Portals to Invention by Kimberly V.K.H. Nguyen

PORTALS TO INVENTION Discovering Other Worlds

KIMBERLY V.K.H. NGUYEN

PORTALS TO INVENTION Discovering Other Worlds

Published in 2013 by Kimberly V.K.H. Nguyen while studying at COLUMBIA UNIVERSITY - GSAPP 1172 Amsterdam Avenue New York, NY 10027 kvn2104@columbia.edu www.kimberlyvnguyen.com

Text and Concept ÂŠ 2013 Kimberly V.K.H. Nguyen All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without permission from the publisher.

PORTALS TO INVENTION Discovering Other Worlds

KIMBERLY V.K.H. NGUYEN

COLUMBIA UNIVERSITY Graduate School of Architecture, Planning, and Preservation

DEDICATION Portals to Invention is dedicated to:

My crazy family, for their constant support and sense of humor; ...handsome fiancĂŠ, who is actually a superhero; ...friends, who believe and bring out the best in me; ...teachers, for their guidance in thought and perspective; ...classmates at GSAPP, who made grad school so much fun!

I wish to thank them for being my inspiration and for helping me grow, especially through these past three years. Kimberly V.K.H. Nguyen New York, NY May 2013

“I don’t know anything, but I do know that everything is interesting if you go into it deeply enough.” - Richard Feynman

CONTENTS

INTRODUCTION

CORE STUDIO I

ATMOSPHERE Air Lab Formation of a Galaxy

LIBRARY DECORUM Urban Room Furniture Condition

HOUSING Reuleaux Terraces Custom Modular

COLUMBIA BUILDING INTELLENCE PROJECT (CBIP) CATIA Element and Exchange Building Strategies: Shock Treament for the Emory Roths

THE UNCERTAIN CERTAINTY OF OUR MORTALITY Oroboros Speaking of Grief and Funerals

COLLECTING ARCHITECTURE TERRITORIES Copter Heist Territories of Vulnerability and Opportunity

Christoph a. Kumpusch

CORE STUDIO II Karel Klein

CORE STUDIO III Robert Marino

ADV. STUDIO IV David Benjamin

ADV. STUDIO V Karla Rothstein

ADV. STUDIO VI Mark Wasiuta

VISUAL STUDIES 98 100 102

ARCH. DRAWING AND REPRESENTATION Prada Building Bas Relief

David Wallance

108

MODULAR ARCHITECTURE Cairo Towers

Mark Collins

112

DIGITAL DETAILING AND SIMULATION ANALYSIS Sculpting Sound

Robert Condon

118

BUILDING TECHNOLOGY V BICO Factory-Office

Robert Heitges

134

ADVANCED CURTAIN WALLS For a High-End Monastery

Jason Ivaliotis

138

BEYOND PROTOTYPE Aperture Cells

Brigette Borders

144

PARAMETRIC REALIZATIONS Bud Light

Joseph Vidich

148

SURFACE, SCREEN, AND STRUCTURE ShoeLACE Diagrid

Mark Bearak

152

FAST PACE SLOW SPACE Tensile Integrity Nodal Assembly

156

DATA VISUALIZATION E-Cube-Librium

Joshua Uhl Michael Young

TECHNICAL ELECTIVES

Toru Hasegawa

FABRICATION

RESEARCH Laura Kurgan

INTRODUCTION

This is my portfolio of work during three years at GSAPP - a collection of trials, discoveries, and questions.

ATMOSPHERE Air Lab Reflection: The theme of our first semester studio was atmosphere. As a class, we were given four interrelated briefs that asked us to demonstrate relationships between bodies and their surroundings, which would culminate into an architectural proposal for an Air Lab. Within our ten person studio, comprised of varying backgrounds, the physical model would soon become a necessity and an obsession. We each developed our designs beginning with what we, individually, were most comfortable with from mechanics to anthropology to literature. Making models is an interactive, dynamic conversation between the designer and material. Our models traced the evolution of our thoughts, revelations, and failures. We relied on sensitivity in this process in order to understand what could emerge from our internal dialogues as well as team collaboration. While generating our models, each personâ&#x20AC;&#x2122;s unique insight became clear. We believed in our instincts, allowing our ideas to emerge in their purest form. How does something or someone become part of the atmosphere? As the studio progressed, each person became so engrossed in his interpretation of the project that it placed other members of the studio outside of their own comfort zone. This discomfort allowed a greater understanding of the different perspectives toward design. We questioned our objectives and our own thoughts. In doing so we discovered it is more important to think, explore, and generate new questions, than it is to solve. The combination of individuals created a distinct atmosphere. The group itself became the project, an exploration of the studioâ&#x20AC;&#x2122;s operation and personality.

CORE STUDIO I Critic - Christoph a. Kumpusch Fall 2010

MIGRATING STRUCTURES

DRONE-FACILITATING LATTICES

STATIC & DYNAMIC CONCEPTS

FORM FINDING

LIBRARY DECORUM An Urban Room Design a library in in NYC. I began by visiting as many libraries as possible in Manhattan. Many libraries contain books that are locked away on restricted floors. I wanted to find a way to design a library that makes all books visually accessible, yet maintain separation of circulating and non-circulating private collections while evoking curiousity. My approach is the following 1) Remove walls and floors, then consolidate all bookshelves into a single vertical shelf to gain visual access to all books. 2) Take advantage of scale ambiguity of the single bookshelf diagram, and treat building program as pieces of furniture (one cannot tell from the diagram whether it was 10ft tall or 5 stories high). 3) To separate public and private collections, while maintaining full visual access, use two pathways that do not meet, using the concept of a double helix and M.C. Escher’s “Relativity” drawing. The result was a curiously intimate library that appears as a small room from street view, but inside, one feels like a shrunken person exploring endless pathways of books. The change in scale of book shelf and size of books, stepping on large books, or entering a room with small books could perhaps encourage visitors to keep exploring and to stumble upon wonderful books they would never looking for.

CORE STUDIO II Critic - Karel Klein Spring 2011

Center St.

FIRST FLOOR

CAFE

RDG ROOM

UP UP

CL UP

CL RR UP

CLASSROOM UP

CLASSROOM

RDG ROOM

MAIN LOBBY

LOUNGE UP

Grand St.

Center St.

SECOND FLOOR

OPEN TO BELOW

CAFE UP

RDG PLATFORM OPEN TO BELOW

CL UP

DN DN

SORTING ROOM

OPEN TO BELOW

OFFICE

DN DN

OPEN TO BELOW UP

CONF.

RDG ROOM

MAIN LOBBY

Grand St.

HOUSING Reuleaux Terraces We were interested in creating a design that engages the transportation system, exploring modular and prefabrication techniques, structural engineering concepts, and providing unique spaces. This project was created from an obsession with the properties of a Reuleaux triangle, a â&#x20AC;&#x153;curve of constant width, named after a 19th-century engineer who worked on ways machines translate one type of motion into another. The study of this geometry and its application in Wankel engines, led to the development of a structural theory where prefabricated curved panels reinforce an orthogonal grid and effectively distribute loads to the ground. The spaces between units bring lightness their aggregation through eccentric rotations, and voids for each unit change size for optimum light exposure. The composition of a building captures a moment of balance between the many forces and structural concepts developed through the semester. A formula was developed so that the entire structure is only two different floor plans, but with highly variable units for dynamic space.

CORE STUDIO III Partner - Phillip W. Crupi Critic - Robert Marino Fall 2011

BR 1

BR 2

BR 1

BR 2

BR 1

43 BR 1

BR 1

BR 2

BR 1

BR 3

BR 2

CBIP Elements and Building Strategies Building upon the past three years of the CBIP program, the idea behind the studio is that three tenperson studios come together in one laboratory to create parametric models using CATIA (a 3D Product Lifecycle Management software suite that facilitates collaborative engineering across disciplines). These intelligent models can be reused in subsequent years, and current students can learn from and even continue previous projects if they choose. The first half of the semester focuses on the individual design of building elements , the second half on a group design of building strategies. In creating my independent “element” in CATIA for others to use on their building strategies, I was particularly interested in creating organic forms with very precise controls for the curve parameters. I was also looking for ways to intuitively design within the constraints of scripting and CATIA logic. Once I found a way to do that, I programmed an interface that makes it easy for users to easily create these forms while receiving instant technical information on the impact of their designs. The “element” is capable of creating a wide range of effects depending on user inputs and combinations for the panel. It works as a membrane that takes on geometry (‘planks’), manipulates their dimensions and instantiation patterns, then the whole panel attaches itself to a larger meta element with simple user input points. My code also works by responding to output parameters of the meta element, by changing the elements that it carries. It then became a design tool in CATIA that offers a simple and logical workflow for users to freely sculpt a wide range of facades, stairs, floor plates, ceilings with automatic information outputs for material use and light. I also found something very strange and cool about using this advanced software. When I used the auto generation key, it allowed the pieces to clash with one another. The benefit was that we can quickly achieve something beautifully sculptural that does not look like anything anyone has ever done or would want to create in CATIA. On the flip side, why would this program even allow this type of designing and not have a way to detect the mistakes. I continued to create clashes with code, and I will continued to figure out how to take advantage of this interesting glitch in software...

A team project with this independent element and building strategies ran in parallel. While one project emphasized scripting and small-scale technical design, the other focused on broad proposals for redevelopment. The link between the two parallel processes was the student, who worked on both simultaneously. The collaborative, parametric method of working applied to both individual and team pursuits, reflecting the real drama of architectural design, which always requires both individual and team efforts to make a successful project. The team project was about Emory Roth buildings, the most stereotypical and ubiquitous office building in the city. Our team wanted to insert “voids” into the building with different stimuli from mariachi bands to rock gardens and attempt to use CATIA to measure the outcome. We desired both numeric and qualitative outputs from the software, and found ways to convert experience to code. Another interesting aspect of CBIP was the social life. Students played two roles during the second half of the semester: as part of teams of four, our first role was as designers of building strategies, which addressed energy, social, political, and environmental constraints; as individuals, we also acted as consultants for the teams using our building elements from the first half of the semester. We developed a new language for describing our work. We became so immersed in the software and our esoteric studio that we now “speak CBIP” fluently. The new culture that has developed is expressed in this new studio language. The following is a sample excerpt from the “Learn to Speak CBIP!” Dictionary: Building Element: a parametric component, like a louver, canopy, or balcony, that is designed to be used in a building to achieve specific goals. Each element is controlled by inputs and produces measurable outputs that we design into the element. Building Strategy: a method or procedure for re-using or renovating a building that uses building elements to achieve energy, program, or other goals Input: a quantity or quality that the user of a building element or strategy determines, and is information for the element/strategy to use as a starting point Output: information calculated or provided by the building element/strategy as a result of the user-determined inputs UDF: “user defined feature,” a packaged building element that can be autonomously shared and deployed in an external context Powercopy: A packaged building element that includes both a UDF (user defined feature) and one or more knowledge patterns/scripts Script: computer code written in the EKL, Engineering Knowledge Language, that determines how the elements/strategies work Knowledge Pattern: a type of script used in CATIA Catalog: Similar to a regular catalog, the catalog in CATIA is a list of the building elements and an interface for using those elements. The catalog is the primary way that we share elements with one another. Dashboard: a visual representation of relative and incremental changes (data or formal inputs and outputs) Scorecard: a graphic display that includes information from the dashboard, showing inputs, outputs, and a grading system to evaluate them. We developed different versions of a scorecard to help us see when we met our stated goals for the project. Feature Request: a request made by a user to the element owner, proposing changes to the element. Feature requests introduce collaboration and challenge fixed ownership. Rebuild: to rewrite a script for the purpose of refinement; most of us rebuilt our element scripts many times during the semester Q drive: the network drive that hosts all CBIP elements and files; the site of collaboration Blackbox: nickname for the scripts, used in the building elements and strategies, which perform functions that are not obvious to the user Rat’s nest: nickname for the tangle of scripts and code used in a building element, decipherable only by the student who wrote it (if at all)

ADV. STUDIO IV Partner - Demitra Konstantinidis, Benjamin Brennan, Joseph Brennan Critic - David Benjamin Spring 2012

PA NAME Kimberly V. Nguyen MODULE CONSTRUCTION PROCESS

PROJECT TITLE Lonely Canoe in the Desert

Columbia building intelligenCe ProjeCt integrated design studio - sPring 2012 Catia WorKsHoP Final Presentation

parametric explorations of a facade element

PRESENTATION 31 7

MODULE CONSTRUCTION PROCESS

GROUP 3

MODULE CONSTRUCTION PROCESS

building intelligenCe ProjeCt NAME GROUP PRESENTATION PROJECT TITLE Columbia integrated design studio - sPring 2012 Kimberly V. Nguyen Lonely Canoe in the Desert 3 7

Columbia building intelligenCe ProjeCt PROJECT TITLE integrated design studio - sPring 2012 Lonely Canoe in the Desert

NAME Kimberly V. Nguyen

parametric explorationsCatia of a facade element WorKsHoP Final Presentation

Catia of WorKsHoP Final Presentation parametric explorations a facade element

NAME GROUP PRESENTATION 3 Kimberly V.7Nguyen

GROUP PRESENTATION NAME 3 7 Kimberly V. Nguyen

PROJECT TITLE Lonely Canoe in the Desert

parametric explorations of a facade element

GROUP 3

PRESENTATION 7

PARAMETRIC RELATIONS

PARAMETRIC RELATIONS PARAMETRIC RELATIONS

PROJECT TITLE Columbia building intelligenCe ProjeCt Lonely Canoe in integrated the Desertdesign studio - sPring 2012

parametric explorations of aWorKsHoP facade element Catia Final Presentation

backbone shaPe = ratio of crest Points along backbone axis

backbone shaPe = ratio of crest Points along backbone axis = equilibriuM Position

edge shaPe = ratio of crest Points along edge axis = ( shaPe chang in PerPendicular Plane )

se_Pt, attractor_Pt)

Columbia building intelligenCe ProjeCt RELATIONS NAME PARAMETRIC integrated design studio - sPring 2012 Module Width = edge axis length

Kimberly V. Nguyen

Catia WorKsHoP Final Presentation

Columbia building intelligenCe ProjeCt integrated design studio - sPring 2012 Catia WorKsHoP Final Presentation

NAME Kimberly V. Nguyen

PROJECT TITLE Lonely Canoe in the Desert

parametric explorations of a facade element

PROJECT TITLE Lonely Canoe in the Desert

parametric explorations of a facade element

Columbia building intelligenCe ProjeCt integrated design studio - sPring 2012

V. Nguyen

PROJECT TITLE Lonely Canoe in the Desert

parametric explorations of a facade element

GROUP 3

PRESENTATION 7

Catia WorKsHoP Final Presentation

GROUP 3

NAME Kimberly V. Nguyen

GROUP 3

PRESENTATION 7

Columbia building intelligenCe ProjeCt

integrated PROJECT TITLEdesign studio - sPring 2012 Lonely Canoe in theFinal Desert Catia WorKsHoP Presentation

parametric explorations of a facade element

NAME GROUP Kimberly V. Nguyen 3

PROJECT TITLE PRESENTATION Lonely Canoe in the Desert 7 parametric explorations of a facade element Columbia building intelligenCe ProjeCt integrated design studio - sPring 2012 Catia WorKsHoP Final Presentation

GROUP 3

NAME Kimberly V. Nguyen

PRESENTATION 7

PROJECT TITLE Lonely Canoe in the Desert

parametric explorations of a facade element

GROUP 3

PRESENTATION 7

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Catia Wo

1290 AVE OF THE AMERICAS

PUBLIC

INTERVENTION

CASE STUDY

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THE PROBLEM....

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THE GENERIC OFFICE TOWER IS TAKING OVER

RECONFIGURIN THE OFFICE

IMPROVE EFFICIENC SUSTAINABILITY, A CIRCULATION

PLACES TO UNWIND

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SKYPARKS EPIDEMIC IN NYC DECENTRALIZATION OF POWER AND THE GENERIC OFFICE TOWER IS TAKING OVER

HIERARCHY

RECONFIGURING

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IMPROVE EFFICIENCY, SUSTAINABILITY, AND THE OFFICE CIRCULATION

IMPROVE EFFICIENCY, SUSTAINABILITY, AND CIRCULATION

PLACES FOR CONTEMPLATION

A NEW LANDSCAPE OF PUBLICLY ACCESSIBLE SPACE

THE RESULT....

RECONFIGURING BREAKING LINES THE OFFICE OF TENSION AND

PLACES FOR CONTEMPLATION PLACES TO UNWIND

PROVIDING INCENTIVES

DECENTRALIZATION OF POWER AND

HIERARCHY

FINDING BENEFITS FOR

FINDING BENEFITS FOR CORPORATIONS TO ENCOURAGE CORPORATIONS TO ENCOURAGE IMPLEMENTATION IMPLEMENTATION

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63 A NEW REALIZATION OF PUBLIC ACCESS WITHIN THE CORPORATE WORLD

THE SMART VOID... USER INPUTS

USER INPUTS

input point public or corporate

VOID INTELLIGENCE

VOID OUTPUTS

height depth width area of influence distance to core

total volume total footprint area of influence volume distance from core indication

height depth width area of influence distance to core

total volume total footprint area of influence volume distance from core indication

Void height related to distance from North Corner

Void depth related to distance from South Corner

Void width related to distance from Ground

USER INPUTS

input point public or corporate

VOID INTELLIGENCE

height depth width area of influence distance to core

VOID OUTPUTS

height depth width area of influence distance to core

VOID OUTPUTS

total volume total footprint area of influence volume distance from core indication

Distance to core indicated by panelization

Corporate Void

Public Void

Corporate Void Influence

Public Void Influence

FIELD OF INFLUENCE

COST (C02 TAX)

EMPLOYEE PRODUCTIVITY

INTEGRATION

IMPACT ON BUILDING

SKYPARKS

COST ($)

void data

10 20 30 40 50 60 70 80 90 100%

ANALYSIS SPREADSHEET

10 20 30 40 50 60 70 80 90 100%

CATIA

HUMAN INTEGRATION

PROVIDING INCENTIVES

100%

10 20 30 40 50 60 70 80 90 100%

UTILITY COST ($)

ENERGY USE VOID IMPACT

50% 50%

10 20 30 40 50 60 70 80 90 100%

EMPLOYEE COMFORT

CARBON EMISSIONS ( lbs CO2 )

10 20 30 40 50 60 70 80 90 100%

EMPLOYEE SPONTANEITY

ENERGY USE INTENSITY ( MBtu )

VALUE (SOCIAL)

VALUE ($)

DECENTRALIZATION OF POWER AND WEALTH

PLUG LOADS ( MBtu )

NUMBER OF VOIDS

10 20 30 40 50 60 70 80 90 100%

ENERGY USE INTENSITY ( MBtu )

LIGHT LOADS ( Mbtu )

PLUG LOADS ( MBtu )

10 20 30 40 50 60 70 80 90 100%

NUMBER OF VOIDS

TOTAL VOID VOLUME

PRIVATE VOID (PERCENT)

PUBLIC VOID (PERCENT)

40% 40% 40% 40%

70% DISRUPTION FACTOR

HEATING / COOLING LOADS ( Mbtu )

INTEGRATION

IMPACT ON BUILDING

COST ($)

10 20 30 40 50 60 70 80 90 100%

99% 1%

corporate

100%

+/FIELD OF INFLUENCE

FLOOR AREA REMOVED ( ft2 )

building performance

HUMAN INTEGRATION

SKYPARKS

refined data

rough data

GRASSHOPPER

PROVIDING INCENTIVES

100%

10 20 30 40 50 60 70 80 90 100%

EMPLOYEE COMFORT

FLOOR AREA REMOVED ( ft2 )

10 20 30 40 50 60 70 80 90 100%

EMPLOYEE PRODUCTIVITY

OVERLAP OF PUBLIC/PRIVATE VOID (PERCENT)

ENERGY USE VOID IMPACT

100% 0%

EMPLOYEE SPONTANEITY

HEATING / COOLING LOADS ( Mbtu )

10 20 30 40 50 60 70 80 90 100%

UTILITY COST ($)

DECENTRALIZATION OF POWER AND WEALTH

CARBON EMISSIONS ( lbs CO2 )

100% DISRUPTION FACTOR

LIGHT LOADS ( Mbtu )

COST (C02 TAX)

VALUE (SOCIAL)

VALUE ($)

RETHINKING THE OFFICE

100%

10 20 30 40 50 60 70 80 90 100%

RETHINKING THE OFFICE

PUBLIC VOID (PERCENT)

VOID OUTPUTS

height depth width area of influence distance to core

TOTAL VOID VOLUME

height depth width area of influence distance to core

PRIVATE VOID (PERCENT)

USER INPUTS

input point public or corporate

VOID INTELLIGENCE

OVERLAP OF PUBLIC/PRIVATE VOID (PERCENT)

HOW IT WORKS

70% 15%

corporate

15%

public

50% 50% 53% 54%

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building performance USER INPUTS

ENERGY USE INTENSITY ( MBtu )

HEATING / COOLING LOADS ( Mbtu )

PLUG LOADS ( MBtu )

LIGHT LOADS ( Mbtu )

CARBON EMISSIONS ( lbs CO2 )

UTILITY COST ($) NUMBER OF VOIDS

TOTAL VOID VOLUME

PRIVATE VOID (PERCENT)

PUBLIC VOID (PERCENT)

PROVIDING INCENTIVES

FLOOR AREA REMOVED ( ft2 )

COST (C02 TAX)

VALUE (SOCIAL)

input point public or corporate

VOID INTELLIGENCE

ANALYSIS SPREADSHEET

height depth width area of influence distance to core

VOID OUTPUTS

void data

total volume total footprint area of influence volume distance from core indication

Corporate Void Influence

Public Void Influence

FIELD OF INFLUENCE COST (C02 TAX)

EMPLOYEE COMFORT

HUMAN INTEGRATION

INTEGRATION

IMPACT ON BUILDING

10 20 30 40 50 60 70 80 90 100%

COST ($)

10 20 30 40 50 60 70 80 90 100%

SKYPARKS

UTILITY COST ($) NUMBER OF VOIDS

100%

10 20 30 40 50 60 70 80 90 100%

FLOOR AREA REMOVED ( ft2 )

EMPLOYEE PRODUCTIVITY

TOTAL VOID VOLUME

10 20 30 40 50 60 70 80 90 100%

PRIVATE VOID (PERCENT)

ENERGY USE VOID IMPACT

50% 50%

EMPLOYEE SPONTANEITY

CARBON EMISSIONS ( lbs CO2 )

10 20 30 40 50 60 70 80 90 100%

ENERGY USE INTENSITY ( MBtu )

DECENTRALIZATION OF POWER AND WEALTH

PLUG LOADS ( MBtu )

DISRUPTION FACTOR

HEATING / COOLING LOADS ( Mbtu )

70%

OVERLAP OF PUBLIC/PRIVATE VOID (PERCENT)

VALUE (SOCIAL)

100%

+/-

10 20 30 40 50 60 70 80 90 100%

VALUE ($)

10 20 30 40 50 60 70 80 90 100%

RETHINKING THE OFFICE

LIGHT LOADS ( Mbtu )

height depth width area of influence distance to core

PUBLIC VOID (PERCENT)

VOID INTELLIGENCE

40% 40% 40% 40%

USER INPUTS

input point public or corporate

CATIA

99% 1%

corporate

PROVIDING INCENTIVES

rough data

Void width related to distance from Ground

INTEGRATION

10 20 30 40 50 60 70 80 90 100%

Void depth related to distance from South Corner

HUMAN INTEGRATION

refined data

e nt volume core

total footprint area of influence volume distance from core indication

IMPACT ON BUILDING

total volume total footprint area of influence volume distance from core indication

ed to North

100%

VOID OUTPUTSEMPLOYEE COMFORT total volume SKYPARKS

GRASSHOPPER

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ENERGY USE VOID IMPACT

100% 0%

EMPLOYEE SPONTANEITY height 10 20 30 40 50 60 70 80 90 100% depth width area of influence EMPLOYEE PRODUCTIVITY distance to core 10 20 30 40 50 60 70 80 90 100%

COST ($)

VOID OUTPUTS

VOID INTELLIGENCE

10 20 30 40 50 60 70 80 90 100%

UTS

VALUE ($)

10 20 30 40 50 60 70 80 90 100%

nce ore

100% DISRUPTION FACTOR

input point DECENTRALIZATION OF public or corporatePOWER AND WEALTH

VOID INTELLIGENCE height depth width area of influence distance to core

GENCE

FIELD OF INFLUENCE

OVERLAP OF PUBLIC/PRIVATE VOID (PERCENT)

input point public or corporate

GENCE

USER INPUTS

100%

10 20 30 40 50 60 70 80 90 100%

USER INPUTS

t orate

10 20 30 40 50 60 70 80 90 100%

RETHINKING THE OFFICE

70% 15%

corporate

15%

public

50% 50% 53% 54%

THE UNCERTAIN CERTAINTY OF OUR MORTALITY Oroboros Weâ&#x20AC;&#x2122;re designing a system of engagement with disposition that aligns both with the spatial and environmental imperatives of contemporary urban society, as well as with the scientific knowledge that we have come to embrace. There are a great many New Yorkers who are primarily secular in their outlook, having only nominal and residual ties to religious practices and beliefs. Yet, funerary practices remain steeped in convention and religious traditions, reflecting neither the knowledge nor beliefs these people hold in their daily lives. Science tells us that there is no end, that we are part of a never-ending cycle of conversions between molecules and energy. Like the Ouroboros the universe is a state of constant flux, of permanent impermanence, a dynamic infinity. From this, we are proposing to combine a funerary space with an aquaponic farm, where the promessed nutrients of the body are visibly and immediately converted into energy for the fish, which will in turn be sold as nutrients. We located some existing fish farms and markets, and propose that our design be integrated into this production and sales network. We believe our proposal may serve to replace the traditional funeral home over time, and potentially engage in a non-funerary network. By recognizing the permanence of impermanence through an immediate, visible and tangible experience of body disposition, we believe that we can provide a more fulfilling and cathartic funerary practice for the many New Yorkers by whom conventional practices are performed simply out of inertia. Regardless of oneâ&#x20AC;&#x2122;s religious beliefs, the grief death evokes is visceral: a disrupting and consuming void. The void is not just about emptiness, but rather about mourning the absent, knowing that something is missing, incomplete. Itâ&#x20AC;&#x2122;s a process of confrontation and shock, resistance and acceptance, an emotional hardening, and an eventual release, where even in the process of letting go, our grief erodes us.

Grief is also a feeling of detachment, of a forceful separation from something loved, the shock of which can be devastating. It’s the turmoil caused by pulling and resistance, something damaging and depleting. The recognition of the separation and void leads to recoil that isolates and inhibits future attachments, again, hardening us in response to pain. Though religions have historically offered us means of coping with this sense of absence and devastation, they, along with conventionally held beliefs, have also perpetuated the notion of death as a form of punishment as ghastly as something to fear in it’s bodily impermanence. Indeed, each of the three Abrahamic religions posit the notion that there is permanent spiritual life after bodily death, and further, that during a revelatory event the dead will reunite with a bodily form and dwell infinitely in an advanced state. This is significant, as it posits that death is transcended by physical resurrection—that permanence will occur in a bodily form. It describes a static infinity, where everything we know remains permanent and unchanging. But science tells us that nothing is truly created nor destroyed, but that the universe is an infinite network of continuous conversions of energy and matter over time. Our best efforts at bodily preservation are illusory, as nature takes us all in the end. Our carbon and hydrogen continue to cycle, as our bodies are simply one particular configuration of molecules in an infinite conversion. We want to offer a new practice, free from the illusion of static permanence by making the disposition process immediate, tangible and visible. By designing a funerary practice around the secular beliefs so many of us hold, we believe that we can more poignantly and cathartically impact the way we engage with death and its adjacent grief: to convert the void into fullness, erasure to completion, absence to presence. We are essentially proposing a system that is at once funerary, science sanctuary, marketable farm, and contemplation space. The remains are processed by promession, converted into nutrients to be delivered to the bereft for disposition elsewhere, or presented to the bereft at the facility for disposition on location. There are two column typologies, the freshwater system, and the Saltwater system. At street level, the bereft may proceed along a series of passageways. Beneath these passages is a vast network of aquariums, into which the bereft may release the nutrients when they are ready, with or without a formal ceremony. The bereft may proceed into a series of spaces designed for various levels of privacy, or descend a level to an open contemplation space, immersed in the network of aquarium tanks. Here, they can choose to perform a “wake” from the area traditionally reserved for the dead themselves- the underground, watching the ouroboros as it unfolds before them. Back onto groundlevel, the bereft has a choice of spaces they may gather in to honor their dead, ranging from intimate, private chambers to a very open, semi-public hall for larger celebrations. Finally, the bereft reconnect with the city from an exit along the west, through gardens and additional, non funerary-specific programming. By exiting through a celebratory and non-funerary entrance, we want to reinforce a flow such that one end is another’s beginning.

ADV. STUDIO V Partner - Jennifer Eletto Critic - Karla Rothstein Fall 2012

COLLECTING ARCHITECTURE TERRITORIES 120 Degrees The studio is an interrogation of territories, collections, their boundaries, and the quest to define and understand these fugitive terms. Through museum private collections we defined Territories of Dominance and Territories of Vulnerability by studying Jeff Koons’ empire and designing a heist. We then applied our concept of TOD’s and TOV’s in researching Rio’s sex industry. Power has been our main interest. In particular, we were fascinated with its dual condition such that vulnerability and dominance are in flux. With Koons, we hypothesized that authority is embedded in the very notion of a collection. The authority and influence forms a territory of dominance. This study reveals some extremely savvy strategies by koons who maintains authority over his collection despite his works being owned and disseminated beyond his immediate reach. By designing a heist to liberate the green helicopter from the MoMA’s collection, we can understand a criminal’s perception of space, unravel the operations of a museum, and find ways to see vulnerability. In general, a TOV is a volume, dependent on time, where there is lack of effective guardianship. We found that TOVs are inherent in every collection. They are sites of possible manipulation, exploitation, and compromise of ownership. And most importantly, we also discovered that TOV’s proliferate and exist on many levels. Prostitution is legal and unregulated in Brazil, and Rio has become the capital of sex tourism. On one hand, the government even details advice for sex workers on their Labor Ministry website, yet it is simultaneously attempting to undermine this industry as many loci of prostitution are uprooted as city image pruning.

We investigated the line of legality, finding it legally acceptable to prostitute oneself in public property. However, this swifty becomes illegal within the confines of a “building.” Operating a business for sex is illegal. This condition compromises the profession of sex workers, making them vulnerable to jail, abuse, exploitation, and disease.

We posit that architecture can negotiate between these conditions, mitigating vulnerabilities that come with this compromised legal status, allowing the prostitutes to essentially form their own collection. Our proposal is to create a public infrastructure for sex, mitigating vulnerabilities that come with this compromised legal status, allowing the prostitutes to essentially form their own collection. Infrastructure is for professional productivity of prostitutes and to counteract vulnerabilities in terms of health, safety, enclosure, and circulation. It is a essentially a workspace, and the design begins at human scale. We studied the body, range of motion, and collected the distance and angle of critical joints at common sex positions. From our ergonomic studies we derived an optimum curvature that supports the body in a range of vertical and horizontal conditions. There is only one rigid surface required for sex to take place - a floor or a wall. We designed wall modules with this curvature, which also contour the floor. These modules are arranged in various ways to form intimate opportunities for business, yet at the same time, never completely isolates a worker from the community. In our catalog of opportunities for sex and visibility, mitigate privacy and protects the workers. The crux of this project is that it must not be a building, but public infrastructure. Architecture must be the accomplice that opens the legal loophole, making regulation and the operation of an organization of prostitutes possible. As we posit, an efficient place of business, durable, hygienic, and situated in the urban fabric to be connected and monumental. The challenge, of course, is whether sober, efficient monumental architecture can reasonably perform the intimate, atmospheric needs of the sex act. We believe that constructing the design from the ergonomic scale, the smoothness of form fitted for infrastructure can help strike this balance.

ADV. STUDIO VI Critic - Mark Wasiuta Partner - Jennifer Eletto Spring 2013

ARCHITECTURAL DRAWING AND REPRESENTATION Digital Tools and Bas Relief Sample studies.

VISUAL STUDIES Critic - Joshua Uhl, Michael Young Fall 2010 Spring 2011

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MODULAR ARCHITECTURE Cairo Towers We were structurally experimenting with geometry that could be efficient and safe for modular construction in housing projects. We understood that the standard, rectangular shipping container dimensions are proven to work, but there must be something else! We found we could move away from the rectangle in a single move, and that it is possible to have a more irregular floor plan perform as modules. With Grasshopper, Ecotect, Vasari, CATIA, and SolidWorks, we were able to control loads of the entire structure. Using only a single module, the cairo proportions can fit easily with one another and also yield unusual spaces.

TECHNICAL ELECTIVE Critic - David Wallance Partner - Omar Morales Armstrong, Parker Seybold Fall 2011

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Ground Floor FLOOR PLANS

Tower A

CAIRO TOWERS

FLOOR PLANS

1/8 " = 1'

Tower B

nd Floor

round Floor

loor

nd Floor

Ground Floor

2nd Floor Tower A

CAIRO TOWERS

3rd Floor

FLOOR PLANS

Tower A

1/8 " = 1'

Tower B

Number of Units: 123 2nd Floor

Ground Floor

Studio: 44 3rd Floor 3rd Floor 1 BR: 53 2 BR: 26

Tower A

Total SF : 102, 452 FAR: 3.437 Number of Floors: 20 Footprint: 7,920 sf 2nd Floor

3rd Floor

Lot Coverage: 26% (74% open space)

3rd Floor

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MODULE

TRIBUTARY AREA

MODULE ALIGNMENT + VERTICAL LOAD TRANSFER

DETAILS

KIT OF PARTS

SINGLE MODULE with CROSS BRACING

MODULES COMBINE TO FORM UNITS

KIT OF PARTS 2 Modules

STUDIO

1 BR / 1 BA

2 BR / 1 BA

RETAIL STUDIO

1 BR / 1 BA

2 BR / 1 BA

BED

STUDIO

( 44 )

1 BR

( 53 )

2 BR

( 26 )

3 Modules

STUDIO

BED

BR1 DEB Kitchen

BR1 Kitchen

BED BED

Tower A 3 STUDIO 3 1-BR

Dining

Tower B

DEB

Living

1 STUDIO 1 1-BR 2 2-BR

x7 UNIT TYPES

UNIT TYPES

RETAIL

STUDIO

( 44 )

1 BR

( 53 )

2 BR

( 26 )

1 BR 4 Modules

Tower A

Tower B

3 STUDIO 3 1-BR

1 STUDIO 1 1-BR 2 2-BR

Ground Floor

2 BR

2nd Floor

3rd Floor

2 STUDIO 5 1-BR 2 2-BR

5 STUDIO 3 1-BR 2 2-BR

SECTION + UNIT TYPES

STUDIO

1 BR / 1 BA

2 BR / 1 BA

RETAIL STUDIO

1 BR / 1 BA

2 BR / 1 BA

BED

STUDIO

( 44 )

1 BR

( 53 )

2 BR

( 26 )

BR1 DEB Kitchen

BR1 Kitchen

BED

Tower B

3 STUDIO 3 1-BR

Dining

Tower A

DEB

Living

BED

1 STUDIO 1 1-BR 2 2-BR

x7 UNIT TYPES

UNIT TYPES

RETAIL

Ground Floor

STUDIO

( 44 )

1 BR

( 53 )

2 BR

( 26 )

2nd Floor Tower A 2 STUDIO 5 1-BR 2 2-BR

5 STUDIO 3 1-BR 2 2-BR

1 STUDIO 1 1-BR 2 2-BR

Ground Floor

3rd Floor

Tower B

3 STUDIO 3 1-BR

ELEVATION

111

3rd Floor

2 STUDIO 5 1-BR 2 2-BR

5 STUDIO 3 1-BR 2 2-BR

2nd Floor

3rd Floor

2 STUDIO 5 1-BR 2 2-BR

5 STUDIO 3 1-BR 2 2-BR

2ndx2 Floor

ELEVATION

DIGITAL DETAILING AND SIMULATION ANALYSIS Sculpting Sound This research is our investigation of curved panel arrangements and their effectiveness in directing sound architecturally. We are particularly interested in the challenge of using this curved panel to augment sound without blocking circulation or creating enclosure. Our experimentation site was Avery Hallâ&#x20AC;&#x2122;s basement cafe Brownies, which is home to both communal gathering as well as visiting exhibits. We wanted to find the optimal form of curved panel to input into the cafeâ&#x20AC;&#x2122;s existing floor plan to create one quite side of the space where sound is absorbed and one louder side where sound is concentrated. The parameters are depth, radius, number of panels, degree of curvature, and density of aggregated panels (both on larger overall curve as well as smaller dome attachments). In order to accomodate a wide variety of exhibits and events in the space, we want the panel to be flexible and customizable while using the same components. We believe this would be very useful for museums or library type spaces where there is a need for both sound experiences without creating a physical barrier. The challenge is that the space has to be created out of the same curved panel but this panel can be flipped when getting aggregated. We believe this would be very useful for museums or library type spaces where there is a need for both sound experiences without creating a physical barrier. We designed and tested for Brownies, but we envision this to be a modular system that can be reorganized for different spaces using the same panel. The panel would be two sided, one side optimized to bounce sound and one to absorb sound. We tested both the aggregation of these panels as well as the shape of one individual panel. The optimal shape of each panel should allow us to have greatest flexibility so that they can be aggregated for many different spaces. Rhino is our main 3D modeling tool along with grasshopper to parametrically create design variations. We used Ecotect to analyze the overall shape and aggregations to determine the optimized design that will produce the most extreme sound/no sound conditions. Our search is for a range of results that can work to create different sound distributions that would be desirable in this space.

TECHNICAL ELECTIVE Partner - Eliza Montgomery Critic - Mark Collins, Toru Hasegawa Fall 2011

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BUILDING TECHNOLOGY V BICO Factory-Office BICO is the a factory and office, combined with a glass atrium.

TECHNICAL ELECTIVE Critic - Robert Condon Partner - Rebecca Dale, Ray Ho, Eli Robertson Spring 2012

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121

SITE PLAN 1/32” = 1’

CLO

SIXTH F 1/8” = 1’

STORA

WEST ELEVATION 1/8” = 1’

SOUTH ELEVATION 1/8” = 1’

EAST ELEVATION 1/8” = 1’

CLOS

TYP. SE 1/8” = 1’

PRECAST PAVERS

DAVIT FOR FACADE CLEANING

ROOF PAVING PLAN 1/8” = 1’

DAVIT FOR FACADE CLEANING

SKYLIGHT FRAMING

BATHROOM EXHAUST FAN

14.4 A

14.3 A

FACTORY EXHAUST FANS

12.1 A 12.2 A

ATRIUM SMOKE EXHAUST FANS 5 DEGREE SLOPE

BATHROOM EXHAUST FAN

14.1 A 14.2 A

DOAS WITH HEAT RECOVERY, OFFICE SUPPLY AND EXHAUST STAIR ENCLOSURE

14.5 A 15 A

ROOF PLAN

12.1 A

1/8” = 1’

SIM.

10.4 A

10 A OFFICE

STORAGE

SIM.

OFFICE

MECHANICAL ROOM MECH. ROOM

OPEN OFFICE FLOOR/STUDIOS WOMEN

MEETING AREA

CLOSET

OFFICE

OPEN TO BELOW

11 A

MEN

WOMEN MEN

OFFICE

10.1 A

CLOS.

13 A

CLOS.

OFFICE

10.2 A

SEVENTH FLOOR PLAN 1/8” = 1’

WEST ELEVATION 1/8” = 1’

NORTH-SOUTH SECTION 1/8” = 1’

SOUTH ELEVATION

EAST ELEVATION

1/8” = 1’

EAST-WEST SECTION 1/8” = 1’

123

BALCONY

OFFICE

STORAGE

OFFICE

MECHANICAL ROOM MECH. ROOM

FINISHING FLOOR

WOMEN

OFFICE

OPEN TO BELOW WOMEN

MEN MEETING ROOM

MEN

CLOSET

OFFICE CLOS.

7.1 A

LOUNGE

7.2 A

OFFICE

OFFICE BALCONY

SIXTH FLOOR PLAN 1/8” = 1’

6.2 A 6.3 A

STORAGE

6.1 A

3.2 A

MECHANICAL ROOM

MECH. ROOM

3.1 A FINISHING FLOOR

WOMEN

OPEN TO BELOW

OPEN OFFICE WOMEN

MEN MEETING ROOM

CLOSET

MEN

5.1 A 5.2 A

LOUNGE

CLOS.

4 A

CLOS.

9 A 5.3 A

2 A

TYP. SECOND - FIFTH FLOOR PLAN I 1/8” = 1’

10 A

8 A

STORAGE

MECHANICAL ROOM

RETAIL SPACE MECH. ROOM

FACTORY FLOOR

LOBBY EXHIBITION HALL

WOMEN

MEN

CLOSET

RETAIL SPACE

xx A CLOS.

1.2 A

FIRE DOORS

1/8” = 1’

FIRE DOORS

MAIN ENTRANCE FIRE DOORS

FIRST FLOOR PLAN

10.3 A

MEN

1.1 A

10 A

SIM.

125

TYPICAL HVAC FLOOR PLAN

1/8” = 1’

EDGE OF SLAB

TOP-OF-SLAB ANCHOR

OPAQUE GLASS

AHU P G Underf

TOP-OF-SLAB ANCHOR

Perimeter Fin-tube RaSMOKE SEAL diator

DOUBLE-GLAZED CURTAIN WALL

Hot Water from District Steam

FURRING

FIRE SAFING

Perimeter Fin-tube Radiator

AIR/VAPOR

Hot Water from District Steam 12” CONCRETE SLAB DRYWALL CEILING FINISH

TYPICAL HVAC FLOOR PLAN

1/8” = 1’

DOUBLE-GLAZED CURTAIN WALL

1 1/4” DOUBLE GLAZING ( 5’ x 14’ PANEL ) TOP-OF-SLAB ANCHOR

GYP BOARD

W33x169

FURRING CHANNEL CMU WALL

FACTORY SLAB TYPICAL HVAC FLOOR PLAN MOUNTING BRACKET

1/8” = 1’

8” DIAM. STEEL PIPE OPAQUE GLASS

MOTOR UNIT

TOP-OF-SLAB ANCHOR

NEOPRENE PAD

GYP BOARD

PIN CONNECTION

TILTING MECHANISM

3/4” THICKNESS

SPINDLE

1/2” THICKNESS

SMOKE SEAL

STRONGBACK CASETTE SUPPORT (with neoprene pad)

FIRE SAFING

CMU WALL

1/2” STEEL CABLE

EXTERIOR LIGHT SHELF

SPIDER ATRIUM

SLAB

FURRING CHANNEL

EMSEA

INTERIOR LIGHT SHELF

4” RIGID

10” HORIZONTAL LOUVER SILICONE SHEET FLASHING

DOUBLE-GLAZED STICK SYSTEM CURTAIN WALL

8 A

4” RIGID INSULATION

STONE ANCHOR

3” X 4’ X 3 1/2’ LIMESTONE PANEL

3” X 4’ X LIMEST STONE

DRYWALL CEILING FINISH

2 A

1.2 FACTORY CURTAIN WALL WITH LIGHT SHELF A 3” = 1’-0”

3” = 1’-0”

SWAGE FITTING

TURNBUCKLE

2” DIAM. PIPE

4” DIAM. STEEL PIPE GYP BOARD

TOP-OF-SLAB ANCHOR

AIRSPA

12” CONCRETE SLAB

OFFICE CURTAIN WALL TO ATRIUM GLAZING 3” = 1’-0” 1.1 FACTORY ENVELOPE

TUBE CLAMP

AIR/VAPOR BARRIER

SOFFIT

SWIVEL FITTING W COUNTERSUNK HEAD AIR/VAPOR BARRIER

FACTORY E

3” = 1’-0”

DOUBLE GLAZING

DOUBLE-GLAZED CURTAIN WALL

FURRING CHANNEL CMU WALL

OPAQUE GLASS

6.2 SPIDER FITTING TO GLASS TO STRONGBACK SECTION (NORTH FACADE) A 1-1/2” = 1’

6.1 SPIDER FITTING TO GLASS TO STRONGBACK PLAN (NORTH FACADE) A 1-1/2” = 1’

TOP-OF-SLAB ANCHOR

SPIDER-GLAZED ATRIUM WALL

GYP BOARD 10” VERTICAL LOUVER

FURRING CHANNEL

SMOKE SEAL EXTERIOR LIGHT SHELF

FIRE SAFING DOUBLE-GLAZED STICK SYSTEM CURTAIN WALL

SILICONE SHEET FLASHING

4” RIGID INSULATION

STONE ANCHOR

3” X 4’ X 3 1/2’ LIMESTONE PANEL

4” RIGID INSULATION

2 A

1.2 FACTORY CURTAIN WALL WITH AIR/VAPOR LIGHT SHELFBARRIER A 3” = 1’-0”

INSULATION

AIRSPACE

FACTORY ENVELOPE TO ATRIUM GLAZING

3” = 1’-0”

3” X 4’ X 3 1/2’ LIMESTONE PANEL STONE ANCHOR

DOUBLE-GLAZED CURTAIN WALL

SKYLIGHT IGU

DRYWALL CEILING FINISH

6.3 SPIDER CABLE ANC A 1 1/2” = 1’

EMSEAL

AIR/VAPOR BARRIER

3” = 1’-0”

12” CONCRETE SLAB

TILTING MECHANISM INTERIOR LIGHT SHELF

LATERAL LOUVER GUIDE

1.1 FACTORY ENVELOPE A

CMU WALL

DAVIT TOP-OF-SLAB ANCHOR

LATERAL LOUVER GUIDE

MOUNTING BRACKET

10” HORIZONTAL LOUVER TILTING MECHANISM MOUNTING BRACKET

ROOF PARAPET

MOUNTING BRACKET

DOUBLE-GLAZED CURTAIN WALL

MOTOR UNIT TILTING MECHANISM TOP-OF-SLAB ANCHOR

ROOF MEMBRANE

14.5 SKYLIGHT NORTH AND SOUTH SUPPORT (FIXED) A 1’ = 1’

SPINDLE

10” HORIZONTAL LOUVER

15 ROOF DAVIT SOCKET DETAIL A 3” = 1’ 10.1 LOUVER CORNER CONNECTION 3” = 1’-0” A

10” HORIZONTAL LOUVER

DOUBLE-GLAZED CURTAIN WALL

LATERAL LOUVER GUIDE

1’2” X 1’2” CONCRETE COLUMN

10.2 OFFICE ENCLOSURE DETAIL A 3” = 1’-0” REBAR STEEL COLLAR

6TH FLOOR SLAB

NEOPRENE

PRECAST PAVER

DOW S INSULA

EXT.

INT.

INTERIOR LIGHT SHELF

EXTERIOR LIGHT SHELF

GLAZING ALUMINUM CHANNEL

L-BRACKET

1.2 FACTORY CURTAIN WALL WITH LIGHT SHELF 9 OFFICE CURTAIN WALL A 3” = 1’-0” A 3” = 1’-0”

SUSPENDED W-SECTION

CEILING PANEL

FACTORY ENVELOPE TO ATRIUM GLAZING

ACOUSTIC 11 LOW-FREQUENCY 3” = 1’-0” ISOLATION A 1-1/2” = 1’-0” A

10.1 INT GLASS PARTITION TO EXT CURTAIN WALL 3” = 1’-0” A

12.2 ROOF PAVER AT DRAIN A 3” = 1’-0”

3 A

127

129

SITE PLAN 1/32” = 1’

MOVEABLE LOUVER SYSTEM

Elisabeth Robertson

Kim Nguyen

Rebecca Marriott

Ray Ho

1/8

10.4 A

1/8

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ADVANCED CURTAIN WALLS High-End Monastery The monastery, wedged among the majestic granite boulders of Cam Ranh, Vietnam, is a hidden gem. It blends in with the natural surroundings as one with the hillside’s natural beauty. But it is a place much more radiant than it appears to be, for those who believe it exists or care to seek it. I am proposing a double skin facade that expresses the notion of “diamond in the rough.” It is composed of an inner glass layer, revealed behind a granite layer. It is possible to achieve this look with material and structural efficiency using a unit curtain wall system. The granite slabs (quarried from the site) are supported (to hover) just outside the glass by brackets off of each mullion. These stainless steels brackets, which slide into the mullion, accommodate varying positions of the outer stones. Though the inner layer is mostly concealed by the granite, irregular spaces between each unit pieces allow the glass’s reflective glimmer to shine through.

TECHNICAL ELECTIVE Critic - Robert Heitges Spring 2013

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KIMBERLY V.K.H. NGUYEN advanced curtain wall spring 2013

YEN

KIMBERLY V.K.H. NGUYEN advanced curtain wall spring 2013

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BEYOND PROTOTYPE Aperture Cells APERTURE CELLS is a self-supporting component-based partition system constructed out of (3) 1/2” acrylic sheets. The two components - “jacket” and “aperture” - used in this system are developed to create a partition hybridizing a structural element and a porous skin. The use of parametric modeling software such as Rhino and Grasshopper has allowed us the flexibility to investigate the form of the system without altering the connection assembly already embedded within the design. This process allowed us to quickly and efficiently transition between a virtual system to a full-scale physical prototype. The prototype shown is fabricated using a CNC mill, plastic bender, and connected using 1/4” sex bolts.

FABRICATION Partner - Bo Liu, Lalima Chemjong, Michael Gonzales Critic - Jason Ivaliotis Spring 2011

139

physical prototype. The prototype shown is fabricated using a CNC mill, plastic bender, and connected using 1/4" sex bolts.

MILLED “APERTURE PIECE”

MILLED “JACKET PIECE”

HEATBENT JACKET

2 JACKETS COMBINED 2 JACKETS APART

HEATBENT APERTURE JACKETS

REINFORCEMENT ANGLE

APERTURE FITS INTO JACKET SEX BOLTS

COMBINED APERTURE + JACKET

GUSSET PLATES

141

FABRICATION

DESIGNERS :

Lalima Chemjong Michael Gonzales

Bo Liu Kim Nguyen

PAPER STUDIES

GRID ANALYSIS

APERTURE VARIATIONS

GRASSHOPPER DEFINITIONS

CONTRACTION

EXPANSION

3D MODELING + OPTIMIZATION

TESSELATION

PARAMETRIC SURFACING

APERTURE PIECE [ before bending ]

UNROLLED CUT FILES

CNC MILLING

SANDING FOR “FROSTED” APPEARANCE

ASSEMBLY

DETAILING

PROPER WASHER COLOR + SIZING

ANGLE + BOLT CALCULATIONS

APERTURE PIECE [ frosted ]

JACKET PIECE [ translucent white ] ANGLE JACKET PIECES BOLT + WASHERS

APERTURE PIECE [ transparent ]

HEAT STRIP

BENDING ANGLE

COOLING WITH CLAMPS

REINFORCEMENT ANGLE

143

PARAMETRIC REALIZATIONS Bud Light From the syllabus by Mark Bearak and Brigette Borders: Parametric modelers are commonly used in the development of digital architectural models, but they are rarely taken to the point of becoming physical realities. This course will look at the process of generating parametric algorithms then turning those models into physical realities. Students will work in groups to design a product that will be the physical realization of their scripted protocol. We were inspired by the dried leaves of a tomatillo bud, and made some models out of wire and hot glue. Perhaps it would be interesting to make a chandelier or some kind of lighting fixture from this: We modeled a more simplified version of this organic “bud” form using Grasshopper and Rhino. Then we unrolled the surface to make a trial paper model of our “lamp”: It began with the conversion of our Rhino/Grasshopper files into a software called Mastercam. We mapped each of the bending angles and noted the pressures used for the brake press, then created a jig to bend the aluminum at precise angles. Finally we installed top piece with bulb fixture, and sewed table cloth strips inside to diffuse light. Though not perfect, the prototype is not too far off from our digital model. For the next one, we would try to minimize the number of angles, exploit the stitch patterns at bends, and reconsider the fabrication tolerances on tab connections for a more seamless product.

FABRICATION Partner - Phillip Crupi, Jessica Kuo, Ali Milo Critic - Mark Bearak, Brigette Borders Spring 2012

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SURFACE, SCREEN, STRUCTURE ShoeLACE Diagrid Our goal was to combine intricacy and movement in a shading screen for the Adidas Store facade. Because the program is a sports store, we wanted to create a facade that expresses motion and reflects the activity and movement of people entering, leaving, and throughout the building. We were particularly interested in creating this sense of movement through layers, because the layering allows for the facade to be read differently depending on oneâ&#x20AC;&#x2122;s position and view of the building. At the same time, we wanted this sense of movement (rather than a literal operation) to be informed by the variation of solar exposure. The process has been about simplifying design while maintaining the essence of movement by exploring techniques of parallax, expansion, and contraction. Our facade system is a two-layer facade, with an inner folded aluminum diagrid supporting wooden frames. Using two materials, we aimed to bring out the softer qualities of wood with the hard edge of steel.

FABRICATION Partner - Amir Afifi, Rebecca Dale, Damon Lau, Michelle Park Critic - Joseph Vidich Fall 2012

149

MODULE FOR FABRICATION / version 1

MODULE FOR FABRICATION STEEL C-CHANNEL PLATES STIFFENED BY WOOD INFILLS

MODULE FOR FABRICATION / connection details CONCEPT

DESIGN DEVELOPMENT

FABRICATION

SHADING

AGGREGATION

CUSTOM WASHER

S T E E L A R M BRACE

S T E E L DIAMOND P L A T E

S T E E L E L B O W P L A T E

CONCEPT

DESIGN DEVELOPMENT

FABRICATION

SHADING

AGGREGATION

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FAST PACE SLOW SPACE TINA TINA (Tensile Integrity Nodal Assembly) is the creation of ten students of the Graduate School of Architecture, Planning and Preservation at Columbia University (GSAPP). One day, we woke up and said, “Hey! Let’s build something beautiful and complex that uses every software we know” And so it began. We built some models.....they failed. We tried again. ( This time we worked with an engineer ) The models worked a little better. We talked to lots of other people (like other engineers, fabricators, etc.) One cold April day, she stood. We made our first prototype, and we were in love. We’ve been troubleshooting joints and connections. We got free tension hardware from a company called Gripple. Two more weeks and she’ll be standing proudly in front of Avery Hall, to celebrate our graduation from the most grueling 3 years of our lives. The structure will be realized using advanced CAD software (Grasshopper, Rhino, RhinoCam, Python,etc) and computer numerically controlled fabrication at the school. It will be installed in an open space at the School of Architecture for the school’s End of Year Show on May 18th and will be disassembled after the University’s Graduation on May 23rd. TINA will be a double-curved and vaulted plywood and steel cable-stayed structure. The structure will be composed of 600 unique ‘boomerangs’ that are fastened and tensioned into arches. When aggregated, the boomerang arches will form a lacey enclosure. The plywood is 1/2” th. baltic birch multi-ply which will be finished with clear waterproofing. The cables will be 2mm galvanized steel aircraft cable and they will be held in tension using Gripple #2 industrial gripples (rated at 100lbs design load, 520lbs failure load). The arcuated bay dimensions range from 7’ wide x 9’ tall to 12’ wide by 12’ tall and the depth of the surface is an average 16 inches. The structure will be secured to concrete blocks (or similar) to aid in the resistance of wind loading.

TECHNICAL ELECTIVE Partner - Nicole Allen, Collin Anderson, John Barrett, Phillip Crupi, Chelsea Hyduk, Bo Liu, Michelle Park, Anthony Sunga, Sydney Talcott Critic - Mark Bearak, Brigette Borders Fall 2011

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DATA VISUALIZATION E-Cube-Librium E-cube-librium is a new interactive tool for data visualizing and evaluating imbalanced world development. It was the winning project at the global 2011 Visualizing Marathon, a competition held by visualizing.org to challenge students to design innovative tools that use data to address global issues. By configuring social, economic, and environmental data, the cube represents a country’s growth in a visualization inspired by the Rubiks puzzle. The 3D extrusion on each cube face is a sustainability indicator, showing volumes where data increases or decreases. We are able thus to quickly draw connections and visually identify how each factor affects the equilibrium of the entire system. In general, outward protrusions are positive indicators of growth, and vice versa. Our “world database” (accessible at www.visualizing.org/visualizations/e-cube-librium) allows us to compare countries to one another and to understand how each country’s e-cube-librium changes over time. Our code itself is flexible, parametric, and has the potential to be adapted as an interactive tool for a range of users who wish to visualize the relationship between metrics and indices. Since winning the grant, we have continued to develop our tool by analyzing data at the scale of the city. Specifically, we have been testing E-cube-librium on New York City neighborhood data and attempting to visualize the balance between metrics, which contributes to economic, social, and environmental sustainability. We are also currently designing a human-scale interactive public installation based on the E-cube-librium concept. The goal of the installation is to turn typically abstract and vast data into something tangible and, in the process, raise awareness of global socioeconomic conditions. We are using the Makerbot in order to three-dimensionally print and display the data as an experience.

RESEARCH Partner - Rebecca Dale, Damon Lau, Cheng Lee Advisor - Laura Kurgan Fall 2012

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GDP PER CAPITA PPP URBANIZATION

INCOME INEQUALITY GDP/CAPITA PPP WITH WATER ACCESS

KYOTO PROTOCOL CO2 LEVELS VS GDP GROWTH

EQUILIBRIUM

TECH WEB+CELL

DEFORESTATION

WATER ACCESS

CO2 EMISSIONS

UNEMPLOYMENT

HEALTH EXPENDATURE

HUMAN DEVELOPMENT INDEX

CO2 EMISSIONS VS URBANIZATION HDI W/ HEALTH EXPENDERATURE

LIFE EXPECTANCY /UNDERNOURISHMENT

KEEPING E[CUBE]LIBRIUM RELATED ECONOMIC INDICATORS ARE SET ON OPPOSITE FACES OF THE CUBE AND AS ONE SIDE EXPANDS, THE OTHER MUST EITHER SHRINK AND LOOSE EQUILIBRIUM OR BREAK FROM CURRENT MODELS OF DEVELOPMENT

URBANIZATION W/ WATER ACCESS

UNDERNOURISHMENT VRS LIFE EXPECTANCY

URBANIZATION VS DEFORESTATION

UNEMPLOYMENT VS UNDERNOURISHMENT

URBANIZATION W/ TECH ACCESS

HUMAN DEVELOPMENT INDEX W/ EMPLOYMENT

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