafters, copper planters, light fixture mounting strategy, exhibition cabinets, and building signage. During
bidding, I worked directly with the design principal to respond to RFIs, issued written and graphic amendments to the contract documents, and attended the bid proposal interviews. During construction, I was the point-of-
contact, performing site observations, leading meetings with the owner, reviewing submittals, responding to RFIs, coordinating with consultants and issuing supplementary instructions to resolve issues that arose in the field.
PRECEDENT ANALYSIS
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Trumbauer Conservatory, NJ
Conservatory of Flowers, CA
I
E
Golden-Age conservatories follow a strict square grid with embellishment at entrance pavilions and major rooms.
Haupt Conservatory, NY
C
Complexity is achieved by increasing the size and number of wings and pavilions dedicated to varying horticulture.
Grounds surrounding and contained within the conserevatory form become exterior venues and attractions.
WELCOME CENTER ROOF ELEMENTS
Bell Curve Roof Form
N
Plywood Rib Rafters 1 2 3 4 5 6
Parking Main Entry Staff Entry Caretakerâ&#x20AC;&#x2122;s Cottage Welcome Center Bowditch Path
7 8 9 10 11 12
Garden Renewal, Phase 1 Childrenâ&#x20AC;&#x2122;s Cottage Gift Shop Entrance Parterre Garden Terrace The Breakers
Diamond Shingles + Battens 13 14 15 16
Carriage Road Garden Renewal, Phase 2 Cliff Walk Ochre Point
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15
10 1 11 9
12 8
10
RUGGLES AVE
3 10
13
SHEPHERD AVE
6 14
5 4 2 1
7
INT AVE
OCHER PO
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PROJECT GRID ANALYSIS
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COTTAGE SETBACK
ZONING SETBACK
The Welcome Center adopts the formal qualities of a Golden-Age conservatory but with a few organizational mutations.
The building is laid on a triangular grid that interacts with zoning and code related setbacks, as well as the Cottage.
Meanwhile, a curvilinear wall system weaves from exterior to interior, creating moments of intimacy and screening.
Visitor Path Cottage
Pavilions
Bowditch Path
Terrace Cafe
Service Path
Cafe Exit Screen
Ticketing Exit Ticketing
Main Entry
Foyers
Servery
Back-of-House
Form
Circulation
Program
Wings are eliminated and visitors travel from one pavilion form to another, which intensifies the experience.
Stone and concrete paths cut through and around the building, working with landscape to create exterior rooms.
The stone-paved visitor path splits the experience between ticketing + recepetion, and cafe + refreshment.
N
1 2 3 4 5 6
Caretaker’s Cottage Main South Entry Foyer Electrical Room Women’s Restroom Men’s Restroom
7 8 9 10 11 12
Janitor’s Closet/HWH Cafe Seating Cafe Sales Pantry Walk-In Cooler North Entry
13 14 15 16
East Entry/Terrace Ticketing Room East Exit Bowditch Path
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MODULAR WINDOW SYSTEM
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Window Module Grid
Window Module A
Window Module B 1
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Applied muntins and sash, PNT3A 1/4â&#x20AC;? Veneer plywood panel, PNT2A, Frame and muntins, PNT3A Exit sign integration on interior side Curved wood SDL with spacer bars, PNT4A Casing trim, PNT2A Fixed window unit sash, PNT3A Frame, jamb extensions and casing trim, PNT2A Light switch integration on interior side Operable window unit sash, PNT3A Non tempered glass Tempered glass Continuous, painted wood sill, PNT1A Profiled, dune yellow granite sill Archtop stile and rail door unit Oil rubed bronze (ORB) door pull
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4 5 15 4 14 5 6 11 8 9 11 12 13
1 2 3 4 5 6 7 8 9 10 11 12 13
White oak stile and rail doors 5â&#x20AC;? ORB butt hinge Dune yellow granite threshold Dorma BTS80-I cover plate, US610B Painted wood trim casing, both sides Pre-patinated copper downspout Painted wood trim/built-up column Blocking as required with building wrap, fill cavity with insulation HSS8X6 column Painted wood sill Profiled, dune yellow granite sill Profiled, painted wood fin Painted wood window
Window / Door Module C
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13 12 10
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Detail Plan
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Dorma BTS80-I floor concealed door closer with cover plate, US610B SC2 sealing compound Dune yellow granite threshold, (5) pieces LVL/stud jamb framing, both sides
4 3
2
Stone Threshold Piece Drawing
1
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East Elevation
South Elevation
North Elevation
West Elevation
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5
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3
1 2 3 4 5 6
Foyer Ticketing and Display Room Electrical Room Womenâ&#x20AC;&#x2122;s Restroom HVAC Corral The Breakers Boiler Room
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1
Working without a digital model, the technical architect and I closely examined each junction of the envelope and interior, identifying clashes and design challenges while strengthening the relationship of the envelopeâ&#x20AC;&#x2122;s
2
construction to the enclosed spaces. The above drawing is one of two comprehensive building cross sections that I created, not only to call out peculiar details, but to provide a synthesized snapshot of the building as a system of
volumes, assemblies, and organizing data. Seeing how the different ceiling systems merged together proved invaluable to the contractor in planning and executing flawless coordination in an extremely tight ceiling plenum.
LIGHTING AND CUSTOM DETAILS
A
K E
B
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L D
L
E
B
L A
B
C 5
D
10 8
11
8 10 12
2 4
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8
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6 3
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A B C D E
SW1/E Fixture Mount Elevation PC1 Fixture Mount RCP Detail SW1/E Fixture Mount Sec Detail PC1 Fixture Mount Sec Detail SW1/E Fixture Mount Plan Detail
1 2 3 4 5 6
8” x 8 3/8” Attachment Plate Autotrak S-Seamless Track 1’-6” Diameter Copper Bowl 3/4” x 2” Clear Coat Wood Slat Painted Wood Trim 1/2” Diameter Metal Support Tube
7 8 9 10 11 12
Tube Welded to 1/8” Bent Plate HSS Section Junction Box Sprinkler Pipe Luminaire MC Cable / Feed Wires
FINISHES AND MATERIALS
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Roseland
Cottage Green
Longfellow
Top Left: Women’s Restroom White trim and sconces unify the vanity and echo the board and batten exterior. Top Right: Display Foyer A curving garden wall leads visitors to a nexus of activity and information.
Viscaya
Rift Sawn White Oak
Bottom Left: Café Beneath a generous skylight with lowiron glazing, visitors can find seating and refreshments before continuing on to their tour of the Breakers, Bowditch Path, or nearby destinations.
Oil Rubbed Bronze
Dune Yellow Granite
Carrara Marble
Bottom Right: Ticketing + Display Under an undulating, porous, White Oak slat ceiling, exhibition cabinets house interactive display screens where visitors can explore the history of PSNC’s many fabled house museums.
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TERRACOTTA TRELLIS 73
CONRAD PREBYS PERFORMING ARTS CENTER FOR THE LA JOLLA MUSIC SOCIETY IN LA JOLLA, CA San Diego, CA • Epstein Joslin Architects • 3,000 sf 2019
The La Jolla Music Society is a cultural organization dedicated to the continued growth and presentation of music, dance, and opera performances in the San Diego area. EJA was the design architect for their new facility, the Conrad Prebys Performing Arts Center, which is home to a 500-seat concert hall, 150-seat flexible use space, lounge, offices, outdoor garden plaza, and raised terrace. Each of these components is vital to the LJMS mission in their own right. The concert hall is a host to variable acoustics and media projection capabilities. Meanwhile the flex “theater” delivers smaller ensemble performances, fine dining, and music classes in an intimate setting. Nevertheless, the terracotta trellis structure plays a special role in
the facility’s composition, synthesizing the volumes of The Conrad to present a unified front to the Village of La Jolla. Consisting of a white, steel structure supporting terracotta “baguettes” within aluminum frames, the trellis design conforms with the scale of buildings along Fay Ave. Borrowing from the material and climate of its surroundings, the primitive profile and material of the Trellis recalls the vernacular language of the locale but in a taut, contemporary form. Inspired by native palm trees, the baguette pattern reduces in scale from the ground to the roof and creates a dappled mixture of shadows and light that filters to the spaces below. During the day, the trellis shades the courtyard and the bold colors create a textured veil
that gently impedes indirect views and allows the courtyard to act as a refuge from the busy street. At night, the effect is reversed, and the Trellis becomes a brilliantly lit beacon masking a lively, inviting, outdoor lobby. Site – La Jolla, San Diego, CA Trellis Area – 3,000 sf Building Area – 49,000 sf Date – Completed 2019 Trellis Design Team – Alan Joslin, Deborah Epstein, Chimaobi Izeogu, Robert Picardy Honors and Awards – 2019 ENR California South, Cultural/Worship, Best Project Award
Photos by Douglas Gates Across – Trellis roof from above
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5
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2
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PROJECT ROLE The evolution of the trellis concept is the result of collaboration between me, the senior designer, and the design principal. However, I worked independently to build the model, refine the massing and patterns, coordinate
the structure with adjacent construction, develop the light fixtures, and draw the details through design development. After researching terracotta manufacturers, working with reps and detailers from NBK helped me to understand
the relationship between the baguette frame and structure. More importantly, I developed a real appreciation for engaging fabricators early in the design process in order to achieve elegant, constructible, and timely results.
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4
2
TRELLIS AREAS 1 CABARET AWNING Quantity: 230 Baguettes Various – 2X2 Area: 94 sf
2 GATE INFILL Quantity: 49 Baguettes 17 – 2X2 9 – 2X4 23 – 2X6 Area: 58 sf
3 MAIN TRELLIS Quantity: 1,948 Baguettes 1,309 – 2X2 420 – 2X4 219 – 2X6 Area: 1,848 sf
4 COURTYARD CANOPY Quantity: 116 Baguettes 300 – 2X2 54 – 2X4 114 – 2X6 Area: 604 sf
5 WINDOW SCREEN Quantity: 252 Baguettes 153 – 2X2 45 – 2X4 54 – 2X6 Area: 633 sf
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Steel Structure
Aluminum Frame
Terracotta Baguettes
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South Elevation
East Elevation
North Elevation 2X2 – NBK 5.01-0 2X4 – NBK 6.02-0 2X6 – NBK 9.05-0
Roof Pattern Plan
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A B C D E F
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Typical Ridge Detail Typical Diagonal Rafter Detail Column / Rafter Junction Int Column / Rafter Junction Ext Typical Eave Detail Column Regular Base Detail
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G H J
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Typical Corner Column Detail Typical Regular Column Detail Typical Support Column Detail
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J
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AESS section Baguette with core extrusion Aluminum clip Aluminum angle bracket Neoprene spacer
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SIMPLE FOLDS / COMPLEX DESIGNS 83
BROCHURE FOR THE YALE COLLEGE ARCHITECTURE MAJOR New Haven, CT • Yale Ink & Vellum Architecture Society • 500 copies 2006
At the outset, Seema and I set out to make a strong connection between the brochure and the subject it described: the study of Architecture. 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 Architecture 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, allowing us to organize text and image around a pair of Y’s. The fold proved even more useful as a “pocket” to carry the would-be keepsake: an attractive vellum insert/ bookmark with the school’s name, major, web address, and inspiring work sample. The vellum insert has an image of a lamp shade designed by Constance Bowen YC ’08 in the Introduction to Architecture class taught by Alexander Purves.
Location – New Haven, CT Date – 2006 Distribution – 500 copies, to Prospective Students and Majors Design Team Advisor – Sophia Gruzdys Graphic Editor – Chimaobi Izeogu Text – Seema Kairam + Aleksandr Bierig Printing/Finance – Henry Chan Artwork – Yale Undergraduate Major Class of 2006-2008
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C C B
A
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The Undergraduate Major in Architecture Yale University
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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
ink & vellum Yale University Chimaobi Izeogu - Circulation / Space Frame Analysis - The Analytic Model
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
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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 stopâ&#x20AC;&#x2122;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 Farmerâ&#x20AC;&#x2122;s Market - Junior Studio
Adrian Coleman - "tire agri-gate" - Senior Studio Competition
PLAT JOURNAL 87
INDEPENDENT PUBLICATION PRODUCED BY THE STUDENTS OF THE RICE SCHOOL OF ARCHITECTURE Houston, TX • Rice University • 1,000 copies 2012 + 2013
PLAT is a student-run journal established at the Rice School of Architecture. Beginning with whimsical ideas and conjectures that stem from studio production, the students at Rice situate PLAT between the ephemeral and the concrete, seeking to position the optimism of student work and voices alongside the experience of well-established practitioners and theorists already in the field.
Location – Rice University, Houston TX Date – PLAT 2.5: On the Bias, 2012; PLAT 3.0: Collective Disruption, 2013 Distribution – Nationally, in a run of 1,000 copies, to students, academics, architects, designers, writers, and artists PLAT Journal Board, 2011-2013
Cultivated and disseminated in an annual, call-and-response format, PLAT weaves academic and professional work around a central theme that evolves from issue to issue in a dialogue that takes the form of images, drawings, exhibitions, dance, interviews, essays, projects and manifestos.
Editors – Mary Casper, Chimaobi Izeogu Managing Editor – Sean Billy Kizy Graphic Editors – Tucker Douglas, Varia Smirnova Communications Director – Sam Biroscak Development Directors – Amanda Li Chang, Michael Sinai Distribution Directors – Patrick Daurio, Michael Kapinus, Michael Sinai Finance Director – Alex Tehranian Grants Director – Brianna Rogers Web Designer – Jack Mussett Copy Editors – Sam Biroscak, Amanda Li Chang, Patrick Daurio, David Dewane, Hayley Hemstreet, Claire Jensen, Emily Liu, Sheila Mednick, Sasha Plotnikova, Renee Reder, Joseph Scherer, Maia Simon, Michael Sinai, Louis Weiss, Eileen Witte
https://www.platjournal.com
Printed by The Prolific Group in Canada
Across – PLAT Journal series to date
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89
PLAT 2.5: On the Bias, November 2012 with Contributions by
Philip Ursprung, Nana Last, Perry Kulper, Javier Arbona, Adriaan Geuze, Rakia Seaborn, Sylvia Lavin, Brette Steele, Peter Muessig, Lavia Corona and Johnston Marklee featuring Autobiographies from
Erin Ruhl, Michael “Caco” Peguero, Brandon Hall, Garrett Traya, Laura Cheung, and Riley Neal
“The degree to which we represent, and by extension, incorporate the bias in our work is as critical to architectural translation as the form and content of the representation itself. As architects, with distinct biographies and subject positions, we author a myriad of different spatial practices, and we
rely upon our ability to exercise bias to distinguish our architectural voice from that of the existing discourse and our peers. Architecture is anything but an objective act; rather, it is through earnest selection that architectural knowledge is Catalyzed. Bias is not only present in representation, but
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now constitutes a representational medium and technique of conveying architectural ideas all its own. The inclinations 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.” – Mary Casper and Chimaobi Izeogu
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PLAT 3.0: Collective Disruption, May 2013 with Contributions by
Matthieu Bain, Sam Biroscak, Jordan Carver, Michael Collins, Sean Corriel, Alexander D’Hooghe, Tucker Douglas, Vy Drouin-Le, Christina Gray, Brandon Hall, Kate Hayes, Fumio Hirakawa, Lisa Hirmer, Michael Hirschbichler, Eric Ho, Chris Holzwart, Christoph Ibele, Sean Billy Kizy, Charles Lai, Rick Lam, Brian Lee, Sofia Lemos, Evan Litvin, Sara Lum, Michael Matthews, Jared Edgar McKnight, Lea Oxenhandler, Julián Palacio, Andrew Perkins, Bryony Roberts, Curtis Roth, Matthew Seibert, Regina Teng, Marina Topunova, Dustin Valen, Brian Vargo, and Kathy Velikov
“In this issue of PLAT, we are not interested in extremity; rather, we have an extreme interest in intensifying the instant. We derive agency from urgency. Rapid changes in topography, geography, and movement produce new territories for architecture, extending the potentials of the instant to make lasting
change. The crisis event acts as a catalyst for an emergent future, but in fact, the tragedy or shock of architecture has been here all along. 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
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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 everyday, poised to become the future city. As editors, we look
deliberately to the constructive opportunity and the rich ground beyond the critical, the destructive, and the disruptive to what lies futherâ&#x20AC;&#x201D;new foundations for the common, the coherent, and the collective.â&#x20AC;? â&#x20AC;&#x201C; Mary Casper and Chimaobi Izeogu
MODELS 93
POCHÉ FIELD Core Design Studio 2: Club Life, 2011 Presentation Model, 1/16” Scale Baltic Birch plywood, Basswood, silver foil cardstock, acetate, and blue vellum
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bibliothèque sainte-geneviève Core Design Studio 3: Presenting Publics, 2011 Structural/Program Exhibition Model, 1/8” Scale Baltic Birch plywood, Basswood, and clear/orange/yellow plexiglass
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pLATFORM OF PUBLICS Core Design Studio 3: Re-forming and Representing the Library, 2011 Structural/Program Model, 1/16â&#x20AC;? Scale Baltic Birch plywood, chip board, MDF, and clear/orange/yellow plexiglass
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menil cafe Rice Building Workshop, 2011 Presentation Section Model, 1/2â&#x20AC;? Scale MDF, Baltic Birch plywood, and Basswood by
Will Crothers, Stacie Escario, Chimaobi Izeogu, and Spencer Lindstrom
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menil cafe
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Shopping sensorium Core Design Studio 4: Collective Forms, 2012 Massing Model, 1/16â&#x20AC;? Scale White museum board, piano wire, clear plexiglass, Poplar, Basswood, yellow paint
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post oak pool house Nemestudio, 2012 Architectural Model, 1/4â&#x20AC;? Scale Baltic Birch plywood, Basswood, clear plexiglass, and gold paint by
Chimaobi Izeogu and Alexander Stitt
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holy cross performing arts center Epstein Joslin Architects, 2014 Architectural/Site Model, 1/16â&#x20AC;? Scale Plywood, green mounting board, Babyâ&#x20AC;&#x2122;s Breath, chip board, gray museum board, gray construction paper, Basswood, Walnut, and acetate
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