Munise Aksoy '20 MArch Columbia GSAPP

di-alogues munise aksoy Columbia University Graduate School of Architecture, Planning and Preservation 2017-2020

portfolio

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ta b le of contents architecture, technology

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something of value: arTech

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culture containers: this museum

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social infrastructure: urban water charity

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the commonwealth: infrastructural housing

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the sharing room: brooklyn branch library

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on: game plan

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in: misfigures

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above: lines

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up: impact

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integrated design: greenpoint theater

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techniques of the ultrareal: artemas pavilion

m un i s e a k s o y

architecture, design 2017-2020 contact: ma3702@columbia.edu project: portfolio address: 414 west 121st st. New York, NY 10027 2

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di-alogue art + technology

arTech project: art creatives collaboration center adv IV studio: something of value critics: Galia Solomonoff - Solomonoff Architecture Studio location: 100 Clifton St. Hackney, London EC2A 4HT, United Kingdom team: Gin Jin

Shoreditch has experienced successful growth over the past 20 years due to the geographical proximity to central London, its affordability and easy access to public transportation. It is the creative heart of London and home to a large concentration of creative industries; particularly a cluster of tech based businesses.

A major part of Shoreditch was designated within the Central Activities Zone of the London Plan in 2015. In response to the city planning effort, the Future Shoreditch Area Action Plan was created to set out a vision for its future economic and sustainable growth while preserving local identity and affordability. The framework sets out strategies to drive tech-led regeneration in east London. arTech responds to this action plan with a design where a collective community of local art and tech creatives, and specialist retails thrive.

Programs include exible office space for tech start-ups as well as studios for artists, craftspeople and cultural producers, retail, and areas for community engagement. The idea is to showcase the art & tech production process as part of the shopping experience and where community spaces can be used to host events and activities for the general public. In addition, within the collective community, different modes of public engagement including observation, participation, consumption are created through spatial relationships.

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This prospering creative sector is also a major value for UK’s larger

art creatives in the Shoreditch community. Ultimately, by

economy. arTech’s program, therefore, is a proposal assuming the

integrating art and technology, this new typology will turn the

continuing growth of technology and recognizing the neglected

production process inside out and break the premise that, in

potential of art within Shoreditch. By identifying the visual and

21st century production, design and product must take place

formal production needs of local tech startups arTech is designed

at different locations and in the hands of specifically trained

to create opportunities for tech specialists to collaborate with

expertise.

MULTIDISCIPLINARY CREATIVE INCUBATOR FINDING THE INTERSECTION OF ART AND TECH

RAISE PUBLIC AWARNESS

MAKER LAB ARTWORKS GALLERY

CLASSROOM ENVIRONMENT

PRODUCTS DEMONSTRATION

CONFERENCE ROOM

ON-SITE CREATIVE PRACTITIONERS

TECH PROFESSIONALS IN THE NEIGHBORHOOD

PUBLIC OBSERVATION POP UP SHOPS AUDITORIUM

PUBLIC PARTICIPATION

OPEN DESKS AND TABLES INTERACTIVE EXPERIMENTS

STUDIO SPACE

PUBLIC GATHERING AMENITIES

PROJECTS EXPLORING INNOVATIVE TECHNOLOGY INCLUDING AI, ROBOTICS, DIGITAL AND PHYSICAL PROTOTYPING.

TECH START-UPS AND ENTREPRENEURS SEEKING CREATIVE ASSISTS INCLUDING CONSULTING, BRANDING, MARKETING, PROTOTYPING.

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PUBLIC ENGAGEMENT

PUBLIC CONSUMPTION

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scenario 1 10

scenario 2 11

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The design follows the connection of spaces of the

These two bands follow throughout the building wrapping

technical and artistic collaborative production process

around spaces and serving as a techtonic element; becoming

where two bands are generated; one for production and

wall, slab, hand rail and roof and different moments.

one for demonstration.

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fifth floor studios, art gallery mezzanine

second floor auditorium, office space, classrooms

third floor private offices, open office space

ground floor product demo, retail space, makerlab

fourth floor plan viewing studios, and indoor and outdoor galleries 16

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di-alogue body + space

this museum project: art non–institution adv IV studio: culture containers critics: Dominic Leong and Chris Leong - Leong Leong location: South LA Wetlands Park, Los Angeles, CA 90011 team: n/a

‘This Museum’ – as reference to artist Tino Sehgal, is a proposal for transforming an existing, obsolete bus yard into a non-institution – a home for performance artists where program is defined by not only production of performance art but also spaces for self-care that provide different sensorial or bodily experiences.

Museums today are designed for artwork; not for the body or of its experience. The idea is, therefore, to create a more intimate dialogue between the artist and the community of South LA, where the body is the focus. Performance artists will be able to invite their audience to their ‘home’ to experience their art in a domestic setting – within the kitchen, the garden, and the traditional performance theater – all of which are performances that performers or the community can take part in.

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Tino Sehgal’s works around using the body as a medium to create

social, practical); because each form is equally essential to

experiences rather than passive observations of monumental

the body. These programs as well as the need for people, of

objects in museums serve as a starting point for self-care in This

community skill in creating art, and bridging local skill sets for

Museum. By linking existing spaces of self-care located within

the production of performance art form the radical hospitality

the city, This Museum embeds a collection of all forms of self-

needed in contemporary museums.

care scattered throughout the city (mental, spritual, physical,

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The layout of each program forms a gradient from public to

Formal programs are interpreted as fixed (such as the housing

In plan, the carving creates pockets of spaces with seamless

Architecturally, the design peels away from the existing

private starting on the east end, where the main entrance is

portion and the spa) and informal programs are those that are

access throughout the building and without much obstruction

building and reveals the structure as if peeling the skin away

located, flowing through programs and ending up at the housing

more fluid, having the potential to spread out and spatially

for different types of bodies. While there are cross flows

from its bones. The visually remaining structure on the exterior

to the west end. These diagrams show the spatial connection

transform (such as the kitchen or the traditional theater area).

happening in between pockets as well as through a central

of the building takes life and act as a support for growing vines

and fluidity in circulation.

All of the spaces whether formal or informal have shared in-

spine circulation, all programs take place in one long space and

or simply as an overhang. From the inside, the structure is still

between spaces.

under one long roof.

visible on the ceiling and through the windows created by the carving.

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residential practical self-care

garden spiritual self-care 28

kitchen social self-care

spa mental self-care

performance theater physical self-care 29

production facility

di-alogue earth + comfort

urban water charity project: urban intervention adv IV studio: rural religious institutions as social infrastructure critic: Ziad Jamaleddine - L.E.FT Architects location: 25 Washington Terrace, Newburgh, NY 12550 team: Joud Al Shdaifat

Newburgh is experiencing a water crisis with its natural watershed being polluted and is dependent on a modern infrastructure. With Al ikhlas Mosque being strategically located next to the Quassaick creek, this project proposes to establish an urban water charity through utilizing and manipulating the topography of the institution’s neighboring partners. The manipulation involves the transformation and dispersion of the mosque’s various program to design with consideration of the seasonal and religious cycle of Al ikhlas Mosque and its partners without obstructing their daily activities.

Construction and growth of the site will be synchronized by phasing over a ten year period. Within the boundaries of the site, partners will contribute to the overall prosperity of the urban network at different capacities through redistribution of land use in order to allow for sharing of water, agriculture, and space. The diversity of the larger community will keep the site active year round as the mosque and its partners make use of the multipurpose spaces at their own seasonal cycles. The goal is to extend the opportunity to be outdoor during multiple seasons by using environmental entourage as architectural elements to block wind and trap heat.

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timeline of congregation locations 1986 - architectural scale domestic imam’s home

1986 - architectural scale commercial hotel

1987 - architectural scale domestic imam’s home

1987 - architectural scale institutional NAACP

1988 - urban scale outdoor downing park

1988 summer - urban scale / outdoor / downing park 1988 - urban scale commercial storefront

The community became visible for the first time when it congregated at Downing Park in the summer of 1988. They brought their prayer mats and blankets with them, creating a picnic like atmosphere visible to the city. This information, coupled with knowledge on typical Muslim communities, suggests that building is irrelevant to the community and its rituals. It is the community that is of centralized importance.

1992 - architectural scale warehouse

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The existing warehouse went through an expansion

The prayer halls are gender segregated with men at

in 2007 to accommodate the needs of the communty,

the lower level and women on the second floor.

including more prayer space and a multifunctional event space and kitchen.

Newburgh Ministry NAACP Al Noor Islamic School St. Lukes Hospital Habitat for Humanity

Homeless Shelter

The culture of congregation in Muslim communities is

The community of Al ikhlas mosque, similarly, grew over

what thrives the community. Over time the mosque has

the course of years as they welcomed people of different

turned into a place not only where religious rituals take

backgrounds and embraced this diversity in their

place but also community events.

corporate structure as well. The current board consists of ten people - six men and four women - who are of eight different nationalities.

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20% Multipurpose / Social Space 80% Religious Space

The building is dysfunctional given the discrepancy of

is underutilized on an average day. This space is

the distribution of program. The smaller multipurpose

critical because it also ties the community with the

space is most utilized while the larger religious space

city and its partnerships.

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As a non-profit organization, the institution runs on community cooking for events with no reliance on mass produced food. A small garden on-site supplies about 20% of food needs for events while members take turns making up for the remaining 80%.

Overall the institution has a dynamic social, programmatic, religious, and seasonal cycle that can

be developed spatially

and functionally to accommodate this dynamism.

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For event catering and religious purposes, water is also an essential

Given that 2-9 liters of water are used per person when performing

element. The site’s proximity to the Quassaic Creek nearby is a

ablution before prayer, there is potential to harvest triple the

starting point to generate a way to collect water on site to be used

amount of water needed in a year in just a month. This is a critical

for not only food but also a ritual cleansing done before prayer.

moment for keeping in mind the heritage of Islamic communities

Yet, is water is problematic to this location because Newburgh’s

and their adopted responsibility to service the greater good.

water is polluted by the nearby airport. The city is dependent on a modern infrastructure as opposed to the already existing natural

The Al ikhlas community’s already present environmental, social,

watershed.

religious, and programmatic dynamism can be enhanced by turning it into an urban water charity.

3-6 million liters of water fall within the site’s boundaries in one year (advanced hydrologic prediction service, AHPS, estimate).

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Dec 2019

Voluntary Fasting

Nov 2019

Nov 2019 Ramadan [2006] Voluntary Fasting Eggplant Harvesting

Oct 2019

Phase 2 - Closing Washington Terrace and Collecting Water from Partners

Phase 1 - Digging Pool Around Mosque Feb 2021 Voluntary Fasting

Mar 2021 Mar 2023

OnionHarvesting Voluntary Fasting

Apr 2023

Phase 4 - Constructing Outdoor Mosque

Phase 3 - Expanding Agriculture and Fragmenting Social Space

Apr 2025

Apr 2027

Onion Harvesting

Onion Harvesting

Voluntary Fasting

Voluntary Fasting

May 2025

Phase 6 - April 2027 Converting Mosque into Filter Machine

May 2027

Phase 6 - Converting Mosque into Filter Machine

Phase 5 - Constructing Alternate Multifunctional Space

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PHASE 1

PHASE 2

OCTOBER 2019 – the first change will be digging out the circumference of the mosque and using that as a reservoir for water collection from only the mosque’s site. This change will also inform current and potential partners of the beginning of what will become a larger transformation.

NOVEMBER 2019 – the street will be closed off from where the mosque’s lot begins to where neighboring gymnasium’s lot ends. This portion of the street provides parking access to partners north of the street on their rear lots.

Although the street provides access to these partners, their parking will be relocated to the oversized parking lot of Newburgh laundry.

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PHASE 3 FEBRUARY 2021 – This date marks the first fragmentation of the mosque. The multipurpose social space within the second floor of the mosque will relocate along with the agriculture.

In return, each partner will receive water that is harvested on the mosque’s site. Closing off the street is a radical change but necessary in order to maximize collection of water that is not contaminated with pollutants and oil spills from vehicles. This phase will involve manipulation of the ground to direct water to flow into the created reservoir. (A majority of the topography already directs water to the site naturally).

The planters in the agriculture spaces will grow the most common of the plants in the seasonal diagram.

The social space will be located on a natural dip existing in the topography while the land transforms into difference uses such as ramps, storage or seating.

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PHASE 4

PHASE 5

PHASE 6

MARCH 2023 – The reservoir will occasionally flood and cause the mosque to be dysfunctional. By necessity, the mosque will relocate beyond the confines of the lot.

The negative instance of flooding will become an agent for positive change.

APRIL 2025 – To date, the mosque will have relocated its most utilized spaces. During April of 2025, an alternate smaller multifunctional space will be constructed for more intimate and sports related events and to accommodate for the mosque’s continually growing community.

APRIL 2027 – With all program removed from the pre-existing structure, the skeleton will be converted into a new drinking water filtration system sitting like an installation within the old shed. Water collected on site will be cleared of contaminants and distributed back to partners.

With each phase, the goal is to break the premise that users need to live in constant comfort at all times.

Therefore, it is critical to design for multipurpose use while being strategic about how the architecture can help achieve different moments of comfort.

Like the social space, the mosque is also a semi-enclosed space that can be used during different seasons; open and airy in the summer with gutters and parapets for water drainage as well as greenery growing on the greenhouse structure. In the fall/winter the green house roof of polyethylene will trap heat for adequate comfortable space.

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di-alogue housing + waste

infrastructural housing project: housing core III studio: the commonwealth critic: Galia Solomonoff - Solomonoff Architecture Studio location: Claremont Parkway & Third Ave. Bronx, NY 10457 team: Allison Fricke

There are 14 million tons of waste discarded per year just in NYC homes, schools, streets, and construction sites, presenting an inevitable problem of waste. This project purposes using discarded recyclable materials, specifically ceramics, as an acknowledged benefit for its dwellers rather than a taboo that views this material as waste. A program of ceramic production and repair is embedded in the housing and acts as a catalyst for community-building and customization of homes.

The process in general draws from existing clay-based materials discarded in demolitions throughout the city. For instance, decorative terra cotta elements removed by building owners (under Local Law 11) might be brought to the complex for repair and reuse, or ground down and reused as particulate matter in new terra cotta elements.

However, the program is conceived as a catalyst, and therefore as a series of adaptable production spaces, which might be used in a more tech-integrated sense such as in photovoltaics or aeronautics.

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studio apartments 550 and 485 sq ft kitchen counter 1 bath

1 bedroom apartments 730 and 600 sq ft kitchen counter 1 bath

2-3 bedroom apartments 1,365 sq ft kitchen counter 2 full baths 1 bedroom

2-3 floor townhouses

The units are designed as a basic unit that ought to be

These units are shown projected into the future, where

2,295 and 1,220 sq ft kitchen 2 full baths 1 half bath 1 bedroom

customized. The central spine units, for instance, are all

different kinds of households with different needs are able to

constructed with a wet wall (kitchen and bathroom aligned)

harness the flexibility of the unit and the on-site resources to

and one bedroom.

design the units according to need.

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second floor

1 bedroom apartments ground floor

2-3 floor townhouses

studio apartments 2-3 bedroom apartments

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The ceramic production contains several components, the most visible of which is the kilns. There is a larger one

The central role of the ceramics in the life of the complex informed the decision to position the work spaces

intended for more building-grade materials and a smaller set intended for more individual ceramic production.

centrally and embed vertical circulation cores in these spaces. Therefore, resident routes from street to home requires passage through the ceramic work spaces, turning them into shared spaces of material production, creativity, learning, and community-building.

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seventh floor 2-3 bedroom apartments

third floor 2-3 bedroom apartments, outdoor communal space

sixth floor 2-3 bedroom apartments

second floor 2-3 bedroom apartments, 2th floor of townhouses, 1 bedroom apartments

fifth floor 2-3 bedroom apartments

ground floor lobby, ceramic studio, gym, classrooms, laundromat, outdoor communal spaces, townhouses, 1 bedroom apartments

fourth floor 2-3 bedroom apartments

The central spine units are lined up along a single loaded

Wet walls within apartments are placed back to back

corridor that looks over the outdoor open area around the

to maximize efficiency. This allows for entrances of

kiln. As residents walk through the layers of production

two adjacent units to also be placed near each other,

to their homes, the kiln stays visible to all apartments

enhancing the neighborly nature of the side-by-side

within this central area.

apartments.

below grade ceramic production (building-grade materials) and repair 54

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The ceramics production and repair also embeds in the project at a more granular level. Clay-

The ceramics create a connection between the homes, a proxy for shared experience, cultural

based products will help residents customize their homes, as tiles, ceramic objects (lamps,

values, and communal living. It creates a position which upholds the idea that housing is not

bowls, sink bowls, etc.), even customizable facades and high-tech ceramics.

enough as a point in departure.

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plan - ground floor ceramics studio & kiln

plan - ground floor ceramics studio & kiln

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plan - second floor townhouses and 2-3 bedroom apartments

plan - second floor townhouses and 2-3 bedroom apartments

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di-alogue platforms + sharing

brooklyn branch library project: library core II studio: the sharing room critic: Gordon Kipping - G Tects location: Fulton St. Brooklyn, NY 11201 team: n/a

This project explores different means of information exchange and how this transfer of information can be rooted in connectivity.

One attempt to rationalize spacial arrangement is through determining factors to organize program by. An overlay of all arrangements can create an organization that is in harmony with all factors, turning the building into a living programmatic library; one that is rooted in connectivity, flexibility, and temporality.

Flexibility of program within the building is presented as sharing of rooms. Architecturally, the sharing happens in the form of revolving, folding, and flipping walls at the thresholds of these spaces.

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backup wireless storage music books photos movies radio

wireless connection internet connection cable connection apple store podcasts audio books tv shows

wireless connection internet connection voice recognition assistance

wireless connection map server

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program size

relevance

public/private

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noise

mood

light

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adjacencies

library

entertainment

maintenance

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stacked

juxtaposed

weaved

multiplied

inverse stacked

interlocked

service

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fourth floor study rooms

second floor stacks, study rooms, auditorium seating, staff lounge

third floor stacks, private study rooms, outdoor balcony

ground floor front desk, cafe, auditorium, community rooms, offices

second floor plan viewing stacks, private study rooms, theatre, and staff lounge 70

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di-alogue 2D + 3D : plan

game plan project: waterfront core I studio: “ON� critic: Carrie Norman - Norman Kelley location: East River Park Field, New York, NY 10002 team: n/a

Project Game Plan is about creating a dialogue between a two dimensional and a three dimensional drawing and utilizing thresholds created by basic overlapping geometries. It is not necessarily about designing a form but, rather designing a process/ language that generates that form.

Dialogues are numerous; so too, is the outcome of this concept.

The use of a grid system throughout the development of the form presents a very neutral and rigid direction, yet offers a loose design flow in how the translations shape the three dimensional views.

The freedom of play allows for opportunistic moments within the created geometric layout to turn a pier into relaxation grounds and escape from the busy city life.

Project Game Plan is a continuous development working back and forth in plan and section, in 2D and 3D, and in detail and as a whole; and following a prescriptive process to generate an ambiguous design.

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The workflow is based off of a 200’ x 200’ grid/parameter set forth by the

Introducing and overlapping new geometries brings a freedom of play within a neutral and rigit

brief, followed by a subractionof geometries from that grid.

system. The process is, thus, prescriptive but the outcome is ambigous.

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di-alogue 2D + 3D : section

misfigures project: subway station core I studio: “IN” critic: Carrie Norman - Norman Kelley location: E 14th St (between 1st Ave & Ave A) New York, NY 10009 team: n/a

Misfigures is an attempt at understanding the term ‘threshold’ through a series of vignette studies. These vignette studies are based on overlapping basic geometric shapes. A careful analysis presents infiitely many ways of reading and misreading in between a two dimensional drawing and its visualization in the third axis.

With this realization, the project becomes a matter of developing a strategy of language and finding opportunity in the mistranlsations of a two dimensional drawing (plan) and a three dimensional object (section).

Shifting from working in detail to envisioning section as a whole and revisiting two dimensional drawing to continue developing a mechanism further focuses on how a certain language can be applied in a new instance. Misfigures, thus, is a continuous development working back and forth in plan and section, in 2D and 3D, and in detail and as a whole; and following a predetermined language in between two phases while analyzing threshols that separate the two.

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vignette studies in 2D

vignette translation in 3D

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The vitrines act as thresholds that can be interpreted as a The journery of lost & found becomes an adventure explored in section

divide for observers to combine spacial fragments into a whole

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di-alogue corner + sidewalk

lines project: corner installation core I studio: “ABOVE” critic: Carrie Norman - Norman Kelley location: 14th st and 9th ave, New York, NY 10014 team: n/a

Project Lines is an evolution of Sol Lewitt’s ‘Variations of Incomplete Open Cubes,’ a collection of 122 frame structures presented as deconstructed three dimensional cubes. Each projected cube includes a minimum of three edges to a maximum of eleven, keeping the cube open and still three-dimensional. Given this, observers are able to mentally visualize the missing edges and reconstruct the figure.

This project advances Sol Lewitt’s study by presenting its lines (edges) as frames, lines as structure, lines as surface, lines as plane, lines as shadow, lines as void, and finally, lines as hinge. The idea is to create incomplete spaces and define their spacial boundaries through the deliberate movements of ‘lines.’ The corner at 14th st and 9th ave has heavy pedestrian movement and thus the audience is the public. Tthe lines will be human operated yet restricted to a predetermined path that will not exceed the limits of the sidewalk.

The interaction between the observer and the moving lines will create variations of space and shadow in a single installation throughout the day.

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loosened

continuous

juxtaposed

congested 94

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di-alogue air + mass

impact project: flying object core I studio: “UP� critic: Carrie Norman - Norman Kelley location: n/a team: n/a

Impact is about animation; an initial form and a final form. Impact is about a hard landing and its consequence of a surprise element.

It is about acceleration and a comparatively graceful ascend after its crash down.

It is a pyramid with supporting harnesses attached to the tip of each triangular plane and that meet and the center of the base.

These four harnesses combine at the base into a single element.

They assist in keeping the initial form when the harness is pulled from below.

With a gradual release of the supporting harness from below, Impact, too, gradually unfolds. This motion softly loosens the transparent, folded contours between the four planes. The form is in final position when this lithesome material can no longer unfold based on its strategic design intended to prevent the planes from dropping lower than 30°, trapping the surprise element.

Impact is fulfilled with meaning when it is launched and hits the ground, releasing the surprise element with this crash and consequential bounce back in the air.

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di-alogue systems + design

greenpoint theater project: theater tech IV: integrated design - building critics: Sarah Kahn - Agencie Architecture & Engineering PC Nicole Dosso (ARCH) - Skidmore, Owings & Merrill Bob Kearns (MEP) - Derive Engineers Enrica Olivia (SE) - Werner Sobek Erik Verboon (ENCL) - Walter P Moore location: 18 Greenpoint Ave. Brooklyn, NY 11222 team: Lihan Jin, Yanni Wang, Chenyan Zhou

Greenpoint theater is a capstone project that applies knowledge of technical systems through design, development and integration.

It involves a complex synthesis of building components and processes into a whole while giving careful consideration to access and exchanges (circulatory, visual and energy), between programs.

This multi-program urban theater building is refined through drawing iterations and developed from conceptual design to construction documents in typical project phases. Structure, environmental systems, enclosure, mechanical, electrical and plumbing systems, lighting, materials, life safety, fire protection and assembly sequences are developed with the idea that “a wellintegrated building is also an efficient one, an elegant one, and most importantly, one that gets built.�

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The project is designed to serve as a hub for the city of

Flexibility in the project is presented in the theater wall

Brooklyn. It is a nest for gathering at the end of a busy day.

behind the stage, proposed as a long span operable facade

While the envelope of the building takes on a rectilinear

that provides cross circulation between the auditorium

geometry that blends in with the surrounding context, the

and the adjacent park. This flexibility allows the theater to

auditorium establishes a more sculptural profile designed

serve as a venue for outdoor performances and opens the

as a unique suprise element within a hard-edge exterior.

stage for additional audiences.

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The envelope design aims to embrace the current

performance as required by different program usage.

industrial expression of the site. Perforated metal

The details of the transition in material from perforated

panels as exterior cladding will blend the theater

metal to laminated glass where the facade curves in to

with the urban fabric. Openings are carved out of

form an entrance plaza is illustrated below.

the opaque facades to achieve higher day-lighting

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Though there are several accessible routes to the

The curved wooden walls of the auditorium also

auditorium from different levels, the grand staircase

require intricate assemblage. The custom veneer

route gives visitors a full experience of the atrium. The

wood is attached to steel braces that are fastened to

staircase is supported with exposed architectural steel

steel beams. The floor plates are composed of marble

hangers that are attached to the trusses on the ceiling

finish, a cement equalizer layer, 3” concrete slab and a

in the fourth level. The staircase has a hardwood

metal deck resting on the beams.

MARBLE FINISH

finish much like that of the ‘nest’ and gradually blends into the auditorium.

METAL DECK W7X307

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di-alogue modeling + representation

artemas pavilion project: pavilion visual studies: techniques of the ultrareal critics: Joseph Brennan - Moment Architecture Phillip Crupi - Ideation Consultancy Inc location: n/a team: Alexandros Prince-Wright, Yoonwon Kang

With the abundance of 3D modeling software and the ability to see every angle of a project instantaneously, renderings are often a last minute tool for representation.

Using V-Ray for 3D Studio Max as the main engine for exploration as well as post processing software, and 3rd party plug-ins, ultrareal renderings should not only serve as a method of presentation but also as tools for design exploring color, light, material, reflection and opacity.

Artemas pavilion is an ultrareal, architectural exploration considering such components in order to capture an entire contextual synergy in the design process rather than as a closing statement.

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m un i s e a k s o y

architecture, design 2017-2020 contact: ma3702@columbia.edu project: portfolio address: 414 west 121st st. New York, NY 10027 112