AAD_SU21_046

NOISE, PROCESS AS DESIGN, GARMENTS, VIBRANCY, MATTER, BODIES, COMMUNITY, NETWORKS, DISOBEDIENCE, WALLS, MAINTENANCE, INFRASTRUCTURE, MATERIAL, FRICTION, TEXTURE, ROOFS, CARE, FUZZY VIGNETTES, C JOEL M CULLOUGH

INTRODUCTION ARCHITECTURE IS MORE THAN ITS SCALAR PLURALITY. ARCHITECTURE IS A PROCESS, RATHER THAN A FINITE ASSEMBLAGE. ARCHITECTURE IS A LIST. ARCHITECTURE IS TRANSSPECIES HOSPITALITY. ARCHITECTURE IS COMMUNITY, BODIES, HEALTH, GARMENTS, CARE, MAINTENANCE, AND ACTIVISM. ARCHITECTURE IS COLOR, GRAPHIC, TEXTURAL, MATERIAL, VIBRANT MATTER, NARRATIVE, ORNAMENT, FAUX, SO-CALLED AUTHENTIC, AND FUZZY.

PROCESS AS DESIGN IS INVESTIGATED THROUGH THREE

ARMATURES: ARTIFACT, ASSEMBLY, AND COLLECTIVE.

THIS IS

NOT A BOOK. IT IS RATHER A REFLECTION OF THE PHANTASMIC-LIKE EXPERIENCE OVER THE PAST YEAR AT GSAPP. THESE VIGNETTES ARE A RESULT OF MANY NETWORKED, DIGITAL ARENAS.

CONTENTS ARTIFACT (04) NEIGHBORHOOD, MAINTENANCE, JACKET, ACTIVISM, CARE, WASHINGTON HEIGHTS, STUDIO, FABRICATION, (16) GARMENTS, NOTRE DAME, FIRE, REHABILITATION, SEMINAR, WRITING, (20) SUPERPOSITION, TILE, PATTERN, CASTING, MATERIAL, TEXTURE, SEMINAR, FABRICATION, ASSEMBLY (24) THE MIRAGE CONDUCTOR, SIMULATION, RESOURCES, SEMINAR, WRITING (27) COPPER MINES, AQUACULTURE, INDUSTRY, TERRACING, GROUNDWORK, EXTRACTION, SEMINAR, (34) TABLE-CITY, ROOFS, OPEN WORK, BUILDING AS CITY, PROPS, STUDIO, COLLECTIVE (44) TRANSSPECIES HOSPITALITY, LINA BO BARDI, SEMINAR, WRITING, (48) TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER, STUDIO.

4

MAINTENANCE, JACKET, ACTIVISM, CARE, WASHINGTON HEIGHTS, STUDIO, FABRICATION

ARTIFACT

NEIGHBORHOOD,

The intervention questions the traditional framework of care, by redefining the role of the “maintenance worker” and rethinking modes of community engagement. The design aims to make accessible and transparent the fabrication and personalization of a community-made, maintenance jacket in McKenna Square Park. The assembly process activates the pavilion with three stages of jacket assembly engaging various community partners.

Considering simplicity of construction, the jacket assembly template is modeled as a series of nested lines on letter-sized paper which are graphically organized for ease of assembly.

The jacket design base is reversible with two layers sewn together at the edges. Since the construction is already a single pocket wrapping the body, the interior becomes accessible through an incision into a layer of fabric, offering various assemblages to serve as a blank canvas for conversation and personalization. Through the artifact and process of assembly, the design suggests a platform to provoke a question of agency, care, mentorship, and education for the community of Washington Heights.

Advanced Studio VI Hilary Sample, instructor Spring 2021 in collaboration with Angela Sun

h

View of personalization process

5 ARTIFACT

NEIGHBORHOOD, MAINTENANCE, JACKET, ACTIVISM, CARE

j

Mckenna Square Park adjacent community

h

Research into salvaging NYC Parks uniforms

6 ARTIFACT

NEIGHBORHOOD, MAINTENANCE, JACKET, ACTIVISM, CARE

j

Pockets historical research

h

Maitenance research

k

Hoodies research

7 ARTIFACT

NEIGHBORHOOD, MAINTENANCE, JACKET, ACTIVISM, CARE

j

Objects and behaviors of Mckenna Square Park

h

Taxonomy of tools

8 ARTIFACT

26 pieces of letter paper, 50 pins, 8 yards of raw cotton fabric, 6 inches of hook and loop fasteners, 120 inches of colored ribbon, 5 pocket openings- but you decide, 712 yards of rope- preferably yellow, 14 galvanized steel trestle legs- 29 in and 36in height, 545 square feet of mirrored stainless steel, 4 door handles, 12 hinges, 7 salvaged hollow core doors-add a couple trays and paint graphics for measuring, 2 gallons of white paint, a few folding chairs or stools, 540 feet of led strips, 16 remote solar panels, 1 adjustable shelf, 1,045 square feet of splattered texture paint, 368 hooks, one ramp with 27 cubic yards of concrete, 8 sewing machines, 58 square feet of waterproof fabric, 20 grommets.

NEIGHBORHOOD, MAINTENANCE, JACKET, ACTIVISM, CARE

j

Exploded Assembly

h

Minimal interventions to the existing trellis and tempietto to situate the jacket fabrication

9 ARTIFACT

NEIGHBORHOOD, MAINTENANCE, JACKET, ACTIVISM, CARE

h

Template and Jacket assembly Process

10 ARTIFACT

By using:

8 yards muslin 1 foot of hook and loop fastener 6 feet of 1-1/2in ribbon trimming color 01 4 feet of 1-1/2in ribbon trimming color 02 26 letter sized printed sheets (template) 1 spool of thread

a jacket will be made functional, personal, and educational.

NEIGHBORHOOD, MAINTENANCE, JACKET, ACTIVISM, CARE

j

Jackets in Mckenna Square Park h

Jacket prototypes

11 ARTIFACT

NEIGHBORHOOD, MAINTENANCE, JACKET, ACTIVISM, CARE

j

View from Word Up Bookstore

h

Assembly of jacket base

i

Natural dying process

12 ARTIFACT

NEIGHBORHOOD, MAINTENANCE, JACKET, ACTIVISM, CARE

j

Pavilion Jacket Installation

h

Garments become architecture

i

Integrated lighting assembly

13 ARTIFACT

NEIGHBORHOOD, MAINTENANCE, JACKET, ACTIVISM, CARE

j

View from residence building h Seasonal events and community gathering

14

16

DAME, FIRE, MAINTENANCE, REHABILITATION, SEMINAR, WRITING

ARTIFACT

GARMENTS, NOTRE

Through stabilizing, abating, analyzing, recording, and rehabilitating the Notre Dame Cathedral from the fire of April 15, 2019, the vast array and nuance of how architecture intersects the scale of the human body, garment, material, and toxin may be interrogated. The survey catalogs the firefighter and supporting uniforms in stabilizing the building, the apparatus of abatement, and forensics in reconstruction as it follows primarily the documentary by Nova, Saving Notre Dame, Scientists and Engineers Fight to Save Notre Dame Cathedral after the 2019 Fire.

The vignettes of garments in abatement and rehabilitation is a curiosity into how maintenance may undo architectural discourse as it intersects apparel. Also, it is an investigation as how the tools design the human engagement, architecture is contextualized, and the material realities in between.

Sick City Hilary Sample, instructor Spring 2021

h

preparing coverall to catalog collapsed timbers

17 ARTIFACT

GARMENTS, NOTRE DAME, FIRE, REHABILITATION

f

Analysis of initial firefighter response g Forensic cataloging and scanning of fallen timber structure

18 ARTIFACT

GARMENTS, NOTRE DAME, FIRE, REHABILITATION

f

Cover of printed booklet

g

Rituals of shdedding

19 ARTIFACT

GARMENTS, NOTRE DAME, FIRE, REHABILITATION

h

Selection of pages from booklet

20 ARTIFACT

SUPERPOSITION, TILE, PATTERN, CASTING, MATERIAL, TEXTURE, SEMINAR, FABRICATION

The design imagines a module which takes a shingling technique with overlapping circles to generate a tile that overlays a super graphic to offer visual texture and a variety of different stacking assemblies to generate a wall-like assembly.

Due to the structural support of the tile at the wings, apertures may be created to frame views.

Overlays of textures along the depth of the tile offer other forms of registration and depth to the module.

Transitional Geometries Josh Jordan, instructor Spring 2021

h

Pattern logic

i

View of overgrown wall

21 ARTIFACT

SUPERPOSITION, TILE, PATTERN, CASTING, MATERIAL, TEXTURE

j

Module as oblique texture

h

Single module (both sides)

i

Mold release process

22 ARTIFACT

SUPERPOSITION, TILE, PATTERN, CASTING, MATERIAL, TEXTURE

h

Module at the scale of the domestic

i

Alternative configurations and patterns

24

CONDUCTOR, SIMULATION, RESOURCES,

SEMINAR,

WRITING

The World Model by the MIT group for the Club of Rome in the 1960s is a

reductive simulation to address and manage global resources. The model’s shortcomings result from the lack of acknowledgement in incorporating the fluid spontaneity of the world and lack of knowledge in unraveling of data through a multiplicity of interpretations.

Although the World Model does have noble aspirations to address issues of the shortcomings of global consumption, the model format assumes a controlled environment, akin to a sterile lab experiment. Furthermore, the creators did not recognize the specific capacity for politics and events to affect the efficacy of data projection. Consider the ongoing data collection and projec-

Transscalarities

tion of Covid-19. For example, from April

Jana Berankova, instructor

17th, the projection of weekly deaths

Fall 2021

was a spread of six thousand- from ten to four thousand- for a one-week projection at the beginning of May. The

ASSEMBLY

THE MIRAGE

25

subjective application. How does the

mately fourteen thousand; a 42% devia-

use of data for a particular purview

tion in the projection at the extent.1

conflate a true reality when appropri-

What could have afforded a mistaken

ated for other purposes? For example,

prediction of how the disease was to

the US Census data, on the one hand,

spread and affect humans? It leads

offers clarity in determination of a

to doubt the role of predictive models

host of organizational auditing for

as a false sense of authority over the

personnel, institutions, and commu-

erratic nature of coincidences that

nity services. However, the data may

shape a collective reality. The World

also be undermined for private or

Model, similarly, offers a delusion over

commercial gain. MacKenzie Corpora-

the complex networks, often unaffected

tion, a consulting agency, posted that

by the spontaneous chaos that may

they may use census data to “locate

significantly augment how resources

potential sites for your business…,

are distributed. For example, the nature

find people to market to…, and identify

of society in a technocratic future is

potential markets for expansion.”

highlighted in the film, Alphaville, by

reframing the innocuous information,

Jean-Luc Godard, in which a simple

the complexity of communities and

laugh breaks the supercomputer. What

society are reduced to traits, patterns,

becomes of predictive model’s efficacy

or behaviors which are ignorant to the

in decision making for society?

actual complex behavior network.

Predictive models likewise raise the

Through technological command, how

question of how data is an illusion of

does the conductor of the predictive

2

By

ASSEMBLY

THE MIRAGE CONDUCTOR, SIMULATION, RESOURCES

actual observed deaths were approxi-

26

of the issues? However well the model broaches the questions of how society is to justify the many complexities of managing resources, the model does not clarify a promising resolution; it is only an illusion of the true contradictions that must be confronted. Ultimately, the World Model’s design is an example of naïve use of data in a plurality of extenuating factors and ignorant of the role of data’s plastic subjectivity.

THE MIRAGE CONDUCTOR, SIMULATION, RESOURCES

ASSEMBLY

model predispose a subjective purview

27

AQUACULTURE, INDUSTRY, TERRACING, GROUNDWORK, EXTRACTION, SEMINAR

Man, Machine and the Industrial Landscape Sean Gallagher, instructor Fall 2020

As a country that has almost four thousand mines, primarily for copper extraction, there is an opportunity to combine the current and future exhausted copper mines and aquaculture within Chile in order to potentially change the standard of aquaculture production and the alleviate prevalent ecosystem issues.

Tomorrow With the increased population by 2050, Chile’s seafood production is poised to dramatically increase as a primary export for the country. Simultaneously, as Chile exhausts its copper mines by 2025, there is an opportunity to reclaim these terraformed landscapes for an industry with potential growth.3 However, as the country considers

Today Currently, nearly half of Chile’s exports is Copper Ore and Refined Copper among other minerals, an approximate 24.3 Billion USD per year. Much of this extraction is done by open pit mines that are terraced to extract the minerals deeper in the Earth.

the growing current practices of sea cage rearing.

Fresh water practices may provide less harmful exchange systems. With the initial area of the Rio Blanco copper mine, a new facility could yield approximately 1.5 billion fish.

Seafood products are poised as a growing industry in Chile. However, for instance, salmon, one of the primary fish exported from Chile, have farms that typically sited in pristine coastal ecosystems in the country which they then pollute. A farm with 200,000 salmon discharges more fecal waste than a city of 60,000 people. This waste is discharged directly into the surrounding aquatic environment, untreated, often containing antibiotics and pesticides.1 Further endangering the ecosystem, worms that grow alongside these sea pens are eating much of the red algae, or ‘pellilo’, another primary seafood export, that is harvested on the coasts.2 How can the adaptation of open pit copper mines in Chile invent a new type of freshwater aquaculture? h

Sea cage salmon farming

ASSEMBLY

COPPER MINES,

28 ASSEMBLY

COPPER MINES, AQUACULTURE, INDUSTRY, TERRACING, GROUNDWORK, EXTRACTION

h

Interrelationships of Actors, Industry , and Processes

29 ASSEMBLY

COPPER MINES, AQUACULTURE, INDUSTRY, TERRACING, GROUNDWORK, EXTRACTION

h

Site Plan of Intervention

30 ASSEMBLY

COPPER MINES, AQUACULTURE, INDUSTRY, TERRACING, GROUNDWORK, EXTRACTION

j

Chile seafood production and distribution

h

Seafood production actors and exchanges

31 ASSEMBLY

COPPER MINES, AQUACULTURE, INDUSTRY, TERRACING, GROUNDWORK, EXTRACTION

j

Chile seafood exports

f

Regional resource and cultural corridor

h

Programmatic section and water distribution

32 ASSEMBLY

COPPER MINES, AQUACULTURE, INDUSTRY, TERRACING, GROUNDWORK, EXTRACTION

j

h

Printed Pamphlet

34

ROOFS, OPEN WORK, BUILDING AS CITY, PROPS, STUDIO

Advanced Studio V Enrique Walker, instructor Fall 2020 in collaboration with Oliver Bradley, Alice Fang, Begum Karaoglu, Chengliang Li

“History repeats itself, first as tragedy, the second as farce” - Karl Marx With a haunting history of political reappropriation, UNCTAD in Santiago, Chile, exemplifies how futile good intentions in architecture can be. Originally built in 1972 as a socialist symbol under Salvador Allende for the United Nations Conference on Trade and Development, the building was co-opted into the military headquarters of Augusto Pinochet’s dictatorship. With minimal architectural intervention, the building’s socialist ambitions were completely erased, entering into the Chilean imagination as a symbol of the dictatorship. In 2006, a fire partially destroyed the building. Our project extends beyond the site and reuses what is left to create a new cultural institution in conversation with UNCTAD’s history.

Given this political history, we question how we can design for a democratic future without being naïve and acknowledging the imprecision of architecture as a political tool. Monumentalizing architecture is no longer enough since that definition can be easily changed by those in power.

Our goal is to redefine the current cultural institution. By freeing the ground and allowing for criss-crossing, the site becomes a public square for cultural exchanges allowing for friction with the city. Props are introduced which utilize the logic of the theatre to provide a framework without creating enclosures between the ground and roof.

This allows for cultural engagement to happen

through events instead of fixed programs. The events occur under or above different roofs depending on their structural capacity and seasonality.

The new cultural institution becomes an open framework and cultural condenser. Simultaneously, the project produces a moment of pause and self-consciousness of preconceived ideas of space. The architecture is an actor that instigates political friction, and therefore societal change.

Is this a roof, a block, a building, or the city?

h

View from residence

ASSEMBLY

TABLE-CITY,

35

TABLE-CITY, ROOFS, OPEN WORK, BUILDING AS CITY, PROPS

ASSEMBLY

Lifted Archipelago The project builds ten structurally independent tables. Due to the consistent effort to maintain the datum above and below the roof, the lifted archipelago becomes a unity of parts. The specificity of the tables cancels out individual authorship for the collective whole integrating in the cityscape.

36 ASSEMBLY

TABLE-CITY, ROOFS, OPEN WORK, BUILDING AS CITY, PROPS

j

1972 As Built

h

1973 Military Dictatorship

f

2006 Fire

g

After Ruin of Fire

37 ASSEMBLY

Tools and Operations Ground that extends to the city through different patches. Roofs that reorganize the block through covering. A datum of roof that transforms the tower into a program-less totem of the city. And liminal space between roof and ground that is activated by props.

TABLE-CITY, ROOFS, OPEN WORK, BUILDING AS CITY, PROPS

f

j 01 Existing Ground after 2006 fire h 02 Criss-Cross Block k 03 Patching of Roofs Existing building datum i Extension of Datum, Tower as delinerator g Prop as event activator

38 ASSEMBLY

ground prop hanged prop

Engagement Framework, In-Between Operations

Props are introduced which utilize the logic of the theatre to provide a framework without creating enclosures between the ground and roof. This allows for cultural engagement to happen through events instead of fixed programs. The events occur under or above different roofs depending on their structural capacity and seasonality.

TABLE-CITY, ROOFS, OPEN WORK, BUILDING AS CITY, PROPS

j

Lightweight Hanged Roof Configuration h

Prop Taxonomy

f

Heavy Hanged Roof Prop Configuration

g

View from Vapor Roof

39 ASSEMBLY

300 PEOPLE DURING THE DAY 300 PEOPLE DURING THE EVENING BOTH DAY/ EVENING

TABLE-CITY, ROOFS, OPEN WORK, BUILDING AS CITY, PROPS

h

Non-programs, Events that delineate public activity

f

View from Heavy Hanged Roof

40 ASSEMBLY

TABLE-CITY, ROOFS, OPEN WORK, BUILDING AS CITY, PROPS UNCTAD III, Santiago, Chile - Alice Fang, Begum Karaoglu, Chengliang Li, Joel McCullough, Oliver Bradley

UNCTAD III, Santiago, Chile - Alice Fang, Begum Karaoglu, Chengliang Li, Joel McCullough, Oliver Bradley

j

Open Frame

h

Lightweight Hanged

UNCTAD III, Santiago, Chile - Alice Fang, Begum Karaoglu, Chengliang Li, Joel McCullough, Oliver Bradley

k

Heavy Hanged

41 ASSEMBLY

TABLE-CITY, ROOFS, OPEN WORK, BUILDING AS CITY, PROPS

j UNCTAD III, Santiago, Chile - Alice Fang, Begum Karaoglu, Chengliang Li, Joel McCullough, Oliver Bradley

UNCTAD III, Santiago, Chile - Alice Fang, Begum Karaoglu, Chengliang Li, Joel McCullough, Oliver Bradley

Beach

h

Planted

UNCTAD III, Santiago, Chile - Alice Fang, Begum Karaoglu, Chengliang Li, Joel McCullough, Oliver Bradley

k

Body of Water

42 ASSEMBLY

TABLE-CITY, ROOFS, OPEN WORK, BUILDING AS CITY, PROPS UNCTAD III, Santiago, Chile - Alice Fang, Begum Karaoglu, Chengliang Li, Joel McCullough, Oliver Bradley

UNCTAD III, Santiago, Chile - Alice Fang, Begum Karaoglu, Chengliang Li, Joel McCullough, Oliver Bradley

j

Smoke

h

Vapor

UNCTAD III, Santiago, Chile - Alice Fang, Begum Karaoglu, Chengliang Li, Joel McCullough, Oliver Bradley

k

Diffused Frame

44

The architecture of Lina Bo Bardi

SPECIES

of architecture through architec-

HOSPITALITY, LINA BO BARDI, SEMINAR, WRITING

COLLECTIVE

TRANS-

questions the human-centered nature

ture as hospitable to nonhumans, blurring the hierarchy of humans to other species. This is her methodology in identifying how to embody the idea of trans-species hospitality.

(1) Building acting as plant The design is organized in a plantlike manner. The design of Capela Santa Mario Dos Anjos is arranged as a tree trunk (fig.01); the building mass is organized centrally, with columns at the periphery materialized as branches for the porch with a palm-leaf thatched roof. In the representation, the porch is green(fig.02),

Towards a Transspecies Hospitality:Rethinking Lina Bo-Bardi Mark Wigley, instructor Spring 2021 in collaboration with Muyu Wu

evident of the nature cohabitating the outdoor sheltered space, a recognition and understanding that this vegetal being is more an ecosystem of actors than a singular, so-called tree. h

Figure 01

i

Figure 02

45 COLLECTIVE

offering the plants a view into the build-

(2) Humans Occupation is Temporary

ing, rather than an unobstructed view for the humans. The openings to provide

Furthermore, the use of yellow in

daylight for space in Capela Santa Mario

the illustration reflects the transient

Dos Anjos are not at human level; rather,

essence of human occupation of the

the first view is of the trees looking

architecture. The only indication of the

inward. The large opening of the theatre

building’s occupation in Capela Santa

is directly adjacent to a large existing

Mario Dos Anjos (fig.02) is the

tree as well as a planter of trees directly

altar, which has been given a

adjacent to the stage, both of them privi-

yellow tone. Similarly, in the Teatro

leging a view of human activity along the

Oficina, the presumed human

stage, demonstrating this affordance of

spaces are delineated with yellow

the plants’ view of the humans. (fig. 04)

draped fabric(fig.03) providing

through water and sunlight, demon-

(4) Humans as Machines, Plants as Expressive Beings

strated through the introduction of

By treating human behavior as a

a waterfall and access to open air.

machine-like process, the archi-

a light sheltering for the human, while the plants are given more support

tecture becomes dehumanized. In

(3) Trees as Observers of the Humans

the human occupation of space, as exemplified in Museu de Arte Moderna,

The fenestrations of Lina Bo’s work is

a rigid circulation is introduced (fig.

evidence of how the architecture is

05). Alternatively, the drawing’s trees,

TRANS-SPECIES HOSPITALITY, LINA BO BARDI

i

Figure 03

h

Figure 04

46

between outside and inside was blurred

ters are freely dispersed around the

(fig. 05). Outside, nature is thriving,

porch and adjacent landscape.

while within, it is austere. The reflected

COLLECTIVE

sculptures, and nonhuman charac-

ceiling plan emphasizes the concept

(5) Ornament of Nutrient and Energy

by creating an extremely bright interior space that has a similar lighting experi-

The use of blue is emblematic of the

ence to the exterior. When it comes to

attitude as nutrients, energy, and circu-

Teatro Oficina, a sliding roof is added,

lation for nonhumans. The sawtooth

as well as the concept of permeabil-

wall, the backdrop of the exhibition

ity concession. It suggests that the

space in Museu de Arte Moderna,

interior may be fully accessible to the

1982, represents the adjacent river

outside, transforming into the outside.

through blue tones, imbuing a quality

foregrounding the building’s very nutri-

(7) Linearity to break hierarchy

tional conduit. Additionally, in Teatro

Linear circulation and room organiza-

of movement and elevating nature by

Oficina, the scaffold, detailed as bundled tion was incorporated in both the Museu tubes or conduits of these nutrients,

de Arte Moderna and Teatro Oficina.

are rendered in blue (fig. 06), further

People are asked to strictly follow the

elevating this symbolic role of water and

planned route in the Museu de Arte

the needs of nonhumans to flourish.

Moderna, and there is no temporary room for them to linger over. In Teatro

TRANS-SPECIES HOSPITALITY, LINA BO BARDI

(6) Blurred borders

Oficina, a street metaphor is introduced,

In Museu de Arte Moderna, the line

in which people behave like water, h

Figure 05 i Figure 06

47

both cases, circulation reflects fluidity, which excludes the notions of temporary occupation and public gathering.

Lina’s architecture no longer places a premium on human concentration.

(8) Plants with a dominant role In the story of Casa de Chame Chame, the tree that inspired the design died when the

COLLECTIVE

constantly coming and going (fig. 07). In

[9] Welcome mat for all The stage’s central passage is formed by the linear wooden panels. It provides directional guidance for all animals and has the capacity for storage and waterways (fig. 07). As a result, compared to the cold finish next to it, the linear system breaks any possible hierarchy while producing a soft, gentle, and welcoming picture. Echoing the concept as a street, it could be the welcome mat for humans, insects, or plants.

construction ended. The big tree in Teatro Oficina has a similar personality in that it acts like a suffocating adult from a certain angle. It, on the other hand, sticks its head out the window, while the small children in the planter bed remain inside (fig.04). Within the theatre, trees play a dominant role; they have a better view and seating than humans, as if humans are performing for them.

TRANS-SPECIES HOSPITALITY, LINA BO BARDI

(10) Water as material and nutrient The water pipes on either side of the theatre hall flow into the floor in the project Teatro Oficina. As part of the curation, the water pond and pipes form an additional decoration pattern, highlighting its unique status within the building: an important nutrient for the hall’s owner (trees) (fig.08).

h

Figure 07

i

Figure 08

48

PATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER, STUDIO

Ruins have long been artifacts that remind us of the passage of time, not only a remnant of the past but also a fragment of the future. They provoke forms of imagination yet often the ruin is stagnated in its entropic transformation.

The Anticipatory Ruin Collective is rather considering the design for the Beach Lab of Violet’s Cove as: l

a material tectonic process, rather than a finite architecture.

l

a regenerative scaffold and form of care.

l

a platform for education and wonder.

This approach was provoked from observations of the site of Violet’s Cove and a curiosity in how the blurring of buildings and nature may start to offer pockets of wonder or unplanned combinations.

How could the design challenge the relationship of architecture to the nature collective in order to introduce another form of care and vibrancy for the community?

Advanced Architectural Design Studio Tei Carpenter, instructor Summer 2021 in collaboration with Ali ElSinbawy

The architecture acts together as a collective series of moments across Violet’s Cove. Previously identified zones of intervention are synthesized in the form of five different hosts following two tectonic logics: ground casting and cribbing.

The groundwork acts as a mitigator and indicator for sea level rise and flooding. Additionally, the groundwork remediates Violet’s Cove to synthesize with the broader Mastic Beach wetlands and ecology. It coalesces the various thresholds and hosts across the site, acting as part of the broader Mastic Beach revitalization to foster Violet’s Cove as a new educational device for the community and offer forms of meandering, without determined paths.

Rather than retreating with sea level rise, how can the architecture become a perch to engage with emergent ecosystems more intimately?

Recognizing how the site is situated within an overall strategy by the Conservancy, the design is imagined as a waypoint for the town. It is a place of education and engagement but becomes a form of open work with the community by questioning fixed programs with defined designations of space. h

View across new ecological park

COLLECTIVE

TECTONIC, ANTICI-

49 COLLECTIVE

(01)

(01)

(02)

(02)

(03) (03)

(04)

(04)

(05) (05)

f TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

Site Plan

h Hosts of Violet’s Cove (01) Lattice Shade (02) Trans-Land Crib (03) Oyster Dock (04) Accordion Cruciform (05) Totem Lighthouse

50 COLLECTIVE

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

h

Salt marsh actors and ecological associations

51 COLLECTIVE

Ground casting as Tectonic In regards to the specifics of the cast tectonic hosts, the mixture of concrete utilizes oyster shells as a sustainable aggregate and cement alternative. With the availability of oysters locally, the shells would make use of this waste material into a new material process and expertise for Mastic Beach community.

The site is made transparent through the process of fabricating the host.

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

h

Groundwork casting assembly

52 COLLECTIVE

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

h

Groundwork casting test and casting process

i

Further groundwork casting test for Lattice Shade and formwork

53 COLLECTIVE

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

j

1/4in = 1ft scale model Totem Lighthouse

h

Formwork

54 COLLECTIVE

Totem Ligthouse Borrowing from traditions of the dovecote, bird tower, the host acts as a waypoint for Violet’s Cove and Mastic Beach. The cast walls are placed in equilibrium with one another providing circulation for different bird species, a high perch for birds that inhabit the neighboring wetland areas.

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

h

Totem Lighthouse Axonometric

55 COLLECTIVE

Lattice Shade Operating at a threshold host between sand and high grass marsh, giving shade for native plant species that attract pollinators and other native insects.

Also, vertical sand cast walls provide openings and grooves for nests and perches for roosting, both birds and humans.

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

h

Lattic Shade Axonometric

58 COLLECTIVE

crate

stack

pile

modular

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

modular wall

modular stack

h

mass

Fish crib and oyster artificial habitat taxonomy

59 COLLECTIVE

floating, single

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

floating, double

pile

fixed

j

Floating dock typology Study

suspended

h

Floating Dock Taxonomy

60

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

j

Ecological Scaffold Concept Study process growth

COLLECTIVE

Architecture as Ecological Scaffold This idea of architecture as ecological scaffold was experimented through modular assembly of frames, utilizing dock as a series of modules and datums for various behaviors and habitations.

61 COLLECTIVE

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

j

Stacking Module Study 1:1 Section

h

Half Scale Joint

f

Stacking Module Study 2:1 Section

i

Crib Module Study

62 COLLECTIVE

Oyster Dock Inspired by the formal organization of modular oyster habitats, the Oyster dock provides water access between the existing ruined piles. There are three datums of behavior: the underwater oyster reef, porous metal mesh decking, birds perched on top of the cribbed structure.

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

h

Oyster Dock Axonometric

63 COLLECTIVE

Cribbing as Tectonic The second cribbing structure tectonic adapts a fish crib stacking typology. By utilizing a standard lumber, the 2x6 or other similar found members, the lightweight tectonic system may be reconfigured into a number of different organizations and scales. Kofun, a traditional Japanese technique of utilizing sea shells for end grain preservation, is deployed as a form of expression and identity for Violet’s Cove and modified through the incorporation of natural dyes.

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

h

Cribbing Tectonic Assembly

64 COLLECTIVE

Trans-Land Crib The host is articulated through its infrastructural affordances as a new stage backdrop, current salt marsh scaffold, and potential future marine habitat. Given the assembly malleability, the elevational relationship establishes and affords various human and more-than-human behaviors, perching, and disobedient appropriation.

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

h

Trans-Land Crib Axonometric

65 COLLECTIVE

Accordion Cruciform Engaging in forms of play at the threshold between land and water, this host has similar porosity and habitability.

Additionally, it acts as a dock for the proposed Blue Trail along the coast. The ramp acts as the carpet between the water and perch above the groundwork below.

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

h

Accordion Cruciform Axonometric

66 COLLECTIVE

(3)

(1)

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

(2)

h

Trans-Land Crib East Elevation

i

Fabric Forms: (1) ramp (2) sonic periscope (3) water collection

67 COLLECTIVE

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

h

Accordion Cruciform Longitudinal Section

68 COLLECTIVE

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

h

Site Section through Trans-Land Crib

69 COLLECTIVE

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

h

Site Section through Accordion Cruciform

70 COLLECTIVE

TECTONIC, ANTICIPATORY, RUINS, COLLECTIVES, COMMUNITY, WALLS, VIBRANT MATTER

j

Overgrowth Stages

h

Overgrowth and alt Marsh Restoration

73

Special thanks to my professors for your support and guidance.

END NOTES

Jana Berankova

1 Center for Disease Control and Prevention, “Coronavirus Disease 2019 (COVID19) in the U.S.” CDC COVID Data Tracker, https://covid.cdc.gov/covid-data-tracker/#forecasting

Tei Carpenter

THE MIRAGE CONDUCTOR, SIMULATION, RESOURCES, SEMINAR, WRITING

2 Dinnen, Jenny, 2013. “3 Ways You Can Use Census Data” Accessed October 29, 2020. https://www.mackenziecorp.com/3-ways-you-can-use-census-data-2/.

Sean Gallagher Andrés Jaque Josh Jordan

COPPER MINES, AQUACUTURE, INDUSTRY, TERRACING, GROUNDWORK, EXTRACTION, SEMINAR

Jonah Rowen

1 Seafood Choice Alliance, “It’s All About Salmon, Salmon Aquaculture”, 2005.

Accessed November 15, 2020. http://www.seafoodchoices.com/resources/afishianado_pdfs/Salmon_Spring05.pdf

Hilary Sample Enrique Walker

2 “Agar-Agar under Threat: Why Chile’s ‘Green Gold’ Is in Danger of Extinction.”

Accessed October 10, 2020. https://www.malaymail.com/news/life/2016/11/12/agar-agarunder-threat-why-chiles-green-gold-is-in-danger-of-extinction/1248375.

Mark Wigley

3 “Chile Export Data | Chile Customs Data | Export Statistics.” Accessed November 12, 2020. https://www.exportgenius.in/export-import-trade-data/chile-export.php.

AUTHORED BY JOEL M CULLOUGH

IMAGES

MASTER’S IN ADVANCED ARCHITECTURAL

fig. 01-02 http://www.institutobardi.com.br/ficha_desenho.asp?Desenho_Codigo=4275

C

DESIGN AT THE GRADUATE SCHOOL OF ARCHITECTURE, PLANNING AND PRESERVATION, COLUMBIA UNIVERSITY, 2020-2021

TRANS-SPECIES HOSPITALITY, LINA BO BARDI, SEMINAR, WRITING

fig. 03 https://www.metalocus.es/en/news/people-theater-teatro-oficina-lina-bo-bardi fig. 04 http://www.institutobardi.com.br/obra_lina.asp?Pagina=6&categoria=arquitetura fig. 05-08 https://www.metalocus.es/en/news/people-theater-teatro-oficina-lina-bo-bardi

NOISE, PROCESS AS DESIGN, GARMENTS, VIBRANCY, MATTER, BODIES, COMMUNITY, NETWORKS, DISOBEDIENCE, WALLS, MAINTENANCE, INFRASTRUCTURE, MATERIAL, FRICTION, TEXTURE, ROOFS, CARE, FUZZY VIGNETTES, C JOEL M CULLOUGH