MONOGRAPH ONE [1] SELECTED ACADEMIC PROJECTS BY EMMANUEL PIERRE JORDAN GEE
SURFACE STRATEGY : SECTION STUDIES OF SHEARING FORCE
INTEGRATED PULSE : SPACE OF INTERVENTION
P R O J E C T T I T L E :
SUBSTANCE AND TRUTH IN ARCHITECTURE:
C R I T I C :
JOHN HUBERT
S T U D I O :
ARCH
THEORETICAL STUDIES OF THE DEFINITION OF SPACES THROUGH WRITING
131
FALL
2003
P H A S E S :
THIS STUDIO HAD THREE DESIGN PHASES INCLUDING SEVERAL CHARRETTES AND A RESEARCH AND WRITING PHASE TO DEVELOP A PERFORMANCE SPECIFICATION DOCUMENT ON DESIGN. PROJECT 1: THE PAVILION OF LIMPID SOLITUDE, PROJECT 2: THE WRITER’S POST, PROJECT 3: THE WRITER’S COMPOUND
C O U R S E DESCRIPTION:
THIS STUDIO STUDIED THE RELATIONSHIPS OF PROGRAM TO SPACE AND LANGUAGE AS A TOOL FOR DEFINING MOMENTS IN ARCHITECTURE. WE WERE TO USE THE WRITER AS A BASIS FOR DESIGN AND THE DEVELOPMENT OF A COHERENT LANGUAGE OF SPACE.
PROGRAM:
THE PROGRAM FOR THESE PROJECTS VARY AS WE HAD SEVERAL DESIGN CHARRETTES. WE BEGAN BY DESIGNING A PAVILION FOR A WRITER OR ARTIST. SEVERAL MASSING STUDIES FOLLOWED, RESEARCHING LANGUAGE AND FRAMEWORK. THEN, A DESIGN FOR A WRITER’S POST FOLLOWED USING THE MASSING STUDIES AS A BASIS FOR DESIGN. WE THEN COMBINED THESE PROJECTS INTO A WRITER’S COMPOUND CONSISTING OF FIVE WRITER’S POSTS, HABITABLE AREAS, LOUNGES, AND A LIBRARY. THE LIBRARY BECAME THE FOCAL POINT AND UNDERLYING LANGUAGE THROUGHOUT THE COMPOUND BY DESIGN THE STACKS OF BOOKS AS A CONTINUOUS THREAD THROUGHOUT ALL THE PROGRAMMATIC SPACES .
PERFORMANCE SPECIFICATION:
“ARCHITECTURE AIMS TO REINSTATE THE TERM FUNCTION AND, MORE PARTICULARLY, TO RE-INSCRIBE THE MOVEMENT OF BODIES IN SPACE…” -BERNARD TSCHUMI: ARCHITECTURE AND DISJUNCTION IN AN EFFORT TO DICTATE AN UNDERSTANDING OF ARCHITECTURE, MY STUDIES BEGAN BY RESEARCHING THE MEANING AND DEFINITION OF SPACE AND THE IDEA OF A “CONTAINER” THROUGH BOUNDARIES. WHEN SPEAKING OF BOUNDARIES, MY INTENT IS TO UNDERSTAND THE POSSIBILITIES OF WHAT SPACE CAN BE AND BE DEFINED AS. THE NOTION OF ARCHITECTURE AND SPACE CAN BE VIEWED AS PARALLEL PARADOXES. THE FUNDAMENTAL IDEAS BETWEEN THE TWO OF THEM ARE NEVER FINITE. THEY ARE IN CONSTANT FLUX, AND ONE COULD STATE THAT THEY ARE UNSTABLE UNTIL A FORM OF LANGUAGE IS DERIVED. WITH RESPECT TO THIS PARODY, THIS INSTABILITY CAN ALLOW SPACE TO FORM INTO
DESIGN, AND ALLOW FOR ARCHITECTURE TO DERIVE MEANING. THIS IDEA TO MAKE SPACE DISTINCT AND TO STATE ITS PRECISE NATURE IS THE FUNDAMENTAL CONCEPT BEHIND ARCHITECTURE. IT THEN BECOMES THE COVER AND BINDING THAT CONTAINS SPACE. LIKE A BOOK IT CREATES THE FRAMEWORK AND LANGUAGE TO EXPLAIN THE CHARACTERISTICS OF SPACE. THEN, IF SPACE IS AN INFINITE CONCEPT, IT CAN ONLY BE DEFINED THROUGH THIS FRAMEWORK. SPACE WITHOUT ARCHITECTURE BECOMES EVERYTHING AND NOTHING CONTAINED. BY CONTAINING SPACE THROUGH A DESIGN FRAMEWORK WE ATTEMPT TO MAKE SPACE EVIDENTLY READABLE AND DEFINED. CONCEPTION…MEANING…UNDERSTANDING…THIS IS A PROCESS TO ACHIEVE ORDER WITHIN SPACE. SPACE IS CONSTITUTED BY MANY INTERPRETATIONS. IT IS CONTINGENT WITHIN TIME, BUT TIME IS UNDERSTOOD IN PAST, PRESENT, AND THE POSSIBILITIES OF FUTURE. TIME, ALTHOUGH EPHEMERALICALLY GRASPED WITHIN A DAILY ENVIRONMENT, CAN ONLY BE UNDERSTOOD WITHIN THE IDEAL REALM OF INFINITY. WHERE DOES TIME BEGIN AND WHERE DOES IT END? SPACE IS SIMILAR TO TIME, IT CAN BE READ WITHIN A CONTEXT OF ENCLOSURE, BUT UNDERSTOOD AS TACTILE BOUNDARIES OF TIME. SPACE IN THIS CONTEXT, REVEALS IT’S ONLY RESTRICTION. AS HUMAN EVOLUTION PROGRESSES, MAN HAS BEEN ATTEMPTING TO EXPLORE THE ASPECTS OF CREATING SPACE WITHIN SPACE. SPACE IS THE INFINITE WHOLE OF LIFE AND THE VOLUMES IMPOSING WITHIN IT. “THE PARADOX IS NOT ABOUT THE IMPOSSIBILITY OF PERCEIVING BOTH ARCHITECTURAL CONCEPT AND REAL SPACE AT THE SAME TIME BUT ABOUT THE IMPOSSIBILITY OF QUESTIONING THE NATURE OF SPACE AND AT THE SAME TIME MAKING OR EXPERIENCING A REAL SPACE”. THROUGH ARCHITECTURE, MAN HAS OCCUPIED THE “PHENOMENOLOGICAL SPACE”, AND CONTAINED IT WITHIN THE EDGES OF ITS PURPOSE. THIS IDEA OF DEFINING SPACE THROUGH THE ARTICULATION OF FORM WITH MEANING IS WHAT ARCHITECTURE STRIVES TO BE. IT ATTEMPTS TO CREATE RELATIONSHIPS BETWEEN SPACES THROUGH A LANGUAGE OF DESIGN READABLE BY ALL OBSERVERS. ARCHITECTURE HAS DEVELOPED INTO A MODERN MYSTICAL SUBJECTIVITY THAT STRIVES FOR “SUBSTANCE AND TRUTH”. IF SPACE IS CONSIDERED AS THE WHOLE OF LIFE (MEANING EVERYTHING AROUND LIFE), AND IS SUBJECTED TO THE FINITE CHARACTERISTICS OF THE EARTH, THE CONCEPT OF SPACE BECOMES INFLUENCED BY THE CONTEXT AND PLACEMENT ON IT’S SITE. SPACE OBSERVED THROUGH ARCHITECTURE, IS THEN ALSO ANALYZED AND READ THROUGH TIES LINKED TO HISTORY, CULTURE, ECONOMICS, AND POLITICAL IDEOLOGY. HERE, ANOTHER TYPE OF LANGUAGE IS CREATED TO BIND RELATIONSHIPS OF MEANING TO CONTEXT. THE JUXTAPOSITION OF SPACE, ITS PROGRAM, LANGUAGE, AND CONTEXT, THROUGH PHILOSOPHICAL AND THEORETICAL MEANING CONVEYS THE QUALITIES AND ATTRIBUTES OF “ARCHITECTURE” [CITY, SITE, CLIENT, AND OBSERVER], SO THAT IT CAN BE READ WITH BOTH OBJECTIVITY AND SUBJECTIVITY.
PROJECT 2: THE WRITER’S POST
PROJECT 1: PAVILION OF LIMPID SOLITUDE
PROJECT 3: THE WRITER’S COMPOUND THIS PAGE - PRELIMINARY DESIGNS ADJACENT PAGE - FINAL DESIGN
P R O J E C T T I T L E :
THE URBAN l THE CULTURE l THE THEATRE
C R I T I C :
VERA PARLAC
S T U D I O :
ARCH 231
P H A S E S :
THIS STUDIO’S PRELIMINARY PHASE WAS TO STUDY THE URBAN CONTEXT WITH RESPECT TO THE CONDITION OF SITING. THERE WERE PARALLEL STUDIES ON THE DESIGNS AND DEFINITIONS OF “PERFORMANCE SPACES.” THE SECONDARY PHASE WAS TO DEVELOP AN URBAN THEATRE.
C O U R S E DESCRIPTION:
THIS STUDIO WILL STUDY THE URBAN CONDITION, SPECIFICALLY WITH RESPECT TO THE DEVELOPMENT OF A PROJECT WITHIN STRICT CITY LIMITATIONS. THIS PROJECT WILL STUDY AND UNDERSTAND THE THEATRE AS A “PERFORMANCE SPACE” WITHIN AN URBAN CONTEXT AND TO DESIGN A THEATRE FITTING TO THE SURROUNDING SITE CONDITIONS.
PROGRAM:
THE PROGRAM FOR THIS PROJECT IS A 300 PERSON CAPACITY URBAN THEATRE. THE THEATRE WILL COMPOSE OF THE FOLLOWING: A MAIN PERFORMANCE SPACE, A SUB-STAGE ROOM, PRODUCTION MANAGER OFFICE, STAGE PRODUCTION MANAGER OFFICE, MEDIA ROOM, STAGE LIGHTING ROOM, TECHNICAL DIRECTORS OFFICE, FLY SPACE, GREEN ROOM, REHEARSAL SPACE, PROP STORAGE, FITTING ROOMS, ACTORS LOUNGE, OUTDOOR LOUNGE, CAFE / LOUNGE, GALLERY AND EXHIBITION SPACE, THEATRE AND EXHIBITION SHOP, MAIN LOBBY, AND ALL STANDARD BUILDING SERVICES.
S
:
THIS PROJECT’S SITE IS COMPRISED OF THREE INDIVIDUAL LOTS FORMING A LARGE T-SHAPED SITE. THE SITE FACES THREE DIFFERENT STREET EDGES [CHESTNUT, 20TH, AND SANSOM STREET], AND CAN BE LOCATED AT 1924-28 CHESTNUT STREET / 1927 SANSOM STREET / 107 S. 20TH STREET.
P R O J E C T SUMMARY:
TRANSITION : ADAPTATION : URBAN THEATRE SPACE IN AN URBAN CONTEXT CONDITIONS OCCUR WITHIN THE NETWORK GRID, CREATING OR IMPLYING RELATIONSHIPS THAT NEED AN UNDERSTANDING. IN MY INVESTIGATION INTO AN URBAN THEATRE DESIGN, I EXPLORED THE CONDITIONS OF A SITE LOCATED IN A DENSE URBAN CITY CLUSTER, CONTAINED BY THREE HIGH RISE APARTMENTS AND AN ABANDONED CINEMA. IN EXPLORING THE CONDITIONS I FOUND A REPETITIVE URBAN FRAMEWORK, A CONGESTION OF SPACE LAYER UPON ONE ANOTHER. AS REM KOOLHAAS SAID, THE METROPOLIS IS A CITY WITHIN A CITY; CONTAINED ENVIRONMENTS LAYERED WITHIN A FABRIC OF SPACE. THIS SITE, COMPRESSED BY THE URBAN FRAMEWORK HAS MOMENTS ILLUSTRATING SHEARS WITHIN THE SITE. THESE SHEARS IMPLY AN OPENING WITHIN THE URBAN CONGESTION, WHICH I USE AS A BASIS FOR DESIGN.
I
T
E
THEATRE
OF
THE
FALL 2004
ABSURD:
URBAN
CONGESTION_ FOLDED
SPACE
PROJECT 1
P R O J E C T T I T L E :
THE SHIFTING GROUND : SHEARING FABRIC
C R I T I C :
VERA PARLAC
S T U D I O :
ARCH 231
P H A S E S :
THE STUDIO HAD TWO PHASES. THE FIRST PHASE WAS A CONCEPTUAL PHASE IN WHICH THE INTERVENTION STRATEGY WAS ARTICULATED. THE EMPHASIS OF THE SECOND PHASE WAS ON THE APPLICATION OF THE INITIAL STRATEGY, PROGRAMMATIC REQUIREMENTS, AND IMMEDIATE SITE CONDITIONS.
C O U R S E DESCRIPTION:
IN THIS STUDIO WE EXPLORED THE IDEA OF BUILDING WITH AND WITHIN A LANDSCAPE. IMPORTANT FOR THE PROJECT WAS THE AWARENESS THAT THE “NATURAL” SITE REQUIRES A DIFFERENT SET OF CONSIDERATIONS. IN THE NATURAL ENVIRONMENT, DYNAMICS OF TRANSFORMATIONS AND EMERGENCES ARE SOMETIMES SUBTLE AND SOMETIMES VIOLENT AND LESS CONTROLLABLE. AWARENESS OF SUCH FORCES ALTERS THE WAY WE CONCEIVE OF THE POSSIBLE SOLUTIONS (STRATEGIES). THE CONTINUOUS TRANSFORMATION OF THE SURFACE OF THE GROUND, THROUGH NATURAL PROCESSES, CAN BE PROPELLED, THROUGH THE ACT OF DESIGN, INTO A WAY OF ENGAGING THE GROUND ITSELF. - PARLAC
PROGRAM:
THE CONTEXT OF THE PROJECT WAS A SCHOLARS’ RETREAT FOR MORRIS ARBORETUM. THE PROGRAM CALLED FOR AN INTERDISCIPLINARY ENVIRONMENT FOR FIVE SCHOLARS WITH PRIVATE ROOMS AND PUBLIC AREAS ACCESSIBLE TO THE USERS OF THE ARBORETUM. ORGANIZED AROUND TWO ASPECTS, PRIVATE AND PUBLIC, THE CONSIDERATION WAS GIVEN AS TO HOW TO MEDIATE THE THRESHOLD BETWEEN PUBLIC AND PRIVATE, AND OUTSIDE AND INSIDE. - PARLAC
S
:
THIS PROJECT WAS LOCATED IN THE MORRIS ARBOREATUM OF THE UNIVERSITY IF PENNSLYVANIA. THE ARBORETUM IS FOUND AT 100 E. NORTHWESTERN AVENUE IN PHILADELPHIA, PA ALONG THE WISSAHICKON VALLEY.
A W A R D S :
THIS PROJECT RECIEVED AN HONORABLE MENTION IN THE BIANNUAL ARCHITECTURAL STUDENT DESIGN COMPETITION, “VITTETA: BEST AND THE BRIGHTEST.” THIS IS A FACULTY CHOSEN STUDENT COMPETITION FEATURING THE FOUR ACCREDITED DESIGN SCHOOLS LOCATED IN PHILADLEPHIA, PENNSLYVANIA.
I
T
E
A
SCHOLARS
RETREAT
FALL 2004
WITHIN
THE
MORRIS
ARBOREATUM
PROJECT 2
IN THIS PROJECT WEBEGAN BY EXPLORING SURFACE TRANSFORMATIONS, THROUGH A SERIES OF PLASTER TABLETS, WHERE EACH NEW TABLET WAS A SNAPSHOT OF THE DECISIVE MOMENT IN THE CONTINUOUS TRANSFORMATION OF THE CLAY SURFACE. THE ARTICULATION OF THE INTENTION AT THE BEGINNING OF THE PROJECT WAS UNDERSTOOD AS THE ARTICULATION OF THE PERCEPTION OF THE SITE. THE CLAY TABLETS WERE WAYS TO ENGAGE THOSE PERCEPTIONS, AND GENERATE THE SURFACE STRATEGY BASED ON THE UNDERSTANDING OF THE SITE. IN THIS PARTICULAR PROJECT THE EXPLORATION OF THE SURFACE FORMATION GENERATED THE “PULSE” OF THE TRANSFORMATION THAT HELPED THE STUDENT TO EFFECTIVELY DEVELOP THE SPACE OF THE INTERVENTION. THE IDEA OF SHEAR, DERIVED FROM AN ANALYSIS OF A ROCK OUTCROPPING (IMMEDIATE SITE CONDITIONS), REVEALED THE AXIS THAT EFFECTIVELY ENGAGED THE PROGRAMMATIC ASPECTS OF THE PROJECT. THE “PULSE” WORKED THE SURFACE OF THE GROUND TO GENERATE FOLDS WITHIN THE FABRIC OF THE ARBORETUM. THE SHEARING BEGAN TO SHIFT THE LANDSCAPE AND DEVELOP THE THRESHOLDS OF PUBLIC AND PRIVATE, INSIDE AND OUTSIDE. - PARLAC
PERCEPTION OF THE SITE : SHEARING FORCE [CLAY TABLET STUDIES]
SURFACE STRATEGY : SECTION STUDIES OF SHEARING FORCE
SECTION PULSE : PHASE 1 SECTION PULSE : PHASE 2 SECTION PULSE : PHASE 3
INTEGRATED PULSE : SPACE OF INTERVENTION
P R O J E C T T I T L E :
URBAN [RE]VITALIZATION: AN ADAPTATION OF THE GRETZ BREWERY [INTERLACING, PARASITIC, AND PROSTHETIC SPACE]
C R I T I C :
ANTHONY TSIRANTONAKIS
S T U D I O :
ARCH 232
P H A S E S :
2 DESIGN AND RESEARCH PHASES
SPRING 2005 [URBAN DESIGN STUDIO]
[DETAILED ANALYTICAL URBAN ANALYSIS AND THE DEVELOPMENT OF NEW RESIDENTIAL AND MIXED-USE UNITS]
C O U R S E DESCRIPTION:
THIS STUDIO WAS AN EXPLORATION INTO THE NATURE OF THE CITY, URBAN LIFE, DESIGN, AND HABITATION BY FOCUSING ON A SPECIFIC SITE IN NORTH PHILADELPHIA: THE NOW-ABANDONED GRETZ BREWERY. THE NEIGHBORHOOD SURROUNDING THE SITE WAS ONCE A REGIONAL HUB FOR EARLY AMERICA’S INDUSTRY, ONE DESIGNED FOR MASS-PRODUCTION. OUR DESIGN METHOD WAS TO BUILD BY ACCRETION THROUGH LINKED ALTERNATING URBAN ANALYSIS AND RESIDENTIAL DESIGN ASSIGNMENTS, WHICH ALLOWED US TO DEVELOP A HISTORICAL URBAN RESEARCH PHASE AND A DESIGN VOCABULARY FOR THE FINAL RESIDENTIAL / URBAN DEVELOPMENT.
PROGRAM:
THE PROGRAM FOR THIS PROJECT WAS TO FIRST DEVELOP A COMPREHENSIVE RESEARCH STUDY ON THE EXISTING SITE AND IT’S HISTORICAL IMPLICATION ON COMMUNITY AND NEIGHBORHOODS. WE THEN DESIGNED A [RE]DEVELOPMENT PROPOSAL FOR THE GRETZ BREWERY SITE, WITH 40 NEW LIVING UNITS, COMMERCIAL SPACE, A COMMUNITY LOBBY, THE “GRETZ ATRIUM” - BAR AND CAFE, LOUNGE / READING ROOMS, COMMUNITY MEETING HALL, EXERCISE ROOM, AND GREEN ROOF GARDEN.
S
:
THE PROJECT’S SITE IS LOCATED AT THE INTERSECTION OF OXFORD STREET, 4TH STREET , AND GERMANTOWN AVENUE IN NORTH PHILADELPHIA. THE PROJECT WAS TO INCORPORATE THE GRETZ BREWERY AND ANY SURROUNDING SITES WHICH WE DEEMED APPLICABLE.
P R O J E C T SUMMARY:
THE DEPARTURE POINT FOR THIS PROJECT WAS A TWO PART RESEARCH PHASE INVOLVING [1] HISTORICAL TIES TO THE COMMUNITY AND THE EFFECTS OF DERELICT SPACE WITHIN THE EXISTING URBAN FABRIC & [2] A “deconTEXTURALIZED” FACADE STUDY WHICH SEPARATED BUILDING ELEMENTS INTO THREE-DIMENSIONAL LAYERED TEXTURES, IN AN ATTEMPT TO UNDERSTAND DEPTH AND CHARACTER. THESE STUDIES THEN INFORMED A PHILOSOPHY AND PROCESS TO DESIGN FOR, WHICH STRIVED TO [RE]VITALIZE THE GRETZ BREWERY INTO AN ADAPTED ARTIFACT FOR THE COMMUNITY AND [RE]ACTIVATE THE SURROUNDING NEIGHBORHOODS.
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E
THE DIALECTIC OF THE NEW HEGEL GRASPED THAT THE NEW IS ALWAYS CONSUMING ITS IMMEDIATE PRECURSOR AS ITS DEFINING OPPOSITE, MAINTAINING AND CARRYING IT ALONG LIKE A SHADOW. AND THIS SHADOW CARRIES A FURTHER SHADOW ETC., SO THAT A CULTURAL INNOVATION CAN ONLY BE IDENTIFIED AND APPRECIATED BY THOSE WHO ARE ABLE TO PLACE IT WITHIN THE WHOLE HISTORICAL EVOLUTION. SUCH APPRECIATION THEREFORE BECOMES A RELATIVE, GRADED AND ULTIMATELY INFINITE ACT. “AND IT IS ESSENTIAL FOR THE CULTURE OF ARCHITECTURE TO INSIST THAT A NEW ARCHITECTURAL POSITION CAN NOT BE REDUCED TO AN ISOLATED FORM OR GESTURE, BUT - LIKE A SCIENTIFIC IDEA INVOLVES A WHOLE NETWORK OF HISTORICALLY CUMULATIVE ASSUMPTIONS AND AMBITIONS.” [FRIEDRICH HEGEL] PATRIK SCHUMACHER 2000 FROM “IN DEFENCE OF RADICALISM - ON THE WORK OF ZAHA HADID,” PUBLISHED IN: CITY VISIONARIES, VENICE BIENNALE OF ARCHITECTURE, CATALOG FOR THE BRITISH PAVILION, CORNERHOUSE PUBLICATIONS, MANCHESTER
THESE DIAGRAMS ARE STUDIES OF THE GRETZ BREWERY DECONSTRUCTED OF ITS TEXTURAL ELEMENTS AND [RE]COMPOSED INTO A THREE DIMENSIONAL DEPTH & DETAIL STUDY. THE [RE]COMPOSED IMAGE IS SEEN HERE FLATTENED, BUT WAS ORIGINALLY A SERIES OF ACETATE PRINTS LAYERED IN SHEETS OF PLEXIGLAS. WHAT IS INTERESTING IS THE COMPOSITION OF ARCHITECTURAL ELEMENTS AND THEIR DEPTHS WITH RESPECT TO THEIR HISTORICAL PERIOD. THE BREWERY WAS COMPOSED OF SEVERAL BUILDINGS BUILT THROUGHOUT THE 20TH CENTURY AND EACH PERIOD HAS LEFT AN IMPRINT OR ARTIFACT OF IT’S DESIGN METHODOLOGY, AND HAS CREATED A THREE DIMENSIONAL COLLAGE OF ARCHITECTURAL HISTORY IN WHICH TO BE ADDED UPON. THEREFOR AN APPROACH WAS DECIDED THROUGH THIS STUDY WHICH WAS TO ACKNOWLEDGE THE DESIGNERS OF PAST PERIODS AND CONTINUE THIS TIME-LINE OF ARCHITECTURAL HISTORY, WHILE IMPRINTING THE CONTEMPORARY IDEAS OF TODAY.
[C]
[B] [A]
FIGURE [A] IS AN INITIAL ANALYSIS MODEL LOOKING AT THE COMMUNITY, TRAFFIC PATTERNS, AND [RE]STRUCTURING POSSIBILITIES. FIGURE [B], [C], AND [D] ARE DETAIL IMAGES OF A LARGE MASSING MODEL, DERIVED FROM THE ANALYSIS AND FOCUSING ON THE GRETZ SITE SPECIFICALLY. THIS LARGE MASSING MODEL WAS THE DEPARTURE POINT FOR THE ARCHITECTURAL LANGUAGE AND ELEMENTS DEVELOPED THROUGH THE DESIGN PHASE. FIGURE [E] IS A CONCEPT SECTION / HYBRID OF BOTH THE EXISTING GRETZ SITE AND THE MASSING MODEL
[D]
[E]
Interlocking Condition
l
weaving space, interlacing space
Contemporary Program 1,2, and 3 Bedroom Units (Rowhome Image)
con·tem·po·ary: \k n-’tem-p -,rer-ē\ adj.
e
e
1:
coming into being during the same period of time.
2:
SIMULTANEOUS [Simultaneity]
in·ter·lace: \,in-t r-’l s\ vb. 1:
to unite by or vary by alternation or inter-mixing: INTERWEAVE,INTERSPERSE
l
Hosting Condition
parasitic space
re-vitalized program 2 and 3 story altered row homes (existing, family oriented) street façade re-habilitated existing interior program w/ modified rear extension the “private house” hosts public space and circulation - (dispersion of private control to network system)
host: \‘hōst\ n. 1: the larger, stronger, or dominant member of a commensal or symbiotic pair. re·vi·tal·ize: \(,)rē-‘vi-t l-,iz\ vt. 1: to give new life, revive, or restore something disused. 2: renewed attention to or interest in something.
e
[façade character] par·a·sit·ic: \,par- -‘si-tik\ adj. 1: An act of exploitation by living in, with, or on another in dependence.
e
[un-privatized – theft of space] [needs for the community] consumer agenda political agenda
Hybrid Condition
l
prosthetic space
re-interpreted \ re-constructed program existing brewery conditions eternalized…in ruin - for display carved program for café and lounges circulating through machines east façade re-vitalized and plugged with main circulation hub and commercial space non-active facades demolished for interlacing units loft spaces w/ 1,2,3, and 4 person bedrooms
hy·brid: \‘hī-br d\ n. 1: an offspring of different breeds or varieties: COMPOSITE 2: something that has two different types of components performing essentially the same function.
e
[existing decay as contemporary palette] pros·thet·ic: \präs-‘the-tik\ adj. 1: an artificial device to replace a missing part. [lost character due to decay] [an addition and extension of the Gretz to the community re-connection of the lost node]
Existing Urban Fabric