MAX KATZ
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PROFILE
PHOTO BY JEFFREY ZOLAN
MASTER OF ARCHITECTURE CANDIDATE 2016 TULANE UNIVERSITY SCHOOL OF ARCHITECTURE T: 626-261-3743 E: mkatz5@tulane.edu
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Image: Speaking after the completion of Sukkah 7.0.
CONTENTS
DESIGN/BUILD SUKKAH 7.0
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BUKU WALL
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BUKU TOWER
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COASTAL RETREAT
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URBANBUILD 10
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ACADEMIC DANCE SCHOOL
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MUSEO DELLA MORETTA
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PROFESSIONAL
PERFORMANCE PARKING
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WW1 COMPETITION
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MUDHEN TAVERN
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DESIGN/BUILD
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PHOTO BY LOGAN LEGGETT
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01 SUKKAH 7.0 PROJECT LEADER
DESIGN/BUILD
A sukkah is a religious structure built in celebration of the Jewish holiday Sukkoh. Traditionally built on ideas surrounding the “primitive hut,” sukkahs present an opportunity to push new ideas about structure and materiality.
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Sponsored by Tulane University’s Hillel program, this temporary sukkah was built on campus next to the student center. As project leaders, Jonathan Sharp and I conceptualized this excersize as a series of workshops around model-making and fabrication, asking students to engage the hand in the design process. The models yielded ideas of folding planes questioning the moment where the wall meets the roof. Looking for a material that could translate this concept, we began scoring and folding coroplast, a material typically used for industrial signage.
LOCATION: TULANE UNIVERSITY DATE: FALL 2015 ADVISING FACULTY: EMILY BAKER PROJECT LEADERS: MAX KATZ, JONATHAN SHARP TEAM: JEFFREY ZOLAN, NICOLE MEHAFFEY, JORDAN CONWAY, ZOE GROSSHANDLER, BRADLEY RUBENSTEIN, BRAHAM BERG, JAKE RUBIN, MAGDA MAGIERSKI, MATT RAYBON, SARAH RIVARD, KENDALE MUNDY, SARAH NARROW
Top Image: Sukkah 7.0 at night. Bottom Image: Gathering at completion with Rabbi Yonah of Tulane Hillel and Dean Kenneth Schwartz of the Tulane School of Architecture. All photos by Jeffrey Zolan
Image: The geometry of each wall locked into place after connecting to a wooden ring above.
Image: Celebrating the completion of Sukkah 7.0.
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02 BUKU WALL
PHOTO BY GEORGIA MODI
DESIGN/BUILD
As the entrance to the 2015 BUKU Music and Arts Festival in New Orleans, this project balances high traffic with temporality. The design process involved ideas of mass production, digital fabrication, ease of construction, and optimization of materials. The structural ribs were conceived as a series of lap joints bolted together and anchored to a wooden base. We clad the structure in dibond, a material typically used for commercial signage, and experimented with its folding capabilities. Integrated into the structure are 2” aluminum angles, which add lateral support.
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The project incorporates branding into a larger form, where the letters become the result of the structural rhythm instead of being an autonomous sign.
LOCATION: MARDI GRAS WORLD, NEW ORLEANS DATE: SPRING 2015 PROJECT LEADERS: MAX KATZ, JONATHAN SHARP TEAM: MATT RAYBON, CHARLES BOYNE
Top Image: Buku Wall at the festival’s entry. Bottom Image: Detail of aluminum angles and cladding.
Image: A CNC mill was used to cut all structural and cladding elements for this project.
A (x2)
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B (x2) 8’ E (x4)
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E (x4) B (x2) C (x4)
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E (x4) B (x2) C (x4)
Image: Construction photo.
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03 BUKU TOWER
OFFICIAL BUKU PHOTO
DESIGN/BUILD
Asked to design and build the entrance to the 2014 BUKU Music and Arts Festival in New Orleans, we wanted to make a beacon—an object that could be seen from afar. Influenced by the industrial setting of the festival, where electrical towers rule the landscape, we wanted to make a metal vertical structure.
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The BUKU tower is a 32’ aluminum structure with all bolted connections. It is grounded by a branded wooden base and ballasted by steel come-alongs. This project was an exercise in the limits of structure and connections, using only 2” aluminum angles for the entire assembly. We built the tower in modules on the ground, then tilted the whole thing onsite using a boom lift.
LOCATION: MARDI GRAS WORLD, NEW ORLEANS DATE: SPRING 2014 PROJECT LEADERS: MAX KATZ, JONATHAN SHARP TEAM: CHARLES BOYNE
Top Image: Buku tower in the distance as Nas performs. Bottom Image: Construction photo of base.
Images: Installing the Buku sign.
Image: Buku tower at night.
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04 COASTAL RETREAT
KEY NO
1. (P) vertically wood bench suppor concrete bench (5 2. (p) vertically wood lounger (san connections) 3. (p) dirt, rock lents, and concre 4. (p) concrete f 5. (p) concrete b 6. (p) raised woo 7. (E) concrete f 8. (p) raised woo light wells cut o 9. (E) garden wit trees and plants 10. (E) outdoor k bbq and counterto
PHOTO BY JULIA SHARP
Along with work partner Jonathan Sharp, we renovated his parents’ previously vacant backyard—creating a series of micro-spaces with subtle material changes and height differences. The spaces are organized along a wooden “runway,” with the fireplace to the left and the BBQ to the right.
LOCATION: 718 RIHELY PLACE, ENCINITAS, CA DATE: SUMMER 2014 TEAM: MAX KATZ, JONATHAN SHARP
Top Image: View from the main deck. Bottom Image: Plan for renovation.
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We took the dimension of the existing glass doors to the kitchen and extended the main deck from it. This continuation of the ground plane encourages use of the backyard as an extension of interior space.
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DESIGN/BUILD
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We retained and guided a team of concrete workers who fabricated the fixed elements according to our construction drawing set.
1st FLOOR PLAN
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+1’-0” A.F.F.
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Images: Construction of fireplace and lounger.
Image: From the zen garden.
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05 URBANBUILD 10
DESIGN/BUILD
PHOTO BY JEFFREY ZOLAN
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After Hurricane Katrina destroyed much of New Orleans in 2005, Tulane’s School of Architecture created URBANbuild, a program that looks to rebuild blighted communities one house at a time. This was the tenth year of the program, and the ninth house built with financial support from the New Orleans Housing Authority—the nonprofit that helps to realize the projects. Each house is conceptualized as a prototype with the intention of replication. The house was designed in fall 2014 and constructed in spring 2015 by students. As I was studying at the Pantheon Institute in Rome that fall, I did not get the opportunity to design the house, yet in the spring I was involved in every step of the construction process, from shoveling foundations to installing interior trim.
LOCATION: 2128 HARMONY STREET, NEW ORLEANS DATE: SPRING 2015 ADVISING PROFESSORS: BYRON MOUTON, SAM RICHARDS TEAM: MAX KATZ, JONATHAN SHARP, DAISY DODGE, CHRISTOPHER COLLINS, NICOLE ESSER, PETER HENSELER, ARI LEVINE, MICHAEL NUNNICK, CAITLIN PARKER, VINCENT BAUDOIN, LEE COOPER, ALI REX, KATLIN SEIBERT, BLAIR BEGBIE, SARA CONNER, CASEY HILL, SHIRA LATCH, HELEN LUMMIS, NICOLE MEHAFFEY, ROSEMARY PHILLIPS, JEFFREY ZOLAN, ALFIA WHITE, COLLEEN LOUGHLIN, IAN ROSENFELD, MATT NGO, LIZZIE HIMMEL
PHOTO BY JEFFREY ZOLAN
Top Image: Street view. Bottom Image: Kitchen and living space.
Image: Construction of roof.
Image: Detail of aluminum shutter.
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ACADEMIC
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06 DANCE SCHOOL COMPREHENSIVE STUDIO AWARD
The New Orleans Tanzakademie houses both performance and practice spaces for dance, providing a venue for creative experimentation and questioning the intimacy between performer and observer.
ACADEMIC
The building can be seen as two dancers—one of which is grounded and houses the performance spaces, and the other that floats above, housing the dance studios. On the ground level, the stage extends into the public realm, becoming an “urban stage.”
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Puncturing the entire project, functioning as the threshold into the theater and serving as a passive exhaust shaft, is a lightwell that connects the urban realm with the private dance studios above.
LOCATION: WAREHOUSE DISTRICT, NEW ORLEANS DATE: SPRING 2014 ADVISING PROFESSOR: IRENE KEIL
Top Image: Street view. Bottom Image: Plans.
Image: Typical dance studio.
Image: Section.
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ACADEMIC
Image: Exploded axon of facade elements.
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1. 1/4” STAINLESS STEEL ANGLE WITH BOLTED CONNECTION 2. STAINLESS STEEL SEAT 3. OPERABLE WINDOW 4. FIXED WINDOW 5. METAL VENTILATION GRATE 6. DANCE RAIL 7. 1/2” STAINLESS STEEL ANGLE WITH BOLTED CONNECTION 8. METAL FLEX HINGE 9. KINETIC STEEL LOUVER 10. ALUMINUM C CHANNEL
1. 1/4” STAINLESS STEEL ANGLE WITH BOLTED CONNECTION 2. FINISH LAYER ZINC PANEL 3. CEMENT BOARD 4. INSULATION 5. STRUCTURAL STUD BLOCKING 6. 6“ CONCRETE SLAB 7. 3” METAL DECKING 8. BOLTED STEEL BASE PLATE 9. 9” STEEL RISER 10. 3” RUBBER SPACER 11. STAINLESS STEEL SEAT 12. OPERABLE WINDOW 13. EXTRUDED ALUMINUM CHANNEL 14. METAL VENTILATION GRATE 15. DANCE RAIL
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1. 1/4” STAINLESS STEEL ANGLE WITH BOLTED CONNECTION 2. STAINLESS STEEL SEAT 3. FINISH LAYER ZINC PANEL 4. CEMENT BOARD 5. WATER SEALANT 6. INSULATION R-15 7. CONCRETE PARAPET 8. WOOD BLOCKING 9. METAL FLASHING 10. BASE ROOF LAYER 11. FINISH ROOFING MEMBRANE
Top Image: Details from section Bottom Image: Wall section through dance studios and entry.
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07 MUSEO DELLA MORETTA
ACADEMIC
In between Via Giulia and Lungotevere in the heart of Rome, the Museo della Moretta both captures the existing piazza on one side and a historic bridge on the other. A building informed by programmatic interplay rather than form, the museum utilizes a “vertical piazza� as the main organizing and spatial element. The building can be perceived as a vertical extension of the public realm.
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Museum-goers enter underneath the lifted auditorium, at which point they can descend to view ancient Roman ruins or circulate up along the courtyard into gallery spaces. Cantilevering above the museum are the residential units that look out onto historic Via Giulia. Terracotta wraps the building to amplify programmatic relationships.
LOCATION: ROME, ITALY DATE: FALL 2014 ADVISING PROFESSORS: GIOVANNA GALFIONE-COX, DAVID SABATELLO
Top Image: Section perspective. Bottom Image: Entry underneath auditorium.
V O I D S L A Y E R E D
PIAZZA
PIAZZA
PIAZZA
TYPICAL URBAN VOID B O A R D W A L K
PIAZZA
Image: Concept diagram.
Image: Site plan.
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ACADEMIC
Image: Building diagrams.
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Top Image: Large wall section through gallery, residential units, auditorium, and entry. Bottom Image: Long section.
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PROFESSIONAL
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08 PARKING PRECAST
This precast concrete system was developed in collaboration with Gate Precast as a cladding for a new parking structure. The precast was inspired by the woven nature of pipes in industrial facilities, a common sight in southern Louisiana.
PROFESSIONAL
One distinct mold can create all the different types of precast elements—the panels, the corners, and the infills. The system wraps the entire structure and attaches to the slabs.
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The design challenge of the panel was to embed a column without interrupting the horizontality of the form. This was achieved by weaving the concrete in distinct places, providing vertical support.
LOCATION: BATON ROUGE, LOUISIANA DATE: SUMMER 2015 OFFICE: ONEtoONE TEAM: CHARLES JONES, JAMES CATALANO, ROBERT MOSBY, MAX KATZ
Top Image: Street view. Bottom Image: Axon diagram.
Image: Percentage-open study.
Image: Precast concrete and circulation tower interaction.
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09 WW1 CENTENNIAL COMPETITION
PROFESSIONAL
Submerged deep within the World War I Memorial, at the intersection of sacrifice and honor, one understands the magnitude of their relationship—they are the antithesis of each other, yet always remain reciprocal.
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One wall extends valiantly into the landscape toward the U.S. Capitol and the Washington Monument, yet is fractured from its position of stature as if struck with a fatal blow. This results in a monumental land shift, allowing the visitor to inhabit the sunken threshold between triumph and tragedy. This is the place where all paths converge and space compresses. It also marks the turning point in World War I, where America enters the war and changes the course of our nation’s history forever.
LOCATION: PERSHING PARK, WASHINGTON D.C. DATE: SUMMER 2015 OFFICE: ONEtoONE TEAM: CHARLES JONES, JAMES CATALANO, ROBERT MOSBY, MAX KATZ
Top Images: Render of the “scar” and unfolded elevation. Bottom Image: Site plan.
Image: The meadow.
Image: Entry underneath the Wall of Honor.
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10 MUDHEN TAVERN
OFFICIAL MUDHEN TAVERN PHOTO
PROFESSIONAL
As an intern for Kelly Architects, I led the renovation of the existing “Street” restaurant, originally designed by Neil Denari, changing the identity of the space to more of a tavern environment. Famous for bringing street food into the upscale food scene, celebrity chef Susan Feniger wanted her restaurant to be more representative of her product. Through numerous client meetings with Feniger, I drew all construction documents and was involved in all stages of the schematic process.
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The design moved the existing bar, converting its original location into a prep station. We removed the stairs and moved them to the outdoor patio to open up the dining space. To make the space more intimate, we introduced new colors and light fixtures.
LOCATION: 742 N. HIGHLAND AVE, LOS ANGELES, CA DATE: SUMMER 2013 OFFICE: KELLY ARCHITECTS CLIENT: SUSAN FENIGER TEAM: GEORGE KELLY, JEN SMITH, MAX KATZ
Top Image: Renovated interior. Bottom Image: Original space.
Top Image: New bar and dining area. OFFICIAL MUDHEN TAVERN PHOTO
Image: New signage and branding. OFFICIAL MUDHEN TAVERN PHOTO
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END
MAX KATZ MASTER OF ARCHITECTURE CANDIDATE 2016 TULANE UNIVERSITY SCHOOL OF ARCHITECTURE T: 626-261-3743 E: mkatz5@tulane.edu
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