Pauline Caubel B.Arch 15' Portfolio

Pauline CAUBEL [ 2 010 - 15 ] Pratt Institute School of Architecture

PORTFOLIO

DEGREE PROJECT RESEARCH - THESIS r e p u r p o s e d d e c a y - 2 014

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A D VA N C E D D E S I G N p o r o [ c i t y ] - 2 013

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d w e l l i n g - 2 014

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t o u r i s t v o r t e x - 2 014

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COMPREHENSIVE DESIGN g r a d u a t e d o r m i t o r y - 2 012

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c o l u m b i a b o a t h o u s e - 2 013

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I N T E R M E D I AT E D E S I G N b o w e r y l i b r a r y - 2 011

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k i n d e r g a r t e n - 2 012

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FIRST YEAR w o o d j o i n t s - 2 010

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r e p r e s e n t a t i o n 1 + 2 - 2 011

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COMPETITION t h e u n f i n i s h e d g r i d : s p e c u l a t i o n s f o r m a n h a t t a n : 6 1 / 4 a v e n u e - 2 011 (winner)

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CRITIC: Danielle Willems, Abigail Hume

REPURPOSED DECAY

2 015

undergraduate thesis future ontological formations

partner - Christine Kim

3

DEGREE PROJECT

[Repurposed Decay] investigates the site of the World’s Fair’s decayed pavilions using the process of decay and its residual natural growth as a basis of a new permanent aesthetic of architecture The site becomes a case study in investigating a new infrastructures formed directly from the process of decay The World’s Fair in 1964/65 was an international exhibition to showcase new and developing technologies. It drew a total of 51 million people and a billion dollars was spent to celebrate American industry. The site was built with an illusion of per-

repurposed decay

Danielle Willems, Abigail Hume: CRITIC

manence or in other words planned obsolescence. Robert Moses the master planner of the fair was quoted saying that these structures were built to be destroyed. Planned obsolescence is the construction of a product with an artificially limited life span designed to lose their functionality after a period of time. This thesis project speculates on the 2040 World’s Fair in which planned obsolescence is reversed by resurrecting these pavilions into one fluid infrastructure. The spatial experience traveling from one pavilion to another, in its new aesthetic of decay, make the inhabitant experience the stages of decay through circulation.

[ SCALE 3] repurosed individual Pavilion

[ SCALE 2] location of World’s Fair SITE - explored in scale The grey/red gradient ser ves as a key consistent through the drawings showing grey to red going from the state of least decayed to most decayed being experienced on the site , respectively. The series of three plan drawings takes the site from the flushing meadows in Queens, to the thirteen pavilions chosen from

[ SCALE 1] Flushing Meadows [1] fresh occupancy 5% 1% enclosure 50% time 20% decay

the worlds fair, and finally to the individual pavilion.

[2] bloat occupancy 15% 30% enclosure time 65% 40% decay

[3] active decay occupancy

45% enclosure

48% time 52%

[4] advanced decay occupancy time

70% decay

70%

72%

enclosure

65%

[5] dry/remains occupancy time

80% decay

91% enclosure

85% 87%

90% decay

DEGREE PROJECT

zone 2 plan

zone 3 plan

zone 1 plan

Methodology: 5 zones Decay is a natural process of deterioration that strips down something into its component. The methedolgy places decay in five stages which divides the site into zones. Once the methodology is applied, the original structures become a concrete base for the growth of the inter vention to take place. It’s not a protrusion but a continuation of the

Danielle Willems, Abigail Hume: CRITIC

repurposed decay

original structure. The circulation enhances the experience of the inhabitant and allows them to differentiate one zone of decay to the next. This explicit process is adaptable to different sites and materials. Depending on the level of decay the resulting structure will var y in level of enclosure. In more advanced decay, the pavilions latch on to one another through the organic growth

unrolled section

[5] dry/remains occupancy 85% time 87%

91%

enclosure 90% decay

[2] bloat occupancy 15% 30% enclosure time 65% 40% decay

[3] active dec occupancy 48%

time 52%

carbon print (zone placement)

pepsi cola pavillion 1964

singer bowl 1964

carbon print

carbon print

Pavilion Decay Timeline: zone placement Thirteen pavilions were analyzed divided into four categories of decay. The set of drawings bellow show an example from eat categor y which directly relate to decay on a time line. The density of the drawings represents the trace of the pavilion. A vinyl cutter was used to reproduce the drawing on carbon paper. The level of completion of the carbon paper

cay y

45%

enclosure

e

[4] advanced decay occupancy 65% 70%

72%

enclosure time

70% decay

carbon print is related to the level of decay of the pavilion.

carbon paper

80% decay

[1] fresh occupancy 5% 1% enclosure 50% time 20% decay

CRITIC: Dragana Zoric

PORO [CITY]

2 013

SITE: Pier 17. New York City, NY PROGRAM: landscape architecture - promenade/storage

partner - Ariadna Lopez

9

P ORO [CIT Y ]

The

site

is

pier

er,

NY.

After

site

now

is

17

on

Hurricane

prone

to

up

the

East

Sandy, to

eight

Rivthe feet

of flooding. This project deals with the natural tides of the river as well as the consequences of a hundred year flood. What will be left? The result will be natural brutality. The design is broken up into two: public and private, above sea level and below sea level. The bottom is a series of three dams which, like a sea sponge, inflates and contracts

water

through

turbines.

Inside

the

dams are aggregations of 200 watertight vaults meant for private use. Above is a public promenade which end in city view ports in the form of suspended piers. These two programs, top and bottom, are connected

Dragana Zoric: CRITIC

p i e r 17

by trussed towers which ser ve as circulation. physical model 1’ = 1/16�

view from suspended pier - Brooklyn Bridge

Hundred Year Flood Natural Tide

Flooding sequence diagram: inflation/ contraction As the dams fill with water , the vaults become invisible to the city and reappear as the water drains. The water level within the dams is directly related to the level of inhabitation in the vaults . The most ideal level of privacy will be once the vaults are completely hidden. In a hundred year flood, the last diagram in the sequence will be the constant.

P ORO [CIT Y ]

Dam Sequence: T h r e e c o n s e c u t i v e d a m s a c t a s a s p o n g e , f l o o d i n g a n d s e n d i n g w a t e r b a c k i n t o t h e e a s t r i v e r. T h e f l o o d i n g w i l l e i t h e r depend on natural tide patterns of the site or through unnatural means of turbines. The turbines are placed on the sides experiencing the most impact from the currents. The intention is to create a self sufficient networks of vaults which will become powered by the energy produces by the turbines.

turbine detail

Dragana Zoric: CRITIC

p i e r 17

vaul lock detail

Vault Aggregation: The dams contain an aggregation of 200 vaults. The section reveals a shift in form. The vaults are intended for private use ranging in scales according to program. Once the use is exhausted, the vaults will be flushed out with water wiping away all traces of inhabitation. The four groups of vault clusters make up the larger vault aggregation

30’

30’

20’

20’ 30’ 20’

20’ 20’

30’

group [1]

group [2]

group [3]

group [4]

CRITIC: Theo. David

D W E L L I N G F O R M Y G R A N D FAT H E R W I T H A L Z H E I M E R ’ S

2 014

SITE: Chemin du Clair de Lune, Dinard, France PROGRAM: dwelling for someone you love

15

DWELLING My client is my grandfather, Jaques Houis, who was recently diagnosed with Alzheimer’s. Removing someone from their home too soon, or at least before absolutely necessary, will accelerate the rate of the disease’s effects. Therefore architecture, in this context, can be used as a tool to stop or slow down time. Since, in this particular situation, there is no pre-existing home in question, designing a dwelling for him may help his deteriorating state. The dwelling addresses his condition in three aspects: site, circulation, and daily ritual. The site is on the northern coast of France, in Dinard, the same region he grew up in. It lies on a pedestrian path on a rocky cliff connecting two neighboring beaches, which is also where I spent time with him as child. Alzheimer’s patients tend to remember the most from their childhood, making this site a connection between his past and my own childhood. The dwelling intends to integrate the nature of the site within the architecture, allowing him to experience the setting without imposing any danger to himself. This includes

Theo. David: CRITIC

Dinard, France

the use of material and long staircases penetrating the side of the cliff.

physical model - 1’ = 1/8”

Spatial Sequence: The circulation and daily ritual, although different components, work simultaneously. In his condition, it is very important to establish a familiar and regular routine. The dwelling works in three parts: land, bridge, and sky which respectively contain the public spaces (living, kitchen), a bridging viewport acting as the path on the landscape, and a private space for him only. The circulation links all the components as a continuous glass corridor penetrating through the entire dwelling. The circulation intents to minimize all confusion and establish a clear path through all three spaces, which will integrate within [s1]

his daily routine. As he follows the circulation, the [s2]

dwelling will begin to merge with his everyday life creating a stable and familiar environment. plan [1] - street entrance

plan [2] -public vs private

[p1]

[p2]

section [1] - circulation detail

section [2]

CRITIC: Jeffrey Brock

TOURIST VORTEX

2 014

SITE: Capitoline Hill, Rome, Italy PROGRAM: dormitor y/ tourist centre/ music school

partner - Christine Kim

19

TOUSISTVORTEX

We were given a site on the Capitoline Hill, adjacent to the Campidoglio, in Rome, Italy. This already conflicted with surrounding monuments of Rome. For our project, we decided to create a tourist vortex that became integrated within the landscape while still keeping a sense of monumentality. Seen from the top of the hill, our building blends with the landscape of the Capitoline, creating a green roofs cape, while from street view, we set forth an aggressive urban façade.

The program consisted of three functions: housing, music school, and tourist information center. physical model - 1’ = 1/16”

We dealt with the distribution of these programs through site view analysis. We found angles trajectories and place housing and the school on those. The resulting intersection was resolved by placing a hinge, which became the tourist center.

The hinge ser ved as a connection between the

Jeffrey Brock: CRITIC

Rome. Italy

tourist and the resident, acting as a pull of circulation driving the inhabitant through the building.

section [1]

view from top of atrium

view from bottom of atrium

TOUSISTVORTEX

plans

[2] ATRIUM

[1] INTERIOR PROGRAM

HOUSING

INFO

ATRIUM SCHOOL

Jeffrey Brock: CRITIC

Rome, Italy

GLASS BOX

ENTRANCE

EXHIBIT THEATRE

program distribution diagram

offset

axial intersection

INTERSECTING AXES

HINGE

hinge

LOBBY

housing / performance

HOUSING/PERFORMANCE

circulation

Geometr y development: CIRCULATION

Tw o a x e s w e r e l a i d o u t p o i n t i n g t o w a r d s t h e m o s t i d e a l v i e w s o n t h e s i t e . T h e i r p o i n t o f i n t e r section created a hinge . The three resulting components became the three programs. The two a x e s b e i n g t h e m u s i c s c h o o l a n d d o r m i t o r y, a n d t h e h i n g e b e i n g t h e t h e i r l i n k , o r t o u r i s t c e n t e r.

spatial sequence hand renders

CRITIC: Fred Biehle

G R A D U AT E D O R M I T O RY

2 012

SITE: Brooklyn, New York City, NY PROGRAM: dormitor y

partner - Christine Kim

25

D OR MITORY

The dorm began with the concept of an art-

SECTION D

ist’s loft. Each unit is made up of an angled

SECTION C

window and a ladder. The window provides light required for an artist while the ladder simulates an individual space. This results in each resident having a 10x10 workspace and bedroom loft. Each unit is then connected to a larger common space SECTION B

shared between 4 or 8 roommates. The organization of the units creates variation without compromising individual space.

SECTION A

The interior circulation is the link between all the artist by forcing you to pass through lobby

galler y spaces located on ever y floor. This

first floor

second floor

housing project preser ves the sense of individuality while en keeping a collaborative

Fred Biehle: CRITIC

Brooklyn, NY

studio environment.

section a

section [A]

section [C]

section c

third floor

facade assembly: The facade consists of a metal frame and glass panels with operable windows pivoting at the cent e r. T h e v e r t i c a l g l a s s i s c o v e r e d w i t h a m e t a l m e s h f o r p r i v a c y w h i l e t h e a n g l e d g l a s s s t a y s b a r e for maximum views and natural lighting.

The mesh varies from an aggregation of metal pipes.

front elevation

facade assembly details

CRITIC: Guiliano Fiorenzoli

C O L U M B I A B O AT H O U S E

2 013

partner - Ariadna Lopez

29

SITE: Bronx, New York City, NY PROGRAM: boat house

B OAT HOUSE

The site is located in the Bronx on the 1 A 300

Hudson River at the bottom of a steep hill. The Columbia boat house began with the distinction of conditioned and unconditioned space. This is based on the occupancy of the spaces: boat vs.

3 A 300

student, locker room vs. boat shed.

The two programs are placed on dif4 120B

ferent axis according water access trajectories. They then merge to a

2 A 300

central point where the rowing tank is located. This merger is done through circulation bringing the two programs ground floor plan

together while still en keeping a sense

1

first floor plan

1/32” - 1’

2

1/32” - 1’

of separation on the two axis.

Guiliano Fiorenzoli: CRITIC

Bronx, NY

truss det.

2 410

corner det.

3 410

TRUSS DETAIL

3

1” - 1’

4 410

TRUSS DETAIL

4

1” - 1’

ROOF DETAIL

1

1” - 1’

TRUSS DETAIL

5

1” - 1’

PLAN DETAIL

4

1” - 1’

interior vertical metal bracing interior wood panels 3/4” horizontal metal bracing PLAN DETAIL

metal decking wood finish

1

1” - 1’

conrete curb insulation + metal stud 3”

120

vertical wood panels 2.5”X5”

PLAN DETAIL

2

vertical metal bracing

1” - 1’

sheathing 3/4”

2 120

plywood 1” I-beam 8”x10”

3 120

PLAN DETAIL

3

conrete floor

1” - 1’

rebar 1/2”

conrete wall 8”

wall section

construction documents: This comprehensive design studio was linked with construction documents leading to the developm e n t o f p l a n a n d s e c t i o n d e t a i l s s h o w i n g m a t e r i a l a s s e m b l y. T h e f a c a d e o f t h e b o a t h o u s e i s m a d e up of glass and wood panels changing in density according to program as shown in the drawi n g s b e l o w. Fo r e x a m p l e , t h e l o c k e r r o o m s w i l l h a v e m u c h d e n s e r w o o d p a n e l s t h a n c i r c u l a t i o n .

PLAN DETAIL

1

1” - 1’

PLAN DETAIL

2

PLAN DETAIL

3

1” - 1’

1” - 1’

wood panel plan det.

1

2 A 400b

3

A 400c

1

1 A 400

CRITIC: Rodney Leon

BOWERY LIBRARY

2 011

SITE: New York City, NY PROGRAM: rare books librar y

33

LI B RARY

Rare

books

depend

on

preser vation

against the outside while human interactions require space and light. This librar y forms a balance between the two. Light penetrates through spaces, leaving traces of its path around the darkness. The librar y attempts to follow this same concept in the design of stacks versus reading areas.

[p3]

Rodney Leon: CRITIC

N e w Yo r k C i t y , N Y

[p2]

[p1]

section [1]

view of atrium - second floor

[s1]

plan [1]

plan [2]

plan [3]

top floor view of the city

CRITIC: Ezio Blasetti

KINDERGARTEN

2 012

SITE: Staten Island, NY PROGRAM: kindergarten

37

K IN D E RG ARTE N

The kindergarten explores the idea of scales and boundaries within the development of a child. The images of smoke are a material study on its expansion by tracking dense nodes in the cloud as its scale increases. The kindergarten uses this concept in the placement of the programs which originates in the module. Each of the seven modules are placed according the nodes. The module represents a program which then scales down on itself, changing the functions within the module. The change in scales creates smaller spaces in which only the child can enter (playspace vs classroom). This inevitably forms a boundar y between adult and child which allows the child to form its own path through the building. The repetition of the modules gives the child a familiar viewpoint within each classroom guiding them from space to space.

Ezio Blasetti: CRITIC

Staten Island, NY

P-1

P-2

P-3

#.2

plan [1]

plan [2]

plan [3]

MODULE

SCALE DISTRIBUTION

CIRCULATION

PROGRAM

building evolution diagrams

material study: The

drawings and photographs on the left are a material study on smoke. The dispersal of the substance was

s t u d i e d t o t r a c k t h e p o i n t s a c c u m u l a t i n g t h e m o s t d e n s i t y. I t w a s t h e n t r a n s l a t e d i n t o d r a w i n g b y a r r a y i n g l i n e s from these nodes.

A script was written using the same nature as the smoke to generate drawings experienc-

i n g t h e i r o w n p o i n t s o f d e n s i t y. T h e s c r i p t c o n s i s t s o f d r a w i n g o n e m o d u l e t h a t r e p e a t s i t s e l f a t d i f f e r e n t s c a l e s .

#.0

#.1

#.2

#.3

#.6

#.7

module catalog

#.0

#.1

#.2

#.3 #.4

#.5

module catalog

smoke material study

CRITICS: Christoph Kumpusch, Michelle Gorman, Ezio Blasetti, Danielle Willems

FIRST YEAR

2 010

wood joints, drafting, rendering

41

WOOD JOINTS

The space was not created for a schizophrenic, but was created by a schizophrenic. Ever y time he experiences one of the episodes, he is confronted with a struggle between reality and his own imagination. As he moves through the space, the space undergoes a shift. During his constant pursuit for the cause of the commotion, he does not realize he is the one creating the spatial shift. This chain reaction of movements generates the displacement of space, which then triggers the shift of a seemingly uncon-

That connection is the line which separates reality and his insanity.

Christoph Kumpusch: CRITIC

schizophrenic transformations

nected appendage to another space.

physical model

section showing transformations

transformer: D e s i g n 101 e m p h a s i z e d t h e d e v e l o p m e n t o f c r a f t w i t h w o o d m o d e l s . T h e t r a n s f o r m e r s w a s t h e t h i r d in a series of models that used wood joints instead of glue. The model worked off a series of moves which would trigger another transformation rendering the model in a completely different state

physical model

section

plan

final model - dwelling for a schizophrenic The transformation study from the previous model led to spaces inhabitable by a schizophrenic. The final focused on developing skills for plan and section cuts based on a physical model rather than a virtual model. This allowed for further design potential through drawing.

R E P R E S E N TAT I O N 1 Representation 1 dealt with hand drafting. We explored the dynamics of the cube through elevation, plan, and section.

The first drawing illustrates the manipulation of the cube in its three di-

Michelle Gorman: CRITIC

cube transformations

mensional form

R E P R E S E N TAT I O N 2 Representation 2 began by studying Le Corbusier’s Philip’s Pavilion. Modeling the pavilion allowed us to learn about the fluidity of the geometr y and the construction process. We then had the task to conduct a material study in three dimensional form. I explored the construction process of a spider web. My research focused on the use of vertices which I then applied to the Pavilion. This resulted in a deconstruction of the structure in the same manner a spider builds a web.

pavilion anaylysis

Ezio Blasetti, Danielle Willems: CRITIC

2 011

COMP E T IT ION

6Âź th avenue

1 mile

800

0

800

1600 FEET

new zoning map

1 block = 800 feet

6th Avenue is the catalyst and vehicle to rethink the city, the relationship between the building and the street and the building itself. We set out for an exploration of new building types, triggering a set of anomalies, that will eventually compose a new typology of public space Architectural League of New York

winner

6 1/4 avenue

The Unfinished Grid: Speculations for Manhattan

Project Team: Kyriakos Kyriakou, Sofia Krimizi Assisted by: Inti Rojanasopondist, Jennifer Endozo, Pauline Caubel, Yubi Park,

A1516

B2122

D3031

G5354

J5859

C2829

D4041

I5556

800 0

0 100

200

800

1600 FEET

Pa u l i ne C AU BEL

pr at t i n s t i t u t e s c h ool of a r c h i t e c t u r e

p a ulineca ub el@ g m a il.co m

Pa u l i ne C AU BEL

pr at t i n s t i t u t e s c h ool of a r c h i t e c t u r e

p a ulineca ub el@ g m a il.co m