Reflections: GSAPP Portfolio, Part 2

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TOOLING

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BONE GROWTH SIMULATING PATTERNS

BIODYNAMIC

GROWTH

Inspired by organic growth, we developed an algorithm that would simulate bone growth and the process of ossification that gives strength to bone walls, creating spongy bone surfaces in between.

Teammates: Chao Wei, Casey Worrel, Wei Wen

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LINE

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LOOP

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import rhinoscriptsyntax as rs import scriptcontext as sc import math “”” thres = 2 scale = 0.1 class Trail(): def __init__(self,INITPTS): self.pts = INITPTS self.id = rs.AddCurve(self.pts) def appendPt(self,pt): rs.DeleteObject(self.id) self.pts.append(pt) self.id = rs.AddCurve(self.pts) def coagulate(self,AgentPopulation): crv = self.id copyofcrvslist = [] for otherAgent in AgentPopulation: if otherAgent.myTrail != “notaclassyet”: otherTrail = otherAgent.myTrail.id if otherTrail!=self.id: copyofcrvslist.append(otherTrail) if len(copyofcrvslist)>0: allotherpts = [] for othercrv in copyofcrvslist: othercrvpts = rs.CurvePoints(othercrv) allotherpts.extend(othercrvpts) rs.EnableObjectGrips(crv) locations = rs.ObjectGripLocations(crv) self.newlocations = [] for coord in locations: vec = [0,0,0] index = rs.PointArrayClosestPoint(allotherpts, coord) closestpt = allotherpts[index] dist = rs.Distance(coord, closestpt) if dist>thres: self.newlocations.append(coord) else: if closestpt!=coord: #rs.AddLine(closestpt, coord) vec = rs.VectorCreate(closestpt, coord) vec = rs.VectorUnitize(vec) vec = rs.VectorScale(vec, scale) newcoord = rs.PointAdd(coord, vec) self.newlocations.append(newcoord) else: self.newlocations.append(coord) #rs.ObjectGripLocations(crv, self.newlocations) #self.pts = newlocations rs.EnableObjectGrips(crv,False) def render(self): rs.EnableObjectGrips(self.id,True) rs.ObjectGripLocations(self.id, self.newlocations) self.pts = self.newlocations rs.EnableObjectGrips(self.id,False) class Agent(): def __init__(self, POS, VEC, POINTID,BOUND,ATTRACTORS, ALIGNMENT, SEPARATION ,COHESION,ATTRACTION, RADIOUS ): #here we initiate the class by matching the inputs to the variables in the class self.pos = POS

183

SPRING-NET STRUCTURES This project is an investigation of physics engines that are available on the open source coding platform, Processing.

Using all available resources, we programmed a spring-net system that would react to weights as they are added to the system. Our initial concept was to model structral reactions to a bird or several birds landing on a wire. By creating a two dimensional grid of wire, instead of a one-dimensional line, we created an opportunity to study 3-dimensional forces when multiple weights are added to a complex system over time.

SEARCH: Advanced Algoruthmic Design With Dong Joo Kim

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HISTORICAL ANALYSES

195

A Little Bit of Beijing: On the agengy and performance of architectural guidebooks

A Little Bit of Beijing is a little book written by architects at Atelier 11.

This essay dissects the book, accompanied by excerpts of an interview with the designers. Within it, we question the validity of the guidebook as a useful method of furthering discourse. Where it is lacking, we see it as a furtherance of the performance that the original writers criticized in San Li Tun and 798, that engendered the creation of the book.

Written by Nicole Mater, Kamilla Csegzi, Sebastian Medina, and Veronica Patrick with a special interview by Kamilla Csegzi with the Li Han, WHY & Phi

A Little Bit of Beijing is a mixture. It is an illustrated book, a travel

the café reading or surfing online. It is not because they want to

guide, a photography collection with subjective perspectives,

have coffee or meet friends, but just to show how so-called white

and a set of accurate technical drawings. It is a publication

collars would spend their weekend time. Or they will flood into

with the aim to document and to collect realistic portraits of

galleries to show their passion for art works, but actually not

Beijing. But what is the role and purpose of the book? Is it pure

everyone understands or cares about what art is. These activities

architectural documentation? In order to find an answer to these

are not to show who they are, but rather to show who they hope

question, we interviewed the authors/architects (Li Han, Wang

others to think they are.

Hongyue and Lu Wenhui). The following text is our dialogue with

VNSK: What are the elements of ‘truth’ that you are looking to

them, and our personal reflection on the issues they talk about.

identify behind these performances?

Li Han: These two places are among the trendiest venues in

VNSK: Could you introduce yourself and explain what inspired

Beijing, so people tend to have more desires to “perform” there.

you to start working together on this documentation?

Frankly I won’t try to identify any “truth” in those performances, if

Li Han: I am a registered architect who likes to design architecture

the “truth” here refers to the true motive, thoughts, or something

and also loves to draw in a way that is different from most

like that. We don’t mean to judge or correct others’ behaviors

architects. I worked in a state-owned architecture design institute

through our documentation. Everyone may be a performer. Even

in Beijing for quite many years until I left and started my own

I myself would be a performer when I go to those places. Probably

studio this year. Back in 2006 when I returned to Beijing after my

performance is a shared desire to Chinese people in such an

graduate study in Australia, I found China was undergoing an

impetuous era.

unprecedentedly rapid urbanization process. I got the urge to record the phenomena that I found interesting and typical in this

VNSK: Could you talk about the representation tools you used

process.

within the documentation?

Xu Lei was my boss and Wang Hongyue was my colleague at that

Wang Hongyue: The axonometric images in this book are

Design Institute. We shared the same curiosity about urban life

45-degree bird's-eye views giving an objective and detailed

and interest of doing some self-motivated research works, so they

representation of the reality. Although parallel projections allow

joined me with this documentation project soon after I started.

for an infinite extension and inclusion of a large area, they cannot

VNSK: How did you choose to focus on the 798 Art District and

reflect the real experience. Our photos serve as an additional,

San Li Tun? What are the similarities between these two areas?

subjective content that captures the common and trivial details

Li Han: Both ‘San Li Tun’3 and ‘798’4 are two areas that developed

of the urban life.

spontaneously. 798 used to be a factory manufacturing military supplies. After its downfall, some artists rented the abandoned

The methodology of the documentation had a vast influence

workshops to use as studios. After more and more people joined

from Made in Tokyo, a book by Japanese architects Atelier

the group, 798 eventually became an art district. VNSK: In your

Bow-Wow.[2] The reference to this text is of importance at

book you describe San Li Tun and 798 in Beijing through the

two different levels. In terms of graphic representation, the

‘performances’ that take place there. What are you referring to

introduction of the axonometric projection plays an important

when talking about performances?

role for both. In terms of the material being documented, both

Li Han: The word of “performance” is rather like an expression

texts use as the main subject the architecture that originates

of sarcasm. It refers to different activities that take place in San

from the folk, or what is described in Made in Tokyo as “bad

Li Tun and 798, but we found that those activities are more

architecture”; The type that is ordinary, inexpensive, anonymous

like the performances on the stage rather than the natural life

and among the silent majority of architecture.[3] Similar to Made

behaviors. For example, people will spend a whole afternoon in

in Tokyo, the ordinary architecture of San Li Tun ...

197

A Little Bit of Beijing, by Li Han, WHY & Phi

and 798 disregards aesthetics and forms, and instead returns

commonly known as exploded axonometric, simply means

to the grassroots which can be described through their honest

removing the obstruction by sliding the objects that block each

response to the environment and their functionality. The main

other following the parallel projection lines. Overall, as a special

difference between the two works is that Made in Tokyo explores

representational form, axonometric projection has become an

the exteriors of architecture while San Li Tun and 798 pay much

ideal starting point for architects but in A Little Bit of Beijing the

closer attention to the interiors. Besides the architecture itself,

documentation is complemented with a series of photographs

furniture, electronic appliances, machinery, advertising light

which serve as additional, subjective content that captures the

boxes, transportation tools, and even tableware were carefully

common and trivial details of the urban life.[5]

documented.

Finally, with relation to the larger city, the documentation As a result of the uniqueness that defines the ordinary things

unveils that San Li Tun and 798 are the specific embodiment

around San Li Tun and the 798 Art District, the areas had to

of Fumihiko Maki’s theory of “group form”. As opposed to Rem

be archived using axonometric projection, which is a method

Koolhaas’ concept of “bigness” from his 1994 manifesto where

that unveils the critical and humorous feelings from their

the primary focus was the whole, the big in “group form” is

rough reality. In fact, the decision to use drawing as a means

manifested through the accumulation of the small as a naturally

of representation was very significant towards the outcome of

evolved consequence.[6] A Little Bit of Beijing in a certain

book. In an era in which digital imagery is available everywhere,

way is a documentation of this process. San Li Tun and 798

making documentations by drawing requires courage, patience,

represent the survival of the small shop through a necessary

and persistence and these observations are clearly evident in

combination with the larger city. The unity of the two creates the

A Little Bit of Beijing.[3] Additionally, because axonometric

complexity that characterizes these two urban areas of Beijing.

projection does not have a vanishing point, it makes it uniquely

The “Big” provides support to the small (shops) with integral

useful when documenting highly dense and mixed spaces such

function and providing a constant influx of bodies. In return, the

as the ones in San Li Tun and 798. It is a type of drawing that

“small” provides the “Big” with diversity and interaction. What

in a certain way holds the capacity to make the infinite visible

is important to learn from this documentation and the method in

and to equalize the space in the drawing so that each corner

which it was executed, is that it does not represent the ordinary

can display the details equally. In other words, perspectives

in San Li Tun and 798 as a thoroughly regulated system from

can only document different spaces with various viewpoints

the beginning, but instead as a naturally evolving organism

and vanishing points through a group of images. Axonometric

growing from within where the ordinary has created a special

projection, on the other hand, can gather all the spaces in one

relationship between architecture, life, and human beings.

image so that the continuity of the space can be represented.

This gives axonometric projection an innate privilege in representing huge and complex objects such as cities.[4]

Li Han: To me, the true value is the urban life itself. In most cases, it is presented on a very small scale. You can never see the urban

The problem with complex objects, or spaces in the case of

life from a plane, because it is not close enough and there is no

San Li Tun and 798, is that when all the elements are placed

detail. So we should say the truth results from details.

together, obstruction becomes highly inevitable. Consequently,

VNSK: This is the reason why the focus of your documentation

these two urban areas were represented in the book using

is on the relationship between life, architecture and human

techniques known as cutting and parallel sliding. Cutting

beings. You mention in one of the chapters that the interior is

involves creating voids on the obstructing object so that the

the birthplace of urban dynamics in China. Could you elaborate

spaces behind can be clearly revealed. Parallel sliding, more

on this? ....

199

A series of similar books by the same authors is available for sale in their shop in San Li Tun

Li Han: In China the planning of the land is basically some

Continuing their description of representations and divulging

administrative regulations conducted by the government.

yet another reality, the use of photography throughout the book

Architecture is attached to the land. Its free development is

is discussed within the final section: Memories of My Body.

highly restricted by the rigid land policies. Only in the range of

The author, Wang Hongyue, provides an argument that is both

the interior, the free market economy has the opportunity to

independent from the rest of the text and seemingly critical of

develop fully on its own right. That is why we often find some

the very genre that the book itself exists within. Referencing

buildings quite ordinary from the outside, but surprisingly

this “era deliberately surrounded by imagery” and an “excess

extraordinary and dynamic inside. So I found if only

of drawing, images and movies,” Hongyue exerts a desire to

documenting the exteriors, we would never get the reality of how

find truth amongst the fake and misleading, taking this book as

the city, architecture, and space is used. That is why I decided to

an opportunity to reveal the individual artistic mission behind

focus on the interiors and details in the documentation from the

his own imagery. However honest the motive, this section is no

very beginning.

less a spectacle or performance than the rest of the book, as

VNSK: How does ‘smallness’ manifest in San Li Tun or the 798?

the photography displays a clear layer of personal intention. In

Li Han: It shows in many small shops, restaurants, cafes, bars,

fact, one that renders a perception of San Li Tun and 798 that

and galleries. All of them are small, independent, but at the

is quite contrasting to the feel of the drawings produced by the

same time are bound to the city and rely on each other to

collaborating artists.

survive.

Hongyue begins the section with a quote from Guy Debord’s

VNSK: You mention that the analyses and the research on small

Society of the Spectacle, claiming that Debord’s issue of the

shops will be your focus in the future work. You actually own a

spectacle has only increased since 1967. Hongyue claims that

shop. Is it part of the experiment?

the inundation of imagery affects human beings past our sight

Li Han: Yes. But actually we started our shop before we began

as “our body and consciousness also take a deep sleep in this

our research. To document San Li Tun is not because we have

imagery world composed by fake representations.” Although

our shop. However, after we finished the documentation on

the text is clear to paint excess imagery in a negative light it

San Li Tun and the 798, I started to analyze and summarize the

does not make the effort to explain what exactly the detriment

urban phenomena we saw during the research and realized the

is.

important role of small shops. So you could say there is certain coincidence. But now we do think that we can make our own

Is the issue within the imagery itself or a result of who is

shop an important reference for our future study.

producing it? Should we be worried about receiving filtered

VNSK: Do you consider ‘change’ as the key value of a human

messages or missing out on the sensation of reality?

scale-architecture?

Yes.

To this regard the author expresses a sense of nostalgia to a

VNSK: You, as an architect and observer taking record of these

time before people had the ability to create imagery, when the

performances, how do you see the purpose of your involvement

use of the movement of a body was used to experience space.

within this process of change?

If personal, unfiltered experiences of a city is what we should

I think through our documentation we become the observer,

strive for then where does place books of this nature? The

recorder, and communicator for such a process of change. Our

author seems to be making the same somewhat contradictory

job is not to make judgments on whether those performances

argument that can be read within the Situationists International’s

are good or bad; we only hope our works will help more non-

psychogeography maps. That the ideal way to experience a

professionals to understand why these naturally developed

city is to walk it and lose yourself within it. To expect nothing

places are interesting and appreciate their uniqueness.

and be open to everything. However, in both cases the reader

201

One of many graphic axonometric drawings from the book is used as a pattern on bags and clothing, promotional materials for Atelier 11.

is presented with a tool for experiencing the city, a map or a

It is fitting that a book that describes the spectacle and stages

guidebook highlighting places of interest.

of the urban environment, is a furtherance of the “performance” discussed at length in the book. The writers are aware of the

Hongyue is writing about the falseness of imagery within a book

lineage of architectural guidebooks and reference several of

of highly stylized images and is also presenting images that

them in order to establish their book’s place within that lineage.

are full of personal intention. Again, the objective behind the photographic method is a search of truth. The author writes that

We question this book’s agency, and by doing so question other

by “replacing your eyes and mind with your camera and letting it

books of its kind. The reasons provided by these authors are

become an unconscious part of your body, you will find that the

flimsy at best, and we find that the book results in little but to

obstruction over the true imagery will be reduced.” This seems

further more of the same.

to suggest a style of photography that limits the composition of the image, employing less intention, yet many of the images are carefully posed and constructed. Even the choice to make the images black and white rather than leaving them the colors of reality overlays the very obstruction the author talks against. The fact that these ideas must appear in a book format seems to be the trigger for the contradictory nature of this section. Perhaps the images were taken in the way described and the author did personally experience the city in a more truthful way. Then, the real issue, again, becomes the production of a book. It seems impossible that a book can ever be argument-less because of its nature to be comprised of edited text and images.

Architects like to produce books. They take pleasure out of preparing drawings, of observing and gathering evidence of

[1] A Little Bit of Beijing / Atelier 11 | China Architecture Design

phenomenon, and formatting it into a legible body of work. It

& Research Group / Works / Research

is bred into us through our educations and through the sheer

http://www.atelier11china.com/english/work.aspx?id=351

proliferation of guidebooks that exist today. The architects

[2] Kaijima, M., Kuroda, J., & Tsukamoto, Y. (2001). Made in

responsible for “A Little Bit of Beijing” admit to their love of

Tokyo. Tokyo, Japan: Kajima Institute Publishing Co., Ltd.

bookmaking as one of the prime reasons for assembling this

[3] Atelier 11. (2011). A Little Bit of Beijing. p.19

guide book. They also suggest that the book serves as a

[4] J. Krikke (1996). “A Chinese perspective for cyberspace”. In:

valuable “guidebook,” presumably for travelers. This may be

International Institute for Asian Studies Newsletter, 9, Summer

the case, however, it is certainly less likely that their goal is to

1996.

inform travelers than it is to garner attention for their work.

[5] A Little Bit of Beijing – Interview with Architects Li Han, Want Hongyue, and Lu Wenhui. Arhitectura Nr. 6/2013 (648) p.64

One probable reason that architects and designers produce

[6] Atelier 11. (2011). A Little Bit of Beijing. p.25

guidebooks is to establish their knowledge over a particular

The mere fact that we are analyzing a book with little to no

area or subject. This has proven very effective for many firms,

purpose, a form of attention-getting spectacle, only adds to this

taking a cue from Rem Koolhaas’s Delirious New York, the

performance. The agency of this essay is to… what? Analyze a

canonical retroactive manifesto.

body of writing in search of its agency?

203

HOUSE : HOUSING

AN UNTIMELY HISTORY OF ARCHITECTURE AND REAL ESTATE The Temple Hoyne Buell Center For The Study Of American Architecture With Curators Jacob Moore and Susanne Schindler Research assistant: NIcole Mater

House Housing: An Untimely History of

than an a priori, natural ground. These

Architecture and Real Estate is an ongoing,

infrastructures locate housing at the center

multi-year research project conducted

of the current economic regime, with the

by the Temple Hoyne Buell Center for

United States as an influential node in a

the Study of American Architecture at

transnational network.

Columbia University. The initiative seeks to

House Housing consists of a growing

encourage a public, historically informed

body of research that draws on multiple

conversation about the intersection of

types of media; appears in numerous

architecture and real estate development.

locations in the form of exhibitions, panel

The untimeliness of this history, as

discussions, and publications, among

indicated by the project’s title, is twofold.

others; and relates to different institutional

First, it returns us to financial matters

frames. The project’s objects of inquiry

widely

immediate

range from architect-designed houses

aftermath of the 2008 foreclosure crisis

discussed

in

the

to prefabricated apartment blocks to

but now largely abandoned by mainstream

suburban gated communities. All of these

discourse. Second, it discloses surprising

architectures are analyzed in light of their

repetitions of themes, tendencies, and

position at the intersection of design,

actions—reminding us that the economic

policy, and finance. New narratives emerge

infrastructures on which architecture rests

out of surprising juxtapositions.

are the outcome of such repetitions, rather

205

1946 Promontory Apartments takes risk with new type of funding scheme: MvdR Office expands from eight to thirty employees and moves to larger space Herbert Greenwald and Mies van der Rohe began working together with the development of Promontory Apartments, a cooperative apartment complex in Hyde Park, Chicago. As a relatively inexperienced developer, it was difficult for Greenwald to raise funding from financiers to further his projects.Creative financing in the form of mutual ownership plans enabled their first project to come to fruition. The co-operative model attracted further investment from a life insurance company. The success of the Promontory

Apartment

funding

scheme

enabled Greenwald to find investors with deeper pockets for subsequent projects. The two went on to develop seven major projects together.

207

1973 Nixon declares Moratorium on Housing Assistance Wave of Section 235 foreclosures cited as one cause Section 235, a program to promote low-income home ownership through low-rate mortgages to developers, was passed as part of President Johnson’s Fair Housing Act in 1968. In a telling case in Philadelphia, 235 enabled private builders to buy groups of 50 to 100 residences, abandoned during white flight, contracting with the city to make improvements for subsequent use as owner-occupied housing. Due to lax oversight, many of the homes sold were of such poor quality that they were soon abandoned by new homeowners who could not afford to make necessary repairs. The National Home Ownership Foundation (NHOF) had been conceived as a regulatory body by Republican Senator Charles H. Percy of Illinois to monitor Section 235. President Nixon, who succeeded Johnson in January of 1969, and Percy were known to disagree over many issues, even though they shared the same political party.

When Percy voted against Nixon’s Safeguard Anti Ballistic Missile System in 1969, Nixon shut the NHOF down.

209

1995 City of Ferguson, MO Commissions “Vision Plan for 2015”: Housing Components Fall Far Short of Goal” In 1995, the City of Ferguson, Missouri commissioned a “Vision Plan for 2013,” setting thirteen objectives to improve the quality of the city, ranging from improved fire department facilities to greater compatibility with

the

neighboring

Lambert

Airfield.

Meanwhile, other suburban towns in the St. Louis area set up zoning ordinances preventing multifamily housing for Section 8 voucher holders, making it more difficult for real-estate investors to offer marketrate housing to disadvantaged renters.

Two decades later, Ferguson lacks the local improvements set forth in the vision plan, regardless of its periodic updates and revisions. The town remains relatively unpopular with home buyers, with home values as low as $13 per square foot.

Real-estate investors have noticed the area’s potential for rental-backed security properties, and many single family homes are being rented to Section 8 voucher holders and other low-income families at market-rate prices. In 2014, the town became infamously scrutinized after the shooting of unarmed African-American

high

school

student,

Michael Brown.

211

ЈУГОСЛАВИЈА PARALLEL OBSESSIONS

213

The format of a comic book creates opportunities to tell stories in an abstract manner, using visualizations in place of language to further a deeper message of the book.

In this comic series, Architecture vis-a-vis Ideology, the architecture of historical dictators is analyzed via a dictator’s obsession. In the case of former Yugoslavian autocrat, Marshall Tito, he was equally obsessed with film and sculptural monument.

Under his leadership, Tito commissioned many films and monuments to glorify the integrity of Yugoslavia, to memorialize the heroic acts of his people.

This comic acts as a film strip, portraying the soft ideology of Yugoslavia in its soft colors and monotone gradients. The beauty of the Balkan region is shown as ravaged by war, and scattered with Monuments thereafter. The actor Richard Branson, who famously played Marshall Tito in film, serves as the mediating voice between Tito and the reader.

click,

click,

click,

click...

click, click, click, click...

click, click, click, click... click, click, click, click... click, click, click, click...

hummmmmmm....

The Marshall and his wife are seated for their evening film...

215

RICHARD

Nazi-occupied Bosnia and Herzegovina in 1943. Under the faithful leadership of Marshal Tito, the Yugoslavian partisans have put up a staunch fight against the occupying Axis powers for a number of years. Despite being outgunned, outmaneuvered, and vastly outnumbered, they managed to recuperate in the harsh mountainous region called Durmitor in northern Montenegro. However, their rest was short-lived, as the combined foreign and domestic Axis powers begin an encirclement offensive, outnumbering them 6:1. The Partisans have no choice but to fight out of the encirclement, heading towards eastern Bosnia. They finally clash with the Axis on the plains of Sutjeska in southeastern Bosnia.

Various people are caught up in the fighting, such as a Dalmatian who lost all of his children during the war. As the fighting intensifies, the story and the scenes are drawn more and more into the colossal battle as both sides are forced into a conflict that can only be described as a living hell. The scenes are interlaced between general battle rage and individual, personal fates and agonies of several main characters, from supreme commanders to ordinary soldiers.

SOPHIA

The offensive finally ends as a failure for the Axis armies, but the Partisans are not in a mood to celebrate – they suffered devastating losses. Still, they marched on.

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crrrashhhhh....

The bridges were destroyed, the infrustructure was brought down. What was a welcoming landscape became a warzone.

tingkt, tingkt, tingkt, tingkt tingkt, tingkt, tingkt, tingkt tingkt, tingkt, tingkt, tingkt tingkt, tingkt, tingkt, tingkt

tingkt, tingkt, tingkt, tingkt tingkt, tingkt, tingkt, tingkt

tingkt, tingkt, tingkt, tingkt tingkt, tingkt, tingkt, tingkt

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the land has been ravaged

jchhhhhhhhhuuu....

eeeeeeeeeeeooooo!! (long high whistles)

Hmmmf...

Can we run that again, Rick? This time, really hit it home with a feeling of heroism. This is for the Marshal, you know....

Sure thing...

But are films really the best way to commemorate what happened here...?

Of course not, Richard, let me show you some of my other pet projects...

...Marshal!

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For each battle site, in which our country’s heroism was displayed... ...I commissioned monuments Works of art honoring our bravery...

Each one unique....

And anticipating the future of design...

...Celebrating the inguinuity of our country, honoring the beauty of the landscape...

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...Part sculpture, part place....

...The strength of a nation, displayed in perpetuity...

...As years pass, and memories of our nation begin to fade, these monuments will retain our cultural memory.

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APPLIED CONCEPTS

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FP//SS 2015 Fanchang Feng Jasmine Ho Jordan Meerdink Julie Gonzalez Max Hartman Nicole Mater Nutchanun Boontassaro Shalini Amin Tanya Griffiths Renyuan Wang

WHO IS KERBY? Kerby is a little monster of a pavilion. He is made of panels full of kerfs, or sninges, that allow stiff material to become flexible and curved. He was born to be a world traveler. Kerby can easily flatpack and fit in a crate to visit cities all over the world. He is low maintainance and can be re-built quickly, like a big 3D puzzle.

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You could totally stand on it. That’s a stong bowl!

We did, however, test it to failure by jumping up and down on it.

IT STARTED WITH A POP-UP BOWL We were interested in creating a pop-up stricture, and this kerf pattern showed us that it was possible to turn a single flat sheet into a domed structure.

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JOINT EXPLORATION By testing many types of flexible joints, we clarified our intention of creating a moving structure and explored viable options for our connection points.

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MATERIAL TESTING We let materials guide the process. By working our way from the material to the form, we discovered the design together, rather than prescribing it.

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MATERIAL TESTING We let materials guide the process. By working our way from the material to the form, we discovered the design together, rather than prescribing it.

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SCALE PROTOTYPING We used lasercut mondels to test kerf patterns, connections, and forms. This allowed us to move faster, but to prove our ideas in a physical way.

239

MATERIAL TESTING We let materials guide the process. By working our way from the material to the form, we discovered the design together, rather than prescribing it.

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(MIS)USE THE STREETS REDEFINE THE POOL COLUMBIA GSAPP A DVA N C E D ST U D I O I C R I T I C : P H U H OA N G D E S I G N T E A M : N . M AT E R , J . H O , S . M E D I N A Beyond a building, this project creates a hub for social interraction, utilizing the streets of New York as fair ground for urban play. Treated as a vessel for activity, the dumpster is a program generator which is disseminated throughout the city. The envelope acts both as an incomplete wall, when attached to the building, and as a public platform that adapts the program of the dumpsters. This results in an architectural solution characterized by incompleteness, constantly altering in scale as units are dispatched and returned.

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The potentials of spatial misuse.

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STREET

FIRE HYDRANT

SLIP ‘N’ SLIDE

Percieved alterations of the street

PLAY

DU

N

FIRE HYDRANT

SLIP ‘N’ SLIDE

DUMPSTER POOL

PLAY SKATEBOARDING

DISSOLVE

STREET PERFORMANCE

ATTRACTION

JOGGING

DINING

EXPANSION

PERFORATION

FOOD CARTS vs. TRUCK

UNPLEASANT BEHAVIOR

COLLECTION

VOID

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DUMPSTER DICTIONARY

AQUATICS CENTER DUMPSTER PROGRAM PROGRAM

DRY LOUNGE SERVERY/KITCHEN CAFE STORE WET LOUNGE RECEPTION/TICKETING TOILETS POOL OPERATION OFFICE MANAGER’S OFFICE STAFF OFFICE MEETING ROOMS WET CHANGEROOMS LOCKERS FIRT AID WEIGHTS + CARDIO SPIN ROOM DRY FITNESS STUDIO

static

PROGRAM POOL HYDROTHERAPY POOL SPIN ROOM OUTDOOR POOL SPECTATOR SEATING LEISURE WATER POOL

diffuse

DUMPSTER POOL

URBAN BEACH

HYDROTHERAPY ICE CREAM

TOILETS

BEAUTY SALON

KITCHEN

SHOWERS

START-UP COMPANY

HYDROPONIC AGRICULTURE

BURLESQUE CLUB

CASINO

DISPENSARY

HOOKAH BAR

BALL PIT

BILLBOARD

CLASSROOM

PLAYGROUND

PET ADOPTION SITE

HOUSE OF WORSHIP

PUPPET SHOW

THEATER OR CINEMA

ART GALLERY

TRAMPOLINE

LUCHA LIBRE

VIDEO GAME ARCADE

HALF PIPE

FIGHT CLUB

FARMERS’ MARKET

CONCERT

DJ BOOTH

RAVE

STAND CAPSULE HOTEL

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SITUATIONAL SITUATIONAL MATRIX MATRIX

PARKING PARKING LANE LANE

x1 x1

x2 x2

x3 x3

PARKING PARKING LANE +LANE SIDEWALK + SIDEWALK

STREET CLOSINGSTREET CLOSING

(MIS)APPRPROPRIATE THE DUMPSTER

PARK

PARK P L AT F O R M CO N F I G U R AT I O N S

The dumpster can be utilized in various configurations to create temporary public platforms for activity. The articulated skin used to make the transformation is a deployable portion of the facade of the building where the units are stored.

257

Pool and Plant Services

Hydrot Chang

Hydrotherapy Pool

Hydrotherapy Store

Pool Hall Program Pool

Wet Ch

Reception/Ticke Foyer

Forecourt

Dry Lounge Outdoor Terrace

SOUND

Pool

Leisure Water Area

Wet Lounge Weights and Cardio Kitchen

Spin Room

Cafe Dry Fitness Studio 1

Dry Fitness Studio 2 Dry Changerooms

PROGRAM ELEMENTS Pool Storage

therapy gerooms

Lockers Staff Office Meeting Room 1 Meeting Room 2

hangerooms

Pool Operations Office

eting

Manager’s Office First Aid

e Seating Public Toilets

Seating

Cafe Toilets

Dry Changerooms

Lockers Fitness Office 1 Fitness Office 2

Lockers

OUTDOOR TERRACE HYDROTHERAPY STORE RECEPTION/TICKETING PUBLIC TOILETS DRY LOUNGE SEATING CAFE SERVERY/KITCHEN WET LOUNGE SEATING CAFE TOILETS STAIRS LIFT LEISURE WATER AREA MANAGER’S OFFICE STAFF OFFICE MEETING ROOM 1 MEETING ROOM 2 POOL HALL PROGRAM POOL POOL OPERATIONS OFFICE HYDROTHERAPY CHANGEROOMS WET CHANGEROOMS LOCKERS FIRST AID HYDROTHERAPY POOL FORECOURT FOYER POOL PLANT AND SERVICES POOL STORAGE FITNESS OFFICE 1 FITNESS OFFICE 2 WEIGHTS AND CARDIO SPIN ROOM DRY FITNESS STUDIO 1 DRY FITNESS STUDIO 2 DRY CHANGEROOMS

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AN BEACH

N CLASS / YOGA

POP-UP POOL

E + SIDEWALK

YGROUND

MINI-GYM

NE + SIDEWALK

ANE + SIDEWALK

P L AY P E N

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LEVEL 2

GROUND FLOOR

A

B

C

D

E

F

G

H

I

J

K

L

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RE W

NEW JERSEY

MANHATTAN

BY LAND

BY WATER WATER SOURCES

ED HOOK, NY WATER SOURCE

LONG ISLAND CITY/HAMPTONS, NY WATER SOURCE

BROOKLYN

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A LIVING WALL FOR THE DEAD

Death is not scary. We are all affected by it as we grow. As a part of life, death needs to be seriously considered when planning the urban environment.

This design solution integrates death with the city, intertwining the living and the dead, and dissolving barriers that we have created by expanding from the borders of existing cemeteries and infiltrating into already-revitalizing knowledge-economy districts.

Teammates: Nicole Mater, Jiteng Yang, Ao Liu, Joung-taek Yi

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Urban Funerary Infrastructure We are out of space.

We need new, integrated solutions.

Cemeteries Funeral Homes +

Columbaria

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CROSS-CULTURAL FUNERARY RITUALS

r

Circle size shows number of people involved

By studying many cultures, we can locate critical intersections where architectural program can be implemented.

Brightness of shading indicates likelihood of occuring indoors

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DIAGRAMMING MATERIAL BEHAVIORS DISSOLUTION AND REDENSIFICATION

Contour study

Controlled dissolution study models

Material obfuscated by casting it in glycerin

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New Industry City Canal

Industry City Development

Greenwood Cemetary

MTA Depot

Sunset Park

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PROMESSION

METAMORPHOSIS

VIBRATION

COMPOSTING

The deceased is pre-frozen, then

Ultrasonic vibration reduces the

Promains may be placed in a

placed in a sealed promator,

remains to a fine white powder, about

biodegradable container and buried in

where the metamorphosis occurs.

30% of the original body mass.

shallow topsoil or scattered, re-absorbed

Immersed in liquid nitrogen, the corpse becomes crystallized.

into the ecosystem.

COURTESY OF DEATHLAB

8 ft

8 ft

8 ft

8 ft

8 ft

8 ft

32 ft

8 ft

8 ft

8 ft

8 ft

8 ft

8 ft

32 ft

8 ft

8 ft

8 ft

8 ft

8 ft

8 ft

8 ft

8 ft

32 ft

8 ft

8 ft

8 ft

8 ft

8 ft

8 ft

8 ft

8 ft

32 ft

8 ft

8 ft

8 ft

8 ft

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Aromatic Sumac

Black Eyed Susan

Blazing Star

Blue Hyssop

Blue Aster

Coneflower

Copper Iris

Cutleaf Lilac

Feather-reed grass

Blue Star

Gibraltar Bushclover

Himilayan Indigo

Milkweed

Dwarf Fothergilla

Mortimer Sackler Rose

Mosquito Grass

Sea Lavendar

Sideoats Grana

Swamp Sunflower

Thimbleweed

Yarrow

Winterberry

Purple Moor Grass

Himilayan Sweet Box

June

Ju

l ri

ly

Ap

May

Marc h

ust Aug

ry ua

uary Febr

Septe mbe r

Oc to

r be

Ja n r embe Nov

ANNUAL FOLIAGE COLORING The selection of prefered plants provide the occupied wall with a range of color year-round.Natural species were chosen based on their ability to thrive in New York City’s climate. Many of the plants have medicinal properties and support the natural ecosystem with their fruits and seeds.

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Decem ber

SPRING

SUMMER

AUTUMN

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WINTER

Memorial aggregations can begin to attach themselves to existing buildings, carrying with them the program neccessary to honor the dead while improving the built environment.

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CITY : GRAVEYARD EDGE Portential to diffuse, connect, and intensify the edge of the cemetery, creating a place for memorial, reflection. amd everyday interraction.

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PROTOTYPICAL EXPANSION POTENTIAL The system lends itself to implementation throughout New York and in other dense cities.

Linear memorial parks can stem off of cemeteries throughout the area, creating a network of procession and a new death industry in a hyperdense city.

Connecting cemeteries to supporting facilities throughout the city.

By grafting our program into the existing death infrastructure areas of the city, and creating connections between them utilizing water routes, we create a memorial network throughout the city.

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One year at GSAPP is both a long time and not enough time at all. I tried my absolute best to use it wisely.

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C U R R I C U LU M V I TA E

E D U CAT I O N C O LU M B I A U N I V E R S I T Y G R A D U AT E S C H O O L O F A R C H I T E C T U R E , P LA N N I N G , A N D P R E S E R VAT I O N [ G SA P P ] Candidate for a Master of Science in Advanced Architectural Design [MS. AAD] • Anticipated graduation in May 2015 •

U N I V E R S I T Y O F K A N SAS SCHOOL OF ARCHITECTURE, DESIGN, AND P LA N N I N G [ KU SA D P ] Master of Architecture with Distinction [top 10%] - May 2014 Graduate Certificate in the Architecture of Health and Wellness - May 2014w • International Education - Transmutational Cities - 2012 [London, Rome, Barcelona, Paris, and Lyon] • •

R E L AT E D E X P E R I E N C E HDR ARCHITECTURE, INC. G R E AT P LA I N S ST U D I O - O M A H A , N E B R AS K A May 2013 - December 2013 Architectural Design Intern • Design aid for two major projects and two winning project pursuits. Contributed to design concepting, details, and material selections. Gained exposure to clientele and business relations throughout.

• •

N I C O L E M AT E R Nicole Mater, Assoc. AIA, LEED GA is an architectural designer and entrepreneur studying in New York.

Her work emphasizes her belief that that provocative design can draw attention to social issues, an impetus to a wave of innovative solutions.

Nicole is interested in design that focuses on user experience, design research, and context awareness. She currently attends the Graduate School of Architecture, Planning, and Preservation at Columbia University. At GSAPP, she is investigating urban infrastructures, housing, post-ideological architecture, and evolutionary computational design.

T H E T E M P L E H OY N E B U E L L C E N T E R FO R T H E ST U DY O F A M E R I CA N A R C H I T E C T U R E C O LU M B I A U N I V E R S I T Y - N E W YO R K , N E W YO R K September 2014 - Present Research Assistant to Susanne Schindler and Jacob Moore • Research, write, and edit materials in preparation for international exhibitions • •

C O LU M B I A G SA P P O U T P U T S H O P N E W YO R K , N E W YO R K May 2014 - September 2014 Production Technician • Operate and maintain laser cutters, 3D printers (Dimension and CubeX), and large-format plotters • •

C E RT I F I CAT I O N S

P U B L I CAT I O N S

L E E D G R E E N AS S O C I AT E

A B ST R AC T, C O LU M B I A U N I V E R S I T Y G SA P P

GCBI, License 10760855

•

•

PROFESSIONAL MEMBERSHIPS

•

AS S O C I AT E A I A

2014 - 2015 edition, expected release Winter 2015 Selected for multiple entries

I N T E R I O R D E S I G N M AG A Z I N E

• New

York Chapter • 2014 - Present

• •

A M E R I CA N I N ST I T U T E O F A R C H I T E C T U R E ST U D E N TS [ A I AS ]

String Art Installation featured in “Big Ideas” issue March 2013

VA LU E O F D E S I G N : D E S I G N & H E A LT H , A I A P U B L I CAT I O N S

University of Kansas Chapter • 2010 - 2014

•

•

Graduate Advisor, 2014 • Chapter Governance Board, 2013-2014 • Community Outreach Coordinator, 2013 • Architecture School Affordability Advocate, 2013 • Midwest Quadrant Conference Planning Committee, 2012 •

•

“Impacting Health and Wellness of a Community by Designing a Hybrid Community Hospital.”

April 2013

EXHIBITIONS D U A L I T Y - SAV I N G M A I N ST. U SA

SELF-DIRECTED RESEARCH

•

May 2014 - 360 Architecture Gallery Kansas City, Missouri

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July - November 2013 - KANEKO Museum - Omaha, Nebraska

SAV I N G M A I N ST. U SA 2013 - 2014, KU SADP Graduate Thesis Evaluating the decay of Small Town America and the efficacy of related rescue efforts

• •

H OT M E S S : L I N E S O F AT T R AC T I O N

P O ST - I D E O LO G I CA L A R C H I T E C T U R E

Current research Concerning the political nature of architecture and post-ideological futures of forgotten places.

• •

S E L E C T E D AWA R D S • • • •

S O F T WA R E P R O F I C I E N C I E S

•

ADOBE CREATIVE SUITE RHINOCEROS SKETCH UP GRASSHOPPER VRAY 3DS MAX REVIT AUTOCAD ECOTECT PYTHON PROCESSING

0

2

Columbia University Academic Scholarship AIA St. Louis Ranft Award, 2013 Kelly Architectural Scholarship, 2013 AIA St. Louis Wischmeyer Award, 2012 J. Gordon Moorman Scholarship, 2012

A D D I T I O N A L Q U A LT I E S • • • • • •

4

6

8

10

Eager to learn and grow as a designer Strong computational design skills Experience in digital fabrication Excellent craft and attention to detail Communication aided by hand sketching Basic literacy in German and Spanish 301

OPERATIONS ANNEX ADD

To accumulate and build up. To overlap and to create relationships of shared space.

BOIDS

Boids are a well established algorithm for flocking. I am particularly interested in the sequencing of information as each unit follows a leader, but how the leader consistently changes, and how the flock is influenced by outside influences. Chains and patterns are developed, and incredibly intricate relationships can be observed .

BOOLEAN

Boolean functions allow for the combination or subtraction of one three-dimensional form to or from another. In this work, the terms Addition and Subtraction are preferred.

BREEDING

Domestic breeds are derivatives of choice, each created for a specific purpose. Take any domesticated organism, flora or fauna, it can be analyzed by its lineage and use. From my own perspective, raised in an agriculturally-rich culture, this concept is deeply ingrained in how I see the world. If we evaluate architecture as a species composed of breed-like elements, perhaps it is possible that cross-breeds and mutations have come into being without us even realizing it. We should question our ability to optimize these breeds and to develop elements that have a broader depth of use.

CELLULAR MULTIPLICATION

This biological topic is interesting because it involves two principles. The sequence involved in this process is first multiplication, then division resulting in duplication. It is also interesting because each generation is a copy of the proceeding generation.

COPY + PASTE

A basic tenant of propagation is multiplication. The multiplicity and enumeration of objects is one way to begin to understand the relationship each object has to the other and to begin to qualify the space between them. The negative space can become a crevice, a tunnel, or a channel through the combined mass. The crystalline aggregations become a spatial game for the mind to inhabit.

CONSTRAIN

Constraints have many implications on their respective designs. They can be seen as a hindrance, but I choose to believe that working with constraints can enable transcendent design. As a monograph, this book was produced under a set of many constraints. The sites were given as a cleared, generic Manhattan block divided into five lots. The program for each lot, each building, was prescribed with a single word: Cult, Fitness, Storage, Retail, and Hotel. Further constrained, each building design was to be produced in a weeks’ time, accompanied by pursuits of preexisting interests. Those interests became molded the thesis, and the buildings came to manifest it. The most beneficial constraint of all is the self-imposed one. Forming constraints creates a path to escape convention.

DISTORT

What are the benefits of distorting the normal? Within this body of work, distortion was used to primaries that more accurately reflected the ways in which subsequent operations effected them and were instigated by programmatic desires.

GAME OF LIFE

Within the context of this book, the Game of Life algorithm was used to simulate changes that could occur to the field over time, in an effort to achieve the effect that buildings with cells can choose to live or die. The resulting forms are an imperfect representation of a moment frozen in a lifetime of possible changes. In actuality, each level produced by the algorithm, increasing in the z-axis, represents a potential generation directly influenced by its precursor. Each floor remains unchanged as the building, in this scenario, grows. A four-dimensional representation method of the Game of Life could have been used that would have been a more accurate representation of the design as intended, but ultimately one would not be able to differentiate between the two outcomes without seeing the building changing throughout time. Since the design is being represented in three, not four, dimensions the former was the preferred method.

FIBONACCI SEQUENCE

The ultimate mathematical realization of propagation, this sequence is consistently used throughout this body of work. 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987, 1597, 2584, 4181, 6765, 10946, 17513, 28459...

HYBRID BREEDS

Combining two or more breeds creates a new one with components of both parents.

Thinking about hybrid nature in architecture could lead to more efficient structures with fewer elements doing more work.

MULTIPLY

RANDOMNESS

To reproduce rapidly. To duplicate. To proliferate. Enough said.

Choice is integral to propagation, where randomness is a false effect. I preference rules, games, and strategy over random functions.

STANFORD RABBIT

The three dimensional rabbit figure used in pages 20-41 is a commonly used mesh model known as the Stanford Rabbit. It is known for its mesh complexity and the varying degrees of faceting it has as a potential. In each sequential round of multiplication, the model of the rabbit is reduced in complexity in order to optimize the use of the computer. More rabbits, each one less complicated than the last; each iteration more spatially complex.

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