MUSIC & ARCHITECTURE
FOREIGN STUDIES RESEARCH GRANT SLIMP BASEMENT
URBAN INFILL: DAMON STUDIO/ RESIDENCE AIAS/ VINYL COMPETITION: WATER ST. TRANSIT HUB
CELL PHONE ANALYSIS DRAWING
GRADUATE THESIS SUPERJURY: CATASTROPHIC INTENT
DESIGNDC 2011 UD:DC COLLAGE CITY
CASA MALAPARTE WORKSHOP FRANCISCAN MONASTERY RETREAT
URBAN HOUSING
FOUND OBJECT: KIT-OF-PARTS FOLLY PAINTING COMPOSITION EXERCISE
enVISIONing ANNAPOLIS CHARETTE
PROJECT
PRESENTATION
MEDIUM / TOOL
CONFERENCE: SMART GEOMETRY 2010
FRANCISCAN MONASTERY HERMITAGE
ADD+F: ARTIFICIAL TOPOGRAPHY
JADE RESIDENCE
UNC WINS NCAA NATIONAL CHAMPIONSHIP
DESIGN
SACRED SPACE
PIAZZA GROUP PROJECT
ROME GUIDEBOOK
DEN [C] ITY: VARIABLE TOPOGRAPHIES
AIAS CORRUGATED CARDBOARD CHAIR AFFAIR
EXHIBITION PAVILLION
KIT OF PARTS
KEY
TEACHING ASSITANT: RACE & ARCHITECTURE LECTURE SERIES
NEW ORLEANS MURAL
COMPREHENSIVE BUILDING DESIGN STUDIO
ENTRY, PATH, ARRIVAL
GRADUATE FOREIGN STUDIES COMPETITION SCHOLARSHIP
WORK: E/L STUDIO
MAC SALON
ATLANTIC CITY BOARDWALK HOLUCAUST MEMORIAL COMPETITION MERIT AWARD INNOVATION NATIONAL AIAS/ VINYL INSTITUTE COMPETITION ‘07
PAYNE/ GOODKIND RESIDENCE
FIRST-RUNNER UP SENIOR COMPETITION STUDIO ‘08 TEACHING ASSISTANT: BIM & INFORMATION MODELING
NOONETIME NATURALS OFFICE
AUSTRADE
KINDERGARTEN ARCHITECTURE
FIRST RUNNER UP NATIONAL AIAS CHAIR AFFAIR ‘09
PUBLIC SPACE ANALYSIS
EMBASSY OFFICE DRAKE RESIDENCE
ARCHITECT
URE
Catastrophic
STATI D’ANIMO BY UMBERTO BOCCIONI STATES OF MIND - ‘THE FAREWELLS III’ - 1917
Intent: MODES OF ‘EXCHANGE’ TECHNOLOGIES
ARTISINAL
SYMBOLIC NOTATION
SPOKEN WORD
WRITTEN RECORD
PRINTING PRESS
COPY MACHINE
PREDOMINANT METHOD OF RECORD [KNOWLEDGE]
INTERNET & TELECOMMUNICATIONS
Graduate Thesis Thesis Advocate: Andrew Cocke Thesis Comittee: Lou Boza, Ann Cederna, Elizabeth Emerson, Matthew Geiss, and Mark Lawrence Semsester / Year: Fall ‘11 Course Description: The thesis program at CUA consists of a research semester and design semester where the student is asked to formulate an project which builds upon some of the theoretical themes considered during the research phase. The program is meant to facilitate a continous design & research engagement whilst allowing the student to investigate his or her own interests to the fullest extent possible.
Since the proliferation of digital technologies into the architectural profession the relationship between data and form has come under a heightened awareness in design circles. Whether it be parametricism, optimization or performatism, sustainability and CAD/ CAM technologies, data is playing a more prevalent role in the production of form. Given the propensity for data to rapidly undergo change, who is directing the design of these forms, architect, computer, or consumer? No single institution is more aware of the rapid production of data and its continuous modulations, shifts in intensity and focus then our nation’s knowledge warehouse facility, the Library of Congress. The LOC is where we give form to, codify, and access an enormous, almost incomprehensible repository of data. This thesis will argue that given the Library of Congress’ recent expeditions into the virtual world (archiving Twitter, Wikipedia, eBooks, and the general digitization of the modern library), a fundamental shift has occurred in the classical model of learning which necessitates a re-interpretation of the modern Library, and the classical model of knowledge acquisition upon which it is based. The singular shift from a linear/ hierarchical model (classical) to the collective exchange model of knowledge acquisition has specific formal consequences and constitutes an advanced form of Thomas Jefferson‘s founding democratic ideology, the notion that freedom of information is an essential component of democracy. The intent of this project is to superimpose a dynamic & robust alternative presentation of knowledge by using the data which the Library collects on a regular basis in working operation with a set of material behaviors (material agencies) in order to both acknowledge the presence of (giving form & classification to) and advance burgeoning intellectual pursuits (open access to) which have yet to be concretized in form by our National Library.
actualizing a form of human knowledge
THE FORMAL (RE)PRESENTATION OF ALL HUMAN KNOWLEDGE A MONUMENT TO INTELLECTUAL PROGRESS & HUMAN ASPIRATION in SYMBOLS, STATUES, ICONOGRAPHY, MURALS, INSCRIPTIONS, PAINTINGS, PERSONIFICATIONS & ALLEGORIES THE FORMAL (RE)PRESENTATION OF HUMAN KNOWLEDGE: A MONUMENT TO INTELLECTUAL PROGRESS & HUMAN ASPIRATION; LOC, JEFFERSON BUILDING in SYMBOLS, STATUES, ICONOGRAPHY, MURALS, INSCRIPTIONS, PERSONIFICATIONS & ALLEGORIES
APEX
CUPOLA
A1
COLLAR
CU-1
C11
C10
C9 C8
C12 C1
C7 C6
C2
DRUMLINE
C3 C4
C5
GALLERY
DESK GROUND G8-A G8-B
G7-B
D8
D7
G7-A
G1-A
G6-B
D1
D6
G1-B
G6-A GR-1
G2-A
G5-B D2
THE COLLECTION IN NUMBERS: 32 61 1 1 500,000 6,000 5.3 6 3 14.7
838 147 1,620,000
D5
G5-A
G2-B
MILLION CATALOUGED BOOKS MILLION MANUSCRIPTS MILLION GOVERNMENT PUBLICATIONS MILLION WORLD NEWSPAPERS MICROFILM REELS COMIC BOOKS & FILMS MILLION MAPS MILLION WORKS OF SHEET MUSIC MILLION SOUND RECORDINGS MILLION PRINT & PHOTOGRAPHIC IMAGES
G3-A
D3
D4
G3-B
G4-B
G4-A
MILES OF BOOKSHELVES MILLION ITEMS TWEETS DURING THIS REVIEW
“Information and knowledge about all subjects are essential in a properly functioning democracy . . . for legislators and citizens alike.” Thomas Jefferson
‘SINGULAR’ TO THE ‘COLLECTIVE’ KNOWLEDGE AQUISITION MODELS
S UB
SCALE
GENERATOR
70
19
90
19
10
20
READER
RBA
R
R
INTELLECTUAL
GI
I
C
CLASSICAL MODEL HIERARCHICAL / INDIVIDUAL
BUILDER
EPISTEMILOGICAL CLASSIFICATION
KNOWLEDGE CLASSIFICATION
‘EXCHANGE’ TECHNOLOGIES
LIBRARIAN SENATOR RESEARCHER PROFFESOR
G
50
19
B
RBA GI
CONSULTANT
C
ANALYST
R CASUAL VISITOR
CAST OF CHARECTERS
What are the formal implications of this shift in the predominant model of knowledge aquisition?
A
R
C
DIGITIZATION MODEL CENTRALIZED / ARCHIVAL ACCESSIBILITY
GRI BCA GRBA
CORE FUNCTIONALITY OF LIBRARY 2.0 MODEL: STORAGE RETRIVAL ANALYTICAL BROADCAST GRI RESEARCH BCA EXCHANGE
GRI BCA
GRI BCA CA
OPEN-SOURCE MODEL COLLECTIVE EXCHANGE
PRODUCERS OF KNOWLEDGE CONSUMERS OF KNOWLEDGE CONTAINERS OF KNOWLEDGE
RENE THOM’S CATASTROPHE THEORY A CONTINOUS TRANSFORMATIONAL PROCESS & MATHEMATICAL NOTION OF A ‘SINGULARITY’
MATERIAL AGENCY A HYBRID FIXED / FREE 4R BENNETT LINKAGE
DATA & FORM
Michael Jackson
Space-Time
Sustainability
Digital Law
Chronophotography
Socio-Political Socio-Economical
Biomedical Engineering
Material Energy
1
The Apple Revolution
Algorithmic Architecture
ADDRESSING KNOWLEDGE SECTS ON THE CUSP OF ACHIEVING FORMAL RECOGNITION
Euclidean Geometry
Bleb Concept
Genetic Engineering Computational Biology
Morphogenises
Toxicology
Green Architecture
Structuration
Phenomenology
Open-Source
Medical Robotics
Structuralism
Science Fiction
3
Futurism
Social Media
The Kardashians
Celebrity Gossip
Dissipative Structures
Literary Theory
Daguerrotype Process
Art Nouveu
Deconstructivism
Geodesics String Theory
Carbon Footprint
Climatology Science
Vorticism Kinematics
Scientology
Media Studies Student Loans
Neoclassical
Crowd Theory
Epigenetics
Synesthesia
3
Material Science Computational Literature
Hylomorphism
Digital Architecture Catastrophe Theory
Samkhya Modernism
Dissapative Structures
Simulation Biopolitics Anthroposophy
Biomimetics
Metaphysics
Filmography Digital Media Art
Materialism Political Science
Palimpsest
Theosophy
Nanotechnology
Nueroaesthetics 2
2 Affect Theory Topology
Emergent Ecologies
Virtual Cartography
Impressionism
Protogeometry
Anthroposophy Parametric Architectures
Furturist Digital Cartography
Epigenetic Landscapes
Cubist Furturist
1
Mapping
Marketing
Synergentics Network Psychology
THE KNOWLEDGE STREAM
MAPPING VECTORS TO THE MATERIAL SYSTEM
INDEXED TO EXISTING ALLEGORICAL FEMALE SCULPTURES - THE METAPHORICAL CANON SUBJECTS OF KNOWLEDGE
FRANCIS BACON
MICHAELANGELO
PHILOSOPHY
ART LUDWIG VAN BETHOVEN
PLATO
HERODOTUS
HOMER
1 POETRY
HISTORY
1
WILLIAM SHAKESPERE
2
3
CHANCELLOR KENT
EDWARD GIBBON
CHRISTOPHER COLUMBUS
2
LAW
3
COMMERCE
ROBERT FULTON
SOLON
ST. PAUL
JOSEPH HENRY
SCIENCE SIR ISAAC NEWTON
MOSES
RELIGION
STROBOSCOPIC RENDERING
REFERENCE KEY:
A DATA-RESPONSIVE MATERIAL CONSTRUCT
HOW IT WORKS? THE CATASTROPHE THEORY SCRIPTED GEOMETRY
FORM POPULATIONS AGGREGATE EFFECTS (AGORA) + UNIT CONFIGURATIONS (PNYX)
THE LIBRARY OF CONGRESS JEFFERSON BUILDING - MAIN READING ROOM THE PINNACLE OF THE ‘DATA’ PROBLEM
THE AGORA THE PUBLIC SQUARE OR EXCHANGE FLOOR, AN UN-FOCUSED COMMENTARY/ OVERVIEW
OBSERVATION DECK ADDITIONAL FUNCTIONALITY OF THE MODERN LIBRARY
STAIR TOWER VISITOR - RESEARCHER VISUAL FEEDBACK
LANDING DECK NO DISRUPTION TO EXISTING CORE FUNCTIONALITY OF LIBRARY
THE STOA - BROWSING HALLWAY RESEARCHER INTERACTION WITH THE ‘AGORA,’ A RECESSED OVERVIEW
GANGPLANCK ROBUST MULTI-ACCESS RETRACTABLE SYSTEM TO ACCESS ‘PNYX’ SPACES
THE PNYX EMERGENT SPATIAL OCCUPATIONS FOR FOCUSED DISCUSSION OF GROWING SUBJECTS
AC-GRADE HOLLOW ALUMINUM ROD FRAMING TYP.
ROD-END (REVOLUTE JOINT) PIN FLOOR ACTUATORS @ LINKAGE FRAME NODES REVERSE THREADED LINEAR ACTUATOR INTEGRATED ROD-END HINGE @ FLOOR FRAMING
UNIVERSAL JOINT @ FLOOR TO LINKAGE FRAME CONNECTION
RECESSED PULLEY TRACK
CABLE PULLEY WHEEL & MTL BALL BEARINGS 3-BAR CRANK & ROCKER ARM
ASTM GRADE STEEL FRAMING @ RIGID FRAME TYP.
THE TOWER ALTERNATIVE PRESENTATION OF KNOWLEDGE
GreatFalls
V i s i t o r s Sacred Space Critic: John Nahra Semsester.Year: Fall.06 Project Description: Using a site at Maryland’s Great Falls Park, a historic rock terrace forest, we were asked to design a nondenomonational chapel under one thousand sqaure feet for hikers and visitors on the many trails of Great Falls Park.
In studying Mircia Eliade’s theoretical writing between the sacred and the profane I learned charecteristics which distinguish what is sacred from what is profane. By assuming everything sacred moves toward the center of the cosmos I searched for inspiration in the landscape of the rock terraces. The site eventually selected contains rock formations that seemingly move towards a single point in the universe and also incorporated three levels of sacredness; the water, beach, and cliff. Using a metaphor of moving from hell [water] to purgatory [beach] up finally into heaven [cliff] the intervention was situated atop the highest point of the site and envisioned as a found object in the landscape. The concrete walls move towards heaven and provide an enclosure for places of worship, reflection, and rest. Sunlight shines through the sliver opening at the altar and provides natural lighting to the congregation.
C h a p e l
PROCESS MODELS CENTRALITY & THE COSMOS
ENTRY & ARRIVAL SEQUENCE ASCENDING THE ROCKY OUT-CROP UPON DISCOVERY OF THE FOUND OBJECT
CHAPEL ENTRY OUTDOOR HARDSCAPED REST AREA
W
a
t
h
a
T . D a n i e l Eternal Sunshine of the Spotless City Critic: Elizabeth Emerson Semsester.Year: Fall ‘08 Project Description: Senior competition studio
The project, entitled ‘Eternal Sunshine of the Spotless City,’ investigates change and turnover in the city of Washington, DC as it relates to political cycles specifically Presidential elections. Citywide population shifts occur on a rapid 4-8 year basis with the changing administration staking claim to the city. In the wake of recent events, the neighborhood of Shaw is coming into focus for its significance as an african american historical culture. The neighborhood, in conjuction with Harlem, NY and Jackson, MS can be seen as a cultural icon paving the way for figures like potentially the first african american president in our country’s history, Barack Obama. This project explores funneling as a physical quality of memory to generate architecture which projects towards future growth of a neighborhood and culture. Physical qualiti es of memory were derived from Michael Gondry’s film, “Eternal Sunshine of the Spotless Mind,” and transformed into an architectural concept. Within the fi lm, Montauk is used as a symbol of the relationship between the two charecters. Montauk is a site which the two charecters are drawn towards despite their memory erasure. Within Shaw, the site of 14th and U St serves as the same natural funnel; it is a gathering place for major events in ti me. It serves as a place where local events can have nati onal consequence and pertains specifi cally to this moment in time when our fi rst African American president is now our encumbent president elect.
S H A W
pl (public.library)
“what happens to the blameless vestal’s lot? the world forgetting, by the world forgot; eternal sunshine of the spotless mind, each prayer accepted, each wish resigned.” -Alexander Pope
“This is not historic indulgence in a limited sense; not a question of travelling back, but merely of being aware of what ‘exists’ in the present- what has travelled into it: the projection of the past into the future via the created present” -Aldo van Eyck
A N A LY
SIS
F o r e i g n
S t u d i e s [64 A.D.]
MAY - 15 [09]
[220 A.D.]
[392 A.D.]
JUNE - 1 [09]
[1099 A.D.]
JUNE - 15 [09] [1224 A.D.]
[1354 A.D.] [1386 A.D.] [1404 A.D.] [1500 A.D.] [1522 A.D.] [1562 A.D.]
JULY - 1 [09]
[1577 A.D.]
[1682 A.D.] [1709 A.D.] [1762 A.D.] [1798 A.D.] [1805 A.D.] JULY - 15 [09]
2009 Graduate/ Summer Foreign Studies Team: Chris Brown + Lindsey Dehenzel Faculty Advisor: Chris Grech, Dave Shove-Brown, Odile Decq, Mark Lawrence, and Michael Abrams Semsester.Year: Summer ‘09 Descripti on: A marathon backpacking trip through Malta then up the Italian peninsula with highlight stops at Casa Malaparte and Rome for condensed studio projects.
[1858 A.D.] [1869 A.D.]
[1923 A.D.] [1937 A.D.]
[1954 A.D.]
AUG - 1 [09]
[1961 A.D.] [1965 A.D.] [1973 A.D.]
[2009 A.D.]
AUG - 15 [09]
Each summer, the School of Architecture and Planning conducts the Patrick Cardinal O’Boyle Foreign Studies Program in Europe. The program is open to students who have completed the third year studio sequence. Typically, the students spend three weeks in Italy; then, after one week for free travel, reconvene for two weeks or more in one or more other locations. In the past, these have been Spain, Germany, Austria, France, England, Greece, Turkey, and/or Scandinavia. In 2009 the students will be travelling to Malta off the southern tip of Italy. The program encompasses 11 weeks from May to August. The students earn 15 credits (6 of studio, 9 of program elective) toward their degrees. The program is limited to 15 students who are selected on the basis of their overall academic records or by placing in a special competition held in the Arch 401 Design Studio each fall.
I t a l y
TOPOLOGICAL GARDENS NETWORK MAPPING VENICE BIENNALE 2009 MEDIUM - INK & BROCHURE PAPER COLLAGE
STRATIFICATIONS OF THE BIENNALE VENICE BIENNALE 2009 MEDIUM - GRAPHITE, BROCHURE PAPER, AND WATERCOLOR COLLAGE
Basilica di San Clemente -Cardinal Anastasius -St. Jerome -Titus Flavius Clemens -Joseph Mullooly -Carlo Fontana
Fortifications of Malta -Jean de la Valette
-Claude-Henri Belgrand de Vaubois -Napolean Bonaparte
Museo di Castelvecchio -Cangrande II della Scala -Napolean Bonaparte -Fernando Forlati -Antonio Avena -Carlo Scarpa
Palazzo Grassi -Franceso Lo Savio -Tadao Ando -Giorgio Massari
Fondazione Querini Stampalia -Conte Giovanni Villa Malaparte -Adalberto Libera
-Jacopo de Barbari -Vicenzo Maria Coronelli -Carlo Scarpa
-Curzio Malaparte
Duomo di Milano -Antonio da Saluzzo
-Nicholas de Bonaventure -Lucas Sforza -Charles & Franceso Borromeo -Napolean Bonaparte
Fondazione Querini Stampalia -Conte Giovanni -Jacopo de Barbari -Vicenzo Maria Coronelli -Carlo Scarpa -Mona Hatoum
PIAZZA SANTO SPIRITO ANALYSIS PROJECT FLORENCE, ITALY 2009 w/ LINDSEY DEHENZEL MEDIUM - GRAPHITE & COLORED PENCIL DRAWING
[64 A.D.]
MAY - 15 [09]
[220 A.D.]
[392 A.D.]
JUNE - 1 [09]
[1099 A.D.]
JUNE - 15 [09] [1224 A.D.]
[1354 A.D.] [1386 A.D.] [1404 A.D.] [1500 A.D.] [1522 A.D.] [1562 A.D.]
JULY - 1 [09]
[1577 A.D.]
[1682 A.D.] [1709 A.D.] [1762 A.D.] [1798 A.D.] [1805 A.D.] JULY - 15 [09] [1858 A.D.] [1869 A.D.]
[1923 A.D.] [1937 A.D.]
[1954 A.D.]
AUG - 1 [09]
[1961 A.D.] [1965 A.D.] [1973 A.D.]
[2009 A.D.]
AUG - 15 [09]
c a p i t a l / Capital/ Metropolis Professors: Elizabeth Emerson and Mark Lawrence Semsester / Year: Spring ‘10 Course Description:
Project ctt D Descriptions... eessccrrip pttiion ion ons... ons
metropolis
CURB PLANNING MATRIX APRON
EASEMENT
EDGE
SOFT EDGE
EXTENDED
INTEGRATED
LOWERED
ROUNDED
SEPERATED
RAMPED
SLOPED
EXCLUDED
HARD EDGE
STRAIGHT
An excerpt from, ‘Street Boundaries: The Curb as an Artifact of War’ by Chris Brown: The curb is typically thought of, if it comes up in daily thought at all, as a non-political system yet it sits at the intersection of two of the most politically charged elements of an urban infrastructure, the pedestrian streetscape and road. It is a boundary condition by its very definition, demarcating the space between automotive activity and the pedestrian environment. The stated function of the curb is simple, pedestrian protection and drainage. This sounds as simple as the stated function of the government, ‘to protect and serve,’ which we know yields slightly more complex behavior. This investigation will focus on the boundary condition as a means of revealing constructed aspects on both ends which reveal further complex emergent social, economic, and political phenomena. The curb is an artifact of ideology and a device of coercion for enforcing the motives of the state. Washington, DC’s primary role as the nation’s capital realizes interesting physical compositions in the city’s street boundary condition. In the federal city, the curb functions as a mechanism of ‘civil’ war through its functioning as a protection device against the pedestrian public. The juxtaposition between local citizenry and federal governance necessitates perimeter security for federal buildings in the minds of city planners. Direct measures are put into place by urban planners which provide a stratified system of defense against public attack; the curb is the first line in that defense system. Some security systems are more apparent than within the federally controlled city as revealed through elements such as bollards, fences, and walls while others are often perceived as ‘public’ uses but primarily function as defense mechanisms. Benches, fountains, bus shelters, planters, trees, bike racks, trash receptacles, and lights are all part of the governments protection system for federal buildings. The curb reveals this defense system through its special integrated molding technique which includes both curb and apron in a singular mold to reinforce its strength in functioning as a defense device. This curb includes a characteristically sharp corner edge which begins to reveal its role in preventing against vehicular attack. The falsified planning schemes beginning with the street curb in the federal district function as an escarpment. Escarpment, which is mentioned in the CPC’s publication on “The Comprehensive Plan for the National Capital: District of Columbia,” is a term which has strong connotations in fortified military fortresses of the 12th through 16th centuries. It refers to the steep slope at the front edge of a fortification. The term is mentioned in the CPC’s publication in reference to DC’s topography and emphasis of the ‘Topographic Bowl’ comprising of the city’s former swampland which now serves as its ruling core but can be extended to include additional defense planning embedded within the city’s infrastructure. The curb functions equally as an escarpment, at the super local scale, within the District’s federal core by staging a battle between the general public and the ruling class; it is a mechanism protection against civil upheaval. Outside of the city’s federal core lies the second function of the city as a place for living and raising a family. However innocent this may appear it is documented within district codes that local street identity is formulated in response to national planning standards and national identity. The curb within these historic districts serves as a device for enforcing historicity. Local streets in Washington, DC’s historic neighborhoods are graced with a plethora of amenities such as solid granite curbs, and brick aprons. These characteristics reveal the nature of these neighborhoods as stakes for cultural tourism which possess intimate tree-lined streets and extensions of L’Enfant’s characteristic radial avenues. These amenities appear to be welcomed additions to the historic streetscape but are contributing factors to high housing prices in the neighborhoods by forcing an environment of strict historical conformity. In addition to its role in contributing to urban renewal the curb also promotes the imageography of the city through subtle enforcement of the city’s public green spaces in city squares and parks. The curb exists on both sides of the sidewalk demarcating the boundary between sidewalk and street, and sidewalk and green space. Interestingly enough the height of the curb between sidewalk and green space is nearly double the height between sidewalk and street in many locations. This would seem to function in opposition to its function as a device for pedestrian protection, shifting to a device for image protection for the history of the nation’s capital. The rules and codes underlying the logic of curb construction in Washington, DC function to destabilize the public environment while creating an atmosphere of protection for the federal government. The curb reveals the logic underlying the form of the city whether manifest or not.
ENFORCER FEEDER EFFICIENCY
SEPERATION
PROTECTION
GRAPH
ICS
UD:DC - WASHINGTON AS COLLAGE CITY: 12 YEARS OF URBAN DESIGN IN OUR NATIONS CAPITAL The Catholic University of America w/ Terry Williams, FAIA DesignDC 2011 Presentation & Exhibition Boards Spring ‘10 - Fall ‘11
MARION PARK Fall ‘06
TOWN & GOWN: CUA Fall ‘05
TOWARDS AN ARCHITECTURE OF INCLUSIVENESS Spring ‘01 + Spring ‘08
H ST: MAIN STREET Fall ‘04
SOLAR DECATHALON EXHIBIT National Building Museum & E/L Studio Exhibit Introduction Poster - April ‘10
09.16.2009 KOUBEK AUDITORIUM
CATHOLIC UNIVERSITY OF AMERICA SCHOOL OF ARCHITECTURE AND PLANNING CATHOLIC UNIVERSITY OF AMERICA- CROUGH CENTER 620 MICHIGAN AVE. NE WASHINGTON, DC 20064-0001
5:30 PM
.M. P ARCHITECTURE :30 IUM 5 t 21s ITOR R BE AUD O T K IDENTITY OC UBE O K
UHLIR D E M PARK 00.TBD
NIU 11.16.09 E L MIL
NORWEGIAN ARCHITECTURE GLOBAL VS. VERNACULAR IN:
PA N E L D I S C U S S I O N F E A T U R I N G :
10.26.09
CRAIG DYKERS EINAR JARMUND PETER MACKEITH
11.30.09
M O D E R A T E D B Y:
SUSAN PIEDMONT-PALLADINO
ALL LECTURES TO BE HELD IN: KOUBEK AUDITORIUM AT 5:30 PM E.S.T. DRINKS AND REFRESHMENTS TO FOLLOW IN MILLER SPACE
ED UHLIR: MILLENIUM PARK The Catholic University of America Lecture Poster - October ‘10
THE GLOBAL VS. VERNACULAR IN: NORWEGIAN ARCHITECTURE Embassy of Norway & CUArch Panel Discussion Poster - September ‘09
THE DUTCH ELEMENT AT HH400 Netherlands Embassy & CUArch Lecture Series Poster - January ‘09
CATHOLIC UNIVERSITY OF AMERICA SCHOOL OF ARCHITECTURE AND PLANNING CATHOLIC UNIVERSITY OF AMERICA: CROUGH CENTER 620 MICHIGAN AVE NE WASHINGTON, DC 20064-0001
ARCHITECTURE
IDENTITY
*
11.16.09 CRAIG WILKINS
T.B.D. TEDDY CRUZ
ASSOCIATE PROFESSOR IN PUBLIC CULTURE AND URBANISM, UNIVERSITY OF CALIFORNIA SAN DIEGO ESTUDIO CRUZ, SAN DIEGO, CA
PROFESSOR, TAUBMAN SCHOOL OF ARCHITECTURE, UNIVERSITY OF MICHIGAN
*
10.26.09 YOLANDE DANIELS
11.23.09 MILTON CURRY
ASSISTANT PROFESSOR COLUMBIA UNIVERSITY G.S.A.P.P. STUDIO SUMO Architects, NY
ASSOCIATE PROFESSOR CORNELL UNIVERSITY A.A.P.
A RC H I T E C T U R E , RACE & IDENTITY CUArch Lecture Series Poster November ‘09
ALL LECTURES TO BE HELD IN: KOUBEK AUDITORIUM AT 5:30 PM E.S.T. DRINKS AND REFRESHMENTS TO FOLLOW IN MILLER SPACE * ACCOMPANYING EXHIBITION OF YOLANDE DANIELS’ (STUDIO SUMO) *
WORK WILL BE ON DISPLAY FROM OCT. 19TH- NOV. 30TH DATE TO BE CONFIRMED SOON- PLEASE CHECK OUR WEBSITE: www.architecture.cua.edu/
FAB
RIC ATION
Artificia
l
Landscape ADD+F [Advanced Digital Fabrication] Design Critic: Andrew Cocke Semsester / Year: Fall ‘10 Course Description: Working in teams ranging from 3-5 students, we were asked to investigate the available digital fabrication tools in the School of Architecture and Planning (3-Axis Router, Laser cutter, 3D Printer, Woodshop, Etc.) and test a small design project in an effort to streamline and optimize the fabrication process. What we learned from these investigations continously fed into each teams manufacturing procedures and design revisions.
This is an arti fi cial landscape made up of concrete units. The units are simple hexagonal pieces that vary in height, mostlikely between 6” and 30”. The point of the work is to create an occupiable space that can accomodate people and program and allow for a visitor to straddle experiences of observati on and habitati on in a landscape. It is a means for viewers to engage with and comprehend a schemati c representati on of landscape forms, lying somewhere between natural and artificial. The creation of the landscape is the result of the implementi ng technology in the design process. Using holistic, generati ve design programs with CNC milled materials the forms can be made with robotic precision. The opening lightens the weight of each unit and allows for infill of soil and plants. This installation is to have the natural landscape creep back into the artificial landscape, filling the diff erent openings over time with its plants and animals of the area and transforming it over time.
Assembly
GROUP
AGGREGATION
FIELD
ORIENTATION
SURFACE
SHAPE
SCALE
UNIT
TRIANGLE
SQUARE
PENTAGON
PLANAR
FACETED
UNDULATED
XY-PLANE
XZ-PLANE
YZ-PLANE
TOPOGRAPHY
SMOOTH
WALL PUNCTUATED
VARIABLE POROSITIES
SOLIDITY
SOLID
HEXAGON
BOUNDARY
HARD- EDGE
GRADIENT
OCTAGON
TEXTURED
Mold Assembly
Dependant on 12”/6”
Tall Form Work. 1"
Insert Part A
1/2” Through Bolts spaced at 3 1/2” O.C.
Circle (R:3.00)
1"
N.T.S 1 41 "
Insert Part A 3 21 "
Varies
Poured Concrete Unit.
Tall Form Work #1
Tall Form Height Variable
1 21 "
Tall Form Work #2
Insert Part B 3/4” Plywood Base
3"
2”x4” Blocking Assembly Table
1/2” Bolt Through Insert A and Insert B
Insert Part B
Insert Parts
B 77 8"
NOTES
7" 58
Insert Part A is made of 3/4” _____ Plywood to be fabricated according to Shop Drawing ______. Insert Part B is milled Douglas Fir with a 3/4” Ball End bit cut in a radial pattern. Together Insert A and Insert B are known as the Insert Assembly. The Insert Assembly is to be finished with ______ Polyurethane, lightly sanded with #400 sand paper and wiped clean with a damp rag three (3) times before use.
MIXING PROPORTIONS
Insert B Section
A
The Concrete Unit is poured into the mold at a ratio of 1:2:1; Water, Sand, Portland Cement
CASTING CONDITIONS
G F E D C B A
Tall Form Work Plan
All Concrete Units are to be cast and allowed to cure for no less than twelve (12) hours at room temperature before being released from the Mold Assembly
Insert A Elevation
G
F
E
D
C
B
A
CASTING TECHNIQUES
Tall Form Work Section B
Concrete is to be mixed at room temperature and stirred at a high rate for 5-7 minutes before pouring. Once cast into the mold, concrete is to be vibrated with ________ for a 3-4 minutes.
Tall Form Work Section A
Insert B Plan
Insert A Cut Sheet
MOLD ASSEMBLY AND CASTING
FOAM CAP WITH RUBBER SEAL PAPER CORE FINISHED PLY. SIDES
FOAM CAP/PLASTIC SEAL PAPER CORE ALUMINUM FLASHING SIDES FACETED CAP
FOAM CAP WITH PLASTIC SEAL PAPER CORE FINISHED PLY. SIDES
HDPE CAP HDPE SIDES HDPE CORE 8 HOUR CURE
HDPE CAP LAYERED PLY. SIDES HDPE CORE
LAYERED PLY. CORE HDPE CAP WITH BALL-END BIT MILL LAYERED PLY. SIDES
FOAM CAP WITH RUBBER SEAL & BALL-END BIT MILL PAPER CORE FINISHED PLY. SIDES
HDPE CORE HDPE CAP WITH BALL-END BIT MILL LAYERED PLY. SIDES
HDPE CORE HDPE CAP LAYER PLY. SIDES 8 HOUR CURE
LAYERED PLY. CORE 3 LAYER HDPE CAP LAYERED PLY. SIDES 18” TALL
A 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37
B
C
D
E
F
G
H
I
J
K
L
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Circle(R:1.00 in) 23.383
-4.5 Circle(R:1.00 Circle(R:2.00 in) 20.785
Circle(R:1.00 in) Circle(R:2.00
13.0 7.0
23.383
-13.5 5.0 16.0
-18.0 Circle(R:1.00 in)
5.0 14.0
23.383 Circle(R:1.00 in) 20.785
-27.0 Circle(R:1.00 in)
16.0
23.383 -22.5 Invalid Circle in) Circle(R:1.00
-45.0
-49.5
Circle(R:1.00 in)
16.0
23.383 -31.5 Circle(R:2.00 Circle(R:1.00 in)
X
22.5 Circle(R:1.00 in)
15.588
-54.0
6.0
10.0 12.0
-54.0
Circle(R:1.00 in)
Circle(R:2.00 in)
Circle(R:1.00 Circle(R:2.00 in)
15.588
10.392
-63.0
8.0 12.0
W
28.579
13.5
4.5 Circle(R:1.00 in)
Circle(R:1.00 in)
12.99
5.196
28.579
Circle(R:1.00 in)
4.0
7.0
6.0 13.0
V
31.177
11.0
25.981
-36.0
Invalid Circle
Circle(R:1.00 in)
U
18.0 Circle(R:1.00 in)
25.981
20.785
Circle(R:2.00 in)
5.0 15.0
28.579
-4.5
-13.5 Circle(R:1.00 in)
9.0 11.0
T
Circle(R:1.00 Circle(R:2.00 in)
31.177 9.0 Circle(R:1.00 Circle(R:2.00 in)
S
25.981
23.383
Circle(R:1.00 in)
3.0
7.0 12.0
R
Circle(R:1.00 in)
0.0 Circle(R:1.00 in) 28.579
28.579
-22.5 Circle(R:2.00 in)
6.0 13.0
Q
31.177
-9.0 Circle(R:1.00 in)
P
25.981
-40.5 14.0
16.0
15.0
0
Circle(R:1.00 in)
31.177
-18.0 Circle(R:1.00 in)
N
Circle(R:1.00 in) -51.962
18.0
27.0
9.0
7.0
5.0
4.0
END PRODUCT
A
I
A
S
ChairAffair 2009 AIAS Chair Affair Design Competi tion Team: Chris Brown and Mateusz Dzierzanowski Faculty Advisor:Lou Boza Semsester.Year: Spring.2009 Project Description: Sponsored by the Corrugated Cardboard Association
The chair is combined of 7 different kinds of pieces and a dowel joint element. The pieces are stacked and adhered together in section with 8 layers of corrugated cardboard. Upon assembling the pieces a sheet of cardboard is taken and scored in order to allow it to be rolled. From here it is tightly rolled into a dowel joint that will provide the chair with an easy system of alignment when assembling the chair as well as the main dowel joint for the entire chair’s ability to fold. The stopping joints and interlocking section pieces were constantly being tested and improved in order to strengthen the chairs folding capabilities as well as its bearing capacity. This lightweight chair can be moved around with ease, folded open quickly, shut easily, stacked either horizontally or vertically, and having a bearing capacity of 225 pounds. Not only are these characteristics necessary for the successful use of the chair, but the aesthetic and elegance of such a slender form for the folding chair become a seducing option for all users. However, among its simple fold lies an intricate understanding of how to dowel, interlock, and stack in section multiple layers of cardboard. Among understanding these intricacies comes the challenge of most effectively manufacturing the chair. Being in an architecture school provides an abundance of cardboard scrap found in all studio spaces, trash cans, and laser cutter rooms. After obtaining a strong inventory of scrap, a series of rigorous nesting in CAD took place in order to produce cut sheets. By nesting the required pieces onto scraps of cardboard we were able to ďŹ t the scrap into a laser-cutter and then cut accurately. The laser-cutting method allowed for a high level of precision and the exibility for one of us to be cutting cardboard, while the other was gluing the pieces. By doing this we were able to rid material cost and still obtain very precise pieces.
2 0 0 9
RECYCLED NESTING
STUDIO FURNITURE
[ FIND ]
FRAGMENTED ASSEMBLY
[ NEST ]
[ CUT ]
[ ASSEMBLE ]
In the iniƟal design process of this chair we sought to Įnd a way to produce a chair that would be Įƫng among any design or architectural school for various lectures, juries, and other school-related funcƟons. This meant providing a chair that can be easily moved throughout the building, be stowed away, packaged neatly, and provides the aestheƟc qualiƟes and design characterisƟcs Įƫng of the design atmosphere within our school. We Įrst looked at our own school’s chairs and began to discuss what characterisƟcs were successful of such chairs whether it was there presentaƟon, bearing capacity, weight, comfort, or there ability to be stacked. From here a series of mock-ups were conƟnuously produced unƟl all the details and mechanics of our ideas had Įnally Įt snuggly together. By understanding how to Ɵghtly interlock cardboard elements and produce a strong rotaƟonal element, we were able to meet both demands in creaƟng a well funcƟoning and aestheƟcally beauƟful chair. From a series of trials Įnally came the Scissor Chair.
As a weight reducƟon and aestheƟc decision, we cut voids within the backrest to allow air Ňow and a degree of transparency without sacriĮcing comfort. The pieces were cut from scraps in puzzle like fragments and assembled together to create 1” wide bearing members.
The chair is combined of 7 diīerent kinds of pieces and a dowel joint element. The pieces are stacked and adhered together in secƟon with 8 layers of corrugated cardboard. Upon assembling the pieces a sheet of cardboard is taken and scored in order to allow it to be rolled. From here it is Ɵghtly rolled into a dowel joint that will provide the chair with an easy system of alignment when assembling the chair as well as the main dowel joint for the enƟre chair’s ability to fold. The stopping joints and interlocking secƟon pieces were constantly being tested and improved in order to strengthen the chairs folding capabiliƟes as well as its bearing capacity. This lightweight chair can be moved around with ease, folded open quickly, shut easily, stacked either horizontally or verƟcally, and having a bearing capacity of 225 pounds. Not only are these characterisƟcs necessary for the successful use of the chair, but the aestheƟc and elegance of such a slender form for the folding chair become a seducing opƟon for all users. However, among its simple fold lies an intricate understanding of how to dowel, interlock, and stack in secƟon mulƟple layers of cardboard. Among understanding these intricacies comes the challenge of most eīecƟvely manufacturing the chair. Being in an architecture school provides an abundance of cardboard scrap found in all studio spaces, trash cans, and laser cuƩer rooms. AŌer obtaining a strong inventory of scrap, a series of rigorous nesƟng in CAD took place in order to produce cut sheets. By nesƟng the required pieces onto scraps of cardboard we were able to Įt the scrap into a laser-cuƩer and then cut accurately. The laser-cuƫng method allowed for a high level of precision and the Ňexibility for one of us to be cuƫng cardboard, while the other was gluing the pieces. By doing this we were able to rid material cost and sƟll obtain very precise pieces.
ROLLING DOWEL JOINT
[ SCORE ]
[ SCISSOR CHAIR ]
[ ROLL ]
BEARING JOINTS
The chair is seen as being an element that can be housed and used for all events within architecture schools or other events on campus. The ability for jurors to sit on edge, or recline while in discussion are both comfortable opƟons on the scissor chair. In addiƟon the characterisƟcs of the scissor chair either out matched or competed with chairs already exisƟng within our school. So the opportunity now arises for all schools to be able to reduce cardboard waste by recycling, save on materials or purchasing costs, and channel funds and educaƟon into the students of the school.
[ 150 LBS ]
[ 225 LBS ]
$53.99
PRICE_
30.5” H x 15.38” W
DIMENSIONS_
10 LBS
WEIGHT_
WOOD - NON RECYCLABLE
MATERIAL_
FULL REPLACEMENT ONLY
REPAIR_
[ WOOD FOLDING CHAIR ]
VERY HIGH
EMBODIED ENERGY_
255 LBS
BEARING CAPACITY_
$85.00
PRICE_
30” H x 18.5” W
DIMENSIONS_
9.5 LBS
WEIGHT_
STEEL - RECYCLABLE
MATERIAL_
FULL REPLACEMENT ONLY
REPAIR_
HIGH
EMBODIED ENERGY_
[ METAL FOLDING CHAIR ]
280 LBS
BEARING CAPACITY_
PRICE_
FREE 30” H x 16.25” W
DIMENSIONS_
11 LBS
WEIGHT_ MATERIAL_ REPAIR_
[ SCISSOR CHAIR ]
RECYCLED CARDBOARD RECYCLED PARTS
EMBODIED ENERGY_ BEARING CAPACITY_
VERY LOW 225 LBS
W a t e r S t .
ETIENNE JULES-MAREY STROBOSCOPIC PHOTOGRAPHY
T r a n s i t 2007 AIAS Vinyl Institute Miwaukee Transit Hub Design Competi ti on Team: Chris Brown and Mateusz Dzierzanowski Faculty Advisor: Matt hew Geiss Semsester.Year: Spring.2007 Project Description: In this competi ti on, the “Architecture in Moti on” theme was applied literally to the transportati on system in the design of a transit stop. By uti lizing vinyl materials in a creati ve manner, the transit stop can become a vibrant and integral part of the surrounding community.
The AIAS/ Vinyl Insti tute nati onal student design competi ti on provided us with a defi ned concept from the start derived from the theme of the 2007 AIAS Milwaukee Forum, “Architecture in Moti on.” As a team we studied the transit system in Milwaukee and employed the concept in a collabriti ve approach between implied and phenomonal moti on. From the site’s close proximity to Calatrava’s museum we drew from this the idea of using the human body as a method of depicti ng implied moti on within a stati c structure. We considered the process of movement at a typical transit stati on from arrival to departure and also applied this process to the larger picture of the architecture and design fi eld of practi ce. The interventi on captures the essence of transformati on over ti me of what a transit stati on was [past] in contrast to what it can off er [future] by its transformati on through ti me and space.
H
u
b
ADVERTISING FABRIC PROTOTYPE UNROLLED SURFACES & EASY UN-INSTALL FABRICATION METHOD
SG-2010:
SG.2010 2010 Smart Geometry: Working Prototypes Workshop: D2D (Design to Destruction) Faculty Advisor: Sam Conrad Joyce (University of Bath) & Dr. Al Fisher (Buro Happold) Semsester.Year: Fall 2010 Project Description: In this workshop we plan to control/optimise a design through a recursive process of computational analysis, small-scale prototyping and physical testi ng. The aim is to integrate this analysis into the design process using testi ng as a validation of the design.
To concentrate the workshop our challenge is for all participants to make a CNC milled 1.2m timber cantilever, which will undergo a calibrated structural test; the ‘winner’ being the design with the lowest self-weight but highest loaded capacity. The wider aim of the work- shop is to enter a dialogue about the practice of engineering alongside the process of design to get a feeling about truly how accurate engineering practice is and needs to be. Further- more to question what makes good design in terms of form and function. The group was split between structural engineers and young architecture students; each were asked to approach the design differently to test optimization against intuition. The project below uses an agent simulation in Processing to create structural flow lines and generate solids and voids for the cantilever.
D2D
PROCESSING SCRIPT STRESS AGENTS
‘AGENTS’
‘ATTRACTORS’
class Agent{
class Attractor{
float x,y; float vx, vy;
float x,y; float vecX, vecY; float pull;
Agent(){ }
Attractor(){ }
Agent(float ix, float iy, float ivx, float ivy){ x=ix; y=iy; vx=ivx; vy=ivy; }
Attractor(float ix, float iy, float ipull, float ivecX, float ivecY){ x=ix; y=iy; pull = ipull; vecX = ivecX; vecY = ivecY; }
void update(){ for(int i=0; i<numAttractor; i++){ float distX = attractors[i].x-x; float distY = attractors[i].y-y; float distance = sqrt(distX*distX+distY*distY); vx+=attractors[i].vecX*(distX*attractors[i].pull)/sq(distance); vy+=attractors[i].vecY*(distY*attractors[i].pull)/sq(distance); /* if (distance<0.1) distance=0.1; //a value of 0.1 produces bouncing float acceleration = (-pull/(distance*distance))/mass[i]; vx+=acceleration/distance*distX; vy+=acceleration/distance*distY; */ }
void display(){ line(x-pull,y,x+pull,y); line(x,y-pull,x, y+pull); } }
‘COMPRESSION ATTRACTORS’ class CompAttractor{ float x,y; float vecX, vecY; float pull;
x= x+vx*timeStep; y= y+vy*timeStep;
CompAttractor(){ }
} void display(){ //line(x,y,x+vx,y+vy); line(x,y,x+1,y+1); }
compAttractor(float ix, float iy, float ipull, float ivecX, float ivecY){ x=ix; y=iy; pull = ipull; vecX = ivecX; vecY = ivecY; }
void displayTri(){ float triBase = 15; float triHeight = 28; float normL = sqrt(sq(vx)+sq(vy)); float normX = vx/normL; float normY = vy/normL; //line(x-normX*triBase/2,x-normX*triBase/2
pushMatrix(); translate(x,y); //rotate(atan2(normX,normY)-PI); rotate(atan2(vy,vx)); //a line //line(0,0,10,0); //a triange rotate(-HALF_PI); line(-triBase/2,0,triBase/2,0); line(triBase/2,0,0,triHeight); line(0,triHeight,-triBase/2,0); popMatrix(); } }
void display(){ line(x-pull,y,x+pull,y); line(x,y-pull,x, y+pull); } }
WORKING PROTOTYPES EXHIBITION DISSENY HUB BARCELONA, SPAIN 2010 DESIGN2DESTRUCTION WORKSHOP EXHIBIT PHOTO
LACUNOSUS
A C A D I A 2011 ACADIA FlatCut Competition Design Competition Team: Chris Brown, Andrew Cocke, Sashi Murthy, and Julian Palacio Semsester.Year: Spring.2011 Project Description: Building on research done in an independent study on Plastics the student and faculty group involved in the class tested ideas in this competition calling for complexity to emerge from flat sheets of cut-able material.
For nearly two decades, architects have been obsessed with fluidity. Architects spend vast amounts of time and resources simulating ever larger, more detailed fluid systems. And now with the use of finite element analysis and sophisticated computer numeric controlled machinery, architects are “building” these fluid forms. We use curvature to suggest fluidity, but these static objects, like a frozen waterfall, are reanimated only as we move around them and watch light and shadow play over their surfaces. Light is a critical component of this new fluid architecture. Because flat, even light tends to flatten out the curved surfaces, we have moved toward increasingly moody, dramatic lighting. If design has become increasingly fluid, then lighting has become increasingly sublime. But this evolution of fluid form has had little effect on the form of luminaires. Lighting of fluid forms is often indirect, reflected and diffused by the surface, light reveals curvature. The lacunosus light by contrast achieves its variegated luminence by changing the scale of the folds that make up its tessellated surface. As the pattern gets smaller, its curvature increases, changing the angle between the surface and the light source, causing light to pass through greater number of layers of material. The effect is a not simply the illuminance of a curved surface, but a variegated luminosity like the silver lining of a cloud. Our work on the lacunosus light began as an investigation in manipulating origami tessellations to introduce local variation within a tessellated surface. Building on the waterbomb tessellation (developed by eric gjerde), we developed the “murthy fold” as a way of doubling or halving the scale of the fold pattern without interrupting the pattern. We quickly realized that by changing the scale of the fold pattern we could control the relative stiffness of discreet areas, inflecting the curvature of the finished surface. By manipulating the stiffness, we can in essence sculpt the surface at the same time we sculpt the light passing through the surface.
F l a t C u t
FABRICATION PROTOTYPE DIMENSIONAL RELATIONSHIPS - FOLDING SEQUENCE MANUFACTURING SEQUENCE - CUT PLAN
DRAWINGS EXPLODED AXONOMETRIC - REFLECTED CEILING PLAN GENERIC SECTION / ELEVATION
P RO
FESSIONAL
E/L.STUDIO Firm Information
E/L STUDIO is the architecture and design collaboration of Elizabeth Emerson and Mark Lawrence, AIA. Together, our experience reflects a broad range of project types and scales. We share a deep belief in the transformative potential of design. We believe in the promise of architecture to mitigate social conditions and enable positive change. Operating from bases in New York City and Washington, DC, we draw from our two locations - innovation and flexibility from the metropolis, civic and public engagement from the capital. The hybrid of these two environments enables us to envision new solutions. In our work, we resist the tendency to calcify the status quo as we resist customary stylistic distinctions. In search of new tectonic solutions which, through their construction, anticipate new programs and new events, we develop strategies and resolutions which are unique to the problems and potential posed in each individual project. We create an architecture which is anticipatory; which fosters new relationships and growth.
new york / washington
PAYNE-GOODKIND RESIDENCE ARLINGTON, VA
PAYNE-GOODKIND RESIDENCE ARLINGTON, VA
M SALON ANNAPOLIS, MD
AUSTRADE DC WASHINGTON, DC
MANHATTAN RESIDENCE NEW YORK, NY
JADE RESIDENCE WILDWOOD, NJ (UNDER CONSTRUCTION)