DIANA NEE
EDUCATION 2009-2012
YALE SCHOOL OF ARCHITECTURE Master of Architecture
2003-2007
MASSACHUSETTS INSTITUTE OF TECHNOLOGY Bachelor of Science in Art and Design - Architecture. minor in Applied International Studies
PROFESSIONAL EXPERIENCE 01/2009 - 07/2009 & 06/2006 - 08/2006
DIANA NEE RÉSUMÉ
NORIHIKO DAN ASSOCIATES Design Intern Facilitated international design coordination between Japan home office, Taiwan satellite office and Taiwanese office Drew construction documents for Taiwan Taoyuan International Airport Terminal One project in Taipei, Taiwan. Designed basic form, layout, and structure of Taiwan Sun Moon Lake Park/Parking Structure slated for construction. Generated presentation renderings and photo-montages resulting in client approval and implementation.
09/ 2007 - 09/2008
CONTINUUM Experience Designer Designed ideal schematic layout for phlebotomy laboratory currently being implemented nationally. Envisioned store layout and interior environment for travel service office resulting in client approval. Created design strategy and tactical floorplan currently incorporated in craft beer company sales proposal. Generated construction drawings and specifications for company studio improvement projects.
09/2001 - 06/2003
MUSEUM OF CONTEMPORARY ART Intern Organized and hosted MakeStuff and Aggressive Happiness, two museum events open to the public. Staffed numerous museum public events and lectures.
ACADEMIC WORK 01/2012 - 05/2012
YALE SCHOOL OF ARCHITECTURE Teaching Assistant - Design Computation with Jason Van Nest Worked closely with students to troubleshoot weekly homework assignments and final projects in Processing.
05/2010 - 08/2010
YALE BUILDING PROJECT 2010 Fundraising Director & Construction Intern Facilitated the donation of $300,000 in materials and services through corporate solicitation. Constructed a three-story, multi-family house from foundation to interior finish with crew of 16 Yale students under the supervision of project coordinator Adam Hopfner.
06/2010 - 08/2010
RETROSPECTA Assistant Editor Attended committee meetings and provided design advice that was implemented in the final publication. Transcribed and edited collected academic content.
06/2005 - 12/2005
MIT DIGITAL DESIGN FABRICATION GROUP Research Assistant Researched and constructed the prototype wood grammar house which led to version in exhibition at MOMA. Designed and built friction-fit wood chair that experimented with friction-fit wood joinery. Utilized rapid prototyping technology to create models of the chair and the house critical to design refinement.
SKILLS 2D 3D
HONORS
2009-2012 2010, 2011& 2012 Projects Featured 2011 Exhibitor 2011 Selected Participant 2007 Winner 2007 Winner 2005- 2008 Team Member
HARDWARE/SOFTWARE AUTOCAD, Adobe Illustrator, Photoshop, InDesign, MS Office Suite. Rhino, Revit, Processing, SketchUp, 3DS Max, Grasshopper, woodshop machinery, CNC Mill, Lasercutter. LANGUAGES English, Mandarin Chinese, Japanese(proficient), Taiwanese. YSOA John W. Storrs Scholarship | recognizes outstanding professional promise YSOA Retrospecta Tokyo Design Week | Inversions/Reactions project, critic Kevin Rotheroe YSOA Rome: Continuity and Change Seminar William Everett Chamberlain Award | given to an architecture senior for achievement in design Laya and Jerome B. Wiesner Student Art Award | for outstanding achievement in the arts at MIT U.S. National Pistol Team | Ranked 3rd in the nation in both Women’s Air Pistol and Women’s Sport Pistol | Represented the United States in the 2005 Championship of the Americas MIT Varisty Pistol Team | 2005 NRA Collegiate National Women’s Air Pistol Champion | Team Co-Captain in 2007. 2005 & 2007 Team National Champions
ALLEY INDUSTRIES SPRING 2012 CRITIC DEBORAH BERKE
Examining the possibilities of urban manufacturing through the building of a distillery in downtown Louisville, KY, my project proposes to occupy the underutilized void of existing alleys to create a new type of urban industrial spectacle.
WEALTH COMMON TION CONVEN CENTER
EET 4TH STR
LIVE
Alleys in Louisville were developed in the late 19th century to service buildings and remove the mess of horses and stagecoaches from the streetfront. As a result, an extensive alternative service network developed over the regular streets. An examination of the alleys today reveal that this service infrastructure is still very much present, but overlooked. Combined with the vacancy in downtown Louisville, alleys today creates a unique site condition where the previously hidden service network can be seen from the street.
With the vacancy that came
URBAN SPECTACLE
This creates an opportunity to not only bring industry back into the city through building on the remnants of its old service network, but also to take advantage of the street view to instill visual interest and brand expression in the new type of urban manufacturing.
BOURBON MAKING PROCESS
CORN MALT
YEAST MASH
GRIND
MIX
MASH
COOK
MASH
RYE
Bourbon making is a linear process and the geometry of the alley provides a good opportunity to unravel this process and exhibit it. Furthermore, being conscious of the fact that it is an industrial process with its own output of byproducts, the factory takes into account that it is in an urban setting by incorporating a similarly linear waste treatment process that utilizes the waste products to generate energy for running the plant.
ACETONE ETHANOL
DISTILL
FERMENTED BROTH
FERMENT
BUTANOL
DRY ANIMAL FEED
HYDROGEN WATER GASES
CARBON DIOXIDE
H
FERMENT
NEW BEER
DISTILL
WHITE DOG
NEW BOURBON
BARREL
FINISHED PRODUCT
DE-BARREL
BOURBON POWERING PROCESS
DRAFF MIXED SOLUTION
DILUTE
MIXED SOLUTION MIX
BOTTLE
SPENT BEER HEAT
GRAIN STORAGE MEASURE/GRIND
COOK
FERMENTATION
MECHANICAL ROOM FUEL STORAGE
DISTILLATION
BARREL DE-BARREL BOTTLE
STORAGE
DISTILLATION GRAIN LOADING
FERMENTATION UNLOADING
COOK LOADING
WASTE PREP
The building hovers over the alley, maintaining its current service functions. Empty lots around the building are converted into green spaces that serve as community gathering spaces, functioning as overflow for the YUM Center plaza or catering to Louisville’s active flea market culture.
Within the building, the bourbon making process starts at the top of the building and ramps its way downwards, culminating at the start of the bourbon powering process, which ramps its way back to the other side of the building. The two processes flow one above the other in color-coded tanks that can be viewed from the north facade, facing historic Whiskey Row.
CO2
CO2
TION FERMENTA
The south faรงade instead has large planted mesh panels that takes into account the solar orientation and prevalent wind directions to shade the building and ventilate naturally through the floor to the north facade.
These large planters also play a role in offsetting ting the significant amounts of carbon dioxide output from the two wo fermentation processes in my distillery. CO2 is harvested from the fermenters rmenters in both the whiskey making process and the whiskey powering wering process, stored in the large iconic gas tanks at the top of the building, uilding, and injected into the planters to be consumed by the plants. In order to maximize transparency, structural glass fins support the large panes of glass that glaze both facades. The floorplates are expressed beyond the facade to emphasize the he shifts that reflect the flow of production. The bridge-like steel structure cture that supports the building’s varying spans are also reflected in the shape of the floor volumes.
The building becomes a display, a cross between an antfarm and a billboard, that can be seen from the street or from the green spaces created in the gaps of the existing buildings.
ALLEY INDUSTRIES
KENTUCKY STRAIGHT
BOURBON DISTILLED AND BOTTLED AT THE 1-2-MAIN-MRKT ALLEY
IN THE HEART OF DOWNTOWN LOUISVILLE
101 PROOF * 7 YEARS OLD * 750 ml.
Not only does the building present itself as an urban spectacle, the idea of the building is translated into a smaller scale for the packaging. Taking inspiration from the way that industrial forms are held within the framework of the building, the volume of bourbon is suspended in the frame of the bottle.
RIO WATER RESORT
FALL 2011 CRITICS PATRICK BELLEW & ANDY BOW Located in the scenic Lagoa Rodrigo de Freitas in the heart of Rio de Janeiro, Brazil, this 200-room resort aims to create a recipricating relationship between the lagoon environment and the hotel to generate a new type of eco-tourism.
Brazil’s water infrastructure is extremely inconsistent. The climatic and geographical variation across the country produced entirely different developmental rates. In all areas of the country besides the heavily populated Southeast, less than half of the people with water supply have waste treatment, and even in the Southeast, a significant amount of people live on without water supply or waste treatment. Specifically in Rio de Janeiro, nearly a quarter of the citywide population does not have waste treatment. This not only reflects pervasive social and infrastructural issues but hints at a longstanding environmental problem as well.
18,000,000 16,000,000 14,000,000 12,000,000 10,000,000 8,000,000 6,000,000 4,000,000 2,000,000
0 total population in region population served by water supply population served by wastewater treatment
100,000,000 80,000,000 60,000,000 40,000,000 20,000,000
NORTH
NORTHEAST
SOUTH
SOUTHEAST
CENTRE-WEST
total population
population w/ water supply
population w/ waste treatment
Our site, located at the center of Rio de Janeiro, has long suffered from the lack of wastewater treatment from the highly populated city. Longterm industrial and household runoff has dramatically disturbed the chemical makeup of the lagoon. Eutrophication and the high nutrient levels that comes with it has caused the overgrowth of algae that has resulted in disastrous fishkills. My resort, located on the island on the south edge of the lagoon, aims to remediate the lagoon water and use it to sustainably operate the luxury resort.
PO
DR OM RA O DE C ILIN ECO GAV G P UR EA AV SE LIO N
LAGOA CHRISTMAS TREE CHRIST THE REDEEMER
HIP
SA
PARGUE DA CATACUMBA
IPANEMA BEACH
Situated on the south edge of the urban saltwater lagoon, the resort organization is driven by the major views in four directions. The island aims to bring the active lagoon edge onto the resort itself, extending the public pathways while reserving the other three quadrants for resort operations as well as guest amenities.
Three triangular towers connect to form a continuous form, maximizing the roof top and promoting self-shading. The enclosed rooms are sandwiched between open floorplates that encourage flow and light into the open atria in the centers of each of the buildings.
PRODUCED FRESHWATER SUPPORTS HYDROPONIC FARMING SYSTEM & HOTEL USE
RAINWATER/ GRAYWATER COLLECTION
FILTERED LAGOON WATER AND LOCAL ORGANISMS ARE RETURNED TO THE LAGOON
FFRESHWATER RESH SHWA WATTE GENERATED FROM OM CONDENSATION COND CO N FROM
LAKEWATER
RESTORE
FILTER FOR ALGAE AND DEBRIS
LTER FOR FILTER HEAVY METALS NITROGEN & PHOSPHORUS
BREEDING LOCAL BREEDIN AQUA PLANT AQUATIC A ANIMALS AND
FISH FARMING
SETT SETTLING TANK
FILTERING WE WETLANDS
FILTERING WETLANDS
WATER PUMPED FOR REUSE/ IRRIGATION/ STORAGE
CLEANSE
The entire island is transformed into a terraced water landscape, with ponds that perform different purposes within the water cycle of the hotel and the remediation of the lagoon.
Water Features/Swimming Pools
Water Features/Swimming Pools Hydroponic Fields
Hydroponic Fields
Soil Plantings Filtering Wetlands
Soil Plantings
Ecosystem Restoration Ponds
Filtering Wetlands
Phytoextraction Ponds
Local Species Hatchery
Initial Filtering
Ecosystem Restoration Ponds KEY
20 m 10 m
40 m
Local Species Hatchery Phytoextraction Ponds Initial Filtering
KEY
20 m 10 m
40 m
The three towers are similar in composition. Each floor has a distribution of small, medium, and large rooms. Taking advantage of the mild local weather, the floorplates are entirely open to air and the thinness of the rooms encourage cross ventilation through the open void in the center of each tower. The floorplates are varied to allow light to reach the base of the open atrium, and these central voids are planted with hydropontic crops based on the plant’s light requirements.
0
10 5
20
40
The south edge of the resort extends the liveliness of the promenade around the lagoon onto the island. What was previously an exclusive country club is transformed into a public water park that will function to filter the lagoon water for public enjoyment. The water, now free of pollutants and heavy metals will then be used to breed local species on the eastern edge of the resort. The spaces between the towers frame the views towards the different views of the lagoon. From the park, one can see the top of the Corcovado Mountain, where the Christ the Redeemer statue is located.
THE YALE CONTEMPORARY FALL 2010 2ND YEAR STUDIO CRITIC PETER DEBRETTEVILLE
a contemporary art museum that utilizes changes in circulation logic and spatial boundaries to create a complex of different viewing and display conditions.
Different circulatory patterns distinguish the three levels. While cellular spaces in the central level dictate a path while large lower level presents an open field. The rooftop utilizes elevational change to create small isolated fields.
circulation diagram
Offset from the existing buildings on the north edge of the site, he mid-block building addresses the two dramatically different east and west bordering streets. A strong street frontage on the more heavily trafficked wester edge cascades down to a stepped public plaza on the quieter, largely pedestrian street on the eastern edge.
ground floor plan
basement plan
plan at 16’-0”
plan at 24’-0”
Four different art placement relationships are combined with three different lighting conditions to create twelve distinct spaces that allow for unique relationships between the visitor and the art pieces. The three different lighting conditions are determined by the aggregation of the boxes. They can penetrate other boxes to create light shelves or slip away from other boxes to create skylights. The standalone box allows for complete artificial lighting control.
Museum visitors move up in a choreographed path through the volumes. The floating volumes allow for different types of display that create different spatial relationships between the viewer and the artpiece. The volumes can display the pieces within themselves, giving viewers unique perspectives on the pieces. They can also engage the lower level and provide a novel viewing point fo these pieces that are actually placed below. . Held up by three larger volumes, the bottoms of this canopy of floating volumes contrasts with the large open lower level to organically delineate spaces. Two major axies of slippage bring natural light into the lower level.
START-UP PROVIDENCE
SPRING 2011 2ND YEAR STUDIO CRITIC ALAN PLATTUS
a proposal for revitalizing Providence’s Jewelry District through fostering inter-institutional collaboration and creating a new type of urban campus. WITH SEEMA KAIRAM ‘12
HARVARD UNIVERSITY MAIN CAMPUS
defined campus exterior semi-public greenspace connections
BOSTON UNIVERSITY
undefined campus (campus zone peppered with commercial) public street connections
NORTHEASTERN UNIVERSITY
defined campus public street connections and private greenspaces
MASSACHUSETTS INSTITUTE OF TECHNOLOGY defined campus interior corridor and exterior private greenspace connections
BERKLEE SCHOOL OF MUSIC undefined campus streets as connection
HARVARD MEDICAL CAMPUS defined campus exterior private greenspace connection
An initial analysis of American urban university campuses in Boston yielded a catalogue of different levels of public engagement as well as different types of connective infrastructure. A close look at the discussion surrounding Columbia University’s new and old campuses demonstrated the need for a new type of urban campus. Morningside Heights Campus
Proposed Manhattanville Campus We analyzed academic collaboration and R&D growth in the cases of Guangzhou University City and MIT. Guangzhou University City was particularly poignant in its centrally planned infrastructure sharing and the designation of Biotech Island adjacent to the academic island. MIT offered a more organic development model that appears to be more transit and adjacency driven.
Rhode Island Consortium for Nanoscience and Nanotechnology
RI Center For Innovation and Entrepreneurship
NABsys
Federal Government
Rhode Island Hospital
PROVIDENCE RESEARCH & DEVELOPMENT AUTHORITY
City of Providence
State of Rhode Island
RISD Johnson & Wales
Taking advantage of the myriad of existing institutions in Providence and the emerging need for collaboration, we propose a new type of public-private interaction through the creation of the Providence Research & Development Authority (PR&DA) Developed through the collaboration between numerous insitutions, the institution will sponsor development of shared infrastructure to foster new development.
The Miriam Hospital
Women & Infants Hospital of Rhode Island
Brown University
PR&DA will sponsor the construction of four major nodes that will house shared infrastructure between the existing and future institutions in the area and provide centers for the four major zones of of the site, supporting the different programmatic purpose of each zone. Each node will also be associated with a public open space surrounded by the buildings in the area.
1
INSTITUTIONS: LOCAL HOSPITALS BROWN MEDICAL SCHOOL RIU RIC JOINT NURSING SCHOOL
3
INSTITUTIONS SPIN-OFFS FROM LOCAL ACADEMIC PROJECTS START-UP TECH COMPANIES R&D COMPANIES
S I S: PR&DA ADMINISTRATION DAY CARE SERVICE POST OFFICE GATHERING SPACE PARKING BIKE STORAGE CAFES AND FOOD CARTS
S I S: CONFERENCE CENTER PLUG-IN OFFICES TRANSPORTATION HUB BIKE STORAGE SHARED LAB SPACES EVENT SPACES
U N O NT: OUTPATIENT UNITS MEDICAL CLINICS TESTING LABS RETAIL
U N O NT: FARMERS MARKET SCIENCE MUSEUM MAGNET HIGH SCHOOL MARKET RATE HOUSING
INSTITUTIONS: BROWN UNIVERSITY JOHNSON & WALES UNIVERSITY RHODE ISLAND SCHOOL OF DESIGN LOCAL SCHOOLS S I S: AUDITORIUMS CLASSROOMS LIBRARY LOUNGE CAFETERIA ENTERTAINMENT FACILITIES U N RETAIL
O
NT:
INSTITUTIONS BROWN UNIVERSITY JOHNSON & WALES UNIVERSITY RHODE ISLAND SCHOOL OF DESIGN LOCAL SCHOOLS S I S: GYMNASIUM SUPERMARKET STUDY SPACE LAUNDROMAT LOUNGE ENTERTAINMENT SPACES U N O NT: RETAIL & COMMERCIAL
Besides being connected by the integrated street network, these nodes will be connected by an upper level physical infrastructure to allow for a well connected and protected campus environment to promote intereaction and ease of mobility among the different types of users.
The raised infrastructure creates a more protected campus that runs between all of the institutions and provides a platform for mixing. Many of the shared programs in the nodes are accessed from the raised level. Furthermore, this raised level creates a register around all of the buildings attached to it by extending into these buildings and gathering all of the related social and communal programs.
INVERSIONS/ REACTIONS SPRING 2010 CRAFT, MATERIALS, & COMPUTER-AIDED ARTISTRY CRITIC KEVIN ROTHEROE An exploration of visualizing liquid and solid state changes and reactions through different techniques in analog and digital fabrication.
My exploration in the class began in different ways of mapping liquid behavior. Watercolor techniques were examined as an analog register of the interation between water and paper fibers. Dried white glue capturing the motion of dripping led to an entire exploration of capturing liquids in various states of motion and change. These two plexi-glass panels are reinterpretations of a watercolor painting into inverted topographies. A positive form was made from flip laser-etching the plexi glass, while two negative forms were CNC milled out of the same plexi glass and joined together to describe the seemingly positive void within. Different textures were generated from these material experiments, whether from the expression of these natural material properties during these experiments, or from the simulations of these material properties.
The interest in capturing motion and change culminated in a series of experiments with melted wax and water. Testing water speed and number of sources, I generated a series of dramatically different forms. Then, using photography and 3D scanning, I reinterpreted these forms.
SYSTEMS INTEGRATION SPRING 2010 CRITIC MARTIN FINIO
In teams of three, we designed the building systems for a classmate’s studio designs from the previous semester. Utilizing Autodesk Revit, we were able to preliminarily coordinate the various systems in Avi’s geometrically demanding museum design.
WITH STEPHEN GAGE ‘12 & AVI FORMAN ‘12
Begining with the original studio design drawings, we began to design the project with further detail, taking into consideration the major categories of fire safety, structural planning, and mechanical systems. We then focused much of our energy on developing the envelope for the project.
2
1
3
4
5
6
7
9
8
10
11
12
13
14
A201 1
A 113' - 0"
DN '33
5' - 4"
2"
B
UP A203
UP
DN
2
Medium Gallery
DN
202
52
UP
DN
DN
' - 0"
UP
C 20'
UP
'-
201
8"
Small Gallery
205
204
76
'-
6"
Small Gallery
Medium Gallery
61' - 11"
D
UP
203 '60
8"
DN
8' - 0"
E
7' - 2"
46
Corridor
- 6"
DN
UP
DN
DN 33' - 0"
F
2nd Floor Architectural Plan W16X26
W16X26
W16X26 W16X26
W16X26 W16X26
W12X26
CROSS BRACING
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26 W16X26
W16X26 W16X26
W16X26
W16X26
W16X26 W16X26
W16X26
W16X26
W16X26
W16X26 W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
W12X26
44 W21X
W12X26
W16X26
W16X26
W21X44
W12X26
W16X26 W16X26
W12X26
W16X26
W16X26
W2 1X 44
W16X26
W16X26
W16X26
W16X26
W16X26
W21X44
W16X26
W21X44
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
44 W21X
W21X44
W16X26
W21X44
W16X26
W16X26
W21X44
W21X44
W16X26
W16X26
W16X26
W16X26
W16X26 W16X26
W16X26
W16X26 W21X44
W21X44
W21X44
W16X26
W16X26
W16X26
W21X44
W16X26
W16X26
W16X26 W21X44
W21X44
W16X26
W16X26
W16X26
W16X26
W21X44
W16X26
W16X26
W16X26
W16X26 W16X26
W16X26
W16X26
W16X26
W16X26
W16X26 W16X26 W21X44
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
40' - 6"
W16X26
F
W21X44
W21X44
W16X26
W16X26
W16X26
44' - 10"
W21X44
W21X44
W16X26
W21X44
W16X26
4 1X4 W2
4
W21
W16X26
W21X44
X44
W12X26
W21X44
W2 1X 44
D
E
W16X26
W1 6X 26
up W21X44
1X4 W2
6
W16X26
W16X26
W16X26
W16X26
X44
W16X26
W21X44
6 6X2 W1
W21
4 1X4 W2
W16X26
W16X26
W1 6X 26
C
W16X26
39' - 10"
W16X26
W16X26
6X2 W1
W12X26
W21X 44
CROSS BRACING
W16X26
B
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
W16X26
W21X44
W16X26
W12X26
W16X26
W16X26
W16X26
W16X26
W16X26
W21X44 W21X44
W16X26
W12X26
W16X26
26 6X W1
38' - 0"
W16X26
W21X44
W21X 44
W16X26
W12X26
W21X44
A
W16X26
W16X26
W21X44
2nd Floor Structural Plan A
DN
UP
B
UP
DN
DN
UP
DN
DN
UP
C
UP
DN In-Floor Supply
Overhead Exhaust
Overhead Collection
D
Perimeter Heating
DN
E
UP UP DN
DN
F
2nd Floor Distribution Plan
Mechanical Diagram
SOUNDSPHERES SPRING 2011 DESIGN COMPUTATION CRITIC WILLIAM MARTIN Utilizing Processing, I created a graphic method of visualizing and analyzing different types of audio input.
White Noise
Pink Noise
Brown Noise
Blue Noise
Violet Noise
Gray Noise The program analyzes the sound clip, then maps the sound waves onto a sphere. Thus, from the form of the sphere, one can lean about the patterns in both the structure as well as the tone of the sound.
Ludwig Van Beethovan Symphony # 8
Dave Brubeck Quartet Take Five
Metallica Enter Sandman
Mariah Carey Fantasy
Yeah Yeah Yeah’s Pin
Snoop Dogg Gin n’ Juice
Darude Sandstorm Different colors indicates the variation in the altitude of the soundwaves. Soundspheres of different types of popular music yields telling patterns.
MISCELLANEOUS
Image Re-Mapping Fall 2011 Grasshopper Generated Geometry
6 a.m.
8 a.m.
10 a.m.
12 p.m.
2 p.m.
4 p.m.
6 p.m.
8 p.m.
Lighting studies on Santa Maria in Campitelli In-Situ Ink, Pencil, & Watercolor Drawings Rome: Continuity and Change Seminar Summer 2011
Travel Sketches
THANK YOU.