Pratt Architecture InProcess 25

UNDERGRADUATE

2018 - 2019

PRATT INSTITUTE SCHOOL OF ARCHITECTURE FALL 2018 - SPRING 2019

UNDERGRADUATE ARCHITECTURE

INPROCESS 25

INPROCESS 25

PRATT INSTITUTE 200 WILLOUGHBY AVENUE BROOKLYN, NY 11205

SCHOOL OF ARCHITECTURE 61 ST. JAMES PL BROOKLYN, NY 11205

781-399-4305 www.pratt.edu/academics/ architecture/ug-dept-architecture/

INPROCESS 25

UNDERGRADUATE ARCHITECTURE

PRATT INSTITUTE SCHOOL OF ARCHITECTURE FALL 2018 - SPRING 2019

INPROCESS

is the yearly publication of student work from the Pratt Institute School of Architecture

Kalam Lin Siu Master Design, Archival Coordination Wina Wu Master Design, Archival Coordination Beren Saraquse Supplemental Design Rachel Pendleton Supplemental Design, Photography Marley Olson Supplemental Design, Photography Brian Ching Supplemental Design Zhixian Song Graduate Design, Archival Coordination Edisson Cabrera Graduate Design, Assistant Archival Coordination

Pratt Institute School of Architecture Administration Dr. Harriet Harriss, Dean Kurt Everhart, Associate Manager of Academic Affairs Pamela Gill, Associate Manager of Budget & Administration Mark Parsons, Director of Production Facilities Rodrigo Guajardo, Model/Woodshop Technician Cole Belmont, CNC Manager Matthew Shaw, Analog and Digital Production Facilities Manager

Pratt Institute Administration Bruce J. Gitlin, Chair of the Board of Trustees Frances Bronet, President Kirk Pillow, Provost

Undergraduate Architecture Administration Erika Hinrichs, Chairperson Jason Lee, Associate Chairperson Farzam Yazdanseta, Assistant Chairperson Adam Kacperski, Assistant to the Chairperson Latoya Johnson, Coordinator of Student Planning Juliet Medel + Terilyn Stewart, Assistant Director of Undergraduate Advisement

Cover + Interior Image Credits: Barbara Miglietti Villasana + Li Jin Michelle Gorman + Adam Elstein, critics

Printed in Canada

The student staff of InProcess 25 would like to extend a thank you to the Fall 2018 - Spring 2019 student body and professors for their astounding contributions of outstanding models and drawings.

Additionally, we would like to thank Kurt Everhart, Pamela Gill, and Adam Kacperski for their tireless efforts and Dr. Harriett Harriss, Erika Hinrichs, and Jason Lee for their invaluable input and guidance.

And finally, we would like to say farewell to Kalam Lin Siu, who after many years of exceptional dedication to Archives and InProcess, is graduating.

FOREWORD

004

CORE DESIGN FUNDAMENTAL DESIGN Semester I Semester II Representation I Representation II Technics

011 027 045 047 049

INTERMEDIATE DESIGN Semester III Semester IV Representation III Architectural Materials Architectural Assembly Systems

055 075 099 100 101

COMPREHENSIVE DESIGN Semester V Semester VI Building Environments Building Services Construction Documents

107 121 136 137 139

ADVANCED DESIGN

DEGREE PROJECT Semester IX + X

197

RESEARCH ELECTIVES The Landscape Drawing Architectural Analysis: From Minimal To Maximal Generative VR Architecture Sensation Tectonics Immersive Architecture through VR Material Based Design Digital Fabrication: Robotics Applied Computations Autonomous House CES Projects 1 CES Projects 2 Morphology Studios 1 Morphology Studios 2 Conception vs Fabrication Banned Drawings Psuedo-3D The Brutalist Cookbook (+) Negatives Curved Crease

240 241 242 243 244 245 246 247 249 251 253 255 257 258 259 260 261 262 263

FACULTY

272

TABLE OF CONTENTS

145 191

UNDERGRADUATE ARCHITECTURE

ADVANCED DESIGN RESEARCH Semester VII, VIII, IX + Travel Urban Genealogies

Welcome to the 25th Edition of the Undergraduate In Process: the Pratt Institute, School of Architecture, annual design project palimpsest, configured as a means to celebrate, educate, tantalize, and inspire. At the time of writing, some 12 months after this work was produced, the CoViD-19 global pandemic has forced a serious reappraisal of the processes and outputs we have come to take for granted within our school, and of the characteristics of the changing professional context we are preparing students for. Although this publication features the work of the 2018-19 cohort, it has been interesting to observe that the energy, activity, and momentum captured here continues to endure, even today despite the current CoViD constraints. There is evidently serious power in our pedagogy.

DEAN’S FOREWORD

PRATT SCHOOL OF ARCHITECTURE

Architecture has always been a transformation project: its epistemological richness fuels a creative restlessness, one that requires an undergraduate education able to produce protoprofessional generalists as well as specialists. It’s not just a matter of what our students know, but that they know what to ask and where to look, beyond the obvious, for new sources of information and inspiration. Through their learning experience at Pratt School of Architecture, they are exposed to conflicting and often contradictory forms of knowledge and have learned to become true synthesists, better able to work with complex objectives, and diverse stakeholders.

They are also propositional, able to use their architectural form-making as a means to prototype alternative futures, giving us hope for the kind of impact they will make on the world. Pratt School of Architecture graduates are pragmatists and philosophers: able to not only solve problems but to understand the true value of doing so. Their work shows that they have acquired skills during our time with us that can transpose beyond the context of any one profession or industry. It is this tenacity and adaptability that will allow them to thrive in conditions of uncertainty and changing market circumstances.

Under the leadership of Chairperson, Erika Hinrichs, and Associate Chairperson Jason Lee and Assistant Chairperson Farzam Yazdenseta, the work featured in this publication evidence the extent to which the Undergraduate Architecture program is worthy of its ranking among the top ten architecture schools in the U.S. (Architectural Record 2020). Consequently, this publication offers a lens through which many of the critical issues of our time are scrutinized through the proxy of spatial production. The design professors teaching across UA are drawn from a diverse range of theorists, researchers, designers, and professional practitioners, resulting in an alchemic infusion of contrasting and often contested practical and philosophical approaches. Notions of what constitutes analog, digital, and post-digital production are explored and in some instances, extruded into emergent ontological outcomes, and what characterizes ‘media’ (from the Latin, ‘middle layer’) is tested by the litmus of lived experience. The themes explored through the 400 level Advanced Design research studios encompassed an exploration of mass timber technology and high-density, mixed-use development; prefabricated modular construction; strap steel prototypes; alternative modes of live-work on container vessels; aviation architecture; housing developments embedding local community care; an exploration of the composite monolithic material logic versus the assemblage tectonic logic in the context of robotics and other advanced fabrication techniques; the design of spaces for mental health; a concept for a new UN Secretariat that negotiates the role of global diplomacy; coastal resiliency through urban planning; reimagining parking lots around transit nodes, timber research at the scale of the microscopic to the community; the tension between internal organization and contextual influence through the design of an Art & Science building; and, forms of landscape tectonics that explore the politics of new waterfront public space.

Finally, while this publication has long been successful in providing a compelling visual compendium of the remarkable outputs of our 2018-19 UA students, we are mindful of the fact that the launch coincides with a particularly difficult time in our history. However, if I have learned anything about the talent and tenacity that distinguishes our students since my deanship began eight months ago, it’s that we are historically and exceptionally well placed to produce work that resonates beyond the context in which it is produced. While we are now focused upon developing pioneering efforts to embrace and even champion the online environments demanded of pandemic-pedagogy, our school has sustained painful losses within our faculty: former student and registered architect, Sandro A. Carrasco, Professor Enrique Limon, Professor Bill Menking, Professor Lou Goodman, and former faculty member, Michael Sorkin.

This publication is dedicated to them.

Dr. Harriet Harriss, Dean of Pratt Institute School of Architecture

This is the 25th issuing of the publication of InProcess. Initiated originally in 1996 as a modest but pointed effort to highlight the most ambitious work of the Undergraduate Architecture program, it has evolved periodically to reflect the changing demographics of our student body and the contributions of our program’s five different Chairs over that time. This year the publication has changed again, coincident with our welcoming to the School of Architecture only our second new dean over that same time span, Harriet Harriss. In an intentionally more comprehensive manner this year, InProcess offers the essence of our studio culture by juxtaposing the work of the supporting curriculum that has always contributed to the depth of understanding, the willingness to engage risk and the ultimate successes within the design studio. In this I can say that it more truly represents the curricular excellence of the entire Undergraduate Architecture program- all 620 students and 137 faculty members- where every student and every faculty member contribute to our educational community.

The work produced during the 2018/2019 academic year continues to reflect our strength in diversity. It is a model for a foundation in architecture by integrating critical thinking, design proficiency, building and environmental systems technology, cultural diversity, and civic engagement. I am proud to continue to lead the department and remain dedicated to making this year an even better one than the year before. It must be noted that the work presented in this publication is from the last full academic year prior to the global pandemic of Covid-19.

Despite this, our undergraduate community has remained resilient, engaged, focused, inventive, and inspired. This is evident in the review of the work presented in this publication as well as with the work presented a few weeks ago at the end of the semester- again stronger and more challenging than ever. Thank you to our faculty’s shared commitment to excellence and the ethical exercise of their leadership. And thank you to our students, who have worked tirelessly to acquire new abilities and apply their critical thinking in pursuit of the ever-larger questions that challenge them.

The five-year curriculum is structured such that the required core seminar lessons are tested directly in the design studio. The Core Curriculum is taken in the first three years and is designed to give basic professional preparation in architectural design, construction and material technology, graphic and written communication skills, history and theory and the humanistic aspects of design. The Integrated Design studio concludes core design by designing a fully comprehensive building proposition. The Advanced Curriculum taken during the last two years is structured so that students have input choosing from various Option Design Studios in a variety of programmatic subjects. We value the experiential learning model, so lessons become meaningful when directly applied to the studio environment. By structuring our curriculum in this way, we can incorporate the evolving demands of professional performance criteria and design excellence while maintaining a balance for student wellness and academic success.

In conclusion, the focus of the undergraduate department is the education of an architect.

It is our students that will become architectures future. The education is delivered through a curriculum that prioritizes inventive design and critical thinking while introducing professional knowledge and advanced skills.

First Year is our foundation which introduces students to all that architecture can be. All our students are assigned to a core section.

The section is then clustered with five additional faculty educators and their area groups in History & Theory, Representation, Technics, and Humanities & Media Studies. This allows more seamless faculty communication and a better ability to encourage each student’s growth and performance.

Second Year integrates the critical parameters of site and program, while offering insights into precedent analysis and material practice. The curriculum references case studies within the required core seminars to learn the complexities of architectural parts and how they add up to a whole: historical and theoretical references, design development practice, material and assembly systems, structural systems as well as the study of life cycle ecologies that are embedded in the curriculum.

Third Year is the challenge of the Integrated Studio; directly applying core lessons from building systems and environmental technology, professional practice, and construction documentation.

The students experience how to work collaboratively in teams as well as with professional consultants in Mechanical, Structural and Facade systems. The studio problem topic is community based so reviews expand the discourse by bringing in outside stakeholders.

Fourth Year offers faculty driven Advanced Option Design Studios which allow students to explore various issues through a specialized lens. Students engage the issues of global urbanism, speculative propositions, design/build, research or advanced integrated design.

Students can purposely select courses within all elective areas during their last four semesters and can develop their own unique architectural education based on their own needs, interests, and goals. This personalized fourth-year curriculum is directed toward culmination in the fifth-year degree project.

Fifth Year is the student driven Degree Project year. The Fall dedicated to the research dissertation and the spring semester dedicated to applying that research to the development of a terminal project. The students work with a faculty team who act as critical guides through the entire year. They enter a project theme defined by the faculty and through research develop projects individually. Like the first year, the studio section has a dedicated humanities and media studies professor that guides the dissertation.

CHAIR’S FOREWORD

Erika Hinrichs, Undergraduate School of Architecture Chair

UNDERGRADUATE ARCHITECTURE

Our students- young, internationally diverse, and talented- together with our faculty-drawn from one of the most remarkable cities in the world- share the ongoing project of shaping the future by continuing to ask just what Architecture can become.

The current issue of InProcess 25 is structured to present the work of the curricular sequence:

FUNDAMENTAL DESIGN STUDIO SPRING 2019

DANIEL HSU, KYLE HOVENKOTTER FUNDAMENTAL DESIGN FINAL REVIEW, SPRING 2019

A Conversation between Robert Brackett III and Jason Vigneri-Beane

Introduction to Fundamental Design : Semester I

The following dialog between Robert Lee Brackett III (Arch 101/102 Coordinator) and Jason VigneriBeane (Arch101/102 Faculty) explores the pedagogy of Formal Systems.

Architecture is an art of form and material - it is also a social product that participates in economic, political and cultural contexts. There is a language of architecture lodged in the space of the drawing that utilizes geometry that can have agency in the world. Materials, technologies, and systems of information are tools through which we can design buildings and environments. This studio introduces design approaches to architecture students by way of rule-based visual systems that will gradually lead to questions of form, space, and material tectonics designing architecture as mode of cultural production.

RLB: How do you see analog visual systems as an interface to computational thinking as a design process?

JVB: Analog visual systems are a very important vehicle to learn about procedural thinking and systemic approaches to design. They offer access and interactivity to incoming students in a way that digital computing might not at the beginning of one’s studio experience. Digital computing can often be a bit of a black-box because, until one gets into advanced courses where scripting or programming may be taught, digital computing comes in highly mediated platforms, operates at a distance through the screen, can sometimes carry rigidly prescribed conventions and can execute processes quickly and opaquely. While digital computation is important, the accessibility of analog systems via materiality, physicality, incremental construction, intellectual interaction, and the hands-on/brains-on nature of them is pedagogically crucial. It also helps that analog visual systems are typically partnered with drawing or model-making techniques and that helps students to see that drawing and model-making are not only representational but can also be instrumental, generative and vehicles for design research, development, and production.

RLB: What is your take on elements and rules generating visual systems?

JVB: Using elements and rules to generate visual systems is very important as either a microcosm of architecture or, for some, much of what the very discipline itself is about – the systemic organization of materials into possible worlds for both mental and physical inhabitation. In a more direct way, the use elements and rules provides a stable pedagogical scaffold for incoming students and faculty and, in that context, I find myself most interested in work that favors an oscillating use of rules and elements. For example, one can use one set of rules to create elements and, once one has elements, one can, in turn, use new rules to distribute, organize, composite, add, subtract, layer and superimpose those elements. When one repeats these cycles, perhaps altering rules at different stages of creation and distribution or hybridization one often finds that a project identity emerges, be that identity one of complexity, erasure, hybridization, and so on. Elements and rules partner to form some of the most interesting features and qualities of architecture such as nesting, recursion, cascading change, repetition and difference, intricacy, phenomenal transparency, density, spatialization, and dimensionality. Elements and rules are also ways of simultaneously producing difference and self-consistency across micro, meso, and macro-scales of a project as well as developing part-to-whole relationships regarding both geometry and space that can range from simple repetition to more complex aggregation.

RLB: What is the relationship between concrete and abstract thinking in design, specifically in Arch101?

JVB: In ARCH 101 it seems that concrete and abstract thinking in design start off as if they are different things and, over the course of the semester, begin to merge and emerge as two sides of the same formulation of architecture. Something that seems to me to be extremely important to learn about architecture is that it is simultaneously concrete and abstract, whether or not one is more interested in the internal or the external aspects of architecture, or both. There are physical properties of materiality but there are also virtual systems of geometry. There are atmospheric qualities of architecture but there are also dimensional conventions that coexist with them. There is embodiment and inhabitation of spaces but there are also economic drivers and ergonomic codes that suffuse them. It is a fascinating aspect of architectural curriculum creation to develop and cultivate the simultaneous understanding of the concrete and the abstract. But it requires patience as ARCH 101 tends to start with the abstract as a way of introducing technique and then culminates in reading concrete possibilities among the seemingly abstract formations. I say seemingly because the production of abstract formations of material in space in ARCH 101 is fully and always in anticipation of the concrete even if it does not always seem like it is in the beginning. My sense is that this class-wide approach is less about a kind of unlearning of reality or an indulgent autonomy of architectural production but, rather, an attempt to present architecture as a discipline that is heavily invested in and reliant upon procedural thinking, iterative exploration, creation and analysis, and the role of an architect as one who shepherds a project into being as opposed to a master who makes unilateral decisions about the production and organization of material, space and inhabitants from the top down.

The first semester architectural design studio at Pratt promotes exploration in abstract analog systems using drawing mediums and material tectonics guiding students to discover their own design approaches that define an architectural proposition. Within the last decade architecture has been facing contemporary issues of economy, sustainability, and politics and cannot afford to remain in the dream of formal exuberance. As a result, the appreciation of design has declined dramatically. It is in this specific context that it is important to teach the value of design and how it needs to be situated and operate in the above-mentioned contexts.

The pedagogy of Arch 101 starts with geometry and abstract manipulations to foreground formal exploration and contextualize these ideas during the semester. This studio does not enforce a single architectural bias or agenda but introduces visual thinking and allows students to develop diverse and rigorous approaches to architectural design. ‘To design’ does not conform to any preconceived standards of hierarchy and order but relies on fundamental elements and procedures, which can be made explicit and learned.

Designing is also an evaluation of known and unknown relationships that yield possible solutions or discoveries.

Student’s discoveries and inventions emerge by recognizing the value of a design and then deciding to continue to work on these design approaches and contextualize them in terms of scale and locating an architectural object relative to the ground it occupies.

Coordinator, Robert Brackett III

F U N DA M E N TA L

DESIGN

DANIELLA TERO NATASHA HARPER, CRITIC

FACULTY ANTHONY BUCCELLATO CARLYLE FRASER FARZAM YAZDANSETA GONZALO LOPEZ JASON VIGNERI-BEANE KYLE HOVENKOTTER LAPSHAN FONG LORI GIBBS MICHELE GORMAN NATASHA HARPER OSTAP RUDAKEVYCH ROBERT BRACKETT III

FUNDAMENTAL DESIGN

SEMESTER I

ARCH-101

a

a

a

a

013

b

b

b

STUDENTS a. JOON AH LEE b. FANGBO BAI

FORMAL SYSTEMS

CRITIC ANTHONY BUCCELLATO

FUNDAMENTAL DESIGN

SEMESTER I

ARCH-101

a

a

b

a

015

b

b

b

STUDENTS a. EVER GOYA b. ALISON YOO

FORMAL SYSTEMS

CRITIC FARZAM YAZDANSETA

FUNDAMENTAL DESIGN

SEMESTER I

ARCH-101

a

a

a

a

b

017

b

b

b

STUDENTS a. ALAN WENG b. TRUNG LE

FORMAL SYSTEMS

CRITIC JASON VIGNERI-BEANE

FUNDAMENTAL DESIGN

SEMESTER I

ARCH-101

a

a

a

019

CRITIC LAPSHAN FONG

b

STUDENTS a. GABRIELLE DEL ROSARIO b. PAUL LOUPE

FORMAL SYSTEMS

b

FUNDAMENTAL DESIGN

SEMESTER I

ARCH-101

b

a

a

a

a

021

b

b

b

STUDENTS a. BRIAN CHING b. MARLEY OLSON

FORMAL SYSTEMS

CRITIC MICHELLE GORMAN

FUNDAMENTAL DESIGN

SEMESTER I

ARCH-101

a

a

a

a

023

b

b

b

STUDENTS a. ALESSANDRA CLEMENTE b. DANIELLA TERO

FORMAL SYSTEMS

CRITIC NATASHA HARPER

FUNDAMENTAL DESIGN

SEMESTER I

ARCH-101

a

b

a

a

025

a

a

STUDENTS a. BETTINA COLET b. ELIZABETH AMIGON

FORMAL SYSTEMS

CRITIC OSTAP RUDAKEVYCH

A Conversation between Robert Brackett III and Jason Vigneri-Beane

Introduction to Fundamental Design : Semester II

Architecture is an art of form and material that participates in economic, political, and cultural contexts. The language of architecture operates in drawings and models resulting in designs that can have agency in the world - architecture can act as a mode of cultural production. To do so, a design must operate within a specific context and be supported by an argument. This studio will introduce the context of site and program to explore the many ways in which spaces can be used and occupied. The underlying formal explorations are designed via ruled based Visual Systems and deployed as hybridized Design Approaches within a given context. The final project will be to design a structure that provides a spatial sequence that considers a specific program on a given site. The semester introduces analysis of site, building elements, and the human body in space based on previously introduced formal systems using point, line/ shape, plane/ surface, and volume/ void. Students will develop their own informed program according to degrees of occupancy by focusing on specific activities, physical characteristics, and spatial requirements of the human body.

Architecture is an art of form and material that participates in economic, political, and cultural contexts. The language of architecture operates in drawings and models resulting in designs that can have agency in the world - architecture can act as mode of cultural production. To do so, a design must operate within a specific context and be supported by an argument.

The following dialog between Robert Lee Brackett III (Arch 101/102 Coordinator) and Jason VigneriBeane (Arch101/102 Faculty) explores the pedagogy of Informed Systems.

RLB: How do you define Design Approaches?

JVB: I would define a Design Approach as both a trigger and a process for developing an architectural project that evolves in the back-and-forth between visual-physical operations and verbal-conceptual formulations. I think the feedback relationship between geometry/material/ space and words/concepts/drivers is a fascinating one, sometimes convergent, sometimes divergent, but ideally emerging out of each other and then mutually reinforcing each other. It is a partnership of making and thinking in multiple mediums. This dynamic tends to more nuanced and intricate work because it is a heterarchical partnership between physical and virtual bodies of thought as opposed to a relationship based on hierarchy or driver-driven or cause-effect.

RLB: What is the relationship or conflict between Shape and Form in your studio section?

JVB: I think that this is a complicated question because it is an interface that is both continuously evolving and changing in discrete ways in relation to the phases a project. I would also say that I prefer a co-evolutionary relationship between written language and geometrical language over a relationship of cause and effect even though one does have to start somewhere. My hope is that, no matter where one starts, a mutually reinforcing relationship between the two can be cultivated so that geometry can learn from writing, writing can learn from geometry, and they can each push and push back with regard to each other. At the same time, studio projects go through different phases. Some phases are more generative, other phases are more analytical, and still other phases are about embodiment and inhabitation. Then there are phases that are about representation and, crucially, there are phases wherein the approach to or identity of a project emerges and locks in for finishing and the extroverted acts of becoming public through building or presentation.

Each of these phases has its own set of terms – not just visual but also verbal – and, therefore, can learn a lot from good writing, meaning that writing is not only the verbal representation or communication of architectural content but, importantly, it has a catalytic role to play in the very production of architecture itself.

RLB: In what ways does the written language of transdisciplinary writing interface with the geometry language of design?

JVB: I think that this is a complicated question because it is an interface that is both continuously evolving and changing in discrete ways in relation to the phases a project. I would also say that I prefer a co-evolutionary relationship between written language and geometrical language over a relationship of cause and effect even though one does have to start somewhere. My hope is that, no matter where one starts, a mutually reinforcing relationship between the two can be cultivated so that geometry can learn from writing, writing can learn from geometry, and they can each push and push back with regard to each other. At the same time, studio projects go through different phases. Some phases are more generative, other phases are more analytical, and still other phases are about embodiment and inhabitation. Then there are phases that are about representation and, crucially, there are phases wherein the approach to or identity of a project emerges and locks in for finishing and the extroverted acts of becoming public through building or presentation.

Each of these phases has its own set of terms – not just visual but also verbal – and, therefore, can learn a lot from good writing, meaning that writing is not only the verbal representation or communication of architectural content but, importantly, it has a catalytic role to play in the very production of architecture itself.

The second semester architectural design studio at Pratt introduces analysis of an urban site, building elements, and the human body in space based on previously introduced geometric principles of point, line - shape, plane – surface, volume - void. Building upon the formal rule-based systems of the first semester, this studio will utilizes the context of a site and program to investigate relationships between form, space, environment, and occupation.

Design exercises are based on analog and digital systems that develop an iterative practice operating between material and computational design approaches. Analysis is introduced in parallel with design to evaluate designs strategies based on organization, environment, and occupation. This teaches students to design relative to a context and make decision about how they want to address site and program.

For the final project, students will define two design approaches to create an architectural structure that provides spatial sequences and considers specific programs of occupation on a given site. Students develop program according to degrees of occupancy by focusing on specific activities, physical characteristics, and spatial requirements of the human body in motion. Threshold and circulation guide the spatial experience through a sequence of three to four interior spaces with defined relationships to the exterior environment.

Students are asked to take a position relative to site and program by proposing an “architectural concept.” For this studio, an architectural concept is a well-defined relationship between formal operations and programs within the specific context of the given site.

Coordinator, Robert Brackett III

F U N DA M E N TA L

DESIGN

BRIAN CHING LORI GIBBS, CRITIC

FACULTY ANTHONY BUCCELLATO CARLYLE FRASER CHE-WEI WANG GONZALO LOPEZ JACOB BEK JASON VIGNERIE-BEANE KYLE HOVENKOTTER LAPSHAN FONG LORI GIBBS NATASHA HARPER PHILIP LEE ROBERT BRACKETT III

FUNDAMENTAL DESIGN

SEMESTER II

ARCH-102

a

a

a

a

029

b

a

b

STUDENTS a. SABRINA HU b. SIYU LIU

INFORMED SYSTEMS

a

CRITIC CARLYLE FRASER

FUNDAMENTAL DESIGN

SEMESTER II

ARCH-102

a

a

b

031

b

b

b

STUDENTS a. HANNAH BACSOKA b. GABRIELLE DEL ROSARIO

INFORMED SYSTEMS

CRITIC CHE-WEI WANG

FUNDAMENTAL DESIGN

SEMESTER II

ARCH-102

a

a

033

b

b

a

STUDENTS a. GUIXIAN ZHANG b. BETTINA COLET

INFORMED SYSTEMS

CRITIC GONZALO LOPEZ

FUNDAMENTAL DESIGN

SEMESTER II

ARCH-102

a

a

035

b

b

b

b

STUDENTS a. ELIF UYAR b. LUCA VIVERITO

INFORMED SYSTEMS

CRITIC JACOB BEK

FUNDAMENTAL DESIGN

SEMESTER II

ARCH-102

a

a

a

037

b

a

b

STUDENTS a. ANTONIO VELASCO b. YIWEN ZHAN

INFORMED SYSTEMS

CRITIC KYLE HOVENKOTTER

FUNDAMENTAL DESIGN

SEMESTER II

ARCH-102

a

a

a

039

b

b

STUDENTS a. BRIAN CHING b. MARLEY OLSON

INFORMED SYSTEMS

CRITIC LORI GIBBS

FUNDAMENTAL DESIGN

SEMESTER II

ARCH-102

a

a

b

a

b

041

a

a

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a

STUDENTS a. TRUNG LE b. JIA YI LIN

INFORMED SYSTEMS

CRITIC PHILIP LEE

FUNDAMENTAL DESIGN

SEMESTER II

ARCH-102

a

a

b

a

043

b

b

STUDENTS a. CAMERON TROYANO b. DANIELLA TERO

INFORMED SYSTEMS

CRITIC ROBERT BRACKETT III

REQUIRED SEMINAR

REPRESENTATION 1

ARCH-111

a

b

045

c

d

STUDENTS a. ANTONIO VELASCO b. ZUNYI WANG c. LAYA CYBUL d. JOON AH LEE

This course consists of a lecture component, shared by all sections, and a studio component with individual instructors.

Lectures introduce technical aspects of drawing and discuss their relevance within a broader architectural discourse. Studio meetings incorporate critique, tutorials and working sessions.

The semester is organized into three distinct phases, each one builds on the previous phase. The first two phases consist of weekly exercises exposing students to a range of technical drawing techniques within a digital platform. The third phase consists of more complex, longer-term projects combining skills acquired in the first half of the semester in order to produce more speculative hybrid drawings supplemented with analog techniques.

REPRESENTATION I

FACULTY JASON LEE BRIAN DELUNA ENRIQUE LIMON DRAGANA ZORIC ASHLEY SIMONE SCOTT SORENSON LETÍCIA WOUK-ALMINO ANTHONY BUCELLATO AMIR KARIMPOUR PHILIP LEE MATT OSTROW RICHARD YOO JOHN SZOT

Drawing is the language of architecture – architects generate and communicate ideas through the act of making drawings.

The primary goals of this course are: first, to give beginning architecture students the skills required to communicate sophisticated architectural concepts through drawing; and second, to explore how the act of drawing can be generative, an arena where forms and concepts emerge. The generative and communicative skills acquired in this course will be incorporated into the student’s broader design methodology, giving her/him a tool for analysis and innovation that can be employed in design and technical courses across the architecture curriculum.

REQUIRED SEMINAR

REPRESENTATION 2

ARCH-112

a

b

a

047

b

c

b

d

STUDENTS a. JOONWOO LEE b. BRIAN CHING c. VALERIA BARDI COHEN d. WEITING SHENG

This course consists of a lecture component, shared by all sections, and a studio component with individual instructors.

Lectures introduce technical aspects of drawing and discuss their relevance within a broader architectural discourse. Studio meetings incorporate critique, tutorials and working sessions.

The semester is organized into three distinct projects, each one builds on the previous phase. The first two projects consist of weekly exercises introducing the students to the critical reading of architectural drawings as well as methods of analysis via analog and digital tools. The third project utilizes the concepts from the first two projects to re-present particular architectural ideas discovered from the stair element in the format of a collection of speculative hybridized architectural drawings.

REPRESENTATION II

FACULTY JASON LEE ENRIQUE LIMON DRAGANA ZORIC ASHLEY SIMONE SCOTT SORENSON AMIR KARIMPOUR JUSTIN SNIDER RICHARD YOO BRIAN DELUNA EUJEONG SEONG ROBERT BRACKETT III DAVID MANS LETICIA WOUK-ALMINO

Following the critical concepts introduced in Representation 1, the primary goal of this course is to introduce different forms of analytical drawings via the reading and understanding of a significant staircase from a canonical architectural project. Students are asked to explore and discover different principles derived from visual reading of source material such as existing architectural drawings, photographs of model, and renderings. The discoveries are then re-presented in a series of analytical drawings produced using a variety of techniques that incorporates analog and digital tools. This exploration culminates in the form of a constructed re-interpretation of the critical architectural element of the staircase that resides exclusively in the form of architectural drawings.

REQUIRED SEMINAR

TECHNICS

ARCH-131

a

a

b

a

049

a

c Technics introduces and cultivates, for beginner students of architecture, an understanding of potential relationships between the form, material, and construction techniques of designed things. The course explores the role of these relationships in the design process through rigorous experimentation and testing.

c

STUDENTS a. JOON AH LEE b. JACQUELINE LAI JACKY CHEN c. CHRYSANTHI THOMAIDI BRITTNEE LUTTERBACH

Through these iterative series the course examines the importance of feedback (research through iterative experimentation and testing) as a means to initiate, develop and organize design ideas. Beyond understanding its importance culturally and historically to the discipline since the enlightenment, students hone analytical thinking skills in order to craft unique evolving internal criteria by which to assess the success and failure of their work. These self-defined criteria emerge in response to specific concepts concerning structural and material performance introduced in course lectures and in-class discussions and demonstrations.

TECHNICS

FACULTY KYLE HOVENKOTTER PHILIP LEE RICHARD YOO JACOB BEK BRENDAN KELLY KYLE HOVENKOTTER MERICA JENSEN MATT KRUPANSKI ENRICA OLIVIA JUSTIN SNIDER CHRISTOPHER KUPSKI LORAINE GLOVER RODRIGO GUAJARDO

During the course, the primary mode of discovering these relationships is physical stress testing. Observing how objects resist physical forces is imperative to developing a more comprehensive understanding of the behavior of geometric form and its impact on material systems. Every week, students will construct a series of one to one assemblies, and test them in specific moments of controlled failure. These tests, executed in an iterative series, formulate an emergent hypothesis of the relationship between form and performance.

INTERMEDIATE DESIGN EXHIBITION SPRING 2019

GUIBIN ZHENG, JONATHAN SCELSA INTERMEDIATE DESIGN FINAL REVIEW, SPRING 2019

A Prose by Jonathan Scelsa

Introduction to Intermediate Design : Semester III

Pratt’s second year introduces students to the challenges and consequences organization in architecture, in terms of structure, program and spatial form. The year examines how certain urban typologies or building envelopes that occur in the urban realm lend themselves more to certain disciplinary questions than others. In the fall semester, students focused on strategies and paradigms of horizontal organization including room layout, door thresholds, wall placement, roof design and topography. Students examined, over two projects, the Mat typology or the building which is larger in width than it is tall, designed on one floor, as well as the low courtyard/atrium block as a project which creates an organization in relationship to its central void. For both urban types, floor plan became a critical strategy for our conversations within the horizontal organization.

Throughout the two projects students are asked to adapt a formal architectural strategy to engage two different types of architectural contingency. For the first project, students utilize precedent to work with internal disciplinary material in a proto-site condition. While the second features the adaptation of an existing building, asking students to test the elasticity of their formal system to address specific conditions found in the real world.

Building on the first year’s production in formal systems, Pratt’s second year thematically explores organizational systems, as implicated by urban typology,encouraging students to learn to read buildings through the language of plan + section. The fall curriculum exposes students to Horizontal paradigms across two projects that focus on the urban typologies of the Mat building and the courtyard institutional block.

Students are asked to leverage precedent as active reference material presuming that design can leverage history into new spatial agendas and organizational form.

Programmatically, students examined the museum as an institution of horizontal organization which required a system for sub-dividing rooms, structure, and a roof which could control the type and quality of light allowed into a space. The first exercise asked students to examine a canonic early twentieth century architectural engineer roof precedent as a minimum unit of structure and space. Students were then asked to differentiate that structural unit to create a field condition resulting in a plan that could accommodate a variety of spatial sizes and formal potentials.

The first project asked the students to leverage their roof design system towards the creation of a small gallery for the Pratt department of Fine arts in Brooklyn Bridge Park. Located below the goliath bridges along the East River, the site charged the students to think of the roof as the building’s ‘fifth-façade.’ This sponsored discussion about the design reciprocity between the interior planning condition of the gallery and its envelope expression on the roof. Simultaneously, the sited condition charged students to think about orientation, in terms of both park circulation and illumination. The roof became the medium of expressing the differentiation of the plan.

A a means of further familiarizing students with the problems of the courtyard and the pre-20th century wall based planning problems, students were asked to adapt their formal procedures from the first project towards the extension of a New York Landmark institution, the Cloisters Museum. Located in rich topographically charged Fort Tryon Park, students were asked to analyze the site and develop a formal planning principal for the ground condition adjacent to the existing museum. The student’s final projects became a horizontally planned architectural hybrid between the roof architectural approach from the first project and the ground game strategized for the park condition.

The Studio in project one, Multiplying Mat, asked students to develop a small Mat gallery to view and be viewed in Brooklyn Bridge Park. The student’s were familiarized with the concept of the ‘Mat-Building’ as first credited to Allison Smithson in her seminal article penned in 1974, wherein the large horizontal building due to its planometric spread begins to function like a city, programmed and formally manipulated in plan pattern like a carpet. Due to it sprawl, in the X + Y axes, across the ground, it becomes the architecture’s responsibility to provide differentiation, sequencing and organization in plan. The elements of the Wall, the Roof, the Ceiling and the ground plane become the architectural tools to hone and alter space. Students were assigned projects from a list of canonic plan based roof structuralist precedents wherein, and asked to extract the generative structural base-unit diagram behind the Roof - plan – organization. Students were then asked to differentiate this base unit towards the generation of a new field condition and establishment of an enclosed gallery in the park setting.

The Second Project, ‘Altering History’, allowed students to add rigor and hone their internal gallery organization within the specific context of a difficult existing institution.

The cloister Museum, served as an introduction to the use of the Courtyard as a horizontal organizational premise, as well as the concept that history is neither written in stone and is not always what it seems. Students begin by conducting a site + institutional analysis, whereby they extracted knowledge of the existing institution and the surrounding park. Following which they each established a site - ground planning strategy wherein student developed a new approach to accessing the difficult institution from the surrounding landscape, establishing their building as either an annex or a new entry point. The project concludes with students leveraging their plan - roof principles + site ground analysis to generate a new hybrid formal strategy that created a place of new civic engagement for their canonic architectural landmark.

Coordinator, Jonathan Scelsa

INTERMEDIATE

DESIGN

SOPHI LILLES ABIGAIL COOVER HUME, CRITIC

FACULTY ABIGAIL COOVER HUME ANNE NIXON CATHRYN DWYRE EVA PEREZ DE VEGA GREG MERRYWEATHER JANE LEA KAREN BAUSMAN MARIA VRDLOJAK JONATHAN SCELSA ERIC WONG RYCHIEE ESPINOSA SCOTT RUFF

INTERMEDIATE DESIGN

SEMESTER III

ARCH-201

a

a

a

057

a

a

MET CLOISTER

b

STUDENTS a. RACHEL PENDLETON b. RACHEL BOURAAD

EXTENSION

CRITIC ANNE NIXON

INTERMEDIATE DESIGN

SEMESTER III

ARCH-201

a

b

b

059

a

a

b

a

MET CLOISTER

a

STUDENTS a. JIAYUE (CHLOE) NI b. HANNAH KIM

EXTENSION

CRITIC CATHRYN DWYRE

INTERMEDIATE DESIGN

SEMESTER III

ARCH-201

b

b

b

a

061

b

b

a

b

MET CLOISTER

b

STUDENTS a. OWEN SPANGLER b. ZIYU CHEN

EXTENSION

CRITIC EVA PEREZ DE VEGA

INTERMEDIATE DESIGN

SEMESTER III

ARCH-201

a

a

a

a

a

a

063

b

MET CLOISTER

a

STUDENTS a. BEATRIZ MORUM DE SANTANNA XAVIER b. CAMERON CLARK

EXTENSION

CRITIC GREG MERRYWEATHER

INTERMEDIATE DESIGN

SEMESTER III

ARCH-201

a

a

a

a

065

b

b b

MET CLOISTER

a

STUDENTS a. SOPHI LILLES b. MAIKA YOSHIKAWA

EXTENSION

CRITIC ABIGAIL COOVER HUME

INTERMEDIATE DESIGN

SEMESTER III

ARCH-201

a

a

a

a

b

b

a

STUDENTS a. SHIHUA CHANG b. YUN YI (WINNIE) CAI

MET CLOISTER

CRITIC JANE LEA

EXTENSION

a

067

INTERMEDIATE DESIGN

SEMESTER III

ARCH-201

a

b

069

b

b

MET CLOISTER

b

STUDENTS a. JACOB ALVARADO b. DAYOON OH

EXTENSION

CRITIC KAREN BAUSMAN

INTERMEDIATE DESIGN

SEMESTER III

ARCH-201

a

b

b

c

071

a

a

MET CLOISTER

STUDENTS a. JULIA MENDYK b. YARZAR HLAING c. JULIA MENDYK YARZAR HLAING

EXTENSION

CRITIC MARIA VRDOLJAK

INTERMEDIATE DESIGN

SEMESTER III

ARCH-201

073

MET CLOISTER

STUDENT TROY MELENDEZ

EXTENSION

CRITIC SCOTT RUFF

A Prose by Jonathan Scelsa

Introduction to Intermediate Design : Semester IV

Pratt’s spring semester continues the Second – Year design investigation into the disciplinary problems of Urban Typologies, switching from the fall semester’s investigation of horizontal plan types towards those urban masses that are organized vertically about the architectural section. Students develop two projects through the semester beginning with a small ‘slab’ or ‘bar’ building type, one which is longer and taller than it is wide, and finish with the tower project, that which is taller than it is wide in either x or y proportion. These two types aim the student’s focus on contemporary urban sectional problems of making buildings, such as vertical circulation, structure, and the civic procession.

Building on Pratt fall semester, thematically exploring organizational systems, in plan. The spring curriculum exposes students to Vertical paradigms across two projects that focus on the urban typologies of the Slab building and the tower. Students are asked to leverage precedent as active reference material presuming that design can leverage history into new spatial agendas and organizational form.

The studio in project one, ‘Deconstructing Dom-ino,’ asked students to develop a small slab building for a film production company in order to establish a critique of an enduring 20th century structural – architecture diagram. Designed in 1914, Le Corbusier’s Maison Dom-ino, existing predominantly as a perspectival drawing, the Dom-ino diagram, served as a reduction of Architecture to a structural framework, trading in the load bearing facade and balloon construction for reinforced flat-slab concrete, spanning and cantilevering between columns with light penetrating horizontally as in a factory. Corb’s architecture for the city of the future was that of the Free-Plan,eliminating internal wall planning and facade design as the mere results of the contingencies of context, program and situation. Students were assigned a sectional precedent project and were asked to extract the project’s generative diagram that served as a criticism of the diagrammatic tyranny of the Domino. Student’s expanded and reproduced the diagram surrounding its void, and circulatory nature within the Slab Buildings bounding box producing an experimental internal configuration that was in turn, dressed with facade striking an internal external relationship.

The second project presented students with a more complex tower site in Manhattan, for the design and development of a of a Moving Image Film Studio and Cinematheque. The cinematheque, as a celebration of the moving image and Guy Debord’s society of the spectacle prompted discussions on the image as a visual perception device, for re-creation of subject matter, a replacement often a visual simulacrum as a stand-in for the real. The cinematheque as a space for collective viewing, provoked students to task their organizational system from the first project towards the product of an urban vertical promenade, leveraging the stair and oblique as a strategy for organizing institutional space of the city.

Unlike the horizontal building which historically was predicated on heavy wall as a means of dividing space, students become exposed to vertical twentieth century architecture by familiarizing themselves with an enduring 20th century structural-architectural diagram, the Dom-ino. From the outset in the first exercise, students develop analytic skills while examining a canonic late twentieth century project that phrased a direct critique of Corbusier’s Diagram.

Students will analyze the assigned precedent, to extract the formal system’s strategy for establishing differentiated approaches towards vertical circulation, vertical structural system, and programmatic arrangement. Student’s then leverage this differentiated approach towards the assemblage of a new assigned program in both projects.

Programmatically, our two projects focused on the production and viewing of Film and the moving image as it relates to architecture. The focus on film, typically viewed or seen in a format involving raked seating, serves as a means to charge the student’s section as well as to provide them with an institution that has the potential of serving as a vertical promenade. The program challenged students to examine both spaces of controlled lighting not exposed to the outer sun, while other spaces such as production offices required environmental connections.

Our first project created a new home for a film production company that we referred to as ‘Higgins productions,’ inclusive of spaces for viewing, production, and editing. Student’s were provided with a ‘proto’ urban site, which included a long façade to the street and to a rear garden as well as a solar orientation. This project allowed students to manipulate their analyzed precedent’s structural – spatial organization towards the new dark – light program and circulation requirements of screening, editing, and filming. The long facades of the slab provided students with a means of exploring the relationship between the inside of the building and its expression toward the urban realm, while also considering the shading and illumination requirements therein.

The second project hybridized the program from the first project with that of the cinematheque requiring students to deploy several internal ‘houses’ for the viewing of film. Students were provided with a uniquely New York condition of the trapezoidal three-sided block formed between Houston, Lafayette and Mulberry street, rooted in the urban metropolitan transit system. The site further engaged the students with three prominent facades through which the building’s promenade became spectacle, asking students to consider the relationships between the inner environment and the city beyond.

Coordinator, Jonathan Scelsa

INTERMEDIATE

DESIGN

JASPER ANDERSON MICHAEL CHEN, CRITIC

FACULTY AJMAL AQTASH ENRIQUE LIMON ERIC WONG JASON LEE JONATHAN SCELSA MICHAEL CHEN MICHAEL MORRIS MARIA VRDOLJAK LIVIO DIMITRIU RYCHIEE ESPINOSA RICHARD SARRACH ZEHRA KUZ

INTERMEDIATE DESIGN

SEMESTER IV

ARCH-202

a

a

a

077

a

a

b

b

STUDENTS a. ZIYU CHEN b. NOAH ROSENBERG

CINEMATEQUE

CRITIC AJMAL AQTASH

INTERMEDIATE DESIGN

SEMESTER IV

ARCH-202

a

a

a

a

079

b

b

STUDENTS a. VEIRALYS PAREDES b. JUAN ARISTIZABAL PEREZ

CINEMATEQUE

CRITIC ENRIQUE LIMON

INTERMEDIATE DESIGN

SEMESTER IV

ARCH-202

b

a

a

081

b

b

a

STUDENTS a. SOPHI LILLES b. JIAYUE (CHLOE) NI

CINEMATEQUE

CRITIC ERIC WONG

INTERMEDIATE DESIGN

SEMESTER IV

ARCH-202

a

a

a

a

083

b

a

STUDENTS a. RACHEL PENDLETON b. HUIHANG XU

CINEMATEQUE

CRITIC JASON LEE

INTERMEDIATE DESIGN

SEMESTER IV

ARCH-202

a

a

a

a

a

085

a

b

b

b

b

STUDENTS a.YARZAR HLAING b. MARIANA ORELLANA

CINEMATEQUE

CRITIC JONATHAN SCELSA

INTERMEDIATE DESIGN

SEMESTER IV

ARCH-202

a

a

a

a

087

a b

b

b

STUDENTS a. ANNA ELISSE UY b. MAIKA YOSHIKAWA

CINEMATEQUE

CRITIC LIVIO DIMITRIU

INTERMEDIATE DESIGN

SEMESTER IV

ARCH-202

a

a

a

089

b

a

b

a

STUDENTS a. HANNAH KIM b. JASPER ANDERSON

CINEMATEQUE

CRITIC MICHAEL CHEN

INTERMEDIATE DESIGN

SEMESTER IV

ARCH-202

b

b

a

a

091

b

b

b

STUDENTS a. GABRIEL PALILEO b. YI-AN (ANNIE) ZHOU

CINEMATEQUE

CRITIC MICHAEL MORRIS

INTERMEDIATE DESIGN

SEMESTER IV

ARCH-202

a

a

a

093

b

b

b

STUDENTS a. JOON OH LEE b. OTTO HALLSTRUP

CINEMATEQUE

CRITIC RICHARD SARRACH

INTERMEDIATE DESIGN

SEMESTER IV

ARCH-202

a

b

a

b

095

b

b

b

STUDENTS a. JU HEE LIM b. RENAN TEUMAN

CINEMATEQUE

CRITIC RYCHIEE ESPINOSA

INTERMEDIATE DESIGN

SEMESTER IV

ARCH-202

a

a

a

a

097

b

b

b

a

STUDENTS a. HE (HEATHER) DONG b. WINSTON CHEN

CINEMATEQUE

CRITIC ZEHRA KUZ

REQUIRED SEMINAR

REPRESENTATION III

ARCH-211

a

099

c

d

FACULTY JASON LEE OTTO RUANO ADAM DAYEM EZIO BLASETTI SEBASTIAN MISIUREK DANIELLE WILLEMS AMIR KARIMPOUR

b

STUDENTS a. LARA COPAESCU b. OWEN SPANGLER c. CRYSTAL GRIGGS d. JUNGBIN PARK e. YEHU HWANG

Building on the skills developed in Representation 1 and Representation 2, this course focuses on developing students’ fluency in digital 3D modelling, parametric tools, and advanced visualization. Digital modeling will be approached as an integral technique for exploring and determining design intent and morphological investigations. All students will be asked to focus on advanced modeling and rendering techniques.

Additionally, the projects will emphasize the analytical possibilities of digital tools by developing a proficient workflow using a variety of publication platforms. Students will also be introduced to a series of advanced techniques such as parametric tools, digital fabrication workflow, and animation tools for future architectural inquiries.

REPRESENTATION III

e

REQUIRED SEMINAR

ARCHITECTURAL MATERIALS

ARCH-261

a

b

a

MATERIALS

ARCHITECTURAL

b

This course sets the basis for using wood, stone, brick masonry and concrete as architectural and structural materials. The students learn the history of these materials, their processing and manufacture, as well as current applications and future trends. In addition, the basics for evaluating any material for appropriate use are outlined. The concept of Sustainability using the LEED system is introduced. The class format includes lectures with images and commentary from the faculty group, as well as small seminar sessions for discussion, project development and presentations. Team projects require research, analysis and evaluation of built LEED rated sustainable structures of small scale wood construction.

Emphasis is placed on understanding how to assemble structures in three dimensions and the interrelationship between materials and energy efficient design.

FACULTY MICHAEL TRENCHER DOUGLAS CUTSOGEORGE ERIC WONG GREG MERRYWEATHER KATHY DUNNE ROBERT ZACCONE STEPHANIE BAYARD WILLIAM BEDFORD ZEHRA KUZ STUDENTS a. JASPER ANDERSON RACHEL PENDLETON b. BEREN SARAQUSE SOPHI LILLES

b

ARCH-262

A R C H I T E C T U R A L A S S E M B L Y S Y S T E M S 101

a

c

a

b

ARCHITECTURAL

b

STUDENTS a. JASPER ANDERSON CRYSTAL GRIGGS b. BRANDON PANIAGUA MICHELLE SHIN c. NOAH ROSENBERG DIVYA SHAH

This course builds on the information from the Materials class, emphasizing the integrated assemblage of fundamental building parts. The students study the selection criteria for structural systems, as well as building components for roofs, exteriors and interiors. Additional materials, such as glass, plastics and non-ferrous elements are included, and all subjects include a discussion of sustainability issues. Within the seminar sections, a comprehensive precedent analysis of a completed building is done in groups. Using the curtain wall as a paradigm for these integrations, emphasis is placed on projects with new technologies, including “smart walls”.

Subsequently, a scale model of a building curtain wall assembly from the precedent study is built to emphasize the three dimensional nature of buildings and highlight the coordination issues between the building systems.

ASSEMBLY SYSTEMS

FACULTY MICHAEL TRENCHER DOUGLAS CUTSOGEORGE ERIC WONG DRAGANA ZORIC KATHY DUNNE ROBERT ZACCONE STEPHANIE BAYARD WILLIAM BEDFORD ZEHRA KUZ

COMPREHENSIVE DESIGN STUDIO SPRING 2019

LARA KABADAYI + DANIEL INFANTE, DAN BUCESCU COMPREHENSIVE DESIGN FINAL REVIEW, SPRING 2019

The Pedagogical Objective

Introduction to Comprehensive Design: Semester V

In describing the third-year housing studio, it must be placed within the larger pedagogical objectives of the core design sequence. This includes not only the first- and second-year studios, but also synthesis with the third-year curriculum; specifically, Professional Practice, Building Environments & Services and Construction documentation classes. Each plays an active role in the development of the studio project; tapping into conditions assimilated in previous studios as well integrating concepts being cultivated and incorporated simultaneously into the design of the dormitory project.

The pedagogical objective of the third-year studio comprehensive design sequence is to develop the abilities to integrate and synthesize the following; issues of site, program, structure, material components and assemblies, building service, zoning and code compliance, accessibility, and life safety issues into a coherent building design. This studio in particular challenges students to demonstrate the ability to produce a highly developed and comprehensive architectural project of moderate programmatic complexity through exploration of the social, material and architectural issues intrinsic to the program of housing and the University dormitory type.

The programmatic subject of the semester, dwelling, encourages investigations into the political, formal, and social aspects of the ever-dissolving line between the private and public sphere.

Perspectives will be tested through exercises focusing on the insertion of various public + semipublic programs into the sphere of domesticity as a means of interrogating/questioning existing norms. Strategies will consolidate on the student’s attitude toward innovation in the social environment at multiple scales.

The studio was taught by 10 critics, each with their own voice and interests. Although the breath of interests varied greatly, it was essential to maintain consistency amongst the group. Thus, common themes, strategies and objectives emerged. To diagnose and identify these, the following “studio objectives” were presented in conversations with several of the critics who taught the studio: The pedagogical objective of the third-year studio comprehensive design sequence is to develop the abilities to integrate and synthesize the following; issues of site, program, structure, material components and assemblies, building service, zoning and code compliance, accessibility, and life safety issues into a coherent building design.

Thus, the responses (both as themes and words), act as the key design activators of the studio.

Of primary importance was the discussion of developing the projects through section, perhaps attributable to the use of precedents such as Le Corbusier’s Unite d’Habitation, where the notion that a house is “a machine for living in” becomes a point of departure. Multi-level units and themes of “interlock” become the elements in a “part to whole” strategy; where “clusters” or “chunks”, of program/social groupings initiate a series of aggregations that result in an overall organizational strategy.

Over the course of the semester, students will design a midrise undergraduate housing community consisting of 150 beds integrated into single, double or multi- person suites for St. Francis College; a private, co-educational college located in Brooklyn Heights. Design of the dormitory will be done in teams of two students with the integration of consulting engineers in the disciplines of facade, structure and environmental systems. The 15,675 SF full block site, a short walk from the Dumbo campus, houses the former Brooklyn Railroad building from 1861, a landmarked building that the students must engage in adaptive reuse, will be the location of the studio exploration. Students will be required to engage design issues at the scale of the individual dwelling unit, the assemble building and the shared perimeter block. A final design is expected to perform not just as a formal and tectonic invention but as a critical investigation of program and social culture.

The design of a medium density dormitory is an opportunity to examine three problems with varying parameters:

Other key words/concepts from the discussions: Environment: (General and specific to project) Responses included the importance of incorporating/addressing resiliency and sustainability.

Additional elements the conversations addressed; views; NYC and the Brooklyn Bridge, roofscape/ landscapes, courtyards, light/air and adaptive reuse were important factors incorporated into the overall design.

Mediation: Mediation was a significant theme as if became applicable across many realms: as it relates to teams (projects done in pairs), ideas, interior/exterior conditions, scale and the human body, desires, the space of the in-between (liminality). Mediation was discussed in terms of negotiating social and cultural conditions: students life transitions, new experiences, new friends, new city, new methodologies of learning to name a few.

Threshold: Both physical and metaphorical. Discussions surrounding thresholds ranged from dealing with the edge; the first space of exchange to discussions of the ever-dissolving fine line between public and private. Economic thresholds, social thresholds, gender, equality, equity became topics.

Disruption: Embedding program/s that interrogated/deviated from normal conditions of the preconceived domestic institution was a common theme. These elements investigated shifts to possible new social/spatial models in transformation of personal lives and lifestyles. Perhaps the “disruptions” stem from the writings of the German sociologist Elisabeth Beck-Gernsheim who suggests our lives are no longer set by class, religion, tradition, family and kin relations, but rather by new institutions such as the labor market, the welfare state, and the educational system which foster individual choice and variable life trajectories. Maybe this is the disruption needed.

1. What it means to dwell within an urban area: Internally – the unit typology, the nature of its composition, an articulation of the live/study arrangement and the activation of shared communal space.

Externally – the visual and physical relationship to outdoor space and surrounding context.

2. An investigation of form as a response to multiple limitations: formulating a building project from the opportunities presented by the safeguards and restrictions that governmental authorities prescribed for multiple dwellings.

3. The idea of an architectural identity expressed through the façade: understanding the external skin as a unique overlaid system of relations – environmental, social, organizational, tectonic, etc.

Coordinator, Lawrence Zeroth

COMPREHENSIVE

DESIGN

ALESSANDRA CARRENO + ISABELA CAMPILLO GONZALO CARBAJO, CRITIC

FACULTY ANDREW LYON BETH O’NEILL DONALD CROMLEY EUNJEONG SEONG GONZALO CARBAJO LAWRENCE ZEROTH LEONARD LEUNG MICHAEL TRENCHER RONALD DIDONNO SALVATORE TRANCHINA

COMPREHENSIVE DESIGN

SEMESTER V

ARCH-301

a

a

a

a

a

109

a

b

a

a

a

STUDENTS a. ZIYI XIANG JIN’CI ZHU b. RAYMOND ASSIS GRAHAM ROSE

DORMITORY

CRITIC DONALD CROMLEY

COMPREHENSIVE DESIGN

SEMESTER V

ARCH-301

a

a

a

111

b

b

b

STUDENTS a. EMMET SUTTON b. BEN ERICKSON TYLER JAVITZ

DORMITORY

CRITIC EUNJEONG SEONG

COMPREHENSIVE DESIGN

SEMESTER V

ARCH-301

a

a

a

a

b

113

b

b

b

STUDENTS a. ALESSANDRA CARRENO NOVOA ISABELA CAMPILLO VALENCIA b. PEIYE YANG HAMZA HAMDEH

DORMITORY

CRITIC GONZALO CARBAJO

COMPREHENSIVE DESIGN

SEMESTER V

ARCH-301

115

STUDENTS MEIHAN LIU SHUAI YANG

DORMITORY

CRITIC LAWRENCE ZEROTH

COMPREHENSIVE DESIGN

SEMESTER V

ARCH-301

a

b

a

a

a

b

CRITIC MICHAEL TRENCHER STUDENTS a. JAKE NEEDHAM MARLENA TODD b. KYLAN CONNOLLY CHRISTOPHER BROWN

DORMITORY

a

117

COMPREHENSIVE DESIGN

SEMESTER V

ARCH-301

a

a

119

b

a

a

STUDENTS a. AYRTON LILLES CAL MCAULIFFE b. XIN CHEN DANLEI YANG

DORMITORY

CRITIC SAL TRANCHINA

Contextual Artifact: A Question of Envronmental and Communal Integration

Introduction to Comprehensive Design: Semester VI

The pedagogical objective of the spring third year design studio is to explore the cultural and architectural issues intrinsic to the siting of a University rowing boathouse along a public waterway while also incorporating a community-outreach program for local residents and neighborhood youth. This studio anchors its design exploration in a series of investigations focused around the integration and synthesis of the built form or “artifact” and its relationship to site, program, building systems, sustainability and the social condition within a community. Continuing from and building on previous 5 semesters of core studio investigations focused on both formal and organizational systems as well as the understanding of historical precedent to anchor critical design thinking, the students are challenged to expand on the lessons learned in Arch 301 and demonstrate their ability to produce a comprehensive architectural proposal. One project of moderate programmatic complexity on a site that can be visited, allowing students to engage multiple design issues across varying systems and scales while challenging the students to execute their concepts to a high level of resolution and integration.

The 3rd year comprehensive housing studio challenges each student to test their conceptual ideas within the framework of dwelling and “encourages investigations into the political, formal, and social aspects of the ever-dissolving line between the private and public sphere.” The students are to test and anchor their design investigations in the “analogue”, “site” and the “artifact”. Each component is explored through a series of studies specifically calibrated to the private and public realm of dwelling.

Students will be able to describe and develop a well-integrated building proposal for a boathouse typology in collaboration with professional engineering consultants – structural, environmental and façade – in order to comprehend the technical aspects and constructability of the built form, building systems and materials across varying scales. Design of the building façade will be a critical area of inquiry addressing technical and environmental opportunities related to the envelope assembly. This includes but is not limited to increasing thermal performance, passive ventilation and cooling, and generation of on-site renewable energy.

From specific design exercises that focus on the body/boat scale to the building/site scale, students will comprehend research as a critical component of design thinking. The boathouse shed choreography that critically examines how the boats are stored, accessed and perform along with precedent analysis will inform this process. Students are challenged to explore their design thinking through a series of “analogue” studies specifically calibrated for the performative aspects of rowing. They range from the specificity of the boat launch and delivery method; to the mechanics of the rower and the human body in various states of change; to the steady and unsteady state of flow associated with the boat in motion.

Students will also demonstrate their ability to design a well-integrated building in response to a campus context through site analysis, boathouse organizational studies and final building proposal that takes into consideration the adjacent Columbia Baker Field sports complex and the Inwood Hill Park waterfront. Hardscape including pedestrian access, car and boat trailer parking must be considered as part of the design. Softscape and permeable surfaces along with the provision for ground source heating and cooling will address some of the critical issues of environmental stewardship. Students will also demonstrate their ability to design a public building and its immediate site incorporating broad integration of building systems that respond to the codes and regulations particular to the boathouse typology, including the principles of life safety and accessibility standards.

Students are asked to reimagine the current Columbia rowing facility and provide a new construct that engages the community. Beyond the programmatic requirements for rowing which include boat storage, boat repair, boat trailer loading area and locker areas; community related programs of classrooms, training rooms, and a multipurpose space intended for both community and University events are introduced. Corresponding exterior spaces that provide for and enhance social and community gathering are woven into the overall project design. With a restrictive rowing season, the new boathouse complex and it’s surrounding edge conditions are re-examined and re-focused to engage the urban and natural components of the site. “Site” and the manipulation of the found condition through acts of documentation, observation, removal, erasure, incision, filling, etc. allow its physical and psychological boundaries to be re-defined. A process of re-constitution occurs through acts of incision, edge manipulations and thereby precisely flushing out the maximum potential of site. Located along the edge of Harlem River, between the Boathouse Marsh and Inwood Park, the project can fully engage the existing natural and artificial surroundings, challenging the students to reconcile and interface their project with the additional context of the city and its residents. Within these boundaries, the fullest of potentials and opportunities abound for both community and architectural engagement.

“Analogue” as it relates to the individual unit cell and the “assemblage”. A series of private and public dwelling component or “kit of parts” are identified, re-defined and aggregated into a series of new dwelling components that can be placed within the private and public realm of the dwelling unit as a spatial subset. These subsets are then tested against the constraints of both the program and “site”.

“Site” and the manipulation of the found condition.

Through acts of removal, erasure, incision, filling, the site’s physical and psychological boundaries are questioned and redefined. A process of recalibration occurs through precise acts of manipulation at the center and outward towards its edges. Investigations of the micro and macro oscillations between the found natural and built “artifacts” are flushed out to reveal the maximum latent potential of “site”.

“Artifact” and the tectonic expression derived from the tested ideas of both “analogue” and “site”. “Artifact” as a precisely calibrated spatial instrument through which surface, skin, structure, sustainability and “site” responses come together to provide an appropriate and cohesive spatial whole.

Coordinator, Leonard Leung

COMPREHENSIVE

DESIGN

PEIYE YANG + ABHISHEK THAKKAR LEONARD LEUNG, CRITIC

FACULTY ANDREW LYON ANE GONZALEZ LARA BETH O’NEILL DAN BUCSESCU DONALD CROMLEY GUILIANO FIORENZOLI GONZALO CARBAJO LAWRENCE ZEROTH LEONARD LEUNG RONALD DIDONNO SALVATORE TRANCHINA

COMPREHENSIVE DESIGN

SEMESTER VI

ARCH-301

b

a

a

123

a

b

b

STUDENTS a. ADRIAN IANETTI MICHAEL RAYMUNDO b. NICOLE KAZAKEVICH NICOLE RZADKOWSKA

BOATHOUSE

CRITIC ANDREW LYON

COMPREHENSIVE DESIGN

SEMESTER VI

ARCH-301

a

a

b

125

a

b

a

b

STUDENTS a. ONYINYECHI EGBOCHUE IDA HANSEN b. BEN ERICKSON TASNIM ABDELKARIM

BOATHOUSE

CRITIC ANE GONZALEZ LARA

COMPREHENSIVE DESIGN

SEMESTER VI

ARCH-301

b

a

a

127

b

b

b

STUDENTS a. ALESSANDRA CARRENO NOVOA TALYA POLAT b. ISABELA CAMPILLO VALENCIA CAL MCAULIFFE

BOATHOUSE

CRITIC BETH O’NEILL

COMPREHENSIVE DESIGN

SEMESTER VI

ARCH-301

a

a

a

129

a

b

STUDENTS a. LARA KABADAYI DANIEL INFANTE b. TIANGE GUO AKIL PHILIP

BOATHOUSE

CRITIC DAN BUCSESCU

COMPREHENSIVE DESIGN

SEMESTER VI

ARCH-301

131

STUDENTS NOUR SABER JAMES ROTONDO

BOATHOUSE

CRITIC GIULIANO FIORENZOLI

COMPREHENSIVE DESIGN

SEMESTER VI

ARCH-301

a

a

a

a

133

a

b

b

STUDENTS a. PEIYE YANG ABHISHEK THAKKAR b. ZIMING YE DONGJUN WANG

BOATHOUSE

CRITIC LEONARD LEUNG

COMPREHENSIVE DESIGN

SEMESTER VI

ARCH-301

a

a

135

a

b

CRITIC RONALD DIDONNO

b

STUDENTS a. SIMIN YANG HOYEON LEE b. SUVIAN TAN JONATHAN TJHANG

BOATHOUSE

a

BUILDING ENVIRONMENTS

ARCH 364

a

REQUIRED SEMINAR

BUILDING

ENVIRONMENTS

a

Arch-361 Building Environments, is a course that focuses students’ understanding of the underlying principles that effect the comfort of our spaces, and how to in turn respond with sustainable design strategies and architectural thinking to provide solutions or take advantage of opportunities.

Building environments as a whole, straddle a complex and often times tenuous relationship between the quantifiable data of hard scientific principals and the subjectivity of the ideal of human comfort. Light, sound, temperature, and energy all have measurable quantities calculating their absolute magnitude. However, our internalized perception of these science-based values is frequently subject to individual preferences of light, dark, warm, cold, quiet, loud; all of which are nebulous adjectives of deeply personal and therefore relative meaning.

b This course seeks to explore that polarity by first examining the scientific principles latent to achieving the spectrum of relative “human comfort” followed immediately by the use of design to implement and test its application. With each passing week, students are exposed to the “first principles” founded in natural systems and building science in order to gain an underlying grasp of the concepts that effect our environmental performance. These concepts are explored in detail through the lens of an architect with a focus of how our building systems can offer sustainable solutions. The follow up to each lesson students are tasked with designing a response to these principles using architecture as a foil that filters or amplifies the underlying principles, through an in class drawing exercise. Each of these exercises accretes into a book of explorations and sustainable applications that students can take forward with them as they progress through their studies.

c FACULTY REESE CAMPBELL KEN ANDRIA PATRICK CURRY BRENT PORTER DEMETRIOS COMODROMOS BEN ROSENBLUM ROSARIO D-URSO JESSICA BRISTOW KYRIAKI GOTI STUDENTS a. RANIM HADEED b. KRISTOPHER PATTON SIMON SALAZAR c. KYLAN CONNOLLY CHRISTOPHER BROWN

ARCH-581A.08

a

BUILDING SERVICES

137

b

c

Specific topics of discussion include the development of high-performance enclosures, foundational

Both courses taught from Fall to Spring work in tandem to provide students with a comprehensive look at the science behind how we control our environmental systems, and offer sustainable solutions to both passive and active systems with in our buildings.

BUILDING

STUDENTS a. COCO WANG OLIVIA CHEN b. KYLAN CONNOLLY JAKE NEEDHAM c. KEVIN HARRIS

understanding of the balance necessary for mechanical systems, systemic organization of plumbing systems, distribution of electrical systems and lighting design, the importance and hierarchy of life safety & fire protection, implementation of vertical transportation, and control of acoustics performance. As is the case in the previous Building Environments course, emphasis is placed upon integrated design and concepts of sustainability such as site-integrated building systems, active sustainable design strategies, energy efficiency, and intelligent building integration of combined systems.

SERVICES

FACULTY REESE CAMPBELL KEN ANDRIA PATRICK CURRY JESSICA BRISTOW DEMETRIOS COMODROMOS BEN ROSENBLUM ROSARIO D’URSO SCOTT SORENSON

As the previous Building Environments course aims to found the students with essential knowledge and application to passively expand the realm of comfort and a building’s capability through sustainable design strategies, most climates reach a point when the exterior conditions are simply too hot, or too cold, or too humid, or even too dry. At this point our buildings require the implementation of active systems to temper our environments and maintain comfort. Combining this tempering with the need for operational functionality for power, water, sound attenuation, and principles of life safety, Arch 362 – Building Services rounds out the student’s knowledge of both passive and active system design.

REQUIRED SEMINAR

ARCH 364

CONSTRUCTION DOCUMENTS

a

a

a

a

b

139

d

a

The building type is based on each students 301 Design Studio Project. Using Revit Building Information Modeling software, students integrate their previous semesters completed 301 Studio design projects with code, zoning and ADA learning from Professional Practice and building science from Architectural Assemblies Systems.

Students convert their Rhino design model into a REVIT model to be further developed, and from which traditional two dimensional construction documentation

d set is generated. Additionally, students are introduced to industry standards and market resources to assemble product data for bathrooms, kitchen and interior finishes, prepare specification outlines and execute a sample three part specification for their building enclosure and obtain manufacturer provided Revit families for building detail development.

The required scope of work is abridged so students can develop all aspects of a modular residential unit plan, full ground floor plan, typical floor plan, one building elevation, one building section and one exterior detailed wall section of the modular unit plan, and all supportive and coordinated details, schedules and specifications into 20 sheets of construction documentation using Revit Building Information Modeling software.

CONSTRUCTION

STUDENTS a. KRISTOPHER PATTON b. CAL MCAULIFFE c. PASSACHON WIYAPORN

Arch 364- Construction Documentation provides a level of understanding and competence in the preparation of construction documents for the construction of a medium sized building with emphasize on how to transform a design project into construction documents which communicate the design to the project team.

DOCUMENTS

FACULTY ROBERT ZACCONE ANTHONY BUCCELLATO CHRISTA WARING CARLYLE FRASER DOUG CUTSOGEORGE GREG SMITH GUSTAV FAGERSTROM LARRY ZEROTH LENNART ANDERSEN NICHOLAS AGNETA NICHOLAS KOUTSOMITIS NICHOLAS MUNDELL OTTO RUANO

ADVANCED DESIGN DISTINGUISHED PROJECTS REVIEW FALL 2018

BAHAR PARTOVI, ADAM ELSTEIN DISTINGUISHED PROJECTS REVIEW, FALL 2018

A Conversation between Deborah Gans and Lawrence Blough

Introduction to Advanced Design Research

Lawrence Blough and I have sat on various curriculum committees together and happily team taught Degree Project among other elective studios. We mused about our experiences over coffee.

Advanced Design studios occupy a special free and exploratory space within the curriculum. They occur between the achievement of competencies required by the core’s integrative design studios and the demands of the final Degree Project. This freedom is given to the professors who define the semester studio subject as well as to the students who choose among them.

LB: Students need to have the opportunity and responsibility to take on a complete project in these studios. In the core, students learn to think on their feet, to be nimble as they respond to multiple short assignments. Taking on a single, semester long project is a new challenge, especially because that project is framed as a provocation, rather than a directive, to rethink the space of diplomacy or the future of the parking lot. The student needs to investigate and then take a position by delivering a set of responses to site, environment, tectonics and form.

DG: The students become responsible for the program beyond a list of square footages, as a project narrative. To some degree, they have done just that every semester but in a less self conscious and complete way. I wish we could figure how to teach program with some of the rigor we teach form.

Your elective seminar on program takes that on.

LB: It asks, “What is the fit between Form and Program?” That is a central question in elective studios.

DG: We also need students to ask, “What constitutes an architectural idea?” Especially these days, with our awakening to social and environmental imperatives, students need to be able to distinguish between architecture per se and its socio-economic context. What cultural or social conditions are operative in the architecture itself; and what should be identified as external to it? If the times were different, perhaps we wouldn’t have to disentangle the idea of affordable housing from affordable rent, for our students.

LB: We tend as architects to over determine, to prescribe rather than allow. What are the fits but also misalignments? How do the misalignments of form and programs drive new organizations?

How do we get to our impulse for more cultural content through an opening up of form? Form to what ends?

DG: Most of our studios engage emerging culture from the center of the discipline. But there is also a new drive at Pratt, as in many other schools, toward the research studio.

LB: In my seminar we look at applied and pure research in American Universities in the 20 th century. First, institutions would tap into money through research into experimental structures.

Then, in the 60’s, the research focused on behavior models- which was called environmental design.

DG: You could say Venturi’s research studios at Yale were their tail end and a segue into a linguisticanthropological model.

LB: Koolhaas’ research studios at Harvard are anthropological speculation using design as its leader.

DG: One new model – which is also an old model of the military industrial complex- is to partner with industry. If that sponsor provides a true forum for speculation, like in our NASA studios, the partnership can be open ended; but if the sponsor is a commercial industry, the project can seem over determined. We need to beware of the traditional client-architect relationship where we wait for someone to essentially hire us for short term ends. We need to consider longer term impacts – environmental and social, like beautiful structures of affordable sheet material produced through complex folding.

LB: Dean Harriss has asked us to figure out what an architect is going to do in thirty years. If we are going to remain relevant, the research questions we should be asking have to do with forms of labor, monetization, public policy and entrepreneurship. They aren’t centered in our discipline perhaps at the end of the day. But it has to start there. We have to be at the table.

This year also saw the launch of our IDC sponsored studios after we received a grant from the Institute of Design & Construction to explore new relationships between construction and design. Professor Duks Koschitz initiated a series of lightweight material prototype fabrication studios with Prof. Che-Wei Wang, Professor Frederick Biehle explored the investigation of mass timber technologies with Professor Eunjeong Seong in their Timber in the City studios, and I collaborated with Professor James Garrison from the Graduate Architecture department to investigate new modes of prefabrication modular construction for affordable housing.

While the IDC studios offer a broad range of subject matters, the overall curation of topics ensures that the semesters’ offerings address topics of concern - such as the ecological resiliency and fabrication technologies, and also fields not fully explored with the core - such as landscape and urbanism. In addition, the issue of stakeholders and community engagement are also areas where the advanced design studios are able to engage through our semester abroad and excursion programs, where students have the opportunity to spend a semester studying in Rome and its urban form, travel by train across Taiwan and Japan for an immersive experience of craft culture, as well as the various collaboration our students conduct with architectural programs in various locations such as Argentina or Brazil.

The common goal of all the studios is to increase the students’ independence and critical thinking. By the third semester, students are encourage and expected to take a stance vis-à-vis a design problem, employ a methodology suited to the development of their ideas, and articulate their choices - verbally as well as through visual means. With this level of mastery they will be prepared to engage the research and self-determined design process required by Degree Project.

Lastly, we would like to remember the following faculty who passed away this past year. Each had played a critical role for so many students through the Advanced Design studio sequence. Enrique Limon introduced our students to the complexity of aviation planning when he brought in the NY-NJ Port Authority to engage our students with their expertise; Lou Goodman, who had taught a version of his advanced design studio to countless number of students where he provided the opportunity for students to investigate the tension between the craft of material connections and the nuanced complexity of a context; Bill Menking, who teaches in our History & Theory area, collaborated with Professor Dagmar Richter to lead our students through significant and obscure sites of interests through Europe in their Berlin Summer travel studio, which sometimes includes crashing a wedding a reception to get a first hand look at Villa Tugendhat., and former visiting faculty Michael Sorkin who reminded our students the importance to question the status quo through the teaching of his experimental urban design studios. students the importance to question the status quo through the teaching of his experimental urban design studios.

Undergraduate Associate Chair, Jason Lee

A DVA N C E D D E S I G N

RESEARCH

SABRINA TEDINO + SERRA OZEDEMIR CHRISTIAN LYNCH + REESE CAMPBELL, CRITICS

DUKS KOSCHITZ ENRIQUE LIMON EUNJEONG SEONG THEOHARIS DAVID GONZALO LOPEZ GUILIANO FIORENZOLI GREG MERRYWEATHER FEDERICK BIEHLE FEDERICA VANNUCCHI GUILLERMO BANCHINI MARIANA KAVALIREK REESE CAMPBELL RICHARD SARRACH MARK RAKATANSKY

FACULTY ERIC WONG ZEHRA KUZ TULAY ATAK JASON LEE TED NGAI ADAM ELSTEIN AJMAL AQTASH LOU GOODMAN JAMES GARRISON SOPHIA GRUZDYS CHE-WEI WANG CHRISTIAN LYNCH DAN BUCESCU DEBORAH GANS DRAGANA ZORIC

ADVANCED DESIGN RESEARCH

SEMESTERS VII, VIII, IX

ARCH-401/402/403

a

b

b

147

b

b

STUDENTS a. BAHAR PARTOVI b. DIANA OH LOCATION ASTORIA, QUEENS, NY

• What would it mean to design a room for people who are hallucinating? An acoustic space for people who are screaming or catatonic? A light-scape for people with severe circadian rhythm disorders?

• What kinds of visual, acoustical, material, and spatial qualities are appropriate for spaces of psychological healing?

• How can we give people freedom but prevent them from harming themselves?

• How can we create a scaffold for communal interaction that allow people to recover and grow?

Answering these questions requires us to think in new ways about how to modulate sound and light. They provide an “edge case” that asks us to consider how we engage the agency of Architecture in context of unique programmatic and spatial constraints.

HELLSGARE/

CRITIC ADAM ELSTEIN

This semester, we will examine the ethics of architectural control by exploring the relationship between community, housing, and mental health. Our goal will be to design a small intentional co-housing community for patients suffering from mental illness and their care givers. This community will provide both short term care facilities for patients in an acute phase of their illness and longer term housing for those in recovery. It should accommodate fifty clientresidents and associated therapeutic staff.

The unique experiences and needs of our user

population will determine the specificities of our response to program. We will confront the following kinds of questions:

BRIGHT PASSAGE

The goal of this studio is to examine a core agency of Architecture-the extent to which built form can shape alternative modes of living. Architects have long asked how architecture can and whether architecture should control the lived experiences of those who use it. As French philosopher Michel Foucault has taught us, the question of architectural control is never sharper than in the context of institutions such as prisons and mental hospitals.

ADVANCED DESIGN RESEARCH

SEMESTERS VII, VIII, IX

ARCH-401/402/403

b

a

a

149

b

b

b “Consider the subtleness of the sea: how its most dreaded creatures glide under water, unapparent for the most part, and treacherously hidden beneath the loveliest tints of azure… Consider all this: and then turn to this green, gentle, and most docile earth: consider them both, the sea and the land: and do you not find a strange analogy to something in yourself?” Herman Melville, Moby Dick or The Whale.

STUDENTS a. ADRIANA HINOJOSA SUSANA CHINCHILLA b. SABRINA TEDINO SERRA OZDEMIR LOCATION PORT FUCHON, LOUISIANA

SHIPHAB: An Oceanic Research Campus explored designs for a series of modular structures adaptively integrated on the decks of chartered offshore service vessels. Comprised of work modules and support systems that function both as individual units (labs) and as aggregated assemblies (campus). SHIPHAB is intended to support varying combinations of specific research activities that augment workspace productivity and collaboration in unforeseen ways.

Our studio also seeks to engage a non-traditional

SHIPHAB

CRITICS CHRISTIAN LYNCH REESE CAMPBELL

notion of site, which in this case is the horizontal surface (deck) of global commercial service vessels, in an in-depth exploration of potential spatial, structural and programmatic opportunities. We explored alternative organizations of the lab modules with the goal of uncovering novel responses to the needs and requirements of the resident scientists and their hosts. This is a project that starts with a box (container), needs to be shipped as a box, however ultimately must transcend the box both formally and programmatically while enhancing lab productivity.

In doing so, this studio seeks to explore opportunities of density, porosity and the liminal spaces that bind the constituent parts of the ship and the modules. The goal here is to seek radically considered alternatives to the status quo within an industry that requires strict international standardization, which means students were tasked to project speculations that would otherwise not be imagined, but could ultimately be realized.

ADVANCED DESIGN RESEARCH

SEMESTERS VII, VIII, IX

ARCH-401/402/403

a

a

151

a

b CIVIC VORTEX Ivan Illich, the philosopher and social critic has writtenDemolition/Erasure can be taken as the operative term for societies like ours (North America), societies that exist in indiscreet space.

LOCATION ROME, ITALY

Indiscreet space, homogenous space, which is the space of the present, is something else. It transcends this dialectical distinction. It constitutes a continuum that is neither interior nor exterior, neither right nor left. In societies situated in this geometrical continuum, the “exterior” and the “interior” are just

This studio intends to examine that which is inside Rome’s circle, that which remains of its residual continuity, in effect, what Illich might term “the place of dwelling” or more abstractly, that which has not been erased to generate greater homogeneity with the world beyond Rome.

The examinations will look at the city’s present as something made up of many different pasts. Rome is a city that has evolved through different periods and thus iterations of itself, all now collapsed into a single palimpsest decipherable only by an episodic sensibility that can cross between and through these variouslayers.

ROME

STUDENTS a. SELEN BAS b. SHUCONG WANG

Ivan Illich concluded by asking: in this space of absence people can be located but can they dwell?

TRAVEL STUDIO

CRITICS GUILLERMO BANCHINI MARIANA KAVALIREK

Illich tells us that such a condition cannot be compared with that which existed previously: preindustrial society could not have existed in such a homogeneous space. The distinction between the outside and the inside- of the circle, of the body, of the city was for them the logical construct of all experience. The dialectic between the exterior and the interior, of right and left, of male and female, was a root experience.

two locations within one kind of space. “Home” and “abroad”, “dwelling” and “wilderness” are simply regions or areas, or territories selected from the same expanse.

ADVANCED DESIGN RESEARCH

SEMESTERS VII, VIII, IX

ARCH-401/402/403

153

A. Ruin – develop a strategy preservation and creative reuse

for

renovation/

STUDENT NITZAN KOREN LOCATION ROOSEVELT ISLAND

CENTER

CRITIC DAN BUCESCU

The design concept was in response to the “deceptively simple composition by Kahn, melding megalithic forms from ancient Egypt with modernist minimalism“ that resulted in a square chamber open to the sky, which Kahn dubbed “The Room”. With that in mind, I preserved the exterior walls of the hospital ruin and inserted a large “agora”, a central public space in ancient Greek city-states, a “gathering place” or “assembly” that was the center of the athletic, artistic, spiritual and political life in the city. That is the mission of this Heritage Center.

VISITOR/HERITAGE

B. Multi-sensory Interactive Architectural Installation The design process for the installation, includes developing a structured approach to interpreting these stories, messages and information. The interpretive process is often assisted by new technologies such as visualizing techniques and immersive multi-sensory installations.

ADVANCED DESIGN RESEARCH

SEMESTERS VII, VIII, IX

a

ARCH-401/402/403

a

a

155

a

b

LOCATION MANHATTAN, NEW YORK

The project redefined public space, as well as renegotiate people’s relationship with their River and the landscape of their City, testing methods of inhabiting vs surveying, being inside vs on the periphery. It explored commonly opposing issues of natural vs artificial, planted vs constructed, open-air vs enclosed, flat vs topographically varied, isolated

The site was along the stretch of the East River in Manhattan – along the waterfront, or a pier and its surrounding waters, boundaries open to critical inquiry, and change. Contrary to preparing a site to receive a building, the project proposes the design and production of the site itself, a constructed ground and a constructed water simultaneously. Site and landscape were accessories for architecture, but become coincident with it, simultaneous, inextricable.

As a form-finding device, the studio drew upon collage, a technique able to leverage form, geometry and narrative, yet keep them in a simultaneous abstract equilibrium. Deriving spatial and formal techniques, the studio sampled and re-processed New York’s urban landscape into a black-and-white cinematic documentation, collaged, re-purposed, montaged and made hyper-real or abstract.

NATURALLY BRUTAL

STUDENTS a. LI JIN b. YESHU TAN

(solitary) vs engaged (plugged in) - so as to derive simultaneity of each pairing and figure out where and how to negotiate that balance.

LANDSCAPE AS ICON

CRITIC DRAGANA ZORIC

The studio examined how the (1) formal and spatial configuration, (2) topographic and ecological rigor of site, and (3) commitment to social equity and progress - of key brutalist buildings in 1970/80s Yugoslavia can be applied and translated to a public landscape/ architecture condition of New York City today. From a comprehensive historic model, the studio instigated a discourse and design inquiry into current cultural and social problems and processes in the United States, so as to be able to formally address them, in a robust and specific way through design. The premise was that landscape can be politicized through design in far more nimble way than architecture, and as such, it can be the vehicle of social equity and change. In so doing, presumably, it can acquire the status of icon.

ADVANCED DESIGN RESEARCH

SEMESTERS VII, VIII, IX

ARCH-401/402/403

a

b

b

b

b

b This studio problem was the design of a New Secretariat for The United Nations as both a new instrument of global diplomacy and a critical response to International Modernism. The United Nations originated at the end of the Second World War specifically to protect the universal human rights of Holocaust refugees. In its site design, it proposed a Radiant City garden counterpoint to New York City’s grid structured for land speculation and its office towers devoted to the capitalist enterprise of Manhattan.

CRITIC DEBORAH GANS STUDENTS a. CHUCK DRIESLER b. COREY ARENA LOCATION NEW YORK CITY, NEW YORK

Designed by a consortium of like minded modernists under the influence of Le Corbusier, the architecture of UN expressed the components of diplomacy (referred to as organs) as a distinct entities: the sculpturally expressive General Assembly, the appendage of Council Chambers, and the transparent office slab of the Secretariat. As the tallest building within the lowlying composition, the Secretariat became the UN signifier to the city, an elegant form of international

bureaucracy facing off against the towers of midtown.

To accommodate its ever expanding bureaucracy, the UN has actually embarked on this New Secretariat building, obtaining a public site just to the south of the campus - the Robert Moses playground - in exchange for allowing the City of New York access to it waterfront as an extension of the East River promenade. As part of the studio, the students reconsidered the total organization of the campus and its programs as an architectural monument, urban model and social instrument.

At this moment, the UN is struggling as a social instrument to address new challenges such as climate change, cyber technologies, big data and the complex dynamics of global relations. Students were asked to respond to the architectural dimensions of these challenges through the invention of a new and additional organ of diplomacy lodged in the body of their new Secretariat.

NEW SECRETARIAT

b

157

ADVANCED DESIGN RESEARCH

SEMESTERS VII, VIII, IX

ARCH-401/402/403

159

STUDENTS ANABEL BAQUERIZO KHADEEJA BONYAWAIA LRMAK CIFTCI JOSHUA COOPER JINGFEI HUANG TYLER KRUPPA YALAI PANG MARIE PARK LINDSAY UNGER SHUCONG WANG XINYU ZHANG XUN ZHANG

The structural efficiency of ‘compression only’ structures has a long history in architecture starting with Gaudi and culminating in Frei Otto’s and Heinz Isler’s work of the 1960’s. The goal of this studio is to find an alternative building process to Otto’s grid shell in Mannheim. The experiment will be realized as a

structure of approx 400sf. Students use spot welders, press brakes, and build custom tools to manipulate strap steel. and invent a new building system. We focus on developing assembly units that have structural, mechanical or aesthetic properties that can be used for self-supporting structure.

In order to facilitate an experience that includes stakeholders we will collaborate with the Patchen Community Square, a Green Thumb in Brooklyn. Their members will join us at several pinups and reviews and evaluate the work relative to its use value for their community garden. The canopy will be designed with their site as context. It is at the corner of Patchen Ave and Ralph Ave. Our consultant for this project is Riccardo LaMagna PhD, a structural engineer at str. ucture in Stuttgart Germany. He has written his PhD thesis on Bending Active Surfaces, which we will use as one of the structural references in this studio.

STRAP STEEL CANOPY

CRITICS DUKS KOSCHITZ CHE-WEI WANG

The United Nations predict that by 2050 the world’s cities will have to double in size and capacity.

Architecture faces a new challenge to invent new building processes that are light and fast. In this studio we will investigate a unit-based approach to building a grid shell. We will design and build a full scale self-supporting structure made of strap steel, the ubiquitous packaging material used to secure goods on pallets. The main constraint relative to fast construction is based on making a mesh on the ground and lifting into shape similar to Frei Otto’s Multihalle Mannheim.

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STUDENTS a. VAHHAB ABOONOUR b. CHONGSOO (SUZY) JEON LOCATION NEWARK INTERNATIONAL AIRPORT

The students will be challenged with reinterpreting the traditional set of programs of Landside, Curbside, & Multi-Model arrival/departure, while considering the increased security protocols. In addition to developing

systems for moving people into and out of the airport, students also researched methods of baggage management. Mapping these sets of complex layers allowed for a more streamlined strategy, one that promoted the inflation in the section, which in turn led the students to developing new forms of long span structures to address the spatial complexities and the growing programmatic requirements.

The Studio was conducted in collaboration with the Aviation Planning Department of the Port Authority of New York and New Jersey. The facilitating staff conducting workshops with industry leaders on the airport terminal of the future and shared their research with the students with the intention to expand the discussion regarding a travel experience that is controlled by the passenger as he/she desires without limitations.

FLY BY NIGHT

CRITICS ENRIQUE LIMON AJMAL AQTASH

The studio is the last of 3 led by Enrique Limon, exploring the Airports within the metropolitan area - previously exploring LaGuardia Airport, JFK International Airport, and finally wrapping up with Newark International Airport. The focus of the studio is to explore and investigate future trends, design concepts and technological innovations that will change the way Airport Terminals will be used by the next generation of passengers. The studio will begin by developing a phasing proposal by shifting passengers away from an existing terminal to a newly located terminal that expands the yearly flights taken as the global economy continues to expand.

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CIVIC VORTEX The design studio of the Rome program is intended to synthesize urban, architectural and cultural topics in the production of a series of interventions on a complex and prominent site in the Borgo on the Via della Conciliazione between the Castel Sant’Angelo and St. Peter’s Basilica.

Each student was asked to perform a thorough analysis of an area of Rome through the lens of the Nolli Grand Plan of 1748, documenting it’s original and it’s current physical attributes and it’s alterations in the context of accessibility, inclusion and exclusion, privatization and publicity, borders, frames and edges.

LOCATION ROME, ITALY

ROME

STUDENT SIDANTH SETH

TRAVEL STUDIO

CRITIC GREG MERRYWEATHER

This study was then taken to the Borgo site and adapted to actualize latent conditions discovered therein, resulting in a series of urban diagrams shaping public space and developed to functionally enhance and physically transform this region of Rome.

As the projects developed on site, a series of requisite considerations emerged: Deployment on Site: How are the components of the program distributed on the site? What does this deployment do from an architectural perspective, from an urban perspective?

Coupling to Site: What existing conditions at the site are physical relationships formed with? What does this coupling do from an architectural perspective, from an urban perspective?

Organization: How are components of the program shaped, divided and recombined? What does this organization do from an architectural perspective, from an urban perspective?

Relative Scale: How are programs overall and at various locations prioritized?

Public Space: How is public space as a potential event generating condition in the context of the site and its infrastructure addressed?

Movement and Infrastructure: How do various users and groups move across and dynamically interact and intersect? How do goods and services flow?

Ground Plane (surface and section): How is ground plane, the omnipresent surface that configures buildings relationships to its users considered and enhanced architecturally?

Users/Groups- Romans, Vatican City inhabitants, Italians, Diplomats, Tourists, Pilgrims, Refugees: How are the regions, paths and interrelationships between these differing yet overlapping groups considered and manipulated, to what end?

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b The pedagogical objective for the Fall semester relies on the importance given to the solution of issues intrinsic to the program of an Urban Park , an outdoor / indoor architecture dedicated to nature and the added presence of the Arts of Music & Dance of the BAM Cultural District. The study identifies architecture as a public domain of tranquility and contemplation for all, while being an argument debating the, at times, dramatic loss in experience of all city grounds.

STUDENTS a.ELENA MARTINONI CALEPPIO b. JONATHAN OVSHAYEV

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LOCATION BAM CULTURAL DISTRICT

Students are given a large area to investigate with suggested and yet not confirmed hypothetical street and building’s boundaries. These must be understood, challenged and decided upon providing new connections between the urban parts of the assigned area with the intent of celebrating outdoor living and music. In order to practice music and promote sound one needs to define silence.

ASYLUM FOR

CRITIC GIULIANO FIORENZOLI

City Grounds The BAM District area, the harbor of traditional and historical precedents, is fading away allowing new ideas for urban living solely under the pressure of the violent use of all remaining available land lots.

The density and verticality imposed by all newly proposed residential towers surrounding BAM will cause a dramatic change in the quality of life on the ground limiting the view of the sky and almost ridicule the architecture of the smaller buildings of the area.

The question is if such trend could be studied in a

more serious , more meaningful and positive way.

Architects are central to this argument and can play an important role in proposing solutions and visions worth considering. Architectural vibrant projects, resulting from of an extended domain of ideas, both rational and imaginative are to be researched and put into practice. Hypothesis for alternative uses of all public grounds, streets, parks, buildings ground floor spaces, are in demand and could confirm physical and programmatic solutions for more horizontal architectures.

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LOCATION LONG ISLAND, NEW YORK

THE FUTURE OF

STUDENTS a. GABRIELLE SELVAGGIO b. ELENA MARTINONI CALEPPIO

transport corridors are getting an upgrade towards more effective, faster, better designed and better equipped public transport systems. The US is lacking behind significantly. Transport corridor development is therefore on the rise, as there is at least significant political rhetoric for upgrading infrastructure as an economic stimulus. This studio will use a number of significant parking lots along the Long Island Railroad to reimagine new transport oriented developments that will be able to occupy these vast voids to offer socially responsible housing, public programs, education, agriculture and public parks. The parking lots you can choose from are at the following stations: Port Jefferson, Cold Spring Harbor, Ronkonkoma, Central Islip and Babylon.

PARKING LOT

CRITIC DAGMAR RICHTER

Parking lots have dissected cities and eradicated urban public space. For a century, the storage of cars has been a substantial urban problem. But there is suddenly change in the air. The days of privately owned and humanly driven cars, that need storage, seem counted. The dynamic towards fewer privately owned cars, fewer drivers and fewer stored vehicles can not be ignored as Uber, Ford, Google, BMW and many others are pushing for driver-less shared electric robots that take on diverse transport needs.

That means that urban fields riddled with empty, only intermittently used parking lots get a second chance to be used for an urbanism that supports the walking, biking, jogging, rolling, sliding user. As seen in many countries in the world the old and existing train

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STUDENTS a. MIN HO KWAK IRMAK CIFTCI b. SUSANNA CHINCILLA YESHU TAN LOCATION LONG ISLAND CITY, NEW YORK

part of the conceptual design process.

The site is a 110,000SF single vacant block overlooking the East River just south of the Queensborough Bridge.

Housing and urban planning are as much a socioeconomic and political construct as an architectural one and architects need to embrace a broader range of strategic thinking about the design of housing to include policy making, planning for infrastructure, energy delivery, waste management and financing as

The site in will be considered not just as a single (large) parcel but seen in the context of the past two decades of development via rezoning and government intervention. LIC’s changes have a long history. After the rezoning, the massive developments in Hunters Point and Queens Plaza followed and the plans for new housing in Sunnyside will continue to shape what is becoming a new city.

With an immediate focus on the architecture of housing this studio will embrace a wide range of themes, issues and techniques that enable a new vantage point, extending just what is possible. The studio will address not only architectural history, but specific iconic texts on housing policy, new and renewed means of material engineering (specifically mass/heavy timber), and ultimately the landscape of global economics that has reshaped development in NYC.

TIMBER IN THE CITY

CRITICS EUNJEONG SEONG FREDERICK BIEHLE

The Timber in the City studio is about the future of urban living. By addressing three critical ideasprioritizing environmentally progressive material choices (mass timber), strategically combining a diversified selection of programs, and re-considering the social program of housing- on a single urban block our studio will seek to establish architecturally a new holistic model for community. The program for the studio will be to design a mixed-use single-block development comprised of +100 units of affordable housing, a community wellness center and a preschool.

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b “I’ll Test My Log with Every Branch of Knowledge”Lynch

STUDENTS a. TOM XIA b. ANDY KIM LOCATION BROOKLYN, NEW YORK

The projects created an innovative set of applications using timber as a structural material while taking into consideration the economic and ecological field of play. Underpinning the investigation is the notion that complex timber systems can be built up from a series of simple wood components. This line of thinking and production extends into the architectural fragments

Each of the designs speculated on the “houses of research”- a hybrid program that floats in between laboratory and factory. The projects encapsulate both the conceptual and ideological origins of these programs, as well as the overlap of spaces. At the scale of the detail, new tools and methods were developed to model the “metaspace” of instruction. At the scale of the building, the forms created are autonomous objects in anonymous contexts. They are collections of new environments, never seen as complete but rather in a perpetual state of evolution that oscillates between death and life.

PLUNDERTONICS

CRITICS RICHARD SARRACH TED NGAI

For millennia, wood has played a major role in our relationship with the built environment. Its warmth, plasticity, and structural capacity situated it as a premier cultural interface. In many ways, it is the deep historical connections that can provide us with a unique pedagogical insight into the latent agency of wood. This narrative became the departure point for the studio and where wood was explored as a manifold of temporal scales- unraveling the entangled sets of a relationship between logistics, culture, economics, politics, and performance.

of the wall, floor ceiling, and scale down further into the stairs, window, and door and furniture.

The whispered histories of craft and contemporary forms of computational design create a hybrid form of production. When paired with different types of simulation, the proposals speculate on a series of potential futures revealing new types of architectural fitness.

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LOCATION MANHATTAN, NEW YORK

Design Challenge The subject of the studio” A Dwelling for City Stories with Love” was not about the design of a functional institutional building with generic low income housing. It was about the conceptualizing of an idea triggered by the subject, the designing of a hybrid

Design Methodology We looked at the work of Aalto, Corbusier, Lebbeus Woods, Archigram, Rudolph, Holl, Nouvel and others along with historical prototypes and precedents for guidance and inspiration. We also explored the relationships of art, music and film to the creative process of architecture.

A DWELLING FOR

STUDENTS a. JOSEPH LEAMING b. YIRUO LI

multiuse structure, a humane urban environment, perhaps a new building type, that can be interwoven within the urban fabric of NYC, and where most needed by our sponsor/client University Settlement.

U.S. headquartered in the LES, is the oldest and one of the most important settlement houses in the United States. It is looking to establish a major presence in Brooklyn. dreaming of creating an urban microcosm, of living and multifunctional spaces for activities and social services which will better the lives of the diverse multi cultural population it serves as its core mission, a Dwelling as defined by Heidegger, for the realization of the client’s City Dreams.

CITY STORIES

CRITIC THEOHARIS DAVID

Relevance of the Studio for your Future.

The goal of this studio was to help each student building on previous learning, to demonstrate the ability to conceive of a work of architecture, devoid of any dependence on preconception, popular trends, or the sometimes misused, misunderstood the function of computation as part of the design process. It was meant through encouraging individual thinking, questioning, and research, to help students define their process of design through which a meaningful realizable work of architecture could come into being, expressive at once of theoretical positions, technological and materials exploration, programmatic invention and pragmatic concerns.

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LOCATION NEW YORK CITY, NEW YORK

AFFORDABLE MODULAR

STUDENTS a. SIDNANT SETH b. ZHIYONG CHEN

designed individual buildings on various properties but collaborated on their relative siting and also on the urban infrastructures, services and amenities that transformed their collective effort into a single work of urban design and community. The not-for-profit developer Cypress Hills, who is working on these sites served as our critic and partner Mod Pods built upon the research executed in the seminar Prefabricator’s Toolbox held in the spring of 2029. Both courses are part of a two-year grant funded by the Institute for Design and Construction (IDC) that engages students in an innovative design process working with engineers, fabricators, contractors, manufacturers and crosses typical boundaries between academic and industry research. In the fall of 2020, the grant will culminate in the full-scale construction of selected components of a next-generation, modular housing system.

HOUSING MOD PODS

CRITICS DEBORAH GANS JAMES GARRISON

Students explored the potential of the emerging technologies of prefabrication to address our vast global need for more affordable housing of greater quality. They interrogated the desires as well as the needs of contemporary urban dwellers as they designed residences for the way we live now. They interrogated how industrialized housing with its systems approach and discipline of standardization could provide architecture of flexibility, character and adaptation at the domestic and urban scale. Students first designed “families of apartments” that shared underlying morphologies but could accommodate different family types and lifestyles. They then tested these apartments within different urban housing typologies such as single loaded; double loaded and point loaded organizations. Finally, the class collectively produced a residential neighborhood on a cluster of sites slated by the City of New York for mid-rise modular affordable housing. Students

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STUDENTS a. ANGIE KIM PARK b. DIANA OH LOCATION EAGLEBROOK CAMPUS, MASSACHUSETTS

As well, the subject of Art and Science explores the hidden likeness in the investigative process in fields that have been defined as separate. Consequently, an important aspect of the project is the spatial/design

considerations that encourages students interaction and therefore their awareness of the consistency in the creative process in diverse fields.

The more questions asked the more developed the building will be, achieving greater finesse and refinement. As more and more questions challenge previous decisions that were considered absolute become understood to be tentative and approximate, the realization that buildings evolve in a corrective process to their final form is demonstrated; for as each new perception challenges previous conclusions rendering them temporary they transform, adjust, and answer the new demands. To paraphrase Louis Pasteur, “A buildings development advances through tentative answers to a series of more and more subtle questions that reach deeper and deeper into the essence of appropriate experience within built form.”

BUILDING FOR

CRITIC LOU GOODMAN

In this studio a rigorous set of exercises (lessons) is explored through an Art and Science Building on the Eaglebrook in the design and construction of a building, as well as the topography and a site with many diverse contextual demands, are all deconstructed, analyzed, and when their interrelationship is understood, reconstructed. All of this is in service of an appropriate experience the student has defined. The goal is to provide useful information; the elements that form a “grammatical analysis”, and an integration of the multiple material systems that are necessary to fulfill a concept. Information that is applicable to any building and mostly importantly enhances and clarifies a student’s creative process.

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STUDENTS a. SEYED SAFA MEHRJUI b. JASON YOUNG KIM LOCATION LAS VEGAS, NEVADA

There are many different ways to experiment on your intentions and attentions in architecture. There may be a mode of design you feel is significant has not evolved enough, so you want to push it even

further. Or a mode that is intensive in its response to one aspect of design (form, program, structure, site, tectonic detail) but unresponsive in other aspects, so you want to evolve it to engage some of these other aspects. Or there is a cultural circumstance that no one seems to be noticing that you think can bring a new dimension to design (like Robert Venturi and Denise Scott Brown analyzing Las Vegas to study forms of architectural communication or Rem Koolhaas focusing on China or Lagos or shopping).

Or a mode from another discipline. There may be a new or old art form whose techniques you think could revitalizing architecture. Or a scientific formation from biology, physics, or mathematics. Or you might create a fusion of two seemingly opposite formal approaches into one building (like SANAA mixing serial design and plastic form together in their Rolex Learning Center).

TECHNIQUE

CRITIC MARK RAKATANSKY

What work does technique perform in the process of design? What are the techniques that you are developing in your designs? As you look through websites and magazines and books at buildings and representations across time and across the globe, there are projects that catch your eye. That catch your attention through the attention manifest in the work.

Either because they intrigue you or you are really bothered by them - both of which are telling about what gets your attention. This studio provides the occasion for you to analyze and experiment through the techniques that are manifest in the works that get your attention.

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b CIVIC VORTEX The foreground of St. Peter’s Basilica, Bernini’s emblematic terrace and inhabitable colonnade, and further, Via della Conciliazione, half kilometer in length, can be filled with more than 180,000 during significant Catholic rituals. 50,000 on a regular day, and empty of people at night. Its occupation is elastic and fluid and the space primarily serves tourists while the Borgo’s citizens’ needs are not met.

LOCATION ROME, ITALY

The fourth-year studio also requires students to develop a part of the program in detail. Secondary functions such as markets, schools and museums were used to enrich programmatic needs. Ospedale San Spirito, an important puzzle piece that anchors the Borgo and Vatican community, the adjacent Universitá LUMSA and Castel Sant Angelo played roles in developing an architectural narrative.

ROME

STUDENTS a. EMMA LE LESLE b.KRITANAI PISUTIGOMOL

The architectural promenade as a way-finding tool was the primary tool to develop ways to negotiate territories and programs for different users: Borgo denizens, worshipers, pilgrims and asylum seekers.

Careful study of the geometry, proportions and scale of Bernini’s Colonnade and the Scala Regia and their functions as spaces of shelter and passage offer ways to interrogate how different agendas might coexist in the same space.

TRAVEL STUDIO

CRITIC SOPHIA GRUZDYS

Via della Conciliazione also divides the Borgo neighborhood from the rest of the city. The studio objective was to take back the Spina, to return it to its citizens while fulfilling the needs of the Vatican: entrance, access and worship at St. Peter’s. A careful survey of the existing Roman artifacts including Nero’s ancient Circus provided a critical underpinning to the investigations. Research about Vatican, State and City controlled properties and their cultural and architectural significance suggested various itineraries. At an urban scale, an analysis of existing traffic and pedestrian patterns surrounding Rome

and Vatican City obliged students find links to other parts of the city.

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STUDENT POMESH RAMBHAROSE LOCATION NEWTON CREEK, NEW YORK

According to the Comprehensive Waterfront Plan issued by the DCP in 1992, the City attempted to reclaim much of the 568-mile shoreline in order to reactivate areas as open space for public access.

Newtown Creek, the largest of the City’s SMIA’s, has been transformed from a natural wetland into a manmade waterfront more than a century ago. In 2010 Newtown Creek made onto the National Priorities list as a Superfund Site by the EPA. With a specific interest in re-envisioning the industrial waterfront, our design studio focused on the English Kills, the section farthest away from the mouth of the Newtown Creek.

Emerging work involved engaging neighborhoodwide proposal for storm-water capture from hardtop areas and single-story industrial building to the development of a resilient coastline. Based on a thorough analysis, the project here developed a typology, making the new programmed space for blue-green jobs hover over the existing industrial urban fabric. This way, the transformation from one era/condition to the next would seamlessly unfold, allowing the coastline to adapt and change.

DELTA CITIES

CRITIC ZEHRA KUZ

Since the City’s conception, the urban transformation in New York City has developed in place of green/open space. Industrial development and land-use forever changed the City’s waterfront; the shoreline’s soft edges and estuaries gave way to reclaimed land and hard-lined bulkheads for waterways (transportation).

Decades of neglect and abuse of natural resources has become a threat and is responsible for physical decline and socio-economic parity in many of the City’s underserved and endangered coastal communities.

Also, in this report 6 Significant Maritime Industrial Areas (SMIA) were identified where industrial, waterdependent businesses were concentrated. Although the City intends to protect these SMIAs, much has changed that justifies the status quo.

COASTAL RESILIENCE

This studio continues to explore design’s response to Climate Change in the same spirit as the RAMP initiative which was a response to hurricane Sandy and gives way to coordinated collaborations between the Undergraduate Architecture and Graduate Center for Planning and the Environment departments.

Here, faculty and students from various disciplines came together to address environmental challenges, especially impact coming from water related phenomena here in our City.

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CRITICS ERIC WONG RICHARD SARRACH

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LOCATION JAPAN

ASIA

STUDENTS a. PINTIAN (RAY) LIU b.PEIYE (ROGER) YANG

ARCHEOLOGY OF FUTURE RITUALS PLAYBOOK The studio explores the ecology that permeates the cultures of material practices. Lewis Mumford uses the word “technics” to refer to the interplay of a social milieu and technological innovation—the “wishes, habits, ideas, goals,” and “industrial processes” of a society. This exchange is a living set of instructions that is played with, tweaked through cultural biases and passed down over time from generation to generation. The challenge that faces all disciplines is how do we capitalize on the opportunity to work “closer to the metal” and invent new ways to communicate the recipes for our built environments.

What has been traditionally understood as the construction document (playbook), will choreograph a new set of dance partners as biology, chemistry, computation, and robotics work alongside the legacy crafts of wood, stone, ceramics, and metalworking.

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CRITICS JASON LEE AJMAL AQTASH KYRIAKI GOTI STUDENTS a. AHMAD TABBAKH b. MEIHAN LIU c. KALAM LIN SIU d. VAHHAB ABOONOUR

This Advanced Design studio investigates how architects can utilize contemporary advanced manufacturing techniques to explore the material and tectonic effects produced by the interplay of material continuity and the excessive redundant of joints. Students explore within this spectrum between extreme seamlessness to a highly customized multipart assemblage where seams are made to appear and disappear for material attributes as well as

emotional triggers. The physical artifact oscillates between an abstract construct and a real mock-up.

Historically, when one engages in hands on material production, the method typically provides live feedback that will inform the design process so that the formal tectonics relationship is often informed by physical material constraints and properties.

This studio also attempted to explore new forms of feedback between methods and materials to help inform new design agendas. In some way, the studio attempted to provide these new machines with the possibilities of “ghosts” coded by the designers.

The goal of the studio is to produce physical artifacts at sufficient scales that are manifested by the search for a New Theory of Tectonics.

We would like to express our sincere gratitude to Boyce Technologies for their amazing support for robotics and other machinery access as well as the generous material support from Handel Architects.

SEEMINGLY SEAMLESS

Contemporary society is flooded by images, and some may argue architecture is now produced by the construction of images. Pixel based technologies have allowed us to fabricate seamless collages that depict hyper realistic representation of fictional architectural content to convey cultural and emotional content. At the same time, advanced manufacturing technologies have also allowed for a variety material effects as a result of subtractive and additive techniques. These material effects tend to concentrate on singular homogenous material tectonics instead of an assemblage of parts.

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b NATIONAL SCHOOL OF DANCE Moving a step beyond from what we now perceive as a process of cohesive formal homogenization in the last two decades, the studio aims to explore the formal and aesthetics possibilities of incongruity in architecture. Rather than a naive return to collage, which suggested a collision of multiple opposites to produce disjunction and fragmentation, the studio will examine degrees of formal indeterminacy and visual inconsistency as productive means to generate a more genuine and unexpected whole.

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LOCATION BUENOS AIRES, ARGENTINA

TRAVEL STUDIO

STUDENTS a. KYUNGPYO KIM b. MARIANA PEREZANTA CAMPERO

ARGENTINA

CRITIC GUILLERMO BANCHINI

Studio will travel to Buenos Aires for a week where we will work as a “shared studio” with FADU students at the University of Buenos Aires. Studio will focus in the design of the new national school of dances in Buenos Aires, Argentina, as a response of a new “infrastructural and innovative” governmental plan.

This new school with a total amount of 40.000 sqf. will include a public lobby with exhibition spaces, a bookstore and a café, a theater for 300 people, an auditorium for 100 people, a library, multiple rehearsal rooms and an administration area.

REQUIRED SEMINAR

URBAN GENEALOGIES

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STUDENTS a. ALEXANDER ELGUERA b. ANYA LEE c. NAINI BANSAL

GENEALOGIES

FACULTY FEDERICA VANNUCCHI GONZALO LOPEZ TULAY ATAK

The complexity of the city as an idea and a reality is reflected in several languages. In Arabic, the word madina, meaning city, is related to two other words: medan, meaning a square or a space of gathering, and madania, meaning civilization. Similarly, the word hathary in Arabic, which is translated as urbanization, also means civilization.

In all these terms, the connection between the social body and urban space is strongly established in Arabic.

French language has two words for the city: la ville and le cité, first one referring to the built environment and the second one to the set of ideas concerning a city, morally, legally or politically. 19th century onwards, the words have mixed and sometimes even reversed their definitions.

Consider Le Corbusier’s projects Ville Contemporaine and Cité de Refuge: the first one is a whole city that speculates on what it means to be modern, hence an idea, and the second one is a building that seeks to solve problems of collective life and its discontents, hence a part of the built environment.

ALEXANDER ELGUERA + KYUNG PYO KIM, JOHN SZOT + KAREN BAUSMAN DEGREE PROJECT AWARDS REVIEW, SPRING 2019

BACHELOR OF ARCHITECTURE

DEGREE PROJECT

CHUCK DRIESLER + AHMAD TABBAKH, MICHELLE GORMAN + ADAM ELSTEIN DEGREE PROJECT AWARDS REVIEW, SPRING 2019

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A Prose by Ane Gonzalez Lara

Introduction to Degree Project

In the third year Comprehensive Design studios, the integration of systems is overtly emphasized during fall and spring semesters. A distinction of the third year from its two predecessors and successors years is the incorporation of consultants. Students meet with a structure, sustainability, and facade consultant two times during the semester. By the end of the year, students “must be able to demonstrate that they have the ability to synthesize a wide range of variables into an integrated design solution.” From Latin integratus, here integration is understood as the action “to make whole, to complete.”

The Fall research seminar is dedicated to a process of situating, proposing, and refining the parameters of a projective Degree Project through directed research, research and writing workshops, seminar sessions, and progress presentations. This seminar aims to guide students in the development of design research and design methodologies founded on a historical understanding of the discipline and in dialog with contemporary cultural and architectural discourse. Further, the seminar is crosslinked with HMS 497B, Research Writing for Architecture Students, to provide students with additional support of their investigations through shared course deliverables, resources, and faculty. For the Fall seminar, every student is required to submit a comprehensive Degree Project Research Booklet consisting of: 1) a curated compilation of the semester’s work, 2) a detailed Project Statement, and crucially, 3) a Concept Statement, i.e., a concise statement declaring the student’s explicit, critical architectural position. This declaration forms the basis for the conception and development of a comprehensive architectural project in the Spring Design Studio, with the Fall Booklet serving as the definitive Project Brief of the studio. This way, Degree Project Research requires each student to take responsibility for defining his or her own program, building site, and theoretical agenda in response to the specific themes proposed by the Degree Project Faculty Teams.

If the “articulation of an explicit, critical architectural position” is one of the main goals of Degree Project, I would argue that it is the anatomic acceptation of the world articulation that takes more presence in the third year: “the action or manner of jointing or interrelating”. In order to conceive a well-integrated building, one must think synchronously about the assemblage of the different parts, while steering towards an idea at its urban or massing scale. It is indeed in the seamless articulation of the different scales, systems, and parts that one makes the building “whole”.

Emphasizing the integration of systems just at the tectonic level would be an oversimplification of the multifarious articulations that an architect must orchestrate. In the third year’s syllabus, the articulation, and consequent integration of systems, is emphasized across different spheres.

In the shared living project that students work during the fall semester, they also have to consider how to articulate the different scales of sharing at a co-living building in Brooklyn. In spring, they have to conceive a building in the Rockaway peninsula that should operate both as a community center and emergency shelter, articulating the cohabitation of two nemetic programs in one building. For students to be able to think critically about architecture and the built environment, they must acknowledge the components that make up a building and the systems in which a building operates.

It is perhaps the third meaning of the word articulation, as it relates to music, the one that may encompass and synthesize all its meanings as they relate to architecture. In music, articulation is the “clarity in the production of successive notes”. That clarity in the production of spatial concepts is the goal that all the acceptations of the word articulation ultimately aspire for.

The Spring design studio follows from the groundwork established by the Fall research seminar, in that the studio directs students to realize explicit expressions or embodiments of their Fall semester Concept Statements as architectural projects with comprehensively specified sites, programs, structures, demographics, scales, and timelines. To further support students in their design studio work, the studio operates in conjunction with HMS 498B, Degree Project Transdisciplinary Writing, for which students undertake additional, but individually supportive, research, writing, and narrative exercises. Similarly to the Fall semester, ARCH 503 and HMS 498B share common deliverables and benchmarks, including the submission of a Degree Project Design Booklet consisting of: 1) a curated compilation of both the semester’s design work and research writings, 2) a Design Narrative, 3) a Project Statement.

Together, Degree Project Research Seminar and Design Studio require students to take risks, think critically, and expand their repertoire of tools, techniques, and modes of representation, thereby offering a unique opportunity for the students to develop a culturally relevant architectural position or critique that emphasizes critical thinking, risk taking, innovation and communication within various representational agendas. Satisfactory completion of the Degree Project also demonstrates a student’s ability to independently address issues ranging from the specifically architectural, e.g. – material, formal, programmatic, tectonic, and representational, to the most general, e.g. – social, political, cultural, technological, and ecological.

Coordinator, Michael Su

D

PROJECT

E G R E E

CHUCK DRIESLER + AHMAD TABBAKH MICHELE GORMAN + ADAM ELSTEIN, CRITIC

FACULTY MICHAEL SU + PHILIPPE BAUMANN ABIGAIL COOVER HUME + MICHAEL SZVIOS ANNE NIXON + SCOTT RUFF CATHRYN DWYRE + EVAN TRIBUS EVA PEREZ DE VEGA + FARZAM YAZDANSETA KAREN BAUSMAN + JOHN SZOT KATHLEEN DUNNE + MICHAEL TRENCHER MICHELE GORMAN + ADAM ELSTEIN TULAY ATAK + OSTAP RUDAKEVYCH

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The project is an elevated complex of clustered units that provide transitional housing for individuals with schizophrenia along with a public wellness district that goes through it, allowing for integration. The housing complex extends into the East River adjacent to the UN to provide a distributed system of programs of transitional spaces on the water that reference the history of NYC’s central role in the treatment of mental illnesses.

HMS CRITIC JEFFREY HOGREFE STUDENT SARAH ALSHURAIAN LOCATION NEW YORK CITY, NEW YORK

RE-CRACKING NYC

CRITICS ANNE NIXON SCOTT RUFF

The operational strategies include first, on the urban scale, the creation of a new datum line that establishes new perspectives of the city. Second, in the scale of the building, overlapping spaces both visually and pro- grammatically. These operational strategies affect relationships between the housing units both vertically and horizontally. The removal of the “continuous line” for the individual rooms creates an opportunity for visual interaction and the insertion of a shared space every other room, where these shared spaces overlap the public level that sits in between the two housing levels. Third, on the scale of the individual unit, either cracking it or creating a split that leads to different levels of privacy. Through its revealing apparatus, the project aims to crack the grid and generate new operation for treatment of mental health in New York City.

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HMS CRITIC SAUL ANTON STUDENTS CATHERINE CHANG XYLENA DESQUITADO

THE

LOCATION MANHATTAN, NEW YORK

The Living Machine is a transit hub built using new materials and biotechnologies of bacteria, flesh and vegetation, and is located at a threshold into Manhattan at and around the existing infrastructure of the Lincoln Tunnel. The Lincoln Tunnel has one of the highest volumes of traffic and directly feeds into Midtown, which sees the highest population influx in the day. In our future, we see the surrounding area and the city as growing even taller in order to adjust to the rising population and condition as an island.

We are proposing this new typology that will also be deployed at other transit points into and out of the city. The threshold is as a buffer zone into Manhattan and will act as a connective armature between human, machine, and nature, as these become indistinguishable from one another.

LIVING MACHINE

CRITICS EVA PEREZ DE VEGA FARZAM YAZDANSETA

By the year 2100, machine, man and nature will be indistinguishable, as architecture and technology will have become increasingly organic. The rising populations of the world will threaten rural lands, creating a need for more natural architecture as cities expand. New York City’s residential population will reach a limit of 2.3 million, which grows almost 5 million in the day due to the influx of commuters and visitors; however, due to Manhattan’s existing condition as a fixed boundary, it will resist the urban sprawl and continue to grow upwards. We imagine New York City’s urbanism will begin to be overtaken by nature. Our project is a living architecture that will grow into the urban fabric and connect humans to the city. It questions the existing notion of dead building systems and how a living architecture could exist within the future urban fabric.

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HMS CRITIC DANIELA FABRICIUS

LOCATION MANILA , PHILIPPINES

Since Manila’s period of regrowth after the trauma sustained by WWII, architects and planners have been pursuing neoliberal design strategies. Consequently, Manila’s urban fabric has become hyper densified,

Metro Manila is in desperate need of mindful public spaces and environmental filtration infrastructures that do not displace informal settlers. The exigent problems of waterborne Manila can only be overcome by restoring water as its principal axis.

Can the intersection of the new North-South subway axis with that of the East-West Tullahan River axis challenge other ubiquitous boundaries that restrict forms of public engagement, sustainability and cultural expression?”

MANILA

STUDENTS MADELYNE GRABOWSKI NATHALIE FLASZ H.

Public transportation is the great equalizer of urban cities. Metro Manila is a landscape where both environmental and manmade transportation networks exist, but not cohesively.

with open spaces carved out only by 8 to 10 lane highways, and its estuaries have become breeding grounds for diseases, trash, and the thick, sour stench of rotting garbage under the heat of the sun.

Acknowledgment by the country of its own homeless crisis, lack of basic access to fresh water, electricity or sewer systems is nonexistent.

CONNECTOR

CRITICS MICHAEL SU PHILIPPE BAUMANN

“Our project, Manila Connector, links the forthcoming subway station to the intersection between the Tullahan River and Mindanao Avenue.

It revitalizes the historical canal systems of Manila by establishing currently-missing links between function and culture, culture and landscape, and landscape and function. We are sustaining the cultural identity of adjacent urban migrants who traditionally held a relationship to the water.

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CRITICS CATHRYN DWYRE EVAN TRIBUS

STUDENTS DINA ELFAHAM TYTUS MILLIKAN

The Santa Fe grain silos have a storied past that operated as the primary source of storage and distribution of grain for the American Midwest.

Between 1906 and 1970 the silos served the city, until a final fire destroyed over half of the structures on site.

Since then, the silos have been in complete disuse.

Their primary function today serves as a hotspot for urban explorers leaving their presence at the silos with graffiti.

LOCATION CHICAGO, ILLINOIS

Our immediate site resides in the lower West industrial zone in Chicago, surrounded by poor

HMS CRITIC ALEX DELOOZ

communities affected by the social inequality that marijuana legalization has yet to address. Using the co-op framework, our proposal seeks to formulate a local self-reliant economy that generates profit for the poor communities this apparatus indulges. Using the marijuana stages of production, our architectural intervention highlights how a user experiences space, and does not rest on what the user does in the space.

The apparatus hybridizes a historic infrastructure grounded in modernism, with a contemporary technological framework that enables marijuana production to operate at the industrial scale. As a result, a series of micro-climates that enhance the marijuana process emerge and offer a public network that exists as a spectrum of experiences.

Utilizing research into a number of theoretical texts from Sean Lally, Reyner Banham, Alan Berger, Joyce Hwang and David Salomon, this proposal energizes a public industrial machine that serves a local public through architectural hybridizations and social justice premises.

HERB(AN) APPARATUS

The Herb(an) Apparatus seeks to reactivate industrial icons in Chicago by adaptively reusing the Santa Fe grain silos. This public industrial machine serves as an engine of empowerment through establishing a cooperative marijuana farm. As recreational substances, approach legalization in nationwide, our proposal addresses the systemic discrimination that historically preys on poor black and hispanic demographics. This degree proposal is a social justice project, exploring how architecture can address social inequality.

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HMS CRITIC LIS CENA STUDENTS ALEXANDER ELGUERA KYUNG PYO KIM LOCATION MICCOSUKEE INDIAN VILLAGE, MIAMI, FLORIDA

which are unique to their function and reflect the needs and desires of its occupants in a way that is completely discontinuous from its surroundings.

Memento Mori is an object in a uniform landscape, where it possesses an unbreakable dichotomy between sacred and profane, a burial in a desired space following up with commemoration and the banal condition of human development. To those on the road, its presence evokes illusion and surrealism.

Memento Mori provides the community with a final resting place for those within the neighborhood by virtue of a columbarium, as well as a temporary resting place for the transient occupants who frequently pass by. A columbarium is a way to store urns in a relatively small space, in fact, in just the space of the thicken wall. A wall that is situated at the periphery of the industrialized development patch in the middle of everglades, acting as a threshold into a dimension with vast nature and almost nothingness.

THE LAST STOP

CRITICS KAREN BAUSMAN JOHN SZOT

US Highway 41 represents a particular type of car culture in which novelty, attraction, and scenic beauty drives the identity of the road. Isolated within the vastness of the Everglades and contributing to the collection of roadside entities, is a neighborhood composed of a single row of homes and municipal infrastructure for its inhabitants for a one mile stretch.

The community represents a microcosm of a large city, self sufficient in all ways with the exception of a place to properly commemorate past generations of deceased members. A columbarium reinterprets the physical connection of the neighborhood road into an intangible connection to the past, the Everglades ecosystem and to the legacy of American road culture.

The management of this American Road Stop culture results in patterns that have an artistic interpretation of roadside development/rest stops with a benign program and function. The existence of these built forms rely on the fact that the road is connective. The existence of the road is maintained by these forms

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HMS CRITIC ANNA KATS (FALL) YOUMNA CHLALA (SPRING) STUDENTS RUOZHU DU YIYAO WANG LOCATION MANHATTAN, NEW YORK

From research on the fall semester, we were interested in the quality of commute time in subway underground, during which people are confined in a moving container underground, isolated and detached from the city above -- the reality. One of the major sources of anxiety and stress for current day New Yorker is the goal-oriented mindset.

People always think of what to do next and forget about the time in-between, which is hidden within one’s daily routine.

In response to the goal-oriented mindset, embodied and reinforced by current transportation system in Manhattan, for free time in Manhattan “Dream Express” is a train going nowhere. Capsules moving through the city in loops without destinations, for people to escape from their banal life in reality to dreams. During the “incarnation vacation,” people are physically passive but mentally active, responding to the changing environments, which arouse different feelings and emotions. After a ride, people always return back to the origin, and nothing has changed.

Or everything is changed

DREAM EXPRESS

CRITICS ABIGAIL COOVER HUME MICHAEL SZIVOS

One’s daily routine in the city can be seen as a repeated cycle of point to point connection, between places: domestic (home), productive (workplace/school) and consumptive (entertainment/recreation). Leisure as the non-productive consumption of time most often happens in either domestic or consumptive places.

However, we define free time not as a destination, but as the time on the way, existing between places, responsibilities, and ideas.

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STUDENTS JUSUNG BAHK MANDY XIE LOCATION SAN’YA DISTRICT, JAPAN

The site, San’ya District, is a town nearby Central Tokyo, where embodies people of displacement through the effects of social or economic degradation. Despite the stigmatization of each group, “Social Condenser” offers a second opportunity for the displaced to assimilate back into society. With the aid of different amenities, individuals who are atomized from society will be able to cure physical and mental health as well as regenerate skills and productivity.

VERTICAL

HMS CRITIC PAUL HAACKE

The rehabilitation procedure consists with production, processing, manufacturing, marketing, and distribution of food cycle. Creation of relationship between the occupants and neighborhood through exchange of food products and property ownership will allow the growth of economy as well as the community. Sense of familiarity is also met through the use of materials such as wood, paper, and mesh, which may often be found in traditional Japanese housing. Use of materials that offer permeability with maintained privacy, respect for the occupants but revelation to the neighborhood will also allow the growth in a bigger and greater community. Unlike the skyscraper’s purposeful symbolism of wealth and power, the future through the “Social Condenser” is to aid these evaporated livings in San’ya to rehabilitate, regenerate, and potentially join back into the society.

URBAN UTOPIA

CRITICS KATHLEEN DUNNE MICHAEL TRENCHER

Vertical spaces are often prescribed with the notion of power and wealth. It has been proven through skyscrapers around us that human’s greed to build higher seems endless. The goal of the project is to redefine the meaning of the skyscraper by proposing a vertical structure that could the aid individuals, demarcated by atomization, to regenerate through utilization of the “Social Condenser”.

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Culture, being a pragmatic term, acts as a nearly impeachable character in architecture yet complex

HMS CRITIC LIS CENA

UNLIKELY

LOCATION HONG KONG, CHINA

CRITICS KAREN BAUSMAN JOHN SZOT

due to the existence of the intertwined political and economics under different systems of governance – colonization & sovereignty. It is critical to investigate the substantial transformations of a living complex for both colonial and sovereign sides. By contextualizing the culture of a border, for instance: having two sides of living space face each other while both prioritize different elements; the capitalist economy of the colonial side of the street prioritizes the commerce while the communist sovereign side of the street prioritizes the culture. In such circumstance, how can a formal architectural intervention become a medium to form connections through awareness while maintaining the characteristics of both Capitalist Hong Kong and Communist Mainland China? What are the limits of architectural intervention that pushes the boundaries of the two systems?

NEIGHBORS

STUDENTS DIMPLE HNIN OO LWIN RUBY ZHEN TIAN

Far from a mere spatial demarcation, a border is a carrier for imbalance and comparison that symbolizes different power and authority of two societies. Along the border on Chung Ying Street, which captures the epitome of “One Country, Two Systems,” two cultures that shared the same roots are influenced by various political and economic ideologies of each country2.

The culture on one side of the border is analogous to that of the other side but both have evolved on different terms. Although the residents that have been living in close proximity in centuries on Chung Ying Street are aware of the political tensions between the two systems, the divergence in their culture is not as tenacious as the street acts more as a converging point for them.

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HMS CRITIC SAUL ANTON STUDENTS ATHENA FRANGOUDIS BAHAR PARTOVI LOCATION NEW YORK CITY, NEW YORK

MOTUS TOPIA

CRITICS EVA PEREZ DE VEGA FARZAM YAZDANSETA

Technology has pushed us into our first world standard in which we only see the immediate output of our actions without being mindful of the long term consequences. The catastrophic climate change and the increased volume of non-biodegradable trash are revealing the negative impacts of our behaviors in dense cities such as New York. Currently, media plays an important role in shaping the behavior of society in a way that our every thought and action is influenced by what we see and hear. This heavy reliance on technology has created a path for a society that can be built on algorithms and perfected systems, starting from the form of the body and affecting the architecture and landscape. Where every action is calculated and every reaction is based on the path of the algorithm.

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HMS CRITIC JOHN GENDALL STUDENTS PHUONG MAI DO SO HYUN PARK LOCATION PHOENIX, ARIZONA

In Phoenix, a large amount of unused outdoor public spaces do not attract people to use and are left empty under extreme weather. The project envisions the technology to be applied throughout the Downtown Phoenix, especially high rise area where more pedestrian accessibility is needed. Applicable in multiple buildings and adjustable depending on the lots and zoning of the site, the technology will provide more cooling accessible nodes for public space to the

city. This way, the technology introduces architecture as a cooling method and as an urbanism tool for Phoenix.

Despite being a metropolis with a large population, Phoenix urges a feeling of lacking life. As the city favor cars due to its spread-out urban plan, humans hid in the self-contained interior (automobiles) to avoid the heat. The city feels even more static and dead due to the lack of people on the street.

The project’s typology can help reformat existing urban plan of Phoenix by acting as an urban densifier: it re-assembles Phoenix’s horizontal sprawl into a vertical one (Downtown, Suburban living, Nature).

This typology also allows for the development of new models of community where different programs, scales, and structures are combined into a new single body.

COOLDROP

CRITICS OSTAP RUDAKEVYCH TULAY ATAK

COOLDrop proposes a building technology that uses air movement combined with ceramics evaporative cooling system to cool down grounds. The windcatcher system, a shed structure that collects wind from above and brings down to the lower level, is integrated to increase the efficiency of the cooling technology. By using air movement/ wind, the process of evaporation will be fastened, which allows more cool air to be produced.

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HMS CRITIC DANIELA FABRICIUS STUDENTS CONSTANTINE HASKOPOULOS JOANNA LAZARIDIS LOCATION KAPITOLYO, PHILIPPINES

New public piazza spaces will be designed surrounding the Light wells in various parts of the neighborhood of Kapitolyo. These light wells will be located in the residual spaces and empty lots that exist or are being

taken over by the informal. They are the new access points to the underground market spaces.

The market spaces will be providing vendors with a space to conduct business. These are the spaces where people will interact most with others. The movement of people will constantly be changing, because of the public markets, people will be moving through the train station to either get on or off the train while others will be moving through the new public markets.

Our program transforms the ambulant and mobile vendors of Kapitolyo into static vendors. This architectural linkage of markets will provide the vendors with permanent areas to conduct business removing them from the spotlight as a negative impact in Manila. They will be recognized as the economic distributors that they are and be able to gain the economic and social status to bridge the gap between the two groups.

UNDERMINED

CRITICS MICHAEL SU PHILIPPE BAUMANN

We are proposing a subterranean structure infilled with markets that connects the subway platform to the neighborhood, Kapitolyo. The subway tunnel platform will extend from the railway to the new intervention. Infrastructural spines will surround the tube, at intervals equal to the length of a train.

These spines will be perpendicularly connected with trusses, creating a grid of underground structure.

These main spines will include circulatory and MEP systems. Within the spaces of this newly established grid will be platforms extending from the spines that will include public markets. Sun Wells extending from grade level and down will emit light into the spaces as well as circulation from within the neighborhood into the new underground markets.

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HMS CRITIC JEFFREY HOGREFE STUDENTS MENGXI HE NITZAN KOREN LOCATION EURO-ASIA RAILROAD

The battery, which stands at the heart of this project, manifests not only the physical essence of the design but also its conceptual agenda – symbolically becoming the crystallization of the transference of potential energy. Ultimately, this potential conversion of energy, would manifest itself through the project’s individual layers operating together to re-distribute energy and people along the silk road to create a new power structure within the continent.

THE CARBON BELT

CRITICS ANNE NIXON SCOTT RUFF

By utilizing a machine that takes over China’s trilliondollar investment in the silk-road railway-system, “The Carbon Belt” aims to create micro-communities which revolve around one of our planet’s most important emerging sources of power – the battery.

These pioneering communities will grow and expand based on their proximity to natural resources, in order to self-sustain and operate a large production belt from France to China. And so, the project would act as a commentary and intervention in future power structures – proposing a hypothetical situation in which the most desired commodity of the future will be the battery.

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CRITICS ABIGAIL COOVER HUME MICHAEL SZIVOS

STUDENTS ARIE SALOMON VERONICA BEDOYA LOCATION MANHATTAN, NEW YORK

by the workers’ recreational activities such as fitness, entertainment, and relaxation. HITLAND believes in technology as an anxiety reliever, and advertises it’s lifestyle as an apparatus that will liberate us from all of our problems. HITLAND proposes a model for living that separates itself from the exterior world. Inside, there is no money, instead HITERS benefit from their leisure activities. The notions of ordinary domesticity are challenged by new programs in which atypical activities can occur. Within, idealized shapes are compacted inside of the container. Behind the organs is the Back of House. Shapes deform in relationship to each other. Structure is disguised. Masses rely on top of each other. The building challenges the conceived notions of poche by creating layers of distinct occupation. It begins with a striped translucent surface, that creates a distortion on the projected image behind it. Then follows The Back of House which controls the idealized realm. Mechanics and imposters inhabit it. The idealized realm is a colorful and textural set of deformed spaces that are designed to disorient the HITERS.

HITLAND

HMS CRITIC ANNA KATS (FALL) YOUMNA CHLALA (SPRING)

HITLAND is a social provocation that intends to soften the hard boundary between work and leisure through the implementation of an architectural alter ego. The building is an experiment that aims to challenge the constructed correlation between work and office space, and domesticity and leisure. The work produced inside of HITLAND are Human Intelligence Tasks which we call HITS, HITERS are stored within HITLAND with the intention of completing such tasks, in other words to complete tasks that computers are currently not smart enough to perform, like identifying performers on a music CD. By mixing domesticity and office space, HITLAND provides a purely fun and enjoyable lifestyle. Ego, is represented by the existing work culture, alter ego is represented by the fluidity of its relationship to leisure. The AT&T Building designed

by Phillip Johnson in the 80’s is chosen as a site due to its iconic identity as a powerful corporate house within the Manhattan landscape, its alter ego is a flickering image of a distorted AT&T and it’s a container of overflowing organs. If a body operates as a machine, the HIT MACHINE operates as a body. It is powered

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SEMESTERS IX, X

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HMS CRITIC PAUL HAACKE STUDENT JADE BANDIN LOCATION CHICAGO, ILLINOIS

This project aims to intersect performance and the existing art culture of Chicago. Chicago has a rich history of opposition and reaction and has led to a city that has unique socioeconomic, cultural and architectural conditions. By building a high rise for performance and arts in Chicago, there is an opportunity to question the way vertical space is used and wasted by people wanting to represent power. Why build vertically to create dominance in the sky when instead we build into the sky to allow the city to consider different groups and cultures? Art culture has the ability to address intersectionality, so creating a high rise for performance and arts allows intersections within the city by using performance as a generator. The performativity of this tower is based on an environment that brings people together to appreciate performance and art, all the while considering intersectionality and feminism to embody an inclusive architecture.

INTERSECTING ARTS

CRITICS KATHLEEN DUNNE MICHAEL TRENCHER

Performance exists in every aspect of life. Some examples include the way we dress, the way our daily routines play out, how we act towards one another and artistic performances capable of expressing our inner emotions and ideas. We perform for others and ourselves as a part of our unique identities. Within these performances are strict oppositions, publics and counterpublics. Humanity has a yearning to align itself within groups and as a result, gender and class debates have dominated social history. Dialectics is an important method used to try and come to a consensus between opposing sides. Intersectionality addresses marginalized groups and points out the ignorance towards the unique experiences people have. Instead of seeing a group of people with one shared experience as having a singular identity and singular goal, the consideration of intersectionality allows for endless unique identities that require many considerations.

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SEMESTERS IX, X

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227

HMS CRITIC ALEX DELOOZ STUDENTS DANIELLA CALMA MICHELE RUNCO LOCATION NEW ORLEANS, LOUISIANA

We imagine that the city, in response to a loss of ground, has begun to fold over in on itself—making way for water and architecture to operate figuratively as new grounds. Culturally iconic elements like the former Tremé, Garden District, and French Quarter neighborhoods and the Krewe parade lines that once ran through these areas all now find themselves

within an increasingly smaller area, prompting for new adjacencies and spatial affinities. By reinventing the condition between the privacy of the home (and its semi-public functions of the porch, balcony, etc.) and the public nature of the parade, the new spatial relationships that emerge represent an architectural manifestation of New Orleanian identity—placing creativity at the forefront as a means of building community and a sense of belonging. In applying an aesthetic concept of the “darling” (Thenhaus’s term for vernacular typological elements) by means of cataloging, spatial ideas of heterotopia (Foucault’s place of the other), semiotic readings (leveraging from Lefebvre and Vidler), and notions of part-to-whole logic, the project looks to bring the character-giving and defining features of the city a spirit of perpetual motion, akin to its current relationship with Second Lines. The thirty-nine Sundays out of the year in which Krewes perform throughout this new urbanized domestic represent the new New Orleanian spirit, empowering those to whom the city belongs.

HOUSE PART-Y

CRITICS CATHRYN DWYRE EVAN TRIBUS

We project that by 2049, New Orleans, as a product of climate change, rising sea levels, and historic storms, will find itself as an urban archipelago—a clustering of disparate, newly formed urban islands. In said context, the city has been overwhelmed by a 250 year storm, with more than half the city being swallowed up by over three feet of water. Majority of the city’s existing urban fabric has been either erased or torn apart, with the possibility of a 1000 year storm (11 feet of water) ever more looming. In this projected context, House Part-y is about a reclamation of the spirit of a city, without going straight to historic preservation. Rather, in the context of New Orleans, the city is forced to adapt in order to survive.

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SEMESTERS IX, X

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In the late 1960’s, Gabriel Garcia Marquez wrote One Hundred Years of Solitude, which became the paradigm of Magical Realism—a literary genre that developed in Latin America. Garcia Marquez’s Magical Realist scenarios are achieved by the confrontation of quotidian life with distortions and exaggerations of reality. This project transposes the literary genre of Magical Realism into the discourse of architecture and formally recreates juxtapositions between the quotidian and the fantastical.

HMS CRITIC ASHLEY SIMONE STUDENTS BARBARA MIGLIETTI VILLASANA LI JIN LOCATION MANHATTAN, NEW YORK

We believe that architecture can be more than a place, we believe that it can become an active participant in negotiating complex relations between disparate entities. As a result, we have programmatically divided the entire configuration into three main zones: Public Space: Situated in the large exaggerated voids.

This area is activated by select spatial appropriations from the surrounding site.

Space for Programmatic Appropriation: Originally defined by the quotidian typologies, spatially modest, and repetitive. It becomes an infrastructural scaffold for ad-hoc occupation.

Servant Space: as defined by Louis Kahn, which mediates between these two types of occupation and becomes a thickened boundary which includes the primary structure, MEP, and circulation. This servant space allows us to design for an ad-hoc occupation—a condition that is mostly improvised and chaotic in nature. The servant space then becomes the organizer of the building: it connects previously fragmented areas byproduct of the sectional collage. It also informs potential types of occupation by the type of servant elements in proximity.

MAGICAL REALISM

CRITICS ADAM ELSTEIN MICHELE GORMAN

Quatremere de Quincy first defined the idea of type in architecture as a set of characteristics that serve as the rules for a model. This project envisions Magical Realism in regards to typology. It derives from the synthesis of architectonic definitions of the quotidian versus the fantastical, in which a series of characteristics were established in terms of space, materiality, occupation and correlated to existing conditions and typologies found within New York City.

The understanding of Magical Realism in regards to architectural typologies departs from the question: what new architectural conditions and spatial opportunities can be discovered by juxtaposing these contrasting architectural types? Manhattan has a predetermined number of blocks that are forever fixed, it is therefore constrained and cannot grow in a conventional manner. In Delirious New York, Rem Koolhaas describes this condition as an “undreamt freedom for three-dimensional anarchy” in which the need for more space requires the city to expand

vertically. In this vertical city, we have observed that most public spaces tend to be open and horizontal.

Extrapolating unto other cities that continue to grow denser, this project considers a way to shape how buildings and public spaces can come together in a high-rise building typology.

DEGREE PROJECT

SEMESTERS IX, X

ARCH-501/503

a

231

STUDENTS AHMAD TABBAKH CHUCK DRIESLER LOCATION ALEPPO, SYRIA

We taught a GAN about several cultural motifs of Aleppo (e.g. the dome, the arch, and the minaret).

The output was then taken as literal sectional instructions. Our interpretations of the machine learning output accumulated into a pile of mistakes: misreadings by the machine, our misreadings of misreadings by the machine, and so on.

THIS PROJECT

HMS CRITIC ASHLEY SIMONE

Historically, post-war responses in cities like Berlin and Sarajevo have attempted to “exactly rebuild.” We echo the theories of Lebbeus Woods in response: reconstruction efforts in a post-war environment cannot and should not attempt to exactly replicate the pre-war condition. The trauma of war can only be healed through remembrance.

The character of the site has been forever changed by the destruction of war, but its memory persists as data. This leaves us with two questions: What is the role of the architect in an inherently

bottom-up process of reconstruction? If cultural memory exists as information, then how can that data be leveraged for both preservation and design?

Our project answers these questions by proposinga new form of preservation through an automated and participatory reconstruction of Aleppo. We turned to a machine learning algorithm called a generative adversarial network (GAN). A recent advancement in computer intelligence, GANs can be “taught” certain qualitative concepts by being “fed” large collections of examples (canonically these are images). They can then be asked to independently create (generate) an example. This process, called training, often leads to simultaneously surprising and convincing versions of the given concept.

WAS A MISTAKE

CRITICS ADAM ELSTEIN MICHELE GORMAN

This project is a protocol for thereconstructionofAleppo, Syria. We aim to investigate the impact machine intelligence has on the relationship between the architect, the designed output, and the people who will use it. The politically charged nature of the site allows us to marry an understanding of “participatory” and “autonomous” design with necessary considerations for preservation, memory, and local culture. We believe this context allows us to argue that architecture in the era of machine intelligence is the pursuit of maximal error.

DEGREE PROJECT

SEMESTERS IX, X

ARCH-501/503

233

The aspirational alternative model for practice, introduced by Robert Somol and Sarah Whiting, on the Doppler effect, another moods of modernism, was a polemical writing that turned the discipline’s corner towards the projective. Since then, the theory has gained a degree of resolution through its productive ability to generate marketable concepts, making architecture consumable and accessible.

STUDENTS ANDY KIM TOM XIA LOCATION FULTON MARKET, CHICAGO

THIS IS NOT A HAT

HMS CRITIC JOHN GENDALL

The thesis proposes an alternative diagram produced through complexity of the line. A series of line which abandons the simplistic, and abstract spatial concepts but engenders complexity of space generated through qualities of the lines. The thesis asks, how do we undo the diagram? Or better yet, how could one overwrite it? The thesis produces a line diagram that is inscripted onto a floating plinth. While the lines jitter and inflate, the conditions found between figures emerge unexpected spaces, overwriting the prescriptive syntax of the diagram.

IT IS AN ELEPHANT

CRITICS OSTAP RUDAKEVYCH TULAY ATAK

The problem of the diagram today is that it became too real, literal, simplified and commercialized inasmuch as the diagram became an image and identity for sale. The sincerest intention from Somol and Whiting was that the diagram was a“tool that sets into motion the possibility of multiple engagements rather than a single articulation of program, technology, or form” Today, however, even this thought is reduced, simplified and rigorously muted. What you see is what you get is an attitude towards the marketable concept in the diagram that is nothing but a promotion in architectural identity and image- making. In a way the diagram has slipped through the hands of the architect making available to the public, betraying it’s previous complex and analytical edge, towards simplistic, more dogmatic, and ultimately more conservative, at which time its

power becomes institutional rather than analytical.

Barbara Johnson says, in Nothing Fails like a Success, that the failure of a theory was symptomatic to the institutionalization, and success of the theory itself.

She argues that the loss of critical edge in theory can be regained through setting oneself up to a surprise, accepting the gap in knowledge, embracing the ignorance within which forgetting the conventions developed anterior to the practice we’re rigorously trained to perform. If this is possible, we need to propose, not answers or causes, explanations or origins, but new question and new ways in which the diagrams can be rigorously re-read, re-worked and disciplined.

MICHELE RUNCO + DANIELLA CALMA, CATHRYN DWYRE + EVAN TRIBUS DEGREE PROJECT AWARDS REVIEW, SPRING 2019

DEGREE PROJECT AWARDS REVIEW SPRING 2019

Introduction to Research Elective Undergraduate Architecture has actively worked to develop a developed a previously incubating research culture to be an important aspect in the education of an architect at Pratt.

We recognize that critical work related, or more focused subjects is often driven by the specific interests of our faculty. This is shaping the discussion about architecture’s future. Students can engage these subjects together with our faculty in a variety of ways. The longer-term result is a deepening of their discoveries within the advanced design studio and electives.

In 2015, my office together with Professor Haresh Lalvani created the Research Topics elective. The idea was to offer students a unique learning experience at a field-related faculty supported research site, whether a library lab or office, providing students with an opportunity to extend this academic knowledge and skills in a research setting was a unique for an undergraduate institution. Students can now experience the hands-on context and application of their course work, enriching their educational experience. They can deepen their knowledge about important aspects of their field, there faculty’s field, and in doing so enhance their research skills in a real-world context, build their research network, and inform their career choices in this area of academic discourse.

The Center for Experimental Structures is and has been dedicated to architectural research in morphology and will now offer a Concentration for architecture students and a Minor for students outside the discipline. Certain elective seminars examine material science and fabrication as a direct application. Other critical areas like urbanism and ecology engage new technology to gain different insights.

Seminars elaborate on topics from the studio to focus critical thinking and skill development.

This academic year began a three-year grant with the Institute for Design and Construction titled, Advanced Fabrication Education: Developing Pedagogic Prototypes for Industrial Application. The IDC Research Initiative addressed the critical need for advanced, experience-based learning that could provide research and entrepreneurial skills to our students. Our students were able to innovate through design proposals and by making prototypes using new building technologies. Through the exploration of real-world project challenges at multiple scales, the experienced based learning provided our students with a larger world view of the discipline of design and construction. The research investigations were grounded in the understanding of a cause effect relationship between new technologies and the design and construction industry.

Areas such as material science, automation, computation, and fabrication offer future innovation to the construction industry for economic growth, sustainable outcomes, and new career markets.

In all, research is well suited to our large and diverse faculty and offers a greater opportunity for students to pursue selective aspects of the architectural discourse.

Undergraduate Chair, Erika Hinrichs

R E S E A R C H

ELECTIVES

DANIELLA CALMA DRAGANA ZORIC, CRITIC

ROBERT BRACKETT III SEBASTIAN MISIUREK GUILLERMO BANCHINI GONZALO CARBAJO JOHN GUILLIFORD EZIO BLASETTI DAVID MANS GIULIANO FIORENZOLI FARZAM YAZDANSETA ABIGAIL HOOVER HUME

FACULTY BILL KATAVOLOS HARESH LAVANI JOHN GUILLIFORD CHE-WEI WANG AJMAL AQTASH ROBINSON STRONG DAVID P. BURKE JONATHAN SCELSA DUKS KOSCHITZ DRAGANA ZORIC JASON LEE

ELECTIVES

THE LANDSCAPE DRAWING

ARCH-581A.02

DRAWING

THE LANDSCAPE

a At a time when architecture and landscape architecture can be understood as fusing into one coincident indistinguishable field whose tectonic results operate simultaneously on a conceptual, experiential, and temporal level, how the resultant constructs are represented, read and analyzed - is crucial. Representation - the drawn and made artifact, posits itself to emerge as both the vehicle, and the catalyst of exploration, formal innovation and change. Through key canonical readings, this seminar course explored a selection of themes, projects, techniques, historic blips and narratives, that materialized out of, and were defined by the landscape drawing.

The seminar goal was the making of a series of landscape mixed media three-dimensional montage drawing/ model/reliefs, investigating the role of representation as an interface between architecture and landscape architecture, attempting to offer up distinctions between contemporary readings of “nature”, “natural”, “man-made and “artificial”, simultaneously positioning those terms relative to scale, site, program, space, form and narrative.

CRITIC DRAGANA ZORIC STUDENTS a. DANIELLA CALMA b. HAZEL YIMENG SUN

b

a

a

a

a

a

MINIMAL TO MAXIMAL

This seminar asks students to study the contrast between the mini­mal expression of modern Japanese Architecture and maximum immersion of Japanese Anime through the analysis of specific case studies in each discipline.

Students develop their ability to read and understand architecture through historical, cultural, formal, and spatial analysis. The reference of historical precedents is critical in the production of the new. The copy and the rejection of copy is a design method that has historical significance within the discipline. Analysis is also a method to decompose parts and components, whether they are cultural artifacts or architectural details, in order to comprehend or contextualize the subject.

b

STUDENTS a. IRIS YIWEN SHEN b. MIA UARNICE HONG

FROM

CRITIC JASON LEE

At the same time, this course proposes the method of analysis does not end at reading but rather to apply the discovery to speculate new futures for these projects. Through various anime and representational techniques, the issues of mapping, points of view, framing, superimposition, atmospheres, and textures are explored as possible design techniques, embracing visual imagination and communication.

241

MINIMAL TO MAXIMAL

b

ARCH-581A.08

ELECTIVES

GENERATIVE VR ARCHITECTURE

ARCH-581A.07

a

a

a

GENERATIVE VR

ARCHITECTURE

b

Generative VR Architecture will survey the history of Virtual Reality as an immersive and experiential environment from its early start in painting to the Sensorama into contemporary VR devices. The course will explore the exciting and expansive realms of Gaming and VR software’s to yield unique and expressive new architectural narratives.

The Focus will be on the relevance of VR as an advanced method of representation and its potential to redefine current architecture mediums of experience and design.

The functional and immersive properties of VR will be explored as generative platforms to re-conceptualize very specific architectural narratives. One of the challenges of the course is the re-invention of a means of assessment,

b

b

b the development of notations and techniques that will document the forces and the production of difference in the spatial manifestations of the generative systems.

Current VR designs and experiences are converging with architectural territories and techniques. This is a fertile ground for architects to examine as these techniques of experiences and exploring space, form, tactility, shape, color and augmentation found in Virtual Reality can be translated into new architectural mediums. This course will seek to create a series of Virtual Reality / Augmented Reality experiences using Unity as a platform along with various gaming software. Students will create detailed code for advanced immersive architectural environments.

CRITIC DANIELLE WILLIEMS STUDENTS a. MINHO KWAK HAZEL YIMENG SUN b. ABHISHEK THAKKAR

ARCH-575B.01

SENSATION TECTONICS

243

a

a

b

b

a

b

STUDENTS a. MINHO KWAK DIANA OH b. ROMY ZHENG

Sensation Tectonics challenges rigid methods of designing assembly and enclosure with soft form.

Dynamic simulation and computation design tools introduce multiplicities; interacting systems with physical and ethereal parameters of form, space, and atmosphere.

The methods of materials and assemblies deployed in the

The Disrupted Carapace begins with the human body, exploring the organic fluid boundaries of our most intimate form, then expanding outward and hardening into a thickened shell. Disruptive processes erode and distort the extension of the body, thickening the space of interaction with the environment and producing a new tactile experience of form. The physical output of the Disrupted Carapace will operate at the scale of furniture, in direct contact and proportion with the human body.

Each project will define its own interaction and reflection of the human form and the scale of interaction between virtual simulation and material objects as we explore the tectonics of sensation.

SENSATION

CRITIC ROBERT BRACKETT III

manifestation of the virtual into physical are critical to our experience of form and space. Projects are negotiations and mutations that engage an iterative process of production.

TECTONICS

Architecture inhabits a sensual overlap of virtual dynamic environments and tactile physical matter. Sensation Tectonics explores the relationship between the digital design process and making through material, technology, and our bodies. Just as our hands and mind mechanically engage the pencil and paper to draw, we can also employ living virtual systems in design software such as Autodesk Maya and Rhinoceros [Grasshopper] to simulate complex systems of formal and spatial invention. New techniques and machines of production provide interfaces for the translation of these digital environments into tactile tectonic experiences.

ELECTIVES

IMMERSIVE ARCHITECTURE THROUGH VR

ARCH-581A.01

a

a

a

b

THROUGH VR

IMMERSIVE ARCHITECTURE

b

This course will focus on the use of Virtual Reality technology for representing and experiencing Architecture throughout various stages of the design process. We will take a broad look at the latest VR software and hardware to learn what is currently being used at the cutting-edge of the industry, and then do a deep-dive to learn VR plugins for Rhino, game engines, mobile hardware apps/viewers, and room scale VR with a head-mounted display.

Virtual Reality allows us to create new and spectacular ways of representing and experiencing our work. Previous architectural representation methods and techniques such as drawings, models, and renderings have tried their best to communicate clearly the design details and architect’s intent, but fail at conveying actual scale and

user experience. Prior to VR, there was no economic and precise means to experience spaces themselves at scale prior to a projects construction. With current VR software and hardware, we are now able to create fully immersive 1:1 scale digital experiences of spaces in real-time. This not only allows for a significantly better understanding of scale, proportion, lighting, materials, and atmosphere, to name a few, but also gives the opportunities for users to understand the impact of those factors in simultaneity.

VR also goes a step further by allowing for movement through space, which underscores a better understanding of thresholds and procession in the overall user-journey experience. In the end, the objective is to make VR an indispensable skill-set utilized not only for project presentations but intuitively during the design process.

CRITIC SEBASTIAN MISIUREK STUDENTS a. TED LU b. MINHO KWAK

b

ARCH-581A.01/.10

a

a

MATERIAL BASED DESIGN

245

a

b Seminar approach will be based on the basis of producing an architectonic object under “minimal surface” premise and by understanding the implication an interface between parametric design and fabrication.

C – Architectonic object: From object to field/ space. From a bus stop to a shelter or a roof. The main purpose of this exercise is to investigate and find through a variation of minimal scales objects promoting different spatial experiences, different sensibilities and affects. The subject must interact with the space delimitated by the object from every point of view and at the same time, the object must also interact with the landscape/cityscape looking for a fluid interaction between subject and object.

MATERIAL

STUDENTS a. WONJIN JAN BELEN CAVDAR NATHALIE FLASZ SARAHDJANE MORTIMER TUSTIN KLINMALAI YUNWEI DAN b. LAMISA HAQUE ADRIANA HINOJOSA ALEJANDRA SANCHEZ ELENA MARTINONI IVAN VUCKOVIC SUSANA CHINCHILLA

B – Parametric digital design: To design to not to have to design. The argument for this particular protocol is to start designing space by strategizing the necessary and basic mathematical restrictions needed to generate such spatial quality. In this way, we wont be designing space in itself but the restrictions and values associated with this space. Under this premise students will be engaged into a design process where mathematical restrictions will not leave space neither for hazard nor for subjectivities.

BASED DESIGN

CRITICS GUILLERMO BANCHINI GONZALO CARBAJO

A - Minimal surface: the mathematical characteristics of minimal surface define its structural efficiency, lightness, and also its intrinsic beauty. The purpose of this research is not only to conceptually investigate “minimal surfaces” but also to understand its intrinsic properties, its structural efficiency, lightness, thickness, and its constructive simplicity. A minimal surface or ruled surface is a surface that can be swept out by moving a line in space. It therefore has a parameterization of the form. Minimal Surfaces have gradually been translated from the field of mathematics into the architectural design research due to their remarkable geometric properties. The simulations of soap films or protein are only some of the many applications in various fields, while architecture and engineering have been applying them for tensile roof structures since the early 1960’s.

The other important quality of this kind of surfaces is it

could be built out of straight elements, so construction strategy could be easier to manage.

ROBOTICS

DIGITAL FABRICATION:

ELECTIVES

DIGITAL FABRICATION: ROBOTICS

ARCH-563B.01

This research focuses on experimentation through design and making. We look in depth on the various material parameters of carbon fiber and develop the appropriate fabrication methods and algorithms. Each project documents the intricate relationship between computational geometries and material behavior of carbon fiber and will rigorously test their structural, aesthetic and architectural properties. The success is measured in the translatability of the prototypes into building methods and elements. The results fold onto the next projects both by the means of exhaustive computational and prototype catalogues and in the creation of multi-authored computational libraries. These ‘proto- languages’, as they escape the digital inscription to include other artifacts, at times notational, physical and material, are always-already multiple, collective and non-linear.

CRITIC EZIO BLASETTI STUDENTS MENGXI HE XUN ZHANG HAOTIAN ZHANG XUECHEN CHEN

ARCH-581A.02

a

APPLIED COMPUTATION

247

a

b

CRITIC DAVID MANS

•Mesh subdivisions modeling with Weaverbird, Mesh+ •Form finding and panelization with Paneling Tools, Smart Form •Surface Relaxation and Material Optimization with Kangaroo •Structural Analysis and Response in Karamba •Solar and Contextual Analysis in Ladybug •Revit interoperability with Lyrebird The exercises culminate in the exploration of balancing their inherent contradictions through the use of genetic solvers via Octopus and Galapagos exploring the concept of a design solution as a range, rather than a fixed point. Students will derive design assumptions and test them in weekly exercises validating their results through diverse digital and physical media.

APPLIED

STUDENTS a. NICOLE MARTE PENA MARIA F. ROSARIO FLETE b. TOM XIA SABRINA TEDINO SELEN BAS

In a contemporary practice the window of time for design development is a diminishing quantity, while the expectation for certainty in the value of design decisions is an exponentially increasing portion of design deliverables, where projects now deliver as much data as design. Yet in an era where the limited material capacity of the planet is ever more clear, architects must evolve their process to study, through digital means, the physical constants of gravity and structure, material and form, light and energy, that drive the establishment of architecture in the physical world.

These challenges are explored throughout the semesters in a series of cumulative exercises which initially discretely engage the following topics.

COMPUTATIONS

Applied Computation is a course which introduces students to the real world application of simulation and optimization within the design process for the testing and validation of design assumptions. Through a semester long project students will be exposed to both a strong foundation in the diverse ecosystem of plugins developed by architects and engineers for Grasshopper 3d and a comprehensive set of lectures focusing on their applications in built projects.

RESEARCH

CENTER FOR EXPIREMENTAL STRUCTURES - AUTONOMOUS HOUSE

249

Pocket

STUDENT SHUAI PENG

The hexagonal structure employs spatial separation made of polymeric plastic heat-sealed bags containing water.

As for structures, it uses a combination of metal beams and PVC pipes bolted together. The project’s roof utilizes one feet deep water-filled plastic against UV degradation along with the study of night sky radiation.

HOUSE

CRITIC BILL KATAVOLOS

AUTONOMOUS

AUTONOMOUS HOUSE : INDIA PROPOSAL The objective of proposed design is to re-innovate the previously successful structure in order to adapt to foreign conditions in India. We wish to build this structure as a permanent aggregation that examines the structural, mechanical system and food cycle in a campus town in India. The ultimate goal is to be able to create a selfsustaining house that employs techniques that allow for algae production and eventually distribution for sale, flexible PVs, and hydroponic growing of fruits, flowers and vegetables.

RESEARCH

CENTER FOR EXPIREMENTAL STRUCTURES - CES PROJECTS

251

CRITIC HARESH LALVANI

CES PROJECTS 1

UG STUDENTS EARNEST MAWELL AARON MIRANDA JUAN CONTRERAS GRAD STUDENTS: JOHNATHAN HAMILTON MATTHEW MITCHELL (CES STUDENT ASSISTANT) WILLIAM VADERBURGH STRUCTURAL ENGINEERS: LERA+ (LESLIE ROBERTSON ASSOCIATES, NYC) FABRICATION SUPPORT: MILGO-BUFKIN MOHAMAD FAHAN KEVIN SINGH

HYPERSURFACE (PHASE 3, CONTINUED) We continue our experiments in combining new morphologies with new methods of physical construction on a larger scale. We are closer to the completion of full-scale construction of Hypersurface, a continuously curved one-sided minimal surface projected from higher dimensions. Our fabrication-assembly method has been further refined to reach the goal of building a complex curved structural surface without the use of formwork. We are hoping to achieve this. Gravity continues to challenge us, requiring us to combine positional information of components (from the digital model) with structural integrity during the assembly process of parts and eventually the whole. We are experimenting with several variations of peg insertions. At the time of this writing, Layers 6 and 5 are being tweaked, Layers 3 and 4 are in final assembly stage, Layers 2 and 1 are in digital phase, with the anticipated goal of completion this summer.

RESEARCH

CENTER FOR EXPIREMENTAL STRUCTURES - CES PROJECTS

a

a

a

a

253

b

b

b

RESEARCH TEAM a. JOHN GULLIFORD ROBINSON STRONG b. DAVID FRANCK

b

STUDENTS a. NAINI BANSAL b. ABHISHEK THAKKAR

ACTUATED STRUCTURES (b) Our ongoing studies of morphing structures using linear actuators continues the use of software and electronics developed during the Amoeboid Sphere project to new morphologies such as the amoeboid torus, linear tetrahedral structures and others. Details of a low resolution ring and a linear prototype is shown.

CES PROJECTS 2

CRITICS a+b. HARESH LALVANI a. JOHN GULLIFORD b. CHE WEI WANG

SINGULARITY STRUCTURES (a) We continue our work on structures with a “singularity” where vertices coalesce towards the limit case of structures with one vertex. Eight examples of “pentagons with 2 vertices” are shown (top left) along with architectonic studies of two (bottom left). These provide a model case to index component parts in a systematic manner. A 5D co-ordinate system is presented for case with the planar version and it corresponding curved state. The higherdimensional indexing has natural advantages in softwaredriven fabrication and robotic construction and assembly.

RESEARCH

CENTER FOR EXPIREMENTAL STRUCTURES - MORPHOLOGY STUDIO

ARCH-571F(R).01 + ARCH-571B(R).01

c

c

d

d

e

e

f

e

255

b

b

a CRITICS CHE-WEI WANG AJMAL AQTASH ROBINSON STRONG

STUDIOS 1

TOPOLOGY DRIVEN AUTOMATION (c, d, e, f) In this course, students developed prototypes that looked toward the specific topology of various periodic minimal surfaces for insight into advancing and automating manufacturing processes. Computational models were developed to simulate assembly sequence and structural forces.

MORPHOLOGY

a

STUDENTS a. ANDREW SALDIVAR DILLON MCNAMARA DIYANG SHEN PEIYE YANG HSIN WEI WANG HOYEON LEE JEEHOON KIM SIMON R. GALECKI b. DILLON MCNAMARA c. MATTHEW MALCOM d. AISHA ALJASSIM e. YUJU (EZAD) HUNG f. LUCY ZAKHAROVA

CROCHET TOPOLOGIES (a, b) In this class, we crocheted rope to build large cones, saddles, and hyperbolic planes. This approach to spacemaking affords topological conditions that we would traditionally need multiple fabrication processes to achieve. Instead, we were able to build complex topologies using very simple rules.

RESEARCH

CENTER FOR EXPIREMENTAL STRUCTURES - MORPHOLOGY STUDIO

b

ARCH-571D(R).02 + ARCH-571D(R).01

b

b

f

a

b

257

b d

f

f e

CRITICS JOHN GULLIFORD HARESH LALVANI (a) DAVID P. BURKE (b)

KINETIC STRUCTURES (b) The course explores opportunities of form finding and systems development through research of examples found in built or natural environment and their relationship to morphological principles. Students select and analyze research topics followed by investigation of structural systems and technologies. Projects include flight and skeletal movement as an inspiration for structure and enclosure leading to various kinetic structures modeled as digital and physical environments.

STUDIOS 2

c

STUDENTS a. ALEX ELGUERA b. NAINI BANSAL KHADEEJA BORIYAWALA ARIANA COHN CELINE LEE SAFA MEHRJUI MARY SHEN SEOK JUNG CHUCK WU c. HAOCHEN MENG d. JIJA JADHAV e. SEAN RUSSO f. SUVIAN TAM

f MINIMAL SURFACE STRUCTURES (a) Soap films are a simple and beautiful way to demonstrate the principles of minimal surfaces. Nature’s ability at producing a surface with minimal area is the inspiration behind the physical models which are constructed using 3d printed joints and normalized framing members.

MORPHOLOGY

b

d

CONCEPTION VS

FABRICATION

RESEARCH

CONCEPTION VS FABRICATION

ARCH-563A

The course is to confirm the role of architectural drawings as legitimate concepts of architecture in the process of revealing themselves to our attention, to our mind and senses in the form of unexpected realities.

Drawings are projects in themselves and to me have the same relevance of any built building or architecture.

I have shown and presented these drawings to the public through exhibits or publications in the form of architectures of the mind, ideas of projects in the making.

They seek attention , not approval. They call for further investigations as inhabited spaces. They are to me the

essential tools that reveal from the unconscious, visions of architecture in sort of full self-determination. In an early phase of conception drawings attempt to give content to abstract thoughts, presenting the viewer with a sort of emptiness that aspires to the reasoning of a hidden program or human participation to follow.

The research work for this semester aims to give to one of our students the” time” and the “training” necessary to mentally dive into this learning experience, with me being the mentor. I find the understanding of this delicate and yet powerful process to be a missing skill in our school.

FACULTY PRINCIPAL INVESTIGATOR GIULIANO FIORENZOLI STUDENT RESEARCH ASSISTANT SUNGMIN BRIAN HA

ARCH-563A

the manifestation of the virtual into physical are critical to our experience of form and space. Projects are not pure output from the computer, but negotiations and mutations that engage an iterative process of production.

The Disrupted Carapace begins with the human body, exploring the organic fluid boundaries of our most intimate form, then expanding outward and hardening into a thickened shell. Disruptive processes erode and distort the extension of the body, thickening the space of interaction with the environment and producing a new tactile experience of form. The physical output of the Disrupted Carapace will operate at the scale of furniture, in direct contact and proportion with the human body.

Each project will define its own interaction and reflection of the human form and the scale of interaction between virtual simulation and material objects as we explore the tectonics of sensation.

BANNED

STUDENT RESEARCH ASSISTANTS IRIS YIWEN SHEN DANIELLA CALMA

Sensation Tectonics challenges rigid methods of designing assembly and enclosure with soft form.

Dynamic simulation and computation design tools introduce multiplicities; interacting systems with physical and ethereal parameters of form, space, and atmosphere.

The methods of materials and assemblies deployed in

259

DRAWINGS

FACULTY PRINCIPAL INVESTIGATOR FARZAM YAZDANSETA

Architecture inhabits a sensual overlap of virtual dynamic environments and tactile physical matter. Sensation Tectonics explores the relationship between the digital design process and making through material, technology, and our bodies. Just as our hands and mind mechanically engage the pencil and paper to draw, we can also employ living virtual systems in design software such as Autodesk Maya and Rhinoceros [Grasshopper] to simulate complex systems of formal and spatial invention. New techniques and machines of production provide interfaces for the translation of these digital environments into tactile tectonic experiences.

BANNED DRAWINGS

PSUEDO-3D

RESEARCH

PSEUDO-3D

ARCH-563A

Psuedo-3D Representations is to serve as a platform to explore the relationship between two and three dimensions in generative architectural representation.

Psuedo-3D, 2.5D, three-quarter perspective, parallax –these are all precedents to be explored of the phenomenal space that exists somewhere between the second and third dimension. Through the development of a curated lineage of historic and contemporary art, architecture and popular culture research at the foreground of the semester, a framework will be developed for the production of a physical Psuedo-3d diptych by the end of the semester. The Psuedo-3D Representations lineage will look at everything from ancient bas-relief, to parallel projection, to architectural models, to video games. The paper bas-relief models of Zaha Hadid and drawdles of Thom Mayne will serve as spring boards into the 2.5D exploration of architectural representation.

FACULTY PRINCIPAL INVESTIGATOR ABIGAIL COOVER HUME STUDENT RESEARCH ASSISTANTS TALYA POLAT

ARCH-563A

STUDENT RESEARCH ASSISTANT IRMAK CIFTCI

structure (can also be understood as “ingredients”).

The working list of techniques is: compounding/ compressing, winding/coiling, blending/bending/ thinning, flying/cantilevering, pixelating, stacking/ layering, alternating/contrasting (alternating repetition), puncturing/aerating and clustering. We determined that most brutalist architecture can be sorted according to these formal methods.

The second part of the Brutalist Cookbook, will explore landscape elements and types, testing what kinds of structures, and moments can be “cooked up”, or designed, using brutalist techniques (from above), and how. The landscapes types are: walkway (path, stair, ramp etc), overlook, plaza, canopy, wall, seawall, pavilion, railing, meadow, lawn, bosque, forest planter, bench, edge, and others that arise in the process of research.

THE BRUTALIST

FACULTY PRINCIPAL INVESTIGATOR DRAGANA ZORIC

A research project intended to be a book, the Brutalist Cookbook in its first part, consists of a morphological catalogue of brutalist buildings organized through a hierarchy of formal techniques and their related geometries. The catalogue includes a collection of newly generated serial diagrams of each building that explain the form, scale, construction and arrangement of the formal unit(s) that makes each make up each iconic

261

COOKBOOK

If the Modern movement considered architecture as an object, with landscape as an accessory, the Supermodern movement focused on architecture as a field effectively co-opting landscape logics, and Landscape Urbanism charged landscape with organizing architecture, this research project proposes a body of work that will demonstrate the simultaneity of the two fields of architecture and landscape architecture, where their tectonic results operate simultaneously on a conceptual, experiential, and temporal level.

THE BRUTALIST COOKBOOK

(+) NEGATIVES

RESEARCH

(+)NEGATIVES

ARCH-563A

The Positive Negatives research study will investigate the possibility of lightweight plastic masonry, using Fiber Reinforced Polymer, as a substitute for the heavier baked clay and stone traditionally in the production of spherical and cylindrical vaulterd surfaces. This will be a material and production research study, running in tandem to a formfinding search for a system of a-periodic figural tessellation for a spherical body, which will be tested in 3D-printed plastiv models; a material investigation will occur into the methods of creating a re-usable adaptable mold system for FRP, suitable for changing the shape, while maintaining the contiguous typology of the underlying vault. The study will culminate in a spherical vault mockup, which both study participants will merge to build.

FACULTY PRINCIPAL INVESTIGATOR JONATHAN SCELSA STUDENT RESEARCH ASSISTANTS UDDHAV KEDIA CAL MCAULIFFE

ARCH-563A

CURVED

STUDENT RESEARCH ASSISTANT SOPHIA SARVER

This research project consists of analyzing single curvedcrease foldings. This study will aspire to derive the underlying design principles of single curves that are defined either by a function or via input points of nurbs curves. The ambition of this project lies in finding intuitive ways of defining curves for paper folding. In order to study the behavior of curved creases we will propose to work with several curve types and also control the location of the crease within a paper disc. Once all curves of this taxonomy have been folded and photographed we will cull the number of models down to a manageable number and make models with vulcanized paper.

263

CREASE

FACULTY PRINCIPAL INVESTIGATOR DUKS KOSCHITZ

CURVED CREASE

FALL 2018 - SPRING 2019

LECTURE SERIES

ROBERT IRWIN: SITE DETERMINED ROBERT IRWIN SEPTEMBER 6, 2018 ARANDA + OYLER WU BENJAMIN ARANDA JENNY WU + DWAYNE OLYER SEPTEMBER 20, 2018 OLALEKAN JEYIFOUS SEPTEMBER 24, 2018 “SPATIAL ARCHETYPES: THE HIDDEN PATTERNS OF SYCHE AND CIVILIZATION” JOHN LOBELL

BY MIMI LOBELL OCTOBER 10, 2018 NEW ARCHITECTURAL CONTEXTS STAN ALLEN OF STAN ALLEN ARCHITECTS ROBERT SOMOL NOVEMBER 8, 2018 NEW ARCHITECTURAL CONTEXTS MANUEL DE LANDA GRAHAM HARMAN NOVEMBER 15, 2018 FREELAND & BUCK + ABRONS & FURE DAVID FREELAND & BRENNAN BUCK ELLIE ABRONS & ADAM FURE FEBUARY 28, 2019 ANNUAL MICHAEL HOLLANDER DRAWING EXCELLENCE AWARD EXHIBITION MARCH 4, 2019 BELL + LYNN MICHAEL BELL OF BELL SEONG GREG LYNN OF GL FORM DAVID THEOHARRIS DAVID 50 YEARS OF TEACHING & LEARNING MARCH 18, 2019

OLALEKAN JEYIFOUS, SEPTEMBER 24, 2018

BURKE-VIGELAND MADELINE BURKE-VIGELAND THE ARNOLD SYROP AND JOANNE SYROP MARCH 28, 2019 REISER JESSE REISER OF RUR ARCHITECTURE BOOK LAUNCH + DISCUSSION WITH DAVID ERDMAN APRIL 1, 2019 NURSKE DENNIS NURSKE 14TH ANNUAL CHRISTINA PORTER POETRY IN THE SCHOOLS PROGRAM MARCH 4, 2019 INGRAHAM + DE LANDA + KWINTER SYMPOSIUM: WHAT DOES (CAN) THEORY DO? CATHERINE INGRAHAM MANUEL DE LANDA SANFORD KWINTER MARCH 4, 2019 SEONG + BLOUGH + SZOT + BIEHLE HOUSING AFTER BANKING + UA DOMESTIC FRONTIERS 2 EXHIBITION + GALLERY TALK SERIES EUNJEONG SEONG LAWRENCE BLOUGH JOHN SZOT FRED BIEHLE MARCH 8, 2019 LIU & IDENBURG + IWAMOTO & SCOTT JING LIU FLORIAN IDENBURG LISA IWAMOTO CRAIG SCOTT APRIL 11, 2019

STAN ALLEN, NOVEMBER 8, 2018

ADVANCED DESIGN RESEARCH STUDIO, DUKS KOSCHITZ + CHE-WEI WANG FALL 2018

CAREER FAIR SPRING 2019

UNDERGRADUATE

ARCHITECTURE FACULTY

UNDERGRADUATE FACULTY

FALL 2018 - SPRING 2019

Erika Hinrichs, Chair Adjunct Associate Professor

Christina Chu-Garcia Visiting Assistant Professor

Michele Gorman Adjunct Associate Professor

David Mans Visiting Assistant Professor

Scott Sorrenson Visiting Assistant Professor

Jason Lee, Associate Chair, Adjunct Associate Professor

Demetrious Comodromos Visiting Associate Professor

Kyriaki Goti Visiting Assistant Professor

Harriet Markis Professor

Michael Su Visiting Assistant Professor

Farzam Yazdanseta, Assistant Chair Visiting Assistant Professor

William Cooch Visiting Assistant Professor

Rodrigo Guajardo Visiting Assistant Professor

William Menking Professor

Michael Szivos Adjunct Assistant Professor

Juliet Medel Assistant Director of Undergraduate Advisement

Abigail Coover-Hume Adjunct Assistant Professor

John Gulliford Visiting Assistant Professor

Greg Merryweather Adjunct Associate Professor

John Szot Visiting Assistant Professor

Terilyn Stewart Assistant Director of Undergraduate Advisement

Donald Cromley Adjunct Professor

Natasha Harper Visiting Assistant Professor

Sebasitan Misiurek Visiting Instructor

Steven Szycher Visiting Instructor

Nicholas Agneta Adjunct Associate Professor

Patrick Curry Visiting Assistant Professor

Shannon Hayes Visiting Assistant Professor

Michael Morris Visiting Associate Professor

Salvatore Tranchina Adjunct Associate Professor

Evan Akselrad Adjunct Assistant Professor

George Cutsogeorge Adjunct Professor

Kyle Hovenkotter Visiting Assistant Professor

Nicholas Mundell Visiting Assistant Professor

Michael Trencher Professor

Lennart Andersson Visting Assistant Professor

Rosario D’Urso Visiting Assistant Professor

Alicia Imperiale Visiting Associate Professor

Ted Ngai Visiting Assistant Professor

Evan Tribus Visiting Assistant Professor

Ken Andria Visiting Assistant Professor

Theoharris David Professor

Merica Jensen Visiting Assistant Professor

Signe Nielsen Adjunct Professor

Frederica Vannucchi Adjunct Assistant Professor

Ajmal Aqtash Adjunct Assistant Professor

Adam Dayem Visiting Associate Professor

Junhui Jia Visiting Associate Professor

Anne Nixon Adjunct Associate Professor

Erik Verboon Visiting Assistant Professor

Tulay Atak Adjunct Associate Professor

Brian DeLuna Visiting Assistant Professor

Leland Jobson Visiting Assistant Professor

Beth O’Neill Visiting Assistant Professor

Jason Vigneri-Beane Associate Professor

Guillermo Banchini Adjunct Assistant Professor

Laura Diamond Dixit Visiting Assistant Professor

Latoya Johnson Administrative Clerk

Enrica Oliva Visiting Assistant Professor

Maria Vrdoljak Visiting Assistant Professor

Philippe Baumann Adjunct Assistant Professor

Ron DiDonno Adjunct Associate Professor

David Jones Visiting Assistant Professor

Matthew Ostrow Visiting Assistant Professor

Che-Wei Wang Adjunct Assistant Professor

Karen Bausman Adjunct Associate Professor

Livio Dimitriu Adjunct Professor

Adam Kacperski Assistant to the Chair

Masha Panteleyeva Visiting Assistant Professor

Chris Ward Visiting Assistant Professor

Stephanie Bayard Adjunct Associate Professor

Kathleen Dunne Professor

Amir Karimpour Visiting Assistant Professor

Mark Parsons Adjunct Assistant Professor

Christa Waring Visiting Assistant Professor

William Bedford Visiting Associate Professor

Cathryn Dwyre Adjunct Associate Professor

Brendan Kelly Visiting Assistant Professor

Eva Perez de Vega Visiting Assistant Professor

Edward Wendt Visiting Assistant Professor

Jacob Bek Visiting Assistant Professor

Adam Elstein Adjunct Assistant Professor

Duks Koschitz Associate Professor

Brent Porter Adjunct Professor

Danielle Willems Visiting Assistant Professor

Frederick Biehle Adjunct Professor

Rychiee Espinosa Visiting Assistant Professor

Nicholas Koutsomitis Adjunct Associate Professor

Mark Rakatansky Visiting Associate Professor

Markus Wilmers Visiting Assistant Professor

Ezio Blasetti Visiting Associate Professor

Daniela Fabricius Adjunct Assistant Professor

Matt Krupanski Visiting Assistant Professor

Thomas Rice Adjunct Associate Professor

Chi Fan Wong Adjunct Associate Professor

Lawrence Blough Professor

Gustav Fagerstrom Visiting Assistant Professor

Christopher Kupski Visiting Assistant Professor

Dagmar Richter Professor

Letícia Wouk Almino Visiting Assistant Professor

Robert Brackett III Adjunct Assistant Professor

Giuliano Fiorenzoli Professor

Zehra Kuz Adjunct Professor

Ben Rosenblum Visiting Assistant Professor

Richard Yoo Visiting Assistant Professor

Lex Braes Visiting Associate Professor

Earnst Fischer Adjunct Assistant Professor

Haresh Lalvani Professor

Otto Ruano Visiting Assistant Professor

Robert Zaccone Adjunct Professor

Jessica Bristow Visting Assistant Professor

Lapshan Fong Visiting Associate Professor

Jane Lea Visiting Assistant Professor

Ostap Rudakevych Visiting Associate Professor

Lawrence Zeroth Adjunct Associate Professor

Chris Brokaw Visiting Assistant Professor

Carlyle Fraser Adjunct Assistant Professor

Philip Lee Visiting Assistant Professor

Scott Ruff Visiting Assistant Professor

Dragana Zorić Adjunct Associate Professor

Anthony Buccellato Adjunct Assistant Professor

Nina Freedman Visiting Assistant Professor

Leonard Leung Visiting Assistant Professor

Yehuda Safran Adjunct Professor

Dan Bucsescu Adjunct Professor

Deborah Gans Professor

Enrique Limon Adjunct Associate Professor

Richard Sarrach Adjunct Associate Professor

Reese Campbell Adjunct Associate Professor

Lori Gibbs Visiting Assistant Professor

John Lobell Professor

Jonathan Scelsa Assistant Professor

Gonzalo Carbajo Visiting Assistant Professor

Lorraine Glover Visiting Assistant Professor

Scott Lomax Visiting Assistant Professor

Eunjeong Seong Adjunct Associate Professor

Michael Caton Visiting Assistant Professor

Addison Godel Visiting Assistant Professor

Gonzalo Lopez Visiting Assistant Professor

Ashley Simone Visiting Assistant Professor

Michael Chen Adjunct Associate Professor

Ane Gonzalez Lara Assistant Professor

Christian Lynch Adjunct Associate Professor

Greg Smith Visiting Assistant Professor

Jesse Chrismer Visiting Assistant Professor

Lou Goodman Adjunct Professor

Andrew Lyon Visiting Assistant Professor

Justin Snider Visiting Assistant Professor