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casey m. furman b.design, m.arch i candidate 2017

{05/15/2017}

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Room + Garden Light Study critic: Bradley Walters University of Florida, Fall 2010

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Charleston Center for Contemporary Art - Charleston, SC critic: Bradley Walters University of Florida, Spring 2013 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 façades 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.

A fracture to the solid façade condition and to the programmatic chain creates a new allowance of open common-space and a new exposure to the city of Charleston.

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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4”

15’

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4”

4”

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The Apex at Wall Street 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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Cocoon { a space for the study of metamorphosis critic: Eeva-Liisa Pelkonen 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 { at East River Park, New Haven CT critic: Eeva-Liisa Pelkonen 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 roleswitch 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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Library { Bushwick, New York City, NY critic: Eeva-Liisa Pelkonen Fall 2014 Bushwick is searching for an identity. Once populated by factories and big-box architecture, Bushwick is now home to a growing street-art culture.

It is becoming decorated by beautiful graffiti. This library offers a maximal surface for artists to adorn -- a canyon of concrete, mega urban furniture for the growing population of Bushwick to enjoy.

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Visualizations critics: Kent Bloomer, Sunil Bald Fall 2014 Exercises in hand-drawing doubly-curved surfaces, weaving, irregular volumes, tesselation.

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Exercise in hand-rendering direct and ambient light.

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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 of the Italian Renaissance critics: Peter Eisenman, Miroslava Brooks, Anthony Gagliardi 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 independent planes meeting but not interacting.

The planes meet, but the corner does not join them together.

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Computation + Visualization critics: John Eberhart, Brennan Buck Spring 2015 “Draped linen.� Design of an equation in parametric plug-in Grasshopper with the aim of accomplishing the aesthetics of linen pinned on a clothesline.

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orientation i

e

perception S

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Si

Se

Ni

Ne

Introversions/Extraversions critic: Trattie Davies Spring 2015

i

e

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Intuitive/Sensitive critic: Trattie Davies Spring 2015

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Vlock Building Project -- Individual House critic: Trattie Davies Spring 2015

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SECTION 2

SECTION 1

GROUND FLOOR PLAN 3/8” = 1’

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Vlock Building Project - Team E in conjunction with Andrew Padron, Cecilia Hui, Ilana Simhon, Wilson Carroll, Hannah Novak and Dakota Cooley Spring 2015

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Studio Modules for a Design School critic: Peter DeBretteville 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.

module organization studies

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Michael Graves School of Design at Kean University, NJ critic: Peter DeBretteville Fall 2015

This project probes the pedagogical and social structure of design education, evolving beyond a design proposal into a diagrammed experiment in the sociospatial dynamics of education and studio culture.

Design students are faced with two entirely different modes of learning -- one of a typical higher education structure, and then the more atomic realm of studio. In response, the program 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.

STUDIO

monologue

dialogue

(everything else)

conference

seminar

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Bridgeport Industrial Waterfront Park in conjunction with Paul Rasmussen critic: Andrei Harwell Spring 2016

 The heart of Bridgeport along Water Street is fragmented – physically, programmatically and experientially. This does not take full advantage of such amenities as downtown, Seaside Park and Beardsley Park. We are proposing a connective tissue along this corridor bolstering the existing layers of site conditions to create a solid entity of destination along the entire Water Street / Housatonic Avenue corridor.

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Jingbao Boulevard in Wudaokou, Beijing in conjunction with Andreas De Camps German critic: Alan Plattus, Andrei Harwell Fall 2016 Running north-south of our site are two of Beijing’s most important transit rails: the notoriously busy metro line 13 and the historical Jingbao Railway. While playing crucial roles in the city, these rail lines cause a lot of issues at the local level, impeding connections between the east and west. There are too few ways to get around, subjecting all people to this one moment of intense congestion. There is virtually no shared space, which puts limitations on spontaneous interaction and community-building.

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The Jingbao Railway will be retiring in the coming year. Our proposal is a new interface to Wudaokou along this newly vacant strip of land – a boulevard that acts as a mediating space between all the distant and disparate realms of the neighborhood.

Instead of trying to amend the existing Wudaokou station on Chengfu Road, we decided to decentralize it by proposing two new stations, one to the north and one to the south. This presents new ways of arriving at and navigating the site, ensuring the activation of the underutilized space under the train tracks.

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south market station

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The new station to the south addresses the issue of the 4th Ring Road. As part of Beijing’s ring road system it is one of the most heavily used highways in the city, and so this moment has the potential of high visibility. This area has a growing volume of commercial activity with a shrinking amount of space to dedicate to it. The southern part of the area has the most space to offer so it is dedicated to the creation of a market.

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south market station

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The market is comprised of both formal and informal spaces of shopping, from a mega-mall to a market-sprawl. The 4th Ring Road presents a challenge of getting pedestrians to cross it. This is resolved by turning what was once the Jingbao bridge into a pedestrian bridge and having the pedestrian bridge straddling the highway as well.

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north cultural station

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Responding to the new Tsinghua Art Museum and the College of Arts, we identified this north site as an upcoming cultural hub. We propose that line 15 extends to meet line 13, creating a new transfer station. We’re opening up this part of the campus to the city by the inclusion of a new art gallery and sculpture garden plaza, incorporated into the station. In addition to the new station, an elevated park and a mixed use commercial/ parking building that connects the Holiday Inn to the Station is also proposed.

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These two new stations act as anchors along the boulevard, designed with the primary purpose of fostering a productive relationship between city transit and local life.

They will incite movement along the new north-south passage.

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Between the sites the boulevard responds to adjacent conditions, negotiating a transition between the two uses. It provides services taht negotiate the public and private realm -- in some cases that’s a wall or a gate, in other cases it’s a series of store fronts, to the effect of layering of space and use to allow for diverse uses to comingle.

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Shinrin-yoku -- Sake Brewery in Kyoto, Japan critic: Patrick Bellew, Andy Bow Spring 2017

Shinrin-yoku is a Japanese term that refers to the practice of “forest-bathing� -- the healthful practice of visiting a forest to cleanse the mind and body.

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Scheme 3 - x-large site (lg + parking lot)

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street-side

river-side

Most of the sake-brewing processes are very temperature-sensitive and must be protected from direct light, so burying it was the most logical and sustainable solution for protecting the process. Much easier to maintain conditioned space when underground.

The brewery was placed long-wise on the site to make possible a loop of goods and processes. Goods come in from the street, take the loop around the brewery, and come out on the same side.

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The gallery space runs parallel to this process, entered first from the alley-way and terminating at the tasting room which is nestled within the water treatment space.

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It’s estimated that to make one portion of sake, one requires 30 to 40 times the amount of water. To produce what the prompt requests, 25,000 bottles of sake, we’re left with the estimate of 160,000L of water used by this facility annually. It was one of my main goals to offset that load, and designed the building to capitalize on the heavy summer rains in Kyoto. This load is further offset by a water treatment recycling system.

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The public realm is punctuated by glazed slots to deliver daylight to the workers in the brewery below. The courtyard is furnished with places for people to sit, to rest, to eat the lunch they’ve picked up from a nearby market, to enjoy the river, to enjoy the shade of the trees and floating volumes in the summer or to get out of the rain. To enjoy the trees during all seasons.

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The three floating volumes sit within the canopy and are composed of interlocking CLT wall panels that branch off a core and create a nine-square grid. Each cell operates as a micro-climate that can be controlled independently with windows and thermal curtains.

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thank you for your time,

casey m furman m. arch i 2017 yale school of architecture

: (407)451-6496

@ : casey.furman@yale.edu @ : k4ys34@gmail.com 114