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BRANDON M. WAGNER syracuse architecture portfolio spring 2014


INFORMATION Brandon M. Wagner Bachelor of Architecture, 2014 709 Ackerman Ave / Apt 2 Syracuse, NY 13210 1 210 323 2994 brwagner@syr.edu Syracuse University School of Architecture 201 College Place, Syracuse, NY 13244 Studios: 107. Formalism 108. Urbanism 207. Intention 208. Detroit 307. The Absurd 308. Comprehensive 407. Interventions 408. Headquarters Coursework: Ecology of Cities Cities Growing Smaller Geography of Capital Practices of the Global South Industrial Urbanism Theorizing Flatness


BRANDON M. WAGNER syracuse architecture portfolio spring 2014

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CONTENT 001

Information

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Content

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Hudson Yards Development 308. Comprehensive. New York City.

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Intermission 407. Interventions. London.

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Spotify Totem 408. Headquarters. Brooklyn.

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Seagram Plaza 307. The Absurd. New York City.

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House for a Journalist 207. Intention. San Antonio

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Spotify Headquarters 408. Headquarters. Brooklyn.

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Photography

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Research: Mechanical Systems C-LAB for Volume.

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Index

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infrastructure: invasion and autonomy in new york city’s hudson yards development

comprehensive // with ith B Benjamin j i O Oppenheim h i

syracuse university arc 308 architectural design ramona albert

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structure // Towering diagrid of infrastructure

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A

10'

10'

A

B

C

10'

20'

28'

28'

E

D

F

1

loading dock

2

B

mta subway vent

3

market

water storage tank

1

express elevator lobby

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20'

2

cafe

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B 20'

apartment lobby

3 6

retail lobby

4

subway entrance

20'

5

Section A 0

5

10

20

40

Ground Floor Plan

North-South

20'

6

A

B

C

E

D

F

A

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2'

1' 6" 2'-6"

4' 2'

10'

14'

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skin // Rain and fog collection on mesh.

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JUXTAPOSITION NEW YORK URBANISMS

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Steven King’s The Langoliers---- “We know what happens to today when it becomes yesterday. It waits for them. It waits for them, the timekeepers of eternity. Always following them behind, cleaning up the mess in the most efficient way possible: by eating it!”

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contingency: non-architecture and the burdens of reality

intermission // syracuse university london arc 407 architectural design joris pauwels ephraim joris

The Staging of the Summer Games of the XXXth Olympiad is a monumental Event; the Staging of the Legacy, even more so. The torch extinguished in a sudden death; the gates of the Olympic Park shut wth an ushered push; the high fences, concrete barriers, electrosensitive wiring stacked quickly along the perimeter -- Intermission comes furiously to East London. Erase. A massive swath of destruction, cut linearly into the Olympic Park. Archive. A reference point, and a localization of Event within technologies of reproduction. Rebuild. A self-generated community, architecture without architect. 014


The inverted plinth -- public space beneath the solid mass of physical storage -- clears a space of reflection and refraction for the rebuilding of fabric at the site.

archive // A square at the center of erasure.

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Things don’t go according to plan. The speed of the olympic event, though requiring enormous expenditures in land, construction, and capital, leaves behind irreparable distortion in the structures of production

The technologies of speed determine the location of the event in space, distributed and disintegrated in the infrastructure of information.

And so it is with increasing speed that greater disruptions are made in the material environment of local sites. Things don’t go according to plan.

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rebuild // A community redevelpment without the architect -- non-architecture

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ARCHIVE

RAILROAD

FOOTPATHS

MINOR ROADS

RIVER LEA

MAJOR ROAD

375 ft

6572 ft


erase // A swath of destruction cut across the London olympic park

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machine:

spotify is different; DUMBO is changing; and headquarters are fronts

totem // syracuse university arc 408 architectural design mick mcconnell

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spotify // Spotify is different. draw the instantaneous network -a continuous redrawing of the network; a never-ending archive.

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So, Spotify is different? Peer-to-peer networks are the cutting edge. Torrents and trackers and seeds and leaches have been common in the underground; Spotify's edge is in translating the technology to the mainstrem, to legal status, to innovatory network design. Spotify's opportunity is to ring-lead a revolution in cultural production and sharing while entirely reconfiguring industry's expectations of "tech" and "start-up." Spotify can become ubiquitous.

TelAmerica TelX Google TelAmerica

25 Broadway 60 Hudson St 111 8th Ave 85 10th Ave

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superpublic: block, border, and building at the post-occupy seagram plaza

the absurd // syracuse university arc 307 architectural design jonathan lott

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158.30’

122.42’

100.02’

85.50’

52.48’

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Seagram Plaza embodies the ego of Park Ave, reifying Corporate power through the diagrams of Mies into a facsimilie of an urban type so central to Western tradition. An Architecture returning the Plaza to the domain of the Public can affect a powerful shift in the politics and use of open spaces in New York City.

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live | work | display For a writer longing to escape the vulgar and pathetic world of popular America. Yet trapped by the need to justify life in opposition to the norm. Centralized and out of the way. Prominent and hidden. A cheat of a lifestyle -- having cake and eating it, too. For San Antonio, along the River, and along a street, or along both. A part of the fabric, yet obviously opposed to it. Point: West Crockett Street between St. Mary’s Street and Navarro Street. Facing North.

KETT

OC W. CR

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ST


re-configure:

A contest between two modes of architecture, between the designed space and the designed process. The interface between the two is the user, realized in the present material reality, mediating between failure of frozen space and the deception of delineated process.

intention // syracuse university arc 207 architectural design brendan moran

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networks:

spotify is different; DUMBO is changing; and headquarters are fronts

headquarters // syracuse university arc 408 architectural design mick mcconnell

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on of the ground plane

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2_Reorientation of facade to the new ground surface

3_Recognition of an iconic superstructure

4_Modulation of domain into inter-striated territory

5_Penetration


of movement across the block

6_Suspension of gantry crane over the facade

7_Construction of wetland as bio-filtration sink below the project

8_Erection of billboards at East and West exposures

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photography

london, new york city, brussels

55mm f / 5.6 1/125

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10mm f/8 1/250

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24mm f / 4.0 1/2 sec

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35mm f / 4.5 1/125

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28mm f / 4.0 1/160

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peachtree center: john c. portman atlanta, 1967-present

research //

with Jeffrey Inaba and Benedict Clouette C-LAB Columbia Laboratory for Architectural Broadcasting

The most ambitious urban redevelopment project over the past fifty years has already taken nearly seventeen blocks of downtown Atlanta. Seventeen blocks of dehumidified, 68-degree weather in the middle of one of America’s hottest humid cities.

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THE TRANSLATION OF MECHANICAL AIR CONDITIONING into urban fabric begins at Times Square, and with it the invention of the summer blockbuster movie. This mechanical differential in air temperature produces a new urban-building differential. The differential invariably increases as Carrier moves South into the Sun Belt. Before long, entire city-regions are at the mercy of air conditioning and the power it holds. And with alarming resolution, air conditioning conquers Atlanta, rendering in glass and steel and concrete not a city of buildings but building as city. Over 19,000,000 sq-ft of continuous conditioned space realize Peachtree as pure dĂŠrive: the urban citizen -- the conference-going, glass-hotel-hopping, jet-setting business-(wo)man -- an index in movement for the complex fluid dynamics of chilled air in space. In a single continous movement, one could find the atria to three conference-hotels, several lobbies to office-towers and gardenoffices, the consolidated merchants market for central Georgia, several floors of arcaded shopping-mall, and more sky-bridges than reasonably useful. Within this massively multi-zoned indoor climate-controlled conference-hotel garden-office, particular organizational strategies are affected towards the construction of continuous, conditioned space. The atria stand most notable, an environmental good possibility only by the grace of Carrier. At Peachtree, each atrium reaches to out-do the next -- vivid punctuation in the relentless lateral drift of space. The connective tissue of the space must be the corridors and anti-corridors: alternately clear trajectories and muddled non-spaces. Multiplication as a general organizing principle ensures near total reliance on textuo-diagrammatic wayfinding. On the apron -- just the continuum of pavement in streets and parking lots -- land the discrete air-conditioningtransport-machines. The cars, that is.

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process work // syracuse university study models, process models, and final project and detail models

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site plan for “Contingency: Non-Architecture and the Burdens of Reality.” Autodesk AutoCAD, Adobe Illustrator (in collaboration with Yuxiang Luo, Alan Kawahara, Harsha Royyuru) ibid.

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sketch of “Senned -- Cardiff.” pen and ink

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rendering for “Infrastructure: Invasion and Autonomy in New York City’s Hudson Yards Development.” Rhinoceros, V-Ray, Adobe Photoshop (in collaboration with Benjamin Oppenheim) rendering and plan for “Infrastructure: Invasion and Autonomy in New York City’s Hudson Yards Development.” Rhinoceros, V-Ray, Adobe Photoshop, Autodesk AutoCAD, Adobe Illustrator (in collaboration with Benjamin Oppenheim) section and plan for “Infrastructure: Invasion and Autonomy in New York City’s Hudson Yards Development.” Rhinoceros, Autodesk AutoCAD, Adobe Illustrator (in collaboration with Benjamin Oppenheim) rain screen detail drawings for “Infrastructure: Invasion and Autonomy in New York City’s Hudson Yards Development.” Autodesk AutoCAD, Adobe Illustrator (in collaboration with Benjamin Oppenheim) rendering and section for “Infrastructure: Invasion and Autonomy in New York City’s Hudson Yards Development.” Rhinoceros, AutoDesk AutoCAD, V-Ray, Adobe Photoshop (in collaboration with Benjamin Oppenheim) conceptual site drawing for “Infrastructure: Invasion and Autonomy in New York City’s Hudson Yards Development.” Rhinoceros, Adobe Illustrator ibid. collages for “Contingency: Non-Architecture and the Burdens of Reality.” B&W photography, Adobe Photoshop panoramic collages for “Contingency: Non-Architecture and the Burdens of Reality.” photography (courtesy London 2012), Adobe Photoshop rendering for “Contingency: Non-Architecture and the Burdens of Reality.” Rhinoceros, V-Ray, Adobe Photoshop presentation drawings for “Contingency: Non-Architecture and the Burdens of Reality.” Rhinoceros, Autodesk AutoCAD, Adobe Illustrator conceptual sketches for “Contingency: Non-Architecture and the Burdens of Reality.” ibid. rendering for “Contingency: Non-Architecture and the Burdens of Reality.” Rhinoceros, V-Ray, Adobe Photoshop

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sketch of “Lloyd’s of London -- London.” pen and ink conceptual sketch for “Spotify Totem.” pen and ink rendering for “Spotify Totem.” Rhinoceros, V-Ray, Adobe Photoshop rendering for “Spotify Totem.” ibid. process diagramming for “Spotify Totem.” pen and ink over Xerox facsimilie

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rendering for “Seagram Plaza.” Rhinoceros, V-Ray, Adobe Photoshop rendering and diagrams for “Seagram Plaza.” Rhinoceros, V-Ray, AutoDesk AutoCAD, Adobe Illustrator, Photoshop section for “Seagram Plaza.” Rhinoceros, AutoDesk AutoCAD, Adobe Illustrator plan for “Seagram Plaza.” ibid. rendering for “Seagram Plaza.” Rhinoceros, V-Ray, Adobe Photoshop composite drawings for “House for a Journalist.” Rhinoceros, AutoDesk AutoCAD, Adobe Illustrator composite drawings for “House for a Journalist.” ibid.

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sketch of “Radcliffe Camera -- Oxford.” pen and ink

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concept sketch for “Spotify Headquarters.” pen and ink composite drawing for “Spotify Headquarters.” Rhinoceros, Adobe Illustrator site image for “Spotify Headquarters.” photograph, Adobe Photoshop rendering for “Spotify Headquarters.” Rhinoceros, V-Ray, Adobe Photoshop plan for “Spotify Headquarters.” Rhinoceros, AutoDesk AutoCAD, Adobe Illustrator ibid. composite drawing for “Spotify Headquarters.” Rhinoceros, Adobe Illustrator section for “Spotify Headquarters.” Rhinoceros, AutoDesk AutoCAD, Adobe Illustrator “West,” Westminster Bridge -- South Bank. B&W photograph “Park,” Park Avenue -- Manhattan. B&W photograph “Broadway- 7 Ave Local,” 125 St. Subway Station -- Manhattan. Color photograph “In Brussels” Antoine Dansaertstraat -- Brussels. Color photograph “Stereoscopy, part 1” University College London -- Bloomsbury. Color photograph drawing for “John C. Portman and the Promise of Continuous Space.” Rhinoceros, AutoDesk AutoCAD, Adobe Illustrator ibid. drawing for “John C. Portman and the Promise of Continuous Space.” AutoDesk AutoCAD, Adobe Illustrator text for “John C. Portman and the Promise of Continuous Space.” text over Volume 37: Is This Not a Tube? (with Jeffrey Inaba and Benedict Clouette, editors; and Irma Boom, design) copy paper, chipboard, museum board, acrylic, plexi-glass, extruded polystyrene, rockite, wire mesh, mylar, T-pins study models for “Seagram Plaza.” copy paper, chipboard, museum board, acrylic, plexi-glass, extruded polystyene, rockite, wire mesh, mylar building model for “Infrastructure: Invasion and Autonomy in New York City’s Hudson Yards Development.” Lasercut corrugated cardboard, museum board, acrylic with basswood and metal mesh Index

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