ZACHARY TAYLOR
COMPETITIONS
ARCHITECTURE 4-11
Passive POD
32-39
New Seed City
40-47
50 Trinity Place
12-21
Sunnyside Gardens Park
22-31
Farragut Houses
48-53
MOD cubes
STUDY
LIGHTING
54-59
72-75
Katsura Imperial Villa
60-67
Fruit Frameworks
68-71
Hinge Movements
Light Box
PASSIVE POD Location: Summerland Key, Florida, United States Type: Academic Class: Studio III Instructors: Casey Mack, Joerg Thรถne Time: Fall 2010
A vacation housing unit that takes its form from the only large hurricane resistant organism in the area; mangroove trees. Passive building methods were implemented to create a comfortable shelter that was conscious of its surroundings.
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With the island’s highest point being four feet above sea level, typographic differences played a crucial role in the placement of the house. Each line marks a four inch shift in height. The placement of the passive POD was in an area that is either submerged or dry depending on the tidal activity.
The area in black marks the portions of the island that are above the high tide line, the areas in gray are only dry at low tide. The sole evidence of human activity is a light path that crawls up the spine of the island. The blue area is the location of the pod.
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6
2 5
4 3
1 social space, lounge, shelter 2 bedroom 3 shower, toilet, storage, shelter 4 sun bathing 5 fishing 6 dining, social space
High Tide 11:00 AM
High Tide 11:00 AM
Low Tide 6:00 PM
Low Tide 6:00 PM
Sand is normally a very highly reflective material, but the substance covering the beaches of the Florida Keys is much less reflective and is more similar to clay than the sand comonly found elsewhere in Florida. Thus, hightide is actually the most reflective part of the day, as the angle of the sun will bounch light in anywhere between 9 and 3 pm on most days. on the underside of the pod. I was concious to extend the floors out a few extra feet in anticipation of this potential heat gain.
clockwise from left; perspective aireal shot, view of dining area, view across living/lounge room, view across sundeck.
SUNNYSIDE GARDENS PARK Location: Queens, New York, United States Type: Academic Class: Studio II Instructor: Bronwyn Breitner Time: Spring 2010
A fence that distingushes program and land ownership between the City of New York, the private land of the nearby residents, and semi-private sunnyside gardens Park. Its amorphous shape takes on site objects whoes ownership and care were previously ambigous and solidifies who ownes what.
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The 3 acre site is built in the midst of a sleepy residential neighborhood in Sunnyside, Queens. the park’s fence currently warms in and out of the park boundary and conflics with the property lots in the southern half of the park. City Owned Land
Ownership Unclear
Sunnyside Garden Park
Proposed Fence
FARRAGUT HOUSES Location: Brooklyn, New York, United States Type: Academic Class: Studio III Instructor: Casey Mack, Joerg Thรถne Time: FAll 2010
I wanted to turn a geographically and fincancially isolated area into a mixed use and mixed income neighborhood. I interspersed new living units within the framework of the existing farragut towers to mitigate the ‘tower in a park’ condition in to a more sustainable streetscape.
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The Farragut Houses in Brooklyn has 1,390 apartments housing some 3,440 residents in ten 13 story high buildings. The 16.61-acre complex was completed April 30, 1952 and is bordered by York, Nassau, Navy and Bridge Streets. Except for a supermarket and a check-cashing store near Farragut Houses, the neighborhood still has no banks or grocery stores. Restaurants are in short supply, with a luncheonette and a pizzeria catering mainly to the workers of Dumbo shutting down by early evening.
present condition
proposed condition
Passive building techniques where implemented in the design of the new housing, to the right is rainwater rentention system that resuses as much water possible. The left shows a what these new streets within the park would look like.
Gas Fill
1 Gypsum Brick
XPS Foam Insulation Pre Cast Concrete Treated Sill Plate Fiber Cement Board
NEW SEED CITY Location: Madison Square Park, New York, United States Type: Academic Class: Studio IV Instructor: Micheal Morris, Natalie Fizer Time: Spring 2011
This project examined the role of seeds to help better understand the potential of cycles in buildings and our general built environment. situated in 2055, this is a structure whos program must transition and help mitigate with the stresses New york will face in the future. this building is also a signifier of environmental changes that may be to slow for people to notice.
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Melocactus Zentenari
This study shows the two methods of seed dispersal for this plant. One method involves the consumption of the seeds by wild animals, after digestion, the seed uses feces as a fertilizer to grow in. The other method is storing the seeds inside the host plant, should the host die, the seed use the remains of the plant as a base to grow from.
water contamination
1844
1890
2010
soil contamination
this map represents the contaminets held within the soil around madison square park. Many of these toxins are within inches of the top soil barrier and can resurface when inundated with water. polycyclic Aromatic Hydrocarbons (PAH) explodsives chromium pesitcides lead copper & nickel mercury salt zinc
opposite page: section/elevation of water collection tank in seed vault. above: plants remeditating the soil and providing food and shelter from flood surges. far right: map of future ‘dispersal’ zones where this building can grow from toxins within the soil.
50 TRINITY PLACE Location: New York, New York, United States Type: Academic Class: Studio V Instructor: Ken Lewis, Harold fredenburgh Time: Fall 2011
This is a project that reimagines programmatic potentials for the skyscraper while working within the pervasive skyscraper typology of New York. Connections between the two towers are possible when the distinctive program’s access may became beneficial to one another. This connective tissue carves social spaces into the interiors of the structure.
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CHAMBER
WARREN
MURRAY
PARK
BARCLAY
CHAMBER
WARREN
MURRAY
PARK
BARCLAY
A 0’ 100’
A 500’
A 0’ 100’ 500’
Program residential commercial retail vertical farm trinity
Primary Structure
Secondary Structure
Aluminum Skin
MOD CUBES Location: Donghia Materials Library, New York, United States Type: Competition Team: Anny Chang, Yongi Lee, Hayoung Baik Time: Spring 2011
a open compeition held by the materials library for parsons’ architecture and interior design departments. the compeition called for a shelving unit along an existing glass wall to display the different materials and objects the library collects. The existing glass wall served as a basis for the material choice for our entry. my team’s entry won first place.
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The concept was based around the articulation of layered transparency. Layers of opaqueness and transparency are what we felt made the space distinctive, and is what we ultimately wanted to latch onto. Our design does not take away from the layers of transparency, instead it we tried to give the illusion of floating cubes and played with the lighting to give it distinction without alienating the glass behind it. This way, the materials are still the center of attention, while still having a very interesting and non-distracting shelving system.
Each cube will have four recessed slots that allow room for divider shelves that can cut the cube in various directions based on the scale of the materials.
The cubes have pre-drilled slots to allow the wiring to go through the cubes seamlessly with ample room for lighting wires. The lighting will be small recycled L.E.D. strips (which we have already collected) that we will rewire into the circuit’s designed control zone. Each cube will have one interior lighting strip on a different side, allowing for various optimal lighting conditions for a wide array of materials to be displayed.
view from inside materials library The project consists of numerous cubes suspended by wires drilled into the floor and the ceiling. The cubes are composed of a frosted Bioresin (plant based resin system for laminating and casting, which is toxicologically safe and sustainable) and a frosted acrylic.
view from inside donghia gallery
connection details
KATSURA IMPERIAL VILLA Location: Kyoto, Japan Type: Study Class: Representation And Analysis 2 Instructor: Peter Lynch, Jeremy Barbour Time: Spring 2009
heavily referenced as inspiration for the modernists in the first half of the 20th century, katsura has hence been understood only through its orthogonal geometry. this study rejects the use of grids as a guide for organization and instead examined the deep cultural appreciation for ceremony, place, and spirituality by the japanese.
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For the Japanese of the 16th century, lanterns were used for more than just a wayfinding tool. Lanterns were organized throughout the entire site and were oriented in a paricular manner to re-act as a chain which was based around the central pond.
Based on the time of the year, the moon would interact with the lantern’s reflections on the pond. It was believed that the lanterns could be used as a way of harnessing the power of the moon as a means of cleansing. The lanterns cluster around the tea-houses, another method of awakening conciousness and to realize with humility our relationship with all that is around us.
eastern elevation of moondeck
southern elevation 1 0
10
30 SHAKU 5
10 METER
Kodai Rokkaku Yukimi
Sankou Doro Lantern
Kodai Yukimi
Kodai Maru
Mizu-Hotaru Lantern
Tamaten
Goju No Tou
It was through the placement of lanterns that brought the architecture of the Katsura Imperial Villa to its present organization. The diagram above shows the different lantern typologies, which is correlated with their locations on the site to the right. The dot in the center of the pond is a Goju No Tou and serves as the nexus for the lanterns orientation. The Goju No Tou is a five-tier stone pagoda that symbolizes the five elements, earth, water, fire, wind, and space. The different shapes in the lanterns represent different elements that are harvested and funneled to the pagoda.
Ishidoro
Yukimi Gata
Oribe
Oribe
Oribe
Kodai Yukimi
Oribe
Kasuga
Oribe
Oribe
Kodai
1 0
10
30 SHAKU 5
10 METER
FRUIT FRAMEWORK Location: None Type: Study Class: Studio I Instructor: Jeremy Barbour Time: Fall 2009
after slicing fruit down the middle, the interior voids were filled with plaster and later removed. these plaster representations of the inner circulatory framework were what we had to build ‘sysems’ around. i had to construct a system that acknowledged the logic of the fruit but also reacted to environmental iregularities they grow around.
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HINGE MOVEMENTS Location: None Type: Study Class: Representation & Analysis I Instructor: Brandon Andow Time: Fall 2009
after slicing fruit down the middle, the interior voids were filled with plaster and later removed. these plaster representations of the inner circulatory framework were what we had to build ‘sysems’ around. i had to construct a system that acknowledged the logic of the fruit but also reacted to environmental iregularities they grow around.
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LIGHT BOX Location: None Type: Lighting Design Class: Lighting Principles In Architecure Instructor: Anita Jorgensen Time: Fall 20
I wanted to create a dual system of almost opposite ends in lighting use assessment in the same environment. In the first phase I used a 30-Watt rope light with a very warm color, I tired this rope light in a three-inch diameter circle and placed it in the center. This created a very intmate spotlight effect. I attached another rope light to the edges of the box to create a wall wash, an effect seen in public places.
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The stagebox’s interior is papier-mâché and grounded clay, this scene shows both spotlight and wallwash simultaneously.
spotlight
wall wash