Atmosphere: Issue 02 by nyitsoad

ARCHITECTURAL JOURNAL

ISSUE 2018-19

ATMOSPHERE NEW YORK INSTITUTE OF TECHNOLOGY SCHOOL OF ARCHITECTURE & DESIGN

WORKSHOP

Emergency Cores for Puerto Rico:

As post hurricane Maria disaster recovery efforts, end-of-life shipping containers retrofitted into emergency cores for various uses and for dispersal in communities in need around the island.

EXHIBITION

Franco Purini: In The Space of Drawing, Reason And Imagination Inventive drawings and design proposals from the private collection of the author, exhibited at the AIA New York Center for Architecture and at Ed Hall Gallery in NYIT Old Westbury Campus.

ISSUE 2018-19

CONTRIBUTIONS NYIT ATMOSPHERE EDITORIAL STAFF EDITORS: Zeynep Kurt Christian Wade Sohee Noh GRAPHIC PROJECT: Matthew Acer Zeynep Kurt FACULTY COORDINATORS: Marcella Del Signore Giovanni Santamaria SPECIAL THANKS TO: Maria R. Perbellini David Diamond Naomi Frangos with Matthew Acer Staci Kirschner

We thank all faculty & students who contributed to make this issue possible.

This annual publication displays archives of students’ work containing projects & imagery from the academic year of 201718, selected by Atmosphere editorial staff with support of faculty members. ©2018-19 ATMOSPHERE Published by the School of Architecture & Design, New York Institute of Technology, New York, NY 10023 All Rights Reserved. No part of this publication may be reproduced without permission

ATMOSPHERE

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ATMOSPHERE FOREWORD ARCHITECTURAL JOURNAL

VOLUME 02

2018-19

As Atmosphere Volume 01 summarized a pedagogy, ultimately traceable to the University of Texas at Austin, under the influence of the “Texas Rangers” via evolutions at the mostly east coast schools to where they dispersed, Volume 02 marks a significant realignment of our mission and methods, once again traceable to the University of Texas, this time at Lubbok, where a particularly fertile program of digital form and information modeling has evolved and from where our current Dean, Maria Perbellini arrives. True to our origins, NYIT remains hands-on, offering career ready professional education in architecture and design at the graduate and undergraduate levels, while fully embracing and investing in the emerging technologies that are transforming so many aspects of our lives. The forms of this investment include up-to-date fabrication labs for digital design and fabrication, the hiring of several internationally regarded faculty members who are leaders in their respective areas of research and practice, and the launch of new degree programs, which include NYIT’s first professional Master of Architecture in 2018, plus two new Master of Science Programs - in Architecture and Computational Technologies, and in Architecture, Health and Design, to be launched in 2020. NYIT’s growing menu of graduate programs underscores our commitment to experimentation, innovation and original research as we seek and seize the opportunities that surround us. At the conclusion to each academic year, we publish Atmosphere to showcase student and faculty work from the previous academic year. Academic year 2017-18 was a productive one for NYIT, witnessing the reconstruction of our fabrication facilities, building out the faculty and participating in an ever growing array of workshops, specialized studios and travel programs, and hosting an outstanding lecture series bringing to our campuses leading thinkers, designers, practicing professionals and makers. While our attention to clarity of form making and the purposefulness of our intentions is unwavering, we are a school in transition, as a glance through Volume 02 will reveal. The products of reinvigorated digital communication and building technology sequences provide tools that empower our students to be more efficient and more effective. Studio work throughout this volume, in all of our degree programs and each of our majors, reveals our commitment to architecture and design pedagogy: visual and spatial literacy, sustainability, resiliency, global awareness, service to the larger community, mastery of up-to-date tools, upper level research based studios and workshops, and academic exchanges. Great things are happening at NYIT. We are proud to present Atmosphere 02 and eager to embark on another year of mastery and experimentation.

Professor David Diamond, Director, M.ARCH NYIT School of Architecture & Design

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TABLE OF

CONTENTS DEAN’S NOTE

00 01 02 03 04 05 6

INTRODUCTION 08 - SoAD Introduction and Program Descriptions

06 07

FUNDAMENTALS 10 - Introduction 12 - Design Fundamentals I 20 - Design Fundamentals II

CORE ARCH. STUDIOS 28 - Introduction 30 - Design Studio I & II 44 - Design Studio III & IV 60 - Design Studio V & VI 74 - Design Studio VII & VIII

TECHNOLOGY 114 - ntroduction 116 - Building Construction I & II

VISUALIZATION 120 - Introduction 122 - Visualization I 126 - Visualization II 130 - Visualization III

INTERIOR DESIGN STUDIOS

08 09 10

TRAVEL PROGRAMS 158 - Introduction 160 - Spain Program

WORKSHOPS & EXCHANGE PROGRAMS 164 - Introduction 166 - “Polittico Newyorkese” 174 - Inhabiting Surface 176 - Stereotomy 2.0 178 - Topographic Organism 180 - Twisted Ground 182- Puerto Rico Workshop 184- Social Impact Design 186 - Mtero Lab 188 - Exchange Programs

LECTURES & EXHIBITIONS 194 - Introduction 196 - Lecture Series 199 - Exhibition Series

MSAURD STUDIOS 202 - Introduction 204 - Masters Studio

CONVERSATION 212- Alumni I + II

EDITORIAL NOTE & CREDITS

136 - Introduction 138 - First Year 142 - Second Year 146 - Third Year 152 - Fourth Year 7

00 ATMOSPHERE

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INTRODUCTION NYIT School of Architecture & Design

The New York Institute of Technology offers professional, pre-professional and post- professional degrees in Architecture, in Urban and Regional Design, in Architectural Technology, and in Interior Design. We embrace the growing role technology plays in every facet of our lives, and we seek to leverage its potential as we reinvent the ways that architecture is practiced. It mediates between ourselves and the world around us both in its physicality as shelter and social organizer, and in the ideas it evokes, as it reveals what is characteristic and unique about our priorities, our values and our humanity. Inevitably, our architectural heritage concretizes that which is essential about our culture, how we have invested and how we have taken care of environment. This heritage takes the form of the infrastructural elements of our region, communities and institutions, and that of individual dwellings and their components. The School of Architecture and Design’s forward-thinking, professional education prepares students for professional leadership and community engagement. Under the guidance of a faculty of experts, degree candidates learn to think critically about architecture, design, and the world around us and to approach their work with intelligence, confidence, and the rigor of practice. Students gain hands-on experience through workshops, internships and research assistantships, to create unique portfolios of original works, and to make contacts in the region’s unparalleled networks in industry, the profession and in academia. Located in Old Westbury, NY, and in midtown Manhattan, NYIT’s academic programs in Architecture + Design guide our graduates the transition from professional study to professional practice.

All NYIT SoAD degrees have STEM designation, making our international graduates eligible for the extended OPT visa. The professional M.ARCH Degree has initial candidacy status from the NAAB. The 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

B.ARCH. 5 Year Program 160 credits 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 building design, community and urban design, and comprehensive design, with an emphasis on sustainability, using advanced architectural technology and 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 Old Westbury and Manhattan campuses.

B.S.A.T.

B.F.A.I.D.

4 Year Program 132 credits

4 Year Program 109 credits

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.

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 handson 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 self-confidence, 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.

M.ARCH

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

2-Year Track – 60 Credits 3 1/2 –Year Track – 99 Credits

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

NYIT’s Professional Master of Architecture prepares its students with intensive studio courses, advanced technology for design and fabrication, and the history, theory and liberal arts courses necessary to promote innovation and leadership within the profession. M.ARCH candidates develop the critical conceptual and technical skills to contribute to, and the perspective to lead interdisciplinary teams in the realization of built projects. We believe that the future belongs to the innovators, collaborators, and leaders who are prepared to create sustainable architecture, successful communities and resilient cities. The M.ARCH program

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.

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

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01 FUNDAMENTALS Design Fundamentals is an introduction to architectural composition and design and the tools with which they are explored. 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 students to achieve the visual literacy needed to produce works with conceptual clarity and rigor – to both find and impart meaning to our creative work. The process involves a back-and-forth between creative speculation and skeptical questioning. The first-year studio provides a foundation upon which to build a design education. Design Fundamentals I begins with first principles and basic physical elements. With these elements, we perform the operations and negotiations to compose in two and threedimensions. We also build the vocabulary to describe and to think critically about form, space and the world around us. Basic concepts like level, horizon and threshold trigger deeper, metaphorical links to other moments in the practice, literature and culture of architecture. Naming our operations builds human awareness of the physical world around us and of our own perceiving selves. We call attention to the horizon, the threshold between earth and air and water, the 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 absolute and universal as it is individual and personal; the horizon is also 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 internal to us with what is most distant.

The Tidal Park, the terminal project in Design Fundamentals 1 is also in introduction to the dynamic systems in which we live. Students are presented with the opportunity to design a new topography for a waterfront site that was inundated during Hurricane Sandy. The park is to serve local residents and school groups as its topography provides space for recreation and pools, that dynamically transform that landscape during the daily cycle of tides and storm surge high water events. Design Fundamentals II develops the themes of visual literacy, and the anatomy of two and three-dimensional composition. Two project sequences – The Cut-Outs and The Cliff Dwelling, are meant as journeys of exploration and experimentation. In each, a hidden underlying organization is given priority over preconceived ideas about image, resemblance and style. The Cut-Outs, which involves the formal unpacking of piece of visual artwork – predominantly painting and collage - becomes a laboratory for experimental interpretation of given two-dimensional clues to three-dimensional events. The Cliff Dwelling is the first introduction to architectural composition in the form of a habitable matrix of spaces with real material systems and qualities. Despite the apparent directness of the challenge, there are no easy answers. Working out the problems of adjacency, access, material and structural system, circulation and habitable space serves as a microcosm of the problems to be encountered in all subsequent studios and in practice.

David Diamond Professor, SoAD at NYIT Alexandra Capobianco Professor Michelle Cianfaglione B.Arch + B.S.A.T Program Fall 2017 10

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DESIGN FUNDAMENTALS I PROJECT 01 Project one explores the close packing of space and mass, analogous to the composition of honeycombs, of multi-story structures, or of urban compositions thus creating a balance of solids and voids, and spatial intervals at a variety of dimensions. Precisely crafted cubes and rods are arranged to create a matrix of solids and voids within the constraints of a 3” cube placed on a 9” square field.

PROJECT 02 Project two explores the extension of the Solid-Void project across an extended field. A Collage of select papers or surfaces of contrasting tone, color, image or texture, with experimentation with differing patterns of meshing or interpenetration to create something new on a 6” x 9” field, edge to edge. The Solid- Void project is placed within and the edges are extended off all the elements until they reach the boundaries to create new configurations.

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

FACULTY David Diamond Michelle Cianfaglione Sangdok Baak Marcella Del Signore Maria Di Natale

Gonzalo Lopez Garrido Charles Matz Gregory Melitonov Dongsei Kim Greta Weil Andrew Giambertone Professor Michelle Cianfaglione B.Arch + B.S.A.T. Program Fall 2017

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Jamie Lopez-Lamar Professor Greta Weil B.Arch + B.S.A.T. Program Fall 2017 17

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Kellie Silva Professor Greta Weil B.Arch + B.S.A.T. Program Fall 2017 19

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DESIGN FUNDAMENTALS II 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 Michelle Cianfaglione Adegboyega Adefope Sangdok Baak

Maria Di Natale Clara Ha Gregory Melitonov Greta Weil Zonivar Aghavian Professor Michelle Cianfaglione B.Arch + B.S.A.T. Program Spring 2018

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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. 28

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 deindustrialization, 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

Tyler Simoneau Professor Efrat Nizan B.Arch + B.S.A.T. Programs Fall 2017

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DESIGN STUDIO I INTRODUCTION

PROJECT 01

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

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

FACULTY Ricky Liu Efrat Nizan Janet Fink Sung Goo Yang Farzana Gandhi Frances Campani Manuel Garza Kris Levine

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.

Peter Thompson Professor Manuel Garza B. Arch + B.S.A.T. Programs Fall 2017

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Brandon Galasso Professor Ricky Liu B. Arch + B.S.A.T. Programs Fall 2017

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Alexander D’ Amato Professor Palmore B. Arch + B.S.A.T. Programs Fall 2017 37

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DESIGN STUDIO II 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 Nathan Minett Esteban Beita Efrat Nizan Ricky Liu Farzana Gandhi Frances Campani Matthew Krajewski Kris Levine

Jeffery Balbuena Professor Gertrudis Brens B. Arch + B.S.A.T. Program Fall 2017 38

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DESIGN STUDIO III INTRODUCTION Third year design studios, Design III and IV, emphasize the comprehensive nature of architectural design. Each semester focuses on the design of a single project of moderate complexity located at a specific site in New York City. Design III is involved with the public realm through the design of a public, institutional building. Design IV moves to the private realm in the design of a residential project. These studios build from analysis to synthesis, requiring students to develop comprehensive design solutions that critically engage considerations of precedent, the natural environment, technology, societal concerns and programmatic issues. The goal of third year is to consider solutions that respond to numerous issues within one project. The complexity of the project reinforces topics encountered in previous studio courses, as well as in technology, history and visualization courses. These areas are meant to inform laterally throughout the design process. Design concepts are developed as a complete and well understood whole.

PROJECT 01 The project calls for students to design an elementary school in Corona, Queens. The school is to provide classrooms for the overcrowded schools in the borough, and serve as a resource for the community, providing the diverse residents a place to meet. The school program calls for a number of large spaces: cafeteria, gymnasium and library which must be organized for community use after school hours for community board meetings, continuing education courses, vocational training, etc. As the school serves the community at large, the community resources will also enrich the education of the students. In particular, the Museum of Science in the neighboring Flushing Meadows-Corona Park will be used regularly as part of the science program of the school. The project asks students to consider efficient and inventive use of space, and to explore potential multiple uses of programmatic spaces over the course of the school day for the children and beyond school hours for the community.

FACULTY Diane Neff Eric Riley Frances Campani Heather O’Neal Jan Greben Tobias Holler

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DESIGN STUDIO IV INTRODUCTION

PROJECT 01

Design IV is devoted to the dwelling or the private realm of our society. The design of housing is unavoidable social and political, yet extremely intimate—impacting community health, safety, and economic growth, while rethinking individual living spaces. A thorough examination of public and private within the building and also part of a broader neighborhood fabric is required. Housing operates on multiple scales: the individual with the unit, the collective with the common spaces and as an aggregation of units within a building, and ultimately, society with the connection to the surrounding community of which the building is a part. Students are asked to address the problem of the scarcity of affordable housing for all New Yorkers and the changing patterns of employment in recent years. These needs were articulated in NYC Mayor de Blasio’s 2014 plan for housing, but can also be seen as universal needs and applicable throughout the world.

Students were asked to explore the organization of four dwelling units, one and two bedroom types, on a typical, NYC infill site of 25’ x 100’. This condensed problem contains the issues of circulation, structure, articulation of public and private space, light and air, the coherent relationship to street and garden. These issues are directly relevant to the larger, main project of the semester.

PROJECT 02 The project asks students to design 70 dwellings on a100’ x 200’ site in Harlem, on Adam Clayton Powell Blvd between W 139 and W 140 Streets. The group of dwellings is to be organized to develop an environment conducive to family life and neighborliness that considers land, respects the texture of urban fabric, and through manipulation and control of both public and private spaces, creates a strong architectural presence. The design of housing implies working at multiple scales: from individual (unit) to aggregate (Mini-collective) to building (collective) to neighborhood (society). The development of the individual unit types will ultimately inform an efficient aggregation that shares infrastructure and circulation. Methods of assembly, structure, and construction will guide a system within which opportunities for variety and difference are to be explored. Flexibility is to be provided for shifting changes in family structure, multi-generational living, or live/work environments. These considerations should impact the design at the scale of the unit and the unit aggregation.

FACULTY Diane Neff Eric Riley Frances Campani Heather O’Neal Jan Greben Tobias Holler

Benjamin Sather Professor Maria Cumella B. Arch Program Spring 2018 52

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Isaiah Miller Professor Frances Campani B. Arch Program Spring 2018

Devorah Schwartz Professor Jan Greben B. Arch Program Spring 2018

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DESIGN STUDIO V

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DESIGN STUDIO V 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, post-peak-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.

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.

FACULTY Farzana Gandhi Antonio Gabriele Andrew Thomas

John DeFazio Sanny Ng

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Bernarda Franco , Mitch Stogel, Jason Avilles Professor Farzana Gandhi, John Defazio, Andrew Thomas B. Arch Program Fall 2017 64

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Wenchi Wu, Cesar Orthon, Xin Professor Farzana Gandhi, John Defazio, Andrew Thomas B. Arch Program Fall 2017 66

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DESIGN STUDIO VI INTRODUCTION

PROJECT 01

Design Studio VI is the second comprehensive design studio, which means the expectations are that it acts as a summation of all the technical AND studio coursework completed over the last four years. Given this definition, this semester will be about research and evaluation based on criteria that are quantifiable but eventually extremely non-objective. To design a building while experiencing this tension is highly unnerving; it is also a tension where brilliant architectural decisions are made, or at the very least, the tension will allow for spectacular mistakes to occur.

During this Spring Semester, students will develop a small public library building in Williamsburg Brooklyn. While conforming to the conceptual principles of the specific urban condition, each student will design a sustainable building considering structure, building envelope, heating and cooling systems and preparing a set of comprehensive drawings, models and diagrams to delineate their understanding of the constructability and materiality derived from the context as well as the building systems. NYC Building Code regulations to provide public health and safety will be introduced to the class as well as the US Green Building Council criteria for the rating of sustainability concerns.

During the semester students will be asked to integrate many aspects of your architectural education coming from several disciplines of research in architecture to create a small public building complete with its materiality, structure and heating/cooling systems and site considerations. As it is in any significant work of architecture, the emphasis will be placed in the creativity of the process of integrating all building systems and environmental concerns in the design. This will be done in the most conventional way, ie. it mirrors the way good practicing architects think. First and foremost, the intention is to develop your project as one might in an architectural practice – in parallel, simultaneous, collaborative ways.

FACULTY Farzana Gandhi Antonio Gabrielle Andrew Thomas Beyhan Karahan David Busch Heather O’Neal Jason Van Nest Mathew Ford

The act of building is often considered synonymous with architecture. However, as indicated by Kenneth Frampton in the following quote(1), the intension of the studio is to expand this idea towards the creation of a well-considered public building beyond the cliché of technical savy and image production; …’ Situated at the interface of culture and nature, building is as much about the ground as it is about the built form. Close to agriculture, its task is to modify the earth’s surface in such a way as to take care of it, as in Heidegger’s concept of Gelassenheit or letting be….architecture as opposed to building, tends to favor the space of public appearance rather than the privacy of the domus . At the same time it is as much about placemaking and the passage of time as it is about space and form. Light, water, wind weathering, these are agents by which it is consummated. In as much as its continuity transcends mortality, building provides the basis for life and culture. It is neither high art nor high technology. To the extent that it defies time, it is anachronistic by definition. Duration and durability are its ultimate values.’ The studio will promote and emphasize the relationship of the building to the conditions of the site as well as environmental systems, understanding of the building envelope, material choices and assembly of various technical components of the building. The students’ ability to integrate the building systems to the conceptual development of their building will be tested and discussed during the scheduled reviews across the studios with architecture/design professors and outside technical consultants.

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THESIS STUDIOS The Fifth Year Studio is the Capstone two-semester experience in the Bachelor of Architecture program. The studio has a theme established by the instructor while allowing students to propose and advance a thesis idea that drives their personal agenda. For architecture students, the process involves transforming an idea in response to a supposition expressed through the design of scaled habitable environments, buildings and open spaces. Throughout the semester the instructor will meet with students to comment on their thesis development but also identify the common design issues related to the studio theme. The faculty will encourage discourse among studio participants and convene regularly to review and critique the research, analysis and design studies prepared by studio members. Every student is required to articulate their thesis proposition and work independently to gather research, precedents and prepare design studies. The work may be at a range of scales appropriate to the studio direction or the individual’s project. The specific studio requirements are set by the advisor, however each student must present their thesis at reviews throughout the semester to the thesis faculty and at the conclusion of Design 7 and Design 8. Following reviews work found to be incomplete or inadequate will be identified. Students showing inadequate progress and competency will be required to demonstrate the appropriate level of work before the final review or repeat the semester. In Design 7 students are expected to develop their projects through invention and research. The initial process must put forward a series of questions that challenge and test the subject of each student’s study.Thesis students are expected to gather and evaluate information relevant to their theme, including precedents, site and cultural, environmental, political, economic, and social factors. The analysis and assessment of these factors should be used to write an architectural program.Research in Design 7 should also include the plastic study ofspeculative design proposals. Conclusions drawn from the study of these multiple issues must be presented with verbal and visual clarity at the final review. By the end of Design 7 a clear thesis STATEMENT and project PROPOSAL must be established and fully documented, and the components to develop a complex project in Design 8 should be in place. The student is responsible for gathering and evaluating information relevant to their thesis. The material gathered in the form of analytical mapping, diagrams or physical or digital modelling should be organized and formatted for presentation as a “workbook”. 74

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This “workbook”, also referred to asthe “Thesis book”, should be well-crafted, edited and formatted each semester-both as a printed and bound hard copy as well as a digital copy. The book allows students to explain their research thoroughly with appropriate footnotes and bibliography. The book should illustrate the research itself, both content and approach, and show how their studies influenced the direction of their thesis. The making of the book—organization of material and clear writing of text— should be a tool for coherently completing the thesis, as well as a product of the year’s work. At the end of Design 7, the content should include research and must be organized as a coherent argument to communicate the Thesis Statement and Proposal. In Design 8 the Design 7 thesis book will evolve to include the architectural resolution of the proposal, the Project. Synthesizing this information and spatially articulating the thesis proposition through a rigorous plastic design process should bring clarity to an architectural program and a site. By the end of Design 7 the student must have a clear program statement and site. It should be evident how the student can move forward with the design of scaled habitable space an expression of the thesis idea. In Design 8, students develop their project to a resolution appropriate to the nature and scale of the proposal. The framework to define the limits of the project are determined between the student and his/her advisor. The resources assembled throughout the year-long process assist in the critical assessment of the developing design. Drawing on the resources established in Design 7 and rigorous spatial studies the project is developed to an integrated architectural conclusion. As the capstone course of the professional degree program the thesis project will become the most thoughtful and academically integrated project of his/her student work.

FACULTY Robert Cody John Di Domenico Esteban Beita Solano Giuseppe Fallacara Giovanni Santamaria Janet Fink Jonathan Freidman James Vira Manuel Garza Matthew Krajewski Michael Schwarting Naomi Frangos Robert Cody & John di Domenico Thesis Coordinators, SoAD at NYIT

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Victoria Vuono, Hinali Shah, John Hurtado Professor Giovanni Santamaria B. Arch Program Spring 2018 96

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James Giustiniani, Vanessa Rocha, Carlos Chica, Nicole Fatone Professor Giuseppe Fallacara B. Arch Program in collaboration with School of Health ProfessionsSpring 2018 102

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James Giustiniani, Vanessa Rocha, Carlos Chica, Nicole Fatone Professor Giuseppe Fallacara B. Arch Program in collaboration with School of Health ProfessionsSpring 2018 104

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Arcadiusz Chrobac, Luis Bruni, Santiago Molina Professor Giuseppe Fallacara B. Arch Program in collaboration with School of Health ProfessionsSpring 2018 106

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Hannah Mapoy Professor Robert Cody B. Arch Program in collaboration with School of Health ProfessionsSpring 2018 108

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03 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.

Building Construction I + II introduces students to building construction and materials, and their interrelationship with the environment, with the goal of introducing you to a more holistic conception of architecture. While initial architectural concepts may involve understanding construction and material in spatial or formal terms, the making of architecture is defined by parameters from the climate, the wsite, and the efficiency and logic of the systems used. Construction and material can reciprocally inform a design concept and enrich its ultimate potential. These courses are to be understood as parallel and integrated with the studio experience. Just as it is expected that issues of sustainability and construction manifest themselves within your studio projects, it is also expected that issues of form and space manifest themselves in the building construction course. Structure and material are not to be applied, either conceptually or literally, to architecture: they are inherent in every line you draw, just as they should be inherent in every work of architecture you create. Environmental Systems I+II introduces students to the basic provisions of comfort, health, safety, and their role as the most basic objective in creating architecture. The course sequence will develop a basic understanding of how to achieve and maintain these provisions and how to integrate them into the architectural design process. Through a combination of theoretical seminars and practical design assignments the following main topics will are addressed: Climate Responsive Design, Solar Orientation, Indoor Air Quality, Performance Assessment Tools, Carbon Neutral Design, Bioclimatic Design, Energy Efficiency, Performance of Envelope Systems, Moisture Transfer, Thermal Control, Active/Passive Heating and Cooling, Water and Waste, Plumbing and Acoustics.

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BUILDING CONSTRUCTION I PROJECT 01 The course focuses on constructive masonry and wood systems. The title of the course for 2017 was “Stereotomic Pavilion in Central Park: Stone & Wood Construction. Rethinking the Tradition”The idea is to design small stone and wood pavilions according to the ancient art of stereotomic construction updated to the contemporary world of geometric shapes. The most important theme will then be focused on the concept of interloking stone block and constructive systems compression only. The interest around Stereotomy started to reawaken in the early 1990s, within the researches about the History of Construction. This new favourable cultural climate has allowed rediscovering the discipline, both for its historical value and the unexpressed design possibilities. The diffusion of parametric modelling and digital fabrication tools creates the ideal conditions to design and build new stereotomic prototypes, which are typically characterized by considerable architectural and geometric complexity. Stereotomy today is no longer a historical discipline relegated to the distant past, but it is returned to being the subject of study in several research centres in the world. The best project proposals of the BC1 course, prepared by the students, have been exhibited during the STEREOTOMY 2.0 and Digital Construction ToolsEXHIBITION, held in New York at Par Excellence NYC from 20-29 April, 2018. The aim of the exhibition is to show some prototypes of stone architecture: from ancient stereotomic construction systems to the most modern stone experiments for architecture and interior design.

FACULTY Giuseppe Fallacara Greg Melitonov Nathan Minett Neil Rosen Victoria Morelli Khin That Mar, Khin Hnin Kay Thwe, Carlos Granados Professor Giuseppe Fallacara B.Arch + B.S.A.T. Program Fall 2017

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(From Top to Bottom - From Left to Right) Julian Donado, Emilia Kightley-Sutter / Lang Cheng, Zongzhe Fanm Jiahui Li, Jiahao Wang / Andrew Donnelly, Adrian Mierzwam Gjuljana Mulosmanaj Professor Giuseppe Fallacara B.Arch + B.S.A.T. Program Fall 2017

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BUILDING CONSTRUCTION II PROJECT 01 While Building Construction I looked at wood and masonry construction systems, Building Construction II will focus on more complex systems of construction, steel and concrete. The course focused on the selection of four paradigmatic themes of iron and reinforced concrete construction. The topics were discussed in class and have become the main student research areas divided into four groups related to the themes: 1.From the origins of reinforced concrete to thin and performing shells. The case of the Viaduct on the Basento by Sergio Musmeci. 2.From the origins of steel building construction to structural and formal optimization. The case of the Shukhov Tower in Moscow. 3.New research on concrete large 3D printing. A tribute to Erwin Hauer. 4.New research on metal large 3D printing. Robotic arms for the construction of a metal bridge. The course is part of the event STEREOTOMY 2.0 and Digital Construction Tools (WORKSHOP - SYMPOSIUM - EXHIBITION) 16-29, April 2018, co-organized by Giuseppe Fallacara and Christian Pongratz. The four themes studied and researched during the BC2 course were presented in the exhibition with reduced-scale models and prototypes. The complexity of the topics allowed the students to understand the evolution of construction techniques from the past to the present day. The themes chosen for the analyses presented a conceptual depth, a geometric complexity and a sophisticated construction technique. Thanks to this it is possible to consider them as fundamental case studies for architectural and didactic culture.

FACULTY Giuseppe Fallacara Beyhan Karahan Jim Weisenfeld Neil Rosen Victoria Morelli

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Kelly Gamboa, Feheema Ismail, Emilia Kightley Sutter, Josh Kogut, Tiarnan Mathers Professor Giuseppe Fallacara B.Arch + B.S.A.T. Program Spring 2018

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04 VISUALIZATION

Design Fundamentals is an introduction to architectural Architects an Interior designers 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. 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 intensions. 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 Visualization sequence curriculum support primarily the process of translating ideas into visual formats that foster iteratively the transition from the mind-hand to the computer and vice-versa and to develop a critical approach to this creative process.

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 skills for more advanced computational tools and digital fabrication techniques and tectonics. More advanced platforms of investigation of computational technologies in design are offered to students as a format to get them exposed to the interchangeability between platforms and modes of operation. Students are exposed to the feedback loop between design and making, generative protocols and coding. A discussion of the way in which emerging technologies are affecting contemporary practice and process will act as a theoretical underpinning to all exercises.

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. The course aims at exposing the students to the understanding of architecture as a discipline and practice through a variety of input to support the students’ critical process of understanding architecture and its expanded field. Students learn how we can transfer ‘what we see’ and ‘what we think’ into different visualization formats, and more importantly how we can record our thoughts and inform design processes through iterative explorations. Visualization II introduces the use of CAD + CAM technologies to support critical visual thinking.. 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

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VISUALIZATION I Visualization 1 is the introductory drawing course of the Visualization sequence. It is the first in a series of courses that impart the concepts and skills of visual thinking and communication necessary to explore how methods and tools for seeing, representing and visualizing can inform architectural thinking and design methods. The class explores how free-hand drawings, orthographic projections, composite and hybrid drawing techniques, and modes of two and three-dimensional translation applied to making and diagramming are used not only to represent but also as important components in the generative design process. The course aims at exposing the students to the understanding of architecture as a discipline and practice through a variety of input including lectures, readings, invited guests, and field trips to support the students’ critical process of understanding architecture and its expanded field. Students learn how we can transfer ‘what we see’ and ‘what we think’ into different visualization formats, and more importantly how we can record our thoughts and inform design processes through iterative explorations. Students begin with free-hand sketching, observational and projected drawings to then be introduced to concepts of transferability between analog and digital platforms. The use of digital applications in Visualization 1 are introduced to support primarily the process of translating ideas into visual formats that foster iteratively the transition from the mind-hand to the computer and vice-versa and to develop a critical approach to this creative process.

FACULTY Sangdok Baak John Bermudez Michelle Cianfaglione Marcella Del Signore Robert Diaz Thomas Duch B.Arch + B.S.A.T Program Fall 2017, Spring 2018 122

Farzana Gandhi Brenda Galvez-Moretti Gonzalo Lopez Garrido Dongsei Kim Efrat Nizan Ebru Sulker Kellie Silva, Ashmaine Sukhoo, John Lonie, Jack Perea B.Arch + B.S.A.T. Program Fall 2017, Spring 2018 123

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Kellie Silva, Laura Lopez-Toro, Jean Michel B.Arch + B.S.A.T Program Fall 2017, Spring 2018 124

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VISUALIZATION II This course is designed to include CAD + CAM technologies to support critical visual thinking as well as the design studio sequence. Students are introduced to a range of CAM (Computer Aided Design ) and CAM (Computer Aided Manufacturing) platforms to establish a rigorous process between design and making. The course provides new tools to further enhance the ability to explore and improve visual communication skills as well as a critical approach to design. The course builds upon the skills learned in the first part of the visualization courses, while laying the ground for new tools and techniques. The course intent is to develop creative modeling abilities and explore strategies to imagine spatial and tectonic conditions digitally. The investigations are nurtured by issues and tasks related to contemporary information technologies, computation and digital fabrication.

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FACULTY Adegboyega Adefope Esteban Beita-Solano John Bermudez Gonzalo Lopez Garrido Robert Tilden Mauricio Tacoaman

Donnelly Andrew, Nick Spano B.Arch + B.S.A.T Program Fall 2017, Spring 2018 126

Thomas Manetta, Nicole Wolert, Alexandra Capobianco, Gjuljana Mulosmana B.Arch + B.S.A.T. Program Fall 2017, Spring 2018 127

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Sumeyye Cunek, Veronica Bruce, Andrew Donnelly B.Arch + B.S.A.T Program Fall 2017, Spring 2018 128

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Nicole Wolert, Taylor Mavros, Alexandra Capobianco, Marylin Corea Beita B.Arch + B.S.A.T. Program Fall 2017, Spring 2018 129

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VISUALIZATION III Visualization 3 course intent is to develop the ability to model spatial and tectonic conditions digitally. The initial part of the course is dedicated to refresh students’ proficiency and skills with previous software used in Visualization 1 & 2. The course continues with the exploration of tools that aid in 2-dimensional and 3-dimensional representation and the means to translate from digital models to physical models. Visualization 3 is designed as a course that supports the core curriculum and address topics and issues that are concerned with the latest digital design and fabrication processes. The course offers instruction in digital modeling, rendering, presentation drawings, and 2D and 3D fabrication platforms (3D printing, laser cutting, and CNC milling).

FACULTY John Bermudez Marcella Del Signore Dustin White Mauricio Tacoaman

Paul Amant B.Arch + B.S.A.T Program Fall 2017, Spring 2018 130

Devora Schwartz, Robert Nafie, Sam Molina B.Arch + B.S.A.T. Program Fall 2017, Spring 2018 131

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Lawrence Santapaola, Marko Despot, Thomas Craggy, Yongjia Zhang B.Arch + B.S.A.T Program Fall 2017, Spring 2018 132

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Michelle Qui, Brandon Galasso, Devora Schwartz, Xiaoyu Zeng Amant Paul B.Arch + B.S.A.T. Program Fall 2017, Spring 2018 133

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Amant Paul, Yongjia Zhang, Chen Qiuyi, Devora Schwartz B.Arch + B.S.A.T Program Fall 2017, Spring 2018 134

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Lawrence Santapaola, Brandon Galasso, Robert Nafie B.Arch + B.S.A.T. Program Fall 2017, Spring 2018 135

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05 INTERIOR DESIGN The Interior Design Program at NYIT is within the only school in the tri-state area of New York, New Jersey, and Connecticut, with both CIDA-accredited interior design and NAAB-accredited architecture programs.

The exposure and synergy that derive from the rigor and convergence of these two disciplines, ranging from expert, diverse faculty, to innovative cross-disciplinary studios and digital integration of contemporary design, defines the identity of the program. The curriculum was created to provide a superb, quality education towards the goal of excelling in professional practice, research, theory and academics, as well as pursuing civic and institutional spheres. The program emphasizes the application of current issues, precedent history, wide-ranging building typologies, business and project types—backed by mastery of the most advanced media programs. Founded by renowned Dutch interior designer and architect Han Schroder, in 1967 (Rietveld/Schroder House, Utrecht), the program continues to be guided by her core commitment to the “interrelatedness of material, tool, form and strength” with the mandate to stay on the cutting edge of practice. Students and faculty originate from around the world and participate,through the program, in prestigious design symposia, and venues such as ICFF and the Milan Salone. We remain dedicated to our graduates and towards their remaining engaged in lifelong learning with qualities that will distinguish them as leaders in the industry for the 21st century and beyond.

Charles Matz Professor and Director, Interior Design, SoAD at NYiT

Nicole Vilchez Professor Karl Hauser

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The goal of this course is to introduce the student to the structure and process of design as related to articulation of the spatial envelope. Students will be exposed to basic elements of design such as mass, shape, texture, materials, line and space as well as design principles such as scale, visual continuity, balance, procession, passage, interpenetration and basic space planning concepts. Emphasis is on the acquisition of an understanding of color principles, theories and systems as well as the basic theories of design, design composition, theories of human behavior in the interior environment; and understanding the historical precedents that underpin certain strategies and approaches. Students will learn to express design alternatives in graphic, verbal and written form. Students will learn to research, analyze and program relevant material, extract the central ideas, define the underpinnings of basic concepts and parti and develop schemes that build on that foundation and exploration. Emphasis is placed on the process of developing the dominant idea into a scheme which embodies the salient characteristics of the design, thru minimal means, down to the fine detail.

FACULTY Charles Matz Robert Allen

Hao Teng Professor Robert Allenw

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Kalra Perez Professor Robert Allen

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Recognition of simple design problems and analysis including human needs and behavioral patterns as a basis for planning interior environments and interactions of spaces, including experiments in organization and furnishing of residential interiors. The focus is on the impact of cultural factor of the users on design solutions. Upon completion of this course, the student should be able to solve interior design problems of limited scope. The impact of socio-spatial factors on design is highlighted in application of principles of design in the creation of aesthetically pleasing interior spaces. One must recognize different factors which determine the form, design and use of inhabited, residential and working spaces as well as to assess and analyze the client’s needs in accordance with the function of a space, and to design appropriate solutions for specific user needs within the built environment. Toward that goal, a designer will provide the fullest possible analysis and identify appropriate reference materials to obtain information relevant to a particular project, as well as express design in graphic, verbal and written form and develop skills in drawing, three-dimensional visualization and composition.e which embodies the salient characteristics of the design, thru minimal means, down to the fine detail.

FACULTY Randy Halpern

Nicole Wolert Professor Randy Halpern

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Alexandra Capobianco Professor Randy Halpern

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Commercial, residential, and institutional building types become the vehicle for exploring topics of healthcare and wellness including analysis of functions, human behavior, Universal Design, and the coordination of design elements such as color, furnishings, and textures. Project results demonstrate how the human condition can be transformed by environment. A goal of this course is to further develop the designer’s tool set and skills with particular attention to inclusive design as an approach to the problem solving. During the course of study, students will further develop their skills as designers as they undertake more complex problem solving through a range of building and project types. Students will be expected to develop and incorporate professional aspects of the discipline including management of their time, development of programming and interview skills. Various theories exploring the relationship between human behavior and the built environment, theories of sustainability and general theories of design will be presented. Universal Design and the appropriate application of ergonomic and human factors will be developed as a part of the design work. Students will have the opportunity to explore and apply principles of two and three dimensional strategies, lighting, color and materials will be a part of the design process. The course stresses appropriate selection of materials and products, including lighting and finishes, as well as the development of design resources. Students will be encouraged to visit resource centers and develop both contacts and a library for their own use. Correct analysis and application of relevant codes, zoning, fire and life safety.

FACULTY Martha Siegal Carl Hauser

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Danielle Simon Professor Martha Siegel

Carly Werner Professor Martha Siegel

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Danielle Joy Professor Carl Hauser

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Nicole Vilchez Professor Carl Houser

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Two projects form the backbone of this advanced Interiors course. The first is an abbreviated problem in hospitality design practice. The second is a focused, preliminary research effort, as preparation for the subsequent semester’s final design project in interior and furnishings design; a semester which includes a written thesis. The student, for consideration, presents the selections of thesis topics, as well as potential building sites where the projects may unfold, by faculty during this leg of the program. The hospitality project is a foreground element to a complex matrix of professional and disciplinary skillset exercises. The course focus is on promoting originality and creativity of conceptual thought, delivered via written texts, visuals and orally at presentations. The research and content of the selected thesis is the background. Critical analysis of the goals and objectives of the selected programs, thesis topics and site selections, are primary. Communication is by means of studio work, wall hung presentations; multimedia, work in both two and three dimensional sketches, models, hand and digital drawings, color and materials selections, selection of lighting, furniture, fixtures and equipment, and development of custom interior elements. Students are expected to demonstrate an understanding of the impact of existing structural, and mechanical systems on their design as well as the application of appropriate codes, regulations, fire and life -safety considerations, barrier free design guidelines, universal design concepts as well as consciousness of environmental concerns. The realities of a finalized constructed project are laid side by side with the creative impulses and conceptual drive of an original work. During all phases of the project including the initial conception of the thesis topic for consideration, students will be expected to present appropriate selections of materials and products based on their technical and performance criteria.

FACULTY Adegboyega Adefope

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Destiny Bates Professor Adegboyega Adefope

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Alexis Astacio Professor Adegboyega Adefope

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06 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 ‘re-birth’; 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 158

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 toplaces 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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SPAIN This summer program had three goals. The first was to provide a deep awareness of the evolution of the cities visited, including economic, social and political factors in their respective transformations to the vital cities they have become.The second goal was to develop a critical view of the historic and contemporary works visited. The third goal was to channel new knowledge and experiences in a studio project that, started in New York before the departure was then fully completed during the final three weeks of stay in Barcelona. Throughout the program, students were expected to document the sites visited through sketches, analytical drawings and shared notes. This year students developed design strategies for the site of Sant Adria’ del Besos and the abandoned industrial area of the “Tres Cimeneres” on the Mediterranean sea, through proposals focused on solution of landscape urbanism and building retrofitting for a sustainable growth of the area. An understanding of complex and mixed programs, and a study of ecological and social aspects regarding the site and its possible future development, were the common factor of all the proposals, which envisioned a new way to relate to the existing context.

FACULTY David Diamond Giovanni Santamaria

STUDENTS Samantha Arena Donald Costner Karen Guetat Joshua Kogut Himesh Patel Janki Patel Amant Paul Peggy Pena Berisbeth Pfel Nicholas Spano Yusuf Urlu Alexandra Panichella Harold Ramirez Amanth Paul, Bersibeth Pfel B.Arch Professor David Diamond and Giovanni Santamaria Summer 2018 160

Amanth Paul, Peggy Janki, Himesh Karen B.Arch Professor David Diamond and Giovanni Santamaria Summer 2018 161

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Peggy Pena & Janki Patel, Amant Paul & Berisbeth Pfel B.Arch Professor David Diamond and Giovanni Santamaria Summer 2018 162

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07 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. 164

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 I

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DESIGN WORKSHOP WITH PROFESSOR FRANCO PURINI AND ANTONINO SAGGIO INTRODUCTION The two esteemed professors from the Universita’ di Architettura Roma 3, have generously shared their knowledge and experienced talent with a selected group of thesis students who participated to in the design workshop “Polittico Newyorkese:. A vision for Roosevelt Island” at the School of Architecture and Design at NYiT. This was part of a larger project which had our renowned guests involved in lectures and exhibitions organized during the same period. This has been an opportunity for our students to familiarize themselves with different approaches to design and specific ways of introducing site issues and cultural references into the design process. Each of the invited professors followed one group of students working on Roosevelt Island and the dismissed industrial areas on the Queens side of the East River. Two clearly different approaches emerged from the workshop, mirroring two generations of thinking and making architecture: Antonino Saggio on one side, more ecologically oriented, and focused on the large scale of landscape strategy flows and systemic operations; while on the other side Franco Purini’s strategies have been more oriented towards the architectonic scale of the building, and the definition of new compositional relations between spaces and the experiences of these. Both perspectives have brought into the project strong and coherent theoretical references and original methodologies to investigate the characteristics of the site and its values, and creatively incorporate these into the design process. During the short and extremely intense workshop, students collaborated in teams to develop individually specific areas of a shared and agreed upon strategic master plan, demonstrating absolute dedication to the work and passion for learning. They were constantly inspired by their professors during the informal late hours open reviews which, starting from the design proposal of the students, opened up into interesting and original conversations across disciplines and fields of expertise. It was certainly inspiring for students to be actively involved in how concepts were generated and evolved within each of the two teams, and also how these were part of a silent, but proactive, dialogue between these, transforming ideas in forms and strategies driven by critical choices. A final presentation with the Dean and invited guests concluded the workshop, and demonstrated how much these learning experiences can contribute to the professional and a human growth of the students.

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Franco Purini

Elhassane Koroma John Hurtado Joseph Ortiz Hinali Shah Maxime Tricot Matthew Acer Leutrim Mustafa

FACULTY: Giovanni Santamaria

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“POLITTICO NEW YORKESE” LEADING GUEST PROFESSOR Antonino Saggio

FACULTY Marcella Del Signore

STUDENTS Laszlo Kovacs Liliana Hernandez Jamie Kushner Hernan Ovelar Victoria Vuono Ronal Lopez Calvin Bordina Yomaira Guaman

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INHABITING SURFACE INTRODUCTION In a project to design and build a playscape using the technique of fabric form concrete, the notion of play is decoded as various bodily actions and contexts. Inspired by Muybridge’s “stop-motion” sequence of animated figure images and drawings, bodily movements of students performing a single act were broken down into twenty increments and recorded as one drawing. Using string to represent the directional force-line of limbs, and pins to mark out the joints, the body’s structure is captured in motion. This became analogous to understanding how steel bars could direct the movement of the geotextile fabric in constructing the formwork to yield this range of motion translated into full scale shop drawings from which to construct a physical apparatus capable of adjusting the fabric formwork to produce variable forms. Using geotextile as the fabric, large scale concrete prototypes were realized and the wonder came at the moment of demolding the forms to find traces of its making imprinted onto their surfaces. Organized by Professor Naomi Frangos, this sLAB project with twenty-six student participants from NYIT architecture and Cal Poly landscape architecture re-activated NYIT’s sculpture barn during a 5-day intensive workshop led by fabric form concrete experts Chilean architect Ronnie Araya, and Remo Pedreschi, Director, MSc in Material Practice, Edinburgh College of Art, in collaboration with Rennie Tang, Assistant Professor, Cal Poly Pomona.

FACULTY Naomi Frangos

STUDENTS Matthew Acer Vishnu Anil Merav Ben-Josef Rochelle Brown Andres Carcamo Nicole Perez Walter Romero-Fuentes Marie Romulus Lawrence Santapaola Ben Sather 174

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STEREOTOMY WORKSHOP

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STEREOTOMY WORKSHOP

STEREOTOMY 2.0 INTRODUCTION STEREOTOMY 2.0 and Digital Construction Tools(WORKSHOp, SYMPOSIUM and EXHIBITION) 16-29 April 2018, co-organized by Giuseppe Fallacara and Christian Pongratz as a collaboration between the School of Architecture and Design, the School of Interdisciplinary Studies and Education, the College of Osteopathic Medicine, the School of Health Professions at New York Institute of Technology and Par Excellence NY Gallery and Showroom (the French Savoir-faire in NewYork). The project is to design a small bionic pavilion where stone is implented in innovative ways, underlining the design concept that asks broader societal questions about how we should rethink sustainability from an interdisciplinary systems standpoint. Consideration of material performance and structural symbiosis driven by biological generative systems thereby highlights the latest fabrication and construction technologies. The pavillion concept should be developed with the goal in mind that its location and design are strenghtening and reinforcing links between the various medical programs of the immediate surrounding schools and serving as a means to increase transdisciplinary encounters and holistic discussions on a broader scale. The project will mark a new place on campus to encourage casual meet-ups and outdoor social gatherings.

FACULTY Giuseppe Fallacara Dustin White

GUESTS Shajay Bhooshan Edoardo Tibuzzi Maurizio Barberio

STUDENTS Louis Bruni Carlos Chica Arkadiusz Chrobak Nicole Fatone 176

James Giustiniani Santiago Molina Vanessa Rocha

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TOPOGRAPHIC ORGANISMS INTRODUCTION TOPOGRAPHIC ORGANISMS grew from a prompt Professor Naomi Frangos gave students from her thesis studio: “Consider an ‘organism’ that reacts to the topography, infrastructure, or grain of the city of Los Angeles - a hosting site and an intervention that can transform it over time or throughout a spatial field condition. Generate variable inter-scaler solutions of the organism promoting growth within an existing disparate urban situation.” This prompt was investigated in a one-day intensive visualization workshop co-created with Prof. Frangos and led by Mike Nesbit, Los Angeles based fine artist and architect at Morphosis, offering an approach towards design media and representation techniques combined in unique ways. Cal Poly Pomona Assistant Professor Rennie Tang and her landscape students joined NYIT architecture students in this event.

FACULTY + COLLABORATORS Naomi Frangos Mike Nesbit

STUDENTS Jesus Ceballos Chris Conetta Bofan He Erik Jakob David Livramento Krista Marcovecchio Bryce McDonough

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TWISTED GROUND INTRODUCTION TWISTED GROUND is a half-scale installation of the larger playscape project INHABITING SURFACE exploring ideas of play lodged in the fabrication technique, engaged in the act of making, and experienced in the discovery of loosely programmed occupiable spatial works of architecture and landscape design. After a two-semester course sequence of handson fabrication research using fabric formwork to cast concrete, six NYIT architecture students traveled to Los Angeles in summer 2018 to reconnect with a few of their Cal Poly Pomona Landscape Architecture student collaborators and bring this student-led-design-build project to life. For three weeks, students continued prototyping, worked with structural engineers, performed concrete compression tests, and learned how to use industrial sewing machines at the campus’ fashion department. They learned by tailoring the fabric, they could better control the form. As a final project, ten variable modular fabric form concrete structures were installed in a twisted spiral around a tree, marking out a welcome circle at the entrance to the Lyle Center for Regenerative Studies located on the Cal Poly Pomona campus. Poured vertically as “columns” and placed horizontally as “beams,” gravitational and compressive forces adjust to the incremental shifting of openings in each module that permit material reduction and serve to shape the varying twisted forms. While offering efficiency in constructability, this technique also allowed for flexibility and consistency in design language through modular units.

FACULTY Naomi Frangos

STUDENTS Merav Ben-Josef Emily Black Andres Carcamo Walter Romero-Fuentes Marie Romulus 180

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PUERTO RICO WORKSHOP INTRODUCTION This workshop offered NYIT architecture students the opportunity to travel to Puerto Rico to help with post-hurricane Maria recovery efforts. The team saw the damage firsthand, engaged with local residents to understand the challenges, and even got their hands dirty and volunteered with TECHO to build homes for a community in need. Students also designed Emergency Cores in a design lab led by Professor Farzana Gandhi and with the guidance/feedback from other local and international faculty and students participating in Puerto Rico Re_Start, an international workshop and conference held at the Universidad de Puerto Rico, Rio Piedras. Emergency Cores retrofits (and upcycles) 20-foot long end-of-life shipping containers into emergency cores for various uses (info/claims center, sanitation/ water station, medical response, electrical charging/wifi hotspots, and logistics/assessment for inaccessible areas) and for dispersal in communities in need around the island. The design features a kitof-parts interchangeable panel system for varying uses along with equipment for off-grid energy, water collection and communications. The system adds onto the container without significant modifications to the container itself. This maintains its structure and integrity as a weather-proof container so that relief goods can be transported to the site along with the center itself. Research is ongoing and the goal is to replicate and have multiple cores in place around the island.

FACULTY Farzana Gandhi Matthew Krajewski

STUDENTS Anna Boyadjian Jaime Cardinale Martin Chan Elhassane Koroma Laszlo Kovacs Ronal Lopez Diana Marquez Samuel Molina 182

Ana Ramirez Jose Ramirez Dolly Reyes Michael Riccardi Candy Salinas Belinda Silverne Cesar Villarreal Jeniffer Yanqui 183

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SOCIAL IMPACT DESIGN WORKSHOP

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SOCIAL IMPACT DESIGN

FRAMING THE STREET: AN INSTALLATION FOR HARLEM, NY INTRODUCTION Public interest design is especially powerful at a small-scale and with the potential to act as a catalyst for large-scale social change. Through case studies, lectures, and short assignments, students were introduced to a number of topics and processes associated with public interest and community based design. These topics included the challenges faced by pro bono design and the rewards that result. Students also participated in a design-build project to build resilient communities in the Bradhurst section of Harlem, NY. The project, “FRAMING THE STREET,” is sited at a fence that lies between public street and semi-public housing community courtyard at West 148 th Street. The students led community participatory design workshops to work hand-in-hand with local residents, empowering them to come up with quick and dirty design ideas through drawing. Fences in East Harlem act as true dividers: often setting up territorial spaces between communities and/or creating distinct separations between public and private open space. The final design of the installation blurs the boundary of a fence to develop a shared social space inbetween. It also highlights important aspects of Harlem’s identity through a cohesive display of art, nature, and light. On the street side and working at a larger urban scale, the installation’s faces parallel to the fence provide space for a mural commissioned by a local artist. On the courtyard side, a green community garden wall invites a more intimate scale of community participation, enabling a child to plant a seed. Perpendicular frames between shift between both sides of the fence to create shared spaces for communication and art/info display. The aluminum installation takes cues from local materials and the vertical repetition and spacing of the fence. It is designed as a durable, modular system that can be easily replicated and reconfigured in its pattern to work in other locations.

FACULTY Farzana Gandhi

STUDENTS Ashley Joseph Isaac Kalema Jose Ramirez Marco Lucero Rayvon Nimmons Jason Aviles

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Gabrielle Redding Dolly Reyes Hinali Shah Belinda Silverne Dariel Dickson

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NYIT – SCHOOL OF ARCHITECTURE AND DESIGN AT MIT INTRODUCTION Associate Professor Giovanni Santamaria and some of the thesis students from the BARCH program at the School of Architecture and Design at NYiT, participated to the Metro Lab Initiative Course 2018 (Jan 8-19), an International Workshop at MIT (Massachusetts Institute of Technology) organized by Fellow Professor Gabriel Lanfranchi. NYiT students worked collaboratively within a group of twenty students and professionals coming from several schools and institution worldwide, to propose strategies and ideas for the future of the metropolitan region of Buenos Aires. A series of lectures about urban and metropolitan theories and approaches have been coordinated to introductions to best practices and studies by renowned academics, professionals and experts in the field of sustainable design, urban management and urban policies, across several scales from territory to neighborhoods. Students have then worked in teams coordinated by instructors (A. Contin, P. Ortiz, G. Santamaria) focusing on infrastructural, ecological and socio/economic issues regarding the water basin of the river La Matanza Riachiuelo characterized by problems of pollution, flooding, informal settlements, dismissed areas, lack of connectivity and socio-economic unbalance. Three complementary visions/ strategies have been produced and presented during the final open discussion aiming to redefine the overall narrative in approaching metropolitan environments, the structural/design aspects of it, and the related new tools and organizational systems needed. NYiT students (E. Blandina, L. Kovacs, J. Ortiz, R. Robles de la Mota) along with their teammates proposed a new vision for the river basin which gave renewed centrality to it as new eco armature of a complex system surrounded by protected and fostered green areas with ecological proposes (reclaim the water and protect from flooding). These are integrated within the metropolitan structure through a sustainable light infrastructure linked to the existing one and connected to new sensitive acupunctural public pockets as network of reparative strategies, productive and economic processes (circular economy), and then opportunities for social and urban regeneration. During the workshop, students had also the opportunity to know about the most advanced technologies and researches on going within the MIT MediaLab in regard to planning and urban design strategies.in other locations.

FACULTY Giovanni Santamaria

STUDENTS Joseph Ortiz Rossy Robles Lazlo Kovacs Eric Blandina

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International Exchange Agreement between SoAD at NYIT and Scuola di Architettura e Societa’ at Politecnico di Milano. International Workshop “Metabolims of a City. NYCER-Lab” Spring 2018 Professor Giovanni Santamaria, Guest Professor Antonella Contin and Sandy Ming, with students from Politecnico di Milano

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METABOLISM OF A CITY POLITECNICO DI MILANO AT NYIT INTRODUCTION Part of the International Exchange Agreement between the SoAD at NYiT and the Scuola di Architettura, Urbanistica ed Ingegneria delle Costruzioni of Politecnico di Milano, the design workshop “Metabolism of a City_NYCER(Lab) VI – 2018” focused on Roosevelt Island in New York City, and the role of the East/Hudson River corridor. Guest students participated in topical lectures organized within the workshop and in site visits to better understand issues and potentials regarding the site, which was approached at several dimensional scales. They worked in teams to elaborate design proposals able to integrate with metropolitan, urban, neighborhood and building strategies, catalyzing through the projects issues regarding natural ecosystems and urban ecologies, processes of transition and urban growth, layered infrastructures and post-industrial environments, new urban morphologies and building typologies, new possibilities for public spaces, retrofitting strategies and advanced technologies and materials. The first draft of the project and the mapping/survey exercises elaborated upon during the workshop and discussed at the final reviews with guests with diverse expertise, will be further developed during a spring semester studio in Milan, generating new possible solutions for a sustainable and environmentally balanced growth of Roosevelt Island and its surroundings. Therefore design strategies explored issues such as rising water levels, climate change, and rethinking the vulnerability and accessibility of the entire waterfront. Solutions will include reduction or managing of pollution, adaptive reuse of existing building and infrastructures, improvement of connectivity and circulation systems, and envisioning new typologies of spaces for public and shared activities in integrated and adaptable ways. Proposals are asked to creatively consider the integration of social and spatial factors at the scale of the metropolitan region, but at the same time to understand their effects at the local level. The workshop becomes then the opportunity to rethink tools and methodologies to holistically approach urban design for a more resilient and sustainable future, where the designer has a collaborative and multidisciplinary role, and is prepared to proactively operate within and throughout the specificities of multiple contexts and at the same time remain aware of the larger and rhizomatous systems which these belong to.

FACULTY Giovanni Santamaria

GUEST PROFESSOR Antonella Contin, Sandy Ming

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LECTURES & EXHIBITIONS Questions concerning representation and process have always driven new directions in architectural education, research and practice. While they are becoming even more inextricably linked in evolving technologies, this past year our events gave space for each to develop discourse on their relationship and impact on building and making. Our Fall series engaged a group of eclectic voices unified through the most prevalent form of architectural representation – drawing. Across scales and techniques, decoded by or entirely void of textual notations, drawings were at the foreground of precipitating critical debates. Alumni Jonathan Marvel’s projects identified ecological issues through urban mapping and building technologies, whereas in his new book, Rome: Urban Formation and Transformation, Professor Schwarting’s figurative drawings analyze urban design through contextualism and visual diagramming. Alternatively, in Detail Kultur’s indexically cross-referenced building case studies, Christoph Kumpusch redrew contemporary details to the same standards of technical precision. Peter Eisenman’s work prompted discussion with Dean Perbellini and Professor Ford on the relevance of mentorship which found testament in Ford’s edited book of Eisenman’s drawings By Other Means. Franco Purini and Antonino Saggio also shared the stage with contrasting behaviors of drawing format and syntactical communication. In (The) Space of Drawing: Reason and Imagination, Purini’s works embued in paper were exhibited at the AIA Center for Architecture, curated and described by Professor Santamaria as “lines and images [that] explode and implode between figurative and abstract references, shattered natural landscapes and reinvented compositional rhythms.” In Spring 2018, the curated series scalABLE Digital Processes brought into focus what seems-to-be less critically addressed questions concerning the role of data-informed and data-driven processes employed in digital technologies as they relate to human input and assessment. Aimed at dispelling any singular definition, digital technologies were considered as a synthesis of work across scales and platforms, performing as generative instrumentalities rather than applied tools, methods or

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approaches dictating specific processes. Pablo Lorenzo-Eiroa addressed emerging architecture of information crossing design boundaries through interpretations as a fluid approach and understanding of interface. Carlo Ratti’s work on smart cities emphasized an informed research practice that intersects and expands areas of architecture, urban design, ambient intelligence, and data visualization. Fabio Gramazio presented time-lapse animations of research-practice projects at the ETH in Zurich locating fabrication technologies and materiality within computational design, robotic fabrication, and assembly automation. This past year, our exhibitions grew to include innovative making processes and noteworthy contributors in these specialized fields. Following a five-day collaborative fabric form concrete workshop related to her sLAB playscape project Inhabiting Surface, Professor Frangos curated artefacts by students showing process and product: small-scale plaster casts, etched drawings, large-scale prototypes and geotextile surfaces indexed by marks of its making. The enactment of play-related mapping out a range of motion and recorded as one drawing became analogous in understanding how forces in the fabrication technique could alter the movement of the fabric to generate variable forms. A second show co-organized by Visiting Professor Fallacara and Interim Dean Pongratz of Interdisciplinary Studies and Education, Stereotomy 2.0 combined a symposium, workshop and gallery exhibition at Par Excellence in New York. A series of stone architecture prototypes of ancient stereotomic vault and dome construction, to contemporary stone experiments as pavilions, towers, porticos, walls and furniture pointing to the novel potential of CNC and robotic manufacturing techniques. The experience of double curvature systems was further emphasized by a laser cut assembly hovering overhead designed and produced by Digital Fabrication director Dustin White. Finally, the important milestone of the SoAD’s Interior Design program 50th anniversary coordinated by Professor Matz was celebrated as part of NYC’s Archtober events in an exhibition at the AIA - Center for Architecture. In the symposium Looking In; Looking Out; Beginning with Interior Design coordinated by Professor Allen, the vital role of interior designers was deciphered in a panel discussion between faculty members and national industry leaders. The integration of such events into our curricular and extra-curricular activities are a crucial part of our teaching paradigm. It is through this broader spectrum of pedagogical currency that our school continues to shape its motivations in developing a critical voice for the future of what architecture holds. Naomi Frangos Associate Professor, Public Events Committee Chair, Lecture & Exhibitions Coordinator, SoAD at NYIT

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1. Book Cover : Rome: Urban Formation and Transformation, Michael Schwarting.

4. Lecture and Book Launch : The Second Digital Turn: Design Beyond Intelligence, Mario Carpo, Manhattan Campus.

2. Lecture : Rome: Urban Formation and Transformation, Michael Schwarting, Auditorium on Broadway.

5. Lecture : Senseable Cities, Carlo Ratti, Auditorium on Broadway

3. Lecture : The Complex Behavior of Collective Detail If Buildings Had DNA: Case Studies of Mutations, Christoph Kumpusch, Auditorium on Broadway.

6. Lecture : Robotic Touch: How Robots Change Architecture, Fabio Gramazio, Auditorium on Broadway.

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1. Lecture : Mentoring by Other Means, Eisenman, Ford and Perbellini, Auditorium on Broadway. 2. Book Cover : By Other Means, Matthew Ford

4. Lecture : Interior Design 50th Year Anniversary, Martha Siegel

3. Lecture : In (The) Space of Drawing: Technology & Creative Processes, Franco Purini and Antonino Saggio

5,6,7. Exhibition : In (The) Space of Drawing: Reason and Imagination, Franco Purini, AIA Center for Architecture.

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1. Exhibition : Stereotomy 2 and Digital Construction Tools, Par Excellence.

4. Exhibition : Inhabiting Surface, close up view of fabric formwork, small scale plaster casts and Center Gallery.

2. Symposium: Stereotomy 2 and Digital Construction Tools, featuring Visiting Professor Giuseppe Fallacara, Manhattan Campus.

5-6. Exhibition : Inhabiting Surface, close up view of cast concrete prototype, Center Gallery.

3. Exhibition : Stereotomy 2 and Digital Construction Tools, close up views of models.

7. Exhibition : Inhabiting Surface, featuring Associate Professor Naomi Frangos during gallery opening, Center Gallery.

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M.S.A.U.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?

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.

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.

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:

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 re-configuring urban form according to climate-resilient principles will strengthen community adaptability to climate change, reduce 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.

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• 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 FAIA, LEED, BD+C Director of M.S.A.U.R.D, SoAD at NYIT

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10 CONVERSATION NYIT ALUMNI

Ishaan Kumar Degree Earned: Bachelor of Architecture, NYIT Masters of Landscape Architecture and Regional Planning, University of Pennsylvania 2017 Year Graduated: 2012 Current Position: Senior Designer, Michael Van Valkenburgh Associates, Inc Q: Why did you choose to study architecture? (Particularly at SOAD NYIT) A: I chose architecture because it allowed me to translate my artistic and musical side into something tangible. From Legos and K’nex, to two years of studying it as a major at Brooklyn Tech, it was clear growing up that it was something I enjoyed and wanted to explore further. I chose NYIT because I figured I’d be able to leverage the NY market for summer internships and future job opportunities. The most important factor however, was that their tuition was lower than the schools I was considering and they offered me a decent scholarship. Proximity to Central Park also helped. Q: What ways studying architecture at NYIT has aided your development as a student? A: I believe the program aided my development because it provided a wide exposure to the profession and helped me define what it means to be an architect. I felt confident leaving the program knowing that I could tackle small interventions such as a Bird Blind to large, complex prompts with real life issues such as a holistic vision for all of Red Hook. Additionally, the range of studios always presented local sites which were readily accessible instead of hypothetical siteless ones with generic prompts. Finally, the range of electives provided me with a wide tool set with opportunities to dive into Parametric Design, Graphic Design, Landscape Design, the Solar Decathlon, Study Abroad and more.

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arIanna armellI Q: What advice would you like to pass down to prospective/new students entering the SOAD? A: For prospective students, New York is an amazing city to study architecture, so you’re in for an exciting education by location. It’s constantly changing and there’s so much to see - both contemporary and historical, so don’t lose sight of your education extending beyond the studio walls. As for the new students, take your time to dig into who’s teaching, what kind of work they do, and most importantly where their alumni end up. It’s all about your network, so scope out former student portfolios on issuu and their profiles on Linkedin to see their work and experiences and being charting out your own journey. Four or five years can fly by and it helps to have an agenda of what you want to get out of the program beyond the degree. Lastly, be driven and enjoy the ride! Q: How did your education within the SOAD inform your professional/educational path after graduating? A: Besides preparing a well rounded architect that was equipped with the main building blocks and tools, my education at SOAD allowed me to start exploring a common thread of my interest in landscape design. A handful of my favorite and most influential professors such as Bertomen, Taylor, Gandhi and Santamaria helped plant a seed that architecture wasn’t just the object, but the field. This idea would haunt me for a few years as I had begun interning at a Retail Design firm in my last years at NYIT and went on to work their for a few years after graduating, but never felt fulfilled. I wanted something more impactful, something more meaningful and decided to pursue my MLA at UPenn. I know this decision can be traced back to the many conversations and desk crits with various professors and appreciate their investment in me.

Degree Earned: Bachelor of Architecture, NYIT Masters of Urban Design, University of Pennsylvania for Regional Planning and Landscape Architecture Year Graduated: 2012 Current Position: Founder and CEO of Dorothy Q: Why did you choose to study architecture? A: I was always interested in design even in high school, I took some classes that taught autocad and floor plan design and remembered how that was the only class I was excited for. I felt like I had creative freedom over how people interacted with space, becoming an Architect allowed me to explore that and actually build my ideas. Q: What ways studying architecture at NYIT has aided your development as a student? A: Architect training is very different than other professions, Architects are taught to problem solve in ways that helped navigate the position I am in now. NYIT specifically, teaches students the fine balance between creative thinking and practical design. This level of study fully prepares young people to enter the business world as Architects who understand how to conceptually design interesting spaces but also know how to build them.

Q: After graduating NYIT, how connected are you with NYIT faculty and students? Has this had an impact on your professional/academic path? A: I think it’s important to use your education in the work force for a few years. Allow some time for your education to translate into real world practice and then determine what your true passion is. Learn how the field operates and makes money, how to build a business then do something on your own! This is subjective because this is how I did it so of course I am going to pass on that same advice. Q: What advice would you like to pass down to prospective/new students entering the SOAD? A: During my final year I was fortunate enough to land in Giovanni Santamaria’s thesis section which was an urban design studio focused on rehabilitating the heavily polluted Gowanus Canal in the Red Hook section of Brooklyn, NY. I always developed projects with social/ environmental backbones and going through a year with him pushed my thought process and overall development to a new level. I still find that I look back on how miserable he made me, never stopped pushing and pushing, and how that training, to this day, forces me to continuously break through my comfort zone so I can evolve professionally. Giovanni is one of the reasons why I was able to take a risk and pursue my own company. The people make the institution what it is.

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We thank all faculty & students who contributed to make this issue possible.