01
CITIZEN ARCHITECT
JOSE LUIS GABRIEL CRUZ
02
03
To those who have reminded me that there is always another side of the story.
The citizen architect is a citizen first, architect second. His concepts, his work, his buildings are all too human; not separate from the world he lives in, but are very much of it. He learns of himself, of his surroundings, through the lens of society. He observes the strengths, faults, differences and ambitions of those around him. That is to say, his strengths, faults and his ambitions. 04
Rather than playing the role of the inventor, purposely creative, a wizard with an indiscriminant 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 he has discovered has existed long before his involvement. This found architecture scares him 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. In the end, these discoveries result in question marks, not periods. Its result does not merely serve the architect’s turn. It simply is.
The contents within this monograph are to me what various chemicals in the lab may be to a chemist, ingredients for a larger experiment. In this case, these architectural ingredients are intentionally confronted with the nature of humans, creating spaces of greed, of compassion, of unfettered capitalism and non-passive interaction. In other words, it is an architecture that can do things, not merely represent things. It takes a stance. And because of this, the architecture is susceptible of success, of failure, of atrocity and of utmost kindness. Nonetheless, it is an architecture that foregos all responsibility to upkeep a perfectly autonomous, self-referential definition of itself in exchange for the complex contradictions of being human, all too human.
05
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 FIVE Place of Stay, Hotel
WEEK FOUR Place of Performance
WEEK THREE Place of Storage
WEEK TWO Place of Retail
Week One Place of Cult
Week TWO, PAGE 00
Week One, PAGE 06
DECEIVERS & THE DECEIVED BUYERS &
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
06
Week FIVE, PAGE 00
Week FOUR, PAGE 00
Week THREE, PAGE 00
SELLERS DEVELOPERS & HOARDERS PERFORMERS & SPECTATORS EXPLORERS & THE CITY 07
08
09
DECEIVERS & THE DECEIVED
Week One place of cult
DECEIVERS & THE DECEIVED narrative
Charles Manson, Jim Jones and Adolf Hitler understood this: to achieve unrelenting compliance, a leader must assume the role of facilitator, deceiving a group of individuals by promising unattainable promotion. The pressure from the deceiver upon the deceived comes in various forms — psychological and physical — that, through thought-stopping repetition and ritual, converts the deceived into mindless followers. Architectural and social boundaries provoke internal events of initiation and discipleship that facilitate “cultic compliance,” sustaining the illusionary machine of belief.
010
BUILDING HEIGHT 80 ft
GROSS SQUARE FOOTAGE 115,200 ft 2
concept
The concept of the plan depends upon the superimposition of two realities: the architecture and the resulting event. Walls — opaque, transparent and translucent — and the absence of them suggest a sequence predetermined by an authority figure that leads unsuspecting newcomers through ‘training.’ The activities within these walls, however, prove to be deceptive, controlling and hiding information, promoting the illusion of worldly benevolence while claiming unquestionable authority upon followers and outsiders. The ‘self’ is attacked, producing a vicious cycle of uncritical followers seeking newcomers.
PROGRAM
JOSE LUIS CRUZ 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 prolonged THE DECEIVERS and / THE DECEIVED 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.
011
THE DECEIVERS
012
THE DECEIVED
013
PLAN OF CULTIC COMPLIANCE
014
NORTH
015
016
THE SANCTUARY
017
FIRST PHASE, SOUTH AERIAL
018 FIRST PHASE, EAST AERIAL
EXPLODED AXON
THE MOUNTAIN TOP
019
40 YEARS OF WANDERING
CONVERSION LEVEL
SOUTH FACE
020
NORTH FACE
021
TRAITS OF A CULT
022
Deception / Lie Leave out important information 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
023
024
025
BUYERS & SELLERS
Week TWO place of RETAIL
BUYERS & SELLERS big boxes & pop up shops
026
permanent and temporary, the global and the local
027
abandoned shopping complex
028
TRADITIONAL DEPARTMENT STO
L MALLS AND ORES NEED HELP.
029
vending trucks
030
TRUCK VENDORS DEMAND BECAU NOMADIC BUS
CREATE SUDDEN AUSE OF THEIR SINESS MODEL.
031
abandoned department store
032
DEPARTMENT STO REQUIRE THOUSA FEET OF SPACE FO
TORES NORMALLY ANDS OF SQUARE FOR PROFITABILITY. 033
vending trucks
034
TRUCK VENDORS RE
REQUIRE MUCH LESS. 035
036
037
038
039
040
041
FLOOR PLANS
R EQ U I R ES CI R CU LATI O N I N FRASTRU CTU R E
SH ELVES PROVI D E N U M ERO U S O PTI O N S
042
DEPARTMENT S PROVI D I N G ‘ I N D EFI N ITE’ SH O PPI N G EXPER I EN CE
VAR I O U S D EPARTM ENTS WITH I N O N E STO R E
LARG E FLO O R PLAN EN CO U RAG ES WAN D ER I N G
STORE LAYOUT
043
TRUCK VENDOR
044
I N D IVI D UAL VEN D O RS H I G H LY D EPEN D ENT O N D EN SE PED ESTR IAN TRAFFI C
TRUCK V
R ETU R N I N G LO CAL M ERCHANTS TO TH E
AFFO R DAB LE START- U P COST
M ERCHAN D I SE AN D SERVI CES CAN Q U I CKLY ADAPT TO CHAN G I N G CO N SU M ER TR EN DS
O N LY O N E PO I NT O F SALE
SPECIALIZED PRO D U CT FO R SALE
045
VENDOR
E MAR KET
N O MAD I C STO R E
M O B I LE ADVERTI SEM ENT
D I R ECT B UYER/SELLER I NTERACTI O N
STACKING DIAGRAM
046
PO I NT G R I D O F TR U CK VEN D O RS
X 3
TWO FLO O RS O F TRAD ITI O NAL ‘ B I G B OX R ETAI L’
X 3
B
A
047
B
A
B
A
048
049
050
051
052
053
054
SOME PLAY THE GAME. OTHERS ARE PLAYED BY IT.
055
DEVELOPERS & HOARDERS
MORE or less MORE
056
Week THREE place of STORAgE
Self-storage units are traditionally constructed in
An infrastructure that can sustain an endless
fixed sizes: from small to large units. This model
accumulation of cells, however, is ‘just right.’ While
isn’t the most efficient, however. It runs the risk of
some users may need one square foot of storage,
becoming obsolete if these predetermined sizes
others may need one million square feet of storage.
cannot be added to or subtracted from resulting
Either way, a basic unit of one square foot by one
in excess or insufficient space. This old model is
square foot serves as the foundational grid that
stubborn, falling into the Goldilocks dilemma, ‘not
spans the entire site. Exo-skeletal elevators and
too hold’ or ‘not too cold.’
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.
PROGRAM
No. UNITS
AREA (SQ FT)
SMALL
XXX +
XXX,XXX +
MEDIUM
XXX +
XXX,XXX +
LARGE
XXX +
XXX,XXX +
X - LARGE
XXX +
XXX,XXX +
STORAGE
057
then: fixed cell xl
058
l m s
now: grow your cell
059
precede nts
060
PLUG-IN CITY, PETER COOK
Kojimachi Project, Sachio Otani
THE CONTINUOUS MONUMENT, SUPERSTUDIO
An architect does not ‘create’ a city, only an accumulation of objects. It is the inhabitant who ‘invents’ the city: an uninhabited city, even if new, is only a ‘ruin.’
YONA FRIEDMAN
061
SPATIAL CITY, YONA FRIEDMAN
arch itec ture OF THE CITY 062
NEW, EMPTY STORAGE INFRASTRUCTURE 1 OF 4 IMAGES
EXPANSION OF TERRITORIES 2 OF 4 IMAGES
TIME LAPSE
063
DENSIFICATION OF UNIVERSAL INFRASTRUCTURE 3 OF 4 IMAGES
COMPLETE DENSIFICATION OF STORAGE SPACE 4 OF 4 IMAGES
INVEST IN NEW YORK BY STORING YOU 064
ELEVATION
K CITY REAL ESTATE UR POSSESSIONS! 065
UNIT MAKE UP 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 U L RE SHE CT D AN STA (3’ 6” LE GULA INLE NG S TH R TU S S BE TE ) EL
066
3’ x
3’6
”x
EXPLODED AXON OF STORAGE UNIT
3’6
3’ S
”P
TO R
ER
AG
IM
ET
ES
ER
PA C
FR
E
AM
E
E
C FA UR
S
T
N CE
US
SL
3’
N RA
T
’ x3
067
E
AM
E
BL
TA
A CH
IN
N
ER
DE
FR
BUY YOUR WAY IN NOW,
6
LOT A6
5
LOT A5
4
LOT A4
3
LOT A3
2
LOT A2
1
LOT A1
LOT B1
LOT C1
LOT D1
A
B
C
D
068
BEFORE IT’S TOO LATE! 069
LOT E1
LOT F1
LOT G1
LOT H1
E
F
G
H
INVEST IN TO SECURE AR
AN
VERTICAL
3F TC LE
VERTICAL
070
CE 6F T
HO
RIZ
CL
EA
RA
NC
E
ON
TA L
D N PA ) X E FT 6 Y TL OF N A N IC (MI IF N AL G T SI R O TO A P ER YS D R BU O R IN E Y BU
HO
RIZ
ON
TA L
A PORTAL E A WAY IN!
AR
AN
CE
VERTICAL
6F TC LE
VERTICAL
071
HO
RIZ
ON
TA L
D
IN
AR W
BUY, BUY, BUy MORE
072
SEQUENCE OF STORAGE ACQUISITIONS BY SINGLE BUYER
ADD CUBES TO YOUR PORTFOLIO 073
LOOK AT YOUR SPACE GROw! 074
FRAMEWORK SPANNING ENTIRE SITE
SITE SPECIFICS SITE DIMENSION
160’ x 180’
FRAME DIMENSION
160’ x 180’ x 60’
STORAGE UNITS
35,700 UNITS TOTAL
075
FIRST PHASE OF STORAGE ACQUISITIONS
YOUR GAMEPLAN
076
077
PHASE 1
PHASE 2
PHASE 3
PHASE 4
078
079
FIRST PHASE OF STORAGE ACQUISITIONS
YOU’Re WINNING!
080
SEQUENCE OF STORAGE ACQUISITIONS BY VARIOUS BUYERS
081
082
083
Excitement and expenses are an investors worst enemies. Be fearful when others are greedy. Be greedy when others are fearful. - A wise old investor
084
085
086
PERFORMERS & S P E C TAT O R S
087
PERFORMANCE AND SPECTATOR
WEEK FOUR
PERFORMANCE CENTER
SPECTATORS ARE AS MUCH OF A SHOW AS THE PERFORMER 088
NARRATIVE Everyday is a performance. Every day
CONCEPT The concept is first to understand the
when we wake - and night when we rest - we per-
scales at which people perform and spectate. This,
form, for ourselves and for others. No matter how
in turn, suggests relationships between the two. The
dull or mundane the activity, we are at all times our
intention then is to catalog a series of these rela-
own spectacle and at all times subject to judgement
tionships in order to understand a range of densities
- whether positive or negative - from the spectator,
from which I can conceptualize the organization and
who, unsurprisingly, also performs.
sequence of the building. This exercise, for me, is an attempt to discover a new method of designing
Buildings are like this as well. The question, to whom
spaces that begins, not necessarily with a geometric
does a building perform for?
intent, but rather a social one - combining diverse groups of people with each other.
THE PERFORMER LOOKS OUT ONTO THE SPECTATORS AS THEY FORM A CIRCULAR ENCLOSURE AROUND HIM
NEW YORK, NEW YORK
089
PROGRAM TYPES OF PERFORMANCE & SPECTATOR
090
WEEK FOUR
PERFORMANCE CENTER
NEW YORK, NEW YORK
091
RECIPRICAL RELATIONSHIPS
092
WEEK FOUR
PERFORMANCE CENTER
RECIPRICAL RELATIONSHIP BETWEEN GROUPS OF PERFORMERS AND SPECTATORS
NEW YORK, NEW YORK
093
A
1
2
094
3
4
5
6
B
C
D
E
A
B
C
D
E
7
8
095
9
10
11
12
A
1
2
096
3
4
5
6
B
C
D
E
A
B
C
D
E
7
8
097
9
10
11
12
098
099
0100
0101
0102
0103
0104
0105
0106
0107
0108
0109
0110
0111
0112
0113
0114
0115
EXPLORERS & THE CITY
0116
0117
0118
0119
Week FIVE place of STAY, HOTEL
0120
NARRATIVE
CONCEPT
A hotel, by definition, is for temporal and transient ac-
The building is birthed from the idea that people like
tivity - a foreign residence that becomes a get-away
to see and be seen by others, especially in an urban
home for a short span of time, usually no more than a
setting, and especially when they’re visiting an urban
few days. However, contemporary hotel designs relay
setting. By devising a field condition of spheres that
a completely different message, often resorting to an
scatter and span the site, visitors can book a room in
aggregation of confined boxy-units.
one of the numerous 600 foot towers that overlook the Hudson River on the west side of Manhattan. A
An architecture, therefore, that more appropriately
pair of semi-circle rooms make up one floor and rise
reflects the ephemeral nature of a visitors stay is the
indescriminantly 60-stories high.
purpose of this design exercise. The idea is rather than confining visitors in their rooms, you expose
Rooms are spacious, each being 1000 square feet
them to the city - and, in turn, the city exposes them
but a 10 feet distance from core to glass creates a
back.
tendency for the visitor to constantly face outward towards the city and their neighboring visitors.
0121
PROGRAM 120 rooms per tower X 8 towers = 960 rooms total on site Lobbies located on ground level of each tower
0122
0123
0124
0125
0126
0127
0128
0129
0130
0131
0132
0133
0134
0135
0136
0137
For me, intent is secondary to effect. While inspiration may come in many forms, the resulting effect is what ultimately matters: 0138
the effect on people, on circulations, on politics, on economics. Too often, I find a chasm between what I intend to do and how others interpret it. Thus, I design as
if to close this impossible gap: to design what I mean. And while I realize this is an impossible pipe dream, in the end, I hope that my architecture may become more intentional. The irony in this statement, however, is the disconnect between what I am currently saying and what you're viewing.
0139
HO
0140
CAN I CREATE LEVITATING, L AND ADDRESS OF THE URBAN
OW
E A SENSE OF LIT-UP SPACES S THE NEEDS N EXPLORER?
0141
0142
0143
0144
0145
10’
8’
0146
5’
3’
2’6”
0’
0147
0148
0149
PRESSURIZED AIR CIRCULATION
0150
0151
N
0152
0153
0154
0155
SERIES ONE
INDE THOU
SERIES TWO
0156
SERIES THREE
EX OF UGHTS
0157
0158
0159
0160
0161
0162
0163
0164
0165
0166
0167
0168
0169
0170
0171
0172
0173
0174
0175
0176
0177
0178
0179
0180
0181
0182
0183
0184
0185
0186
0187
0188
0189
0190
0191
0192
0193
0194
0195
0196
0197
0198
0199
0200
0201
0202
0203
0204
0205
0206
0207
0208
0209
0210
0211
0212
0213
0214