MAXWELL HARDEN
Selected Works
MAXWELL
TABLE OF CONTENTS
2
HARDEN
04
12
18
26
SU GRADUATE STUDENT HOUSING
32
SPECULATIVE REALISM
38
44
50
58
MAPPING THE TERRITORY
MONSTER TRUCK
BIOTECH VILLAGE
SWISSNEX PARKLET
3
DAPHNE
CLOSED WORLDS
ARTIFACTS
MAXWELL
MAPPING THE TERRITORY Visiting Studio With Gena Wirth SCAPE Landscape Architecture
In Collaboration With Hamza Hasan
4
HARDEN 480
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654
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Radial Zones
Gradient of New Vegetation
Gradient of Canopy Coverage
The new zones become four distinct layers (with an embedded fifth) that radiate from Mount Olympus
The new zones correspond to a gradient of vegetation, dense at the highest point, sparse that the lowest
The new canopy also corresponds to the restructuring of campus topography
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408 600
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Hemlock–Northern Hardwood Forest
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Beech–Maple Mesic
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Red Maple–Tamarack Peat Swamp
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New Topography Continuity and zoning are essential to the new framework
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Creating New Topographic Zones The existing zones become more continuous yet as discrete layers
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Zones of Topography Abstracting the existing with the perceived topographic zones
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Coniferous vs. Deciduous Gradient
Triple Gradient
Four Zones, Four Ecosystems
The dispersion of coniferous vs. deciduous vegetation corresponds to the gradients of topography and new vegetation
The gradients as a diagram: vegetation density, tree type, and topography
The relationship among figure ground, new topography, and a mapping of Upstate ecosystems
5
MAXWELL
Forest structure represented through seasonality
FOREST STRUCTURE
SOUTHEASTERN LAKE ONTARIO WATERSHED Summer
Fall
Winter
more than 5m
Spring
2m to 5m
Overstory
less than 2m
Understory
Typical solar exposure by height
Groundcover
Red Maple–Tamarack Peat Swamp
Vernal Pools
appear in the Spring, supporting local fauna like the endangered tiger salamander. Amphibians’ eggs are prey for fish in larger bodies of water. Some species only survive in these pools, making the pools an integral part of local biodiversity.
is a mixed swamp with a diverse herbaceous layer. It also includes bryophytes (non-vascular plants) like the peat moss. The maple and tamarack trees form an open canopy (between 50 to 70 % cover), encouraging the growth of herbs and shrubs shorter than 2 meters.
RED MAPLE TREE PEAT MOSS
Sphagnum squarrosum
Acer rubrum
EASTERN CHIPMUNK TUSSOCK SEDGE
Carex stricta
Tamias striatus
TIGER SALAMANDER COMMON BUTTONBUSH
Ambystoma tigrinum
COMMON SPICEBUSH EASTERN SCREECH OWL
Cephalanthus occidentalis
Megascops asio
6
Rhizosphere
Lindera benzoin
WHITE-TAILED DEER
Odocoileus virginianus
WHITE SPRUCE
Picea glauca
Sources http://www.acris.nynhp.org/report.php?id=9902 http://www.dec.ny.gov/lands/309.html http://www.worldwildlife.org/ecoregions/na0414 http://www.fs.fed.us/land/pubs/ecoregions/ch17.html#222I
HARDEN
7
MAXWELL
CROUSE COLLEGE
IRVING AVE.
Beech-Maple Mesic Forest LAW COLLEGE
Spacing Strategy: 3-4' on center Canopy Coverage: 90-100% Red Maple American Beech Sugar Maple
8
HEROY HALL
HARDEN
TOLLEY HALL MAXWELL HALL
EGGERS HALL
HENDRICKS CHAPEL
STEELE HALL HEROY HALL
Black-Spruce Tamarack Bog Spacing Strategy: 6-20' on center Canopy Coverage: 20-50% Red Maple Tamarack Black Spruce
9
PHYSICS BUILDING
MAXWELL
UNIVERSITY AVE.
LINK HALL
LYMAN HALL
COLLEGE PLACE
MACHINERY HALL
LIFE SCIENCE BUILDING
Red Maple Tamarack Peat Swamp
LINK HALL
UNIVERSITY AVE
Spacing Strategy: 6-20' on center Canopy Coverage: 20-50% Red Maple Tamarack Swamp Birch
SLOCUM HALL
10
HARDEN
LIFE SCIENCE BUILDING
. COMSTOCK AVE
EUCLID AVE.
TENNIS COURTS
Hemlock-Northern Hardwood Forest Spacing Strategy: 3-4' on center Canopy Coverage: 90-100% Red Maple American Beech Black Cherry
TENNIS COURTS
11
MAXWELL
BIOTECH VILLAGE In Collaboration With M-Rad Architecture
12
HARDEN
The City of South San Francisco hides restlessly in the ever growing shadows of its northern sibling, fighting for attention and part of the economic spotlight. Coming off of a period of stagnant post-industrial growth, South San Francisco is about to make a name for itself once again thanks to the booming Biotech Industry and expanding infrastructure supporting the Caltrain high-speed rail service. This project works closely with local planning and zoning to imagine what the future home of the Biotech Industry may look like as well as commenting on what additional programs may be required in order to support the city's forecasted growth spurt. The first phase of the project focus' specifically on the Biotech industry, offering a tower of Research and Development offices paired with an additional tower of hotel keys and ammenities to support visiting investors and future conferences. The second phase lends its allegiences to the Caltrain station expansion by offering a platform extension and retail mix as well as 158 residential units to welcome a growing population of Biotech employees and daily commuters. The development straddles US Route 101 with industry office parks to the east and residential downtown core to the west. Our own addition to the scope of local planning utilizes a green belt loop to allow for greater east-west connectivity underneath the 101 as well as reversing the suburban office park typology of buildings isolated within a sea of asphalt parking. 13
Landscaping Design and Timeline LEGEND Site
PLANTING DENSITY level 03 level 02
PHASE 2
level 01
PHASE 1
Plaza
CIRCULATION Bicycle Pedestrian Vehicular
2018
LEGEND Site
PLANTING DENSITY level 03 level 02
PHASE 2
level 01
PHASE 1
Plaza
CIRCULATION Bicycle Pedestrian Vehicular
2020 14
LEGEND Site
PLANTING DENSITY level 03 level 02
PHASE 2
level 01
PHASE 1
Plaza
CIRCULATION Bicycle Pedestrian Vehicular
2022
LEGEND Site
PLANTING DENSITY level 03 level 02
PHASE 2
level 01
PHASE 1
Plaza
CIRCULATION Bicycle Pedestrian Vehicular
2024 15
Phase I: Biotech R&D Complex
LEGEND
LEGEND
PROGRAM
Extended Stay
Extended Stay
Hotel
Hotel
Hotel
Hotel Amenities
Hotel Amenities
Hotel Amenities
Retail
Retail
Retail
Office/ R&D
Office/ R&D
Office/ R&D
Parking
Parking
Parking
Long Term Stay
Hotel Amenities
LEGEND
Parking
LEGEND
LEGEND
PROGRAM
PROGRAM
PROGRAM
Hotel Keys
LEGEND PROGRAM
PROGRAM
Extended Stay
Extended Stay
Extended Stay
Extended Stay
Hotel
Hotel
Hotel
Hotel Amenities
Hotel Amenities
Hotel Amenities
Retail
Retail
Retail
Office/ R&D
Office/ R&D
Office/ R&D
Parking
Parking
Parking
Retail 16
R&D Offices
Phase II: Caltrain Station Residences
LEGEND
LEGEND
PROGRAM
PROGRAM
Residential
Residential
Retail
Retail
Retail
Caltrain Station
Caltrain Station
Caltrain Station
Parking
Parking
Parking
Residential Units
Retail
LEGEND
Caltrain Station
LEGEND
PROGRAM
CIRCULATION
Residential
LEGEND OUT DOOR SPACE
Pedestrian
Retail Caltrain Station Parking
Parking
LEGEND
PROGRAM
Residential
Circulation 17
Bicycle
Residential
Vehicular
Commercial
Open Space
MAXWELL
DAPHNE
18
HARDEN
In 1941, Powers of Horror, An Essay on Abjection, by Julia Kristeva defines the Abject as something that disrupts system, identity, and order. She writes; “The corpse, seen without God and outside of science, is the utmost of abjection. It is death infected life. Abject. It is something rejected from which one does not part, from which one does not protect oneself as from an object. Imaginary uncanniness and real threat, it beckons to us and ends up engulfing us.” On the surface it would seem that the corpse represents abjection in that it reminds the onlooker of his or her own fragility and eventual death while also determining that the corpse represents something that is neither human, nor non-human, but an in-between state. Looking further into Kristeva’s quote through the lens of Sartre, the word God presents an argument much deeper than the horrific nature of the image. “Seen without God…” would seem to suggest the greater presence of abjection is not solely limited to the individual caught by surprise but within the loss of ability to relate a death to a higher power, no longer an act of god, but a senseless death that would plague each individual at a moment in time. The abjection is no longer being able to place our identity before a belief system of control and order, but that each person has a freedom to determine how to act and decide what kind of world they would like to live in. 19
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MAXWELL
22
HARDEN
23
MAXWELL
1/4th Scale
24
HARDEN
25
MAXWELL
SYRACUSE UNIVERSITY GRADUATE STUDENT HOUSING In Collaboration With Uzoma Idah
26
HARDEN
The call for graduate student housing presented an opportunity to re-think housing with regard to the relationship between typologies and occupancy. Using philosopher Graham Harman’s concept of Weird Realism, this project is a Chimera. It takes formal characteristics from different housing typologies, placing them in a part-to-whole relationship with the overall enclosure. Thus, the project sets the stage for a multitude of interactions between characters and occupants, questioning the impact of residential architecture on the lifestyles and livelihood of those it houses. The generated plans serve as indexes where characters extracted from the collaged images reappear. They then take on a life of their own , and are assigned traits that differ via materiality, typology, occupancy, solid, void, utility etc. The project’s concrete column and slab construction serves as the field in which elements coexist. The envelope and its various perforations act as a mask, obscuring and revealing interior moments, partially exposing its contents.
27
MAXWELL
KEY
A
I. Circulation Core II. Group Housing I III. Balcony IV. Atrium V. Mechanical Core VI. Kitchen/Dining Area VII. Lounge VIII. Squash Court
B
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5
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Second Floor Plan: 1/8th Scale
9
N
0’
8’
16’
24’
32’
28
HARDEN
KEY I. Circulation Core II. GH II, Unit I III. GH II, Unit II IV. GH II, Unit III V. GH II, Unit IV VI. Outdoor Lounge VII. Atrium/Parking VIII. GH III, Unit I IX. GH III, Unit II X. GH III, Unit III XI. Outdoor Lounge
II I
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VIII
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X
Third Floor Plan: 1/8th Scale
N
0’
8’
16’
24’
32’
29
MAXWELL
+0’
+13’
+40’
+50’
+64’
B
P A R K
+5O’
+47.5’ +44’
+37.5’ +34’ +32’
+14’ +12’
+0
West Elevation: 1/4th Scale 0’
8’
16’
24’
32’
C
-7
+0
+162.5’
+169.5’
+57’
+50’
+47.5’ +44’
+37.5’ +34’ +32’
+14’ +12’
+0’
West Elevation: 1/4th Scale 0’
8’
16’
24’
32’
30
+0’
+13’
+40’
+50’
+64’
HARDEN
P A R K
+5O’
+47.5’ +44’
+37.5’ +34’ +32’
+14’ +12’
+0’
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+37.5’ +34’ +32’
+14’ +12’
+0’
31
+169.5’
+162’
+0’
-7’
+50’
MAXWELL
SPECULATIVE REALISM Workshops With Anna Neimark Jason Payne David Freeland Brennan Buck
In Collaboration With Hamza Hasan Uzoma Idah
32
HARDEN
2.618"
2.618"
2.27" 3.240"
2.27" 3.240"
1.635"
1.635"
These workshops, led by Anna Neimark and FreelandBuck, focused on Graham Harman’s Object Oriented Ontology, known as Speculative Realism. The first two works begins to question, and perhaps critique, Speculative Realism’s architectural application through purposely undermining and overmining. These drawings thus undermine with its step-by-step process, while overmining with the application of Mondrian’s painting in connection to the modernist grid. Mondrian and the orthogonal grid interact with the topography of Dhaulagiri to produce form fluctuating between nature and anti-nature. The second works emphasize tactics of defamiliarization through loss and gain of edge, loose affiliations, and fragmentation in order to question the relationship between exterior profile and interior content.
33
MAXWELL
.33" .415"
5"
4"
2"
2.68"
2.726"
.104" 1.182"
2.68"
34
HARDEN
5.802"
Distance between center points
35
MAXWELL
36
HARDEN
37
MAXWELL
CLOSED WORLDS In Collaboration With Amber Bartosh Hamza Hasan
38
HARDEN
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3
1. 2. 3. 4. 5. 6.
Digitally Archived Data Human Participant Kinetic Energy Harvester Electric Output Energy Storage Redundant External Power
7. Light and Heat Output 8. Turbine 9. Synthetic Plant Growth 10.Light Control 11.Data Accumulation
2
11
3
39
MAXWELL
Interior Elevation
A Responsive Synthetic Garden Thin fins of a pattern cut thermoresponsive material (thermo bimetal or shape memory polymer) are housed within a clear acrylic wall that acts as a heat exhaust duct for the archive’s digital storage devices. The heat activates the smart material causing it to curl - exposing the tendrils of the cut pattern and obscuring the view to the other side.
Interior Elevation Detail
40
6
HARDEN
Interior Elevation
An Interactive Playground of Information On the opposite side, the synthetic garden from the front elevation shields light allowing holographic projections to appear as reflections on suspended acrylic panels. Users activate the data selection through an image detection system and then crank the handle to offer kinetic energy in exchange for heat, data, light, and information.
Interior Elevation Detail
FerroFluid Timeline
41
7
MAXWELL
1’= 1” Detail
Hologram Monitor Perforated Heat-Sensitive Alloy Acrylic Enclosure Aluminum Studs Camera for Phone Integration Turbine Hologram Acrylic Screen Timeline Ferrofluid Mechanicals Crank Computer Backup Battery
Section Detail
Rendered Section
42
8
HARDEN
Perspectival Rendering
43
9
MAXWELL
MONSTER TRUCK Workshop With Raumlabor Berlin’s Axel Timm Andreas Krauth
Conceptual Design Team Max Harden Alyssa Goraieb Jeremy Burns In Collaboration With First and Second Year Graduate Design Studio
44
HARDEN
This workshop, led by Axel Timm and Andreas Krauth of Raumlabor Berlin, is simultaneously a comment on American car culture as well as the ‘stoop culture’ of the Near West Side neighborhood of Syracuse. The Near West Side has a history of violence and territorial seclusion, not just from downtown Syracuse, but within its own community as well. The sense of territorial seclusion within the community came from the overwhelming sense of ‘stoop culture,’ meaning that residents of the Near West Side kept to their own properties, reducing community space to the front steps of private homes and limiting social interaction. The aim for this multi-use structure was to create flexibility for community interaction. Components of the Monster Truck unfold, giving way for several programmatic configurations that speak to the Near West Side identity; the new stoop, the wheel well bar, performing arts stage, sauna, and back deck. Together, these elements work toward achieving a location for multiple demographics within the community to interact with one another, building new relationships and a stronger sense of community.
45
MAXWELL
Folded Axon
Axonometric Folded
7' 10"
8' 9"
7' 11"
9'3"
11' 10"
6' 2" 36' 11"
Plan Folded
Plan Folded 0
5
10
20
46
8' 2"
HARDEN
Unfolded Axon
Axonometric Unfolded
7'10"
9'
Stage
3'11"
5'5"
4'11"
Flexible Space
Bar
Stoop
Porch
5'1"
Sauna
Stage Entry
1'10"
8' 2"
Plan Unfolded
Plan Unfolded 0
5
10
20
47
MAXWELL
48
HARDEN
49
MAXWELL
SWISSNEX PARKLET In Collaboration With swissnex San Francisco GEHL Architects UC Berkeley
Urban-Think Tank Team Alfredo Brillembourg Hubert Klumpner Katerina Kourkoula Hannes Gutberlet Danny Wills
50
HARDEN
The swissnex Parklet, commissioned by swissnex San Francisco, is a temporary structure installed in the parking space parallel to swissnex San Francisco’s storefront at 730 Montgomery St. The installation is part of San Francisco’s Pavement to Park’s program. This project concentrates on the reordering of public life through interventions and aims to investigate the intersection of the city scape and social life through the scope of San Francisco’s ‘Pavement to Parks’ program. The modernization of cities has prioritized technological advancement in transportation systems over pedestrian spaces in order to maximize efficiency. What we have been left with are urban schemes with largely isolated parks, rather than small pockets integrated into the public sphere. Urban-Think Tank’s parklet design questions this prioritization of efficiency over spaces of social exchange by providing a platform for public performance to serve as a catalyst for social reform. These parklets transform parking spaces within San Francisco by placing upon them small scale structures infused with public program.
51
MAXWELL
A
B
C
D
52
HARDEN
Iterative Process The Parklet concept of flexibility accommodates multiple functions to be used by swissnex for film screenings, guest lectures, business meetings, etc. The Pavement to Parks program also called for creative and spontaneous interaction within the public realm. These iterations and diagrams show the unfolding process and flexibility of elements as they begin to unfold and offer new possibilities through creative configuration. 53
MAXWELL
6'
7'-8"
13'
2'-5" 5'-4"
Clear Pedestrian Pathway
Cross Section Canopy Mechanism
3'-8"
14'
3'-8"
5'-11"
13'
5'-4"
Long Section 54
HARDEN
6'-1"
6'
7'-8"
7'-8"
13'
13'
5'-4"
5'-4"
Cross Section Folded
3'-8"
14'
3'-8"
5'-11" 7'-8"
5'-4"
5'-4"
Long Section 55
MAXWELL
56
HARDEN
57
MAXWELL
ARTIFACTS In Collaboration With Danny Wills- Acrylic Site Model Alyssa Goraieb- Plaster Cast
58
HARDEN
11.2015 Expanding Foam on Stacking Chair Husky Chair
59
MAXWELL
10.2013 Foam and Plaster Study of Toxic Substances
60
HARDEN
07.2014 Foam, Acrylic and Spray Paint Audi Complex Master Plan
61
MAXWELL
01.2016 Acrylic, Wax, and Spray Paint on Canvas Untitled 24” x 36”
62
HARDEN
08.2015 Acrylic and Spray Paint on Canvas Portrait of a Woman 30” x 40”
63
MAXWELL
08.2015 Acrylic and Spray Paint on Canvas Head I 24” x 36”
64
HARDEN
08.2015 Acrylic and Spray Paint on Canvas Head III 30” x 40”
65
66