Architectural Work

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EVAN SALE Architectural Work | January 2020 evan.sale@yale.edu 1 217 816 5455

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CONT ENT S 4

Air Speculations Spring 2018 Bimal Mendis | Partner Lani Barry

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Station to Station Fall 2017 Martin Finio

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Library of Bushwick Fall 2016 Brennan Buck

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Strada Novissima Spring 2019 Robert A.M. Stern

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Roman Notes Summer 2018

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In We Trust Spring 2018 Partner Davis Butner

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Sounding Sacred Winter 2019 Partner Davis Butner

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England’s Dreaming Spring 2019 Paul Florian |Partner Alejandro Duran

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Close Reading Fall 2016 Peter Eisenman

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| Interstice | Fall 2018 Peter Eisenman | Partner Christopher Tritt

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AIR SPECULATI O N S YSoA Core Studio | Spring 2018 Partner Lani Barry Bimal Mendis Retrospecta 41 In response to the funding shortfalls of New York’s mass transit and to a chronic shortage of affordable housing, we propose a series of exchanges of air rights on desirable MTA-owned sites for development capital. We then expend this across other MTA-owned sites in a series of proposals for new housing. In extending the rules of air exchange, we reveal their absurdity but also their usefulness in securing space for all in the city. Our housing offers alternative models of ownership and consumption, while their site organizations make visible a potential growth. Opposite: Housing proposed at Livonia Avenue, Brooklyn

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Liquid and Solid Assets We consider buildable space up to the FAA elevation limit of 100m. Transfer of Development Rights protocols allow buildable space to be sold among lots on a block. Opposite: MTA-owned land in New York City

Bank Site

Building Site

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Fresh FreshPond Pond

Livonia 77 Murray

7777 Murray 77 MurraySt Murray AAR 18.5

AAR 18.52

415 Broome St

108108 19th Broadway E 19th Broadway 108 EE19th StSt St AAR 11.5

AAR 11.5

225 W 53rd St

806 Ave53rd 2259thW

AAR 30

St

225 W 53rd St

AAR 30

1919 contiguous lotslots contiguous 8


Bay BayRidge Ridge

Livonia 126 W 23rd St

126 WWW 23rd St 126 23rd 126 23rd St St AAR 34

AAR 34

108 E 19th St

108108 19th E 19th 108 EE19th StSt St AAR 8

AAR 8

806 9th Ave

806 Ave 8069th9th

Ave AAR 10.2

AAR 10.2

225 W 53rd St

4 contiguous lotslo 4 contiguous 9


Fresh Pond Queens AAR 4

4

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Bay Ridge Brooklyn AAR 6

Livonia Ave Brooklyn AAR 3.5

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LIBR ARY OF B U S H WI C K YSoA Core Studio | Fall 2016 Critic Brennan Buck The library’s layered facades obscure spatial boundaries, and each layer is transformed through its superposition. Much of an existing 1930’s warehouse is preserved, and fragments of its facade contribute to a new collage. A volume yields to planes and striated space. Delamination creates thin spaces, which moderate natural light and allow changing readings between perspective and elevation. These reveal the disjunctions that occur when 2-dimensional graphic systems are projected onto forms with depth. The porous edges of the plan accommodate stacks and study spaces, while porous facades complicate any delimiting of the interior.

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South Elevation

H E L E VAT I O N

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West Elevation

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G

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Fragment Model

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S TAT I O N TO S TAT I ON YSoA Core Studio | Fall 2017 Martin Finio

Clason Point is a southernmost finger of the Bronx. High tide will eventually cover it, but the loss of a place can make memories of its past more potent This ferry station is a group of reminiscent figures that interact with each other and with the moving traveler. A decade ago, the City closed the Clason Point Yacht Club. This “last blue-collar boat club in New York” was demolished and its dinghies towed away, leaving a muddy site on a small inlet. Many buildings have occupied the peninsula. Casinos and boardwalks linger in the memories of scattered residents and in silver and sepia photographs. Maps are as unsound the site itself, so it is difficult to say where the roller coasters of Clason Point Amusement Park stood, how near they would have been to the colonial farmstead of Isaac Clason or to Betty Boop’s debut at Kane’s Casino. The Ferris wheel that sent its passengers into the river in 1922 might have struck the docks of the Clason Point Yacht Club. Decades later, suburbanites playing tennis at the Shorehaven Beach Club just may have remembered it. A traveler moving through a station makes a journey that extends far before and after. Children riding trolleys to Clason Point Amusement Park a century ago were in the place well before they saw Ferris wheels or roller coasters, and they carried these images forward.

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The River Walk development begins.

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2016

2000

1986 1988

1962

1940s 1950s

1949

1939

1937 1938

1922

1920

1919

1914

1910

1910

1910

1907

Clason Point | History

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1906

1650 1700

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Clason Point Yacht Club

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Kane’s Park

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1910

1914

1910

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Streetcar

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Clason Point Amusement Park

CLASON POINT SITE HISTORY

1907

1919

1883

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Higgs Beach Harding Park

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Clason Point Park

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Clason Military Academy

1643

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European settlement

Algonquin Settlement

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Dutch claim

1910

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e vic er S y

Ferry Service

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IRT Service

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t en id c Ac

Ferris Wheel Collapse

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Soundview Park

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Bronx Whitestone Bridge

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Shorehaven Beach Club

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HUD Projects

1940s 1950s

1949

1939

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1937 1938

1922

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1914

Harbour Pointe

Shorehaven Estates

2000

1986 1988

1962

v r e S T IR F

Bruckner Expressway

Clason Point | Myth

rW ve Ri

2016

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Conceptual Models | Uprooted signs

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Preliminary Massing | Literal collage


Final Cast | Warehouse, Kitchens, Terminal, Pier

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ST R ADA NOV I S S I M A After the Modern Movement | Spring 2019 Robert A.M. Stern This facade comprised part of a fictitious street in the model of the Strada Novissima at the 1980 Venice Biennale. It emulates Thomas Beeby’s work of the time, also the focus of my paper for the seminar. In 1980, Beeby was developing a hybrid language of Neoclassicism and Modernism. The best exemplar is the Conrad Sulzer Library in Chicago. Its parti inverts the Miesian play of solid core and thin envelope. Occupied perimeter walls contain services and lend solidity to the ground floor, which has both Miesian reveals and arched openings that resemble those of H.H. Richardson’s Marshal Field Warehouse. The upper story is a fusion of Miesian steel construction and Schinkelesque neoclassicism. Literal references are sparing: window frames bear acroteria, while the wide-flange beam sitting in for an entablature suggests a pediment with a shallow rise in profile. These gestures reappear in the design for the Strada. Reentrant corners acknowledge Mies, and at the top of the wall are an entablature and pediment rendered in steel. The façade seeks to reveal what Beeby called “the hidden part of Mies, the kind of suppressed romanticism that lies within neoclassicism.”

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ROMAN NOT E S Robert A. M. Stern Rome Seminar | Summer 2018 George Knight, Kyle Dugdale, Steven Harby, Miroslava Brooks Sketches from a month of walking and intensive drawing. Opposite, clockwise: Sant’Eligio degli Orifici | Raphael 1516 Sant’Agnese in Agone | Borromini 1653 San Carlo alle Quattro Fontane | Borromini 1646 San Andrea al Quirinale | Bernini 1670 Pages 32-33: Palazzo delle Poste | Adalberto Libera 1933

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IN

WE T RU S T

Installation at Beinecke Rare Book Library | Spring 2018 Partner Davis Butner Retrospecta 41, Yale Alumni Magazine, Beinecke Illiuminated Davis and I designed a monument commemorating Claes Oldenburg’s 1969 “Lipstick (Ascending) on Caterpillar Tracks.” The Beinecke Rare Book Library sponsored a competition to coincide with 1968@50, a graduate seminar on the legacies of protest movements in Europe and America. From the Yale Art and Architecture Graduate Design Competition: LIPSTICK, REVISITED:

“The protests that began in Paris during May 1968 culminated locally when Yale students mobilized around campus against the Vietnam War and the Black Panther trials the following year. To commemorate these events, the Beinecke Rare Book & Manuscript Library announces a student competition for the design of a temporary installation to be constructed in Beinecke Plaza ...The competition and its title pay homage to Claes Oldenburg’s Lipstick (Ascending) on Caterpillar Tracks, which was instigated by a group of architecture students and installed on Beinecke Plaza as a speaker’s platform during anti-war protests in May 1969.” We constructed the piece between February and May 2018. The YSoA Fabrication Lab and Jim Vlock Building Project lent facilities and expertise. The Beinecke was gracious in hosting the unveiling on May 4, 2018.

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Lipstick (Ascending) on Caterpillar Tracks | 1969

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“In

We Trust” | 2018

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Submission Statement: Fifty years after the student protests of 1968, institutions that assume our trust and compliance are ceding their ethical and moral authority. Positions are revised to minimize financial and political exposure. Committment to the public interest is negotiable at a price. We propose a new monument for Beinecke Plaza that calls to light tensions often masked by the physical architecture of power: a column recalling those of the Schwarzman Center, but alien in scale, disintegrates into valueless currency. This new structure provides a nucleus for protest and a provocation. We have a right to shape the society we inherit and an obligation to guard the foundational principles of our institutions.

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SOUNDING S AC R E D YSoA North Gallery Exhibition | Spring 2019 Co-curators Davis Butner, Isabella Balda Retrospecta 42 We studied vernacular religious architectures to extract their formal characteristics and, through acoustic analyses, assess their impact on sound. A gallery exhibit combined models, drawings, and animated acoustic simulations with background information on each architetcural type. I created models of representative buildings: Great Koothambalam | Kerala, India Eşrefoğlu Mosque | Beyşehir, Turkey Church of the Transfiguration | Kizhi Pogost, Russia Olkienniki Synagogue | Olkienniki, Poland The show culminated in a choral performance tour of several New Haven churches, which allowed visitors to connect these abstractions to their experience of sound in place.

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YSoA Gallery

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Performance Tour

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ENGLAND’ S D R E AM I N G YSoA Advanced Studio | Spring 2019 Partner Alejandro Duran Paul Florian with George Knight

London was the first modern metropolis, a proving ground for new urban forms and a center of communication with a widening world. New interactions enabled anonymity, individual self-determination, and cultural pluralism, all characteristics of a Modernity now in crisis. Our project extends urban patterns rather than inserting a new object. Its materials and forms support allusions to the past and to the composite character of its city. Its bounded rationality reflects a belief in incremental progress and a recognition of its fragility. Such pragmatism pursues ideals with an eye for expedients. The langage is sober, reflecting a skepticism of absolutes while reiterating a faith in institutions.

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Linguistic Studies Newgate Prison George Dance the Younger | 1780 Near right: Blind aedicule, modeled from etchings and photographs. Far right: Pavilions consense motifs and progressively transform them. From top: original Mass, intermediate Volume, final Skeleton

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Site Strategy

Footprint

Bridge Circulation

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2 Axes

Distal Circulation

2 Orientations

Local Circulation


Figure-Ground Plan

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CLOSE R EADI N G Formal Analysis | Fall 2016 Peter Eisenman with James Coleman Retrospecta 40 Piazza del Popolo The volumetric differences of the churches at the Piazza del Popolo appear minimal in elevation. The narrower site of Monte Santo demands a dome that is narrower in front elevation, but the elongation of the dome on an ellipsoidal footprint helps to perceptually enlarge it on approach and bring it into closer correspondence with the dome of Miracoli. The impression breaks down as the viewer moves away from an elevational view and the differences in depth appear. The architect’s willingness to prioritize the piazza view, to distort built reality in service of a subjective impression, suggests a scenographic sensibility removed from the high Renaissance.

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|INT ER ST ICE| YSoA Advanced Studio | Fall 2018 Partner Christopher Tritt Peter Eisenman with Anthony Gagliardi Retrospecta 42 | Feldman Nominee The organizing logic of the New Haven 9-square cannot be extended outward. We instead identify a 4-square latent in the Hill neighborhood. We articulate the space between, and by implication the rest of the space in the city, as an interstitial north/south square grid. The 4-square creates an opposition to the original 9-square and the monocentric ideal city that it describes. By building the remaining area as a homogenous field, we formally reinforce both figures while challenging the rationality of either. The north/south grid is itself weakened by a competing system of circulation and buildings that depends on neither of the figures nor on any regular grid. By displacing the monocentric and polycentric ideal cities from an assumed open ground, we transform holistic forms into a composite city. The new ground both accentuates edges and enables connection.

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1 2 3 4 5

Existing Urban Plan Completed 4-Square Cardinal Grid Infill Building Projected urban Plan

New Haven re-figured

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