Workbook 2020 by Princeton University School of Architecture

Princeton University School of Architecture

Workbook 2020

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 2020

2 Graduate Studios 3 15 29 39 49 63 69 79 89 99

ARC 501—Michael Meredith and Erin Besler ARC 502—Mónica Ponce de León and Cameron Wu ARC 503—Paul Lewis and Guy Nordenson ARC 504—Jesse Reiser ARC 504—Alejandro Zaera-Polo ARC 505a—Stan Allen ARC 505b—Frank Barkow and Regine Leibinger ARC 505c—Cristina Díaz Moreno and Efrén García Grinda ARC 506a—Sandy Attia and Matteo Scagnol ARC 506b—Jackilin Hah Bloom and Florencia Pita

107 Professional Program Thesis Projects 135 Post-Professional Program Thesis Projects 147 Undergraduate Studios 49 1 161 165 177

ARC 204—Paul Lewis and Ivi Diamantopoulou ARC 350—Gia Wolff ARC 351—Jesse Reiser and Stefana Parascho ARC 404—Marshall Brown

189 Undergraduate Thesis Projects 209 Ph.D. Program 215 Ph.D. Proseminars 221 Ph.D. Dissertation Abstracts

2020

Workbook

Graduate Studios

Master’s Program

ARC 501 Architecture Design Studio Associate Professor Michael Meredith and Assistant Professor Erin Besler with Assistant Instructors Esra Durukan, Chase Galis

medium (technical support) + convention (genre, typology, history) + play (!@#?) = Architecture

2020

Workbook

This is the secret formula. We’re still calibrating the exact proportions. Results may vary. Please bear in mind the following. Medium is how we conceptualize and work through a project (“technical support” i.e. form, function, material, program, context, and so on). Convention is how we situate and evaluate the work within the discipline. Play is something else. This, of course, remains vague and imperfect but, as per usual, we will rely on you to make something of it anyway. History has proven these elements to be highly unstable. They are rewritten from time to time with their own specific outcome or emphasis in mind. While convention may insulate the anxieties generated by change, medium continually produces new enthusiasms and frictions which exacerbate the improvisation of play. Medium-specificity, as Clement Greenberg saw it, was a search for objective authenticity through material medium. Medium was Modern Art’s protagonist. (see: Avant-Garde and Kitsch ). In architecture, authenticity through medium is, by contrast, inherently problematic: rarely do we construct our work, but rather we represent it in an already mediated form. (We’re at the very least twice as self-conscious.) Inherently removed from its subject matter, architecture has been presented with the false choice between the humanist project of situated materiality (ie Life) and the post-humanist project of representation (ie Art). Recently, we’ve witnessed a kind of return to the “real“ in which the tangibility of the built triumphs over the speculation of the unbuilt, where discourse is trivial at best and where the representation of reality offers an irrefutable proof of concept, photographs and construction documents Master’s Program

being our weapons of choice. The advent of BIM is desirable insofar as it enables actual efficiency that can be evaluated objectively, coordinating an array of architectural contingencies and drafts specifications. Extra-disciplinary activism, which promises engagement with the world wins out over (all-too-familiar) formal navel-gazing experimentation. Recent generations of architects have focused on engaging the “real”, avoiding anxious cultural discourse in favor of technical manuals, privileging operative techniques over fictitious narratives and quantifiable data over qualitative rhetoric. Meaning is more relevant when it can be measured: it’s best when matter-of-fact. Statistics and polling data have taken over our judgment for a lack of any other available ethic. Architecture has become a kind of social science, embracing a facile mode of technological positivism in order to escape the uneasiness of cultural production. Post-postmodernism was characterized by a disciplinary exodus from the constraints of an indexical-semiotic model of architectural production and a way of working after language, after symbolism and after referents. During the 90s, architectural vocabulary was stripped down to its geometry and core diagrams in an attempt to avoid provisional imagery or pictorial composition. Architecture aspired to frustrate compositional models with the complexity and instability afforded by distortion, dismantling, twisting, looping, deleting, folding, repetition and transformation. Computation elevated the rational authority of systems, process, and binary code to the status of protagonist, an architecture that seemed to design itself, discarding the postmodern reliance on imagery and composition while avoiding the problematic nature of authorship and taste. This appropriation of computation allowed 2020

Workbook

architecture to find new modes of organization and composition, relinquishing control while simultaneously expanding our disciplinary techniques in ways that are still being defined. Today, the complexity project of the 90s lingers through the parametric, which permits ever-greater coordination of information and material and fosters additional models and methodologies. Over time, such digital procedures, rather than providing an escape from an architecture of semiotics have instead produced ever-cruder languages based upon tautological constructs now institutionalized, aesthetic symbols of sophistication and evidence of erudite prowess—the very thing they were trying to avoid. At the moment, we are operating within and against two competing positivist ideologies—Functionalism and Formalism— the enduring dialectical cliché that has bifurcated our discipline. The messiness of cultural value is besieged by an unrelenting battery of software, facts and figures. Today, the perception of infallibility surrounding scientific data, those inputs and outputs of systems both formal and functional, has become irrefutable beyond reason. Media at large has ensured that our world has become both irreparably saturated and increasingly diffuse and, as a result, the retreat towards this brand of medium-specificity has become untenable. We encounter flatness as a fundamental condition of cultural production. In any event, the parade of difference and pluralism might not be enough. We don’t know what to choose. Representational projects might not be enough. Activist projects might not be enough. Formalism might not be enough. Sustainability might not be enough, etc... Or maybe it’s all okay. We find ourselves in a moment after Architecture, after pedagogical ideologies. Now, let’s begin. Master’s Program

SECTION B

1/2” = 1’ 0

SECTION A

SECTION B

OND FLOOR EC 1/2” = 1’ 0

Anna Kerr ARC 501—Fall 2019 medium (technical support) + convention (genre, typology, history) + play (!@#?) = Architecture

Plan

RCP

Elevation

Section Reese Lewis - Pinceton SoA ARC 510 - September 2019

Plan Level 1

Plan Level 2

Elevation

Elevation Rear

1/4” = 1’ - 0”

Reese Lewis - Pinceton SoA ARC 510 - October 2019

Section 1

Reese Lewis ARC 501—Fall 2019 medium (technical support) + convention (genre, typology, history) + play (!@#?) = Architecture

Section 2

Reese Lewis - Pinceton SoA ARC 510 - September 2019

Floor Plan Scale: 1/4” = 1’0”

Taka Tachibe ARC 501—Fall 2019 medium (technical support) + convention (genre, typology, history) + play (!@#?) = Architecture

12 Elevation Obli Scale: 1/8” = 1

Section Scale 1’ =1/4”

Christina Moushoul ARC 501—Fall 2019 medium (technical support) + convention (genre, typology, history) + play (!@#?) = Architecture

Groundfloor Plan Scale 1’ =1/4”

ARC 502 Architecture Design Studio Professor Mónica Ponce de León and Assistant Professor Cameron Wu with Assistant Instructors Maeliosa Barstow, Chris Myefski, Mariah Smith

Reflexive Architecture and the City

2020

Workbook

This studio will examine the relationship between Architecture and the city through a series of exercises and culminating in a single building project. As a preamble to the studio, we will look at specific historical case studies where the architect’s project has embodied various speculations about the city at large. Rather than merely respond to given context, each student proposal will be expected to imagine and articulate and project new ideas of the city. The semester has been structured as a series of sequential exercises that will lead to a building project in the city of Trenton, NJ. Our building program is a K-12 public school in a low-density neighborhood. Often considered a microcosm of the city, schools are an assemblage of heterogenous room types whose size and scale is carefully choreographed. With a student body of approximately 1900 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 (campus). We will explore and rehearse specific compositional techniques, aimed at developing formal dexterity, and a thorough understanding of organizational logics. Exercises that deal with module aggregation, systems of growth, and part-to-whole relationships will be driven by dialectics of figure/field, private/ public, interior/exterior, among others. Exercises will increase in degrees of abstraction throughout the course of the semester, culminating in a final composition that is highly specific in its programmatic desires and spatial complexity. Master’s Program

Austin Madrigale ARC 502—Spring 2020 Reflexive Architecture and the City

Lisa Ramsburg ARC 502—Spring 2020 Reflexive Architecture and the City

Christina Moushoul ARC 502—Spring 2020 Reflexive Architecture and the City

Scale: 1/6 0'

Taka Tachibe ARC 502—Spring 2020 Reflexive Architecture and the City

0' 10' 20'

40'

Sectional perspective

Scale: 1/32" = 1'-0"

Anna Kerr ARC 502—Spring 2020 Reflexive Architecture and the City

Reese Lewis ARC 502—Spring 2020 Reflexive Architecture and the City

ARC 503 Integrated Building Studio Professor Paul Lewis and Professor Guy Nordenson with Assistant Instructor Alex Still

Amphibious Hotel

2020

Workbook

Venice is inextricable from water. The relationship between the city and the lagoon has defined its evolution, its economy, its peculiar urbanism and its architecture. Rising water levels also presents its potential demise, prompting investment in a massive infrastructural project to control the amount of water that can access the Venetian Lagoon. Anticipated to be completed in 2022, the MOSE (Modulo Sperimentale Ettromeccanico) project involves extremely large submerged mobile gates, which can be raised to cut the Lagoon off from the Adriatic Sea to protect against high tides and flooding. However fascinating, the viability of this approach is problematic; expensive, irreversible, environmentally damaging and already potentially insufficient for sea level rise projections. As a counterpoint to this hard, engineering barrier, this studio will develop soft approaches to adaptation and will exploit the changing relationship between land and water as a catalyst for new building logics. The studio will develop new opportunistic architectural potentials from the dislocation of the building from the ground, and embrace the ground as part liquid and constantly in flux. Similarly, the program for the studio will be housing, which addresses two different types of adaptation. One is the physical adaption to water, which involves the calibration of the intersection between land and water, primarily in section. The other is a question of adaptation of demographics to the changes cultural and economic conditions of the Venetian Lagoon, addressing its decreasing

Master’s Program

population. Through the program of housing, the studio will invent new means of adapting buildings to rising sea levels, and design approaches to housing that can be viable within the lagoon. Given the loss of people in the Lagoon, how might new models of amphibious housing contribute to population adap tation in the region? How might housing and its relationship to landscape be reconfigured through access by boats and not cars? What collective programs can capitalize on the amphibious ground, and the relatively rural, site on Mazzorbo? The role of section and structure will be driving forces in this integrated studio. The liberation of the building from the ground plane is a reoccurring obsession for architects, seeking to produce new models of built form based in part on desires for weightlessness and, in the process, more productive use of the ground plane. Le Corbusier’s Villa Savoye, El Lissitsky’s Horizontal Skyscrapers, Lina Bo Bardi’s Sao Paolo Museum, to Yona Friedman and Contant Nieuwenhuys’ elevated city infrastructures all exemplify this desire to free the building or the city from the ground. Global warming and sea level presents a distinctly different motivation forcing a reconsideration of the relationship between the building and ground. Here the detachment from the ground is driven less by utopian ideals but by fear. While revised codes address this lift from the standpoint of public safety and structural integrity, the focus for the studio will be rethinking the

2020

Workbook

architectural and organizational implication of these transformations. This studio seeks to move beyond technical solutions for flood mitigation and ask how this fundamental change—disengaging the building from the ground—might sponsor the emergence of a new form of housing—one accessed by boat, and configured toward the islands organization, existing housing (including 36 apartments by Giancarlo de Carlo) and collective programs. The program will be relatively small, to allow for detailed development and careful consideration of all aspects of the building and landscape.

Master’s Program

Kaitlin Faherty and Matthew Maldonado ARC 503—Fall 2019 Amphibious Hotel

PROMENADE (EAST)

PROMENADE (WEST) SEA LEVEL RISE + EXCEPTIONAL HIGH WATERS ALL OF VENICE SUBMERGED (+200 cm)

EXCEPTIONAL HIGH WATERS (+140 cm)

SIDEWALK

NORMAL HIGH TIDE

NORMAL LOW TIDE

Section A

10 feet

PROMENADE (EAST)

PROMENADE (WEST) SEA LEVEL RISE + EXCEPTIONAL HIGH WATERS ALL OF VENICE SUBMERGED (+200 cm) EXCEPTIONAL HIGH WATERS (+140 cm) SIDEWALK

NORMAL HIGH TIDE

NORMAL LOW TIDE

Section D

10 feet

Serial Sections

10 feet

Section Perspective

Maeliosa Barstow and Jonah Coe-Scharff ARC 503—Fall 2019 Amphibious Hotel

2 feet

JUN. 21 - 15:00 JUN. 21 - 11:00

JUN. 21 - 13:00

DEC. 21 - 12:00

DEC. 21 - 15:00 DEC. 21 - 9:00

+10”: AQUA ALTA 0’0”: DATUM -2’-2” HIGH TIDE

-5’-8” LOW TIDE

SECTION C-C SCALE: 1’-0=3/16”

+10”: AQUA ALTA 0’0”: DATUM -2’-2” HIGH TIDE

-5’-8” LOW TIDE

SECTION B-B SCALE: 1’-0=3/16”

+10”: AQUA ALTA 0’0”: DATUM

-2’-2” HIGH TIDE

-5’-8” LOW TIDE

Art Uribe and Patrick Yundong Yang ARC 503—Fall 2019 Amphibious Hotel SECTION D-D SCALE: 1’-0=3/16”

SYSTEMS DIAGRAM SCALE: N.T.S.

ARC 504 Integrated Building Studio Professor Jesse Reiser with Assistant Instructor Sharif Anous

TOKYO 2020

2020

Workbook

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 off 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. 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.

Master’s Program

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. The budgetary issue even spilt over to the water sports venue located in Tokyo Bay, suggesting alternative sites outside of the prefecture. As such, the original notion of urban regeneration has been largely compromised and become a perfunctory agenda that merely obscured their scope of post-Olympic planning. The studio speculates on an Olympics on the landfill in Tokyo Bay and retroactively the design of a constellation of fields with respect to its post-Olympic inhabitation—the afterlife of a short-term event with far-reaching consequences for the city. Forming a compelling notion of what the future of the site could be, the project will investigate the potentials latent in the adaptation of Olympic programming to the present landfill, 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

2020

Workbook

recent bids’ efforts to enact deliberate urban agendas, the project suggests that the built form of the Olympic 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

Andrew Cornelis ARC 504—Fall 2019 TOKYO 2020

Fiorella Barreto ARC 504—Fall 2019 TOKYO 2020

-14' - 0"

Level 0

0' - 0"

Level 1

11' - 8"

Level 02

23' - 4"

Level 03

35' - 0"

Level 04

46' - 8"

Level 5

50' - 4"

ROOF

73' - 4"

TOP OF SEATING

129' - 4"

TOP OF CANOPY

-14' - 0"

Level 0

0' - 0"

Level 1

11' - 8"

Level 02

23' - 4"

Level 03

35' - 0"

Level 04

46' - 8"

Level 5

50' - 4"

ROOF

73' - 4"

TOP OF SEATING

129' - 4"

TOP OF CANOPY

-14' - 0"

Level 0

0' - 0"

Level 1

11' - 8"

Level 02

23' - 4"

Level 03

35' - 0"

Level 04

46' - 8"

Level 5

50' - 4"

ROOF

73' - 4"

TOP OF SEATING

129' - 4"

TOP OF CANOPY

SECTION A

2. SOUTH ELEVATION

1. NORTH ELEVATION

1/32" = 1'-0"

PRIMARY CIRCULATION SECONDARY CIRCULATION TERTIARY CIRCULATION TOKYO 2020

JESSE REISER

ANALYSIS

SITEPLAN

GREEN AREAS

Minglu Wei ARC 504—Fall 2019 TOKYO 2020

ARC 504 Integrated Building Studio Professor Alejandro Zaera-Polo with Assistant Instructor Joon Ma

Emerging Urban Technologies: The City of the Near Future

2020

Workbook

In 1933, Le Corbusier and a few other members of the CIAM issued The Athens Charter, a document aimed at orchestrating contemporaneous urban technologies into a coherent proposal for the future of cities. A classification of human activities became the vertebral spine of this proposal. Defying the dictates of Academicism and the Beaux-Arts (the prevailing disciplinar discourse at the time), modern architects focused on creating iconographies, scenographies and typological inventions to fit these propositions, triggering one of the most prolific ages of architectural innovation, a veritable Cambrian explosion of the architectural phyllum. Fastforward to 2019. Cities have become the prevalent human habitat on earth and the main source of inequality and environmental degradation (in contempt not only of the demos, but also of all of the non-human urban constituencies), which are even threatening the very subsistence of the planet. Despite the fact that the crucial questions cities need to address —air pollution, rising water levels, draught, heat island effect, deforestation, biodiversity, food security, automatized work, pervasive computation— are primarily driven by non-human concerns, cities remain primarily designed around human functions. A new breed of Academicism has taken over the architectural debate and is keeping architects busy pondering over the history of the discipline, languages and styles, indifferent about

Master’s Program

energy consumption, global warming, biodiversity, pervasive computation and the emergence of new constituencies —like Nero fiddling while Rome burned. Meanwhile, we inhabit ecosystems which transcend our specific urban realms. In the Anthropocene, the primeval elements —air, water, energy and earth— have been politicized, and therefore, urbanized. In this imminent cosmopolitical regime, these natural elements are mediated by the technologies that feed us, transport us, condition our environments, recycle our refuse, manufacture goods or connect us to each other. An entirely new set of technologies with urban or architectural applications have emerged and radically transformed urban protocols and experiences: smartphones, GPS, artificial sensing, electromobility, biotechnology, etc, while still remaining largely outside the practices of urban planners and designers. Peer-to-peer organizations, shared economies, automatized work, big data, sustainable energy sources, carbon-neutral technologies have become the drivers of a new kind of urban politics. This casuistic has loaded urban technologies with an unprecedented political relevance. Cities have become now a crucial intersection between technology and politics where the equation between wealth, labor, resources and energy have to be reset. Technologies are the crucial components of the imminent urban commons. The pressing nature of ecological concerns and the

2020

Workbook

scale of technological developments call for urbanization of both nature and technology. The purpose of the studio is to collectively investigate and explore the opportunities that exist for architecture in its engagement with these processes. Technology has become the primary driver of the imminent design space of architecture and urbanism.

Master’s Program

Yidian Liu ARC 504—Spring 2020 Emerging Urban Technologies: The City of the Near Future

Kaitlin Faherty ARC 504—Spring 2020 Emerging Urban Technologies: The City of the Near Future

Jane Ilyasova ARC 504—Spring 2020 Emerging Urban Technologies: The City of the Near Future

Jonah Coe-Scharff ARC 504—Spring 2020 Emerging Urban Technologies: The City of the Near Future

HEIGHTS ECTIVES

COND STREET

Arturo Uribe ARC 504—Spring 2020 Emerging Urban Technologies: The City of the Near Future

STREET

62 7

ARC 505a Graduate Vertical Studio Professor Stan Allen with Assistant Instructor Sarah S. Etaat

The House in the City: Introverted Urbanism II

2020

Workbook

The single-family house has long been a laboratory for design experiment. The program of the house touches on fundamental issues of public and private space, as well as basic architectural questions of inside/outside, structure, movement, enclosure and site. Questions of construction and material enter in, and the role of media, privacy, changing lifestyles and alternative work patterns have all been addressed in the recent past. For many architects, a house is one of the first projects they construct. The history of architecture is, in many ways, written through canonical houses. But it is also true that the single-family house is, more often than not, located on a rural or suburban lot. The anachronistic model of the villa in a pastoral landscape has had a surprising longevity in the discipline. At a time when architects have an imperative to address urban issues and the changing character of the city, the single-family house is often deemed irrelevant. But this is to ignore the facts on the ground, particularly in the context of the American city. While it is true that single-family homes make up a relatively small percentage of the housing stock in New York City (around 15%), in cities such as Philadelphia and Baltimore the majority of the housing stock consists of single-family houses. In Detroit, 70% of the population lives in single family units, the majority of which are detached houses. In northern Europe and the UK, single-family houses also make up a substantial percentage of the housing stock. Steen Eiler Rasmussen has characterized these as “scattered cities,” and they in turn became the model for the American city. Despite this, with a few notable exceptions, significant single-family houses, recent and historical, are almost all located outside of the city. The premise of this studio is that the program of the single-family house can be a powerful tool to work simultaneously at a detailed architectural scale and at an urban scale.

Master’s Program

Shin Chiu ARC 505a—Fall 2019 The House in the City

Will Fu ARC 505a—Fall 2019 The House in the City

PLAN 1:150

ARC 505b Graduate Vertical Studio Visiting Lecturers Frank Barkow and Regine Leibinger with Assistant Instructor Angel Firmalino

USA: The New Communal

2020

Workbook

In the third edition of our housing project following the “point tower project” and “megastructure/ superstructure” we now shift focus from Berlin to the U.S. to the individual American home. The ongoing goal has been to identify circumstances for affordable housing based on demographic, societal trends, legislation, economic dynamics, and technology. Arguably the contemporary project in Europe today is critical reconstruction or makeover of existing buildings/ structures/ infrastructures both as an idea about sustainability and one of economic viability. Here sustainability is seen not as an advanced technological solution rather one that gives more credibility to re-purposing the reuse of old things. The Financial Times, London reported May 11, 2019 on “America’s love affair with cheap old houses”, citing the Instagram account “cheap old houses” as a scrolling “down the rabbit hole”, of endless listings of houses for sale: the majority for under $100,000. and for the most part east of the Mississippi River, often in flyover cities, remote, or rural. Some listings are not housing at all: churches, grade schools, or even gas stations can be acquired for very little (or sometimes no) money. Houses listed on the Instagram site are typically single-family houses from late 19th century to early to mid 20th century, historical styled or modern.

Master’s Program

Demographically millennials or the FIRE movement (financial independent, retire early), are seen to favor such an investment / life-style choice as opposed to urban living (NYC/ Chicago/ LA/ San Francisco) which have become unaffordable for most and increasingly enclaves for the very wealthy. In a digitally interconnected society, a work/live paradigm enables geographical independence and dispersion. A post-industrial American hinterland that is rural or small town, is ripe for resettlement where land and housing stock is cheap. “for many Americans, particularly young people in cities where property values have outpaced incomes, such a house is an impossible dream.” It is not the intention of the studio to return these buildings to an historically accurate restoration, rather, the question is: what are transformative strategies that propel/ reconfigure such houses into a new resolution that reflects, demographics, life-style, a post nuclear family, and work/live. Such strategies can be additive, subtractive (cut and remove), about material enhancement or replacement, that inscribe new spatialities, and programming. Landscape may have a more definitive impact on these interventions challenging conventions of plot and house relationships. The idea is that a disturbance of these structures is about first destabilizing their historical as-is

2020

Workbook

condition then to re-stabilize in a way that will reveal new conditions of light, space, surface and program. Both the economics of construction and the realities of local building culture should inform these decisions.

Master’s Program

Helen Fialkowski ARC 505b—Fall 2019 USA: The New Communal

Anna Renken ARC 505b—Fall 2019 USA: The New Communal

Plan Scale: 1/8” = 1’ 0”

Chase Galis ARC 505b—Fall 2019 USA: The New Communal

Component Elevations Scale: 1/8” = 1’ 0”

Component Plans Scale: 1/8” = 1’ 0”

Landscape Sections Scale: 1/8” = 1’ 0”

Yard/ Apiary Storage

Meditation Room

Bedroom/ Bathroom

Chicken Coop

Kitchen/ Bedroom/ Bathoom/ Utility Room

Communal Gathering

Office/ Studio

Covered Parking

ARC 505c Graduate Vertical Studio Visiting Lecturers Cristina Díaz Moreno and Efrén García Grinda with Assistant Instructor Jamie Lipson

The Public Mind: Aetherization, Petrification, Depotization

2020

Workbook

During this semester the Studio The Public Mind will be dedicated to investigate the tensions and conflicts underlying both the possibility of an architecture of the public nowadays and the creation of compatible and critical architectural languages with the form in which technology and virtual networks have changed the way we socialize and create, consume and spread cultural constructs. This semester we will pay special attention to materiality and the definition of architectural languages based on material processes and syntaxes, that are consequences or responses to the digital turn. The Studio will be based on the assumption that there are materialities and construction processes that can be connected with collective aspirations and hopes better than others and also, they are capable of generating collective affections. The contemporary demands of achieving renewed ways of defining collective aspirations, consumption and production of objects and assets, and managing our relationship with the physical environment, find an alignment with materials, ways of energy management and relation to other species, as well as with forms of production and organization over time. Self-construction, lightness, the common, the affordable, what is within reach, the unfinished, the direct, the generous, the cheap, the assemblage, the ingenious, the playful, the durable or the reused find a resonance in contemporary ways of managing the commons and the public, as well as a critical and political dimension, difficult to channel in conventional forms of project design. Through carefully studying the physical and expanded contexts of the projects, defining forms of publicness and activities of each project, the students will face the process of aetherization, petrification and depotization for each public artefact, previously defining a neat spatial organization capable of Master’s Program

producing publicness. Following the translation of the domestic wooden architecture to stone construction of the Greek temples, defined by Auguste Choisy in his Historie de l’Architecture as petrified carpentry, the students will firstly translate their first spatial schemes into material assemblages and alternative forms of production, secondly privileging what is at hand, the cheap, the affordable in a sharp and playful way, and finally, they will define creatively the elements of the new language, trying to define alternative models of beauty. Taking New York as the site for these experiments, the students will select opportunity spaces, looking for relatively affordable locations with the maximum impact where to construct their public artefacts. The proposals shall be based on an intense and profound analysis of the physical and expanded contexts and the local relationship between places of socialization, leisure and consumption and the public sphere, and an intense and genuine relationship with the communities being attracted or present in the physical surroundings. The question about whether the emergence of the public nowadays is still possible will be the basis to support the creation of languages and space, organizations capable not only of facilitating gathering and physical encounters, but also installing themselves on the web of affects and expressions of Manhattan’s social constructions. Taking Hénaff and Strong’s assertion that “Public Space is a human construct, an artifact, and thus the result of the human attempt to shape the place and thus the nature of their interactions”, each student will define a public artifact capable of inducing forms of socialization that discuss the hegemony of leisure, consumption based, pseudo-public spaces and Private Owned Public Spaces (POPS) in New York, learning from them and from the popular culture of 2020

Workbook

the city, which often links the public sphere with consumption, leisure and with the high-brow culture. Moreover, the students will also discuss through their projects possible alternative materialities and energy management models to those that are still predominant in New York’s architecture. Rather than discussing only the relevance of public space today, this Studio aims to do so at a time when digital technologies have transformed not only our forms of socialization but, and more importantly, also the access to information and its veracity, and the way we produce and consume cultural and social constructs. The Studio will take this scenario as an expanded context in order to produce radical aesthetics based both on a form of inquisitive material realism and the initial analysis of social constructs strongly determined by technology. Grounded on abstract and theoretical aspects, The Public Mind however is a design studio committed with the architectural project as a form of knowledge in itself, and during this semester with an intense and direct relationship with materiality. It is dedicated to explore new languages based on material assemblages, tested mainly through models and drawings, that would overcome the antithetical notions of abstraction and figuration, in favour of processes of accumulation of links with any kind of cultural material throughout history and the social practices, to be finally submitted to a process of formal and conceptual synthesis. These speculative materialities will be conceived as a free fall into material creativity and play, with the aim of defining new, subtle and rich forms of beauty. As engineers of artificial paradises and social constructs, we will conceptually and formally search for refined answers to the quest for public space, in which intellectual clarity does not exclude accuracy, richness, and multiple levels of reading. Master’s Program

Luis Fernando Munoz ARC 505c—Fall 2019 The Public Mind

3.5 m

2.5 m

ROUNDTABLE RECORDING

UNFOLDING SEAT LIFTED

UNFOLDED SEAT SWING

SEATING POSITION

Sonia Ralston ARC 505c—Fall 2019 The Public Mind

Mahsa Malek ARC 505c—Fall 2019 The Public Mind

ARC 506a Graduate Vertical Studio Visiting Lecturers Sandy Attia and Matteo Scagnol with Assistant Instructor Martin Cobas

CERN—Data Center and Junk Archive

2020

Workbook

Architects typically respond to requests from others; they solve problems and fulfill wishes addressed to them. For once, in this studio we change the perspective, i.e., we start with our own visions, goals, or problems. Participants are invited to find out what they would like to see realized or changed in their personal or societal world. The aim of the semester is to produce an authentic personal concept of space that is nevertheless readable by others and has a certain universal relevance. To achieve this, we go through three phases: analysis, emergence of form, and inventing a coherent visible and tangible form.

Master’s Program

Patrick Yundong Yang ARC 506a—Spring 2020 CERN—Data Center and Junk Archive

fe=4 Ztam 00.7 pon= 6 400.

fe=3 Ztam 99.9 pon= 4 401. 0 fe=4 Ztam 00.7 pon= 8 401.

PS wire chamber CERN-OBJ-DE-038 Wire Chamber CERN-OBJ-DE-041 Gargamelle optical tube CMS Tracker Model

6478 R-

urop

3152

R40 01 9 R-1 40 R-RR23 1010 10 R01 R12 0 01 3 R- R20 00 1 9 8RR00 00 7 4R00 3

ute

CERN-OBJ-DE-079 ALEPH model Ro

R-

CERN-OBJ-DE-093 LEP tunnel monorail

R-

CERN-OBJ-AC-009 Focusing horn CERN-OBJ-AC-044

R-

R21 1 2

R-

J0 R2

R-

3R-

R-

R10 1 10 2

R-

CERN-OBJ-IT-027 1

Disk Interface 3380

R-

CERN-OBJ-AC-071 Antiproton focusing horn CERN-OBJ-AC-021

RE0 3153 3

Macintosh Floppy Disk box

TT 60

807

fe=4fe=4 Ztam Ztam 12.11 10.6 pon= pon= 9 412. 412. 38 33

R-

fe=4 Ztam 11.73 pon= 412.

876

fe=4 Ztam 06.4 pon= 5 406. 9

CERN-OBJ-DE-041

Gargamelle optical tube

CMS Tracker Model

RR17

CERN-OBJ-DE-079

R-

fe=4 Ztam 00.8 pon= 9 400. 99

ALEPH model

TI18

CERN-OBJ-DE-093

LEP tunnel monorail

fe=4 Ztam 08.7 pon=

fe=4 Ztam 09.6 pon= 6 409. 93

fe=4 Ztam fe=4 Ztam 12.2 pon= 11.8 pon= 8 412.412. 55 47

ALEPH model

5R-

407. fe=4 Ztam 13 09.1 pon= 6 409. 83

fe=3 Ztam 99.9 pon= fe=4 Ztam 4 401. 00.8 pon= 0 3 400. 99

CERN-OBJ-AC-009

R-

Focusing horn

CERN-OBJ-AC-044

R-

R00 3181 1

fe=4 Ztam 09.6 pon=

R-

409. 93

R20 40 1 1

R-

LHC Beampipe Section

Hydrogen Bottle LHC

CERN-OBJ-AC-068

CERN-OBJ-AC-066

Niobium Titanium and Copper Wire Samples LHC Magnet support post

CERN-OBJ-AC-047 CERN-OBJ-AC-048

Rock Samples from LHC excavation

Section of the LHC beampipe

CERN-OBJ-AC-063

Iron yoke LHC

TCC6

CERN-OBJ-AC-021

CERN-OBJ-AC-005

Accelerating Cavities

CERN-OBJ-AC-062

RR- 203 20 R-7 40 4 RR- R-40 01 40 3 9 5

TT2A

ute

EIN

3 R-

2 R-10 2 593 1 10

R-

01 R2 00

R-

RR-01 201 3

fe=4 Ztam fe=4 16.4 Ztam pon= 17.0 pon= 6417. 6 417. 21 28

R-

ute

EIN

40 RRRR-3 10 20 20 1 R-20 1 R-400R403 4 01RR00 R- 7 00 1 20 R- 4 016 1 R-1 20 R00R2 00 2 00R2 6 00 8 from LHC excavation Rock Samples

R02 1 2

R-

R00 8 R20 3 5 R20 R-R-104RR-10 1 40 R- R-R202 3 20 1010 1 2 43 CERN-OBJ-DE-090

R-

fe=4 Ztam fe=4 Ztam 32.8 pon= 31.5 pon= 6 433. 4 433. 03 03

Ztam pon= fe=4 Ztam 433. 32.4 pon= 12 6 433. 11

fe=4 Ztam 32.8 pon= 7 433. 04

MER

R-

20 NextStation Color 3 7 R-

1 R-

20 R-1 40

R00 613 1 R-

CERN-OBJ-IT-109

StorageTek T10000 Data Cartridge

600

R00 8RR21 R- 003 R5 R- R00 RR- R-20 21 6 40 00 6 005 R40 7R- 3 8R- 6 20 40 R- R5R-00 7 10R-40 R- R-R009 R-21204 R41 4040 2 2 10 R4 96 R0 20 3 10 3 R- RR7 1 CERN-OBJ-IT-053 00 R-301 01 1 2 20 2 R- R21 00 RR0 1 02 R-R-21 0 21201 R23 02 2 RR20 20 9 1 R01 6 R01 7

504

CERN-OBJ-DE-071 Tracker Outer Barrel "rod" CERN-OBJ-DE-095 UA1 Prototype detector CERN-OBJ-DE-001 513

R01 01 R-1 4 20 RR301 00 2 9 RR01 00 R- R-22 0 7 R03 6 0 00 RR- R8 03 00 20 1 1 R- 2 VAXBARN Logic Board RRCDC 6600 03 00 R- 05 3 2 R05 3 R03 1 20 R4 R- R-21 1 00 R03 2 20 R5 1 RR00 R7 03 21 4 R00 7 00 R-01 R3 RR- 9 6 03 20 1 00 R6 00 20 1 R5 R8 R-20 R03 R40 4 1 007 01 R- 8 1RR0 21 00 00 RRR0 9 R3 20 07 20 01 R1 0 2 RR2 20 R21 05 RR- RR8 8 R- R0 00 01 R-20 R- 013 06 10 R6 10 R6 202 01 9 R140 RR- 20925 R-05 02 R-5 5 CERN-OBJ-IT-107 00 04 2 R01 R- R-020 8 2 02 R- 6 RR7 22 04 2 10 01 0 R- R- RR2 3 R02 21R06 9 R04 4 01020 R- RR8 1 3 02 R- R-420 20 01 02 R1 04 5 2 R- 6 402R-02 R5 8 02R04 R3 8 03 R-02 6 40 RRR2 R21 0 5 04 01 02 4 8 R4 R7 40 01 R1 5 R22 01 R- 7 R7 R40 40 7300/166 Power Macintosh Pa 01 3 4 R8 LE rking 06 R0 S R21 RSO 02 3 20 PH 0 6 OR RA 02 3 RR513 02 20 4 R-7 02 7 R-

MAN

364 R-

fe=4 Ztam 32.1 pon= 2 432. 65

fe=4 Ztam 31.2 pon= 6 432.

R00 141 1

fe=4 Ztam fe=4 Ztam 31.1 32.2 pon= pon= 54 432. 432. 4239

R40 1077 1

fe=4 Ztam 31.1 pon= 7 432. 4 fe=4 Ztam fe=4 28.0 pon= Ztam28.8 fe=4 Ztam 3 432. pon=9 30.11 pon= 39 432. 432. 39 39

fe=4 Ztam 28.11 pon= 432.

fe=4 Ztam fe=4 Ztam 32.8 pon= 31.1 pon= 6 4 433. 433. 03 03

Ztam

432.

R-

R20 351 1

40 3635

R-

fe=4 Ztam 30.3 pon= 8 432.

R-

429.

R00 2 5 R00 R1 30 R-R- 1 4020 63

50 363 1 R-

R-

7 429. 429. 75 75

R-

R- R00 00 4

Ztam pon=

R-

6 R-

R-

151R-011

R-

R26 26 5 1

R-

02 R-00

150 1

R-

3 R-

00 2 R-

R-

01 1

R-

fe=4 Ztam fe=4 fe=4 Ztam Ztam fe=4 31.3 Ztam 32.1 pon= 31.3 pon= 31.3 pon= 2 pon= 2 24 432. 432. 432. 432. 38 37 38 38

fe=4 Ztam 30.2 pon= 1 432. 36

Ztam Ztam pon= pon= 432. 432. 36 36

R-

40 R-2 01

fe=4 Ztam fe=4 Ztam Ztam 31.2 pon= 31.2 pon= pon=9432. 9 432. 432. 37 3736 fe=4 Ztam Ztam fe=4 29.0 fe=4 Ztam pon= Ztam 32.0 pon= 2 32.0 pon= 432. pon= 88 432. 432. 36 432. 37 21 21 Ztam fe=4 fe=4 pon= Ztam Ztam 23.8 27.9 427. fe=4 pon= pon= Ztam 1 81 7 29.5 427. 432. pon= 81 374432. 38 fe=4 Ztam 27.5 pon= 1 427. 71

fe=4 Ztam 27.8 pon= 5 432.

1 R-

ATLAS Liquid Argon Prototype R-

pon=

432. 39

1079 R312 00

fe=4 Ztam 28.1 pon= 3 432. 4

40 R-2 40

R-

432.

fe=4 Ztam 31.7 pon= 1 432.

R-

40 R-5 40

2 R40 R-6052 1 40 R-6053 1 40 R-6054 1 40 R-6055 1 40 R-6056 1 6057 40 1

fe=4 Ztam 31.1 pon= 8 432.

fe=4 Ztam 31.9 pon= 3 432. 53

fe=4 Ztam 28.1 pon= fe=49 Ztam 432. 28.0 pon=39 3 432. 38

R-

01 1 R-

R-

40 1 2007

R-

0 R-

R- R-40 40 6

R-

4 R-

R-

156

R-

26 R3 20

R-

R00

NEW

R-

300 R-

Quicksilver20Power Mac G4 4

RR00 40 9 2 R- R00R20 40 R-40 200 8 R-3 R-6 R4 R01 01 20 02 0 R1 5 2 01R6 01R8 02R2 02 6R-03 0

R-

160

Pa rking LE S CH EN

CERN-OBJ-IT-063

ute

LA WR

Laboratory Handbook Electronics

20R7 CERN-OBJ-IM-18 R- 009 00 5

R40 R- 9 40 05 R-R740 2 5 40 3 R- R-05R-00 40 R- 5 R- R1 021 10 10 1 2 5 R01 0 R00 8 R-R-20 40 2 6R-

R-

1 R-

R-

72 R-

R-

Rou

RR-

R-

CERN-OBJ-IT-127

R-

R50 R-6104 20 1 R-2 R-205 R26 R-

R40 00 R-7 2009 2 40

2002

R-

120

R-

R6501 00

CERN-OBJ-DE-079 05

R-

6 RR20 00 4 8

40 2003 1

R-

3 R-04

5 R-

4 R05

2R-

fe=4 Ztam 28.2 pon= 6 432. fe=4 Ztam 27.9 pon= 5 432.

R29 R41 R-1 R1 4

21 4 RC3 CERN-OBJ-DE-083 3 RR- R21 R- R21 RRA2 42 3 R- 107 0 C2 C3 10R5 R-7A2 9 R0 R- 6 04 RR-4 R-C2 A2 03R- 0 C2 40 1 R6 7 5 R- 0 050 RR40RA2RC2 R-R- A17 5 06 0 41R- R2020 4 R-B2 0 R9 C2 20 R- 7 6 R- R1B2R-B2 1 R-2C2RA1 3 A1 C1 C2 R4 1 R0 R-0 R5 R-21 2 20R-RA0 1 R- C18 417R-8 2020 R- R- 9RRB1 4 5 C1 A0 20 10 C0 R8 6 5 9 1 5 R-20 R-C1 RB0 R- B16 1 R-C1 RR- R-42 RDisk System 21 2 CP 9Hard A0 21 R- 2 0 R- B14 1 R-1 0 C0RRB1 C0R- 40 6 10 R-B1 2 1 C0R- 1 2 R0 3 C0R2 C0 R- R-21 B06 4 B0 R-5 3 B0 1 Route EIN STEIN

103

R-

163

01R0 00

R-4 40 R3 20

Ztam fe=4 Ztam 30.6 pon= pon= 8 432. 432. 0 0

00R4 00R- RR3 00 10 00 R- R-140 R3 R- R-4 20 R-110 10 1 1 2 002 2R-20 20 R- 1 R- 204 C4R-10 00 5 3 1

7 R-

104

00 2012 1

fe=4 Ztam 32.2 pon= 3 432.

00 R6 00 8 R-

6 R-

26 2 R-

3 R-

R-

7 R-

9 R-

R-20 401 263 1 3

6102

fe=4 Ztam 31.3 pon= 4 432. 35

fe=4 fe=4 Ztam Ztam 31.9 31.9 pon= pon= 88 432. 432. 55 55

R-

00 R- 5 20 R1

40 R-4 40

R-

6157 R-

fe=4 Ztam fe=4 Ztam 31.9 31.9 pon= pon= 98432. 432. 6 fe=4 61 Ztam fe=4 Ztam 32.0 32.0 pon= pon= 55432. 432. 62 62

fe=4 fe=4 Ztam Ztam 32.0 32.0 pon= pon= 55432. 432. 62 62

R-

262

R-

R20 R- 2 02 0 RR-

R-

Ztam

157

R-R1040 R16 20 7

fe=4 Ztam 31.2 pon= 3 432. pon= 41 432. Ztam 39 pon=

fe=4 Ztam fe=4 30.2 pon= Ztam fe=4 6 28.3 Ztam 432. pon= 28.2 38 432. pon=7 38 432. fe=4 39 Ztam 31.1 pon= 8 432. 39

R-

252

R-

7 R- 408 40 9

R-

R06 R2 R-106 04 R2 5 00 R3 063 R05 R9 06 R0 00 7

fe=4 Ztam 31.6 pon= 9 432.

Ztam

R-

20 R-3 01

R-

fe=4 Ztam 31.7 pon= 8 432. 67

R-

367

5 R-

6 R-

R-

574R-002R-R-2020R-2100

R-

R20

RR- 402 RR- 40 20 2 R- 2054 R- 406 R40 00 R- 8 3 10 R1 20 4 R20 6 R41 0 R41 2 6103

40 379 2

R6573 00

R-

fe=4 Ztam fe=4 Ztam 31.9 31.9 pon= pon= 66 432. 432. 49 49

R-

R40

R-

Ztam fe=4 pon= Ztam fe=4 Ztam 32.1 32.1 pon= 432. pon= 432. 38 432. 38 38

00 251 7

fe=4 fe=4 Ztam Ztam 32.0 32.0 pon= pon= Ztam 22 432. 432. pon= 4141 432. 41

RCERN-OBJ-DE-095 402201 R-40

R-

R40 149 1

R-

R40 R- 40 211 1 40 6 R-

653

Ro ute DE 40RMO 7 40 RCR 6 40R- CERN-OBJ-IT-031 ITE R5 40R8 440RR- 10RR340R10 2 00R- R20 240 1 4 20 20 1 R2 13 00 R3 40 R9 20 4

427.

fe=4 Ztam fe=4 Ztam 31.9 pon= 31.9 pon=3 3432. 432. 54 54

R40 241 1

R00 R- R-320 00 3 9

432. 4

544

R20 50 R-1 9 26 R5 26 1

359 pon=

432.

R-

573

R-

427.

R-

R40 R- 4 40 R- 3 40 2 20

STEIN

R-

Ztam

Ztam pon=

R-

1 R20

pon=

3532 432. 4

Ztam Ztam

352

R-

RR00 R-20 R8 R402 20 R- 1 R-110 R00 00 R01 1 1 2 R2 00 R- 001 4 00 RRR-20R- R00 3 20 10 6 R10 R- CERN-OBJ-IT-076 R- R-20 R- 4022 R00 R-3 005 00 R-1 40 1 R- 1401R-20 8 00 1 2 10 R- RRR2 20 00 R- 001 R- 1 402 01 7 4 00 0 R-00 200 4 5 RR9 01 R01 R2 01 R- 0 007 R20 RR1 4011 02R03 R7 02RR6 03 R-RR0 01R01 R8 R20 01 8 3 01 20 00 4 R-01 6 R-01 3R- 210LTC 2009/51 8 R- R- 1 Philips 7 02 R20 10 4 R-01 R3 02 R- R- R-01 R5 1 10 2 R-01R- R- 02 9 R1 R-01 209 20 3 6 0 00 R-10 5006 9 R-8 101 RRR20 3 00 01 20 RR7 10 R- 1 R-00 7 R01 R2 2 00 01 R5 01 R- 3 R-00 2 R5 R-00 21 R00 R- 4 01 1 20 7 5 00 3 R-01 1 R- 9 RRR- R-20 20 20 01 R- 10R- 2R-00 6 4 1 R- 9 R-02 R- 6 RR- 10 120 R2 02 R- R- 20 00 10 2 R-140 8 20 R-1 3 00R9 3 R- 3 1 20R22030 R00 R6 1 5 00 00 7 01 R3 R00 0 R- R- 7 R00 4 00 20 R01 R5 5 2 RRR1 01 00 00 01R01 2 CERN-OBJ-IT-115 4 001 1 R- 1 2 RRR- 10201 R01 R- R-01 10 1 4 20 R00R4 3 R2 02R4 00R02 202 R6 01 9 R-R-40 0R00 0 20 R1 8 02 4 02 1 8 R-02 6 R- RR- 202 02 9 20 Ro 3 ute RDE 40 MO 4 RCR 40 RITE 2 40 R1 01R8 01 6 RR40 01 3 0 RR21 R00 7 20 8 R- R- R5 00 20 03 R00 2 6 0 R- 4 R20 20 R3 00 1 9 RR00 00 5 1 R01 9

R- R00 40 2 R-1 00 R- 003 6 00 R01 R5 0 00 R01 R9 Olivetti 4 01 R- M10 01 3 8 RR- R-R02 2010101 2 1 2 R02 R-01 6R7 R02 02 1 8R03 0

RR-

352

fe=4 fe=4 Ztam Ztam 29.0 28.9 pon= pon=8 432. 432. 39 38

352

fe=4 Ztam fe=4 32.2 fe=4 Ztam Ztam pon= 32.2 31.3 pon=8 pon= 6 432. 6 432. 65 432. 37 37

R- R-26 10 2657 1R00

Ztam pon=

R01R3 00R9 00R- R40 5 00 10 2 RR- R-3 R-1 01 20 10 40 4 R- 1 2 1 00 R8 00 4 RR- 00 20 2 2

RR- 407 R- 406 40 5

6250 BPI Magnetic Tape Olivetti

R-

512

fe=4 Ztam 31.1 pon= 6 432.

R-

212 R-

CERN-OBJ-IT-095 5

R-

200

40 R- 40 9 40 R-3 242 740

R-

EIN

R-

RR- R- 404 40 R3 2010 4R-101

165

R40 00 6 7 00 R6 01R- RR0 01R- 20 R-40 R- 20 40 2 4 02 R1 2 5 0 201 R-00 1

01 1

132

R40

Pa LESrking MU RIE

Route

253R-5 004R-003

505

fe=4 Ztam 28.0 pon= 9 432.

R-

R50 R1 R-02R261 26 1 3 26 R5 26 2 R-10 R-R- 7 20 1 R- 40 3 R20 1 00 1 6

00 2 R00 6R40 R00 1 00 4 RR- 8 00 01 1 0

2 R-

fe=4 Ztam 28.0 pon= fe=4 Ztam 2 432. 28.8 pon= 38 8 432. 38

RR-

R-

1 R-

R-

ute Unknown de

207 R-

R-

RR-

R- R00 20 2 R-220

R00 243 1

R-

201

4 R01 R-R2 2020 21

R202 40

R6058 40 R1 40 6059 1R-40 6060

850

357R-

R-

CERN-OBJ-IT-123

RR- 10 10 R-2 R-1 10 20 R- 3 1 R- 012 01 0 R10 R-4 00 1

R-

2 R40 R4 40 6 R9 00R7 00 RR20 5 402 3 1 R- R20 20 2 1

RR-

R01 4 R00 RR-R01 R- R-20 8 00R4 00 R-4010 5 00 2 2 102 2 9 R-00R1 7 00R- R3 00 R-20 R- 1 401 20 40 1 3

R-

R40 270 1

R-

fe=4 Ztam 31.8 pon= 1 432.

CERN-OBJ-AC-072

R368 00 3

R26RR- 4 022 26 2 6

R40 R3 40

fe=4 fe=4 Ztam Ztam 31.9 31.9 pon= pon= 88 432. 432. 49 49

350 fe=4 Ztam fe=4 Ztam 31.9 31.9 pon= pon= 35 432. 432. 53 55

A Diode Matrix model M792

R-

R00 607 1

fe=4 Ztam fe=4 32.1 Ztam fe=4 Ztam pon= 32.0 32.0 pon=8432. pon= 66432. 38 432. 38 38

R-

26 R8 26

119R-001 3

R00 7 R40 640R-

R-

R00 159 2

40 238 1

R-

Data transfer switch

00 1 266 R-

R-

pon=

R40 225 1

RRR-20 202 6

STEIN

01R002

CERN-OBJ-DE-001

R-

ITE

40 356 6

fe=4 Ztam fe=4 31.6 Ztam pon= 31.1 pon=2432. 5 432. 39 4

00 73 2

R-

432.

Tracker Outer Barrel "rod" R-

R-

fe=4 Ztam 31.2 pon= 5 432. 41

40R140

R-

429. 75

432. 28.5 pon= 423 fe=4 Ztam 432. 28.3 pon= 4 1 432. 4

R-

fe=4 Ztam 28.8 pon= 7 429. 9

fe=4 Ztam 28.7 pon= 9 432. 42

R-

20 R-01 4 0

429. 75

432.

00 R3 00

fe=4 Ztam 29.6 fe=4 Ztam pon= 32.2 pon= 432. fe=4 Ztam 2

fe=4 Ztam 32.4 pon= 2 432. 59

fe=4 Ztam 29.0 pon=

R-

CHT, CERN HIPPI Testbox IBM 5150 Computer CERN-OBJ-IT-118 CERN-OBJ-IT-116 R-

429. 75

Ztam fe=4 Ztam pon= 29.1 pon=

40 R1 40

fe=4 Ztam 30.7 pon= 5 434. 1

R-

pon=

R-

00 00 5 351 1

fe=4 fe=4 Ztam Ztam fe=4 Ztam 32.1 32.1 32.0 pon= pon= pon= 337 432. 432. 432. Ztam 39 39 37 pon=

R-

429. 77 Ztam

Ztam pon=

R-

fe=4 Ztam 28.6 pon= 7 429. 9

fe=4 fe=4 Ztam Ztam 32.1 32.1 pon= pon= 98 432. 432. 439

429. 75

R-

Cryogenic Valve LHC

R-

Ztamfe=4 Ztam pon= 28.7 pon= 429. 5 429. 75Ztam 75 pon=

131

Ztam pon=

fe=4 Ztam 31.7 pon= 7 434. 1

00 R4 40

fe=4 Ztam 31.9 pon= 8 432.

fe=4 Ztam 32.2 pon= 7 432. 44

429.

R-RR-20

20 CERN-OBJ-AC-064 30826

fe=4 Ztam 28.9 pon= 5 429.

Ztam

R-

fe=4 Ztam Ztam 32.3 pon= pon= 432. 429. 4 77

pon=

ute

fe=4 Ztam 28.9 pon= 1 432. 41

432. 41

CP Hard Disk System Unknown Sonia Ralston CERN-OBJ-IT-136 CERN-OBJ-IT-127 ARC Philips 506a—Spring 2020 HP 2671G GRAPHICS LTC 2009/51 CERN-OBJ-IT-115 CERN-OBJ-IT-119 CERN—Data Center and Junk Archive Ztam

ute CERN-OBJ-DE-057 EIN

R-

fe=4 Ztam 28.9 pon= 1

fe=4 Ztam 31.4 pon=

fe=4 Ztam fe=4 Ztam 31.9 pon= 31.9 pon=8 7432. 432. 53 52

R40 1078 1

432. 4 fe=4 Ztam fe=4 29.4 Ztam pon= 31.2 1 pon= 432.fe=4 4 Ztam 432. 4 31.2 pon= 4 fe=4 Ztam fe=4 9 Ztam fe=4 432. Ztam 31.2 30.6 pon= 32.2 pon= 39 pon= 9 4 6 432. 432. 432. 41 39 41

561

fe=4 Ztam 29.0 pon= fe=4 Ztam5432. Ztam Ztam 29.0 pon= pon=4 pon= 1 429. 429. 429. 75 75 77

R-

CERN-OBJ-DE-094

R00 R-00R- R1 3 005 00 R-R- RR- R71010 01R-01R02 02R2 1 1 RR0 2 00R-00R3 015 01R-01 R- 20 2 4 00 R- 40 7 9 1 R6 40R-100R-01R2 8 0 01R-01R- 021 2 6 01 8

fe=4 Ztam 30.7 fe=4 Ztam pon= 6 32.8 pon= 433. 6 03 433. 03

CERN-OBJ-IT-058

fe=4 fe=4 Ztam Ztam 32.0 32.0 pon= pon= 44432. 432. 59 59

Ztam fe=4 fe=4 Ztam Ztam 31.9 31.9 pon= fe=4 pon= pon= Ztam 85 432. 31.8 432. 432. pon= 4 39 39 432. 39 39

R40 289 1 fe=4 Ztam 32.3 pon= fe=4 Ztam 433. 32.8 pon= 03 6 433. 03

fe=4 Ztam 31.9 pon= 8 432. 65

587

pon=

R- R-20 01 4 8 R-

R-

R40 R1 22 R- R- 1 R-00 20 10 2 R-1 1 10 2

6474

RR-

588

R-

R- R02 02RR- R2 R- 0 01801 R-6 01R-401R- RR- R20 01 R40 R40 02R- R2 R2 2 0 00800R-00 20 1 7 02 02 1 5 RR-6R- 4002 3 021R-R1010 R20 CERN-OBJ-IT-047 2 1 011R-00 R- 3003 9 00 7 R- R-03 R04 R- 6 03 R040 0 02RR- R6 024R-R1010 R- R- 1 R-20 03 02R2 101601R-00R- R2 R1 R- 2 800 00 9 027 02 R-01 R6 4 3 9 01 R- R-201 5 011 00R- R7 005 00 3

R40 237 1

R40 R- 4 40 R3 R40 40 1 2

432. 68

fe=4 Ztam fe=4 Ztam 32.0 32.11 pon= pon= 6 432. 432. 63 63 fe=4 Ztam fe=4 Ztam 31.9 31.9 pon= pon= 66432. 432. 63 63

R-

125

R-

fe=4 fe=4 Ztam Ztam 32.0 32.0 pon= pon= 77 432. 432. 66

fe=4 fe=4 Ztam Ztam 30.4 33.2 pon= fe=4 pon=1 2 Ztam 432. 433. 33.2 pon= 4 56 2 433. 56

R00 305 1

R6141 40

RR- 26 26 R1 00 R- 5 1 01 1 RR- 202 R20 00 1 3

Ztam pon=

361

fe=4 Ztam 32.8 pon= 6 433.

OS ute

R00 R158 6 40

RR-R-20 20 1101 2 R00 3 00 R7 00 8 R40 1

fe=4 Ztam fe=4 Ztam fe=4 30.9 Ztam 32.2 pon= pon= 28.3 25 pon= 432. 432. 7 fe=4 Ztam 432. 4241 fe=4 4 29.4 Ztam pon= 29.2 pon= 432. 3 432. 39 4

442.

fe=4 Ztam 40.2 pon= 8 441. 4

fe=4 Ztam fe=4 Ztam 32.8 pon= 31.2 pon= 6433. 1 433.

R-

R-R1010 R42 01 R-R- R-20 2 4010R- 4 3 5 10 RR-3 R20R- R20 01 R5 1 R- 2R-00 10R43 4 1 20 1 R3 106 002R43 179 RR00 2 03 ATLAS 6 20 Radiation Tracker R- R1 R-40 Transition 1 02 02 1R-00 9 7 RR3 00R03 3 1 00 R5 02 R5 R20 6 02 R3 02 1 435.

Graham Magnetics EPOCH 480 Magnetic Reel Tape

pon=

fe=4 Ztam 40.4 pon= fe=4 5442. Ztam 39.9 pon= 4 1 442. 4

R-

269 Section of the LHC beampipe CERN-OBJ-AC-060 Unknown Unknown 214 CERN-OBJ-DE-083 CERN-OBJ-DE-090 SIER

ute

Ztam

02R5 20

fe=4 Ztam fe=4 32.8 pon= Ztam 6 31.2 fe=4 pon= 433. Ztam 4 32.8 433. 03 pon= 6 fe=4 03 Ztam 433. 31.7 pon= 03 433. 03

R-

130

fe=4 Ztam 34.5 pon= 5 435. 75 3

pon=

00 4 365 R-

1 1

R-

fe=4 Ztam 32.0 pon= 2 432.

fe=4 Ztam 28.1 pon= 3 432. 41

R-

fe=4 Ztam 32.2 pon= 4 fe=4 432. Ztam 66 32.4 pon= 9 432. 66

R-

R- R-00 00 5 1 R-R- R2030 R- 00 1 120 3 R3 R-20 405 1

R-

fe=4 Ztam 34.2 pon= 5 434. 9

RR- R-1 20 855 20 26 2

R40 362 1

fe=4 Ztam 34.7 pon= 5 435. fe=4 75 Ztam 35.5 pon= 8 435. 75

fe=4 Ztam 32.8 pon= 7 433. fe=4 04 Ztam 32.4 pon= 3 433. 04 fe=4 Ztam fe=4 32.8 pon= Ztam 6 31.7 pon= 433. 7 433. 03 03

Pa LE rking S ME RI

838

R-

R03 6 03 R- RR20 R-5 034R- 2 03 03R0 R20 4 R- 503R10 R20 3 03 R-02R6 10 R1 6 7 40 R-4 8 01R0 00 10 R8R-00 7 10 R-00 RR9 R00 9 R-20 4 40 R02 R-R-20 R-00 1 2 3 1 02 5 710R-200 R-R-R-20 3 310R30 2 1 40 1R203 R140 R1 02 5 R- 007 20 R- RRR- 2 01 10 00 01 1 R5 3 3 20 R-3 01 R- R1 01 RR-7 20 00 40 1 R2 6 R01 R00 R0 00 5 40 1 4 R20 RRR4 00 R00 20 R4 40 8 RR- 3 R- 205 5 00 00R00 UA1 Prototype detector 9 400R-01R- R9 R125 R8 01R- 20 40 0R- R-10 1 20 1 4 R20 1 21012018R02 R- R-20 2 02 4 4

179

442. 4

361

6905

Ztam fe=4 Ztam 34.5 pon= 5 435. 3

R1 R-40

128

R-

198001 R-

01 0 R20

R00 R- R-21 4 R-10 10R- 1R- 4 4 3 102 002

2 R-00

CERN-OBJ-AC-039

ITE

R-

fe=4 Ztam fe=434.6 Ztam pon= 35.5 pon=2435. 8 435.75 75

RR-

20 R1 00

STEIN

432. 66 fe=4 Ztam 32.4 pon= 9 432.

CERN-OBJ-IT-094

20 R-1 R- 402 40 4

fe=4 Ztam 41.0 pon=

R-

360

fe=4 Ztam fe=4 Ztam 32.8 pon= 31.3 pon= 6433. 1 433. 03 03

R-

40 1 5 271 R-

fe=4 Ztam fe=4 Ztam 31.9 pon= 32.4 pon= 1 432. 4 432. fe=4 Ztam 66 6632.0 pon=

fe=4 Ztam fe=4 34.4 Ztam pon= fe=434.4 4pon= Ztam 435. 35.5 pon=7435. 875 435.75 75

41R1 40

R-

EIN

02 R0 00

fe=4 Ztam 35.2 pon= 5 435.

Route

R-

Route

Antiproton Target

R-

1070

fe=4 Ztam fe=4 Ztam 31.9 pon= 32.4 6 pon= 432. 5 432. 6

R-

129 R-

R20 6 20 4

1 R00

R02 170 4

ARD GOW

G25

40 R1 30

R-

S1 R5 S2

G20 R-

4 R-

R-

LHC Accelerating Cavity Prototype R-

R40 239 1

R2 R10 10 2 1

Route

R-

R- R-B1 RE1 9 8 B2 0 RRE2 B2

R20 20 6 5

186 R-

R-

fe=4 Ztam 34.4 pon= 6 434. 63

R-

Rodime Hard Drive

R00 245 1 4 00

1 R-

R- R-00R-00 R20 7 R20 1 R-8 406 7 20 5

R-

R6077 40

ter

40 R-10 3 1 R00 2

40 1 R-

R-

4 R-

fe=4 Ztam fe=4 32.8 pon= Ztam 7 31.8 pon= 433. fe=4 3 Ztam 433. 04 32.8 pon= 04 7 433. 04

Boos

R-

Ro ute

3 R-

R-

R- R-K0 20 3

RR-

ute

R-

801

TT2

R-

fe=4 Ztam 32.2 pon= 4 433. 04

fe=4 Ztam pon= fe=4 32.8 Ztam 7 31.9 pon= 433. 1 04 433.

800

fe=4 Ztam fe=4 Ztam 32.8 pon= 31.3 pon= 6433. 8 433. 03 03

fe=4 Ztam 36.3 pon= 2 436. 49

TT1

R00 1 CERN-OBJ-IT-102 RR20 40 13 R- R40 40 1R- 2 10 1

437. 04

fe=4 Ztam pon= fe=4 32.8 Ztam 7 32.0 pon= 433. 04 433. 04

R20 RR-4 02 20 1 R-03 5 R0 R01 02 9 6 R01 02 7 4 R02 0 RR01 00 9 R-01 8 R6 RR- 014 00CERN-OBJ-AC-071 01 7 RR2 00 01 5 0 RR00 00 6 3 R-00 RR20 R10 1 4 00 R- 2 2 10 R1 20 2 R-

R-

fe=4 Ztam 36.4 pon=

6608

6607

fe=4 Ztam fe=4 Ztam 28.1 pon= 28.7 pon= 5 428. 1 428.

fe=4Ztam fe=4 Ztam 30.8 pon=30.1 pon= 2 4 430. 430. 99 94

R-

CERN-OBJ-DE-029 196 Unknown LHC bending 370 magnet coil CERN-OBJ-AC-043 CERN-OBJ-DE-080 Obelix Wire366Chamber 37

FO RD

fe=4 Ztam 32.8 fe=4 pon= Ztam 7 32.0 pon= 433. 7 04 433. 04

R-

TREE

R-

R50

20R1 21

R-

fe=4 fe=4 Ztam Ztam 31.1 31.5 pon= pon= 8 431.431. 73 75

RR- 001 00 R- 6 R- 002 00 R- 3 00 4 R00 5 RR- 007 R-8 R- 00 20 R- 009 1 R- 01 CERN-OBJ-IT-101 0 R- 011 01 2RR01 R- 101 R10 4 01 2 5

CERN-OBJ-IT-090

20 12 1

R199 00 1

3 170 R40

R-

IBM 4 Gbyte Hard Disk fe=4 fe=4 Ztam Ztam 29.7 28.8 pon= pon= 9 429. 429. 83 87

TT6 859

R- R-00 00 3 R- 1R00 20 2

3 00 R9 00 R-5 00

6609

R00 R195

fe=4 Ztam fe=4 Ztam 34.4 pon= 34.3 pon= 6 4434. 434. 94 94 fe=4 Ztam fe=4 Ztam 33.2 pon= 28.0 pon= 4 7 434. 428. 24 97

R-

834

fe=4 Ztam fe=4 Ztam 34.3 34.3 pon= pon=4 4434. 434. 94 94

R- 2 235 00 1

Array of lead-glass blocks from OPAL D SUOUAN ISS E E

Niobium Titanium and Copper WireR-Samples 20

R-

50 R1 40 R-40 2 3 R40 1

fe=4 Ztam 34.3 pon= 4 434. 94

1 40 Control R- Data Floppy Disk 1 840

Focusing horn

fe=4 Ztam fe=429.8 Ztam pon= 1 30.3 pon=430. 8 56 430. 6

R-

fe=4 Ztam fe=4 Ztam 32.8 pon= 31.4 6 pon= 433. 6 433. 03 03

TT7

589

CERN-OBJ-IT-083

R555 R-R40 R1040 1

197

fe=4 Ztam 32.8 fe=4 pon= Ztam 7 32.1 pon= 433. 5 04 433. 04

R00 R- 1 RR10 3 00RR- 10R10 2 20 3 00R5 00 RR- 1 R7 00 20 1 00 2 R-9 2R-00 00 R4 6 20

Multimeter

508

Sony 40 MB Vintage Hard Drive

iTECH by INTEL

CERN-OBJ-IT-126

Single Platter of a CDC 7638 Disk Drive

CERN-OBJ-IT-090

00 4 R00 00 6 8

R20 01 5 R- 5 R01 R01 0 00 3 R-8 R-00 20 9 2 RR00 R21 6 00 0 5 4 R00 2 R3 R20 00 R-00 8 1 R1 20 R5 2 02 6 R-CERN-OBJ-AC-048 21 3 R02 R8 00 RR- 1 002 00 5 R40 1 RRoute 20 R1 DE 20 MO 2 CR ITE

fe=4 Ztam 36.9 pon= 5 437.

fe=4 Ztam 33.2 fe=4 pon= Ztam 8 32.2 pon= 433. 45 4 433.

CERN-OBJ-IT-122

CERN-OBJ-IT-131

393 CERN-OBJ-DE-057 Scanning Table 232

433.

SONY trinitron KX-14CP1

VICI Repeater

CERN-OBJ-AC-063

Array of lead-glass blocks from OPAL R00 R2 00 RR-4 00 R00 R16693 6 00 R-008 1 22 CERN-OBJ-IT-056 R2 00 3 R22 RR-1 00 01 R1 7 00 R- 9 00 5

CERN-OBJ-IT-128

R-

IOSC HIPPI 8x8 switch

CERN-OBJ-IT-129

R-

fe=4 Ztam 32.8 pon= 6 433. 03

CERN-OBJ-IT-123

Sony 40 MB Vintage Hard Drive

IBM 3480

Data transfer switch

CERN-OBJ-IT-116

HP 9816

R-

6316

fe=4 Ztam 32.8 pon= 6 433. fe=4 03 fe=4 Ztam Ztam 31.7 pon= 32.8 pon= fe=4 6 Ztam fe=4 6 433. 32.8 Ztam fe=4 Ztam 433. 03 pon=6 32.8 31.6 pon= 03 pon= 433. 6 433. 433. 03 0303

854

00 RR-2 20 00 1 3

CHT, CERN HIPPI Testbox

CERN-OBJ-IT-120

R-

TTL2

TDV-2215

CERN-OBJ-IT-121

CERN-OBJ-AC-044 R-

CERN-OBJ-IT-118

01 R- 1 20 3

R00 1 R- R-40 R-20 10 R1 1

IBM 5150 Computer

R-

CERN-OBJ-IT-116

CERN-OBJ-IT-124

CERN-OBJ-AC-066

DO UA FR CERN-OBJ-IT-119 AN NE CA ISE

CERN-OBJ-IT-119

Macintosh Floppy Disk box

fe=4 Ztam fe=4 25.6 Ztam pon= 26.2 pon=1426. 1 426. 36 43

CERN-OBJ-IT-074

CERN-OBJ-IT-127

HP 2671G GRAPHICS

CHT, CERN HIPPI Testbox

Phone terminal

6412

R- 10 CERN-OBJ-DE-038 202 1

fe=4 Ztam 31.9 pon= 7 433.

CERN-OBJ-DE-083

CP Hard Disk System

R-

fe=4 Ztam 31.6 pon= 3 433. 03

R-

ute

433. 03

fe=4 Ztam 32.1 pon=

R41 R- 5 20 6

Unknown

CERN-OBJ-IT-118

194 R-

855

R-

CERN-OBJ-AC-060

Unknown

CERN-OBJ-IT-115

IBM 5150 Computer

CERN-OBJ-IT-132

RR-201 10 1

Ce de ntre sp Ma isonnortif ex

Section of the LHC beampipe

Unknown

CERN-OBJ-DE-090

CERN-OBJ-IT-136

Philips LTC 2009/51

148

R-

fe=4 Ztam 31.6 pon= 9 433.

R-

CERN-OBJ-DE-001

R-

Unknown

R03 R- 1 20

CERN-OBJ-DE-071

CERN-OBJ-DE-095

UA1 Prototype detector

R-

fe=3 Ztam 99.8 pon= 2 401. 02

Unknown

CERN-OBJ-DE-080

Obelix Wire Chamber

Tracker Outer Barrel "rod"

40 1 R40 00 R-10 R- 8 7 2101

fe=4 Ztam fe=4 20.7 Ztam pon= 21.3 pon=2421. 2 421. 47 54

Bus and Tag Terminators for IBM system/360

HP 9816

CERN-OBJ-DE-029

CERN-OBJ-AC-043

R-

EIN CERN-OBJ-DE-093 ST

fe=4 Ztam fe=4 Ztam 32.8 pon= 32.2 pon= 6 433. 433. 03 03

01Ztam fe=4 00.8 pon= 5 400. 99 fe=4 Ztam 00.2 pon= 9 400. 98

rne

R00 6 2 R20R1 40 2 01 R-00 2 4

R-

CERN-OBJ-AC-040 Slice Cryogenic of LEP Bending Valve LHC Magnet CERN-OBJ-AC-011 CERN-OBJ-AC-072 Slice Slice through through LHC LHC focusing bending magnet magnet CERN-OBJ-AC-042 CERN-OBJ-AC-041 93 133 LHC Antiproton Beampipe Target Interconnection CERN-OBJ-AC-065 CERN-OBJ-AC-039 193 854 of a LEP bending Slice magnet CERN-OBJ-AC-038

fe=4 Ztam 00.8 pon= 6 401.

fe=3 Ztam 99.8 pon= 4 401. 02

LHC bending magnet coil

R-

570

R-

275 00

R-

LHC Beampipe Section

HP 2671G GRAPHICS

CERN-OBJ-DE-057

R02 R-02 4 0 R02 R02 R- R-20 2R- 01 R-6 R3 R- 7 01 01 20 01 9 01 R- 8 6 2 7R- R40 R- 10 10 54036 RR- R00 10 1 8 R- 2402 R-00 20R6 1 20 R2 00 4 RR- R-03 RR00 03 00 2 4 2 R- 206 9 R03 R- R- 204 5 00RR- R310R10 300 03 03 41 R20 R-3 8 5 03 7

fe=4 Ztam 32.8 pon= 6 433. 03

Array of lead-glass blocks from OPAL

572

693

fe=4 Ztam 00.2 pon= 5 401. fe=4 Ztam fe=4 00.7 Ztam pon= 00.9 4 pon= 400. 3 401. 99

Scanning Table

R-

R00 6 R20 R- R-R2 R-00 20 4040 R3 1R2 10 2 10 1 R2 20 2

R00 R4 40 R1 00R- R2 20 00 R- R-R1 5 R- 10 2220 10 2 1 3R1 00 1

PS6317 wire chamber

fe=4 Ztam 00.8 pon= 5 400. 99

CERN-OBJ-IT-118 02

CERN-OBJ-AC-038

R-R0020 72

R-

RR-

fe=4 Ztam 00.7 pon= fe=4 Ztam 5 401. 00.3 pon= 6 02 401.

Antiproton Target

CERN-OBJ-AC-039

Slice of a LEP bending magnet

01 1

R-

1 RR20 20 8 4

CERN-OBJ-AC-041

CERN-OBJ-AC-065

TDC70

CE 23ch RNRe BJ KX OByI 8x8 INT -12 SoSin ulti RN me CE -OB pea -ITJ-IT 2-14 ny EL -OB CE sw terter -12-12 CP RNgle J-IT 40 8 itch RN 1 -OBMB 6 Pla J-IT -12 -OB J-IT tter 9 Vin -13 J-IT 1 -09tag of -08 0 ae CD 3 Ha C rd 763 Dri 8 ve Dis k Dri ve

R-

Parkin LES g PLATA

CERN-OBJ-AC-042

LHC Beampipe Interconnection

fe=4 Ztam fe=4 Ztam 31.8 pon= 32.3 8 pon= 432. 7 432. 53 59

fe=4 Ztam 32.8 pon= 6 433.

CERN-OBJ-AC-068

fe=4 Ztam 00.8 pon= 8 400.

CERN-OBJ-AC-072

Slice through LHC bending magnet

la Be

CERN-OBJ-IT-121 Cryogenic Valve LHC

Slice through LHC focusing magnet

Chem in de

fe=4 Ztam fe=4 32.8 Ztam pon= 31.7 pon= 6433. 8 433. 03

LHC Accelerating Cavity Prototype CERN-OBJ-AC-064 Klystron

R-

fe=3 Ztam 99.9 fe=4 Ztam pon= 4 00.8 pon= 401. 6 0 400. fe=4 Ztam 01.9 pon= fe=4 Ztam 5 402. 01.5 pon= 1 22 402. 18

CERN-OBJ-AC-060

Klystron

CERN-OBJ-AC-011

CERN-OBJ-AC-010 1

fe=4 Ztam fe=4 28.8 Ztam pon= 29.3 9 pon= 429. 8 429. 54 6

fe=4 Ztam 35.4 pon= 5 436.

fe=4 Ztam 32.8 pon= 6 433.

CERN-OBJ-AC-064

CERN-OBJ-AC-040

Slice of LEP Bending Magnet

802

fe=4 Ztam fe=4 32.8 Ztam pon= 31.8 pon= 6 9 433. 433. 03 03

fe=4 Ztam 03.4 pon= fe=4 6403. Ztam 03.0 pon= 73 2 403. 69

R40 3076 1

LHC Accelerating Cavity Prototype

R-

fe=4 Ztam 00.8 pon= 5 400. 99

CERN-OBJ-AC-010

R02 40 R7 2 42 RR- 120 R- R-42 5R00 103 03 1 R3 R- 2 21 10 R- R-30 1 1 00 R1 R- 1 03 20 R- R5 2 R21 20 R-21 2 0 03 R- 1 7 00 R-2 20RR00 604 4 0

R-

RR- 006

fe=4 Ztam 04.9 pon= fe=4 4405. Ztam 04.4 pon= 21 405. 17

Collision region of the ISR

fe=4 Ztam fe=4 Ztam 11.63 pon= 12.2 pon= 3 412. 412. 38 45

Collision region of the ISR R- 00 548 R- 0024

fe=3 Ztam 99.9 pon= fe=4 Ztam 5 00.8 401. pon= 1 0 400.

fe=4 Ztam 06.8 pon= 7 407. 14 fe=4 Ztam fe=4 06.4 pon= Ztam 06.2 3 407. pon=8 406. 1 95 fe=4 fe=4 Ztam Ztam 06.3 06.7 pon= pon= 8 406. 406. 95 95

PS Proton Source

fe=4 Ztam fe=4 32.8 Ztam pon= 32.0 pon= 6433. 433. 03 03

IBM 5150 Computer

TDV-2215

fe=4 Ztam 00.8 pon= 3 400. 98

CERN-OBJ-AC-071

Antiproton focusing horn

fe=4 Ztam 32.8 pon= 6 433.

fe=4 Ztam fe=4 Ztam 25.3 pon= 25.7 pon= 425. 9 426. 95 01

3141

CERN-OBJ-DE-080

Bubble chamber film

CERN-OBJ-DE-005

ATLAS Liquid Argon Prototype

TT2A

fe=4 Ztam fe=4 32.8 Ztam pon= 32.1 pon= 6433. 433. 03 03

R-

CERN-OBJ-DE-068

876

fe=4 Ztam fe=4 32.8 Ztam pon= 32.1 pon= 6433. 9 433. 03 03

fe=4 Ztam 33.5 pon=

R-

CERN-OBJ-DE-033

TA7

R-

mFc

fe=4 Ztam 12.5 pon= 8 412.

R-

R01 0 R-R2027 R-2 5 37 R1 37 R20 50 2 4 1 R26 1

CERN-OBJ-IT-034

TNC

fe=4 Ztam 13.2 pon= 7 413. 54 fe=4fe=4 Ztam Ztam 17.3 pon= 16.8 pon= 7 8 417.417. 64 55

PAUL

Wire Chamber

400. 99

fe=4fe=4 Ztam Ztam 14.4 13.5 pon= pon= 7 5 414.414. 74 69

CERN-OBJ-AC-021

CERN-OBJ-DE-096

CERN-OBJ-DE-038

Route

fe=4fe=4 Ztam Ztam 21.6 21.1 pon= pon= 1 3 421.421. 88 8

3209

PS Proton Source CERN-OBJ-AC-005 Accelerating Cavities CERN-OBJ-AC-062 229

TOB Module Detector

R40 022 1 PS wire chamber

CO ULOM

fe=4 Ztam fe=4 21.7 Ztam pon= 22.1 pon= 422. 9 422. 35

2142

Joystick ERASME

CERN-OBJ-IT-135 CERN-OBJ-IT-133

CERN-OBJ-DE-075

R-

40 R-2 987 40 1

40R2 20R1 030

Digital RMO3P

DELPHI prototype lead glass brick

fe=3 Ztam 99.9 pon= 2 401. Ztam 0 pon=

Route

CERN-OBJ-IT-043

fe=4 Ztam 15.7 pon= 5 416. 846

fe=4 Ztam fe=4 32.8 Ztam pon= 32.3 pon= 6433. 433. 03 03

R- 66 20 1 4 -1206 R-00 70 0126 17 2

R-

2144

fe=4 Ztam 00.7 pon= 3 400.

fe=4 Ztam 16.2 pon= 4 416. 48

Route

Hydrogen Bottle LHC

RI18

6 0 PH 72 CERN-OBJ-IT-077 72 2 0 Fc 72 SE H m 6 72 M 0c 4 H F m 73 72 T 0 T7 F 8 -2 Fc 0 07 0 m0 73 R73 40 cm 0 0c 4 320 1 2 P m 0 S 0 2 c 5 73 Western Digital Hard Drive 73 P 7 70 Fc 8 T 6 H 37R-00 09 71 Y 071 R-287 71 008 3 74 74 PY Q P 17 R-00 71 2 0 0c 15R- 9 S 7 R00 00 0mc R6 5 74 T7 74 Fc T Q -A 71 010R-721 4 6 61 0mc 01 7 9 T P R- 7 3 2 Fc 00 2 0c 57 Q 74 7 3 Rm 8 750 72 011 297 O 33 Fc P 77 Fm 75 R- 3 00 1 2 75 S 0c 73 R4 RR- R-20 7 40 4 3 30 5 003 R-7701 0 R-1 3 H806 01 20 R417 cm PCERN-OBJ-IT-075 c 756 401 73 P HB 5 75 Fc Oc S P 794 74 8 m T 5 Y 3 Fc Y 76 74 74 S 0 762 7 9 0 0m Fc 0 T8 76 T8 75 -2 7 -G 02 76 4 5 1 73 F 3 0c P 6 F 75 75 0cJoystickYERASME P 76 5 7 m T 8 76 F 75 1 cm 9 76 76 80 3 5 1 et RT R80 00 8 0 01 1 F 0 3 80 81 P T8-A P 5 8 T8 78 0R23002 804 Fc 07 m03 R-2 R- 80 RT8 05 0 2 02 00 6 00 -2 c (Q R6380T8 809 03 3 R- 6 80 0 03 81 00 -A 8 0 0 T) 77 0 2 81 CERN-OBJ-IT-135 FcR-02 R-0259 81 R8 R50 1 2 FR Q R- 6 R8102 1 R- R- 14 102 P 02 10 20 8 S 4 R- 33 1 1 18 81 RT8 DcR-020 R-019 8 V 6376 380 00 -A 6 15 8 R1 79 8 01 20 Fc 01 R- 2 H R820R-207 m H H 002 R- RR-R-840 2 10 26 10 21R6589 711033 506 F D 1 1 2 R8 m RM 288 82 0c P 01 8 01 T8 P m 8 26 6 R- 5 19 -B 4 R- 8 80 6588 01 2 011 8R-3 30 82 0 Digital S RMO3P 2 1 R0 R8 cm 010 009 83 4003 83 F 8 0 0 R84 8 83 2 F 8R-00 00 23 T8 -A P 2 8 6 c Fc R-20056 R-005 80 S 40 0 3 846710 T R- 4 R- 8 6035 6 84 0 c Q 82002 00127 4 m 0 9 S 85 Fm P 84 P 83 0 T1 8 83 -A 1 T (P H 02 85 Fc 3 T 6036 4 85 PR (P KW T1-A 83 01 85 K B 83 5 8 85 2 F Y SR WB ) 0c P 7 86 S ) 6 0 m R-F 2 86 T1 10 S 0 83 84 -A 1 R R- 8 R- 0 0 1 V F 9 0 F 04 T1 1 10 03 1 002 64 402F cm FK R-A cm 0 01 RX2 03 11 7R-290 40 84 5 84 0c P R- 1 1 00 105 T2 5 3 m R11 1 6 CERN-OBJ-IT-133 Fc R- R26(F 5 1 109 RQ27 R84 H Z2 Fc Y) 13 R-40 0c m Y2 R2 9 847 Q26 2 3 0 m P RP J2 85 0 VF RF 6 8 Y T1 R51 3 K R-G26 V1 9 3 0 00 85 T R-Y0 Fc6 9 3 117 S 8 7 55 RY RRX0 3 005 00 P 181 (P 0c 1 12 84 RW U0 85 m 61 25 1 Unknown 5 9 F B) F SA 86 0 m T Pa Paper Punch Tape 86 F O m RPx 86 5 G12 3 c c 9 86 RS F1 7 FW 2 T0 F T1 1 T -E 0 0c 08 0 m 1 04 YP Fc 1 10 RH 08 40 CERN-OBJ-IT-136 321 1 10 2 0 RT2 P 10 6 -B T2 2 11 R-CERN-OBJ-IT-051 10 -B T2 11 Fc 2 R-10103 1 0 R-B 12 m 1 03 4 10 16 P R- R-034 R-60 03 c 11 T R- R-030 R-2FR-03 035m 12 4 0 P R- R-0260280 R-02 031 3 1 11 24 8 T R- R-02 02F4 R- R-02c7m 9 12 02 2 0 12 R- 02R-0 R- R-c02 5 8 10 2 RR-1 0 40 02 3 1 01591 20R- 1 1 R- F 32 12 01 c6 R-1 019 6 001c 2 R-4 R-01 102 136 13 m 013 5 14 0 RIron yoke LHC R01 0 02 13 00 11 R8 02 9 R4 44 R-6 13 03 02R48 R-0 2 01 8 02R14 R-8 1 01R01R2 RR4 01 710 545 14 220 R-0 R10 R00R1 14001 6 6 00 1R0

=432 amp .67 on=4 fe=4 Ztam 33.0 32.8 pon= 3 6 433. 03

6370 Macintosh Plus

CERN-OBJ-IT-111

TI2

70 Micro Diskette RPS

-2

. n.9

0 F T7-2 001

NextStation Color

CERN-OBJ-IT-109

UJ18 PM 3655 PHILIPS Logic analyzer

R-

fe=4 Ztam 15.9 pon= 2 417.

fe=4fe=4 Ztam Ztam 25.4 pon= 24.9 pon= 5 6 425.425. 72 63

R.D

70 F

P T7

2T7 65 -C64 6 66

5R-8

CERN-OBJ-IT-102

Macintosh Plus

R40 319 1

CERN-OBJ-IT-095

Control Data Floppy Disk

CERN-OBJ-IT-107

CERN-OBJ-IT-111

CERN-OBJ-IT-112

CERN-OBJ-IT-114

846 1

ute

fe=4 Ztam 32.8 pon= 6 433.

Unknown

CERN-OBJ-IT-084

A Diode Matrix model M792

CERN-OBJ-IT-101

Philips LTC 2009/51

CERN-OBJ-IT-115

R-R2026 R1 1 40

fe=4fe=4 Ztam Ztam 30.0 29.5 pon= pon= 2 3 430.430. 29 2

CERN-OBJ-IT-085

IBM 4 Gbyte Hard Disk

IMac G4/800 (Flat Panel)

SL18

T-C

-2

CERN-OBJ-IT-124

CERN-OBJ-IT-093

Wafer of Intel Pentium 4 Prescott Chips

3M No. 700 Black Watch 6250 CPI

CDC 6600 VAXBARN Logic Board

R- R00 00 3174 1 2 1

3172

CERN-OBJ-IT-094

3156

Quantum Hard Disk

Rodime Hard Drive

R-

JOLIO

CERN-OBJ-IT-057

66 0c

5 6 5

Mitsubishi R- LSA820W LCD Display R21 R-

1E1 3177 1 fe=3 Ztam 99.9 pon= 2 fe=4 401. Ztam 0 00.7 pon= 4 400.

R-

Route

0c P

fe=4 Ztam 00.8 pon= 5 401. 0

Sun Ultra 5

3 6 57

Neutrino

m F c

Tunnel

fe=4fe=4 Ztam Ztam 34.6 pon= 34.1 pon= 8 8 434.434. 95 85

Rou

CERN-OBJ-AC-065

PM18

2145

m E Y

R6727 00 1 R10 00 R-40 1 1 1 R-RR-205 20 30 R- 6 1 R-202R-20 R20 20 4 1 3

R-

2146

OO KE

5 6 49

R-

CERN-OBJ-IT-055

R-CERN-OBJ-IT-072 40 1

CERN-OBJ-IT-036

3 64

1 64

CERN-OBJ-IT-093

RT18

Antiproton focusing horn

fe=4 Ztam fe=4 Ztam 18.1 pon= 18.5 pon= 418. 9 418. 75 81

fe=4fe=4 Ztam Ztam 38.9 38.4 pon= pon= 3 4 439.439. 2 11

9 64

LHC Beampipe Interconnection

SONY SD1-1300L

Verbatim Floppy Disk

fe=3 Ztam 99.9 pon= 5 401. fe=4 Ztam 0 00.8 pon= 4 400. 99

Quantum Hard Disk

CERN-OBJ-DE-005

6708 R6706 00

R-

R2 20 R1 00 1

R6186 40

R-

3186 R-

R-

CERN-OBJ-DE-068

DLT 2000 (CompactTape III)

NTSC

R40 9 R-R-21 20 0 6654 9

3RRR- P0 21 2Q

20 3198 2 R-

CERN-OBJ-IT-111

40 R- 1 00

fe=4 Ztam 00.8 pon= 4 400. 99

CERN-OBJ-AC-010

R-

RR-03 CERN-OBJ-AC-005 00 1 20 R-

R00 3197 1

R-R10R10 310 2

R-

3183

RS0 R- RT0 6 S0R6 5 T0

RR-

Q13

G02 R-

fe=4 Ztam 00.0 pon= 1 401. fe=4 Ztam 0 00.8 pon= 4 400. 99

R-

R-R-F0 20 R83

fe=4 Ztam 00.7 pon= 8 401. 0

R-

J1 1

40 2151 3

40 2184 1

R-

LHC Beampipe Section Hydrogen Bottle LHC CERN-OBJ-AC-068 CERN-OBJ-AC-066 Niobium Titanium and Copper LHC Magnet support post Wire Samples CERN-OBJ-AC-047 CERN-OBJ-AC-048 Rock Samples from LHC excavation CERN-OBJ-AC-063 Iron yoke LHC

fe=4 Ztam fe=4 14.5 Ztam pon= 14.9 pon= 415. 9 415. 15

R-

R- RJ2 20 9 5

R-

IBM 3705 Communications R-Controller R20 R7 R6

RR-

R-

G25

R-

Macintosh Plus

20 2173 6

8R-

R-

A2 R-D2 7 4 RD1 8

M07 3173

R18

2147

R-

G07

6 R-F4

R-

RCERN-OBJ-IT-010 A3

G37Proton Source PS R-

R-

A1 1

R-

fe=3 Ztam 99.9 pon= 6 401. fe=4 0 Ztam 00.8 pon= 6 401.

R-

fe=4 Ztam fe=4 10.9 Ztam pon= 11.4 1 pon= 411.5 411.6 6

R-

CERN-OBJ-AC-011

R-

CERN-OBJ-IT-084

R-

L6 R- 7 20

RR-

9 R-

R-

6118

fe=4 Ztam 00.8 pon= 2 400.

6068 6085

IBM 3851 Mass Storage Cartridges

R-

fe=3 Ztam 99.9 pon= 6 401. 0 fe=4 Ztam 00.7 pon= 2 400.

R-

R10 R-R-10 R- 1010865 B6 7 8

BA LM

RB7 R8 B7 RB7 7 B7 5 RC7 3

CERN-OBJ-DE-096 7

2R-

0R-

4R-

0R-

8R-

RR-

l'E

fe=4 Ztam 00.8 pon= 1 401. 0

RRR-

fe=4 Ztam fe=4 Ztam 07.3 pon= 07.8 1 pon= 407. 408. 96

Wafer of Intel Pentium 4 Prescott Chips

Bubble chamber film

6080

Route

0 fe=4 Ztam 00.8 pon= 5 401.

Slice of LEP Bending Magnet

TOB Module Detector

CERN-OBJ-DE-068 Bubble chamber film CERN-OBJ-DE-005 ATLAS Liquid Argon Prototype

fe=3 Ztam 99.8 pon= 9 401.

LER

fe=4 Ztam 00.8 pon= 7 401. 01

ollision region of the ISR

6009

CERN-OBJ-DE-033 CMS Tracker Model

fe=4 Ztam fe=4 03.5 Ztam pon= 04.2 9pon= 404. 404. 36 42

6002

fe=3 Ztam 99.9 pon= 4 401. 0 fe=4 Ztam 00.8 pon= 7 401.

Route

fe=4 Ztam 00.8 pon= 3 400.

01 R-2 20 R- R-01 4 02 2 8 R20 R- R-10 1 R2020 R- 2 R-2 3401 10 R1 03 R6 03 R- 4 40 2 RR- 00 00 6 R5 05 0

6 R-

Landon Carpenter ARC 506a—Spring 2020 CERN—Data Center and Junk Archive

Chris Myefski ARC 506a—Spring 2020 CERN—Data Center and Junk Archive

ARC 506b Graduate Vertical Studio Visiting Lecturers Sebastián Adamo and Marcelo Faiden with Assistant Instructor Angelique Firmalino

From Mixed-use to Diff-use

2020

Workbook

Finally, almost everyone agrees that our cities must be compact, dense and programmatically diverse. While there are nuances regarding this statement, most of our efforts aim to consolidate a city model other than the positivism outlined in the Athens Charter. Rural migrations to urban centers overflowed the imagined densities, forcing us to abandon the idea that there is a single program linked to a large surface of land. Assuming this condition has led us to imagine different ways to thicken and diversify the thickness of our cities. Largescale buildings known as Mixed-use are an example of this line of work where buildings with diverse programs come together in a single project. Today we have project techniques capable of establishing some continuity between the proposed city model and large-scale buildings. However, in the mid-range scale, this relationship has not been addressed in depth. Our Design Studio will be the field where we ask ourselves how the new buildings would be capable of contributing with a point of view to this debate. Instead of striving to adapt strategies linked to a larger scale project, we will seek to build new project techniques. We won´t design containers to host previously established programs, we will build structures open to different appropriations by the users. The projects will be programmatically unstable but spatially specific. Although our field of action will be limited to the scope of the material organization, our field of thought must overflow it until it is accurately informed. We must keep an eye on the new ways of using the city and its buildings, the creation of new programs or the appearance of hybrid instances among the programs we already know. We will develop a sensitivity according to the objects and fellows that will inhabit these spaces. We will assume the challenge that each spatial appropiation enables to glimpse a new way of living. Master’s Program

100

Ruta Misiunas ARC 506b—Spring 2020 From Mixed-use to Diff-use

102

B A

Larissa Guimaraes ARC 506b—Spring 2020 From Mixed-use to Diff-use

104

Exterior Perspective

Interior Perspective: Common Space and Terrace

ection B: Circulation

n A: Units Hailey Craft

ARC 506b—Spring 2020 From Mixed-use to Diff-use

106

The Professional Program Thesis

2020

107

Workbook

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 Maura Chen Interstitial Kitchen

Mahsa Malek and Shin Hang Chiu Disintegration House

Andrew Cornelis Model Ecologies

Daniel Maslan Shedifi

Angelique Firmalino Close Reading: Present Conditions in Shallow Relief

Domenica Massamby The New Workout Plan

Will Fu Insight House

Michelle Shu Meng Not Discomfort

Ryan Gagnebin ImProving Grounds

Anna Renken Share/Shop: access to tools, again

Jamie Lipson Liftoff City

Alexandra Sill Uncanny Double

Joon Ma How the Fields Meet

Master’s Program

108

Maura Chen

Advisors: Cameron Wu, Sylvia Lavin, Christine Boyer

Interstitial Kitchen The interstitial kitchen is a city-wide initiative to build community kitchens in the interstitial space under New York’s elevated rail.

110

Andrew Cornelis

Advisor: V. Mitch McEwen

Model Ecologies Redesign of wastewater reclamation plant in Los Angeles.

112

Section

2nd Floor Plan

2.5 “Typical” Floor Plan

Site View

Angelique Firmalino Advisor: Stan Allen

Close Reading: Present Conditions in Shallow Relief Thesis project that explores the logic of models to inform a design proposal of a library within a ruined building’s shell. The concept of the shallow relief model as an architectural device informed the character of the proposal’s spatial organization, material quality, structural strategy and representation.

View 01 - Cafe Patio and Book Stacks

View 03 - 2nd Floor Loggia and Bridge

114

Will Fu

Advisors: Monica Ponce de Leon, Sylvia Lavin

Insight House Here is a reorganized single-family house for 6–7 strangers in Seattle. The house has more windows facing in than out, and a surprising interior core hidden by a familiar outside. Understanding the house takes work, a learning curve of active participation, and reflection informed by natural and artificial light. So it’s better to stay inside I guess.

116

Ryan Gagnebin Advisor: Stan Allen

ImProving Grounds ImProving Grounds is a critique of the accepted cliches of figure and ground in architecture and urbanism. If the ground is typically an abstraction, this thesis is built on the recognition that beyond the superimposition of layers, the palimpsest of the city, and the abstraction of the “ground plane”, the ground is more than a surface. The project is sited on the location of a former power station in Rochester NY, at a complex intersection of the Genesee River, the ancient geology of the Niagara Escarpment, a layered industrial history, and the everyday activity of the city. Through the refinement of extant site conditions like foundations and wall fragments lodged into the ravine, and the shaping and displacement of the local material of the site, the project introduces a sculpted mineral landscape, transforming a small fragment of the city once occupied by industrial plants into an inverted acropolis of climbing walls, playing courts, pools, rinks, and fields.

118

Jamie Lipson

Advisors: Elizabeth Diller, Sylvia Lavin

Liftoff City Liftoff City is an urban proposal in which new typologies of green infrastructure revitalize the post-industrial city by interrogating the entangled problems of climate change and economic inequality.

Epigenetic Surface

Sacrosanct Program Graveyard

80%

Cultivable Ground (6.31 sq mi)

Historic District / Building

Green Infrastructure Indoor Agriculture

Arable Land

Circulation Furrow

Green Infrastructure

Recreation Space

Grounded Program

Rewilded Infill

Elevated Program

Ruderal Fallow

Wildlife Corridor

120

Joon Ma

Advisor: Guy Nordenson

How the Fields Meet To this day, biological field studies are mostly conducted in the “wilderness” unaffected by human influences. According to the bioscience oxford journal, 96% of field stations are located away from metropolitan areas. While scientists have moved away from cities to study the natural environment, the convergence of forces that constitute the greater ecology occur in urban areas. The “field” is no longer located away from civilization, rather it stands or has been standing in front of us all along. We have progressively fragmented and occupied the natural environment and created distinct divisions and metrics to occupy these spaces. For humans, edges are black and white, measured and quantified, but ecological transformations defy the boundaries set by us. Over time, nature infiltrates into our built environment both in big and small waves. The changes we are seeing today are no longer about how we see the world around us but more about how the nature sees us and responds to our actions. Modern ecological studies were developed through the petri dish to model and simulate nature in controlled environment. but the expanded field identified, requires new apparatus and methods of studying these conditions. Given that these new conditions deal with both the natural and built environment, and mediating between the edges defined by humans and nature, architecture must play a role in designing the spatial parameters of these studies: in particular, in facilitating, mediating, and observing the liminal zones by subjecting architecture to become part of the ecological cycle. The following projects—The Building Edge , The Forest Ring, and The Coastal Lines—bring together new interpretations of what it means to subject architecture to be experimented on with a deep connection to material culture, structure, spatial organization, and ecological transformation.

122

10’-0”

2 10’-0”

3 10’-0”

4 10’-0”

5 10’-0”

W02 REPLACE EARTH BAG WALL WITH W02 REPLACE EARTH BAG WALL WITH

Mahsa Malek and Shin Hang Chiu Advisor: Paul Lewis

Disintegration House Today, architects rely on construction techniques that consolidate materials into standard wall assemblies. However, these systems of integration that are celebrated for efficiency are steeped in forms of waste—both of material and labor. Their standard dimensions require cutting and resizing on site, their laminated composite parts are difficult to reuse and recycle, and their assembly demands a complicated sequencing of different trades. Instead, this thesis proposes a new mode of assembly for a rowhouse, that reimagines the conventions of residential construction through a system of disintegration. Separating assemblies into their constituent parts reduces waste, facilitates reuse, and produces new forms of domestic inhabitation between the delaminated layers. The formless, mono-functional parts of a wall, such as structural studs, thermal insulation, weatherproofing, acoustic attenuation, and fireproofing, are often concealed within the cavity despite their role in constituting the house and upholding notions of urban domesticity. Typically laminated together for rigidity and industry standards, these performative materials are reconfigured to operate both autonomously and in loose relationships with one another; producing new ideas of form, performance and material efficiency. The impacts of this mode of assembly are examined at three scales: from the micro-scale of new material details, to the meso-scale of their spatial overlaps, and finally the macro-scale of the shifting urban block. The thesis argues that flexibility and tolerance for durational change in residential construction are afforded by a new reusable material economy that begins in the details of material disassembly.

124

Daniel Maslan Advisor: Erin Besler

Shedifi Master’s thesis-cum-business plan, Shedi.fi is a design platform that engages the DIY-savvy social media public in a new way of working with architecture through the production of backyard sheds. While every architecture movement has its shed, from the Maison Dom-Ino to the Decorated Shed, the backyard shed has been excluded from architectural discourse while growing as a symbol of the DIY movement. As cultural production becomes a more physically isolated and virtually connected process, this app offers a new way for architecture to make itself accessible, mobilizing the ubiquity and language of social media as a tool for design.

126

Domenica Massamby Advisor: Cameron Wu

The New Workout Plan As the modern office rebrands itself as a place for creativity, its design tends ever more towards relentless openness and transparency. However, in keeping with the increasing demand for higher productivity from the creative and professional industries, companies have resorted to outsourcing mundane tasks associated with creative work to a new class of industrial white-collar workers: paralegals, programmers, etc. Thus, the perception of a democratic, transparent, non-hierarchical organization is false, and its openplan model exists as a ruse for perpetuating modes of efficiency, exploitation in the guise of collaboration. Prevailing office types seek to eliminate the obvious hierarchy present in early offices like Wrights’ Larkin Building, however, they fail to eliminate the monotony and bureaucracy of their condition. And other attempts to remediate the associated problems with the relentless plan, like Hertzberger’s design for Centraal Beheer exist within a suburban imagination, wherein the issue of discontinuity in section unfolds once the floors require stacking, and the relentless open-plan prevails again. This proposal aims to hybridize, activating the section while maintaining a continuity in plan that resists the prioritization of efficiency over difference. The fundamental operation of the typology slants floor plates to create a ramping condition, which necessitates a deliberate movement and modes of interaction, as circulation expands and attenuates. Flying floorplates diverge from common nodes, creating niches and distinct local addresses and eliminating the concept of a well-defined central core, offering ultimately a condition of simultaneous heterogeneity and homogeneity.

128

Michelle Shu Meng

Advisors: Jesse Reiser, with Forrest Meggers

Not Discomfort Not Discomfort proposes an architecture of a non-steady state. In a time of climate change, architecture needs to reorient itself towards two ends: on the energy level we need to incorporate less energy intensive technology in design and construction; while more importantly, architects need to bring about a transformation on the definition of human comfort. This project intends to design an architecture that shifts the notion of comfort codified by psychrometric chart and subsequently ASHRAE thermal comfort standard, moving toward more thermally dynamic and non-uniform environments that brings pleasure and energizes building inhabitants, while requiring less energy to do so. It chose the program of the bathhouse as a lab exploring thermal gradients at body scale, room scale and building scale. It does so with the goal of seeking gradient rather than uniform stability. Instead of being solely relied on passive systems or typical ecological design approaches, Not Discomfort will be constructed by thermally dynamic surfaces conditioned by radiant hydronics. The fact that the human body is consist of complicated sensing mechanisms has been undermined by the past air-conditioning, convection-driven milieu.This active system based on radiation heat transfer allows designers to understand and interpret the human body as a set of complex geometries, leveraging the thermal subtleties by fine-tuning the interaction between the skin of the building and the skin of the human body.

130

digital fabrication

io n

ce an fo rm pe r

documenting

robotic fabrication

workshop

browsing [retail]

assembly

viewing

[outdoor workspace]

light fabrication

de m

material storage

dining

cooking

on s

welding / ﬁring / milling heavy fabrication training

tr at

distribution

[covered workspace] loading

digital fabrication coworking

watching

assembly

viewing

graphics

workshop

Anna Renken and Ryan Hughes Advisor: Liz Diller

learning

Share/Shop: access to tools, again

st g

tin ee

m ng

132

or w co

tin ee

at w

c fo

To bridge the digital divide, we propose a new nationwide utility network of hybrid spaces that serve as community hubs while providing training and access to digital fabrication tools—like the WPA but funded by a partnership between a big box store chain and a digital manufacturing company, and using a credit system to provide access in exchange for work in addition to financial or material contributions. A prototype is sited in the suburbs of Dallas, a logistical hub in an area with pronounced income segregation. This prototype demonstrates a design system based on three types of building “bars” constructed with long-span, occupiable Vierendeel frames of different proportions in order to accommodate heavy, light, and immaterial work as well as learning and community space. The design system can be deployed on different types of sites across the nation, with intersections between the bars being the most variable—taking on specificity to encourage interaction between users of many different backgrounds and motivations.

s ob

New digital fabrication tools have been adopted across sites of traditionally blue- and white-collar work, yet a “digital divide” continues to disadvantage lower-income and non-urban groups, reinforcing political divisions. Efforts to bring new technologies into public schools and libraries are often limited by funding and logistical issues, while private institutions and establishments like makerspaces tend to serve those who already have access to digital tools and knowledge. The importance of the design, atmosphere, and culture of spaces for users encountering new technologies often goes neglected, and these spaces can end up becoming generically multifunctional rather than specifically flexible.

Alexandra Still Advisor: Stan Allen

Uncanny Double This project is predicated on the productive differences that exist between very similar things. Uncanny Double uses the inherently repetitious nature of the suburban office park to create a building’s alter ego, alike in proportion but different in nature. Where one is private, the other is public; where one is internally repetitious, the other is internally variable; where one is a private office building, the other is a public library.

134

The Post-Professional Program Thesis

2020

135

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, however due to the COVID-19 pandemic, the 2020 Post-Professional thesis exhibition was converted into an online gallery through a specially designed website. Utilizing Princeton’s unique interdisciplinary potential as a research university, students are free to seek advisers from within and outside the faculty of architecture. This tradition draws on architecture’s history that has incorporated a vast spectrum of disciplines from the humanities, arts, and sciences.

POST-PROFESSIONAL PROGRAM THESIS PROJECTS Catherine Ahn A Porous Poche Esra Durukan Cakes For Sale Sarah Etaat Seam Houses Kyle Weeks The (other) Shed Olga Zakharova Theatrical Urbanism

Master’s Program

136

Catherine Ahn Advisor: Paul Lewis

A Porous Poche This thesis is an exploration of construction through demolition: building with building rubble. Conceptually unchanging euclidean geometries encase loose and fragmentary building debris, which, in turn, deform and undermine these seemingly permanent forms. Through a series of working models and drawings, the thesis investigates forms of excess, heaviness, and porous thickness, made possible by the current and projected surplus of low-quality concrete and brick rubble. Sited along the edge of a decommissioned landfill in Jamaica Bay, Queens, the project is primarily concerned with a novel poche condition created using building debris and mesh. An expansive field of pixelated rubble structures serves to reclaim an abandoned waterfront for community activities and formalizes the unconscious act of dumping for the creation of habitable interior and exterior spaces. In this set of studies, compressive (concrete and brick fragments) and tensile (cable, metal mesh) elements integrate structurally but are kept materially separate as an acknowledgement of potential future cycles of de-construction and re-construction.

138

Esra Durukan

Advisors: Michael Meredith, Sylvia Lavin

Cakes For Sale Welcome to CakeTV. CakeTV is a cookshow for cakes of architecture. It is also a place to hold conversations and learn through cake making. In CakeTV we will exchange skills, rethink representational techniques, define new tools through model making. Check our recipes and contact us if you want to collaborate or chat. You can bake anything that looks like a monument from Victor Emmanual II to John Hejduk. Please check out the drawing sets, bake one then send your video and photos of your cake. Don’t forget to subscribe, give us a like and share.

140

Sarah Etaat

Advisor: Stan Allen

Seam Houses The part-to-part relationship in buildings that results from the fundamental logic of assembly is coded into the basis of all buildings projects. By foregrounding the assembly of those parts, joinery must be addressed, and if joints are left exposed, they create seams. A seam is a 2.5-D illusion of a line along which two parts meet: it is the element that dictates the rhythm and movement of its adjacent parts. Seam houses looks at the Accessory Dwelling Unit (ADU) in Los Angeles, and employs the logic of the seam to approach the ADU condition at three scales: the site scale, the scale between building and furniture, and the detail scale. The ADU typology uniquely puts two residences on a lot, joined by a yard. Seams and ADUs alike never stand on their own – they are always in relationship to something else.

142

Kyle Weeks

Advisor: Monica Ponce de Leon

The (other) Shed The (other) Shed is a project about the role of specificity in architecture when designing for public space with a shifting identity and purpose. Rather than being about temporality and changeability, this project strives to create permanence and stability while leaving room for an evolution of program and activity to occur; a condition best described as fixed, but flexible. In a proposal for a branch library in Rockaway Beach, Queens this architectural and social inquiry is explored through the strategic deployment of built-in furniture. Inside a long, continuous open space highly specific as well as generic activities play out simultaneously without traditional separations. Constructed through a self-similar language of benches, tables and planes with simple shapes and materials this ensemble can be read either as a series of staged environments or as a collective landscape of figures meant to inspire multiple forms of interaction and inhabitation.

144

Olga Zakharova Advisor: Cameron Wu

Theatrical Urbanism Seeing the city through the lens of theater and time can be an effective way of comprehending an urban setting. This project is centered on a proposal for a heritage center located on the waterfront area in Brooklyn’s Williamsburg neighborhood. The design is an example of outdoor theatrical urbanism that conceptually extends and bifurcates Metropolitan Avenue, which visually connects Brooklyn to Manhattan. This new reading and perception of the street is intended to elevate one’s attentiveness to the surrounding setting, while also highlighting the area’s industrialized past. Through the imitation of industrial facades, the construction of the proscenium is focused on the representation of a historical street appearance. While the play is performed, the two-street scenography is meant to take the viewer to a time that is reminiscent of Williamsburg at around the turn of the century. The views of the stage from the seating area are precisely projected in alignment with Manhattan’s skyline, with the city serving as a backdrop. Additionally, this theatrical orchestration optically creates a mechanism that joins the shores together emphasizing the memories of the area’s first ferry line.

146

Undergraduate Studios

2020

147

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 architecture or art.

Undergraduate Program

148

ARC 204 Junior Design Studio Professor Paul Lewis and Visiting Lecturer Ivi Diamantopoulou with Assistant Instructors Adam Ainslie, Ryan Gagnebin, Carly Richman, Alexandra Still

Introduction to Architectural Design

2020

149

Workbook

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.

Undergraduate Program

150

Thomas Dhome ARC 204—Fall 2019 Introduction to Architectural Design

152

Eric Lin ARC 204—Fall 2019 Introduction to Architectural Design

154

Jonathan Melkun ARC 204—Fall 2019 Introduction to Architectural Design

156

Manus McCracken ARC 204—Fall 2019 Introduction to Architectural Design

158

Warren Yuan ARC 204—Fall 2019 Introduction to Architectural Design

160

ARC 350 Junior Design Studio Visiting Lecturer Gia Wolff

Primal Retreat: A space for two polemically opposite inhabitants

2020

161

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 “need” in order to create a room? What are the thresholds between inside and outside? James Turell’s, Meeting Room, at MoMA PS1, questions if the ceiling is delineated by four walls, or instead if the four walls extend infinitely and eliminate the need for a ceiling at all. This piece exemplifies a set of spatial characters and physical characteristics intrinsic in how we perceive space.

Undergraduate Program

162

Victor Guan ARC 350b—Fall 2019 Primal Retreat

164

ARC 351 Junior Design Studio Professor Jesse Reiser and Assistant Professor Stefana Parascho with Assistant Instructors Mahsa Malek, Sharif Anous

Architecture 1:1

2020

165

Workbook

Throughout the history of modern architecture, furniture has served as the most concise representation of an architect’s design principles. While these principles could be applied to projects at any scale, the social, material, geometric, and aesthetic forces underlying an architect’s disciplinary project here find their most poignant resolution. 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 ‘management’ 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 Undergraduate Program

166

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 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. 2020

167

Workbook

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 classical considerations of structure and support as well as a/non-structural considerations such as redundancy, semiotics, and optical & 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. In contrast to the methods of the industrial designer, there is no difference between the design of a piece of furniture and a building— both will be informed by the same principles. Undergraduate Program

168

Chase Lovgren ARC 351—Spring 2020 Architecture 1:1

170

ARC 351 Junior Studio II

Final Design Elevation Drawing and Detail

The Rocking Reef Natalie Lu

ARC 351 Junior Studio II

Natalie Lu ARC 351—Spring 2020 Architecture 1:1

ARC 351 Junior Studio II

Final Design Version #2: Model Photos

In Version #2 (the flipped reef ), one can recline on the coral section of the chair, using the base as a low back support. As the coral weave is not as structural as the base, one will sink slightly into the chair, yet remain held by the weave design.

172

Wooden Knot Chair

Victor Guan ARC 351—Spring 2020 Architecture 1:1

Final Design Drawings: (Plan & Elevations)

top

left

front

back

174

right

Clara Roth ARC 351—Spring 2020 Architecture 1:1

176

ARC 404 Advanced Design Studio Associate Professor Marshall Brown

Homestudio

2020

177

Workbook

The Advanced Design Studio examines architecture as cultural production, taking into account its capacity to structure physical environments and reflect social organizations. This studio will focus on the consideration of architectural work, its associated habits, tools, infrastructure, and accommodations, integrated within the domestic context. Students will engage these issues through the design of a home and studio for an architect.

Undergraduate Program

178

Ariane Fong ARC 404—Fall 2019 Homestudio

180

Anna Marsh ARC 404—Fall 2019 Homestudio

182

Yunzi Shi ARC 404—Fall 2019 Homestudio

184

McKayla Tyrrell ARC 404—Fall 2019 Homestudio

186

Allegra Martschenko ARC 404—Fall 2019 Homestudio

martschenko. ARC 404: SENIOR STUDIO. Fall 20191 martschenko. ARC 404: SENIOR STUDIO. Fall 20191

16 16

188

Undergraduate Thesis Projects

2020

189

Workbook

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 computer-generated images). The relative proportion of written to visual material for each student is agreed upon with the adviser and thesis committee. The final presentation and oral defense of the senior thesis in the spring constitutes a section of the departmental examination. UNDERGRADUATE THESIS PROJECTS Alyssa Cai Seeing Doubled Joseph Collins Between Glass and Transparency: Architectural Agency after Images Ariane Fong Architecture Demonstrated: The Protests of the Milan Triennale and the Whitney Biennial Genevieve E. Garlock The Dynamic Edge: Sea Level Rise and Waterfront Design in New York City Amelia Goldrup Chinese Communist Party Ideology: An Examination of the Exploitation & Evolution of Critical Architecture from 1949–2020 Casey M. Kemper Bernard Tschumi on Autonomy, Violence, and Play: An Analysis of Architectural Theory Post–1968

Undergraduate Program

190

Amelia Kenna The Edge of Painting: Representation as a Corporeal Act in Zaha Hadid’s Painting Practice Sara Lewis Building By Committee: A Successful Case Study and Potential Model, The Empire State Building Anna Marsh Roberto Burle Marx’s Parque do Flamengo: The paradoxical promotion of Brazil’s national landscapes through German constructs Allegra Martschenko Between the One and the Other: Textual Imagination As Architectural Method Jordan Muhammad Heritage Tourism and Architecture: How the International ‘Tourist Gaze’ has reconstructed Havana’s Restoration Design Agenda Yunzi Shi Time-Image of Cities: Filmic Representations in Urban Imaginaries 1960s–1970s

Alyssa Cai

Adviser: Stefana Parascho

Seeing Doubled The Architecture and Design Exhibition has always grappled with the issue of displaying architecture—the enclosure, manipulation, and embellishment of space—within a limited museum space. It has relied on various forms of representation to narrate the stories of architectural design and communicate the experience of architectural space. The newest addition to these representational forms is Extended Reality technology, which includes Virtual Reality, Augmented Reality, and Mixed Reality. For the first time, extended reality enables immersive experiences of 3D space, introducing an exciting new frontier to explore in designing Architecture and Design Exhibitions (ADE). Additionally, Extended Reality (XR) has proven to be an entertaining and effective training tool throughout its development and application, which aligns with the purpose of museums to entertain and educate the public—a stance that museological institutions have maintained through the ages. However, when XR features are inserted into the ADE space in practice, various complications arise from technological and spatial limitations. Such issues can and should be overcome to realize the potential for XR to greatly enhance the ADE. Thus, this thesis argues for the integration of XR into the ADE based on synergistic goals and translates the role of spatial and technological limitations from barriers to design drivers, providing some preliminary insight into how to design the XR-integrated Architecture and Design Exhibition. By examining the foundation and effects of techno-spatial limitations, I posit a theoretical set of design guidelines for XR-integrated ADEs by converting them into design-driving parameters. I then test these guidelines against three case studies of real ADEs that have contained some XR component: Project Correl by Zaha Hadid Virtual Reality Group, Project Source Code by Ozel Office, and Value in the Virtual by Space Popular. As a final applied investigation of the theoretical framework and case study learnings, I propose a speculative XR-integrated ADE at the Princeton University Museum of Art using real artifacts as the subject and real galleries as the exhibition space.

top: The secluded iterative VR design section. Audience is immersed in projected experience of the VR user. above: Final section where visitors can interact with mockups in true reality or mixed-reality.

192

Ariane Fong

Adviser: Beatriz Colomina

Architecture Demonstrated: The Protests of the Milan Triennale and the Whitney Biennial As a medium of communication, exhibitions are events of disciplinary engagement across political and geographic divisions. In particular, spaces of architectural exhibition have inadvertently become sites protest, becoming physical loci of embodied engagement as well as ideological loci of intellectual engagement. Looking into the protests of the XIV Triennale di Milano in 1968 and the 79th Whitney Biennial in 2019, this thesis examines the multiplicities of ideas behind the protests and comes to terms with the complications of their modes of institutional critique. It conducts an analysis of the Palazzo dell’Arte, as well as of archival photographs of protest aesthetics. It also considers the motions of the Whitney protest and how these actions operate as institutional critique. It asks how critique can operate within the apparatus of architecture, and how the physical space of exhibition becomes a physical host for this process.

194

Genevieve Garlock Adviser: Forrest Meggers

The Dynamic Edge: Sea Level Rise and Waterfront Design in New York City Sea level rise is one of the most predictable consequences of climate change. Heat absorbed by the ocean causes the water to expand, which could alone raise the eustatic sea level as much as 9 ft. This problem of sea level rise as a relatively new condition of the urban waterfront has gained attention from architects to design for the watery conditions of the future. However, in design and policy discourse, SLR is often used interchangeably with storm surge, or lumped together under a category of “flooding induced by climate change.” This is a problem since SLR and storm surges are very different types of flooding, and design solutions for one does not automatically solve the other. The objective of this thesis is to pull apart SLR design from storm surge design and allow for SLR to stand on its own in terms of design and discourse. This thesis points to necessary conceptual shifts in architecture to rethink the relationship between water, the city, and resilience. The main conceptual shift is the idea of the “dynamic edge.” No longer is the water a static entity, but rather the water plane is constantly rising up, encroaching on the urban space with each passing year. This idea of the “dynamic edge” informs a shift in waterfront design to a paradigm that anticipates SLR and focuses on protection and permanence. This thesis critiques architectural responses to SLR by pointing out their lack of understanding SLR as a separate and dynamic force. It continues with suggestions for design solutions that adhere to the inherently dynamic and long-term effect of SLR. At the end, this thesis will then synthesize these conceptual shifts and build solutions and distill this into a new consideration for long term resilience in design.

Oyster-tecture Figure 6:

Oyster-tecture

196

Amelia Kenna

Adviser: Sylvia Lavin

The Edge of Painting: Representation as a Corporeal Act in Zaha Hadid’s Painting Practice The title of this thesis refers to several edge conditions relevant to Zaha Hadid’s representational practice during these years. The edge first refers to a technical condition, as Hadid and her studio created many of the paintings that will be examined through a process of both drawing and painting, first constructing a multitude of geometries onto a surface with ink and then filling in the linework with paint. These drafted ink lines are, in some cases, visible, and the act of painting thus occurs at the physical edge of the drawing. But the notion of the edge also functions as a metaphor for a change in architectural representation that accompanied the first decade of Hadid’s work—a change popularly termed the “digital turn.” This transition fundamentally destabilized the hallowed ground that had privileged the act of drawing as the ultimate work of the architect. Hadid’s painting practice thereby also exists at a temporal ‘edge of drawing,’ in that her painting emerged and developed in the years immediately prior to the advent of the digital in architecture. In the wake of this change, proclamations of the death of drawing, whatever “drawing” may have meant, captured the first widespread moment since the Renaissance at which medium became a point of controversy in architectural representation. While the explicit topic of this thesis is Hadid’s painting practice, the implicit topic is that of architectural representation as a model of knowledge and thinking. In reading both the content of individual paintings and the history of paintings in the context of a culture of the printed image, this thesis will argue that the significance of Hadid’s paintings lies in how they change the communication and reception of architectural knowledge. Hadid’s painting practice refuses to engage in the self-referential narrative of architectural representation; the significance of Hadid’s painted images exists both within and beyond the frame, affirming architectural representation to be part of a network of experience that is not wholly objective or subjective, but rather produced by this confluence of the two.

top: Zaha Hadid Architects, The Dead Zone, 1991, acrylic on cartridge paper, AD Architectural Design, Volume 61, N. 92. above: Zaha Hadid Architects, drawing of exhibition design for Zaha Hadid and Suprematism, Galerie Gmurzynska, 2010, gallery press release

198

Sara Lewis

Adviser: Mitch V. McEwen

Building By Committee: A Successful Case Study and Potential Model, The Empire State Building Through an analysis of the architectural icon, the Empire State Building, this thesis works to understand the physical act of construction in conversation with the architectural theory side of design. Specifically looking at the interaction of building in cities and people’s interactions with architecture through all stages of construction, it aspires to understand what the relationships are between the disciplines of architecture, engineering and construction. It also searches to see if the method of a committee approach to design and building, which is employed in the process of building in the Empire State Building, is a more effective way to build skyscrapers.

200

Anna Marsh

Adviser: M. Christine Boyer

Roberto Burle Marx’s Parque do Flamengo: The paradoxical promotion of Brazil’s national landscapes through German constructs A central figure of the modernist movement, Roberto Burle Marx (1909–1994) redefined Brazilian landscape design through his use of native flora and sinuous curves. His designs called into question the nation’s exaltation of classical gardens featuring European plants and thereby strengthened national identity after centuries of colonial and neo-colonial rule. They also did so by promoting the consecration and conservation as opposed to extraction and exportation of Brazil’s natural resources. Burle Marx’s commission to landscape Rio de Janeiro’s Parque do Flamengo, the world’s largest urban waterfront park, provided an especially important opportunity to introduce Brazilians to the natural wonders in their own backyard. His didactic arrangements of plants teach park-goers about the nation’s ecological diversity and the importance of its protection. While Burle Marx took much of his inspiration from his native Brazil, his connection and exposure to German cultural forces also informed his designs. This thesis argues that the German dimensions of Burle Marx’s creative process compromised his ability to embrace the nuance and complexity of Rio’s culture and climate— at the expense of Parque do Flamengo’s environmental goals.

above: Parque do Flamengo, June 2019. Courtesy of Anna Marsh. left: Roberto Burle Marx on a botanical expedition in Ecuador, 1973. Courtesy of Luiz Knud Correia de Arújo.

202

Allegra Martschenko Adviser: Marshall Brown

Between the One and the Other: Textual Imagination as Architectural Method Consider architecture as the art of translation, dependent on shifting mediums and methods to generate new knowledge in the design process. Consider architecture as navigating between fantasy and reality and mirroring a literary imagination, both built on the cohesion of parts. Both speculations. Consider architecture as thief, capable of stealing from other disciplines. It thus is benefitted by drawing on the methods and practice of creative writing to create design systems that operate from the position of subject, designing as the end user. This thesis argues for these three points to conclude that architecture and commercial fiction (fantasy novels) can be united in process and should be united to draw from fiction into architecture. I operate on the scale of both architecture and urbanism to draw conclusions about the preoccupations of literary construction of the built environment. My architectural considerations are guided by the theories of Etienne-Louis Boullee and my tracing of fictional cities and their interest in sequence is guided by the work of Kevin Lynch. Through the case studies of Italo Calvino’s Invisible Cities and Laini Taylor’s Strange the Dreamer, I unite the field of architecture with fiction, and the realms of ‘serious’ fiction with commercial fiction. I do this to demonstrate the different subject positionings within novel-writing and visual architecture to suggest the use of character-based story to subvert a typical design hierarchy between architect and architecture.

Mixed Media Collage. Allegra Martschenko. Fall 2019. Completed for ARC 404: Advanced Design Studio at Princeton University.

204

Yunzi Shi

Advisers: Monica Ponce de Leon, Daniel Sherer

Time-Image of Cities: Filmic Representations in Urban Imaginaries 1960s–1970s The emergence of art cinema, experimental videos and animations in the 1960’s and 1970’s took place simultaneously as architects and urban designers took a step back and reflected on the legacy of modernism in urban design, though few in-depth studies looked into this concurrence. One result of this paradigm shift in the discipline of architecture was questioning the modernist definition of presentness and the overlooked subjective experience of time. With media such as short films, storyboards, and animations, architects and urban designers created time-based urban imaginaries that fit Gilles Deleuze’s definition of time-image in cinema, in which the coexisting past and present formulate diverse and experimental narratives of time. Drawing from architectural history and media theory, the thesis investigates the ramifications of the application of time-based media in generating urban imaginaries in Europe and the U.S., as it interrogates the ideological and critical overtone embedded in such projects. This thesis contends that not only did these mediums serve as technical supports, but their medium specificity was also incorporated in the conceptual and critical framework underlying the design proposals. Case studies include Aldo Rossi’s documentation film exploring the concept of analogy, Superstudio’s storyboards and films highlighting freeze-frames and imprisoned subjectivity, and Madelon Vriesendorp’s animation staging Manhattanism as a form of animatism. Through historicizing the connections and exchanges in this period, a framework of cultural history that shaped the formal and ideological transition of both disciplines can be derived.

top: Aldo Rossi, Analogue City, photomontage, 1976 above: Madelon Vriesendorp, animation sketches for Flagrant Délit, 1978 right: Superstudio, Storyboard for The Continuous Monument, 1969–71

206

2020

207

Workbook

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 Printed in Iceland

208

Doctoral Degree in Architecture

The Ph.D. Program

2020

209

Workbook

The interdisciplinary nature of the doctoral (Ph.D.) program stresses the relationship of architecture, urbanism, landscape, and building technologies to their cultural, social, and political milieus. Supported by strong affiliations with other departments in the humanities, sciences, and social sciences, the program offers a comprehensive approach to the study of the field. Students interact with their peers to sustain individual projects in a context of collective research.

Ph.D. Program

210

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 to apply for assistantships in instruction, which are considered an intrinsic part of a scholar’s training. Technology Track Initiated in 2014, the technology track Ph.D. program develops research in the field of technology. 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 is supported by infrastructure, including an industrial robotic arm located in the School of Architecture’s Embodied Computation Lab and research facilities in the Andlinger Center.

2020

211

Workbook

Recently Completed Dissertations in History and Theory The wide range of possible research topics is illustrated by the following dissertations: Juan Cristóbal Amunátegui, The Société Anonyme De L’Hippodrome: Architecture and Association in Late Nineteenth-Century Paris (2020); advisor: Lucia Allais Dorit Aviv, Design for Heat Transfer: Formal and Material Strategies to leverage Thermodynamics in the Built Environment (2020); advisor: Forrest Meggers Mauricio Loyola, A Computational Method For Quantitative Post Occupancy Evaluation of Occupants’ Spatial Behavior In Buildings (2020); advisor: Forrest Meggers Eric Teitelbaum Design With Comfort: A Systems And Materials Approach To Expanded Psychrometrics (2020); advisor: Forrest Meggers Matthew Mullane, World Observation: Itō Chūta and the Making of Architectural Knowledge in Modern Japan (2019); advisor: Spyros Papapetros Kaicong Wu, Robotic Assembly: A Generative Architectural Design Strategy through Component Arrangements in Highly Constrained Design Spaces (2019); advisor: Axel Kilian, Forrest Meggers Hongshan Guo, Energy Delivery Reconditioned for Thermal Comfort (2019); advisor: Forrest Meggers Esther Choi, The Organization of Life: Architecture and the Life Sciences in Britain, 1921–1951 (2019); advisor: Spyros Papapetros Federica Vannucchi, A Disciplinary Mechanism: The Milan Triennale, 1964–1973 (2019); advisor: Lucia Allais Jose Araguez Escobar, Rethinking the Formal Domain: Deep Scientization of Design and Architecture-Engineering Hybrid, 1956–2006 (2019); advisor: Sylvia Lavin Margo Kelly Handwerker, Art/Work: The Systems-Oriented Artist Expert, 1968–1984 (2019); advisor Edward Eigen Ph.D. Program

212

Anna-Maria Meister, From Form to Norm: Systems and Values in German Design circa 1022, 1936, 1953 (2018); advisor: Lucia Allais Masha Panteleyeva, Re-Forming the Socialist City: Form and Image in the Work of the Soviet Experimental Group NER, 1960–1970 (2018); advisor: Lucia Allais Ignacio González Galán, Circulating Interiors: The Logics of Arredamento and the Furnishing of National Imaginaries in Italy 1922–1945 (2018); advisers: Lucia Allais and Beatriz Colomina Vanessa Grossman, A Concrete Alliance: Modernism, Communism, and the Design of Urban France, 1958–1981 (2018); advisers: Lucia Allais and Jean-Louis Cohen Masha Panteleyeva, Re-Forming the Socialist City: Form and Image in the Work of the Soviet Experimental Group NER, 1960–1970 (2018); adviser: Lucia Allais Joseph Bedford, Creativity’s Shadow: Dalibor Vesely, Phenomenology and Architectural Education (1968–89) (2017); adviser: Lucia Allais Daria Ricchi, From Storia to History (and Back): Fiction, Literature, and Historiography in Postwar Italian Architecture (2016); adviser: Spyros Papapetros Luis Aviles Rincon, Rhetoric Matters: Image, Textures, and the Discussion around Modern Ornamentation (1932–61) (2016); adviser: Beatriz Colomina Jasmine Benyamin, Towards a (New) Objectivity: Photography in German Architectural Discourse 1900–14 (2015); adviser: M. Christine Boyer Leonardo Diaz Borioli, Collective Autobiography Building Luis Barragán (2015); adviser: Beatriz Colomina Zvi Efrat, The Object of Zionism: Architecture of Statehood in Israel, 1948–73 (2014); adviser: Beatriz Colomina Alicia Imperiale, Alternate Organics: The Aesthetics of Experimentation in Art, Technology & Architecture in Postwar Italy (2014); adviser: M. Christine Boyer 2020

213

Workbook

Molly W. Steenson, Architectures of Information: Christopher Alexander, Cedric Price, and Nicholas Negroponte & MIT’s Architecture Machine Group (2014); adviser: M. Christine Boyer Craig Buckley, Graphic Apparatuses: Architecture, Media, and the Reinvention of Assembly 1956–73 (2013); adviser: Beatriz Colomina Mark Campbell, A Beautiful Leisure: The Decadent Architectural Humanism of Geoffrey Scott, Bernard and Mary Berenson (2013); adviser: Beatriz Colomina Anthony Fontenot, Non-Design and the Non-Planned City (2013); adviser: M. Christine Boyer Lisa L. Hsieh, ArchiteXt: The Readable, Playable and Edible Architecture of Japanese New Wave (2013); adviser: Beatriz Colomina Lydia Kallipoliti, MISSION GALATIC HOUSEHOLD: The Resurgence of Cosmological Imagination in the Architecture of the 1960s and 1970s (2013); adviser: Beatriz Colomina Diana Kurkovsky West, CyberSovietica: Planning, Design, and the Cyber-netics of Soviet Space, 1954–86 (2013); adviser: M. Christine Boyer Daniel Lopez-Perez, SKYSCRAPEROLOGY: Tall Buildings in History and Building Practice (1975–84) (2013); adviser: Spyros Papapetros Enrique Ramirez, Airs of Modernity 1881–1914 (2013); adviser: M. Christine Boyer Irene Sunwoo, Between the ‘Well-Laid Table’ and the ‘Marketplace’: Alvin Boyarsky’s Experiments in Architectural Pedagogy (2013); adviser: Spyros Papapetros Els Verbakel, Of Voids, Networks and Platforms: Post-War Visions for a European Transnational City: 1952–58 (2013); adviser: M. Christine Boyer Paul B. Preciado, Gender, Sexuality, and the Biopolitics of Architecture from the Secret Museum to Playboy (2012); ‑adviser: Beatriz Colomina

Ph.D. Program

214

Ph.D. Proseminars

2020

215

Workbook

ARC 571 Ph.D. Proseminar Professor Beatriz Colomina

The Pathological Norm: The Illnesses of Modern Architecture Architecture is almost always understood as having a normalizing function, establishing patterns that are stable, predictable, and to some extent standardized. The right angle is called the normal and it is very hard to find in nature. The right angle belongs to culture, to architecture. The idea of architecture is intimately associated with the idea of the normal—perhaps it sees itself as the caretaker of the normal. But the normal is not normal. It is a kind of artifact, always produced, never found. It is a construction involving a certain violence disguised by concepts of health. Architecture and medicine have always been tightly interlinked. If classical theories of the Greek polis followed theories of the four humors, contemporary ideas of health organize design theories today. Architectural discourse weaves itself through theories of body and brain, constructing the architect as a kind of doctor and the client as patient. Vitruvius launched Western architectural theory in the first century BC by insisting that all architects needed to study medicine: “Healthfulness being their chief object.” As Renaissance schools of medicine used casts of body parts, design schools used cast fragments of historical buildings for teaching, and anatomical dissection was a central part of the training. As medical representations changed, so did architectural representations. In the twentieth century, the widespread use of X-rays made a new way of thinking about architecture possible. Modern buildings even started to look like medical images, with transparent glass walls revealing the inner secrets of the building. Indeed, modern Ph.D. Program

216

architecture cannot be understood outside of tuberculosis. The symptoms, if not the principles, of modern architecture seem to have been taken straight out of a medical text on the disease. Every age has its signature afflictions and each affliction has its architecture. The age of bacterial diseases gave birth to modern architecture, to white buildings detached from the “humid ground where disease breeds,” as Le Corbusier put it. The discovery of antibiotics put an end to that age. In the postwar years, attention shifted to psychological problems. The architect was not seen just as a doctor but as a shrink, the house not just a medical device for the prevention of disease, but for providing psychological comfort, “nervous health.” The twenty-first century is the age of neurological disorders: depression, ADHD, borderline personality disorders, burnout syndrome and allergies—the “environmentally hypersensitive” unable to live in the modern world. What is the architecture of these afflictions? What does it mean for design? 2020

217

Workbook

Holland House Kensington London 1940

Ph.D. Program

218

ARC 572 Ph.D. Proseminar Professor M. Christine Boyer

Marvels of the Archives “The idea of accumulating everything, of establishing a sort of general archive, the will to enclose in one place all times, all epochs, all forms, all tastes, the idea of constituting a place of all times that is itself outside of time and inaccessible to its ravages, the project of organizing in this way a sort of perpetual and indefinite accumulation of time in an immobile place, this whole idea belongs to our modernity.” [Michel Foucault: “Of Other Spaces: Utopias and Heterotopias” [French 1984], trans. Jay Miskowiec, Diacritics, 16/1 (1986), 26.] Nevertheless, and despite the fantasy of achieving a total collection, an archive can never contain everything. It can amass many things, but there will be gaps in the series collected, ruptures in the field surveyed, erasures and silences of the non-archived. ‘Going against the grain’ of the archive means explaining the reasons behind what is actually retrieved, and who is allowed access. It requires developing an external view of the archive. This class will explore issues surrounding the constitution of an archive. Focusing on the figure of the archive and archival practices, it will question the relationship between the system of accumulation and the politics of its use by critics, curators, historians, artists, architects and administrators. The course aims to contextualize the constitution of an archive at the time of its accumulations and exclusions. It will self-consciously reflect on and debate the contemporary archival impulse. And it will examine the challenges computational media make to the archive as a container of ‘things’ and memory. Are there alternative models—non- or post-archival methods—to explore such as diagrams linked to databases that are mediated through computational interfaces setting the notion of archives in motion? Does this effect the overall transformation of knowledge in society? 2020

219

Workbook

Ph.D. Program

220

Ph.D. Dissertation Abstracts

2020

221

Workbook

Juan Cristóbal Amunátegui

The Société Anonyme De L’hippodrome: Architecture and Association in Late Nineteenth-Century Paris Since their inception in 1807, sociétés anonymes, or limited liability joint stock companies, have been the stuff of economic, reformist, literary, and even artistic myth. Most common today is the view of these modern-day corporations as instruments of the financial order emerged in the West after the Great Depression. In the French nineteenth century, however, these companies were regarded as an integral part of a twofold national project, one meant to fund vast plans of public infrastructure, while on the other hand linking the population with the monetary benefits of speculation. This dissertation examines the role of the société anonyme in the creation of a speculative architecture for the mass in the two decades following the Franco-Prussian War in France. The research considers the pressing need for association in the early years of the Third Republic as the setting for the emergence of collectivities rooted in operations of betting, investing, anonymizing, and inventing—that is, practices instantiating modalities of association located outside the markers of class, taste, and tradition characteristic of the old order. The dissertation proceeds as a case-history of the Société anonyme de l’Hippodrome de Paris and its architectural product, the Hippodrome de l’Alma (1878–1893). The chapters trace the interactions of this architectural, financial, and technological assemblage—the largest entertainment venue to emerge from late nineteenth-century Paris—with the investors, experts, audiences, and critics involved in its brief existence. They also provide insight into the ways in which this model was propagated in the capital through numerous other architectural ventures based on risk distribution, from swimming pools to hippodromes to skating rinks Ph.D. Program

222

clockwise from top: Hippodrome de Paris, installation d’éclairage électrique, Le Génie civil, 31 July 1886; “Le Nouvel Hippodrome,” (1) Street view (2) Arena (3) Sadlery (4) Stables (5) Manège, L’Univers illustré, 18 May 1878; The Hippodrome de Paris lit by the Jablochkoff bougies, in Louis Fuiguier, Les Merveilles de la science, 1867–1891

2020

223

Workbook

to velodromes. In exploring these spaces and their myriad technical, natural, and social interdependencies, I argue that a “relational” architecture was actualized which put the limits of nineteenthcentury realism to the test, setting architecture in dialogue with the experiments of the painters and writers who routinely visited, reflected on, and represented these buildings. These fin-de-siècle collectivities, I conclude, bring evidence of a seldom explored side of modernism, where mass and anonymity are not just foils for self and individuality, not mere embodiments of anomie and alienation, but actors in the period’s effort to instantiate its own idea of order.

Ph.D. Program

224

Dorit Aviv

Design for Heat Transfer: Formal and Material Strategies to Leverage Thermodynamics in the Built Environment The geometric and material characteristics of heat transfer at the scale of a building tie together the disciplines of architecture, engineering, and physics. However, contemporary practices create knowledge siloes that prevent a full leverage of the many potential trajectories for thermal energy flows in the built environment. Architects have spent the past decades developing multiple tools to describe and construct increasingly complex forms of building surfaces and volumes, yet have largely overlooked the impact of such design decisions on surface radiation and volumetric airflow. At the same time, engineers have developed and employed internal climatic control systems for buildings, but those reside hidden within mechanical rooms, plenums and shafts, detached from the building’s materiality and form, as well as from the external climatic forces. Bridging these fields would allow for an integrated view of the building itself as a coordinated machine which regulates the transfer of heat from the human body to the external environment. In order to achieve this goal, several methods to characterize the dependencies of heat transfer on architectural elements are presented. Measurement, analysis, and simulation tools are developed to reveal the quantities and qualities of invisible energy exchanges. A special emphasis is given to radiant heat transfer, which is intrin sically connected to architectural surface formation.

2020

225

Workbook

Ph.D. Program

226

Once characterized, it is possible to productively design the paths of energy flows through buildings, thus reducing their reliance on mechanical systems and external energy supply. A series of prototypes is constructed to test the interaction of heat and architectural form in full scale. These prototypes include experimental pavilions magnifying the influence of radiant heat fluxes on human occupants, and various designs for a roof aperture that combines radiant and evaporative cooling for desert climate through kinetic envelopes and adaptive materials. Sensor measurements taken from the prototypes are used to analyze their performance within their intended environments. This work is meant to demonstrate how the design field can contribute to the pressing need for energy conservation, and reciprocally, how the inclusion of thermodynamic interactions within the design process may enrich the pallet of the architect with generative formal and material strategies.

2020

227

Workbook

Eric Isaac Teitelbaum

Design with Comfort: A Systems and Materials Approach to Expanded Psychrometrics Air is a convenient medium for comfort, particularly when cooling and dehumidification are requested, relying on the psychrometric relationships to dictate energy demand indefinitely. Unfortunately, air, comfort, and psychrometrics have become conflated, allowing air conditioning and air-based heating to evolve as the de facto comfort methodology during the 20th century. While these systems have enabled universal architectures, thermal comfort is not a universal thermostat setpoint, let alone dictated only by air conditions. Sustainable and truly holistic approaches to comfort required a new comfort paradigm, moving beyond the key assumptions and measurement techniques that reinforce the success of air based systems without critically examining the thermal delivery mechanisms. In this dissertation, I critically examine nuances of heat transfer with respect to thermal comfort, from materials, sensors and novel systems to physiology and perception.

Ph.D. Program

228

The Cold Tube, an experimental radiant cooling pavilion constructed in Singapore in 2019 demonstrating the ability to cool people without cooling the air.

2020

229

Workbook

Mauricio A. Loyola Vergara

A Computational Method for Quantitative Post Occupancy Evaluation of Occupants’ Spatial Behavior in Buildings This dissertation proposes a novel computational method for observing and quantitively describing the spatial behavior of building occupants to be used as a complement to qualitative techniques in post-occupancy evaluations. The main elements of the proposed method are, first, a comprehensive computational assessment framework of behavioral variables and metrics that describe a wide variety of patterns of presence, movement, and spatial activity; and second, a computer vision algorithm that captures anonymous, high-resolution spatiotemporal data in a more efficient and accurate manner than comparable benchmarks. The proposed method is conceptually grounded in an architectureoriented redefinition of the notion of spatial behavior, and in a thorough analysis of the limitations of current postoccupancy evaluation protocols. The method was evaluated and validated in a series of case studies of post-occupancy evaluations of occupants’ spatial behavior in different university buildings. The results demonstrated the robustness, convenience, and applicability of the method, even in challenging situations of complex spatial configurations and privacy-sensitive environments. The method is simple to implement, flexible to adapt to multiple contexts, and cost-efficient, making it potentially competitive for scalable massive applications. At a more general level, this dissertation offers a broader discussion of the need to use computational methods to enhance the flow of information from occupation to design, and ultimately, develop a data-driven culture in the building industry. Ph.D. Program

230

Paths visualization.

2020

231

Workbook

Ph.D. Program

232