r
CompiledWorks Reide/Remi McClain
reide/remi After months of contemplation, my mother named me Reide. A name with no clear gender, and for her, a name that would help me succeed. They’ll expect a boy to walk through that door, my mother would explain in confidence. Alongside Reide was always Remi. It’s her initials with an added “i” for intelligence, my father would explain to everybody. And so I go by either, Reide and/or Remi.
inside content Studio Works 1— the pressured in-between 2— deep house: a tale of 2 twins 3— climate conservatories 4— link^ atrium competition
08-19 20-27 28-35 36-45
Seminar Works a— gray area 48-53 b— there, there?! 54-59 The Other Stuff
experience 60-61 connect 62-63
studio works
1
studio works the pressured in-between
fall 2016
Black Box. Mute Icon
VC Professor: Georgina Huljich, P-A-T-T-E-R-N-S, Los Angeles
400 Level Visiting Critic Studio
design collaboration w/ Samuel Dye images cited accordingly
the pressured in between Brief: The design project consists of a new building for Royce Hall at UCLA in Los Angeles. The new university building includes the University Auditorium, the Center for the Art of Performance at UCLA, and the Royce Hall Terrace. Students focused on the autonomous object with the purpose of generating a hyper articulated interior void that is prototypical rather than specifically building oriented; beginning with artist research as the primary means of object making. In the disconnection between interior and exterior, the studio will seek new and maybe unconventional solutions to the problem of the icon. From classical notions of “Poche,” to ideas about “Crowded Intricacies,” “Sectional Object,” etc. the studio will involve advanced techniques of solid projection.
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Monumentality is enabled through the tension between black box and plinth, creating an experiential in-between space, enveloped by two disparate elements that are peculiarly, yet undeniably, related. By stripping the black box from its current condition of dense poche, the black box is immediately perceived from endless points of observation. This dissolves any hierarchy in side-ness, instituting fuzziness as a means of assertion and impact. The plinth extends its grain into the context, behaving as both building mass and landmass, a pedestal for the pressured in-between space; which shifts our understanding of a typical campus building’s interior public space, or even primarily enveloped outdoor central courtyard. “When whole systems of geometric description and organization break down, seemingly unnatural connections between disparate elements emerge. The introduction into architecture of forms that are proto-geometric, or without exact measure, presents such an opportunity.” -Greg Lynn: Folds, Bodies & Blobs
Sectional Oblique, operating between abstraction and realism, the encouraged technique for this studio challenges fixed aesthetic notions of beauty and architectural representation and visualization. The conflict between opposing grains and the relationship between interior void and exterior void, is most fully [produced with Rhino, V-Ray Base Rendering, Photoshop, Illustrator | original image size 72” x 72”] understood in the use of sectional oblique.
11—
the pressured
conceptualizing the figure
an analysis of selected UCLA Royce Hall of Performing Arts dancer, Ros Warby, as a means of initial form-making. Understanding Warby at the scale of the isolated figure, as well as the scale of the figure on the stage
15’
15’
in-between
Main Auditorium Main Auditorium Ahmanson Terrace Ahmanson West Terrace Lobby 190,000 SF (?) 190,000 SF 500(?) SF 500 SF 5,000 SF
West Lobby Royce Lounge Royce Lounge 5,000 SF 2,000 SF 2,000 SF
Program Scale Program Studies Scale Studies
Main Auditorium 190,000 SF (?)
Ahmanson Terrace 500 SF
Main Auditorium 190,000 SF (?)
Ahmanson Terrace 500 SF
West Lobby 5,000 SF
Ahmanson Terrace 500 SF
West Lobby 5,000 SF
West Lobby 5,000 SF
Royce Lounge 2,000 SF
Main Program toMain BasicProgram Form to Basic Form
15’
15’
15’
DR Section Reference DR Section Reference
15’
Main Auditorium 190,000 SF (?)
Royce Lounge 2,000 SF
Program Scale Program Studies Scale Studies Main Program toMain BasicProgram Form to Basic Form
15’
15’
15’
Main Auditorium 190,000 SF (?)
15’
Ahmanson Terrace 500 SF
Sam Dye and SamRemi Dye McClain and Remi McClain 10.08.201610.08.2016 Program Paradigms Program Paradigms Phase A3 #01: Phase Internal A3 #01: Program Internal Program Figure Ground Program FigurePotential Ground Program Potential
West Lobby 5,000 SF
Royce Lounge 2,000 SF DR Section Reference
DR Section Reference
Black Box. Black Mute Box. Icon Mute / Syracuse IconUniversity / Syracuse School University of Architecture School of /Architecture ARC 407-609/ ARC Visiting 407-609 Critic Studio Visiting/ Fall Critic2016 Studio / PATTERNS / Fall 2016 Georgina / PATTERNS Huljich Georgina Huljich Sam Dye
DR Section Reference
Main Auditorium Main Auditorium Ahmanson TerraceAhmanson West Terrace Lobby 190,000 SF (?) 190,000500 SF (?) SF 500 SF 5,000 SF
West Lobby Royce Lounge 5,000 SF 2,000 SF
Program Paradigms Program Paradigms
Figure Ground Program FigurePotential Ground Program Potential
Black Box. Mute Icon / Syracuse Univ1
Phase A3
Royce Lounge 2,000 SF DR Section Reference
Black Box. Mute
Sam Dye and Remi McCla Icon / Syracuse University School of Arc 10.08.2016 Phase A3 #01: Internal Pro
Sam Dye and Remi McClain
Black Box. Mute Icon / Syracuse University School of Architecture / ARC 407-6 10.08.2016 Main Auditorium Main Auditorium Ahmanson TerraceAhmanson West Terrace Lobby 190,000 SF (?) 190,000500 SF (?) SF 500 SF 5,000 SF
Main AuditoriumMain Auditorium Ahmanson Terrace Ahmanson West Terrace Lobby 190,000 SF (?) 190,000 SF 500(?) SF 500 SF 5,000 SF
West Lobby Royce Lounge 5,000 SF 2,000 SF
Phase A3 #01: Internal Program
Royce Lounge 2,000 SF
Program Paradigms
Black Box. Mute Icon / Syracuse University School of ArchitectureFigure / ARC 407-609 Visiting Critic Stu Ground Program Potential Program Paradigms
West Lobby Royce Lounge Royce Lounge 5,000 SF 2,000 SF 2,000 SF
Figure Ground Program Potential Main Auditorium
190,000 SF (?) Program Paradigms
Main AuditoriumMain Auditorium Ahmanson Terrace Ahmanson West Terrace Lobby 190,000 SF (?) 190,000 SF 500(?) SF 500 SF 5,000 SF
Ahmanson Terrace 500 SF
West Lobby 5,000 SF
Figure Ground Program Potential
West Lobby Royce Lounge Royce Lounge 5,000 SF 2,000 SF 2,000 SF
Main Auditorium 190,000 SF (?)
Program Paradigms
Ahmanson Terrace 500 SF
West Lobby 5,000 SF
Royce Lounge 2,000 SF
Figure Ground Program Potential Main Auditorium 190,000 SF (?)
DR Section Reference DR Section Reference
DR Section Reference DR Section Reference
Main Auditorium 190,000 SF (?)
Ahmanson Terrace 500 SF
Ahmanson Terrace 500 SF
West Lobby 5,000 SF
West Lobby 5,000 SF
Royce Lounge 2,000 SF
Royce Lounge 2,000 SF
Sam Dye and SamRemi Dye McClain and Remi McClain 10.08.201610.08.2016 Phase A3 #01: Phase Internal A3 #01: Program Internal Program
Sam Dye and SamRemi Dye McClain and Remi McClain Black Box. Black Mute Box. Icon Mute / Syracuse IconUniversity / Syracuse School University of Architecture School of /Architecture ARC 407-609 / ARC Visiting 407-609 Critic Studio Visiting/ Critic Fall 2016 Studio / PATTERNS / Fall 2016 Georgina / PATTERNS Huljich Georgina Huljich 10.08.201610.08.2016 Phase A3 #01: Phase Internal A3 #01: Program Internal Program
Black Box. Black Mute Box. Icon Mute / Syracuse IconUniversity / Syracuse School University of Architecture School of /Architecture ARC 407-609/ ARC Visiting 407-609 Critic Studio Visiting/ Critic Fall 2016 Studio / PATTERNS / Fall 2016 Georgina / PATTERNS Huljich Georgina Huljich Sam Dye and Sam Remi DyeMcClain and Remi McClain 10.08.2016 10.08.2016 Phase A3 #01: Phase Internal A3 #01: Program Internal Program
program scaling, formal progression Black Box. Black Mute Box. Icon Mute / Syracuse Icon University / Syracuse School University of Architecture School of/ ARC Architecture 407-609 /Visiting ARC 407-609 Critic Studio Visiting / Fall Critic 2016 Studio / PATTERNS / Fall 2016 Georgina / PATTERNS Huljich Georgina Huljich
Using Jean Nouvel’s DR Concert Hall as typology precedence, the form goes from a single icon to curated collectionSam with varying moments of congestion and shifting scales. Dye and Sam Remi DyeMcClain and Remi McClain program paradigms
10.08.2016 10.08.2016 Phase A3 #01: Phase Internal A3 #01: Program Internal Program
Reworking Royce Hall’s iconic meeting spaces within the overall theater footprint. Black Box. Black Mute Box. Icon Mute / Syracuse Icon University / Syracuse School University of Architecture Schoolas of/ ARC Architecture /Visiting ARC 407-609 Critic Studio Visiting / Fall Critic 2016 Studio / PATTERNS / Fallpresence 2016 Georgina / PATTERNS Huljich Georgina Stripping the theater from its thick poche a407-609 means of asserting its in a Huljich nondirectional manner, eliminating any sort of sideness and therefore instigating fuzziness.
Sam Dye and Remi McClain 10.08.2016 Phase A3 #01: Internal Program Sam Dye and Remi McClain
Black Box. Mute Icon / Syracuse University School of Architecture / ARC 407-609 10.08.2016 Phase A3 #01: Internal Program
the pressured
Study Model Series, left to right: 3D printed preliminary form focusing on the figure in variation, 1-ply museum board theater models, 3D printed final form
in-between
Exterior + Unfolded Underbelly, the campus colonnade typology dissolves into the underbelly as a field of inconceivable structure - where the figure of the black box is dropping elements as a means of introducing fuzziness. [produced with Rhino V-Ray Base Rendering, Photoshop, Illustrator | original image size 72” x 72”]
15—
the pressured
UP
UP
Auditorium Plan
Theater Plan, there is an incessant conflict between a primary and secondary grain which intends to blur the distinction between black box, above, and plinth,
1/8” = 1’-0”
below. The hierarchical give and take between the two grains allows for a continuous shift in perception, while the intersections grant fleeting moments of clarity
[collaborated production with Samuel Dye; produced with Rhino, V-Ray Base Rendering, Illustrator |
in-between
Site Allignments, as one ascends UCLA’s Janss Steps towards Dickson Court the underbelly expands and envelopes. The most linear “face” of the black box asserts Powell Library, while its complexities open as one rotates around the site. [diagrams produced by Samuel Dye]
Plinth Below Ground Plan [produced by Samuel Dye]
Plinth Floor Plan 1” = 16’-0”
Plinth Floor Plan 1” = 16’-0”
Plinth Above Ground Plan [produced by Samuel Dye]
Ground Floor Plan 1” = 16’-0”
Ground Floor Plan 1” = 16’-0”
the pressured
section showing tiered seating
dual grain as means of circulation and seating organization, roof chasm behaves as skylight section showing stage
using geometric elements inherent to the object as stage framing and space organizing
in-between
alternate object orientation
where geometric elements are more obvious than in sections referenced on previous page final site plan (left)
relationship between site, plinth and black box is more complicated than process plan (right)
2
studio works deep house: a tale of 2 twins
spring 2016
A House for Twin Collectors
Asstistant Professor: Luca Ponsi Studio Ponsi Architettura e Design Florence, Italy 300 Level Studio Abroad
deep house: a tale of 2 twins This house is about connecting two towers for twin collectors, the extroverted DJ and the introverted manager. The pair collects turntables, old and new. The primary design technique is narrative; carefully crafting space that supports the particularities of the twins’ relationship and behavior, as outlined through their narrative. The site is situated along the River Arno in Florence, Italy - imbedded in a beautiful, yet stubbornly antiquated urban fabric. These towers relate to the pre-existing tower typology present in Florence, as a means of contextual continuity. While consciously in sync with its physical context, the project attempts to introduce architectural elements that broaden its language, linking their collection with the culture that now prominently produces turntables, Japan. Pioneer Electronics, founded in Tokyo in 1937, is a world leader in the production of turntables - often cited as the best. The towers interact through the attachment of shared wooden galleries which are familiar to Florence through their prominent frame of wooden ribs, the medieval language of framing. However, a more delicate wooden screen is inlaid, which is in reference to Asian architectural typologies. This inlay is punctured by rhythmic glass boxes that hold their collection of turntables in both an active and static state.
wooden gallery section
introvert tower section
extrovert tower section
23—
deep house:
The DJ’s tower sinks into the ground, immersing herself further into the public realm. Her piston driven performance platform simultaneously grants her access to her secluded, soundproof underground recording studio - and even deeper to her dance club.
a tale of 2 twins
The manager’s tower rises above the ground, escaping the public realm while simultaneously granting her oversight power upon the activities below. By lifting up from the ground, the public realm is able to flow from the courtyard across the street, through the building and to the river, where the DJ can perform to the public in an block party forum.
deep house:
SQ.1
SQ.2
SQ.3
SQ.4
SQ.5
SQ.6
sequence series
circulation axon
a tale of 2 twins
street facade
facade materialization study series, street and river both night and day
river facade
27—
3
studio works climate conservatories
spring 2015
Doomsday Vault
Assistant Professor: Julie Larsen, APTUM Architecture, Syracuse, NY 200 Level Studio
design collaboration w/ Jacob Schulman
climate conservatories In an article on Doomsday Architecture, Kriston Capps, writer for CityLab, defends that, “the weird future is no longer a thing that’s out there, in space or under the sea. For a lot of climates, it’s on the horizon.” Scientific research indicates that sea levels worldwide have been rising at a rate of 0.14 inches per year since the early 1990s. This trend has the potential to cripple coastal cities worldwide. As the 35th largest city in the world, Rio de Janeiro, Brazil situates itself on an Atlantic Ocean inlet, more specifically the plains of the west shore of Guanabara Bay. At sea level, the city is most susceptible to potential consequences caused by the floods, mudslides, and landslides of southern Brazil. The vault serves to protect and conserve the five climate zones of Brazil, and their respective flora, fauna and geology. As global climate adjusts, the zones that epitomize Brazilian culture will be undeniably affected. Through structure that behaves as active water transport, our vault will enable the preservation of these climate zones, establishing them as active monumental experiences, despite potential destruction from the global climate at large. There is an incessant processional quality en route to the historic Fiscal Island. From the city, one must advance to a larger Naval Island and from this island one can then progress along a narrow land bridge, our intended site, to the final destination of the Ilha Fiscal. The vault highlights the climates in a similar processional quality, from least humid to most humid and then back to least, with support in the elevation. The vault mediates the tension between nodal qualities of conservatories and necessary structure of our water modules, especially in regard to the narrow site. These conservatories are also in tension with the built in redundancies of the X module, and the structural modules respond to the pull of the conservatories to support them, as they break free from the confining path.
Iterative Model Studies
intervening on the cruise ship as an introductory exercise, we initiated our interest in cellular objects that pierce through, and depend on a consistent structural network. We find the relationship between the structure and cellular object to be a productive restraint, creating tension that is selectively heightened when the cellular object breaks free (laser cut plastic sheeting, chip/ or cardboard framework)
31—
climate
PROGRAM PROGRAM
ITERATIVE PROCESS ITERATIVE PROCESS
CONSERVATORIES 60%sf:60,000 sf: STORAGESTORAGE CONSERVATORIES 60% 60,000
5
A
5 5
98
A 1a
1a 5
5 5
5
175’-0” = 1” 175’-0” = 1” site ~ 2,500’ x 30’ site ~ 2,500’ x 30’
C1c
6c
D
E
7
6e
ntown dow janeiro rio de pe city-sca
5
5 5
1d
1e
7
4
3
E
proc essio cons nal erva torie s
6e
5
ntown dow janeiro de line, riocoast pe -scaopening, . citybay te mtns grani
7
4
5 5
3
1d
ies
D
6d
proc essio cons nal erva torie s
ies
D
1e
5 5
ator
1d 7
ator
6d
5
6d
serv
D
5 5
6d
5 5 5
serv
1d
5
6c
con
C
l
1c 5 5 5
5 5
B
1b
fisca
5 5 5
6c
5 5
ilha
C
con
6b
1c
98
ional
6. Classrooms 6. Classrooms a, b, c, d, e a, b, c, d, e 7. Bathrooms 7. Bathrooms 8. Entries 8. Entries 9. Help Center 9. Help Center
B
ional
Intigrated Galleries 1. Intigrated1.Galleries a,b, c, d, e a,b, c, d, e Welcome Center 2. Welcome2.Center 3.Small Theater 3.Small Theater 4. Cafe 4. Restaurant/Restaurant/ Cafe 5. Offices 5. Offices
1b 5 5 5
l
storage of scientist professor/ scientist storage storage of professor/ storage + seeds offices cells + seeds cellsoffice +labatoriesoffice +labatories curator offices curator mechanical mechanical
5
6c
5 5 5
6b
5 5
6b
B
1b
C1c
6a
B
5 5
process
A
fisca
PRIVATE
5 5 5
5
1b
VISITOR40% CENTER 40%sf:40,000 sf: VISITOR CENTER 40,000 PRIVATE
6a
1a
process
A
education reflection
2
ilha
experience education reflection
8
1a
gallery > conservatory > classroom gallery > conservatory > classroom PUBLIC
PUBLIC
8
2
5
6a
6a
6b
education education experience introduction introduction
F
F
A. Semi-AridA. Semi-Arid D. Tropical D. Tropical E. Amazon E. Amazon B.HighlandB.Highland Tropical Tropical C. Subtropical F. Ilha FiscalF.*Ilha Fiscal * C. Subtropical in its own right conservatoryconservatory in its own right
line, coast ing, bay openmtns. te grani
STRUCTURAL WATER MOVEMENT STRUCTURAL WATER MOVEMENT
PR PROGRAM
ITERATIVE ITERATIVE PROCESSPROCESS
STORAGE PR PROGRAM
collected collected rain water rain water transported transported usable waterusable water water conservatoryconservatory water conservatoryconservatory waste waterwaste water
1/8” = 1’-0”1/8” = 1’-0”
A. Semi-A
B.Highlan STORAGE
C. Subtro A. Semi-A B.Highlan C. Subtro
STRUCTURAL WATER MOVEMENT STRUCTURAL WATER MOVEMENT STRUCTURAL WATER MOVEMENT STRUCTURAL WATER MOVEMENT
gallery
PUBLIC
conservatoryconservatory water cells water cells
education introduction
PUBLIC
transportation transportation water cells water cells
education introduction
gallery
PRIVATE
rain watercells collection cells rain water collection
storage curator office
PRIVATE
ITERATIVE ITERATIVE PROCESSPROCESS
storage curator office
conservatories
Render from underneath a conservatory, it’s underbelly revealing the wonders it contains to people passing by.
Render from a hypothetical cruise ship, looking out towards the Vault, glowing through the gloom.
climate
Above: Full Site Plan; Below: Plan Details (produced by partner J. Shulman)
conservatories
Section through the corner conservatory, concrete structure as reactionary force to conservatory form
35—
4
studio works link^ atrium competition
spring 2017
Link Hall Atrium Addition
Assistant Professor: Tarek Rakha, Ph.D. faculty research fellow Syracuse Center of Excellence
Integrative Design Studio
collaboration: Deena Darby + Shaguni Gupta
link^ atrium competition Honorable Mention (2nd Place, tie) Brief: The purpose of this studio is to integrate building systems and sustainable design techniques into a full comprehensive building project. This studio is a design competition for an atrium addition to The College of Engineering and Computer Science (CECS) Link Hall at Syracuse University (SU). CECS aims to develop a more visible connection with the surrounding campus and university. As a result, an atrium addition is being developed. The atrium program space will highlight the activities that it will house, by creating a visible connection to its surrounding environment, and housing program relevant to the future of the CECS. The Atrium provides the students with the opportunity of working collaboratively with other team members from other Engineering/ Architecture disciplines in an integrated team structure to gain experience of the design process from the holisitc perspective. 1
— —
Our proposal addresses three existing problems: Student Services, Work Spaces and Circulation. Rather than appropriating our funds to a tall and useless form, our atrium is shallow and expansive for optimum floor area and daylighting. Floating above is a study spine of collaborative and individual workspaces, which sweeps concave to the atrium, creating an outdoor courtyard in between. Student Services exists at the intersection between these two forms to heighten its accessibility. The prominent campus typlogy of plinth, combined with prevalent brick and stonework contributed to the overall conception of the Link^ Atrium design. Inverting this typlogy, so the plinth becomes a light and airy atrium, and the massing above as more opaque study spaces. When the study spine separates from the atrium below, a series of piloti disengage from the plinth and sweep along the spine. We found this aspect to be a challenging and satisfying collaboration between engineers and architects. Our team had four engineering students who provided sitework, budgeting, and partial structure consultion. With a tight budget of $1 million, our design took productive risks in providing the most space for students of CECS. 1. Integrative Design Studio Syllabus, Tarek Rakha Spring 2017
Before and After, representing the project in relation to its construction timeline through seasonal before and after renderings; the most important view of the project from the campus bus stop, the study spine engages the intersection between Link Hall and Slocum Hall, while welcoming people towards the quad.
39—
link^ atrium
massing studies
modular
filling
filling
modular
modular
stacking
intersection
modular
formal solutions intersection
intersection
lack of ventilation and light
harsh southern sun
Link-ing
access to light and air
self shading, diffuses sun
Link-ing
continuation of plinth
curved geometry of shaffer
massing study series
the nook condition of our site presented issues with daylighting and air flow to the existing building. massing evaluation of design goals
by disengaging the study spine concave from the existing building, we maintained light and air for the existing building, while addressing the campus morin a more impactful way.
ysis
lysis
competition
atrium in summer
with metal mesh and overhang
without metal mesh and overhang
atrium in winter
simulation analysis
with metal
with metal mesh and overhang
without metal mesh and overhang
simulation analysis
daylighting exercise: before metal facade
since practically the entire facade faces south, it receives heavy sunlight at all times of the year. we wanted to reduce a/c requirements and increase comfort levels for students working. daylighting exercise: after metal facade
environm
by introducing a perforated metal facade, we found the comfort level to rise dramatically. this means the spine can behave more passively, and will require less a/c and sunlight shielding.
with metal
link^ atrium
elevation from axis (s), showing new entrance
the intersection between atrium and study spine marks the new main entrance for Link Hall, where a monumental staircase appears to peel away from the study spine elevation from quad (w), showing existing bldg
while just a small part of facade faces west, it is crucial, as it addresses the main quad. The windows and material lock in this piece with the existing facade.
1. link hall competition
2. link+ addition 1
3. slocum hall
School of Engineering
School of Engineering
7. machinery hall 6. 6. hinds hinds hall hall
College of Applied Science School School of Information of Information Studies Studies
7. 7. machinery machinery hall hall 8.6.lyman hinds hall hall College College of Applied of Applied Science Science JP Morgan Chase Tech Center School of Information Studies
roof: terracotta main: brick trim: limestone base: pink granite
roof:flat main:aluminum trim: steel base:none
Department of Chemistry
Two-Dimensional Arts
plinths plinths++materiality materiality plinths + materiality plinths + materiality roof: flat main: brick trim: concrete base: concrete
5. bowne hall
4. shaffer art building
School of Architecture
8. lyman lyman hall hall 7. life8. sciences complex 7. machinery hall
JP Morgan JPScience Morgan Chase Chase Tech Tech Center Center Biology, Chemistry and Biochemistry Dpts. College of Applied
roof: flat main: brick, or terracotta trim: steel base: none
lifelife sciences sciences complex complex 8. lyman hall7. 7.
roof: terracotta main: brick trim: copper base: limestone
7. life sciences complex
Biology, Biology, Chemistry Chemistry andand Biochemistry Biochemistry Dpts. Dpts. JP Morgan Chase Tech Center
Biology, Chemistry and Biochemistry Dpts.
8 roof: roof: flat flat roof: terracotta main: main: brick brick main:rocky stone trim: trim: steel steel trim: cut stone base: base: none none base:wide rocky
roof: roof: terracotta terracotta roof:flat terracotta roof: main: main: rocky rocky stone stone main:brick brick main: trim: trim: cut cut stone stone trim:steel limestone trim: base: base: wide wide rocky rocky base:none marble base:
roof: terracotta terracotta roof: terracotta roof: flatroof: main: main: brick brick main:rocky main:stone terracotta trim: trim: limestone limestone trim: cut stone trim: steel base: marble marble base:wide rockybase:
roof: terracotta roof: roof: flat flat main: brick main: main: terracotta terracotta trim: limestone trim: trim: steel steel base: marble
unifying unifying materiality materiality Link^ Link^ Perforated Perforated Colored Colored Sheet Sheet Metal Metal
Link+ Link+ Generic Generic GrayGray Sheet Sheet Metal Metal
9
material + plinth study, campus buildings
the prominent typology for SU is that of the plinth, with heavy stonework below and brick above. Then there are new buildings, which introduce a variety of “contemporary� material material cohesive aim
the 2007 addition towards the N end of Link is inexpensive gray sheet metal, we use a red tinted perf metal for the spine, to mediate between campus aesthetic and the 2007 addition.
roof: flat main: terracotta trim: steel
link^ atrium
Ground floor plan: student services on left, atrium center, study spine dotted above pilotis. Main elevation below.
main entrance: creates central brightened zone, directs program competition
proposed solutions circulation core: activates facade and clarifies circulation 1. Student Services: renovate, increase accessibility and clarify the departments and their spaces
2. Work Spaces: prioritize work environments, while encouraging collaboration
Interior renderings (top-bottom): entrance, student services waiting area, main stair, study spine, atrium from existing
45—
3. Circulation: increase visibility and create central meeting point of all circulation routes through the
seminar works
a
seminar works
gray area
fall 2016
Gray Area: On Flickering, Erosion, Collapse and other uncertain Figures
Assistant Professor: Maya Alam, Boghosian Fellow 2016-17, Syracuse, NY 500 Level Professional Elective
gray area This series seeks to create inconceivable depth and materiality through the dependency of association between fields, which maintains a flickering figure/ground through the kinetic presence of densities, planes and shifting voids that congest in a central moment of disturbance, granting the viewer fleeting moments of clarity, that are immediately stolen back by the disturbance.
In the original image, the viewer’s understanding of foreground and background is palpably adjusted through the ultimate splitting of both components to create the illusion of four distinct, yet highly dependent and related, aspects. The composition’s background is easily identified as one entity, yet through this series, it becomes evident how the two components, left and right, have distinct readings in the image. The central foreground is divided through stark contrast; the presentation of such polarities creates ‘one’ disturbing moment in the center, which gets distorted and pulled away from the center, emphasizing the separate readings of the left and right side of the background due to their adjacency to either edge of the contrast.
linework, 2D Series
color palette, 2D Series
initial blur image 3, 2D Series
process blur image 1, 2D Series (see site for animations)
process blur image 2, 2D Series (see site for animations)
process blur image 3, 2D Series (see site for animations)
Barthes and Krauss position qualities in From the Neutral, “A structural, paradigmatic game is thus set between qualities; that’s to say, two opposed qualities + one quality that combines them, reconciles them: it’s the A and B of the A/B paradigm: complex term.”1 I would argue that in this composition, one reconciling moment is actually behaving as a separator, or a disturbance that allows the viewer to understand background left or right as truly background A and background B, not a singular entity. This foreground disturbance is in itself two opposed qualities, which allows the reading of A and B to shift based on their allegiance and positioning with the foreground disturbance. Through the analysis of the foreground disturbance, there is an understanding of balance between the two distinguished parts, as the borderline of contrast creates relatively even amounts of light and dark – a mirror effect of the two. In “The Mirror Stage,” Lacan argues for a subliminal understanding of the composition, suggesting that the viewer is always adjusting their perception of the composition – and one composition cannot universally be understood.2 Therefore, the reading of background left and t is adjusted based on the viewer, and their ability to process the composition through the foreground disturbance.
The ‘aspects’ of microtemporal image-processing are comprised of motion, color or orientation; which all exist autonomously as cogs in our microtemporal processing machines. Images can “speak directly to our brains”3 through hyper direct contact with these microconscious cogs. This direct conversation between images and our microtemporal image-processing components poses subjective complications when our microconscious does not wait for each autonomous cog to complete its processings; Instead, the brain executes “binding,” which Hansen explains in From Fixed to Fluid. “The brain does not wait for each area to complete its processings; rather it simply binds what has been processed and reached a perceptual level. This in turn suggests strongly that binding is a post-consciousness phenomenon.”4 Due to the composition’s density in the foreground, the brain normally perceives this matter first – and then binds the left and right background accordingly. Because we have no conscious control of this procedure, image-processing will always intrinsically be subjective due to the nature of our microtemporal subconscious behavior. “[Cezanne] was the first to develop color areas which produce both distinct and indistinct endings – areas connected and unconnected –
bitmap image, textured, 3D Series
textured digital model, 3D Series
physical model, 3D Series
pressured planes, real vs. conceived gaps, 3D Series
textured digital model, 3D Series (see site for animations)
physical model, 3D Series
areas with and without boundaries – as means of plastic organization.”5 The Image is a “temporal process” rather than a “spatial/visual” figure.6 In other words, a “fluid image” that can hold its own in relation to today’s “social media networks, ubiquitous computational environments, and wireless digital devices” that are in the “process of generating [this] new kind of image that operates through direct transduction with the microtemporal operations of human cognition and imaging.”7 This composition, initially organized through a simple relationship of background and disruptive foreground, becomes attractively complex through the dynamism of color properties and association. Through the overlay of composition properties and the introduction of chasm like voids that gravitate towards the center, the initial simplistic hierarchy of center, immediate adjacency and peripheral adjacency becomes more complex and fluid. As one shifts their position in relationship to the model, these voids flex and shift while the saturated gray palette jumps across the adjacent planes 1 Roland Barthes and Rosalind Krauss, “From The Neutral Session of March 11, 1978,” October, Volume 112 (MIT Press, 2005) 15. 2 Jacques Lacan, “The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytical Experience,” 504. 3 Hansen, 93. 4 Hansen, From Fixed to Fluid, 88. 5 Josef Albers, Interaction of Colors 6 Hansen, 104. 7 Hansen, 111.
b
seminar works
there, there?!
fall 2017
Are We There, There?! Exploring Themed Environments
Assistant Professor: Nicole McIntosh, Architecture Office, www.architectureoffice.org 500 Level Professional Elective
there, there How can we construct identity with images to share immediate cultural experiences? The class questions aformentioned characteristics, typical elements, and significations that create a character of a place and its culture. As a case study, we examined New Glarus, WI over the course of the semester. We documented and deployed what currently flourishes under the Swiss themed building codes in Wisconsin’s little Switzerland.1 1. Are We There, There?! Fall 2017 ARC500 Syllabus, Nicole McIntosh
The Glarner Stube’s structure and formal components are far from Swiss, rather a remedial dressing of Swiss elements have been concentrated to the most satiating zone for commercialism, the entrance. In the same spirit as Venturi’s Las Vegas, prominent Swiss elements conglomerate into one thematized sign at the entrance. A folly of sorts, this collection of themed pieces generates the character of the Glarner Stube that New Glarus seeks to epitomize. The subtle disruptive nature of American elements defines New Glarus, and many American themed environments. Interrupting the Swiss vision, everyday items intervene, like Brute trashcans, A/C units, or electrical wiring. These imbed a layer that complicates the overall aesthetic of the Glarner Stube, questioning its affect overall.
wood detail model; scale: 1/2” = 1’- 0”
photo credit: thomas kim
photo credit: david broda
On Building Codes
figure of rhetorical parts; conglomerating typical Swiss elements into a folly of sorts; the image the building seeks to embody is delineated from the additive objects which enable it - the American building as backdrop. laser cut chipboard, printed acrylic, acrylic rods, 3d printed elements. photo credit: david broda scale: 1” = 4’-0”
At the grasp of consumerism, New Glarus obediently responds to an absurdly coherent set of codes – codes which encourage the built environment to assimilate into the realm of a commercially driven there, or there, there. The success of New Glarus depends on the perceivability and impact of thematized codes. According to Mark Gottdiener, “the more obscure the sign system and the more foreign the experience, the less able we are to use the space in the manner we desire.”1 And if a Swiss architectural theme can enable commercial success, than the desirable codes for said theme are those that become physical manifestations of popularly understood, generalized images of Swiss vernacular. The implementation of these codes produce the there even though we are not actually there, but rather here. The there, there is realized. New Glarus’ approach to codes only allows for certain visual representation and does not allow the built to deviate from stereotypical forms found in a highly curated selection of images based on an American perception of Switzerland. Umberto Eco describes this condition, particularly in America, “the American imagination demands the real thing, and to attain it, must fabricate the absolute fake.”2 Following suit, strange conditions occur when the rebellious bones of non-conforming buildings are forced to thematize through the peculiar
attachment of Swiss elements. In an environment where the public “is meant to admire the perfection of the fake and its obedience to the program,”3 all buildings must oblige by these meticulously curated codes. In the Village of New Glarus Building Construction code manual, Article II, titled Swiss Architectural Theme, outlines requirements for compliance to the theme. A Design Review Committee checks that all buildings abide by the outlined criteria. For example, inclusion of shutters, roof overhangs for all pitched roofs, and use of flower boxes on balconies. In 118-24, Supplemental architectural theme requirements, Section C.1 is titled Shapes, point A states, “the single most defining shape of Swiss architecture is the pitched roof with expansive overhangs, regardless of building size…” The language of which these design elements are described is particularly oppressive and interesting, with commanding authority. In the seminar we looked at Celebration, FL as a trend of completely controlled environment building. Celebration, FL is a development that epitomizes the realization of a falsified there, there. Strictly coordinated building design is a fundamental technique for “community building” in Celebration. Through their revived use of the traditional American Patterns Book, “the desired result and details of key elements
casagami “folded house” souvenir; paper, no adhesives
detail elevation; side, alley. materials and dimensions. original scale: 1” = 20’-0”
such as porches or windows” are explicitly demonstrated through “three-dimensional images,” leaving very little room for unique interpretation. The blunt categorization of 6 architectural styles (Classical, Victorian, Colonial revival, Coastal, Mediterranean and French) is further broken down into their appropriate elements.
detail elevation; front, entrance
How do we write building codes today to control the desired setting of a place? Setting is no longer about slow growth, but more so about creating sensational environments. Especially when considering examples like Wes Anderson, where his film’s memorability and recognition stem largely from his settings, settings which clearly associate with specific cultures. 1 Mark Gottdiener, “Experiencing Themed Environments,” 133. 2 Umberto Eco, “Travels in Hyper Reality,” 8. 3 Ibid, 44.
the other stuff
experience
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education
Syracuse Architecture
bachelor of architecture
Syracuse, NY | May 2018
GPA: 3.71, Suma Cum Laude, Class Marshal, Dean’s Lists, National Society of Collegiate Scholars
Ridgefield High School
GPA: 3.8, AP Scholar, Honor Roll; Philanthropic Youth Council - President, Vice President, VP Publicity; National Charity League - President, VP
Ridgefield, CT | 2013
Studio V
experience
architectural + design intern
Expedited workload completion for 2 design teams; Prepared full expansion proposal presentation for NYC Landmarks Preservation Commission, including: historical research, streetview renderings, design renderings, and concept diagrams. Helped with preliminary schematic design for a ground-up housing project in Brooklyn; Helped with preliminary site documentation and schematic design for a Casino renovation and addition. Worked with a previous client on updates for restaurant interiors to meet their changing needs.
New York, NY Summer 2017
architectural + design intern
AvroKO
Expedited workload completion for 3 design teams; Rendered design concept images for partner and client review; Amended redlined design development drawings; Collaborated with vendors and manufacturers for samples and ordering; Developed market research booklet - diagrams, research, precedents - in collaboration with Brand Bureau
New York, NY Summer 2016
Brooks & Falotico New Canaan, CT Summer 2015
Doyle Coffin Ridgefield, CT Summer 2014
Olley Court Ridgefield, CT 2011 - 2013
affiliations POSIT Syracuse, NY - Spring 2017www.thisisposit.com
ASCA Conference Syracuse, NY - Fall 2015
J. Larsen + R. Hubeli Syracuse, NY - Fall 2015
architectural + design intern
Expedited workload completion for 4 design teams; Amended redlined construction documents and design development drawings; Produced electrical and power drawings; Collaborated with vendors and manufacturers for ordering; Documented existing site conditions
architectural intern
Participated in site meetings, recorded client/contractor notes; Organized office space and redesigned material library; Amended redlined construction documents and design development drawings; Documented existing site conditions
sales associate + design assistant
Helped with design services and sales, general store management; Worked with inventory companies for design services and retail objects; Trained new employees; Managed store operations; Opened and closed retail space
creative director, co-founder
POSIT is a digital publication led by students at Syracuse University (see site for more info). We curate architectural content from students, faculty and alumni. Guest lecture interview series; POSIT Live event series featuring faculty and students in Slocum Atrium, open discussion forum; CD to Manage: Graphic design, PR/Merchandise, Website design, Event collaborations
between the autonomous and contingent object
Staff Member | Helped with conference publicity and preparing the venue each day; Designed and assisted with production of 3D printed objects as gifts for debate participants; Organized publicity and student involvement with debate seminars
thinness pavilion exposition, cemex collaboration
Assisted CEMEX with pavilion construction - silicon molds, concrete mixing/pouring, inverse mold wax prep and finished build; Organized venue, assembled displays, mounted drawings and samples
Student Mentor Squad
student mentor ambassador
Student Ambassador
peer advisor, for class of 2019
Syracuse, NY - Fall 2016 -
Syracuse, NY - Fall 2013 - 2016
Programs
technique
Fabrication
One of 3 Class Ambassadors for SMS, we organize informational events to help students in all grades feel more prepared for big experiences in the School of Architecture Mentor for new architecture students as they adjust to college life and the demanding nature of architecture education AutoCAD; Rhinoceros; V-Ray Rendering; Keyshot; DIVA; Climate Consultant;Sketchup; Photoshop; Illustrator; InDesign; AfterEffects 3D printing; Laser Cutting; CNC Milling; Traditional model techniques; Hand drafting
the other stuff
connect
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Reide/Remi McClain
868 Ostrom Alley Syracuse, NY 13210 remcclai@syr.edu
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203-448-9345
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remcclain.com
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@remcclain_
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Syracuse University
School of Architecture 18’
R 2018—