STEPHEN M DINNEN YALE SCHOOL OF ARCHITECTURE | YALE UNIVERSITY | M.ARCH 1 | 2010-2013 KNOWLTON SCHOOL OF ARCHITECTURE | THE OHIO STATE UNIVERSITY | B.S. ARCH | 2004-2008
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INSTITUTE OF CULINARY ARTS *
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OCCUPIED FACADE *
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EVOLUTION STAMFORD
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BNY KUNSTHALLE
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MUSIC HOSTEL*
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VLOCK TEAM F*
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VLOCK BUILDING PROJECT*
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DUMBO OFF-AXIS*
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RE-SURFACE
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BRAZILIAN FEAST
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COLOCATION*
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ASSEMBLY 2
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SYSTEMS INTEGRATION
108
3D WEAVE
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SEAM REVISITED
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CRAFT + COMPUTER-AIDED ARTISTRY
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VISUALIZATION
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HCMC CENTER
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WANDA PLAZA
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TONG SHAN JIE
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DFTC CLINIC
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* RETROSPECTA - ANNUAL PUBLICATION OF STUDENT WORK AT THE YALE SCHOOL OF ARCHITECTURE
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ARCHITECTURE DESIGN STUDIOS YALE SCHOOL OF ARCHITECTURE | M.ARCH 1 | 2010-2013
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INSTITUTE OF CULINARY ARTS YALE SCHOOL OF ARCHITECTURE | TOD WILLIAMS / BILLIE TSIEN | 2012 FALL
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INSTITUTE OF CULINARY ARTS 2012 FALL CULINARY SCHOOL AND DORMITORY SÃO PAULO, BRASIL
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VIADUTO NOVE DE JULHO: UPPERMOST LEVEL OF CITY
São Paulo is defined by its unique topography. Sectional changes in the ground are registered through the city’s many plateau-spanning viaducts. The project’s site encompasses all levels of the city’s streets: from the uppermost Viaduto Nove De Julho to the lowermost Avenida Nove De Julho. The proposal relocates a public stair linking all three levels of road bounding the site. It takes advantage of the pedestrian-heavy viaduct by creating a new public enclave along its route while protecting against the harsh, high-speed avenue that passes below.
EXISTING ROUTE
NEW PLACE
VIADUCT SEPARATION
CONCEPTUAL STRATEGY
BUILDING LAYOUT: DORMITORY ABOVE VIADUCT / SCHOOL BELOW
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AVENIDA NOVE DE JULHO: LOWEST LEVEL OF CITY
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DORMITORY LEVEL 2
DORMITORY LEVEL 1
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COMMUNITY SPACE ENTRY COURTYARD TYPICAL ROOM TERRACE APARTMENT
DORMITORY PLANS
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1
7 4
3 5
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PLAZA LEVEL
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CAFETERIA SERVING KITCHEN SCHOOL ENTRANCE PLAZA FIRE PIT TEACHING KITCHENS CLASSROOMS STUDENT LOUNGE THEATER ENTRANCE BAR THEATER FLEX SPACE TERRACE MECHANICAL
CULINARY SCHOOL PLANS
EDUCATION LEVEL
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EVENT LEVEL
THEATER LEVEL
The plaza is defined by an elevated dormitory which provides separation from the busy street. Anchored with a studentrun cafeteria, this zone is programmed to foster interaction between the public and the school. In the plaza, a secured entrance to the dormitory offers a second layer of protection from the neighborhood.
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ENTRANCE TO PLAZA UNDER ELEVATED DORMITORY
14 PHYSICAL MODEL: DORMITORY BAR ABOVE / CULINARY SCHOOL BELOW
PUBLIC STAIR: CONNECTS THREE CITY LEVELS WITHOUT INTERFERING WITH SCHOOL
Relocating the existing stair allows the public to move through the project without interfering with school procedures. The formal entrance to the theater occurs where the stair turns (see Longitudinal Section: Public Stair). Due to a concern for the student’s safety, this is the only place where the stair has access to the building.
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As an extension of the already programmed viaduct, the educational component inhabits the extent of the site below the level of the plaza. Taking advantage of the high Brazilian sun, light wells are utilized to enhance common spaces below. A cooking presentation theater, available to the public during scheduled assemblages, links the school to a larger network of community sponsored event spaces, promoting a new neighborhood arts district. In the dormitory, rooms are arranged in bunks to utilize additional space for communal spaces and courtyards.
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CROSS SECTION: THEATER
CROSS SECTION: PUBLIC STAIR
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LONGITUDINAL SECTION: SCHOOL
Cantilevering over the expressway, the dormitory provides the students with views down the urban corridor of AnhangabaĂş Valley toward the center of Downtown. It also provides a surface to represent the school, viewed from AnhangabaĂş and visible at high speeds along Avenida Nove De Julho.
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LONGITUDINAL SECTION: PUBLIC STAIR
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OCCUPIED FACADE YALE SCHOOL OF ARCHITECTURE | ANGELO BUCCI | 2013 SPRING
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OCCUPIED FACADE 2013 SPRING RESIDENTIAL / COMMERCIAL DEVELOPMENT SÃO PAULO, BRASIL
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In 2006 the city of São Paulo issued Cidade Limpa (clean city law), a ban on billboard advertisements, as a response to an overwhelming and visually distracting agglomeration of signage. The removal of these large advertisements revealed many hidden favelas, or shantytowns, where squatters occupied the space behind the billboard. This attempt to clean the city has left many party walls exposed, giving São Paulo its distinguishing character. These party walls have been a canvas for many graffiti artists, commissioned or not, to use their artwork to animate the blank facades of the city. The project uses architecture as a means to cover the exposed walls, providing new façades for all the affected buildings throughout São Paulo.
BLANK WALL CONDITION AFTER BAN
CLEAN CITY BILLBOARD BAN
MCDONALDS AFTER BAN
Sﾃグ PAULO BEFORE
Sﾃグ PAULO AFTER
CIDADE LIMPA (CLEAN CITY): 2006-07 BILLBOARD BAN
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As residential duplex units, these 4.5M thin facades respond to the lack of housing in the Historic Downtown of São Paulo, where many buildings are left vacant as the major commercial and financial district relocated across town to Paulista Avenue. As a new formula for the city, each residential tower is connected at the elevated lobby level with a series of shared open-air gardens that provide buffer from a new public arcade below. The design strategy borrows from the site’s existing context, program, and infrastructure. With the chosen site, the project capitalizes from an existing parking garage with lift, an active commercial district along 25 De Marco Street, a busy highway at the Anhangabau level, accessible rooftops, and a metro stop nearby.
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PROGRAM: RESIDENTIAL, COMMERCIAL, INFRASTRUCTURAL
NEW FACADE: BORROW FROM AND CONNECT TO SITE
1 2 3 4 5
FACADE - BORROW ARCADE - CONNECT GARAGE - BORROW GARDEN - BORROW METRO - CONNECT
EXISTING SITE PARTY WALLS
PARTY WALL FACADE
BORROW FROM EXISTING
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CROSS SECTION: INFRASTRUCTURAL CONNECTIVITY
25 DE MARCO (WEST ELEVATION 724M)
ANHANGABAU (EAST ELEVATION 728M)
Located adjacent to the Anhangabau expressway, the existing parking garage provides easy vehicular access to the site. To provide additional parking for the complex, the parking garage is renovated and expanded utilizing its lift. It also provides additional structure for a helipad, a common form of upper-class transportation. On the opposite side, 25 De Marco is known for its heavy pedestrian traffic and street venders. By utilizing the arcade, a typology commonly replicated in S達o Paulo, a void is cut into the dense city, relieving congestion and providing another connection to the Anhangabau level. Within this crossing, a place is defined for street vendors, safely relocating their carts from the street. Also, an air vent to the metro further connects the project with existing infrastructure while informing the public of the nearby stop at S達o Bento.
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CROSS SECTION: DUPLEX APARTMENTS
SYSTEM COMPONENTS: TWO DIFFERENT LAYOUTS
The system developed for the apartments utilizes light, ventilation, and views. To allow the unit to be universally replicated across São Paulo, views and glazing are oriented down the new urban void that each project will create. Using opaque materials, privacy is provided directly across this void with the anticipation of new and existing building adjacencies. The angled façade walls also prevent views into adjacent apartments. Each duplex unit plugs into a core, has bedrooms on the second floor, and has a double-height space with balcony access on the opposite end. The core is pulled away from the party wall to provide cross ventilation for all apartments.
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The public arcade levels of the project connect three major levels of SĂŁo Paulo, the lower city (25 De Marco), the upper city (Florencio De Abreu), and the level of Anhangabau river valley. The city is defined within this 20M ground and the arcade utilizes these sectional changes to create an open, well-ventilated, and well-lit public thoroughfare. A progression of retail spaces moves people by street carts at the 25 De Marco Level, to smaller newsstands, and to eventually two larger stores at the Anhangabau Level that provide a cafĂŠ with seating.
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CROSS SECTION: GARDEN AND SHIFTED CORE
FLORENCIO DE ABREU LEVEL (ELEVATION 740M)
ANHANGABAU LEVEL (ELEVATION 728M)
25 DE MARCO LEVEL (ELEVATION 724M)
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VIEW FROM APARTMENT DOWN URBAN CORRIDOR
SHARED GARDEN LEVEL (ELEVATION 746M)
APARTMENT LEVELS (ELEVATION 752M+)
Keycard access to the lobby level is located under the bridged gardens at the Florencio De Abreu Level. The linked lobby level terminates in a larger garden, utilizing the roof of an existing building. Entrance to the apartments above is located at the end of each bridged garden with cores that access two units per level.
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LONGITUDINAL SITE SECTION: SOUTH
LONGITUDINAL SITE SECTION: NORTH
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EVOLUTION STAMFORD YALE SCHOOL OF ARCHITECTURE | ALAN PLATTUS | 2012 SPRING
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EVOLUTION STAMFORD 2012 SPRING URBAN DEVELOPMENT STAMFORD, CONNECTICUT IN COLLABORATION WITH: MATT HETTLER
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The city of Stamford, CT operates as an in-between city. It is located literally between locations (New York and Boston) and between identities (City and Suburb). Upon a Google search, the images from Stamford appear disconnected and without a strong definition, especially when compared to a search of New York, the city that never sleeps, or neighboring Greenwich, CT, an embodiment of quaint New England towns. Stamford, therefore, is in search of a defining image and this proposal explores the possibilities of High Speed Rail and its impact on identity in various local, regional, and global scales.
NEW YORK CITY
GREENWICH, CONNECTICUT
FRAGMENTED IDENTITY: STAMFORD, CONNECTICUT
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The existing financial identity of Stamford developed along with its infrastructure. The city experienced large scale development as a result of the construction of I-95 in the 1960’s. As a result, financial institutions branching from New York were brought in as a response to the regional implications of the interstate. The future possibilities created by the High Speed Rail and its regional connectivity will introduce an entirely new scale to Stamford. The existing train station has has a limited ceiling for the kind of development that a new terminal can sponsor.
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REGIONAL SCALE: CONNECTIVITY
PROPOSED TERMINAL BUILD-OUT AND URBAN EXPANSION
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The Terminal is situated with the existing rail and highway moving through it. Between these infrastructures is a large, pedestrian street that connects entrances on Canal St. and Altantic St. and moves up into the terminal’s volume. Retail and lobby space align the street and provide access to the platforms. Offices are located above and a terraced hotel resides in the high-rise that culminates with a control tower for the trains. New utilities supporting the entire development, including water storage and a power grid, are located in the tower opposite the atrium.
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THE TERMINAL: ENGINE FOR DEVELOPMENT
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CIVIC PARK OFFICE + PARK + MUSEUM STAMFORD, CONNECTICUT
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With the construction of the High Speed Terminal, three Sites were chosen along existing infrastructures that are ready for present development. The first site sits adjacent to the station and would fulfill the need for new office space resulting from the influx of business stemming from the terminal. It would respond to an existing office corridor located across Washington Blvd. A public park, underground parking, ground level retail, and the cultural institution of a museum anchor the public amenities of this site into the existing urban fabric.
FIRST SITE: PARK, MUSEUM, AND OFFICE TOWER
EXISTING INFRASTRUCTURE: PARK
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CANAL DISTRICT RESIDENTIAL + COMMERCIAL STAMFORD, CONNECTICUT
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Referencing the current and successful waterfront development in Hamburg, Germany, the focus of this area is to repurpose an existing industrial canal site as an extension of the terminal to include an entertainment district. Flanking both sides of the canal, which terminates into the station, are apartment buildings to the East and retail that responds to the newly constructed Fairway Market across Canal St. to the West.
SECOND SITE: RETAIL AND APARTMENT TOWER
EXISTING INFRASTRUCTURE: CANAL
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RESEARCH CAMPUS UNIVERSITY OF CONNECTICUT STAMFORD, CONNECTICUT
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The third site, by the Long Island Sound waterfront, will be the location for a new Sound Research Campus that is an extension of the University of Connecticut. The campus buildings plug into the existing hurricane barrier to designate areas specifically for wetland research. A monorail that runs along Atlantic St. provides a direct link to the terminal and allows the university to connect regionally with other areas of the Sound. This educational component branches out to the infrastructure of the Sound as a more permanent element of Stamford.
THIRD SITE: LONG ISLAND SOUND AND WETLANDS RESEARCH CAMPUS
EXISTING INFRASTRUCTURE: HURRICANE BARRIER
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The growth sponsored by the High Speed Terminal is not specific to these three sites. Existing in Stamford is the opportunity for the potential development of numerous sites in the future. With the limited capacity of the existing station, this development is only made possible through the construction of a new, XL-scale terminal.
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POTENTIAL URBAN GROWTH
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BNY KUNSTHALLE YALE SCHOOL OF ARCHITECTURE | JOEL SANDERS | 2011 FALL
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BNY KUNSTHALLE 2011 FALL ART AND SCULPTURE GALLERY BROOKLYN NAVY YARD BROOKLYN, NEW YORK
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A spiraling spatial sequence stitches elements of the nearby site with the city beyond and reveals typically isolated/hidden elements of back of house program along the public museum path. It differentiates between the two locations by embedding the entrance bar to reveal the dry dock, connecting with the immediate site and Brooklyn, and elevating the galleries to connect with the more distant city.
SITE STUDIES: MEDIATING BETWEEN TWO DISTINCT PLACES
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GALLERY
ABOVE BELOW
GALLERY
In experiencing the building, one is exposed to different aspects of the art process. Three differently defined galleries (sculpture, digital media, and viewing) are linked by circulation through an artist community, and an administration/ education component. This spatial sequence provides many unique zones for special displays of art such as installations, sculpture, painting, digital media, etc. that are essential for the temporary exhibitions of a Kunsthalle. The building displays art as well as its creation and logistics.
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GALLERY SPECIFICITY: SITE ADJACENCIES
TWO DISTINCT GALLERIES: EMBED AND ELEVATE
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The site-specificity of the dry dock gives the Kunsthalle an immediate connection with the history of the Brooklyn Navy Yard. Repurposing the unused dock allows for production space, originally for the construction of ships, to be regained and converted to an indoor/outdoor sculpture yard that anchors the building to the historic site.
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DRY DOCK: SPACE FOR PRODUCTION
DRAINED DRY DOCK
OPERATIONAL DRY DOCK
BROOKLYN NAVY YARD 1944
SITE SPECIFICITY
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4 2
3
1
5
7 6
1 2 3 4 5 6 7 8 9 10 11 12
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ENTRANCE INDOOR SCULPTURE GALLERY OUTDOOR SCULPTURE GALLERY BOOKSTORE ARTIST COMMUNITY DIGITAL MEDIA GALLERY LOUNGE CLASSROOMS RAMP GALLERY OFFICES VIEWING GALLERY THEATER/FLEX SPACE
LEVEL BELOW
LEVEL IN-BETWEEN
11 12
10
9
8
LEVEL ABOVE
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En route to the digital media gallery, the public procession wraps around the studios, giving the artist community opportunity to display process. Through a series of rotating wallpanels, the artist has complete control over privacy and access to personal terraces above. Space is provided in front of each panel for the presentation of artwork to the public.
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LONGITUDINAL SECTION: ARTIST COMMUNITY
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MUSIC HOSTEL YALE SCHOOL OF ARCHITECTURE | TINA MANIS | 2011 SPRING
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MUSIC HOSTEL 2011 SPRING HOSTEL FOR MUSICIANS DOWNTOWN NEW HAVEN, CONNECTICUT
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Situated compactly, components of livable space (structure, material, program, etc.) depend on an economical arrangement. The project explores human scale relationships to utilize individual spaces for maximum efficiency. As a result, the residual space produced is reused to provide for larger, luxurious communal performance areas. The core of the building, labeled “performance,� houses communal activities, and the volume attached to it focuses on the individual.
SECTION: INDIVIDUAL (ROOM) VS COMMUNAL (PERFORMANCE SPACE)
FORM STUDIES: FACADE PERFORMANCE
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The transition from spatial efficiency to spatial lavishness is gauged by interaction between individual and group. Allowance for luxury fractures the economical rigidity and creates contention for programmatic arrogance on the facade. These communal spaces project outward to integrate the compartmentalized interior with the rest of the building, site, park, and community.
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DETAILED SECTION: PERFORMANCE SPACE STUDY
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LEVEL 3.5
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VIEW FROM ORANGE STREET
LEVEL 5.0
LEVEL 4.5
LEVEL 2.5
SPATIAL LUXURY VS SPATIAL ECONOMY
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VLOCK TEAM F YALE SCHOOL OF ARCHITECTURE | A. BENNER / J. LEUNG | 2011 SPRING
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VLOCK TEAM F 2011 SPRING HOUSING COMPETITION ENTRY NEW HAVEN, CONNECTICUT
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The program for the 2011 Vlock Building Project called for a three-bedroom owner unit in conjunction with a two-bedroom tenant space. As a means for the owner to attract tenants, preference in form was designated to the rentable space. The owner, however, was given possession of the front facade and yard. Pushed to the back of the house, the slight rotation of the tenant’s unit aligns with a predominant viewing axis on site to provide another separate, but visible, connection to the street.
OWNER ENTRANCE
TENANT ENTRANCE
LEVEL 1
LEVEL 2
TENANT UNIT ROTATION
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DESIGN TEAM: TEOMAN AYAS TODD CHRISTENSEN CARL CORNILSEN SARAH GILL BRANDON HALL MATT HETTLER OWEN HOWLETT AMY KESSLER YASEMIN TARHAN
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OWNER’S UNIT: VIEW TOWARD FRONT ELEVATION
Through its traditional form, the front of the house was designed to blend into the existing urban fabric of the site by using proportions that correspond to adjacent buildings. This allowed for the formal aberration to occur at the back of the house, less noticeable from the street. To address the owner’s concern for privacy, separate entrances were created. Higher windows were also implemented in the tenant’s space to prevent direct views into the owner’s backyard.
ROTATION OF TENANT UNIT CREATES STREET PRESENCE
FRAMING STRATEGY: STRUCTURAL MODEL
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VLOCK BUILDING PROJECT 2011 SUMMER SELECTED SCHEME NEW HAVEN, CONNECTICUT CLASS OF 2013 ALAN ORGANSCHI ADAM HOPFNER
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VIEW FROM ORCHARD STREET
The 2011 Vlock Building Project was designed and constructed entirely by the class of 2013 at the Yale School of Architecture in collaboration with Neighborhood Housing Services of New Haven. The 1500 SF low-income house includes three bedrooms with a separate, two bedroom 900 SF rental unit. This tenant’s unit is on the second floor with an entrance opposite to the owner’s, providing privacy between the two occupants. The project conforms to Energy Star® 3.0 standards for equipment and building performance.
YALE SCHOOL OF ARCHITECTURE A. ORGANSCHI / A. HOPFNER 2011 SU
TENANT STAIR
VIEW TOWARD BACK YARD
VLOCK BUILDING PROJECT 2011
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DUMBO OFF-AXIS YALE SCHOOL OF ARCHITECTURE | BEN PELL | 2010 FALL
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DUMBO OFF-AXIS 2010 FALL COMMUNITY CENTER D.U.M.B.O. BROOKLYN, NEW YORK
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The theme of trespassing, as it relates to circulation and program, deals with the forced interplay of public and private spaces and the intentional displacement of a perceived path. The project’s public realm, reliant on axiality, incorporates a direct promenade with programmatic events occurring at grand scales to provide entertainment for audiences from the greater New York City metropolitan area. In contrast, the local community’s experience relies on permeability and captures the intimate nature of the site to connect with adjacent neighborhoods and park space. Interference with the axial public path forces a staged interaction between two separate users of the site and park.
SECTION THROUGH THEATER
SECTION THROUGH COURTYARD
DIAGRAM: AXIAL PATH (SANT’ ANDREA DELLA VALLE) INTERSECTED BY OBLIQUE PATH (BARCELONA PAVILION)
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MODEL IN CONTEXT: TOBACCO WAREHOUSE AND BROOKLYN BRIDGE PARK
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LEVEL 2
LEVEL 1
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11
10 9
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LEVEL 2
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FORMAL ENTRANCE INFORMAL ENTRANCE MUSEUM STORE LOCKER ROOMS LOADING DOCK COFFEE SHOP TERRACE PARK COURTYARD FORMAL ENTRANCE THEATER ART GALLERY RESTAURANT
3 1
LEVEL 1
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RE-SURFACE YALE SCHOOL OF ARCHITECTURE | BEN PELL | 2010 FALL
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Through a designed measurement system, the folded surface controls transparency levels of a series of enclosures and apertures that generate a dialogue between two separate occupants. Manipulating the field condition, created through the surface’s application, allows for a controlled sequence of interaction to occur between two destinations. The technique of the “pinch” provides structure to the material while also allowing for apertures perpendicular to the direction of the folds.
HAND DRAWN PLAN AND SECTIONS
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BRAZILIAN FEAST YALE SCHOOL OF ARCHITECTURE | TOD WILLIAMS / BILLIE TSIEN | 2012 FALL | WITH MICHAEL MILLS
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In preparation for a Brazilian feast before travel to S達o Paulo, the studio was instructed to design and fabricate a utensil and vessel for the display and consumption of a prepared food dish. Moqueca, a traditional Brazilian fish stew, was served in five sealed Rockite bowls casted into vacuumformed plastic molds. The ladle was created from sandeddown, vacuum-formed ABS plastic. Its form was designed to hold one serving of moqueca, and fit inside the bowl for easy distribution of stew. It responds to the contours and motion of the hand while serving. LADEL AND BOWL TO SERVE MOQUECA
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ACADEMIC SEMINARS YALE SCHOOL OF ARCHITECTURE | M.ARCH 1 | 2010-2013
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COLOCATION YALE SCHOOL OF ARCHITECTURE | KYOUNG SUN MOON | 2011 FALL
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COLOCATION 2011 FALL OFFICE TOWER CHICAGO, ILLINOIS IN COLLABORATION WITH: TOM FRYER
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EXPOSED CORE CATCHES PREVAILING WINDS FOR COOLING
The term “colocation” refers to the close proximity of servers and their offices, allowing for increased speed in business transfers, and therefore, more profitability. The project proposes an office tower coupled with a vertical server farm, to allow for the close monitoring of this equipment. Servers are designed as complete units that are attached to exposed areas of the core to catch Chicago’s prevailing winds for cooling. The building accommodates these servers by providing sufficient structure and a custom “server elevator” that allows for these units to be lifted and plugged into place.
TYPICAL FLOOR (85-120)
PACKAGED SERVER UNIT
TYPICAL SKY LOBBY (2)
TYPICAL FLOOR (45-80)
OPERATIONAL SERVER UNIT
SERVER EXCHANGE/ MECHANICAL
TYPICAL FLOOR (4-40)
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ASSEMBLY 2 YALE SCHOOL OF ARCHITECTURE | BRENNAN BUCK | 2013 SPRING
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ASSEMBLY 2 2013 SPRING TRAVELING PAVILION NEW HAVEN, CONNECTICUT ARTS AND IDEAS FESTIVAL 2013
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CONSTRUCTION MOCK-UP
The Arts and Ideas Festival in New Haven asked the class to design and build a pavilion that could easily travel between three sites prior to the main event on New Haven’s Green. The project was required to be easily assembled, packed, and stored in an 8’X35’X14’ truck bed. Interactivity is also a main focus as the project uses domes to create five different aural environments. Each dome is constructed out of low density foam and reinforced by fiberglass to create a lightweight structure and isolate noise. For quick and easy assembly, each dome is split into 4-6 vertical slices and secured by a system of tabs and zip-ties. The 22 constructed pieces are efficiently stacked for storage.
CONSTRUCTION PLAN: ALL COMPONENTS
ELEVATION: QUARTER DOME PIECES
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DESIGN TEAM: TEOMAN AYAS DINAH ZHANG MICHAEL MILLER CRAIG ROSMAN JAY TSAI CHENXI GONG SUNHI CHUNG BORIS MORIN-DEFOY NEIL FLANAGAN NOAH MORGANSTERN HIBA BHATTY DION CHO
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SYSTEMS INTEGRATION YALE SCHOOL OF ARCHITECTURE | K. KAWKINS / E. STANLEY / P. STEINER | 2012 SPRING | LINDA LEE / CARL CORNILSEN
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STRUCTURAL DRAWING FROM REVIT MODEL
Using Autodesk Revit 2012 Architecture, MEP, and Structural software, our objective was to retrofit a Fall 2012 studio project (Linda Lee) with these systems. In close collaboration with architectural consultant, Kristen Hawkins from Pelli Clarke Pelli, structural consultant, Ed Stanley from Edward Stanley Engineers, and Phil Steiner from Altieri Sebor Wieber Consulting Enginners, a full set of detailed drawings were produced that outlined all building components and construction phasing.
EXPLODED SECTION OF ALL BUILDING COMPONENTS
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3D WEAVE YALE SCHOOL OF ARCHITECTURE | B. PELL / J. EBERHART | 2011 SPRING | WITH NICK KEHAGIAS
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INDIVIDUAL PROTOTYPES: ROCKITE
INDIVIDUAL PROTOTYPES: FOAM
The project aims to create a wall-system from the aggregation of two self-similar forms. Each piece was designed to nestle within the other in order to provide a stable connection when multiplied. The final product was fabricated with the use of a CNC 3-axis mill to create the inverted form of the mold. Rockite was then casted into the foam mold to produce a prototype of each piece.
CNC MILLED FOAM MOLD
AGGREGATED COMPONENTS
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SEAM REVISITED YALE SCHOOL OF ARCHITECTURE | B. PELL / J. EBERHART | 2011 SPRING | WITH NICK KEHAGIAS / AARON DRESBEN / ALEX CHABLA
VIEW FROM LORIA CENTER
112 VIEW FROM RUDOLPH HALL
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SURFACE TREATMENT
As an appendage to Paul Rudolph’s Art and Architecture building, the Loria Center, by Gwathmey and Siegel, sits as its modern counterpart. The project expresses the seam between the two buildings by obstructing movement into either space. The form of the piece makes the passerby uncomfortable and forces them to take a seat and inhabit the seam. It makes obvious the transition between the two buildings that often goes unnoticed. The piece is constructed out of one inch thick insulation foam, laminated and melted together via heat gun.
SCALED MODEL: INHABITING THE SEAM
EXPANSION JOINT: SEAM BETWEEN BUILDINGS
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CRAFT + ARTISTRY YALE SCHOOL OF ARCHITECTURE | KEVIN ROTHEROE | 2012 SPRING
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OIL AND WATER MIXTURE
HEIGHTFIELD SAMPLES
3D PLASTER PRINT OF HEIGHTFIELD
WAX MOLD CREATED FROM 3D PRINT
FINAL PRODUCT: PLASTER WITH MELTED WAX MOLD
The goal of the seminar was to produce a tile of a larger, aggregated system at building scale. After an initial exploration of oil and water, the challenge was to capture the movement and luminosity of the original sampling in material form. An image was carefully selected according to the ratio of black vs. white to create varying thicknesses in a digital heightfield. Using a 3D printed tile created from the heightfield, I became interested in the passage of light through the material and the opportunity for aperture. The final version combines a multi-stepped process that involved casting wax into a 3-D printed mold and then using the solidified wax as a new mold for plaster. When the plaster dried, the wax was melted away to produce the final form.
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VISUALIZATION YALE SCHOOL OF ARCHITECTURE | GEORGE KNIGHT | 2011 SUMMER
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CHARCOAL: WITH CARL CORNILSEN AND OWEN HOWLETT
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GRAPHITE ON ACID-FREE DRAWING PAPER
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END
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