The strongest contrast

THE STRONGEST CONTRAST

Athina Zafeiropoulou

Complementary colors Are pairs of colors which, when combined, cancel each other out. This means that when combined, they produce a grey-scale color like white or black.

When placed next to each other, they create the strongest contrast for those particular two colors.

mega BUILDINGS: ArtCasino Las Vegas p. 123

almost BUILDINGS: AmaKon Fullfilment Center p. 79

almost BUILDINGS: Paper Machines p. 53

APPENDIX

BUILDINGS: Villa Industrie Bourg − Marie p. 114

BUILDINGS: All − Terrain Bank p. 104

BUILDINGS: Cow City p. 89

not BUILDINGS: Pole Vault p. 41

not BUILDINGS: The Urban Imaginary Project p. 04

Archite Agonism

ctural

Construction of

1. Barcelona a Manifesto 2. Uncertain States of LA FESTA!

Urban Imaginaries

An International Consulting Agency of Secret Agents Infiltrated in Barcelona's Party Scene.

This studio belongs to a collection of courses that explore the potential of Agonism to opening unexpected paths for the identification, confrontation and discussion of current polemics in architecture. It takes Architecture as a semi-Autonomous field, studying not only its disciplinary advances but also their reverberation in society at large. It vindicates the role of the architect as a

Public Intellectual, that is a designer that participates in the public debates that shape the city, someone able to risk his or her own position by questioning institutions, received ideas or the general status quo.

This study will operate as an international urban consulting agency that is, as a group of experts or independent observers able to deliver a diagnosis and potential future

Urban Imaginary based in urban configurations, programmatic strategies and architectural operations.

Cristina Goberna − Fall 2014

Barcelona: A Manifesto Towards a City of Icons

not BUILDINGS: The Urban Imaginary Project

By confining and decentralizing the monocultural party tourism into a party archipelago comprised of interconnected islands isolated from their from their surroundings, Barcelona will reclaim its waterfront and historic city center for Barcelonians. Terres Fesra proposes using radical architecture precedents as an attempt to isolate and contain Barcelona’s increasing party tourism. These massive urban interventions

11

are re-purposed to serve in favor of a party utopia independent of the city of Barcelona but yet plugged in her urban fabric - a city within a city.

The archipelago forces a common identity through strong links to different islands.

It is a grouped pattern of distinct parts: the agora as a public space, oikoi (houses) as private, the theater and the temples as symbolic administrations. The archipelago party city is a

collection of clearly bounded area of intervention that Together form a whole.

It represents an assembly of distinct parts that together contribute to an imaginary understood as unified never ending party polycentralities.

Terres Festa Choosing

1 2 3 4 5 6 7 8

Selection of problematic sites of the city as potential new centralities.

1 2 3 4 5 6 7 8

Sagrada Familia Maremàgnum El Raval Barceloneta Beach Torre Agbar Port Olímpic Montjuïc W Hotel

Sala Sagrada Party Mat Ville Spa Party Island Party in the Air Fun Port The Continuous Ra Sala Vela

1 5 3 7

2 6 4

Merging

Archipelago

New centralities and the exisisting metro system.

Composing A new ritual promenade for the city: a proposal for a monorail circuit that links the selected sites and isolates the party.

Archipelago: the eight new

26

12

Sala Sagrada Party Mat Ville Spa Party Island Party in the Air Fun Port The Continuous Rave Sala Vela

Towards a City of Icons: Terres Festa

1 2 3 4 5 6 7 8

Sala Vela

1 5 3 2

7

6 4

8

Towards a City of Icons: Terres Festa

Party 1

5

of Centralities

3

7

2

6

8

4

Projection: Current and predicted future monocultural hold on the Barcelona waterfront.

Archipelago: the eight new party icons or Barcelona.

27

Archipelago: the eight new party icons or Barcelona.

13

27

not BUILDINGS: The Urban Imaginary Project

8

not BUILDINGS: The Urban Imaginary Project

In Terres Festa, the bourgeois shackles of work, family life, and civic responsibility are discarded.

Individuals wander from one leisure environment to the another in search of new sensations.

15

Beholden t they sleep, eat,

PARTY and

procreate The Archipelago of Party Centralities:

where and when they want.

A new ritual promenade for the city of Barcelona.

not BUILDINGS: The Urban Imaginary Project

to no one,

1

4

5

6

2

3

2 1 6 4

Towards a City of Icons: Terres Festa

3

1 2 3 4 5 6

TOWARDS THE WORLD’S MOST ICONIC PARTY, MALT PUBLISHERS

5

Party Waiting Room Lobby Existing Platform VIP Lounges Platform Bar Tickets

34

35

Terres Festa New Estacio de France The site plugs the party into Barcelona’s existing transit system.

The Esatcio services as a gateway to a monorail loop that moves parties throughout Terres Festa.

Once there the party begins.

19

not BUILDINGS: The Urban Imaginary Project

PLACE STAMP HERE

Terres Festa Station

1

3

2

4

6

5

TOWARDS THE WORLD’S MOST ICONIC PARTY, MALT

4

Non-Stop Party

PLACE STAMP HERE

3

2

6

5

TOWARDS THE WORLD’S MOST ICONIC PARTY, MALT PUBLISHERS

4

Non − Stop Party On the tip of Barceloneta beach and in front of the iconic and horizon−dominating W hotel.

An interior and exterior continuous mirror field reflects the city of Barcelona.

Dimensions: 800 feet long × 500 feet tall × 40 feet wide

21

not BUILDINGS: The Urban Imaginary Project

1

Conjecture

The project of TERRES FESTA and the City of Party Icons presented in this manifesto focuses on the re−articulation and redefinition of the idea of the party and the role of architecture as a tool to confine and at the same time exponentially rescale party tourism to spaces that exist parallel with but separate from the city of Barcelona.

23

not BUILDINGS: The Urban Imaginary Project

Towards a City of Icons: Terres Festa

Since the economic crisis in 2008 the city has increasingly relied on tourism as a vital source of revenue. As a result, the culture, history, and the waterfront of Barcelona are threatened by the culture of consumption, globalization and party tourism.

There have been many reported incidents and of uncivil behavior in Barcelona.

Uncertain States of

not BUILDINGS: The Urban Imaginary Project

LA FESTA! Barcelona is in a states of economic and festive crisis!

Tourism is a necessity!

The vital nightlife of Barcelona fulfills the desires of locals and visitors and is directly linked to economic recovery.

The extended life span and intensification of the party − from conception to the come down − will provide new economic possibilities. Barcelona will strive from the pre−crisis

romantic notion to the Non− Stop Party.

Participants should be stimulated and recuperated until they are fully functional, healthy beings before reintegrating them into everyday life!

not BUILDINGS: The Urban Imaginary Project

“We must address all scales of the urban and social fabric that are in crisis now. Four initiatives − preservation, recuperation , transportation and intensification − will strive to save Barcelona by enhancing party tourism!”

27

“Everything is everything is as is ever so of time We gotta go going ‘till Where are

We don’t know,

but we gotta go

not BUILDINGS: The Urban Imaginary Project

behind us, ahead of us, in the passing in Barcelona. and never stop we get there. we going?�

C.

Cycle竏段n Tent Bar Projector

D.

Square Cycle in Cinema

Transformable Trucks

B.

Extended Balconies Street Party

not BUILDINGS: The Urban Imaginary Project

A.

ﾋｿ E. After-hours Ping竏単ong Bars

31

32

not BUILDINGS: The Urban Imaginary Project

33

A. Transformable Trucks − Axonometric Drawing and details

B. Extended Balconies Street Party − Axonometric Drawing and details

34

35 not BUILDINGS: The Urban Imaginary Project

36

not BUILDINGS: The Urban Imaginary Project

37

C. Cycle−in Tent Bar Projector − Axonometric Drawing and Details

D. Square Cycle in Cinema − Axonometric Drawing and Details

38

39 not BUILDINGS: The Urban Imaginary Project

40

not BUILDINGS: The Urban Imaginary Project

41

E. After-hours Ping−Pong Bar Street Party − Axonometric Drawing and Details

“This will kill that!”

Pole

44

Vault

“This” is the printing press, “that” is the gothic cathedral.

Claude Frollo famously laments in Victor Hugo’s The Hunchback of Notre Dame. A century and a half later, the question is no longer about the book and the building. The machine has evolved.

The Gothic has returned.

This time, the Gothic is no longer a static and unvaried object built in stone, but an infinitely variable space plastic in nature.

It speaks even more − no

45

longer about the divine, but Pole Vault explores the about the material logics of structural and spatial postructure. Instead of fearing tential of Polyvinyl Chloride change – change that now, like pipes, also known as PVC, in the Victorian age, was ush- to rethink forms traditionally ered in by technology – we associated with the Gothic. embrace the computational At once referencing a nave machine. For Frollo, the Goth- with aisles and a grove of ic embodied the clash between trees, the project reduces the old and new: the old struggling Gothic arch and its pointed with its own obsolescence. For ribbed vaults to a series of us, the old simply becomes skeletal PVC trees. new again: the familiar slightly unfamiliar.

Past Pace // Slow Space −Spring 2014

outset, weby were inspiredby by inspired by utset, we were utset, we were inspired by nspired inspired by inspired nspired by inspired by ceilings ceilings of ofearly earlyGothic Gothic of early Gothic yceilings Gothic ly Gothic ydyly Gothic Gothic Gothic and thegeometry geometryof of and the and the geometry of ry ryof of of fractal-like patterns. ytry ry of try of pic pic and ic and fractal-like pic and fractal-likepatterns. patterns. ike patterns. like patterns. ke patterns. ike patterns. like patterns.

References References References PoleVault Vault Pole Pole Vault

Fast FastPace Pace Pace////////Slow Slow SlowSpace Space SpaceSpring Spring Spring2014 2014 2014////////Tech Tech TechReport Report Report Fast Fast Pace Slow Space Spring 2014 Tech Report

References References Pole PoleVault Vault Vault Pole Vault Pole Pole Vault

FastPace Pace////////Slow SlowSpace SpaceSpring Spring2014 2014// TechReport Report Fast Pace Space Spring 2014 //// Tech Report Fast Pace Slow Space Tech Report Spring 2014 ////Tech Tech Report Fast Fast Pace // Slow Slow Space Spring 2014 Tech Report

Pole PoleVault Vaultexplores exploresthe thestructural, structural,spatial spatialand andaesthetic aesthetic potential of of PVC. PVC. ItIt rethinks rethinks the the formal formal qualities qualities potential References References References traditionally associated with the gothic— allusions to traditionally associated with the gothic— allusions to PoleVault Vault Pole Pole Vault Fast FastPace Pace Pace////////Slow Slow SlowSpace Space SpaceSpring Spring Spring2014 2014 2014////////Tech Tech TechReport Report Report nature, Fast nature,structural structuralclarity, clarity,and andan anemphasis emphasison onthe theview view Fast Pace Slow Space Spring 2014 Tech Report Polematerials Vault’s utilitarian materials are exaulted through Vault’s utilitarian materials are exaulted through Pole Vault’s utilitarian are Pole exaulted through References References upwards. upwards.

References References their gothic aspirations.

“no longer about the divine” their gothic aspirations.

Pole PoleVault Vault Vault Pole Pole Vault Pole Vault

their gothic aspirations.

Final Design // Final Form

Fast Pace//Slow Space // Spring 2014 // Tech Report

Final Design // Final Form

Fast Pace//Slow Space // Spring 2014 // Tech Report

28

29

Fast FastPace Pace Pace////////Slow Slow SlowSpace Space SpaceSpring Spring Spring2014 2014 2014//////// //Tech TechReport Report Report Fast Pace Slow 2014 Tech Report Space Spring 2014 Tech Report Fast Fast Pace // Slow Space Spring 2014 //Tech Tech Report

Design Intention

Design Intention Design Intention

Design Design Intention Intention

Fast Pace//Slow Space // Spring 2014 // Tech Report Fast Pace//Slow Space // Spring 2014 // Tech Report Fast FastPace//Slow Pace//SlowSpace Space //////Spring Spring2014 2014//////Tech TechReport Report Fast Pace//Slow Space // Spring 2014 // Tech Report Fast Pace//Slow Space Spring 2014 Tech Report

5

44 not BUILDINGS: Pole Vault

5

5

47

*For bench prototype: make an alternative 3” base for Tree 2 with 24” height

ToTo accomodate accomodatewet wetlawn lawnconditions, conditions,the thebench benchisismovable movablefrom fromseat-height seat-heightposition positionto tothe the ground. ground. c

b

c

a

b

b

c

a

b

a

c b

a

a

c

b

a

Design Development Development //// Base Design FastPace//Slow Pace//SlowSpace Space //// Spring Spring 2014 2014 //// Tech Tech Report Report Fast

12 12

1 TOP 54” 1/2” VERT

a 64”

2* TOP 54” 1/2” VERT

a 57”

3

4

TOP 54” 1/2” VERT

TOP 24 1/2”

a 58”

1/2” VERT

a 67”

5 TOP 24 1/2” 1/2” VERT

a 59”

6 TOP 24 1/2” 1/2” VERT

a 53”

b 93”

b 76”

b 91”

b 85”

b 76”

b 67”

c 86”

c 92”

c 72”

c 77”

c 68”

c 60”

1” 54” VERT

1” 45” VERT

1” 45” VERT

1” 24” VERT

1” 24” VERT

1” 24” VERT

3” 24” BASE

3” 12” BASE

3” 12” BASE

3” 6” BASE

3” 6” BASE

3” 6” BASE

Design Development // Prototype Fast Pace//Slow Space // Spring 2014 // Tech Report

21

48

c

3. Loft curves to make draping form

2. Draw triangular planar

4. Drape planar surface over form

5. Extract curves for tree

not BUILDINGS: Pole Vault

1. Draw canopy curves

POLEVAULT PROTOTYPE // v.041914

1. Draw canopy curves. 2. Draw triangulated planar top surface. 3. Loft curves to make draping form. 4. Drape planar surface over form. 5. Extract curves for trees.

Design Development // Form-finding Fast Pace//Slow Space // Spring 2014 // Tech Report

1

8

POLEVAULT PROTOTYPE // v.041914

3 2

c

b

43

a

1

5 6

2

c

b a

4

5 6

Design Development // Prototype

49

Fast Pace//Slow Space // Spring 2014 // Tech Report

20

“the familiar slightly unfamiliar” Design Development // Infill Strategy Fast Pace//Slow Space // Spring 2014 // Tech Report

​

16

​ 2 elevations 2 elevations

50

not BUILDINGS: Pole Vault

Design Development // Infill Strategy Fast Pace//Slow Space // Spring 2014 // Tech Report

18

51

not BUILDINGS: Pole Vault

...if we were able to

run on sunlight and utilize only the energy needed; if form and function would seamlessly merge and every bit was recycled; if we would reward cooperation and rejoice in diversity, if we would attend to things locally and curb our excesses from within, then we would be following some key laws of nature and many difficult problems would simply cease to exist‌

Paper

1. Vertical Natatorium 2. Public Bathroom

Machines

Only black and white lines on bristol paper.

All the speculations of the studies were translated from video stills into two dimensional 11”×17” black and white drawings.

A drawing was chosen − the light on surface − to be manipulated by laser cutter. When in the laser cutter different types of cuts and scores were used to generate the different line work of the drawing. Bristol paper was used as the cutting surface.

Each layer formulates the drawing was cut separately so each aggregation is constructed out of bristol laser cut papers.

The layers are bind together with piano wire which represents and acts as the force of the water movement. For these two projects more a hundred drawings were proceed in the laser cutter and the final model machines constructed out of different aggregations.

As a result many studies of paper machines were produced. Each with different unique qualities that can never be replicate even if the original drawing does not change.

Philip Parker − Fall 2012

Vertical Natatorium

58

almost BUILDINGS: Paper Machines

The Pool at Columbia University is intended as a component for physical health, fitness and educational facility for Columbia Students as well as immediate community located at corner of 125 Street and Amsterdam Avenue at the foot of one of NYCHA housing projects. The pool Building is a complete ecosystem that harvests, uses and recycles its waters.

59

In order for the pool to be generated as a study of physical spaces and human movement into them three video studies were made: a precedent of an active pool and two examinations of the water as an element of nature. Video acts as the tool to investigate both humanly active spaces and natural elements.

60

almost BUILDINGS: Paper Machines

Video still studies of water transforms on surface − Two Ice Cubes in a Pan (personal video).

61

almost BUILDINGS: Paper Machines

64

almost BUILDINGS: Paper Machines

Video stills studies of people swimming − London 2012: Final Men’s 4×100 freestyle relay.

65

Site Analysis W 125 St and Amsterdam Water relationship to Croton Aqueduct Traces of preexisting topography

66

almost BUILDINGS: Paper Machines

almost BUILDINGS: Paper Machines

Longitudinal section竏単ool levels

Cross Section

Site Plan Directionality adjacent to water bed

71

almost BUILDINGS: Paper Machines

Different levels allow for water movement through the pools

Public Bathroom

almost BUILDINGS: Paper Machines

The study of body movement through small spaces as an apparatus to inform the design of a bathroom that is to accommodate two separate users at a time.

bathroom. An attempt to create enclosure, separating a within from an outside.

Avery Hall during rush hour. In both cases there was intense documentation of the ways people move into space. How Two spaces with intense they interact with strangers people interaction and moveor with people they now, how ment within a constrain envithey react in intrusion of their ronment were documented and used to generate the bathroom personal space. operative machine.

A prototype of a self-contained unit that can be installed throughout New York City and will explore the relationship The first is a precedent between ecological and me- study of the women’s bathroom chanical systems, and will ask on the fifth floor of Avery Hall. what is public about a public The second is the elevator of

Bathroom Traffic Juxtaposition Avery Hall 500

74

Elevator Traffic Speculations almost BUILDINGS: Paper Machines

Directionality Movement Avery Hall

75

76

Line Types of Constant Forces

almost BUILDINGS: Paper Machines

An invisible dimension

77

Top Plan View

79

Section AA’ almost BUILDINGS: Paper Machines

Hacking

Brain

Amakon

Fulfillment center Tokyo, Japan

Steve Jobs said that “the boundary between soft and hard is really gray. Software is something that didn’t get implemented into the hardware.”

The same is true for cities, where tangible structures embody the pulsating rhythms of urban life. New infrastructures are emerging to serve this 21st century city. The primary context for both the fulfillment center and the city at large is rapid technological acceleration. Gauzing the exponential

growth of technology can be incredibly unintuitive. Moore’s Law tells us that computing doubles every two years.

The studio uses programming alongside conventional modeling and rendering tools.

This is a core issue: programming literacy. Data visualization will be a first step in understanding how computing can be harnessed to visualize the massive scale of consumption.

Computing will be a collaborator in the process to imagine responsive environments that can re-organize and adapt. Computing will interface the design logic with the exponentially increasing smart matter its embedded within. In Japan, even street pavement communicate. Designing with Processing is another tool to understand ourselves.

Toru Hasegawa and Mark Colins − Spring 2014

AmaKon resolves consumerism demand overflow by testing products in real time The project examines one such reflexivity between the physical and the digital by proposing a fulfillment center for future creativity and on site production for the city of Tokyo. Typically set on the perimeter of population centers, increasing consumer demand for fast delivery and infinite choice, along with the mathematical logic of density, will draw these facilities into the city cores.

Akihabara has a rich history as the electronics district of Japan and is an ideal place in which to speculate on the future of consumption as well as technologies role in our daily lives. Located directly in the center of Tokyo along the prominent Yamanote subway line, the neighborhood not only provides a large amount of foot traffic but also is a strategic node in which to serve a

large metropolitan area. Set in the electronics district of Akihabara and the accelerating culture of our on-demand world, the fulfillment certain will not only explore the infinite possibilities of creative networks, but will capitalize on new potentials made possible through the combination of KICKSTARTERS and AMAZON prototypes as nodes of technology in a dense urban context.

almost BUILDINGS: AmaKon 2045

Amazon and Kickstarter operation diagrams and business model

85

almost BUILDINGS: AmaKon 2045

FT

FT 12

12

Moving modular slabs

"the boundary between soft and hard is really gray" 120 FT

120 FT

Plan Diagram Aggregation PLAN DIAGRAMS

88

89

Akihabara Site almost BUILDINGS: AmaKon 2045

Cow City

A large scale factory feedlot hidden in a large scale urban housing project on East Harlem, on the edge of the grid on the edge of infrastructure, by the Harlem river on the beginning of nature. The spine of the design approach is the repetition and spatial concentration of technology, machinery and circulation that forms the feedlot typology.

This hyper-efficient prototype is informing the constant relationship between infrastructure and architectural space and stretches the extreme idea of cohabitation between mammals and humans in a dense urban environment. This narrative continuous on how the cows despite their dense environment in a parking feedlot underground condition, are been keeping grass-fed for a better meat quality to be available for the East Harlem food dessert.

The project constantly contradicts the heavy machinery of the meat industry opposed to the pastoral vision of the happy valley. The housing unit is designed to be the most mechanical efficient with complete luck of ornament.

Thought the public spaces and the forced cow circulation to their death; nostalgic picture or a happy valley as the artificial landscape unfolds towards a heavily industrial contaminating river.

LOT−EK − Fall 2013

Heavy Cow Machinery Prototypes

BUILDINGS: Cow City

Hidden happy cow valley or brutal slaughter house?

95

Micro Studio Unit

Studio Unit

Cows are grass-fed for a better meat quality to be available for the East Harlem food dessert.

96

BUILDINGS: Cow City

Repetition and spatial concentration of technology, machinery and circulation form the feedlot typology.

BUILDINGS: Cow City

Two Bedroom Unit

Adjacent One Bedroom Units

The housing unit is designed to be the most mechanical efficient with complete luck of ornament.

99

The nostalgic image of a happy valley; but hidden.

The artificial landscape unfolds towards a heavily industrial contaminated river.

100

BUILDINGS: Cow City

The cows forced to circulate towards their death.

BUILDINGS: Cow City

All−Terrain Bank

The presence and usage of a landscape in the modern city could not but considered as a luxury of time for recreational activities. And in the modern hectic life the luxury of free time is closely associated with capital. The unstable economy of today challenges these relationships of time/ nature/humans. In between this worldwide economic and environmental crisis this new branch bank in Downtown

Brooklyn is designed to potentially challenge these interrelationships of modern discomfort between people and nature by introducing a new pace of movement.

This building is designed to accommodate the complex network of a modern branch bank by introducing a parallel complex social network of lands. The different pieces of grounds emerge form the main ramp system to meet the heavy earthy-like concrete core structure.

The ramp system of this bank imposes a slower circulation through the spaces where

people can take time to navigate in the landscape before reaching their desired destination. The program runs parallel with the ramp system and the one informs the other in terms of organization as they generate this complex field where social and corporate interactions are in constant confrontation. The landscape is not meant to read as a green roof but rather as a vibrant field that is in constant connection with the site, dragging people into the bank and then operates as the main circulation devise.

Lindy Roy − Spring 2013

LandscapWe of exchange

Cross Section Spring Season

modern discomfort between people and nature by introducing a slower pace of movement.

109

BUILDINGS: All Terrain Bank

The terrain bank challenge the interrelationships of

Site Plan

110

Corrugated Cardboard Physical Model

111

BUILDINGS: All Terrain Bank

3d Printed Model

Level -1 Below Ground

112

BUILDINGS: All Terrain Bank

Level +1

Long Section Fall Season

Villa Indusrie

Villa Industrie de Bourg-Marie is a statement about typology. Set in the post-industrial landscape of the Bronx, the industrial loft building references multiple histories at once – a commentary on, and perhaps a formal exaggeration of the co-working spaces of today’s corporate “avant-garde,” the Culture Shed, and early 20th century Albert Kahn manufacturing buildings. It strives to exist in a state of “in-betweenness” - between warehouse, between lightness and heaviness, between the cores. In the same way that the building references three historic and contemporary ideas about spaces of production, Villa Industrie plays with three equally charged structural strategies: the piloti, the core, and the grid.

THE PILOTI: For Corbusier, the ground floor belonged to the automobile and to nature.

The Villa Industrie is a hovering box, raised above the ground by a forest of structural columns – allowing not only for easy loading and SKIN: The building’s façade unloading of materials off of system references and contem- trucks, but also an extendporizes the history of Kahn’s ed continuity with the landindustrial factory buildings. It scaped forest. utilizes a combination of unitized curtain wall glass panels THE GRID: Historically the and opaque polished alumi- grid has been a declaration num panels. The thin repeti- of Modernism. It is as much a tive alternation of low emissiv- formal device as an ideologity floor-to-ceiling glazing and ical one. The columnar grid opaque elements on the north of the Villa Industrie attempts and south facade functions like to defy the homogenization a screen. This allows a read- of space to allow for a greating of the activity within the er diversity on the interior. building scaled to the human By skewing the regularity of body, and also maintains the the grid, the building fights horizontal datum as a refer- against the indeterminate naence to the slabs. To minimize ture of space in the shed tysun exposure, the South facade pology. has a louver system exterior of the glazing. The louvers THE CORE: No longer simply are supported by arms that tie a functional and contained back to the mullions from the utility, the core in is an exvertical frame. Each 5’8” wide ploded space generator. Not and 14’ tall unit on the North one core but 6 distinct smalland South façade consists of a er cores – two bathrooms, an single 2’10” wide glazed glass elevator, a stair, and two mepanel and 2’10” wide aluminum chanical rooms.

Architectural Technology V − Spring 2014

“The Forest of Bourg-Marie is the darkest, the deepest, the most impenetrable, the most forbidding. The stars of spring that light up other woods seem here rarely to pierce through the cold, hard ground to the sun: the sun itself seldom penetrates the thick branches of fir and pine and hemlock. The tints of autumn that beautify the death of the year in other places are absent from its partially-cleared fringe of pine-tasseled ground; there seems no color, no motion, no warmth anywhere.�

The Forest of Bourg-Marie , S. Frances Harrison, 1898

118

Typical Studios’ Floor Plan

Roof Plan

119

BUILDINGS: Villa Industrie Bourg−Marie

Gallery Floor Plan Level 8

On the ground floor, the individual is drawn through the forest , underneath the building canopy and into a grove of distinct and slender structural columns. These trunk-columns are intended to create an open public space, whose activities, both intimate and communal, are defined by the irregularity of their spacing. The building’s structural system reveals itself most visibility on the ground floor. Five smaller cores, which wrap the glass enclosed lobby, touch the ground on both the east and west sides of the building.

On the roof, the cores become empty shells and stands for vendors, creating an occupiable roofscape and garden.

Rising above the glass and aluminum facade, the concrete cores reference the chimneys and smoke stacks of the old Bronx industrial landscape.

On a typical floor, the two sets of cores create smaller nooks between and behind each volume. The seemingly random placement of columns between cores creates the sensation of zoned spaces.

As the only division of space, the columnar forest allows corner offices, individual cubicles, couches and pool tables to co-exist in a single space. Larger 2’X2’ circular tube columns flank the perimeter, creating one 6’ continuous cantilevered walkway around the perimeter of each floor plate.

In the top floor gallery, the smallest columns drop out to create a more open and expansive space for exhibitions and events.

Cross Section

120

Heater

Mullion Structural silicone Insulation Bracket

Backer rod

In opposition to the North and South façade, the East and West are entirely opaque, composed of polished aluminum panels.

Each panel is 3’ wide, comprising a unit that is 6’ wide and 14’ tall.

Radiant floor Heater Anchor channel Fireproofing Insulation Insulation Stud Fireproofing Insulation Gypsum Board Curtain wall unit Mullion Aluminium panel Bracket Spandrel glazing Double paned glazing Aluminium arm Alum. louver frame

Aluminium louvers

Steel pipe column Steel column attachment plate

Curtain Wall Details

121

BUILDINGS: Villa Industrie Bourg−Marie

The curtain wall units hang from the slab and are attached at the vertical mullions using L brackets that allow movement in all three axes.

The mullions visible from the exterior are limited to those which provide attachment to the louver system. The glazed panels are inset 3” from the aluminum panels to provide a reading of depth on the exterior. On the interior, the aluminum panels are sided with insulation, steel studs and gypsum board.

The same panels on the exterior continue up and becomes the parapet and handrail for the roof to maintain the same vertical grid at +3’-6” above roof level.

e concrete

Cast in place concrete

+116’- 0”

uvers beyond

nel

Aluminium panel

Spandrel glass

+88’- 0”

+74’- 0”

+60’- 0”

+46’- 0”

+32’- 0”

Glass

+18’- 0”

Steel column

Cast in place concrete

e concrete

Mullion Glass

+0’- 0”

North Elevation Cast in place concrete

Cast in place concrete

+116’- 0”

Aluminium louvers beyond Aluminium panel

Aluminium panel

Cast in place concrete

Cast in place concrete

+116’- 0”

+116’- 0” Aluminium panel

Aluminium panel

Aluminium louver in front of glass

Spandrel glass

+88’- 0”

+88’- 0”

+88’- 0”

+74’- 0”

+74’- 0”

+74’- 0”

+60’- 0”

+60’- 0”

+60’- 0”

+46’- 0”

+46’- 0”

+46’- 0”

+32’- 0”

+32’- 0”

+32’- 0”

Glass

+18’- 0”

+18’- 0”

Steel column

+18’- 0”

Steel column

Steel column

Cast in place concrete

Cast in place concrete

Mullion

Mullion Glass

Steel column

Cast in place concrete

Cast in place concrete

Mullion Glass

Glass

+0’- 0”

+0’- 0”

West Elevation

Mullion Glass

+0’- 0”

East Elevation Cast in place concrete

+116’- 0”

+116’- 0” Aluminium panel

Aluminium louver in front of glass

+88’- 0”

+88’- 0”

+74’- 0”

+74’- 0”

+60’- 0”

+60’- 0”

+46’- 0”

+46’- 0”

+32’- 0”

+32’- 0”

+18’- 0”

+18’- 0”

Steel column Cast in place concrete Mullion Glass

+0’- 0”

+0’- 0”

South Elevation

122

Site Plan

123

Long Section BUILDINGS: Villa Industrie Bourg−Marie

Power

Desert

Art Casino Las Vegas

A casino on steroids.

Las Vegas has early-on realized the unimportance of monumentality. They tore it apart, minimized it and cheaply imitated them to decorate new palaces for the nouveau rich.

Las Vegas, commercialized iconic monuments and cultural institutions as they have no significant value any longer.

Culture, art and wealth change only few hands; those of the mega rich. Vegas is known to be a playground

for adults, but as markets in- and auctions the casinos for dicate, Las Vegas is losing the mega rich. its cache and revenues have It is only logical the Las steadily declined since 1990.

Vegas shifts gears in changes Art Markets, however, have not with these market conditions. only skyrocketed; art sales have By tapping into our commodcontinued to break records sea- ities, we want to blur the lines son after season. of connoisseurship an investArt fairs exhibit Better and ment by creating a hybridized bigger art then museums, auc- museum, auction house, entions have become the new tertainment arena, and art fair gambling arenas. Both muse- thereby creating; a casino on ums and casinos have failed. steroids!!

Art fairs are the new museums Benjamin Aranda − Spring 2015

128

mega BUILDINGS: ArtCasino Las Vegas

Both museums and casinos have failed The site is an urban 50-acre plot in downtown Las Vegas slated for development called Cashman. Many in Las Vegas are describing this site as the greatest urban development opportunity in the city’s histo-

129

While the scale and proximity to downtown alone make it unprecedented, it is the location along Las Vegas Boulevard that give the site its epic civic value, continuing a linear sequence of connected walkable spac-

from The Strip and through historic Downtown. Grasping this opportunity we aim to put Las Vegas back in the big players map proposing a large scale program of new art gabling pit typologies.

WINNER-TAKES-ALL PIT

SPECTACLE GALLERY ROULETTE PAWN GALLERY

130

The circulation follows a close circuit passing through the different games. Each of the pits is capable to accommodate the massiveness of any art peace. To achieve that we are proposing a vierendeel structure that will wrap around the gaming path.

Artist studio spaces and housing is introduced on east corner of the site as an attempt to engage the existing residential community and at the same time to allow for a close interaction between artists and the their market.

Informal art gambling pits − where artist can impose their own rules − are integrated along the housing to provide the community with some freedom and revenue without the supervision of gallerists and art dealers.

The new typologies of Art Gambling Arenas

131

mega BUILDINGS: ArtCasino Las Vegas

AUCTIONEER PIT

PLAN LEVEL +150 ft. scale 1:1000 mega BUILDINGS: ArtCasino Las Vegas

Beyonce performing in the spectacle gallery

mega BUILDINGS: ArtCasino Las Vegas

PLAN LEVEL +150 ft. scale 1:1000 mega BUILDINGS: ArtCasino Las Vegas

Art fairs are the new museums and auctions the casinos for the mega rich

138

139

mega BUILDINGS: ArtCasino Las Vegas

The massiveness of this structural system allows for vehicular circulation along the same circular path as humans in the galleries and the pits. Therefore art can easily be delivered in the different arenas while VIP access becomes more exclusive. Locating in Nevada dessert the bridging level of the vierendeel structure needs no enclosure and allows for cross ventilation to dismiss car fumes.

At night is when all becomes bright in ArtCasino

mega BUILDINGS: ArtCasino Las Vegas

ENVELOPE DETAILS THE FACADE

Curtain Wall Facade Details The New York Times Building Renzo Piano BOLTS CONNECT TO BOX COLUMN WITH 2-HOUR INTUMESCENT FIREPROOFING AND PAINTED FINISH

EXPOSED STEEL ROD WITH PAINTED FINISH (NOT INTUMESCENT) WITH STEEL CLOSURE PLATE HIDING BOLTED CONNECTION

ENVELOPE DETAILS ENCLOSURE

EXPOSED BOX COLUMN EXPOSED STEEL BEAM

EXTERIOR INSULATION

ALUMINUM OUTRIGGERS

CERAMIC ROD SCREEN BLOCKS SUNLIGHT

SPECIALIZED ALUMINUM COMB BRACKET WITH INTEGRAL CONCEALED WINDOW WASHING TRACKS EVERY 30 FT

ALUMINUM FRAME CERAMIC RODS PLACED 1.5 FT OFF THE FACE OF THE GLAZED FACADE

IGU GLASS TYPICAL ALUMINUM COMB BRACKETS WITH TEETH CONNECTORS AT CERAMIC ROD SPACING FOR UNITS WITHOUT WINDOW WASHING TRACKS

CURTAIN WALL BEGINS 7 INCHES BEYOND THE OUTER BEAM

CONFERENCE ROOMS AND GLAZED PRIVATE OFFICES PLACED 23 FT FROM WINDOW WALL

EYE-LEVEL 0PENINGS WITH NO RODS 2.9 - 6.6 FT FROM FLOOR LEVEL

RECESSED WINDOW SHADES BLOCK EXCESS GLARE NOT BLOCKED BY CERAMIC RODS

CONTINUOUS EXTRUDED ALUM. GRILL

ACCESS FLOORING

FINISHED FLOOR IS INSTALLED CREATING A FLOOR PLENUM FOR AIR DISTRIBUTION

WINDOW TO EXTERIOR WALL RATIO = 0.76

GLAZING VISIBLE TRANSIMITTANCE (TV) = 0.75

FLOOR PEDESTALS

STEEL DECK REBARS FOR REINFORCEMENT CONCRETE SLAB

HALFEN RECESSED

FIRE STOPPING

HALFEN RECESSED EMBED IS POSITIONED AT EDGE OF CONCRETE SLAB PRIOR TO POURING FOR CURTAIN WALLANCHOR

IS INSTALLED ALONG SLAB EDGE AND BEHIND SPANDREL PANELS

i

THE UNIT

894,000 FT OF CERAMIC TUBING 15,000 WINDOW UNITS

CURTAIN WALL UNITS ARE PRE-ASSEMBLED IN PVC SPACER IS INSTALLED BELOW HALFEN ANCHOR FACTORY WITH SPANDREL PANEL, IGU, HALFEN PLATE TO PREVENT COROSION BETWEEN CONCRETE HANGERS, AND ALUMINUM OUTRIGGERS

AND ALUMINUM. PLATES ARE ADJUSTABLE LATERALLY AND PERPENDICULAR TO SLAB EDGE

5 FT LONG AND 1-5/8 INCHES IN DIAMETER RODS

186,000 CERAMIC RODS 894,000 FT OF CERAMIC TUBING 15,000 WINDOW UNITS

CURTAIN WALL BEARING ANCHOR RECESSED INTO CONCRETE IN FLOOR 27 THROUGH 50

PVC SPACER IS INSTALLED BELOW HALFEN ANCHOR PLATE TO PREVENT COROSION BETWEEN CONCRETE AND ALUMINUM. PLATES ARE ADJUSTABLE LATERALLY AND PERPENDICULAR TO SLAB EDGE

RECESSED EMBEDED FOR CURTAIN WALL

CURTAIN WALL BEARING ANCHOR RECESSED INTO CONCRETE IN FLOOR 27 THROUGH 50

RECESSED EMBEDED FOR CURTAIN WALL

ENVELOPE DETAILS THE FACADE CERAMIC RODS ARE REINFORECED WITH ALUMINUM SPLINES AND FACTORY MOUNTED TO ALUMINUM COMBS

CERAMIC RODS ARE REINFORECED WITH ALUMINUM SPLINES AND FACTORY MOUNTED TO ALUMINUM COMBS

ALUMINNUM PLATE CONNECTION AT ROD TO

BOLTS CONNECT TO BOX COLUMN WITH 2-HOUR INTUMESCENT FIREPROOFING AND PAINTED FINISH ALUMINNUM PLATE CONNECTION AT ROD TO MULLION

EXPOSED STEEL ROD WITH PAINTED FINISH (NOT INTUMESCENT) WITH STEEL CLOSURE PLATE HIDING BOLTED CONNECTION

EXPOSED BOX COLUMN EXPOSED STEEL BEAM

EXTERIOR INSULATION

SPECIALIZED ALUMINUM COMB BRACKET WITH INTEGRAL CONCEALED WINDOW WASHING TRACKS EVERY 30 FT

TYPICAL ALUMINUM COMB BRACKETS WITH TEETH CONNECTORS AT CERAMIC ROD SPACING FOR UNITS WITHOUT WINDOW WASHING TRACKS

CONFERENCE ROOMS AND GLAZED PRIVATE OFFICES PLACED 23 FT FROM WINDOW WALL

EYE-LEVEL 0PENINGS WITH NO RODS 2.9 - 6.6 FT FROM FLOOR LEVEL

RECESSED WINDOW SHADES BLOCK EXCESS GLARE NOT BLOCKED BY CERAMIC RODS

WINDOW TO EXTERIOR WALL RATIO = 0.76

GLAZING VISIBLE TRANSIMITTANCE (TV) = 0.75

ii

APPENDIX: Architectural Technology IV ─ Fall 2013

MULLION

East River Water Taxi Stand Dockside 45th Street, Queens, NY An Emergency Rescue Resource for Severe Flooding Conditions

andStand Plan Diagrams st RiverSection Water Taxi

ater Taxi stand is formed by the letters “TAXI”, evoking the iconic waterfront Pepsi 11 earby. Each letter is made of 36” square columns of lightweight steel. Electronic 11 for the next boat. e on the “A” announces the time

ng on pontoons, the stand is held in place by 2 pylons of 24” steel pipe filled with ete which rise from the river bed, concealed by the vertical shafts of the letters “T” ”. The structure moves up and down with the tides but is otherwise fixed in place.

trians arrive from land via a ramp hinged on the seawall which rests on wheels on 10 ck of the taxi stand, compensating for tidal swings. Passengers load and disemrom water taxis through two openings on either side of the “T”.

10

3d Printed Physical Model

iii

Lisa West Athina Zafeiropoulou Walter Cain Daniel Watson de Roux

Assignment 3 Columbia GSAPP Tech III December 12, 2013

Floating Water Taxi stand, Dockside 45th Street, Queens, NY. Doubles as Emergency Rescue resource in severe flooding conditions.

The Water Taxi stand is formed by the letters “TAXI”, evoking the iconic waterfront Pepsi sign nearby. Each letter is made of 36” square columns of lightweight steel. Electronic signal on the “A” announces the time for the next boat. Floating on pontoons, the stand is held in place by 2 pylons of 24” steel pipe filled with concrete which rise from the river bed, concealed by the vertical shafts of the letters “T” and “I”. The structure moves up and down with the tides but is otherwise fixed in place.

iv

Pedestrians arrive from land via a ramp hinged on the seawall which rests on wheels on the deck of the taxi stand, compensating for tidal swings. Passengers load and disembark from water taxis through two openings on either side of the “T”.

The enclosure is formed by pneumatic EFTE cushions fed by a system of hoses from an air handling unit hidden in the cross of the “A”. These translucent cushions allow for visibility through the structure (letters can be read from any angle) while shielding waiting

passengers from wind and rain. In case of severe flooding, the taxi stand rises to the top of the floodwaters and doubles as a resource for waterborne emergency rescue for this low-lying neighborhood. An inflatable ramp extends to the nearest building, allowing stranded residents to reach the stand for evacuation via water taxis . Inflatable dingys, life preservers, and other emergency equipment is stored inside the letters, accessed by doors in the panels and internal ladders.

APPENDIX: Architectural Technology III ─ Fall 2013

LAWD

Seating for two Columbia Steps

v

vi APPENDIX: Craft in the Digital Age ─ Spring 2013

What Lines?

Some 1,000 black lines

vii

viii APPENDIX: Lines not Splines 2013

Collaborations:

The Urban Imaginery Project with Desmond R. Palmer, Die Hu, George Louras, Hao Li, Laura Marie Peterson, Lucas William Lind, Megan Lee Murdock, Ning Wang, Ricardo A. Leon, Taylor Ladd Burch and Wanwan Gu Barcelona A Manifesto with Taylor Burch, Lucas William Lind and Megan Lee Murdock Uncertain States of La Festa with Desmond R. Palmer and Die Hu Pole Vault with Xiaoxi Chen, Benjamin Hochberg, Yasmina Kahn, Isabelle Kirkham-Lewitt, Lucas Lind, Ji Nia, Sareeta Patel, Madhini Prathaban and Jim Stoddert Cow City with Jonathan Yang and Mengxing Wang Villa Industrie de Bourg−Marie with Lucas Lind, Isabelle Kirkham-Lewitt and Laura Peterson ArtCasino Las Vegas with Jonathan Yang East River Water Taxi Stand with Lisa West, Walter Cain and Daniel Wadson de Roux

GSAPP 2012 − 2015