casey m. furman
work sample / 2016
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Visualizations - Light Study critic: Bradley Walters University of Florida, Fall 2010
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Upon entering, you face a large escalator clad in orange glass. It breaks away from the lobby volume and clambers upwards, skirting the wall of the southern neighbor. The smooth and continuous travel up the escalator allows you to notice your surroundings and the changes of your body’s position in space. A final, brief ascension delivers you to the roof, where you stwand high above the confines of the street and look towards the water.
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Charleston Center for Contemporary Art - Charleston, SC University of Florida, Spring 2013
A fracture to the solid faรงade condition and to the programmatic chain creates a new allowance of open common-space and a new exposure to the city of Charleston. The existing street front of East Bay is steady, rational, and essentially undeviating. Moments of pause to this boundary are few and far between. The Charleston faรงades are a solid unrelenting abuttal, entrapping valuable space that is unshared with the public space of the street and sidewalk. The traffic of the sidewalk can only ever be ongoing, as there are no recesses allowing individuals to rest.
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4”
15’
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Charleston Center for Contemporary Art
4”
4”
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The Apex at Wall Street - New York City, NY critic: Donna Cohen
in conjunction with Danielle Surbaugh
University of Florida, Fall 2013
The Financial capital of America has become a global model for mixed-use communities. This fast-paced and unpredictable district has seen an unexpected residential boom in the last decade, particularly amongst young families. The Apex at Wall Street contributes to the growing relationship between business and family life.
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Floor plates
Interventions
Circulation
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The Apex at Wall Street
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Cocoon - a space for the study of metamorphosis critic: Eeva-Liisa Pelkonen Yale School of Architecture, Fall 2014
Metamorphosis is the process of disintegration and reformation within the cocoon. A form enters, breaks down, then rebuilds, emerging as something entirely new. This charette is the metamorphosis of a system materialized through a sequence of ribs engaged in the site plane. It expresses the in-between of the two states of being: disintegration and reformation. The transformation of the ribs’ geometries creates potential in the in-between for a variety of different conditions, which were utilized to create a functional study for the lepidopterist.
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Inverted Ecologies - New Haven, CT critic: Eeva-Liisa Pelkonen Yale School of Architecture, Fall 2014
This intervention addresses the contradictory character of the site, namely, the switching of roles between the nature of the park and the industrial sprawl across the street. The natural side of the street is highly orchestrated, while the man-made side is haphazard and arbitrary. Here, nature is acting like architecture and buildings are acting like nature. This role-switch led to an exploration of the properties and consequences of inversion. The many edges of the site are nudged and manipulated using this method of inversion-as-negotiation, creating new zones that encourage the interaction of existing program.
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Inverted Ecologies
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Inverted Ecologies
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Library - Bushwick, New York City, NY critic: Eeva-Liisa Pelkonen Yale School of Architecture, Fall 2014
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Visualizations
critics: Kent Bloomer, Sunil Bald Yale School of Architecture, Fall 2014
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Visualizations
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Above is a comparative analysis between the twin churches of Piazza del Popolo in Rome, and their differing methods of creating directionality in a centrally-planned space. Santa Maria di Monte Santo elongates the circle into an oval, and the cornice is carried around the building, but no transverse axis is addressed. The design of Santa Maria dei Miracoli is more complex, using underlying linear geometries to create both a longitudinal and transverse axis out of a circular space. The cornice is broken by the pilasters to hold up an additive pediment, which further defines the transverse axis. Additionally, the methods used at S. M. di Monte Santo are additive, creating a homogeneous space, whereas S. M. dei Miracoli uses subtractive measures to carve out the dual-axis space.
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Formal Analysis Yale School of Architecture, Fall 2014
“…emptiness not conditioned by the shape of the walls around it, but, on the contrary, conditioning them.” I am comparing Bramante’s volumetric measures with the planar of the Palazzo Ducale in Urbino. This is explored in the corners of each cortile. Bramante’s corner is the resultant form of collided Ionic columns, subtracted to fit within the overall volume (Boolean difference). It is an active joint that creates an interaction between the faces of the volume, or a ‘weld’. The disappearance of the remainder of the Ionic columns in the corner asserts an invisible force at play. The space at the Palazzo Ducale lacks this presence. Laurana’s corner is the incidental result of two identical and inde-
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Formal Analysis
Analysing Palladio: Precis Like many other Palladian constructions, the Villa Foscari is seemingly the result of two separate buildings colliding. This superimposition projects the image of density, and the juxtaposition of the two dialogues emphasizes the public versus private spaces of the villa. The two “buildingsâ€? making up Villa Foscari are distinguished from each other in their contrasting architectural languages. Typical of the domestic function of a villa, the main component of La Malcontenta is a basic volumetric block. Palladio uses the plan as the regulating matrix, extruding its poche to generate a wall-based construction. The exterior is lightly rusticated and minimally articulated, providing a flattened envelope for the extruded plan and emphasizing the simple volume of the block. In contrast to this flatness is the three-dimensionality of the added portico. The order of this space is highly articulated and uninterrupted -- fully round Ionic columns, unbroken cornice, an entirely separate roof condition. Additionally, the unusual flanking twin set of stairs indicate a procession of guests as the purpose of this temple-like addition. This fully developed independent space brings attention to the half-round column abutting the block. It seems to disappear into the wall, but whether it is emerging or entering is ambiguous. Either way, the momentum of this meeting is seen on the opposite side of the block. This back façade possesses some of the rich three-dimensional dialogue of the portico, yet it is subordinate to the block; the fenestrations break the horizontal entablature and pierce the tympanum, though the raked entablature remains intact. It is as if the force of the portico has passed through the volume and stamped the other side.
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Visualizations
“Draped linen.� Lines generated from custom Grasshopper definition.
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Studio Modules (for a Design School) critic: Peter DeBretteville Yale School of Architecture, Fall 2015
A design school should foster the awareness and strengthening of your own identity and role within society as a designer. You gain your bearings from boundaries and groupings of which you are included or excluded. Thus, the studios require definitive boundaries and units of space that directly reflect sovereign, collaborative groups of individuals.
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Michael Graves School of Design - Kean University, NJ critic: Peter DeBretteville Yale School of Architecture, Fall 2015
The key difference between standard higher education structure and that of design school, is studio culture. In the typical education structure, the student moves from location to location in order to acquire knowledge from instructors. In this educational structure, knowledge about the world is being acquired extrinsically. In the more atomic realm of studio, you are learning intrinsically and immersively about making, by making. Moreover, each semester creates a temporary community in which you are all working towards a similar goal. Functioning within these two realms of learning is at the crux of every design student’s struggle. To sympathize with this struggle, the program of this proposal is separated into two components: highly prescriptive studio modules optimized for team-building, communication, and cooperative learning, and a micro-campus containing the remaining programmatic elements arranged in a way that reflects the Kean campus identity and resolves existing troubles of the site. Each are physically separate but one can rarely be out of sight of the other, just as they must inform one another in the realm of learning.
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The modules are arranged along a single axis oriented to maximize northern light and minimize distracting direct light on personal desks. They are connected to one another and to the elevator cores by a minimal circulatory corridor. In ambulating to your own studio module, the elevators allow a visual connection so that you can see into all other studios’ gathering spaces.
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Michael Graves School of Design
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Michael Graves School of Design
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thank you for your time,
casey m furman
b. design m. arch i candidate, 2017 yale school of architecture
@
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: (407)451-6496 : casey.furman@yale.edu @ : k4ys34@gmail.com