Issuu

florida atlantic university | school of architecture

issue #1 | covid edition

american institute of architecture students 2020-2021

yagmur akyuz

tiffany taylor

stephanie guerrero

marisa zumbrum

aalesha chisholm-green

matthew castro

miguel paes

nicholas theis

fabiana villafane

daniela fowler

pedro fernandes

emrys jenkins-taylor

covid edition

the process journal annual process log of fau’s school of architecture editor-in-chief executive editor

staff yagmur akyuz tiffany taylor

funding provided by fau student government faculty advisor jeffrey huber links + resources linktr.ee/aias.fau contact email: aias.fau@gmail.com instagram: @aiasfau website: aias.org

recognitions broward organization of the year aias fau organization presidential excellence yara zbib

tiffany taylor yagmur akyuz

special thanks founder founder

the cover of this journal was completed through the efforts of lower division studios and the aias executive board thank you to our involved student body and faculty to make the very first edition of this project a success. the following pages could not have been filled without the contributions of the school of architecture at large.

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editors’ note jeffrey huber yagmur akyuz tiffany taylor

the faculty blurbs + sketches

16 the work 18 year 1 20 year 2 26 year 3 32 year 4 40 thesis 50 research 52 faculty 56 students 60 62 64 66 67

aias 2020-21 events chapter meetings the walk the lib design + build

68 studio work from home series 74

‘21 grads aias member highlights

96 awards 99 scholarships + awards 103 competitions 108

where are they now? featuring recent graduates

118 index 119

members list

contents

director’s word Dear Florida Atlantic University School of Architecture American Institute of Architecture Students (AIAS);

It is an honor to write this small contribution to the inaugural the Process Journal! As a faculty member, liaison to AIAS, and director of the school I have witnessed a bellwether of change in the School of Architecture and AIAS’ contributions to our shared growth and development. The passion and dedication of AIAS members is truly remarkable and the Process Journal is another testament of your dedication to your peers, school and community. The student work contained within the journal is celebrated and will be looked at decades from now as inspiration and tradition for the next generation of Owl Architects. This issue is the foundation of the FAU Architecture legacy and a showcase of the breath of design work and design research we do. Your faculty and peers are honored to be a part of this new legacy and memory of time and place it serves. These past months have been some of the most challenging but each of you has persevered through adversity, as well as have shown your resilience and ability to adapt. As Architecture Owls it is your collective ambition and core purpose to be dedicated architects, designers and scholars who will serve as professional leaders; redefining architectural practice that is inclusive, diverse and equitable. The Process Journal sets the tone and trajectory for that mission. Good luck, many well wishes and Go Owls!

jeffrey e. huber faia, asla, ncarb, leed ap interim director + associate professor

Throughout all of my years here at FAU’s School of Architecture, I have managed to continue to do the one thing that I have set out to do since day one; looking for new ways to challenge myself. This journal right before your very eyes is no small feat of one of these challenges. Since stepping foot on the AIAS board in 2019, I have been pushing for different ways to get students involved and excited to be part of such a unique and diverse program. From being the Event Coordinator where I have been bringing new ideas to get my peers excited to come together, to making it as your current Vice President, where I have been lucky enough to be able to provide you all this very journal. Every single opportunity has shown me both growth in my personal and professional life as well as brought me closer to you all. With this journal, I am so proud to not only leave behind a brand new tradition but also to finally be able to show off what it is we do as students in the caves we call studio. Whether it is directly at the university or in our bedrooms this past year, adjusting to our new at-home studios, this has become one of the greatest challenges many of our students and faculty alike have faced. Pushing past these challenges in the last year, this project is but a mere reflection of just how far we have all come and a great glimpse of where we are all headed. For some time now the push for this project to become the reality that it is today, has been a long but exciting journey. With an amazing colleague and an even better friend, working alongside Yagmur Akyuz has helped make this possible. Even more so, this journal would not have been at all complete without the loving support and participation from my peers and faculty. Being part of the everyday studio culture and getting involved has only shown me just how much we are capable of as students. If there is anything I am leaving this program with, it is with this knowledge that I leave to you all: push yourself, you will never truly know just how far you will go.

tiffany taylor executive editor aias fau vice president

The Process Journal is FAU SoA, packaged and served for your pleasure. It has been a dream project for me since I started my journey with the Executive Board of AIAS in 2018. Back then, I was a Lower Division Liaison, working to bridge the gap between the two locations the FAU School of Architecture has the pleasure to inhabit. Although we felt our progress in making Lower and Upper Divisions unite was going in a great direction, we’ve had some major set-backs, as has the rest of the world with the COVID-19 pandemic. Suddenly, all values AIAS FAU pursues to invest and prosper in were challenged at a fundamental level. Having to sustain studio culture and a sense of communal engagement was near impossible with the lockdowns and all the online courses… However this gave us time to plan and re-invent. As a team, we learned and reflected on the safety guidelines to have the best possible experiences, even though they weren’t as frequent as we hoped. We carried our events out online, allowing us to schedule some priceless conversations with field’s varied professionals. We were able to dedicate more thought and budget to our individual members at our raffles. Looking back, none of these opportunities would have been possible, without the obstacles we encountered. For this, I want to thank the team and our members for not leaving us alone in this time of uncertainty. The Process Journal emerged at such an unprecedented time. It is, by far, one of the most ambitious out of the many achievements our board has accomplished this past year. Although, the key common denominator is, yet again, the student body. In pursuit of resonating with the process driven studio culture we can’t wait to get back to, the Journal calls on the School of Architecture as a whole; from the new members of Lower Division in Design 1 and 2, to the committed faculty members who have been with the school since it was established. Thank you for letting us represent your year-long journey. Personally, working on such a publication with my dear friend and accomplished colleague, Tiffany Taylor, has been a blast. I hope for this to become a long lasting tradition in the School of Architecture that encourages everyone to elevate themselves, in their work; but more importantly, in their outlook towards each other in the studio.

Without further ado, it is my utmost pleasure to proudly present: The Process Journal, issue 1.

yagmur akyuz editor in chief aias fau creative director

editors’ note

thefa

culty

professor interviews what is your teaching philosophy? henry dominguez “Designers don’t see the world how it is, but how it might be. ”

francis lyn “Teach with empathy. Remember that we all come from different places. ”

anthony abbate “Teaching is a learning experience. We all learn from each other. While there is specific knowledge that must be delivered for a professional degree, I’ve found that the most learning occurs during a process that starts with individual curiosity and discovery. As an instructor I try to spark that interest and encourage students to participate in a community of learning. We never stop learning and some of the most valuable insights and discoveries have come from students.”

emmanouil vermisso

F.1

“Embracing the heuristic nature of design, I place PROCESS at the core of my teaching. Understanding our own design process can help us become better designers. I feel this can only come from students’ experience of taking design initiatives and making mistakes on their own; this of course does not dismiss the necessity for a guiding framework, for which the teacher is responsible. This framework, however, should be inclusive, not prescriptive. The European educational system where I come from presupposes a greater degree of student autonomy; self-reliance and intense motivation are by default expected (not requested) of students. I feel this is very important because it forms the nexus of a pedagogical framework which encourages speculation and experimentation, beyond the mere acceptance of top-down instructions (teacher). The concession, on the part of the teacher, of the freedom to make decisions, could be misinterpreted by students as indifference or lack of interest; in fact, it acknowledges the responsibility and capacity in hatching designers to speculate, take risks, make mistakes and evolve their critical thinking. My pedagogical philosophy evolves based on experience and interaction with my students, as well as an underlying intention to understand how we reach design decisions. The role of architectural education needs to extend beyond formal instruction on how to design, towards (perhaps more importantly) building an awareness about how one thinks about design, and by extension, how one thinks at all. Any curriculum needs to target not only the practical application of Architecture as a profession, but also creative thinking at an exceptional level. Through this assurance of a more holistic instruction, education may contribute to developing a broad outlook in life, as conceived by the ancient Greeks (“”paideia””).”

phillippe d’anjou “opening up ways for autonomy and intelligent critical thinking and acting”

griffin morris

F.2

“I teach using concept-based design. I believe the most important part of the design process is understanding WHY a particular project or program is being carried out, and letting that reasoning drive further design decisions. Once the concept, or the “”why”” is established, we can design the form of the project (the “”how””), and the resulting design work becomes the “”what””. That might sound simple, but add in all the considerations of site, context, program, and other constraints, and it can become complicated quickly. Knowing your concept””

F.1 | Phillipe d’Anjou architecture is human existence/human existence is architecture F.2 | Griffin Morris A stair detail from Brion Vega Cemetery, by the architect Carlo Scarpa F.3 | Jeffrey Huber a new 20-unit housing project I am working on in Miami Beach called The Heron. It is for disabled elderly and housing that is referred to as “permanent supportive housing.”

what are your current research interests? anson stuart “Addressing the problem of affordable housing for the senior population.”

john sandell “From a quote by Walter Benjamin: “I am unquestionably deformed by relationships with everything that surround me.” I am looking at the notion of deformation so to speak and the messy process of construing and constructing design at multiple scales; from the urban to the architectural and the detail.”

diego camargo “Systems & self-organization processes, Data impact on design through image visualization and prototypes performing across scales...”

anthony abbate “Design for climate, design for climate change.”

andrew hayes “Neighborhood Scale Urban Design which produces healthful environments”

phillippe d’anjou “design philosophy and ethics.”

emmanouil vermisso “My recent work inquires on the potential of Computational thinking for architectural design. It is important to note that computation as a process is by default analogue, and therefore external to any digital technology or platform. Understanding computational processes leads to a consideration of the design process as an inherently bottom-up act, which is -at least conceptually- aligned with the concept of “emergence” in biology and other fields. This conviction is reflected in my design approach, which places emphasis on the capacity of simple rules to generate complex results based on a kind of “process intelligence”. I am currently interested in examining how the design thinking process operates at a practical (design workflow) and abstract level (design cognition). I am working on understanding the mechanisms of Design Creativity in a culture that is significantly technology-driven. Developments in Artificial Intelligence (i.e. machine vision) provide an opportunity to gain insight to our thinking structure, by understanding generative processes in machines. The future of the architectural profession -and indirectly, education- will be influenced by emerging tools and technologies; it is our responsibility to reconsider the architect’s role in a wider social context, as he is increasingly required to interface with other scientific domains.”

F.3

what year/level of design is your favorite to teach and why? anson stuart

F.4

“First year Design or Lower Division because it is often at this level that students form opinions on whether to continue in Architecture or not. And I want to influence as many minority students as I can to finish and earn their professional degree in Architecture and eventually become licensed.”

michael rubin “First year because I like beginnings. Everything is possible. Everything is a revelation. Everything is a- HA, HA moment-the moment you laugh at yourself for having misread the reality of a thing. And the hope and continual wonder of it all is that sometimes the students feel that way as well.”

diego camargo “4th year. At this point students are better equipped to learn, understand and deploy a bottom-up approach to design... in search for emergent qualities.”

emmanouil vermisso F.5

“Senior and thesis students engender a certain design maturity which makes this more approachable. In addition, my interest in computational technology allows access to certain technical skills which support certain design research protocols.”

francis lyn 12

“I enjoy teaching all levels, however I get great satisfaction from teaching lower division and community engagement focused studios ”

was there ever a significant moment in teaching that reminded you of yourself as a student? anson stuart “Every day I teach I’m reminded when I see the level of uncertainty and apprehension in the face of some students. I’m reminded of how I was exactly like them. Which is why I feel it is my obligation to help remove those fears by being as clear and understanding in my instruction as possible.”

jeffrey huber “Everyday I think about my education and how my students remind me of those moments. It ranges from the “ah ha” to the “What did my professor just say? Now I am more confused” looks I see. There is a joy to teaching when at the very least one student gets what you are wanting them to see or do. It is in that moment I am most rewarded. Of particular significance is when sometimes a former student contacts me years later to say, “I finally get it.” I love architecture because we are always learning and though students do not always see it, we learn just as much from you than you learn from us. Particularly when my practice and preconceptions disable me to see something in a certain way. I am envious of students because your lack of experience allows you to see things with fresh eyes. We tend to forget that and I enjoy every moment a student allows me to rethink architecture--that is why I teach, ironically its to continue to learn. ”

randy brown “Everyday. Because being a student of architecture is still how I define myself. I don’t want to be the know it all person, I think it is much more interesting to acknowledge how how you don’t know and work on that daily.”

was there ever a significant moment in teaching that reminded you of yourself as a student? michael rubin “Every time I have to find new words the say the same old thing I am reminded that I was once the beneficiary of such tutorial patience.”

john sandell “I would say, just about every day when I walk into the design studio or classroom and peer at all those innocent (and sometimes guilty) faces just wondering what we collectively will bring to discussion during the class session. (Confession: I was most likely among the group with the more guilty looking face; always up to something mischievous).”

F.6

diego camargo “Every time I see the student’s reaction when they learn something new and suddenly discover “the world”...”

anthony abbate “I am constantly reminded of myself as a student. But on a few occassions students went all out on research and wowed me to the extent that it reminded me of how I wowed a professor in grad school who helped me get my paper circulated internationally. I encouraged her to enter her project to a competition and that student won the top place in a digital design competition and was published in their journal.”

andrew hayes “Several, but the most significant was when I was held accountable for my my intellectual laziness and it made me a better designer. I have frequently had a similar conversation with my students.”

emmanouil vermisso “My own memories as an architecture student are always in the back of my head. When I encounter beautiful work from my students, I get inspired in the same way that I was inspired from my classmates. The most striking thing which comes to mind is a feeling I often encounter - wishing I could design my thesis project again. I cannot help thinking how I would approach design projects if I were back in school; having the opportunity to revisit your school projects is something several of you will probably wish for in the future. Students don’t always grasp the unique circumstances they find themselves in – to work in a creative environment, have access to expertise, the freedom to test your ideas and develop a vision! This is sometimes harder to do later in life, so embracing the university experience is so important.

F.4 | Andrew Hayes koi pond study F.5 | Randy Brown Transparency F.6 | Anthony Abbate I have a habit of recording my dreams in notebooks and occasionally a sketch of something that appears in the dream. Usually enigmatic, these sketches emerge from the subconscious. I’ve learned to become comfortable with the unknownable. But it is always there as a challenge.

In general, I think my inspiration -even at an subconscious level – partly stems from my exposure to so much interesting and original student work produced globally. We are very lucky to have access to so much visual data, only a click away; when I was a student, experiencing work from other schools was something not very accessible and very special - unless you traveled extensively. I encourage everyone to take advantage of all (physical and virtual) resources available to constantly remain informed about the innovations in our discipline.”

griffin morris “These happen constantly. I was a stubborn student, and always thought I knew more than I did. I constantly worried that I needed to fully understand a structural or construction system before designing with it, and focused too much on building efficiently instead of developing my aesthetic design skills. I would frequently get too far into details without examining my work at a high level, and missing that the work was not doing what I intended. On the positive side, when I’m talking to students and explaining a difficult concept - you know that moment of understanding, where their face goes from confused to smiling, because it suddenly makes sense? That’s the part I remember the most about being a student, and that’s what makes it fun to teach. “

F.7 | John Sandell Arch-Manifold F.8 | Emmanouil Vermisso The differentiated cognitive tendencies in the combined activity of the human brain regions -to rationalize or fantasize an idea- are expressed as a disembodiment of physical forces which need to reach equilibrium for the creative design act to take place (water level). The lingering on the water surface is a metaphor for Creativity, which is an elusive concept, difficult to attain. The human posture is a reference to Leonardo Da Vinci’s “Vitruvian Man”, which manifests the importance of human body as a model of proportions.

advice for the graduating students... henry dominguez “Have the courage to follow your dreams.“

anson stuart “This is an extremely tough profession. 1. Never take anything personal. 2. Always do more than is expected or asked of you. 3. Get involved and serve. (AIA, NOMA, etc.) 4. Get your license.“

francis lyn “Work hard but make sure you leave space and time in your life to enjoy life as well.“

jeffrey huber “Take the job you want, not the one you need.“

randy brown “The first paying job is the hardest to get. Be patient and find a good fit.“

michael rubin “I think we architects are in a wonderful position to appreciate the poetical the practical. It has sustained me and I hope it may sustain you.“

john sandell “Find and use resources, (things and topics that interest you), that feed the imagination and your critical capabilities. As you continue to take things apart and put them back together, understanding will grow, and so will your world.“

diego camargo ` Trust the process... and follow your true passion.“

anthony abbate “This is only the beginning of a lifetime of discovery and growth.“

margaret’s corner margaret devine

what is a course you wish you could teach at the school and/or what is your favorite class?

F.7

dr. caldieron’s class incorporating the visit to la perla in san juan, puerto rico, would qualify as one of my favorite classes. besides the thrill of visiting puerto rico, the class provides an up-close view of of life in an informal settlement, modifying some of our prior views of these communities and challenging us to consider making a positive difference for its inhabitants, whether in la perla or in our own states.

phillipe d’anjou “engage with all aspects of life, practice wisdom, and make this world a better one regardless of the scale ...“

andrew hayes “Follow your passion, be a risk taker, and enjoy the ride!“

emmanouil vermisso

F.8

“There is a growing need for specialization today, which often renders graduate study inevitable. Before you engage in such career decisions, consider the importance of hindsight (regard yourself from a future point of view). As our lives change at a faster pace than before (in part because of technology), career decisions require a bit of future forecasting; you need to leverage your skills and aptitudes, combined with the currentfuture demand from the profession-industry to help pursue your dreams. Thinking about Architecture in a broader sense can help you make creative and informed decisions. Remember that the skills of an architecture graduate expand beyond this particular profession and therefore, can provide a range of possible career paths. -ENJOY your studies and form a well-rounded opinion about this profession. Architecture is a discipline that unlike others, can be extremely enjoyable to study. -Set very high standards for yourself (in Architecture and life in general). -Embrace the factor of the “unknown” in your projects, and approach them without any preconceptions (while using rules you have developed) -Take selected (targeted) elective courses from other departments to strengthen your awareness about the role and influences of Architecture. You can find inspiration where you don’t expect it. -Regard Architecture outside its immediate domain, and understand its alignment with other disciplines. (the previous suggestion can help you achieve this) -Develop a sensibility about your own design approach. This will make you more confident and happier. -Travel: visit other countries, buildings, architecture schools and keep learning. -Design like you CARE! -Architecture is more than a “job”. Keep having FUN!“

griffin morris “Find a mentor. Look for unusual opportunities. Don’t limit yourself to traditional means of practice - our training lets us work as artists, designers, architects, urban planners, and “”big-idea”” consultants. Become widely experienced. Learn how to write a proposal, and make proposals for projects that don’t have a client yet. Learn as much as you can about how to run a business - whether you stay in the field or not, this is a very valuable skill. Critical thinking and diligence are the most valuable asset you bring to any firm you work with.“

What has been your most memorable experience in working at FAU?

what is the best thing you have heard a student say to you?

It is hard to narrow down to a most memorable experience when my time in the school dates back to October of 2000. However, the trip to La Perla in San Juan, Puerto Rico, with Dr. Caldieron’s class, and the trip by bus to Savannah, Georgia, with Prof. Hardy’s class are right at the top! These trips brought home the realities of the location better than any book or Internet research, and forged such bonds within the group. Other types of moments that bring a smile to my face are the pumpkin carvings and the pie- throwing-at-theprofessor contests. This is such an intense program, that we value these fun-filled moments. Soon, we hope these will be possible again.

i always treasure the thanks from students who feel i helped steer them to a solution to their problem. Sometimes, we are consumed with anxiety about a situation, and it helps to speak with someone outside of the situation to get a different perspective.

what do the students mean to you? The students are the biggest part of my job, of course! It is nice to see them progress while in the program, growing in experience and confidence. And Architecture students are a nice, polite, and fun group! They add such joy to my day!

thew

wo r k

year|1 architectural design 1 the interaction of tectonic and stereotomic space professors:

professor michael rubin professor anson stuart professor francis lyn professor vanessa smith torres

project: Design a pavilion to fit within a maximum volume of 24’ x 24’ x 24’. The pavilion should integrate both tectonic and stereotomic concepts, and should consider the compositional strategies developed in projects 1, 2, and 3. The pavilion is located on a slope in a natural landscape (a park), and must include the following spaces: a space for entry; a space for private meditation; a space for enjoying a view of the park with several other users; stairs to connect the various levels of the pavilion; one other type of space to be determined by the designer. Consider the characteristics of static spaces (spaces for stopping, sitting, observing) vs. Dynamic spaces (spaces for moving, etc.).

architectural design 2 a public park: ground, wall, and roof explorations professors:

professor michael rubin professor jeffrey huber professor daniel bolojan

project: A parcel of land containing the remains of a historically significant structure has been acquired by a small town to be converted into a public park. The town has requested a design from students for an intervention in this small park. The intervention must respond to and enhance the natural characteristics of the park, while also creating an open and inviting environment for visitors to engage the historical significance of the place. The park is located on a bluff overlooking the shore of a lake and may be approached by land or by water. A design must clearly demonstrate the concepts of path and procession in relation to the manipulation of the ground. How do you create places of movement or stasis? The proposal must also connect all three levels of the site, so that visitors may enjoy long views of the horizon, as well as direct engagement of the shore and close observation of the ruins. The design process should demonstrate an exploration of ground, wall, and roof, and should be informed by all precedents analyzed over the course of the semester. Exploration of the inherent qualities of materials and their joining as poetic acts must be evident in the design.

1.1

Wall Project & Synthesis | 1.1 Xeena Rodriguez Professor Rubin

year|2 architectural design 3 a curator’s retreat professors:

professor burcu senyapili ozcan professor kate fisher

project: Design a retreat for an art curator on a bluff, overlooking the Atlantic Ocean, which may be used as an escape from his/her hectic urban life. The proposal should be a place where the client both lives and works and may spend anywhere from a week to several months, sometimes in seclusion. On occasion the client will have a small group of colleagues that may visit for meetings or to discuss new acquisitions for their gallery. Projects must demonstrate a clear awareness of the context and respond appropriately (beach vs. forest, solar orientation, breezes, etc.)

architectural design 4 wood and steel: a bridging education center at bayou bienvenue in new orleans, la professors:

professor anson stuart professor francis lyn professor vanessa smith torres

project: For this project students are asked to design a structure that connects Bayou Bienvenue and the Lower 9th Ward in New Orleans. Bayou Bienvenue is a former freshwater swamp. The construction of the Intercoastal Waterway and Mississippi River Gulf Outlet Canal (MR-GO) allowed saltwater intrusion, resulting in the loss of protective wetlands. Students in this studio are required to develop a rigorous design process that engages the site, climatic context, neighborhood context and history to inform their design. Simultaneously, students are also required to explore how structure and materiality might be engaged to articulate a clear architectural proposal that responds to place, climate, history, culture and social conditions.

2.1

A Bridging Education Center at Bayou Bienvenu | 2.1 Pedro Fernandes D4, Professor Stuart

2.2 + 2.4 + 2.6 | Solidago House Vinicius Miranda De Andrade Camara D3, Professor Randy Brown 2.3 | Bienvenue Gallery Courtyard Richclive Lezin D4, Professor Torres 2.5 | The House of Remembrance Mariam Alkowni D3, Professor Kate Fisher

2.2

2.3

2.4

2.5

2.6

2.7 | The House of Remembrance Mariam Alkowni D3, Professor Kate Fisher 2.8 | Artist’s House (Avian Studio) Ethan Murray D3, Professor Randy Brown 2.9 | Brion Addition Vinicius Miranda De Andrade Camara D4, Professor Francis E. Lyn 2.10 | Addition to Brion Tomb Pedro Yuji Kitamura D3, Professor Kate Fisher 2.11 | A Bridging Education Center at Bayou Bienvenu Jacob Erb D4, Professor Anson Stuart

2.7 24

2.8

2.9

2.10

2.11

year|3 architectural design 5 housing complex based in the home competition professors:

professor burcu senyapili ozcan professor aaron gabriel dr. jean caldieron professor fabiana possamai wills

project: Design a housing complex in a lot located in Miami, Florida, the project started from the small scale to the big scale, an inverse process of the usual one. Students develop at least three residential units from 350 s/ft to 1500 s/ft/ assembled in clusters. The aim is to work with the relevant site and program-based ideas to create a form, instead of imposing a form unrelated to the specific context of the design problem. It includes developing environmentally responsive solutions to regional climatic conditions, working at architectural scales from architectural details to the larger landscape. Each Design 5 professor adapted a common program and objectives to his own perspective.

a boathouse in colee hammock professors:

professor griffin morris

project: For this project, the students are required to design a boathouse and launch area for kayaks, canoes, and paddleboards. Program includes storage area for the boats, a refreshments area, and a work area to care for the boats and launches. The site is Colee Hammock Park, just south of Las Olas Boulevard, and to the east of the restaurant and bar district. The neighborhood of Colee Hammock, north of Las Olas, has strong ties to the park. The park is situated on the New River, which is actually a tidal estuary and not a river. The New River connects to the Stranahan River, and eventually to the Atlantic Ocean.

architectural design 6 general description: The grounds of the Eaton Park in Miami present an opportunity to expand the infrastructural capacity of the adjacent Lemon City Miami-Dade Library Branch, integrating it into an After-school Youth Program aiming to serve the community of Little Haiti. The proposed new Youth Center would represent an opportunity for the underprivileged children to expand their knowledge, seek active and healthy entertainment, as well as learning to be productive members of their community. With the exposure to arts, technology and physical activity, these kids would be less likely to be subjected to crime, drugs and violence, improving their perspective for the future. not listed: henry dominguez’s studio

after-school youth program center at little haiti, miami, florida professors:

dr. jean caldieron

project: The Youth Center must provide for the 21st century needs of teaching, entertaining, and engaging the younger members of this community. The Youth Center will house contemporary technological materials for all community youths to utilize for learning purposes. It should provide an array of spaces and building equipment designed to allow expansion, flexibility, adaptability, and convertibility for current and future program uses. Foremost, the Youth Center should aim to offer multiple spaces and programs that foster collective interactions between community members and beyond. The proposed designs must match these programmatic and technological ambitions through an architecture which engages a dynamic occupancy and bridges to the community. The new structure must complement the adjacent park and library, transforming this emergent complex into a regional public space infrastructural node.

long span spaces & public space engagement: youth center at lemon city, miami, fl professors:

professor diego camargo

project: The Youth Center will house contemporary technological materials for all community youths to utilize for learning purposes. It should provide an array of spaces and building equipment designed to allow expansion, flexibility, adaptability, and convertibility for current and future program uses. Foremost, the Youth Center should aim to offer multiple spaces and programs that foster collective interactions between community members and beyond. The proposed designs must match these programmatic and technological ambitions through an architecture which engages a dynamic occupancy and bridges to the community. The new structure must complement the adjacent park and library, transforming this emergent complex into a regional public space infrastructural node.

through architecture, cities are designed to create communities where people could gather to learn, to share, and to debate professors:

professor agustina sklar

project: The project’s close proximity to the Lemon City Miami-Dade Library Branch and the Little Haiti Cultural Center should be taken into consideration when developing the projects interaction with the community at large. Students should aim to not overpower both of these existing infrastructures, but rather design ways in which to enhance them. The Youth Center must provide for the 21st century needs of teaching, entertaining, and engaging the younger members of this community.

3.1

Reuse The Fallen Church | 3.1 Alyssa Scherger + Gleinys Martinez D6, Dr. Caldieron

3.2

3.3

Reuse The Fallen Church | 3.2 Alyssa Scherger D6, Dr. Caldieron New River Oasis | 3.3 Juan Carlos Carrillo D5, Professor Griffin Morris Grid Little Haiti | 3.4 Gleinys Martinez D6, Dr. Caldieron Hibiscus Youth Center | 3.5 Valerie Antico Guerrero D6, Professor Sklar

3.4

3.5

3.6 + 3.8 | Reuse The Fallen Church Gabriel Gillman + Maria Romero D6, Dr. Caldieron 3.7 | Sant Ansamn Miami Gabriel Gillman D6, Dr. Caldieron 3.9 | The Tranquil Gardens Arie Chocron D6, Professor Camargo 3.10 | Growth in Little Haiti Alyssa Scherger D6, Dr. Caldieron

3.6

3.8

3.7

3.9 31

3.10

year|4 architectural design 7 variations on a residential theme professors:

professor diego camargo professor henry dominguez professor emmanouil vermisso professor daniel bolojan

project: This design project negotiates possible manifestations of the residential typology, including housing, community live-work spaces and/or temporary accommodation facilities (i.e. hotels/hostels). Across the four design studios, students examine issues including the choice between comfort and affordability in hotel customers, the reciprocity between living and working environment in professional crowds and the collective productivity and ingenuity of shantytown residents in developing custom-made design solutions. The design projects consider the insertion of a new building (or cluster of buildings) within an existing urban fabric, while addressing the gradient conditions of private, semipublic and public space. The specific design programs allow some flexibility and are shaped by the local idiosyncrasies of the respective contexts, including Miami, New York, LA, London, Rio de Janeiro, Singapore and Mumbai. The selected program is considered at various scales and includes -among other approaches- consideration of modular building component design at high resolution (detail) as generative tool, examining how cultural, material and environmental factors may produce vernacular design solutions.

architectural design 8 not listed: anthony abbate’s studio, andrew hayes’ studio

hybrid morphologies & swarm urbanisms: rome/nyc professors:

professor emmanouil vermisso

project: The theoretical backdrop of the studio includes references about urban design principles, emergence, swarm construction, stigmergic behavior and (to a lesser extent), the city as information network. The city is addressed as a complex system with the capacity to self-organize based on dynamic factors, which are time, culture and environment-dependent. (other factors are applicable). The semester consists of Urban Analysis (1), Formulation of Design Strategies (2) and Implementation into Prototypical Urban Scenarios through Hybrid Morphologies (3). These tasks are subdivided in mapping and parameterization of urban growth-behavior, local/global design guidelines and figure ground deformations using techniques like Collage and Agent-based simulations (slime-mold behavior) to optimize network connectivity of overlapping layers of activity (pedestrian/vehicular/inhabited) The project began with various urban case-studies, including Barcelona, Berlin, London, Paris and Hong Kong to identify specific qualities and idiosyncrasies in the urban morphology of these places. These were correlated with urban historical growth, programmatic differentiation, policy, human behavior, to compile a number of general design guidelines at the urban scale. The insights gained from this stage led to selection of a broad context to work in (either Rome or New York) and further analysis of particular neighborhoods, to develop specific design guidelines for targeted urban regeneration. The identified areas for intervention were investigated from an urban morphology point of view, using techniques like grid interpolations and swarm intelligence. The students were asked to work between the macro and micro scales to propose building typologies which support the regeneration of neighborhoods through the insertion of prototypical urban clusters. Speculation and experimentation was encouraged in conjunction with the development of a local sensibility.

decoding development: (+) lifestyle - transit oriented development in hollywood, fl professors:

professor jordan trachtenberg

project: New developments in urban areas offer opportunities for both the city and community. This semester focuses on rethinking what a development can do to improve the fundamental goals of a ground up project; from the way one dwells to how neighborhoods behave and operate. As in most developments, there are many variables and facets to account for when designing a mixed-use space. The student’s objective is to define and design what these variables are and to devise a development strategy that will positively benefit a user’s way of life and lifestyle, in turn, developing a “(+) Lifestyle” development for the City of Hollywood. Part one investigates regional train connectivity. Defining what sort of programs and opportunities come about when a major conduit is plugged into an existing city infrastructure. The students planned and designed a train station/platform that connects the core of Hollywood to a larger network, in turn capable of connecting the region to the world. Part two focuses on the design of a Transit Oriented Development along the Dixie Highway Corridor parallel to the Florida East Coast Railway and their train station/platform. The assignment is to work in parallel with the Hollywood Regional Activity Center and DH-3 development code. Students are required to present a functional mixed-use development set around specific user groups as defined from part one’s research and conclusions.

venice school of art & design professors:

professor john sandell

project: ART and TECHNOLOGY is the theme of this semester’s project. Venice is the seat of three “Licee Artistici,” all of which are located in the Dorsoduro sextant of the city. Yet all of these high schools lack sufficient space and facilities for the development and production of students’ visual work. Therefore, with support from the Venetian municipal government and the economically strong artisan industries in the Veneto region, the schools have joined together to build a common facility for the fine arts and artisan trades. The facility must be able to accommodate a variety of technologies, from the most manual to the most technologically advanced digital tools used by artists and artisans today. The facility will be almost entirely managed and run by students, with ‘masters’ present only to assist in technical execution and the critique of students’ work. Your role as designer is to develop a proposal for a stimulating architectural ‘backdrop’ that will spark the imaginations of these future designers and artisans.

Camera Dissection | 3.1 Savannah West D8, Professor Sandell

4.1

4.2

4.3 4.2 | Hollywood Brightline Nicole Grueser + Reghan Fitch D8, Professor Trachtenberg 4.3 | The Vault Yagmur Akyuz D8, Professor Sandell 4.4 | Haarlem Housing Shambil Khan D8, Professor Vermisso 4.5 | _Symbiote Ian Fennimore + Matthew Deveau D8, Professor Trachtenberg

4.4

4.5

4.6

4.7

4.8

Co_LAB | 4.6 Ian Fennimore + Matthew Deveau D8, Professor Trachtenberg Nodal Connections | 4.7 Savannah West D7, Professor Bolojan Metempsychosis | 4.8 Nicole Grueser + Steven Vernon D7, Professor Dominguez Centro D’Arte A Venezia | 4.9 Fabiana Villafane D8, Professor Sandell

4.9

Jalousie Redevelopment | 4.10 Christopher Montoya + Matthew Deveau D7, Professor Vermisso RE_Traced | 4.11 Ian Fennimore D7, Professor Bolojan

4.10

4.11

4.12

4.13

4.14 Metempsychosis | 4.12 Nicole Grueser + Steven Vernon D7, Professor Dominguez London Pinch | 4.13 + 4.15 Stephanie Guerrero D7, Professor Bolojan RE_Traced | 4.14 Ian Fennimore D7, Professor Bolojan

4.15

thesis

advanced architectural design 1 not listed: john sandell’s studio

university arts and technology innovation center professors:

professor anthony abbate

project: How does architecture inhibit or allow - even encourage - new forms of interaction and creative production? In performance spaces, architecture serves as a shell for an interior that transforms to permit art to transfix an audience. The project for this advanced design studio involves the exploration of the physical setting and the relationship between student, audience, actor, instructor, and event. It also explores the way we perceive places where the changing ritual of art engages. The perception of place is defined in various ways in human geography, urban design, and architecture. This studio will ask you to dive deeper to explore how we take in sound, motion, light, and other stimuli to actively construct perceptions in our minds and how architecture, as an ordered construct of space and form, provides the environment for creating and presenting these stimuli in the context of artistic production and investigation. These questions and issues will be explored through the design process for a university complex that will provide an array of flexible, ICTBased spaces that serve to advance education and research in the arts and lead in the areas of entertainment technology and the creative industries. The design of this innovative and multi-disciplinary training facility will support both public and private engagement among the industries and enterprises that depend on advanced creativity. It will be widely accessible, merging the everyday lives of its users with the creative and innovative energy of artistic and design thought and expression. professors:

professor andrew hayes

project: Is it possible for architecture to build community? When two formerly separate non-profit organizations explore combining their operations, what role does design play in facilitating this new hybrid form of working, learning and creating? One exploratory outcome is what might be called ‘third space.’ This moniker derives from the necessity to create shared spaces due to the similar program activities of each organization. In designing hybrid space the issues of performance and performativity need to be addressed. This is necessary due to the multipurpose nature of third space. The studio seeks to have students take a deep dive into building community through the performative nature of third space as a function of programmatic necessity.

topical design studio digital painting as a design process to create micro housing/ mixed use development in deerfield beach, fl. professors:

professor randy brown

project: The studio studied digital painting as both a representational tool as well as a creative design process. The work consisted of creating digital paintings as 2D fine art and as 3D sculptural. Proposed building form emerged from the process of painting and sculpting. Building concepts were then developed into micro housing proposals above a piazza with an outdoor restaurant and coffee bar. The students work attempts to answer the question- how does digital painting / sculpture inform qualitative aspects of atmosphere, tectonics and materiality?

interlacing natures – creative ai professors:

professor daniel bolojan

project: The studio will engage in speculative proto-architectural research by envisioning the potentially disruptive change in paradigm driven by the adaptation of creative Ai methods in architecture and how these methods can augment the architect’s native ability to solve design problems. Aspects of the agency are going to be interrogated, as well as aspects of creativity, design space exploration, humanhuman interaction, machine-human interaction, machine-machine interaction. The studio methodology will consist of a holistic approach to design processes in which a variety of interconnected Neural Networks strategies will be coupled with Agent Based Systems. The methodology will be deployed to address discrete architectural and design tasks for a pedestrian bridge | pavilion | gallery project long Fort Lauderdale New River. The methodology develops on system theory and its application in architecture, represented in architectural theory as a “… shift from the view of architecture as a material object to architecture as a system comprised of and working with a series of interrelated systems.” (Ahlquist, Menges).

emergence | intelligent morphogenetics professors:

professor daniel bolojan + dr. shermeen yousif

project: n his writing, “Towards Morphogenesis in Architecture”, Stanislav Roudavski(2014) argues against the obsolete homogenized modernist approaches, seeking locally sensitive implementation of differentiated emergence through morphogenesis, a design process that enables architects produce environmentally responsive architecture. Adopting this premise, Design Studio 10, Emergence | Intelligent Morphogenetics is aimed to introduce a new design process to final year students, allowing exploration with computational design methods, in particular, algorithmic methods for evolving designs in combination to achieve environmentally adaptive designs. The focus will be on the morphogenesis of intelligence design in response to their urban context and environmental parameters, towards innovative and resilient design propositions. The studio agenda includes concepts and methods of systems theory, self-organizing systems, agent-based systems, artificial intelligence, and growth simulation. Importantly, students will learn procedural generative computational methods along with the theories and concepts adopted throughout the studio.

T.1 Micro Housing: Art Expression | T.1 Jessica Urchoili D10, Professor Brown

T.2

T.3

Generating Social Proximities | T.2 Zeeshan Salehjee D9, Professor Sandell Healthy Environments + Engagements | T.3 Jessica Urchoili D9, Professor Abbate Arts + Technology Center | T.4 Cesarina Candelier D9, Professor Hayes Innovation Center | T.5 Daniela Fowler D9, Professor Abbate

T.4

T.5

T.6 | Micro Housing: Art Expression Jessica Urchoili D10, Professor Brown T.7 | Intelligent Morphogenesis Mario Pimentel + Victoria Nicolay D10, Professor Bolojan + Dr. Shermeen Yousif T.8 | Electrical Recharge Gerardo Ormachea D9, Professor Abbate T.9 | Healthy Environments + Engagements Jessica Urchoili D9, Professor Abbate

T.6

T.8

T.7

T.9

T.10 46

T.11

FAU Arts + Technology Center| T.10 Tiffany Taylor D9, Professor Abbate Arts + Technology Center | T.11 + T.12 Cesarina Candelier D9, Professor Hayes Micro Apartments: Art Expression | T.13 Jessica Urchoili D10, Professor Brown

T.12

T.13

T.14

T.15

T.16

T.17

Encoding Rhizophora Downtown | T.14 + T.16 Yara Zbib + Andreas Mendonça D10, Professor Bolojan Healthy Environments + Engagements | T.15 + T.17 Gerardo Ormachea + Zeeshan Salehjee + Luis Rodriguez D10, Professor Bolojan

rese

arch

luminous sign

in piazza duca d’aosta

The question posed by a luminous sign to all cultures which have characterized the different ethnicities present in the city of Milan is interpreted as a vehicle for revealing the present and past identity of the Piazza Duca d’Aosta. The project’s scope begins with (1) observing human activity inherent to the piazza (2) investigating potential meanings between spectator and object, and (3) addressing the presence and historical meaning of Milan’s Central Train Station’s façade (inaugurated in 1931) and located adjacent to the piazza. The above constitute the initial categories for the analysis of the project. piazza ducad’aosta

marking domain-architecture’s commemorative capacities The notion of marking domain took form with the proposal of 121, 5.2 meter tall by 7.5 cm. thick planes of steel and 30 etched glass columns of varying lengths. The project sponsors required nocturnal lighting in the proposal. Illumination is integrated into light windows, ground vectors, and etched glass columns located within or among the steel planes. The lighting proposal became an ordering element integral to the spatial composition of steel planes situated in the piazza. Three conceptual layers emerge out of the initial process and manifest themselves in the physical construct of the project. Layer 1 entails the concept of image and memory by reframing states of arrest and movement. Layer 2 embeds a commentary about the evolution and disintegration of past and present languages symbolic of this multicultural and multiethnic city. Layer 3 forms an analogue: dreams of flight and fragility observed through the notions of encampment and migration and that pay homage to the different ethnicities often present in the piazza.

transmigration of the real into a cinematographic montage, conceived by a plurality of moments between the luminous and solid planes. These movements can facilitate our understanding of both existing and historic situations by altering our perceptual ordering of the site as images form and dissolve. Bergson writes, “However brief we suppose any perception to be, it always occupies a certain duration, and consequently, an effort of memory which prolongs, one into another, a plurality of moments…. The part played by consciousness in external perception would be to join together, by a continuous thread of memory, instantaneous visions of the real.”1 An image may be, without being perceived – it may be present without being represented – and the distance between the two terms, presence and representation, seems just to measure the interval between matter itself and conscious perception of matter. Between the thin verticality of the steel planes and the space between them, images assemble, only to dissolve. The forms which remain are the deposit left in one’s memory and inclusive of what can be imagined between the gaps in the real.

Layer 1 The piazza is a stage for various social interactions created by pedestrian and vehicular activity. The piazza is also a transitory place for people of all ethnicities, social customs, and differences. Crossings, begging, stealing, collecting, vending, and sleeping make-up some of the activity of the place. The movements of cars, cycles, trams, and commerce constitute part of the economy of the piazza and reinforce social exchanges. What transpires are an infinite number of physical relationships made up of moments of endlessly divisible time. These moments in time organize the image relationships that one can perceive in the piazza. The relationships become highlighted between the steel planes. Images form and regroup according to the arrests and movements of the piazza. The actions of arrest and movement cause a

Layer 2 Milan’s central train station and piazza is a hub for international arrival and departure. The project pays homage to the multilingual nature of this cosmopolitan setting. It proposes the deployment of ancient and modern language fragments, linguistic notations etched into glass pilasters, planes, light windows, and the round light fountain. These demarcate a pure encounter between the object onto which they are etched and their potential for expression. Yet they are only deployed as fragments on glass and therefore any literal meaning is obscure. At etched and their potential for expression. Yet they are only deployed as fragments on glass and therefore any literal meaning is obscure. At times they overlay each other across the glass panels and juxtapose on opposite sides of the same plane. The use of written languages

john sandell

professor

piazza ducad’aosta, plan view & model

Piazza Duca d’Aosta, Plan View & Model in this manner becomes curiously homographic. The absence of literary signs including the voids between the planes, proceeds to take into account the fragile situation between language, culture, and their multifaceted moments. Both the literary and linear markings refer to these moments. They refer to the train station’s piazza as a domain of migration symbolic of peoples diverse ethnic backgrounds present in the piazza and the city. All languages continuously reshape cultural identities, and the meanings, structures, and vocabularies of those languages embody the potential to either evolve or die. Layer 3 The most profound dream is essentially a future of visual and verbal repose. It is a state of open imagination grasped by transition. The project attempts to harness this state. Elongated forms reach upward analogous to the cornfield which once grew in the piazza during the Fascist era. These forms, their thinness and fragility, are further exaggerated when juxtaposed to the monumental façade of the Central Station. The strategy could be interpreted as one of an arial nature, without a definitive form. The use of light, particularly light vectors refracted across steel planes, symbolizes humanity’s future desires. Any notion of dream or projection into the future alludes to a utopian value system. But paradoxically, the placement of the project in front of the Central Station, including the constant presence of people and activity, grounds the work and erases any illusions of what may not be. The “repositioning” of people between tall slender planes of steel and glass and their everyday human activities reinforces their fragility, symbolically through the overall construct and most literally through the deployment of past and present languages. These moments work together with other situations. The moments might include the channeling of people, the partitioning of an event, or the building of temporary encampments among the vertical planes. Together, they attempt to engage the public into contemplating

their position in the present. The project looks towards the future like a dream always ready to crystallize into uttered words or evaporate into thin air. It does not deny history. Instead, it reframes the memory of the place while placing focus on a present situation with markings that attempt to sublimely transform the brutal façade of the Milan Central Station with a human order forming the monumental. Upon visiting this place, our body among many bodies links a present situation in the piazza to a field of personal memories as events unfold. The time between those events prod one’s imagination to fill the gaps. It can also confront one with a present dilemma: our cultural fragility in a global community. The walls of lost languages, of lost identities, acts as one basis for figures of ethnicity in constant transformation. They weave the multi-characteristics present at the site into a literal and abstract dialogue. The project is meant to foreground what is already present at the place. The project’s skeletal quality becomes the underlying structure for a montage of people and objects. It attempts to create a field from softly spoken lines, a field of gestures that attempt to reframe history and confront one with a present situation. From the migrations of people and events, the project proposes a language of imagery that might be understood as non-marked and ephemeral at the margins where space is an emerging act of formation.

1. Henri Bergson, Matter and Memory, trans. N.M. Paul and W.S. Palmer, (Princeton: Zone Books, 1988). The book was originally published in 1896.

selected works architectural inversions: the intangible aspect as a form-finding factor in the combined work of antoni gaudí and john pickering Abstract: This paper discusses the working methodology in the design process of architect Antoni Gaudí and artist John Pickering and identifies common principles in their theoretical and practical underpinnings. While the later work of Gaudí (Sagrada Familia cathedral) strictly featured ruled surfaces like hyperbolic paraboloids and hyperboloids of revolution to derive hybrid geometrical surfaces for construction, Pickering exclusively focused on making scaffolds of geometrical deformations based on a rigorous mathematical procedure. The parallel importance of an analogue process and the aspect of the “unseen” present an opportunity for a combined exploration of their work, using the Sagrada Familia as a vessel of inquiry. Applying mathematical inversion to combinations of ruled surface families, we have tried to produce elements of a new architectural vocabulary which echoes these two design references and considers the celebration of design intent by describing what is not there. While we offer some insights regarding constraints and solutions for fabricating these found geometries, our interest lies in the form-finding process. ... ‘It seems that, paradoxically, the constraints of the analogue procedures during the projects’ time may have helped their design improve. The physical investigation of both Gaudí and Pickering may also have turned out fruitful because it was liberated from notational conventions; neither produced much in terms of drawings of the Sagrada Familia or Inversion. In the former case, the complexity of Sagrada Familia required a more direct but enabling approach to visualize what was difficult to draw; the prototyping steps undertaken by Gaudí are closer to a PreAlbertian way of working, the kind of viva voce tradition used by Brunelleschi for the design progression of the Florence Duomo, which -like the Sagrada Familia- was built without construction drawings. [14] According to Mario Carpo, this direct, hands-on working method circumvents the notational mediator between design intent and their built expression, introduced by Alberti’s modern approach to describing building design. It also confirms Gaudí’s insight that some “intangible” aspects of the project could not be adequately imagined by drawing, and could be figured out faster through physical modelling, prior to resolving to complex descriptive geometry: “…if you can’t draw what you have in mind in order to have others make it for you, you can still try to make it yourself. For example, this is what Antoni Gaudí did, …in the Sagrada Familia, not coincidentally reviving, …some of the technologies and social organization of a late medieval building site.” [14]’

Mathematical Inversion Examples

[A] Discretization with Ivy: Correspondence of 30 panels to flat geometry (66 pieces)

14. Carpo, M. (2011). Geometry, Algorism and the Notational Bottleneck. In M. Carpo, The Alphabet and the Algorithm (pp. 28-34). Cambridge, MA: MIT Press.

emmanouil vermisso elastic grids: biological behavior within force-active membranes Abstract: This project examined the potential of fabric configurations as a form-finding process; various soft shape topologies were explored through physical models. A live agent (silk worm Bombyx Mori) was introduced to generate a secondary layer of material, as infill between the existing fabric. Our intention was to evaluate the generated woven topologies as well as the intentionality of their location as result of controlling the agents’ spinning behaviors.

A number of FAU students worked on this as part of a research project on Emergence and Self-organization (D.Bernal, I.Fomina, S.Spence, T.Eccher)

digital fabrication: muqarna vaults [3d printing/laser-cutting/cnc-milling] Abstract: This project involves the deﬁ nition of a modular component logic to construct a vault and the prototyping of the whole or part of the model at various scales: rapid-prototyping (3D printing) at smaller scales, laser-cutting for paper models of individual blocks using ﬂ at sheets of material and CNC-milling for produc-ing larger scale molds for casting.The process investigates the use of repetitive elements in vault construction, understanding the numerical rationale behind this kind of design and examine the fabrication constraints in order to make physical prototypes with different methods, referencing the period of Stereotomy and its contemporary equivalence in software operations like the “Surface Unrolling” in Rhinoceros 3D. Muqarnas (Arabic thingsand; Persian: dfbxjxkcn) are a form of ornamented vaulting in Islamic architecture, the “geometric subdivision of a squinch, or cupola, or corbel, into a large number of miniature squinches, producing a sort of cellular structure”, sometimes also called a “honeycomb” vault...The muqarnas developed from the squinch between the 10th and 11th centuries, in the region of Iran and Mesopotamia”. https://en.wikipedia.org/wiki/Muqarnas] [4,5] Muqarna facing outwards; Muqarna Module

[4]

[5]

professor

salty urbanism 2.0 3

stranaham river

harbor isles south florida water flow

FLOOD-ADAPTIVE BUILDING TYPOLOGIES

flood adaptive building typologies:

RELINQUISH abandon: ABANDONING SOME STRUCTURES THAT CAN Abandoned structures BE CLAIMED AND RE-PURPOSED BY NATURE, EXAMPLE DEGRADED BUILDINGS canFOR be reclaimed or reBECOMING REEFS. purposed, for example the building could become an artificial reef or breakwater once materials that can pollute waterways is removed.

AT GRADE flood proofing: DRY FLOOD-PROOFING: 1. Dry Flood-proofing: USE WATER RESISTANT MATERIALS WITH WATERUtilizes water resistant TIGHT PANELS OR GRATES T ENTRY POINTS TO KEEP materials and panel WATER INTRUSION AT BAY. systems at openings. WET FLOOD-PROOFING: USE FLOOD VENTS OR BREAK2.Wet Flood-proofing: AWAY WALLS TO ALLOW FLOOD WATER flood TO PASS Utilizes vents THROUGH AND HYDROSTATPRESSURES TO EQUALIZE.walls or IC breakway to allow surge waters and allow surge waters and flooding to pass through. 3.Or simply ncrease the floor to ceiling dimension at ground level and raise floor over time.

site1: raised mound

SITE PROTECTION flood proofing THE USE OF FLOOD WALLS OR BERMS TO Site: PREVENT WATER INFILTRATION. Utilizes flood walls, berms or leeves to hold water back.

RELOCATE retreat: RELOCATING BUILDINGS TO AVOID Relocation of buildings FLOODING OR MOBILE STRUCTURES. to higher elevations where flooding is less likely to occur. This could be a few hundred feet or miles

ELEVATED ON MOUND raised mound: THE BUILDING SITE IS RAISED TO A HEIGHT Building is raised ABOVE THE DESIGN FLOOD ELEVATION THROUGH ADDITION OF FILL. above BFE on earthen mound. Keep in mind that NFIP criteria does not account for future land development, coastal erosion and subsidence, or sea level rise. These would have to be factored in to ensure lifespan considerations.

RAISED ON STILTS raised stilts: THE BUILDING IS RAISED ABOVE THE DESIGN Building is raised FLOOD ELEVATION THROUGH CONSTRUCTION ON PILES OR PIERS THAT ARE DRIVEN above BFE on stilts INTO THE SUBSTRATE. Keep in mind that NFIP criteria does not account for future land development, coastal erosion and and subsidence, or sea level rise. THese would have to be factored in to ensure lifespan considerations. Consideration of what happens under the building should be addreseed.

gerardo ormachea + jeffrey huber cat4 hurricane:

current shoreline

port everglades

of fort lauderdale

new river

las olas beach

AMPHIBIOUS STRUCTURE amphibious

FLOATING STRUCTURE floating STRUCTURE IS BUILT TO FLOAT ON WATER structure: structure: AND KEPT IN LOCATION BY A DOCK ANCHOR ALLOWING SOME Structures is built toWHILE Structure is LATERAL built to MOVEMENT. float on elevated flood float on water and water. The piles anchor tethered to a mooring or the structure in place anchoring device while while the buoyant base allowing the building to floats up and down. move freely in multiple The building rests atop directions. the ground during nonflood events.

STRUCTURE IS BUILT TO FLOAT ON WATER DURING FLOOD. THE PILES OR ANCHORS KEEP THE STRUCTURE IN A FIXED LOCATION WHILE THE BUOYANT BASE FLOATS UP AND DOWN OR SITS ON THE GROUND.

hurricane cat 4 3 to 4ft above 2 to 3ft above 0 to 2ft above

new river

student + professor

vaults v. memorials Work from the Architectural Design 8 Studio The School of Architecture Florida Atlantic University The construction of spatial narratives in the architectural project invites us to widen our field of comprehension by correlating ecology and experience in visual expression. For this studio project, a written text plays an interlocutory role shaping and mediating the broader theme of media library. For example, in the student’s analysis of Kafka’s The Metamorphosis, Bachelard’s The Poetics of Space, or DeLanda’s A Thousand Years of Nonlinear History, each offers entry into a microcosm of conflict and a restructuring of phenomena that opens to the broader theme of media and purpose. The primary question for the work addresses the preservation of books or their demise in our digital society. Can the text of the book speak about its vault or memorial? How can the vault or memorial condition the meaning of the text? Can the architecture of the vault or memorial be read as a text? For students, this framework sets up a design inquiry entailing familiar but seemingly opposed realities; memorializing the text or maintaining its preservation in a vault remain in perpetual conflict with the hacking of the text itself, or ultimately its obsoleteness. If the physical book becomes obsolete, what is there to act as a witness of historical action? Books may be burnt, but some things that cannot burn may be destroyed easily, silently, cybernetically. The approach is interactive, an impetus for restructuring these specified spheres according to new schemas; vaults versus memorials establishes a basis for new meaning contingent upon the joining of ideas from those spheres and, likewise, resists allocation to one sphere or another. The act of drawing eventually produces its own frame of reference for the student. It enables the student to replace categorical, static thought with fluid, synthetic thought. Hence, the meaning that one gleans might best be understood as ever expanding in richness and depth, as opposed to being static or fixed. This means of working is intended to create a mode of assessing the necessity of a media library in the first place. From our appreciation of craftsmanship manifested in a written and bound ancient text to the repercussions of the technological evolution of text as digital data, the melding of topic and drawing aims to engender imagination that, at its best, conveys a social critique.

Design Studio Professors Associate Professor John Sandell Associate Professor Emmanouil Vermisso

R.1

R.2

john sandell + emmanouil vermisso

professors

R.3

R.5

Nicholas DiMattia| R.1 Melani De Jesus | R.2 Jonathan Grinstein | R.3 Maria Villegas | R.4 R.4

Giovanni Campusano | R.5

aias eve

20-21

nts

AIAS Florida Atlantic University

CHAPTER MEETING

OCTOBER CHAPTER MEETING

OCT 1

4:30PM zoom link in bio

in her own words

Heather Akers “the winding avenue I’ve gone down since graduation”

FLORIDA ATLANTIC UNIVERSITY

september chapter meeting

guest speaker: henry dominguez Henry showed us his road after graduating from architecture school and what that meant for him. From his own business to the steps he took to get to his career today.

FIND ZO M LINK AT BIO

give away this week:

bluelight glasses hard drives of 1TB

october chapter meeting

guest speaker:heather akers Between working with firms like odp and brooks + scarpa, heather shared how her time contributes to her path to licensure all while still reminding us to leave time in to live our lives.

62 CASE STATUS: CLASSIFIED; IN PROGRESS

UNDER AMERICAN INSTITUTE OF ARCHITECTURE STUDENTS, DEPARTMENT OF MYSTERIES

CHAPTER

february 18th @4:30pm

MEETING

FEBRUARY 18TH @4:30PM

AIAS

R E AU

DEPARTM

MYSTE

INTER

N HOURS

13+42=55 55/2=22.50

22.50=????

HE TS T WHA DEAL S!! XAM H E WIT

WHAT NO ONE TELLS US IN SCHOOL ABOUT ARE, NCARB, AND MORE!

JOIN OUR MS TEAM BY CLICKING THE LINK IN OUR BIO! THE MEETING WILL TAKE PLACE IN THE “CHAPTER MEETINGS” CHANNEL.

january chapter meeting

guest speaker: dharmesh patel Dharmesh guest appears to have us reflect on the works of the italian architect, aldo rossi. He reminds us of the theories and postmodernism influence rossi had on architecture.

february chapter meeting

RAFFLE ITEMS:

YETI MUGS TRIPOD DIFFUSER DESK LAMP

guest speaker: mary wissinger Not everything goes according to plan... Mary was scheduled to reveal behind the scenes intel on NCARB, ARE and more. However she never made it... How convenient....

ChAPtER MEeTINg NOVEMbER ISsUe THIS MONTH’S RAFFLE: 2 64GB Flash DRIVES 2 MOLESKIN SKETCHBOOKS

CRAIG AQUART

FROM

SPEAKING ABOUT:

IMPACT”

guest speaker: catheryn espino Catheryn introduced us to all the collaborative opportunities aia palm beach has to offer to our organization. She spoke about their desire to strenghten their student outreach, especially during this pandemic. guest speaker: craig aquart Craig joins us to speak about what it means to make an impact in our architectural community. From shedding light on his involvement in his as well as letting us know how to start getting involved.

december chapter meeting november chapter meeting

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AIAISXNOMASEVENT

username: Catheryn_Espino speaking about: AIA PALM BEACH _ thursday > december_10th > 4:30_pm > find link to ZOOM in our bio > hit enter.|

“MAKING AN

guest speaker: yagmur + tiffany The official annoncement and teaser of the process journal is released for the first time to an exclusive group of students who chose to join our last meeting of the year.

april chapter meeting

guest speaker: partick soares Patrick joined us to shed light on the importance of designing for cultural relevance in architecture. Additionally clueing us into his own work.

march chapter meeting

aiasFAU_chapter_meeting

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FAu AiAS

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AT 4:30PM NOVEMBER 12 ZOOM LINK IN BIO

the walk This Event is in conjunction with Florida Atlantic University School of Architecture (FAU SOA). It is geared towards FAU SOA students in their final design semester in order to showcase their thesis projects from their Architectural design studios. Students will also have the opportunity to receive FAU promotional items in a kit. Professor’s will have the chance to wish their students good luck as we reach the end of the semester as well as give the yearly student awards/certificates.

the lib

the computer lab rennovation yara zbib tiffany taylor daniela fowler beatriz sobral jerrica arias fabiana villafane status: completed, spring 2021 After many months of coordination, the “24/7” lab (HEC-610) has a student lounge area with a great library of architecture resources. The books are in many languages, especially in Spanish and English. This project was completed by efforts from AIAS FAU, FAU Broward Student Government, and The Tamara Peacock Company Architects. All students downtown will have the chance to experience this addition of resources.

the greenhouse project yara zbib mauro gelfusa status: in progress

A community garden can help us share, unify, and provide for each other. Growth and sustainability are valuable assets we can learn from nature and our community. The integration of a garden to a school campus can provide social opportunities to build a sense of community and belonging. project goals: Improve the community garden space at FAU Davie campus to encourage students to grow fruits & vegetables. challenges: Design and build functional raised garden beds using modular materials

submissions

tıffany taylor

mario pimentel

yara zbib

ryan pierre

mauro gelfusa

design + build

s t u w o r k p

d i o l a c e s

workplaces the pandemic has changed pretty much everything drastically. nothing more than how and where education is happening. although we all agree the bad outweight the good by far, we’re all wishing the mute button existed in real life. from virtual backgrounds to untameable connection issues, here are the architecture workplaces at... wherever!

jessica urchoili | thesis year student

what inspires you? Looking at all my process throughout the semester collectively what is vital to your set-up? coffee what is a bad habit you developed working remotely? throwing model scraps next to my desk

jean martin caldieron | faculty

what inspires you? traveling what is vital to your set-up? a computer what is a bad habit you developed working remotely? teaching additional classes even in weekends to cope with the online courses disadvantages

jerrrica arias | year 4 student

what is vital to your set-up? my sketchbook and sticky notes what is a bad habit you developed working remotely? oversleeping

pedro fernandes | year 2 student

what inspires you? seeing my fellow peers succeed inspires me to succeed. what is vital to your set-up? peace and quiet. what is a bad habit you developed working remotely? | constantly on my phone instead of working on material.

ian fennimore | year 4 student

what inspires you? my father what is vital to your set-up? lollipops what is a bad habit you developed working remotely? literally all of the things you put as examples (oversleeping, not getting enough sleep, forgetting about a class, class in bed, “internet issues”, etc.), but probably not participating enough in class.

cesarina candelier | thesis year student

what inspires you? everything and anything around me. what is vital to your set-up? petting my dog every 5 min, lofi music, natural lighting, tea | water, and a steaming computer running 5 programs at once. what is a bad habit you developed working remotely? not leaving my room enough.

jacob erb | year 2 student 72

what inspires you? to one day be able to design the world around us. what is vital to your set-up? it has to be the roll of trace so i can constantly stack and that i use to draw everything until the final drawings. what is a bad habit you developed working remotely? not producing enough process work because i’ve become lazy since i know i can pull it all together in the end.

yagmur akyuz | year 4 student

what inspires you? the people and the work what is vital to your set-up? my sketchbook, trace paper, blue tape, and a red pen are my best friends what is a bad habit you developed working remotely? I am getting worse at taking breaks, however find myself wasting more time. It’s definitely time to go back to studio!

reghan fitch | year 4 student

what is vital to your set-up? sticky notes what is a bad habit you developed working remotely? being ‘productive’ in other areas of the house instead of working on design (getting distracted by washing dishes, laundry or other home improvement projects)

fabiana villafane | year 4 student

what inspires you? the comfort of having my own place to work as if i were back in the studio! what is vital to your set-up? have a tv show, movie or music on the background what is a bad habit you developed working remotely? forget about eating

daniela fowler | thesis year student

what inspires you? this is a hard question to answer, honestly i don’t know. there are many things i enjoy in life, and architecture specifically, that make me excited to work on a design. i think what “inspires” me is the feeling of excitement over an idea that comes from working on something i care about. what is vital to your set-up? sketchbook and a pencil what is a bad habit you developed working remotely? sitting in my desk chair in ways that would make chiropractors cringe

‘21g

rads

yara zbib

encoding rhizophora downtown type: conceptual bridge site: f.a.u. new river, fort lauderdale design 10, professor daniel bolojan partner: andreas mendonça instagram: yara.zbib “Using a series of complementary deep neural networks: this project aims to generate a notional set of data, encoded based on the qualties of growth and performance found in mangroves; and to combine these with localized solutions to new river’s stratification status, with the goal of generating a programmed bridges”

graduating class interview what is vital for your design process? Research. Good talks with friends + professor.

tiffany taylor

terra colonies type: post pandemic township site: hudson yards, new york topical design studio, professor dr. shermeen yousif partner: cesarina candelier instagram: architorture.dwg The project is set in a post covid-19 environment where the task is to re-imagine societal norms and create a self-sustained community. Through our proposal we intend to implement sustainable alternatives for energy production & harvesting, as well as the ability to allow for human interactions with others and nature to occur safely. Through the use of multiple forms of artificial intelligence, the idea of our pre-covid spontaneous activities can be reinvented safely and controlled through the push & pull of walls and individually tailored exterior settings.

graduating class interview 79

what advice would you give to incoming first year students? Don’t take everything so seriously, you’re here to learn and explore. Take the time to explore new ideas and push yourself, you’ll get a lot out of it in the long run. Get involved, look to your upper classmen for some guidance if you can. Everyone of them has been in your same shoes at some point in this program. Also don’t miss the opportunity to make friends in studio, you will be surprised to find out these people will become your extended family for the next five years. Learn from each other, ask questions, make mistakes. There are so many days when you will wonder why the end of your five year journey feels so far, but when you make it to the end, you’ll see just how quickly it all passes. The process, the journey it’s all part of the experience.

how has your work process changed with covid? I got a chance to really improve my scheduling and find the time to do more research in design.

what level/year of design was your favorite and why? Design 8. Professor Sandell really shaped my view on the process of design through the assignments we used to build up the final product. I got to understand the semester’s project from different scales. From connecting several readings to the project and tying in all of the project’s context and narratives. Each of the assignments all tied together in the end for an exciting project..

what is vital for your design process? My sketchbook, a pen, and someone to match my insanity at 3am deep into a project. After all these years of design, I have always loved having a friend from studio to keep each other company while we focus on our own work. I couldn’t have gotten through all these years without the help and support of my friends from studio.

daniela fowler

OPEN CLASSROOMS MULTIMEDIA LAB

LIBRARIAN COUNTER AUTOMATED BOOK SYSTEM QUIET READING AREA GROUP STUDY AREAS CHILDREN’S CENTER

LIBRARIAN COUNTER GLASS ENCLOSURE TERRACE BACK ENTRANCE TO AUDITORIUM

STAIR TO FOURTH LEVEL

QUIET READING AREA

STORAGE

LIBRARIAN COUNTER SENIOR LEARNING CENTER

AUDITORIUM

STAIR TO THIRD LEVEL FIRE STAIR

GALLERY CAFE ELEVATORS OFFICES STORAGE

library of inhabitance

SECONDARY LOBBY FIRE STAIR

MAIN LOBBY

type: public library site: miami, fl design 8, professor sandell This project studies the relationship between the user and the architecture around them. Through the manipulation of paths and distorted openings, a new and engaging experience is created. Surrounded by technological and experiential possibilities, this library becomes a place for sharing ideas and moments. The design was inspired by the concepts discussed in marcos cruz’s “inhabitable interfaces”, where he stresses the importance of the involvement of humans in architecture. That principle guided my analysis of the cultural history of the site as well as its current usage. Which ultimately brought upon the conclusion that the downtown area of miami was in need of a space that was welcoming to all, and which promoted new technologies and experiences.

FIRST FLOOR PLAN 8’

24’

56’

graduating class interview what advice would you give to incoming first year students? Don’t hold back when exploring what interests you, challenge whatever scares you, and find the lesson in everything you do.

how has your work process changed with covid? Covid has made me appreciate the studio more than ever, and although my process took a hit, it pushed me to better utilize my digital tools.

what level/year of design was your favorite and why? Design 5. It was the most exciting, rigorous and rewarding semester across all subjects. The intersections of courses brought me to a better understanding of what i love about architecture.

what is vital for your design process? Sketchbook/4b pencil/trace paper

mario pimentel

miami, public library type: public library site: miami, florida design 8, professor sandell intagram: princemario17 The concept of spatial network is defined as geometric objects located in a space with a certain metric distance which is related to fields of view, axial spaces (Spaces connected in a straight direction) and convex spaces (spaces that have a visual but not spatial connection). In understanding how to create a spatial network within the building, the project was developed on two main architectural expressions: the shifting of floor plates (push and pull) and the central circulation void . The shifting of floor plates was the result of wanting to create inside and outside spaces as well as shaded spaces in all four Facades of the building for the user to be able to interact with the site from any direction. This shifting of floor plates helped create a dynamic central core. The core creates convex and axial spaces by establishing a constant field of view from floor to floor as well as direct connection between them. It also serves as the space distributor, distributing the users into the rest of the spaces and evoking a sense of path within the building.

graduating class interview what advice would you give to incoming first year students? Be resilient. Architecture will test you many times and in many ways and if this is your true passion you have to know obstacles will come but they can be overcome. Hang in there because time goes by faster than you realize!

how has your work process changed with covid? My process through covid has changed due to the lack of the studio environment which is extremely important. As a result of online classes, we don’t get that fellow peer feedback that the studio environment allows and this has pushed me to be more self reliant in my own process and due more research to inform my decision making.

what level/year of design was your favorite and why? Design 7 was my favorite! It was the first time i really got to experiment with softwares, organic design language and the possibilities of grasshopper and needless to say it changed me for the better.

what is vital for your design process? Pushing the boundaries. School is all about experimenting and trying new things. I always wanted to design something that challenged the norms of “typical” architecture. Everyone’s design process is different but finding your niche and your style is vital for us all as designers.

victoria nicolay

morphogenesis type: live + work post-pandemic self-sustaining environment site: hudson yards, new york design 10, professor shermeen yousif partner: mario pimentel The explorational nature of this project challenges the relationship of humans to density and cities in a post-pandemic scenario. The exponential change in the way of life in major cities has stressed new approaches to everyday activities. Our intent is focused on intelligent morphogenetics and the creation of environmentally responsive architecture that addresses the challenges of living through a pandemic. This resilient design composition creates a self-sustaining addition to the new york city skyline that creates its own energy via a green solar panel façade, harvests its own food utilizing hydroponic systems and creates a complex, interactive relationship in its interior through the use of additive cells that combine and isolate in response to program needs.

graduating class interview what advice would you give to incoming first year students? I am graduating with great satisfaction, by looking back and realizing that i not only did my best, but i surrounded myself with the best possible people. Socializing matters, as absorbing as architecture might become, and you will never regret having a group of amazing friends to go through it all together. I came into fau scared of the future and as an immigrant, and i am leaving with friends that i will keep forever, and an unconceivable love for architecture.

how has your work process changed with covid? Isolation is hard! What started as fun and games by staying home two whole weeks turned into very challenging times. Mental health has been a main focus, learning to take time to take care of myself even when studio doesn’t allow you much free time. Stay home and wear your mask kids!

what level/year of design was your favorite and why? My favorite year of design was freshman year. The craziness of not knowing very well what we were doing and figuring it out together was amazing, and this was also when i spent the most time with my friends in studio!

what is vital for your design process? Caffeine, lo-fi hip-hop radio stations, a pencil and some paper. No sleep needed.

luis rey rodriguez

colee hammock community boathouse type: community boathouse site: colee hammock park, fort lauderdale, fl design 5 professor liebermann digital portfolio: https://indd.adobe.com/view/b1b1324c-600643af-ad69-1ac147e888b5 colee hammock community boathouse

graduating class interview what advice would you give to incoming first year students? Make sure to take care of yourself before anything else. You cannot have an amazing project without self care.

how has your work process changed with covid? Significant changes have happened, adapting and getting accustomed to the virtual learning, it has had it’s pros and cons, but having a strong pc has helped.

what level/year of design was your favorite and why? Design 5 because professor lieberman was a wake up call i needed to receive in order to develop good time management skills, and learn what is expected from then on.

what is vital for your design process? A well rested brain, a strong computer, and coffee!

andreas mendonça

Typical Algae Spore

Optimization The typical Algae Assembly consists of a series of photo-bio-reactor panels that lay within a series of steel frame canopies that Are welded as a superstructure that work in tandem with the structural system. The panels serve to function various sustainability aspects including powering the building, heating water and improving internal air quality of the building while simultaneously providing a variable shading system that is directly dependent on the amount of sunlight the system receives. This means that without any mechanical means the system will optimize itself to provide shade relative to the local climatic conditions.

the florida atlantic university center for visual + performing arts type: academic institution site: f.a.u. boca raton campus design 9, professor anthony abbate instagram: @dvtra_mendonca A 200k + square foot center that seeks to catapault our university to the top of the charts by providing a place to learn, perform, play and engage with the greater community. With two black box theaters, a concert hall, various shops and support staff services as well as rehearsal studios, classrooms, a vr immersion room, and filmmaking wing as well as numerous digital labs, the building seeks to replace and upgrade the existing facility for the dorothy f. Schmidt school of art. The final conceptualization you see here was derived utilizing a programmatic breakdown, visual matrix and volumetric massing to create a logical composition of emergent form based on various site conditions and preconceptions. Utilizing a ‘snowglobe’ parti to further drive form, the end-user finds themselves in various moments throughout the building where they are standing ‘between worlds’; experiencing one realm and peering into another. Framed viewsheds utilizing various glazing appliques give the building its unique experiential qualities that provide intrinsic value back to the end-user. Quality of experience is something that the boca raton campus lacks and this building seeks to provide a place for students, alumni and staff to engage and interact while also serving as a ‘gateway’ that links various attractor points on campus with each other by way of two interior pedestrian avenues that bisect the building and become the main circulatory system between them. As sustainability and leed certified platinum status was a non-negotiable for the college’s board of directors; the building utilizes an algal bio-facade that organically optimizes shading and air quality through an environmental system that not only offsets the entire carbon emission footprint of the building, but will actually return energy savings to the power grid. The system works utilizing a panelized system of photobioreactors encompassing more than 34,000 square feet that is used as an enveloped curtain-wall system that photosynthesizes the algae inside to produce an offgas that is collected into a natural gas storage tank, generator and lastly microturbine to achieve these results.

graduating class interview what advice would you give to incoming first year students? Put your best foot forward and always strive for excellence. Ultimately, what you put into it is what you will get out of it and will determine where you land at the end of it. There will be days when you want to give up...Don’t. Keep pushing forward no matter how you feel and most importantly remember that it is all a head game. Faculty will push you to the breaking point because they are trying to prepare you for how clients will treat you in the field. You will not be able to please everybody, but if you manage to please yourself in the end then i think that is something to be proud of in itself.

how has your work process changed with covid? Honestly, the only thing that has changed in my opinion is the lack of a studio environment and atmosphere. As architects we have the luxury of being able to work remotely and quite frankly in an academic setting that is even further instilled. If you have a good work ethic, then chances are you are already working remotely in some capacity. What i miss the most is those 3am life-changing conversations with peers that grant those unexpected moments of ingenuity and new perspectives.

what level/year of design was your favorite and why? I would have to say d7. Professor camargo changed the way i fundamentally think about architecture and design using a bottom up approach with material intelligence. It was one of my most successful projects and jury critiques. It was also the semester i worked in tandem with yara zbib who has been a colleague of mine since my first day of university. It was also the first time i really started introducing sustainable environmental systems into my designs and really started to think about how to get my buildings to achieve a net-zero carbon footprint, as that is something holds a lot of value for me.

what is vital for your design process? Good vibes, peer support, competition and a lot of coffee. For me, being able to have hard conversations that cause me to re-evaluate my design and focus and hone it is paramount, so i think surrounding myself with extremely honest critical thinkers is vital. Fortunately for me, my day one design peers have all not only been exceptionally hard workers (as i am sure you can tell from this journal) but they have been brutally honest and i appreciate that so much more than someone who just wants to appease my feelings. The fact that they all push themselves to the limit meant i had to be on my toes in order to achieve optimal results.

jessica urchoili

future federal courthouse: climate change type: commercial site: fort lauderdale (broward blvd.) design 8, professor abbate A federal courthouse is located on the intersection of brightline and broward blvd in fort lauderdale, fl; where flooding and constant rain occurs often, sea level is rising, heat gain is present, there is presence of natural breeze, and greenery is slowly being replaced with high rises. A federal courthouse has three separate circulations: public, restricted, and secure, with two overlaps. The height of the building was determined by the context of the site. The building egrees comes from main points of passage from the street. A large focus to the project became the topic of views towards greenery to allow positive mental/psychological effects on a being who occupies a courthouse and how the presence of greenery can lessen stress levels during stressful times. After sea level rises, greenery will start to slowly disappear from land; reintroducing greenery back to buildings will be critical for remembrance of the site and for the future mental health of people. The building is built on top of a garage; as time passes, cars will be abandoned and boats will be able to dock in the garage. By 2100, the site will be completely covered with water due to sea level rise. Aside from sea level rise and greenery, natural ventilation is important to utilize when possible and in general to react to energy efficiency. In order to provide more energy efficient space, square footage is cut out from the building by placing circulation outside of the building. Water gets harvested and serviced to the bathrooms in the building. Light is an important aspect to allow beneficial advantages to people in the space they dwell; the building has cutouts to introduce light in areas that are dark (heat gain simulations were used to determine where less and more light was needed).

graduating class interview what advice would you give to incoming first year students? You can do it, don’t be scared of critique. Don’t let critiques define you as a person and as a designer, use it to grow and learn not to make you stumble and quit. Look at the positive future.

how has your work process changed with covid? Since covid, i needed tons of bins since we don’t have our drawers and space in studio anymore. There is a lot of clutter in the home workspace now!

what level/year of design was your favorite and why? Year 5 was my favorite year of design because all the skillset that was gathered from years 1-4 was collectively applied to the last two projects. This gave a unique touch to the final two projects.

what is vital for your design process? Knowing the social construct and environmental challenges of a given site (and the site context itself).

zeeshan salehjee

engine of flowers: live-work community for artists type: live + work site: wynwood, miami fl design 7, professor yousif instagram: @zeeshansalehjee This live + work project explored the future sea level rise and climate issues of wynwood miami and a novel approach to resolve them. The flood analysis highlights the region will be submerged or surrounded by water within the 21st century and it is assumed many people will be pushed further from the coast creating a massive increase in population density. The objective of this project was to create a flexible structure that can be taken apart and moved as necessary. Individual pod units can be plugged in and out as people move. This mode of living is highly efficient for artists who need the ability to travel and can do so with their entire studio. The flexible capabilities introduce a vast range of configurations as well as constant structural transformation.

graduating class interview what advice would you give to incoming first year students? Stay curious

what is vital for your design process? The ability to explore in non-linear directions. I always find it necessary to take left turns and steps backward during the design process. It helps me restructure the framework of a project and widen my overall intents.

gerardo ormachea

encoding virtual spaces type: academic bridge/ transportation hub site: seventeenth street causeway bridge (fort lauderdale) design 10, prof. daniel bolojan partners: luis rey rodriguez + zeeshan salehjee The focus of the project is to allow Ai to automate and produce architectural design training and encoding video game files. Which explores the question of how much could Ai be properly trained and be able to export architectural environments. We extracted game roms to compile a dataset to train using neural networks. Then by analyzing it thru criteria the Ai was able to export possible bridge designs.

graduating class interview what advice would you give to incoming first year students? Your architecture career doesn’t start after school, it started back in design 1 so you should take your academic work serious

what level/year of design was your favorite and why? D10

what is vital for your design process? Energy, Surround your self with people that enjoy the process of the design and not the outcome of design.

awa

ards

scholarships: aia pb 2020 foundation

pictured, left to right: tiery boykin, minami guido, antonio miragaya, yara zbib, jessica urchoili, john kronawitter

yara zbib Description: A live + work proposal surrounding growth + movement, this project highlights qualities of a network that is found throughout wynwood and introduces a new strategy to enhance the public realm. These diagrams represent the interstitial spaces between buildings, highlighting a unique indoor + outdoor connection Experienced in wynwood.

jessica urchoili Description: A federal courthouse is located on the intersection of brightline and broward blvd in fort lauderdale, fl; where flooding and constant rain occurs often, sea level is rising, heat gain is present, there is presence of natural breeze, and greenery is slowly being replaced with high rises. A federal courthouse has three separate circulations: public, restricted, and secure, with two overlaps. The height of the building was determined by the context of the site. The building egrees comes from main points of passage from the street.

fau soa award winners, from the walk yara zbib + andreas mendonça + moises homs Thesis Prize for Outstanding Achievement in Thesis Studio tiffany taylor + cesarina candelier Certificate of Merit for Outstanding Achievement in Thesis Studio jessica urchoili Certificate of Merit for Outstanding Achievement in Thesis Studio matthew deveau + ian fennimore Senior Award for Outstanding Achievement in Design gleinys martinez Junior Award for Outstanding Achievement in Design sherese dunkley Junior Award for Outstanding Achievement in Design vinicius miranda de andrade camara Sophomore Award for Outstanding Achievement in Design

yara zbib The Alpha Rho Chi Medal Since 1931, graduating students for their leadership and service towards the future of the architectural profession gerardo ormachea The ARCC King Medal In recognition of innovation, integrity and scholarship in architectural design research jessica urchoili The AIA Florida Bronze Medal 2021 Outstanding academic distinction in the study of Architecture haly baleotis higginbotham The AIA Florida Bronze Medal 2020 Outstanding academic distinction in the study of Architecture

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scholarships: aia ftl 2020 design awards

pictured, left to right: matthew deveau, yagmur akyuz, haly baleotis higginbotham, daniela fowler, ian fennimore

pictured, left to right: matthew craven, daniela fowler, yagmur akyuz, christopher montoya, matthew deveau, nicole grueser, ian fennimore

pictured, left to right: yagmur akyuz, matthew craven, daniela fowler, jeffrey huber

daniela fowler Description: A live work facility is created to offer more than just a place of work and housing. An environmental learning center bridges the two Institutions by providing the public with an interactive component designed to promote awareness of sustainability the learning center houses live plants gallery space and recreational classrooms

yagmur akyuz Description: New Tivoli media center attempts to restore the original community spirited intentions in it’s design. It aims to be an interactive experience, where the community engages with the building and each other. The organization follows a series of paths that generate a uniting element. The community center is open. It is multipurposed in nature, specially crafted for the people of new orleans. It’s strategic historically corrupted location is a perfect way to redeem the social and political impact it had to it’s residents over the years.

luisa giffoni Description: Inspired by the walkability, accessibility, history and location of the city of new orleans, the ephemeral is a project based on vector fields that deliver a better learning, working and gathering environment to the city. 101

matthew deveau Description: New Orleans diverse and rich culture makes a significant place in which to be. The plethora of characteristics embedded in the city creates wavered perceptions throughout. The new orleans community media center not only helps to enhance these diverse perceptions, but it also alters perceptions based on the given context. Strong, negative connotations placed on the robert e. Lee monument, located at the center of lee circle, lends this notion to divert any attention away from the monument. The media center achieves this diversion by all owing the northwest facade, which faces the monument, to close off while maintaining minimal openings directed away from the monument.

ian fennimore Description: By studying pedestrian movement within new york, the stigmergic swarm system reveals certain movement vectors. These vectors are translated as main nodes of pedestrian movement that can then carve through a building. In this proto- architectural study, many different strategies emerged from the agent-based system. The initial system begins to reveal certain moments the building can have within this context. While interfacing with the highline, certain moves such as reaching over the highline and inviting people in underneath were revealed.

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competition: sketching the prompt The spookiest sketch you can come up with to the caption below. Use whatever medium you like. Deadline to submit is october 30th. Winners will be announced november 12th, at our joined chapter meeting with nomas! Enter to win 1 of 5 digital drawing tablets by wacom. Your caption is “yeah... Those jurors will suck the blood out of ya.” Have fun!

the jury The panel of this competition was open to all our faculty.

winners

d.arch humor mauro gelfusa

redline crit tiffany taylor

pin-up gone wrong stephanie guerrero

the jury yara zbib

surprise critique steven vernon

competition overview by UNI x hybrid futures x digital blue foam Description: cities are the culmination of our spatial, social, and environmental needs as humans. The natural instinct to densify in cities gave us exponential growth in strengthening financial, social, and environmental relationships. The covid-19 pandemic, however, has fundamentally changed the human relationship to density and thereby our views of cities. These times have seen massive shifts from a lockdown environment that isolated us from the outdoors to workplace/classroom level shifts of working entirely in the remote. The new models of work highlight the new frontier of travel that no longer operates on highways connecting suburbs to cities, but on video calls linking together continents. At the same time, the new constrained living and working spaces reveal how ill-equipped our current indoor spaces and neighborhoods are for different modes of living. Challange: how can we rethink the city fundamentally not by a complete overhaul, but smaller functional models? How can we create a jigsaw of such functional architectural modules that make life go on despite such threats around? How can indoor environments be extended to a neighborhood that does not suffer in isolation due to self-sufficiency? How can densities be reinterpreted in cities where healthy living (physical, mental, and social) becomes a top priority? In a future where remote working/living is established as a reality, where the commute itself is completely abolished from our daily lives, what will our neighborhoods be like? design brief: develop a zero-commute, mixed-use residential neighborhood concept that is resilient to pandemic impacts and is built for a population that lives, works, and plays in the same place. Judging criteria:

- Presentation

- Concept + idea

- Spaces + programme

- Design outcome

Awards:

- Winner: 450 usd cash, crafted trophy & certificate, publication, insignia

- Runner up: 100 usd cash, e-certificate, insignia

- People’s choice: e-certificate

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competition: new den-cities

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entry: terra emergence authors: tiffany taylor & cesarina candelier recognitions: editor’s choice type: post-covid, live + work + play site: hudson yards, new york involvement phase: conceptual

project overview: ai solutions and environmentally based decisions joining to reinvent societal norms. the project is to be set in a post covid-19 environment; where the task is to re-imagine societal norms and create a self-sustained community. With this proposal, the intent is to implement multiple sustainable alternatives for energy production and harvesting, as well as push for the ability to allow for human interactions with others and nature to occur safely. Through the use of artificial intelligence, the idea of pre-covid-19 spontaneous activities can be re-invented safely and controlled through the push and pull of using retractable walls and individually tailored exterior settings.

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q&a Methods of design investigation being used?

How will the project transform with passing time?

Digital blue foam and the wave function collapse system designed with grasshopper, along with conceptual research on self-sustaining societies and research on the culture and existing building languages of new york city. Each of these modes of investigation helped to define an infinite amount of spatial organizations and methods that support the idea of everchanging spaces and spatial languages within each program element expressed throughout the project.

there will be a large focus on building up the density; in order to imagine how the project would further develop as more users would find their way into the space. the emergent systems hint to the shifting of spaces in order to multiply and enhance the density of spaces. in passing time, the project will remain the sole source of energy and living for the project’s inhabitants using its resources.

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entry: morphogenesis authors: mario pimentel & victoria nicolay recognitions: short-listed type: post-covid, live + work + play site: hudson yards, new york involvement phase: conceptual

project overview

the program challenges the relationship of humans to density and cities in a post-pandemic scenario. the exponential change in the way of life in major cities has stressed new approaches to everyday activities. our intent is focused on intelligent morphogenetics and the creation of environmentally responsive architecture that addresses the challenges of living through a pandemic. this resilient design composition creates a self-sustaining addition to the new york city skyline that creates its own energy via a green solar panel façade, harvests its own food utilizing hydroponic systems and creates a complex, interactive relationship in its interior through the use of multiple pods that combine and isolate in response to program needs.

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q&a what was the concept behind the project?

How will the project transform with passing time?

morphology - the concept of morphogenesis sparked the development of a cellular growth approach in which diversity is prioritized to create a blueprint for spatial distribution.

At an architectural level, the intent is creating a self sustaining community that favorably supports density within without jeopardizing post pandemic design strategies.

generative capsules - this approach allows the differential growth of spaces as well as its incremental expansion as density needs continue growing. proper isolation whilst maintaining visual and physical connectivity were prioritized.

The objective of the project is to continue expanding as the demand for density is higher. The scaffolding allows for future structural expansion and the capsules could be added to continue creating spaces.

where they

e are now

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jordy virguetti

instagram: @terra_forms

alumni interview what year did you graduate from the program? fausoa 2018

what is something you still have a habit of doing since graduating? sketching and model making

what are you working on now or have worked on since graduating? since graduating i have worked on projects ranging from public, residential and commerical projects in new york.i have also started my own workshop studio, terra forms, that allows me to explore my interests in brutalist architecture and bolivian vernacular.

terra forms type: design workshop involvement phase: designer/manufacuter 2019 - ∞ project description: The works of Terra Forms stands at the juncture of sculpture and architecture. The designs created draw inspiration from the monolithic structures carved out of the Andes terrain by the Tiwanakans, an ancient civilization in Bolivia. The study of his ancestors’ craftsmanship combined with his research in brutalism led his process of creating handmade concrete objects that can be both functional and timeless forms.These smaller scale explorations create a feedback loop into the firms future goal of creating vernacular architecture in his home country of Bolivia.

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175 pearl street type: commercial site: new york, ny involvement phase: design-construction 2019 project description: the first project that is was given complete from start to finish was a pre-build office standard for buidling in downtown brooklyn. located in a old warehouse building our team was tasked with creating a unique office experience that allows flexibilty for future tentants. working with a small budget challenged us to think of cheap solutions to create focal points. the concept was to create a clear visual dichotomy of spaces: permanent gathering spaces (black) and flexible working areas (white).

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aren castro

instagram: @aren.castro

alumni interview what year did you graduate from the program?

existing

proposed

fausoa 2019

what is something you still have a habit of doing since graduating? procrastinating

streets for voting: pandemic voting type: urban design, placemaking site: voting centers, usa involvement: design development, research, graphic production, book design published: november 2020 + studied the voting climate around the united states leading up to november 2020 elections + introduced a tactical urbanist toolkit into an otherwise unchanged voting center design process, facilitating safe voting amidst a global pandemic project description: planned for or not, the spatial footprint required to conduct the 2020 presidential election is likely to grow across many urban, suburban, and even rural polling locations. even with americans exercising their right to use alternative voting methods, finding the available space to accommodate high turnout with physical distancing requirements while ensuring universal access and minimizing discomfort, is an essential urban design challenge. this guide was ditributed nationally, and paired with city-specific pro-bono urban design recommendations, street plans hoped to enhance the voting landscape in preparation for the 2020 elections.

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brooklyn queens connector (bqx) type: urban design/masterplan site: brooklyn, new york involvement: design development, community outreach in progress + located sites for enhancements regarding physical infrastructure, pedestrianization, and multi-modal transit options + worked with community organizations, residents, and local stakeholders to develop site-specific placemaking solutions. + prepared visualizations (renderings, axonometric drawings, plans + sections) detailing proposed corridor enhancements project description: the bqx is a new, state-of-the-art streetcar system being planned by the city of new york. the bqx will be efficient and emissions-free and it will run on tracks flush with the existing roadway. possible without underground power sources, it will also be resilient against major weather and flood events. running along an 11-mile route from astoria to red hook, the transit stops are expected to be approximately ½ mile apart, connecting 9 ferry landings, over 30 different bus routes, and 13 different subway lines. relieving overburdened subway lines, the bqx is expected to serve over 50,000 riders everyday.

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cristin peacock

instagram: @peacockarchitects

alumni interview what year did you graduate from the program? fausoa 2016

what is something you still have a habit of doing since graduating? I have a habit of sitting on my feet and drinking an obscene amount of coffee.

what are you working on now or have worked on since graduating?

belleview biltmore hotel type: historic preservation site: belleair, usa involvement: structural development, design published: november 2016 project description: Originally built in 1897 by rail tycoon Henry B. Plant, this 400,000 square foot hotel was a beacon of the gilded age. Slated for demolition after years of neglect and hurricane damage, the firm was brought on the document the entirety of the structure and to produce drawings for the next phase of the hotel - the Biltmore Inn. Late in 2016, the original west wing - roughly 38,000 square feet - was moved over 200 feet to a new foundation where it would continue housing guests.

I have spent my time since graduating working on projects like Del Mare Estates, a 15-unit multi-family apartment building located in Wilton Manors; The Great Southern Hotel, a historical reconstruction and The Belleview Inn which was named the “Hotel on The Move” as it was relocated 500 feet. This project included 104 condominiums and 32 town-home units. I am currently working on a new high rise in downtown Fort Lauderdale. Besides my habit of sitting on my feet and drinking an obscene amount of coffee, habits that formed while at FAU and that have continued since graduating are my continued passion for traveling to see the world’s architecture and my passion for sketching at a moment’s notice. I take time every year to travel somewhere new in the world to bask in the architectural wonders. I have almost a dozen sketch books surrounding me in order to sketch when the mood strikes. As an architect my creativity is found not just within the pages of these sketchbooks but is seen in the designs of my buildings.

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great southern hotel type: historic preservation site: young circle, hollywood, florida, usa

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christine sader

instagram: @cks_design

alumni interview what year did you graduate from the program? fausoa 2020

what is something you still have a habit of doing since graduating? over-thinking, i have applied this habit to more than just my architectural projects.

main building pool club + restaurant in brrc type: commercial site: boca raton, fl involvement: design development and construction 2019 - ∞ + intensively developed design drawings from design phase to construction phase + coordinated construction documents across multiple trades and consultants such as landscape designers, interior designers, structural engineers, MEP engineers, pool consultants and contractors + junior project manager and construction administrator of Main Pool Club and Restaurant project description: The Boca Raton Resort and Club is a luxurious hotel and destination in South Florida that was founded in 1926. It is approaching 100 years and is getting a renovation that is welcoming its New Golden Era. The New Golden Era in BRRC consists of multiple renovations on historic master pieces as well as the full demolition and renovation of the Main Pool Club and Restaurant Building. I am currently involved in the renovation of the BRRC with my team in Garcia Stromberg GS4 Studios where I take on the role of junior project manager and construction administrator for the Main Pool Club and Restaurant. this guide was ditributed nationally, and paired with city-specific pro-bono urban design recommendations, street plans hoped to enhance the voting landscape in preparation for the 2020 elections.

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ruko | housing for digital nomads in 2030 type: residential site: central business district, singapore involvement: concept and design development + UNI.XYZ Editor’s Choice and Publication in Uni’s E-Yearbook Series 4 – A (2021-2022) + worked with community organizations, residents, and local stakeholders to develop site-specific placemaking solutions. + developed a hybrid high rise that highlighted aspects inspired by the typology of a shophouse and a neighborhood in Singapore. project description: RUKO is a hybrid tower that explores the concept of an asian neighborhood of shophouses and their programmatic uses and social experiences in a high rise. The design intent of this project is to create a socio-spatial relationship between digital nomads in the future of singapore. It is achieved by the exploration of the Asian shophouse typology and how it integrates into a hybrid tower typology. A collection of prefabricated forms for residential units and other programs would make up a “neighborhood.” This project has allowed for the exploration of not only a shophouse but also an exploration of what a neighborhood could be in the future.

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the index aalesha chisholm-green page: 2

haly baleotis higginbotham pages: 99, 100

nicole grueser pages: 34, 37, 39, 100

aerie chocron page: 30

heather akers page: 62

patrick soares page : 63

agustina sklar pages: 26, 29

henry dominguez pages: 10, 14, 26, 32, 37, 39, 62

pedro fernandes pages: 2, 4, 21, 71, 119

aias pages: 3, 4, 5, 66, 67

ian fennimore pages: 34, 37, 39, 71, 99, 100, 101, 119

pedro yuji kitmura pages: 24, 119

alyssa scherger pages: 27, 29, 30

jacob erb pages: 4, 24, 72, 119

phillippe d’anjou pages: 10, 11, 15,

andreas mendonça pages: 49, 76, 88, 99, 119

jean caldieron pages: 14, 15, 26, 27, 29, 30, 70

randy brown pages: 12, 13, 14, 22, 24, 40, 41, 44, 47

andrew hayes pages: 11, 13, 15, 32, 40, 43

jeffrey huber pages: 3, 6, 11, 12, 14, 18, 57, 100, 119

reghan fitch pages: 34, 72, 119

jerrica arias pages: 4, 66, 119

richclivel lezin page: 22

jessica urchoili pages: 41, 43, 44, 47, 70, 90, 98, 99, 119

savannah west pages: 33, 37

john sandell pages: 11, 13, 14, 15, 32, 33, 34, 37, 40, 43, 53, 58, 59, 79, 80, 82

shambil khan page: 34

anson stuart pages: 11, 12, 14, 18, 20, 21, 24 anthony abbate pages: 10, 11, 13, 14, 40, 43, 44, 47, 88, 90 aren castro pages: 112, 119 beatriz sobral pages: 4, 66, 119 burcu senyapili ozcan pages: 20, 26 catheryn espino page: 63 cesarina candelier pages: 43, 47, 71, 78, 99, 104, 119 christine sader pages: 116, 119 christopher montoya pages: 37, 100 craig aquart page: 63 cristin peacock page: 114 daniel bolojan pages: 18, 32, 37, 39, 40, 44, 49, 76, 94 daniela fowler pages: 2, 4, 43, 66, 73, 80, 100, 101, 119 dharmesh patel page: 62 diego camargo pages: 11, 12, 13, 14, 26, 30, 32, 89

jonathan grinstein page: 59 jordan trachtenberg pages: 32, 34, 37 jordy virguetti pages: 110, 119 juan carlos carrillo page: 29

sherese dunkley page: 99 shermeen yousif page: 40, 44, 78, 84, 92 stephanie guerrero pages: 2, 39, 102, 119 steven vernon pages: 37, 39, 102, 119

kate fisher pages: 20, 22, 24

tiffany taylor pages: 2, 3, 4, 5, 7, 47, 63, 66, 67, 78, 99, 102, 104, 119

luis rey rodriguez pages: 49, 86, 94, 119

valerie antico guerrero page: 29

luisa giffoni page: 101

vanessa smith torres pages: 18, 20, 22

margaret devine page: 14

victoria nicolay pages: 44, 84, 106, 119

maria romero page: 30

vinicius miranda de andrade camara pages: 22, 24, 99, 119

maria villegas pages: 59, 119

xeena rodriguez page: 19

mariam alkowni pages: 22, 24

yagmur akyuz pages: 2, 3, 4, 5, 34, 63, 72, 100, 101, 119

marisa zumbrum page: 2

emmanouil vermisso pages: 10, 11, 12, 13, 14, 15, 32, 34, 37, 55, 58, 59

mario pimentel pages: 44, 67, 82, 84, 106, 119

emrys jenkins-taylor page: 2

mary wissinger page: 62

ethan murray page: 24

matthew castro page: 2

fabiana possamai wills page: 26

matthew deveau pages: 34, 37, 99, 100, 101

fabiana villafane pages: 2, 4, 37, 66, 73, 119

mauro gelfusa pages: 4, 67, 102, 119

francis lyn pages: 12, 14, 18, 20, 24

melani de jesus page: 59

gabriel gillman page: 30

michael rubin pages: 12, 13, 14, 18, 19

gerardo ormachea pages: 44, 49, 57, 94, 99, 119

miguel paes page: 2

gleinys martinez pages: 27, 29, 99

moises homs page: 99

giovanni campusano page: 59

nicholas dimattia page: 59

griffin morris pages: 10, 11, 13, 15, 26, 29

nicholas theis page: 2

yara zbib pages: 3, 4, 49, 66, 67, 76, 89, 98, 99, 102, 119 zeeshan salehjee pages: 43, 49, 92, 94, 119

the

process

journal a i a s 2 0 - 2 1 a

registered

student

organization

fau

the Process Journal Issue #1 // AIAS FAU 20-21