Stephanie Bigelow '20 MArch Columbia GSAPP

Sunken

Enclave

Stair Seating

D

Double Ceiling

Roof Seating

Enclave Tiered

erstephanie bigelow

Peep Hole

Enclave SHORT

Colonade

ROUND

ror Floating Vegetation

Step Up

Pinch

12 35 58 2 24 46 6 4 21 39 62 10 27 49 CORE TWO: TRENDLAND GORDON KIPPING

CORE ONE: UNDER EVOLVE CARRIE NORMAN

TECH THREE: GPA SARAH KAHN

CORE ONE: ON DOUBLE PLAY CARRIE NORMAN

ADVANCED STUDIO FOUR: AFTERLIFE LINDY ROY

HOUSING: HUMAN + MACHINE MARIO GOODEN

TECHNIQUES OF THE ULTRA-REAL CUBED GARDENS JOESPH BRENNAN + PHILLIP CRUPI

MAKE OPPOSITES GIUSEPPE LIGNANO ADA TOLLA

TECH FIVE: NET ZERO ART CRAIG SCHWITTER

CORE ONE: IN SYMBIOSIS CARRIE NORMAN

CORE ONE: ABOVE REVEAL CARRIE NORMAN

RADICAL FUNCTIONALISM LUIS CARRANZA

ADVANCED STUDIO SIX TAKOTSUBA SARAH DUNN + MARTIN FELSEN + GEORGE LOURAS

ADVANCED STUDIO FIVE ROGUE RANCH JIMENEZ LAI + MIKU DIXIT

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core one

e-

carrie norman

volve

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Evolution is an exploration of movement above and along a body of water. Its ability to float allows for its twisting tower to use its upward release to propel the device forward in a sequenced twisting motion.

There are two stages to the device. The first is when the tower is compressed. This is when the three levels are twisted and stacked on one another, and then placed into the water.

The second is the release of the springs. Initially they held the tower’s levels down, but when placed in the water and the weight that held the strings down is released, each level rises to a specific height limit. The limit is determined by the length of the string that is systematically placed in diagonals to catch each level after the release occurs. Once the levels have reached its limit the tower completes its growth. Finally leaving the tower fully evolved after the third level is caught by its strings.

While the levels are moving upward, the twisting from its initiation untwists and moves the device into a spinning motion. Each level pushes the device further along the water moving it between three segmented stages. The device receives its energy through the motion of the releases and the loading/release of the twisted springs.

The ripple effect of the water displays the device’s kinetic twisting. It slowly snakes along the top of the water leaving behind an arc of ripples during its three stages of evolution.

Evolution heavily relied on its device’s twisting motion demonstrated by the strings and springs in order to create energy to propel it into motion.

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core one

re

carrie norman

veal

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In ancient times the hinge was a sacred piece of architecture. It only appeared on temples and palaces for the utilization of ‘the chosen’. Throughout human history the hinge transition to a more domestic use. During the peak of the blacksmith profession the hinge became a commonly made object, which made it affordable for all social classes. During colonial times in America the hinge encountered an aesthetic and function transformation. People began to explore ways to make more in a shorter amount of time and to be able to stand larger amount of weight transfers. During the time of the gold rush, more people began to move West to find gold. This movement required efficient tools to stand the test of stress that these peoples were about to encounter in their journey westward.

The hinge supplied the ease of motion, allowing weight to be transfered more fluidly and easily. Women and children could now take part daily routines that before only the men had the strength to do.

In today’s world, we encounter hinges in almost every stage of our routine. Imagine if we had to roll a giant stone away to exit our homes, or lift large pieces of material to retrieve our goods stored behind them, or having to hold all our belongs in the back our car so they do not roll out along the ride. Instead we have front doors that hinge in the entrance of our homes, cupboards that hinge to store our belongings behind, and trunks with hinges to keep our belongings in our cars. These encounters with the hinge today are no longer a luxury, they are required for us to move into our day more fluidly.

do not roll out along the ride. Instead we have front doors that hinge in the entrance of our homes, cupboards that hinge to store our belongings behind, and trunks with hinges to keep our belongings in our cars. These encounters with the hinge today are no longer a luxury, they are required for us to move into our day more fluidly.

So how do we re-reveal its brilliance once again? In (Re)veal, the hinge plays a prominent monumental focal point in the fold-able corner at 1 Union Square West. It’s hinge locations and the directions each of the hinges allow movement make the corner into a fold.

At the intersection of 14th and Union Square West there are three buildings whose corners frame the intersection and a lack of corner due to the park. The site has a common theme of elements amongst it’s building’s facades that connect to transferring weight loads.

On the northwestern side the building displays a sequence of arches. The southwestern building exposes two-story columns at its entrance. And the third building on the southeastern side is made up of three varying volumes that constructs its structure and appearance.

The theme of weight transfer was both prominent in the history of the hinge as well as the analysis of the site. Leading to exploring how to create a corner that transfered the most weight with ease of effort.

Through the practice of kirigami, I used paper to explore a corner that could lay flat, fold into three-dimensions and smoothly move into two positions based off its folds. This lead to a monumental hinge apparatus that created both interior and exterior spaces that interacted with the current sites heavy circulation path.

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core one

sym

carrie norman

biosis

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Symbiosis explores the notions of what it means to reach the final destination. While examining the site, it was important to question what constitutes “there,” this project focuses on three different types. The first being the idea of reaching the station to board a train. This ‘there’ becomes a node, a mere connection to a larger system that one must take in order to reach their desired destination. The second ‘there’ was for people watchers.

There are a collective group of people who choose to spend portions of their days in the chaos of the transportation hub, whether they are playing music, people watching, meeting a friend, wondering the space; the station begins to be a communal space. The third is it is used as a shelter. When it begins to rain we see an influx of people descending to the underground. As well as when it snows, the wind is powerful, or you need a place to rest, the platform becomes a moment of pause for individuals.

The project utilizes at catalogue of archetypes that depict different spaces based off the ‘there’s’ that were discovered in the analysis. This created an encyclopedia of options for the program to choose from based off what is need where in order to make an exciting experience for the users. The catalogue is broken down into: acoustic rooms, shelter rooms, observation pauses, and vegetation platforms. These space operate independently but when joined together creates a dynamic space for users to interact with the three systems of ‘there,’ thus encouraging longer stays, more entertainment, and more options for shelter.

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The catalogue also allows for flexibility in site location. This system could be implemented city wide, which would change the dynamics of the subway station. By implementing a blurred line between the street scape and the underground safety is promoted as well as air circulation and lighting underground.

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The catalogue displays multiple choices with multiple categories allowing for certain systems to play off one another to create more dynamic spaces. The acoustic options, such as the echo chamber, paired with an observation option, such as the stair seating creates a resemblance of a mini concert hall underground. While the rain shelter combined with a vegetation option allows for a more tranquil waiting area; and the rain run off waters the plants! The combination of two or more allow for stronger programmatic spaces.

Symbiosis provides mini iterations of programmatic spaces that already exist in the current subway station, however the design elevates these spaces to become more focused on the individual ‘theres’ to provide pockets amongst the daily chaos of the underground subway.

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core one

double

carrie norman

play

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During the 1930s and 1940s the East Side was home to a speakeasy frequented by Al Capone and his mob. The notion of duality in the archetype of a speakeasy revealed a masking of debauchery in plain sight. Double Play explores the possibilities of what a spea easy could be today. Double Play juxtaposes a child’s playground with a night club. This enables a 24 hour play pier. The time of the day dictates which program is utilized. The day being more virtuous, allows for the child’s playground to thrive while the sun is up. Whereas the night, being more tied with vice, gives the nightclub the ambiance it desires. Can a playground for children also be a play ground for adults? The ordinary playground elements allow for the children to play in a already known environment. The plan ofthe pier gives new life to the playground. It is designed with

ence within space while allowing them to experience different programmatic activities based of where they are on the pier. At night, the elements of the playground stay the same, however the program of the pier changes from child-like play to adult like play.

The jungle gym becomes a VIP lounge, while the monkey bars transform into go-go dancer platforms. The swings become an area for the smokers and the maze transforms into a line that encourages crowd observation. Double Play explores the duality of ordinary architectural elements. Rather than designing a completely new archetype or evolving one that already exists, this project chooses to expose potential combinations of duality using the time of day to decide how the elements change in attitude. Just as the speakeasy was hidden in plain sight, Double Play hides it’s opposite playground based of the time of the day.

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trendcore two

land Gordon Kipping

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Trendland is a library that is ever changing. It reacts to the downtown Brooklyn public through technological learning algorithms and thus curates itself based on trending topics.

Similar to the Amazon warehouse organization in the 1990s, the subjects with the largest density of interest are located nearest the entrance. If a less popular topic becomes popular quickly the building reorganizes and creates spaces that allows users to physically interact with the theme.

The building has a restaurant that could introduce new chefs, a gallery that could bring in upcoming or well known artist, a cafe to explores drinks and small bite trends, and an auditorium large enough for concerts and lectures.

The library itself includes a collection of physical and digital archives that make it easier to access topics in individual areas of the an open space.

The stacks pivot amongst a grid within the library floors in order to allow for multiplicity in spatial capacities designated to a booming trend. These areas become the most flexible and allow for renewal.

The site calls attention to a new pedestrian focus street, thus illuminating the potentials of an active public square at the western tip of the site. This space is overtaken by the library to insinuate the activity happening within it. Notifying passersby that the building;s contracting and expanding relates to events occurring within the building.

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The studio explored past libraries in order to dissect circulation, stacks, supplemental program, space planning, and architecture.

Conor Barry and I chose Jussieu Two Library by OMA from 1992.

The site was located in Paris along the Siene, and though never completed, the project became a new approach to library design.

We chose to explore the building in plan and axon due to it’s continuous floorplates ramping from ground floor to the top of the building. Though only five stories in height, the continuity of the floors made the building feel like there were more floors.

Library Spatial Configuration

Circulation

Elevators, Cores and Escalators

Program

Program Density

Work Spaces

Stacks

Open Space

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By recreating the floorplans a new perspective of floor connectivity and circulation emerged. The thick black cuts on the plans are where the floor above is meeting the current floor. Sometimes it is long, or short, or curved.

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Trendland was inspired

by Amazon’s warehouse circulation developed in the 1990s. By combining robotics with fixed movement in order to allow a space to expand and contract could create more flexible spaces inviting the users to return to an whole other library.

The flexibility is fundamental in trendland because the building transitions when a topic peaks in the social sphere. It then becomes a physical place to explore the topic and experience it first hand. This promotes community engagement and supplements as a learning tool for the surround neighborhood 16 and universities.

The new design would project into the pedestrian-only plaza and engage with it using various technologies depending on the trend. The detachment from the block allows 360 circulation around the building, and creates four dynamic public spaces for the community. By drawing off existing neighboring buildings the site lines remain in rythmn with the context.

The program has three fundmantal focuses: Library, Leisure, and Production. These create innovative, mixed use environments for the users on open floor plans to allow for people to see what others are interested in. Production includes working pods, community tables, auditorium that is also a theater, private work rooms and librarian offices. Pair this with stacks that pivot in order to expand and contract spaces depending on the number of people interested and coffee shops, book stores, exhibition space and virtual reality pods, the user can dictate how to consume the information as they like.

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greenpoint

Sarah Kahn

performing arts tech four with Christine Giorgio, Jacob Karasik, Gwendolyn Stegall

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The Greenpoint Performing Art Center was a group project by LUX. The member of LUX were Christine Giorgio, Jacob Karasik and Gwendolyn Stegall. The objective of the project was to create a dynamic performing arts center for alternative performances.

The theater was designed to be transformed and reconfigured due to the program of the event occurring.

We structurally experimented with cantilevered floor plates and an exterior glass massing that merged with the larger theater massing.

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The exterior massing was comprised of glass and cutting edge photovoltaic technology that would generate electricity for the building. On the roof we designed a vegetable garden that would fuel the restaurant on the ground level, inviting the guest to eat locally before their event. On the second floor there is a bar that was designed to take advantage of the waterfront and Manhattan views, making it a destination for locals and visitors.

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net zero

Craig Schwitter

art tech five with Christine Giorgio, Elisa Carvalho, Caitlin Sills

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The project proposes an artist-centric community on Governors Island. Establishing new studio facilities among the historic homes, Net Zero Art will offer subsidized living and working spaces for artists. The island’s location provides an opportunity for a fundamental node in the city’s fabric. The proposal sees the isolation and ferry-based transportation of Governor’s Island not as a negative, but as a value, encouraging a tight-knit community that remains connected to both Manhattan and Brooklyn.

Artist migration patterns show that this group is constantly being pressured to the outer edges of the city’s boroughs. By providing acreative and affordable place for artists within the city, New York will continue to be an innovator in emergent culture.

The island is designed to be self-sustaining --collecting rainwater, solar and tidal energy and redistributing it throughout the island. In New York State, up to 10% of total electrical energy generated is lost in transmission and distribution networks before getting to the customer. The proposal envisions an island-wide system enabling energy and water independence as well as local power generation and distribution. This community microgrid not only provides energy and water from renewable sources, it also connects artists in thoughtful production and consumption of those resources. A dynamic mix of different artists, working in different mediums, co-mingle in programmed

adjacencies designed to foster symbiosis.

The building systems also engage in an exchange when adjacent programs share resources like heat, water and electricity.

These concepts manifest architecturally as the roof, bridging artists and programs, performing acts of sustainability and contributing to the creation of micro-climates. This final element realizes a community where artists can connect -- challenging the emerging artistic diaspora and reestablishing their collaborative force.

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human +

mario gooden

machine housing studio with conor barry

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Cross section of The Bronx depicts movement, sound, nodes, and machines at various times of the day and night. This cross section was completed by the studio as a group, each pair contributing a section.

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Technology is now an integral part in how we experience our routines. Particularly in domesticity we find ourselves interacting constantly with smart devices that supplement, what is now, a way of life. Though generations before us might have had machines that washed the dishes or completed the laundry, today we have machines that blur the lines between the global and domestic realms. Therefore you may be physically in one space while mentally in another, thus transporting one’s states of consciousness between the public and private worlds. This project challenged how housing would evolve if smart devices monitored and learned the routines of the its users.

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The surrounding context of the site shows the opportunity to connect the Cathedral Parkway commercial corridor with the 3rd Avenue commercial corridor by creating a diagonal walkway through the middle of the site.

Raising the southwest and northeast corners allows for the program to be tucked under park space and for the residential units to be lifted off the street.

This creates a subtle boundary between the busy streets and allows for new park space. The cafe on street level connects by second floor to the community center, creating a direct link from commercial in the neighborhood to commercial for the community. Community foodbased gardens will be dispersed around the site intertwining with pathways that will allow the residents to pause, walk, and play.

Our site is located in the Bronx neighborhood of Claremont. The block is within the north-south streets of Claremont Parkway and E 171st St., and east-west streets Third Avenue and Washington Avenue.

The block allots about 142,000 square feet of space, and the zoning is R-7 requiring lot coverage of 6580% maximum. In the north east corner of the site there is a current commercial overlay of C1-2 and

C1-4. Commercial overlay C1-2 allows for adjacent commercial use typical to residential zones such as restaurants, grocery, laundromats, etc. And commercial overlay C1-4 allows zoning for funeral homes, churches, etc.

The site is in census tract 169 having a total of 489 housing units available as of 2010, 471 of the 489 were occupied.

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Woven into the urban fabric are supplemental machines that we, the users, rely on to signal us, direct us, transport us, and entertain us. They have become fundamental to our existence as a species.

If architecture is the physical manifestation of humans’ dominance over their environment then the intricate network of machines that underpins modern day life is the foundation of that control.

From the scale of the smartphone to the subway, machines have changed the nature of how humans interact with each other and, crucially, with the space in which they exist.

The vast majority of housing initiatives today could have existed ten or twenty years ago but if the way we live has made such a dramatic shift then the way we design for living should make a similar leap forward.

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So what effect has this had on the domestic experience? With the ability to communicate with anyone in the world at the touch of a button the limits of our livable sphere extend far beyond the four walls and a roof that constitute the traditional notion of “home.” If spatial experience is linked to a person’s state of consciousness, a hypothesis that emerged through our study of the unconscious and heterotopic moments of daily life in Doug Aitken’s ‘Sleepwalkers’, then the idea of the domestic realm being defined solely by bricks and mortar must surely be simplistic. So if walls do not define the domestic realm then where do its boundaries lie? How have the machines we rely on blurred the lines between the domestic and urban spheres? And

how might future technological innovations alter the existential concept of domes ticity? We aim to address all of these questions in our proposal.

We will focus on machines that have had a direct effect on the evolution of everyday life but have yet to have a significant influence on domestic architecture, namely the smartphone, the laptop and voice-activated assistants such as Siri and Alexa.

These machines have undoubtedly led to a marked improvement in quality of life across all classes but in doing so have left something of an architectural vacuum in their wake. Architecture has yet to respond to the changes they have imposed.

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Communication between family, roommates and friends is streamlined by modern-day machines to an extent that people are in constant contact. A parent no longer needs to be able to see their child playing to call them for dinner, a teenager can have a conversation with multiple friends from a bedroom and grandparents can keep in touch with their grandchildren through a screen in their living room.

Urban transport experienced its most seismic shift since the automobile with the rise of the ride-sharing industry, due in large part to the ubiquity of the smartphone. These services reduce the need to own a car and have moved the point of contact to wherever is most convenient for the user.

With all these changes comes fresh opportunities to design a new domestic condition that better reflects our current way of life. We will aim to integrate the shifting needs of modern living into our proposal from the scale of the unit to the scale of the urban block.

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radical functionalism non- western history with Elisa Carvalho

luis carranza

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Radical Functionalism studied a post revolutionary movement in Latin America that pinpointed particular architectural productions. My partner Elisa Carvalho and I chose to focus on three Brazilian architects: Rino Levi, Luiz Nunes, and Flavio de Carvalho. They were credited in skillfully utilizing architecture as a means of protest to either social or political contexts in Brasilia during the decades of 1920-1940.

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The class published a book with a selection of Latin American architects that radically transformed functional architecture in Latin America.

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advanced four studio

life after Lindy Roy

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Death shouldn’t be something we fear. We should be looking at it for a chance of renewal. Two findings shaped the premises of this project. The first being Alsace. It is a region in-between France and Germany that was consistently battled over. And while during the Great War it was severely battled on. Wine makers of this region credit death and war for their world famous Riesling. They believe without the bodies fermenting in the soils, their wine would not be what it is today.

Another fascinating relation to death also exists amongst our site. It was here in Wallabout Bay that British armies housed prisoners during the revolutionary war. Claiming nearly 12,000 lives during a single moment in history. Ironically this site was later chosen to build and house some of this world’s most powerful war machines, making the Brooklyn navy yards not only a huge military base but also one of the most sought out locations for giant warship construction. Making this site one of the most

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monumental locations in the nation centered around death. Making this site one of the most monumental locations in the nation centered around death.

This project introduces three alternative methods to conventional burial and cremation processes. These three new processes ferment the body to harvest energy and soil. Allowing for the body to regenerate back to its earthly states.

Our flesh and bones are genetically fabricated with nutrients plants crave during their life cycles.

Promession is a process that uses liquid nitrogen to freeze the body then implements mechanical vibrations to break it into pieces that can be reintegrated into soils. Instead of being six feet under, you’re on top; visible and living as nature.

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Promession

The second process is Bio Mathanization. This series ferments the body to a specific stage and harvest its energy then converts it into electricity. Imagine a building running on energy from fermented flesh. The amount of fossil fuels will be reduced and be replaced with one of nature’s most potent bio-fuels. Rather than preserving we could be energizing and contributing to better air quality for our future generations.

The third process is an eco-friendly alternative to cremation.

Bio - Methanization

Alkaline Hydrolysis

Alkaline hydrolysis introduces chemicals that speed up the decaying time line with less heat impact and still provides remains for an urn, so loved ones can be close to their deceased. Studies have found its potentials could reduce green house emissions by 35%. Contributing to better air and ozone layers.

Without room for the natural decaying process we cannot properly return to nature. This stunts one of our true potentials as human beings.

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This project does not exclude the human psyche and it’s complex emotions centered around death. For each decomposing body there was a person who experienced life.

Mourning and grieving spaces are placed throughout the site with precision and are tucked away amongst the abundant gardens. Allowing for mourners to experience all stages of grief either in solitude or a number of groupings.

The site also houses data crypts. With the speed of technology rapidly changing how we document our lives, this digital crypt will preserve for generations memories of lineages. Constantly keeping the data accessible and up to date. Manifesting in a library of humans’ lives’.

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opposites

Giuseppe Lignano + Ada Tolla

attract Make

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The cube was constructed by preciselycutting six MDF 12�by 12�plates framed with 1.5 inch sidesintotrays. Within the traysparts of circles, whether itbe an arcor half circle, filled the square to create a block for the concrete form. After the trays were complete, the concrete mix was combined with water. Using an electric drill with a mixing rodI mixed two smallten gallon buckets and poured all six trays. Overnight they hardened. In the morning I liberated the concrete forms and constructed the shapesto make the frame of the cube. Resulting in a cube with circle arc cut outs.

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Acute1.(of a bad, difficult, or unwelcome situation or phenomenon) present or experienced to a severe or intense degree.2.Having or showing a perceptive understanding orinsight.3.Less then 90-degreesContinuing to use the precut zinc-plated 12�x 24�steel sheets, Ibentthem using my own strength into acute angles. One severe, one 45-degrees and thelast near 85-degrees. Using the sandwichedsheet, it slidover half the 45-degree sheet which is oriented like an upward facing triangle. Theangle near 85-degree then pinches the two on the outer side of the other half of the 45-degree angle. The three hung in balance holding the form.

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advanced five studio

rogue ranch Jimenez Lai + Miku Dixit

49 All photos credited to wyomingarchive.org

Wyoming’s enthralling independence and disobedience to the conventional has marked it’s history in America as one of the most untamed states. Situated in the west, Wyoming was a territory explored during the Westward Expansion in the 1800s.

The great migration materialized due to President Thomas Jefferson’s acquisition of the Louisiana Purchase from the French in 1803. He believed that America’s survival depended on independence and virtue through land ownership. This set in motion Louis and Clark’s expeditions in 1804, where the pair discovered unforgiving terrain, treacherous waters, and hostile Indians. The nearly 8,000 mile voyage unlocked geographical, ecological, and social advancements that later made the 1943 Oregon Trail possible.

After settlements occurred a group of horsemen ban together to create a company in the 1860s that would deliver messages to people along the trail from Missouri to California.

This inevitably became one of the first mail services, known as the Pony Express, which was referenced in countless

films and prose memorializing them as iconic personas of the Wild West. Eighteen months later, the telegraph arrived and construction of railroads began, thus commencing the domestication of the west.

Wyoming’s vibrant history inspired attitudes that were memorialized in Hollywood

films, prose, and advertising.

Characters like Buffalo Bill Cody, Annie Oakley, Jesse James, and Davy Crockett circulated globbally. The state was also the first to give women the right to vote, making it one of the leaders in the women’s rights movement.

Politically, women were seen as equal to men and some might theorize this is due their part in the great voyage west and their role in the homesteads. Nevertheless these notions of the Wild West manifested into an infamous American epitome known as: The Cowboy.50

As the cowboy was. Wyomingarchives.org Cattle drives - banding. wyomingarchives.org

Cattle drives - banding. wyomingarchives.org

NOW

Cowboy characteristics are compassion, honesty, integrity, and blatant turth. Not to mention, living simplistically and not taking more than necessary. They are one of the definition of the initial characters of Thomas Jefferson’s American capitalism.

“Successful beef cattle management relies on knowledge of many disciplines, such as breeding and genetics, nutrition, reproductive physiology, health, behavior, and meat science as well as marketing options and market expectations. However, it cannot be overemphasized that familiarity with beef cattle from regular live animal evaluation is crucial for success in all of these discipline areas and provides important insight into meeting most production goals.”

- Herring, A.D. “Beef Cattle.” In Encyclopedia of Agriculture and Food Systems, edited by N. Van Alfen. 2nd ed. Elsevier Science & Technology, 2014.

Windmill - banding. wyomingarchives.org Sundance Gazette, newspaper, 5/6/1887, pages 1 - 4

THEN

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One of the leading ranching states, Wyoming on average has two cows per person.

Making the majority of the density: beef. Cowboys and cowgirls would raise livestock on their open land and sell them for slaughter that inevitably fed America’s population. The varying ranches would compete with one another to see who would raise the best cow, sheep, or horse, and showcase them in town gatherings like state fairs and rodeos.

The goal of a ranch is to raise cattle to a profitable point, sell it, buy more cattle and start the cycle over again.

In order for a rancher to succeed in the industry he or she has to understand far more than the cow. A ranch’s land is the foundation of production, water must be drinkable and free of pesticides, fencing must be planted to protect the livestock from wondering off, and the land must remain nourished for proactive grazing growth.

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Throughout the past one hundred years cattle ranches have encountered countless lessons on appropriate operation strategies, which resulted in creation of coalitions and committees that would better regulate and educate ranchers within the industry. The livestock industry produces $153 billion a year, and yet 2% of the labor force make up ranchers and farmers. Ranchers and farmers contribute 1% directly to the gross domestic product (GDP).

Political presence is essential to the livelihood of ranches, therefore organizations of ranchers became necessary in order to ensure appropriate government acts and laws were being mandated. The Public Land Council advocates that natural grazing will reduce highly combustible cheat grass that therefore prevent wildfires.

Grazing also spurs the life cycle of perennial grasses that are fundamental to the health of the land and the livestock. The National Cattleman’s Beef Association (NCBA) set long term goals of adopting animal I.D. traceability systems and projecting it’s vitality to business in international trade operations. They also look for ways to economically and politically protect the livestock industry by using new technologies in production.

Environmental factors also play a key role. Wyoming state contains mountains and open plains, natural river basin and watersheds, and has an influx of natural resources. Yellowstone park and the Rocky Mountains make up the western border of Wyoming’s rectangular boundary which generate winds that provide potent energy.

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The winds fluctuate from a light breeze at 12 km/h to storm forces at 118 km/h. The rivers run like veins throughout the state, fueling irrigation and opportunity to hydro-electric power resources.

Wyoming’s proximity to the Continental Divide gives it a spanning elevation of 13, 804 ft to 3,125 ft, averaging at 6,700 ft from sea level. Making it the second height in elevation after Colorado. The solar impacts provide another viable resource of energy.

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techniques of the ultrareal with Lucy Navarro + Lena Pfeiffer

cubed gardens Joseph Brennan + Phillip Crupi

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Cubed Gardens explored the quality of light, architecture, and nature combined. Imagine stumbling upon a site deep within the forest, that invites you with rough, stark materials wrapped in nature.

Our process was to create a minimal architecture with carved out details that highlighted movement. Whether one walks across the water or up into the cubes, the user will find nature framed in each view.

The approach to the center of the complex extends a long pathway out inviting users inwards.

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advanced six studio

suba takotSarah Dunn + Martin Felsen + George Louras

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The Japanese call heartbreak, takotsubo syndrome, it is when a stressful event or events cause the heart to balloon and distort, changing it’s shape to look like a traditional fishing trap.

Heartbreak used to be thought as scary, but mostly harmless. Now research shows that it can scar and weaken the heart muscles. It causes the left ventricle (LV) to distort and enlarge, resembling a traditional Japanese pot used to catch octopuses (hence the name). One of the two larger chambers in the four-chambered human heart. In cases of takotsubo, the LV isn’t blocked or failing altogether, but it narrows at the top and balloons outwards at the bottom. This impairs pumping but, after a few weeks’ rest, the heart seems to recover.

The condition was first properly described in Japan in 1991, and about 70% of cases are triggered by a sudden stressful event, either physical or emotional.

Sometimes it may even be caused by extreme happiness.

Lovelorn staff at a Japanese marketing company can take paid time off after a bad break-up with a partner, with more “heartache leave” on offer as they get older.

“Not everyone needs to take maternity leave but with heartbreak, everyone needs time off, just like when you get sick,” CEO Miki Hiradate, whose company of six women markets cosmetics and other goods targeted for women, told Reuters by telephone.

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Staff aged 24 years or younger can take one day off per year, while those between 25 and 29 can take two days off and those older can take three days off, the company said.

Karley Sciortino is a writer for vogue and vice, where she produced a small documentary series called SLUTEVER. This series travels around the world and explores varying sex taboos and fetishes at the heart of suppressed cultures. In Japan she discovered that single Japanese women are buying the boyfriend experience and can now fill their relationship desires Al- A-Cart. Romantic needs are sold for a price, on demand, and by the hour. A Handsome Weeping Boy is a popular choice for salarytwomen. An attractive man comes to the office and in a dark conference room he and the female

employees watch sad videos to make them cry. Once tears are shed the handsome man comes over and wipes the tears away. This service costs 65$/hr. A Host Boy is a man who sells masculinity, so women pay 100,000 yen to sit with them at a club or lounge. Hosts appeal completely to women through aesthetics and entertainment.

Outside of this bubble, men dominate, whereas in the club women do by paying and choosing.

Another form of romance one can buy is a Sheep Boys which run about 100$/hr ro sleep-overs $1,000/hr. A woman can pay a handsome man to come over, cook dinner, and sleep next to you if you’re feeling lonely. The pair relax and drink, talk, watch TV or play games, all the typical relationship banter and activities are

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provided by the sheep boy who plays out the woman’s ultimate boyfriend desires. Average ages are from 30s to 50s, and the women are housewives, students, all kinds according the sheep boy in the episode. He describes that women tell their deepest emotional issues with him, most of the issues are workplace related. Since more and more women are choosing to be single because of their growing independence, means that there are more things they can do now rather than relying on marriage.

Cuddle Cafes are also growing in popularity for men. It is a space within the urban fabric where men pay women to hold them in pajamas.

“A lot of young people are burnt out from having relationships.

It is beyond sex but they simply don’t want to have any interaction” says the owner of the Vibe Bar in another episode of SLUTEVER. She discovered that just because younger people are opting out of relationships they are not closing the door on their sexuality. “Across Japan more and more young people are turning their backs on sex. But clearly that does not mean they are not interested in their own sexual pleasure. The Vibe Bar is almost always packed with a crowd, and in recent years, Japan has seen more places focused on female sexuality.”

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This project is an exploration of the psychological state of heartbreak. Focusing on Japanese heartbreak remedies, escapisms, and protocols; this project taps into the urban and architectural atmospheres that someone could experience or utilize when recovering from a relationship that ended. It also looks into how some of these spaces have a duplicity to be in strengthening relationships between couples. The exercises at the beginning of the semester highlighted two very different, yet capable, approaches to mitigating heartbreak. The first is a linear process. It is when someone encounters the stages diagnosed by Dr Natasha Bijlani, a consultant psychiatrist and Lucy Beresford, psychotherapist. Starting with pain, anger, depression, renewal, rebuilding, and ending with

acceptance.

But what if this is not the only way to heal? What happens when the relationships last different lengths of time? What if the spectrum of breaking up with someone ranges from severe to less severe? For example, does heartbreak change when someone is ghosted vs someone who receives closure? Do the stages of Dr. Bijlani and Beresford’s diagnosis fluctuate in time spans depending? Or are some stages eliminated? Or can the stages then happen out of order?

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This process is a series of remedies that one chooses or has access to based on their unique and individual healing process. It is also said that each heartbreak is different depending on the two people and the state of the relationship, so one technique that worked before, does not necessarily guarantee success the next time around.

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