Abstract 2004-2005 by Columbia GSAPP

EDITOR'S STATEMENT

THE FUTURE OF THE ARCHITECT

Mark Wigley, Dean

Education is all about trust. The best teachers embrace the future by trusting the student, supporting the growth of something that cannot be seen yet, an emergent sensibility that cannot be judged by contemporary standards. A school dedicated to the unique life and impact of the thoughtful architect must foster a way of thinking that draws on every-thing that is known in order to jump into the unknown, trusting the formulations of the next generation that by definition defy the logic of the present. Education becomes a form of optimism that gives our field a future by trusting the students to see, think, and do things we cannot. This kind of optimism is crucial at a school like the GSAPP at Columbia. The students arrive in New York City from around 55 different countries armed with an endless thirst for experimentation. It is not enough for us to give each of them expertise in the current state-of-the-art in architecture so that they can decisively assert themselves around the world by producing remarkable buildings, plans, and policies. We also have to give them the capacity to change the field itself, to completely redefine the state-of-the-art. More than simply training architects how to design brilliantly, we redesign the figure of the architect. Columbia’s leadership role is to act as a laboratory for testing new ideas about the possible roles of designers in a global society. The goal is not a certain kind of architecture but a certain evolution in architectural intelligence. Architecture is a set of endlessly absorbing questions for our society rather than a set of clearly defined objects with particular effects. Architects are public intellectuals, crafting forms that allow others to see the world differently and perhaps to live differently. The real gift of the best architects is to produce a kind of hesitation in the routines of contem-porary life, an opening in which new potentials are offered— new patterns, rhythms, moods, sensations, pleasures, connections, and perceptions. The architect’s buildings are placed in the city like the books of a thoughtful novelist might be placed in a newsstand in a railway station, embedding the possibility of a rewarding detour amongst all the routines, a seemingly minor detour that might ultimately change the meaning of everything else. The architect crafts an invitation to think and act differently. GSAPP likewise cultivates an invitation for all the disciplines devoted to the built environment to think differently. Its unique mission is to move beyond the highest level of professional training to open a creative space within which the disciplines can rethink themselves, a space of speculation, experimentation, and analysis that allows the field to detour away from its default settings in order to find new settings, new forms of professional, scholarly, technical, and ethical practice. The heart of this open-ended laboratory is the design studios. All the overlapping and interacting programs at the school—Architecture, Urban Design, Historic Preservation, Urban Planning, and Real Estate Development—teach design and are united in their commitment to the global evolution of the 21st century city. Every semester, the school launches more than 35 explorative studio projects that head off in different directions before reporting back their findings in juries, exhibi-tions, and publications that stimulate an intense debate and trigger a new round of experiments. With a biodiversity of continually evolving research trajectories, the school operates as a multi-disciplinary think tank, an intelligent organism thinking its way through the uncertain future of the discipline and the global society it serves.

As in any other architecture school, the real work is done in the middle of the night. Avery Hall, the school’s neo-classical home since 1912—with its starkly defined symmetrical proportions communicating to the world the old belief that the secret of architectural quality is known, universal, and endlessly repeatable—now acts as the late night incubator of a diversity of possible futures. At its base is Avery Library, the most celebrated architectural collection in the world, a remarkable container of everything architects have been thinking about in the past, neatly gathered within the traditional quiet space of a well organized archive. Up above are the dense and chaotic studio spaces bristling with electronics and new ideas. Somewhere between the carefully catalogued past and the buzz of the as yet unclassifiable future, the discipline evolves while everyone else sleeps. Having been continuously radiated by an overwhelming array of classes and waves of visiting speakers, sympo-sia, workshops, exhibitions, and debates, the students artfully rework the expectations of their discipline. The pervasive atmosphere at GSAPP, the magic in the air from the espresso bar to the pin-up walls to the front steps to the back corner of the big lecture hall, is the feeling of being on the cutting edge, straddling the moving border between the known and the unknown in our field. It is hopefully an open questioning atmosphere in which students are able to do work that teaches their teachers. In the end, a school’s most precious gift is its generosity towards the thoughts that the next generation has yet to have.

FACULTY

Mark Wigley

Carol Clark

Lance Freeman

Dean

Adjunct Associate Professor of Historic Preservation

Assistant Professor of Urban Planning

Cory Clarke

Adam Friedman

FACULTY

Adjunct Assistant Professor of Architecture

Adjunct Assistant Professor of Urban Planning

Peter Abeles

Michael Conard

Richard Froehlich

Adjunct Associate Professor of Urban Planning

Adjunct Associate Professor of Architecture

Adjunct Assistant Professor of Urban Planning

Mitchell Adelstein

Robert Condon

Douglas Gauthier

Adjunct Assistant Professor of Real Estate Development

Adjunct Assistant Professor of Architecture

Moshe Adler

Mark Cousins

Frank Gehry

Adjunct Associate Professor of Urban Planning

Visiting Professor of Architecture

Distinguished Professor

John Alschuler

Lise Anne Couture

Mark Gibson

Adjunct Associate Professor of Real Estate Development

Adjunct Assistant Professor of Architecture

Adjunct Assistant Professor of Real Estate Development

Alisa Andrasek

Elizabeth Currid

Leslie Gill

Adjunct Assistant Professor of Architecture

Preceptor in Urban Planning

Adjunct Associate Professor of Architecture

Chris Andreacola

Yolande Daniels

Martin Gold

Adjunct Assistant Professor of Architecture

Assistant Professor of Architecture

Adjunct Professor of Real Estate Development

Phillip Anzalone

Pierre David

Mario Gooden

Adjunct Assistant Professor of Architecture

Visiting Assistant Professor of Architecture

Leo Argiris

Thomas de Monchaux

Sigurd Grava

Adjunct Assistant Professor of Architecture

Professor Emeritus of Urban Planning and

Erieta Attali

Kathryn Dean

Special Lecturer in Urban Planning

Visiting Assistant Professor of Architecture

Assistant Professor of Architecture

Michael Grey

Kathleen Bakewell

Manuel DeLanda

Adjunct Assistant Professor of Real Estate Development

Adjunct Assistant Professor of Urban Planning

Adjunct Associate Professor of Architecture

Henry Grossman

Mojdeh Baratloo

Michael Devonshire

Associate in Architecture

Adjunct Associate Professor of Architecture

Adjunct Assistant Professor of Historic Preservation

Sumila Gulyani

Richard Bass

Douglas Diaz

Assistant Professor of Urban Planning

Adjunct Associate Profesor of Urban Planning

Adjunct Assistant Professor in Architecture

Cyril Harris

Harold Bell

Hernan Diaz Alonso

Professor Emeritus of Architecture and

Special Lecturer in Architecture Urban Planning and

Adjunct Assistant Professor of Architecture

Charles Batchelor Professor Emeritus of

Real Estate Development

Ed Dimendberg

Electrical Engineering

Michael Bell

Visiting Associate Professor of Architecture

Laurie Hawkinson

Associate Professor of Architecture

Andrew Dolkart

Associate Professor of Architecture

Paul Bentel

James Marston Fitch Associate Professor of

Saul Hayutin

Adjunct Assistant Professor of Architecture and

Historic Preservation

Adjunct Assistant Professor of Architecture

Historic Preservation

Phu Duong

Robert Heintges

Joan Berkowitz

Adjunct Assistant Professor of Architecture

Adjunct Associate Professor of Architecture

Adjunct Assistant Professor of Historic Preservation

Keller Easterling

Jay Hibbs

Francoise Bollack

Adjunct Assistant Professor of Archtecture

Adjunct Associate Professor of Architecture

Adjunct Associate Professor of Historic Preservation

Charles Eldred

Thomas Hines

Thomas Boytinck

Adjunct Assistant Professor of Architecture

Visiting Professor of Architecture

Adjunct Assistant Professor of Real Estate Development

Alastair Elliott

Steven Holl

Lynne Breslin

Adjunct Assistant Professor of Architecture

Professor of Architecture

Adjunct Associate Professor of Architecture

Yael Erel

Bradley Horn

Babak Bryan

Adjunct Assistant Professor of Architecture

Susan Fainstein

Jyoti Hosagrahar

Michael Buckley

Professor of Urban Planning

Adjunct Associate Professor of Architecture and

Adjunct Professor of Real Estate Development

Douglas Fanning

Urban Planning

Anne Buttenwieser

Adjunct Assistant Professor of Architecture

Catherine Ingraham

Adjunct Associate Professor of Architecture

Irving Fischer

Visiting Professor of Architecture

Paul Byard

Adjunct Professor of Real Estate Development

Mary Jablonski

Adjunct Associate Professor of Architecture

Scott Fishbone

Adjunct Assistant Professor of Historic Preservation

Gabriella Carolini

Adjunct Assistant Professor of

Pamela Jerome

Preceptor in Urban Planning

Real Estate Development

Adjunct Associate Professor of Historic Preservation

Noah Chasin

Michael Fishman

Andrea Kahn

Adjunct Assistant Professor of Architecture

Adjunct Assistant Professor of Urban Planning

Adjunct Associate Professor of Architecture

Karl Chu

Michelle Fornabai

Keith Kaseman

Adjunct Associate Professor of Architecture

Adjunct Assistant Professor of Architecture

Alice Chun

Kenneth Frampton

Ariela Katz

Adjunct Assistant Professor of Architecture

Ware Professor of Architecture

Adjunct Associate Professor

Edward Keller

Sandro Marpillero

Adjunct Assistant Professor of Architecture

Adjunct Associate Professor of Architecture

Jeannie Kim

Victoria Marshall

Adjunct Assistant Professor of Architecture

Jeffery Kipnis

Reinhold Martin

Visiting Professor of Architecture

Associate Professor of Architecture

Gordon Kipping

Jurgen Mayer

Adjunct Assistant Professor of Architecture

Visiting Assistant Professor of Architecture

Bradford Klatt

Michael McGough

Adjunct Assistant Professor of Real Estate Development

Building Systems Critic

Sulan Kolatan

Brian McGrath

Adjunct Assistant Professor of Architecture

Adjunct Associate Professor of Architecture

Craig Konyk

Lionel McIntyre

Adjunct Assistant Professor of Architecture

Rupp Associate Professor in the Practice of

Kyle Krall

Community Development

Adjunct Assistant Professor of Architecture

Mary McLeod

Kunio Kudo

Professor of Architecture

Adjunct Associate Professor of Architecture

Ana Miljacki

Laura Kurgan

Adjunct Assistant Professor of Architecture

Douglas Miller

Marc Kushner

Adjunct Assistant Professor of Urban Planning

Adjunct Assistant Professor of Architecture

Dorothy Miner

Floyd Lapp

Adjunct Associate Professor of Historic Preservation

Adjunct Professor of Urban Planning

Petia Morozov

Charles Laven

Adjunct Assistant Professor of Architecture

Adjunct Professor of Real Estate Development

Luc Nadal

Franklin Lee

Adjunct Assistant Professor of Urban Planning

Adjunct Assistant Professor of Architecture

James Njoo

Vincent Lee

Adjunct Assistant Professor of Architecture

Davidson Norris

Thomas Leeser

Adjunct Associate Professor of Architecture

Adjunct Assistant Professor of Architecture

Mary Northridge

Frederic Levrat

Assistant Professor of Public Health and Urban Planning

Adjunct Assistant Professor of Architecture

Joan Ockman

Kevin Lichten

Adjunct Associate Professor of Architecture

Adjunct Assistant Professor of Architecture

Rory Oâ&#x20AC;&#x2122;Neill

Giuseppe Lignano

Adjunct Assistant Professor of Architecture

Eddie Opara

Robert Luntz

Adjunct Assistant Professor of Architecture

Kate Orff

Greg Lynn

Adjunct Assistant Professor of Architecture

Visiting Professor of Architecture

Jorge Otero-Pailos

William MacDonald

Assistant Professor of Historic Preservation

Adjunct Associate Professor of Architecture

Robert Paley

Peter Macapia

Adjunct Assistant Professor of Real Estate Development

Adjunct Assistant Professor of Architecture

Philip Parker

Andrew MacNair

Adjunct Assistant Professor of Architecture

Adjunct Associate Professor of Architecture

Drura Parrish

Kristina Manis

Adjunct Assistant Professor of Architecture

Areta Pawlinsky

Panos Mantziaras

Adjunct Assistant Professor of Architecture

Richard Pieper

Scott Marble

Adjunct Assistant Professor of Historic Preservation

Adjunct Assistant Professor of Architecture

Richard Plunz

Peter Marcotullio

Professor of Architecture

Adjunct Assistant Professor of Urban Planning

Jan Pokorny

Peter Marcuse

Professor Emeritus of Architecture and

Professor of Urban Planning

Special Lecturer in Historic Preservation

Robert Marino

James Polshek

Adjunct Assistant Professor of Architecture

Professor Emeritus of Architecture

Gregg Popkin Adjunct Assistant Professor of Real Estate Development James Potter Preceptor in Urban Planning Theodore Prudon Adjunct Associate Professor of Historic Preservation Robert Quaco Adjunct Assistant Professor of Real Estate Development Nicholas Quennell Adjunct Associate Professor of Architecture Mark Rakatansky Adjunct Assistant Professor of Architecture Mahadev Raman Adjunct Professor of Architecture Raquel Ramati Adjunct Professor of Real Estate Development Hani Rashid Adjunct Associate Professor of Architecture Charles Renfro Adjunct Assistant Professor of Architecture Arun Rimal Adjunct Assistant Professor of Architecture Fernando Romero Visiting Assistant Professor of Architecture Joyce Rosenthal Teaching Assistant in Urban Planning Karla Rothstein Adjunct Assistant Professor of Architecture Philip Rowland Adjunct Assistant Professor of Real Estate Development Rhett Russo Adjunct Assistant Professor of Architecture Yehuda Safran Adjunct Assistant Professor of Architecture Alain Salomon Adjunct Associate Professor of Architecture David Sampson Adjunct Professor of Historic Preservation Michael Samuelian Adjunct Assistant Professor of Urban Planning Jose Sanchez Adjunct Assistant Professor of Architecture Victoria Sanger Adjunct Assistant Professor of Architecture Susanna Schaller Adjunct Assistant Professor of Urban Planning Andrew Scherer Adjunct Professor of Urban Planning Brett Schneider Adjunct Assistant Professor of Architecture Elliott Sclar Professor of Urban Planning Paul Segal Adjunct Professor of Architecture Daniel Sesil Adjunct Assistant Professor of Architecture Grahame Shane Adjunct Professor of Architecture Ethel Sheffer Adjunct Assistant Professor of Urban Planning

Daniel Sherer

Daniel Vos

Adjunct Assistant Professor of Architecture

Charles Shorter

Enrique Walker

Adjunct Associate Professor of Real Estate Development

Adjunct Assistant Professor of Architecture

Joel Silverman

David Wallance

Adjunct Associate Professor of Real Estate Development

Adjunct Associate Professor of Architecture

James Sinks

Mark Wasiuta

Adjunct Assistant Professor of Architecture

Michael Skrebutenas

Michael Webb

Adjunct Assistant Professor of Urban Planning

Adjunct Associate Professor of Architecture

Danielle Smoller

Anthony Webster

Adjunct Assistant Professor of Architecture

Adjunct Associate Professor of Architecture

Galia Solomonoff

Beth Weinstein

Adjunct Assistant Professor of Architecture

Seth Spielman

Carl Weisbrod

Adjunct Associate Research Scholar

Adjunct Associate Professor of Real Estate Development

Keri Spiller

Norman Weiss

Adjunct Assistant Professor of Architecture

Adjunct Associate Professor of Historic Preservation

Lars Spuybroek

George Wheeler

Visiting Associate Professor of Architecture

Adjunct Associate Professor of Historic Preservation

Brian Streby

J. Christopher Whitelaw

Adjunct Assistant Professor of Architecture

John Stubbs

Carol Willis

Adjunct Associate Professor of Historic Preservation

Adjunct Associate Professor of Architecture

William Suk

Charles Wolf

Adjunct Assistant Professor of Architecture

Adjunct Associate Professor of Architecture

John Szot

Douglas Woodward

Adjunct Assistant Professor of Architecture

Adjunct Assistant Professor of Urban Planning

Fred Tang

Gwendolyn Wright

Adjunct Assistant Professor of Architecture

Professor of Architecture

Brian Taylor

Thomas Wright

Visiting Associate Professor of Architecture

Adjunct Assistant Professor of Urban Planning

Mark C. Taylor

Michael Wyetzner

Visiting Professor of Religion and Architecture

Adjunct Assistant Professor of Architecture

Shane Taylor

Mayine Yu

Preceptor in Urban Planning

Adjunct Assistant Professor of Architecture

Monica Tiulescu

Kimberly Zarecor

Adjunct Assistant Professor of Architecture

Preceptor in Architecture

Ada Tolla

Scott Zwilling

Adjunct Assistant Professor of Architecture

Adjunct Assistant Professor of Real Estate Development

Abba Tor Adjunct Assistant Professor of Architecture Olivier Touraine Adjunct Assistant Professor of Architecture Brian Tress Adjunct Assistant Professor of Real Estate Development Bernard Tschumi Professor of Architecture Mark Tsurumaki Adjunct Assistant Professor of Architecture David Turnbull Adjunct Professor of Architecture Joshua Uhl Adjunct Assistant Professor of Architecture Pieter Uyttenhove Adjunct Assistant Professor of Architecture Els Verbakel Adjunct Assistant Professor of Architecture Thomas Vietorisz Adjunct Professor of Urban Planning

ADMINISTRATIVE OFFICERS AND STAFF

Mark Wigley

Laurie Hawkinson

Mark Taylor

Dean

Associate Professor of Architecture

Building Manager and Woodshop Manager

Director, Advanced Architecture Studios

Cindy Walters

Elizabeth Alicea

Sasha Heroy

Administrative Coordinator, Business Ofﬁce

Administrative Assistant, Ofﬁce of the Dean

Mark Wasiuta

Kevin Allen

David Hinkle

Adjunct Assistant Professor of Architecture

Audio Visual Assistant

Associate Dean

Director of Exhibitions

Carlito Bayne

Jeffery Inaba

Anthony Webster

Output Systems Coordinator

Co-Director, CLAB

Adjunct Associate Professor of Architecture

Michael Bell

Barbara Jones

Director, Building Technologies and Director, Materials

Associate Professor of Architecture

Director of Finance

Research Lab

Co-Director, Core Architecture Studios

Ariela Katz

George Wheeler

Leigh Brown

Adjunct Assistant Professor of Architecture

Adjunct Associate Professor of Historic Preservation

Administrative Assistant, Urban Planning and

Co-Director, New York/Paris Program

Director, Fabrication and Conservation Laboratory

Historic Preservation Programs

Jeannie Kim

Olga Zaitseva

Michael Buckley

Adjunct Assistant Professor of Architecture

Systems Coordinator

Adjunct Professor of Real Estate Development

Print Publications Editor

Director, Real Estate Development Program

Laura Kurgan

Paul Byard

Adjunct Assistant Professor of Architecture

Adjunct Associate Professor of Architecture

Director of Visual Studies

Director, Historic Preservation Program

William Mac Donald

Cory Clarke

Adjunct Associate Professor of Architecture

Adjunct Assistant Professor of Architecture

Co-Director, Core Architecture Studios

Electronic Publications Editor

Sonya Marshall

Gary Cooper

Manager, Ofﬁce of the Dean

Systems Coordinator

Reinhold Martin

Devon Ercolano Provan

Associate Professor of Architecture

Director, Ofﬁce of Development

Director, Advanced Architectural

Susan Fainstein

Design Program

Professor of Urban Planning

Bongani Mbatha

Acting Director, Urban Planning Program

Administrative Assistant, Urban Technical

Karen Fairbanks

Assistance Project

Associate Professor of Professional Practice,

Lionel McIntyre

Barnard College

Rupp Associate Professor in the Practice of

Director, Undergraduate Architecture at Barnard and

Community Development

Columbia Colleges

Director, Urban Technical Assistance Project

Louis Fernandez

Kelli Myers

Audio Visual Manager

Administrative Assistant, Business Ofﬁce

Anna-Lisa Finger

Joan Ockman

Student Affairs Ofﬁcer

Adjunct Associate Professor of Architecture

Janet Foster

Director, Temple Hoyne Buell Center for the Study of

Assistant Director, Historic Preservation Program

American Architecture

Kenneth Frampton

Taino Ortiz

Ware Professor of Architecture

Systems Coordinator

Director, Ph.D Program in Architecture

Richard Plunz

Salomon Frausto

Professor of Architecture

Program Coordinator, Buell Center for the Study of

Director, Architecture and Urban Design Program

American Architecture

Rachel Powers

Lance Freeman

Receptionist

Assistant Professor of Urban Planning

John Ramahlo

Acting Director, Ph.D Program in Urban Planning

Systems Manager

Kenny Gerard

Loes Schiller

Administrative Assistant, Ofﬁce of Admissions and

Associate Dean for Admissions, Financial Aid, and

Student Affairs

Michelle Gerard

Danielle Smoller

Administrative Assistant, Architecture Programs

Adjunct Assistant Professor of Architecture

Benjamin Goldie

Co-Director, New York-Paris Program

Network Manager

Jessica Stockton

Grace Han

Administrative Assistant, Real Estate

Assistant Director, Urban Planning Program

Development Program

CORE ARCHITECTURE STUDIOS 1-3

ADVANCED ARCHITECTURE STUDIOS 4-6

Michael Bell, William MacDonald, Co-Directors

Laurie Hawkinson, director

The Core Studios in the Masters of Architecture program constitute the initial three

STUDENT PROJECT, A

The Advanced Studios in the architecture program; the

semesters of the studio sequence at the Graduate School of Architecture. Each of David Benjamin and

ﬁnal three semesters for those graduating in the ﬁrst

these studios is characterized by programs and sites that are developed and explored Soo-in Yang

professional program - Master of Architecture- and the

collectively during the semester, but shaped individually by each studio critic.

ﬁnal two semesters for those in the advanced Architec-

In the ﬁrst two semesters techniques of conceptualization and abstraction

Martin studio

ture Design program - Master of Science; builds upon

are emphasized as a means of generating architectural and urban strategies. Sites the basic skills gained in the Core Studio sequence. The Advanced Studios extend in the metropolitan region of New York City form the basis for this work. During the the students’ capacity for more independent, investigative thinking. A wide range third semester students work in teams to design urban housing, and to address of topics and projects are offered each semester and critics present studio projects a complex array of essential as well as theoretical and political issues that affect that relate to their speciﬁc areas of research and expertise. Students’ progress housing design in New York.

from sharing the same design theme - an institutional building in New York City - in

The primary aim of the Core Studios is to develop a capacity to work with skill Studio 4; to highly specialized individual design trajectories in Studios 5 and 6 with and invention at all levels of architectural design. The development of this capac- sites and programs dispersed globally. In the final semester students travel around ity is assisted by the studio critics, and framed by the unfolding content of each the world to project sites and locations that support the studio research topic. The subsequent studio. The unique qualities of the creative and intellectual work are advanced studio sequence fosters an experimental design culture sensitive to the the responsibility of each student, but the shared goals of the Core Studios are pro- many different roles played by architects in contemporary society. vided for by intensive, and dynamic new design methods. These processes vary with each critic, but what is held in common is a desire to re-think the architectural and urban problem at each phase of the development. Here the spatial and temporal of architecture includes new organizations of building processes, new systems of manufacturing and construction, and a strong interest to address the nature of use and programming in the contemporary city. The Core Studios emphasize the particularly and nuances of use, while also defining building at the level of the detail to the greater urban situation. Each student is asked develop a project that is rigorous on both conceptual and practical levels. The aim of the first two semesters is to consider the conceptual implications of architectural space as a form of speculative research and to situate this research in a series of experimental efforts framed by issues of site and program. The first semester consists of semester-long project divided into distinct phases and exercises. These fold into the development of an architectural proposal for an urban site. The translation from abstract idea to architectural notation and representation is explored in a wide range of media. Project explorations proceed in the form of drawing, modeling, hybrid drawing/modeling techniques and make use of timebased software and animation programs. Both the final projects and the Processes of design are expected to find synthetic means to address issues of sites in New York City, and a specified program with broader infrastructural and cultural relationships. Model making and drawing skills are tested along with the structural and material implications of design, and professional engineers and consultants work with students during the year. During the second semester students are introduced to complex themes concerning the nature of contemporary cities, and the interrelations of public and private space. New York City remains the primary site for studio work, both as a dense urban center, but also as wider far reaching network of connections and infrastructure. The speculative character of the studio is re-considered and students confront a larger public context, and more internally complex programs. The third and final semester of the core studio sequence is a semester-long project focused on the design of urban housing. Students in the final Core Studio work in teams of two and carry each project to a high level of resolution in terms of material, detail and ultimately demographic, social and political need. Partners are selected during the previous semester. The final Core Studio is known as the Housing Studio‹it addresses the essential design of the individual dwelling unit, and the wider gradations between private and public spaces that are endemic to collective housing. While the studio sites are physically within the broad context of metropolitan New York, the studio is equally based a renewed analysis of the history of housing policies both in the New York and in the United States. The Housing Studio explores these histories, and the significant change how housing is politically and financially sustained, in a series of symposiums and shared lectures. Students are asked to bring the analytical expertise of the first two semesters to these issues, and to complete the Core Studios with a project that addresses a full spectrum of concerns from the immediate detail to the larger urban and political consequences of design.

CORE ARCHITECTURE STUDIO/STUDIO 1

CORE ARCHITECTURE STUDIO/STUDIO 2

William MacDonald, coordinator, Fall 2004

Mark Rakatansky, coordinator, Spring 2005

CRITICS

URBAN “LOBBY-ING”: FULTON STREET

CRITICS

IN BETWEEN (COHABITING DYNAMICS):

Alice Chun

VISITOR AND TRANSIT CENTER

Alisa Andrasek

CENTER FOR URBAN ECOLOGY, GREENPOINT,

Yolande Daniels

Using downtown New York City as our design labora- Yolande Daniels

BROOKLYN

Doglas Gauthier

tory, the mandate for the project for Core Studio 1 was Jeannie Kim

If ecology is the study of environmental interactions

William MacDonald

intended to initiate a process of design research with Robert Marino

and relations, then the urban environment is perhaps

Philip Parker

an emphasis on conceptualization and abstraction as a Philip Parker

the most ecologically intensive of all environments.

Mark Rakatansky

means of generating architectural strategies. The stu- Mark Rakatansky

Urban ecology is not what is left over after you take

Olivier Touraine

dio was framed around the proposition that architec- Karla Rothstein

away the urban, it is not the vestige trace of nature

ture be understood as a set of relationships rather than

seemingly clinging on for dear life—a stray hawk on

STUDENT PROJECT, A

as an autonomous object. Toward that end, the studio

Ulises Castillo,

explored ways of producing architectural interventions Li Xu, Marino Studio

the political, cultural, and physical ecologies of life,

Gauthier Studio

based on an understanding of the city as a ﬁeld of dy-

biological life, human life, in urban habitats.

namic, cross-referential linkages and interfaces. The focus of the studio was on the relationship between structure and membrane.

STUDENT PROJECT, B

the Upper East Side—but a broader understanding of

So rather than exist as contradictions in terms, the urban and the ecological assist in deﬁning each other. And rather than imagine this project as a mini-nature

This studio addressed these and other issues in the context of larger ques- center, one might imagine it as an interface between the metropolitan density of tions pertaining to contemporary conditions of urbanity and infrastructure, as Greenpoint and the life aquatic of the East River, fluid as both habitats are, as in well as architecture’s role in both. Our primary concerns involved infrastructure fact the program includes community meeting areas and offices as well as a comas architecture and its impact on the selected circumscribed site and its imme- munity reference library and cafe. For if “community dynamics” is a major topic for diate adjacencies, as well as the architectural proposal’s potential influence on contemporary ecological theory, then as architects we are aware of the changing the scale of the MTA’s schedule and program as part of a network transportation dynamics of communities undergoing intensive urban development. system of Manhattan.

Like Greenpoint, for example: already the next place to be, the next “Wil-

The term lobby-ing was used, in this context, as both noun and verb. The liamsburg” (its neighbor to the south), an urban environment, you could say, with project addressed the concept of lobby-ing as both a culture and performative diverse demographic ecosystems in transition, between immigrant enclaves and the technique. The “urban lobby” was thought to be a continually contested and negoti- new hipness, between the older heavy (manufacturing) industries and the new light ated -scape, a “public living room,” a private “boardroom,” an “orientation space,” (distribution) industries (manufacturing employment declined by 60% in Greenpoint a public open space, a “private open space,” a “wild space,” “subway business between 1991-2002), between the older lower street-wall residencies and the illegal lounge,” and a “Wi-Fi hot spot.” Its contents were made up of “fugitive” programs loft conversions and the future residential water-edge skyline towers, all in cooprepresenting various constituencies with different agendas. The visitor center af- eration and competition. In ecological terms, it’s in the interface, the interstitial, forded an orientation space for commuters, residents, and tourists both foreign where paradoxically life is often the most active, diverse, surprising. and domestic. It was an anticipatory space. To this extent, the studio focused on strategies of lobby-ing, leveraging, and anticipation.

Living in, between.

The resultant possibility of lobby-ing was an investigation rooted in creative/ critical speculations on how one addresses contemporary modes of urbanity.

So Greenpoint then: a site seemingly on the periphery, at the edge. There are warehouses in varying states of array and disarray, pilling ruins, gulls, razor wire, and across to Manhattan the Empire State, housing blocks, the Williamsburg bridge. But it’s not very green now, it’s not the “green point” that colonial sailors used as a marker to navigate the East River. Yet even now this environment is in the midst of a shift in community dynamics, with a major redevelopment effort by New York City Department of City Planning. As ecology has taught us, it’s the edge sites that provide a different kind of density and diversity, a different kind of urban ecology—with its interfaces of river to industry, old industry to new industry, industry to older residential, older residential to new residential.

CORE ARCHITECTURE STUDIO/STUDIO 3

ADVANCED ARCHITECTURE STUDIO/STUDIO 4

Michael Bell, coordinator, Fall 2004

Kathryn Dean, coordinator, Spring 2005

The fourth semester begins the advanced studio se-

CRITICS

PRIVATE HOUSING AND PUBLIC PLANNING

Michael Bell

The role of housing in New York City has a renewed Kathryn Dean

quence in which students are asked to develop a tra-

Scott Marble

sense of potential as it ﬁnds itself at the center of new Hernan Diaz Alonso

jectory of speculative interests through working in col-

Robert Marino

urban initiatives that rely on housing as a major force Michelle Fornabai

laboration with the research and expertise of a series

Ana Miljacki

in redevelopment. From the Mayor’s Plan for New York Giuseppe Lignano and

of design critics.

Karla Rothstein

to shifts at the federal level in Public Housing, organi- Ada Tolla

David Turnbull

zation housing is central as a domestic entity and as Scott Marble

sequence as it joins a diverse group of students and

a ﬁnancially crucial urban development tool. These Mark Tsurumaki

faculty in the investigation of the contemporary insti-

STUDENT PROJECT, A

changes are evident at the national level, as housing

tution and its ﬂuid role in shaping the rapidly changing

Diana Martinez and

policy in the United States is increasingly relying on the

STUDENT PROJECT, B

face of contemporary culture. Thus, the shared zone

Dong-Ping Wong,

market place to spur innovation in design.

Jennﬁer Shoukimas,

of investigation allows students to be presented with

Turnbull Studio

CRITICS

We studied a set of forces that are critical Dean Studio in new housing policy in New York and in the United

The semester is unique in the advanced studio

a series of ideas that intersect, diverge, and often contradict each other allowing for a rich and intense

States. Our studio site and programming reflected these changes in both policy and educational experience that establishes a framework to enter the final year of their in formal realms. In this final studio of the three-semester Core Studio sequence, students

design studio education. This year, two shared studio seminars provided an underlying framework

worked in pairs and collaborated in examining the history of housing policy in both of investigation. The first, given by Dean Mark Wigley, established a conceptual New York City and the nation. Students’ work addressed a full city block site on Man- framework with which to question the contemporary institution. Based in concepts hattan’s Far West Side. The block--defined by West 44th and 45th Streets, and Tenth of psychoanalysis, it suggested looking at the institutional role in reinforcing beand Eleventh Avenues--was within the southern region of the new planning area titled haviors as a way of creating almost invisible tactics of change within an institution The Far West Side. Their work, as designers, architects, planners, and urban theorists and following this society at large. The second, focused on the rapidly evolving rerequired them to program as well as design this city block. Each pair was asked to lationship between the digital and tectonic worlds. Monica Ponce de Leon of Office address four programming vectors, which were understood not as fixed entities or d’A, Adam Yarinsky of Architecture Research Office, and Marcelo Spina of Patterns quantitative fields or needs but as forces described by direction and Magnitude:

presented recent work that investigated digital fabrication and its relationship to

· Infrastructure+ Services + Housing

more conventional modes of construction within the projects.

· Sustaining a Heterogeous Middle Class? · Outsourcing the Poor? What happens after Gentriﬁcation? · Up Zoning

ADVANCED ARCHITECTURE STUDIO/STUDIO 5

ADVANCED ARCHITECTURE STUDIO/STUDIO 6

Laurie Hawkinson, coordinator, Fall 2004

Laurie Hawkinson, coordinator, Spring 2005

CRITICS

In the ﬁfth semester a form of specialization takes

Karl Chu

place. This is the ﬁrst opportunity for the students to Moji Baratloo

to pursue individual work within the context of studio

Lise Anne Couture

select both a studio project and instructor outside of a Karl Chu

themes offered by regular Columbia faculty as well as

Kathryn Dean

ﬁxed pedagogical sequence. A combination of regular Leslie Gill and

visitors from New York or abroad. Students test their

Laurie Hawkinson and

Columbia faculty and visiting faculty from New York Tina Manis

capacities for independent thought and self-critique by

Kate Orff

and abroad propose themes or programs with distinct Laurie Hawkinson

developing a personal response to the program offered

Gordon Kipping

emphasis in a particular area of architectural knowl- Steven Holl

by the critic. A concentration of prestigious visiting crit-

Craig Konyk and

edge. These programs often coincide with the research Ed Keller

ics in this semester allows the students to match their

Paul Byard

of the individual faculty member. Hence, programs are Laura Kurgan

own interests to the most advanced international work

Thomas Leeser

offered with a wide range of design strategies and ap- Frederic Levrat

on the widest possible range of design themes. This

Greg Lynn and

proaches, which imparts an experimental quality to the Peter Macapia and

semester marks a transition from the more protected

Jeffrey Kipnis

studios.

world of the academy to the realities of the architec-

Andrew MacNair

CRITICS

Franklin Lee

Faced with the studio offerings of such diversity, William MacDonald

The sixth and ﬁnal semester offers students a chance

tural profession. Each student is encouraged to make

Jurgen Mayer

students must begin to deﬁne for themselves their Andrew MacNair

the transition in their own way by developing compre-

Richard Plunz

own interests and priorities. Students are expected to Reinhold Martin

hensive designs that already indicate the direction they

Fernando Romero

initiate, develop, and defend individual points of view. Hani Rashid

would like their work to take after graduating.

Yehuda Safran

At the same time, self-criticism is encouraged. This Galia Solomonoff and

Guiseppe Lignano and

strategic range of both faculty and students often has Cory Clarke

Ada Tolla

implications for the direction of architectural research Lars Spuybroek and

Enrique Walker

at a much broader scale.

Fred Tang David Turnbull

STUDENT PROJECT, A

David Menicovich,

STUDENT PROJECT, A

Safran Studio

Adam Marcus, Martin Studio

MS ADVANCED ARCHITECTURAL DESIGN

MS ARCHITECTURE AND URBAN DESIGN

Reinhold Martin, director, AAD Studio , Summer 2004

Richard Plunz, director

CRITICS

The Master of Science degree in Advanced Architec-

Ed Keller

tural Design is a three-term program consisting of Michael Conard

gogical potential of the studio as a form of design-based

Sulan Kolatan

summer, autumn, and spring terms.

inquiry. To explore how the city is thought, projects are

Laura Kurgan

STUDIO CRITICS

Charles Cannon

The objective of the program is to provide out- Andrea Kahn

Columbia’s Urban Design Program exploits the peda-

seen as critical instruments to focus on topics in con-

Thomas Leeser

standing young professionals who hold a B.Arch. or Phu Duong

temporary urban design practice. All three studios em-

William MacDonald

M.Arch. degree the opportunity to enter into an in- Sandro Marpillero

phasize a multi-scalar approach to the urban site (lo-

Mark Rakatansky

tensive, postgraduate study that encourages critical Victoria Marshall

cal, neighborhood, metropolitan, regional and global),

Enrique Walker

thought in the context of design speculation. Overall, Brian McGrath

and approach Urban Design as an inter-disciplinary

the program emphasizes an experimental approach to Richard Plunz

practice that engages with and negotiates between dif-

STUDENT PROJECT, A

architectural design and research, rigorously ground- Kate Orff

ferent actors in the urban dynamic.

Samuel Dufaux

ed in multiple, complex realities.

futures of cities that have come of age in the modern

Kurgan studio SPECIFICALLY, THE PROGRAM SEEKS TO: (1)

In general the curriculum is focused on the

Petia Morozov SEMINAR INSTRUCTORS

Engage students in a worldly understanding of architecture that responds to Els Verbakel

industrial era and now face the transition to new forms and meanings; in dialogue with new cities in develop-

the challenges and possibilities of global urbanization by exploring the city in all its Grahame Shane

ment. Particular emphasis is placed on questions of

forms.

Noah Chasin

urban infrastructure and urban ecology. A dialogue

Articulate architecture as a cultural practice that combines reﬂective Douglas Diaz

is woven between New York City, which is the primary

thought, design experimentation, and ethical responsibilities in an interdisciplin- Saul Hayutin

focus of the program; and other world capitals with

ary milieu.

analogous contemporary conditions; moving between

(2)

(3)

Produce architectural objects which reﬂect an open, critical engagement

with new and existing technologies.

VISITING CRITICS

recent theoretical debate on future urbanism, and ap-

Jose Luis Echeverria

plied projects which directly engage the realities of the

The advanced studios frequently utilize New York City as a design “labora- Jordi Mansilla

transformation of the post-industrial city. In this way,

tory’’--a global city that presents both unique challenges and unique opportunities. Jorge Perea

the program attempts to engage both the daily reality

The required summer lecture course, “Metropolis and After,” explores architecture’s

of our urban condition and the theoretical abstraction

historical and contemporary role with respect to changing notions of the city, while the accompanying summer elective courses are conceived as seminars in “strategic

STUDENT PROJECT, A

of current academic debate; not one to the exclusion of the other. Within this position, Urban Design is pursued

thinking.” These are all designed to offer students a range of approaches to working as a critical re-assessment of conventional approaches relative to questions of site with complex cultural and technological issues. While the program as a whole has and program, infrastructure, and form-mass, as they have been deﬁned by Urban long been a site for young architects from around the globe to test new ideas and Design practice during this century. The Urban Design curriculum is unique as a confront changes that affect architecture and cities worldwide.

coherent pedagogic position on the role of architecture in the formation of a discourse on urbanism at this moment of post-industrial development and indeed, of post-urban sensibility relative to the traditional Euro-American settlement norms. By proposing an expanded architecturally-based teaching model for urban design, the program advocates working from the “ground up” (rather than adopting “a top down” master-planning approach). It takes advantage of architecture’s traditional concerns for site speciﬁcity, spatial experience, construction logic’s, economics of organization, morphology and physical form, while also engaging forms of knowledge associated with disciplines such as urban planning, urban ecology, and landscape design. In this sense, the program is considered experimental, exploratory, and unorthodox in comparison to the established canons of the traditional architectural design studio. The sequencing of the studios is intended to build the linguistic substructure that is essential to urban design thought and practice. The use of language evolves from how representation of the urban site determines the quality of site knowledge (Representation); to more speciﬁcally how discourse on the city determines interpretations of its past and projections of its futures (Discourse); to the invention of the strategic languages of public engagement involving operational mechanisms for urban transformation at both the formal and programmatic levels (Public Syn-

MS URBAN PLANNING

MS HISTORIC PRESERVATION

Susan Fainstein, acting director

Paul Spencer Byard, director

Yuichiro Yamaguchi, A

The focus of the Urban Planning Program is on future James Wei Ke, B

THE YEAR IN HISTORIC PRESERVATION

physical, economic and social well being of the world’s

The Historic Preservation Program this year reinforced

cities. The rapid pace of global urbanization has been accompanied by an increasing and expanded its capacity to protect the public interest in old architecture. The most polarization between the well off and the poor in the cities of both the more devel- signiﬁcant single step was the conﬁrmation of Dr. George Wheeler as the program’s oped and less developed nations of the world. Unless these polarizations and the Director of Architecture Conservation, joining Jorge Otero and Andrew Dolkart as ensuing antagonisms are reversed, global urbanization and the population migra- members of the program’s full-time faculty. After years at the Metropolitan Mutions it has engendered will work to the detriment and not the betterment of all of us. seum and at NYU, George Wheeler brings to Columbia, the program and the lab his Developing the capacity of the next generation of planners to adapt to and address remarkable skills as a chemist and gifts as a teacher. Dr. Wheeler also serves as the social and environmental challenges brought about by a rapidly urbanizing world Director of Conservation Services in the new Avery Fabrication and Conservation is a central concern of the Program.

Laboratory. Dr. Wheeler expects to build from his base in stone conservation the

New York City’s jarring juxtapositions of abandonment and renewal, indus- capacity sought by the Program to deal with Twentieth century building materials trial exodus and ofﬁce expansion, devastated neighborhoods and well equipped including, importantly, concrete. communities, crime and culture, public austerity and private wealth, exquisite

This year’s First Year Studio concentrated on Lower Manhattan, looking at

historic parklands and degraded natural environments, illustrate the processes af- the impacts of anticipated development on the neglected streets east of Broadway. fecting urban communities whether at the scale of the metropolitan region or the The Second Year Historic Preservation Design Workshop again collaborated with neighborhood. The city also provides a basis for comparison with other large in- students from the Third Year Advanced Architectural Design Studio on proposals ternational cities facing problems for which similar planning approaches to urban for additions to nine of the faculties of the University of Mexico. The work of the problems may or may not be appropriate or achievable.

joint studio will be published in July. The Second Year Conservation Workshop took on the investigation of the George Wells House, an important early-Modern work of architecture and interior decoration in Stockbridge, Massachusetts. Internships included important work preserving grafitti-bearing Roman plaster in Izmir, Turkey and in documenting historic landscapes and vernacular barns in Bonsall, England. Internships dealing with the conservation of the steel beams of the World Trade Center, and with examination of the role of reconstruction in post-conflict Mostar led directly to thesis work for the students involved. Other significant theses examined the reuse of the great Joseph LeMaire Sanatorium in Belgium as a Wellness Center and the measurement of Rising Damp and moisture monitoring in the in Aztec National Monument, New Mexico. The Program’s pioneering journal, Future Anterior, published its second number in January 2005 and published the third in May, 2005, with financial support from the Graham Foundation.

REAL ESTATE DEVELOPMENT

VISUAL STUDIES

Michael P. Buckley, FAIA, director

Laura Kurgan, Director of Visual Studies, Josh Uhl, Coordinator

William Mowat, B

In the last ten years, architecture has been exposed

FACULTY

THE NEXT GENERATION DEVELOPER

Mitchell Adelstein

At Columbia we believe that the Next Generation of

John Alschuler

real estate professionals must balance multiple ob- technological environments. New hardware and software, often imported from oth-

Harold Bell

jectives to deal with change, while commanding a

Nicholas Bienstock

broad skill spectrum. Our accelerated program pro- of architectural drawing, modeling and production, multiplied networks of com-

Thomas Boytinck

vides a dedicated curriculum with theoretical frame- munication into diverse infrastructures and media, increased the accuracy of ana-

to a radical set of changes in its visual toolkits and its er ﬁelds and emerging at a dizzying pace, have digitized and automated techniques

Irving Fischer

works for public policy and market research, while

lytic imaging, and expanded databases and methods of data collection. The reach

Scott Fishbone

building core competencies in real estate ﬁnance and

of these innovations makes it clear that the technologies of visualization and their

Frank Galinelli

enterprise management, and product development new environments are a core issue not simply in the creative design of buildings,

Mark Gibson

methodologies.

but in urban design, planning, and preservation. What can be deﬁned as visual has multiplied exponentially and re-informed all of our practices.

Martin Gold Michael Grey

THE FOUR QUADRANTS

Bradford Klatt

Columbia MSRED Program is focused on emerging

What does this mean for the discipline and the pedagogy of architecture, a practice deeply embedded in the visual? It implies that we need to work critically

Charles Laven

Trends and Drivers, which will signiﬁcantly impact the

and with discrimination among a plethora of ever-changing tools, so that the tech-

John Livingston

Four Quadrants of the development process:

niques are neither working for us, automatically in place of thinking, or against us,

Ron Moelis

· Finance: Accessing capital markets and equity sources

as a way of limiting our working environment with visual imperatives. And it im-

Robert Paley

· Enterprise Management: Managing processes, talent, plies that architecture, because its core techniques are not simply its own, cannot

Gregg Popkin

and assets

wall itself off from the many other disciplines and practices—ecology, the military,

Robert Quaco

· Product Design: Responding to new populations and

science, geography, popular culture—with which it shares, and often borrows, its

Raquel Ramati

lifestyle changes

tools.

Christopher Schlank

· Public Policy: managing increasing expectations for

Charles Shorter

quality of life

drawing to photography to digital fabrication, simulation and GIS. The courses cut

Brian Tress

MANAGING CREATIVITY

Urban Planning and beyond...

John Tsui

As developers seek to build competitive advantage,

across the curriculum at the GSAPP, from Visual Studies to Building Technology to

Joel Silverman

Carl Weisbrod

we seek to extend research and dedicated symposia

Scott Zwillig

around the topics of new methods for managing com-

Center for High Density

value, and this means managing the enterprise is even

Development, English

more critical.

plex teams. We know creative ideas and concepts add

Station Vision Plan, A GLOBALIZATION Real estate investing and development has now expanded internationally in response to the corporate multi-nationals. Columbia’s presence in New York City offers an extraordinary international venue with its concentration of executives, venture funds, and ﬁnancial institutions. Columbia’s reputation for international studies will permit us to build upon or current research on international investments and development.

The following pages present a matrix of workshops and courses from hand

BUILDING TECHNOLOGIES

HISTORY/THEORY

Anthony Webster, director

Kenneth Frampton, director

GROUP PROJECT, A

The Building Technologies curriculum is based on the

Lori Apfel

belief that architects beneﬁt from using a basic knowl- Enrique Walker

schools has gained in stature and importance in recent

Jason Arndt

edge of technical systems, not only as utilitarian ends The Ordinary

years as is evident from the number of distinguished

IMAGE B

The teaching of history and theory in architectural

Sean Erickson

in themselves, but also as a means to help develop Portman Marriot

doctoral programs that have come into being over the

Arthur McGoey

a building’s spaces, forms and expression. The six-

last decade. In a rapidly changing environment such

Tannar Whitney

course required sequence begins by outlining the en- as this, where the pace of modernization never lets up, historical studies are of vironmental conditions that habitable spaces respond

crucial importance to the architect in that they enable a broader sense of cultural

to, and describing the physical determinants of technical building systems. Next, judgment with regard to one’s own time. individual building systems-including (primarily) structure, building enclosure, en-

Two required courses, Architectural History I (1700-1890) and II (1890-1950)

vironmental conditioning and information management-are explored in depth. For are the key to the teaching of history within the school in that they try to trace the each system studied, various design strategies, materials, fabrication techniques, various practical and theoretical changes in the ﬁeld over the past two hundred and didactic built works are explored. Field trips, laboratory demonstrations, and

years. These so-called “threshold” courses constitute the background material to

short design problems are used to augment in-class study. As both a qualita- which all the other historical and theoretical studies are directly or indirectly retive and a basic quantitative understanding of elementary systems are mastered, lated. In general an attempt is made to teach architectural history as though it were the curriculum shifts its focus onto increasingly complex systems serving entire

a branch of cultural history, emphasizing the cross-fertilization between different

buildings. The sequence’s last two courses (Building Systems I and II) develop an

ideological discourses and changing material conditions together with the way in

understanding of how technical-utilitarian systems are resolved, integrated with

which the interchange between the two has a direct impact on architectural form

other systems, and inform a building’s spaces and formal expression-ﬁrst through

and vice versa.

in-depth case studies of entire buildings, and then by the preliminary design of an industrial-loft block. In both courses, students work in teams with structural, mechanical, and building-envelope experts. Throughout the Building Technologies sequence, students are encouraged to apply their growing knowledge to design problems posed in studio. Occasionally, option studios focusing on various aspects of the relationship between technology and spatial and formal design are offered for third-year students. The goals of the Building Technologies electives are threefold: to explore the potential of technological systems to impact design; to understand historical relationships between technology, philosophy, politics and architecture; and to take advantage of New York’s professional practitioners working with the technological “state of the art.” The diversity of views regarding architectural technology represented by the school’s design and technology faculty is reﬂected in, and thereby strengthens, the elective offerings.

PH.D. PROGRAM

URBAN TECHNICAL ASSISTANCE PROJECT (UTAP)

Kenneth Frampton, director

Lionel McIntyre, director

PH.D. COMMITTEE

The doctoral program addresses the development of

Barry Bergdoll

modern architectural form and ideas as they have been Lionel C. McIntyre, director July 2005 will marked the 10th year of the Urban Tech-

UTAP STAFF 2004-2005

OVERVIEW

(Art History)

affected by social, economic, and technological change. Nicole Comp,

Susan Fainstein

In broad terms it encompasses the relations between assistant director

has conducted numerous projects, provided intern-

(Urban Planning)

the profession, practice, civil institutions, and the so- Tirinda McNeill,

ships and consultancies and engaged various clients

Reinhold Martin

ciety at large.

Mary McLeod

administrative coordinator

The main focus of the program is the history and Bongani Mbatha,

nical Assistance Project. Since its inception, UTAP

throughout New York City and other regions of the United States and the world. Most projects have either been

Jorge Otero-Pailos

theory of modern architecture and urbanism from 1850 ofﬁce manager

implemented or acted as catalyst for development. The

(Historic Preservation)

to the present. We especially seek students interested

thematic core of its existence is to provide urban plan-

Mark Wigley

in avant-garde and post-avant-garde developments,

Gwendolyn Wright

the history of American architecture and urbanism, the Joshua Benson

This core mission has provided for orientating, training

evolution of colonial and postcolonial architecture, and

and advancing the professional education of graduate

IMAGE A

the cultural impact of modernization in Europe.

STUDENT INTERNS 2004-2005

Sonal Beri

ning and design services to disadvantage communities.

and undergraduate interns, and exposing high school

Bruno Taut,

Galen Chi-Hang Lam

and resident interns to planning and design work for

Siedlung Frei Scholle

Chi-Yu Chou

the public good. After nearly 60 projects and more

Vivian Hernandez

than 100 interns, we have witnessed many physical

Erin Hyland

improvements in the neighborhoods where we have

Adam Kelly

intervened.

Tara McCaw Michelle McEwen

During the 1990s much was accomplished within the city towards the improvement of housing, com-

Ritika Reikhy

mercial spaces, and open spaces. It was a period of

Christina Tung

tremendous economic growth and prosperity, but also

Daniel Windsor

witnessed a corresponding increase in social and economic disparity. The inverse relationship between the

HIGH SCHOOL INTERNS 2004

physical development of distressed inner-city neigh-

Shawn Bolden

borhoods and their declining social and economic con-

Clinton Howze iv

ditions is common place within most communities in

Oshiozanime Lakoju

which we have worked. This dialectic of contradictions

Marsha Mollete

inherent to the urban revitalization process presents a

Clarence Tonge

great challenge for UTAP and other urban profession-

Andre Waltower

als, who seek to implement their mission with the aim of creating a more socially just city.

CONSULTANTS 2004

Ghislaine Hermanuz

It is at this point that UTAP reafﬁrms its shared social responsibility for the current state of the total city,

Roy Strickland

and seeks future solutions to inﬂuence transformation

Pablo Vengoechea

of social-economic processes manifested within the built environment. The staff, clients and projects of the last ten years have provided a solid foundation for designing new programs and approaches going forward.

NEW YORK-PARIS PROGRAM Danielle Smoller and Ariela Katz, co-directors

BARNARD AND COLUMBIA COLLEGES ARCHITECTURE PROGRAM Karen Fairbanks, director and department chair, Joeb Moore, assistant director

Eun Ryung Lim, A

The Shape of Two Cities: New York-Paris Program is a J. Winters,

Barnard and Columbia Colleges offer a major in ar-

one-year intensive liberal arts program with a strong Moore Studio, B

chitecture providing students with the opportunity to

studio component. It is designed to develop students’ critical appreciation of archi-

explore the discipline of architecture within the con-

tectural and urban forms and their genesis. The curriculum focuses on the prac- text of the Colleges’ commitment to liberal arts. The major is introduced through tice, history and theory of architecture, planning and preservation in both New York a series of studio and academic courses that explore the multiple relationships and Paris.

between architectural design, history, theory, and criticism. Students are expected

Designed for highly motivated college juniors, seniors and recent graduates, to develop technical skills, design excellence, and a critical understanding of archithe program is open to students from a broad range of backgrounds and skill level. tecture as part of our visual, social, and political history and culture. During the ﬁrst semester students are based at the Graduate School of Architec-

There are two tracks to the architecture major: the ﬁrst, while incorporat-

ture, Planning and Preservation in New York and enjoy the resources of the School ing lectures, seminars, and scholarly research, is more strongly studio based and; and of Columbia University as a whole. In the second semester students are based the second, while incorporating introductory level design studios, is focused on the at Reid Hall, Columbia University’s center for French Studies in Paris. Reid Hall’s history and theory of architecture, and is more strongly allied with the Art History academic amenities and social activities help students to bridge the gap between departments. American and French cultures.

The required sequence of courses begins with two introductory design stu-

The program is centered on optional concentrations in Architecture and Urban dios, Architectural Representation: Abstraction and Perception, and the introducStudies. Architectural Design Studio students undertake an increasingly complex se- tory lecture courses, Perceptions of Architecture. Together, these courses provide ries of studio exercises that focus on the analysis, creation and representation of ur- a foundation of material both majors continue to build upon. The studio based maban architecture. Students enrolled in the Urban Studies Workshop explore concep- jor requires Architectural Design I and II, a two-semester design studio that introtual and analytical tools for operating within urban contexts and discourses through duces students to more rigorous conceptual, social, and theoretical study through focused individual research or design projects. A core curriculum supports both con- comprehensive design projects. Senior course work includes senior seminar(s), an centrations and grounds the students in the physical, intellectual, historical and cul- advanced elective design studio, or independent research. The student completing tural contexts of New York and Paris in the hopes of deepening their understanding a history/theory major is required to write a senior thesis. The curriculum for both of architecture and the city. Lecture courses and seminars are supplemented by ﬁeld majors requires that students complement their work in the major with related trips as well as guest lectures and design critiques whose participants are drawn course work in other disciplines, providing a link between architecture and other from local professional and academic communities. Both New York and Paris are important global centers, each still representa-

social and cultural issues. All departmental courses are developed by faculty in relationship to overall

tive of a unique culture. They are ideal settings for exploring the historical, social curricular goals and evolving departmental pedagogy, with many courses teamand political development of architectural and urban form, as well as the forma- taught. Faculty interests reﬂect a broad range of architectural discourse in their tive role of architects, planners and preservationists. Thus, the program provides work/practices and in the teaching methodologies they bring to the department. a unique opportunity for students and instructors to engage in a critical dialogue While most courses are longstanding traditions, each year the department is intenacross cultures, while providing an excellent preparation for graduate and profes- tionally infused with new input from the Special Topics in Architecture courses and sional study in architecture, planning, preservation, and related ﬁelds.

the interests foregrounded by the Emergent Architect Guest Critic. The Emergent Architect is a guest critic invited to teach our advanced elective design studio, Architectural Design III, as well as mount an exhibition of their work and give a public lecture. The department is committed to continually strengthening its relationship to NYC and as such, has developed an adjunct visiting teaching position that is seen as a bridge to the city: an opportunity to expand our dialog with our colleagues; and a chance to support emerging architecture talent. The major, while independently directed by the Colleges, is closely linked to the Graduate School of Architecture, Planning, and Preservation through both on-going pedagogical discussions as well as through our teaching assistants who are current students from various graduate programs. Courses in the major, as well as ﬁeld trips and other events, take full advantage of our location in New York City, and many of our students take advantage of our location and gain experience through internships in the city. The major has an active student club, Architecture Society that supports workshops for students and links students to the larger community. Students produce a journal of their work, On Site, through enrollment in the course Critical Analysis of Architectural Representation. Those majors who choose to apply to graduate school are regularly accepted at the most competitive graduate programs in the country.

LECTURES

ARCHITECTURE GALLERIES Mark Wasiuta, director

Name TK,

A crucial part of life at GSAPP is its endless stream

Name TK and

of public events. Visiting speakers arrive almost

Peter Cook

every lunchtime and evening, turning the School into up, display, and review--is a space of perpetual and constant experiment in exhibi-

of Archigram, with

a continuous public forum for the latest and most tion. The exhibitions program is conceived as a contribution and provocation to this

Mark Wigley

intense discourse about the built environment. All ongoing experiment, adding other projects, other techniques of display and other

IMAGE CREDIT

This school that covers its walls, ceilings, ﬂoors, and corridors with student projects and research--for pin-

the different programs run their own series and then references to this already heteroclite collection and presentation process. Renovathe biggest school-wide events draw the whole community together. The main tions to the Ross Gallery will allow the expansion of the scope of these innovations lecture series is held on Wednesday nights with live feeds broadcast to many in display, collection, and curating. The aim of the program is to pursue strategies rooms throughout the building and a reception afterwards so that the audience can that not only articulate a discourse on architectural exhibition, but also develop and keep talking about the issues. On other nights there is a series of debates in which contribute to architectural discourse and debate, through exhibition. burning questions facing the field are discussed by a panel of experts—allowing the kind of passionate exchange that usually occurs during design juries to open up in a more public arena. A Workshop series features speakers who have recently produced key books, films, or exhibitions in the field, while weekend conferences can zoom in on particular subjects. The result of this overwhelming array of events and issues, more than one mind can absorb, is that students, teachers, and visitors have to navigate their own path through the array, constructing and refining their own curriculum.

THE TEMPLE HOYNE BUELL CENTER FOR THE STUDY OF AMERICAN ARCHITECTURE

RESEARCH LABS

Joan Ockman, Director, Salomon Frausto, Program Coordinator

In 2004-05 the Buell Center completed a two-year program entitled “Modern Archi- At GSAPP, the line between teaching and research is systematically blurred. tecture/American Modernity,” reexamining the history and legacy of architectural Students and teachers stand together on the edge between the known and the unmodernism in the United States. The fall program featured a two-part public lecture known, determined to invent the best steps forward. The result is a rich ecology of series and seminar entitled “L.A. Light and Dark.” The ﬁrst half, presented by visit- overlapping experiments with divergent trajectories that continually evolve and aling professor Thomas S. Hines of the University of California, Los Angeles, traversed low the school to think its way forward in response to the ever changing horizons. the history of modern architecture in Los Angeles from 1900 to 1970, including lec-

At any one time, certain questions galvanize a number of these experi-

tures on Irving Gill, Frank Lloyd Wright, Richard Neutra, Rudolph Schindler, and the mental probes and the school starts to develop a collective expertise around Case Study program. The second half, presented by Edward Dimendberg of the Uni- these initiatives. A new set of research laboratories has been established to focus versity of California, Irvine, explored the relationship between ﬁlm noir and modern resources, creativity and precision on these key issues urbanism and culture. The public lecture series was organized in cooperation with the A.I.A., with the second half held at the Center for Architecture downtown.

While new forms of expertise are constantly being developed within the individual programs at the school, these interdisciplinary labs gather some of these

Also related to the theme of West Coast modernism was the honorary SOM emergent trajectories together and focus them on a series of applied research lecture, presented once a semester, given last fall by architectural historian Jean- experiments. Each lab constitutes a mini think-tank that takes on a limited set of Louis Cohen on the European reception of Richard Neutra; and a round-table with collaborative partnerships with other units of the university and with colleagues architects Greg Lynn and Lorcan O’Herlihy, moderated by architect and critic Jo- outside the university to carry out projects that could not be done independently of seph Giovannini, addressing the impact of the modernist tradition on contemporary such partnerships. The labs act as semi-autonomous border stations between the L.A. architecture. On the occasion of the DOCOMOMO conference held at Columbia last September, the Buell Center produced the Manhattan Modern Map in collaboration with the New York/Tri-State chapter of DOCOMOMO US and the World Monuments Fund. The map highlights endangered modernist sites around New York and is available through bookstores in the city. The Center also cosponsored a conference entitled “Globalizing Cities and Urban Imaginaries,” organized by Andreas Huyssen, with presentations by Farha Ghanna, Orhan Pamuk, and Abdoumaliq Simone on Cairo, Istanbul, and urban Africa. The spring 2005 program, culminating the series on American modernism, was subtitled “Continuities.” It included conversations with two éminences grises of modern architecture, John Johansen and Natalie de Blois, interviewed by architect Lebbeus Woods and historian Nicholas Adams respectively. It also featured a tribute to the architectural historian William Jordy, marking the publication of a major book of Jordy’s essays, “Symbolic Essence” and Other Writings on Modern Architecture and American Culture, guest-edited by historian Mardges Bacon, published by Yale University Press, and produced by the Buell Center. The tribute included an afternoon seminar and an evening panel, with many distinguished speakers and guests. Another all-day event this spring was the biennial Dissertation Colloquium, this year including papers by ten doctoral students selected from doctoral programs in the United States, Mexico, and Europe. The Buell Center also cosponsored a series of six lectures on gender and American architecture organized by GSAPP professor Mary McLeod, funded in part by the Beverly Willis Architecture Foundation. Evening events included the spring SOM lecture by art historian Hal Foster, and a presentation on electronic landscapes by artist Benjamin Edwards in dialogue with GSAPP faculty members Andrea Kahn and Laura Kurgan. The Buell Center awards two Catherine Hoover Voorsanger Writing Prizes each spring for outstanding essays on American architecture, landscape, or urbanism completed during the academic year. One prize is awarded to a student in the GSAPP, the other to a GSAS or Columbia/Barnard undergraduate. This year the GSAPP prize was shared by Jeffrey Taras (M.Arch.), for an essay entitled “Myth and Modernism: The Photography of Julius Shulman and Ezra Stoller,” and Brian Tochterman (Urban Planning), for “A Cry and a Demand: The Working Class Tavern and the Crisis of Place, Space and Community.” The other prize went to Yuma Terada (Barnard College), for her senior thesis, “Reassessing Context: Frederick Kiesler and the Myths of Modernism.”

inside and outside of the school, trading posts for the exchange of new ideas.

RESEARCH LABORATORIES

LABORATORY

Launch of Volume,

COLUMBIA

with Mark Wigley,

BROADCASTING (C-LAB)

ARCHITECTURAL “Million Dollar Blocks,” Spring 2005 Advanced

SPATIAL INFORMATION DESIGN LAB Laura Kurgan, director

Ole Bauman,

Jeffrey Inaba, director

Studio, B

Consultant: Eric Cadora

Jeffrey Inaba, and Rem Koolhaas, A

[text to come]

The Spatial Information Design Lab is a think- and action-tank for the visual display of spatial information. The lab takes a productive and yet critical approach to the ﬁeld of GIS, and work with spatial data to design innovative ways in which the resulting images, or maps, might communicate what they picture with clarity, integrity, responsibility, creativity and invention. Survey and census data, are combined with Global Positioning System information, maps, high- and low-resolution satellite imagery, analytic graphics, photographic and other images, and even qualitative interpretations to produce effective information design. The word design is here for a reason: data sets are designed, even before they are visualized. There is no such thing as raw data, and all data is collected, processed and presented, with or without pictures. This lab takes as given that no data and no map is neutral, and we will exploit “non-neutrality” as a positive and productive aspect of data. What can we do with data? How can we visualize what it does? How can we put these important and growing resources to use responsibly, experimentally and effectively? The goal of the Spatial Information Design Lab is to make partnerships with people and organizations whose research requires the independence and rigor of an academic setting (free of the usual politics and pressures of real life situations), and who thrive in an atmosphere of open inquiry, experimentation, and risk-taking, in order to expand the ways in which data is collected, used, and presented. The Spatial Information Design Lab is one of the partners in a new campuswide GIS initiative with funding from Columbia’s Academic Quality Fund (AQF). In connection with that initiative, the ﬁrst and ongoing project of the lab is to create documentation (metadata) for the GSAPP’s growing archive of GIS data and to develop a suitable interface for this spatial data. In this start up phase of the lab, we have received funding project from the JEHT Foundation and the Open Society Insitutue for a two year project titled: “Graphical Innovation in Justice Mapping.” This project will develop strategies for the effective visual presentation of a wealth of existing spatial data on criminal justice, and will demonstrate these innovations across a range of advocacy materials.

Water Topography

GSAPP/USDA FORESTRY SERVICE JOINT URBAN Adapted from the

ARCHITECTURAL ACTIVISM LAB

Vegetation Plan for

FIELD STATION

“Visual Thesaurus” by

J. Yolande Daniels, director

West Baltimore,

Brian McGrath, Erika Svendsen, co-directors

Thinkmap Inc., B

The Urban Field Station is an Urban Ecology Research

broaden the efﬁcacy of architectural activism. Activities of the Architectural Activ-

The Architectural Activism Lab is developing ways to

Manolo F. Ufer, A

Unit formed in collaboration between Columbia University’s Graduate School of Ar- ism Lab include research, instruction, outreach, and interaction with individuals, chitecture, Planning and Preservation and the USDA Forest Service Northeastern

programs and institutes engaged in the interrogation of spatial politics.

Research Station. The Urban Field Station is developing long-term urban design and

The Architectural Activism Lab promotes an autonomous activism free from

management tools in partnership with public agencies and non-proﬁt community

a single ideological locus that implicates and inﬂuences architecture and the built

groups in the New York City Region, deﬁned initially by the Hudson Raritan Estu- environment. Precedents for an autonomous activism can be found in everyday tacary. The unit will be staffed by research-practitioners who will transfer knowledge

tics that map alternate logic systems onto strategic power bases. The Architectural

developed in the Baltimore Ecosystem Study to the New York City Region by employ- Activism Lab is sensitive to the tendency of hegemonic power structures to seek ing three urban ecology research models: the Human Ecosystem Model, Watershed

localization in a base as well as for colonization through the strategic control of

Framework, and Patch Dynamics. Projects will compare ongoing work in Baltimore

resources and space.

and other American East Coast cities with other world cities.

The Architectural Activism Lab is exploring ways to unburden the history of

Research-practice is framed at four scales, but is always focused on long-term

activism from the perceived failure of a single political revolution and is committed

local observation and ﬁeld work. At the largest scale we examine the Hudson Raritan

to furthering the liberalization of civil society through historic social movements

Estuary, the watersheds and socio-sheds that feed this vital ecosystem. This includes

and contemporary racial, gender, identity and geopolitical transformations.

historical remote sensing analysis of urbanization, agriculture and forest cover over time in the entire east coast megalopolis. The next scale of study is urban corridors, watersheds, coastlines and infrastructural lines. The third scale concerns the dynamics of urban neighborhoods – how they grow and change over time. And the finest grain scale blends social observation, interview and silvicultural plotting methods to take in the urban block, street corners, back yards and gardens. By working at all these scales we are able to map, talk, design and record new layers of social ecological boundaries for integrated management of the urban ecosystem. The Urban Field Station works with various levels of government partners from Peekskill, NY, to Perth Amboy, NJ, which define the outer limits of this region, and has functioned as a research-practitioner partner in the Baltimore Ecosystem Study’s Long Term Ecological Research Project since 2002. New York City Regional partners include the Environmental Protection Agency, Empire State Development Corporation, City of Peekskill, City of Yonkers, Groundwork Yonkers, New York City Department of City Planning, New York City Parks & Recreation, New York City Economic Development Corporation, Saw Mill River Coalition, New Jersey Office of Smart Growth, New Jersey Meadowlands Commission, City of Newark, Ironbound Community Corporation, and the City of Perth Amboy. A

RESEARCH LABORATORIES

Landscape blur,

URBAN LANDSCAPE RESEARCH LAB

DESIGN AND PUBLIC HEALTH UNIT

NASA/GSFC, A

Kate Orff, director

Mary E. Northridge, director

The Urban Landscape Research Lab is an interdisciplinary group at Columbia Uni- The Design and Public Health Unit of the GSAPP provides an academic home for the versity in the City of New York. We focus on the role of design in the analysis and ongoing work of the involved researchers and practitioners at Columbia University transformation of the joint built-natural environment, and study ecological pro- and their partners to inform programs, policies, and projects related to the built encesses and urban systems as hybrid phenomenon through targeted pilot projects, vironment (e.g., land use, transportation systems) and social context (e.g., commupractical strategies, and experiments.

nity investment, enforcement of ordinances) towards advancing public health. What

This landscape/ecology-based approach to urbanism brings together a wide distinguishes this unit from other research centers dedicated to the environment range of disciplines such as architecture, landscape architecture, urban design, and health at Columbia University is our emphasis on “action.” All of the inaugural preservation, civil engineering, conservation biology, economics, climate, and pub- members of the Design and Public Health Unit have practitioner degrees in public lic health, to focus on speciﬁc environment & development issues as they relate to health, urban planning, dentistry, or medicine. Our work focuses on interventions at built form.

the intermediate (meso or community) level, but is informed by factors operating at

Our teaching and research interests share common objectives: to effect posi- the fundamental (macro) and proximate (micro or interpersonal) level (Northridge tive change in the urban landscape in terms of biodiversity, climate change, water et al., 2003). With over a decade of experience conducting community-based parquality and access, waste and sanitation. We focus on the physical design of infra- ticipatory research (CBPR) in the northern Manhattan communities of Harlem and structures, landscapes, and dense urban fabrics as change agents. The research Washington Heights, NYC (Northridge et al., 2005), the Design and Public Health lab is based in a collaborative, interdisciplinary working model that involves proto- Unit has formed the essential partnerships with community-based organizations typing, feedback, and ongoing monitoring efforts.

(e.g., Harlem Children’s Zone, Inc.) and NYC agencies (e.g., the NYC Department

Projects range from building a constructed ecology database, to developing of Health and Mental Hygiene and the NYC Department of Education) necessary to studios and projects that retroﬁt existing patterns of land settlement with habitat design, implement, and evaluate programs, policies, and projects around issues and wildlife corridors, investigating public reclamation of brownﬁelds and restora- as diverse as improving housing conditions towards relieving asthma symptoms in tion of wetlands, and visualizing new development models for waste handling and children to devising transportation systems and siting clinics to better deliver oral processing. Issues are explored through joint interdisciplinary studio formats and health care services to seniors. Our overarching goal is sort out the connections through funded research projects in partnership with scientists, government agen- between the built environment and public health in order to address the pressing cies, and community activists.

need for effective translational research to better ensure that scientiﬁc advances

A parallel goal is to evolve the design disciplines at the GSAPP in response are used to improve the health and well-being of community residents. While we to current environmental contexts and technologies, and to marshal the design ex- strive for the strongest possible science across the lifecourse, we aim to ensure that pertise of the school toward the engagement of policy makers and the public in the respectful and humane medical, dental, social, legal, and educational services are reshaping of the 21st century urban landscape.

provided to all participants and their families in our ongoing research and practice initiatives.

View of slum area in

INFRASTRUCTURE AND POVERTY ACTION LAB (I-PAL) [caption to come], B

THE AVERY FABRICATION AND MATERIAL

Mathari, Nairobi, Kenya, A

Sumila Gulyani, director

CONSERVATION (FABCON) LAB

The Infrastructure and Poverty Action Lab (I-PAL) focuses on innovations in infra- Advisory Board: Phillip Anzalone, Paul Byard, Cory Clarke, Laurie Hawkinson, structure—on mechanisms that help improve the quantity and quality of infrastruc- Bill MacDonald, Richard Plunz, Anthony Webster, George Wheeler, Mark Wigley ture services in the developing world and, in particular, for the poor. While retaining an interest in the growth and productivity impacts of infrastructure, the I-PAL The Avery Fabrication and Material Conservation (FabCon) Lab is a platform for the seeks to deepen our understanding of the linkages between infrastructure and

research and application of emerging fabrication technologies. The lab provides an

poverty alleviation and to underscore the importance of spatial analyses. Accord- environment in which the tools for design, development and production are brought ingly, this Lab has a special interest in urban slums in developing countries, given

into close proximity, allowing for a rapid pace of experimentation and prototyping.

that majority of the urban poor live in these settlements with very poor access to The emphasis of the lab is to explore research at architectural scale, extending basic infrastructure and services relative to their fellow citizens. Its mission is to contribute new ideas and designs—of policies, programs

Columbia’s existing strengths in digital modeling and visualization beyond the virtual and abstract to the physical and the real. The work of the lab also seeks to

and projects—for improving infrastructure and enhancing its poverty alleviation

operate across design ﬁelds and to include new advances in conservation technol-

impacts; conduct and share research on what is working and why; serve as a bridge

ogy, making the school a leading resource for applied preservation conservation

between academia/theory and practice.

and technology.

The Lab is currently involved in a research project for the World Bank. This research draws upon data on 4000 households living in the slums of Nairobi and

The inspiration for the research of the lab draws from the hotbed of experimentation within the studios and seminars of the school. A secondary agenda of the

Dakar and will create, perhaps for the ﬁrst time, a representative proﬁle of poverty, lab is to allow the research of the lab to cross back over to the curriculum, through infrastructure and economic activity in these settlements. This project involves faculty from Columbia University and SUNY, Buffalo, as well as World Bank staff. Reports are scheduled for completion in September 2005. Another project focuses on assisting the Mayor of Ruiru, a municipality on the

a series of focused workshops and studios. Within only six months of its operational launch the lab has began two major projects, receiving a provisional patent on new construction techniques and acting as the fabrication facility for a full-scale architectural project on campus. Along

outskirts of Nairobi, in preparation of a strategic development plan with a special with ongoing projects of the lab it has hosted 3 seminars and a research studio. emphasis on alleviating infrastructure bottlenecks—in particular, water, electricity and transport—for households and ﬁrms. This project includes an “urban planning studio” scheduled for Spring 2006 in which faculty will work with students to develop plans for Ruiru. This project is structured as a collaborative venture, involving several different departments at Columbia University and the University of Nairobi. In addition to client-oriented research, the Lab will seek to support independent grant-ﬁnanced research by faculty as well as graduate and doctoral students. Finally, to complement its knowledge creation activities, the Lab will undertake knowledge dissemination endeavors—through publications as well as sponsorship of events such as lecture series and conferences.

AVERY ARCHITECTURAL AND FINE ARTS LIBRARY

Gerald Beasley, Director

Kitty Chibnik,

Located on the lower ﬂoors of Avery Hall and its exten- original drawings by masters such as Frank Lloyd Wright and Le Corbusier; original

Associate Director and

sion, the world’s leading architectural library supports photographs by Lewis Hine, Joseph Molitor, Samuel Gottscho and others; and the

Head of Access

the work of students and faculty at the School by pro- complete or partial archives of many major American practices, such as Richard

Claudia Funke,

viding, within a series of spaces designed for study and Upjohn, Alexander Jackson Davis, Greene & Greene, Warren & Wetmore, Harold

Rare Books Curator/Indexer learning, a wealth of research materials and outstand- van Buren Magonigle, Stanford White, Wallace K. Harrison, Gordon Bunshaft, Philip Paula Gabbard, Senior Bibliographer

ing reference and access services.

Johnson and the Guastavino Fireproof Construction Company. The collection is a

The Avery Architectural Library was founded in major source for historical exhibitions and for primary research in architecture.

Ted Goodman,

1890 following a gift to Columbia by Samuel Putnam Available by appointment, the collection welcomes students, scholars, and profes-

General Editor, Avery Index

Avery. The university’s Fine Arts Library was added in sionals.

Janet Parks,

1978 and the re-named Avery Architectural and Fine

Curator of Drawings &

Arts Library now holds over 400,000 non-circulating an operating program of the J. Paul Getty Trust. Begun in 1934, it is the most exten-

Archives

books and periodicals related to architecture, urban sive periodical index in the ﬁeld of architecture, and provides citations to articles in

Jeff Ross,

planning, art history, archaeology, historic preserva- approximately 400 current and over 1,000 retrospective architectural and related

Indexer/Reference Librarian tion, and the decorative arts. Christine Sala,

Avery Library also produces the Avery Index to Architectural Periodicals, now

periodicals. The Avery Index is accessible to students as one of the databases of-

The book collection begins with the ﬁrst printed fered on LibraryWeb.

Architecture Bibliographer/

text devoted to architecture, Leon Battista Alberti’s De

Indexer

re aediﬁcatoria (Florence, 1485), and continues with 2003. Phase one mainly consisted of the creation of a new Miriam and Ira D. Wallach

Avery Library began a long-awaited process of renovation and expansion in

Jeanette Silverthorne,

holdings of unique depth and extraordinary range Study Center for Art and Architecture, equipped with new storage, processing and

Assistant Director of the

through to the present. Avery also includes the Ware study facilities for Avery’s Drawings and Archives collection and for the Universi-

Wallach Art Gallery

Memorial Library, a circulating collection of over 9,000 ty’s art properties. Avery’s ground ﬂoor reading room, designed in 1911 by William

Barbara Sykes-Austin,

books on architecture, urban planning and real estate. Mitchell Kendall of the McKim, Mead and White ﬁrm, has also been renovated and

Indexer/Reference Librarian Via LibraryWeb, accessible to all Columbia students, renamed the Miriam and Ira D. Wallach Reading Room. It is linked to the Wallach Sally Weiner,

the Library opens up to a vast world of information re- Study Center by a 1970s underground extension designed by the late Professor Al-

Director of the

sources on campus and beyond, including the History of exander Kouzmanoff. This extension is targeted for phase two of the library’s reno-

Wallach Art Gallery/

Art and Architecture section of Columbia Image Bank.

Curator of Art Properties

Approximately one million documents make up

vation plan. Orientation tours of the library, offered to students at the beginning of the

Avery’s Drawings and Archives collection, including Fall and Summer semesters, are strongly recommended.

OFFICE OF PUBLICATIONS

Jeannie Kim, Editor

The presentation of a school that is continually in the midst of being rethought obviously challenges the medium of the book. The role of publications at the GSAPP should be viewed both as the necessary production of an archive but also the presentation of its present and future identity. Because of the daunting scope of this task and the inevitable delay built into its temporality (books are slow, schools are fast), the OfďŹ ce of Publications itself should be viewed as a site of experimentation, premature speculation, and active production. Perhaps most importantly, the publications of the GSAPP should have as their goal the expansion of the range and engagement of architectural discourse. New Urbanisms 6, Caracas Litoral, Venezuela, A Urban, Columbia Universityâ&#x20AC;&#x2122;s Urban Planning Magazine, Volume 8, Issue 2, B C

Future Anterior, Journal of Historic Preservation, A

Volume 1, Issues 1-2, Volume 2, Issue 1, D Real Estate Development Newsletters, Research Report on German Distressed Property Debt, Research Report on Equity Capital for Volatile Times, Real Estate Roundtable, E GSAPP 2004 web design, F Volume No. 1, A Project by Archis + AMO + C-lab, G

ADVANCED ARCHITECTURE STUDIO/SUMMER AAD

004

Thomas Leeser, critic, Summer 2004

Joao Cardoso

EXTREME DENSITY, FROM KOWLOON TO NEW YORK

Cheng-Feng Chou

The Walled City of Kowloon has an estimated density

Jorge Fontan

of 35,000 people per acre, or about 40 square feet per

Matthew Geiss

person. What if one would apply this density to Man-

Tsun-Yi Huang, E

hattan? This density emerged from a political and legal

Sungwook Kwon

no-mans-land within Hong Kong and created an entire

Radmila Lazarevic

self-regulating micro-society. The project site for the

Christopher Lee

semestre was the MTA rail yard on Manhattan’s west

Chia-Jung Liu, A/B

side, a two and a half city block area. The program was

Natalie McCorkle

to design for housing 80,000 people.

Aldrin Soedarto, F Yuichiro Yamaguchi C/D

06|07|04

SUMMER SESSION BEGINS · FILM: Once Upon a Time

in the West, dir. Sergio Leone (1968)

06|09|04

LECTURE: MP Architects, Sandro Marpillero

ADVANCED ARCHITECTURE STUDIO/SUMMER AAD

005

Enrique Walker, critic, Summer 2004

UNDER CONSTRAINT This studio continued an investigation initiated in a series of previous studios on the production of architecture under self-imposed constraints; that is, voluntary and therefore arbitrary restrictions. Acknowledged as a critical tool in a wide range of production from literature to ﬁlm, self-imposed constraints still remain somehow alien to architecture, perhaps owing to the fact that architectural production is by and large subjected to a regime of external constraints. The practice of voluntary constraints entails an uncompromising decision—a radical renunciation—which, if properly calibrated, might release otherwise unforeseen potentiality. Such was arguably the aim with Beckett’s decision to write in a foreign language, Andrzejewski’s decision to write a novel in one sentence, Butor’s decision to write a novel in second person, Perec’s decision to write a novel without the use of a certain letter, Roussel’s decision to write novels whose narrative would be triggered by a collection of homonymous sentences, Queneau’s decision to write ten sonnets whose respective lines would be interchangeable, Benabou’s decision to write a book by giving his account of the impossibility to write one, Calvino’s decision to write a novel upon ten different beginnings, B

Mathieu de Genot de Nieukerken

Oliva Dolan, C Araceli Garza In-Ki Hong Jisun Lee, A Miranda Lee Young Lee Amit Mandelkern, D/E Steven Morales Maria Stefanidis, B

Murnau’s decision to make a silent ﬁlm without resort-

ing to intertitles, Hitchcock’s decision to make a film in a (seemingly) continuous take, Kubrick’s decision to light a candlelight scene only with candles, Akerman’s decision to make a film by shadowing a character, Buñuel’s decision to make a film by always following a different character, Resnais’s decision to narrate all the possible forkings of a story, Sokurov’s decision to make a film in a single shot, and Leth’s decision to accept von Trier’s obstructions to remake one of his films, as it is unarguably the aim with the studio’s decision to use an obstacle as the starting point for a project. E

FILMS: Chungking Express, dir. Wong Kar-wai (1994) | Pierrot le Fou, dir. Jean-Luc Goddard (1965)

06|14|04

LECTURE: Urban Design, Els Verbakel

06|16|04

ADVANCED ARCHITECTURE STUDIO/SUMMER AAD

006

Laura Kurgan, critic, Summer 2004

Aaron Adams

INTERNATIONAL CRIMINAL COURT—THE HAGUE?

Kaiyu Ahou

In the summer of 1998, delegates representing 170

Omer Barr

countries at a conference in Rome drafted and over-

Yu-Wen Chen

whelmingly endorsed a treaty creating a permanent

Wendy Cooper

International Criminal Court to try persons accused of

Samuel Dufaux, A/B

genocide, crimes against humanity, and war crimes or

Maria del Pilar Echezarreta, E/F

other serious violations of international humanitarian

Mario Marchant

law. No such permanent institution—with the ability to

David Menicovich, C/D

prosecute and jail individuals for crimes outside the ju-

Enrique Moya-Angeler

risdiction of a single nation-state—has ever existed in

Kennerth Neff

the history of humanity. While the current court is temporarily housed in an ofﬁce building on the outskirts of The Hague, it is still uncertain how the permanent building for the

ICC will function, what it will look like, and most importantly, how it will be programmed. The studio responded to the fact that this is not a new building type, but a brand new type of institution, one which erases national boundaries in the pursuit of “justice” but which also addresses questions not always considered to be those of a court: to collect historical evidence and establish the facts about conﬂicts, to E

provide a forum for the testimony of victims, to document, record and preserve the memories of atrocities and traumas, to contribute to reconciliation in places

torn apart by conﬂict, and to make its ﬁndings known to the public. Part archive, part courthouse, part stage or broadcast studio, part research center, this institution is a complex hybrid of existing programs, some of which are not easily compatible, and one whose reach and public extends automatically beyond its temporal and physical location. Our work incorporated design across a multiplicity of programs, networks, times, and sites implied by this institution.

06|21|04

FILM: Vertigo, dir. Alfred Hitchcock (1958)

06|23|04

SYMPOSIUM: Urban Public Space, Jason Bregman,

Gary Handel, Dan McNichol, Bill Struever, Jacqueline Tatom

ADVANCED ARCHITECTURE STUDIO/SUMMER AAD

007

Ed Keller, critic, Summer 2004

BIOPOWER TRANSMUTATIONS: DESIGNING

Vital Albuquerque

CONTEMPORARY ARCHITECTURAL ORGANISMS

Maria Borrell B/C

The ﬁrst theme of the studio was the relationship

Theodore Calvin

between architecture, Empire, and Geo/Bio Politics—

Solim Choi A

searching for points where architecture and urbanism

Styliani Daouti

might usefully participate in this relationship to create

Jeff Deutchman

a world with more freedom.

Sean Gallagher D/E

The second theme sought a more robust concep-

Jeffery Kim

tual model for both politics and architecture, a model

Tal Laub

for design which explored the superimposition of bod-

Guan-Hung Liou

ies coexisting and interacting with each other. The stu-

Alon Pick

dio considered many examples of this superimposition:

Michaela Tonus

viruses living in our human bodies, waves of flow passing through bodies in stadiums, human bodies living within cities, cultures thriving within new technologies, new technologies emerging within economies. Discovering the optimum relation between the more fluid bodies—what we could describe as the more temporalized bodies—and the more stratified bodies—was the larger goal of the studio. We also appropriated the concept of coherence from contemporary physics. In quantum theory, a coherent system is one that has multiple states—mul-

tiple futures—superimposed. When such a system

“decoheres”, it “chooses” one of those superimpositions as the single future it will follow. Likewise, we hypothesized that any architecture, any institution, or any design process is the constant balancing of possible outcomes—coherent, overlapping futures. Our design process worked with this idea and attempted to ﬁnd the catalyst moments which choose future paths for a body,whether that body is a single individual living in a building, or half a million immigrants using a new technology in an urban Special Economic Zone, or a new NGO devoted to monitoring emergent pathogens.

FILM: A Woman Under

06|28|04

the Inﬂuence, dir. John Cassavetes (1974)

Lecture: Eisenman Inside Out, Peter Eisenman, Mark Wigley

07|06|04

LECTURE: WORKin’ It, Dan Wood, Amale Andraos

07|07|04

ADVANCED ARCHITECTURE STUDIO/SUMMER AAD

008

Sulan Kolatan, critic, with Gregory Okshteyn, Summer 2004

STUDIO MUTEN: DESIGN2FABRICATION From day one to day seventy of the summer semester, the studio was structured as a feedback loop. The loop moved between the three bases of the studio: design, research, and fabrication. Students entered and exited the loop at any base. Once entered, they moved sequentially and clockwise from one base to the next. At the start of the studio, the group broke down into three subgroups, each choosing one of the bases to start their project. The collective studio addressed all A

three issues simultaneously and in parallel, while the individual students started with one issue and then

Gregory Getman, A

Roman Linares Gregor Martinez de Riquelme Pierpaolo Martiradonna, F/G Santiago Romero, B/C Cory Taylor José Vasquez Iturralde Zoran Zelic, D/E

moved to the other. Each student stayed on each base

for seven days, and then everyone shifted to the next one. This resulted in everyone completing three full cycles and starting the fourth cycle by the time of the final review. Therefore, the final review did not discuss a finished product but an evolving one. However, the architectural products were in their fourth generation (version 4.0) at that stage, and had clearly matured in terms of design, research, and fabrication. The jurors evaluated the quality of the evolution—what has been learned in the feedback process? In which way has the value of each project increased through each new loop?—and the quality of each component.

07|09|04

MIDTERM REVIEW: Enrique Walker Studio, guest

07|12|04

MIDTERM REVIEW: Mark Rakatansky Studio, guest

critics: Kadambari Baxi, Cesare Birignani, Ed Keller, Laura Kurgan, Carla Leitao,

critics: Ed Keller, Beth Weinstein, Michal Schreiber · FILMS: Night on Earth, dir.

Reinhold Martin, Brian Ripel, Wouter van Daele

Jim Jarmusch (1991) | Toute une Nuit, dir. Chantal Akerman (1982)

ADVANCED ARCHITECTURE STUDIO/SUMMER AAD

009

Mark Rakatansky , critic, Summer 2004

(MOVING) IMAGES: PERSISTENCE OF VISION

Camila Aybar A/B

For this redevelopment of New York’s principal mu- Chantanidh Burusphat seum of ﬁlm and animation, The Museum of the Mov- Felipe Ferrer Cardenas ing Image, we developed and redeveloped the principal Zachary Helmers scenes and in-betweens of the museum. “Animation,” Veronica Kan as the renowned animation director Norman McLaren Enrique Loyer said, ”is not the art of drawings that move, but the art of Arjun Malik movements that are drawn,” and thus students’ archi- William Ngo D/F tecture enacted the art of programmatic movements Ancelmo Perez that were built. Not movement but the invocation of Petar Vrcibradic C/E movement, the invocation of gesture, the invocation of motivation. Scenes and in-betweens: it is the relations between scenes, between (tectonic) actors, that deﬁne the programmatic scenes of any institution. Between the virtual and the actual, between the two-dimensional and the three-dimensional, between the projection and the artifact, is that accrual of static moments that creates the dynamic of the scene, in the persistence of vision, in the persistence of the image of a media museum in stilled movement into the future. B

LECTURE: From Cubism

07|13|04

LECTURES: Recent Work,

07|14|04

MIDTERM REVIEW: Ed

07|16|04

to Socialist Realism: Jirí Kroha and the Modernist

Laura Kurgan | Landscape Architecture, Denise

Keller Studio, guest critics: Juan Lopez, Jason

Principalin Czechoslovakia, Kimberly Elman Zarecor

Hoffman-Brandt

Anderson, Mark Rakatansky, Laura Kurgan, Marta Caldeira, Anna Irene Delmonaco, Andrew Macnair

ADVANCED ARCHITECTURE STUDIO/SUMMER AAD

010

William MacDonald, critic, with Illich Mujica, Summer 2004

TRANSMESHING: REGENERATIVE ARCHITECTURES The transMESH theme intended to relate diverse sys-

tems such as retail, surveillance, transportation, residiential, commercial, and public space and to propose a recombinant architecture and a regenerative urbanity. Toward that end, the studio through the device of the transit center and Fulton Street corridor explored ways of producing speciﬁc non-serial architectural propositions within a network environment. These propositions were based on an understanding of a bionomical city and an ecological structure. Our attempt was fully participant with the emerging city. Therefore, we proposed C

the study of transMESHING architecture as a parametric construct of form, space, time, and program. Methodologically, the emphasis relied on transformational processes (not translational formats). These processes were intended to produce a precise architectural yield. The studio investigated a process of organic information design. Anemone, a software developed by Ben Fry of M.I.T Media Lab, reads the usage data from a particular web site for the last few weeks or months to visualize the emergence of a complex adaptive system. “The premise is that the best way to understand a large body of information, whether it is usage data from a web site, or ﬁnancial transaction

information between two multinational corporations, is to provide a feel for general trends and anomalies in the data, by providing a qualitative slice into how the information is structured.” Our investigations sought to understand the potential and consequence of these parametric techniques deployed within an architectural realm. It was through this investigation of network behaviors such as association, afﬁliation, partnering, co-dependence, and co-evolution that transMESHING E

James Acuna

Sean Arrasmith

architectures derived and developed. To this extent, the studio focused on architectural projects and infrastructural strategies, which were generated from these speculative meshing techniques.

Belisario Barchi A/B/C/D Namitha Hinduja Chun-Ming Lee John Liu Ryan Mileski E/F William Mowat G/H Yi-Chi Su Thomas Wensing Tsing-Lan Yang

07|19|04

LECTURE:

NYC/ASPEN

07|20|04

LECTURE: The History of

07|21|04

LECTURES: Active Space,

Design Conference, Ed Keller, Benjamin H. Bratton,

Architecture as the History of Material Possibilities,

Thomas Leeser | New York City Economic Develop-

William MacDonald, Jeffrey Inaba · FILM: 8 1/2, dir.

Andrew Benjamin

ment Corporation, Carolyn Clevenger

Federico Fellini (1963)

011

MODELS

Yooju No, Daniels Studio, spring 2005, J Chang Hak Choi, Dean Studio, spring 2005, K David Fano, Diaz Alonso Studio, spring 2005, N Sean Gallagher, Hawkinson Studio, spring 2005, A Francisco David Boira, Zoe Coombes, Hawkinson Studio, spring 2005, I Emily Furr, Lignano/Tolla Studio, spring 2005, G Avis Lai, Lignano/Tolla Studio, fall 2004, D

H K

Noah Olmsted, Lynn/Kipnis Studio, fall 2004, C Yi-Kuan Eddie Chou, Marino Studio, spring 2005, L Minyoung Song, Rothstein Studio, spring 2005, B Maria Borrell, Solomonoff/Clarke Studio, spring 2005, M Aimee Chang, Andrew Colopy, Turnbull Studio, fall 2004, E Urban Design Studio, spring 2005, F David Menicovich, Safran Studio, fall 2004, H

L M

07|26|04

FILMS: All About Eve, dir.

Joseph Mankiewicz (1950) | All About My Mother, dir. Pedro Almadovar (1999)

07|27|04

LECTURE: Workaholic,

07|28|04

Charly Wittock

straint, Enrique Walker | Urban Design, Phu Duong

LECTURES: Under Con-

Emily Bello, Fornabai Studio, spring 2005, L Angela Co, Holl Studio, spring 2005, B Jorge Salgado, MacNair Studio, fall 2004, G Amit Mandelkern, Michela Tonus, M Yi-Kuan Eddie Chou, Marino Studio, spring 2005, D Li Xu, Marino Studio, spring 2005, C

Holl Studio, spring 2005, I Yooju No, Daniels Studio, spring 2005, O Gabriel Bach, Dean Studio, fall 2004, J Michael Cho, Dean Studio, fall 2004, K Yung Eun Kim, Dean Studio, fall 2004, E Lloyd Aragon, Dean Studio, fall 2004, N

Jessica Young, Mayer Studio, fall 2004, F Nicholas Medrano, Rakatansky Studio, spring 2005, A

FILM: Hiroshima mon anirm, dir. Alain Resnais (1959)

08|02|04

LECTURES: Speed 04, Michael Webb | Graphic Design, Sheila Levrant de Bretteville

08|04|04

MS ARCHITECTURE AND URBAN DESIGN

014

Andrea Kahn, coordinator, Andrea Kahn, Charlie Cannon, Phu Duong, Els Verbakel, critics, Summer 2004

urban position—treating urban design sites as spatial-

GROUP PROJECT

ENCOUNTERING THE URBAN

Andre-Jacques Bodin

Encountering the Urban offers an introduction to urban ly extensive (working at many scales simultaneously);

Paul Chu

design that emphasizes the development of concep- urban design programs as operationally integrated

Ritika Reihky

tual and representational tools capable of addressing (characterized by more than locally limited use-func-

Jennifer Swee

the complexity and variety of contemporary cities. The tions); and urban conditions as historically contingent studio approached the New York metropolitan region (shaped as much by unpredictable futures and unas a collection of diverse urban conditions; students known players as by prescribed design actions). worked in ﬁve locales ranging from midtown, the inner

The semester-long project involved three inter-

peripheries of Queens and the Bronx, the edge city of related phases. The ﬁrst produces an unbound site, usNewport, New Jersey and the suburban fabric of Staten ing collaborative research into the systems and forces Island. The complex dynamics of these pan-urban con- that shape particular locales. The second yields proditions requires the designer to develop a speciﬁcally posals for small-scale public spaces that critically en-

08|17|04

FINAL REVIEWS: Mark Rakatansky Studio, guest critics: Sunil Bald, Tina Manis, Michal Schreiber, John Szot, Enrique Walker | Ed Keller

Studio, guest critics: Enrique Walker, Carla Soﬁa Leitao, Douglas Diaz, Alisa Andrasek, Shadi Sharoki, Ben Bratton, Frank Gesualdi, Michael Chen, Dean DiSimone, Reinhold Martin, Hernan Diaz Alonso

015

gage the qualitative dimensions of everyday urban life. Each public space is conceived as an urban proposition, a discrete physical space and a catalyst for new developments throughout the urban fabric. Mapping the relationships promoted by these design propositions, and formalizing the urbanisms they suggest provides the focus of the ďŹ nal phase of the studio: the Urban Constellation.

FINAL REVIEW: Enrique

08|18|04

Walker Studio, guest critics: Taylor Aikin, Cesare

LECTURE: Community Development Policy, Lance Freeman

09|01|04

ROUNDTABLE 1: Cor-

09|07|04

porate Real Estate, Brian Schwagerl, Timur Galen,

Birignani, Ed Keller, Reinhold Martin, Mark

Sal Brancato, Philip Pitruzzello, William Lacey,

Rakatansky, Kate Orff, Galia Solomonoff

Lauren Eckhardt Smith

016

017

CORE ARCHITECTURE STUDIO/STUDIO 1 Alice Chun, critic, Fall 2004

Jason Arndt Robert Brackett

Sean Erickson C Katherine Hearey D/E Chad Kellogg F Brad McCoy Julia Molloy Taka Sarui Tannar Whitney A/B Christine Yogiaman Sang Hoon Youm

09|08|04

FALL SEMESTER BEGINS 路 ORIENTATION: All School Orientation

018

CORE ARCHITECTURE STUDIO/STUDIO 1

019

Mark Rakatansky , critic, Fall 2004

George Agnew William Arbizu B /C/D Robert Booth Karin Chen Jamison Guest Randall Holl Hannah Ilten A Christopher McAnneny Christa Mohn Emily Morentz Benjamin Porto E/F Tiffany Schrader-Brown

LECTURES: Conservation of Earthen Architecture, Mauro Bertagnin | The Future of Africaâ&#x20AC;&#x2122;s Heritage, Mauro Bertagnin

09|13|04

CORE ARCHITECTURE STUDIO/STUDIO 1 Douglas Gauthier, critic, Fall 2004

Kubi Ackerman D

Evan Allen C Aiyla Balakumar Ulises Castillo A/B AimĂŠe Duquette Peter Epstein Singjoy Liang Derek Lindner Philip Mana Nicholas Medrano E Katrina Stoll

09|17|04

LECTURE: Latest Work, Rem Koolhaas

020

CORE ARCHITECTURE STUDIO/STUDIO 1

021

Yolande Daniels, critic, Fall 2004

Benedict Clouette Richard Dannenberg Evan Erlebacher M. Trina Gavieres Jason Ivaliotis Hyeseung Helen Jung Jane Lea Christopher Lewis Donna Pallotta Lillian Wang C/D Robert Wing E/F John Winkler A/B

WORKSHOP 1: Air Architecture: Imagination and Matter, Fran莽ois Perrin 路 SYMPOSIUM: Housing, Michael Bell, Karla Rothstein, Ana Miljacki

09|20|04

CORE ARCHITECTURE STUDIO/STUDIO 1

022

Philip Parker, critic, Fall 2004

Yi-Kuan Eddie Chou Benjamin Cohen Sabri Farouki Nicholas Kothari Tatiana Von Pruessen A/B Sahra Motalebi G. Michael Rusch E Swati Salgaocar Cara Solomon D Minyoung Song C Matthew Stofen

09|23|04 - 09|28|04

CONFERENCE: 8th International DoCoMoMo Conference: Robert Breugmann, Hélène Lipstadt, Réjean Legault,

France Vanlaethem, Isabelle Gournay, Mary Corbin Sies, Barbara S. Christen, Gary Koll Sara Topelson de Grinberg, Yasunori Kitao, August H. Alvarez, María de Lourdes Cruz González Franco, Silvana Barbosa Rubino, Barry Bergdoll, Lars Scharnholz, Jeffrey W. Cody, Milena Metalkova-Markova, Marc Treib, Panos Mantziaras, George Kunihiro, Panayiota Pyla, Theodore Prudon, Hiroshi Matsukuma, Kelly Crossman, Jack Pyburn, Nnamdi Elleh, Carmen Popescu, Alta Steenkamp, Sonia Marques, Guilah Naslavsky

CORE ARCHITECTURE STUDIO/STUDIO 1

023

William MacDonald, critic, Fall 2004

Lori Apfel Alexandra Distler Anna Kenoff C Arthur McGoey Jonathan Moreﬁeld Jason Pogorzala D Mercy Wong A/B Matthew Worsnick Chad Wyman

CONFERENCE: 8th International DoCoMoMo Conference: Ken Oshima, Alexandra Lange, Pierre Lebrun,

Li Xu E/F

09|23|04 - 09|28|04

Bernard Flaman, David N. Fixler, Christine Madrid French, Paul Byard, Nnamdi Elleh, Biresh Shah, Ramón Pico Alexandra Valimaña, Young T. Elvan Altan Ergut, Ron Fuchs, Mary Louise Lobsinger, Zvi Elhyani, Maristella Casciato, Kiran Joshi, Ela Kacel, Roberta Chionne, Alona Nitzan-Shiftan, Barbara B. Warren, Juliana Maxim, Ann Komara, Susan Singh, Rika Devos, Charlotte Nys, Michel Provost, Alice Thomine, Julie Nicoletta, Johan Lagae, Hannah Lewi, Jorge Otero-Pailos, Wong Yunn Chii, Sonja Vidén, David Snyder, Sara Topelson de Grinberg, Pablo Castro, Zeuler R. Lima, Caroline Maniaque

CORE ARCHITECTURE STUDIO/STUDIO 1

024

Olivier Touraine, critic, Fall 2004

Yelena Baybus A

Brigitte Cook Jason Haskins Chris Kroner Takeshi Mitsuda Yooju No D/E/F Daniel Sakai B/C Ashley Simone Andrew Skey Ian Weiss Paul Yoo

09|23|04 - 09|28|04

CONFERENCE: 8th International DoCoMoMo Conference: Andrew Wolfram, Martina Millà Bernad, Miles

Glendinning, Vladimir Kuli’c, Alice Thomine, Yvan Delemontey, Sheila Crane, Tami Hausman, Alona Nitzan-Shiftan, Dinesh Naidu, Ho Weng-Hin, Tan Kar Lin, Erika Tapp, Catherine Gavin, John Hertz, Petra Ceferin, Yossi Klein, Beatriz Santos de Oliveira, Daniela Ortiz dos Santos, Ken Oshima, Hielkje Zijlstra, Paola Ascione, Marisa Zuccaro, Kenji Watanabe, Yoshiyuki Yamana, Annie Gérin, Iwan Strauven, Benoit Moritz, Grazyna Hryncewicz-Lamber, Joan Ockman, Carol Krinsky, Victoria Sanger, Britt Wisth, Philippe Louguet, Charissa N. Terranova, John Rhodes, Philip Goad, Marcos José Carrilho

025

CORE ARCHITECTURE STUDIO/STUDIO 3

026

Ana Miljacki, critic, Fall 2004

Elizabeth Cazazian C

THIS IS TOMORROW

Bennet Hu B/D/E

Housing involves intelligence at urban and architec-

Esther Kim A

tural scales simultaneously, and thus its design al-

Lee-Ping Kwan C

ways entails having a vision for future city life. Having

Gyoung-Nam Kwon A

deﬁned and described housing as a matrix of systems

Carolyn Matsumoto B/D/E

that operate according to different logics and at differ-

Jodi Ostzega

ent scales—cultural trends, idiosyncrasies of the do-

Annya Ramirez-Jimenez

mestic space, ﬁnancial and social power, legislation, technological development, and the larger life of the city—our task in the studio was to engage in a type of projective—visionary—coordination of these forces. “This is Tomorrow” was the title of a speculative B

exhibit put on by the Independent Group in England in 1956. The most important part of its premise was its critically enthusiastic approach to the future. This spirit, which inﬂected various members of the younger generation of modern architects marked one of the most important moments in housing research. Throughout the history of housing, innovation has gone hand in hand with an enthusiasm for envisioning a future of and being in synch with the contemporary culture of living. Throughout the semester, students tried not D

only to anticipate the future of New York City, but also to imagine how architecture might be in the position to change the status quo—how it might inﬂect the operation of various systems that regulate the very conditions of possibility of housing. We have tested how architecture—through its formal intelligence, its programmatic ﬁguration, its material propensity, or its visual instigations—affects the daily operations of individuals and groups. For, no matter what ideology any particular housing design is meant to serve, at the core of the problem of housing is always the need to produce compelling conditions of private life on a mass scale.

09|25|04

LECTURE: Corrupted Biotopes, François Roche, Stephanie Lavaux · EXHIBITION: Illustrated Throughout Reconsidering the Role of Photogra-

phy in the Survey of Modern Architecture, curated by Chris Baker & Erik Sigge

CORE ARCHITECTURE STUDIO/STUDIO 3

027

Michael Bell, critic, Fall 2004

Our work was focused in New York City and on certain aspects of New York City housing development, but also on broad philosophical shifts in how the U.S. Federal Government sees its role in housing a lower-income or poor constituency in major cities such as New York. Our work focused on traditional architectural values such as structure, tectonics and volume/mass, but students were expected to offer a highly developed thesis on how they viewed the role of extra-architectural systems such as policy, ﬁnance, and ultimately they imagined and responded to the constituent of their work.

3 STUDIO THEMES 1.

The Ultra Managed City: Daniel Doctoroff’s New

York City: Prior to the events of September 11, 2001, Daniel Doctoroff prepared and led a plan to create NYC’s bid for the Olympics in 2012. The urban planning for the bid was presented as time-based, distributed and highly qualitative mapping and coincided with the rapid incorporation of GIS and an acceptance of timebased mapping as a fully public. 2. B

Post Ethics Housing: As market practices are

naturalized, valorized, and un-tethered from 19th and 20th century critiques based in themes of fair equity or moral and ethical judgment, upon what grounds does the production of housing base itself? As ﬁnancial

systems increasingly naturalize power within unchallenged domains of monetary techniques, is there a role for indignation by which the non-moneyed can assert power towards the economically mighty? 3.

Tectonics: New Dimensions in Volume and Mass:

A new arena is being conﬁgured between production and design, but also a new territory is being produced that spans across new borders and spaces. How can new technologies affect what is produced and for whom? Mark Collins B/D Molly Cronin Sharon Davis Fatou Dieye Lan Do A Wook Kang Megan Kelly-Sweeney C/E Eric Lilhanand A Peter Miller C/E Priyamwada Singh B/D Alanna Talty Hua Jack Toh LECTURE: The Space of Thought, Lebbeus Woods

09|29|04

CORE ARCHITECTURE STUDIO/STUDIO 3

028

Scott Marble, critic, with Cory Clarke, Fall 2004

the purely technical performance model applied to ar-

Clara Abecassis C/D

Christopher Kanipe

FLEXIBLE PERFORMANCE

Andrew Burne

George Makrinos

Capitalism pushes architecture toward the generic in or- chitecture is troubling and in a true free market twist, it

Casey Crawmer

Jared Olmsted

der to maximize ﬂexibility and decrease response time consumes architecture into its totalizing logic rendering

David Fano

Rodrigo Prieto A/B

to changing market conditions this is what constitutes it a disposable detail. As a technically performing prac-

Odit Feinblum A/B

John Sunwoo E/F

the majority of housing built today. In contrast to this, tice, architecture utilizes the speciﬁc to materialize and

Anna Frens C/D

Jeff Wandersman E/F

another type of flexibility is the creation of highly spe- organize space while simultaneously becoming subject cific consumers through mass customization production to economic processes rendering it generic. Flexible systems giving the consumer an exact fit. Ironically, one performance is offered here as a new practice that sugtype of flexibility leads to the generic and the other to gests the necessity of both technical and behavioral perthe specific, one applies to architecture and the other to formance in architecture in order to sustain innovation the consumer and for architecture to perform specifi- throughout the continually lurking advertising, produccally, it must be generic. This is where the ambitions of tion, distribution and consumption cycle.

09|30|04 - 10|02|04

FIELD TRIP: Joint HP/M.Arch Studio, University of Mexico, Mexico City

CORE ARCHITECTURE STUDIO/STUDIO 3

029

Karla Rothstein, critic, with Adam Dayem, Fall 2004

proscribe as much as describe the outermost and in- Audrey Beaton C/F

SUBSTANCE

Here, work is predicated on an avoidance of schlock nermost reaches of domestic possibility. Strategies Emily Bello and empty rhetoric, a ban on fruitless distraction and reﬂect the capacity for design to both frame a family Kartik Desai A/B superﬁcial swagger. Expectations of proper are con- spat around the kitchen table and to set a framework Katharina Ehrhardt founded and conventions transgressed, in order that for far-reaching urban settlement patterns. they be critically re-visited. In this way, familiar things

Toru Hasegawa A/B

Each project’s concept informs a choreography Kwi-Hae Kim

are viewed in unfamiliar ways, and that which is most of the anonymous and the intimate, the prosaic and Yik To Ko D/E frequently taken for granted may become lucent and the complexities of urban domestic life. Accepting that Katharine Mearns revelatory.

healthy relationships absorb a degree of ﬂux, we seek Ruchika Modi C/F

Balancing the aggregate with the separate, the to establish a stable, corporeal place within a throbbing Jennifer Shoukimas speciﬁc and the small, while embracing the manic, the context—a place to settle, if momentarily, amid lives in Christina Tung familial, and the newly familiarized, projects do not ever transition. C

Min-ran Yang D/E E

LECTURE: NYC 2012 Housing Presentation, Laurie Hawkinson

10|01|04

CORE ARCHITECTURE STUDIO/STUDIO 3

030

Robert Marino, critic, Fall 2004

How does the physicality of our surroundings affect our

daily human routines of rest, regeneration, work, and recreation? This is a reactive attitude, the attitude of the user who comes upon architecture as an object to be employed. Architects are charged with the responsibility of anticipating these uses, and designing buildings accordingly. When thinking of housing these uses must come from accepted norms within the culture. The architect’s notions of rest, regeneration, work, and recreation cannot be thought of on an individual basis, they instead must take on a broader cultural meaning. This is a traditional method of establishing housing

Jae-Eun An D/E/F Chang Hak Choi D/E/F Joseph Duignan B/C Emily Furr Samina Iqbal Ariane Lourie A KyungJune Min A Xerxes Talati B/C

“program” by thinking about future use, on a societal level. While the impossibility of this task is obvious, there are other norms within the culture that can offer resistance, and therefore guidance. A parallel line of inquiry, also having to do with societal biases and preferences, was established during the semester. These have to do with our own culture’s methods of extracting, storing, reﬁning, transporting, and assembling the materials of construction. It was the implicit theory of this studio that the notion of “program” resides to a large extent within these norms. A culture’s way of handling materials can be considered a “primary cause”, and therefore have a profound effect on form. This way of working returns architecture to the user as a discovery as opposed to a controlling force.

10|04|04 Berlin-Friedrichstrasse

WORKSHOP 2: On the Road to Venice, Suzanne Stephens, Robert Ivy · LECTURE: Designing The Socialist Historic Entertainment City, Suzanne

CORE ARCHITECTURE STUDIO/STUDIO 3

031

David Turnbull, critic, Fall 2004

Daniel Berens B Kwangho Cha Aimee Chang C/E Hak-young Choi Andrew Colopy C/E Adam Hayes D Krzysztof Kociolek B Diana Martinez A Michelle McEwen D Robert Mezquiti A

Dong-Ping Wong A Kung Zoh

MORE The Bloomberg initiative to spur innovation in urban development from within the logic of the “marketplace” provided the focus for the studio. Quasi-socialist fantasies of responsibility and accountability were abandoned and replaced with an opportunistic approach that embraced the “black art” of the property speculator to discover and ultimately release inclusive “places” for public engagement, novel spatial and organizational conﬁgurations, and unexpected qualities of life.

The studio focused on three interrelated areas of investigation:

ACCUMULATION: A survey of exemplary large scale

MORE ENDINGS MORE PROTEST

mixed use developments found in NYC and elsewhere

MORE HAPPINESS

– including developments by Arquitectonica, Disney

MORE BALANCE

(Stern/Graves), Jerde, OMA, Portman, Pelli, Pei, Ru-

MORE ACCURACY

dolph, Trump (Johnson/Kondilis) among others, with

MORE ANONYMITY

particular emphasis on Urban Resort complexes. This

MORE FURNITURE

survey was used to drive expectations for design and

MORE FOOD

architectural opportunity.

MORE THINGS

ACTION: Maximizing the potential of the site speciﬁ-

MORE WEATHER

cally and the Hell’s Kitchen / Clinton area in general for

MORE MONEY

high density mixed use – incorporating ofﬁces, hous-

MORE YOU ing, hotels and recreational areas and retail with embedded service sector accommodation. The yardstick for development was the Bloomberg administration’s recommended development targets for each sector. Action Plans demonstrating alternative patterns of distribution evolving in time, “soft” guidelines offering development direction, and detailed plans deﬁning speciﬁc modes of spatial occupation, were produced. AMBIENCE: a guiding principle was “the engineering of atmosphere”-- the communication of ambience was a priority. The target--MORE of everything.

LECTURE: A Liminal Modernism: The Architecture of Irving Gill, Thomas S. Hines

10|05|04

REPORTS

John Liu, Kurgan Studio, spring 2005, J Belisario Barchi, MacDonald Studio, fall 2004, C Esther Kim, Gyoung-Nam Kwon, partner, Miljacki Studio, fall 2004, A

Gabriel Bach, Chu Studio, spring 2005, B Belisario Barchi, Couture Studio, fall 2004, D Bennet Hu, Fornabai Studio, spring 2005, G Adam Marcus, Cory Taylor, Hawkinson Studio, fall 2004, F Robert Booth, Kim Studio, spring 2005, I Maria Borrell, Keller Studio, summer 2004, E

10|06|04

LECTURE: Believers and Cheaters, Keller Easterling

Clara Abecassis, Anna Frens, Marble Studio, fall 2004, A Elizabeth Cazazian, Lee Ping Kwan, Miljacki Studio, fall 2004, C Maria Borrell, Keller Studio, summer 2004, H Anna Goldberg, Romero Studio, fall 2004, B Ruchika Modi, Audrey Beaton, Rothstein Studio, fall 2004, D Anna Kenoff, Rothstein Studio, spring 2005, G

Christa Mohn, Rothstein Studio, spring 2005, J Andrew Payne, Walker Studio, fall 2004, I Yooju No, Daniels Studio, spring 2005, F

I J

LECTURES: An Expressionist Modernism: The Los Angeles Architecture of Frank Lloyd Wright, Thomas S. Hines | Home Truths: Curating Historic Houses in Britain Today, Lucy Worlsey | Royal Palace Conservation, Lucy Warsley

10|07|04

ADVANCED ARCHITECTURE STUDIO/STUDIO 5

034

jurgen Mayer, critic, with Marc Kushner, Fall 2004

BEIGE Color in architecture is always an issue. From historically, morally, politically, and hygienically correct colors to the highly charged “whiteness” of modernism, color has polarized architects for centuries. Colors create atmosphere. They support or substitute decoration and ornament. In contrast, “white” is seen as the sum of all colors or the non-color par excellence. White functions on multiple levels as an argument against the impure context and content of a building. Only the natural look of materials seems to escape the dilemma of

colors. But there is a color that comes with this quality of the “natural, pleasant, non-disturbing” that is not

white: Beige. “Off-white” or “beige” are invisible colors in terms of being not discussed, given rather than chosen. The general attitude towards beige is that you cannot go wrong with beige—that is why beige’s qualities of safety and non-offense are often prescribed to politically and socially charged issues. See for example the mandated color coding in gated communities, the off-white interiors of heightened shopping worlds like C

James Acuna

Camila Aybar

Barneys and Jil Sander stores, and the easy to-keepclean or hard-to-see-dust color of ofﬁce equipment. It is so practical and easy to combine with anything else. This studio looked behind the seemingly innocent surface of “beige” and its spatial potentials.

Joao Cardoso Audrey Choi Samuel Dufaux C/D Jennifer Fetner A/B Guan-Hung Liu Natalie McCorkle Gabrielle Snyder Catherine Spieler Catherine Yatrakis Jessica Young E/F E

10|08|04

SYMPOSIUM: Housing, Scott Marble, Robert Marino, David Turnbull · LECTURES: Introduction to Environmental Planning, Joyce Rosenthal,

Deborah Masters | The Enigma of Waterfront Development, Phillip Lopate

ADVANCED ARCHITECTURE STUDIO/STUDIO 5

035

Enrique Walker, critic, Fall 2004

UNDER CONSTRAINT (BIS)

Maria Borrell

This studio investigated the use of the remake in ar-

Sara Goldsmith

chitectural production: A provisionally ďŹ nished proj-

Aaron Gomez

ect was selected, conceptually scrutinized (both in

Henry Grosman

terms of those strategies preceding the project which

Veronica Kan

might have not negotiated the design process, as well

Jonathan Kontuly

as those following the project which might have not

Enrique Moya-Angeler

emerged in time to retroactively affect its course), re-

William Ngo

conceptualized, and subsequently subjected to a pro-

Andrew Payne D/E/F

duction regime of serial repetition, in order to exhaustively research its potential. Since this studio also continued an investigation initiated in a series of previous studios on the use of self-imposed constraints as a critical tool for produc-

Haruka Saito C Queenie Tong

Brian Walker A/B

tion, the process of remaking focused particularly on a thorough examination of involuntary constraints contained in the initial brief, and their eventual replacement for a new set of voluntary and, therefore, arbitrary ones, deliberately calibrated in their degree of difďŹ culty to release otherwise unexpected possibilities within the original scheme.

REVIEW: Historic Preservation, First Thesis Review

10|09|04

ADVANCED ARCHITECTURE STUDIO/STUDIO 5

036

Laurie Hawkinson and Kate Orff, critics, with Nickolas Themelis and Karsten Millrath (SEAS/Earth Engineering Center), Fall 2004

THE WASTE STUDIO: RE-ENGINEERING THE SOUTH BRONX WATERFRONT This design studio addressed the potential of integrated waste management principles alongside issues of waterfront revitalization and community connections within the South Bronx, an industrial area in transition. The studio explored strategies for the transformation of key sites along the waterfront and researched waste reduction methods, advanced collection systems, and the design of materials recovery/recycling/sorting stations and/or Waste-to-Energy facilities in conjunction with infrastructural and landscape-based site strategies for these programs in the Bronx. By considering waste management strategies within a framework of environmental justice, architectural, urban, and landscape design, this design studio hoped to generate new ideas and a fresh approach to New York’s garbage crisis. Engineering faculty and students from the Fu School of Engineering and Applied Sciences joined the studio as an important resource for our work. This collaboration was facilitated by a weekly seminar and informal exchange around projects. A

Students worked in teams to develop a site strategy for waterfront facilities that, together with

a public interface component and reconsideration of community access, addressed issues of ecology, transport, connection, edge, and permeability. Each student developed an aspect of his/her strategy with attention to the programmatic and physical integration of these systems into the surrounding urban landscape and community. In this next level of development the students were asked to explore a dimension of public-ness—whether in drop-off/recycling interface, the visualization of processes, or through D

David Benjamin

Adam Marcus A/B/C

related programs such as ferry terminals, parks and river connections. F

Eric Ng Kimberly Nun Chas Peppers Zimie Rim D/E/F Anne Suratt Cory Taylor A/B/C Kenneth Tracy Desiree Wong D/E/F Amy Yang Soo-in Yang

10|11|04

DEBATE 1: Disturbance and Exposure: The Urban Ecology?, Brian McGrath, Steward Pickett, Roland Wahlroos-Ritter, Morgan Grove, Yolande

Daniels, Mary Northridge · PRESENTATION: Scheme for the Fulton Street Transit Hub, Vincent Chang

ADVANCED ARCHITECTURE STUDIO/STUDIO 5

037

Kathryn Dean, critic, Fall 2004

Lloyd Aragon A Gabriel Bach D/E/F Michael Cho C Alfonso Gorini Zachary Helmers Yung Eun Kim B John C. Liu Paul Miller Eun Suk Oh Jeffrey Taras Ha Na Yu

SYSTEMIC ORDERS: BRIDGING THE SPACE BETWEEN ECONOMY AND DESIRE

This studio was an experiment set up to mine the territory of the urban condition as being generated primarily out of the nature of what it means to be human. It took the position that human nature is at least as interesting, if not potentially more interesting, than current fascinations with the biotechnological. It mined the point-of-view of contemporary psychology called primary process, which understands the unconscious as a logic structure through which the mind looks for coherence. As a means of accessing this logic of the unconscious, students explored techniques of free association quite similar to surrealist techniques. To this end, the students began with a series of body maps which looked to deﬁne the relationship to a sought after “other”—those libidinal traces through which the mind sorts looking for coherence. Moving back into logics, this material was reinterpreted through computerized drawing techniques and then made three dimensional. We then moved back into the original material to genD

erate potential program and means of occupation for an urban wall. This wall was then developed into a po-

tential material fabrication technique. Because we began with the premise that to be urban was to take a leap into the unknown with nothing but traces of our former selves, an unknown was built into the process. Through this unknown, we rediscovered aspects of both the subjective self and the potential urban other. We also rediscovered the exhilaration of the leap itself.

LECTURE: A Popular Modernism: L.A’s Art Deco and Streamline Moderne, Thomas S. Hines

10|12|04

ADVANCED ARCHITECTURE STUDIO/STUDIO 5

038

Ada Tolla and Giuseppe Lignano, critics, Fall 2004

Cheng-Feng Chou Zoe Coombes Namitha Hinduja Sungwook Kwon F Avis Lai D/E Radmila Lazarevic Mario Marchant Kenei Matsuura

Patricia Salas Aldrin Soedarto Amy Stringer

Michela Tonus A/B

Do you have a vision? Do you have a dream? Do you feel generic? Do you feel influenced? Do you express yourself? Do you express only yourself? Creativity problems? Self-identity difficulties? Are you truly inspired? Imagine yourself as an artist. Your motivation—self-expression. Your obsession—a personal vision. Your fixation—to be original. Your nightmare— to imitate. Now, imagine yourself as an architect. Your motivation—self-expression (for a handful of architects in the entire world). Your obsession—a personal vision (for a handful of architects in the entire world). Your E

ﬁxation—to be original (again, for a handful of architects in the entire world). Your nightmare—to imitate (is it? really?) You experiment in school and in school only. Once you are out, experimenting becomes too abstract. Being original is the privilege of few, following currents or styles is the choice of most. Do you want to escape trends? Do you want to create trends? Do you want to question style? Do you want to create your style? Do you want to be the next Frank Gehry? The next Rem Koolhaas? The next Zaha Hadid? Or the next LOT-EK? Come in now! Apply at reception. Great results in only fourteen weeks. Satisfaction guaranteed!

10|13|04

LECTURE: A Journey to the Future: Richard Neutra’s Brave New World, Thomas S. Hines

ADVANCED ARCHITECTURE STUDIO/STUDIO 5

039

Greg Lynn and Jeffrey Kipnis, critics, Fall 2004

This studio was inspired by Jeff Koons’s Balloon Flowers, Puppies and Bunnies, as well as his pool toys such as the inflated lobster. Through an attention to the detailed assembly of sheets along with formal rigor, modeling of surface curvature for albido and saturated candy-color finishing, ponderous masses are made momentarily lightweight without recourse to dematerialization such as transparency or translucency. The translucent float and glow effects of many contemporary practices are still within the horizon of Colin Rowe and Robert Slutzky’s theory of literal and phenomenal transparency. This studio theorized the design techniques and material effects of a new lightness that does not rely on matter becoming literally or conceptually transparent or translucent. The Koons’s Flowers was a starting point and benchmark for the studio.

Dylan Baker-Rice E Francisco David Boira Matthew Geiss F Craig Intinarelli Jon Kher Kaw A/C/D Christopher Lee Helen Lee Melodie Leung Noah Olmsted B Pedro Pachano Alex Pincus Peter Zuspan

LECTURE: NYC waste management and planning history, Joyce Rosenthal, Christopher Boyd

10|15|04

ADVANCED ARCHITECTURE STUDIO/STUDIO 5

040

Craig Konyk and Paul Byard, critics, Fall 2004

Kirtley Cameron Jeffrey Dee B/C Alan Harris James Ke Roman Linares Joshua Rau D/E/F George Showman A Thomas Wensing Andrea Wiideman

THE PROVOCATIONS OF THE REAL: UNIVERSIDAD NACIONAL AUTONOMA DE MEXICO

(UNAM) STUDIO The object of this studio was to engage reality as the principal provocation of architectural design. The existing condition this year was the extraordinarily rich layered reality of Mexico City. Its focus was the campus of the Universidad Nacional Autonoma de Mexico, the World Monument built in the volcanic desert of the Pedregal in the 1950s to lift Mexico’s ancient civilization into the modern world. Its program was the development of architectural additions, each intended to help UNAM lead Mexico’s next modernization, this time into a position of International leadership in the chosen faculties and disciplines. Its challenge was to design with a full understanding of the reality and meaning of the Monument, so that the additions in fact enlist and extend its insight and its power to meet Mexico’s and the world’s needs today. Students developed an international component for the existing program of university discipline, be it Medicine or Science. They proposed selective strategies for a “re-production” with this new program onto D

the existing, whether it be “cloning,” “stem cell generation” or “skin grafting.” These strategic interventions converted the International Style Mexican condition into a universal internationalized “hybrid”; two parts UNAM mixed with one part global academic ambition. Collectively the studio bred some fascinating new species of architecture.

10|16|04

MEMORIAL: Martin W. Weaver, Historic Preservation faculty member, 1991-2003.

ADVANCED ARCHITECTURE STUDIO/STUDIO 5

041

Thomas Leeser, critic, Fall 2004

UTOPIA NOW What would it be today to imagine the future, to propose an architecture concerned with different social structures, be they optimistic proposals or pessimistic predictions? Looking back at the 1960s, Superstudio and Archigram are only two examples of reinventing architectural strategies as social order. Is it possible today to launch such a fundamental critique of the architectural and cultural status quo? A

Sean Arrasmith Sang-Joon Bae Chantavudh Burusphat In-Ki Hong C/E/F Eunice Kim Jisun Lee Miranda Lee D Gregor Martinez de Riquelme Natalie McCorkle A/B Charles Miles Yi-Chi Su Tsing-Lan Yang Daniel Yao

MIDTERM REVIEWS: Kathryn Dean Studio | Gordon Kipping Studio | Enrique Walker Studio, guest critics: Taylor Aikin, Laurie Hawkinson, Thomas Leeser, Mark Rakatansky, Karla Rothstein, Ada Tolla

10|18|04

ADVANCED ARCHITECTURE STUDIO/STUDIO 5

042

Karl Chu, critic, Fall 2004

Theodore Calvin

PROJECTIONS OF THE VOID: THE ARCHITECTURE OF

Angela Co

AN INCONSISTENT MULTIPLICITY

Rebecca Collins B

If the history of philosophy, according to Borges, is a

Stylani Daouti

series of metaphors to live by, then architecture, the

Enrique Loyer

discipline that is constructed around the stuff of life,

Ryan Mileski A

will not escape the over-arching sway of this supreme

William Mowat E

game of substitution. Even when confronted with the

Kei Sato

most factual and accurate description of a thing, an

José Vasquez Iturralde C/D

event, or a situation, the point where metaphoric im-

Zoran Zelic

port no longer held sway on its surface, architecture invariably ﬁnds itself engaged in the most potent metaphorical allusion by internalizing the structure and log-

ic of a system of representation through its narrative, which inescapably relies on the semiological universe of references and associations to make sense of things amidst confusion. Multiplicity tends to manifest itself as the sheer proliferation of confusion and chaos, and rarely does it ﬁnd itself in architecture or the design of buildings. The project for the studio was to design the architecture of an inconsistent multiplicity. Taking the null-set as a conceptual ground zero, each student had to formulate the proposal for a non-anthropocentic architecture based on the mutation of the concept of a house with other non-commensurable ideas or program. Since the null-set is the ground zero of all projective possibilities, the studio took part in the genesis or the genetic projection of a possible world: an inconsistent multiplicity that was also a form of order at the edge of chaos.

10|18|04

LECTURES: German architecture, Juliette Koss | Building the Gesamtkunstwerk, Juliette Koss · DEBATE: The Use and Abuse of Criticism, part 1,

Jeff Kipnis, Herbert Muschamp

ADVANCED ARCHITECTURE STUDIO/STUDIO 5

043

Andrew Macnair, critic, Fall 2004

DOUBLE ZERO CITY:

Wendy Cooper

NOT NOT ARCHITECTURE AND THE DOUBLE

Megan Feenstra Wall A

NEGATIVE INSIDE AND OUT?

Jorge Fontan

This studio studied three territories within the expand-

Edu Ghanem

ing ﬁeld of architecture: Architecture, Not Architecture,

Chyanne Hussar

and Not Not Architecture. The studio examined Not

Stella Lee

Not Architecture and the double negative through the

Kenneth Neff E/F

production of a series of public buildings operating be-

Jorge Salgado B/C

tween the public house and the private tower (the hut

Lauren Stern

and the tabernacle) every two weeks within a series

Tae Woo

of double void sites under the Alberti dictum that “the house is a city, and the city is a house.” Sites were seen B

Benjamin Work D Kaiyu Zhou D

as physical, conceptual, perceptual found double void places—natural voids within voids, holes within holes, nothing within nothing, wasteland in wasteland, in a post-utopian world society here and far away. The studio study sites progressed from the bay (New York Harbor) to the island (Governor’s Island) to the pit (World Trade Center) to a void (Twin Towers Slot) to the vacuum (Madison Square Garden) to the reservoir (Central Park) and to a volume (Anywhere)—all places and forms of urban double negativity. The evolving course, sub-themes, and methods of work are driven by each student’s ongoing, constant deﬁning demiurge to generate a Manhattan Catalogue of archetypes and prototypes between memory and imagination.

LECTURES: A Continual Becoming: Rudolph Schindler’s Discordant Modernism, Thomas S. Hines | The Role of Monument Reconstruction in Conﬂict Resolution: Mostar 2004, Amir Pasic, Jon Calame

10|19|04

ADVANCED ARCHITECTURE STUDIO/STUDIO 5

044

Lise Anne Couture, critic, Fall 2004

RULES OF THE GAME This studio was interested in the speculative strategies adopted by both architects and clients in the generation of new large-scale urban projects. Recent master planning competitions—from Re-Imagining Grand Avenue: Creating a New Center for Los Angeles, to NYC 2012: Masterplans for the Olympics, to the Forum les Halles Paris Redevelopment—have all targeted prominent contemporary design architects rather than urban planners as the main proA

Chihiro Aoyama Belisario Barchi D/E/F

tagonists in the creation of these new urban landscapes.

Shao Chen Solim Choi Olivia Dolan Felipe Ferrer Cardenas A/B/C Andrea Flamenco Sean Gallagher Araceli Garza Jeffrey Kim Young Lee Petar Vrcibradic

As is the case with these recent competitions—and notwithstanding the requisite responses to densities, infrastructure, and zoning—the unique perspective of the architect, as opposed to other planning professionals, is of particular interest here. The focus of the studio was on the actual tectonics of these new urban realms and the abstract mechanisms that can be deployed to generate them. As current digital modeling techniques can now inform the conceptualization and production of architectural strategies to generate more complex and intricate urban assemblies, the studio consciously and deliberately eschewed the extruded and layered entities of the master planning paradigms of the past as well as exhausted notions of urban fabric. Through the translation of rigorous formal studies of selected types of matter, materials, and processes more intricate relationships between constituent elements were derived and translated into the Master Plan. The studio used the site and given requirements of a current competition for the city of Penang in Malaysia as the petri dish for these speculations.

10|20|04

LECTURE: Activators, Jurgen Mayer

ADVANCED ARCHITECTURE STUDIO/STUDIO 5

045

Richard Plunz, critic, Fall 2004

Shai Gross E Michael Hanslick F/G Garrick Landsberg Chia-Jung Lin Eric Liu C So Jin Park A/B Carl Smith Michael Wilson D

the canal, and how the remediation process itself can

GOWANUS ECO-RETRIEVAL: PUBLIC PLACE SITE

This studio contextualized the environmental reme- engage longer-term strategies for economic and spadiation of the Gowanus Canal in Brooklyn. Long one tial development. of the most polluted micro-regions within New York

The studio worked with the Public Place Al-

City, it is nonetheless located at a crucial public in- liance, a co-operative effort of nine local organizaterface between Carroll Gardens, Red Hook, and Park tions who are stakeholders in the future of the GowaSlope. The canal has been the focus of an on-going nus area. It was also coordinated with the Columbia Gowanus Canal Ecosystem Project begun by the New School of Engineering and Applied Science through York City Department of Environmental Protection in a grant awarded by the Academic Quality Fund. This 1999. This studio was interested in maximizing the grant allowed engineering faculty and students to join public beneďŹ ts of remediationâ&#x20AC;&#x201D;that is, exploring how the architecture studio as an important resource for remediation can reinforce a new public presence for the work.

LECTURE: A Model Modernism: The Architects and Fellow Travelers of the Case Study Program, Thomas S. Hines

10|21|04

ADVANCED ARCHITECTURE STUDIO/STUDIO 5

046

Gordon Kipping, critic, Fall 2004

UNTITLED STUDIO The studio proposed to investigate a territory straddling the work of art, the research prototype, and the architectural project. Of particular interest was the potential of electronic information technologies to affect our perception of architectural space. To start the semester, each student identified an information flow typology and documented it with an information flow diagram. From there, a physical/ electronic model/prototype which demonstrated the information flow in question was designed and built. Students used: information scanning devices such as

magnetic card readers, bar code readers, keyboards, image scanners and video cameras; displays including CRT displays, plasmas, LCD and LED displays; and PC computers as processors. Analysis of the model/prototype determined the potential of its deployment in the architectural project. Subsequent operations were performed and the information flow diagrams were modified. This iteration between the model/prototype and information flow diagram was intended to produce an effect on architectural space. We then analyzed a site on Canal Street just west of the West Side Highway. We briefly looked at the urban context and the New York City Zoning Resolution. With this and our information flow diagram, we developed a program diagram and an architectural design for the site. The result of the process was expected to produce effects on architectural space as achieved through the incorporation of electronic information technologies that previously might not have been anticipated.

Pilar Echezarreta

Salome Kuratli Chun-Ming Lee E Yeelok Luk Amit Mandelkern C/D/F Nora Peyer Maria Stefanidis A/B

10|22|04

PH.D. COLLOQUIUM LECTURE: The Constructed Environment: Design and the Politics of Naturalization, Julie Bargmann, Kenneth Frampton

| Part 1: Neil Smith, Vittoria Di Palma, Hyun Tae Jung | Part 2: This Isn’t Natural, Julie Bargmann

ADVANCED ARCHITECTURE STUDIO/STUDIO 5

047

Yehuda Safran, critic, with Marta Caldeira, Fall 2004

Aaron Adams Omer Barr A/B Chih-Wei Chou Yoojung Kim Arjun Malik Pierpaolo Martiradonna E/F David Menicovich C/D Alan Silverman

Our goal in this studio was to ﬁnd an architectur- ent. The ruin could teach one how to forget as well as

MNEMOSYNE: THE RUIN OF OUR TIME

The concept of the ruin hovers like a specter above archi- al equivalent above and beyond the ﬁgurative gesture. how to remember. The program was like a scaffolding tecture. This specter may not initially seem to be directly This could be a way in which the ruin could stand in be- that could be taken apart as the building went up. The pertinent to our contemporary predicament. However, it tween the part and the whole, just as the gesture occu- site was the cliff on the edge of Morningside Heights. has an oblique function like the knight’s move in the game pies a mediating position between the inner and outer of chess. It cuts across, at an angle, the ﬁeld of time. This person. It was our task to imagine the ruin which would studio invited students to rethink Aby Warburg’s idea of return us to the insight of the Warburg method only to Mnemosyne, a project that set out at the turn of the cen- subvert it. As we cannot return to the past, and the futury to trace and keep alive the afterlife of classical antiq- ture does not yet exist, it is as if we are constrained to uity up to the threshold of our own time. Unquestionably inhabit and reconstruct architecture as a ruin. It is as if Warburg’s method aimed to chart the transformation of every architectural project is the residue of a thought. human gestures in the mimetic arts.

The program could be relatively free from any antecedC

10|22|04

ADVANCED ARCHITECTURE STUDIO/STUDIO 5

048

Fernando Romero, critic, with Frankin Lee, Fall 2004

Aprile Age

CONTINENTAL NETWORKING

Vital Albuquerque E/F/G

This studio focussed on projects of infrastructure in the

Timothy Boyle

Latin American region, dealing not only with architec-

Yu-Wen Chen

tural problems, but departing from social, economic,

Mathieu de Genot de Nieukernen

and political agendas/situations. These types of proj-

Gregory Getman

ects play an important part in architectural discussions

Anna Goldberg A/B

today, with great potential for deﬁning the guidelines

Tsun-Yi Huang

of architectural performance, representing some of

Junghee Kim

the most inﬂuential developments in recent years (ter-

Anselmo Perez

minals, airports, stadiums, ports). The Latin America/

Yuichiro Yamaguchi C/D

Caribbean Region (LAC) is comprised of 33 countries. Together, their annual gross domestic product repre-

sents only 12% of the U.S. annual GDP. LAC dependency on North America is starting to recede: while Mexico continues relying on the U.S. in major economic areas, South America is searching other sources of investment (including China, which is already planning to invest billions of dollars in infrastructure projects for Brazil) to assure a more efﬁcient market connectivity. Infrastructure can: improve connectivity = speed exchange and relations = promote market growth and development = reduce poverty and improve living conditions. Our responsibilities go beyond the level of physical translation into connective materiality, demanding

an exercise of building identities and structures that serve as co-participants in large-scale definitions that can improve, reorganize and rebuild the regional “status of disorder and chaos.” LAC governments are searching not only for fresh architectural skills, but also an intense review of their institutions and bureaucracy that have trampled financial opportunities. Consolidating an efficient infrastructure network is and will continue to be one of the greatest challenges for the future. C

10|23|04

PHD. COLLOQUIUM LECTURE: The Constructed Environment, Part 1: David Harvey, Christine Macy, Joel Towers, Jennifer Gray | Part 2: Paul

Edwards, Mark Wasiuta, Reinhold Martin, John Harwood

VISUAL STUDIES/ ARCHITECTURAL PHOTOGRAPHY 1

VISUAL STUDIES/ DIGITAL FABRICATION: ASSEMBLAGE

Erieta Attali, Fall 2004

Christopher Whitelaw, Fall 2004

Tae Gyun Woo, G

As demonstrated by popularly photographed build- Christine Yogiaman, A

This workshop was a response to recent advances in

Zoran Zelic, D/E/F

ings, photography is capable of intentional and unin- Francisco David Boira,

digital fabrication and the unprecedented opportuni-

tentional deceits in terms of scale, context and physi- Zoe Coombes,

ties they present architects to more actively engage

cal condition. It has also proven an excellent tool for displaying the shortcomings Jared Olmsted, B

the construction industry. The development of comput-

and sensations unidentiﬁable by plans and sections. Architectural photography William Mowat,

er numeric controlled (CNC) machines (mills, cutters,

helps us understand the architect´s ideas and intentions, and can lend insight to Amy Stringer, C

3d-printers, etc.) provides architects with a new set of

a building´s meaning. It provides us not only with documentary evidence but also

tools that directly engage the software tools we have

serves as a stimulant for the critical mind.

been leveraging since the early 90’s.

This course taught both a technical and a theoretical understanding of archi-

This was a research workshop following a low-tech high-volume model of

tectural photography. The manipulation of light and space, and the effect of form project development. The goal was for students to learn to actively engage and and texture interaction were analyzed as primary expressive tools. More abstract question the potentials latent in this new class of machines. Working individually or phenomena like color and transparency were also explored as members of the in groups, students developed customized assembly systems capable of adapting to photographic palette. Emphasis was placed on framing the crucial and expressive a range of performance criteria. In designing these systems, students were asked aspects of a construction and differentiating between the essence and the optical to develop methods of joining 2-dimensional sheet materials into 3-dimensional description of a building.

constructs through adaptations of cutting, stacking, intersecting and bending. As the work was developed through serial iterations it was evaluated based on its potential range of adaptability, ease of assembly and economy of elements.

WORKSHOP 3: The Architecture of War and War through Architecture, Raﬁ Segal, Eyal Weizman · MIDTERM REVIEWS: Scott Marble Studio | Michael Bell Studio | Bob Marino Studio, guest critics: Jonathan Kirschenfeld, Charles Wolf | Andrew MacNair Studio | Richard Plunz Studio

10|25|04

VISUAL STUDIES/ TOPOLOGICAL STUDY OF FORM

VISUAL STUDIES/ SIMULATION AS THE ORIGIN OF TANGIBLE FORM

José Sanchez, Fall 2004

Jessica Gross, B/C/D

Understanding form as a composite of mathematical Sean Gallagher, E/F/G

In this workshop students studied the generation of

Jason Ivaliotis, A

data, we can start to investigate the underlining struc- Nicholas Kothari, H

visual constructs dealing with the notion of simula-

Derek Lindner, B/C/D

ture of post-Euclidian geometry. This workshop fo- Dong Ping Wong, H

tion and representation. They took on simulation as

Jonathan Moreﬁeld, A

cussed on the topological study of form, exploring ﬂuid

the origin of a reality, rather than a representation of a

dynamics as a morphological system, rather than the

formal construct, by generating behavioral models and

normative approach of regarding ﬂuids as vector-based

abstract events without a tactile origin. The simulation

systems. Students analyzed how the generative mor-

gives an origin to sequential representation of an un-

phological behavior of fractals could generate ‘struc-

known event that progressively yields to the generation

tures’ of form that incorporate space-form relations.

of a tangible visual fabric.

10|25|04

LECTURES: Viollet le Duc and the 360 Degree Image, Aaron Vinegar | Viollet-le-Duc’s Defense Mechanisms: Restorations as War Machine, Aaron Vinegar

VISUAL STUDIES/ IMAGINING THE ULTRAREAL

VISUAL STUDIES/ TECHNIQUES OF THE ULTRAREAL

Daniel A. Vos, Fall 2004

Andrew Burne, A/B/C

As a means of communication, no other visual media Jeffery Kim, D

The architectural rendering—be it photo-realistic,

Xerxes Talati, A/B/C

rivals the short animation in its efﬁcacy. It can make Uri Mazor, E

analytic, or abstract—captures the energy of an idea

you laugh, cry, be horriﬁed, believe, and disbelieve, all

about space and the forces that act within it. The

within 30 seconds. The unique structure—linear time, ﬁlmic juxtapositions, nar- challenge is to convey that dynamism—whether it is the movement of a set of rative and abstract composition—has become the drawing of contemporary ar- bodies, a change in lighting and material qualities, or any other dynamic quality chitecture and design. Kinetic by nature, animation can reveal the way in which

of architecture—with a set of static images. The multiple techniques and tactics

an architectural space changes over the duration time. Change occurs in multiple

of rendering—sketch, visualize, analyze, quantify, synthesize—have enabled

ways: it may be motion of bodies in space; it could be the dynamic quality of light the contemporary architect to embed more information with greater intent, into and materials; it might be that it is imperceptible under “normal” conditions, either a single image. too slow or too fast for our senses—but change still occurs. The workshop was structured by the production of its ﬁnal assignment—a

One part design, one part technical instruction, the workshop was structured around the production of three publication-quality images. Students first

short animation imagining how a space changes over time. Students drew an ani- designed a kinetic architectural space, using a 3-D interface in combination mated sketch of an architectural space using a 3-D interface in combination with

with any other means—2-D software, photography, hand drawings, etc—and

any other graphic means necessary. The concept was then developed and reﬁned

blocked-out that idea into three separate images. Once formulated, the concept

through the use of advanced 3-D techniques, providing an extensive knowledge of

was developed using advanced 3-D techniques for modeling, lighting, material

current digital animation practice.

application, and assembly, providing a broad based understanding of current digital rendering techniques.

MIDTERM REVIEWS: Douglas Gauthier Studio, guest critics: Vishaan Chakrabarti, Yolanda Daniels, Tina di Carlo, Rhett Russo | William

10|27|04

MacDonald Studio | Philip Parker Studio, guest critics: Andrew Benjamin, Olivier Touraine, Franklin Lee | Yolande Daniels Studio | Laurie Hawkinson/Kate Orff Studio, guest critics: Nicholas Themelis, Karsten Millrath | Fernando Romero/Franklin Lee Studio, guest critics: Jeffrey Inaba, Anne Save de Beaurecueil, Michael Conard

VISUAL STUDIES/ CINEMATIC COMMUNICATION

VISUAL STUDIES/ VIDEO-BASED ANALYSIS/SYNTHESIS

John Szot, Fall 2004

Marty Chou,

Cinema and the practice of architecture both rely on Digital video, a cinematic medium, has presented architects with the exciting opportu-

Guan-Hung Liou,

the coordination of event, movement, and experience nity to experiment directly with ﬁlmmaking theories and techniques due to the many

Chia Jung Liu, A

in space to communicate. This common ground has common attributes between the two industries. With the introduction of hi-ﬁdelity

Zoran Zelic,

brought ﬁlmmaking theory to bear on architecture’s consumer-grade equipment and sophisticated desktop editing software, the non-lin-

Darcie Watson, B

critical history. Digital video—a form of cinema—is ear properties of cinema previously explored only in art and experimental ﬁlm through

Mathieu De Genot

rapidly evolving as a convenient way to record and dis- intensive editing and manipulation are now available to the amateur video producer

De Nieukerken C

seminate information. As an inexpensive means of pro- with a modicum of computer experience. This presents an opportunity for architects

Yuichiro Yamaguchi D/E

ducing cinematic material in a format that can easily be to develop a new, practical relationship with cinematic material that borders on the employed in multimedia applications for distribution interactive and points to a critical role for video within the design process.

over the internet or on video disc, it presents an important opportunity for designers to communicate with their target audiences more clearly and effectively.

This workshop focused on the non-linear potential of digital video as a tool for dissecting physical reality and synthesizing virtual environments. Students par-

In consideration of these two points, this workshop was an introduction to ticipated in exercises meant to introduce the core technical components and conconsumer-level digital video technology and its potential for exploring, developing, cepts of digital video manipulation parallel to working towards theoretical goals and communicating core components of an architectural proposal in a narrative based on their studio coursework. format. Students took part in narrative-based exercises intended to illustrate the potential within video to inform their work as architects, but more importantly to better understand how the supporting role played by the built environment contributes to the synthesis of meaningful experiences.

10|28|04

LECTURE: Pre-puberty, Frank Gehry

VISUAL STUDIES/ SPATIAL DATAFORMING

VISUAL STUDIES/ ALGORHYTHMIC MORPHOLOGY

Cory Clarke, Fall 2004

Cory Clarke, TA: Jeffrey Taras, Fall 2004

Sean Arrasmith, A/B

The Internet is an emerging informational ecology, cre- Sean Arrasmith, C

In parallel with the development of the digital comput-

In-Ki Hong, B

ated through the combination of a massive volume of Solim Choi, D

er, often feeding off advances in computational speed,

Solim Choi, B

data ﬂow and its host network of the World Wide Web. Jennifer Magee, E

has been the development of axiomatic theories of bio-

This ecology is further fostered through a cybernetic

logical development. Aristid Lindenmayer presented

mechanism of iterative usage coupled with freely mutable online content. In the his Lindenmayer Systems (L-Systems) in 1968 (the same year the ﬁrst integrated Spatial Dataforming workshop, a play on the idea of Terraforming (the transforma- circuits were used in computers, drastically advancing their potentials of speed). tion or shaping of an entire planet), students investigated how the forces and logic John Conway presented the two-dimensional cellular automata titled The Game of building this virtual ecology could be used to inform the shaping of spaces both Life in 1970, now used to simulate the growth of everything from fungus to cities. virtual and architectural. The course looked at the protocols of the Internet, the Benoit Mandelbrot formalized his idea of Fractals in 1977 (the same year Microsoft methods of identifying, organizing, structuring and transferring information in a and Apple Computers were founded) in the book The Fractal Geometry of Nature, networked environment, and how the speciﬁcs of these rules of information inter- accompanied by numerous computer-generated illustrations. A similar relationaction and exchange have fostered various online social and cultural phenomena.

ship between ideas of rule-based generative morphology and the evolution of

The course offered a survey of models for structuring data (Information Ar- computational methods can be seen in architectural practices. As the computer chitecture) and technologies of data exchange (Information Technology). Students was introduced to the ﬁeld of architecture as a design tool the idea of rule-based were asked to experiment with interface technologies and produce a 3D informa- architectural strategies was explored at length through the design science work of tional visualization or interface.

Christopher Alexander, Phillip Steadman, Lionel March and William Mitchell. This workshop presented the basic methods and concepts of generative morphologies, both biologically and architecturally inspired, and introduced students to programming to provide them with tools for experimentation with algorithmic morphology. The course entailed a series of conceptual lectures and technical presentations. Students in the seminar were asked to develop their own morphological algorithm.

TALK: Conversation with 1st year M.Arch students, Frank Gehry · DEBATE: On Making, Andre Chaszar, Cory Clarke, Bill Massie, Paul Seletsky, Mike Silver, Mike Skura, Anthony Webster, Tao Zhu

10|29|04

VISUAL STUDIES/ ARCHITECTURAL DRAWING 1

054

Philip Parker, coordinator, Babak Bryan, Alice Chun, Philip Parker, Charles Renfro, Rhett Russo, critics, Fall 2004

Occupying the central but tenuous position in the exchange among architect, idea and matter the architectural drawing is always implicated in their mutual formation. Drawing One recognizes that the correspondences between drawing and building are supported not only from the instrumental effect of one producing the other but through their mutual use of the plane as a primary organizational structure and their performative roles as mediating apparatus. The course situates drawing in ongoing discussions of media culture and the roles of the instrument in producing architect, objects, ﬁelds and effects. It is a work on both the object as a material concern and the ﬁeld of events associated with the use, production and distribution of material to name several territories covered. It addresses the reciprocity of techniques as they circulate between drawing and building. Projects focus on the roles of the material line— its graphite and ink manifestation. They concentrate on setting up and conceptualization of the instrumental procedures and extensively use terms and concepts from the operational frameworks of digital, manual and cinematic techniques to extend and clarify the roles of the drawing and the architect. Their object is B

Benjamin Porto C Kubi Ackerman B M. Trina Gavieres H Karin Chen A Christine Yogiaman E Nicholas Medrano D Yi-Kuan Eddie Chou J Li Xu I Jason Ivaliotis F Nicholas Kothari K Swati Salgaocar G Sang Hoon Youm L D

10|29|04

MIDTERM REVIEWS: Olivier Touraine Studio | Mark Rakatanksy Studio | Alice Chun Studio | Karl Chu Studio | Paul Byard/Craig Konyk Joint

M.Arch./Historic Preservation Studio, guest critics: Nina Rappaport, Suzie Rodriquez | Greg Lynn/Jeff Kipnis/Fred Tang Studio, guest critics: Kivi Sotamaa, Andrew Zago

055

materially heterogeneousâ&#x20AC;&#x201D;laminated, cast and woven; subject to twisting and torquing, and not already idealized by plane geometry. It is available for direct physical investigation and moves both actually and virtually in a global environment. It is an athletic shoe. Projects begin by cutting sections in time through a changing ďŹ eld and investigate the ways in which the drawing reveals topographies, spatial relationships, and constructional information and conclude with a speculative combination of techniques. This course recognizes a situation where an extensive historical practice of drawing is projected into new media while new media are rapidly altering our awareness of that practice. Here, drawing is evolving, it is a warp in the continuity of techniques.

LECTURE: Industrial Ecology and Business Practices, Joyce Rosenthal, Joseph Bialowitz

11|01|04

VISUAL STUDIES/ FUNDAMENTALS OF DIGITAL DESIGN

056

Josh Uhl, Fall 2004

With the burst of the Internet bubble in the late 90s, the digital revolution was delivered a healthy dose of ﬁscal responsibility. While certain divisions of technology have been forced to readjust to the demands of the economy, the architectural profession has largely been undaunted in its use of computing. It has changed our method of representation in the form of images, retooled construction techniques, and made communication of complex information instantaneous. Computing in architecture has reached a certain prevalence such that the idea of practicing without it is incomprehensible. While Fundamentals of Digital De-

sign is an introductory course in computing, it builds

on the student’s advanced ability to question and shape space and time. The course interrogates the computer as a design tool of representation and analysis. In this state of ubiquitous computing, the architect is asked to not only grasp these new technologies but to shape them into the built environment. As the edge between the virtual and real becomes increasingly thin, the architect must not only be proﬁcient in this interactivity, but tool it toward new ideas and potentials that are rife within this expanding territory.

Robert Brackett, Singjoy Liang, A

Molly Cronin, Odit Feinblum, B

Emily Bello, Daniel Berens, Diana Martinez, E

11|02|04

FIELD TRIP: Materials and Methods Seminar, Higgins Hall Center Wing, Pratt Institute, site visit: Vincent Lee, Guido Hartray

057

BUILDING TECHNOLOGIES/BUILDING SYSTEMS 2

058

Jay Hibbs and David Wallance, Fall 2004

INDUSTRIAL LOFT DESIGN PROJECT The nine-week problem was to design and detail a multi-story industrial loft block. Students were asked to focus primarily on the building’s technical utilitarian systems—including structure, enclosure, and environmental conditioning—and to integrate their resolution into the building’s formal expression and spatial deﬁnition.

GROUP PROJECT, A

Aprile Age Audrey Choi Chihiro Aoyama Brian Walker Desiree Wong GROUP PROJECT, B

Chyanne Husar Avis Lai Amy Stringer Jeffrey Taras

11|03|04

LECTURE: The Conversation, Sylvia Lavin · PRESENTATION: Four Housing Projects, Steven Holl

059

CONFERENCE: Urban Land Institute Conference, Stan Gale, John Tsui, Michael Spies, Jay Mantz, Sandy Dâ&#x20AC;&#x2122;Elia

11|03|04

BUILDING TECHNOLOGIES/ MATERIALS AND METHODS IN ARCHITECTURE

060

Vincent Lee, Fall 2004

This course sought to explore an architecture that emerges through a rigorous manipulation of materials and their means of construction. Students conducted research on contemporary materials and methods, proposed and explored new strategies of making architecture, and directly tested these propositions in the shop. Investigations included the design and fabrication of structural members, component assemblies, and the development of new materials processes.

Jorge Salgado A/C Gabrielle Snyder B

Jennifer Fetner D Krzystztof Kociolek E

11|04|04

DEBATE 3: The L.A. Legacy Today?, Greg Lynn, Lorcan O’Herlihy · LECTURES: Neutra or Schindler? A Conversation on the L.A. Legacy Today,

Greg Lynn, Lorcan O’Herlihy, Joseph Giovannini | Historic Preservation, Florian Urban · FIELD TRIP: MSRED, The Center for High Density Development

BUILDING TECHNOLOGIES/SUSTAINABLE DESIGN

061

Davidson Norris, Fall 2004

This course focused on what the design professional can do to ameliorate the overall environmental impact of buildings. It also concentrated on achieving beneďŹ cial social, economic, and environmental outcomes by paying attention to the larger external bottom line. Affected design decisions include: planning and site work, energy, materials, indoor air quality, water conservation and quality, and recycling and waste management. The course combined lectures by the instructor and visiting experts and case studies and sustainable design problems by student teams. Hua Jack Toh A/B/E Wayne Chen C/D/F

CONFERENCE: Urban Land Institute Conference: Manhattanâ&#x20AC;&#x2122;s Future, Alex Garvin, Carl Weisbrod, Alexander Cooper, Bill Rudin, Bruce

11|04|04

Mosler | Careers in Real Estate, Michael Buckley, Charles Shorter, Allison Galligan, John Ropes, Ed LaGrassa, Paula Collins, Dick Knapp, Justin Toal, Charles Shorter

BUILDING TECHNOLOGIES/ ENVIRONMENTS AND ENCLOSURES 2

062

Mahadev Raman, Fall 2004

In this course, students were asked to design and analyze a variety of elements associated with the conditioning of inhabited space. Luminares, furniture, and enclosures were all studied in relation to their visual, acoustical and thermal impact, as well as the ecological consequences of their manufacture and maintenance.

Andrew Colopy A/D

Bennet Hu Esther Kim Jodi Ostrzega Jae-Eun An Ariane Lourie B Jennifer Shoukimas Jeff Wandersman Clara Abecassis Sharon Davis Anna Frens Christina Tung C

11|05|04

FILM: Bunker Hill and Urban Renewal in Los Angeles, Edward Dimendberg 路 LECTURE: The Front Edge Architecture, James Von Klemperer,

Steven Holl, Eric Owen Moss, Reinhold Martin

INDEPENDENT RESEARCH

063

RIVERGLOW, David Benjamin, Soo-in Yang, A

analog and digital, including CNC milling, vacuum forming, laser cutting, and were

Laurie Hawkinson, Tony Webster, Advisors, Fall 2004

ﬁnished with ﬁberglass, surfacing compound, and automotive paint. The project is

In New York City, as in most of the world, there currently is no public interface to neither a conceit of form nor an index of fabrication, but rather demonstrates the water quality. How can we tell if the water is cleaner this year than last? How do potential embedded in the confluence of the techniques of design and production. we know if it is safe to swim? Or eat the fish? In independent research drawing on the methodology of our previous Breathing Wall project, we built a full-scale FIAT ROOF STRUCTURE, Jeffrey Taras, Kenneth Tracy, C prototype for a network of pods that float in public waterways, sense water qual- Chris Whitelaw, Advisor, Spring 2005 ity, and send a signal visible from the water or on shore. We used floating strips of This project was undertaken as research for Fiat SpA. The company wanted to exthin-film photovoltaics connected in series to power a rechargeable AA battery. We plore alternate means of achieving a pillowy roof canopy for a forthcoming Ferrari then re-wired a low-cost pH sensor to detect changes in water quality and trigger factory, without the expense of a tensioned fabric system. Starting with a standard an LED connected to uncoated fiber-optic strands. The result is an ethereal cloud of Kalzip metal roof panel, our investigations and proposal centered around how the light hovering above the water’s surface that changes colors according to the condi- properties of the panel could be manipulated to produce the desired architectural tion of the water below. Our componentized system allows for swapping of different effects. Through the manufacturer we learned the Kalzip panels could twist and energy-harvesting devices, low-tech sensors, and low-energy lighting or actuators. bend within certain tolerances. We modeled parametric panels in Maya with these Making use of new technology for collecting, storing, and spending micro-units of properties embedded, and then wrote custom expressions in Maya to deploy the power, we created a demonstration of architecture that is energy self-sufficient.

panels and investigate possible conﬁgurations.

Francisco David Boira, Zoe Coombes, Alex Pincus, B

LOUIS KAHN ART MUSEUMS: A DOCUMENTARY, Tim Boyle, D

Hernan Diaz Alonso, Advisor, Spring 2005

Kenneth Frampton, Advisor, Spring 2005

This project aims to materialize topological aggregations through the production of The aim of this project was to create animated segments exploring the concepts and a three dimensional tiling system. Comprised of two minimal surface components, ideas behind Louis Kahn’s Art Musuems, drawing ideas from existing documentathe system organizes in variable conﬁgurations and secures with a set of paramet- ries, movies, and music videos. The documentary can be viewed as a half-hour TV ric fasteners. The components were fabricated using a variety of techniques both segment, or as 1-2 minute clips to enhance a standard architecture lecture.

CONFERENCE: Urban Land Institute Conference: High Density Forum, Ric Burns, Uwe Brandes, Joshua Sirefman, Peter Hall, Tommy Craig, Jim Dunlop

11|05|04

HISTORY/THEORY/CLASSES

064

Fall 2004

ENVIRONMENTS OF DESIGN: CLOCKS, CAMERAS, COMPUTERS, Laura Kurgan

economic forces, this seminar investigated how power is actually produced and

There are no designed environments (maps, buildings, cities, landscapes, or things) embodied in the physical environment. In other words, space and architecture are without the cameras, clocks, computers, and networks that help produce them. This seen as active participants in the structuring of our daily lives and relations, not seminar—both historical and theoretical in orientation—argues that the devices ar- merely as passive reflections of political and economic institutions. Two theorists chitects tend to treat as mere instruments of representation in fact have a profound were critical to this exploration: the philosopher and sociologist Henri Lefebvre and influence on the shape and structure of the things we design. We engaged with de- the philosopher/historian Michel Foucault. Lefebvre’s work, which draws heavily on sign across the arts: products, architecture, urbanism, landscape, and the globe. both Marxism (especially Marx’s early writings on alienation) and existentialism, inThe focus was on some twentieth-century moments when changes in technology troduced the notion of daily life as a critical political construct. Lefebvre saw the city altered not just what we create or build, but the limits of what we are able to visual- and architecture as integrally contributing to power relations, and viewed the urban ize and communicate. We traced a particular trajectory from the influence of mili- festival as an important strategy in overcoming the monotony of what he called “the tary innovation on design, from the invention of telegraphy in World War I, through bureaucratic society of controlled consumption.” Foucault, on the other hand, rethe development of computing machines during World War II and the inception of jects Lefebvre’s humanism and emphasis on subjectivity in his analysis of the relathe Internet and surveillance satellites during the Cold War, to the post-Cold War tion between space, power, and social institutions. Both theorists, however, share a explosion of information spaces which we inhabit today. Primary texts by architects, skepticism towards Enlightenment rationality, and both attempt to counter the traartists, designers, urbanists, and scientists, along with a variety of media produc- ditional Marxist/Hegelian emphasis on historical time by placing a new importance tions were the most useful, and we got some help from fiction, design manuals, on space. The writings of more recent theorists (such as Michel de Certeau, Teresa politics, and the news. Final projects explored and tested the range of and the limits Caldeira, Mike Davis, Guy Debord, Andreas Huyssen, and Elizabeth Wilson) were of particular hardware, software, thought and action.

also examined with regard to issues concerning the politics of space.

ITALIAN RENAISSANCE ARCHITECTURE, 1400-1600: REGOLA AND INVENZIONE

AMERICAN ARCHITECTURE SINCE 1876, Jorge Otero-Pailos

Daniel Sherer

The current trivialization of the past in American Architectural discourse is inverse-

This course provided a historical overview of the major ﬁgures of Italian Renaissance ly related to desperate attempts by neo-modernist aesthetic and intellectual pracarchitecture from 1400 to 1600. Stressing the dialectic of license and rule implicit in titioners to render the present exceptional. Far from new, this exaggerated brackthe revival of classical forms, we studied the diverse cultural and artistic factors eting of the present is part of a long tradition of compensating for the American that entered into the project, forging a new language based on antiquity yet moving complex about the brevity, artiﬁciality, and exterior dependency of its architectural beyond its example. Topics covered included the social and cultural implications of history. This tension has structured, with varying degrees of intensity, the evolution the link between architecture and humanism; the rise of the treatise in articulat- of the architectural discipline in the United States. Out of this deep seated, and by ing new modes of architectural understanding; the theorization of an architecture no means exhausted, anxiety about producing, preserving, and identifying American which draws both on the precepts of nature and on the example of the other arts; the History, has come a sophisticated architectural culture; one capable of foiling, exemergence of new techniques of drawing, involving orthographic and perspectival ploiting, subverting, and manipulating the various contradictions of modernity. projection; and the relation of architecture to new uses of visual representation that helped inaugurate the modern era.

This course sequence invited students to actively produce, interpret, and critique American architectural history, in contradistinction to traditional survey courses which only emphasize passive memorization as a standard of proﬁciency.

NOTHING, EMPTINESS, ABSENCE, Mark C. Taylor

As creators of history, students considered not only the ways in which buildings can

What “is” nothing? Can nothing be figured? Can the void be represented? Are nothing- be historical, but also how history is constructed and registered into the material ness and emptiness the same? Is nothing an absence? How is nothing related to loss, world through various creative practices, such as architectural designs, preservalack, and disaster? Is silence nothing? Does creativity presuppose nothing? What is tion interventions, writing projects, political activism, and other methods. the relation between nothing and nihilism? Is modernism grounded in nothing? Throughout history, nothing has assumed many guises and evoked a variety TRADITIONAL JAPANESE ARCHITECTURE, Kunio Kudo of responses in different cultural contexts. While in some traditions nothingness is Japan, a domain of contradictions, an anti-Hamlet site; a zone of to-be-and-not-tothe void that leads to nihilism, in others nothing is divine plenitude in which every- be: complexity in simplicity, simplicity in complexity, order of chaos, artless arts; thing is grounded and from which creativity emerges. In this seminar, we explored arts to pretend to be artless. Yes, they are honest, courteous and kind, but they can the interrelated issues of nothing, emptiness, and absence in literary, philosophi- never be frank. When you see something 100% black in Kyoto, don’t say as you see. It cal, religious, and artistic texts in an effort to discern their importance for architec- is stupid, uncultured, even impolite to be frank there. You are expected to say sometural theory and practice. Special attention was given to the questions nothingness thing like, “It doesn’t look like white.” Everything is, must be, ma or an in-between poses for strategies of representation, signification, and construction. Is nothing protocol. Otherwise you’d be called a man of makune, or lack of ma. representable or unrepresentable? Can nothing be signified? Is it possible to con- Are Japanese natural? Yes, they believe they are. But who makes Bonsai? Is Bonsai struct nothing? Does the “notion” of nothingness suggest that the representable natural? Who makes cubic watermelons to store in the refrigerator efficiently? How is inseparable from the unrepresentable? What is the relation between the visible do you evaluate these Japanese twisting arts of Nature? They are absolutely unfairly and the invisible? Is space empty and spacing nothing? What “is” negative space smart to make Nature look more Natural. They are merging Nature and Future. and how does it function? Can shadows imply what cannot be represented? What

In this context, Japan still can be the Future, as Bill Gibson oracled. Watch out

is a hole? Are all holes the same? Is nothing silent or is silence nothing? Is nothing for their Animes, Nanos and Keitaies! They are all our future architectures; formdestructive or creative? Why is nothing important now?

less, ephemeral structures. Weak each, but epidemically eventually catastrophic as a tsunami when it is self-organized.

POLITICS OF SPACE: CITIES, INSTITUTIONS, EVENTS, Mary McLeod

A single simple sheet of square paper at the very beginning, origami folds

This seminar explored the relation between space, power, and politics in the urban itself into everything like the universe. Then unfolded into a square paper again. environment from the Enlightenment to the present. In contrast to some Marxist The east shall shake / the west awake, / while ye have the night / for the mournapproaches that see architecture primarily as an ideological reﬂection of dominant in’—James Joyce, Finnegan’s Wake.

11|08|04

DEBATE 4: Software Anxiety?, Jose Sanchez | Developments of Design Concepts with Computer Algebra, Gautam Dasgupta | The Role of No-

menclature in Topologically Driven Design, Dan Silver · LECTURES: Community-based planning initiatives in Upper Manhattan, Joyce Rosenthal, Swati Prakash; From Hutong to High-rises, Jasper Goldman; Sustainable Villages in Urban Communities: Free-ﬂow Hydropower, Integrated Renewable-energy, and Distributed Generation, Trey Taylor

065

ARCHITECTURE HISTORY 1, Mary McLeod

MOOD, AFFECT, AND ATMOSPHERE IN CURRENT ARCHITECTURAL RESEARCH

The objective of the two-semester sequence Architecture History I and II is to pro- Jeffrey Kipnis and Greg Lynn vide students with a basic critical understanding of major developments in Europe- [text to come] an (and to a lesser extent, American) architectural history during what is frequently considered the modern period, from the late seventeenth century to the post-World L.A. LIGHT AND DARK, Thomas Hines and Edward Dimendberg War II era. The course emphasized moments of significant change in architecture, Since L.A. has seemed to many a quintessentially “modernist” city—the capital of whether they were theoretical, economic, technological, or institutional in nature. the “car culture,” the home of the film and television industries, the chief locus of The readings and lectures stressed the link between theory and practice, and more the aerospace industry—it is not surprising that it should be one of the great citgenerally, the relationship between architecture and a broader cultural, social, and ies of the twentieth century for generating a significant modernist architecture. It political context.

has also been an important consumer and translator of modernist architectures generated elsewhere. In both roles, L.A. is a compelling example of the effect upon

TOPICS IN ARCHITECTURE CULTURE FROM WORLD WAR II TO THE 1960S,

modernism of regional patterns and imperatives—and vice versa. It was the argu-

Joan Ockman

ment of the ﬁrst part of the course that “modernism,” on the one hand, and “re-

The course concerned the evolution of architectural theory and practice from World gionalism,” on the other, have never been fixed or immutable “styles” or “systems” War II through the end of the 1960s, from the immediate postwar period of recon- to be learned or strictly emulated. Instead, both have been diverse and changing struction and planning up to the events of 1968 when the Ecole des Beaux-Arts in phenomena, each affecting and redefining the other. Our subject was their changing Paris was shut down by student strikes after 250 years. During this quarter century relationship, as shaped and reflected in architecture. architecture culture underwent intense self-questioning and significant restructur- Historian Mike Davis famously characterized Los Angeles as defined by the vicissiing against a background of profound sociopolitical and technological change.

tudes of “sunshine and noir,” the optimism of a seemingly boundless and beneﬁcent

The narrative unfolds not just in Europe and the United States, but also out- natural environment deflected by the pessimism of rapacious capitalism, pervasive side the main centers of Western culture. Among some of the topics discussed were social inequality, and cultural philistinism. Through an intensive study of architecthe following: the postwar debates over monumentality and humanism; the impact ture, urban history, films, novels, and visual art, the second part of the seminar exon architecture of wartime technologies and research; the rise of consumerism, plored the dominant tendencies in the evolution of the city’s built environment since suburban lifestyles, and mass culture and mass media; the cultural and ideological 1945. From the significance of automobility and the extensive freeway system, to the dimensions of the Cold War; the institutionalization and critique of the International emergence of a distinctive urban fabric and its vernacular building types (shopping Style; the dissolution of CIAM; the new preoccupation with growth and mobility; centers, suburban developments, fast food restaurants), to the eradication of older postwar architectural education; the emergence of non-Western architecture in the neighborhoods such as Bunker Hill as part of the early discourse of urban renewal, context of a “global village”; systems approaches and the influence of structural- Los Angeles evinces the major dynamics of urban modernity but does so with a culism; countercultural critiques and neo-avant-garde strategies; poststructuralism tural style all its own. Viewing classic films noirs by Robert Siodmak, Billy Wilder, and the inception of postmodernism.

Joseph Losey, and more recent “neo noir” ﬁlms (Chinatown, Point Blank) and read-

On a theoretical level, the course addressed problems of periodization and ing novels by Raymond Chandler, James M. Cain, John Fante, and Joan Didion, we documentation, and explored the question of how “architecture culture” is produced shall endeavor to specify one strand of this style and history. and reproduced at speciﬁc historical epochs.

Traditional Japanese Architecture, Kunio Kudo: Edogawa Tarozaemon: Nirayama Reverbatory Furnace, A

EXHIBITION: Projection Primer, Drawings by Michael Webb, Arthur Ross Gallery, Buell Hall

Nirayama, Shizuoka Prefecture, 1854, A Traditional Japanese Architecture, Kunio Kudo, B

11|09|04 - 12|20|04

066

HISTORY/THEORY/CLASSES

THE HISTORY OF ARCHITECTURE THEORY, Mark Wigley

CASE STUDIES IN THE EVOLUTION OF MODERN URBAN FABRIC, Richard Plunz

Architecture emerges out of passionate and unending debate. Every design involves New York City is the catalyst for questioning the cannons of architectural and urban theory. Indeed, architects talk as much as they draw. This class explored the way historiography that tend to overemphasize isolated monument and heroic designer. that theory is produced and deployed at every level of architectural discourse from The history of New York is scrutinized as an evolution of anonymous urban fabric, formal written arguments to the seemingly casual discussions in the design studio. created by the often uncelebrated architect or builder, and which comprises the A series of case studies, from Vitruvius through to Cyberchat, from ancient trea- major building volume of New York and all cities. The focus of this class was on the tises on parchment to flickering web pages, was used to show how the debate keeps culture of housing with the intent to grasp the political and tectonic devices which adapting itself to new conditions while preserving some relentless obsessions. Ar- lead to specific fabrics in specific urban contexts. The city became a crucible to be chitectural discourse was understood as a wide array of interlocking institutions, understood both forwards and backwards in time, from extant present-day realities each of which has its own multiple histories and unique effects. How and why these to underlying formational causes and vice versa. This exercise in urban forensics various institutions were put in place was established and then their historical was played back for other global cities, translated from New York by the students transformations up until the present were traced to see which claims about archi- who applied the technique and values to a place embedded in their own local knowltecture have been preserved and which have changed.

edge, culminating in a forum in which, among other things, comparative projected architectural transformation of fabrics became the basis of critical discourse to-

THEORY AT THE EDGE: POST ANIMAL LIFE AND ARCHITECTURAL EFFECTS, ward a greater designer competence in dealing with urban “non-design” anonymity within the discipline of “urban design.”

Catherine Ingraham Architecture is the “discipline of the milieu” because it designs the space, envi-

ronment and context within which much of biological human life passes. The term COMPARATIVE CRITICAL ANALYSIS OF BUILT FORM, Kenneth Frampton “post-animal life” refers to the existential character of both human and animal life The aim of this seminar was to sensitize students as to the way in which explicit since the Renaissance. The phrase is meant to be a suggestive term that denotes a and implicit values are incorporated into the typological and tectonic development kind of animal life that has been divested of its autonomy, and a kind of human life of architectural form. Students were asked to analyze pre-selected pairs of “cafrom which the animal part had been largely removed.

nonical” buildings from the production of the previous century. Similarity in terms

Architecture is “governed by laws indifferent to the intrinsic needs of living of institutional program and scale are factors in determining the selection of these beings.” Many might disagree with this statement. What else is architecture but a paired buildings so that the exercise becomes one of discriminating between what response to the needs of living beings? But the familiar relationship between archi- is similar and what is different between one building and the next. Students were tecture and life is, in fact, competitive. On the one hand, architecture, insofar as it asked to compare the buildings under such headings as route versus goal, public is spatial and materially subject to physical laws, is indifferent to life; on the other versus private, suppression versus expression of structure and the referential conhand, life always privileges itself over its milieu. There is, then, an active asymmetry notations of the details in each case. Each analysis was carried and presented by between architecture and the life that inhabits it. Around this asymmetry, historical students working in pairs. and theoretical debates in architecture, particularly in the West, have circled for It is difﬁcult to decide whether this seminar is timely or untimely. It is in fact a hundreds of years.

seminar that I gave in this school almost continuously for some twenty years be-

At the same time, since Kant and the rise of Aesthetics, the architectural before deciding that it had perhaps outlived its usefulness. Last semester it was given comes a system of particular kinds of effects. This class sought to outline the nature again with great success and on the strength of this we decided to offer it again in of spatial effects and their relation to architecture.

a slightly different form. The most signiﬁcant change was to apply the comparative analytical method to buildings of a more recent date than had been my practice in the past. From this

Landscape, Infrastructure, Intervention, Kate Orff: Olmsted, Moses, C The Last Machine: Drift Cinema, Ed Keller: Aurora, D The Last Machine: Drift Cinema, Ed Keller: SuperStudio, E

11|09|04

LECTURE: The Challenge of Slums: to Architects and Planners, Anna Rubbo

067

point of view ﬁnding appropriate pairs of buildings to compare was not easy par- Design could intercede in the complexity of contemporary urbanism with the intenticularly given the transformed nature of architecture in our time. While the level tion of developing student’s ability to critique and formulate strategic and provocaof architectural practice today is surely higher, world-wide, than ever before, the tive preﬁgurations to complex urban processes. intrinsic syntactic manner in which the culture of architecture evolves has become less clear, so that the references that a building may make to other buildings from DOCTORAL COLLOQUIUM: INDUSTRIALIZATION AND ITS DISCONTENTS: ANGLO either the present or the past are no longer so assiduously recognized or even val- SAXON HISTORIOGRAPHY, ARCHITECTURE AND CULTURAL THEORY 1810-1914, ued. One has reason to believe that the building culture no longer evolves, step by Kenneth Frampton step, from one structure to the next, but rather tends to leap around, in a relatively This seminar was focused about a number of interpretive and primary texts, conarbitrary fashion, from one hypothetical parti pris to another. As a consequence, we sidered in the light of both certain canonical buildings and four retrospective critical are confronted with a situation in which precious little remains by way of linguistic overviews, respectively by Bøe, Collins, MacLeod and Pevsner. The initial seminar or cultural continuity, between one ad hoc object and the next.

devoted to these “predisposing” accounts will be followed by seminars dedicated in each instance to a particular cluster of architects and theorists and to a number of

PHENOMENOLOGY IN ARCHITECTURE, Jorge Otero-Pailos

works with which their designs and their writing may be readily associated. My es-

Contemporary architectural history and theory are dominated by post-structur- say “News from Nowhere: England 1836-1924” basically sets the stage, as it were, alism, which emerged in the heels of structuralism as a reaction to phenomeno- for the substance of this seminar. logical modes of interpretation. Almost thirty years after the academic rejection of phenomenology, the discipline of architecture has now achieved sufﬁcient distance LANDSCAPE, INFRASTRUCTURE, INTERVENTION, Kate Orff from those debates to properly assess the contributions made by so called phenom- This seminar explored how the physical, material, and conceptual understanding enological architects. The objective of this course was to familiarize students with of landscape can enrich current forms of architectural and urban design practice a body of thought which has largely fallen into disrepute, but which holds the key to and introduce landscape thinking into students’ design vocabularies. Given that tounderstanding the deep divides that separated architectural theorists from practi- pography and ecology are two discourses that increasingly impinge on the ﬁelds of tioners in the 1970s. What was proposed then was a non-phenomenological account architecture and urban design today, it may be argued that landscape in the broadof phenomenology in architecture, which encouraged post-structuralist interroga- est sense of the term begins to assume a new stature as a design discipline, both tions of the material presented.

literally and metaphorically. A parallel objective of the seminar was to begin to develop a shared language and historical narrative based in an understanding of the

THEORIES OF SELF-ORGANIZATION AND THE DEVELOPMENT OF CITIES,

urban territory as landscape, and to create a ground for practice that recognizes the

Manuel Delanda

proliferation of urban landscape everywhere.

Why not China? Why not Islam? Why did the power of Europe (and its ex-colonies) How can imagining a city as landscape rooted in an environmental system can lead end up prevailing in this millennium? These questions have in the last few decades out of strictly formal or aesthetic attitudes towards urbanism? How can the design acquired a new significance as Western historians shed some of their Eurocentrism professions be redefined and reinvigorated at the historical moment when the and tackle the problem of explaining why those two empires lost the technological, planet’s atmosphere, weather, flora, fauna, and increasing amounts of the earth’s economic, and scientific lead they had less than a thousand years ago.

surface are becoming completely engineered? How the structure and function of

Cities from ancient times have engaged in two quite different types of activi- natural systems can inform design and planning decisions at multiple scales? How ties, one characterized by centralized decision-making, the other by multiple deci- can we be responsive to the real and interesting problems now? sions made in a decentralized way. Although most cities include human activities of both kinds, some urban centers tend to be dominated by one or another, becoming THE LAST MACHINE: DRIFT CINEMA, Ed Keller either the capital or organizing center of a hierarchy of towns, on one hand, or a The contemporary metropolis is ever more activated by crowds pursuing an elusive gateway to foreign markets linked to a transnational network, on the other.

goal: useless time, free time, excess time—time of transformation and play. Today’s ﬂash mobs are a new version of the Paris Flaneur, of the Situationist Drifter, of the

HISTORY OF THE AMERICAN CITY: CASE STUDIES IN INFRASTRUCTURE AND student revolutionary. Emergent networked communities in the city today are a reTECHNOLOGY, Kimberly Zarecor

thought version of Homo Ludens. Hollis Frampton called cinema the Last Machine, yet

[text to come]

we see that today’s wildly evolving trans-urban cultures are a “life world” cinema. This seminar proposed yet one more Last Machine infused by contemporary

THE PREFIGURATION OF CONTEMPORARY URBAN FORM: STRATEGIES AND discourses on space, media, and time. Documentary cinema has been theorized PROVOCATIONS, Michael Conard

by some as a radically political act, and when the documentary enters the spatial

Sweeping cultural changes at the end of the 20th century driven by the prolifera- domain of expanded cinema, it expresses a contemporary potential for Situationtion of information technologies and service industries have challenged the primary ist drift. We build maps to reveal the systemic tendencies described by Jameson, role of history, theory and philosophy in architectural, urban design and planning Negri, Hardt, Rheingold, Pynchon, Smithson, and Borges. These maps go beyond discourse. The dominant sources of the most influential urban strategists and pro- the psycho-pathologic symptoms that cinema has indexed to date, and generate vocateurs are now photography, graphic design, popular cultural media, and stat- counter-proposals for a geopolitically responsive architecture. isticians. Metaphors of chaos, complexity, bio-urbanism, fluidity, transparency and dynamism have flourished. Yet the implications of this new rhetoric on urban form, issues and policy remain unclear. Are these models effective prefigurations or are they fashion? This seminar began by introducing students to the logic of western market development as it is applied globally and to the means and methods in which contemporary urban form is conceptualized, created and controlled. Normative development patterns considered included sprawl, generic landscapes, informal settlements, preservation districts, and marginalized centers and industrial zones. The second half of the semester considered the means by which Architecture and Urban LECTURE: Projects, Lindy Roy

11|10|04

MS ARCHITECTURE AND URBAN DESIGN

068

Brian McGrath, coordinator, Sandro Marpillero, Victoria Marshall, Petia Morozov, critics, Fall 2004

URBAN DESIGN IN AN EXPANDED FIELD Studio 2 situates urban design within expanded disciplinary and geographic ﬁelds, broadening our analyses to consider ecological, social and economic dynamics, as well as global and interstate networks beyond the New York City Region. Students partnered with researchers from the Baltimore Ecosystem Study as well as scientists, neighborhood organizations and governmental agencies working along the east coast megalopolis stretching from Boston to Washington D.C. The intent of this expansive framework is to approach an understanding of the relations between macro trends and micro behaviors accompanying the global shift in advanced urban economies from centers of industrial production towards networks of symbolic processing— a shift that Manuel Castells has called the emergence of an urban society without cities. New global processes of capital accumulation, patterns of migration and technologies of communication have unleashed rapid physical changes throughout vast urban regions outpacing biological and social evolutionary time frames. The earth’s biosphere and human societies are complex adaptive systems, yet both natural and social process-

es lag behind the accelerating spatial reconﬁgurations,

revealing stress points, crises and vulnerabilities. Periods of economic crisis and urban restructuring and reorganization are increasingly more frequent than those brief moments of generalized expansion along a deﬁnite developmental path. The discourse of the machine city—with its center city theory with a distinction between urban and rural, and its scalar top-down management systems legislated by master planning, land use and zoning can no longer efﬁciently operate within this vast new dispersed networked environment for housing, work, leisure and consumption.

11|11|04

LECTURE: Archigram vs Situationist International, Mark Wigley

069

Rex Wang, A/B/C/D Alejandro Guerrero, E/F

FILM: Reyner Banham and the Dream of Automobility (1972)

11|12|04

MS HISTORIC PRESERVATION/ HISTORIC PRESERVATION DESIGN WORKSHOP ADVANCED ARCHITECTURAL DESIGN STUDIO

070

Paul Byard and Craig Konyk, critics, Fall 2004

The School’s pioneering joint third-year Advanced Ar-

dio will be published in the series BUILDING ON: UNAM.

chitectural Design Studio/Historic Preservation Design

Subject matter of this year’s projects included: The

Workshop traveled again to the Universidad Nacional

Rectory, The Library, Philosophy and Law, The Olympic

Autonoma de Mexico in Mexico City, designing and cri-

Stadium, Architecture, Industrial Design, Humanities,

tiquing additions to nine different University faculties.

Medicine, and the Cosmic Ray Pavilion.

UNAM’s progressive architecture provoked strong design responses aimed to raise the level of service of a world-class Modern masterpiece to Mexico’s contemporary needs. The joint studio continues to be the school’s lead piece in a growing interest in design with old architecture as a design paradigm. The results of the UNAM stuB

Laura Boynton

Josh Rau, C/D

Gloria Colom

Sarah Devan, A

Debora de Barros

Thomas Wensing, B

Sara Devan Lewis Gleason George Jaramillo Darby Noonan Amy Peterson Tara Phelps

11|12|04

OPEN HOUSE FOR PROSPECTIVE STUDENTS

071

During the three years after the attacks of September interest in the development of the study area is timely. Sara Adams 11, 2001, Lower Manhattan has been the focus of plan- Faced with a growing residential community and major Katherine Allen ning and construction efforts. The impetus for choos- infrastructural projects like the Fulton Transit Center, Carly Bond

Tellina Liu

ing Downtown East for this year’s historic preservation Downtown East’s historic architecture is more vulner- Karyntha Cadogan studio was to study how the WTC development—on able than ever before. This preservation plan is a result Lauren Cato

Maggie Oldfather

Benjamin Marcus Shirley Morillo Craig Oleszewski

and off site—was going to affect this neighboring area. of two semesters’ work. Starting in Fall 2004, the ﬁrst- Julie J. Cridland Downtown East is home to architecture ranging from year students of the Historic Preservation Program Andria Darby

Cassandra Smith

the eighteenth to the twentieth centuries, from load- began to identify the salient historic characteristics Amanda Davis bearing masonry counting houses to engineering feats of Downtown East by documenting the historic fabric Heidi Druckemiller

Julie Thompson

such as the Brooklyn Bridge, and from steel frame con- and researching its history. The goal of the second se- Manami Kamikawa struction to curtain-wall technology. Because of the mester was to identify the issues and problems that Margaret Gray Kincaid

Jessica Williams

Lindsay Smith Sabine van Riel

possible impacts on these signiﬁcant structures, the Downtown East faces, to assess their impact on the Anne Lebleu

signiﬁcant historic resources in the area, to propose a compelling goal for preservation, and ﬁnally, to provide solutions in the form of a plan that builds on the existing community and political resources.

FIELD TRIP: Historic Preservation, Cultural Site Management, Fallingwater, Bear Run, Pennsylvania

11|13|04 - 11|14|04

REAL ESTATE DEVELOPMENT/ URBAN LAND INSTITUTE CONFERENCE, LUNCHBOX LECTURE SERIES

072

HIGH DENSITY,

This standing room only session to identify the benefits of High Density developments was organized by Professor Buckley featured opening observations on the culture of density by documentary filmmaker Ric Burns and presentations of three city high density districts. A group of developers responded to Office workplace issues and Residential density matching new lifestyle preferences, with critical observations on density and value. A

· Uwe Brandes, Associate Director, Anacostia River Corp. · Ric Burns, Principal, Steeplechase Films · Tommy Craig, Senior Vice President, Hines Interests · Jim Dunlop, Vice President, ArchstoneSmith · Peter Hall, President, San Diego Center City Corp · Joshua Sirefman, Chief Operating Ofﬁcer, NYC Economic Dev. Corp. INTERNATIONAL DEVELOPMENT,

Exporting USA development skills and portfolio investment strategies to overseas markets involves challenging local customs and expectations. This session featured discussions on key success factors and best practices for international development. · Sandy D’Elia, Principal, EDAW · Stan Gale, Chairman, The Gale Company · Jay Mantz, Global Real Estate, Morgan Stanley · Michael Spies, SVP, Tishman Speyer London · John Tsui, Principal, TACT LUNCHBOX LECTURE SERIES,

Student organized presentations in Wood Auditorium featured developers and industry professionals. · Ron Altoon FAIA, President, Altoon & Porter Intl C

Illustrated with case studies, described the international growth of his design practice and challenges to working at long distance while maintaining design quality. As past president of the AIA Altoon combines organizational innovation with design excellence. · Douglas Durst, President, The Durst Organization Selected Durst organization high-rise projects focused on sustainable design on multiple sites around Times Square and the new Bank of America headquarters building facing Bryant Park were proﬁled · Tony Malkin, President, W&M President of W and M properties described the growth of his company, acquisition strategies, and operating philosophy. In the current low interest rate environment, W&M is diversifying investment objectives to

URBAN LAND INSTITUTE CONFERENCE,

EDGE ARCHITECTURE, A

NEW YORK CITY

Edge architecture is the leading wave of the avant- beneﬁt from historically high disposition values.

For the ULI NUC Conference, Columbia MSRED coor- garde with ﬂuid but complex philosophies, theoretical dinated major panels on High Density Development, rules, and computer-enabled visualization. Edge arThe Front Edge Architecture, International Develop- chitecture is unconventional and experimental offerment, and Careers in Real Estate. The Annual ULI ing unprecedented new concepts for commercial real event draws international attendees that focus on estate. global and regional trends, forecasts, and project · Steven Holl, Principal, Steven Holl Architects case studies. MSRED students are exposed to an in- · James Von Klemperer, Principal, KPF Architects valuable array of contacts at ULI through networking · Eric Owen Moss, Dean, Sci Arc meetings and topical panel presentations.

· Reinhold Martin, Professor Advanced Studio, Columbia University

11|15|04

DEBATE 5: What happened to Drawing?, Michael Webb, Peter Cook, Dennis Crompton, Mark Wigley

REAL ESTATE DEVELOPMENT/ ALUMNI EVENT, STUDENTS, INTERNSHIP PROGRAM

073

ALUMNI EVENT,

The Sixth Annual Alumni Event was again co-hosted by Shearman and Sterling law ﬁrm at their midtown Manhattan headquarters. This annual event in October allows the incoming MSRED class—and the current graduating class—to meet other MSRED Alumni, fostering what we believe is fast becoming a powerful professional network. · John Livingston, President of Tishman Realty and Chris A

Smith, Head of the Real Estate practice and Sherman and Sterling INTERNSHIP PROGRAM,

The Columbia MSRED Internship Program has real beneﬁts for both students and participants, as Sponsors have found advantages to introduce motivated students into product research and developments. Students typically spend two days per week in the spring semester at the Sponsor’s ofﬁces working alongside project managers and development executives, often making valuable contributions to ongoing projects. · Jack Lovell ’05 with Frank Sciame and John Evans of the Sciame Organization · David Salazar ’05 with David Pennick of Hines Interests · Gabriel Traupman ’05 with David Lukes ’01 of Kimco Realty Corporation October 2004 Graduates, C

LECTURE: The Neighborhood Spillovers of Subsidized Housing, Ingrid Gould Ellen

11|15|04

NEW YORK-PARIS PROGRAM/ NEW YORK DESIGN STUDIO

074

Danielle Smoller, Charles Eldred, Beth Weinstein, critics, Fall 2004

The fall semester design studio was divided into a

series of investigations of mapping and notation as

analytic, synthetic, and generative techniques. In the initial exercise, students worked in groups to identify and record the variations and shifting characteristics of a perceptual phenomenon as a means of mapping a trajectory based on three points in the city: the Irish Hunger Memorial, the Fulton Street Transit Hub, and the Fulton Street Fish Market. From these analytical investigations, students designed an artifact that registered and revealed the hidden potentials of the site while exploring the relationship between content and object. Students then worked individually to

interactions, and upon structuring the relationship

develop a memory machine, a housing device used

between the individual, private citizen and the public

to collect and communicate the different phases of

persona within the larger urban community. Using

the design process and project evolution, as a means

the systems and strategies from these investigations,

of addressing issues of Program, such as such as

students worked at three scales—the urban scale, the

inhabitation, display/concealment, the passage of

building scale and the scale of the detail—to generate

time as well as function, performance, and operation.

a proposal for an intervention at the Fulton Street Fish

Through precise documentation of a domestic ritual

Market.

and public event, students addressed the notion of inhabitation structured around the idea of ritual as a means of elaborating upon the concepts of “dwelling” in relation to “transience,” upon private rituals and public F

Eun Ryung Lim, A/B/C/D/E Takahiro Haneda, F/G

11|17|04

LECTURES: Blue or Green, Peter Cook | GIS and the Regional Plan Association, Jennifer Cox · DISCUSSION: Election 2004...Now what?

NEW YORK-PARIS PROGRAM/ URBAN STUDIES WORKSHOPS

075

of scales. This year, students conducted an analytic Jessica Garz, A

NEW YORK URBAN STUDIES WORKSHOP Mojdeh Baratloo, critic, Fall 2004

investigation of the activities, moments and conditions Daniel Ediger, B of the Fulton Street Fish Market. The program was an Adina Hemper, C

In the fall semester, students enrolled in the Urban “interpretive center,” a space dedicated to alternative Daniel Ediger, D Studies Workshop examine the urban context of New public use relating to the River(s). The explorations Erin Stevens, E York City as a means of investigating defining param- gave rise to a variety of projects: from research-based Mathieu Robitaille, F eters in the physical, cultural, and social planning of investigations, to physical proposals for exterior and/ world cities. Through fieldwork, research and design, or interior spaces or outdoor facilities/devices. students develop individual proposals that identify, investigate and relate site-specific activities with citywide urban events as a means of addressing ecological, economic, social and cultural formations at a variety A

PARIS URBAN STUDIES WORKSHOP James Njoo, critic, Spring 2005

tions focused on the Paris subway system—le métropolitain—as a hypothetical model of the contemporary city. Line 13 was chosen as a representative cross-sec-

The Paris Urban Studies Workshop aims at developing tion of this condition. Students were asked to reflect critical tools to approach contemporary urban issues. upon its planned extension to Gennevilliers as a strateStudents engage with themes related to specific sites, gic axis of urban renewal. but also with the manner in which their perception of the city is conditioned by cultural codes and multiple forms of representation. This reflexive dimension of reading the city is an ongoing issue throughout the course of the studio, accompanying and informing each student’s personal site research. Students’ investigaD

FILM: “Nostalgia, Noir, and the Architecture of History”

11|19|04

BARNARD AND COLUMBIA COLLEGES ARCHITECTURE PROGRAM/ ARCHITECTURAL DESIGN 3

076

James Slade, critic, Fall 2004

UNION SQUARE PARK How are public spaces evolving? Technology has

blurred the boundaries between work, leisure and home. Parks, stores, and other public spaces have been colonized by functions that were relegated to the home or ofﬁce in the past. Technology, in particular wireless technology, allows almost any type of space to be re-appropriated; the train becomes a temporary ofﬁce, a private phone conversation happens on a busy sidewalk. The space and movement of transit become extensions of the locations that are being connected. The “new economy” promises to replace the city’s role as a place for physical exchange with a new space for virtual exchange from shopping to dating. How do we exploit these shifts architecturally? Union Square is an archetypal modern urban space. It has a long history as a place of assembly and protest, from draft protests in the civil war and political rallies a century ago to skateboarders, the farmers market, the winter market, medieval jousters, and the 9/11 memorials recently. The park is a very successful example of negotiable space. Through physical occupation and/or technology it shifts to accommodate different activities and groups. Recently mega-stores C

have surrounded the park. As a shopping destination these stores also provide meeting places for the city--a new type of public commercial space. They offer places to meet, work, and relax. Shopping becomes recreation; the weekend stroll through the park is replaced by the weekend stroll through the mall. In Union Square you have both. The studio began with analysis as a starting point for reinventing Union Square, as a redesign, a critique, or a tuning of existing characteristics. We focused on the role of the proposed architectural intervention in relation to the city, the neighborhood, and the

Keith Greenwald A/C

individual occupant. How can architecture engage the

Jennifer Korecky B

group and the individual? Can it transform the space

Robin Fitzgerald-Green D

beyond its physical boundaries to activate the public

name E

space of the city? Position, point of view, and temporal

Katie Shima F

changes can be exploited or tuned using materials,

Amber Nelson G

scalar differences and active systems. How can these be used to make an architecture that goes beyond the formal object and becomes a space of engagement, an active partner?

11|20|04

FIELD TRIP: Historic Preservation, Conservation Workshop, George Wells House, Stockbridge, Massachusetts

BARNARD AND COLUMBIA COLLEGES ARCHITECTURE PROGRAM/ ARCHITECTURAL DESIGN 1

077

Karen Fairbanks, Jason King, Tina Manis, Michael Webb, critics, xAndrew Colopy, Catherine Yatrakis, teaching assistants, Fall 2004

Vera Shur A

Christopher Beidel B/F Ayala Rosen C Shanshan Qi D Andrew Kalaidjian E

This two-semester sequence of studios encourages

students to speculate through both representation and demonstration. Students study architectural design as a mode of cultural communication as well as imaginative experimentation.

As the studio sequence evolves,

emphasis is increasingly placed on the relationship between

material,

tectonic,

and

programmatic

operations, the transactional space around our bodies and its movements, and the social and cultural contexts of a site of investigation. We are interested in incisive rather than decisive speculation that opens up the architectural event in order to actively reinterpret, D

modify, and re-conﬁgure its operation and the spatialtemporal, psycho-social, and formal-functional relation to the embodied and embedded subject (understanding the body as active participant). INTERFACE Interface

implies

relationships

between

various

and varying conditions, suggesting a potential for spatial, material, and programmatic exchanges. Architectural Design I investigated the term interface at various scales. The term interface and the operative techniques explored in the ﬁrst project were then extended to a site on campus and expanded with the program of providing access to and awareness of, the Barnard underground tunnel system, expanding our understanding of the ‘site’; indexing the unseen tunnel system, and obscuring or revealing its various qualities. What additional program could be integrated to make this interface more useful? More public? More intriguing? More socially and spatially promiscuous? The ﬁnal project considered the construction of cultural interfaces by developing alternative performance spaces in the Manhattanville expansion of the Columbia campus where interface is operative both within the E

architectural insertion and between the insertion and the planned campus.

LECTURES: Inﬁnitely Fresh, Inﬁnitely New, Echoes of Richar Neutra and Los Angles Architecture, Jean-Louis Cohen | City: Urbanism and its End, Doug Rae | Neutra and Los Angeles from Europe: Synecdoches of America, Jean-Louis Cohen

11|22|04

BARNARD AND COLUMBIA COLLEGES ARCHITECTURE PROGRAM

078

ARCHITECTURAL REPRESENTATION: ABSTRACTION Todd Rouhe, Madeline Schwartzman, Kim Yao, critics Samuel Dufaux, Megan Kelly-Sweeney, David Menicovich, teaching assistants ARCHITECTURAL REPRESENTATION: PERCEPTION Yumi Kori, Carla Leitao, Madeline Schwartzman, critics Samuel Dufaux, Megan Kelly-Sweeney, David Menicovich, teaching assistants

The Abstraction course explored the conventions of the representational language of architecture. Both two-dimensional orthographic projection (plan, section, elevation) and three-dimensional elaborations (axonometric, model) were used to analyze space, and were investigated for their abilities to reveal and conceal relationships in space. Particular emphasis was placed on the revelatory value and limitation of this abstract language; a language that is both a concise method for abstracting architectural space (as an analytical tool), and a generative method for speculating on design (a conceptual ignition).

Yurika Sugimoto A

Joseph Rome B Mo Zhang C Isabella Dennis D Angela Oh E

The course was comprised of a series of projects that allowed for the sequential development of both technical skills and conceptual thinking. While developing independent approaches and projects, all sections of this course incorporated a project that used an existing twentieth-century building as the subject for a ďŹ eld of inquiry concerning the making and the meaning of abstract architectural representation. That investigation involved three projects designed as a process for critical analysis and production: documentation, analysis, and invention/intervention. All projects required creative thinking and precise execution with reďŹ ned craft in the service of ideas. see p. 164 for description of the Perception course and content from Spring 2005 Abstraction and Perception courses

11|29|04

LECTURE: Regional Housing, Frank Braconi

URBAN TECHNICAL ASSISTANCE PROJECT (UTAP)

079

Lionel McIntyre, director

new facility is a modern K-6, four-story structure with penthouse and basement. To address the need for affordable housing, a 31 unit building and open space is proposed, with the goal of creating new units that will also fill remaining voids within the residential core. As this study’s recent physical profile data indicates, more than three quarters of the neighborhood’s housing stock has been restored from sub-standard, to good condition. Its demographic profile indicates increasing social and economic disparities that necessitate new institutional facilities for addressing issues of employment, education, and health, at the neighborABYSSINIAN NEIGHBORHOOD PLAN HARLEM, NEW YORK The UTAP undertook an urban planning and design study in Harlem, for the Abyssinian Development Corporation (ADC), to assess the degree of social and physical changes within the Abyssinian neighborhood and create design concepts for developable sites within the area. The study of four critical sites proposes designs for a new elementary school, housing, open space, and the redevelopment of the Renaissance Ballroom (Renny)/YWCA complex as a mixed-use development. The study proposes a design concept and development strategy that attempts to address the complexity and significance of the Renny’s role in the neighborhood revitalization effort. The redevelopment strategy for the Renny calls for a zoning change, preserving the volume of the existing Renaissance Ballroom & Theater Complex. A mixeduse development program is proposed that would satisfy the site’s potential to support community, cultural and commercial spaces, as well as residential units. Following the success of its Thurgood Marshall Academy high school in 2003, ADC will initiate an elementary school in 2005. The proposed design for the

hood scale. To this end the plan calls for the allowance of higher density along the boulevards and rezoning that incorporates design guidelines and mechanisms for protecting affordable low-income housing, as well as a greater degree of social integration in the built environment, and avoidance of displacement.

LECTURE: Asymptote Form Finding, Hani Rashid

12|01|04

LECTURES/DEBATES/EVENTS

080

See excerpts from the 2004-2005 Lecture series on the Abstract 04/05 DVD.

Brian McGrath, A

Deb_d: TK, Jos茅 Sanchez

TK, Brian McGrath, J. Yolande Daniels, TK, TK, E

TK, TK, Mark Wigley, Peter Cook, C

TK, TK, Jeff Kipnis, M

Deb_k: J. Yolande Daniels

Joan Ockman, L TK, Cory Clarke, TK, P

12|03|04

FINAL REVIEW: Paul Byard/Craig Konyk Joint M.Arch & Historic Preservation Studio, guest critics: Harry Cobb, Gabriel Merigo Basurto 路

REVIEW: Historic Preservation, second thesis jury 路 PUBLICATION RELEASE: Historic Preservation, Future Anterior, volume 2

081

Karl Chu, Jeff Kipnis, B J. Cohen, G

Mark Wigley, D

Frank Gehry, A

J. Mayer, C

Lindy Roy, E

F. Roche, F

Hani Rashid, H

L. Woods, I

Mark Wigley, J

Peter Cook, K

TK, Mark Rakatansky, L

Rem Koolhaas, Mark Wigley, M

Rem Koolhaas, N

S. Lavin, P

Keller Easterling, O

William MacDonald, Q

FINAL REVIEWS: Douglas Gauthier Studio, guest critics: Tina di Carlo, Vincent Chang, Jeremy Edmiston, Philip Parker, Gregg Pasquarelli,

12|06|04

Els Verbackel | Olivier Touraine Studio, guest critics: Bill MacDonald, Dan Wood, Nicolai Ouroussoff, Florian Idenburg, Deborah Richmond, Amale Andraos, Anne Save de Beaurecueil, Franklin Lee | Alice Chun Studio, guest critics: Jonathan Knowles, Annette Fierro, Mark Wigley, Mark Rakatansky, Karla Rothstein, Toshiko Mori, Joel Sanders

082

LECTURES/DEBATES/EVENTS

Kenneth Frampton, A

Reinhold Martin, TK, TK, C

Reinhold Martin, K

12|06|04

FINAL REVIEWS: Yolande Daniels Studio, guest critics: Mark Tsurumaki, Ana Miljacki, Gregg Yang, Danielle Smoller, R.D. Gentzler | Yehuda

Safran Studio, guest critics: Sanford Kwinter, Enrique Walker, Karl Chu, Srgeon Lriess, Guido Zuliani, Thomas Leeser, Johana Augustin, Matilde Cohen, Paolo Bardini, David Turnbull | Lise Anne Couture Studio, guest critics: Ali Rahim, Sulan Kolatan, Laura Kurgan, Thomas Leeser, Aaron Betsky, Franklin Lee

083

William MacDonald, A

Mark Tsurumaki, David Lewis, B

FINAL REVIEWS: Kate Orff/Richard Plunz/Patricia J. Culligan Studio, guest critics: Karen Voltava, Morgan Grove, Erika Svendsen, Nicolai

12|06|04

Steino, Ellen Brae, Jerry Willis, Mary Cox, Guy Hager, Steward Pickett, Mary Cadenasso, Deborah Lawlor, Carol Capobianco, Rick Magder, Projjal Dutta, Anthony Crusor, Albert Pope, Mark Wigley, Laurie Hawkinson, Peter Macapia, Colin Cathcart, John Hummer, Dan McNichol, RaďŹ Seigal, Ana Dyson, Branden Hookway, Dil Hoda, Janette Kim, Alessandra Latour, Jean Gardner

THE TEMPLE HOYNE BUELL CENTER FOR THE STUDY OF AMERICAN ARCHITECTURE

084

Joan Ockman, Director , Salomon Frausto, Program Coordinator

In 2004-05 the Buell Center completed a two-year program entitled “Modern Architecture/American Modernity,” reexamining the history and legacy of architectural modernism in the United States. The fall program featured a two-part public lecture series and seminar entitled “L.A. Light and Dark.” The ﬁrst half, presented by visiting professor Thomas S. Hines of the University of California, Los Angeles, traversed the history of modern architecture in Los Angeles from 1900 to 1970, including lectures on Irving Gill, Frank Lloyd Wright, Richard Neutra, Rudolph Schindler, and the Case Study program. The second half, presented by Edward Dimendberg of the University of California, Irvine, explored the relationship between ﬁlm noir and modern urbanism and culture. The public lecture series was organized in cooperation with the A.I.A., with the second half held at the Center for Architecture downtown. Also related to the theme of West Coast modernism was the honorary SOM lecture, presented once a semester, given last fall by architectural historian Jean-Louis Cohen on the European reception of Richard Neutra; and a round-table with architects Greg Lynn and Lorcan O’Herlihy, moderated by architect and critic Joseph Giovannini, addressing the impact of the modernist tradition on contemporary L.A. architecture. On the occasion of the DOCOMOMO conference held at Columbia last September, the Buell Center produced the Manhattan Modern Map in collaboration with the New York/Tri-State chapter of DOCOMOMO US and the World Monuments Fund. The map highlights endangered modernist sites around New York and is available through bookstores in the city. The Center also cosponsored a conference entitled “Globalizing Cities and Urban Imaginaries,” organized by Andreas Huyssen, with presentations by Farha Ghanna, Orhan Pamuk, and Abdoumaliq Simone on Cairo, Istanbul, and urban Africa.

12|07|04

FINAL REVIEWS: William MacDonald Studio, guest critics: Hani Rashid, Detlef Martins, Ali Rahim, Hernan Diaz Alanso, Sulan Kolatan,

Brian McGrath, Douglas Diaz, Joel Sanders, Olivier Touraine, Michael Chen | Mark Rakatanksy Studio, guest critics: Alice Chun, Michael Bell, Michelle Fornabai, David Turnbull, Enrique Walker | Philip Parker Studio, guest critics: Michelle Fornabai, Peter Macapia, Eeva Pelkonen, Douglas Gauthier, Kathryn Dean

085

FINAL REVIEWS: Karla Rothstein Studio, guest critics: Viren Brahmbhatt, Alice Chun, Laura Kurgan, Paul Lewis, Joel Towers, Enrique

12|08|04

Walker | Michael Bell Studio, guest critics: Jeffrey Day, Lance Freeman, Leslie Gill, Laurie Hawkinson, Keith Krumweide, Albert Pope, Kelly Seshimo, Enrique Walker | David Turnbull Studio, guest critics: Sara Herder, Emily Abruzzo, Jane Harrison, Laura Kurgan, Reinhold Martin, Douglas Gauthier, Danielle Smoller, Nicola Mongelli, Babak Bryan, Scott Marble, Mark Wigley

EXHIBITIONS/FALL 2004

12|08|04

086

FINAL REVIEWS: Ana Miljacki Studio, guest critics: John McMorrough, Karen Fairbanks, Yolande Daniels, Luke

Bulman | Thomas Leeser Studio, guest critics: Lise Anne Couture, Thomas de Montchaux, John Rajchman, William Rockwell, Yehuda Safran, Enrique Walker, Michael Webb | Ada Tolla/Giuseppe Lignano Studio, guest critics: Mimi Hong, Natalie Phizer, Jurgen Mayer, Mark Rakatansky, Eric Bonge, James Slade

087

FINAL REVIEWS: Scott Marble Studio, guest critics: Michelle Fornabai, Joeb Moore, Kathryn Dean, Robert Marino, Stephanie Bayard,

12|09|04

Franklin Lee, Bill Massie, Anne Save de Beaurecueil | Laurie Hawkinson/Kate Orff/Nicholas Themelis/Karsten Millrath Studio, guest critics: Michael Bell, Thom Mayne, Brian McGrath, Laura Kurgan, Linda Pollak, Enrique Walker

FINAL DESIGN STUDIO JURIES/FALL 2004

088

TK, TK, TK, Mark Wigley, TK, A

TK, Hani Rashid, Laura Kurgan, TK, C

TK, TK, TK, William MacDonald, B

Alice Chun, Karla Maria Rothstein, TK, TK, Mark

Cory Clarke, TK, TK, TK, E

Rakatansky, D

TK, Mark Rakatansky, Michael Bell, Alice Chun, F

12|09|04

FINAL REVIEW : Enrique Walker Studio, guest critics: Ada Tolla, Giuseppe Lignano, Cesare Birignani, Urtzi Grau, Ed Keller, Gordon Kipping,

Thomas Leeser, Jurgen Mayer, Joel Towers, Bernard Tschumi

089

Enrique Walker, TK, TK, G

TK, TK, TK, Mark Rakatansky, TK, Michael Bell, H

Reinhold Martin, TK, TK, TK, TK, TK, I

FINAL REVIEWS: Karl Chu Studio, guest critics: Donald Bates, David Ruy, Karel Klein Brooks, Maria Granada, Olivier Touraine, Natalia

12|10|04

Tunon, Ingeborg Rocker, Ed Keller | Kathryn Dean Studio, guest critics: Tom Buresh, Scott Marble, Karel Klein, Rhett Russo, David Ruy, Philip Parker | Gordon Kipping Studio, guest critics: Dan Silver, Christian Hubert, Stephen Rustow, Giuseppe Lignano, Enrique Walker, Mark Rakatansky, Tobias Lundquistzz

090

FINAL DESIGN STUDIO JURIES

Roberto Marino, TK, TK, TK, TK, TK, Scott Marble, A

Giuseppe Lignano, TK, B

12|10|04

TK, TK, TK, Douglas Gauthier, Laura Kurgan, TK, TK, C

FINAL REVIEWS : Greg Lynn/Jeff Kipnis Studio, guest critics: Robert Somol, Mikon Van Gastel, Andrew Zago, Kevin Kennon, Greg Foley,

Scott Rothkopf | Jurgen Mayer/Marc Kushner Studio | Richard Plunz Studio, guest critics: Christine Boyer, Viren Brahmbhatt, Frances Bronet, Charlie Cannon, Alex Felson, Kenneth Kaplan | Fernando Romero/Franklin Lee Studio, guest critics: Olivier Touraine, Hani Rashid, Eric Goldemberg

091

Kathryn Dean, Philip Parker, Scott Marble, TK, TK, Enrique Walker, TK, TK, TK, Gordon Kipping, G

Rhett Russo, E

TK, Olivier Touraine, TK, TK, F

FINAL REVIEW: Andrew MacNair Studio

12|13|04

GRADUATES/FALL 2004

MASTER OF ARCHITECTURE

092

Gregory Matthew Lobdell Nicole Tonita Lockett

Henry Marc Grosman

David Gray MacKay

Joshua Thomas Rau

Sean Michael Majerovic Julian Martinez

MASTER OF SCIENCE IN

Mariano Mazza

ADVANCED ARCHITECTURAL DESIGN

Douglas Vincent Moreland Nitin Ramesh Motwani

Tal Laub

Jose Gerard Navarro

Alon Pick

Federico Jose Orbuch Francisco Daniel Ortiz

MASTER OF SCIENCE IN

Douglas Edward Peterson

HISTORIC PRESERVATION

Peter Charles Peterson Philipp Sebastian Poettinger

Elizabeth Anne Gullett Maletta

Gopal R. Rajegowda

Mark McMillan

Victor Jose Sanchez

Jacqueline Bette Elise Peu-Duvallon

Javorka Saracevic Robert Scott SchifďŹ er

MASTER OF SCIENCE IN

Warren K. Sheng

URBAN PLANNING

Edan Gamliel Shiboleth Junghee Shin

Angela Marie Pace-Moody

Michael Brian Sperling

Barbara-Anne Prevatt

Maragaret Alice Spriggs

Prabhjot Singh Sugga

James YungJin Suh Harsh Dinesh Toprani

MASTER OF SCIENCE IN

Page Ware Travelstead

REAL ESTATE DEVELOPMENT

Ernst Valery Andrew Mosenson Vincent

David Scott Alexander

Evan Alfons Wagner

Stevenson Bouldin Bennett

Erik Thomas Waldin

Laurence G. Berman

Leonardo Victor Wang

Mark Kenneth Bhasin

Sammy Weisleder

Jonathan Cash Bowman

Colin Hale Wright

James Shumway Boyden

Jae Seok Yoo

Margaret Patricia Campbell

Susi Seungyun Yu

Robert Ching Huar Chen Chang Gyu Choi Frederic Yang Chung Stephen Lynn Clark II Tamika LeShan Crittenden Robert Edward Cronin Jr. Allison Nichola Cyrus Landon Chad Dais Marcelo Duran Roux Scott Eric Dyer Samuel Patrick Flood Michael William Gilliard Terry Antoinette Glanville Daniel Jay Greenstein Yoav Haron Ricardo Luis Hernandez Keith Barton Higgins Donny Renard James Ahkilah Zuri Johnson Jaechan Kim Shawn David Kline Carol Ann Koif Eric Scott Levin Emily Maragaret Amanda Lewis Scott Wayne Lien

12|17|04

LAST DAY OF ARCHITECTURE CLASSES

093

094

095

096

097

CORE ARCHITECTURE STUDIO/STUDIO 2

098

Karla Rothstein, critic, with Adam Dayem, Spring 2005

Through a vertiginous anxiety, the horizon shifts as one navigates new territory. Initiated through a series of feedback-feedforward exercises—simultaneous, iterative, abstract explorations—we attempt to capitalize on what Max Ernst called “mental contagion,” to amplify collective contact and ‘corrupt’ through productive cross-pollination. Conceptual excavations and experimental forays yield magical possibility, interposed with conundrum and expansive struggle. Quiet epiphanies facilitate the gelling of hybrid A

conceptual positions and ﬁeld strategies, while limits and constraints act to provoke and promote innovation, C

and expand possibility. The intent is the careful crafting of intimate and nuanced relations between concept, theory and idea, and the physical practice, exploration, production and performance of a project. Precocious efforts and snippets of delusion offer galvanic thrust after brief ﬁts of despondency. Teasing out intent and chasing the poetry of distilling ideas to the alchemic power of their essence, we stride across this ﬁeld of exploration, attempting to gather the attention and capacity of both operative and communicative spatial technique. Jason Arndt

Minyoung Song C

Robert Brackett

Lillian Wang

Sean Erickson B/D

John Winkler

Evan Erlebacher

Alexandra Young

Jamison Guest Jane Lea

Christopher McAnneny Christa Mohn

E/F

Anna Kenoff

01|02|05 - 01|15|05

KINNE TRIP: Historic Preservation: Cambodia; Yemen

CORE ARCHITECTURE STUDIO/STUDIO 2

099

Mark Rakatansky, critic, Spring 2005

Ecology is about the dynamical development of environmental communities—in this case the natural and urban communities of Greenpoint—it’s about how forms of information and organization, global and local entanglements, interact in space and time. This green point: from bio-mimicry to green architecture to dynamical systems modeling, architects are always looking to interface with other models of life in order to renew the formal and conceptual life of architecture. But just as green architecture is not merely A

a matter of the addition of a solar panel or two, or the use of some recycled building material, this cohabita-

Kubi Ackerman Lori Apfel Yelena Baybus Benjamin Cohen Nicholas Medrano C Julia Molloy D G. Michael Rusch Taka Sarui Andrew Skey E Tannar Whitney A/B

tion, this working in-between disciplines and modalities, requires a thorough working of interactions and

relations. The question is how to develop an ecology of relations between scales and between elements: from the interface of the landscape and the building, the building and the community, one programmatic space and another, building structure and building envelope.

SPRING SEMESTER BEGINS · ROUNDTABLE 2: High Density Residential Development: Sustaining Market Position and Value, Costas

01|18|05

Kondyilis, Jim Dunlop, Bradford Klatt, Fred Harris, Reinhold Martin, Alex Twining, Charels Reiss, Glen Vetromile, Stephen Glascock · PRESENTATION: Urban Planning, Introduction to Flushing, Queens, Frank Lang, Bomi Kim

CORE ARCHITECTURE STUDIO/STUDIO 2

100

Jeannie Kim, critic, Spring 2005

Shipbuilding in Greenpoint reached its peak around 1862, when the Navy built the Monitor on the waterfront and eventually gave way to oil. Charles Pratt opened a kerosene reﬁnery in Greenpoint in 1867, using nearby Newtown Creek as a convenient drainage point. A century later, an underground oil spill that went undetected for twenty-eight years virtually ensured the expiration of local ﬁsh, blue crabs and most traces of organic life from Newtown Creek. Although heavy industry in the neighborhood has largely been replaced by smaller A

companies (producing canoes, furniture, and envelopes), the EPA still registers eight toxic sites and 195

Aiyla Balakumar

Matthew Stofen

Robert Booth D/E/F

Tatiana Von Preussen A/C

Karin Chen

Robert Wing

Benedict Clouette Hannah Ilten Nicholas Kothari B Emily Morentz Jason Pogorzala Daniel Sakai Cara Solomon D

monitored sites in the Greenpoint area. The Agency for Toxic Substances and Disease Registry also lists two nearby superfund sites. Not surprisingly, rates of pollution-related illnesses like stomach cancer, leukemia, and asthma are higher in the neighborhood than in other parts of the city. If ecology is the study of the interrelationship of organisms and their environments, this studio used this popular 70s buzzword with appropriate abandon. Allowing ourselves to abuse the term in the spirit of Banham’s optimism about Los Angeles, what would Greenpoint’s ‘ecologies’ be? How do we as architects contend with these non-speciﬁc forces? How can these diverse ecologies be made visible and related?

01|19|05

FILM PREMIER: The Venetian Dilemma: dir. Carole Rifkind, Lias Ackerman, Susan Fainstein, John Stubbs; Paul Byard, host STUDIO PRESENTATIONS & LOTTERY

CORE ARCHITECTURE STUDIO/STUDIO 2

101

Robert Marino, critic, Spring 2005

We must inquire into the nature of causes (aitia), and

Yi-Kuan Eddie Chou

Matthew Worsnick

see what the various kinds of cause are and how many

Sabri Farouki E

Chad Wyman

there are. Since our treatment of the subject aims at

T. Maria Gavieres

Li Xu

knowledge, and since we believe that we know a thing

Katherine Hearey D

only when we can say why it is as it is—which in fact

Hyeseung Helen Jung

means grasping its primary causes—plainly we must

Singjoy Liang

try to achieve this with regard to the way things come

Swati Salgaocar

into existence and pass away out of it, and all other

Erik Waterman B

natural change, so that we may know what their prin-

Ian Weiss A

ciples are and may refer to these principles in order

Mercy Wong C

to explain everything into which we inquire. In one sense, what is described as a cause is that

material out of which a thing comes into being and which remains present in it. Such, for instance, is bronze in the case of a statue, or silver in the case of a cup, as well as the genera to which these materials belong. —Aristotle

EXHIBITION: Digital Show, fall 2004

01|21|05

CORE ARCHITECTURE STUDIO/STUDIO 2

102

Alisa Andrasek, critic, Spring 2005

POLY_SCALE RESONANT MORPHOLOGICS AND MOLECULAR PROGRAMMING Architecture needs to identify its relevant domain of operation and acquire a better understanding of its context. In the world of premonitory sensibility and ADD, a culture of persuaders telling us what to buy, whom to trust, what to think and brands characterized by instant obsolescence and the global provenance, biopolitical production emerges as an anomaly that escapes control. This studio engaged with a process of creative

composition; a kind of ecology beyond nature in which C

relational configurations that organize the world are the embodiment of the project, whereby the product cannot be separated from the environment within which it emerges. Investigation of material micropolitics through algorithmically based processes and its potential to actualize across various scales is an attempt to work within a milieu of complexity. The parallel reality of the invisible code is a common ground for multiple actualizations: discreet elements, set up through local relationships of algorithmically scripted cells generate new fields of resonance and become evident on a higher accumulative level as a series of emergent patterns irreducible to its constituent parts. Cellular morphologics offer opportunities for probabilistic occurrence of programmatic events, more compatible with the unstable fitness of current inhabitation cultures.

George Agnew

Donna Pallotta C

Evan Allen

Benjamin Porto D/F

Ulises Castillo

Christine Yogiaman

Peter Epstein Jason Ivaliotis Chad Kellogg Chris Kroner A/B Arthur McGoey Jonathan Moreﬁeld E Sahra Motalebi

01|25|05

ROUNDTABLES 3 & 4: International Real Estate in Conjunction with the Royal Institute of Chartered Surveyors, Robert Colter, Matthew Bruck

Globalization: Trends in International Real Estate Investment and Development, Andy Bene, Peter Brooks, John Coppedge, Joe Hu, Jay Mantz, Alistair Murdoch, John Tsui, John Oh, Richard Ellis

CORE ARCHITECTURE STUDIO/STUDIO 2

103

Yolande Daniels, critic, Spring 2005

The studio approach to the center for urban ecology was one of exploring formal differences, interconnectivity and dynamic fluidity by considering phases and affinities in expanding and contracting fields. As a point of departure, the studio analyzed the conditions of water in and between four states. Despite morphological phase changes, water remains essentially “water.” Phases, though apparently stable, contain multiple thresholds; a rise or fall in energy is accompanied by a more or less active state. With this in mind, each student developed, distributed and transformed appropriated “water samples” that were situated within but not exclusive to the (post) post-industrial site at Greenpoint Avenue and the East River.

Brigitte Cook Alexandra Distler Brad McCoy D Yooju No A/B Tiffany Schrader-Brown Katrina Stoll Sang Hoon Youm C/E

LECTURE: Emotion Pictures: Journeys in Art, Architecture, and Film, Professor Bruno · SYMPOSIUM: Urban Ecology Symposium, Kate Orff, Gareth Russell

01|26|05

CORE ARCHITECTURE STUDIO/STUDIO 2

104

Philip Parker, critic, Spring 2005

GROUND UNGROUNDED MODULATION Ecology is a means of thinking material change where there is no base or zero condition of a neutral ground but a thoroughly implicated matter. This studio concentrates on those moments of passage back and forth between architect and work or between one form of thought and another. It attempts to locate architectural thinking precisely in the moments of architectural production. In the studio architecture’s long suspect and sustaining oppositions of ﬁgure/

ground, inside/outside, natural/artiﬁcial and present/

William Arbizu D/E/F Aimée Duquette C Randall Holl Christopher Lewis Derek Lindner Philip Mana A/B Takeshi Mitsuda Ashley Simone Paul Yoo D

memory are reconﬁgured by their contact with ecology’s ungrounding forces. Three surface and grounding instances are joined in the architectural speculation: ground as site, building surfaces, and the surfaces in design media— projection, mapping, notation and video comprise the studio’s working material. As they meet the pressures of ground, surface and media transform one another. The terms and functions of one become the others’ operations. The work on the surface shifts architecture away from a representational, enclosing and divisional practice and toward a structuring, controlling and modulating one. Rather than maintaining the constancy of a smooth skin and a geometrically continuous membrane as a privileged form of continuity, the projects recognize the performance of gaps, breaks, intervals as crucial to the displacement of architecture’s distinctions of ﬁgure and ground, inside and outside that operate relative to the surface.

01|27|05

FIELD TRIP: Urban Planning, Flushing, Queens, site visit: Bomi Kim

0105

ADVANCED ARCHITECTURE STUDIO/STUDIO 4

106

Marc Tsurumaki, critic, Spring 2005

URBAN SWIM CENTER, CONEY ISLAND

to the concept of institution—as a suspension of

The focus of the studio was the role of public systems the restrictions and limits of structured social sysof recreation, understood as a form of institutional-

tems—play and games, as philosopher Roger Caillois

ized play, and how a reconsideration of the space of

has noted, can conversely be seen as indispensable

leisure in the contemporary city can catalyze unprec- components of everyday life and quotidian cultural edented social and spatial formations. The vehicle

practices. The studio approached architectural pro-

for these investigations was an Urban Swim Center

duction as a kind of restricted play—as a pleasurable

located near the Historic Amusement District in

manipulation of limits and constraints. Maneuvering opportunistically within given

Coney Island, Brooklyn. Play and games, understood as aspects of a

operational boundaries, the studio intended to tease

continuum, were taken as both content and methodol- out the latent potentials of received programmatic and ogy. While the notion of play may seem antithetical

spatial conditions. Modes of play were exploited in a B

manner that mirrors the effects of certain surrealist games, as a means to liberate rational processes from the pursuit of a narrow functionalism, to produce logical absurdities and unexpected afﬁliations.

Elizabeth Cazazian

Christina Tung B

Kwangho Cha

Jeff Wandersman

Aimee Chang Andrew Colopy Kartik Desai Toru Hasegawa E/F/H George Makrinos G Ruchika Modi A/C Annya Ramirez-Jimenez John Sunwoo D Xerxes Talati

01|31|05

FIELD TRIP: Material Connexion, New York: Richard Lobard · LECTURE: Carnegie Libraries and the Limits of Historic Preservation, Abigail Van Slyck

ADVANCED ARCHITECTURE STUDIO/STUDIO 4

107

Hernan Diaz Alonso, critic, with Bryan Flaig, Spring 2005

Audrey Beaton D Andrew Burne Mark Collins E/F Casey Crawmer David Fano A/B Christopher Kanipe Eric Lilhanand C Katherine Mearns Robert Mezquiti Jared Olmsted A

Jodi Ostrzega

Priyamwada Singh FLESHOLOGY: “BECOMING-ANIMAL”

THE HORRIFIC AND THE GROTESQUE This studio, an exercise in Fleshology—“becominganimal”—is not about the mimetic career of biology into and onto architecture, but of the transference of multiple physiological scales into systemic intelligence, and back again. The ocular nerve of the owl, the locomotion of the giant jellyﬁsh, the pack logistics of the rat(s), the program of the frog, are not just forms, organic symmetries and baroque geometries. They are machines, they are solutions, partial grammars to take shape for us, and we for them. D

Flesh instead of surface, organs instead of volume. By means of tall structures and adjoining parts, the studio revealed design procedures as dynamic relationships. Concentrating on the interior, not in the manner of structure but through active nesting techniques, the studio explored the inner body as a discontinuous organic growth rather than a sequential vertical proliferation. Flesh differs from surface in its layered nature. It is deeply attached to the inner organs, it stretches and compresses for the sake of smoothness, porosity and voluptuousness. The model is not that of transparency and structure but that of cuts, inserts, nip and tuck, the hand of a plastic surgeon that manipulates matter. The horriﬁc transmutations of bodies and faces become the material organization and design expertise. These mutations have the capacity to create byproducts, emerging aesthetics and paradigms.

ROUNDTABLE 5: Alternative Investments, Andy Bene, Peter Brooks, John Coppedge, Joe Hu, Jay Mantz, Alistair Murdoch, John Tsui, John Oh, Richard Ellis

02|01|05

ADVANCED ARCHITECTURE STUDIO/STUDIO 4

108

Scott Marble, critic, Spring 2005

FLEXIBLE PERFORMANCE

institute also conditioned the approach to the design

ECOLOGY RESEARCH

of the building(s) through a study of architecture as

AND EDUCATIONAL INSTITUTE

framed by two modes of performance: technical and

This studio designed a research and educational

behavioral. Simply stated, the ďŹ rst is the physical,

institute that offers visiting fellowships to leading

material and technical fact of construction whether

scholars and artists involved in the study and

building, landscape or infrastructure organized

visualization of natural and social ecologies. Fellows

through design and the second is the sociological and

would conduct collaborative research, combining

behavioral consequences of these designs. One is

logical and visual information with the goal of

material, the other immaterial.

promoting a more comprehensive form of public knowledge around the intricate relationship between these two ecologies. The broader themes of the GROUP PROJECT

Sharon Davis Fatou Dieye Krzystztof Kociolek Lee Ping Kwan Alanna Talty Hua Jack Toh Mi-Ran Yang

02|02|05

LECTURES: Design for Dummies: An Alphabetical List of Possible Problems in Contemporary Architecture, Hal Foster | Green Roof Technology, Stuart GafďŹ n

ADVANCED ARCHITECTURE STUDIO/STUDIO 4

109

Michelle Fornabai, critic, Spring 2005

SLEEP RESEARCH INSTITUTE

Emily Bello

Sleep blurs the boundary between the animate and

Katharina Ehrhardt

the inanimate; as biological phenomenon it replaces

Bennet Hu A/B

voluntary action with an involuntary physiological

Samina Iqbal

state, displacing the functionalism positing archi-

Esther Kim

tecture as machine or mechanism, to engender the

Diana Jean Martinez D/E/F

design of architecture as medium or milieu (in French

Carolyn Matsumoto

‘middle’ or ‘between’). Phenomena, both generally

Dong Ping Wong C

deﬁned as observable events that constitute the raw data of science, and philosophically deﬁned by Kant as constituting the world as we experience it, were explored to elicit a perceptual basis within technological developments. Phasing was considered simultaneously as

states of matter, as intervals of time, and as points in the construction process. Different lifetimes of materials, from the durable to the disposable, were engaged to establish reciprocity between programmatic and material strategies. Sleepers within architecture, common and latent, inert but active agents, are secreted by the most interior and intimate of spaces; they are ubiquitous. Heavy, slack, swollen, suspended, the sleeping body contrasts sharply with the ergonomic ﬁgure implicit in architectural design whose alert, industrious, and vigilant postures coincide with the verticality, intentionality and orthogonality of architectural constructs. Milieus and rhythms, delays and differentials posit architecture as mean and as medium, between natural and artiﬁcial, innate and directed. Sleep research requires banality, routine or normalcy to simulate the real to explore abnormalcy, innately producing radical surpluses and excesses of the architectural.

MEETING: Urban Planning, with Jonathan La Chance · LECTURE: Material Evidence, Toshiko Mori

02|03|05

ADVANCED ARCHITECTURE STUDIO/STUDIO 4

110

Ada Tolla and Giuseppe Lignano, critics, with Guy Zucker, Spring 2005

Style versus individual vision, trend versus original thoughts, movement versus self-expression… The 3-STEP self-inspiring program: • STEP 1: self-discovery What’s in your dreams? What’s in your vision? An exploration of yourself and what you are drawn to, to learn “what you see." • STEP 2: self-awareness What is the meaning of your dreams? What is the meaning of your vision? A

Editing, selection and intensiﬁcation, to understand why you are drawn to what you are drawn to and learn

Clara Abecassis

how you see “what you see."

Lan Do

• STEP 3: self-determination

Joseph Duignan B

What is the use of your dreams? What is the use of

Odit Feinblum

your vision?

Emily Furr D/F

An intuitive and experimental process to determine

Adam Hayes

how to use what you are drawn to. The transformation

Megan Kelly-Sweeny

of “what you see” into spatial, functional and formal

Kwi-Hae Kim

concepts that have the same or greater visual and

Yik To Ko C/E

conceptual strength than the original visual material. The 3-step program was tested on a 2-phase

Michelle McEwen Peter Miller A

Rodrigo Prieto G

02|07|05

project focused on the US-Mexico border and the phenomenon of the coupled cities that are growing on opposite ends along the 2000 mile boundary between the Paciﬁc Ocean and the Gulf of Mexico.

DEBATE: Beyond ‘Non-Western’, Reinhold Martin, Esra Akcan, Sandhya Shukla, Gayatri Chakravorty Spivak, Anthony Vidler PRESENTATIONS: Designing with Carbon Fiber, Giovanni Pagnotta | Greenpoint-Williamburg Proposal Presentation, Regina Meyers

ADVANCED ARCHITECTURE STUDIO/STUDIO 4

111

Kathryn Dean, critic, Spring 2005

TACTICS OF PLAY

Jae Eun An

The ﬁrst given meaning of the word play describes

Daniel Berens

games of aggression and dominance as a sporting

Changhak Choi A/B

activity implicating play as one of the fundamental

Hak-Young Choi

activities of the human condition. There are also

Molly Cronin

myriad hybrids of the word (playboy, player, play-

Anna Frens

ground...), about half of which refer to games of

Wook Kang

adult behavior and to the second meaning. The third

Gyoung-Nam Kwon

meaning refers to play as the spontaneous actions of

Ariane Lourie D/E

children. The juxtaposition of these three meanings

KyungJune Min

calls into light the equal importance of the conscious Jennﬁer Shoukimas C and productive, and the unconscious and destructive B

Kyung Chan Zoh C

side of human nature, which inhabits both childhood and adulthood. The studio used tactics of play as a dynamic ﬁeld of spontaneous play between teacher and student, student and site, and site and program, parallelling the above given meanings. The program, a Robinhood Initiative Library, generated two latent conditions of play. The ﬁrst are conditions of occupation generating both individual reading spaces and group instructional spaces. The second are conditions of containment, allowing for the storage and presentation of reading materials. Finally, play also describes the collaboration between Louis Kahn and Isamu Noguchi for their unbuilt Children’s playground in Riverside Park, which is the site of the project.

ROUNDTABLE 6: Careers in Real Estate Development: Strategic Job Plans vs. Flexible Opportunism, Mark Bhasin, Allison Gallighan, James Coley, Donald Matheson, David Lukes, Yoav Oelsner, Rodrigo Bilbao, Esteban Edelstein Pernice, Clark Machemer, Suhrita Sen

02|08|05

ADVANCED ARCHITECTURE STUDIO/STUDIO 6

112

David Turnbull, critic, Spring 2005

EVERYTHING EOIP Architectural design is now implicated in what could be called the tectonics of time. In addition to the catalytic elimination of delay in person to person interaction, communications technologies have multiplied temporal ﬁgures, increased potential connectivity, and transformed the deﬁnition of proximity. Now, the temporal architecture of what Cedric Price used to call ‘communicational patterning’ is of central importance. Time, apparently continuous, A

is actually marked by radical disjunctions between numerous different temporalities. World time, local

Chihiro Aoyama

time, communications time, logistics time - time

Shao Chen

to get there, time to make it, time to leave - track-

Felipe Ferrer Cardenas A

ing time and historical time, coexist in the same

Christopher Lee

location. From the practices of ‘relational aesthet-

Melodie Leung E

ics’, theorized by art critic, Nicolas Bourriaud, to

Chia-Jung Liu D

the RAND Corporation’s research on ‘Swarming in

Kimberly Nun

the Battleﬁeld’ old hierarchies are dismantled, old

Zimie Rim C

regimes are destroyed, and new social formations

José Vasquez Iturralde B

are constructed. In warfare, in the marketplace or in

Amy Yang E

the corporate boardroom, extreme asymmetries now

favor the most agile rather than the more powerful.

Catherine Yatrakis

In relational aesthetics, a design is a spatiotemporal construction, and invokes the multiple times and

modes of digital communication. This studio addressed the relational architecture of ‘everything’ with an IP address–a digitally mediated architecture based on the premise that objects in the world ‘recognize’ other objects and in a sense ‘know’ them. The ubiquity of wired and wireless networks in cities combined with developments in sensing technology and RFID provided the alibi for the paradoxical exploration of ‘a post-technological, postacademic and (possibly) post-architectural discourse’ (Vidler 2000). E

02|09|05

LECTURE: More Questions Concerning Technology, Wes Jones

ADVANCED ARCHITECTURE STUDIO/STUDIO 6

113

Steven Holl, critic, with Makram el Kadi, Spring 2005

FRANZ KAFKA CENTRUM, PRAGUE Currently Franz Kafka’s library is in the Franz Kafka Centrum, Maiselova 15, Prague. Under the directorship of Dr. Marketa Mališová, the center conducts many literary events and activities such as the recent Kafka-Borges seminars held jointly in Buenos Aires and Prague. At present the center is planning a move to a 150m² house donated by the city. A more ideal, larger facility—the focus of this experimental program—would be constructed on one of two sites to be donated by the city. A

The studio tested both of the sites. The 3000m² program included Kafka’s library and archive, a digital C

Audrey Choi

Amit Mandelkern

Angela Co A/C

William Mowat

Jorge Fontan B/D

Yi-Chi Su E/F

Zachary Stephen Helmers

Cory Taylor

Namitha Hinduja E/F

Petar Vrcibkadic

Jeffrey Kim Christopher Lee Arjun Malik

public library, a lecture/performance hall (with cinema capacity), 5 intern/scholars’ apartments, a café, shop, entrance lobby, seminar rooms and ofﬁces. The architecture of the Center, envisioned as a part of its collection, as well as giving the center a new and modern presence in Prague, was the focus of the studio and was be developed in models for a public exhibition of the works in Prague.

LECTURE: Vikramaditya Prakash · SEMINAR: Inside Bloomsbury Modernism, Victoria Rosner

02|11|05

ADVANCED ARCHITECTURE STUDIO/STUDIO 6

114

Leslie Gill and Tina Manis, critics , Spring 2005

CROSSINGS: STATES OF TRANSITION ON THE MEXICAN/AMERICAN BORDER Border crossings (whether legal or illegal) require ever-changing systems of observation, prevention, oversight, and control. The Mexican/American border is unique. It is the longest adjoining land border between a first world and third world country. The economic breach between average family incomes is the largest of any contiguous border in the world. The gap in public services causes legal (and illegal) overloading of US institutions. Yet the local US economy thrives on Mexican consumer culture and Mexican labor. As Mexican and other South American citizens risk crossing in order to have a chance at economic possibility, retirees and middle class Americans counter-migrate to Mexico in order to experience the benefits associated with the living ‘American Dream’. The ebb and flow of movement across this border over the space of a few hundred years, combined with the recent mass migration of South Americans to the US southwest has created a unique middle ground: a unified border precinct strung together with thirteen sister cities that are neither American nor Mexican but siamese twins with their own personalities and challenges.

This studio investigated the need for, placement, identity and design of crossings at the Mexican/American border. These areas were explored as potential locations for multiple or individual program interventions. It is a picturesque, but fragile ecosystem with taxed natural resources and extreme temperature ﬂuctuations, all of which necessitate imaginative tectonic interventions.

Sang Joon Bae D

So Jin Park

Chantavudh Burusphat C

Gabrielle Snyder

Michael Cho

Desiree Wong A

Alfonso Gorini

Jessica Young F

Michael Hanslick B Huan-Ting Hsiau Avis Lai E Guan-Hung Liou Kenei Matsuura D

02|14|05

DEBATE: Nanoarchitecture: The Continuum of Modern?, John Johansen, Lebbeus Woods · LECTURE: The Manipulation of Tradition in Global

Cities: Dubai, New York, and Berlin, Peter Marcuse

ADVANCED ARCHITECTURE STUDIO/STUDIO 6

115

Hani Rashid, critic, with Eric Goldemberg, Spring 2005

The west side edge of Manhattan near Midtown, an

Sean Arrasmith A/B/D

area once critical to the import and export of goods

Yu-Wen Chen

to and from Manhattan is the proposed site for a new

Jisun Lee

football stadium. That building proposal along with 60

Stella Lee C/E/F

million square feet of new ofﬁce space, the extension

Gregor Martinez de

of the subway and creation of a new transit center, the

Riquelme

expansion to the Jacob Javits Convention Center and

Noah Olmsted

plans to enhance the water’s edge with the further

Aldrin Soedarto

development of the Hudson River Park, constitutes

Peter Zuspan C/E/F

one of the largest planning and design initiatives the city has seen in decades. The controversy surrounding the stadium site ranges from concerns with a surge in

trafﬁc, to economic issues with respect to the spending of public city funds. The ﬂip side of the argument

is centered on the rehabilitation of derelict areas, the reclaiming of the Hudson rail yards as underused and valuable real estate and the need for development to sustain future economic growth of the city. The impetus for the studio was an investment and exploration of the forms propagated and latent within such cultural enterprises as sport, speed, technology and the artifacts that delineate our relationship to these ‘gestures’ of contemporary cultural identity. Also inherent in these forms and assemblies are the embedded inﬂuences of the mechanisms of media and advertising which make explicit the ways in which we project our culture through portrayals of desire and delirium.

MEETING: Urban Planning, with Ben Wauford

02|15|05

ADVANCED ARCHITECTURE STUDIO/STUDIO 6

116

Frederic Levrat, critic , Spring 2005

Garrick Landsberg

ing of US institutions. Yet the local US economy thrives on Mexican consumer culture and Mexican labor.

Radmila Lazareuil Chun-Ming Lee D/E/F Miranda Lee Mario Marchant A/B William Ngo C Patricia Salas Kei Sato Michael Wilson Daniel Yao

As Mexican and other South American citizens risk crossing in order to have a chance at economic possibility, retirees and middle class Americans counter-migrate to Mexico in order to experience the benefits associated with the living ‘American Dream’. The ebb and flow of movement across this border over the space of a few hundred years, combined with the recent mass migration of South Americans to the US southwest has created a unique middle ground: a unified border precinct strung together with thirteen sister citD

ies that are neither American nor Mexican but siamese twins with their own personalities and challenges. This studio investigated the need for, placement, identity and design of crossings at the Mexican/American border. These areas were explored as potential locations for multiple or individual program interventions. It is a picturesque, but fragile ecosystem with taxed natural resources and extreme temperature ﬂuctuations, all of which necessitate imaginative tectonic interventions.

02|15|05

ROUNDTABLE 7: The Brokers, Lawyers, and Developers’ Forum: Managing the Relationship, Robert Knackal, Kenneth Lore, Jamie Covello,

Joseph Uram, John D. Ryan, Sherri White, Tim Jones, David Firestein, Stuart Eisenkraft, Richard Ellis

ADVANCED ARCHITECTURE STUDIO/STUDIO 6

117

Galia Solomonoff, critic, with Cory Clarke, Spring 2005

ROSARIO, EXHUBERANT POVERA The association that third world, or developing world, equates to poverty or misery is inexact. Although ﬁnancially constrained, the third world exhibits a decisive exuberance and strength of character. In August of 1999, the Municipal Government of the city of Rosario, Argentina, developed a “Plan Director.” Now more than 5 years later a good part of that plan has been implemented and the results are available for our evaluation. This studio was conceived as a research component, testing apparatus, recommendation platform for the next stage of development for the city of Rosario and its “Plan Director.” The emergence of relevant urban form is the consequence of multiple layered, coincidental and/or contradictory logics: old, new, popular, elitist, generic, speciﬁc, high, low, political, fashionable, intellectual, mundane, ideal, defective, practical, theoretical, pragmatic, philosophical, dense, sparse, severe, opulent, etc. Relevant urban form embodies and retains at least one major contradiction within. The more contradictory but in sync the pairs, the richer the resultant content and form. This studio proposed an empirical method for short circuiting the feedback loop of con-

tent and form. In a 3 step process, Research, Potentials, and Constraints, the studio considered urban issues in a group seminar format, while engaging individually in the design of a selected plot of land with a speciﬁc set of programmatic constrains and budget in Rosario’s riverfront.

Vital Albuquerque D Camila Aybar C Maria Borrel E/F Samuel Dufaux B Araceli Garza Gregory Getman Jung Hee Kim Ryan Mileski Eduard Navarro Ghanem Anselmo Perez A E

LECTURE: Electrical Effects: (a) Material Media, Sheila Kennedy

Benjamin Work

02|16|05

ADVANCED ARCHITECTURE STUDIO/STUDIO 6

118

Laura Kurgan and Eric Cadora, critics, Spring 2005

MILLION DOLLAR BLOCKS What happens in and to cities is not simply determined by their physical forms, but by a complex matrix of factors including information, economic and political forces, structures, and people. This studio’s lens for this approach to the city, and to the ways in which information builds things, was the contemporary American criminal justice system. In most major American cities, mass incarceration is highly concentrated in a few, lowA

income, inner city neighborhoods. In each of these census blocks, a regular stream of residents is

Kirtley Cameron E

removed and returned each year, creating an ongoing

Eunice Kim

mass migration. In another time and place, this mass

John Liu D/F

movement of displaced people might be called a

Charles Miles

refugee crisis or a humanitarian emergency. But here,

Brian Walker B/C

it is our everyday—and more or less permanent—

Tsing Lan Yang A

urban condition. This migration system has serious

implications for the city. The prison has become the most important institution of these neighborhoods— but it is not inside them. And so we are spending hundreds of thousands, and in some cases over a million dollars, a year per city or census block to fund this ﬂow, without any of that investment in the urban

sites themselves. This studio addressed this contemporary condition, which is at once a problem of data, representation, cities, policy, and social justice. It is an opportunity to produce new maps, new designs, and new analyses, and with them to imagine new ways of confronting and transforming this strange situation.

02|17|05

SEMINAR: A Pioneering Career: From Kiesler’s Columbia to Bunshaft’s SOM, Natalie de Blois, Nicholas Adams, Marilyn Taylor

ADVANCED ARCHITECTURE STUDIO/STUDIO 6

119

Karl Chu, critic, with Kevin Sipes, Spring 2005

ARCHITECTURAL AGENTS THE HOUSING OF LIBRANGO: THE ARTIFICIAL LIFE OF BUENOS AIRES At a time when the convergence of computation and biogenetics is ushering all of us into the so-called post-human era, what are we to make of architecture, the world of habitation, constituted by cites, people, and the realm of artiﬁcial intelligence? Without a doubt, the world of architecture will be transformed. Architecture, after all, is the site for the ultimate expression of the dynamic interactions of all its inhabitants, be they human beings or abstract machines.

The emergence of what Kevin Kelly refers to as a neo-biological civilization at the heels of our planetary culture will become the substance of the fabric of reality: the world wide web of computing systems that are destined to envelop the planet Earth. The project for the studio was to design Architectural Agents, each endowed with varying degrees of autonomy and interiority, which incarnate themselves into a building or something. An agent is the locus of will and determination. An architectural agent, like all agents, must somehow be in a position to embody an internal principle of its own which can then give rise to the development of an internal will to being: the will to the artiﬁcial life of architecture while interacting symbiotically with the ecology of a given environment: the city of Buenos Aires.

Aprile Age Gabriel Bach E/F Timothy Baker-Rice Sungwook Kwon Roman Linares A/B Enrique Loyer C/D

EXHIBITION: Building Images, Photographs by Erieta Attali and students · LECTURE: Visualize/Realize: The Rubin Museum of Art, Tim Culbert, Celia Imrey

02|18|05 - 03|21|05

ADVANCED ARCHITECTURE STUDIO/STUDIO 6

120

Reinhold Martin, critic , Spring 2005

THINK TANK 3: MODERN/POSTMODERN (INSIDE OUTSOURCING) At a time when “postmodernism” in architecture seems either to have been crushed under the combined weight of commercial success and a collective boredom with classical colonnades, or on the contrary, to have won the ultimate victory by taking over even the imagery of modernism itself, alternate points of reference are required. This studio reconsidered the modern/postmodern problematic from the perspective of the global city, proposing an approach best

described as “utopian realism.” Utopian realism is critical. It is real. It is en-

chantingly secular. It thinks differently. It is a style with no form. It moves sideways, instead of up and down the architectural family tree. It occupies the global city rather than the global village. It violates disciplinary codes even as it secures them. It is utopian not because it dreams impossible dreams, but because it recognizes “reality” itself as, precisely, an all-too-real dream enforced by those who prefer to accept the status quo. The studio explored the architecture and urbanism of outsourcing, both in terms of its cultural logics and stylistic expressions—the modern/postmodern tensions it harbors—and in terms of its topologies— the relations of inside and outside that it imagines and enacts. Toward this end, students took the term “outsourcing” literally, as referring to a topological paradox of inside and outside.

Aaron Adams

Kenneth Tracy

Omer Barr D/F

Andrea Wiideman

David Benjamin A/B/C

Soo-in Yang A/B/C

Jennifer Fetner Craig Intinarelli Adam Marcus G David Menicovich Eric Ng Chas Peppers Anne Suratt E

02|21|05

DEBATE 3: Design Paths to Tool Paths?, Julie Beckman, Cory Clarke, Andre Chaszar, Bill Massie, Anthony Webster, Michael Silver, Philip

Anzalone · LECTURES: The Restoration of Morven: A Historic Estate, John Hatch | Muten: Recent Work, William MacDonald

ADVANCED ARCHITECTURE STUDIO/STUDIO 6

121

Lars Spuybroek, critic, with Fred Tang and Ludovica Tramontin Spring 2005

STEEL AND FREEDOM Steel has always been associated with freedom, not just by the Russian Constructivists but also by Mies and after him Konrad Wachsmann, Robert Le Ricolais, Buckminster Fuller, Yona Friedman and Constant. Maybe all the way up to Archigram and Piano & Rogers’ Centre Pompidou, which was the last liberal steel structure; not long after, Norman Foster turned steel into a right-wing material, where it has been cornered ever since. Steel got caught in the abstract Cartesian A

space of efﬁciency, standardization and transparency. For Mies van der Rohe freedom could still be equated

with neutralism, by a programmatic indeterminacy, an Solim Choi openness that resulted in the extreme classicism (and Syliani Daouti F determinism) of the steel grid.

Andrea Flamenco

This studio rethought the plastic in the crystal-

Jessica Gross

line itself, that is: the potential of the transformable

In-Ki Hong

in the crystalline of structure. How to be informal and

Veronica Kan

crystalline at the same time? Generally questions like

Jonathan Kontuly

these are answered by formal solutions, but these are

Helen Lee

inherently false when discussing steel and structure,

Pierpaolo Martinadonna

and can only result in quasi-crystalline structures.

Santiago Romero A/C

Students used analogue computing techniques intro-

Haruka Saito B

duced by Frei Otto in the 50’s and 60’s that are based

Jeffrey Taras D/E

on viscous material behaviour of elasticity and variability. They built analogue machines that produced complex structures which are fully based on variability. Through a very precise set of operations these machines allowed them to create systems that are structurally in between roof and column, architecturally in between roof and ﬂoor, in between formal and informal, and that are programmatically in between determined and indetermined.

MEETING: Urban Planning, with NYC Economic Development Corporation · ROUNDTABLE 8: Where’s The Money: Trends in Mortgage Origination and Securitization, Mike Syres, Ben McGrath, Michael Sieman, Richard Jones, Chip Brown, Andrew Sternlieb, Jamie Woodwell

02|22|05

ADVANCED ARCHITECTURE STUDIO/STUDIO 6

122

Mojdeh Baratloo, critic , Spring 2005

THREAT MANAGEMENT: LAND, WATER & INFRASTRUCTURE NEW PARADIGMS IN GREEN, BLUE, YELLOW, ORANGE & RED BRISBANE Throughout the history of urban settlement, river valleys have been a critical agent in deﬁning the networks of people and resources (commodities, culture and capital) that power civilizations—from the Tigris to the Thames, the Hudson to the Yangtze. This studio examined contemporary paradigms evolving in architecture, planning and urban design in relation

Mathieu deGenot de Nieukevken F

Anna Goldberg A Alan Harris Yeelok Luk Natalie McCorkle E Kate Scott D Legier Stahl Yuichiro Yamaguchi B/C

to the balances of bio-power that could act as new

demographics and ecology to examine strategy to

agents to creatively pose physical and programmatic

forge culture, space, form, power and place into

re-articulations of the developing Brisbane River

the design process. The studio’s primary focus was

Valley in Queensland, Australia.

a critical investigation crossing multiple scales of

Urban river valleys are perpetual and vital life

design and intervention that question and articulate

forces that provide opportunities for the exploration

the ‘threats’ the city and its associated region face in

and redevelopment of new territories, ideas and

respect to new development and ‘sustainability.’

linkages between natural and built, and global and local environments. As the ﬁrst multi-disciplinary studio open to architecture and planning students at the GSAPP, we attempted to articulate the potential of the river valley’s landscape, history, infrastructure, E

02|23|05

WORKSHOP: Structural Engineering, Buro Happold

[see p. 152 for more work from this studio]

ADVANCED ARCHITECTURE STUDIO/STUDIO 6

123

Laurie Hawkinson, critic, with Aaron Hockett, Spring 2005

THE TOMATO STUDIO: ANIMALS ATMOSPHERE AND VEGETATION This design studio addressed the potential of Controlled Agricultural Environments (CAE) alongside the seemingly contradictory issues of fragile existing ecosystems within the natural and built environment of the Western Cape of Baja Sur. This studio explored strategies for intervening in the transformation of key sites already in play along the Western Cape, and researched advances in materials, technology and Environmental Control Systems for greenhouses in conjunction with infrastructural and landscape based site strategies for this ideal arid site.

Lloyd Aragon Francisco David Boira A/B Timothy Boyle Zoe Coombes A/B Megan Feenstra Wall Sean Gallagher C/D Aaron Gomez Yoojung Kim Yung Eun Kim Amanda Lockaby Carl Smith E/F Amy Stringer

LECTURE: Sumila Gulyani

02|24|05

ADVANCED ARCHITECTURE STUDIO/STUDIO 6

124

Ed Keller, critic , Spring 2005

“WORLD GAMES” FOR A GENERAL ECONOMY OF INFORMATION AND ENERGY The factors of mediation and migration Appadurai discusses in his Modernity at Large parallel Foucault’s description of the great variables of the post-modern and post-industrial world “speed, territory, and communication.” These variables are not inherently part of a previous paradigm’s vision of what an architect manages in his/her practice; however, in our current paradigm, shifts in technology, the sciences, global culture, politics and communication are indeed all vectors for

a redeﬁnition of what an architect or urban designer

does, and in fact all those disciplines partake in the realms of mediation and migration-- in the realms of “speed, territory, and communication.” Architecture, when challenged by a broader model of a general economy, is forced to grow and develop new models and maps which can compass the “invisible conspiracies” that theorists like Jameson have suggested we live surrounded by in today’s inescapably geopolitical world. The “World Games” studio developed infrastructure, urban games, buildings, and new city morphologies within the model of an inclusive general economy. Students considered the ways that energy & information are stored in the landscapes of the world-cities, highways, airports, deserts-and inﬂected the paths along which they ﬂow, to produce new systems of organization in the city.

Jeffrey Dee E/F Matthew Geiss A/B Tsun-yi Huang Jon Kher Kaw C/D Kenneth Neff George Showman

02|28|05

PUBLICATION LAUNCH: The New Volume: Beyond Magazine, Ofﬁce, and School, Press Conference with ARCHIS + AMO + GSAPP + _ _ _ , Ole

Bouman, Rem Koolhaas, Mark Wigley, Michael Rook, Jeffery Inaba · PRESENTATION: Disaster Relief and Temporary Architecture, Dean Maltz

ADVANCED ARCHITECTURE STUDIO/STUDIO 6

125

William MacDonald, critic, with Christopher Whitelaw, Spring 2005

POLY_MATTERS: YIELDING SYSTEMIC HYBRIDITY IN ARCHITECTURE The studio was concerned with yielding systemic hybridity in architecture by exploring two approaches that were previously thought to be both philosophically and methodological at odds with one another and experimenting with a suspicious “third way.” The focus was to develop techniques of “naturing” (morpho-genetics) and “nurturing” (morpho-dynamics) systems in architecture towards a hybrid and “mutual environmentality”. A

The theme of the studio was the interrogation of qualitative material phase shifts from pattern formaC

tions in self-organizing systems. These complex adaptable and emergent systems resulted in part from the creation of and experimentation with the behaviors of heterogeneity and diversity. The objective was to produce an emerging, situationally adaptive architecture derived from qualitative attitudinal shifts/transformations produced by systemic hybrids, referred to in the title as Poly-matters. The studio beneﬁted from recently available research in material engineering science being done on topics ranging from the viscous to particulate forms of dynamic matter. Research into these behavioral logics and Intelligent/Smart techniques had design implications in urban and architectural scales as well as spatial, material, fabrication, and construction technique. Digital (agent based/behavioral scripting software), material fabrication, and codiﬁcation techniques were emphasized throughout the semester.

Belisario Barchi A/C Theodore Calvin D/E/F Olivia Dolan Pedro Pachano Alexander Pincus B Zoran Zelic

MIDTERM REVIEW: Moji Baratloo/Shane Taylor, Architecture/Urban Planning Studio · LECTURE: Public Financing of Urban Development, Rich Froehlich, Kent Hiteshew

02|28|05

ADVANCED ARCHITECTURE STUDIO/STUDIO 6

126

Peter Macapia, critic , Spring 2005

C(R)AMPUS - TOWARD NEW LOGICS OF ORGANIZATION Architecture and engineering are quickly mutating into para-specializations of each other, not only in their problem sets, but also in their techniques and methodologies. This studio explored their mutual interaction through a design challenge that was neither purely architecture nor purely engineering. What architecture and engineering share is the problem of the geometry of material organization. Students elaborated on this observation through the exploration of an ambitious but seemingly neutral proposition: design a campus. However, the fundamental assumptions of this proposition change once the context becomes any city of intense density, a condition that will dramatically increase in following decades. What is the logic of a campus “space” under this condition? Moving between local and global scales students established a series of programmatic and spatial mutations at the threshold of infrastructure and architecture. The operations quickly became topological, as did the technology, which went from ethereal to the sublimely cumbersome. From storm water management to vibration control, we used a number of

analytical and generative techniques that ranged from computational fluid dynamics, to advanced modeling, to finite element analysis and witnessed our methodologies mutate along the way, opening up a new space of operations, rather than specific morphological or stylistic techniques.

Maria Del Pilar Echezareta

Joao Fernandes Cardoso Sara Goldsmith A Chyanne Husar D/F Enrique Moya-Angeler Eun Suk Oh Andrew Payne Jorge Salgado Maria Stefanidis B/C Michela Tonus B/C Taeguyn Woo E

03|01|05

ROUNDTABLE 9: In Fill Development: Creating Value at a Small Scale, Christopher Horrigan, Abby Hamlin, Mario Procida, Margaret Streiker

Porres, John Evans, Ellen Morgenthal, Laura Burkhart, Kenya Smith, Peter Slatin

ADVANCED ARCHITECTURE STUDIO/STUDIO 6

127

Andrew MacNair, critic, Spring 2005

NOT NOT THESIS The studio began with the double negative, double

zero, double void, double space of pre-history and pretime as a can opener to Pandora’s box. It began with the beginning, so one could simultaneously start and leave. Not Not engaged ancient time, space, and form as well as future time, space, and... This studio examined an ongoing inquiry into three expanding fields of Architecture, Not Architecture, and Not Not Architecture. The purpose was to physically define and re-define the above through independent study by means of making a building every two weeks, totaling eight buildings during the term to generate both one’s individual body of work

and a collective, urban, studio abcedarium.

James Acuna Rebecca Collins Wendy Cooper James Ke Paul Miller A/C Alan Silverman Lauren Stern B/D Queenie Tong Thomas Wensing Kaiyu Zhou E/F

LECTURE: Shifting Positions: Inside Outside (Landscape and Interior Design), Petra Blaisse · MIDTERM REVIEWS: Reinhold Martin Studio | Leslie Gill/Tina Manis Studio | Laurie Hawkinson Studio | Peter Macapia/Franklin Lee/Christian Meyer Studio

03|02|05

DETAILS

Chun-Ming Lee, Kipping Studio, fall 2004, E Francisco Boira, Zoe Coombes, Hawkinson Studio, spring 2005, B Lori Apfel, Jason Arndt, Sean Erickson, Arthur McGoey, Tannar Whitney, Building Systems I, spring 2005, D Amit Mandelkern, Kipping Studio, fall 2004, I Avis Lai, Lignano/Tolla Studio, fall 2004, F Maria Stefanidis, Michela Tonus, Macapia Studio, spring 2005, G Omer Barr, Martin Studio, spring 2005, A C

Alfonso Gorini, Advanced Curtain Wall, spring 2005, L Alfonso Gorini, Advanced Curtain Wall, spring 2005, H Timothy Boyle, Advanced Curtain Wall, spring 2005, K Enrique Loyer, Chu Studio, spring 2005, J Roman Linares, Chu Studio, spring 2005, C Zimmie Rim, Turnbull Studio, spring 2005, M K

03|03|05

LECTURE: Smart Maps and Intelligent Locations, Laura Kurgan, Kazys Varnelis

Mathieu De Genot De Nieukerken, Baratloo Studio, spring 2005, F Molly Cronin, Hua Jack Toh, Bell Studio, fall 2004, A Brian Walker, Walker Studio, fall 2004, I Chantavudh Burusphat, Gill/Manis Studio, spring 2005, M Carl Smith, Hawkinson Studio, spring 2005, O Emily Furr, Lignano/Tolla Studio, spring 2005, L Adam Marcus, Martin Studio, spring 2005, J William Arbizu, Parker Studio, spring 2005, C Petar Vrcibkadic, Rakatansky Studio, summer 2004, K I

Santiago Romero, Spuybroek Studio, spring 2005, H

J K

Santiago Romero, Spuybroek Studio, spring 2005, B Andrew Payne, Walker Studio, fall 2004, G Kirtley Cameron, Kurgan Studio, spring 2005, D

MIDTERM REVIEWS: Scott Marble Studio | Steven Holl Studio | Laura Kurgan Studio | Lars Spuybroek/Frederick Tang/Ludovica Tramontin Studio, guest critics: Karl Chu, Peter Macapia, Yehuda Safran, Mark Wigley, Tao Zhu

03|04|05

VISUAL STUDIES/ARCHITECTURAL DRAWING 2

130

Michael Webb with Thomas de Monchaux, Spring 2005

Tatiana Von Preussen A

Is it only the jealousy of an old man who came to ar-

So much has been gained. But has something

chitectural awareness in the age of ruling pens, T- been lost as well? Is it so that a detailed knowledge of squares and drawing compasses, who had to learn the various architectural projection systems available how to prevent India ink from spreading out under is now unnecessary when imaging one’s design? And is the triangle, or to grade a water color wash from that ok? dark blue to light? Is it envy that by simply clicking

A case can be made that a computer presenta-

the right boxes on the computer screen a student... tion executed at Columbia is always a joint effort. The (I just erased the word ‘mere’ that sat most appropri- original creators of the program, these unsung heroes, ately between ‘a’ and ‘student’)... a student can cre- had to know about all these things. And, in the drawing ate such visual magic that it puts to shame my own class, the students are asked to make drawings by hand antediluvian drawing skills, honed so agonizingly all (not ﬁngers) that encourage them to ponder the role of those decades ago?

projection, the underlying structure of a drawing.

03|05|05 - 03|21|05

KINNE TRIPS: Reinhold Martin Studio: Dubai, UAE; Delhi, Gurgaon, Agra, Fatehpur Sikri, Chandigarh, India;

London, England | Steven Holl Studio: Prague, Czech Republic

VISUAL STUDIES/DYNAMIC SKINS

VISUAL STUDIES/ARCHITECTURE AND MEMORY

Eddie Opara, Spring 2005

Rory O’Neil, Spring 2005

Enrique Loyer, A/B

We live in a time when visual media pervades the Alex Loyer Hughes, C/D

What is the relationship between memory and space?

masses. It is strewn across our visual horizon care-

Are objects and ideas arranged in space more memo-

lessly. Architects have become more aware, more conscious of the fact that their rable? What lessons may we learn from the study of space and memory that inform constructions transcend mere adverts. They will edit not only space, but visual the design of more memorable architecture? content as well. Through development of new media technologies, architects have

In this workshop, students conducted experiments in designing 3D interfaces

begun to understand how to construct intelligent skins, changing how spatial and that helped bridge the gap between networked information and personal memory. temporal forms are perceived. Hopefully, the days of the Jumbotron hung on a dec- Taking cues from the architectural aspects of the classical art of memory, students orated shed, resembling a sarcoma and displaying nausea inducing media drivel, explored ways in which space serves as a mnemonic device that helps retention of are behind us. This ad-driven ornamentation of a building must be destroyed for information accessed from a networked database. true, smart, dynamic skin to exist. This new skin of a building results from an outpouring of visual information. Understanding electronic data and how it ﬂows through the veins of architecture is key. Learning how to extract and visualize knowledge from the human occupancy of the building is paramount to a building moving away from an ornate box. Buildings themselves become knowledge bases, carefully designed to collect, process and manage all content throughout. The skin is the interface to the data, displaying the building’s sensory inputs, its ongoing thoughts, strategies and beliefs. No more is it just an inanimate vessel but a live one.

KINNE TRIPS: David Turnbull Studio: London, England; Paris, France | Lars Spuybroek/Fred Tang Studio: Amsterdam, Rotterdam, Netherlands; Paris, France

03|06|05 - 03|21|05

VISUAL STUDIES/ TOPOLOGICAL STUDY OF FORM

VISUAL STUDIES/ SIMULATION AS THE ORIGIN OF TANGIBLE FORM

José Sanchez, Spring 2005

Robert Brackett, A/B/C/D

Understanding form as a composite of mathemati- Christine Yogiaman, G/H/I

In this workshop students studied the generation of

Hueseung Helen Jung,

cal data, we can start to investigate the underlining Robert Brackett, G/H/I

visual constructs dealing with the notion of simulation

A/B/C/D

structure of post-Euclidian geometry. This workshop Dong Ping Wong, E/F

and representation. They took on simulation as the ori-

Sang Hoon Youm, A/B/C/D

focused on the topological study of form, exploring

gin of a reality, rather than a representation of a for-

ﬂuid dynamics as a morphological system, rather than

mal construct, by generating behavioral models a nd

the normative approach of regarding ﬂuids as vector-

abstract events without a tactile origin. The simulation

based systems. Students analyzed how the generative

gives an origin to sequential representation of an un-

morphological behavior of Fractals could generate

known event that progressively yields to the generation

‘structures’ of form that incorporate space-form rela-

of a tangible visual fabric.

tions.

03|07|05

MIDTERM REVIEWS: Hernan Diaz Alonzo Studio | Kathyrn Dean Studio | Marc Tsurumaki Studio, guest critics: Scott Marble, Joeb Moore,

Tina Mannis, Sunil Bald | Michele Fornabai Studio, guest critics: Enrique Martinez, Philip Parker, Teri Rueb, Lynette Widder | Hani Rashid/Jose Gonzalez/Eric Goldemberg Studio | Andrew MacNair Studio | Galia Solomonoff/Cory Clarke Studio

VISUAL STUDIES/ TECHNIQUES OF THE ULTRAREAL

VISUAL STUDIES/ IMAGINING THE ULTRAREAL

Daniel A. Vos, Spring 2005

Aldrin Soedarto, D

The architectural rendering—be it photo-realistic, Roman Linares, E/F

As a means of communication, no other visual media

Andrew Burne, C

analytic, or abstract—captures the energy of an idea Zoran Zelic, E/F

rivals the short animation in its efﬁcacy. It can make

Maria Stefanidis, A

about space and the forces that act within it. The Solim Choi, G

you laugh, cry, be horriﬁed, believe, and disbelieve, all

Sean Gallagher, B

challenge is to convey that dynamism—whether it is In-Ki Hong, G

within 30 seconds. The unique structure—linear time,

the movement of a set of bodies, a change in lighting

ﬁlmic juxtapositions, narrative and abstract composi-

and material qualities, or any other dynamic quality of architecture—with a set of tion—has become the drawing of contemporary architecture and design. Kinetic static images. The multiple techniques and tactics of rendering—sketch, visualize, by nature, animation can reveal the way in which an architectural space changes analyze, quantify, synthesize—have enabled the contemporary architect to embed over the duration time. Change occurs in multiple ways: it may be motion of bodmore information with greater intent, into a single image.

ies in space; it could be the dynamic quality of light and materials; it might be that

One part design, one part technical instruction, the workshop was struc- it is imperceptible under “normal” conditions, either too slow or too fast for our tured around the production of three publication-quality images. Students ﬁrst senses—but change still occurs. designed a kinetic architectural space, using a 3-D interface in combination with

The workshop was structured by the production of its ﬁnal assignment—a

any other means—2-D software, photography, hand drawings, etc—and blocked- short animation imagining how a space changes over time. Students drew an aniout that idea into three separate images. Once formulated, the concept was de- mated sketch of an architectural space using a 3-D interface in combination with veloped using advanced 3-D techniques for modeling, lighting, material appli- any other graphic means necessary. The concept was then developed and reﬁned cation, and assembly, providing a broad based understanding of current digital through the use of advanced 3-D techniques, providing an extensive knowledge of rendering techniques.

current digital animation practice.

KINNE TRIPS: William MacDonald Studio: London, England | Peter Macapia/Franklin Lee/Christian Meyer

03|07|05 - 03|21|05

Studio: Tokyo, Japan · LECTURES: Community Development Policy, Lance Freeman | Adaptive Reuse: An Architectural Perspective at 455 Central Park West (NY Cancer Hospital), Peter Baﬁtis | Surviving the Fall of a King: The Regional Institutional Implications of Crisis at Fiat Auto, Josh Whitford

VISUAL STUDIES/CINEMATIC COMMUNICATION

VISUAL STUDIES/INTRODUCTION TO GIS

John Szot, Spring 2005

Douglas Miller, Spring 2005

Eric Lilhanand, B/C

Cinema and the practice of architecture both rely on Jeff Geller, E

How does space conﬁgure information? How does in-

Wook Kang, A

the coordination of event, movement, and experience Rimma Ashkinadze, D

formation impinge upon geography? Increasingly so-

in space to communicate. This common ground has Tanya Saltzman, F

phisticated geographic information systems (GIS) tools

brought ﬁlmmaking theory to bear on architecture’s critical history. Digital video—a

allow the analysis of the inherently spatial organization

form of cinema—is rapidly evolving as a convenient way to record and disseminate of human activity. Introduction to GIS built a foundation of essential techniques for information. As an inexpensive means of producing cinematic material in a format working with geographic information. The course worked from the standpoint that that can easily be employed in multimedia applications for distribution over the in- proximity deﬁnes relationships that would be overlooked in traditional, aspatial ternet or on video disc, it presents an important opportunity for designers to com- analysis techniques. The tools that enable this are relatively simple tests of proxmunicate with their target audiences more clearly and effectively.

imity, adjacency, and separation; when properly deployed, these instruments can

In consideration of these two points, this workshop was an introduction to harness substantial analytical power. GIS analysis also leverages powerful cogniconsumer-level digital video technology and its potential for exploring, developing, tive tools by making data patterns instantly visual. This changes the priority given and communicating core components of an architectural proposal in a narrative in conventional approaches to information in which numerical patterns are sought format. Students took part in narrative-based exercises intended to illustrate the ﬁrst and then, perhaps, translated into graphical output. Upon completion, students potential within video to inform their work as architects, but more importantly to were able to manipulate geographic information in a way that meaningfully adbetter understand how the supporting role played by the built environment contrib- dressed real problems of current interest. Recent student projects have quantiﬁed utes to the synthesis of meaningful experiences.

ﬂood risks in Bangladesh, tested the principles of New Urbanism in California, and have looked for evidence of gentriﬁcation in New York City.

03|08|05

MIDTERM REVIEW: Bill MacDonald Studio, guest critics: Zaha Hadid, Patrik Schumacher, Brett Steele · ROUNDTABLE 10: Pension Funds:

Trends in Allocation and Direct Investments, Stuart Koenig, Wayne A. Comer, Stephen Coyle, Mark Wood

VISUAL STUDIES/ARCHITECTURAL PHOTOGRAPHY 2

135

Erieta Attali, Fall 2004

Marty Chou A Hom Liou C Alejandro Guerrero B Aldrin Soedarto D William Ngo E Hua Jack Toh F

The interaction of urban or natural landscape and a building does not end at the façade, nor at the borders

of an interior space. Architects must cope with the challenge of designing within an existing, and therefore immediately reﬂected, surrounding. This environment can be revealed by architectural photography or the photography of architecture showing aspects of architecture readily perceived. This coexistence has taken many forms throughout architectural history. Today, with the development and treatment of new materials, like plastics, and the extended use of old ones, like glass and metal, a new

aspect of this relationship is addressed with the reflection of the surroundings of the building: envelope. Due to the increased use of glass as a construction material, with its varying characteristics of transparency, reflectivity, and opacity, architectural context is perpetually revealed, mirrored and distorted by modern buildings. This course concentrated on the relationship between a building and its natural or urban environment. Students analyzed specific architectural work and its representation through photography, covering technical, historical and aesthetic aspects of the medium.

LECTURE: Design Models, Figments, and the Origin of the Afterimage, Ben Van Berkel · MIDTERM REVIEWS: Jeannie Kim Studio | Robert Marino Studio | Karla Rothstein Studio

03|09|05

VISUAL STUDIES/ CNC FABRICATION WORKSHOP: 1.01 FT3

VISUAL STUDIES/TESTING DESIGN Phillip Anzalone, Assistant Director , Avery Fabrication and Conservation Lab, Spring 2005

Keith Kaseman, Spring 2005

Sean Arrasmith, B

Commanding the ability to ﬂuidly navigate through a David Benjamin, D/E

Computation in design must seek to expand beyond

Matthew Geiss, B

vast array of virtual applications, design media, and Soo-In Yang, D/E

geometric, mathematic and logical precision in order

Jeffrey Kim, B

digital fabrication technologies, affords incredible po- Jennifer Fetner, C

to engage the “real world”. Production and assem-

Felipe Ferrer, A

tential to develop, test, produce and communicate both Pierpaolo Martinadonna, C

bly provide a means to interrogate potential roles of

Zachary Stephen Helmers, A spatial ideas and their corresponding physical compoCory Taylor, A

computers and digital media in architectural practice,

nents with great clarity. This workshop focused on a supplying feedback to rule-based methodologies and techniques that evolved into narrow region within this array: 3-axis CNC production contemporary software packages and procedures. Production is the ﬁtness test of

of complex NURBS constructs developed and reﬁned through Rhino. All energy contemporary digital design. Rule-based generative morphologies become a tool spent in this workshop was geared towards developing and sharpening the essen- for the visualization of fabricated potentials that are embedded with the ‘intellitial skills and tools at hand through direct practice and precision play. Students gence’ of the material world. were tasked to digitally deﬁne 1.01 ft3 to a degree of geometric complexity both

This workshop explored the hidden discontinuities in the design — manu-

physically enabled and constrained by the production parameters built into to the facture — assembly process, when work embedded within the precision of the Ma3-axis CNC mill recently acquired by Columbia’s GSAPP.

chine was forced to perform in the world of Nature. Students made primary use of the abrasive water cutter of the Fabrication and Conservation Lab as a test-bed for the exploration of CNC production’s role in contemporary architectural practice. Students worked individually and in teams to develop a parametrically controlled architectural facade assembly based on a set of constraints developed to frame their research. The designs had control mechanisms programmed to be realized in the material world, where nature becomes the decision maker. Through an iterative process, the designs were developed, fabricated and tested using architectural materials at full scale. By engaging computational manufacturing techniques in the production of full-scale creations, potentials are realized for the integration of digital design in architectural practice.

03|09|05 - 03|21|05

MEETING: The Center for High Density Development, Daniel McAffrey, Bob Winter, Gavin Stein

KINNE TRIP: Laurie Hawkinson/Aaron Hockett Studio, La Paz, Baja California Sur, Mexico

VISUAL STUDIES/ FUNDAMENTALS OF DIGITAL DESIGN

137

Josh Uhl, Spring 2005

Evan Allen A Cara Solomon A Randall Holl D Swati Salgaocar D Robert Booth E Hannah Ilten E Chad Kellogg B/C Mercy Wong B/C

With the burst of the Internet bubble in the late 90s, the digital revolution was delivered a healthy dose of

ﬁscal responsibility. While certain divisions of technology have been forced to readjust to the demands of the economy, the architectural profession has largely been undaunted in its use of computing. It has changed our method of representation in the form of images, retooled construction techniques, and made communication of complex information instantaneous. Computing in architecture has reached a certain prevalence such that the idea of practicing without it is incomprehensible. While Fundamentals of Digital Design is an introductory course in computing, it builds on the student’s advanced ability to question and shape space and time. The course interrogates the computer as a design tool of representation and analysis. In this state of ubiquitous computing, the architect is asked to not only grasp these new technologies but to shape them into the built environment. As the edge between the virtual and real becomes increasingly thin, the architect must not only be proﬁcient in this interactivity, but tool it toward new ideas and potentials that are rife within this expanding territory.

KINNE TRIP: Moji Baratloo Studio, Brisbane, Australia · MIDTERM PRESENTATION: Urban Planning, Flushing, Queens project

03|10|05 - 03|21|05

BUILDING TECHNOLOGIES/BUILDING SYSTEMS 2

138

Jay Hibbs and David Wallance, Spring 2005

GROUP PROJECT, A

GROUP PROJECT, C

Andrew Burne,

Fatou Dieye,

Christopher Kanipe,

Emily Furr,

George Makrinos,

Diana Martinez,

Rodrigo Prieto

Carolyn Matsumoto

GROUP PROJECT, B

GROUP PROJECT, D

Casey Crawmer,

Clara Abecassis,

David Fano,

Emily Bello,

Toru Hasegawa,

Anna Frens,

Robert Mezquiti

Christina Tung

BUILDING ANALYSIS PROBLEM The intent of this six-week problem was to gain an understanding of the relationships among structure, enclosure, environmental conditioning and formal expression in major American architectural works. Working from construction documents, students were asked to develop three-dimensional details of crucial portions of a given building. Final documentation included combinations of drawings, models, full-scale mock-ups and computer animations.

03|11|05

MIDTERM REVIEWS: Mark Rakatanksy Studio | Alisa Andrasek Studio Studio, guest critics: Florencia Pita, Kivi Sotaama, Carla Leitao, Chris

Perry, Ferda Kolatan, Laurie Manfra | Philip Parker Studio, guest critics: Karla Rothstein, Andrew Zago | Yolande Daniels Studio | Ada Tolla/Giuseppe Lignano Studio 路 FIELD TRIP: The Center for High Density Development, John Bucksbaum, David Carlins

139

GROUP PROJECT, E

GROUP PROJECT, G

Molly Cronin,

Mark Collins,

Lan Do,

Samina Iqbal,

Odit Feinblum,

Joseph Duignan,

Yik To Ko

Katherine Mearns

GROUP PROJECT, F

Aimee Chang, Andrew Colopy, Eric Lilhanand, Dong Ping Wong F

SPRING BREAK BEGINS

03|14|05

BUILDING TECHNOLOGIES/ FABRICATING THE MATERIAL:

140

Laurie Hawkinson and Jason Carlow, Spring 2005

The development of new materials and fabrication techniques has altered the ways in which architects and designers think about standardization and construction. In many cases, digitally driven fabrication techniques have short-circuited traditional production systems. Architects now have the ability to completely integrate processes from the initial design idea through fabrication and installation. The focus of this course was the research and exploration of emerging materials and fabrication techniques. Materials cannot be separated from their physical properties, performance and construction, while contemporary fabrication methods have inherent limitations. Through investigation and recombination of products and processes, students explored new architectural opportunities and ways of building. Projects consisted of individual and team research, student presentations and design problems to formulate architectural applications for new materials and processes. The ﬁnal assignment involved the production of a fabrication scenario—utilizing a technique and material relationship—positioned within a project that addresses disaster relief.

Andrea Flamenco A Gabriel Bach B/C/D Sarah Goldsmith A Haruka Saito A Jon Kher Kaw B/C/D Matthew Geiss B/C/D

03|21|05

DEBATE 4: Electronic Landscapes?, Benjamin Edwards, Andrea Kahn, Laura Kurgan · PRESENTATION: Eden Project, Cornwall UK, William Horgan

BUILDING TECHNOLOGIES/ ADVANCED CURTAIN WALL

141

Robert Heintges, Spring 2005

Alfonso Gorini A

Chihiro Aoyama D Jorge Fontan C Timothy Boyle B

This course explored in depth the technical knowledge necessary to practice the design, detailing, speciﬁca-

tion and construction administration of the building enclosure. The course emphasized current and emerging technologies of the curtain wall. Case studies of historical as well as contemporary examples were used throughout to illustrate the technical content of the course. While discussion of specific technical issues and methodologies focused on those aspects that directly inform architectural design, it was the intent of this course to provide graduating students with a comprehensive understanding of the technical concepts as well as the specific technical skills necessary to undertake the actual detailing and specification of the curtain wall. To this end, the students designed and detailed a curtain wall of their own design, and prepared outline specifications.

LECTURES: Public Financing of Urban Development, Rich Froehlich, Carol Kostik, Renee Boicourt | Praxis in the Time of Empire, Ananya Roy | The Evolution of Urban Social Movements, Margit Mayer | Design Paths to Tool Paths?, Philip Anzalone, Michael Silver, Anthony Webster

03|21|05

BUILDING TECHNOLOGIES/ ARCHITECTURAL DAYLIGHTING

142

Davidson Norris, Spring 2005

Daylight has played a key role in the perception, aesthetics and function of the built environment from its inception. The masterful play of light depends on the designer’s grasp of both the technical requirements and spatial opportunities of natural light. This course provided instruction in both. Topics covered included: daylight and health, energy and productivity, daylight and perception, daylighting metrics, daylight and the cosmic dance, daylight in the atmosphere, architectural shading, daylight and site design, calculating the daylight factor, side daylighting strategies, top daylighting strategies. Students worked on case studies, calculated and plotted solar angles and calculated daylight quantities. At the end of the semester, they built physical models and put them out in the sun to test and demonstrate their acquired aesthetic and quantitative daylighting skills.

Chun-Ming Lee D KyungJune Min A/C

Patricia Salas B

03|22|05

FIELD TRIP: Site Visit (Building Technologies), Hearst Tower New York, NY · MIDTERM REVIEW: Reinhold Martin Studio

BUILDING TECHNOLOGIES/ ENVIRONMENTS AND ENCLOSURES 1

143

Anthony Webster, Mayine Yu, instructors, Areta Pawlynsky, James Sinks, William Suk, Michael Wyetzner, critics, Spring 2005

BUILDING DESIGN FAÇADE PROBLEM In the final three-week design problem, students were asked to design a façade assembly and represent it in some combination of drawings full-scale mock-ups. Primary design criteria included control of: water infiltration; air infiltration; water vapor; heat loss and gain; as well as constructability, formal expression, and the envelope’s relationship to perimeter structure and ground. A

GROUP PROJECT, C/D

GROUP PROJECT, B

Evan Allen

William Arbizu

Aimée Duquette

Peter Epstein

Brad McCoy

Jamison Guest

Emily Morentz

Sahra Motalebi

GROUP PROJECT, A

GROUP PROJECT, E

Evan Erlebacher

Katherine Hearey

Christa Mohn

Hannah Ilten

Minyoung Song

Julia Molloy

GROUP PROJECT, F

Katrina Stoll

Andrew Skey Ian Weiss Matthew Worsnick Paul Yoo

ROUNDTABLE 11: Trends in Capital Markets, Haejin Baek, Gerald Cohen, Joan H. Fallon, Jonathan Green, Steve Kohn, Jim Reichek, Joseph Rubin, Steve Sherwyn, Robert Verrone, Robert M. White

03|22|05

HISTORY/THEORY/CLASSES

144

Spring 2005

THE CULTURE OF GLASS, Joan Ockman

Nelson Mandela, the collapse of the Soviet Union, the demolition of the Berlin Wall,

A seminar exploring the multiple meanings of glass in architecture and the cultural and in the wake of a period of remarkable technological transformation, the proimagination—from mysticism to rationalism, from minimalism to spectacle—start- liferation of desktop computers, the catalytic invention of the world wide web, and ing in the mid-nineteenth century and going up to the present, drawing on social and developments in mobile communications, the HIV/AIDS “plague,” ecological crisis, literary as well as architectural sources.

globalization, and war. Here, a different audience and different tools transformed architectural speculation. In place of the reﬂexive and critical preoccupations of

THE BLACK CITY, J. Yolande Daniels

“theory” and its purposefully problematic relation to practice, students proposed

The desire to produce homogenous and seamless objects is enabled by the produc- practices of “research,” and of design as “research.” tion of negative or oppositional narratives. This foundational binarism has produced a schizophrenic psychic space in which “self” and “other” are estranged and fixed. ELEMENTS OF LANDSCAPE ARCHITECTURE, Nicholas Quennell Whereas abstract economic relations seal this separation, racial or sexual antago- Is landscape the space left over between and around buildings or are buildings simnisms camouflage the effects. Radical signs of difference have been traditionally ply objects to decorate the landscape? Should buildings be subsumed to the natural defined as sites of negativity and explored, analyzed, and watched for signs of devi- world or should they dominate it? This course explored these questions by examance that may be controlled upon detection. Histories of the black city cite it as a ining the relationship between buildings and the land upon which they are sited. source of vice and negative pathologies; as unhealthy and infectious; as libidinous It was intended as a general introduction to landscape architecture for architects, and liberatory. The black city is nomadic. It shifts as peripheries are incorporated touching upon the various factors which influence the design of buildings in the and reformulated relative to centrist speculations. The black city is a site of intrigue landscape, as well as of the landscape itself. and spectacle from without and within. The black city is doubled as it is located as both a symbolic and a real site—it is rhetorical and literary and also a lived condi- STUDIES IN TECTONIC CULTURE, Kenneth Frampton tion. The black city is split. It is the transgressive half. Its force can be negating but This lecture course is effectively a selective re-reading of the history of late 19th if used opportunistically it yields positive effects. In the black city existing forms are century and 20th century architecture with a particular emphasis on the poetics inhabited, reinterpreted, and reworked until they are born anew. This psychic land- of construction. After a general introduction dealing with the evolution of tectonic scape and its physical manifests are the subject of the seminar black city.

theory there follows two sessions, one treating with the Anglo-French origins of structural rationalism and the other with the beginning of the tectonic concept in

URBAN HISTORY, Daniel Sherer

19th century German architecture. There follows a series of monographic lectures

This course traced the development of the European city from antiquity to the addressing the work of the following ﬁgures: Frank Lloyd Wright, Auguste Perret, threshold of the Industrial Revolution. Focusing on the conﬁguration of architecture Mies van der Rohe, Louis Kahn, Jørn Utzon and Carlo Scarpa. in urban space, we charted the evolution of the city through a complex series of exchanges between typological, morphological, and topological factors.

JAPANESE URBANISM, Lynne Breslin Using an interdisciplinary approach, this seminar explored Japanese urbanism

ARCHITECTURE CULTURE FROM THEORY TO RESEARCH, David Turnbull

and Tokyo. Urban theories, history, geography, fictions, films, sociology, and an-

This course opened with a trajectory charted by Joan Ockman and Michael Hays thropology, along with cultural critiques, helped situate the more personal expewhich started in the mid 1940s, notably the Bretton Woods Conference of 1944, which riences of the metropolis and the new “global city.” In considering the formation established the IMF, the World Bank, and ultimately the WTO, the apocalyptic con- of urban/geographical entities, its infrastructure, and the underlying ideologies clusion to the 1939–1945 war in Europe and Asia, and the ensuing struggle to rebuild of this urban construct, we also attempted to uncover the mechanisms of the devastated cities. The course progressed to the 1990s and studied the release of development of collective identities and individual reconciliations. Theoretical

03|23|05

EXHIBITION: Building Images, Erieta Atalli, curator · LECTURES: Intelligent Façades, Andrea Compagno | The Future of Utopia in History, Hayden White

145

readings, traditional strategies for penetrating cities, were juxtaposed with art and subjective registrations. AMERICAN ARCHITECTURE BEFORE 1876, Andrew Dolkart This course will examine the development of American architecture from the earliest European settlements to the centennial in 1876. Beginning with the earliest Spanish, French, Dutch, and English colonial architecture, we will explore the American adaptation of European forms and ideas and the development of a distinctly American architecture. We will look at high style and vernacular architecture in rural and urban environments throughout the settled parts of the United States. The course will be supplemented with tours and the examination of original drawings and early architectural publications in Avery Library. HISTORY OF ARCHITECTURE II, Kenneth Frampton This required M.Arch history lecture course traces the evolution of certain lines in the 20th century architecture from the turn of the century to the first decade and a half of development following the end of the Second World War. A certain emphasis is placed on the rise and fall of various avant-garde movements in Europe between 1918 and 1938. CONSTRUCTING URBANISM, Andrea Kahn Competitions with urban design aspirations have a long and varied history. In the 18th century, the Empress of Russia sponsored a competition to develop a building plan for St. Petersburg. The Spanish Steps in Rome and the Place de Concorde in Paris are both products of design competitions. In the 19th century, public authorities arranged competitions for urban design and planning guidelines, to secure plans for city extensions and to address post-war redevelopment issues or the reconstruction needs following destructive events like earthquakes or floods. In the 20th century, competitions produced entire city plans. Today, they remain a vital part of urban design practice, bringing urban and design issues into public view. Competitions almost always concern physical aspects of the public domain (spaces like parks, plazas or streetscapes). By eliciting assorted design responses, they prompt discussion about urbanism and what qualifies as urban design, creating lively spaces for debate. Yet, while basic information about specific competitions can be culled from contemporary publications, how competitions feed back and impact broader urban design debates and discussions has neither been theorized nor

History of Architecture II, Kenneth Frampton, Barragán and Goeritz, Satellite City Towers, Mexico City, 1957, A SYMPOSIUM: Work and Research, Robert Marino, Alisa Andrasek, Yolande Daniels, Philip Parker, Mark Rakatansky, Karla Maria Rothstein, Jeannie Kim · FILM: Sleep, dir. Andy Warhol

03|25|05

146

HISTORY/THEORY/CLASSES

critically addressed. This seminar examined these competitions as sites for critical developments in urban design discourse and action.

This course explored the evolution of emergent constructive practices over the last decade. The classes alternated between case studies of exemplary projects and ﬁeld trips to production facilities. The ﬁnal project was a specula-

GENDER, ARCHITECTURE, AND THE CONSTRUCTION OF MODERNITY,

tive analysis of a constructive practice integrated with an economically feasible

Mary McLeod

method for implementation.

This class explored the intersections between gender and modern architecture, examining themes such as domestic reform, images of the New Woman, transforma- IDENTITIES AND RESISTANCES IN CONTEMPORARY tions in lifestyle, institutional changes in the architectural profession, the question NON-WESTERN ARCHITECTURE, Brian Taylor of a “feminist” aesthetic, and technology and feminism. The class will be divided [text to come] into two parts: an introductory section that will examine theoretical texts in feminism (texts by Virginia Woolf, Luce Irigaray, Hélène Cixous, Julia Kristeva, Elizabeth THE ORDINARY, Enrique Walker Grosz, Judith Butler, Rosalyn Deutsche) and a second section will investigate more This seminar examined the notion of the ordinary as it has been instrumentalspeciﬁcally a series of topics in modern architecture that raise issues of gender. ized in the architectural debate, in particular from 1968 to the present. Organized In this portion of the class students will read a broad range of texts by women ar- around a series of case studies--episodes in the scrutiny of so-called existing conchitects, gay and lesbian critics, and feminist theorists, including Dolores Hayden, ditions--this seminar attempted to trace its trajectory as a critical site of inquiry Gwendolyn Wright, Denise Scott Brown, Jane Jacobs, Beatriz Colomina, Susan by addressing a wide range of cultural production, particularly that dealing with Henderson, Joan Ockman, Deborah Fausch, Henry Urbach, George Wagner, and the examination of the city: from Surrealism’s found to the Independent Group’s others. The choice of subjects covered in this section depends in part on students’ as found, from Ed Ruscha’s Every Building on the Sunset Strip to Thomas Struth’s research projects. The class was supplemented by a series of guest speakers who Shibuya Crossing, from Henri Lefebvre’s quotidian to Cause Commune’s infra-quoexplored subjects of current research, including Esther da Costa Meyer (on Lina tidian, from Georges Perec’s Tentative d’epuisement d’un lieu parisien to François Bo Bardi), Victoria Rosner (on Bloomsbury Group and the New Interior), and Sheila Maspero’s Roissy Express, from Robert Venturi’s and Denise Scott Brown’s Las Levrant de Brettville (on the L.A. Woman’s Building and 1970s Feminism).

Vegas to Rem Koolhaas’s Lagos. In so doing, it also attempted to interrogate the ways in which architecture has by attending to the ordinary dealt with emergent,

CONSTRUCTIVE PRACTICES: FROM CONVENTION TO INVENTION, Kathryn Dean

and seemingly irreducible, urban phenomena, as well as has thereby gradually

As architects, we are blessed to live in an extraordinary time. We live in a time when constructed a novel practice of architectural theory: one entailing an existing citythe stirrings of both digital and global change are creating realms of possibility that -always alien, and arguably too overwhelming to be ignored--which can potentially are as yet not fully realized. It is this not fully realized state that makes it extraor- become the site for unveiling symptoms of the contemporary urban condition or dinary, for it is under such conditions that all things are questioned in a search for envisaging new possibilities for architecture. the possible. This pleasure of the possible is also the pleasure of the academy at moments of historical change.

BEYOND BEAUTY: THE SUBLIME AND THE PICTURESQUE, Mary McLeod

Yet, out of the academy and the imaginations of the possible, there will come In the ﬁrst chapter of Architecture and Utopia Manfredo Tafuri delineates what he a time when the space of the possible crosses the lines of the probable, and yet calls the “inherent opposition” of practitioners in modern art and architecture: another when the lines of the probable become the conviction of the absolutely in- “those who search into the very bowels of reality in order to know and assimilate evitable. These are the lines and forces that we have yet to discover and thus the its values and wretchedness; and those who desire to go beyond reality, who want depth of change has yet to bear the ring of the inevitable. We are only pleasurably to construct ex novo new realities, new values, and public symbols.” For Tafuri, this stumbling toward this inevitability.

division does not reﬂect separate origins or causes, but rather stems from a speciﬁc

Exotic Moderns: City, Space and Other Modernities, Jyoti Hosagrahar, Old Delhi, B 12 Dialogical and Poetic Strategies, Yehuda Safran, Francis Crick, sketch of double helix, 1953, H David Shane, Recombinant Urbanism, Layered London, Rodrigo Guardia, I

03|28|05 - 05|07|05

DEBATE 5: Emergency Landscapes?, Mark Wasiuta, Matt Coolidge, Erik Knutzen · EXHIBITION: Analog

Architectures Projects, Center for Land Use Interpretation, Arthur Ross Gallery · SEMINAR: Frank Lloyd Wright and Feminism, Alice Friedman · PRESENTATION: Lightweight Honeycomb Panels, Christine Mitman

147

historical situation: the emergence of the eighteenth-century capitalist city and a expressions such as historic quarters, colonial architecture, planned capitals, new view of nature as both reason and sensation. On the one hand, the “reason” squatter settlements, and the de-territorialized landscapes of globalism in cities underlying nature serves as a model for notions such as structural articulation, in Asia, Africa, and Latin America. type, and functionalism; on the other, nature’s emotional effects become the basis of a “science of sensations.” Reason and “unreason” are thus not distinct entities TWELVE DIALOGICAL AND POETIC STRATEGIES, Yehuda Safran but two integrally related responses to the same conditions: the collapse of earlier · Irony/Empathy and Abstruction · The Sublime: Sublime Uselessness, Sublime aesthetic models in the face of new contradictions and tensions arising from chang- Melancholy · Rhetorics of Temporality, Rhetorics of Material · Simultaneity/ ing conditions—economic, political, scientiﬁc, and cultural—that emerge full-force Multiplicity · Gravity and Grace · Indirect Voices of Silence · Indirect Voices of Exile and in the eighteenth century.

Cunning · Visible/Invisible · The Un-nameable · Zimzum/Seven Types of Reduction ·

Although there is (as with all theoretical constructs) a certain artiﬁciality and Sense and Nonsense · Broken Vessels/Classical and Christian World Harmony arbitrariness to this binary division, it is a useful means to organize various tendencies in architectural theory that have persisted or resurfaced in different guises PHILOSOPHY OF MATERIALS AND STRUCTURES, Manuel Delanda from the late seventeenth century to the present. This seminar will focus on one This seminar introduced students to all the basic concepts in Materials Science, half of this division: namely, architectural theories and philosophical positions that stressing not only the usefulness of this knowledge for the purpose of design but might be seen as indebted to sensationalism, empiricism that sees sensation or the also its intrinsic interest as a basis for a technically-sound philosophy of matsense sensation arising from experience as the initial source of knowledge.

ter. The lecture covered a wide variety of materials, from metals and concrete, to the new ceramics and composites, as well as a variety of organic materials, like

EXOTIC MODERNS: CITY, SPACE, AND OTHER MODERNITIES, Jyoti Hosagrahar

bone and muscle. The kinds of load-bearing structures that these materials can

Do all cities have to resemble the idealized urbanism of Western Europe and North be used to build were explored, and the different engineering and mathematiAmerica to be modern? In an interconnected world of global ﬂows, can we see the cal tools needed to understand these structures were analyzed and explained, all built environment of the contemporary “non-West” as modern, albeit, a different from a philosophical perspective emphasizing the basic conceptual ideas rather modern? This seminar explored the complex and paradoxical forms of buildings than the technical details. and cities outside the conventional West and examined what happens when global modernity engages with particular places, localities, and traditions.

PUBLIC SPACE AND RECOMBINANT URBANISM, Grahame Shane

The seminar began with the premise that modernity, claimed and deﬁned by This seminar examined how cities evolve, developing public space and density, the West, was fundamentally global and that colonialism and modernity are inter- followed by cycles of either expansion or decline. The emphasis was on the rules related. From these perspectives we explored the cultural, political, and symbolic that generate the initial growth and on how they are transformed in later iteradimensions of transformation in the built environment. Readings, discussions, tions, innovations or repetitions. A major focus was on the relation between the and research papers focused on the ways in which globality and locality have rec- public space in different growth patterns in the city and the changing relations of onciled when particular settlement practices/spatial cultures encountered mo- various attractors. The seminar attempted to decipher how these relationships dernity. While recognizing our subjective position within the Western academe, we develop over time and what impacts these changes have on speciﬁed areas of examined critically dualities such as traditional and modern, West and non-West, the city and its built form, public space and fabric. Various alternative scenarios Orient and Occident, as culturally constructed categories that frame professional and city models were considered from around the world. The course surveyed a understanding and interventions in architecture and city planning. An interdisci- set of growth strategies from the past and present situations, and then students plinary and cultural understanding of the modernity, colonialism, postcoloniality, presented case studies. An archive of presentations is available as an atlas of globalization, nationalism and identity informed the study of particular spatial urbanization on the Urban Design Program website.

LECTURES: At an Impasse: Roadblocks in Landscape Preservation, Heidi Hohmann | American and Post-Soviet Planning: A Comparison, Sultanabek Usenov | Beyond the Design Urban Divide, Brian McGrath, Petia Morozov, Grahame Shane

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PH.D. PROGRAM

148

Kenneth Frampton, director

Jennifer Louise Gray

PH.D. CANDIDATES:

Sweden as a nation-family living under the roof of social equality and welfare solidarity (folkhemmet or “the peoples’ home”) was a leitmotiv for the new society promised

Min Ying Wang

ORGANIZATION AND ABSTRACTION: THE ARCHITEC- under Social Democratic governance, the home bore economic as well as metaphoriMPhil Candidates:

TURE OF SOM FROM 1933 TO 1956, Hyun Tae Jung

Helen Gyger

This dissertation seeks to understand how “corporate placed a new emphasis on consumption and the home as the engines for economic

cal import for the party. Rather than the factory and production, Swedish socialists

Elsa Lam

architecture” began and became so successful in the transformation. Modernizing the home and objects of everyday use, and educating

Brad Walters

United States. I will do so by investigating—at once his- the populace to consume “correctly” were elevated to the status of a national project.

Ralph Ghoche

torically, iconographically and theoretically—the ﬁrm Despite this, housing provision was never nationalized. Rather, it fell to the “third

Inderbir Riar

of SOM (Skidmore, Owings & Merrill) which is so often, sector” to realize the transformative potential of the “consuming home.” Foremost

Eunice Seng

and quite rightly, taken as the genesis and exemplar among these non-government, non-proﬁt organizations was Kooperativa Förbundet

Shantel Blakely

of the shift. The main focus will be on the ﬁrm’s early (KF), the consumer cooperative society. Believing that consumption patterns were

Cesare Birignani

history from 1933 to 1956, during which SOM had begun shaped by the design of the home and visa versa, the study of the layout and contents

Robert Rubin

to soar from a small ﬁrm to a large international ﬁrm of the modern dwelling became a major concern for KF. This dissertation will concen-

Tao Zhu

without peers. It is my premise that, by combining flex- trate on the significant contribution made by KF and its architectural office to housing ible organizational structures with an efficient design design and domestic culture in Sweden, proposing new ways to explore the infiltration

production system, SOM was able to establish “universal” standards of ofﬁce build- of modern design into everyday life. Moreover, it will offer an alternative perspecing design, and to develop them, repetitively and organically.

tive on the architecture of the welfare state in the twentieth century, one which looks

Over the years, SOM had a critical impact on the prosperity of modern ar- beyond the proviso of state or municipal patronage to the role of architects in civil chitecture and the dominance of American skyscrapers, but not a single historical society in achieving the aims of social democracy. study about the ﬁrm itself has been done. MODERNITY IN TRANSLATION: EARLY 20TH CENTURY GERMAN-TURKISH EXTHE PROBLEM OF MEDIA IN MODERN ART AND CULTURE,

CHANGES IN LAND SETTLEMENT AND RESIDENTIAL CULTURE, Esra Akcan

Sjoukje van der Meulen

This dissertation develops a theory of architectural translation and explores the

I will consider the problems that media pose to modern art and culture. Even cross-cultural relations between Germany and Turkey in land settlement and resithough the impact of media will primarily be demonstrated through modern art, dential culture. It analyzes three connected genealogies of translation: the prethe term culture is added to the title to indicate the interdisciplinary aim of this war garden city ideal, the Siedlung and New Building debate, and the discourse thesis, which is expected to be relevant for the analysis of cultural objects of other around national vernacular types. Translation is elaborated here as a conceptual disciplines as well, such as ﬁlm or architecture. What I set out to prove in this dis- framework that invalidates global/local as well as West/non-West duality as an opsertation is that media cause a general problem within modern culture, which con- position, and emphasizes the intertwined histories between places by tracing the dition cultural objects at large.

ﬂows of people, ideas, images, information and technologies across physical and cultural space, as well as their varying degrees and modes of transformations at

SEIZING THE MEANS OF CONSUMPTION: KOOPERATIVA FÖRBUNDET AND

the new destinations. Methodologically, this broadens the established norms of ar-

THE SWEDISH HOME, 1924-1957, Lucy Creagh

chitectural historiography, which perpetuate either narrow national or broad but

The rapidly rising standard of living enjoyed by Swedes under the welfare policies of ﬁxed geographical limits. I differentiate translation in lingual and visual mediums, the Social Democrats after 1932 was most readily perceived in the elevated quality of and theorize architectural translation as any condition where a cultural ﬂow takes the average Swedish home, its furnishings, equipment and services. While the idea of place, which can range from excessive domestication and assimilation to abrupt and

03|29|05

ROUNDTABLE 12: Building Affordable Communities: Opportunities and Constraints: Robert Ezrapour, Kim Hardy, Yoav Haron, Marvin Meltzer,

Ken Olsen, Blondel Pinnock, Gerard Romski, Aaron Stevens, David Walsh, Charles Shorter, Karen Krautheim · SEMINAR: Slums and the Millennium Development Goals, UN Commission on Sustainable Development

149

estranging interjection of a foreign object. However, translation is hardly a neutral of unplanned and often illegal buildings. This urbanism is difficult to categorize or exchange, removed from the geographical distribution of power. It thus needs to be judge, being at once modern and vernacular, an innovation and a continuity, a failure analyzed with both its liberating and colonizing faces. Architectural translation es- and a success. My thesis explores the production of these buildings in the first Post tablishes a contact zone through which a country enriches itself by opening up to the World War II decades, along with architects’ alternative visions and their attempts to foreign, but which also reveals the tensions and conflicts created by the perceived contain it. Despite such well documented problems as congestion, ‘lack of aesthetics’ inequalities between places. An understanding of modernization as translation re- and inadequate green spaces, there were other more positive aspects to Athenian jects the categories of the “pure West” and “pure East,” and challenges their hier- unplanned development. The generic housing of this period, the polykatoikìa (multiarchies. It seeks to destabilize the category of the “non-Western” as the “civilization apartment block), mostly built by private initiative, was of a much better quality than that clashes” with the “West,” even though “West” and “East” have been imagined that of shanty towns in other developing countries. It looked modern, deploying a as separate cultures and assigned with different characters during many moments simplified modernist vocabulary of flat roofs, white unornamented façades and large within this continuing hybridization process.

window openings. At the time it stood for a positive transformational experience of rural migrants into urban dwellers, with urban aspirations and a modern way of life.

QUADRANTE AND THE POLITICIZATION OF ARCHITECTURAL DISCOURSE

Yet being largely participatory, self-propagating and improvisational, the polykatoikìa

IN FASCIST ITALY, David Rifkind

functioned much like traditional / vernacular processes. By drawing upon interdisci-

Through a detailed study of the journal Quadrante and its circle of architects, critics, plinary insights, I have been developing a methodology that helps us make visible this artists and patrons, this Ph.D. dissertation investigates the relationship between Athenian urban history; it might also be useful in thinking about similar phenomena, modern architecture and fascist political practices in Italy during Benito Mussolini’s especially in the so-called developing world. regime (1922-43). Rationalism, the Italian variant of the modern movement in architecture, was at once pluralistic and authoritarian, cosmopolitan and nationalistic, MODERNIST DREAMS: ARCHITECTURE, POLITICS, AND THE HOUSING QUESTION politically progressive and yet fully committed to the political program of Fascism. IN CZECHOSLOVAKIA, 1930-1960, Kimberly Elman Zarecor As of yet, there is no detailed, comprehensive analysis of the theoretical debates Although it is difficult to see the crumbling, gray facades of the former Eastern Bloc that shaped Italian architecture in the years between the two world wars. An ex- as great testaments to the potentials of modern architecture, these buildings did haustive study of Quadrante in its social context will begin to explain the relation- reflect a dedication to technological innovation, social equality, and formal clarity ships between the political content of an architecture that promoted itself as the unrivaled in the twentieth century. Built in an era that the West has commonly porappropriate expression of Fascist policies, the cultural aspirations of an architec- trayed as one of rupture, isolation, and deprivation, socialist architecture in Eastern ture that drew on contemporary developments in literature and the arts, and the Europe was in fact connected to contemporary experiments in the West and to the international function of a journal that promoted Italian modernism to the rest of specific legacies of the region’s interwar years. Focusing on the intersection of arEurope while simultaneously exposing Italy to key developments across the Alps.

chitects, housing design, and the state apparatus between 1930 and 1960, this case study seeks to understand the development and deployment of modern mass-hous-

MODERN ARCHITECTURE WITHOUT ARCHITECTS: UNPLANNED URBANISM

ing types in Czechoslovakia from the avant-garde projects of the Depression era to

AND VERNACULAR CULTURE, ATHENS, 1949-1974, Ioanna Theocharopoulou

the industrialized panel-buildings of the 1950s. The core of the dissertation looks

Cities are only marginally the result of architects’ and planners’ visions or interven- at the institutionalization of housing design after 1948 and the extent to which the tions. Throughout the twentieth century, countless urban spaces were informally Communist administration adopted and carried forward already established modproduced and rarely appear in architectural histories. They nevertheless suggest els of architectural modernity. The project proposes a re-periodization of architecanother history, one that remains outside the central concerns of the discipline. tural development in the Eastern Bloc and emphasizes a shift in the mid-1950s from Contemporary Athens is a particularly striking example of a city primarily composed Marxist idealism to the bureaucracy of the planned economy.

Esra Akcan, Modernity in Translation: Early 20th Century German-Turkish Exchanges in Land Settlement and Residential Culture, A David Rifkind, Quadrante and the Politicization of Architectural Discourse in Fascist Italy, B Ioanna Theocharopoulou, Modern Architecture Without Architects: Unplanned Urbanism and Vernacular Culture, Athens, 1949-1974, C Kimberly Elman Zarecor, Modernist Dreams: Architecture, Politics, and the Housing Question in Czechoslovakia, 1930-1960, D LECTURE: NYC Strategy Plan, Amanda Burden · OPEN HOUSE: Historic Preservation

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MS ARCHITECTURE AND URBAN DESIGN

150

Richard Plunz, coordinator, Richard Plunz, Michael Conard, Kate Orff, critics Jose Luis Echeverria, Jordi Mansilla, Jorge Perea, visiting critics, Spring 2005

RE-CENTERING BARCELONA

bregat (south) and Badalona (north) have become phys-

The studio explored the recent transformations of Bar- ically joined. Barcelona remains compact, but given this celona, which has continued its remarkable evolution expanded ﬁeld of urbanization, the geography of investthat began in earnest with industrialization in the nine- ment is shifting, affecting the older urban center as well teenth century. Following dramatic economic transfor- as the external region.L’Hospitalet, the principal focus mation in the 1960s, the liberating end of the Franco of this discourse, has become crucial in the evolution government in 1975, and the city’s preparations for the of the new regional conﬁguration and Barcelona’s re1992 Olympics, Barcelona has become a vastly different centering, becoming its own “center,” with accompanyentity in recent years.

ing demands for high-density development. Students

Most notable have been the recent urbanization considered questions of an inherited urban fabric and to the north and south, especially along the coast--such changes in spatial logic, and premised that L’Hospitalet that the adjacent municipalities of L’Hospitalet de Llo- must ﬁnd its own modes of city production, since the

03|31|05

MEETING: Urban Planning, Flushing, Queens project: Wellington Chen

151

implementation of foreign urban forms--supermarkets, commercial malls, and sub-urban housing-–evidenced maladjustment between the old city’s character and the new models. The studio addressed the capacity of the city to generate its own images and spaces, according to a speciﬁc way of understanding and producing concrete new forms of economic life for the city.

KINNE TRIP: Hani Rashid Studio: Berlin, Wolfsburg, Frankfurt, Germany

04|01|05 - 04|15|05

URBAN PLANNING STUDIO

Ethel Sheffer, Michael Samuelian, critics, Jennifer Traska Gibson,

Floyd Lapp, critic, Spring 2005

Teaching Assistant, Spring 2005

Marshall Adams

The Tappan Zee Studio involved studying the Tappan

Gregory Hartman

Zee Bridge and the I-287 corridor that stretches over Don Blakeney

The neighborhood of Flushing is located in northeast

Craig Lader

30 miles from Rockland County to Westchester County. Alyson Elliott

Queens and is part of Community Board 7 in New York

Ramon Munoz-Ruskin

The bridge, which incidentally was built to last only 50 Roberta Fennessy

City. With approximately 137,000 residents, Flushing

Jolene Yeats

years, already exceeds its vehicular capacity. The pur- Silvett Garcia

is the largest neighborhood in Community Board 7. In

Catherine Zacchea

pose of the studio was to examine the transportation Jeff Geller

collaboration with AAFE (Asian Americans for Equal-

Dayu Zhang

trends and land-use patterns and recommend a multi- Constantine Kontokosta

ity), this studio investigated the two distinct edges of

Adam Zaranko

modal transportation solution. This task was further Christie Marcella

downtown Flushing that remain neglected despite

complicated by the predominantly low population den- Tara McCaw

previous planning initiatives. AAFE asked the studio to

sities along the I-287 corridor. Ultimately, the group Jee Hyun Park

focus its planning efforts on these speciﬁc edges and

selected a replacement bridge coupled with bus rapid Jacob Press

to assess the physical and social context as a result of

transit to serve the future transportation needs.

Stacy Radine

past development and to provide recommendations on

Alison Silberman

future development. The ﬁrst study area is located to

Dora Tan

the North of downtown and is an underutilized yet his-

Ana Zanger

torically distinct corridor along Northern Boulevard,

GROUP PROJECT A/B/C/D

FLUSHING: ENGAGING THE EDGES

extending from College Point to Parsons Boulevard. The second study area is located to the west of downtown, and deals with issues of improved neighborhood access to Flushing Meadows-Corona Park anchored by College Point Boulevard. Despite the previous lack of adequate planning, the studio was able to identify both assets and challenges presented by each of these areas. By addressing issues of urban design, use, transportation, and accessibility, we formed the basis for our A

04|01|05

recommendations for the revitalization and improvement of these two areas. This studio highlights the historical signiﬁcance of Flushing, describes existing conditions and past planning initiatives, and presents recommendations that are essential to the revitalization and continued development of Flushing’s edges.

SYMPOSIUM: Italy Now: Positions in Architecture, Pier Vittorio Aureli, Aldo Aymonino, Stefano Boeri, Cherubino Gambardella, Ian Mastrigli,

Gabriele Mastrigli, Cino Zucchi

URBAN PLANNING STUDIO

153

Michael Fishman, Joyce Rosenthal, critics, Spring 2005

CLIENT: CEDAR SHOPPING CENTERS, INC.

GROUP PROJECT, K/L/M/N/O

Tommy Manuel

Our studio’s client, Cedar Shopping Centers, Inc.

Scott Barnholt

Joe Mcgrath

(Cedar), is a real estate investment trust (REIT) that

Matt Feinstein

Cat Tseng

owns and operates a portfolio consisting primarily

Jacob Feit

Stacey Wadhwa

of shopping centers. Cedar’s niche has been to focus

Hilary Gietz

on grocery store anchored shopping centers. Cedar’s

Tracie Goldman

typical strategy is to acquire old and tired centers and

Erin Hyland

“recycle” them into thriving neighborhood centers,

Megan Kelly

typically anchored by Giant grocery stores.

Eric Mandel

Therefore, in working with a publicly-traded company, any recommendations we would give our client should not harm the interests of Cedar’s stockholders.

The studio provided a unique opportunity for urban planning students to work with a client in the private sector. The studio was initiated in the hopes of enhancing Cedar’s turn-around strategy: to take run-down shopping centers and springboard off the work Cedar would normally accomplish on its own. We began with the general question of how the typical shopping center could be improved upon, and from there, tailored our goals to reﬂect what we learned from our study of shopping center precedents and Cedar’s portfolio. Throughout, the goals of the studio were intended to be broad enough to encompass a variety of interests and allow for a broad spectrum of recommendations for Cedar.

COLLOQUIUM: 40/Forward, Historic Preservation

04|02|05

URBAN PLANNING STUDIO

154

Peter Marcuse, Johannes Novy, Susanna Schaller, critics, Client: Harlem Business Alliance, Sponsor: DAAD (German academic exchange service), Spring 2005

TOURIST CITY—SOCIAL CITY

stimulate neighborhood development. Furthermore, we

This studio explored the potential for tourism as a were driven by the goals of maintaining neighborhood means to revitalize low-income urban neighborhoods. character, collaborating with and involving the commuHow can tourism contribute to equitable neighborhood nity, and protecting and promoting local businesses. development, in which life quality, diversity, partici-

To contextualize our research in Harlem, we in-

pation and equal opportunity are the ultimate goals? corporated a collaborative comparative study with the Tourism is happening in Harlem, but this studio be- Technical University in Berlin and investigated tourism lieves that tourism should be harnessed to include and and social development initiatives ﬁrst-hand in Kreuzbeneﬁt the local community.

berg, Berlin. This comparison provided not only con-

The work of the studio focused on developing a crete implementation techniques, but also the opporplan to create mutually beneﬁcial opportunities for Har- tunity to observe alternative perceptions and methods lem’s communities and visitors and for using tourism to of fostering and harnessing tourism.

Joshua Benson

Sung Jin Moon

Janina Franco

Sarah Rollmann

Heidi Gorman

Michelle Sorkin

Anthony Johnson

Joy Tien

Elizabeth Kays Sadaf Khatri

IMAGE

Shelby Kohn

Marcuse/Novy/Schaller

Cassondra Mehlum

Studio, G/H/I/J

Leah Meisterlin

04|04|05

MIDTERM REVIEW: Michele Fornabai Studio, guest critics: Kathryn Dean, Igor Siddiqui · PRESENTATION: Resi-Rise Project, Modeling and

Fabrication Techniques, Bill MacDonald, Laurie Hawkinson

URBAN PLANNING/ ADVANCED ARCHITECTURE JOINT STUDIO

155

Mojdeh Baratloo, critic, Spring 2005

THREAT MANAGEMENT: LAND, WATER & INFRASTRUCTURE New Paradigms in Green, Blue, Yellow, Orange & Red Brisbane For the second year and in cooperation with the University of Queensland and Queensland Rail in Brisbane, Australia, this research and issue-based studio continued a long-term international collaboration and academic exchange. By taking advantage of the studioâ&#x20AC;&#x2122;s cross-disciplinary structure, students put to question research, design and development processes that adYuichiro Yamaguchi (e) Mathieu deGenot de Nieukevken Yeelok Luk Anna Goldberg (a) Natalie McCorkle (f) Kate Scott (b, c, d) Legier Stahl

dress urban and regional relationships within an urban river valley in general and the Brisbane River Valley in particular. The studioâ&#x20AC;&#x2122;s interaction with a diverse group of experts as well as public and private stakeholders in New York and Brisbane allowed the students to interrogate and engage a range of issues encompassing the overlapping zones of ecology, economy and society that inform the city and its physical design. see p. 122 for more work from this studio

LECTURES: Public Financing of Urban Development, Rich Froehlich, Kim Paparello, Michael Vaccari | The Nature and Impact of Tourism in the Third World, David Gladstone | Addition & Subtraction, Adam Yorinsky

04|04|05

PH.D. PROGRAM

156

Lance Freeman, acting director

PH.D. COMMITTEE:

The Ph.D. Program prepares students for careers Gabriella Carolini

Elizabeth Blackmar

in teaching, research, and advanced practice in the My dissertation interests are in the social bases of ﬁnancial innovations in the

Lawrence Brown

fields of urban theory, policy, and planning. The pro- affordable housing sector. The basic question I seek to answer is, ‘what makes

Coralie Bryant

gram has as its specific field of inquiry the articula- ﬁnance mechanisms work in speciﬁc locales?’ In particular, I am researching the

Charles Cameron

tion of space (understood as material form, not mere evolution and performance of affordable housing ﬁnance instruments, with a spe-

Kenneth Frampton

geographic territory) and social and physical urban cial interest in Argentina, Brazil, Thailand, and the United States. Central to this

Lance Freeman

processes in their various embodiments in the built study is the basic yet elusive question of how to foster change and move toward

Ester Fuchs

environment. Organizing this inquiry are questions proactive housing ﬁnance policies in countries experiencing serious affordable

Herbert Gans

related to the efficiency and equity of planning prac- housing pressures in urban centers. One of the main implications that will emerge

Jeffrey Henig

tices and, on a more theoretical level, questions of from this research is how policy (at local, national, and international levels) can

Kenneth Jackson

urban form.

or should steer the development of flexible capacity-building finance options for communities and cities currently lacking sufficient resources. This study paral-

Peter Marcuse Lorraine Minnite

“SOLID TESTIMONY OF LABOR’S PRESENT STATUS”: lels my current work for the UN Millennium Project’s Task Force on Improving the

Richard Nelson

UNIONS AND HOUSING IN POSTWAR NEW YORK Lives of Slum Dwellers.

Mary Northridge

CITY, Hilary Botein

Brendan O’Flaherty

The purpose of this dissertation is to examine the Elizabeth Currid

Jorge Otero-Pailos

role of labor unions in producing, preserving, and There is no greater home to the creative economy than New York City. Once heralded

Charles Sabel

advocating for decent, affordable housing, with a as a bastion of industrial and then ﬁnancial prowess, New York City has become a

(Law School)

focus on New York City after 1945. The dissertation leading player in the post-industrial global creative economy, an economy that relies

Elliott Sclar

seeks to determine whether the labor movement’s on the innovation, ideas and creativity of human capital. Research conducted explor-

David Stark

once vigorous participation in the housing movement ing the creative occupations in New York City highlights the importance of artistic and can be resurrected. The study analyzes this problem cultural occupations such as artists, fashion designers, and ﬁlm directors within the

through three primary approaches. First, from a historical perspective, it ex- region (Currid and Espino 2004). This research chooses to deﬁne creative industries plores what motives propelled unions, their members, and leadership into the and occupations as those that require constant innovation for survival and as such housing movement, and how those motives influenced the housing policies and engage in “generating meaningful new forms” (Florida 2002), with a particular emprograms that resulted. Second, from a contemporary perspective, the study phasis on the cultural and artistic (Caves 2000, Markusen 2003, 2004). will explore how collaboration between housing and labor movements, in the

This research aims to systematically look at how creativity operates within

form of community-labor partnerships, could be fruitful for both sets of stake- New York City and how the city facilitates innovation and “creative destruction” holders. Third, from a public policy perspective, this study will examine how (Schumpeter 1942) among artistic and cultural producers. This research argues that labor and housing leaders, with support from government interests, might for- New York City has become a global center of creativity and enables creativity through mulate a “housing movement” from a broad-based constituency, and how such its urban networks and milieu. In tandem, this research hypothesizes that creative ina model could inform public policies.

dustries operate and interact with each other differently than traditional industries.

04|05|05 - 04|19|05

Ebru Gencer: Building wall bracing techniques. Kadikoy, Istanbul, 2004, A

KINNE TRIP: Frederic Levrat Studio: Dubai, UAE; Kabul, Afghanistan

157

PH.D. CANDIDATES:

SUSTAINABLE PLANNING FOR HAZARD

munities over their tangible heritage, contributing to a more integrated perspec-

Eric Allison

MITIGATION: SOCIO-CULTURAL DISPARITIES IN

tive of policy-making for development.

Padmini Biswas

EARTHQUAKE MITIGATION PROJECTS IN ISTANBUL,

Hilary Botein

Ebru Alyse Gencer

Tiberio Alves de Souza

Drawing largely on the case study of Istanbul, this dis- The preliminary goals of this project are to undertake demonstration projects to

Jay Deputy

sertation examines the link between sustainable urban look at the effect on costs and building energy consumption in converting rooftops

Vojslava Filipcevic

planning and vulnerability from natural hazards. It in- from a low albedo (i.e. black tar) to more reﬂective and emissive surfaces, in order

Lance Freeman

vestigates whether there are disparities in the way this to determine potential savings and feasible incentives to different parties in NYC.

Matthew Gebhard

vulnerability is managed by local administrations and This study will include mapping of low albedo neighborhoods, community-based

Ebru Alyse Gencer

to what extent the differences are a result of ﬁnancial public education and outreach, research on environmental rooﬁng techniques, and

Susan Gladstone

resources, political deviation or religious and tradi- will outline other architectural interventions and research.

Milena Gomez

tional backgrounds in relation to the social and spatial

Grace Han

inequality of the metropolitan city.

THE COOL CITY PROJECT, Joyce Rosenthal

In the long term, this project plans to design and implement measures to reduce heat stress in the NYC built environment, focusing ﬁrst on the rooftops of residential buildings, speciﬁcally those most in need. Additionally, I hope to

Patricia Houser

quantify the environmental and health beneﬁts, determine the most effective

Ligia Largura

Ingrid Annett Olivo

Leticia Mendoza

The main objective of the proposed PhD topic is to institutional and organizational channels for encouraging the use of mitigation

Johannes Novy

analyze the trends and effects of the post-earthquake strategies and disseminating information on beneﬁcial techniques, and make the

Ingrid Annett Olivo

reconstruction processes taking place within the mi- research results publicly available to facilitate the adoption of cost-effective mea-

Jung Eun Park

cro-region of Juayúa, El Salvador, in the light of the sures for residential and commercial buildings that will improve the overall urban

James Cuz Potter

ongoing transformations related to its natural and environment, and mitigate the urban heat island effect and associated air quality

John Powers

built heritage. Cultural heritage planning, while im- degradation in New York City.

Ana Puzkin-Chevlin

portant for the promotion of long term development,

Joyce Rosenthal

is often seen as an isolated and secondary factor for Shane Taylor

Jennifer Schwartz

development policy making, even with the consider- This research theorizes “Educational tourism” and examines its impacts on cities

Yumie Song

ation of natural disasters. Consequently, its preven- in the less developed world along with implications for planning and regulation.

Rachel Stein

tive protection and further reconstruction tend to be Focusing on Nicaragua and Ecuador, the research will look at institutions that shape

Erika Svendsen

among the overlooked or less targeted actions. The the experiences of ‘students who travel’ and ‘travelers who study’. This research

Shane Taylor

isolation can be traced back to the origins of cultural aims to deepen an understanding of the forms and types of urban tourism that have

Mark Walker

heritage planning, development policy making and broader and more beneﬁcial impacts on the people and places that host them as

Lei Wang

disaster planning. The lessons learned from this ex- well as those models of planning and policy orientation which enable such types.

Sabrina Williams

perience could be useful to encourage reconstruction

Choi Yoonjong

strategies that support the inalienable rights of com-

LECTURES: The Scape, Mark Cousins | Techniques of Project Evaluations, Moshe Adler · OPEN HOUSE for admitted students

04|06|05 - 04|20|05

MS HISTORIC PRESERVATION/ PLANNING FOR PRESERVATION

158

Karyntha Cadogan, Dorothy Miner, Françoise Bollack, Andrew Dolkart, George Wheeler, critics, Spring 2005

During the three years after the attacks of September 11, 2001, Lower Manhattan has been the focus of planning and construction efforts. The impetus for choosing Downtown East for this year’s historic preservation studio was to study how the WTC development—on and off site—was going to affect this neighboring area. Downtown East is home to architecture ranging from the eighteenth to the twentieth centuries, from loadbearing masonry counting houses to engineering feats such as the Brooklyn Bridge, and from steel frame construction to curtain-wall technology. Because of the possible impacts on these significant structures, the interest in the development of the study area is timely. Faced with a growing residential community and major infrastructural projects like the Fulton Transit Center, Downtown East’s historic architecture is more vulnerable than ever before. This preservation plan is a result of two semesters’ work. Starting in Fall 2004, the firstyear students of the Historic Preservation Program began to identify the salient historic characteristics of Downtown East by documenting the historic fabric and researching its history. The goal of the second semester was to identify the issues and problems that Downtown East faces, to assess their impact on the significant historic resources in the area, to propose a compelling goal for preservation, and finally, to provide solutions in the form of a plan that builds on the existing community and political resources.

Sara Adams

Tellina Liu

Katherine Allen

Benjamin Marcus

Carly Bond

Shirley Morillo

Karyntha Cadogan

Maggie Oldfather

Lauren Cato

Craig Oleszewski

Julie J. Cridland

Cassandra Smith

Andria Darby

Lindsay Smith

Amanda Davis

Julie Thompson

Heidi Druckemiller

Sabine van Riel

Manami Kamikawa

Jessica Williams

Margaret Gray Kincaid Anne Lebleu

04|06|05

KINNE TRIP: Leslie Gill/Tina Manis Studio: Phoenix, Tucson, Bisbee, Douglas, Naco, Nogales, Yuma, Arizona; San Diego, California; Tijuana, Mexico

MS HISTORIC PRESERVATION/DESIGN THESIS

159

Laura Boynton

A HOME AWAY FROM HOME: THE TRUCKING INDUS- INTERPRETATION, DISPLAY AND CONSERVATION OF WORLD TRADE

Laura Buchner

TRY AND PRESERVATION

CENTER ARTIFACTS, Alison J. Greenberg

Sandy Chung

OF 1960S TRUCK STOPS, Jessica Breitbach,

Pamela S. Jerome, Advisor

Rama Dadarkar

Harry Kendall, Advisor

Following the terrorist attacks of September 11, 2001 efforts were made to salvage

Sarah Devan

Truck stops provide perhaps the only direct, tangible many different artifacts from the rubble to be used in future memorials, monuments

Jen Fields

connection that can be made to the history of the truck- and museum exhibits. The artifacts were stored at John F. Kennedy Airport, in Hangar

Lewis Gleason

ing industry. This thesis deﬁnes the various stages of Seventeen and shelters were constructed to help control the climate and humidity of

Jacqui Hogans

truck stop development, and concentrates on an analy- the more fragile artifacts. This thesis investigates some interpretation and display

Susannah Jackson

sis of the truck stops of the 1960s and their physical possibilities for the WTC artifacts currently housed at Hangar Seventeen.

Jen Kearney

characteristics. Once the signiﬁcance of the 1960s A CASE STUDY OF THE INTERPRETATIONS AT THE JAPANESE AMERICAN RELO-

Jennifer Ko

truck stops is determined, recommendations for the CATION CAMPS, Jill Nicole Hall

Jill Krupp

preservation of both the physical and cultural charac- Dorothy Miner, Advisor

Brent Lazar

teristics of the truck stops can be realized.

This thesis explores the need for individual stories with one particular group of

Jennifer Most

sites: Japanese American Relocation Camps. A comparison between these camps

Amy Peterson

AUTHENTICITY AND ADAPTATION OF HISTORIC MOV- and other negatively associated locales is provided to understand how locations in-

Tara Phelps

ABLE BRIDGES FOR

corporate individual stories along with a history of relocation. The thesis focuses on

Legier Stahl

CONTEMPORARY USE, Erika Carlson,

four individual camps to provide a detailed understanding of how they have evolved

Margaret Anne

Richard Pieper, Advisor

from destruction to recognition.

Tockarshewsky

As with other older bridges, historic movable bridges

Mikel Travisano

must live up to the expectations placed on infrastruc- BARNSCAPES: MAPPING RURAL CULTURAL LANDSCAPES, George Jaramillo ture, namely safety and convenience, in order to carry Paul Bentel, Advisor

on in their original capacity. Yet these structures require especially complex reha- This thesis proposes a formal investigation into the English rural landscape through bilitations involving both transportation and preservation officials, who may have a series of mapping techniques. The formal relationships between the elements differing goals. The compromises reached by the two professions, and how those of the landscape (i.e. barns, walls, and mine shafts) are analyzed and become the compromises affect the historic significance of a movable bridge, are the primary basis for preservation and influence new design. The result is a series of modern focuses of this thesis.

greenhouses that follow the contours of the rolling hills and grow crops for a bioreﬁnery.

Gloria Colom, Françoise Bollack, Advisor

Darby Noonan,

This thesis presents the case of Anna’s Hope Estate, on St. Croix in the United States Françoise Bollack, Advisor Virgin Islands, an example of a site that reﬂects through its structures most of the Now an architectural icon, the geodesic dome boasts remarkable use value even great events that mark the island’s history. Its iconic structures are stark reminders today. Its extensive functional capacity was advantageous to particular communiof a history based on slavery and poverty that many would rather forget. The thesis ties during the 1960s and 1970s, and it continues to beneﬁt contemporary societies. proposes that the site host an additional structure, a Hurricane Center, with the This thesis begins with an overview of the background and history of the geodesic purpose of providing support and education on disaster aid and relief.

dome, as well as a description of the formal and material characteristics. It then chronicles the extensive use of the geodesic dome through modern day, highlight-

PROPRIETARY ALKOXYSILANE SYSTEMS AND THEIR EFFICACY ON

ing its signiﬁcance, and concerns in preservation.

FINE-GRAINED MARBLE, Joselito H. Corpus George S. Wheeler, Advisor

EVALUATING THE NATIONAL TRUST MAIN STREET MODEL, Mark Soeth

Silane-based systems have been widely used over the last forty years in an effort Anthony Wood, Advisor to manage the deterioration of stone. These inorganic stone consolidant systems This thesis seeks to determine if the Main Street Four-Point Approach™ of the Naare called “alkoxysilanes” and ultimately deposit silica into disaggregated stone tional Trust for Historic Preservation adds more value to community revitalization substrates. Since the 1980s, conservators have discovered that alkoxysilanes im- efforts than alternative strategies. The study methodology is a matched pair’s compart “stability” on calcareous stones such as limestone and marble. This thesis is a parison applied to six communities grouped in three case studies. To the extent that study of proprietary alkoxysilane-based systems used on ﬁne-grained marble and similarities exist, differences in relative success can be attributed to the revitalizaevaluated by their modulus of elasticity and strength increases.

tion strategies. Three matched pairs were evaluated in terms of economic development, historic preservation, planning and social capital.

THE ELECTRICAL RESISTANCE MOISTURE METER AND INFRARED THERMOGRAPHY, Debora Machado de Barros

MODELING MOSTAR, Robert Thomson

Pamela S. Jerome, Advisor

This summer, the Mostar 2004 (M2004) program came to a close, having reached its

This thesis questions the efﬁcacy of electrical moisture meters and infrared ther- stated goal of involving students in the decade-long project of reconstructing parts mography when used for dampness diagnosis in structures contaminated by hy- of Mostar’s war-torn Stari Grad, including the celebrated Stari Most (“Old Bridge”). groscopic salts. In order to assess the effectiveness of both instruments in the I propose that the M2004 program can serve as a model for other long-term pedapresence of salts, a methodology was designed to allow for correlations between gogical exercises in historic preservation, and that an analytical dissection of the moisture content readings of brick samples exposed to distilled water versus brick program can help educational institutions and preservation organizations alike in samples exposed to salt solutions.

planning future preservation workshops.

SEMINAR: One View 1973–2005: The L.A. Woman’s Building, Sheila Levrant de Bretteville

04|07|05

REAL ESTATE DEVELOPMENT/ CENTER FOR HIGH DENSITY DEVELOPMENT, ENGLISH STATION VISION PLAN

160

CENTER FOR HIGH DENSITY DEVELOPMENT Columbia CHDD was founded in the belief that the current debate on Smart Growth and Sprawl does not adequately address the beneﬁts of density. We believe CHDD research initiatives will have broad political and investment implications.

GENERAL GROWTH PROPERTIES, A MSRED student Caleb Perrin, left, thanking General Growth President and CEO John Bucksbaum who proﬁled the growth and transformation of his company into a Real Estate Investment Trust with a broad variety of retail and mixed use building types. MCAFFREY INTERESTS,

Students met with Daniel McAffrey, the CEO of a highly innovative and pioneering mixed use and retail development company, who conveyed best practices and operating philosophy for executing urban lifestyle products.

04|08|05 · 04|09|05

REVIEW: Historic Preservation, Final thesis juries · LECTURE: Work, Patrik Schumacher

161

EQUITY OFFICE,

As the largest office REIT in the nation, Equity Office EVP Bob Winter heads development and joint venture management and described unique operating circumstances for REITs and the challenges of managing a large national portfolio of office projects. SKIDMORE OWINGS AND MERRILL,

The CHDD class visited world famous SOM architects and heard from Ross Wimer, Partner, in an overview of selected high density mixed use projects and the challenge to create new identity through design.

MAGELLAN DEVELOPERS,

David Carlins and his associate received students at their Lake Michigan marketing center, the focus of a very large 15 year multi-phase mixed use development of residential, hotel, and retail including a large public park as a central feature. ENGLISH STATION VISION PLAN,

F/G/H

Columbia CHDD prepared a Strategic Plan for an obsolete Power Plant on an island in the Mill River adjacent New Haven’s CBD. The English Station Vision Plan includes the creation of four districts--each focused on the extraordinary river fronting perimeter. Market absorption, infrastructure, remediation and development costs, potential TIF Financing scenarios and Developer IRR’s were calculated and analogs for architectural character selected.

PUBLICATION LAUNCH: Unleashing the Archive, A New Partnership Between Research and Design · PRESENTATION: Materials in Architecture: Craig Konyk, Laurie Hawkinson

04|11|05

NEW YORK -PARIS PROGRAM PARIS DESIGN STUDIO

162

Pierre David and Alain Salomon, critics, Spring 2004

The objective of the Paris Design Studio was to come to terms with the complexity and heterogeneity of the city structure, both in terms of analysis and design. This year, two sites were selected where the elevated métro, boulevards, urban highways, a canal with boat locks and bridges come together to form an urban knot or infrastructural hub along and across the Seine. Both sites were within the field of attraction of major Parisian monuments and sites: Notre Dame, the Bastille column, the Gare d’Austerlitz and the Jardin des Plantes for the site located along the Quai de la Rapée; the Eiffel Tower, the Australian Embassy, the Ile aux Cygnes for the site located near the Bir Hakeim bridge. The program called for the design of a Tourist Center. he first phase of the semester included three exercises that served as tools for the second design phase: a three-dimensional mapping of the knot to understand its effects on the city structure and the river; the invention of machines that are the codified and abstracted spatial transcription of four iconic Parisian buildings; and the design of a figura, a three-dimensional urban profile intended to reveal and articulate the Tourist Center’s typical and atypical spaces, movement and structure, in relation to the sites’ inherent capacities. B

In the second phase of the semester, students selected a portion of their ﬁgura to be developed architecturally, using mappings and machines as tools to inform their project and to test its spatial and urban assumptions.

Sara Ross A Benjamin Epstein B Heather Trezise C Sharif Khalje D Kirsten Shinnamon E

04|11|05

LECTURES: Community Development Policy, Lance Freeman | Communicating with Urban Designers, Brian McGrath | Rethinking Urban Space:

Swedish Contemporary Planning and the Case of Hammarby Sjöstad, Jonas Bylund, Elisabeth Lilja | Planning, Economics, Community Beneﬁts, Lionel McIntyre

BARNARD AND COLUMBIA COLLEGES ARCHITECTURE PROGRAM/ ARCHITECTURAL DESIGN 2

163

Karen Fairbanks, Celia Imrey, Joeb Moore, David Smiley, critics , Spring 2005

The second semester of this studio sequence looked at

Vera Shur, A/B

the more explicit implications of program and site as

Shanshan Qi, C/E/F

co-determinates of architectural form. The program of

Marissa Desmond D

a temporary ferry terminal and archive of immigration

Ayala Rosen G

for Battery Park in lower Manhattan was investigated ﬁrst through a site analysis that considered the temporal aspects of the site: it’s shifting forces; hidden and intersection circulation patterns; and ﬂows of information, images and movement through time. The second project, the programmatic detail, was to transform a A

static, determined architectural program element into a dynamic and interactive device and interpretative

space investigating the relations of the body, its movements, the program, and its actions (a spatial/temporal knot). Finally the project is opened up, tracking the relational (anxious) geographies between freedom, tourism, and surveillance. The temporary ferry terminal was to function as a site for waiting, security, passage, return and display, both of actual views and sounds to the New York Harbor, and to constructed views of historical imagery and sound pertaining to immigration and democratic ideals. The emphasis on the temporal and ﬂuid dimensions of site and program were intentional.

ROUNDTABLE 13: Trends in the REIT Industry: Expertise vs. Capital Competition, Barry Moss, David Fitch, Merrie Frankel, Sam Fuller, Michael Maturo, James Mazzarelli, Abigail McCarthy, John Opar

04|12|05

BARNARD AND COLUMBIA COLLEGES ARCHITECTURE PROGRAM

164

ARCHITECTURAL REPRESENTATION: PERCEPTION Yumi Kori, Carla Leitao, Madeline Schwartzman, critics ARCHITECTURAL REPRESENTATION: ABSTRACTION Todd Rouhe, Madeline Schwartzman, Kim Yao, critics Samuel Dufaux, Megan Kelly-Sweeney, David Menicovich, teaching assistants

The Perception course introduced visual perception as a catalyst for the critique, representation, and design of architecture. Students learned to use and analyze various spatial media to invent and represent architectural space. Emphasis was placed on developing a critical understanding of how space is perceived as well as how different media can be deliberately manipulated, controlled, and constructed as part of a creative and inventive design process. While the course reﬂected on the historical and cultural production of visual perception, it primarily conducted this inquiry through mak-

ing, drawing, and building. Issues of inhabiting and

Sandie Tsai A

experiencing a speciﬁc space, such as the activities

Louisa Votava E

performed, the perception of that performance, as well

Tobin White B

as the physical attributes of the space, were explored

Shai Fuller C

as part of the creative development of projects.

Source media included photographs, drawings,

Victor Tweed D

ﬁlms, videos, models, objects, games, texts, and virtual

Melissa Wong F

and real spaces. This material provided both the focus and the medium of the analysis and design. The multiple methods of analytical and representation skills that students developed functioned as generative tools in continued design work, forming the basis for critiquing existing space and media, and for generating new C

spaces and their representations. [see p. 77 for a description of the Abstraction course and content from Fall 2004 Abstraction and Perception courses]

04|13|05

LECTURES: Delineating Time, James Corner | Techniques of Project Evaluations, Moshe Adler, Marty Taub

LECTURES/DEBATES/EVENTS

166

See excerpts from the 2004-2005 Lecture series on the Abstract 04/05 DVD.

Anthony Webster, TK, Philip Anzalone caption missing

Reinhold Martin, TK, TK

caption missing

Anthony Webster, TK, TK, TK, TK

TK, Laura Kurgan, TK

TK, TK, Reinhold Martin

04|14|05

SEMINAR: The Courage to Be Effette: The Gay Johnson, Peggy Deamer 路 LECTURE: Kyrgyzstan: Post-Soviet Planning, Sultanbek Usenov

167

Evnt_a:

Evnt_f:

Evnt_b:

Evnt_d:

Evnt_c:

Evnt_e:

Evnt_g: Evnt_h: Evnt_i: Evnt_j:

LECTURE: Rahul Mehrotra

04|15|05

LECTURES/DEBATES/EVENTS

168

Evnt_k:

Evnt_n: Mark Wigley, Volume launch

Evnt_l:

Evnt_s: TK, Mark Wigley, TK, TK, Rem Koolhaas,

Evnt_q: Mark Wigley, Volume launch

Evnt_o:

Volume launch

Evnt_p: Rem Koolhaas, Volume launch

Evnt_m:

Evnt_r:

04|16|05

COLLOQUIUM: 2005 Ph.D. Dissertation Colloquium, Robin Middleton, Marc Treib, George B. Johnston, Lucia Gabriela Santa Ana Lozada,

Avigail Sachs, David Monteyne, Casey Nelson Blake, Timothy Hyde, Alexandra Lange, John Harwood, Alan Colquhoun, David Smiley, Jeannie Kim, Filip Geerts, Stanislaus von Moos

169

Lec_a: Amanda B.

Lec_g: Petra

Lec_b: B. Vanberkel

Lec_h: S. Kennedy

Lec_c: G. Bruno

Lec_e: James C.

Lec_i: Mark Wigley

Lec_d: H. Foster

Lec_f: Mark Cousins

Lec_j: W. Jones

Audience

SYMPOSIUM: A Tribute to William H. Jordy (1917-1997): The contribution of the Historian, David Brownlee, Alan Colquhoun, Edward

04|18|05

Dimendberg, Marta Gutman, James Oâ&#x20AC;&#x2122;Gorman, Mardges Bacon | The Effect of the Historian: Stan Allen, Deborah Fausch, Edward Mitchell, Dietrich Neumann

THE TEMPLE HOYNE BUELL CENTER FOR THE STUDY OF AMERICAN ARCHITECTURE

170

Joan Ockman, Director, Salomon Frausto, Program Coordinator

PhD Colloq. TK PhD Colloq. TK

Mary McLeod

The spring 2005 program, culminating the series on American modernism, was subtitled “Continuities.” It included conversations with two éminences grises of modern architecture, John Johansen and Natalie de Blois, interviewed by architect Lebbeus Woods and historian Nicholas Adams respectively. It also featured a tribute to the architectural historian William Jordy, marking the publication of a major book of Jordy’s essays, “Symbolic Essence” and Other Writings on Modern Architecture and American Culture, guest-edited by historian Mardges Bacon, published by Yale University Press, and produced by the Buell Center. The tribute included an afternoon seminar and an evening panel, with many distinguished speakers and guests. Another all-day event this spring was the biennial Dissertation Colloquium, this year including papers by ten doctoral students selected from doctoral programs in the United States, Mexico, and Europe. The Buell Center also cosponsored a series of six lectures on gender and American architecture organized by GSAPP professor Mary McLeod, funded in part by the Beverly Willis Architecture Foundation. Evening events included the spring SOM lecture by art historian Hal Foster, and a presentation on electronic landscapes by

Joan Ockman, director

04|18|05

LECTURES: Mark Becker | Regenerating Neighborhoods in Partnership: Uwe Jens Walther

171

PhD Colloq. TK

artist Benjamin Edwards in dialogue with GSAPP faculty members Andrea Kahn and Laura Kurgan. The Buell Center awards two Catherine Hoover Voorsanger Writing Prizes each spring for outstanding essays on American architecture, landscape, or urbanism completed during the academic year. One prize is awarded to a student in the GSAPP, the other to a GSAS or Columbia/Barnard undergraduate. This year the GSAPP prize was shared by Jeffrey Taras (M.Arch.), for an essay entitled “Myth and Modernism: The Photography of Julius Shulman and Ezra Stoller,” and Brian Tochterman (Urban Planning), for “A Cry and a Demand: The Working Class Tavern and the Crisis of Place, Space and Community.” The other prize went to Yuma Terada (Barnard College), for her senior thesis, “Reassessing Context: Frederick Kiesler and the Myths of Modernism.”

Jordy TK

PhD Colloq. TK

FIELD TRIP: Extreme Textiles, Cooper Hewitt National Design Museum: Matilde McQuaid, curator · ROUNDTABLE 14 – Hospitality

04|19|05

Development and Investment: Andrew Robbins, Edmond Bakos, Charles Reiss, John Cullen, Michael Overington, Karen Rubin, Tom McConnell, Glyn Aeppel, Georgianne Fsadni

EXHIBITIONS

04|22|05

172

CONFERENCE: Race, Ethnicity, and the City: Lance Freeman, Susan Fainstein 路 PRESENTATION: Architectural Daylighting: David Norris, James Carpenter

173

FINAL REVIEW: Andrew MacNair Studio, guest critics: Grahame Shane, Brian Loughlin, Ed Keller, Moji Bartloo, Carlo Frugiuele, Amparo Vollert, Kenneth Frampton, Frank Repas, David Shapiro, Steven Holl, Enzo Capua

04|22|05

FINAL DESIGN STUDIO JURIES/SPRING 2005

174

Hernan Diaz Alonso, Chris Perry, Ed Keller

Alisa Andrasek, TK, TK, Hernan Diaz Alonso, Chris

G: TK, Gordon Kipping

Perry

E: TK, Peter Macapia, Alice Chun

Scott Marble, Karla Maria Rothstein, TK, TK, Mark Wigley

04|24|05

B: Robert Marino, TK, J. Yolande Daniels

PRESENTATION: Jeremiah Trinidad

175

F: Mark Rakatansky, TK, Douglas Gauthier

H: Chris Perry, TK, William MacDonald, TK

J: Kathryn Dean, TK, TK, TK

FINAL REVIEWS: Jeannie Kim Studio, guest critics: Bob Braine, Kate Orff, Marisa Yiu, Mark Wasiuta, Hunter Tura, Enrique Walker |

04|25|05

Robert Marino Studio, guest critics: Nick Goldsmith, Peter McCleary, Robert Siegel, Yolanda Daniels, Michael Bell | Karla Rothstein Studio, guest critics: Michael Bell, Chuck Eldred, Michelle Fornabai, Franklin Lee, Mark Rakatansky, Enrique Walker | Ed Keller Studio, guest critics: Alisa Andrasek, Juan Azulay, Karl Chu, Douglas Diaz, Hernan Diaz Alonso, Daniela Fabricius, Urtzi Grau, Perry Hall, Brad Horn, Franklin Lee, Carla Leitao, Andrew MacNair, Bill Macdonald, Joeb Moore, Chris Perry, Brett Steele, Enrique Walker

176

FINAL DESIGN STUDIO JURIES

S: TK, Ada Tolla

L: TK, Reinhold Martin T: TK, Jeannie Kim, TK, TK, TK

04|25|05

Y: Lars Spuybroek, Ed Keller, TK, TK, TK

PRESENTATION: Urban Planning Masters’ Theses · LECTURE: Public Space: Veronica Eady

177

X: TK, Keller Easterling, Michael Bell Z: Michael Bell, TK, TK, TK, TK

W: TK, Laura Kurgan, TK, TK P: TK, TK, Karla Maria Rothstein

FINAL REVIEWS: Mark Rakatanksy Studio, guest critics: Michael Bell, Tina Manis, Scott Marble, Karla Rothstein, Ada Tolla, Roberto

04|26|05

Zancan | Philip Parker Studio, guest critics: Alice Chun, Peter Macapia, Michelle Fornabai, Kate Orff, Bill Mac Donald, Turner Brooks, Kathryn Dean, Laurie Hawkinson | Yolande Daniels Studio, guest critics: Greg Yang, Srdjan Jovanovic, Mark Wasiuta, Sunil Bald | William MacDonald Studio, guest critics: Brett Steele, Ed Keller, Ali Rahim, Maria Ludovica Tramontin, Hernan Diaz Alonzo, Philip Parker, Sulan Kolatan, Ferda Kolatan

FOREIGN TRAVEL AND STUDY PROGRAMS

178

Kenneth Frampton

WILLIAM KINNE FELLOWS TRAVELING FELLOWSHIPS The School is the beneﬁciary of a considerable bequest from the late William Kinne Fellows and has at its purpose the enrichment of student’s education through travel. Traditional procedures of disbursement include individual, non-competitive grants for summer travel for second year architecture and ﬁrst year preservation and planning students, and a limited number of competitive scholarships for two to three months of travel open to all graduating students in the school. The GSAPP Committee on Fellowships and Awards decides each year how to disburse the annual

interest of the William Kinne Fellows Trust, according to the following procedure: available funds are divided among the programs in the school, proportionate to the length of each program and the number of students enrolled. During the 2004-2005 academic year, the following studio trips were taken with the help of the William Kinne Fellows Traveling Fellowship: Moji Baratloo studio, Brisbane, Australia Karl Chu studio,

Buenos Aires, Argentina Leslie Gill and Tina Manis studio, Texas and Arizona, United States

Laurie Hawkinson studio, Baja California Sur, Mexico Steven Holl studio, Prague, Czech Republic Ed Keller studio, Los Angeles and Palm Springs, United States Laura Kurgan studio, Frederic Levrat studio, Kabul, Afghanistan Peter Macapia and Franklin Lee studio, Tokyo, Japan William MacDonald studio, London, United Kingdom Reinhold Martin studio, Delhi and Mumbai, India Hani Rashid studio, Galia Solomonoff and Cory Clarke studio, Rosario, Argentina Lars Spuybroek and Fred Tang studio, Amsterdam, The Netherlands David Turnbull studio, London, United Kingdom and Paris, France

11|08|04

FINAL REVIEWS: Alisa Andrasek Studio, guest critics: Hernan Diaz Alonso, Perry Hall, Brad Horn, Ed Keller, Jeannie Kim, Paul Makovsky,

Laurie Manfra, Ciro Najle, Laura Kurgan, Carla Leitao, Chris Perry, Florencia Pita, Hani Rashid, Michael Reed, Lars Spuybroek, Brett Steele | Scott Marble Studio, guest critics: Karen Fairbanks, Joel Towers, Kate Orff, Jim Lima, Ben Krone, Joeb Moore, Mark Rakatansky, Leslie Gill, Kurt Schlossberg, Kelvin Sealey | Hernan Diaz Alonzo Studio, guest critics: Hani Rashid, Lars Spuybroek, William MacDonald, Brett Steele, Gregg Pasquarelli, Ali Rahim, Sulan Kolatan, Fabian Maraca, David Erdman, Alisa Andrasek, Chris Perry, Enrique Walker

179

Karl Chu studio, Buenos Aires, Argentina, A Leslie Gill and Tina Manis studio, Texas and Arizona, United States, E Laurie Hawkinson studio, Baja California Sur, Mexico, B Steven Holl studio, Prague, Czech Republic, C Frederic Levrat studio, Kabul, Afghanistan, D

FINAL REVIEWS: Kathryn Dean Studio, guest critics: Philip Parker, Natalie Fizer, Michael Morris, Tina Manis, Meejin Yoon, Aaron Hockett

04|27|05

| Marc Tsurumaki Studio, guest critics: Douglas Gauthier, Yolande Daniels, Eric Howeler, Alicia Imperiale, Mark Rakatansky | Michele Fornabai Studio, guest critics: Sheila Kennedy, Tina Manis, Karen Nelson, Philip Parker, Karla Rothstein, Catherine Veikos, Paul Valentine, Steve Harvey, Alfredo Brillembourg, Mark Rakatansky | Frederic Levrat Studio, guest critics: Henri Smith-Miller, Ed Keller, Peter Macapia, Brian McGrath, Andrea Khan, Zak Sherzad, Farnaz Mansuri, Jesse Seppi, Sislej Xaffa | Galia Solomonoff/Cory Clarke Studio, guest critics: Carlos Brillenburg, Hernan Diaz Alonso, Cristian Mare, Laura Kurgan, Moji Baratloo, Gisela Baurmann, Brett Steele, Marshall Brown, Fabian Marcaccio, Stephanie Bayard

180

FOREIGN TRAVEL AND STUDY PROGRAMS

Peter Macapia and Franklin Lee studio, Tokyo, Japan, G William MacDonald studio, London, United Kingdom, F Reinhold Martin studio, Delhi and Mumbai, India, I Hani Rashid studio, Berlin, Germany, H

04|28|05

SEMINAR: Negotiating Identities: Lina Bo Bardi: Esther de Costa Meyer, Mary McLeod

181

FINAL REVIEWS: Reinhold Martin Studio, guest critics: Michael Bell, Keller Easterling, Jyoti Hosagrahar, Urtzi Grau, Laura Kurgan,

04|28|05

Laurie Hawkinson, Steven Holl, Anthony Vidler, Mark Wasiuta | Leslie Gill/Tina Manis Studio, guest critics: Scott Marble, Sarah Herda, Yolanda Daniels, Reid Frieman, Eunice Seng | Hani Rashid/Jose Gonzalez/Eric Goldemberg Studio, guest critics: Enrique Norton, Hernan Diaz, Lise Anne Couture, Thomas Leeser, Ali Rahim, Alejandro Zaera Polo, Mark Gage, Bernard Tschumi | Laura Kurgan Studio, guest critics: Richard Cho, Yolanda Daniels, Nicholas Dâ&#x20AC;&#x2122;Monchaux, Keller Easterling, Tom Keenan, Galia Solomonoff

182

FOREIGN TRAVEL AND STUDY PROGRAMS

04|28|05

FINAL REVIEWS: Lars Spuybroek/Frederick Tang/Ludovica Tramontin Studio, guest critics: Karl Chu, Kenneth Frampton, Yehuda Safran,

Hernan Diaz-Alonso, Tao Zhu, Mark Wigley | Richard Plunz/Michael Conard/Kate Orff Urban Design Studio, guest critics: Anton Nogues, Anton Rodriguez, Jose Luis Echeverria, Jorge Perea, Kenneth Kaplan, Saul Hayutin, Victoria Marshall, Mihai Craciun, David Smiley, Darius Solohub, Grahame Shane, Peggy Deamer, Jeannie Kim, Sumila Gulyani, Ben Gilmartin, Ken Kaplan, Petia Morozov 路 LECTURE: Samples: Elizabeth Diller

183

Galia Solomonoff and Cory Clarke studio, Rosario, Argentina, K Lars Spuybroek and Fred Tang studio, Amsterdam, The Netherlands, J David Turnbull studio, London, United Kingdom and Paris, France, L

FINAL REVIEWS: Ada Tolla/Giuseppe Lignano Studio, guest critics: Leslie Gill, Mark Rakatansky, Enrique Walker, Sarah Herda, Gordon

04|29|05

Kipping, Galia Solomonoff, Joel Sanders | Laurie Hawkinson Studio, guest critics: Michael Bell, Keller Easterling, William Horgan, Allan Horneman, Catherine Ingraham, Keith Krumwiede, Mark Wasiuta, Ron Witte, Bernard Tschumi | David Turnbull Studio, guest critics: Mark Tribe, Azra Aksamija, Jane Harrison, Mark Wasuita, Kian Goh, David Ruy

YEAR-END EXHIBITION/2005

184

Year-End Exhibition The exhibition featured student work from the design studios and seminars. May 14 â&#x20AC;&#x201C; May 31, 2005 Avery and Buell Hall

04|29|05

FINAL REVIEWS: Karl Chu Studio, guest critics: Lars Spuybroek, Donal Bates, John Clagett, David Ruy, Karel Kline, Ingeborg Rocker, Ed

Keller, Loduvica Tramontin | Steven Holl Studio, guest critics: Bernard Tschumi, Lebbus Woods, Michael Bell, Galia Solomonoff, Yehuda Safran | Peter Macapia / Franklin Lee / Christian Meyer Studio, guest critics: Blake Middleton, Sarrah Khan, Victoria Marshall, Frederick Levrat, Hernan Diaz Alonzo, Anne Save de Beaureceuil, James Fisher, Alan Brinkley, Nickolas Themelis, Veronica Eady, Ramon Cruz, Sulan Kolatan

185

FINAL REVIEW: Moji Baratloo/Shane Taylor joint Architecture/Urban Planning Studio, guest critics: Alfredo Brillembourg, David Turnbull,

04|30|05

Carlo Frugiuele, Andrew MacNair, Ana Maria Duran, Felipe Correa, Joel Sanders, Mark Tsurumaki, Sig Grava, Yolanda Daniels, Kathryn Dean, Charles Wolf, Grahame Shane, Kathi Holt-Damant, Marianoi Desmaras, Linnaea Tillett, Timmy Aziz, Grace Han, Ken Hudes

YEAR-END EXHIBITION

05|04|05

186

LECTURE: Smart Geometry: Exploring Generative Components: Robert Aish, Lars Hesselgren

187

EXHIBITION: Digital Show, Spring 2005 路 FINAL PRESENTATION: Urban Planning, Flushing, Queens, Studio, guest critics: Frank Lang, Joan Gauer, Jamie Chan, Jeff Oakman, Jeffrey C. Sugarman, Jeong-Ah Choi, John Young, Jonathan Lachance

05|10|05

GRADUATES/SPRING 2005

MASTER OF ARCHITECTURE

188

George William Maxwell Showman

Sungwook Kwon

Alan Jeffrey Silverman

Radmila Lazarevic

Aprile Clasiena Age

Carl Alexander Smith

Christopher Steven Lee

Chihiro Aoyama

Gabrielle Anne Snyder

Chun-Ming Lee

Lloyd E. Aragon

Catherine Leah Spieler

Jisun Sandy Lee

Gabriel James Bach

Lauren Rachel Stern

Miranda Lu-C Lee

Sang-Joon Bae

Amy Elizabeth Stringer

Young Sub Lee

Timothy Dylan Baker-Rice

Anne Genevieve Suratt

Roman De Jesus Linares

David Benjamin

Jeffrey John Taras

Guan-Hung Liou

Francisco David Boira

Queenie Sze Man Tong

Chia-Jung Liu

Timothy Parker Boyle

Kenneth Joseph Tracy

Enrique Alejandro Loyer

Kirtley Horton Cameron

Amparo M. Vollert

Arjun Kamal Malik

Shao Kung Chen

Brian Paul Walker

Amit Mandelkern

Michael K. Cho

Andrea Marie Wiideman

Mario Francisco Marchant

Audrey Soo-Jung Choi

Michael Blair Wilson

Gregor Alexandre Igor Martinez de Riquelme

Angela Dee Co

Desiree Helene Wong

Pierpaolo Martiradonna

Rebecca Jane Collins

Taegyun Woo

Natalie Lynn McCorkle

Zoe Alexandra Coombes

Benjamin Reed Work

David Michael Menicovich

Jeffrey Andrew Dee

Amy Kim Yang

Ryan William Mileski

Megan Joy Feenstra Wall

Soo-in Yang

William Henry Mowat III

Jennifer Drennan Fetner

Daniel Teh-You Yao

Enrique Moya-Angeler

Andrea Maria Flamenco

Catherine Nicole Yatrakis

Kenneth Michael Neff

Anna Beatrice Goldberg

Jessica Randolph Young

William Ngo

Sara Anderson Goldsmith

Peter Howard Zuspan

Ancelmo Perez

Aaron David Gomez

Santiago Romero

Alfonso Gorini

MASTER OF SCIENCE IN

Aldrin Soedarto

Shai Jessica Gross

ADVANCED ARCHITECTURAL DESIGN

Maria Stefanidis

Michael Lee Hanslick

Yi-Chi Su

Alan Brian Harris Jr.

James Bermejo Acuna

Cory Fulton Taylor

Chyanne Lynn Husar

Aaron Jeffrey Adams

Michela Tonus

Craig William Intinarelli

Vital Gaspar Albuquerque

Jose Mauricio Vasquez Iturralde

Jon Kher Kaw

Sean Michael Arrasmith

Petar Vrcibradic

James Wei Ke

Camila Aybar

Thomas Paul Julius Wensing

Eunice Yoo Kyung Kim

Belisario Augusto Barchi

Yuichiro Yamaguchi

Junghee Kim

Omer Barr

Tsing-Lan Lillian Yang

Yoojung Kim

Maria Borrell

Zoran Zelic

Yung Eun Kim

Chantavudh Burusphat

Kaiyu Zhou

Jonathan Kontuly

Theodore Osborn Calvin

Avis Lai

Yu-Wen Wayne Chen

MASTER OF SCIENCE IN

Garrick Byron Landsberg

Solim Choi

URBAN DESIGN

Helen Jin Lee

Cheng-Feng Marty Chou

Stella Eungee Lee

Wendy Kaylee Cooper

Beat Aeberhard

Melodie Cee-Ming Leung

Styliani Daouti

Alvaro Arranz

Yeelok Luk

Mathieu Henri de Genot de Nieukerken

Sonal Nitish Beri

Adam Charles Marcus

Olivia Mary Dolan

Andre-Jacques Emmanuel Edouard Bodin

Charles Lunnon Miles

Samuel Dufaux

Angela Nicole Caviezel

Eduard Navarro Ghanem

Maria del Pilar Echezarreta

Rosa Fernanda Prutchansky Charifker

Eric Tinlup Ng

Joao Miguel Fernandes Cardoso

Hsing-Yuan Chen

Kimberly Kay Nun

Felipe Ferrer

Kyoung Suk Choi

Eun Suk Oh

Jorge Fontan

Chih-Wei Chou

Noah Blair Olmsted

Sean Anthony Gallagher

Hoi Shan Paul Chu

Pedro Rafael Pachano

Araceli Guadalupe Garza

Ana Soﬁa Mendonca Correia

So Jin Park

Matthew Linus Geiss

Melissa Joy Dittmer

Andrew Oliver Payne

Gregory R. Getman

Natalie Fischer

Chas Donald Peppers

Zachary Stephen Prentice Helmers

Jesus Alejandro Guerrero

Alexander Simms Pincus

Namitha Hinduja

Daciana Melintia Hagea

Zimie Anne Rim

In-Ki Hong

Huan-Ting Hsiao

Haruka Saito

Tsun-Yi Huang

Katia Kiss-Miller

Patricia Salas

Veronica Pui-Yee Kan

Eugene Kwak

Jorge Salgado

Jeffrey Ji-Myong Kim

Dahmahlee Shashu Lawrence

05|11|05 · 05|12|05

REVIEW: First Year M.Arch Comprehensive Reviews

189

Seung Hyun Lee

MASTER OF SCIENCE IN

Tao Li

URBAN PLANNING

Uri Mazor Rachita Misra

Eumi Ahn

Tanamay Morales

Nisha Baliga

Bezaleel Seung Oh

Meng-Han Chiu

Suvas Dushyant Patel

James John Timothy Connolly

Maysoram Prashad

Arish Adi Dastur

Ritika Reikhy

Jenny Rebecca Fields

Jose Rene Romero Zacapa

Christopher N. Gomez

Kleber Enrique Salas

Carlita Milinda Johnson

Travis Thomas Smith

Adam Sichel Kelly

Phanat Sonemangkhala

Jee Yeop Kim

Morana M. Stipisic

Constantine E. Kontokosta

Jennifer Deedar Swee

Benjamin Scott Kornfeind

Ashima Thakur

Haegi Kwon

Daniel Ray Windsor

Chi-hang Lam

Rex Siu Han Wong

Migi Lee Andrew Douglas Mark

MASTER OF SCIENCE IN

Stephanie Jill Markison

HISTORIC PRESERVATION

Moriah McSharry McGrath Jacob Seth McKinstry

Laura Ann Boynton

Zineb Morabet

Jessica Peggy Breitbach

Jennifer Linda Most

Laura Naomi Buchner

Joaquin Murat

Erika Jean Carlson

Jessica Rose Neilan

Sandy Chung

Tara Pauline Phelps

Gloria M. Colom

Tanya Melissa Saltzman

Joselito Halasan Corpus

Amy Scarano

Rama Shekhar Dadarkar

Alexander Mark Schwarz

Sarah Allison Devan

Ron Hendrik Slangen

Jenny Rebecca Fields

Daniel B. Steinberg

Lewis William Gleason

Dana Caitlin Sunshine

Alison Jennifer Greenberg

Margaret Mary Taddy

Jill Nicole Hall

Chia-Liang Tai

Jacqui Atiya Hogans

Brian L. Tochterman

Susannah Elizabeth Jackson

Keelia Elizabeth Wright

George Steve Jaramillo

Sarah Katherine Yackel

Jennifer Leigh Kearney Jennifer Ko

MASTER OF SCIENCE IN

Jill Alexandra Krupp

REAL ESTATE DEVELOPMENT

Debora Machado de Barros Jennifer Linda Most

Yoonsik Kim

Darby Alena Noonan Amy Elizabeth Peterson Tara Pauline Phelps Mark Miles Soeth Robert Garland Thomson Mikel Travisano CERTIFICATE IN CONSERVATION OF HISTORIC BUILDINGS AND ARCHAEOLOGICAL SITES Kirsten Anne Brinker Maya Maria Foty Silke Trimborn

EXHIBITION: GSAPP End of Year Show

05|14|05 - 05|31|05

AWARDS AND PRIZES

190

LUCILLE SMYSER LOWENFISH MEMORIAL PRIZES

‘World Games’ for a General Economy of

NOMINEES FOR SKIDMORE OWINGS AND MERRILL

Chosen by each critic for best design problem in ﬁnal

Information and Energy

TRAVELING FELLOWSHIP COMPETITION

semester of Advanced Studio, open to all M.Arch, AAD, (Edward Keller, critic) and UD students

Jon Kher Kaw (M.Arch)

A national competition for a $15,000 fellowship for study and travel: one student in each of the two categories is chosen. Students from architecture schools

Agri-Urbanism: Deﬁning the Edge

Re-Centering Barcelona

throughout the US are nominated by their schools. Our

(Michael Conard, Kate Orff, Richard Plunz, critics)

nominees are:

Beat Aeberhard (UD)

Eugene Kwak (UD)

Alejandro Guerrero (UD)

Seung Lee (UD)

ARCHITECTURE:

Kleber Salas (UD)

Phanat Sonemangkhala (UD)

Adam Marcus (M.Arch)

Morana Stipisic (UD)

Eric Ng (M.Arch) Petar Vrcibradic (AAD)

Architectural Agents (or) The Housing of Librango —The Artiﬁcial Life of Buenos Aires

Manhattan Edge Architecture

Desiree Wong (M.Arch)

(Karl Chu, critic)

(Hani Rashid, critic)

Aprile Age (M.Arch)

Stella Eungee Lee (M.Arch)

DESIGN:

Rosario, Exuberant Povera

The Gate of Afghanistan—Kabul Airport Road:

Andrea Flamenco

(Cory Clarke, Galia Solomonoff, critics)

Infrastructure and Symbolic Reconstruction

Francisco David Boira

Camila Aybar (AAD)

in a War-Torn Country

POLY_matters: Yielding Systemic Hybridity

URBAN DESIGN:

(Frederic Levrat, critic)

Melissa Dittmer (UD)

William Ngo (AAD)

Alejandro Guerrero (UD)

in Architecture (William MacDonald, critic)

Steel and Freedom

BUILDING TECHNOLOGIES HONOR AWARD

Theo Calvin (AAD)

(Lars Spuybroek, Fred Tang, critics)

To the student who most demonstrates an ability to

Haruka Saito (M.Arch)

incorporate building technologies into the issues of architectural design

Million Dollar Blocks (Laura Kurgan, critic)

The Tomato Studio: Animals Atmosphere and Vegetation

Kirtley Cameron (M.Arch)

(Laurie Hawkinson, critic) Carl Smith (M.Arch)

Franz Kafka Centrum, Prague

Jessica Young (M.Arch) URBAN TECHNICAL ASSISTANCE PROJECT COMMUNITY SERVICE AWARD

(Steven Holl, critic)

Modern/Postmodern (Inside Outsourcing)

In recognition of outstanding work in the Urban Technical

Angela Co (M.Arch)

(Reinhold Martin, critic)

Assistance Project and service to the community

Anne Suratt (M.Arch)

Nisha Baliga Daniel Windsor (UD)

Threat Management: Land, Water & Infrastructure – New Paradigms in Green, Blue, Yellow, Orange & Red

Not Not Thesis

(Mojdeh Baratloo, critic)

(Andrew MacNair, critic)

COMPUTER AIDED DESIGN HONOR AWARD

Mathieu de Genot de Nieukerken (AAD)

Kaiyu Zhou (AAD)

For innovative use of computer-aided design Sean Arrasmith (AAD) Alan Silverman (M.Arch)

Everything (EoIP) (David Turnbull, critic) Felipe Ferrer (AAD)

SCHOOL SERVICE AWARD For service to the School and promise of professional

C(r)ampus— Toward New Logics of Organization

merit through attitude and character

(Franklin Lee, Peter Macapia, Christian Meyer, critics)

Chyanne Husar (M.Arch)

Sara Goldsmith (M.Arch)

Pierpaolo Martiradonna (AAD)

Crossings: States of Transition on the Mexican/American Border (Leslie Gill, Tina Manis, critics) Michael Hanslick (M.Arch)

05|16|05

PUBLICATION RELEASE: Future Anterior, volume 3 · EXHIBITION: Avery Library Recent Acquisitions

191

HONOR AWARDS FOR EXCELLENCE IN DESIGN

NEW YORK SOCIETY OF ARCHITECTS’ MATTHEW DEL WILLIAM KINNE FELLOWS MEMORIAL

In recognition of the high quality of work in the design

GAUDIO AWARD

studios during the student’s program of studies

For excellence in total design

Camila Aybar (AAD)

Adam Marcus

Architecture Subcommittee

Francisco David Boira (M.Arch)

AMERICAN INSTITUTE OF

Islands of Ghettos: The Life of Tent Cities in the Dafur

Maria Borrell (AAD)

ARCHITECTS’ CERTIFICATE

Region of Sudan

Angela Co (M.Arch)

In recognition of scholastic achievement, character,

Gabriel Bach (M.Arch)

TRAVELLING PRIZES

Belisario Barchi (AAD)

Zoe Coombes (M.Arch)

and promise of professional ability

Dylan Baker-Rice (M.Arch)

Samuel Dufaux (AAD)

Eric Ng

Andrea Flamenco (M.Arch) Living Architecture: Responsive Kinetic Systems

Jennifer Fetner (M.Arch) Christopher Lee (AAD)

AMERICAN INSTITUTE OF ARCHITECTS’ MEDAL

Alexander Pincus (M.Arch)

In recognition of scholastic achievement, character,

in Northern Europe

Desiree Wong (M.Arch)

and promise of professional ability

David Benjamin (M.Arch)

Rex Wong (UD)

Jessica Young

Amy Yang (M.Arch)

GSAPP PRIZE FOR EXCELLENCE IN URBAN DESIGN

CHARLES MCKIM PRIZE FOR EXCELLENCE IN

Soo-in Yang (M.Arch) To recognize the student whose work in the Urban

DESIGN / SAUL KAPLAN TRAVELING FELLOWSHIP

Large Housing Estate Revitalization in the Post-Socialist

Design Program has been most outstanding

To recognize the student whose work throughout the

Eastern Germany: Case Studies in Marzahn-Hellerdorf,

Uri Mazor (UD)

studios has been outstanding, funded by a bequest

Berlin & Halle, Saxony-Anhalt

from Saul Kaplan (M.Arch ‘57). The prize is for travel

Paul Chu (UD)

WILLIAM WARE PRIZE AND SAUL KAPLAN

and study following graduation.

Tao Li (UD)

TRAVELING FELLOWSHIP

David Benjamin and Soo-In Yang

To recognize the student whose work throughout the

-re processing Shahjahanabad

studios has been outstanding, funded by a bequest

Melissa Dittmer (UD)

from Saul Kaplan (M.Arch ‘57). The prize is for travel

Rachita Misra (UD)

and study following graduation Sean Gallagher (AAD)

Bangkok3: A Living Palimpsest Samuel Dufaux (AAD)

ALI JAWAD MALIK MEMORIAL HISTORY/THEORY HONOR AWARD (SCHOOL-WIDE AWARD)

Unproductive Glory: Dubai, UAE

In recognition of high quality of work in the history/

Matthew Geiss (AAD)

theory sequence

Christopher Lee (AAD)

Sara Goldsmith (M.Arch) Michael Wilson (M.Arch)

The Effects of an Economic Boom on an Environment of Conﬂict

CATHERINE HOOVER VOORSANGER WRITING PRIZE

Uri Mazor (UD)

(SCHOOL-WIDE AWARD)

Jennifer Swee (UD)

Awarded by the Temple Hoyne Buell Center for the Study of American Architecture for an outstanding

Displacement and Exoticism: Housing the Afﬂicted in

essay on subject in American architecture

Southeast Asia

Jeffery Taras (M.Arch)

Eric Ng (M.Arch)

Brian Tochterman (UP)

Kimberly Nun (M.Arch)

ALPHA RHO CHI MEDAL

School-Wide Awards

For leadership and service to the school, and promise of professional merit Craig Intinarelli (M.Arch)

Where is Public Space?—The Growing Privatization of Public Space in Today’s Manila: A Fact Finding Exploration Through Five Case Study Sights, 1904-2004 James Acuna (AAD) Ron Slangen (UP) Chia-Liang Tai (UP)

GRATUATION

05|18|05

192

AWARDS AND PRIZES

Chilean Snail: Archeology of a “New”

HISTORIC PRESERVATION PROGRAM AWARDS

Commercial Typology Camila Aybar (AAD)

HISTORIC PRESERVATION FACULTY AWARDS FOR

Mario Marchant (AAD)

OUTSTANDING THESIS

‘Construction of Identity’ - Bhutan

Conservation Sector:

Sonal Beri (UD)

Examination of Casein and Lime-Based Grouts

Urban Renewal in Latin America—Argentina and

Laura Buchner, (Norman Weiss, advisor)

Uruguay: Globalization, Deregulation, and the City Vivian Castro (UP)

History/Theory Sector:

Jessica Neilan (UP)

Authenticity and Adaptation of Historic Movable Bridges for Contemporary Use

Flooding, A Strategic Aspect of Lifestyle: Analysis and

Erika Carlson, (Richard Peiper, advisor)

Documentation in the Sirajganj District, Bangladesh Angela Caviezel (UD)

Design Sector:

Ashima Thakur (UD)

Adaptive Use of the Joseph Lemaire Tuberculosis Sanatorium, Tombeek, Belgium, as a Wellness Center

5 x 10 x 2. An Investigation into a Material World

Sarah Devan, (Theo Prudon, advisor)

Jennifer Fetner (M.Arch) Jessica Young (M.Arch)

Planning Sector: Neighborhood Conservation Policies: Protecting

The Good, the Ugly, and the Easy: Geometra, A Profession Communities from Teardowns in the Field of Post-War Italian Building History

Jennifer Most, (Carol Clark, advisor)

Craig Intinarelli (M.Arch) ROBERT C. WEINBERG AWARD FOR PLANNING, Delineating the Design of Two Museums: Le Corbusier’s

DESIGN, & CONSERVATION

Musées de la Ville et de l’Etat (1935)

For excellence in interdisciplinary work.

Melodie Leung (M.Arch)

George Jaramillo

Balkanized Modern: Continuity and Criticality in the

URBAN PLANNING PROGRAM AWARDS

Former Yugoslavia Adam Marcus (M.Arch)

URBAN PLANNING PROGRAM AWARD For outstanding contribution to leadership in Planning

Building with Grass: Bamboo as a Sustainable Building

education

Material in Latin America

Moriah McSharry McGrath

Gabrielle Snyder (M.Arch)

Brian Tochterman

Desiree Wong (M.Arch) CHARLES ABRAMS THESIS AWARD Preservation Programs for Crisis-Stricken Historic

For best thesis:

Sites in South Asia

Arish Dastur

Robert Thomson (HP)

Constantine Kontokosta AMERICAN INSTITUTE OF CERTIFIED PLANNERS OUTSTANDING STUDENT AWARD For outstanding attainment in the study of Planning James Connolly NEW YORK CHAPTER OF THE AMERICAN PLANNING ASSOCIATION’S ROBERT C. WEINBERG AWARD For academic excellence in Urban Planning Jennifer Most