Design Showcase 2018 by NJIT

Design Showcase

2018 12 th annual

An exhibition of design excellence produced by the students and alumni of NJITâ&#x20AC;&#x2122;s College of Architecture and Design

March 22, 2018

Campus Center Atrium

4:30pm - 9pm

College of Architecture and Design New Jersey Institute of Technology

Cover Art: Design Showcase 2017 Winners Students (left to right): Nicholas Warholak, Nate Soto, Ariana Milla, Stephanie Tran, Monika Appelhans

DESIGN SHOWCASE 2018

Ryan Cusack

Catalog Designer & Editor B.Arch, â&#x20AC;&#x2DC;17

Kimberly Dripchak Assistant to the Dean

College of Architecture and Design

Janet Robertson

Director of Development University Advancement

Michael Smullen

Director of Alumni Relations

Matt Gosser & Don Menke

Exhibit Curators

Martina Decker, Mathew Schwartz & Andrzej Zarzycki Lecture Committee

A special thanks to the Gourmet Dining Service & Physical Plant Managers and Staff for setting up a beautiful space for this event.

Principal Sponsorship by PELLA WINDOWS & DOORS

DESIGN SHOWCASE 2018

Program Schedule 3:30p 4:30p

Event Check-in.

4:30p 5:30p

Dedicated professional networking time for alumni, sponsors, and industry professionals.

Campus Center Atrium

4:30p 5:30p 6:30p

Tours of the newly renovated Central King Building. CE Lecture. “Existing Conditions: Architecture in Dialogue” presented by: Guido Hartray (Partner & Co-Founder, Marvel Architects) and Karen Ekshian (B.Arch ‘12, Senior Designer, Marvel Architects)

NJII Agile Strategy Space, located in the Central King Building

6:30p 9:00p

Gallery Exhibition and Reception. Campus Center Atrium

College of Architecture and Design New Jersey Institute of Technology

thank you

PELLA WINDOWS AND DOORS for over

amazing years of sponsorship!

For 12 years, Pella Windows and Doors has been the program sponsor for the Design Showcase at NJITâ&#x20AC;&#x2122;s College of Architecture and Design. We realize that Pella has the opportunity to support a variety of schools and a variety of initiatives, and we are grateful that they continue to choose our event. The many years of continued support demonstrate not just their dedication to the College, but also their relationships and support for our alumni. We truly appreciate their continued involvement in this event and look forward to seeing Pella in our Gallery in future years.

DESIGN SHOWCASE 2018

Welcome to CoAD! This Design Showcase takes place during a year of milestones for the College –the 10th anniversary of the establishment of the School of Art + Design, and the 45th anniversary of the founding of the New Jersey School of Architecture in 1973, the event that transformed the Newark College of Engineering into the New Jersey Institute of Technology. The presence of multiple disciplines under one roof here at the College mirrors an increasing emphasis on interdisciplinary cross-fertilization in higher education generally. Our classes and programs regularly involve a mix of students from mechanical engineering, bio-medical engineering, information technology and theater among other disciplines. Similarly, a number of our faculty are presently engaged in cross-disciplinary research with colleagues from these departments plus math, physics, and humanities. This is why we are constantly striving to increase the breadth of firms and alumni represented each year in Design Showcase – on the organizing committee, the work on display, and the sponsored tables. Perhaps this abbreviated look at recent accomplishments by our students and faculty can convey some idea of the quality and diversity of our community: Prof. Maria Hurtado de Mendoza’s published a monograph on her firm’s work, Clinical: An Architecture of Variation with Repetition. Prof. Georgeen Theodore published a new book, The Arsenal of Exclusion & Inclusion, with her firm Interboro Partners, which offers a glossary of mechanisms used to embrace or discourage full participation in our civic realm. Outgoing AIAS NJIT President Mike Chiappa, BA Interior Design ‘15 and M.Arch ’18, was elected Northeast Quadrant Director on the 2018-2019 AIAS Board of Directors, the first CoAD student to hold national office in AIAS. His predecessor at our AIAS NJIT Chapter, Ryan Cusack, B.Arch ‘17, was elected to the NAAB Board of Directors, the national accrediting body for schools of architecture. Associate Dean John Cays completed a 3-year term on the ACSA Board of Directors and was also elected to serve on the NAAB Board of Directors. It’s a CoAD takeover! The renovation of the Mostoller Reading Room within our Littman Library nears completion and is already populated by student and faculty exhibitions and scholarly colloquia organized by Maya Gervits, our innovative librarian. Senior University Lecturer David Brothers, coordinator of the Interior Design Program, was named one of the “25 Most Admired Educators” by DesignIntelligence for 2017-2018. 47 different A+D students had work selected for and shown at the curated Student Work Exhibit at SIGGRAPH in Los Angeles; a bio-mechanical character by Carl Ravensbergen, selected as the “cover image” for the onsite program announcement.

So once again we thank you for being here to see and celebrate our incredible student and alumni work. Your support enables us to grow, improve, innovate and provide the best opportunities for our students.

A MESSAGE FROM THE DEAN OF CoAD Last summer a group of architecture and design deans met in Rhode Island with representatives of Tremco, Inc., a roofing and building materials supplier and maintenance company interested in developing ties with research programs at schools of architecture. In a conversation with their regional sales and product development manager, I mentioned NJITâ&#x20AC;&#x2122;s ranking by the New York Times as first in the nation for upward mobility in terms of students from the bottom fifth of the income ladder who end up in the top three-fifths. This statistic resonated with the Tremco manager, who talked about going to work as a longshoreman at age 16 to supplement his familyâ&#x20AC;&#x2122;s income. These numbers resonate with me as well. Having taught at the College for nearly forty years, I am well aware of the financial sacrifices families make to put their children through college, as well as the heavy workload many of our students carry outside school to support themselves. This appreciation for the value of hard work is a distinguishing trait in our student body, one that will serve them well in their future careers. Our job as educators is to match their commitment with our own, and to support them in every way we can as they negotiate their college years. Design Showcase plays an important role in this process. It provides an opportunity for our students to share their work, to view the professional work of our graduates, and to meet and talk with representatives from architecture and design firms and the building industry. It is our most important fundraising event of the year, with proceeds used to support major new initiatives within the College and also to provide support for student activities. Alumni are also the principal source of student scholarships. At present the College distributes over $100,000 through different scholarships each year. I welcome you, our alumni and industry visitors, to this signature event and thank you for your role in supporting our students and, especially, employing them! Your confidence in our graduates will be repaid many times over.

Anthony Schuman Interim Dean, College of Architecture and Design

DESIGN SHOWCASE 2018

Committee Members CHAIRMEN Chuck Dietz, ‘83, AIA Principal, The Dietz Partnership, LLC

Trevor Munson, ‘08 Project Executive, Plaza Construction LLC

COMMITTEE Marta Brulinski, ‘16

Robert Longo, ‘86

Freelance Designer, CNBC

Partner, Cornerstone Architectural Group LLC

William Corfield, ‘78

Jonathan Ninnis, ‘05

Senior Project Manager, DI Group

Principal & President, OC Development Group

Ryan Cusack, ‘17

Marc Parette, ‘83

Intern Architect, PKSB Architects

Principal, Parette Somjen Architects

Dom Diaz, ‘87

Jose Santinho, ‘97

Principal, Diaz Architects

Project Manager, Morgan Stanley

Donald Henry, ‘80

Marc Sohayda, ‘08

Managing Partner, Urbahn Associates

HDR Architects & Engineers

Robert Fritz, ‘88

Chuck Sommers, ‘92

Vice President, Mott MacDonald

Director (Const. Division), GroundForce Logistics

Susana Holguin-Veras, ‘06

Michael Tully, ‘96

Howard L. Zimmerman Architects PC

Project Manager, Gensler

Matthew Jarmel, ‘90

David von Stappenbeck, ‘93

Principal, Jarmel Kizel Architects & Engineers

Associate, KSS Architects

A MESSAGE FROM THE SHOWCASE CO-CHAIRS Welcome! It’s great to have you here at the College of Architecture and Design’s (CoAD) annual Design Showcase. Now in its 12th year, this Design Showcase marks the momentous milestones as we celebrate 45 years of the NJ School of Architecture and 10 years of the School of Art + Design. Whether you’re a current student, recent or tenured alumnus, or an industry professional; we want to thank you for your continued support of our students and programs. The success of our program is attributed to your involvement and attendance tonight. Thank you for joining us and the rest of the NJIT family as we celebrate design excellence of current and former College of Architecture and Design students. CoAD continues to embrace technology-enabled design and is committed to a broad intellectual foundation that prepares our graduates not only as young professionals but also as citizens ready to engage the issues of the day. Under the direction of Interim Dean Tony Schuman, and Directors Glenn Goldman and Gernot Riether, our students are taught to invent, to take risks and to immerse themselves in the design process. Their work demonstrates bold and forward thinking, while addressing complex and timely problems locally, nationally and beyond. These talented students dealing with, the world of daily reality as well as purely imaginary realms. They are encouraged to consider the implications of their work by diverse measures - ethical, social, environmental and financial. Our Gala also celebrates alumni! The skills and knowledge of CoAD’s alumni benefit society at large and have a profound impact on our region’s economic development. As demonstrated in the exhibited designs, CoAD alumni shape our environment through impactful buildings, interiors, fashion and products. Our graduates are also developing new intellectual property and serve as indispensable advisers to industry and government. This year we’re excited that our lecture features an alumnus from CoAD, Karen Cilento Ekshian ’12, and founder of Marvel Architects, Guido Hartray, who will discuss the transformation of the former Central High School into the Central King Building, serving as a hub for education and research in science, technology, engineering and mathematics (STEM). The restored Central King Building provides a critical anchor for community redevelopment in Newark by transforming the building into a visual landmark and an educational destination. Many people have labored to make this exhibit a success. Our fellow committed members and alumni volunteers have given hundreds of hours of their time; the CoAD staff have worked diligently and our sponsors have generously contributed time and funds to support the program, and to support scholarships at the school. All this time and effort is intended to enable ambitious, talented young people to develop their design skills and contribute to the community at-large. Thank you for taking part in this event. We hope that you will be inspired by the work of our alumni and students, and will benefit from strengthening your relationships with them. Enjoy the Showcase!

Chuck Dietz ’83, AIA, Principal, The Dietz Partnership, LLC Trevor Munson ‘08, Project Executive, Plaza Construction LLC

DESIGN SHOWCASE 2018

Sponsors Principal Event Sponsor

Deanâ&#x20AC;&#x2122;s Council Sponsor

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EST. 1906

CoAD ADVISORY BOARD

Steven P. Aluotto, AIA ‘79

Jeffrey J. Milanaik, ‘80

President, NK Architects

CEO/Managing Member, CrownPoint

Ron Beit

Karen Nichols, FAIA Principal, Michael Graves & Associates

CEO, RBH Group

Tom Bury, ‘02

Group, Inc.

CEO, Division 9 Construction

Marc Parette, AIA ‘83 Principal, Parette Somjen Architects

Kenneth Colao, ‘77 President, CNY Builders

Jeanne K. Perantoni, AIA Principal, SSP Architectural Group

Peter L. Gluck, AIA President, Peter Gluck & Partners

John Ruga

Samer Hanini, ‘99 Principal, Hanini Group

Michael Schmerbeck

Matthew B. Jarmel, AIA, MBA ‘90

David K. Williams, AIA

Principal, Jarmel Kizel

Partner, Davis Brody Bond

Allan Kehrt, FAIA Partner Emeritus, KSS Architects

President, Northeast Precast

President, Backbrook Masonry

A NOTE OF THANKS TO THE DEAN’S EXECUTIVE COUNCIL The College of Architecture and Design would have been unable to implement many of our new initiatives without the Design Showcase and the fundraising efforts of the Dean’s Executive Council. This group of alumni conceived of the event, implemented the criteria and standards, and has helped to keep it running for a decade. It is with much gratitude that we say thank you to the members of the Dean’s Executive Council. Stephen P. Aluotto Kyriaki Antoniou Christine R. Balint Andrew T. Balto Daniel J. Balto Sandra M. Barry Amado Batour Alison L. Baxter Michelle T. Berliner Frumer Eric J. Bieber Jan L. Bishop Marta Brulinski John Bryjak John P. Capazzi Jose I. Carballo John R. Cassidy Norbert Y. Chang Rosanna B. Collars William R. Corfield Rachel Corres Americo G. Crincoli Frank Cunha Ryan Cusack Katarzyna M. Cyrulik Nancy B. Czesak Anthony D’Angelo Brian R. Darling Rafael B. De Carvalho Michael J. DeBiasse Serge Demerjian Steven A. Derasmo Charles P. Dietz Kenneth B. Drake Baila N. Ehrenberg Hans P. Erdenberger Katie L. Feehan Michael P. Finley Justin M. Foster Kenneth J. Fox Robert K. Fritz Alfred G. Galdi Kenneth D. Garcia Mark J. Giessen Elliot J. Glassman

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Janine Glatt Albina Gode Donald E. Henry Susan A. Herman Susana Holguin-Veras Clifford Horner Kimberly A. Hurley John C. Inglese Matthew B. Jarmel Kshitija Joshi William E. Kaufman Victor L. Keto Ricardo A. Khan Stacey R. Kliesch Michael A. Kluck Dror Kodman Brian Kowalchuk Jason E. Kurzweil Scott E. Lau Michael R. Lawson Alexander C. Leonard Steven Leone Christine M. Liaukus Patrick W. Lobdell Robert M. Longo Enkela Malellari Joseph G. Marra Lauren E. Martin Kevin T. McCormick Kevin McIlmail Lizza A. Medina Eugene P. Messina Justin A. Mihalik Todd K. Miller Patricia L. Moran Totaro Lisa J. Moving Roxanna Munoz Matthew C. Negron Paul S. Newman Audrey Ngo Jonathan A. Ninnis Elizabeth A Opper Rocco P. Orlando Jacinto Padin

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Lauren E. Page Antonio Palladino Renuska Z. Papalexiou Marc R. Parette Maria D. Pereira Alexandra C. Pollock Mark W. Pollock Glen R. Potter Kyle S. Rendall Peter T. Ricci Tommy Rodrigues Francisco A. Ruela David F. Sachs Sean W. Salmon Kenneth T. Schier Michael R. Schnoering David C. Schulz Paul F. Shurtleff Gregory Simon Debra A. Simonelli Paul V. Smialowicz Banafsheh Soltani Charles H. Sommers Christopher J. Stone Samantha M. Tartaro William C. Tate Nadene S. Taylor Donna Terzano Paul K. Tiajoloff Brian H. Tibbs James R. Tichenor Andrew F. Trocchia Michael T. Tully Wayne W. Vanderhoof Bennett Varghese Paul A. Vega Brian J. Veneri Kurt A. Vierheilig Kim V. Vierheilig Richard E. Vincek Barbara E. Vincentsen Gretchen A. Von Koenig Melvin Williams Robert E. Zampolin

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DESIGN SHOWCASE 2018

Alumni Projects Cornerstone Architectural Group Davis Brody Bond DIGroupArchitecture DRG Architects Gensler G3 Hollwich Kushner + KSS Architects KSS Architects Mott MacDonald Solutions Architecture Spiezle SSP Architects The Dietz Partnership Urbahn Architects

College of Architecture and Design New Jersey Institute of Technology

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National September 11 Memorial

South African Embassy to the USA South African Embassy to the USA

US Embassy to Mexico 14 Street @ Irving Place DCPL Watha T Shaw Library

Corporate

US Embassy to Kosovo

One Hudson Yards

US Embassy to Indonesia

495 Eleventh Avenue

Masterplanning + Urban Design

Academic

Columbia University Lenfest Center for the Arts

Columbia University Jerome L Greene Science Center

Union Square Reimagining

New York University 181 Mercer National Great Blacks in Wax Museum

Science + Research National Great Blacks in Wax Museum

Davis Brody Bond

DIGroupArchitecture

DRG Architects

Gensler

PARK 80 WEST PLAZA 1 - ASSET REPOSITION 1970 precast concrete office building by Frank Grad & Sons, Newark NJ. New ownership group desired thoughtful modernization to increase the value of the asset. G3 designed and developed a program of improvements to the faรงade, windows, exterior lighting and site improvements, and HVAC systems.

669 RIVER DRIVE, SUITE 100 ELMWOOD PARK, NJ 07407 201.794.0444 G3ARCH.COM

G3 managed the project from due diligence through occupancy; coordinating budget, schedule and a large project team. The entire scope ultimately came within 5% of the initial budget. The revitalized Plaza 1 is almost fully leased, as a result of increased interest in the property. AFTER

67TH STREET, NORTH BERGEN New ground-up multi-family-mixed use building with internal parking (51) one-bedroom apartment units, (82) parking spaces 3,000 SF of ground floor retail Tenant lounge and roof deck with NYC views Green vegetated roof to reduce storm water impact Fitness center COMPOSITE

AFTER

BEFORE

On-site property management office

Hollwich Kushner + KSS Architects

KSS Architects

Mott MacDonlad

Mott MacDonald

FRANK

MESSINEO

Solutions Architecture has grown exponentially in the past years both in employees and customers with no signs of stopping. After deciding on Verona as our new location, significant interior renovations were made to a previous office space to create a new modern open work space. With the entire office participating in one way or another, all the loose ends eventually came together to design a space that would meet all our needs. Everything from the floor finishes to the lighting illustrate a capacity for design and sets our office apart.

ALEXIS

GOLDMAN

Over the course of 4 years, Mountainside Schools have been transformed, both inside and out, via a much needed $19M referendum. The vestibule’s green metal panels and bold signage serve as a focal point displaying the school’s colors and providing a wayﬁnding tool for visitors, all while allowing for improved visibility and heighten security before visitors enter the school. The Media Center was entirely reorganized as they look towards a more technology based library curriculum, allowing for more ﬂexibility and collaborative learning environments.

MIKE

VALENTINE

Over the years the Wanamassa Elementary School has outgrown itself and this time it needed to expand with additional classrooms and a new gymnasium. Before the addition was complete, gym classes were held in the auditorium and there was no cafeteria. With a separate Gymnasium the auditorium is now used as a cafeteria. The addition was designed to blend into the context of the existing building but then shifts to a more contemporary style at the new entry lobby and gymnasium.

ARTHUR

SILVA

Advocates for Children of New Jersey has been a trusted and independent voice putting children’s needs first for more than 30 years. We’ve worked with them to renovate their offices and create not only a more functioning space but also a space that better reflects the work that they do. Using primary colors in their reception area as well as accent walls along with overlapping surfaces and forms we’ve transformed a bland office space into a space that visually tells a story of the work that they do.

SCOTT

PIVKO

As Midland Park school District continues to grow, the need for space grows along with it. While The Board of Education offices have been situated at the High School for years, it can no longer afford the space. Instead an under utilized and forgotten storage building has been chosen to house the new offices so the school can reclaim the old spaces. The entire barn went through significant changes to incorporated a fully functioning modern office space. We embraced the notion of reusing a barn to preserve much of the rustic structure and texture.

www.solutions-arch.com

Solutions Architecture

'19 CLASS OF

'15 CLASS OF

CLASS OF

'04

CLASS OF

'02

CLASS OF

'92

MIKE

JONES

Pequannock board of education is continuously making sure that their educational spaces are fully functional and able to provide their students with all the tools they need to grow in this ever advancing world. Their Chemistry labs is one such space that over the years both the equipment and furniture have become outdated. Working alongside the board of education and the teachers we’re able to come to a solution that both meets their budget as well as give them the proper equipment to provide a ﬂexible efﬁcient space.

Spiezle Architectural Group

RVCC WORKFORCE BUILDING

KICKCHARGE HEADQUARTERS

FORTLEE SCHOOL #2 ADDITION

SSP Architects

The Dietz Partnership

ENHANCED STATION INITIATIVE

STATION LOCATIONS

ENTRY STAIR SECTION

53rd STREET STATION DASHBOARD As the inaugural project of Governor Cuomoâ&#x20AC;&#x2122;s Enhanced Station Initiative (ESI) 3URJUDP WKLV FRPPLVVLRQ WRRN RQ WKH Â¿UVW ZDYH RI WKUHH VXEZD\ VWDWLRQV RXW RI D WRWDO RI GHVLJQDWHG IRU IDVW SDFHG PRGHUQL]DWLRQ RQ D 'HVLJQ %XLOG EDVLV 7KLV SDFNDJH LQFOXGHG XQGHUJURXQG VXEZD\ VWRSV VHUYHG E\ WKH 5 OLQH LQ %URRNO\Q UG 6W %D\ 5LGJH DQG 3URVSHFW $YHQXH 6WDWLRQV ,Q D MRLQW YHQWXUH ZLWK +$.6 8UEDKQ ZDV WKH OHDG GHVLJQ HQWLW\ RQ WKH 'HVLJQ %XLOG WHDP 7KH GHVLJQ FULWHULD DUWLFXODWHV D FOHDU SKLORVRSK\ WKDW GHSDUWV IURP 1<&7Â¶V SDVW VWDWLRQ UHKDELOLWDWLRQ VWUDWHJLHV 5DWKHU WKDQ PHUHO\ WDUJHW D VWDWH RI JRRG UHSDLU WKH GHVLJQ DSSURDFK H[SORLWV WKH XVH RI WHFKQRORJLHV DQG PRGHUQ PDWHULDOV UHVXOWLQJ LQ WKH UHEUDQGLQJ RI VWDWLRQV DQG HQULFKPHQW RI WKH FXVWRPHU H[SHULHQFH )HDWXULQJ VWDWH RI WKH DUW Â¿QLVKHV DQG V\VWHPV WKH SURMHFW KHOSV WR SURSHO 1HZ <RUN 6WDWHÂ¶V WUDQVSRUWDWLRQ LQIUDVWUXFWXUH LQWR WKH VW &HQWXU\ (OHPHQWV LQFRUSRUDWHG WR DFKLHYH WKLV JRDO LQFOXGH QHZ HQWU\ VWDLUV DQG FDQRSLHV ZD\Â¿QGLQJ VLJQDJH LQWHUDFWLYH LQIRUPDWLRQ GDVKERDUGV HQHUJ\ Há&#x201A;&#x2C6;FLHQW OLJKWLQJ PRGHUQ Â¿QLVKHV DQG QHZ FRPPXQLFDWLRQV V\VWHPV 7KH SURMHFW LQWURGXFHG 'HVLJQ %XLOG WR 1<&7 WR JUHDWO\ GHFUHDVH FRQVWUXFWLRQ WLPH DQG LQFRQYHQLHQFH WR FXVWRPHUV :LWK DQ DJJUHVVLYH VFKHGXOH HVWDEOLVKHG IRU GHVLJQ DQG FRQVWUXFWLRQ RQO\ PRQWKV IURP WKH 1RWLFH WR 3URFHHG WR WKH Â¿QDO WXUQRYHU RI WKH FRPSOHWHG VWDWLRQV ZDV DOORZHG 8QOLNH W\SLFDO VXEZD\ FRQVWUXFWLRQ SURMHFWV ZKHUH FRQWUDFWRUV PXVW ZRUN DURXQG FRQWLQXRXVO\ RSHUDWLQJ IDFLOLWLHV WKH FOLHQW SHUPLWWHG IXOO VWDWLRQ FORVXUH IRU D PRQWK ZLQGRZ WKHUHE\ DOORZLQJ D KLJK OHYHO RI SURGXFWLYLW\ 7R PHHW FRQVWUXFWLRQ WDUJHWV WKH GHVLJQ WLPHIUDPH ZDV FRPSUHVVHG WR PRQWKV Project Name: Project Location: Architectâ&#x20AC;&#x2122;s Firm Name: Owner Name:

ENHANCED STATION INITIATIVE BROOKLYN, NEW YORK URBAHN ARCHITECTS MTA / NEW YORK CITY TRANSIT

Urbahn Architects

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PS 144Q ADDITION AND RENOVATION MAIN ENTRANCE

ECC PLAYGROUND

COMMUNITY PLAYGROUND

SCHOOL PLAYGROUND

SITE PLAN

7KH SURMHFW LQYROYHV WKH SODQQLQJ DQG GHVLJQ RI D PDMRU DGGLWLRQ DQG VLJQLÂ¿FDQW UHQRYDWLRQV to the existing 1931 school. The design of the addition provides greatly increased seating capacity while tempering the building scale within a single home neighborhood. The addition includes four stories housing 24 classrooms from Pre-K through 4th grade, with a subterranean cafÂ¬eteria and full-service kitchen. The renovation design realigns space within the existing building to complement the full program, while providing voluntary accesÂ¬sibility improvePHQWV DV ZHOO DV OLIHVDIHW\ PHFKDQLFDO DQG HOHFWULFDO XSJUDGHV 7KH SURMHFW LV RQH RI WKH Â¿UVW New York City schools to be designed under newly drafted SCA system standards, incorporating a range of innovative sustainability features. To capitalize on the capacity-building opportunity, the planning maximizes new space within the zoning envelope. The additionâ&#x20AC;&#x2122;s footprint aligns with property lines, while the mass is set EDFN IURP WKH VWUHHW DERYH WKH VHFRQG Ã&#x20AC;RRU WR UHGXFH SHUFHLYHG VFDOH 7KH DGGLWLRQÂ¶V GHVLJQ respects the existing without mimicry; the original buildingâ&#x20AC;&#x2122;s horizontal lines continue across WKH IDoDGH ZLWK WKH Â¿UVW WZR Ã&#x20AC;RRUV HFKRLQJ WKH ZLQGRZ UK\WKP $ JODVV FODG HQWU\ QRGH IXQFWLRQDOO\ MRLQV WKH WZR EXLOGLQJV GLá&#x201A;&#x2021;HUHQWLDWLQJ ROG IURP QHZ 7KLV HQWUDQFH LV DW KDOI OHYHO FRQÂ¤QHFWLQJ WKH VW Ã&#x20AC;RRU DQG WKH EDVHPHQW FDIHWHULD ,Q UHVSRQVH WR WKH FDIHWHULDÂ¶V EHORZ grade environment, a dynamic ceiling was designed to break up the orthogonal space, which pops up in the center to create an expansive element that emulates a skylight. To accommodating after-hours community access, the planning facilitates cafeteria entrance while the rest of the school is closed to the public.

Project Name: Project Location: Architectâ&#x20AC;&#x2122;s Firm Name: Owner Name:

PS 144Q ADDITIO N AND RENO VATIO N FOREST HILLS, NEW YORK URBAHN ARCHITECTS NYC SCHOOL CONSTRUCTION AUTHORITY

Glen Ridge, New Jersey Â&#x160; New York, New York

Urbahn Architects

STUDENT EXHIBITORS

graduate

Architecture. Anupama Thiagarajan Erin Langan Mike Chiappa undergraduate

Architecture. Adara Azeez Alexis Luna Angelo Capobianco Ashley Griffith Brian Mourato Bridgette Bocanegra Cameron Clark Carley Elliott Chau Tran Chit Yee Ng Daniel Rasczyk Daniela Espinoza David Kushner Eduardo Rodriguez Elaine Gamolo Gabriel Ng Guan Yi Chuah Heidi Hussa Joe Zrebiec Jonathan Isaacs Joshua Mason Kaitlyn Vazquez Katarina Djuric Kimberley Gokberk Michael McDonnell Michael Zampolin Raychel Russillo Samantha Pires Stephen Scheideler Tiffanie Leung

Digital Design. Alexandra Novichkova Jerry Bellone Joshua Weinberg Monica Nelson Sophia Chan William Martone

Industrial Design. Andrew Carter Cassidy Lavine Daniel Meza Jenna Stuiso Justin Tranchina Kyle Ralli Morks Estafanous Nicholas Warholak Nuno Parente Oliver Budd Preston Konopka Renee Collins

Interior Design. Albeirys Francisco-Parra Amena Chaudhri Arianna Milla Chloe Blottman Fernando Cotto Florencia Pozo Hailey White James Chao Leslie Puma Natalie Fariello Pamela Ospina Perine Boules Sara Ebrahim Stephanie Jen Tess Albyn Umaamah Tobias

DESIGN SHOWCASE 2018

Student Projects Architecture. Digital Design. Industrial Design. Interior Design.

College of Architecture and Design New Jersey Institute of Technology

Commensalism - Where 1 benefits and the other is not (significantly) harmed or helped

Mutualism - Both species benefit

Incubators Over

Housing On Top Of

Drone Ports Piercing

Amenities Adjoining

Vertical Farming Rising Out Of

Hardscape Softscape

Humans work in the trucking and manufacturing/distribution industry Humans monitor and send out drones Drones deliver goods to people and businesses Drones transport people over busy roads Humans care for certain animals

Drones transport animals over busy roads

Drones are dispersed throughout the site and maintain/clean the area Drones collect waste and biomass to convert to energy Housing must always have hardscape connecting to the street

Softscape must be around the building’s edges

One side must always be hardscape

Softscape must always be between the incubators

Hardscape must always be touching at least one edge of the amenities

Humans use the goods that the animals produce

Trash that cannot be incinerated gets packaged and sold/shipped out

One side must always be softscape Softscape must always be adjacent the parking deck

N J I T

Hardscape must always be touching one edge of the incubators

C O L L E G E

O F

Kearny Point Kearny Point Redevelopment Architecture | Fall 2017 | Jesse LeCavalier

A R C H I T E C T U R E

A N D

In a sparsely populated area of Kearny, NJ dedicated towards manufacturing and distribution, students were asked to put on hats to become various actors: Someone who worked for organizations such as NJ Transit, or represented NJ’s Tourism Bureau, etc. These actors bring to the table five “must haves” for the architect. With seven actors and five rules each, it was at an imaginary conference table where students could take off their agency’s hat and envision the site for themselves.

D E S I G N

This proposal seeks to maintain its identity as a distribution and manufacturing hub while also bringing new life and features to the site that cater to the demands set forth by the seven agencies at play. The main idea is to foster an environment where humans, drones, animals, and a booming manufacturing industry can all thrive in. This is done by looking at scale, symbiotic relationships, and exchange loops. Examples of this including symbiotes of program attach to existing and new buildings, drones transport

D E S I G N

S H O W C A S E

animals over busy roads and help to upkeep the site, waste gets collected to be incinerated for energy, etc. Scale is looked at more closely through inhabitant and spatial relationships. The future vision for this site of Kearny is not one that exists solely for the manufacturing as it does today, but rather a site that has the potential to become a catalyst for ways of coexisting and exchanging at a variety of scales that would enable a thriving environment for all the actors at play.

2 0 1 8

Angelo Capobianco angelocap95@gmail.com | 908-967-1537 Daniel Rasczyk daniel.rasczyk@gmail.com | 201-960-0039

01. POLICIES:

03. INPUTS / OUTPUTS:

Tax Cut: The greater Harrison Municipality has projected for Harrison tenants, or close by, will occupy the abandoned warehouse for the different stages of food processing. These subsidies will allow for a sense of locality within a larger food import and export network.

Sharing Economy: The system hosts a degree of communal understanding of food processing. Residents need to have similar values in perspective in food locality and community knowledge to motivate the system to work. It acts as a Food Museum.

Down-zoning: In order to preserve the Harrison historical buildings, such as this warehouse, the government proposes downzoning around the area to recreate the shell for a node for food logistics.

04. SECTION:

Macro: The temperature-controlled warehouse acts as a food hub for different types of products to maintain or transform into other food products. The process of food transformation creates an access loop in which each product would be stored within the warehouse for varying time. Therefore, the quantity of inputs and outputs are not constant.

The temperature controlled segments are laid out from warmest to coolest to create a smooth temperature transition. Segments are connected and maintained through a central heating and cooling unit above the rooms. Between each space, there is a plastic strips divider for the temperature captured pods to travel from room to room.

05. SOFT INFRASTRUCTURE 7KH UHVLGXDO VSDFH EHWZHHQ H[LVWLQJ ZDUHKRXVHV DUH LQ Ă&#x20AC;OOHG ZLWK D Ă H[LEOH DSSDUDWXV WKDW DOORZV IRU RSWLRQ WKHUPDO EDUULHU RU DQ RSHQ IUDPH 7KHVH DUHDV DUH GHVLJQDWHG IRU FRPPXQLW\ IDUPLQJ DIWHU DQ LQWURGXFWRU\ FRXUVH RU DIĂ&#x20AC;OLDWLRQ ZLWK WKH WHQDQWV RFFXS\LQJ WKH IDFLOLW\ 7KLV DZQLQJ OLNH PHFKDQLVP RSHUDWHV DV D VRIW LQĂ&#x20AC;OO ZLWKLQ WKH ODUJHU IRRG KXE LQIUDVWUXFWXUH ZKHUH UHVLGXDO VSDFH is optional, accidental or intentional based on itâ&#x20AC;&#x2122;s users,

Meso: The warehouse atmosphere is maintained by the heating and cooling unit located at the top of the structure, altering the temperature from the warmest to the coolest in segments. Both beginning and the end of the structure is left un-occupied by food collection as a temperature buffer from the exterior. Freezer Storage:

-23 C to -18 C Cooler Storage:

-1 C to 7 C

Dry Storage:

10 C to 21 C Wine Aging:

20 C to 30 C

PHYSIOLOGICAL WAREHOUSE

Cheese Aging:

35 C to 39 C 15.5 acres (675,000 sq ft) 02. LANDSCAPE: A existing warehouse resured structure where food meets people, as a response to the post industrial state of Harrisonâ&#x20AC;&#x2122;s built fabric, where the old warehouses may be seen as undesirable, we situate this altercation as a way to explore the physiological conditions food maturing processes creates and how it participates as an economic and experiential institute within the larger food hub network. As a site for wine-making, cheese-aging and meat-curing, this climatically diverse site is not particularly meant for human interaction, however, we see this psychological incoherence as a thrilling opportunity to create human intervention in non-human environment.

06. TYPOLOGIES:

Temperature controlled environment is crucial to a food KXE /DUJH VSDFHV DUH UHJXODWHG DW VSHFLĂ&#x20AC;F WHPSHUDWXUH ranges to faciltiy the growth, processing, packaging, and preservation of food. As warehouses have the capacity of large open spaces, it is easy to install temperature controlling mechanical equiptment and replace cladding material on warehouse frames, it is ideal to convert exsiting underused warehouses to new food hub facilities. The diagram below shows concentration of where existing warehouses are and can be converted to food hub facilities in the short run. smaller regional food processing companies are able to rent out portions of the warehouse instead of tranditionally larger companies owning the entire facility, food hub allows for an aggregation of smaller businessed and the buildings should also support the diversity in sizes and types.

Micro: To allow for human interaction within a heavily temperature and humidity controlled space, a series of temperature-captured cable pods are suspended from the existing tracks within the warehouse. The temperature-captured pod would absorb excess heat from the interactors within the space as energy, at the same time, completely secluded from affecting the well-maintained atmosphere of the food collectings. It acts as an educational tool to raise awareness of how the foods are made, altering their perception towards stereotypical understanding of warehouses and frozen foods.

from 7

Scalable: Flexibility in future growth

Open Frame: Transparency

07. AESTHETIC: The aesthetic of the physiological warehouse is formed by the understanding of the temperature-maintained space with its relation to food, environment, and body. The right demonstrates the image of the warehouse, material and mass appearance. The left demonstrates the aesthetic of the warehouse, with its value being formed by the ability of temperature control for food storage or productions.

Plastic Divider for Cable Cars: 20 Guyon Drive is a large abondoned warehouse holding open plan structure that allows for wide variaty of programs to occupy and replace the original shell (currently parking spaces). The space contains the industial factory aesthetic, a translation of practicality.

By stripping away the existing warehouse cladding to its core structure, the enclosure of the warehouse can now be steered towards establishing a facility for a food hub. Typically, warehouses are occupied and owned by large companies. By subdividing a large warehouse into smaller areas, it allows for smaller businesses to gather and share the space, thus creating a diversity in use. The open frame structure also allows for transparency in the design of large buildings, along with other programmatic approach, this building attempts to approach the community as a component of a food hub instead of segregating.

,QĂ&#x20AC;OO Interchangeable

C to -18 C

The Design Institute is strongly nested within the collection of military ruins. The idea is to build within the existing structure, nesting the two programs, similar to a program sandwich.

The fridge has a round base enriched by wooden shelves and remains consistently between 10 to 12 degrees celcius thoughout the year without the need of electricity. It could be used to store produce such as vegetables, wine, ir cheese. The storage capacity is comatable to 20 standard refrigerators.

The freight truck carries stored food regionally, increasing accessibility to stocked items. It usually uses refrigeration to increase the life time of the food items.

A refrigerator is a mutual meeting point where family would frequently interact with for food.

N J I T

C O L L E G E

O F

A R C H I T E C T U R E

FUTURE FOODS What the Heck is Food Hub? B.Arch | Thesis Fall 2017 | Advisor: Jesse Lecavalier

A N D

Protocols for tactical urban development possibilities with food in mind. Speculation on creating dynamic network of accessible food resources by means of food production, processing and distribution, reworking perception on the value of food in urban development. Each protocol is focused through the lenses of soft infrastructure, consumption typology, and social aesthetic.

D E S I G N

S H O W C A S E

2 0 1 8

C h i t Ye e N g cn67@njit.edu | (732) 715-9201 Alexis Luna aml38@njit.edu | (908) 414-6248 Guan Yi Chuah gc228@njit.edu | (973) 489-9559

01. POLICIES: Variance: Rather than focusing sole on providing amenities for the housing block only, a variance in business model and architectural approach can engage with the local community more, providing shared amenities to both residents and the neighborhood.

03. INPUTS / OUTPUTS: 3ULYDWHO\ 2ZQHG 3XEOLF 6SDFH Developer housing is built for the residents, with the local community as a lower priority. There could be a balance in giving the best to both group, by offering spaces to the public, it can draw people to support for the mix use development. It also helps developer housing situate into the surround context and neighborhood.

&RRSHUDWLYH /LYLQJ With increasing housing prices, new typologies of housing units are emerging such as micro units, which compacts the essentials of housing functions in a small area. However, this is QRW D VROXWLRQ WKDW Ă&#x20AC;WV DOO $ housing typology that can focus on sharing amenities with both the residents and local community can be PRUH HIĂ&#x20AC;FLHQW ZKLOH SURYLGLQJ more opportunity for social interaction.

04. PLAN PERSPECTIVE:

Micro: By removing the kitchen from existing units, the absences of kitchen space allows individual XVHUV WR FXVWRPL]H WKHLU RZQ VSDFH DFFRUGLQJ WR WKHLU RZQ GHĂ&#x20AC;QLWLRQ RI DQ HVVHQWLDO FRPSRQHQW of space in their life. The lack of input in this case allows us to think critically of what is home to an individual, and what is needed for a healthy living.

6WXGLR Kitchen area: 45 Sqft

6WXGLR Book collection with reading corner: 45 Sqft

%HG %DWK Kitchen area: 80 Sqft

%HG %DWK Music studio: 80 Sqft

%HG %DWK Kitchen area: 110 Sqft

%HG %DWK Children play area: 110 Sqft

05. SOFT INFRASTRUCTURE:

4â&#x20AC;&#x2122; 0â&#x20AC;&#x2122; 2â&#x20AC;&#x2122;

8â&#x20AC;&#x2122; 6â&#x20AC;&#x2122;

12â&#x20AC;&#x2122; 10â&#x20AC;&#x2122;

16â&#x20AC;&#x2122;

14â&#x20AC;&#x2122;

20â&#x20AC;&#x2122;

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0HVR 7KH IRRG GHOLYHU\ V\VWHP ZKLFK H[LVWV ZLWKLQ WKH EXLOGLQJ LV VXSSRUWHG Ă&#x20AC;UVW E\ ZRUNHUV JURFHU\ shopping with a given list, then send to the kitchen area through the conveyor belt for the cooking portion. Once the meal is prepared, the container would be dropped off at the suction tubs to deliver the expected meals to the personal receiving box within each unit

SUPERMARKET HOUSING DFUHV VT IW

06. TYPOLOGIES:

02. LANDSCAPE: 7KH VXSHUPDUNHW KRXVLQJ FRPSRVHV RI DQ RSHQ JURXQG Ă RRU LQ ZKLFK LW LV RSHQHG WR public access. It creates a level of interaction between the residents and other local actors. The proposed supermarket also include a in house delivery system, which residents can personalize their menu choices, and order it to their unitsâ&#x20AC;&#x2122; receive box without the bother of opening doors. The hosing proposes to remove the kitchen area in most unit, assuming people are only DFFHVVLQJ WKDW VSDFH WKUHH WLPHV D GD\ 7KH JURXQG Ă RRU DQG SDUWLDO VHFRQG Ă RRU RI WKH housing would accommodate the necessity of cooking by creating a cluster of kitchen amenities for the residents. This allows the residents to maximize the program and space within its individual unit.

7KH NLWFKHQ Ă RRU FRQVROLGDWHV WKH NLWFKHQ DUHD IURP DOO WKH XQLWV DQG DOORZV IRU VRFLDO LQWHUDFWLRQ ZLWKLQ WKH FRPPXQLW\ 8QOLNH VRPH GRUPLWRU\ EXLOGLQJV NLWFKHQ LV QRW UHPRYHG IURP WKH KRXVLQJ XQLW DQG SURYLGHG DV D VKDUHG NLWFKHQ DUHD WKDW W\SLFDOO\ ODFNV SHUVRQDO VSDFH IRU VWRUDJH 7KH NLWFKHQ Ă RRU IRFXVHV RQ ORZ GHQVLW\ ZLWK IXOO NLWFKHQ IRU HYHU\ UHVLGHQWLDO XQLWV 7KH DLP LV WR SURYLGH D SODWIRUP RI H[FKDQJH DQG D VHQVH RI FRPPXQLW\ ZLWKLQ WKH UHVLGHQWV ZKLOH WKH\ FR VKDUH WKH\ VSDFH 7KLV NLWFKHQ Ă RRU LV DEOH WR RIIHU D NLWFKHQ VSDFH ODUJHU WKDQ WKH NLWFKHQ DUHD LQ D VLQJOH ODUJHVW XQLW W\SH ZKLOH FXWWLQJ GRZQ WRWDO NLWFKHQ DUHD E\ KDOI DOORFDWLQJ WKH VSDFH IRU PRUH GHQVLW\ ODUJHU XQLWV RU RWKHU IRUPV RI DPHQLWLHV

Large scale developer housing can be built with community in mind, providing access to the public in privately owned public spaces as well as commercial spaces. Food supply stores are attached to dense housing to ensure equal access to fresh food. By having a few developer housing communities replicate this type of mix use development, a network of fresh food supply is built up around dense communities, it can also reach to local communities via other new delivery model and methods.

7KLV QHZ V\VWHP DQG OD\RXW LV LQWURGXFLQJ D QHZ ZD\ RI GHĂ&#x20AC;QLQJ D OREE\ RU D FHQWUDO gathering area for residents. Instead of providing an open space with chairs for residents to pass by, the system uses kitchen and the necessity of food to increase the interactions between the local residents.

07. AESTHETIC: /REE\ RU D FRPPRQ VSDFH RI UHVLGHQWV DUH QRW DFWLQJ DV D VSDFH IRU FRQVHUYDWLRQV RU D VSDFH IRU LQWHUDFWLRQV ,W LV XVHG DV DQ LPDJH IRU WKH KRXVLQJ EORFN 4XHVWLRQLQJ WKH IXQFWLRQ DQG WKH SUDFWLFDOLW\ RI D VWHUHRW\SLFDO OREE\ WKH FOXVWHUHG NLWFKHQV SURSRVHV WKH QHZ LGHDO RI FRPPXQLW\ JDWKHULQJ VSDFH LQ ZKLFK LW ZHOFRPHV SHRSOH WR VKDUH DQG FRPVXPH WRJHWKHU RQ D GDLO\ EDVHV

Macro: The Supermarket is served the developer housing with the amenity of ordering freshly cooked foods, picked and cooked within the housing block, to be delivered into the residentsâ&#x20AC;&#x2122; unitsâ&#x20AC;&#x2122; delivery box. Food delivery is also open to other residents around the area. The supermarket underneath the housing allows for interactions between different people to connect over food.

$ UHIULJHUDWRU LV D PXWXDO PHHWLQJ SRLQW ZKHUH IDPLO\ ZRXOG frequently interact with for food.

Developer housing is a new housing development which is marketed towards middle class, younger generation commuters. The housing block utilizes the location, of it being one block away from path station. It is forming a new form of community in Harrison, contrasting the local and the commuters as well as the existing warehouse at its peripheral. The freight truck carries stored food regionally, increasing accessibility to stocked items. It usually uses refrigeration to increase the life time of the food items.

Sesc Pompeia is a re-purposed steel drum factory space featuring leisure areas as well as a cultural center. The mixture of programs DOORZV IRU OHVV GHĂ&#x20AC;QHG UHVSRQVH WR FRQWH[W

N J I T

C O L L E G E

O F

A R C H I T E C T U R E

FUTURE FOODS What the Heck is Food Hub? B.Arch | Thesis Fall 2017 | Advisor: Jesse Lecavalier

A N D

D E S I G N

S H O W C A S E

2 0 1 8

C h i t Ye e N g cn67@njit.edu | (732) 715-9201 Alexis Luna aml38@njit.edu | (908) 414-6248 Guan Yi Chuah gc228@njit.edu | (973) 489-9559

01. POLICIES: Informal Market: Co-constructing economically in which it allows street vendors to have a low barrier of entry. Since the bridge is allowing for deregulation of market typology, it allows for vending businesses of different sizes to compete.

03. INPUTS / OUTPUTS: Participatory Budgeting: After the implementation of participatory budgeting, the community can allocate public funds to realize the Market Bridge. Future maintenance can also be partially funded by public funds in combination with government help. This allows for general public to be part of a new coming community, this will be taken apart along with the subsidizes from the government to promote vision of the residents of Harrison.

04. PHASES: Phase I: The basic structure of the bridge is being constructed between the south of Harrison and the Orange Park in Newark.

Macro: Besides providing physical connection between two cities, it allows for extension of public space above the water. The market hall acts as a distribution port for fresh food from both importation and aqua-pod local farming.

Phase II: 7KH 0DUNHW %ULGJH VSDWLDO IUDPH LV LQWURGXFHG RQ WRS RI WKH EULGJH JLYLQJ D PRUH GHĂ&#x20AC;QHG spatial organization between the market and the ports.

Meso: The food import and export system uses cranes as the main transitioning tool for containers on different sizes of boats. Additionally the cranes also allow for the market spatial UHFRQĂ&#x20AC;JXUDWLRQ E\ VKLIWLQJ GLIIHUHQW IRRG VWDQGV IURP WLPH WR time.

Phase III: Beginning of structure occupation within the market, giving permanent structures for the market hall.

Market Bridge 0.6 acres (26,136 sq ft) 02. LANDSCAPE: Bridge used for the agglomeration of markets. Funded by crowd-funding, participatory EXGJHWLQJ RU ERWK 0DUNHWV DUH RQ WKH SHULPHWHU EULGJH DOORZLQJ IRU IRRW WUDIĂ&#x20AC;F DQG IRRG The market bridge is located at the south of Harrison, transportation, bridge goes through incremental growth cycle where investments can be made crossing from he Newark waterfront park to the lower side of for addition commercial or public space Harrison. It acts as a major pedestrian, bike, and economic connection between the two cities. Around the market bridge, Deployed located the south of Harrison, the Market Bridge acts as an infrastructure connector other informal economy will also be formed due to the sprawl bracing the south side of Harrison and the Orange Park in Newark. The bridging creates fast of the collective markets. passes from park to park, extending the walkable public space with an open market, restricting car passages.

Micro: Elements in this hybrid allow for human interactions with different scale elements; from kiosks to the market spatial frame.

Phase IV: The neighborhood started to occupy the market through crowd-funding, inserting different food kiosks within the bridge. Market Bridge begins to with aqua-pod productions as well as import and export of local produces.

The open frame market hall intersects vary scales of food logistics: from underwater aqua pods regional production, to packaging for import and export using barge boats, to local market consumption. New typology of collecting food emerged with the overlap of different nodes and production systems. In this scheme, cranes are the key elements in transitioning between the different axis of food logistics: transporting cargo containers from ports to barge boats, then from barge to Market Bridge port; manipulation depth and harvests of aqua pods; relocating kiosks within the market hall. The Market Bridge is proposed in four phases, in which basic bridging platform is implemented across the river. Then, the schematic spatial frames are constructed along the bridge. Third phase include the partial implementation of permanent structures within. The last phase includes the co-construction, or crowd-funding to complete the necessary aesthetic of this food node.

07. AESTHETICS: The value of the bridge is formed by the informal settlement of the food tenants. In comparison, the right side of the image shows how a stereotypical understanding of a bridge would be functioned as, when tenants are not occupying the space.

Food market that creates a large interior street in which it allows for different tenants to interact with the visitors. It allows for informal settlement of food tenants.

A temporary food service that sell food to the general public. Usually having a permanent, static location for a certain period of time in a rhythm.

A structure carrying a road, path, railroad, or canal across a river, ravine, road, railroad, or other obstacle. It creates connections between different nodes of place.

It is a temporary gathering or cluster of market, taken shape of the form of the space. It allows for informal growth of small scale economy.

N J I T

C O L L E G E

O F

A R C H I T E C T U R E

A N D

D E S I G N

S H O W C A S E

2 0 1 8 C h i t Ye e N g

FUTURE FOODS What the Heck is Food Hub? B.Arch | Thesis Fall 2017 | Advisor: Jesse Lecavalier

cn67@njit.edu | (732) 715-9201 Alexis Luna aml38@njit.edu | (908) 414-6248 Guan Yi Chuah gc228@njit.edu | (973) 489-9559

01. POLICIES:

03. INPUTS / OUTPUTS:

Tax Cut: Functioning similar as a soup kitchen, the food recycling IDFWRU\ LV QRQ SURĂ&#x20AC;W EDVHG facility to encourage food circulations with reduced food prices. With the support of the governemnt, tax cut on farms and supermarkets for donating ugly food or non-chosen products can encourage business owners to rethink about food and waste, therefore, reducing food waste in the city.

Coorporative Community: The system hosts a degree of communal understanding of recycling food. Residents need to have similar values in perspective in food waste to motivate the system to work. If one element is not provided enough, or is being provided too much, the system would become unbalanced.

NGO: To sustain the food recycling system, a group of non-governmental organization, voluntary citizens would have to constantly educate residents the negatives of food waste, RU SURPRWH WKH EHQHĂ&#x20AC;WV RI donating excess food items. It is to believe that through educational community outreach can maintain the balance of the food cycle.

04. SECTION:

Receiving

1. Ugly Foods Collection

3. Food Waste Collection

Providing

4. Compost Distribution

2. Ugly Food Distribution

Meso: The facility functions with two sub-systems, with the left side receiving inputs and right side providing outputs. The silohs take control of the drop-off and pick-up of mass ugly food, then distribute them within the region; the underground system controls the food waste to compost process, in which composts will be carried out and distributed to farms nearby.

1. Ugly Foods Collection

05. ATMOSPHERIC ANALYSIS:

5. Compose to Production 2. Ugly Food Distribution

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eer

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4. Compost Distribution

3. Food Waste Collection

Macro: The system of reycling food is a self feeding loop of collecting ugly food production, then sorting and distributing them into containers to be delivered to households. Then the leftover food waste would be collected from households to contribute to the compost, carrying out to farms for food productions

FOOD RECYCLING FACILITY

1. Ugly Foods Collection

40%

3 acres (130,680 sq ft)

Production = Ugly

58lb A central food sharing location in which residents can drive through a lane of â&#x20AC;&#x153;donation and receiveâ&#x20AC;? to either donate excess food items in return for coupons for food shopping, or receive the service of subsidized fresh food ingredient take-out. Deployed at the vacant land next to the up coming path station across from new developer housing, the recycling facility acts as a social gathering space between different dynamics: automobiles, vendors, pedestrians, commuters, factory workers. The system increase accessibility to food waste cycling wihtin regional scale through the main roads that it locates along side.

Per Container

02. LANDSCAPE:

06. TYPOLOGIES: The location of the recycling factory is along side of a popular road, creating easy access and stopping for trucks and cars. The convenience location opens up connection with other major roads, allowing trucks to import or export food waste or production within and beyond the city.

7KH V\VWHP LQWHUVHFWV Ă&#x20AC;YH VHJPHQWV RI IRRG F\FOH IURP SURGXFWLRQ WR XQZDQWHG SURGXFWLRQ FROlection, redistribution of excess food, collection of food waste, process of creating compost, back to supporting production with compost created. It is a new typology understanding of what food factory produce, instead of canned food, it is a living fresh food cyce.

2. Ugly Food Distribution Expectation

Reality

Aspiration

5.64lb Food per Person per Day

Within this frameowrk, trucks and containers are key elements in transporting the supporting elHPHQWV LQ WKH V\VWHP 7KH IDFLOLW\ LV LQWURGXFHG LQ SKDVHV Ă&#x20AC;UVW HGXFDWLRQ DQG SURSDJDQGD DERXW the idea of food recycling. Then, construction of the underground and silohs structures. Third, introduction of farms, open for residents to produce crops. Fourth, receiving support from larger farms and supermarkets for ugly food distribution with subscribers of receiving reduced price of ugly food. Compost then slowly begin to collect as people understand the importance of recycling food waste.

3. Food Waste Collection

2.6lb

Silos and factory typologies often give the impression of highly processed and preserved food, giving the expectation of cans, packaged, and frozen food. Silos are often used as storage units for dry crops, in some cases liquids for aging under certain temperatures. by drying or aging, it prevents food from decomposition and allow for freshness to be maintaned. In this aspiration, the silo factory is introduced into the urban fabric to change the perception of the typology, allowing for new program to emerge as well as an opportunity of education. As an object, silos are out of scale in an urban context, but it creates the neccessary attention for people to engage with the strangeness in comparison to the context.

Wasted Food per Household

4. Compost Distribution

The siloh factory containes multiple containers supporting one system to maximize the productivity. Usually used in agriculture to store grain or fermented feed. The large size of containers allows for bulk storage of food.

07. SCENARIO CO-CONSTRUCTION:

80% Waste Mass = Compost

The freight truck carries stored food regionally, increasing accessibility to stocked items. It usually uses refrigeration to increase the life time of the food items. 5. Compose to Production

2tons per Acre

Drive through restaurant was made popularized with the wide spread of automobile, adding a side window for customers to purchase fast food without the need of getting out of a vehicle.

Micro: The recycling system interacts with different elements at different stage of the loop, such as truck delivery or distribution, human contribution of food waste to suction tubes and cows with composts.

Soup kitchen acts as a food distribution center for people without VXIĂ&#x20AC;FLHQW LQFRPH WR VXVWDLQ IRRG VXSSO\ 7KHVH IDFLOLWLHV DUH RIWHQ tied to charities or religious facilities and institutions.

N J I T

C O L L E G E

O F

A R C H I T E C T U R E

FUTURE FOODS What the Heck is Food Hub? B.Arch | Thesis Fall 2017 | Advisor: Jesse Lecavalier

A N D

Balanced Food Cycle: The area become a new trend and community hang-out area.

D E S I G N

Over Production: Under Maintainance: With mass food waste and composts, greens start to spread out. )DLOHG WR HGXFDWDWH V\VWHP OHDGLQJ WR UHĂ HFWLRQ RI ORFDO FXOWXUH

D E S I G N

S H O W C A S E

2 0 1 8

C h i t Ye e N g cn67@njit.edu | (732) 715-9201 Alexis Luna aml38@njit.edu | (908) 414-6248 Guan Yi Chuah gc228@njit.edu | (973) 489-9559

01. POLICIES:

02. LANDSCAPE:

Informal Settlement By temporarily blocking off the street, it creates a platform for individuals to settle and occupy for a shirt period of time while allowing exchanges to take place. This helps create a diverse mix of products from different scales of production, allowing a chance for individuals to reach out to a larger consumer group.

Crowd Funding: The establishment of the street fair is funded by the shops adjacent to the street fair as well as street fair vendor participants. This allows for a local community to be built with high participation on the budgeting of the fair. Additionally, crowd funding could expand to the public who would attend the fair, allowing a higher level of community engagement.

Algorithm Pipeline: How does one terra-form ODQG XVLQJ Ă&#x20AC;EHU RSWLF cables within a food fair? By condensing the size and use of such pipelines. Small GHSOR\PHQWV RI Ă&#x20AC;EHU RSWLFV heaters and power-lines are distributed to local streets for pop up butcher shops and outdoor kitchens. Serving as a miniature catalyst for self started food fairs amongst community folk.

04. SECTION:

Roads are blocked off at areas where there are more shops located, allowing for permanent structures to be a part of the street fair along with temporary structures. Street fair is also used as a mechanism to boost local economy and bring people to the area.

$$ $$$ $

$$$ $ FUND

FOOD FAIR

05. Aesthetic:

$$ ME

03. INPUTS / OUTPUTS:

06. TYPOLOGY: Temporary space making by using a series of mobile elements allow for quick transition of events from one place to another. The typology-less scene perhaps is a drawing factor that each temporary element provides a different approach of its own, giving a different experience. Ultimately, the lack of typologies forms a temporary typology of its own.

0.22 acres (10,000 sq ft)

9HKLFXODU WUDIĂ&#x20AC;F LV WHPSRUDU\ UHPRYHG IURP D FHUWDLQ SRUWLRQ RI WKH VWUHHW WR DOORZ IRU D IRRG IDLU event to take place. A food fair provides a platform for small businesses as well as recreational farmers to engage with local residents and other customers. Similar to a farmers market, a temporary marketplace for food products and fresh ingredients provides a level of energy to the urban neighborhood. With frequent appearance of food fair, we can transform the scale where people interact with one another, shifting the large scale of developer housing and warehouses to D PLQL VFDOH RI VWDOOV DQG WHPSRUDU\ LQVWDOODWLRQV RI DWPRVSKHUHV 7KLV DOVR LQFUHDVHV IRRG WUDIĂ&#x20AC;F around the existing stores, giving them extra exposure to the local community. The setting of the market relies on the collection of each micro atmosphere. The space making technique comes from a series of elements such as canopy spanning between two buildings, stalls, vegetables JURZLQJ SDGV IRRG WUXFNV SRS XS LQĂ DWDEOH VSDFH DQG WDEOH VHDWLQJ PRGXOHV

07. SOFT INFRASTRUCTURE: Condensed infrastructural footprints are explored here as a way to create an intimate means between the resident and a the utilities that regulate in the background of their lives. As an initiator WR WKH IHVWLYDO WKHVH WDFWLFDO WDNH DZD\ XWLOLW\ ER[HV DFW DV D QRGH RI ZLĂ&#x20AC; KHDWLQJ DQG SRZHU

YO U GO R FR IN IE EV G TO ND IS EN T N AN EA R YO U

Meso: Street fair allows for temporary structures to blend with permanent shops to form a market together. in return, the temporary fair draws in more people and ultimately bring in more business for the local community. Small place making allows for certain atmospheres to emerge, such as seating areas as activated gathering space for food consumptions

Mobile (Vendor) Mobile version of kitchen to ensure food is accessible and delivered to customers freshly.

Public spectacle (Temporary) It is a temporary gathering or cluster of market, taken shape of the form of the space. It allows for imformal growth of small scale economy.

R RA ED FIX MPO TE

Micro: Temporary elements can be deployed to the street fair, each bringing a different program DQG VSKHUH RI LQĂ XHQFH (DFK HOHPHQW LQWHUDFW ZLWK SHRSOH GLIIHUHQWO\ DOORZLQJ IRU D G\QDPLF experience in a temporary space.

HA RR ST ISON RE MAR ET KE T

Macro: Small elements such as concrete dividers act as an interruption to existing infrastructure, allowing new program to take place. Network distribution of information allows the street fair to reach a wider audience, it is a form of community building that allows for the street fair to take place. The spread of information allows for consumers, vendors, other potentially interested party to follow with the community, making the community interactive and local, beyond the physical boundary of the physical location. YOU GO R FRI ING END EVE TO NT AN IS NEA R YOU

Mobile (Vendor) A temporary food service that sell food to the general public. Usually having a permanent, static location for a certain period of time in a rhythm.

HAR RIS STR ON MA EET RKE T

Seating

N J I T

C O L L E G E

O F

Fresh Ingredients

&OLPDWH &RQWURO ,QĂ DWDEOH 7UXFN Meat and Seafood Vendor

A R C H I T E C T U R E

FUTURE FOODS What the Heck is Food Hub? B.Arch | Thesis Fall 2017 | Advisor: Jesse Lecavalier

Food Truck

Road Block

A N D

Network

D E S I G N

S H O W C A S E

2 0 1 8

C h i t Ye e N g cn67@njit.edu | (732) 715-9201 Alexis Luna aml38@njit.edu | (908) 414-6248 Guan Yi Chuah gc228@njit.edu | (973) 489-9559

01. POLICIES:

03. INPUTS / OUTPUTS: Drone Port:

Cooperative Community:

Pylon: An upright structure that is used for support or for navigational guidance, carrying power lines high above the ground.

Cooperative community focus on shared value and shared resources, residents contribute towards the community and in return gets EHQHĂ&#x20AC;WV DQG VXSSOLHV IURP the community.

A futuristic location for drones to land, a node for the collection of droned goods and used as a way of transporting goods and services.

04. INPUTS / OUTPUTS:

Macro: 7KH &RPPXQH RSHUDWHV WKURXJK D ORRS RI ORFDOO\ PDGH FRPSRVW WR SURGXFWLRQ IDFLOLW\ DQG Ă&#x20AC;QDOO\ to food distribution. The exchange between food and compost is maintained within the site through short logistic trips.

Food Production Site

Food Commune Employee

Worm DecomCompost

Local

Market/ Institutional

Temperature: 55 F

Temperature: 80 F

02. LANDSCAPE: 20 Min : 2 mile

The Food â&#x20AC;&#x153;Communeâ&#x20AC;? Facility is a designated site for food production, preservation, delivery and leisure among its many actors. The nodal approach of the facility is to allow short burst of logistics within a small radius in order to deliver produce at itâ&#x20AC;&#x2122;s peak ripeness and peak nutritional value. The â&#x20AC;&#x153;Communeâ&#x20AC;? name is a short hand for a Cooperative Community that may function through a co-ownership and co-maintenance amongst itâ&#x20AC;&#x2122;s users. Not explicitly a vehicle to escape capitalism, the values of the facility lie in the thought that infrastructure functions for the greater good, and not so much for capital gains.

5 Min : 0.5 mile

20 Min : 2 mile

Meso: Logistics is used to mediate produce to household or institution. This is executed via freight WUXFNV DQG GURQHV WKHVH HOHPHQWV IXQFWLRQ LQ D FRQYH\RU EHOW PDQQHU LQ SXUVXLW RI HIĂ&#x20AC;FLHQF\ 7KH GURQHV KDQGOH VPDOOHU KRXVHKROG GHOLYHULHV ZLWKLQ D PLQ Ă LJKW IURP WKH SURGXFWLRQ IDFLOLW\ ZKLFK require a helipad addition to the households. Freight trucks handle longer deliveries.

05. AESTHETIC In the perspectives of the locals, the commune does not read as a physical GHĂ&#x20AC;QHG VWUXFWXUH LQGHHG it seems imaginary, since the value of the commune is formed by the exchange of foods. The farms and the drones would be the focus of the locals eyes.

â&#x20AC;&#x2122;-0

â&#x20AC;&#x2122;-0 0

â&#x20AC;?

Needless to say the facility does recognize the loose ends that may come with complete bottom up executions, considering this the facility begins with investment in a prominent logistic company (ex. AMAZON) that maybe interested in expanding their local produce logistics. In this scenario the logistic company would supply the initial facility components within 1 acre: drone/ UHIULJHUDWLRQ WRZHU ZDUH KRXVLQJ IRU SDFNDJLQJ DQG OLYLQJ SURGXFWLRQ VKHGV DQG UHĂ&#x20AC;QHPHQW WR WKH land. Here farmers would be hired through the logistic company as caretakers of the initial crops with housing provided. From there the facility would open access to community members and education institutions. 7KH ORJLVWLF FRPSDQ\ ZRXOG SURĂ&#x20AC;WV IURP WKLV E\ FDSLWDOL]LQJ RQ ZKHUH WKH\ DUH SURĂ&#x20AC;FLHQW ORJLVWLFV Here the community members have an input into the nodal infrastructure and a social exchange is administered by including an educational presence.

0â&#x20AC;?

Once a Week Farmer

x10 Crop Plants

x1 Crop Type

x3 25lb Crates

â&#x20AC;&#x2122;-0 20

0 â&#x20AC;&#x2122;-0

0â&#x20AC;?

4 Acres (174,240 sq ft)

5 Min : 0.5 mile

The deployment of The Commune Facility is strategically designated to industrial parks, vacant lots, open lands and education institutions. Geared to re-purpose the presence of large industrial vicinities within the site, this hybrid creates a nodal network of distribution towers. Each one placed within a radial distance of 0.5 miles so that drone delivery may be accomplished within 5 min. Not every facility has a distribution function as some may just be supportive towards community and educational engagement of farming.

FOOD COMMUNE

â&#x20AC;?

Hobbyist Farmer

x40 Crop Plants

x4 Crop Type

x12 25lb Crates

07. TYPOLOGIES Tower typology allows for visibility from a distance. The drone port tower takes a similar form of a pylon, where the structure and function is dominant, representing an infrastructure of our daily lives. The drone tower is attempting to represent the food network in a similar way, not to disrupt urban form but acts as a node of food supply. The short time delivery makes food to be delivered at the freshness peak in a short amount a time, and the tower symbolizes the diversity, speed, and reach of fresh food supply.

A refrigerator is a mutual meeting point where family would frequently interact with for food.

06. SOFT INFRASTRUCTURE The Infrastructure that operates from drone port to plate is one that goes through multiple levels of interactions. The technological advances revolving food delivery are viewed in an optimistic OLJKW DV WKH Ă RZV RI IRRG UHDFW PXOWLSOH intimacies.

0â&#x20AC;?

â&#x20AC;&#x2122;-0

0â&#x20AC;?

AMAZON is a logistics company providing delivery services of goods ranging from electronics, outdoor activity items, food and furniture. These products and produce are sold and delivered internationally via freight, trucks, boats and drones.

The fridge has a round base encircled by wooden shelves and remains consistently between 10 and 12 degrees Celsius throughout the year without the need of electricity. It could be used to store produce. The storage capacity is compatible to 20 standard refrigerators.

Family Geared Farmers

x60 Crop Plants

x6 Crop Type

x18 25lb Crates

Commune Worker

x Crop Plants with Housing

x10 Crop Type

x500 25lb Crates

Harrison local houses usually share similar set of aesthetics, with three-level family house, a stoop stairs, octagonal window, and a garage.

Large abandoned warehouse holding open plan structure that allows for wide variety of programs to occupy and replace the original shell (currently parking spaces). The space contains the industrial factory aesthetic, a translation of practicality.

N J I T

C O L L E G E

Deployment of drones depends on weight of delivery.

O F

Micro: As part of a co-ownership protocol The Commune promotes renting land, taking into consideration the availability of people within the site, different subscriptions are designated by amount of crop variation.

A R C H I T E C T U R E

FUTURE FOODS What the Heck is Food Hub? B.Arch | Thesis Fall 2017 | Advisor: Jesse Lecavalier

Drone/ Refrigeration tower allows for drone charging.

A N D

D E S I G N

S H O W C A S E

2 0 1 8

C h i t Ye e N g cn67@njit.edu | (732) 715-9201 Alexis Luna aml38@njit.edu | (908) 414-6248 Guan Yi Chuah gc228@njit.edu | (973) 489-9559

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ARCUS URBE N E WA R K M I X E D - U S E H O U S I N G Architecture | Fifth Year | Darius Sollohub

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A R C H I T E C T U R E

A N D

The aim of the Arcus Urbe building is to provide a healthy balance between positive community amenities and building density to compliment the northeast corridor transit network. As such, it was necessary to provide direct connections between the building, Penn Stationâ&#x20AC;&#x2122;s platforms, and the public realm at ground level. The general massing of the building was carefully sculpted to accomplish this task while also creating more inviting spacial conditions along the street walls. One

D E S I G N

important consideration for this project was the role it would serve as an iconic landmark of the Ironbound and its culture. Keeping this in mind, much of the spatial language was accomplished via the use of an arched structural and ordering system . The system of arches manifest themselves both in key programmatic moments along the facade as well as through voids in the building which accomodate public circulation across the roof-top park in two directions. A strategy such as this creates a symphony of

S H O W C A S E

arches that offer sculptural and formal prowess to a very culturallly diverse section of the city. Overall, the project aims to see that objective become fully realized with consideration to both current and future needs for the surrounding neighborhood and city at large

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J O N AT H A N I S A A C S jsi3@njit.edu | (973)-757-8032

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IRONBOUND HINGE M I X E D - U S E H O U S I N G I N N E WA R K Architecture | Fall 2017 | Darius Sollohub

A N D

Location One is an extremely important site to Newark, and has a variety of economical, cultural, and logistical forces driving any design on the site. Located within the historic Ironbound community, bordering Newarkâ&#x20AC;&#x2122;s budding Downtown, a mixed-use residential project must be contextually sensitive to the Ironbound and Ferry Street, but also has room to take advantage of the siteâ&#x20AC;&#x2122;s proximity to Newark Penn Station and Downtown Newark.

D E S I G N

In considering a high-rise building within the generally low-rise context of the Ironbound, finding a way to break down the scale of the building was crucial to the design. Borrowing from the dimensions and proportions of traditional storefronts and buildings along Ferry Street, a 24 foot grid was established for units to be arranged. Bundling units and creating towers allows for greater unit density, while also creating more corner units than a single or double loaded corridor. By manipulating the height of these

S H O W C A S E

units, one can break the scale of the building down in increasing increments. The scale breaks down further to create balconies, and eventually down to 6â&#x20AC;&#x2122; x 6â&#x20AC;&#x2122; platforms in a public connection to Mulberry Commons. In short, this project aims to take advantage of the growth in Newark without overwhelming the historic Ironbound, and offering greater connectivity between two distinct neighborhoods in Newark.

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JOSHUA MASON jsm55@njit.edu | 732-927-3739

PLAN SECOND LEVEL

SITES THE SUBURBS

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A Suburban Prototype LIFE AFTER WORK Architecture | Fourth Year | Keith Krumwiede

A N D

Increasingly, questions about the nature of work in an ever-more automated world are leading political economists, technologists and sociologists to consider the possibility of a future without labor, or, more accurately, without labor as it is currently defined. A Suburban Prototype is a model for a communal dwelling in such a world without work. The prototype revitalizes the suburban cul-de-sac; in other words brings life into the dead ends of the suburbs. The communal dwelling

D E S I G N

wraps around the cul-de-sac creating a suburban plaza for events and gatherings for the entire suburb. The first level spaces resemble those of the typical garage in which hobbies, garage bands and passionate start-ups replace cars. In a world in which work is replaced with leisure and hobbies these spaces become filled with diverse activites which can be shared with the members of the dwelling and beyond. The gardener, the baker, the â&#x20AC;&#x153;garage bandâ&#x20AC;?, the painter, and the woodworker all attract the life

S H O W C A S E

into the cul-de-sac creating a new community space in the suburbs. Each protoype will bring unique gatherings and events as the shared activities vary based on the interests and hobbies of those who dwell there.

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K ATA R I N A D J U R I C kd238@njit.edu | 973-814-1172

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PA R K 2 4 URBAN DESIGN & LANDSCAPE ARCHITECTURE Architecture | Fifth Year | Birthe Nygaard, Tom Nielson, & Martin Odgaard

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A N D

Holstebro is made up of various green landscapes but lacks organized public green spaces and outdoor gathering spaces for socialization above the city center. The city is also in need of more cultural venues and housing to attract the younger generation and tourists. The main concept for this project is to develop the site into a park, allowing for the city to be connected through green landscapes. In combining and linking WKH GLá&#x201A;&#x2021;HUHQW ODQGVFDSHV WKURXJKRXW WKH FLW\ WKH VLWH EHFRPHV

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KIMBERLEY GOKBERK ktg6@njit.edu | 732.895.2871

HARRISON HEALTHCARE CLINIC

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H A R R I S O N H E A LT H C A R E C L I N I C H E A LT H C A R E C L I N I C Architecture | 3rd Year | Cleveland Harp

A N D

The project design is a community clinic in Newark, New Jersey. The clinic will serve as a health care primary facility that can accommodate community activities and some form of social gathering as a complementary program. Due to the FEMA Flood Map of this location, a 100 years in the future, the water levels will rise 9 feet. Because of this research, the first design move was to raise the buildings onto pilotis above the flood levels. This allows the building to be able to avoid the

D E S I G N

strong forces of the water. Following this is the use of parking underneath the structure. To then fix the dark parking area, the project uses light monitors that travel down into the central work floor and to the ground floor used for parking. This now introduces duality to the corridors allowing light and vegetation to grow. The facade is a metal brise-soleil that changes on the orientation of the facade. The south facing facade protrudes outward to block the sun during the afternoon and the use of angled protru-

S H O W C A S E

sions on the west and east facades to prevent the early morning and evening sun rays. The north facade is flat to allow the ambient light into the healthcare clinic. The rooftop is a public rooftop garden that patience may use to relax and view the river. The project also introduces a second entrance into the esplanade so pedestrians can cut through the clinic to enter the esplanade quicker.

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MICHAEL MCDONNELL MTM33@NJIT.EDU | (732)609-6949

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6$0$17+$ 3,5(6 scpires20@gmail.com | (201) 463-3821

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Oblique

Grazing Cattle

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Central Promenade

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A R C H I T E C T U R E

The New Bank of England A M B I G U O U S P R E S E R VAT I O N : T E A S I N G C L A S S I C I S M Architecture | Options Studio - Year 5 | Carrie Norman

A N D

Playing with positivity and negativity, the new Bank of England teases the classical style through repeated and sequential forms. The facade of the complex features a repeating elevation that appears to be inherently classical, but plays with asymmetry in pattern as well as games of positivity and negativity throughout the site. Organized in a thickened perimeter condition, the new Bank of England features larger cultural facilities that are

Peeking through an Entrance

D E S I G N

embedded in the perimeter form, which hosts smaller commercial VKRSV RQ WKH JURXQG ÀRRU DQG UHVLGHQWLDO DQG RI¿FH VSDFHV RQ WKH XSSHU ÀRRUV 7KH LQVHUWLRQ RI WKH ODUJHU FXOWXUDO IRFL SXVKHV WKH inner facade envelope inwards and outwards, also contributing to the positive-negative game evident in the elevation.

S H O W C A S E

The Ambiguous Preservation Options Studio, in studying relationships between the historically old and the new, experimented with the role drawings have with visualizing and interpreting architecture. In order to capture the timelessness of the site’s predecessor, this project implements modern digital techniques to collage and construct drawings that emulate old styles. The result is an ambiguously newish-old character that captures the spirit of the original Bank of England.

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T I F FA N I E L E U N G tl225@njit.edu | 973-856-1760

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LAMP I MECHANICS & ELECTRONICS Industrial Design | Second Year | Jonathan Ferrer

O F

A R C H I T E C T U R E

A N D

Inspired by the works of FTL Studio, Lamp I simplifies complex forms and movements into a single unified object. The design process began with small form studies followed by an exploration of action and reaction. The joints mimic this sentiment by stimulating a theme found throughout FTL Studioâ&#x20AC;&#x2122;s pavilions: soft forgiving materials like fabric are driven by rigid structural elements. In this case, the oak dowels are sculpting and informing the joints providing a cause and effect relationship.

D E S I G N

Similarly, the joints take on the formal principles and softness of fabric while providing structural and visual balance to the composition as a whole. Lamp I turns on with the push of an in line switch configured on the wire, illuminating the lampâ&#x20AC;&#x2122;s eleven LEDs wired in parallel. Frosted acrylic finally softens the LEDs directional light. As a whole, Lamp I captures the same dynamic motions and relationships of the structures designed by FTL Studio while taking on its own simplistic form.

S H O W C A S E

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ANDREW CARTER awc9@njit.edu | 201-800-2732

(concept Image)

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EXO WEARABLE TECHNOLOGY Industrial Design | 3rd Year | Jobeth Bobee

O F

A R C H I T E C T U R E

A N D

This modern ice-pack redesign is created to prevent a supringly common problem, ice-pack burn. Studies show that most icepack burns are the result of users leaving the pack on for longer than the recommended period (20 minutes), or failing to put a barrier between the cold pack and skin. This ice-pack visually dictates when it should be removed, while also being H[WUHPHO\ Ă&#x20AC;H[LEOH WR FRQIRUP WR YDULRXV SDUWV RI WKH ERG\ Through the use of a thermochromic pigment, the individual

D E S I G N

gel pods, seen in the exploded view (bottom left image), change from blue to grey once 20 minutes has elapsed. This places the responsibility of keeping track of time on the ice-pack, not the user. Although this is a concept model, the gel pods would be covered by a layer of Fabrican to be the necessary shield between the cold pods and the skin. This original hexagagonal system is comprised of rings that allow the pack to expand and contract. This is ideal for comforming to

S H O W C A S E

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Cassidy Lavine cel7@njit.edu | 973-670-0946

(Concept image)

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BONOOBO SECOND YEAR STUDIO Industrial Design | Second Year | Jose Alcala

O F

A R C H I T E C T U R E

A N D

Bonoobo is cd player inspired by Reggae culture. At its core, Reggae is about love, peace, and unity, but at the same time, liberation and change. The round and accepting forms were derived from sculpture studies that reflected on important aspects of the Jamaican and Rastafarian way of life. The sweeping form of dreadlocks and lionsâ&#x20AC;&#x2122; manes helped create the body of the final sculpture

D E S I G N

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JENNA STUISO jennastuiso11@gmail.com | 973 943 1851

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NOOR Lamp Design Industrial Design | Second Year | Jonathan Ferrer

O F

A R C H I T E C T U R E

A N D

Noor is a lamp fixture that was designed to reflect the architectural structure “Citylife” in Milan by Zaha Hadid. Noor is composed with an overall aesthetic that mirrors the materials Hadid chose for her design. Noor houses 16 LED lights in a piece of hollowed out RenShape. The lights shine through a frosted acrylic panel that disperses the light evenly. The lights run in a parallel circuit in order to have full power running through every diode. The lamp is turned on and off by a control

D E S I G N

switch positioned at the top of the lamp. The lamp draws five volts of power from a USB power cord which plugs into a wall adapter. 1RRU KDV D ' SULQWHG MRLQW WKDW SRVLWLRQV WKH GRZHOV DW Û $W the base of the lamp head there is a hinge which allows the user to adjust the light position with a simple turn of a screw. Noor comes with a clamp that allows it to fasten to any table or desk top. Noor is an architecture inspired desk lamp that lightens up any work space.

S H O W C A S E

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Morks Estafanous Me264@njit.edu | 201-850-0523

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CORE HOME BAR FURNITURE STUDIO Industrial Design | Third Year | Charles Constantine

A N D

The Core Home Bar provides its user with a compact, mysterious, and elegant solution to alcohol storage. In the way RI VSDFH HIÂ¿FLHQF\ &RUH DVVXPHV D VOHQGHU WULDQJXODU JHRPHWU\ WKDW Â¿WV XS WR IXOO VL]HG ERWWOHV $W Â´ ZLGH DQG IW WDOO LWÂ¶V OHVV LQYDVLYH WKDQ PRVW ERRNVKHOYHV \HW VSDFLRXV HQRXJK WR Â¿W D GLYHUVH GLVSOD\ RI OLTXRUV :KHQ RSHQHG &RUH WUDQVIRUPV LQWR D EULOOLDQW GLVSOD\ RI RQHÂ¶V OLTXRU OLEUDU\

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N I C H O L A S WA R H O L A K njw8@njit.edu | 973-234-3651

(Concept image)

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B A C K B O N E FURNITURE STUDIO Industrial Design | Third Year | Charles Constantine

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The Backbone Lounge is a furniture piece designed to mimic the form and exaggerated curve of a spine and vertebrae. The “vertebrae” along the top provide an ergonomic form on which the user’s spine can conform to, comfortably. This lounge was designed

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with the intention of exploring different forms of wood bending. This design incorporates two different bending techniques, kerf bending and lamination. The “vertebrae” were bent using kerf cuts along sheets of plywood giving them a trapezoid shape. The

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“spine” was laminated using 20 sheets of 1/8” plywood which got glued together and clamped around a form to create its shape. These two bending styles come together to create one cohesive, aesthetic furniture piece.

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OLIVER BUDD orb7@njit.edu | 201-250-2422

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Sway Furniture Industrial Design | 3rd Year Studio | Charles Constantine

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A R C H I T E C T U R E Slow down relax some, Don’t drown feeling glum? Natural brown, think of mum. Need to pause, take a breath. For what cause? Fearing Macbeth, $FFHSW ÀDZV RI WKH HDUWK Clear your mind, avoid the syndrome. Halt the grind now you are home.

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This piece is made from Ash planks and dowels and white FRWWRQ URSH ¿QLVKHG ZLWK ZD[ ZKLSSLQJ $ QDWXUDO VRDS ¿QLVK ZDV XVHG WR JLYH D VRIW IHHO DQG XQ¿QLVKHG ORRN WR WKH ZRRG Sway, an entryway table is for the working professional who is stressed from work. This product would aid in the transition in work life from home life, by helping to create both physical and psychological thresholds through routine. This is unlike other entryway tables because it would help the costumer be more

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mindful, about bring their work like home, in a very passive way. It is important that this interaction between the piece and the user takes time; it is natural and honest in its construction. This is done by creating asymmetrical forms out of natural material. Inspired by river stones, the moving forms aim to be relaxing while also providing the function to the user entering their home, as a place to put of their belongings, as they shed from the physical and mental possessions of the work day.

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Preston Konopka plk3@njit.edu | 609-213-3161

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OFFICE OF THE FUTURE ASSIGNMENT Interior Design| Spring 2017 | David Brothers

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A L B E I RY S F R A N C I S C O - PA R R A

ajf45@njit.edu| 201-875-0972

Prayer Hall

Portico

Courtyard

Ablution Area

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OAISIS MEMORIAL DESIGN INT DESIGN | FIRST YEAR STUDIO | DAVID BROTHERS

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AMENA CHAUDHRI azc4@njit.edu | 2017905958

(concept Image)

(sectionss/pl /ppl plaans an nnss/de /de /d dettai taaaiils) s)) (sections/plans/details)

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Enclosure Equilibria Office of The Future Interior Design| 3rd Year Studio | David Brothers

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ARIANNA MILLA am882@njit.edu | 201-841-9036

SECTION A

D SECTION B

4.625”

0.492”

2.3125”

2 .3125”

0.027”

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C U R VAT U R E S I X WA L L S Interior Design | 1st Year Studio | David Brothers

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Inspired by the natural curvature of a tidal wave, Curvature explores the ways in which paper can bend to create organic forms. The parameters of the project limited students to six 15” x 3” walls of material to create a space with a circulatory path towards a central domain. Curvature functions as an outdoor tidal clock influenced by its proposed location, in Nova Scotia, the Bay of Fundy. The Bay of Fundy experiences the highest change in tidal levels, thus reflecting its adaptability

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and malleability to temporal changes. This tidal clock measures the hourly tidal change over a period of six hours. Due to the six hour time period, the upper left and right walls have five mathematically calculated gaps allowing for six levels to measure the rising tide every hour. The Northernmost wall is completely solid so viewers can visually understand the tidal changes from the absorbency of the wall’s material. When the tide has risen to its maximum height, the ocean will cover a majority of the structure

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only revealing certain aspects of the arches. The arches and forms of each of the walls are organically crafted to compliment the kinetic nature of its surroundings. Specators should feel as if the space is synonymous with its location; Curvature should encourage visitors to admire natural forces and enhance one’s experience while acknowledging the clockwork of nature.

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CHLOE BLOTTMAN ceb32@njit.edu | (973)-768-3360

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RECUMBANT EXUBERANCE RESIDENTIAL DESIGN Interior Design | 3rd Year | Adam Raiffe

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Tony former commodity broker and Robin, who worked in the hospitality industry, met in Moscow while there for business in the same week and found they both grew up in Long Island. Both Robin and Tony were able to retire early due to good investment choices. They chose this 1800s carriage house in Newark as their latest addition because of its historical value and condition it can serve as a blank canvas to become their retreat.

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Despite Tony’s disability they have a great energetic nature and DOZD\V ORRN RQ WKH SRVLWLYH ÀLS VLGH RI WKLQJV 0XOWLSOH 6FOHURVLV FRQ¿QHV 7RQ\ WR D ZKHHOFKDLU VR FDUHIXO FRQVLGHUDWLRQV RI KLV mobility has to be made throughout the renovation. 7KH LQWHULRU PRWLI LV GHVLJQHG IRU 5RELQ¶V Rႇ WKH ZDOO ZD\ Rႇ living. The garage will be converted into a “storefront” space to display Tony’s rotating miniature automobile collection.

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7KH VLWH RႇHUV DQ XQXVXDO PL[ RI FRQWUDGLFWRU\ FRQGLWLRQV 7KHVH conditions include sound, with the constant buzzing highway overhead, and the dead quiet of the cemetery. Also, access, to the property feels secluded by the surrounding conditions; a cemetery and the highway, and inconsistently, the openness of the fourth side along a sidewalk faced by apartments. All this plus the site is within walking distance to the conveniences of urban living close by.

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Fernando Luis Cotto fc225@njit.edu | 201.233.7608

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DYNAMIC DWELLING RESIDENTIAL DESIGN Interior Design | 2nd Year Studio | Adam Raiffe

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This was an abandoned carriage house renovated for a young newlywed couple. My goal was to create a dynamic environment for the couple who would be working from home, socializing, and relaxing all under one roof. They requested to have a public space in the garage where they could socialize throughout the day without having to leave the house. In an attempt to address the rapid gentrification occurring

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in Newark I wanted to create a space that would attract both the new and longtime residence and encourage interaction between the distant groups. Newarkâ&#x20AC;&#x2122;s rich history with art made it an obvious choice to make the garage a gallery featuring local artists who address the changes occuring in the c i t y. I designed the space so the owners would have the opportunity to know what was going on in the

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gallery even when they are in their office so I placed the office on a mezzanine on the second floor that h a d v i s u a l a n d a u d i t o r y a c c e s s t o t h e g a l l e r y. M y goal to create a dynamic environment informed the design of the adaptable wall system between the living room and gallery and the convertible couches which allowed the home to easily shift between a private and public space.

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HAILEY WHITE haw6@njit.edu | 973 . 610 . 8136

Cremation

Display of Ashes

Release of Ashes

Fountain

Display of Urn

Fire Place Entry

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West

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Te m p l e o f A s h e s MEMORIAL DESIGN Interior Design | First Year Studio | David Brothers

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The purpose of this memorial assignment was to design a site with atmospheric intervention for the purpose of a religious practice. Temple of Ashes is intended for visitors to mourn the death of a loved one through Hindu religious customs. In Hinduism, it is a core belief that every life has a soul and every soul has an invisible Karma that is determined by his or her behavior. When the body dies, the soul moves to another realm of existence based on Karma. After the soul endures

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hell or is exhausted of the accumulated “virtues” in heaven, it enters pitruloka -“the realm of ancestors”- until birth/reincarnation to take place. To help the soul enter pitruloka, family members of the deceased perform rituals through the cremation, holding of the urn, and release of the ashes into holy waters. Temple of Ashes guides the visitor on a path that symbolically follows the custom of honoring the cremated remains of the deceased. Mourners first pass the fire pit as a symbol of cremation. The

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centralized urn display focuses the visitors’ attention towards the ashes and evokes a sense of harmony with the soul of the dead. The interior space contrasts in character from the exterior where mourners proceed to the water fountain as a way to release the grief associated with death and dying.

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LESLIE PUMA ltp3@njit.edu | (646) - 203 - 2163

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Conservatory Windows Elevation

First Floor Plan Double Height Section

Conceptual Massing Diagram

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Second Floor Storage Elevation

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Cleanly Craftsman ASSIGNMENT Interior Design | Junior | Adam Raiffe

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This project was a complete overhaul of an original 1800s carriage house in a Newark, New Jersey cemetery designed for hypothetical clients, John and Janice Richards The retired couple needed space for his passion, gardening, and her passion, baking. Not only is there ample space in the backyard for Johnâ&#x20AC;&#x2122;s passion, but I also designed a conservatory in the existing garage. The house is designed so that John can entertain the public in his conservatory, without disturbing the rest of

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the house. Large french doors open up to the public street and expose Johnâ&#x20AC;&#x2122;s handiwork. Janice can choose to slide open the large farmhouse door between her bakerâ&#x20AC;&#x2122;s kitchen and the conservatory to display her pastries for Johnâ&#x20AC;&#x2122;s guests. Also important to the couple was ample storage, organizational solutions, and easy-to-clean materials. I was able to provide a mudroom complete with a full wall of built-ins, as well as a generously sized pantry. Built-ins were also created in the conservatory, second

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Ă&#x20AC;RRU KDOOZD\ DQG PDVWHU EDWKURRP 0DWHULDOV VXFK DV SRUFHOHLQ for the kitchen counter, and a ceramic tile throughout the kitchen and conversatory, are durable and easy to maintain. The original character of the craftsman style house is preserved in the exposed beams on the ceiling and the incorporation of the original windows throughout and wooden paneling in the kitchen.

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Natalie Fariello nkf3@njit.edu | (973) 900-1702

(concept Image)

ASSEMBLY:

a large three tiered step in which employees are able to collaborate for large meetings. The free ranged stools allow flexibility for employees to move within the space.

SOLO HUB:

Employees need head down space to focus. These rooms allow for privacy calls and concetration work.

RECHARGE STATION:

This is a comfortable zone in which employees have the opportunity to pause and recharge. This allows the employee to store their things and take a momentary break when needed.

LOUNGE:

People work best in different environments. The lounge area allows employees to feel more comfortable in order to feel happier.

Costura by STUA

Ben by MHPD

Kuban Table by Matiere Grise

Concept Diagram

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OFFICE HUB Workplace Design Interior Design | Fourth Year | David Brothers

Materials Board

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Furniture

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The design for the Office Hub offers many dynamic spaces for the employees to work efficiently. The office of the future is a social hub for employees to interact as a community while also having the flexibility to work around their schedule.

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Pamela Ospina pmo4@njit.edu

Workspace setting Workspace Arrangement

Hanging Casual Collaborative gatheringArrangement setting

Casual gathering setting Informal Collaborative Arrangement

Collaboration setting Collaborative Arrangement

InformalCasual Meeting Arrangement meeting setting

Level 1 1/8" = 1'-0"

Hanging Meeting space

Hanging Meeting Arrangement

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NOMAD OFFICE OF THE FUTURE Interior Design| 3rd Year Studio | David Brothers

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THE DESIGN CONCEPT SUPPORTS A BUSINESS CULTURE OF INNOVATION, COLLABORATION, AND CREATIVITY WHILE STILL MAINTAINING PRACTICAL SPACES; CONVEY A DEEP UNDERSTANDING OF THE NEEDS OF A FUTURE WORK OFFICE ENVIRONMENT; CREATE AN OPTIMAL ENVIRONMENT TO ADDRESS DIFFERENT WORKER TYPOLOGIES; PROMOTE A PRODUCTIVE WORKSPACE ENVIRONMENT WHILE INTEGRATING BALANCE

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AND WELLNESS INTO THE DESIGN, NOMAD IS INSPIRED BY THE LIFESTYLE OF BEDOUIN NOMADS FOR WHOM ROOTLESSNESS IS A CHOICE AND A FREEDOM. THE OFFICE OF THE FUTURE IS A NOMADIC STATE; A WORK AREA CAN BE FOLDED AND SET UP TO ACCOMMODATE AN INDIVIDUALâ&#x20AC;&#x2122;S NEEDS. MOVABLE LOCKERS CAN BE ROLLED TO ANY LOCATION IN THE OFFICE. WORK SURFACES AND OFFICEPODS DEFINE OPEN SPACE. FABRIC PARTITIONS DEFINE

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PRIVATE SPACES. SOFTNESS VERSUS SOLIDNESS OF MATERIALITY CREATES A DYNAMIC ENVIRONMENT THAT ENHANCES MOBILITY AND FLEXIBILITY

SARA EBRAHIM Sae27@njit.edu | 908-626-1085

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MOMENTS Office Office of the Future Interior Design | 3rd Year Studio | David Brothers

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The Moments Office is designed as the next step for Activity Based Working. The workplace today is versatile and mobile, because thanks to technology, there is no longer a reason to stay shackled to a single chair or table. Workers can choose to work from within the comfort of their own homes, presenting presentations, communicating, etc. through the web. Therefore, in the future, the only time when workers must gather at the office is when they need to collaborate, or when

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the home-environment is not ideal for concentration. Instead of focusing on private spaces, and individual cubicles, the Moments Office focuses on the comfort and happiness of the workers. When a person is happy and comfortable, studies have shown that they tend to be more productive. This design provides a wide variety of spaces, allowing workers to experience each day in a unique way.

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By creating a versatile, flexible, yet comfortable place to work in, workers are free to walk around the office, climb or build with the cushion blocks, lounge about on the stairs and pillow fort or focus intensely in the individual booths. The office of the future allows people to be individuals, to produce/create/work in their own unique method and mode of working. Celebrate the future through these unique Moments.

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STEPHANIE JEN sj389@njit.edu | 973-393-4342

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HIER-ARCHIE OFFICE OF THE FUTURE Interior Design | Spring 2017 | David Brothers

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The office of the future is juxtaposed by reverting back to a hierarchical environment with an emphasis on employee wellness. Through research it is evident that offices today are to the extreme of a completely open plan which limits any individual privacy. The solution for the future is to create a balance between collaborative and individual work zones. It is imperative to avoid the solution of cubicles in order to promote employee wellness and comfort in the work environment.

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Through a series of collaborative zones, it is encouraged that employees get up and relocate from their desk (or homebase). The collaborative zones include: small and large booths, sit/stand meeting spaces, and meditation hubs. Additionally, the break room is designed to achieve a light and airy space that is available to work in as well. Through further research it has become a trend for there to be no sense of hierarchy in the office. In other words, employees are all treated as equals in the office space.

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On one hand, this is successful at promoting teamwork and collaboration. On the other hand, it is necessary to have a sense of hierarchy in order to encourage a professional environment. Therefore, the solution is to design individual offices in the core of the space that are easily accessible to the collaboraitve zones.

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TESS ALBYN tsa8@njit.edu | 720-335-3795

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“OVER THE TOP” RESIDENTIAL DESIGN Interior Design | 2nd Year Studio | Adam Riffe

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Assignment The assigned house is an 1800’s carriage house that went through several damages over the years of its use. During the site visit, the house most definitely showed its age. It was notably in ruins and needed a full renovation. As per our assignment, we were assigned a client with certain characteristics, styles, and requirements. We are to use the information given and develop a suitable home for our client.

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Client My assigned client is named Ann Barton. She is 44 years old, single woman, who is a practicing painter. Her style exuberates whimsical motifs, eclectic styles from a range of time periods, bold colors, and patterns. She is simply “over the top”. Also, she is unorgranized. In addition, she has two children who recently moved out. However, she wants to make sure they have a bedroom to stay in whenever they visit.

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Concept To incorporate organizational mechanism throughout the plan. Drawing inspiration from eclectic and extreme styles of the 60s,70s,80s, I created a warm and inviting home. The overall concept centered around the main parts of Ann’s life. Her private life, which includes spaces just for her. Her personal life, which includes family and friends. And her business life, which is art viewers. life, which is her clientele and/or art viewers and buyers.

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“ U m a a m a h To b i a s ” “ut24@njit.edu” | “862-235-3452”