GSA PP PORT FOL IO
archi tect ure project s
CON N I E SH U
CON N I E SH U master of architecture columbia university gsapp class of 2011
CON T EN TS ST U DIO Housing Symphoresis Lunar Lab Museum of Delineation Programming Istanbul Sky Lab TED (u)x
02 | 25 26 | 49 50 | 61 62 | 65 66 | 71 72 | 87
DR AW I NG Ice and Oil Sagrada Familia Word Count
88 | 91 92 | 95 96 | 101
T EC H NOLOGY Bryant Park Pavilion Filtration Wall Superwall
102 | 109 110 | 115 116 | 127
Housing Symphoresis Hunter’s Point South — Long Island City, New York | Studio Critic | Frederic Levrat Year | Fall 2009 Program | Residential Team | R. Hillery
Housing Symphoresis is given its name from the combination of the word “symbiosis” which means “the living together of unlike organisms” and the word “phoresy” which means “an association in which one animal clings to another to ensure movement from place to place.” Thus, the term “symphoresis” comes to describe two separate entities acting together, in union, to produce a movement in a specified manner and medium. Active streets engage people and encourage a sense of belonging and community. This phenomenon can be attributed to the aggregation of amenities such as retail centers and parks that then come together to form aggregations of people. Due to the lack of amenities around Hunter’s Point South, the current population is being pulled away from the site as they are drawn towards these off site amenities. As such, current housing complexes on the site become merely a temporary rest stop for its users as they journey between amenity locations. Housing Symphoresis becomes more than a resting area by introducing looping bands of amenities into the complex to produce opportunities for social connections and formation of communities. This design strived to move beyond the lonely anonymous corridor of the contemporary large scale housing projects to create an active community life within and around the apartment units. It attempts to promote gatherings in unusual spaces and moments to construct a specified circulation aimed at creating new social situations and visual experiences.
« exterior rendering
HOUSING SYMPHORESIS FALL 2009
04 | 05
HOUSING SYMPHORESIS FALL 2009
06 | 07
the traveling worker she works in a different city and is constantly traveling. town on the weekends, she only needs a small studio space.
as she is only in
the young professional he is a recent graduate and has a number of student loans to repay. he works in the city but can’t afford a place there. as a single adult, he can live comfortably ina one bedroom.
the young couple they recently graduated and moved to new york to work in the city. since they both work 9-5, the apartment is empty most of the day. a one bedroom unit is sufficient for their lifestyle.
the young family as a single working mother, she works hard raising her two young children. her mother visits on weekdays to pick up her kids from school and help care for them while she’s at work. a three bedroom apartment allows them sufficient space.
the older family she works from home while her husband works at a local company. their only child is already in high school. they live happily in a two bedroom unit.
the older couple they own and run a local food establishment in queens together. since they have no children, their two bedroom apartment unit suits their needs.
the bachelor he works in the city but perfers the cheaper rent for a one bedroom in queens so he can afford the active lifestyle of a socialite.
the large family he works in the area while she stays at home to care for their ten year old and her aging mother in-law. they share a four bedroom unit.
STANDARD CIRCULATION TO AMENITIES
green space recreational fun gathering retail
PROPOSED CIRCULATION TO AMENITIES
HOUSING SYMPHORESIS FALL 2009
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ELEVATIONS
SECTION ELEVATIONS
HOUSING SYMPHORESIS FALL 2009
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interior/exterior elevation
FRONT FOUR – FOURTH FLOOR
FRONT FOUR – THIRD FLOOR
FRONT FOUR – GROUND FLOOR
FRONT FOUR – LOBBY
HOUSING SYMPHORESIS FALL 2009
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>
>
front four buildings
front four buildings
front four buildings
front four buildings
>
1/8 scale
lobby level
1/8 scale
1/8 scale
third level
ground level
>
1/8 scale
fourth level
HOUSING SYMPHORESIS FALL 2009
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HOUSING SYMPHORESIS FALL 2009
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WINDOW TYPOGRAPHY
PROTRUSIONS RADIATE FROM AMENITY BANDS
TYPICAL NORTH FACING WINDOW
TYPICAL SOUTH FACING WINDOW
HOUSING SYMPHORESIS FALL 2009
18 | 19
01
02
01 ORGANIZATION AROUND SOCIAL COMMUNAL SPACE 02 OPEN CORNERS ALLOW PUBLIC INTO PRIVATE SPACE 03 BROKEN COURTYARDS FORM CIRCULATION AND GATHERING SPACES
SECTION DIAGRAM OF CIRCULATION PATHWAYS
03
WALKTHROUGH RENDER 01
HOUSING SYMPHORESIS FALL 2009
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WALKTHROUGH RENDER 02
WALKTHROUGH RENDER 03
HOUSING SYMPHORESIS FALL 2009
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WALKTHROUGH RENDER 04
WALKTHROUGH RENDER 05
HOUSING SYMPHORESIS FALL 2009
24 | 25
Lunar Lab Shackleton Crater — South Pole, Earth’s Moon | Studio Critic | Yoshiko Sato Year | Spring 2010 Program | Research Facility + Residential
The Lunar Lab serves as a research facility where experiments can be conducted to analyze and understand the implications of a space environment on the human body in an effort to gain a new perspective on the human condition on earth, enhance future space missions and propagate the human species in space. If humans are to expand on human space exploration and eventually establish space settlements, an enhanced space environment that satisfies basic human needs must be constructed. Because the Space Lab strives to broaden the scope of knowledge of human beings’ functionality in outer space, its design is highly concerned with the understanding of basic human earthly behaviors and how these biologically programmed human behaviors can be dealt with in a space environment.
« exterior rendering
LUNAR L AB SPRING 2010
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COMPARISON OF PRE-HUMANS, HUMANS AND POST-HUMANS PAST HUMANS PAST HUMANS VS. MODERN VS. MODERN HUMANS HUMANS genetic research genetic indicate researchclear indicate distinctions clear distinctions in the DNA inbetween the DNA between humans and humans our ancestors. and our ancestors. fossil evidence fossil suggests evidencethat suggests earlythat early humans were humans muscular, were muscular, with broad with shoulders broad shoulders and strongand limbs strong limbs
lower, larger lower, skull larger skull larger browridge larger browridge
FUTURE FUTURE HUMANS HUMANS VS. MODERN VS. MODERN HUMANS HUMANS research suggests researchthat suggests humans thatliving humans in space livingwill in space not bewill genetically not be genetically different from different modern fromhumans, modern but humans, will develop but willdifferently develop differently based on based on environmental environmental conditionsconditions
larger upper larger upper torso torso weaker heart weaker heart
larger shoulder larger joint shoulder joint larger, broader larger, broader rib cage rib cage larger elbow larger joint elbow joint
extended extended spine spine weaker muscles weaker muscles
shorter forearm shorter forearm larger hiplarger joint hip joint
less bone less massbone mass larger, thicker larger, thicker knee knee shorter, more shorter, flattened more flattened lower leg lower bone leg bone larger ankle larger ankle joint joint
PAST 17
PAS
PHYSIOLOGICAL NEEDS PHYSIOLOGICAL NEE 01 breathing - involuntary 01 BREATHING - involu 02 excretion - involuntary 02 EXCRETION - invol 03 food/water - hunt, gather, bodies of water 03 FOOD/WATER - hu 04 homeostasis - involuntary 04 HOMEOSTASIS - inv 05 sex - children 05 SEX - children 06 sleep - nomads sleep less 06 SLEEP - groups on g
SAFETY NEEDS SAFETY NEEDS 07 security of body/health - animal furs, shelter 07 SECURITY OF BODY 08 security of resources - weapons, tools OF RESO 08 SECURITY LOVE/BELONGING 09 family - group 10 friendship - group 11 intimacy - group
08 16
15
06 07
03 11
12 13 14
01 03 05
04
02
LOVE/BELONGING 09 FAMILY - group 10 FRIENDSHIP - group 11 INTIMACY - group
ESTEEM ESTEEM 12skills ACHIEVEMENT - us 12 achievement - use of survival 13skills CONFIDENCE - dev 13 confidence - develop survival 14 RESPECT - praise fo 14 respect - praise for achievements
09
10
SELF-ACTUALIZATION SELF-ACTUALIZATION 15 CREATIVITY - cave 15 creativity - cave art 16 PROBLEM 16 problem solving - manufacturing tools SOLVING 17 SPONTANEITY - un 17 spontaneity - unknown threats to life
07
03
NOW
17
LUNAR L AB SPRING 2010
30 | 31
09
02 05 06
PHYSIOLOGICAL NEE 01 BREATHING - invol 02 EXCRETION - enclo 03 FOOD/WATER - pu 04 HOMEOSTASIS - in 05 SEX - enclosure
PAST
17
PHYSIOLOGICAL NEEDS 01 BREATHING - involuntary 02 EXCRETION - involuntary 03 FOOD/WATER - hunt, gath 04 HOMEOSTASIS - involunta 05 SEX - children 06 SLEEP - groups on ground
SAFETY NEEDS 07 SECURITY OF BODY/HEA 08 SECURITY OF RESOURCE LOVE/BELONGING 09 FAMILY - group 10 FRIENDSHIP - group 11 INTIMACY - group
08 16
15
06 07
03
ESTEEM 12 ACHIEVEMENT - use of su 13 CONFIDENCE - develop s 14 RESPECT - praise for achi
11
12 13 14
01 03 05
04
02
09
10
SELF-ACTUALIZATION 15 CREATIVITY - cave art 16 PROBLEM SOLVING - man 17 SPONTANEITY - unknown
07
03
PRESENT NOW
17
09
02 05 06
07
15 16
SAFETY NEEDS SAFETY NEEDS 07 security of body/health - pharmacy 07 SECURITY OF BODY/HEA 08 security of resources - law 08 enforcement SECURITY OF RESOURCE
LOVE/BELONGING LOVE/BELONGING 09 family - homes 09 FAMILY - homes 10 friendship - social activities10 FRIENDSHIP - social activ 11 intimacy - homes and social11activities INTIMACY - homes and so
08
12 13 14
PHYSIOLOGICAL NEEDS PHYSIOLOGICAL NEEDS 01 breathing - involuntary 01management BREATHING - involuntary 02 excretion - enclosure, waste 02 EXCRETION - enclosure, w 03 food/water - purchase 03 FOOD/WATER - purchase 04 homeostasis - involuntary 04 HOMEOSTASIS - involunta 05 sex - enclosure 05 SEX - enclosure 06 sleep - enclosure 06 SLEEP - enclosure
10
03
ESTEEM ESTEEM 12 achievement - careers 12 ACHIEVEMENT - careers 13 CONFIDENCE - success, c 13 confidence - success, careers 14 respect - success, careers 14 RESPECT - success, caree
01 04
11
SELF-ACTUALIZATION SELF-ACTUALIZATION 15 CREATIVITY - technical in 15 creativity - technical innovations PROBLEM SOLVING - tech 16 problem solving - technical16 innovations 17 SPONTANEITY - unknown 17 spontaneity - unknown threats to life
FUTU 17
PHYSIOLOGICAL NEEDS 01 BREATHING - enclosure 02 EXCRETION - enclosure, w 03 FOOD/WATER - enclosure 04 HOMEOSTASIS - enclosur 05 SEX - enclosure 06 SLEEP - enclosure
NOW
17
09
PHYSIOLOGICAL NEEDS 01 BREATHING - involunta 02 EXCRETION - enclosure 03 FOOD/WATER - purcha 04 HOMEOSTASIS - involu 05 SEX - enclosure 06 SLEEP - enclosure
02 05 06
07
15 16
SAFETY NEEDS 07 SECURITY OF BODY/HE 08 SECURITY OF RESOURC
LOVE/BELONGING 09 FAMILY - homes 10 FRIENDSHIP - social act 11 INTIMACY - homes and
08
12 13 14
10
03
ESTEEM 12 ACHIEVEMENT - caree 13 CONFIDENCE - succes 14 RESPECT - success, car
01 04
SELF-ACTUALIZATION 15 CREATIVITY - technical 16 PROBLEM SOLVING - te 17 SPONTANEITY - unknow
11
FUTURE FUT
03
PHYSIOLOGICAL NEEDS 01 breathing - enclosure PHYSIOLOGICAL NEEDS 01 BREATHING - enclosure 02 excretion - enclosure, waste management EXCRETION - enclosure 03 food/water - enclosure, 02 growth and storage 03pressurized FOOD/WATER - enclosu 04 homeostasis - enclosure, 04 HOMEOSTASIS - enclos 17 05 sex - enclosure 05 SEX - enclosure 06 sleep - enclosure 06 SLEEP - enclosure SAFETY NEEDS NEEDS 07 security of body/health -SAFETY power source 07 SECURITY 08 security of resources - power source OF BODY/HE 08 SECURITY OF RESOURC
01 02 05 06
LOVE/BELONGING 09 family - community 10 friendship - community 11 intimacy - community
07 08
03
LOVE/BELONGING 09 FAMILY - community 10 FRIENDSHIP - communi 11 INTIMACY - community
ESTEEM ESTEEM 12 achievement - research 12 work ACHIEVEMENT - resear 13 confidence - work accomplishments 13 CONFIDENCE - work ac 14 respect - job performance 14 RESPECT - job perform
09 10
04
07 01 11
12 13 14
15 16
SELF-ACTUALIZATION SELF-ACTUALIZATION 15 creativity - research 15 CREATIVITY - research 16 problem solving - research 16 PROBLEM SOLVING - re 17 spontaneity - unknown threats to life 17 SPONTANEITY - unknow
LUNAR L AB SPRING 2010
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UNFOLDING AND ASSEMBLY SEQUENCE FOR LUNAR LAB
01
02
03
04
05
06
PLAN
POTENTIAL PROGRAMS
LUNAR L AB SPRING 2010
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P LA P LA NS NS/// /LABO LABO RATO RATO RY RY
[A] [A]
o npic n en yd ro o ngica rd g aerd 01 01h ydhrop la u tion la tio n 02 02c irccuirc tenrs/ta b le b s le s te rs/ta 03 03c o ucnou m m a triu 04 04a triu 05 05e xeerc fa cfa ilitie s s xeise rc ise c ilitie 06 06b a th b arothom room 07 07e n tra c en/e e nntra c exit /e xit
sc asc le :a le 1 /16” = 1=’ 1 ’ : 1 /16”
[B[B ] ] [C] [C]
NE NE ED ED S S/// / PHYSIO PHYSIO LO LO GG ICAL ICAL SECURITY SECURITY LO LO VE/ VE/ BELO BELO NG NG ING ING
P L A N S / / L A BORAT ORY
sc a l e: 1/16” = 1’
01 02 03 04 05 06 07
h yd ro p o n ic g a rd e n c irc u la t io n c o u n t e r s/ t a b le s a t r iu m e xe rc ise f a c ilit ie s b a t h ro o m e n t r a n c e / e xit
01
+ + + + + + + + + + +
01 01+ + 02 02+ 03 03+ + 04 04+ 05 05+ 06 06+ + 07 07+ +
[A]
] GA EN [A[A ] GA RR DD EN
oxyge n n + o xyge b+o dby/h e a lth od y/h e a lth b+o dby/h e a lth od y/h e a lth c+olla o ra c oblla b otio rantio n a+c tu liza tiontio n a catu a liza b+o dby/h e a lth od y/h e a lth b+o dby/h e a lth od y/h e a lth b+o dby/h e a lth od y/h e a lth c+olla o ra c oblla b otio rantio n e+xcere xctio rention b+o dbyodh ye ahlth e a lth
[D[D ] ] [E][E]
[ B] [ B]FITNESS FITNESS
[B]
[C] [C
[C]
N EEDS / / P H YS I OLOGI C A L S EC URI T Y LOVE/ BELON GI N G
02 03 04 05 06 07
o xyg e n b o d y/ h e a lt h b o d y/ h e a lt h c o lla b o r a t io n a c t u a liza t io n b o d y/ h e a lt h b o d y/ h e a lt h b o d y/ h e a lt h c o lla b o r a t io n e xc re t io n b o d y h e a lt h
[D] [ E] 03 03 ++ 01 01
++
++ [A ] G AR D EN
[B ] F ITNESS
++
[ C] CO L L ABO RAT IO N
++
05 05
02 02
[ D] RE L AXATI + O+N 02 02
[A] 04 04
[B]
++
04 04
[C]
+
[D] 01
[E]
03
03
+
+
+ 03
+
+
02
+ 02
+
05
02
+
+
04 04
[C] COLLABORATION
[D] RELAXATION
[E] ENTRY
04 04
+
+
02
02
+
02
+
03
03
+
+
07
+
03
+
+
02 02
02
+
+
04 04
04
+
+
02
02
+
+ 06
+
02
+
C OLL AB R [ C] [C[C C ] ]C OLL OLL AB AB OO RO R AT AT IAT OI O NI O NN
] ]R R E LAXATIO EXLAXATIO [D[D ] [D R E LA ATIO N NN
[ E] [ E] [ ENTRY E]ENTRY ENTRY
+++
03 0303
+++
+++
07 0707
03 0303
+++
+++
02 0202
02 0202
+++ 04 0404 04 0404
02 0202
+++
02 0202
+++ +++
06 0606
+++
02 0202
LUNAR L AB SPRING 2010
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12’
6’
LUNAR L AB SPRING 2010
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01 bath ro o m 01 b at hroom PLANSPLANS // LIVING // LIVING + BATHROOM + BATHROOM l ock t o ai r l ock 02 access to 02air access scale: 1 / 4 ” = scale: 1’ 1/4” = 03 04 05 06
NEED SNEED // PHY S //SIOLOGICAL PHY SIOLOGICAL 01 02 SECU RITY SECU RITY 03 LOV E /BE LOV LONGING E /BE LONGING 04 05 06
[A]
[A]
[B]
+ 01
1’ life su ppo rt s yst l i feems sup p or t syst ems 03 sto rag e/ 04 clo sest t sor age/cl oset s kitch en 05 ki t chen bedro o m06 b ed room
+ + + + + + + + + +
excretio n + excret i on 01 bo dy / h ealth+ b od y/heal t h h o meo02 stasis + homeost asi s bo dy / h ealth+ b od y/heal t h h o meo03 stasis + homeost asi s bo dy / h ealth+ b od y/heal t h 04 + resources reso u rces fo o d/ w05 ater + food /wat er sleep 06 + sl eep family / frien d+s fami l y/fr i end s
[B]
[C ]
+
+
01
[A] [ B] [ C]
03
[A] [ B] [ C]
[C ]
03
+
04
02
+
+
02 03
+
+
+ 06
03
+
04
+
04
05
+
+ 05
+
throo ba thro bamthro o mo m 01ba 01 PLPALPN ALS N AN S/ /S/ LI // /LI V LI IVNG ING VING + +BATHR +BATHR BATHR OOM OOM OOM 01 c caecscsaecto scseasto isr alto oc i r akl oc i r lkoc k 02 02a02 scale: scale: scale: 1 /4 1” /4 =1”1/4 = ’ ”1=’ 1’
NE NEN ED ES D ED S/ /S/ //P/H P YSIOLOGIC H P HYSIOLOGIC YSIOLOGIC ALALAL S ESC E SU CURITY EC R ITY URITY LO LO VLOVE/ E/B VE/B ELON ELON BELON GING GING GING
[ A ][ A ][ A]
fe l si fe uppor l isfeuppo stuppo srys t ste rys tms ste ysms te ms 03 03l i 03 torsato ge sr ato /c ge rl a os /c ge el os ts /c e l os ts e ts 04 04s 04 05 05ki05 tcki hetcnkihe tcnhe n 06 06be 06 droo be dro be mdro o mo m
e+ x cere +x ti cere on x ctire o nti o n 01 01+01 + bo + dy/he body/he + body/he a l tha l tha l th home + ho + os me hotame os s ita soss ta is sis 02 02+02 + bo + dy/he body/he + body/he a l tha l tha l th 03 03+03 home + ho + os me hotame os s ita soss ta is sis + bo + dy/he body/he + body/he a l tha l tha l th 04 04+04 re+s ourc re+s re o eurc sso urc es es 05 05+05 fo+o d/wa foo + foo d/wa ted/wa r te r te r 06 06+06 s l+e esp +l e es p leep + fa+mifa+ l y/fr mi fal y/fr mi i e nds l y/fr i e nds i e nds
[ B ][ B ][ B ]
+ + +
[ A][ A[ ]A ] [ B] [ B] [ B] [ C[ ]C[ C ] ]
[C][C][C]
03 03 03
01 01 01
+ + +
04 04 04 04 04 04
+ 02+ + 02 02 + + + 03 03 03 + + +
+ + +
06 06 06
+ + +
04 04 04
+ + +
+ + +
05 05 05
03 03 03
LUNAR L AB SPRING 2010
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3.25’ 1.25’
1’
showerhead
7’
shower ledge
towel rack
hot/cold
6’
6.5’
1.5’
3.5’
3.5’
3’
2.5’
3’
.75’
.2’
sink
faucet
3.2’
toilet
drinkable water
2.6’ 2.2’
1.3’
waste water
potable water
2.25’
waste water
3.2’ 2.8’ 1.4’
.75’ 42°
faucet
6’
drinkable water 4.8’
sink 2.6’
waste water
RELAXING
4.6’
30°
seating
coffee table .9’
4.4’
1.3’
2.8’
1.1’
1.5’
2’
1.5’
SLEEPING
bed
2.25’
5.45’
2’
1.2’
5.5’
6’
6.25’
GETTING DRESSED
1.5’ 2.3’
2.4’
2.2’
7.4’
3.6’
65°
2.9’
6’
LUNAR L AB SPRING 2010
2’
2.6’
5.6’
shoes
3.2’
56°
shirt
pants
44 | 45
PREPARING FOOD
2.3’
2’
2.2’ .14’
pantry
2’
microwave oven
1’
.14’
counter-top
1.6’
3.2’
5.5’
3.2’
EATING
1.9’
2.1’
chair
table
2.5’
2.7’
.85’
4.8’ 2.25’
1.5’
1.6’
ORGANIZING STORAGE
3.2’ 3’ 2.5’
1.5’ 1.5’
2.4’
3.5’
3’
5.8’
6’
2.1’
storage units
EXERCISING 88°
5.25’ 3.1’
0°
.75’
5.6’
2.9’
1.8’
1.5’
37°
.25’
2.5’
6’
1’
10°
TEAM WORK
table
desk
1.9’
2.2’
2.8’ 1.4’ 2.2’
4°
42°
monitor 3’
30°
2.1’
chair
1.4’
desk
table
2.5’
2.5’
1.5’
1.6’
2.7’
2.25’
2.7’
.85’
6’ 4.8’
4.8’
80°
CONDUCTING EXPERIMENTS
1’ 2.3’
shelves .75’
2’ .14’
2’
storage
countertop
1.3’
3.2’
2.75’
5.5’
4.35’
.6’
1’
28°
3.2’
1.6’
LUNAR L AB SPRING 2010
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LUNAR L AB SPRING 2010
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Museum of Delineation 231 Bowery — New York, New York | Studio Critic | Mark Wasiuta Year | Spring 2009 Program | Art Museum
The Museum of Delineation, or M.O.D., implements line patterns, networks, and techniques to create a grid system with the potential to affect the programmatic performance of the museum space. Through the exploration of multiple functions of grids as well as the experimentation with the distortion and variation of grids, an understanding of the grids’ organizational capabilities was reached in the museum’s design. The development of the M.O.D.’s entirety — including its form and structure, manipulation of views, control of light and interior arrangement — emerged from the manipulation and juxtaposition of a variety of grids. The pervasiveness of the grid becomes a statement about how the whole museum itself, as opposed to the artifacts held within the museum, is to be perceived as an object of delineation.
« interior rendering
MUSEUM OF DELINEATION SPRING 2009
52 | 53
GRID AS EXTERIOR SEATING
GRID AS FRONT DESK
GRID AS DISPLAY WALL
GRID AS INTERIOR SEATING
MUSEUM OF DELINEATION SPRING 2009
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SECTIONS
MUSEUM OF DELINEATION SPRING 2009
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00
01
02
03
04
05
06
PLANS
MUSEUM OF DELINEATION SPRING 2009
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MUSEUM OF DELINEATION SPRING 2009
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Programming Istanbul Veliefendi Racecourse — Istanbul, Turkey | Studio Critic | Alistair Gill + Veronika Schmidt Year | Fall 2010 Program | n.a.
Programming Istanbul is video game project created with the Unreal Development Kit gaming software. The game is based around the learning process that every person goes through to understand the built environments they occupy. The human mind has an instinctive desire to learn about the world we live in. Human beings develop schemas to help them understand these spaces. But what happens when these schemas fall apart? What do humans do when traditional ideas and personal perceptions about their physical environments are challenged? Programming Istanbul is a critique on this learning process and the evolution of physical spaces, from ruins to built buildings, through the manipulation of schemas.
« gameplay screenshot
PROGRAMMING ISTANBUL FALL 2010
64 | 65
Sky Lab Canal St + West Side Hwy — New York, New York | Studio Critic | Yoshiko Sato Year | Fall 2008 Program | Climatology Research Facility
The Sky Lab is a spatial exploration of unique viewports throughout the research facility. Laboratory workspaces are located on each floor in the center of the building and decrease in area as the building ascends. This allows scientists and researchers visual access upwards to the sky while working. Further, each level is accompanied by several walkways that extend to the outer edges of the facility. These paths lead to spaces for social gatherings and facilitate time for quiet relaxation away from work while remaining within the workspace. As these spaces are not covered, they are granted a full visual connection towards the sky to promote positive feelings of openness. Further, the walkways provide access to uniquely designed windows lining the circumference of the building that are angled specifically to direct views towards the Hudson River.
« section model
01
02
LEFT 01: DIAGRAM OF UNROLLED FACADE LEFT 02: SECTION PERSPECTIVE DRAWING RIGHT: PLANS
03
01
02
04
05
SK Y L AB FALL 2008
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SK Y L AB FALL 2008
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TED (u)x 643 Park Avenue — New York, New York | Studio Critic | Joshua Prince-Ramus Year | Spring 2011 Program | TED x Theater for the Spoken Word
TED (u)x is a new theater typology for the spoken word that centers around the user and the user’s experience, or ux, and will be situated within the Park Avenue Armory. The current TED experience is limited by the constraints of the typical theater configuration. Attendees are forced to choose between two less than ideal environments — the live session and the simulcast session. Attendees must choose between their personal ideal viewing environment or the live speaker experience. TED (u)x is a purpose-built, immersive TED space that allows attendees to self-select from an array of viewing options, all with the live speaker. Instead of the two current TED viewing options, TED (u)x offers six diverse environments that are unified within one theater space. When attendees arrive for the event, they will proceed through the Armory and onto the second floor plate. Here the six TEDspaces will reveal themselves when users peer through the surface and catch glimpses of the spaces within the theater. This procession plate is what engages the attendees and allows them to create their personal TED x experience.
« interior rendering
TED (u)x SPRING 2011
74 | 75
SECTION THROUGH TED (u) x AND ARMORY
TED (u)x SPRING 2011
76 | 77
LIVE SESSION
SIMULCAST SESSION
with live speaker experience without choice in seating
without live speaker experience with choice in seating
CURRENT TED EXPERIENCE OFFERS TWO LESS THAN IDEAL ENVIRONMENTS
LIVE SESSION with live speaker experience AND array of viewing environments
PROPOSED NEW THEATER TYPOLOGY
TED (u)x SPRING 2011
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TED (u)x SPRING 2011
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TED (u)x SPRING 2011
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VIEW FROM AUDITORIUM
VIEW FROM LEDGE
TED (u)x SPRING 2011
84 | 85
VIEW FROM ERGOSPACE
VIEW FROM CIRCULATION PLATE
TED (u)x SPRING 2011
86 | 87
Ice and Oil | Drawing Critic | Yoshiko Sato Year | Fall 2008 Program | n.a.
The Ice and Oil project focuses on creating an informative and graphic representation of differences in changes over time. It is founded on the principle that water is less dense as a solid than as a liquid. Because this property of matter is normally reversed, an unusual phenomenon results with water — water’s solid state, ice, floats upon its liquid state. Here, two blocks of ice are dyed and placed in two separate containers. One container is filled with water while the other is filled with cooking oil. Based on the aforementioned phenomenon, the ice in water was expected to float, but an interesting situation arose as ice melted in cooking oil as the density of cooking oil is between that of ice and of water. The differences between ice melting in water and ice melting in oil are illustrated.
ÂŤ ice in oil photograph
ICE IN OIL
ICE IN WATER
ICE AND OIL FALL 2008
90 | 91
Sagrada Familia | Drawing Critic | Joshua Uhl Year | Fall 2008 Program | n.a.
The Sagrada Familia project is an exploration of an existing architectural structure — an individual spire on Antoni Gaudi’s Sagrada Familia — through differing methods of representation. These include physical modeling, digital modeling, digital drawing and creating an animation.
« physical model
SAGRADA FAMILIA FALL 2008
94 | 95
as
you
do
at this but hi s
be
by
not
on
with
he
for
from the
to
Word Count | Drawing Critic | Michael Rock Year | Spring 2011 Program | n.a.
Word Count was sparked by the desire to test a claim found during research of the most commonly used words in English. The claim stated that the first 25 words on a list compiled by Oxford Online “make up about one-third of all printed material in English.” These 25 words include the following words (and lemmas): the, be, to, of, and, a, in, that, have, I, it, for, not, on, with, he, as, you, do, at, this, but, his, by, from. Using the New York Times front page as the data set, six diagrams were created to graphically illustrate a series of prescribed perspectives.
« diagram illustrating proximity of the 25 words to one another
COLOR CODING EACH COMMON WORD ON NEW YORK TIMES
the of a
in
to be
and that
have
of Of
to to that that
to The to with The TO By at the of his but to do with to in a for a is a the of and that his are to be of a that a had been from to his were to And to at a in to his that did not it did the that
of of and of his the of his in by the had but of the it had in to the The the was on by the on Did the the have the was a IN FOR TO with of in on as Is to for His By and The is with a for to and to a by with the of the and has at from are a in by of the and the a of The for the to from a of the to to the in to and in the that the was of with in to the to that the on not and the of the on of and was not that the was to as the is a in with on The by a of to has a at the the in have The in a is a of have not with the on IN in to By The on on a that has and in a to from a with a and of in the The was a of the of of with the of of a to the from a that has of the in the that his as a for for and with the As by the for a to for the of in of the a that has that in in the of and in was a that the and the of a this to to be in the by a the at a of with and on for On a in by As the of on was to were to a and of from for that the were the the and I was had in a the and the be a as he and in and on the from the in of the been to the the has were in and the to
the the the the
of of
for on
the with it the is from in are with is a has I do it have on the in a of in and a in the have been to and The is the to a and of with is not the on And a is it does not on In for By of the a in are of this in I a in at in this the you at of the and at you have you are the to for in and from to and to
with
the to at of that
by as at
from not his it do but this I he
the the of The the a of by and of of to to in be of the in By the of the to
the the of the by That is a from the to for the be and is on This in is of a but in for that it had the from the of in in of a had he was the of and are the that in in in the in the as as are Is The of a he not the The
the a in at was by a of for a at the in But it have at the at the and A by the For of of is has a but for The of the not to a on the as a for of on
the the
you
FREQUENCY OF EACH TOP 25 WORD
PARAGRAPH CREATED WITH ALL OTHER WORDS REMOVED
WORD COUNT SPRING 2011
98 | 99
8 37
96 193
115 258
99
187
114 93 86
231 219 200
FREQUENCY OF COMMON WORDS USED IN EACH ARTICLE COMPARED TO ALL OTHER WORDS
32%
33%
30%
26%
30%
04 FEB 11
05 FEB 11
07 FEB 11
11 FEB 11
12 FEB 11
COMPARISON BETWEEN FIVE NEW YORK TIMES FRONT PAGES
WORD COUNT SPRING 2011
100 | 101
Bryant Park Pavilion Bryant Park — New York, New York | Technology Critic | Wilfried Laufs Year | Fall 2009 Program | Fashion Show Pavilion Team | R. Caldwell, L. Salem
Bryant Park Pavilion is a versatile structure that can be deployed as needed throughout the park. Shipped in as a mobile ribbed structure, it can be unfolded as a single amphitheater or combined with multiple structures to create a snaking, linear space. The runway conforms to the overall layout of the pavilion, creating a unified viewing space. The fabric structure achieves a double curvature through the profile of the rib system. Gravity loads are transferred through the ribs into the ground. Tensile loads are isolated within the structure and not transferred to a foundation. In the vertical orientation, this is achieved by the resistance of the rib structure. Horizontal compressive loads are transferred to the flooring which is assembled and secured after deployment. The design of the rib system allows for multiple skinning strategies including translucent fabric, weatherproofed photo-voltaic system (PVS) or pneumatic ethylene tetrafluoroethylene (ETFE) panels. In the case of the pneumatic application, the additional force of the air between the ribs supplements the bracing of the floor construction.
« physical model
UNFOLDING AND ASSEMBLY
BRYANT PARK PAVILION FALL 2009
104 | 105
FABRIC FORCE DIAGRAM
RIB FREE BODY DIAGRAM IN SECTION
RIB FREE BODY DIAGRAM IN PLAN
FORCE DIAGRAMS
SITE PLAN
BRYANT PARK PAVILION FALL 2009
106 | 107
BRYANT PARK PAVILION FALL 2009
108 | 109
Filtration Wall | Technology Critic | Phillip Anzalone Year | Fall 2008 Program | Hotel — Wall System Team | B. Andersen, L. Salem, W. Smith, M. Ushio
The Filtration Wall collects rainwater and purifies it for use around the hotel via a slow sand filtration system. Slow sand filtration is a simple and reliable process that percolates untreated water slowly through a bed of porous sand and rocks. This filter consists of a tank, a bed of fine sand, a system of under drains to collect the filtered water and a flow regulator to control the filtration rate. No chemicals are added to aid the filtration process. Design and operation simplicity as well as minimal power and chemical requirements make the slow sand filter an appropriate technique for removing suspended organic and inorganic matter. These filters also may remove pathogenic organisms. Slow sand filtration reduces bacteria, cloudiness and organic levels. This reduces the need for disinfection by products in the finished water.
ÂŤ physical model
SLOW SAND FILTRATION DIAGRAM
FLASHING
RAW MATERIAL IN
OVERFLOW DRAIN
FLASHING
CONCRETE COPING
FILTER SCREEN
CONCRETE COPING
DRIP EDGE
STEEL C-CHANNEL BLOCKING
2” BATT INSULATION
FINE SAND
RECLAIMED WOOD SIDING
CONCRETE PARAPET WALL 1/2” PLYWOOD
OVERFLOW TUBE
FILTER BED TYVEK BARRIER
DRAINAGE SCREENS 6” BATT INSULATION
SAND
HOLDING TANK, FILTERED WATER
3/4” GLASS
1/2” PLYWOOD
1/4” GYPSUM
NEOPRENE PADDING
8” CONCRETE SLAB
DRAINAGE PIPE
L-BRACKET CONNECTION
SUPPORT ROCKS
FINISHED FLOOR
FINISHED FLOOR
8” CONCRETE SLAB
DRY WALL SOFFIT
FIREPROOF BARRIER BLOCKING
CONTROL VALVE
01
DRYWALL SOFFIT
BACKER ROD AND SEALANT
WATER-FILTER MATERIAL THROUGHOUT COLUMN
ALUMINUM EXTRUSION SILL
OUT IN
OUT
PLAN 1
IN
OUT
1-1/2” = 1’-0” IN
GLASS DRIP EDGE
02
FLASHING
WATER CHANNELS
PIPE TO HOLDING TANK
CONCRETE PIER
STEEL CCHANNELS CAST IN CONRETE PIER
01 SLOW SAND FILTRATION DIAGRAM 02 TYPICAL PLAN 03 IN-FILL WALL SECTION 04 STRUCTURAL FILTRATION COLUMN SECTION
03
04 SECTION 1 IN-FILL WALL 1-1/2” = 1’-0”
SECTION 2
STRUCTURAL FILTRATION COLUMN 1-1/2” = 1’-0”
2’-6”
15’-6”
2’-6”
15’-6”
2’-6”
15’-6”
2’-6”
15’-6”
2’-6”
15’-6”
2’-6”
”0-’01 ”0-’01 ”0-’01 ”0-’01
HOTEL WALL TYPICAL ELEVATION
FILTRATION WALL FALL 2008
112 | 113
9
10
8 7 6 5 4 2
1
3
EXPLODED DIAGRAM OF WALL SYSTEM ROCK FILTRATION SYSTEM
1
GLASS COLUMNS
2
STEEL CHANNELS
3
RECLAIMED WOOD SIDING
4
PLYWOOD AND VAPOR BARRIER
5
BATT INSULATION
6
PLYWOOD
7
LIGHT-GAUGE FRAMING
8
GYPSUM BOARD
9
CONCRETE
10
FILTRATION WALL FALL 2008
114 | 115
Superwall Bronx, New York | Technology Critic | Jay Hibbs + Jason Stone Year | Spring 2010 Program | Artisan Workshop Team | L. Koehl, M. Robitz, K. Weber
Superwall serves to provide open commercial loft space that promotes the functionality of an artisanal workshop. As such, the chief design directive of Superwall is the consideration of the specific operations of an artisanal workshop — namely, the receiving of rough materials, ample storage, efficient fabrication space and the distribution of finished products. Consisting of four service cores aligned east–west, Superwall’s arrangement acts as a single unit and allows Superwall to either directly affect or to be closely related to every aspect of artisanal production. Structurally, Superwall bears all the compression load from the truss system built into the upper portion of the building that is then cantilevered to the north and south sides. Attached to the truss system is a series of tension rods that hang six floors and 67,200 square feet of work space over a column-free ground floor on the north side of the building. The interior of both the north and south sides of Superwall provide efficient production spaces. Since there are no columns (only tension members that are four inches in diameter), the north side provides 11,200 square feet of workspace with minimal visual and workspace obstruction. The south side contains storage space for rough materials and finished products. Further, all aspects of the mechanical system are either contained within (ventilation duct work) or connected to (radiant cooling and heating in each floor and solar thermal tubing on the south façade) the Superwall.
« exterior rendering
01 TYPICAL UNIFORM BUILDING
02 SEPARATION OF SPACE T HROUGH SUPERWALL
03 SUPERWALL DIFFERENTIATES BUILDING PROGRAM
04 SUPERWALL DIFFERENTIATES E NVIRONMENTAL CONDITIONS
05 SUPERWALL SUPPORTS BUILDING STRUCTURE
CONCEPT DIAGRAMS
SUPERWALL SPRING 2010
118 | 119
PROJECT
SUPER WA New York, New York
COPYRIGHT 2010 OWNER Columbia University Architectural Technologies V
ARCHITECT
A
C
B
Louis Koehl Connie Shu Keith Weber Mike Robitz
D
Columbia University Graduate School of Arch Planning and Preservatio Class 2011
ARCHITECTURAL CONSULTANT Jay Hibbs
STRUCTURAL ENGINEER Jason Stone (LERA)
12’ 10’
40’
18’ 10’
10’
10’
10’
40’ 10’
10’
10’
10’
18’ 10’
10’
10’
12’ 10’
10’
MEP ENGINEER
Top of Roof +117.0'
14’
14’
14’
14’
4’-6”
4’-6”
Elias Dagher
Top of Roof +117.0'
FFL Sixth Floor +088.0'
FRITTED GLASS
FFL Fifth Floor +074.0'
ISSUE DATE AND COMMENTS 05-02-2010 Final Review
14’
WATER WHITE GLASS
14’
WATER WHITE GLASS
FRITTED GLASS
FFL Fifth Floor +074.0'
14’
14’
FFL Sixth Floor +088.0'
FFL Fourth Floor +060.0'
14’
14’
FFL Fourth Floor +060.0'
FFL Third Floor +046.0'
14’
14’
FFL Third Floor +046.0'
REVISIONS AS OF MAY 2010
FFL Second Floor +032.0'
14’
14’
FFL Second Floor +032.0'
FFL First Floor + 18.0'
4’-6”
4’-6”
FFL First Floor + 18.0'
WEST AND NORTH ELEVATIONS
EAST/WE ELEVATI DRAWING TITLE PROJECT: 002 SCALE: AS NOTED
3/32" = 1'
EAST ELEVATION
3/32" = 1'
WEST ELEVATION
FORMAT: 24X36 DATE: 010408
A
DRA
A2
A1
9’-4”
9’-4”
9’-4”
A3
9’-4”
9’-4”
9’-4”
A4
9’-4”
9’-4”
A6
A5
9’-4”
9’-4”
9’-4”
9’-4”
9’-4”
9’-4”
A8
A7
9’-4”
9’-4”
9’-4”
9’-4”
9’-4”
A9
9’-4”
9’-4”
9’-4”
A10
9’-4”
9’-4”
A12
A11
9’-4”
9’-4”
9’-4”
9’-4”
9’-4”
9’-4”
CORE
4’-6”
STEEL RAILING
14’
Top of Roof +117.0'
14’
STEEL TRUSS
ALUMINUM MULLION
FFL Sixth Floor +088.0'
14’
STEEL WIDE FLANGE SPANDREL BEAM
WATER WHITE GLASS RAINSCREEN
14’
14’
FFL Fifth Floor +074.0'
FFL Fourth Floor +060.0'
14’
FFL Third Floor +046.0'
14’
FFL Second Floor +032.0'
4’-6”
FFL First Floor + 18.0'
GLASS ENTRANCE TENSION ROD ???? POURED CONCRETE
3/32" = 1'
SUPERWALL SPRING 2010
NORTH ELEVATION
120 | 121
STRUCTURE
VENTILATION CHIMNEY
RADIANT TUBING
OPERABLE WINDOW
AIRFLOW DIAGRAM
SUPERWALL SPRING 2010
122 | 123
COLUMN FREE SPACE AS OPEN MARKETPLACE
UNINTERRUPTED DELIVERY / DISTRIBUTION
Column free space as delivery / loading dock
COLUMN FREE SPACE AS OPEN LOADING DOCK
SUPERWALL SPRING 2010
124 | 125
PROJECT
SU
New York, New Y
COPYRIGHT 201 OWNER
Columbia Univer Architectural Tec
ARCHITECT Louis Koehl Connie Shu PROJECT Keith Weber Mike Robitz
C G P
C
SU
ARCHITECTURA
New York, New Y Jay Hibbs
COPYRIGHT 201 OWNER
Columbia UniverE STRUCTURAL Architectural Tec Jason Stone (LE
ARCHITECT
C Louis Koehl G Connie Shu MEP ENGINEER Keith Weber P Mike Robitz Elias Dagher C
1
Foundation and Permanent Columns Erected.
2
Temporary Construction Columns Erected.
3
Beams and Joists Put Into Place.
4
5
Permanent Columns Erected on The First Level.
Temporary Columns Installed.
ARCHITECTURA Jay Hibbs
STRUCTURAL E
Jason Stone (LE
MEP ENGINEER Elias Dagher
1
Foundation and Permanent Columns Erected.
2
Temporary Construction Columns Erected.
3
Beams and Joists Put Into Place.
4
5
Permanent Columns Erected on The First Level.
Temporary Columns Installed.
ISSUE DATE AN
05-02-2010 Final
1 S401
ISSUE DATE AN
05-02-2010 Final
REVISIONS AS O
1 S401
REVISIONS AS O
6
Beams and Joists Erected.
7
Process continues for 6 floors. Top Column is Twice the height to allow for the installation of the truss.
8
Truss is Erected.
9
10
Hangers and Tie Down Standard Steel Rods are put into place once all the steel has been erected.
Temporary Columns are Removed.
OVERALL CONSTRUCTION SEQUENCE
CO SE
DRAWING TITLE
6
1
Beams and Joists Erected.
7
Process continues for 6 floors. Top Column is Twice the height to allow for the installation of the truss.
8
Truss is Erected.
9
Hangers and Tie Down Standard Steel Rods are put into place once all the steel has been erected.
10
Temporary Columns are Removed.
PROJECT: 002
SCALE: AS NOT
NTS
OVERALL STRUCTURAL CONSTRUCTION SEQUENCE
FORMAT: 24X36 DATE: 010408
CO SE
DRAWING TITLE PROJECT: 002
SCALE: AS NOT
1
NTS
OVERALL STRUCTURAL CONSTRUCTION SEQUENCE
FORMAT: 24X36 DATE: 010408
SUPERWALL SPRING 2010
126 | 127
CON N I E SH U master of architecture columbia university gsapp class of 2011