I. (the) ENERGY CRISIS

from University of Pennsylvania M.Arch 2021-2024

by Danny Jarabek

UNINHABITABLE

philadelphia, pa - callowhill

Critic:

Annette Fierro

01.20.22 - 04.27.22

Typology: Public Market

Academic Graduate

Individual the ENERGY CRISIS explores environmental and ecological mapping by filtering, processing, and reimagining data sets on pollution, heat stress, and vegetative cover to reveal conflation intensities as a modality for architectural stategy. By the rethinking of elements such as humidity, light, and heat in micro-climatic conditions as spatial dimensions, the amplification of invisible environmental boundaries visualizes the unseen and produces a marketplace that operates cyclically in a constant state of decay and regrowth. Through the active exchange of biomaterials between user and market, the user’s awareness of their intrinsic interconnectivity with the earth and its energy is raised forming a marketplace at the intersection of biology, ecology, physiology, and architecture. The project seeks to regain agency for the environment in this struggle between humanity and Earth by utilizing technology not to exploit and overshadow environmental conditions but rather bring them to the surface for public visualization and awareness. pointat1atm 101.325kPa

The project represents as a physical manifestation of the repressed and toxic relationship between the neighborhood and its environmental conditions and acts as a cyclical energy system of inputs (local manufacturing waste carbon dioxide and water, user-delivered biomaterial and glass recyclables) and outputs (microalgae biofuel) that coordinates a self-sustaining operational network with a net positive carbon and energy footprint.

Hydroponic algae pods fertilize algae production that is converted to biofuel and electrical energy that operates the site and local manufacturing for clean, reusable energy. In addition to harvesting algae, the system recycles glass that is printed through robotic arms throughout the site that are programmed to produce and aggregate glass tubes for photobioreactive distribution of organic biomaterial relative to specific microclimatic conditions of the site at a specific date and time. In this way, bespoke technology becomes a theatrical performance revealing and visualizing climate data through the magnitude and direction of its physical selfsufficient operations.

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Criticalpoint (373.946°C),

II. (the) RISING SEA LEVELS

Critic: Danielle Willems

10.18.21 - 12.14.21

Typology: Museum

Academic Graduate

Individual the RISING SEA LEVELS intends to peel back the façade of the museum typology by recalling the articulation of industrial history and deconstructing the narratives underneath the surface of artistic ownership and display. Through introducing a critical inquiry into the role of the universal museum and its global consequences, the extension proposal seeks to erode the western model of privileged artistic consumption that dominates untold narratives in a similar fashion to the disproportionate contribution to the global carbon budget having greater impact on the lower-emitting Global South. In order to destabilize the choreography of this systemic typology, the building utilizes a hyper tectonic construction exploring a grand cantilever to combat potential site flooding and to empower the excessive expression of structure,

and therefore, truth

The celebration of industrial articulation highlights the mechanical, the procession, the unspoken in service of liberating the art it houses.

OXIDIZED

Copper Interior Finish

The weather-treated interior finish evolves with the building as the material ages and transforms over time. Rather than remaining static, the interior finish reflects the internal erosion that deconstructs the preconceived notions surrounding the museum experience.

VIGNETTE 1: INSTALLATION SPACE

The double-height space serves as a vertical clearing at the peak of the ramp that spans the structure opening to a floating gallery space with an anamorphic ceiling. The visibility of the building’s systems forces users into an unnatural and destabilizing museum environment where truth in artwork and truth in building composition/ function coexist.