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Architecture Department Tyler School of Art Temple University 1947 North 12th Street Philadelphia, PA 19122 www.temple.edu/architecture Designer: Michael L Villegas Studio Critics from Tyler_Architecture: Eric Oskey Francescangelo Possemato Giuseppe Milani James Moustafellos John James Pron Joseph Brin Kate Wingert-Playdon Naquib Hossain Robert Trempe Jr Sneha Patel Srdjan Jovanovic Weiss
Assistant Professsor Assistant Professsor, Temple Rome Assistant Professsor, Temple Rome Assistant Professsor Professsor Adjunct Professsor Chair Adjunct Professsor Assistant Professsor Assistant Professsor Assistant Professsor
Additional Support: Amy Rivera Arthur Wolf Brigitte Knowles Brooke Harrington Jack Fanning Lindsay Bremner Paul Muller Vojislav Ristic
Lecturer Lecturer Senior Associate Dean Professor Woodshop Technician, Lecturer Professsor IT Administrator Assistant Professsor
The mission of the Department of Architecture of the Tyler School of Art at Temple University is to educate design professionals relevant to the contemporary world by constructing an environment where general, architectural and urban issues are investigated in depth. While acquiring the fundamental skills and knowledge base of the discipline, students are taught to think critically about architecture, as a situated physical, spatial and social practice, and to engage in environmentally responsible ways with the opportunities and dilemmas presented to it by contemporary transformations in society, culture, technology and materials. Š Temple University, 2010 This on-demand publication is solely for personal and educational use.
Studio:
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Herding Myth Fantastical Socialism Studio Roma Black Box Repository Sustainable Amboy Translating Antonioni Hotel for Transient Artists
Extras:
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31°51'17.88"N 35°4'14.74"E
HERDING MYTH This project attempts to create an architecture which benefits from the perceptive ambiguity of myth by means of an objective archaeological process. The “Crucifixion of Christ” and more specifically the 14 Stations of the Cross become the narrative which serves to build the mythical landscape on which the architecture is allowed to act. Recognizing the current condition of Christian
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pilgrimages to Jerusalem as little more than guided tours, the kinetic events produced by the architecture look to sculpt, shape, and draw the environment as a way of revealing the narrative’s spatial potential as well as to reintroduce a level of unexpectedness necessary to engage the vulnerability of the spiritual traveler. Influenced by thousands of hand carved crosses on a single stone wall within the Church of the Holy
31째51'4.86"N 35째4'42.32"E
Sepulcher, centuries of repetitious work performed on this surface has shifted ownership of the stone landscape from the church to the pilgrim. In a similar fashion, architectural mechanisms deployed along the historic route will translate acts of the story based on archaeological evidence of local rituals to reform the landscape over time. Since space is merely a consequence of personal perception directed by those
myths, at any scale, which influence both our behavior and/or thought process, any disruption to those beliefs forces us to emend our spatial expectations. Imposing these kinetic inconsistencies will challenge the user to edit his/her own personal beliefs and attempt to replace one myth with another through the traces which will remain long after the architecture has been withdrawn. Thesis l Oskey l Tyler_Architecture
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Kinetic Time Lapse
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The Journey
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The Approach
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65°51'49.29"S 88°35'25.94"E
FANTASTICAL SOCIALISM As part of a group investigation this research begins by articulating and expanding on the commentary that the US President, Barack Obama, is a Socialist. The research aims at understanding both the culture of Obama and the culture of socialist (or leftist) architecture as a means for speculating the future of this built typology in the context of the current political atmosphere. A global catalog of
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monumental socialist or quasi-socialist work helps to define socialist architecture as it pertains to this particular line of inquiry. A magnification of Latin America goes beyond geographic labeling to include quantitative statistics for each piece (name, architect, location, and size), iconographic relationships, as well as a relative timeline for their construction. Separately, President Obama’s socialist profile is dissected through
a series of individual filters. In this case basketball and its pronounced presence in his life exposes types of preferred environments for play. A collaged stitching of these sample spaces suggests scenarios for Obama’s very own basketball city where in which all the qualities for each location are contained within a comprehensive site plan. Finally, the mapping and profiling exercises combine to propose a single visual interpretation of the
hypothetical notion “what if� Socialism took ground at the US Retreat site of Camp David. A relocation of Camp David to the politically neutral territory of Antarctica provides a site for importing, hibernating, exposing, and repurposing the architectural relics typically neglected by failed socialist regimes. The floating sculptural playground exhibits these large ice replicas before finally sinking to the ocean floor.
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STUDIO ROMA While studying abroad in the spring of 2009 the primary focus was to become consciously aware of the multiple scales, layers, histories, and architectural traditions responsible for building Rome, one of the most significant architectural capitals in the world. Our studio’s flexibility encouraged each student to become explorers of the Roman landscape and to allow their unique personal experiences to influence the
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weekly design charrettes outlined by the studio brief. Researching, dissecting, and diagramming such themes as The Piazza, The Facade, The Italian Garden, and Rome’s characteristic process of stratification laid the foundation from which to propose appropriate spatial responses to a small number of local design questions. These programs include addressing underutilized space within the school’s lobby/student lounge, redesigning
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a neglected church facade located on the periphery of Piazza del Popolo, and creating a pedestrian bridge that would maintain circulation through a hypothetical Museum of Ancient Roman History planned to exist within, along, as well as between the Aurelian Wall. Inspired by Carlo Scarpa’s bridge at Querini Stampalia in Venice, Italy, the final project is compiled from the sketches of individual details and joints with the idea
that a joint is the bridge between two subjects. Due to settlement and erosion over time the opposing walls are offset in both plan and section. This results in an opportunity to design a two-part bridge with a central floating joint devoid of any physical connection to the adjacent side. Cantilevering a single stone sculpture over the street below evokes structural inquiry that forces its users to trust in the integrity of its design.
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BLACK BOX REPOSITORY Briefed as a comprehensive design infill project located on the periphery of downtown Philadelphia, this construct is intended to serve as a repository and exhibition space for an object of choice. Flight Data Recorders aka "Black Boxes" recovered from recent airline tragedies become the objects for archival and supply the inspiration for initial spatial collages as well as their subsequent technical translations.
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Beginning with the unnerving narratives stored inside these objects rather than their quantitative relevance, the mystery of the recorders' contents suggests an architecture of the void. This dense shell fills with the atmospheric workings of its users. Footsteps from curious passersby seeking to uncover the building's purpose, a technical discussion overheard during the boxes' data extraction process, or the weeping of a
family member who is grieving the loss of a loved one, these echoes of sound and hints of light compose a sectional orchestra that foreshadows the programs of adjacent spaces within. The depth of the narrative builds as the visitor moves vertically to the roofscape at which point he/she enters into an artificial cloud resulting from trapped moisture expelled by the building’s mechanical systems. Emerging from the
haze one discovers a perfectly framed panorama of the southern sky and its local air traffic. On this deck personal ipods holding the cockpit voice recordings downloaded from the library below provide the soundtrack to the architecture. Whether friends, relatives, or complete strangers to the victims of these recordings, each participant will undoubtedly come to appreciate the details of their experience.
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OBJECT PROXY
Flight Data Recorder aka The Black Box
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SUSTAINABLE AMBOY With the depletion of fossil fuel reserves and the acceleration of global warming threatening human existence, the need for new sustainable power systems has become increasingly crucial. The proposal is that of a sustainable network in the Californian desert connecting Amboy and the surrounding towns along a neglected portion of Route 66 in the form of a research community that will explore and develop
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sustainable carbon-free systems as future sources of renewable power. A phased construction of this network will first establish an initial power plant to supply power for the project as well as to sell back to the existing grid, accruing revenue to finance future phases of the development. A carbon-free transit system connecting the outpost towns to the central research live/work hub at Amboy becomes the arterial
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infrastructure allowing further development to take place. Addressing four scales (regional, local, town, and district), from Barstow to Needles the network has the resources to sustain itself as well as the surrounding region with nearly zero carbon emissions. Each town plays a unique role defined by its natural geographic parameters. Agriculture in Cadez, wind power in Siberia, geothermal research in Baghdad, and solar
farms in Daney only begin to suggest the potential of this new desert collective. Amboy's mini-grid planning strategy, influenced by a case study on Masdar, calls for a dense collection of modules with the opportunity to multiply and divide as a means for organic growth over time. Individually the units themselves utilize passive cooling, radiant heating, and solar water desalination to continue the sustainable strategy on all scales.
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39°57'18.46"N 75°9'54.18"W
TRANSLATING ANTONIONI The Passenger and Blowup, two films by prominent Italian director Michelangelo Antonioni, serve as the source for a competition entry asking how one would propose to house this artist. To understand exactly what would be considered spatially relevant for Antonioni I begin by first attempting to analyze how he explores/portrays space through his own work. Filtering both pieces through nine categories (music, ambient
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noise, dialogue, camera pans, character activity, color, light quality, scene cuts, and duration) outlines how the relationship and timing of disparate sensory details is carefully considered to evoke specific spatial reactions from the viewer. Similarly an abandoned viaduct in downtown Philadelphia, inherited as a speculative site, is mapped through these same categories to find any shared links between Antonioni’s process and the
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workings of a physical place. The results correlate with qualities exhibited by the homeless and transient individuals who claim this district as their own. Rather than creating shelter, the project instead uses local data to establish an obscure network of site-specific monitoring devices that collectively archive these daily use patterns, acting as a billboard to reveal those users who are typically hidden and/or ignored. Appropriately
enough, this work gets expanded by a follow up project asking for the design of a Salvation Army homeless shelter located less than one mile from the previous location. A grid of personal sleeping modules are the organizing principle that partitions program into defined zones. However, tapping into the underground concourse running beneath the city is the unique connection that directly links this shell to its users. Urban Studio l Hossain l Tyler_Architecture
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39°57'9.89"N 75°11'8.77"W
HOTEL FOR TRANSIENT ARTISTS Our first attempt at designing largescale structures introduces the strategy of modular multiplication. Beginning with a single generic unit, the appropriate adjustments and alterations are applied after the site’s coordinates are given. In this case the location is a large plot of open, flat ground unique to its dense urban surroundings. Although, more fascinating is the monolithic steel railroad trestle that cuts through
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the first third of this lot. The opportunity to invade the leftover space underneath and between the bridge’s structure makes this building’s placement an obvious decision. So, what does it mean to design a hotel for transient artists who live publicly, detached from the place they call home? For this project the answer is for an architecture that performs. The idea is that attention typically directed to the person is instead
shifted toward the building as a means for distracting the onlooking paparazzi. The hydraulic movement of each rooms’ core also serves the reverse purpose. Those artists who prefer to remain in the spotlight are able to transplant their desires to the architecture and extend beyond the default facade. As well as a visual mapping of the hotel’s approximate vacancy, the expansion of the cores gains valuable real estate
inside each unit which reveals other room necessities. Organizationally, the public entrance and communal amenities sit in front of the animated backdrop, while circulation, parking, and other services rest along the opposing elevation. As city traffic passes under the bridge next to the hotel, passengers are given a brief cross section of the design from the perspective of its audience as well as its performers. Modular Housing l Pron + Brin l Tyler_Architecture
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COMPETITIONS Architecture competitions and charettes are a great way to test the quality and speed at which the designer can think, react, and execute their response for any given program. Additionally, the strict deadlines encourage the designer to become comfortable experimenting on the fly without getting too lost in his/her own ideas. A successful entry is cohesively represented and explicitly focused, outlining
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one or two distinct concepts rather than attempting to address every possible issue that may arise. One potential benefit of competing in these exercises is the opportunity to have the work built if selected as a winner, which was the case for a competition calling for the design of a small-scale folly to be sited at the center of campus. The concept was simple. The project was to be an 8’ tall hollow cube constructed as six individual
floating panels similar to an exploded axonometric drawing. At night the shell’s empty interior was to glow in such a way that light would flood the seams, masking any necessary joints thus accentuating the concept of a free-floating geometry. Unfortunately, plans for a neon lighting system embedded within panels had to be cancelled due to available resources, however the learning experience gained during the design
development and construction phases outweighed this missing attribute. In contrast, such entries as Temple Ruin and Balloonscape are overnight collaborations that insert humor into an, at times, overly pensive practice. From color choice to font selection to page layout, each move directly influences the jury’s perception of the work and inevitably determines the competition’s result. Mixed Program l Philadelphia l Tyler_Architecture
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EXTRACURRICULAR WORK It is true that my passion for design can only be matched by my passion for snowboarding. It was only natural to search for additional opportunities to work collaboratively on creative design projects outside of architecture school. For this reason it became my personal mission to use my experience with both to establish a strong graphic brand for TUSC (Temple University Snowboard Club). Over a two year period
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from the fall of 2008 to the spring of 2010, Helvetica Bold and a bright color pallet gave TUSC an easily recognizable face on campus. From flyers to stickers, clothing to web media, on snow events to video premieres, the club has secured its title in Philadelphia as well as the rest of the East Coast for being one of the gnarliest urban clubs of its kind. Inspired by familiar cultural references such as the famous "LOVE"
sculpture, the Pabst Blue Ribbon logo, and even a well known Benjamin Franklin look-a-like, the approach for marketing TUSC can easily be found plastered all along the streets of Philadelphia. These graphic projects borrow from a more precise and detailed practice but tend to exhibit a playfulness and sense of sarcasm that keeps the work entertaining. As I share techniques between the two, this experience has taught me to
design beyond the labels and understand that this line of work is about a personal process rather than a particular product. Whether it is architecture, graphic design, photography, film, or music, the composition is a direct result of the composer's unique perspective which divorces itself form these headings. The blurring of boundaries is the essence of this craft and will continue to be a conscious goal within my work. Graphic Design l N/A l Tyler_Architecture
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Gold Member September 2009
Oh Canada January 2010
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TUSC Tall Letters March 2008
PBR Hipster Club February 2010
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Cancer Sucks April 2010
Freedom By Design April 2010
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Horse Splatter Logo November 2010
Fake Horse November 2010
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TUSC Instructional Hoody November 2008
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It's a Boy!
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It's a Girl!
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