Workbook 2017

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Princeton University School of Architecture

Workbook 2017

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About the Work—Academic Year 2016–2017 The design and research included within this book reflect our pedagogical values: we believe in the importance of providing an interdisciplinary architectural education that balances design, technology, history and theory. The School intertwines these disciplines seamlessly, allowing faculty and students to fluidly work across them.

We generate work which embodies ideas that have legs and thus can travel, so this workbook was designed to be taken apart and disseminated.

Postcards, posters, and booklets are all up for the taking. We invite you to tear out your favorites and pin them to the walls in your workplaces, send them to friends, or take them along for a good read.

This workbook reflects our emphasis on design grounded in interdisciplinary collaboration. The small size of the School encourages close interaction and collaboration between students and faculty. Leaders in the field comprise our core faculty. All our design professors maintain thriving architectural practices while our history/theory faculty intensely disseminate their scholarship through publications and exhibitions, and our technology faculty are at the cutting edge of research. As a result, our undergraduates receive a well-rounded liberal arts education and a strong basis for additional studies in architecture while our graduate students gain a comprehensive understanding of the field, preparing them for a career in practice and/or academia.

—Mónica Ponce de León, Dean

Workbook 2017

2 Graduate Studios 3 9 19 27 37 47 55 63 73

ARC 501—Stan Allen ARC 502—Mónica Ponce de León ARC 503—Paul Lewis ARC 504—Jesse Reiser ARC 505a—Alejandro Zaera-Polo ARC 505b—Axel Kilian ARC 505c—Frank Barkow and Regine Leibinger ARC 506a—Guy Nordenson ARC 506b—Sandy Attia and Matteo Scagnol

83 Professional Program Thesis Projects 95 Post-Professional Program Thesis Projects 105 Undergraduate Studios 07 1 117 127 135 141

ARC 204—Paul Lewis ARC 350a—Jesse Reiser ARC 350b—Gia Wolff ARC 351— Hayley Eber ARC 404—Annie Barrett

149 Undergraduate Thesis Projects 171 Ph.D. Program 179 Ph.D. Collaborative Research Projects 189 Ph.D. Dissertation Abstracts

2017

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Graduate Studios

Master’s Program

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ARC 501 Architecture Design Studio Professor Stanley T. Allen with Assistant Instructor Phillip Denny

Elements of Composition: Cut-out/Turn over

Architectural design is often taught as a selective simulation of professional practice—selective in as much as real world criteria (budgets, codes, etc.) are often ignored; simulated in that it operates on a fictional, and often idealized basis.

Our strategy is different. In this studio, we will introduce a controlled series of design experiments, each one related to a specific compositional technique. Our emphasis will be on design methodology as a project, leading to concrete, verifiable proposals. Precise constraints are an opportunity for creativity and invention. The pace will be varied, with short exercises and 2017

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longer projects. Working media will include models, drawings, diagrams and computer modeling, with an emphasis on the instrumentality of specific representational techniques.

Design work is always a conversation with the history of the discipline; not so much in the sense of a critical reading as in the idea that the design innovation advances on the basis of questions precisely defined, known solutions recognized and alternative propositions put forward and tested. The design work this semester will be structured around a series of historical models to be analyzed, taken apart and re-worked for the present.

Throughout the studio we will be rigorously oriented toward constructability and translatability, that is to say, we will work to keep close to the projective capacity of architecture’s representational devices. Drawings, models and diagrams are not an end in themselves, but rather transitive instruments that establish and fix spatial relationships. Representation operates in the intervals between things, and this in turn is what allows architecture, as a material practice, to transform reality.

Master’s Program

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David Austen Kernodle ARC 501—Fall 2016 Elements of Composition: Cut-out/Turn over

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You Wu ARC 501—Fall 2016 Elements of Composition: Cut-out/Turn over

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ENTRANCE

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SCULPTURE GARDEN

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MAIN CIRCULATION

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PERMANENT COLLECTION

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VIDEO ART

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LEARNING CENTER

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ARC 502 Architecture Design Studio Professor Mรณnica Ponce de Leรณn with Assistant Instructor Tyler Suomala

Architecture as Alternative Idea of the City

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This studio will examine the relationship between architecture and the city through a single building project. As a preamble to the studio, we will study specific historical case studies where the architect’s project has been to speculate about the city at large. Rather than respond to context, each student proposal will be expected to imagine and project new ideas of the city.

The semester has been structured as a series of cumulative exercises that will lead to a building project in the city of Trenton, New Jersey. Our building program will be a K-12 public school in a low-density neighborhood. Often considered a microcosm of the city, schools are an assemblage of different room types whose size and scale is carefully choreographed. With a population of more than 1,000 students, the school will be of enough magnitude to project new ideas for the city at large.

During the design process you will be asked to simultaneously address the design of the spatial unit (room) and the fabric which it is part of (site). We will explore specific compositional techniques, aimed at developing formal dexterity.

Master’s Program

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Devin Dobrowolski ARC 502—Spring 2017 Architecture as Alternative Idea of the City

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Sheila Lin ARC 502—Spring 2017 Architecture as Alternative Idea of the City

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Kacper Lastowiecki ARC 502—Spring 2017 Architecture as Alternative Idea of the City

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Juliet Wolf ARC 502—Spring 2017 Architecture as Alternative Idea of the City

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ARC 503 Integrated Building Studio Associate Professor Paul Lewis with Visiting Lecturer Nat Oppenheimer and Assistant Professor Forrest Meggers and Assistant Instructor José Aragüez

Entry / Museum / Statue of Liberty

The Statue of Liberty will be both the site, subject and catalyst for the studio. The studio will embrace the logical production of the illogical, or how seemingly absurd propositions can be legitimized through close attention to material assembly, and structural/thermal performance.

Bartholdi and Eiffel’s innovative mating of figure and structure, combined with Hunt’s massive pedestal, and placed within the preexisting military Fort Wood, produces a type of exquisite corpse, raising intriguing questions about structure vs. skin, volume vs. form, object to icon, solid vs. void, landscape and figure, contingent vs. predetermined, as well as basic questions about where to locate a front door.

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Although the statue draws more attention, the base of the statue is a critical component, establishing structural mass, monumentality, scale, orientation along with housing the more mundane issues of access, promenades, bathrooms, exhibitions, offices, etc. The exterior copper skin and figure of the statue has remained relatively unchanged since 1886, yet its pedestal and, more importantly, the ground around the pedestal has been frequently altered. The space between the statue’s original concrete foundation (once the largest concrete pour in the world) and the outer 1807 11-pointed star of Fort Wood now houses a museum with two outer promenades added in the 1960s; and the landscape design of Bedloe/Liberty Island changes about every 30–40 years. Flooding from Sandy covered 75% of the island, destroying a handful of residential structures, and a new gift shop was added recently near the ferry.

Closed following 9/11, the Statue of Liberty was reopening in 2004 with a new temporary appendage at the back. A banal fabric tent, containing lockers and airport style screening is the entry into the base of the statue, where inside a cramped museum displays artifacts about the statue. That temporary tent has been there for fifteen years.

Master’s Program

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In the past four years alone, the insides of the pedestal have been gutted for new vertical circulation; the Fort excavated for an exit sequence; and new volumes added to the statue’s base.

Although visited by over four million people annually, only 20% gain access to the pedestal and 2% the crown. The studio will use the recent proposal to build a new Statue of Liberty museum as a point of departure for the program.

The extraction of the museum from the security line is intended to allow more visitors. But, rather than locate the museum away from the base as is currently proposed, the studio will explore how the museum program can be inventively configured in/under/around the base of the Statue: a base that has constantly evolved over the past 130 years. The entry to the Statue has shifted in conjunction with these changes. A challenge for the studio will be designing how one enters (and exits) the statue. How are the long queues of people calibrated with the museum program, with intriguing and complex thresholds, being reconfigured (security, thermal, structural)? How might new material assemblies engage the paradoxes embodied in the statue, and address the irony that currently a temporary fabric tent provides security to what was once a military fort?

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The project will engage sustainable site design as catalyst for form, with a specific emphasis on the performance of the skin and the mass of the building, configuration with regards to solar heat gain/ shade, rainwater collection, and the coordination of the waiting lines and points of entry. Particular attention will be placed on how the new structure and existing base manipulates thermal forces and engages the programs across the site. Despite all its wonders, the interior of the Statue has long been criticized by visitors for being too hot or too cold. Key to this studio will be the specificity of the material assemblies—organization, hierarchy, details, joints, performance, which engage or enable more abstract concerns. Students will be expected to develop their projects to a high degree of specificity and detail synthetic with conceptual proposition. As an added constraint, although the skin of the Statue of Liberty is 3/32" thick, the students will have to think in terms of more complex doubling of skins (not a double wall), by devising an exterior shell (or embedding the project within the mass of Fort Wood), which will provide passive heating/cooling and will develop specific enclosures for the museum within that shell. In other words, the shell will provide a quasi-temperate space for the queues of people, inside of which will be more fully conditioned spaces.

Master’s Program

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Kevin Pazik, Tyler Kvochick ARC 503—Fall 2016 Entry / Museum / Statue of Liberty

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Tyler Suomala, Shujie Chen ARC 503—Fall 2016 Entry / Museum / Statue of Liberty

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ARC 504 Integrated Building Studio Professor Jesse Reiser with Assistant Instructor Benjamin Vanmuysen

TOKYO OLYMPIC PARK: A retroactive landscape, looking back on the 2020 Olympics and generating a new type of urban campus The Olympic hangover was a common fixture of 20th century urban history. It confronted new infrastructures, large-scale athletic venues, and public facilities suddenly drained of their economic and cultural value. With the development never going quite according to plan, it inevitably spawned periods of civic introspection and reevaluation. Reflecting on the Olympic Village as a new civic territory, on the future use of the Stadium, on scaling down transportation systems, or on kicking the tourism habit, these moments crystallized the cities’ urban futures.

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They paralleled existing patterns of growth, and revealed their infrastructural consequences. Sprawl in Mexico City, urban satellites in Atlanta, and internal development in Barcelona were accelerated and made apparent during the Olympics, only being reconsidered and evaluated after the fact.

Over the last few Olympics, however, the question of the aftermath has assumed a central role in planning efforts. A notion of sustainable frameworks for urban regeneration has formed the basis of bids since Sydney’s, though the proposals have widely diverged in practice. Tokyo’s plan for the 2020 Olympics follows suit, calling to retrofit existing venues and integrate new construction with plans for the city at large.

The bid aims to scale down the urban and economic footprint of the Games, describing strategies that suggest an overall compactness and adaptability.

But despite the initial civic-minded rhetoric, a ballooning budget and controversy over the construction of new venues, most notably the National Stadium, have diverted the discussion away from urban considerations. As a result, the central organization of major event venues has been diffused into the periphery, and various other construction projects have been put on hold.

Master’s Program

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Spurred into action by the troubled stadium, the design community has responded with its own critique of the city’s bid and management of preparations. A symposium decried the original scale of the stadium plan and found its redesign an unsatisfactory compromise. Supporters of a further reduction in its size suggested moving the ceremonial and public functions to a separate location, and subsequently rethinking the event distribution of the Games. The disputes surrounding the stadium, in this sense, have had wide-ranging effects on the entire Olympics, and its site has become representative of the compromised urban plan.

Within the large-scale context of indecision and uncertainty, the studio interrogates small-scale, immediate formal implications of the Olympic plan’s critique. The goals of dramatic reductions in capacity, dense organization of venues, cultivation of new public identities, and considerations of future adaptation form an architectural agenda to be readily applied rather than sifted through the matrices of urban planning. Tracing this to a possible resolution, the project jettisons the notion of a monumental structure on the National Stadium site and instead consolidates the numerous planned venues onto its territory.

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The studio sets up a retroactive scenario, designing an Olympic Park with respect to its postOlympic inhabitation, the afterlife of a short-term event with far-reaching consequences for the city. Forming a compelling notion of what the future Park could be, the project will investigate the potentials latent in the adaptation of Olympic programming, confronting the challenge of facilitating a transition from present to future uses in strict architectural terms. This transformation entails diverse issues of formal legibility, fitness, accommodation, and affordance in conjunction with concerns of materiality, ecological change, and infrastructural systems. Seizing the historical capacity of Olympic planning to reveal preexisting tendencies as well as the more recent bids’ efforts to enact deliberate urban agendas, the project suggests that the built form of the Park can prefigure future patterns of development. Overall, it hopes to exploit the concentration of difference inherent to an overprogrammed site, extending its various possibilities into a definite proposal. It remains invested in the initial Olympic role, but asks what this infrastructure can mean to the city, to the local inhabitants, and for the site after its symbolic appeal has worn off.

Master’s Program

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Isidoro Michan Guindi ARC 504—Spring 2017 Tokyo Olympic Park

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Samuel Clovis ARC 504—Spring 2017 Tokyo Olympic Park

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Juan Salazar ARC 504—Spring 2017 Tokyo Olympic Park

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ARC 505a Graduate Vertical Studio Professor Alejandro Zaera-Polo with Assistant Instructor Jessica Colangelo

The Posthuman City: Imminent Urban Commons

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As the most populated human environment, cities are a central concern of what some call the Anthropocene. In 1933, Le Corbusier issued The Athens Charter, a document aimed at orchestrating urban technologies into a coherent proposal for the future of cities. A classification of human activities became the vertebral spine of this proposal, structured around four urban functions: work, residence, leisure and transport. This functional classification has structured urban planning policies ever since, but its human-centered approach appears now to be unable to address the problems of a posthuman civilization. Cities remain primarily designed around human functions, despite the fact that the crucial questions they need to address today—air pollution, raising water levels, draught, heat island effect, deforestation, biodiversity, food security, automatized work, inequality—are primarily driven by non-human concerns and remain largely outside conventional planning disciplines. The purpose of the studio is to explore the possibility to incorporate these concerns into the design of cities and buildings.

Master’s Program

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For cities to become devices for the common good rather than instruments producing power structures—and therefore inequality or ecological destruction—imminent urban technologies need to locate resources and technologies at their core. We now inhabit urban ecosystems which transcend our specific urban realms.

The primeval elements—air, water, energy and earth—have been politicized, and therefore, urbanized. In the new cosmopolitical regime these natural elements are mediated by the technologies that feed us, transport us, condition our environments, recycle our refuse, produce our clothes or connect us to each other. An entirely new set of urban technologies have emerged and radically transformed urban protocols and experiences: smartphones, GPS, electromobility, biotechnology, for example, while still remaining largely outside the practices of urban planners and designers, which remain trapped in the humanistic precepts of modern urbanism. Natural resources and technologies are the crucial components of the imminent urban commons which we aim to address in the studio.

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Rather than splitting urban life into functions easily captured by power, these imminent urban commons need to become instruments of devolution and ecological awareness, constructed transversally across technologies and resources. The pressing nature of ecological concerns and the scale of technological developments call for the imminent city to repoliticise both nature and technology and construct new urban cosmologies able to develop new urban and architectural sensibilities.

Master’s Program

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1945 Ying Qi Chen ARC 505a—Fall 2016 The Posthuman City: Imminent Urban Commons

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Samuel Clovis ARC 505a—Fall 2016 The Posthuman City: Imminent Urban Commons

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Jedy Lau ARC 505a—Fall 2016 The Posthuman City: Imminent Urban Commons

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ARC 505b Graduate Vertical Studio Assistant Professor Axel Kilian with Assistant Instructor Ji Shi

Architectural Robotics— Embodied Computation

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In its second installment the Architectural Robotics studio will further expand upon the question of autonomy in architecture and the potential of reinventing robotics as an architectural concept beyond the anthropomorphic. At a time when an increasing number of everyday objects are developed towards autonomous operation, a purely anti-technology stance of architecture in resorting to a primordial materialism seems to be a lost opportunity.

Architecture is increasingly populated by minimally integrated devices with increasing control over everything from light to temperature to sound. The handheld screen is drowning out space. Control is taken over by technological integrators surfacing as Alexa, Siri or Google Now. Is there another interface to architecture, one that is integral to its material spatial bond?

Architecture is bigger than the interactive object, but treating it as a pure non-computational construct falls short of its potential. In the studio we seek an autonomy of the built form that integrates the sensing and actuation potentials rather than resists them through passivity only to be supplanted.

Master’s Program

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Can a building have an agenda, can it act and think, what are the scales of the social collectives if leveraged through architectural presence? The studio is not about a science fiction scenario, but will be strongly routed in prototyping and hands on experimentation for informed speculation. We will be engaging design focused on the concept of embodied computation, in developing designs as a continuously evolving construct, linking programming and physical artifact: architecture as programmed material construct.

Embodied computation stands for the expansion of the notion of computation as an abstract, predominantly digital process into a hybrid physical-digital construct that extends the concept of material computation into the realm of embodiment. Embodiment refers to the holistic understanding of a material construct in its form, sensing and actuation state, and its relationship to its environment. Design is not to be understood as an isolated process in sequence with fabrication and inhabitation but rather treated as one continuous process, linking the design process with the use of the structure. Computation needs to reach into the 2017

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stage of lived in architecture rather than be contained just to the process of creation. There is a conceptual link to cybernetics but Embodied Computation applies these concepts to the scale of architecture and expands the concept to interactions of humans with buildings.

The studio will engage with the core questions of the shift from the automatic to the autonomous at building scale, investigating the host precedent of building automation from elevators to escalators to doors and their changed potential as they transition into autonomous and possible coordinated operation. The second theme is the shift from mechanical complexity towards algorithmic complexity, enabling new behavioral and programmatic possibilities combined with social dynamics to push architecture further from its mostly formal driven previous technology obsession.

Master’s Program

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Yujun Mao ARC 505b—Fall 2016 Architectural Robotics— Embodied Computation

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Kyle Schumann ARC 505b—Fall 2016 Architectural Robotics— Embodied Computation

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ARC 505c Graduate Vertical Studio Visiting Lecturers Frank Barkow and Regine Leibinger with Assistant Instructor Mercedes Peralta

Wohnkomplex / Living Complex Berlin: The New Communal, The Point Tower Project

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Berlin, a growing metropolis, needs housing after much commercial and cultural expansion.

The need for affordable housing and as legislated is rising in Berlin where a yearly demand has increased to 10,000 units sharpened by the arrival of over 1.1 million refugees in the last year. The post-reunification milieu where cheap rents, radically changing demographics, and a burgeoning art and music scene is now in transition. The opportunity lies in creating density in a diffuse multi-centered/layered city. What new sustainable typologies can give form to a new residential urban landscape?

The city of Berlin has decided to build thousands of new dwellings in response to an obvious lack of affordable housing. But what should these dwellings look like? What are the tools to make this happen? For whom are they built? How can they challenge the ongoing zombification (the blatant urban re-imaging) of the city? How can post-nuclear-family mass housing become a domain for experimentation and investigation?

How do you react to both the freedom of choice this city-state embraces and pragmatism?

Master’s Program

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Artist Studio Unit 1:100

Emma Benintende ARC 505c—Fall 2016 Wohnkomplex / Living Complex

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Laura Salazar ARC 505c—Fall 2016 Wohnkomplex / Living Complex

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Juan Salazar ARC 505c—Fall 2016 Wohnkomplex / Living Complex

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ARC 506a Graduate Vertical Studio Professor Guy Nordenson with Assistant Instructors Gina Morrow and Emma Benintende

WILDWAYS: The Architecture of Ecology and Adaptation in the New Jersey and New York Highlands

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Architecture plays an important role in shaping our perception of nature, acting simultaneously as shelter and framing device. This studio will explore the capacity of architecture to navigate complex relationships between land preservation, infrastructure, ecological monitoring, remediation, and adaptation. Understanding these relationships has become increasingly critical as we enter the Anthropocene—an era in which humans, embedded in the biosphere, have an active role in altering the Earth’s natural cycles.

The studio takes the Stockholm Resilience Centre’s (SRC) current research on the Anthropocene and complex adaptive systems as a call to action, adopting the position that new forms of thinking and design are necessary to establish equilibrium across social-ecological systems. Using the ideological framework of the SRC, students will investigate European models for managed outdoor recreation and tourism, greenways established for the movement and preservation of wildlife, and transportation networks designed to connect urban centers to the rural outdoors.

Master’s Program

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During our Spring Break trip to Stockholm, we will examine the Swedish notion of Allemansrätten, the freedom to roam open lands regardless of ownership, in contrast with attitudes toward public parkland and land stewardship in the United States. The studio will also look to the concept of the Swedish “naturum,” or visitor center as nature reserve, as a foil to the visitor centers of the American National Park Service, and will study the role of architecture in reconciling ecological, social, and infrastructural elements of a site.

The final project will be sited in the New Jersey/ New York Highlands, a geographic region with a unique geomorphology along the southeastern slopes of the Appalachian Mountains, stretching through the states of Pennsylvania, New Jersey, New York, and Connecticut. Located just a few hours from New York City, the Highlands have long been a favored vacation destination for urban populations along the East Coast. The sweeping terrain, abundant hiking trails, water resources, and fishing opportunities make the region a beloved recreational area.

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In this studio, we will re-imagine the Highlands as a corridor that would provide both the “freedom to roam” and access to the nearby metropolitan centers, all in the context of climate change and complex socio-ecological systems.

For the final project, each student will design a “gateway” to the Highlands—a building at a stop along the regional rail systems in New York and New Jersey that negotiates the threshold between the urban and suburban edge and the wild outdoors.

Master’s Program

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To Powelton Club Clubhouse Downing Park Cemetery Tyrone Crabb Memorial Park Cemetery Clinton Square Vacant Lot (Urban Renewal Mishap) Delano - Hitch Park St. George’s Cemetery Washington’s Headquarters State Park Little Falls Park Calvary Cemetery Woodlawn Cemetery Mt. Gulian Historic Site Fishkill Correctional Facility Southern Dutchess Country Club Beacon Memorial Park Pete and Toshi Seeger Riverfront Park Scenic Hudson’s Long Dock Park South Avenue Park South Avenue School Children’s Playground / Park Madam Brett Homestead St. Luke’s Cemetery St. Joachim’s Cemetery Denning’s Point State Park Hudson Highlands State Park

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Jacob Comerci ARC 506a—Spring 2017 Wildways

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Michaela Friedberg ARC 506a—Spring 2017 Wildways

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Sharon Xu ARC 506a—Spring 2017 Wildways

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ARC 506b Graduate Vertical Studio Visiting Lecturers Sandy Attia and Matteo Scagnol with Assistant Instructor Phillip Denny

ÖTZI The Ice Man— An architecture for humankind

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In September of 1991, two German hikers trekking the Alps along the Austrian-Italian border found what would be the oldest, best, naturally preserved mummy in history. The finding has opened up new avenues of research and discovery into the history of humankind and has brought to light the liminal borders between countries that shift and move not only as political lines change, but also as dramatic climatic changes occur. The melting glacier of Similaun unlocked Ötzi from the ice 5,000 years after his untimely demise—well-equipped, partially clothed, and covered in 61 tattoos—and in so doing, millennia were collapsed into one incredible, happenstance moment.

The studio searches for a vocabulary that can resonate with the broad and far-reaching study of humankind. Indeed, architecture as an expression of the human story, or architecture as an expression of one of the many stories of humankind is the subject of the studio as recounted by the discovery of ÖTZI The Ice Man. The mummy is a Homo sapiens time machine, able to transport us back to our predecessors between the Neolithic and Bronze Ages at such a close range that we are even able to Master’s Program

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know what his last meal was, and what ailments he endured.

The students will have two sites to address in tandem; the first site (1) is at an altitude of 3,213m above sea level, on the glacier where the mummy was found. The second site is located in the city of Bolzano (2) on the border between the medieval city-center and the Fascist era development of the city across the river Talvera, where a new environment is to be designed to house Ötzi. The general public, researchers, history enthusiasts and the some 250,000 tourists who come to visit him every year will have a new venue in which to view the mummy and learn about his life and what his discovery has to offer us today. With these two sites of intervention, the call of the studio is to house both Ötzi’s presence and his absence. Indeed, the high-altitude site of the project marks his place of discovery, but also commemorates his absence, his memory. The Bolzano site on the other hand, frames his apparition, or his presence within the timeline of our own history for all to see and study.

While the studio strives to uncover the ways in which architecture can frame the extraordinary 2017

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discovery of Ötzi, each aspect of the finding— be it the mummy itself, Ötzi’s ailments, his garments or his tools—beholds a different avenue of inquiry that drives at our quest for understanding what binds us together and who we are today. Significantly, Ötzi emerged from the ground at the end of an unseasonably hot summer—his apparition is inextricably bound to the throes of global warming and climate change. The corporeal and tangible facts of the Iceman discovery belong not only to our human heritage, but also belong to the narrative of the unprecedented shifts in the systems of the Earth. The studio seeks out architectural scenarios that are able to hold together and capture both the minutiae of the archeological findings and the vastness of the questions that such a discovery opens up in a complementary approach to the two separate sites and programs of the project.

Master’s Program

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Akira Ishikura ARC 506b—Spring 2017 ÖTZI The Ice Man

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Kyle Schumann ARC 506b—Spring 2017 ÖTZI The Ice Man

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Uci qua ut v ur s iore iqua nisi itae com et ei dolu dipi et q

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Gillian Shaffer ARC 506b—Spring 2017 ÖTZI The Ice Man

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The Professional Program Thesis

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Each semester, thesis students are challenged to make an architectural response to a general thematic question. The theme is explored in workshops, stated as a written proposition and elaborated as a design proposal during the students’ final semester. Thesis topics are agreed upon by the faculty that serve as a hinge point between architecture and questions of politics, culture, technology or society. The thematic organization of the final semester’s independent design research creates a shared point of departure for students, faculty and visiting critics.

PROFESSIONAL PROGRAM THESIS PROJECTS Ryan Barney Augmented Acoustics

Andrew Percival The Wilds of Post-Urbanism

Emma Benintende Imagining the Mesopolis

Ryan Roark Past Perfect, Future Past: The Future of the Renwick Ruin at the Technion-Cornell Institute

Shujie Chen Amphibious City

Francois Sabourin (Advanced Standing) Renewed Occupancies

Tyler Kvochick Figments/Fragments

Laura Salazar Waiting Land

Jedy Lau (Advanced Standing) 50’ x 1000mi Lukas Lesina Debiasi (Advanced Standing) One Minute Architectures Myles McCaulay (Advanced Standing) New NYCHA Kevin Pazik Non-Standard by Default Master’s Program

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Benjamin Vanmuysen (Advanced Standing) Conflict of Aesthetics Weiwei Zhang Uber Bed: Your Sleeping Space Delivered

Emma Benintende

Advisors: Stan Allen and Sylvia Lavin

Imaging the Mesopolis The rural-urban divide, highlighted by recent media commentary renders invisible an important urban context—the mid-size city, or mesopolis, defined by this project as a city of 50-200,000 and density of 2,500-5,000 people/sq. mi. One in six Americans call the mesopolis home. Global trends in urbanization indicate that these cities are poised for growth over the next fifty years, due in part to displacement related to international conflict and climate change. In the past two decades, many mid-size American cities have become contested spaces as they grow and transform from demographically homogeneous industrial centers to ethnically, racially, and religiously diverse post-industrial service economies.

The mesopolis’ inability to project a cohesive image and its failure to image itself in a way that embraces layers of demographic and economic complexity is problematic. The branding and marketing campaigns through which these cities have sought to image themselves are one-dimensional caricatures. Yet, the user-generated images, posted to social media, through which people and organizations seek to brand their city, tell a different and more dynamic story.

Both the architecture and the activity of the city contribute to its image.

Using Reading, Pennsylvania as a case study, this project suggests that architecture has the capacity to act as a frame, composing this patchwork of activity into a single, cohesive and reproducible scene, and proposes a formal strategy for the design of new mesopolitan city halls that produce rich images in which disparate populations and programs are combined in single stills.

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MILE 122 - 123

MILE 122.8

MT. STERLING, ILLINOIS

MT. STERLING – INTERIOR

0

300ft / 500m

MILE 384 - 385 ROCKWELL CITY, IOWA

0

300ft / 100m

MILE 384.4

MILE 893

ROCKWELL CITY, IOWA

HALLIDAY, NORTH DAKOTA

Jedy Lau

Advisor: Michael Young

50' x 1000 miles As an idea, the modern university is open: a self-proclaimed site for diversity, free exchange, and real-world engagement. As a construct, it is hermetic. A kind of academic theme park remnant of a time when admission stipulated a select demographic, the campus’s hereditary introversion has largely survived two centuries of institutional progress. The shock that swept through high academia after Brexit and Trump—what few (of us) thought possible—only highlights the efficacy with which the campus still segregates and isolates. A geometry problem: so long as the campus expands concentrically, as traditional quad planning binds it to do, growth is zero-sum. Content increases at the expense of context.

This thesis imagines a new type of campus, modeled after the line. A university at the scale of infrastructure. Knowledge as a utility. Maximum reach by the most compact footprint. The title 50’ x 1000 miles describes the dimensions of the project’s test site: the eminent domain above the underground Dakota Access Pipeline. To the degree that the university’s egalitarian intentions are contradicted by its form, the pipeline is an egalitarian form corrupted by its usage. As a petroleum transfer crossing 4 states, the 1000-mile long infrastructure profits only those at the two ends, where petroleum is extracted and sold. Everywhere else, it offers toxic risk. Unlike the megastructures of the 60s, the combination of university and infrastructure is monumental, but not all-encompassing. Critical mass is established over the site’s length but constrained by its width. Because of these limitations, auxiliary functions typically found within the campus—food services, housing, healthcare—are reliant on the provisions of the university’s context. A humble giant: there is no hubris without autonomy.

By default, the site is transformed into a superhighway. Where its trajectory coincides with population centers, architecture happens. At each manifestation, scale, programs, and design vary according to context. Unlike the traditional campus, where academic programs are arranged in the abstract, research takes place in close proximity to the sites of their application: Engineering in the manufacturing hubs of Illinois; Agricultural experimentations on the fertile soils of Iowa; Energy research in the Dakotas. Crucially, that programs follow industries allow the university to extend its range of offerings, job training and advance research take place side by side, bringing together two mutually-reliant but separate groups.

The reliance of the university on its local contexts reciprocates in sensitive provisions of what they lack. A small city without sports and performance arts spaces gains access to those in the university; Crossing a barren town, the building is sunken beneath a park; On the outskirts of a commune, an outpost for self-improvement.

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Kevin Pazik

Advisor: Paul Lewis

Nonstandard by Default Standardization and increased specialization have slowly begun to separate the means and methods of making from the process of architecture. The introduction of digital tools towards the latter half of the century have functioned to further this divide, removing any remaining traces of materiality and scale. Accordingly, architectural design exploration primarily resides in the creation and modification of digital objects, which is then translated into the physical world. This positions built architecture in a curious position of constant catch up, chasing the impossible ideal of its digital counterpart. However, the tools predominant in architectural design and fabrication today (CAD, CAM) may be appropriated, along with sensory feedback, towards the development of a new material & constraint based workflow. This thesis presents a prototypical workflow which combines computational methods and robotic fabrication techniques with the spontaneity of the human and the messiness and contingency of material. The workflow is tested through the design of 1:1 heuristic architectural fragments.

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b.

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f. e.

June 18th 2019 at 12:30 From OCCUPANCY <bot@occupancy.com> To Mark Aurelius <maurelius@aol.com>

Dear Mark, Many rooms are available in the occulus in the mid nave, you should go and see. It looks like this:

â&#x20AC;&#x201D; July 13th 2019 at 20:14 From OCCUPANCY <bot@occupancy.com> To Tania Pontis <tpontis@aol.com>

Dear Tania, You have damaged the equipment to the studio, but you have left enough goods to compensate for it. You are maintaining a rating of 4.2 stars.

Francois Sabourin

Advisor: Michael Meredith

Transient Occupancies The past decade has seen our intolerance for vacancy become particularly acute. This is most clearly seen in the proliferation of online platforms exploiting inefficiently occupied spaces through ever smaller time frames: renting a bedroom for an hour, using a bathroom for a minute. But as these modes of occupancy become more fluid, buildings are increasingly paralyzed under the pressures of historical preservation and sustainability, thus intensifying the slippage between architecture and its use.

Church naves and bank halls are examples of preservation-worthy spaces that now remain vacant most of the time in urban areas. These collective spaces rendered obsolete by social and technological changes leave pockets of absence in an otherwise dense urban fabric. This thesis uses these interiors as a site to test ways of mediating between the obduracy of the shell and the fluidity of its occupancy.

Taking the hall of the Williamsburg Savings Bank tower as a case study, this project imagines a way to re-occupy its space with short individual occupancies supported by a family of lightweight aedicule-like objects that stack onto one another. The different speeds of occupancies map onto the vertical dimension of the space with faster uses placed at the entrance and longer occupancies placed at the top. This vertical logic correlates with a planimetric one in which the formal composition of the fast-paced ground level, where occupancies are short-lived, is rigid while the arrangement of the slow upper levels, where occupancies are longer, is loose, establishing a direct relationship between the speed of use and the compositional fixity of the plan. The different scales of occupancy also direct modes of representation: drawings are arranged by units of time (minutes, hours, days, and months) in a larger matrix that stitches together different levels of pictorial abstraction with time schedules, choreographies, wormâ&#x20AC;&#x2122;s eye views, and collages.

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Island #5: Site Plan

Laura Salazar

Advisor: MĂłnica Ponce de LeĂłn

Waiting Land Waiting Land is a thesis project interested in reclaiming the post extraction landscape of coal piles and slag heaps in rust belt America by reconstituting the image of the ground through building.

The geomorphic activity of coal mining has left behind a unique constellation of wasteland sites which today exists in the backyards of communities. After decades in decline, populations adjacent to these abandoned territories are unable to reconcile this post extraction condition with a positive outlook towards change. The project aims to transfer meaning from those scars into a viable framework for nascent industries.

At an urban scale, underutilized railways formerly serving mining sites are an important residual network. Reclaimed as direct pathways between wasteland sites, the network could provide new opportunities for mobility and interconnectivity in a metropolitan region. If former slag heaps and coal piles were revitalized as sites for new industry, these islands of abandonment could become nodes of activity, dynamically integrated within the city through the arteries of old infrastructure.

The project develops one site, Island #5, as a campus for biotechnology research, manufacturing, and IT. In the context of Wilkes Barre, Pennsylvania, biotechnology is a realistic response to demands for new industry. From a discursive perspective, it is also an opportune irony to introduce the architecture of air into a landscape tied to a history of pollution. Particulate control for clean room manufacturing and laboratories demand building systems at their most extreme. As the section becomes complicit with the sheer volume of air, its profile emerges as the site for new meaning.

The history of the post-extraction ground plane is expressed in a formal index of geometries resulting from the mechanical deposit and dis­ placement of slag. Architecture responds as a set of typologies that amplify the figures of the ground as significant landforms. A tower and plinth nestles amongst piles, and refracts their seriality. A line glides through and around heaps, magnifying or compressing their dimension.

A mat extends over a racked plateau, articulated at the edges. Each volume is enclosed by a reflective surface which augments the effect of its surroundings. The intervention is an act of preservation. Wasteland could shift away from a landscape of disgust into delight for the surreal.

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The Post-Professional Program Thesis

2017

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Workbook

The Post-Professional program culminates in a thesis in which design itself is considered a form of research. In lieu of a studio presentation, students exhibit their work at a gallery in New York City during their final semester. Utilizing Princeton’s unique interdisciplinary potential as a research university, students are free to seek advisors from within and outside the faculty of architecture. This tradition draws on architecture’s history that has, since the Renaissance, incorporated a vast spectrum of disciplines from the humanities, arts, and sciences.

POST-PROFESSIONAL PROGRAM THESIS PROJECTS Jessica Colangelo Manufacturing the Sublime at Niagara Falls Taylor Cornelson The Domesticated Void: A New Social Infrastructure for Hong Kong Phillip Denny Research / Exhibition: Information on Display

Jiyuan Li Regulating Cultural Capital through Social Computing Architecture Mercedes Peralta Landscape as a Living Machine Ji Shi Architectural Softness

Lixing “Ivy” Feng Moving Barn

Master’s Program

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GEOLOGY 1,000 Years 10,000 BC

9,000 BC

8,000 BC

7,000 BC

6,000 BC

5,000 BC

4,000 BC

3,000 BC

2,000 BC

1,000 BC

1 AD

1,000 AD

10,000 BC

Niagara River

Niagara Escarpment

400 BC

Devonian

Dolomite (Lime

Ordovician

Silurian

stone)

Silurian

600’

1905

1886

1842

1816

1764

1678

Rock Erosion

500’

Ottawa

1678

1764

Water Diverted for Hydropower 400’

1819

Green Bay Toronto

Niagara River

Horeshoe Falls Plunge Pool

Syracuse Milwaukee

Buffalo

Grand Rapids Detroit

1842 300’

1886 1905

Chicago N

Cleveland

Great Lakes Vicinity

Niagara Falls Erosion Section

Horseshoe Falls Erosion Plan

Jessica Colangelo

Advisors: Elizabeth Diller and Jesse Reiser

Manufacturing the Sublime at Niagara Falls Niagara Falls has become a cliché of itself: a water sculpture designed throughout the 20th century to increase hydro-power production under the veil of aesthetic improvements. The Falls are a controlled nature with a sculpted riverbed, regulated water flow, decelerated erosion, and stabilized cliffs. Its likeness is fixed in our cultural imagination through pop-consumerism in its inscription on coffee mugs, ashtrays, and snow globes.

While the spectacle at the Falls is undeniably awesome, the managed stasis of the river and state parks has adversely impacted the urban character on either side of the border. Niagara Falls, NY, has suffered from decades of depopulation and a stagnant economy, while its Canadian counterpart has endured through a Disneyfication of theme parks, casinos, and convention centers.

In 2020, New York State plans to turn off the American Falls for infrastructural improvements. Instead of building upgrades in-kind, we must use this opportunity to construct a new relationship between the natural and the built environment. As a means to move beyond the domesticated image of the Falls and to manufacture a 21st-century sublime, a dynamic daily water cycle will produce aesthetic novelty through environmental effects, embrace a new image of sustainability, and use the artificiality of the river as an integral part of urban renewal.

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Niagara Falls seperates into two waterfalls

Lake Erie

Lake Ontario

Columbus sails to America

Iroquois Confederacy forms

Agricultural Societies (Woodland Period)

Hunter-gatherer societies (Archaic Period)

Deciduous forest reclaims the land

End of the Ice Age fills Lake Ontario

Melted ice plunges over Niagara Escarpment

Grand Island

Action Office 2, Robert Propst/Herman Miller

“Functional Organizational Network”: diagram of how people relate to each other and to office services and circulation.

Visible Work Surfaces

Vertical Sketch Boards

Pin-up Walls

Transparent Partitions

“Arena”/Workstation

Informational wayfinding devices orient the viewer to the organization of the field.

Arrows direct viewers to the top-level concepts in the exhibition narrative.

Organizing Concept

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Background Data The spatial logics of the information wall organize information in accordance with curatorial emphasis: scale, prominence, and sequence modulate how each item is engaged by the visitor.

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(De-laminated) Timeline Information Wall A Computer Perspective, 1973

Phillip Denny

Advisors: Sylvia Lavin and Hayley Eber

Research/Exhibition Research / Exhibition presents an investigation of Herman Miller’s Action Office and the exhibition designs of Charles and Ray Eames to argue that feedback between research, as a form of work, and exhibition, as a form of design, was fundamental to the protocols of what is too generically referred to as the information age. By mobilizing unexpected connections between these two proto-digital artifacts, Research / Exhibition not only produces knowledge about the architecture of the 1960s, but also leverages this research to display contemporary notions of where and how designers operate.

When Robert Propst set out to transform the white-collar office, he began with a research protocol: observe, notate, quantify, represent. This process, based equally on the production of data and the use of representation to turn that data into information, led to Action Office, a system that aimed to transform every action and surface of the office environment into a data-rich cybernetic loop. For Propst, the key to turning the office into a space that produced rather than merely managed information was display; as he wrote, “Action Office 2 provides no place for paper to hide or die — all paper material is displayed. You can see it, it is all signaled or marked and it will feed back a strong purge signal when it becomes overabundant.” Propst’s Action Office mobilized display to produce an information environment that used design to turn noise into communication.

The Eameses’ “Information Wall” is a display strategy that grew out of a research device: the pinboard. Their office walls were lined with cork so that data gathered in preparation for exhibitions could be both tracked and quickly re-organized. This research methodology encouraged the accumulation of more and more data until the quantity began to exceed traditional means of topical organization and to suggest instead a visual system linking data to points in time and space. Their well known “history wall” not only turned this working method developed in support of exhibition into the exhibition itself, but its density of presented facts called on viewers to become researchers, “making connections between the great many things one sees,” as Charles Eames said. The “Information Wall” transformed the architectural surface into a saturated display screen that embedded the viewer within a signal-rich environment.

Research / Exhibition brings these two case studies into dialogue to underscore the historical significance of design in the information age but also to mark the still growing importance of the architect as a figure working between and within research and exhibition. These methodologies are essential parts of the contemporary architect’s toolkit and the research exhibition is an axiomatic site of their negotiation.

Research / Exhibition thus produces new vantages onto the historical significance of both methodologies while establishing a framework for contemporary experimentation.

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Lixing Ivy Feng Advisor: Paul Lewis

Moving Barn There is nothing more American than the sight of a big red barn. A barn was once the focal point of a thriving family farm by bringing together the productive landscape and livestock in its architectural scope.

Sitting in the context of small family farms being gradually taken over by the grandeur of industrial farming, the thesis proposes a shared-farming system, which would reach the productability of a large-scale industrial farm, yet with the nostalgic architectural visionary of a small family barn. To collage the two conflicting contexts together does not mean to create a practicality-oriented investment project, but rather to initiate a critique of contemporary farming systems, particularly the one in the United States.

Located in the vast midwest farmland on Jeffersonian grid, a Moving Barn consists of a half-mile-long “Barn” and a circle of 480-acre farmland.

Behaving like a clock, the hyper-linear barn spins around the land seasonally, carrying and guiding livestock to graze pasture, and machines to sow, irrigate, and harvest vegetables and crops.

A Moving Barn is equally divided into 24 independent farming families, each contains a barn attached to the spinning arm, and a ring of 20-acre farmland. With 20 acres of pasture, a family can raise 16 cows, 40 sheep, and some laying hens in their barn. One can also grow vegetables on the land, and build a mushroom greenhouse in the barn. As all barn units are connected through the spin mechanism, infrastructure system (water, electricity, waste treatment, tools, etc.) can be shared through a powered conveyor.

From the perspective of agricultural urbanism, broad rural landscape can be covered with Moving Barns, the leftover space between farm “circles” will be residential settlements, farming product processing plants, sales markets, and tourists destinations welcoming city visitors with its rural and “green” life.

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Undergraduate Studios

2017

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Workbook

The undergraduate program provides a foundation for graduate professional study in architecture, landscape architecture, urban planning, historic preservation, and related fields of study. The program prepares students for further study at the graduate level in design and the history and theory of art or architecture.

Undergraduate Program

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ARC 204 Undergraduate Design Studio Associate Professor Paul Lewis and Visiting Lecturer Annie Barrett with Assistant Instructors Ryan Roark, Ryan Barney, and Jedy Lau

Introduction to Architectural Design

2017

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This is an introductory studio course in architectural design, examining the origins and conventions of representation in architecture. Spatial relationships, and the qualities of space itself, will be examined using photography, two-dimensional projections of sectional planes (plan and section), computer models, and three-dimensional physical models. The studio is comprised of a series of sequential projects that develop both technical skills and conceptual thinking.

Abstract and inventive thinking will be developed through a series of projects that transform spatial relationships from three dimensions into two dimensions, and from two dimensions into three. Particular emphasis will be paid to how these abstract representations of physical space may be ordered in such a way to introduce notions of movement and time. Concepts of the scale of the body in relationship to space will be examined through the introduction of site and program. Attention to craft, in both the making of two-dimensional drawings and three-dimensional models, will be emphasized as way of developing precision and abstraction in both thinking and making.

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Rachel Coe-Scharff ARC 204â&#x20AC;&#x201D;Spring 2017 Introduction to Architectural Design

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Yolanda Jin ARC 204â&#x20AC;&#x201D;Spring 2017 Introduction to Architectural Design

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Yunzi Shi ARC 204â&#x20AC;&#x201D;Spring 2017 Introduction to Architectural Design

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Reuben Zeiset ARC 204â&#x20AC;&#x201D;Spring 2017 Introduction to Architectural Design

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ARC 350a Junior Design Studio A Professor Jesse Reiser with Assistant Instructor Benjamin Vanmuysen

Architecture 1:1

Throughout the history of modern architecture, furniture has served as the most concise representation of an architectâ&#x20AC;&#x2122;s design principles. While these principles could be applied to projects at any scale, the social, material, geometric, and aesthetic forces underlying an architectâ&#x20AC;&#x2122;s disciplinary project here find their most poignant resolution.

2017

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Given the relatively small scale of the endeavor, it is the intention of the studio that each architect will produce a piece of furniture at full scale. This does not imply an uncritical return to a craft ethos (though craft as a cognitive and technical procedure is very necessary) rather it suggests a form of â&#x20AC;&#x2DC;managementâ&#x20AC;&#x2122; that would marry techniques and materials derived in the computational environment with material practices. A virtuality is thus manifest in the partially manageable; the gap between our actions and their effects.

This course will focus on a number of specific design techniques in a highly regimented manner. The theme of this semester will be the relationship between geometry and matter in the development of a piece of furniture. We will explore the nature of these complex surfaces and the effects of a limited but continuous enclosed environment on human functions.

We will elaborate our skills in model-building, with particular emphasis placed on the value of accurate representation both by fostering craft and by exploring novel techniques of fashioning and representing precise geometries.

Representation and material logics will not be Undergraduate Program

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seen as separate in this studio, instead we will seek to unify the two by learning to exploit precise techniques to extract 2D drawings from 3D surfaces, to deploy varied typological arrangements, and to manipulate models systematically.

Unlike classical, modernist one-way hierarchies which move from the particular to the general or from the general to the particular as a simple, nested series, these structures communicate laterally. Here, another kind of continuum is possible, allowing for jumps across scales and the amplification of discrete effects. Assuming the middle scale corresponds to that of the body, the furniture will have to contend with a loose set of relations to conditions both below and above the scale.

For the past twenty years, the issue of the surface in architecture has received a sustained treatment within the discipline and has informed architecture from the scale of furniture through building scales all the way to the scale of regional planning. This semester we will explore a number of these models through the medium of furniture, specifically the design of a chaise longue. The surface and its relation to 2017

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classical considerations of structure and support as well as a/non-structural considerations such as redundancy, semiotics, and optical and physical behaviors will be explored. Mirroring trends in the discipline, the issue of surface might be transcended, leading to designs that deal with conceptions of mass as well. Given this tendency, rather than beginning with a single or smooth surface, you will be asked to work with surfaces comprised of a modulated field of components inherently deep. Implicit in this field are optical, geometrical, and material relationships that can be modulated depending upon your interests, leading to a wide range of material outcomes. Precedent study, both of furniture and buildings, will play a part in this work.

In contrast to the methods of the industrial designer, there is no difference between the design of a piece of furniture and a buildingâ&#x20AC;&#x201D; both will be informed by the same principles.

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Zak DeGiulio ARC 350aâ&#x20AC;&#x201D;Fall 2016 Architecture 1:1

still

engaged

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Katie Kennedy ARC 350aâ&#x20AC;&#x201D;Fall 2016 Architecture 1:1

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Matthew Maldonado ARC 350aâ&#x20AC;&#x201D;Fall 2016 Architecture 1:1

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ARC 350b Junior Design Studio B Visiting Lecturer Gia Wolff with Assistant Instructor Taylor Cornelson

Primal Retreat: Dwelling for two polemically opposite inhabitants

2017

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Workbook

The dwelling is a space that provides the most intrinsic and primal needs for living. It is the most rudimentary and fundamental construction of architecture that bears the absolute essential elements necessary for creating habitable space. While primitive in its structural foundation, the dwelling is also a social, political, and economic vessel that participates in the construction of our cultural context.

The dialogue between house and that which is being housed can never be disconnected from each other, nor from its environmental and contextual adjacencies. Both play a role in how we experience and describe space. What parameters define space? How many walls do we â&#x20AC;&#x153;needâ&#x20AC;? in order to create a room? What are the thresholds between inside and outside? James Turellâ&#x20AC;&#x2122;s, Meeting Room, at MoMA PS1, questions if the ceiling is delineated by four walls, or instead if the four walls extend to infinity eliminating the need for a ceiling at all. This piece exemplifies a set of spatial characters and physical characteristics intrinsic in how we perceive space.

Formal and fictional explorations, will create physical (real) and experiential (perceived) Undergraduate Program

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conditions that work to both tell a story, and allow for the story to deliver the information.

Through the development of a written and visual narrative, the dwelling becomes both stage and actor. This complex combination necessitates a level of visual and conceptual rationalization— rules, limitations, and criteria—by which one is only able to use for this particular scenario.

Because of the different personalities for each dweller, the logic for one project will likely not be the same for another. By the same token, if one were to swing the pendulum in completely the opposite direction and break a rule, aspects could be rewritten to allow something that was once irrational to be rational.

In this studio, each student will design a 1,200– 2,000 square foot dwelling for two people.

We’ll use direct observation of our own places of dwelling to consider ideas of primal need, as well as draw upon fictional writing techniques to help define and refine the characters of habitation and the spatial qualities unique to each. A series of exercises that begin at the body scale and gradually increase will provide the students with an ability to conceptualize and develop the dwelling at multiple scales— 2017

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from the detail of a material surface and its tectonic joinery, to the threshold between spaces and their visual and physical circulation systems, and finally larger ideas of interiority and exteriority.

Students will work between drawings and models to develop a variety of explorative visual representations. We will work between hand and computer modes of production to continue to develop and refine the student skillset and ability to swiftly move between each mode of working. Imperative in the studio is learning to operate with agility, but also how to question and test ideas through the various filters of our architectural language—digital models will be made into physical models—physical models will be explored as solids / voids, lines, and planes—models will be cut apart in drawings— and drawings will be rebuilt into new models.

Material production, using iterative, methodological, and speculative design approaches, will introduce the students to systems of making that gradually lead to questions of architecture as cultural production.

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SECTION E-E

E

SECTION D-D

E

SECTION C-C

SECTION B-B

SECTION A-A

Brendan Bowling ARC 350bâ&#x20AC;&#x201D;Fall 2016 Primal Retreat

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Kylee Pierce ARC 350bâ&#x20AC;&#x201D;Fall 2016 Primal Retreat

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ARC 351 Junior Design Studio Visiting Lecturer Hayley Eber with Assistant Instructor Franรงois Sabourin

The Pavilion as Manifesto The subject of politics in architecture has gained a new urgency in the last five years or so, and the rising tide of international political instability has inevitably drawn with it the built environment.

Salient within this condition is the question of whether architecture is doomed to remain a testimonial backdrop, or whether it may bear witness to a rebirth of social and political engagement as an assertion of its relevance. Our agency as architects was one of the founding credos of the avant-garde in the early 20th century. Yet today it is commonly believed that this potential to be political has been overwhelmed by economic realities and by the sense that architecture is inherently symbiotic with existing power structures.

As the profession progresses towards new global, economic and environmental challenges: 2017

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What does it mean for architecture to be political?

How can architecture be political through form?

Where is the space of politics? The rapidly changing nature of our current crises force us to be quicker, scrappier, and more provocative in our architectural ambitions. In this context the pavilion, architectureâ&#x20AC;&#x2122;s equivalent of the manifesto, emerges as a platform for impromptu, improvised, and concise formal responses to shifting political climates.

Throughout history, the pavilion has acted as a paradigm of provocative design. These experimental projects, often lightweight and temporary, are intrinsically linked to our current state of continuous crisis, both economically, environmentally and politically. Often without a program or the necessary regulations of a conventional building, the pavilion has yielded some of the most adventurous and influential works of modern architecture. It is precisely because pavilions do not need to subscribe to conventional architectural rules and regulationsâ&#x20AC;&#x201D;be weather tight, enduring or pragmaticâ&#x20AC;&#x201D;that they are able to become experimental investigations of the built environment and can respond more adequately to the current regime of political debate. Their scale, mobility and comparatively short lifespan allow them to exist as temporary, unfinished experiments.

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Matthew Maldonado ARC 351â&#x20AC;&#x201D;Spring 2017 The Pavilion as Manifesto

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Kylee Pierce ARC 351â&#x20AC;&#x201D;Spring 2017a The Pavilion as Manifesto

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ARC 404 Senior Studio Visiting Lecturer Annie Barrett with Assistant Instructor Myles McCaulay

The Archive of Instigation What is a public building in today’s city?

Historically, municipal ‘knowledge institutions’— museums, libraries, archives, etc.—empowered citizens by connecting individuals to information. Yet the digitization and vast online accessibility of these collections, and the shrinking popular value of ‘IRL’ engagement with books and other physical objects calls for a radical re-thinking of how we program and design our cultural resources and civic amenities.

The next generation of architects must imagine a new genealogy of public building types. What does it mean for previously distinct institutions to converge into new hybrids? How will these new spaces differentiate between the task of finding information and the experience of building knowledge, and will they re-insert this experience 2017

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back into the public sphere? How will the display and organization of information consider the epistemological value of browsingâ&#x20AC;&#x201D;coincidentally brushing up against unanticipated histories and ideasâ&#x20AC;&#x201D;and design for it if it is no longer required?

How will these tectonic interventions in the urban fabric shape the public space of the city?

The Archive of Instigation is a cultural resource that connects physical artifacts to collective action, re-framing the value of its tangible collection as a catalyst for civic engagement. Part archive, part meeting hall and part public forum, the Archive of Instigation is home to a growing collection of cultural objects produced by social movements throughout history. Within the building, highly specified spaces for storage and display are juxtaposed with anticipatory spaces for deliberation and spontaneous engagement. Outside, exterior spaces enable larger events and connections to the city. By integrating the objects and ephemera of the collection (books, pamphlets, audio recordings, moving images, posters, stickers, t-shirts, flyers, etc.) with spaces for browsing, study, workshops, screenings, exhibitions and other events, the Archive expands knowledge and understanding and promotes collective participation in the public sphere.

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Adam Ainslie ARC 404â&#x20AC;&#x201D;Fall 2016 The Archive of Instigation

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Sharon Deng ARC 404â&#x20AC;&#x201D;Fall 2016 The Archive of Instigation

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Undergraduate Thesis Projects

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The senior thesis is a detailed project, presenting a well-argued piece of research on a precise architectural theme, and may include a substantial amount and variety of visual materials (including any of several forms of representation: architectural drawings, models, video, photographs, and computergenerated images). The relative proportion of written to visual material for each student is agreed upon with the advisor and thesis committee. The final presentation and oral defense of the senior thesis in the spring constitutes a section of the departmental examination.

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Adam Ainslie

Giving Architecture Giving Architecture explores a contemporary manifestation of a gift economy as a significant supplementary economic appendage within a capitalist paradigm and posits that space and architecture.

When the shockwaves of the economic recession of 2008 rippled through the financial industry, with New York City as the epicenter, then-Mayor Michael Bloomberg looked for ways to relinquish the cityâ&#x20AC;&#x2122;s reliance on tax revenue from the banks. In order to diversify the cityâ&#x20AC;&#x2122;s economic landscape, Bloomberg created the Applied Sciences Facility Competition, which invited high-profile institutions of higher education to create proposals for a new graduate campus focused on fostering the technology industry in New York City. The city gave a site as well as a capital contribution, all of which totalled more than four-hundred-million dollars. The new campus, which is currently being built by Cornell, represents an important shift in the relationship between the public and the private. In representing the interests of both the city and the private institution, the new tech campus establishes a gift economy at a large scale and formalizes this non-capitalist, supplementary economy through architecture. The thesis looks at how the architecture of Cornell Tech manifests the gift.

above: Phase 1 rendering of Cornell Tech from the Universityâ&#x20AC;&#x2122;s web site left: Koolhaasâ&#x20AC;&#x2122; Welfare Island Resort proposal from Delirious New York

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Zixuan Sharon Deng

Through Jaqueline Tyrwhitt: Hidden Agents in the Making of Modern Architectural History To tell the story of Jaqueline Tyrwhitt (1905–1983) as she found herself at the center of the transnational network of theoreticians and practitioners who shaped the post-war modern movement, is to unravel the hidden agents in making of modern architectural history. As a woman, a secretary, an editor, her name was always listed under a more important one: the man, the president, the author. But it was people like her who shaped our understanding of modern architecture history today. The thesis traces the evolvement of Tyrwhitt as she worked as the secretary of CIAM (Congrès internationaux d'architecture moderne), translator and editor of all CIAM post-war publications, and secret lover of architectural historian Sigfried Giedion. From Patrick Geddes to Josep Lluís Sert, and from Le Corbusier to Constantinos A. Doxiadis, the thesis highlights specific episodes to interrogate her agency as she worked, never married, in the shadow of great heroes of modern architecture.

Illustration from The Heart of the City demonstrating the free movement of people and goods.

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Hiba Elbuluk

Sensate Surfaces: A Developmental Framework for Computational Textile Application in Fashion + Architecture and Its Creation of an Interactive Surface Typology Enclosure is a function central to both fashion and architecture, with both disciplines employing enclosure through the amalgam of surfaces providing essential structure and protection. However, in an increasingly complex and interconnected world, fashion and architecture have begun contesting the role of surfaces as static entities unreflective of inherent human dynamism.

In both fields, surface contention can be understood through the shared material surface of textilesâ&#x20AC;&#x201D;their familiarity to the body, their protective shield against outside elements, and their ability to prescribe body behavior in space. The solution to static spaces lies in the development of a sensate surface system, which personifies body and building textiles so that enclosure becomes responsive to changing human activity. Technology has always played a role in advancing textile production and distribution, so the introduction of computation to fabric simply represents another phase of growth in the technology-textile relationship.

With the body and building in constant contact, information exchange between computational surfaces creates customizable spaces that adjust to usersâ&#x20AC;&#x2122; present needs like health monitoring and habit tracking. Connected to the internet, computational textile systems forge a new narrative about bodies coworking with spaces to process and signal their specific needs. Here, surfaces become intelligent personal assistants to bodies through electronic settings connecting body to building to city. As people travel through different spaces, their textile monitoring becomes collective in the public domain, fundamentally changing the significance of gatherings in urban settings and the potential to create smarter cities.

Sensate textile networks cultivate an invisible architecture that allows people to demand service from present infrastructure. To implement this system in reality, computational textiles will need to expand upon the aesthetic modularity and durability of visual products, be sustainably produced and powered, and develop secure forms of data management for privacy protection. Woven for durability, this system will employ an application-based control platform that permits users to choose their applications based on monitoring needs. Moving forward, computational textiles for bodies and buildings can reinvent the concept of utilitarian dimensions from the personal scale to the urban fabric.

left: Buechleyâ&#x20AC;&#x2122;s circuitryembedded wallpaper shows surfaces acting as ubiquitous controls for regulating spatial environments (2009) below: KVAâ&#x20AC;&#x2122;s light curtain uses fabric for utilitarian energy production (2008)

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Haley Hineman

Light and Space: A History and Architectural Analysis of The Room Environment in Contemporary Art Light and Space: A History and Architectural Analysis of The Room Environment in Contemporary Art maps out a newly discovered genre of art called â&#x20AC;&#x153;the room environment,â&#x20AC;? a term that describes semi-architectural installations in contemporary art museums, which have broadly consistent physical structures and atmospheric qualities. Instead of using an art historical lens or describing the rooms in purely aesthetic terms, this thesis treats these environments as something more like an architectural typology, carrying out a detailed analysis of the rooms as architecture and delving deeply into their lighting environments. In that sense the thesis begins to explore the contested boundaries of art and architecture, using the room environment as a mechanism to catalyze discourse.

top: James Turrell, Breathing Light, 2013, © Florian Holzherr above: Olafur Eliasson and Ma Yansong, Feelings are Facts, 2010, Ullens Center for Contemporary Art, Beijing, @ minimalissimo.com

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Han-Ning Loh

Patterns of Movement: Temporal and Spatial Narratives at the Scales of Berlinâ&#x20AC;&#x2122;s Museumsinsel A source of national pride, museum institutions with a long history are an especially important part of a cityâ&#x20AC;&#x2122;s identity. The museum and cultural district is also increasingly a way for a city to establish itself as a destination in lieu of the rise of cultural tourism; thus a growth in visitors to such buildings and sites raises questions of how to orchestrate movement of both bodies and information. With these factors in mind, my thesis focuses on the Museumsinsel in Berlin and its many iterations as a precedent for a cultural district that utilizes various path typologies (linear, overlapping and radial) to organize such movement, in an effort to unearth the broader effects of such patterns at various scales. Unique in its layered narrative, the typology of the museum is influenced by its temporal and spatial narratives, as well as the historical narratives of the artifacts it holds. The combination and arrangement of these artifacts also create narratives collectively, and are inextricably connected to the spatial experiences within the building. Ideally, these narratives should be held in a balance to convey coherent information that seeks to present an environment that is unbiased. The notion of creating spatial-temporal narratives through the arrangement of buildings, bodies and objects are also relevant in the wider context of a city, which functions based on patterns of coherence and systems of organization.

David Chipperfield Architects, staircase hall, Neues Museum Berlin

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Mariana Gonzalez Medrano

Architecture and the Ground Before there is architecture, as both a physical object and a theoretical discourse, there must be a platform for it: the ground plane. Despite this fundamental role, the ground planeâ&#x20AC;&#x2122;s influence over architecture has been largely underestimated and often overlooked. Even the way in which the ground is typically abstracted as a line or a plane in architectural representations implies insubstantiality, where only the surface is relevant. By typically operating as a mere backdrop to the built environment, the ground plane has endorsed its own effacement from architectural discourse, and this thesis will explore what is hidden underneath, unearthing the multiplicity of continuous narratives, tensions, and oppositions that have never been fully excavated.

This thesis describes the ground plane through an analysis of postwar Japanese architectural history to contemporaneity, since the groundâ&#x20AC;&#x2122;s dual character was externally and symbolically affected to the point of tension and deconstruction. During the war, the groundâ&#x20AC;&#x2122;s surface became laden with ashes of ruins, and its substantiality became associated with that of scorched earth and radioactivity; these were physical conditions that directly shaped the platform upon which architecture could be built. Coupled with this toxicity, the imperialist fantasy of an open ground upon which to erect new cities had been inflicted in nearly all major cities in Japan. Still, the open territories of postwar Japanese cities were not affectively equal to the bare and open grounds of colonies. It is in this distinction and the consequences of which that this thesis aims to expose the historically inherent symbolic nature of the ground in how it relates to architecture.

Tadao Ando, Chichu Art Museum. 2004. Benesse Holdings, Inc.

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Emily Miller

Green Diamonds: Sustainable Aesthetic Design Under Pressure Sustainability and architecture both have complex definitions.

Because of this, sustainable architecture has taken on many different forms. Some focus on aesthetic and some focus on energy.

This thesis unravels the various pressures, from history, clients, certification systems, and the public, that are pushing on awardwinning sustainable architecture. I eventually conclude that though sustainable design has been viewed as restricting, it is actually exciting and generative.

Ralph Knowles, paper bioclimatic studies, 1967â&#x20AC;&#x201C;69 (Sang Lee)

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Peter Pak

Mapping | Mapping This thesis attempts to locate the practice of mapping as a form of representing and creating types of knowledge that predates contemporary ways of seeing information as â&#x20AC;&#x153;datascapesâ&#x20AC;? and the landscape as urbanism. By activating the conventions and theories imbedded in mapping, two expansive ways of seeing the city-scape and data-scape can be overlaid and seen simultaneously, both in the mind and in fact. The potential of the map is traced through artistic and instrumental engagements with the territory as a map to be drawn.

above: Norman Bel Geddes, Futurama, New York Worldâ&#x20AC;&#x2122;s Fair, 1939 left: OMA, Yokohama Masterplan, 1991

Aaron Yin

Creation and Renovation: Alignment, Conflicts and Negotiations between Office Buildings’ Original Aesthetics and Evolving Design Objectives This thesis looks at how different objectives have been negotiated in the renovation and preservation of four canonical office buildings. The four buildings are [1] the Lever House, designed by Skidmore Owings Merrill, in Midtown Manhattan, [2] the United Nations Secretariat Building, designed by Wallace Harrison, Oscar Niemeyer, and Le Corbusier, on the East Side of Manhattan, in Turtle Bay, [3] the Bell Labs research facility, designed by Eero Saarinen, in Holmdel, New Jersey, and [4] the Union Carbide Global Headquarters, designed by Kevin Roche (Saarinen’s protégé), in Danbury, Connecticut.

This thesis makes three arguments. First, the selected office buildings, at the time of their construction, were designed to provide the “ideal work environment.” They had amenities that were strongly desirable. They were like the Google or startup offices of their day, though they offered “perks” that were much more valuable than ping pong tables and kitchen areas. Second, the designs of these offices, which were based on what type of work environment was valued in the 1950s, are difficult to renovate. This (the third point) is because what we value in ideal office environments today is incredibly different, and sometimes the opposite of, what was valued at the time of the offices’ design.

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top: Lever House garden courtyard, ŠEzra Stoller, ESTO (SOM.com) left: Courtyard of the Lever House with Noguchi sculptures, photo courtesy Ken Smith, ASLA (SOM.com) 2017

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Princeton University School of Architecture Architecture Building Princeton NJ 08544-5264 Main Office 609–258–3741 Programs 609–258–3641 Fax 609–258–4740 E-Mail soa@princeton.edu Site soa.princeton.edu Design: Omnivore Managing Editor: Laurie Zazenski Printed in China

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Doctoral Degree in Architecture

The Ph.D. Program

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The Ph.D. program consists of the history and theory track and the computation and energy track. The interdisciplinary nature of the program stresses the relationship of architecture, urbanism, landscape, and building technologies to their cultural, social and political milieu. Supported by strong affiliations with other departments in the humanities, sciences, and social sciences, the program has developed a comprehensive approach to the study of the field. Students interact with their peers to sustain individual projects in a context of collective research.

The fields of study are normally, but not exclusively, selected within the history and theory of one of these primary areas: architecture, urbanism, landscape, and engineering/building technology, or within the scientific study of computation and technology.

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PROGRAM COMMITTEE Beatriz Colomina, History and Theory Chair, Director of Graduate Studies, Ph.D. Program Lucia Allais, History and Theory M. Christine Boyer, Urbanism Axel Kilian, Computational Design Forrest Meggers, Energy and Environment Spyridon Papapetros, History and Theory

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History and Theory Track The Ph.D. Committee sets the course requirements for each student according to his or her previous experience, specialized interests, and progress through the program. For the first two years, each student engages in coursework and independent study and is required to complete a minimum of four classes each semester, including required language, audited courses, and independent reading courses, for a total of sixteen courses, at least nine of which must be taken for a grade and result in a paper.

After their first year of doctoral study, students are encouraged also to apply for assistantships in instruction, which are considered an intrinsic part of a scholarâ&#x20AC;&#x2122;s training.

Computation and Energy Track The computation and energy Ph.D. track, initiated in 2014, develops research in the field of embodied computation and new systems for energy and environmental performance. Through associated faculty, it is linked to the School of Engineering and Applied Science, particularly with Computer Science and the Andlinger Center for Energy and the Environment. A proseminar for the Ph.D. track supports the initial methods and processes for this research. The applied research component of the track is supported by infrastructure for research such as the extension of the Architectural Laboratory with the Embodied Computation Lab, an industrial robotic arm, as well as the Andlinger Center research facilities.

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Associated Faculty Sigrid Adriaenssens, Assistant Professor of Civil and Environmental Engineering Eduardo Cadava, Professor of English; Master, Wilson College Bruno Carvalho, Associate Professor of Spanish and Portuguese Languages and Cultures Esther da Costa Meyer, Professor of Art and Archaeology Brigid Doherty, Associate Professor of German and Art and Archaeology; Director, Program in European Cultural Studies Hal Foster, Townsend Martin, Class of 1917, Professor of Art and Archaeology; Co-Director, Program in Media and Modernity Ruben Gallo, Professor of Spanish and Portuguese Languages and Cultures; Director, Program in Latin American Studies Maria Garlock, Associate Professor of Civil and Environmental Engineering; Director, Program in Architecture and Engineering Thomas Y. Levin, Associate Professor of German Douglas Massey, Henry G. Bryant Professor of Sociology and Public Affairs, Woodrow Wilson School; Director, Office of Population Research; Director, Program in Population Studies Anson G. Rabinbach, Professor of History

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Supporting Faculty for the Computation and Energy Track Elie R. Bou-Zeid, Department of Civil and Environmental Engineering Adam Finkelstein, Department of Computer Science Barry P. Rand, Department of Electrical Engineering and the Andlinger Center for Energy and Environment Dan Steingart, Department of Mechanical and Aerospace Engineering and the Andlinger Center for Energy and the Environment Claire E. White, Department of Civil and Environmental Engineering and the Andlinger Center for Energy and the Environment

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Recently Completed Dissertations The wide range of possible research topics is illustrated by the following dissertations.

Luis Aviles Rincon, Rhetoric Matters: Image, Textures, and the Discussion around Modern Ornamentation (1932–1961) (2016) Daniela Fabricius, Calculation and Risk: The Rational Turn in West German Architecture (2016) Daria Ricchi, From Storia to History (and Back): Fiction, Literature, and Historiography in Postwar Italian Architecture (2016) Jasmine Benyamin, Towards a (New) Objectivity: Photography in German Architectural Discourse 1900–1914 (2015) Leonardo Diaz Borioli, Collective Auto-biography Building Luis Barragán (2015) Zvi Efrat, The Object of Zionism: Architecture of Statehood in Israel, 1948–1973 (2014) Alicia Imperiale, Alternate Organics: The Aesthetics of Experimentation in Art, Technology & Architecture in Postwar Italy (2014) Molly W. Steenson, Architectures of Information: Christopher Alexander, Cedric Price, and Nicholas Negroponte & MIT’s Architecture Machine Group (2014) Craig Buckley, Graphic Apparatuses: Architecture, Media, and the Reinvention of Assembly 1956–1973 (2013) Mark Campbell, A Beautiful Leisure: The Decadent Architectural Humanism of Geoffrey Scott, Bernard and Mary Berenson (2013) Anthony Fontenot, Non-Design and the Non-Planned City (2013) Lisa L. Hsieh, ArchiteXt: The Readable, Playable and Edible Architecture of Japanese New Wave (2013)

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Lydia Kallipoliti, MISSION GALATIC HOUSEHOLD: The Resurgence of Cosmological Imagination in the Architecture of the 1960s and 1970s (2013) Diana Kurkovsky West, CyberSovietica: Planning, Design, and the Cybernetics of Soviet Space, 1954–1986 (2013) Daniel Lopez-Perez, SKYSCRAPEROLOGY: Tall Buildings in History and Building Practice (1975–1984) (2013) Enrique Ramirez, Airs of Modernity 1881–1914 (2013) Irene Sunwoo, Between the ‘Well-Laid Table’ and the ‘Marketplace’: Alvin Boyarsky’s Experiments in Architectural Pedagogy (2013) Els Verbakel, Of Voids, Networks and Platforms: Post-War Visions for a European Transnational City: 1952–1958 (2013) Gina Greene, Children in Glass Houses: Toward a Hygienic, Eugenic Architecture for Children during the Third Republic in France (1870–1940) (2012) Karin Jaschke, Mythical Journeys: Ethnography, Archaeology, and the Attraction of Tribal Cultures in the Work of Aldo van Eyck and Herman Haan (2012) Joy Knoblauch, Going soft: Architecture and the human sciences in search of new institutional forms (1963–1974) (2012) Paul B. Preciado, Gender, Sexuality, and the Biopolitics of Architecture from the Secret Museum to Playboy (2012) Sara Stevens, Developing Expertise: The Architecture of Real Estate, 1908–1965 (2012) AnnMarie Brennan, Olivetti: A Working Model of Utopia (2011) Branden Hookway, Computational Environments of the 20th Century (2011) Lutz Robbers, Modern Architecture in the Age of Cinema: Mies van der Rohe and the Moving Image (2011)

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Rafael Segal, A Unitary Approach to Architecture—Alfred Neumann and the ‘Humanization of Space’ (2011) Shundana Yusaf, Wireless Sites: Architecture in the Space of British Radio (1927–1945) (2011) Joaquim Moreno, From a Little Magazine to the City: Arquitecturas Bis (1974–85) (2010) Ingeborg Rocker, Evolving Structures: The Architecture of the Digital Medium (2010) Romy Hecht, The Attack on Greenery: Critical Perceptions of the Man-Made Landscape, 1955–1969 (2009) Sarah Deyong, Archigram and the City of Tomorrow (2008) Roy Kozlovsky, Reconstruction through the Child: English Modernism and the Welfare State (2008) Stephen Phillips, Elastic Architecture: Frederick Kiesler’s Mobile Space Enclosures (2008) David Smiley, Pedestrian modern: modern architecture and the American Metropolis, 1935–1955 (2007) David Snyder, The Jewish question and the modern metropolis : urban renewal in Prague and Warsaw, 1885–1950 (2007) Ernestina Osorio, Intersections of Architecture, Photography, and Personhood: Case Studies in Mexican Modernity (2006) Emmanuel Petit, Irony In Metaphysics’s Gravity. Iconoclasms and Imagination in the Architecture of the Seventies (2006) Tamar Zinguer, Architecture in Play: Intimations of Modernism in Architectural Toys, 1836–1952 (2006)

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Ph.D. Collaborative Research Projects Over the last fifteen years, the Ph.D. program has added new dimensions to traditional academic training by developing major collaborative scholarly research projects generating polemical publications, exhibitions, films and other multimedia platforms. Two years of proseminars in the fall are followed by workshops in the spring that also act as one of the hubs of the interdisciplinary Program in Media and Modernity at Princeton, positioning architectural research within a wider field.

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Modern Historiography: Latin American Architecture Research Seminar, 2012–13 and 2013–14

Professor Beatriz Colomina with students Lluis Casanovas Blanco, Michael Faciejew, Justin Fowler, Evangelos Kotsioris, Matthew Mullane, Victoria Bugge Øye, Masha Panteleyeva, Clelia Pozzi and Nicholas Risteen

Historiography is as much an analysis of historical method as it is a means of identifying blind spots in the historical record. As a vehicle for critical self-correction, the historiographic turn often appears in moments of generational transition or disciplinary introspection.

Seeking to generate new contemporary practices through alternative readings of the past, this proseminar addressed the brief period from the 1930s to the early 1960s in which historians of modern architecture, architects, journalists, institutions, and governments from around the world trained their sights on Latin America. Beyond merely reevaluating past efforts, the seminar devoted attention to those aspects of historical practice that might constitute a “modern” historiography. Students explored the use of new media in exhibitions, governmental funding of architectural publications for purposes of cultural influence and exchange, and other modes of historical transmission. Deviating from canonic histories through the notion of “miradas cruzadas” (crossing glances) they investigated how the idea of a Latin American modern architecture was produced through negotiations, misunderstandings and collaborations between the historians, architects, institutions and publishing houses around the world. The case study of the construction of modern Latin American architecture is one where historiography converges with the future-oriented notion of the architectural project.

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Student research from this seminar was presented at the 2013 São Paolo conference ARCHITECTURAL ELECTIVE AFFINITIES: correspondences, transfers, inter/multidisciplinarity, as well as in workshops at the University of São Paolo in 2014. In 2015–2016, under the direction of Beatriz Colomina, Ph.D. students Masha Panteleyeva (School of Architecture) and Miguel Caballero (Department of Spanish and Portuguese Languages and Cultures) ran a yearlong workshop in preparation for a publication in collaboration with the University of São Paolo. In spring 2016, the School of Architecture research group organized a public lecture and a seminar by Claudia Shmidt, a Professor at Universidad Torcuato Di Tella, titled Francisco Bullrich and the New Directions in Latin American Architecture (sponsored by the Program in Media and Modernity and the Program in Latin American Studies).

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Radical Pedagogies Research Seminar, 2010–11 and 2011–12 Exhibition, 2013-ongoing

Professor Beatriz Colomina with students Anthony Acciavatti, Juan Cristóbal Amunátegui, Jose Araguez Escobar, Joseph Bedford, Vanessa Grossman, Evangelos Kotsioris, Anna-Maria Meister, Esther Choi, Britt Eversole, Daniela Fabricius, Ignacio Gonzalez Galan, Federica Soletta and Federica Vannucchi

“Radical Pedagogies” is an ongoing multi-year collaborative research project led by Beatriz Colomina with a team of Ph.D. students from the School of Architecture at Princeton University. It has so far involved three years of seminars, interviews, archival research, guest lectures and almost 80 contributors from more than two dozen countries. In this, and similar research projects conducted by the Ph.D. program at Princeton, architecture history and theory are taught and practiced as an experiment in and of themselves, exploring the potential for collaboration in what is often taught to be a field of individual endeavor.

“Radical Pedagogies” investigates a series of intense but short-lived experiments in architectural education that profoundly transformed the landscape, methods and politics of the discipline in the postWWII years. As challenge to normative thinking, they questioned, redefined, and reshaped the postwar field of architecture. These experiments are radical in the literal meaning from the Latin radix (root), the basis or foundation of something. Radical pedagogies shook foundations and disturbed assumptions, rather than reinforcing and disseminating them. They operated as small endeavors on the fringes of institutions but had long-lasting impact. Much of architectural teaching today still rests on the paradigms they introduced.

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The â&#x20AC;&#x153;Radical Pedagogiesâ&#x20AC;? exhibition has been presented at the 3rd Lisbon Architecture Triennale (2013), the 14th Venice Biennale of Architecture (2014, Special Mention), and the 7th Warsaw Under Construction Festival (2015). On this last occasion, the exhibition opens up new directions and a new density of global interconnections. Eastern Europe, Africa, East Asia and Australasia become the protagonists, opening new insights into pedagogical experimentation after 1945. Conceived as an interactive platform, the exhibition incorporates take-away texts, facsimiles, original publications and teaching documents, archival films, and implements interactive features through augmented reality. www.radical-pedagogies.com

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Playboy & Architecture: 1953–1979 Research Seminar, 2008–09 and 2009–10 Exhibition 2012–ongoing Professor Beatriz Colomina with students Pep Avilés, Joseph Bedford, Marc Britz, Britt Eversole, Daniela Fabricius, Gina Greene, Vanessa Grossman, Margo Handwerker, Joy Knoblauch, Yetunde Olaiya, Enrique Ramirez, Daria Ricchi, Molly Steenson, and Federica Vannucchi

The research seminar was dedicated to the study of Architecture in Playboy: 1953–1979. The thesis of this seminar was that Playboy played a crucial yet unacknowledged role in the cultivation of design culture in the USA. Through a range of strategies, the magazine integrated state-of-the-art designers and architects into a carefully constructed vision of a desirable contemporary lifestyle. The seminar explored the ways in which Playboy was ahead of professional and popular magazines in promoting modern architecture and design.

The collaborative research seminar analyzed the magazine, secondary literature on Playboy and related archives; interviews with protagonists were also conducted.

The research led to a large traveling exhibition: Playboy Architecture, 1953–1979. The exhibition showed how modern architecture—buildings, interiors, furniture, cities and product design—was mobilized to shape a new sexual and consumer identity for the American male and how architectural taste became critical to success in the art of seduction. It opened in September 2012 at the Bureau Europa/NAiM in Maastricht, the Netherlands, and then traveled to Amsterdam in 2013. It was redesigned for a February 2014 show at the Deutsche Architekturmuseum in Frankfurt, Germany and for the Elmhurst Art Museum in Chicago where the exhibition opened in May 2016.

Students’ research was published in a 2012 special issue of Volume dedicated to architectural interiors.

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left: László Moholy-Nagy, “On Art and the Photograph,” ca. 1946. Richard J. Dadley Library Special Collections and University Archives, University of Illinois at Chicago, Institute of Design Papers. above: School of Design in Chicago Summer Sessions, Chicago and Somonauk, June-August 1941. Walter Gropius Papers.

Houghton Library Archives. Harvard University. Richard J. Dadley Library Special Collections and University Archives, University of Illinois at Chicago, Institute of Design Papers.

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Luis “Pep” Aviles Rincon

Rhetoric Matters: Image, Textures, and the Discussion around Modern Ornamentation (1932–1961) This thesis explores the historical conditions and material trans­ formations underlying the heightened interest in ornamental form following the institutionalization of modern architecture. After 1932, I argue, the materials employed in modern architecture grew increasingly rhetorical, that is, they began departing from and standing in opposition to modernism’s earlier commitment to the flat continuous surfaces of the 1920s and beyond. This transition took place around discussions on the ornamental and superfluous in architecture. My central argument here, however, is that the reawakening of ornamental practices in modern architecture was as much a material, morphological, and ontological evolution as a discursive project. The evolution responded, on the one hand, to the gradual and explicit incorporation of light as building material, and, on the other, to the emphasis on textures in indus­trial elements as traces of shared subjectivities within the mode of production of modernity. Both responses, I claim, were intimately related to the praxis and language that new art forms of reproduction (and production) brought about.

The photograms and photographic works that Moholy-Nagy made between 1922 and 1946 as well as his latest experiments with plastics provided a new ontology for future discussions on the ornamental in the materials of modernity. The increasing interest in the tactile and textures introduced by debates on photography, the structural discussion of ornament and style in America’s “consumer’s Republic,” and the selective and photographic recuperation of history are significant episodes in the profound metamorphosis of materials 2017

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that unfolded in the postwar years. The thesis concludes with an analysis of the formal and material evolution of Marcel Breuerâ&#x20AC;&#x2122;s work of this same period. His emphasis on textures as the quintessential rhetoric expression of modern materials illustrates the historical and conceptual distance between postwar modern architecture and earlier periods. The ornamental and textural use of modern materials by architects like Marcel Breuer unveils a fundamental strata in the archaeology of postmodernity: After the Second World War, modern architecture was no longer about social utopias but about material persuasion. above: Image of Casa BatllĂł, photographer unknown. Henry-Russell Hitchcock Papers, Smithsonian Archive of American Art. top right: Marcel Breuer, Multi-Lens Window, Paris 1930. right: Marcel Breuer, De Bijenkorf, Rotterdam, April 1954. Marcel Breuer Papers, Smithsonian Archives of American Art.

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Joseph Thomas Bedford

Creativity’s Shadow: Dalibor Vesely, Phenomenology and Architectural Education During The Cold War (1968–89) The dissertation explores an episode in the history of architectural education surrounding the career of the Czech architectural educator Dalibor Vesely. It follows the historical development of his career during the cold war (from the early 1960s to 1989). It begins with his life in Totalitarian Czechoslovakia and then moves to his new life as an émigré in London teaching at the Architectural Association where he was one of the first unit masters in Alvin Boyarsky’s new AA diploma unit system and Essex University where he taught in an innovative new history and theory teaching partnership with Joseph Rykwert. It ends with the mature phase of his career as a professor of architecture at Cambridge University, where he taught in close collaboration with Peter Carl.

By examining the material, institutional and discursive world of the teaching practices surrounding Vesely, the dissertation explores the interaction between his interpretation of phenomenology first formed in Czechoslovakia in the dissident culture of the artistic underground and the problems and issues common to higher education in general and architectural education in particular. It argues that the logic of the underground stayed with Vesely from one context to the next and had positive and problematic effects on the architectural education he created. And it did so in such a way that diverged from and contradicted the innovations of phenomenology.

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Daphne Beckett, sketch of Dalibor Veselyâ&#x20AC;&#x2122;s evening seminar, 1988â&#x20AC;&#x201C;89

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Daniela Fabricius

Calculation and Risk: The Rational Turn in West German Architecture This dissertation follows the rise and decline of what I call the “rational turn” in West German architecture between the 1950s and 80s. This new engagement with scientific methods emerged from the ethical and political concerns formed in West Germany’s postwar intellectual culture, including the Frankfurt School, the Darmstädter Gespräche, and the Ulm School for Design. What began as “good form” developed into the assignment of ethical values to practices based on measuring and calculating, in the hope that this could mitigate the effects of new risks that emerged with modern industrial culture.

However, as I argue, this “second-order” rationalism was from the beginning characterized by contradictions and ethical uncertainties.

With the declining legitimacy of Verwissenschaftlichung (scientization) after 1968, architectural rationalism progressively mutated into a form of excess that can only be described as irrational. Examples include a preoccupation with economy as seen in the model experiments and systems of measuring and classifying structures of Frei Otto at the Institute for Lightweight Structures. These experiments with soap films and other nonstandard materials consistently resulted in incalculable forms (like those of the Pneu), excessive calculation (as in the notion of the Bic), and new types of structural risk. I also examine the work of Oswald Mathias Ungers and his students at the TU Berlin, who in Berlin 1995 experimented with calculation (and computation) to try to simulate and predict urban futures. In Ungers’s later theoretical and built work repetition and seriality transformed from tools used for mass production to purely formal games without economic or functional concerns.

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Frei Otto/IL, Multimedia test of simultaneous measurements of the Olympics stadium model using cameras and gauges, c. 1968

I demonstrate how these repetitive and delirious exercises in architectural rationalism revealed the futility of calculating reason.

In contrast with the utopian uses of rationalism in early modernism, I characterize these exercises in calculation as melancholic, in the spirit of Albrecht DĂźrerâ&#x20AC;&#x2122;s allegory. Following this trajectory from the 1950s to the 80s, I hope to shed light on the question of why West German architecture continued to be invested in rationalism even after rationalismâ&#x20AC;&#x2122;s ethical calling and functional imperative had been denounced.

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Vanessa Grossman

A Concrete Alliance: Modernism, Communism, and the Design of Urban France, 1958–1981 This dissertation examines the long-lasting alliance that was established between a group of mid-century modern architects and elected officials of the French Communist Party (PCF) between 1958, and 1981. During this period, the PCF developed an idiosyncratic form of political patronage for architecture, where political agents wanted to exert a centralized authority but were not the dominant political power. To manage the diminution in the prestige and influence of the Party, and its desire to communicate a message rather than mobilize workers for the revolution, the protagonists of this dissertation relied on architectural modernism, not only on its capacity to concretely shape the urban environment to resist Gaullism and its aftermath, but most importantly, on its power to correlate to political discourse. Modern architecture was one of the primary mediums through which communist political leaders projected their political program. This dissertation traces how this metaphor evolved in the context of a larger political story arc of the French postwar. The title of this dissertation, “A Concrete Alliance,” refers to the role of concrete in these designs, which resurfaced not only in communist-sponsored campaigns, debates and publications such as La Nouvelle Critique (the Party’s intellectual monthly, 1948– 1980), but also in the buildings that this alliance produced in French cities. In four different cases, this dissertation follows the attempts of architects like Paul Chemetov and Jean Deroche (members of the Atelier d’Urbanisme et d’Architecture, 1960–1985), Oscar Niemeyer, Jean Prouvé, Renée Gailhoustet and Jean Renaudie, to show how modern architecture mattered almost more in its iconographic, visual, and discursive aspects as much as in its functional ones.

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clockwise from top left: Oscar Niemeyer’s first sketch for the headquarters of the French Communist Party, featured on the cover of La Nouvelle Critique, n. 1 (182), February 1967; all rights reserved.

Presentation to Party leaders of the model of Oscar Niemeyer’s headquarters for the French Communist Party, undated, Paris, France; courtesy of Mémoires d’Humanité/Archives départementales de la Seine-Saint-Denis; all rights reserved.

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Jacques Kalisz, Jean Perrottet (Atelier d’Urbanisme et d’Architecture, AUA), with Miroslav Kostanjevac and Richard Slama, Administrative center (1962–1973), Pantin, France; photo: Gérard Guillat; courtesy of Fonds Kalisz; SIAF/Cité de l’architecture et du patrimoine/Archives d’architecture du X Xe siècle.

Jean Renaudie, Jeanne Hachette mixeduse complex (1969–1975), Ivry-sur-Seine, France; courtesy of Archives municipales d’Ivry-sur-Seine.

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Margo Handwerker

Public Displays of Effection: Ecological Art and Utility, 1968–1984

“Public Displays of Effection: Ecological Art and Utility, 1968–1984” examines a pivotal but neglected group of artists who rejected traditional notions of the art object and instead considered it as a tool for achieving environmental remediation. This innovative approach to the art object required a parallel transformation in the viewer, who instead became a user. This new dynamic gave these artworks an explicitly architectural logic—one that made them difficult to recognize as art, and yet enabled their viability. Because the works served a tangible function, they found financial support beyond conventional patronage and so withstood the decline of arts funding.

The contemporary cultural landscape—from artist-run community gardens and free schools to social practice more broadly—is indebted to the legacy of this work, which has been overshadowed within scholarly criticism absent an account of such interaction.

The first of these actors is artist and curator Gyorgy Kepes, professor in the School of Architecture at the Massachusetts Institute of Technology (1945–74) and founder of its Center for Advanced Visual Studies. Kepes was an early champion of projects that both facilitated awareness about the Earth’s most pressing problems while simultaneously developing viable solutions. Some have written about the interdisciplinary efforts within Kepes’s curatorial oeuvre, but there has been little focus on his conception of the user for whom he designed these collaborations. The first chapter focuses specifically on Kepes’s later writings, namely two of his unpublished books: “Art on a Public Scale” (1970–74) and “Arts of Participation” (c. 1970–74). These unpublished transcripts evince Kepes’s long­ standing but understudied interest in coordinating a shift in the Ph.D. Program

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left: Newton and Helen Mayer Harrison, Notations on the Ecosystem of the Western Salt Works with the Inclusion of Brine Shrimp, 1971, Art and Technology Program, Los Angeles County Museum of Art, Los Angeles, CA, 1967â&#x20AC;&#x201C;71 below: Newton and Helen Mayer Harrison, Portable Farm, 1972, installation view, 10, Contemporary Arts Museum, Houston, Texas

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above: Mierle Laderman Ukeles and NYC Department of Sanitation, Landfill Cross Section: Garbage Out Front: A New Era of Public Design (detail, in a marble staircase), 1990 top right: Mierle Laderman Ukeles, Cleansing the Bad Names (The Sanman’s Story), 1984, opening performance (3–4 PM) for Maintenance City/ Sanman’s Place exhibition at Ronald Feldman Fine Arts (September 9–October 5, 1984)

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user’s inter-spatial and interpersonal perspectives specifically for the purpose of reshaping their awareness of nature as part of the commonwealth.

Another chapter is among the first extensive looks at artist Robert Smithson’s letter campaign to mining corporations in the years and months leading up to his untimely death. Smithson piggybacked on regulation of the mining industry, which required companies to reclaim their mines if not to their original state, then at least for some other “useful” purpose. The artist capitalized on the ambiguity of this term, offering to rebuild the mining industry’s sites and its image with Earthwork. Negotiations for the first of these projects were under discussion when the artist died in a plane crash, and his essay “Earth Art and Mining Reclamation” (1971) was never published. Smithson’s wife and occasional collaborator Nancy Holt would continue the charge with her landfill reclamation works Dark Star Park (1979) in Arlington, Virginia and Sky Mound (1984– present) in Hackensack, New Jersey.

The work of artist Mierle Laderman Ukeles has been subsumed under the category of Land art, a movement dominated by men and exemplified by such works as Michael Heizer’s Double Negative (1969–70). Heizer, though he made large-scale artworks using materials from the Earth, in no way sought to conserve the environment, nor did he engage viewers at the level of activism. Ukeles’s work, on the other hand, was both preservation-driven and public—qualities that hinged on the artist’s interest in making her work accessible enough to be used. The chapter devoted to her begins in 1969, when Ukeles wrote her “Manifesto for Maintenance Art,” in which she draws a comparison between art making, female care giving and sanitation work. Ukeles’s synthesis of the preservation of life with the preservation of a city generated what became an intensely public practice: her collaboration with the New York Department of Sanitation. Though completed in 1969, the manifesto was not published until 1971, when art historian Jack Burnham included part of Ukeles’s text in his Artforum article “Problems of criticism: art and technology” (1971). The chapter ends in 1984, when Ukeles 2017

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began making artworks about Staten Island’s Fresh Kills Landfill, which since and with her assistance is in the process of becoming a public park.

Jack Burnham also promoted the early career of “problem-solving artists” Newton and Helen Mayer Harrison. The final chapter addresses the Harrisons multi-part “Survival Series,” a series of projects wherein the two artists cultivated foodstuffs in a gallery setting. Their strategy was altogether different from contemporaneous attempts to revisit the landscape tradition. The couple was more interested in producing fertile landscapes than they were in creating immersive ones, such as Walter De Maria’s Earth Room (Munich, Germany; 1968). Their installations, which included “flat and upright” pastures and were often accompanied by “feasts,” offered restorative solutions to deforestation and a model for self-sufficient food production in the wake of increased industrial farming.

They eventually magnified their interest in putting unproductive domesticated landscapes to good use as small-scale farms by putting unproductive landfills to good use as public parks, namely the Spoils’ Pile Reclamation (1976–78) in Lewiston, New York.

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Daria Ricchi

From Storia to History (and Back): Fiction, Literature, and Historiography in Postwar Italian Architecture In the decades surrounding World War II, Italy was host to an extraordinary abundance of architectural writing. Not merely significant in quantity, these texts were unprecedentedly varied in the range of genres they encompassed. History, criticism, theory, journalism, and fiction all took architecture as their subject matter.

This wide range of writerly modes, as distinct from one another in the nature of their prose as in their means of dissemination, was produced by an equally varied cast of figures, such as Bruno Zevi, an architecture historian and politician; Giulio Carlo Argan, an art historian; Italo Calvino, a fiction writer; Giulio Einaudi, a publisher; and Elio Vittorini and Cesare Pavese, writers and trans­ lators. Rather than converging on a single view of architecture, each form of writing embedded in its structure a different theory of architecture. By examining these differences, “From Storia to History (and Back)” argues that writing, rather than building practice, became the primary means of architectural debate, and that writing about architecture at that time aimed at both a specialized audience and a broader public.

“From Storia to History (and Back)” identifies four writerly genres: myths, chronicles, history, and fiction, all of these genres became accepted as forms of historical storie after 1957. It begins with (hi)stories told in the form of myths. During World War II and in the early postwar, history was oriented toward the future, and the preferred narrative was a form of fictitious, hopeful, halftrue story. By the late 1940s, history was considered an objective science, as was literature. Chronicles, as the chronological recollection of events, almost coincided with storytelling. History was 2017

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concerned with describing present conditions in a more straight­ forward and unadorned way. Around 1957, coinciding with political events like the Khrushchev report, fiction writers and historians shifted in apparently distinct directions. Authors turned toward the fictive—fantasia—but also rediscovered a distant past. A seminal year for “historicism,” 1957 also marked a return to more conventional writing styles in history. Disillusion and skepticism prevailed, and the only solution to the present condition seemed to be a retreat to the past or an escape into fantasy, and the proliferation of multiple storie.

from this page, clockwise: Elio Vittorini, Il Politecnico, Turin Einaudi 1945, first issue, graphic design by Albe Steiner; Giulio Carlo Argan, Walter Gropius e la Bauhaus, Turin Einaudi 1951; Bruno Zevi, Towards an Organic Architecture, London Faber & Faber 1950; Italo Calvino, La speculazione edilizia, Turin Einaudi 1963 Ph.D. Program

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Meredith TenHoor

The Architecture of the Market: Food, Media and Biopolitics from Les Halles to Rungis The growth of both an industrialized agricultural landscape in France and the postmodern urbanism of Paris’s Les Halles district was facilitated by an architectural-infrastructural project: the planning and construction of the world’s largest wholesale food market, the Marché d’Intérêt National de Paris-Rungis, realized from 1952–73. Located in the Parisian suburb of Rungis, the market was designed by the firm of Henri Colboc and Georges Philippe, architects who adapted the logic of circulation-management from their Beaux-arts and early modernist training for new purposes in the marketplace.

The long history of designs for Les Halles and Rungis show how food infrastructures came to be seen as capable of being designed, as well as how they became potent sites for the elaboration of a discourse of biopolitical economy. The architecture of Les Halles’ markets has been a medium for establishing relationships between governments, private industries and human bodies from the eighteenth century to the present, and Les Halles and Rungis are crucial architectural substrates for theories of political economy. In the eighteenth century, the market was seen as a place that could cover for irregularities in food production. By the twentieth century, planners, such as the modernist publisher and territorial modernizer Philippe Lamour, and his colleague and Rungis’s chief planner Libert Bou, imagined that markets like Rungis would not just improve food distribution, but be agents of agricultural and urban modernization. Charged with realizing this vision, the architects of Rungis designed not only buildings but also did urban planning, engineering, information design, and instantiated early forms Ph.D. Program

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of logistical management, expanding the disciplinary bounds of architecture in France to include a variety of new forms of practice.

Concurrently, artists, planners, critical theorists and architects who attempted to cope with the massive urban and economic changes that accompanied the modernization of Les Halles, especially photographer Marc Petitjean and artist/architect Gordon Matta-Clark, re-theorized the importance of food in French bodies, cities, and political economy.

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Princeton University School of Architecture Architecture Building Princeton NJ 08544-5264 Main Office 609–258–3741 Programs 609–258–3641 Fax 609–258–4740 E-Mail soa@princeton.edu Site soa.princeton.edu Design: Omnivore Managing Editor: Laurie Zazenski Printed in China

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Dear Tania, You have damaged the equipment to the studio, but you have left enough goods to compensate for it. You are maintaining a rating of 4.2 stars.

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â&#x20AC;&#x201D; July 13th 2019 at 20:14 From OCCUPANCY <bot@occupancy.com> To Tania Pontis <tpontis@aol.com>