KATIE LAU M.ARCH I YALE SCHOOL OF ARCHITECTURE SELECTED WORK
Katie Nicole Lau katie.lau@yale.edu 513.503.8905
TERRACE, HINGE Restorative Justice Center, New London, CT
MONSTER ANALYTIQUE Comparative Analysis of a New Haven House and Il Girasole
PERISCOPE Microhouse Duplex, New Haven, CT
JIM VLOCK BUILDING PROJECT Team C Project Proposal, New Haven, CT Stair Design & Construction: 43 Button Street
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DOOR SERIES Seed Vault
FILTER GRID Seed Complex
COLOR R O L O C Rare Pigment Archive, New Haven, CT
BOUNDED PROCESSION Public Library, London
DESIGNING WASTE CULTURE Zero Waste Action Plan, New York City Visualization: Investigating Casa Gilardi The Chair: Form to Material Prototype
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TERRACE, HINGE RESTORATIVE JUSTICE CENTER, NEW LONDON, CT Fall 2018, deBretteville Studio, 15 Weeks
Restorative justice is an alternative to the traditional court system that mediates discussion circles between victims and perpetrators. This project nests restorative justice within a community center, making a statement that this type of conflict resolution is a public amenity. The building is organized around three different areas of the site — the bottom, the middle, and the top of the hill, with a distinct entry, outdoor space, and program in each area. The different areas address community in varying ways; from an open public courtyard that connects to an interior atrium, to the more protected circle rooms which connect to private gardens.
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Level 03 Plan: The eastern bar, which houses community rooms on level 03 and the gallery below, holds the urban edge of Huntington Street, while the mass of the building containing the restorative justice rooms rotates to the west, opening up the southern courtyard and the central atrium. Occupying the highest elevation on the site, the restorative justice rooms are private, protected spaces. Each has individual waiting rooms for different parties, and a garden that acts as a buffer to the public west lawn. Storage spaces fill the poche between restorative justice rooms to help with noise separation.
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ATRIUM, LEVEL 03
9AM EQUINOX
9 AM, Equinox, Restorative Justice Room
DAYLIGHTING MODEL, RESTORATIVE JUSTICE ROOM
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12PM EQUINOX
12 PM, Equinox, Restorative Justice Room
SECTION PERSPECTIVE, ATRIUM
12PM DECEMBER
12 PM, December, Restorative Justice Room
4PM DECEMBER
4 PM, December, Restorative Justice Room
DAYLIGHTING MODEL, RESTORATIVE JUSTICE ROOM KAT I E L A U
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SECTION PERSPECTIVE, COURTYARD
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GALLERY ENTRY, FROM HUNTINGTON STREET Gallery Entry, Huntington Street
Lobby Atrium
LOBBY ATRIUM
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RESTORATIVE JUSTICE ENTRY, WEST LAWN Restorative Justice Entry, West Lawn
Gallery Mezzanine
From West Entry
FROM WEST ENTRY
GALLERY MEZZANINE KAT I E L A U
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ENVIRONMENTAL ANALYSIS: ORIENTATION, SOLAR, VENTILATION
Loggia On each balcony level, there is 6 to 10 feet of distance between the surface of the glazing and edge of the loggia and overhead shading.
Summer Sun
The loggia create occupiable, semi-conditioned outdoor spaces in the fall and spring which benefit from solar gain and are protected from the down draft of northern winds.
Fall/ Spring Sun
In the summer, the positive air pressure in the loggia creates additional air movement. Stack effect draws heat up and out of operable vents
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Heat Sink into Thermal Mass
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Convection Prevailing Winter Wind
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Building Orientation
Southern Atrium
The building is porous and open on its southern facade and heavy and enclosed on its northern facade. In New London, summer winds comes primarily from the south and winter winds come primarily from the north, so the building is optimally oriented for both wind and solar considerations.
The building opens up to the south with a forecourt and an atrium. The atrium is lined with balconies that overlook the forecourt. In addition to providing public outdoor space, these balconies serve a duel function of protecting the building from summer heat gain. In the winter, spring, and fall, sunlight hits the floors of the interior balconies, which reflect light into the central space and absorb and then release heat. S Heat that rises in the central atrium mixes with ventilating winds in the summer to prevent the space from overheating. Prevailing Summer Wind
The lower floors of the eastern facade are protected from morning sun by buildings across the street, while the community rooms on the third floor are exposed. There are shading devices if eastern light needs to be controlled in these spaces, but the eastern light could be pleasant for activities like yoga or art classes that take place in these rooms. The lower floors of the building are finished in stone on the interior and exterior, which act as heat sinks in the summer. The upper floors are mostly finished with glass and lightweight wood, and many of the glazed walls are operable for natural ventilation.
Wind rose from epw.klimaat.ca; Groton, Connecticut
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Solar paths based on data from epw.klimaat.ca; Groton, Connecticut
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S Prevailing Summer Wind Wind rose from epw.klimaat.ca; Groton, Connecticut
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Wind rose from epw.klimaat.ca; Groton, Connecticut
ENVIRONMENTAL ANALYSIS: RESTORATIVE JUSTICE CIRCLE ROOMS
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Givoni and Milne; from Thermal Comfort 2 Lecture
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Wind rose from epw.klimaat.ca; Groton, Connecticut
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MONSTER ANALYTIQUE COMPARATIVE ANALYSIS Spring 2018, Benner Studio, 3 Weeks In collaboration with Camille Chabrol, Page Comeaux, Ruchi Dattani, Michael Glassman, Rachel LeFevre, Matthew Liu, Thomas Mahon, Layla Ni, and Kay Yang
An analysis of a typical New Haven two-family house and Luigi Moretti’s Il Girasole shows units across a mirrored dividing line. In the case of the New Haven house, this line is a horizontal, hard boundary. In the case of Il Girasole, this line is vertical and permeable. There is little to no shared space or opportunity for interaction between the two families living in the New Haven house, while in Il Girasole, the central circulation void and the internal courtyards are shared spaces. Ownership of these spaces is ambiguous. Il Girasole’s contains a complex three-dimensional space not found in the New Haven house. There are moments when it is unclear what is inside, what is outside, what is part of an individual unit and what is not. In this model, my team aimed to transpose the ambiguity of ownership and boundary seen in Il Girasole into the New Haven house, seeking to create the same pattern of visually and physically shared corridors and yards. The turning out of the New Haven house achieves interunit relationships and elicits instances of rotation and projection that support our overall goal of blurring the boundaries of separation and sidedness. We are freeing the New Haven house from its wrapper and divisions and creating a catalyst for the transformation of the neighborhood.
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CONCEPT DRAWING BY KATIE LAU
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PERISCOPE MICROHOUSE DUPLEX, NEW HAVEN, CT Spring 2018, Benner Studio, 4 Weeks
The two units in this apartment are sectionally woven together. Spatially, this creates a sense of nesting, security, and protection. Light shafts allow daylight and ventilation to reach spaces of solitude and independence without the need for large, exposed windows. Circulation spaces and central light shafts allow moments of social recognition between units, but maintain privacy. The rooms are held as objects between cracks of light and the undulating facade acts as an extension of the internal light shafts, pulling additional light into the units. The occupant has a periscopic relationship to the outside world, receiving filtered information without giving anything away in return. Section created by the circulation and light shafts impacts the rooms at the scale of the body, determining the forms of casework and storage. These apartments explore Columbus House clients’ desire to secure and stabilize themselves as well as their possessions.
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PLAN LEVEL 01
MODEL LIGHT STUDIES
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PLAN LEVEL 02
PLAN LEVEL 03
FAMILY UNIT
SINGLE UNIT
LONGITUDINAL SECTION
uthwest 1/8
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JIM VLOCK BUILDING PROJECT TEAM C PROPOSAL, 43 BUTTON STREET, NEW HAVEN, CT Spring 2018, Moore & Caldeira Studio, 6 Weeks In collaboration with Ruchi Dattani, Nathan Garcia, Alix Pauchet, Kelsey Rico, Rukshan Vathupola, and Darryl Weimer
Our project spatially and materially collages the housing masses of the two units around a shared outdoor space. This positive void of the shared outdoor space both divides and connects the units, negotiating private and collective spaces. Through this outdoor space, we are offering our clients, who will be sharing this experience of transitioning into housing, space where they can interact as neighbors. The outdoor space is intended to facilitate gathering around meals and to cultivate social relationships embedded in preparing and enjoying food with others. Additionally, it maintains a sense of privacy for our clients through the separation of the units on the ground floor.
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Plan Strategy: In each unit, residents enter into their kitchen, which serves as the center of the house. The kitchens connect to the shared outdoor space, while the living rooms open up to private outdoor space.
PRIVATE YARD SPACE
SHARED YARD SPACE
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PRIVATE YARD SPACE
MODEL BY KATIE LAU WITH ASSISTANCE FROM NATHAN GARCIA AND DARRYL WEIMER
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Shared Space: Residents have control over this flexible social space and can use it in a multitude of ways separately or together.
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VIEW FROM STREET, IN COLLABORATION WITH ALIX PAUCHET, NATHAN GARCIA, AND RUCHI DATTANI
Elevation Our proposal adheres to street’s horizontal datum lines of foundation wall, first story height and roof ridge line and fills the width of the double-wide lot, maintaining the spacing of the street. Our house has an in-between space that is occupied by our shared outdoor space and the second story which contains bedrooms for both units, with the first floor of each unit on either side. The overlaps of the two units are expressed on the facade through this shift and a large window that acts as a key between these two volumes.
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VIEW OF PORCH, IN COLLABORATION WITH ALIX PAUCHET, NATHAN GARCIA, AND RUCHI DATTANI
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CLT Strategy The CLT that structurally supports the bedrooms on the second floor frames and defines that outdoor space, and tectonically and experientially mediates connections from each units’ individual kitchen to the shared space. Areas of exposed CLT to define spaces. The qualities of the exposed CLT ceiling above the outdoor space adds warmth and reveals the structural logic.
CLT CONCEPT MODEL BY KELSEY RICO
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Our cladding strategy allows the CLT to be exposed in the lower level of the family unit and in the upper level of the single unit, giving each household unique interior experience. The overhead conditions of each kitchen extend into the exterior space.
CLT AXONS BY KATIE LAU
BIRD’S-EYE
WORMS-EYE
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STAIR DESIGN & CONSTRUCTION 43 BUTTON STREET, NEW HAVEN CT Jim Vlock First Year Building Project Internship, Summer 2018 Although my team’s proposal for 43 Button Street was not selected for construction, I spent the summer of 2018 as a member of the Jim Vlock First-Year Building Project construction team. I specifically collaborated with Max Ouellette-Howitz to finish designing and constructing the selected project’s stair and guard railing. To create the appearance of the stairs floating off of the side of the CLT wall, we attached steel L-brackets to the walls and carved slots into the side of each CLT step. For the railing, we embedded the vertical rods into the steps, so that the rods could be as thin as possible, while resisting the lateral force of a person’s weight.
CLT steps and stringer under construction (left)
FINISHED PHOTOGRAPHY BY NICOLE DOAN & ZELIG FOAK
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YALE SCHOOL OF ARCHITECTURE 180 YORK ST NEW HAVEN, CT 06510 T: 203.500.1669 E : adam.hopfner@yale.edu
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CLIENT: COLUMBUS HOUSE 5 8 6 E L L A T. G R A S S O B L V D NEW HAVEN, CT 1"
06519 T: 203.401.4400
" 9 16 '-4
E : crodenhizer@columbushouse.org
14 1 " 3 2
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STEEL ROD SPACER
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x 2" FLAT BAR POST
SUBMISSIONS:
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6°
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1 " 3 2
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STEEL ROD SPACER
1 2"
x 2" FLAT BAR POST
PROJECT ADDRESS: 43 Button Street New Haven, CT 06519
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PROJECT NAME: 1 2"
STEEL ROD SPACER
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x 2" FLAT BAR POST
Jim Vlock Building Project 2018
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SK7.27.2 NAME:
RAILING S. ELEV
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BALLUSTER "A" BALLUSTER "B" BALLUSTER "C"
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3/4" = 1'-0"
YALE
JULY 27, 2018
SCHOOL OF
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ARCHITECTURE 180 YORK ST
WOOD HANDRAIL STEEL FLAT BAR
NEW HAVEN, CT 06510 T: 203.500.1669 E : adam.hopfner@yale.edu
CONNECTION ROD TO RAIL, EPOXY RESIN SET IN PRE-DRILLED HOLE, TYP.
CLIENT: COLUMBUS HOUSE 5 8 6 E L L A T. G R A S S O B L V D NEW HAVEN, CT 06519 T: 203.401.4400
CONNECTION FLAT BAR TO RAIL, FILLET WELD BOTH SIDES, TYP.
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E : crodenhizer@columbushouse.org
SUBMISSIONS:
3 12" SCREW CONNECTION INTO FACE OF TREAD ABOVE, 1 18" SPACER BETWEEN
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PROJECT ADDRESS: 43 Button Street New Haven, CT 06519
PROJECT NAME:
VERTICAL ROD CONNECTION, EPOXY RESIN SET FLAT BAR CONNECTION, EPOXY RESIN SET
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Jim Vlock Building Project 2018
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SK7.27.4 NAME: SCALE:
STEP & RAILING CONNECTION DETAIL
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CONNECTIONS 3"=1' JULY 27, 2018
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DOOR SERIES SEED VAULT Autumn 2017, Pelkonen Studio, 2.5 Weeks
A seed vault is constructed because of the belief that precise preparation and security will allow humankind to survive nature, fate, or itself. My project pokes at the illusory nature of the seed vault through a physical comedy of process. As the user moves from the entry to the space for weighing/labeling/measuring, to the seed vault, to the study area, they follow a procession that continuously overlaps itself. They slide and push the same four doors over and over again. This is an ergonomic space taken to a frustrating extreme. While precise, the process is anything but efficient. The form of the vault feigns security, although it is only sheathed in a membrane. The study area, the last space in the process is transparent and exposed. Unknown to the user, it isn’t even enclosed at the start of the process. This space is meant to represent a reckoning with the futility of the process and the fragility of the vault’s contents. The user completes the process by sliding open the same door that they used to enter. This resets the process in a mirrored version.
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Figure I
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SEQUENCE OF DOOR OPERATIONS
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Model By constructing the model with operable, sliding doors, I was able to test and adjust the nine-step sequence required to circulate the building. To make the cylindrical rooms, I 3D printed the ribbed structure, then wrapped the frame in velum. The model allowed me the explore the materiality of the rooms; whether they should be heavy, solid, and opaque, or enclosed with a thin, translucent wrapper.
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FILTER GRID SEED COMPLEX Autumn 2017, Pelkonen Studio, 3 Weeks
This project explores humans’ desire to plan and store, and the act of that process of planning and storing. My original seed vault project (pages 33-37) focuses on an absurdly hyper-efficient sequential process. Moving forward, in my site exploration, I looked at processing and cultivating a landscape through the Jeffersonian grid. In this site, a Jeffersonian grid is deformed sectionally as it meets the natural feature of the river. My building takes advantage of this landscape condition as an efficient means of processing circulation, storage, and irrigation. It acts as a node within an expansive landscape. The building is a grid, collaged into the larger grid of the landscape. User groups include public visitors, private staff, water, and seeds. Service spaces (elevator, toilet, water pump room, etc.) occupy the wrapper. The circulation acts as the served space, filling the atrium core. The building filters from public to private as you descend to the seed vault. This project explores the daily rituals of each user group to the point of obsession. Program informs space and atmosphere. Ultimately, this building is not about the product of this planning and storing, but the ritual of the action. The seed vault program is most important as a source comfort and security in the face of possible catastrophe.
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Landscape: The Jeffersonian grid deforms as it meets a natural landscape condition. This deformation is the site of my complex.
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SECTION ISOMETRIC Circulation Public Users Private Users Seeds
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SECTION
LEVEL -1 LOBBY
LEVEL -2 CLASSROOM & MEETING
LEVEL -3 CLASSROOM & MEETING
SECTION
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COLOR R O L O C RARE PIGMENT ARCHIVE, NEW HAVEN, CT Autumn 2017, Pelkonen Studio, 4 Weeks
This project considers the pigment as an artifact to be displayed to the public, as a chemical compound to be used in laboratory research, and as an objective constant in my exploration of subjective perception. The of the building design balances my desire to lift art and the pigments up and put them on display with my desire to draw the public in and remain connected to downtown New Haven. The building is organized around a tartan nine-square, which is both reminiscent of the city and the starting point of an underlying organization—from the scale of the floor plan to the scale of the shelf. I used this grid as a basis to design sectional floor and ceiling conditions and screens and furnishings that create zones within the building without the need for walls. Visitors transition through the various spaces of the building along these almost topographical changes. It’s a continuous topography that moves from street to display to lab and it allows a blurring of the boundaries between public and private, museum and laboratory, street and building. There is a play of objective and subjective within the building. The objective grid allows a subjective, wandering experience. Color acts not only as a programmatic device but also as an atmospheric device, allowing me to explore the perceptual ways that humans occupy space. The “objective” color of the pigment can only be perceived subjectively by the visitors. Anatomy, reflective light, daylight, etc. prevent a pigment from ever truly being seen. Visitors’ experience throughout the space is guided and affected by the color of art, pigment, and light, and perhaps they can never perceive the space the same way twice. An archiving of material color in the form of pigment is superseded by an archiving of light and its effect on color.
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PLAN LEVEL 01
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PLAN ROOF LEVEL
PLAN LEVEL 02
PLAN LEVEL -01
SOUTHEAST SECTION
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Video Frames Stills from interior model footage show the ambiguity and blurring of spaces. It is unclear which space the viewer is in, whether they are behind the scenes in the lab or in the presentation stage of the gallery. While architecture is blurred, space is depicted by color and light.
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BOUNDED PROCESSION PUBLIC LIBRARY, LONDON Autumn 2015, Murphy Studio, The Ohio State University, 15 Weeks James E. Gui Design Competition Finalist & Honorable Mention Awardee (3 out of 80)
This project aims to connect to its site at street level and at the scale of the city, as a whole. The building is experienced both as a continuation of the surrounding neighborhoods and as a monument. Christopher Wren churches intersperse the London skyline, acting as monuments and points of organization within the city. In reference to this precedent, I thematically incorporated processions, thresholds, and pavilions into my project. A series of thresholds and pavilions dictate circulation throughout my project. The main procession of the library moves through thresholds as a series of gateways, ending in the “altar” of the library: the rare books room, a protected space, wrapped in the thick, concrete walls of the threshold. Pavilions signal destination spaces in the skyline and, on the interior, allow for light into or views out of the building. Every pavilion can be occupied in some sense: the auditorium, the rare books room, the skylight of the great hall, and the roof garden pavilions, which formally, act as objects in a garden. Pavilions are simultaneously grand steeples and occupiable objects, depending on the visitors’ point of view.
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THRESHOLDS & CIRCULATION Circulation is either held within or between thresholds. The datum of the thresholds emphasizes the theme of procession.
THRESHOLDS & PAVILIONS Pavilions are organized in relation to the thresholds.
GARDENS & PROGRAMMED SPACE Programmed spaces are contained by thresholds. Gardens create horizontal thresholds that allow visitors to experience the pavilions as objects in a garden.
Axes & Directionality
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Balanced Masses
Axes Organize Pavilions
Axes Organize Thresholds
The Skyline: The pavilions’ repeated, scalloped form creates a skyline that references the iconic bell towers and steeples of London’s skyline. Like steeples in the city, these pavilions reach out of the “fabric” of the library and create destination spaces. SITE PLAN
The Site: On the site, my library responds to two axes: one through the center of the orthogonal portion of the site, and another resulting from the compression of the riverfront by existing buildings. This compression funnels pedestrians into the site and regulates views out of the site.
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VIEW FROM EXHIBITION SPACE
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ROOF GARDEN Pavilions are experienced as objects in a garden.
SECTION PERSPECTIVE
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NORTH ELEVATION
VIEW FROM SOUTH END OF SITE MODEL
NORTH ELEVATION
SOUTH ELEVATION
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PLAN_02_CUT @ 6M
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VISUALIZATION INVESTIGATING CASA GILARDI Summer 2018, Professors Blood & Blacksher, Yale University
Figure Drawings, in collaboration with Cristina Anatase, Camille Charbrol, and Alix Pauchet In this drawing, we looked at the procession through the house that moves from the facade, down a corridor to the pool. As a person moves through this procession, their experience is shaped and guided by light and color. The drawing captures a series of distinct moments along that procession, while a GIF suggests changes in light and color and how the light and color that define different spaces along the procession can blur together.
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Collage 24” x 24” The procession and Barragan’s use of color and light is very spiritually symbolic. The end of the procession, where the red wall meets water and light in the pool, can be read as an alter. In is drawing, I’ve composed a still life in the space of that alter. The objects in the still life are objects that Barragan brought to the residents of Casa Gilardi in the years after its completion. Within the context of the spiritual symbolism of the house, I’m reading these objects as devotional icons. In my composition of the objects I’m exploring flatness and depth, and relationships between texture and color.
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THE CHAIR MATERIAL TO FORM PROTOTYPE Autumn 2018, Professor Newton, Yale University, 15 Weeks Carbon Fiber Fabric (4 yards); Epoxy Resin, Hardener, Filler; 1/2� Steel Tube; Shock Mounts (4) In designing and fabricating this lightweight chair, I explored carbon fiber as a structural material and a shapeable surface for comfort and support. The single surface of the carbon fiber, contrasted by the rigid steel legs, follows the form of varying double curvatures that respond to structural forces and ergonomics.
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DESIGNING WASTE CULTURE ZERO WASTE ACTION PLAN, NEW YORK CITY Spring 2019, Shahane Studio, 8 Weeks
In collaboration with Christine Pan
Currently, the New York Department of Sanitation (DSNY) collects 12,552 tons of residential trash each day. Over 200 private carters collect an equivalent amount of commercial trash, covering the city through inefficient and overlapping routes. These private carters are frequently accused of abusive labor practices and are responsible for nearly all of garbage truck related injuries and fatalities. Once waste is collected, it’s taken to transfer stations, primarily in Brooklyn and the South Bronx. From there, huge quantities of money, energy, and infrastructure go toward transporting waste great distances. In most areas of NYC, waste is not dealt with in the neighborhood that produces it. The city has made attempts to increase waste sorting at a local level, but initiatives like the 2013 Organics Pilot Program have been largely unsuccessful due to lack of participation and education. Our proposal seeks to localize NYC’s waste sorting, collection, and management. By changing the way NYC interacts with its waste, we hope to change the way that NYC thinks about its waste. We believe that a change in waste culture, and an ultimate waste reduction, will have repercussions throughout NYC’s built environment, changing streetscapes, greenspaces, and infrastructure.
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Zero Waste Design Guidelines Design Strategies and Case Studies for a Zero Waste City
With support from
DESIGN GUIDE LINES FOR MAYOR DEBLASIO’S ZERO WASTE 2030 PLAN Reassessing New York’s Zero Waste Future: Current Plan In 2016, the City of New York partnered with organizations like the AIA to produce guidelines for addressing waste collection issues in buildings. This guide puts change in the hands of designers and builders, but doesn’t present a plan of action for citizens at a neighborhood or individual level. The document is thorough, over 300 pages long, which makes it difficult for the average person to reference in their daily lives. The plan emphasizes changes like bin placement, which we don’t believe creates a cultural change in how New Yorker’s confront their own waste.
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Zero Waste Action Guidelines Individual and Neighborhood Strategies for a Zero Waste City
PAn L A U PAN LAU’S REVISED PLAN Reassessing New York’s Zero Waste Future: Our Proposal Acting as the hypothetical design consultant firm, Pan Lau, we’ve created an alternative plan that includes changes to the way the DSNY operates systematically on a local level and an 8 page citizens’ guide about how to participate in these new waste districts.
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Current Districts: DSNY & unregulated private carters collect waste and bring it to transfer stations, where it is shipped across the country or internationally.
Sanitation Districts, Before 12 Manhattan districts DSNY Sanitation Garage & Headquarters Private Carter Garage & Headquarters
To Landfills in Upstate New York, Pennsylvania, Ohio, and, Virginia To Incinerators in New Jersey
To Paper Mills in Asia
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Redistricting Scheme A: Private carters are regulated and assigned districts for collection. DSNY workers manage transfer stations and can focus their energy on more thoroughly sorting trash before it ships.
Sanitation Districts, After (A) 12 Districts
DSNY subcontracts all waste collection to private carters with assigned routes DSNY manages all waste sorting and distribution at transfer stations Private Carter Garage & Headquarters Existing Transfer Station Proposed Transfer Station
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Redistricting Scheme B: District sizes are reduced by 50%. Each district is assigned a DSNY crew and a private carter. Private carters must comply with safety and environmental regulations and bid for districts.
Sanitation Districts, After (B) 24 Manhattan districts Each district serviced by DSNY & one assigned private carter
DSNY Sanitation Garage & Headquarters Private Carter Garage & Headquarters
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Redistricting Scheme C: Districts are significantly reduced and localized based on average population. Private carters are fully absorbed into the DSNY system. Each district has its own crew and manages its own waste.
Sanitation Districts, After (C)* 80 Manhattan districts
Districts divided based on population & parks Private carter disbanded, employees absorbed into DSNY Sanitation Garage & Headquarters
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Marx Brothers District This map explores a portion of what is currently District 11 as an example of a new local district. Each district has small-scale infrastructure for managing vegetation, compost, recyclables, and trash. A local labor force, called the Ground Crew assists citizen’s with their daily waste needs and manages these infrastructures. Recyclables, compost, and animal products create local economies within these districts, employing even more neighborhood residents.
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VEGETATION MAINTENANCE GOATS & GROUND CREW Goats maintain district greenspaces and eat some compost. Goats are shared between adjacent districts and service Central Park. As NYC approaches its Zero Waste goal and large scale waste spaces are transitioned to green spaces, more goats may be needed.
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COMPOST CHICKENS Compost is processed in the chicken run. Chickens eat some compost, and agitate the pile, speeding up the process. A proper mix of clippings and sawdust prevents any odor. When composting is complete, soil is distributed to local parks and urban farms.
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RECYCLING MAKERSPACES & DISTRICT SHEDS At makerspaces, recyclables are up-cycled into building materials, like bricks and tiles, and playground equipment. At district sheds, residents can drop off pre-sorted trash or participate in litter pick-up programs for credits. They can also seek advice about waste disposal.
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TRASH DISTRICT DSNY CENTER Trash is sorted for infiltrating materials, compacted, and temporarily stored at the district DSNY headquarters. Trash will eventually have to be transported out of the district, but by first sorting trash on site, a smaller amount will need to be sent to a landfill or incineration plant. DSNY trash headquarters will work toward the goal of eventually diverting all waste.
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Streetscape: Sidewalk space currently dedicated to trash storage can be planted. Circulation space will be shared with goat herds.
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Infrastructure: Current waste infrastructure, like this trash train heading to a Virginia landfill, can be repurposed as public space.
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Household sorting
Household Trash Sorting How do you sort? Use
3 bins for your household waste.
Why sort?
1.
Recycling will be the biggest. Break down cardboard and store vertically.
It’s important that waste is diverted to the right place, in order to reduce landfill
2.
Keep your organic waste in the freezer to eliminate smells.
What happens to our waste?
3.
Your smallest bin should be for landfill.
Organic waste goes to our composting program. Some is fed to goats and chickens and turned into rich fertilizer.
Remember that you will landfill waste by weight!
Recyclables enter our Recycling Centers. Materials can be reused, resold, or reclaimed and turned into products.
be charged for
All waste is processed at your local sanitation hub and assessed for reuse
You will be rewarded for correctly sorted recycling and organic waste. Bring waste out each
NYC ZERO WASTE GOALS INDIVIDUAL ACTION PLAN 2019
Waste that truly cannot be repurposed is transported to transfer stations and shipped out of the city.
time you leave your home. 02
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Recycling
Litter
What can you compost?
What is recyclable?
Why pick up litter?
Food waste, plants, coffee grounds, tea bags
Plastic bottles, bags, and pacakging, paper and cardboard, tin cans or aluminum, glass
Litter can clog drains and cause floods, pollute water and the environment, be detrimental to wildlife.
Where can do take your compost?
Where do you take your recycling?
Your closest greenspace The mobile bike composter The goat green
How do we pick up litter?
Your local Sanitation Station
Come to your local Sanitation Station to find all the necessary equipment.
What happens to recycling?
What will happen to your compost?
What do we do with the litter?
Reusable material will be immediate processed and upcycled into products at our makerspaces. Remaining material will be sorted and distributed to appropriate recycling centers.
Appropriate food waste will be fed to goats and chickens. The rest will be turned into valuable fertilizer.
Return the litter to the Sanitation Station for sorting.
How can you join the maker space?
What are my rewards for picking up litter?
Anyone can join the makerspace. Head to your local plastics reclamation makerspace to register for training.
The provided equipment tracks motion over time and will dispense credits from local business to those who register for our reqrds program.
What can you do at the makerspace? You can work with plastics, glass, or paper to make any product to be resold. 05
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Share your City Are goats dangerous?
Goats are friendly, social, and energetic animals. Our herds are selected to be especially docile.
Will goats affect traffic?
You will occasionally encounter goats on their daily routes, but our dedicated ground crew should prevent them from affecting your commute.
Will compost smell?
No, our well maintained compost collection service will aerate and process the compost in a way that ensures it does not emit odor.
Will sorting garbage take too long?
By setting up an organized sorting system with three separate bins at home, a little bit of practice will make sorting second nature.
What if I am unable to take my garbage out?
Register with your local Sanitation Station and a ground crew member will help meet your needs. 07
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