Lindsay Schragen // Selected Works 2015 by Lindsay Schragen

LINDSAY SCHRAGEN SELECTED WORKS

LINDSAY SCHRAGEN + + +

EMAIL_SCHRAGLB@GMAIL.COM WEB_WWW.LBSCHRAGEN.COM PHONE_201.661.0657

00INDEX

01 ESTUARIUM26 CRITIC _ PHIL PARKER SPRING 2015 _ P. 02

BALNEAE 02 BKLYN CRITIC _ STEPHANIE BAYARD FALL 2012 _ P. 26

+ FIELDS FLICKRSCAPE 03 UNITS 08 CRITIC _ CHRIS KRONER CRITIC _ ALEX BARKER FALL 2012 _ P. 40

FALL 2014 _ P. 130

REALITY 09 GLITCH INDEPENDENT STUDY

HOUSING 04 MOD CRITIC _ JAMES GARRISON

FALL 2014 _ P. 142

FALL 2013 _ P. 50

MAZE 10 HEDGE CRITIC _ DAVID RUY

05 MATADOURO CRITIC _ THOMAS LEESER

FALL 2014 _ P. 156

SPRING 2014 _ P. 72

06 REFLECTIVE/FAB CRITIC _ JEFFREY TARAS

REAL 11 ESTRANGED CRITIC _ FERDA KOLATAN

SPRING 2013 _ P. 108

SPRING 2015 _ P. 184

IN PATTERN 12 LOST CRITIC _ MARTIN MAZORRA

BRIDGE 07 SOUTHQUAY CRITIC _ CHRIS KRONER

SPRING 2015 _ P. 194

SPRING 2013 _ P. 122

13 NAUTILUS CRITIC _ ROBERT CERVELLIONE FALL 2013 _ P. 208

14 LINDRIKATT CRITIC _ ROBERT CERVELLIONE FALL 2014 _ P. 216

CRITIC_PHIL PARKER PRATT INSTITUTE SPRING ‘15

ESTUARIUM26

++ INFO

This process driven studio focused on measuring, monitoring, and simulating - beginning with the examination of water intensities, then moving onto detailed biological apparatus studies, and finally the site, Pier 26, in New York City. In researching the apparatus I was interested in the MRI with focus on DTI (diffusion tensor imaging). The MRI is a device that reveals to us what cannot be seen - as in, it looks inward in a process of steps - on the surface there is your physical brain, then the MRI reveals to us the white vs grey matter - but does not explain what is happening within the white matter - which is where the Diffusion Tensor Imaging becomes of interest. DTI is a process that looks at the diffusion of water molecules in our brains, measuring them in voxels and displaying them as ellipsoid forms that then show patterns of flow within the white matter through the fiber tractography drawings, essentially creating visual maps of nerve networks in the brain. With interest in diffusion I have in turn created a sort of diffusing apparatus for the hudson - a “filtering device” that allows for a variety of intensities to flow through building. While the original pilings are no longer present, their identity remains as the porous holes that filter the flows throughout: the zones of interest are light, people, and water as well as what lives within the water: sediment, plant, animal life. The zones rarely remain independent of each other, and the surfacing plays upon how they interact/where they meet.

ESTUARIUM26 | 04

0.0

BIOLOGICAL APPARATUS DIAGRAM SERIES MRI » DTI » FIBER TRACTOGRAPHY

+1.0

+2.0

+3.0

ESTUARIUM26 | 06

DIFFUSION + SITE APPARATUS DIAGRAM

ESTUARIUM26 | 08

CROSS SECTION GUIDE

ESTUARIUM26 | 10

A-A

B-B ESTUARIUM26 | 12

C-C

D-D ESTUARIUM26 | 14

ESTUARIUM26 | 16

ESTUARIUM26 | 18

ESTUARIUM26 | 20

ESTUARIUM26 | 22

ESTUARIUM26 | 24

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CRITIC_STEPHANIE BAYARD PRATT INSTITUTE FALL â&#x20AC;&#x2DC;12

BKLYNBALNEAE ++ INFO After spending half a semester experimenting with material studies, I applied the techniques learned to the development of an intervention into the strata of the urban edge. The specific site, currently a paved triangular park, is located in DUMBO, Brooklyn, directly beneath the Manhattan Bridge. The site was developed into a modern-day take on the ancient public bath system. A systematic approach was taken to the development of the site, by conducting a series of studies using Voronoi & Delaunay systems in grasshopper derived from a series of points directly taken from the studies of flow.

WATER ST.

PL.

PEARL ST.

AGE

BKLYN BALNAE | 28

BKLYN MATADOURO BALNAE | 02 30

BKLYN MATADOURO BALNAE | 02 32

BKLYN BALNAE | 34

BKLYN BALNAE | 36

BKLYN BALNAE | 38

CRITIC_CHRIS KRONER PRATT INSTITUTE FALL ‘12

UNITS+FIELDS

++ INFO

Walls have historically been made of repeated components (consider bricks, sticks, tiles and shingles). However, the ability to sculpt these repetitious pieces can transform simple patterning into lyrical screens causing excitement and wonder. Mid-century modern screens were designed not only as spatial dividers but spatial veils, thereby reconsidering the thickness and the permeability of the division between spaces. Recent digital procedures have facilitated the understanding of such component to whole, but have also allowed for the mutability and fabrication of distinctive units. Erwin Hauer, Austrian born sculptor began in the 50’s to explore infinite continuous surfaces. From these, perforated modular structures developed that lent themselves to architectural usage. After replicating a series of Erwin Hauer modeled screens digitally through the use of Maya, I developed and designed my own unique unit to fit within an “aggregated screen”.

UNITS + FIELDS | 42

UNITS + FIELDS | 44

UNITS + FIELDS | 46

UNITS + FIELDS | 48

CRITIC_JAMES GARRISON PRATT INSTITUTE FALL ‘13

MODHOUSING ++ INFO In this housing studio, students research the physical, environmental, social, and cultural conditions of a NYC urban site, one that currently has some sociopolitical import in New York City. It is both a housing studio and an urban context studio and students examine the urban dwelling unit’s contingencies relative to urban systems and infrastructure. I decided to focus on the concept of inhabiting the roofs of “big box”-type neutral spaces with a modular housing system that would create thriving communities in otherwise dross unused spaces. The modular system came about after doing a number of studies through unit development, and then aggregating the units onto the top of the mixed use component (“big box” type structural system), which in this case is a YMCA. The complex is composed of 54 units, ranging from studios - 3 bedrooms, and is a 4 story walk up, each unit is entered separately. The system is extremely flexible, allowing me to easily get rid of units or add units, and is able to be added onto in the future for further development.

MOD HOUSING | 52

STUDIO 1 BEDROOM 2 BEDROOM 3 BEDROOM

MOD HOUSING | 54

MOD HOUSING | 56

STUDIO | 10 UNITS AT 360 SF EACH

1 BEDROOM | 14 UNITS AT 720 SF EACH

MOD HOUSING | 58

2 BEDROOM | 20 UNITS AT 864 SF EACH

3 BEDROOM | 12 UNITS AT 1296 SF EACH

MOD HOUSING | 60

MOD HOUSING | 62

P17

P18

P19

P20

P21

P22

P23

P24

P25

P10

P26

P11

P27

P28

P29

P30

P31

P32

P33

P34

P35

P36

P37

P38

P39

P40

P41

P42

P43

P44

P12 P13 P14 P15

P16

GROUND LEVEL PLAN

FIRST LEVEL PLAN MOD HOUSING | 64

SECOND LEVEL PLAN

THIRD LEVEL PLAN MOD HOUSING | 66

SECTION A-A | TRANSVERSE

SECTION B-B | LONGITUDINAL

MOD HOUSING | 68

MOD HOUSING | 70

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CRITIC_THOMAS LEESER TEAM_CHRIS TESTA & ELISA FENG PRATT INSTITUTE SPRING â&#x20AC;&#x2DC;14

MATADOURO

++ INFO

In the CAP studio semester, I worked alongside partners Chris Testa and Elisa Feng to tackle an interesting and relevant public issue: how to properly design a slaughterhouse that educates the public about meat production and consumption, while being sustainable. In society today, we consume a huge amount of meat every day, yet the process of how the meat on the burger you are eating gets to your plate is completely hidden from and ignored by the general public. Our project aims to expose the process of slaughter through a gradient of transperencies and controlled valences. This gradient is divided between different types of space: dirty & clean, public & private, vertical & horizontal. Through a series of ramps, the pedestrian pathways mimic animal pathways, allowing true sectional opportunity for the controlled meeting of the two worlds. Through this public exposure, we strived to maintain a high standard of sustainable efficiency throughout the lifespan of the building using strategies such as anaerobic digesters that transform slaughter waste into biogas, creating usable energy to heat our building

MATADOURO | 74



LINA BO BARDI SESC POMPÉIA

BOURBON SHOPPING CENTER

SOCCER STADIUM

Prevailing Winds

Av e ra g e W ind T e mp e ra ture s

NOR T H 345°

Location: SAO_PAULO/ CONGONHAS, BRA (-23.6°, -46.7°)

Date: 1st January - 31st December Time: 00:00 - 24:00

50 km/ h

°C

1 5°

45+ 330°

30°

40 35

40 km/ h 31 5°

45°

25 20

30 km/ h

15 300°

60°

10 5

20 km/ h

<0 285°

75°

10 km/ h

W EST

W/ m²

255°

1000

Weekly Summary

E AS T

1 05°

W/ m² 900+ 800

D ire c t S o la r R a d ia tio n (W / m² ) Location: SAO_PAULO/ CONGONHAS, BRA (-23.6°, -46.7°)

700 600 500 400

800

240°

300 200 100 <0

600

1 20°

225°

400

1 35°

21 0°

1 50°

1 95°

1 65° SOU T H

200

12 16 20 24 28 32 36 40 44 48 52

4 8 12 16 20 24 Hr

Prevailing Winds W ind Fre q ue nc y (H rs )

NOR T H 345°

Location: SAO_PAULO/ CONGONHAS, BRA (-23.6°, -46.7°)

Date: 1st January - 31st December Time: 00:00 - 24:00

50 km/ h

hrs

1 5°

503+ 330°

30°

452 402

40 km/ h 31 5°

352

45°

301 251

30 km/ h

201

TRANSIT STATION BARRA FUNDA METRO

300°



60°

150 100

20 km/ h

<50 285°

75°

10 km/ h

W EST

E AS T

255°

1 05°

240°

1 20°

225°

1 35°

21 0°

1 50°

1 95°

1 65° SOU T H

MATADOURO | 76

cattle holding pen (healthy) 800 SF ante-mortem inspection 800 sf

cattle holding pen (healthy) 800 SF

waste removal 200 sf

water storage 200 sf

food storage 200 sf

equipment storage 200 sf

generator room 200 sf

mechanical 4,000 sf

cattle holding pen (suspect/ condemned) 800 sf

dehiding 1,000 sf

inspection 400 sf

head and extremity removal 2,000 sf

locker rooms 1,800 sf

intake 500 sf

stunning 500 sf

hoisting 1,500 sf

bleeding 500 sf

chilling / hanging 2,000 sf

cutting / deboning 1,500 sf

packaging 1,500 sf

cafe 3,000 sf

deli 2,000 sf

meat market 2,000 sf

final storage tank 106,000 cubic ft radius 35 ft height 10 ft

fermenter 2 35,000 cubic ft

offices 200 sf offices 200 sf conf. rm 600 sf

restrooms 400 sf

BIOGAS PROCESS

crushing 12mm lobby / reception 2,000 sf

leather goods 2,000 sf

offices 200 sf offices 200 sf

locker rooms 1,200 sf

freezing / delivery 1,500 sf refrigerator 300 sf

PROGRAM DIAGRAM

fermenter 3 35,000 cubic ft

offices 200 sf conference room 600 sf

employee restrooms evisceration, viscera processing and splitting 3,000 sf

WASTEWATER TREATMENT

parking 50 cars storage tank

fermenter 1 21,000 cubic ft

MATADOURO | 78

SKYLIGHT

+ 24.0

ENVELOPE: STEEL FRAME STRUCTURE

CARVING OF INTERIOR

METAL MESH SCREEN

FREEZING

+ 5.0

DEHIDING STUNNING

DIRTY BLEEDING HOISTING

CLEAN

HEAD REMOVAL

+ 12.0

BLENDING OF INTERIOR DIVISIONS

+ 0.0

-10.0 + 3.0 -5.0

WORKER

+24.0

ADMIN

+ 12.0

CATTLE

+ 0.0

PUBLIC - 12.0

BUILDING BOUNDARY

SERVICE ZONE [BIOGAS / STORAGE / VERTICAL CIRCULATION]

PRESSURES FROM SURROUNDING

PUBLIC

SLAUGHTER HALL

PUBLIC

SLAUGHTER HALL

DIVIDE ZONES INTO ROOMS

ADMIN

ADMIN 3 ENTRANCE POINTS PROGRAM + FIGURE GROUND ARRANGEMENT

MATADOURO | 80

MATADOURO | 82

MATADOURO | 84

3 A201

2 A203

BIOGAS

OPEN TO BELOW BLEEDING

OPEN TO BELOW

HEAD/EXTREMITY REMOVAL PACKAGING/DELIVERY

OPEN TO BELOW

3 HOISTING PACKAGING/DELIVERY

3.5

4 A203

OPEN TO BELOW

1 S201

DEHIDING

4.5 STUNNING

OPEN TO BELOW

4 A201

PACKAGING/DELIVERY

5.5 2 A200

1 A202

6 D CHILLING + HANGING

6.5

OPEN TO BELOW

SCREENING RM + CONF. RM

7.5 LEATHER SHOP 2 LEATHER SHOP 1 MENS PUBLIC SPACE

OFFICE OFFICE

GROUND FLOOR +0'0"

WOMENS

8 OFFICE

4 A203

OFFICE CONF. RM

OFFICE

9 OFFICE

DELI

RESTAURANT

CAFE

OFFICE STORAGE

OFFICE

10 OUTDOOR CAFE 1 A200

1 S200

GROUND FLOOR PLAN

PARKING

3 A201

2 A203

BIOGAS

3.5

4 A203

1 S201

4.5 5

4 A201

5.5 2 A200

1 A202

6 D

6.5 STORAGE

7 7.5

8 4 A203

4 A300

9 CONF. RM RESTAURANT

SECOND FLOOR +12'0"

STORAGE

OUTDOOR BAR

1 A200

1 S200

SECOND FLOOR PLAN MATADOURO | 86

3 A201

2 A203

3.5

4 A203

4.5 5

4 A201

5.5 2 A200

1 A202

6 D

6.5

7 7.5

8 4 A203

ROOF +25'0" - 30’0”

10 1 S200

1 A200

ROOF PLAN

RM 09 1,656 SF 4,140 CFM 3 FCU

RM 03 989 SF 2,472 CFM 2 FCU

RM 04 2,260 SF 5,650 CFM 4 FCU

RM 07 RM 02

RM 08

1,835 SF 4,587 CFM 3 FCU

1,225 SF 3,062 CFM 2 FCU

UNDERFLOOR AIR VENTS (UFAD SUPPLY BELOW) TYP. FOR PUBLIC SPACES

RM 05 2,791 SF 6,977 CFM 5 FCU

RM 01

RM 06

845 SF 2,112 CFM 2 FCU

RM 07 1,759 SF 4,397 CFM 3 FCU AIR OOR OUTD CFM 5,820

R RIO CFM EXTE 20 U 1 T, 5,8 AH US EXHA

LY SUPP

OR AIR OUTDO CFM 71 17,4

RM 06

AHU 2: 8'x8'x20' (ZONE 2)

FAN COIL UNIT (FCU) 18"x18" (TYP.)

AHU 1: 8'x8'x20' (ZONE 1) 2' WIDE DUCT CHILLER (60 TON) 8'x8'

PLY

SUP

ERIOR CFM 2 EXT 17,471 T, AHU AUS EXH

1,856 SF 4,640 CFM 3 FCU

NOTE: SUPPLY DUCT IN LOWER LEVEL, RISE TO 01 FLOOR

12"x60" CONC. COLUMN (TYP.)

M105

FCU (FAN COIL UNIT) TYP. FOR SLAUGHTER SPACES

ZONE 2: 17,471 CFM TOTAL SLAUGHTER SPACE EACH ROOM WITH FCU (SEE SCHEDULE)

8" CMU WALL WWM

BOILER ROOM 600 SF

SHOTCRETE

ELECTRICAL SERVICES 500 SF

SUPPLY AND SYSTEMS EXTRACT 1,907 SF

LOWER LEVEL MECHANICAL PLAN 01 1/32"=1'0"

DETAIL PLAN, HVAC + STRUCTURE SYSTEMS 03 1/4"=1'0" STORAGE TANKS

CRUSHING 12 mm

PASTEURIZATION

GAS STORAGE COOLING TANKS DESULPHERIZATION FERMENTERS CHP METHANE HEAT ENERGY

M102

AHU 1: 8'x8'x20' SITS ON LOWER LEVEL SUPPLY DUCT RISE TO 01 FLOOR (ZONE 1)

EDGE OF ZONE 1 BOUNDARY CUTS THROUGH TO LOWER LEVEL

VAV DIFFUSERS SUPPLY BELOW LEVEL DISTRIBUTE TO UNDERFLOOR AIR VENTS

ZONE 1: 5,820 CFM TOTAL PUBLIC SPACE UNDER FLOOR AIR DISTRIBUTION SUPPLY DUCT BELOW LEVEL RISE TO 01 FLOOR

FIRST LEVEL MECHANICAL PLAN 02 1/32"=1'0"

BIOGAS SYSTEM DIAGRAM 04 1/32"=1'0" MATADOURO | 88

NORTH ELEVATION

01 1/16"=1'0"

SOUTH ELEVATION

02 1/16"=1'0"

ROOF LEVEL +30'0"

BIOGAS RING +12'0"

GROUND FLOOR +0'0"

SLAUGHTER LEVEL -12'0"

ROOF LEVEL +30'0"

BIOGAS RING +12'0"

GROUND FLOOR +0'0"

SLAUGHTER LEVEL -12'0"

MATADOURO | 90

EAST ELEVATION 1/16"=1'0"

WEST ELEVATION 1/16"=1'0"

ROOF LEVEL +30'0"

BIOGAS RING +12'0"

GROUND FLOOR +0'0"

SLAUGHTER LEVEL -12'0"

ROOF LEVEL +30'0"

BIOGAS RING +12'0"

GROUND FLOOR +0'0"

SLAUGHTER LEVEL -12'0"

MATADOURO | 92

MATADOURO | 94

4 A301

SECTION | NORTH-SOUTH 1/16"=1'0"

4 A301

3 S212

HOISTING

STUNNING

BLEEDING

INTAKE

SECTION | NORTH-SOUTH 1/16"=1'0" 4 S212

3 A301

ROOF LEVEL +30'0"

RESTAURANT LEATHER GOODS

PUBLIC SPACE RESTAURANT LEVEL +10'0"

KITCHEN + DINING

GROUND FLOOR +0'0"

3 A301

3 S212 ROOF LEVEL +25'0"

FLEXIBLE ADMIN SPACE

BAR

OFFICE STORAGE

CONFERENCE ROOM

RESTAURANT LEVEL +10'0"

OFFICES

DELI

GROUND FLOOR +0'0"

BASEMENT LEVEL -12'0"

MATADOURO | 96

1 A301

MEAT MARKET

LEATHER GOODS

CHILLING + HANGING

SECTION | EAST-WEST 1/16"=1'0"

2 A301

ROOF LEVEL +30'0"

MULTI-PURPOSE EVENT SPACE CONFERENCE ROOM

BIOGAS RING +12'0"

GRAZING

ADMINISTRATIVE

HA-HA WALL

GROUND FLOOR +0'0"

BASEMENT LEVEL -12'0"

ROOF LEVEL +30'0"

5 S212

BIOGAS RING +12'0"

GROUND FLOOR +0'0"

BASEMENT LEVEL -12'0"

MATADOURO | 98

MATADOURO | 100

3" STRUCTURAL GLASS OPAQUE PAINTED COATING

STEEL KICK PLATE

GREEN ROOF ASSEMBLY WATERPROOFING

CONCRETE CURB

RIGID INSULATION CAST IN PLACE CONCRETE

#4 REBAR 12" O.C.

10" CMU 10" CMU

WELDED WIRE MESH SHOTCRETE

SECTION DETAIL 01 TRACK 1/2"=1'0" 3" STRUCTURAL GLASS COVER

ISLAND DETAIL 04 ROOF 1/2"=1'0"

LIGHTING FIXTURE HOUSING WET LISTED 6-12" CONCRETE SLAB

2' - 0"

W/ STEEL REINF.

2" ASPHALT CONRETE RETAINING WALL W/ STEEL REINFORCING 2" ASPHALT GRAVEL

POLISHED CONCRETE INTERIOR FLOORING

6" DIA. PERFORATED DRAIN PIPE

DRAIN DETAIL 02 TYPICAL 3/8"=1'0"

8" STEEL GRATE DRAIN COVER STEEL DRAIN

2' - 6"

CAST IN PLACE CONCRETE 6" - 1' GRAVEL BASE 6" - 1' GRAVEL BASE

8' - 0"

DRAIN DETAIL 03 TYPICAL 3/8"=1'0"

FOOTING DETAIL 05 TYPICAL 1/2"=1'0"

8" STRUCTURAL STEEL LINTEL

STAINLESS STEEL FRAME STRUCTURAL SILICONE

GLASS

10" CMU

SILL PROFILE

8" CURVED STRUCTURAL STEEL LINTEL FOR GLASS

UNDER FLOOR AIR SYSTEM

GLASS DETAIL WITHIN SLAUGHTER ROOMS 1 1/2"=1'0"

FAN COIL UNIT

VISITOR FLOOR + MECHANICAL OVERLAY 1/2"=1'0"

MATADOURO | 102

SKYLIGHT STAINLESS STEEL RAIL FOR METAL MESH SCREEN 6" STRUCTURAL TUBE FRAME STAINLESS STEEL MESH

2 S200

STAINLESS STEEL STRUCTURAL TUBING WRAPPED MESH WITH TIE BACK COIL SPRING

TENSIONED STAINLESS STEEL ARCHITECTURAL MESH SCREEN

SCREEN DETAIL 02 FACADE 1/2"=1'-0"

WALL SECTION DETAIL 01 EXTERIOR 1/4"=1'-0"

MATADOURO | 104

MATADOURO | 106

CRITIC_JEFFREY TARAS PARTNER_MELISSA BRAXTON PRATT INSTITUTE SPRING ‘13

REFLECTIVE/FAB

++ INFO

Speculum was conceptualized and produced in the elective course, digital fabrication with Melissa Braxton. Throughout the semester, we learned various methods of computer aided fabrication for architectural components such as developable surfacing, sectioning, flattening, and the creation of parametric tools. These skills were then tested in 2D and 3D through a series of studies, which eventually led us to the idea for reflective fab. Our goal was to create an interesting art piece that would act as a series composed of two 18”x24” pieces and fabricated using the 3-axis CNC router and softwares including Rhino, Grasshopper, and RhinoCAM. Reflective fab is made up of 4 layers of laminated plywoods: two sheets of 1/4” baltic birch, and 2 of 1/2” europly (alternating). The finishing layer of the laminate is mirrored plexi-glass. The parametric square pattern that was milled out of the laminated materials was derived in Grasshopper. The depth of the square directly relates to its size (the bigger the square, the deeper the cut), which reveals the variety in the layers of the laminated plywoods.

108

REFLECTIVE/FAB | 110

ITERATION 1

ITERATION 2

REFLECTIVE/FAB | 112

ITERATION 3

REFLECTIVE/FAB | 114

SQUARE DEFORMATION PATTERN DERVIED IN GRASSHOPPER

REFLECTIVE/FAB | 116

REFLECTIVE/FAB | 118

REFLECTIVE/FAB | 120

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CRITIC_CHRIS KRONER PRATT INSTITUTE SPRING â&#x20AC;&#x2DC;13

SOUTHQUAYBRIDGE

++ INFO

As the culmination of a series of weekly tutorials and investigations, students designed layered, dynamic surface engines. Originating from specific research about connective infrastructrual systems students dissected these bridges into sequential systems of morphological behavior. Models derive structural or performative systems through inputs such as kinematics, environmental activators or stimuli, then were systemically evaluated on spatial, structural and environmental criteria. More specifically, composites of synchronous videos, running side-by-side were the evidence of these experiments. Multiple techniques were offered such as overlays, animated annotations, highlighting, and tracings to encode the visualizations. These tools operate in tandem with the larger effects of conventional and advanced rendering approaches (i.e. lighting, materials, textures, etc.). Extra attention to organizational approaches, and blending techniques were nested and annotated with these final investigations.

122

SOUTHQUAY BRIDGE | 124

SOUTHQUAY BRIDGE | 126

SOUTHQUAY BRIDGE | 128

CRITIC_ALEXANDRA BARKER TEAM_MATTHEW BOKER PRATT INSTITUTE FALL ‘14

FLICKRSCAPE

++ INFO

Over the past century, photographs have become a staple tool for seeing and understanding the world we live in; cerebrally mapping the places we live. Utilizing the Mosquito-Flickr plug-in in Grasshopper for Rhinoceros, our team queried geotagged images surrounding four New York City neighborhoods: Financial District, Chinatown, DUMBO, and Williamsburg, using a 1/2 mile radius from the latitude/longitude of the neighborhoods centroid. The acquired images display the flavor of the neighborhoods via tourist’s and local’s Flickr uploads. The images were categorized by when they were taken: weekday vs. Weekend, and then further subcategorized by content, including: landmarks, people, and food. The digital map, designed in CartoDB, aims to show the changing patterns of these photo typologies across their varying neighborhood landscapes, with a hover-over feature to display the image, the caption, and the user’s information. The map visualizes the trends of major landmark features, hot spots for people watching, and notable food spots by the Flickr community for the month of November, 2014.

130

FLICKRSCAPE | 132

PEOPLE

OBJECTS

CITY SCENES

TYPICAL QUERIED DATASET | DUMBO, BKLYN

COORDINATES

DATE + TIME

USERNAME

CAPTION

IMAGE URL

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2014-10-26 23:48:30 2014-10-28 14:28:25 2014-10-28 17:56:59 2014-10-28 18:06:15 2014-10-28 17:52:19 2014-10-28 18:05:57 2014-10-28 18:10:44 2014-10-28 17:58:17 2014-10-28 18:06:11 2014-10-28 18:06:42 2014-10-28 15:51:02 2014-10-28 17:15:30 2014-10-28 14:56:37 2014-10-28 18:28:15 2014-10-28 14:28:20 2014-10-28 18:14:42 2014-10-28 18:09:34 2014-10-28 18:07:38 2014-10-28 18:05:44 2014-10-28 18:08:45 2014-10-28 18:04:46 2014-10-28 18:06:21 2014-10-28 18:08:45 2014-10-28 18:07:57 2014-10-28 18:27:46 2014-10-28 14:22:16 2014-10-28 17:57:15 2014-10-28 18:11:43 2014-10-06 01:09:37 2014-09-27 16:35:53 2014-06-27 10:33:19 2014-11-05 19:17:58 2014-05-31 14:37:57 2012-08-12 18:58:38 2012-08-12 18:57:53 2014-10-28 12:22:31 2014-10-28 12:21:56 2014-10-28 12:22:56 2014-10-28 12:23:05 2014-10-28 12:22:02 2014-10-28 12:23:12 2014-10-28 12:21:48 2014-11-05 21:42:43 2014-10-28 12:21:38 2014-10-28 12:22:39 2014-11-05 20:06:40 2014-11-05 17:22:19 2014-11-05 18:45:26 2014-11-05 17:53:55 2014-11-05 18:32:58 2014-11-05 19:09:01 2014-11-05 18:23:08 2014-11-05 18:48:27 2014-11-01 16:42:49 2014-11-05 17:23:50 2014-11-02 23:20:19 2014-04-14 12:06:20 2014-04-14 12:02:16 2014-04-14 11:48:16 2014-04-14 11:45:01 2014-04-14 12:02:50 2014-11-05 20:00:28 2014-04-14 11:57:17 2014-04-14 11:24:19 2014-04-14 11:44:30 2014-11-05 16:20:26 2014-10-06 01:09:14 2014-10-28 18:07:57 2014-10-28 14:56:32 2014-10-28 14:28:20

Ricardodaforce Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen coyote-agile jimchillo mikemjjohnson yesstess sjnnyny godwon29 godwon29 punkrawker4783 punkrawker4783 punkrawker4783 punkrawker4783 punkrawker4783 punkrawker4783 punkrawker4783 flye lyfe punkrawker4783 punkrawker4783 joe3292 joe3292 joe3292 joe3292 joe3292 joe3292 joe3292 joe3292 kmhinkle Joel Raskin Raman Pfaff mikemjjohnson mikemjjohnson mikemjjohnson mikemjjohnson mikemjjohnson flye lyfe mikemjjohnson mikemjjohnson mikemjjohnson kallimeisler coyote-agile Rijnmond Marathonreizen Rijnmond Marathonreizen Rijnmond Marathonreizen

Autumn in New York - The Golden Hour IMG_7122 IMG_7132 IMG_7126 IMG_7134 IMG_7089 IMG_7113 IMG_7131 nyc_2014-10-05_06_079 Freedom tower Is this real life though? It's Chinatown DSC_9728 DSC_9721 New York Transit Museum New York Transit Museum New York Transit Museum New York Transit Museum New York Transit Museum New York Transit Museum New York Transit Museum PARTY TIME EXCELLENT Saturday #nyc #dumbo #brooklyn #empirestateofmind #party @greymatterbbox @ djrickmanholla YALLLLL #flyelyfe #beanie #newrelease New York Transit Museum New York Transit Museum Brooklyn Bridge Park Brooklyn Bridge Park Brooklyn Bridge Park Brooklyn Bridge Park DUMBO Brooklyn Bridge Park DUMBO Brooklyn Bridge Park Rainy post-holiday in DUMBO Grand Street Storefronts - Night Busy Bridge @randytheshiv @angela.trj coming through with the #military #green #brooklyncassettes nyc_2014-10-05_06_076 IMG_7126 IMG_7092 IMG_7090 IMG_7127 Artistic Furniture, 1882 Hello #Brooklyn! "How sweet it is" #brooklynbridge #nyc #newyorkcity #nyctourist obras, dentro... obras, fora... Brooklyn Bridge Jane's Carousel Manhattan Bridge South Street Seaport South Street Seaport Jane's Carousel Jane's Carousel Brooklyn Bridge Manhattan Bridge Brooklyn Bridge Brooklyn Bridge Brooklyn Bridge Brooklyn Bridge Manhattan Bridge Jane's Carousel #bobbylee #cables #bridge #brooklyn #nyc #eastriver #manhattan #brooklynbridge Lower Manathan Skyline from Brooklyn Heights #brooklyn #bridge #nyc #ny #instagood Reading Blue Horses by Mary Oliver

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CRITIC_INDEPENDENT PHOTO SERIES FALL ‘14 - SPRING ‘15

GLITCHREALITY ++ INFO In the technical sense, glitch is the unexpected result of malfunction. In this photo series, I have a distinct interest in the “mistake” that is made, which in turn alters the reality of what we are seeing/experiencing. My interest in glitching came about in the Fall of 2014 during a studio course with David Ruy - where I created the project, Hedge Maze. I took to the concept and continued this process on my own journey of exploration in the form of altered photographs - from super-pixelization of form to blurring and distortion, the series looks at the differences between glitching “cityscapes” versus “naturalscapes”.

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CRITIC_DAVID RUY PRATT INSTITUTE FALL ‘14

HEDGEMAZE

++ INFO

In this polemical studio my focus was oriented towards taking a critical stance on graphic application in architecture. Questioning thoughts such as, how can graphic application and integration fully effect our perception and experiences of built form? My project is somewhat of a contradiction in itself: a very resolved and quite normative housing complex consisting of 3 towers with 8 residential levels (192 2 BR units total) sitting in DUMBO right behind Brooklyn Bridge Park - offering incredible views of Manhattan, which are skewed and sometimes completely blocked by an incredibly complex glitched image-facade - allowing for valences to the other side only at specific moments. The facade not only wraps the housing, but also patios that stretch to meet it’s extents on each level that are drowned in thriving vegetation - creating a disorienting and quite strange experience to get lost in.

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LEFT ELEVATION

FRONT ELEVATION

RIGHT ELEVATION

BACK ELEVATION

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+80-0

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GRADE

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OPEN TO BELOW

TYPICAL RESIDENTIAL PLAN

1 TOWER _ [3] 2 BR UNITS / FLOOR

OPEN TO BELOW

TYPICAL UNIT PLAN

2 BEDROOM _ 620 SF EACH HEDGE MAZE | 166

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OPEN TO BELOW

FIRST RESIDENTIAL FLOOR PLAN

3 TOWER COMPLEX _ [3] 2 BR UNITS / FLOOR

OPEN TO BELOW

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OPEN TO BELOW

3 TOWER COMPLEX _ [3] 2 BR UNITS / FLOOR

OPEN TO BELOW

SECOND RESIDENTIAL FLOOR PLAN

OPEN TO BELOW

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CRITIC_FERDA KOLATAN PRATT INSTITUTE SPRING ‘15

ESTRANGEDREAL

++ INFO

Currently, the identification of a new common ground, market or environment, has become the departure point of design culture. The ordinary, the accessible, and the rational have become the new normal. Any language that aims for universal recognition necessarily faces problems of uniformity and in some cases may fall towards the totalitarian. With the growing realization of this condition the last few years have given rise to a number of theories, concepts, and ideas, which actively seek to establish counter-positions without falling into older paradigms of the vernacular or the subject/individual. Among these we can identify one, labeled as the ‘concept of the weird’. This line of thought has been introduced into architectural thinking by philosopher Graham Harman in conjunction with his object-oriented philosophy. The “weird” here takes on two distinct meanings. First, it is understood as an indispensable ingredient of all objects, a withdrawn quality which cannot possibly be accessed, explained, or rationalized by any human strategy. But through this very quality objects maintain the ability to change, surprise, and become other things. The other meaning of weird in this context reflects back on us and our approach to objects and in extension to the world itself. The weird can become a tool in the way in which we describe the world and how we reflect on reality. Along these lines a strategy of the weird can be viewed as a counterpoint to the traditional mechanisms that establish the concept of a wellunderstood reality.

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Schilke S26LB Euphoharp Availability: In stock Item #: S26LB

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Model: S26LB Euphoharp Bore: .460” (11.68mm) Web: ML-7/8” Hand Hammered Yellow Brass with #2 taper The new HD series of Euphoharps were developed to offer a darker core of sound with superior articulation clarity. Completely new design elements include a HD tapered webbing and a re-designed internal receiver. In addition to these features, the construction and the design of the tuning pegs creates a solid, secure feel with incredible tonal depth. These new models are recommended for classical as well as jazz/commercial players alike.

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CRITIC_MARTIN MAZORRA PRATT INSTITUTE SPRING â&#x20AC;&#x2DC;15

LOSTINPATTERN

++ INFO

In my final semester at Pratt I chose to take a relief printmaking class, which allowed me to explore another medium outside of the architecture department. Relief printing is traditionally known to utilize hand-carved woodcut blockshowever, I challenged this tradition by incorporating a fabrication technique native to my architectural discourse: the CNC router. Instead of hand-carving all of my blocks, I fabricated them - starting with design in the computer and ending with the carving usually using a V-bit and the CNC machine, which allowed for much more detailed, precise blocks for printing. My independent project explores sacred geometries: the circle, square, and triangle - and then divides them with asymmetrical patterns. The idea of solid, negative, and overlay is played upon to create graphic, unpredictable, phantasmagoric experiences.

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CRITIC_ROBERT CERVELLIONE PRATT INSTITUTE SPRING ‘13

NAUTILUS ++ INFO There can be no doubt that the potential of parametric design techniques is one of the most promising and pervasive developments of our moment in contemporary architectural discourse and production and we will engage it with clarity. At the same time, however, the complexities offered by such parametric techniques demand even greater facility with forms of modeling and with logics of representation. In this course, I created well-constructed parametric models and considered fine-grained representations of those models. These studies provide a strong entry into the contemporary realm of objects, relationships, behaviors and new forms of representation. I started with an ordinary object: a screwdriver. I then modeled the head in rhino, and came up with two forms from the original: skin and structure. For the final representation, I used the “skin” model and applied it to a grasshopper definition that allowed me to aggregate the model in a controlled mathematical way. The final images were produced by layering outputs from rhino, and editing in photoshop.

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MATADOURO NAUTILUS | |210 02

MATADOURO NAUTILUS | |212 02

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CRITIC_ROBERT CERVELLIONE TEAM_MATT BOKER + ULRIKA LINDELL PRATT INSTITUTE FALL ‘14

LINDRIKATT

++ INFO

Lindrikatt explores an adaptable green wall facade system which integrates structure, skin, glass, plants and an irrigation system for water delivery. Using parametric design and scripting methods in conjunction with physical paper folding techniques, I worked alongside Matt Boker & Ulrika Lindell to explore new ways and modes that building components can operate, which respond to specific local conditions, yet remain as a cohesive organic global whole. The facade system we proposed is a folded aluminum composite panel system with integrated structure, glazing and insulation with the possibility for pocketing for plants and plant material. The base unit arrayed over the field makes up a facade with different degrees of folds, responding to different factors of program, access to light, and size of the plant. The project also explores a secondary system of apertures in three different sizes, providing a variation of intensities of light filtering through the facade and creating spatial effects. The secondary score lines also create an exterior network of light strips that illuminate at night as well as highlight the geometry of the fold. After collaborating on the design, we fabricated a portion of the facade at full scale (12’x16’) using the CNC to cut the composite aluminum pieces (funded by Dibond), to display in a gallery opening in the Hazel & Robert Siegel gallery in Higgins Hall. The wall now serves as a permanent installation outside the auditorium in Higgins.

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flashing spray foam insulation

insulated glass unit 4 mm aluminium panel bolt connection L-bracket connection spray foam insulation

Floor Plate Connection Detail 1-1/2” = 1’-0”

A 4 mm aluminium panel poured concrete slab foam spacer anchor bolt spray foam insulation

Floor Plate Connection Detail 1-1/2” = 1’-0”

spray foam insulation

insulated glass unit

vapor barrier concrete foundation

Facade Base Connection 1-1/2” = 1’-0”

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FABRICATED PORTION OF FACADE

AREA OF FACADE THAT WAS BUILT IN GALLERY SHOW

DOUBLE SKINNED FACADE POCKETING CREATES SPACE FOR PLANT LIFE

GLASS AS IGU UNITS, INSULATED BETWEEN 2 PANELS

LINDRIKATT SPECULUM| |220 02

0.3 M 1.72 M

SINGLE UNIT PLAN

LINDRIKATT SPECULUM| |222 02

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++CV

EDUCATION PRATT INSTITUTE | BROOKLYN, NY AUGUST 2012 - MAY 2015 Master of Architecture

MIAMI UNIVERSITY | OXFORD, OH AUGUST 2008 - MAY 2012 Bachelor of Art in Architecture Minor in Entrepreneurship

KENT STATE UNIVERSITY | FLORENCE, ITALY AUGUST 2010 - DECEMBER 2010 Semester abroad through Kent State’s satellite campus in Florence, Italy.

WORK EXPERIENCE

FIRM EXPERIENCE

PERSONAL BRANDING | Freelance

NOVEMBER 2014 | BROOKLYN, NY Aided a client in the personal branding of his application materials for graduate school over the course of a month. Designed a graphically stimulating layout for his portfolio in InDesign, as well as a website platform to display his work via Squarespace.com.

GRADUATE TEACHING ASSISTANT | Pratt Institute

AUGUST 2014 - MAY 2015 | BROOKLYN, NY Teaching assistant for Jim Garrison’s second year graduate design studio as well as an elective design-build course at Pratt. Provide additional feedback for students as well as help with digital needs such as rendering, graphic representation methods, and drawing techniques.

LASER-CUTTING, 3D PRINTING, CNC-ROUTING, PRINTMAKING, MODEL MAKING, PHOTOGRAPHY, GRAPHIC DESIGN, PORTFOLIO/BOOK DESIGN

HAMBRECHT OLESON | Architectural Intern

MAY 2012 - AUGUST 2012 | SHORT HILLS, NJ Worked closely with leading principals on large scale retail projects such as Saks Fifth Avenue International (Kazakhstan) as well as Lohemann’s and Symms. Organized and ordered sample materials for color & material specification books, lighting and pendant books, and fixture specification manuals. Created social media website for the company.

PUBLISHED IN PRATT PORTFOLIO | InProcess

RHINO, GRASSHOPPER, AUTODESK: MAYA, AUTOCAD, ADOBE CREATIVE SUITE: PHOTOSHOP, ILLUSTRATOR, INDESIGN, BRIDGE, AFTER EFFECTS, VRAY FOR RHINO, SKETCHUP, KEYSHOT

KNOW-HOW

MAY 2014 - AUGUST 2014 | BROOKLYN, NY Independently responsible for the schematic design and development of an upcoming proposal for a project in Jersey City under the developer, Avi Telyas, titled Makerhood JC17. Provided conceptual design development, apartment layouts, site planning, urban planning, through use of AutoCAD, Rhino, Vray.

RECOGNITION

SKILLS

SOFTWARE

GARRISON ARCHITECTS | Architectural Intern

FALL 2012 - SPRING 2014 | EVERY SEMESTER Chosen as one of three students per studio by my professors to have my projects published in Pratt’s annual INPROCESS portfolio, a compilation of the top student work in the GAUD program.

FIRST YEAR PORTFOLIO REVIEW | THIRD PLACE

MAY 2013 | COMPUTER ADVANCED MULTIMEDIA Received an award for design and layout of my portfolio of my first year work at Pratt, coming in third of the entire first year class [60 students].

REFERENCES ROBERT CERVELLIONE | R.A, AIA

PRINCIPAL, CERVER DESIGN STUDIO VISITING INSTRUCTOR, PRATT INSTITUTE GAUD P. 888.529.0934 x801 | F. 888.529.0934 | C. 646.872.8656 155 WATER STREET, BROOKLYN, NY 11201 | SUITE 503 CERVELLIONE@CERVER.NET

WILLIAM MACDONALD | R.A, AIA

DIRECTOR, KOL/MAC LLC ARCHITECTURE + DESIGN CHAIR, PRATT INSTITUTE GAUD P. 718.399.4327 | F. 718.399.4379 200 WILLOUGHBY AVENUE, BROOKLYN, NY 11205 WMACDONA@PRATT.EDU

JAMES GARRISON | R.A, AIA

PRINCIPAL IN CHARGE, GARRISON ARCHITECTS ADJUNCT PROFESSOR, PRATT INSTITUTE GAUD P. 718.596.8300 | F. 718.596.8310 45 MAIN STREET NO. 1026 BROOKLYN, NY 11201 GARRISON@GARRISONARCHITECTS.COM

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LINDSAY SCHRAGEN + + +

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