Allison Fricke '20 MArch Columbia GSAPP

A L L I SO N FR I C K E

MASTER OF ARCHITECTURE MASTER OF SCIENCE IN HISTORIC PRESERVATION

PREFACE

In my other degree—historic preservation—there is a concept called the “period of significance.” This is the time period that is most important in a site’s history and a basis in preservation policy for preservation decisions. Looking back on the work I have completed for the M Arch degree at GSAPP, the concept of a period of significance surfaces in many of my projects. To design a new housing complex in the Claremont neighborhood, it is important to know the history of that area—how have the housing needs of the community been met or not in the recent past? How has the US Embassy in the Hague, designed by Marcel Breuer, participated in the public life of that city and community since its construction?

The projects included in this portfolio are based on a close reading of history and all that goes into it, including: culture, material, place, construction, tragedy, exclusion, political symbolism, memories, education, environmental degradation, and transformation. While the projects are sequenced based on critical historical moments of significance, each project depends on the richness of the entire historical timeline and current context. Ultimately, the projects individually and collectively coalesce in the knowledge that history is layered and the complexity of context is a tool for design.

TABLE OF CONTENTS

DATE

11th Century

PROJECT NAME

The New Main Square

PAGE

4

1861

Resonant Library

30

1882

Good Vibrations

44

1924

Excavation / Extrusion

48

1939

Plastic Pier

54

1959

Re-Modulation

60

1966

Greenpoint Theater

70

1992

Infrastructure for Living

76

2017

Alternative R/Urbanism

90

11th Century

The New Main Square ADVANCED VI | SPRING 2020 CRITIC: Juan Herreros PROJECT COLLABORATORS: Ian Lee and Joud Al Shdaifat The village of Cañaveruelas in Cuenca, is symptomatic of the shrinking and isolated state of rural Spain. The New Main Square proposes an educational and architectural framework that taps into the importance of informal education as a strategy for repositioning Cañaveruelas. The program supports the few remaining residents of this small village and aspires to attract more residents.

The network of buildings reorganizes the chaotic village plan, which has expanded haphazardly since its foundation in the 11th century. The new educational buildings wrap and inhabits existing buildings. The material selection derives from the humble materials used in the vernacular architecture: corrugated metal, terracotta roof tiles, and stone. The architectural invention translates vernacular pitched roofs and irregularly-shaped windows into elongated volumes with moderately-inclined roofs.

Regio nal Map

The new typology re-organizes the small village, creating new town squares, and re-uses existing materiality. The aim of the work is to enhance the public life of Cañaveruelas through the creation of new forms of building for new forms of education.

4

5

Diagram: Proposed Educational model

Map of Proposed Village re-organization

Map of Open Space in CaĂąaveruelas

Diagram: Existing Educational model

6 7

Analysis of Existing Vernacular Buildilngs

Diagram: Program and Plan Diagram

8 9

Ground Plan 11 10

Plan of co-living buildings

Plan of Library

Plan of Auditorium and Cafe 13 12

Diagram: Building Materials 15 14

Diagram: Interior - exterior relationships 17 16

Section of Library and Classrooms 19 18

Section of Cafe / Restaurant 21 20

Campus Entrance Perspective View

Interior Perspective view of library 23 22

Exterior Perspective of small classrooms

Exterior Perspective of Flex Buildings

24 25

Plan of Flexible Building

Axon of flexible building construction details

Facade Detailing | Spring 2020 Instructor: Kevin Schorn Project completed in collaboration with Yuchen Qiu

26

Facade Detailing | Spring 2020 Instructor: Kevin Schorn Project completed in collaboration with Yuchen Qiu

27

Plan Detail of Flexible Building Wall

Section Details of Flexible Building Wall

Facade Detailing | Spring 2020 Instructor: Kevin Schorn Project completed in collaboration with Yuchen Qiu

28

Facade Detailing | Spring 2020 Instructor: Kevin Schorn Project completed in collaboration with Yuchen Qiu

29

RESONANT LIBRARY CORE II | SPRING 2018 CRITIC: ERICA GOETZ 1861 The site for this project is a small L-shaped plot of land in Dumbo, Brooklyn, surrounded by designated historic properties like the Brooklyn Bridge and the adjacent Brooklyn City Railway Company Building (completed in 1861). In recent history, the area has become increasingly high-rent, with corporate technology companies and wealthy people buying and renovating historic properties.

While material and architectural preservation are the standard method for retaining “history,” this project instead engages with context through storytelling, particularly personal and collective oral histories. A story is in one sense poetically ephemeral, but also deeply rooted in tradition and history. The Resonant Library is a recording library, archive and exhibition space that houses and retells the personal and collective histories of Dumbo.

Study Models

Through a combination of small, private spaces and collective space, the building unfolds as a series of bulbous, organ-like chamber caught in a gridded perimeter scaffold. The structure is paramount—a combination of post and beam and double-ribbed arches.

The spaces of the building connect to the neighborhood through the stories told and archived within. The Resonant Library is a protector of history and community.

This library subverts the narrow view in preservation that material is necessary for preservation and very literally gives people a voice to share their values and histories through oral histories.

30

31

Longitudinal Section 33 32

Second Floor Plan

Third Floor Plan

Ground Floor Plan 35 34

Render of Small Perimeter Spaces

Render of Exhibition Space

Render of Large Amphitheater

Render of Entrance Lobby 37 36

Section Oblique

1/4� Scale Partial Model 39 38

Study Model 41 40

Structural Model

Structural Model 43 42

GOOD VIBRATIONS CORE I | FALL 2017 CRITIC: CHRISTOPH a. KUMPUSCH

1882

The intersection of 14th Street and Broadway is a busy junction—the confluence of major traffic arteries, subway lines, people, and retail. The northeast corner of this intersection is an acute angle that—with 4th Avenue— forms a small triangular park.

Through a study of vibration data and observation revealed that subway and heavy traffic movements produced many low frequency vibrations. Other sounds—cars honking, footsteps, conversation, bicycle bells, the clatter of skateboard wheels, emergency vehicle sirens—produced high frequency vibrations.

44

Concept Model

The project evolved from these location and sensory conditions: seeking to connect the small triangular parcel to the surrounding area and amplify, distort, reverberate, and reflect existing sounds. In this way, the installation participates in the soundscape at the intersection of 14th Street and Broadway.

45

Composite Drawing

Concept models - movement 47 46

EXCAVATION / EXTRUSION: HISTORY AND MEMORY IN PLACE AND SPACE CORE I | FALL 2017 CRITIC: CHRISTOPH a. KUMPUSCH

1924

The central thesis question of my project asks: how do we remember demolished buildings? At the intersection of E 14th Street and Avenue A, this question points to the massive demolition that occurred in the mid-1940s in Stuyvesant Town and, the demolition and influx of new populations in the East Village in recent years. The demolished buildings served as repositories for socio-cultural collective memory. The project seeks to re-house the lost buildings and associated socio-cultural significance on site, underground.

So we return to the original question: how do we remember lost buildings? In this case the lost buildings are recreated as abstracted voids, excavated in the earth they once occupied. The void provides a space to re-house memories, for current residents and visitors to reckon with the past, and as a reminder that the built environment is not fixed.

48

Concept Model - Open

Through historic map analysis, I identified key demolished buildings near the proposed subway expansion. The building footprints were overlayed and extruded, resulting in an intersection of volumes as an abstracted representation of the lost buildings. The volumes were excavated from the ground, creating a void—a space of reckoning with the past.

49

Diagrm: Plan view of Change Over Time 51 50

Concept Model 53 52

LIFE IN PLASTIC CORE I | FALL 2017 CRITIC: CHRISTOPH a. KUMPUSCH The project proposes an alternative system of plastic recycling in New York City, capitalizing on the far-reaching waterway system in the New York area.

The Department of Sanitation collects approximately 10,000 tons of trash and 1,500 tons of recyclable material every day. The quantity of recyclable materials, low-profit recyclables market, and transportation energy hinders recycling efficacy.

A single recycling pier is not a solution; however, moving the plastic recycling process to the iconic and polluted waterways of New York City can act as a catalyst for increasing public awareness of the consequences of waste.

54

Concept Model - Top View

1939

The proposed recycling pier closes the energy loop associated with plastic recycling.

The entire recycling process takes place on the pier—from residential collection, washing, sorting, shredding, and re-use through injection molding, extrusion, or compression processes. Each pier makes both a single recycled product, such as takeout containers, and more recycling piers. The propagated piers spread throughout the waterways of New York, growing an alternative system of plastic recycling.

55

Concept Model - Side View 57 56

Aerial View of Dispersed Piers (in yellow)

Diagrammatic Section

58 59

ReModulation ADVANCED V | FALL 2019 CRITICS: Mark Rakatansky + Kim Yao PROJECT COLLABORATOR: Gwen Stricker The studio takes Marcel Breuer’s US Embassy in The Hauge, completed in 1959, as a starting point. Through analysis of the building’s history, current social context, political symbolism, and material beauty, the project confronts what it means to intervene in a significant historical building. The project preserves the key historically and architecturally significant spaces, but more importantly considers the mundane spaces of work for which the building was constructed. The proposed hotel and museum abstracts the volume of the offices and long double-loaded corridors in the new hotel addition, located in the courtyard. The addition maintains and manipulates the corridors as spaces in-between hotel rooms. Intersection of new hotel modules produces pockets of space to create larger communal spaces in the corridor. These spaces uphold the spirit of public-ness, connection, and community embedded in the significant, preserved spaces of the Embassy building.

60

As a corollary to the studio project, I produced a rough analysis of the embodied carbon in the project. The embodied carbon in the proposed renovation and addition far outstrips that in the existing building.

Axon View

1959

61

Significance Assessment 63 62

Diagrams: Corridor + Office

Exploded Axon

64 65

Diagram: Historic Spaces

Render of Hotel Room and Corridor Render of Restaurant

Render of from Courtyard Looking to A to Addition

66 67

Embodied Carbon in Existing Building

Embodied Carbon in Proposed Addition

Footprint: Carbon and Design | Fall 2019 Instructor: David Benjamin

68

Footprint: Carbon and Design | Fall 2019 Instructor: David Benjamin

69

Greenpoint Theater Architectural Technology IV| Fall 2018 CRITICS: David Burke, Amy Harrington Silman, Ciaran Smyth, and Tom Reiner PROJECT COLLABORATORS: Ericka Song, Helena Pestana, Luiza Furia

The project emphasizes sustainability through material reuse, passive heating and cooling, material selection based on heating and cooling needs, water collection and reuse, as well as through supporting community sustainability and inclusion.

Exploded Structural Axon

The project is a renovation of a 1966 warehouse in Greenpoint, BK, to be transformed into a theater. The project is based on the tenets of sustainability: social, environment, and economy. We focus on energy, materials (including biodiversity), and community (social diversity), all of which work to support and reinforce one another. The program and MEP systems weave through the simple layout of three rectangular bars. The smallest bar, a reception area and community practice room, cantilevers over a public seating area. The southern-most bar, located within an existing structure, houses the back of house for the theater and MEP infrastructure. The main, central bar houses the main theater and black box theater. The main theater overlooks a reclaimed industrial park, an additional outdoor theater space and asset to the local community.

1966

70

71

Ground Floor Plan

Building Sections

Structural Sections

Site Plan

72 73

Concept Diagrams and Circulation Plans

Exterior Building Perspective

74 75

INFRASTRUCTURE OF HOUSING CORE 3 | FALL 2018 CRITIC: GALIA SOLONOMOFF PROJECT COLLABORATOR: Munise Aksoy Working in a fairly recently-developed block built out in the 1990s, the project began with an impulse to re-capture discarded building materials, specifically brick and terracotta, and to transform it into a benefit for residents. Our project embeds a program of ceramic production and repair in a housing complex to act as a catalyst for community-building and customization of homes.

1992

76

The system of ceramics production and repair also permeates and supports the domestic spaces. Residents can customize their homes with tiles, ceramic objects (lamps, bowls, sink bowls, etc.), even customizable facades and high-tech ceramics produced on-site. The ceramics create a connection between the homes, a strengthening of shared experience. At the same time, the units are designed as a basic unit that ought to be customized. Residents harness the flexibility of the unit and the on-site resources to fit the space to their needs.

Circulation and Infrastructure Model

The ceramic production contains several components, the most visible of which are the kilns. The process originates in collecting, sorting, and grinding down materials like decorative terracotta elements removed by building owners (under Local Law 11). The central role of the ceramics in the life of the complex informed our decision to position the work spaces centrally and embed vertical circulation cores in these spaces. 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 (photovoltaics, aeronautics, etc.).

77

1/8� Scale Partial Building Model

1/8� Scale Partial Building Model 79 78

Perspective Section 81 80

Ground Floor Plan

Typical Floor Plans

Below-Grade Plan 83 82

Unit Plans and Perspectives 85 84

Perspective of Ceramics Studio

Perspective in Typical Building Unit 87 86

Interior Staircase Perspective

Structural Model

88 89

Exterior Building Perspective

ALTERNATIVE R/URBANISM ADVANCED 4 | SPRING 2019 CRITIC: NAHYUN HWANG PROJECT COLLABORATOR: Ericka Song Sited at a man-made lake, the project takes inspiration from the history of the lake and particularly the recent 2017 efforts to reclaim the lake as a space of recreation.

Our project poses the question “who is nature for?� by designing in a way that takes up the various lenses of neurodevelopmentally diverse and differently abled people. A new nature trail is proposed that links two underused lakes that have been damaged through pollution and neglect. The proposal capitalizes on and aids current efforts to rejuvenate the lakes.

Interventions along the trail are designed based on psychological theories of environmental and sensory processing. The trail makes accessible outdoor recreation experiences typical to rural settings in an urban context, benefiting adjacent lowincome and elderly communities as well.

Site Analysis

2017

90

91

Thesis Drawing

Site Plan

92 93

Composite Drawing: Floating Pool

Composite Drawing: Sensory Smell Intervention 95 94

Composite Drawing: Prospect and Refuge Shelters

Composite Drawing: Bridge and Gathering Pier

96 97

Bridge and Smell Intervention

Concept Collages

98 99

Floating Pool and Prospect/Refuge Shelter

Model of Nature Trail

Model of Nature Trail 101 100