portfolio
PETER MIELNICKI M.ARCH 2016
GRADUATE SCHOOL FOR ARCHITECTURE, PLANNING AND PRESERVATION COLUMBIA UNIVERSITY NEW YORK CITY
CONTENTS
5
INTRODUCTION
surplus and self-spectaclization
10
HARLEM WATERSHED & BLOCK PARTY
22
SELFBANK
30
THERE WILL BE WASTE
48
JUVENILE DETENTION CENTER
56
SNIFFPORT
74
DISINTEGRATE MERKATO
80
INHERIT INHABIT
a waypoint and a party presence of memory
trash, trains and trusses for public housing
stars not stripes an ol.factory
dissecting dynamic in an Addis market and light rail cable cars and walls in Mexico City
96
CONCRETE BED, PROTOTYPE, & OIL-CAN BANJO 106 EISBURG 2040 110 EPILOGUE
SCALE MODEL Juvenile Detention Center, p.48
ARCHITECTURE ARISES out of a surplus of skills, time and material. As the act of building is – from the beginning of history – a function of human settlement, the craft of building is a function of tectonic, political, and economic risk-taking and experiment.
INTRODUCTION
My training in economics for nearly a decade prior to my start in architecture gives an analytical edge to my act of design. The benefit of economic thinking is seeing an unfolding chain of relationships through past and present, across disciplines and events. Tracing chains of value reveals more unexpected information. It is in my new training in architecture that I have recognized personal conviction and compassion for habitat emerge in my evolution in design. Given my two merged viewpoints, I understand that in any field, 'realities' are conceived, conveyed, and narrated. Meanwhile, my reinterpretation of architecture is not only in material terms, but in a reality grounded in the value of architecture's ideas, patterns, and its relevance to society...the frontier of intangible consequences and a tangible art.
What is the nature of surplus at the present moment? For most of the developed world, we live in times of unprecedented surplus and exploitation – to a point that our own existence is arguably at risk. More interesting and often overlooked, what deficits persist or have emerged? How can they affect the value of architecture? Consumers or the Consumed Chaos at the horse races is perceived out of the self-orchestration of simultaneous and independent roles. In extending that metaphor to our world of high capital mobility, information oversaturation, fashion cycles, instant gratification, extant threats of nuclear war, machine intelligence; defining the ‘real’ is blurred amid, well, chaos. We are the generators of this noise, engaged in self-satisfaction at a modern tempo. Meaning itself becomes as cluttered as our physical reality and the virtual one that reinforces it. As consumers of our own realities, we must keep moving. To prevent our own consumption? But that act has already taken place.
5
In Individualism, Isolation What is often sold as a novelty belies a sacrosanct sameness and adhesion to plutocratic order. Furthermore, the public sphere is marginalized to make way for enterprise of individualism. It’s a brilliant twist: the public sphere is where our morals are tested and remade; through its depreciation, our values are vetted only within the consumptive chorus competing for our ever-shorter attention spans. This engenders a ‘thumbs up, thumbs down’ mentality, a value system of likes and dislikes. The side-effects of capital and society’s introversion have the compounding effect of distancing design from its purpose – not a good of surplus, but in service of surplus. This paradoxically resists relevance to the present; by readily subscribing to an all-out liberal market agenda, design becomes a public non-good. We are not advocating revolution (yet), however there is a richness lost in unconscious perpetuation of this formula. By divorcing from the commerce of negligence, an antidote architecture commits to forthright engagement of the present and to an enterprise of ideas. Self-spectaclization Consumer society has the odd effect of expressing individuality through the display of certain products to
6
convey personal traits (in reality, tastes), although these very products are widely available and consumed. That solicited display morphs into a self-spectaclization, reinforced by the displays of others engaged in the same task. Distinction is coded in an array of display, itself a function of disposable capital. While this portends well for consumption, it is rather unnerving for our planet, civic fabrics, and architecture as well. As a resource, money is a means of communicating and addressing need. As a surplus commodity, money is left composing its own shrines. In the public realm, architecture risks entrapment within fashionable displays of consumption, selfspectaclization, and a competition of objects. It decontextualizes to the point of floating above its domicile, in many cases quite literally (‘new’ cities in China or Billionaire’s Row in New York). Dangerous associations for architecture are as shells for the private societies of the owners. No longer public, but still within the public, it is a spectacle removed from its surroundings. So, where is architecture for the rest of us? Sure, architecture has always been subject to the whims of its clients. But when the client no longer feels responsibility toward any checks or balances, then architecture - as the most public form of art - will
shoulder all of the visible blame. This doesn’t mean the architect should avoid certain projects (or money) deliberately. Instead, it is to be understood that within our system is limitless creativity. Architecture is an art of engaging circumstance while reflecting on value, and systems of value. New technologies, accessibility to information, and an ability to tap into and infect the social pulse are all powerful tools with which to inject potential into our domain. Defining systems of value is trickier. Architecture should not refrain from pushing the limits of the possible, but it cannot neglect to push the limits of the probable as well. Small and accumulated changes in the everyday support an architecture for the rest of us. This is how much of the built environment evolved over millennia, as people reacted and attuned to their habitat. The history of culture furthermore shaped an aesthetic narrative within the living experiment of city fabrics. The modern movement injected too much hubris, decoupling from the environment and to some deleterious extent, established patterns of habitation. Modern capital in the post-war era emerged with its own systems of logic, injecting further distance - and concurrent homogeneity - in our ways of living.
Sensitivity to habitat and sensibility toward information are required to consider long-term, positive outcomes, with the inherent rigidities of the modern movement nuanced by a more flexible and democratic direction of design. This action will dehomogenize modernism, consumption, and a presumptive future; rather than going against the current, it pulls separate currents together to simulate productive turbulence. While architecture was never really good at revolutionizing socioeconomic concerns, it is through interrogation of routine we engage more fully the act of living. So as such, architecture is not a consequence, or an ultimate consequence maker - these are extremes - but an intimate part of the loop of our evolving habitat. In this circulation and open to healthy interrogation, it is a powerful currency. The capacity of design to make meaningful change is tangible, not just in material well-being, which is itself a limiting factor, but in how we perceive space and ourselves (in and even out of that space). An ‘act’ of architecture is one of living experiment, perceiving changes while consciously and conspicuously testing boundaries with the hope of achieving intangible and simultanesouly visible change.
7
1
studio work
HARLEM WATERSHED BLOCK PARTY
CONTEXT
GOALS
CONSTRAINTS
A stop between two parks, separated by two dead ends. In between is an urban context under rapid development.No linking indicators, a disjointed flow in recreation by the chaning urban environment.
Robert Moses’s vision for public housing was his private concern. The Frederick Douglas houses in the Upper West Side are symptomatic of his formulae, now flanked by upper-income development to the south.
Provide a mirror onto development, not of it. A visual cue materializes the transition of the urban context. Deliberate on urban development. Re-establish the flow of recreation.
A public pool and recreational facility that takes on the spirit of the neighborhood. Taking the logic of typical NYC public housing typology, while inverting the flaws and accommodating for recreational patterns of the neighborhood.
Materials are simple, referring to the immediate context of brick and steel. Bathroom and water amentities must be provided on this 13.6mi stretch of recreational paths.
A sister project to the WaterShed, however within an existing development. Demographic felixibility must couple with an openness and public accessibility. Merging with the existing landscape while confronting the negative subtext of ‘public housing projects.’
11
MIELNICKI
FA13. critic TOMISAKI
WATERSHED Harlem WaterShed is a landmark in a restless neighborhood. WaterShed stakes its ground adjacent to the massive Manhattanville viaduct, within sight of the newest edition of the famed Cotton Club. Unlike its neighbor, which reincarnates the past in a new brick building, WaterShed is a product of local demolition, a public utility and present promontory. It is a sort of temple of perennial tempo, a present that simultanesouly will be at each instance of change - built of materials from the past, while not marking a particular point in time. Recycled utility ducts, steel rafters and bricks re-assemble into a space for the public and of the public; a brick and pipe canvas for expression of urban talent in grafitti. High-grade plastics make the durable slats and sliding doors that shelter the toilets. The wrapping pipes follow the curve of the inter-park path, while providing a shelter for the toilet pods.
12
“...We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time.”
HARLEM WATERSHED MIELNICKI
FA13. critic TOMISAKI
T.S. Eliot, “Little Gidding”
13
AMTRAK OVERPASS
“...And the ragged rock in the restless waters, Waves wash over it, fogs conceal it; On a halcyon day it is merely a monument, In navigable weather it is always a seamark To lay a course by: but in the sombre season Or the sudden fury, is what it always was.” T.S. Eliot, “The Dry Salvages” What is a waypoint? What is its meaning in relation to time, its relationship to a space, or a journey through space? For that matter, a journey through time? This public toilet is an element of a physical journey - a liminal node on a path connecting two parks, one land-based and the other on the water edge; further, it is built during a time of great flux in Harlem. The fabric of the neighbrohood is changing, while leftover facades of brick seem to inhabit another history. Such a landmark attends neither past nor present. By occupying the unexpected familiar, it is at once everything, what it always was therfore, a waypoint of time but not subservient to it.
STREET-LEVEL PLANS 0
14
50'
BROADWAY VIADUCT
125th ST
in
n ga
2’
atio elev
15
SCALE MODEL 1" : 4'
16
NORTH ELEVATION
PLAN VIEW 0
50'
FA13. critic TOMISAKI
moat gulf bird bath mere inlet well slip & slide lakelet reservoir sluice narrows aqueduct olympic pool harbor culvert gutter container fjord watercourse tank estuary hot tub cove slew canal shallows sound waterpark strait natatorium bath
MIELNICKI
The above terms can all be associated with the word ‘pool.’ The challenge is to build a public pool on an existing public housing development. Before asking what is a ‘public pool,’ it is critical to offer a definition of ‘public good’ and ‘pool’ that suits the context and simultanesouly is flexible enough to accommodate a wide demographic range and rapid urban change.
BLOCK PARTY
lagoon puddle millpond reservoir basin lock tub watershed runnel bayou
What about some elderly individuals who can’t swim, or persons afraid of the water? How do we engage and excite everyone’s participation to the fullest? How do current neighbors accommodate and new ones join in? Beyond a recreation center: vista, fountain, swimming pool, quiet space, loud space, amphitheatre, skate bowl, barbecue pit.
SUBTERRANEAN PLANS 0
18
50'
PLAZA
AMPHITHEATER 1
DA CC
ES S
AMPHITHEATER 2
RO
UN
SWIMMING HOLE
UN
DE
RG
SHALLOW POOL
SKATE BOWL
PARTY DECKS
STREET LEVEL PLANS 0
100'
AXONOMETRIC
21
SP14. critic ROTHSTEIN MIELNICKI
How do we re-form our identity; what is it to be the ‘person’ that is ourself? What role do physical objects play in the [re]formulation of our identity? Science may never know. Patients with chronic memory loss have been documented to recover lost memory at the sight of a once familiar object, only to lose it all again in some instances. The process of memory formation and retention may never be fully understand. A public space is proposed in which to deposit memories in their physical form - these are private catalysts in a public context. In exchange for safekeping, all deposits are accessible to the general public. Rentable overnight facilities and other amenities make full immersion in a public memory vault possible.
22
SELFBANK
It is a theme park where all thrills are unique and personal. Discovery is perpetual. Identities subtly reformulate with each visit - private context in a public catalyst: a memory bank.
CONCEPT PROGRAMMATIC DIAGRAM 23
RENDERING STREET VIEW
RENDERING INTERIOR
AXONOMETRIC PROGRAM / UTILITIES
MONTAGE RETRIEVAL LEVEL & FRAGMENTED MEMORY (STEARNS, 2013)
24
GROUND LEVEL MEDIA LEVEL G+1
SUB-LEVELS GROUND LEVEL G-1,2
SUB-LEVELS G-1,2
DEKALB AVENUE ENTRANCE
DEKALB AVENUE ENTRANCE SMALL VAULTS
FIRE ESCAPE
FIRE ESCAPE SCREENING THEATRE LUNCH ROOM
SUB-LEVELS G-1,2
GROUND LEVEL THERAPY LOUNGE
LUNCH ROOM
DEKALB AVENUE ENTRANCE SMALL VAULTS RECEPTION SMALL VAULTS
TOILETS
MEDIA CENTER RECEPTION
COMMON HALL TOILETS
FULTON ST ENTRANCE
PLANS
SC TH
FULTON ST ENTRANCE
TOILETS STAFF (ONE LEVEL DOWN) RENTAL LODGING
L DOWN)
LUNCH ROOM
TOILETS
0
SUB-LEVELS G-1,2
50’
PLANS 0
TOILETS RENTAL LODGING
GROUND LEVEL THERAPY LEVEL G+2
DEKALB AVENUE ENTRANCE
MED CEN
COMMON HALL
FULTON ST ENTRANCE STAFF (ONE LEVEL DOWN)
TOILETS RENTAL LODGING
RENTAL LODGING RECEPTION
SMALL VAULTS
COMMON HALL
FIRE ESCAPE
MEDIA LEVEL RETRIEVAL LEVELS THERAPY LEVEL G+1 G+3,4 G+2
50’
FIRE ESCAPE SCREENINGDECK OBSERVATION THEATRE (ONE LEVEL UP) LUNCH ROOM
VELS
THERAPY LEVEL G+2 MEDIA CENTER
THERGROUND LEVEL COMMON HALL APY
RECEPTION
TOILETS DEKALB AVENUE ENTRANCE FULTON ST ENTRANCE
TOILETS FIRE ESCAPE RENTAL LODGING
OWN) SHOWERS
COMMON HALL
THERAPY LEVEL G+2
FULTON ST ENTRANCE
THERMEDIA LEVEL APY G+1
OBSERVA (ONE LEV
COMMONS SCREENING THEATRE
RENTAL LODGING SHOWERS
LUNCH ROOM
RECEPTION
THERAPY LOUNGE
THERAPY
THERAPY LOUNGE
MEDIA CENTER
RETRIEVAL LEVELS G+3,4
SHOWERS
TOILETS RENTAL LODGING
RENTAL LODGING OBSERVATION DECK (ONE LEVEL UP)
THER-
RETRIEVAL LEVELS G+3,4
THERAPY APY LEVEL G+2
COMMONS SHOWERS
THERAPY
OBSERVATION DECK (ONE LEVEL UP)
25
SCALE MODEL 1" : 12' 28
29
FA14. critics LOTEK IKEBE & MIELNICKI
THERE
WILL BE
WASTE ONE MAN’S TRASH IS ANOTHER’S HOME
31
SPACEFRAME AND GLAZING FACADE
FA14. critics LOTEK
OPAQUE PANELS
Plasma gasification technology is not new. Rather than burning waste, it zaps waste with plasma gas at temperatures exceeding that of the sun, turning it into silica (sand), recoupable liquid metals, and a net output of energy. Greenhouse gas is net negative.
EGRESS STAIR
IKEBE & MIELNICKI
VERTICAL CIRCULATION
ELEVATOR VEHICLE PARKING UTILITIES
RADIANT HEATING
HVAC
WASTE REMOVAL AND PROCESSING
STRUCTURAL SYSTEM
PLANT 3T SILICA AND METAL RECUPERATED WEEKLY FELLS POINT WTS DELIVERY 60TD/REACTOR
32
Our site along the Harlem River in the Bronx has a strong industrial past, located under a mile from the Hunts Point waste processing facility. Here, plasma plant will join 300 housing units in five towers. Not only does the plant benefit from proximity to NYC waste, but housing benefits from energy, heating, and a 'truss lifestyle,' generating unique housing opportunities as well as a structurally daring cantilever over the Harlem River.
SOUTH ELEVATION
EAST ELEVATION
RENDERING STREET VIEW
33
FA14. critics LOTEK STUDIO GROUP DRAWING
Let’s face it; our modern economy depends on accelerated consumption. In fact, over 80 percent of U.S. products are used once, then thrown away. We generate massive quantities of waste, much of it toxic.
Bronx Pop
1.419M
avg Income
26.7275
pct Pop svy
0.14
td
265.35
COMMERCIAL avg Income
27.464
pct Pop
What does 10451 generate?
14%
td
691.46
Zip
Population
Pct Total
Tons/Pop
Income (Ks)
Pct Total
Tons/Income
10451
45713
22.7%
157.0
29.0
0.2
146.2
10454
37337
18.5%
128.2
25.2
0.2
126.6
10455
39665
19.7%
136.2
26.4
0.2
132.9
10474
12281
6.1%
42.2
26.3
0.2
132.5
66358
33.0%
227.9
30.4
0.2
153.1
10472
Short of a cataclysmic change in 59.41TD Residential Waste global consumption patterns, waste will follow us wherever we go - from under our beds, to the exosphere (yes, space trash).
201354
137.3
BREAKDOWN weighted
2.6 lbs / person
50/50
Diff
Commercial
C&D
C&D
Putriscible
Non-Putriscible
Clean Fill
155.91
151.60
4.30
40.71
35.88
79.31
128.06
127.43
0.63
33.44
29.47
65.15
135.88
134.57
1.31
35.49
31.27
69.13
51.21
87.35
(36.14)
13.37
11.78
26.05
220.40
190.50
29.90
57.56
50.72
112.12
RESIDENTIAL Zip
Pop Ratio
10451
22.7%
10454
18.5%
49.20379845
Pop adj
10455
19.7%
52.27170543
10474
6.1%
16.18
10472
33.0%
87.45
Income Drv
GDPsub Wt.
29.04
0.211476842
56.12
59.83
25.15
0.183148849
48.60
49.14
26.4
0.192251675
51.01
52.15
26.32
0.191669094
50.86
19.65
30.41
0.221453539
58.76
84.58
60.24
GDP adj
FINAL ADJ
137.32
4 The Mile
Patterson Houses
10.3 UG/M3
RIAS
D115
The Balton Apt
12/1000
7/1000
6/1000
St.NIcholas Houses
Fifth on the Park
U.P.A.C.A. Site 5
119 And Third
18.9 UG/M3
CL Tower
21 E 96St The Monterey One Carnegie Hall
12.8 UG/M3
1711 First Avenue
6/1000
225 East 81St
9/1000
Edward Stone House
12/1000
Arthur A. Schomburg Plaza
17.8 UG/M3
East River Plaza Project
Martin Luther Kind Jr. Houses
Observatory Place
The Strathsmore
1255 Fifth Avenue
225 East 81St
Fifth Ave Lakeview Apt
215
1212 5th Ave
The Lucerne
White, Gaylord Houses
Edward Stone House
Observatory Place
The Savoy
Paul Rudolph Residences
RiverBend Houses
1788
13.8 UG/M3
WIWW
D115
Y
B
C
D
E
F
G
RIAS
H
J
WIWW
L K J
AKDOWN
H
ING COMMERCIAL WASTE, AT JUST 19%
85%
100% WIWW
WIWW
RECIRCULATION FAN BLOWERS MOTOR RECIRC. PUMP PUMP
LEACHATE
-
G WIWW
PRIMARY TREATMENT
E D
C
SEDIMENTATION TANKS; FLOATING TRASH TO LANDFILL; PRIMARY SLUDGE TO CYCLONE DEGRITTERS, GRIT TO LANDFILL
F
INFLUENT INFLUENT
PVC 10”
POTENTIAL PHOSPHOROUS REMOVAL TO DISINFECTION TANKS, TO ENVIRONMENT ANAEROBIC UPFLOW
UASB REACTOR SUCTION PVC 3” SLUDGE
SLUDGE ACTIVATION REACTOR AERATION TANKS
WIWW
PRELIMINARY TREATMENT SCREENING CHAMBER WASTE TO LANDFILL
32
FINAL SETTLING TANK SECONDARY SLUDGE RECIRCULATED AS SEED TO ACTIVATION; REMAINDER COMBINED WITH PRIMARY SLUDGE FOR FURTHER TREATMENT
K
62
Waste generation is a largely a function of income, locale, and population density. We assembled waste data and ran simple regression analysis to determine types of waste generation in the Bronx, N.Y.
90 80 70
RESIDENTIAL WASTE CONSUMED, TONS PER DAY
60
TOXICS
50
OTHER PAPER
40
MGP
30
ORGANICS FOOD
20 10 0 ZIP
10035
10037
10031
10026
10027
10030
10451
10454
10455
10474
10472
160
Our findings are illustrated here.
140
120
COMMERCIAL WASTE CONSUMED, TONS PER DAY 100
STATE AND FEDERAL GOVERNMENT UNCLASSIFIED AND OTHER OTHER SERVICES ACCOMODATION AND FOOD
80
ARTS AND ENTERTAINMENT ADMINISTRATIVE SUPPORT SERVICES MANAGEMENT OF COMPANIES PROFESSIONAL, TECHNICAL AND SCIENTIFIC
60
INFORMATION UTILITIES TRANSPORTATION AND WAREHOUSING
40
RETAIL TRADE WHOLESALE TRADE MANUFACTURING REAL ESTATE RENTAL AND LEASING
20
FINANCE AND INSURANCE CONSTRUCTION
ZIP
Sugar H∂Ill
10037
10031
10026
10027
10030
10451
10454
10455
10474
10472
CELLAR
A
Harlem River Houses 571
24
10035
MIDRISE DUPLEX
124
GARDEN TOWNHOUSE
124
222
Arbor House
B 3BR 2BR
A B C
60
C
2BR
40
2BR
Riverbend Houses
12/1000
11/1000
2330 Bronx Ave
17.4 UG/M3
11/1000 10/1000 8/1000
1440 Teller Ave
17.8 UG/M3
1974
Mott Haven Houses
Patterson
10454
2950 Grand Concourse, Bronx
Hughes Avenue, Bronx
THE STACK
Morrisania Air Rights Housing
10454
Jackson Houses
10
Via Verde
Twin Parks Northwest
Sugar Hill Development
20
Melrose Houses
20
Mithchel
Harlem River Houses
15.8 UG/M3 14.6 UG/M3
Abraham Lincoln
POLLUTION (CONCENTRATION OF FINE EPA
SMSR
HRY:TS A:MRF
D115
L
M
N
P
D115
Q
R
S
T
V
W
X
Y
Z
W X
V
HRY:TS
Y
Z SMSR
A:MRF
M N P
HARLEM RIVER YARD TRANSFER STATION
Q R
ACTION MATERIAL RECOVERY FACILITY
S T
33
GE
ID
IL
H
RO
T OR
RA
BR
N
ET
M
OR
MAJ GAN
DEE Y
EXP
RENDERING NORTH VIEW
THE BRONX
AD IS
M ON AV E GE
ID
BR
MANHATTAN
P
IKEBE & MIELNICKI
FA14. critics LOTEK
lasma gasification produces enough energy to maintain the reactor plant, with a typical net surplus of up to 50%. Pollution is minimal; CO2 is a byproduct, but far less than a comparable natural gas plant energy output.
Heavy metals are collected, while toxins are broken down by extreme heat. This is a growing technology used worldwide, including in the U.S.A.
PLASMA PLANT
RESIDENTIAL WASTE VAC
WASTE DELIVERY BY CSX RAIL and GAS + SILICA + METALS EXPORT
SHREDDER
REACTOR
AXONOMETRIC UTILITY DIAGRAM 38
Hunts Point, in the Bronx, is a twilight outsourcing zone, a temporary host to New York City waste before it is shipped via rail and truck to states as far as Ohio.
The outsourcing and infrastructure of the waste disposal is primitive, as most waste ends up buried in landfills or burned in dirty ways. What's the missed opportunity here?
Consequences are measurable so close to home - as alarming as the highest rates of asthma in NYC's population adjacent to the waste facilities.
RESIDENTIAL RADIANT HEAT
RESIDENTIAL FILETERED AIR
POWER GENERATION
HIGH VOLTAGE TRANSMISSION FOR REGIONAL EXPORT
GENERATOR CONDENSOR
LOCAL POWER SUPPLY COLLECTOR AIR FILTER TRANSFORMER
39
SCALE MODEL 1" : 6'
AXONOMETRIC FLOOR LAYOUT 42
STUDY MODEL SITE MASSING
SCALE MODEL PERSPECTIVE VIEW
Ro
of
G
+1
0:
G G
G G G G
G G
G
+1
:p
ro
+2
:p
ro
+3
(sa
un
its
gr
am
(d
ay
ca
lo
n
/l
au
nd
:6
un
its
:5
:1
2u
:1
6u
ni
ni
ts
un
its
SINGLE STUDIO 1 BED 2 BED 3 BED DUPLEX FACILITIES
ts
:1
6u
:6
ub
lic
ni
ts
un
its
ni
ts
UNITS TOTAL : 78 of which SINGLES : 26 STUDIO : 6 1 BED: 17 2 BED: 18 3 BED: 3 DUPLEX(1-2 BED) : 8 15,500 ft 2 60,500 ft 2
FACILITIES RESIDENCE
avg 775 ft 2
RESIDENCE, OF WHICH 1/3 SHARED COMMONS
re
gr
am
:4
+4
+5
+6
+7
+8
+9
6u
:P
)
ry
)
TYPICAL CONFIGURATION & HOUSING UNITS PER TOWER
SCALE MODEL WELDING DETAIL
MIELNICKI
SP15. critic KIM
JUVENILE DETENTION CENTER
G + 8' PLANS
48
McMillan Water Treatment Plant in Washington, DC is an abandoned water filtration site. Around 25 acres of vaulted ‘catacombs’ housing sand filters lie underground, dormant for decades. A juvenile detention facility and high school bring the the site back to life, bulding on while making full use of the catacombs underneath. The detention facility revolutionizes the site and its typology.
Importantly, a ‘detention theatre company’ adds critical dynamism to the interactions between inside and outside worlds, fantasy, and reality.
Over 70 students live on site, while a further 400 DC students with disciplinary records attend the school. Public baths revamp the sand filters, instigating interaction with an adjacent university and a major childrens’ hospital and its overworked staff.
PUBLIC CIRCULATION
NATIONAL CHILDREN'S HOSPITAL
SECURITY LEVEL 3 SECURITY LEVEL 2 SECURITY LEVEL 1 ACTIVITY CENTER EXCHANGE POINT
PUBLIC PLAZA INTAKE CENTER
SAND ROOM
TECHNICAL SCHOOL MAIN THEATRE
FIRST ST NW
INDEPENDENT HOUSING
NORTH CAPITOL ST ECKINGTON ACCESS
CAFE
PROMOTED HOUSING
CLASSROOMS
PUBLIC BATHS
AMPHITHEATRE
WEST GATE
SPORT FIELDS
FACILITY AND SITE DIAGRAM
BATHS WATER COLLECTOR
BLOOMINGDALE PARK AND FIELDS
HOWARD UNIVERSITY
50
BOOKING & PROCESSING
INDOOR THEATER
LIBRARY
COMPUTER CENTER
SAND TUNNEL
BACKSTAGE
PUBLIC PLAZA
BATHS ENTRANCE
LECTURE HALLS
CLASSROOMS
OUTDOOR AMPHITHEATER
STITCHED SECTION 0
100' RECEPTION AND TICKET HALL
51
AXONOMETRIC
ROOF PLAN 0
54
150'
BREAKOUT: The facilities break out in unexpected ways; the only juvenile detention center where the public audience plays a critical role.
BATHS: Capitalizing on the aquatic history of the site, the general public is drawn intimately into the baths, in an exchange of trust with the school.
RENDERING PLAZA TO COURT
RENDERING PUBLIC BATHS
RENDERING OPEN AIR ROOF PARK
SNIFFPORT
RENDERING BUILDING ON SITE
We are all aware that odors trigger memories, emotional, and physical responses. It was recently discovered that odors can elicit phsyiological responses, which can be used to our benefit. The mechanism by which they interact with our olfactory receptors does not take place in the nose, but on our major organs - kidney, heart, liver, and skin, among others. This isn’t aromatherapy; it’s far more sohpisiticated, with enormous potential benefit for our health and well-being. Not to mention industry.
The Sniffport makes a home in the desert landscape of Tucson, Arizona. It combines research, therapy, restoration, and manufacture. Like an odor molecule, it recombines into infinite combintations to adapt to the landscape, program specificity, and the sheer opportunity and promise of an emerging medical field.
an OL.FACTORY
Odorant treatment brings together a clinical resort, high-tech medical facility, a taxonomic stockpile of artificial odorants, and a research facility to accommodate a high degree of specificity of therapeutic administration. As no two tastes for perfume are the same, our organisms respond very differently to subtle chemical shifts and variations of a theme.
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SP16. critic ARANDA
a.
PROTOTYPE 'COMMONS' CONFIGURATION
MIELNICKI
b.
PROTOTYPE MULTIPLE LEVEL
c.
PROTOTYPE MULTIPLE FLOORS
d.
AXONOMETRIC a) RESIDENTIAL b) CLINICAL c) RECREATION d) MANUFACTURE PROTOTYPE TWO LEVEL, OPEN PLAN
56
ROOF PLAN 0
250'
GLAZING DESERT VEGETATION ROOF SECOND FLOOR
57
RENDERING RESIDENTIAL COURTYARD RENDERING RESIDENTIAL COURTYARD
INTERIOR PLAN
0
250'
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LEFT PAGE, CLOCKWISE FROM TOP: SITE MODEL PERSPECTIVE; SITE MODEL TOP; PROTOYPE MODEL SIDE; PROTOTYPE MODEL PERSEPCTIVE; PROTOTYPE MODEL ROOF DETAIL THIS PAGE, TOP TO BOTTOM: RENDERING, RESIDENCE COMMONS; RENDERING, CLINIC SECOND LEVEL WITH ROOF ACCESS
CONSONANCE: Each geometric 'prototype' adjusts its orientation and configuration to adjust for climate and program needs.
RECREATION: The facilities weave into the terrain, becoming a geometric mirror of the desert landscape.
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THERAPEUTIC ROOMS
SECTION 0'
250'
ADVANCED TREATMENT
CLINICAL LABS
WELCOME CENTER
ROOF GARDENS & GREENMWAY
COURTYARD
INDUSTRIAL LABS
STORM WATER CISTERN
CHEMICAL MANIFACTURE, STORAGE, & DELIVERY
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RESIDENCES
ROOF GREENWAY
SECOND LEVEL STRUCTURE
FIRST LEVEL STRUCTURE
ENCLOSURE
INDOOR PROGRAM AREA
ION
SECT CUT
AXONOMETRIC 67
RENDERING ODORANT FACTORY FLOOR
2
foreign studios
PHOTOGRAPH ADDIS ABABA, ETHIOPIA MERKATO. JUNE 2015
SUMMER15. critic ADMASSU MIELNICKI
DIS 3a
INTEGRATE
1b
MERKATO
1a
Study through drawing: the dynamics of a new light rail line bisecting Africa's largest market, in Addis Ababa, Ethiopia.
3b
s cut ato l i a erk tr ligh alf; M shift h ew s e n to in amic ally ’s h T rka n arti ato y Me usts. D il is p Merk and adj he ra d by ture s. c as t sume astru atter n r b f su n in cial p inctly ow mer ’s dist ence ail com rkato resili ight r ition. l l Me r ma the cond s o inf efine new red ard a tow
y d b r, e t te d r ia op , shel gs an r p s eap tall ssin is r ice s n cro e rv ia lin ail and se destr r e e g Th ding and p . din ail s n n , e ve rage hfar rou g r sur r r ivin y sto roug n db eo -a tho tak lities sorbe idst s n ua ab am tio Sta rket q rs are tion, ers, ma senge junc eddl s. At pas busy ers, p atron s, the eshin and p ction l sho rters, vel se a vita po de-le on is he gra stati for t the ssing cro rket. ma
2a
2b
new a e d at cre n islan ing s k nd rac y: a d t aller rs, ve . e t ll lte va lg Ele rstitia f she an ma o i e ly int stem destr itab it e y r s p e o ec , and e v er ing traffic d a s r d a g g are to lf, ren uttin r ms e r e a c l fo s clo t in h r, by e rail peop s e k ; e c v h k e Tra he str owe eets, t ewal ods. d H r t i o t . s cut ssable way s tical and g r a s e e p im o on iate v nkey w do t ed in ter m isde g n in an le alo t t shu
KEY CURBSIDE ACTIVITY STATIONED PERSON PEDESTRIAN VEHICULAR TRAFFIC STOPPED TRAFFIC
slow
PEDESTRIAN SPEED
fast
0
250m
75
PERSPECTIVES 1
Gliding above traffic, the tram cuts time traveled to many places in Addis. Unfortunately, it cuts the city in many places, too - Merkato among them. From the east, we enter the first station in Merkato, next to the Anwar Mosque. The station is the site of many intersections - of roads, commerce, and religion. Station entrances are used to cross the rail at the divided market. On leaving the station, the ride offers a singular perspective of market activity just beyond the rail fence.
2
76
When you stand in place all day with a lot of stuff, congested sidewalks are good for business. Not only does the elevated rail provide shelter above the road median, but it is also a valuable intersection where once chaotic traffic now funnels into Merkato. Relentless construction supports a flow of construction workers looking for relief and refreshment - only one side of traffic is crossed to access the now commercial median.
a
b
a
b
MAPPING ACTIVITY INFRASTRUCTURE ARROGATION
GROUND LEVEL ACTIVITY PROFILE
ACTORS AND MOVEMENT
STREET PLAN
INFRASTRUCTURE PLAN
RAIL OVERPASS
STATION LEVEL
INFRASTRUCTURE ELEVATION
77
3
Our donkey, once participant in the chaotic dynamics of the sidewalk and street curb, discovers a gateway to the market under the new elevated rail portion. The 750m passage south along the rail line as it descends toward grade along a concrete embankment is a fresh route, offering protective cover at the median. It’s something of a relief to have traffic only on one side...take off one blinder, perhaps?
a
b
There is no return to the previous condition of the market. The new light rail line will become a critical part of Addis Ababa's insfrastructure since it opened in late 2015, with future expansions already planned. Although the market was physically interrupted, its fluid condition has reappropriated parts of the rail line, imposing market conditions back onto the infrastructure. In reality, it is an evolving dynamic of commerce, movement, and opportunity redefined. Drawing allows us to focus on the interactions of these forces in some measurable way, and graphically explain their dynamics. Hopefully we gain insight toward reinforcing positive symbiosis of market and infrastructure, and advocate for as of yet unseen or untested formulas.
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CURBSIDE LEVEL
STATION 1 AXONOMETRIC
STATION 2 AXONOMETRIC
STATION 3 AXONOMETRIC
INHERIT INHABIT
UACM
STATION 4 AXONOMETRIC
RADICAL IN-FILL: transforming walls into cable car stations in Tlacaélel, Mexico City.
81
FA15. critic ESCOBEDO CHO & MIELNICKI 82
The expanding city copes with complex issues beyond infrastructure - socioeconomic marginzalization, political territorialization, and informal development, to name a few. Urban sprawl is partly opportunistic settlement for the vast population, much of it informal in nature.
URBAN SPRAWL 2010
URBAN SPRAWL 1973
In the vast expanse of Mexico City, areas of high geographic and socioenomic marginalization and political factionalization fray the city fabric. Marginalized city dwellers are affected by social and physical boundaries, long commutes, and a real and perceived lack of ownership of the city.
PROPOSED CABLE CAR 'WALL STATIONS'
Such is the case in the neighborhood of TlacaĂŠlel. Against but with these odds, our intervention here will stretch across barriers, appropriate them, link territories physcially and socially, while encouraging residents' realization of an urban identity.
A viable quality of life sought by residents at the fringes of the city and its metro is offset by long commute times, up to 8 hours per day, to the city center where income is earned. Our proposal can replicate across the cityscape, traversing geography, servicing the pockets of high density on the margins, bringing new programmatic possibility to marginalized areas, shortening - and expanding - connection to the heart of the city.
TlacaĂŠlel
HIGH MARGINALIZATION IN DARK BLUE
HIGH POP. DENSITY IN RED
A cable car system will inhabit these barriers, transforming existing walls and fences into stations, stitching together hilly terrain, and integrating with major bus routes into the city.
83
Urban expansion is held in check by a few factors, including, but not limited to, availability of vacant land, federal influence at the local level, topograhpy, as well as rival political factions. Many of these apply in Tlacaélel. To elaborate, Tlacaélel is higly territorialized. Friction results in fragmented neighborhoods, social exclusion, and stagnant integration into greater Mexico City fabric.
MUNICIPAL AND PUBLIC BUILDINGS RETAINING WALL CONCRETE WALL (WITH ENTRANCE) GATED FENCE
1
1 SECONDARY SCHOOL
MENTAL HE
1
1
2
RECREATION FACILITY
4
4
FEDERAL PRISON
84
2
TLACAÉLEL: BARRIER STUDY
Federal infrastructure, including a regional recreation center, UACM satellite campus, mental health facaility, and a SACMEX water plant populate the river valley area. Additionally, a federal prison lies to the south of Tlacaélel.
HIGH SCHOOL
EALTH WARD
2
SACMEX
2
UACM CAMPUS
3
3
4
4 3
3
PRIMARY SCHOOL
85
CABLE ROUTES MASTER PLAN PROPOSAL SITE
TlacaĂŠlel
MARGINALIZED AREAS CABLE ROUTE BUS ROUTE METRO LINES TOPOGRAPHY
In particular, informal settlement since the 1980s has been encouraged and guided by political factions, such as Antorcha Campesina. They exert influence on regional and federal government, with the power to move people, provide civic amenities, and install or influence political candidates. Antorcha relies heavily on informal settlement, using residents as foot soldiers for its political goals. 86
In exchange, they provide land, services, and representation in federal and local government. However, these areas remain highly marginalized and politicized. Residents lack quality services and access to opportunity. Physical barriers are endemic. Ultimately, we imagine a fringe that is drawn, or stitched, back into the urban core, encouraging and promoting its full participation. This requires a necessary physical intervention - a direct link to modes of physical and economic mobility.
TLACAÉLEL CONDITIONS
To do that, we must take scope of physical and socioeconomic conditions of our site, and challenge their current logic with new circumstances. We focus our initiative on the physical barriers that entrench stasis on our site. EXISTING BARRIERS
Our cable car directly intervenes into these constraints. In a twist, we dissect those walls and barriers that demarcate lines of economic and political control. They transform into new currency for commerce and movement.
POLITICAL ACTORS
ARROYO LA ARMELLA
PROJECT FINANCING
MAINTENANCE COST
EQUITY OWNERS
AN CHURCH TO RC HA
STATION COST
WALL AND BARRIER INTERVENTIONS
50M (pesos)
TLACAÉLEL
FEDERAL INST.
MUNICIPAL
ENTERTAINMENT
EDUCATIONAL INST.
CABLE REVENUE
MERCHANDISE
ANTORCHA / PRI
BUSINESS AREAS
OTHER ENTERPRISE
OTHER ENTERPRISE
FOOD
GOVERNMENT LAND
PRD
CORPORATE
STUDENTS
SERVICES
PRIVATE LENDING
VENDORS
GROUND CONDITION
WALLS / BARRIERS
PROPOSED INTERVENTION
35M
UACM CUAUTEPEC
55M
PANTEON
CEMETERY
35M
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CABLE STATIONS & SOCIOECONOMIC FACTORS
ARROYO LA ARMELLA
TLACAÉLEL
TLACAÉLEL Neighborhoods and political control based on voting records (colors from left to right represent affiliates of PRI, PAN, and PRD)
DISTANCE BETWEEN STATIONS
475 m
PER STATION CAPITAL COSTS and FUNDING SOURCES (units of 250k pesos)
POPULATION DENSITY WITHIN 300m (units of 500 residents)
COMMERCIAL UTILITY (units of 1000 man hours/month)
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CORPORATE
PRIVATE SECTOR
CATHOLIC CHURCH
LOCAL RESIDENTS
UACM CUAUTEPEC
PANTEON
LOMA DE LA PALMA
VALLE DE MADERO
375 m
625 m
GOVERNMENT
GOVERNMENT
LOCAL RESIDENTS
LOCAL RESIDENTS
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CABLE STATIONS PLANS, SECTIONS, & ELEVATIONS
ANFITEATRO
STATION 1 ELEVATION / PLAN
SECTION 10m
1 CABLE CAR STATION 2 AMPHITHEATER 3 CHAPEL 4 RETAINING WALL
4
1
50m 2
1 3
3
10m
10m UACM
La Corona
90
SECTION / FIRST FLOOR PLAN
UACM
UACM CUAUTEPEC
STATION 3 ELEVATION / SECOND FLOOR PLAN
STATION 2 ELEVATION / PLAN
SECTION 10m
TLACAÉLEL
1 SAND POOL AND WATER FOUNTAIN 2 OPEN AIR MARKET 3 CABLE CAR STATION 4 TLACAÉLEL 5 SACMEX WATER TREATMENT FACILITY
3
2
4
2
10m
1
5
STATION 4 ELEVATION / SECOND FLOOR PLAN
SECTION 1 FLOWER MARKET 2 CHILDREN’S LIBRARY 3 CABLE CAR STATION 4 CEMETERY 5 SECONDARY PUBLIC SCHOOL
10m
4
3
10m
BIBLIOTECA INFANTIL
5 2
4 1
91
PERSPECTIVE DRAWING CABLE CAR STATIONS
3
model making
CONCRETE BED
METAL PROTOTYPE ANSARI, MIELNICKI, MOLINA, & MIRZA / prof IVALIOTIS 97
BED
2
1 1. REMOVABLE LID DETAIL 2. DISASSEMBLY DETAIL
3
1
3. PANEL BINDING DETAIL
NOTES: Concrete panels are bound to bedframe with mastic. Head- and foot-boards have removable lids to access assembly hardware. Bed separates into 6 compenents - headboard, footboard, 2 lids, 2 side panels, for ease of transport. Gross weight of concrete is 226.5kg. No component exceeds 70kg.
¹⁄8” WIRE REMESH IN ALL ¾”PANELS
¾” CONCRETE FRONT, TOP PANELS ½” CONCRETE SIDE PANEL
1 PULL HOOK
ENLARGED WOOD FRAME ORIGINAL FRAME
2
HARDWARE
3
MASTIC
98
1 3B
1" DRILL 3/32" 7/32"
2B
11˚
30˚SNAP
61˚ 57˚
57˚ 61˚ 1B
5B
11˚
6B
3
136˚
4B
2
121˚ 5A
90˚
5
6A
28˚
87˚
6
34˚
34˚ 54˚
89˚
1
7B
31˚
PROTOTYPE
PIECES
4
104˚
7A
54˚
136˚
3A
2A 1A
8
4A
7
89˚ 90˚
9
89˚
2
3
LOCKING NUTS AND WASHERS
4
5/8" WASHERS 1/2" BOLTS
5
6
7
99
BED MASTER MOLD: To reduce waste, one mold was used in the entire process, cutting the mold down into successively smaller formwork.
GHOST IMPRESSIONS: Finished aesthetic takes on a new dimension, exploring the boundaries of the organic and inorganic. 100
PROTOTYPE
ANGLED VIEW: The topographical nature of the prototype can be deployed for shading or lighting effects.
SIDE VIEW: Front and back of the unit have unique qualities, and can be tiled in any combintion.
101
Antique oil-can, scrap wood, old utensils, and spare instrument parts reharmonize and repurpose to endow a new poetry of music. Inspiration permeates through a new resonant core. This is the first banjo of a series built from 2012-2014. Oil cans are a special choice for the banjo pot: the sheet metal acts in a similar way to both the head and resonator of a conventional banjo that give the 'snare' quality of its sound. Oil can shape and density affect the volume, tone, and resonant qualities of the instrument. The unique graphics enhance personality and presence.
BANJO OIL-CAN SOUND
104
PHOTOGRAPH HAND-CARVED BRIDGE
PHOTOGRAPH TAILPIECE
105
ULTRAREAL
EISBURG 2040 one world gone underwater By Andras Balla, Allie Calaguire, and Peter Mielnicki SEA CITY: A submerged ‘city’ of pods, each trading and producing specialized resource. Thousands of pods float below the surface. 106
DEC2015
THE INDUSTRIAL ERA BALL continued well past the eleventh hour. While noticing the water creeping in, we continued dancing until it became an absolute swim. While civilization goes under, some visionaries have, too - with the intent to thrive. Enter Eisburg 2040.
107
ULTRAREAL
“...Nothing can resist the water� Lao Tzu
We are telling and giving audience to the biggest story of our lives. Consumption has now consumed the creators; humanity’s original coastlines have been subsumed by risen oceans, leaving geographically - and politically - disorganized and contested interiors. It is a collective bargain in which our collective has no bargaining power.
A REFUGE: Precise, futuristic pods belie the turmoil taking place on land.
108
Landscapes have irrevocably changed due to radical shifts in climate. Those left on the surface grapple with vast desertification, intense and frequent natural disasters, newly inhospitable high altitudes, and biosphere destruction. Beyond this are social consequences of extreme political destabilization, economic distress, migration and refugee crises, and conflict.
While interplanetary travel is now an almost unattainable reality, some have turned to overlooked opportunities within our limited biosphere. For a determined group of scientists, designers, and entrepreneurs, the last viable refuge is all around us - albeit in the vast, largely sterilized oceans.
DEC2015
These water patrons build movable, interconnected, and submerged communities, isolated from the hostile surface. They refer to themselves as Eisburgs: part homage to melted icecapes inundating dry land, part token to their visible footprint - where surface activity belies the bulk below. Communities resemble vast networks of floating seaweed pods, where all activity takes place - water filtration,food harvesting (both grown and captured), and manufacture. Individual pods specialize and trade with each other. Few shared resources include air and power, provided by a political collective. Why isn’t there a stampede toward the water? This environment is not for the faint of heart or mind. Exigencies of this medium require technical determination, mental resilience, and high coordination and cooperation. Work on land to develop sub-marine infrastructure is critical; a first true test before going under. No formal application process exists, participants find themselves typically drawn in - under - by their sheer talents. Life is far from utopic, however; almost fanatical tribalism is too much for some, over 75 percent to return to the surface.
FROM ABOVE: Like a coral reef, the underwater colony evokes mystery amidst the waves.
The constraints and harsh realities of the water minimize inefficiencies, disengagement, and rivalry - in exchange for shelter, dissociation, and so far, an overlooked space to flourish. The product is kind of a self-selecting caste of virtuosos,hyper-tuned to their collective survival.
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EPILOGUE
VIBRANT ARCHITECTURE respects environment and its people. Perhaps there is public crisis today - ongoing social stratification as the fallout of liberalism - and it is evident in the physical manifestation of the public realm, from marginalization of the powerless, altered cityscapes, and conspicuous displays of wealth. It is a reality that we should neither hide nor celebrate, no part of it is sacrosanct but should be perpetually open to scrutiny and reevaluation. As a designer and thinker, my philosophy is one of inclusion. This is not limited to an appeal to the largest number, but a change in inhabitants’ perception of themselves and their role in the space or event - the feeling of belonging to or influence on a process. Sensitive design sets the stage for questions that we take home: to reflect on our own well-being and consider how we respect our environment. Heritage also contributes to our sense of place, even when it is not our own. For that reason, it can also be appropriated in positive ways and deployed by outsiders with interesting and profound outcomes.
110
Contemporary dialogue can obsess over image and object, and its failure to cultivate the living fabrics of communities has had disastrous results. The legacy of heritage is often marginalized or itself objectified, and its original sensibilities used to understand complex problems are lost. Ideally, we look past the object itself or the immediate result, but exact a position on the long-run without sacrificing efficiency or flexibility, conscious toward intangible details throughout the design process. A productive process refrains from over-simplified ‘us’ and ‘them' dichotomies, but instead accommodates a client and takes ownership of collective consequence. This requires heightened sense of awareness, responsibility, and sensitivity, as well as enterprising ways of deploying and managing materials and information. This attitude is a major counterweight to elitism and object orientation that is self-assuring, which slowly erodes our capacity for relative discourse for the sake of nominal perspectives.
On communion of information Architects become well-informed opportunists. We are privileged in a sense of our exposure to actors on all sides - from developers, policymakers, the public, engineers, to the design community at large. We are highly tuned to the environment; resourcefulness that benefits the highest number of participants is rewarded. As the sum of arts, science, and information, architecture can push the unfamiliar, engage the unseen, letting unique formulas fill the inevitable cracks in the fabric of the everyday – not to wedge into a breaking point, but to provide cohesion within the overlooked and thus new propositions and methods for the design of living. Realistically, we work for a client, and in practice, we tend not to look too far over the horizon. Enlightenment is everyone’s responsibility, and a lack from one side is not an excuse to abandon the pursuit of detail. Channels of information must be kept fluid, and insight must be sought beyond traditional or expected boundaries. Everything is fair game - religion, politics, geology, zoology, finance and institutions that have survived hundreds or thousands of years certainly deserve judicious scrutiny for their continuous relevance. In Sum Our built environment gives us a sense of place and rhythm, and therefore a sense of belonging and a means with which to make sense of
our world. This powerful contextualization erodes when architecture totally folds into the movement of globalization and commodification of place. At the same time, architects are not necessarily gatekeepers of tradition or advocates of the vernacular. With any growth there are new forms and styles; the architect studies a place with the hope to appropriate and redeploy its norms and rhythms. Visions aren’t imposed, information is instead accepted and reemerges within a cadence of pattern. Each instance of belonging is a continuous conversation with a place, its look, texture, sounds, and smells. With that said, good architecture is greater than the sum of its parts. It is some combined quality that conveys a sixth-sense reaction in the user - a type of feeling beyond ownership or belonging... transcending even these localizing tendencies - towards perceptions of universality instilled in the new consciousness it generates. Something akin to the rich voids of the great cathedrals of Europe, the eerie cosmic sensation of Jantar Mantar, the precariously present waterscape of Suzhou, or the architectonic timelessness of the streets of old Santa Cruz de Tenerife. Perfection as an earthly quality is a dynamic balance, where beauty is instinctively expressed and recognized as a consequence of the act of putting together.
With special thanks to
The professors and mentors listed in these pages, & colleagues who have enriched my design and education.
With loving thanks to
Sara, who believes in my talent Stephanie, for your humor and intuition Mama, who made everything possible.