ALEXANDER SASSAROLI Academic & Professional Work
2014
All work produced exclusively by Alexander Sassaroli unless otherwise noted. Copyright Š 2014
TABLE OF CONTENTS 1. Architecture
2. Design
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BIBLIOTECA DI ROMA
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YFIRBORÐ
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EDGE CITY
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CASIS
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NEW HAVEN HOUSING CHARETTE
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LIVE / WORK
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URBAN PALEONTOLOGY
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1285 FPR
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DANCE MACHINE
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TRIBECA PENTHOUSE
ADVANCED STUDIO WITH PETER EISENMAN ADVANCED STUDIO WITH DEBORAH BERKE URBAN DESIGN STUDIO WITH BIMAL MENDIS INTEGRATED STUDIO WITH MARTIN FINIO YSOA VLOCK BUILDING PROJECT
A DANCE STUDIO IN NEW YORK
COMPRESSION TEST
DIFFERENTIATED COHABITATION FOR TWO RESIDENTS
ALBERTI ANALOGOUS
CRITICALITY AND HETEROGENEOUS SPACE
FOLD
REMAKING A SURFACE
3. Professional
MULTIPLE UNIT HOUSING IN NEW HAVEN YALE PEABODY NATURAL HISTORY MUSEUM EXTENSION
BEACON
CELL PHONE TOWER AND POOL IN ICELAND
BEACH HOUSE IN SOUTHAMPTON MULTILEVEL APARTMENT IN DOWNTOWN NEW YORK
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BIBLIOTECA DI ROMA ADVANCED STUDIO WITH PETER EISENMAN Year: Fall 2013
Partner: Ryan Connolly
Contemporary digital architecture is synonymous with homogeneous space, or smooth space ruled by self-similar repetition and spatial continuity. Spatial homogeneity projects the idea of the organism, that all parts relate to a whole and that all objects in space are bound to one another through universal, mathematic relationships, and reinforces Alberti’s axiomatic idea of modern spatium, or space as void without quality. As a critique of this homogeneous space, this project offers the idea of aggregation, which is the bringing together of selfsimilar or varied elements into a non-uniform body, de-emphasizing total integration or complete harmony. In this sense, aggregation can be considered the conflict between the consistent and inconsistent multiple as a means to challenge homogeneity. Situated in the Piazza dei Cinquecento adjacent Stazione Termini and the Baths of Diocletian in Rome, this project mines the palimpsest of its site as a means to generate heterogeneity within an intensive cohesion. This project exists as a third figure, between the two major urban forms of the baths and the station, as well as an interstice and joint blurring the existing strata. Whereas there was once a vast, undifferentiated modernist plaza, this project asserts itself as an aggregation of horizontal, vertical, and diagonal datums. Changing across the breadth of the site, the forms of the project are both internally cohesive,
from building to ramp to plaza, and externally referential, strengthening existing conditions on the site and pointing to new affinities both near and far. To create a new formal strata between the two existing urban figures, the pacing and scale of the Baths of Diocletian is extended towards Termini. It is then dislocated and mirrored to fill the space of the plaza. In doing so, the diagram is both referential to its origin state and resolutely autonomous. Following the initial dislocation, the diagram is adjusted to the existing site conditions, pushing some boundaries into closer proximity and bringing the palimpsest of this new ground into contact with the baths and station. This diagram represents the initial moment of aggregation resulting from the conflict of unifying these repetitive multiples into a new whole. Across the section of the plaza, the project becomes an aggregation of difference - the distinction of figure and ground are blurred and lost in translation. What begins as a planometric translation is then displaced in section, obfuscating the distinction between horizontal and vertical. Blurring figure and ground, the objects of the building program are displaced internally, adding another layer of spatial heterogeneity.
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DIAGRAMMATIC PLAN
INSERTION OF PROGRAM
CONTOURING TO LINK FIELD AND FIGURE
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A NEW PIAZZA A view looking west from the Stazione Termini facing the Baths of Diocletian depicts the reshaped Piazza de Cinquecento. The new plaza bears the traces of its aggreagated process of generation.
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From this view, moving counter-clockwise around the plaza, one can see the new convention hall (upper left), public library, research library, and archive.
PLAZA LEVEL
MEZZANINE
LOWER LEVEL 11
Lower Level
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Plaza Level
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YFIRBORÐ ADVANCED DESIGN STUDIO WITH DEBORAH BERKE Year: Spring 2014
“Politically the network is not a separate sphere, but indeed a surface, touching and influencing and interacting with all other realities. More centralized control over the internet limits the collective agency of people who use the network. The ultimate point of the networked collective is to make changes in reality, and that a more controlled network renders it less capable of doing so…” Daniel Van Der Velden And Vinca Kruk – Founders Of Metahaven
In the popular local culture of Iceland, natural thermal baths are the spaces of social interaction. This space contrasts greatly with more contemporary zones of social interaction such as digital social media. The baths, in contrast to the digital space of private anonymity, is instead a corporeal space of public intimacy. Local politics can be discussed vigorously and consensus can be found in the space of the pool, whereas digital space offers further polarization and alienation. This project, a headquarters for a new institute focused on internet securty and digital journalistic freedom, seeks to leverage the infrastructure which powers necessary digital interaction toward creating more productive realms of intimate social interation. Located on the harbor of Reykjavík close to Harpa concert hall, this project productively interweaves occupiable and activated surfaces to produce social interaction. Surfaces, rather than
networks or spheres, are capable of producing unforeseen or novel forms of interaction, as their programming is mutable. These surfaces include a regraded entry plane, a ceiling scape that reshapes and reconfigures the mountain range across the Kollafjörður, a ramped landscape surface that houses a large outdoor pool, heated by a subterranean data hall, and the faceted surface that unifies the project, allowing it to oscillate between a landmass object and a landscape . The interior, as well, contains large open surfaces and floors, both ramped and level, to produce social interactions which a pure typologically stereotypical project could not engender. The ramped pool surface becomes the primary grand entrance into the interior, penetrating much of the interior with exterior public space, while linking programmatically to other indoor gathering spaces at the same level, such as conference space and an auditorium. Thus, the project involutes, bringing the exterior as well as the outdoor pool into the interior, as it also involutes a landscape surface into the landmass object of the primary, faceted volume.
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LANDMASS AND LANDSCAPE
Toward the southwest, the project acquires the quality of a landmass object akin the the mountain across the harbor from the site, as well as the relative scale of the local context. To the southeast, the project is a landscape, pulling visitors up a slightly ramped surface toward the pool and the interior of the project.
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SITE PLAN
The project’s qualities shift across the site. Toward the southeast the project welcomes visitors as a ramped landscape ascending to a public pool. Toward the northwest the project assumed the character of a faceted, levitating landmass, echoing the mountain range across the Kollafjörður.
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THE DATA HALL
The data hall is the means through which global society creates interactions based on the status of private anonymity.
THE POOL
The pool is the means through which Icelandic society creates interactions based on the status of public intimacy.
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DIAGRAM OF MULTIPLE SURFACES
LANDMASS
The structure transitions from landscape to landmass at this point, the underside of the landmass is articulated to reframe the mountains.
POOL SURFACE
Gentle ramp leads visitors into main public level. Large public pool is made available to Reykjavík and is heated by data hall. New vistas of landscape are presented and the exterior penetrates the building.
CEILING SCAPE
The articulated ceiling of the main exterior entry space reframes the mountain range across the Kollafjörður. The movement of the visitor reframes the landscape.
ENTRY RAMP
The surface of the city is regraded, levitating the main mass of the building and welcoming visitors. Views of the mountains appear upon descent.
YFIRBORÐ
The project revolves around 3 main surfaces: the pool ramp, the ceiling scape, and the entry ramp. The surfaces reframe the surrounding landscpae and make the building’s identity as both a landmass and a landscape dynamic.
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INTERIOR RAMP SURFACE
The qualities of landscape, of activated public surfaces, is reflected in the interior, as a triple-height ramped surface provides space to gather, relax, and view the many other areas of activiy within the project. Light is provided by the cracks in between the different landmass volumes of the project.
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DIAGRAM OF INTERIOR PROGRAMS AND SPACES
EXHIBITION
Large, well-lit interior space for large-scale exhibitions and screenings. This space is at the uppermost level of the project and receives natural light from northwest and southeast elevations with views to the landscape.
AUDITORIUM
The large auditorium is accessible from pool ramp level and receives the public from both the entrance under the landmass figure and from the ramped lanscape surface.
MAIN PUBLIC SPACES
Includes private guest quarters, studio, multipurpose and conference rooms, office space, and computer labs. Includes a triple-height ramped open space for informal gathering. These spaces are all accessible from either the entrance under the landmass figure or the ramped landscape surface of the pool deck.
CHANGING ROOMS
The changing rooms are open to the public and accessible from the ramped landscape pool deck.
FABRICATION LABS AND DATA HALL
Fabrication labs are open to the public. The heat exhaust from the data hall is collected in a plenum space and is used to heat the pool year-round. Natural light is gathered through skylights and light scoops.
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1. BASEMENT LEVEL
2. ENTRY LEVEL
1. Data Hall 2. Fabrication Lab 3. Storage
1. Reception
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2.
3. 1.
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6. OFFICE LEVEL
1. Broadcast Studio 2. Guest Quarters 3. Conference 4. Open Gathering Space
1. Reception 2. Open Office 3. Executive 4. Conference 5. Exhibit 6. Office Support
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5. GUEST LEVEL
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6. 1. 4.
3. POOL LEVEL
4. RAMP LEVEL
1. Pool Deck 2. Conference 3. Prefunction Space 4. Auditorium 5. Changing Rooms 6. Library
1. Multipurpose Room 2. Conference 3. Computer Lab 4. Open Gathering Space
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3. 5.
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7. EXHIBIT LEVEL
8. ROOF
1. Open Exhibit 2. Computer Lab
2. 1. 2.
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CROSS SECTION FACING EAST
LONGITUDINAL SECTION FACING NORTH
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CROSS SECTION FACING WEST
LONGITUDINAL SECTION FACING SOUTH
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FRONT ELEVATION
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REAR ELEVATION
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EDGE CITY URBAN DESIGN STUDIO WITH BIMAL MENDIS Year: Spring 2013
Coney Island is sinking. Due to rising sea levels, changes in the economy and local demographics, and the growth of regional networks and attractions, the Coney Island of recent memory is rapidly washing away to sea. A radical reconsideration of the existential nature of the island is required if it is to persist into the forseeable future. Through the re-purposing of existing transit network infrastructure, this project proposes the selective preservation of vital urban fabric on tge island, while radically transforming and reprogramming lands potentially lost to rising tides.
Partner: Thom Medek
with a view toward radically altering the island’s coastal morphology. Edge city programming, such as casinos, bigbox stores, transit hubs, ports, and prisons, are reconfigured as a protective sea wall to inscribe and protect the city and urban fabric, rather than allow it to disperse of disappear. The interior organization of the casino is seen as an effective model and generative diagram for organizing a field condition of edge city urban fabric within the relatively linear path of the sea wall.This economically stable edge programming will served to generate new and varied growth in light of Coney Island’s disappearing and increasing at-risk entertainment programming.
This project reconsiders Coney Island as part of a larger· regional peripherique rather than as barrier island,
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HIGH UNEMPLOYMENT RATE Source: Acs 2006-2010 Census Tract And New York State Department Of Labor 25% to 78% Unemployment Rate 10% to 25% Unemployment Rate 0% to 10% Unemployment Rate
AVERAGE % UNEMPLOYED (NYC): 10.6%
TRAVEL TIME TO WORK Source: ACS 2006-2010 Census Tract And New York State Department Of Labor At Least 60 Minutes At Least 40 Minutes At Least 20 Minutes
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AVERAGE COMMUTE: 35 MINUTES (USA)
POPULATION DECLINE Source: 2010 Census Tract (PL94) >-25% to -15% (% Population Change) -15% to 0% (% Population Change) 0% to >25% (% Population Change)
AVERAGE POPULATION CHANGE (BROOKLYN): +1.6%
RISING MEDIAN AGE Source: 2000 Census Tract Median Age 85-43 Median Age 43-35 Median Age Under 35
MEDIAN AGE (USA): 35.3
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PHASING STAGE I: 2020
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PHASING STAGE II: 2040
STUDY MODEL
PHASING STAGE III: 2060
PHASING STAGE IV: 2080
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The morphology of Coney Island’s natural coastline has never been secure.
ISLAND MORPHOLOGY + HOUSING Over 150 years, Coney Island has expanded. High density housing is at risk of flood in this expansion zone. Shoreline of 1870 Shoreline of Present Day Structures and Land at Risk
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City Limit: Tokyo, JP
City Limit: Paris, FR
City Limit: Washington, DC, USA
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The most secure infrastructure is not lamdmass, but elevated hardscape and transportation networks. By linking these networks, the line of the seawall can be drawn, protecting the most vibrant fabric.
GRAPHING THE SEAWALL
Line of Seawall Sectional Lines Regulating Lines of Seawall Transportation Hub
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City Peripherique: Tokyo, JP
City Peripherique: Paris, FR
City Peripherique: Washington, DC, USA
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ll wa Sea Residential and Marina
Flood Gate
Marina, Park, and Commercial
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Protected Existin Fabric
Penetentiary
bric
bric
ed Road to Fa On/Off Ramp
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ed Road to Fa On/Off Ramp
Sea
Bridge
Seawall is thickened. “Edge city” program, usually dispersed in a suburban context, is concentrated in the seawall.
PHASING STAGE I: 2020
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PHASING STAGE II: 2040
Lower Density Residential and Elevated Park
ay
ith Highw
Seawall w
Commercial Port Flood Gate Estuary am On/Off R ped Road
Commerical with Delaminated Transit Hub
ng
Educational Campus
Seawall
Racino and Aquarium
PHASING STAGE III: 2060
PHASING STAGE IV: 2080
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GROUND LEVEL 62
CASINO LEVEL 63
COMMERCIAL PORT
SECTION A-A’ FACING EAST
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THE RACINO, WITH COMMERCIAL PORT BEYOND
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COMMERCIAL PORT
SECTION B-B’ FACING SOUTH
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THE CORRECTIONAL FACILITY, WITH RACINO AND PORT BEYOND
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THE PARK
THE PENETENTIARY
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THE ESTUARY
THE PROTECTED FABRIC
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CASIS INTEGRATED STUDIO WITH MARTIN FINIO Year: Fall 2012
In the late twentienth century, space research and the decvelopment of science and technology in space has gradually moved out of the hands of the public interest and the oversight of government into private hands. While this transition has accelerated many forms of exciting and potentially vital research, much of the wonder and inspiration enjoyed by the public at the thought of space exploration has vanished. We no longer celebrated the ingenuity of those who designed and created the hardware that allowed for space travel - instead a cult of spectacle and capitalist intrique predominates the recent history of space exploration. The Center for the Advancement of Science in Space, a quasi-private institution dedicated to encouraging research in space, has its new headquarters in midtown Manhattan. The ambition of this headquarters is to
unite those looking to invest in space research for private gain with those guests seeking inspiration through a celebration of the history of space travel as a great public and communal undertaking, in the hope of continuing to use space exploration as a means to advance the betterment of mankind. Through integrating the traditionally “public� functions of exhibition, education, and gathering with the development function of the center vertically, a programmatically diverse tower can allow for ideas and experiences to cross unexpectedly. The Destiny Module, one of the most important pieces of hardware in the history of space travel, can pass through a vertical atrium that unites program through a celebration of history of space travel. This project was selected by the faculty of the Yale School of Architecture for further development in the Systems Integration program.
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THE VISITOR
THE DIRECTOR
THE STUDENT
THE SCIENTIST
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Site plan depicting the project’s relationship to the elevated roadway of Tudor City and the project’s divided massing.
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Ninth Floor
Fifth Floor
Eighth Floor
Fourth Floor
Seventh Floor
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Sixth Floor
Third Floor
Second Floor
Ground Floor
Basement
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ROOF EL = +135'-11 1/4"
EXHIBITION / OBSERVATION DECK EL = +119'-11 1/4"
EXHIBITION EL = +106'-11 1/4"
OFFICE / FILE STORAGE EL = +92'-11 1/4"
EXHIBITION MEZZANINE EL = +80'-11 1/4"
MAIN DOUBLE HEIGHT EXHIBITION EL = +70 '-11 1/4"
OFFICE / DIRECTOR'S OFFICE EL = +55'-11 1/4"
BREAKOUT / EXHIBITION EL = +40'-11 1/4"
DARK EDU / MEETING / OFFICE EL = +27'-6"
MAIN EDUCATION EL = +15'-6"
TOWER RECEPTION EL = +2'-2 3/4"
RESEARCH LAB EL = -13'-3 1/4"
WORKSHOP / STORAGE EL = -27'-4"
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THEATER BACK OF HOUSE EL = +30'-0"
THEATER / OBSERVATION DECK EL = +15'-6"
MAIN EXHIBITITON / RECEPTION EL = 0'-0"
EXHIBITION / SERVICE EL = -15'-4"
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BUILDING PROJECT RESIDENTIAL STUDIO WITH JOEL SANDERS Year: Spring 2012
A short charette in preparation for the 2012 Vlock Building project.
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LONGITUDINAL SECTION
CROSS SECTION
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SITE MODEL
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SECOND FLOOR
FIRST FLOOR
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LIVE/WORK RESIDENTIAL STUDIO WITH JOEL SANDERS Year: Spring 2012
The ambition of this project was the present New Haven with a screen, a facade that projects from its interior the activities of artists, business-people, exhibitionists, and the movers-and-shakers of the city. The screen broadcasts specific aspects of daily life in the domestic sphere which still allowing a modicum of privacy. By separating the facade’s modular, opaque screen from its esoteric building section and its glazed curtain wall, all contained within a mute overall massing, very particular domestic programs are broadcast to the outside work. The kitchen of a celebrity
chef may be on display, or the home office of the executive of a social media webiste. All eight apartments of this multi-unit residential building has a single portion of its domestic program on display, effectively creating an exterior elevation that belies not the building’s internal organization, but rather creates a free-form composition which, as a complete constellation, advocates for an ideal New Haven lifestyle and a model of domestic life.
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EAST-WEST SECTION FACING SOUTH
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NORTH-SOUTH SECTION FACING EAST
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ASSEMBLY AXONOMETRIC
A modular panelization system clads the project, and its composition of openings differs from the pattern of the glazed curtain wall behind it, rendering the actual section and distrubions of residences and their programs irreducible.
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RESIDENCE VOLUMES
Both single-level and duplex residential apartments are deployed in the structure, further reducing legibility of the constiuents units as single apartments, in favor of projects a constellation of composite domestic project in elevation.
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URBAN PALEONTOLOGY INTRODUCTORY STUDIO WITH EEVA-LIISA PELKONEN Year: Fall 2011
This project was generated from an ambition to create a museum as a path rather than as a destination. As an extension to the Yale University Peabody Museum of Natural History, this site of this project in New Haven lies at the intersection of a number of pedestrian and bike trails, used by students, local residents, employees of the University, and many other groups. All travelers on the paths, whether visiting the interior of the museum extension or remaining outside its enclosure, can enjoy
its collection of fossils through its glass walls, which conceptually mark the rift or the fracture of the earth as the museum extenstion embeds itself into its site. Through embedding into the ground, the museum recalls how its own artifacts, the fossils and minerals on display, were collected, and seeks to inspire future paleontologists and archaeologists.
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STUDY MODELS
Study models were used to test topographic changes and effective ways to create retaining walls and sectional difference.
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SITE PLAN
The project uses the plinth of Philip Johnson’s Kline Biology Tower as a retaining wall, while projecting into the open meadow to the south, creating a edge to a large open space and allowing the existing pedestrian and bike paths to continue to function. The plaza in front of the projact has views to the exhibits within.
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A
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2.
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PLINTH LEVEL PLAN
3.
1. Cafe 2. Information 3. Atrium
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GROUND LEVEL PLAN 1. Exhibition Space 2. Cafe 3. Kitchen 4. Study Area and Archive 5. Restrooms 6. Object Storage 7. Outdoor Gathering Space
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EAST-WEST SECTION A-A’ FACING NORTH
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NORTH-SOUTH SECTION B-B’ FACING EAST
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DANCE MACHINE INTRODUCTORY STUDIO WITH EEVA-LIISA PELKONEN Year: Fall 2011
Due to the dual nature of the program as both school and performance space, the project is split into two main “dark� volumes. At the rear of the site adjacent to the Queensboro Bridge, there is the highly modeled and active volume fo the dance school, which also houses an experimental dance
theater. Toward the front of the side is the more sober volume of the black box thwater. Linking the two volumes is the public gathering area, allowing one single mixing space for the audiences of both forms of performance.
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BLACK BOX VOLUME WITH FLYSPACE
PERFORMACE VOLUME LIFTED TO CREATE OPEN CORNER
PERFORMANCE VOLUME MIRRORED ACROSS SITE TO CREATE DANCE CENTER TRAINING VOLUME
COUPLING BETWEEN TRAINING AND PERFORMANCE VOLUMES THROUGH THE AUDIENCE AND PUBLIC SPACE
TRAINING CENTER VOLUME LIFTED TO CREATE OUTDOOR THEATER FORMALITY OF PERFORMANCE FIGURED AS RECTILINEAR VOLUME CARVED OUT FROM WITHIN EXPRESSIVENESS AND EXPERIMENTATION OF TRAINING FIGURED AS DYNAMIC EXTERIOR MASSING AND SECTIONAL RELATIONSHIPS 122
AXONOMETRIC MASSING STUDIES 123
THEATER ENTRY PLAN
OFFICE PLAN
GROUND FLOOR PLAN
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LOUNGE AND ATRIUM PLAN
TRAINING LOUNGE PLAN
TYPICAL TRAINING FLOOR PLAN
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BEACON ADVANCED STUDIO WITH DEBORAH BERKE Year: Spring 2014
Outdoor bathing is a vital part of Icelandic culture. Pools become spaces of intimate public gathering, where local events and private concerns can be shared among friends and where true local politics are discussed. This is contrasted greatly by culture of anonymity and sharing of information over the Internet, upon which applications such as Facebook and Instagram encourage the widespread dissemination of data and imagery to strangers.
and in effect less secluded, losing its aura of isolation, due to visitors sharing its location often over Instagram. In combining the large-scale infrastructure required to post photography wirelessly, the cell tower, with the small-scale infrastructure of the Icelandic culture of personal politics, the pool, a productive juxtaposition and comment on communication in the contemporary moment can be made.
This project is sited at Selvavallalaug, a small secluded pool in southwest Iceland. Due to its sublime serenity and extraordinary site, it has become a popular destination for tourists. Paradoxically, the pool has become more popular
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3G Coverage Map Strong Weak
Cellular Towers Cellular Tower Site
Reykjanesbær
Population Density 0.00 - 3.00 3.01 - 5.00 5.01 - 10.00 10.01 -
Cellular Tower Site Seljavallaug Pool Þjóðvegur (Ring Road) Minor Road 130
Seasonal Road
N
Reykjavík
Seljavallalaug Cellular Tower Site Seljavallalaug Pool Þjóðvegur (Ring Road) Minor Road Seasonal Road
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POOL DECK
CHANGING ROOMS
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A VIEW OF THE POOL FROM THE APPROACH.
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COMPRESSION TEST RESIDENTIAL STUDIO WITH JOEL SANDERS Year: Spring 2012
Faced with the task of attempting to accommodate two individual residences within a compressed volume, this project seeks a critical disjunction. Whereas one could attempt to create two residences of relatively equal volume or area. this project has a sectional differentiation in this regard. The lower residence is significantly more spacious and is modeled after a “loft” apartment typology, whereas the upper residence has the quality of a more
compressed space, modeled after the “efficiency apartment” typology, with a more compressed space and a conflation of all domestic systems. Critically, however, the seemingly less ideal upper residence receives the most light, and its rigorously studied massing, form, and placement dictates the choreography of natural lighting to the lower, more spacious residence.
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UPPER LEVEL PLAN
LOWER LEVEL PLAN 139
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SECTION PERSPECTIVE
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ALBERTI ANALOGOUS DIAGRAMMATIC ANALYSIS WITH PETER EISENMAN Year: Spring 2013
Exploring the idea of the column and the wall in the architecture of Leon Battista Alberti, this project utilizes transparency and opacity to demonstrate the superposition of these architectonic elements in the church of San Sebastiano in Mantua. Through a series of analytic drawings and models, we theorized a sectional relationship between the hypostyle of the crypt and the column-less space of the upper church, a complex relationship of partto-whole that is problematized by this stark distinction in architectural space between the upper and lower level. Through a system of notation realized in the pilasters of the upper church this sectional relationship can be read
Partner: Constance Vale
by retracing Alberti’s thoughts on the classical language of architecture as enumerated in De Rei Aedificatora. The models completed in this project present this theory through the reproduction of vaults of the crypt as the large single vault of the upper church, scaled to fit the dimensions of the upper church. Walls are rendered transparent in order to demonstrate how the pediments of the upper church are a trace of this scalar transformation and translation to the upper church. These models can be deconstructed to show how these two systems, the vault with implied columns and the wall, are discrete but interdependent.
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The sectional relationship between the crypt and church of San Sebastiano, Mantua 148
Formal analysis of the corner of Tempio Maletestiano, Rimini 149
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FOLD INTRODUCTORY STUDIO WITH EEVA-LIISA PELKONEN Year: Fall 2011
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1285 FPR STEVEN HARRIS ARCHITECTS Year: 2010-11
The project, located in Water Mill, New York, is a singlefamily beach house located along a narrow strip of land between Mecox Bay and the Atlantic Ocean near Southampton. The project is unique in its form, detailing, and site planning, using sophisticated research and environemtal engineering to produce a sustainable design and unmatched luxury. As one of the few homes in the area allowed to have a pool between the beach and the main house, a uniquely open and welcoming site plan could be designed. The southern elevation, facing the sea, is completely glazed, with specially designed louvers containing photo-voltaic cells to provide sunshading as well as energy to the home,
Principal: Eliot Lee
making the residence self-sustaining. The front of the house has a more complex massing, with a levitated teak-clad box to house guest rooms. This project is currently under construction. The principal in charge of this project is Eliot Lee at Steven Harris Architects. All images and drawings courtesty of Steven Harris Architects. All renderings produced exclusively by Alexander Sassaroli. All drawings produced by Alexander Sassaroli under the supervision of Eliot Lee.
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FRONT ELEVATION
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REAR ELEVATION
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WEST ELEVATION
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TRIBECA PENTHOUSE STEVEN HARRIS ARCHITECTS Year: 2009-11
This renovation of the top three stories of a TriBeCa apartment building converted several residential units into two multi-level penthouse apartments. In addition to the renovation of the apartments, several other changed were made, such as the addition of a large roof structure and landscape, as well as the addition of a two-story window facing the Woolworth Building. This project is was completed in 2012.
Principal: Eliot Lee
The principal in charge of this project is Eliot Lee at Steven Harris Architects. All images and drawings courtesty of Steven Harris Architects. All drawings produced by with significant contribution by Alexander Sassaroli under the supervision of Eliot Lee. Additionally, much of the site supervision and project management carried out by Alexander Sassaroli.
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ALEXANDER SASSAROLI
Telephone: (908) 723-2837 Email: alexander.sassaroli@gmail.com Web: http://www.sassaro.li