Nadya Stryuk Selected Works (2015-2017)
Contents 6 14 24 -
Steven Harris Senior Studio Cemetery Island Building Typology Turner Brooks Senior Studio Housing for the Homeless
36
Dominant Void
44
Quarry Shelter
52
Joyce Hsiang and Alfie Koetter Junior Studio
-
Landscape for a Folly
62
Folly for a Landscape
72 78
Bimal Mendis Junior Studio Yale Campus Monument Kit of Parts
86
Elijah Huge Sophomore Studio
96
Victor Agran Drawing Class
6
Steven Harris Senior Studio
Cemetery Island
Steven Harris Senior Studio, Spring 2017
This project is a proposal for an island cemetery to be constructed in the Biscayne Bay next to the downtown Miami. Inspired by wooden docks of Miami’s marinas, I decided to design my cemetery as a platform that rises above the sea level. Such design allows to use water instead of earth as a burial medium. As sea level rises because of the climate change, land will become more and more scarce. Changing the burial practice could be one of the ways to decrease our dependence on the land. In my cemetery, each coffin would be placed inside a tall hollow pillar floating in one of the trenches of the cemetery. Under the weight of the body the pillar would float only 1-2 feet above the ground. But as the body disintegrates, it will rise up to 6 feet, revealing the amount of time that has passed since the burial. When a body arrives to the cemetery for the funeral, it is placed on a small boat. The boatman transports it through a narrow central channel directly to the ceremony room on the opposite end of the cemetery. Only the body and the boatman participate in the solemn journey through the channel, while the relatives and friends of the deceased dock their boats at the entrance, walk around the cemetery, and enter the ceremony room from the other end. After the ceremony, relatives carry the coffin with the body to
the burial trenches and place the coffin inside of one of the pillars. Each pillar could hold more than one coffin, so as the time goes by, several members of the same family could be buried in one pillar.
7
Site sections
9
View of the pillars
10
The boatman transporting the body to the ceremony room
Steven Harris Senior Studio
11
View from the ceremony room
12
Steven Harris Senior Studio
13
(Left) White ellipse indicates the position of the cemetery the Biscayne Bay.
One of the first study models of the cemetery
14
Steven Harris Senior Studio
Building Typology
Steven Harris Senior Studio, Spring 2017
Studio began with a month-long exercise focused on the concept of type in architecture. We were tasked with creating a linear building made of repeated modules and a centralized building without a site or program. Then, we combined both buildings on a sloping plot of land. For each subsequent exercise, the design of the buildings was altered after receiving feedback from critics. The assignment culminated with both buildings positioned on the landscape in composition with vegetation and a body of water.
15
16
My linear building consists of small units interlocking with each other. Each unit has an individual entry on one side and unifies with additional units on the other through a communal gallery similar to ones in Greek agoras. Positioned at an angle, two unit entrances add dynamism to the building. Taken together, the two lines do not define clear front and back orientation; instead, they create the possibility of circular movement around the building.
Steven Harris Senior Studio
17
18
The centralized building was inspired by Andrea Palladio’s villas. Its center is occupied by a massive pilaster, surrounded by three rooms and a closed courtyard. The two wings adjoining the walls of the courtyard represent an integration of the circular and linear buildings.
Steven Harris Senior Studio
19
Top view of the centralized building without the roof
20
The third iteration of the project keeps only the courtyard from the centralized building, transforming it into an amphitheater. It breaks the linear building into two halves, each of which stands on a terraced part of the landscape, slopping down from left to right. The height of the units in the linear building increases with each step in the landscape as each side approaches the amphitheater. The landscape contours turn 90 degrees following the way the units’ entrances are positioned relative to each other.
Steven Harris Senior Studio
21
22
In the final model, two parts of the linear building mirror each other relative to the central amphitheater. As the landscape slopes down, the height of the units’ walls increase, maintaining an equal height above the ground and visual unity. The building complex modifies the landscape in front of it, making it highly symmetrical, which brings to mind the style of a French garden. The building acts as a boundary between the wild forest and a cultivated garden.
Steven Harris Senior Studio
23
24
Turner Brooks Senior Studio
Housing for the Homeless
Turner Brooks Senior Studio, Fall 2016
This project is a proposal for a complex that could house 40 homeless people on an empty site in New Haven. I aligned the first unit and the community building on the left of the site plan with other houses on the street to seamlessly blend the complex with the street pattern. The rest of the units stand along a path that cuts through the site, creating an inner pedestrian street that provides inhabitants with easy access to their homes and a space for neighborhood life. A smaller courtyard, which separates the complex into two parts, provides a semi-private relaxation space with a beautiful river view. Each building contains two units – one on each floor – and each unit contains accommodations for two with a pair of bedrooms, a bathroom, and a kitchen. All units are connected by a long corridor that is segmented by movable walls, which allow homeless people to combine multiple units together. Thus, inhabitants can choose to live together with a bigger group of people and change the spatial arrangements according to their needs, as is depicted on the floor plan. The versatility of this design allows for a potentially infinite number of units to be combined into one block.
25
27
Site model
28
The floor plan, which could extend infinitely, shows different ways to combine and adapt living space inside the housing complex by adjoining multiple units together.
Turner Brooks Senior Studio
29
A bird’s eye view sketch of the pedestrian path through the site and the proposed houses next to it
31
A diagram highlighting the common corridor to be separated by the movable walls and private rooms along it
A diagram studying different ways to divide private space among inhabitants
32
Turner Brooks Senior Studio
Second floor plan
Ground floor plan
33
34
Turner Brooks Senior Studio
35
Model of the standard units
36
Turner Brooks Senior Studio
Dominant Void
Turner Brooks Senior Studio, Fall 2016
The Dominant Void is a full-scale installation constructed of raw furring strip boards. The intent is to create a void that is more tangible than the structure that defines it. The Dominant Void redefines the space both within and around itself, creating a looping motion of space surrounding the frame which the observer can follow. The structure is carefully balanced in such a way that most of the load is distributed between just two support points – one edge and one corner. It allows the space to enter from above and below, creating a sense that it is almost levitating above the ground, especially when the structure slightly trembles in the wind.
37
38
Turner Brooks Senior Studio
39
40
Studies for the Dominant Void
Turner Brooks Senior Studio
41
42
Studies for the Dominant Void
Turner Brooks Senior Studio
43
Joint Studies
44
Turner Brooks Senior Studio
Quarry Shelter
Turner Brooks Senior Studio, Fall 2016
The site for this project is the Stony Creek Quarry in Branford, CT. The brief asked to design a oneperson shelter to be placed on the granite edges of the quarry. Since the quarry is still functioning today, its landscape is constantly changing as miners remove granite block by block. Initially I wanted to place my shelter inside the granite, as shown in the study model below on the right, making it occupy the tunnel that was created as miners moved inside the stone of the quarry. However, I later decided to remove the stone around the shelter, exposing the creature-like wooden structure that originated as the scaffolding used to support the transport tunnels within the mine. In theory, once the granite is excavated from around the scaffolding, the wood would remain to serve as a lookout point and refuge from natural elements.
45
46
Turner Brooks Senior Studio
47
A photograph of the shelter entrance showing a sequence of spaces terminating at the staircase
48
Turner Brooks Senior Studio
Illustrated perspective from the shelter’s high point
49
A sketch depicting an early version of the concept
A model studying how space could be created inside the granite
3D printed study model of the shelter staircase
50
Turner Brooks Senior Studio
51
52
Joyce Hsiang and Alfie Koetter Junior Studio
Landscape for a Folly
Joyce Hsiang and Alfie Koetter Junior Studio, Spring 2016
The first part of the assignment tasked us with constructing an allegorical landscape for a folly. Everyone began by choosing a painting and analyzing its composition. The drawing on the right is the result of my analysis of Elmer Bischoff’s painting, Cityscape (next page). At first glance, the composition of the painting is stable and constructed only with one perspective, but if one looks closer one will realize that there are multiple perspectives that destabilize the composition. My drawing explores this destabilization. First, the frame is stable and has one perspective. Then, a two-point perspective appears and the frame begins to tilt and fall. Finally, after a three-point perspective, all volumes and perspectives collapse, creating a sense of vertigo.
53
54
Joyce Hsiang and Alfie Koetter Junior Studio
Elmer Bischoff, Cityscape (1965)
A series of sketches studying the transformation of Cityscape’s geometry
55
56
A concept model of the landscape which introduces a third dimension to the two-dimensional drawing. The space within the cube sequentially breaks down and transforms together with the cube as it unravels. The site model on the next page results from this transformation.
Joyce Hsiang and Alfie Koetter Junior Studio
57
59
This site model further explores the principles and ideas expressed in the allegory drawing. In the transition from 2D to 3D, the rectangular frame from the drawing becomes a solid cube of space. The ribbon of the model makes up the sides of the cube, which transforms and unravels itself. The solids on the landscape ribbon represent the space inside the cube. On one side of the ribbon there are large pieces that diminish in one perspective, conveying similar themes to those seen in the concept drawing. As the spaces undergo transformation they become fractured and more irregularly shaped.
60
Study models for the folly site
Joyce Hsiang and Alfie Koetter Junior Studio
61
62
Joyce Hsiang and Alfie Koetter Junior Studio
Folly for a Landscape
Joyce Hsiang and Alfie Koetter Junior Studio, Spring 2016
The second part of the assignment asked to design a folly for the created landscape, using the geometry of Bramante’s Tempietto as a starting point. My folly explores the same idea of vertigo by tracking the progression of a solid cube that unfolds and separates from its internal structure, which undergoes a transformation of its own. I derived the proportions of the folly as well as the inner structures from the forms of Tempietto.
63
65
66
Joyce Hsiang and Alfie Koetter Junior Studio
67
(Left) Plan of the Folly
A study drawing that breaks down the plan Bramante’s Tempietto
68
A 3D printed study model for the interior of the folly. The shape is derived through a transformation of the Tempietto’s dome
Joyce Hsiang and Alfie Koetter Junior Studio
A wooden exterior study model based on the proportions of Tempietto’s section
69
A Constructivists’ inspired wooden exterior study model
70
A 3D printed exterior study model produced by extruding Tempietto’s section around a quarter of a circle
Joyce Hsiang and Alfie Koetter Junior Studio
72
Bimal Mendis Junior Studio
Yale Campus Monument
Bimal Mendis Junior Studio, Fall 2015
In response to a series of campus-wide protests for the rights of minority groups at Yale, the studio tasked us with conceiving of a monument for the Yale campus that would comment on a pressing societal issue. I decided to devote my monument to the female victims of sexual assault on campus and place it on the colonnade of the Yale Commons, the campus’s central building. The monument’s form resembles fabric, drapery, or a piece of ripped clothing. Perceived plasticity of textile curves, traditionally associated with the softness of female character, is contrasted with the hard material in which the drapes are shaped. Rigid, self-supporting, and dominating waves of fabric challenge the traditional notions of what is feminine. Its pervasiveness and large size emphasizes the problem’s scale and brings forward women’s stories and issues that often go unseen or unnoticed. The structure engages with and redefines the unused space between columns, providing room for contemplation. If built, this monument would be positioned in such a way as to create a triangle of campus spaces devoted to women, along with the Women’s Center and the Monument to the First Women at Yale.
73
74
Side views of the monument
Bimal Mendis Junior Studio
75
A bird’s eye view drawing of the site
Section model
76
Bimal Mendis Junior Studio
77
78
Bimal Mendis Junior Studio
Kit of Parts
Bimal Mendis Junior Studio, Fall 2015
For this project I analyzed an assigned precedent, House VI by Peter Eisenman, and extrapolated from it a set of key concepts and principles to assemble my own “kit of parts.� The final model consists of an outside cage of cubes, each of which contains a wall or staircase taken from the precedent. One can shuffle the outside cubes in several directions as well as rearrange the inner cubes to create new spatial arrangements within the structure.
79
80
All possible transformations of the “Kit of Parts”
Bimal Mendis Junior Studio
81
82
Plan and section of House VI by Peter Eisenman
Bimal Mendis Junior Studio
83
Concept drawing of House VI
84
A prototype of the “Kit of Parts� with 8 cubes
Bimal Mendis Junior Studio
A study model exploring a possibility of working with 27 cubes
85
86
Elijah Huge Sophomore Studio
Precedent Analysis: Easton Neston
Elijah Huge Sophomore Studio Spring 2015
My assigned precedent for a semester long analysis was Easton Neston, an English country house built in the 1700s by Nicholas Hawksmoor. The analysis included a carefully constructed plan, section, elevation, and a site plan of the building. Only a handful of original Easton Neston drawings are available today, therefore my work, particularly the section, is a synthesis of these originals and several descriptions of the house written by historians.
87
88
Elijah Huge Sophomore Studio
The axon drawing on the left reveals the complex geometry of the house’s interior space, hidden by standard front and back façades. There are three stories on the right side of Easton Neston, including a mezzanine floor with a guest bedroom. Conversely, there are four stories on the left, including two mezzanine floors for servants. And in the middle of the house there a reception hall that spans two levels.
(Right) Perceptional Plan of Easton Neston
89
90
The Plexiglas model below shows the complexity of the spaces inside the house. Front façades of the building, united by the giant order, hide extra mezzanine floors on the building and the tall
Elijah Huge Sophomore Studio
hall. By removing the outside shell, one can see how the house’s story height varies from one to four levels depending on which part of the building one is looking at.
91
93
The model recreates my perception of the atmosphere in Easton Neston. There are two intersecting galleries in the house’s plan, each of which ends with a tall Venetian window.
Looking out the window, one sees avenues of trees which disappear on the horizon. Polished wooden floors inside the house reflect the outside, bringing this perspective of the landscape into the house. Easton Neston’s existence changes the natural landscape of England and, by casting a reflection onto the floor, the landscape changes the atmosphere within Easton Neston.
94
Elijah Huge Sophomore Studio
The programmatic model on top explores different ways in which servants and owners occupy the space of Easton Neston. Servant rooms and staircases are represented by wooden blocks which servant movements, represented by rigid wooden lines, originate from. In the model, servant movement only changes direction in right angles because in the past servant activities were strictly prescribed. Traditionally, owners had the privilege of being more relaxed at home, and this is conveyed by a black path that rests on the servants’ path for support.
96
Victor Agran Drawing Class
Free-Hand Drawing
Victor Agran Drawing Class, Spring 2015
A collection of various hand-drawn works depicting a variety of buildings and objects, most of which are located around the Yale campus.
97
98
Victor Agran Drawing Class
99
Charcoal drawings of the interior of Dwight Chapel, a building on the Yale campus
100
Victor Agran Drawing Class
Charcoal drawing of the morning atmosphere in Dwight Chapel
101
Chair study
102
Victor Agran Drawing Class
A detail of the interior wall of Yale’s Beinecke Rare Book & Manuscript Library
103
Anohter detail of the interior wall of Yale’s Beinecke Rare Book & Manuscript Library
104
I made a series of fast (10-20 minutes) sketches on a trip to Tulum, Mexico.
Victor Agran Drawing Class
105
Nadya Stryuk nadezhda.stryuk@yale.edu