Zuroweste, Peter - Portfolio (Abridged) by Peter Zuroweste

Peter Zuroweste

Portfolio Abridged

Fushë Krujë Micropolis Postdisaster Rural Urbanism

Role: Director, Zuroweste Architecture Client: National Territorial Planning Agency Of Albania (AKPT) Location: Fushë Krujë, Albania

e Y ar: 2020 2022 (Expected Completion) Status: In Construction Type: Masterplan, Housing, Commercial, Institutional, Recreation

1, 3 Multifamily buildings with 1, 2, and 3 br units supported on pilotis above programatically indeterminate ground level

2,4 Multifamily buildings with 1, 2, and 3 br units supported on pilotis above programatically indeterminate ground level

Collaborators

As “natural” disasters continue to increase in both frequency and severity due to climate changes induced by the carbon emissions of highly developed nations they are disproportionately affecting low-income communities in developing regions. How can architecture develop postdisaster design methodoliges for socially just, environmentally attuned, and rapidly deployable post-carbon urbanism?

Local Architects: Territorial Planners: GIS Experts: Transportation Planning: Urban Economist: Environmental Engineer: Geologist / Hydrogeologist: Hydrological Engineer: Electrical Engineer: Legal Expert: Cultural Heritage Expert: Model Builder:

Varka Arkitekturë A. Merja / E. Hoxha / M. Pollo Ylli Karapici / Elda Vorpsi Pamela Kortulaj / Xhevahir Aliu Rezarta Karapici Vojsava Shllaku Kristaq Dede Andi Xhelepi Alma Bilali Klarita Marku` K.kallamata / K. Merxhani Arjon Kadillari

Developed is response to Albania’s devastating November 2019 earthquake which left 51 dead, 3,000 hospitalized, and 32,000 homeless ZA worked with the National Territorial Planning Agency of Albania, the Albanian Development Fund, and the Office of the Prime Minister Edi Rama to design a 1,200-resident, 24 acre postdisaster masterplan featuring a

Fushë Krujë Micropolis: Postdisaster Rural Urbanism

5, 6 Multifamily buildings along western edge of site (foreground), single family dwellings along green fingers beyond

combined 200,000sf of residential, educational, institutional, commercial, and community-based programs. 15 multi-family buildings flow along the western edge of the site, providing homes to 93 displaced families on formerly agricultural land. These buildings are radically thin in section; single-loaded corridors provide access a mix of one, two, and three bedroom units. Every room in these units is the full width of the building, bathed in light from two sides and naturally cross-ventilated by Albania’s mild air. Each unit has a 300sf terrace, open on two sides to the surrounding environment, providing residents with the psycho-social benefits of indoor/outdoor Mediterranean living. The multi-family buildings wiggle and bends in concert with strategically positioned trees to provide an experience of living in the canopy. The ground floor of these multi-family buildings are left open to evolve in a flexible

way as the community grows and self-organizes patterns of social exchange and ritual. These activities will unfold along a horizontal ground plane, a visually continuous pastoral datum navigated by paths linking landscape events such as gardens, plazas, and recreational fields. East of the multi-family strip, an intimate 120-house neighborhood consisting of one, two, and three bedroom homes extends towards the horizon along “green fingers,” linear parks which weave together wild nature, cultivated landscapes, pavilions, kindergartens, and nurseries.

Solstice on the Park

Role: Design Team Member, Studio Gang Architects Client: Mac Properties Location: Chicago, IL

Year: 2015 - 2018 Status: Built Type: Residential High Rise

1 - Photo by Tom Harris, facade design by Peter Zuroweste (PZ) at Studio Gang Architects (SGA), Concept - DD, Partner-in-charge: Jeanne Gang

2 - Photo by Tom Harris 4 - SD study models by PZ at SGA 1 - Concept study by PZ at SGA

3 - SD rendering by PZ at SGA 5 - diagram by PZ and SGA colleagues 7 - Concept study by PZ at SGA

Text by SGA Located in Chicago’s Hyde Park neighborhood, Solstice on the Park is a twenty-six-story residential tower-shaped by the angles of the sun and one of the first Studio Gang projects to explore the idea of solar carving for environmental advantages. The design cuts into the building’s facade in response to the sun and orients surfaces to the optimum 72-degree angle for Chicago’s latitude, maximizing sunlight in winter for passive solar warming and minimizing light and heat gain during summer to reduce air-conditioning usage. The structure—which includes 250 dwellings and a green roof— also takes advantage of expansive views of Jackson Park to the south and Chicago’s skyline to the north.

Tour Montparnasse

Role: Design Team Member, Studio Gang Architects Client: Tour Montparnasse Location: Paris, France

Year: 2016 - 2017 Status: Competition - Schematic Design Type: Mixed-use highrise

1 Rendering by Labtop, concept and modeling by Peter Zuroweste (PZ) and colleagues at Studio Gang Architects (SGA)

2 Rendering by Labtop, concept and modeling by PZ and colleagues at SGA 3 L3 plan, drawing by PZ at SGA

Text by Studio Gang: Developed for the international competition to redesign Tour Montparnasse, Studio Gang’s design transforms this monolithic skyscraper into a beautiful new landmark for twenty-firstcentury Paris—a tower that is simultaneously a dynamic hub for economic innovation, a vibrant center of community life, and a global model of sustainability. A new, faceted facade gives the Tower a shimmering silhouette that marks its presence in the Parisian landscape from wherever it’s seen. Like the historic Haussmann-era buildings of the quartier Montparnasse, each level of the Tower adopts a human scale, while at the scale of the city, the building inscribes itself with a generous monumentality. The design’s intrinsic beauty goes beyond its exterior appearance to offer renewed functionality and program, as well as far greater environmental performance.

A diverse combination of uses and services make the tower a powerful economic engine and lively gathering place. Its transparent base serves as an inviting front door for its many offerings, which include fifty floors of work space, a spectacular observatory with indoor garden, restaurants with terraces, a hotel, cafés, a co-working hub, retail, a gym, and conference center.The tower’s redesigned plaza works with the base to blur the boundaries between inside and outside, offering a much-improved experience and new amenities. Its topographic section with cascading gardens brings light and greenery to the building and its surroundings while maintaining an urban flexibility that accommodates everyday public activity, open-air markets, and large events. The plaza and base also incorporate a new urban mobility hub that connects different modes of transit.

Krujë Interventions Post-disaster Alpine Urbanism

Role: Director, Zuroweste Architecture Client: National Territorial Planning Agency Of Albania (AKPT) Location: Krujë, Albania

e Y ar: Ongoing Status: WIP Type: Masterplan, Housing, Commercial, Institutional, Recreation

1 Rendering, upper site, multifamily 3 Physical model, lower site, multifamily

2 Physical model, upper site, multifamily 4 Damaged buildings on site, 2020 Krujë

Collaborators

How can we develop post-disaster urbanism through punctual interventions on a dense, ancient, topographic urban fabric? This project is split into an upper site and a lower site, connected by revitalized mountain stream. The flowing linear architecture of the upper site sits upon and slips into the city’s topographic definitions, while the lower, flatter site follows the semi-fragmentary logic of archipelagos within a river delta.

Varosh Kindergarten Disaster-Relief Alpine Education

Role: Director, Zuroweste Architecture Client: National Territorial Planning Agency of Albania Location: Varosh, Albania

e Y ar: 2020 Status: Concept Design Design Development, On Hold Type: Educational, Kindergarten

1 Rendering, entry court 3 NS section

2 Lower level plan, Community Porch 4 Rendering, Play Scape

Collaborators Local Architects: Territorial Planners: GIS Experts: Transportation Planning: Urban Economist: Environmental Engineer: Geologist / Hydrogeologist: Hydrological Engineer: Electrical Engineer: Legal Expert: Cultural Heritage Expert:

The Swanson House

Role: Client: Location:

1 Light gills on southern facade

Year: Status: Type:

The Swanson House

2 Wind strategy 3 Views strategy 5 Sun strategy 6 Sound strategy

4 South facade 7 Construction photo, truss erection

Wind

wind strategy in Summer

13024 W Hwy 12 Bentonville, AR 72712 Analysis Western porch opens in summer, pulling breezes through cottage, creating natural ventilation and passive-cooling effect

The predominant Summer winds on the site come from the E/NE, at an average speed of 9 mph. Secondary Summer winds come from the SW, also at an average speed of 9 mph. The predominant Winter winds on the site also come from the E/NE, at an average speed of 9 mph. Secondary Winter winds come from the W/NW, at an average speed of 11 mph.

Eastern porch opens in Summer, bringing cooling E/NE breezes into the cottage, creating natural ventilation and passive-cooling effect

(

Design Solution Plan porches on the East and West side of the cottage. During the Winter, the porches block the predominate Winter winds, keeping the cottage warmer and lessening the costs of heating. During the Summer, the porches can be opened up, creating a cross-ventilation effect that cools the cottage and therefore reduces the need for energy intensive AC.

2 Views

13024 W Hwy 12 Bentonville, AR 72712 Analysis The opening in the trees on the west side of the property provides an opportunity for very dramatic views as the pond slopes down and away, the field expands toward the horizon, and the western direction offers beautiful sunsets.

Design Solution Orient the western face of the building so that the living space looks out over the field. If the budget allows for any large-pane windows, here would be the place to use it -- minimum risk of heat gain with maximum payoff for views.

4 Sun

sun strategy - orientation

13024 W Hwy 12 Bentonville, AR 72712 SP

Analysis The high, hot summer Summer sun of Arkansas can become a source of excessive cooling bills if not properly accounted for in the design. The low angle winter sun, although favorable for heat gain, can create irritating glare for interior spaces.

SP SP

DP DP

Design Solution All windows on the South, East, and West faces should be protected from the high summer sun, either by eaves or awnings. These same windows should have exterior blinds or interior curtains to control glare from the low-angle winter sun. If possible, sun rays should always be stopped before they enter the building envelope (blinds are more desirable than curtains). Once UV rays pass through glazing, their frequency changes and they can’t escape interior space, creating a greenhouse effect which can cause over-heating and high AC costs. The cottage should be rotated 15 degrees. This is the optimum angle for ensuring maximum heat gain in the winter, while minimizing exposure to the high, hot, mid-afternoon summer sun.

SP DP

SP SP

5 Sound

13024 W Hwy 12 Bentonville, AR 72712 Analysis Hwy 12 presents a design challenge. Under normal circumstances, porches and living spaces would be oriented to the south for best daylighting. However the noise and high-speed traffic from Hwy 12 makes too much southern exposure unattractive. (p.s. How often do airplanes land? Is the sound a problem?)

Design Solution A clerestory system could be used to admit light into living spaces without admitting sound. Depending on the severity of the sound from Hwy 12, southern walls could be additionally insulated, or made out of a thicker material. Additional insulation or material here would could also create a heat sink by way of thermal mass, which is good for mitigating temperature swings and lowering the cost of heating and cooling.

A Spa in the Cloud Data Hotels, Hanging Baths, and Thermosocial Exchange

Role: Director, Zuroweste Architecture Competition Organizer: Boston Society of Architects Location: Boston, MA

e Y ar: 2021 Status: Competition, Finalist Type: Data Center / Thermal Baths

1 Sudatorium (steam room) 3 Cross section

2 Peristyle Gymnasium 4 Approach from boat

Data centers generate an enormous amount of environmentally-problematic excess heat, while the cloudbased activities they support contribute to social isolation how can architecture recycle data centers’ wasted energy in a way that counteracts the the malaise of our collective screen addiction and offers instead social connection through the ritual of public bathing?

main challenge facing contemporary data centers is energy, both its consumption and its byproduct: excess heat.

This project unfolds out of the possibilities latent within the data center as an emergent contemporary typology undergoing transformation and proliferation on a global scale. As Zoom calls, cryptocurrency mining, artificial intelligence, gaming, virtual reality and other trending data processes gain traction, the powers of computation and the networks which connect them consume increasingly concerning amounts of energy. The

This project captures the enormous amount of heat excess generated by data centers and utilizes it as the basis for developing a thermal spa complex. The somatic experience of bathing counters the virtual experience of cloud-based activities in a hybrid program which intentionally conflates the physical and atmospheric sensations of the spa with the digital and technocratic processes of the data center. The proposal to integrate these programs engages the deep architectural history of the Roman Baths as a cue for discovering how digital exchanges via server farms can be coupled with social exchange via thermal baths as a way to redefine what it means to connect through the cloud.

Splay / Stagger / Stack Learning from Architecture as Play

Role: Director, Zuroweste Architecture Competition Organizer: Boston Society of Architects Location: Boston, MA

e Y ar: 2021 Status: Competition, Finalist Type: Educational, K-6

1 Section, Stacked prototypes, high-density outdoor classrooms for the Eliot Innovation School K-8, Boston, MA

1 Rendering, Stacked prototypes, high-density outdoor classrooms for the Eliot Innovation School K-8, Boston, MA

How can architecture offer prototypes for rapidly deployable, post-carbon forms of educational buildings as tools toys for learning? This project offers prototypes for rapidly deployable, post-carbon forms of educational buildings as toys for learning. Architecture as play invites children outside into al fresco classrooms, where the cognitive impacts of screen-learning and limited social exchange are offset by engagement with a flexible, reconfigurable tectonic spaces. Children are invited to participate in the becoming of the classrooms, to use their hands, eyes, and ideas to take physical and intellectual ownership of the space through individual and group work. Given the wide variety of urban fabrics that exist within the Boston Public School District boundary, a prototype was developed which could be deployed across low, medium, and high density contexts. An analysis of all BPS schools which teach K-6 was conducted, and three sites

were chosen as testing grounds for their archetypal nature: small, medium, and large buildable areas corresponding to urban, semiurban, and suburban neighborhoods. The structural system of the prototype consists of four perimeter vierendeel trusses supporting long-span glulam beams and cross-laminated timber panels. The CLT panels establish a 12’ x 12’ module within the project both in plan and section, this allows for a maximum flexibility of infill materials which are 4’ x 8’, a ubiquitous dimension within the construction industry. Each prototype is designed for 20 students and 1 teacher. The unit provides a bathroom (top right in plan), space for an elevator and services distribution (top left in plan), a mobile teaching tech wall (bottom center plan), three mobile storage / partition furniture units, three small group break out / specialized learning zones, and is universally accessible. All furniture, including student desks, are mobile on wheels.

Cultivating Home Redefining the Triple Decker for the Sharing Economy

Role: Director, Zuroweste Architecture Competition Organizer: Boston Society of Architects Location: Boston, MA

e Y ar: 2019 Status: Competition, Finalist Type: Multi-family residential

1 Isometric

2 Isometric concept sequence: triple decker type > wrap type on site > shift levels to create many little terraces > shape garden ramp > add green house crown

With contemporary technology, life has sped up tremendously. Current generations move around nomadically, rushing from place to place, chasing the future and overlooking the present. Can it be that the loneliness epidemic as well as the systemic increased longing for a quieter mind, are a result of this lifestyle? This project encourages a sense of grounding, and a focal shift towards humans’ natural foundations. Key in the design is the repositioning of food -one of the most elementary needs of human life -at the heart of residential architecture. Neighborhood residents are encouraged to slow down and appreciate the growing, preparing and sharing of food.

What was an empty alley, now invites the people from the Main Street onto a sloping public vegetable garden. In winter, vegetables can continue to grow indoors in the cantilevering glass crown of the tower. Descending the tower one arrives in the community’s dining room, where a long table welcomes the preparing and sharing of food. Residents of the building share the dining room, and have their private spaces on the first and third floor. Bay windows are incorporated in the facade to pay tribute to the surrounding triple-decker houses and to integrate the building in the neighborhood.

Village in the Garden Solar Sculpting in Telegraph Hill

Role: Director, Zuroweste Architecture Competition Organizer: Boston Society of Architects Location: Boston, MA 2 Isometric 4 NS Section

e Y ar: 2020 Status: Competition, Finalist Type: Multifamily residential

1,3,5 Isometric zooms

This project hinges on the notion that any effective densification of Telegraph Hill’s residential fabric requires study at the scale of the block. Poor access to light and air are the typically the result of capitalistic development which typically maximizes lot capacity at the expense of neighbors. The myopic focus on the individual lot is rejected in favor of an approach which prioritizes the connections between lots, houses, and the people within them. The goal is an enhanced social fabric which brings people into contact with one another to develop relationships and support networks. The methodology dissolves the fences separating lots and connects neighbors with a communal living neighborhood. The internal portion of the block is all residential, the units are linked via a ground level ring path which loops between existing

buildings and new buildings. Commercial program is located above the existing buildings. All new buildings, both in the garden and above the existing buildings, are distributed in a checker board pattern. The spaces in between them are utilized as green space (pleasure gardens, playgrounds, vegetable gardens, etc) which carry light and air through the neighborhood. Typologies are sculpted using a sky exposure envelope generated using an angle of 52 degrees, this provides 20 foot-candles to all of the units 85% of the year (9am 5pm). The commercial typologies above the existing buildings are linked with a landscaped circulation loop.

The Sphere, The Cube, The Arch Intersecting Form and Program Towards a New Library Typology Role: Director, Zuroweste Architecture Competition Organizer: Boston Society of Architects Location: Boston, MA

Year: 20 Status: Competition, Finalist Type: Institutional, Cultural, Museum

1 -Rendering 3 - L1 plan 5 - L3 plan

2 Section perspective, looking west 7 Section perspective, looking east

1 -Rendering 3 - L1 plan 5 - L3 plan

2 1

27'-6"

27'-6" 27'-6"

27'-6"

5' 10'

20'

5' 10'

20'

4 1

27'-6"

5' 10'

20'

5' 10'

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Beyond the myriad symbolic possibilities of the sphere (platonic perfection, universality, the divine) this project utilizes the sphere’s immanent potential for projective geometry to link with a concept of shaping the social spaces of the contemporary library. The sphere is intersected with the horizontal and vertical planes of the cube to answer the question: at a time when access to knowledge no longer requires the physical resources of the library, why do people come? To share knowledge? Not primarily, given that the main programmatic component of the library, the reading room, discourages verbal communication. To access knowledge? Previously this was true, however with the proliferation of personal devices available to access the exponentially ever-expanding exabytes of online information, people can perform research from the comfort of home. This project takes the position that the purpose of the contemporary

library is to inspire people to learn. And the best mechanism for inspiring people is… other people. The architectural problem is thus: how can we shape spaces of togetherness where people can come to be surrounded by others that share the intention of accessing knowledge. How can we as designers provide environments for different modes shared intentions to unfold? Are there typological elements of the library that promote not the access to knowledge but rather the shared intention of accessing knowledge which binds together knowledge communities (cities, towns, elementary schools, universities, museums, etc.).

Curating Perspective A Museum of Architecture

Role: Director, Zuroweste Architecture Competition Organizer: Boston Society of Architects Location: Boston, MA

e Y ar: 2020 Status: Competition, Finalist Type: Institutional, Cultural, Museum

1 Rendering, looking west from Copley Square 3 Renderings, Section Perspectives

2 Rendering, full-scale architecture gallery 4 Rendering, looking south from Copley Square

This project hinges on the notion that architecture is, above all else, a way of seeing. It is the artifice which we construct to make sense of the world, to establish order from chaos. A museum of architecture, therefore, becomes a museum of the various ways we see the world. It is not concerned with its appearance in the city, so much is it interested to curate a perspective on the city which is meaningful, to use its parts to frame an experience of Copley Square, Boston, which leads its visitors a heightened sense of meditative awareness of the built environment. The question of what is “on display”, whether it is the exhibits, the city, or the building itself, is ambiguous (indeed, it seems intentionally so). The real question at hand is: how are the forces of the program (internal), and the city (external), negotiated and woven together on the given site? The position of the plot, combined with

the size of the program, generate an urban infill typology which applies disproportionate pressure on the facade to communicate the museums intent. A datum is established upon which the interplay of external forces and internal forces will occur. This datum is separated from the city, yet defined by it. It communicates an architecture which is engaged but autonomous. Four elements are identified as points of interest which will anchor the experience of moving through the museum: 1/2/3/4. The apertures are positioned and transformed on the datum to create maximum compositional dynamism not of the facade itself, but within the pictorial frame of its apertures, from inside / out.

The Center for Innovation and the Arts at Spelman College

Role: Project Leader, Studio Gang Architects Client: Spelman College Location: Atlanta, GA

Year: 2017 - 2020 Status: Construction On Hold Type: Higher Education, Hybrid Program

1 Rendering by Peter Zuroweste (PZ) with Studio Gang Imaging Department at Studio Gang Architects (SGA), landscape Photoshopping by SCAPE 3 Rendering by PZ and colleagues at SGA

2 Rendering by Peter Zuroweste (PZ) with Studio Gang Imaging Department at Studio Gang Architects (SGA), landscape Photoshopping by SCAPE 4 Rendering by PZ and colleagues at SGA

“Center for Innovation and the Arts.”

dance, theater, music, an innovation lab and the Spelman College Museum of Fine Art - positions the College for STEAM, an initiative that encourages innovation, risk-taking, invention and collaborative interdisciplinary work.

Spelman College, 13 Dec 2018, https://www.spelman.edu/ about-us/office-of-the-president/strategic-planning/center-forinnovation-the-arts. Press Release. Many of today’s careers require an interdisciplinary approach. The mode of collaboration, popularly known as STEAM (science, technology, engineering, arts and math), is the underlying principle for the design of the new Center for Innovation & the Arts. Spelman’s demonstrated strength in STEM, coupled with its extraordinary assets in the arts - visual arts, art history, curatorial studies, photography, documentary filmmaking,

“Spelman is investing in the integration of art and technology as the rapid convergence of art, technology, entrepreneurship, the liberal arts and science is yielding new solutions to old challenges,” said Mary Schmidt Campbell, Ph.D., president of Spelman. “The new facility will be a dynamic state-of-the-art learning environment that encourages not only disciplinary mastery in the arts, but provides curricular opportunities for innovative solutions to persistent urban problems. The design of the Center is a catalyst for interdisciplinary interaction. A Forum invites participation from multiple disciplines across campus

The Center for Innovation and the Arts

5 Physical model, showing L2 Forum and L3 Hive, by PZ and colleagues at SGA 6 Physical model, west elevation, by PZ and colleagues at SGA

and a Hive, or network of connected spaces, encourages interdisciplinary experimentation, collaboration, active play and research.” The Plan for the Center • Challenges Spelman students to use technology-inspired solutions for urban problems • Forges ties between the arts, liberal arts and technology • Creates an entrepreneurship incubator for high performing students • Establishes high-level partnerships with innovation partners in academia and industry • Creates a front porch linking Spelman to its Westside community

7 Physical model, showing L1 Porch, L2 Forum, L3 Hive, L4 offices, by PZ and colleagues at SGA

The new center will be the home for Spelman’s Innovation Lab; house all of Spelman’s arts disciplines; and provide a “front porch” for the community. The facility will cluster together, for the first time in one building, Spelman’s numerous arts departments now scattered across the campus into a vibrant community of innovators, collaborators, artists, musicians and scientists. With the gift from Ronda Stryker and William Johnston, the College has raised more than one-third of the total cost of the Center, which received it’s first gift from Leonard and Louise Riggio in 2016. The cost of the new facility, which includes an operating endowment and state of the art technology, is $86 million.

The Flimsy and the Fortified Emergy, Aesthetics, and Chinese Urbanization

Course: Instructors: Institution:

Location: Yiwu, China Semester: Spring 2014 Type: Conglomerate. mixed-use

1 - Axo, zones 1, 2, 3, 4 5 - Photo, physical model, bird’s eye 6 - Section, zones -2, -1, 0

2 - Axo, zones 11, 12, 13, 14 7 - Section, zones 1, 2, 3

3 - Axo, zones 16, 17, 18, 19 8 - Section, zones 4, 5, 6

4 - Axo, zones 25, 26, 27, 28 9 - Section, zones 7, 8, 9

This work attempts to integrate the thermodynamic project with the broad theoretical implications of building cities in China. It is built upon an idea about the Flimsy and the Fortified as two ubiquitous and predominant material organization/assembly types in Chinese urbanizing protocols. As distinct conditions, they are conceptualized as independent but interconnected types which dominate the existing Chinese landscape. Neither formal types nor functional types, the flimsy and the fortified are recognized as ubiquitous patterns of material organization in China which tend on the one hand toward the light, the artificial, the mass manufactured, the insubstantial, the inexpensive, the temporary, the porous, the flimsy -- and on the other hand towards the heavy, the over-structured, the megalithic, the massive, the elephantine, the solid, the fortified.

The project presents an architecture which judicially revises Chinese urbanization ideologies from within, through new logics of energy-driven spatial subdivisions – as a sort of camouflaged radicality, the project wishes to blend without friction into and out of mega-plot development and its associated modular exuberance. These new logics are executed through thermodynamically driven operative sequences -- explicit design protocols which are able to reconcile the form of the building with the form of the city (perhaps the ultimate problem of Modernity) on the unstable but voracious ground of the Chinese economy. The conglomerate, equally an operation and an object, has the capacity for ambiguity necessary to integrate these various concepts. The formal articulation of the project is the

The Flimsy and the Fortified

10 - Rendering 12 - Axo 13 - Section, zones 10, 11, 12

14 - Section, zones 13, 14, 15

11 - Thermodynamic typologies 15 - Section, zones 16, 17, 18

16 - Section, zones 19, 20, 21

result of a sequence of geographic discretization, typological taxonimization, primitive transformation and performancedriven iteration which drive always the overall ability of the system to essentially do one thing: put heat to work. Sectional complexification of the ground plane and the planimetric compression/deformation of thermodynamic primitives characterize the work. Feedbacks are woven into the system: towers cool courtyards; large thermal masses reciprocate with shady, shallow pools; fresh air from vegetated arteries pull through buoyant urban alleys to promote cross-ventilation. The material which was produced in this investigation is the record of a dialectic process, which oscillated between the making of a manifesto -- ambitious, speculative, not tame, intentionally detached -- and the establishment of explicit design

protocols -- restricted, operative, precise, pedantic. Each an established and effective methodology in their own right, the two integrated together create contradictions which are productive but also difficult. Oriented around the problem of the new urban conglomerate in China, a Central Business District is proposed with and from a mutant aesthetics which simultaneously seeks to coordinate itself with predominant cycles of Chinese production, while purporting a new energy-driven materialism which underscores architecture as an intersection of matter and energy. Form is articulated to maintain a commitment to calibrated porosities and the optimization of potential energy inflows.

Kresge College Renewal at the University of California, Santa Cruz

Role: Design Team Member, Studio Gang Architects Client: Kresge College, University of California, Santa Cruz Location: Santa Cruz, CA

Year: 2016 - Ongoing Status: In Construction Type: Institutional, Higher Education, Masterplan

1 - Collage of Eco-terraces, by PZ at SGA 1 - Collage of Academic Promenade, by PZ at SGA 1 - Collage of Academic Plaza, by PZ at SGA

2 - Collage of Civic Commons, by PZ at SGA 4 - Collage of Residential Meadow, by PZ at SGA 6 - Collage of bridge to Academic Plaza, by PZ at SGA

Text by Studio Gang: Located in a sprawling redwood forest in northern California, Kresge College has been a bold experiment in studentdriven education since 1971. Its original “hill town” campus by Charles Moore and William Turnbull created a bright, playful village within the forest, anchored by a winding pedestrian street, where students could test out new ways for living and learning in community. Today, as the College approaches fifty, Studio Gang’s renewal project aims to reinvigorate the Kresge campus as a vital, experimental environment for education—still independent-minded and free-spirited, but no longer so isolated and inward-facing.

experimental environment for education—still independentminded and free-spirited, but no longer so isolated and inwardfacing. Through a combination of renovation (12 buildings) and new construction (4 buildings) that builds on a master plan, the project restores the integrity and community spirit of the original design while simultaneously opening it up to embrace students of all abilities, the incredible natural ecology of its site, and the larger university community beyond.

Today, as the College approaches fifty, Studio Gang’s renewal project aims to reinvigorate the Kresge campus as a vital,

At the campus scale, the project extends the original pedestrian street into a loop path. This includes incorporating accessible pathways and, at specific moments, turning the inward-facing street outward to connect with the surrounding forest and other portions of the university. Most of the original buildings and smaller structures like the well-loved Mayor’s Stand are left

Kresge College

7 Model photo, concept and modeling by PZ and colleagues at SGA 9 Model photo, concept and modeling by PZ and colleagues at SGA 13 Model photo, concept and modeling by PZ and colleagues at SGA

10 Model photo, concept and modeling by PZ and colleagues at SGA 14 Model photo, concept and modeling by PZ and colleagues at SGA

RESIDENTIAL LOOP

8 Model photo, concept and modeling by PZ and colleagues at SGA 11 Model photo, concept and modeling by PZ and colleagues at SGA 15 Model photo, concept and modeling by PZ and colleagues at SGA

12 Model photo, concept and modeling by PZ and colleagues at SGA 16 Model photo, concept and modeling by PZ and colleagues at SGA ACADEMIC PLAZA

ACADEMIC CORE

RESIDENTIAL LOOP

ACADEMIC PLAZA

RESIDENTIAL MEADOW

ACADEMIC CORE

RESIDENTIAL MEADOW

KRESGE GARDEN

OUTDOOR CLASSROOMS

STUDENT LIFE

STRAMP

CIVIC COMMONS

CIVIC COMMONS ACADEMIC PROMENADE

CIVIC PROMENADE

ACADEMIC DEPARTMENT

intact, but are renovated and updated to improve their durability and environmental performance. The project’s four new buildings do not replicate Moore and Turnbull’s architecture, but rather engage it in a dialogue that complements its rectilinear, angular language with a more organic one of curvature and porosity. All of the new buildings are sited and designed to minimize the removal of redwood trees by bending around important groves and nestling into the topography. At the north end of campus, a new academic building with lecture halls, classrooms, and workspaces negotiates its steep site by simultaneously stepping down the slope and flaring out—bringing fresh air, natural light, and views of the forested ravine into the interior. At the campus’ west side, a set of three new residential buildings accommodates Kresge’s

growing student population. Bending and opening toward the forest, they preserve a scale of community similar to the original residence halls. Aligning Kresge’s built structures to work with nature to reduce carbon footprint is a key component of the renewal project. The redwood canopy, for example, provides shade that reduces cooling loads, and abundant operable windows take advantage of the mild climate to further passive cooling and bring in natural ventilation. To minimize water demand, the design rehabilitates and expands Kresge’s historic runnel system, allowing circulation pathways to work with the site’s topography and ecology to direct, capture, and filter stormwater for reuse.

The Culture of Liberated Congestion A Manual for the Proliferation of Land Value

Course: Neokoolhisms Instructors: Ciro Najle Institution: Harvard GSD

Location: Manhattan, NY Semester: Spring 2012 Type: HIgh-rise

1 - Physical Models, Degrees of Proliferation 01 - 09 3 - Axonometric, Generic Models 01 - 15

2 - Rendering, Degree 03, plot width: 108’ 4”, Generic Models: 9-15 4 - Physical model 6 - Elevation

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5 - Physical model 7 - Axonometric

In a field of discrete territories—described by Koolhaas in Delirious New York as “archipelagos”—the block performs as a pre-figured constraint. Coordinated with the grid and the plot, it absorbs and directs vertically the economic expansion of the metropolis. At what point does congestion surmount these coded definitions? How does architecture perform when the carrying capacities of the grid, the block, and the plot are exceeded? In this project, we propose that liberation from the territorial limitations of the site can be achieved through the compounding of congestion. Instrumentalizing high-rise housing as the typological platform of our research, we observe its modalities and sub-modalities as patterns for generating a new productive principle. Fifteen high-rise housing concepts and corresponding case studies are selected for their distinctive modes of “reproducing the world.” Raw plots are expanded,

limited, and optimized; architectural manipulation mitigates the loss of profit implicit in zoning codes and envelope restrictions. Planimetric and sectional analyses of this phenomenon are used as tools for reverse engineering the case studies into datas, from which useful quantitative relationships are extracted, charted, and figured forth into a set of fifteen generic models.

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Reducing architecture to the mathematical figuration of a chart, and thereby eradicating the noise of style and design, reveals a logic of amplitudes, inflections, and frequency--a collection of fifteen typological samples, each containing unique singularities. Conceptualized as a kit of parts, the samples are strategically concatenated, linked through operative value relationships into a systemic cadavre exquis. Floor Area Ratio, plot size, and plot coverage are defined as parameters for expanding, contracting,

The Culture of Liberated Congestion

8 - Physical model 10 - Elevation 12 - Rendering

9 - Physical model 11 - Axonometric

and transforming a project that seeks to deposit its aggregate intelligence into the remaining plots left in the super-dense metropolis. Returning to New York, the project identifies a range of throughblock plots as stages for proliferating high-rise housing clusters. Instantiating this new logic upon nine prototypical Manhattan plots of incrementally increasing size, new high-rise housing proposals are produced. As the plot expands so to does the regime of complexity contained in the architectural body,producing within itself new and unexpected potentials for re-thinking the nature of ground, the housing it produces, and the resulting relationships between private (interior) and public (exterior) zones.

13 - Degree 09, plot width: 361’ 8”, Generic Models: 1-15 (100%) 14 - Physical model 16 - Elevation

15 - Physical model 17 - Axonometric

Within the discourse of housing design, the project suspends repetition, modularity, and sameness as features of a typological status quo that limit the scope of housing’s theoretical ground and anchor possibilities to outmoded forms of Modernist production. Leaving behind de facto standards liberates the architect from the impulse to save the city one unit at a time, and calibrates our role within the urban environment to a more expansive context that exceeds architecture as a technocratic endeavor and leverages our capacity to practice critically. As problems surrounding housing design continue to conflate into conventional solutions--marginalizing the role of the architect into an iterative producer--the moment is appropriate to construct new grounds for the discussing the typology; to liberate the congestion surrounding the discourse into a culture of new productive principles.

e Y ar: 2020 Status: Competition, Finalist Type: Institutional, Cultural, Museum

1 Rendering, showing lecture hall on ground floor and Vierendeel-supported library above

2 Section perspective, looking west 3 Section perspective, looking east

The Sphere, The Cube, The Arch: Intersecting Form and Program Towards a New Library Typology Beyond the myriad symbolic possibilities of the sphere (platonic perfection, universality, the divine) this project utilizes the sphere’s immanent potential for projective geometry to link with a concept of shaping the social spaces of the contemporary library. The sphere is intersected with the horizontal and vertical planes of the cube to answer the question: at a time when access to knowledge no longer requires the physical resources of the library, why do people come? To share knowledge? Not primarily, given that the main programmatic component of the library, the reading room, discourages verbal communication. To access knowledge? Previously this was true, however with the proliferation of personal devices available to access the exponentially ever-expanding exabytes of online information,

people can perform research from the comfort of home. This project takes the position that the purpose of the contemporary library is to inspire people to learn. And the best mechanism for inspiring people is… other people. The architectural problem is thus: how can we shape spaces of togetherness where people can come to be surrounded by others that share the intention of accessing knowledge. How can we as designers provide environments for different modes shared intentions to unfold? Are there typological elements of the library that promote not the access to knowledge but rather the shared intention of accessing knowledge which binds together knowledge communities (cities, towns, elementary schools, universities, museums, etc.).

The Sphere, The Cube, The Arch

4 Site plan 7 L3 plan

5 L1 plan 9 L5 plan

8 L4 plan

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Negotiating Nature & Culture: A Programmatic Gradient The Emerald Necklace is pulled across the Fenway to envelope the north portion of building. Additional cross-walk connections and winding paths are provided to encourage a continuity of greenery and activity. The reading rooms and the auditorium are oriented towards this reflective asset, while parking is placed underground. The cube thus floats between Nature to the north (the Necklace) and Culture to the S/SE (the MFA). This creates a diagonal nature / culture gradient within the building which is used to situate interior activity. Programs which are more active and social spaces are positioned towards the museum, while more reflective spaces are oriented towards the Necklace. Pei’s entry plaza is extended to create a new southern-facing urban plaza where students and visitors can access both buildings.

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Curating Perspective A Museum of Architecture

Role: Director, Zuroweste Architecture Competition Organizer: Boston Society of Architects Location: Boston, MA

Year: 2020 Status: Competition, Finalist Type: Institutional, Cultural, Museum

1 Rendering, looking west from Copley Square 3 Renderings, Section Perspectives

2 Rendering, full-scale architecture gallery 4 Rendering, looking south from Copley Square

Cadavre Exquis A Sectional Analysis and Critical Sequencing of Six Canonical Buildings Role: Competition Organizer: Location: 1 - SW isometric, composite 3 - Section, Villa Stein, Le Corbusier 7 - Section, Glass House, P. Johnson

Year: Status: Type:

4 - Section, Maison Bordeaux, OMA 8 - Section, Eames House, Eames

2 - Plan, composite 5 - Section, Moller House, A. Loos 9 - SE isometric, composite

6 - Section, Farnsworth House, Mies 10 - NE isometric, composite

This project appropriates the sections of six canonical buildings as the generative framework for interrogating an idea of Ground. Within the context of a 90’ x 160’ site defined only by a series of contours and nothing else, the concept of analyzing architectural masterpieces is problematized by the realization that each of these works were conceived as configurations highly attenuated by the specificity of their site. Without the benefit of defining features (urban, rural, dry, wet, introverted, extroverted), the idea of Site is abstracted into the more generic condition of Ground as a lens for understanding how each of these architects positioned their buildings with relationship to the earth, the horizon, and the sky .These are the ubiquitous elements within which Le Corbusier, Koolhaas, Loos, Mies, Johnson, and the Eames tease out the tensions between technology and nature. The analytical tool of the section reveals

the architects’ attitude towards horizon as a measure of the distance between the elevation of the main level of inhabitation and the ground. Each has a unique sense of buoyancy in how the figure of the building is situated between earth and sky. Mies, for example, elevates his slab to eliminate the pictorial foreground of his riparian site to emphasize the middle ground of the river and the background of the horizon as the primary visual elements which describe the experience of the house. Johnson, on the other hand, embeds his slab into the earth, allowing the eye to trace the continuity between the interior brick floor, the grassy lawn, and the soft undulation of the hilly horizon beyond. Le Corbusier, Koolhaas, and Loos each use the terrace as a means of creating an artificial ground plane which regulates the internal landscape of the house with the external landscape of the site.

Gilder Center for Science, Education & Innovation at the American Museum of Natural History

Role: Design Team Member, Studio Gang Architects Client: American Museum of Natural History Location: New York, New York

Year: 2015 - Present Status: In Construction Type: Institutional, Museum

1 Rendering by SGA, Concept / SD level development by PZ at SGA 3 Facade development, by PZ at SGA

2 Canyon rendering by SGA and MIR, Concept / SD level development by PZ at SGA 4 Canyon development, structural geometry study, by PZ at SGA

Text by SGA: The latest addition to New York’s historic American Museum of Natural History, the Richard Gilder Center for Science, Education, and Innovation will embody the Museum’s integrated mission of science education and exhibition.

accommodate the museum’s rising annual attendance, which over the past several decades has grown from approximately 3 to 5 million.

At a time of urgent need for better public understanding of science and greater access to science education, the Gilder Center will offer new ways to learn about our world and share in the excitement of scientific discovery. The design for the Gilder Center reclaims the physical heart of the museum and completes connections between existing galleries that were originally envisioned in the museum’s campus master plan. Visitor circulation is enhanced to better

Informed by processes found in nature, the Central Exhibition Hall, which will serve as the Museum’s new Columbus Avenue entrance, will form a continuous, flowing spatial experience along an east-west axis. The design will encourage visitors to move beneath and across connective bridges and along sculpted walls with openings that reveal the Museum’s many programs. Niche spaces tucked within this central space will house exhibition elements designed by Ralph Appelbaum Associates and exciting new learning spaces, while also revealing more of

Gilder Center, American Museum of Natural History

5 Rendering by SGA, Concept and modeling by PZ at SGA 6 Facade development, by PZ at SGA 9 Facade development, by PZ at SGA

7 Facade development, by PZ at SGA 10 Canyon development, structural geometry study, by PZ at SGA

8 Canyon rendering by SGA and MIR, Concept / SD level development by PZ at SGA 11 Canyon development, structural geometry study, by PZ at SGA

12 Canyon development, structural geometry study, by PZ at SGA

the Museum’s extensive scientific collections. The public will be able to engage with innovative tools used by scientists to gain a deeper understanding of our world and how science is conducted today. The building’s caverns, bridges, and arching walls will be formed using an industrial application of concrete that showcases its liquid properties. This technique, primarily used for infrastructure, creates a continuous interior without material seams or joints that becomes structural as it cures. The interior of this exciting space will demonstrate the structural principles subject to gravity without the traditional waste of formwork Creating approximately thirty connections among ten different buildings, the Gilder Center will include the five-story Collections Core, housing millions of specimens and artifacts from the

Museum’s collection; the Insectarium, the first Museum gallery specifically dedicated to insects in more than 50 years; the Butterfly Vivarium, a year-round exhibit that doubles the space of the existing seasonal butterfly conservatory; and the Invisible Worlds Immersive Theater, showcasing cutting-edge scientific technologies. “We uncovered a way to vastly improve visitor circulation and museum functionality, while tapping into the desire for exploration and discovery that is so emblematic of science and

Benjamin Franklin Village Mannheim

Locatin:

Client:

Role:

Project Designer at MVRDV City of Mannheim, Germany Mannheim, Germany

201

ear: Y Status: Type:

1 City plan, by PZ at MVRDV 3 District edge zoom, by PZ at MVRDV

Concept Design Masterplan, Adaptive Re-use

2 City center zoom, by PZ at MVRDV 4 Sportive strip zoom, by PZ at MVRDV

NEUE GEBÄUDE SANIERTE GEBÄUDE ABGERISSEN GEBÄUDE STRAßEN WEGE STRAßENBAHN

Madla’s Green

Role: Project Designer at MVRDV Client: Stavanger Kommune Location: Stavanger, Norway

Year: 2013 Status: Competition Type: Masterplan

1 City plan, by PZ at MVRDV 4, 5 Diagram, no sprawl / density perimeter, by PZ at MVRDV

2 Rendering by MVRDV, Concept and modeling by PZ at MVRDV 3, 6 Prototypical sections, by MVRDV, concept and modeling by PZ at MVRDV

REGIMENTVEIEN MAX. 21M

Text by MVRDV: Stavanger has established a unique position both in a Norwegian context and internationally. A culture of ambition, innovation and entrepreneurship has shaped the city into what it is today Europe’s capital of Energy, a strong cultural hub and a destination for breathtaking extreme sport. Due to the booming offshore industry the region has doubled its population since 1950 and is continuing to grow rapidly. Currently Stavanger/Sandnes has the second largest growth rate in the country. This makes urban densification both a necessity and a desire. Madla Revheim is positioned at the point where the urban and the rural meet, the area seems perfectly suited to set a new example for how sustainable growth can be facilitated in the Stavanger region.

Identifying two clearly defined zones a green zone and an urban zone allows concentrating development along the perimeter of the site in order to realize the collective quality of a large scale common space, a recognizable quality at the heart of the development: Madla’s Green.

Wallhouse Serial Multiplicities

Role: Project Designer at Rocker-Lange Architects Client: N/A Location: Cambridge, MA

e Y ar: 2012 Status: Concept Design - Construction Documentation Type: Pavilion

1,3 Physical model, by PZ at RLA 6 Rendering, by PZ at RLA

2,4 Physical model, by PZ at RLA

5 Rendering, by PZ at RLA 7 Structural model test, by PZ at RLA

8 Structural sections drawing, by PZ at RLA

An exploration of adaptable Architecture and sited on the south side of the GSD portico, the Wallhouse pavilion employs a series of wood sections to create a sequence of distinct interior and exterior spaces. Using digital parametric modeling, the pavilion considers site conditions and programmatic desires to act and react with the environment through the modification of the self-similar sections. The pavilion unfolds between two lines on the southern and northern extremes. As the sections widen and bend, two bulges develop. One producing a tear in the sections creating an inhabitable interior space that invites the visitor with a integrated bench. The bending produces a distinct space between the pavilion and the GSD wall: a larger space facing Cambridge Street that funnels into a corridor leading to the GSD’s main entrance. The programmatic use of the space may range from being a relaxation space for the Cambridge

pedestrian to being a temporal exhibition and review space for the GSD community. Between the scale of building and furniture, the pavilion continues to explore parametric modeling, versioning and serial multiplicities using standard construction material such as 2”x2”s. The entire structure is constructed from renewable wood material and is fully recyclable.

VTB Stadium and Arena

Role: Project Designer at Manica Architecture Client: Dynamo Moscow Location: Moscow, Russia

Year: 1 20 - 2019 Status: Built Type: Stadium and Arena

1 - Rendering by Manica Architecture, parametric envelope development by PZ 3 - Perimeter geometry 5 - Diagrid points

1 Rendering by Manica Architecture, parametric envelope development by PZ 7 Photo of completed project, 2019

4 - Lofted surface definition 6 - Diagrid lattice, ETFE frames

The VTB Stadium & Arena includes the redevelopment of the existing Dynamo Moscow stadium and its surrounding historic park. The existing Dynamo Moscow stadium is located at Petrovsky Park in the heart of Moscow, a site that has a rich dating back 1782, when Catherina the Great ordered the construction of the Petrovsky Palace. The groundbreaking design integrates two levels of commercial retail within the historic walls of the old stadium, and locates both the 33,000-capacity outdoor football stadium and the 15,000-capacity indoor multi-use arena together above the existing wall and new retail areas. This solution not only preserves the historic perimeter façade of the existing stadium but integrates the venues functionally and aesthetically into the new development.

To be financially self-sustaining, VTB Stadium & Arena Park hosts a multitude of cultural, retail, and entertainment facilities. The mix of sport and entertainment creates a profitable and vibrant destination 24 hours a day, 7 days a week, 365 days a year. The unique design allows the existing park to be completely preserved as a public, green area while the addition of a state-of-the-art 125,000m2 amateur and professional sport training facility, ensures that the VTB project is the centerpiece of the development of all sport throughout the Russian Federation for decades to come.

The Culture of Liberated Congestion A Manual for the Proliferation of Land Value

Course: Neokoolhisms Instructors: Ciro Najle Institution: Harvard GSD

Location: Manhattan, NY Semester: Spring 2012 Type: HIgh-rise

1 - Physical Models, Degrees of Proliferation 01 - 09 3 - Axonometric, Generic Models 01 - 15

2 - Rendering, Degree 03, plot width: 108’ 4”, Generic Models: 9-15 4 - Physical model 6 - Elevation

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The Culture of Liberated Congestion

8 - Physical model 10 - Elevation 12 - Rendering

9 - Physical model 11 - Axonometric

13 - Degree 09, plot width: 361’ 8”, Generic Models: 1-15 (100%) 14 - Physical model 16 - Elevation

15 - Physical model 17 - Axonometric

Elastic Inflation Morphology: Expanded Mechanisms / Empirical Materialisms

Course: Instructors: Institution: 1 - Corrugated latex pillow, inflated 6 - Latex skin, cantaloupe cast 8 - Latex skin, pineapple cast

Location: Cambridge, MA Semester: Fall 2013 Type: Design Research, Experimental Fabrication

7 - Latex skin, pepper cast 9 - Latex skin, gourd cast

Experiment One - Latex Molding A. Test - Comparative Morphology: the analysis of the patterns of the locus of structures within the body plan of an organism. B. Ambitions - Taxonomical Categorization: based on surface topology and structural behavior. Experiment Two - Expandable Latex Layering A. Test - Comparative Morphology: the analysis of the patterns of the locus of structures within the body plan of an organism as an abstracted and controlled experiment from Experiment One by purchasing factory-made latex and designing our own patterns. B. Ambitions - Controlled Morphology: Using designed patterns abstracted from biological cellular structures and testing the

2 - Layered latex pillow, inflated 4 - Layered latex pillow, inflated 6 - Layered latex pillow, inflated

3 - Layered latex pillow, inflated 5 - Layered latex pillow, inflated

expanded morphology and structural deformation while seeking a specific tactility resistant to pneumatic pressure failure. Taxonomical Categorization: based on surface topology and structural behavior. Experiment Three - Material Fusion A. Test - Comparative Heat Fusion: Variable tests using ovenheated latex sheets and a laser cutter to heat fuse latex sheets; Comparative Bonding: Variable tests using adhesive bonding successful tests were later tested under inflation. B. Ambitions - High Pressure Bonding: once able to fuse the latex together, the bond was tested to find its failure threshold. Successful test held its bond under inflation. Taxonomical Categorization: based on laser cutter power, and glue brand and ingredients

Elastic Inflation Morphology

11 - Corrugated latex pillow, inflated 14 - Corrugated latex pillow, inflated 18 - Corrugated latex pillow, inflated

15 - Corrugated latex pillow, inflated 19 - Corrugated latex pillow, inflated

12 - 3D printed cyanoacrylate dispenser fastened to laser cutter head 16 - Corrugated latex pillow, inflated 20 - Corrugated latex pillow, inflated

13 - Fabrication technology diagram 17 - Actuated inflation technology 21 - Hacking laser cutter

AIR COMPRESSOR

100 PSI

CYANOACRLATE DISPENSER

RELAY

12V

30 PSI 05V G CODE CPU STEPPER MOTOR

LASER CUTTER CHASSIS

220V

Experiment Four - Actuated Inflation A. Test - Air Pressure & Valve Synchronization: Tests coordinating programmed inflation of patterned pneumatic panels via use of 12v solenoid valve, 150psi Air compressor, Arduino Uno, Breadboard, LED, one-way check valves and Ultra Sonic Sensor, Kinect Motion Sensor Device. B. Ambitions - Coordinated Inflation Control: To coordinate air panel inflation rate, and response to human interaction/movement stimulation. Experiment Five - Material Patterning A. Test - Comparative Patterns & Morphology: Variable tests using patterns of adhesive lines drawn onto 0.33mm latex sheets. Comparative Adhesive Application: Variable tests using adhesive applied through pneumatic pump/syringe, refurbished laser-cutter, and 150psi Air Compressor. Tests completed using

variable speeds and pressures. Short-circuiting of X25 Laser Cutter via electrical circuit relay, Arduino Uno, breadboard and 15-Range Digital Multi-Meter. B. Ambitions - Adhesive Bead Control: once able to lay a clear adhesive bead without bubbling, drag, bleeding or premature drying via laser cutter & pneumatic syringe adhesive dispenser. Taxonomical Categorization: based on laser cutter power, air pressure and material morphologic change. Morphology: Once successful quality control could be produced in adhesive dispensing, a taxonomy of morphological patterns needed to be tested and documented. C. Results - Variable Speed/Power Bonding: Successful bead width and clarity with maximum speed and minimum drying achieved at Power-100 & Speed-06.

West Bottom Water Works: Hydrological Housing in Post-Industrial Floodplains

Course: Undergraduate Thesis Advisor: Richard Farnan Institution: University of Kansas 1 - Render, from Bottoms to Downtown 3 - Step 1: Extract flows 6 - Step 3: Select modules

Location: Kansas City, Missouri Semester: Fall 2009, Spring 2010 Type: Housing, Ecological Urbanism

4 - Step 2: Densify geometry 7 - Step 4: Generate diagrid

5 - Render, WBWW and 12th st. bridge 8 - West Bottoms flooded, 1951

2 - Exploded axon, systems layers 9 - Kansas City 100-year floodplain

The goal of this project isn’t to provide a master plan for the redevelopment of Kansas City, but rather to develop a West-Bottoms specific prototype that provides precedent for continued periphery development—a sort of text-book surgical incision for the threshold zones (i.e. interstitial/in-between spaces, “urban sinks”) found between Downtown and it’s satellite districts. It must be recognized that Downtown does not necessarily need new construction to achieve the status as an active urban core. It already contains a plethora of constructed space ripe with programmatic potential—it merely needs improved access and linkage in order for that potential to be realized. Executed by means of algorithmic procedure, the proposed prototype identifies four components that are vital to successful urban intervention—social relationships, technical performance, legal implications, and economic consequences.

Prior to the Great Flood of 1903, Kansas City’s spatial configuration was defined by a favorable contrast between “upper” Kansas City (located on the bluff, affording panoramas of the river) and “lower” Kansas City (located in the bottoms, engaging the river); the two were linked by the 8th street Bridge and a subterranean tunnel that allowed for an uninterrupted, socially active space—a sort of active urban corridor. West Bottoms Waterworks must re-restore this concept of a linked, active urban corridor, but in a manner diametrically opposite to much of the recent building that Downtown has seen (e.g. The Power And Light District). This proposal must respond to existing destructive Capitalist processes by favoring communitydriven initiative over corporate development, agricultural production over product consumption, and ecological responsibility before economic profit.

Lamborghini Museum

Course: 3rd year undergraduate design studio Instructor: Dennis Sander Institution: University of Kansas

Location: Bologna, Italy Semester: Spring 208 Type: Museum

1 - Physical Model, aerial view 2 - Concept model, concrete and steel 4 - Physical model, illuminated

6 - Physical model

3 - Physical model, illuminated 5 - Physical model

The Lamborghini Museum is foremost a project in the relationship between surface and structure. A continuous horizontal interiority is facilitated by five towers which structural behave as pylons. Bridges span the distance between the pylons and support four discrete architectural segments. Each segment surface geometry is optimized to bring in light to satisfy and accentuate programmatic needs: the car gallery, the library, the archives, and the offices constitute the main programmatic elements. Urbanistically, the act of hoisting the building thirty feet in the air liberates the property for future development, which anticipates factory expansion and infrastructural improvements. while affording the museum a greater regional presence; this is critical to attracting passers-by from the nearby freeway and generating enough revenue to maintain financial autonomy. As new Lamborghinis are manufactured

and prototyped, the buildings five towers will serve as large lifts to facilitate vertical transport. The vast clear span continuity produces an interiority which approaches the territorial scale. Compounded this continuity with both public and temporal programming, the museum is conceptualized as an interior park; a technological playground suspended in its own artificial horizon.

Warschauer Bahnhof: Containing Mobility Convergence

Course: Living Bridge, Instructor: Institution:

Location: Berlin, Germany Semester: Fall 2008, Spring 2009 Type: Train station, arts center, hybrid programming

1 - Exploded isometric, program 4 - Rendering, interior atrium

2 - Rendering, bird’s eye 5 - Physical study model 6 - Physical study model

3 - Isometric 7 - Physical model, plexiglass

This project is an architecture of container and contained, The facade is crafted though porosity gradients and picture window placements that adjust light and privacy levels for optimal programmatic function. Punctures in the exterior shell and interior glazing opacity levels were used as tools for building the desired mode of exchanged between a high density anterior traffic terminal, sensitive interior hybrid configurations, and an exterior condition where cardinal directions align with socially and politcally significant pasts, presents, and futures.

The Archives of Venice: Topos, Nomos, and the Negotiation of Inter-Typological Contradictions Course: Urban superimpositions / Historical Archive Instructor: Institution:

Location: Venice, Italy Semester: Fall 1 20 Type: Archive, bus station, hybrid programming

1 - Physical model 4 - Physical model 6 - Physical model

2 - Exploded perspective 7 - Isometric, process work

3 - Physical model 8 - Site plan

In an effort to preserve the sanctity of the archive and it’s privileged and profound role in culture, this project seeks alternative ways in which to disseminate the contents of the archive, alternative materials for inscribing into the history of the city of Venice. The premise of the work is: is it possible to create at this site a building that will allow Venetians to engage the archive through theater typology, thereby expanding upon the sense of performance implicit to all public spaces, and the history of theatricality in Venice. Can the public be used as a tool for inscribing the histories of Venice into an architectural space, where the topos resides in the dramatic act and where the nomos becomes implicit to a city where the performing public is in a continuous act of engaging, editing, and curating it’s archival material? Given the brief to design the archives of Venice upon the current bus depot of the island, while

maintaining the depot’s functionability as a major transportation node, this project operated within the ambiguity of placing the archive at the precise location where it is most likely to erode -- directly upon the horizontal asphalt territory of the terminal The banality of the bus depot coupled against the sanctity of the archive yields an architectural problem that can not, and indeed is not meant to be solved. Problems that are ambiguous can be made definite through the standard set of tools that we use as architects to understand things... formal analysis, historical research, data collection and processing, etc. However our problem here is structured such that it falls apart under the scrutiny of protocols that are typically associated with the early stages of understanding a project.

5 - Rendering, process work

2022

Peter Zuroweste

End