THE SEAMED +
the seamless ARCHITECTURE PORTFOLIO Selected Works
A SPECIAL THANK YOU TO: MY INSPIRATIONAL FRIENDS AND FACULTY AT WEITZMAN, MY IMMENSELY SUPPORTIVE PARENTS WHO HAVE MADE THIS DREAM POSSIBLE, MY BEST FRIEND WHO HAS SUPPORTED ME THROUGH THE GOOD AND BAD AND CONSTANTLY ENCOURAGES ME TO BE A BETTER VERSION OF MYSELF. THIS BODY OF WORK WOULD NOT BE POSSIBLE WITHOUT YOU.
02
TABLE OF CONTENTS
04
FRAMED NATURES
ACTIVATED AIR RIGHTS
16
PROLIFIC PROFILES ADAPTIVE REUSE
24
RESIDUAL LUMINOSITY TABULA RASA
34
DISCONTINUOUS CONTINUITY MUSEUM EXPANSION
44
FIGURAL FOLLIES PARK POP-UP
03
01 FRAMED NATURES ACTIVATED AIR RIGHTS
Situated in the Lower East Side of New York City, Framed Natures examines the issue of food waste and production through the implementation of a brewery that fuels a food bank pantry. The spent grain waste of the brewing process is a highly nutritious grain medium that can directly be reused in the production of bread related food products and meals, and directly distributed through the project’s food pantry or purchased in conjunction with the brewery. This program works to negotiate the overarching themes of the project, namely the frame. Developed through a rigorous process of layering, a series of frames and subsequent frameworks are developed and either reinforced or eroded through the buildup of other mediums. This layering process develops a sense of veiling that carries throughout the entirety of the project, and through a consistent immersion in nature, the building works to dissolve boundaries of public and private, internal and external, and reinforces the idea of nature being a public commodity for all, a different approach from how nature is typically handled in built environments - where it is often relegated only to exterior, controlled spaces.
ARCH 602 Instructor, Nate Hume Partner, Riley Engelberger Location, New York City Nominated, Pressing Matters 10
04
05
ACTIVATING AIR RIGHTS
RETHINKING A PROFILE kahn hybrid drawing, above | perspective plan, right a drawing exercise hybridizing kahn’s castle plans offered a means of developing and establishing new ideas of poche, profile, and seaming; these methods were applied through plan to curate a new typology of space, blurring the seams between public and private zones and weaving together occupiable and nonoccupicable programmatic functions into one cohesive building system
06
FRAMED NATURES
food pantry distribution counter
courtyard seating
07
ACTIVATING AIR RIGHTS
NORFOLK SECTION hyper-layering to understand relationships between the frame, profile, and material veiling and seaming
08
FRAMED NATURES
09
ACTIVATING AIR RIGHTS
PERSPECTIVE SECTION highlighting the significance of the project’s structure and its comparison to the normative structure of neighboring buildings
10
FRAMED NATURES
PHYSICAL MODEL developing depth of facade, build-up of material, and connection back to the frame
11
ACTIVATING AIR RIGHTS
THE DINER both drinkers and diners of the brewery and food bank are immersed within a new type of nature in the city
12
FRAMED NATURES
THE SERVER a brewery server experiences the seamless transitions of internal and external as they deliver a beer or a spent grain dinner
13
02 PROLIFIC PROFILES ADAPTIVE REUSE
In establishing a new connection within the community, both residents of the building and residents of the community find a source of uninhibited knowledge and play, coming together as one through the power of education.
Transformed throughout the years by various forms of knowledge and play, the Sunshine Theater makes its final transformation, taking its rich, accumulated history and reinvesting it into the youth through the intersection of education and play. Situated within the heart of a vibrant urban fabric, this new residential reuse is perfectly positioned to bring together all ages, blurring the boundaries between work and play, and instigating a renewed interest in knowledge and its ability to provoke both curiosity and delight. Growing vertically from the theater’s original profile, the residential addition introduces new profiles that playfully shift and grow amongst themselves, indicative of its dynamic community role and the growth it aims to instill into visiting youth. Internally, these profiles translate into playful poche that embrace and engage both residents within their homes, and students in the classroom. Cumulatively, the new Sunshine Theater breaks the mold of the busy New York hustle and bustle, introducing a new urban haven of easy going play and learning.
ARCH 601 Instructor, Hina Jamelle Location, New York City Nominated, Pressing Matters 10
14
15
ADAPTIVE REUSE
07
06
05
08
09 04
01
02
10
03
GROUND LEVEL PROGRAM 01 02 03 04 05 06 07 08 09 10 11 12 13
residential lobby resident lounge front courtyard youth center entrance youth center lobby interactive stairs back courtyard restrooms janitors closet light shaft / vertical void sunshine theater cascades high school houston street playground
11
13
12
GROUND LEVEL PLAN new points of access within urban context, right
16
PROLIFIC PROFILES
TYPICAL RESIDENTIAL PLAN understanding unit interrelationships + overlap between public and private zones
17
ADAPTIVE REUSE
FORSYTH STREET SECTION public space grows vertically and is present throughout the project, allowing private space to infill around public zones
18
PROLIFIC PROFILES
SECTION CUTAWAY breaking down programmatic shafts and the interrelationship of public and private zones
19
ADAPTIVE REUSE
THE CHILD softening the new public entrance for visiting children through vegetation, color, and murals
20
PROLIFIC PROFILES
THE RESIDENT a new way of living in the lower east side, and its visual proximity to midtown
21
03 RESIDUAL LUMINOSITY TABULA RASA
Images, now more than ever, play a crucial role in our daily lives. They form the landscape we navigate every day; a collage of light and color, people and places. This idea of image and collage thus became the core elements of rethinking the marketplace and what is means to be a commodity The resulting collaged market was synthesized from three qualities: the commodity of light, specifically investigating the idea of color and the role of advertisement; the urban condition of bisecting Philadelphia’s orthogonal city grid; and a market typology of roofing and light permeation. Together, qualities of these studies were blurred, blended, and collaged through Boolean operations producing a “residual” byproduct. Such operational residue is evident on the facade through the form of external screens, seaming the structure to reveal the hidden consumeristic nature of the image beneath. While Callowhill embraces a vibrant scene of street art, yet another form of imaging, this marketplace offers itself up as a blank slate for the community to decorate and define themselves. Together, the building stands as a collage of image, building, and community, reflecting on the image within society today and speculating on its role within the future.
ARCH 502 Instructor, Andrew Lucia Location, Philadelphia Nominated, Pressing Matters 9
22
23
TABULA RASA
PHYSICAL TO DIGITAL hybrid texture maps, above | isometric, right textures were derived from physical qualities of callowhill’s identity and the consumer market that exist there today - such textures were then digitally manipulated and further developed upon so as to suggest a new way of considering a market of images and its spatial and graphic implications within the callowhill neighborhood
24
RESIDUAL LUMINOSITY
25
TABULA RASA
GROUND LEVEL PLAN site context in relation to the viaduct and bi-section
26
RESIDUAL LUMINOSITY
SECOND LEVEL PLAN interior / exterior relationships through the proposed viaduct park integration
27
TABULA RASA
BUTTONWOOD PERSPECTIVE SECTION interrelationship of program, natural and artificial lighting, and the market’s position on the viaduct
28
RESIDUAL LUMINOSITY
29
TABULA RASA
IMAGES UP ABOVE integration of digital imagery and screening along the public rail park
30
RESIDUAL LUMINOSITY
IMAGES DOWN BELOW a 10-year projection of how the building will age and further enrich the meaning of imagery within the community
31
04 DISCONTINUOUS CONTINUITY MUSEUM EXPANSION
In re-imagining an archive extension to the Penn Museum, Disconnected Continuity looks at the potential of the “fourth wall” and completing the Stoner Courtyard. This fourth wall is established through a meeting of three points of extension, and guided by the three sets of program incorporated into the overall addition. The first extension comes from the east wing of the courtyard, expanding the current administration and education facilities present; the second is from the west, building upon preexisting gallery and exhibition space. The final wing emerges upward from underground, maximizing upon its untapped potential for secure, climate-controlled archive storage. Collectively, the result is a continuous and seamless loop around the courtyard, despite its appearance of disconnect above ground. This adds to the sense of slippage and suspense intended to promote framed views that conceal and reveal the existing museum dependent on the viewer’s position. While this slippage breaks the overall mass of the addition, the facade continues, an invisible thread that visually connects the three extensions into a cohesive whole. The expansion establishes a new gate to the Stoner Courtyard, highlighting the museum’s rebranding, while still paying homage to existing museum and its rich history.
ARCH 501 Instructor, Daniel Markiewicz Location, Philadelphia Published, Pressing Matters 9
32
33
MUSEUM EXPANSION
UNDERGROUND, ABOVE GROUND choisy, above | aerial and , top right | level three plan, bottom right discontinuous continuity explores the curiosity of seams through a massing that above ground appears disjointed, but below ground reveals itself to be a seamless whole; comparison of an underground view to the more typical plan representation highlights this relationship and the way mass and program establish both these connections and moments of slippage
34
DISCONTINUOUS CONTINUITY
35
MUSEUM EXPANSION
SOUTH STREET SECTION visual relationships of new programmatic zones to one another and the existing museum
36
DISCONTINUOUS CONTINUITY
37
MUSEUM EXPANSION
38
DISCONTINUOUS CONTINUITY
PHYSICAL MODEL physical studies of mass, facade, and ground relationships
39
MUSEUM EXPANSION
THE FOURTH WALL glimpses of stoner courtyard through the slipping seamwork of the expansion
40
DISCONTINUOUS CONTINUITY
41
05 FIGURAL FOLLIES PARK POP-UP
Utilizing common house hold objects, and the geometries, textures, and unexpected seams and glitches of scanning these objects, Figural Follies is a public pop-up intended to further enrich the dynamic Schuylkill Riverfront. As a climbing wall, these three semi-hollowed spaces come together to create a seamless montage in which a climber could navigate from one end of a folly to another, all while continuing to experience different levels of climbing intensity and forms of movement. The natural texture extracted from early scanning studies allow for a built in texture upon the walls of the climbing unit, offering footholds and extrusions to grab hold of. The reversed smooth side of the box conversely provides for intermittent plateaus throughout the structure, allowing users to pause and sit for a moment, whether they be in need of a climbing break or want to enjoy a view of the scenic Philadelphia skyline.
DIGIBLAST Instructor, Ezio Blasetti + Danielle Willems Location, Philadelphia
42
43
PARK POP-UP
SIMPLE COMPLEXITY site plan, above | folly formation, right the follies sit parallel to much of the site’s elevational character and in line with the city’s shifted grid; at this shifted location, a basic diamond grid extracted from geometries of the selected object produce a framework for a series of simple operations allowing complex data developed from digital scans to easily permeate both the immediate site as well as the folly itself
44
FIGURAL FOLLIES
FOLLY FORMATION Both the initial box form as well as the final figural form come from various qualities of a potted succulent. The hexagonal unit multiplied to establish the pocketed box comes directly from the base of the succulent’s pot. The softer, cavernous interior seams come from the less predictable geometries of the succulent and its textural leaves. Correspondingly, this softer unit was used as a tool to begin a subtractive process within the established box. Looking towards the layered, three pronged structure of each leaf unit, the subtractive unit was dispersed in a similar manner within the box, and then subtracted. This produced the hollows that take on three loosely connected climbing zones as seen below.
45
PARK POP-UP
SECTIONAL ELEVATIONS comparison of the exterior facade qualities, either ends, to the occupiable seams and pockets found internally, center
46
FIGURAL FOLLIES
47
PARK POP-UP
THE CLIMBER approaching the new installation from the schuylkill river trail
48
FIGURAL FOLLIES
49
50
unSEAMED The body of work within the seamed and the seamless aims to examine and reflect upon my growth over the years, both personally and professionally, through a series of tangential seams. Through this time I have pursued many threads of design of which many elements have overlapped from one project to another. Other times, these design inquires are left, often unresolved, in the past with a particular project. Much like life, the art of design confronts us with many choices, one of the most fundamental being: What do we pursue and what must we leave behind? This collection illustrates the peculiarities of my mind and the process in which I develop and refine design work. Sometimes this process appears seamless; a cohesive collection of thoughts and actions; threads of interests stitched across several bodies of work. Yet at another glance, this work is frequently punctuated: a failed design attempt or an idea finally brought to rest. These are the scars of the field and the work I produce, the seams and fissures that most designers never reveal. However, it is through these failures and misalignments that I have developed myself as a designer. Through the seamed I have learned more about myself and the world around me, and a result, I have more appreciation for seamless when it appears. For without the seamed there would not be a seamless, and with the seamless there must be the seamed.
51
52
REFERENCE FRAMED NATURES
DELANCEY ELEVATION KAHN HYBRID DRAWING PERSPECTIVE PLAN NORFOLK SECTION PERSPECTIVE SECTION PHYSICAL MODEL SCENE: THE DINER AND THE SERVER
PROLIFIC PROFILES
SCENE: A NEW SUNSHINE SITE + GROUND LEVEL PLAN TYPICAL RESIDENTIAL PLAN FORSYTH STREET SECTION SECTION CUTAWAY SCENE: THE CHILD AND THE RESIDENT
RESIDUAL LUMINOSITY
SCENE: CONSUMERISTIC RESIDUE HYBRID TEXTURE MAPS ISOMETRIC CUTAWAY GROUND LEVEL PLAN SECOND LEVEL PLAN BUTTONWOOD PERSPECTIVE SECTION SCENE: IMAGES, UP ABOVE AND DOWN BELOW
DISCONTINUOUS CONTINUITY SCENE: SLIPPING SEAMS CHOISY AERIAL LEVEL THREE PLAN SOUTH STREET SECTION PHYSICAL MODEL SCENE: THE FOURTH WALL
FIGURAL FOLLIES
FOLLY ISOMETRIC SITE PLAN FOLLY FORMATION SECTIONAL ELEVATIONS SCENE: THE CLIMBER
05 06 07 08-09 10 11 12-13
15 16 17 18 19 20-21
23 24 25 26-27 28 29 30-31
33 34 35 35 36-37 38-39 40-41
43 44 45 46-47 48-49
53