Citizen Architect

JOSE LUIS GABRIEL CRUZ, CITIZEN ARCHITECT COLUMBIA UNIVERSITY GRADUATE SCHOOL OF ARCHITECTURE, PLANNING AND PRESERVATION MASTER OF ARCHITECTURE CANDIDATE 2014

ARCHITECTURE AS CONCEPT SEMINAR

SPRING ‘14

This found architecture scares us and, at the same time, is a source of infinite hope.

CITI ARCH BERNARD TSCHUMI, INSTRUCTOR

Citizen architects are citizens first, architects second.

Our concepts and buildings are all too human; not separate from the world we live in, but are very much of it.

We learn of ourselves, of our surroundings via a rapidly polarizing society in which the increasing value of innovative spaces muddles a deteriorating state of the human condition – and we stand in the center, clutching both ropes as if to not let go of either. The following is an attempt to define, not a new architectural paradigm, but a new kind architect (which, ultimately, creates a new kind of architecture.)

Rather than playing the role of the inventor, purposely creative, a wizard with an indiscriminate pencil for a wand, the citizen architect is more of an archaeologist; always digging, always sorting, and occasionally coming across an architecture truly remarkable, as if what we have discovered has existed long before our involvement. This found architecture scares us and, at the same time, is a source of infinite hope. In this architecture, there is no flashy rhetoric, no truth with a capital “T,” nor a manifesto for reference.

Our agenda is to find and reconstruct a tangible narrative, to literally make architecture that tells stories of the human condition and its inherent conflicts and contradictions. These narratives start and end with characters; a range of individuals fully immersed and versed in the latest architectural discourses and those completely detached: non-architects. That is, normal citizens. This dual, and seemingly contradictory, lens is the paradigm from which we operate from: at once, a master builder and a casual observer, the expert and a novice, the scarred and the innocent.

We are responding against an era of self-referential architecture concerned with a perfectly autonomous discipline – an “architecture about architecture” as Peter Eisenman posits in his essay, “Aspects of Modernism: Maison Dom-ino and the Self-Referential Sign.” In exchange, we embrace a discipline which confronts the nature of the individual and their place within an interconnected social network of others. By default, this is the world we live in. We are, simultaneously, local indi-

IZEN HITECT viduals while collectively participating in global discussions within an online world. This freedom, by way of virtual connection, is enjoyed by all and, yet, has afforded us no choice but to participate in it.

Thus, the questions we ask divert our interest from the tangible to the intangible, from the locally specific to the universally specific – ideas spawning from individuals located physically and mentally in different places, ideas stemming from opposing parties, from opposing countries and differing modes of thought. Like a filmmaker, we visualize the stories of these individuals – stories of spectators and performers, stories of people who deceive and people who are deceived, stories of developers, of hoarders, of buyers and sellers.

In effect, the spaces a citizen architect creates are reflective of their users’ character: spaces of greed, of compassion, of entrepreneurship, and violent interaction.

This approach could be misunderstood as indecisive, sporadic or apathetic, in some cases. On the contrary, we build spaces that are worthy of telling stories. Like a filmmaker, we materialize the good guy and we materialize the villain, each to uncover deeper truths and implicitly bring awareness to topics concerning our very nature. While we are interested in architecture’s moral underpinnings, we suspend judgment for the sake of the story, for the sake of the space. The architect, in turn, creates architecture that is susceptible of success, of failure, of atrocity and utmost kindness.

To understand our spaces is to understand our intended users. We absorb the present zeitgeist, translate it into a catalog of spatial relationships, then select relationships that best tell the underlying narrative and re-present it back to society in the form of spaces and surfaces. The intention is to catalog users in a sequence of varying spatial arrangements. This ‘spatial cataloging’ attempts to discover a new method of designing spaces that begins, not necessarily with a predetermined geometric intent, but rather a social one – combining diverse groups of people with even more diverse areas of knowledge and learned skills.

We champion the Situationist City of Simon Sadler in which he describes a rich palette of playful architectural conditions – open and confined, dark and light, transparent and opaque, static and dynamic – in such a way that spaces can be evaluated by their differences and appreciated for their variety. These palettes are to us what chemicals in a lab may be to a chemist, ingredients for a larger experiment. In my first case study for a place of performance, these conditions serve as a guide from which I select to curate the story I want to tell, a story in which spectators are just as much of a show as peformers.

we make frameworks.

We set up games with loose rules to empower the public, understanding that the opinions of a group is often more accurate and comprehensive than the idiosyncratic ideas of an individual ‘expert.’

The spaces, hence, are arranged on a light framework as to juxtapose spaces of performance, spaces of circulation and the undefined interstitial space in-between. This interplay of spatial types decentralizes the act of performances into acts, converting regular activities such as walking or looking into spectacles themselves. The building is not only activated by these various performers and spectators, but its volumes evolve to host these activities.

The freedom in this approach is in its indeterminacy.

Just as one architect may use the spatial catalog one way, another architect may assemble spaces in a radically different manner, both to materialize the narrative they wish to pursue. We fantasize less on formal determinacy as we do, programmatic determinacy.

We find the specific in the universal. We design with the dumb and mundane in mind, at times, as to become willingly passive participants amidst a general public interested in collectively determining the undetermined. So we make frameworks. We set up games with loose rules to empower them, understanding that the opinions of a group is often more accurate and comprehensive than the idiosyncratic ideas of an individual ‘expert.’ We transitioned from the master hand to master facilitators.

In the second case study, the intent is to allow the purchasing behaviors of the public to determine the expression of a storage building, a framework that spans the entire site. Concepts from obvious precedents such as Cedric Price’s Fun Palace and Yona Friedman’s Spatial City are remixed in building form, enabling the framework to serve as a constant to an otherwise ever-changing series of volumes upon the façade.

We understand this to be a significant departure from the deterministic whim of many 20th century architects in which the logic of their buildings was as ideologically predictable and undisturbed as their end result. We embrace situations where we invest minimal effort, in order to yield a fruitful, and yet more unpredictable return. This, inversely, makes our architecture more vulnerable, denying us sole authorship of our own buildings. In this way, architecture becomes ‘liquid,’ as Ben Van Berkel writes in his book “Move:” […] This is not about generating projects with fluent, melting shapes. The architecture of the liquid does not refer to the formal materialization of a building, instrument, or fixed structure. It refers rather to triggering the imagination by pointing to something that is itself external to architecture and works towards structures generated by a complex field of multiple forces.

We depend on the forces of economics, politics and popular culture to infuse meaning and relevance in our buildings. The architecture of the city, then, becomes a platform onto which the public rest their own interests, thereby giving it an identity that derives from the collective, an identity that reflects the narrative of the many upon its skin and not simply the mind of the lone genius architect. These surfaces, however, work both ways. In as much as the public informs the building, the building informs the public. Our envelopes, states Alejandro Zaera-Polo, “are not mere representations of the interests of a client, of a certain political ideology, or an image of utopia.” It is more than this. “It is an alltoo-real, concrete, and effective agent able to assemble and mediate the interests of the multiple stakeholders that converge on the architectural project today.”

Our narratives begin and end with characters who border between banality and wonder, disengagement

and euphoric ecstasy, deep insight and grave misunderstanding. We embrace these contradictions – while searching for clarity. The points, lines and planes we draw take on new social responsibility, burdened with the narration of the human condition. Surfaces – opaque, transparent and the absence of them – do not merely represent ideas but have the ability to accept, strengthen or eradicate them. These surfaces are the voice of the individuals whom inhabit them. These voices can be well-intentioned, ill-informed, misleading or diplomatic. They can serve to invite or imprison or both. Like good films, good buildings demand more of its inhabitants. They speak more boldly, more clearly, and are often more unsettling. Renowned English writer, Virginia Woolf, reminds us that “the success of the masterpieces seems to lie not so much in their freedom from faults – indeed we tolerate the grossest errors in them all – but in the immense persuasiveness of a mind which has completely mastered its perspective.”

My third case study, a place of cult, attempts to narrate the process in which individuals stop being themselves and adopt a foreign worldview at the detriment to their personal freedom. The design spawns from a plan that spatially maps a sequence of indoctrination. The varying densities of dots depict the grouping and isolation of individuals throughout the process. Lines locate the various volumes in which individuals are confined to within the site. While the following two plans translate an existing condition into a solidified situation, the deeper value lies in understanding the implications of each line and the potential to disrupt the existing condition of indoctrination if the architect were to move or erase a line or a series of lines. It is in this way, that the citizen architect becomes an advocate for society. The question, then, becomes: what story will the architect choose to tell and how will they tell it? What ingredients from a spatial catalog will they select to employ?

The citizen architect is deeply concerned with matters of economy. We understand that our contemporaries have folded their design strategies in reaction to agendas set forth by the business and political sectors, a hopeless pursuit of the next buzzword or hot topic

making us out to be subject and subservient to cultural trends. We understand there to be a clear (and significant) difference between being subject to the public and allowing the public to further inform our narrative through their use of our buildings. We choose the latter. Thus, our interests in real estate development, finance, and global markets, lead us to become implicit advocates of change in building sectors controlled by individuals hiding behind Excel spreadsheets. Rather than succumbing, mindlessly, to the often dated and uncritical approaches of many developers, we acknowledge their agenda, while proposing new platforms for economic opportunity. We reject the notion of “business as usual.”

The concept for the fourth case study – a place of retail – is purposely polemical, creating a platform in which local New York City vendors have a space to compete for business with the likes of big box retailers like Wal-Mart, Best Buy and Home Depot. This leveling of the playing field affords consumers a choice between the generic versus the specialized, the globalized versus the local. The project bluntly abuts a space for truck vendors with a space for big box retail. This tension aims to create a renewed sense of thrill and urgency in shopping. Like a theater, vendors will be on site for a limited time – a week, a month – making the site a place of constant consumerism, while at the same time creating opportunity for all local merchants to sell their service or product.

Our architecture reflects not only the stories we see, but those that we wish to see. At times, the citizen architect makes their hand invisible and at other times, bluntly creates a fictional narrative in which the public must catch up to. It is an architecture that can only be produced by keen observers, those that witness and learn from external forces rather than reiterate clichés within an architectural vacuum. We exchange this autonomy for the complex contradictions of being human, all too human.

This architecture scares me. And yet, it is a source of endless hope.

I suspect that an architecture that boldly embraces our imperfect nature, erects walls and columns as greedy and compassionate as we are.

Each project was an opportunity to question my understanding of architecture’s relationship to the human condition.

Each project is in response to a given program by the critics.

MONOGRAPH OVERVIEW This monograph consists of five, one-week projects developed on a single Manhattan block, split into five parcels, located between 12th and 11th Avenue and 40th and 39th Street.

WEEK FOUR Place of Performance

WEEK THREE Place of Storage

WEEK TWO Place of Retail

WEEK One Place of Cult

PLACE OF CULT

SPRING ‘14

DECEIVERS &

PLACE OF PERFORMANCE

PERFORMERS & SPECTATORS

DATE OF PUBLICATION Spring 2014

COLUMBIA UNIVERSITY Graduate School of Architecture, Planning and Preservation

CRITICS Ada Tolla Giuseppe Lignano Thomas De Monchaux

PRODUCTION SITE 600 level of Avery Hall, third row to the left, second desk from the window with the empty Smart Water bottle and scattered sketchbooks

ADVANCED ARCHITECTURE VI The Monograph Studio

CITIZEN ARCHITECT Jose Luis Gabriel Cruz

THE MONOGRAPH STUDIO ADA TOLLA, GIUSEPPE LIGNANO + THOMAS DE MONCHAUX, CRITICS

PLACE OF RETAIL

PLACE OF STORAGE

DEVELOPERS & HOARDERS BUYERS & SELLERS

THE DECEIVED

THE MONOGRAPH STUDIO SITE

NARRATIVE From the moment we wake, we perform — for ourselves and for others.

Each act, each word spoken in conversation exhibits an acquired knowledge, a learned skill, no matter how spectacular or dull. We are our own spectacle and at all times subject to judgement from spectators who, in turn, are themselves performing.

CONCEPT The concept is first to understand the scales and spatial arrangements in which people perform and spectate. This, in turn, suggests relationships between the two. The intention then is to catalog a series of these spatial relationships in order to understand a range of densities from which I can conceptualize the organization and sequence of the building. This exercise attempts to discover a new method of designing spaces that begins, not necessarily with a geometric intent, but rather a social one - combining diverse groups of people with even more diverse areas of knowledge and learned skills.

PLACE OF PERFORMANCE

PERFORMERS & SPECTATORS

GROSS SQUARE FEET ###,###

SITE MEASUREMENTS 160’ X 180’

PROGRAM Place of Performance

WEEK FOUR

SPECTATORS & PERFORMERS: PLACE OF PERFORMANCE

SPRING ‘14

THE MONOGRAPH STUDIO

Spectators are as much of a show as the performer

SPECTATORS & PERFORMERS: PLACE OF PERFORMANCE

SPRING ‘14

THE MONOGRAPH STUDIO

PERFORMERS & SPECTATORS SPATIAL CATALOG

A

B

C

D

E

1

2

3

4

5

Rather than playing the role of the inventor, purposely creative, a wizard with an indiscriminate pencil for a wand, the citizen architect is more of an archaeologist; always digging, always sorting, and occasionally coming across an architecture truly remarkable, as if what we have discovered has existed long before our involvement. This found architecture scares us and, at the same time, is a source of infinite hope.

ABSTRACTION OF SPATIAL RELATIONSHIPS SPATIAL CATALOG

A

B

C

D

E

1

2

3

4

5

Our agenda is to find and reconstruct a tangible narrative, to literally make architecture that tells stories of the human condition and its inherent conflicts and contradictions. These narratives start and end with characters; a range of individuals fully immersed and versed in the latest architectural discourses and those completely detached: non-architects. That is, normal citizens.

SPECTATORS & PERFORMERS: PLACE OF PERFORMANCE

PLACE OF PERFORMANCE

HYBRID OF PROGRAMMATIC SCHEMES

upper level programming

mid level programming

ground level programming

SPRING ‘14

THE MONOGRAPH STUDIO

upper level plan

PLACE OF PERFORMANCE

ground level plan

translation of program TO volumes

mid level plan

SPECTATORS & PERFORMERS: PLACE OF PERFORMANCE

SPRING ‘14

THE MONOGRAPH STUDIO

We are responding against an era of self-referential architecture concerned with a perfectly autonomous discipline – an “architecture about architecture” as Peter Eisenman posits in his essay, “Aspects of Modernism: Maison Dom-ino and the Self-Referential Sign.”

SPATIAL ARRANGEMENTS BASED ON PROGRAMMATIC POSSIBILITIES

SPECTATORS & PERFORMERS: PLACE OF PERFORMANCE

SPRING ‘14

THE MONOGRAPH STUDIO

ELEVATIONS PLACE OF PERFORMANCE

In exchange, we embrace a discipline which confronts the nature of the individual and their place within an interconnected social network of others. By default, this is the world we live in. We are, simultaneously, local individuals while collectively participating in global discussions within an online world.

This freedom, by way of virtual connection, is enjoyed by all and, yet, has afforded us no choice but to participate in it.

SPECTATORS & PERFORMERS: PLACE OF PERFORMANCE

SPRING ‘14

THE MONOGRAPH STUDIO

Thus, the questions we ask divert our interest from the tangible to the intangible, from the locally specific to the universally specific – ideas spawning from individuals located physically and mentally in different places, ideas stemming from opposing parties, from opposing countries and differing modes of thought.

NARRATIVE Charles Manson, Jim Jones and Adolf Hitler understood this: to achieve unrelenting compliance, you must assume the role of facilitator, captivating a group of individuals by promising unattainable promotion. The pressure from the deceiver upon the deceived comes in various forms — psychological, physical and spiritual. Thought-stopping repetition and ritual converts the deceived into mindless followers.

This self-perpetuating machine ultimately creates two distinct and exclusive interfaces, one between the insiders and one between the outsiders.

Newcomers are welcome to partake in group rituals, giving an appearance of happiness and genuine experience. This seductive event encourages individuals to seek further discipleship, ushering them into small groups in which hard instruction and prolonged meditation diminish doubt and thereby strengthening compliance within the illusionary framework. Through a series of group related activities, offset by personal devotion time, individuals become members, ultimately adapting the imposed worldview and discarding their ‘guilt-filled’ past. By then, the indoctrination is complete.

Surfaces — opaque, transparent and translucent — and the absence of them suggest a sequence by which unsuspecting and vulnerable newcomers comply with, absentmindedly.

CONCEPT The concept of the plan depends upon the superimposition of two realities: the sheep and the wolf expressed in two explicit architectures, two conflicting languages which coexist in one building.

WEEK ONE

PLACE OF CULT

DECEIVERS & THE DECEIVED

GROSS SQUARE FEET ###,###

SITE MEASUREMENTS 160’ X 180’

PROGRAM Place of Cult

DECEIVERS & THE DECEIVED: PLACE OF CULT

SPRING ‘14

(Inaudible) ... Don’t, don’t fail to follow my advice.

You’ll be sorry. You’ll be sorry. If we do it, than they do it. Have trust. You have to step across. (Music) We used to think this world was — this world was not our home. Well, it sure isn’t — it sure wasn’t.

REVEREND JIM JONES SPEAKING TO HIS CONGREGATION AS THEY WILLINGLY DRINK CYANIDE TO THEIR DEATHS

THE MONOGRAPH STUDIO

DECEIVERS & THE DECEIVED: PLACE OF CULT

SPRING ‘14

THE MONOGRAPH STUDIO

SEQUENTIAL PLAN OF CULTIC INDOCTRINATION DECEIVERS & THE DECEIVED

RE

NISTRATIVE OFF E UR E PT TU R E R P RI IPTU RE U CR RIPT URE T SCCRIP TURE S RIP RE SC RIPTU RE SC RIPT U SC PTURE SCRI TURE SCRIP RE SCRIPTU SCRIPTURE SCRIPTURE SCRIPTURE SCRIPT URE SCR SC IPTURE SC RIPTURE SC RIPT SC RIP URE SC R I P T U RE T CRRIPT URE U RI IPT U RE P IP TU RE T R TU URE E RE

U

RE E

ICES ADMINISTRATIVE OFFICES ADMINISTRATIVE OFFICES ADMINISTRATIVE O

FFICES ADMINI

MEMBER FELLOW

MEMBER FELLOW

MEMBER FELLOW

MEMBER FELLOW

MEMBER FELLOWS

MEMBER FELLOWS

MEMBER FELLOWS

MEMBER FELLOWS

MEMBER FELLOWS

MEMBER FELLOWS

MEMBER FELLOWSH

MEMBER FELLOWS

MEMBER FELLOWS

MEMBER FELLOWS

MEMBER FELLOWSH

MEMBER FELLOWSH

MEMBER FELLOWS

MEMBER FELLOWS

MEMBER FELLOWS

MEMBER FELLOWS

MEMBER FELLOWSH

MEMBER FELLOWSH

MEMBER FELLOWSH

MEMBER FELLOWSH

MEMBER FELLOWSH

MEMBER FELLOWSH

MEMBER FELLOWSH

MEMBER FELLOWSH

MEMBER FELLOWSH

To understand our spaces is to understand the users. We absorb the present zeitgeist, translate it into a catalog of spatial relationships, then select relationships that best tell the underlying narrative and re-present it back to society in the form of spaces and surfaces. The intention is to catalog users in a sequence of varying spatial arrangements.

INTERPRETATION OF PROGRAMMATIC SCHEME

TIO

UC

T

INS

INED

YS TA

AR

TR

EN

TR Y

EN

Y EN TR Y

EN TR

TR Y EN

TR Y

ENT RY

EN TR Y

TR Y

EN

EN

T EN

ENT RY

E

ON ROOM REDEMPTIO

TR Y

EN

EN T

EN TR

TR Y

EN

EN TR Y

TR Y

EN TR Y

EN

E ION RE P T SU E M ED

TR Y

Y

L

A OR

RP

RI E BAR

IER

R BAR R I ER BARRIER BARRIER BAR

SH

OR

W

L A

RAL WORSH

RIE AR RB IN

CURTA

U RT AINS

SC

UR

SC

ORP O

AR RB

O IP C

E RI RT AIN

CU

NS

CU

NS

RT AI

U

IER RR BA

R

IER RR BA

IER RR BA

IER RR BA

TAI N

F LAT MP

PLATFOR RIER BAR

IP C

E

RI R BA

R

R RIE

I ER RR

BA

OR

M

PL

LLS WALLS WALLS WALLS WALLS WALLS

R BARRIE

BARRIER

IER BARR

OM PRAY OM PRAY OM PRAY

E UR OS CL EN RE SU CLO E EN ENCLOSUR

RY S TA I N

ED

AGE ST ST

OS

E UR L L HA

EN

SHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

P OR

BER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

M

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

M

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

M

M

M

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

MEMBER FELLOWSHIP MEMBER MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

M

FELLOWSHIP MEMBER MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER M M M M M M M M M M M M M M M M M M

FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER MEMBER FELLOWSHIP MEMBER

M

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER M

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

EN TR

EN TR Y

M

S WALLS WALLS WALLS WALLS WALLS

G WAT IN

TR NS

UC

TR

TIO

T UA

TU

MBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

Y

EN TR Y

TR

EN T

EN TR Y

EN

TR Y

Y

EN

PROCESSION PROCESSION PROCESSION PROCESSION PROCESSION PROCESSION PROCESSION PROCESSION PROCESSION PROCESSION PROCESSION PROCESSION PROCESSION

OPH

OO

NR

O

NR

O

NR

M

U

NS

TR INS

OM

C RU

N

IO CT

TIO

M

OO

NR

T IO

UC

TR NS

N

T IO

UC

TIO

UC

TR

NC

NC

LLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

ENT RY

TR Y

EN

EN

Y

SA

PROCESSION PROCESSION PROCESSION PROCESSION

BARRIER

BARRI ER

A WRE C LY RE O OR C R H R EC OR DS E R R EC OR DS AT R ECOORDDS W EC RD S Y O L RE C R S HO RE ORDDS R C TE REC ORD S WA REC ORDSS LY REC ORDS HO ORD S

TI

UC

TR INS O

NR

C

SA

L ON ROOM REDEMPTIO NC

TR Y

RT AI

INT SA ’S W ALK INT SA ’S W ALK BAR RIER

INT

SA

WA LK

T’S OO

R ON INS

OM

TI

UC

TR INS

M

OO

NR

TR

INS

M

TR

SS

ON ROOM REDEMPTIO

Y EN TR Y

N

wO

WA LK T’S ’S W ALK

SA IN

T’S

A

SA IN

’S W ALK INT SA

’S W ALK INT OO

S IN

SS

w

wOR

PL

ORSH

SA IN WA LK

AR LT BA RR IER

SA IN

’S W ALK

INT

SA

T’S

WA LK

NS

M

PR

ORS

RM PLATFORM FO AT PL

ALT AR AR A ALT

R TA AL BA RR IER

BA RR IER

LD

SA

TIO

U

ED

GL A

U

TR

NR

INS

ST AI N

LA

BA R

RR BA IER RR BA

AL TA R

D T RES

HOL

AL TA R

T

LD ES

TR

LD

ES

TR

LD

HO

T

WSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

EN

TR

SS

NT E

HO

R TA AL

OO

OL Y

O RO

I

R

G L AS S SA N C T UA RY

M

I

W AT E

LY

RH

TR

I

O

W AT E

LY

IO CT

M

M

IN TE RC ES SO RS I

HO

BA RR IER

G PASTOR SSIN TO SANC AL BLE CLEANS ER

T

HIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

LL

H

TE R

HO

’S W ALK

PR

INT

A

N

SA

M

YER ROOM PRAYER RO

R

G

M

PRAYER ROOM PRAYER

L RA TO

AI

A LTA

LD

P MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

WA

RT R C U IE I N S RR BA VISUAL

C U R TA

O

ED

M

YER ROOM PRAYER RO

LD

S RE

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

M

YER ROOM PRAYER RO

T R E SH O L D T R E SH O L D T R E S H O

SH

IN

HOLD

TRE

OL D

’S W ALK

T RE S

TRE SH

LD

INT

LD

HO

SA

SHO

ES

’S W ALK

T RE

TR

LD

INT

LD

O N ROOM

HO

H

N ROOM

O

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

EN TR Y

N ROOM

ES

ES

SA

TR

TR

WA LK

LD

HO

AL TA

LTA R

R

LD

LTAR ALTAR ALTA LTAR A RA

AL TA

RA LT AR

’S W ALK

HO

ALTAR

w

FORM PLA TFO PLAT RM RM FO

INT

ES

LTAR LTAR A

w

HO

AR A ALT

BA RR IER

BA RR IE R

ALT AR

R

T’S

O

SA IN

F AT

S RE

R TA AL

BA RR IER

TR

PL

TR

RM

CE SECRET PL PLA AC ET ES CR E SE

E UR E PT U R RI IPT URE SC C R I P T U RE S CR IPT RE S R TU SCCRIP TURE S RIP URE SC RIPT RE SC RIPTU SC PTURE SCRI URE SCRIPT RE SCRIPTU SCRIPTURE SCRIPTURE SCRIPTURE

C

SA

ER

T FO ATFORM PLA

WA LK

RM PL

T’S

ATF O

SA IN

PL

M

SO

E S HO LD T R

M

U

SH O

OR

C

WA LK

R TA AL

NS

O ESH

AR LT

AI RT

D TR ES

CU

L D T RE SH OL D TR ES HO L

IER

PH

NS

N P RO P H E T D E

P RO

I TA

T’S

A

BA RR IER

LD

UR

TRE LD

AT F

PER

BAR RIE R

C

O

SC

C

BAR RIER

C

SH

AIN RT

S

CU

RC E

INS

IN TE

RTA

ER CE SS OR

S CU

SA IN

BARR IER

ES

E STA AG

BARRIE R

TR

RY

CH

R

E UR E PT UR RI IPT URE SC C R I PT URE S CR IPT RE S CR TU E S RIP TUR SC RIP URE SC RIPT E SC RIPTUR SC IPT URE SCR TURE SCRIP SCRIPTURE SCRIPT URE SCRIPT URE SCRIPTU SCRIP RE SCR T URE SCR IPTURE SC IPT U SC RIPT RE S RIP URE S CRI TUR S CR PTU E SCCRI IPTU RE SC R PT RE RI IPT URE PT U R UR E E

RTAIN INS CURTAINS CURTAINS CU

S

INS C URTA

RC E

URTA

T OS

SC

IN TE

CU

RTA IN

RS IN T

R

R

D

CH

BA R

R

IN TE RC E

ER

R IE

ESS O

BA

RR I

I ER BA R

RS IN TE RC E

R

I

R

H OL

CH

O L D TR E S HO L D T R E S H O LD T R ES

SH

CH

RE SH LD T OLD TR E

CHA

SH O

CHA

T RE

E

CHA CHA CHA U R S E LO E ENC R U OS PTION REDEMPT CL DEM ION EN L R E H E L A R A LL SU N H RE LO I O DE C PT M EN E M PT D

LD

AS CH

HO

AS CH

ES

S

P MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

EN

EN TR Y

EN TR Y

T EXIT EXIT EXIT EXIT EXIT EXIT EXIT EXIT EXIT EX

O

RS H

CE SECRET PLAC ES PLA EC ET CR

W

TR

N

ES

AI RT

HIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

TR

TR Y

RY

TR

NR

N

TR Y

N

EN

N N N M N

TR Y

M

N M N M N

EN

N

TR Y

N M N N N

YE

D

TIO

TU

CU

HO L

UC

NC

REDEMPTION ROOM

TR Y

A SS

RY

EN

AS

YE

N TR Y

GL

Y AR

DE EL

TR

N

A ST

DE EL

O O

INS

I

M

N N N M N

DE EL

O O

NR

M

M

N M N M N

E LD R

NR

TIO

OO

OO

N

N

DER

M

LD

UC

NR

NR

N

M

M

TIO

TIO

N

M

PRAYER ROOM PRAYER M

WSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

PRAYER ROOM PRAYER

M

M

UC

UC

INS

TR INS

M

TR INS

O O

OO

TR IN S

NR

NR

TIO

N

IN TA

ROOM PRA

TIO

TIO

N

N

UR

WALLS WALLS WALLS WALLS WALLS WA

UC

UC

RM N

N

SC

A RT

S IN

ROOM PRA

TR

TR

E OC

AIN U RT

U SC

WALLS WALLS WALLS WALLS WALLS

INS

IN S

UC

N M N N N

M

NG WAT SI

M

NP

TUARY PATH TO SANCTUARY PATH

OO

N N

M

C AINS C U RT

M

ROOM PRA

AR A LTA R A LT

NR

IO

M

M

M

STORAL B L NG PA E SS SSI IN LE G LB PA S RA

LT AR

TIO

S ES

TR

CN

N

TR INS

M

TR Y

CN

M

M N N N N

EN REDEMPTI

CN

OO

N

ED STA I N

CN

NR

CN

ENC LO R E D SUR E EM P T EN I O N C LO H A SU L L RE R E

INED

N

M

CLEAN ER

M

EN

YS TA

TIO

AR

N

EN TR Y

TU

N N M N N

N

REDEMPTI

E

NC

M N N M M M

N

N N

N

T

IS A I N UA S C L B U R TA I AR N S RIER

REDEMPTION ROOM

N

CN

N

N

N

N

N CN

N

AL TA R

REDEMPTI

N

SA

N

N

N

M OO

AI ST

SS

N

N

N

ET

REDEMPTION ROOM

N

N

N

NR

Y

LA

CN

N

N

R

IO

U

C RT O UC NPN

TIO

AR

G

N N

N

TU

MEMBER FELLOWSHIP MEMBER FELLO

NC

MEMBER FELLOWSHIP MEMBER FELLO

SA

MEMBER FELLOWSHIP MEMBER FELLO

D

IT EXIT EXIT EXIT EXIT EXIT EXIT EXIT EXIT EXIT E

SS

MEMBER FELLOWSHIP MEMBER FELLO

N

N

N

N

UC

CN

N

NP

TR

N N

C

C

UC

N

N

C

CE

IO SS N

OC

S ES

TR

INS

N N N N

N

O PR N

TR IN S

G

STAGE

N

N N N N N N N N N N N N E STAG N N

E

N

N

N

N

N

N N N

S U R E E N C LO SUR E N C LO E PTION HAL L R E ENCL REDEM DE M OS P T I URE ON E H A NC L L LO R

N N

N

E

N N

LA ED G

MEMBER FELLOWSHIP MEMBER FELLO

N

ON

R

WALL

N

N N

N

EXIT EXIT EXIT EX

MEMBER FELLOWSHIP MEMBER FELLO

R

L WAL

N

N

WAL L

ER

WALL

N

N

WA LL

STA I N

MEMBER FELLOWSHIP MEMBER

R

N

ER

R

MEMBER FELLOWSHIP

LL WA

N

IO

WA LL

R SE

SER

LL WA

N

N

W AL L

SER

N N

M

RAL BLE PASTOM SSI NG PA ATH TO ST O M

UC

N

N

N

SER

L AL W

EN C LO SU RE E NCLO SURE

MEMBER FELLOWSHIP MEM

SER

M

E N C LO S U R E EN A L L R E D E M P T I O N C LO S ON H HA UR PTI LL EM R E E EN D DE E C M LO LR N PT S AL IO U H N N N N

INS

M

SANCTUARY PATH TO SANCTUARY PATH TO SANCTUARY PATH

R R EC RE ECO OR RE CO RD DS RE CO RD S RE CO RDS S R RE COR DS RE COR DS C RE ORDDS C REC ORD S REC ORDSS O REC RDS ORD REC S O RECO RDS RD RECO S RD RECORD S S RECORDS RECORDS RECORDS RECORDS RECORDS RECORDS S RECORD S RD RECO DS R RECO RDS O REC RDS O REC ORDS REC ORDS S REC ORD S C RE ORDDS C RE COR DS RE CORRDS RE CO RDS S RE CO RD S RE CO RD DS RE ECO OR R EC R TR IN S

N

N

N

N

N

N

N

N

N

N

N

MEMBER FELLOWSHIP

N

N C LO SU RE

MEMBER FELLOWSHIP MEMBER

N

ASER

ASER

URTA

M

R VI S C U CU SU R T S RV IN AL A I N S C TA RIE UR CUR BA RRIERTA I N SUAL BAR VIS

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEM

M

S ORD REC RDS O REC ORDSS REC ORD S C RE ORDDS C RE COR DS RE COR DS R RE CO RDS S RE CO RD S RE CO RD RE ECO R

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER F

SC

M

E

M

TAI N

M

M

TR

UR

M

M

LD

SC

M

FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

ELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

BARRIER

HO

RT AIN

M

HO

S

M

ES

N

M

RIER BARRIER

M

M

PATH TO SANCTUARY PATH TO SANCTUARY P

AI RT

M

CO RP OR AL

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLO

BARRIER BAR

A

CU

M

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP M

LTAR ALTAR ALTA R AL LTAR A TAR

NS

R IE RR BA

CU

AR A ALT

AI RT

M

NS

wO

R

CU

IER RR BA

E

AL TA

NS

M

RT AI

EL

AL TA R

I TA

IER RR BA

CU

R

LTA R

UR

M

NS

EL

AL TA

RSHI

SC

IER RR BA

TA I

wO

HIP RS

N TAI

M

UR

P HI ER

UR

M

R RIE BAR

C

OPH

ET

RIER BAR

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEM

AS H E

P HI ER

ORS

PLATFORM PLA TF RM OR FO AT

ORM PLATFORM ATF PL PL AT

M

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMB

ASE

IPER

RSH

M

M

IER BARR

IP

IP SH

ER

BARRIER

’S

OR

M

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLO

ASE

NT

AT F

BARRIER

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP ME

MEMBER FELLOWSHIP MEMBER FELLOWSH

KS AI

M

WA L

PL

M

M

TR

’S

IPER

NT

MP LATF ORM

BARRIER

AL TA R

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELL

LD

AI

EL

AL TA R

R TA AL

KS

R AL TAR

DER

WA L

R ALTAR ALTA

R DE

’S

ALTA LTAR

HO

NT

M

M

SC

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLO

ELD

ER

AI

A

A

RA LTA

LD

R TA AL

C

BAR RIER

KS

R TA AL

RA LTA

HO

AR LT

INS

WA L

AR LT

BARRIER

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEM

ELD

ES

ES

’S

M

TR

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEM

TR

NT

ELD

LD

A

RTA

AI

ELD

HO

ER

KS

ELD

ES

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP M

ER

WA L

M

ER

CU

M

’S

M

TAIN

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEM

BA M RR IER

BARRIER

CUR

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP

NT

BA RRI ER

M

M

BA M RR IER

M

CU

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP

AI

NS

TAINS S CURTAINS CURTAINS CUR

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP

KS

M

M

BARR IER

S

C U RT AIN

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP

WA L

U RT AIN

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP

’S

S

NT

M

ER

AI

M

BAR RIER

KS

M

BARR IER

WA L

RT AI

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP

TE R

FFICES ADMINISTRATIVE OFFICES ADMINISTRATIVE OFFICES

’S

M

BARRIER

NT

M

M

M

BARRIER

ET

S

AI

M

IER RR BA

KS

M

R IE RR BA

WA L

IER RR BA

S ’S

CU

PH

NT

T

LD

RT AI N

P RO

KS AI

SH OR CO LW RP RA O R AL WORSHIP CORPO

D E N P RO P H E T D E N

WA L

O

RT AI N

ER CE S

HET

’S

R

H ES

BARRIER

NT

SO

IER RR BA

KS AI

RC

O

ER RRI BA

WA L

IN T

OP

’S

TR BARRIER

NT

HO

LD

HO L D

IER BARR

AI

S RE

HO

RIER BAR

KS

NT ER C

WA L

SO

ES

ES D TR

R BARRIE

T’S

W A ES L S LW OR SI AL R NT BA LW ER RR AL CE I S L E S W R OR AL BA LW RR AL IE RS R L IN IN BA T T E R E RC R RC RS IER ES E IN SO TE RS RC IN E

IN

RS I

PR

ET PLACE SECR

Y

SA

TR

LD

HO L

RP

CE LA TP

HOL

S TR E

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHI

PC O

SCRIPT L SCRI URE AL SC PTURE SC RIPTURE LW IE SC RIPT AL SC RIP URE RR LW S RIP TUR BA S CR TU E AL R S CR IPT RE IE LW S CR IP UR RR SC C R I PT T UR E AL BA RI IPT UR E LW R PT UR E AL IE U E LW RE RR AL BA R LW IE AL RR LL W BA WA ER OFFICES ADMINISTRATIVE OFFICES ADMINISTRATIVE OFFICES ADMINISTRATIVE OFFICES ADMINISTRATIVE OFF IADMINISTRATIVE ALL RR LL W BA L WA I ER WAL RR WALL BA

SE CR E

ORAL

SECRET PLACE

S S CRI S CR PT S CR IPT UR SC C R I PT U R E RI IPT UR E PT UR E U E RE

ICES ADMINISTRATIVE OFFICES ADMINISTRATIVE OFFICES ADMINISTRATIVE O

CE LA TP RE

RE U E PT UR E RI IPT UR E SC C R I PT T U R S CR IP S CR S

DOOR DOOR DOOR

DECEIVERS & THE DECEIVED

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER

XIT EXIT EXIT EXI

This spatial cataloging attempts to discover a new method of creating spaces that begins, not necessarily with a predetermined geometric intent, but rather a social one.

DECEIVERS & THE DECEIVED: PLACE OF CULT

SPRING ‘14

THE MONOGRAPH STUDIO

PLACE OF CULT

A DECEIVER’S APPEAL

In effect, the spaces a citizen architect creates are reflective of their users’ character: spaces of greed, of compassion, of entrepreneurship, and violent interaction.

the appeal

DECEIVERS & THE DECEIVED: PLACE OF CULT

SPRING ‘14

THE MONOGRAPH STUDIO

THE SHEEP: SKIN DECEIVERS

These surfaces, however, work both ways. In as much as the public informs the building, the building informs the public. Our envelopes, states Alejandro Zaera-Polo, “are not mere representations of the interests of a client, of a certain political ideology, or an image of utopia.” It is more than this.

THE WOLF: MATERIALIZED PROGRAM THE DECEIVED

“It is an all-too-real, concrete, and effective agent able to assemble and mediate the interests of the multiple stakeholders that converge on the architectural project today.”

DECEIVERS & THE DECEIVED: PLACE OF CULT

SPRING ‘14

THE MONOGRAPH STUDIO

Like a filmmaker, we materialize the good guy and we materialize the villain, each to uncover deeper truths and implicitly bring awareness to topics concerning our very nature.

While we are interested in architecture’s moral underpinnings, we suspend judgment for the sake of the story, for the sake of the space.

SHEEP + WOLF: ASSEMBLY DECEIVERS + THE DECEIVED

DECEIVERS & THE DECEIVED: PLACE OF CULT

SPRING ‘14

THE MONOGRAPH STUDIO

PLAN OF EVENTS REFLECTED IN INTERIOR

BA

RR

I ER

RE TU URE RIPIPT URE SC C R I PT URE S CR IPT RE S CR TU E S RIP TUR SC RIP URE SC RIPT E SC RIPTUR SC IPT URE SCR RE SCRIPTU SCRIPTURE SCRIPT URE SCRIPT URE SCRIPTURE SCRIPT URE SCR SC IPTURE SC RIPTUR E SC RIPT S RIP URE S CRI TUR S CR PTU E S CR IPT RE SC C R I PT U RE RI IPT URE PT U R UR E E

DECEIVERS

B

SCRIPT L URE SCR AL SCR IPTURE SC IPTURE LW IE SC RIPTU AL RE SC RIP RR A LW S RIP TUR B S CR TU E AL R W S CR IPT RE IE S CR IP UR LL RR SC C R I PT T UR E WA BA RI IPT UR E LL R PT UR E IE U E WA RE RR LL BA WA R LL IE WA RR BA ALL ER LL W RIADMINISTRATIVE OFFICES ADMINISTRATIVE OFFICES ADMINISTRATIVE OFFICES ADMINISTRATIVE OFFICES ADMINISTRATIVE OFF WA AR

PH

LD

T

NT E

TR

ES

HO

T’S

WA L

KS

AIN

LD

T’S

HO

WA L

AL T

K

ALT AR

ES

TR

D

M

ALTAR

TAINS S CURTAINS CURTAINS CUR

ALT AR

BARRIER

BARRIER

M

M

M

M

RIER BAR

UR

N TAI

M

IER RR BA

M

IER RR BA

S

TR

IN TA

ESH

UR

OL

SC

M

IER RR BA

M

TR

M

N

LD

AI RT

C

UR

TA I

CU

RT AI

M

NS

CU

RT

TR

ES

H

O

CO RP OR AL OL

D

IP

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLO

M

NS

ES H

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP ME

LD

TR

ES

HO

S

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLO

R IE RR BA

CU

ES

NS

H

AI RT

D OL

CU

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEM

RA

M

IER BARR

BA RR IER

S

SH O

R LTA

IER BARR

SC

RE D T

AR A ALT

BARRIER

TAIN

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEM

LTAR LTAR A

M

BARRIER

CUR

LD T R

BARRIER

BA RR IER

S

OL

M

BA RR IER

N P RO P H E T D E

SS

RC E

IN TE

IN TE RC E

RC E

D T RES H

AIN

M

TR

T OS

HOL

KS

D

E UR E PT U R RI IPT URE SC CR IPT URE S CR IPT RE S CR TU E S CRIP TUR S RIP RE SC RIPTU RE SC IPTU SCR PTURE SCRI TURE SCRIP RE SCRIPTU SCRIPTURE SCRIPTURE SCRIPTURE

C

D TR ES

WA L

BA RRI ER

M

BAR RIER

OL

SO

T RE SH OL D TR ES HO E S HO L D L

BA RR IER

BA M RR IER

M

SH

IN TE

M

M

M

RE

M

CE SECRET PL PLA AC ET ES CR E SE

TE RC E

IN TE RC ES SO RS I

U

SS OR

C

ER CE

NS

RS IN

AI RT

RS IN T

CU

ESS O

NS

C

M

LD

M

IER RR BA

NS

T’S

HO

IER RR BA

RT AI

INS

RTAIN

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP

AIN

ES

BARR IER

S CU

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP

KS

UR TA

CU RTA IN

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP

WA L

CU

TE R

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP

T’S

NS

AIN

TR

LD

R IE RR BA

KS

RT AI

WA L

CU

RS IN

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP

T’S

S

AIN

LD

N

KS

O

RT AI

WA L

SH

HO

I TA

R

KS AIN

RE

ES

UR

IE

SO

TR

BA

W AL ES SO LW RS AL R IN BA LW TE R AL CE SS LW OR AL LW AL RS L IN IN BA TE R RR

R

O

ST’S

ET

FFICES ADMINISTRATIVE OFFICES ADMINISTRATIVE OFFICES

RC

SH OR CO LW R RA POR AL WORSHIP CORPO

NP

WA L

RC ES SO

N P RO P H E T D E

H OP

BA

T

ET DE

T’S

R

KS AIN

IN

OPH

WA L

ER CE S

PR

T’S

ER C

AIN

TE R RC RS IER E IN TE RC E

KS

SO

NT

WA L

RS I

T’S

IE

IN

RR

SA

ET PLACE SECR

Y

HOL

P RO

CE LA TP

CE SECRET PLAC ES PLA EC ET CR

RE U E PT UR E RI IPT UR E SC C R I PT T U R S CR IP S CR S

SE CR E

SC

SECRET PLACE

S S CRI S CR PT S CR IPT UR SC CR IPT UR E RIP IPT UR E TU URE E RE

ICES ADMINISTRATIVE OFFICES ADMINISTRATIVE OFFICES ADMINISTRATIVE O

CE LA TP RE

T’S WA LK

SA

INT

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMB

INT’ SW ALK

SA IN

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEM

R R RE RE REC REC REC REC REC REC REC REC RE RE R R

INT’ SW ALK

SA

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP M

INT’ SW ALK

SA

OL Y

SA

INT’ SW ALK

TR INS

TI

OM

RO TR INS

M

M

OO

NR

TIO

UC

SA

D G L AS S SA N C T UA RY

TR

EN

EN TR Y

UA

TR Y

EN

N

M

N M N M N

N

N M N N N N N N M N

N

TR

N ROOM

REDEMPTION ROOM TR Y

T’S WA LK

TR

YS TA I N E

TU

AR

SA IN

NC

SA

SS

IN

ED

G

LA

N

A ST

AGE ST ST

E UR L L HA

EN T

RY

CN

RY

CN

EN TR Y

EN

T

N ROOM REDEMPTIO

SA IN

UC

SA T’S WA LK

SA IN

N ROOM N ROOM

OS

S AS

T NC

RY

E

C

INT’ SW ALK

M

N N N M N

E ION RE P T SU E M ED

GL

N

N M N M N

TR Y

ED

N M N N N

L N ROOM REDEMPTIO NC

N

Y

CH

SA

T’S WA LK

N ROOM REDEMPTIO

E STA AG

M

EN REDEMPTIO

CN

N

M N N N N

REDEMPTION ROOM

N

N

STA I N

CN

N N M N N

N

EN

ENC LO R E D SUR E EM P T EN I O CL N O H A SU L L RE R E

INED

S IN

ED

CH

RY S TA I N

CH

T UA

CH

NC

CHA

SS A

CHA

AS

E

AS AS CH CH CHA CHA CHA E N C LO S U R E E R SU LO MPTION REDEMPTI ON NC R E D E E L HA RE AL LL SU N H R ED LO I O C PT EM EN E M PT D

GL

N

EN TR Y

YS TA

CN

M N N M M M

REDEMPTIO

T EXIT EXIT EXIT EXIT EXIT EXIT EXIT EXIT EXIT EX

D

N

N

N

NE

N

CN

N

N

REDEMPTIO

N

N

IN

AR

N

N

M OO

TU

N

N

RT UC NPN

NR

CN

N

IO

REDEMPTION ROOM

N

N

N

NC

SIO N

N

N

TIO

SA

N

UC

E

SS

C

TR IN S

N

CN

N

TIO

N

LA

N

ES

N

SS

UC

CN

ON C

N

N N N

S U R E E N C LO SU E N C LO R E PTION HAL L R E ENCL REDEM DE M P OSU TI O N RE E H A NC L L LO R

N N

PCR

N

E

N

C

STAGE

AI ST

G

R

G

N

E

N

N N N N N N N E STAG N N

N

E OC PR N N

N

ON

TR

WALL

N

N

N

N N N

N

N

IT EXIT EXIT EXIT EXIT EXIT EXIT EXIT EXIT EXIT E

Y

XIT EXIT EXIT EXI

MEMBER FELLOWSHIP MEMBER FELLO

R

N

N

EXIT EXIT EXIT EX

D

R

N

N N

N

AR

MEMBER FELLOWSHIP MEMBER FELLO

N

N N

TU

MEMBER FELLOWSHIP MEMBER FELLO

LL WA

N

N

NC

MEMBER FELLOWSHIP MEMBER FELLO

L WAL

WALL

WALL

A SS

MEMBER FELLOWSHIP MEMBER FELLO

N N

L AS ED G

MEMBER FELLOWSHIP MEMBER FELLO

N

N

N

STA I N

MEMBER FELLOWSHIP MEMBER

ER

R

N

IO

WA LL

ER

AS H E

ST AI

N

N

N

MEMBER FELLOWSHIP

LL WA

MEMBER FELLOWSHIP

ASE

E N C LO S U R E EN A L L R E D E M P T I O N C LO S ON H HA UR PTI LL EM R E E EN DE ED C M LO LR N PT S AL IO U H N N N N

WA LL

R SE

SER

ASE

L AL W

N

N

W AL L

SER

N

MEMBER FELLOWSHIP MEM

SER

ASER

ASER

SER

INS

E UR OS CL EN RE SU CLO E EN ENCLOSUR N

N

N

N

N

N

N

N C LO S U RE EN CL OS UR E EN CLOSU RE

MEMBER FELLOWSHIP MEMBER

N

RH

N

N

N

N

N

MEMBER FELLOWSHIP MEMBER FELLOWSH

W AT E

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEM

LY

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER F

HO

INT’ SW ALK

SA

MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLOWSHIP MEMBER FELLO

DECEIVERS & THE DECEIVED: PLACE OF CULT

SPRING ‘14

THE MONOGRAPH STUDIO

Our narratives begin and end with characters who border between banality and wonder, disengagement and euphoric ecstasy, deep insight and grave misunderstanding. We embrace these contradictions – while searching for clarity.

exploded shell exterior , ‘the sheep and the wolf’

PLACE OF CULT

sheep + wolf: assembly

DECEIVERS & THE DECEIVED: PLACE OF CULT

SPRING ‘14

THE MONOGRAPH STUDIO

TOP FLOOR PLAN PLACE OF CULT

The points, lines and planes we draw take on new social responsibility, burdened with the narration of the human condition.

GROUND LEVEL PLAN

ground floor plan

PLACE OF CULT

Surfaces – opaque, transparent and the absence of them – do not merely represent ideas but have the ability to accept, strengthen or eradicate them.

DECEIVERS & THE DECEIVED: PLACE OF CULT

SPRING ‘14

THE MONOGRAPH STUDIO

X-RAY ELEVATIONS WEST PLACE OF CULT

X-RAY ELEVATION EAST PLACE OF CULT

DECEIVERS & THE DECEIVED: PLACE OF CULT

SPRING ‘14

THE MONOGRAPH STUDIO

DECEPTION THROUGH CORPORAL CONFORMITY

These surfaces are the voice of the individuals whom inhabit them.

These voices can be well-intentioned, ill-informed, misleading or diplomatic. They can serve to invite or imprison or both.

DECEIVERS & THE DECEIVED: PLACE OF CULT

SPRING ‘14

THE MONOGRAPH STUDIO

DECEIVERS & THE DECEIVED: PLACE OF CULT

SPRING ‘14

THE MONOGRAPH STUDIO

Deceive and lie Leave out important information DECEIVERS & THE DECEIVED: PLACE OF CULT Establish front groups Promise to fulfill their dreams Offer something free, make members obliged to do something in return Create sense of urgency Diminish doubt Surround members with happy true believers to create sense of normalcy Gather information and use to manipulate Make demands upon members Control behavior Prescribe rigid schedule Keep members active with as little rest as possible Control thoughts, emotion Induce guilt and fear Control information, block information Encourage spying on other members Attack self and provoke mental breakdown Interpret mental breakdowns as spiritual awakenings Make members paranoid of their own bodies Eliminate yourself of yourself Claim authority Bogus scientific research Encourage thought- stopping rituals and repetitive acts Chant Prolong meditation Revert members to mindless obedience, childishness Separate from friends and family Encourage conformity and dependency Discourage autonomy and individuality Confessionals Make them feel part of elite groups Establish enemies Demonize outsiders Us vs. Them Fighting resistance Critical thought is a crime

SPRING ‘14

THE MONOGRAPH STUDIO

PLACE OF CULT

PROGRAMMATIC + TECTONIC EXPLODED AXONOMETRIC

GROSS SQUARE FEET ###,###

SITE MEASUREMENTS 160’ X 180’

PROGRAM Place of Storage

NARRATIVE Self-storage units are traditionally constructed in fixed sizes: from small to large units. This model isn’t the most efficient, however. It runs the risk of becoming obsolete if these predetermined sizes cannot be added to or subtracted from resulting in excess or insufficient space. This old model is stubborn, falling into the Goldilocks dilemma, ‘not too hold’ or ‘not too cold.’

CONCEPT An infrastructure that can sustain an endless accumulation of cells, however, is ‘just right.’ While some users may need one square foot of storage, others may need one million square feet of storage. Either way, a basic unit of one square foot by one square foot serves as the foundational grid that spans the entire site. Exo-skeletal elevators and stairs service the storage units at varying levels, allowing for the accumulation of these, as well, to store or retrieve small or extra-large items.

WEEK THREE

DEVELOPERS & HOARDERS

PLACE OF STORAGE

DEVELOPERS & HOARDERS: PLACE OF STORAGE

140’

SPRING ‘14

THE MONOGRAPH STUDIO

PLACE OF STORAGE

VACANT FRAMEWORK FOR STORAGE

180’

DEVELOPERS & HOARDERS: PLACE OF STORAGE full storage vacancy

SPRING ‘14

THE MONOGRAPH STUDIO plan view

PLACE OF STORAGE

SPECULATIVE PHASE CHART OF FRAMEWORK OCCUPATION

no storage vacancy

DEVELOPERS & HOARDERS: PLACE OF STORAGE

SPRING ‘14

THE MONOGRAPH STUDIO

The intent is to allow the purchasing behaviors of the public to determine the expression of a storage building, enabling the framework to serve as a constant to an otherwise ever-changing series of volumes upon the facade.

PLACE OF STORAGE

SEQUENCE OF STORAGE ACQUISITIONS BY SINGLE BUYER

DEVELOPERS & HOARDERS: PLACE OF STORAGE

DE

TA C

HA

BL

EL

AD

DE

R

BR U ST SHE RU D CT STA UR I AL NLE PL SS AT ST BR E EE US L RE HE CT D S A (3’ 6” NGU TAIN LE NG LAR LESS TH TU BE STE ) EL

3’ x

3’6

”x

3’6

3’ S

”P

TO R

ER

AG

IM

ET

ES

ER

PA C

FR

E

AM

E

SPRING ‘14

THE MONOGRAPH STUDIO

AC F R

E

E L TR ’ x3 ’ 3

E F A D IN

PLACE OF STORAGE

STORAGE UNIT KIT-OF-PARTS ASSEMBLY

M RA E BL H AC T E R NE

C US S AN

SU NT

DEVELOPERS & HOARDERS: PLACE OF STORAGE

SPRING ‘14

THE MONOGRAPH STUDIO

INVEST IN A SECURE A W

A PORTAL TO WAY IN!

PLACE OF STORAGE

STORAGE UNIT ACCUMULATION SEQUENCE

DEVELOPERS & HOARDERS: PLACE OF STORAGE

SPRING ‘14

THE MONOGRAPH STUDIO

BUY AN EN

6

5

4

3

2

1

A

B

C

D

BEFORE IT’S

NTRY NOW

PLACE OF STORAGE

S TOO LATE!

PLANS OF ENTRY INTO STORAGE FRAMEWORK

H

G

F

E

DEVELOPERS & HOARDERS: PLACE OF STORAGE

SPRING ‘14

THE MONOGRAPH STUDIO

PLACE OF STORAGE

PLANS OF ENTRY INTO STORAGE FRAMEWORK

DEVELOPERS & HOARDERS: PLACE OF STORAGE

SPRING ‘14

THE MONOGRAPH STUDIO

PLACE OF STORAGE

VACANT FRAMEWORK SPANS ENTIRE SITE

look at thos

We find the specific in the universal. We design with the dumb and mundane in mind, at times, as to become willingly passive participants amidst a general public interested in collectively determining the undetermined.

se spaces go!

PLACE OF STORAGE

FIRST PHASE OF STORAGE ACQUISITIONS

So we make frameworks. We set up games with loose rules to empower the public, understanding that the opinions of a group is often more accurate and comprehensive than the idiosyncratic ideas of an individual ‘expert.’ We transitioned from the master hand to master facilitators.

DEVELOPERS & HOARDERS: PLACE OF STORAGE

SPRING ‘14

THE MONOGRAPH STUDIO

We understand this to be a significant departure from the deterministic whim of many 20th century architects in which the logic of their buildings was as ideologically predictable and undisturbed as their end result.

PLACE OF STORAGE

unplanned accumulation reveals a narrative of acquisition

We embrace situations where we invest minimal effort, in order to yield a fruitful, and yet more unpredictable return. This, inversely, makes our architecture more vulnerable, denying us sole authorship of our own buildings.

DEVELOPERS & HOARDERS: PLACE OF STORAGE

SPRING ‘14

THE MONOGRAPH STUDIO

PLACE OF STORAGE

passageway through framework

south x-ray elevation

DEVELOPERS & HOARDERS: PLACE OF STORAGE

SPRING ‘14

THE MONOGRAPH STUDIO

PLACE OF STORAGE

inside an owner’s accumulated storage space

GROSS SQUARE FEET 272,790

SITE MEASUREMENTS 160’ X 180’

PROGRAM Place of Retail

This type of practice marginalizes the local intelligence of the artist in Williamsburg, the florist in Astoria, the fashionista in Harlem and the tech startup in the East Village.

Big box retailers have flooded the marketplace with these generic, yet strangely foreign products whose sales benefit the corporate heads living somewhere in Arkansas or Georgia.

NARRATIVE Our buying habits are skewed. It is not entirely our fault, however. Since the opening of the Macy’s department store in 1858, New York consumers have been buying mass produced products, mostly imported and alien to the particular lifestyle of the New York urbanite.

The ground level of the site is completely open and hosts the necessary underground infrastructure to allow trucks to temporarily plug-in to a twenty-four seven market of other truck vendors. Directly above floats a big box department store.

Enter trucks.

CONCEPT The concept is purposely polemical, creating a platform from which local vendors have a space to compete for business with the likes of Wal-Mart, Cosco and Best Buy in New York City. This leveling of the playing field affords consumers a choice between the ‘generic’ versus the ‘specialized,’ the ‘globalized’ and the ‘local,’ established corporations and the informal gathering of salesmen and women.

WEEK TWO

98

BUYERS & SELLERS

PLACE OF RETAIL

BUYERS & SELLERS: PLACE OF RETAIL

SPRING ‘14

THE MONOGRAPH STUDIO

TRADITIONAL DEPARTMENT STO

PLACE OF RETAIL

L MALLS AND ORES NEED HELP.

BUYERS & SELLERS: PLACE OF RETAIL

SPRING ‘14

THE MONOGRAPH STUDIO

TRUCKVENDORS DEMAND BECA NOMADIC BUS

PLACE OF RETAIL

SCREATESUDDEN CAUSE OF THEIR SINESS MODEL.

BUYERS & SELLERS: PLACE OF RETAIL

SPRING ‘14

THE MONOGRAPH STUDIO

PLACE OF RETAIL

STACKING concept OF BIG BOX RETAIL + TRUCK VENDORS

BUYERS & SELLERS: PLACE OF RETAIL

SPRING ‘14

THE MONOGRAPH STUDIO

PLACE OF RETAIL

BUYERS & SELLERS: PLACE OF RETAIL

SPRING ‘14

THE MONOGRAPH STUDIO

REQUIRES CIRCUL ATION INFR AS TRUC TURE

SHELVES PROVIDE NUMEROUS OP TIONS

VARIOUS DEPAR TMENTS WITHIN ONE S TORE

RETAIL STOR PROVIDING ‘INDEFINITE’ SHOPPING EXPERIENCE

L ARGE FLOOR PL AN ENCOUR AGES WANDERING

PLACE OF RETAIL

ORE LAYOUT

BUYERS & SELLERS: PLACE OF RETAIL

SPRING ‘14

THE MONOGRAPH STUDIO

INDIVIDUAL VENDORS HIGHLY DEPENDENT ON DENSE PEDES TRIAN TR AFFIC

TRUCK V

RE TURNING LOC AL MERCHANTS TO TH

AFFORDABLE S TAR T- UP COS T

MERCHANDISE AND SERVICES C AN QUICK LY ADAP T TO CHANGING CONSUMER TRENDS

ONLY ONE POINT OF SALE

SPECIALIZED PRODUC T FOR SALE

VENDOR

HE MARK E T

NOMADIC S TORE

MOBILE ADVER TISEMENT

DIREC T BUYER /SELLER INTER AC TION

BUYERS & SELLERS: PLACE OF RETAIL

SPRING ‘14

THE MONOGRAPH STUDIO

PO IN T G R ID O F T RUCK V END O R S

X 3

T WO FLO O R S O F T R AD I T I O NAL ‘ BIG BOX R E TAIL’

X 3

The place of retail is purposely polemical, creating a platform in which local New York City vendors have a space to compete for business with the likes of big box retailers like Wal-Mart, Best Buy and Home Depot. This leveling of the playing field affords consumers a choice between the generic versus the specialized, the globalized versus the local.

B

A

PLACE OF RETAIL

A

B

A

The project bluntly abuts a space for truck vendors with a space for big box retail. This tension aims to create a renewed sense of thrill and urgency in shopping. Like a theater, vendors will be on site for a limited time – a week, a month – making the site a place of constant consumerism, while at the same time creating opportunity for all local merchants to sell their service or product.

STACKING concept OF BIG BOX RETAIL + TRUCK VENDORS

B

BUYERS & SELLERS: PLACE OF RETAIL

SPRING ‘14

THE MONOGRAPH STUDIO

SOUTH SECTION PLACE OF RETAIL

122’

52’

6’

The citizen architect is deeply concerned with matters of economy. We understand that our contemporaries have folded their design strategies in reaction to agendas set forth by the business and political sectors, a hopeless pursuit of the next buzzword or hot topic making us out to be subject and subservient to cultural trends.

EAST SECTION PLACE OF RETAIL

3’

52’

3’

104’

18’

180’ 178’

150’ 148’

120’ 118’

90’ 88’

60’ 58’

30’ 28’

0’

We understand there to be a clear (and significant) difference between being subject to the public and allowing the public to further inform our narrative through their use of our buildings. We choose the latter.

Thus, our interests in real estate development, finance, and global markets, lead us to become implicit advocates of change in building sectors controlled by individuals hiding behind Excel spreadsheets.

BUYERS & SELLERS: PLACE OF RETAIL

SPRING ‘14

THE MONOGRAPH STUDIO

LOT DISTRIBUTION TRUCK LOT ZONING

Rather than succumbing, mindlessly, to the often dated and uncritical approaches of many developers, we acknowledge their agenda, while proposing new platforms for economic opportunity. We reject the notion of “business as usual.”

THE SETUP

MARKET RETAIL

TRUCK ROUTE TO ENTER / EXIT LOT

USER DENSITY PATTERNS

BUYERS & SELLERS: PLACE OF RETAIL

SPRING ‘14

THE MONOGRAPH STUDIO

PLACE OF RETAIL

STREET SCENES

BUYERS & SELLERS: PLACE OF RETAIL

SPRING ‘14

THE MONOGRAPH STUDIO

PLACE OF RETAIL

NEW ECONOMY JOINS TEMPORAL WITH PERMANENT BUSINESS

BUYERS & SELLERS: PLACE OF RETAIL

SPRING ‘14

THE MONOGRAPH STUDIO

Our architecture reflects not only the stories we see, but those that we wish to see. At times, the citizen architect makes their hand invisible and at other times, bluntly creates a fictional narrative in which the public must catch up to. It is an architecture that can only be produced by keen observers, those that witness and learn from external forces rather than reiterate clichĂŠs within an architectural vacuum. We exchange this autonomy for the complex contradictions of being human, all too human.

THE NEW UNIVERSITY STUDIO + SEMINAR

FALL ‘13

REINHOLD MARTIN AND JONATHAN COLE, CRITICS WITH ERIK CARVER

THE NEW UN CONTEXT & TO SPEAK ABOUT THE FUTURE OF THE AMERICAN UNIVERSITY IS TO ALSO SPEAK OF THE CITY.

It has almost become cliché: by 2050, seventy percent of the world’s population will be living in dense urban environments. Of these, many will live in low- to middle-income households and have a fifty percent probability of being a non-white citizen. Thus, the increasingly diverse American populace suggests a future in which the university – students and faculty – will consist of a wider range of users coming from even broader spectrum of socio- and economic circumstance.

How, then, can these American educational institutions – globally regarded as the strongest in the world - remain at the forefront of creating innovation and usefulness of it’s most powerful product, knowledge? “The university,” suggests celebrated educator Clark Kerr, “needs to take a rigorous look a the reality of the world it occupies today.” On the one hand, universities serve the great purpose of being part of a larger, global academic community, responsible for maintaining an integrity towards pedagogy. On the other, these institutions are very much of a particular place; not simply happening to be in a city but existing within one. As author Sharon Haar stated, “Their founding premises and historical trajectories rest on their relationship to the city and its unique conditions, be they social, cultural, physical or economic.” This tension, between a global pedagogy and local context is indicative of the range of pressures facing the university today. The institutions’ future existence is dependent upon viewing this dichotomy through the proper lens.

Analysis within this essay explores concepts of pedagogy and place offered by a design proposal for the new Manhattanville site serving as an extension of Columbia University’s campus in Morningside Heights, New York.

The proposal questions how design — both at the urban and architectural scale — plays a meaningful role in spatial organization and articulation, along the way addressing issues of function and identity. In addition to the text, a series of diagrams, drawings and renders serve as speculative tools, visualizing concepts of program and architecture. Ultimately, the proposal, titled “The New Renaissance: Hudson, Harlem and Creation Hubs,” attempts to provide a viable 21st-century model of an American university.

NIVERSITY: & PEDAGOGY “The responsibility for the creation of new scientific knowledge— and for most of its application— rests on that small body of men and women who understand the fundamental laws of nature and are skilled in the techniques of scientific research. We shall have rapid or slow advance on any scientific frontier depending on the number of highly qualified and trained scientists exploring it.” - Vannevar Bush, Science: The Endless Frontier

lumbia. Instead, independent research “neighborhoods” will populate the site, encouraging the densification for like-minded individuals from various academic backgrounds to work together. All students — from business, engineering, art, science, architecture, journalism, sociology, etc. — collectively address the most pressing issues of our time through group work within a particular neighborhood.

In the United States today there are 2,774 institutions of higher learning. However, of these, only 108 are given status as “high research universities.” Transmission — or the teaching of knowledge — is the primary preoccupation of nearly seventy-five percent of all institutions in the country. Furthermore, a vast majority of content being covered in the classroom and textbooks instructs on fundamental knowledge. That is, teaching important concepts in a particular field because they are essential, but not necessarily because they lead to an end or immediately practical for a current problem or project.

Columbia University, according to national academic rankings, falls into this category. While the institution is consistently among the top five universities in the nation overall — excelling in a pedagogy that emphasizes the teaching of fundamental knowledge — it dips in standings when measured against other creation-based, research-focused schools. MIT’s Media Lab, founded in 1985, is an example of this approach. Funded completely by corporate sponsors, the pedagogy revolves around highly specific projects intended to address pressing practical needs. In just over thirty years, the Media Lab has patented over sixty inventions.

REFERENCE FIGURE 1 ON PG. #

Considering this, the proposal aims to create a balance in Columbia’s pedagogy. By juxtaposing the existing transmission-model with a new creation-model, Columbia expands and strengthens an entirely new aspect of their pedagogy. This new extension will be situated on the Manhattanville site just north of 125th Street in Harlem, New York. Research and creation spaces will grant graduate and doctoral students — from the full spectrum of academic majors at the university — the ability to collaborate on specific projects. The new spaces will host no existing school or department currently at Co-

THE NEW UNIVERSITY STUDIO + SEMINAR

FALL ‘13

“The urban campus is imbricated in the city by virtue of the need to produce urban citizens and, equally important, to research social and urban forms that will lead to new ideas about urban migration, calls for urban reform, and ultimately, new models of urban planning and design. What binds these unique examples together is what they teach us about the interrelationship of knowledge and urbanism.” - Sharon Haar, The City as Campus

REINHOLD MARTIN AND JONATHAN COLE, CRITICS WITH ERIK CARVER

agenda, conforming themselves to a larger academic community.

REFERENCE FIGURE 2 ON PG. #

The proposal embraces this conflict. Understanding the duality between local and global to be at the heart of future campuses. The site at Manhattanville sits squarely between the Hudson River, to the west, and Harlem, to the east. The potential to bridge a community with no

Universities have long been conceptualized as cities within cities, unaffected by and uninterested in their context.

Phrases used to describe campuses such as Thomas Jefferson’s University of Virginia — the “academic village” — suggests that American colleges, at some point, made a distinction between the civic community and the academic one. Architect Robert Stern, most recently, described a more explicit separation of the campus and the city as a “place apart.” However, the earliest American colleges, often religious in direction, were founded to serve their towns directly by educating and ultimately graduating ministers, teachers and other professionals required to properly develop a colony. Thus, today’s universities have clearly shifted from this locally-specific THE NEW UNIVERSITY SEMINAR

prior connection to the water is an essential urban and sociological strategy that allows both Harlem residents and students to meet by the river’s bank, quite literally.

By encouraging pedestrian density to traverse the site from east to west, residents gain access to both the river and the university grounds, thereby dissolving harsh, restrictive boundaries to welcoming, enabling paths that serve both types of users. In doing so, the site’s urban attitude is clear: a diverse range of people — academic and non-academic, old and young, rich and poor, black and white — on the site makes for a richer, more inclusionary learning and creation environment.

REFERENCE FIGURE 3 ON PG. #

The aggressive procession from the site towards the water naturally generates horizontal bands that span from Broadway (east of the site) past the river’s edge. As a result, the initial architectural operation on the site resembles a field from which ideas and products are reaped and sown, literally and figuratively. Due to the inherent qualities of the “field,” this type affords the university the flexibility of future expansion in a loosely controlled manner that maintains the overall urban gesture of the “bands.” Subsequent layers, such as a point grid, a series of dashes and diagonal markings provide a general framework that enable secondary and tertiary operations to occur in response to the primary, striated gesture.

REFERENCE FIGURE 4 ON PG. #

After performing these necessary urban operations on the site, the new pedagogical model is overlaid upon it.

Thus, the spatial organization of the campus becomes the embodiment of a new pedagogy and unique urban strategy. The “research neighborhoods” develop along the bands creating distinct zones within the site. Pub-

licly accessible gallery and exhibition spaces are located along the first several levels of all buildings thereby giving students an outlet to present their projects to

tity. The university’s “face” is yet another factor. Reminiscent of post-war era architecture — characterized by stark, almost dull facades with no articulation other than

the community. Inversely, this exposes non-academic residents to state-of-art findings in research. Cardinal Newman, proponent of the liberal pedagogy, envisioned universities doing precisely this. “A university training

the openings for windows — the buildings’ surfaces are designed as if to continue a pre-existing architectural language. This, in turn, blends boundaries between the campus and city. “The genius of Manhattan”, as Rem

aims at raising the intellectual tone of society, at cultivating the public mind, at purifying the national taste, at supplying true principles to popular enthusiasm and

Koolhaas pointed out in his book Delirious New York, “is the simplicity of this divorce between appearance and performance: it keeps the illusion of architecture intact,

fixed aims to popular aspirations, at giving enlargement and sobriety to the ideas of the age, at facilitating the exercise of political powers and redefining the intercourse of private life.”

while surrendering wholeheartedly to the needs of the metropolis.” In this case, the interior creation spaces act completely independent of the exterior faces, which

REFERENCE FIGURE 5 ON PG. #

REFERENCE FIGURE 7 ON PG. #

There is more at stake, however, than mere urbanistic

In essence, the proposal’s new campus cannot be understood as an entity separate from its host community.

“The city is where we dwell. These ruins are continuously inhabited, although they are from another time,” as Haar

functionality. The question of identity is crucial for a campus. When this proposal was presented at a mid-review, a professor from the panel of juries asked the question, “When I walk into Columbia’s campus, I get the sense that I am at a place of learning. Does your proposal have that feeling?” Like that professor, many other faculty, students and visitors would agree: there is something about the original Columbia campus that

serve their own urbanistic purpose.

states. The university campus, then, most situate itself not outside of contemporary culture, but right in the middle of it. As our daily lives gradually evolve due to

gives the impression of a world-class learning institution.

What exactly is responsible for this feeling, however?

The uniformity of neo-Italian Renaissance buildings? The symmetrically rational campus plan? The clear threshold that separates the campus from the rest of Morningside

advances and pressures from society, so to should the American university evolve in its approach to satisfy its fundamental values of free inquiry and organized skepticism. There is no abstract brush stroke broad enough with which architects or educators should paint the campus of the future, no particular aesthetic nor international style that could be applied to the walls of learning

Heights? The vastness of the Columbia plaza between the two libraries? The proposal suggests that there is no single solution to the sense of “place.” Identity, though,

halls to signify a universal look or function of the American university. Each new campus will require careful consideration of complex issues. At the forefront of any

must begin with presentation.

design proposal, however, should be the extensive evaluation of core issues: a balanced pedagogy that emphasizes both the creation and transmission of knowledge.

Secondly, “context matters.” No matter how specialized a university’s mission becomes, if it isn’t intrinsically

REFERENCE FIGURE 6 ON PG. #

Due to the striated nature of the site, users experience the new campus in a completely different manner than the Morningside campus, characterized by opaque stone walls acting as barriers to the rest of the city. Residents and students can freely diverge into the site from the street. Once upon the “campus grounds,” all users have access to vast “field” of public programming. This initial dissolving of barriers is the first step in molding an iden-

linked with its community, it runs the risk of becoming irrelevant to its users.

1. “What Will America Look Like in 2050?,” http://www.cnn.com/2010/US/07/02/joel.kotkin.census/.

2. Sharon Haar, The City as Campus (Minneapolis: University of Minneapolis, 2011), 16.

3. Vannevar Bush, Science: The Endless Frontier (Washington DC, National Science Foundation) 23.

4. “National Center for Educational Statistics,” http://nces.ed.gov/fastfacts/display.asp?id=84.

5. “Carnegie Foundation for the Advancement of Teaching,” http://classifications.carnegiefoundation.org/lookup_listings/srp.php?.

6. “2014 Best Colleges,” http://colleges.usnews.rankingsandreviews.com/bestcolleges/rankings/nationaluniversities 7. “Media Lab US Patents,” http://www.media.mit.edu/files/uspatents.pdf 8-11. Sharon Haar, The City as Campus (Minneapolis: University of Minneapolis, 2011), 14.

CONTEXT AND PEDAGOGY

ACADEMIA & THE NEIGHBORS THE NEW UNIVERSITY studio + seminar

ACADEMIA & THE NEIGHBORS: HUDSON, HARLEM & CREATION HUBS

FALL ‘13

LAURIE HAWKINSON, CRITIC WITH JORDAN CARVER

ORIGINAL COLUMBIA UNIVERSITY CAMPUS MORNINGSIDE HEIGHTS, NEW YORK CITY

The Columbia Project Labs (CPL) are research-specific spaces that extend Columbia’s traditional emphasis on a fundamental, teaching-based pedagogy. Graduate and doctoral students from the full spectrum of disciplines will now be able to collaborate on creation-based research. CPL’s site strategy is dependent on two major drivers: an updated pedagogy model and how it situates within the local Harlem neighborhood.

NEW COLUMBIA UNIVERSITY CAMPUS SITE EXPANSION TO MANHATTANVILLE / HARLEM, NEW YORK CITY

HUDSON RIVER SITE

HARLEM

First, the new labs will host no existing school or department currently at Columbia. Instead, four independent research ‘neighborhoods’, spanning the width of the site, will house admitted students to take part in highly specific topics of applied research. All students - from business, engineering, art, science, architecture, journalism, sociology, etc - will collectively address the most pressing issues of our time through group projects.

ACADEMIA & THE NEIGHBORS: HUDSON, HARLEM & CREATION HUBS

FALL ‘13

THE NEW UNIVERSITY STUDIO

EXISTING PEDESTRIAN DENSITY ON AROUND SITE THE NEW UNIVERSITY

The new site sits squarely between the Hudson River, to the west, and Harlem, to the east. Therefore, the potential to bridge a community with no prior connection to the water is an essential urban and sociological strategy that allows both Harlem residents and students to meet by the river’s bank, activating the site via the interaction of the residents with the students and faculty.

NEW SHARED CIRCULATION BY STUDENTS + RESIDENTS THE NEW UNIVERSITY

By encouraging pedestrian density to traverse the site from east to west, residents gain access to both the river and the university grounds, thereby dissolving harsh, restrictive boundaries to welcoming, enabling paths to serve both types of users. In doing so, the site’s urban attitude is clear: a diverse range of people - old and young, rich and poor, black and white - on the site makes for a better learning and research environment.

ACADEMIA & THE NEIGHBORS: HUDSON, HARLEM & CREATION HUBS

FALL ‘13

NEW COLUMBIA PROJECT LABS

COLUMBIA MORNINGSIDE CAMPUS

SCHOOLS STAYING PUT ARCHITECTURE, PLANNING AND PRESERVATION ARTS BARNARD COLLEGE BUSINESS

NEW PROJECT ORIENTED LABS ENERGY MIND, BRAIN AND BEHAVIOR BIOTECHNOLOGY URBAN INFRASTRUCTURE

COLLEGE OF PHYSICIANS & SURGEONS COLUMBIA COLLEGE CONTINUING EDUCATION DENTAL MEDICINE ENGINEERING GENERAL STUDIES INTERNATIONAL & PUBLIC AFFAIRS JEWISH THEOLOGICAL SEMINARY JOURNALISM LAW NURSING PUBLIC HEALTH SOCIAL WORK TEACHERS COLLEGE UNION THEOLOGICAL SEMINARY

0% OF EXISTING DEPARTMENTS MIGRATE TO THE NEW SITE.

THE NEW UNIVERSITY STUDIO

THE NEW UNIVERSITY

PROPOSED SITE STRATEGY

ACADEMIA & THE NEIGHBORS: HUDSON, HARLEM & CREATION HUBS

FALL ‘13

THE NEW UNIVERSITY STUDIO

SITE

SITE

URBAN INFRASTRUCTURE STUDEBAKER

BIOTECH

THE NEW UNIVERSITY

ACADEMIC TOPICS DISPERSED IN ‘BAND’ STRATEGY

EXTENSION TO RIVER

ENERGY

AGRICULTURAL MARKETS ZONES

MIND + BRAIN

Horizontal bands span west from Broadway to the river’s edge, generating a strong trajectory from which other architectural operations derive from. Subsequent layers, such as a point grid, a series of dashes and diagonal markings provide a general framework that enable secondary and tertiary operations to occur in response to the primary, striated gesture.

THE NEW UNIVERSITY

CIRCULATION ANALYSIS OF THE ‘BAND’ STRATEGY

ACADEMIA & THE NEIGHBORS: HUDSON, HARLEM & CREATION HUBS

HUDSON RIVER

CONSTRUCTED LANDSCAPE PASSES OVER EXISTING WEST SIDE HIGHWAY

FALL ‘13

AGRICULTURAL ZONES SUPPLY ACADEMIC AND LOCAL COMMERCIAL NEEDS, ENCOURAGING STUDENT AND RESIDENT INTERACTION

EXISTING OVERHEAD STREET PRESERVED

THE NEW UNIVERSITY STUDIO

BUILDING FACADES DIVORCED FROM INTERIOR PROGRAMS TO SATISFY INDEPENDENT FUNCTIONAL, AESTHETIC AND STRUCTURAL NEEDS

GALLERIES/EXHIBITIONS ALLOW PUBLIC TO EXPLORE ACADEMIC BUILDINGS

UNDERGROUND INFRASTRUCTURE TRANSPORTS FILTERED RUN-OFF, COOLED WATER FROM HUDSON RIVER

CAFES AND PUBLIC ATRIUMS CONNECT RESIDENTS WITH ACADEMIC ACTIVITIES THROUGHOUT BUILDINGS

THE NEW UNIVERSITY

SUBWAY LINE, BROADWAY RUNS PARALLEL TO CAMPUS

EXISTING SOCIAL HOUSING COMPLEX

URBAN SECTION DEPICTING ‘BAND’ STRATEGY

PUBLIC ‘STREET FURNITURE’ PROVIDES COMMON GATHERING SPACES FOR STUDENTS AND RESIDENTS

ACADEMIA & THE NEIGHBORS: HUDSON, HARLEM & CREATION HUBS

FALL ‘13

THE NEW UNIVERSITY STUDIO

S S

U

TE R FE

CA

ER

IE

RI IT O

LL A G

D AU

A

IA

M

S M RI ES

O O

BR LI

SS R A

CL

RK O W

LA

BS

SH

O PS

There is more at stake, however, than mere urbanistic functionality. The question of identity is crucial for a campus.

URBAN INFRASTRUCTURE

1,347,264 SQ FT

BIOTECH

1,325,222 SQ FT

ENERGY

1,109,416 SQ FT

MIND + BRAIN

905,580 SQ FT UNIVERSITY PROGRAMS

PUBLIC PROGRAMS

4,687,482 SQ FT

ACADEMIA & THE NEIGHBORS: HUDSON, HARLEM & CREATION HUBS

FALL ‘13

THE NEW UNIVERSITY STUDIO

COLUMBIA PROJECT LABS SITE

HUDSON RIVER

EXTENDED SITE

HARLEM

MARKET MARKET

REUSE / COOL WATER

FILTERED RAINWATER

COOL WATER TO LABS

WARM WATER TO COMMUNITY

PUBLIC GALLERY / RESEARCH SHOWCASE STUDENT/RESIDENT SHARED SPACE NEW COMMUNITY MARKETS

DELICATELY TOUGH: FACADE UPGRADE OF ADIDAS STORE SURFACE, SCREEN + STRUCTURE

DELICATELY TOUGH: FACADE UPGRADE FOR ADIDAS STORE

FALL ‘13

JOSEPH VIDICH, INSTRUCTOR WITH HEIDI WERNER

ORIGINAL GLASS FACADE

By embracing pragmatic concerns — interior/exterior relationships, sun paths, spatial organization — the new facade design for the ADIDAS store can be as dynamic as the brand itself. Locally, the surface will address contextual issues such as solar shading and the creation of unique views. On a broader scale, the surface hopes to reflect the universal attitude of ADIDAS - never static; always changing.

FABRICATION PROCESS

The intent is to translate one of the most recognized brands in athletic wear into an equally recognizable architecture. The three bars, synonymous with ADIDAS, represents the coming together of disparate parts resulting in a dynamically unified gesture. This gesture is precisely what we wish to explore, testing it under the constraints and issues that architecture presents.

DELICATELY TOUGH: FACADE UPGRADE FOR ADIDAS STORE

FALL ‘13

SURFACE, SCREEN + STRUCTURE

DELICATELY TOUGH: FACADE UPGRADE FOR ADIDAS STORE

FALL ‘13

SURFACE, SCREEN + STRUCTURE

TYPE ONE

TYPE TWO

TYPE THREE

TYPE FOUR

PROTOTYPE ONE DESIGN

SICAL MODEL PROCESS STEP 2

SICAL MODEL PROCESS STEP 2

PHYSICAL MODEL PROCESS STEP 3

PROTOTYPE ONE TESTING STRUCTURAL FAIL

DELICATELY TOUGH: FACADE UPGRADE FOR ADIDAS STORE

FALL ‘13

SURFACE, SCREEN + STRUCTURE

COMPONENT MAKE-UP

228

Â˚

1

2

1Â

0

˚

69Â˚

1

0

1 1

0

1

0

1

0

˚

1

42Â

0

42Â ˚

˚ 42Â

11

0

96Â˚

1

2

1

2

1

2

1

2

1

2

1

2

2

1

1

0

1

1

0

1

1

0

1

1

0

1

1

0

1

1

0

1

1

0

1

1

0

1

1

0

1

1

0

1

1

0

1

1

0

1

1

0

1

1

0

1

1

0

1

1

0

1

1

0

1

1

0

1

1

0

1

1

0

1

1

0

18

1

17

0

2

2

1

6

6

2

2

1

0

9

0

0

2

6

10

14

1

1

29

1

18

17

1

1 18

51

1

2

2

14 0

0

3

0

18

6

0

17

1

16

12

0

12

2

6

0 19

2

X1

X2

X3

X4

X5

X6

X1

X2

X3

X4

Y1

Y2 Y3

Y4

Y5

Y6 Y7

Y8

Y9

Y10 Y11

CLOSED CLOSED

PROTOTYPE TWO DESIGN

OPEN OPEN

X5

X6

Y1

Y2 Y3

Y4

Y5

Y6 Y7

Y8

Y9

Y10 Y11

CLOSED CLOSED

OPEN

OPEN

THE HISTORY OF ARCHITECTURAL THEORY

FALL ‘12

MARK WIGLEY, INSTRUCTOR

THE NATURE LET ME MAKE THE SONGS OF A NATION AND I CARE NOT WHO WRITES ITS LAWS. - ANDREW FLECTHER, 17TH CENTURY SCOTTISH POLITICAN

How can discussions in architecture ever capture the zeitgeist of contemporary thought if not through the mirror of popular culture? Fletcher’s statement not only grants a cultural access point into the sentiments of modern society, but also recognizes the extraordinary influence of the artist as a more authentic depiction of our current moods and convictions than their cultural counterparts, policymakers and partisan politicians. Popular song lyrics, box-office hits, and public art exhibitions seem, then, to be the designers unto which society has but to merely react to. Thus, federal laws, social theories, and ideologies are subject to the artistic production of content – imagery, narratives, and objects in space - that have an inherently suggestive nature as to how to perceive our contemporary existence.

Furthermore, these distinct images, narratives, and objects from disparate artists relay an interconnected and underlying attitude particular to its time and place. Listen, for example, to a popular Western songwriter describing the enchantment of the built environment: A city sparkles in the night. How can it glow so bright?

The neighborhoods surround a soft fluorescent light.

Designer skyline in my head, abstract and still well-read You went from numbered lines to buildings overhead.1 The songwriter seamlessly narrates the existential transformation between identifying an image of a sparkling city to his conscious wonder of its narrative, “How can it glow so bright?” As the lyrics continue, both his experience and his understanding of the experience intertwine to create meaning of the verse thus granting insight into the songwriter’s interpretation of the blurry brightness that has evolved from a calculated abstraction to a concrete reality. If this conclusion can be extrapolated from a mere four lines of a song, what resolve concerning architecture could we arrive at if we analyzed contemporary artistic content at large? As architects and participants of modern society, we are responsible for ushering in an evolving identity within architecture that would be best aided through our understanding of current trends within contemporary artistic content.

E OF IMAGES In Beatriz Colomina’s essay, “L’Esprit Nouveau: Architecture and Publicité”, she describes the twentieth-century’s most influential architect, Le Corbusier, as a gatherer of images. One who “collected everything that struck him visually;” catalogues of cars, watches, furniture, purses, high-pressure centrifugal ventilators, and even children’s school notebooks illustrated with basic geometric shapes. “These everyday images,” she writes, “are the source of many illustrations in L’Esprit Nouveau and the five books that came out of this practice:” Vers une architecture, Urbanisme, L’art décorative d’ aujourd’hui, La peinture moderne, and Almanach de l’architecture moderne. He identified advertising as a model to reference from on the subject of technique, understanding that the strongest effect spawned from the impact of the visual material. Corbusier, therefore, exploited the juxtaposition of imagery and narration, allowing the interaction between words and the pictures to be the message of his writings. This effective presentation of content, one could argue, was what confronted architects for the first time with the realization of a new industrial age. Through the careful image placement of a low-pressure centrifugal ventilator opposite the page of an opening chapter that read “Architecture ou Révolucion,” Corbusier ushered the newest spirit of the times within architecture in the 1920’s.

The industrial age eventually evolved into a “culture of consumption” forcing architects to face another front, mass media and publicity. After World War I, radios were beginning to find their place within the households, bridging the time-lapse of information and increasing the role of radio commentary and the competition from printed propaganda. Corbusier, in his book L’art décorative d’aujourd’hui, states that “the fabulous development of the book, of print, and the classification of the whole of the most recent archaeological era, has flooded our minds and overwhelmed us. We are in a completely new situation. Everything is known to us.” Under this new cultural condition, in which both images and information were readily available, Corbusier seemed to have a “definite feel” for how he could incorporate this new content within the larger scope of his visual search. “The archi-

tect’s tracings and sketches on the catalogues,” Colomina noted, “suggest that he was not taking these images in a passive manner; these drawings testify to a formal search ultimately directed to actual practice.” Her statement is only valid if we first grant her the assumption that, architecture is not an autonomous practice. That is, it depends on the architectural qualities of foreign contents - i.e. industrial products, photography, automo REFERENCE FIGURE 1 ON PG. #

THE NATURE OF IMAGES

FALL ‘12

biles, furniture - to allow itself to evolve amidst the rapidly progressing technology and knowledge within the culture of consumption. Architecture, ultimately, faces a similar existential dilemma the songwriter was confronted with: identifying itself - its content - within a sea of other images and narratives.

Retracting to earlier statements made of Corbusier’s canny employment of both imagery and text, of the two, it should seem that imagery holds a greater prominence within the architectural discourse because of its visual nature to more clearly communicate architectural gestures. When comparing text versus the image, one realizes they are of two different languages. And, in this case, both are not created equal. Text works within the language of letters and words that, when applied to discussions of making, have to eventually visualize objects creating space. Mere intent, then, is the only valuable inference of text. Images, on the other hand, is the language of elements and groups of elements in which one can compare lines with other lines, planes with other planes, and volumes with other volumes. This visual narrative (as opposed to merely a textual one) then appropriates the more telling conversation, one that begins to analysis and anticipate effect. So, to understand that the image takes precedence over text is to also assert that effect holds more significance than intent within architecture. Thus, if intent describes an architectural condition yet to come, effect is the execution of it - the testimony of intent.

Despite having written over fifty books, Corbusier himself stated benefits of the image - more specifically, the drawn image: “To draw oneself, to trace the lines, handle the volumes, organize the surface…all this means first to look, and then to observe and finally perhaps to discover…and it is then that inspiration may come.” The ongoing visual search has led Corbusier to explore various mediums that suggest particular effects: mainly the drawing and the photograph. Colomina notes that to maintain a “purist aesthetic,” Corbusier airbrushed a photograph of Charles-Edouard Jeanneret’s Villa Scwob in the sixth issue of L’Esprit Nouveau (1921) to maintain a “purist aesthetic.” He eliminated everything within the photograph that had any signs of context or site, leaving only the formal qualities of the object itself. This practice of manipulating images, cutting out products from catalogues, and the diagram is what catapulted the ideas and principles of an early modernism to a stage in which now the modern object itself could be discussed, critiqued, and ultimately constructed. Furthermore, there are many buildings that we only know through the medium of photography, particularly the showrooms of the world exhibitions and national pavilions. In retrospect, one has to wonder if it is possible to conceive of a twentieth century architecture that does not refer to memorable architectural photographs. These conditions lead Kevin Lynch,

THE HISTORY OF ARCHITECTURAL THEORY

author of Image of the City, to coin the term, “imageability. ” Lynch recognized the objective of developing cities was not merely to achieve a functional infrastructure but to also endow it with an appropriate image, claiming that the visual of physical objects return as high profits of emotional and psychological responses from the observer, appealing both to the imagination and memory as creators of meaning. Frank Gehry’s Bilbao museum in Spain, for example, is an unprecedented investment in an built image, costing over 120 million dollars to erect, surpassing all of Spain’s museums built in the previous decade. Built amidst troubling economic times in Bilbao, some question if the museum is a testament of urban renewal or a cruel memorial of past memories. Thus, the seemingly ambiguous nature of the image suggests as many interpretations as interpreters.

Despite the collective urge for the iconic within society, the topic of image within architectural discourse does not as easily resonate with its participants. Could it be that the connotations of image are too vague? “Plato’s critique of the image as a mere reflection of reality still lingers on today and that everyday usage,” notes Andreas Ruby, “has long since accustomed us to seeing the image as something secondary, even inferior, because it merely reproduces something real.” Further, cultural critics point out the inflation of imagery we are exposed to daily, warning us that we will somehow miss a presumed truth that lies beyond the surface. Nonetheless, terms related to imagery such as surface, illusion, and effect seem to strike a wrong chord in a modern society that prefers calculation and textual clarity to representational messages within work. Perhaps it is because it relives a subdued fear that the integrity of architecture may be compromised if architects begin to draw too heavily from other fields.

One of the most fervent oppositions to the image was raised a few years after Colomina’s writing by Peter Eisenman in his essay, “The End of the Classical: the End of the Beginning, the End of the End.” In his view, modern architecture never truly liberated itself of the burden of having to communicate a message. “The context which gave ideas and objects their significance is gone… there is now merely a landscape of objects.” Representation, in Eisenman’s opinion, is fiction. Even the most utilitarian buildings of the modernist era were conceived under the delusion that buildings should express or look like their function. This misconception, consequently, conceives of an architecture from a preconceived origin and leads to a predetermined end result. While I may grant this assumption to Eisenman- that is, a rejection of unjustified belief of the Classical order leading to a predetermined effect - the reality of objects in space provoking emotional and psychological responses was simply left unanswered. I would assert that despite Eisenman’s negation of representation as a valued tool

for creating meaning, his own buildings relay their own projections – however complex – that does exactly what he claims is a fiction.

Nicholas Mirzoeff, author of “The Visual Culture Reader,” comprehends the evolving demands of a visual culture that Corbusier understood in the first half of the twentieth century. It “is concerned with visual events in which information, meaning, or pleasure is sought by the consumer in an interface [surface] with visual technology.”

Such realizations of the zeitgeist must then demand an importance of image making, the formal components of a given image, its implications (both functional and phe-

The objective of developing cities was not merely to achieve a functional infrastructure but to also endow it with an appropriate image. nomenological), and strive for its completion for a cultural reception. It is one thing to talk about the meaning of images, as if they were legible like text, and another to focus on the meaning that images acquire through evolving cultural discussions (i.e. The future of politics, social networks, and cities) and contents (such as architecture, film, and photography.) These images are not simply part of our everyday existence, this is our everyday existence, consisting of images – complex and contradictory – that represent actual things while also projecting our own mental biases. In his definition of the image, Henri Bergson, French philosopher and author or “Matter and Memory” wrote of image: “a certain existence which is more than that which the idealist calls a representation, but less than that which the realist calls a thing.”

Highly regarded contemporary films such as Blade Runner, the Fifth Element, Minority Report, Tron Legacy, iRobot (and etc.) seem to be the best representatives of this current visual phenomenon, depicting cultural stipulations of how we perceive the inevitable future of the metropolis: congested, stratified, defying gravity, com-

plex transportation infrastructures, and the occasional alien or robot. Therefore, the images we are exposed to, as Colomina noted of Corbusier’s fascination catalogue imagery, have the ability to propagate into other forms of content. Our conception of tomorrow’s cities and architecture, then, simply has to find its realizations within the visual medium that then allows for contemporary society to decide on which future it prefers. Through the aid of visual content, this future is then pulled to meet the present.

For Corbusier, permanence distinguished artistic content from the everyday object, rejecting the Futurist theory of art as an ephemeral pleasure. And, while I agree that content disseminates a lasting influence on contemporary popular culture, I depart from Corbusier in that there should be no distinction from the artistic content and the everyday object. Corbusier describes the separation as if artists and producers were of two different ends. His assumptions lie somewhere in the cultural clichés that segregate these two, understanding the art piece as a thing merely to be observed and the everyday object as a product for consumption. This is precisely the notion that contemporary artistic content has debunked. To separate artistic content and production is to undermine the permanent influence an architectural representation, for example, such as a drawing has on producing future realities within the built environment, which itself is a work of art. Evocative images and drawings such as the series produced by Harvey Wiley Corbett’s City of the Future is a strong example of a concept that was later visualized, translated decades later into a moving picture film, and is ultimately being realized within cities all across the globe.

This continuous loop - artistic content producing built objects producing artistic content - has no starting point, but offers insight into the complex context of modern society. Rather than understanding the contemporary visual culture around us through the black and white lens of artistic segregation, we must confront it by consistently looking and judging within the mirror of imageability, allowing it to be an indicator of how our products, architecture, and cities will communicate in the future.

THE EVOLVING ROLE OF THE STREET THE MEGABLOCK HOUSING STUDIO

THE MEGABLOCK HOUSING STUDIO

FALL ‘13

JEFFREY JOHNSON, CRITIC

PO G

CL I M

AT I C

, TO

NA TUR AL

R AP

H IC

AL

the evolving role of the urban street

DIG

W I-

FI, R

ITA LC ON ADI NEC O, P H T ON

E FR

EQ U

IVIT

EN C

SOC OGR APH

FT SO

P OL

L

SUA

, VI

R AL

SE N

X TU D, T E

UN

I S TR

IC T

S, T

ER R

I TO

R IE

S

IGR

, SO

I

F

O AT I

EL L

TR A

SUA L

D EM

NS

SM

S

T IC C AR AL TOG R AP H IC D

,M Y AN I V I T E S TR I ACT FIC, PED

L AN

GE , GUA

ME

D

IC

CON

HA R

EDGES

ECO S, INCO IOIC

U ,W STRD EDGES A R E INF TRUCT

U R R ED BL

Y

I ES

M NO

S AL S, ROAD R U L AL CT

East Harlem residents face more social, political, economic barriers than any other resident in Manhattan. This project along the East River imagines a future in which the streets of Harlem lift off the ground plane, creating dense urban conditions and a renewed sense of community by providing access to parks, retail, food markets and healthcare.

BLESS YEE AND MILES FUJIKI, PARTNERS

PEDESTRIANS & THE STREET: THE EVOLVING ROLE OF THE STREET

FALL ‘13

THE MEGABLOCK HOUSING STUDIO

2 M ES IL

THE BRONX 1 M E IL

NEW JERSEY

EAST HARLEM

QUEENS

PROJECT LOCATION

1 RECONNECT NEIGHBORHOOD WITH RIVER

2 CREATE DIAGONAL CIRCULATION IN SITE

It was Jane Jacobs in her book, The Death and Life of American Cities, who identified the qualities of a performative street as a catalyst for ideal urban living. More than fifty years after her diagnoses it seems that cities continue to grow, forcing streets to accommodate increasing performative stresses. Furthermore, in Manhattan the streetscape has evolved into one in which the only way to grow is “up.”

3 1

COMMERCIAL

Closest, consistent commercial corridor nearest to site.

Maximized street frontage.

2

RIVER FRONT

Limited and obscure access.

RESIDENTIAL

Mono-programmatic.

High-density social housing.

1283 Units, 2972 residents

SITE 4

INFRASTRUCTURE

Elevated railway and on-grade highway. Both isolate the site from surrounding context.

5

PUBLIC SPACE

Recreation spaces, exiled by highway infrastructure.

3 DERIVE A NEW GRID FROM PREVIOUS MOVES

This semester-long project, sited in East Harlem, questions how living, shoping and the role of the street as an urban thread might evolve within 100 years from today if the street was forced to grow vertically.

THE EVOLVING ROLE OF THE STREET

FALL ‘13

THE MEGABLOCK HOUSING STUDIO

STREETS CONTINUE INTO SITE, LIFTING OFF THE GROUND AND INTO NEW GRID

AS THE STREET EVOLVES, IT GROWS LONGER AND HIGHER

TRANSPORTATION

FOOD

RETAIL

WORK

AGE

80 YRS 60 YRS 40 YRS 20 YRS

TIME

12 AM

6PM

12PM

SEASON

SQUARE FOOTAGE

6AM

IO

STUD

IL 3

IL 2

IL 1

IL 4

RETA

RETA

RETA

RETA

CAFE

T2

URAN

RESTA

T1

URAN

RESTA

KET

N MAR

GREE

TORE

ERY S

GROC

G

G

IN PARK

ARKIN CAR P

BIKE

HEALTH LEISURE K HOUSEHOLD

VARIOUS TYPES OF PROGRAMS CONNECT TO THE NEW STREET AS IT EVOLVES VARIETY OF PATHS ALLOWS FOR FLUID CIRCULATION

TER

EN

GARD

R CEN

SENIO

GYM

UNITY

COMM

EN

GARD

NTER

UNITY

AL CE

MEDIC

COMM

D3

ROUN

PLAYG

D2

ROUN

PLAYG

D1

HUB

AR

HUB 2

ROUN

PLAYG

UTER

COMP

UTER

R

N/ BA

COMP

SALO

BAR

RE/ B

T STO

PLAN

/ WARE

HARD

THE EVOLVING ROLE OF THE STREET

FALL ‘13

THE MEGABLOCK HOUSING STUDIO

12 AM

6PM

12PM

6AM

CG

GS

GYM

MC PO P-3

PH

R-1

GM

B

TP

CP

FV

BRIDGE

R-3

R-4

R-1

BP

S/B

R-2 P-3 CH

R-2

C

H/B

SP

P-1

S

P/B

D/T SC

DAYCARE/TUTOR CENTER

GREEN MARKET

GYM FOOD VENDORS

RESTAURANT THRIFT STORE

PLAYGROUND STUDIO

TATOO PARLOR

HARDWARE STORE/ BAR CAR/BIKE PARKING

BOOK STORE BODEGA

99 CENT STORE SENIOR CENTER GROCERY STORE

RESTAURANT

CAFE

PLAYGROUND

POST OFFICE

PHARMACY MEDICAL CENTER

PLANT STORE/ BAR

SALON/ BAR

THE EVOLVING ROLE OF THE STREET

FALL ‘13

THE MEGABLOCK HOUSING STUDIO

THE EVOLVING ROLE OF THE STREET

FALL ‘13

THE MEGABLOCK HOUSING STUDIO

SUBLIME FACES: FASHION RESEARCH INSTITUTE ARCHITECTURAL TECHNOLOGY FIVE

ARCHITECTURAL TECHNOLOGY FIVE

GROUND FLOOR PLAN

SECOND FLOOR PLAN

A

B

FORCE LOAD DIAGRAM

SPRING ‘13

JASON STONE, SANDRA MCKEE, JAY HIBBS AND DAVID WALLANCE, INSTR.

MARTIN LODMAN, HEEYUN KIM AND JONATHAN REQUILLO, PARTNERS

FOURTH FLOOR PLAN

SEVENTH FLOOR PLAN (TOP)

SUBLIME FACES: FASHION RESEARCH INSTITUTE

north elevation

south elevation

SPRING ‘13

ARCHITECTURAL TECHNOLOGY FIVE

4

3

2

1

west elevation

4

3

2

1

east elevation

1

2

3

4

1

SUBLIME FACES: FASHION RESEARCH INSTITUTE

ROOF

99’ MEZZA

88’ 7TH FL

74’ 6TH FL

60’ 5TH FL

46’ 4TH FL

32’ 3RD FL

18’ 2ND FL

0’ GROUND

LONGITUDINAL SECTION

4-3/4” LONG STAINLES STEEL STANDOFF

STAINLES STEEL BUTTON HEAD ALLEN CAP SCREW

6” X 6” PANELS

1” X 1” STEEL FRAME HORIZONTAL MEMBERS

VEIL COMPONENTS

SPRING ‘13

ARCHITECTURAL TECHNOLOGY FIVE

116’ ROOF

99’ MEZZANINE

88’ 7TH FLOOR

74’ 6TH FLOOR

60’ 5TH FLOOR

46’ 4TH FLOOR

32’ 3RD FLOOR

18’ 2ND FLOOR

0’ GROUND FLOOR

CROSS SECTION

TYPICAL CURTAIN WALL SECTION

COMPLEXITY / ENERNET ECONOMY 2050 THE EXTREME CITIES: BUILDING MEGALOPOLIS

EXTREME CITIES: BUILDING MEGALOPOLIS STUDIO

SPRING ‘13

KAZYS VARNELIS, CRITIC

Buildings, cities and societies become more complex as they attempt to solve problems. Archeologist Joseph Tainter wrote in his book, The Collapse of Complex Societies, complexity consists of two components: structural differentiation and organization. The first, structural differentiation, refers to the development of various categories of inputs: social roles, institutions, information, settlements, occupa-

tions, technologies, etc. Organization refers to the framework of constraint that dictates the behavior of these various categories so that they work systemically.

$

ENERNET ECONOMY 2050

SPRING ‘13

EXTREME CITIES: BUILDING MEGALOPOLIS STUDIO

ALAN ANTHONY ROYAL THAI EMBASSY OFFICE NY COFFEE STATION TES USA, INC.STRAWBERRY ANN TAYLOR LOFT DELTA AIRLINES OLYMPIA AIRPORT EXPRESS AVIS PORT AUTHORITY OF NEW YORK & NEW JERSEY GEIGER & GEIGER GAYER, SHYU & WIESEL THAI FARMERS BANK AMERSON GROUP CO., INC.BANK OF AMERICA PORCELLA VICINI & CO. PRIMARCH DECISION ECONOMICS INSTINET, INC. DUN & BRADSTREET, INC. LANDMARK EDUCATION CORPORATION ZIM-AMERICAN ISRAELI SHIPPING CO. EMPIRE HEALTH CHOICE TOWER COMPUTER SERVICE UNITED SEAMEN'S SERVICE AMMLA UNITED HERCULES INC. AVESTA COMPUTER SERVICES, LTD. CONTINENTAL LOGISTICS, INC. DONGWON SECURITIES CO. LTD. DR. TADASU TOKUMARU, M.D. FRIENDS VILLAS FISCHER TRUST FRIENDS IVORY & SIME, INC. INFOTECH LAW OFFICES OF ROMAN V. POPIK LIEF INTERNATIONAL USA UNICOM CAPITAL ADVISORS LLP CHICAGO OPTIONS EXCHANGE CORP. CHENG XIANG TRADING USA INC. G.C. SERVICES GOLD SKY INC. KAISER OVERSEAS INC. KAROON CAPITAL MANAGEMENT MLU INVESTMENT P. WOLFE CONSULTANTS THE SCPIE COMPANIES TAI FOOK SECURITIES R.H. WRIGHTSON & ASSOCIATES, INC. GARBAN-INTERCAPITAL CHINA PATENT & TRADEMARK USA WORLD TRAVEL BANCO LATINOAMERICANO DE CHANG HWA COMMERCIAL BANK ROHDE & LIESENFELD, INC. BEREL & MULLEN CHINA DAILY DISTRIBUTION CORP. DATA TRANSMISSION NETWORK CORP. GOLDEN KING (USA) LIMITED HU TONG INTERNATIONAL (USA) CO., LTD. KOUDIS INTERNATIONAL INC. MANAA TRADING GROUP, INC. MIS SERVICE CO. RACHEL & ASSOCIATES, INC. SERKO & SIMON ANNE POPE, LAW OFFICES OF KEMPER INSURANCE COMPANIES COMMODITY FUTURES TRADING COMMISSION GOVERNMENT OF THAILAND LEHMAN BROTHERS REGIONAL ALLIANCE SMALL TURNER CONSTRUCTION COMPANY THE CULTURAL INSTITUTIONS RETIREMENT SYSTEMS OVERSEAS UNION BANK, LTD. XCEL FEDERAL CREDIT UNION MECHANICAL FLOOR N.Y. SOCIETY OF SECURITY AMERICAN LOTA INTERNATIONAL CHINA CONSTRUCTION AMERICA, INC. THE COMPANY STORE DUNAVANT COMMODITY CORP EMPLOYEE MERIT FERTITTA ENTERPRISES M.A. KATZ, CPA SRA PURE ENERGY CORP. SASSOONS INC. SECURITY TRADERS ASSOCIATION, INC. STREAMLINE CAPITAL, LLC ASTDC, INC. AUTO IMPERIAL CO. BLUE SKY TECHNOLOGIES, INC. CAN-ACHIEVE CONSOLIDATED STEELEX CORP. DAHAO USA CORP J & X TANS INTERNATIONAL KANEBO INFORMATION SYSTEMS CORP. MEGANET MANAGEMENT CONSULTANTS, INC. PROSPECT INTERNATIONAL, INC. SINOPEC USA, INC. SUGGESTED OPEN SYSTEMS, INC. SUNTENDY AMERICA, INC. T&T ENTERPRISES INTERNATIONAL, INC. YONG REN AMERICA, INC. G. Z. STEPHENS, INC. NFA/GGG, INC. AMERICAN TCC INT'L GROUP, INC. PACIFIC AMERICAN CO. QUINT AMASIS, L.L.C. W.J. EXPORT-IMPORT, INC. DAI-ICHI KANGYO TRUST CO. AT&T CORPORATION C & P PRESS TRADEWEB THE WILLIAMS CAPITAL GROUP BRAMAX MANUFACTURING (USA) CORP. GAYER SHYU & WIESEL HILL BETTS & NASH, LLP TEMENOS USA, INC. HOWLY (US) CORPORATION LEEDS & MORRELLI OKASAN INTERNATIONAL (AMERICAN) INC. RGL GALLAGHER PC RICHARD A. ZIMMERMAN, ESQ. A I G AVIATION BROKERAGE, INC. BANK OF TAIWAN CHINA RESOURCE PRODUCTS USA LTD. KEENAN POWERS & ANDREWS LOCURTO & FUNK, INC. NATURAL NYDEGGER TRANSPORT CORP. PACRIM TRADING & SHIPPING, INC. BROWN & WOOD, L.L.P. PACE UNIVERSITY WORLD TRADE INSTITUTE ASAHI BANK, LTD. AIRPORT ACCESS PROGRAM HAL ROTH AGENCY, INC. JUN HE LAW OFFICE, LLC MARTIN PROGRESSIVE LLC NEW-EY INTERNATIONAL CORP. PARTNER REINSURANCE CORP. WORLD TRADE CENTERS ASSOCIATION AVENIR, INC. BALTIC OIL CORPORATION CEDAR CAPITAL MANAGEMENT ASSOCIATES CHENG CHENG ENTERPRISES HOLDING INC. HYUNDAI SECURITIES CO., LTD INTERNATIONAL TRADE CENTER, INC. KOREA LOCAL AUTHORITIES MERIDIAN VENTURES HOLDING, INC. PHINK PATH TRADERS ACCESS CENTER DAYNARD & VAN THUNEN CO. FIRST LIBERTY INVESTMENT GROUP INTERNATIONAL OFFICE CENTERS NIKKO SECURITIES OKATO SHOJI COMPANY, LTD. SECURANT TECHNOLOGIES AGRICOR COMMODITIES CORP. THE BEAST.COMM INTRUST INVESTMENT REALTY, INC. NOGA COMMODITIES OVERSEAS, INC. RLI INSURANCE COMPANY SHIZUOKA BANK LTD. NEW CONTINENTAL ENTERPRISES NETWORK PLUS NY METRO TRANSPORTATION COUNCIL GENERAL TELECOMMUNICATIONS GLOBAL CROSSINGS HOLDINGS LTD. LAVA TRADING, LLC TAIPEI BANK EMERITUS COMMUNICATIONS BRIGHT CHINA CAPITAL, LTD. DAVID PETERSON LG SECURITIES AMERICA, INC. SAN-IN GODO BANK LTD. DAEHAN INTERNATIONAL SMW TRADING CORP. THERMO ELECTRON JULIEN J. STUDLEY, INC. MAY DAVIS GROUP BARCLEY DWYER BROAD USA, INC. CIIC GROUP (USA), LTD. DRINKER BIDDLE & REATH METROPOLITAN LIFE INSURANCE CO. MUTUAL INTERNATIONAL FORWARDING STRATEGIC COMMUNICATIONS, INC. WAI GAO QIAO USA, INC. WALL STREET PLANNING ASSOCIATION THE CHUGOKU BANK, LTD. AMERICAN BUREAU OF SHIPPING FRED ALGER MANAGEMENT MARSH USA KIDDER PEABODY & CO. CANTOR FITZGERALD SECURITIES THE NISHI-NIPPON BANK, LTD. CHANNEL 4 (NBC) WINDOWS ON THE WORLD GREATEST BAR ON EARTH WORLD TRADE CLUB CHANNEL 5 (WNYW) CHANNEL 31 (WBIS) CHANNEL 47 (WNJU) CHANNEL 2 (WCBS) CHANNEL 11 (WPIX)

PINES INVESTMENT, INC. CASERTA & COMPANY LAW OFFICES OF ABAD, CASTILLA, AND MALLONGA WEILAND INTERNATIONAL CHEN, LIN, LI, & JIANG, LLP WATERFRONT COMMISSION OF NEW YORK HARBOR N.Y. SHIPPING ASSOCIATION THACHER, PROFFITT & WOOD CAREER ENGINE ADECCO SA CHAROEN POKPHAND USA, INC. SINOCHEM AMERICAN HOLDINGS, INC. WASHINGTON MUTUAL, INC. ANTAL INTERNATIONAL, INC. SCOR U.S. CORPORATION UNISTRAT CORPORATION OF AMERICA ALLSTATE INSURANCE COMPANY TD WATERHOUSE GROUP, INC. CHINA CHAMBER OF COMMERCE, INC. GLOBE TOUR & TRAVEL SINOLION (USA) DECEMBER FIRST PRODUCTIONS, LLC SUN MICROSYSTEMS, INC. NEW YORK STOCK EXCHANGE, INC. BIG A TRAVEL AGENCY LAW OFFICE OF JOSEPH BELLARD HUA NAN COMMERCIAL BANK LTD. WEATHERLY SECURITIES CORP. HARTFORD STEAM BOILER OPPENHEIMER FUNDS, INC. COMMERZBANK CAPITAL MARKETS ABN-AMRO, INC. FRENKEL & COMPANY, INC. SITAILONG INTERNATIONAL USA, INC. MORGAN STANLEY GUY CARPENTER SEABURY & SMITH GARBAN INTERCAPITAL DOW JONES & COMPANY, INC. FIRST COMMERCIAL BANK FUJI BANK BEPAID.COM HARRIS BEACH & WILCOX, LLP KEEFE, BRUYETTE & WOODS NY STATE DEPARTMENT OF TAXATION & FINANCE CORPORATION SERVICE COMPANY FIDUCIARY TRUST COMPANY INTL. GIBBS & HILL WASHINGTON GROUP INTL. RAYTHEON COMPANY AON CORPORATION REGUS BUSINESS CENTRES SANDLER O'NEIL & PARTNERS ATLANTIC BANK OF NEW YORK

However, the elaboration of structure and increased organization comes at a cost - an expensive one.

A collapse of a complex system, then, is ultimately due to insufficient or excess amounts of complexity - not necessarily due to complexity itself but rather from incurring higher costs merely maintain a particular level of complexity. If a society (city or building) experiences diminishing returns from their

PATH

$

$

investment into complexity then this system will certainly fail. The Roman Empire experienced this. The society arrived at a point in which the cost of maintaining the status quo of their complex infrastructural and economic models was no longer worth bearing. Thus, a steady simplification of their complex systems lead to their eventual dissemination as an empire.

ENERNET ECONOMY 2050

SPRING ‘13

EXTREME CITIES: BUILDING MEGALOPOLIS STUDIO

ALAN ANTHONY ROYAL THAI EMBASSY OFFICE NY COFFEE STATION TES USA, INC.STRAWBERRY ANN TAYLOR LOFT DELTA AIRLINES OLYMPIA AIRPORT EXPRESS AVIS PORT AUTHORITY OF NEW YORK & NEW JERSEY GEIGER & GEIGER GAYER, SHYU & WIESEL THAI FARMERS BANK AMERSON GROUP CO., INC.BANK OF AMERICA PORCELLA VICINI & CO. PRIMARCH DECISION ECONOMICS INSTINET, INC. DUN & BRADSTREET, INC. LANDMARK EDUCATION CORPORATION ZIM-AMERICAN ISRAELI SHIPPING CO. EMPIRE HEALTH CHOICE TOWER COMPUTER SERVICE UNITED SEAMEN'S SERVICE AMMLA UNITED HERCULES INC. AVESTA COMPUTER SERVICES, LTD. CONTINENTAL LOGISTICS, INC. DONGWON SECURITIES CO. LTD. DR. TADASU TOKUMARU, M.D. FRIENDS VILLAS FISCHER TRUST FRIENDS IVORY & SIME, INC. INFOTECH LAW OFFICES OF ROMAN V. POPIK LIEF INTERNATIONAL USA UNICOM CAPITAL ADVISORS LLP CHICAGO OPTIONS EXCHANGE CORP. CHENG XIANG TRADING USA INC. G.C. SERVICES GOLD SKY INC. KAISER OVERSEAS INC. KAROON CAPITAL MANAGEMENT MLU INVESTMENT P. WOLFE CONSULTANTS THE SCPIE COMPANIES TAI FOOK SECURITIES R.H. WRIGHTSON & ASSOCIATES, INC. GARBAN-INTERCAPITAL CHINA PATENT & TRADEMARK USA WORLD TRAVEL BANCO LATINOAMERICANO DE CHANG HWA COMMERCIAL BANK ROHDE & LIESENFELD, INC. BEREL & MULLEN CHINA DAILY DISTRIBUTION CORP. DATA TRANSMISSION NETWORK CORP. GOLDEN KING (USA) LIMITED HU TONG INTERNATIONAL (USA) CO., LTD. KOUDIS INTERNATIONAL INC. MANAA TRADING GROUP, INC. MIS SERVICE CO. RACHEL & ASSOCIATES, INC. SERKO & SIMON ANNE POPE, LAW OFFICES OF KEMPER INSURANCE COMPANIES COMMODITY FUTURES TRADING COMMISSION GOVERNMENT OF THAILAND LEHMAN BROTHERS REGIONAL ALLIANCE SMALL TURNER CONSTRUCTION COMPANY THE CULTURAL INSTITUTIONS RETIREMENT SYSTEMS OVERSEAS UNION BANK, LTD. XCEL FEDERAL CREDIT UNION MECHANICAL FLOOR N.Y. SOCIETY OF SECURITY AMERICAN LOTA INTERNATIONAL CHINA CONSTRUCTION AMERICA, INC. THE COMPANY STORE DUNAVANT COMMODITY CORP EMPLOYEE MERIT FERTITTA ENTERPRISES M.A. KATZ, CPA SRA PURE ENERGY CORP. SASSOONS INC. SECURITY TRADERS ASSOCIATION, INC. STREAMLINE CAPITAL, LLC ASTDC, INC. AUTO IMPERIAL CO. BLUE SKY TECHNOLOGIES, INC. CAN-ACHIEVE CONSOLIDATED STEELEX CORP. DAHAO USA CORP J & X TANS INTERNATIONAL KANEBO INFORMATION SYSTEMS CORP. MEGANET MANAGEMENT CONSULTANTS, INC. PROSPECT INTERNATIONAL, INC. SINOPEC USA, INC. SUGGESTED OPEN SYSTEMS, INC. SUNTENDY AMERICA, INC. T&T ENTERPRISES INTERNATIONAL, INC. YONG REN AMERICA, INC. G. Z. STEPHENS, INC. NFA/GGG, INC. AMERICAN TCC INT'L GROUP, INC. PACIFIC AMERICAN CO. QUINT AMASIS, L.L.C. W.J. EXPORT-IMPORT, INC. DAI-ICHI KANGYO TRUST CO. AT&T CORPORATION C & P PRESS TRADEWEB THE WILLIAMS CAPITAL GROUP BRAMAX MANUFACTURING (USA) CORP. GAYER SHYU & WIESEL HILL BETTS & NASH, LLP TEMENOS USA, INC. HOWLY (US) CORPORATION LEEDS & MORRELLI OKASAN INTERNATIONAL (AMERICAN) INC. RGL GALLAGHER PC RICHARD A. ZIMMERMAN, ESQ. A I G AVIATION BROKERAGE, INC. BANK OF TAIWAN CHINA RESOURCE PRODUCTS USA LTD. KEENAN POWERS & ANDREWS LOCURTO & FUNK, INC. NATURAL NYDEGGER TRANSPORT CORP. PACRIM TRADING & SHIPPING, INC. BROWN & WOOD, L.L.P. PACE UNIVERSITY WORLD TRADE INSTITUTE ASAHI BANK, LTD. AIRPORT ACCESS PROGRAM HAL ROTH AGENCY, INC. JUN HE LAW OFFICE, LLC MARTIN PROGRESSIVE LLC NEW-EY INTERNATIONAL CORP. PARTNER REINSURANCE CORP. WORLD TRADE CENTERS ASSOCIATION AVENIR, INC. BALTIC OIL CORPORATION CEDAR CAPITAL MANAGEMENT ASSOCIATES CHENG CHENG ENTERPRISES HOLDING INC. HYUNDAI SECURITIES CO., LTD INTERNATIONAL TRADE CENTER, INC. KOREA LOCAL AUTHORITIES MERIDIAN VENTURES HOLDING, INC. PHINK PATH TRADERS ACCESS CENTER DAYNARD & VAN THUNEN CO. FIRST LIBERTY INVESTMENT GROUP INTERNATIONAL OFFICE CENTERS NIKKO SECURITIES OKATO SHOJI COMPANY, LTD. SECURANT TECHNOLOGIES AGRICOR COMMODITIES CORP. THE BEAST.COMM INTRUST INVESTMENT REALTY, INC. NOGA COMMODITIES OVERSEAS, INC. RLI INSURANCE COMPANY SHIZUOKA BANK LTD. NEW CONTINENTAL ENTERPRISES NETWORK PLUS NY METRO TRANSPORTATION COUNCIL GENERAL TELECOMMUNICATIONS GLOBAL CROSSINGS HOLDINGS LTD. LAVA TRADING, LLC TAIPEI BANK EMERITUS COMMUNICATIONS BRIGHT CHINA CAPITAL, LTD. DAVID PETERSON LG SECURITIES AMERICA, INC. SAN-IN GODO BANK LTD. DAEHAN INTERNATIONAL SMW TRADING CORP. THERMO ELECTRON JULIEN J. STUDLEY, INC. MAY DAVIS GROUP BARCLEY DWYER BROAD USA, INC. CIIC GROUP (USA), LTD. DRINKER BIDDLE & REATH METROPOLITAN LIFE INSURANCE CO. MUTUAL INTERNATIONAL FORWARDING STRATEGIC COMMUNICATIONS, INC. WAI GAO QIAO USA, INC. WALL STREET PLANNING ASSOCIATION THE CHUGOKU BANK, LTD. AMERICAN BUREAU OF SHIPPING FRED ALGER MANAGEMENT MARSH USA KIDDER PEABODY & CO. CANTOR FITZGERALD SECURITIES THE NISHI-NIPPON BANK, LTD. CHANNEL 4 (NBC) WINDOWS ON THE WORLD GREATEST BAR ON EARTH WORLD TRADE CLUB CHANNEL 5 (WNYW) CHANNEL 31 (WBIS) CHANNEL 47 (WNJU) CHANNEL 2 (WCBS) CHANNEL 11 (WPIX)

PINES INVESTMENT, INC. CASERTA & COMPANY LA ES OF ABAD, CASTILLA, AND MALLONGA WEILAND TIONAL CHEN, LIN, LI, & JIANG, LLP WATERFRONT SION OF NEW YORK HARBOR N.Y. SHIPPING ASS THACHER, PROFFITT & WOOD CAREER ENGINE AD CHAROEN POKPHAND USA, INC. SINOCHEM A HOLDINGS, INC. WASHINGTON MUTUAL, INC. ANT NATIONAL, INC. SCOR U.S. CORPORATION UNISTRA RATION OF AMERICA ALLSTATE INSURANCE COM WATERHOUSE GROUP, INC. CHINA CHAM COMMERCE, INC. GLOBE TOUR & TRAVEL SINOL DECEMBER FIRST PRODUCTIONS, LLC SUN MICRO INC. NEW YORK STOCK EXCHANGE, INC. BIG AGENCY LAW OFFICE OF JOSEPH BELLARD COMMERCIAL BANK LTD. WEATHERLY SECURITI HARTFORD STEAM BOILER OPPENHEIMER FUN COMMERZBANK CAPITAL MARKETS ABN-AM FRENKEL & COMPANY, INC. SITAILONG INTERNATIO INC. MORGAN STANLEY GUY CARPENTER SEABUR GARBAN INTERCAPITAL DOW JONES & COMPANY, COMMERCIAL BANK FUJI BANK BEPAID.COM HARR & WILCOX, LLP KEEFE, BRUYETTE & WOODS DEPARTMENT OF TAXATION & FINANCE COR SERVICE COMPANY FIDUCIARY TRUST COMPA GIBBS & HILL WASHINGTON GROUP INTL. RAYTHEO NY AON CORPORATION REGUS BUSINESS SANDLER O'NEIL & PARTNERS ATLANTIC BANK OF

AW OFFICD INTERNAT COMMISSOCIATION DECCO SA AMERICAN TAL INTERAT CORPOMPANY TD MBER OF LION (USA) OSYSTEMS, A TRAVEL HUA NAN IES CORP. NDS, INC. MRO, INC. ONAL USA, RY & SMITH INC. FIRST RIS BEACH NY STATE RPORATION ANY INTL. ON COMPACENTRES NEW YORK

PATH

ENERNET ECONOMY 2050

SPRING ‘13

EXTREME CITIES: BUILDING MEGALOPOLIS STUDIO

ENERNET ECONOMY 2050

SPRING ‘13

EXTREME CITIES: BUILDING MEGALOPOLIS STUDIO

Developing cities are breeding grounds for complexity, having to address urban issues everyday. From congested vehicular traffic to the health of workers inside buildings, cities incubate higher levels of complexity everyday by responding with carefully placed traffic lights and updated health codes, for example. Since the Dutch colonization of Manhattan in the 1600’s, the island has drastically evolved due to the pressures of accommodating a much larger population, an increase in mercantilism and oscillating

Can you imagine a future in which we speak of a squanderable amount of energy?

political discourse. By 1811, New York City had developed what some call as the single most important document that has defined the city’s development, The Commissioner’s Grid. This street plan was a major infrastructural undertaking that, till this day, organizes all of the activity, transportation and real estate growth in the largest city in the United States. Like New York, cities all of over the world are being pressured to continuously add new levels of structure to an ever-growing chain of demands.

ENERNET ECONOMY 2050

SPRING ‘13

EXTREME CITIES: BUILDING MEGALOPOLIS STUDIO

JOSE LUIS GABRIEL CRUZ, CITIZEN ARCHITECT COLUMBIA UNIVERSITY GRADUATE SCHOOL OF ARCHITECTURE, PLANNING AND PRESERVATION MASTER OF ARCHITECTURE CANDIDATE 2014 JLC 2240@COLUMBIA.EDU JOSELGCRUZ@GMAIL.COM WWW.JOSELUISGABRIELCRUZ.COM 515 W 111TH STREET APT 5C NEW YORK, NY 10025

TO THOSE WHO HAVE REMINDED ME THAT THERE IS ALWAYS ANOTHER SIDE OF THE STORY.