Pauline CAUBEL [ 2 010 - 17 ] Ya l e S c h o o l o f A r c h i t e c t u r e /
PORTFOLIO Pratt Institute School of Architecture
YA LE SCH OOL OF A RCH IT E C T U RE
[ 2 015 - 17 ] M.Arch II 17’
P O S T- P R O F E S S I O N A L A D VA N C E D S T U D I O collapsing boundaries
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[Wolf D. Prix]
icelandic probe system 2056
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[Michael Young]
5 artist residences (in-process)
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[Thomas Phifer]
lowell transportation hub
21
[Ed Mitchell, Aniket Shahane]
ELECTIVE COURSES computation analysis fabrication
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[grasshopper, madcam, rhino, arduino]
strange forms and strange relations
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[maya]
deisgn computation
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[Processing, grasshopper]
PR AT T IN ST IT U T E SCH OOL OF ARCHI T E CT U R E B.Arch 15’ (selected work)
A D VA N C E D S T U D I O poro-city
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[Dragana Zoric]
dwelling
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[Theo David]
graduate dormitory [Fred Biehle]
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YALE SCHOOL OF ARCHITECTURE
CRITIC:
Wolf D. Prix
2 016
COLLAPSING BOUNDARIES SITE: Lyon, France
PROGRAM: museum
This museum explores the idea of traveling through water while inhabiting a container. I defined this container as a sailboat due to its natural ability to move using wind and natural forces. The sailboat has its own agenda, sometimes out of our control. The exhibit is broken up into three zones derived directly from the structure and position of a sailboat according to different site and wind conditions. The idea is to generate a spatial sequence that would simulate traveling through water within the confines of a collapsing ship wreck. In order to simulate the spatial quality of traveling through water, the structure is kinetic. Through the use of hydraulic pumps embedded in the beams of the modules, the structure will move in three phases. The phases corollate directly with the pattern of the shifting river. The exhibit lives and breathes with the water.
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Wo l f D . P r i x : C R I T I C
Lyon, France
model 1:350
section 1:350
COLL APSING BOUNDARIES
program diagram 1:750
plan 1:350
section 1:350
circulation diagram 1:750
COLL APSING BOUNDARIES Wo l f D . P r i x : C R I T I C
Lyon, France
hydraulic cylinder details 1:100
structural plan deatil 1:100
structural model detail 1:100
structural model 1:100
Structural Movement: Hydraulic
cylinders
are
used
to
achieve
the
movement
of
the
structure.
The
hydraulic
pumps
range
in
size
according
to
ment on the site. Some will have a broader range of motion than others in order to achieve a cohesive flow of shifting members. ment is shown in three phases. The higher the tide, the more the structure will collapse on the space. est state, the exhibit will have minimal enclosure. The nature of the motions and level of enclosure
view from zone 3
view from zone 1
the
place-
The move-
When the tide is at the lowest and calmdepend directly on the nature of the site.
YALE SCHOOL OF ARCHITECTURE
CRITIC:
Michael Young
2 016
O P E N C A L L : Second Lif e f or [IAS P 91 ] P rob e S ystem SITE: Iceland 2056 [Part 1]
Partner: Cat Garcia-Menocal
[The studio is set in Iceland in 2056. The island serves as a potential site for the development of future scenarios due to its unique set of issues of accelerationism. The goal of the studio is to create a parafictional world set in 2056 in reaction to infrastructures imposed twenty years earlier. The semester is broken up into two parts: partner project to simulate a scenario and an individual portion focusing on the development of a specific infrastructure. These projects challenges aesthetics of estrangement in realism through different means of representation. ]
The site is the Vatnajokull glacier which contains a series of stress fields caused by the over use of geothermal excavation. The primary purpose of the IASP91 Probe System, first commissioned in 2036, is to avoid and control unnatural earthquakes. The probes change the stress field around the volcanos and faults. Since projection models can’t predict sudden and catastrophic loss, the way to reign in glacial melt is to tightly regulate and control it. By 2056, the probes proved successful in containing stress levels across the glaciers. The probes are now due for decommissioning. After twenty years of shaping and melting= the glacier, the probes have left tower-like relicts in the icelandic landscape. An international competition has been put in place to create a second life for the IASP91 Probe System. The selection committee has selected four finalist as potential proposals for re-purposing these decommissioned probes.
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M i c h a e l Yo u n g : C R I T I C
ICELAND 2056 [Part 1]
O P E N C A L L : Second Li f e f or [ I A SP91] Pr obe S y stem
IASP91 section - c.2036
IASP91 section - c.2046
IASP91 section - c.2056
[OPEN CALL] competition finalist: (note: all entries were produced by project team members)
icelandic port city
hot air ballon water tower park
archeological research center butterfly sanctuar y
YALE SCHOOL OF ARCHITECTURE
CRITIC:
Michael Young
2 016
TESLA REDOUX: Icelandic Probe System SITE: Iceland 2056 [Part 2]
Using the earth as a conductor to transmit signals is not a new invention. In 2036, the Icelandic Probe System was first implemented in the most central glacier, Hofsjokyl. The probes proved to have a high success rate. The Icelandic glaciers became a site to for wireless power transmission across the country. It is in recent years that this system has begun to be abused. As global warming has been accelerating, the exploitation of these glacial crevasses has escalated. The porotype was developed by suspending mechanical to electrical energy converters inside naturally formed crevasses found on Hofsjokyl. Cables puncturing the glacier from all directions harvest the kinetic energy from the shifting landscape. The friction and reverberations become intensified as the probes pistons are activated. The mechanical energy from the glacier is collected and transferred to the Tesla coils below. The transfer of energy sources travels up the probe to further transmit electricity between probes. A system of stations planted across the natural crevasses facilitates wireless transmissions across Iceland. As global warming further impacted the cracking of glaciers, the Icelandic Probe System expanded exponentially. The magnitude of the towers enabled transmissions to now reach Europe and the Americas. What was once a sustainable infrastructural program has become an exploitation of Iceland’s landscape. The growth in numbers of these probes has led to a lack of maintenance, causing many to collapse into the crevasses. The system’s initial intention was to harvest Iceland’s abundant energy sources with minimal intervention. The delicate nature of the stations is lost to the masses.
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M i c h a e l Yo u n g : C R I T I C
ICELAND 2056 [Part 2]
probe [P1852] section
64.8110° N, 18.7937° W
TESLA REDOUX: Icelandic Probe System
view from top of glacial crevasse
arial view [ 64.8110° N, 18.7937° W]
model 1” : 1/64’
YALE SCHOOL OF ARCHITECTURE
CRITIC:
Thomas Phifer
[midterm - in process]
2 017
5 ARTIST RESIDENCES SITE: Marfa. TX
PROGRAM: residence
Located at the Chinati Foundation is Marfa, Texas, this project aims to preserve the datum of the site. By dividing the program into two, private and public, or living and working, the separation gives way for space for the horizon. The program calls for five artist residences. They are each separated into five 40 x 40 living spaces located in towers for the artists and directly below, five underground studios with shared exhibition spaces. The project aims to create a mark in the landscape through the towers as a point of recognition for the studios while preserving the horizon in the distant landscape. In terms of materiality, both components, above and below the datum are carved from one cohesive form of concrete in order to leave a presence of a void for the datum. The importance is to spot these towers in the distance without knowing the location of the studios in which the art exists . While open to the public, they are still preserved in the landscape.
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5 ARTIST RESIDENCES Thomas Phifer : CRITIC
Marfa, TX
lower level plan
lower level plan
tower plan
tower plan
1/16” : 1’-0”
1/32” : 1’-0”
1/32” : 1’-0”
1/16” : 1’-0”
section 1/16” : 1’-0”
elevation 1/16” : 1’-0”
YALE SCHOOL OF ARCHITECTURE
CRITIC: Edward Mitchell, Aniket Shahane
2 015
L O W E L L T R A N S P O RTAT I O N H U B SITE: Lowell, MA
PROGRAM: train station, theatre
This project addresses the entrance to the city of Lowell, MA. Within the context of Lowell, which is a commuter city as well as containing a primarily commuter campus for the University of Massachusetts, I defined this entrance as the train station. Currently located in the southern section of the city, the project intends to move the station to a point where circulation paths between the U.Mass campuses and downtown intersect. The station is placed as a series of canopies to filter and bracket off the three modes of circulation (train, car, and pedestrian) while simultaneously generating an urban public space. The scheme consists of a train station, dormitory, courthouse, theatre, and open market. The combination of programs filters the forms of circulation through an outdoor public space in order to form a more cohesive relationship between downtown Lowell and the university to reactivate the downtown fabric.
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Edward Mitchell, Aniket Shahane: CRITIC
Lowell, MA
car
train
plan 1’ = 1/32”
pedestrian
section [A]
T R A N S P O R TAT I O N H U B
[train arriving to the platform]
Filtration of Circulation: T h e t r a i n s t a t i o n , a m p h i t h e a t e r, a n d o p e n m a r k e t c o n n e c t t h r o u g h a s e r i e s o f c a n o p i e s i n o r d e r t o f i l t e r d i f f e r e n t f o r m s o f c i r c u l a tion. The diagrams show the relationship of the interweaving formed between the three types of circulation. Entries into the site operate at different scales to accommodate the modes of circulation required by the city of Lowell. The bus lanes and platforms run parallel over the canal system on the site while bike lanes and parking are scattered for the benefit of the students and commuters from Boston.
circulation axo
section [B]
E LE CT IVES
C O M P U TAT I O N A N A LYS I S FA B R I C AT I O N
CRITIC: John Eberhart, Amir Shahrokhi PROGRAMS: rhino, grasshopper, arduino
ASSIGNMENT 1: cutting bending and folding Since almost any form can be achieved through the computer, the point of this assignment was to test its limitations through physical form. Combining the process of 3d modeling tools and physical model construction creates a feedback loop of design discoveries. This model is made from six modules designed in rhino. After folding and constructing them physically, I found that the best method of as-
computation analysis fabrication
f a l l 2 015
sembly was a continuous loop achieved by mirroring and flipping of the module.
ASSIGNMENT 2: surface depth, aperture, and variability [partner: Aymar Marino Maza] This assignment explored the testing of additive versus subtractive design process (milling vs 3d printing). The final product was a panel cropped from a larger facade system. This panel was milled from a 24 x 24� piece of foam and was designed using grasshopper in rhino. The surface is a rippling series of triangulated modules varying in openings and apertures in order to filter light at different thicknesses in the material.
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E LE CT IVES
CRITIC: Nate Hume PROGRAMS: maya, 3ds
Crack through container [partner: Chris Hyun] This course explored the nature and character of strange forms derived from primitive forms. The extensive maya tutorials we learned to manipulate primitives such as cubes or pyramids to generate new dynamic smooth forms. The resulting project looked into the idea of a crack formed by the negative space left behind from three mirrored modules pushing and pulling on one another. The crack is generated from filling a container with randomly acting characteristics. The container and filling material
strange forms and strange relations
rely on one another to achieve the final space within the crack.
f a l l 2 015
E LE CT IVE
S T R A N G E F O R M S A N D S T R A N G E R E L AT I O N S
CRITIC: Michael Szivos PROGRAMS: processing, grasshopper, rhino
D E S I G N C O M P U TAT I O N
color study [partner: Clarissa Ludwig] The main intent of this course was to create a cohesive looping feedback between Processing and Grasshopper. Our project took live footage from a web cam which broke down and analysed the most occuring pixels to turn them in to x,y, z coordinates (r, g, b). These coordinates were sent live to grasshopper using Ghowl to map the pixels in space. The intent was to create a process that could give a physical property to color which in the larger concept could be used for color blind studies. The images below show color blindness tests being given spatial qualities.
s p r i n g 2 016
computation analysis fabrication
PRATT INSTITUTE SCHOOL OF ARCHITECTURE
CRITIC: Dragana Zoric
2 013
PORO [CITY]
SITE: Pier 17. New York City, NY
The site is pier 17 on the East River, NY. After Hurricane Sandy, the site now is prone to up to eight 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 by trussed towers which ser ve as circulation.
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P ORO [ CIT Y ]
view from suspended pier - Brooklyn Bridge
Hundred Year Flood
Dragana Zoric: CRITIC
p i e r 17
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.
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
group [1]
group [2]
group [3]
group [4]
PRATT INSTITUTE SCHOOL OF ARCHITECTURE
CRITIC: Theo. David
2 014
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 SITE: Chemin du Clair de Lune, Dinard, France
PROGRAM: 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 the use of material and long staircases penetrating the side of the cliff.
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Theo. David: CRITIC
Dinard, France
physical model - 1’ = 1/8”
DWELLING
[s1] [s2]
plan [1] - street entrance
[p1]
[p2]
section [1] - circulation detail
section [2]
plan [2] -public vs private
PRATT INSTITUTE SCHOOL OF ARCHITECTURE
CRITIC: Fred Biehle
2 012
G R A D U AT E D O R M I T O RY
SITE: Brooklyn, New York City, NY
PROGRAM: dormitor y
The dorm began with the concept of an artist’s loft. Each unit is made up of an angled 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 shared between 4 or 8 roommates. The organization of the units creates variation without compromising individual space. The interior circulation is the link between all the artist by forcing you to pass through galler y spaces located on ever y floor. This housing project preser ves the sense of individuality while en keeping a collaborative studio environment.
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D OR MI TORY
SECTION D
SECTION C
SECTION B
SECTION A
Fred Biehle: CRITIC
Brooklyn, NY
lobby
first floor
second floor
section a
section [A]
section [C]
third floor
section c
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.
facade assembly details
front elevation
Paul i ne C AU BEL
y a l e s c h ool of a r c h i t e c t u r e
p a uline.ca ub el@ y a le.ed u