Catherine Shih Portfolio 2019

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Catherine Shih University of Pennsylvania School of Design, Student Work 2017-2019

SHIH 2019

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SHIH 2019

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I NTERES TS URBA N E N G AG E ME N T Architecture is interdisciplinary, one that engages buildings, landscape, and the urban context. Buildings should be situated to facilitate integration with the community through building design and performance.

BUILDING + LANDSCAPE Meaningful architecture considers the wider context. Not only should buildings be situated and respectful to the environment, but should also consider how the they interact with the ground and how landscape can be interwoven into the building.

P OE TIC Architecture is both poetic and practical. A building’s meaning should be reflected in it’s function, use, program and performance. For example, an archive takes the act of displacing material from it’s original context as a point of departure for the building’s design.

CATHERINE SHIH

IN TEN T I O N

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Architecture requires an engagement with the user. This engagement should be specifically defined and refined according to situated use. For example, a pavilion situated at a museum is engaged through seeing, walking around, and surrounding one’s self in the context of the courtyard of the museum. A pavilion that tessellates is a commentary on the visual relationship of objects and visitors in a museum: how a piece of art can have multiple readings.

Contents and Interests


CO N T E N TS SH

Stuytown Urban Housing

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East-Parkside Library

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PennM u s eu m A rchi ve

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Te s s e l l a t e Pav i l i o n

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Urban Apiary

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Professional Experience

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601 Studio. Fall 2018. Kutan Ayata

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502 Studio. Spring 2018. Danielle Willems

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501 Studio. Fall 2017. Ben Krone

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501 Studio. Fall 2017. Ben Krone

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602 Studio. Spring 2019. Nate Hume

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JSA: 2015-2017, Ballinger: Summer 2018

Selected Works

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SH S TU Y TO WN U R B A N HOU SI NG PennDesign Professor

601, Second-Year Studio, Fall 2018 Kutan Ayata

The strategy of inserting housing into an existing courtyard located in Stuytown is one that pushes back against the tabula rasa approach, working with existing conditions. With an ever increasing immigrant population, Stuytown welcomes and provides assistance for immigrants transitioning and assimilating to New York culture. With a clear urban strategy, Stuytown opens itself up to 1st Avenue parallel to the courtyard, becoming externally engaged. By welcoming in the wealth of the city into the complex, the residents, as well as the building itself, are integrated into the urban fabric and culture. The sleek graphite form that contrasts with the existing brick and envelopes the interior of the courtyard creates an internally defined atmosphere. As a result, residents feel a sense of both security and openness. This dichotomy is expressed formally, materially, and programmatically.

Render Looking Up From the Central Courtyard - View Diverges with 1st Avenue to the Left, Stuytown to the Right

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Sketch of Ground Condition Buildings become connected, but lifted off of the ground, creating urban blocks

CREATING A SENSE OF PLACE In densifying housing within an existing Stuytown courtyard, initial questions were driven by the following two thoughts. Firstly:

STUYTOWN URBAN HOUSING . 601 . KUTAN AYATA

“Both internally defined, and externally engaged means that the architecture in which it is housed must be both enclosed and open�

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- David Leatherbarrow Thinking became centralized around how this courtyard could be opened up to the street, breaking the monotony of the brick facades that line 1st Avenue. Secondly, How can the character of the courtyard be manipulated so that the character of the buildings begin to change? From this, the challenge became how to create a sense of place in an otherwise transitional avenue for residents so that New Yorkers are brought inside to engage in the urban setting.

Conceptual Narrative - Diagram of Initial Site Strategy at the Ground Level - Creating Urban Blocks at the Ground Level for Pedestrian Access.


Render of Entry into the Central Courtyard From the Street - Capturing an Internally Defined Sense of Place that Brings the City Inside

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STUYTOWN URBAN HOUSING . 601 . KUTAN AYATA 10

SITE + MASSING STRATEGY Massing studies transform the courtyard from a place of transition, to creating a new sense of place. A series of boolean manipulations create a sense of place and an alternative language from the rectilinear building blocks. The goal was to maintain familiarity of the rectilinear grid, but breaking it and creating a secondary, layered alternative. As a result, directionality shifts allow for change in perspective and an inward and outward sense of place. Courtyards within the courtyard are formed, opening up the community to the street. By engaging the building with the street, the building becomes enmeshed in its urban framework, creating

Render View Looking Up Into The Courtyard

porosity with the city fabric and reactivating it for public use. In addition, the building is lifted off the ground, providing commercial shops at the street level that seamlessly spill into the courtyard, further emphasizing the site’s urbanity. Due to this, people who otherwise would not come inside may enter the plaza. This project is one that deals with the seam or edge, materially, programmatically, and formally.


Render View Looking Up Into The Courtyard

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2 Bedroom Apartment

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Hallway from Core to Shared Public Spaces

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Main Atrium Library

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Library Break-Out Spaces

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Bridge Level Windows Surrounding the Center

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Storefront Windows to the Food Hall

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Outdoor Courtyard Elevated from Ground Level

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Zinc Panels

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STUYTOWN URBAN HOUSING . 601 . KUTAN AYATA

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NEGOTIATING OLD + NEW, OCCUPYING THE EDGE

Double Story Atrium

Existing Brick Facade

The chunk explores how the existing brick building and the units meet the new extension made of zinc paneling. A grand atrium rises four stories, with arms that branch out to windows for study and gathering break-out spaces. Being that the building connections are lifted off from the ground, an additional level of courtyard space is provided for residents, giving a semi-private outdoor atmosphere. Large windows at the edge are flat or inset to provide outdoor terraces.

Rendered Building Chunk - How Private Housing Units Meet the Semi-Public Atrium Library (top). Choissy Drawing of Chunk (bottom)


Render View of “The Edge”, Where Old Meets New - Material Difference Mediated through Seamless Continuity of Windows

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STUYTOWN URBAN HOUSING . 601 . KUTAN AYATA 14

HOUSING UNITS While shared semi-private library space occupies the central links, housing occurs at the exterior links. Up to quadruple-story units are available, with a familiar suburban house section at the peak. At the scale of the unit, residents inhabit the edges of space, providing views down into the central courtyard. Shared space is formed in a similar language to that of the entirety of the courtyard where circular enclosure is implied.

Section Drawing with Rendered Background + Plan of a Multi-Story Housing Unit


Bridge-Level Plan - Housing at End Links, Public Space at Middle Links

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STUYTOWN URBAN HOUSING . 601 . KUTAN AYATA 16

ROOF CULTURE + SEAMLESSNESS At “the edge”, wrapping windows allow residents to inhabit both the old and new simultaneously, providing multi-directional views. While the two materials come together at a bold edge, the wrapping effect of the windows counteracts this hard seam. In the same way throughout the project, seams and alignments are shifted to provide a seamless transition and flow of space that wraps back onto itself.

Render View Looking Up - Undulating Edge +Wrapping Windows - Inward + Outward Engagement, Initial Sketch of Window Differentiation (bottom)


Top Floor Plan - Inhabiting the Edge + Roof Culture

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EL EAST PARKSIDE L I B R A RY PennDesign Professors

502 First-Year Studio, Spring 2018 Danielle Willems

In designing a branch library for the community of East Parkside, the challenge was to create a public environment that maintained the low height of the row home neighborhood while also taking advantage of its site at the corner of two main roads. Interlace Branch Library explores the relationship between hard and soft surface and the figure ground relationship of connecting building and landscape.

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EAST-PARKSIDE LIBRARY. 502 . DANIELLE WILLEMS

Conceptual Framework: Interlocking Massing Study (top), Inspiration for Interlocking form, Locknesters 3D Puzzle (bottom), Triptych Model (main)

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INTERLACING FORM, MATERIAL, PROGRAM This exercise began as a formal study, transforming two dimensional ideas about fluidity + the integration of a hard + soft language into a model. A network of pathways is laced through a more soft, submerged topological surface. This idea of a network was translated to the scale of the building, where a series of pathways intersect to encourage spontaneous interaction + gathering. Massing studies were done to explore programmatic intersections. The method of interlocking was used, unifying programmatic parts into a whole.

Conceptual and Formal Explorations - Inspiration, Interlocking Model, + Triptych Model made of Rockite (top). Massing Studies (bottom)


Triptych Concept Model Negative (top) used to create the concept model (bottom) giving form to the image on the right.

Conceptual and Formal Explorations - Image Exploring Intertwining and Bundling of Hard and Soft (right). Triptych Model (left).

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EAST-PARKSIDE LIBRARY. 502 . DANIELLE WILLEMS 22

BUILDING FLOW + FORMAL LOGIC Like a sea cave where the flow of water overtime smooths a rock’s surface, in this building the flow of people within the community is registered in the building’s formal + material manifestation. Entrances, access points, + viewpoints are points of slippage, carved openings under or beside the building’s form inviting + guiding circulation. These critical points of access + views are further accentuated by material difference, where glass volumes reveal an inner energy that contrasts against the sinuous monolithic volume of the building.

Inspiration for Materiality and Concept - Sculpture by Ben Young (left top), Render of sinuous building on site (left bottom)


Render - Glass Volumes Create Sharp Protrusions Against the Sinuous Concrete Building Emerging from the Landscape (top). Study Model (bottom)

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PROGRAM + ACTIVATED PUBLIC SPACE

EAST-PARKSIDE LIBRARY. 502 . DANIELLE WILLEMS

Beyond an inward, static space for collecting + reading books, this library invites community meeting + gathering providing both indoor + outdoor places for functions such as screenings, performances, + workshops. Rather than being inward, the library branches out, invites, + intertwines the urban context. Programmatic strips wind around + through the building, seamlessly connecting exterior pathways into the interior circulation of the building.

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Final Model with Added Rendered Elements - Cantilevered Entry that Entices from the Street Corner (top). Final Model (Bottom)


Plan + Section - While the Plan Cut Shows Two Building Forms, the Section Emphasizes a Single Continuous Building, Connected Above

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LIBRARY AS A NODE OF CONVERGENCE Like a cave network or a series of subway lines operating at the scale of the city, Interlace is a branch library conceived of as its own node or point of intersection, serving the community of East Parkside within the larger network of the Philadelphia Free Library System.

Building Circulation

EAST-PARKSIDE LIBRARY. 502 . DANIELLE WILLEMS

Window Apertures

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Soft-scape Zones - Grassed Areas

Hard-scape Circulation that Winds Through the Building, “The Continuous Path”

Diagram of Site Elements


Cutaway Drawing of Entire Site - Interior/Exterior Circulation “Path” that Winds Through the Building

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28 Rendering of Courtyard


PA P E N N MU SE U M ARCHIVE PennDesign Professor

501, First-Year Studio, Fall 2017 Ben Krone

Situated in the courtyard of the existing Penn Museum and bridging a gap between the past, present, and future, this archive is a link between historical objects, the present Penn Museum, and spaces where objects are given significance for future study. All are intertwined in a feedback loop reinvigorating the other through a carving of space and a fragmentation of form that implies or generates new connections.

Opposite: Render View of the Courtyard of the PennMuseum

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Site

Underlying Cone Geometry

Regular Extrusions: Connection b/w cones

Displaced Extrusions: Connection b/w above + below

Public Archive

Private Archive

PENNMUSEUM ARCHIVE. 602 . BEN KRONE

Displacement Concept

DISPLACEMENT + FRAGMENTATION

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Conceptual Narrative - Diagrams of Concept of Displacement, Impression, and Memory

Collections of objects + documents exist in fragments, often separated physically by type or size, but meaningful when unearthed, staged, + pieced together. This archive embodies this concept of displacement and re-contextualization. It also provides connection between objects separated from their original context + given new meaning through archivists + researchers. It reflects a mediation between a displaced whole, through a dialectic of completion + incompletion, inside + outside, solid + void, and presence + absence.


Analog Model of Concept Carved out, intersecting space, both the positive + negative.

1/8� Section Model Detail photo emphasizing the displaced form, with archive storage below + public space above.

Analog Model and Final 1/8� Section Model

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New Connection From the Existing Museum Into the Archive

Back of House

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Private Study Room

Object and Document Storage

Lecture Hall

Exterior Viewing Window

Connection Between Public + Archive

Program - Section Drawing - Showing the Private Archive Below, Programming Above, + the Point of Inflection + Circulation Between Levels

Existing Museum Entry

Archivist Staging Area


Connection to the opposite end of the courtyard

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PENNMUSEUM ARCHIVE. 501 . BEN KRONE

PROGRAM, MEMORY + IMPRESSION Just as archival objects are re-contextualized, cone-like forms carve through the building and are displaced above, activating points of inflection connecting public + private space. The rigid, carved-out portion below creates the private spaces – object and document storage along stepped walls, staging areas, + circulation for archivists and researchers. The dynamic, displaced forms above house the public spaces – classrooms, research spaces and gallery – creating vital points of entry from the existing museum down into the new archive. Window impressions are formed from the central cone, which is displaced below ground

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Final 1/8” Section Model Photos

creating the vital point of connection from one end of the archive to the other. However above ground, the central cone only exists as a memory, with impressions left over that create the landscaped ground, window openings, and become registered moments in the plan above ground. The result is fragments of space that are understood within the context of the larger building.


Connection With Museum Archive entry interfaces with existing museum facade

Public Programming Lecture Hall + Classrooms

Plaza Entrance Opened up to the street, creating a more public interface with the city. The central connection below ground is registered only in landscaped elements

Ground Articulation Softscape ground echoes or “completes� the fragmented building using the same formal language at varying heights

Gallery Space With viewing window looking out into the city

Plan Drawing - Cut above ground showing the public programming

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PENNMUSEUM ARCHIVE. 501 . BEN KRONE 36

URBAN ENGAGEMENT This archive not only thoughtfully engages with the museum, creating new entrances from the existing building facade, but also engages with the street. The concrete form is cut off where the street begins, creating a cantilevered urban setting for respite underneath. A large bay window from the gallery activates views of the activity on the street towards the stadium. The ground-scape that echoes the forms above creates a vibrant, open, urban plaza.

Section Perspective Drawing - Showing the Archive’s Engagement with the Street, Museum, + the Surrounding Context


Context Connection Extension to Museum + Street

Vertical Displacement Window Impressions

Softscape Displacement Landscaped Respites

Hardscape Displacement Public Plazas

Diagrams of Final Design Intent

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TP TE S S E L L ATE PAVILI O N PennDesign Professor Team

501 First Year Studio, Fall 2017 Ben Krone Group Project

This pavilion was conceived as an installation within the courtyard of the Penn Museum. Exploring the relationship of part to whole, this structure is the aggregation of one form expressed on three scales, that displays two primary conditions: open and closed. A flattened image of solid over void is perceived in elevation. However, from any other angle, the pavilion complicates - even directly opposes this initial condition. Parts are pushed and pulled in space, component scales are shifted, and connection points are varied to suggest new readings of the same structure. In essence, the pavilion explores the consequence of multiple interpretations in three dimensions: the expansion of space when the appearance of surface shifts to that of volume, and the inversion of structure as the appearance of mass becomes that of void. The result is a material, spatial language for multiple readings.

Render of Pavilion in the PennMuseum Courtyard

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READING 1 CIRCLES WITHIN A SQUARE GRID CREATING MULTIPLE READINGS

TESSELLATE PAVILION . 501 . BEN KRONE

READING 1 COMPONENT GENERATION

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READING 2 CIRCLES WITHIN A SQUARE GRID CREATING MULTIPLE READINGS

READING 2

OVERLAP GRIDS COMBINED

READING 1 COMPONENT AGGREGATION, ABSENCE OF SPACE

TESSELLATION + IMPLIED SPACE CONCEPT Similar to the way that displayed objects in museums can have multiple readings, this pavilion explored this notion of seeing. Taking tessellations as a point of departure, a component was generated that would allow for two different readings. Translating this into three dimensions, this explores the presence and absence of space, or implying space. This notion was adapted from the container study (opposite page) where the container not only held the object, but implied or became one with the object, understood as one whole in unison.

Concept Diagrams Exploring Tessellations and Multiple Readings in 2D (top), Container Concept (bottom).

READING 2 PRESENCE OF SPACE

FORM GENERATION SPACE IN BETWEEN


COMPONENT 2D IMPLIED SPHERE

COMPONENT 3D IMPLIED SPACE

INITIAL AGGREGATION SPHERE SPACE PACKING

AGGREGATION LOGIC CARVING AWAY SPHERE

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POSITION 1 MOST CLOSED

FINAL AGGREGATION IMPLIED SPHERE TESSELLATED

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POSITION 2 MOST OPEN

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POSITION 3 CLOSED

POSITION 4 CLOSED

Diagram of the Component’s 4 Readings as One Engages with it

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TESSELLATE PAVILION . 501 . BEN KRONE

PART TO WHOLE

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Plan Drawing within the Cairo Grid - Components are Pushed + Pulled in Space Creating Depth and Enclosure (top).

The resulting final pavilion was constructed at 5 feet in height - half scale of the actual 10 feet pavilion sited in the Penn Museum courtyard. The configuration accentuates the “closed” and “open” readings of the components as they are aggregated, and how this affects the overall reading as one moves around and interacts with it. Components are flipped, twisted, and varied in scale. To create depth and enclosure, the components are pushed and pulled in plan in space, maintaining a flattened reading in elevation, while being spatial in actuality.

Most Open Position

Most Closed Position


Photo of Final Pavilion Chunk Made of Custom Molded Polystyrene (top). Elevation Drawings of 3 Different Readings (bottom).

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TESSELLATE PAVILION . 501 . BEN KRONE

FABRICATION + ASSEMBLY Hundreds of components were fabricated using our custom made jigs at three different scales. Polystyrene sheets were cut and prepared for insertion into the jigs, which were then heated and formed on both sides. Once they were created, assembly began by attaching the components to one another in two different ways: through a form joint at the front nose or backside of the component, or a frame joint on the outer edge. The final result is a pavilion that encourages interaction, and engages through seeing.

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Photos of Final Pavilion + Multiple Readings (top left). Images of Construction (top right). Diagram of Assembly (bottom).

Form Joint Large 15” x 15”

Frame Joint Small 5” x 5”

Medium 10” x 10”


Cut Polystyrene Sheets Middle Slit Holes for Screw Attachment

Fasten Screws: fasten plastic + creates joints Frame: holds the plastic

Heat Template: only heats one side with heat gun Cover: fastens plastic + creates joint Mold: shapes the plastic

Press Rail support

Press further

Flip

Repeat

Space for formed side Final

Diagram of Construction of the Component Using Custom-made Jigs to form polystyrene plastic sheets.

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UA WORK IN PROGRESS:

U R B A N A PI A RY + F O O D C E NTE R PennDesign Professor Partner

602, Second-Year Studio, Spring 2019 Nate Hume Marta Llor

The Industry City Apiary + Food Center is a cultural attraction, not only providing local honey and by-products to the New York City area but also creating a new conception of what “nature” in a building can be. Rather than a typical greenhouse where plants grow on their own in a static and regular layout, this building hosts both nature, as well as visitors, intertwining the two through the building structure, form and composition. As a result, visitors can interact with nature in a new and engaging way by entering the building. Urban nature and bee homes are intertwined with human spaces, both informing the other. This speaks to the symbiotic feedback loop of bees as pollinators in the larger ecosystem. Through educational programming, harvesting pollinators and generating local produce, the building nourishes the Metropolitan area. It stands as an indication of the intricacies, symbiotic nature, and our reliance on a wider ecosystem. Located in the Sunset Park neighborhood of Brooklyn, the Industry City Apiary + Food Center harnesses the area’s industrial past, rethinking what manufacturing is today in relation to a food center.

Elevation Render of the Tectonic Moire + Greenery creating Drifting Qualities along the Building’s Concrete Facade

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URBAN APIARY + FOOD CENTER . 602 . NATE HUME 48

FORM FINDING + SLIVER SPACES The scheme builds upon the sliver space culture that has transformed the interstitial space between the re-developed manufacturing warehouses on the site into shared, activated public space. Reappropriating this notion, the buildings’ slivers create public circulation, views, and access for bees in and out of the building. Form finding began by exploring both stereotomic and tectonic massing, and the integration of the two systems. The primary interest was maintaining a gridded, sliver system while at the same time introducing a secondary, competing directionality. This developed into a system where slivers or gaps in the building align

with a gridded tectonic moire of steel columns providing a system for plants to grow on, while supporting a concrete cladding system enclosing the building’s mass. The secondary smaller members create a dense grid, at times so dense the system reads as figural, blurring the boundaries between mass and structure. The heavy mass stops at moments to reveal a continuation of structure on the interior, creating an interior-exterior garden condition for honey bees to roam.

Images of s Study Model: Tectonic Frame Revealed through the Building Mass


SITE ANALYSIS: SLIVER SPACES

Diagram of Site Slivers and Image from IndustryCity.com, Massing Studies of Varying Densities, Integration with Frame

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URBAN APIARY + FOOD CENTER . 602 . NATE HUME 50

MATERIALITY A series of casting experiments were done to extract qualities that inform materiality as well as massing. Moments of reveal, interior pockets, soft vs. hard transitions, and a gradient of textures and sizes were explored. These elements were then applied to the larger massing, where a shell of concrete casted panels of varying sizes creates different densities of grids, creating an interplay with the tectonic.

Section Detail Model: Concrete Cast Exterior Shell, Interior Shell, Primary Steel Columns


Fluid, Drifting Qualities

Subtle Corner Reveal, Against the Grain

Rough, Layered Reveal

Textured, Colored Carvings

Interior Pockets, Soft vs. Sharp Transitions

Casting Study Models Illustrating Interior Pockets, Soft vs. Sharp Transitions, Material Reveals, and Striations

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TECTONIC MOIRE - URBAN GARDEN The Honey Bee is an essential part of the pollination of plants and therefore the “growing local” movement. This building celebrates this process by creating an urban apiary that nurtures and produces bees, greenery, honey, and its by-products. A restaurant and market provide consumption and distribution spaces to enjoy the fresh honey, vegetables, fruits, and herbs. A compost system rounds out the process, creating a feedback loop where the building and nature sustain themselves.

NURTURING

PRODUCTION

RECYCLING

CONSUMPTION

DISTRIBUTION

GREENERY EXTENDED THRESHOLD

STRUCTURE

URBAN APIARY + FOOD CENTER . 602 . NATE HUME

STRUCTURAL MOIRRE

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HUMAN POCKETS

BEE HIVES

Plan Diagrams of Elements. Diagram of Programmatic Feedback Loop Surrounding Pollination


Section illustrating the Interior Network of Human Spaces, Bee Spaces, and Urban Greenery.

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RAW, COOKED, SYNTHETIC. 602 . NATE HUME 54

DICHOTOMIES: HEAVY / LIGHT + URBAN / NATURE Through nurturing honey bees and local produce, nature and human interaction become intertwined within the building. The building’s form further facilitates this through reveals in its mass, where structure becomes a host to dense greenery, to the point of being figural and solid. In contrast, what seems to be a heavy concrete mass that makes up the building, is carved away, creating an interior network of pocketed space.

Section Model - Network of Rough, Intertwined, Cavernous Interior Space, with Structural Reveals


Material Assembly Detail Drawing - Figural Tectonic Moire Responding to Protruding, Interior Pockets of Space Clad in Concrete Panels

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PE J O E L S A N D E R S A R C H I T E C T:

C A P S U L E LO F T Project Role Team

Designer + FF&E Coordinator, 2015-2017 Joel Sanders, Greg Epstein, Marco Li

Prior to graduate school, I was an Architectural Designer and Marketing Coordinator at Joel Sanders Architect (JSA), an awardwinning design firm in New York City. In addition to contributing to design tasks and becoming proficient in AutoCAD, I became the lead FF&E coordinator (furniture, fixtures, and equipment) where I established budgets, concepts, interior material palettes, builtin furniture designs, and coordinated with clients and vendors for residential projects. Additionally, I developed an understanding of how architects combine text, diagrams and images to express their design concepts to clients through leading the search for and preparing RFPs, RFQs (requests for proposals, qualifications), invited competitions, and press packages. Finally, working directly under Joel Sanders I conducted research and assisted in receiving several successful grants for Stalled!, a Best Practice guidelines for safe, sustainable, and inclusive restrooms. For this 2,500 SF West Village apartment, I coordinated the FF&E by presenting furniture concepts to the client, coordinating with vendors for implementation, designing built-in furniture, and coordinating the photoshoot. The apartment accomodates a second level for bedrooms while maintaing the architectural integrity of an industrial loft. The floating, wood-clad volume that houses the private bedrooms defines a series of linked spaces - entry hall, media-home office, circulation path, kitchen-dining area and a den - each with its own atmosphere, created by a unique color and material palette. * Awarded Best Of Year 2017 by Interior Design Magazine

Photoshoot Coordinator, Photograph by Peter Aaron

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PROFESSIONAL: JOEL SANDERS ARCHITECT 58

Completed Photograph of Custom, Built-In Bed, Photo by Interior Design Magazine


CD Drawing Details

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PE B A LLI N G E R:

CHILDREN’S HO S PI TA L O F P H IL ADE L PHI A Project Role Team

Designer on DD Set + 100% CD Set Sara Ridenour, James Bowman, Mike Choi, Ali DeSantis, Erin Brobson

Ballinger is a leading architecture/engineering firm in academic, research, and healthcare design and planning located in Philadelphia. Ballinger was chosen to do both a core and shell addition as well as a fit-out for a 2 story addition to the main Children’s Hospital of Philadelpghia hospital. As an architectural intern, I was part of a 6-person team, I worked on the fit-out by assisting in putting together the DD set and full CD set. In addition, I became the lead coordinator for a mockup patient room CD set that was fully constructed. Through this experience I became proficient in Revit modeling and coordination between architects and the in-house engineers.

Section Perspective Diagrams from the Revit Model

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PROFESSIONAL: BALLINGER 62

RCP from the constructed Mock-Up Patient Room


Elevations and Millwork Details from the Mock-Up Patient Room Constructed

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