CLAIRE OSTER RECENT WORKS: 2017-2022
‘CHARGING THE VOID’ FOR DRAWING MATTER (p.x-x)
REGENERATIVE ARCHITECTURE (p.36-22)
CHARNEL HOUSE (p.1-4)
GALLERY AT SHATWELL FARMS (p.5-7)
‘SHELL AND RESIN’ FOR THE METROPOLITAN MUSEUM OF ART (p.28-66)
HO A EXHIBITION TO THE ANTHROPOSCENE: CURATED DECAY (p.X-35)
Cornell, Spring 2019 The Coeda House was built in Shizuoka, Japan, designed by Kengo Kuma and Associates and finished in 2017. a tree, in which there is central “trunk” that builds up & becomes branches that support an overhang or canopy. This single column made of cedar planks composed boards pinned together with carbon fiber nails. These to the center of the square floor plate as they grow in This expanding, cantilevered system made possible due column that span from the concrete foundation to the the façade, which would obstruct views of the landscape.
BQE EXPRESSWAY (p.13-17)
CHARNEL HOUSE Cornell, Fall 2018 named the family home, the ‘Charnel House’, based leading you from life (the garden), to death (the rotting food), life again (the home with light cooking). The family consists of mother who’s food preservationist (preserving, fermenting, bottling, canning, drying, etc.)/ chef, father who’s a sommlier, & young daughter. When designing the space first researched foods local to be stored that was very controlled (thermal mass/ underground), & then a lot of lighting possiblilities in living cooking spaces, as people aren’t rotting food. designed the enterance so that people entering the house you have to wallk down hall of all the food, organized by lighting & age, get to ‘light at the end
MODEL WORK (p.x-x)
CLAIRE OSTER
EXPERIENCE
Architecture Intern • Built physical model of Ruth Asawa School of the Arts (exhibited to the SF Board of Education)
• Published in 'Drawing Matter' on ‘Charing the Void’ exhibition at Shatwell Farms (Summer 2021, Spring 2022)
• Designed exhibition, ‘Charging the Void,’ with curation help from Niall Hobbhouse and Nicholas Olesburg
COLUMBIA UNIVERSITY Summer Immersion for High School Students Architectural Design and Theory Summer Course THE URBAN SCHOOL GPA 3.83
• Drew construction documents for exhibition 'Shell and Resin'.
• Gallery design is the subject of Drawing Matter’s 2021 Writing Prize competition, an exercise to design an exhibition within the space
FORT MASON CENTER FOR ARTS AND CULTURE San Francisco, CA Summer 2019 Summer Freelance Work
• Drew construction documents of existing site & schematic design plans for installation, assuring design adhered to code MARK CAVAGNERO & ASSOCIATES ARCHITECTS San Francisco, CA Summer 2018
THE METROPOLITIAN MUSEUM OF ART Exhibition Design Intern
CLAIRE OSTER (415) 465 ceo57@cornell.edu4664
EDUCATION
DRAWING MATTER AT SHATWELL FARMS Sommerset, UK Spring 2021 - Spring 2022 Building and Exhibition Designer
• Part of exhibition design team creating physical and computer models of display elements.
• Prepared presentations of proposed designs to firm's clients
• Worked as architecture student blogger while abroad in Rome (Fall, 2019)
• Proficient in Spanish
Ithaca, NY Class of 2022 New York, NY Summer 2015 San Francisco, CA Class of 2017 New York, NY Summer 2021
CORNELL UNIVERSITY College of Architecture, Art and Planning Current, B. Arch GPA 3.88
• Consulted in the design of installation of roller rink by artist Assume Vivid Astro.
• Published in Cornell’s 2018 & 2021 ‘PLATE’, a publication of architecture program’s student work each semester
SKILLS
• Assisted the production team creating and installing graphic labels.
•Included own design work of a gallery space at Shatwell Farms (exhibition opened July 2021).
• Technical: Proficient in Microsoft Office Suite, Adobe Suite (Photoshop, InDesign, Acrobat, Illustrator, Premire Pro, Lightroom, etc.), Rhino (and VRay & Grasshopper plug in), AutoCAD, SketchUp and Vectorworks. Experience with 3D printing & laser cutting and shop training in both wood & metal.
ACTIVITIES/PUBLICATIONS/AWARDS
• Design work from Spring 2021 studio published in ‘Drawing Matter’
• Awarded the Robert J. Barringhaus Travel Fellowship 2019 on the basis of a strong academic record
•Supported lighting design team selecting and installing lighting for the museum.
3 : CHARNEL HOUSE
CHARNEL HOUSE Cornell, Fall 2018
I determined the need for a large space for the food to be stored that was very controlled (thermal mass/ underground), & then a lot of lighting possiblilities in living & cooking spaces, as people aren’t rotting food.
I designed the enterance so that people entering the house you have to wallk down a hall of all the food, organized by lighting & age, & get to a ‘light at the end of the tunnel’. On the first floor is a huge open space
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When designing the space I first researched foods local to Ithaca & methods of perserving them. Then I focused in the temperature & lighting conditions in their storage.
In named the family home, the ‘Charnel House’, based on a type of tomb that consists of shelves of skulls that serves as a place of afterlife for the souls, an allusion to the afterlife of food that has been ‘killed’, a tunnel leading you from life (the garden), to death (the rotting food), & life again (the home with light & cooking). The family consists of a mother who’s a food preservationist (preserving, fermenting, bottling, canning, drying, etc.)/ chef, a father who’s a sommlier, & a young daughter.
4 Cabbage HOUSE CLAIRE OSTER B
darkestoldestlightest study models kimchi apple sauce cheese curds wine miso apple cider vinegar misorasinapple cider vinegarcheese curds kimchirasin apple sauce wine
CLAIRE OSTERCLAIRE OSTER AGE LIGHT QUALITY
darkestyoungest
6 3 : CHARNEL HOUSE
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8 3 : CHARNEL HOUSE First Floor Plan
Rendering of main living/cooking space looking out into the gorge.
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10 Cornell AAP | ARCH 1101/1103 | FALL 2017 | Professors: Val Warke / Luben Dimcheff
GALLERY AT SHATWELL FARMS
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Instead my gallery looks to stand out and apart (formally) from the existing context, but at one with nature. I have orienting my space around the existing trees and within the sloped landscape to further this notion as well as only using the materials of masonry, wood, and glass. I look to create a dialogue with paper art work being displayed, a building housing trees and paper (as well as timber) adjacent to or ‘branching off’.
In the studio ‘Global Artscapes’ taught by visiting professor Alessandra Chianchetta, co-founder of AWP Paris & London, we worked with architectural drawing collector and architectural author, Niall Hobhouse of the publication ‘Drawing Matter’, designing a gallery space at his archive Shatwell Farms in Somerset, UK. My design looks to break away from the farm typology established on the site historically and continuing today with only small interventions by architects Hugh Strange and Stephen Taylor, a trend across the greater Somerset area. A typology in denial of it’s true program and functions which caters to uphold a romanticized and conjured idea by the wealth of London of what the countryside should look like.
Cornell, Spring 2021
Various possible configurations of the rotating walls allowing for different circulations per the needs of different exhibitions/pieces that could be displayed in the gallery.
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CLAIRE OSTER Wall Detail Axon & Exploded Detail Axon with art hanging detailing
14 Long Section NE view
CLAIRE OSTER SW view
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Following the term working with Alessandra Chianchetta, I was able to keep developing and adapting my exhibition space around a selection of drawings made by Nicholas Olsberg. Titled ‘Charging the Void’, the drawings speculate on the preoccupation of post-war architects with the spaces in between buildings.
The work was exhibited at Shatwell Farms, where the collection of drawings was hung in their archive along with my drawings of the exhibition designed in my gallery space, in July of 2021 and an online publicaiton on Drawing Matter, released March 2022.
This speculation into the intentional and unintentional impact of void while thinking about it as in itself an element of architecture broke down ‘the void’ into three broad categories: void charged through action, through geometries’ interaction, and through absence and contemplation. The connections between the works is defined with coloured line running across the floor, indicating each of the themes and directly calls attention to pre-conceived conversations between the works on the walls. Lines also run on the walls drawing connections between works placed side by side.
‘CHARGING THE VOID’ EXHIBTION AT SHATWELL FARMS for Drawing Matter at Shatwell Farms, Summer 2021
Rotating walls configured within the gallery (and the pieces on them) curated to create physical spaces charged themsleves by the interactions between the different types of works and the voids/themes they represent.
18 A C B D E F H I G JK L
VOID CHARGED BY EMPTINESS & CONTEMPLATION
VOID CHARGED BY EMPTINESS & CONTEMPLATION
VOID CHARGED BY ACTION VOID CHARGED BY GEOMETRY & COMMUNICATION
VOID CHARGED BY ACTION VOID CHARGED BY GEOMETRY & COMMUNICATION
A C B D
VOID CHARGED BY ACTION VOID CHARGED BY GEOMETRY & COMMUNICATION VOID CHARGED BY EMPTINESS & CONTEMPLATION
A C B D G J L
DC EF H Wall Elevations
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20 VOID CHARGED BY EMPTINESS & CONTEMPLATION VOID CHARGED BY ACTION VOID CHARGED BY GEOMETRY & COMMUNICATION
Photos: Sue Barr
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NDUSTRIALREVO
L U TION - MECHANIZATION SECOND INDUSTRIAL RE V O LUTION - ELECTRIFICATION T H I R D IN D USTRIAL REV OLUTIONAU TO M AT I O N F O U RTH INDUSTRIALRE V OLUTIONDIGITIZATI O N
clearedThearau’s Walden published movement to bring land preservation to the East Coast Rachel Carson ‘Silent Spring’ released Warmest year on record Antiquities Act WWF founded: world’s largest conservation org. First Earth Day, 20 million rally through CentralGreanpeacePark founded US signs the Paris Agreement US exits Paris Agreement term ‘Anthroposcene’ is coined 50 Million people globally effected by se level rise 111 West 57th street built Met Recieves largest capital donnation London’s Great Smog, worst air pollution in urban hisotry; 4,000 dead
Seneca Village EstablishedFirstidea for Central Park Auburn Cemetery (first American city park) NYC buys land for “publicCentralplace” Park Vaux & Olmstead Greensward Plan begin building Robert Moses re-vamps Central Park Central ParkfoundedConservancy
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Olmstead Visits the South Cleopatra’s Needle errected Sheep removed from Sheep’s Meadow
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Hudson River School founded Vaux and Wrey master plan of Met begins Richard Morris Hunt remodel of the Met Robert Lehman Wing at the Met open Afrofuturist Period Room exhibited First Rail Line into NYC West Side Elevated Line Built Half of planent’s concrete produced; now and 2015 West Side Elevated Line unused Fresh Kills Opens Coke switches glass to plastic Fresh Kills Closes” Last barge of trash Cotton Gin is inventedThomas Edison lightbulb display plastic production in US increases 300% peak oil production in the US this year, 17.5 mill. barrels NYC first city with public sector garbage managment SWDA first aluminium can used Museum location moved to 82nd and fifth Yosemtite, First National Park Sierra Club founded 1/3rd of NY forrests
HOLOSCENE ANTROPOSCENE A
New designed trash& recycling cans brought into central park 1st barge of trees to Fresh Kills The Highline Opens E AE P R E S S I O
CEGADEDLIGAREEVISSERGORPN
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By problematizing preservation and intervening in the separations in these processes, the art and waste on the site (as well as the museums and park themselves) are no longer treated as stagnant objects but rather opened up and visible as the living, intertwined processes prone to degradation they are.
This thesis questions the way museums around Central Park (and the park itself) work to uphold the narrative of the world these institutions have written; that the objects we consume, and the nature we create them from, are single things to be valued or ‘thrown away’, rather than ongoing processes which interconnect.
Today museums’ collections have ballooned. We must question what purpose they serve, what their roles’ become as the climate and our ways of life/values change, and why these artifacts are valued differently than what we produce and consume that’s deemed as ‘waste’ and for certain parts of the world are seemingly simply thrown ‘away’ (of course there is no place for waste to go, instead it’s affects are temporarily made invisible to those in power).
CLAIRE OSTER
B.Arch Thesis Cornell, Spring 2022
EXHIBITION TO THE ANTHROPOCENE: CURATED DECOMPOSITION
TheMuseumofNaturalHistory:
24 Waste collection in Central Park
TheJewishMuseumCollection:wood+paper
ceramics TheMetropolitain stone
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MetropolitainMuseumofArt:
TheFrick: metal TheGuggenheim:plastic
26 pap woo The Jewish Museum Collection: wood + paper
CLAIRE OSTER per od frame crate
The Jewish MuseumwoodCollection:+paper
CLAIRE OSTER Perspective view - 5 years of decay
30 The Guggenheim Collection: plasticTheMetropolitain Museum of Art Collection: stone 0 years175 years 0 years40 years
CLAIRE OSTER The Frick Collection: metal The Museum of Natural History Collection: ceramics 0 years65 years 0 years10 years
Museum of Art
stone
TheplasticMetropolitain Collection:
32 The Guggenheim Collection:
CLAIRE OSTER The Frick Collection: metal The Museum of Natural History Collection: ceramics
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REGENERATIVE ARCHITECTURE:
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A Bakery for Blue Hill at Stone Barns Cornell, Fall 2020 Working with Caitlin Taylor & Micheal Murphy of MASS Design Group in a studio focused on investigating the problems in todays world of built architecture to those of the industrialized food system, we were presented with the task of designing a bakery on the Blue Hill at Stone Barns center in White Plains, NY. We began the studio diving deep into the process of bread making and trying to create a systems way of thinking about designing a building with naturally optimized spaces for people, fermentation, & baking through strategic placement (often above or below ground) and a focus on local and natural materiality, like mycelium, to regulate temperature and light in different spaces as well as microbe activity. The proposed space also included visitor learning elements woven within the spaces which allowed visitors to experience the steps of production: from the microbial level to tasting. Our design also a emphasized creating a greater site circulation system and highlighting views of the historic Rockefeller Barns. Done in collaboration with Abram Collete.
36 A B O V E B E L O W PEOPLE/ BAKING MATERIALS
CLAIRE OSTER BUILDING ENVIROMENT
SECTION LONG SECTION LONG FERMENTATIONSECTIONVIEWCENTRAL VIEW CORK WALL SECTIONMUSHROOM WALL SECTION WALL PRIVATESECTIONABOVEBELOW UNFOLDED ELEVATION CROSS SECTIONLONG SECTION LONG SECTION LONG FERMENTATIONSECTIONVIEW
SECTIONMUSHROOM WALL SECTION WALL SECTION BELOWABOVE
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Unfolded Elevation Bakery space designed within & atop a historic wall on site and thetripartide split of the vertical spaces facade designating heirarchy and mirroring the historic facades of the resturant enterance between the grain silos.
CENTRAL VIEW WALL
LONG
CORK
UNFOLDED ELEVATION LONG SECTION LONG SECTION LONG FERMENTATIONSECTIONVIEWCENTRAL VIEW CORK WALL SECTION MOISTURE WALL SECTION MUSHROOM WALL SECTION WALL SECTION EXTERIOR VIEWPRIVATECIRCULATIONPUBLICABOVEBELOW Short Section
PRIVATECIRCULATIONPUBLICABOVEBELOW
CLAIRE OSTER UNFOLDED ELEVATION LONG SECTION LONG SECTION LONG SECTION CENTRAL VIEW CORK WALL SECTION MOISTURE WALL SECTION MUSHROOM WALL SECTION CENTRAL VIEW CORK WALL SECTION MOISTURE WALL SECTION MUSHROOM WALL SECTION WALL PRIVATECIRCULATIONSECTIONPUBLICABOVEBELOWUNFOLDED ELEVATION UNFOLDED ELEVATION CROSS SECTIONLONG SECTION LONG SECTION LONG FERMENTATIONSECTIONVIEWCENTRAL VIEW CORK WALL SECTION MOISTURE WALL SECTION EXTERIOR VIEW UNFOLDED ELEVATION UNFOLDED ELEVATION CROSS SECTIONLONG SECTION LONG SECTION LONG FERMENTATIONSECTIONVIEWCENTRAL VIEW CORK WALL SECTION MOISTURE WALL SECTION MUSHROOM WALL SECTION WALL SECTION EXTERIOR VIEWPRIVATECIRCULATIONPUBLICABOVEBELOW UNFOLDED ELEVATION LONG SECTION LONG SECTION LONG FERMENTATIONSECTIONVIEWCENTRAL VIEW CORK WALL SECTION MOISTURE WALL SECTION MUSHROOM WALL SECTION WALL SECTION EXTERIOR VIEW PRIVATEPUBLICABOVEBELOW UNFOLDED ELEVATION UNFOLDED ELEVATION CROSS SECTIONLONG SECTION LONG SECTION LONG FERMENTATIONSECTIONVIEWCENTRAL VIEW CORK WALL SECTION MOISTURE WALL SECTION SECTION EXTERIOR VIEW UNFOLDED ELEVATION UNFOLDED ELEVATION CROSS SECTIONLONG SECTION LONG SECTION LONG FERMENTATIONSECTIONVIEWCENTRAL VIEW CORK WALL SECTION MOISTURE WALL SECTION MUSHROOM WALL SECTION WALL SECTION EXTERIOR VIEW
40 FEILD1/64”SCALE SCALE1/2”SCALE1/8” EINKORNWHEATBARBERSPELTRYE CONSUMERTABLEFERMENTATION/ BAKERY Scales of Production Plan Diagram
Material Sections + Timescales: showing the groth of different bacteria through different human and fermaentation processes interactions in different spaces based on the materials, program, and light conditions as designed.
CLAIRE OSTER
42 Long toHistoricSectionbarns/enteranceBlueHillresturant Visitor tasting space main circulation hall for Wheat, Visitors, and Chefs
CLAIRE OSTER LONG SECTIONLONG SECTIONCORK WALL SECTIONMUSHROOM WALL SECTION WALL SECTION Wheat drying space Chef + Wheat enterance Wheat fermentation space, public (Visitos + Chefs) Wheat fermentation space, private (Chefs)
Working with professor Aleksandr Mergold in a studio focused on reconsidering the ancient phenomenon of spolia and its relevance in our need for a more sustainable future. Our project focused on the site of the BQE and specifically at two distinct yet crumbling infrastructures/forms on it; the three-tiered highway through Brooklyn Heights & the open Gowanus Express. In each section we utilized a series of simple rules of intervention, although slightly adapted to adhere to the needs of the different sections to transform the existing highway infrastructure to fit the needs of the present communities by creating public (and private) spaces with a variety of different programs from parks to vendor spaces to housing, all with the mission of bringing the surrounding communities together rather than dividing them apart as the original design of these highways and their placement did. Work done in collaboration with Chloe Tsui and Yiwei Xue.
BROOKLYN-QUEENS EXPRESS WAY: Urban Highway Re-Imagined Cornell, Summer 2020
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3-Tiered Portion of BQE through Brooklyn Heights existing site view of intervention
existing site view of intervention
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48 VERTICAL RECREATION A B 3-Tiered Portion of BQE through
CLAIRE OSTER VERTICAL GARDEN BUS TUNNEL COMMERCIAL C through Brooklyn Heights
50 A ENTERTAINMENT VERTICAL GARDENS COMMERCIAL intervention techniques Gowanus Portion of BQE
CLAIRE OSTER B C VERTICAL GARDENS ENTERTAINMENT RECREATION BQE through Red Hook
4 : STRUCTURAL CONCEPTS MODEL - COEDA HOUSE
CLAIRE OSTER MODEL WORK Various 2017-2022
54 4 : STRUCTURAL CONCEPTS MODEL - COEDA HOUSE
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The Coeda House, by Kengo Kuma and Associates bult in Shizuoka, Japan in 2017. Modeled to scale using the same structural concpets as in the building itself in Structural Concepts class at Cornell, Spring 2019
ADAPTIVE PRE-SCHOOL: Designed in Colima, Mexico using the typology of the vernacular precedent, Petatera. A site specific, modular design which transforms to a variety of nessisary configuration along the north/ south and east/west axsies as needed in the arid climate and the needs of the schhol/community.
2 : ADAPTIVE PRESCHOOL
CLAIRECLAIREOSTEROSTER2 : ADAPTIVE PRESCHOOL CLAIRE OSTER A variety of configurations adhereing to different needs as units (above) and different classroom/play spaces made up of the units creating a heirachy of spaces with a various levels of permability
CLAIRE OSTER SHELL AND RESIN: The Korean Galleries, The Metropolitian Museum of Art Summer 2021 While spending the summer as the exhibition desing intern within the Design Department at the Metropolitian Museum of Art I worked on a number of shows thoughout the museum helping in catalouging, drawing wall elevations of exhibitions, drawing up and finalizing construction documents, working in the galleries measuring spaces or replaing signage or lights, making physical models and signage as well as sitting in on meeting with various curation departments, graphic designers, lighting designers and the exhibtion design team. I dedicated much of my time at the Met to this show, ‘Shell and Resin: Korean Mother of Pearl and Lacquer’, finalizing the construction documents for the case work needed and fabrication and wrapping of the custom designed pedestals. As well as collaborating closesly with the Korean curitaorial team, the graphics and the lighting teams to finalizing the dispalys and how to best highlight the artifacts crucial to the exhbibiton. The show is up December 2021- July 2022.
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