Barry M. Yanku Portfolio 2003
Copyright @ 2003 by Barry M. Yanku All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. copyright Law and except by reviewers for public press), without written permission from the author.
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Portfolio 2003 Catalog of Work
Table of Contents
Choreograped Design:
Introduction Chapter Table of Contents Portfolio Concept Precedents Architecture and Dance Language Development Snapshots of Projects 1983 – 2003
Page 3 3 4 4 6 8
Year
Selected Projects Project Name
Firm Name
2003 2001 1997 1999 2001 2002 2003 1998 1996 1992 1992 1993 1993 1993 1991 1990 1992 1986 1985 1981
Quadrangle Group, LLC - Seagram’s Building Basketball Hall of Fame Universal Studios Headquarters Cameron Museum of Art Mid Manhattan Library Allen County Public Library Lake House, Stable and Boathouse PepsiCo Collegiate School Soho Grand Hotel SUNY at Stony Brook - Student Activity Center Police Athletic League Community Centers SUNY at Purchase - Student Activity Center SUNY at Binghamton - Student Activity Center Northwest Airlines Passenger Terminal 200 East 86th Street - Residential Tower The Oxford at 422 East 72nd St. Residential Tower York College Performing Arts Center Carnegie Hall Restoration Booth Memorial Hospital Education Center
Gwathmey Siegel Gwathmey Siegel Gwathmey Siegel Gwathmey Siegel Gwathmey Siegel Gwathmey Siegel Gwathmey Siegel Gwathmey Siegel Helpern Helpern Freelance Freelance Freelance Freelance Freelance Emery Roth & Sons Emery Roth & Sons Polshek & Partners Polshek & Partners Davis Brody
Year
Independent and Educational Projects Project Name
Institution
1994 1993 1992 2003
Snapshots of Projects 1992 – 2003 House for the Millennium Denver Follies Competition Choreographing Space ‘Room for Thought’ - Design Studio for High School
Architectural Record Denver Urban Coalition Prospect Park Alliance Montclair Art Museum
Page 10 14 20 24 28 32 34 36 38 40 42 44 48 50 52 54 56 58 60 62
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The notion of choreographing designs is the central theme in this portfolio. The synergy of dance and design has been the focus of my design explorations since 1985. As a design mechanism the choreographed design uses kinetic principles as part of the design gestalt and takes the design process out of the static paper conceptual world into a virtual world which relies on three dimensional modeling as its primary vehicle. Elevation and plan are immediately merged into a volumetric realm from the beginning of the design process. Many other kinetic principles take place in choreographed spaces, such as the infliction of changing light on a material and or the tracking of the daily changes of the natural light over the period of a day. Additionally the immediacy of visualization of he three dimensional environment give the user a look into the future by seeing in almost any direction the space that is envisioned. Many of these ideas of synergy were developed during my dance studies and the advent of inexpensive personal computers. During the first years of IBM’s Pc many higher end computer graphics and animation programs came onto to the market and inevitably changing not only the way we work but how we think. Design thinking as well as other fields of science, art and mathematics starting evolving into a world of computational modeling. Its direct impact on design is still evolving. However, as a dancer the idea of isolating phrases as spatial concepts was clear. Modeling of space has become more fluid. Formal ideas of space have broken out of the orthographic projection into a more sinuous world of interconnected and dependent revolutions. In this portfolio I have traced that development starting in 1985 through to today’s projects to elaborate on the design and its impact on my projects. To present this idea succinctly I have designed a portfolio that illustrates the process as choreography, inherently expressed as motion. There are two major components to this portfolio, first the work which I have done for other firms and if one could draw the analogy it would be that of a dancer executing the work of the choreographer. The second part is that of designing as a choreographer. The second part explores computer animation or interactive environments as a formal design parti. These projects require not only a physical place but also highly kinetic environments. Under the leadership of these firms I have assisted the realization buildings and places. To explore these theoretical premises of choreography I needed to apprentice at a practices which could supported the idea of design studios and had the ability to support experimentation of computer modeling. Of the sixty plus projects I have participated on I have selected projects that represent design skills that ranged from conceptual development to built product. I have included a wide array of sketches, notes, drawings and models. These projects, even though not my sole authorship have components which were explored and developed by myself. Some of these drawings, models and sketches represent my personal and original work and others are at the leadership of a guiding design principal. I have taken much care in selecting the work. Where I have included the finished product such, as a building photograph, in which authorship is the firms I have credited that firm. Any reproduction of these images will need written permission from the authoring firm.
64 66 68 70 74
Appendix Project Descriptions 1982 – 2003
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Precedents:
Introduction:
My Architectural Precedents My earliest training as an designer was greatly influenced by the holistic design approach professed by Buckminster Fuller. With Bucky all aspects of design had to be considered. Aesthetics was only a part of that approach. The weight of a building could be as an important as its form. His Dymaxion Homes and Geodesic Domes were beautiful in there ability to use very little material to create large and efficient structure. Much of the thinking was driven by a rigorous use of methodological and explicit process oriented thinking. As I furthered my Studies the modern masters of architecture came to the foreground. I was absorbed by the expression of form , especially those elements of composition which were less tangible. Due to my location at the State University in Buffalo, New York, I was exposed to the works of Frank Lloyd Wright. In the City of Buffalo there were five remaining Wright buildings, some had already been destroyed by the wreckers ball. With Wright I began to explore the aesthetic compositional aspects of space making by one of this countries modern masters. His expression of form was influenced by his mentor, Louis Sullivan,who professed a design through the exploration of forms in nature. His plastic flowing natural shapes and poetic prose were compelling as a young student especially when hearing the famous expression, “Form follows function. On my arrival to New York City, Fuller, Wright and Alto waned as I confronted the New York Establishment. The Whites, Gwathmey, Eisenman, Hejduk and Meier, whom I rejected as a student, were influenced more by the European Modernists. As a student I perceived their work as a cold modernist language, a type of formalism which was alien to my design thinking. As time passed and I became more familiar with the act of building and I started to explore the nature of materials. This, I discovered, was made possible only as a practitioner. It was at this time I found an interest in the powerful New York firms and in 1984 I began my apprenticeship.
My Dance Precedents On my completion of formal architectural studies in Buffalo I began my search for dance. I began with ethnic African dance. This was in part due to my love of percussive instruments and rythm. After some initial investigations and basic knowledge of dance I sought out the modern schools, Martha Graham, Nikolais-Louis and Jose Limon. I started with Nikolais-Louis. The theatrical integration of props and lighting with the dancers was a natural for an architect. Here in the dance studio I began my lifelong search for the integration of dance and architecture. The controlled environments of the studio, in which Nikolais created his imaginary worlds, were my first laboratories. As in the knowledge of material was to architectal language, the ethereal nature of the dance was to plastic form. Dance is of the moment and it is created with your body. I experienced the same excitement while designing places, only I was an observer creating forms with inanimate materials. After Nikolais, onto Limon and Graham, where I was exposed to a modern language which was dreivative from the natural forces on the body, gravity and breathing. Here I learned through doing the natural forces acting on the dancers and form. The ebb and flow of our daily breathing, the nature of gravity on moving through space and the musicality of dance.
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"Dancing and buildings are the two primary and essential arts. The art of dancing stands at the source of all the arts that express themselves first in the human person. The art of building, or architecture, is the beginning of all the arts that lie outside the person; and in the end they unite. The Dance of Life ,by Ellis Havelock
Designing as a Dancer From the kernel of an idea to the realization of a design, the designer acts as a choreographer. I have always had a particular keenness to the design process as a dance as I have practiced both. The notion on composing spaces as a choreographer has influenced my designs, hence I have named it “Choreographing Space”. The use of plastic forms synonymous with those of a dancer are captured here through structure and movement. A dance can be many things and have layered meanings. They can be allegorical or abstract, exuberant or melancholy and sometimes both. In my search for the synthesis of dance and architecture I needed to find a means of expressing space both from within and out. Thinking and designing spaces as a choreographer puts you at once as the viewer and the one being viewed. We express ourselves with our own invisible envelopes by movement and gesture. There are a myriad of ways in which each person communicates with the other. In many cases this expression of self is a byproduct of our cultural values and at others it can be the culmination of emotional energy acted out spontaneously. The expression of self from within is the hidden language and it carries deep sometimes subconscious actions. Given this premise, the act of creating space must consider time as an active ingredient. Time can be thought of experientially, as if walking through space or as a transformational act, during formalization of space. To illustrate I am including images which are abstractions of space. They are models, animations and drawings. The images in this portfolio represent projects, some built and others not. All were created by simulating the dancer’s “muscle memory”. In dance the definition of “Muscle Memory” is the body’s internal language of movement which is expressed through the coordination of our muscles and skeleton. My portfolio is part of a continuum of pieces which I have worked on over the last twenty years. In coordinating my work I have tried to illustrate my concepts by pulling together some of my earlier works, as they are the foundation from which I have built my designs. To support the earlier work I have also included a catalog which chronicles my work to present day.
Defining the Concepts The creation of space and form has traditionally been in the realm of the inanimate and static world most often represented as drawings and cardboard models. The idea of choreographing space comes from the premise that spatial conceptualization resides in a kinetic realm. I have defined three forms of kinetic spatial concepts that I work with, below: Space as observed in motion. The eye moves, the person moves, the sun changes, yet the object is static. The development of choreographed designs address the change of perceptable space while moving around the object. Space as created by motion. Kinetic sculptures, wind vanes, water fountains are some of the designed objects that depend on motion. We see objects differently as they change in color or materiality or by reflectance and intensity. These changes are due to external forces acting on them. Space as perceptually altered by transformation. The metamorphosis of plastic forms, due to internal forces, transform over time. These changes are due to internal forces acting on them.
Architecture and Dance Kinetic Structure
Muscle Memory:
Buildings, like the human frame, have there own dynamic language and when captured become as important to the formal creation as the shape itself. The Choreographed Space is illustrated graphically below. The top image shows the superimposition of a dancer and a structure. The dancer is in a high releve’ in preparation to release. In the same sense the structure is also in a high position. The membrane of the structure must expand vertically reflecting the skeletons force. When choreographed this structure externalizes its internal energies. The lower image illustrates the dancer and structure after the release of energy. This is the controlled result of a fall. In each image the structure creates a completely different shape of the body. The forces in the structure have changed and the resulting external shape has changed. To summarize, choreographed spaces are in part transformed structures. This synthetic transformation can simulate our imagination and engage the observer to experience the designs in motion.
Your hand glides down to the paper. In preparation for your next design scheme you're organizing the ideas. In your first impulse the pencil glides across the paper. In an attempt to clarify and test the ideas begin to overlap. Thera are lines with several movements. The experience of putting pencil to paper is synonomous with dancing. At the beginning you're slow and you need to warmup. After a few attempts your fingers are limber and the pencil has the right feel; you're moving. Every one of these warm up exercises are familiar. It takes a few starts. A new sheet of paper. Slowly you begin to feel a connection with your movement. One piece of tracing over another, a pattern evolves. The first steps are always difficult but after some familiar phrases you become one with your craft. In drawing and designing you take for granted the coordination of idea to paper transformation. Your lines are a movements across the stage. Your floor is the framed by the edge of the paper. Within that area you create a work you have envisioned and now it is coming into view on paper. It's your new work, or maybe its a piece you've executed before. It doesn't matter. There are patterns on the paper and if you could have videotaped your movements you could recreate that period of time in which you performed. You might even want to start making changes to that last performance, start refining the gestures. In 'choreographing space' you do just that. After sketching out the basic pattern you can start to isolate the movements, make phrases, isolate parts or capture one long statements. These are some of the possibilities. In dancing, the dancer coordinates a variety of movements prescribed by the choreographer. Those integrated movements represent years of practice. This refined movement has often been called 'muscle memory'.
Figure 2.1 The dancer is in a high releve’ in preparation to release energy.
Figure 2.2 The dancer and structure after the release of energy.
If you tried to climb a series of stairs by thinking about each separate move you would probably stumble a few times. We take for granted our daily movement. Those are the coordinated movements which allow us to transport and transform our bodies every day of our lives. The different ways in which we execute these movements is part of our personality. We can tell how a person feels just by watching them move. In this portfolio I create dances with the assistance of computer graphics. By encoding in the computer with the movements one can generate images. These images are principally different because they are in a dynamic state. By creating images with the computer you can simulate what is called "muscle memory". What seperates the idea creation with computer graphics from hand drawings are there ability to change in entire drawings or designs by changing a portion of a phrase. In doing this (the image, now a network of integrated movements) is transformed into a much varied shapes. In the following pages are a language which defines the types of movements one can use in exploring spatial representations. These three dimensional images are called models. The vocabulary of movement that I am developing is a parallel to the dance technique developed by Jose' Limon. This particular movement is developed through an understanding of the anatomical structure in relationship to the control of the the body and weight. The eight components of the technique are: 1. Floor 2. Center 3.Across the Floor 4.Labanotation 5. Suspension 6. Rhythm 7. Pattern and 8. Sequence.
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Floor:
Center:
Across the Floor:
Labanotation:
This dancer above illustrates the transformation of shapes from a fixed position in a floor exercise. A floor series is an exercise of warm-ups which are performed at the dance studio prior to a dance. The floor series is a preparation for more complex movements where the dancer stabilizes certain isolated parts of the body while sitting on the floor. In summary, a range of motion is explored around a fixed point.
In the dance class after the floor exercises comes the “center”. In center you learn to balance the weight of the body while shifting the center. This exercise, in essence, trains the dancer in the laws of gravity in relationship to their own weight. In this particular project housing is based around the center of a unit. The center (this time) is the center of the house or the vertical circulation. This spine, the place where all activities connect, is the point of balance. After designing the unit as a network of connected zones it is possible to examine them from different weight placements.
This design study explores the different types of spatial perception when a viewer moves around and through spaces and shapes. The project here a museum explores all parts of movement by focusing on the actual movement of the observer and how that effects the perception of the shape and place are percieved. In this three dimensional model the blue line or trajectory illustrates the primary mode of travel through the museums entry hall.
Labanotation is a system of recording the dance movements of a body or a series of bodies by indicating movement through the use of symbols. Similarly the computer has its own symbol language which allows you to “score” a structure. The sketches below illustrate the sketh of a project with notation as if a dance or a score. Phrasing as illustrated in the three previous dance analogies illustrating the similarity of scoring buildings as if they are groups of movements. Hence the resultant model takes on a dynamic state.
In the rowhouse below, the diagram acts as if body were the spine of a dancer or in this case a core of a building. The core acts as the pivot, the transformation of the spatial model is generated from this integrated rotation about the spine. The spinal link passes through the center of the house creating a simple isolated rotation similar to the dancer on the floor. Each shape can be explored as a movement around the fixed point.
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The illustration below takes the design process into three dimensional modelling. Unlike sketching, in the traditional sense, this volumetric design process goes directly into phrasing. Phrasing is best described here as grouping of movements that act on a body simultaneously. This takes the design process into the third dimension immediately opposed to a plan and section representations.
While moving through space observer can focus on the details of specific areas that are designed as landmarks by stopping and redirecting their path of travel. From this system of observations many other paths are possible for study putting designers in a more perceptual anaysis os space. The point, spatial perception can explored in a three dimensional model giving designers a more accurate view of a proposed design.
As in the anatomical anology of the body the joints and parts of a body which work as an interconnected unit so can the building or designed object have a similar structure. This places the building design in a dynamic structure opposed to the static represntation of a drawing on paper. Even though the notation is sketched about the model it is built to the specification of the idea of motation descriptions on the sketch. Here lies the change in three dimensional conception of space from hand to computer model
Architecture and Dance Suspension:
Using ‘scoring notation’, as described earlier here are a series of examples where phrasing is used to formulate spatial concepts. Suspension is a more ethereal expression and pushes the envelope of spatial creation to concepts intergrating engineering concepts. Tensile structures are a derivative of this type of language. Illustrated above is a dancer superimposed onto tensile cables which are part of a urban plaza tensile structure. The entire design project had varying lvels of suspension concepts thoughout. A suspension model emulates weightlessness and the stuctures tend to be more pronounced. The application of this type of model usually responds to large uninterrupted spaces, typically stadiums and or athletic facilities.
Rhythm:
The illustration above shows the first series where dancers are internal forces in model creation. See earlier descriptions of muscle memory which are clearly illustrated above. This continuation of the model on the previous page explores the development of the massing. Spacing and frequency are rhythmical descriptions of spaces in the model. The spacing of these columns or more accurately bays are part of the process of constructing spaces. Changes in rhythm allow you to create more bays or fewer bays within each space at different frequencies. The multi-fenestrated box can also be varied in the same way. For example, the overall size of the windows can be changed so that the box gets larger and proportionally to the size of the modules created. Another variation would be to reduce the size of the modules but create more of them. A third variation would be to vary the modulation within the form itself so that you can generate a non-symmetrical modulation. With this description you can begin to feel the creation of models as a performance. These are dynamic modular structures.
Pattern:
This next model represnts a project created which was part of a dormitory design. This study of massing shows the different pattern isolations explored. Each pattern isolation was constructed as a pattern of massing; this takes ‘rythm or modulation’ into larger sets of moves. The drawings below are interpretations of the designers concept of modular groupings. It is interesting to note that the structuring of the system was also a discovery of patterns. The diagram of dancers inside the envelope illustrate the different patterns elicited by modifying the internal forces as a dancer uses muscle and breathing.
Sequence:
This last illustration of the colliseum shows a person circling a miniture model above and real coliseum sketch below. The perception of space as an abstraction can be seen in motion in animated computer models. This recent development of abstraction greatly enhances the prebuilt models ability to illustrate final products and by doing so alters the actual perception of product. Animated computer models can be realistic and abstract. They allow you to pick a specific viewing path throuugh the space. As modeling and animation advances our the ability to walkthrough a model in realtime (you set the path) will become a common presentation techniques. Animation is not the only type of dynamic modeling which will impact design process. The use of dynamic light modeling and other natural criteria can be placed or grafted onto models to assist in the dynamic modeling in the near future.
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Office Building - Universal Studios
Corporate Interiors - Quadrangle Group
Library - Allen County Public Library
Museum - Basketball Hall of Fame
Museum - Basketball Hall of Fame
Library - Mid Manhattan Library
Library - Mid Manhattan Library
Museum - Cameron Art Museum
Performing Arts - Carnegie Hall
Museum - Cameron Art Museum
Museum - Cameron Art Museum
Residential - Apartment 25
Office Building - Universal Studios
Museum - Cameron Art Museum
Museum - Basketball Hall of Fame
Corporate Interiors - Quadrangle Group
Corporate Interiors - Quadrangle Group
Office Building - IBM Office Building
Office Building - IBM Resource Management
Conference Center - Pepsico Headquarters Page 8
Buildings and Projects 1981 - 2003
Mixed Use - World Trade Center
Corporate Interiors - Quadrangle Group
Museum - Basketball Hall of Fame
Office Building - Universal Studios
Museum - Cameron Art Museum
Library - Mid Manhattan Library
Conference Center - Pepsico Headquarters
Museum - Basketball Hall of Fame
Conference Center - Pepsico Headquarters
Hospitality - Soho Grand Hotel
Museum - Basketball Hall of Fame
Museum - Basketball Hall of Fame
Museum - Basketball Hall of Fame
Office Building - Universal Studios
Jurisprudence - Salt Lake City Courthouse
Urban Design - Oakstreet Redevelopment
Healthcare - Booth Memorial Medical Center
Museum - Basketball Hall of Fame
Office Building - IBM Office Building
Performing Arts - Carnegie Hall Page 9
Fig. 7: Birdseye view of main floor.
Fig. 10: Cutaway study sketch at lobby.
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Fig. 6: Photograph of Lobby , Desk and Stair.
Fig. 9: Preliminary perspective at lobby.
Fig. 5: Photograph of Lobby Stair
Fig. 8: View from Conference to Lobby
Quadrangle Group Seagrams Building, New York, NY - 2001
Fig. 2: Photograph of Lobby , Desk and Stair. Cherry Wood panels and base with Travertine floor.
Fig. 1:Computer model illustrating the integration of the Lobby, Elevator Core and Ceremonial Stair to upper floor.
Four Corners and a Center: The
Quadrangle Groups main floor in the Seagrams Building was developed around three general programing requirements: 1. The four partners were to get the four corne office spaces 2. A central lobby and conference room center was placed adjacent to the main entry 3.The support staff was to fall inbetween easily accesssible to partners. The diagram to the left was the first in a series of sketches that was used to develop the final plans. The landmarked interior had to work within the rules of the luminous ceiling zone. That four foot seven and one-half dimension was Mies special grid which he used to develop office layouts and general planning principals. As the parti was developed the ceiling became the generator for many of the design ideas. A wood ceiling was used to reinforce the perimeter circulation and a brushed aluminum metal panel ceiling system filled the center spaces.
Fig. 3:Computer model wireframe image used to explore stair integration. Lobby floor and stair are Travertine
Fig. 4:Concept plan with four corners and circulation.
A second floor and ceremonial stair were added to the project after the first floor was completed. Page 11
Fig. 22: Contruction Plan at Stair.
Fig. 23: Contruction Plan at Stair.
Fig. 20: Lobby study #2 Page 12
Fig. 19: Lobby study #1
Fig. 21: Perspective sketch above stair.
Fig. 18: 15th Floor Schematic floor plan with stair.
Fig. 17: 14th Floor Schematic floor plan with stair.
Quadrangle Group Seagrams Building, New York, NY - 2001
Fig. 12: Enlarged 15th floor plan .
Ceremonial Stair: At the completion of
Fig. 13: Birdseye view at lobby.
Fig. 16: Schematic floor plan development.
the lower floor a small trading floor and ceremonial stair were added to the program. Taking a cue from the ceiling lighting cove an elliptical stair was added to the lobby. The stair framed the reception area and acted as the main stair to the upper floor. The stair surround continues the panelized cherry wall system from below and uses the main floor material travertine as its treads and risers. Fig. 11: Enlarged 14th floor plan at stair.
Fig. 15: Schematic floor plan development.
Fig. 14: 14th Floor Plan Page 13
Compression and the Sphere: The Basketball Hall of Fame was a three part design project.
The hall was originally conceived as three independent entities: 1. Museum 2. Retail Space and 3. An integral part of the City of Springfield's Master Plan. At the initial design meetings the Hall of Fame had to respond to two design forces. First it would have to be a iconographic symbol recognizable from the highway, I-91(the adjacent highway). And secondly, it needed to respond to a arena like experience including all the integrated exhibitry which made up a large portion of the budget. The swooping shape with entrances at both ends allowed for an arena like feel. The sphere would act as the iconography the hall was looking for and an ideal environment to anchor the hall of fames center court. In developing the interior a team was assembled to develop an integrated experience reflecting the games high energy. The story of its evolution and history were integral to the sequential way finding. The hall was conceived in vertical layers with the sphere as the centerpiece. As in the compression experience visitors were taken first to the hall of reverence, the ‘Honors Ring’ at the top of the sphere first.
Fig. 8: Stair in Sphere.
Fig. 11: First Floor Plan - Center Court Page 14
Fig. 7: Stairs in Sphere.
Fig. 6: Night View of sphere looking toward Springfield.
Fig. 10: Second Floor Plan - Museum.
Fig. 9: Honors Ring
Basketball Hall of Fame Springfield, MA - 2002
Fig. 2: Birdseye view of model.
Fig. 5: North elevation.
Fig. 1: Elevation from I-91
Fig. 4: Front elevation.
Fig. 3: Rear Elevation.
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Fig. 24: Center Court
Fig. 26: Honors Ring Study. Page 16
Fig. 21: Rendered Computer Model - Early Scheme
Fig. 25: Study at Garage Level Library
Fig. 23: Center Court Study.
Fig. 22: Center Court Study.
Basketball Hall of Fame Springfield, MA - 2002
Fig. 16: Geometric study of building footprint and entrances.
Fig. 15: Floor study for Entry Sequence.
Fig. 18: Section study during Schematic development. Fig. 17: Study of external ramp on cylinder.
Fig. 20: Sectional Studies of Elevator Tower.
Fig. 19: Front elevation.
Fig. 12: Computer Model of Interior of Sphere.
Fig. 14: Sectional study of Pre Box.
Fig. 13: Sectional Studies of Elevator Tower. Page 17
Bridging Two Parks: A large part of the project development was anchored to an existing waterfront park. Access to this park was required by the City and monies were allocated for a bridge which connected the site to the park which was separated by the railroad. The bridge acted as the anchor for the site connecting the Hall of Fame to the City, River Front Park and Neighboring Communities. Taking the cue from the city and meeting the ADA requirements for access the tubular arching bridge was stradled on both sides by independent yet large structures. At the Hall side there was an elevator and tower which acted as a lookout and highpoint where visitors could view the City, River and Hall. On the Park side a long doubleback ramp provided lookouts to the river and adjoins Park. Each side was address differently. The hall side had a circular shaped tower which played to the theming of the Hall. The Park side was a long procedural climb allowing many vistas for the park visitors.
Fig. 34: Ramp section - Study 1
Fig. 31: Bridge section - Study-2
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Fig. 33: Bridge section - Study 2
Fig. 30: Bridge section - Study 1
Fig. 32: Bridge section - Study 1.
Basketball Hall of Fame Springfield, MA - 2002
Fig. 28: Bridge looking toward ramp at Park.
Fig. 30: Bridge section.
Fig. 27: Hall side Tower During Construction
Fig. 29: Bridge concept section/elevation. Page 19
Fig. 11: Third Floor Plan
Fig. 10: Second Floor Plan
Fig. 9: First Floor Plan Page 20
Fig. 8: Detail Section at Conference Pavilion and Fountain.
Fig. 6: Section through Conical Lobby
Fig. 7: Photograph of Conference Pavilion and Entrance Ramp.
Universal Studios Beverly Hills, CA - 1998
Grafting Space: The diagram below, figure#1, illustrates the combining and interleaving of volumes that are central to the assembly of this design. A Cylinder, Cone, Truncated Pyramid and other intersecting shapes are weaved to create this unique office building in Beverly Hills. As an Office Building this parti breaks the rules by creating very unique and specialized spaces for the Universal Studios. One part of the building has a specialized Screening Room and another area has a special conference room that also anchors the entrance. The Materials, Limestone, Granite, Zinc Panels and Glass all come together in a symphonic play of materials and shapes. This well crafted structure also had some large technical resolutions Fig. 1:Sequence of Volumes sketch. when designing. The earthquake zone put stringent requirements on the structural system and facades. The apparently solid looking limestone face was designed to fail strategically in order to reduce damage for occupants and the facade itself.
Fig. 5: Photograph of Lobby ,Interior windows in conical vault.
Fig. 3: Front Elevation
Fig. 4: Photograph looking toward the zinc clad screening room.
The entry sequence was created by a series of volumetric moves by bringing people from the corner pavilion into the conical lobby.
Fig. 2: Computer model used for studying grafting volumes Page 21
Fig. 16: Schematic Model
Fig. 20:Plan Development of Conference Pavilion. Page 22
Fig. 19:Screening Room design Development sketch.
Fig. 18: Skylight in Conference Pavilion.
Fig. 17: Detail at Conference Pavilion skylight and zinc cladding
Universal Studios Beverly Hills, CA - 1998
Fig. 15: Computer Model
Fig. 14: Geometric resolution of the Office Cylinder
Fig. 16:Computer model of Conference Pavilion illustrating the three dimensional grid integration of materials.
Fig. 13: Cylinder Kalcurve interior Photograph.
Fig. 12: Details development of Kalcurve Cylinder. Page 23
Fig. 7: Second Floor Plan
Fig. 6: First Floor Plan
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Fig. 5: Rear Elevation
Cameron Art Museum Wilmington, NC - 1998
Fig. 4: Site Plan
Fig. 1: Photograph of Museum Rear Elevation; Zinc and Iron -Spotted Square Brick.
A Museum’s Path: A sequence of events along an axial entrance give the museum its main entry, lobby and galleries sequetial shape. Figure 1 illustrates the parti of a hall off which galleries are located. The second level houses the administrative offices. At the first floor are the temporary and permanent galleries seperated by a cafe and courtyard. Opposite the galleris are the museum shop, bathrooms and conference/lecture hall.
Fig. 3: Section through Temporary Galleries and administative support areas.
The building is sited on a historic civil war site and the axis brings you toward the field at the end of the hall.Care was taken in assembling technical details as the building lies in a hurricane and flood area. Structural pilings and other assemblies were used to protect the building from damage. With a zinc and curtainwall facade many details had to protect the artwork from damage sustained during driving rain and gusts of wind. The temporary gallery was designed with a daylight conFig. 2: Sequential series of spaces. trolled laylight system. This feature, integrated into the composition, is seen as the rooftop pyramids.
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Fig. 16: Cafe/Courtyard Model. Fig. 15: Exterior Photograph at Cafe/Courtyard. Fig. 18: Building Computer Model.
Fig. 14: Exterior Photograph at rear elevation.
Fig. 17: Sketch detail at masonry.
Fig. 20: Main Entrance Computer Model. Page 26
Fig. 19: Exterior Wall Details
Fig. 13: Exterior Photograph at Main Entrance.
Cameron Art Museum Wilmington, NC - 1998
Fig. 12: Exterior Photograph at rear elevation.
Fig. 10: Computer model of Administrative second level.
Fig. 11: Zinc cladded exterior looking toward second level offices.
Fig. 9: View from main entrance
Fig. 8: View toward Cafe.
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Fig. 6: First Floor Plan
Fig. 10: Curtainwall analysis for detail sketches. Page 28
Fig. 4: Forteenth Floor Plan
Fig. 5: Seventh Floor Plan
Fig. 9: Computer Study Model
Fig. 8: Computer Study Model
Fig. 7: Computer Study Model
Mid Manhattan Library New York, NY - 2001
Skeleton and Skin: The Mid-Manhattan Library is the main circulating library in the New
York Public Library system. This proposed expansion would have added an additional eight floors and 117,000 square feet for library service to the existing 139,000 square foot building. The concept was to maintain the existing building envelope as part of the cities fabric and then insert and extend vertically an ungulating glass curtainwall. The excersise here was to explore the expression of glass as a laterrn. Addditionally the internal composition would use the seamless glass wall as if an iris. The northern and western exposures of the glass expanse put heavy mechanical and daylighting requirements on the wall design. The proposed curtainwall was a Pilkington Type spider connection wall. Many studies were done to isolate cost and technical problems such as fire stopping at floor slabs. The structural concept was to make the steel truss system on supportinting the glazing to act as a bearing truss for seven floors therfore isolating the large cantilevers action against the wall. The Steel Truss, Floor Slabs and Glazing acted as one unitized skin to giving the building a shimmering effect. Problems had to be resolved in making all three parts, which thermally and materially act differently come together as one whole. Detailing was critical to the success of the overall look.
Fig. 3: Roof Plan
Fig. 2: Computer model study of interior sunshading devices.
On the interior mitigating daylighting issues were problematic as the use of the perimeter varied. In some cases the edge of the building was astack carrel and in other places it was general office space. Library programing is subject to large changes and the perimeter had to deal with the human activity act the glazing. A number of scenarios were explored. In particular there were studies for mechanically filtering daylight with fins that were controlled by sunlight tracking. Perimeter heating was resolved with integrated radiant heating panels and computer building temperature controls. The wall was an everchanging environmental feature and required special integated mechanical systems to mitigate light and temperature changes daily.
Fig. 1: Competition Model; view from northwest. Page 29
Fig. 28: Curtainwall Details Sketches Fig. 27: Curtainwall Details Sketches
Fig. 24: Curtainwall Details Sketches Page 30
Fig. 23: Curtainwall Details Sketches
Fig. 22: Curtainwall Details Sketches
Fig. 26: Curtainwall Details Sketches
Fig. 21: Curtainwall Details Sketches
Fig. 25: Building Sections
Fig. 20: Curtainwall Details Sketches
Fig. 19: Curtainwall Details Sketches
Mid Manhattan Library New York, NY - 2001
Fig. 13: First Floor Plan
Fig. 18: Curtainwall Details Sketches
Fig. 12: Rear Elevation
Fig. 17:Curtainwall Details Sketches
Fig. 16: Curtainwall Details Sketches
Fig. 11: Design Study at Parapet and Window Washing Rig.
Fig. 15: Rendering at Terrace.
Fig. 14: Interior Rendering Page 31
Fig. 10: Column capital detail.
Fig. 14: Column details. Fig. 12: Truss and Skylight detail at wall.
Fig. 13: Canopy detail.
Fig. 9: Canopy detail. Page 32
Fig. 11: Base detail at skylight and interior interface.
Fig. 7a: Cable Truss.
Fig. 8: Computer model exploriring Zinc Panel System
Fig. 7: Cable assemblies at vertical bracing
Fig. 6: Skylight development at Vault
Allen County Public Library Fort Wayne , Indiana - 2002
Building Muscle: Cladded like an athilete, thhrs spwaling mid-western city used its library as part library services and part community center. The central hall atrium, an axial vaulted space acted as a central hall where many of the facilities were supported and accessed.
The design of the hall was the central theme for the following design sketches. The intent was to create a space that linked the existing building and new addition with a street. The expression of vault and linearity were implicit in the plans and therefore shaped the main street within the library.
Fig. 5: Vault Details with synergy of Tension and Compression components.
To enhance the hall effortd were made to express structure elegantly and forcefully. Many of the details shown here were developed as if anatomy was the inner design force in place. Trusses, cables and brackets were carefully studied to reinforce a plad work of grids already in plan in plan in section. The intent here was to create a symbiotic connecton between plan and section and piercing the space with a simple but elaborate network of structural expressions. These details also reflected a series of complex resolutions needed to support this large column free zone. The glazing and vault brough unity to a very complex interlaced series of spaces.
Fig. 1: Competition Model; view from northwest.
Fig. 4: Detail Study of Great Hall Vault.
Fig. 3: Three Dimensional Study of Sunshading and Zinc cladding
Fig. 2: First Floor Plan; shaded areas are part of great hall. Page 33
Fig. 13: First Floor Plan.& Second Floor Plan.
Fig. 10: Sketch of zinc window sills and surround.
Page 34
Fig. 15:West Elevation
Fig. 14: South Elevation
Fig. 12: West Elevation
Fig. 11: North Elevation
Fig. 9: Sketch of zinc window sills and surround.
Fig. 8: Sketch of zinc window sills and surround.
Lake House, Boathouse and Riding Complex Austin, TX - 2000
Punch and Roll: This ensemble of buildings is a retreat which has three buildings on a lakefront property. The three structures include a Lake House, Boathouse and Riding Complex. Of the three I am illustrating one, the Lake House. The Lake House is a cylinder turned on its side with a trucated lake side facade. Entrance is through the rounded side and penetrations on this side are punches. See illustrations on these pages showing square punches into curved facade. The matetials cladding the curved part is Rheinzinc, a zinc alloy which is traditionally used for roofing. The intense heat and humidity along with the highly controlled interior temperatures puts a tremendous demand on the roof/walls performance. Mitigating mold was a very big problem in resolving this envelope.
Fig. 2:Computer Model at lake side of house.
The two floor plans and the additional support buildings are relatively simple and add to the buildings staightforward shape. The first floor is divided into four quadrants, a kitchen dining area, living room, support spaces and the central hall play area. A stair rises at the curve face adjacent to entry and is expressed as a planar cutout in the cylindrical shape. Similarly the second floor has support services such as bathrooms on the curved side and bedrooms and work spaces toward the lake. The second floor also has the balcony/terrace accessible from the work area in the central hall. The two outbuildings are the garage (not shown) and the excersise sauna spaces. This cylindrical shaped plan also has access to a upper deck via a circular stair at the connector of the two spaces. In keeping with the vernacular a curved zinc roof covers the dock and is adjacent to a bar type stucture for support spaces.
Fig. 7: Wireframe Study #2
Fig. 1: Site Plan
Fig. 6: Volume Punch Study # 3
Fig. 3: Site section illustrating relationship of siting of Lake House and Boat House.
Fig. 5: Model Study #2
Fig. 4: Model Study #1
Page 35
Extension: This corporate office building and park was originally, designed
by Edward Durrell Stone. Adding to this facility which had a very strong geometry imposed heavy constraints on adding additional program space. We extended the dining area and floors above it with a articulated glass cube with the signature deep mullion system already part of the original design. This particular component of the multi-phased renovation is illustrated on these two pages. The extension of the middle building a cafeteria and dining hall, required a careful examination of building assemblies of the 1960’s. Once we explored the exterior materials and researched the ability to recreate the look a parti was developed. The buildings geometry dictated a stepping structure shown at the right in a series of plans that was expressed horizontally in one direction. This move allowed a sympathetic siting of the building in an highly articulated park and sculpture garden.
Fig. 12: Section Sketch at Skylight.
Fig. 8: Third Floor Plan.
By extending the building out we were able to maintain the strong circulation system within the existing complex and add to the dining halls important position within the gardens. A series of rooftop terraces and an extended plaza enlarged the publics access and views to this extraordinary garden and sculpture park.
Fig. 7: Second Floor Plan.
Fig. 11: Plan Detail at Curtainwall.
Fig. 6: First Floor Plan and Main Entrance.
Fig. 10: Three dimensional sketch illustrating the merging of existing and new extension at terrace. Page 36
Fig. 9: Partial Elevation at new Extension.
Fig. 5: Gardens and Plaza Level.
Pepsico Purchase, NY - 1998
Fig. 1: Photograph of Dining Hall from Balcony
Fig. 4: Second Floor Plan
Fig. 3: View from Gardens toward new Extension.
Fig. 2: Dining Hall Floor with new Skylight. Page 37
Fig. 11: Preliminary studies of curtainwall
Fig. 10: Preliminary studies of curtainwall
Fig. 9: Preliminary studies of curtainwall Fig. 8: Preliminary studies of entrance.
Fig. 12: Preliminary studies of Fenestration
Fig. 7: Preliminary studies of entrance. Page 38
Fig. 6: Preliminary studies of entrance.
Fig. 5: Rear Elevation.
Collegiate School for the Boys New York, NY - 1996
Steps Inbetween: In this school on the upper west side of
Manhattan the school had purchased two adjacent properties in order to expand there facilities. Seperated in age and style a program was initiated by the client to bridge these two facilities with a building inbetween. The streets of this area were a mixture of low rise rowhouses and large multistory prewar residential buildings. A concept of using the new building to bridge and act as the entry hall was studied. These twoo pages of sketches illlustrate the investigations and ultimate development of a scheme. The two buildings that supported the main activities were equal onlt at the first floor. All subsequent floors had to mitigate level changes even though the outward appearence of the facades tried to align horizontally. The choice of material and design were used to create a self contained building accenting the middle and entrance. Additionally to the right of the entrance was a auditorium which was used by the community at large. The entry sequence had to address the facilities public and private needs. During the schools session the entry had a very contolled security sequence and in the evening ticketing and enlarged lobby activities were accomodated.
Fig. 4: First Floor Plan.
Fig. 3: Preliminary studies of entrance.
Fig. 2: Three dimensional Computer model study of entrance.
Fig. 1: Building facade and entrance under construction.
Page 39
Fig. 11: Penthouse studiy.
Fig. 10: North Elevation.
Fig. 9: West Entrance Elevation.
Fig. 8: Preliminary studies of massing.
Fig. 7: Penthouse Suite.
Fig. 6: Fifth Floor Plan - Hotel First Tier.
Fig. 5: Second Floor Plan - Hotel Lobby and Restaurant
Fig. 4: First Floor Plan.
Page 40
Soho Grand Hotel New York, NY - -1992
Three Seperate Parts: The Soho Grand Hotel was
developed in three distinct design packages. The lower level (retail/restaurant), the middle (hotel rooms) and top (penthouse suites). Never at home as one this building reflects the clients clear vision of what type of building was to be designed. The zoning envelope shaped the bulk and shape of the torso of this structure. The lower level attempted to recreate the cast iron period similar to adjacent structures in SoHo. To emulate this period a stage set including ornamental metals and wood detailing reflected details seen in buildings in the area. The exterior was clad in brick and precast limestone surrounds. The lower level windows were teak and mahaghony wood as were the doors. The floors were terrazzo and polished concrete. Some key features were the exposed steel canopy and the multi terraced mid-section of the building. The Penthouse Suites were designed to accommodate large events by have moveable partitions seperating rooms and large kitchen facilities.
Fig. 3: Preliminary studies of exposed steel canopy.
Fig. 2: Preliminary studies of lower entrance sequence.
Fig. 2: Preliminary studies of stairs and ornamental metal.
Fig. 1: Cast Iron stair bringing visitors to concierge and check in area. Page 41
Fig. 11: Custom Light Prototype
Fig. 12: Theater Floor Detail
Fig. 13: Computer Model of Theater Lobby.
Fig. 10: Sketch Elevation 1.
Fig. 9: Sketch Elevation 2. Page 42
Fig. 8: Sketch Plan of Lobby Floor
Fig. 7: First Floor Plan
Fig. 6: Rendered Computer Model as part of Animation.
State University of New York at Stony Brook Stony Brook, NY - 1992
Fig. 5: Sketch of integration of proscenium and ductwork.
Fig. 4: Partial Elevation at Proscenium.
Fig. 3: Computer model from above trusses.
Off Center: This biaxial theater was designed to reflect an exterior appearence as a scalopped shell
and internally divisible into four parts when theater was to be converted into a series of lecture halls. The division of the space was also interrupted by a requirement for a flat floor area for entertainment or fund raising events. Computer models were used both to study formal composition and sequential processions to the space. Other complications arose when orientation of the theater was from the stage side. There are two side corridors that lead to the main space. These are enclosed hallways mitigating the acoustical and visual interuptions that occur when theaters are entered during events. The theaters flexibility played a large role in the development of the parti as forces of orientation and shape were dictated by forces outside the theater. Due to the very intense requirements on theaters the resolution was to redirect ciculation without compromising use of space. Additionally a grid of panels were used to lower costs while increasing space in the program for circulation.
Fig. 2: Stage
Fig. 1: Sketch Section Detail at proscenium Page 43
Fig. 9: Sequence of animation - Frame 189
Fig. 8: Wireframe study
Fig. 7: Sequence of animation - Frame 111 Page 44
Fig. 6: Sequence of animation - Frame 35
Fig. 5: Sequence of animation - Frame 1
Police Athletic League Community Center Bronx, NY - 1993
Overlapping Shapes: This building explored the spatial overlapping of unresolved forms and materials.
The design intent was to create a playful overlapping of forms that would express themselves externally with color and internally as a subtle play of forms.
Fig. 4: Entrance Gate.
Fig. 2: Entry sketch.
Fig. 3: Computer model of railing detail.
Fig. 1: Computer model study of fenestration Page 45
Fig. 12: Site Overview.
Fig. 11:Entry Study 1.
Fig. 10: Overview Courtyard
Fig. 8: Classroom Pavillion 1 Page 46
Fig. 9: Entry Study 1.
Fig. 7: Support Pavillion Study 1
Fig. 6: Dining Pavillion Study 2
Fig. 5: Dining Pavillion Study 1
Police Athletic League Community Center Queens, New York - 1993
Twisted Cubes: This was divided into four programmatic spaces.
Instead of creating adjacencies these areas were isolated volumetrically creating a village like quality to the overall building parti. Adding to the spatial seperations were twisted cubes that projected into the main courtyard space at the center of the site. The projected and twisted cubes manifested themselves in each of the areas. The Dining Pavillion is front left, the Entry Pavillion was front right and the secondary support spaces fell behind the courtyard. In some cases the sitting areas protruded outside the main program area as a torqued cube. A water feature intersected the Entry Pavillion and all the spaces facing the courtyard were accessible from the outside.
Fig. 3: Entrance Pavillion.
Fig. 4: Birdseye view of Site.
Fig. 3: Entrance Pavillion birdseye view.
Fig. 2: First Floor Plan.
Fig. 1: Front Elevation illustrating the village of pavillions. Page 47
Page 48
Fig. 7: Conceptual planning diagram.
Fig. 6: Existing Facilities Diagram
Fig. 4: Planning block model study with new building.
Fig. 3: Programing model of new building.
Fig. 5: Sketch of Plans
Fig. 2: Planning block model study with new building.
State University of New York at Purchase Rye, New York - 1993
Adding On: This campus was planned and built in the late 60’s.
The purpose of these studies was to determine how to add an new building outside the planning module which was part of the overall master plan. The master plan had established rules for adding on via two coplanar covered walkways. In the center was a library and to the west was a regional performing arts center.
biplanar plan.
The program called for the consolidation of student and faculty offices, which were outside the planning module, to be brought inside the main courtyard. By doing so the two covered walkways and the open ended courtyard would have to be changed in character. An additional building would add to the primary position of the library and further divide the
To circumvent any problems brought on by seperating, with an additional barrier, the campus a building was planned which connected to the underground passagewaysa and eliminated first floor plan obstruction by lifting the building off the first floor plane and shifting the actitvities to the second floor. See diagrams illustrating the thinking on the adjacent page.
Fig. 1: Original Master Plan birdseye view. Page 49
Fig. 12: Scheme #2 birdseye view.
Fig. 11: Scheme 2 of Entrance Pavillion with concave facade used to enclose plaza.
Plaza and Main Entrance: Two studies were developed for conceptual planning of
overall facilities. The linking of major campus student activities were a primary generater to planning of the overall facilities. These two plaza and entrance schemes were used in studying overall building massing and entrance sequencing of student activities buildings.
Fig. 10: Scheme #1 birdseye view.
Fig. 9: Plaza scheme 1 used a glass cube rotated on a 45 degree angle to announce entrance.
Page 50
State University of New York at Binghamton Binghamton, NY - 1993
A Mixed Bag: This project was a
redaptive reuse of severall facilities at the main campus at SUNY Binghamton. The program was written with the intent of linking three seperate buildings and adding an addition to consolidate the Student Activity Center. As a design parti it was difffult to bring together different buildings which were originally designed as standalone facilities. All of the facilities we worked with were built and modified over a period of thirty-five years.
Fig. 8: Wireframe Model.
Fig. 6: Student Activities Floor.
Fig. 7: Three Conceptual Plans for Student Activities Floor.
Fig. 4: Public Space Concept # 3.
Fig. 3: Public Space Concept # 2.
Fig. 5: Computer Model Entry Level.
Fig. 2: Public Space Concept # 1.
Fig. 1: Birdseye Sketch Perspective. Page 51
Fig. 7: Birdseye view of Passenger Hub.
Fig. 5: Passenger Hub looking toward main Terminal. Page 52
Fig. 6: Conceptual Section at Hub.
Fig. 4: Schematic Plan of Passenger Hub and Eight Gates.
Laguardia Passenger Terminal Queens, NY - 1991
The Satellite: LaGuardia airport main passenger terminal has four fingers extending out from its main build-
ing. Arrivals and Departures are seperated by floors, the upper level is for departing passengers and the lower is for the arrivals. This urban airport is sited on a peninsula where space is limited. The expansion of the terminal was planned by testing maneuverability of aircrafts . The circular plan provided the maximum use of space interally while providing eight gates. The program also required a restaurant above the main waiting room.
Fig. 3: Birdseye view. of Finger Four and Passsenger Hub.
Fig. 1: Departures Level Floor Plan.
Fig. 2: Schematic Computer Model of main floor.
Page 53
Fig. 9: Penthouse Facade Development.
Fig. 7: Design Development of rear elevation. Page 54
Fig. 8: Penthouse Facade Development.
Fig. 6: Design Development of front elevation.
Fig. 5: Design Development of side elevation.
Fig. 4: Schematic plan of upper floor.
200 East 86th Street - Residential Tower New York, NY - 1990
Stepping Down: This mixed used residential tower was shaped by FAR zoning requirements on a Upper East Side Site in New York City.
The lower section of the building had Retail at street level and a School in floors 2 through 8. Adding to the complexity of the lower floors were two place of assemblies. The sketches included on these pages represent the initial planning studies. The owner had three tenants and each designed the interiors of there respective spaces. The residential floors were part of the original schematic development and part of our design efforts.
Fig. 3: Conceptual Sketch of front elevation.
Fig. 2: Conceptual Sketch of side elevation.
Fig. 1: Schematic Perspective of Tower. Page 55
Fig. 12: 49th Floor
Fig. 11: 48th Floor
Fig. 10: 47th Floor Fig. 15: Penthouse Conceptual Sketch.
Fig. 9: 46th Floor
Fig. 14: Lantern Study at Penthouse. Page 56
Fig. 13: Penthouse Model Studies.
Fig. 8: 45th Floor
422 East 72nd Street - Residential Tower New York, NY - 1992
Beacons: This 46 story residential tower was developed for condominiums.
The lower rear section of the building had a Health Club and Medical Rental Offices. Splt by two zoning lots the building had two sky exposure planes which is apparent through its massing. The left portion on the main facade was built closer to the street and then was set back in a series of terraced apartments. This was a fast track building that was occupied only 18 months after drawings for structure were let. As a concrete superstructure reconfiguring of the upper floors was made possible as sales data became clearer to the developer. As part of this structure the penthouse and entrance courtyard were the two areas where the client spent additional monies. The middle section of this building was straight forward masonry and aluminum puched windows. The Entrance Plaza was developed with limestone and granite facing materials. The Penthouse was sculpted on both sides as a light beacon. There are two duplex apartments at the top.
Fig. 7: Penthouse Studies
Fig. 6: Front Elevation.
Fig. 5: Elevation Study 4.
Fig. 4: Elevation Study 3.
Fig. 3: Elevation Study 2.
Fig. 2: Conceptual Elevation Study 1.
Fig. 1: Marketing Model Page 57
Performing Space: This is the first in a series of performing arts spaces which I was involved in and the first
in which computer technology and modeling played a role in the designs development. As a parti the building is a series of cubes that acarved and twisted each developed around their unique requirements. The glass box entrance extended its invitation to visitors by becoming a stage itself. A multi tiered floor plan at the Lobby gave the illusion of a theater itself. Directly of this lobby are two of the main performing spaces. The main theater seating approximately 350 persons had abalcony and was designed for projection as well as live performances. The large procenium and fly loft provided a very sophisticated technology for a small college performing arts center. Dance and theatrical performances were supported by a large backstage area and musicians pit in the front of the stage. A second theater was provided at the left of the main theater. A theater in the round or a black box theater provided a more intimate environment for more experimental performances.
Fig. 7: Multi-tiered main theater plan. Fig. 8: Theater Study
Fig. 6: First Computer Model Study. Page 58
Fig. 5: Main Theater Section.
York College for the Performing Arts Queens, NY - 1986
Fig. 4: Site Plan
Fig. 2: Massing Study.
Fig. 3: Sketch of Front Elevation
Fig. 1: Conceptual Sketch of Section. Page 59
Recreation and Restoration: A restoration and reconfiguration of the Carnegie Hall Main Orchestra
Area, Stage, Backstage and Ticketing Sequences was an historic effort. Part of the efforts of musicians and othe artists made this project very exciting. Maintaining the Halls integrity while upgrading the ticketing and egress requirements was like microsurgery. Of the hundreds of doors and windows that were landmarked an effort was made to secure the aesthetics while modernizing the fire and acoustic requirements was a lengthy process. Specialized doors and windows were a large component to the upgrade. Additionally the ticketing and entrance sequence had to accommodate ticketing patrons while off the street A renovated and reconfigured main lobby and stair system allowed patrons to be inside while purchasing tickets and intermissions.
Fig. 5: Building Section.
Fig. 4: Restored Entrance and Canopy. Page 60
Fig. 3: Seventh Avenue Elevation.
Carnegie Hall New York, NY - 1985
Fig. 2: Axonometric of Hall.
Fig. 1: Photograph of main Hall Page 61
Independence: This addition to the Hospital was to work for the teaching component of the hospital
and for community functions on the weekends. Two alien structures were attached at corner of the hospitals wings. In merging these two facilities it was necessary isolate materials and form.
Fig. 10: Auditorium Section
Fig. 9: Auditorium Section
Fig. 8: First Floor Page 62
Fig. 7: Second Floor
Fig. 6: Site Plan
Booth Memorial Medical Center Queens, NY - 1981
Fig. 5: Skylight Study.
Fig. 3: Main Entrance.
Fig. 4: View from Northwest.
Fig. 2: Rear Elevation.
Fig. 1: North Elevation Page 63
19. Competition - Millenium House
24. Competition - Millenium House
18. Competition - Denver Folly
23. Installation - Grand Army Plaza
Page 64
22. Installation - Grand Army Plaza
16. Competition - Millenium House
21. Competition - Millenium House
30. HS Design Class - Room for Thought
29. Installation - Grand Army Plaza
15. Installation - Grand Army Plaza
20. Competition - Millenium House
25. Competition - Millenium House
25. Competition - Millenium House
26. Competition - Denver Folly
31. Installation - Grand Army Plaza
17. Installation - Grand Army Plaza
28. HS Design Class - Room for Thought
27. Installation - Grand Army Plaza
Installations and Educational Projects 1990 through 2003
5. Installation - Grand Army Plaza
10. Competition - Denver Folly
4. Competition - Denver Folly
9. HS Design Class - Room for Thought
8. HS Design Class - Room for Thought
2. Competition - Denver Folly
7. HS Design Class - Room for Thought
17. HS Design Class - Room for Thought
16. HS Design Class - Room for Thought
1. Competition - Millenium House
6. Installation - Grand Army Plaza
11. HS Design Class - Room for Thought
12. HS Design Class - Room for Thought
13. Competition - Denver Folly
18. Competition - Denver Folly
3. Installation - Grand Army Plaza
15. HS Design Class - Room for Thought
14. HS Design Class - Room for Thought Page 65
Fig. 10: Perspective Section
Fig. 8: Rear Terraces
Fig. 9: Front Elevation
Site Integration: The site I have selected is a standard 20 by 120 foot lot in a brownstone neighborhood within the
Borough of Brooklyn, the city of New York. This proposed dream house is a modification of a typ ical “brownstone”. I have chosen this type of site and house because the city has thousands off them some which are abandoned and/or neglected and I believe that they can he designed to create beautiful places to live. Brownstones: The intent is to create a habitat which adapts to the variety of living environments needed by our cities. Typically brownstone renovators try to stay within the confines of the original design. This leads to conflicts of “purpose of house”. Many of the rooms were designed around servant/service spaces which are no longer relevant to toad’s daily societal metabolisms. The house I have designed shows space arrangements for my family, however the design was conceived by creating an envelope where a variety of configurations would work. For example, two households sharing the kitchen could create separate private areas by having living spaces on the first and fourth floors and using the double height entry gallery as an internal courtyard. Many such arrangements can he achieved internally because of the internal staircase/core. Another key feature is the terraced back yard. The need for outdoor space is critical in high density cities like New York and providing access to the outdoors for every floor was an important criteria for this house.
Fig. 11: Floor Plans Page 66
Millenium House Brooklyn, NY - 1994
Fig. 5: Page
Fig. 7: Animation frames.
Fig. 4: Page 4
Fig. 3: Page 3
Fig. 2: Page 2
Fig. 1: Cover Page
Fig. 6: Cutaway Rendering. Page 67
Fig. 13: Pylon
Fig. 14: Section Page 68
Fig. 12: Anchor
Fig. 11: Bridge
Fig. 10: Main Support
Fig. 9: Lantern
Denver 16th Street Mall Folly Denver, Colorado - 1993
Fig. 5: page 5
Fig. 4: Page 4
Fig. 2: Page 2
Fig. 3: Page 3
Fig. 1: Page 1
Follies: This is a
design of an urban park. The park is located on 'the 16th Street Mall in Denver, Colorado. I chose this site within the mall because it was representative of other commercial business strips throughout the country. To break the street grid I carved, out a half ellipse plan using a water feature and bridge. In the winter the manmade lake' was converted into a skating rink and during the summer months the bridge acted as a stage for performers. The other feature, a cable we, was created by attaching cables to the adjacent buildings. These cables were used as a tent to cover seasonal events and/or act as a stage backdrop for performances. All the cables and the connections were made of concrete dancers. The sculptures acted as anchors, fountains and lamps. During the holidays choruses would come to sing. The music they created would activate the flow of water in the fountains through the use of sensors and sound actuated pumps. The figures at the rear of the bridge were the microphones.
Fig. 8:Supproting Role
Fig. 7: Main Dancer
Fig. 6: Plaza Sketch Page 69
Fig. 13: Page 9
Fig. 12: Page 8
Fig. 11: Page 7
Fig. 10: Page 6
Fig. 9: Page 5
Building Ballet: Monuments in public spaces are sometimes viewed as lifeless static objects. This perception often results from the public's indifference toward them. This hollow feeling toward public places can also be attributed to a lack of information about its history and/or its symbolic architectural language. In turn these places and their associated monuments become secondary backdrops to other activities More often, their life is typically created more actively by its transient inhabitants. What if the building became an active participant? Would people treat the space differently? Can a building walk and talk? This proposal focuses on computer technology and its innovative use as a design medium. The site and the monument selected are the Grand Army Plaza and The Soldier's and Sailors' Monument in Brooklyn, New York. The project proposes to transform this historic arch, through the use of computer animation, into a living organism. The purpose of this animation is to develop the public's awareness of public spaces. The animation will begin with a metamorphosis of the arch. The first shape transformation will use historic references and innuendoes. Slowly the arch will change its presence in the Plaza. Traditionally landmarks represent a symbol of the past. In this scenario, the arch will represent a more contemporary icon yet maintain its original theme, "rites of passage". The transfiguration of the object will be a performance. The building is the performer. Architecture will wear clothing and all the changes will be simulated by computer animated sequences. Time will be compressed and the curtain will go up.
Fig. 15: Rendered Plaza Page 70
Fig. 14: Animation Stills
I create spaces with computer graphics by encoding the computer with movement descriptions. These images are created by using a computer graphics language which can simulate the dancer's "muscle memory". Muscle memory is the bodies internal mechanism for controlling the skeleton through release and contraction of muscles. Buildings like the human frame can have their own dynamic language and if captured can become as important to the formal creation as the shape itself.
Building Ballet - Choreographed Space 1994
Fig. 5: Page 4
Fig. 4: Page 3
Fig. 3: Page 2
Fig. 2: Page 1
Fig. 1: Cover Page
Fig. 6: Installation Set Fig. 8: Storyboard 2
Fig. 7: Story Board 1 Page 71
Fig. 11: Carved Box
Fig. 10: Roof View
Fig. 9: Site Plan
Thinking Outside the Box: In this first High School Course we are going to explore the notion of pure form and its relationship to places of learning. Architecture is only tested if it is built, there are no substitutes. One of the primary goals of this course is to experience architecture through a project which is built. The act of building the design is a requirement of this course. We will be taking the abstract ideas of drawing and writing and testing its success through building prototypes full size. To do this we will develop the model for teaching “design thinking” which universities use; it is known as the “Studio”. A studio is similar to a laboratory in which students use in science courses. It is a place where ideas are explored by testing solutions and results through experimentation and observation. To begin the studio needs a laboratory for design. Architects and designers usually design in large rooms or lofts where they are surrounded by art or other creative artists. This environmental factor is a critical part of the studio just as the building is critical to architecture. I have recommended that the course being proposed here be taught at the Montclair Art Museum where students will be surrounded by other creative visual arts. Architectural ideas are traditionally visualized through sketching but sometimes described with words. Ultimately however, designed objects are experienced with all the senses.
Fig. 13: Treehouse Page 72
he Board of Education has requested that you develop a unique
learning environment. With the recent growth of student population and the intervention of new technologies, curriculums need to explore spatial prototypes for learning. We have set a side the Leir Hall for the first colony of thinkers and learners. The Hall has been divided into eight (8) equal compartments, each representing the learning lot in the Village. The size of that lot is approximately ten feet by twenty feet. The Village has a main street which runs around the perimeter with a small Commons in the center. There are front yards and backyards assigned as well as two side yards. The Commons in the center is the Learning Center where students can mingle during their rest periods and during group discussions. The design of the individual learning space will have to provide a space for one student study area and space for the learning equipment and materials that support thinking. (Bathrooms and Cafeteria are already provided by the school). Your “Learning Module” needs to support all the comforts and provisions for your learning style. Materials and Assemblies The materials for this module will be FedEx Boxes. These corrugated cardboard modular units reflect the construction industries unitized building components. Similar to masonry units these boxes come in four sizes and shapes; they are a small, medium, large and triangular tube box.
Fig. 12: Tower
Introduction to Design for High School Students - ‘Room for Thought’ Montclair Art Museum - 2003
Fig. 5: Materials
Fig. 8: Entrance Pavillio
Fig. 3: Site Planning
Fig. 4: Modular
Fig. 7: Entrance Pavillio
Fig. 2: Samples
Fig. 1: Cover Page
Fig. 6: Entrance Pavillio Page 73
Booth Memorial Hospital Education Center Russo +Sonder, Architects New York, New York
Columbia University Student Housing 198
Housing Study State University of New York at Buffalo Buffalo, New York
1987
James Stewart Polshek & Partners New York, New York
1987
Museum Tower 1978
Oak Street Redevelopment Stieglitz, Stieglitz & Tries, Architects Buffalo, New York
James Stewart Polshek & Partners New York, New York
Carnegie Hall Restoration 1978
Entertainment District Project Department of Community Development Buffalo, New York
1987
Metropolitan Club Tower 1980
Buffalo’s Public Art Guide Book Department of Community Development Buffalo, New York
James Stewart Polshek & Partners New York, New York
James Stewart Polshek &. Partners New York, New York
1987
191 St. Marks Avenue 1975
Barry M Yanku, Architect Brooklyn, New York
1987
IBM Office Building James Stewart Polshek & Partners New York, New York
1987
York College Performing Arts Center James Stewart Polshek & Partners New York, New York
1986
IBM Research & Development Facility Davis Brody & Associates New York, New York
1985
Baruch College Russo + Sonder, Architects New York, New York
1984
Lobby Restoration - 225 Park Avenue South Russo + Sonder, Architects New York, New York
1984
Yale New Haven Medical Center Davis Brody & Associates/Russo + Sonder, Architects - A Joint venture New York, New York
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1982
Appendix - Catalog of Work 1979 through 2003
World Trade Center Design Competition
PepsiCo Gwathmey Siegel &Associates, Architects Purchase, New York
1997
1996
1995
1994
1992
1991
1991
1990
1990
1989
Gwathmey Siegel &Associates, Architects New York, New York
2002
Gwathmey Siegel &Associates, Architects New York, New York
2001
Gwathmey Siegel &Associates, Architects New York, New York
2000
Gwathmey Siegel &Associates, Architects Akron, Ohio
1999
Gwathmey Siegel &Associates, Architects Springfield, Massachusetts
1998
Cameron Museum of Art
Times Square Tower Skidmore Owings and Merrill. Architects New York, New York
2002
Basketball Hall of Fame
Transitional Housing for the Homeless Skidmore Owings and Merrill, Architects New York, New York
Gwathmey Siegel &Associates, Architects Fort Wayne, Indiana
Akron Public Library
The Oxford at 422 East 72nd Street Emery Roth & Sons New York, New York
2002
Mid Manhattan Library
200 East 86th Street - Residential Tower Emery Roth & Sons New York, New York
Gwathmey Siegel &Associates, Architects Austin, Texas
Ralles Apartment
Staten Island Correctional Facility Freelance New York, New York
2002
Quadrangle 14th &15th Floors: Seagram’s Building
Northwest Airlines Passenger Terminal Freelance New York, New York
Gwathmey Siegel &Associates, Architects Austin, Texas
Allen County Public Library
Police Athletic League Community Center Freelance New York, New York
2002
Dell Riding Complex
Soho Grand Hotel Helpern, Architects New York, New York
Gwathmey Siegel &Associates, Architects Austin, Texas
Dell Marina
Collegiate School Helpern, Architects New York, New York
2002
Dell Lake House
Universal Studios Gwathmey Siegel &Associates, Architects New York, New York
Joint Venture: Gwathmey Siegel, Richard Meier, Steven Holl, Peter Eisenman, Laurie Olin & ARUP New York, NY
1988
Gwathmey Siegel &Associates, Architects New York, New York
1998
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