ARCH602 SPRING 2023 | DESIGN STUDIO IV | p. BRIAN DELUNA
In the theater, the intentions of its players fixate upon a curated interpretation – perhaps through the believability of reproduced stories and experiences, perhaps through subversive deception – but those that visit always seek refuge behind a fortified boundary of persuasion that it leaves behind. Reminiscent of the fictitious and crafted performances theater visitors come to witness, the façade and interiors of Disorienting Iridescence employ techniques of curved, tubed, and warped glass positioned in a layered assemblage to create nuanced experiences of illusion, disorientation, and – in the right lighting – a surreal iridescence.
With an independent glulam and cross-laminated timber primary structure, the facade operates as a composite curtain wall with a curved glass climate envelope and tube glass ornament. On the interior, wood trusses support a shingled glass assemblage that suggests acoustic performance in the theater space while adding to the disorienting material experience through reflection and refraction of sound suggestive of a distorted perception of acoustic space. As with theater, the project seeks to function through a subversive lens of (sur)reality.
Model Photo
Interior Render
Parapet Detail Glass Detail
Initial Speculative Chunk
___PHILADELPHIA, PA
_INDIVIDUAL PROJECT
ARCH502 SPRING 2022 | DESIGN STUDIO II | p. KEVIN CANNON
Philadelphia’s Callowhill neighborhood maintains a rich industrial history evidenced by several abandoned industrial factories and plants within blocks of the project site at 10th and Buttonwood ST. This presence of abandonment extends beyond Callowhill, but Philadelphians have responded through the same type of resiliency often exemplified in sci-fi dystopian narratives, typically through the “scavenger world” trope.
These narratives about restoring and repurposing abandoned ruins and discarded items for new uses to the community establish how places of abandonment, dilapidation, and neglect actually cultivate communities of thrifty resourcefulness. The recognizable marketplace setting yet accompanying air of mystery refers back to the notion of readapting found objects from their (sometimes unknown) original purpose for new, present-day needs. Real life precedent demonstrates this practice, from adaptive reuse projects that renovate existing buildings instead of demolition to local zero-waste cooperatives like the Philadelphia-based RAIR.
The project construct acts as a sieve for the different entities that pass through it — both people and materials descend into opposing locations in the site at the ground floor level from their respective points of entry, with visitors descending a flight of stairs towards the main entrance from the street and material dropoffs entering via a conveyor belt from the Viaduct. They converge in the middle, where the majority of market stalls are consolidated. Outdoor public plazas and a winding labyrinth of walkways lined with stalls allow visitors to navigate the site not only horizontally, but vertically as well. These paths connect to the fabrication wing of the site where visiting artists can compose new work out of used materials, and also lead to the two main exterior plazas where one can witness the seasonal experience of the site and engage in temporary food markets or public gatherings.
Our initial design process began with each member of our team taking passes at conducting our own version of the panel. We experimented with widely varying patterns, gestures, and styles, allowing each team member to bring their unique perspective and creativity to the table. Using these separate studies, we identified common elements and behaviors between each and worked towards a synthesized panel design that incorporated aspects from everyone’s designs. This collaborative approach ensured that the final panel was a true amalgamation of our collective efforts. The final panel included the primary gestures of several of the preceding iterations, with the liquid-like pattern of one of the others as a texture on the largest surface expanse remaining. This combination of diverse inputs resulted in a panel that was both innovative and cohesive, reflecting the strengths of each team member’s contributions.
In preparation for pour day, we meticulously produced shop drawings outlining placements for rebar, dimensions for foam, and a carpentry perimeter around the mold. These drawings were crucial in ensuring that every detail was accounted for and that the construction process would proceed smoothly. The success of our pour was dependent upon the reliable precision of each of these steps, as substantial deviation would compromise the integrity of the final panel. By paying close attention to these preparatory measures, we were able to execute the pour with confidence.
Early Panel Iterations
Facade Assembly
Facade Assembly Diagram
Final Panel
Pour Day Photo
Pour Day Photo: Rebar and Insulation
SOLAR MAGNETIC FIELD
ARCH743 SPRING 2024 | FORM & ALGORITHM | p. EZIO BLASETTI
The vision of “Solar Field” is to challenge traditional architectural paradigms by integrating algorithmic processes that mimic natural phenomena. The goal is to develop a living architecture that responds to its environment in ways that are both practi cal and symbolic, reflecting broader themes of sustainability and interaction within architectural spaces.
At the intersection of form and algorithm lies the innovative core of the “Solar Field” project. Algorithms are not merely tools but partners in the design process, enabling the creation of forms that would be unachievable through traditional methods. The project leverages algorithms to generate patterns and structures based on the properties of magnetic fields, which guide the spatial and structural decisions of the design. The use of these algorithms exemplifies a shift towards more interactive and responsive design practices, where buildings can adapt to changing environmental conditions and user needs in real-time. This algorithmic approach also facilitates a deeper exploration of form, allowing for a continuous iteration that refines and enhances architectural outcomes. _PARAMETRIC DESIGN
Early Magnetic Field Iterations
Additional Iterations
Synthesized Bomb and Magnetic Field Render
_NEW YORK CITY, NY
_INDIVIDUAL PROJECT
SILVA URBANA NYC
ARCH601 FALL 2022 | DESIGN STUDIO III | p. HINA JAMELLE
Aligning upon and infesting the historic Corbin Building in New York’s Financial District, Sylva Urbana offers a unique semi-wilderness experience in the heart of the urban jungle. With living units ranging from studios to two bedrooms, these units feature the brick-clad rectilinear geometry found both throughout the Manhattan streetscape and within the Corbin Building itself. However, as the units grow and spaces become shared, a wild curvilinear design logic reveals itself further.
This sprouting parasitic relationship gradually envelops the Corbin building as it grows out of the existing building’s facade. The integration of organic forms into the structure not only enhances its architectural appeal but also creates a dynamic living environment where residents can experience the dynamism of the cityscape.
As the building evolves, it becomes a living testament to the adaptability and innovation of urban architecture, offering a compelling blend of historical significance and modern functionality. The fusion of traditional brick-clad structures with the emerging curvilinear design elements symbolizes the evolution of the streetscape, reflecting the bustling nature of New York City itself. Analogous to the spirit of adaptive reuse projects, Sylva Urbana stands as a striking example of how architecture can evolve and adapt to meet the changing needs and aspirations of urban dwellers in the 21st century.
Elevation Strategy
Two bedroom apartments
One bedroom apartments
ADA Interrelationship study: blurring
Interrelationship study: stacking
Interrelationship study: packing
DESIGN
MOIRE MAELSTROMS
ARCH742 SPRING 2024 | FUNCTION OF FASHION | p. EZIO BLASETTI
From our initial studies on the techniques of draping and ruching, our final design evolved from our initial sketches into an asymmetrical wrap skirt and top. The design features overlapping layers of mesh fabric, creating a visually intriguing and textured appearance. One of the mesh underlayers is imprinted with a magnetic field-derived moiré pattern, adding an element of visual illusion and complexity to the design. The gestural flow of the stitching featured in the skirt extends into the top, seamlessly mimicking the same encircling motion as it wraps around the torso. This cohesive stitching technique not only enhances the overall aesthetic but also ensures a harmonious relationship between the skirt and the top.
To further emphasize this dynamic motion, another magnetic field-derived pattern was used to create a folded shoulder piece. This shoulder piece introduces an additional layer of movement, where some of the motions embodied in the skirt and top extend off the body altogether, creating a striking visual effect. The folded shoulder piece serves as a focal point, drawing the eye and adding a sculptural element to the design. This thoughtful integration of magnetic field patterns and fabric manipulation techniques results in a garment that is both innovative and expressive, showcasing the interplay between art, science, and fashion. The overall effect is a dynamic and fluid design that captures the essence of movement and transformation.
Layered Fabric Assembly: Close-up Photo
Looks Fashion Show Photo Garment Photo
CYBER DECONSTRUCTIVISM
ARCH744 SPRING 2024 | IMAGE, OBJECT, ARCHITECTURE | p. FERDA KOLATAN
We began our exploration by drawing visual inspiration from Expressionist painters like Egon Schiele and Andrea Pozzo, as well as Deconstructivist artists like Lebbeus Woods. The Expressionist works captivated us with their use of distortion and techniques of compositional focus, which create an ambiguity of boundaries to define the relationship between the foreground and background. Pozzo’s paintings, for instance, use two-dimensionality to give an illusion of added dimension, a method we found particularly intriguing. We further explored these techniques of visual expression in combination with the dystopian and tectonic geometries depicted in Woods’s works. The rigid, angular forms in his art contrast starkly with the textural modularity and fluidity, creating a compelling dynamic between two- and three-dimensionality.
To enhance this spatial misreading, we utilized AI imaging, which we then modeled digitally and rendered using some of the AI-generated images as material texture mapping. This process involved iteratively refining our visuals by processing rendered images back through AI, merging different images into new compositions, and using AI-generated descriptions as prompts for new image outputs. The final composition is a synthesis of AI images, digitally modeled renders, and 3D-printed models inspired by our collected work. These 3D prints were mounted on the printed composition, with excerpts printed on hydrographic film for hydro-dipping. This technique allowed the models to seamlessly blend into the backdrop, creating a cohesive and immersive final piece. INSTALLATION/PIN-UP
Preliminary Render
Model and Pin-up Photo AI Explorations
Model Renders
_PHILADELPHIA, PA ____COLLABORATIVE ______JESSICA WONG
SONG
SCHENCK WOODMAN COMPETITION | SPRING 2022 | HONORABLE MENTION
Philadelphia’s Callowhill Neighborhood has experienced an immense amount of change in contexts since its establishment in the late 17th century. re:SURGE addresses the current standing of the neighborhood through the reactivation, engagement, and deep understanding of its past cultural and economic roles. The abandoned viaduct runs above the site’s community garden, Chinatown rests just south of Hamilton Street, and many row homes and a contemporary brewery are situated within the vicinity. To further bolster community engagement, re:SURGE uses a circuit board-inspired design to weave together the existing programmatic functions of the site.
Programmatic Diagram
Marketplace Render
Exterior Render
_____INSTALLATION
____COLLABORATIVE
___FRANCISCO ANAYA
___CHONGYAN CHEN
___CHEUK MING NG
FIGURE VOID
ARCH501 FALL 2021 | DESIGN STUDIO I | p. RYAN PALIDER
For the city-dweller and urban migrant alike, navigating the metropolitan streetscape leaves imprints of the built environment’s geometries upon our subconscious. This series of figures tracing urban contours, and the voids between the figures, creates abstracted projections from street to mind. Figure Void aims to transform these subconscious projections back into spatial reality, with the continuation of the linear gestures from one into another. The result is a wireframe maze with two key spatial volumes at either end, between which space flows in a continuous cycle.
Installation/Model Photo
MANGROVE HAMMOCK
ARCH3320 FALL 2019 | DESIGN STUDIO V | p. JOHN MAZE, MARK McGLOTHLIN
The island of Atsena Otie has a rich history, having been once inhabited first by the indigenous Timucua tribe and eventually becoming part of the early Cedar Key community with its own post office and even a pencil factory. Today however, the island has been uninhabited for over a century with only the ruins of its former residents as the evidence of its anthropogenic past; in 1997, the island was included within the Cedar Key National Wildlife Refuge.
Taking advantage of the varied recreational opportunities, Mangrove Hammock is a hostel situated gently elevated above a marshy clearing in between the Gulf of Mexico on one side and an inlet that meanders through the island. Two docks on the south side of the hostel allow visitors to arrive or depart by boat on the Gulf side, while a third dock to the north reaches into the inlet to offer kayaking and canoing. Between the north dock and the main wing of the hostel are spaces for drying and a semi-enclosed garden where guests can appreciate the native species of the Gulf Coast.
The double-story communal space in the hostel, featuring an overhead communal hammock accessible from all dorm rooms, faces west towards Seahorse Key, where visitors can watch the sunset each day. Whether relaxing on the hammock above or enjoying a meal in the shared dining and gathering below, guests can admire the stunning views through the double-height windows of the natural scenery just outside.
Model Photo
Sketch Collages
Preliminary Sketches
Early Model Mockup
___PHILADELPHIA, PA
_INDIVIDUAL PROJECT
GYRATION PMA
ARCH501 FALL 2021 | DESIGN STUDIO I | p. RYAN PALIDER
Within view of the Philadelphia Museum in Fairmount Park, the Fairmount Waterworks attracts a plethora of visitors daily. In addition to its proximity to the PMA, the waterworks’ plentiful green space and abundant views of the Schyulkill River provide a unique setting for the museum extension project.
The project is inspired by the whirlpools of water found adjacent to the waterworks, and by observing the streams of people between the museum and the site. Consequently, Gyration provides a walking exhibit that is meant to be experienced in motion. The path follows an undulating pattern that begins to circulate around the amphitheater. Operating as a spatial vortex with the building design, one experiences a near total view of the river as they descend into the amphitheater. Conversely, by ascending the amphitheater, visitors witness a precisely framed view of the PMA in the distance, creating a situational relationship through the landscape with the museum.
