Isaac Tejeira Works 2019 by Isaac Tejeira

II T HNACA DUS TR I ALINSERTS IN SER T S 1.5 INDUSTRIAL , N EW YO R K D ES I G N I VITHACA, S P R I N G NEW 2 016 YORK A R T H UDESIGN R OVA S K A VIII SPRING 2016

1.6 FRANKENWURST ITHACA, NEW YORK DESIGN VIII SPRING 2018

1.3 THE FUNNEL MONOGRAPH ROME, ITALY DESIGN VI SPRING 2017

1.4 ITHACA ROWING CENTER ITHACA, NEW YORK DESIGN IV SPRING 2016

1.7 CLOUD

RED HOOK, NEW YORK DESIGN IX SPRING 2016

RESUME

Isaac Rodrigo Tejeira irt9@cornell.edu | 914-502-8148

EDUCATION 2014-2019

Cornell University | Ithaca, NY College of Architecture, Art, and Planning Bachelor of Architecture 08/2014 - 05/2019 Five-year Professional Degree Program, NAAB.

summer 2014

2012-2014

University of Cambridge | UK Energy Generation and Sustainability Codes, Ciphers and Secrets: An Introduction to Cryptography

Westchester Community College | Westchester, NY Engineering and Sciences

WORK EXPERIENCE Jun - Nov 2018 Dec - Jan 2018

Jun - Aug 2017 Jun - Aug 2016 Jun - Aug 2015

ACTIVITIES 2014-2016

AAP Association | Ithaca, New York • Designer and curator of Association Vol. 7 & 8, a student-run architecture publication.

2014-2017

American Institute of Architecture Students | Ithaca, New York Chair of Events 2014 - 2015

• Leading ‘STUFF’ event, an exhibition that brings together multidisciplinary fields to exhibit their work. Fundraising Chair 2015 - 2016

• Collaborator and curator of ‘AIASketch’ exhibition, to fundraise money for installations and student-run projects.

2015-2018

INTERNATIONAL STUDENTS UNION | Ithaca, New York Designer and Event Planner

• Branding leader • Publicity committee designer for Cornell events.

2014-2016

EZRA BOX | Ithaca, New York Designer

• Brand designer of a students start up initiative granted by Cornell University. • Website design, logo, and branding promoter.

PUBLICATION/EXHIBITION Architecture Art and Planning | Ithaca Editor / Designer

• Contributor for Cornell University’s PLATE, a publication displaying student work. • AAP ASSOCIATION Vol. 7 • AAP ASSOCIATION Vol. 8 • Monograph Exhibition: A semester’s work exhibited through bookmaking and representation.

TRAVEL Bolivia Peru Canada Italy France Portugal Spain

INTERESTS Netherlands Denmark Colombia Germany United Kingdom Belgium Ecuador

Soccer Exhibition Book Design Painting Percussion Philantrophy Cooking

Photography Brand Design Fashion Design Furniture Making Site Visits

SKILLS Craftsmanship Laser Cutting, CNC Miling, wood working, metal working, model making.

Languages English - Fluent Spanish - Fluent Also reads: Italian

Software AutoCAD Rhinoceros Grasshopper (DIVA) Adobe Creative Suite

ARCH 3101 Design V Instructor Henry Richardson

1.1 TENTH HIGH LINE

CHELSEA NEIGHBORHOOD, NEW YORK DESIGN V FALL 2016 L ocated in t he we st s i de o f Ma n h a t ta n , the High Line is a recycled railway infrastr ucture tu rned into an elevated pe de st r i a n w a l k w a y a n d par k that connects the neighbor hoods , thus becoming a n urban act ivato r a n d o f fe r i n g n ew po l i c i es to be applied. This caus es divers e development a nd a constant value i n c re a s e to i t s a re a . This mixed-us e h o te l a n d a pa r t m e n t complex project aims to create a dialog with the High line, instead of t ur n i n g i t s ba c k to t h e pa r k, it invites its tour ists and vis itors to dis cover another extension of m i xe d-u s e a n d pu bl i c s pa ces . The hotel mimics the â&#x20AC;&#x153;paving and plantingâ&#x20AC;? strategy of t he H igh L ine a n d f i l te rs t h e s e e le m e n t s into a condens ed area full of life, therefore provoking the visitors to have a n ex pe r i e n t i a l t ra j e c to r y as they explore the collaged building. The project re pl a ce s pro g ra m s a l re a dy existing in the s ite s uch as 2 galler ies , 1 restaurant, 1 clot hing bout iqu e ; a n d a g g re g a te s a m a rket, a fas hion r unway, an amphitheater, res idential u nits, and t he hotel a n d i t s pr i va te a m e n i t i e s .

The High Line Hotel Concept

ARCH 3101 Design V Instructor Henry Richardson

The High Line Hotel Concept

ARCH 3101 Design V Instructor Henry Richardson

The High Line Hotel Concept

Accessible vs Inaccessible

Observation Deck

Resting Space

Amphitheater

Market

Street Connector

Ramps

Water Feature 11

ARCH 3101 Design V Instructor Henry Richardson

Street Level

Third Level 12

The High Line Hotel Concept

Fourth Level 13

ARCH 3101 Design V Instructor Henry Richardson

The High Line Hotel Concept

ARCH 4101 Design VII Instructor Timur Dogan + Kohn Pedersen Fox

1.2 WEST SIDE PARK NEW YORK, NEW YORK DESIGN VII FALL 2017

“ The c i t y b ecomes th e topogra ph y of mon u men ts” R e intro duc ing th e w aterfront to i t s i nhab ita n ts, a n d recla i mi n g i t a s a pu bl i c spa ce, th i s project ex amine s the Jav i t s C enter s i te as a p oten ti a l to ex pa n d a n d qu esti on s h ow th i s si te ca n a lter the relatio nship w ith t he w ater f ront and t he c ity, a n d provi de oppor tu n i ti es for pu bl i c u se. In the past ye ars , West Manhat tan w ater f ron t h a s been domi n a ted by i n du str i a l u ses, th erefore h a d be co me alien for t he i nhab i tant s of th e ci ty. T h e ci ty keeps growi n g a n d getti n g den si fied witho ut any co ns i d erat i on of g reen/p ub l i c spa ces. I n over th e pa st 120 yea rs, th ere h a sn ’t b een a p ark built simi l ar to t he s cale of C ent ral Pa r k i n Ma n h a tta n . I n order to br i n g a tten ti on to this issue and revita l i z e West Manhat tan for p ubli c u se, th i s proj ect becomes a h u b of possi bi li ti es and densitie s, ne go ti at i ng b et ween p rog rams . L ooki n g a t th e Hi gh Li n e- a s th e ma i n SPI NE tra n sfor m ing t h e We st side b y net work i ng t he Dow ntown n ei gh bor h oods wi th Ch el sea a n d Hell’s Ki tch en , this in te rve ntio n re cl ai ms t he p ub l i c s p ace b y crea ti n g a pa r k on th e Ja vi ts Cen ter si te th a t dea ls with ex tre me co nditi ons /d ens i t i es , b ei ng 1 0 0 % green spa ce a n d 100% mi xed-u se spa ces. T h e u rban pa rk be co me s a new real i t y from t he c i t y to con templa te n a tu re a n d i mprove th e pu bli c rea lm by provo king dynam i s m. The p ark cons i st s o f severa l n odes th a t gen era te va r i ou s possi bi li ti es for events and inte rac t i on b elow t he g reen canopy. II T h e towe rs as hy p er - d ens e mac hi nes : “Towe rs are machi nes t hat f ree s p ace s o t ha t u r ba n oppor tu n i ti es ca n h a ppen wi th i n th a t li berated space ” E lie Gam b urg . T h e se towe rs, a re i s ol ated st r i p s w i t h hy per -den si ti es of va r i a ti n g a n d gra da ti n g progra m. I t is a c ity in itse lf, a vert i cal mi c rocos m, of fi ce spa ces, resi den ces a n d commerci a l reta i l h a ve been propo se d but the i d ea i s b eyond an exp lora ti on of j u st a tower. I t’s a n exodu s of volu n ta r y pr i soners in a hype r-de nse st r i p .

West Side Park Concept

ARCH 4101 Design VII Instructor Timur Dogan + Kohn Pedersen Fox

Hudson Boulevard

Hudson Boulevard does not behave as a park because it is broken by streets and it minimizes the experience of being inside a park.

The High Line

Hudson River Greenway

Hudson River Greenway behaves like a strip that engages the waterfront and the city; however, it does not fulfill the green density of a park.

The High Line behaves like an alternate street for pedestrian use only and its elevated platform gives the viewer new perspectives on reading the urban fabric. The High Line does not create retreat from the city.

St. Nicholas Park (1895) Marcus Garvey Park (1840) Morningside Park (1895) Thomas Jefferson Park (1905) Riverside Park (1846)

EXISTING CONDITION

PROPOSED

CONNECTORS

Jacob Javits Center expanding 1.2 million sq.ft of footprint

A new park to create a new destination to West Manhattan.

Trajectories are created on park using important transportation points.

Central Park (1857) Theodore Roosevelt Park (1870) 100%

De Witt Clinton Park (1906) 100%

Bryant Park (1884)

Chelsea Park (1910) Madison Square Park (1847) Union Square Park (1882) Tompkins Square Park (1834) Washington Square Park (1871) East River Park (1930) Sara D Roosevelt Park (1934)

Rockefeller Park (1992)

REQUIREMENT

Meeting the requirements of 10,000,000 SQF and at the same time maximing green space and mix use.

Battery Park (1624)

CONTEXT

By tapering the top of the towers, it creates unobstructed views for neighbor buildings towards the park and towards the Hudson River.

West Side Park Concept

nfrastructural axes l axes

axes infrastructural axes axes infrastructuralinfrastructural

respond totodifferent crowds respond different crowdsby byoffering offering respond to different crowds by offering public program public program public program public program

ARCH 4101 Design VII Instructor Timur Dogan + Kohn Pedersen Fox

1.0 Playground Node 1.0 Playground 1.0 Playground Playground 1.0 Playground 1.0

2.0 Market Node 2.0 Market 2.0 2.0 Market 2.0 Market Market

3.0 Food Trucks Node Food Kiosks 3.0 Food3.0 Kiosks 3.0 Food Kiosks 3.0 Food Kiosks

4.0 Installation Node 4.0 Installation Plaza 4.0 Installation Plaza 4.0 Installation Plaza 4.0 Installation Plaza

5.0 Ice Skating Rink 5.0 Ice Skating Rink Node 5.0 5.0 Ice Ice Skating Skating Rink Rink 5.0 Ice Skating Rink

6.0 Concert Space Node 6.0 Amphitheater 6.0 6.0 Amphitheater Amphitheater 6.0 Amphitheater 20

West Side Park Concept

The towers frame views to key landmarks such as the Empire State, Hudson Yards Development, and the High Line. The podiums serve as treetop and gathering spaces for the inhabitants and visitors. Below the park there are shopping centers and spaces that engage the crowd with nature. These â&#x20AC;&#x2DC;under-parkâ&#x20AC;&#x2122; spaces are also the entrances to the towers.

ARCH 4101 Design VII Instructor Timur Dogan + Kohn Pedersen Fox

West Side Park Concept

ARCH 4101 Design VII Instructor Timur Dogan + Kohn Pedersen Fox

West Side Park Concept

ARCH 3102 Design VI Instructor Werner Hans Goehner

1.3 THE FUNNEL MONOGRAPH ROME, ITALY DESIGN VI SPRING 2017

The Funnel, a monograph superimposed on an abandoned plaza, located in the Flaminio district, situated on the outskirts of Rome. This project attempts to coalesce and synthesize an existing space, consequential to uneven urban growth, by creating the focal point of a plaza. The funnel is a modern and dynamic space, inside the walls of a now, defunct area. In relation to one of the most recent initiatives in addressing the disparity between the city centre of Rome and its peripheral areas, a number of warehouses (emergent from former military industrial bases) would be transformed into a multi-faceted, multi-functional social hub. This would agglutinate the district of Flaminio. During the execution of realizing this scheme, the proposal would create minimum impact on the site and provide key programmatic elements, by fitting them into an elevated box, in the result of enhancing the potential of becoming a new city centre, offering the potentiality of creating an iconic reaction in contrast to the post-industrial area. At the same time, optimizing the use of surrounding views. In reference to the street grids that enclose the MAXXI museum, the box proposal would connect the broken urban fabric by the use of escalators. The project is a comprehensive proposal of a multi-functional plaza. rather than a collection of refurbished buildings (as seen in previous competition proposals), it is a sequence of informal and formal meeting areas, linked by the aforementioned escalators where people can flow in and out. The street level of the military barracks, the central point of the project, would have direct access to the â&#x20AC;&#x153;boxâ&#x20AC;? through elevators and escalators inside one of the three refurbished historic buildings. coherently, public areas for large crowds would be oriented toward the very end of the barracks, which serves as a space for concerts and other festivities. the roofed areas become more residentially driven programs, such as food markets and coffee shops.

The Funnel Monograph Instructor Andrea Simitch

ARCH 3102 Design VI Instructor Werner Hans Goehner

The Funnel Monograph Instructor Andrea Simitch

EXISTING

ZONING

AXES

PLAZA

The existing condition of the site features via Guido Reni, a street that is 50% functional for vehicular circulation and 50% pedestrian

By pinpointing the axis of the via Guido Reni and the important landmarks in which is a spine of, one can start seeing this street

By hypothesizing a â&#x20AC;&#x153;fencelessâ&#x20AC;? via Guido Reni, there is vast opportunity for people to be filtered into different areas of

The Funnel absorbs potential for urban activation in axes point to different urban areas. Escalators serve as link of communities. A

ARCH 3102 Design VI Instructor Werner Hans Goehner

The Funnel Monograph Instructor Andrea Simitch

Site Connectors

“A Box Full of Surprises”

Program

ARCH 3102 Design VI Instructor Werner Hans Goehner

The Funnel Monograph Instructor Andrea Simitch

ARCH 3102 Design VI Instructor Werner Hans Goehner

The Funnel Monograph Instructor Andrea Simitch

ARCH 3102 Design VI Instructor Werner Hans Goehner

The Funnel Monograph Instructor Andrea Simitch

ARCH 2102 Design IV Instructor Arthur Ovaska

1.4 ITHACA ROWING CENTER ITHACA, NEW YORK DESIGN IV SPRING 2016

Amongst the activities the city of Ithaca offers, rowing on the inlet is one of the best ways to enjoy the precious essence of the landscape. Located in the Ithaca inlet, the Ithaca Rowing Center aims to both create an intersecting point for aspiring athletes, seasoned crew, and Ithaca residents. The Ithaca Rowing Center is defined by its location on the side of the Cayuga Inlet, close to the lake and several restaurants. The building’s form was conceived as a basic rectangular box, sliced diagonally as a means to absorb people from the walking trail. This form is then raised up on a boat storage – with minimal contact with the ground – so the building is nearly all cantilever, extending up towards more amenity program. The rowing center both defines and defeats the island, and, by keeping the ground beneath it largely free, becomes an attractive conduit between the university rowers and the outside community. Both outside and inside, free-flowing circulation was key to the thinking behind the building. The central core is a boat storage with a ceremonial staircase connecting the various program areas: erg room, cafeteria, deck, and locker rooms. The exercise spaces – the erg room and locker room – exploit the slope formed by the slice for their tiered seating. The coach offices inhabits the structural core of the building. The erg room and amenities, being the primary function, inhabits the entire top floor. But it is also able to invade the boat spaces below by means of a wide staircase for viewing the lake as circulation path; the use of materials in these spaces also signals the potential continuity in the program. Elsewhere, materials vary, and include concrete flooring, glazing paneling, and translucent plastic paneling over fluorescent lighting. The locker room’s facade is also translucent, revealing the structural steel truss work beneath.

Ithaca Rowing Center Comprehensive Design Studio

ROOF MEMBRANE

CORRUGATED METAL

SPACE FRAME

GFRC

FIRE ENCLOSURE

CHANNEL GLASS

CURTAIN WALL

BOAT STORAGE

ARCH 2102 Design IV Instructor Arthur Ovaska

LOCKER ROOM RESTROOMS

ERG ROOM

CAFE

FIRE STAIRCASE VIEWING TERRACE

PUBLIC ENTRY

MECHANICAL ROOM OFFICE

OAR ROOM

BOAT STORAGE

Ithaca Rowing Center Comprehensive Design Studio

ARCH 2102 Design IV Instructor Arthur Ovaska

Ithaca Rowing Center Comprehensive Design Studio

nificent views to the inlet. This same strategy ARCH 4102 Design Instructor Aleksandr Mergold of framing views is applied to VIII private and public program such as the erg room, locker room, cafe, and observation deck.

II T HNACA DU S T R I A LINSERTS I N S ER T S 1.5 INDUSTRIAL , N EW YOR K D ES I G N I VITHACA, S PR ING NEW 2 016 YORK A R T H UDESIGN R OVA S K A VIII SPRING 2018

An architectural investigation of industrial production between two Cold War rivals, the USSR and the US, and creation of an inventory of spatial instruments to show off dominance in spaceflight capabilities. Inserts is a fictitious construct of spaces and celebration of the pure form of extreme typologies that were used as infrastructural artifacts to send satellites and shuttles to space: the bridge (Service Arm),1 the tower (Launch Umbilical Tower) 2, and the box enclosure (Mobile Launcher Platform).3 The project renders these artifacts as a â&#x20AC;&#x2DC;fun palaceâ&#x20AC;&#x2122; of instruments that transforms its uses into human explorations, and as such, these machines are re-purposed and distorted by the needs of the inhabitants. Architecture is re-assembled and re-adapted into spatial machines, and complex elements are used and re-purposed such as scaffoldings converts into stairs, gas conduits as water slides, exposed structure predicts parasitic additions, UTL arms serve as bridges, and the mobile launcher platform transforms into a complex maze of ramps and voids. Through this spatial exploration, the instruments contain precious textures, patterns, densities, conduits running left and right, and labels/tags/patent numbers that were once strategically placed. These densities are exposed roughly, and display traits of unique materialities and uses.

1 Service Arms The Service arms are inserts to the LUT and are the main connectors to the rocket and feeds the rocket. 2 Launch Umbilical Tower The LUT is a 380 ft tall tower of 18 levels, which is the infrastructure to the instruments that serve the rocket. Through this strip all the electrical conduits and fuel lines pass. 3 Mobile Launcher Platform The MLP is a two-story steel structure to support the Space Shuttle stack throughout the build-up and launch process. It is a vehicle and a foundation to the Space Launch System rocket. However, in order for this vehicle to mobilize, it needs a crawler transporter. The Mobile Launcher is an insert to the crawler transporter.

y ,

Industrial Inserts Design/Plan 4.0

ARCH 4102 Design VIII Instructor Aleksandr Mergold

Industrial Inserts Design/Plan 4.0

ARCH 4102 Design VIII Instructor Aleksandr Mergold

Industrial Inserts Design/Plan 4.0

ARCH 4102 Design VIII Instructor Aleksandr Mergold

1.6 FRANKENWURST ITHACA, NEW YORK DESIGN VIII SPRING 2018

In collaboration with Brandon Choy. This edition of Design Plan Studio will consider the fate of old industrial buildings caught between their picturesque, nostalgic appeal and the extreme complexity of their permanent re-occupation rooted in deep environmental, technological, regulatory and preservation issues. Perhaps the most appealing aspect of old industrial buildings is their universality – a promise of accommodation, with a certain effortless grace, of any program. Yet the results of contemporary reuse often negate that promise for the future. Is there another way? The studio will concern itself with timelessness vs temporality, mobility vs permanence and lightness vs firmness within the context of an ensemble of existing buildings with complicated histories, environmental contamination, conflicting and contradicting contemporary building codes and demands of programmatic fluidity. Using a combination of new technologies and materials with archaic devices, parts of original buildings, old and new construction techniques, the studio will learn from the ancient past – when buildings were made to last through non-linear cycles of total reuse, the 1900’s – the time when engines were added to existing common objects (resulting in anything from blenders to motorcycles to flying boats), and 2010’s – when, strangely, similar grass-roots “what-if ” attitude is possible in architecture owing to availability of computer-aided fabrication, basic robotics and new light flexible materials and power sources. While applicable to many post-industrial areas in the US struggling with re-inventing the built context from 1900’s, the studio site will be Ithaca’s own Morse Chain factory, first constructed in 1905 and in continuous (re)construction through the 1960’s and in operation on South Hill until 2006. The fate of this nearly 900,000SF complex has been under consideration for several years, but the process of rehabilitation is at a standstill because of lengthy multi- agency environmental and code reviews, uncertain degree of the extents of contamination, and conflicts of jurisdiction between the City and Town of Ithaca. Owing to that, the re-occupation of Morse Chain (now dubbed Chain Works District) has been proceeding extremely slowly. In the meantime, the studio will investigate another, temporary,way forward that will consider the past and present as a catalyst for the near, nimble, mobile, impermanent future of Morse Chain that considers its past as a point of departure and the ultimate resource. A pair of parallel lines serving as an imaginary extension of Cayuga Street,slices through the Morse Chain Factory, extracting an elongated cuboid that incorporates fragments of Buildings 4, 8, 15 and 35 which were built from the 1917, 1917~27, 1916 and 1970, respectively. The elongated cuboid is then further sliced down into four 10’ wide transepts that capture the general interesting areas of each of the 4 buildings. A waterside-liketube narrows down to the most interesting points and moments of these 4 detail-packed slabs, extracts 4 cylinders that contain fragments of concrete flooring and walls, steel beams and trusses, cinder blocks, etc. and are slapped back together, forming a ‘Franken-Sausage’. The process is then repeated several times until the crude Franken-sausage 1) meets its required dimensions and 2.) is refined to the most flavorful, juiciest parts. The Franken-Sausage is now ready to be served. Bon Appétit..

II The Franken-Sausage was processed as a means to distill a very complex factory to its main ‘ingredients’ or elements into a compressed flavorful core sample. These traits are now able, through a process of expansion, be analyzed as an architectural case study such as the idea of having light-weight structure which inhabits like a parasite within the building, that through the cavities that were performed in the Frankenwurst, our new architectural intervention has opportunities to conquer (spatially). In the second part the Frankenwurst expands its elements back to its existing location as a means of hinting possible voids/perforations, or a trajectory that links the building together. Our project is a pneumatic structure, it’s really almost an aggression to the existing condition, a light-weight structure that penetrates into a contaminated factory as a means of inhabiting the uninhabitable through the use of protection. This pneumatic structure manifests intrusion in a deadly tract, but through intrusion one could find the most fantastic spaces, the compressed spaces that is surrounded by a membrane where one can touch the hazardous and one can experience it. It is an oasis, and an archipelago of spaces that have not been programed by specific activities but one can only imagine this intervention becoming a fun palace contained within a bubble that is soon to expand throughout the contaminated factory.

FRANKENWURST Design/Plan 4.0

URBAN CONNECTOR TRUSS TRUSS

CORRUGATED METAL

BEAM

CINDER BLOCK

CONCRETE FOUNDATION HVAC CONDUIT

MUSHROOM COLUMN CONCRETE FACADE

ARCH 4102 Design VIII Instructor Aleksandr Mergold

Morse Chain Factory 1917

1927

1916

1927

1970

Four Eras of Investigation

Chain Factory as Site

Isolated Condition

Contaminated Areas

BUILDING #15: COLUMN BUILDING #35: TRUSS BUILDING #35: TRUSS 02 BUILDING #35: CRANE BUILDING #35: ROOFING BUILDING #35: BEAM BUILDING #8A: HVAC BUILDING #8: M. COLUMN BUILDING #8: CEILING BUILDING #8: CINDER BLOCK BUILDING #4: FACADE

Building Transects

Extraction of Transects

Compression

Inventory of Elements

Extracted Elements

Compression

Building Parts Transects

Cuts and Compression

Core Sample 52

FRANKENWURST Design/Plan 4.0

ARCH 4102 Design VIII Instructor Aleksandr Mergold

Axes of Location Corrugated Metal (1970) Crane Lift (1970)

Beam (1927)

Mushroom Column (1916)

Cinder Block (1927)

Concrete Facade (1917)

Isolated Elements HVAC Conduit (1917)

Elements Location

Transects Intervention

FRANKENWURST Design/Plan 4.0

55 55

ARCH 4102 Design VIII Instructor Aleksandr Mergold

FRANKENWURST Design/Plan 4.0

ARCH 4102 Design VIII Instructor Aleksandr Mergold

FRANKENWURST Design/Plan 4.0

ARCH 5101 Design IX LevenBetts + Gabriel Smith

1.7 CLOUD

RED HOOK, NEW YORK DESIGN IX SPRING 2016 In collaboration with Jae Ho Park. CLOUD aims to create a center of gathering for Red Hook’s community and inhabitants through a hypothetical approach towards reinventing social housing in a resilient area. Being sensible to the site, the project has a process of layering in order to observe the articulation and interlocking of shared public programs bound together by the plaza space in the heart of the building. The plaza space becomes a moment of intersection of people and activities. A surgical operation tries to dissect how housing and plaza space interlock through a series of transects, layering of masses, and elevations. The project would become responsive to catastrophes that could happen in the near future such as flooding, crime, and gentrification by elevating the volume and activating the public ground as archipelagos of different activities such as playgrounds, sports fields, and a gathering space. .The units/apartments float above these public archipelagos like clouds, connecting to the ground plane through sets of escalators. Adapting Morphosis’s Carabanchel social housing into Red Hook context, the project could be called a transformative process. It has picked up and filtered Carabanchel’s most important traits such as a clear circulation, green pergolas as green curtains, public spaces divided around the site and in addition provided privacy, improved daylight, better views towards the context.

CLOUD Red Hook Housing

ARCH 5101 Design IX LevenBetts + Gabriel Smith

Facade Elevations

Voids and Textures

Habitable vs Uninhabitable

Decay and Graffiti

Transportation

Retail 62

CON TAM INA TED

NYC HA

CLOUD Red Hook Housing

CON

TAM I

SOC

NAT

IAL

OOL

SCH

REC

CON

REA TION

FAR M

REC

RECREATION

REA TION

IKEA

Transects are shown as strips of gradients cut from the assigned site as a means of analyzing transitions of activities and program. Each transect defines a gradient and its qualities such as: a range from public to private; residential to contaminated, recreational to academic, retail to recreational, and uninhabitable green spaces to habitable green spaces. These transects are new areas of opportunity for potential building (parasitic) interventions like public spaces and social housing.

NAT

COM

MUN

IT Y

ARCH 5101 Design IX LevenBetts + Gabriel Smith

NYCHA

PLAZA

RESIDENTIAL

CLOUD Red Hook Housing

ARCH 5101 Design IX LevenBetts + Gabriel Smith

CLOUD Red Hook Housing

REC

PASSAGE

KIOSKS

TEENAGERS (12-16)

AFTERSCHOOL

LIGHTING

GREEN

LIGHTING

SEATING

LIGHTING

PASSAGE

PLAYGROUND

PASSAGE

HUB

PLAZA

PASSAGE

GREEN

PASSAGE

CONNECTOR

VERTICAL

KIOSKS

PLAYGROUND

GARDEN

PASSAGE

NYCHA

ARCH 5101 Design IX LevenBetts + Gabriel Smith

CLOUD Red Hook Housing

On the ground level, a plaza is proposed to bring together crowds from all areas. The plaza responds to adjacent programs and activities from neighboring blocks and articulates spaces accordingly. For instance: after school gathering spaces for young teenagers, playgrounds for NYCHA and Cloud residents, sporting amenities, and social encounters for all. These plaza spaces are categorized by topographic elevations that respond to catastrophes such as hurricanes, as a result, these topographic moves allow different points of entrance to the residents in case of flooding. As a component to this flooding issue, the building minimizes its footprint as it gently touches the plaza. This will reduce the risk of potential destruction of units and amenities. 69

ARCH 5101 Design IX LevenBetts + Gabriel Smith

CLOUD Red Hook Housing

The buildingâ&#x20AC;&#x2122;s main programs are: vertical retail spaces that range from small delis to laundromats, amenity spaces, â&#x20AC;&#x2DC;huggedâ&#x20AC;&#x2122; by residential units, which offer educational programs and gathering spaces for the residents of Red Hook, and lastly the social housing complex that ranges from 1 to 4 bedroom units, all interlocked differently in order to create dense and porous spatial configurations for better daylight conditions and framed views.

ARCH 5101 Design IX LevenBetts + Gabriel Smith

Carabanchel by Morphosis

Daylight Study

Scheme I

Scheme II

Scheme III

Scheme III (back)

Plaza Mold

Plaza Negative Massing

Scheme IV (Gradient)

Scheme V

Plaza and Amenities

Scheme VI

VI - Amenities

VI - Structure

VI - Massing

CLOUD Red Hook Housing

ARCH 5101 Design IX LevenBetts + Gabriel Smith

CLOUD Red Hook Housing