Cornell AAP MArch + things

11. by Freddo Daneshvaran of Architecture, Art, and Planning (AAP), Cornell University M.Arch.

CURRICULUM VITAE

Farzad (Freddo) Daneshvaran

Cornell University (2021) University of Maryland (2012) PhoneWebsiteE-mailNCARB

(him/his) / U.S. Citizen

Master of Architecture Bachelor of Science of Architecture

Enrolled with +3,500 AXP https://labs.aap.cornell.edu/ealfd265@cornell.eduhours+1.3018301361

Programs

MicrosoftClimateStudioArcGISDIVARevit3DSketchUpInDesignIllustratorPhotoshopAutoCADVRAYGrasshopperRhinoStudioMaxOffice

Fabrication Wood-shop Certified Metal-shop Deadalus3DLaserCNCRenderingPhysicalParametricArchitecturalCertifiedDrawingModelingModelingMilling3-axiscutterprinter3-axisconcrete

printer

Kuka KR200 - 12-axis robotic arm

Language and Music Farsi Guitar(fluent)(6&12 string)

Awards / Honors

Richmond Harold Shreve Thesis Award (2021) Eshwiller Prize of Excellence in Studio (2021) Olive Tjaden Scholarship (2019-2020) Belcher-Baird Architectural Design Award (2018-2019)

Cornell Ecological Action Lab (EAL), Ithaca, NY Friendship WC, Tallinn Architectural Biennale, Estonia (2021-2022) Alumaximum (2021-current)

Brick Shit House (2021-current) Flouvers, Ithaca, NY (2021)

It’s A Wonderful Life Museum, Seneca Falls, NY (2019)

Cornell AAP, Ithaca, NY M.Arch. 1st Year Foundations (Summer 2022) Arch 5113 M.Arch. 1st Year Core Design Studio I (Fall 2021) Arch 1502 B.Arch. 1st Year Digital Representation (Spring 2021)

Cornell Robotic Construction Lab (RCL) + HANNAH, Ithaca, NY Ashen Cabin, Slatersville, NY (2019) Two RRRepresentation, Two FFFabrication (2019)

Austin+Mergold LLC, Ithaca, NY

Reconstruction of Oculi 2.0, Art Omi (2019)

Ricondo & Associates (R&A), Alexandria, VA Pittsburgh International Airport (2016-2018) Dulles International Airport (2017) John Glenn Columbus International Airport (2016-2017) Fort Lauderdale-Hollywood International Airport (2015) Hartsfield–Jackson Atlanta International Airport (2015) Mexico City International Airport (2014)

Baltimore-Washington International Thurgood Marshall Airport (2014) Manchester International Airport, U.K. (2013-2014) Ronald Reagan Washington National Airport (2012-2014)

NOA Architects, Bethesda, MD

ADA University Undergraduate Building, Baku, Azerbaijan (2012) 1200 N Rolfe St, Washington D.C. (2012)

University of Maryland, College Park, MD

“Layering: Collateral Effects”: shortlisted on ASCAAD (2012)

Faruk Yorgancioglu Architect, Bodrum, Turkey (x11) Destination Villas (2011)

Project Lead + Designer + Fabrication + ConsturctionResearcherResearcher

Designer + Fabrication + TeamFabricationConceptualConstructionDesignerInstructorTeachingAssistantTeachingAssistant+ConstructionDrawing+FabricationLeader+Construction

Lead Senior Designer + Planner + Illustrator

Lead Senior Designer + Planner + ProjectSeniorIllustratorPlannerManager

Lead Junior Designer + JuniorIllustratorPlanner

Lead Junior Designer + JuniorIllustratorplanner

Junior Designer + Illustrator

Junior Interior Designer + 3DIllustratorModeler

Primary Author + Researcher

Conceptual Designer + Illustrator

Fig 1.1 Composite photograph and drawing of 1 ft. droplet, nail module, exoskeletal skin

A VERY LARGE, INFUSED DROPLET

A translation of design elements from 1:1 to 1:100

Instructors: Aleksandr Mergold, Sasa Zivkovic Veterinary Surge Facility, Ithaca,2018NY

ACHALLENGE:sphereisageometrical diptych. Half in tension, half in compression, its position is only described when in relationship to the surrounding. In the first part of this Core I studio project, the objective is to design a droplet (spherical shape in theory) that has no client and no site; but it is made up of a ubiquitous material in a one to one scale. 12” in diameter, the droplet is made up of nails; precisely one pound or 100 in number– not enough to make a full sphere. Unable to weld, or incorporate a second material, the challenge is to methodologically create a droplet, and to draw a full scale. The second part of the project introduces an extinct animal whose distinct characteristic must be infused into the original droplet while negotiating a site: ground, air, water etc. I was assigned to the Round Island Burrowing Boa, whose lack of scales help it burrow into the top soil, but also made it vulnerable to the human activity caused erosion that eventually led to its

GivenPROPOSED:extinctionthechoiceof

any nails, one must negotiate the count versus the poundage. I reconciled this limitation through different methods of heating and twisting. I chose 3 ¼” finishing nail which allowed for 87 nails in count. The total number of nails in proportion to the length for this nail was the most effective, allowing me to create 14 modules. Each module was carefully crafted by using 4 nails at full length interlocked concentrically between 2 twisted nails. By placing the modules next to each other, new structural grids emerge. For the first part of the project, by heating, hammering, and twisting, I created modules that could aggregate in order to phenomenally create a spherical shape. While I was unable to make physical sphere, the continuity in the vertebrate implied a sphere. For the second part of the project, I interpreted the scale-lessness of the boa to transparency; a skin that could structurally support the vertebrate: an inverse relationship. And it burrowing to a condition that scrapes the ground. Therein, by infusing a shrinking wrap and heating, with the nail modules, this time, I was able to create a droplet, not just a representation of one. Also one that could unfold to move and burrow like a boa. On the left, the sequence is indicative of how nail is heated, bent and twisted in place, eventually stiffened enough that the resulted interlocking can stand on two legs.

Fig 1.2.(top right) Collage of Monster: compos ite of wood kerfing and 10,000 nails

Fig 1.3.(top right) Close-up photograph of wood held in-place by tensioned cable+nails

Fig

The 24’-wide tower rises between the two existing buildings where the research facilities, lecture hall, and archives are located. The slender tower acknowledges views towards the gorge. Made of glass, wood, and mist, the shadow caused by the sun passing through towers over the ground. Concept collage on the right emphasizes the notion that through transparency and oblique orientation, the horizontal and vertical wooden elements come forth.

Scalar Translation

Fig 1.5.(top right) The tower re-aligns itself to true north for a prime solar gain for boa and tiger

4.3.2.1.KEYAdministrativeConferenceroomsArchive/storageProposestowerbase

The the change in the curvature of the wood kerfing, is translated into “thickening” of the floor plates. This allows for boa to burrow, and the tiger to meander freely. Sectionally the tower divides the spaces into three zones: 4’-wide for Boa facing east, 8’-wide for Tiger on the West, and 12’-wide zone of circulation for human as the spectator in between the two. The change of density in the nail pattern, is also translated into different requirement for each occupant: indicated on the left, the number of vertical and horizontal louvers change depending on what face or interior of the building.

The project de-laminates glass: as boa and tiger are enclosed in single-pane of glass to be exposed to heat and light, Human however, is still at the comfort zone as it occupies the space between two-panes of glass on either side.

Fig 1.6.(left) Section-perspective through the 24’-wide tower

Having established a 1 to 1 scale relationship with nails, the Core I Design Studio further unfolds the notion of scale; no longer just in correlation with one but two materials, the assignment asks to hybridize the idiosyncrasies of two materials (from the previous exercise) into an installation. The prompt requires the installation to have a site located in the Milstein Hall, with a set of parameters that respond to the human scale. The challenge is to comprehensively translate and physically build a structure; or as the prompt suggests: “to create a monster.” In the second part of this assignment, scale is challenged again. The tectonic relationship of the elements is rediscovered at the building scale while considering the site, context and program: An Institute for Mutation, Extinction & Regeneration of Species (IMERS).

For the first half of the project, the prompt randomly combines two materials; each representing an extinct animal: nail punctures, thus representing the Round Island Burrowing Boa, and plywood kerfs representing the agile movement of the Tasmanian Tiger. The installation is a 34 lin.ft long plywood composite held by 1,400 nails. 18” on one end and 3” on the other, the linear tapering of plywood pieces is indicative of the tiger and boa. 6 types of finishing nails, ranging from 1 ½” to 6” mediate the kerfing of the plywood and strategically placed on both sides of plywood with density in mind. Since both the boa and tiger are prey animals, the proposed installation translates hiding as its narrative between nail and plywood. As indicated in the elevation above, the wider side rests on the Milstein bridge while the other side hangs over the railing and disappears! As shown on the right, the installation is made up smaller parts, each connected with cables in tension. For the second part of this assignment, the prompt asks to “literally” translate a physical attribute of the installation to a research facility. In doing so, I created a series of models to synthesize a coherent relationship between plywood and nails.

Fig 1.7.(top right) View of the tower from an elevation

Fig 2.2.(bottom right) Photograph of IMERS complex

Fig 2.1.(top left) Images and drawings of beam based on an L-system branching

Fig 2.2.(bottom left) Iterative drawings paramet ric of branching

L-SYSTEMS & BRANCHING

Form-finding, load-tracing and translating

Collaborator: Adriana Contarino

Instructors: Martin F Miller, Rachel Dickey Milstein Hall, Cornell University, Ithaca,2019NY

NatureCHALLENGE:hasdeveloped endless solutions to structural problems through continuous and interlinked morphologies which adapt to slight variations in context. Similarly, numerous variants of span technique have been developed by architects and engineers. Seeking adaptation through innovation, the project explores a wide range of parametric thinking to breed, generate and cull out a structural logic. The Challenge is to design an ideal beam and then an ideal vault using paper materials.

ResolvingPROPOSED:the complexity in form into a series of simple rules and data, the beam takes advantage of an L-system aggregation to form-find. The deceivingly-inverted truss structure is modeled based on fractal patterns found in nature as is evident in the growth study of seed to tree - in this case broccoli. The beam’s recursive branching pattern evenly distributes the load over the full span of the structure. Complex mapping of the L-system onto the surface of the elements determines the relative size of the holes. The closer to the top, the more holes but smaller in size, aiding in compression.

Form-finding

Fig 2.3.(top right) Conceptual branching with a three-dimensional twist

Fig 2.4.(bottom right) L-stystem as it pertains to the growth of a broccoli plant

Fig 2.5.(left) Photographs of vault held in place in tension using none other than paper materi als, glue, and fibers

After developing a beam structure based on the intrinsic characteristic of “growth” in an L-system branching, the project translated the beam into a vault. In this competition, we demonstrated that sub-dividing the load over 8 legs is more beneficial for transferring a relatively evenly distributed load. Our cardboard model which weighted 874 gr (1.92 lb), was able to carry the weight of 21 of bricks that is roughly: 37.6 kg ( 82.9 lb). That is a 1 to 46.4

Awards:ratio.-AAPDirector’s

Choice: Most beautiful vault - 1st place: Most held number of bricks - 2nd place: Best ratio of self-weight over carried weight

Fig 2.6.(middle) Exploded axonometry of vault components

Fig 2.7.(right) Competition photographs of vault at the moment max loading-bearing capacity and its demise

Fig 3.2.(bottom) Paper model capturing the ever-subtle changes of light depicted from the site

PAPER INDEX

A constituent museum for the neighborhood

Instructors: Gabriel Smith FAIA, Thomas Phifer FAIA 290 Conover St, Redhook, New York,2020NY

InCHALLENGE:NYCstudio, the objective is to closely consider constructibility, materiality, and to develop an understanding for building-codes, ADA requirements, environmental factors and sustainable practices. The studio prompt is based on methods and design decisions to use natural light as the driver of every programmatic space. The site is located in Red Hook, Brooklyn, an empty parking lot with its southern side open and accessible to Hudson River. With a design flood elevation 9 feet above ground, the design challenge is to deploy flood resistance strategies, and to consider a sustainable design. In a gentrifying neighborhood that wishes to maintain its identity, the programmatic challenge is to envision a constituent museum to serve the collective of artists‘ needs; for exhibiting art work as well as housing a large rentable archive. The program is defined as 50% light - 50% dark. Within this definition lies the size and light requirements of every building element. The goal is to successfully translate an initial light study model into an intervention which embodies the same light quality within.

ThePROPOSED:socialcontext and history of Red hook is intertwined with shipyards, warehouses, and a working class. Here, the project proposes a workspace that opens itself to the public, and celebrates openness by locating all primary functions in one main level. This level is primarily accessed and serviced by a large stair-ramp. Because the site is oriented roughly on a 45-degree angle to north, the proposed shed adapts that same orientation stretching over the site. It launches itself over the water as a pier. The art galleries and archive space have strict light requirements allowing a small amount of direct sunexposure. The shop-space and workspaces would also utilize a similar strategy and take advantage of indirect lighting for comfort and glare reduction. The goal is to maximize use of indirect natural daylighting in every space.

Light and Novel Materials

Fig 3.1.(top left) View of the exterior showing the recycled paper composite panels

Fig 3.2.(top right) Collage of creased papers and light occupying its surface

It is almost unimportant what the form is when one’s visceral experience of light is the driver of form. This project is a link between experimentation with paper forms, and paper itself as the material construction. Paper can react to even the most minute changes of light. The project draws a parallel to the paper’s crease as an ‘index’, that while not being present, its “presentness” is spatially evident in the light it encapsulates. In other words, the polemic is to allow the physical form of the building to act as a prism for the changes of daylight throughout the day. A recycled paper composite paneling is configured to run the entire length of west facade. A vierendeel truss system embedded in the archive space (roof level), helps anchor the cantilevering structure below it.

Fig 3.5. Collage of the project intent onto the site, its position extending over as a pier

Fig 3.6. The interior is transformed throughout the day based on the natural light entering the space

2/3 of the length of the building rests on stilts which the load of the other cantilevered 1/3 is transfered down to the columns. The longitudinal section indicates tectonic relationship between the different elements to give the appearance of a paper, and paper-thin ends; also allowing or blocking light from entry. The ground level can be flooded since it does not contain any electrical components. The main floor is a perforated concrete slab with mesh reinforcement. It is a pressurized plenum system with radiant piping that lets warm air out of the floor.

1.KEY:Perforated concrete slab with mesh reinforcement

2. Radiant system with piping

3. Insulation TR60+ deck profile

5. Edge trim and restraint strap

6. 2 1/2”cold formed metal framing

7. Stiffener plate

8. AB/VB membrane

9. Floor diffuser for supply plenum

01 perforated concrete slab 02 radiant system with piping 03 insulation

10. A35 bracket at 12” o.c. with attachment

11.block1/2”-5/8” interior grade drywall

04 TR60+ deck profile

05 edge trim and restraint

06 2 1/2"cold formed metal 07 stiffener plate

12. Hardwood shaped block primed with shellac-based primer prior to mudding or painting. joint taped, mudded and feathered to blend.

13. 3/4” plywood brace screwed to block

14. Roof membrane

08 AB/VB membrane

09 floor diffuser for supply

10 A35 bracket @ 12" o.c

01 perforated concrete slab 02 radiant system with piping 03 insulation 04 TR60+ deck profile 05 edge trim and restraint 06 2 1/2"cold formed metal 07 stiffener plate 08 AB/VB membrane 09 floor diffuser for supply

11 1/2"-5/8" interior grade hardwood shaped block mudding or painting.

15. Low E laminated insulated glass panel

16. Channel fixed on angle cleat side-mounted to concrete

17. Fiber composite panel (beyond)

Fig 3.10.(top its lush

13 3/4" plywood brace screwed

14 roof membrane

15 low E laminated insulated 16 channel fixed on angle

17 fiber composite panel

10 A35 bracket @ 12" o.c 11 1/2"-5/8" interior grade 12 hardwood shaped block mudding or painting. 3/4" plywood brace screwed roof membrane low E laminated insulated channel fixed on angle fiber composite panel

Fig 3.11.(middle) Detail sections roof floor

Fig 3.12. Street view of the entry to the constituent museum

An air-well (wind catcher) on the mechanical level is used for fresh air-intake. In the summer and spring, the building can lift its massive garage, and interior revolving doors for cross-ventilation. The recycled paper composite panels reduce the overall carbon foot-print of the building. As a big-box loose-fit organization, the diagonal wall is the only element which truly embodies the boundary between support and the communal activities. It acts an the main agency for transforming the interior space with sunlight. The program is not prescribed but relies on the will of the community to decide what to do and when!

Fig 4.2. Sectional operative diagram of existing facades in Can Ricart

ON CONTINUITY

An artist residency in a historic district, using wood and fiberglass

Instructors: Ruben Alcolea, Fabrizio Barozzi Can Ricart, Barcelona2020

CanCHALLENGE:Ricartwas a historic textile factory in Barcelona which manufactured print fabrics in the early 18th century. Its almost village-like organization stayed intact even after the introduction of the super-block in Cerda’s plan. The emergent buildings which are not part of the old factory adhere to the street edges. But Can Ricart exists within a 4-degree orientation difference. Today Can Ricart is fragmented though it maintains its autonomy even as a ruin. Fragments of the original factory, and meandering paths between them are loved and used by a group of artists who are fighting to save the ruins. The project for an artist residency here, entertains the possibilities for an intervention that would preserve the ruins. It would live quietly and adjacent to the ruins; one which begins to have its own autonomy by drawing its spirit from the historic factory.

ThePROPOSED:proposal is made up of several buildings that are connected in a re-naturalized park. Similar to Can Ricart, the flow is from one courtyard to another, in the gaps between the elements – celebrating lightness and liminality. The roofs unify and reunite those elements into pavilions which are covered but unenclosed. To parametrize the existing characteristics into a vocabulary for the artist residency, the section and its interaction with light becomes very important. Once again, the project refers to these fragments on the site. Before they were ruins, they had the same topology, a cheap gable roof construction, and following the same roof angle. The proposal adopts this roof angle; homogenizing the exterior. But the interior is free to subdivide because of program.

Cheap and Novel Construction

Fig 4.1.(top left) Model photo showing the alignment of pavilions to the existing structures

Fig 4.3.(top right) Exterior view of the pavilions from the courtyard

Fig 4.4.(bottom right) Model photo of wood structure and its modular subdivision

Fig 4.2. Study models, drawings and photographs capturing zenithal lighting

1 two-layer corrugated aluminum sheeting with UV-screen coating, bolt fixed

2 60/60 mm aluminium profile gutter

3 facade construction: 70/200 mm larch boarding, white-stained in 25/50 mm + 50/50 mm battens fixing angle underlay 15 mm wood-based panel 40/200 timber stud construction with thermal insulation between uprights vapor barrier 15 mm woodbased panel substructure 33 mm acoustic panel cross laminated timber with slits

4 glued-laminated timer frame

5 pine planks, wate-proofed, 50/150 mm squared timer, arranged in pairs 6 8 mm laminate board

Fig 4.1.(top left) Model

1.KEY:Two-layer corrugated aluminum sheeting with UV-screen coating, bolt fixed

2. 60/60 mm aluminum profile gutter

3. Facade construction: 70/200 mm larch boarding, white-stained in areas 25/50 mm + 50/50 mm battens fixing angle facade underlay 15 mm wood-based panel 40/200 mm

4. Glue-laminated timer frame

5. Pine planks, water-proofed, 50/150 mm squared timer, arranged in pairs 68 mm lami nate board

A park is formed surrounded by trees that carve out moments for gatherings and paths for continuity. Can Ricart has two smaller pockets of courtyards with trees. Indicated in the longitudinal section, the proposed park is transformed into pavilions which are relatively low to the ground and surrounded by trees. There is an opening along the street edge to the park that leads into a main courtyard acting as entry. As for the massing, there are four pavilions on the site grouped together.

The entry to the site is along the street. There are four complexes on the site: educational pavilion, with classrooms, exhibition pavilion with galleries in the middle, and a library on the east side. There are two types of artist studios with outdoor working space which frame the entry procession into the site from the sidewalk. On the north, the artist pavilions with shop/maker space are in the middle, and on the north east, the theater pavilion has an open café. They are organized around a large courtyard that acts as a new gathering space and link to the historic part of the site. Shown in the section above, the gable roofs join, forming a shelter with zenithal light softening through the wood members. The ruins in Can Ricart possess a presence of light and shadow under their collapsed roof structures. The proposal celebrates this skeletal presence. One that does not obstruct the visual continuity of the interior space. The transverse walls have the same height as the columns always enabling views up to the celling. A soft light filters down and into the space against the corrugated roofing which is intentionally designed part transparent.

Fig 4.9.(top

Fig 4.10.(middle)

Fig 4.11.(bottom Ricart

1.KEY:Existing Can Ricart

Fig 3.9. Interior view of the exhibition space

The ruins in Can Ricart possess a presence of light and shadow under their collapsed roof structures. The proposal celebrates this skeletal presence. One that does not obstruct the visual continuity of the interior space. The transverse walls have the same height as the columns always enabling views up to the celling. And a soft light would filter down and into the space against the corrugated roofing that is part transparent.

Cheap and Novel Construction

Fig Model photo of the project mediating relaltionship between the street and abandoned rail line behind 5.3.(middle left) Aggregation logic for assembly of shipping containers

OFF THE RAILS

A center for community organizing, re-using leftover shipping containers

Instructor: Gesa Büttner Dias 2225 Southwest Dr, Los Angeles,2021CA

TheCHALLENGE:projectseeks to do what South LA did with the liquor stores campaign in late 60s. The story is about giving a new identity to what is associated with abandoned lots, and re-branding a certain blight condition for public use, here with shipping containers. LA being the largest port in the U.S. is responsible for a quarter of all shipping containers in the entire North Americas (including Canada.) They are shipped to the port, and then transported with train elsewhere. There is a certain dimensionality to the containers: the typical 8’W x 20’L x 8.5’ tall container makes them ideal for stacking. The project implements ways not by just stacking them, but by cutting them diagonally in 30 degree angles. It creates a landscape that offers public space. These units can activate vacant sites beyond just adding things like playground and sculptures. This method also allows for support spaces to happen underneath. A smallest unit of 3 could just be put up in an empty lot as a theater for an event.

OnePROPOSED:ofthestrategies of the project is a walled-off garden which creates a new datum line where everybody can go. A new public level of the city that is two-stories up and is always accessible. If the site is next to an existing buildings, you get the benefit of having some standard architecture that can house certain programs, and other non-conforming program like gathering, protesting, mourning, or graffiti walls can happen on the shipping containers outside. With a certain metric to the city and containers available, there is a need to create spaces in vacant lots that might be turned over by eminent domain. But for now, there are many lots that are on a muddy ownership and the shipping containers can be an adaptive strategy for the city to get the rights for those empty lots for a given period; let’s say for 5 to 10 years until there is a change of policy.

Re-use

Fig 5.2.(left) Aerial photograph of existing site

Fig 5.3.(right) Aggregation logic for assembly of shipping containers

1.KEYStacked shipping containers

2. Cutting the volume at 30 degrees

3. New module: landscape + space below

Fig 5.4.(bottom) Photograph of existing ship ping containers on the site

Left-over and used shipping containers

If the city decides after 5 years to build a permanent structure, the containers can get recycled / reconfigured elsewhere, hence making the city more flexible. It really becomes a kit of parts, that ultimately the client would be part of deciding/playing with its arrangement. The logic is that containers bring their own floors and can turn over vacant site without needing to do foundations. A landscape that can be created as the in-between usage in the city. Because of the relatively low weight of the shipping containers, and the modular assembly logic, the community can be very much in the process building.

Fig 5.7.(top) Model photo of the site with Center for Community Organizing (CCO) as its new beacon

Fig 5.8.(bottom left) Interior view of a work space inside a retrofitted shipping container

Fig 5.9.(bottom right) Model photo from the abandoned rail line, now integrated as passageway, and entry to the new park from neighborhood

Fig 4.10. Model photo from the abandoned rail line, now integrated as passageway

Here, as shown on the image to the left, the project mediates a relationship between the neighborhood and the abandoned rail line behind it using the found shipping containers. It becomes a new entry to the CCO complex. A new park that sits over the rail by creating four open courtyards always accessible to the public. A beacon for the community with a small museum, playground and watch tower. It proposes to renovate the existing warehouse as shop and exhibition space. The project centers the railway as an element that passes through the park. The park contains spaces for teaching, incubating sister organizations on the lower side, and creates a few residential units with space for working on the upper side.

The neighborhood would come together and decide on the assembly, or how they might want to stack them, whether to paint the shipping containers or let each container be a reminder that a community is made of constituents which are seemingly different; in color and origin. And that would they come together as individuals to a transform a blight space into a place that South LA deserves.

Re-use

Fig 6.1.(left) Study of hair movement on shower tub

Fig 6.2.(middle) Conceptual drawing of a hair-like super-organism interacting with water, shore and plastics

Fig 6.3.(right) Translation of curved-like entan gled element as typology

THE DUMB MACHINE

A recipient of Richmond Harold Shreve Thesis Award

The Dumb Machine is about how architecture can synergize a symbiotic relationship between different species that arise from humanity’s reliance on plastic. Most of our plastics leak into the ocean where they continue to slowly breakdown into toxic microplastics. This thesis proposes a park along The East River, NY to filter microplastics from water and to biodegrade polyethylene (PE) getting help from a few species. Plastic is produced by humans but ties different species together due to its long lifespan and toxicity. The policies that keep us away from recycling facilities, rarely emphasize that our current linear system only recycles about 9% of all plastic waste. Despite our best efforts to recycle, the cracks in the system let plastics degrade in the soil and eventually entering our water streams. Plastic continues to breakdown into microplastics, leaching and attaching itself to other beings and involuntarily involving them. This thesis emphasizes that if there is a project to be done about this problem, its architecture should play a role in making the entanglement of different beings with plastic visible. With rivers naturally flowing to the ocean, the thesis hypothesizes about mundane ways of filtering what is already in water breaking down, and about slowing down the rate of microplastic dispersion further into our oceans. Most importantly, this thesis proposes that mitigating the impact of humanity’s plastic problem may require a helping hand from other species. Researchers have recently discovered that the wax moth larvae (also known as waxworm), which feeds on bee wax, has the ability to digest and effectively biodegrade PE.

Thesis Advisors: Caroline O’Donnell, Curt Gambetta Randalls Island, East River, Manhattan,2021NY

Fig 6.4.(top) View of the honey bees see over the landscapes

The goal of this thesis has always been to examine the symbiotic relationship between these species. The main question that my thesis asks is that what are spatial, formal, and material consequences of operating within this multi species system. How can architecture devise this multi species collaboration in response to an especially humanderived problem like plastic?

One the main topic that this thesis was concerned with was: for whom, for what, and by whom is a multi species design for? This thesis will align itself with biologists Mark Bekoff’s question: “Does the research benefit the animal?” And if Bekoff is concerned with research, this thesis is concerned with design. ecosystem

Wax Moths, Bees, and Other Helpers

Researchers have recently discovered that the wax moth larvae –commonly known as the waxworm – which feeds on beewax, has the ability to digest and effectively biodegrade PE. PE is the most common type of plastic around the world, accounted for roughly 30% of all production, used in packaging, food wraps, shrinking wraps, plastic bags, etc. Since PE has a very similar molecular structure to beewax, it is safe for waxworms to eat it when mixed in a 1 to 1 ratio with beewax. Miraculously, the byproduct of waxworms feeding on PE is that they poop glycol ethylene which has many industrial applications – in light bulbs, eye drops, fabrics, etc.

In several scientific studies done over the course of a year, the data indicates that these little guys can eat 182 mg of PE in 1 day! It is a slow rate, though compared to us sitting around waiting for PE to biodegrade – which roughly takes between 500 to 1000 years – is an astronomical improvement! If we want to involve other species to help us, we need to go with their rate! This means that to biodegrade 1 lb. of PE, we would need 8,250 waxworms for a whole month! Wax moths are typically seen as pests! They infest on beehives and can cause the collapse of a weak bee colony. The moths prefer to lay their eggs at night and then fly off undetected. As a result, the waxworms are born inside the beehive! And soon as they are born, they are ready to take in the delicious nectar and pollen mix (the wax.) In doing so, they begin biting and eating their way through the honeycomb structure, leaving a residue of silk! Once detected by the worker bees, it is almost too late since the worker bees are unable to get passed the sticky silk! So, the waxworm thrives, and the bees cry! And the cycle of infestation continues. As the waxworms mature, they enter the pupae stage when they turn silk into a cocoon and wait to return as mature moths. The moth stage is purely for mating and wax moths are born without a digestive tract! Their sole goal is to find a soulmate and lay eggs! Moths are around for about two weeks before they die.

These are some of the rapid firings of my brain: wax moths full life cycle takes around 2 months, and even with a diet of PE + wax they are able to reproduce happily. So, we have the waxworms, and we need bees to make wax! Bees are pollinators, and need flowers, and plants. The bees and waxworms have a short but sweet life that only lasts about two months. So, we have dead waxworm, dead moths, and dead bees to use. Given that we need to have plants, they will need water. Fish needs water, and fish needs protein! What better food than dead worms, moths, and bees? Fish poops in the water that can be used to grow plants and flower! Waxworms eat PE, and poop glycol which we can use! Looks like we have a party!

Def’n. hive series of broods that honey bees make to store food and grow their young

Fig 3.3. Brood infestation of wax moths and worms

The pneumatic hair-like system that filters microplastics out of the body of water, is modeled after the mighty whale-shark, and its food filter. This incredible animal – which is unfortunately listed as an endangered species – is the embodiment of what a perfect microplastic filter would look like! The pneumatic hair system is made up of series of sieve-like filters, and an inner core to suction the mixture of water and microplastics in. The linear nature of this system takes advantage of water buoyancy to float in and above the riverbed, ensuring that it is exposed to different size particles of microplastic.

Fig 6.5.(top) Various research excerpts taken from Thesis book: The Dumb Machine - All Graphics developed during thesis semester by author - 2021

Fig 6.6.(bottom right) View of Dumb Box no.1 as it pertains to biodegrade

Fig 6.7. (left) Various research excerpts taken from Thesis book: The Dumb Machine as it pertains to siting and water pollution - All Graphics developed during thesis semester by author - 2021

This thesis hypothesized how to stop and slow down the rate of this flow from entering the oceans! Even if we successfully slow the current flow of plastics, what’s already out there now, will continue to breakdown into smaller and smaller pieces because of plastic exposure to the waves, and salt! This cycle will continue for decades! The plastic almost never goes away. It will only get smaller turning into what is known as ’microplastics.’ The spirit of the thesis deals with mundane ways to filter microplastics, and other size polyethylene out of the water flow to cofeed the waxworms.

Feeding by Upending

THE64

Fig

PE is the most common type of plastic around the world, accounted for roughly 30% of all production, and is used in packaging, food wraps, shrinking wraps, plastic bags, etc. Since PE has a very similar molecular structure to beeswax, it is safe for waxworms to eat it when mixed in a 1 to 1 ratio with beeswax. Miraculously, the byproduct of waxworms feeding on PE is that they poop glycol ethylene which has many industrial applications – in light bulbs, eye drops, fabrics, etc. For this thesis, an ecological closed-loop is the necessary means to mediate the relationships between the species involved. This thesis recognizes that before orchestrating a circular economy of resources, it must address the well-being of its constituents. It approaches other species not as laboratory instruments or variables, but as full beings that either thrive or suffer when they encounter plastic. Plastic biodegradation binds us together: wax moths, honeybees, plants, fish, and humans. How can every species in this loop benefit, not just the human? And how can architecture devise a multi-species collaboration in response to an especially human-derived problem like plastic, is the main question that this thesis will unpack. The language of architecture herein is carefully curated of curves and loops showing the entanglement of a multispecies co-habitat. Its proposal, a series of water ways, and hair-like pneumatic system to catch microplastics. Elevated landscapes for bees and flowers, enclosures for waxworms below, and pools for fish; a social engagement around plastic biodegradation that opens itself up to the public, nested in a New York city’s baseball park.

The pneumatic hair-like system that filters microplastics out of the body of water, is modeled after the mighty whale-shark, and its food filter. This incredible animal – which is unfortunately listed as an endangered species – is the embodiment of what a perfect microplastic filter would look like! The pneumatic hair system is made up of series of sieve-like filters, and an inner core to suction the mixture of water and microplastics in. The linear nature of this system takes advantage of water buoyancy to float in and above the riverbed, ensuring that it is exposed to different size particles of microplastic.

Fig 6.8.(top) View of what the fish sees under the water

Fig 6.9.(middle) Diagram of the pneumatic system

Fig 6.10.(bottom) Diagram of the Whaleshark’s food filter

SUCTION

WATER REJECT MICROPLASTIC CAPTURE

Fig 6.12. Model photo of tesla valves, optics sortation and desalination process as seen by a bird

BUNCHING GROWING BRANCHING PUSHING PULLING PEELING

Using Bernoulli’s law of fluid dynamics, the particles travel from a higher pressure to lower as the water is rejected outward, capturing only the microplastics. Simple physics and an incredible natural organism like the whale-shark are probably all we need to make a nifty microplastic catcher! The particles then travel from the pneumatic system onto to a series of conveyor belts where they are desalinated, dried and made ready to be given to the

Threewaxworms.teardrop

shaped islands, modeled based on the design of a tesla valve direct the flow of water. Tesla valve is a rudimentary but brilliant play of geometry with no moving parts. Because of this geometry, water inherently flows over and onto itself, allowing different sizes of plastic to get caught in series of trawling nets. Biasing the entry and exit channel dimensions ensure a natural but slowed-down flow of water from East-River to Bronx Kill. Then, a series of conveyor belts sitting over the tesla valves collect every debris, small, medium, and large plastics for optics sorting and desalination.

What is not PE gets rejected, collected, and shipped out of the site for further recycling via cargo ships. The facility is made open for the public to view. It allows visitors to take notice of the plastics collection and biodegradation. PE is collected in one large granulator building to get shredded and combined with microplastics captured in the pneumatic system, and made ready to get sent to our beloved waxworms.

Fig 6.13.(bottom left) Generative operations to site development, and massing

Fig 6.14.(top) View of what the visitors see walking along the park

Fig 6.16.(middle) Section through the Tesla valves, and the granulator building

Fig 6.16.(bottom) Diagram of the Tesla valve bi-directional flow

a. Wax + plastic feed

b. Shaking mechanism lets moth fly upward to mate and lay eggs

c. Moths will mate and lay eggs

d. Eggs hatch / new worms

e. Dead moth/worm gets collected in series of sieves

f. Biodegraded PE, non-PE and worm poop (glycol) is released into a water chamber

g. Series of filters separates the rest of non-PE plastic onto a conveyor belt to recycle

h. Reverse osmosis system separates glycol from water

h. Along the building envelope, RO water and fish poop is pumped for aquaponics’ use

Fig 6.17.(top) six-step process of biodegrada tion using waxworm

Fig 6.18.(bottom left) Section through the waxworm enclosure within the park

Fig 6.19.(bottom right) Model photo of the green roofs over the waxworm enclosures

The pneumatic system reveals itself as a handrail that carries the plastic feed into the waxworm boxes. Workers and caretakers mix wax with plastics into the feed. The worms will choose for themselves, eating PE and leaving the rest out. What is left uneaten is then flushed into a water chamber. Biodegraded PE and other microplastics get separated through a series of sieves, while the worm poop gets solved in water. Water is flushed into a Reverse Osmosis second filteration system (RO) for separation and cleanse. Glycol which the main byproduct of biodegradation is then stored in tanks. The left-over plastics and microplastics are sent below the ground onto a conveyor belt for further recycling. Waxworms are safely enclosed and temperature-controlled! The visitors are allowed to get to a very close proximity of the worm boxes, and get to hang out with them.

Fig 6.20.(top left) View of what the waxworms see

Fig 6.21. View of the honey bees see over the landscapes

Over the roof of the peeled-up waxworm enclosures, the bees live in and around the elevated landscapes enjoying the flowers, and open air. To enhance the feeling of being part of this biodegrader, the park creates winding paths of green walls which are in fact nested over the RO system second water filter. A series of pipes also connect the bypass water from the fish pools which is saturated with nutrients of fish poop! Full of hydrogen, this water is then allocated over the RO trellis-like structure to grow plants, flowers, and food! Visitors and constituents from the community would take part in taking care of the plants. The project acts as series of elevated landscape and paths which wrap around the baseball fields. It connects back to the existing park and extends over the water as piers demonstrating a new vision for biodegradation.

Fig 6.22. Longitudinal section through the park

Fig 8.1.(top) Axonometry of two individual chairs rolling

Fig 8.2.(middle) Photo of the RRRolling Stones [photo credit: HANNAH OFFICE - 2018]

Fig 8.3.(bottom) Visualization of a single chair rolling in elevation

TOOL-PATH AS FABRICATION

Machine-informed process for ‘drawing’

Office: HANNAH + RCL

Project Lead: Leslie Lok and Sasa Zivkovic

Project Design: Freddo Daneshvaran Cornell University, Ithaca,2019NY

What is the difference between a 3D printed project and its 3D printed drawing when the tool-path is the constant do-er? When the only difference between the two is a small shift in z-axis – one creating three-dimensional layers through corbeling concrete, the other, simply “draw”ing the same lines with ink on paper – then, we blur the boundaries between the act of making and representing. Two RRRepresentations, two FFFabrications (2019) explores printed creations in ink. “It closely examines the link between machine-informed prototyping and process-informed representation”(Zivkovic - 2019).

The fabrication of the RRRolling Stones project (2018) is informed by a subtle manipulation and transformation of 3D printer tool-paths. The 3D printer continuously deposits layers of concrete from a nozzle, ‘drawing’ concrete lines three-dimensionally. By developing an endefector to hold a pen instead, the tool-path is arguably able to draw the most accurate representation of the fabricated object. When the material “drawing” of the machine is already the fabricated object, then which is the physical “artifact”? The 3D concrete chairs or the 2D ink drawings?

Fig 8.4.(top left) Chairs rolling as seen from above

Fig 8.5.(top right) Drawing of a single chair

Fig 8.6.(bottom) Photograph of the machined endefector attached to the robotic concrete printer

Fig 9.1.(top) A mounted chainsaw on the robotics arm slices logs into curved panels [digram credit: HANNAH OFFICE - 2020]

Fig 9.2.(middle left) Interior and exterior images of the full scale project taken upon completion in August 2019

Fig 9.3.(bottom) Section of the cabin. Assembly of wooden panels over the 3D printed concrete [drawing credit: HANNAH OFFICE - 2020]

ASHEN CABIN

A tiny cabin with wavy wood cladding that would otherwise be infested

Office: HANNAH + RCL

Project Lead: Leslie Lok and Sasa Zivkovic

Project Assembly: Freddo Daneshvaran Cornell University, Ithaca,2019NY

Ashen Cabin is an embodiment of digital design, and digital fabrication. The tectonic articulation is the result of a mounted chainsaw that is programmed to cut wooden logs in angle, curving them ever-so-slightly to form panels when staggered. This method of fabrication will serve as a new language for prototyping and construction. Below is my entry from a day at the Robotic Construction Lab where we dry-fitted the frames and panels prior to assembly on our site:

“Spread across in a 20’x20’ area of the warehouse, covered with saw-dust we laid the sliced pieces of ash on the floor. The Instruction is simple: let’s make panels that would match the curvature of the neighboring panels. What neighboring panels? Well... same logic, except they also do not exist. To make things more complex, there always is a front and a back, a top and a bottom panel, and of course the distance between each slice that is staggered to highlight curvature of ash pieces. The best Jingxin and I had to work with is the rhino model, a couple tape measures, and a high appetite for risk to get through about 15-16 piles of stacked wood. All we knew is that the ground is flat, so what’s laid on the ground is curved; let’s get to work. This was a step before dry-fitting the panels that had to be done off-site. It meant that we had to invent ways to calibrate how the curvature of each panel impacted the overall look of the interior panels and exterior facades when aggregated, all without really seeing the results.”

Fig 9.4.(top left) Exterior view of the alcove window against with bacon-strip wood paneling [photo credit: HANNAH OFFICE - 2020]

Fig 9.5.(top right) Charcoal illustration of wood panels drawn with robotic arm

Fig 9.6.(bottom) Photograph of dry-fitting and assembly in warehouse

Fig 9.2.(middle) Photographs of assembling Flouvers

Fig 9.3.(middle) Unrolled elevation of the entire fence indicating the areas of hide or reveal

Fig 9.4.(bottom) Axonometry of the fence

STEP 3: Gluing and clamping

STEP 2: Rotating fins

STEP 1: Milling plywood

Fig 9.1.(top) Diagram of 3-step fabrication and assembly for Flouvers

OPEN VIEWS

FLOUVERS

An Ecological Action Lab (EAL) research into fabrication with no waste

Project Lead: Caroline O’Donnell

Project Design & Fabrication: Freddo Daneshvaran

Lead Shop Coordinator: Kurt W. Brosnan Cornell University, Ithaca,2021NY

VIEW

Flouvers or “Facade+Louvers” is an EAL on-going research that questions traditional methods of digital fabrication with a 3-axis CNC machine. Fundamentally, using the CNC machine for milling sheet materials is no different than using a laser cutter: the sheet lays flat on the machine bed, as bids (or laser) engrave and cut information into the sheet; leaving left-over borders that would typically go to waste! For Flouvers, the CNC machine’s tool-path is the main fabricator. By testing, calculating the speed and direction of bid rotation for each cut, the milling process is able to produce no waste! Here, triangular fins are engraved and cut out of 3/4” sheets of plywood. Then, the fins are rotated, and glued in-place perpendicular to the very sheet they were cut from. The entire sheet of plywood is then mounded over the deck as a fence, where the parametrically design of the fins hide or reveal views.

Flouvers as an on-going research will continue to test the application of said operation at a larger scale for other sheet materials like steel and aluminum. The goal is to parametrically design a full exterior enclosure that would act as an ideal sun-shading device to minimize and maximize solar gain where desired.

Fig 9.5.(top left) Photograph of sunlight inter acting with fins

Fig 9.6.(top right) Photograph of one corner detail and wood joinery

Fig 9.7.(bottom) Diagram of hide or reveal strategy

Fig 9.8. Photograph of Flouvers’ scalloping in concert with hardware

Fig 9.9. Photograph of Flouvers upon finishing installation in July 2021 indicating how the fins hide and reveal views

Fig 10.1.(top left) Top view of Friendship WC

Fig 10.2.(middle left) Diagram of how Friend ship bottles form an interlocking module

Fig 10.3.(bottom left) View looking at the chan delier modules

Friendship WC (Water Chandelier)

An Ecological Action Lab Installation for Tallinn Architectural Biennial

TAB 2022 Curated by: Lydia Kallipoliti and Areti Markopoulou

Director: Caroline O’Donnell Project Lead, Design & Fabrication: Freddo Daneshvaran Team: Kate Heath, Ann Ren, Amber Su Design Advisors: Martin F. Miller, Iris Ma Cornell University, Ithaca,2022NY

By 2030, almost half the world’s population will be living in areas of high water stress. Already, around 700 million people in 43 countries suffer from water scarcity. And while in some parts of the world, the entire daily ration of water is equivalent to a single flush of perfectly potable water in North American and European toilets. In 2019, the global production of plastics reached 368 million metric tons/year, around only 9% of which is recycled. Friendship Products engage with the issue of plastic waste by reconsidering the function of a bottle after its life as a vessel. After use, each grooved bottle can slot together with another to become bricks to create shelter. The Friendship WC (water chandelier) uses the Friendship Bottles to consider together the wastefulness of our throw away culture, and in particular the connected materials of plastic and water. Using Friendship Bottles as both bricks and vessels, Friendship WC will release one person’s daily flushed-away potable water in each release.

Fig 10.4.(top right) Diagram of an average person’s water usage

Fig 10.5.(right) Photograph of mock-up show ing the chandelier modules

Fig 10.8. Chandelier from top and bottom

Friendship WC will stack the bottles around a pool to form a bench and a vertical surface to conceal the circulating water. Using a Japanese Shishi Odoshi balancing technique, suspended bottles will rotate to release the water and return to center to be refilled, in a constant loop. The tipping of each bottle will affect its neighbors to create a continuous collective array.

1.KEY:Friendship bottle

2. 0.157” clear corrugated plastic wuffle Inflatable pool 5/8” OD drain pipe Utility pump 6. 1/4” ID bungee hoze 3/16” steel tubing

8. PLA fixed with bearing

9. Counter-weight and welded1/8” metal rod

Fig 10.9.(top right) Section through bench and assembly

Fig 10.10.(middle) Shishi Odoshi module

Fig 10.11.(bottom right) Test mock-up of corru gated plastic supporting the weight of person of The Function of Objects

Fig 10.12. Photo of Friendship WC at The 6th Tallinn Architecture Biennale

Visitors to the exhibit are asked to consider two questions. The first, posed by Friendship: What if a bottle never ended up in the ocean? And the second, by EAL: What if we didn’t flush 40L of water every day? “The water that we flush is perfectly drinkable,” adds project leader Freddo Daneshvaran (M.Arch ‘21). “Instead of perpetuating this problem, architects might consider designing systems that reuse greywater, which would not only reduce our freshwater consumption, but also reduce the load on sewage systems and the energy used in the distribution and processing of both.”

“The chandelier is a mesmerizing spectacle that draws you in,” says O’Donnell. “After the first superficial but gratifying snapshot, viewers may invest more time to understand the intricate and dynamic mechanics, and, through that engagement, they may consider the provocation to rethink their own behaviors as global citizens and designers.”

Re-imagining of The Function of Objects

Fig 10.13.(top right) Photo to Friendship WC taken from above.

Photo credit (left and right): Dakota Pace

Fig 10.14. Photo of Friendship WC at The 6th Tallinn Architecture Biennale, titled “Edible; Or, The Architecture of Metabolism,”

“It was important for us not only to consider the second life of the plastic bottle as a building block, but to zoom out and think about the context that might be motivating that transformation,” says EAL Director Caroline O’Donnell. “The situation in which these bottles may be available and desirable for use as bricks suggests a concurrent water crisis. This was an opportunity to push beyond questions of plastic waste alone, to consider our wasteful behaviors around other resources, and provoke thoughts of alternative systems of reuse and redesign.”

The 6th Tallinn Architecture Biennale, titled “Edible; Or, The Architecture of Metabolism,” explores architectural strategies of local production, self-sufficiency, and operations that use by-products of urban life, replacing the traditional linear systems of “make, use, and dispose” with circular systems that aim to limit material and resource loss.

Re-imagining of The Function of Objects