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Katie Zaeh Portfolio 14.06.29 908.938.0980 kezaeh@gmail.com katiezaeh.com
TABLE OF CONTENTS Studios
Shifting Sands National Park. 6 Block Party. 18 Thinnest. 34 Rube Goldberg Bank. 44 Settings/ Browser History. 50 Camouflage Chaise. 52
Technology
Grate Culinary School. 56 Fitness Facade. 62 Wyly Theater Analysis. 64
Visual Studies
Representation of Hadid’s Guangzhou Opera House. 70 Representation of Kenneth Anger’s L’Eaux D’Artifice. 71 Animation of Glass Fabric. 74 Sketch Models. 76
Installation + Art Work
GSAPP Exhibitions. 80 Projects For Christian + Joanna. 82 Situ Studio’s ReOrder. 84 Space + Image. 85 A Sense of Place + Other Art Work. 86
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STUDIOS
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SHIFTING SANDS NATIONAL PARK Urban Estuary Studio : Jamaica Bay 2050 M.Arch / MS.RED Combined Studio Real Estate Partner: Emily Laetz Critics: Kate Orff + Kate Ascher
The Rockaway Peninsula will shift and degrade over time. This large park landscape project is designed to evolve with the forces of wind, water, and climate change. The park becomes a wilderness destination for those from nearby Manhattan, while increasing the resilience to storm surge for the surrounding communities.
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Groin
Breakwater
Jetty/ Inlet
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Geo-tube
Sand Fence
Re-planting
Kit of Parts - Shoreline shapers
8 Roxbury Protective Fill
Restore Pine Forest
Protective Fill Sand fences
Breezy Point
Breakwaters
Eco-resort + Boardwalk
Phase I. A “light touch� eco resort is established on the west side of Fort Tilden. A boardwalk connecting Breezy Point, the resort, and Roxbury is built. Phase I is low investment with a high return to fund later phases.
“Seed” fill for Plover Island Wetland
Yurt Glampground + Art Center 9 Flood-Retaining Stadium
Protective Fill Boatel Channel Dredging
Dune Restoration Small Craft Channel
Phase II. A glamp ground with yurts opens in Jacob Riis Landing. Dredge operations begin by Robert Moses’ parking lot to provide flushing and sedimentation for Jamaica Bay and protective fill elsewhere on site. Sedimentation will be directed to create a new island for piping plovers, allowing dredge operations to be partially funded by Fish and Wildlife Grants.
Phase III. A small craft channel opens to give visitors a bay-tobeach kayaking experience. The boardwalk grows to encircle the footprint of the old parking lot, and also wraps to create a stadium that can retain flood water when not in use.
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Plover Island
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Conference Center Playground Boardwalk Retail
Event Space
Phase IV. With protective beach having built up in front of it, the Jacob Riis Bathhouse is renovated for guest facilities on the flood-able ground floor and an event space on the top floor. Nearby Neponsit nursing home is renovated as a conference space.
“Light-touch” tents
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Boardwalk becomes emergency route
Sand-collecting Boardwalk
Permanent Structures on Existing Battery
Eco-Resort 13
Eco-Resort during Flood Event
Rooftop Lounge with views of Jamaica Bay
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Parts of Boardwalk retain flood-water
Small Craft Channel for Bay to Beach recreation
Boatel 15
Reception build above FEMA flood heights
Floating rooms rise with flood
Boatel during Flood Event
Boardwalk Retail
Amphitheater
Boat Storage 16
Rooftop Patio becomes Emergency Landing Pad Amphitheater + Parts of Boardwalk retain flood-water
Second Floor Event Space
Kayak rental
Imagination Playground
Snack Shack
Renovated Jacob Riis Bathhouse 17
Renovated Jacob Riis Bathhouse during Flood Event
BLOCK PARTY
Adaptive Reuse Columbia Building Intelligence Project
Critics: Laura Kurgan and Janette Kim, and Scott Marble Partners: Eileen Chen, Katie Okamoto, and Anastasia Tania. “Block Party” imagines a future where buildings in FEMA’s Flood Zone A become flooded with increasing frequency. Though it doesn’t make financial sense for a small building to be renovated for flood preparedness, it may make sense on a block-wide scale - especially if city laws change to allow the sharing of incentives and benefits (such as FAR) across the block. Blocks vote via questionnaire on their attitude towards flood preparation and the changes they are willing to make. Our Catia system calculates what benefits they get from the changes, allowing for an informed re-vote. 18
Potential to make greater use of roof
Store fronts 19
Native Plants Loss of Native Vegetation Sidewalks, Bike lanes, and Streets
Compromised Ground Floor Structure
Cellar Storage
Urban Animal Habitats
Contamination
Loss of Habitat
Sidewalk Waste Collection Loss of Services Electric, Waste water and Plumbing Infrastructure
LES townhouse
Flood Impact on LES townhouse
Interventions on Block Level to Cope with Flooding
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Ground Interventions
Courtyard + Linking Interventions
Roof Interventions
Slow release of storm-water run off raise ground circulation Contain waste to prevent water contamination Allow ground level to be “leaky” to reduce flood damage
Create above-flood level boiler and water infrastructure Redistribute filtered water from roof to block Support additional roof weight
Make up difference between building floor levels
Slow release of storm-water run off
Collect, store, and filter rain water Create additional stories to replace ground-floor Create recreational roof-top wetlands and gardens Create habitat for bats, insects, and birds
FLEX PAVER
BRACING STORAGE
SOLAR DUMPSTER
LEAKY PAVER
HANGING STORAGE
ETFE WALL PANEL
RUNOFF CISTERN
PIPE LINK
SCAFFOLD LINK
WATER COLLECTOR
STORY-MAKER
WATER FILTER
GARDEN OR WETLAND
PURPLE MARTIN HABITAT
BARN OWL HABITAT
BAT HABITAT
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Scenario 1: One quarter of the block joins, desiring to maximize their water storage capabilities with sterile technology.
Step 1: Join 22
Scenario 2: The entire block joins, desiring transferable FAR while creating infrastructural resiliency and habitat space for animals.
Step 2: Choose a continuous or point access circulation
Step 3: Determine massing based on desired water capacity, available FAR, and bearing capacity of existing buildings
Step 4: Choose whether to use man-made “sterile� technologies to filter and store rain water, or to use systems based on those in nature like wetlands which create habitat for urban animals.
Step 5: Evaluate the output and repeat the process as necessary to balance the priorities of block members.
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0 0 0 0 0 0 0 0 0 0 0
GARDENS WETLANDS MILKWEED, DILL, FENNEL MONARCH BUTTERFLIES LADY BUGS EARTHWORMS EGRETS PURPLE MARTINS BARN OWLS MOSQUITOES EATEN BY BROWN BATS OYSTERS
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74 92 185 3,478 101,010 4 64 6 18,000,000 18,000 14,400
GARDENS WETLANDS MILKWEED, DILL, FENNEL MONARCH BUTTERFLIES LADY BUGS EARTHWORMS EGRETS PURPLE MARTINS BARN OWLS MOSQUITOES EATEN BY BROWN BATS OYSTERS
Element Columbia Building Intelligence Project
Critics: Laura Kurgan and Janette Kim, and Scott Marble 26
“Let’s Cohabitate”is a CBIP element within the larger group strategy of “Block Party.” It uses the “negative spaces” of architecture – to create habitat for urban animals. It takes into account the amount and quality of the space and then packs it with the appropriate kind and amount of habitat. As with all “elements” in CBIP, the scripts behind this “Let’s Cohabitate” can be repurposed. The volume creation script could be used to calculate how much more insulation is needed to cover heat leakages or to map a texture onto a geometry in Catia. The packing part of the script could be used to randomly pack any three-dimensional space with objects of multiple sizes and shape of object
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Work flow Diagram
Volume Creation Iterations
Full Packing Example
Pipe Insulation expands to host nesting owls, limited by constraints such as nearest building height and nearest window.
Input:
P1
P2
Animals per Housing
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Max Animals / block
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22 pts x 22 pts; 20’ x 20’ spacing .4 Texture Factor
P3
Housing
70 Density Points 5 Random Seed Nearest Building Height - 500 in Texture Factor 12 Bulge Factor .3 Window Distance Factor .5
Nearest Building Height - 300 in Texture Factor 12 Bulge Factor .3 Window Distance Factor .07
Output: Geometric
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Nearest Building Height - 300 in Texture Factor 15 Bulge Factor .1 Window Distance Factor .2
Nearest Building Height - 300 in Texture Factor 35 Bulge Factor .1 Window Distance Factor .2
Num Habitats Created 2 Priority 1
Potential Animals Housed Spatially 50 Priority 1
3 Priority 2
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10 Priority 3
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Potential Animals Supported by Block 40
Priority 1
Priority 2
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Priority 2
Priority 3
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Priority 3
Nectar Bar
Great Pad
Loam Sweet Loam
500
5265 sq ft of Wetland
1 SQFT Compost
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Habitat Insertions
Eat me on Pearl Street
Draculair
1 SQFT Surface
1 bat eats 1,000 mosquitoes / night
Hello Gourdgeous
1 SQFT Surface in Sun 10 Calories, .99 grams Protein / Oyster
1 purple martin eats its own weight (4 oz) in insects / day
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Habitat Insertions
Foam Sweet Foam
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Honey, You’re Home
217,800 SQFT
1 owl eats 1 rodent / night 1 baby owl eats 4 rodents / night
1/12 tsp Honey / Lifetime 70,000 - 100,000 bees / hive
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Habitat Insertions
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Section - Habitats within Building
THINNEST
NYC Housing Complex - Superlatives Partner: Madeeha Merchant Critic: Scott Duncan
Each student group was given a different superlative (thinnest, thickest, least surface area, most surface area, shortest, tallest) and had to create a housing complex that reflected that superlative while adhering to the NYC zoning and building codes. Thinness is an advantage with incredible city views, daylighting, and natural cross-ventilation. This paperthin housing complex stands by folding around a courtyard and bracing itself with a “kickstand� of community services. The structure expresses the programmatic need for community even within a tall glass tower. Privacy is created for the glass apartments through the use of a frit of varying density. Inhabitants can control light levels with a series of manually operated fabric awnings.
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Section through courtyard
Force Flow Diagrams
Solar Gain Mapping
Building Program supplements East Harlem’s Resources
Building Program Market Rate Housing: 139,000 ft2 Subsidized Housing: 34,750 ft2 Laundry: 300 ft2 Gym: 2,250 ft2 Green Space: 26,000 ft2 Parking: 30,000 ft2
Gravitational Forces channel into the 5 cores
Cafe/Market: 500 ft2 Child’s Play: 8,000 ft2 Aging Community: 10,000 ft2 Medical Clinic: 750 ft2 Business Center: 250 ft2
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Unfolded Elevation Street Solar Gain
Wind Force is resisted by the “Kick Stand”
Land Use Near Site Unfolded Elevation Courtyard Solar Gain Commercial
Community
Housing
Site Challenges
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Model prior to adjustment to minimize solar gain
Rendering after adjustments to minimize solar gain
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Ground Floor Plan
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The courtyard, “community kickstands�, and lower two floors include programming that is open to the public.
Sectional Rendering of Courtyard
Units
Jog Step - 1 Bed
Formal conditions are tuned to a range of audiences Linear - Micro
Jog Step - 2 Bed
Linear - Studio Duplex - 1 Bed
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Duplex - 2 Bed
Linear - 1 Bed
Duplex - 2 Bed
Linear - 2 Bed
Two Bedroom
Closed Awning
In-between Twist
Medium Frit Bedroom
Open Awning Terrace
Scissor Stair
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Micro
Studio
Elevator Core
One Bedroom
Minimum Frit Living Room
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Floor 7 Plan
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1/16” = 1’0” Final Physical Model
THE RUBE GOLDBERG BANK Architecture as Secret Double Agent Critic: Cristina Goberna The Rube Goldberg Financial Machine translates abstract banking transactions into visual events which can be observed and assessed by clients from a variety of delightful viewing platforms. Information empowers, enabling clients to make healthy financial decisions. But is the exposure of private financial information to the benefit of the individual? And to what degree does its publication activate mob-like regulation?
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L3 Plan
1/32� Sketch Models
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Photo-montage of Bank from Ramp
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E-W Section
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N-S Section
SETTINGS/ BROWSER HISTORY Virtual/Physical Studio Mumbai
Critics: Frederic Levrat and Phillip Anzalone From backgrounds to search filters to automated locations, our digital technologies customize to the user. This customization leaves traces of our identity behind, discoverable to the passerby. In comparison, architecture customizes little and provides little history. The bodily heat left on a subway or scratched surfaces hint at human life, but rarely does a project intend for a user to leave a trace. This project creates a secondary, adjustable architecture to allow for any person to “set their preferences.� The program they embed into the space can be read even after they leave by the remaining configuration of the secondary structure - until it is erased by the next user.
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Chair to Stand/ Hanger Protoype
Stand/ Hanger
Low Bench
Fruit Hammock
Chair Shoe Shining
Drop Ceiling
Vendor Stall
Icon Cubby
Tutoring Desk
Shelf
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Family Bench Counter
Potential Patterns and Configurations
CAMOUFLAGE CHAISE SOA Chicken / Chair Studio Critic: Jesse Reiser
Students were asked to analyze a grocery store chicken and later to derive a chair design from these studies. My chair takes its form from a recombination of chicken bones, which are then altered to posture a man of Vetruvian proportions. Much as a chicken camouflages into the dust of a coop, the tattooed man blends into the patterning of the chair.
Final Chair Prototype
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Chicken Skeleton Combined Plans and Sections
Transverse Sections
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Serial Sections through a grocery-store chicken
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TECHNOLOGY
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GRATE CULINARY SCHOOL Technology Course - Industrial Building
Partners: Richard Duff, Miles Fujiki, Marlin Torres Critic: Kevin Lichten Grate Culinary School is an institution which trains chefs, provides graduates with incubation spaces to start their own businesses, and is a foodie destination with a market, bar, and restaurant. The building is designed around the heavy ventilation needs of the kitchens. The project carefully considers social spaces within the school, including catwalks for the chefs’ smoking breaks, and the interface between the students and the community, such as at the floor seven restaurant.
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Exterior Render
Plan Level 3
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Dead Load Free Body Diagram
Lateral Load Free Body Diagram
Program Diagram Restaurant
Restaurant Kitchen
Administration
Library
Classroom Kitchen
Study
Incubator Kitchen
Auditorium
Storage Kitchen Loading Dock
Market
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Exhaust Core
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C
D
E
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Exhaust O.A. Supply AHU 2
Roof
116’
Terrace
Restaurant Event Space
Restaurant
Kitchen
L7
88’
Office L6
74’
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Classroom
Study
L5
Auditorium
60’
Classroom L4
46’
Incubator
Take-Away
Incubator
Incubator
L3
32’
L2 18’
Loading Dock L1 0’
Market
Incubator Restaurant
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I
J
Exhaust O.A. Supply AHU 1
K
Exhaust Core
Roof
116’
Bar L7
88’
Cafe L6
74’
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Classroom
L5 60’
Classroom L4
46’
Incubator L3
32’
Reception L2 18’
Lobby L1 0’
Section through 2
Side Elevation
Radiant Floor 3/4” PEX Tubing, 9” Spacing on Center
Supply Air Return Air Exhaust Air
Radiant Ceiling Panels 60
Radiant Heating and Cooling
TYP Reflected Ceiling Plan
HVAC Diagram
TYP Radiant Floor and Ceiling Plan
Concrete Slab Steel Angle Bolted Connection Mullion Anchor with Thermal Break Glazing Cantilevered Steel Brace Subway Grating Aluminum Shading Screen Panel
TYP. Curtain Wall detail
Exploded Curtain Wall
Screen Connection details
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Steel column Raised floor
Raised floor supports Underfloor air supply Grout access hole 10” cast-in-place slab 2” grout Threaded rod cast into slab
Drop panel Slanted concrete column
Steel Column to Concrete Slab Section, Level 7 - Level 6
TYP. Mat Footing to Ground Floor Connection
FITNESS FACADE Surface, Screen, and Structure
Partners: Madeeha Merchant and Tiffany Rattray Critics: Joe Vidich This screen for the Adidas building at Lafayette and Houston lights up in response to physical activity, documenting how busy the intersection is at any one time. Our stainless steel façade module folds to create a rigid shelf. Lights are hidden within pockets and reflected or filtered by the perforated surfaces of the steel.
Final Module Prototype
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60 degree Panel
30 degree Grip Panel
80 degree Step Panel
X Clips
Exterior Rendering
Through Bolts
2”x6” Aluminum Rectangular Section
Assembly Axon
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Structural Bay Section
Structural Bay Elevation
WYLY THEATER ANALYSIS
TOP BOX A conventional column and beam structure that lands on the hat.
Technology Course - Building Analysis
Partners: Richard Duff, Miles Fujiki, Jenny Yuan Lin Critic: Chris Andreacola HAT A horizontal truss that solidifies the rigid box of the belt truss, transfers dead load from the top box into the belt, and brings lateral load into the shear wall.
From a stack of construction drawings, we represented the structure, envelope, and HVAC of Rex/OMA’s Wyly Theater. Wyly supports multiple theater configurations by shifting the back stage above the performance space, using a “Super-Fly” to store seating options, and acrobatically floating the building on a mega-truss, creating a column free space that opens directly onto the surrounding plaza. Its complexity arises from the desire for flexibility.
BELT A box truss that wraps around the building and ties into the shear wall and mega columns. Nearly all loads land or are hung from the belt and then are transfered into the mega columns or shear wall. HANGING TRUSS Horizontal truss that is hung from belt and provides lateral stiffening for the glass curtain wall at the bottom floors of the building.
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SHEAR WALL Continuous concrete wall separating egress stairs and elevators from main building and along with the moment frame structure behind it, taking lateral loads down to the ground. MEGA COLUMNS 18” x 48” concrete columns that take nearly all gravity forces into the foundation.
FOUNDATION Concrete foundation where all forces, gravity and lateral, ultimately are resisted by the ground.
Structure Exploded Axon
Insulation Type 10
Aluminum Connection Horizontal Girt Aluminum Connections to Extrusions Window Mullion Glazing
Aluminum Extrusion Aluminum Connection bolted to Horizontal Girt + Steel Angle
Steel Angle Steel Tube
Aluminum Connection allowing z movement Horizontal Girt allowing x movement
5’0”
5’0”
5’0”
5’0”
5’0”
5’0”
5’0”
5’0”
Aluminum Facade System Attachment Detail
5’0”
Aluminum Facade Elevation + Glazing Bay
Reinforced Concrete Truss Steel Box Truss Welded on Pins Stiffiner Plate Cast In Steel Connection Plate Bolted Connection
Connection Detail at Truss and Concrete Column
5/8” DensGlass Insulation Type 3 Metal Stud Gyp Board Concrete Slab Metal Deck Wide Flange Slotted Steel Clip Angle Control Joint Steel Brace Gyp Board Metal Stud Gyp Board Structural Steel Tube Metal Flashing Aluminum Connection Horizontal Girt Aluminum Connection from Girt to Extrusion Window Mullion Glass Concrete Slab Metal Deck Metal Flashing Wide Flange Slotted Steel Clip Angle Gyp Board Metal Stud Gyp Board
5’ 0”
Insulation Type 10 Waterproofing
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Level 8
Aluminum Extrusion
Glazing bay
Level 7
Wall Assembly Axon
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HVAC system
Lobby Air Supply + Return
House Air Supply + Return
Rehearsal Room Air Supply 67
Stage Air Supply
Outside AIr Intake + Spill
Chilled Beam Cooling System
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VISUAL STUDIES
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Representation of Hadid’s Guangzhou Opera House
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Representation of Kenneth Anger’s L’Eaux D’Artifice
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Plan Representation of Kenneth Anger’s L’Eaux D’Artifice
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Section Representation of Kenneth Anger’s L’Eaux D’Artifice
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Animation of Glass Fabric
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Sketch Models
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INSTALLATION + ART WORK
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GSAPP EXHIBITIONS Arthur Ross Gallery
Crew ‘10-’12, Exhibitions Assistant ‘13-’14 Curation + Exhibition Design by Mark Wasiuta and Adam M. Bandler Photos by James Ewing As described by director Mark Wasiuta, GSAPP’s Arthur Ross Gallery is “a testing ground for exploring new approaches to architectural exhibitions, and a reflexive space for considering and analyzing architecture as it has been formed through exhibition.” It is intended to test the limits of architectural pedagogy. The crew of 14 architecture students fabricates and installs the exhibitions, using GSAPP’s resources including the laboratory for applied building science. The Exhibition assistants lead the crew and give input on the exhibition design to ensure its feasibility. No Longer Art: Salvaged Art Institute, Fall 2012
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UFOs and Effigies: Tony Oursler, Spring 2013
The Keeper: Shuruq Harb, Fall 2013
Muriel Cooper Messages and Means, Spring 2014
Adolf Loos Our Contemporary, Fall 2013
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Adolf Loos’ Copyrights and Ownership Trails: Ines Fall 2013
PROJECTS FOR CHRISTIAN + JOANNA Visualization and Digital Modeling
Installation + Performance Artists: Christian Tomaszewski and Joanna Malinowka For several years I have worked on digital models and renderings for these artists to help develop their concept, for competition submittal, and for fabrication. The resulting work has been featured in numerous art exhibitions and art shows including From the Canyons to the Stars shown at the Whitney Biennial,Smokey to be exhibited in Columbus Circle, Erasure shown at Frieze Solo in New York, and Mother Earth Sister Moon performed at the Zachęta National Gallery of Art in Warsaw. Tomaszewski Erasure, Venice Biennial Proposal, 2012
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Tomaszewski Frieze Proposal, 2013
Tomaszewski + Malinowka Mother Earth Sister Moon, 2013
Tomaszewski Erasure, Frieze Solo, 2014
Malinowka From the Canyons to the Stars, 2012
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Malinowka Smokey, 2014
SITU STUDIO’S REORDER An Architectural Environment
Brooklyn Museum Great Hall, 2011 Intern ‘10 - ‘11 Situ Partners: Aleksey Lukyanov-Cherny, Wes Rozen, Brad Samuels, Basar Girit, Sigfus Briedfjord Photos by Keith Sirchio This architectural installation inaugurated the renovation of the 10,000-square-foot Great Hall in the Brooklyn Museum. reOrder swells the forms of the hall’s columns to create more intimate spaces for gathering within the grandiose hall. The forms are created using pleated fabric manipulated using a system of clamps and custom “dress forms” inspired by crinoline gowns of the 19th century. As an intern, I worked to develop this structural system and on the month-long installation. Structural System Section
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Column during Installation
Great Hall Plan
Completed Installation
SPACE + IMAGE Final Studio Workshop
Carter Road, Mumbai, 2014 Partners: Dan Luo, Sheila Dianne Aguilu Bonilla, Brett Cracroft, Bian Lin, Zhizhen Wu, and students from Mithabai College in Mumbai This small pavilion was designed for a small gathering space off a busy waterfront promenade Mumbai, India. The design and fabrication was executed in a week, with CNC fabricators working 24 hours a day to churn out the 430 pieces that were laminated to make up the 26 inner and 26 outer ribs. The original design called for a pattern to be printed on the ribs, creating visual confusion between the physical space of the ribs and the imaginary space of the pattern. While time and budget constraints eliminated the pattern, the concept was reengaged by visitors who used the three-dimensional structure as a two-dimensional background for portraits. Digital Model
Pavillion Interior
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Completed Installation
A SENSE OF PLACE + OTHER ART WORK Visual Arts Thesis - Princeton University Critics: Dawn Clements, Anne Agee
This artwork was created at Princeton’s Lewis Center of the Arts in the Visual Arts Certificate program. The work explored the creation of texture through line and the divide between craft and art. My thesis show, A Sense of Place (2010), played with the detached genre of aerial photography by representing through the tactile medium of the quilt. Quilting and the use of ignoble materials in a gallery show was a challenge to the program which had been pedagogically focused on high-art.
Virgin Mary Coconut Pound Cake, 2009
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Seed, 2006
Self Portrait, 2006
After Andrea del Sareto , 2006
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McMane Avenue, 2010
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Johnson, 2010
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Okavango Delta, 2010
Katie Zaeh