Jorge Cornet - Academic Portfolio

IDENTITIES, ASSOCIATION & TIME

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IDENTITIES, ASSOCIATIONS & TIME JORGE J. CORNET 2014 - 2017 Graduate School of Architecture Planning and Preservation.

Columbia University

contact: j.cornet@columbia.edu

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PREFACE Design is intrinsically experienced through the physical reality of the human body. The physical world is a perception of the senses; but, nevertheless, it is in the spiritual realm of human sensibility that identity, associations, and time are essentially perceived.

The projects contained in this portfolio are the result of years-long meditations on the nature and perception of design and beauty in the context of history and technology. All of them pursue an understanding of the human identity and its role in the world, as well as associations developed in built form between the person, the city and the role of time in shaping them.

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9 PROJECTS Yamanashi Press

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Anti Diplomacy

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Urban Decalage

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Trans-Artic Expedition

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The Arts Neighborhood

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Progressive Incubator

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Urban Nomads

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Recreational Water

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Absence in the City

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Horizontal Living

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and 7 UNDERTAKINGS Arverne East

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Camera Obscura

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Comprehensive Visibility

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Building with Sand

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Unlinked

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Mexican Identity Monograph

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Temple Hoyne Buell Center

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YA M A N A S H I P R E S S A N D BR TD ER Y AOMAADNCAAS S HT I IN P RGE SCSE N AN BROADCASTING

KENZO TANGE

KENZO TANGE

C E N T E R1966 1966

1966 - The Yamanashi Press and Broadcasting Center. KOFU, Japan

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OPEN WORK The design of this project was developed as part of the Advanced IV studio in collaboration with Boer Deng, Andrew Weber and Kavya Cherala.

Kenzo Tange's buildings do not change according to the elements' timespans theorized by the metabolists.

The building’s growth is untenable according to its structure and envelopes. We propose to reframe the idea of growth to consider the lifespan of whole buildings rather than their constant organic regeneration.

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SYSTEM OF CORES The Yamanashi Press and Broadcasting Center, designed by Kenzo Tange in 1966, is comprised of 16 cylindrical cores which provide circulation, mechanical, and structure to the project.

In elevation there are three programs that make up the project, printing press, offices, and radio and television studios.

In plan the specific function of each core is visible based on their different geometries.

CIRCULATION VENTILATION STORAGE TOILET

Each core supplies the building as either circulation, ventilation, storage, or restrooms. Each core carries a single function. The building is arranged along a single axis that bisects the building. One enters the building from the street and moves along the axis to the primary circulation cores at the center of the building. Because of the project’s unique relationship to the core research entailed an analysis of other core projects both by Tange as well as other architects, to better understand how cores can change the spatial or structural orientation of a building.

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VERTICAL PROGRAMATIC DISTRIBUTION - ELEVATIONS

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LINEGAE OF CORES - A TIMELINE

LARKIN BUILDING 1920 Frank Lloyd Wright

TOKYO PLAN KENZO TANGE

LARKIN BUILDING

FRANK LLOYD WRIGHT

1908

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RICHARDS MEDICAL LABS 1965 Louis Kahn

DENTSU BUILDING/TSUKIJI

1960

TOKYO BAY PLAN 1960 Kenzo Tange

KENZO TANGE

1966

RICHARDS MEDICAL RESEARCH TSUKIJI MASTERPLAN 1966 LABORATORIES Kenzo Tange LOUIS I KAHN

1965

YAMANASHI PRESS KENZO TANGE

1966

G/TSUKIJI

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YAMANASHI PRESS KENZO TANGE

1966

YAMANASHI PRESS 1966 Kenzo Tange

SKOPJE MASTERPLAN KENZO TANGE

SHIZUOKA PRESS KENZO TANGE

1967

SKOPJE MASTERPLAN Kenzo Tange 1967

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KNIGHTS OF COLUMBUS 1969 Kevin Roche 1970

KNIGHTS OF COLUMBUS BUILDING SHIZUOKA PRESS KEVIN ROCHE

1969

Kenzo Tange 1970

FIERA DI BOLOGNA KENZO TANGE

1974

FIERA DI BOLOGNA Kenzo Tange 1974

1908

LARKIN BUILDING 1920 - Frank Lloyd Wright

UILDING

YD WRIGHT

LARKIN BUILDING

FRANK LLOYD WRIGHT

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1908

LABORATORIES

LOUIS I KAHN

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1965

RICHARDS MEDICAL LABS 1965 - Louis Kahn

RICHARDS MEDICAL RESEARCH LABORATORIES

NASHI PRESS AND BROADCASTING 1966

YAMANASHI PRESS 1966 - Kenzo Tange

TANGE

YAMANASHI PRESS AND BROADCASTING KENZO TANGE

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1966

SHIZUOKA PRESS - Kenzo Tange 1970

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1970

SHIZUOKA PRESS

KENZO TANGE

5000mm

RE-INTERPRETATION OF STRUCTURE

4 CONNECTIONS

3 CONNECTIONS

STRUCTURAL SYSTEM OF PARTS

2 CONNECTIONS

Because Tange designed the building not as a single finished object, but as sytem in the process of change, we studied a single section of the building to understand the system at a localized level. At the top of each level the core uses a ring to create a lattice of beams to support each floor. Each ring has a particular set of connections based on how the core is oriented to the site or to other cores.

Although the building appears to layout a system in which the building can easily expand, there are certain aspects of the building that suggest the building is actually much more static than is expressed. When looking through construction photos we discovered that the buildings structure actually uses steel trusses with concrete poured after the structure is in place.

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METAPHORICAL & FORMAL GROWTH Contrary to the formal expression of the cores, the walls of each core taper from level to level. From the exterior, however, they appear to function as uniformly structural - allowing the building to easily expand vertically as the building grows. The roof level core walls are as thin as 25 cm, where at the basement these are 80 cm thick.

Instead of continuing Tange’s metaphor of the core, the design choses to treat the existing building as a new ground plane.

The new Yamanaishi will expand vertically as Tange’s design for growth was expressed.

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STRUCTURAL SKELETON - RINGS AND BEAMS

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RE-INTERPRETATION OF STRUCTURE

ENVELOPE SYSTEMS ARE SUBSEQUENT TO STRUCTURAL GRID AND ON A DIFFERENT TIMESPAN

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1966

1966

1966

1974

1974

1974

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NEW GR

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NEW GROUND NEW GROUND

New Ground 1

{3D}

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PROPOSAL PROPOSAL 1

{3D}

2020

METABOLISM THEORIES In reevaluating Tange’s theory of metabolism growth based on the reality of the built project, what becomes clear is that buildings do not change according to the timespan theorized by the metabolists. The building’s growth is untenable according to its structure and timespan. We propose to reframe the idea of growth to consider the lifespan of buildings rather than their constant organic regeneration.

By associating each part of the project with a specific lifespan the components can change independently where the existing Yamanashi building will be functioned as a structural lattice with a lifespan of more than 100 years. New spaces within the existing structure would have a shorter lifespan of 10 years, based on their construction and program. The new addition has a 40 year lifespan and is designed both in terms of structure and materiality accordingly. The details of each component will be discussed later.

Programatically the building functions as a single entity.

Based on the changing role of media and the way in which the public interacts with it, the new building is designed to express the spectrum of how media is produced and consumed.

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1

FULL AXON_NOW_BUFFER

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BUFFER AS KEYSTONE - PROGRAM & STRUCTURE TRANSITION

BUILDING ORGANIZATION The existing building is emptied of its current system of interior and exterior partitions to allow for spaces devoted to the public engagement with media. The new building is designed as a flexible set of office and studio spaces devoted to the production of media, and the area where consumption and production meet in the middle is considered a buffer between the two ends of the spectrum.

The three components of the building are connected through the paths of circulation. Although the core remain at their current height, in some of the cores the circulation itself extends to the buffer and new addition. This allows for workers to travel to the top building directly from the street level.

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TIPYCAL FLOOR PLANS - 3 SYSTEMS

A1

A2

B

C

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A1 A2 B C

Typical Plinth Floor: Feeder Type Typical Plinth Floor: Consumption Transitional Buffer Floor Typical Tower Plan

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TRI-PARTITE SYSTEM - STRUCTURAL CONTINUITY

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UNITED NATIONS - PRESERVATION

'Photo-Collage of the UN HQ in New York'

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BUILDINGS OF ANTIDIPLOMACY This project belongs to the dual architecture and preservation studio at Columbia. Advanced Core V Studio.

The aim of the design is to portray a new symbol for the United Nations in Geneva. Both an irreverent proposition to existing gridlock hierarchys within the organization and also reminiscent of the corporate diplomatic imaginery of nonbelonging(ness) portrayed at the UN.

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INFORMATION SERVICES There exists a hierarchical dichotomy of architectural spaces in the UN and the Human Rights facilities' of that which is meant to be staged and ceremonial, and those spaces that are used on a daily basis (routinal), that could be considered ‘in service of’ the Council Rooms. The Council Room has a primordial role over the seemingly ‘less important’ support spaces. However, it appears to be that most of the work on the development

and protection of Human Rights around the world does not happen in the long-negotiating processes when the Council meets twice a year for a week, but on the never-ending meetings, research, information communication, negotiations, social meetings, testifying of witnesses from around the world. The aim of this project is to invert the existing condition of hierarchical relationship between what is the space designed for HR Council meetings and the necessary ‘other’ spaces used by, for and, in order to make the first happen.

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C

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UNITED NATIONS - INVERTED HIERARCHIES

A

E

D

B

a b c d e

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Human Rights Offices Hall of Nations New Entrance Cafeteria Information Services Offices

The new Human Rights offices are located above the chamber room and seating arrangements are made in a council room manner.

This is the new room where decisions are made

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‘The Social Life of Small Urban Spaces” by William Whyte.

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URBAN DECALAGE The design of this project was developed as part of the Advanced III studio “Light in the city� in collaboration with Aga Janusz.

Urban space is determined by both architectural and climatic conditions. Sunlight is a changing condition that activates space making it voluble and intrinsic to time.

Urban Decalage [time lag] perturbs the sunlight condition on Pier 26 by turning the pier garden into an ever lit space by use of an engineered static mirrored oculus.

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TIMELESS URBAN SPACE - SEQUENCE

SUMMER

a

d

MoirĂŠ SCREEN

ECOLOGY

b

e HUDSON RIVER ESTUARIUM The given site on Pier 26, Tribeca, has a unique condition of lighting. The pier is exposed to sunlight from all three sides, surrounded by a reflective water surface that enhances the light intensity and has a minimal amount of shade from the adjacent buildings. The proposal premises a building that is shaped by the movement of light and shade in the public space, employing those fundamental qualities to sculpt the architecture. The presence of light and shade is an engine for occupying spaces which can change radically, reverse according to seasons and times of the day and evoke intuitive movement. Both light and shade can be an attractive space to occupy. The 20-80 pareto principle implies aiming at a minimum footprint and maximum impact on the pier to awake and explore a range of activities tied to light and shade.

c

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A

B B

a b c d e

Organization's Offices Research Areas Cafeteria Classroom Research Library

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DIGITAL CAMERA OBSCURA - LIGHT RAYS

E

D

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C WC WC

‘SHACKLETON EXPEDITION, 1914-1917"

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IMPERIAL TRANSANTARTIC EXPEDITION ACSA competition. 2nd winner.

Developed in partnership with Tom Soldiviero and Adam Schroth

"After the race to the South Pole had ended in December of 1911, Shackletonm a polar explorer embarked on a voyage that would cross the Antartica from sea to sea. Disaster struck this expedition when its ship, Endurance, became trapped in pack ice and was slowly crushed. There followed an ultimate escape" 51

THRESHOLD AMPLIFIED As we reflect on Shackleton's heroic journey, and the transforming landscape of Antarctida, we seek to engage the role of a border crossing station as a point enabling contact amongst people and places. However, the country lines of the map are not as stiff here, as there are several territorial claims on the continent. In close proximity to where Shakleton's vessel was beset, is the intersection of disputed territorial claims recognized by the UK, Chile, and Argentina with access to research stations nearby (which are becoming ever more prominent as the impacts of global warming grow more pressing).

This is the context in which this project works, in between water and ice, light and darkness, and bound by place and time.

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Showcasing the structures largest spans, the Grand Customs Hall is located at the terminal of inspection procedures and stands as a beacon in the Antartica waters.

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Purposed for researches and tourists alike, the Antartic Border Crossing Station utilizes a large scale observation deck permitting expansive views into the Antartica landscape.

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UNIT FLOOR PLAN - ARTISTS RESIDENCES

THE ARTS NEIGHBORHOOD This project belongs to the Housing studio at Columbia, part III of the Core Studios. Developed in partnership with Andrew Weber.

Recognizing the imminent incursion of speculative development in the area, we propose to establish a framework in which this transition may take place without shifting the priority of the new proposals from the collective to the individual.

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ARTISTS MIGRATION TO SOUTH BRONX The project takes on the challenge of creating a new community of artists in the South Bronx, by re-using and developing a basic infrastructure and framework that inhabitants can make of their own by adapting and reconfiguring it.

The challenge lies in the preconfiguration of spaces to develop a place for people who consider their ‘place’ in-develovaple. Artists have always been the community to populate ‘left-over’ neighborhoods in the city and kicked-off re-conquering areas of the city for its people.

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MANUFACTURING RE-USE TO GALLERIES TENEMENT HOUSING ADAPTATION TO STUDIOS

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ARTISTS RESIDENTIAL UNITS & STUDIOS

d

a

e b

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a b c d e

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Studios Stores Gallery Lobby School

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a b c

Living Workshop Corridor

c a

b

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PARTIE WALL 002 _’AMENITIES WALL’ _PUBLIC-SHARED SPACES _VERTICAL CIRCULATION _MASS TO BE CARVED OUT W/ USE

ULATION

STRUCTURE DIAGRAM

ONTAL AND VERTICAL CIRCULATION AS WELL AS ACCESS TO OFFICES GH CORE

OVERHANGING STRUCTURE FROM CORE OF OFFICE FLOORS

CLOUD 003 _ASSIGNED OFFICE SPACES _SOUTH ORIENTATION _FLEXIBLE FLOORS/WALLS _COURTYARDS _LIGHT STRUCTURE AND TRANSLUCENT _FLOATING OVER STREET

SOUTH-EAST ELEVATION

NORTH-WEST ELEVATION

SHOWING FACADE OPACITIES AND ‘PUNCTURED’ IN TERRACES

SHOWING GATHERING ‘BUBBLE’ SPACES PENETRATIN

SYSTEM 004 _INTERLOCKING OF TWO ELEMENTS _PLATFORMS GO INTO PARTIE WALL _PARTIE WALL SHAPED BY PLATFORMS _COMMUNITY

H-EAST ELEVATION

NORTH-WEST ELEVATION

G FACADE OPACITIES AND ‘PUNCTURED’ IN TERRACES

SHOWING GATHERING ‘BUBBLE’ SPACES PENETRATING THROUGH CORE

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PROGRESSIVE INCUBATOR The Business Household is a project developed for the Core II studio as part of personal initiative to create a real estate office model suitable for entrepreneurs.

MISSION: “To create a model where people work to make a life, not just a living� by WeWorks. Located in Long Island City in NY, the incubator serves as a semi-public hub in the neighborhood and serves the community.

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C

WINTER

D

SHARE $40/mo

CREATE $400/mo

BUILD $600/mo

CLOUD OFFICE - FLEXIBLE FLOOR PLATES

COOP > PURCHASE / LEASE > TIME SHARING > CLUB

FLEXBLE FLOOR SLABS vs. STATIC CORE & CLOUD SPACES FLOOR 4_CORE

FLOOR 6_CORE

URBAN STRATEGY

PROGRAM

INDIVIDUAL

GATHER

SHARE

FORM

GET IT DONE

STREET PROCESS

N

CLOUD FLOOR PLATES

VIEW LOOKING INTO OFFICE SPACES FLEXIBLE LAYOUT

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CLOUD

SPATIAL THICKENING OF THE SERVICE WALL The business household is an exploration both in terms of real estate and design. This experimentation emphasizes the idea of a Co-operative office building where a customer own a share of the organization and has a right to use different spaces within the building.

The building is therefore organized in two parts: the core, which is meant to be portrayed as the skeleton of the organization. This is where the administrative, shared and service spaces are, such as conference rooms, circulation, etc.

The office spaces themselves: ‘the cloud’, is a flexible set of floor plates that can vary in size, orientation and privacy depending on the customer need.

FLEXBLE FLOOR SLABS vs. STATIC CORE & CLOUD SPACES

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CLOUD OFFICE - SHARED VS OWN SPACE

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8TH FLOOR, FLOOR PLAN 3/32” = 1’-0”

6TH FLOOR, FLOOR PLAN 3/32” = 1’-0”

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CLOUD FLOOR

VIEW LOOKING INTO

OUSEHOLD LIKE ‘STREET FRONT’ VERTICAL STREET

B

LEARN #LECTURES #EVENTS

SOCIAL COMMUNICATE #CAFE

INFORMED #CLUBMAGAZINE

OUR MISSION: TO CREATE A WORLD WHERE PEOPLE WORK TO MAKE A LIFE, NOT JUST A LIVING.

PROPOSED

NY

WASHINGTON DC

ESS

LONDON

BARCELONA

NETWORK

ELEMENTS

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OPEN OFFICE #WANDER

e

d b

a

c

a b c d e

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Bank Cloud Plaza Studios Rooftops

SITE CARVING 001 _PROGRAM AT STREET LEVEL NOW UNDERGROUND _ALLOWS OFFICE AT STREET LEVEL _CAFETERIA _GYM

PARTIE WALL 002 _’AMENITIES WALL’ _PUBLIC-SHARED SPACES _VERTICAL CIRCULATION _MASS TO BE CARVED OUT W/ USE

CLOUD 003 _ASSIGNED OFFICE SPACES _SOUTH ORIENTATION _FLEXIBLE FLOORS/WALLS _COURTYARDS _LIGHT STRUCTURE AND TRANSLUCENT _FLOATING OVER STREET

SYSTEM 004 _INTERLOCKING OF TWO ELEMENTS _PLATFORMS GO INTO PARTIE WALL _PARTIE WALL SHAPED BY PLATFORMS _COMMUNITY

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‘Renaissance painting depicting religious nomads' - Unknown

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FOR THE URBAN NOMADS The Homeless Community Center is an undergraduate design project from my studies at CUA which is part of the sacred studies concentration taught by Silvestrin.

When to engage a community? How to feel part of it without a commitment to it? To deal with the stigma of living on the street and co-constructing the environment.

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a

UPLIFT THE SPIRIT Community driven complex designated for urban nomads and homeless.

This building is part of a series of interventions happening around the city.

The infrastructure that infills empty plots within urban lots is meant to serve as a platform for individuals.

b

c

The project is directed and designed for the homeless as well as those people who are nomad citizens of the modern city. In that sense, the aim of the project is to portrays an invitation to interact with the building and community and allow for a first approach from the individual without having to feel committed to enter.

The alley reminds the user of those public spaces that usually inhabits, but it is now to become the epitome of a new community, therefore reinventing a life. a population b infill c communities

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FACADE SKIN LAYERS WITH ART CRAFTS

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RECREATIONAL WATER The Manhattanville Natatorium and the underground public restrooms projects are a sequence of designs from the Core I studios.

Water is lifted up from the ground as if a a-temporal infrastructure rose from the site, and by moduling itself to follow the flows of water, creates frames of the city and the surroundings.

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GROUND & 2nd FLOOR PLANS OF POOLS

b

c

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e

b a

d

a b c d e

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Changing rooms Pools Plaza Relaxing area Solarium

CORNET_GSAPP_RAKATANSKY_FALL2014_BRIEF II

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SITE PLAN

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DIAGRAM SHOWING URBAN SECLUDED SPACES: IN SKYSCRAPERS, UNDERGROUND AND HALF-WAY BELOW GROUND

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"A secluded space: it will bring peace to the soul."

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ABSENCE IN THE CITY The public restrooms project is a part of the project designed for the Core I studio.

The public restroom ties the above-ground cuty with the underground infrastructure and emphasizes its secludeness within a public space.

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UNDERGROUND PLAN WITH ACCES RAMP

THE UNDERGROUND CONNECTION TO SKY In a city where there is an exclusive connection with nature and the sky only found in parks or at the top of skyscrapers, there is need for a public space that connects the urban with nature and allows for a peaceful, contemplative moment.

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One of the last privileged nature sites in New York City

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AVERNE EAST WASTE TO ENERGY This project was developed for the Urban Systems Core Technology Course in Collaboration with Jean Gu, Ayesha Gosh, Ben Hochberg.

Re-claiming the Sandy storm devastated area in Queens for a research institute. This institution will become a key element of the life cycle of systems in the city and manage residual waste for the entire Far Rockaway peninsusla.

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Speculation on City-wide

CREATING A NEW COMMUNITY Arverne East on the Rockaway Peninsula is mostly isolated from the rest of the city. This means that it is mostly self sufficient and consequentlyfunctions like a microcosm of the whole of New York City. The isolated Rockaways become a testing ground where we can select specific sources of New York City’s waste production, and test their effects on a preexisting system.

This provides an opportunity to imagine this relationship at a more manageable scale to test our ideas, before investigating how they can be used more widely to supplement the functional systems at a city-wide scale.

Our scheme proposes a building and site strategy that facilitates the processes of converting waste to energy where the system’s waste byproducts and excesses are also transformed to create a community amenity.

The site plan is designed for the process of biodigestion from waste consolidation to energy consumption. It aims to make this process evident to the local population as the public learns about biodigestion in the educational program buildings and circulates among digester eggs and the rest of the system’s infrastructure.

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Waste Transit Truck Route Waste Barge Route Consolidated Waste Pipe Methane Pipe Electricity

Expansion

TO PO

SITE 1

SITE 2

735,91

7284 ton/day

TO PO

SITE 2

310 5,691 millions ton/day gal/day

14,313,5

TO POW by colle at full ca 150 millions gal/day

SITE 1

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15,049 KG

Site System Strategy

solid organic waste

liquid waste

+

waste transport

blender facility

digester

METHAN

+

WATER + ELECTRICTY

de-watered organic waste

wa ec

SEWAGE + BIOWASTE COLLECTION

SLUDGE SYSTEM IN: 5,418,257 gal/cycle

1x

= 450,000 gal

1x

=

(60’ d x 40’ h)

= 5,418,256 gal

12x

TOTAL

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3x

NEWTOWN CREEK EGGS 1,500,000 gal ROCKAWAYS AVERNE EAST EGGS 450,000 gal

BIODIGESTER RESEARCH AREA

M

power plant

electricity

100%

NE PRODUCTION

EXCESS

ocean breeze

research building

cool down building

+

ater-based cosystem

HEATING FACILITIES

WINTER

USER EXPERIENCE

SUMMER OUT:

MARSHLAND

FARMLAND FERTILIZER RESEARCH AREA

BOARDWALK

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FARMING LAND

Raised Boardwalk

Biodigester Plants

Research Center

Marshland

VISITORS CENTER Bathroom, Showers etc

bEACH WALK

DUNE WALK

ISED BOARDWALK + NATURE PRESERVE

Promenade Broadwalk + Beachfront

RAISED BOARDWALK +

OIL: Amended mix of subsoils over xisting subsoils LORA: Broomsedge. Butterfly weed. urple cornflower AUNA: Neotropical migratory songbirds,. utterflies. Raptures. Greategret. Blue

- SOIL: Amended mix of subsoils over existing subsoils - FLORA: Broomsedge. Butterfly weed.

Purple cornflower - FAUNA: Neotropical migratory songbirds,.

ZONE uRaptures. pland Greategret.

ZONE Blue Butterflies. upland

- SOIL: Amended mix o existing subsoils - FLORA: Broomsedge.

Purple cornflower - FAUNA: Neotropical m Butterflies. Raptures.

UNE WALK

upland ZONE

upland uplan nd coastal

defence defence dunes

BEACH WALK Promenade Broadwalk + Beachfront

DUNE WALK Raised Boardwalk + Nature Preserve + Beachfront

SOIL: Amended mix of subsoils over existing subsoils

SOIL: Amended mix of subsoils over existing subsoils

FLORA: Broomsedge.

Butterfly weed. Purple cornflower

FLORA: Broomsedge.

Butterfly weed. Purple cornflower

FAUNA: Neotropical migratory songbirds,.

Butterflies. Raptures.

Greategret. Blue

FAUNA: Neotropical migratory songbirds,.

Butterflies. Raptures.

Greategret. Blue

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AEWEI

ARVERNE EAST WASTE-TO-ENERGY INSTITUTE

CHIMERA

ARCHITECTS

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Wastewater Treatment & Biodigester Plant

lant

2

BIO-DIGESTER SITE SYSTEM

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Example of Bio-digester Plant Structure *Source 3D: Universidad de Valencia, Spain

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Example of Bio-digester Plant Structure *Source 3D: Universidad de Valencia, Spain GAS FLARE

GAS FLARE Excess Gas is usually produced in Bio-digester plants, burnt and released into the environment with a flare

3

CHP

Excess Gas is usually produced in Bio-di6 gester plants, burnt 5 into and released CHPthe environment with AfteraBio-gas is flare cleaned through a

1

After Bio-gas is cleaned through chemical reaction process it’s conve into electricity

chemical reaction process it’s converted into electricity

1 6 5

7

1

9

8 7 BLENDING Mix of waste liquids 8 with manure to produce mix that accelerates digestion with chemicals

SETTLEMENT AND FILTERING

Takes approxiamtely 15 days to get waste SETTLEMENT AND to this stage from FILTERING plant entry Using different methods such as Coarse Screens, filtering and settlements to separate denser larger waste

Using different methods such as Coarse Screens, PASTEURISE filtering and settlements to separate denser larger Takes approxiamtely waste 30 days to get waste to this stage from plant entry

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Using different methods such as Coarse Screens, filtering and settlements to separate denser larger waste

Takes approxiamtely 15 days to get waste to this stage from plant entry

2 33

Anaerobic Digestion

7

Digestate S

2 2

PASTEURISE Collection & Takes approxiamtely Pre Treatment 30 days to get waste to this stage from Blending

Collection & Pre Treatment Blending

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Pasteurisation

8

Gas cleanin

3

Anaerobic Digestion

5

Control Room Storage 7 Digestate

9

CHP Engin

4

Pasteurisation

6

Biogas Storage cleaning 8 Gas

10

Gas Flare

5

Control Room

9

CHP Engine

6

Biogas Storage

10

Gas Flare

1 ANAEROBIC DIGESTION

SETTLEMENT AND FILTERING

ANAEROBIC DIGESTION 9

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plant entry

Example of Bio-digester Plant Structure *Source 3D: Universidad de Valencia, Spain

GAS FLARE

CHP

Excess Gas is usually After Bio-gas is produced in Bio-dicleaned through a gester plants, burnt chemical reaction *Source 3D: Universidad *Source de Valencia, Spain de Valencia, Spain and released into the 3D: Universidad process it’s converted environment with a into electricity flare

Example of Bio-digester Example Plant ofStructure Bio-digester Plant Structure Example of Bio-digester Plant Structure *Source 3D: Universidad de Valencia, Spain GAS FLARE

GAS FLARE

Excess Gas is usually produced in Bio-digester plants, burnt GAS FLARE and released into the Excess Gas is usually environment with a produced in Bio-diflare 7 gester plants, burnt and released into the environment with a flare

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8

7

8 9

8 7

CHP

CHP

Excess Gas is usually After Bio-gas is produced in Bio-dicleaned through a gester plants, burnt chemical reaction CHPinto and released the it’s converted process After Bio-gas is environment with intoaelectricity cleaned through a flare chemical reaction 9 process it’s converted into electricity

9 1

After Bio-gas is cleaned through a chemical reaction process it’s converted into electricity

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PASTEURISE

2

Collection & Pre Treatment Blending

Takes approxiamtely 30 days to get waste to this stage from plant entry

3

Anaerobic Digestion

7

Digestate Storage

4

Pasteurisation

8

Gas cleaning

5

Control Room

9

CHP Engine

8

Collection & Collection & 6 Biogas 10 Gas Flare 1 Storage Pre Treatment Pre Treatment Blending 2 PASTEURISE 2 Blending Collection & Takes approxiamtely Anaerobic Digestion 3 Anaerobic Digestion Storage 3 Treatment 7 Digestate 7 Digestate Storage Pre 30 days to get waste Blending Pasteurisation this stage from 4 to 4 Pasteurisation 8 Gas cleaning 8 Gas cleaning 1

PASTEURISE

Takes approxiamtely 1 ds30 days to get waste s,TEURISE to this stage from 2 ntsplant entry es approxiamtely 3 ger days to get waste his stage from 4 nt entry

plant entry

Digestion 5Anaerobic Room 5 Control

757 Control Digestate Storage Room Engine 9 CHP

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CHP Engine

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Gas cleaning Gas Storage Flare 868 Biogas 10

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Control Room

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CHP Engine

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Gas Flare

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HORIZONTAL URBAN LIVING Undergradute urban design and housing project. After re-designing urban fabric, took one of the buildings and made into residences

Urban proposal for a re-fit of Red Hook in Brooklyn. This consists of small interventions both at the urban and building scale. These follow the urban fabric and consist of new manufacturing and an increase in the number of residential projects to rise density of the neighborhood.

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PLANS OF APARTMENT, ROWHOUSE AND TOWNHOME

RED-HOOK RESIDENTIAL The Park area is a mixed set of commercial corridors that will bring more visitors to the area, attracted by commerce such as IKEA and other more local businesses.

The southwest waterfront forms a commercial and leisure venue which is meant to finish off the sequence of arrival into the neighborhood circulating through the commercial strips. The northwest waterfront is to be developed with highend residential towers that face views to downtown Manhattan. The residential proposal is a transitional building from high density urban fabric to park semisuburban housing. This consists of apartment (lowest), townhouse (middle), and single family house units. It creates a composition of public spaces and gardens that connect to the park.

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DIGITAL CAMERA OBSCURA Architectural drawing representation course at GSAPP.

Project developed to find new ways to transcribe the movement, intensity and flow of light particles on surfaces and bodies.

The camera obscura becomes a lense through which light is reflected and can be transcribed onto paper.

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DRAWING MACHINE Drawing Machine that uses the concept of a camera obscura in order to capture an abstraction of the quality of light in a specific space.

The image and light enters the black box through one end of the camera and is projected onto a reflecting surface that perturbates the image. This filtering of the image is meant to capture the quality of light only and not necesseraly the image itself that is being captured.

The light obtained with the camera gives a hint of different properties that the light has in terms of its diffusiveness, its density or its accuteness.

Each of the reflectors, of course, are all made of the same sheet of metal.

However, these will reflect different shapes of light rays since they bounce light very differently due to the various ways they are treated in terms of finish and bending. The user traces the rays of light projected from the reflected metal onto the transparency and draws over them until he or she is unable to see any more light in the box, since, by then, it will have all been covered by ink.

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DIGITAL DRAWING MACHINE In the second iteration of this experiment, the camera obscura is re-interpreted and through a grass-hopper script that follows similar parameters as the used in the physical drawing machine, it produces different reflections of light that output a set of drawings shown in the following pages. These change due to the density and abstraction of light rays.

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COMPREHENSIVE VISIBILITY Visual Studies Course - Algorithmic Design. Project developed in collaboration with Ming Xu.

Using processing code to calculate isovist of all spots in a given space.

The project developed a gradual changing pattern to reflect the difference of visiablity from point to point. Isovist is the volume of space visible from a given point in space.

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Abstracted buildings as rectangles and change their locations, this pattern can change response to the rearrangement of rectangles.

In every point, we use a small coloured rectangle to represent the mean length of rays, when the rectangles congregated, it generated a gradual changing pattern.

ABSTRACT VISIBILITY Isovist is the volume of space visible from a given point in space. in processing, we import a black-white map to identify buildings and walkable space, and use rays from one piont to simulate human sight. With this code, we can analyse how the arrangment of buildings can affect the sight of human and in a certain space, how the visibility changes.

(Image above: Shot from video clip that captures moving visibility)

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# Conclusion: Visibility is influenced by the congergation of obstruction and the distance to obstructions. # References: Bill Hiller, Julienne Hanson . (1984)The social logic of space, January 27, 1989 # Software: Processing “Processing is a programming language, development environment, that promotes software literacy within the visual arts.�

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In every point, we use a small coloured rectangle to represent their the locamean length of rays, rearrangewhen the rectangles congregated, it generated a gradual changing pattern.

Calcification and Solidification of Sand with Baciliis Pasteurii

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BUILDING WITH SAND Innovation Project developed as part of the Next Generation Technology elective with Lise Anne Couture.

In response to the exisiting thread of rising ocean waters and the need to continue to build near shore lines, this project uses bacteria in construction sites to develop latest technology in building construction by creating wall-less membranes that are semi-permeable.

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WALL[LESS] MEMBRANE The different steps in the creation of the wall for the excavation process are: 1. Identify area of work and limit of intervention.

2. Deep Crushing and mixing tool with hibrid Rock crushing, mix of grain sands and stone.

3. Inject Bacteria Bacilis Pastruriae around perimeter which calcifies with sand as a natural cement injection.

4. For porosty gradient change amount of bacteria injection in the perimeter.

5. Excavate inside newly created bathtub Take out remainder slurry and expose natural organic bathtub.

Tower Project

Excavation Site Low Water Table

Site near Shore

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Permeable Semi - Permeable Preassure Filter Bathtub

Baciliis Pasteuri Injector Deep Crushing, mix

Thickened Bathtub Wall with Permeability Gradient

Piling and Injection Wall-less Edge

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Bacteria Storage

Student concentrated in work at the GSAPP studios with new privacy canopy.

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ULINKED Transformable design: project developed in partnership with Ayesha Ghosh and Valerie Lechene under the supervision of Engineer Chuck Hoberman.

Unlinked is motivated by a belief that transformable design can remedy situations such as the lack of privacy and comfort by creating temporary shelters that create enclosure and that can appear and disappear with a very simple movement. "A friendly way to disconnect"

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Unlinked - Axonometric - Front

tric - Front

compressed

deployed

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deployed

DEPLOYABLE CANOPY Last year, architecture studios within Avery Hall were refurbished with Silicon Valley open space desks, increasing the number of interactions, conversations and exchange of ideas and techniques between students. While students truly enjoyed the new furniture and amount of thought embedded in the pieces themselves, they also suffered from a lack of private work space where they could hear their thoughts making academic tasks such as reading and writing challenging.

The system developed for the project features three sets of ¼”plexi scissor links bridging seven ribs that form a large canopy while extended and a ¾”wooden plane while retracted. It can be slit in and out of its anchor by a single person.

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MONOGRAPH Through the eyes of architecture is a publication developed as part of a series of mongraphs on the study of identity, culture, and race.

The Evolution of Spatial Experience of Modern Mexican Identity

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‘Mexican National Identity in World Fairs Pavilions’ During the industrialization of Mexico under the dictatorship of Porfirio Diaz the republic institutions and elites strongly campaigned to show itself to the world.

Following the model of modernity of cities such as Paris, the government invested with energy in publicizing the arrival of Mexico to the modern world. Mexico presented itself in the world fairs as the modern country that had overcome what was seen outside as wilderness and un-governability. By recognizing an inherent modernization of the country and pushing it forward, elites and government found themselves re-creating a reality of Mexico outside of Mexico that painted a country of aspirations and

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dreams sometimes not coherent with reality. World fairs before the Mexican revolution were a catalyst and political tool for elites and government to try to change Mexican identity and assimilate it to other European traditions. The reasons behind this will to re-adapt a country’s identity may be diverse and complex. This paper intends to analyze through world fairs Mexican pavilions the evolution and shaping of this Mexican identity by comparing pre and post revolutionary architecture at world’s fairs and understanding what the ideas thriving for a specific architecture explain of the Mexican identity transformation.

Pamphlet developed by the design team for the exhibit.

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TEMPLE HOYNE BUELL CENTER The study of American architecture. Projects developed as a member of the team of GSAPP Exhibitions at the Buell Center collaborating in the construction and organization.

COLUMBIA UNIVERSITY, GSAPP - ARTHUR ROSS ARCHITECTURE GALLERY Fall '14 EXHIBITION THE HALPRIN SHOW Spring ‘15 EXHIBITON ENVIRONMENTAL STUDIES

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The Halprin Show & Environmental Studies In the late 1960s and early 1970s American landscape architect Lawrence Halprin and avant-garde dance pioneer Anna Halprin organized a series of experimental, crossdisciplinary workshops in Northern California.

The workshops brought together dancers, architects, environmental designers, and artists in a process designed to facilitate collaboration and group creativity through new approaches to environmental awareness. During movement sessions on the dance deck of the Halprins’ home in Marin County, blindfolded awareness walks through the surrounding landscape, collective

building projects using driftwood at the beach of the Halprins’ Sea Ranch cabin, and choreographed journeys diagramming the experience of the city, participants engaged in multi-sensory activities using looselystructured, written guidelines in the form of open “scores.”

The Halprin Workshops, 1966–1971 presents original photographs, films, drawings, scores, and other documentation of three workshops: Experiments in Environment, 1966; Community, 1968; and Leadership Training, 1971.

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IDENTITIES, ASSOCIATIONS & TIME JORGE JUAN CORNET 2013 - 2017 Graduate School of Architecture Planning and Preservation.

Columbia University

contact: j.cornet@columbia.edu

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