Josh Greene Portfolio

Selected Works 2017-2023

Yale School of Architecture

JOSH GREENE

2

CONTENTS

3

01

RICA

02

ON EST ENSEMBLE

03

ABSENCE | PRESENCE

04

ABOLITION DEMOCRACY

05

POLTERGEIST

06

CURRENT

07

[UN]REFINED

08

WE COME HERE ONLY TO DREAM

09

STORYTELLING HOUSE

10

COSANTI

11

CAMELBACK YARD

Professional 2020

Graduate 2022

Graduate 2020

Graduate 2021

Graduate 2021

Graduate 2022

Graduate 2020

Graduate 2022

Undergraduate 2017

Professional 2020

Independent 2016

4

01

RICA Today, eighty percent of land in Rwanda is employed for food production, yet 21% of the population still remains food insecure. By 2050 the population of Rwanda will double, placing a higher demand on the already exhausted farmland.

The Rwanda Institute for Conservation Agriculture (RICA) was designed as a new flagship agricultural institution that utilizes a “One Health” curriculum to develop stainable solutions by training the next generation of conservation agriculture leaders. Its construction utilizes rammed earth, CSEB, timber, clay tiles, and local stone in order to combat climate change and to showcase agricultural products in the built environment. As a result, 96% of the materials are sourced from within Rwanda, and the earth walls are built with soil directly from the site. As a designer, I contributed throughout the entire design phase, and took leadership of the design of over 25 animal husbandry and value add processing facilities.

Firm: MASS Design Group Position: Designer Exhibited: Nature - Cooper Hewitt Design Triennial Awards: ASLA Design Excellence

5

How do we train the next generation of conservation agriculture leaders? PC. Chris Schwagga

6

Survey of existing food processing facilities

7

Energy & Water Infrastructure Environmental Siting Soil Health Agricultural Research Propagation & Seed Bank Mugusera Wetlands

Pasture

Enterprise Spine

Enterprise

Buffer Wetland Lake

The raw-to-processed journey of food

8

Vegetable and Tree Crops

RICA Campus. PC Iwan Baan

9

10

96% of materials were sourced from within Rwanda, with the earth coming originating from site.

PC. Chris Schwagga

11

12

Embodied carbon calculation compared to the industry standard. PC. Chris Schwagga

13 07 | Roof Envelope 0.75mm Metal Sheet Roof 30mm Hat Channel Spacers 4.4mm Roof Membrane 12mm Coverboard

1,126

07

06 | Roof Structure Steel Truss (UC203x203x46) SHS 80x80x4mm Purlins at 500c/c CHS 63x3 Cross Bracing & Steel

06

05 | Ceiling 19mm Mineral fiber acoustic ceiling

5,732 381

04 | Walls 240 x 250mm Concrete Ring Beam 240 x 250mm Ring Beam Reinforcement 250mm Reinforced CMU 12mm Horizontal Reinforcement 12mm Vertical Reinforcement 250 x 250mm Concrete Column 250 x 250mm Column Reinforcement Paint - Interior 20mm Interior Plaster Paint - Exterior 20mm Exterior Plaster

03 | Grade Beam 240 x 400mm Concrete Grade Beam B16 Beam Reinforcement w/B8-200 Links

04

07 | Roof Envelope 3,209 620

1,205 679

02 | Slab 40mm Screed 150mm Concrete slab A252 Reinforcement 50mm Underslab Sand 150mm Underslab Hardcore 1000 Gauge Plastic DPM

257 x 436mm Domino Clay Tiles 30mm Furring 30mm Sleepers 4.4mm Waterproof Membrane 20mm Wood Board Roof Decking

06 | Roof Structure

03

Timber Truss (2nr. 200x50) 50 x 200mm Timber Purlins at 500c/c CHS 63x3 Cross bracing & steel

04 | Walls

2,101

1,657 565

240 x 250mm Concrete Ring Beam 240 x 250mm Concrete Reinforcement 200 x 100mm Timber Ring Beam 240mm Reinforced CSEB 12mm Horizontal Reinforcement 12mm Vertical Reinforcement 200 x 200mm Timber Column Steel & Concrete Column Base 20 mm Earth Plaster

02

03 | Grade Beam

01 | Foundation

240 x 400mm Concrete Beam B16 Reinforcement with B8-200 links

800 x 300mm Concrete Strip Foundation B12-150 B1/B2 Concrete Reinforcement 50mm Concrete Strip Foundation Blinding 1.2x1.2x0.4m Concrete Pad Foundation Pad Foundation Reinforcement 50mm Pad Foundation Blinding

02 | Slab 1,506

A252 Mesh Reinforcement 50mm Underslab Sand 150mm Underslab Hardcore 1000 Gauge Plastic DPM

RICA: 214

kgCO2e/m2

1,250

kgCO2e/m2

3,066 BAU: 507

01 | Foundation

0.45m3/m Masonry Strip Foundation 50mm Strip Foundation Blinding

01

14

15

Vegetable and Tree Crop Enterprise

16

PC. Iwan Baan

17

PC. Iwan Baan

18

02

ON EST ENSEMBLE The village of Ganvie exists as a collective human endeavor which showcases the cultural intricacy, social conglomeration, and spatial invention of water-based beings. Ganvie is a constellation in which life exists as a continual negotiation between people and layers of their material. It is a patchwork of geographic, spatial and material intricacy which layers networks, labor and expertise at multiple scales. At its current state, we see Ganvie is an urban-scale open-air manufactory – an action-oriented ecosystem of making where materials, components and natural resources are claimed from ‘end of life’ and utilized as inputs for everyday use. This project centralizes the collection of organic and plastic waste, the act of making patchwork objects for boat repairs, housing, transportation or objects, and meeting as a forum to discuss within the community scale.

Critic: Francis Kéré and Martin Finio Partner: Nabil Haque

19

Utilize architecture as a method for listening and amplifying the power of the collective human endeavor.

20

21

22

Unfolded elevation embroidered on canvas

23

24

25

Plastic terrazzo material study

26

Floor plan and model photograph

27

28

29

30

31

Above: photo transfer and paint on canvas. Opposite: detail drawings

32

33

Seamstress house detail, axon, and image

34

View from underneath the tree

35

36

Workshop detail and worms eye

37

38

Tower detail and platform detail

39

40

Service yard entry

41

42

43

1:100 Model walnut and basswood

44

03

ABSENCE PRESENCE Commenting on the absence of Blackness within rural America, this project acknowledges the lack of representation within our National food system. The proposed structure is erected as an architecture of reparations in the small farming community of Conrad, Iowa where the local dirt is celebrated and spiritualized for it’s blackness. Drawing formally from the abstract work of Kerry James Marshall, this project is built from rammed and infilled agricultural dirt to provide spaces for the community to educate themselves on the historical disenfranchisement of people of color within the food system. By ultimately uncovering and exhibiting the power and wealth inherent in the soil, the mission of the project is to create radical transformation in Conrad, with consistent reverberations across all aspects of the supply chain.

Critic: Nikole Bouchard Published: Retrospecta 44 Published: Paprika

Tassel

Flag Leaf

Tassel intermode

Ear

Leaf sheath

Tiller

45

How do we give presence to the absence of Blackness in our food system?

46

47

Floor plan, exploded axonometric, and site soil study

48

uin Eq g rin Sp

Sum

mer

Solst

o 47 x °

ice 70°

49

ter

Win

Current Level of Black Soil: 6-8” Original Levels of Black Soil: 24”

tice 24°

Sols

50

Entry Perspective

51

52

Interior Entry Sequence

53

Exterior Entry Sequence

54 MIDDLENESS An in between implies another suggests an other sibling, a sister who gets under your nerves for telling your father you snuck out the house and the young one, your brother who sits with that smile that charm that makes you forget the jam he spilt all over the aisle just moments before But alas! for I do not tattle nor spill any goods perceptibly insignificant and always alive, I live the

middle

of sequence

And when you are angry or triggered by that man who merged into your lane it’s never your pinky, for he’s gone to market or your thumb who’s too tired from scrolling and tapping one waits for a band, while the other is famous but we have no name for the one the boasts all the height for it is defined by the pairs of nails on both sides central and useless, a finger resides in a

middle

of proximity

And when signing important documents with letters so tiny you must reach out for your glasses and freshly print pages with ink blots that linger it asks for my full legal name Of course! essential to democracy, and the fulfillment of contracts, I eagerly scribe the name of which I do not frequently use the name which is often reduced to a letter, or forgotten altogether, hidden from most who don’t know me intently essential but hidden, a name proclaims the

middle

of importance

And when we’re past our prime beyond the age where our friends get married and go out to the bars to see a new show but not yet wise and respected with grandchildren to spoil and checkers to play rather I spend my days thinking of the car I should buy or the vacation I would take.

I am close to a crisis for occupying the

middle

of time

55

Paprika launch: Issue 03: Not Urban. 11.09.21

But the most confusing of all is when I am so far in between that I cannot see the edge of a volume or mass instead I see nothing for miles and miles just fields of corn that feed all the cows and nourish my body all lined up in nice little rows in the middle of nowhere

56

04

ABOLITION DEMOCRACY Pulling from WEB Du Bois ideal of Abolition Democracy, this project investigates the sobering intersection between a broken law enforcement and mental health system, and proposes the spatial, structural, and architectural abolition of the police. By proposing crisis response vehicles operated by mental health professionals trained in de-escalation, we collectively envision a future that does not involve deploying New Haven Police officers. The architecture employs permanence, by utilizing a site that brings together mental health professionals and community organizers in one space to treat patients immediately after their crisis. The buildings leverage structural plywood as a fugitive material layered in histories of protest and re-appropriation, and makes visible the structural change that has occurred. The buildings are disaggregated with critical curb cuts that allow the architecture to engage with mobility, while still prioritizing the needs of pedestrians and community health.

Critic: David Moon Published: Retrospecta 45

57 How do we architecturally and structurally begin to abolish the police?

58

59

Plywood as Fear.

May 26 - May 30, 2020

Plywood as Art. May 30 - June 8, 2020

Plywood as Archive.

Post - 2020

60

New Haven May Day, 1970

Department of Police Services

61

Overhead Storage

Medical Storage Grey Water sink Composting Toilet

Seating for 2

62

Conceptual Site Plan

Process Model

64

2’

8’

2’

65

66

A.

2” MASS PLYWOOD PANEL PRERES LUMBER OR EQ.

B.

WATER RESISTANT BARRIER

C.

3/8” AIR GAP VENTILATED AT TOP

D.

2” RIGID WOOD FIBER INSULATION STRAPPED TO PLYWOOD PANEL

E.

1” VERTICAL FURRING STRAPPED AND VENTILATED. BLACK.

F.

1/2” HORIZONTAL FURRING SCREWED TO CLADDING FROM BACK. BLACK

G.

1/4” VERTICAL WOOD CLADDING WITH 1/8” SPACING. SHOU SIGU BAN FINISH

B A

C

E

D

A.

2” MASS PLYWOOD PAN LUMBER OR EQ.

B.

WATER-RESISTANT BAR

C.

3/8“ AIR GAP VENTILAT

D.

2” RIGID WOOD FIBER IN STRAPPED TO PLYWOOD

E.

1” VERTICAL FURRING S VENTILATED. BLACK.

F.

1/2” HORIZONTAL FURR TO CLADDING FROM BA

G.

1 1/4” VERTICAL WOOD C 1/8” SPACING. SHOU SIG

F

G

67

1:1 Detail model and drawings

68

Entry view from exterior

69

Entry view from interior

70

71

72

05

POLTERGEIST In our global effort to address the environmental crisis, humans cannot control the channel of transporting carbon back into its solid state. We have historically mishandled it’s inverse condition and agency must be given back to the forest, as an ancient shepherd of this historic transportation channel. This project proposes a memorial that marks the death of solution’s based thinking, formally marks the end of this top-down geo-engineering mindset, and makes room for ecosystem thinking that gives agency back to the forest. Basalt is celebrated as the main character, while the forest acts as the client. Juxtaposing the two scales poses questions of ancient geological significance, tectonics, and value.

Critic: Trattie Davies

a.

b. c. e.

d. f.

h.

g.

k.

l.

j.

m. n. o.

73

A memorial to carbon that marks the end of geoengineering.

74

I am a restless soul Atmospheric Carbon Dioxide

Unallowed to decompose

400

and too expensive to be left alone

150 800

600

400

200

0

Years

Syn thet ic F ore st

I have been unearthed:

200

) AS

Millions of years after my funeral

250

(G

Parts Per Million

350 300

(Matter cannot be created or destroyed)

violently extracted, combusted, and re-released into a new world

)

(LIQ UID

I have, once again, changed states and transcended time, defined now as a poltergeist: )

ID

(SO L

below the surface.

rranean Forest Subte

seeking the return to my grave

75

120° W

140° W

100° W

80° W

60° W

40° W

20° W

0°

20° E

40° E

60° E

60° E

100° E

120° E

140° E

160° E

76

60° N

40° N

20° N

0°

20° S

40° S

60° S

Basalt, forests, and extraction

160° 160° WW

140° 140° WW

forest 120° W Deciduous 100° W Deciduous Deciduous Forest Forest

140° W

120° 120° WW

80° W

Legend Legend

Evergreen forest Evergreen Evergreen Forest Forest

eciduous Forest

vergreen Forest

oody Wetlands

ixed Forest

100° 100° WW

Mafic Mafic rocks rocks (Basalts) 60° W (Basalts) 40° W Mafic Rocks (Basalts)

80° 80° WW

60° 60° WW

20° W

0°

40° 40° WW

20° E

Ultramafic Ultramafic rocks rocks ( (Peridoties peridoties ( peridoties and and serpentinites) serpentinites) Ultramafic Rocks and serpentinites)

Mafic rocks (Basalts) Woody wetlands Woody Woody Wetlands Wetlands

Coordinate System Wporld Mecrator Coordinate Coordinate System System : Wporld : Wporld Mercator Mercator Ultramafic rocks ( peridoties and serpentinites) Central Central Meridian Meridian : 0° : 0° 0’ Mixed forest Mixed Mixed Forest Forest Central Meridian 0° 0’0’0” 0”0”

A World of Basalt and Forests

Coordinate System : Wporld Mercator Central Meridian : 0° 0’ 0”

20° 20° WW

40° E

0°0°

60° E

20° 20° EE

60° E

100° E

40° 40° EE

120° E

AAWorld Worldof ofBasalt Basaltand andForests Forests

60° 60° EE

140° E

60° 60° EE

160° E Forest Source: MADUS

Basaltic Source: (Coleman and Irwin, 1974; Flanders Marine Institute, 2019; Hartmann and Moosdorf, 2012; Johansson et al., 2018; McGrail et al, 2017; Protected Planet, 2020; Sigfússon et al, 2018; Whittaker et al., 2015)

The three states of carbon

100° 100

M

77

To Massachuse

To New Haven

tts

SYNTHETIC FOREST Total Tree Count: Synthetic Modules:

11,753 6

MASSACOE STATE FOREST

SUBTERRANEAN FOREST

Total Area: Carbon Sink: Total Trees: `

Basalt Storage

3,180,000 ft2 5,840,000 kg 11,753`

2,964,252 ft3 143’ x 143’ 143’

78 Farmington Canal

1.

4

Massacoe State Forest 2.

5.

7.

8.

Connecticut Central Valley 1.

2a.

2b.

3.

4.

5.

6.

7.

8.

New Haven Arkose dikes New Haven Arkose Talcott Basalt Shuttle Meadow Formation Holyoke Basalt East Berlin Formation Hampton Basalt Portland Arkose Magma

9.

14.

200 Million Years Ago

10.

13.

12.

11.

New Haven

Western Uplands Uplands Western

SeSed dimim enent t

Down Down

entnt imme SSededi

Down Down

Eastern Uplands

7.

6.

5.

4.

3.

2b.

200 Million Years Ago 1.

2a.

2b.

3.

4.

5.

6.

7.

8.

New Haven Arkose dikes New Haven Arkose Talcott Basalt Shuttle Meadow Formation Holyoke Basalt East Berlin Formation Hampton Basalt Portland Arkose Magma

Connecticut Central Valley over 200 million years

2a.

1.

8.

2.

We

79 Massachusetts

Massachusetts

Farmington Canal

3.

3.

1.

4.

4.

Massacoe State Forest 2.

Hartford 5.

Hartford

6.

6.

7.

8.

Connecticut Central Valley 200 Million Years Ago

10.

Barndoor Hills Onion Mountain West Suffield Mountain Penwood Mountain Talcott Mountain Cedar Mountain The Hanging Hills Mount Higby Beseck Mountain Totoket Mountain Saltonstall Ridge East Rock West Rock The Sleeping Giant

13.

12.

Present Day11.

New Haven

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

Barndoor Hills Onion Mountain West Suffield Mountain Penwood Mountain Talcott Mountain Cedar Mountain The Hanging Hills Mount Higby Beseck Mountain Totoket Mountain Saltonstall Ridge East Rock West Rock The Sleeping Giant

Present Day 1.

2a.

2b.

3.

4.

5.

6.

7.

8.

New Haven Arkose the diabase Sills Talcott Shuttle Meadow Formation Holyoke East Berlin Formation Hampden basalt flows Portland Arkose Diabase

Western Uplands

im en t

Eastern Uplands

Se d

Down

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

Connecticut Central Valley

9.

Connecticut Central Valley 14.

Eastern Uplands Eastern Uplands

estern Uplands 2a.

2b.

3.

4.

5.

Down Down

1.

7.

6.

1.

2a.

2b.

3.

4.

5.

6.

7.

5.

4.

3.

2b.

2a.

1.

2.

8.

8.

Present Day

8.

New Haven Arkose The Diabase Sills Talcott Shuttle Meadow Formation Holyoke East Berlin Formation Hampden Basalt flows Portland Arkose Diabase

1.

2a.

2b.

3.

4.

5.

6.

7.

8.

6.

7.

80

Case Study The Bank of England as Carbon Form

81

1800’

Site plan and model 004 001

Yellow Warbler

004

Northern Parula

001

Nashville Warbler

200’

Tennessee Warbler

400’

Blue Winged Warbler

001

Red-Eyed Vireo

Philadelphia Vireo

Warbling Vireo

38 000m N

Blue headed Vireo

Yellow throated Vireo

European Starling

Common Raven

Fish Crow

46

American Crow

82 2000’

1800’

1600’

1400’

1200’

1000’

800’

600’

002

002 004

003

001

200’ 002 002

400’ 00

600’ 002

800’ 001

1000’

1200’

1400’

1600’

House Sparrow

Evening Grosbeak

American Goldfinch

Pine Siskin

House Finch

Purple Finch

Baltimore Oriole

Brown headed Cowbird

Common Grackle

Rusty Blackbird

Red-wingred Blackbird

Indigo Bunting

Northern Cardinal

Snow Bunting

Dark Eyed Junco

004

White-throated Sparrow

002

Swamp Sparrow

003

Song Sparrow

002

Fox Sparrow

003

Field Sparrow

004

Chipping Sparrow

004

American Tree Sparrow

003

Eastern Towhee

001

Scarlet Tanager

Wilsons Warbler

001

Hooded Warbler

004

Common Yellowthroat

004

Louisiana Waterthrush

Northern Watertrush

004

Ovenbird

002

American Redstart

004

Black and White Warbler

001

Cerulean Warbler

004

Blackpoll Warbler

Bay-breasted Warbler

002

Palm Warbler

Prarie Warbler

Pine Warbler

Black throated Green Warbler

Yellow rumped Warbler

04

Black throated Blue Warbler

Magnolia Warbler

Chestnut sided Warbler

83

002 001

003

002

003

001 004 003 004

005

001 003

001

004 003

002

002 001 003

002 004

002 003

004

84 Seed Bank 5’ 0”

Wall

5’ 0”

5’ 0”

60’ 6”

Western Uplands

b.

f. h. f.

b. b.

f. b.

f.

b.

f. p. f.

b.

h. bs.

c.

Central Valley

h. f. f.

Central Valley f.

f.

f.

f.

f.

f.

c.

f.

f.

f.

h.

h.

p.

h.

bs.

h.

b.

b.

b.

b.

b.

b.

b.

b.

b.

c.

b. h. p. bs. c. f. backing stone hearting stone plum stone bono stone chip stone facing stone

Inside

Outside

5’ 0”

5’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

60’ 6”

10’ 0”

16’ 6”

71’ 0”

Eastern uplands 5’ 0”

Sum

mer sols tice

b.

c. b.

b. backing stone h. hearting stone p. plum stone backing stone bs. b. bono stone h. hearting stone plumstone stone c. p. chip bs. bono stone chip stone f. c. facing stone f.

facing stone

Eastern uplands

Western Uplands

26’ 8”

b.

h.

f.

ter Win ce

ti sols

85 Stair

Vernal Pool

ExistingGrade Grade Existing SteelCricket Cricket Steel

26.5°

Weep Hole.

Hand Chiseled Chiseled Weep Hole BasaltStone Stone Basalt

12”

18”

Drip Drip edge Edge

6”

Vernal VernalPool Pool (Spring) (Spring) Tadpoles Tadpoles

1’ 0”

4’ 0”

1’ 0”

Precipitation

1”

800’ MASSACOE STATE FOREST Onion Mountain 200’

600’

400’

Local Flow

Sea Level

Stratton Brook

Stratton Brook

Groundwater Recharge

-400’

6’ 0” Water Fl ows Towards Fa

4’ 0”

1’ 0”

4’ 0”

1’ 0”

1’ 0” 1’ 0” 1”

200’

200’

600’

600’

MASSACOE STATE MASSACOE FOREST STATE FOREST

6’ 0”

rmington

piration

6”

Onion Mountain Onion Mountain

26.5° 12”

12”

1”

6”

River

86

26.5°

26.5°

12”

12”

6”

6” 1”

1”

800’

1’ 0” 4’ 0” 1’ 0”

1’ 0”

4’ 0”

6’ 0”

1’ 0”

6’ 0”

800’ MASSACOE STATE FOREST Onion Mountain

MASSACOE STATE FOREST

Onion Mountain 200’

600’

200’

600’

Stratton Brook 400’

Sea Level

Sea Level

-400’

-400’

Stratton Brook

Transpiration

Precipitation

400’

Water Table: High

Runoff

Loc

Water Table: Low Discharge Groundwater Recharge

Basalt A

60’ 6”

16’ 6”

71’ 0”

Outside

Inside

26’ 8”

87

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

10’ 0”

5’ 0”

5’ 0”

5’ 0”

10’ 0”

b.

f. h. f.

b. b.

f. b.

f.

b.

f. p. f.

b.

h. bs.

c. b.

f.

b.

c. b.

b. h. p. bs. c. f.

backing stone hearting stone plum stone bono stone chip stone facing stone

e

f.

mer sols tic

h.

Eastern uplands

Central Valley

Sum

h.

f.

ter Win

ce

ti sols

88

06

CURRENT Eric Sanderson claims that “Manahatta had more ecological communities per acre than, Yellowstone, more native plant species per acre than Yosemite, and more birds than the Great Smoky Mountains National Park.” During the time of the Lenape inhabitants, the Harlem river once met the shore with diffuse plantlife and open space. Our project centers this historic river where water, soil, and life converge and flow together into the larger estuaries of Manhattan. Through ecological and fishing centers, this project seeks to celebrate the wonder of this current, this flux and this nowness, and use food to dissolve the constructed boundaries between people and their watershed. The design of the Ecology Center was my contribution to our group’s project, and provides a space for ecologists and local fishermen to work together as historic caretakers of the river.

Critic: Caitlin Taylor Partners: Zach Felder, Huy Truong Published: Retrospecta 45

89

Utilizing existing infrastructure to catalyze community awareness of the Harlem River

The second-largest central fish exchange in the world

92

Vacant lots in the Harlem River Watershed

93

94

95

98

99

100

Interior Perspective

101

102

07

[UN] REFINED This image-based object investigates ritual and identity through the textile art of Sonya Clark. Her sculpture, “toothless” appropriates a utilitarian mass-produced tool to evoke beauty and struggle. My first object investigates tensegrity as a form derived entirely from tension. However my resulting image-volume draws from the formal aspects of the Destijl movement as a plastic rejection of nature juxtaposed with the organic and tactile natural hair movement. The project ultimately questions the role of material in the breaking down of architectural form.

Critic: Nikole Bouchard

103

What is the role of material in breaking down architectural form?

104

Exerting force upon a structure in tension

105

Tensegrity grasshopper study

106

Compression

Tension

Projection

107

Image-based object

108

109

Shadow as projection and plan

110

111

112

08

WE COME HERE ONLY TO DREAM Over the course of four weeks, I meditated on the transition from Barragan’s house as a masculine shelter of refuge, to the homeplace as a site of resistance. Inspired by the surrealist works of Frida Kahlo and Salvador Dali who used surrealism to reject modernism, I propose a new typology specifically for daydreams. On the outskirts of the city, a small bit of earth is hoisted up into the stars, and occupies the airspace above the domestic realm. Similar to the idea of the new cable car, the ground plane is rendered as cluttered with congestion, unaffordability, and labor. The only ability to escape into the dreamworld, to take a breath, to lay with the one you love, is to escape up into the clouds. Unattached to capital, and domesticity, the sleeping platforms only server one function and are always available for public use.Meditating on this theoretical framework, I pushed this concept within a brief exercise in my studio course when asked to design a room on a lake with local materials.

Critic: Tatiana Bilbao Critic: Francis Kéré & Martin Finio

113

We come here only to sleep, we come here only to dream. It is not true it is not true. That we come to live on Earth.

114

115

116

Warm up exercise: plans and sections

117

118

Gravity watercolor painting on paper

119

120

9

STORYTELLING HOUSE My undergraduate thesis addresses the high demand of housing units in the Gila River Indian Community and proposes an architecture that brings tribal culture into the everyday context of the home. Initially, the existing condition is critiqued from an architectural and cultural lens, and establishes the current realities of the residents. An investigation of the existing condition and the surrounding context determined that the immediate contradiction to the existing house is the storytelling tradition of the Akimel O’odham and Pee Posh tribes. This project accepts and revises the existing condition and attempts to combine it with the fundamental traits of storytelling culture to create a dwelling that encourages storytelling across generations, and serves as a space that allows residents to practice culture in the every day.

Critic: Claudio Vekstein Winner: ASU Design Excellence Published: Discipline ASU Architecture Journal 04

121

How does a dwelling celebrate daily culture?

122

123

124

10

COSANTI BELL This project was specially commissioned by a local hospital who wanted patients to celebrate the end of their chemotherapy with the ring of a bell. The bell takes inspiration from Paolo Soleri’s styrofoam produced at the end of his life and archived on site. Utilizing his old hand tools, the bell was hand carved in styrofoam, covered sand, and casted with aluminum.

Firm: Cosanti Client: Banner Hospital

125

A summer learning material, scale and form from Paolo Soleri

126

Sand Casting Process

127

Drawing of Arcosanti utilizing Grasshopper

128

129

Aluminum-casted bell

130

11

CAMELBACK YARD CamelBackyard is an independent volunteer project that reclaims a vacant lot in the heart of Downtown Phoenix.

Our team utilized design to support the International Rescue Committee’s vision of harvesting, prepping, storing, and selling fresh produce in the heart of Phoenix. Our team started by generating concept images to get community interest for the project and to help IRC advocate for themselves. After winning a community action grant, we were able to move forward with a small design intervention on the site: a family table to catalyze future development on site. The construction of the table was made possible by coordinating a series of volunteer build days with Intel, ASU professors, and fellow architecture students.

Partners: Nicole Bone, Brandon Ramirez Client: International Rescue Committee

131 Acts of love in a Phoenix vacant lot catalyzes a refugee hub around food

132

133

Community Charrette at existing garden

134

Table Detail

135

Table Detail

136

137

Dedicated to all of the people who showed me something different

JOSH GREENE josh.greene@yale.edu