Helen Levin Portfolio by Helen Levin

Fictional Architectural Figures [the portfolio of]

~HELEN N. LEVIN~ 2013 â&#x20AC;

Fictional Architectural Figures [the portfolio of]

~HELEN N. LEVIN~ 2013 â&#x20AC;

Fictional Architectural Figures fiction |’fik sh ən|: noun • invention* or fabrication* as opposed to fact. *invent:

create or design. *fabricate: construct or manufacture.

Projects List, Chronological Order *Path 2005 *Seismic Station 2006 *NWW 2006 *Library 2007 **Chandelier Book Apparatus 2008 *Low-Energy Housing 2008 *Apollo Annex 2009 *Distilled Bathhouse 2010 **USS 2010 *Reworked Bathhouse 2011 *#PARTYWALL 2011 *The Lonely Lover vs. The Permanent Bachelor 2011 *Vis-kiosk 2011 *Coloronoid 2012 *The Fire Fight 2012 **60 Water Street 2013 *Greenhouse 2013 *Moscow Museum 2013 *East River Towers 2013 *Etsy|Novus 2013 [*INVENT] [**FABRICATE]

Table of Contents [INVENT] The Lonely Lover vs. The Permanent Bachelor PAGE [012] Greenhouse PAGE [030] Vis-kiosk PAGE [050] The Fire Fight PAGE [054] Apollo Annex PAGE [072] Moscow Museum PAGE [078] Etsy|Novus PAGE [088] Path PAGE [094] Library PAGE [100] NWW PAGE [108] Seismic Station PAGE [118] Low-Energy Housing PAGE [124] East River Towers PAGE [130] Distilled Bathhouse PAGE [136] Reworked Bathhouse PAGE [148] #PARTYWALL PAGE [154] Coloronoid PAGE [160] [FABRICATE] Chandelier Book Apparatus PAGE [024] 60 Water Street PAGE [032] USS PAGE [068]

Table of Figures

fig.

[001] fig. [002] fig. [003] fig. [004] The fig. [005] Lonely fig. [006] Lover vs. fig. [007] The fig. [008] Permenant fig. [009] Bachelor fig. [010] fig. [011] fig. [012] fig. [013] fig. [014] fig. [015] fig. [016] fig. [017] fig. [018] Chandelier fig. [019] Book fig. [020] Apparatus fig. [021] fig. [022] fig. [023] fig. [024] fig. [025] fig. [026] Greenhouse fig. [027] fig. [028] fig. [029] fig. [030] fig. [031] fig. [032] fig. [033] fig. [034] fig. [035] fig. [036] fig. [037] fig. [038] fig. [039] fig. [040] 60 Water fig. [041] Street fig. [042] fig. [043] fig. [044] fig. [045] fig. [046] fig. [047] fig. [048] fig. [049] fig. [050] fig. [051] fig. [052] fig. [053] fig. [054] fig. [055] fig. [056] Visfig. [057] kiosk fig. [058] fig. [059]

fig. [060] fig. [061] fig. [062] fig. [063] fig. [064] fig. [065] The fig. [066] Fire fig. [067] Fight fig. [068] fig. [069] fig. [070] fig. [071] fig. [072] fig. [073] fig. [074] fig. [075] fig. [076] fig. [077] USS fig. [078] fig. [079] fig. [080] fig. [081] fig. [082] fig. [083] fig. [084] fig. [085] fig. [086] fig. [087] fig. [088] Apollo fig. [089] Annex fig. [090] fig. [091] fig. [092] fig. [093] fig. [094] fig. [095] fig. [096] fig. [097] fig. [098] fig. [099] fig. [100] fig. [101] Moscow fig. [102] Museum fig. [103] fig. [104] fig. [105] fig. [106] fig. [107] fig. [108] fig. [109] Etsy|Novus fig. [110] fig. [111] fig. [112] fig. [113] fig. [114] Path fig. [115] fig. [116] fig. [117] fig. [118]

fig. [119] fig. [120] fig. [121] Library fig. [122] fig. [123] fig. [124] fig. [125] fig. [126] fig. [127] fig. [128] fig. [129] fig. [130] fig. [131] fig. [132] NWW fig. [133] fig. [134] fig. [135] fig. [136] fig. [137] fig. [138] fig. [139] fig. [140] Seismic fig. [141] Station fig. [142] fig. [143] fig. [144] fig. [145] fig. [146] fig. [147] Lowfig. [148] Energy fig. [149] Housing fig. [150] fig. [151] fig. [152] fig. [153] fig. [154] fig. [155] fig. [156] fig. [157] fig. [158] fig. [159] fig. [160] fig. [161] East fig. [162] River fig. [163] Towers fig. [164] fig. [165] fig. [166] fig. [167] fig. [168] fig. [169] fig. [170] fig. [171] fig. [172] fig. [173] fig. [174] fig. [175] fig. [176] fig. [177]

fig. [178] fig. [179] fig. [180] fig. [181] fig. [182] fig. [183] fig. [184] fig. [185] fig. [186] fig. [187] fig. [188] fig. [189] fig. [190] fig. [191] fig. [192] fig. [193] fig. [194] fig. [195] fig. [196] fig. [197] fig. [198] fig. [199] fig. [200] fig. [201] fig. [202] fig. [203] fig. [204] fig. [205] fig. [206] fig. [207] fig. [208] fig. [209] fig. [210] fig. [211] fig. [212] fig. [213] fig. [214] fig. [215] fig. [216] fig. [217]

Distilled Bathhouse

Reworked Bathhouse

#PARTYWALL

Coloronoid

FICTIONAL ARCHITECTURAL FIGURES [INVENTIONS] + [FABRICATIONS]

Introduction In the following pages, one will find a series of fictional architectural figures. We are in the era of digital photorealism, soon we will real time render our every day life. We are in the era of building cessation, soon there will be no more building. Explorations must be labeled as fact or fiction for now, the separation between which will soon cease to exist. INVENTIONS are purely hypothetical. FABRICATIONS exist in real world scale.

fig. [001] The Bachelor Machine. Marcel Duchamp. fig. [002] (following spread, left) Growth diagram. fig. [003] (following spread, right) Flesh rendering.

[ 12 ]

The LONELY LOVER vs. The PERMANENT BACHELOR with Jen Wood 2011

[INVENTION] amabilis fat: catalyze love from a substance of excess unworthy of anything else.

discarded but could be reused. Luckily it can be made into glycerin [a main ingredient in soap], gelatin plastic [a building material] and bio-fuel [to be returned to the vertical system].

The Lonely Lover is constantly opposed, craving and craved for by the Permanent Bachelor. The physical space of the craving is the Love Room: a bubble at the end of a pheromone trail. This trail is based on the interplay between those who sit and wait for love without direction and those who constantly seek love while lacking that same direction. Built from gelatine plastic, the geometry recycles fat waste found in the the vertical system and fills two voids: a physical void between structure and the emotional void of craving for affection, physical contact or dependence that can only be satisfied by love.

Love cravings are bred in the interior density, while the fat waste in the vertical system overflows. Fat is collected by machines, turning the substance into gelatin plastic with heat and 3D printed following pheromone trails to the edge where the bubble of the love room is formed. The geometry of a dense network of corridors promotes different mating rituals, from desire, to the first glace, to the first caress, the first kiss, ending in the entrance to the individual love room bubbles. After use the bubble bursts, becoming a new layer of material that keeps the geometry growing. Growth of the structure depends upon the love usage of the love rooms.

A love room is a program that is specific areas of dense population: the place where two individuals can come together and remove themselves for a moment from the saturated environment to enjoy each other, whatever form their cravings require. Fat, the result of a desire for excess, succulent meals, overindulgence and body consciousness is [ 13 ]

_FAT DEPOSITS_ Within the vertical system there is waste associated with excess: ~processes: cooking grease / liposuction ~sources: vegetable / animal / human

+ + +++ ++ + + + + + +++ ++ ++ + ++ + ++ + + ++ + + + ++ ++ + +++ + + ++ + ++++ + + + ++ ++ +++++ + +++ +++ ++ ++ + + + + +++ + ++ + + + ++ ++ + + ++ + + + ++ ++ + ++ + ++ + + + ++ ++ ++ + ++ + + + + ++ + ++ + ++++ +++ +++++ +++ ++++ ++ + ++ +++ + + + + ++ + +++++ +++++++++ ++ + + + ++ ++ +++ ++++ + + ++ ++ + ++++++++ + + ++ + + +++ + ++++ + ++ + + +++ ++++ + +++ + + + +++ + ++ + + + + ++++ ++ ++ +++ + +

This substance needs to be recycled or it accumulates in pockets that bulge, oozing out from the. The mechanical process will postively transform the substance into use.

+ ++++++ +++++++ +++++ ++++++ + + ++ +++ +++++ + + + + ++ + + ++ +++ + ω−3 + ++ + ω−3 ω−+6+ + +++ + ++ ω−+6+ + + ++ω−3 ++++ ++ ++++++++ ω− ++6+ +++ ++ ++ + ++ ++ + + +++++ +++++

_PLAN SECTION_ CnH(2n-3)CO2H _

+ +++

+++ ++++ + + ++ +++ +

+ + +++

+ + + ++ ++

_CnH(2n-3)CO2H

+ ++ + ++ ++ + ++ ++ + ++++++++ + ++ + + ++ + ++ + + + ++ + ++ +++ + ω−+6 ++ + + + + + + + +++++ + + + ++ ++++ ++ + + ω−3 ++ ++ ++ + ++ + + + + + + ++ ++++ + ω−3 ω−3 + + ++++ +++ + ++++++++ + + + ++ ++ + + + +++++ +++ ++ +++++++++++ + ++++ ++ + ++ + + + +++ + + ++ ++ + +++ + + + +++ +++ + + ++++ + + +++++++ + ++ 6++ + + + ++ ++ +++++++ + +++ ω− ++ + ++ ++ ++ + ++ ++ + +++ +++ +++++ω− ++ ++++ ++ + ++6+ ++++ ++ + ++ ++ +++ 6++ ω− + ++ ++++ ++ ++ + + + + + + + + + + + + + + + + + + + + + ++ +++++ + ++ ++ ++ ++ ++ ++ + + +ω−9 + ++ +++ +ω−9 +++ +++ + ++ + + ++ + + ++ + ++ +++++ + ++ + + ++ +ω− + + + ++ 6 +++ ++++ +++ω−9 + ++ +++ ++++ ++ ++ + ++ + + + + ω−9 + + + + ++ ++ + + ++ + +ω− ++ ω−66 + + ++++ + + + + + + + +++ + +++ +++ + + ++ ++ + ++ + ++ ++ + +++ ++++++ + + ++ ω−9 + ++++++ ++ ++++ ++++ + + +++ +++ + + ++ ++ + ++ + + ++ ++ ++ + + + ++ + + + + + + + + + + + + + + + ω−9 + ++ ++ + +++ + ++ ++ ++ +++ + ++++ ++++ + ++++ + ++ + ++ + ++++ω−9 ++ + ++ + +++ + + + + ++ + +++ + + +++ + + + + ++ + + + + + + + + ++ + + ++ +++ + + + + +++ ++ + + + ++ + + + +++++ + + ++ +++ +++ ++ + ++ +++ ++ + + + + ++ + + ++ ++ + + ++ ++++ +++ + + + ++ + ++ + +++ + ++ + + ++ +++ + ++ +++ + ++ ++ +++++++ + +++ + ++ + + + + ++ + ++++++++ + +++ ++++++++ + ++ + + + ++ + + + ++ + + +++ ++ ++ + + + + +++ + + +++ ++ + + ++ + + +++++ + ++++ + +

CnH(2n-3)CO2H _

+++ +++ + + +++ + + + +

+ ++ + + + + + ++ + + + + +++ + + ++ ++ + ++ + + + + ++ + + + + + + + ++ + + + + + + + + + + ω−3 ++ + + + ++ + + ω−3 _CnH(2n-3)CO2H ++++ +++ + + +ω−3 +++ + + ++ ++ + + ++++ + + + + +++ + +++ + ++ ++ ++ + ++ + + + + +++ +++ + ++ + + +++++ +++ + + ++ ++ + ++ + + + ++ + + + + + + ++ + + + +++ ++ + + + +++++ + + + + ++ + +++ CnH(2n-3)CO2H : polyunsaturated fatty acid + ++ ++ + + ++ + + ++ + + +++ + + +++ +ω−9 + +++ ++ ω−3 : omega fatty acid + + + + + + ++ + ++ + ++ + + + + + + + + + ω−6 : omega fatty acid + ++++ + ++ ++ + + + ++++ + + + + ω−9 : omega fatty acid ++ +++ ++ + + + + + + + + + + + + +++ ω−3++ + + + ω−3 + + + + + + 6 ω−3 + ++ ω− + + ++ + + + + ω−6 +++ + ++ + + ++ + + _CnH(2n-3)CO2H + ++6+++ ω−3 + ω− ++++ + + + ω−3 ++ +ω−9++++ω−3 + ++++ + + + ω−9 + +++ + + ++ ++ + +++ + + + +++++++ ++ ++ + + + + + ++ + + + + + + ++ + ++ + + + + + + + +

+ +

Helen Levin & Jen Wood /Columbia GSAPP /Fall 2011 /(n)certainties studio / Francois Roche R&Sie / w Ezio Blasetti and Miranda Romer

[ 14 ]

[ 15 ]

time ++

scenario limit

setF: 0.021 setK: 0.077 setDiffuseU: 0.100 setDiffuseV: 0.060 setF: 0.021 setK: 0.077 setDiffuseU: 0.100 setDiffuseV: 0.060 setF: 0.021 setK: 0.074 setDiffuseU: 0.240 setDiffuseV: 0.100

time --

setF: 0.021 setK: 0.074 setDiffuseU: 0.240 setDiffuseV: 0.125

Geometry Horizontal Growth:

setF: 0.021 setK: 0.074 setDiffuseU: 0.240 setDiffuseV: 0.150

fig. [004] (this page) Geometry field simulation. fig. [005] (opposite) Gelatin model photographs.

1.1:

new radial growth soft gelatin plastic 3D printed form

1.2:

original growth hardens new soft plastic at edges takes golden color

1.3:

original growth molds middle growth hardens new growth at edges

Geometry Horizontal Growth: Stage 1.1: Growth of geometry is prototyped beginning a Stage 1.2: Addition gelatin plastic prototyped in a radial Stage 1.3: The original growth begins to mold and take o Stage 1.4: Bubbles form and pop creating layers of striat scenario limit

cor

time

time --

core

time --

setF: 0.021 setK: 0.074 setDiffuseU 0.240 setDiffuseV: 0.200

setF: 0.021 setK: 0.074 setDiffuseU: 0.120 setDiffuseV: 0.100

time ++

: Logic of geometrical morphing, begin from wide openings at the core of the vertical system to accomodate the initial curious and desiring crowd to smaller branched corridors as selection narrows, to enclosed longer channels for binomes moving towards the love room bubble at the edge.

Helen Levin & Jen Wood /Columbia GSAPP /Fall 2011 /(n)certainties studio / Francois Roche R&Sie / w Ezio Blasetti and

[ 16 ]

~Experimentation~ Gelatine

A. Multi-cellular study: undulating, dirty, delicate, brittle

B. Membrane study: malleable, wet, glossy, floppy

C: Egg study: delicate, soft, membranous

D: Solid with crust study

[ 17 ]

time ++ Stage 1.3 - Pre - Bubble: Stage 1.3: As the loversâ&#x20AC;&#x2122; trajectories reach close to the bubble, the gelatine is more fragile, new, glistening and soft.

ouple Addiction - Colon - Anticipation group population size: pop/256 distance from core: d+5 time to love room: t-1

time ++

Stage 1.2 - Middle Ground: Stage 1.2: As the meeting begins, the material also starts to change, from the older harder fat to halfway hardened to the fresher printed gelatine that while glistening allows the potential lovers to glimpse distorted

scenario limit

time ++ Stage 1.3 - Pre - Bubble: Stage 1.3: As the loversâ&#x20AC;&#x2122; trajectories reach close to the bubble, the gelatine is more fragile, new, glistening and soft.

it lim ++ io e ar im en t

fig. [006] Geometry growth diagram, stage 1. Stage 1.1 - Post Core: Stage 1.1: At the core the Bachelor is eagerly entering the love meeting system and the Lonely timidly steps inside; the material is sturdy fat that has hardened like soap, milky and structurally reliable.

fig. [007] Geometry growth diagram, stage 2. Stage 1.2 - Middle Ground: Stage 1.2: As the meeting begins, the material also starts to change, from the older harder fat to halfway hardened to the fresher printed gelatine that while glistening allows the potential lovers to glimpse distorted [ 18 ]

Stage 1.3 -Geometry Pre - Bubble: fig. [007] growth diagram, stage 3. Stage 1.3: As the loversâ&#x20AC;&#x2122; trajectories reach close to the bubble, the gelatine is more fragile, new, glistening and soft.

: begin from vertical system and desiring ors as selection

time --

time ++

scenario limit

time ++

fig. [008] Geometry growth diagram, stage 4.

Geometry Horizontal Growth: 1.1:

new radial growth soft gelatin plastic 3D printed form

1.2:

original growth hardens new soft plastic at edges takes golden color

1.3:

original growth molds middle growth hardens new growth at edges

Geometry Horizontal Growth: Stage 1.1: Growth of geometry is prototyped beginning at the points of fat collection in the vertical system. Stage 1.2: Addition gelatin plastic prototyped in a radial outward trajectory as original gelatin hardens over time. Stage 1.3: The original growth begins to mold and take on new characteristics as the system expands even more. Stage 1.4: Bubbles form and pop creating layers of striated material along the periphery promoting slower growth. scenario limit

core time --

time --

core

time --

time ++

[ 19 ]

scenario limit time ++

Stage 01: Little tips of antennae protrude from veins.

Stage 02: Working together, groups of machines form several small bubbles around the same hole.

Stage 03: The small bubbles touch each other and merge into one bigger, inhabitable bubble.

Stage 04: Post-use the bubble pops.

Stage 05: Bubble residue builds up and perpetuates geometric growth.

ExteriorVeins Interior Striation

fig. [009] (this page) Growth Stage diagram. fig. [010] (opposite) Circulation logic diagram. fig. [011-12] (next spread) Renderings. [ 20 ]

time ++

scenario limit sc it lim ++ io e ar im en t

Stage 1.3 - Pre - Bub Stage 1.3: As reach close to the bu more fragile, new, gl

~Terminus- Bubble - Love Room group population size: 2 distance from core: d+4 time to love room: t-0

~Couple Addiction - Colon - Anticipation group population size: pop/256 distance from core: d+5 time to love room: t-1

Stage 1.2 - Middle G Stage 1.2: As material also starts t harder fat to halfwa printed gelatine that the potential lovers

~Last Drink - Binome Paths - Growing Desire group population size: pop/16 distance from core: d+5 time to love room: t-2

~First Caress - Binome Paths - Focused Desire group population size: pop/4 distance from core: d+4 time to love room: t-3

Stage 1.1 - Post Core Stage 1.1: At eagerly entering the the Lonely timidly s is sturdy fat that ha milky and structura

~First Glance - Paths - Attraction Selection group population size: pop/2 distance from core: d+3 time to love room: t-4

Material Transforma The softness and fra hardness and perma plastic corresponds t and exclusion in the Core to Post Core to Pre-Bubble to Bubb sensory and spatial t the meeting, the con coming together of l hasard in the materi its transitions in a g scenario limit.

~Forking - Many Paths - First Desire group population size: population distance from core: d+2 time to love room: t-5

[ 21 ]

time --

~Distribution - Density - First Curiosity group population size: 1 distance from core: d+1 time to love room: t-6

core

c timore e-

T-0

[ 22 ]

[ 23 ]

fig. [013] Photo. [ 24 ]

CHANDELIER BOOK APPARATUS with Damira Asfina 2008

[FABRICATION] To suspend an object off of the ground, one must deal with gravity and structural support.

hanging, it is far from obvious. Is the regularity of the design important only for the efficency of the design or for the designers necessity for order while planning the fabrication through its documentation phase?

The book, a lamp catalogue, is to be supported off the ground 9” or less. Drawing inspiration from the subject matter of the book, the structural system mimics the characteristics of a chandelier: symmetrical, circular, transparent and hanging. The book fans 360 degrees to form the base cylinder. PVC tubes piped with aluminum wire for structure connect to the book with nuts and bolts. In order to form the branching geometry, the tubes split with plastic Y-connectors. The resulting geometry’s formal purity adjusts because of the material flexibilty of the paper, PVC and wire combination with gravity’s forces. maintaining its structural integrity. The elegance of geometrical symmetry is apparent in the flattened drawings, but when

[ 25 ]

fig. [014] Unfolded Structure Plan.

fig. [015] Unfolded Structure Elevation. [ 26 ]

fig. [016] Detail.

fig. [017] Structural Angle Radii.

fig. [018] Connection Detail.

fig. [019] Plan.

[ 27 ]

fig. [020-5] Photos. [ 28 ]

[ 29 ]

fig. [026] Rendering.

[ 30 ]

URBAN GREENHOUSE BROOKLYN with Leeser Architecture 2012

[INVENTION] Project Stages: Conceptual Design Project Responsibilities: Concept, Design, 3D Modeling. 25,000 SF (competition) For a bid attempt to keep an empty lot next to a new hotel designed by Leeser Architecture open and public space, we proposed a spiking, pitched roof greenhouse. The form is reminiscent of geodesic shaped glass terrariums. Instead of housing a desk-sized cactus, this greenhouse attempts to create a mini paradise at the edge of downtown Brooklyn.

[ 31 ]

[ 32 ]

60 WATER STREET DUMBO, BROOKLYN with Leeser Architecture 2012

[INVENTION] floor is an extrusion of the site area. The fins on the second floor taper in a horizontal wrapping pattern that ping-pongs around the four facades. There is a layer of mirror dot-frit on the glass, followed by stainless steel, separating the clarity of the open retail glass. The stainless protrudes into canopies for the residential and school entrances.

Project Stages: Schematic Design, Design Development, Construction Administration Project Responsibilities: 3DModeling, Drafting, Renderings, Presentation Layout, Consultant Coordination, Material Specifications + Selection, Shop Drawing Review. 423,305 SF (under construction) This mixed-use tower under the Brooklyn Bridge is comprised of Ground Floor Retail, a 2nd Floor Middle School and a Residential tower above. THE TOWER The facade is a hybrid curtain wall system of 1-1/6â&#x20AC;? IGU glass with spandrel at heat pump locations. The water shimmer effect is the result of 12â&#x20AC;? glass fins with solid white ceramic applied in chevron patterns. THE BASE The massing on the ground floor and second [ 33 ]

THE LOBBY The residential lobby is a mixture of materials, blending the sturdy solidity of the exterior with the softer needs of the interior of a residence. The stainless steel wraps in from the canopy and tapers to meet gradient frit mirrors and terrazzo floor. The materials are separated by a continuous LED line of light, taking cues from the ping-pong fin and stainless steel patterns outside.

✖DOCK STREET BROOKLYN, NY ✖ 423,305 SF (under construction) Mixed-use tower under the Brooklyn Bridge, comprised of Retail, Middle School and Residential.

[Fig.01-03] Daytime Facade Renderings

fig. [027-9] Rendering.

[ 34 ]

[Fig.04] 6th Floor Plan (typ.)

fig. [030] Typical Tower Plan.

[ 35 ]

fig. [031-4] Elevations.

[ 36 ]

[ 37 ]

THE TOWER The facade is a hybrid curtain wall system of 1-1/6â&#x20AC;? IGU glass with spandral at heatpump locations. The water shimmer effect is the result of 12â&#x20AC;? glass fins with white ceramic painted in chevron patterns.

[Fig.01] Glass Fin Frit Pattern Rendering

[Fig.03] Glass Fin On-Site Mock-Up

fig. [035-6] (top) Fin Renderings. fig. [037-8] (bottom) On-site Mock-up photos.

[Fig.02] Glass Fin Frit Detail Rendering

[Fig.04] Glass Fin On-Site Mock-Up

[ 38 ]

fig. [039] (top) Partial Elevation, typical. fig. [040] (middle) Partial Plan, typical. fig. [041] (bottom) Partial Axo, typical. [ 39 ]

THE BASE fig. (top left) Hybrid wallfloor details. The[042] massing on the ground and second floor is fig. [043] (top right) Perfomance tests. an extrusion of the site area. The fins on the second fig. [044] (bottom right) Building Base conceptual section. floor taper in a horizontal wrapping pattern that pingfig. [045] (bottom left) Building Base Partial Plans and Elevations. pongs around the four facades. There is a layer of mirror dot-frit on the glass, followed by stainless steel, separating the clarity of the open retail glass. The stainless protrudes into canopies for the residential and school entrances.

[ 40 ]

[Fig.01-02] Performance test mock-up

[Fig.03] Base Materials Perspective Section on South Facade

[ 41 ]

fig. [046] Rendering. [ 42 ]

[ 43 ]

PERFORATED STAINLESS STEEL

EXPOSED CONCRETE COLUMN

STAINLESS STEEL

MIRROR WITH OPAQUE WHITE GRADIENT FRIT

CONTINUOUS LED LINE OF LIGHT

fig. [047] Lobby and Residential Entry Canopy

fig. [050] Residential Lobby Canopy Drawings.

[ 44 ]

fig. [048] Residential Lobby Rendering.

fig. [049] Residential Lobby Section.

[ 45 ]

fig. [051-2] Residential Lobby Plan and Reflected Ceiling Plan. [ 46 ]

[ 47 ]

fig. [053] Exterior Stair Details

EXTERIOR STAIR

[ 48 ]

fig. [054] Exterior Stair Renderings.

[ 49 ]

fig. [055] Plastic Printed Model Photo. [ 50 ]

VIS-KIOSK VEIN with Jen Wood 2011

[INVENTION] An exploration of scripting, meshing, rendering and animation in order to create a pavilion.

in 3Dmax and perforated in the Grasshopper plugin WeaverBird. Pass through this forest of colons, stand under the shadow of a canopy of seaweed. These columns seem to ripple towards the ground as if they were dropped from a Nickelodeon slime bucket. Each piece is just a tiny part of this porous geometric field. Now stop and reevaluate seemingly static aesthetics of the built world. This pavilion is the result of many small steps: a workflow milking various specific possibilities of a multitude of softwares and algorithms in pursuit of a particular aesthetic aspiration.

The geometry was initialized in Processing using the CustomGreyScott example from Toxiclibs, a script that visualizes what happens when two chemicals constantly reevaluate what is happening next to each other. Saveframe captured each frame while ControlP5 sliders changed the constitution of the values in the reaction diffusion. The 2D images became the bones of the mesh created in Amira by isosurfing. Desiring a veiny texture, a Python script in Rhino 5 was initialized; calculating the adjacency of mesh vertices to a chosen attractor and creating a stepped path along these vertices, changing their color to map out a series of stepped paths to become the location of the new veins.

In 2012, the project was developed as the animated background environment for a music video, the sculpted tendrils bobbing up and down with ripples of movement shooting through them to the beat.

A second Python script, Bump The Mesh, found those colored mesh vertices and raised them by a given dimension while remaining attached to a new instance of the mesh, resulting in a new veiny geometric identity. The mesh was refined [ 51 ]

fig. [056-7] Form Renderings. fig. [058] (Opposite) Animation Stills.

[ 52 ]

[ 53 ]

the F†RE F†GHT ATHENS, GREECE - 12 FEBRUARY 2012 =======================

d = 0.2 km

d = 0.8 km

d = 1.3 km

ΑΘΗΝΑ, ΕΛΛ`ΑΔΑ - 12 Φεβ 2012

fig. [059] Fire Damage in Athens Diagram. [ 54 ]

the FIRE FIGHT 2012

[INVENTION] Architecture is afraid of fireâ&#x20AC;&#x2122;s power to unapologetically destroy. Yet fire is fascinating, its continuous motion contradicts the static built world. On 12 February 2012 in Athens, antiausterity demonstrators burnt 45 businesses via Molotov Cocktails including the Attikon Cinema. The fiery demonstrations interrupt the ritualistic legacy of Fire as a method of communicating with the ancient Greek gods. The general protocol of sacrificing an animal on an altar: kill and burn it and the smoke will transfer the message to the Olympian gods, or burn the offering to ashes to reach the underworld. Here, the ancient sacrificial grill at Elefsina, for the underworld, next to the burning interior of the Attikon. Is the same message now transferred through the burning and to whom? The morning after the fire the Attikon sat gutted and marked with soot, dismaying Greeks and disrupting normal urban life. The Attikon Cinema will now commemorate its own burning by burning continuously. Raising the question, if a memorial preserves a memory [ 55 ]

in a stasis of that event, what does it mean to memorialize a traumatic event by creating an infinite occurrence of that moment, a continuous reanimation of that memory induced stasis? This architecture is a memory collector of a shared traumatic experience continuously reanimated by an unceasing fire, but the reinforced building withstands the burn in a resilient rather than destructive manner. Suspended between threat and tribute, Fire Fight scorches the cinema with a perpetual flame and leaves residue of soot after the fire, fireâ&#x20AC;&#x2122;s mark of itself on its container. It sparks the city again with the danger of immolation, while simultaneously relying on fire as a sign of commemoration. The Fire Fight is included in Collecting Architecture Territories, a collaborative publication, exhibition, conference and ongoing research project between The Deste Foundation in Athens, Greece and The Columbia Universityâ&#x20AC;&#x2122;s Graduate School of Architecture, Planning and Preservation.

ORIGINAL RENOVATION

CINEMA ENTRANCE RETAIL

GROUND FLOOR

EDOUARDO LO

WEST NEIGHBOR

RETAIL

STADIOU

1870 Building designed.

GROUND FLOOR

SECOND FLOOR

NORTH NEIGHBOR

CINEMA INTERIOR “Lushest old movie palaceds in Europe”

1912 Building begins operation as a cinema.

fig. [061] Attikon Theater Research. [ 56 ]

2012 Demonstrators protesting austerity legislation burn building via molotov cocktails.

fig. [062] Greek Fire History [ 57 ]

fig. [063] Air Intake and Exhaust for enclosed Fire Study [ 58 ]

fig. [064] Flue Research [ 59 ]

WALL SECTION Materials are called combustable or noncombustable. Hour ratings based on materials and thicknesses determine what is called a “Fire Resistance Rating” or the amount of hours a Buildings require different ratings based on use. 1HOUR:

EGRESS There must be protected forms of egress every X amount of distance depending of a building, the occupancy and the combustability of the building material.

SPRINKLER SYSTEM STRUCTURAL COLUMN

A system of sprinkler heads along water pipes in the ceiling at the distance X spaced from each other, linked to a heat and smoke detection system that will trigger the dispersed spray of water when the building is in danger.

Structural steel or example, must be completely protected. It is a noncombustable material but it will melt in not very much time and fail structurally. Encase columns in concrete followed by gypsum board for a 4hour rating. Spray on coating, a mix another trustworthy option.

2HOUR:

SPRINKLER HEAD A nozzle to disperse a spray or stream of water.

3HOUR:

4HOUR:

FLOOR SLAB This concrete slab is rated 4hrs and is 6.5” of reg. concrete with 1” of expanded shale concrete.

Great Fire of London [1666]: 430 acres, 13,000 houses, 89 churches, 52 Guild Halls.

Fire of London [1676]: 600 houses. Result: Christopher Wren design of 50 churches and monument to the Great Fire.

First Tenement House Act New York City [1867]: Great Fire of New York [1776]: during military occupation by the British. Result: eventual British withdrawal.

Great Fire of New York [1835]: 50 acres (200,000m²), 17 blocks, 530 700 buildings.

walls with 3’ parapets to prevent buildings.

Great Chicago Fire [1871]: 300 dead, 100,000 homeless, $200million in property destroyed.

Triangle Waist Company [1911]: 146 dead. Result: stricter regulation of occupational safety and health conditions, 1919.

Urban Fires - time +

[0-1HOUR:] (Type I-V interior bearing walls)

[1-2HOUR:] F-2, S-2, R-3,4 (factory, storage, residential)

[2-3HOUR:] B, H-3,4, R-1,2 (business, hazardous uses, residential)

Fire Resistance Rating by Hour - time +

fig. [065] Fire Rated Construction Diagram [ 60 ]

[3-4HOUR:] A, E, F, H-1,2, I (assembly, education, factory, hazardous uses, institutional)

the DETA†L

[B1]

ATTIKON CINEMA FIRE =======================

[B1]

[E2]

[C3]

[B1]

Αττικον κινηματογραφο φωτια

[B1]

[E2]

[C1]

[F1]

[B1] [B1]

[F1] [E1] [G1]

[A1]

[C2] [B1]

[F1] [E2]

[F1]

[C1]

[C2]

[E2]

[G1]

[C1] [A1] [H1] [C1]

[C2]

[A1] [A1]

[B1]

[E1]

[A1]

[B1]

[X4] [A1]

[A1]

[C1]

[C2]

[A1]

[C2] [C2] [D1]

[D1]

[C3]

[A1] [A1]

[B1] [E2]

[H1]

[C3]

[X5]

[C2]

[X4]

[B1]

[C1]

[X5]

[C3]

[C2]

[C3]

[C3] [C3]

[C2]

[C4] [C1]

[X4] [C2] [H2]

BEARING WALL [H2]

[C2]

[H2] [C3]

[A1] Brick [B1] Plaster [C1] Flyash Concrete 1” [C2] Flyash Concrete 2”

[C2]

[C3] Flyash Concrete 3” [C1]

[C3] [C3]

[C4] Flyash Concrete 4” UNINHABITABLE FIRE WALL

[D1] 4-Hr 9” Slab [E1] Plaster/Gypsum [E2] Gypsum [F1] Steel Joist [G1] [H1] Roof Flashing

EXTERIOR EXISTING CINEMA WALL

INHABITABLE FIRE WALL

[X1] Chimney [X2] Window [X3] Circulation [X4] Fire [X5] Ground Line

fig. [066] Fire Rated Section. [ 61 ]

STREET FACADE

EXISTING CINEMA HOUSE

EXISTING NEOCLASSICAL STREET FACADE

CHIMNEYS: -INTAKE -COMBINED -EXHAUST

FIRE CHAMBER SHELL

CIRCULATION: -MAIN STAIR -COMBINATION -ENTRY STADIUM STEPS

COMPOSITION

fig. [067] Exploded Axonometric of Chamber [ 62 ]

fig. [068] Smoking Elevation

fig. [069] Chamber and FlueSection [ 63 ]

[ 64 ]

fig. [070] Eternal Flame.

[ 65 ]

fig. [071] The Mechanism for display at the Dest Foundation, June 2012 [ 66 ]

fig. [072] (top) The Display at Deste. fig. [073] (bottom) Exhibition Newspaper diagramming the work. [ 67 ]

fig. [074] Rendering of the USS ontop of a building.

[ 68 ]

URBAN SPACE STATION at SYSTEMarchitects 2010

Project Responsibilities: 3DModeling, Laser Cutting, Model Building.

The roof pod is clad with ETFE panels, optimum for the greenhouse program on the interior. The structure is rib pattern in two directions, intersecting at 90 degrees. There are garden beds inside, as well as a long bench along the belly of the interior skin for a user to sit and escape the city.

Created acrylic and styrene physical models and presentation drawings for a zero energy rooftop pod, called The Urban Space Station, using Rhino and laser cutting for an exhibition on new urban technology curated by Natalie Jeremijenko.

The two physical models stand on laser cut, painted basswood scale buildings. One model is CNC milled composite board to show the USSâ&#x20AC;&#x2122;s form. The other model is laser cut acrylic to explain the rib structure. Both models have hand built acrylic legs.

The USS is the ideal urban roof pod not only for its food production capabilities but how it parasitically connects into the building it appears to have alighted upon and purifies the air and water. In polluted cities, having an air and water purifier on the roof of every building would improve the standard of living for all citizens.

The models were initially built for the BiodiverCITY Exhibition, Washington, DC, 2010 and have since been exhibited in a variety of international galleries.

[FABRICATION] Project Stages: Concept Development

[ 69 ]

fig. [075-7] Rendering.

[ 70 ]

fig. [078-80] Model Photos.

[ 71 ]

fig. [081] Model Photo.

[ 72 ]

APOLLO ANNEX 2009

[INVENTION] The Apollo Annex is a supporting building for the Apollo Theater, acting formally as a response to the site. The Apollo Theater is a community arts center, it has deep historical roots in the arts of Harlem and continued success today fostering amateur performers and bringing in national and international acts.

To balance the initial site division, I cut longitudinally through the site to create the main circulation core, arriving at four site areas dedicated to the four programs: -Sculpture garden -Restaurant -Raked Theater -Black box. My program list enhances the limited program of the Apollo, by proposing additional, smaller scale theaters, administrative space, rehearsal space, scene and costume shops, a revenue-generating restaurant, and two commercial spaces along 125th Street.

I divided the site in half, transversely, due to the differences between 125th Street and 126th Street: 125th Street is commercial, flashy, superficial and glamorous. All types of shopping are available along this commercial corridor, from the everyday, like banks and supermarkets, to high-end clothing stores. There are also many empty theaters that now work as commercial spaces, making the appropriate response to a site along this street reminiscent of the Times Square area, where theaters and commercial spaces coexist. 126th street is desolate, semi-abandoned, empty yet intimate. This type of environment is perfect for restaurants or galleries and sculpture gardens, like Public Restaurant in NoLIta, or The Sculpture Center in Long Island City: informal intimacy is created among otherwise quiet atmospheres.

At street level on 125th Street, one enters the building using the Apollo lobby, where a cutthrough of the Apollo party wall reveals an expanded lobby that acts as both a path to the sculpture garden and to the main stair. Using this stair to arrive on the second level, there is a secondary lobby for the black box and raked performance hall. Follow the stair up two more levels, and one arrives at the roof garden on top of the raked theater, a sloping, planted area that connects back to the sculpture garden at the end of its descent.

[ 73 ]

fig. [082-84] Site Sketches.

fig. [085] Second Floor Plan.

fig. [086] Third Floor Plan.

fig. [087] Longitudinal Section.

[ 74 ]

fig. [086] Fourth Floor Plan.

fig. [088] 126th Street Facade Elevation.

fig. [089] (above) Ground Floor plan showing Apollo. fig. [090] (below) 125th Street Facade Elevation.

[ 75 ]

fig. [091-6] Model Photos: (clockwise from top left) Plan view, 125th Street Facade, 126th Street Facade and Courtyard, View of Courtyard Looking West, View of Courtyeard looking South. [ 76 ]

fig. [097] Unfolded model showing central circulation.

[ 77 ]

fig. [098] Robot Rendering. fig. [099-106] Presentation Boards.

[ 78 ]

MOSCOW POLYTECHNIC MUSEUM with Leeser Architecture 2012

[INVENTION] users and visitors, while allowing an almost infinite flexible relationship between the two. At any given point the possibility exists to not only see into the opposing program spaces (e.g. from visitor space to user space and vice versa), but to allow controlled shortcuts and access between them.

Project Stages: Conceptual Design Project Responsibilities: 3DModeling, Drafting, Renderings, Presentation Layout. (Competition) From Archdaily.com: “The sharp triangulated geometry of the new institute originates from the iconic shape of typical lecture halls and auditoriums, signifying a place of learning and education. Seemingly projecting far into Lomonosov Street, these sharp projections are unmistakable signifiers creating a unique image with the power of global instant recognition for this new institution. The center is built around the programmatic duality and relationship of user and visitor. A helical relationship of the two program sequences not only creates the fundamental DNA of the building, but is literally organized like the double helix of a biological DNA strand. This organization creates the most intense, most functional and most enriching experiences for [ 79 ]

Approaching the building is an ever changing experience as the building is lifted off the ground to allow maximum versatility for any and all kind of events. The plaza lobby has summer and winter configurations with moving robotic glass curtains that completely retract and literally deconstruct the lobby. The convertible hydraulic stage projects out of the ground in endless configurations. Visitors can connect to the User lobby when the hydraulic stage is in a particular configuration attaching to the underside of the building. Interactive lighting, activated by people’s presence and color changing depending on the intensity of activities, is embedded into the landscape and allows for a stimulating experience at night, encouraging pedestrians to interact with the building in an unexpected and fun way.”

MEC MUS EUM AN D EDUCATIONAL CENTRE OF THE POLYTECHNIC MUS EUM AN D MOSCOW STATE UNIVERSITY

MEC

АЭРОСНИМОК - ЛОМОНОСОВСКОГО ПРОСПЕКТА AERIAL VIEW - NORTH

ВЫСОТА - ЛОМОНОСОВСКОГО ПРОСПЕКТА ELEVATION LOMONOVSKY AVE - NORTH EAST

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

COLLECTION STORE: DOCUMENTATION STORE: TEMPORARY EXHIBITION STORE: CONSERVATION/RESTORATION: STORES CURCULATION AREA HANDLING EQUIPMENT BAY: INSPECTION ISOLATION AREA: PACKING/DE-CREATING ROOM: HOLDING AREA STAFF ENTRANCE UNLOADING KITCHEN: KITCHEN STORE: STAFF AREA: LOADING DOCK FOR TRUCKS POSITION FOR CRANE HYDRAULIC PLATTFORM

ACCESS TO NEW UNDERGROUND PARKING LEVEL

1560 M2 250 M2 250 M2 870 M2 100 100 220 170 190 60 190 800

M2 M2 M2 M2 M2 M2 M2 M2

O M

LO N

Y SK

5 8

E U

6 16

SCIENCE CAFE ENTRANCE

15 10 14 11

УРОВЕНЬ ЗЕМЛИ [-5M] BASEMENT LEVEL [-5M]

DELIVERY

PUBLIC PLAZA

UNDERGROUND PARKING 8200 M2 / 300 PARKING SLOTS

NEW PROMENADE

УРОВЕНЬ ПАРКОВКИ [-8M] PARKING LEVEL [-8M]

ПЕРВЫЙ ЭТАЖ SITE PLAN

СЕВЕР NORTH

МАСШТАБ 1:1000 ll SCALE 1:1000 M

СЕВЕР NORTH

МАСШТАБ 1:500 ll SCALE 1:500

100

[ 80 ] 556787

ПЛАН УЧАСТКА | SITE PLAN

ВИД СО СТОРОНЫ ЛОМОНОСОВСКОГО ПРОСП. VIEW FROM LOMONOSOVSKY AVENUE

VISION Архитектурное решение здания основывается на богатой истории архитектуры авангарда в России начала 20-го века, в частности конструктивизма, имеющего значительное влияние и признанного во всем мире. Выбирая этот стиль, который отражал наступление новой технологической эры, мы предлагаем сделать следующий шаг для развития будущего Политехнического музея и Московского Государственного университета им. М. В. Ломоносова, основываясь на новейших технологиях настоящего. Расположенный в Москве на участке Воробьевых гор новый комплекс символизирует невероятную энергию и слияние будущих открытий с прошлыми достижениями, становясь новым глобальным

символом, поскольку исторически эта часть города фактически является академ-городком с огромным количеством научно-исследовательских институтов. Четкая треугольная геометрия нового комплекса основывается на канонических формах типичных лекционных залов и аудиторий, создавая неповторимый образ глобального значения для этого нового учреждения. Подход к зданию – это целая серия изменяющихся впечатлений: так как здание поднято над землей, создается пространство, открытое для проведения различных мероприятий. Рельеф местности плавно меняется таким образом, чтобы оставалась возможность взаимодействий между разными зонами

участка. Перепад рельефа позволяет служебному и частному транспорту беспрепятственно исчезать в подземной части здания, а также предоставляет ряд вариантов устройства входных групп для различных целей. Летняя и зимняя конфигурации входной зоны - «Плазы» - образовывается передвижными стеклянными завесами с автоматическим управлением, которые, трансформируясь, могут образовывать различного рода пространства, и буквально дематериализовать вестибюль в три отдельно стоящие стеклянные стены. На них может быть либо размещен логотип здания, либо они могут быть использованы в качестве проекционных экранов для трансформируемой

платформы, используемой как зрительный зал практически любой конфигурации. Таким образом, с помощью передвижных автоматизированных перегородок итрансформируемой платформы на территории комплекса может проводиться большое число различного рода мероприятий. Прямой доступ в здание возможен через кафе, которое планируется разместить в зоне лобби для посетителей Интерактивное освещение, активирующееся при появлении людей, а также оснащенное функцией изменения цвета, располагается вдоль ландшафта здания и позволяет создавать ночное освещение, побуждая пешеходов к взаимодействию со зданием в неожиданном и интересном ключе.

The design concept takes its cues from the rich history of modern Russian architecture of the early part of the twentieth century. Powerful, globally influential unlike any other architectural movement in recent history, the architecture of constructivism, was born out of a new technological era of its time. With the premise of new technologies of today, this project is a step toward the future development of the Polytechnic Museum and the Moscow Lomonosov University. Located in the Lenin Hills section of Moscow, which play an important role in the history of Moscow as a place of radical experimentation, the new institute symbolizes this incredible energy and conflation of future inventions with past achievement as a

new symbol of global importance. The sharp triangulated geometry of the new institute originate from the iconic shape of typical lecture halls and auditoriums, signifying a place of learning and education, additionally containing appropriate program areas suitable for this powerful architectural language. Seemingly projecting far into Lomonosov Street, these sharp projections are unmistakable signifiers creating a unique image with the power of global instant recognition for this new institution.

scape is softly molded to negotiate between the different elevations of the site, raising up to allow service and car entrances to disappear underneath without disruption to the uses of the very public landscape underneath the building, as well as to accommodate access to the building from the various directions one may approach. The plaza lobby has summer and winter configurations with moving robotic glass curtains that completely retract and literally deconstruct the lobby into three free standing glass walls, only carrying the buildings logo or acting as a projection screen for the convertible hydraulic stage that projects out of the ground in endless configurations. Visitors can connect to the User lobby when the hydraulic stage is in

a particular configuration attaching to the underside of the building.Interactive lighting, activated by people’s presence and color changing depending on the intensity of activities, is embedded into the landscape and allows for a stimulating experience at night, encouraging pedestrians to interact with the building in an unexpected and fun way. Multiple events can be held due to the possibility to separate various function with the moving robotic glass walls and the hydraulic stage. Direct access is possible through the cafe which reaches down from the Visitor lobby to the public entrance plaza.

Approaching the building is an ever changing experience as the building is lifted off the ground to allow maximum versatility for any and all kind of events. The land-

MOVING GLASS CURTAINS

ROBOTIC LANDSCAPE I

MOVING GLASS WALLS

ENCLOSED LOBBY (WINTER LANDSCAPE) PLAY (VARIABLKE LANDSCAPES)

ROBOTIC LANDSCAPE II

MOVING GLASS CURTAINS (OPEN FOR EVENTS)

MUSEUM REV I U POLY

TALK (STAGE W/ BLEACHER SEATING)

OPEN LOBBY (SUMMER LANDSCAPE, PROJECTION SCREENS)

ROBOTIC LANDSCAPE III

LANDSCAPE & LIGHTING

SHOW (W/ SCREEN FACING COMMUNITY)

LANDSCAPE MANIPULATION

ROBOTIC LANDSCAPE IV

USER LOBBY

PROXIMITY ACTIVATED LIGHTING SYSTEM

ОБЩЕСТВЕННАЯ ПЛОЩАДЬ PUBLIC PLAZA

PLAZA

OPEN HOUSE (CONNECTING W/ BUILDING)

СЕВЕР NORTH

МАСШТАБ 1:200 ll SCALE 1:200 M

[ 81 ] 556787

ПЛОЩАДИ ll PUBLIC PLAZA

ROOF COURTYARD ADMINISTRATION

COLLECTIONS EDUCATION CENTER

COLLECTION CENTER

TRANSITION ZONE LABORATORIES

SCIENCE GALLERY & TEMPORARY EXHIBIT

TRANSITION ZONE LAB ARRIVAL / CAFE

MATH GALLERY LARGE AUDITORIUM

MEDIUM AUDITORIUM

PUBLIC ARRIVAL

ARRIVAL / SCIENCE LOUNGE

USER

VISITOR

��Е��ВАТЕ�� II �S�RS

П��ЕТ�ТЕ�� II ��S�TORS

Loop

Collection

C. Education

Temp. Exhibit

Laboratories

Science Gallery

Lab Arrival

Math Zone

Com. Zone

Arrival

Visitors vs. Users Two different audiences with seemingly separate programs have been identified.

Double-Helix Concept A double helix serves as organizational paradigm for the building. Separate entrances culminate in two spiral circulation that intertwine and connect visually and functionally until they merge ontop in a shared public space. Both program strings feature a distinct design language, which not only emphasizes the embedded continous movement but also creates exciting contrast between adjacent areas.

BACK OF HOUSE

ОРТОГОНАЛЬНЫЙ ВИД ORGANIZATIONAL CONCEPT

The loop Both programs are combined in a functional loop. “Users are becoming visitors, visitors are becoming users”

AUDITORIUM

SCIENCE LOUNGE

MENS TOLETTES 85 M2

STORAGE 10 M2 WOMENS TOLETTES 90 M2

KITCHEN 100 M2

SCIENCE LOUNGE 460 M2

WARDROBE 85 M2

RETRACTABEL RETRACTABLE STAGE STAGE

SMALL AUDITORIUM 800 M2

USER ARRIVAL 650 M2

TO NEXT USER LEVEL

+6.5

PUBLIC ARRIVAL

ЛИФТЫ II ELEVATORS Крупногабаритные лифты позволяют большим группам, как посетителей, так и пользователей быстро подняться на необходимый уровень выставочного или рабочего пространства. В то же время по всему объему здания проходит спиралевидная рампа, котораяе обеспечивает коммуникацию между любыми из смежных помещений.

VOID VOID VOID

TO NEXT PUBLIC LEVEL

PUBLIC ARRIVAL 770 M2

+6.5

LARGE AUDITORIUM 1200 M2

RETRACTABEL RETRACTABLE STAGE STAGE

CAFE SEATING 230 M2

WARDROBE 80 M2

WOMENS TOLETTES 80 M2

KITCHEN 150 M2

MENS TOLETTES 80 M2

STORGAGE 20 M2

ПЕРВЫЙ ЭТАЖ 1ST FLOOR ОРТОГОНАЛЬНЫЙ ВИД AXОNOMETRIC VIEW

SEPARATE CAFE ENTRY

556787

[ 82 ]

СЕВЕР NORTH

МАСШТАБ 1:200 ll SCALE 1:200 M

ПЕРВЫЙ ЭТАЖ ll 1ST FLOOR

ER/ ER/ CENTCENT ATION ATION EDUCEDUC CTION CTION COLLELABSLABS COLLE ED ED CLOSCLOS

ER ER CENTCENT CTION CTION COLLE COLLE ZONEZONE SITION SITION TRANTRAN

2 B2 LAB LA AL AL ARRIV ARBRIV LAB LA ZONEZONE TIONTION UNICA UNICA COMM COMM AL AL RIV ARRIV AR ER ER US US A A PLAZPLAZ

AL AL ARRIV ARICRIV PUBLPUICBL

ER/ ER/ CENTCENT ATION ATION EDUCEDUC CTION CTION COLLELABSLABS COLLE ED ED CLOSCLOS 2 B2 LAB LA AL AL ARRIV ARBRIV LAB LA ZONEZONE TIONTION UNICA UNICA COMM COMM AL AL RIV ARRIV AR ER ER US US A A PLAZPLAZ

ВНЕШНИЙ ВИД ЗДАНИЯ EXTERIOR VIEW OF BUILDING &PLAZA

МАСШТАБ 1:200 ll SCALE 1:200 M

PLAZPLAAZ

ING ING LOADLOAD ING ING PARKPARK

ING ING PARKPARK

CTION

COLLE

PUBLIC

TERCENTER CENTER ON CENON CTI CTI COLLE COLLE E ZONE ZONE TION TION ZON TRANSITRANSI L L L ARRIVAARRIVA PUBLICPUBLIC

ARRIVA

G PARKIN

User circulation & program sequence

Combined circulation interlocking users & visitors

Educational & recreational program areas

G PARKIN

PLAZA

PLAZA PLAZA

G G PARKINPARKIN

G PARKIN

G G PARKINPARKIN

User elevator stops

PLAZA PLAZA

PLAZA G

LOADIN

G G PARKINPARKIN

PLAZA PLAZA

Visitor elevator stops

/ TER/ / TERCEN CENTER N CEN TION TION CATIO EDUCA ON EDUON EDUCA CTI LLECTI CTION S LABS COLLE LABS COLLE COLAB CLOSEDCLOSED CLOSED LAB 2 LAB 2 LAB 2 IVAL IVAL IVAL ARRLAB E ARR ZONE ZONE LABZON LAB ARR TION TION TION UNICA UNICA UNICA COMM COMM COMM L L L TERCENTER ARRIVAARRIVA ARRIVA CENTER ON CENON USER USER USER CTI CTI CTION COLLE COLLE COLLE PLAZA PLAZA PLAZA E ZONE ZONE TION TION ZON TION TRANSITRANSI TRANSI G G G L IVAL L LOADINLOADIN LOADIN IVAARR ARRIVA LIC ARRLIC PUB PUB PUBLIC

TION

TRANSI

PLAZA

Public circulation & exhibition

LOA LOA DIN DIN GE GE NT NT RY

BUILDING CIRCULATION

PLAZPLAAZ

G PARKIN LOAD ING

G G LOADINLOADIN G G PARKINPARKIN LOAD LO AD ING ING ENTR EN ENTR Y TRY Y

Combined circulation & loading

ОРГАНИЗАЦИОННОЙ КОНЦЕПЦИИ ORGANIZATIONAL CONCEPT

AUDITORIUM

AUDITORIUM FLEXIBILITY Аудитории распологены между двумя фойе. Вход в каждую из аудиторий осуществляется с коротко й и длинной стороны, что позволяет посетителям и пользователям исползовать обе аудитории для различных событий. Стороны каждой аудитории, выходящие в центральную зону полностью остеклены, чем достигается визуалная связь между аудиториями. The auditoriums are located in-between the to arrival zones. Each auditorium can be accessed from the short and long side witch makes it possible for visitors and users to use both or auditoriums for separate events if needed. The sides facing the core are fully glazed which connects the two visually. VOID

AUDITORIUM CIRCULATION

CONTROL ROOM RETRACTABLE STAGE

+15.0

Glass walls

Visitor entrance to auditoriums and connection to 2nd level

SMALL AUDITORIUM 800 M2

2ND LEVEL MEZZANINE

VOID

User entrance to auditoriums and connection to 2nd level CONTROL ROOM LARGE AUDITORIUM 1200 M2

VOID VOID

RETRACTABLE STAGE

TO NEXT USER LEVEL +13.2 VOID MEDIA CENTER 175 M2 MEDIATHEQUE MEETING CONTROL ROOM

RECORDING STUDIO

ВТОРОЙ ЭТАЖ 2ND FLOOR ОРТОГОНАЛЬНЫЙ ВИД AXОNOMETRIC VIEW

556787

СЕВЕР NORTH

МАСШТАБ 1:200 ll SCALE 1:200 M

[ 83 ]

ВТОРОЙ ЭТАЖ ll 2ND FLOOR

ОРТОГОНАЛЬНЫЙ ВИД VIEW FROM SOUTH EAST AERIAL VIEW - NORTH

TRANSITION / INTERACTION

ATION

N EDUC

LLECTIO

ATION

11010011000 UNIC COMM 10001011100 L 01101001011 ARRIVA

Конференц-залы – характерный пример предельной универсальности и высокой ER технологичности проекта. Звукопоглощающие перегородки выполнены из N CENT ECTIO оптоволоконной ткани, что COLL делает возможным трансляцию изображений

USER F,$, PLAZA

N ZONE

SITIO

TRAN

ER/

CENT

CO BS непосредственно на их поверхность или подсветку перегородок для воссоздания ED LA CLOSпрезентации в соседних атмосферы неформальной дискуссии до или после 2 больших приемов или аудиториях. Перегородки также могут быть разведеныLABдля 10010100110 других мероприятий или выставок. Пространственная RIVALорганизация здания LAB AR 00110010100 ZONE подразумевает дальнейшее расширение количества возможных ATION конфигураций.

Здание предполагает постоянно изменяющееся пространство, которое могут посещать и использовать люди из разных сфер, обладающие различным опытом. В то же время проект задуман как глобальный символ исследовательской и изобретательской силы, духа сотрудничества и служения науке, как знак будущего прогресса и возможностей человеческого интеллекта.

TION

COLLEC

`"#P+A%#'K&

atmosphere for intimate discussions before or after workshops or presentations in ADING the adjoining auditoriums. The curtains can be retractedLOto allow for large receptions R,# or other events or exhibitions to take place, further expanding the many possibilities ING the spatial organization of this building provides. PARK

This building is conceived of as a flexible, permanently changing work environment that can be visited and used by peopleARfrom RIVAL all backgrounds. At the same time, it is IC PUBLthe thought of as a global iconic sign of power of research, inventionand the spirit of collaboration in the service of science and as a symbol for the future progress and advances of human intellect.

N ZONE

PUBLIC

AKL$+9K('% dI%,#+:#%&OJ+AJ'$%)

PLAZA

CENT

SITIO

TRAN

L ARRIVA

PLAZA

The discussion suites are an example of ultimate flexibility and high tech application. The sound absorbing curtains are woven from fiber optic fabric allowing images to be presented directly on their respective surfaces or to just glow enough to create an

EDUC TION COLLEC LABS ED CLOS

ER/

CENT

INTERACTION ZONES

LAB 2 RIVAL Две зоны взаимодействия расположены вдоль LAB AR N ZONE ICATIO общественного ландшафта. Эти рекреационные MMUN функции работают как прорыв зон на CO прилегающих RIVAL функций и создать возможности для пользователей и AR USER посетителей аудитории встречаться и взаимодействовать. Вертикальные соединения с PLAZA пользовательскими функциями служат короткие пути между противном случае отдельные части здания. ING LOAD Two interaction zones are located along the public landscape. These recreational functions work as G breakout RKIN zones for the adjacent functions and createPAopportunities LOA interact. for the user and visitor audiences to meet and D Vertical connections to the user functions serveINGas ENT short cuts between otherwise separated parts of the building. RY

ING

PARK

AKL$+F(Q$

SAa <#$%&#%$

BKH"I%+a,$$%&J

DISCUSSION SUITES

CURTIAN CONFIGURATIONS

ПОМЕЩЕНИЯ ПЕРЕГОВОРНЫХ Для переговорных используются “умные панели” которые позволяют создать различные условия помещий

=5%#+AK(&Q%

FLEXIBLE LAYOUTS DISCUSSION SUITES For the disussion suites a smart fabric is used that allow for several different layouts of rooms S'%&+c&K(5 dK))(#"$J

AeA>:BD><d+F<Dc?DB

FURNITURE STORAGE 70 M2 <)5I%)%#$,$"K#+KL++A),&$+d(&$,"#'+,#P+LI%U"HI%+AKI,&+5,#%I'

INTELLEGENT MATERIAL 3

<E>:c?D>:F+>:b><;:+>:d9E=;=ce 1. Солнечные батареи и экраны

>:b><;:+BDE<@S;D><=EA

Solar harvesting and shading DQ$"M%+),$%&",I'+,#P+$G%+&%'5K#'"M%+H("IP"#O+'J'$%)'+$G%J+%#W

>G%+ 5I(&,I"$J+ KL+ L(#Q$"K#'+ !"$G"#+ $G%+ '),&$+ $%U$"I%'+ Q,II'+ LK&+

O%#P%&+KLL%&+$G%+5K$%#$",I+$K+&,P"Q,IIJ+$&,#'LK&)+$G%+QK#Q%#W

$G%+ P%'"O#+ KL+ '5,Q%'+ $G,$+ Q,#+ 5GJ'"Q,IIJ+ ,P,5$+ $K+ P"LL%&%#$+

$&,$"K#+KL+H("IP"#O+'%&M"Q%'+!"$G"#+$G%+,&QG"$%Q$(&,I+%#M%IK5%7+ Personal heating and cooling

('%'+KM%&+$")%7+

3. Светодиодные лампы освещения !"""#$%&'"(&')*+,-./"&.0"+(&0-./"""

!"""#,&.0&'0"3>',&-.

2. Внутреннее кондиционирование и

LED lighting system 1"""2*'+$.&%"(*&,-./"&.0"3$$%-./

1. Breakout zone for lecture audiences

TICKET BARRIER MATH ZONE

1"""2>%%-./ 4"""G$-+,-./ :"""5-<,-./

ABD?>+RDa?<d

C"""2DE"D>',&-.?"%-/(,"9&,*'-&%"F-,("%&'/*",(*'9&%"9&++

C"""D'*&,-$."$<"+;&3*

?%'5K#'"M%+,Q$"M%+$%U$"I%'+!"$G+"#$%O&,$%P+$%QG#KIKOJ+

5. Цифровые панели, легкие материалы PCM Curtain, light material

+15.0

2. Different sized disussion suites

TO NEXT USER LEVEL

MEDIUM LECTURE HALL 700 M2

4"""567"%-/(,-./"+8+,*9 4. Отображение информации (температураб цвет) :"""7-+;%&8"-.<$'9&,-$."=,*9;*'&,>'*?"3$%$'?"*9@A"0-+;%&8+B Display information(temperature, color)

@7Y.+++AKL$+9K('%

MATH ZONE EXHIBITION 800 M2

+16.5

VIEW FROM EDUCATION & CONFERENCE 3. Nine separate discussion suites

9 DISCUSSION SUITES TOTAL: 720 M2

VOID ROBOTIC CEILING TRACKS

+18.0

+18.0 CURTAIN TRACKS

RAMP FROM BELOW

TO NEXT PUBLIC LEVEL

SMART FABRIC CURTAINS

TRANSITION ZONE 250 M2

TICKET BARRIER

VIEW FROM TRANSITION ZONE

SMALL LECTURE HALL 700 M2

FURNITURE STORAGE 80 M2

ПЕРВЫЙ ЭТАЖ 2ND FLOOR ОРТОГОНАЛЬНЫЙ ВИД AXОNOMETRIC VIEW

556787

СЕВЕР NORTH

МАСШТАБ 1:200 ll SCALE 1:200 M

[ 84 ]

ПЕРВЫЙ ЭТАЖ ll 2ST FLOOR

ОРТОГОНАЛЬНЫЙ К ВОСТОКУ ВЫСОТЫВИД AERIAL VIEW - NORTH EAST ELEVATION

FLEXIBILITY Концепция здания Музейно-просветительского центра построена на двойственном программном взаимодействии Посетителей и Исследоватей. Переплетение двух программных рядов (Посетителей и Исследоватей) наподобие двойной спирали биологической цепи ДНК задает алгоритм в структуре здания и создает максимально интенсивный, функциональный и богатый пространственный опыт для Исследователей и Посетителей, предполагая практически неограниченное взаимодействие между ними: в любой момент существует возможность не только увидеть пространства противоположной программы, но и создать контролируемые переходы между ними.

Крупногабаритные лифты, предназначенные для двух ветвей «спирали», позволяют большим группам, как посетителей, так и исследователей, быстро подняться на необходимый уровень выставочного или рабочего пространства. Также по всему объему здания проходят винтовая рампа и система лестниц, которые обеспечивают коммуникацию между программными пространствами. Спиральная организация двух программ создает широкий спектр возможных взаимодействий, вовлекая посетителя в самый центр событий научной жизни и учебного процесса. Такое тесное взаимодействие способствует более серьезной направленности всех научных мероприятий пользователей.

Выставочное пространство (для Посетителей) представляет собой непрерывную террасную структуру, располагающуюся вокруг ряда пространств, предназначенных для Исследователей, таких как лаборатории, аудитории, выставки и конференц залы. Таким образом, Посетителям предоставляется возможность стать участниками научной и учебной жизни. Кульминацией взаимодействия обоих пространств становится общее помещение на верхнем уровне, которое замыкает контур циркуляции, позволяя (во время особых мероприятий) Посетителю примерить на себя роль ученого.

The Polytechnic Education Center is build around the programmatic duality and relationship of User and Visitor. A helical relationship of the two program sequences not only creates the fundamental DNA of the building, but is literally organized like the double helix of a biological DNA strand. This organization creates the most intense, most functional and most enriching experiences for Users and Visitors, while allowing an almost infinite flexible relationship between the two. At any given point the possibility exists to not only see into the opposing program spaces (e.g. from Visitor space to User space and vice versa), but to allow controlled shortcuts andaccess between them.

Oversized elevators for each of the two program strands allow for large groups of Visitors as well as Users to quickly ascend to the desired work or exhibition spaces, while at the same time a continuing ramp and stair system makes quick connections between any of the adjacent spaces. The helical organization of the two program groups creates the densest possible adjacencies, putting the Visitor front and center to the academic and scientific action. At the same time, this close relationship fostersan intense proximity of all the scientific User activities. The exhibition spaces (Visitors) form a continuous terracing landscape wrapping tightly around the various User functions like labs, lecture, collection and discussion

spaces providing a insight into the scientific and academic environment of the Users and culminating in a joint space at the top level which closes the circulation loop allowing (for special events) the Visitor to become the scientist.

MOTION + EVENT TRACKING

Ориентация внутри здания достигается за счет технологии “дополненной реальности” (использование гаджетов и смартфонов для считывания информации, размешенной на поверхностях здания), направляющей Посетителей и Исследователей по желаемому маршруту. На обратной стороне каждой из двух больших аудиторий установлена проекция с информацией о различных мероприятиях комплекса. Содержание этих проекций сопровождается специальными автоматизированными камерами по всему зданию, которые фиксируют важные и интересные моменты мероприятий и научных исследовательских воркшопов. Посетители и Исследователи могут таким образом следить за наиболее захватывающими процессами, а также смогут найти помещения, в которых происходит интересующее их событие, используя навигаторы в своих гаджетах.

EXHIBITION TRACKING/RECORDING

LABORATORY TRACKING/RECORDING

The buildings interior orientation is achieved through augmented reality technology pointing the way to the Visitors or Users desired destination within the building. Starting with a wall size projection presented at the underside of each of the two large auditoriums presenting information of various events within the building. The content of these projections is collected via robotic cameras throughout the building, tracking events and or science research activities at moments of particular interest or activity.

LOUNGE TRACK/RECORDING

RAMP FROM LEVEL BELOW

VOID

Visitors and Users can now follow the most exiting activities within the building and will be directed to these locations via their own personal electronicdevices.

LAB LECTURE THEATHER 220 M2

LOBBY PROJECTION/DISPLAY

TO NEXT PUBLIC LEVEL

LAB CAFE SEATING 210 M2

TEMPORARY EXHIBITION 460 M2

LAB CAFE MENS 20 M2

VOID

CAFE KITCHEN 25 M2

RECEPTION

+26.0

WOMEN 20 M2 LAB ARRIVAL 800 M2

+22.5

FLEXIBLE SCREEN WALLS

VIEW FROM TEMPORARY EXHIBITION

+24.5

LAB EXHIBITION AREA

TEMPORARY EXHIBITION 340 M2

VIEW FROM LAB ARRIVAL

RAMP TO TEMPORARY EXHIBITION

VOID RAMP TO LAB CELL 1

ROBOTIC CEILING TRACKS FLEXIBLE SCREEN WALLS

SCIENCE GALLERY 450 M2

+23.0

MOVABLE LAB UNITS 9 M2

MOBILE EXHIBITION FURNITURE

TO NEXT USER LEVEL

ROBOTIC CEILING TRACKS

+26.0

LAB CELL 1 920 M2

STORAGE 30 M2 STORAGE 30 M2

ЧЕТВЕРТЫЙ ЭТАЖ 4TH FLOOR ОРТОГОНАЛЬНЫЙ ВИД AXОNOMETRIC VIEW

556787

СЕВЕР NORTH

МАСШТАБ 1:200 ll SCALE 1:200 M

[ 85 ]

ЧЕТВЕРТЫЙ ЭТАЖ ll 4TH FL.

COLLECTION EDUCATION CENTER

PUBLIC ROOF TERRASSE ADMINISTRATION

ROOF TERRACE

CLOSED LAB

COLLECTION CENTER

CLOSED LABS LAB 2

LAB CELL

TEMPORARY EXHIBITION TEMPORAL EXHIBITION

SCIENCE GALLERY COMMUNICATION ZONE

LARGE LECTURE

DISCUSSION SUITS

MATH ZONE

MEDIUM LECTURE

SMALL AUDITORIUM

SCIENCE LOUNGE

AUDITORIUM

USER ENTRANCE

PUBLIC ARRIVAL

LARGE AUDITORIUM

PUBLIC ARRIVAL

PUBLIC PLAZA

PUBLIC ENTRANCE

LOADING ZONE

PARKING

LOADING PARKINGZONE

ЗАПАДА ВЫСОТЫ WEST ELEVATION

ЮЖНЕЕ ВЫСОТЫ SOUTH ELEVATION

STRUCTURE Конструкционнная схема здания основана на идее многоуровневого моста, означающего взаимосвязь разнообразных научных дисциплин и желаниеустановить связь с посетителем. Система ферм позволяет создать структуру длинных консолей, спиральную организацию здания, и взаимосвязь различных программных пространств. Кроме того, такая структурная схема позволяет обеспечить здание инженерными коммуникациями в необходимых местах, оптимизируя эффективность здания, сокращая необходимое количество шахт и воздуховодов, питающих лаборатории и конференц-залы. В плоскости потолка стационарно установлены направляющие рельсы для передвижения по ним автоматических кабин, приспособленных для перемещения экспонатов в любую точку выставочного пространства. The building’s structural system is based on the idea of a multilevel bridge, signifying the connectivity of various scientific disciplines and the desire to connect to Visitors from the outside. The trusses allow for stunning cantilevers, the helical organization of spaces and the interconnection of programs. Additionally, the structural concept allows mechanical systems to be distributed throughout to where they are needed, optimizing the buildings efficiency, shorten or even eliminate necessary shafts and ducts feeding the load intensive labs and assembly spaces. Robotic lifts are permanently installed on tracks in the ceiling of the various Visitor exhibition as well as flexible User spaces as to allow easy movement of objects throughout the building.

Longitudinal trusses

Latitudinal trusses

Vertical support

VIEW FROM CLOSED LABS ENTRY

Vertical cross bracing

Horisontal cross bracing

VIEW FROM COLLECTION CENTER

LAB 140 M2

PREPARATION ROOM 50 M2

LAB 140 M2

PREPARATION ROOM 50 M2

ROBOTIC LIFTS

LAB 140 M2 CLOSED LABS 800 M2

MODEL PHOTO CLOSED LABS ENTRY LEVEL

Robotic lifts run along the ceiling and are used throughout the different floors for moving big objects.

TICKET BARRIER

COLLECTION CENTER 1570 M2

TO NEXT USER LEVEL

+28.5

+34.5

VOID

Visitor exhibtion landscape

+27.0

ROBOTIC CEILING TRACKS MOVABLE LAB UNITS 9 M2

+31.5

VOID ROBOTIC CEILING TRACKS STORAGE 30 M2

CAFE

LAB CELL 2 960 M2 STORAGE 30 M2

User program

+35.0 LAB CELL 1

TO PUBLIC ROOF TERACE

TO COLLECTION EDUCATION CENTER

ПЯТЫЙ ЭТАЖ 5TH FLOOR ОРТОГОНАЛЬНЫЙ ВИД AXОNOMETRIC VIEW

556787

СЕВЕР NORTH

МАСШТАБ 1:200 ll SCALE 1:200 M

[ 86 ]

ПЯТЫЙ ЭТАЖ ll 5TH FLOOR

SUSTAINABILITY The buildings sustainability goals are to achieve a comfortable environment through the use of natural means such as sun exposure, and natural winds, as well as high efficient artificial lighting, efficient chillers and boilers, and through careful attention to the buildings openings and entrances. This includes double airlock entrances at both the ground level and to and from the roof terrace. The incorporation of vegetation to the roof terrace promotes a natural environment to visitors and researchers. Vegetation filters indoor air and maintains air humidity. Through these means the building offers flexibility to all its inhibiters but also indisputable control to visitors and researchers separately; a necessary eliminate to exhibition zones in which air temperature and humidity are to be closely regulated for much of its program.

SUSTAINABILITY

The buildings sustainability goals are to achieve a comfortable environment through the use of natural means such as sun exposure, and natural winds, as well as high efficient artificial lighting, efficient chillers and boilers, and through careful attention to the buildings openings and entrances. This includes double airlock entrances at both the ground level and to and from the roof terrace. The incorporation of vegetation to the roof terrace promotes a natural environment to visitors and researchers. Vegetation filters indoor air and maintains air humidity. Through these means the building offers flexibility to all its inhibiters but also indisputable control to visitors and researchers separately; a necessary eliminate to exhibition zones in which air temperature and humidity are to be closely regulated for much of its program.

SUSTAINABILITY

The buildings “spiked” south façade allows for a multiple levels to absorb light and heat from the sun directly from the winter’s low hanging sun, providing maximum comfort in cold seasons. It also allows for a cooling shade cover during summer when the sun is high cutting energy year round.

INDIRECT SUNLIGHT

DIRECT SUNLIGHT

Operable windows make the building easily ventilated through natural, cross ventilation. As air enters the building it is distributed up and down the helix before exiting the building. This natural method of building ventilation cuts the amount of energy needed for mechanical ventilation as well as heating.

INDIRECT SUNLIGHT

Green space acts as a buffer within the helix between researchers and visitors. It also enhances the buildings effort to make the building more sustainable through the cooling НОЧНОЙ ВИД СЕВЕРО-ВОСТОКА ОРТОГОНАЛЬНЫЙ ВИД effects of evaporation, and NIGHT VIEW NORTH-EAST natural air filtration. AERIAL VIEW - NORTH

DIRECT SUNLIGHT

SUSTAINABILITY

Green space acts as a buffer within the helix between researchers and visitors. It also enhances the buildings effort to make the building more sustainable through the cooling effects of evaporation, and natural air filtration.

The buildings “spiked” south The buildings sustainability goals are to achieve a comfortable environment through the use of natural façade allows for a multiple levels to means such as sun exposure, and natural winds, as well as high efficient artificial lighting, efficient chillers and Thetobuildings sustainability goals areThis to includes achieve a comfortable environment through absorb light and heat from the sun boilers, and through careful attention the buildings openings and entrances. double airlock entrances the use of natural means such as sun exposure, and natural winds, as well as high directly from the winter’s low hanging at both the ground level and toefficient and from artificial the roof terrace. The incorporation of vegetation to the roof terrace lighting, efficient chillers and boilers, and through careful attention tovisitors the buildings openings and filters entrances. This airlock entrances sun, at providing maximum comfort in promotes a natural environment to and researchers. Vegetation indoor air andincludes maintains double air humidity. both the ground level and to and from the roof terrace. The incorporation of vegetacold seasons. It also allows for a Through these means the tion building flexibility to allpromotes its inhibitersabut also indisputable controltotovisitors visitors and researchers. to offers the roof terrace natural environment Vegetation filters indoor air and maintains air humidity. cooling shade cover during summer and researchers separately; a necessary eliminate to exhibition zones in which air temperature and humidity are to when the sun is high cutting energy be closely regulated for much of its program. The buildings south façade allows for a multiple levels to absorb light and heat from the sun directly from the winter’s low hanging sun, providing maximum comfort year in round. INDIRECT SUNLIGHT

INDIRECT SUNLIGHT

DIRECT SUNLIGHT

cold seasons. It also allows for a cooling shade cover during summer when the sun is high cutting energy year round.

Through these means the building offers flexibility to all its inhibiters but also indisputable control to visitors and researchers separately; a necessary eliminate to exhibition zones in which air temperature and humidity are to be closely regulated for much of its program.

DIRECT SUNLIGHT

Geothermal systems are a clean alternative renewable energy source. Russia has rich high and low temperature geothermal resources however at present the potential for energy extraction is under utilized. The building aims to derive energy from this source for use in heating by installing a sub-grade water loop. Cold water is circulated from the surface and is heated as it passes through deep earth strata, on return to

Geothermal the systems a clean alternative energy source. Russia has rich high and building heatare from the water is extracted for use in therenewable building’s HVAC system. low temperature geothermal resources however at present the potential for energy extraction is under utilized. The building aims to derive energy from this source for use in heating by installing a sub-grade water loop. Cold water is circulated from the surface and is heated as it passes through deep earth strata, on return to the building heat from the water is extracted for use in the building’s HVAC system..

the buildings effort to make the building more sustainable through the cooling effects of evaporation, and natural air filtration.

INDIRECT SUNLIGHT

DIRECT SUNLIGHT

MODEL PHOTO II

MODEL PHOTO I

LIBRARY READING ROOM 140 M2

LIBRARY ROOM 200 M2

Geothermal systems are a clean alternative renewable energy source. Russia has rich high and low temperature geothermal resources however at present the potential for energy extraction is under utilized. The building aims to derive energy from this source for use in heating by installing a sub-grade water loop. +38.5 Cold water is circulated from the surface and is heated as it passes through deep earth strata, on return to the building heat from the water is extracted for use in the building’s HVAC system.

PUBLIC ROOF TERASS

LEARNING SUITE 1 40 M2

RECEPTION VISITOR REASERCH BASE 100 M2

VOID

COLLECTION EDUCATIONS ZONE 1250 M2

LEARNING SUITE 2 40 M2

STAFF WORKSPACE ADMINISTRATION 770 M2 INTERACTIVE WORKSHOP 30 M2 STAFF KITCHEN 30 M2

CONTROL ROOM 15 M2

RECEPTION

MEETING ROOM 30 M2

TOILETTES 15 M2

STORAGE

TOILETTES 25 M2

Colletion Education

Public roof terass

MEETING

CLEANER 10 M2 COLLECTION RESEARCH CENTER 260 M2

RESEARCH MANAGERS & CURATORIALTEAM OFFICE/ LOGISTICS WORKROOMS 70 M2

The helical organization of the two program groups creates the densest possible adjacencies, putting the Visitor front and centerto the academic and scientific action. At the same time, this close relationship fostersan intense proximity of all the scientific User activities. The exhibition spaces (Visitors) form a continuous terracing landscape wrapping tightly around the various User functions like labs, lecture, collection and discussion spaces providing a insight into the scientific and academic environment of the Users and culminating in a joint space at the top level which closes the circulation loop allowing (for special events) the Visitor to become the scientist.

zone

DEMOSTRATION AREA

RESEARCH OPEN OFFICE SPACE 270 M2

STAFF RELAXATION 30 M2

STUDY ROOM

ACESS TO ROOF TERASS

ACESS TO ROOF TERRACE

+35.0

DISPLAY CASES / REFERENCE MATERIALS

MANAGERS SUITE 100 M2

PROJECTION AREA

MUSEUM RESEARCH & RESOURCE CENTER 220 M2

USERS BECOME VISITORS / VISITORS BECOMES USERS

Colletion Center

VOID ACESS TO COLLECTION CENTER

+40.0 PUBLIC ROOF TERASS

RAMP DOWN TO COLLECTION CENTER

ШЕСТОГО ЭТАЖА 6TH FLOOR ОРТОГОНАЛЬНЫЙ ВИД AXОNOMETRIC VIEW

556787

СЕВЕР NORTH

МАСШТАБ 1:200 ll SCALE 1:200 M

[ 87 ]

ШЕСТОГО ЭТАЖА ll 6TH FL.

FAMILY [A]

VARIANT 01

_248 DESKS _XXXXXXX

FAMILY [A]

VARIANT 02

VARIANT 03

_192 DESKS _DENSITY NOT ACHIEVED

FAMILY [A]

VARIANT 06

FAMILY [A]

VARIANT 07

FAMILY [A]

SELECTION : HIVE

FAMILY [B]

VARIANT 02

FAMILY [B]

VARIANT 04

FAMILY [C] _198 DESKS

fig. [107] Office Desk Layout Diagrams.

[ 88 ]

VARIANT 02

FAMILY [C]

VARIANT 03

FAMILY [C]

VARIANT 04

_194 DESKS _XXXXXX

SELECTION : PODS

_219 DESKS

FAMILY [C]

_183 DESKS _DENSITY NOT ACHIEVED

_200 DESKS _XXXXXX

FAMILY [B]

VARIANT 01

_204 DESKS _DENSITY NOT ACHIEVED

VARIANT 03

FAMILY [B]

FAMILY [C] _195 DESKS _DENSITY NOT ACHIEVED

_172 DESKS _DENSITY NOT ACHIEVED

VARIANT 08

_209 DESKS _XXXX

_192 DESKS

VARIANT 01

_131 DESKS _DENSITY NOT ACHIEVED

_200 DESKS _PROBLEMATIC RELATIONSHIP TO COLUMNS

VARIANT 04

FAMILY [B] _131 DESKS _DENSITY NOT ACHIEVED

_210 DESKS _XXXXXX

_199 DESKS _XXXXXXX

FAMILY [A]

VARIANT 05

_192 DESKS _DENSITY NOT ACHIEVED

_176 DESKS _DENSITY NOT ACHIEVED

FAMILY [A]

SELECTION : LAB

ETSY + NOVUS OFFICE DESIGNS NYC with Leeser Architecture 2012

[INVENTION] Project Stages: Pre-Design Project Responsibilities: 3DModeling, Drafting, Presentation Layout, Space Planning, FurnitureSpecifications + Selection. Searching for the most efficient yet interesting office desk layout for two new technology based companies with non traditional open plan layouts.

[ 89 ]

NOVUS Office OPTION 03: lab

[a] cONDUiT TRUSSeS: -physical expression of technical function -delivers power/data to desks

[a]

[b]

[b] cReATiVe LABS: -Zones between desks inspire creativity through interaction and display

[C] [C] LOUNGe -Distinct zones correspond to distinct furniture styles -furniture groupings in isolation bubbles

[D]

[D] LiNeAR VeRTicAL DeSKS -Rows of linear desks mimic lab arrangement -Define edges of creative zones

fig. [108] Laboratory Option.

[ 90 ]

NOVUS Office OPTION 01: hIve

[A]

[A] HONeYcOMB NeTWORK ceiLiNG: -emphasizes working groups -Lighting between group edges -Acoustical soffits over conference rooms

[B] open [public]

closed [private]

[B] fLeXiBLe cONfeReNce SPAce: -curtains/glass walls on tracks -Varied configurations of public and private space -Projectors recessed in ceiling

[WORKGROUP]

[C]

[C] HeXAGONAL DeSKS -Defines group zones -Groups aggregate to create office pattern

fig. [109] Hive Option.

[ 91 ]

NOVUS Office OPTION 02: PODs

[A]

[A] UNDULATiNG ceiLiNG LANDScAPe: -Reacts to pods below -integrated lighting

[B]

[B] PODS: -Private conference areas become sculptural objects

[C]

[C] LOUNGe -Open lounge space maximizes views of park - Playful furniture

[D]

[D] LiNeAR HORiZONTAL DeSKS -Linear desk arrangement allows ample open space -Pixelated floor pattern defines groups

fig. [110] Pod Option.

[ 92 ]

ETSY OFFICE OPTION A

ETSY OFFICE OPTION B

fig. [111] Variation from floor to floor Diagram.

[ 93 ]

fig. [112] Model.

[ 94 ]

PATH 2005

[INVENTION] Orthogonal path delineation following the course of a fungus on a living organism. This project is a re-presentation of the path of a deadly fungus as it destroys a living organism. Specifically, I researched a mushroomâ&#x20AC;&#x2122;s effect on a tree. The mushroom is a heterotrophic organism, meaning it must grow out of a living organism in order to feed itself. A mushroom spore will only grow where there are nutrients. Transplanted by the wind, the spore will land anywhere, but the fungus will form only where there is a nutrient path. The mushroom then sucks out the nutrients from the plant on which it has landed, slowly decaying the plant. A tree, specifically, will rot from the inside out, as the bark is the strongest element of the tree it will decompose last.

the remainder of the path of this fungus, there will be a shell of the bark of the tree, the skeletal structure of what once was. This environment mimicking the decay of a tree truck is a space for human occupation, with the possibility for one to take a forward moving path through the fungi specimens. The path is experienced through a group of obstacles, all alike in nature and direction, because of their source. The person inside will curiously walk along with this same direction. At the middle of the clump of fungi, they are the most dense, forcing the walker to go around, even though she probably could make it through if she wanted an intense, oppressive experience of being squished between high, long sky-scraper elements.

Because the mushroom cannot live without the life of the tree, when the tree is dead, so is the fungus. If one is walking in the forest and sees

[ 95 ]

fig. [113] Plan.

[ 96 ]

fig. [114] Sliver Sections.

[ 97 ]

fig. [115] Axonometric Section. fig. [116] (opposite) Model.

[ 98 ]

[ 99 ]

fig. [117] (above) Perspective Rendering. fig. [118] (below) Section.

[ 100 ]

PLATONIC SOLID LIBRARY, SOHO 2007

[INVENTION] Manipulation of the platonic solids tetrahedron and cube to form a secure book storage and enveloped, protected reading spaces. A library is a place for reading, but mostly it must function as protected book storage.

Prince Street and by pulling the entrance inside a little more, the discussed goals of entrance/ threshold are achieved. The stairs travel through the tail of the box form. There are a strategically placed openings to allow or views of Lafayette Street, as the vertical travel occurs.

Keeping a compact building and small footprint and rising four stories above street level, this library at the intersection of Lafayette and Prince streets guarantees book security. The space inside of the intersection is also a corner.

The main “destination” places are the reading areas: private areas, public areas, children’s areas and undesignated areas (in between the stacks for example.) Quiet and light are the essentials for my reading. The theme of Enclosure influences hidden private reading and almost completely covered outdoor reading patios.

The fortification creates an intimacy of the west corner, open darkness of the north corner, exposure in the east corner and uncertainty of the south corner. The threshold to a library should have a long approach, instead of putting it at the street wall. It would create a moment of reflection on proper behavioral expectations prior to entering the library. The entrance is hidden from the street; you must seriously want to enter the library to finally arrive inside. The South corner was chosen as the entrance: it has street access, but allows for a less hectic entrance than from on [ 101 ]

Here, the possibility for public space in Soho, outdoor space for pleasant days and protected indoor space for days when it is preferable to be indoors; all made possible because of a need for protected book storage.

[ 102 ]

[ 103 ]

(previous spread-left to right) fig. [119] Stair Diagram. fig. [120] Stair Model. fig. [121] Stair Diagram. (this spread-left to right) fig. [122] Site figure-ground. fig. [123] Site plan. fig. [124] Longitudinal Section. (next spread) fig. [125] Unfolded Elevation. [ 104 ]

[ 105 ]

[ 106 ]

[ 107 ]

fig. [126] Elevation and Plan Metes and Bounds Diagram.

[ 108 ]

NWW [NORTH WEST WEST] 2006

from the objective, in fiction and in design.

[INVENTION] There are four cardinal directions on a compass: N, S, E, W.

This re-definition of the four cardinal directions, there must be a willingness to explore the way the situation and the timing in a single moment are subjectively interpreted.

There are eight secondary inter-cardinal points on a compass: NNE, ENE, ESE, SSE, SSW, WSW, WNW, NNW.

The way that we associate north to ‘up,’ south to ‘down,’ west to the left and east to the right is in our every day lives. If someone is taking a trip to a northern destination, the description would read “She went up to…” and the opposite of this is of course “she went down to…”As well, “downtown,” referring to the southern part of Manhattan and uptown being its inverse.

NWW doesn’t technically exist, but sometimes places exist if we need them. In order to interpret a given metes and bounds property definition, there are certain words that lacked a true definition (such as pace, change in PE and starting point of the rotation) and others that did not (such as North or a given degree).

The assumption is that saying up instead of north is saying the same thing. It is more interesting than that, since up above our heads is the sky, the atmosphere,etcetera, but up, referring to north is on the gravitational “top” of the earth.

This exploration redefines the interpretation of written property descriptions, asking, if there is more than one way of drawing this legal description, is not the law itself an interpretation, not a fact? For example, when there is an order to turn west, the direction turned will be to her or his left, ignoring the compass directions. This system of defining directions is subjective to the specific location of the person walking the path. The reason for this interpretation of the path is to examine how different the subjective is

[ 109 ]

This single family house in Riverdale, Bronx mediates between an extremely tall neighbor to the north and an extremely short neighbor to the south through 1’ increments in a crosswise method. The extended diagrammatic topographic changes become landscape and then subdivisions of the house.

fig. [127] Axonometric Metes and Bounds Diagram.

[ 110 ]

fig. [128] Volumetric Metes and Bounds Diagram.

[ 111 ]

fig. [129] Site Regrading Diagram.

[ 112 ]

fig. [130] Site Plan.

[ 113 ]

fig. [131] (above) 2nd Floor Plan. fig. [132] (below) 1st Floor Plan. [ 114 ]

fig. [133] (above) Sedentary Section. fig. [134] (below) Transitory Section. [ 115 ]

[ 116 ]

fig. [135-8] Model Photos.

[ 117 ]

fig. [139] Structural Study Diagram. [ 118 ]

SEISMIC STATION, MT. FUJI 2006

[INVENTION] Seismic wave monitoring station on Mt. Fuji, Japan.

are embedded deep into the earthsâ&#x20AC;&#x2122; surface that extend vertically upwards to the top of the highest beam.

There were three elements that contributed to the design of the seismic-wave monitoring station at the base of Mt. Fuji: the structural system design, the site condition, and finally, the necessary program: bathroom, data collection and storage. The purpose of the weather station is to predict volcanic activity through measurement of the seismic action of the earth plates. An alarm is sounded when increased activity occurs, in order to warn of a possible eruption. The alarm is set off when the two structural systems employed would touch, at any moment.

When lateral activity occurs, the beams absorb the vibrations and the slight movement touches the thin vertical members, sounding an alarm. When vertical activity occurs, the thin columns vibrate, touching the beams and sounding the alarm. The beams hold the floor and roof plates and the columns support the vertical circulation. Enclosure is minimal, except for the absolute necessity in the data storage areas and the bathrooms.

Within the structural system there are two groups that cross each other but do not touch. First, sturdy beams that extend far into the side of the hill cantilever out of the slope of the hill. Second, thin, structural columns that

[ 119 ]

fig. [140-1] Sections. (next spread) fig. [142] Plan. fig. [143] Axonometric Section.

[ 120 ]

[ 121 ]

[ 122 ]

[ 123 ]

fig. [144] Section. [ 124 ]

LOW-ENERGY HOUSING 2008

[INVENTION] This senior center and 60 unit housing complex bridges the urban and natural worlds, as it is wedged between commercial Ashburton Avenue in Yonkers, NY and the Croton Aqueduct Hiking Trail.

including the roof garden. Oriented East/West, each unit has ample southern exposure and fortified north facades to shield winter winds. The exterior circulation cultivates a neighborly watch community, all eyes on the street and the interior street.

Investigating passive sustainable systems, the building forms a tight street wall, with passageways that connect the street back to the path. Designing a passive sustainable section calls for careful consideration of the elements. Understanding water tables and soil composition below ground, chart the sun thoughout the season to provide warmth in the winter and shade in the summer, map the wind directions to bring cross ventilation for cooling the warm months and shield against harsh icy winds, collect resources like rain and solar energy to rely less on the inefficient urban grids. These single family units are three stories,

[ 125 ]

fig. [145] Site Plan.

fig. [146] Section.

[ 126 ]

fig. [147] Roof Plan.

fig. [148] 2nd Floor Plan.

fig. [149] 1st Floor Plan. [ 127 ]

[ 128 ]

fig. [150-3] Model.

[ 129 ]

fig. [154] Gyroid: Atrium Form Generator.

[ 130 ]

EAST RIVER TOWERS with Leeser Architecture 2012

[INVENTION] Project Stages: Pre-Design, Pricing Project Responsibilities: Drafting, Rendering, Photoshop, Presentation Layout, Zoning + FAR studies, MEP Coordination, Life Safety Design, Space Planning. Two tower complexes for the same client: one in the former Watchtower cluster in DUMBO, Brooklyn and one south of the 59th Street Bridge in Long Island City, Queens. 5 Towers in the Brooklyn complex went through a process of design in order to bring each one up to code and convert them to rent-able commercial office buildings with retail on the ground floor. We produced a pricing set including a code compliant version of the existing cores and a new â&#x20AC;&#x153;optimalâ&#x20AC;? core design. 3 Towers in the Queens complex had existing massing because of previous zoning exceptions outlined in the Uniform Land Use Review Procedure (ULURP) for the site. The design process required maintaining the existing zoning but adding dynamism and cohesiveness to the form. For the facade, studies were produced for different skin strategies.

[ 131 ]

✖LIC TOWERS, QUEENS, NY ✖ 2million SF (unbuilt) Massing and surface studies for three towers. The site had previously gone through the approval process for a number of zoning exceptions and the developers were looking for a more interesting design. fig. [155-7] (left column) Form Renderings. fig. [158-61] (right column) Program Diagrams. ROOSEVELT ISLAND fig. [162-69] (right page) Facade and Atrium Study N R Renderings. Qu

Cornell Campus

nsb

oro

Bri

Queensbridge Park

Queensbridge Houses

55 5 ft

SITE

F Qu

een

sP laza

uth

Ve rno

lvd

East River

Terra Cotta Building

Av e

21 st

103

LONG ISLAND CITY

44th Av e

Upland Connection Visual Corridor

[ 132 ]

[ 133 ]

F.A.R. F.A.R. BASE SUMMARY PLAN / CELLAR / MASSING NAMING DIAGRAMS

01.1

EXISTING NAMING Building 117 Adams St. - Building 1 77 Sands St. - Building 2 55 Prospect St. - Building 3 81 Prospect St. - Building 4

Site Area 20,596 14,800 20,704 8,245

Existing Total Gross F.A. 164,115 192,296 226,600 83,075

Existing Total Zoning F.A. 153,144 170,439 199,056 76,791

21,286 21,118 42,404 106,749

189,891 332,914 522,805 1,188,891

162,184 301,618 463,802 1,063,232

175 Pearl St. - Building 5 *90 Sands St. - Building 6 Subtotal Total

Existing F.A.R. 7.4 11.5 9.6 9.3

As-of-Right Remaining F.A. [F.A.R. 10] 52,816 -22,439 7,984 5,659

7.6 14.3 10.9

-39,762

REVISED NAMING

NOTES

1: ALL SITE AND ZONING INFORMATION IS ESTIMATED AND SUBJECT TO VERIFICATION. 2: AS PER ZR 43-43, BUILDINGS IN M-1 DISTRICTS SHALL COMPLY WITH THE FOLLOWING: -MAX STREET WALL HEIGHT OF 85’ OR 6 STORIES (WHICHEVER IS LESS). -INITIAL SETBACK OF 20’ ON A NARROW STREET, AND 15’ ON A WIDE STREET. (THE ZONING RESOLUTION (12-10) DEFINES A “NARROW STREET” AS ANY STREET LESS THAN 75’. A “WIDE STREET,” IS DEFINED AS ANY STREET MORE THAN 75’.

*BUILDING 6 INFORMATION BASED ON BBB FEASIBILITY STUDY.

ALTERNATIVE 1

SITE 5: Site Area: Existing GFA: Existing ZFA:

175 PEARL 21,286 SF 189,891 SF 162,184 SF [7.6]

SITE 1: Site Area: Existing GFA: Existing ZFA:

117 ADAMS 20,596 SF 164,115 SF 153,114 SF [7.4]

As-of-Right Remaining F.A.: 52,816 SF Proposed Additions: 3Flrs @ 11,436 SF 1Flr @ 5,362 SF INFILL 5Flrs @ 2,621 SF DUMBO DUMBO HEIGHTSHEIGHTS AS OF RIGHT AS OFF.A.R. RIGHT STUDY F.A.R. STUDY

ALTERNATIVE 2

SITE 4: Site Area: Existing GFA: Existing ZFA:

81 PROSPECT 8,245 SF 83,075 SF 76,791 SF [9.3]

As-of-Right Remaining F.A.: 5,659 SF Proposed Additions: 1Flr @ 2,715 SF Stair @ 1,197 SF

SITE 3: Site Area: Existing GFA: Existing ZFA:

55 PROSPECT 20,704 SF 226,600 SF 199,056 SF [9.6]

As-of-Right Remaining F.A.: 7,984 SF Proposed Additions: 1Flr @ 7,984 SF

SITE 2: Site Area: Existing GFA: Existing ZFA:

175 PEARL 21,286 SF 189,891 SF 162,184 SF [7.6]

SITE 1: Site Area: Existing GFA: Existing ZFA:

117 ADAMS 20,596 SF 164,115 SF 153,114 SF [7.4]

As-of-Right Remaining F.A.: 52,816 SF Proposed Additions: 5Flrs @ 4,419 SF 5Flrs @ 5,369 SF

77 SANDS 14,800 SF 192,296 SF 170,439 SF [11.5] 12

SITE 5: Site Area: Existing GFA: Existing ZFA:

fig. [170] F.A.R. Study.

[ 134 ]

SITE 4: Site Area: Existing GFA: Existing ZFA:

81 PROSPECT 8,245 SF 83,075 SF 76,791 SF [9.3]

As-of-Right Remaining F.A.: 5,659 SF Proposed Additions: 2Flrs @ 2,715 SF

SITE 2: Site Area: Existing GFA: Existing ZFA:

77 SANDS 14,800 SF 192,296 SF 170,439 SF [11.5]

SITE 3: Site Area: Existing GFA: Existing ZFA:

55 PROSPECT 20,704 SF 226,600 SF 199,056 SF [9.6]

As-of-Right Remaining F.A.: 7,984 SF Proposed Additions: 2Flrs @ 3,992 SF

01.4

fig. [171] Core Re-Design Pricing Set Sample Page.

[ 135 ]

fig. [172] Site Plan. [ 136 ]

DISTILLED BATHHOUSE 2010

[INVENTION] The bathhouse type is found throughout history with program that varied from culture to culture, but each culture always followed a particular bathing circuit, this circuit becomes the personal ritual in a public bath.

site generated the bathhouse form. The pieces shift, sliding past one another, like the tectonic plates, to create bathing pools. The slabs are punctured like the drilled Texan earth, to let in sunlight, moonlight and to catch a glimpse of the sky during a soak.

The precedent study focused on Roman bathhouses, as their architecture is based fundamentally on the bathing cycle, with the batherâ&#x20AC;&#x2122;s path generating the layout; starting in the changing rooms, proceeding to increasingly hotter rooms, to pools and finally to rest areas.

In order to create an All-American Bathhouse type, the architecture must compete with both the private modern bathroom and the contemporary destination spa, both of which do not offer an architecture that is formed by the ritual. Like in Rome, the bather drives the architecture, but in Texas, the bather is being inserted into the earth, to be submerged in water and experience the rhythms of the sky.

Ottine is a small town in southeast Texas, population 100. Texas is a state that has two particular characteristics: -it is full of holes from drilling for oil, natural gas and water. -it is located at the end of the North American tectonic plate which is sliding under the Caribbean plate.

Programmatic arrangements in the bathhouse contain those from 9 different rituals, but do not reflect a certain circulation path except to encourage a subjective path and a crossing of all the bathing traditions as many bathers circulate, all distilled together.

The punctured and geological conditions of the

[ 137 ]

fig. [173] Program Diagram and Plan of Therme Caracalla

[ 138 ]

fig. [174] Texas Holes Diagram

fig. [175] Texas Geological Regions Diagram.

[ 139 ]

fig. [176-7] Natural Systems on the Site Sketches.

[ 140 ]

fig. [178] Natural Systems on the Site Diagram.

[ 141 ]

fig. [179-86] Form Studies Renderings and Model. [ 142 ]

[ 143 ]

fig. [187] Site Model.

fig. [188] Massing Model.

[ 144 ]

fig. [189] Sunken Pool Locations Diagram.

[ 145 ]

fig. [190-3] Bathhouse Renderings. [ 146 ]

[ 147 ]

fig. [194-6] Instructional Pamphlet Photos. [ 148 ]

REWORKED BATHHOUSE 2011

[INVENTION] Mash up: to synch two or more separate originals to form a derivative work. In this case, the originals are a selection of public bathing practices. How is an American Architectural Typology created, when the origins of the program come from sources as varied as the ancestral backgrounds of Americans? The original project is a Prototype for a non-existent architectural typology: The Contemporary American Bathhouse. The project creates a new type, programmatically, formally and in the experience of the user. But the original project is too site specific to be considered American in the “melting pot” sense, having relied on a site specific design process to create form.An American architectural typology shouldn’t be specific or local: it should embody a melting pot of rituals. The original project searched for opportunities of programmatic compression, chopping the continuity of the bathing cycles. For this replica, the goal is to preserve order, so that each cycle is a full, closed path. User sourced online material is a popular source

[ 149 ]

for mashup artists, free databases that have very user friendly interfaces: wikipedia for information, youtube for videos, myspace for musicians, facebook for people. For architects, the Google 3D warehouse is a database of usercreated and shareable 3D sketch-up models. I searched, but “American Bathhouse” does not turn up any results. That means it is now my responsibility to create a new type, model it, upload it to the warehouse and label and tag it in a searchable manner. The first step in creating a new architectural typology is to find models of each component of the program. Now I have a programmatic chart of bathing cycles that is also spatial, made up of 3D models. Identification of similarities, starting points and shared steps: major intersections are the cold plunges (in 4 cycles), steam (in 3 cycles), rest (in 3 cycles), and prayer(in 3 cycles). These 4 become the nuclei of the plan. Bathhouse spatial organization reflects the cycles: here is the plan with the 4 nuclei as organizers, each cycle passing through a nucleus, an opportunity for verging off the cycle, taking up a new cycle, starting over?

PROGRAM

fig. [197] Google 3DWarehouse is American Bathhouse-less.

Bathing Cycles

Oppor Com

Roman

Scandinavian

Russian

Turkish

Japanese

Islamic

Jewish

Christian

Hindu

Native American

step 1

/Apodyterium

Change

Leave shoes outside before entering

Wash right limbs

Pray

Wash in the sacred river

Build the fire

Step 2

Palaestra/ Exercise

sauna

steam

Harara/ relax

change

Wash Left limbs

Total submersion

celebrate

sweat

Step 3

Tepidarium Frigidarium

Snow/ Cold plunge

Venik beating

Steam/ shower

Shower/ scrub

Wash face neck nostrils

pray

Step 4

Caldarium Tepidarium

Sauna

Cold plunge

Scrub/ Soap/ Massage

soak

pray

Step 5

laconicum Caldarium

Snow/ Cold plunge

Drink and eat

steam

Step 6

Anointed/ Strigiled

Sauna

rest

Cold shower

Step 7

Frigidarium Laconicum/ Rest

Snow/ cold plunge

Step 8

Rest

Harara/ rest

fig. [199] Program Chart. [ 150 ]

Bathhouse Prog River Fitness/Palaes Caldarium Warm Bath Bathrooms Rest lounge/In Celebration Sp Tepidarium Harara Hot Bath Ladies Changin Dining Cafe Men’s Shower Women’s Shower Men’s Changing Rest Lounge/Ex Laconicum Sauna Steam room Sweatlodge Shoe Storage Prayer Space/J Prayer Space/C Prayer Space/M Tea Lounge Break room Cold Bath Mikve Holy Water Poo Wudu Fire Pit

PROGRAM fig. [198] 3DWarehouse Models to be mashed up.

Bathing Cycles

Roman Roman

Opportu Comp

Scandinavian Russian Turkish Japanese Islamic Scandinavian Russian Turkish Japanese Islamic

step Change Change step Change Change 1 /Apodyterium 1

Step Palaestra/ sauna Step Palaestra/ sauna 2 Exercise 2 Exercise

Change Change Leave Change Change shoes Leave shoes outside outside before before entering entering steam Harara/ change steam Harara/ change relax relax

Jewish Jewish

Christian Christian

Hindu Hindu

Native Native American American

Wash Wash right right limbs limbs

Pray Pray

Wash in Wash in the the sacred sacred river river

Build Build the fire the fire

Wash Wash Left Left limbs limbs

Total Total Total Total submersion submersion submersion submersion

celebrate celebrate

sweat sweat

StepStep Tepidarium Venik Tepidarium Snow/ Snow/ Venik Steam/ Steam/ Shower/ Shower/ Frigidarium 3 Cold plunge 3 Cold plunge beating beating shower shower scrub scrub

Wash pray Wash pray face face neck neck nostrils nostrils

StepStep Caldarium Caldarium Sauna Sauna Tepidarium 4 4

pray pray

Cold Scrub/ Cold Scrub/ soak soak plunge plunge Soap/ Soap/ Massage Massage

pray pray

laconicum Snow/ Snow/ Drink steam steam StepStep laconicum Drink Caldarium 5 Cold plunge andand 5 Cold plunge eateat

Anointed/ Sauna Sauna StepStep Anointed/ 6 Strigiled Strigiled 6

Frigidarium Snow/ Laconicum/ StepStep Frigidarium Snow/ 7 cold plunge Rest 7 cold plunge

rest rest

Cold Cold shower shower

Harara/ Harara/ rest rest

Step Rest Step8 Rest 8

fig. [200] Program Chart with 3D Models. [ 151 ]

Bathhouse Progra River Fitness/Palaestr Caldarium Warm Bath Bathrooms Rest lounge/Inte Celebration Spac Tepidarium Harara Hot Bath Ladies Changing Dining Cafe Men’s Shower Women’s Shower Men’s Changing Rest Lounge/Exte Laconicum Sauna Steam room Sweatlodge Shoe Storage Prayer Space/Jew Prayer Space/Chr Prayer Space/Mus Tea Lounge Break room Cold Bath Mikve Holy Water Pool Wudu Fire Pit

ISLAMIC

CHRISTIAN

JEWISH

fig. [201] Plan and Elevation Rendering with Pullout.

[ 152 ]

fig. [202-5] Mash-up Renderings.

[ 153 ]

fig. [206] Partywall Extrusion Diagram.

[ 154 ]

#PARTYWALL 2011

[INVENTION] The function of creation in art/design/creative mediums is being democratized by the opensource sharing nature of the Internet, video, image and music sharing sites become source material for contemporary responses that I will refer to as mash-up, and social networking a place for sharing one’s mash-up.

Go through a list of architects and theorists calling their work a contemporary vernacular and find that it becomes an oxymoron, confusing the actual vernacular that Rudofsky called “architecture without architects” as something that can be reinvented by architects during this period of “contemporary vernacular”. Now the closest thing to what could be defined as contemporary vernacular is the phenomenon of the “mash-up.”

Can these contemporary creations be called “Vernacular”? The internet is changing both the contemporary vernacular language in the way we describe architecture, opening the door for mash-up to replace the idea of an existing contemporary vernacular architecture, leading to new possibilities for how to design housing in New York City. What is the difference between occupation of virtual space, being a user but being separate and the idea that one can influence an event in another?

Mash-up falls under the umbrella of several replica strategies, ones that focus on adding many parts to make a whole, concentrating on a variety of transitions and tools to do so. I want to emphasize that a mash-up is a contemporary creation using things of value that are readily available for free on the internet, using cheap computer software and a variety of easy to define transition techniques. Through mash up there is the ability: To invent and copy at the same time, to question authorship, to democratize creation.

The word vernacular has been used with many definitions in terms of architecture, but the most popular is that it is a creation “of and by the people,” without formal training, DIY, for myself.

This project mashes up typical NYC housing types and offsets the thickness of the partywalls to facilitate informal, spur of the moment parties, organized through internet communication.

How can architecture be a part of this mash-up movement? Is there a way to democratize the production of architecture in the same way that these other contemporary practices have done?

[ 155 ]

CIRCULATION CORE

PARTY WALL

SOLAR ORIENTATION

LOFT

TENEMENT

GRADUATE HOUSING

BROWNSTONE

[ 156 ]

PLUMBING

fig. [207-9] (Clockwise from this page):Partywall Plan Diagram, Mash-ups from Building Systems, Identification of Building Systems in Typical NYC Housing Types. [ 157 ]

fig. [210-13] Plan Variations.

[ 158 ]

fig. [214] Section.

[ 159 ]

(this page) fig. [215] Voronoi Image 01 (next spread L-R) fig. [216] Voronoi Image 02 with Original Image fig. [217] Voronoi Image 03 with Original Image

[ 160 ]

COLORONOID with Jen Wood 2012

[INVENTION] Color Occlusion voronoi, using processing. The project is driven by an interest in distilling, extracting and manipulating sets of information from images and videoo. The aim was to develop a process of identifying informational boundaries, in particular, edge conditions between specific ranges of colors, and to reinterpret this information into tessellated distortions that could be potentially animated. The desire was not to generate a totally new and disconnected image from the original, but rather to develop strategies of sublte distortion (blipiness) by using finer threshold parameters in order to induce a sense of perceptual uncertainty.

[ 161 ]

[ 162 ]

[ 163 ]