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Phallic Inanity, Platonic Loft: Koolhaas in the Age of Baudrillard 3 HEZBOLLAH CORNICHE: IDENTITY PROJECTION IN THE CIVILIZATION OF THE RESISTANCE (Mark Wasiuta) 5 DESERT EXPO: OR, HOW I LEARNED TO STOP WORRYING AND LOVE THE TRAIN (Laurie Hawkinson) 53 FARM 89 Miami New Ground 93

Enclave Tectonics

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Functional Contexts: Juan O’Gorman, Rudolph Schindler, and True Organic Architecture 101 THREE MONUMENT MACHINES FOR WASHINGTON D.C. (INSTAURATIO) (Janette Kim) 105 CATABOLIC ANABOLIC: HOUSING FOR URBAN EDGES (Robert Marino) 137 Dissolving the Institution 165 AntiWindChime 171

Social Apertures

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RECORD: ETERNAL MEMORY BANK (Karla Rothstein) 179 SOCIAL CONDENSER “OVERSIGHT” (Mark Rakatansky) 197 CIRCULATOR: PUBLIC WASHROOM (Mark Rakatansky) 205 Vectoring the Oblique 209 Bronx Studio Gallery 213 VI V IV III II I 

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Phallic Inanity, Platonic Loft: Koolhaas in the Age of Baudrillard

HEZBOLLAH CORNICHE DESERT EXPO FARM Miami New Ground

Phallic Inanity, Platonic Loft: Koolhaas in the Age of Baudrillard Mary McLeod The Politics of Space

The China Central Television (CCTV) Tower may well be the project that catapulted OMA and Rem Koolhaas into the global consciousness: the tower’s unorthodox design, coupled with Koolhaas’ and Ole Scheeren’s grandiose commentary undoubtedly held a polemic allure. But what is the Tower? Is it a capitulation to the influence of money over free speech and democratic politics? Is it a purely formal critique, as OMA suggests? Or is it something else altogether – a totem of a culture that has run out of external adversaries and only produces a series of increasingly shallow references? Jean Baudrillard diagnoses the contemporary zeitgeist as one of “implosion” – an increasingly derivative series of references that masquerade as originals, buckling society under its own self-weight.

Baudrillard sets forth his analysis of implosion on the backdrop of the sensational arrival of the Centre Georges Pompidou in 1977: an unintentional monument heralding the death of culture. The commoditization of culture, and the subsequent consumption of culture as yet another consumer product, finds a willing architectural partner in Renzo Piano and Richard Rogers’ structure. Culture is created to be broken down, replaceable, spoon-fed to the eager masses to absorb through repetition and visible acts of association with the arts, and then demand a second helping of the same. For Baudrillard, true culture is anathema to this model: it cannot be duplicated through simple multiplication - culture needs to expand and absorb externalities to truly produce something new. Within the closed loop of established culture, art-as-critique only exacerbates this dilemma, as these derivatives are consumed just as the originals, further metabolizing the original and diluting its presence in mass consciousness.1

The result of a culture in this stasis is a “hyper-culture”: “a critical mass that is no longer tied to specific exchanges or to determinate needs but to a kind of total universe of signals”.2 At the apotheosis of Western culture, symbols are not produced anew. Instead, an endless series of referential works circulates and reverberates within a massive echo chamber and digested by the masses without metabolizing.

Western culture has reached the outer bound

of its creative territory, and now it must recycle pieces of itself to mollify its consumers.

CCTV epitomizes this cultural rigor mortis. Rem Koolhaas is of Baudrillard’s generation and they share a rough geographical proximity – both men share an interest in the failures of the May 1968 Revolution and the downfall of “mainstream” radicalism prevalent in both Europe and America during the 1960’s.3 Koolhaas even makes direct reference to Baudrillard’s hyper-culture, calling for a contracted “hyper-architecture” in his seminal polemic “Bigness”.4 In many respects, when Baudrillard describes the characteristics of the Pompidou that should have been, he is foreshadowing CCTV: “equal to the phallic inanity, in its time, of the Eiffel Tower. A monument to total disconnection, to hyper-reality, and to the cultural implosion actually created by transistor networks continually threatened by a huge short-circuit”5

Beating out a panoply of international luminaries for the mammoth government commission, Rem and Ole Scheeren proposed a daring structure equal to the stakes of the moment, proclaiming the death of the Western skyscraper.6 Through this death, Rem obliges to “liberate hundreds of other architects, good and bad as usual, to be more experimental and to surrender less to a dictatorship of gravity”7 – and there is no doubt the alternatingly soaring and circuitous fluid form of the iconic structure performs exactly such an act of defiance against the forces of physics. Its dual towers soar (despite the rhetoric to the contrary) to 755 feet before cantilevering out to meet each other, floating in space some 500 feet above the ground. Within, the tower hosts the mammoth broadcasting apparatus of the China Central Television propaganda machine, delivering deterrent culture to its captive audience of 1.3 billion.

The continuous rhomboid tube serves a triple purpose, uniting architectural polemic, programmatic efficiency, and structural integrity.

Broadcasting functions are strung together as a continuous loop instead of fragmented across floors, and Arup’s famous diagonal structure spills and pools across the façade in relation to the structural forces at play. In a rare move for skyscraper construction, and rare as well for the notoriously detailing-averse firm, OMA took direct control of the furniture and interior designs throughout the structure, accommodating the entire range of private, public, specific, and general functions.8 Merely by existing, the tower is an impressive feat of engineering.

3

Baudrillard, 13, and Rem Koolhaas, “Bigness” in S,M,L,XL. (New York, Monacelli, 1995), 504.

4

Koolhaas, 516.

5

Baudrillard, 4.

6

Quoted in Ravenscroft, Tom “OMA’s Beijing CCTV Headquarters named world’s best skyscraper

Unfortunate, then, that the building cannot live up to its revolutionary billing: the entire endeavor is one self-referential Klein Vase – a Mobius Strip given volume. In search of his trademark “bigness”, Rem focuses exclusively on program, providing ample space for maximum productive collisions, mico-aggressions and collaborations between differing functional units.

However, it would be a stretch to say that these squabbles fit the definition of “liberating violence” Baudrillard desires, after all, the show (literally) must go on. Rather, they produce only their own self-weight, a collective treadmill of references, feedback, and controls in a reactionary cycle that develops nothing but implosion. The building itself is even consciously designed as a closed loop: there is no chance of a short circuit here.9

In short, if cultural violence can be liberating, then the death of the skyscraper is not a liberating murder. Koolhaas claims to have rethought the skyscraper, yet how much has truly changed? If all of the floor area of the bent tube were stacked instead, the resulting tower would rise 2,300 feet.

Even as built, its modest scale is a relative proposition – if it were located in San Francisco or Los Angeles, it would be the 5th-tallest building in the entire state of California.10 Koolhaas does not operate in the proactive field of liberation: his manifestoes are “retroactive”, and his image of the future of architecture (Bigness) is a self-described “retreat and concentration, yielding the rest of a contested territory to enemy forces”.11 As such, any increased latitude he claims to offer other architects through CCTV is neutered on arrival –successive transgressions (Steven Holl’s Vanke Center, Michael Maltzan’s One Santa Fe, or even his own Interlace in Singapore) are more alike their vertical kin than different. Skyscraper construction continues unabated, having absorbed the CCTV and its derivatives with little more than a ripple. Despite its revolutionary rhetoric, Rem’s architecture remains a narrow response to the context of his adolescence, and the CCTV tower does not escape this paradigm. CCTV is an answer to the challenge of the Western skyscraper, designed by a Westerner, and dropped into a megalopolis dominated by Western-designed megaprojects: this is redistribution, not revolution.

It is precisely this false revolution that makes the CCTV such a remedy to Baudrillard’s diagnosis of what the Centre Pompidou should have been: Koolhaas could not have created a better architecture of implosion and cultural stasis if he had tried. In place of a sterile museum; a dramatic form that guarantees instant reaction (its nickname among Beijing locals is “the big pants” – and somewhat less flatteringly, the smaller OMA-designed tower behind it

1 Baudrillard, Jean, with Rosalind Krauss and Annette Michelson. “The

“. The Architect’s Journal, 8 November 2013.

9

Baudrillard, 11.

Beaubourg-Effect: Implosion and Deterrence”. MIT Press, 20 (1982): 5.

7

Quoted in Ivy, Robert. “What Might Have Been”. Architectural Record, vol. 194 no. 6 (2006): 21.

10

Pearson, 86.

2 Baudrillard, 8.

8

Pearson, Clifford A. “Too Big to Fail?”. Architectural Record, vol 200 no 11 (2012): 86.

11

Koolhaas, 511.

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The Politics of Space

is “the penis in the big pants”).12 Rather than a loose homage to flexibility and the free plan; a highly-structured warren of broadcasting equipment fed into a continuous loop. Instead of Modernist visibility and spectacle within a glass box; secrecy and misdirection behind a mirrored facade that expresses a structural, rather than programmatic, logic. No more fitting architectural statement than a built polemic could serve as a monument to hyperculture, and no more fitting tenant than the CCTV should be housed there. Rather than a dead interior, as Baudrillard suggests, why not fill the structure with the very agents of cultural deterrence and implosion?

than a propagandic mediathèque. How fitting indeed that CCTV can tell you with extreme conviction what it is not, and yet remains conspicuously silent about what it is? 30 years after the Beaubourg first heralded the exhaustion of Western cultural energy, the CCTV Tower marks its complete cardiac arrest, descending into the self-referential, post-everything morass with the headstone it truly deserves. A true Beaubourg rises, not along the Seine, but astride Beijing’s Third Ring Road.

Just as the Eiffel Tower cemented perceptions of Gilded Age largesse, there is no better epitaph for Koolhaas’ and Baudrillard’s generation 12

Hornsby, Adrian. “Cameras - And Blame -Turn to CCTV as its Burning Building

Heralds the New Year”, The Architectural Review, vol. 225 (2009): 44.

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HEZBOLLAH CORNICHE: IDENTITY PROJECTION IN THE CIVILIZATION OF THE RESISTANCE Critic: Mark Wasiuta Advanced VI

Hezbollah has occupied Beirut’s southern suburbs since the Lebanese Civil War. Weathering numerous political upheavals, the character of this enclave has endured ever since.

Now a target of ISIS’ car bombs, Hezbollah must adapt its territorial identity once again. Hezbollah Corniche arrays the organs of the welfare state as mediating surfaces within a vibrant public zone: reifying the Civilization of the Resistance through the flow of politicized bodies and the delivery of social service.

The Balance of Power Lebanese parliament is divided evenly along religious lines: 60 delegates for Muslims and Christians.

Shi’a Shi’a

Pan-religious blocs dominate the chamber, with Hezbollah’s currently in the minority, but Hezbollah itself controlling a commanding 24 seats, almost half the total Shi’a allocation.

Hezbollah has used its highly developed political structure to continually exert control over Lebanese politics even after the withdrawal of Syrian troops in 2007.

In Beirut itself, Hezbollah controls a swath of the southern suburbs, the Dahiyeh, comprising some 750,000 citizens. Hezbollah governs its identity within this sector through two primary mechanisms.

Sunni

Greek Orthodox

Druze

Greek Catholic

Alawite

First, the behavioral feedback loop provides subsidized social services in return for conformity to social norms and political support at the ballot box.

Maronite

Protestant

Other Christian

March 8 List (57)

March 8 List (59 Seats)

Armenian Orthodox

Armenian Catholic

March 14 List (71)

March 14 List (71 Seats)

Second, the cadastral place-making apparatus run by the Information Unit claims and marks urban territories for the Party, ensuring a clear graphic and built identity for the sector.

2005-2009 2005-2009

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2009-2013 2009-2013

2013-2014 2013-2014

2014-2015 2014-2015

Beirut City Limit

The Dahiyeh

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Behavioral Feedback Loop At the personal level, the behavior loop’s surveillance role is executed by the Volunteer Sisters ( a network of women embedded within the Dahiyeh’s apartment blocks), religious leaders, and the khaliyyat, gangs of locals Hezbollah uses as its’ eyes and ears neighborhood to neighborhood. These are the primary monitors of behavioral anomalies: access to Hezbollah social services is adjusted accordingly.

Because of the weakness of the central government, all political parties in Lebanon provide their own social safety net, with varying success. Hezbollah’s is universally recognized as the largest and best-run.

Voting augments this primary surveillance mechanism: due to quirks in Lebanese voting laws, vote buying is a semi-official modus operandi nationwide, with family units often pooling their votes together to sell as a bloc to political parties in return for services.

The sum total of this loop is access to the world of Hezbollah social services, encompassing schools, hospitals, religious organizations, micro-credit, construction, media, youth scouts, and other charities.

Above: Hezbollah surveillance and voting mechanisms.

Facing: Hezbollah services network.

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Dental Clinic

Education Unit Martyr’s Fund

Consultative Center for Studies and Documentation

Khomeini Support Center

Al-Manaar TV Station

Civil Defense Jihad Al-Binaa Hezbollah Youth Scouts

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Claiming the Dahiyeh This system is contained and augmented by the cadastral place-making apparatus, which serves to reify Hezbollah’s presence in the city, providing a vital psychological service.

At its most basic, the Information Unit renames streets within Hezbollah territory in the honor of party leaders or famous martyrs, and coordinates the activities of the Graphics Unit which produces the prolific party billboards and banners that cover the buildings of the Dahiyeh.

Of the two systems, however, the placemaking apparatus is the most vulnerable to volatile externalities: after Israel bombed much of the Dahiyeh in 2006 in a vain effort to decapitate Hezbollah, some 300 buildings in the neighborhood of Haret Hreik were in ruins.

Above: Signage and place-making.

Facing: Buildings destroyed by Israeli bombs, Graphics Unit publicity at work..

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Wa’ad Initiative: An Enclave Rebuilt Eschewing state-offered reconstruction, Hezbollah called for its’ citizens to donate their reparations funds to them in return for their old buildings back, with the same apartments as before and a nominal improvement in amenities, although requests for increased urban green spaces were ignored.

The Wa’ad Rebuild Project (overseen by the Hezbollah-controlled contractor Jihad AlBinaah) was completed in a mere five years, returning Haret Hreik to its pre-war condition almost exactly. This exercise in control over the city fabric illustrates Hezbollah’s ability to deny the natural, organic progression of the city read large and anchor large swaths of territory within its’ system politically and physically.

The urban character of the Dahiyeh is the direct result of these two systems: densely packed with political bodies and surrounded by the relentless tide of party symbols, the Dahiyeh is an almost unbroken fabric of beige concrete apartment block voter silos existing only to perpetuate and project the Hezbollah identity, while the state itself (Hezbollah) remains mostly underground and distributed in reaction to the Israeli bombing.

Above: Wa’ad Rebuild publicity.

Facing: Dahiyeh after reconstruction.

Following: The Civilization of the Resistance revealed.

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Hezbollah Corniche A second re-making of the Civilization of the Resistance, Hezbollah Corniche arrays the organs of Hezbollah sovereignty in the form of mundane social services (a maternity ward, satellite education facilities, a food cooperative, and a cemetery) in a secured public zone.

A spate of recent car bombings by Sunni militants presents a novel challenge the cadastral apparatus.

Unlike the Israeli bombing, the psychological toll of the car bomb presents a situation in which simple rebuilding is not necessarily sufficient.

Although the bombs are targeting Hezbollah offices, their effects on urban activity and the economic vitality of the neighborhood persist after reconstruction ends.

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Bahman Hospital

Education Unit

Islamic Food Co-op

Martyr’s Complex

Car Bomb January 21, 2014 Car Bomb January 2, 2014 Car Bomb July 9, 2013

Car Bomb August 15, 2013

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Crowd Architectures Providing functional public space is a fraught political issue in Beirut as a whole: chronically overbuilt, access even to existing public spaces is generally restricted out of fear of Hezbollah.

Were Hezbollah itself to construct a public space, it would be a tremendous propaganda asset declaring their influence, security, and control, as well as a much-needed amenity for Beirutis.

The Dahiyeh is routinely the site of mass processions, both political and religious, from the remnants of Mar Yousseff’s Maronite Christian congregation to the million-strong draw for the Shi’a holiday of Ashura.

Leveraging this asset to fix the Dahiyeh in space and time satisfies Hezbollah’s political and psychological ends. Instead of spatially anonymous zone of publicity, the project seeks to create an urban morphology intimately associated with the Civilization of the Resistance.

Above: Can you name these cities?

Facing: Hezbollah Crowd Architecture.

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Spatially Anonymous

Spatially Specific

5,000 Persons

Mar Yousseff

400,000 Persons

Martyr’s Complex

1,000,000 Persons

Al Hassanain Mosque

Million Man March, Washington D.C.

Tahrir Square, Cairo

Cedar Revolution, Beirut

Iraq War Protests, New York Bank of America Stadium

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The Consequences of Sandbag Urbanism The immediate result of the car bombs mentioned before has been the ad hoc fortification of storefronts with sandbags, in an effort to entice shoppers and protect assets.

Hezbollah corniche uses this material as the foundation for its’ own embankments.

Occupying a series of city streets, the Stadium’s floor both secures the structure from car bombs and literally fixes Hezbollah into the foundations of the city.

This sand network stretches from the Al Hassanain Mosque to the Martyr’s Complex (Hezbollah’s only extant “civic” building), and comprises four distinct zones.

Above: Dahiyeh storefronts post-car bombing.

Facing: Sand Trap.

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Decking

Steel Beams

Sand

Entrance Bars

Obnoxious Footings

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Entering the Corniche

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Mediating Surfaces

Bahman Hospital Birthing Center

The Academy

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Islamic Food Cooperative

Martyr’s Complex

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Mediating Surface I: Birthing Center Extending from the basement of Bahman Hospital into the daylight, the birthing center can accommodate all of the likely births in the Dahiyeh in a given week, providing new parents with single rooms and daylight.

Above, a grandstand marks the formal entrance to the Stadium, and shades a large platform of grass between Al Hassanain and Mar Yousseff.

Isolated structurally and acoustically, these display cases provide comfort for the newborn and visibility for parents and healthcare professionals, while projecting a crystalline network of glass towers through which crowds filter above.

A

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Above: Birthing Center axonometric.

Center: Transverse sections (grandstand and nursery).

Facing: Birthing Center Crowd Architecture.

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Above: Site plan.

Facing: Nursery plan.

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Above: Nursery interior.

Right: Grandstand.

Facing: Birthing Center mediating surfaces.

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Mediating Surface II: The Academy The Academy offers a series of satellite Education Unit facilities for existing Hezbollah schools. Each node holds two classrooms, and creates a roof topography for outdoor lectures, events, and spectatorship.

The Academy is also a projective intervention, providing tech hub satellite facilities to educate the next generation of Hezbollah operatives, as well as several auditoriums which can be used for cultural or educational purposes, paired with video recording stations for Al Manaar, Hezbollah’s satellite television channel.

Mediating surface is the topography of the roofs, which sit astride large crossing points in the structure.

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Above: Academy axonometric.

Center: Transverse section.

Facing: Academy Crowd Architecture.

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Above: Classroom interior Right: Procession paths Facing: Academy mediating surfaces.

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Section Taxonomy

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Mediating Surface III: Islamic Food Cooperative Crossing an existing overpass above and below, the Islamic Food Cooperative introduces a more vertical market typology.

Four levels of walkways snake between 4 volumes, with a triple level pedestrian overpass carrying the Corniche across the motorway.

Each market volume is held aloft by a series of structural shelves, clad in a simple metal screen, placing both commodities and shoppers as propagandic objects to passing cars.

The mediating surfaces of the Coop respond to this unique observational relationship of car at highway speed and pedestrian.

Stacking the shelves provides necessary height to place shoppers at the car’s level, while the use of mesh instead of glass on these upper levels reduces glare and ensures visibility of shoppers from all angles at all times. The triple level bridge displays any massed crowds to cars in the vertical plane, more easily read as vehicles pass below.

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Above: Islamic Food Coop axonometric Center: Transverse section Facing: Food Coop Crowd Architecture

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Above: Site plan.

Facing: Shop plan.

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Above: Co-Op interior.

Right: People Billboard.

Facing: Co-Op mediating surfaces.

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Mediating Surface IV: Martyr’s Complex The new Martyr’s Complex bookends the southern end of the corniche, providing a large assembly area and a series of burial vaults.

Death has a peculiar place within the Lebanese political economy: in the absence of a functional state, a census has not occurred since the 1940’s, thus all voters are registered where their family was living during that time.

Those citizens who wish to change their registration and be buried in the Corniche are laid to rest in a chasm of burial vaults faced by a travertine ledge. Separated by a grass berm and a slight sectional depression, a modicum of quiet and solitude is achieved.

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Right: Martyr’s Complex axonometric.

Center: Transverse sections (cemetery and amphitheater).

Facing: Martyr’s Complex Crowd Architecture.

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Above: Cemetery viewing platform.

Right: Pathway and berm.

Facing: Martyr’s Complex Mediating Surfaces.

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Hezbollah Corniche does not seek to flatten the complexities of Beirut’s public sphere into an egalitarian architecture for all: rather, the Corniche embraces architecture as the continuation of politics by other means, to borrow from Clausewitz. Expressing the power of the crowd, not simply in the pure political realm but also in the mundanity of quotidian daily life and service, Hezbollah can reify its’ boundaries, fix itself in time and space, and preserve the Civilization of the Resistance as a complete manifestation of the party’s influence, prestige, and service-delivering efficacy.

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DESERT EXPO: OR, HOW I LEARNED TO STOP WORRYING AND LOVE THE TRAIN Critic: Laurie Hawkinson Advanced V

As Charles Moore wrote, “you have to pay for the public life�. But do you?

Desert Expo presents the birth of a new public zone, the continuous Public Exposition Space.

For better or for worse, the lines dividing public and private, authentic and advertisement have dissolved, enabling a public enfilade of radical adjacencies of scale, access, duration, programmatic intensity, and propaganda.

Faced with a crisis of funding and imagination, new spatializations of the public must emerge.

City Without a Center Palmdale is a city of 150,000: in recent years, the fastest growing in the entire state of California. Characterized by a standard form of American subdivisional sprawl, it currently lacks a well defined downtown or city center, instead marching unimpeded further and further into the Mojave Desert.

Sacramento

San Francisco

Palmdale shares the Mojave with NASA, Lockheed Martin, Northrop-Grumman, and Boeing, drawn to the high desert by its’ seclusion and abundance of open space for factories and airbases. Whereas the desert once offered privacy, the arrival of CAHSR offers a platform beyond the simple mechanics of the train itself.

Less than 3 hours from every major Californian metropolis, and the terminus of DesertXpress, a private HSR route to Las Vegas.

While these routes will not do much to serve the residents of Palmdale as commuter infrastructure, their presence and investment represents a wellspring of opportunity to leverage the latent potential of its’ local and international businesses.

Las Vegas

Palmdale

Los Angeles

San Diego

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Palmdale’s Gateway Palmdale’s station is a system of cradles suspended from sails of carbon-fiber laminate in the shade of the rail bed itself.

Placed over a series of evaporative cooling ponds at the ground level, the station can be cooled naturally as these ponds accelerate convection through the stack at the center of the platform.

The Cradles contain waiting areas and stepped platforms that may be used after the last train of the day for performances and lectures.

Open sides provide a privileged view of the Mojave and the San Gabriel Mountains above the datum level the surrounding buildings.

Above, three platforms serve local trains from the center, and express services as well as a local monorail system from the outer two.

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Municipal Shading Device Leveraging the latest in material science, Desert Expo employs super-thin high-performance concrete and structural sails in place of traditional cable-stayed suspension systems.

The laminate sails’ shadows extends the waiting area during morning and evening hours beyond the underside of the platform and to either side of the station, enabling informal program to serve the passengers.

Above: Cradle model.

Facing: Longitudinal section.

Following: Departing the Cradle, 5:30 train, and transverse section.

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Exposition Space The arrival of the high-speed rail ushers in a new era of Public Exposition Space: the Desert Expo.

Exposition Space is the product of our changing times: the division between commercial space and public space has dissolved in lockstep with the erosion of the barrier between commodities and advertising. Visibility (virtual and real) has been commoditized: Exposition Space is the spatial realization of this trend.

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Architecture of Ambiguity Exposition Space demands extreme flexibility in the ground plane, such that lessees may modify it to accommodate their advertising strategies.

Essentially open plan, Spaces are articulated through materiality, light, and the expression of pure catenary structural form.

Courting catalytic ambiguity between advertising, sales, and public space, Desert Expo houses a combination of agendas heretofore untested by public space apparatuses.

Above: Light Cannon study models.

Facing: Light Cannon final model.

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The Post-Military Industrial Complex Desert Expo is able to operate at this scale via a judicious application of military surplus: the Northrop-Grumman HAV-3 Airlander blimp, capable of carrying 250 tons of cargo unmanned for up to 21 days without refueling.

The Airlanders bring the installations: the High Speed Rail brings the people.

The entire 4.7-mile stretch of Desert Expo presents a leasable area higher than McCormick Place, the current largest convention center in the US, and a ground area three times the National Mall.

Above: Airlander blimp scale comparison and site scale comparison.

Right: Airlander arrival.

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Sales Taxonomy Desert Expo can be broken up into five distinct spatial types, all of which may put to public or commercial use.

This expanse of space is enabled by a municipal people mover, stopping at 1200 foot intervals from Lake Palmdale to Northrop Grumman’s Skunk Works.

Monorail Cradles

Entrance Arcades accommodate new pedestrian paths, as well as 2- and 4-lane streets that traverse the structure.

Leasable Atria make up bulk of Desert Expo: an enfilade of spaces able to be reprogrammed as needed across a range of scales and contexts.

CAHSR Station

Desert Expo’s floor is cooled by a radiant slab using a heat sink in the new Lake Palmdale Waterfront, powered by Solar Arrays around the Zeppelin landing pads in the Desert: a closed loop of energy and climatisation.

Entrance Arcades

Leasable Atria

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Airlander Landing Pads

Lake Palmdale Heat Sink

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Catenary Aesthetic These programmatic components each play a structural role as well.

The aesthetics of catenary form govern the composition, striking a delicate balance between designed object (public architecture) and display platform (Exposition Space).

As a result, the majority of the architectural language is read in the roof, as the slab thickens and recedes in response to changing spans.

Suspension

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Lateral Bracing

Compression and Slab Depth

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Palmdale Station

Desert Zone

Gateway Zone

Lake Zone

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Legible Ceiling I: Aerospace The Desert Zone contains the largest atria in the system: in order to respect the natural condition of the desert and the security of the aerospace contractors, this zone functions as a string of contained programs.

Also containing the zeppelin landing pad, the Desert Zone serves as the main offloading point for exhibition materials.

Above: Ceiling and ground axonometrics.

Facing: A morning stroll in the Mojave.

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Desert Zone “Palmdale Air Show”

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Legible Ceiling II: Gateway The Gateway Zone stretches from the High Speed Rail Station to the edge of Palmdale’s existing urban condition, and contains the smallest atria.

Stitching Palmdale together underneath the rail right-of-way as a public space, the Gateway Zone promotes interaction across the structure.

Atria in this zone are thus connectors, facilitating movement across the new public zone.

Above: Ceiling and ground axonometrics.

Facing: Weekend at the Gateway, aerospace and former PS1 installations on display.

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Gateway Zone “Aerospace of Today and Tomorrow”

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Legible Ceiling III: Nature The Lake Zone creates a new urban waterfront at the southern edge of the city, opening Lake Palmdale to public access for the first time.

This new Waterfront re-addresses the edge of the Lake, and as such atria are biased towards this Edge, encouraging visitors to enjoy the natural beauty of the San Gabriel Mountains and Lake Palmdale.

Above: Ceiling and ground axonometrics.

Facing: House of the Century meets the new infrastructure of publicity in the Lake Zone.

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Lake Zone “Temporary Domestic: Pavilions Through the Years”

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FARM Co-founded with Harrison Bush and Lindsey Lee

FARM is a celebration of student work.

Operating to stimulate student discourse outside the confines of a studio brief, we undertook to promote dialogue, communication, and criticality towards our shared and disparate passions.

A semester-long series of charettes culminated in a large-scale exhibition of the entire M.Arch 2 class during the 2015 End of Year Show.

Above and Facing: Installation view, Second Year M.Arch End of Year Show, 2015.

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Image above and 162 courtesy Columbia GSAPP.

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Miami New Ground Lise Anne Coutoure Innovation, Technology, and Architecture

Miami faces an unprecedented environmental disaster: inundated by rising tides not only from the coast, but from the porous bedrock below the city.

Nevertheless, real estate speculation continues unchecked. Harnessing the problematics of the 20th century to address the challenges of the 21st, Miami New Grounds proposes a re-use of the Port of Miami’s fuel barrels into a self-aggregating network of new islands in Biscayne Bay.

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Innovation, Technology, and Architecture

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20th Century Problems to 21st Century Solutions Converting the oil barrels at the Port of Miami into redesigned fuel bladders sets the groundwork. Once converted, bladders that have reached the end of their lifetimes are cleaned, inflated with air, and set to float in Biscayne Bay inside a grid of concrete towers.

Circulated by the current, these bladders naturally aggregate,with the attachment points on their composite exoskeletons forming mechanical connections.

Once these aggregations reach sufficient size, they are tethered to the seabed and decked over, creating a new ground for habitation or public space.

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Innovation, Technology, and Architecture

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Fuel Bladder (Expended)

Fuel Bladder in composite exoskeleton

Fuel Bladders aggregated

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Functional Contexts: Juan O’Gorman, Rudolph Schindler, and True Organic Architecture

INSTAURATIO ANABOLIC CATABOLIC Dissolving the Institution AntiWindChime

Functional Contexts: Juan O’Gorman, Rudolph Schindler, and True Organic Architecture Modern Architecture in Mexico At first glance, Frank Lloyd Wright’s aesthetic influence on domestic architecture had little to do with the prevailing currents of West Coast mid-century Modernism. Upon deeper inspection, however, Wright had an outsized influence on the iconic architects of that period not only in Los Angeles, but in Mexico City as well.

Wright’s philosophies on functionalism and the treatment of site and context, as shaped by his student Rudolph Schindler in Los Angeles and his admirer Juan O’Gorman in Mexico City laid the framework for a distinctly Western sensibility about Functionalism, one that was able to integrate natural parameters into the more traditional mechanical components of Functionalism. A clear line flows from Wright’s Hollyhock House and the accompanying plans for Olive Hill through Schindler and O’Gorman’s respective houses and their particular treatments of the demising lines between man and his environment.

To begin we must understand the impact the Hollyhock House had not only for Schindler, who was the de jure project manager while Wright oversaw the Imperial Hotel in Japan, but for Wright himself in his later work. While one might assume the Hollyhock House, with its’ Mayan Revival ornament and Roman villa-influenced plan, would be the most direct linkage between

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Wright and his successors, this is not completely true. Rather, the oft-overlooked “Residence A”, a guesthouse on the larger Olive Hill property (now Barnsdall Art Park) provides the most instructive precedent for Schindler (whom one may reasonably speculate oversaw a substantial portion of its’ redesign from Wright’s original plans)1, as well as a substantial influence on Wright’s own designs for Fallingwater, (Kauffman House) which in turn was a major inspiration for O’Gorman’s own residence in El Pedregal, Mexico City.

Sited on a redirected stream, Residence A began its’ life as the Director’s House, meant for the director of client Aline Barnsdall’s planned theater company: the original concept set forth

by Wright before his departure for Tokyo featured prototypical aspects of Fallingwater albeit at a much less dramatic scale. Nestled into the side of Olive Hill’s eponymous hill, a redirected stream collects into a small reflecting pond on the house’s East side. Utilizing a truncated t-shape plan, the entrance sits at the intersection of the two axes, reached via a footbridge over the stream. However, as pertains to Schindler’s development, what matters most is not the initial plan, which we will revisit later, but the substantial redesign of the Director’s Residence into its’ final form as Residence A in 1921.

Eschewing the Prairie Home-linearity of the initial plan, Schindler’s new schematic of Residence A shows a clear foreshadowing of Schindler’s own studio and residence he would design and build in 1922. The Residence utilizes a more dynamic set of intersections, which create a range of edge conditions with the site, blurring the formerly hard lines between inside and outside. Residence A’s distinctly pinwheel 1

Smith, Kathryn. Frank Lloyd Wright: Hollyhock House and Olive

Hill. New York: Rizzoli, 1992, pp. 94.

formation stands apart from the 1920 iteration’s more strict linearity, and when taken in tandem with the body of Schindler’s later work, reveals an undeniable similarity with his design philosophy of spatial complexity and planmoetric dynamism.

Schindler’s own house, which he built for himself, his wife, and their friends Clyde and Marian Chace, continues this refusal of traditional domestic organization inside the home.

Conceived as a pair of interlocking L-shaped volumes joined at the communal kitchen, the Schindler House has no distinguishable rooms in the traditional programmatic sense. Rather, each space in the residence is open-plan and more or less undifferentiated from the next with the exception of the aforementioned kitchen, the bathrooms, and two semi-enclosed “sleeping cradles” on the roof of the building.

Most crucially, each wing of the house opens onto its’ own semi-enclosed lawn with external fireplaces, capitalizing on Los Angeles’ mild climate to double the usable domestic space.

Focusing on the edge conditions throughout the site and the house, a new use of site to functional effect emerges. From the sleeping cradles to the gardens themselves, the Schindler House represents the first completely Functional marriage of site and structure: this balance of interior and exterior presages Schindler’s future work, as well as what came to be known as the California Style as practiced by Richard Neutra and others.

In stark contrast with the glazing in the majority of the tilt-up panels on the exterior facades, which are mostly narrow vertical slits or clerestory windows, the walls facing the courtyards are made up of floor-to-ceiling glass panes set in a grid of wooden frames alternating with sliding wooden panels. This nearly complete openness on the interior is a hallmark of Frank

Lloyd Wright’s Prairie Houses, but the addition of the sliding door allows an even greater degree of integration across the membrane of the walls. Surely, the climatic differences between the locations of the Prairie Houses (mostly mid-Western) and the Schindler House play a role in this new openness: however, Schindler’s treatment of boundaries as ephemera sets him apart.

This fluidity is further underscored in the sleeping cradles: simple timber enclosures lofted above the house with only a small stairway each for privacy, and rudimentary canvas curtains to protect the occupants from rain. Once again, the site is Functionalized in that it reduces the need for a mechanical division between in and out to only pure necessity: a physical barrier against moisture. All other privacy is provided by shade trees at the perimeter of the site and creeping vines planted on the top of the trestles themselves.

Schindler lavished particular attention upon the courtyards and gardens surrounding the house, extending the demising lines of the structure into the flora of the site, which he further elevated on a concrete plinth. By organizing his palette without regard for natural or man-made items, a hierarchy that is legible throughout both site and structure develops: large vertical concrete volumes (fireplaces and chimneys) match giant bamboo blocks of equal size, bamboo hedges match the concrete slab walls, wallboards and hedges, tall grasses and canvas panels, and the large panes of glass.2 The plinth allowed Schindler to sink several portions of the courtyards strategically in relation to their visibility in the overall site; creating a flower garden in the front and a kitchen vegetable garden in the back. By establishing a comprehensive, integrated material hierarchy that did not recognize the division between interior and exterior treatments, the entire Kings Road site is thus established as a complete open-plan composition.

Divided among three distinct courtyards, these compositions in nature interlock within the spiral plan of the house, just as Residence A’s interlocking geometry weaves itself into Olive Hill. Given a more nuanced and present need for privacy (the Schindlers and the Chaces were friends, but each family required its’ own privacy at times), Schindler developed his work in for Wright into a new, more nuanced format. A complete machine for living, the Schindler House was capable of expressing a range of privacies and enclosures, transforming spaces with incredible facility between scales of occupancy and specificity.

Chaces moved), among others, would develop into the iconic method of Modernism on the West Coast, arguably a regional vernacular in it’s own right. Sensitivity to site was hardly a new concept: yet welcoming it with open arms into the architect’s toolbox took the Western climate to develop into a reality.

For as large an impact as Residence A had on Schindler, it’s original incarnation as the Director’s House had an equally large impact on Frank Lloyd Wright, and through him, Juan O’Gorman. In the initial plans from the winter of 1920, the Director’s House was the center of gravity of the entire Olive Hill complex, featuring an exquisitely landscaped double waterfall bracketing the main entrance. Emerging from the side of the hill, Wright conceived of the overall mass as a triple composition, with one longitudinal solid block, an open block, and a central connecting vertical tower.3 This sectional freedom certainly presaged his inventiveness with Fallingwater’s multiple semi-levels and the intersection of dynamic planes within a central core: as in Fallingwater again, this dynamism is echoed in the landscape and site. While the existing re-directed stream on Olive Hill was by no means as dramatic as the Bear Run falls that would surround the later house, Wright did his best to heighten the visual drama of their intersection with the entry of the house, bringing visitors into the structure via a narrow footbridge abutting a waterfall over a concrete culvert into a reflecting pool below.

Revisiting this siting approach in Fallingwater, the effect is dramatized by the chaotic intersection of the falls themselves, and the significantly more daring structural and gestural vocabulary of the building itself. Regardless, the two houses clearly share a role in Wright’s late-career trajectory: most critical is Juan O’Gorman’s visit to Fallingwater in 1939, which launched his transformation from a Corbusian Functionalist into a disciple of Wright.4

Juan O’Gorman began his career in Mexico as an arch-Functionalist, a radical position that left him far outside what was then the architectural mainstream. Gaining notice for his exemplary functionalist residences and studios for Frida Kahlo and Diego Rivera in Mexico City in 1932, O’Gorman’s first stint as an architect focused primarily on instilling functionalist mores into a generation of Mexican architecture students as a founding professor of the Escuela Superior de Ingeniería y Arquitectura del Insti-

tuto Politécnico Nacional.5 However, in the later portion of the 1930’s, O’Gorman would struggle to rationalize his political and artistic nativist/humanist bent with his embrace of a discipline that valued neither. “It was the struggle of this ambiguous dilemma, along with the desire to create a “Mexican” architecture, that would characterize his career and that would ultimately lead to the transformation of his architectural oeuvre”.6 Turning his back on architecture, O’Gorman turned exclusively to painting from roughly 1936 to 1948: it was roughly in the midpoint of this sojourn that he visited Fallingwater.

Upon his return, O’Gorman’s entire viewpoint on architecture underwent a huge shift in focus: quoted in 1967, O’Gorman states, “I realized long ago that it was unfortunate that Le Corbusier and not Frank Lloyd Wright caught our attention. Wright would have helped us stay closer to our true American tradition […] It was Wright […] who understood organic architecture as related to the human being in his geographical and historical content”7 Elaborating further, O’Gorman noted in a later statement that the Bauhaus ideals of living machines had run out of ideas, and could no longer provide an aspirational domestic setting for people’s lives. Combined with his flourishing nativist and anti-corporate sentiments, Wright meant for O’Gorman an embrace of all that was inherently American, and further, Mexican: an expanded definition of the site which encompassed not only materials available, but topography and the historical contexts of local inhabitants. Moving beyond strict Functionalism, and even beyond Schindler’s developed programming of site, O’Gorman undertook a complete political occupation of context and landscape in his later work.

While his most famous work outside the Rivera-Kahlo Residences is likely his monumental mural on the National University’s campus in Mexico City, the most complete expression of O’Gorman’s later architectural style remains his residence in El Pedregal, a planned community designed by his contemporary Luis Barragan.

Discovering a natural grotto in the lava rock of El Pedregal in 1946 O’Gorman set about installing his home into the landscape. O’Gorman heralded this moment as a “original essay, in a small scale, in the application of the theory of organic architecture, and the teachings that emerge from the great work of Frank Lloyd Wright, the greatest architect of our time”.8 Although he 5 Burian, Edward R. Modernity and the Architecture of Mexico.

Austin: University of Texas Press, 1997. Pp. 129-130.

Schindler was prescient in his translations of early Frank Lloyd Wright into what Schindler and his friend Richard Neutra (himself a resident of Schindler’s house once the

3

Smith, pp. 66.

7 Smith, Clive Barnford. Builders in the Sun: Five Mexican

4

Eggener, Keith. “Postwar Modernism in Mexico: Luis Barragan’s

Architects. New York; Architectural Book Publishing Company, 1967.

Jardines del Pedregal and the International Discourse on Architecture

Pp viii.

2 Smith, Kathryn. Schindler House. New York: Harry N. Abrams,

and Place”, Journal of the Society of Architectural Historians. Vol. 58,

8

2000. Page 36.

No. 2, pp 134.

Artes de Mexico. No. 97/98, No. 4 (1967) pp. 90.

6 Burian, pp. 131.

O’Gorman, Juan. “Un Ensayo Sobre la Arquitectura Organica”,

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intended his house as a derivative of Wright, it is clear the completed edifice surpasses even the most nature-oriented of Wright’s creations.

The first impression of the house is that it might be some sort of partially restored meso-American ruin which has somehow escaped notice: O’Gorman’s frequent and exuberant use of murals containing Aztec and pre-Hispanic motifs deliberately reference the conquered civilizations of Mexico City. The façade of the house is lost in a tangle of protrusions and tile-coated concrete, following few of the standardized planar lines that Wright or Schindler would recognize as “architectural”. Edges appear and disappear, protrude and retreat; apertures pierce the façade seemingly at random. A monumental stone head, echoing monumental native sculptures, establishes a cornice line on the second level that includes an eagle, several feathered serpents, and a large eye-shaped skylight: any sense of order, scale, or visual hierarchy is useless to understand the composition of the building and the site.

Read in plan, O’Gorman’s parti becomes more legible, if only somewhat. Wedged between two large rock outcroppings, the main axis of the house traverses a shallow arc between them, with the living room occupying the middle ground between these two monoliths. Tucked behind a dramatic curved stair, the kitchen and maid’s quarters complete the only non-engaged façade on the project. The living room’s dramatic walls and ceiling are unfinished volcanic stone, adorned throughout with more tile mosaics depicting surrealist scenes of Aztec deities and Mexican flora and fauna. On the interior, the aesthetic of confusion that camouflages the contours of the house, like the dazzle camouflage of World War I era warships, works to integrate stone and masonry block into a surprisingly seamless union.

Natural light streams through ample full-height glazing on three sides of the space, as well as a large skylight on the roof terrace. The result is a single room that nonetheless feels like several separate experiences depending on one’s viewpoint.

Access to the second floor is either via an exterior stair to a roof terrace, or through the internal spiral staircase that plunges through the ceiling of the living room without a balustrade in a tightening spiral that expresses the contours of the stone outcropping: a landing grants entry to both second-floor studio bedrooms, while at the end of the staircase a door leads to the terrace.

The second floors feature extra high ceilings that accommodate exaggerated clerestory windows, providing each space with ambient light.

Rimmed on all sides by windows, the terrace garden places the occupants firmly back into the surrounding nature. The rooftop terrace continues the mosaic motif, and provides a secondary family gathering space on the second floor.

O’Gorman’s approach to the site amplifies Schindler’s use of natural materials as a functional aspect of the architectural composition. Whereas O’Gorman utilized a Schindler-esque approach to landscape in his cactus fence surrounding the Kahlo-Rivera residences, the Pedregal house supersedes even those attempts at utility by a wide margin. Of the relationship between his organic architecture and the landscape, O’Gorman states, “within this architectural concept, human occupation becomes the vehicle of harmony between man and earth. Organic architecture seeks to update ‘the traditional’ of the region where it is built, becoming the vehicle of harmony between men who participate in the same tradition.”9 Matching chaos to chaos, as Schindler matched order to order, O’Gorman cements an indelible link between inside and outside as a functional organism that cannot be separated.

Above and beyond the concerns of short term function or privacy, O’Gorman’s house is tethered indelibly to the history and tradition of place.

in 1982 through suicide increasingly irrelevant and overlooked as muralist and architect. Taken together, however, they paint a somewhat more inspiring picture, a lineage of humanist concern not just for man but also for his relationship with his surroundings: one that resonates with pronounced frequency today in an era of increased awareness of humanity’s role in stewarding natural resources.

The site does not simply belong to the house it abuts: rather, to the entire lineage of communities that inhabit a larger region where the architecture happens. Born of O’Gorman’s strong political bent, and tinged with echoes of Broadacre City, this conception of organic architecture completes the circle of the Director’s House, Residence A, and Schindler’s house, by not merely incorporating landscape at a higher level than other contemporary examples, but imbuing it with a political agency to cement architecture into the history and legacy of a place.

Richard Neutra, perhaps by dint of being chosen over Schindler for Phillip Johnson’s 1932 exhibit The International Style: Architecture since 1922, still looms large in the discussion of West-coast Architecture, and certainly he was widely published in Mexico as well. His Kauffman House in Los Angeles (among others) served as a precedent for Luis Barragan’s overall guidelines for the Jardines del Pedregal subdivision, and he was certainly wellknown to O’Gorman due to his frequent visits to Mexico. How much of Neutra’s own design philosophy evolved out of his own stay with Schindler at Kings Road and their subsequent joint projects together in Los Angeles is up for debate: however both Schindler and O’Gorman’s contributions to the discipline cannot be denied or overlooked.

In their own circles, both Schindler and O’Gorman represent two architects in need of more acclaim: Schindler’s anonymity is incredibly criminal given that he was essentially slandered to obscurity by none other than Neutra himself10, with Johnson only realizing the depth of his omission after his death. O’Gorman suffered an equally ignominious fate, taking his own life 9 ibid 10 Smith, pp. 38.

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THREE MONUMENT MACHINES FOR WASHINGTON D.C. (INSTAURATIO) Critic: Janette Kim Advanced IV

Washington DC is a city of the symbol: Instauratio presents three machine-monuments that the citysystem of Washington deserves.

Monumental infrastructure focuses the public gaze, concentrating the weight of symbols and simulacra upon a single city block, magnifying the demagogic tendencies of government until they implode under their own mass.

Over the course of 100 years, machine becomes monumental, and symbolic becomes the function.

Known Unknowns The project has its beginnings in a series of explorations in the practice of scenario planning around “known unknowns”, factors whose existence is likely yet not manifest at the present.

Focusing our efforts on the effects of climate change on Washington D.C.’s fragile relationship with the Potomac River, a picture of a city under siege emerged.

Our research became a game, “Delirious D.C.” speculating on the recombinant effects rising sea levels would impose upon the monumental and bureaucratic core of the city.

All images this spread and the following in collaboration with Mira de Avila-Shin.

Right: D.C. flood levels 2030 and resulting secure high ground Facing Page: “Delirious D.C.”, a game of spatial domination for two players of high motivation and low moral fiber.

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Delirious D.C. and Unlikely Adjacencies Delirious D.C. is a drinking game for two players – together, they re-arrange the city in the face of catastrophic climate change through calibrated greed and enlightened self-interest Exercises in unlikely adjacencies brought about by the confluence of human greed, arrogance, and catastrophic climate change inform the future of the District of Columbia.

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Emergency Room

F.B.I.R.S.

$chool

Fire_Work

Car Park

Colosseum of Justice

H.U.T.

Detentucation

Above: Delirious D.C. gameplay detail.

Facing Page: “Unlikely Adjacency” studies.

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Monument 2030 C.E.: Think Tank Delirious D.C. requires a monumental solution and a monumental edifice: inaugurated in 2030, rising in the carcass of the former J. Edgar Hoover FBI Building.

Perched on the edge of the new floodplain, a promise of urban rebirth emerges.

Above: President Obama at the groundbreaking, 2020 Right: North and South elevations.

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TVC - 15 A monumental water filter, engineered to develop solutions for D.C.’s water crisis, and designed to reassure a frightened population of their leaders’ potency and steadfast stewardship.

Intake Tank

“Instauratio Urbis” (noun): the premeditated fixing of a monument within an urban fabric in the wake of calamities, an eternal symbol from municipal leaders to their citizens of their commitment to avoiding mistakes of the past Vertical Pump

Collecting Pond

Sediment Filter Tubes

Aggregate Introduction and Analysis

Fluoridation

Holding Tanks

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Above: Site plan and flooding Facing: Transverse Section.

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At first, public and public servants cohabitate, faithful in the vigor and ingenuity of their civic employees...

Aggregate Analysis

Mechanical I

Computer Terminal

Sediment Stacks

Filtrate Delivery

Office Furniture

Filtrate Processing

Mechanical II

Mechanical III

Conference Table

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Classroom

Second Floor, Laboratory

First Floor, Sample Library

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Think Tank, 2030

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Monument 2060: Incubator By 2060, the solution-image has lost its’ luster. Keen for good publicity, a publicprivate partnership is created to oversee research at the site - and a second veil pulled over the eyes of the public.

Divided against itself, the monument cannot stand.

Above: First shareholders’ meeting, 2060.

Facing: Longitudinal Section.

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Intellectual Properties, Proprietary Intellects Newly partitioned, open-plan office furniture enters the mix, inculcating itself within the remaining government enclaves.

Benefit by association drives thought leaders of the day to congregate, drawn by a fertile landscape of priceless public relations opportunities and perfect photography angles.

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Over time, the appearance of work supersedes results: competition for viewing angles reigns supreme.

Mechanical I

Hot Desk

Boardroom

Computer Terminal

Flexible Work Bench Banquet Table Material Storage Island

Office Furniture

Video Cameras

Filtrate Processing

Mechanical III

Conference Table

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Showroom

Open Office Desk

Fourth Floor: Hot Desks and Offices

Third Floor, Open Office Plan and Traditional Offices

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Incubator, 2060

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Monument 2100: Temple of the Cult of the Machine The simulacra falters in 2100 as mob rule descends: good publicity a poor substitute for chronic drought.

The monument is finally brought into alignment as all pretense of productive function dissipates.

Enraged by a century of negligible progress, a Cult of the Machine storms the building to liberate the filter from the clutches of its’ former masters‌

Above: The cult descends, 2100.

Facing: Acolytes approach the chamber.

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Fully converted into a memorial, the filter becomes monument: and in so doing, the filter becomes truly functional.

Acolyte Dormitory Cells Aggregate Analysis

Record Library

Pews

Computer Terminal

Flexible Work Bench

Material Storage Island Circle of Names

Sediment Stacks

Filtrate Delivery

Altar

Mechanical III Censer Brazier

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Memorial Plinths

Penthouse: Temple of the Cult of the Machine

Fifth Floor, Memorials and Acolytes’ sleeping quarters

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Above: Initiates on the memorial steps.

Facing: Mass concludes in the Temple.

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Temple of the Cult of the Machine, 2100

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Catabolic Anabolic: Housing for Urban Edges Critic: Robert Marino In collaboration with Hillary Ho Core III

Effective communities are built on connections and networks both physical and social. Effective housing, therefore, must be adaptable enough to match changing webs of interactions and cultural heuristics, even at high density.

Catabolism is the breakdown of large molecules into small; Anabolism is the synthesis of the granular into the complex. Within our site, public space is broken up and distributed, while communal ties are melded into a dynamic composite.

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Datums and Divisions A functional datum of public space exists in dense cities: above this line, residents are so disconnected from the ground as to have no perception of public life.

Extending our site through the Bronx and Manhattan, we traced this datum’s impact across high-density public housing, the project location, and the residential neighborhoods beyond.

Edges define our site: from the expressway to the river to bridges the Bronx and East Harlem are defined along vertical axes.

Public Space Datum: NYCHA Block

Public Space Datum: Site

Public Space Datum: Brownstone

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Catabolic Public Space Distributing public space through the vertical expanse necessitated by our constrained site became our key design concern.

The Catabolic/Anabolic type is defined by the integration and juxtaposition of catabolic public space and anabolic domestic zones. “Catabolism� (noun): the breakdown of complex molecules in living organisms to form simpler ones; destructive metabolism

Above: Structure model.

Facing: Daylighting plans.

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Datum 3: +96’

Datum 2: +48’

Datum 1: Grade

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A New Urban Edge Typology Communal spaces are broken down and distributed at public, collaborative, and domestic scales, freeing the park from the tower’s base.

Site constraints disqualify existing architectural types: metabolism is too dense, and deconstructed parkscapes too infrequently inhabited.

A new typology for an urban edge is required.

Our project proposes the founding of a new urban enclave, self-sufficient enough to sustain a vibrant community regardless its’ physical isolation

Community Assets

Public Assets

Program Key

Light Industry

Civic

Community

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Industry

Civic

Community

Infrastructure

Infrastructure

Socialization

Socialization

Above: Winter garden perspective Facing: Community asset vertical distribution

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Datum I: The Green The Green provides the central open public space of the complex: as close to the Tower in the Park as it gets.

UP

DN UP

DN UP

UP

UP

DN UP

UP

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+0’

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Datum II: The Path The Path comprises the circulation elements of a traditional park: a greenbelt that connects all residential massing on the site, as well as the main pedestrian entry across the freeway.

UP

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Datum III: The Agora The Agora is the most private shared space, a series of adaptable pavilion structures available to residents.

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Anabolic Domestic Space Domestic space is broken into units that can be joined or separated at will.

Grouped into clusters of three units that share a rear porch and a terrace, the circulation facade is abstract, while on the interior edges of the blocks a dense communal network forms “Anabolism� (noun): the synthesis of complex molecules in living organisms from simple ones; constructive metabolism.

Right: Unit cluster plans.

Facing: Backyard perspective.

Following: Unit cluster model studies.

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Permanent Occupation, Impermanent Capsule Perforations in the structural web allow a range of re-combinations and arrangements, accommodating growth of family units and extended occupancy.

Flexibility across the structural fins lays the groundwork for long-term, generational housing that expands and contracts to meet residents’ needs, denying the physical limitations of the site.

Eggcrate Structure

Apartment Infill

Right: Eggcrate structure and domestic infill.

Facing: Long-term occupancy aggregation scenario.

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Dissolving the Institution John Locke In collaboration with Alessandra Calaguire, Ryan Day, Laurel Fernandez, and Andrea Tonc Hacking the Urban Experience

Columbia University’s Morningside Heights campus is a relic of a past age, a neighborhood that no longer exists. Ramparts are not changed by gentrification, and even today the institution turns its back on the community.

Using analogue and digital projections, we aim to render these contrived fortifications immaterial, turning their brutish tectonics to our advantage.

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Hacking the Urban Experience

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Previous: Periscope and Projection interference studies.

Above and Facing: Installation views.

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Hacking the Urban Experience

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AntiWindChime Raj Patel Acoustics

AntiWindChime is a building-scale sound dampener, inserted into the atrium of a vertical cemetery in downtown Brooklyn.

Inverting the typical construction of a wind chime, the structure’s independent members rest between the existing floor plates, mechanically unjoined.

Rigid foam in monumental triangular beams lie in a chaotic tangle, absorbing sound from the reflective mass of steel and glass which constitute the cemetery, creating an oasis of soft noises within the harshness and chaos of Fulton Street.

Above: Conceptual inspiration, a basket full of rolled carpets.

Right: Section.

Facing: Beam taxonomy.

Following: Plaza and interior installation views.

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Acoustics

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Social Apertures

RECORD OVERSIGHT CIRCULATOR Bronx Studio Gallery Vectoring the Oblique

RECORD: ETERNAL MEMORY BANK Critic: Karla Rothstein Core II

Record is an identity engine.

A continuous cycle of exposure to communal loss intensifies those identities that endure. By memorializing whom we have lost, we fix our own identities relative to our community.

Recorded identities are displayed and circulated, as mental recordings are created. The memory of a single life becomes part of a rich collective tapestry.

An indelible yet reactive record results.

Resilient Community Through Memorial Recombinant cultures create vibrant communities.

Rejecting the zero-sum erasure of simply replacing old with new, a vibrant, unique communal fabric is formed when identities and histories intermix and re-associate organically.

Deposited in discreet glass vessels at the top floor, memorials begin their vertical journey accompanied by their friends, family, and loved ones.

Right: Conceptual collages, grieving cycle and site context relationship.

Facing: Study model.

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Recording: Memorial as Identity Catalyst Cycling on 170 vertical armatures, a location’s deceased provide a record of past collective identities, and a catalyst for future cultures Associations in life are recombined in death: urns circulate on armatures of 52, 104, or 156 vaults.

Moving at a rate of one foot per week, remains are on display for residencies for one, two, or three years.

Journeys into the vaults catalyze communal archaeological expeditions, as vault adjacencies aggregate and dissolve week over week.

Memorial Urn

Conveyor Belt

Glass Vault, Etched with Epitaph

High Strength W-Section Steel Beam

Glass Screen

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Above: Fourth floor plan.

Right: Third floor plan Facing: Exploded axonometric, vault conveyor belt system.

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Above: Making a deposit, fourth floor.

Facing: Visiting a friend, third floor.

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Recorded: Tectonic Echoes of Past Identities As vaults move lower, they enter the public realm, enacted by a program of group therapy spaces, cafe, and public plaza At the end of their journey, surrounded by their neighbors on the armatures, memorials are placed in a set of ceremonial racks in the pedestrian plaza, awaiting retrieval.

Territories of intense memorial and public interaction shift vertically over time: Record accommodates, catalyzes, and eternally regenerates these spaces of public privacy.

Movable Partitions

Main Circulation

Fixed Partitions

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Above: Second floor plan.

Right: First floor plan.

Facing: Circulation and partitions.

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Above: Traversing the central staircase, third floor.

Facing: Meeting in the public plaza, ground floor.

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Above: Section parallel to column grid.

Facing: Section 45 degrees to column grid.

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SOCIAL CONDENSER “OVERSIGHT�

Critic: Mark Rakatansky Core I

Oversight can be visual and political: built in a NYCHA site, this public pool reverses the legal with the literal.

Non-residents are placed under the surveillance of the inhabitants - even as the site and its residents are under public supervision.

Existing community ties are augmented outside the city grid; external access curtailed.

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Above: Ground floor plan Facing: Second floor plan

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Above: Approaching the pool from Frederick Douglass Houses.

Facing: Anonymous on the street.

Following: Maximum exposure on the monumental stair.

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View to exterior

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Two Windows, Two Communities Two fenestration concepts are deployed within: the framing window of Adolf Loos’ Raumplan (oversight); and the fenêtre en longeur of Le Corbusier (community/privilege).

Arriving from the NYCHA side, windows are arrayed as an extended Corbusian fenêtre en longueur.

Inside, viewlines are governed by Loos’ raumplan, the deepest corner of the pool as the center of circulation and the structural fins modulating increasingly smaller spaces.

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CIRCULATOR: PUBLIC WASHROOM Critic: Mark Rakatansky Core I

Public space is a valuable commodity in New York City - which in turn makes time spent in these public spaces valuable, and worth encouraging.

Exploring minimum levels of exposure to promote quick use and effective security, Circulator tests limits of visibility as both securing device and instigator of discomfort (productive of course).

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Vectoring the Oblique Lines Not Splines

Paul Virillio and Claude Parent’s theses on the Oblique and its’ function in architecture are worth revisiting today, in an era becoming increasingly virtual and digital.

As the spaces of architectural thought become ever more computer generated, the importance of the literal, the vague, and the indefinite grows in response.

Charting these ambiguities in their literalness, the spirit of the Oblique is brought forward into a new digital era.

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Lines Not Splines

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Above: Model studies, translating 2D lines into 3D models Facing: “Vectoring the Oblique� film.

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Lines Not Splines

“We are going to build topologically. No more cylinders, no more spheres, cubes, pyramids... No more plane surfaces Let us replace them by oriented surfaces whose angles will be defined by the architect�

Paul Virilio + Claude Parent

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Bronx Studio Gallery Robert Condon In collaboration with Jack Tao, Hillary Ho, and Sonia Turk) Architectural Technology V

Bronx Studio Gallery proposes a series of work and display spaces for the South Bronx, providing tenants with a space to create and display their work in an open, collaborative, yet cellular and secluded environment.

The work spaces and offices are grouped into three clusters per floor plate, which in aggregate form three 5-storey volumes that define the interior of the structure. These zones are separated by channels of light which house communal, informal program for workers and visitors to inhabit.

Site and Program The building houses a public space on the ground and top level, sandwiching the office and studio work spaces between the five floors in between. The clear double glazed store front of the ground floor opens the building to the exterior through a café, reception area and gallery spaces. A larger gallery space at the top level complements the bottom floor and helps bring people and activity into the building. Mirrored cores at both ends of the building provide elevator and stair excess to floors within the building.

The west core also houses the freight elevator.

Between the second the sixth floors are the office and studio work spaces which are subdivided between three larger zones within the building. These zones are designed to offer different programmatic spaces for the user – smaller more private spaces for the two end zones, while the middle zone is a larger work space. Coffer ceiling details help subdivide and designate spaces within each zone.

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Additionally, interstitial shared spaces are situated between the zones to provide for interaction and relaxation. Finally, reflecting the three zones of studio spaces are the offices on the southern façade. These offices contain storefront pop out windows which offer a display space for the corresponding office spaces directly behind it.

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Architectural Technology V

Parapet 122'-0" Roof 116'-0"

Sixth Fl 88'-0"

Fifth Fl 74'-0"

Fourth Fl 60'-0"

Third Fl 46'-0"

Second Fl 32'-0"

First Fl 18'-0"

Ground 0'-0"

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W18 x 35

14 x 14 x 5 Footing

W18 x 35

W12 x 79

W12 x 79

5 6

W18 x 35

W18 x 35

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W18 x 35

W18 x 35

W12 x 79

W12 x 79

W12 x 79

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W12 x 79

W12 x 79

W12 x 79

W24 x 94

5 6

W12 x 79

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W18 x 35

24 x 14 x 5 Footing

W12 x 79

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W18 x 35

W18 x 35

W18 x 35

3'-9"

W12 x 79

W18 x 35

W12 x 79

W18 x 35

W12 x 79

W18 x 35

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W12 x 79

W18 x 35

W12 x 79 W18 x 35 W12 x 79

W12 x 79 W18 x 35

W18 x 35

W18 x 35

W12 x 79

W18 x 35

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W24 x 94

W12 x 79

W12 x 79

W18 x 35

W18 x 35

W18 x 35 W12 x 79

W12 x 79 W18 x 35

W12 x 79

14 x 14 x 5 Footing

W18 x 35

W18 x 35

W12 x 79

W18 x 35

W18 x 35

W18 x 35

W12 x 79

W18 x 35

W18 x 35

W12 x 79

5'-0"

W12 x 79

W12 x 79

W18 x 35

W18 x 35

W18 x 35

W18 x 35

W12 x 79

W12 x 79

W18 x 35

6'-10 1/2"

W12 x 79

W12 x 79

W18 x 35

24 x 14 x 5 Footing

W12 x 79

W18 x 35

W18 x 35

W12 x 79

W12 x 79

W12 x 79

W12 x 79

W12 x 79

W18 x 35 W12 x 79

W12 x 79

W18 x 35

W12 x 79

4 W12 x 79

4

W12 x 79

W12 x 79

W18 x 35

W12 x 79 W18 x 35

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W12 x 79

W12 x 79

14 x 14 x 5 Footing

W12 x 79

W18 x 35 W18 x 35

W12 x 79

W12 x 79 W18 x 35

4

W12 x 79

W18 x 35

W18 x 35

W18 x 35

W14 x 74

14 x 14 x 5 Footing

W12 x 79

14 x 14 x 5 Footing

W18 x 35

W18 x 35

W12 x 79

W18 x 35

W18 x 35

W12 x 79

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W12 x 79

W12 x 79

W12 x 79 W18 x 35

W18 x 35

W18 x 35

W12 x 79

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W12 x 79

W24 x 94

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W12 x 79 W18 x 35

W14 x 74

W12 x 79

W12 x 79

W12 x 79 W18 x 35

7'-6"

W18 x 35

W18 x 35

W12 x 79

W14 x 74

W14 x 74

W12 x 79 W18 x 35

W12 x 79

W12 x 79

W12 x 79

W12 x 79

W24 x 94

W12 x 79

W18 x 35

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W12 x 79

W14 x 74

W12 x 79

W12 x 79

W24 x 94

W12 x 79

W12 x 79

W24 x 94

W18 x 35

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W24 x 94

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W18 x 35

W12 x 79

W24 x 94

W24 x 94

W12 x 79

W12 x 79

W24 x 94

4

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W18 x 35

W18 x 35

W18 x 35

W18 x 35

W12 x 79

W12 x 79 W18 x 35

W12 x 79

W12 x 79 W18 x 35

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W12 x 79

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W18 x 35

W12 x 79

3

W12 x 79

2

W12 x 79

W18 x 35

W12 x 79

W12 x 79

24 x 14 x 5 Footing

W12 x 79

W18 x 35 W18 x 35

W18 x 35

W12 x 79

3

W18 x 35

W18 x 35

W12 x 79

14 x 43 x5 Footing

W18 x 35

W18 x 35

W12 x 79

3

W18 x 35

W18 x 35

W12 x 79

W18 x 35

W14 x 74

14 x 43 x5 Footing

W12 x 79

W12 x 79

W12 x 79

14 x 43 x5 Footing

W12 x 79

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W18 x 35

W12 x 79

W24 x 94

W18 x 35

W12 x 79

W18 x 35

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W14 x 74

W12 x 79

W12 x 79

W12 x 79

W12 x 79

W12 x 79

W12 x 79

W12 x 79

W18 x 35

W12 x 79

2

W12 x 79

W18 x 35

W24 x 94

W18 x 35

W24 x 94

W24 x 94

W12 x 79

W24 x 94

3

W18 x 35

W18 x 35 W12 x 79

W14 x 74

W12 x 79

W18 x 35

W14 x 74

W12 x 79

W18 x 35

W24 x 94

W24 x 94

W24 x 94

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W24 x 94

W18 x 35

W12 x 79

W24 x 94

W24 x 94

W18 x 35

W12 x 79

C W12 x 79

7'-6"

W12 x 79

W12 x 79 W24 x 94

2

W12 x 79

A W12 x 79

W18 x 35

W12 x 79

1

W12 x 79

W24 x 94

F

W18 x 35

W24 x 94

D

W12 x 79

W18 x 35

W12 x 79

B

W12 x 79

W12 x 79

1

W12 x 79

W24 x 94

A

W12 x 79

W12 x 79

W24 x 94

W24 x 94

W18 x 35

W12 x 79

F

W24 x 94

W24 x 94

W12 x 79

W12 x 79

W24 x 94

D

W12 x 79

W24 x 94

1

W24 x 94

W24 x 94

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W24 x 94

W24 x 94

A

W24 x 94

W24 x 94

F

W18 x 35

W12 x 79

W12 x 79

W24 x 94

W24 x 94

D

W12 x 79

W12 x 79

W12 x 79

W24 x 94

C

W18 x 35

W12 x 79

D

2

W12 x 79

B

W12 x 79

W24 x 94

W24 x 94

A

W12 x 79

W24 x 94

C

W24 x 94

5'-0"

1

W24 x 94

W24 x 94

C 2'-6"

B

W12 x 79

17'-6"

Bays are designed to allow the interior ceiling finish to be pulled as taughtly as possible to the bottom of the decking above. This coffered condition allows maximum ceiling height while still accommodating the HVAC, lighting, and sprinklers in the limited drop ceiling.

B

W12 x 79

4'-3"

Structurally, the Bronx Studio Gallery is a steel framed system with composite decking.

Beams and Girders are lightened towards the center of the structure as spans and bay sizes decrease, while column support is limited to three lines of columns on the ground floor and all typical floors, and just two column lines on the seventh floor gallery.

W24 x 94

W24 x 94

5'-9"

Structure 15

W18 x 35 W12 x 79

W18 x 35

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W12 x 79 W18 x 35

15

70'-0" 7'-6"

14 x 43 x5 Footing

24 x 43 x5 Footing

W12 x 79

W18 x 35

W12 x 79

W12 x 79

W12 x 79

W18 x 35

W12 x 79

W12 x 79 14 x 43 x5 Footing

W18 x 35

W12 x 79

5'-0"

W12 x 79 14 x 43 x5 Footing

W18 x 35

15

W18 x 35 W12 x 79

W18 x 35

W12 x 79

W12 x 79 W12 x 79

W18 x 35

W12 x 79

W18 x 35

W12 x 79 W18 x 35

15

W18 x 35

W12 x 79

W18 x 35 W12 x 79

W12 x 79 W18 x 35

W12 x 79

W12 x 79 W18 x 35

silicone seal 3/8" extruded aluminum tube 4" rigid insulation curb

pressure plate extruded aluminum cap flashing weather sealant continuous seal rigid insulation 4" metal coping continuous roof membrane gravel bed staggered rigid insulation 4" + vapor barrier concrete no. 4 rebar metal decking

1 S

6" metal stud wall 3/8" gypsum board

plywood balustrade

no 4 rebar extruded aluminum stud wall track

concrete aluminum pour stop

concrete aluminum decking

aluminum decking galvanized iron support

2" fireproofing

2" insulation supply duct

suspended ceiling, 1/2" molded gypsum DUCT

2 S

3 S 6" metal stud wall 3/8" gypsum board

extruded aluminum stud wall track concrete aluminum decking

2" fireproofing

extruded aluminum casing sliding connection

2" safety glass insulated

4 S

2" safety glass insulated silicone sealant extruded aluminum casing flashing concrete slab expansion control gap anchor bolt concrete slab footing

gravel bed

gravel bed

no. 6 rebar

5 S

6 S

VI V IV III II I Social Apertures

222

HVAC

1

5

7

6

8

9

10

11

12

13

14

15

280.00 30.00

30.00

27.50

15.00

21.16

16.34

16.34

21.16

15.00

27.50

30.00

30.00

16x16

16x16

24x16

VAV

VAV

A 24x16 T

20.00

T

VAV T

VAV

B

VAV

12R

12R 16x16

17.00

D

20R

16x12

22x18

26R

22x18

AHU - 1

26R

T

T

T

T T

T

VAV

24x16

VAV

VAV

VAV

VAV

23.00

VAV

VAV

16R

AHU - 2

20R

12R

12R

T

70.00

C

12x12

8x8

10.00

T

T

16x12

12R

12R

16R

E

3

2

4

VAV

VAV

A

5

12X8

13.66

13.66

7

6

8

30.00

9

10

20.00

11

12

12X8

12X8

12X8 T

T

T

13

14

15

VAV

1

30.00

VAV

20.00

T

6x12

6x12

VAV

VAV T

T

10x10

10x10

10x12

10x12

10x10

B

10x10

Each floor is fitted with two separate air handling units, each serving half of the floor. The round ductwork is revealed in the hallway and common spaces. Within the office and studio space, however, the ductwork is hidden within the coffers to differentiate the three volumes as three pristine volumes of space. The diffusers are linear and hidden with the crevices of the coffers, allowing the central portion of the coffer to remain a clean white surface. Track lighting is used within the studio space to provide flexibility, tracing the profile of the coffers to further emphasize suggested division of space.

4

12x12

The Bronx Studio Gallery is designed with the use of a Variable Air Volume (VAV) system.

This system is ideal for maximum temperature control for each individual studio space, allowing a variety of artistic program and function.

3

2

C 8R

16x10

16x10

16x10

16x10

14x12

8R

14x12

8R

8R 18R

18R 16R

T

T

T

8R

6R

AHU - 1

T

T

T

VAV

VAV

VAV T

VAV

VAV

8R

6R

12R

8R

6R

VAV

VAV

VAV

VAV

VAV

VAV T

T

T

VAV

T

T

12X6

12x8

T

12X6

12x8

12X6

12X6

6R

VAV T

VAV

T

VAV

12R

AHU - 2

8R

16R VAV

D

T

F

1

3

2

4

5

7

6

8

9

10

11

12

13

14

15

8x22

12x22

16x22

20x22

8x22

12x22

16x22

20x22

T

24x22

T

24x22

VAV

VAV

A VAV

VAV T

T

B

Architectural Technology V

30R

18x16

18x16

18x16

18x16

223

14x16

13R

30R

22R

22R

VAV

T

VAV

18R

F

14x16

14x16

13R

AHU - 1

D

14x16

C

14R

T

T

T

VAV

14R

18R

VAV

AHU - 2

VI V IV III II I Social Apertures

224

Facades The intention of the south faรงade facing the street is to promote each individual artisan by creating framed pop-outs for display. Besides the pop out displays, the faรงade system is double skinned with acid etched glass on the exterior.

The material on the interior varies in order to project its program. On the south faรงade a combination of acid etched exterior panels with spandrel covered wall denotes office space, whereas a combination of acid etched exterior panels with double glazed clear glass denotes shared space, and lastly the pop out boxes protrudes past the etched exterior panels in order to display the work of each individual artisan and doubles as a storefront.

On the north faรงade the system is manipulated in order to allow northern exposure. Studio spaces on the north side are layered with a combination of double glazed clear glass with acid etched panels on the exterior. The acid etched faรงade panels starts 10 feet above grade and ends at the parapet allowing passersby full view into the first floor gallery space.

Parapet 122'-0" Parapet 122'-0" Roof 116'-0" Roof 116'-0"

Sixth Fl 88'-0" Sixth Fl 88'-0"

Fifth Fl 74'-0" Fifth Fl 74'-0"

Fourth Fl 60'-0" Fourth Fl 60'-0"

Third Fl 46'-0" Third Fl 46'-0"

Second Fl 32'-0" Second Fl 32'-0"

First Fl 18'-0" First Fl 18'-0"

Ground 0'-0" Ground 0'-0"

Parapet 122'-0" Parapet 122'-0" Roof 116'-0" Roof 116'-0"

Sixth Fl 88'-0" Sixth Fl 88'-0"

Fifth Fl 74'-0" Fifth Fl 74'-0"

Fourth Fl 60'-0" Fourth Fl 60'-0"

Third Fl 46'-0" Third Fl 46'-0"

Second Fl 32'-0" Second Fl 32'-0"

First Fl 18'-0" First Fl 18'-0"

Ground 0'-0" Ground 0'-0"

225

Architectural Technology V

VI V IV III II I Social Apertures

226

Storefront Glazing Structurally, the exterior layer of the double skinned rain screen façade is a curtain wall unitized system with acid etched panels held in place by structural silicon glazing (ssg) mullions. Each unit spans two floor heights with gravity connectors at each floor slab.

Service walkways are located at each floor. The outer most line is held by Besista tension rods with compression anchors and horizontal steel members tied back to the structural steel tube.

1 A

2 A

The tension rod supports the façade in gravity load and deflection, with compression anchors and its self-weight acting against uplift. This then is connected to the building structure with a gravity connector at each floor slab with Halfen HTA Cast-In Channels allowing for movement in the x, y, and z direction.

This system allows differing levels of transparency, translucency and opaqueness in terms of relating the interior programs to the exterior.

T.O. PARAPET EL. 122’ - 0”

H.P. ROOF EL. 116’ - 0” L.P. ROOF EL. 115’ - 0”

SEVENTH FL EL. 88’ - 0”

6 A

SIXTH FL EL. 74’ - 0”

7 A

3 A

4 A

FIFTH FL EL. 60’ - 0”

FOURTH FL EL. 46’ - 0”

THIRD FL EL. 32’ - 0”

5 A

8 A

SECOND FL EL. 18’ - 0”

9 A

10 A FIRST FL EL. 0’ - 0”

1/2” = 1’ South Facade Wall Section Pop Out Window

227

Architectural Technology V

North Facade Wall Section Double Height Space

E

D

C

B

A Parapet 122'-0"

Roof 116'-0"

Seventh Fl 88'-0"

Sixth Fl 74'-0"

Fifth Fl 60'-0"

Fourth Fl 46'-0"

Third Fl 32'-0"

Second Fl 18'-0"

Ground 0'-0"

VI V IV III II I Social Apertures

228

formed copin

continuous m w/metal sup acid etched

spandrel gla 1 A

Besista m39

1600 SSG m

Halfen HZA channel & T

formed coping continuous membrane w/metal support acid etched glass spandrel glass

batt insulation

aluminum mullion 2 A

concrete upstand rigid insulation staggered insulation

composite metal decking

service wa rigid insulation

1 A

structural t aluminum

1 concrete upstand

Besista m39 rod 1600 SSG mullion

rigid insulation

Besista m3

staggered insulation composite metal decking

Halfen HZA cast-in channel & T-bolt

SSG 1” double1600 glazing 6 A

1 B 2 A

steel tube

B

batt insula

3

aluminumA mullion

8” concrete cmu structural tube composite metal decking

rigid insulation 1” double gl

structural tu service walkway structural tube 1 B

aluminum mullion steel tube Besista m39 rod

composite metal decking rigid insulation spandrel glass Halfen HZA cast-in channel T-bolt concrete&cmu

aluminum m steel tube 1” double glazing 1600 SSG

Besista m3

aluminum mullion 7 A

1600 SSG mullion

Besista m39 rod batt insulation

spandrel glass 4 A

1 B

aluminum mullion 3 A

8” concrete cmu structural tube composite metal decking

1” double glazing 1” double glazing structural tube aluminum mullion steel tube

Halfen HZA cast-in channel & T-bolt aluminum mullion

1600 SSG mullion Besista m39 rod

composite metal decking

batt insulation batt insulation

rigid insulation service walk

cast in anchor steel tube

structural tu

8” concrete cmu

aluminum m

structural compositetube metal decking Halfen HZA cast-in rigid insulation channel & T-bolt

1” double glazing 1600 SSG m

structural tube

steel tube

rigid insulation spandrel glass

Besista m3

composite metal decking 1” double gl

spandrel glass

8 A

concrete cmu 8” concrete cmu

Besista m39 rod spandrel glass 4 A

1 B

1” double glazing batt insulation

229

Architectural Technology V

1” = 1’ service walkway Pop Out Window Plan Detail

steel tube

structural tube

structural tube

aluminum mullion

Halfen HZA cast-in channel & T-bolt

1600 SSG mullion

rigid insulation spandrel glass

5 A

steel tube Besista m39 rod 1” double glazing

1” = 1’ Facad 9 A

composite metal decking

Halfen rigid insulation HZA cast-in aluminum mullion channel & T-bolt spandrel glass 1” double glazing

formed coping continuous membrane w/metal support acid etched glass spandrel glass

batt insulation

aluminum mullion

concrete upstand

service walkway

rigid insulation staggered insulation

composite metal decking rigid insulation

1 A

structural tube

steel tube 1600 SSG mullion Halfen HZA cast-in channel & T-bolt

concrete upstand Besista m39 rod 1600 SSG mullion

Besista m39 rod

rigid insulation

spandrel glass

staggered insulation composite metal decking

Halfen HZA cast-in channel & T-bolt

1” double glazing 6 A

aluminum mullion

structural tube steel tube

2 A

rigid insulation

service walkway 1600 SSG mullion

service walkway

1 B

structural tube aluminum mullion

spandrel glass

steel tube

Besista m39 rod

composite metal decking rigid insulation 1” double glazing

concrete cmu

Besista m39 rod 7 A

1600 SSG mullion batt insulation

aluminum mullion

structural tube

composite metal decking

steel tube

3 A

service walkway

8” concrete cmu structural tube composite metal decking

1” double glazing structural tube aluminum mullion steel tube

Halfen HZA cast-in channel & T-bolt

aluminum mullion

batt insulation

rigid insulation

Halfen HZA cast-in channel & T-bolt

cast in anchor

Besista m39 rod

composite metal decking rigid insulation

1600 SSG mullion

1” double glazing

spandrel glass

1600 SSG mullion Besista m39 rod

spandrel glass 8 A

concrete cmu

Besista m39 rod

spandrel glass 4 A

structural tube steel tube 1600 SSG mullion

1” double glazing batt insulation

service walkway

steel tube

structural tube

structural tube

aluminum mullion

Halfen HZA cast-in channel & T-bolt

1600 SSG mullion

rigid insulation spandrel glass 8” concrete cmu

steel tube Besista m39 rod 1” double glazing

9 A

composite metal decking rigid insulation

aluminum mullion

structural tube steel tube

spandrel glass

concrete slab

1” double glazing 12”x12” column

drain hole

5 A

1” = 1’ Facade Section Details

10 A

VI V IV III II I Social Apertures

230