Emily Koustae Work Samples 2010-2014 by Emily Koustae

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Emily Koustae ▲

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Worksamples 2010-2014

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Working Landscape with Marissa Nava

Critics: Kate Orff + Kate Ascher with G. Wirth, J. Pointl Advanced Architectural Studio (with MsRED) Fall ‘13, GSAPP Jamaica Bay is one of the America’s most important estuaries. It is a key stopover for migratory birds, and contains ecological diversity within its boundaries that rivals the ethnic and social diversity of the Brooklyn and Queens communities on its edges. Its status, since 1972, as part of Gateway National Recreation Area within the National Park Service has done little to protect it from the Bay’s consistent use, over centuries, as a dumping ground for the detritus of urban life – dead horses, refuse, contaminated materials and processed sewage.

This project focuses on two parts of JB : on Floyd Bennett Field and on Bay’s marshlands. The concept of the project is to distinguish and develop two areas in Floyd Bennett Field: the first one is the Scientific driven site that works as a staging ground and feeds Bay points: what we mean by this, is that here is where experiments are developed to introduce different kinds of wetland restoration techniques. All these restoration processes activate the second area of Floyd Bennett that creates public activities. In this way the Park becomes a Science driven Public Park that responds to different audiences: Families, School students, Volunteers, Interns, Scientists.

ABSTRACT 2013-2014, GSAPP Publication Filtering Islands

HUD Rebuild by Design Student Party Marshland Restoration

Marshland Restoration Wetland Center

RID

IFI

IE SC

OR CC

Restore Wetland

Plots

Fishing Village

Resiliency Center + Scientistsâ&#x20AC;&#x2122; Accomodation Tidal Park

Multiuse Units

Emily Koustae | 2010-2014

Coastal Protection Expreiments

Sailing School

R OR CC

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Superpowering Urban Enactments Critic: Andrés Jaque with Ernesto Silva Advanced Architectural Studio Summer ‘13, GSAPP NYC is the new crop. The reality seeks alternatives for the world that is consumerism oriented, and a new trend that would cause an urban transformation. What is proposed is a super-close “alternative locality”, defined by human groups and a self-reliant economy based on exchange and on other forms of “farming”. “Local” can suggest new relationships of things, previously assumed as different and disconnected.“Local” is now defined as a self-constructed network of a fragmented “transparent” space, where production and consumption is involving all the actors that construct the urban enactments. Production and consumption and the circulation and transformation of the products, construct a vicious circle that is the new nature, engaging both private and public areas, promoting in this way a transparent local network defined by a number of urban processes: 1. Collection 2. Diagnosis + Repair 3. Storage 4. Trading 5. Discard + Reuse

ABSTRACT 2013-2014, GSAPP Publication

Emily Koustae | 2010-2014

Human Territories of conflicts Critic: Mark Wasiuta with Adam Bandler Advanced Architectural Studio Spring ‘14, GSAPP The research focuses on the 2008 conflict in Beirut, where after a long political instability, the country was heading towards a civil war. The conflict was solved when the Emir of Qatar invited all Lebanese political parties to Sheraton Hotel in Doha to seek an agreement in order to end the ongoing political crisis. The project focuses on the design of a hotel / “negotiation machine” in Beirut, that promotes neutrality and where the negotiation process of 2008 could be restaged. The territory of the institution is defined at two scales: geopolitical and bodily. The institution is a mediatic machine that though its architectural form creates specific environments and protocols, enabling behaviors that could lead to political conciliation. The first form of interaction is between the city and the building, the second one is the interaction between different rooms. The protocol of room relation ships is a series of mediating spaces with different levels of secrecy, proximity and connection. The hotel enables different forms of exposure: at times it acts as a “curtain” covering the political processes and at times as a window that reveals the spectacle of the mediation process. The taxonomy of negotiation rooms is based on body formation in relation to circulation, doors, seats and the room shape.

Emily Koustae | 2010-2014

Kokkinopezoula

mine Open-air Museum Critic: Panos Dragonas Design Thesis Fall ‘12, University of Patras Mitsero was the center of the mining industry of Cyprus and its contribution was enormous for the social and the economic development of the country. Today the abandoned mine is a monument of the mining history despite its catastrophic effects to the nature. The project aims to reveal, not only the interesting geological structure of the mine but also the fact that this desolate landscape contains memories. This is succeeded through the wandering of the visitor in it, perceiving it as a monument, but also through the interpretation, comprehension and emergence of the unique identity of the landscape. The project suggests the connection of the points

of interest that are located in this area, in a network that refers to the history of the specific mine and furthermore to the history of all the miners that worked there under very difficult working conditions. The new landscape consists of two basic areas: the “artificial” red lake and the “artificial” hill of waste mining materials. What is proposed at the hill is a subterranean route, a living experience that refers to the sense of mining tunnels, with underground tunnels at different elevations and also light wells, each one with different character. In the area of excavation is proposed a discreet path, that crosses the lake and ends up in the tower, which is the last designed observation point.

www.arch.upatras.gr:

Emily Koustae | 2010-2014

Mediterranean Housing Critic: Panos Dragonas

Architectural Design 7: Versions of Dwelling Fall ‘11, University of Patras The abandoned ports are usually sensitive areas, that carry memories from past activities and express the special identity of the city. The city of Patras is characterized by a particular relationship with its port, as well as with the sea. By moving the port from its current position, the city earns back the “lost” coastline and some new public spaces. Thus, this transfer leaves behind places that have strong memories, that provided Patras with a distinct identity as a city-port. The project aims to investigate this particular identity and the possibility of living on the water. The architecture of Mediterranean sea refers to particular ways of living on the water with conflicting characteristics. The project uses the ephemeral architecture of lake houses with a marginal relationship with water, and on the other hand the vast scale of Mediterranean city with a compact and perfectly designed habitation and bring them even closer to the sea. The sea penetrates and shapes the pier, whereas on the north-east side, a marina is created. The saline plantings and the different materials on the strip areas of the pier, operate as a “filter” area that filters the users coming form the center of the city. The wooden platforms lead the lakehouse residents to their housing units, where they have and immediate relationship with the water.

Îą2610 Journal, is.06

Emily Koustae | 2010-2014

Performance Esplanade Park

Belvedere Show Rooms

Cage

with M.Pirokka, G.Koutropoulos, A.Yfantis Awarded HONORABLE MENTION Rehearsal Administrative Technical Areas Open Air Theater Restaurant Platform Structure

Professor: Yannis Patronis Student Competition by ArchMedium Spring ‘11, University of Patras The aim of the competition was the design of the “New York Theater City” (NYTC), a place that would act as a new and contemporary urban theater. This new theater would provide space for rehearsals and performances where small theater groups will interact with the public on a daily basis, providing spectacle and alternative cultural activity. The proposed area is the site of the depot in New York, located between 30th and 33rd street and 11th and 12th avenue. The proposal takes into account the area’s current situation. It maintains the site’s characteristics by reusing the train’s railroads as a contemporary modulor for the site allocation. A variety of natural elements (herbs, bushes, trees, water tanks, etc.) and open air stages for street artists are placed between the railroads. The visitors of the park use a circulation network to move through the nature and among the stages. The main access of the park is through the “High Line” park. Thus it is suggested an “easing” of the “High Line” through the platform that receives the auxiliary functions and introduces the basic building performance halls. The main building is a semi-outdoor “Cage”, designed with the same modulor used for site allocation, and provides the necessary conditions to the nature in order to occupy the building.

Open Air Scenes Circulation Network

Plantings Watertanks

High Line Park Reused Railroads

Deciduous Trees Evergreen Trees Bushes Flowers Grass Annual Plants Water Tanks Deck Metal Platform

ArchMedium exhibition in Barcelona School of Architecture (ETSAB) WA magazine, is. 09/2012 Îą2610 Journal, is.06

Emily Koustae | 2010-2014

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Artificial Landscape / Natural Bridge Critic: Yannis Aesopos Architecural Design 8: Versions of Urbanity Spring ‘11, University of Patras The construction of Attica Tollway (19982003) changed the urban landscape of Athens as it constitutes the ring road of the greater metropolitan area of Athens and the backbone of the road network of the whole Attica Prefecture. It is constructed at a level lower than the city’s level, dividing the city into two parts. The purpose of the studio is the design of a bridge - a “new landscape” - that due to its position and the supported facilities is going to reconnect the city. The interpretation of nature, according to the identity of the area, is going to create a bridgepark with a communal character - a communal area for the residents of the side areas.

The chosen area is Gerakas, an area that was strongly affected from the construction of Attica Tollway and MEtro, changing its character from agicultural and vacation area, to residential. It is an area with developed agriculture yhat are replaced by build up area durin ghte past years. Two types of “organization” are used in the area: the linear organization of Attica Tollway and the “accidental” organization, similar to a village organization. These two systems appear in the project through circulation, the organization of plantings and landform buildings. The nature, that is the “joint” that unites the side areas occurs in three forms: as Production (collective farming), as Pleasure and as Absence.

Îą2610 Journal, is.06

Emily Koustae | 2010-2014

Museum of Shadows Critic: Panos Dragonas Architectural Design 6: Museum Design Spring ‘10, University of Patras For centuries, the sequence of light and shadow fascinated people and was an opportunity for creative solutions. In times where technology was not providing the current capabilities, artists led to the evolution of complex forms of folk art such as Shadow Theater. The Shadow theater was widespread during the 19th century in Greece and especially in the city of Patras. The purpose of the studio is the design of a museum dedicated to the art of the Shadow theater. The character was ephemeral as performances were housed in improvised facilities, which were set up primarily in public places and could be easily transported and set up in another area. The idea is transfered to the museum through it form, as it seems to be dissolved. The artist creates a virtual imaginary world in the real environment. This second “world” is transfered to the museum as a box within the box, where is the performance area of Shadow Theater, and it is bordered by the movement of the visitor. The cloth screen is considered as the axis that divides the space into “front” and “back”. In the museum the idea of being between surfaces in strengthen, and the visitor becomes a spectacle for the city, while observing the artist performing behind the curtain.

Emily Koustae | 2010-2014

Emily Koustae Dipl.Arch., Ms.AAD

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514 W 135th str, #14 New York, NY10031

+1 857 869 6946

emily.koustae@gmail.com

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