The craftsman needs to develop specific relationships between thought and making, idea and execution, action and matter, learning and performance, self-fidentity and work, pride and humility . The craftsman need to embody the tool or instrument, internalize the nature of the material and eventually turn him or herself into his/her own product, either material or immaterial . -Juhani Pallasmaa
explorations lehman college dorms manhattanism the hub mapping the territory redesign of j. max bond center house(s) burst* WATER BOTTLES LITTLE HOUSE
1-8 9-14 15-22 23-28 29-34 35-42 43-48 48-54 55-60
INFORMATION SANCTUARY HIGHLINE HOUSING SLOW HOUSE DESCRIPTIVE GEOMETRY BRONX RIVER ALLIANCE CENTER EXETER LIBRARY PLACE PHOTOLANDSCAPES NATUREWORKS
61-66 67-72 73-78 79-84 85-90 91-96 97-102 103-110 111-116
We understand relationships Not distinctions. So what does this say about this society, One that sticks to mediocre methods of pedagogy When clearly, there are more effective options? It means we don’t value the experience of learning, We see it as a mean to an end. This is truly awful. But, There is another side to the story. Imagine a world where people learned in these unconventional atmospheres. It would be beautiful, no?
LEHMAN COLLEGE DORMS The current system of education is weak; It’s boring, It’s uninspiring, It’s safe. But it is efficient, For the means of standardization. So even though other methods could plausibly yield greater results, We stick to what is easiest. Easiest for the educator, Easiest for the student And easiest for the system. True learning, True knowing, Does come from immersion in the idea. I agree, that in reality, we understand concepts as whole ideas, Not divided by disciplines.
CRITIC: TIMOTHY COLLINS In theory, of course. But, There lies a problem. How would we know what teaching method is appropriate for each individual? How would we know that we would succeed as educators? How would we conjure a system for consistency and personal success? How would we motivate educators to be challenged?
FALL 2012 It takes a great innovation to step outside of tradition, question it’s principles
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MANHATTANISM: WHERE CONGESTION = CONGREGATIONNEW YORK -- Manhattanism begins with the story of creation. Time ago, religious buildings were fashioned as the cultural and physical cores of our urban enterprise. These pivotal formal expressions were the foundation for symbolic resonance and a focal point for the eyes of the people. It was understood that within such tangible dimensions, an intangible, spiritual importance was emanating. But as the urban constructions became more complex, these places of dedicated spiritualism started to lose its hallowed ground. Towers of offices and residences soared and like a chess game of Manhattan’s blocks, lot by lot was dominated by these idolatrous objects. Soon the spiritual centers, overshadowed by these new urban manifestations, occupied the negative space of the city. Spiritualism lost its poetic formalism as architects desecrated land to build style and visions in the image of their egos. As these tangible obsessions became more apparent, materialism prevailed. The logic was simple; all things tangible were perceived as obtainable desires. Spiritual values, in contrary, were beyond immediate satisfaction.
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MANHATTANISM
ANONYMOUSD.COMPETITION But as the machines continued to perfect these objects, the world witnessed the emergence of a digital commodity. Information, was the embodiment of knowledge and communication; intangible like faith, but obtainable like other material desires. People, through the transference of kilobytes, exercised a new spiritualism. As we consumed more and more of this intangible experience, we understood the destruction wrought by our urban masterpieces. And so the urban city, in dismay of its cold palette, awoke with a new passion to renew its forgotten negative space. But our spiritualism has transformed; we seek intangible connections though tangible objects.
Digital Billboards, the Stained Glass of Modern Spiritualism. As congestion occurs in the negative space of the city, so must Manhattanism’s congregation. Because digital tools allow us venture outside and experience the world beyond, to practice Manhattanism is to paricipate in a Derive, as the situationists understood, through Manhattan’s many “islands”. This new emancipation is followed with a distinct intervention along Broadway. A second emancipation occurs when its pavement is rid from the gas-fuming machinery. The avenue becomes a procession championing PlaNYC’s “green” initiaive. Furthermore, the new topography acknowledges its digital accompaniment, as billboards of various contexts create an iconic expression that echoes Broadway as the spiritual center of Manhattan. The negative space is reborn with symbolism. the modern pilgramage to the square becomes a journey now wrought with the elements that define our society: the digital, the natural and the seductive. we are living in a new normal; in a new definition of what is sacred. gone are the days of traditions.
SUMMER 2012: HONORABLE MENTION WINNER IN COLLABORATION WITH ARTUR DABROWSKI The definition of what constitutes as Architecture today, is deformed. There is a loss of harmony, a loss of the fundamental element; the human. Architecture is dying. It has lost its relationship with intimacy, beauty, and art. A column is such because it was designed with the human scale in mind. The way it stands, tapering from bottom to top, resting directly on the floor as an object in space; similar to the characteristics of a person standing. This thought has been lost. Architecture has become for the architect’s sake. Not for the users. “In a culture that creates congestion on all possible levels, streamlining equals progress. Delirious New York Rem Koolhaas
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Today we live in an ephemeral state .A transitional period where the lines of reality and simulation are blurred. We an ephemera we liveaninanalog Today from are embarking on a threshold to a pure digital state. All forms of media are rapidly transcending blurred. We are e lation are existence to their non-physical counterpart. For some mediums, the transition seems natural, almost necesnding are rapidly istransce dia resistance sary for the evolution of its being. But for others, the analogical nostalgia is triggered, And emis, the transition some medium nent. But, Is it all truly pure nostalgia? The relationship between the transformation of leaning environments the analogical n for others, and the utilization of specific tools, is grand. Media greatly shapes the process. Reading a physical book lends itia? The relation pureit’snostalg self to different associations and processes than reading from its digital manifestation. 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CO WORKING STUDIO CRITIC: ADAM HAYES
SPRING2012 IN COLLABORATION WITH
JASMINE IBRAHIM MITCH HAGEDORN gREENPOINT, bROOKLYN
Amenities
the
hub
co-working culture
Membership
-24 hour co-working studios -woodshop, digital lab -wifi -video-conferencing cubbies -member kitchen -online client/vendor forum
$150 / month $20 / day w/ studio: $375 / month
Co-founders: Mitchell Hagedorn, Jasmine Ibrahim, Chrisoula Kapelonis
the
hub
crave G-train to Greenpoint Ave.
148 India Street Brooklyn, NY 11222
These member-designed public spaces, offer the perfect high-traffic marketing venue. A subterranean restaurant, an airy cafe with outdoor terrace, and a bar with rooftop access, provide the backdrop for any and all member installations. Furniture, interior design, sculpture, event planning...these spaces are ever changing, piquing the public’s appetites, interest, and curiosity.
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The Hub is a co-working design center that, first and foremost, provides a workspace for collaboration amongst designers and professionals of various backgrounds.
the
hub
co-working culture
house of cards Always had a buisiness card, now you have the proper setting to meet with clients - whether it be casual or something that requires a little privacy, this large space, conveniently connected to the hub, provides members with a space for just when they need it.
Contact Us www.hub.com/co-work 148 India street Brooklyn, NY 11222
Whatever your creative medium, the hub will provide you with the open workspace you desire. Two stories of studios, and work cubbies overlook a lofty central space, perfect for networking with like-minded individuals. Easy to meet other people, easy to share you work and ideas.
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restaurant
kitchen
the member services
hub
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22
ARCHITECTURE IS NOT ONLY ABOUT FORM. But architects today are viewing it as they would any visual art; they are seeing architecture as a large scale sculpture; with voids for basic inhabitation.
Architects are making the discipline, a merely theoretical exercise, with no relation to the experience.
That is the true aim of architecture! People do not experience geometries. They experience sequence of spaces, materiality of the built, sounds of the reverberations, and smells of everyday life.
They are merely concerned with the shell, and are excluding the intimacy of interiority; of craft, of memory and of function. People are inhabiting these spaces.
MAPPING THE TERRITORY: an
Architecture is about enclosure, And protection from the elements. Architecture is in itself, a practical art. But, within this function, Aesthetic quality still resonates, because architecture is still an art
It is the most intimate art to the human, because of its sheltering quality and scale. We are connected to spaces because they hold our secrets, they shelter our thoughts. Architecture is about art’s response to the human life.
“The significance of architecture is found in the distance between it and function.”The Thinking Hand Juhani
spring 2012 critic: adam hayes
Theory is a tool, a way to explore truth, not a means to a physical aim. Architecture as an art is not about drawing, not about sculpture, not about one moment. Architecture is an art with its own aesthetic aims.
sem quis tincidunt. Mauris ac tellus nibh, ut volutpat orci. Integer neque metus, porta sed mattis non, tristique vitae libero. Sed et lectus turpis
“The goal of a theoretic investigation is 1. to find the living 2. to make its pulsation perceptible, and 3. to determine wherein the living conforms to law” Point and Line to Plane Wassily Kandinsky
exercise in sensory maps in collaboration with
jasmine ibrahim and mitch hagedorn
It is a practical artan art concerned with human life and the beauty of its intricacies.Architecture creates memories.
“In this dynamic rivalry between house and universe, we are far removed from any reference to simple geometric forms. A house that has been experienced is not an inert box. Inhabited space transcends geometrical space. The Poetics of Space Gaston Bachelard
Architecture is a marriage between purity of function and beauty of form; a contradiction. In its truest form, it is meant to house, to shelter.
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The Center must extend itself beyond its physical munity. It must utilize the spirit of its history and the mass age; an age where change is the only cons only permanence. Thus, the J. Max Bond Center must become an interface;
e t n Se- redesign bond Ce x a f o M . t J n duce of the vanceme itc d m : a h e t i h w t the for it on o
interface.
l a f r d o b n a a l i l j o v i c h s in h i l m a , a n d a a i : c m i i l t i r sa C 2 1 0 2 g n i r sp
boundary and establish its identity within the comd reappropriate it to become relevant in stant, and past, its
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. It must serve, not as an end, but as a transition point. This means that the center must adopt a level of flexibility et sustain guiding permanent elements. Thus, the concept of “Permanence vs. Transience�
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int Sp ch for str ac pla mind, warmth of beautiful. Archit When one experiences a tional. The procession throu terial of the built and the memory as a series of isolated retinal pictures; embodied and spiritual essence. The Thinking H
FALL 2011 CRITIC: ELISABETTA TERRAGNI
“For our house is our corner of the world. As has often been said, it is our first universe, a real cosmos in every sense of the word. If we look at it timately, the humblest dwelling has beauty.”The Poetics of pace Gaston Bachelard . Because of the scale of the art, Arhitecture is immersive; allowing it to foster intimacy with rm. This allows for the user to connect with a space, conructing their own reality and relationship with it. As a child, corner space might bring joy, a cradling nook where one can ay with toys. This memory, will be forever engrained in the , so the next time he enters a space with similar conditions, familiarity will ensue, and the space will be perceived as tecture has a particular conversation with the inner self. a space, it is perceived as a sequence; Architecture is relaugh one’s house is governed by the form of the spaces the may of the sequence. “An architectural work is not experienced it is touched and lived in its full and integrated material, Hand Juhani Palaasmaa
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ANALYSIS OF EVERY DAY OBJECTS: WATERBOTTLES IN COLLABORATION WITH FILIPP BLYAKHER FALL 2011 CRITIC: ELISABETTA TERRAGNI
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ANALYSIS OF FRANK LLOYD WRIGHT’S living room detail in the littlehouse
What is the threshold between art, and decoration? What determines that the music of Beethoven bold, eloquent, and majestic, surpasses the lull of music meant for an elevator? What distinguishes the paintings of O’Keefe, from local paintings hung in an office hallway? What is to say that the intricacies of Louis Sullivan’s facades, are any more important than the cornices on Manhattan brownstones...?
in collaboration with artur dabrowski
spring 2011 critic: robert twombly
The difference is two sided; Content and Context. When a work is considered art, there is typically an aspect of beauty involved. The piece is complex and physically beautiful. Decoration is a lower level beauty, meant to please completion for the eye; not stimulate.But content is not simply enough of a distinction; in beauty, everything is in harmony. the human is immersed in the entirety of the experience,
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What is a book? It is a collection, a physical manifestation of ideas, intimately bound for integrity of exchange. It is a source of knowledge, of wisdom, meant to transcend the times, and educate generations of f u t u r e questions. It is a dialogue, Immersing the reader in an internal conversation between themselves and the words. The book is a medium of information transfer, Naturally. So, in light of this conclusion, What is a computer? Isn’t it too a collection of ideas, A source of knowledge and wisdom? Isn’t is also certainly a medium of information transfer? Why then, Is the computer frequently regarded as a catalyst for the deterioration of thought? Does it not foster information flow, from author to user, much in the same fashion as a book? Does it not embody the same essence of discovery that is analogous to re-
informationsanctuary: library for the 21st century
search from a book? Yes, it does. But, it does it faster. Much faster. And this, makes a difference. to question is a vital part of the process. Because one cannot understand it all. The discrepancy lies in the details. The speed of information transfer is increasing. Instant gratification is becoming the norm. So there is less time searching, less time strategizing and more frequent discoveries. In the eyes of the past, this means there is a decrease in learning because the traditional process holds time between discoveries as vital. But we come from a generation where the medium is a variable, and synthesis of information is our product. We come from the oversaturated generation. Our methods of learning need to be different because the nature of our process is informal. No longer is the process sacred.
spring 2011 Critic: athanasios haritos noho, nyc
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Neighborhoods are integral to the fabric of the city. They are the pixels that comprise the image. Each neighborhood is a collection of nuances, combinations of formal-social-economic factors;
bronx river alliance center
Each neighborhood possesses its own character. And that, differentiates it from the adjacent;Its citizens becoming birds of a feather.Yes, the people are the city’s soul. Undoubtedly, there exists a symbiotic reciprocating relationship Between the effect of space on the people, And the people on the shaping of the city.
But ,Space also has a great deal of influence on our behaviors, on our characters, our moods, our inspirations.So, the people are the city’s soul, and the architecture, its body.
spring 2010 critic: nandini bagchee
To understand the city, one must look at it from all scales. The street, with its built areas and voided spaces.The district, with its blocks of commonalities And finally, the city, A homogenizing entity, the final picture. Every scale has its own identity, Its own temperament.But when viewed from afar, those identities mold to form,Its character.
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Neighborhoods are integral to the fabric of the city. They are the pixels that comprise the image Each neighborhood is a collection of nuances, combinations of formal-social-economic factors; each neighborhood is a collage.
photolandscapes Each neighborhood possesses its own character. And that, differentiates it from the adjacent Yes, the people are the city’s soul.
original photography of new york city To understand the city, one must look at it from all scales. The street, with its built areas and voided spaces. The district, with its blocks of commonalities And finally, the city, A homogenizing entity, the final picture.Every scale has its own identity, Its own temperament .But when viewed from afar, those identities mold to form, Its character
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Natureworks restaurant is built upon a promise: to always deliver great food at an exceptional quality. And it is for this reason that we will never take any short cuts
natureworks restaurantbranding when preparing your food. Every detail counts. We serve only the freshest food because we know good quality
www.naturworksrestaurant.com goes a long way. Your food never sits around, waiting to be ordered because we start making it the minute you order it. We understand this takes a little longer, espe cially during our busiest hours, but we believe it’s worth it. And we hope you agree. Real food works. Natureworks.
Becoming fit is not achieved by the latest diet, the newest low-something product or by that “magical� fat burning pill. Becoming fit is simple: Eat real food.Real food with no artificial preservatives, no unhealthy fats, no fake anything. All our food is
establishing the brand through the details and the spatial quality fresh, using raw vegetables and bare ingredients. This is the philosophy by which Natureworks is built upon. Our family has been serving New York great health food since the Spring of 1978. We are committed to serving you great food that not only tastes great, but is good for you. Trust us. Your body will thank you. Real food works, Natureworks Natureworks restaurant is built upon a promise: to al
real food works. natureworks ways deliver great food at an exceptional quality. And it
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