G LASTER BA ARCH 2018 YALE UNIVERSITY
G LASTER@YALE EDU 9139046388
SKILLS SOFTWARE InDesign // Illustrator // Photoshop // Rhino AutoCAD // Revit // SketchUp // Microsoft Office Maxwell // V-Ray // Grasshopper MAKING Modeling // Drafting // Drawing // Laser Cutting 3D Printing // Welding // Casting // Photography Letterpress // Bookbinding // Sewing
EDUCATION
HONORS YALE UNIVERSITY ‘18 BA Architecture and Design BA Ethnicity, Race and Migration GPA 3.55
EXPERIENCE
LOHMANN PRINTMAKING PRIZE // Winner / 2015 NSPA PACEMAKER PUBLICATION // Editor / 2015 PRINCIPAL BASSOON // NAfME Orchestra, KC Youth Symphony, KS State Orchestra / 2012–2014
AFFILIATIONS ROBERT A.M. STERN ARCHITECTS // INTERN SUMMER 2017 / NEW YORK, NY Constructed detailed site and massing models for partner and client meetings. Produced digital models and section-perspective renderings for monograph. Documented, packaged and archived past models. Ensured cleanliness and full stocking of model shop. FORWARD DESIGN | ARCHITECTURE // INTERN SUMMER 2016 / KANSAS CITY, MO Created digital models and renderings to proof design schemes. Constructed models for client meetings. Assisted in formal decisions including composition and craft of work. Managed firm’s website and social media presence. Prepared graphics and statements for award submissions and publications. TINY HOUSE WARRIORS // BUILDER WINTER 2017 / BRITISH COLUMBIA, CANADA Constructed wood-frame tiny homes and installed cabinetry wiith indigenous pipeline-resistance group.
MIXED COMPANY // Bass, Brand Designer / 2014 – Globally-touring all-genre, all-gender a cappella group TRANS AT YALE // Social Coordinator / 2017 – Gender affinity group for Yale, New Haven community BUS SHELTER PROJECT // Researcher / 2016 – Design proposal with Yale, CT Mental Health Center INTERCULTURAL COLLOQUIUM // Speaker / 2016 Presentation of scholarships on indigenous futurisms
REFERENCES CHRIS FEIN // Principal / Forward Design | Architecture Professor / Kansas State University chris@design-fwd.com / 630.776.9089 ROSALYNE SHIEH // Professor / Yale School of Architecture Principal / Schaum-Shieh Architects rosalyne.shieh@yale.edu
CONTENTS MONUMENT WEAVER RESIDENCE QUARRY MULTI FAITH UT DELFT STUDY BARRAGAN STUDY URBAN FARM
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MONUMENT TO QUINNIPIAC PEOPLE YALE UNIVERSITY // FALL 2016 // CRITICS // BIMAL MENDIS / ROSALYNE SHIEH This monument employs the politic that all land in America is indigenous land, that the American built environment is rooted in the violence of colonialism. There is one monument to the Quinnipiac People in the entirety of their historical territory (part of the 1,200 acre reservation, the first reservation in what would become the United States). It is a single slab of granite. Certainly the original caretakers the land deserve more visibility in our collective historical narratives. Instead, their genocide and their complex lives are erased from the spaces and structures of our shared institutions. They have no formal place in the stories we tell of Yale and New Haven other than window decors and secondary characters that stand in opposition to narratives of “modernity�. But they deserve more. They are resilient. They are still here. This project sits atop a hill that is the center of a triangle formed by three rock formations that are the basis of Quinnipiac stories. It is a device for viewing the land and its stories, where the city grids imposed by colonial governments become obsolete.
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LEFT Site model of monument in relation to the resting bodies of stone giants, Maushop (West Rock) and Hobbomock (Sleeping Giant) and their home (East Rock). Proposed monument (red) is at a point on Quinnipiac land with an unobstructed view of all three sacred mounds. RIGHT 1, 2 Monument’s form has openings in the four directions; a door (Thunderer’s feet) and three windows (wings and head) frame the sacred mounds. 3, 4 Bowls constructed in navigable and occupiable strata. 5, 6 Ground condition, embedded in the earth and its histories.
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LEFT Hobbomock is framed by occupiable window. RIGHT Plan, section and elevation, with double helical ramp for accessibility.
ALBERS FOUNDATION WEAVER RESIDENCE
YALE UNIVERSITY // FALL 2017 // CRITIC // TURNER BROOKS This project, sited at the Anni and Josef Albers Foundation is an artist’s residence and studio for four weavers. The program critically interrogates the legacy of Anni Albers, who travelled to Mexico over a dozen times in her life, appropriated and decontextualized textiles made by indigenous women, within indigenous economies and cosmologies. The program’s shared workspace is in keeping with the communally-held knowledge and intergenerational practices of weaving from which Anni Albers took inspiration. Thus these artist residences become places for individual respite, in tiny residences, and collective work. The four private pods are nested within landscaped strips; the public studio space, kitchen and gallery spaces rise out of the land as the only immediately visible form. To visit another private dwelling and forge community outside of weaving, one has to weave across the landscaped bands.
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LEFT 1 Elevation of forms nested in vast landscape. 2 Second floor plan of communal building; vertical circulation at the poles leads to eating area and weaving area. 3 Ground floor plan of all buildings; entrance and egress aligned with edges of landscape strips. RIGHT Composite section (left) and elevation (right) of buildings. Private dwellings have lofted bed and storage in drawers to minimize private space and encourage community. Communal building has two galleries on the ground floor, public creation and cooking space above.
INTERVENTION ON A GRANITE QUARRY
YALE UNIVERSITY // FALL 2017 // CRITIC // TURNER BROOKS This project proposes a radical intervention on the Stony Creek Quarry, which has been in operation sicne 1858. All around the site, there are instances of ecological reclamation, where plants have found homes in the natural fissures in the quarry walls. The intervention imagines a landscape as it might have once been, before the massive void was gradually drilled and blasted out of the earth. A lid – inspired by the glistening facets of granite pieces found on site – sits atop the quarry, allowing circulation both across the quarry and within the covered void. The faceted terrain meets the quarry lip in a way that allows a jagged corona of light to the pool of water below. This intervention ultimately considers how a sightlines into a void can be denied while still affording occupation.
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LEFT 1 Slope of quarry topography and intervention both provide places of respite at human scale. 2, 3 Lip in quarry affords tectonic meeting of lid and site. 4 Lid encloses quarry void and creates space underneath. RIGHT 5 Lid is itself an occupiable landscape, faceted like a stone. 6 Light poors in through gaps between quarry and lid; enclosed void becomes a place of its own right.
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MULTI FAITH CENTER AT YALE YALE UNIVERSITY // FALL 2016 // CRITICS // BIMAL MENDIS / ROSALYNE SHIEH This mutli-faith center located on Yale’s main lawn, Cross Campus, foregrounds human smallness – on a cosmological scale – as the preconditions for gathering. Drawing on precedents such as stepwells in Rajasthan, India and Michael Heiser’s interventions at Dia Beacon, the project invites people to inhabit and embrace a dominant void, expressed as a deep triangular pit that has an occupiable and selectively permeable surface. Taking the Sterling Memorial Library stacks as a site condition, this project rejects its axial symmetry and the notion that knowledge is to be quantiized and guarded in tall towers; the Multi Faith Center at Yale suggests, rather, that knowledge is communal and rooted in shared human relation with the earth we inhabit. The form responds to the pre-existing path that triangulates the site and optimizes lawn’s area as a surface for student protest and collective action. Its featured space is a ecumincal chapel at the bottom of the pit, from which the human subject can only see the sky and the other people sharing that same view. This project evokes feelings that are vast, humbling, layered, historied.
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LEFT The project’s starting idea and image, an allegory for human assembly, conveys a feeling of smallness, of congregation along the contours of landscape, like settlements that crop up along a river. Expresses a temporal infinitity and ancient, familiar structures. RIGHT 1 Exploded axon detailing the mass-void relationship at interior floor plan cuts. 2 Plans of floors -1, -3, -5; allow for varied access to stepped pit/ampitheater. The open plans promote sense of vastness and horizontality.
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LEFT Sketches and site model of mutli-faith center, elevator on existing ground plane provides access to all 5 floors. Overexpressed axiality of 1930’s Gamble Rogers buildings is destabilized by strength of the diagonal path. RIGHT 1, 2 Model of light shaft between ampitheater pit and underground building, solid and void 3, 4 Models of organic and ancient materiality and mood
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UT DELFT LIBRARY PRECEDENT STUDY
YALE UNIVERSITY // FALL 2016 // CRITICS // BIMAL MENDIS / ROSALYNE SHIEH This project studies how the Technical University of Delft’s Library performs typologically as a market. In this precedent, books are the commodity, knowledge is capital. The building’s position as a node of informational exchange is reflected in the sloped roof and lawn’s engagement with the adjacent conference center’s ground condition. The precedent’s form and market typology are generated by a series of five actions: tear, lift, pierce, columnate and divide. From an irregular grid formed by the dominant lines in the site plan (shown on right), this sequence results in possible perumations, of which the Delft Library is one; the building lifts the ground plane along varying gridded lines and props it up on columns to create an overhang under which the library exists.
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A series of 5 procedures permutates in tens of thousands of ways, one of which is the precedent. Drawings depict the procedures in order and some possible variations. Model is the precedent’s permutation made of torn perforations along an irregular grid of lines, pierced and columnated holes along a regular grid of points.
CASA BARRAGAN PRECEDENT STUDY
YALE UNIVERSITY // SPRING 2015 // CRITIC // ARIANE LORIE HARRISON This project studied the home and studio of Mexican architect Luis Barragán through a series of analytic models and drawings. These methodolgical approaches take the form of massing, tectonic, programatic and conceptual models. The massing model identifies the square motif in plans, sections and elevations; the underlying grid in drawn representations translate to the cubic masses that comprise the precedent. The programatic analysis identifies a narrative of compression and expansion; the inhabitant’s path through the house is one of abrupt moments of spatial compression and expansion, leading to the ultimate open space, the garden. The conceptual model synthesizes the program and massing concepts to argue that the house binarily frames the contained nature as untamed in opposition to the building’s highly ordered Cartesian 3-space.
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LEFT 1 Conceptual drawing; the highly gridded nature of the house’s design, square motif act as a frame – a conceptual foil – to the garden contained within. The legibility of the building’s spatial composition suggests that nature is a wild force to be tamed, a verdent resource for highly curated views. RIGHT 2 Square motif in plan, section and elevation. 3 Abstraction of building’s massing. 4 House’s masses made of cubic modules based in square/grid motif.
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3 LEFT 1 Hand-drawn plan of first, second and third floors. Front elevation and longitudinal section. RIGHT 2 Exploded axon of compressed spaces (orange) and expanded spaces (yellow) from plan showing travel paths through thresholds between compressed and expanded spaces. 3 Front view of programmatic model. Museum board represents compressed spaces, plexiglass represents expansion. 4 Hand-drawn axon of program. 5 Tectonic model. Exterior walls represented as styrene wireframe, interior walls as wood.
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URBAN FOOD HUB AND COMMUNITY FARM
YALE UNIVERSITY // FALL 2017 // CRITIC // TURNER BROOKS This project sites the offices for three New Haven food justice organizations on a toxic lot in the deindustrialized southern peninsula of Fair Haven. Inspired by Turenscape and Roberto Burle Marx, the landscape strategy sought to enhance current community uses of the site: fishing on the Quinnipiac River, informal gatherings and lingering. Since the lot faces the river, the design invites water into the site and washes away the grid of farm plots into unstructured blobs of wetland. Each plot is held by a Fair Haven community member, a large percentage of whom are low-income Latinx people with decreased access to fresh and culturally-relevant foods. To make the site additionally accessible, the plots directly abut the sidewalk. A curved stair and side stairs lead people to the office, industrial kitchen and food storage space, embedded in the land.
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LEFT Site plan and section. As the project progresses toward the river and the grade falls ten feet, the grid of farm plots disintegrates into a meandering boardwalk. RIGHT Perspectival diagram from the interior of the shared office space, looking out to the boardwalk and river. Lines move continusously from exterior to interior, differentiated materially.
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LEFT 1 Deindustrialized landscape features walls and fences, creating feeling of limited access to space. Proposed site meets the sidewalk with no barriers 2, 3, 4 Glazing, continuity of curves emphasize fluidity between interior and exterior. Hardscaping on roof allows public gathering, stairs allow access to boardwalk. RIGHT 5 Perspective view from river toward farm plots. Building is nested within landscape slope, with hardscape roof resting on top. Grid eventually disintegrates toward river and boardwalk takes prominence.
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