I II III IV V
CRUISE SHIP URBANISM Galataport, Istanbul Fall 2013 3 Months Phu Hoang
MEGASHED Rio das Pedras, Rio de Janeiro Spring 2013 3 Months Keith Kaseman
GOING AWAY Palais de Tokyo, Paris Summer 2013 2 Months Phillip Anzalone, Tomรกs Saraceno
CLOUD SCRAPER STATION Low Earth Orbit Spring 2013 3 Months Michael Morris
WEST HARLEM HOUSING 131st & Park, New York Fall 2012 3 Months Douglas Gauthier
VI VII VIII IX X
INFLECTION BANK Great Jones & Lafayette, New York Spring 2012 3 Months Mark Rakatansky
HYDROPONICS LABORATORY West Harlem Piers Park, New York Fall 2011 5 Weeks Yoshiko Sato
WATER CELL Hudson River, New York Fall 2011 3 Weeks Yoshiko Sato
BRONX CRYSTAL FACTORY Bronx, New York Spring 2013 3 Months Kevin Lichten
THE MIRAGE Dubai, UAE Spring 2014 3 Months Robert Heintges, Daniel Vos
I
CRUISE SHIP URBANISM Galataport, Istanbul Fall 2013 3 Months Phu Hoang
Galataport is Istanbul’s primary cruise ship terminal. Facing the Bosporus and located in the center of city, it is a prominent site undergoing development. The essence of the project seeks to capture the fluid rhythm of life which characterizes this timeless city by agents of commerce such as temporary markets and ferries. The architecture engages the cruise ship as an urban object mediating an exchange between tourist and local programs, a conduit between the historical city on the one hand and the floating city on the other.
Studio Partner: Chih-I Lai
UNDERSTANDING THE DIGITAL CITY The emergence of the modern digital city accessed and understood through GPS, visual information and social media demands a new physical urban interface. Our initial investigation demonstrates that the fluidic nature of the digital city requires an equally fluid civic space which fosters spontaneous and creative programming rather than a predefined use.
Square in Moscow, we observe a similar occurrence. However, after inspecting the actual spatial occupation of the square, we realize that digital space coincident with a rigid urban condition (as existed in Moscow during the protests) exaggerates a false image of reality. The space of the digital city completely overlooks the social-political boundaries that exist physically.
Collecting image data from Flickr and Instagram, we remap Avery Hall based upon the frequency of occurrence of publicly accessible spaces. When compared with our physical understanding of Avery, it is evident that the digital space amplifies the accessibility of the monumental and event charged.
We posit that the physical space of the future digital city engages in a programmatic dialogue with its own digital reflection and adapts in response. Due to the characteristic fluidity of programs that exists in Istanbul, the Galataport cruise terminal is an ideal opportunity to play out this scenario through an architectural construct in constant flux in relation to temporal agents.
Using a similar technique of mapping to understand the protests of Bolotonaya
Avery Hall mapped via Instagram and Flickr
Bolotonaya Square mapped via Instagram and walkthrough
I Existing Site The current terminal occupies one of the rectangular warehouse buildings along the coast. Incoming cruise ships dock parallel to the shore completely obscuring the view across the Bosporus.
II Excavation & Infill We propose excavating land up to the street and creating an infill condition in order to allow a perpendicular system of cruise ship docking.
III Block Interface Once the cruise ship is in place, our architecture acts as an interface between the city and the cruise, fostering programmatic exchange.
Atrium Theater Fitness Restaruant
Programmatic Extraction The program of the docked ship is dissected for publicly accessible programs. In order to generate a fluid movement between the city and the ship, the openings in the block reflects the programmatic constituents of the ship, each allowing direct access to its mirrored program.
Physical Block - Cruise The Physical Block engages in a direct relationship with the ship providing alternate and local programs of dining, fitness, and theater.
Physical Block - City The city facing side of the Physical Block provides local access into each of the three zones of the cruise via a continuous corridor.
Virtual Block - Cruise The Virtual Block acts as a transitory space for cruise passengers going to the city at large. It connects the cabin decks to the ferry port.
Virtual Block - City The city face of the Virtual Block bridges across the street directly into community providing spaces and equipment for different types of temporary markets.
Open view across the Bosporus when empty
Surreal urban experience when cruise is docked
Locals
Locals
Tourists
Tourists
Level 3
Level 3
Level 2
Level 2
Level 1
Level 1
8 am - 10 am Cruise Disembarkment
9 am - 4 pm Cruise as Public Space
Locals
Locals
Tourists
Tourists
4 pm - 8 pm Cruise Re-embarkment
Level 3
Level 3
Level 2
Level 2
Level 1
Level 1
8 pm - 11 pm Nighttime Restaurants and Performances
Urban Visage The architecture exudes a civil monumentality. Through its material and massing the forms evokes the historical images of Istanbul as a fortress city of massive walls. Conversely, the strangeness and scale of the cut-out volumes suggests a distinctive post-modernist visage, a surreal vision. In this way this modern architecture seeks to straddle between the past and the future in order to situate itself in a city infused with cultural and historical meaning.
II
MEGASHED Rio das Pedras, Rio de Janeiro Spring 2013 3 Months Keith Kaseman
The favela of Rio das Pedras exists as a unique urban construct within the larger fabric of Rio de Janeiro. Surrounded by large open stretches of land its boundaries are starkly delineated by the sudden emergence of a super dense palimpsest of residential and commercial activity. Megashed seeks simply to utilize this unusual dichotomy to alleviate the precious and overburdened open spaces within this community by taking advantage of the expansive territories surrounding it. It is a reinterpretation upon Brazil’s long tradition of canopied spaces as a grassroots generator of spontaneous program. Thus it imagines a future market typology infused with the color and richness of life in the favela.
DESIGN THROUGH EXPLORATION In keeping with the spirit of Studio Sangue Bom, design was not conceived based upon research analysis or site response. Instead the final product was based upon a myriad of spatial and formal explorations which constituted a “stream of consciousness” that the final iteration drew upon for strategies and operations. In this more fluid method of design, critics, students, reviewers and the locals of Rio das Pedras engage in a
dialogue in which each seeks to project into a spatial conception his own vision of what the project could become. The project is conceived as a part of a greater discourse of possible futures, rather than a particular solution. We seek to elicit a question about what it could become rather than a judgment of whether it is the correct answer. We ask “what if” rather than “why”.
Ibirapuera Park Brazilian Modernism has always embraced the formal motif of weighty overhung spaces to provide shade and promote activity. In this park, a simple expansive canopy fosters sporting activities such as skateboarding and roller blading.
Museu Brasileiro de Escultura We see a spontaneous and creative occupation of shaded spaces by the community. In this case, the architecture of a museum play host to a Sunday market for the local populace simply by offering relief from the sun.
Typologies of Canopied Spaces In the search for an appropriate site strategy for a mixed market and public space program, I envision differently scaled double canopy conditions as generators of spatial variety. The consistent theme is to create a sub-grade public space which is being shaded by a market above. Through varying the openings and access points between the layers, different programs can be achieved both for the market and the public spaces.
I Skate Park & Food Stands Small free form openings create more intimate environments for small sports venues which can pair with temporary or transitional markets above.
II Landscape Park & Shopping Medium sized openings can create a regular grid for more traditional consumer stores overlooking spaces for lounging and relaxation.
III Sports Field & Restaurants Monumental openings can signify spots of collective activity such as a soccer game where the audience can overflow to the market level.
TOPOGRAPHIC INCISION
I Topographic Incision The site is depressed to demarcate the architectural intervention.
SPORTS & LEISURE PROGRAM
II Sports & Leisure Within the depression resides the continuous open space for sports and leisure activities.
MARKET TRAY OPENINGS
III Market Tray The sub ground sports activity is covered by the market tray with appropriate openings for light and circulation.
MARKET UNITS & ACCESS
IV Access The permanent portions of the market reside along two spines which cross the site allowing outside access.
FLEXIBLE COMMERCIAL PROGRAM
V Flexible Program The remaining spaces between the spines are left to more flexible commercial programs such as workshops and clubs.
ROOF CANOPY
VI Canopy An overarching canopy covers the entire scheme bringing a monumental significance to the site within the city.
ATHLETIC FACILITIES
ATHLETIC FACILITIES
The Sports Venue The entire complex can be divided into three portions. The first portion primarily features sports facilities such as a soccer field, skate park and swimming pools. The market functions are sparce and largely temporary.
The Park Venue The central portion features smaller scaled parks for children to play in overlooked by workshops, restaurants and nightclubs. It is an area full of localized moments conducive to the gatherings of smaller groups.
LEISURE & WORKSHOPS
LEISURE & WORKSHOPS
DISTRIBUTION & SUPPORT
DISTRIBUTION & SUPPORT
Support & Delivery The last portion of the complex features the staging area for trucks delivering goods to the market. It also houses the infrastructural elements for the maintenance of the market and public space such as flooding control and waste removal.
Figure in the Landscape The combining of the three portions reveals a peeling up in the canopy at every division, signifying the two spines and acting as a means of ventilation. The overall architecture reads cohesively in the landscape marking it as a place of destination.
III
GOING AWAY Palais de Tokyo, Paris Summer 2013 2 Months Phillip Anzalone, Tomás Saraceno
The Paris Atilier summer program in collaboration with artist Tomás Saraceno challenged students to think and construct objects in relationship to air and flight. However, when the opportunity arose to design and create an art installation at the Palais de Tokyo, a modern art museum in Paris, students agreed to put aside their individual work and collaboratively participate in this unique opportunity. We created an installation which challenges the visitor’s self-awareness within a dynamic landscape through reflection and echoed movements. The final exhibit opened on July 15th for the duration of two weeks.
In Collaboration with: Arkadiusz Piegdon Claire Kao Davi Weber Diego Rodriguez Harry Byron Jaclyn Jung Jim Stoddart Mondrian Hsieh Sisley Harrell Taylor Miller Vahe Markosian
THE FIELD The inflated landscape demands an atypical slowness, heightening awareness of one’s body in relation to the displacement and resulting disruption of the field. The shifting terrain above and below induce a loss of scale, or rather a loss of consistency of scale. Navigating the foreign landscape, the traveler grows and shrinks in the shifting space, diminishing to miniature and growing so large to the point of bursting through the stratosphere. No paths are preordained, and in any direction one finds provocation and awareness of others, questioning the difference between the sensible and nonsensical. A field of reflections above and below invites the traveler to lose himself in a space where one can never be lost, always in sight of a thousand uncanny versions of his own visage.
ACCES POMPIERS
23.59
10.57
1.50
ACCES POMPIERS
1.50
4.73
1.64
BALLOON FIELD
INSTALLATION BORDER
6.19
4.03
MIRROR WALL
23.24
Design The installation uses 1,020 reflective mylar balloons to form a double membrane encapsulating the visitor’s field of occupation. The upper membrane, filled with air, hangs from the ceiling while the bottom, filled with helium, floats off the floor.
Installation The installation process occurred over the course of three days. Much logistical consideration was given to the alignment of the two balloon layers which required projections of the grid using suspended weights.
Cornfield The idea originates out of the experience of moving through a cornfield as one's immediate path is revealed by parting the surrounding field. We wanted to create a spatial experience that not only allowed the visitor to understand a particular moment but at the same time, be aware of the entire field through reflection. The resulting space would be physically constrictive making the visitor conscious of each step, but visually expansive as the balloons would echo movements in other parts of the field.
IV
CLOUD SCRAPER STATION Low Earth Orbit Spring 2013 3 Months Michael Morris
Human occupation of space exists as a delicate proposition where one mishap may mean the difference between life and death. Thus far in our foray into space, human beings have attempted to craft space into an environment familiar to Earth. However what if we are going about the issue wrong‌ Asked to envision the future of life in space, I saw an opportunity to posit a completely new way of living that would embrace the poetic beauty of life in space by proposing that human beings occupy space by adapting to it rather than attempting to emulate Earth. The premise of Cloud Scraper Station envisions an aquatic environment of occupation embracing the physical and chemical properties of water to fulfill the functional needs of the human being and the spacecraft.
WATER In the void of space, the criticality of water as the source of life becomes acutely poignant. While many of its earthly properties have been embraced by current recycling technology on the ISS, other spatial and physical benefits become evident when it is also used as a medium of occupancy. These benefits include radiation shielding, acting as a resistance medium to combat muscular degradation, non-modular expansion, and self-healing. Indeed, when used to its full potential it begs the question, why make a space station out of water?
The Medium
The Abyss
Produce Hygiene
Oxygen
O2
Hydrogen
Consumption
H2
Radiation Shield
Non-Modular Expansion
Resistance Medium
Adaptive Envelope
Fragility & Mediums Life in space is a fragile state of being where one is separated from the endless abyss by the thin shell of a space station. By using water as a medium, we can moderate this binary existence by creating a more forgiving environment for occupancy both familiar and tactile.
Orbits & Scales The station is in an elliptical orbit tilted 75째 off the equator with its orbital zenith at the polar regions and orbital nadir at the equatorial zones where cloud formations are at their highest. In this orbit the station can collect electricity from the Aurorae and moisture from the clouds.
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Cloudscraping The most fundamental barrier to having an aquatic environment in space is the cost of transportation. By traditional rocket delivery, it costs $15,000 to deliver each pint of water into space. To achieve any occupiable volume of water this would require several thousand times the US Annual Military Budget. My solution to this impasse is that the station should extend “tentacles� into the atmosphere and draw moisture from the clouds. Thus the station would be self-maintaining and be a sort of high-altitude space elevator for the transport of other materials and personnel into space.
Tether Shell Collection Surface Inverse Wings
115°
10’ 0” 21’ 0”
40’ 0”
64’ 0”
Harvester Plows Harvester plows collect moisture from the atmosphere. They are aerodynamic but act inversely to aircraft wings because they must dig into the atmosphere rather than push up. Additionally, there is a need to maximize interior surface areas for optimal collection.
Personnel Pod Frame
Flexible Cables Container Pod Pod Wings
48’ 60’
30’ 0” 20’ 0”
80’ 0”
Tethervator Frame
Tethervators Between three harvester plows is a rigid framework which prevents harvesters from bumping into one another. This framework also serves as the platform for six “Tethervators” which deliver personnel and materials to the station.
Reflections As one ascends up the tethervator, one is presented with a visage of the earth reflected in the underbelly of the station. There is a period of existential nostalgia as one becomes conscious of his increasing physical distance from whence he came, contrasted against the growing visual reminder of what he is leaving behind. The reflection terminates at its culmination as one is thrust into a fundamentally unearthly means of living inside the station itself.
Aquatic Lifestyle Each passenger is equipped with an oxygen chute into which he draws air produced from electrolysis. Activities requiring more oxygen or the participation of multiple people yield a larger oxygen bubble of occupation. As the entire station revolves, microgravity causes all excess gasses in the water to return to the central reservoir.
Oxygen Supply Unit Chute Prow
40’ 0” Occupation Pod Lights Magnetic Anchor
14’ 0”
66’ 0”
+
– +
“Appliance” Compartment
Lighting: Completing the Circuit
Anchor Dock
Access Port
Pod Design Units begin as empty nets circling in the water medium. The basic unit is tethered to the central turbine for oxygen and propulsion. It cuts through the water with a prow serving doubly as a weight. Trailing behind are a series of magnetic anchors suspended in a network into which the inhabitant attaches his oxygen chute.
Inversion Cloudscraper Station is conceptually and physically an inversion of life on Earth. The premise of the project is to create a space station that allows humans to live by the rules of space. Physically, it takes water from the ephemeral medium of air in order to form the solid medium of occupation. The collectors and pods are geometric inversions of each other, delivering the means of life, one within the atmosphere and one without. As the visitor begins his new life, the construct of the station serves to remind him of a new but parallel reality.
Oxygen
Hydrogen
Thrusters
Ice Shell
Water
Combustion Chamber
Units
Carbon Dioxide
Oxygen Delivery
Turbine
Electrolyzer
Decompression Pump
260 km
“Tethervator”
Harvester Plows
V
WEST HARLEM HOUSING 131st & Park, New York Fall 2012 3 Months Douglas Gauthier
Low income housing in Harlem has traditionally evoked the negative image of “the projects�. City wide initiatives to provide housing for the poor and the high demand for property in New York has created an unusual mix of rules and regulations which seek to offer incentives for mixed-income housing. Given the opportunity to operate on a triangular site along the East River, our project exploits two bypass conditions in order to express an infrastructural monumentality for a public market while creating intimate neighborhood enclaves for residents. The ultimate goal is to create a new commercialresidential typology out of the typical developments dictated by the New York grid.
Studio Partner: Vahe Markosian
BYPASSED OPPURTUNITIES Our site is surrounded by numerous transportation networks but non-interactive with any of them. This led to an idea of using the vibrational energies generated by the rails and roads to provide power for the building. Additionally, the high prominence of the site as the first lot passed by Metro North Rail entering the city offers great potential for presenting a heraldic entry to Harlem and New York. Precedent studies of building type and circulation
configurations for housing complexes led to an observation that traditional circulation is also a bypassed condition. Residents are obliged to occupy it only in their desire to be elsewhere. This led to an interest in reinventing the "necessary evil" that circulation has become. Our project addresses the bypassed opportunities of infrastructural energy and mundane circulation to generate a particular quality of public and private space.
138th-Grand [4,5]
135th [2,3]
3rd-138th [6]
Harlem 125th Rail
125th [2,3]
125th S
treet
Harlem 125th [4,5,6]
Trains & Subway The site is situated between major transit hubs primarily along 125th street where Metro North’s first New York stop coincides with the Harlem 125th Subway Station.
M98
Bus & Car The site seems to occupy a “bus stop dead zone” despite having numerous lines running through and near it. The M98 Bus Route runs adjacent our site but makes no stops for 5 blocks.
River Front Park
132nd Street
La Marqueta Expansion
I Sub-level Market
II Highway & Rail Generator Trusses
The market component serves to tie together three access opportunities to the site via a sub-grade passage way.
Piezoelectric generators on trusses spread outward above the market to attach to the rail and highway system.
III Circulation & Energy/Support Cores
IV Second Ground & Mechanical System
Electrical energies collected are centralized at the primary circulation and utility cores of the housing complex above.
A second ground plane rests over the trusses forming a canopy for the market and a private park for residents.
Market Infrastructure The public element of the building features a below grade market, accessible to the three converging site forces. The vertical circulation and mechanical cores rise from the market, serving doubly as the conduits of power for the energy generation trusses. A second ground plane rests on the trusses separating the private realm above. Mechanical systems are attached to the underside of the plane, safe from potential floods.
I Core Tower
II Open Stack
The traditional core tower sacrifices light and air for circulation, mechanical and unit efficiency.
Opening the traditional core tower model creates a stack effect in the vertical circulation core.
Small Family
Large Family
Single Units
III Shift South
IV Twist Enclosure
Shifting the lower tower out creates sunlight terraces for the subdivision communities.
Rotating the lower tower creates private community enclaves shielded from direct sunlight.
Rotated Tower The traditional core tower sacrifices light and air for circulation, mechanical and unit efficiency. Through a series of morphological adjustments we create a new more porous tower that is a framework for different types of community conditions.
Subdivision Communities The geometry of the towers creates three different types of community zones. In the lower tower micro-units and studio apartments provide housing for single occupants. Studios and one-bedroom apartments in the upper tower provide housing for couples and small families. The inversion zone of each tower creates a unique quadruple height terraced space comprised of one and two bedroom units for large families.
I Level 1 Units
II Level 2 Access
Fully first level units have attachments to the energy/support core to draw power and remove waste.
Double level units all have a first level entry to facilitate access for the movement impaired in accordance to code.
III Level 2 Units
IV Community Gardens
Double level units attach to the energy core on the second floor and access the roof space of the single level units as terraces.
The interstitial spaces not occupied by units within each subdivision is left for the neighborhood to use as recreation.
Northern Facade The north face of the building is a perforated metal screen facade to enforce a uniform and monumental visage for commuters entering New York via train.
Nighttime Advertising At night, this screen becomes a projection surface for the promotion of Harlem attractions such as the Apollo Theater, echoing the vision of New York as a city of lights.
Four Towers The final complex consists of four such rotated towers. Because the location of community subdivisions varies from tower to tower, dynamic neighborhood conditions arise at the intersections of any two.
VI
INFLECTION BANK Great Jones & Lafayette, New York Spring 2012 3 Months Mark Rakatansky
Following the 2008 financial crisis, confidence in the banking system is called into question. The evolution of the bank typology (from brick vault to glass cube) seeks a new paradigm in the digital age as monetary transactions become increasingly ephemeral. The Inflection bank uses the site‘s bifurcated solar condition to engage in a tectonic interplay of programmatic elements encapsulating the tangible and liquid aspects of banking. The bank seeks to tectonically express the mutually beneficial public-private relationship that the banking system was originally founded upon and from which it has strayed in the recent decades.
Core
Outdoor gallery
Tellers
Extrospective Atrium Introspective Atrium 2 1
Adam Room
Viewing Gallery 11 10 9 8 7 6 5 4 3
Cafe
2 1 B1 B2
4
3
2
1
1
2
3
4
5
6
24’
7
7
12’ 36’
12’
6
5
4
Relative Scale
3
2
1
1
2
3
4
5
Bank Atrium Study The comparative study of the Lloyd’s of London and the BMCE Bank revealed the condition of introspective and extrospective atrium spaces.
Site Fragmentation Study The site fragmentation study looks at elements of potential advertising projecting from the visual cone of the bank site.
Stairs Overlook Lobby
STATE OF MODERN BANKING In the digital age the public interface of banking is becoming increasingly fluid, brought about by rapid advancements in communication and information technology. However, behind the facade of information liquidity, the principles and economics of banking still reside firmly in tangible assets like gold and property. The financial crisis is illustrative of a breakdown in tangible assets exacerbated by the
reverberations of information on a global scale. Today’s bank seeks a new architectural embodiment expressive of the interdependency of its public and private components. It is an architectural amalgam of the transparency stressed by the post-Great Depression glass box bank grafted onto the security implied Gilded Age brick vault bank.
Tangibility Zones The tangible aspects of the banking are represented by institutional programs accessible only to bank employees. Materially, it is expressed through shifting plates of thick polished concrete structurally unified with the foundation. It is evocative of a sense of solidity and timelessness.
Liquidity Zones The liquid aspects of banking are represented by its public interface and governance. Materially, it is expressed through glass floors, tension cables, and space frames structurally cantilevering off the tangible. It is evocative of the ephemerality of information and instills a clarity and transparency to the public facade.
Inflection Zones Particular regions of the bank emerge as where elements of the banking program manifests in a tactile coupling between ideas of institutional banking and public exchange. These “Inflection Zones� are emphasized by a tectonic exchange between the two sides.
Governance Section The president's office, as the highest manifestation of propriety, is ultimately held accountable by the board of directors representing the public or outside interest. The architecture offers a literal oversight and hierarchy of accountability.
ATM & Vault Section The main public interface of banks, the ATM, draws upon the stored money and goods embodied by the private bank vault. The architecture creates a direct visual awareness of the transfer of mediums.
Auditorium Section A space where an interested public or foreign authorities may gather to learn about the state of banking today. The architecture performs a coupling of the podium and the seating, implicit of an interdependent relationship.
VII
HYDROPONICS LABORATORY West Harlem Piers Park, New York Fall 2011 5 Weeks Yoshiko Sato
Columbia University recently acquired land in West Harlem for the development of its Manhattanville campus. Many of the buildings are planned to be science laboratories. The Manhattanville Food Research Institute notably features a Hydroponics Laboratory and Seed Library as prominent programmatic components. The design explores the bipolarity of the primary programs to create a building that is both expressive of its opposing parts but systemically unified by the interaction of those components.
section persepective through seed core
Core Geometry Morphology
Water Storage Circulation Core
Garden Catwalks Display Zone
Overlook
Science Labs
Hydroponics Core
Seed Core
Core Design The cores are the primary space for human occupation. The Hydroponics Core collects and stores rainwater from the roof within its walls. Scientists working in the attached laboratories can control and adjust the nutrient content in the water before it is released and distributed to the plants. The Seed Core houses the seed library. Seeds are sealed between panes of glass and can be readily referenced by scientists during research.
Plane Topography
Rainwater Collection
Purification
Rainwater Aeroponics
Nutrient Control
Distribution Control
Community Hydroponics
Algae Fuel Research
Public Visitation
Used Water Storage
Facade Integration The facade of the building is composed of the human and water circulation paths between the two towers. Moments where the two circulation paths overlap create nodes where the scientists can locally adjust the water’s composition.
Planes Design The planes are the primary space of plant occupation. These house the hydroponic functions of the facility. Nutrient water from the cores is delivered into the planes via hydrostatic pressure where it then cascades down along a carefully calibrated topography to the various different program of the building. Used water is stored underground in collection tanks to limit eutrophication. Additionally, the water system is integrated into facade members, the larger of which also serve as the means of circulation between cores.
Adaptive Facade The facade of the building is divided into panelized compartments by the unified water and circulation network. These panels are composed of electrochromic glass which locally control solar exposure based on plant needs in particluar areas of the building.
VIII
WATER CELL Hudson River, New York Fall 2011 3 Weeks Yoshiko Sato
Water is the theme of Core Studio I. An increasingly scrutinized commodity, it is critical to the survival of urban metropolises like New York but also potentially destructive in nature. The first project is to design a "water cell" for the habitation of one scientist to be placed on the Hudson River for the testing of a water source of the student's choice. My project focuses on the collection of atmospheric moisture through condensation. The cell responds to unique advantages of building on the Hudson River to drive its moisture capture mechanism.
Components My design is an aerial well to be placed in the Hudson River to collect and test atmospheric water from condensation. The water pod utilizes the cold sea water at the bottom of the Hudson to keep the condenser plate chilled. The main body is kept afloat via stabilizers in triangular configuration which serve doubly as beacons for ships. These stabilizers are attached to the tower by sails which automate the orientation of the pod.
Cooling Strips
Condenser Plate
Cistern
Habitation Level
Research Level
Testing
Funnel
Habitation Level
Testing Apparatus
Research Level
Cistern Boat Dock
Stabilizers
Perforated Skin
Sailing Fins
Sails Entry Stabilizer Beacons
vel
r Le
te Wa
Assembly The components are assembled around the funnel as a central axis. The perforated skin is wrapped around the construct and secured by a cap and ring at the top and bottom. The cistern serves as a counterweight against tipping in the river due to the 70 feet height of the tower.
Cap
Condenser Plate
Habitation Level
Research Level
“Sails�
Stabilizers
Cooling Strips
Cistern
Placement
Plan A : Habitation
The pod is anchored offshore of West Harlem Piers Park past the 40 feet water depth mark in order to access the sea water current. In this location it is within the sight line of the 125th street corridor. Thus, at a distance the pod serves additionally as a sculptural element in the riverscape viewed from the park across the Hudson, setting a beautiful visage at sunset.
Section 1
B
Envelope
65’
Plan B : Research
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IX
BRONX CRYSTAL FACTORY Bronx, New York Spring 2013 3 Months Kevin Lichten
The Tech V sequence asks students to utilize the various building systems studied in Tech IV in the design of a building with specified dimension and shape. Our group was interested in the exploration of a perimeter structural diagrid system that allowed for a column free interior. We also addressed issues of long span and radiant heating as these systems fit well with our structural concept.
Group Members: Madeeha Merchant John Kim Reece Tucker
The Diagrid Each diagrid component is a prefabricated X-shaped steel assembly. The back panel has an attachment shelf at each node which holds the 70 feet long truss supporting the floors plates. The diagrid structure is interior to the building envelope thereby minimizing thermal movements in the structure.
DIAGRID BEYOND
RADIANT HEATING SYSTEM CONCRETE TOPPING RADIANT HEAT INSULATION REINFORCING 1/2” REBAR (TOP + BOTTOM)
1” 1” 2”
TRUSS WIDTH 4’-0” TYP.
8”
REINFORCED CONCRETE SLAB
SEATED SUPPORT FOR TRUSS AT DIAGRID NODE BEYOND
R4’-0”
TRUSS DEPTH 3’-6” TYP.
2’-8”
SPACE TRUSS SYSTEM
FIRE SPRINKLER SYSTEM 15’-0” O.C.
10”
AIR SUPPLY DUCT 10” DIM
” ’-0
R2
THORN EUROPHANE LINEAR SUSPENDED UP + DOWN FLUORESCENT LIGHT FIXTURE
D1
SECTION DETAIL AT TRUSS SCALE: NA
10’- 0”
20’- 0”
10’- 0”
6”
1’ - 6”
4’ - 0”
1/4” CAP PLATE
+ 134’-5” TOP OF FINISHED ROOF
CMU PARAPET
+ 130’-5” TOP OF FINISHED ROOF
1/4” ROOF MEMBRANE WINDOW WASHING TRACK CANT STRIP 1’- 4”
RIGID INSULATION SHEAR STUDS
2’- 0”
+ 115’-11” TOP OF MECH ROOM FLR
+ 101’-5” TOP OF FINISHED 7TH FLR
SPANNING TRUSS 1” STEEL DIAGRID PROFILE
TRUSS CONNECTION
SIX-POINT SPIDER ATTACHMENT 2” 1”1”
+ 87’-11” TOP OF FINISHED 6TH FLR
8”
SIX-POINT SPIDER CLIP
INSULATION
1” IGU
+ 72’-5” TOP OF FINISHED 5TH FLR
OPAQUE PANEL DETAIL CONCRETE TOPPING RADIANT HEATING SYSTEM 1/4” CAP PLATE
+ 57’-11” TOP OF FINISHED 4TH FLR
2” 1”1” 8”
RADIANT HEATING INSULATION REINFORCED CONCRETE SLAB SPIDER MOVEMENT TRACK SILICON SEALANT
+ 43’-5” TOP OF FINISHED 3RD FLR
GRAVEL
+ 29’-0” TOP OF FINISHED 2ND FLR
GLASS BASE FILL 2” STEEL PLATE 2” GROUT ANCHOR BOLTS 2” 1”1” 5” 6” 1’ - 0”
4’ - 5”
4’ - 9”
2’ - 6”
2’ - 9”
FROST LINE
+ 0’-0” TOP OF FINISHED 1ST FLR
13’ - 0”
- 4’-0” FROST LINE
D2
TYPICAL BAY ELEVATION SCALE: NA
D3
SECTION DETAILS SCALE: NA
Systems Integration The effectiveness of the scheme is in its integration of the structural and mechanical systems of the building. By only using the diagrid for vertical structure, we were forced to an unusually deep truss for the 70 feet spans. However, by utilizing a radiant floor heating strategy we were able reduce duct sizes such that the ducts fit neatly into the frame of the deep truss. This effectively minimized any registration of the mechanical system at work.
DIAGRID CONNECTION PIECE (1” STEEL PLATE) DIAGRID FACING (1” STEEL PLATE) DIAGRID BACKING (1” STEEL PLATE) TRUSS CONNECTION
CONCRETE TOPPING RADIANT HEATING SYSTEM RADIANT HEATING INSULATION
REINFORCED CONCRETE SLAB SHEAR STUDS SPANNING TRUSS
D1
DIAGRID CONNECTION DETAIL SCALE: NA
1” IGU DIAGRID FACING DIAGRID BACKING CONCRETE FOUNDATION FILL
CONCRETE TOPPING RADIANT HEATING SYSTEM RADIANT HEATING INSULATION GRAVEL
2” STEEL PLATE 2” GROUT EARTH ANCHOR BOLTS CONCRETE FOUNDATION
D2
FOUNDATION DETAIL AXON SCALE: NA
X
THE MIRAGE Dubai, UAE Spring 2014 3 Months Robert Heintges, Daniel Vos
The Mirage seeks to express the subtle optical shifting of Philip Taaffe's "Yellow Painting" three dimensionally as a series of diagonally hung oscillating curved insulated glass panels with ceramic fritting. The diagonal glass panels are attached to a system of diagonal cables which eliminate any vertical visual interference. Additionally, the hanging of the panels on cables in conjunction with the enhanced structural qualities of curved glass allows a minimization of mullion elements in order to achieve a more uniform faรงade reading, accentuating the pattern of the frit. Due to the oscillating wave plan profile of the curtain wall, it is necessary to create a zigzagging concrete pour for each of the floor plates in order to provide reasonable attachments to the panels. Horizontal joints in the system occur every twelve feet at the floor plate while cable connections occur six feet above each floor.
Philip Taaffe "Yellow Painting"
D4
D4
D7
Sim
+ 36’-0” TOP OF FINISHED 4TH FLR
D1
D3
Sim
D6
+ 24’-0” TOP OF FINISHED 3RD FLR
D8 D8
+ 0’-0” TOP OF FINISHED 1ST FLR
1
BUILDING ELEVATION SCALE: 1/2” = 1’0”
2
BUILDING SECTION SCALE: 1/2” = 1’0”
Cable Mullion System Each diagonal IGU panel is attached to the diagonal mullions which are themselves attached to a diagonal cable at four juncture points. This system allows the cable to take the majority of the dead load of the glass allowing a more minimal horizontal mullion detail.
3
TYPICAL FLOOR PLAN SCALE: 1/2” = 1’0”
5’ - 2”
HOLLOW TUBE STEEL BEAM
ALUMINUM CASING
D5
CABLE ANCHOR
1’ - 2”
D4
PARAPET SECTION
D5
SCALE: 1.5” = 1’0”
CURTAIN WALL PARAPET CONNECTION SECTION SCALE: 6” = 1’0”
MAX : 4 - 3/8”
MIN : 7/8”
3/4
”
3 - 1/8”
1 - 5/16”
SPANDREL PLATE
CURVED INSULATED GLASS
MIN : 4 - 5/8”
MAX : 7 - 3/16”
TENSION CABLE
D6
CURTAIN WALL FLOOR CONNECTION SECTION 1 SCALE: 6” = 1’0”
CURTAIN WALL FLOOR CONNECTION SECTION 2
D7
SCALE: 6” = 1’0”
D9
SCALE: 6” = 1’0”
STONE FACING
D9
D8
FOUNDATION SECTION SCALE: 1.5” = 1’0”
CURTAIN WALL FOUNDATION CONNECTION SECTION
D7
D6
TENSION CABLE ”
1 - 3/8
3 - 1/1
6”
D2
RAD 3”
RAD 3”
CURVED IGU
D1
IGU FRAME
CABLE ATTACHMENT SECTION
D3
SCALE: 6” = 1’0”
FLOOR ATTACHMENT SECTION SCALE: 6” = 1’0”
CAST SPACERS
MULLION
Curved Diagonal IGU Due to the diagonal orientation of the IGU, the angle of the glass as it contacts the horizontal mullion can vary as much as 30 degrees from the vertical in either direction. Therefore, it is necessary to include a cast aluminum spacer between the mullion and the glass to fill this variable gap.