Atmosphere: Issue 01 by nyitsoad

ARCHITECTURAL JOURNAL

ISSUE 2018

ATMOSPHERE NEW YORK INSTITUTE OF TECHNOLOGY SCHOOL OF ARCHITECTURE & DESIGN

SLAB

H20 Roof Shelter System: A post disaster solution Multidisciplinary student-led architecture build focused on the reuse of post-consumer products to create a prototype shelter in disaster scenarios.

EXHIBITION

Stan Allen: Body of Work Projects and discussions from Allen’s seminar as Baumer professor at the

DEAN’S NOTE It is with great pleasure that I welcome you to the first NYIT School of Architecture and Design annual # publication “ATMOSPHERE”, Issue w01, 2017. We will introduce you to an overview of student works, travel programs, workshops, events and conversations ranging from spring 2015 to spring 2017, selected by our students’ driven editorial team. This display of design trajectories reveals the foundation for our school’s future growth. From here, we started to undertake efforts towards the reinvention of our next steps. We are a vibrant community dedicated to academic excellence. Our commitment to transformative and continuously evolving learning experiences prepares students to engage with leading design practices in a global context. Interdisciplinary curricula, research initiatives and professional degree plans promote collaborations with Schools and Colleges on campuses and sites, but also with national and international institutions and organizations. We cherish our worldclass Alumni, their presence and crucial support. The School of Architecture and Design at NYIT is the perfect place where encounters of ideas infuse innovation and advance discovery. I hope you will enjoy our ATMOSPHERE 01! Maria R. Perbellini, Dean School of Architecture & Design New York Institute of Technology

ATMOSPHERE ATMOSPHEREFOREWORD FOREWORD ARCHITECTURAL ARCHITECTURALJOURNAL JOURNAL

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2017 2017

I was I was pleased pleased to be to asked be asked to write to write an introduction an introduction to this to this journal. journal. I was I was asked askedHistory History andand Technology Technology sequences sequences were were quite quite similar similar to the to the to write to write about about thethe previous previous journals journals thatthat have have been been produced produced by the by the school. school. I Ipedagogy pedagogy of most of most schools schools at that at that time. time. There There waswas discussion discussion hadhad to research to research thisthis question, question, andand in so indoing, so doing, found found littlelittle to reveal to reveal or discuss. or discuss.of how of how to make to make thethe technology technology sequence sequence exploit exploit thethe ‘T’ in ‘T’ in I realized I realized in fact in fact thatthat we we have have notnot noted noted ourour history history of the of the school school in writing in writing let letthethe NYIT NYIT name name butbut remained remained an open an open question. question. alone alone in journals in journals of visual of visual material. material. Because Because of this, of this, I thought I thought it might it might be best, be best, andand of most of most interest, interest, to tell to tell a brief a brief history history of where of where thethe school school hashas been been from fromIn the In the 80’s,80’s, withwith thethe renovation renovation of Ed of Ed Hall,Hall, thethe School School of of my my observations observations andand a little a little historical historical research. research. Architecture Architecture waswas centered centered on on thethe OldOld Westbury Westbury Campus Campus withwith ‘satellite’ ‘satellite’ programs programs of the of the firstfirst twotwo years years in New in New YorkYork CityCity Schools Schools typically typically taketake pride pride in their in their history. history. They They are are often often made made at key at keyandand in 1984, in 1984, at aatnew a new campus campus in and in and old old hospital hospital in Central in Central moments moments likelike anniversary anniversary celebrations. celebrations.TheThe School School of Architecture of Architecture andandIslipIslip on Long on Long Island. Island. TheThe Central Central IslipIslip campus campus program program waswas Design, Design, thatthat started started in 1971 in 1971 is not is not so old so old andand perhaps, perhaps, for for thisthis reason, reason, there thereaccredited accredited in 1993 in 1993 andand Manhattan Manhattan piggy-backed piggy-backed on on it. An it. An hashas notnot been been a moment a moment of reflection. of reflection. These These reviews, reviews, however, however, cancan be useful. be useful.important important decision decision waswas made made to teach to teach thethe same same curriculum curriculum Schools Schools most most often often evolve evolve andand transform, transform, so that so that knowing knowing thethe pastpast cancan helphelpat each at each campus. campus. There There waswas an an ideaidea to distinguish to distinguish each each understand understand thethe present present andand perhaps perhaps planplan thethe future. future. NYIT NYIT began began in 1955 in 1955 in incampus campus withwith NewNew yorkyork CityCity being being thethe urban, urban, OldOld Westbury Westbury Brooklyn. Brooklyn. In 1958 In 1958 thethe school school waswas moved moved to the to the Pythian Pythian Temple Temple building building on onbeing being thethe suburban suburban andand Central Central IslipIslip thethe rural, rural, since since Long Long West West 70th 70th Street Street andand received received its charter its charter for afor four a four yearyear college college in 1960. in 1960. In 1965 In 1965Island Island waswas a linear a linear stripstrip thatthat hadhad thisthis structure structure in the in the 70’s70’s andand it again it again moved moved to its to present its present location location in Old in Old Westbury Westbury andand 1976, 1976, to 61st to 61st andand80’s.80’s. However, However, thisthis concept concept never never developed.. developed.. Broadway Broadway in New in New YorkYork City.City. TheThe School School of Architecture of Architecture waswas started started in 1971. in 1971. TheThe firstfirst Dean Dean waswas Olindo Olindo Grossi Grossi whowho hadhad been been Dean Dean at Pratt at Pratt Institute, Institute, andandTheThe school school hashas hadhad a ‘hands-on’ a ‘hands-on’ / ‘design-build’ / ‘design-build’ impulse impulse from from waswas Dean Dean from from 1971-1982. 1971-1982. Grossi Grossi waswas active active andand wellwell known known in New in New York, York,thethe 80’s.80’s. TheThe firstfirst yearyear ‘Fundies’ ‘Fundies’ studio studio ended ended in human in human scale scale involved involved in several in several areas; areas; practicing practicing architect, architect, consultant consultant to the to the NYCNYC Planning Planningabstract abstract constructions constructions in the in the lawn lawn of Old of Old Westbury Westbury andand Commission Commission andand thethe Office Office of Information of Information of the of the US Government US Government among among other otherCentral Central IslipIslip andand even even attempts attempts to do to it do(quickly) it (quickly) in Central in Central things. things. Park. Park. TheThe sLAB sLAB projects projects of recent of recent years years hadhad their their origins origins in key in key projects projects thatthat occurred occurred at the at the Central Central IslipIslip campus; campus; There There seems seems to be to little be little evidence evidence from from these these years. years. TheThe Aluminaire Aluminaire House House deconstruction/reconstruction, deconstruction/reconstruction, an an internationally internationally recognized recognized project project in historic in historic preservation, preservation, Julio Julio M. San M. San JoseJose waswas thethe second second Dean Dean of the of the school school from from 1982 1982 to 1991. to 1991. TheThefrom from 1987-96 1987-96 andand thethe twotwo Solar Solar Decathlon Decathlon houses houses thatthat architectural architectural culture culture in the in the 1970’s 1970’s in New in New YorkYork CityCity waswas revolutionary revolutionary withwiththethe school school waswas selected selected to design to design andand build build on the on the MallMall in in thethe larger larger firms firms of SOM, of SOM, I.M.I.M. Pei,Pei, Philip Philip Johnson Johnson etc.etc. being being challenged challenged by the by theWashington Washington D.C.D.C. in 2005 in 2005 andand 2007. 2007. younger, younger, academically academically oriented oriented small small firms firms likelike thethe ‘New ‘New YorkYork Five’Five’ or ‘Whites’ or ‘Whites’ (Peter (Peter Eisenman, Eisenman, Richard Richard Meier, Meier, Michael Michael Graves, Graves, Charles Charles Gwathmey Gwathmey andand John JohnThere There is also is also littlelittle archival archival evidence evidence from from thisthis period period (two(two Hedjuk). Hedjuk). SanSan JoseJose made made significant significant changes changes in the in the pedagogy pedagogy by hiring by hiring newnewyearbooks yearbooks were were made made of the of the work work of the of the Central Central IslipIslip campus campus faculty faculty from from thethe second second generation generation students students of this of this group. group. Jonathan Jonathan Friedman Friedmanin 1989 in 1989 andand 1990). 1990). TheThe school school continued continued andand refined refined thethe whowho studied studied withwith Peter Peter Eisenman Eisenman andand Michael Michael Graves Graves at Princeton at Princeton came came in inpedagogy pedagogy thatthat waswas started started in the in the midmid 80’s,80’s, under under thethe nextnext 1983 1983 from from U. Kentucky U. Kentucky to structure to structure a new a new firstfirst yearyear studio studio sequence. sequence. ThisThis waswastwotwo Deans, Deans, Jonathon Jonathon Friedman, Friedman, 1992-2000, 1992-2000, andand Judith Judith published published as aastwo a two volume volume book, book, Creation Creation in Space in Space 1 &12.& 2. PaulPaul Amatuzzo, Amatuzzo,DiMaio, DiMaio, 2001-2015 2001-2015 andand thusthus thethe program program is much is much thethe same same whowho studied studied andand worked worked withwith Dean Dean John John Hedjuk Hedjuk of Cooper of Cooper Union, Union, came came in intoday today as itaswas it was 30 years 30 years ago.ago. 1985, 1985, alsoalso from from Kentucky, Kentucky, to structure to structure thethe second second yearyear studios, studios, which which were were a sequence a sequence of form of form andand spatial spatial projects projects withwith thethe introduction introduction of program of programThisThis publication publication is occurring is occurring at the at the endend of an ofera an era of the of the school school andand site.site. I was I was asked asked to come to come in 1987, in 1987, from from studying studying withwith Colin Colin Rowe Rowe at atthatthat started started in 1983, in 1983, andand likelike Dean Dean SanSan Jose, Jose, thethe newnew Dean Dean Cornell Cornell andand working working as an as an Associate Associate in Richard in Richard Meier’s Meier’s office office to organize to organizeMaria Maria Parabelini Parabelini hashas called called for for a new a new course course of direction. of direction. It It thethe third third yearyear studio studio sequence sequence hat hat waswas a study a study in typology in typology of form of form andandseems seems thatthat thethe investigation investigation of what of what thethe ‘T’ in ‘T’NYIT in NYIT might might function, function, public public andand private, private, public public institution institution andand housing housing projects. projects. TheThenownow findfind newnew exploration exploration andand definition. definition. fourth fourth yearyear studio studio waswas left left untiluntil 1990 1990 when when it focused it focused on on urban/community urban/community Professor Professor design. design. TheThe fifthfifth yearyear thesis thesis showcased showcased thethe efforts efforts of this of this revised revised studio studio JonJon Michael Michael Schwarting, Schwarting, School School of Architecture of Architecture & Design & Design sequence.The sequence.The drawing drawing andand visualization visualization sequence sequence began began in the in the studio studio withwith NewNew YorkYork Institute Institute of Technology of Technology additional additional courses courses developed developed withwith thethe changing changing methods methods of representation. of representation.

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TABLE OF TABLE OF TABLE OF

TABLE OF

CONTENTS CONTENTS CONTENTS CONTENTS 00 00 00 00

06 06 06 06

01 01 01 01

07 07 07 07

02 02 02 02

08 08 08 08

03 03 03 03

09 09 09 09

04 04 04 04

10 10 10 10

05 05 05 05

11 11 11 11

INTRODUCTIONINTRODUCTION 08 - SoAD Introduction 08INTRODUCTION - SoAD Introduction 09 - Program Introductions 08 - SoAD Introduction 09INTRODUCTION - Program Introductions 08 Introduction 09 - SoAD Program Introductions 09 - Program Introductions

FUNDAMENTALSFUNDAMENTALS 10FUNDAMENTALS - Introduction 10 - Introduction - Fundamentals Studio I 10 - Introduction12 12FUNDAMENTALS - Fundamentals Studio I 20 - Fundamentals Studio II - Introduction 12 Fundamentals Studio 2010 - Fundamentals Studio II I 12 20 - Fundamentals Studio III 20 - Fundamentals Studio II

CORE ARCH. STUDIOS CORE ARCH. STUDIOS 26 - Introduction ARCH. STUDIOS 26CORE - Introduction 28 26 - Introduction ARCH. STUDIOS 28CORE - Design Studio I & -IIDesign Studio I & II

TRAVEL PROGRAMS TRAVEL PROGRAMS 142 - Introduction TRAVEL PROGRAMS 142 - Introduction 144 - Italy Program TRAVEL 142 - Introduction PROGRAMS 144 - Italy Program 146 Program - Spain & Portugal Program 142 - Introduction 144 Italy&Program 146 - Spain Portugal 144 146 - Italy SpainProgram & Portugal Program 146 - Spain & Portugal Program

EXCHANGE PROGRAMS EXCHANGE PROGRAMS & WORKSHOPS PROGRAMS & EXCHANGE WORKSHOPS 152 - Introduction EXCHANGE & WORKSHOPS PROGRAMS 152 - Introduction - Social Impact Studios & 152 WORKSHOPS - Introduction 154 - Social Impact154 Studios 160Studios - Exchange Programs 152 - Introduction 154 Social Impact 160 - Exchange Programs 154 Impact Studios 160 - Social Exchange Programs 160 - Exchange Programs

LECTURES & EXHIBITIONS LECTURES & EXHIBITIONS 172 - Introduction LECTURES & EXHIBITIONS 172 - Introduction 174 - Lecture Series LECTURES 172 - Introduction & EXHIBITIONS 174 - Lecture Series

48 Studio III & IV - Introduction 28 Design Studio 4826 - Design Studio III I&-&Design IVII 60& Design - Design Studio IIII-&VI 48 &IIIV Studio V & VI 6028 - Design Studio V 76V - &Design - Design Studio III& &VIII IV Studio VII & VIII 60 VI 7648 - Design Studio VII 60 76 - Design Studio V VII&&VIVIII TECHNOLOGY 76 - Design Studio VII & VIII TECHNOLOGY 98TECHNOLOGY - Introduction 98 - Introduction 100 - Building TECHNOLOGY 98--Building Introduction 100 Construction I & II Construction I & II 102 - Environmental systems I & II 98 100 - Introduction Building Construction 102 --Environmental systems I I&&IIII 100 Construction 102 - Building Environmental systemsI & I &II II 102 - Environmental systems I & II

VISUALIZATION VISUALIZATION VISUALIZATION 104 - Introduction 104 - Introduction VISUALIZATION 104 - Introduction 106 - Visualization I106 - Visualization I 104 - Visualization Introduction 106 I - Visualization II 114 - Visualization II114 116 106 - Visualization III - Visualization III 114 116 - Visualization III 114 116 - Visualization IIIII 116 - Visualization III

MSAURD STUDIOS MSAURD STUDIOS 180 - Introduction MSAURD STUDIOS 180 - Introduction 182 - Masters Studio MSAURD 180 - Introduction STUDIOS 182 - Masters Studio 180 182 - Introduction Masters Studio 182 - Masters Studio

CONVERSATIONCONVERSATION CONVERSATION 188Alumni I + II 188- Alumni I + II CONVERSATION 188- Alumni I + II 188- Alumni I + II

INTERIOR DESIGN STUDIOS INTERIOR DESIGN STUDIOS 118 -STUDIOS Introduction INTERIOR DESIGN 118 - Introduction 120 Design Studio I & II INTERIOR 118 - Introduction DESIGN 120 - Design Studio I & -IISTUDIOS 126 Studio III & IV 118 - Introduction 120 Design Studio 126 - Design Studio III I&-&Design IVII 134IIII-&Thesis 120 - Design Studio 126 &IIIV Studio 134 - Thesis Studio 126 DesignStudio Studio III & IV 134 - Thesis 134 - Thesis Studio

176 - Exhibition Series 172 - Introduction 174 Lecture Series 176 - Exhibition Series 178 - NAAB 174 - Lecture Series 176 Exhibition Series 178 - NAAB Accreditation SeriesAccreditation Series 176 Series 178 - Exhibition NAAB Accreditation Series 178 - NAAB Accreditation Series

CREDITS CREDITS CREDITS 190 - In Memoriam190 - In Memoriam 193 - Credits & Contributions CREDITS 190 - In Memoriam 193 - Credits & Contributions 190 Memoriam 193 - In Credits & Contributions 193 - Credits & Contributions

00 VOLUME 01 I 2017-18

INTRODUCTION NYIT School of Architecture & Design

The New York Institute of Technology offers professional, preprofessional and post- professional degrees in Architecture, Urban and Regional Design, Architectural Technology, and a professional degree in Interior Design. At NYIT School of Architecture and Design, we inderstand the increasing role technology plays in every facet of our lives, and we leverage its power and employ the latest tools. Above all, we evaluate the art of Architecture the exquisite, irreplaceable relationship between the eye, the hand, and the mind that alone can create design that nourishes humanity, preserves the environment, and anticipates the needs of generations to come. The School of Architecture and Design’s forward-thinking, professional edcation prepares you to serve as leader in your field and in the community. Under the guidance of a faculty of experts, you’ll learn to think critically about architecture and design, and approach your work with confidence, visual acuity and discipline. You’ll also gain hands-on experience through

internships and other opportunities, create a unique portfolio of work, and make unparalleled industry connections. Located in Old Westbury, NY, and in midtown Manhattan, NYIT’s graduate and undergraduate programs draw from a community of professionals that lead global practices, as faculty members and as critics. We are widely and deeply networked with the global professional design and construction communities, greatly facilitating for our graduates the transition from professional study to professional practice. All NYIT SoAD degrees have STEM designation, making its international graduates eligible for the extended OPT visa. The 1st professional M.ARCH Degree has NAAB candidacy status. The 1st professional B.ARCH Degree has enjoyed continuous accreditation status since 1978 and will be up for reaccreditation in 2025. The BFA.ID has enjoyed CIDA accreditation since 1984

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B.ARCH.

B.S.A.T.

The B.Arch. program, accredited by the National Architectural Accrediting Board (NAAB), offers candidates a rigorous, studio–based program of study to develop each student’s talents and professional abilities, while opening paths to pursue individual topics in the fifth year. During the first four years of study, students are challenged by increasingly complex and technically demanding issues, from form, composition and visualization in the first year, to progressively comprehensive problems of design exploration, experimentation and integration in subsequent years. Upper year studios concentrate on issues of building design, community and urban design, and comprehensive design, with an emphasis on sustainability, using advanced architectural technology and up-to-date design and fabrication strategies. This program culminates in a student driven, research and design thesis in the final year. The first- professional B.Arch. prepares students for New York State licensure and reciprocal licensure in other jurisdictions. The B.Arch. program is offered at NYIT’s Old

NYIT’s Bachelor of Science in Architectural Technology develops skillsets in architectural design, building technology and project management. Coursework in the first two years of study is shared with the B.Arch. The subsequent two years offers to students courses in project integration, advanced technology, digital modeling, spec. writing and onsite construction observation. Students may opt to concentrate their elective credits to develop a major concentration in Construction Management. New York State recognizes the value of a B.S.A.T. Degree by offering an accelerated path to in-state licensure – 4 years of education plus 5 years of professional working experience. Successful graduates of the B.S.A.T. are eligible to apply for the 60-credit, 2-year, NAAB accredited 1st professional Master’s Degree Program. The B.SA.T. Degree is offered at both our Old Westbury and Manhattan campuses.

B.F.A.I.D.

M.S.A.U.R.D.

The mission of the B.F.A.I.D. program is to create globally engaged environmentally sensitive professionals who posses artistic sensibility, intellectual ability, and hands-on technical proficiency; to prepare interior designers for a lifelong process of interdisciplinary exploration and an acute understanding of human relationships and the built environment. The program stimulates creativity and engenders personal selfconfidence, which is the earmark of leadership. The B.F.A.I.D. focuses on the relationship between human performance and environment through an innovative mix of studio design projects, profession-specific coursework, community-oriented projects and professional internships. The program is crafted around contemporary issues, theory, and historic precedents, using both analog and the latest digital media platforms. This program also offers students the opportunity to jump-start a 1- year MBA with a concentration in design management. The B.F.A.I.D. is offered at the Old Westbury and Manhattan Campuses.

NYIT’s post-professional Master of Science in Architecture, Urban and Regional Design is for those holding a first professional degree in architecture, landscape architecture, or planning, with an emphasis on design of the built environment. Our M.S.A.U.R.D. confronts the challenges of urban design in the context of 21st-century cities and regions. The program is located in midtown Manhattan, drawing from world-class faculty, public and private organizations, and active professionals leading global practices based in the New York City metropolitan area. The program works to prepare graduates to succeed in this interdisciplinary field by providing opportunities for case studies to test an apply new insights, theory and designs to contemporary and future challenges. It operates at the intersection of urban form, sustainability and climate change as these issues emerge at the forefront of advanced urban design research.

5 Year Program 160 credits

4 Year Program 109 credits

4 Year Program 132 credits

1-1/2 Year Program_36 credits + 1st Professional Degree in Architecture or Landscape Architecture

David Diamond & Giovanni Santamaria Professor & Associate Professor, SoAD at NYIT

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F U N D A M E N TA L S Design Fundamentals is an introduction to architectural composition and design. Its syllabus is delivered through a series of exercises that emphasize the dual influences of intuition and investigation. As they build in complexity, the projects are meant to help you achieve the visual literacy needed to produce works with conceptual clarity and rigor – to find meaning in them, and to impart meaning to your creative work. The process involves a back-and-forth between creative speculation and skeptical testing. The first year studio provides a foundation upon which to build a design education. Design Fundamentals I begins with first principles and basic concrete elements: sticks, stones, squares, and cubes. Like Sugimoto, we will name things: the simple operations and negotiations to make compositions in two and three dimensions. We will begin to build a vocabulary to think critically about form and space. Simple basic concepts like ‘level’, ‘horizon’, and ‘threshold’, will trigger deeper, metaphorical links to other moments in the practice, literature and culture of architecture. Naming things has something to do with human awareness, with the separation of the entire world from you. So with the Seascapes, I was thinking about the most ancient of human impressions. The time when man first named the world around him… — Hiroshi Sugimoto Sugimoto’s seascape calls attention to the horizon, the threshold between water and air, two most basic elements of which life and our environment are formed. The horizon is a universal datum, a liminal threshold between the world of our experience and what is beyond, a marker of time (sunrise and sunset), and the reference against which “level” is measured. It is as universal and absolute as it is individual and personal; the horizon is also contingent on our own unique perspectives, literally contingent on our precise position in space and time. It is the reference plane that extends outward from our eyes, toward the distant meeting of earth and sky. It joins something that is internal to us with what is most distant.

Design Fundamentals II develops the themes of visual literacy and the anatomy of 2-dimensional and 3-dimensional composition. Architects and designers look at the world critically, as they try to understand how and why things came about and how to invent what may come next. The architect’s creative life depends on her/ his ability to navigate a complex landscape, to recognize opportunities, and to act with dexterity. For designers, “thinking outside the box” is an indispensable skill. Successful architects find design opportunities where others see only problems. Studio classes provide practice to incorporate the explorations of both a kindergarten and a science lab, offering practice in rational thinking and gut intuition - the undisciplined part of our discipline. Beyond thinking outside the box, architects must also think about that metaphorical box – how it is made, how it is inhabited, how it might be used, and what it might mean. This series of exercises is meant to assist you in this creative and intellectual process. The course is comprised of two project sequences designed to impart ways of seeing, ways of thinking and ways of making. Alternatively, it is designed to help you to frame questions and to generate responses, even if the responses challenge the premises around which the problems are built. If we are successful, we will bridge the chasm facing young designers: where to begin, and also help to manage the consequences of success: the realization that each new decision offers a wide array of alternatives, hence we need to constantly clarify our goals and to frequently assess our progress. In this process, both clarity of IDEAS and precision of CRAFT are inseparable.

David Diamond Professor, SoAD at NYIT

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Zeyneb Abacioglu B.Arch Program Spring 2015 11

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FUNDAMENTALS I

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FUNDAMENTALS I

DESIGN DESIGN PROJECT 01

FUNDAMENTALS FUNDAMENTALS

I I

PROJECT Project one01explores the close packing of space and mass, Project onetoexplores the closeofpacking of space and mass, analogous the composition honeycombs, of multi-story analogous to the composition of honeycombs, of multi-story structures, or of urban compositions thus creating a balance structures, or ofvoids, urban and compositions thus creating a balance of solids and spatial intervals at a variety of of solids and voids, crafted and spatial variety to of dimensions. Precisely cubes intervals and rods at areaarranged dimensions. Precisely crafted cubes within and rods arrangedoftoa create a matrix of solids and voids the are constraints create matrixonofa solids andfield. voids within the constraints of a 3” cubeaplaced 9” square 3” cube placed on a 9” square field. PROJECT 02

PROJECT Project two02explores the extension of the Solid-Void project Project an two extended explores the of the project across field.extension A Collage of Solid-Void select papers or across an extended field. A Collage of select papers or surfaces of contrasting tone, color, image or texture, with surfaces of contrasting tone, color, image of or texture, experimentation with differing patterns meshingwith or experimentation towith differing patterns or interpenetration create something new onofa meshing 6” x 9” field, interpenetration to SolidcreateVoid something on awithin 6” x and 9” field, edge to edge. The project isnew placed the edge edge. The SolidVoid is placed withinreach and the edgestoare extended off all theproject elements until they edges are extended off all the elements until they reach the boundaries to create new configurations. boundaries to create new configurations. PROJECT 03

PROJECT 03 explores the boundaries between earth, water Project three Project explores between water and sky.three We realize thatthe weboundaries ourselves are part ofearth, our design and sky. We realize that we ourselves are part of our design environments, part of nature, and that our perceptions and environments,have partimpact. of nature, oursome perceptions andinteractions We and beginthat with basics of interactions have impact. proportion, We begin unity, with dialog, some basics of number, order, geometry, solid, void, number, order, geometry,The proportion, dialog, solid, void, hierarchy and armatures. project isunity, to design a topography hierarchy and armatures. The project is to design a topography that anticipates a variety of low and high water events, to that anticipates a variety and platforms high waterand events, to measure water levels, and ofto low provide shelters measure water levels, the and changing to provide from which to observe fluxplatforms between and earth,shelters water, from sky. which observe changing fluxitbetween earth, dry water, and Thetopark is tothe function when is completely at and sky. The park is to function when it is completely dry at low tide, partly underwater between low and high tides, and low tide, partly underwater between low and high tides, and mostly under water during extreme weather events. mostly under water during extreme weather events. FACULTY

David Diamond David FACULTY Diamond Angela Amoia David Diamond Angela Amoia Trudy Brens Angela Amoia Sangdok Baak Alexander D’Amato Alexander D’Amato B.S.A.T. Program B.S.A.T. Program Fall 2016 Fall 2016 12 12

Kris Levine Carl Hauser Greta Weil Michelle Cianfaglione Nathan Minett

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FUNDAMENTALS I

Timmy Cassese B.S.A.T. Program Fall 2016 13

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P 01 ROJECT

FUNDAMENTALS I

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FUNDAMENTALS I

Alexander D’Amato B.S.A.T. Program Fall 2016 15

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P 02 ROJECT

FUNDAMENTALS I

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FUNDAMENTALS I

Alexander D’Amato B.S.A.T. Program Fall 2016 17

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P 03 ROJECT

FUNDAMENTALS I

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FUNDAMENTALS I

Jiahui Li B.S.A.T. Program Fall 2016 19

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DESIGN

FUNDAMENTALS II

FUNDAMENTALS

PROJECT 01 Painting and Collage beg to be deciphered. On their surface we find unambiguous patterns of two-dimensional marks. They may be organized on grids, perspective armatures or by intuition, yet these elements unavoidably imply other dimensions; they evoke either deep or shallow spaces, surfaces and objects that reside in front of or behind each other, and in front of or behind the picture plane. They may imply movement and the passage of time. The resulting illusions may be so compelling that we forget to ask how they were achieved. Selecting a cubist, purist or other painting, students are encouraged to prioritize articulation of relationships rather than articulation of objects, and to employ a method that is analogic rather than mimetic. The subject image is investigated in diagrams, drawings and models, examining frame, plane, and volume interpretations. Previous studies are synthesized, along with planes of various thickness, to develop an original composition that has the qualities of plan, frame, and volume and is still traceable to the original image.

PROJECT 02 Project two involves the design of a cliff dwelling for three artisans: a sculptor, a carpenter, and a weaver. The site had been used as a quarry, providing a sheared-off cliff-face. Each of the artisans requires a space or spaces aligned with their craft: areas with strong mass and cavities for the sculptor who feels most comfortable when in touch with the earth,; an articulated frame for the carpenter whose passion for clear structure is paramount, and a textile membrane for the weaver who hates confinement and loves tented enclosures. Adequate light, shade, and ventilation should be provided through passive means.

FACULTY David Diamond Diamond David Angela Amoia Amoia Angela Sangdok Baak Charles Matz Adegboyega Adefope Clara Ha Michelle Cianfaglione Naomi Frangos 20

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FUNDAMENTALS II

Steven Sculco B.S.A.T. Program Spring 2015 21

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FUNDAMENTALS II

P 01 ROJECT

Further diagrams and an attempt to reconcile elements and concepts of the funnel model with the new language of frames. Axonometric of first model in the series (pictured on the following pages).

Final axonometrics diagrams illustratin model.

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FUNDAMENTALS II

Robert Nafie B.S.A.T. Program Spring 2016 23

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P 02 ROJECT

FUNDAMENTALS II

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FUNDAMENTALS II

Steven Sculco B.S.A.T. Program Spring 2015 25

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CORE ARCH. STUDIOS The Bachelor of Architecture studio sequence affirms our belief in learning through doing, and in the role of studio courses as the laboratories where other experiences, from coursework and from life, are integrated in experimental and innovative ways. Our rigorous studio sequence is modeled to reflect a range of architectural issues one confronts in professional practice. It progresses from extra-small to extra-large projects, and from ones that are abstract and conceptual to ones that are comprehensive in their integration of user, technical and site considerations. The second-year studio challenges students to think conceptually while solving problems featuring increasingly plausible issues of use, site, and construction. The vehicles for conceptual thinking are two brief, preparatory projects: a design triggered by a passage from Italo Calvino’s Invisible Cities, with no discernable use program; and an examination and assessment of formal expression at the scale of landscape and topography in the works of selected land artists (Robert Smithson, Michael Heizer, Walter De Maria, James Turrell, etc.). Small to medium sized public building types are proposed in relation to existing building and site conditions. Precedent analysis is introduced as an essential research vehicle. The third-year studio is a more thorough introduction to architecture in the public and private realms. Design III involves the design of a small public institutional building and Design IV, housing. Accompanied by precedent analysis projects of greater scope and detail, the 3 rd year studio explores issues of occupancy, use and site with increasingly realistic constructional, environmental and regulatory issues, and with an emphasis on passive strategies for daylight and ventilation, all with respect to the larger social and physical contexts for which projects are proposed.

The fourth-year studios, Design 5 and 6, focus respectively on urban scale Community Design and Comprehensive Design. The Comprehensive Design Studio is our closest simulation of an architectural project in a professional setting. Students are challenged with all aspects of design, from the conceptual to the technical, from feasibility models and drawings to detailed representative wall sections, construction solutions, integrated building systems, and draft specifications. Each academic year, the Community Design Studio adopts a local community with pressing development needs – from ones of recovery from extreme weather events like hurricane Sandy, to those of de-industrialization, environmental remediation or inadequate transportation infrastructure. Proposals are developed in student teams, with consultation and feedback from members of the subject communities. The fifth-year studio requires students to select a study topic for Design VII and VIII studios. Design VII is organized around research and documentation of the concepts, the background, the site and the available data surrounding the topic. Travel to the subject site is encouraged. The topic’s opportunities and limitations are assessed, including those of its intended site (zoning, climate, physical context, topography, etc.). Preliminary proposals are executed. Topics range from ones at the scale of individual buildings or their components to those of urban regeneration within extended regional landscapes. Design VIII is devoted to design and execution of project proposals, often accompanied by publication in book form. This capstone course allows students to practice the concepts and skills they have been acquiring during their previous years of study, and to pursue a topical specialization uniquely interesting to them.

David Diamond Professor, SoAD at NYIT

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DESIGN STUDIO I

STUDIO

INTRODUCTION

PROJECT 01

Design I engages in two design projects at a small scale within the context of specific sites. Both of the projects share a single extended context of the Upper West Side of Manhattan, NY. An actual site and the qualities of open versus built spaces, a functional program and its typologies and the understanding of a more complex set of dynamic systems and tectonic requirements, become an integral part of the project and its genesis, defining process and outcomes. Proposals can embrace or react against these conditions.

Project one is to design a small visitor’s center that acts as a threshold between street and bridge; between then and now; between built city and natural landscape. It acts as an entry point to High Bridge from the Bronx side and is located in a topographically difficult, natural left-over space adjacent to the bridge.

FACULTY Antonio Gabrielle Giovanni Santamaria Frances Ricky Liu Campani Manuel Garza Efrat Nizan Lukas Argyros Janet Fink Efrat Nizan Sung Goo Yang Giovanni Santamaria Farzana Gandhi Janet Fink Frances Campani Ricky Liu Manuel Garza Percy Griffin Kris Levine Jens Holm Sung Goo Yang Farzana Gandhi Kris Levine Ricky Liu

The goal to cut, carve, and displace the natural topography to site the intervention and explore spatial relationships that negotiate ground, daylight, and scale. The project is a sectional connector between the level of the street, the pedestrian bridge, and the existing entry to an enclosed facilities space housed mid-level at one-story below the bridge. The full intervention creates opportunity for city-side street presence, but also visual presence from and to the Harlem river and also to and from the Manhattan side of the bridge and city beyond.

PROJECT 02 Project two, similar to the previous project, acts as a boundary between land and water. The site and program differ than the first, however, in that this is a place for connection, transition and exchange - physically (from land to water and vice versa), programatically (from bike/pedestrian to boat), and socially (amongst individual park visitors and local users). the boat bike exchange is caught between several lines of movement, activities, and existing pathways in several directions. the proposal shall cater to users that are temporarily stopping here and also those who are simply passing through.

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Final Plan

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SECTION 2

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eometries as well equence. The oor is the stair. The something that mass in some d interacted with.

o the restaurant. At with a plane exfor canoes arriving w is intended to

e path, I placed a he division between uch a threshold ne, a new world r. The feeling is attractive.

ween interior and a series of daand discovering

ge of the city. Here olluted from the edge of the city. bridge extends s to the first volume f reinforced conel structure sup-

, locker rooms, king the river.

Steven Sculco B.S.A.T. Program Fall 2015

path and replac-

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DESIGN STUDIO II

STUDIO

INTRODUCTION

PROJECT 01

Design II explores two design projects in a more densely urban context and with more complex issues to solve. The first project will infiltrate an existing building, creating an intervention that acts as a catalyst for new programatic items. The second project occupies the currently vacant lot adjacent to the existing building of project one. The area is characterized by an extensive infrastructural system, a variety of uses and building typologies that makes this place not only connected to its local context, but to the scale of the entire city and its complex environment. Context and precedent analysis will remain critical to understanding environmental and sustainable systems and the proposals potential to define an identity within a

This project acts as a “virus” within an existing building and demands a thorough examination of possible ways to modify existing spaces in relationship to carving out new ones. The site is an existing building with pre-existing program, structural frame, ordering system, enclosure, and facade. As a virus, the volume must respond to these conditions: embrace and or react against them to develop a rich sectional and spatial proposition, one that gives new identity to the internal guts and face of the building, and that introduces new ways of acting and reacting with internal circulation and external flows.

larger social and cultural fabric.

PROJECT 02 Project two is to design a Multicultural Consulate for the Global Citizen, which through its design and composition of facade must create an identity for the activities it hosts. It offers services and spaces for assistance and support, information and education, exchange and interaction. This will be integrated with and offer programs both at a local scale with its surrounding neighborhood and at a larger scale of the entire city. This civic building acts as a neutral and protected zone for people of all backgrounds- open to, welcome and supporting of various cultural religious, political, and ideological backgrounds.

FACULTY Naomi Frangos Nathan Minett Jonathan Santamaria Friedman Giovanni Trudy Brens Esteban Beita Kris Levine Efrat Nizan Efrat Nizan Ricky Liu Judith DiMaio Farzana Gandhi Ricky Liu Frances Campani Farzana Gandhi Matthew Krajewski Matthew Krajewski Kris Levine Nathan Minett Giovanni Santamaria Esteban Beita Frances Campani

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Design IIDesign - Spring I Project 1 Project - 80 Hanson 1 - 80 7

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DESIGN STUDIO III

STUDIO

III

INTRODUCTION

PROJECT 01

Design III was involved with the “public realm”. It dealt with issues surrounding “public institutions” in our society through the design of a public building in a small scale urban context and through the analysis of precedent. It also introduced the issues of development of a design concept in detail.

The project calls for students to design a Police Station for Roslyn, New York. The program contains a number of large spaces including a community room. These spaces had to be designed and organized in such a way that the station can serve the four communities that use it; law officers, civilian employees, public offenders, and the general public. Community activities might include public meetings, vocational training, as well as use by the Police Athletic League (PAL), etc. Students had to consider the outside space adjourning the building in order to create a civic presence for the building and complement these multiple use spaces.

This studio is also the first of a sequence of integrated studios that emphasize the comprehensive nature of architectural design. Each of these semesters focus on the design of a single building of moderate program complexity located at a specific site. The studios build on the issues studied in prior ones including analysis to synthesis, form, function, and construction, as well as site design. Also included are the analysis and use of precedent, the natural environment, technology and social and cultural concerns. Both semesters ( Arch II and Arch IV) will also require increasing mastery of architectural drawing, both analog and digital, as well as extensive physical modeling.

FACULTY Glen Landow Michael Schwarting Adegboyega Diane Neff Adefope WilliamRomines Palmore Wayne Maria Cumella Judith DiMaio David Busch William Palmore Diane Neff Adegboyega Adefope Matthias Altwicker Michael Schwarting Wayne Romines Judith DiMaio Benjamin Cadena

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Section Axonometric

([SORGHG ' YLHZ

Axonometric

View of lobby

Exploded Axonometric

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DESIGN STUDIO STUDIO IV IV DESIGN DESIGN STUDIO IV INTRODUCTION INTRODUCTION INTRODUCTION

PROJECT01 01 PROJECT PROJECT 01

VOLUME 01 I 2017-18 DesignIV willbe bedevoted devotedto thedwelling dwelling Design Design IVIVwill will be devoted totothe the dwelling

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DESIGN STUDIO IV this Studentsare areasked askedto designaaagroup groupof dwelling on thisspecific specific Students Students are asked totodesign design group ofofdwelling dwelling on on this specific sitein orderto developand andenvironment environmentconducive conduciveto familylife lifeand and site site ininorder order totodevelop develop and environment conducive totofamily family life and neighborlinessthat thatconsiders considersland, land,respects respectsthe thetexture textureof theurban urban neighborliness neighborliness that considers land, respects the texture ofofthe the urban fabric,and andthrough throughits manipulationand andcontrol controlof bothpublic publicand andprivate private fabric, fabric, and through itsitsmanipulation manipulation and control ofofboth both public and private spaces,creates createsaaastrong strongarchitecture. architecture. ItItItinvolves involvesthe thedesign designof both spaces, spaces, creates strong architecture. involves the design ofofboth both mid-blockand andcorner cornerunits. units. ItItItinvolves involvesan anextended extendedpublic publicrealm realmin the mid-block mid-block and corner units. involves an extended public realm ininthe the creation astreet street wall and ashared shared rear yard landscape. creation creation of ofof aastreet wall wall and and aashared rear rear yard yard landscape. landscape.

the“private “privaterealm” realm”of oursocial social“way “way or ororthe the “private realm” ofofour our social “way life”. Housing Housingisisisan anissue issuethat thatwe wehave have of ofoflife”. life”. Housing an issue that we have hadan anintimate intimateawareness awarenessof sincethe the had had an intimate awareness ofofsince since the beginningour ourconsciousness. consciousness. ItItItisisisan an beginning beginning our consciousness. an issuethat thathas hasprofound profoundimpact impacton onevery every issue issue that has profound impact on every aspectof ourpersonal personaland andpolitical politicallives. lives. aspect aspect ofofour our personal and political lives. Thereisisisaaavast vasthistory historyof solutionsto the There There vast history ofofsolutions solutions totothe the problems housing which we will explore. Thedesign designof housingimplies impliesworking workingat multiplescales: scales:from fromindividual individual problems problems of ofof housing housing which which we we will will explore. explore. The The design ofofhousing housing implies working atatmultiple multiple scales: from individual INTRODUCTION PROJECT 01 family (unit) (mini-collective) tobuilding building (collective)to toto family family (unit) (unit) to totoaggregate aggregate (mini-collective) to building (collective) (collective) toto Design IV will be devoted to the dwelling Students areto asked to design aaggregate group (mini-collective) of dwelling on to this specific Housing fundamental society.The The neighborhood (society). Defining theserelationships, relationships, theoverlaps overlapsof public Housing Housing fundamental to totosociety. society. The neighborhood (society). (society). Defining Defining these these relationships, the overlaps ofofpublic public or the “private realm”isisis offundamental our social “way site in orderneighborhood to develop and environment conducive to family the life and private domain iscritical critical thedefinition definition vs. private, and maintaining flexibility and efficiency is critical for good design. private private domain critical to totothe the definition vs. vs. private, private, and and maintaining maintaining flexibility flexibility and and efficiency efficiency critical critical for for good good design. design. of life”. Housing is domain an issueisisthat we have neighborliness that considers land, respects the texture ofisisthe urban personal freedom andits organization of ofofpersonal personal freedom freedom and and itsitsorganization organization had an intimate awareness of since the fabric, and through its manipulation and control of both public and private provides the setting for and shapes domestic The design housingisisisunavoidably unavoidably social andpolitical, political, yetextremely extremely provides provides the the setting setting for for and shapes domestic domestic The The design ofof housing housing unavoidably social and and political, yet yet extremely beginning our consciousness. Itand is shapes an spaces, creates adesign strongof architecture. It involvessocial the design of both ritual. Providing adequate housingisisisaamajor amajor major intimate –impacting impacting community health, safety, and economic growth, while ritual. ritual. Providing Providing adequate adequate housing intimate intimate impacting community community health, health, safety, safety, and and economic economic growth, while while issue that has profound impact on housing every mid-block and corner––units. It involves an extended public realm in thegrowth, problem most societies. thiscountry, country, rethinking individual living spaces. thoroughexamination examinationof privateand and problem problem in ininmost most societies. societies. In InInthis this country, rethinking individual individual living living spaces. AAAthorough thorough examination ofofprivate private and aspect of our personal and political lives. creation of a rethinking street wall and a shared rearspaces. yard landscape. which materially theriches theworld world publicwithin withinthe thebuilding buildingand andalso alsopart partof abroader broaderneighborhood neighborhoodfabric fabricisisis which which isisismaterially materially the the riches ininthe the world public public within the building and also part ofofaabroader neighborhood fabric There is a vast history of solutions toriches thein ,has hasvast vast populations poorlyhoused housedor required. Housing operates multiple scales: the individual within the unit, , , has vast populations populations of ofofpoorly poorly housed oror design of required. required. Housing operates operates on on multiple scales: scales: the the individual individual within within the the unit, unit, problems of housing which we will explore. The housingHousing implies working aton multiple from individual unhousedinhabitants, inhabitants,and andvast vastamounts amountsof thecollective collective within commonspaces spaces andas anaggregation aggregation unitswithin within unhoused unhoused inhabitants, and vast amounts ofoffamily (unit) the the collective within within common common spaces and asasan an aggregation of ofofunits units within to to aggregate (mini-collective) toand building (collective) to unfit housing.To be concerned with housing abuilding, building, and ultimately, society with the connection the surrounding unfit housing. housing. To be be concerned concerned with housing housing of ofof aabuilding, and and ultimately, ultimately, society society with with the connection connection to toto the the surrounding surrounding Housing is unfit fundamental toTo society. Thewith neighborhood (society). Defining these relationships, the overlaps of public important youeducation educationin termsof community whichthe the building part.In Inaddition addition housingunits, units, isisisimportant important in you education ininterms terms ofofprivate, and community community of ofof which which the building building isisisaisaapart. part. In addition to totohousing housing units, private domain is critical in toinyou the definition vs. maintaining flexibility and efficiency critical for good design. formalissues issues andsocial socialissues, issues,and anditititmay may studentsare areasked askedto designinterior interiorand andexterior exteriorspaces spacesfor foruse useby bythe the formal issues and social issues, and may students students are asked totodesign design interior and exterior spaces for use by the of personal formal freedom and and its organization eventually comprise part your professional community tenants. eventually comprise part part of ofof your your professional professional community community of ofof tenants. tenants. provides the eventually setting for comprise and shapes domestic The design of housing is unavoidably social and political, yet extremely career. career. career. ritual. Providing adequate housing is a major intimate – impacting community health, safety, and economic growth, while Thedevelopment development individual unit typeswill willultimately ultimately inform anefficient efficient The The development of ofofindividual individual unit unit types types will ultimately inform inform an efficient problem in most societies. In this country, rethinking individual living spaces. A thorough examination of private and an Housing alsothe the fabric ourcities citiesand and aggregation that shares infrastructure and circulation.Methods Methods assembly, Housing Housing isisisalso also the fabric of ofofour our cities and aggregation that shares shares infrastructure infrastructure and and circulation. circulation. Methods ofof assembly, assembly, which is materially the riches in fabric the world public withinaggregation the buildingthat and also part of a broader neighborhood fabric is of suburbs.In Incities citiesitititgenerally generally theground ground structure, andconstruction construction willguide guide system within which opportunities suburbs. suburbs. In cities generally the ground structure, structure, and and construction will will guide aaasystem system within within which which opportunities , has vast populations of poorly housed orisisisthe required. Housing operates on multiple scales: the individual within the unit,opportunities whichour ourpublic public buildings arefigures figures forvariety variety anddifference difference should be explored.Flexibility Flexibility nowrequired requiredto in ininwhich which our public buildings buildings are figures for variety and and difference should should be be explored. explored. Flexibility isisisnow now required toto unhoused inhabitants, and vast amounts of are the collectivefor within common spaces and as an aggregation of units within both socially and physically. The character allow shiftingchanges changeswith family structure,for for multi-generational living,or both socially socially and and physically. physically. The The character character of allow shifting shifting changes in ininfamily family structure, structure, for multi-generational multi-generational living, living, oror unfit housing.both To be concerned with housing ofofa building,allow and ultimately, society the connection to the surrounding ourcities cities much derived texture for live/work environments. Such considerations should impact your design our cities isisisas asasmuch much derived from itsitstexture texture for for live/work live/work environments. Such Such considerations considerations should should impact impact your your design design is importantour in you education inderived terms from offromits community of which the environments. building is a part. In addition to housing units, made up this private fabric, ground, decisions at the scale unit and unit aggregation. made up up of ofof this this private private fabric, ground, ground, as asas ititit isisis decisions at the the scale scale of ofof unit unit and and unit unit aggregation. aggregation. formal issuesmade and social issues, andfabric, it may students aredecisions asked toat design interior and exterior spaces for use by the the honorific figural public buildings. the the honorific honorific figural public public buildings. buildings. eventually comprise part offigural your professional community of tenants. Apartmentsmust mustincreasingly increasinglybe bemore morethan thanaaaplace placeto liveand andthe theidea ideaof career. Apartments Apartments must increasingly be more than place totolive live and the idea ofof young peopleliving living theirown own apartment only one need.Flexibility Flexibilityisisis FACULTY young young people living in inintypes their their own apartment apartment isisisonly only one one need. need. Flexibility The development ofpeople individual unit will ultimately inform an efficient FACULTY FACULTY William Palmore now required allowshifting shifting changesin infamily familystructure, forlive/work live/work Michael Schwarting now now required required to totoallow allow shifting changes changes in family structure, or ororfor for live/work Housing is also the fabric of our cities and aggregation that shares infrastructure and circulation. Methods ofstructure, assembly, Michael Michael Schwarting Schwarting Maria Cumella environments. Student’s designsreflect reflectwhich theirattitude attitudeabout aboutthe themix mixof Diane Neff environments. environments. Student’s Student’s designs reflect their their attitude about the mix ofof suburbs. In Diane cities itNeff generally is the ground structure, and construction will guide adesigns system within opportunities Diane Neff Manuel individuals anddwelling dwelling typeswithin within thieris building design wellas the Bengamin Cadena are figures individuals individuals and dwelling types types within thier thier building building design design as asaswell well asasthe the in which our publicGarza buildings for variety and differenceand should be explored. Flexibility now required to Bengamin Bengamin Cadena Cadena Jonathan Friedman relationship of the building the surrounding neighborhood. Percy Griffon relationship of the the building building to toto the the surrounding surrounding neighborhood. neighborhood. both socially Percy and physically. The character of allow shiftingrelationship changes inof family structure, for multi-generational living, or Percy Griffon Griffon Miriam Peterson William Palmore our cities is as much Palmore derived from its texture for live/work environments. Such considerations should impact your design William William Palmore Diane Neff made up of this private fabric, ground, as it is decisions at the scale of unit and unit aggregation. Farzana Gandhi the honorific figural public buildings. Michael Schwarting Apartments must increasingly be more than a place to live and the idea of Percy Griffin young people living in their own apartment is only one need. Flexibility is FACULTY Benjamin Cadena now required to allow shifting changes in family structure, or for live/work Michael Schwarting environments. Student’s designs reflect their attitude about the mix of Diane Neff individuals and dwelling types within thier building design as well as the Bengamin Cadena relationship of the building to the surrounding neighborhood. Percy Griffon54 54 54 William Palmore

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DESIGN STUDIO V

STUDIO

INTRODUCTION

PROJECT 01

Design Studio V introduces students to a design process, where site and program are not a given, but are treated as principal variables of design thinking. Working in multiple scales as well as thinking about multiple time frames will be an integral part of this investigation to design an intervention that follows a critical research about existing conditions in the study area and a vision for the future of the Urban Environment.

This project is a unique vehicle for students to practice their influence in the future development of a community. The Hempstead Lake / Mill River / Hewlett Bay Watershed on Long Island will be the laboratory for experimenting with a process that re-thinks, re-shapes and re-generates the Urban Environment in the 21st century. In this process students develop ideas for accessible and resilient public space as the central theme of urban design along with an “invention” of program in response to the New York State Governor’s Office of Storm Recovery (GOSR) and the Living with the Bay Resiliency Plan.

Throughout history, architects and planners have dreamed of “better” and different cities-more flexible, more controllable, more defensible, more efficient, more monumental, more organic, taller, denser, sparser, greener. With every plan, radical visions were proposed, ones that embodied not only the desires, but also the fears and anxieties of their time.With alarming predictions of global warming, rapid urbanization, postpeak-oil energy crisis, and a growing disparity between rich and poor we find ourselves once again in need for radical visions for the way we live in cities in the 21st century. In this studio we want to explore our role as designers to envision architecture as a transformative agent in the urban environment. In this role we will work toward developing a sustainable resilient future for the Mill River Watershed on Long Island. In so doing we will make design relationships that organize and join together, space, form, social and cultural conditions present on this site and beyond.

FACULTY Eric RileyCody Robert Matthias Altwicker Kaja Kuehl Manuel Garza John DeFazio Antonio GiovanniGabrielle Santamaria Miriam Peterson Michael Fishman Martin Kropac

Eric Riley John DeFazio Kaja Kuehl Jeffrey Raven Giovanni Santamaria Beyhan Karahan

Students will not only visit the site, but speak with planners and activists involved in shaping land (and water) use policy in the Mill River Watershed. During the course of the semester students met with representatives from the Governor’s Office of Storm Recovery (GOSR), members of the Community Board, officials from Nassau County, the Village of Rockville Center, community activists from the Metropolitan Waterfront Alliance, the Citizens Advisory Committee (CAC) and others. These community representatives joined the studio for a final design review, where students recieved an opportunity to discuss design ideas. Large-scale design requires teamwork. Practicing how to communicate in teams, how to negotiate different interests, challenges and strengths, both visually and verbally is an important aspect of Design Studio V. In the Community Design Studio, students are required to work in teams and collaborate on their design. The semester was divided into two phases. ‘Phase One, a set of research models which culminates with the Mid Term Review addresses questions of zoning, site and precedent. ‘Phase Two was was characterized by the development of an urban ecology from Master Plan to conceptual diagrams, perspective renderings, animations and a site model, all of which will be presented at the Final Review, which was staged as a ‘silent’ competition and exhibition. Students were provided with opportunities to engage with the ‘Client’, which in this case refers to representatives of the local community, as well as other stakeholders and organizations to whom the future of this area are critical.

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STUDENTS Elhassane Koroma Leutrim Mustafa Hernan Ovelar Maxime Tricot

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STUDENTS Minh Nguyen Erik Jakob Waisuddin Azizi Thomas Meade

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PROJECT 01 This project is a unique vehicle for students to practice their influence VOLUME I 2017-18 01 I012017-18 in VOLUME the future development of a community. The Hempstead Lake / Mill River / Hewlett Bay Watershed on Long Island will be the laboratory for experimenting with a process that re-thinks, re-shapes and re-generates 02. CORE ARCH. STUDIOS DESIGN STUDIO V the Urban Environment in the 21st century. In this process students develop ideas for accessible and resilient public space as the central theme of urban design along with an “invention” of program in response to the New York State Governor’s Office of Storm Recovery (GOSR) and the Living with the Bay Resiliency Plan.

CORE ARCH. STUDIOS 02.02. CORE ARCH. STUDIOS DESIGN STUDIO DESIGN STUDIO VI VI

DESIGN STUDIO STUDIO VIVI DESIGN INTRODUCTION INTRODUCTION

PROJECT PROJECT 0101

Students willStudio not onlyVIvisit butsecond speak with planners andthis activists Design Studio VI isthe is site, second During this Spring Semester, students develop a small public library Design thethe During Spring Semester, students willwill develop a small public library involved in shaping land (and water) usewhich policy River Watershed. comprehensive design studio, whichin the Millbuilding building Williamsburg Brooklyn. While conforming conceptual comprehensive design studio, in in Williamsburg Brooklyn. While conforming to to thethe conceptual PROJECT 01 During the course of the semester students means the expectations that it acts as principlesoffrom ofthethespecific specificurban urbancondition, condition,each eachstudent studentwillwilldesign designa a means the expectations areare that it acts asmet a a with representatives principles This project is aof unique vehicle for AND students tomembers practice of their influence thesummation Governor’s Office ofthe Storm Recovery (GOSR), the Community summation of technical AND studio sustainable building considering structure, building envelope, heating and all all the technical studio sustainable building considering structure, building envelope, heating and in Board, the future development aover community. The Hempstead Lake / systems Mill and officials from Nassauof County, the Village of Rockville Center, community coursework completed thelast lastfour four cooling and preparing a set comprehensive drawings, models coursework completed over the cooling systems preparing a set of of comprehensive drawings, models River / years. Hewlett Bay Watershed on Waterfront Long Island will be the the and laboratory forto to activists from the Metropolitan Alliance, Citizens Advisory Given this definition, thissemester semester and diagrams delineate their understanding constructability and years. Given this definition, this diagrams delineate their understanding of of thethe constructability and experimenting with a research process re-thinks, re-shapes and re-generates Committee and others.that These community representatives joined the from about research and evaluation materiality derived from context well building systems. NYC willwillbebe(CAC) about and evaluation materiality derived thethe context as as well as as thethe building systems. NYC thestudio Urban in theare21st century. this process students forEnvironment a final design review, where studentsInrecieved an opportunity to based oncriteria criteriathat that arequantifiable quantifiable Building Code regulationsto toprovide providepublic publichealth healthand andsafety safetywillwillbebe based on Building Code regulations develop ideas for accessible andnon-objective. resilient public space as the central discuss design ideas. eventually extremely non-objective. introduced class well Green Building Council criteria butbut eventually extremely introduced to to thethe class as as well as as thethe USUS Green Building Council criteria theme ofdesign urban alongwhile with “invention” of program in response designadesign abuilding building whilean experiencing rating sustainability concerns. To To experiencing forfor thethe rating of of sustainability concerns. to Large-scale the New York State Governor’s Office Storm and design requires teamwork. how to (GOSR) communicate tension is highly unnerving; is also Recovery thisthis tension is highly unnerving; it it isofPracticing also theinLiving with thewhere Bay Resiliency Plan. how to negotiate different interests, challenges and strengths, atension tension where brilliant architectural The building often considered synonymous with architecture. ateams, brilliant architectural The actact of of building is is often considered synonymous with architecture. both visuallyare and verbally anatthe important aspect Studio V.asInas the decisions aremade, made,orisorat thevery veryleast, least, of Design However, indicated Kenneth Frampton following quote(1), decisions However, indicated byby Kenneth Frampton in in thethe following quote(1), thethe Students not only visit thestudents site, speak with planners and activists Community Design Studio, are required to work in teams and tension allow spectacular intension the studio is to expand idea towards creation a wellthethewill tension willwill allow forforbut spectacular intension of of the studio is to expand thisthis idea towards thethe creation of of a wellinvolved in shaping land (and water) use policy in the Mill River Watershed. collaborate onto their design. mistakes occur. considered public building beyond cliché technical savy and image mistakes to occur. considered public building beyond thethe cliché of of technical savy and image During the course of the semester students met with representatives from production production . . theThe Governor’s Office of Storm Recovery members of the Community semester was divided into will two phases. ‘Phase a set of research During semester students will be asked to One, During thethe semester students be(GOSR), asked to Board, officials from Nassau County, thearchitectural Village of Rockville community models which culminates with Mid Term ReviewCenter, addresses questions integrate many aspects of your architectural ’ Situated interface culture and nature, building is as much about integrate many aspects of your ’ Situated at at thethe interface of of culture and nature, building is as much about activists from site the Metropolitan Waterfront Alliance, thecharacterized Citizens Advisory of education zoning, and precedent. ‘Phase Two was was byasthe education coming from several disciplines ground as it about is about built form. Close agriculture, task is to coming from several disciplines thethe ground it is thethe built form. Close to to agriculture, its its task is to Committee (CAC)of others.ecology These community representatives joined theearth’s development an urban from Master Plan to conceptual diagrams, research in architecture create a small modify the surface in such a way take care it, as in Heidegger’s of of research inand architecture to to create a small modify the earth’s surface in such a way as as to to take care of of it, as in Heidegger’s studio for a building final design review, where students opportunity to perspective renderings, animations and a siterecieved model, an all concept ofconcept whichofwill be public building complete with materiality, of Gelassenheit letting be….architecture opposed building, public complete with its its materiality, Gelassenheit or or letting be….architecture as as opposed to to building, discuss designatideas. presented the Final Review, which was staged competition and structure and heating/cooling systems andas a ‘silent’tends tends favor space public appearance rather than privacy structure and heating/cooling systems and to to favor thethe space of of public appearance rather than thethe privacy of of thethe exhibition. Students were with opportunities to domus engage with the considerations. is in significant domus . At same time is as much about place-making and passage sitesite considerations. As As itprovided isit in anyany significant . At thethe same time it isit as much about place-making and thethe passage Large-scale requires teamwork. Practicing how ‘Client’ , which inarchitecture, this case refers to representatives the to local community, work ofarchitecture, the emphasis of time isas about space and form. Light, water, wind weathering, these work ofdesign the emphasis willwill of ofcommunicate time as as it isitabout space and form. Light, water, wind weathering, these areare in well teams, how to negotiate different interests, and strengths, other stakeholders and organizations tochallenges whom the future of areait isit consummated. be placed creativity the process agents by which is consummated. much continuity transcends beas placed in in thethe creativity of of the process agents bythis which In In as as much as as its its continuity transcends both visually and verbally is building an important aspect of Design Studio V. Inbuilding the areof critical. ofintegrating integrating systems and mortality, building provides basis and culture. is neither high all allbuilding systems and mortality, provides thethe basis forfor lifelife and culture. It isItneither high artart Community Design Studio, students are required innor teams and environmental concerns thedesign. design. to work nor high technology. extent that it defies time, is anachronistic environmental concerns in inthe high technology. To To thethe extent that it defies time, it isit anachronistic byby collaborate on their design. This will be done most conventional definition. Duration and durability ultimate values. This will be done in in thethe most conventional definition. Duration and durability areare its its ultimate values. ’ ’ way, it mirrors way good practicing way, ie. ie. it mirrors thethe way good practicing The semester was divided into two phases. ‘Phase ofstudio research architects think. First and foremost, The studio promote and emphasize relationship building architects think. First and foremost, thethe One, a set The willwill promote and emphasize thethe relationship of of thethe building to to models which isculminates with theproject Mid Term Review questions intention is to develop your project one addresses conditions well environmental systems, understanding intention to develop your as as one thethe conditions of of thethe sitesite as as well as as environmental systems, understanding of zoning, site precedent. ‘Phase– in Two was was characterized by the envelope, might in and an architectural practice – parallel, in parallel, building envelope, material choices and assembly various technical might in an architectural practice of of thethe building material choices and assembly of of various technical development of an collaborative urban ecology from diagrams, simultaneous, collaborative ways.Master Plan to conceptual components building. The students’ ability integrate building simultaneous, ways. components of of thethe building. The students’ ability to to integrate thethe building perspective renderings, animations and a site model, all ofsystems which will bethe systems conceptual development their building tested and to to the conceptual development of of their building willwill bebe tested and presented at the Final Review, which was staged as a ‘silent’ competition and discussed during scheduled reviews across studios with architecture/ discussed during thethe scheduled reviews across thethe studios with architecture/ exhibition. Students were provided with opportunities to engage with the and design professors and outside technical consultants. FACULTY design professors outside technical consultants. FACULTY ‘Client’ , Robert whichKarahan inCody this case refers to representatives Beyhan Karahan Matthias Altwicker of the local community, as Beyhan Glen Landow John DiDomenico well as other stakeholders to whom the future of this area Matthias Altwicker and organizations Matthias Altwicker David Busch Mathew Ford are critical. Wilvan Van Campen Wilvan Van Campen Heather O’Neal Benjamin Cadena John DeFazio John DeFazio Antonio Gabrielle John DeFazio

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Wilvan Van Campen Beyhan Karahan

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Cesar Ortiz B.Arch Program Spring 2016 71

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THESIS STUDIOS The architectural thesis is the capstone course of the B.ARCH program at NYIT. It summarizes and demonstrates the competencies required for this first Professional Degree. A thesis is a project with a proposition that contains a theory, “a supposition or system of ideas intended to explain The architectural the capstoneForcourse of the something” (Oxford thesis Englishis Dictionary). architecture B.ARCH program at NYIT. It summarizes and demonstrates students the thesis year involves transforming theories into thedesign competencies required for this first Professional Degree. the of buildings—speculating through Architecture. A thesis is a project with a proposition that contains theThis goes beyond just solving the problem of programaand ory, “a supposition or system of ideas intended to explain site, to the historical, social, cultural and ideological meansomething” (Oxford English Dictionary). For architecture ings of the topic. students the thesis year involves transforming theories into the two design of buildings—speculating Architecture. The semester Thesis studio requiresthrough independent work This goes beyond just solving the problem of program and and responsibility on the part of the student. The professors site, to the historical, social, cultural and ideological meanfor the studio are thesis advisors. Each section has a focus of the topic. asings described in the studio outlines. Requirements for work throughout the semester are set by the individual section The two Beyond semesterfulfilling Thesis studio requires independent work advisors. the requirements for each secand responsibility on the part of the student. The professors tion, it is the responsibility of each student to demonstrate for validity, the studio are thesisand advisors. Each section has project a focus the competency completeness of their as described in the studio outlines. Requirements for work to the thesis faculty as a whole in order to successfully comthroughout the semester are set by the individual section plete the studio. advisors. Beyond fulfilling the requirements for each section,thesis it is the responsibility of work each student to demonstrate The faculty reviews the of all students before the validity, competency and completeness of project the final reviews for Design 7 and Design 8. Thistheir process is to the thesis faculty as a whole in order to successfully comknown as the “walk-through”. Students will be given guidepletefor theastudio. lines summary board of the semester’s work, to be submitted between the mid-term and final reviews on speThedates thesisforfaculty reviews the workfaculty of allfind students before cific each semester. If the a student’s the final reviews for Design 7 and Design 8. This process work incomplete or inadequate he/she will either be askedis as the the “walk-through”. will before be given toknown demonstrate appropriate Students level of work theguidefinal lines for a summary board of the semester’s work, be review or be removed from the final review schedule to and submitted between the mid-term and final reviews on sperequired to repeat the semester. cific dates for each semester. If the faculty find a student’s work incomplete or inadequate he/she will either be asked to demonstrate the appropriate level of work before the final review or be removed from the final review schedule and required to repeat the semester.

THESIS STUDIOS

In Design 7 students are expected to develop their projects through invention and research. The research component of the thesis year is an important demonstration of skills required for the professional degree, as specified by NAAB criteria: Design Thinking, Investigative Skills, Architectural In Design 7 students to develop their projects Design Skills, Use are of expected Precedents, Pre-Design, and through invention and research. The research component Research. Research should examine the history and of theofthesis is antoimportant of skills theory topicsyear related the thesisdemonstration proposal: Humanistic required for the professional degree, as specified by Discourse, Space, Poetics, Program, Site, Structure NAAB and criteria: Design Thinking, Investigative Skills, the Architectural Sustainability. Research should also include plastic Design Skills, Usedesign of proposals. Precedents,Conclusions Pre-Design,drawn and study of speculative Research. Research should examine the history from research should be presented at the final review. and By theory to the thesis proposal:and Humanistic the end of of topics Designrelated 7 a clear thesis statement project Discourse, Poetics, and Program, Site, Structure and proposal mustSpace, be established fully documented. Sustainability. Research should also include the plastic of 8speculative design and proposals. Conclusions Instudy Design students develop complete the projectdrawn to a from research should be presented at the review. resolution appropriate to the nature and scalefinal of the thesisBy the end Each of Design 7 a must clear thesis statement and ofproject proposal. student establish the goals the proposal must be established and fully documented. thesis with his/her advisor. A successful project will achieve these goals. It will also demonstrate the student’s skills as Design 8and students the projectand to a a In designer, ideally,develop becomeand thecomplete most sophisticated resolution appropriate to the nature and scale of the thesis substantial achievement of his/her student work. proposal. Each student must establish the goals of the thesis with his/her advisor. A successful project will achieve these goals. It will also demonstrate the student’s skills as FACULTY a designer, and ideally,Gilbecome the most sophisticated and Frances Campani Even-Tsur Even-Tsur Alexandre Delaunay substantial achievement of his/her student work. Jonathan Friedman Giovanni Santamaria Jan Greben Matthew Krajewski Naomi Frangos Jan Greben Beyhan Karahan Jonathan Friedman Antonio Gabrielle Matthew Krajewski Michael Nolan Manuel Garza FACULTY Robert Cody Michael GiovanniNolan Santamaria William Palmore Alexandre Delaunay Joshua Gil Even-Tsur Charles Matz Davis Estaban Beita Matthew Krajewski Jan Greben Adegboyega Adefope Jens Holm Jonathan Friedman Beyhan Karahan Esteban Beita Jason Hwang Manuel Garza Michael Nolan Alexandre Delaunay William Palmore Jan Greben & Frances Campani William Palmore Giovanni Santamaria Manuel Garza Beyhan Karahan Thesis Coordinators, SoAD at NYIT Estaban Beita

Jan Greben Campani Jan Greben&&Frances Frances Campani Faculty, School of Architecture and Design NYIT Thesis Coordinators, SoAD atat NYIT

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