TANNER J CLAPHAM
2010
MUSEUM ON MADISON SQUARE PARK MUSEUM ANALYSIS ON SOANE HOUSE URBAN TRANSIENT NEW YORK CITY URBAN ACROPOLIS NEW YORK CITY WATER AND SURFACE DEATH VALLEY CA OPEN CITY THE PALM JUMEIRAH DUBAI INSIDE OUT GALLERY NEW YORK CITY HOUSE FOR A COUPLE ON A HILL SHOWROOM FOR CAR NEW YORK CITY BEDSIDE LIGHT FIXTURE PROJECT ON STREETS NEW YORK CITY
TANNER J CLAPHAM | PORTFOLIO | 2010
A complex site adjacent to New York City’s Madison Park was selected for the design project. The program chosen was for a museum of three-dimensional art from 1960 to the present; the total built area was to be roughly 70,000 square feet. Each design was initially developed as a collection of nonspecific spaces for art with different characteristics without reference to specific artists or works of art. Thus, questions of volume and light, of sequence and materiality, all had to be confronted at a certain level of abstraction. A developed concept of spaces capable of mutation or multiple configurations proposed enhanced possibility for a variety of installations.
MUSEUM ON MADISON STEVEN RUSTOW, MICHAEL YOUNG, FELICIA DAVIS, ELIZABETH O’DONNELL
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A simple, sliding floor slab enables the raised, transparent museum to display changing exhibitions in a variety of configurations. Single height spaces can be transferred into a triple height atrium, all while creating more evenly distributed spaces in the opposite end of the museum floor plan. The mutation allows the museumgoer to engage the museum in a new way, exploring new spaces upon each visit to its temporary exhibitions.
This portion of work culminated in a presentation of plans, sections and elevations drawn at 1/4” scale, as well as physical and computer models that documented an “analytic concept:” an original hypothesis or physical conjecture intended to reveal an aspect of Sir John Soane’s house and museum in London. Since the quality of the museum is incredibly dense and domestic, the focus of the drawings and models was to consider the space as an internal structure. Here, the architecture became about the placement of objects and openings in direct relationship with each other, creating different levels of spacial “viscosity” and key, framing site lines.
MUSEUM ANALYSIS STEVEN RUSTOW, MICHAEL YOUNG, FELICIA DAVIS, ELIZABETH O’DONNELL
The work of the design studio is based on the assumption that design is a cognitive process, a continuous dialogue between intuition and reasoning rather than the application of a prescriptive method. Invited to select a site of choice within the island of Manhattan, the project then provokes a conscious encounter with the physical nature of the architecture of the city. The choice of the site is informed by the program: the architectural invention of a place for a transient as defined by the characteristic metropolitan dweller. The wall of New York’s Central Park was analyzed closely to illucidate the latent exchanges between the vertical and horizontal landscapes. The notions of movement and walking inform the construction of pathways.
URBAN TRANSIENT GUIDO ZULIANI, PABLO LORENZO-EIROA, CAROLINE O’DONNELL
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ACROPOLIS DIANE LEWIS, THOMAS TSANG, MERSIHA VALEDAR, PETER SCHUBERT, ROGER DUFFY
Suspended. The architectural expression of a tower and that of an acropolis has great potential to the intrinsic character of the city. This project program is TOWER/ACROPOLIS. A proposal for these recognizable forms was to be defined in relation between intervention and context, and the formulation of a contemporary civic architectural program situated in regard to a select specific site in the structure of Manhattan.
THE SITE IS IN LOWER MANHATTAN AND MAINTAINS A STRUCTURAL, UNIDIRECTIONAL GRAIN FROM TYPICAL PARTY WALL CONSTRUCTION, ALL RUNNING IN A PARALLEL CURRENT. HOUSTON STREET, WIDENED IN THE 20TH CENTURY FOR SUBWAY EXPANSION, HAD ITS STREET FACING BUILDINGS DEMOLISHED. AFTER THE DEMOLITION, ALL STREET FACING FACADES WERE MULTI-STORY BLANK BRICK WALLS, DOORLESS, WINDOWLESS. THE INTERVENTION INTRUDES PERPENDICULARLY AGAINST THE GRAIN, UTILIZING THE EXISTING PARTY WALL STRUCTURE AS A SUPPORT TO SPAN THE BLOCK. AN ELEVATED PUBLIC PLAZA WITH FILM PROJECTION SPACES, SEATING, AND AN ARCHIVAL COLLECTION SPACE FIT WITHIN THE SHIFTING PLANES FROM THE SITE’S URBAN FABRIC.
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POTENTIALS This studio focused on the question of Nature from the philosophical and scientific discourses that have explained it with the transformations and present conditions of the natural world as it affects our modes of habitation. The elements considered were also the ones that were present in Radiant City, such as Sun, Air, Green, Water and Soil. Each one of them implied a great number of conditions affected by our human environment.
WATER AND DEATH VALLEY DIANA AGREST, THOMAS LEESER, MASHA PANTAYELEVA
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Death Valley’s arid surface lacks the ability to receive rainfall. The water simply skirts over the surface, running quickly to the lowest elevation. Because of this, regular flooding occurred at the national parks frequented resort. The resort diverted the storm-water runoff trajectory to a new location, this projects site. This site is nearly 1/50th the area of the total ground area for which it receives nearly all of the rainfall.
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The project proposes an implementation of strategically placed filtration canals that capture and filter the onslaught of the powerful flash floods. These canals would be placed along existing desire lines of the water’s natural movements across the site. Such locations can be determined through observation of the existing natural condition, and the development of arid islands within the alluvial fan (sedimentation). The elevation of the canals slowly submerge underground to protect the excess water from evaporation and move them towards an end collection and distribution resevoir for the Death Valley National Park.
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OPEN CITY
THE PALM JUMEIRAH
SMAQ - ARCHITECTURE, URBANISM, RESEARCH__ ANDREAS QUEDNAU AND SABINE MULLER IN COOPERTATION WITH LAURA SAETHER
CHARTER OF DUBAI With financial cooling and global warming, Dubai´s gated refuges cast long shadows in the desert. The contradiction inherent in the gated refuge - between independent islands and their dependency on outside resources - is located at surface boundaries where various cross-connections are concealed. SMAQ’s Charter of Dubai proposes a series of boundary-altering techniques designed to unearth these connections: re:form - from spectacular image to urban figure; re:cover - from sand as land to dynamic environments of wind and water; re:source - from demanding air- conditioning to light, shade, and breeze; re:block from controlled check points to a permeable grid; re:zone - from partitioned sameness to an exploration of difference; re:lock - from invisible gates to articulated entries; re:divide - from enclosure exclusion to cultural diversification; re:gain - from property speculation to social appropriation; re:plot - from grand estates to affordable dwelling aggregates; re:use - from under-utilized yards to common courtyards; re:view - from billboard architecture to local types With these measures, edges are re-drawn via environmental forces, boundaries are reinvented as social connectors, and limits are reset to shorten energy cycles. Expanding, thickening, feathering, and scattering boundaries, here exemplified on The Palm Jumeirah, will allow Dubai to form the robust tissue of a diverse, open metropolis, which it so desperately aspires to be.
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RE: SOURCE
The palms orientation distributes the housing in a polar array along its ‘leaves’. The homogenous layout exposes the majority of the glazing to the hot east/west sun and does not exploit the ability to block the high, easily shaded southern sun. In order to utilize the oppositional orientations, the re:plot strategy disseminates the humongous estates into ecologically, socially viable housing aggregates.
An exhibition space for the community of Cooper Union, in which the Architecture, Art, and Engineering schools each have a space, located on the corner of The Cooper Union Engineering Building site. The issue of the exhibition of the work produced at Cooper Union and its relationship to the city are considered as integral to the architectural problem, enabling a permeability to the city while presenting the institution through the students’ work.
INSIDEOUT GALLERY RICARDO SCOFIDIO, PABLO LORENZO-EIROA, JENNIFER LEE, CAROLINE O’DONNELL
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HOUSE FOR A COUPLE
RICARDO SCOFIDIO, PABLO LORENZO-EIROA, JENNIFER LEE, CAROLINE O’DONNELL
A weekend retreat for a couple, located on a grassy, rural plot with extreme weather conditions. Gender, vocation, and avocation are unknown. Each individual is fiercely independent, and each requires an area that is territorially their own. They do, however, share a suitcase…
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A “smart station,” used for the display and sale of the “fortwo smart car,” located on an urban site at Houston and Lafayette in Manhattan. Two cars are located here, one outside for display, one inside for test-driving. This project brings the ideas of shelter, site, technology, and weather developed in THE HOUSE project into an urban context.
SHOWROOM RICARDO SCOFIDIO, PABLO LORENZO-EIROA, JENNIFER LEE, CAROLINE O’DONNELL
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LIGHTING DESIGN COMPETIT
This light fixture combines standard luminousi side objects. The operability of the drawers e
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in coopertaion with Laura Saether
ity with the necessity of small storage for bedenables the light to have a manual dimmer.
STREETS
DAVID TURNBULL, ANTHONY VIDLER, HAYLEY EBER, URTZI GRAU, LYDIA KALLIPOLLITI
This project delves into how architects research and draw PROCESSES, how they DRAW LIFE, and how in relation to the LIFE of an architectural project the “site” could be interpreted as “milieu,” “genius loci,” “place,” “space,” “environment,” “surroundings,” “context,” or “ecology.” As a quest and question into the most common and ubiquitous of spaces, places, things; the project transfers everyday organizational devices into an incredible array of transactions.
PAVING STONES OF 53RD STREET BETWEE
EN 6TH AVE AND LEXINGTON - NEW YORK
TANNER J. CLAPHAM EDUCATION Sept. 2005- May 2010
THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART, New York, NY Bachelor of Architecture 2010
Sept. 2004- May 2005
GEORGIA INSTITUTE OF TECHNOLOGY, Atlanta, GA One year of study, Bachelor of Art program
PROFESSIONAL May 2009 – Sept. 2009
SMAQ – ARCHITECTURE, URBANISM, RESEARCH, Berlin, Germany: Internship Position Presentation drawings, publications, model making, concept development - Exhibition at Architecture Biennale in Rotterdam - Multigenerational Housing, Königsbrunn, southern Germany - Visiting critic at Technische Universität Berlin
May 2008 – July 2008
STAMBERG AFERIAT ARCHITECTURE, New York, NY: Internship Position Presentation drawings, photography, construction documents, model making, client meetings. - Office renovation, Seagram Building - Summer House, Shelter Island
May 2007 – Sept. 2007
P+FC ARCHITECTS, New York, NY: Internship Position Presentation drawings, photography, construction documents, model making, client meetings - Event Space in Greenpoint, Brooklyn - Townhouse Renovation, Upper West Side - Summer Home Renovation, West Hampton
May 2005 – Sept. 2005
DEPARTMENT OF CONSERVATION AND NATURAL RESOURCES, Bureau of Architecture, Commonwealth of PA: Internship Position Construction documents, specifications & materials research - Various Public State Parks and Forest Regions facilities - Strategies for sites with non-existent infrastructures
EXHIBITION May 2006-2010
Selected exhibitor, Cooper Union End of Year Show
September 2009
Open City: International Architecture Biennale Rotterdam
SKILLS Proficient in AutoCAD, Rhino, Adobe Suite, Microsoft Office, hand-drafting conventions, mixed media, physical modeling and some experience with Maya
164 Havemeyer Street Apt. 22 Brooklyn NY 11211 TJClapham@gmail.com
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TJCLAPHAM@GMAIL.COM
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001 (347) 301 - 3223
164 HAVEMEYER STREET APT. 22 BROOKLYN, NY 11211