Rebecca Greenberg '20 MArch Columbia GSAPP

PROGRESS and

STASIS

Rebecca Lauren Greenberg | Master of Architecture | Columbia University GSAPP

PROGRESS What is progress? Is it a linear scale, depicting various levels of success? Is it based on development - of a project, thesis, or idea? In terms of architectural academia, I have looked to progress as part of a process, how my worked moved forward toward finding a solution. The project became about its development, about how it moved forward, sometimes quickly, sometimes slowly, and more often than not without a few steps in the “wrong” direction. In this case, progress was movement, often linear, a straight trajectory toward the unknown.

However, this wasn’t just about work or production.

Progress is what I surround myself with - through school, when I moved from one grade to another, or after completing my Bachelor’s degree, when I could then move on to begin my Master’s. In the academic world, we are constantly reminded of a specific, linear progress, in completing an assignment, passing a class, or sometimes even just getting through the week. A project, though, is much more nuanced. Despite its overall trajectory, often based on the timely milestones of commencement and completion, the project’s progress becomes much more difficult to delineate. Sometimes it moves forward, sometimes backward, and more often than not remains stagnant.

Progress in the architectural world illustrates much more than the project’s milestones, delving further into its development, or progression of the concept.

The word often becomes “progressive,” meaning how did the project push boundaries? How did it invent something new, something beyond inherent limitations? Or how is it physically progressive? Does it use new technology in its building technique, or does it move through a given space? Are there stages of its existence, both in design and built form? Do its apertures open based on the amount of solar radiation available, or do its environmental systems provide the greatest efficiency? The more questions that arise, the more progress can be made.

It is the progress of the student, the progression of the project, and the progressiveness of the built form that build a scale through architectural academia.

They have marked my specific process and my overall journey. Progress onward.

Stasis, of course, is most readily available as a term contradicting that of progression. It is also time-based, often on a linear scale, and assumed to consume a certain phase or period. The status of stasis is seen as inactivity and idleness, perhaps detrimental to the progression it contradicts. No one enjoys hearing about stasis, but especially when discussed next to shiny new progress. Stasis seems to exude laziness, or portray a lack of work or effort.

The oppositeness to progress, though, is what makes stasis so valuable. What is progress if not for stasis?

What is stasis if not for progress? A break in the linear trajectory helps measure the progression itself.

Perfect, clear, and precise progress is neither realistic not preferred; in fact, it is often the inclusion of a period of stasis that allows us to see and understand progress. What is progress without something to measure itself against? Would we see development without a period of stasis? Do we see how far we have come without taking a moment to stop and reflect? Do we have to constantly move forward in order to have worth?

What if stasis was not just a period of inactivity, or a way in which to measure progress, but rather that time for reflection, study, and understanding?

The term also equates with equilibrium - a place of balance, away from movement or development. It can be what we are ultimately all trying to achieve.

In architectural academia, stasis is a place of discovery, whether for one’s own being, or his/her work. That place of full understanding is something that we may always be in search of, as we continue to bulldoze down our paths of progression. What if all of our projects embraced stasis? What different solutions might we conjure up? Better yet, might we see the world differently? Might our “idleness” ultimately yield a greater progression? Is this what we want? Is it ultimately necessary to compare progress and stasis? Does this become a metaphor for architecture, or for life?

Rather than constantly searching for something exciting, something new, something better, or something progressive, should we not simply be seeking balance? Equilibrium? Is this stasis?

STASIS

2

5

[market] housing | core III social housing | the bronx, ny

13

tangential theaters | core I floating pier | new york city

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elevated states | at III/IV greenpoint theater | new york city

25

flora facade | rethinking bim facade design | lever house, new york city

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channeling luminescence | core II library | brooklyn, ny

PROGRESS STASIS 36

tessellated diagrid drawing study | new york city

39

facade fabrication model & drawing study | simmons hall, mit

44

interwoven women’s college | kigali, rwanda

55

an expanding footprint religious institution | orange county, ny

62

entre los arboles social housing and urbanism | havana, cuba

3

Progress with a capital “P�

I study architecture because I am fascinated by the built environment.

As designers, we reside in our own creations. We breathe their air and sleep within their walls. We live in a world envisioned by ourselves. We are responsible for the environments we cultivate, for the change we seek, for progress and stasis; for ourselves and for those around us. An architect’s aptitude is limitless.

It is in this way that I began my journey in architecture, and how I commenced my fascination with the progression of a project. I loved to make changes, constantly in search of a better solution, a more unique concept, or an idea that I had not seen before. My projects progressed not only in their development but also

in their state of being, whether they turned or twisted, had diverse uses, or allowed for different perspectives.

My goal became focused in pushing boundaries - what I could create, how much an intervention could change, and the profoundness of its effect on its surroundings.

What is so important about progress?

It is the constant experimentation, the testing of a concept, and the multitude of solutions that are sought.

It is an exciting, frustrating, and always innovative process that often reigned in my architectural understanding.

Progress was my beginning, and it is the beginning of each project shown here, illustrated as a glimpse into my mind with six slides of progression.

Precedent study, Core II | a model that is clear in its trajectory

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[market] housing

core III

Professor Gabriela Etchegaray | Core II | Fall 2018

[MARKET] HOUSING

SOCIAL HOUSING | NEW YORK CITY

[Market] Housing aims to combat diabetes and obesity in the food desert of the South Bronx in New York City.

This social housing project provides local food to the area through onsite food production and a ground floor market. Tessellated gardens wind through the site at the ground floor and residential balconies above to facilitate community garden spaces, ultimately promoting ownership and responsibility.

In this project, progression is of the utmost importance in terms of the

change that it can create for the greater community. The status quo - the lack of fresh fruits and vegetables, the lack of affordable housing, and the lack of green spaces in the community - is unacceptable. [Market Housing] aims to solve these problems in one interactive design concept. Its unique masterplan draws neighbors through the site; its grid is set diagonal to the standard new york city block, eliminating the typical facade-walls that form a barrier between those in apartments and the

pedestrians beyond them. Whether it be the greenery path that winds through the space, the public gardens, onsite food production and market, or personal gardening spaces, this housing complex is the ultimate community space. It not only provides affordable housing for the Bronx community but also one for healthy eating and living.

Project completed in collaboration with Ilgar Tan

5

[market] housing

core III

Primary connections through site

Secondary connections - massing extrusions

Tessellated massing and height differentiation

Greenery tessellations and bridged connections 6

[market] housing

core III

veggie stores grocery store supermarket

This map illustrates the site’s proximity to fresh fruits and vegetables, grocery stores, and supermarkets. As shown, there is a prominent need for local food sources at Claremont and Third Street and the surrounding South Bronx community.

7

[market] housing

core III

The housing complex breaks the typical New York City grid in order to pull the public into the site and provide gathering spaces throughout the cross-throughs.

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[market] housing

core III

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[market] housing

core III

west building: 5th floor

west building: 9th floor

studio type A: 450 SF

typical one bedroom: 700 SF typical two bedroom: 800 SF

studio type B: 400 SF

Units are clustered to share garden space along the terraces. They fit together as a three dimensional tessellation.

Simple concrete and glass structures allow for the greenery to become the gardens to become the centerpiece of the complex, even from the outside looking in.

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[market] housing

The green belt provides connections to private gardens through third floor bridges.

core III

The upper floors provide access to both public and private garden spaces in addition to communal kitchens at each level.

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[market] housing

core III

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tangential theaters

core I

Professor Stephanie Lin | Core I | Fall 2017

TANGENTIAL THEATERS FLOATING PIER | NEW YORK CITY

Located along the East River, the site for the pier exists at both the northern and southern ends of the riverbank. The installation itself is a floating island that moves along the bank, docking at its 12th Street (north) and Jackson Street (south) locations. The island functions as an outdoor theater experience, providing exposure to performing arts for two low income neighborhoods. The

pier is progressive in its function - as a rotating theatrical island, in addition to its overall purpose - to build greater community through integration of the arts. The island enlivens the riverfront not by converting existing public land but rather by creating additional space.

The two theatrical landscapes that the island holds - a sunken underwater bowl and an above ground platform - create

unique listening and viewing experiences along a constantly changing backdrop.

The installation itself rotates for a constantly changing theater backdrop as it progresses down the river between its docking points. The experience pushes this concept of change, through its addition to the landscape, community investment, arts integration, and new take on the theatrical experience.

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tangential theaters

core I

The island includes a large outdoor theater and a smaller theater-in-the-round. The two are connected through a clear sight line, allowing both spaces to be utilized simultaneously. The shape of the theaters and the curve of the coastline lend themselves to the form of the island itself. Based on crescent-like steps, similar geometries create both the stadium seating, parks, cafĂŠ, bar, and ticket booth that intertwine to create the island.

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tangential theaters

core I

15

tangential theaters

The form is comprised of crescent-shaped geometries, radiating outward from the circular theaters.

core I

The open air theaters allow for a panoramic cityscape backdrop.

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tangential theaters

The theater spins as it moves through the East River, generating numerous views of New York.

core I

The skyline backdrop is constantly changing, giving both the actors and audience a unique experience.

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RIOR

INTERIOR

EXTERIOR EXTERIOR

INTERIOR

LEVEL 2 19' - 0"

elevated states

LEVEL 2 19' - 0"

LEVEL 1 10' 4' -- 0" 0"

TRUCTURAL FIN

LEVEL SUB 3 28' - 0"

LEVEL 1 4' - 0"

LEVEL 1 4' - 0"

VAPOR BARRIER 2-1/2" RIGID INSULATION

at III/IV

1 F200B

POURED CONCRETE EXTERIOR FLOOR PLATE CONNECTION TO STUD AND INTERIOR SLAB ON METAL DECK

LEVEL 4 49' - 0" LEVEL 3 34' - 0"

L SECTION

LEVEL 2 19' - 0"

3" METAL STUD AT 24" O.C.

FINWALL SHOE AT SILL

1 F200B

CTION TION

INTERIOR

JAKOB GREENWALL ROADMAP WALL 4 SECTION 1/2" = 1'-0" 2

CURTAINWALL SECTION 1/2" = 1'-0"

NONIUS HANGER

STRUCTURAL GLASS FINWALL

METAL SUPPORTING RAIL FIXED CLIP

W14 TRUSS BEYOND

Professors Sarrah Kahn and Gaby Brainard | AT III/IV | Fall, 2018 INTERIOR

BAMBOO PLANK

GREENPOINT THEATER | BROOKLYN, NY

GL-1

LEVEL SUB 3 28' - 0" INTERIOR

3 204

6' - 0"

5 1/8"

ELEVATED STATES

ALUMINUM PLATE TO MATCH FINWALL SILL

9

INSULATED GLASS UNITS, TYP. IVY C 2-1/2" X 7-1/2" VERTICAL VIGOROUS IVY ALUMINUM MULLION, TYP. CLIMBER 2-1/2" X 7-1/2" HORIZONTAL 1' - 0" MULLION, TYP. ALUMINUM JGW-1

6' - 0"

JAKOB GREEN WALL STAINLESS ANCHOR

EXTERIOR

JGW-2

3 CD WOOD CEILING DETAIL 3" = 1'-0"

EXTERIOR

JAKOB GREEN WALL STAINLESS 5/8" WIRE

GFRC-1

NO. DESCRIPTION NO. DESCRIPTION 1 SCHEMATIC DESIGN 1 SCHEMATIC DESIGN 2 2 DESIGN DEVELOPMENT DESIGN DEVELOPMENT 3 3 CONSTRUCTION DOCUMENTS CONSTRUCTION DOCUMENTS

DATE DATE 09.18.2018 09.18.2018 10.23.2018 10.23.2018 11.27.2018 11.27.2018

5/8/2020 9:12:37 PM

09.18.2018 10.23.2018 11.27.2018

ISSUANCE ISSUANCE

5/8/2020 9:11:37 PM

5/8/2020 9:06:30 PM

DATE

5/8/2020 5:26:11 PM

ELEVATED 02 F204 The F200 GSAPP F201 Elevated States Theater is a theater LEVATED ELEVATED and event space located in Greenpoint, GSAPP STATES STATES 3 STATES Brooklyn. It SYSTEM FACADE SYSTEM 5contains both a small FACADE SYSTEM 1 FACADE SYSTEM 2 black box theater and a much larger

RAL CONSULTANT STRUCTURAL ENGINEER ISSUANCE ECTURAL CONSULTANT STRUCTURAL ENGINEER RUGGIERI, SPACE 4 ARCHITECTS JASON STONE, LERA TINA RUGGIERI, SPACE 4 ARCHITECTS JASON STONE, LERA COM JASON.STONE@LERA.COM NO. DESCRIPTION RCH.COM JASON.STONE@LERA.COM N DATE SCHEMATIC DESIGN ER CONSULTANT DESIGN 09.18.2018 1 ENCLOSURE GINEER ENCLOSURE CONSULTANT ER, THORNTON TOMASETTI RYAN DONAGHY, SHOP 2 DESIGN DEVELOPMENT WALKER, THORNTON TOMASETTI RYAN DONAGHY, SHOP ELOPMENT 10.23.2018 HORNTONTOMASETTI.COM DONAGHYR@GMAIL.COM CONSTRUCTION DOCUMENTS R@THORNTONTOMASETTI.COM DONAGHYR@GMAIL.COM ION DOCUMENTS 11.27.2018 3

theater hall that projects outward toward the East River. The large theater overhangs the rest of the building, held structurally by an exposed truss system and surrounded by floor-to-ceiling glass that overlooks the river for a unique theater experience. The building also features a ground floor gallery space, cafe with outdoor park seating, outdoor garden and bar at the theater

F203 F200

level, and a multifunction up-to-500 person event space on the rooftop. This technical project focused on pushing the boundaries of architecture while maintaining a very realistic approach to contractibility. It explores new architectural concepts in their technical form, including a rain collecting system and an underground passive heating system in which cold air is warmed as it is filtered around crawl space walls before entering the building. Oppositely, strategically placed apertures in the glass facades allow for riverfront cross breeze

to enter the building, and flow through the main stair to the upper levels. The building’s four different facade systems create a myriad of textures on both the interior and exterior of the building.

Overall, the building progressively creates a unique patron experience without inhibiting the practicality of its built form.

FACADE SYSTEM SYSTEM 14

Project completed in collaboration with Jacob Gullinson, Will Anderson, and Ian Lee

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5/8/2020 5:26:11 5/8/2020 9:12:10 PM PM

GFRC TAKTL CONCRETE PANEL

DETAIL

elevated states

at III/IV

The theater and retail entryway is a double height glass vestibule that welcomes both patrons and natural light

19

Level 1 - gallery and black box Level 4 - main theater Roof - garden and event space

The ground floor features a gallery leading from the main entrance to the park and riverfront beyond. The black box theater opens up from the gallery, creating an alcove for smaller performances.

The double height theater projects outward toward the riverfront, with an exposed truss and glass facade marking the edge of the stage and allowing light to filter through the space.

The rooftop gardens open up to an event space for large gatherings and weddings, overlooking the river beyond. A small bar and cafe are located in a small indoor portion of the level.

WILLIAM ANDERSON REBECCA GREENBERG JACOB GULINSON IAN LEE

PINK FLAMINGOS

H

G

F

E

D

C

B

A 9

H

G

F

E

D

C

B

STRUCTURAL ENGINEER JASON STONE, LERA JASON.STONE@LERA.COM ENCLOSURE CONSULTANT RYAN DONAGHY, SHOP DONAGHYR@GMAIL.COM

MEP ENGINEER JONCE WALKER, THORNTON TOMASETTI JWALKER@THORNTONTOMASETTI.COM

1 ROOF - CD PLAN 1/8" = 1'-0"

SEE SHEET A003 FOR FOLIAGE INFORMATION

7

GSAPP

33' - 6"

21' - 6"

21' - 6"

6 21' - 6"

GSAPP

6

GSAPP

6

ELEVATED STATES

ENCLOSURE CONSULTANT RYAN DONAGHY, SHOP DONAGHYR@GMAIL.COM

46' - 0"

STRUCTURAL ENGINEER JASON STONE, LERA JASON.STONE@LERA.COM MEP ENGINEER JONCE WALKER, THORNTON TOMASETTI JWALKER@THORNTONTOMASETTI.COM

LEVEL 4 - CD PLAN 1/8" = 1'-0"

33' - 6"

ARCHITECTURAL CONSULTANT CLEMENTINA RUGGIERI, SPACE 4 ARCHITECTS CR@4ARCH.COM

1

7

ENCLOSURE CONSULTANT RYAN DONAGHY, SHOP DONAGHYR@GMAIL.COM

46' - 0"

STRUCTURAL ENGINEER JASON STONE, LERA JASON.STONE@LERA.COM

MEP ENGINEER JONCE WALKER, THORNTON TOMASETTI JWALKER@THORNTONTOMASETTI.COM

DN

33' - 6"

ARCHITECTURAL CONSULTANT CLEMENTINA RUGGIERI, SPACE 4 ARCHITECTS CR@4ARCH.COM

1 LEVEL 1 - CD PLAN 1/8" = 1'-0"

DN

DN

7

ARCHITECTURAL CONSULTANT CLEMENTINA RUGGIERI, SPACE 4 ARCHITECTS CR@4ARCH.COM

8

WILLIAM ANDERSON REBECCA GREENBERG JACOB GULINSON IAN LEE

PINK FLAMINGOS

8

WILLIAM ANDERSON REBECCA GREENBERG JACOB GULINSON IAN LEE

PINK FLAMINGOS

H

G

F

E

D

C

B

15' - 6" 28' - 6" 27' - 0" 33' - 0" 14' - 0"

A 9

14' - 0" 28' - 6" 10' - 0" 17' - 0" 17' - 6" 15' - 6" 14' - 0"

A 9

14' - 0" 28' - 6" 10' - 0" 17' - 0" 17' - 6" 15' - 6" 14' - 0"

46' - 0"

29' - 0"

DN

29' - 0"

DESCRIPTION

SCHEMATIC DESIGN DESIGN DEVELOPMENT CONSTRUCTION DOCUMENTS

1 2 3

29' - 0"

NO.

ISSUANCE

5

ELEVATED STATES

5

ELEVATED STATES

5

09.18.2018 10.23.2018 11.27.2018

DATE

29' - 0"

UP

SCHEMATIC DESIGN DESIGN DEVELOPMENT CONSTRUCTION DOCUMENTS

1 2 3

4

DESCRIPTION

NO.

ISSUANCE

29' - 0"

SCHEMATIC DESIGN DESIGN DEVELOPMENT CONSTRUCTION DOCUMENTS

4

DESCRIPTION

DN

1 2 3

29' - 0"

NO.

ISSUANCE

4

3

09.18.2018 10.23.2018 11.27.2018

DATE

3

09.18.2018 10.23.2018 11.27.2018

DATE

3

8' - 6"

8' - 6"

2.2

8' - 6"

8' - 6"

2.1

41' - 0"

23' - 6"

23' - 6"

A105

2.1

2.1

ROOF PLAN

2.2

2.2

DN

2

DN

1

A104

SEE SHEET A003 FOR FOLIAGE INFORMATION

32' - 6"

LEVEL 4 PLAN

2

A101

32' - 6"

LEVEL 1 PLAN

2

5/8/2020 7:56:21 PM

1

5/8/2020 7:35:55 PM 5/8/2020 7:37:04 PM

8

elevated states at III/IV

20

elevated states

at III/IV

6’ - 0” typ

0" 6' - 0" TYP.6' - 6' 6'-TYP. -0" 0"TYP. TYP.

2 21

2

2 22

F200

F200 F200 F200

2

6' - 0" 6' TYP. - 0" TYP.

2

F200F200

vertical VERTICAL aluminum mullion beyond VERTICAL ALUMINUM MULLION BEYOND ALUMINUM VERTICAL MULLION ALUMINUM BEYOND MULLION BEYOND VERTICAL ALUMINUM MULLION BEYOND oldcastle reliance lt curtainwall, typ

OLD CASTLE RELIANCE LT LT OLD CASTLE OLD RELIANCE CASTLE LTRELIANCE OLD CASTLE RELIANCE LT CURTAINWALL, TYP. CURTAINWALL, CURTAINWALL, TYP. TYP. CURTAINWALL, TYP.

OLDOLD CASTLE RELIANCE LT L CASTLE RELIANCE CURTAINWALL, TYP.TYP. CURTAINWALL, GL-1 GL-1 GL-1 GL-1 INSULATED GLASS UNIT, TYP. INSULATED GLASS INSULATED UNIT, GLASS TYP. UNIT, TYP. INSULATED GLASS UNIT, TYP.

insulated glass unit GL-1

GL-1 GL-1 GL-1

GL-1GL-1

row of fixed curtainwall panels

ROW OF OF FIXED ROW OF FIXED ROW ROW OFFIXED FIXED CURTAINWALL PANELS, TYP. CURTAINWALL CURTAINWALL PANELS, TYP. PANELS, TYP. CURTAINWALL PANELS, TYP.

ROW OF FIXED ROW OF FIXED CURTAINWALL PANELS, TYP.T CURTAINWALL PANELS,

concrete slab onCONCRETE 2” metal deck CONCRETE SLAB ONON 2" SLAB CONCRETE ON 2" SLAB CONCRETE SLAB ON2" 2"

METAL DECK, TYP. METAL DECK, METAL TYP. DECK, TYP. METAL DECK, TYP.

STEEL CONNECTION PLATE WITH STEEL CONNECTION STEEL CONNECTION PLATE WITH PLATE WITH steel connection plate with slotted deflection track STEEL CONNECTION PLATE WITH

4 22

2 F200B

2 22 F200B F200B F200B

SLOTTED DEFLECTION TRACK SLOTTED DEFLECTION SLOTTED DEFLECTION TRACK TRACK SLOTTED DEFLECTION TRACK

2” rigid insulation 2" RIGID INSULATION 2" RIGID INSULATION 2" INSULATION 2"RIGID RIGID INSULATION

level 2

2 22 LEVEL 2LEVEL LEVEL LEVEL - 0"--0" 19' - 0" 19'19' 19' 0"

19’ - 0”

5' - 0"

5' - 0"

5' - 0"

GL-1 GL-1 GL-1

row of operable curtainwall panels

5' - 0"

19’ - 0”

aluminum cap at all floorALUMINUM slab/ CAP AT AT ALL FLOOR SLAB/ ALUMINUM CAP ALUMINUM ATcurtainwall ALL FLOOR CAP SLAB/ ALL FLOOR SLAB/ ALUMINUM CAP AT ALL FLOOR SLAB/ CURTAINWALL SHADE POCKET CURTAINWALL CURTAINWALL CONNECTION CONNECTION W/ SHADEW/ POCKET W/ POCKET CURTAINWALL CONNECTION W/SHADE SHADE POCKET connections withCONNECTION shade pocket ROLLER SHADE AND COVER ROLLER SHADE ROLLER AND COVER SHADE AND COVER ROLLER SHADE AND COVER roller shade and cover

ROW OF OF OPERABLE ROW OF OPERABLE ROW ROW OFOPERABLE OPERABLE CURTAINWALL CURTAINWALL CURTAINWALL PANELS PANELS PANELS CURTAINWALL PANELS

5’ - 0” 5' - 0"

5' - 0"

GL-1

level 2

LEVEL LEVEL 2 22 LEVEL 22 LEVEL LEVEL 2 LEVEL 19'-19' -0" 0"- 19' - 0"--0" 19' 0" 19' 19' 0"

4" MIN. BATT INSULATION STOP MIN. BATT INSULATION 4" BATT FIRE INSULATION STOPFIRE FIRE STOP 4"MIN. MIN. BATT INSULATION FIRE STOP 4” min.4"batt insulation fire stop

GL-1GL-1 ROW OF OPERABLE ROW OF OPERABLE CURTAINWALL PANELS CURTAINWALL PANELS

wide flange

WIDE FLANGE; SEESEE STRUCTURAL WIDE FLANGE; WIDE SEE FLANGE; STRUCTURAL STRUCTURAL WIDE FLANGE; SEE STRUCTURAL 2-1/2" X 7-1/2" ALUMINUM MULLION AT AT 2-1/2" X 7-1/2" 2-1/2" ALUMINUM XX7-1/2" MULLION ALUMINUM MULLION 2-1/2”x7-1/2” aluminum mullion at fixedAT 2-1/2" 7-1/2" ALUMINUM MULLION AT FIXED PANE TO TO OPERABLE WINDOW FIXED PANE TO FIXED OPERABLE PANE WINDOW OPERABLE WINDOW FIXED PANE TO OPERABLE WINDOW pane to operable windowCONNECTION, connection CONNECTION, TYP. CONNECTION, TYP. TYP. CONNECTION, TYP.

RECESSED DOWNLIGHT RECESSED DOWNLIGHT RECESSED DOWNLIGHT RECESSED DOWNLIGHT

3' - 4"

3' - 4"

GL-2

2-1/2”x7-1/2”2-1/2" aluminum at MULLION 2-1/2" Xmullion 7-1/2" ALUMINUM X 7-1/2" 2-1/2" ALUMINUM XX7-1/2" MULLION ALUMINUM MULLION 2-1/2" 7-1/2" ALUMINUM MULLION ATDOOR SLIDING TO TO OPERABLE SLIDING AT TO DOOR OPERABLE DOOR ATSLIDING SLIDING DOOR TOOPERABLE OPERABLE sliding doorATto operable window WINDOW CONNECTION, TYP. WINDOW CONNECTION, WINDOW CONNECTION, TYP. TYP. WINDOW CONNECTION, TYP.

GL-2 GL-2 GL-2

EXTERIOREXTERIOR EXTERIOR EXTERIOR

exterior

POURED CONCRETE EXTERIOR FLOOR POURED CONCRETE POURED EXTERIOR CONCRETE FLOOR EXTERIOR FLOOR POURED CONCRETE EXTERIOR FLOOR poured concrete exterior floor and AND INTERIOR SLAB ON METAL DECK AND INTERIOR AND SLAB INTERIOR ON METAL SLAB DECK ON DECK AND INTERIOR SLAB ONMETAL METAL DECK interior slab on metal deck

level 1 111 LEVEL 1LEVEL LEVEL LEVEL

1

GL-2GL-2

sliding glass door

SLIDING GLASS DOOR, TYP. SLIDING GLASS SLIDING DOOR, GLASS TYP. DOOR, TYP. SLIDING GLASS DOOR, TYP.

sliding glass curtainwall doors

4' - 0"

GYP. BD.ON CEILING ONON METAL GYP. BD. CEILING GYP. BD. METAL CEILING GYP. BD. CEILING ONMETAL METAL GL-1GL-1 FRAMING AS AS REQUIRED, TYP. FRAMING AS REQUIRED, TYP. FRAMING REQUIRED, TYP. FRAMING AS REQUIRED, TYP. FIXED CURTAINWALL PANELS FIXED CURTAINWALL PAN

HOPPER OPERABLE WINDOW HOPPER OPERABLE HOPPER WINDOW OPERABLE WINDOW hopper operable window HOPPER OPERABLE WINDOW 3' - 4"

3’3'-- 4” 4"

3' - 4"

GL-1 GL-1 GL-1

fixed curtainwall panels

SLIDING GLASS CURTAINWALL SLIDING GLASS SLIDING CURTAINWALL GLASS CURTAINWALL SLIDING GLASS CURTAINWALL DOORS - SEE ELEVATIONS FOR DOORS - SEE DOORS ELEVATIONS - -SEE ELEVATIONS FOR FOR DOORS SEE ELEVATIONS FOR SPECIFIC LOCATIONS SPECIFIC LOCATIONS SPECIFIC LOCATIONS SPECIFIC LOCATIONS

SLIDING GLASS CURTAINWAL SLIDING GLASS CURTAIN DOORS - SEE ELEVATIONS FO DOORS - SEE ELEVATION SPECIFIC LOCATIONS SPECIFIC LOCATIONS

INTERIOR INTERIOR INTERIOR INTERIOR

interior

3 22

1 F200B

1 11 F200B F200B F200B

4' -4'4' 0"--0" 0"

4’ - 0”

CURTAINWALL ELEVATION CURTAINWALL ELEVATION ELEVATION CURTAINWALL ELEVATION 1 11 CURTAINWALL 1/2" = 1'-0" 1/2" = 1'-0" 1/2" ==1'-0" 1/2" 1'-0"

CURTAINWALL ELEVATION CURTAINWALL SECTION SECTION SECTION CURTAINWALL SECTION 1 1 CURTAINWALL ELEVATION 2 CURTAINWALL 2 22 CURTAINWALL 1/2"1/2" = 1'-0" 1/2" = 1'-0" 1/2" = 1'-0" 1/2" ==1'-0" = 1'-0" 1/2" 1'-0"

1 | stick-built curtainwall facade elevation

2 | Curtainwall connections at levels 1 and 2

This riverfront facing facade is comprised of a stick-built curtainwall system with sliding glass doors, fixed insulated glass panels, and operable panes to allow a cross breeze through the building.

The curtainwall spans two levels, connecting to both the ground floor and level 2 concrete slabs. At level 1, the hopper windows open to draw cool air into the space.

GL-1

GL-1 GL-1 GL-1

GL-1GL-1

6' - 6' 0" 6'- -0" 0"

6' - 0"

6' - 6' 0" 6'- -0" 0"

YP.

6' - 0"

INTERIOR INTERIOR " TYP.

0" 6' - 0" TYP.6' - 6' 6'-TYP. -0" 0"TYP. TYP.

2-1/2" X 7-1/2" VERTICAL 2-1/2" X 7-1/2" 2-1/2" VERTICAL XX7-1/2" VERTICAL 2-1/2" 7-1/2" VERTICAL MULLION, TYP. ALUMINUMALUMINUM MULLION, ALUMINUM TYP. MULLION, TYP. ALUMINUM MULLION, TYP.

21

INSULATED GLASS UNITS, TYP INSULATED GLASS UNITS "YP. TYP.

" TYP. TYP. ""YP. TYP. YP. YP.

INTERIOR INTERIOR INTERIOR INTERIOR YP.

level LEVEL 1 11LEVEL 1 11 LEVEL LEVEL 1 LEVEL LEVEL 4' -4'4' 0"--0" 0"--0" 0" 4' -4'4' 0" 4’ - 0”

INSULATED GLASS UNITS, TYP. INSULATED GLASS INSULATED UNITS, GLASS TYP. UNITS, TYP. INSULATED GLASS UNITS, TYP. " TYP.

3' - 4"

GL-1

FIXED CURTAINWALL FIXED CURTAINWALL FIXED CURTAINWALL PANELS PANELS PANELS FIXED CURTAINWALL PANELS

6' - 0" 6' TYP. - 0" TYP.

6' - 0" 6' - 0"

2-1/2" X 7-1/2" VERTICAL 2-1/2" X 7-1/2" VERTICAL ALUMINUM MULLION, TYP.TYP ALUMINUM MULLION, 6' - 0" 6' - 0"

S

METAL DECK, TYP.

SILICONE SILICONE SEALANT SEALANT

elevated states

3

2" RIGID INSULATION

CURTAINWALL HEAD DETAIL 3" = 1'-0"

at III/IV

4" MIN. BATT INSULATION FIRE STOP ALUMINUM CAP AT ALL FLOOR SLAB/ CURTAINWALL CONNECTION W/ SHADE POCKET

EXTERIOR EXTERIOR

INTERIOR INTERIOR 7 1/2"

ROLLER SHADE AND COVER ANCHOR ANCHOR BOLT BOLT

EXTERIOR exterior

1"

FINISHED FINISHED WOODWOOD FLOORING finished woodFLOORING flooring

plywood substrate PLYWOOD PLYWOOD SUBSTRATE SUBSTRATE

SHIM AS SHIM REQUIRED AS REQUIRED INTERIOR

interior

GL-1 BACKER BACKER ROD AND RODSEALANT AND SEALANT INSULATED GLASS UNIT, TYP. insulated glass unit

SILICONE SILICONE SEALANT SEALANT ATplate AT silicone sealant at connection WIDE FLANGE; SEE STRUCTURAL CONNECTION CONNECTION PLATEPLATE

EDGE OF VERTICAL MULLION BEYOND

STAINLESS STAINLESS STEELSTEEL SPACER SPACER ALUMINUM ALUMINUM FACE FACE CAP CAP

level 2

ALUMINUM CAP aluminumFACE face cap

LEVEL LEVEL 2 2 19' - 19' 0" - 0" 19’-0”

ALUMINUM ALUMINUM MULLION; MULLION; SEE DETAIL SEE DETAIL 10/F200A 10/F200A aluminum mullion

STAINLESS STEEL SPACER stainless steel spacer

GL-1 GL-1

INSULATED INSULATED GLASS GLASS UNIT, UNIT, TYP. TYP. RUBBER GASKET, EACH SIDE rubber gasket, each side VERTICAL VERTICAL ALUMINUM ALUMINUM MULLION MULLION ALUMINUM BEYOND BEYOND aluminumSHOE, shoe, CLEAR clear ANODIZED FINISH

INTERIOR

CONCRETE CONCRETE SLAB SLAB ON 2"deck ON 2"TO FORM SHELF concrete slab onCAP 2” metal ALUMINUM CONTINUES METAL DECK, DECK, TYP.CEILING TYP. CONNECTION ATMETAL GYPSUM BOARD

anodized finish

backer rod sealant BACKER RODand AND SEALANT

CURTAINWALL CURTAINWALL HEAD HEAD DETAIL DETAIL 3 3 3" = 1'-0" 3" = 1'-0"

EXTERIOR

STEEL CONNECTION CONNECTION PLATE PLATE WITH WITH steelSTEEL connection plate with slotted SLOTTED SLOTTED DEFLECTION DEFLECTION TRACK TRACK deflection track

hardwood floor on ON plywood substrate HARDWOOD FLOOR PLYWOOD SUBSTRATE

BD. CEILING ON METAL 2”RIGID rigid GYP. insulation 2" RIGID 2" INSULATION INSULATION FRAMING AS REQUIRED, TYP.

4” min. batt insulation fire stop 4" MIN.4"BATT MIN. BATT INSULATION INSULATION FIRE STOP FIRE STOP aluminum cap AT atCAP floor slab/ curtainwall ALUMINUM ALUMINUM CAP ALLATFLOOR ALL FLOOR SLAB/SLAB/ CURTAINWALL CURTAINWALL CONNECTION CONNECTION W/ SHADE W/ POCKET POCKET connection w/SHADE shade pocket

level 1 LEVEL 1 4' -4’-0” 0"

2 rollerSHADE shade and COVER cover ROLLER ROLLER SHADE AND COVER AND

7 1/2" 7 1/2"

CURTAINWALL - SLAB CONNECTION 1 1/2" = 1'-0"

anchor bolt ANCHOR BOLT EXTERIOR EXTERIOR

1"

1"

SHIM shimAS asREQUIRED required

INTERIOR INTERIOR GL-1 GL-1

backer rod sealant BACKER RODand AND SEALANT INSULATED INSULATED GLASS GLASS UNIT, UNIT, TYP. TYP. SILICONE SEALANT silicone sealant

WIDE WIDE FLANGE; FLANGE; SEE wide STRUCTURAL SEEflange STRUCTURAL beam

edge of vertical mullion beyond EDGEEDGE OF VERTICAL OF VERTICAL MULLION MULLION BEYOND BEYOND

ALUMINUM ALUMINUM FACE FACE CAP CAP CONCRETE SLAB ON METAL DECK, TYP. STAINLESS STAINLESS STEELSTEEL SPACER SPACER

concrete slab on metal deck CONCRETE EXTERIOR FLOOR RUBBER RUBBER GASKET, GASKET, EACH EACH SIDE SIDE 2-1/2” rigid insulation

2-1/2" RIGID INSULATION ALUMINUM ALUMINUM SHOE,SHOE, CLEAR CLEAR ANODIZED ANODIZED FINISHFINISH

CURTAINWALL SILL DETAIL 3" = 1'-0"

3 | curtainwall shoe detail

STEEL ANGLEand AND BOLTS steel angle bolts at AT HARDWOOD HARDWOOD FLOOR FLOOR ON ON CONCRETE CONNECTION concrete connection PLYWOOD PLYWOOD SUBSTRATE SUBSTRATE

BD. GYP. CEILING BD. on CEILING ON METAL ON METAL gypsumGYP. board ceiling metal framing FRAMING FRAMING AS REQUIRED, AS REQUIRED, TYP. TYP.

LEVEL LEVEL 1 1 4' - 0"4' - 0"

2

At the concrete slab and curtainwall connection, a thermal break is achieved through insulation between the interior and exterior poured slabs. The interior slab is overlaid ANCHOR ANCHOR BOLT with BOLT a wood plank floor.

STRUCTURAL ENGINEER JASON STONE, LERA JASON.STONE@LERA.COM ENCLOSURE CONSULTANT RYAN DONAGHY, SHOP DONAGHYR@GMAIL.COM

GSAPP

ISSUANCE

BACKER BACKER ROD AND RODSEALANT AND SEALANT

NO.

DESCRIPTION

DATE

1 2 3

SCHEMATIC DESIGN DESIGN DEVELOPMENT CONSTRUCTION DOCUMENTS

09.18.2018 10.23.2018 11.27.2018

SILICONE SILICONE SEALANT SEALANT

CONCRETE CONCRETE SLAB SLAB ON ON METAL METAL DECK,DECK, TYP. TYP.

4 | curtainwall / ceiling connection detail CURTAINWALL CURTAINWALL - SLAB - SLAB CONNECTION CONNECTION 2 1 1/2"1 =1/2" 1'-0" = 1'-0"

The connection between the stick-built curtainwall system and the concrete floor slab is capped with a gypsum board shelf that also forms a pocket for the roller shade along the glass facade.

SHIM AS SHIM REQUIRED AS REQUIRED

ELEVATED STATES

INTERIOR INTERIOR interior

ALUMINUM ALUMINUM CAP CONTINUES CAP TO FORM TOform FORM SHELF SHELF aluminum capCONTINUES continues to shelf at AT GYPSUM AT GYPSUM BOARD BOARD CEILING CEILING CONNECTION CONNECTION gypsum board ceiling connection

vapor barrier VAPOR BARRIER BACKER BACKER ROD AND RODSEALANT AND SEALANT

1

EXTERIOR EXTERIOR exterior

F200B

FACADE SYSTEM 1 - DETAIL 22

elevated states

at III/IV

The theater overhangs a shaded sitting area that overlooks gardens along the riverfront.

23

Progression toward Stasis Ever since I was little, I wanted to be an artist. I craved combining my love for design with my passion for art.

I wanted to illustrate or model in a way that provoked a sentiment or impression. The methods we choose, whether as representation techniques or project processes, have a profound effect on the way our space and our experiences are perceived, by others, and perhaps more importantly, by ourselves.

I continued my experience at GSAPP with a shift in thinking - not directly tied to a specific time or semester, but generally through projects completed in the middle of my journey. I continued to look for a project’s progression, not necessarily in installation interaction or movement, or even in the number of iterations of

a solution, but rather in a continued pushing of boundaries. I was still fascinated by newness, or developing something I had not seen before, but with a greater thoughtfulness surrounding my process. It wasn’t always about charging forward, constantly in search of something new, but rather about taking a step back, often moving backward to continue forward. The process became less linear and more cyclical, reflected in perhaps less of a project completion status, but much more nuanced solutions.

It was these nuances, though, that ultimately challenged my thought process and my design considerations.

The following projects take a moment to stop, study, and reflect in their progression and their solutions.

Study model, Core II | a model whose ultimate purpose is undetermined

24

flora facade

[re]thinking bim

Professor Jared Friedman | rethinking bim | Fall 2019

FLORA FACADE

LEVER HOUSE FACADE | NEW YORK CITY

The exterior of the existing Manhattanbased Lever House has been remodeled to include additional square footage of balcony space along its southern facade.

These balconies, which span the length of the building, overlook the podium and provide protected, outdoor space for both commercial and residential tenants. They also foster interaction among building users, outside of the existing envelope. The concrete slab balcony extensions are capped with an aluminum screen, faceted in a triangular pattern, each panel directed at an angle to receive maximum solar

radiation. Steel structural supports run along the facade, hanging from the existing building and supporting the screens below. Each prefabricated panel contains triangular cut-outs, increasing in both size and distribution at areas with the most sunlight exposure. These cut-outs create a path for greenery to grow along the newly screened facade.

Paths are drawn along the screens with the best solar radiation access for plant growth. Here, progression occurs not only in the construction process, as the building moves from existing structure to balcony extension to

living facade, but also in its expansion in the very understanding of a facade.

It aims to push the indoor/outdoor threshold, sliding the perfect line that so often delineates the beginning or the end of the structure. This project looks to the future in how to convert the monotonous facades of existing skyscrapers to something that is draws light, air, and life.

Project completed in collaboration with Berkhan Eminsoy

25

flora facade

[re]thinking bim

screen detail

aluminum screen with triangular cut-outs for plant growth screen and balcony connection

steel channels supporting aluminum screens

structure detail

1/4” thick pre-fabricated aluminum screen 4” concrete balcony floor plate 8” steel channels along aluminum screen edges

connection detail

aluminum screen with cut-outs steel plate at screen/slab connection bolts through steel plate

The vines grow along the screens, creating a living facade amongst a backdrop of steel and glass.

53rd Street

54th Street

26

flora facade

solar radiation at panels concrete balcony extensions

The facade builds upon its initial balcony extrusions to ultimately allow a facade of greenery along the most effective channels of light to facilitate their growth.

steel support sections

triangular panel extrusions

prefabricated aluminum screen

greenery through screen

[re]thinking bim

27

channeling luminescence

core II

Professor Erica Goetz | Core II | Spring 2018

CHANNELING LUMINESCENCE LIBRARY | NEW YORK CITY

The Channeling Luminescence Library is a lattice of light where patrons wander through a three-dimensional field of reading rooms, book stacks and community spaces, ducking in and out of pools of light.Vertical channels reflect and refract light down from the roof and through transparent and open triangles in the diagrid. This library removes the patron from this modern era of digitization, as the user meanders through stacks that remain contiguous with the structure of the

building. Spaces in shadow house the collections and provide intimate nooks for quiet study, while channels of natural light puncture through floor plates to create alcoves for reading and conversation. Architecturally, the library pushes structural conceptions, building a lattice of light through a triangular gridded system. This take on the diagrid creates an internal/external system that permeates throughout the building. Opaque, transparent, and translucent panels are inserted within

the structural members, building a singular system for the facade and spaces inbetween.The triangulation creates smaller, concave nooks for reading and wandering in addition to large, convex spaces that open up toward the light above. This project has progressed physically throughout its light, massing, and structural studies, and yet it remains progressive in its ultimate design, building one structural and wall system that plays on the indoor/outdoor threshold.

28

channeling luminescence

core II

Clay study models were used to explore passage of light from large to small wells through different spatial constructions.

29

channeling luminescence

core II

The structural triangulation allows for exciting spatial configurations 30

channeling luminescence

core II

Structural triangulation is studied through model form.

31

The facade includes triangular inserts of glass and wood to fabricate an intricate and ever-changing system.

31

channeling luminescence

core II

The Brooklyn waterfront site allows for views of the Brooklyn Bridge and Manhattan beyond. However, it is rather devoid of natural light, requiring the structure to reach up and above its surroundings to harvest sunlight.

32

channeling luminescence

core II

33

channeling luminescence

Triangular panels are glazed, opaque, or filled with open bookshelves that angle down toward the building user.

core II

34

channeling luminescence

core II

Light wells create spaces for a library user to choose a book in the dark and read it in the light.

35

tessellated diagrid

adr II

Professor Lydia Xynogala | ADR II | Spring 2018

TESSELLATED DIAGRID

DRAWING STUDY | NEW YORK CITY

This study expands upon the triangulation of the Channeling Luminescence Library and explores the use of the diagrid as a facade and structural system through both experimental and technical drawings.

The inspiration came from a study of stamps and linework, transformed into a Voronoi script with variations of fragmentation and then interpreted as a diagrid. This single project takes two main forms: experimental and technical.

It looks at the most specific aspects of the diagrid but then how it can be altered and adjusted in a model/drawing hybrid. It pushes the idea of the diagrid system in both its structural and artistic forms.

36

tessellated diagrid

adr II structural steel beyond cold formed steel cap 8”

skylightSKYLIGHT SKYLIGHT 112' 112’ -- 0" 0” 112' - 0"

65 °

roof ROOF 98' 98’ -- 0" 0”

exterior glass panel beyond

ROOF 98' - 0"

level77 LEVEL 7 LEVEL 84' 84' - 0" 84’ -- 0" 0”

interior glass panel beyond

(2) 3/4” single glass panes

level 66 LEVEL 6 LEVEL 70' 70' - 0" 70’ -- 0" 0”

blocking as required cold formed steel cap with embedded curtainwall shoe

level 55 LEVEL 5 LEVEL 56' 56' - 0" 56’ -- 0" 0”

1” wood plank flooring

level 44 LEVEL 4 LEVEL 42' 42' - 0" 42’ -- 0" 0”

3/4” air gap

8”

8”

3/4” plywood 2” rigid insulation blocking 16” on center 5/8” gypsum board ceiling

level 33 LEVEL 3 LEVEL 28' 28' - 0" 28’ -- 0" 0”

exterior wood panel beyond interior wood panel beyond 1” exterior grade wood cladding, 6” horizontal planks

level 22 LEVEL 2 LEVEL 14' 14' - 0" 14’ -- 0" 0”

1” stained wood veneer weather barrier 1/2” air gap, each side 2” rigid insulation 3/4” plywood

NORTHEAST ELEVATION NORTHEAST ELEVATION The diagrid system holds two types of glass, creating different looks depending on where the light hits. The aluminum SCALE: 1/16" = 1' 1/16" = 1' SCALE: curtainwall system is set up to generate different angles of glass placement that create anything but a generic facade. These technical drawings illustrate how the concept can work in true built form.

cold formed steel cap

8”

65 °

level 11 LEVEL 1 LEVEL 0' 0' - 0" 0’ -- 0" 0”

37

tessellated diagrid

adr II

The structural diagrid gives way to a spatial configuration creating areas of darkness and light. Tracing linework over model photographs allows for a more sensory understanding of how the diagrid changes spatial form.

38

facade fabrication

adr I

Professor Farzin Lotfi-Jam | ADR I | Fall 2017

FACADE FABRICATION

MODEL & DRAWING STUDY | SIMMONS HALL, MIT

The model and drawing studies examine the order and assembly of Steven Holl’s Simmons Hall prefabricated modules and how their arrangement creates unique lighting and shadow effects. It looks at

the adjacencies of individual pieces and how they fit together to comprise the much larger puzzle of the overall facade.

The regularity of the modules, however, gives way for opportunity to customize

their fabrication into the whole. The model expands upon the Simmons Hall facade construction in looking to the future of the prefabricated module.

39

facade fabrication

adr I

40

facade fabrication

adr I

This section drawing explores how light enters the space through its unique facade formation.

41

facade fabrication

adr I

42

Stasis as a Status I want to be an architect because I want to create something that lasts.

In architecture, we utilize what we create every day, but more importantly, we are creating spaces for people and communities who we don’t know and don’t necessarily understand. It is of the utmost importance that we don’t forget our design’s effects on others, and the role of architecture in their development.

In this understanding, I have learned that more often not, it is most important to research, study, understand, and ultimately embrace the existing. This doesn’t always refer to a preexisting building or site conditions, but moreso the community, culture, and way of life. It is not enough to develop a project through a given

program; it is most important to develop the program itself, which then defines the project’s trajectory.

Toward the end of my journey at GSAPP, rather than strive to find a project’s progression, I began to find completion in embracing the existing.

I created a solution by finding the correct problem. In fact, it wasn’t often a problem but rather a set of existing conditions that could or could not have been improved upon.

I believe my most successful projects are not those with the most iterations, longest processes, or greatest design progressions, but those that allowed me to stop, think, and understand my surroundings. This was my journey into stasis, and my projects’ new state of being.

Flying Object, Core I | a model that centers the surrounding chaos

43

interwoven

adv V

Professor Sharon Davis | Advanced V | Fall 2019

INTERWOVEN

WOMEN’S COLLEGE | KIGALI, RWANDA

Inspired by traditional African basket weaving, this Women’s College in Urban Rwanda uses woven programmatic relationships to create a blended learning environment in which learning, coaching, and gathering spaces are intertwined for a holistic educational experience. The building is nestled into its hillside site, embracing the Rwandan landscape as it flows upward with the topography. The Akilah Institute’s

goals for this campus were to create a progressive learning environment in how students engaged with teachers in addition to the subject matter. In creating this new learning experience, though, it was important to do so through the existing Rwandan culture.

Using existing and new local materials, building into the Rwandan landscape, and doing all through connecting classrooms based on a traditional basket weaving

concept, allow the project to embrace what is native to Kigali. The architecture is not meant to make a statement other than to ground its hold on existing traditions. It finds a modern form in something that is not only already working, but working well. In doing so, the school empowers local women to continue to find the education and success in life that they have already begun to understand.

44

interwoven

Based on traditional women-crafted designs, woven patterns inspired the form and programmatic relationships of the college.

adv V

The flow of structural and suspended material influenced a fluidity among teachers and students through the spaces they inhabited.

45

interwoven

adv V

akilah - basic cateogry

akilah - divisions

design - subdivision and recategorization

design - layout

design - adjacencies

level 2

level 1

level 3

student workstations open classrooms

11 female workstations 14 open student workstations

faculty workstations lecture classroom groupwork classroom faculty workstation lecture classroom student workstations

learning

female restroom

closed classrooms 19 female groupwork rooms

12 female lecture rooms outdoor classrooms

female restroom student workstations lecture classroom groupwork classroom

lecture classroom groupwork classroom student workstations groupwork classroom

auditorium

outdoor agriculture area

agriculture area student workstations faculty workstations

co-ed student workstations

groupwork classroom female restroom groupwork classroom

28 groupwork classrooms co-ed groupwork rooms

student workstations faculty workstations groupwork classroom female restroom groupwork classroom

student workstations groupwork classroom groupwork classroom

library/ archive main entry lounge

co-ed lecture rooms

assembly

lecture classroom groupwork classroom

event entry

15 lecture classrooms

outdoor agriculture

lecture classroom groupwork classroom

student workstations faculty workstations

event entry

reception/ lounge

community entry

indoor dining

cafeteria

outdoor dining

female college entry

main college entry

library/ archive

library/ archive

library/archive

faculty lounge

faculty lounge

cafeteria

multipurpose

event entry

faculty lounge

auditorium

community entry

agriculture area

agriculture area

auditorium

groupwork classroom

groupwork classroom

groupwork classroom student workstations faculty workstations lecture classroom

groupwork classroom student workstations faculty workstations lecture classroom

groupwork classroom

groupwork classroom

faculty workstations female restroom lecture classroom faculty workstations

lecture classroom faculty workstations groupwork classroom

groupwork classroom lecture classroom

female restroom student workstations

student workstations groupwork classroom faculty workstations student workstations groupwork classroom

lecture classroom

student workstations

cafeteria

administrative offices

admin

executive offices

faculty lounge faculty workstations

faculty workstations

co-ed workstations

faculty lounge

faculty offices

faculty workstations

groupwork classroom co-ed restroom groupwork classroom lecture classroom groupwork classroom

service/ circ

female restrooms

female restrooms

co-ed restrooms

mech/elec, parking

restrooms

mechanical space

co-ed restrooms

mech/ elec/ it

electrical space

circulation

circulation

it space circulation

faculty workstations groupwork classroom

groupwork classroom faculty workstations groupwork classroom faculty workstations groupwork classroom lecture classroom co-ed restroom student workstations

groupwork classroom faculty workstations groupwork classroom student workstations

groupwork classroom lecture classroom co-ed restroom student workstations community entry agriculture area

46

interwoven

The site is located in the commercial district of Kiyovu, a neighborhood of the Rwandan capital, Kigali.

adv V

The buildings climb up the slope of the site, allowing pedestrians to meander through the open campus.

47

interwoven

adv V

learning

coaching

open student workstations faculty workstations

group work classroom

gathering faculty workstations

learning

closed classroom open classroom outdoor classroom

coaching

private offices open offices office overflow / outdoor office

gathering

lecture classroom

public space private space multipurpose event space

group work classroom faculty workstations

lecture classroom open student workstations

Bands of space are woven together to facilitate student and teacher movement through different programmatic typologies. Learning and coaching areas are linked by circular gathering spaces; circulation flows through open classrooms, then around the cafeteria, auditorium, and library.

48

interwoven

adv V

second floor plan

ground floor plan

third floor plan

49

interwoven

adv V

50

interwoven

adv V

wood shingles bolted to reed frame bamboo reeds rope tie at bamboo connection bamboo top chord bamboo bottom chord hand crafted bamboo truss

level 1 bamboo column supports precast concrete sill with drip edge clay block wall with plaster overlay

5’-0”

metal flashing tied back to clay block

precast concrete lintel decorative wood screen insert bamboo wood shingle roof

level 2

4’-0”

4’-0”

14” concrete slab

1’ - 0” 0’ - 0”

level 3 4” concrete slab on grade packed gravel stone footing 51

interwoven

The four buildings work their way up the hill, embracing the existing topography and showcasing the natural Rwandan landscape beauty. Mild temperatures and overhead sun call for a covered yet open air third floor, constructed with a hand-crafted bamboo truss system and wood shingled roof.

adv V

Public entrances to gathering spaces are located between the academic buildings. Punched openings are located throughout the load bearing walls to allow air flow through the first and second floors, and the buildings are kept to a maximum of 40 foot widths for best passive cooling.

52

interwoven

The bamboo trusses expand and contract to fit the width of the module as it bulges and narrows across the length of the building.

adv V

Punched openings allow for air flow through the main body of the building, while the truss system allows for open air at the third story and the outermost first and second floor classrooms.

53

interwoven

adv V

The third floor opens up to a panoramic view of Kigali. The space bulges outward for classroom space and converges inward towards its circulation. The bamboo trusses are locally built and exposed in the roof composition, and the thin bamboo reeds and wood shingles offer rain protection above.

54

an expanding footprint

adv IV

Professor Ziad Jamaleddine | Advanced IV | Spring 2019

AN EXPANDING FOOTPRINT

RELIGIOUS INSTITUTION INTERVENTION | ORANGE COUNTY, NY

The Evangelical Baptist Grace Community Church, located in Washingtonville, Orange County, is focused on expanded its physical and virtual presence with hopes to gain followers and “kick the darkness out of the northeast.” The church’s existing structures and massive suburban parking lots pay little heed to the environments they occupy. The Architectural intervention for this religious institution includes remediating a local brownsfield

site and cleaning the soil as it is excavated. The new church occupies and expands through the land as it is cleansed, only growing so far as darkness can be removed from its soil. In this way, the church is not solely progressive in its expansion techniques, but also in its commitment to the community and the environment. In embracing the “darkness” existing in the landfill, the church focuses its energy in remediating the site through environmental clean-up.

It looks to an existing issue and provides a solution through its architectural process and form. As the remedial site’s soil is cleaned, the church can begin to occupy the land. It is built in procession, over time, and has a clear linear progression. However, it does so in embracing the existing, and is therefore not solely about the future but also about the present and the institution’s ability to understand the importance of today’s conditions.

55

an expanding footprint

adv IV

56

an expanding footprint

adv IV

1 mild contamination found; on site remediation

top soil relocated for on site bioremediation

2b

heavy contamination found: off site remediation

2a

soil probe taken every 25 feet; sample mailed to testing facility

3a

3b

soil processed on site; nutrients and oxygen injected at bioremediation area; carbon dioxide pumped out

re-testing of soil; sample mailed to test site

5a

clean soil relocated to roof planters at sanctuary

6a

formwork built at excavation site

site

4a

4b

solidification barrier: concrete pumped into formwork and soil

5b

solidification barrier formed

6b new structures built within barrier

soil remediation center

57

an expanding footprint

adv IV

floor plan

roof plan

The main sanctuary hugs the site’s bedrock. It houses a theater-in-the round for a the main congregation with auxiliary sanctuaries for smaller group worship. The soil cleaning area is located nearby, allowing congregants to observe the cleaning process as they occupy its excavated land with their new building footprint.

The waffle slab concrete roof structure holds a space for freshly cleaned soil and plant growth.

58

an expanding footprint

adv IV

59

an expanding footprint

adv IV

The roof porosity changes as soil is remediated; the clean soil is infilled at roof planters, creating a new space for greenery. The roof progression showcases the amount of soil remediation that has been completed on site.

60

an expanding footprint

adv IV

61

61

adv VI

entre los arboles

Professors Olga Aleksakova and Julia Burdova | Adv VI | Spring 2020

ENTRE LOS ARBOLES

HOUSING DEVELOPMENT | HAVANA, CUBA

Located on the eastern side of Havana, the Antonio Guiteras housing development faces numerous challenges relative to its western counterparts.

It is not only isolated from Havana Viejo, but also from its microdistrict neighbors and local commerce. To the southwest, an oil refinery has polluted the air since 1960, and a northeasterly breeze draws pollutants through the site. While the development itself lacks identity, its distance from Havana Viejo inspires the formulation of new, selfsufficiency commerce. The suburban/ rural street grid dichotomy allows new uses of vacant land, and sustainably managed forestry has been introduced as a new industry for the housing development. Embracing the rural and

suburban nature of the existing land creates space for Ipe, Palm, and Bamboo trees to grow, providing sustainable building materials for years to come.

While the growing/harvesting processes create local jobs, the foliage helps clean the air and provides shade in the hot climate. Existing buildings are repurposed to provide lumber manufacturing and woodworking shops that residents can utilize. Newly processed wood will be exported for construction but also used as a local building material. While the larger tracts of land transform into rural forest, smaller spaces between existing housing blocks will be infilled with new public space. Built over time, these extra suites, decks, and courtyards will expand housing square footage

by building public/private amenities.

These additions connect existing buildings and provide a stronger urban street front throughout the residential areas. Ultimately, the suburban housing development of Antonio Guiteras transforms into rural forestry and urban housing hybrids that together embrace Cuban culture and construct a more harmonious neighborhood. The project progresses through growth of the forest yet embraces the past in its reforestation of the country and ultimate goal of self preservation and sustainability.

Project research and masterplan completed in collaboration with Anna Creatura 62

IPE TREE PER SQUARE

ER IPE TREE

adv VI

entre los arboles

wood Woodboards Boards Glu-lam wood assembled from stalks glu-lam wood assembled from stalks

concrete Concretepanel Paneland andblock Block Fibers used supplement concrete fibers usedtoto supplement concrete

Textiles textiles Scraps used forfor textile production scraps used textile production

Shavingsand anddry Drychips Chips shavings FORESTRY GRID: 1 IPE TREE PER SQUARE tree grid

1 HOUSEHOLD PER IPE TREE

BAMBOO bamboo cluster

5 PEOPLE PER HOUSEHOLD

bamboo native locations

Scraps toto bebe recycled for fuel scraps recycled for fuel

4 JOBS PER IPE TREE: LOGGING REFINERY WOODWORKING

Fruits fruits Fruit can be sold local markets fruit to be soldinin local markets

palm Palmoil Oil Used for andand otherother products used forcooking cooking products

wood Woodfibers Fibers Used for production used forfurniture furniture production

Concretepanel Paneland andblock Block concrete Fibers used supplement concrete fibers usedtoto supplement concrete 1 HOUSEHOLD PER IPE TREE

household allocation

5 PEOPLE PER HOUSEHOLD 4 JOBS PER IPE TREE: LOGGING REFINERY WOODWORKING

ROYAL PALMtree royal palm

palm native locations

Shavingsand anddry Dry Chips shavings chips Scraps totobebe recycled for fuel scraps recycled for fuel

wood decking and structural members

Wood Decking and Structural Members

ipe strong material andwell works well in hot, humid climates Ipe isisaastrong material and works in hot, humid climates

pulp and paper products

Pulp and Paper Products

scraps for newspaper, packing, other products Scraps used for newspaper, packing, other products

shavings Shavingsand anddry Drychips Chips

scraps recycled for fuel Scraps toto bebe recycled for fuel

individual and economic allocation 5 PEOPLE PER HOUSEHOLD 4 JOBS PER IPE TREE: LOGGING REFINERY WOODWORKING

ipe IPE tree

ipe native locations 63

60 days

360 days

1 year

2 years

3-4 years

adv VI

royal palm

50’ + 50’+

IPE

0-30 years

100-150’

ROYAL PALM

0-30 years

year 11 yr

55years yrs

10-20’ 10-20’

5-10’

1-2’ 1-2’

1-2’

10 yrs years 10

2 years

25 yea rs 25 years

5 years

rs ea 55yyears

30-35 years

IPE

30’ 30’

BAMBOO

bamboo

12’

5’

BAMBOO

15 15’

4-5’ 4-5’

ROYAL PAL M

1-2’

year 11yr

0 days

22years yrs

3-4 years 3-4 yrs

100-150’ 100-150’ 50’ +

IPE

ipe

110 0 yyears ea rs

20 years rs yea 20

10-20’

5-10’ 5-10’

1-2’

1-2’ 1-2’

15 years 22 years yrs

years 55 yrs

30-35 years 30-35 yrs

15 years

ars

120 days

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Sawmill

Logs are pressed at the mill

40 Acres 240 Ipe Trees 6400 Bamboo Clumps 4320 Royal Palm Trees

Harvester Wood is harvested with heavy machinery or by hand

51 Acres 306 Ipe Trees 8160 Bamboo Clumps

Storage Warehouse Logs are transported to saw mill

5508 Royal Palm Trees

Sawmill

Logs are pressed at the mill

Harvester Wood is harvested with heavy machinery or by hand

84 Acres 504 Ipe Trees 13, 440 Bamboo Clumps 9,072 Royal Palm Trees

Sawmill

Logs are pressed at the mill

35 Acres 210 Ipe Trees 5600 Bamboo Clumps 3,780 Royal Palm Trees

138 Acres 828 Ipe Trees 22, 080 Bamboo Clumps 14,904 Royal Palm Trees

Pulp and Paper Mill Mill used to create paper products

The wood is harvested in both macro and micro processes, then circulated around the site for its various uses as building material or fuel, whether for storage or immediate usage.

Refinery Fruits and fibers pressed for oil extraction

65 Batch Plant Concrete composite created with palm fibers

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The ground floor holds wood fabrication processing, woodworking shops, parking, and retail facilities. It becomes an active space for residents and neighbors beneath the housing block.

adv VI

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adv VI

The wood is harvested for local fabrication in shops located underneath the existing housing blocks.

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mezzanine floor plan | this level holds smaller greenhouses for nursery plant growth in addition to space for the forestry management workers through locker rooms, offices, and lounges that overlook the fabrication shop below.

adv VI

podium floor plan | at this level, formal and informal recreation areas surround the existing building, where children can play while their families watch from their apartments above.

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adv VI

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intervention 1 workshop location at ground floor of podium addition with recreation area above

podium addition

intervention 2 void cut through building for light well and cross ventilation through all units podium structure

podium circulation

intervention 3

void through building

two story units formed through external stair connections for combination of semi-private spaces

void structure

void circulation external stairs for unit reconfigurations

external stair structure

The building interventions allow the existing housing block to be transformed into a wood processing fabrication shop with a diverse array of apartments that all receive natural air and sunlight from above.

external stair circulation

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adv VI

entre los arboles renovated apartment bedroom 1

bath

kitchen

entry floor:

living/dining bedroom 2

bedroom 3

bedroom 4

1 bed 1 bath kitchen living/dining

entry

connection stair

upper level

lower level

additional floor above or below

additional floor above or below

additional floor above or below

additional floor above or below

option 1:

option 2:

option 3:

option 4:

3 bed sitting area

3 bed 1 bath study sitting area

3 bed 1 bath study

3 bed 1 bath kitchenette

Apartment reconfigurations are created through the addition of external staircases for joining of two semiprivate spaces

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adv VI

The external stair connections create new sightlines across the existing facade and form new social spaces that overlook the podium and forest below.

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adv VI

The external stair connections create new sightlines across the existing facade and form new social spaces that overlook the podium and forest below.

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PROGRESS The progression on my journey at GSAPP, illustrated through this collection of work, has by no means been simple, linear, or succinct. Each project, with its own program, site, location, goals, and trajectory, unraveled over the course of a semester and beyond.

Each had its ups and downs, its catapult forward and numerous steps backward. They began, however, with a simple - and often small-minded - search for progress. Looking toward constant progression was a way of moving, a method of seeing the future, toward technical and artistic innovation. It was this mission that jumpstarted each project and excited my spirit.

I craved the rush, the energy, and the growth that I saw in project advancement and my own overall development.

More often than not, though, consistent progression down a linear path became a hindrance to its own success. A roadblock quickly unraveled into a point of frustration rather than a learning experience.

Linear progression became unrealistic and unfair, often to the process itself. Progress could no longer be the ultimate goal, or a solution would never be achieved.

This discovery led to a shift in thinking, curated by certain projects and professors, experiences and opportunities. It was not a change in course of action or work load but of a simple method of process. It became okay to spend time researching, understanding, and growing, both within a project and outside of one. It was about understanding when to commence or conclude a phase, to return to another, or to simply stop, take a breath, and repeat.

A lack of progress, in essence, helped me find it.

Ultimately, progression feels like a difficult way to measure the growth of not only an architectural project, a thought process, or an idea, but also that of a person. Is it in finding the most acceptable solution for the given conditions, or based solely in finding a never before seen idea? Is it in the project’s goal, its capabilities, or its ultimate usage that matter the most? Perhaps, then, progress should not be measured at all. How can it?

Both my architectural and personal journeys these past three years have yearned for stasis. In reflection, achieving equilibrium has ultimately become the greatest measure of success. It quickly became the antithesis to what I perceived as my progression, seen as a detriment to overall success. It is what I so often feared - being stagnant, or stuck. I soon realized, however, that it was the most important phase of my work. Finding stasis, or equilibrium, is often reserved for our personal lives - whether it be in the work/life balance or seeking harmony among friends or family. However, in my architectural progression, it was also of the utmost importance.

In this way, my personal academic journey was curated through my projects. Each allowed me to curate and understand the equilibrium required for success. Sometimes I found it in existing conditions - whether it be a site, a culture, or an experience that I was entering. I took the time to pause, to learn, and to embrace the existing. With this change, I developed solutions that paid heed to history. In taking the time to stop, I was able to look back. And in looking back, I moved forward. I discovered what I had not understood was possible. In embracing this phase, one of stasis, I continued to grow. It was not linear, or even cyclical, but backwards and forwards, right and left, up and down, and yet by the end, I had understood that it was the most rewarding journey.

Progress and stasis are melody and harmony. It is not about the rejection of one or the other to stimulate growth. They are both needed, as a balanced concept - perhaps the very balance that stasis so blatantly portrays. Progress is nothing with out stasis; it is a constant trajectory forward, and often a dead end.

Likewise, stasis requires progress to protrude its effectiveness. In fact, it is this period of stasis that allows progressive growth. Together, within this equilibrium, the solution becomes clear. Stasis allows us to progress - in our work, our creativity, and our development, in our design ideas, architectural interventions, and most importantly, the inherent understanding of what surrounds us.

Ultimately, the stasis makes progress.

STASIS

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STASIS makes

PROGRESS

thank you