Atmosphere: Issue 01

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

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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

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ATMOSPHERE ATMOSPHEREFOREWORD FOREWORD ARCHITECTURAL ARCHITECTURALJOURNAL JOURNAL

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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

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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

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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.

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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

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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

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FUNDAMENTALS I

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

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P 02 ROJECT

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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

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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

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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

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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.

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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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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

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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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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.

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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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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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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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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

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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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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.

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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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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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TECHNOLOGY The methodology for this section places an emphasis on how parameters of climate, construction, and material define the making of a piece of architecture, both in form and in detail. By making we are interested in how these parameters control and define both the broad decisions and the specific details behind implementation and expression of a construction system in a building.

The development of the details of the building will always manifest themselves in constructive layers that are inherent in all constructive systems - Bearing, Insulation, Protection + Finish. Furthermore, each of these layers must always relate to a specific condition between the environment and the building - Foundation, Wall, Roof. The complexity of these interactions makes the resolution of even a simple building a challenging task of coordination and synchronization between the demands of Function, Constructability & Aesthetics.

It will quickly become apparent that there are many more constructive possibilities than can be taught in a five-year curriculum, let alone a two-course sequence.

What is more interesting and helpful for you is to learn a methodology for dealing with the variety of constructive situations students face. This method will present a way of designing and detailing simultaneously, which means the characteristics of the various construction types will reference a larger strategy of organization, an organization that operates at every scale of the building and the site.

03

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TECHNOLOGY

The methodology for this section places an emphasis on Building how parameters of climate, construction, and material construct define the making of of architecture, both to in form environm Building Construction I a+ piece II introduces students building and in detail.

By making and we are interested in how these conceptio construction and materials, their interrelationship with the parameters control andofdefine both the broad may invo environment, with the goal introducing you to adecisions more holistic and theof specific detailsWhile behind implementation and formal te conception architecture. initial architectural concepts expression of a construction system and in a building. from the may involve understanding construction material in spatial or Theby methodology sectio used.

Co formal terms, the making of architecture is defined parameters for this how conceptco Theclimate, development ofand the details of the building will always from the the site, the efficiency and logic ofparameters the systemsof climate, define theaare making piece of a themselves in constructive layers that used.manifest Construction and material can reciprocally inform design of aundersto and in detail.

Bybe making weasare Just it inherent in all constructive systems - These Bearing, Insulation, concept and enrich its ultimate potential. courses are to parameters define manifest Protection + Finish. each these experience. layerscontrol and understood as parallel andFurthermore, integrated with theofstudio and the specific details that behi issue must to a specific condition Just as it is always expectedrelate that issues of sustainability andbetween construction expression of a construction sys construct the themselves environment and your the building - Foundation, manifest within studio projects, it is also Wall, expected either co Roof. The complexity of manifest these interactions the that issues of form and space themselvesmakes in the building Theto development of the details every lineo resolution of even a simpleand building a challenging task of construction course.

Structure material are not be applied, manifest themselves in cons architectu synchronization between the demands eithercoordination conceptuallyand or literally, to architecture: they are inherent in inherent all constructive syst Function, Constructability & Aesthetics. everyof line you draw, just as they should be inherent in everyinwork of Protection + Finish. Furthermo Environm architecture you create. must a spe provision It will quickly become apparent that there are always many relate to environment the buil obj more constructive than can bethe taught in abasic andbasic Environmental Systems possibilities I+II introduces students to the The of these develop five-year curriculum, let alone two-course sequence. provisions of comfort, health, safety,a and their Roof. role as thecomplexity most thesebuild pro is more interesting and helpful forcourse youresolution is to learnofaeven basic What objective in creating architecture.

The sequence will a simple and synchronizatio design p methodology for dealing with ofcoordination constructive develop a basic understanding of the howvariety to achieve and maintain ofthe Function, &A and pract This method will present aConstructability thesesituations provisionsstudents and how face. to integrate them into architectural addresse way of designing detailing simultaneously, design process.

Throughand a combination of theoreticalwhich seminars Itconstruction will quickly become Airappare Qualit means the characteristics variousmain and practical design assignmentsof thethe following topics will are more constructive Bioclimat types will reference a largerDesign, strategySolar of organization, an addressed: Climate Responsive Orientation, Indoor possibilities curriculum, let alone Systems, organization that operates at every scale offive-year the building Air Quality, Performance Assessment Tools, Carbon Neutral Design, Whatof is more interesting he andand Cool and theDesign, site. Energy Efficiency, Performance Bioclimatic Envelope methodology for dealing with t Systems, Moisture Transfer, Thermal Control, Active/Passive Heating situations students face. This and Cooling, Water and Waste, Plumbing and Acoustics. way of designing and detailin means the characteristics of t types will reference a larger str organization that operates at ev and the site.

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BUILDING CONST. I

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PROJECT 01 For Project 01, students are given the following parameters to design form and structure of a small art gallery by developing a structural & framing strategy: 1. Basic floor plan configuration 2. Foundation type 3. Wall Type (Wood or Masonry) and roof type.

Students will be asked to make modifications to their project in terms of wall type, and possible also in terms of building shape, foundation condition, and roof shape.

The design will be further articulated by the use of construction systems and building details to augment and improve the building performance. Students will compare various wood (various framing distances, SIPs) and load bearing masonry systems (masonry, concrete masonry, cavity wall) to make a final decision on what system to use.

Each assignment will develop the building on three levels: climate response, construction system, and detail. The more information a student gains about the construction system each week, the clearer each detail will become.

Each assignment will build upon what was learned in the previous one, to the point where you will have a detailed, developed final project. The goal of these assignments is to see how the parameters of climate and construction guide and influence the designing of a building.

FACULTY Tobias Holler Tobias Holler Benjamin Rosenblum Ebru Sulker Peter Tymus Nathan Minett John Lovci

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W14 X 26

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W14 X 26W14 X 26 W14 X 26 W14 X 26

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W14 X 26

Concrete structure: Two Way Flat Plate -This concrete slab spans the full 125 feet and the construction process is easy overall.

62 X 41W

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62 X 6W

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2 WAY FLAT SITE CAST SLAB

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TCEJORP LEETS :20 TNEMNGISSA ETERCNOC

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Tobias Tobias Holler Holler Ty Kaul Matthias Altwicker 62 X 41W 62 X 81WLovci John Christopher Johnson Ebru Sulker 62 X 41W

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2 WAY FLAT SITE CAST SLAB

62 X 81W FACULTY 62 X 41W

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4 ROOLF

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SECTION 12” X 12” CONCRETE PRECAST COLUMNS

ASSIGNMENT 03: STRUCTURAL ALTERNATIVE IN CONCRETE

62 X 41W

ETERCNOC

-The columns are placed every 10th of the total slab span.

Concrete structure: Two Way Flat Plate -Beams support the slab in between columns allowing for longer spans and heavier loads.

-This system allows forthe large cantilevers because a slab that can span long distances along -This concretewith slab spans full 125 feetof and the construction process is easy overall. columns and beams to support the loads from the cantilevers.

-The columns are placed every 10th of the total slab span.

-Beams support the slab in between columns allowing for longer spans and heavier loads.

-This system allows for large cantilevers because of a slab that can span long distances along with columns and beams to support the loads from the cantilevers.

62 X 41W

W14 X 26

84 X 41W

62 X 6W

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3 ROOLF

12” X 12” CONCRETE PRECAST COLUMNS

62 X 81W

62 X 41W

WALL SECTION AT 1/2”=1’

CONCRETE

FRAMING PLANS AT 1/8”=1’

84 X 41W

Concrete structure: Two Way Flat Plate -This concrete slab spans the full 125 feet and the construction process is easy overall.

-The columns are placed every 10th of the total slab span.

-Beams support the slab in between columns allowing for longer spans and heavier loads.

-This system allows for large cantilevers because of a slab that can span long distances along with columns and beams to support the loads from the cantilevers.

62 X 41W

62 X 41W

FRAMING PLANS AT 1/8”=1’

ASSIGNMENT 02: STEEL PROJECT

84 X 41W

- 2x2 Drop CeŝůŝŶŐ Panels W14 X 26

62 X 6W

- Metal DeckiŶŐ - Beam - ,ĂŶŐĞƌ

62 X 41W

- 4” Concrete Slab W14 X 26

62 X 6W

COLUMN 3/4” PLYWOOD 7” METAL HORIZONTAL STUD AND INSULATION 3/4” PLYWOOD 1’ WATERPROOFING 2” AIR GAP 4”METAL ALUCOBOND

84 X 41W

FLOOR 4

62 X 41W

62 X 41W

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- FlooƌŝŶŐͬCarpet

Similar to the previous course, each assignenment will develop the building on three levels: climate response, 62 X 01W 62 X 41W construction system, and detail. The more information a student gains about the construction system each week, SSURT MOTSUC LEETS EBUT 6 X 6 the clearer each detail will become. Each assignment will build upon what was learned in the previous one, 2 X 01Wa detailed, 62 X 4developed 1W to the point where you will 6have final project. The goal of these assignments is to see how the parameters of climate and construction guide and influence the design of a building.

84 X 41W

62 X 21W

CondiƟŽŶ 4

62 X 41W

- Metal PanelŝŶŐ

62 X 41W 62 X 41W

- Water ProoĮŶŐ - Air Gap

62 X 41W

62 X 41W

- ¾” Ply Wood

62 X 41W

62 X 41W

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- Sheet-Rock

62 X 81W

SSURT MOTSUC LEETS EBUT 6 X 6

CondiƟŽŶ 3 - Column

62 X 41W

62 X 41W

62 X 81W

84 X 41W

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62 X 21W

62 X 41W

- 2x2 Drop Ceiling Panels

62 X 41W

- Hanger

12” X 12” CONCRETE PRECAST COLUMNS

3 ROOLF

SROOLF LLA ROF DESU SN

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W14 X 26W14 X 26

G6N I 2X

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II

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6 2 X 6W

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6 2 X 4 1W

2 X 6W 62 6X241XW41W 62 X 66W

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6622 XX 4411WW

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41W

41W

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SSURT MOTSUC LEETS EBUT 6 X 6

Students are given an actual site, and asked to make modifications to their project, in terms of wall type, and T MOTSUC LE6E2TSXEB4U1TW 6X6 62 XSS0U1RW possible also in terms of building shape, foundation condition, and roof shape. The design will be further articulated by the use of construction systems and building details to augment and improve the building performance.

SSURT MOTSUC LEETS EBUT 6 X 6 For both the steel and concrete portion of 6the you 62 X 01W 2 X 4course, 1W will compare various steel and concrete systems to make a final decision on what system to use.

62 X 41W

- Beam

W12 X 26

PLANS AT 1/8” =1’

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- Metal Decking

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- 4” Concrete Slab

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- Water Proofing

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- Drain

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- Drain Hole

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- 1” Cedar Wood

FRAMING PLANS AT 1/8”=1’

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1. Basic floor plan configuration 1 ROOLF 2. Foundation type SSURT MOTSUC LEETS EBUT 6 X 6 3. Wall Type (Steel or Concrete) and roof type.

62 X 41W

62 X 21W

- Horizontal Stud

W14 X 26

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For Project 01, students are given the following SSURT M OTSUC LEETS EBUT 6 X 6 parameters to design form and structure of a small office building with a production facility by developing a structural & framing strategy:

84 X 41W

- Metal Paneling

- InsulaƟŽŶ

W14 X 26

62 X 01W

84 X 41W

- Water Proofing

Condition 2

W12 X 26

62 X 6W

- ¾” Ply wood

W14 X 26

W14 X 26

BUILDING CONST. II

CONSTRUCTION 6 2 X 6W

- Horizontal studs

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4 ROOLF

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- Insulation

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- Water Proof Sheet-Rock

W12 X 26

W14 X 26

BUILDING PROJECT 01

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Condition 1

- Air Gap

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FLOOR 4

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PLANS AT 1/8” =1’

2 ROOLF

W12 X 26

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FLOOR 2

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FLOOR 4

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URT MOTSUC LEETS EBUT 6 X 6 03.SSTECHNOLOGY

62 X 01W

6 2 X 4 1W

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62 X 8612 WX

SECTIONS AT 1/8”=1’

STEEL STRUCTURE USES A COMBINATION OF BEAMS AND COLUMNS AND CUSTOM TRUSSES SUPPORTING THE WEIGHT OF ALL THE FLOORS ABOVE THE DESIGN PRODUCTION SPACE. BEAMS ARE CALCULATED DEPENDING ON SPANS AND COVERED BY 5” OF CONCRETE FLOOR DECK. THE BEAMS REMAIN THE SAME SIZE THROUGHOUT THE BUILDING BECAUSE THE TRUSSES RELIEVE THE LOAD OFF OF THE THE BEAMS AND ONTO THE COLUMNS WHICH WORK IN TENSION.

W14 X 26

62 X 41W62 X 41W

W14 X 26

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X 41W

W14 X 26

62 X 41W

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FLOOR 4

W14 X 26 W14 X 26 W14 X 26

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41W 6262 X 4X1W

PLANS AT 1/8” =1’

DNA SMAEB FO NOITANIBMOC A SESU ERUTCURTS LEETS THGIEW EHT GNITROPPUS SESSURT MOTSUC DNA SNMULOC .ECAPS NOITCUDORP NGISED EHT EVOBA SROOLF EHT LLA FO DNA SNAPS NO GNIDNEPED DETALUCLAC ERA SMAEB SMAEB EHT .KCED ROOLF ETERCNOC FO ”5 YB DEREVOC ESUACEB GNIDLIUB EHT TUOHGUORHT EZIS EMAS EHT NIAMER CONCRETE DNA SMAEB EHT EHT FO FFO DAOL EHT EVEILER SESSURT EHT .NOISNET NI KROW HCIHW SNMULOC EHT OTNO

FLOOR 2

FLOOR 4

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W12 X 26

STEEL STRUCTURE USES A COMBINATION OF BEAMS AND COLUMNS AND CUSTOM TRUSSES SUPPORTING THE WEIGHT OF ALL THE FLOORS ABOVE THE DESIGN PRODUCTION SPACE. BEAMS ARE CALCULATED DEPENDING ON SPANS AND COVERED BY 5” OF CONCRETE FLOOR DECK. THE BEAMS REMAIN THE SAME SIZE THROUGHOUT THE BUILDING BECAUSE THE TRUSSES RELIEVE THE LOAD OFF OF THE THE BEAMS AND ONTO THE COLUMNS WHICH WORK IN TENSION.

W14 X 26

PLANS AT 1/8” =1’

62 X 41W

62 X 41W

62 X 21W

W12 X 26

62 X 41W

62 X 41W 62 X 41W

W14 X 26

62 X 41W

W14 X 26

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FLOOR 3

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W12 X 26

62 X 41W

62 X 41W

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W14 X 26

W14 X 26

62 X 21W

62 X 41W

6622 X W X 0011W

THE FIRST FLOOR CONSISTS OF THE DESIGN PRODUCTION SPACE(125’ X 50’) AND THE LOBBY. THE DESIGN PRODUCTION SPACE IS THE LARGEST PEICE OF PROGRAM(125’ X 50’) AND THE LOBBY IS THE SMALLEST. THE SECOND AND THIRD FLOORS CONTAIN ALL OF THE OFFICE SPACE(EACH IS 71’X 76’). THE FOURTH FLOOR IS MECHANICAL SPACE(50’ X 50’).

6 2 X 4 1W

W14 X 26

W14 X 26

62 X 41W

62 X 41W62 X 41W

62 X 41W

W12 X 26

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62 X 41W

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WALL SECTION W12 X 26

W14 X 26

ELEVATIONS AT 1/8”=1’

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W12 X 26

W14 X 26

W14 X 26

62 X 41W 62 X 41W 62 X 41W

62 X 41W

62 X 21W

BEAMS ARE CALCULATED DEPENDING FLOOR 2ON SPANS AND COVERED BY 5” OF CONCRETE FLOOR DECK. THE BEAMS REMAIN THE SAME SIZE THROUGHOUT THE BUILDING BECAUSE W12 X 26 W14 X 26 W14 X 26 THE TRUSSES RELIEVE THE LOAD OFF OF THE THE BEAMS AND ONTO THE COLUMNS WHICH WORK IN TENSION.

W14 X 26

62 X 41W

62 X 41W

ETERCNOC

FLOOR 2

X 41W

X 41W

62 X 41W

EAST STEEL STRUCTURE USES A COMBINATION OF BEAMS AND COLUMNS AND CUSTOM TRUSSES SUPPORTING THE WEIGHT OF ALL THE FLOORS ABOVE THE DESIGN SPACE. VOLUME 01PRODUCTION I 2017-18 BEAMS ARE CALCULATED DEPENDING ON SPANS AND COVERED BY 5” OF CONCRETE FLOOR DECK. THE BEAMS THEUSES SAME SIZE THROUGHOUT THE BUILDING BECAUSE STEELREMAIN STRUCTURE A COMBINATION OF BEAMS AND THE TRUSSES RELIEVE THESUPPORTING LOAD OFF OF THE BEAMS AND COLUMNS AND CUSTOM TRUSSES THETHE WEIGHT ONTO THE COLUMNS WHICH WORK IN TENSION. OF ALL THE FLOORS ABOVE THE DESIGN PRODUCTION SPACE.

BENJAMIN SATHER - PETER LEONARDI - JASON BOTTIGLIERI VOLUME 01PROF. I 2017-18 HOLLER INITIAL STUDY - SATHER Concrete construction withLEONARDI the roof reacting -toJASON the sun. BOTTIGLIERI BENJAMIN - PETER PROF. HOLLER

03. TECHNOLOGY ENV. SYSTEMS I

03. TECHNOLOGY

VOLUME 01 I 2017-18

ENV. SYSTEMS I

INITIAL STUDY - Concrete construction with the roof reacting to the sun.

PROF. HOLLER INITIAL STUDY - Concrete construction with the roof reacting to the sun.

ARDI - JASON BOTTIGLIERI

INITIAL STUDY - Concrete construction with the roof reacting to the sun.

ENVIRONMENTAL SYSTEMS I ARDI - JASON BOTTIGLIERI ARDI - JASON BOTTIGLIERI ENVIRONMENTAL SYSTEMS I PROJECT 01 reacting to the sun.

ARDI - JASON BOTTIGLIERI Students build a physical model of a singular interior PROJECT room with 01 the intent of maintaining a comfortable and

WINTER ENV CROSS - VENTILATION

CROSS - VENTILATION

SUMMER SUN

ALLOWS FOR HEAT TO ESCAPE

reacting to the sun.

Students constant reacting to the sun.

build a temperature physical model a singular interior whileofthe model isinterior being EAST SECTION SUMMER SUN room withtothethe intent of maintaining a comfortable and exposed elements.

The models are placed SUMMER SUN NARDI - JASON BOTTIGLIERI constant interior while the model being EAST SECTION outdoors during temperature the fall semester and the isinterior reacting to the sun.

WINTER SUN exposed to will the be elements.

The models are with placed temperature continuously measured a EAST SECTION SUMMER SUN NARDI - JASON BOTTIGLIERI CROSS - VENTILATION outdoorsTemperature during theData fall Logger. semesterAt and the interior remote regular intervals WINTER SUN NARDI - JASON BOTTIGLIERI temperature will measurements be continuously with a EAST SECTION the temperature willmeasured be downloaded WINTER SUN CROSS - VENTILATION remote Temperature Data Logger.

At regular intervals and compared and each group has an opportunity to oof reacting -toJASON the sun. BOTTIGLIERI NARDI CROSS - VENTILATION the temperature EAST SECTION make adjustments measurements to the design, will basedbeondownloaded analysis of SOUTH SECTION WINTER SUN SUMMER SUN and compared andtaken. each group has an opportunity to the measurements oof reacting to the sun.

CROSS - VENTILATION SOUTH SECTION EAST SECTION make oof reacting to the sun. adjustments to the design, based on analysis of SUMMER SUN SOUTH SECTION EAST SECTION the measurements A generic design fortaken. a small building is given to all groups.

SUMMER SUN Each oof reacting to the sun.group is assigned a site within one of the four major SOUTH SECTION WINTER SUN EAST SECTION A genericzones design a small building is given to all groups. climate offor the North American continent (cool, SUMMER SUN Each group hot-arid, is assigned a site within oneAfter of theresearching four- VENTILATION major CROSS temperate, and hot-humid).

WINTER SUN climate of the North American (cool, the basiczones environmental attributes of the continent site and climate WINTER SUN CROSS - VENTILATION temperate, hot-arid, andclimate hot-humid).

Afterdesign, researching zone and learning about responsive each CROSSgeneric - VENTILATION the basic attributes of the site climate team will environmental propose envelope modifications to and the SOUTH SECTION EAST SECTION WINTER SUN zone and learning about climate responsive design,loads. each design in order to reduce its heating and/or cooling NORTH ELEVATION SOUTH ELEVATION CROSSgeneric - VENTILATION team will propose envelope modifications to the SOUTH SECTION Modifications include but are not limited to building EAST SECTION design in order to reduce itsELEVATION heating and/or cooling SOUTH SECTION NORTH SOUTH ELEVATION orientation, wall construction, shading devices,loads. and EAST SECTION Modifications includeNORTH butELEVATION are not limited to building fenestration.

SOUTH ELEVATION SOUTH SECTION orientation, wall construction, shading devices, and EAST SECTION fenestration.

NORTH ELEVATION SOUTH ELEVATION SOUTH ELEVATION WEST ELEVATION

INTER SUN

WINTER ENV WINTER ENV

ALLOWS FOR HEAT TO ESCAPE

CROSS - VENTILATION ALLOWS FOR HEAT TO ESCAPE

ENV

SOUTH SECTION WINTER

MONO-PITCH ROOF

DIRECTS WATER AWAY FROM OPENINGS

CROSS - VENTILATION ALLOWS FOR HEAT TO ESCAPE

SOUTH SECTION MONO-PITCH ROOF DIRECTS WATER AWAY FROM OPENINGS

SOUTH SECTION MONO-PITCH ROOF DIRECTS WATER AWAY FROM OPENINGS

ALLOWS FOR HEAT TO ESCAPE

SOUTH SECTION MONO-PITCH ROOF DIRECTS WATER AWAY FROMAXON OPENINGS SOUTHERN FACING

ALLOWS FOR HEAT TO ESCAPE

ALLOWS FOR HEAT TO ESCAPE

SOUTHERN FACING AXON SOUTHERN FACING AXON

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MONO-PITCH R

DIRECTS WATER AWAY FROM O

SOUTHERN FACING AXON

MONO-PITCH R

DIRECTS WATER AWAY FROM O

MONO-PITCH R

DIRECTS WATER AWAY FROM O

ALLOWS FOR HEAT TO ESCAPE

MONO-PITCH R DIRECTS WATER AWAY FROM O SOUTHERN FACING A

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NORTHERN FACING AXON

ALLOWS FOR HEAT TO ESCAPE

ALLOWS FOR HEAT TO ESCAPE

FACULTY SOUTH ELEVATION

SUMMER SUN

SOUTH ELEVATION Tobias TobiasHoller Holler FACULTY Robert Dadras SUMMER SUN Matthias Altwicker SOUTH ELEVATION Tobias Holler

SOUTHERN FACING A

WEST ELEVATION

NORTHERN FACING AXONFACING A SOUTHERN

NORTHERN FACING AXON

FALL 2017 ENVIRONMENTAL SYSTEMS FALL 2017 ENVIRONMENTAL SYSTEMS FALL 2017 ENVIRONMENTAL SYSTEMS

WEST ELEVATION

Ebru Sulker Wolfgang Werner Benjamin Rosenblum

FALL 2017

WEST ELEVATION SOUTHERN FACING A

NORTHERN FACING AXON WEST ELEVATION

EAST ELEVATION

WEST ELEVATION

EAST ELEVATION

ENVIRONMENTAL SYSTEMS

WEST ELEVATION

EAST ELEVATION

MONO-PITCH ROOF

WEST ELEVATION

DIRECTS WATER AWAY FROM OPENINGS

SUMMER SUN

EAST ELEVATION

NORTHERN FACING AXO

NORTHERN FACING AXO

NORTHERN FACING AXO

MONO-PITCH ROOF DIRECTS WATER AWAY FROM OPENINGS

SUMMER SUN

NORTHERN FACING AXO

MONO-PITCH ROOF DIRECTS WATER AWAY FROM OPENINGS

WINTER SUN SOUTH ELEVATION

WEST ELEVATION

MONO-PITCH ROOF DIRECTS WATER AWAY FROM OPENINGS

INTER SUN

SOUTHERN FACING AXON

WINTER SUN ON

SOUTH ELEVATION ELEVATION STUDY AFTER ADJUSTMENTS - To control sun exposure WEST to the SOUTHERN FACING AXON concrete walls and limit the heat absorbed the roof was expanded.

SOUTH ELEVATION WEST ELEVATION

STUDY AFTER ADJUSTMENTS - To control sun exposure to the SOUTHERN FACING AXON concrete walls and limit the heat absorbed the roof was expanded.

SOUTH ELEVATION ELEVATION STUDY AFTER ADJUSTMENTS - To control sun exposure WEST to the concrete walls and limit the heat absorbed the roof was expanded.

ON

re to the expanded.

ON

re to the expanded. re to the ON expanded.

re to the expanded.

SOUTHERN FACING AXON

STUDY AFTER ADJUSTMENTS - To control sun exposure to the Benjamin Sather,walls Peterand Leonardi, Bottiglierithe roof was expanded. concrete limit theJason heat absorbed B.Arch Benjamin Fall 2017 Sather, Peter Leonardi, Jason Bottiglieri B.Arch CROSS - VENTILATION Fall 2017 102

EAST ELEVATION

EAST ELEVATION EAST ELEVATION

EAST ELEVATION

SUMMER SUN

SUMMER SUN SUMMER SUN

CROSS - VENTI

WINTER SUN

ALLOWS FOR HEAT TO

SUMMER SUN WINTER SUN

CLERESTORY OPENINGS ALLOWS FOR HEAT TO ESCAPE

EAST SECTION

WINTER SUN

ALLOWS FOR HEAT TO ESCAPE

CROSS - VENT

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CROSS - VENTI

CLERESTORY OPENINGS

ALLOWS FOR HEAT TO

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EAST SECTION

CROSS - VENTILATION

EAST SECTION

CROSS - VENTILATION

EAST SECTION

EAST SECTION EAST SECTION

WINTER SUN

ALLOWS FOR HEAT TO ESCAPE ALLOWS FOR HEAT TO ESCAPE

NORTHERN FACING AXON CROSS - VENTILATION

ALLOWS FOR HEAT TO ESCAPE

EAST SECTION

CLERESTORY OPENINGS SOUTH SECTION

ALLOWS FOR HEAT TO ESCAPE

CLERESTORY OPENINGS SOUTH SECTION SOUTH SECTION

CROSS - VENT

ALLOWS FOR HEAT T

ALLOWS FOR HEAT TO ESCAPE

03. TECHNOLOGY

VOLUME 01 I 2017-18

ENV. SYSTEMS I

ENVIRONMENTAL

SYSTEMS

II

PROJECT 01 Students build a physical model of a room and test different façade designs in terms of their daylighting potential. The room has only one exterior wall and it is the goal to create an even light distribution inside of the room. The models will be taken outdoors and interior daylighting levels will be measured with a light level meter.

Students then design the façades and the roof of a three story office building in order to maximize the use of daylight. The following design parameters apply: For energy efficiency reasons, the maximum glazing area of the envelope cannot exceed 50% (per floor, measured from finish floor to finish floor. Average Daylight Factor for daylit general office areas as per recommendations on page 60, Green Studio Handbook. More details and requirements see assignment hand out.

FACULTY Tobias Tobias Holler Holler Robert Dadras Michael Huang

Rostam Seraj, Jacob Wesel, Samuel Santos B.Arch Fall 2017 103

VOLUME 01 I 2017-18

04

V I S UA L I Z AT I O N Interior designers and architects draw to record their thoughts, what they have learned and what they have seen. They draw to sort out ideas and to communicate them to others, be they professional colleagues, employers or clients, examiners for code and zoning compliance, contractors for bidding and construction, and perhaps editors for publication of their work. Architects and designers often keep drawing journals or visual diaries. Practice and assimilation of many techniques improves their success and the value of their work.

While some drawing tools lend themselves to detail and precision, others are useful to express broad intentions. Few are equally good at both hence we explore a range of media and techniques. Success and originality stem from mastery and from deployment of appropriate tools for the task at hand. The results will often be hybrid, that is, combinations of hand and digital drawing and photomontage.

Subsequent courses in the Visualization sequence examine digital media to supplement that which is covered here.

Visualization I is the introductory drawing course for Interior Design and Architecture Majors. It is the first in a series of courses that impart the concepts and skills of visual communication necessary to explore and practice these two related fields. Architecture and Interior Design are each professions with their own licensure and accrediting standards, yet they share a great deal of territory in common. In practice, architects and interior designers work collaboratively, often under one another’s employment.

Some practice both. At the introductory level our work is focused on drawing practices common to both fields.

104

Visualization II introduces the use of the computer and mixed media for two-dimensional architectural representation. The course offers a comprehensive introduction to computer aided drafting, two dimensional presentation drawing and diagramming techniques, and portfolio layout and design. Much like skills introduced in Visualization I, the following exercises offer not only new tools for visual communication and representation, but also new methodologies for design and abstraction. The three course visualization sequence seeks to position itself within an academic and professional environment of constantly changing design tools, representational methods, and technologies.

Through the careful introduction of appropriate tools and methodologies, these courses are meant to equip students with a digital and analog framework that supports fluidity in process and reinforcement of the benefits and value of each through an exchange and overlap.

Visualization III provides tools to extend the use of the computer and mixed media as tools for three-dimensional architectural representation. The course offers instruction in digital modeling, introductory rendering, and presentation drawing techniques.

The same skills used to make documentary drawings can be used for three-dimensional analysis: to diagram, disassemble and reassemble projects to better understand them. Much like skills introduced in earlier Visualization courses, the following exercises offer not only new tools for visual communication and representation, but also new methodologies for design and abstraction. A discussion of the way in which emerging technologies are affecting contemporary practice and process will act as a theoretical underpinning to all exercises.

VOLUME 01 I 2017-18

Rob Nafie B.S.A.T. Program Fall 2015 105

VOLUME 01 I 2017-18 VOLUME 01 I 2017-18 VOLUME 01 I 2017-18 VOLUME 01 I 2017-18

VISUALIZATION I VISUALIZATION I PROJECT 01 VISUALIZATION I PROJECT 01 we must ask ourselves how To draw well, VISUALIZATION I To well,the weworld mustaround ask ourselves we draw perceive us (howhow we PROJECT 01

we perceive the world around (how we know what we and to us understand To PROJECT draw well, 01 weknow), must ask ourselves how know what we know), and to understand and describe (graphically) what we have we perceive us (howhow we To draw well,the weworld mustaround ask ourselves and we have seen. describe Drawing(graphically) is a visualwhat language.

As know what we and to us understand we perceive the know), world around (how we seen.

Drawing a visual language.

As children we are isadept at making symbols and we have knowdescribe what we(graphically) know), and what to understand children we are adept at making symbols to describe objects, for instance, a house, seen.

Drawing(graphically) is a visualwhat language.

As and describe we have to describe objects, for instance, a house, a tree, or a face, but less so at drawing this children we are isadept at making symbols seen. Drawing a visual language.

As ahouse, tree, or a face, at drawing this that tree but or less my so face.

To improve, to describe for atinstance, house, children we objects, are adept making asymbols house, thatbetter tree understand or my face. our To improve, we must subjects, atotree, or a face, but less so at drawing this describe objects, for instance, a house, we must better understand our their spatial relationships to us andsubjects, to their house, that tree but or less my so face.

To improve, a tree, or a face, at drawing this their spatial relationships to us and to their surroundings. we must subjects, house, thatbetter tree understand or my face. our To improve, surroundings. their spatial relationships to usour andsubjects, to their we must better understand This project calls for a series of exercises: each surroundings. their spatial relationships to us and to their This project calls for ayour seriesability of exercises: each meant to enhance to observe surroundings. meant to enhance your ability to observe / see and to record visual information with This project calls for a series of exercises: each /precision. see and to record visual information with Students are assigned to draw This project calls for ayour seriesability of exercises: each meant to enhance to observe precision.

Students are assigned to draw distinct views on-site with their instructor, to to enhance to observe /meant see and record your visualability information with distinct views detail on-siteaswith and increase theytheir add instructor, layers of / see and to record visual information with precision.

Students are assigned to draw and increase detail as they add layers of information. precision.views Students assigned to draw distinct on-sitearewith their instructor, information. distinct views detail on-siteaswith and increase theytheir add instructor, layers of and increase detail as they add layers of information.

PROJECT 02 information.

PROJECT 02 Our sense of vision allows Whole to parts: Whole to parts: sense of vision allows us to see objectsOur PROJECT 02 free from the atmosphere us to see objects free from the atmosphere that surrounds them, and parts Whole PROJECT to parts: 02 Our sense conversely, of vision allows that surrounds them, and conversely, parts to whole: the connectedness of these items us to see freesense from of thevision atmosphere Whole to objects parts: Our allows to what whole:is the connectedness of these items adjacent to them in a continuous that them, parts us tosurrounds see objects free and fromconversely, the atmosphere to whatthat is adjacent to them in ahorizon continuous fabric joins them to the and to the connectedness of these items thatwhole: surrounds them, and conversely, parts fabric that joins to the ashorizon and to ourselves.

To them see objects individual, to what adjacent to them inofa these continuous whole:is the connectedness items to ourselves.

To see objects as individual, separable and portable is to see them as fabric joins them to the and to whatthat is adjacent to them in ahorizon continuous separable and portable is tofabric. see them as fragments removed from this to ourselves.

To them see objects individual, fabric that joins to the ashorizon and fragments removed from this fabric. separable andToportable is to as seeindividual, them as to ourselves. see objects This project calls for the photographing and fragments from this separable removed and portable is tofabric. see them as This project callsoffora the photographing documentation space.

Images willand be fragments removed from this fabric. documentation of aonspace.

Images be cropped and placed a drawing padwill where This project calls for the photographing and cropped and placed on a drawing pad where the students will extend the view and create documentation space.

Images willand be This project callsoffora the photographing the scene. students will extend the view and create cropped and placed a drawing padwill where documentation of aonspace.

Images be the scene. the students extend view pad and where create cropped and will placed on a the drawing FACULTY the scene. students will extend the view and create David Diamond William Palmore FACULTY David Diamond the scene.

Clara Ha Trudy Brens

David Diamond FACULTY Efrat Nizan(Top), Marilyn Naomi Frangos Janki Patel Corea (Bottom) David FACULTY Diamond Farzana Gandhi Janki Patel (Top), Marilyn Corea (Bottom) B.S.A.T. Program David Diamond B.S.A.T. Program Fall 2015 Janki Patel (Top), Marilyn Corea (Bottom) Fall 2015 Janki Patel (Top), Marilyn Corea (Bottom) B.S.A.T. Program 1062015 B.S.A.T. Program Fall 106 Fall 2015 106 106

VISUALIZATION I 04. VISUALIZATION VISUALIZATION I

04. VISUALIZATION VISUALIZATION I 04. VISUALIZATION VISUALIZATION I

VOLUME 01 I 2017-18

04. VISUALIZATION VISUALIZATION I

Marilyn Corea B.S.A.T. Program Fall 2016 107

VOLUME 01 I 2017-18

P 01 ROJECT

Marilyn Corea-Ramirez B.S.A.T. Program Fall 2016 108

04. VISUALIZATION VISUALIZATION I

VOLUME 01 I 2017-18

04. VISUALIZATION VISUALIZATION I

Marilyn Corea-Ramirez B.S.A.T. Program Fall 2016 109

VOLUME 01 I 2017-18

P 02 ROJECT

110

04. VISUALIZATION VISUALIZATION I

VOLUME 01 I 2017-18

04. VISUALIZATION VISUALIZATION I

Chris Erlilch B.S.A.T. Program Fall 2015 111

VOLUME 01 I 2017-18

112

04. VISUALIZATION VISUALIZATION I

VOLUME 01 I 2017-18

04. VISUALIZATION VISUALIZATION I

Xin Li B.S.A.T. Program Spring 2015 113

04. VISUALIZATION

VOLUME 01 I 2017-18

VISUALIZATION II

Axonometrics

VISUALIZATION II PROJECT 01 This exercise offers students a comprehensive introduction to twodimensional drafting in AutoCAD. Students will begin by preparing plans, sections, and elevations of their assigned case study house using a full range of 2D editing commands as appropriate. Analog documentation of case studies that generate plans, sections and elevations in AutoCAD is not simply a tracing exercise, but rather one where students pay attention to the drawing conventions of stair, ramp, opening, enclosure, restroom, and site. How do the drawings relate to one another? Do the section cuts line up with the plan? Draw purposefully: each line has significance.

PROJECT 02 Drafted two-dimensional drawings can be enhanced with layers of graphic information that often would not be possible with the drafting environment. The use of color, tone, and hatching can suggest materiality, but also make certain architectural elements distinct or comparable to one another. Casting shadows in a plan or elevation can add spatial depth and clarity.

Collaging in context and scalar figures adds additional information about site and size. This assignment will introduce students to the use of Adobe Illustrator and Adobe Photoshop to make presentation quality plans, sections, and elevations from original 2D AutoCAD output.

FACULTY John Bermudez Farzana Gandhi Michelle Cianfaglione Michael Nolan Michael Nolan Ishaan Kumar Sung Goo Yang

114

Esteban Beita Argiris Giogou Severino Alfonso Adegboyega Adefope Farzana Gandhi

1

{3D} Copy 1

VOLUME 01 I 2017-18

04. VISUALIZATION VISUALIZATION II

Mitchel Stogel B.S.A.T. Program Fall 2015 115

generate plans, sections and elevations in AutoCAD is not simply a tracing exercise, but rather one where students pay VOLUME 01 I 2017-18 attention to the drawing conventions of stair, ramp, opening, enclosure, restroom, and site. How do the drawings relate to one another? Do the section cuts line up onometrics with the plan? Draw purposefully: each line has significance.

04. VISUALIZATION VISUALIZATION III

VISUALIZATION III

PROJECT 02 PROJECT 01 Drafted two-dimensional drawings can be enhanced with layers of information This exercise introduces students to graphic the often would be possible with the basic principlesthat of rendering, withnot particular drafting and environment. emphasis on lighting materials. The Your use of color, tone,you anda hatching can suggest materiality, instructor will give basic introduction also in Rhino make including certain architectural to the renderingbut interface elements distinct or comparable to one how to create custom materials. another.

Castingto shadows Students will also be challenged pair these in a plan or elevation can add spatial depth and clarity. digital rendering skills with analog and other Collaging in context and scalar figures digital techniques in Adobe Photoshop. additional information about site Moving fluidly adds between media often allows and size.

This assignment for time – efficient and effective rendered will introduce students to the use of Adobe Illustrator and views and sectional perspectives Adobe Photoshop to make presentation quality plans, sections, and elevations FACULTY EstebanGandhi Beita from original John Bermudez 2D AutoCAD output.

Farzana Michael Nolan Severino Alfonso Mauricio Tacoaman Robert Tilden Joseph BrennanFACULTY Farzana Gandhi

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INTERIOR DESIGN 2017-2018 academic year marked 50 years since Hans Schröder founded the Interior Design Program at NYIT. Hans Schroeder was a renowned Dutch designer and architect who grew up in the Rietveld/Schroder House, in Ultrech, NL. The house, built in 1924 was a collaborative effort by Gerrit Rietveld and Hans’ mother, Trus Schröder. Today, it is an iconic example of Modernism, but then with its large windows, selective use of red, blue and yellow against white intersecting planes, was very much considered an oddity in a neighborhood of otherwise narrow brick row houses, typical of the era.

Schröder first came to NYC in 1953 to curate a show on Gerrit Rietveld for the MOMA. In the 60s she left her practice in Amsterdam and moved to the USA. While teaching at NYIT she set about planning and organizing how to preserve the Rietveld/Schröder House so it would not be lost to history but be a place for all to visit and experience; now a UNESCO World Heritage site.

She believed, in the convergence of the two disciplines of architecture and interior design. As an educator and chair of the Department of Interior Design she introduced into the curriculum a grounding in form making, analysis, conceptual development and the importance of understanding human behavior as a driver for spatial organization. It is her 12 yeartenure at NYIT as chairperson that set the program on solid foundation.

In 1984, under the guidance of then Chairperson, Janet deCecilia, the program became accredited by the Foundation for Interior Design (FIDER), now called Council for Interior Design Accreditation (CIDA). It has maintained continuous accreditation since then. In its fifty years the program has graduated countless young professionals who have made their way in the design field working for

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well know firms such as Gensler, SOM, Perkins and Will, Corgan, Perkins Eastman, Bentel and Bentel, Disney as well as become principals of their own firms. The program has grown in stature and recognition. It has participated in two Solar Decathlons (2005, 2007), shown student work in Milan, Italy at the ICFF Salone, at the United Nations, Albany, and many NYC locations. Students have won Scholarships from the Donghia Foundation, the Decorators Club, NEWH, Brendalyn Stempel Scholarship, and Friends of the School of Architecture and Design.

The program celebrated its 50 th Anniversary with a full day of lectures and panel discussions. The afternoon sessions were organized by Professor Charles Matz and the evening ones by Professor Robert Allen. Chairperson Martha Siegel introduced guests to the events.

The afternoon speakers addressed digital process, along with information technologies and how they are impacting the practices of the professions of interior design, architecture, engineering and construction. While the evening featured presentations and panel discussions that examined the rapidly evolving role of interior design in form-making; redefining interior design’s role and stature in the overall conception and realization of projects. The presenters were three prominent designers today who shared their work and how they approach the design problem from the inside.

An Exhibition of student work ran during the same week at the AIA Center in NYC. Martha Siegel Professor and Chairperson, Interior Design, SoAD at NYIT

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This is the first course in the Interior Design sequence and serves as an intermediary, straddling between the Fundamentals sequence and the upper division interior design studios.

The first exercise is a basic Alber’s color theory exercise to introduce students to the impact of color on adjacent or surrounding color. Next the students were given a two-dimensional painting by Laslo Moholy-Nagy, Composition Z VIII and asked to interpret the colors using only primary colors, red, blue and red and Black/White tempera. The painting was divided into four quadrants, and students assigned to one of the groups. Each student was required to identify the quantity of every primary color mixture.

The course is primarily built around Perception and the Notion of Space. The exercises are sequential and configured to incrementally increase in difficulty towards a deeper understanding of the elements that conspire to delineate space such as color, line, shape, etc. The goal of the course is to be able to identify, extract and delineate clear design concepts and direction (Partii, etc.) utilizing methods of analysis and observation that will form the underpinning of their subsequent design explorations.

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Students then each selected their own Moholy-Nagy painting/photogram and investigate the conceptual framework and strategy the artist may have deployed in organizing the painting. This involved exploring various analysis tools, gaining at the same time a deeper understanding of the underpinnings that made the paintings intelligible.

From the students’ observations and analysis of their selected piece, certain strategies emerge that will form the basis for the parti they adopt for the design of their Gallery to house the wider classes collection of Moholy-Nagy work. Each student will have a design that will vary according to the conceptual dictates and findings that are extracted from the work they investigate. Here, for example, the student begins to organize the plan.

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This studio is the first course in the upper division Interior Design studios that explore specific Building and Program Types such as Residential, Retail, etc.

For several years students engaged a building in Zamora, Spain by Architect Alberto Campo Baeza. In this instance, to provide wide exposure to the program variation, the building was divided into five spaces and programs; restaurant, Bar, Library, Local Craft Store and a store that featured Spanish leather, the “Real Leather Studio”. (See Below)

While the first course is built around Perception and exposure to the abstract Notion of Space and the elements that conspire to delineate space; students in the second semester take this new-found awareness and skill-sets and apply them to an actual Design Program. They work within the phases of an architectural design project applying conventional notations and methods of representation.

FACULTY Robert Allen

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The two projects shown for this studio represent one aspect of work covered in this semester. They demonstrate the student’s research, conceptualization, exploration and presentation of a stair of their own design. A an existing interior space, such as lobby, gallery, store, museum, office, etc. is identified, analyzed, drawings produced as the foundation. Next steps encompass concept development and designing a stair to be inserted within the chosen space.

Outcomes are demonstrated in model, and digital drawings.

Within a library Space, an elegant set of Kinetic stairs are displayed. It’s a multifunctional element That functions not only as stairs, but as a piece of artwork. When it is closed, the painting is fully reveled and when it is open, the stairs are formed. This type of movement creates a surprise to the people as well as creating a memorable experience. The entire stair is rotated around a solid shaft mounted on the left corner of the stairs, moved by an electric motor. Which is located at the bottom of the stairs. Each stair will be solidly fixed to the shaft with the distance of 7 inches between each stairs. This is done with a simple push of the button.The duration of the stairs to be fully opened will take 3 minutes and 18 seconds. It takes 18 seconds for the first step to open 167 d ° The Rest of the 23 steps travels 6 °-7 ° from each other to appropriate time, which is mentioned in the diagram.

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The mechanism is designed so that each step traveling at a predetermined angle six to seven degrees from each other. The pole has a connected gear where it rotates. Positioning each step in place. When the step is in position it stops and is locked in place via a locking device.

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DESIGN STUDIO IV INTRODUCTION

PROJECT

The studio is modeled on the full-year thesis studio. The beginning of the semester focuses on design process research and studies, including a history and understanding of Workplace Design; past and current issues impacting Workplace; readings and research; and creativity as it relates to the elements and principles of design.

Hearst is one of the nation’s largest diversified media, information and services companies with more than 300 magazines around the world including Cosmopolitan, ELLE, Harper’s and BAZAAR. The new headquarters tower, designed by Norman Foster, is the first Platinum LEED skyscraper, constructed over the original Hearst building completed in 1928. As such, this building and its contents represent the foundation for everything Mr. Hearst built, including the company’s renowned fashion journals, which are expanding to the lower tower floors. Assessments through 2022 determine the need to expand the “fashion publication” group and make recommendations on how to best house these creative departments.

The process work is followed by design where each student selects an existing project from a group of buildings, whose tenant becomes the client in gathering information to develop building drawings and client profile from which to develop concepts, select precedents and develop a program to begin design. A developed and detailed design is completed, including basic design drawings and models, material and color pallet with specified lighting selections, and a code compliant and budgetary understanding for the full project. A complete design development presentation which, like the process review, is presented to a group of professionals and peers.

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Having the client, Cosmopolitan Magazine, their main goal is confidence and empowering women. The concept took on an organic direction. The analysis began by sketching the four typical shapes of the female body: the banana, the apple, the pear and the hourglass. Then, the shapes were reduced to their simplest form and was then developed as delineations in the floor plan, as well as circulation paths.

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INTRODUCTION The Thesis cycle begins in the fall with the preparation and contemplation of taking on a world-class, complex subject matter. And delivering in the spring a wholly informed and fully-formedsolution. The focus of the student work in on systems of design, approaches and methods of formulating original outcomes; and on elegant execution. Interior Design, as a discipline, is charged with art. The visual aspects are primary and the emphasis on that of the creative act.

The course provides an opportunity for a senior student to fully develop and present a comprehensive interior design project.

Coherently synthesizing information from the preliminary design research phase, through development, into a creative and disciplined finalpresentation.

Through a directed course of independent study, they generate a critical analysis of the goals and objectives of their particular program.

And via studio presentations, meetings with the faculty and other outside professionals, they develop their program into tangible form — in both two and three-dimensional sketches, models, hand and digital drawings, color and materials selections, sample boards, selection of lighting, furniture, fixtures and equipment, and through the development of interior elements. Projects over the years have included a broad range of subject matters: war, famine, homelessness, health, leisure, and the disciplines of science and music. The impact of those profound issues on design is explored to evoke discussion and critical thinking.

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The course provides an opportunity for a senior student to fully develop and present acomprehensive interior design project. Coherently synthesizing information from the preliminary design research phase, through development, into a creative and disciplined final presentation.

Through a directed course of independent study, they generate a critical analysis of the goals and objectives of their particular program. And via studio presentations, meetings with the faculty and other outside professionals, they develop their program into tangible form — in both two and three-dimensional sketches, models, hand and digital drawings, color and materials selections, sample boards, selection of lighting, furniture, fixtures and equipment, and throughthe development of interior elements.

FACULTY Charles Matz

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TRAVEL PROGRAMS The purpose of the traveling programs at the School of Architecture and Design at NYIT is to develop design studio work combined with a critical understanding of architectural history, case study and comparative analysis through a direct and full immersive examination of the overall complexity of the places visited and their built forms. It is a way to learn principals of urbanism and architecture by visiting and studying significant urban environments and their canonical examples of architecture from early history to the present. By examining and comparing the cities and their work, the intention is to develop a means to evaluate both those works and to become more critical of one’s own design. The design studio teaches to begin with concepts and ideas and move to the development of more concrete proposals, constantly verifying and discussing these with classmates and faculty, within the specificity of their contexts which are directly experienced and understood. Combining these affords emerges a very important possibility of knowing what ideas ultimately produce, and how these are often deeply rooted in their surroundings.

Architects have always traveled to look at built form.

In particular, we know that in the Italian Renaissance, architects from Brunelleschi to Bramante and Palladio, to name just a few, traveled to Rome to look, measure and draw ancient architecture, in order to establish the Early and High Renaissance style. This was not to return to what the Romans did, but to understand the principles upon which that work was based, in order to create a ‘rebirth’; a new style beyond the Medieval. Probably before, but from that time, Architects have taken the “Grand Tour” to go beyond the conditions of their time and place in order to create the new. The

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English architect, Inigo Jones visited and studied the work of Palladio. Le Corbusier went on his “Voyage d’ Orient” to help him make the change from a watch case designer to an architect. We can therefore synthetize the foci of the SoAD summer programs in three main goals. The first is to provide a deep awareness of the evolution of the cities visited, including economic, social and political factors and their respective transformations that lead to the vital cities they have become; as well as the contributions made by successive generations of architects and urban planners, so that one may understand how they retain their unique and vibrant qualities through the ever evolving processes of renewal, demolitions and insertions of new structures. The second goal consists in developing a critical view of the historic and contemporary works visited to better understand their contributions to the canon of modern and contemporary architecture, opening to further experimentations. The third goal is to channel new knowledge and experiences in a studio project focused on specific topics and sensitive locations, critically selected among the ones visited.

Throughout the program, students and faculty meet with practicing architects, students and professors of architecture, and urban planners of several academic and professional environments across the countries and cities visited. Students are then expected to document these sites through sketches, analytical drawings and notes that are often shared and evaluated through group activities during the program. Our traveling program is therefore a kind of mobile studio. Students continue their studio endeavors, their education to becoming an architect, as they move from city to city. The student’s work space will pack and unpack itself, it will adapt to best provide the places we engage and draw.

In conjunction with local experts from several fields, and accordingly to the real project site selected and its related issues, the studio crosses dimensional scales and engages issues that go from the most ephemeral of local behaviors and socio-cultural phenomena that students understand and decode, to the more physical ones concerning space and form making and their effects. Differently from the other studio experiences at home, during our summer abroad students are exposed to different cultures, way of operating but also thinking, relating to specific and often challening places and people far from their usual environments. They are much more sensitive to fully interact with classmates and locals, to push their own limits and re-think about their beliefs and habits, opening their mind to new discoveries also about themselves, then to fortify their personalities and expand their profession and cultural dimension.

Angela Amoia & Giovanni Santamaria Faculty, SoAD at NYIT I

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ITALY The intention is to observe, document and compare these significant cities and their architecture that relates to the urban condition. The program starts with a careful examination while living and working in Rome for two weeks, with excursions to other cities. Rome is a city where we can see Ancient, Medieval, Renaissance, Baroque, Neo-Classical and Modern buildings and planning, all collaged together. It is possible to see the heritage as well as interaction of each of these.

FACULTY Robert Cody Angela Amoia Michael Schwarting Frances Campani

STUDENTS Cesar Villareal Alia Elkady Matthew Alison Naz Topcu Siobhan O’Gorman Timothy Greening Carl Ricaurte Ryan Butler Gino Longo Samuel Molina Christopher Palmeri Kazi Tabassum

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This summer program has three goals. The first is to provide a deep awareness of the evolution of the cities we will visit, including economic, social and political factors in their respective transformations to the vital cities they have become, as well as the contributions made by successive generations of architects and urban planners, so that one may understand how they retain their unique and vibrant qualities through the ever evolving processes of renewal, demolitions and insertions of new structures. The second goal will be to develop a critical view of the historic and contemporary works we will visit to better understand their contributions to the canon of modern and contemporary architecture.

The third goal will be to channel new knowledge and experiences in a studio project to be started in New York before our departure and completed during our final 3 week stay in Barcelona.

In conjunction with local experts – archaeologists, architects and urban designers, we have identified a real project site near the center of historic Barcelona. It is adjacent to and above newly discovered archaeological ruins dating as far back as the Roman era. Our program was to design an exhibition area for excavated artifacts, an entrance to the below-grade ruins, and a community center for the local residents, a community of striving artists and immigrants from Eastern Europe and North Africa.

FACULTY David Diamond Giovanni Santamaria

STUDENTS Matthew K. Acer Mateen Pouyafar Vishnu Anil Jesus Ceballos Bryce McDonough Chenfei Cao

Jamie Kushner Jaimie Gabriel Redding Anna Boyadjian Hinali Shah Jun Kawai Sanjeev Thapa Saw Hla Nwe

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WORKSHOPS & EXCHANGE PROGRAMS Workshops and International Exchanges are part of the ‘learning by making’ and of the believing in ‘cross fertilization’ processes among communities and academic environments at the School of Architecture and Design at NYIT. These experiences allow students to grow and learn, to understand needs and approaches of several diverse contexts, and to collaborate with local governments, communities, experts, civil servants, and schools on specific projects. These projects often have a proactive social and environmental value, intervene in sensitive areas of the world, and prove to be challenging for our students. They are then called to open their minds, expand their horizons, and share and improve their skills, establishing immersive interactions through which they can have a direct understanding of the identity of the several users involved and their backgrounds; of the different ways of operating, different methodologies, tools, design and construction processes. This makes possible, a better use of local techniques and materials so that students themselves can give a more effective and responsible contribution to the process of transformation of real contexts.

Students also have the chance to participate in experimental and research oriented projects lead by passionate and well prepared faculty, focused on sustainable topics concerning our environments at several scales. They become aware of new possible fields of exploration that can be perused within their academic path, or that can drive their professional work afterword.

In any event, these are ways to practice what they have learned, to apply and verify their knowledge in the field, and at the same time improve it and be confronted with new circumstances and challenging problems to enrich communities. This facilitates the process of bridging the gap between the “reality” within the school and the one outside, both integrating the pedagogy of the courses already offered, while providing new ones focused on special projects that are taught in a more experimental way. These are often inclusive of a brief traveling component, or can be considered as applied research.

The collaboration on shared projects with students and professors from other universities at the international level, helps our students be more sensitive and learn through direct experience about the richness and depth that a thorough understanding of a cultural background can give to a project. Through the eyes of our invited guests at the workshops organized at our school, students learn to see their own contexts differently and discover new ones when they work collaboratively in places abroad. The design component of the proposals developed during the workshops is coordinated also to symposia and lectures that help strengthen contents and issues explored through the design. These events frame the theoretical cores of design experiences by creating opportunities for proactive interactions with local and international academic and professional contexts, and improve the quality of the work and its dissemination. This facilitates the dialogue on relevant topics among schools and experts, making studies and research otherwise difficult to share, more accessible. New possibilities for future cooperation, new expertise, a renewed enthusiasm for their studies and more mature ways of communicating and representing ideas, are fascinating results of these experiences. These enrich students from both a human and professional point of view, and at the School of Architecture and Design at NYIT, we consider this as a fundamental base for a better education... a more balanced society to come.

Giovanni Santamaria Associate Professor, SoAD at NYIT

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SOCIAL IMPACT STUDIO I INTRODUCTION The Home2O roof system upcycles two forms of plastic waste (bottles + shipping pallets) as building material. The patented pallet delaminates into structural roofing purlins that receive crushed, PET water bottles as roof tiles. The bottles array and layer as breathable, weather-resistant, roof membrane quickly deployable to support basic shelter needs.

The Home2O system addresses two problems at once. First, discarded plastic debris is slow to biodegrade and often overflows our waste streams, polluting our lands, rivers, coasts, and oceans. Cultural trends have made bottled water a profitable $60 billion/year industry and only 27% of the 2 ½ million annual tons of PET containers are recycled in the US; this % far lower elsewhere. The use of landfill-bound, plastic shipping pallets is also on the rise given benefits in cost and durability.

Furthermore, recycling techniques often destroy the embodied energy of plastic bottles, while using more energy and water to create products of less value.

Second, the effects of natural disasters are being felt globally. Thousands are losing their homes each year. There is a clear need for a more durable, climate-appropriate alternative to tarp tents and corrugated metal roofs. The Home2O Roofs are designed for use in tropical climates, where they can passively cool the buildings they cover. The roofs overlap bottles enough to protect even from driving rain, but are perforated enough to let hot air escape across the entire roof membrane. At any place that people will receive emergency water, they will be in need of shelter too.

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CONTORNO: NTORNO: CONTORNO: COMMUNITY COMMUNITY COMMUNITY BEACH BEACH BEACH PAVILION, PAVILION, PAVILION, PR PR PR

SOCIAL IMPACT STUDIO II

SITTING AREA

INTRODUCTION

CHANGING ROOM

This new pavilion for a local beach community at Culebra in Puerto Rico offers anSITTINGinteractive AREA social space, picnic area, information kiosk, and CHANGING ROOM changing room as an alternative toYork their run- of Technology New Institute INFORMATION STATION down facilities from 1983. The existing conditions Professor Farzana Gandhi pose a risk to both the local users and tourists, alike.

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mping Grounds at Culebra, Puerto Rico

CHANGING ROOM SITTING AREA INFORMATION STATION CHANGING ROOM

INFORMATION STATION

UPRRP + NYIT

Nicole Constantino New York Institute of Technology Sarah Casserim The pavilion is a 7’-6” cube that Chanel is sliced into five ProfessorHytower Farzana Gandhi Angelo Carbajal adjacent 1’-6” modules, each designed as Jimmy a hollow Kevin Kawiecki New York Institute Victoria Frederico “contour,” sized for seating, shade, and picnic eating of Technology Stephanie Ramanand Nicole Constantino al opportunities. Two of the 5 modules extend out of Gandhi Phoebe Steinhoff-Smith Professor Farzana Sarah Casserim Christopher Cetola the cube to offer a changing room space,Hytower viewing Chanel h Geethika Jakkala Victoria Frederico Angelo Jimmy Carbajal frame to the landscape beyond, and an information Gregory Preus NicoleKawiecki Constantino Kevin map/kiosk. The small - scale intervention can Arnost Wallach Sarah Casserim Stephanie Ramanand Villao Chanel Hytower Phoebe Steinhoff-Smith be replicated along the length ofJorge the contour of Angelo Jimmy Carbajal Christopher Cetola the beach to instigate interest in a larger scale Uuniversity of Puerto Rico Rio Piedras Kevin Kawiecki Geethika Jakkala co Rio Piedras improvement of an area economically ripe for Stephanie Ramanand Gregory Preus Side Elevation Professor Andrea Bauza Phoebe Steinhoff-Smith Arnost Wallach tourism. a Scale: 1/2”=1’ Christopher Jorge Villao Cetola Chistian Torres GeethikaSoto Jakkala This project was completed in Alexis the context a Gabriel Gregory Preus Uuniversity ofof Puerto Rico Rio Piedras Alvarez Arnost Social Impact Design Elective Martin course.Wallach NYIT + Krizia Santiago JorgePadin Villao Professor Andrea Bauza UPR architecture students video Efrainconferenced Andres ta to design the pavilion and NYIT Jeandiel traveledSoto toofhelp Beltran Uuniversity Puerto Rico Rio Piedras Chistian Torres Ana Gabrielle Alexis Gabriel n build the project over Thanksgiving break 2014. Torres Orta Valorie Alicea Professor Andrea Bauza Martin Alvarez Gilberto J Torres Roman Krizia Padin Santiago Chistian Soto Torres Efrain Andres FACULTY Alexis Gabriel Jeandiel Beltran Martin Alvarez Torres Orta Ana Gabrielle Farzana Gandhi Krizia Padin Santiago Valorie Alicea Efrain Andres Gilberto J Torres Roman Jeandiel Beltran Ana Gabrielle Torres Orta Valorie Alicea Gilberto J Torres Roman

dhi

INFORMATION STATION SITTING AREA

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TORNO: munity Beach Pavilion

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Flamenco Beach Camping Grounds at Culebra, Puerto Rico

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ACDEC La Autoridad de Desarrollo y Conservacion de Culebra Municipality of Culebra

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Design + Construction | Fall 2014 Installation at site | Summer 2015

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SOCIAL IMPACT STUDIO III INTRODUCTION This project complements a digital user interface with a physical place. It proposes a 2100 SF community technology education center with classroom space, developer feedback stations, and built-in infrastructure to act as public charging and wireless hub. The building also “docks” custom window and door units that double as bike-driven, remote outreach units. The AppDock creates a trustworthy, physical environment where sampling of health/agriculture/ employment apps increases public awareness and interaction with developers facilitates engagement and education.

Although the number of mobile phone users in Africa now exceeds 650 million, the use of thousands of locally developed apps remains low. This is unfortunate since this technology can disseminate critical health and agriculture information. Reasons for low app use include [1] lack of mobile device literacy / awareness, [2] lack of developer/end user dialogue, and [3] inadequate support infrastructure. The project addresses these issues to promote mobile app adoption.

Students worked through drawings and prototypes including building a full-scale masonry mockup of a corner wall condition. This full-scale partial build of the project enabled students to study construction details and the relationship between masonry and a custom window/door system. The system doubles as a bike-driven unit that offers additional outreach - education and access to locally developed humanitarian based apps to those in rural areas who would otherwise not be reached.

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INITIAL BUILDING DOOR UNITS SLID

ARCHITECT

FARZANA GANDHI DESIGN STUDIO 70-11 108th Street #6H Forest Hills, NY 11375 www.farzanagandhi.com 917.853.9767 Farzana Gandhi, AIA, LEED AP Department Chair + Professor New York Institute of Technology School of Architecture + Design fgandhi@nyit.edu

CLIENT / COLLABORATOR Dr. Christelle Scharff Founder, Mobile Senegal www.mobilesenegal.org Department Chair + Professor Pace University, NY

PROJECT APPDOCK FOR AFRICA THIES, SENEGAL

COPYRIGHT The General Contractor shall

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MILAN STUDIO INTRODUCTION The key focus of the NYIT - Politecnico di Milano Exchange workshops is related to the shift of the perspective from the idea of Urban Design as a defined model related to objects in a mostly built context, towards a more articulated and performative concept of Landscape Urbanism as a system of correlated and transforming actions and reactions in an extneded spatial and temporal frame, where object and field, foreground and background proactively merge. This has been introducing new paradigms, as an evolution of the ones formulated by Rowe and Lynch, requiring the exploration of new methodologies that integrate the concept of architecture in terms of scale, field and process, in a renewed dimension concerning several and differently constructed environments of our post-industrial era. This requires the need of understanding and managing issues not only related to the history of urban settlements and their evolution, to the rules of politics, economics, sociology and technologies, recovering, material recycling, producing lands, space consumption, and alternative processes of energy production for more sustainable growth.

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BANGKOK STUDIO INTRODUCTION CITY X DISASTER Workshop series that

thoroughly investigates creative solutions for the city and its potential to sustain a paralyzing event and provide safe haven for its residents, for its future.

PART III. BANGKOK is a collaboration of NYIT, The Academy of Arts, Architecture and Design in Prague and Chulalongkorn university in Bangkok. The architectural investigation focuses on slow disasters, i.e. events that happen due to hidden vulnerabilities of ecosystems caused simply by lack of human attention. Whether these were small and slowly disappearing communities or atmosphere pushed away by economic or social forces, or by climatic phenomena, the workshop thoroughly investigates several key locations in the Thai metropolis.

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PRAGUE STUDIO INTRODUCTION CITY X DISASTER Workshop series that

thoroughly investigates creative solutions for the city and its potential to sustain a paralyzing event and provide safe haven for its residents, for its future.

PART II: PRAGUE reflects on the findings of the New York workshop, a collaboration between UMPRUM and NYIT in May 2014, now welcoming a new partner - INDA of Chulangkorn University in Bangkok. The Project is under the patronage of the United Nations in New York.

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POTSDAM STUDIO INTRODUCTION The FH Potsdam Workshops have manifested themselves in various ways.

Organizationally, students from NYIT and FH Potsdam have either spent 2 weeks taking part in an intense project seperate from their work for the semester, or they have shared a topic of study where the 2 weeks were spent sharing ideas generated as a part of the individual university’s semester goals. The work collected here highlights the very intense process by which these ideas come to fruition. Within a week, team leaders bring together and focus shared ideas and concepts of clients and students. The team leaders are university professors, architects and municipal planners. At the end of each workshop there is a public presentation and discussion, inviting local constituents and interested parties to bring the project closer to the reality of the situation.

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CTURES LECTURES & & X H IEBLECTURES XI TH II O BN I TSI O N S& EXHIBITIONS

In October 2016, theIngallery October featured 2016, the Eileen gallery Grey:featured Tempe àEileen Pailla,Grey: a Tempe à Pailla, a show curated by Jan Greben show curated on herby research Jan Greben and student on her research work from and herstudent work from her seminars. A combination seminars. of A combination plan, section ofand simple elevation plan, section drawings andGrey: elevation drawings In simple October 2016, the gallery featured Eileen Tempe à Pailla, a along with well-crafted along models withcurated ranging well-crafted from furniture design from to room furniture designwork to room show by Janmodels Grebenranging on her research and student from her interiors, this exhibit interiors, reveals the thispower exhibit ofreveals a unified thesimple design powerplan, approach of asection unifiedand design approach seminars.

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In Spring City: floor Microfeaturing Worlds/Macro Fields,” e simulations,orfileforce to machine simulations, production, file to machine robotics, production, robotics, for the NAAB accreditation exhibits for sqft. included NAAB accreditation drawings and included models drawings frominstalled and models from in certainly how we build.

Some consider we exhibits are entering third a 1500 modular skeletal display system by 30 students tual reality, areand at industrial the virtual forefront reality, ofareshaping at the our forefront design of shaping ourdesign-build design student student thesis design-build projects.

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It is through these public efforts itically for these think machines. criticallySo, for ifthese advanced machines. technology So, certain if advanced technology industries.

This is exciting!

It offers freedoms and control that our school continues to transform into a highly provocative learning ught us here, ishas there brought still architect aus place here, foras isour there hands still ato place think our hands to think to NaomitoFrangos to the a maker, but alsoformakes us responsible platform – one that extends outward grow inward. Naomi Frangos Associate Professor and Associate Lecture & Professor Exhibitions and Coordinator, Lecture & Exhibitions SoAD at NYIT Coordinator, SoAD at NYIT too?”think critically for these machines. So, if advanced technology has brought us here, is there still a place for our hands to think Naomi Frangos Associate Professor and Lecture & Exhibitions Coordinator, SoAD at NYIT too?”

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1. Lecture: Body of Work, Stan Allen in discussion with Associate Professor Naomi Frangos, Auditorium on Broadway.

2. Lecture : A Genealogy of Modern Architecture, Kenneth Frampton in discussion with Associate Professor Nader Vossoughian, Auditorium on Broadway.

3. Exhibition: Copy/Paste/Trim, Opening Reception, Featured left to right, Stan Allen, Naomi Frangos, dean Maria Perbellini.

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4. Exhibition : Eileen Grey: Tempe à Pailla, Jan Greben, Center Gallery.

5. Lecture : Split Screen, Keller Easterling, Auditorium on Broadway.

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1.-2. Exhibition : Copy/Paste/Trim, interior view of installation, Center Gallery.

3. Exhibition : Copy/Paste/Trim, exterior view of installation, Center Gallery.

4.-6. Exhibition : Eileen Grey: Tempe à Pailla, Jan Greben, Center Gallery.

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1. Exhibition : Apparatus City: Micro Worlds/Macro Fields, NAAB Accreditation show, main corridor installation.

2.-4. Exhibition : Apparatus City: Micro Worlds/Macro Fields, display system detail.

5.-7. Exhibition : Apparatus City: Micro Worlds/Macro Fields, Center Gallery installation.

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M.S.U.A.R.D. STUDIOS Our contemporary cities exist in perpetual urgency: metropolitan territories demonstrate tremendous diversity and complexity in growth and decline. By 2050, 70 percent or so of the world will live in cities. What does it mean for us to live together?

The goal of ths studio is to explore integrated, urban design and planning strategies for creating sustainable and resilient communities that can adapt and thrive in the changing global conditions, meet carbon-reduction goals, and sustain urban populations in more compact settings by providing amenities that people need and want. Students explore how these compact communities can mitigate climate change by reducing Greenhouse Gas emissions through spatial efficiencies, pedestrian access to public transportation and preservation of open space and habitat. The focus this semester is cooling hot cities while leveraging cascading benefits.

This design studio engages NYC districts as a research platform and introduces the ideas, representations, and techniques of contemporary urban design and discourse through the lens of a resilient built environment. These districts are home to a diverse population of residents and workers.

Students will test the hypothesis that reconfiguring urban form according to climateresilient principles will strengthen community adaptability to climate change, reduce

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energy consumption in the built environment and enhance the quality of the public realm. Students will develop user-friendly regional qualitative design guidelines backed by cost-benefit performance indicators at the urban design scale. Building massing, urban ventilation, solar impacts, green infrastructure and anthropogenic factors will shape the outcomes. Outcomes in Energy, Transportation, Waste, Water, Green Infrastructure/Natural Systems, and other urban infrastructure systems will be evaluated by students for their technical, social and ecological consequences, including flood mitigation.

As is now widely recognized, cities can be the main implementers of climate resiliency, adaptation, and mitigation. The Urban Climate Lab explores win-win solutions for configuring climate-resilient compact urban form. The major finding we can expect for Climate observation and projections: • Urbanization tends to be associated with elevated surface and air temperature, a condition referred to as the urban heat island. Urban centers and cities are often several degrees warmer than surrounding areas due to presence of heat absorbing materials, reduced evaporative cooling caused by lack of vegetation, and production of waste heat.

• Some climate extremes are exacerbated under changing climate conditions. Extreme events in many cities include heat waves, droughts, heavy downpours, and coastal flooding are projected to increase in frequency and intensity.

Jeffrey Raven Associate Professor, Director of the MSUARD

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C O N V E R S AT I O N

NYIT ALUMNI

James Yankopoulos Degree Earned: Bachelor of Architecture Year Graduated: 2011 Current Position: Project Manager, NYC HDC Q: Why did you choose to study architecture? (Particularly at SOAD NYIT) A: I always sketched and doodled all over my notebooks throughout grade school. When it came to high school, in New York City you can apply to any school in the city regardless of what area you live in. I saw Thomas Edison in Queens offered a drafting program. It peaked my interest so I applied and went. The program primarily focused on mechanical hand drafting which I felt I was exceling at. I equated my enjoyment to mean I should pursue architecture in college. Myself along with a few other classmates applied to NYIT and got in. I felt I was well equipped for the major and would ultimately love it; which I did. The funny thing I realize now, the drawings I was doing in my high school drafting program were much more mechanical engineering driven rather architectural. I suppose that detail has only made me a better architect.

Q: Has studying architecture in New York City aided in your development as a student? If so, how?

A: Definitely, studying in New York provides you access to unlimited resources and inspiration. The rich architecture history where you can visually see the time lapse of styles is a necessary foundation for your education. The rich culture of the city only further enhances not only your professional development but personal as well. There were an abundance of offices where finding internships never seemed to be a daunting task for myself or really anyone amongst my peers. Even graduating in 2011, majority of my

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class all found employment in architecture or affiliated fields even with the struggling economy at the time. It also surprised me how many NYIT alumni I found in various offices across the city. There has never been a moment thus far in my career where I felt I may need to relocate elsewhere due to lack of work. I owe my career stability to New York City.

Q: After graduating NYIT, how connected are you with NYIT faculty and students? Has this had an impact on your professional/academic path?

A: After graduating I became involved with the AIA New York chapter. I was happy to see the close relationship the group had with NYIT and schools of architecture in the city generally. I also got to know the NYIT ‘Friends’ alumni group members and have had the opportunity to develop the annual scholarship for active students. Building bridges like these were instrumental to my professional growth by building my network. The biggest relationship I have maintained though is with my thesis professor Giovanni Santamaria. Giovanni has the ability to really draw the best work and efforts out of his students and he does a great job of keeping all his past students connected with each other. I value this continued connection most as he has transformed from my thesis professor to a mentor.

Q: What advice would you like to pass down to prospective/new students entering the SOAD? A: Love what you do and make sure you are always inspired by something. When you start the architecture program there is this fear amongst everyone in year one that you may not be good enough to pursue architecture and end up dropping it.

Don’t get caught up in the stress of competition and pressure to succeed. You will know if architecture is for you pretty quickly.

If it’s not try something else and find what really makes you want to go that extra mile to succeed. If it’s architecture you know you love, surround yourself with inspiration that will keep the gears turning. Seek a mentor. Approach that professor or adviser you really connect with and keep engaged with them.

When it comes to architecture school and honestly anything in your career, what you give is truly what you will get back.

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Téa GJini Degree Earned: Bachelor of Architecture Year Graduated: 2015 Current Position: Designer, CallisonRTKL Q: Why did you choose to study architecture?

A: I was always an admirer of art, history, and science, so architecture seemed like a great fit for me. My father is also an architect, and growing up I’d often observe him work on his projects, draft at his drafting table (yes - draft!), and meet with clients. I’m from a small coastal town in Croatia, so when I was given an opportunity to choose and study architecture in one of the greatest cities - I didn’t think twice. NYIT SoAD offered a great accredited 5-year program, and it was right at the heart of New York City. I loved the idea of attending a campus that is deeply immersed in the NYC culture, with the entire world moving just outside of it. I applied, got in, moved to New York, and spent most of my first 5 years in NY tirelessly working and creating at SoAD of NYIT. Q: Has studying architecture in New York City aided in your development as a student? If so, how?

A: Studying architecture in NYC aided to my education immensely. As afore mentioned, I was raised in a small town, so I was never really exposed to the big city culture, for a longer period of time. New York represented a challenge that I was eager to face. It is beneficial to have so many precedent studies right at your fingertips, to be able to simply walk over to your site, to step outside and be a part of the rich city fabric and energy. Personally, coming to this city as someone just crossing into adulthood, helped me shape as an individual pursuing education in architecture. It not only inspired me in my work, but it definitely helped develop my own maturity, and general views on our environments, society, economy - everything that so constantly intertwines in this city, and affects its architecture.

Q: After graduating NYIT, how connected are you with NYIT faculty and students? Has this had an impact on your professional/academic path?

A: After graduating NYIT, I stayed connected to some faculty members, and many students - some of which I’ve worked/work with in the past 2 years of my professional career. I think the NYIT network is important for advancing in one’s professional and/or academic path. There is always someone who knows of a job opening, a competition, or general opportunity. Staying involved and connected definitely benefits in developing and nurturing relationships that could lead to further success and opportunities. Also, I enjoy coming back to NYIT as a reviewer, and seeing students’ projects, but also how the approach to design and graphic presentation evolves from generation to generation. It is interesting to be a part of the discourse and see younger generations approach to references that my class used - this truly showcases different perspectives, and constant evolvement, especially influenced by the current environmental, political, and social climate.

Q: What advice would you like to pass down to prospective/new students entering the SOAD? A: Architecture is a tough major so it definitely tests one’s abilities in handling pressure. This might be easier for some, and harder for others - and that’s OK! Don’t be discouraged by those who say you should give up, or question your abilities - you’re the one to determine that. Enter this major with an open mind, and ready to absorb new views and ideas. Take constructive criticism well - it is here to push you, so you can create your best work. Find the balance of putting pride in your work, and following the mentorship from your design professors.

Push as far as you can in your freedom of design - this is a rare opportunity to fully execute your design idea in your unique way. Use the resources NYIT provides to your best benefit learn the software, pay attention in building construction class, learn how buildings work - prepare for the real world. Lastly, as stressful as architecture can be, in and out of school, don’t forget to enjoy it!

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IN MEMORIAM...

We wish to honor the memory of Professors Michele Bertomen, Brian Brace Taylor, and Percy Charles Griffin, each whom made remarkable contributions to our school, in areas that include ecology and sustainability, in history and theory, and in community engaged design. They have left a deep and indeliable mark on our programs, and made our community stronger by their example.

Michele Bertomen (1952-2013) Bachelor of Architecture, Cornell University School of Architecture, 1975 Registered Architect, New York State, NCARB, 1978 Lee Harris Pomeroy Architects 1975-1978 Fox and Fowle Architects, P.C. 1978-1980 Michele Bertomen Architects 1981-1995 Brooklyn Architects Collective (funding member) 1995-2013 Principal Investigator, NYIT Participation in Solar Decathlon 2005 Martin Luther King Jr. Memorial International Competition Third place Published in Oculus November 2000, Competitions Winter 2000, 2001 New York Foundation for the Arts Fellow 1998-1999 “Making Fabric” selected price winner “Design Ideas for New York’s East River” Competition, Van Alen Institute, New York, NY

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Brian Brace Taylor (1943-2017) Doctoral Degree, Harvard University, 1974 Masters of Architecture, Harvard University, 1967 Bachelor of Architecture, Amherst College, 1965 Member of the CICA (Comite international de critiques d’architecture) Member of Scientific Comittee, The Jewish Museum, Pierre Chareau exhibit, 2014-2016 Jury member, AIA Awards, New York Chapter, 2000 Founder-Editor, MIMAR, quarterly journal, Singapore and Paris, 1980-1990 Consultant, U.N. World Heritage List, ICOMOS, 1986 Contributing critic to the Arts Page, The Financial Times, London, 1978-1979 Associate Editor, I’Architecture d’Aujourd’hui magazine, Paris,France, 1974-1978 Resident curator for drawings, Foundation Le Corbusier, Paris, France, 1970-1973

Percy Charles Griffin (1933-2017) Master of Urban Design, City College of New York, 1977 Bachelors of Architecture, City College of New York, 1972 Bachelor of Science, City College of New York, 1971 Registered Architect, New York State, NCARB, 1973 Principal in Wilson & Griffin Architects, New York, 1973 Philip Johnson & John Burgee Architects, New York, 1967-1972 Curtis & Davis Architects, New York, 1967 Smith, Haines, Lundborg & Waehler Architects, New York, 1964-1967 Gerber & Pancani Architects, New Jersey, 1962-1967 Member of AIA National Comittee on Historic Resources Member of TATAC Architecture Advisory Board

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EDITORIAL NOTE ‘ATMOSPHERE,’ Issue 01 showcases the pedagogy of our school through the eyes of our students, in the form of collected studio, visualization and research projects, culled from recent years. These projects represent each of our degree programs: B.S.A.T., B.ARCH., M.S.A.U.R.D., B.F.A.I.D. Our school is dedicated to shepherding continuing innovation in architecture and design through its curricula and specialized course formats, such as service learning, travel abroad, sLAB, international workshops, exhibitions and lecture series.

The SoAD educates skilled professionals, talented designers, nimble innovators and critical thinkers that are both adaptable to and the authors of positive change, operating within local and global contexts.

While Atmosphere is retrospective, in the sense that it features work already accomplished, it also represents a new beginning, as NYIT renews its emphasis on Technology to improve human environments.

The student projects illustrated here provide a window into the rich, diverse and creative Atmosphere at the NYIT School of Architecture Design and its community.

The Editorial Team

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©2018 ATMOSPHERE PUBLISHED BY THE SCHOOL OF ARCHITECTURE DESIGN, NEW YORK INSTITUTE OF TECHNOLOGY, NEW YORK, N.Y., 10023