Portfolio
Peter Maffei Pamaffei@syr.edu 1
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*Menu The Voluntary Prisoners of Instagram 4 Everson Expansion 10 The Good Tech Co. 20 The Pink Program Collider 34 Hudson Rail Yards 42 Post Cubicle-ism 50 Hortus Architecturalis 56 Feeding F[i]renzy 62 Mies Van Der Rope 64 Manhattan Clam Chowder 66 Paintings & Photography 68 Form = Famous 70
(Right) Cheap, But Full of Charm is a project that examines the transformation of former Victorian warehouses and tenements into luxury apartments, in which exposed beams, red bricks and rusted machinery become part of a bourgeois fascination with the aesthetics of the post industrial city.
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Conceptual Collage
The Voluntary Prisoners of Instagram
Adapt, Re-use I The Voluntary Prisoners of Instagram Cambridge Heath, London The Voluntary Prisoners of Instagram is an Instrument for the fabrication of an online personality, within a clandestine former warehouse in Cambridge Heath. Through a series of infrastructures and sequences, an aspirational and cash poor millennial is transformed into a glamorous jet-setting Instagram Influencer at the loss of their privacy and individuality. They become prisoners of Instagram and find that even their most intimate moments are staged and posted for the likes.
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Foodie
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I’ll Have What She’s Having!
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Trucks full of vegtables
2 Glorified Barristas 3 Nobody actually eats, they just take photos
#OOTD
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(Outfit of the day) 1
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Sweatshop
2 Hair & Makeup
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3 Runway 4 dressing rooms, except one
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is already dressed and only enters the room to take selfies in the good lighting
Fitspiration Want a Hot Body?
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Plastic Surgeon
2 mirrored gym with
lighting that makes one look like they have abs
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3 “Fitness Instructor” studio
The Voluntary Prisoners of Instagram
The Bed of an Influencer How do they afford a loft in Paris if they don’t have a real job?
Catalog of Analog mechanisms to craft a digital Fantasy
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Above, Failed Iterations Right, Polished Drawing
The Voluntary Prisoners of Instagram
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Everson Expansion
Exhibit.II Everson Expansion The selected works were shown in the Exhibition “From Bloomies to The Everson” curated by Professor Johnathan Louie The Everson Museum of Art designed by IM Pei in 1965 is a brutalist landmark, yet fails to enchant visitors. This project is an extension to the existing museum in which. Pei’s brutalist pavilions are aggregated into a tower that inhabits the central atrium. The project celebrates the form, surface, and function of Pei’s Everson pavilions, especially their geode like interiors that could house diverse environments, and programs. The tower is a vertical neighborhood that relates not only to the Pei project, but collects indigenous forms, and materials from the surrounding city, and Upstate New York. The stacking of pavilions within the tower is motivated by the pinwheel rotation intended by Pei, and thus experienced by a spiral staircase. The central void of the tower is an extension of the existing atrium. Ultimately the tower plays with the iconicity of the Everson Museum. Through aggregation, collage and distortion, the upside-down L shapes loose independence and merge into a collective form. If the Everson is a sculpture, this project exists as the sculpture within a sculpture. A. Everson Museum Photograph, Syracuse NY, IM Pei B. Everson Museum descriptive drawings C. Project Conceptual collage
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20.00 56.00
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Everson Expansion
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A North Pavillion of Everson Museum
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B East Pavilion of Everson Museum
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C West Pavillion of Everson Museum D South Pvaillion of Everson Museum
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E Pavillion clad in Everson concrete F Pavillion with vernacular house, arches, structure rooftop garden
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G Paviliion enclosed by structure infilled with traditional clapboard H Pavillion enclosed by structure and glass U
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I Paviliion enclosed by structure infilled with traditional clapboard J Pavillion enclosed by arches and structure K Pavillion enclosed by structure, infilled with brick L Pavillion clad with bricks M Pavillion enclosed by structure, infilled with brick N Pavillion with structure and Art film projection O Pavillion clad in traditional clapboard, rooftop patio and greenhouse
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P Pavillion enclosed by structure with vernacular house and rooftop garden Q Paviliion enclosed by structure infilled with traditional clapboard R Pavillion enclosed by structure with Everson concrete infill, vernacualar house S Pavillion enclosed by structure, infilled with brick T Paviliion enclosed by structure infilled with traditional clapboard
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U Pavillion with Oncenter inspired vaulted structure enclosing garden 32.00
V Victorian house, James Street W Water Tower, NY State Fairgrounds X Bovine, Byrne Dairy, East Syracuse Y Cape Cod, East Genesee Z Shanty, Skunk City
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Catalog of Pavilions Existing and proposed
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Everson Expansion
(Opposite Page) Elevation (Below left) Perspective (Below Right) Physical Model (mirror, Lasercut museum board, ink)
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ROOF +154.00
10TH FLOOR 140.00
9TH FLOOR +126.00
8TH FLOOR +112.00
7TH FLOOR +102.00
6TH FLOOR +86.00
5TH FLOOR +72.30
4TH FLOOR +62.00
3RD FLOOR +51.30 EVERSON ROOF 48.83
EVERSON 2ND FLOOR +23.36
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Everson Expansion
(opposite Page) Section (Above) Perspective Section
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Everson Expansion 54.00 60.00
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51.00 54.00 36.32
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36.00 44.00
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(Opposite Page) Plan Perspective (Above Left) Plan (Above Right) Roof Plan (Below) Physical model
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Conceptual Art
The Good Tech Co.
Manufact. III The Good Tech Company The selected works were nominated for the King and King Prize and published on Archisource In Consultation with Buro Hapold for conceptual structural and environmental design, and In collaboration with Kiersten Davis project draws inspiration from the life cycle of a modern-day tech startup, with related programs distributed amongst floating floor plates that are cantilevered off of a central core. In this high-tech lab, the future steve jobs can start in the informal cafĂŠ setting on the ground level, then climb to the shared work space above, make their way up and over again once its time to present their ideas to investors, or “sharksâ€?, and finally retire from a penthouse corner office. Formally, the project is made up of two different structural systems: a relatively light, steel exoskeletal structure and a heavier concrete core at the center. While outsiders and sharks will utilize the outer circulation along the perimeter, everyday users will use an ultra secure and efficient route within the core.
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Concept Sketches
Steel Structural Diagrams
Conceptual Comic Narative
The Good Tech Co.
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Conceptual Comic Narative
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Conceptual Comic Narative
The Good Tech Co.
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Double Skin Perfor26
Model, printed paper, acrylic, basswood, mirror
METAL COPING ROOFING MEMBRANE RIGID INSULATION VAPOR BARRIER SLAB ON METAL DECKING METAL DECKING GWB CEILING SYSTEM CEILING SUSPENSION CABLE
STEEL BEAM ROOFING MEMBRANE STEEL BEAM STEEL TUBE METAL DECKING
VAPOR BARRIER CONCRETE SLAB ON METAL DECKING
CONCRETE SLAB ON METAL DECKING
2'-6"
RIGID INSULATION
METAL DECKING
VAPOR BARRIER RIGID INSULATION ROOFING MEMBRANE
STEEL GIRDER CORE WALL CLADDING CLADDING CONNECTION AIR GAP PLYWOOD SHEATHING RIGID INSULATION CONCRETE WALL
EXTERIOR ROOF DETAIL
EXTERIOR ROOF EDGE DETAIL
CORE ROOF EDGE DETAIL
1/2”=1’-0”
1/2”=1’-0”
1/2”=1’-0”
10MM PORCELAIN MARBLE STONE CLADDING AIR GAP STONE CLADDING CONNECTION 3/4” PLYWOOD SHEATHING RIGID INSULATION METAL DECKING
CORE WALL CLADDING PLYWOOD SHEATHING CLADDING CONNECTION STEEL GIRDER FLOOR FINISH SUBFLOOR METAL DECKING
CATWALK RAILING CATWALK FLOOR
STEEL BEAM
STEEL BEAM
CEILING SUSPENSION CABLE GWB CEILING SYSTEM
EXTERIOR WINDOW CASING SINGLE GLAZED OPERABLE GLASS WINDOW DETAIL SECTION - OFFICE INTERIOR ROOF SLAB
DETAIL SECTION - EXTERIOR CATWALK CONNECTION
GWB CEILING SYSTEM RIGID INSULATION DETAIL SECTION - CORE
1/2”=1’-0”
1/2”=1’-0”
SUSPENSION CABLE
STEEL GIRDER Z CLIP
GYPSUM WALL BOARD
1/2”=1’-0”
Details
DOUBLE GLAZED WINDOW FLOOR FINISH SUBFLOOR STEEL GIRDER METAL DECKING
CLADDING SUSPENSION CABLE 10MM PORCELAIN MARBLE STONE CLADDING CONNECTION RIGID INSULATION PLYWOOD SHEATHING
STEEL BEAM EXTERIOR WINDOW CASING SINGLE GLAZED OPERABLE GLASS WINDOW DETAIL SECTION - OFFICE FLOOR SLAB
DETAIL SECTION - EXTERIOR WALL
SUBFLOOR METAL DECKING STEEL GIRDER GWB CEILING SYSTEM CONCRETE WALL RIGID INSULATION FOUNDATION DETAIL SECTION - CORE
1/2”=1’-0”
1/2”=1’-0”
FLOOR FINISH
CORE WALL CLADDING
1/2”=1’-0”
FLOOR FINISH SUBFLOOR
CONCRETE SLAB VAPOR BARRIER
CONCRETE SLAB
VAPOR BARRIER
VAPOR BARRIER
RIGID INS.
RIGID INSULATION
RIGID INSULATION
PERIMETER DRAIN SYSTEM GRAVEL
GRAVEL
GRAVEL
CONCRETE SLAB
27 FOUNDATION DETAIL SECTION - EXTERIOR 1/2”=1’-0”
FLOOR SLAB DETAIL SECTION. 1/2”=1’-0”
FOUNDATION DETAIL SECTION - CORE 1/2”=1’-0”
Model, printed paper, acrylic, basswood, mirror
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The Good Tech Co.
Collage
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Facility Tour Diagrams
The Good Tech Co.
Collage
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Long Section
The Good Tech Co.
Short Section
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Model, Paper, Blue Foam
ING RN
LEA L A U D I V I IND 34
W O R K
P OU GR
PLAY
N O I T A R O L EXP
The Pink Program Collider
Pink Algea IV The Pink Program Collider The Pink Program Collider lies on the slope of a steep promontory overlooking Green Lakes State Park, known for a rare pink bacteria which colors its deep water. The form facilitates the intersection of different learning environments and play styles: social, physical, aural and verbal, solitary and logical. Each space has a unique program and identity suited to a terrain dotted with furnishings specifically designed to ecourage a specific style of learning or style of play. Through convergence or collision, new programs are invented, and interactions catalyzed. And their collisions are orchestrated to promote unexpected interactions. Imagine what might happen if children on a field trip might pass by a scientist testing water samples while on their way to the play space. Or a lecturer standing on a catwalk or platform might attract unexpected audience from students attempting to perform their own biological experiments. Finally when traversing the project, subjects are encouraged to interact and participate through such collisions of space environments, textures and vistas. Moreover the color scheme pays tribute to the bright pink colored bacteria that thrive beneath the surface of the green lakes.
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Group discourse converges with play space
Catalog of Collisions Lecture hall converges with group learning
Office converges with intimate study
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Plan
The Pink Program Collider
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Courtyard Perspective
The Pink Program Collider
Short Section
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Long Section
The Pink Program Collider
Rendering
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Plan Oblique
Hudson Rail Yards
Urban V Hudson Rail Yards In Collaboration with Sarah Quinn
This site exists as a series of platforms constructed over top of the West Side Rail Yards in Manhattan, which house the trains that head into Penn Station. Our proposal begins with what we call an “elevated mesh�- a reintegration of the site into the city grid. Elevating above the rail platforms allows for public programs on and under. In order to allow light to flow through this elevated ground, we carved voids along the street grid, and devised a series of folds that act as major ramps and house open-air programs, such as theaters, markets and cafes. These folds and voids produce a series of sectional conditions. These conditions generate potential interactions, programs and experiences that can be explored throughout the site. The West Side Rail Yards then become a 3-dimensional field condition that mediates between the tower and the ground.
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Working Models 44
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Hudson Rail Yards
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Plan 46
Catalog of Sectional Conditions
Hudson Rail Yards
Short Section
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Collages
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Hudson Rail Yards
Night Plan Perspective
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Street View Collage
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Post Cubicle-ism
Tower VI Post Cubicle-ism In Collaboration with Sarah Quinn In order to adress the changing Dichotomy of Work and Play, our tower is comprised of 3 commercial offices programs that we feel are representative of the past, present, and future of “cubicleism� in New York City. Cubicle-ism is our invented name for a discourse surrounding workspace politics. As the city moves towards creative industries, a new typology of office space is needed. We chose an accounting firm, a start-up tech company, and a fashion design headquarters, supported by a hotel and retail component. By incorporating these three extremely different office styles into one tower, we aim to exploit their differences and similarities in order to raise questions about the progression of commercial workspaces. Each of these programmatic components have their own interior circulation systems. The individual programs have their own distinct volumes that shift in order to accommodate these different systems of interior circulation. This helps to separate the programs into clear zones. These formal shifts also create gaps in which mixing spaces can occur. While the office spaces are more closed off from the public, the lobby spaces in between them serve as areas for everyone in the tower to converge. They incorporate programs such as performance and play spaces. In Collaboration with Sarah Quinn
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Program and skin Diagrams
Model, Acrylic, Fishing wire, 3D printed elements
Post Cubicle-ism
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Post Cubicle-ism
Night Renderings
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Collage with The Annunciation by Fra Angelico
Hortus Architecturalis
Florence VII Hortus Architecturalis An Architecture School in Florence, Italy In Collaboration with Melissa Melone The Tuscan gardens of Villa Rossa, the Home of Syracuse University in Florence, are a space of Otsium, or the latin term for the act of leisurely pursuing academic and artistic endeavors, usually in the serene setting of a villa and garden. The garden is a critical aspect of the schools culture and its picturesque setting is fundamental to the schools brand. Italian classes host Spazio conversazione in which the garden becomes a makeshift classroom, ballroom, restaurant, art gallery and concert hall. From the beginning we knew our project had to accommodate as well as expand this Otsium that could only happen in the context of a renaissance garden. Our project called Hortus Architecturalis is a series of working follies and landscaped rooms which accommodate a school fir architecture seemingly without architecture.
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Early Design Proccess
Hortus Architecturalis
Section, Plan, Elevation
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Design facilitated through collage and research of the garden in Florentine history, and the gothic perspectives of Giotto, and Fra Angelico
Hortus Architecturalis
Project represented through early rennaisance narrative perspectives
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View of the Wall Which seperates the banal industrial Italy from the tourists’ Italy
Feeding Firenze
Model, Foam, Cardboard, Printed Paper
Feeding F[i]renzy In Collaboration with Nashwah Ahmed and Melissa Melone We examine the dichotomy of two real Italies that exist in juxtaposition and then separate them. These two Italies must work together in order to support an infrastructure of mass tourism. A vast invisible wall made possible by advances in augmented reality prevents even the weather from betraying the brand. Of course It’s always sunny in all the pictures I’ve seen of Tuscany. Visitors are never disappointed yet never surprised. The ancient italian culture is thus reduced to a hyper consumerist brand, a theme park.The land outside the wall is an industrial wasteland, a product of the success of florence, eataly and all things made in italy.
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Plan of Installation
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Mies Van Der Rope
Model, hand embroidered Acrylic, rope, Faux Onyx
Mies Van Der ~ Rope Mies Van Der Rope is culmination of studies of both the materiality and form of Van Der Rohe’s Barcelona Pavilion and Brick House. the result, a rope embroidered plexiglass, faux onyx, and mirror 7”x 11”physical model, explores Miesian grids and Miesian walls with Miesian materiality and the addition of permeable rope walls 65
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Manhattan Clam Chowder THE SKYLINES OF OUR URBAN IMAGINARIES- from Project prompt In collaboration with Dora Lo, Akhil Arun, and Erick Sanchez
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Manhattan Clam Chowder
Story Downtown Manhattan is flooded. I could almost remember the gleaming skyscrapers and the hustle & bustle of the city. But all is gone. What was once a nerve center of finance and business, now becomes home to a community of subsistent oyster shuckers and fisherman/fisherwoman, in which people trade clamshells for gasoline. An economy that demands access to the water. yet each time the tide comes in, people are forced to climb higher into the towers previously inhabited by their ancestors. The rich and powerful moved away from their flooded towers to higher, drier ground. Meanwhile, we survive on barnacles and shellfish, latching onto the skeleton of the former city and digesting the filth of past extravagance. (scream) Beware of the rising tide! Climb higher. Yeah, you don’t want to be washed away into the opaque water. Now you smell it. The mixed pungent smell of pickled fish and fresh laundry, someone cooking manhattan clam chowder, are those real tomatoes? Nets are strung about wall street, their salty tentacles swaying in the air as if to greet the incoming fishing boats. The creaking noise of the huts fighting against the incoming tides and struggling to cling onto the skeleton of the city like barnacles on the boardwalk. Artefacts of the old city serve as constant reminders of a greater civilization. Such memories are being washed away everyday by the sound of the angry sea.
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“Pink City” Acrylic on Canvas
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Digital Photo - Sagrada Familia, Barcelona
“Obsidian Stone” Acrylic on Canvas
Paintings and Photography
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Thesis
Form = Famous A Critical Reconstruction of Influencer Space The recent spectacles of news and “fake news,” has made clear that the control and subversion media has measurable bearings on reality. In the same light, humans are tending to prefer to reside within a tailored representation of reality that exists within the media they share on social media. Hence Based on the construction of a digital unreality through the appropriation and reconfiguration of the McMansion, by influencers, this thesis proposes a new housing type that addresses the changing dichotomy of public and private in a post Kardashian cultural landscape. The Influencer McMansion is ultimately a consumer construction. It is a rare piece of architecture that can be evaluated objectively, as each part of the house aids in the construction of a false lifestyle narrative. Even the construction of such houses have served to establish a narrative surrounding their presentation on reality television, in which plans and finishes are carefully presented to an audience. Thus the home has become a Non-Home, as domestic functions have been flayed open for followings. In an ecosystem of radical individualism four disparate influencers have been chosen for their cultural “clout” and are dismantled through a critical reconstruction of their public lifestyles. These influencers are treated as case studies in which one might glean the tactics which allow them to construct a persona, and the ways architecture allows for the commodification of themselves.
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