portfolio D. M. Agosin March 2017
catalina romo
@Daphne Agosin 2017 Printed in Yale Printing and Publishing Services YPPS Typefase: Karmina Sans, Minion Pro
Daphne Agosin daphne.agosin@yale.edu daphneagosin@gmail.com +1 475 449 0050
Education
Professional Experience
Teaching Experience
Master in Environmental Design Candidate 2017, School of Architecture, Yale University, New Haven.
Architectural Lighting Designer Douglas Leonard Ligthing Designers Studio www.dlld.cl 2013-2015
Teaching Fellow at Yale: - American Architecture and Urbanism Lecturer: Elihu Rubin - Introduction to Urban Design Lecturer: Alan Plattus
Diplomat in Scenography Spaces 2014 School of Drama, P. Universidad Católica de Chile (6 months program). Professional Degree in Architecture 2012 P. Universidad Católica of Chile Exchange program 2010 Aalto University, Faculty of Engineering and Technologies, Espoo.
Production Team Chilean Pavilion 2012 Venice Biennale Project Collaborator 2012 Nazar - Urrutia Architects www.unarquitectura.cl/
Teaching Assistant at PUC Ch: - Visualization. Lecturer: German Hidalgo. - History of Architecture and Classic Tradition. Lecturer: Gonzalo Carrasco Design and Technical Drawing Teacher Furniture Makers’ Training at Cristo Vive Foundation, 2013.
theater
lighting
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Sculp Light Quillota: Night accentuation of the historic town cemetery.
Macbeth set design proposition set in I-95 01.center Obra Los Invasores crossing Santiago prof. taller Eduardo Jiménez
Concepto
i
page 6 Lighting design for a condominium and hotel project in the desert of Ica, Peru.
o
page 26 Los Invasores set design proposal
page14
page 27
E
Los Invasores coaliciona en su trama dos grupos sociales, visto desde el mundo interior de
Lighting design for a condominium in the outskirts of Santiago City
un hombre de clase social acomodada: Juan Meyer. La legitimidad de los bienes adquiridos
Así, los personajes p
de la burguesía, la pobreza como consecuencia de su acumulación, y la segregación como
reflejo contrapuesto
contexto imperturbable son cuestiones en tensión durante toda la obra.
Toletole puede repr con ella a través de
La sucesión de eventos no propone realmente una solución respecto al conflicto social.
page 22
El China puede con
momento de la obra constituye la utopía del autor. Esto parece indicar que el conflicto se
social. Sin embargo,
usa como excusa para más bien relatar la intolerancia y la tensión creciente en el clima de
“Quisiera que al fin
la época, a través de una contraposición de ambos mundos retratados (burguesía y ‘los del
de uno de nuestros
otro lado del río’), en la que el autor busca encontrar semejanzas, mientras los personajes se
otras personas, y tam
niegan a admitirlos.
Note: The large letter symbolizes either a recognizable shape of the project, or it indicates the first letter of its name.
mismas rosas que P
Ningún evento constituye un desenlace o momento ‘ideal’ de construcción social: ningún
research
Architecture School Diploma Project: rural school in southern Chile with emphasis on detailed wood technology construction.
Landscape and geographic analysis of sites
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page 54
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page 46 Micro-playgrounds to bring vegetation back into the devaluated downtown neighborhood of Avenida Matta. page 50
page 58
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Editorial and graphic design samples
Urban furniture proposal: a chair for the Battery Park.
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Master of Environmental Design thesis on spectacle and environmental theater in the 70s and 80s, focused on cases in Santiago, Chile.
Public space design to exhibit the historic value of Patio 29 Memorial Site.
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design
page 60
Q Sculp Light Quillota: Night accentuation of the historic town cemetery. Project in collaboration with Marcela Uribe Forés and Francisco Ibáñez Hantke
Macaya Hill Cemetery, Quillota.
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Macaya Hill is an urban milestone that connects Quillota to its historic and geographic context. The cemetery occupies a protagonist place as it contains the collective memory of the town, seeping into the landscape of the hill.
We proposed to highlight this construction and its condition as a border between the natural and artificial, past and future of the city.
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The visible facades of the communal blocks of the cemetery are lighted to interact with the natural cycle of light using two strategies: - To bathe vertically with colors the smaller walls towards the south, according to the colors of the different times of day: dusk, night, and dawn. We used Dialux-Evo models to see how the intensity of the light was contrasting with its surrounding.
Given the low leves of night ilumination of the cemetery this would work at an aveage of 750 lm for the color facades, and a lighter level of 500 for the facades covered with with light. Because white light is more intense, this presents a positive balance.
A reference is this sculpture by Federico Assler (1972 and re-installed in 2013) which creates a sunset intensification at dusk, as the colors of the concrete darken towards the ground.
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- To highlight with white light laterally the walls of west orientation, varying in intensity inversely to the movement of natural light--when natural light is changing, artificial lighting is static; when the levels of natural light are stable, artificial white light is dynamic.
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I DCO Hotel and Condominium Complex.
Project designed for Douglas Leonard Lighting Designers, in collaboration with Marcela Uribe, and Nathalie Vergara.
Desert of Ica, Peru.
Architects: 51-1.
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Above: Distribution of Hotel reception, suites, spa, pools, bar, museum, vineyards, and services. Schematic presentation of light distribution values. Left: Schematic presentation of light distribution values of condominium.
Owner's lot: Example of a house distribution in light plan.
This hotel and condominium complex is located in the desert of Ica, PerĂş, with clear skies throughout the year. One of the great resources of the desert is that it is a place that still preserves astronomical darkness, where we can observe a pure starry sky and a strong presence of the moon. Thus, the preservation of darkness became one of the backbones of our proposal. The primary and secondary roads received levels of 6 and 3 lux respectively, in accordance to international regulations analyzed. Rural, pedestrian pathways were not illuminated, considering the possibility of a perception adaptation and the aid of surrounding illumination, to then emphasize on the zones of collective gathering throughout the condominium, as well as the hotel. The instruments utilized were carefully chosen to have no spill towards the sky, and a gradient between brightness was also considered with distances and levels. 16
We intended to avoid both Ecological and Astrological Light Contamination. This would maintain biodiversity with no or lesser impact on the alimentation chains and natural reproduction, as well as preserve the perception of the night sky, considered a natural and cultural heritage. We especially considered perception of nocturne natural light, as to arrive to our true minimum lux possibilities considering the human eye adaptation to very dark environments. With continuous exposure to less than 1 lx the human eye can see, walking with a full moon for example. Under scotopic vision, there is still adaptability but the eye can no longer see colors. We used these phases of calibration to think about a lightless rural pathway.
125000-103000 lx Maximum Sunlight
HUMAN VISION IN NORMAL CONDITIONS OF LIGHTING
50000 lx Partly Cloudy
1000-10000 lx Cloudy
400-600 lx Luminous Office 100-300 lx Average Interior Light
10 lx Sunrise / Sunset 3 lx
Twilight
SCOTOPIC VISION
0,1-0,3 lx Full Moon
0,001 lx Clear Sky
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Linear and panel LED strong instruments were necessary for an effect on the tent. It is the only space where the faรงades are illuminated.
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19 LED light fibers were designed to be installed with their projectors in the pool machine rooms.
A minimal system of lighting in the pools kept low levels of illumination throughout the landscape.
In spaces with more illumination, the project allowed for interesting uses of technology for lighting. We differentiated warm and colder light for different functions in the reception and dining area of the Hotel, and we designed a system to illuminate the ropes forming the tent with DMX color changing instruments. The pools used light silicone fibers, and the rest of the lighting design included low wall-mounted items and
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movable lamps, keeping low leves of brightness and without adding elements to an already comprehensive architecture. In the condominium, a set of parks are designed for collective use. We had the opportunity to work with the architects so the lighting design project could be fully integrated to their proposal, accentuating instead of competing with the initial proposal.
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E Malbec Condominium
Douglas Leonard Lighting Designers
La Dehesa, Santiago, Chile.
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This condominium site of five 7-floor towers, designed by Gonzalo Mardones Arquitectos, had a distinct faรงade with extruded windows, which we illuminated with cold, homogeneous light that could differentiate from the interiors and unify the projects without over-illuminating the site. For the landscape lighting we focused on illuminating the trees and providing safety light for pedestrians, creating a garden which provides an enjoyable first-plane view for the apartments with front faรงade. We provided accents and wall-washing for the common interiors, providing a path with a narrative while eliminating glare nuisance.
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Rooftop
Living Room
Bathroom
Kitchen
Terrace
Hallway
Lobby
01. Obra Los Invasores prof. taller Eduardo Jiménez
Concepto
o
1. Obra Los Invasores
rof. taller Eduardo Jiménez
Concepto
Los Invasores
Espacio Inicial Set Design Studio,
Los Invasores coaliciona en su trama dos grupos sociales, visto desde el mundo interior de un hombre de clase social acomodada: Juan Meyer. La legitimidad de los bienes adquiridos
Así, los personajes principales presentan rasgos, características veladas de su especie de
de la burguesía, la pobreza como consecuencia de su acumulación, y la segregación como
reflejo contrapuesto:
contexto imperturbable son cuestiones en tensión durante toda la obra.
Toletole puede representar a una Pietá que ha sufrido una vida de pobreza, y se relaciona con ella a través de las rosas. “Luce una rosa encarnada de raso en el pelo desgreñado”, esas
La sucesión de eventos no propone realmente una solución respecto al conflicto social.
El China puede considerarse como el único personaje protagónico que busca el cambio
momento de la obra constituye la utopía del autor. Esto parece indicar que el conflicto se
social. Sin embargo, y a pesar de ser un líder, duda y no tiene claridad de qué desenlace desea.
usa como excusa para más bien relatar la intolerancia y la tensión creciente en el clima de Scenography Spaces Program la época, a través ambosno mundos retratados (burguesía y ‘los del El énfasis está en cómo se relacionan los personajes con el otro, y deseuna vecontraposición reforzadodepor otro lado del río’), en la que el autor busca encontrar semejanzas, mientras los personajes se
ver en escena los sucesos del mundo exterior; la ventana refleja los miedos y sueños de los niegan a admitirlos.
habitantes degrupos la casa, como uninterior espejo os Invasores coaliciona en su trama dos sociales,refleja visto desde el mundo de
n hombre de clase social acomodada: Juan Meyer. La legitimidad de los bienes adquiridos
el vidrio.
y se confunde con lo que realmente sucede tras Así, los personajes principales presentan rasgos, características veladas de su especie de
reflejo contrapuesto: Los Invasores tells the story of Within this setting, fear acquires a surrealist ontexto imperturbable son cuestiones en tensión durante toda la obra. Toletole puede representar a una Pietá que ha sufrido una vida de pobreza, y se relaciona a coalition of two social groups, condition, with which the “lower class” con ella a través de las rosas. “Luce una rosa encarnada de raso en el pelo desgreñado”, esas Laaescenografía es un espacio leve durante toda la obra:characters son los objetos, en su mayoría in classic Marxist social frame, play Toletole wears the perfect a sucesión de eventos no propone realmente una solución respecto al conflicto social. mismas rosas que Pietá exhibewith. orgullosa en su glorieta, desde afuera de la ventana. ingún evento constituye un desenlacelos o momento ‘ideal’ de el construcción social: ningún El mundo China puedeinterior considerarse como el único personaje protagónico que busca el cambio colgados, que arman espacio e interactúan con este develado de los seen from the worldview of a man roses of Pietá’s garden in her hair; El China omento de la obra constituye la utopía del autor. Esto parece indicar que el conflicto se social. Sin embargo, y a pesar de ser un líder, duda y no tiene claridad de qué desenlace desea. personajes, y no estructuras pesadas. from an accommodated social breaks the perfect glass façade of Juan Meyer, sa como excusa para más bien relatar la intolerancia y la tensión creciente en el clima de “Quisiera que al final todo se hubiera hecho con sábanas blancas… limpio como el corazón época, a través de una contraposición ambos mundosThe retratados (burguesía y ‘los del de uno de nuestros pero, tal vezanomirror es justo” Le preocupa pasar porMy encima de class: Juande Meyer. legitimacy which alsomuertos, becomes at times. tro lado del río’), en la que el autor busca encontrar semejanzas, mientras los personajes se otras personas, y también comparte un pasado en común con Meyer. of the products acquired by proposal was to transform two spatial elements Invasión egan a admitirlos. the bourgeoisie, poverty as a required for the setting of the play into strong consequence of accumulation, symbolic characters: oval, hanging mirror/ El barrio invadido, la comisaría y las casas de los vecinos van apareciendo tambiénan desde and (social) segregation as an window, and a movable staircases that can arriba, generando una trama que recuerda a los suburbios con una expansión descontrolada, immovable context are the issues provide a sculptural setting for the social las “casitas de resipol” que cantara Víctor Jara o las “Little Boxes” de Malvina Reynolds. the play addressed in 1964. conflicts portrayed.
e la burguesía, la pobreza como consecuencia de su acumulación, y la segregación como
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mismas rosas que Pietá exhibe orgullosa en su glorieta, desde afuera de la ventana.
Ningún evento constituye un desenlace o momento ‘ideal’ de construcción social: ningún
“Quisiera que al final todo se hubiera hecho con sábanas blancas… limpio como el corazón de uno de nuestros muertos, pero, tal vez no es justo” Le preocupa pasar por encima de otras personas, y también comparte un pasado en común con Meyer.
27 ...The instruments of darkness tell us truths, Win us with honest trifles, to betray’s In deepest consequence.
m
ncipio a fin nos relatan una historia de sangre y o en que el plano sobrenatural invade la nobleza de strofe en el orden establecido entre los hombres. la que el destino no recae contra el héroe sino atástrofe 1 . do, manifestándose con esta ruptura en el plano za. Lasdeacciones están infundidas por y stiva: principio adefinMacbeth nos relatan una historia de sangre
rolar la situación caos,sobrenatural así como por la ambición el momento en que de el plano invade la nobleza de
Macbeth
ón a la catástrofe en el orden establecido entre los hombres. articular, en la que el destino no recae contra el héroe sino presagiado, manifestándose con esta ruptura en el plano nino todo plano se manifiesta a través de situaciones Set de Design Studio, e la naturaleza. Las acciones Macbeth están infundidas por o de indicaciones espaciales del guión. parecen controlar la situación de caos, así como por la ambición
Hans Bellmer Les Jeux de la Poupée ...The instruments 1930-50of darkness tell us truths, Win us with honest trifles, to betray’s In deepest consequence.
Hans Bellmer Les Jeux de la Poupée 1930-50
All that impedes thee from the golden round Which fate and metaphysical aid doth seem To have crown’d withal.
Scenography Spaces Program
icamente a imágenes visuales concretas, la del orden todosituaciones plano se manifiesta a través recreadas de situaciones medio de en estas atmosféricas, Macbeth is pure sensation and catastrophe
s, por medio de indicaciones espaciales del guión.
— Mark van Doren
curría prácticamente a imágenes visuales concretas, la
r esta experiencia sensorial espacios inocuos de la is set at a This astaging proposal storia por medio de estas situaciones atmosféricas, recreadas poral del espacio en lapoint que prime el encuentro con in the city where a trees nte haciendo aparecer como plausible la irrupción alley breaks Alameda Park: the ena es llevar experiencia sensorial a espacios inocuos de la suceden enesta Macbeth.
highway makes a furrow in pedestrian space, and the exit of Metro Los Héroes lands on de la ciudad encentral el quede selarompe eje de árbolesayvisual and Héroes en el eje Alameda. the parkelbreaking surco en el espacio peatonal, y la salida de Metro physical axis.
mación temporal del espacio en la que prime el encuentro con gradualmente haciendo aparecer como plausible la irrupción eje central de la Alameda. sféricas que suceden en Macbeth.
este de la ciudad en el que se rompe el eje de árboles y isualpunto y físico. era hace un surco en el espacio peatonal, y la salida de Metro ndo el eje visual y físico.
Formally, this generates a
el foso de la carretera y el nivel de techo de la salida plane between the road pit echo que se transforma en una terraza alta, donde plano entre el foso de la carretera y el nivel de techo de la salida and the roof level seof the Metro os:con la este terraza y losen dos an techoalta, quelasepared, transforma unapuentes, terraza alta, donde exit: two bridges El muro toscola recrea la situación delconnect stos elementos: terraza alta, la pared, yespacial los dos puentes, se
through a roof that transforms into a high terrace, which
e Macbeth. El muro tosco recrea la situación espacial del
...Lady Macbeth, dearest chuck... All that impedes thee from the golden round Which fate and metaphysical aid doth seem To have crown’d withal.
Will all great Neptune’s ocean wash this blood Clean from my hand? No, this my hand will rather The multitudinous seas in incarnadine, ...Lady Macbeth, dearest chuck... Making the green one red.
is used as Macbeth's stage. The rough wall Will all great Neptune’s ocean wash this blood And yet dark night strangles the traveling lamp: from my hand? No, my handcastle, will rather recreates the spatialClean situation ofthisthe The multitudinous seas in incarnadine, Is’t night’s predominance, or the day’s shame, Making the green one red.of the urban That darkness does the face of earth entomb, while integrating a panorama When living light should kiss it? landscape, and against it the bodies of the And yet dark night strangles the traveling lamp: Is’t night’s predominance, or the day’s shame, actors stand out by contrast. That darkness does the face of earth entomb, When living light should kiss it?
The imaginary of this arid place: the rhythm of a constant pace of cars, the horns, the wind, the rough termination of concrete… it all relates back atmosphere “Let to every an soldierobscure hew him (The wood of Birnam) down of a bough the text. And bear’t before him: thereby shall we shadow “Let every soldier hew him (The wood of Birnam) down The numbers of our host and make discovery a bough AndErr bear’t in before reporthim: of thereby us.“ shall we shadow The numbers of our host and make discovery Err in report of us.“
This non-conventional setting was an environmental proposition to expand the audience of this staging of a classic.
The classroom hasThe a small classroom loft has a small loft with natural light with that allows naturalfor light that allows for differentiated activities. differentiated The stair activities. The stair is also a place to keep is also classroom a place to keep classroom materials. materials.
S Diploma Project Elementary School and Nursery
Advisor: Juan Pablo Ugarte and Paula Martinez
Huitranlebu, Puren. IX Region of Araucania, Chile.
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This rural school was designed for the rainiest zone of the country. Students walk as much as 30 minutes to get here, and thus the transition between wet ant dry is differentiated in three moments. First, the access to the school becomes a wide roofed patio as the children approach the classrooms. Then, a luminous interior hallway with northern light (southern hemisphere) provides a space to leave their clothes and enjoy the landscape from the inside. The classrooms have natural light from a small second floor space over the hallway.
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This section shows the adaptation of the patio structure to the main classroom volumes and the landscape of the site.
The wooden structure is a narrow stud-and-rafter sandwich braced every 1,10 m. This small distance between columns allows for the structure to adapt to different furniture needs. The main bodies of the school have simple rectangular shapes with one angled roofs, which ventilate through its longer hallways and height. These volumes are joined by the access dock-patio, where the roof volumes become more complex as they triangulate to keep the water circulation simple, and adjust to the edges of the classroom and library volumes.
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Huitranlebu has a very humid soil of little absorption, and thus the building is lifted from the ground with wooden treated posts at least 80 cm, and the garden is designed to distribute the water it receives from a pine tree hill to the West. A filter of stones benath the building receives the water from the hill, and irrigation ditches serve to take this back to a stream to the east of the plot. The ditches separate different school gardens, including a school orchard. The classrooms provide differentiated spaces as an important aspect of rural schools is their multi-grades students in each class.
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58
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59
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59.5
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63
64
58.6
58.2
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58
58.5
59.5
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58.8
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58.5
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58.5
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57
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38
39
40
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42
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47
57.5
58.5
44 58.2
58
63 64
Students and Professor in the roofed patio
< Library space to the east of the site. < Nursery located to the North of the site.
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Four elevated volumes connected by a roofed patio compose a dynamic volume adjusted to the landscape.
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Elevación Poniente Elevación Poniente
Elevación Poniente
Elevación Oriente Elevación Oriente
Elevación Poniente Elevación Poniente
Elevación Oriente
Elevación Poniente
Elevación Norte Elevación Norte
beyond its classrooms. While the Being an institutional project in a program is expanded throughout the small, poor community, the school dethe proyecto 1:100 plot, docks and roofs unify the serves a communal function asElevaciones Elevaciones de proyecto 1:100 structure and create a unique form to much as an educational one. This is Examen de titulación Daphne Agosin identify the school from afar. In good the place of many gatherings which Examen de titulación 30 de marzo 2012 Daphne Agosin weather, the dock and patio can also strengthen the community, andProfesores thus guía: 30 de marzo 2012Juan José Ugarte, Paula Martínez work as José a stage for Paula largerMartínez events. the building must have a presence Ayudante: guía: Cristián Robertson Profesores Juan Ugarte,
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15 Pontificia de Chile Ayudante:Universidad Cristián Robertson
Pontificia Universidad de Chile 1:100 Elevaciones de proyecto Examen de titulación Daphne Agosin 30 de marzo 2012 Profesores guía: Juan José Ugarte, Paula Martínez
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L PP29, Intervention for the Memory and Historic Value of Patio 29
Architecture project in collaboration with Ignacio GarcĂa Partarrieu, Valentina Rozas, Liliana De Simone, and Arturo Torres.
General Cemetery, Santiago de Chile.
3032 prefabricated pieces of concrete.
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This collaborative project was developed and constructed during my undergraduate education, for many in the group it was one of our most formative experiences. To the north end of the General Cemetery is located Patio 29, a place where during the military dictatorship, victims of the repression of the state were hidden. In the following years, however, Patio 29 became also one of the first places of resistance against the regime, given its optimum condition of a public space with
some protectionâ&#x20AC;&#x201D;the walls of the Cemetery. The project maintains the original condition of this monument-site, and proposed to frame Patio 29, as well as differentiate it and make it stand out from its surroundings of similar patios. Using a big L shape that frames the monument east and north, a platform is configured, being this the only intervention of material projected. It was decided not to intervene inside the polygon of the Patio, generating a contrast between frame and site, using its
own symbolic eloquence. To the north, the memorial becomes a great horizontal staircase that, given the disposition of the pieces that compose it, becomes a place for a slower pace. Facing Patio 29 to the south, the socle is cut vertically, allowing two types of approximation to the monument: seats, a space for reflection and rest, and empty slots, where at times the bereaved leave offerings such as flowers. To the west the memorial has a regular, perpendicular stair that leads to a surface at ground level, where we
worked with a musician to dispose sound elements. These sound sculptures and seats are what activate the place for its users, in its relation to music as much as potential cultural activities. Patio 29 Memorial is a monumental socle composed entirely by one large piece, but at the same time it is a sidewalk urbanized with a material quality that differentiates the monument from its surroundings, contrasting and distinguishing the historic site it frames.
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The memorial is composed by 3032 pieces of prefabricated concrete, designed especially for this place. These pieces, 78 by 28 cm and 15 cm high, are parallel in its longer sides, and angular in the smaller side. The angles of the piece correspond to
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the geometric solution given by the perimeter to the patio. The surface of these pieces is composed by a faceted mesh produced by CNC etching, giving a texture to the completed work that receives sunlight unevenly and reflects changing highlights.
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42 photograph by Cristobal Palma, 2011
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44 photograph by Cristobal Palma, 2011
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C CLAM Chair Battery Park Chair Competition Project in collaboration with Alessandra Dal Mos Battery Park, NYC
We propose a chair that works better in the outside than in the inside. A chair that has levels of sturdiness, from a hard crust to a soft, comfortable inside, and that can be adapted for different positions being at the park. We also thought of a chair that provides good posture but that is in a closer relation to the grass.
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All the pieces of the chair are put together just with pressure: no glue is used. In this way, it is possible to substitute one part of the chair without changing it totally. And if itâ&#x20AC;&#x2122;s ever necessary to throw it away, all materials can be recycled individually and easily by dividing them.
stainless steel
plywood sheet
pressed plywood in a mold
clip!
waxed, braided yarn
76.2 51.5
51.5
27.7 46.5
51.5
45.0 49.0
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front view
plan view chaise-long inclination
axonometric chaise long
45.0
10.0
5.5
8.3
9.7
25.0
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5.4
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back view
84.5
plan view bench position
different possibilities of composition they altogether can design circles and serpentines
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frontal view
a movable chair To be transported and that can be used as protection in case of rain.
84.5
side view
axonometric bench position
reflecting the city and the sky Siting in an active position
49 waxed, braided yarn
plywood 8.4 mm (7 layers 1.2 mm)
84.6
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inox, reflective steel 0.3 mm
32.0 76.1
REFLECTING THE CITY The chair relates to Manhattans’ aesthetics, and works as small fragments of the city that come into the park.
REFLECTING THE PARK However, these fragments also reflect the park, and have a transparent design so the grass isn’t “urbanized” when using the chairs.
B Micro-Playscape Activism. playscapes Competition, IBT Avenida Matta, Santiago de Chile.
This micro-playscape is composed of an individual space associated to a tree. It is an activism strategy for the recuperation of green spaces in small lots, which can configurate differently to create playgrounds. The trees are endemic, or suited to the mediterranean climate of the city. 50
Boldo
Lingue
Jacaranda
Maiten
Quillay
A swing, a treehouse, and a balcony-like wooden space become the markers of a space where the tree can grow.
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Avenida Matta is a neighborhood of south downtown Santiago. It is of mixed and middle income, with mixed use ranging from industrial commerce such as electronics and cars, shops and bars, to residential, schools, and highrise buildings taking over. Many buildings have a historic value and are under threat of destruction and poor maintenance.
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It has a strong grassroot community that wants to improve the residential aspect of the area. In this proposal, three empty spaces with different measures are selected to fill with this strategy. By gaining spaces that have been leftovers of the transformations
53 of Avenida Matta, school children and families would have a public space to maintain and defend, adding a slow pace to the street that can enhance children takeover of public spaces, an indicator of a healthier community
These basins are associated with endemic vegetation, soil quality, and overall climate conditions.
This map of Chile is redrawn according to its basins, given that most rivers follow the same east-west path from the Andes to the sea.
The analysis of geographic conditions has been essential for many of my projects, and the importance of mapping as research and as a presentation tool is a relevant part of my work as designer. For example, for two different project the study of basins at all scales gave an insight on how the landscape is defined. , and how they define the territory.
Native Forest
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Forestry Plantation
Branches of the Bio Bio River create their own basins as well, defining a characteristic landscape surrounded by mountains.
The basin of Bio Bio River is defined by two mountain ranges that contain the Valley in the VIII and IX Region in Chile.
Agriculture
Prairie
Urban
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Datos CIVIL 3D Water drops Catchment area
Propuesta
Datos SIG
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PARA RELACIONAR PARA RELACIONAR ESTOS PARA PARQUES RELACIONAR ESTOS PARA ENTRE PARQUES RELACIONAR ESTOS SÍ, ANALIZAMO ENTRE PARQUES ESTOS PARA SÍ, ANALIZAMO LOS PARQUES ENTRE RELACIONAR CAMINOS PARA SÍ, ENTRE ANALIZAMO LOS RELACIONAR ESTOS CAMINOS SÍ, ANALIZAMO PARQUES LOS ESTOS CAMINOS ENTRE PARQUES LOS CAMINOS SÍ, ANALIZAMO ENTRE SÍ, ANALIZAMO LOS CAMINOS LOS CAMINOS
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MÁS CORTOS MÁS ENTRE CORTOS ELLOS, MÁS ENTRE CORTOS Y SEGÚN ELLOS, MÁS ENTRE ESOS CORTOS Y SEGÚN TRAZADOS ELLOS, ENTRE ESOS Y SEGÚN MÁS ELLOS, GENERAMOS TRAZADOS CORTOS ESOS Y SEGÚN MÁS GENERAMOS TRAZADOS UNA ENTRE CORTOS ESOS ELLOS, TRAZADOS GENERAMOS ENTRE UNA Y SEGÚN ELLOS, GENERAMOS UNA ESOS Y SEGÚN TRAZADOS UNA ESOS TRAZADOS GENERAMOS GENERAMOS UNA UNA RED DE PARQUES RED DE – CANALES. PARQUES RED DE – CANALES. PARQUES RED DE –PARQUES CANALES. – CANALES. RED DE PARQUES RED DE–PARQUES CANALES.– CANALES.
Imagen Objetivo
This example shows the use of basin analysis within a city. The city of Constitucion was affected by the Tsunami of 2010. The city was built very near the coast, without any protection from these natural disasters. Looking at the height levels of the city, this project defined blocks that would become flooding parks, and ditch parks
that would connect the flooding parks. As today is well known, it is impossible to predict the strength and amount of water that a future tsunami will carry, so instead of blocking the water, the proposal is to redirect it. in a safer way. This idea was explored through GIS and Civil 3D.
Análisis deAnálisis alturas, de pendientes Análisis alturas, de pendientes Análisis y recorridos alturas, dependientes yalturas, recorridos Análisis pendientes y recorridos deAnálisis alturas, y recorridos dependientes alturas, pendientes y recorridos y recorrido
naturales +naturales water drops +naturales water + catchment drops naturales + water + area. catchment drops + water + catchment area. drops naturales + catchment area. + naturales water area. drops + water + catchment drops + catchment area. area.
Red de canalización Red de canalización de Red Aguas de canalización Red de Aguas de canalización de Aguas Red de de Aguas canalización Red de canalización de Aguasde Aguas
Superposición Superposición del sistema Superposición dela sistema Superposición la trama dela del sistema la trama del Superposición asistema del la trama aSuperposición ladeltrama del sistema del del asistema la trama a la deltrama damero original damero original damero original damero original
damero original damero original
PORTAFOLIO DAPHNE AGOSIN _ AGOSIN 5º AÑO ARQUITECTURA. PORTAFOLIO DAPHNE _ 5º AÑO ARQUITECTURA. PORTAFOLIO DAPHNE AGOSIN 5º AÑO ARQUITECTURA. PORTAFOLIO DAPHNE AGOSIN _ 5º AÑO_ARQUITECTURA.
PORTAFOLIO PORTAFOLIO DAPHNE PORTAFOLIO DAPHNE AGOSIN PORTAFOLIO _DAPHNE AGOSIN 5º AÑODAPHNE _ARQUITECTURA. AGOSIN PORTAFOLIO 5º AÑOAGOSIN _ PORTAFOLIO ARQUITECTURA. 5º AÑO DAPHNE _ ARQUITECTURA. 5º AÑO DAPHNE AGOSIN ARQUITECTURA. AGOSIN _ 5º AÑO_ARQUITECTURA. 5º AÑO ARQUITECTURA.
UNIVERSIDAD UNIVERSIDAD CATÓLICA UNIVERSIDAD CATÓLICA DE UNIVERSIDAD CHILE CATÓLICA DE CHILE CATÓLICA UNIVERSIDAD DE CHILE UNIVERSIDAD DE CHILE CATÓLICA CATÓLICA DE CHILE DE CHILE
Alvaro Hoppe, El Sueño de Pablo by Teatro Urbano Contemporáneo. Santiago, 1980, Private Collection.
Alvaro Hoppe, Theater in Balmaceda Warehouses. Santiago, 1980, Private Collection.
My current research is an analysis of the transformation of public space by street theater performances during the 70s and 80s. I trace the influences of the demonstrations of 1968 in an international, nomadic group of theater troupes in the creation of this art form, but transformed into an eclectic, complex form of both spectacle and political action. In Chile, in a second stage of the Pinochet dictatorship, troupes performed from 1980 to 1985, in particular in the capital city—both downtown and in the peripheries.
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Looking at other forms of both modern entertainment and traditional theater, the relationship between actor and spectator can be thought of as an
Photographer Unknown, Adaptation of The Caucasian Chalk Circle by Pachi Torreblanca. Santiago, 1984, Private Collection Maya Mora. Photographer Unknown, Heliographies by Maya Mora. Santiago, 1984, Private Collection Maya Mora.
â&#x20AC;&#x153;inverted panorama,â&#x20AC;? where the crowds create a spatial device in public space that includes them in the recreation of the possible discourses within public space.
ISSUE EDITOR
PR
Tuesday February 15TH marked the inaugural meeting date of the YSOA Architecture Club, a student group that visits buildings, views drawings, and discusses projects.
Issue Editors: Daphne Agosin, MED ‘17 Preeti Talwai, MED ‘16 Chengqi John Wan, M.Arch I ’16 Coordinating Editors: Tess McNamara, M.Arch I & MEM ‘18 Maggie Tsang, M.Arch I ‘17 Design: Rosen Tomov, MFA ‘16 Paprika! 03/7/16
Cover Conversation: Mildred Huxtetter dancing together with George the Janitor at the Ball in The Muppet Show, Episode1, January 16TH 1976.
“HISTORICAL PROJECTIONS ” is an issue driven by a curiosity about how students at YSOA have interpreted, appropriated, or viewed the multiplicity of discourses on design — amongst themselves, with faculty, and across campus. The issue focuses on the polemics of uses or misuses of history. The central piece, “Pride and Precedence,” reaches out to studios that seem to defy modern interpretations of the Classic, to investigate how and why they incorporate architectural heritage. This graphic survey purposefully omits critiquing the validity of the particular precedents, but rather focuses on students’ interpretation of history in their methods and products of design. Longer articles explore historical projection elsewhere, outside of the studio. They invite the contributors and readers alike to question, critique, contrast, conserve, or abandon history within design practice and pedagogy at Yale. As a whole, “Historical Projections” aims to uncover the local diversity in readings of architectural history, and provoke a critical speculation on its impact for the future of our field.
The views expressed in Paprika! do not represent those of the Yale School of Architecture. Please send all comments and corrections to paprika.ysoa@gmail.com. To read Paprika! online, please visit our website, yalepaprika.com Paprika! receives no funding from the School of Architecture. We thank GPSS and the Yale University Art Gallery for their support.
WASTED LABOR OR RESOURCE BUILDING? Earlier this semester, beginning my third and final advanced studio, a sense of déjà-vu pervaded those first weeks of late night work sessions. Yet again, I found myself in the laborious process of digitally re-drawing precedents. As this Fold attests, historical precedent study is inherent to the YSOA pedagogy. It is interesting to observe that the dominant tool and mode of representation used and obsessively relied upon to produce and format this work, the computer, digital drafting software and polished drawing. In our digital age, it seems luddite-ish to pose this question, but I wonder if something is lost in translation or if opportunities are missed by discounting other analog methods and insisting on a final reproducible outcome, ie. pdf drawing file.
In this project in Eisenman’s studio, Precedent was crucial to the design process. All formal manipulations were stolen, selected, and curated from a small number of works in painting and architecture. Interpretation was strictly formal, precedents were evacuated of context outside of their architectural characteristics, rhythms, proportions and compositions. Precedents are necessary in order to situate one’s work within a broader discourse; however they need to be read and interpreted closely so we do not become rote copyists. Historical precedents should be respected where appropriate, used and abused when necessary.
(work in progress) Hans Kollhoff’s studio exists in the detail: how a building meets the ground, how solid it is, and how certain elements transition onto each other. Formally, or at least definitely tectonically, precedents are important to learn what works well in built work, as opposed to in “paper architecture.” In this studio we are taught to appreciate the physical reality of a building. Travel week was fundamental to my understanding of Berlin and its public spaces — we design in an intrinsic relation from the outside in: the window, the unit, and the façade in relation to the city [...] I think a project cannot be divorced from the social, theoretical, or physical context in which it lives. Copying or referencing without considering that fact doesn’t teach you anything. Appropriating or refuting a style, pedagogy, or theory without understanding that context means you won’t fully understand how it can act in contemporary context. campus buildings on the site in order to create a cohesive ensemble that could hold its own vis-à-vis Harkness, Trumbull, or Morse. “The new colleges will take their place on Yale’s skyline with a variety of dramatically modeled towers,” Stern wrote in 2010. No doubt Stern draws inspiration from historic context and seeks to practice what he calls, “contextualism.” It is worth noting, however, that context is defined, not given. To define context is a value-laden act of selection, not a neutral act of documentation. In the case of the new residential colleges, Stern defined context not with regard to the buildings scattered around the site, such as the now-demolished Hammond Hall and Mudd Library, but rather with regard to the residential colleges situated a few blocks to the south. Context can be as malleable as history. Architects are not simply faced with the question, “To be or not to be” (in context), but rather with the complex problem of which aspects of which context(s) offer the most useful or meaningful framework for engagement. While Eero Saarinen, in designing Morse and Stiles Colleges in the 1960s, took a cue from Rogers’ massing but not his Gothic styling, Stern has chosen to give the new colleges Gothic styling as well as the familiar massing. It is telling that Stern prefers the term “Gothic” to the “neoGothic” used by many historians to describe modern stylistic revivals. By omitting the prefix “neo,” Stern implies the interchangeability of historical styles; perhaps the whole history of architecture could be said to consist of an endless series of emulations and reinventions, without clear ties to time or place. But isn’t there some danger of falling into pastiche? Rogers himself already ventured down this
Boris Morin-Defoy M. Arch I ‘16
I took Porphyrios’ studio as a challenge to express universal architectural ideas through a language that I still don’t speak very well, but that I learned to appreciate much more. I wasn’t referential (in my use of precedents) but rather took some of the elements of buildings I admire and made them my own. It was very much about the surprise of going into different shapes and different spatial volumes. Through an act of simplification — by redrawing and making sure the project always looked contemporary — I ensured that a layer of articulation remained from the originals. The professors, however, were showing only precedents of galleries, focusing more on the general function of it, the directionality, axiality — unlike my design process, it was never about character. tant than the specificity of Gothic styling is the spatial continuity of cloistered enclaves scattered throughout the grid of public streets.
NEO GOTHIC WONDERLANDS: UNDERGRADUATE RESPONSES Paprika! asked those who know the residential colleges best, undergraduates, to share their thoughts on living and learning in Yale’s neo-Gothic wonderland. Collected below are responses from a diverse group of students — sophomores to seniors, majoring in environmental studies to architecture. Coordinated by Edward Wang, BA. Arch ‘16. The cinematic quality of Yale’s campus always confused and unsettled me. After all, I come from a city of socialist housing blocks — the whole neo-Gothic endeavor felt […] luxuriously indulgent in a way that hadn’t been afforded in any society I’d been a part of thus far. Over the course of freshman and sophomore year, I drifted more in the direction of the non-Gothic parts of campus, finding familiar comfort in the brutalist, concrete mass of Rudolph Hall, and often escaping entirely away from campus to more conventionally residential parts of New Haven, for a breath of what simply felt more like normal life rather than constructed fantasy. I moved off campus after sophomore year, exchanging gargoyles, oak tables and leather sofas for a brick building filled with IKEA and salvaged antique furniture, no fireplace in sight. I have since spent very little time in the residential colleges or the Sterling Library, going mostly when I decide I’m in the mood for pretend play. For a few hours I let myself be convinced I’m a monastic scholar, devoted to academia, sophia, lux et veritas, before returning diagonally across the campus to pet some bush-hammered concrete and glue pieces of wood together, producing structures as unreal as the places I had just come from. From a purely aesthetic perspective, the choice to design the new colleges as a modern interpretation of the original Gothic colleges is a smart one because it creates a sense of visual cohesion across campus […] The nature of the residential college system at Yale is unique and if dramatic departures
Katherine Wyatt ’17 Davenport College
want to talk about social issues, so we should talk about social issues. Aureli is talking about social issues. He [Aureli] is talking nonsense, but he is still talking about what interests them.” Schumacher emphasized that his interest was in social issues not for those on society’s margins, but its cutting edge: “What does Google need? That is the more interesting question than what does a suburb of Mumbai need — we know what they need — hot water, shelter, electricity — it is right there on the shelf.” Google, “the research driven swarm,” is something we have never seen before, one of many challenges unique to our age. But it was Aureli, in San Francisco, whose studio toured the new Frank Gehry designed headquarters of Facebook. They asked its project architect, Greg Sobotka, pointed questions about whether Gehry Architects had considered the blurred boundary between work and life, a new condition now typical in the tech industry (they had not). And it was Melinda & Bill Gates who in their foundation’s letter last week said what the world needs is to rethink how we approach unpaid domestic labor — the very agenda of the Aureli studio. So if Schumacher’s agenda is no longer new — is in fact a revival — and Aureli’s is more in tune with the tribulations and priorities of the tech industry, where does that leave Schumacher? Perhaps he will have some answers in his upcoming issue of AD, Parametricism 2.0. In his talk, Schumacher noted that new ideas sometimes just move slowly, likening ZHA to Alberti, whose project started with theories and drawings, like Città Ideale — depicting a fantastical gridded and axial city — that from there became individual buildings, the occasional town square and finally whole gridded and axial cities and nations. The path might be long, but Schumacher will not rest until he sees parametric cities, nations, even chalk boards, pluralism be damned: “We need to figure out which paradigm is best, for the city in the end is one. Where is the convergence? We need to reclaim the ability to judge.” Unless you actually are naked in Alaska, the consequences of this convergence are very real. Anyone who has taken even the most casual gander at ZHA’s work and Aureli’s drawings will understand a ZHA city
path in designing the colleges and academic buildings at Yale between the two World Wars. By the 1930s, critics lambasted the seemingly retrograde, anti-modern character of the colleges and Sterling Memorial Library. If the Gothic seems out of place in 2016, it was already far-fetched in the time of Raymond Hood, Frank Lloyd Wright, and the growing corps of modern architects on both sides of the Atlantic. Walter Gropius, after all, had invoked the Gothic as a model for collaborative building and craftwork, certainly not as a stylistic model for design. Yale’s seemingly conservative embrace of the Gothic did not ultimately prove detrimental to the university’s image or popularity. As more residential colleges were added to Yale’s campus in the middle decades of the twentieth century, their styles varied from Gothic to neo-colonial Georgian and modern, but their unifying qualities lay in their massing, program distribution, and walled courtyards. The residential college enclaves became the building blocks of Yale’s decentralized urbanism—“a big place made up of many small places,” as Stern has called it. Rogers’ seemingly eclectic design approach turned out to be a “pragmatic” one, according to historian Aaron Betsky, author of James Gamble Rogers and the Architecture of Pragmatism (1994). Rogers, a gentlemanarchitect who cultivated friendly relationships with his would-be clients, employed three architectural strategies that make his colleges much more than just wishful appeals to Oxbridge prestige, as Betsky explains: one, the “pavilionization of major program elements and the reliance on open space or courtyards”; two, a departure from the strictures of Beaux-Arts Academic Classicism; and three, the technique of “picturing” through visual and experiential composition, rather than abstract geometries. The result, in Betsky’s words, were “buildings that wore their traditions lightly, not as a corpus of set rules, but as the accretion of the experience of the ages... that could be relived every day through experience.” Rogers’ version of Gothic was not a rigorous historical revival, but a rather vague and somewhat opportunistic appeal to history. It spoke not of any specific Gothic legacy but instead of Yale’s self-presentation as a genteel bastion of learning and society. Elitism was
Amra Saric ‘17 Trumbull College
nostalgia. He is proposing a form of architecture and society which has collapsed, he is hankering for the ‘70s, but there is a reason that did not continue.” Meanwhile in San Francisco, Pier Vittorio Aureli lamented to his Yale studio, which is engaged in designing affordable housing, that parametricism passed without making much of an architectural contribution. Schumacher was now the one hanging onto the past. Indeed many of the more ruthless ‘protoengineers’ — Object Oriented Ontology [OOO] comes to mind — have written parametricism off as dead. Having ridden high in 2005-6, when, as Patrik said, ‘we could smell blood,’ the parametricists took a staggering blow in the crash, which canceled many of the more fantastic projects and shifted the focus of architects onto the plight of the downturn’s many victims. A new emphasis and interest in social issues left Schumacher — whose clients are usually fantastically rich — in an ideologically awkward place. Social issues are Aureli’s raison d’etre. His studio spoke more about San Francisco’s social and political history than its architectural one. For him, the city was, and continues to be, shaped more by social and political forces rather than purely formal ones. In discussing the construction of the Coit Tower, for instance, he was quick to note that the tower was an attempt to control the Leftist groups that inhabited Telegraph Hill through a philanthropic gesture by the West Coast industrialists. The architecture is thus directly informed by, and in relation to, the political environment in which it was created. The formal and sociopolitical are inseparable. Aureli emphasized to his students that he focuses on the past not to revive some kind of retro-condition, but to study the great potential of projects both architectural and philosophical that were never fully realized. It is an opportunity for redemption — he understands the failings of the 20th century’s utopian and socialist projects, but believes they are not without merit. There is something to be learned from their radical approach to domestic space, the political formulation of which is central to his studio brief at both Yale and the AA. Schumacher understands that social issues are a weak point for parametricism: “Many of the most intelligent students today
EMULATION & INVENTION IN YALE’S RESIDENTIAL COLLEGES Yale’s campus architecture oozes history, but it is a history whose foundations are borrowed and invented. The university long ago discovered that picturing the past could serve as a strategy for shaping its future. As Dean Robert A.M. Stern writes in his 2010 book, On Campus: Architecture, Identity, and Community, James Gamble Rogers’ Harkness Memorial Quadrangle (1917) was deliberately conceived in emulation of those at Oxford and Cambridge… Yale’s expansion of the 1930s enabled it to reinvent its own history in steel, brick, and stone.” This reinvented history helped Yale to strengthen its institutional identity and to redefine its relationship with the urban fabric of New Haven. According to Stern, Rogers “used architecture to provide Yale with a kind of WASP version of Roots, with each important event in Yale’s history, and each important teacher and graduate, memorialized in stone.” The two new residential colleges currently under construction on the wedgeshaped site bordered by Prospect Street, Sachem Street, and the Farmington Canal Trail, scheduled to open in 2017, further extend the long-running play of emulation and invention. Stern and his office, Robert A.M. Stern Architects (RAMSA), decided to demolish older
Gideon Shapiro Post Doctoral Associate, Digital Humanities Lab
The many themes in our project center around a political commentary on the palazzo type in relationship to the city. Our precedent was a painting: Botticelli’s Annunciation as diptych. There were literal and abstract translations. The spatial movement of the (biologically impossible) warped hand, turned into a tridimensional composition, was an abstraction. The blank portions to the right of the wall, and the open space to the left, were literal. But we worked on the idea of the program as well, which is something that Eisenman’s students never do. It is political because we are separating Architecture (Alberti) from the crap that’s behind him — sort of fetishizing the Albertian façade. I (Dima) think you can’t be original without knowing history. Even subconsciously making a design move, like drawing a line on a page, comes from things that you’ve learned. It doesn’t just come from nowhere, and if you don’t know that history, you just can’t draw that line.
Architect Robert Palmer and builders William Scott and Robert Grews designed the room itself, at the back of the second floor of 33 Bedford Square, in the late 18TH century.
from the Gothic style are to occur, I don’t believe the colleges are the best space for that experimentation. Morse and Stiles Colleges are visually and historically compelling, but imagine a campus full of pairs of stylistically disparate buildings. You would begin to lose a sense of the residential colleges as a unique and united collection of spaces organized around similar values. In a way, Yale College has become “the ten colleges plus Morse and Stiles” — not in the sense that they are devalued, but that they seem separated […] I would wager that our subconscious experience of visual variation may be a starting place. To be sure, architectural innovation is also key for visual and socio-cultural reasons but this innovation does not necessarily need to be externally apparent. The new colleges are vastly technologically superior to their older counterparts, simply because they are newer and were crafted with environmental sustainability as a priority. If Yale wants to experiment with new architectural styles, I would look to Kroon Hall as a model of success. It is a modern building, aesthetically interesting and functionally comfortable, but one that can be permitted to stand alone only because it is not a residential college. It is distinct in its identity. The colleges, on the other hand, are 14 individual but aligned bodies, and their visual appearance is critical to establishing a cohesive student experience.
Sheau Yun Lim ’18 Ezra Stiles College
“Unless you are naked in Alaska, you are in the designed space” said Patrik Schumacher, director of Zaha Hadid Architects (ZHA), “Every single act is framed by a designed artifact.” The zeitgeist — and the tech and algorithm driven design method parametricism — is alive and well in London. At the Architectural Association (AA) Patrik Schumacher, parametricism’s chief evangelist, began a talk by emphasizing his credentials as a member of the avant garde, a ‘proto-engineer’ who imagines new forms of organization to be resolved by those who follow (presumably engineers). His co-teacher, Theodore Spyropulos, threw the claim right back at him: how could Schumacher — whose office has hundreds of employees and buildings going up around the world — possibly claim to still be part of the avant-garde? They used to be out in the wilderness, but since he has clearly “been asked to the table,” what are they now? Schumacher gestured around, “Today, everything is designed by a professional. In fact, everything is Bauhaus — Gropius and Mies designed this room, designed these chairs, designed that television.” Bauhaus. Not the Parametricists. That was the problem. The room and the chairs were hardly visible for the students covering every surface — most of them in the AA’s Design Research Lab [DRL] unit started in 1997 by Schumacher and Brett Steele. Today Spyropulos directs the unit, and the teachers focus on technology in design. Rob Stuart Smith’s students will design real time drone swarm fabrication systems. Shajay Bhooshan — who also works for ZHA — wants his students to design a new ‘maison domino,’ using robotic arm 3D printing. Theo’s students will each design 36 houses, in a contemporary recreation of the mid-20th century Case Study Houses. And Schumacher’s students — like the studio at Yale — are designing a cluster of towers for a site in Shoreditch, London. Because DRL seeks to design everything, its adherents are not particularly content to let their opposition live and let live. Judgment of their contemporaries, who are teaching this semester at Yale, came quick and fast. Dismissive of FAT (“Why would you go back to older, less sophisticated repertories?”), they fixed most their attention on Pier Vittorio Aureli, whose unit is the most popular at the AA. For them, Aureli’s work “was the retrocondition, we have been there, it is a form of
Dima Srouji M. Arch I ‘16 & Sarah Kasper M. Arch I ‘16
Alicia Pozniak M. Arch II ‘16
Anthony Gagliardi M.Arch I ‘16
design by Rosen Tomov
In contrast to History as a source, Jingwen Li’s Glass Bricks collect important objects of people’s lives, recalling sociologist Halbwach’s ideas of how Collective Memory comes together. As an original way to deal with the construction of the immediate past, it broadens the discussion of dealing with History/histories. Glass Bricks was an exercise f
Contributors: Elaina Berkowitz (MArch ‘17), Jason Kurzweil (MArch ‘16), Tess McNamara (MArch & M.E.M. ‘18), Rashid Muydinov (MArch & M.E.M. ‘18), Maggie Tsang (MArch ‘17), Edward Wang (BA ‘16), Matthew Zuckerman (MArch ‘17)
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The tie to an older system of residential colleges is itself a contradiction: if there was one defining style of Yale’s architecture, it would be eclecticism, the lack of any specific style. No doubt, the neo-Gothic was attractive, but so was the strangeness of Saarinen’s colleges, and the futurism of the School of Management. I see a missed opportunity with the two new colleges to put forth something more original. Morse and Stiles, regardless of opinions on its aesthetics, are defining pieces of campus architecture and have imbued both communities with their own spirit and culture. The other day an email informed me that MY PACKAGE HAD ARRIVED at the receiving office on Prospect, so I had the rare occasion to walk up Science Hill. I’d sort of forgotten about the new colleges, so I was surprised to see how far along they are. By “far along” I mean something more like “upright” or “having any ontological status to speak of.” The […] cinderblock walls and steel frames not completely covered by tarpaulin give only vague suggestions of gables and dormers and eaves. As I passed, it struck me as deeply
an important part of this architecture, Betsky writes, but so was “an attempt to discipline modernization by using existing styles and structures.” Rogers succeeded in accommodating both the structural rationalism of steel-frame construction and the desire for a more idiosyncratic sense of space and movement. Recalling his own experience as an undergraduate at Yale in the late 1970s, Betsky writes, “I absorbed this architecture’s practical lessons — its choreography of spaces, its collaged compositions, its sensitivity to light and weather, at the same time as I leaned the rules of etiquette, the modes of expression, and the workings of the Old Boy Network.” This distinctive character of Rogers’ architecture is thus rooted in something more profound than its vaguely Gothic styling.
It remains to be seen how the new residential colleges will ultimately fit into this tradition, but RAMSA’s published drawings suggest that they accept the basic premise of Rogers’ approach. The threatened stigma of pastiche has more or less faded. Emulation and invention lie at the foundation of Yale’s modern architectural tradition. More impor-
Jason Kurzweil M. Arch II ’16
ARCHITECTURE CLUB
3/28: Do you love ? Can you see yourself and a co-editor running the show? If so, consider running for Fall 2016 Coordinating Editor! You’ll get to work with an incredibly talented lineup of Issue Editors, writers, and graphic designers. Paprika! is a platform for our peers and by our peers, and being a Coordinating Editor means that you can be in the thick of all that intelligence, energy, and activity. If interested — you must run as a pair — submit your names via email to TESS MCNAMARA and MAGGIE TSANG by 11:59PM on Monday, March 28TH.
and an Aureli city — even chalk board — are radically different propositions. Back at the AA, Eugene Tan had one last question for Schumacher: “What happens if you lose?” “Don’t think I will.”
Michael Harrison M. Arch I ‘16 & Anthony Gagliardi M. Arch ‘16
Caroline Acheatel, Ava Amirahmadi, Elaina D Berkowitz, Francesca Carney, H Wilson Carroll, Anny Chang, Dakota Cooley, Robert Cornelissen, Ethan Fischer, Cathryn Garcia-Menocal, Jacqueline Hall, Wesley Hiatt, Robert Hon, Cecilia Hui, Matthew Kabala, Sam King, Paul J Lorenz, Michael Loya, Daniel Marty, Stephen McNamara, Tess McNamara, Laura Meade, Rashidbek Muydinov, Elizabeth Nadai, Anna Nasonova, Cecily Ng, Hannah Novack, Brittany Olivari, Andrew Padron, Xiaoyi Pu, Paul Rasmussen, Nasim Rowshanabadi, Benjamin Rubenstein, James Schwartz, Maddy Sembler, Ilana Simhon,
. . . It is a current of continuous thought whose continuity is not at all artificial, for it retains from the past only what still lives or is capable of living in the consciousness of the groups keeping the memory alive. Maurice Halbwachs, La Mémoire Collective 1950
Rumor has it the YSoA student elections are a sham. The seven committees, to which 13 members of the student body are elected yearly, hold no governing power and are not called to meet by the administration. If you find this disheartening, come to the Drawing Studio at 5PM on Wednesday (03/09) evening to brainstorm more inclusive and effective forms of student representation — the kind that actually exists. 2/25: ‘To me, Hejduk is too precious. Given the choice between Hejduk and Family Guy....it’s no contest,’ responds KELLER EASTERLING to a team of students from the second year urbanism studio. 2/25: We’re lit: packs of Paprika!-themed matches, instructing us to ‘find renewal in the light,’ have found their way around the school, surfacing through unknown channels. Please use them responsibly. 2/29: The PhD forum hosted professor ZEYNEP ÇELIK of Rutgers and NJIT to discuss her research into imperial purveyors of antiquities in the Ottoman Middle East, and their resurgence today. Read more in her new book Empires and Antiquities: Appropriating the Past. 2/29: 22 new students and two new instructors, MIROSLAVA BROOKS and BRENNAN BUCK, will join 30 of their peers and faculty BIMAL MENDIS, JOYCE HSIANG, and GEORGE KNIGHT this summer as the seminar “Rome: Continuity and Change” takes everyone who applied. The cost — as does our entire budget — remains a secret, but by our estimate, between airfare, housing, and faculty salaries the expansion would be enough to print a decade of Paprika! After the announcement last week, rumor is there was a 14 year effort to secure the funds, but information regarding the donor remains scarce: were there stipulations? Will the students go only to Rome? It raises a larger question: how much of our education is shaped by the priorities of anonymous donors? While grateful for the generosity, can we claim to be critical and aware, if we do not even understand who picks up our bills, and why? 3/1: Students gathered for wine and cheese in a Salary Negotiation Workshop presented by PHIL BERNSTEIN and NANCY ALEXANDER. Themes included the gender pay gap and the importance of valuing yourself when considering a job offer. The workshop gave students the confidence to jump right into the process, prompting one student to ask, “After a successful negotiation, when is the next time I can negotiate again?” To which Phil responded, “I would wait at least 15 minutes.” 3/2: CHLOE TAFT and STEPHEN FAN delivered the lecture “Casino Urbanization, Chinatowns, and the Contested American Landscape” at Yale’s International Center. Taft offered that casinos, like Connecticut’s Mohegan Sun, are emerging as new urban planners
In Demetri Porphyrios’ studio, I used a diverse range of precedents that influenced my design, but I made sure that the language drawn from the variety of architectural sources were governed by my own compositional imagination. My approach to this project was in a way similar to that of Soufflot’s in designing the Pantheon in Paris — he synthesized different ideas and major themes from historical architecture into something modern. One thing Porphyrios said is that we should only look at buildings from hundreds of years ago, because they have gone through the test of time. I’ve always been drawn to historical architecture, to understanding what has been designed. I think we can use major themes from history to be inventive and imaginative, and the studio reinforced my beliefs. NAKED IN Paprika! ALASKA Nicolas Kemper M. Arch I ’16 & Dorian Booth M. Arch I ‘16
THANK YOU We would like to thank the faculty and administration for expanding the enrollment of the seminar Rome: Continuity and Change. We are grateful to those who invested the time and energy to change the program, and we are especially thankful to the most recent donor who made this significant expansion possible. Collectively, we took issue with the course’s limited enrollment and the tension it created within our class, and you listened to us and took action on our behalf. We are optimistic that we can continue to develop this model for exchange between students and the administration. Together, as we look forward to our summer in Rome, encouraged by the new phase of this program, we hope that the seminar will continue to be a cornerstone of our education at Yale School of Architecture.
The Pennsylvania-based firm Bohlin Cywinski Jackson (BCJ), in its fifty years of practice, has established a diverse portfolio of largescale buildings. Their works spans cultural, commercial, civic, academic and corporate buildings — most notably the many Apple stores scattered worldwide from Pudong to Fifth Avenue, which is why it might be surprising that they decided to focus on residential architecture for their latest monograph. Three short essays included in the book (by Alexandra Lange, Michael Cadwell, and Rick Joy — all written with general tones of acclamation) account for the firm’s choice of projects: in his praise, architect Rick Joy claims that “the greatest allure of BCJ’s residential work is in its inherently American character.” What is this American character about? In a time of post-globalization regional identity-crisis, character is a topic of pertinent interest. A photographic essay that showcases twelve houses by Bohlin Cywinski Jackson offers some clues to understanding this “American” character. A first clue lies in materiality. The popularization of concrete construction in the past century has allowed architects to execute forms more expressively than with other common materials. However, for BCJ, form is derived from material properties. BCJ deploys materials mostly native to the area. Looking at their work, a preference for timber is evident as well as other materials from local vernacular buildings, such as slate and other stones. However, they do not restrict themselves to the more primitive materials. As self-proclaimed modernists, the firm adds signature usages of steel into their compositions. As a result, several of their houses are clever symbioses of steel and timber systems. The Skyline Residence is a particularly spectacular example where steel reinforcements triangulate between wooden members to form roof trusses. In all of the houses, it is hard to distinguish whether the main structure is wood or steel — that may be indeed the architects’ ultimate goal. Another clue is scale. Scale is manipulated boldly, such as the deep roof joists in the Henry Island Residence. The depth is exaggerated so that the joists create a dominant presence in the house. The Henry Island Residence, compared to any timber work of Kengo Kuma, who tends to use smaller and slimmer wood members with reduced spacing between members, shows the subtle divergences in our cultural sensibilities. In defining the origins of BCJ’s work, founding principal Peter Bohlin, describes an architecture that is guided by people, place and material. How is this manifested in their practice? They “listen.” Louis Kahn famously asked his students to “ask the brick what it wants to be.” Bohlin is suggesting something similar. This seemingly passive verb is their main action. Their work develops through listening to the clients, to the nature of the site, to the material. This monograph may be useful to the first year students designing a timber residence for New Haven. Can character be produced just by “listening” to the fundamental elements of a building, site, and client?
While drafting away, I couldn’t help but question the excessive labour that is required to re-draw or trace precedents digitally for what I observed to be little analytic gain in the actual process. Sure every student is different, but blindly drafting lines over the top of a scanned (and sometimes un-scaled) drawing rather than attempting to draw considering actual dimensions seems a waste of labor. The real analysis and comparative work then becomes additional, once the drawing is complete in digital space. I may be revealing my age, but in undergrad, we used a photocopier, scale ruler, pen and trace paper to re-document our precedents. This meant working at a range of set scales rather than the limitless 1:1 digital drafting environment. The scale ruler became the tactile link between the scale our bodies understood in real-time and the bracketed scale of the precedent drawing hot out of the photocopier. It was quick and dirty, but dimensionality was lived through the process. Romantic moment of nostalgia? Perhaps. But our work was still pinned up, compiled and bound for the library archives. I found such an example here in Haas Arts Library, a typological study of housing during a 1993 studio which George Knight will remember. As part of Leon Krier’s studio, George commandeered our first four weeks drawing precedents, mostly from New Haven. Despite all the labor in perfecting our digital drawings, these will essentially leave YSOA on our hard drives. Perhaps it is time to consider this student work as a shared archive, a resource for future years that cuts excessive work and enables a jump straight into analysis. In the same way analog drawings are reproduced in books, can our digital reproductions be communally valued, formatted, and stored as the legacy our digital labor?
Aymar Mariño-Maza M. Arch II ‘17
THE COLOMNADE
BOOK REVIEW “LISTENING ” BOHLIN CYWINSKI JACKSON
in the post-industrial city while Fan examined the re-appropriation of single-family homes for a new population of casino workers. The lecture coincides with an exhibit at the Museum of Chinese in America in NYC. 3/2: The undergraduate senior studio was treated to three sunny days in Miami, practicing yoga on the beach, eating bagels beside the pool of STEVEN HARRIS’ Morris Lapidus-designed condominium, and relishing the opportunity for in situ research on motel typologies at the Fairway Inn for their final project. Hearts were set aflutter when the dynamic boy band duo of CHARLES KANE and ANTHONY GAGLIARDI took to the stage during karaoke night to deliver a song and dance version of ‘Hooked on a Feeling’ under the pseudonym ‘The Sexy TAs.’ We need the first single and we need it now. 3/3: Students of HANS KOLLHOFF were barred from drawing… in the drawing studio. After given an assignment to render, in charcoal, 1.7 meter tall depictions of their towers, the administration deemed the medium too messy and banned its use in the basement drawing studio. Instructor KYLE DUGDALE had to step in, demonstrating charcoal in action to Associate Dean JOHN JACOBSON before it was granted limited use — vine charcoal remains forbidden. 3/4: “His only request was that we kept people off balance,” recounts MICHAEL BEIRUT, partner of NY’s Pentagram, on DEAN ROBERT STERN’s initial directive for the graphic design of the YSoA’s many posters and pamphlets, including those for our lecture series. A far cry from Stern’s usual order of Trajan on Trajan, the posters are meant to reflect the ‘eclecticism’ of the school, explains Beirut to a packed group of congregants at the Study, many of whom clutch a copy of Beirut’s new book How To. How to disorient an architect? Just make the font bigger.
Architecture Club is a platform to encourage critical discus sion of architec ture between students. It consciously limits its focus on the two products of the discipline - buildings and drawings — in order to celebrate a rich diversity of architects, ideas, and narratives. By narrowing its concentration, Architecture Club does not wish to exclude ideas from other fields, but rather adjusts its lens to investigate how formal, sociological, political, and ecological issues imprint themselves specifically within architecture. By demarcating the discipline to buildings and drawings, Architecture Club frames culture through architecture and searches for a better under standing of our capabilities. Architecture Club’s first excursion took place on Saturday February 20th, when approximately twenty students gathered outside of Rudolph Hall and cherished the unpredictable spring weather as they toured five parking garages around New Haven. Over the course of the afternoon, students including Maddy Sembler, Robert Hon, Paul Rasmus sen, and Daniel Marty, all M.Arch I students in their sec ond year, presented on the work of Paul Rudolph, Douglas Orr, Kent Bloomer, and Granbery, Cash and Associates. A curious initiation to Architecture Club, the parking garage tour epitomizes the goals of the student organization. By visiting a nascent building type of the 1960s and 1970s, the Temple Street, Crown Street, and Air Rights garages asked students to engage in a close reading of their similarities and differences. It propelled the students to debate the formal relevance of Brutalism as a cultural representation of the times, it launched discussion on the profound architectural repercussions of Dwight D. Eisenhower’s Federal Aid Highway Act of 1956, it triggered argumentation over the social consequences of suburban sprawl that followed, and it examined the realistic potential of large-scale urban renewal projects such as the Oak Street Connector. Precise and critical, the parking garage tour foreshadows what is to come from Architecture Club. The subjects will be buildings and drawings, the frame will be architecture, and the discussion will pursue our cultural significance. Upcoming events will include an architecture tour in Rhode Island, firm office visits, student desk critiques, public lectures, and close reading groups that analyze architectural projects. Despite its name, Architecture Club is neither ironic nor oppositional. Instead, it naively searches for a definition to our discipline and invites all students to investigate the value of architecture.
Jack Bian M. Arch I ‘16
Patrick Kondziola M. Arch II ‘17
How do we approach and understand the vernacular architecture that is around us? For the most part I am speaking of what Vincent Scully coined the “Shingle Style.” When I arrived at Yale, this was a question I wanted to answer, as I had thought about its origins. It is difficult to spot good examples of this architecture, since mediocre versions have been so widely disseminated across the country. Below is an example of a building many of us pass every day without noticing its value. However, whether or not we realize it, it has shaped our understanding of American architecture and culture more than most of us would think.
When my housemate, a third year M.Arch I student, told me that historical appropriation was a major theme woven throughout his studies at the Yale School of Architecture, I was taken aback. As a student at the Yale School of Forestry and Environmental Studies, I am used to the word “appropriation” having highly negative connotations, suggesting theft and violence. According to the Oxford English Dictionary, the first definition of appropriation is “the action of taking something for one’s own use, typically without the owner’s permission.” Cultural appropriation, the phrase I commonly associate with the word, refers to the practice of borrowing designs or motifs from another culture without permission. This is most problematic when a member of a relatively powerful group takes from a traditionally marginalized group without properly acknowledging their source or understanding the role they play in that culture. As journalist Jenni Avins suggests in an article for The Atlantic (October 20, 2015), “there are legitimate reasons to step carefully when dressing ourselves with the clothing, arts, artifacts, or ideas of other cultures.” Borrowing can be exploitative; musicians such as Elvis and the Rolling Stones rose to fame singing songs originally written by African American musicians, who have never received credit for the role they played in the birth of rock and roll. Another example, involved in a recent controversy at Yale, is students dressing up as ethnic stereotypes for Halloween. The appropriation, even temporarily, of the stylistic tropes of a minority in costume was fuel to the fire of a deeper problem: that of perceived racial inequality at Yale. That being said, the intent of historical appropriation at YSOA isn’t to trivialize, but to use styles from the past as didactic inspiration to drive effective design. Because the use of historical precedent plays such an important role in the Yale School of Architecture’s approach to design, perhaps it would be wise to find a way of discussing it without using the term “appropriation,” with all of its negative connotations. “Interpretation,” anyone?
Tuesday, January 25. 4th Floor Studios entrance, Nicolas Kemper’s desk
Caroline Sydney ’16 Silliman College
NEW ENGLAND ARCHITECTURE PEDAGOGY
IS APPROPRIATION APPROPRIATE?
Kevin Huang M.Arch I ‘18
When I got into Yale, a dear family friend gave me Vincent Scully’s “Yale in New Haven: Architecture and Urbanism.” Sweatshirts and varsity sweaters are more typical “getting into Yale” gifts […] but this gift was different, because it made Yale into a place for me […] It forced me to think about the insular architecture of Yale before I occupied it. I thought about gates and courtyards. When I moved into Silliman and looked out from my bay window, onto essentially a lawn, I was a little disappointed. Now, Yale is planting two new residential colleges […] Their exteriors resist the notion Yale has changed since the 30s, and this bores and terrifies me.
Alexander Stagge, Georgia Todd, Maggie Tsang, Rob Yoos, Matthew Zuckerman, Heather Bizon, Gina Cannistra, Andreas De Camp, Jamie Edindjiklian, Jennifer Fontenot, Richard C Green, Chris Hyun, Ha Min Joo, Jeremy Leonard, Aymar Maza, Jiajian Min, Ali Naghdali, Gordon Schissler, Shreya Shah
wards the modern far before the international style while simultaneously respecting our critically regional trades and resources. From Charles Moore to Turner Brooks, almost all of our former and current faculty are influenced by this legacy, which starts with H. H. Richardson and is made ubiquitous by Vincent Scully. But are we now breaking this tradition in our pedagogy? In a time of increasing globalization and architectural homogeneity, I believe it is more important than ever that we attempt to produce an architecture that responds to unique local conditions. Our country has changed dramatically since the Shingle Style and calls for something entirely new. How can we call on our past to look forward to new ideals that resonate with our current cultural state?
Nick McClure MEM ‘16
counterintuitive that in the coming months, such spare structures would be heaped with slabs and bricks, slate roofing, gargoyles, and all the other arch and wacky accoutrements of the gothic style. Actually, construction has already started in on some of that. Namely, the chimneys have gone up. Chimneys! That’s so weird to me. In one place you can see quite clearly that the flues are just adhered to the roof, that below them there’s only empty space — no hearths or anything. Maybe I’m wrong and the fireplaces will come later, but even if they do, we can be sure they won’t be functional. I understand the thought — chimneys signify hearths which signify […] family and warmth and the heart. We’re after hominess, here, after all. “Welcome Home!” says nearly every video made by Yale Admissions ever. Strange to think, though, that if we’re looking for a welcoming architecture, we’ve chosen one that was meant to inspire, in the late-medieval churchgoer, something closer to abject terror. That’s overstating it, but I think there truly is some confusion here between what is home-y and what is just around, that is, what is well worn and historically in-step. The other thing about fireplaces in dorm rooms is that they force us to imagine a time when people actually used them, which reminds us in turn that we live in spaces through which many other bodies have passed. Tradition! Maybe that kind of thought was a comfort once, but now I’m not so sure — especially considering that it was a very particular kind of person kindling those fires. We should stay awake to the possibility that such histories, which the new colleges want very badly to quote, are at best alienating to many of our classmates, painful at worst.
It is devastating to me to see this architecture becoming less relevant in architecture schools like Yale. Why do we start our education with Antiquity but don’t study the origins of American architecture with the same vigor? I believe this is because, as the new generation of architects, we are unable to see the significance of the past that is around us. We only see it in its contemporary context. With architecture, we analyze its form but rarely experience its presence as relevant to our cultural heritage. A disturbing experience got me to write this article: only two students enrolled in New England Domestic Architecture last semester, a course taught by Kathleen JamesChakraborty, a student of Vincent Scully. Even though there are many copies of Scully’s The Shingle Style and the Stick Style (and original manuscripts), students don’t consider his work a relevant architectural source by now. In response, I’d like to call to attention the relevance of applying the lessons of this architecture in our contemporary design studios. The Shingle Style, born out of a transitional time in our history, represents some of our most original and uniquely American works. It represents turning away from European standards while maintaining its traditional heritage, rejecting authority while accepting democratic ideals. Espousing a melting pot of cultures, it sought alternative exotic sources such as the Japanese to produce new ideas which, despite being criticized as less rigorous in its freedom of expression, led to a unique spatiality. Horizontally expansive spaces were formed by unusual and inventive combinations of traditional forms, fused together by an iconic material: the shingle. An emergent social awareness praised the modesty in the minimal ornament of the shingle, striving to-
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RE-OR ENTAT ONS
design by Nate Pyper
Oliver Preston ‘16 Jonathan Edwards College
The artform of zines and small publications is a relevant part of the communication process of designers, as it is independent, fast and has an emphasis on both content and form. I have participated as Position Editor, Reviews Editor and Issue Editor of Paprika!, the YSoA student publication, and worked on some graphic design small projects.
A! PA
(work in progress) For Hans Kolhoff’s studio, precedents act as historical backdrop more than a particular focus. We moved from studies of the mass, to the unit, to the tectonics and composition of the whole building. Precedents are neither assigned nor weigh heavily, but rather are used as a “grammar of tectonics”. We interpret the details of construction, where the well-built is as important as the composition. In this sense I consider it more of a tectonic approach than a “classicist” approach, as could be superficially inferred from Kollhoff’s work (...) Precedents provide lessons, but a critical eye is still necessary. The danger of their misuse can pollute the work of the designer.
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WELLNESS & SELF-CARE SPACE
Avenida Libertador Bernardo O’Higgins 3363. Metro Universidad de Santiago
di ál og o
Programa de Bachillerato en Ciencias y Humanidades Universidad de Santiago de Chile
This room is for anyone on the Medical Campus in need of a little rest and relaxation. Consider using it for activities such as reflection, meditation, or yoga. Our goal is to make the room a quiet getaway where you can recharge.
09 -11 Noviembre 2016
Simple Rules: Please use this room for no more than 30 minutes. Set the wheel so that others know when the room is free. For questions, e-mail AskYaleMedicalLibrary@yale.edu
George Perec
Journal designer
Notes Concerning the Objects that are on my Work-table*
It’s several years now since I contemplated writing the history of some of the
purpose. It still quite often happens today that I do my work in a cafe. At home,
by Georges Perec
objects that are on my work-table. I wrote the beginning of it nearly three years
however, it’s very rare for me to work (write) anywhere except at my work-table
There are a lot of objects on my work-table. The oldest no doubt is my
1 2
pen; the most recent is a small round ashtray that I bought last week. It’s
On the whole, I could say that the objects that are on my work-table are there because I want them to be. This isn’t connected simply with their function or
of white ceramic and the scene on it shows the war memorial in Beirut
with my own negligence. For example, there’s no tube of glue on my work-table;
(from the 1914 war, I presume, not yet the one that’s breaking out now).
that’s to be found in a small set of drawers at the side. I put it back there a
-1
mouse post-its
ago; re-reading it, I noted that, of the seven objects I talked about, four are still
(for example, I almost never write in bed) and my work-table isn’t used for
on my work-table (although I’ve moved houses in between). Two have been
anything except my work. (Once again, even as I write these words, this turns
changed: a hand-blotter, which I’ve replaced by another hand-blotter (they’re
out to be not wholly accurate; two or three times a year, when I give a party, my
very much alike, but the second one is bigger), and a battery alarm-clock (whose
work-table is entirely cleared and covered in paper tablecloths – like the plank
normal position, as I’ve already noted, is on my bedside table, where it is today)
on which my dictionaries are piled – and becomes a sideboard.)
replaced by another, wind-up alarm-clock. The third object has disappeared
moment ago after using it. I could have left it on my work-table, but I put it away
omputer Screen]
ORGANIZA
Window and Door Sign for a Medicine School resting space project in the Medicine Library.
45
from my work-table. This was a Plexiglas cube made up of eight cubes attached
Thus a certain history of my tastes (their permanence, their evolution, their
I spend several hours a day sitting at my work-table. Sometimes I would like
almost automatically (I say ‘almost’ because, since I’ve been describing what
to each other in such a way as to enable it to take on a great many shapes. It
phases) will come to be inscribed in this project. More precisely, it will be, once
it to be as empty as possible. But most often, I prefer it to be cluttered, almost
there is on my work-table, I am paying closer attention to my movements). Thus,
was given to my by Francois le Lionnais and is now in another room, on the
again, a way of marking out my space, a somewhat oblique approach to my
to excess. The table itself is made form a sheet of glass 1 metre 40 in length
there are objects useful for my work which aren’t or aren’t always on my work-
shelf above a radiator, next to several other brainteasers and puzzles (one of
daily practice, a way of talking about my work, about my history and my preoc-
and 70 centimetres across, resting on metal trestles. Its stability is far from
table (glue, scissors, sticky tape, bottles if ink, stapler), others which aren’t
-2 -3
these is on my work-table: a double tangram, i.e. twice seven bits of black and
cupations, an attempt to grasp something pertaining to my experience, not at
perfect and it’s no bad thing in actual fact that it should be heavily loaded or
immediately useful (sealing wax), or useful for some other purpose (nail le), or
-4 -5
white plastic that can be used to form an almost innite number of geometrical
the level of its remote reflections, but at the very point where it emerges.
even overloaded; the weight of the objects it supports helps to keep it steady.
not useful at all (ammonite), but which are there all the same.
-6 19
gures).
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PATROCINA
Graphic design, journal exercise, with the text "Notes Concerning the Objects that are in my Worktable" by Perec.
Segundo Diálogo de
20 21
La Ciudad de la Democracia Il Teatro Di Strada Come Tipologia notebook Disegni di Francesco Borromini Open Sky Teatri Prima del Teatro Hojas de Parra Santiago Donde Estamos y Hacia Donde Vamos acropolis museum catalog
I tidy my work-table quite frequently. This consists of putting all the objects
These objects have in a way been chosen, been preferred to others. It’s obvious,
somewhere else and replacing them one by one. I wipe the glass table with a
for example, there will always be an ashtray on my work-table (unless I give up
duster (sometimes soaked in a special product) and do the same with each object.
smoking), but it won’t always be the same ashtray. Generally speaking, the same
The problem is then to decide whether a particular object should or should not
ashtray stays there for quite some time; one day, in accordance with criteria that
be on the table (next a place has to be found for it, but usually that isn’t difcult).
it mightn’t be without interest to investigate further, I shall put it somewhere
*First published in Les Nouvelles littéraires in February 1976.
My Desk is a Collection of Corners in my Room
else (near the table on which I do my typing, for example, or near the plank This rearrangement of my territory rarely takes place at random. It most often
Architecture in Words
on which my dictionaries are, or on a shelf, or in another room) and another
corresponds to the beginning or end of a specic piece of work; it intervenes
ashtray will replace it. (An obvious invalidation of what I’ve just been claiming:
in the middles of those indecisive days when I don’t quite know whether I’m
at this precise moment, there are three ashtrays on my work-table, that is, two
going to get started and when I simply cling on to these activities of withdrawal:
surplus ones which are as it happens empty; one is the war memorial, acquired
22
I live in Student Housing so most of the furniture comes with
tidying, sorting, setting in order. At these moments I dream of a work surface that
very recently; the other, which shows a charming view of the roofs of the town
the room. There was no chair,
is virgo intacta: everything in its place, nothing superfluous, nothing sticking
of Ingolstadt, has just been stuck together again. The one in use has a black
however. I saw the chairs and
out, all the pencils well sharpened (but why have several pencils? I can see six
plastic body and a white perforated metal lid. As I look at them, and describe
merely at a glance!), all the paper in a pile or, better still, no paper at all, only an
them, I realize in any case that they’re not among my current favourites. The
exercise book open at a blank page. (Myth of the impeccably smooth desk of
war memorial is denitely too small to be anything more than an ashtray for
the Managing Director: I have seen one that was a small steel fortress, crammed
mealtimes, Ingolstadt is very fragile, and as for the black one with the lid, the
with electronic equipment, or what purported to be so, which appeared and
Theatre in Latin America
didn’t really like them, so took a bus to Boston Road in Orange, to a Charity Shop, and looked
Architecture After Ethics and Aesthetics
Objetos para Transformar el Mundo
3 4 5
Chilean Theater, 1973–1985 Notes Concerning the Objects that are on my Work-table
George Perec
*First published in Les Nouvelles littéraires in February 1976.
My Desk is a Collection of Corners in my Room Intermediate Graphic Design Assignment - Fall 2015 School Desk Objects Bonus List
Santiago de Chile blue binder The City of Collective Memory
cigarettes I throw away in it go on smouldering for ever.) A desk-lamp, a cigarette box, a bud-vase, a matchbox-holder, a cardboard
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Later on, once my work is advancing or else stalled, my work-table becomes
box containing little multi-coloured index-cards, a large carton bouilli inkwell
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My desk is a collection of
cluttered with objects that have sometimes accumulated there purely by chance
incrusted with tortoiseshell, a glass pencil-box, several stones, three hand-
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corners in my room, which
(secateurs, folding rule), or else by some temporary necessity (coffee cup).
turned wooden boxes, an alarm-clock, a push-button calendar, a lump of lead,
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somewhat depends on what
Some will remain for a few minutes, others for a few days, others, which seem
a large cigar box (with no cigars in, but full of small objects), a steel spiral into
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part of my room is tidy. What I
to have got there in a somewhat contingent fashion, will take up permanent
which you can slide letters that are pending, a dagger handle of polished stone,
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residence. We’re not dealing exclusively with objects directly connected with the
account books, exercise books, loose sheets, multiple writing instruments or
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like about these corners is that
collection of objets trouvées, of things
is wonderful (this came with the
After trying many options in
room): I read upside down, from arm
a Goldilocks fashion, I decided
to arm, and eventually I sit in an up-
for an incredibly 6-dollar chair,
right position. It faces the
that looked very much like a
window radiator, and next to it is my bookshelf. The walls next to it
I guess it was cheap because the varnish was hackneyed? It was
are a good place to hang and look at
also a rst chance to take the
things, especially since I don’t have
CTTransit and take a ride to the
smooth walls in my School desk.
outskirts of New Haven. Taking
they feel like a
The objects I’m most dear to are I have a small
table that was also
denitely the
lamps. Without the
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business of writing (paper, stationery, books); others are connected with a daily
accessories, a big hand-blotter, several books, a glass full of pencils, a small
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practice (smoking) or a periodical one (taking snuff, drawing, eating sweets,
gilded wooden box. (Nothing seems easier than to draw up a list, in actual fact
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acquired after some adventuring: I
two lamps, my room would constantly
8 9
bought a toaster on Craigslits from
look like a lab. With the lamps I can
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playing patience, solving puzzles), with some perhaps superstitious foible
it’s far more complicated than it appears; you always forget something, you are
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West Haven. I biked there so I only
read with nicer, warmer light, without
Journal Designer
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(setting a little push-button calendar), or linked not to any particular function
tempted to write, etc., but an inventory is when you don’t write, etc. With rare
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but to memories perhaps, or to some tactile or visual pleasure, or simply to
exceptions (Butor), contemporary writing has lost the art of enumeration: the
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a liking for the knick-knack in question (boxes, stones, pebbles, bud-vase).
catalogues of Rabelais, the Linnaean list of sh in Twenty Thousand Leagues Under the Sea, the list of the geographers who’ve explored Australia in Captain Grant’s Children.)
that had a different life recently.
had room for the toaster, but met a Turkish family very eager to help students. So they offered some other things I bought and took the small
lighting every corner of the room in an ambient, colder manner. One looks like an
apple, my absolute favorite
object in the room, and the other one
table along with dishes and utensils
is a
(nally!), and drove it all the way to
along with the small table, according to
my house. I felt like it was too much, but at least they hadn’t seen that part of New Haven and seemed happy to assignment F _ pamela hovland (P) + jerome harris (TF) _ daphne agosin (S)
Granny-in-the-front-porch chair.
and the
Journal Designer
18
The Book of the Courtier Poetica de la Poblacion Marginal
for my own chair there instead.
The armchair is quite huge, which
disappeared when you pressed the controls on a superior sort of dashboard.)
Restoration Theatree Anthology Built Upon Love
Before, I didn’t have a work-table, I mean there was no table for that express
get to know this part of town.
oor lamp that crosses the room
whether I’m writing in bed or in the armchair.
the chair back in the bus was just awkward enough to make it obvious I wasn’t New Haven native.
Poster, Logo and lettering design for a Conference on Education and Inclusion in Universidad de Santiago.
Interculturalidad e Inclusión en Educación Supe 9, 10 y 11 de noviembre de 2016