Andrew Keung '20 MArch Columbia GSAPP

lowercase

a way to mine parking lots, a way to clean land and build things at the same time, a group of people who share their homes, a place to see the people beside you, a house for lost things, a squishy school, a home for you and everyone else, a movie about rolling in a library, a book for children, a drawing tool for good posture, a game oriented toward objects, a tool to build a communty, a wall that moves, from andrew keung

a way to mine parking lots, a way Uppercase ‘A’ Architecture is land and build things at willfully ignorant. Itto is a clean self concerned discipline that denies the reality of architecture as same a the time, a group of people service for the common good. who share their homes, a home for architecture with a lowercase ‘a’ considers that which is born from you and everyone else, a place to understanding rather than ego.

It is architecture that confronts see and the people beside you, a house the whims of the architect those with power and attempts to serve the public good rather for lost things, a squishy school, , than public image. Both the public good and the public image are a movie about rolling in a library, elusive concepts, but they are what I hope to understand through a book for children, a drawing tool these explorations. Whether they are successful or not is debatable. for good posture, a game oriented The existence of architecture and Architecture are also debatable.

What is not debatabletoward is that the objects, a tool to build a role of architecture is changing, and with that the very practice itself is communty, a wall that moves, from being questioned. andrew keung

lowercase

part one

a way to mine parking lots, a way to clean land and build things at the same time, a group of people who share their homes, a home for Using architecture asyou a way ofand everyone else, a place to thinking rather than building, the following work considers how see the people beside you, a house to approach and address issues through systemic interventions. things, a squishy school, , Can architecture befor used lost to beneficially influence terrestrial a movie about rolling in a library, extraction? Industrial wastelands?

Self-built communities? a book for children, a drawing tool Hopefully yes, and hopefully more. for good posture, a game oriented toward objects, a tool to build a communty, a wall that moves, from andrew keung

open ground school gsapp advanced studio four / site­— newburgh, ny, usa / critic — nahyun hwang / partner — qingying wang /

a way to mine parking lots

Open Ground School presents an ecological, social and aesthetic critique of the autoscape as an anthropogenic construct in the context of r/urban ecologies.

Considering asphalt surfaces as sites for ‘considerate extraction’, the project utilizes lightweight publicly-accessible architectural interventions that prioritize social experiences and local benefits rather than efficiency and profit in critique of existing mining operations.

Through a sequential development from initial extraction to research and development, the Open Ground School serves as the prototypical site for renegotiating the surface condition of asphalt, generating both innovative materials and knowledge for Newburgh and

beyond.

The automobile has created a landscape that has changed the topography and ecology of urban and rural centers alike.

These surfaces prevent restoration of water to underground aquifers and in turn collect automobile waste and feed pollution into water systems through stormwater runoff. (right)

gsapp advanced studio four / site­— newburgh, ny, usa / critic — nahyun hwang / partner — qingying wang /

Newburgh finds itself nested between two major aqueduct construction and maintenance projects in the midst of their own water crisis. (left)

Asphalt is an impervious surface that covers 43, 000 square miles of America. In smaller r/urban cities that are reliant on automotive transport, big box vendors are built adjacent to seas of parking landscapes (autoscapes).

The project develops on mainly three aspects of the re-invention of the autoscape: the extraction of the reusable materials of asphalt, the research and development of the extracted materials, and the experimental production using new building materials and paving techniques that are developed on-site.

These three aspects inform the architectural sequence of space of the project.

Expanding existing damaged asphalt by propogating “destructive” plant species. Restoring ground water through reversewell impromptu interventions.

B. extraction Breakdown and extraction of asphalt paving through microbial degradation, aqueous disintegration, and mechanical breakdown through resilient plant species.

gsapp advanced studio four / site­— newburgh, ny, usa / critic — nahyun hwang / partner — qingying wang /

A. pre-extraction

Development of new paving and building materials obtained from existing pavement.

D. production Production of new paving and building materials for local use and distribution of research data for future propogations.

gsapp advanced studio four / site­— newburgh, ny, usa / critic — nahyun hwang / partner — qingying wang /

C. research and development

gsapp advanced studio four / site­— newburgh, ny, usa / critic — nahyun hwang / partner — qingying wang /

gsapp advanced studio four / site­— newburgh, ny, usa / critic — nahyun hwang / partner — qingying wang /

new futures & the wasteland

architectural succession

An exercise in architectural succession, wherein each built element is considerate of its own past, present and future in the timescale of toxic land remediation.

Can we maximize temporary architecture, in this case remediation structures, to become substrates for future social, natural, infrastructural environment? In order to create conditions where both wildlife and humans exist not in opposition but a parallel manner, the concept of porosity is deployed across all scales, from the building element to urban infrastructures.

gsapp advanced studio five / site­— east williamsburg, ny / critic — marc tsurumaki / partner — brenda lim /

a way to clean land and build things at the same time

gsapp advanced studio five / site­— east williamsburg, ny / critic — marc tsurumaki / partner — brenda lim /

The site is a National Grid Liquid Gas Holding Facility in East Williamsburg, adjacent to Newtown Creek and several industrial facilities. Based on the assumption that fossil fuel usage will be eliminated by 2050, the site presents potential for redevelopment and rethinking our relationship with contaminated land.

Warehouses

parking lots

gas transport trucks

Newtown Creek LNG Storage Tank

old gas holding facilities

gas transport barges

leeching contaminants

leeching contaminants

YEAR 2020

1 truck = 10 -14 cubic yards + +

+

+ +

+

+

+

removal by barge

community-based phytoremediation

1 truck = 10 -14 cubic yards 1 barge = 25 truckloads

+

SAFE TO OCCUPY: 2035

in-situ chemical oxidization

earth extraction

SAFE TO OCCUPY: 2022

SAFE TO OCCUPY: 2027

Three different remediation strategies: phytoremediation, in-situ chemical oxidation, and excavation will be applied to the site, each with their own economic and social efficiencies and inefficiencies. Over time, these elements become foundations or landscapes for architecture to build upon, hopefully maximizing the process of remediation.

permeable structures allow for bird habitats

48’ residual land subtractions

phytoremediation field grows

remediation wells become building structure

18’ bald cypress

22’ black willow tree

storm surge resilient structures

waterside recreation

community in the park

building on existing foundations

initial building developments

remediation processes become substrate for human and wildlife inhabitation

mussel farms and habitats form

Considering the site’s adjacency to a NYCHA community, New Futures and the Wasteland aims to create opportunities for neighbouring communities to take ownership over certain remediation processes, empowering the local residents to have agency over the future neighbourhood developments.

The site is also at risk of flooding, which amplifies the need to remediate the land in a way that responds to the changing water levels, either in a preventive or opportunistic manner.

Designing from the basic elements of architecture, we developed a series of manipulations that allow for the re-introduction and inhabitation of non-human species, exploring the notion that architecture can accommodate unpredictable and coincidental natural behaviors - recognizing that architecture can be a system for both contingency and control.

gsapp advanced studio five / site­— East Williamsburg, NY critic — Nahyun Hwang / partner — Brenda Lim /

gsapp advanced studio five / site­— East Williamsburg, NY critic — Nahyun Hwang / partner — Brenda Lim /

gsapp advanced studio five / site­— East Williamsburg, NY critic — Nahyun Hwang / partner — Brenda Lim /

In situ chemical oxidation structures proceed to house community programs such as libraries, schools, community centers, and independent retailers. Placed adjacent to the surrounding residential neighbourhood, it hopes to bolster the engagement by the local residents

gsapp advanced studio five / site­— East Williamsburg, NY critic — Nahyun Hwang / partner — Brenda Lim /

As Newtown Creek is a highly biodiverse ecosystem, the aquatic wildlife can easily use the soft, porous structures as a substrate to grow and proliferate.

potluck publics

potluck publics is the hyperlink of domesticity, open-ended props and platforms to confront quotidian life in Lima, Peru Considering the future projection of self-made barriadas, they hope to amplify the potential of open-work and existing descendant-ascendant negotiations. These barriadas are re-engineered as improved co-capitalists, yet foster inter-social contracts and communal piquancy.

gsapp advnaced studio six / site­— el ermitano lima, peru / critic — anna puigjaner / partner — kabir sahni /

a group of people who share their homes

immigration downpour

sites and services strategy The irony of the formal and informal simultaneously engaged in building neighbourhoods introduced the first negotiation. This was encouraged with the sites and services strategies by the government that formalized barriadas instead of past eradications and tabularasa projects. This strategy simply rearranged dwellers through formal urban parcelling and plugged them into the city’s water, power and transit lines.

housing plan for lima, 1945 Responding to the population spike and chaos from impermanence, President Belaúnde instituted the Housing Plan for Lima in 1945, that planned to execute formal public housing developments called unidad vecinales or unit neighbourhoods. These were rational and affordable housing projects looking to eradicate squatter settlements and promote a western domestic aspiration. Unfortunately, the government did not have enough capital to build for all, nor all had the capital to buy or rent, and simultaneously not all wanted to relinquish ownership. The inadequacy and desperation were confronted by invasions of self-made squatter settlements, the tugurios in the city center and the barriadas in the periphery. These contrasted the vecinales with a lack of technical know-how and urban order.

legalizing barriadas This negotiation was bolstered by outside counsel from academics like John Turner and William Mangin in the late 1950s who encouraged granting barriadas greater agency, leading up to victorious legalization of squatter settlements in 1961.

The descendant order and the ascendant freedom created a gradient across the 1960s up to contemporary times with the former recanting the degree of control and the latter enjoying increasing freedom of preference, starting from dwelling expansions up to participation in selection of urban programs. elemental house Additionally, learning from the prevailing self-help dwellings, the government established the elemental house, an existenzminimum dwelling unit that could grow based on owner needs and financial competencies.

gsapp advnaced studio six / site­— el ermitano lima, peru / critic — anna puigjaner / partner — kabir sahni /

Lima, since the 1940s, experienced an immigration downpour from its rural communities. Situated in a third world environment, the Peruvian government was unable to satiate the need for basic amenities and facilities in the countryside. These areas battled underdeveloped infrastructure, lack of education and healthcare, dearth of work opportunities and mass poverty. The move to the nation’s capital came from the search for economic opportunity and essential social and civic services and infrastructure.

Lima’s housing history experienced an alternate trajectory. The paradigm shift from questioning the existence of barriadas, to how barriadas can exist, incited a rapid time of experimentation of open-work. Focusing on barriada transformation instead of eradication, the sites and services strategy continued, and between 1960 and 1990, the peripheral areas experienced experiments in formal housing projects that nurtured barriada idiosyncrasies.

Pilot projects addressed social infrastructure and pedestrianisation. In 1968, along with the UNDP, Belaúnde opened the experimentation to global minds through PREVI-Lima.

Inviting thirteen domestic and thirteen international architects and practices, the project was built as a collaboration of 24 ideas of expandable units and brought forward the system of community clusters to foster social vernacular and public collectivisation.

Following this, projects such as El Salvador and the Huaycan neighborhood redesigned communal networks through urban voids co-programmed with local agency.

comedores populares

The legacy of Lima’s open work gradient was the fruition of modest state funding, international academic and professional recommendations, a praiseworthy resilient collective front, and a collective aspiration for ownership.

Collective kitchens emerged as a statement of political protest and domestic subsistence. Intending to fulfill domestic nutrition, they overcame the problem of spatial and programmatic redundancy. The diffusal of domestic labour into non-domestic arenas reinforced with subsidized supplies promoted a new formal-informal negotiation.

With the potential for restoring social idiosyncrasies and magnetizing additional urban development, the ethos, agency and architecture of the comedores populares initiates the projects’s civil disobedience.

gsapp advnaced studio six / site­— el ermitano lima, peru / critic — anna puigjaner / partner — kabir sahni /

formal experimentation

gsapp advnaced studio six / site­— el ermitano lima, peru / critic — anna puigjaner / partner — kabir sahni /

An early study model that questions if the ethos of shared kitchens can be applied to an entire domestic neighbourhood? If the domestic spheres of each home were to be extended to the exterior, and the private dwellings minimized, would it be possible to create a potluck of public places?

continuing growth

along the contours

skewing grid

formal grid

highway

front-of-the-house

water tank + watchtower back-of-the-house

comedores populares el ermitano, peru, lima With power and wealth concentrated towards the western flank of Lima, inchoate and upcoming barriadas in the North and East foothills remain neglected and impoverished. In El Ermitano, located on the western flank of the ridge, the urban grid displays synchronization with the highway on the west and frays along the hills in the east. This is clearly a cause and effect of geographic constraints, but what is also consistent with this topographic gradient is the quantity and quality of infrastructure, namely energy and water and also a “modern” life.

Since the cost of development on the hills is far more expensive than the lowlands, the State’s limited funds have the perfect alibi to not arrive in such underdeveloped neighborhoods. The residents at the lower rungs of the economic food chain, live with only legal squatting rights and devoid of basic infrastructure.

staircase solar panel bus stop

architecture of reciprocity Instead of encouraging public enemies to “fight the power”, a formal-informal dialogue is initiated to alleviate the State from complete financial and political responsibility.

State funds are limited to building and governing urban systems and infrastructure. These include roads and bus stops, a denser network of politically colored staircases and water tanks, retaining walls, initial investment on renewable energy systems, and the surveillance of grassroot contracts. The residents are levied with the responsibility to execute hyperlink contracts and small scale interventions.

greenhouse blockade

hilltop publics

arboreal wall

A democratically instituted grassroot association is given the responsibility to execute hyperlink contracts and mobilise resident funds. This contract, governed locally and overseen by the State, re-arranges individual dwellings into legal families of collective contribution, responsibility, benefit and governance.

Turning the hill into an ensemble of hyperlinks, these are singularly and as a neighborhood domesticated with a set of deliberate and deployable platforms and props that enable commercial and non-commercial activity. Through a social and economic potluck, the project aims to reverse engineer small endemic economies into pseudo-capitalists to engage in the neoliberal world, and simultaneously benefit locally through an egalitarian agenda, breeding capital constructive antidotes.

The hyperlink contracts subject these composite dwelling units to a land readjustment operation where private, commercial and institutional housefronts are contributed to a collective potluck for collective benefit.

Controlled through grassroot legalization and governance, each potluck ensemble is a gravitation of adjacent housefronts. A resident from any other potluck is a customer that will buy or an invited guest. All potlucks become economically robust entities in the neoliberal context, and a family in the social milieu.

Capital and commercial gains can be used for both private and collective welfare after proper discharge of funds through the appointed grassroot governance.

As smaller independent clusters, they overcome problems of scale in large cooperatives.

gsapp advnaced studio six / site­— el ermitano lima, peru / critic — anna puigjaner / partner — kabir sahni /

civil disobedience

Respecting the limited space, diverse needs and changing conditions, these front and back of the house potlucks, celebrate the informality and temporality of barriadas through a play of robust props.

These props and platforms may be additions to existing structures or standalone trans-scalar interventions.

Enabling both domestic and non-domestic activities, they allow for the sedentism of contemporary life to exist in parallel with the nomadism of their ever changing needs.

gsapp advnaced studio six / site­— el ermitano lima, peru / critic — anna puigjaner / partner — kabir sahni /

props platforms and pavilions

Props and platforms that are funded and governed by the residents include: fixed and moveable furniture, multiscale comedores populares, reprogrammable pavilions, green walls, commercial extensions, and both paved and unpaved ground conditions. These will be built in local materials such as: earth and adobe blocks, timber, metal, and fabric.

The infrastructural elements funded by the government include water tanks with adjacent supply structures, photovoltaics for rooftops and bus stops, staircases and back of the house pavilions and playgrounds.

This civil disobedience starts with the appropriation of domestic units. Barriadas are already characteristic of commercial, recreational and domestic activity sprouting informally and in close proximity.

Embracing the dialectical relationship, domestic labour is combined with productive labour, redefining the domestic unit as a triad of untouched private interiors, publically accessible “housefronts” and a potential urban “back of the house” for domestic and productive interplay.

Barber shops become simultaneous living rooms with music entertaining customers, family and friends. Schools functions as institutions by day and cinemas by evening.

Printing and repair shops become vocational studios. And collective kitchens interpolate between restaurants and dining rooms.

These housefronts may range from walls, to interfaces, to rooms and right up to complete floors, depending upon the domestic capacity and changing family units and needs. The constant reciprocity between domestic and non-domestic work causes temporal mutation of housefronts, amplifying the social idiosyncrasies of barriadas.

part two

a way to mine parking lots, a way to clean land and build things at the same time, a group of people Part two is an exploration of physwho share their homes, a home for icality in tandem with attempting to break norms. Perhaps on one you end rejecting old cliches and butand everyone else, a place to on the other landing in new ones. see the people beside you, a house note: for lost things, a squishy school, a The previous projects in part one, were completed after a one year movie about rolling in a library, a hiatus in 2018, the following were completed before then. These are bookof for children, a drawing tool the building centric pre-cursors the previously seen more systemic architectural work. for good posture, a game oriented toward objects, a tool to build a communty, a wall that moves, from andrew keung

extended dwellings

New York City Housing Authority, most known for its ‘tower in the park’ type residences, is undergoing change to accommodate the growing demographic needs of New York City.

Extended Dwellings seeks to challenge and reinvent tower dwelling, extending domestic spheres while maintaining unit density and fostering shared networks.

gsapp core studio three / site­— south bronx, ny / critic — galia solomonoff / partner — yvette liu /

a home for you and everyone else

1. Units are too far from the street.

2. Units are isolated from one another. nits have no sense of individuality.

3. U To do so, we weaved 3 different scales of shared space: 1. Multiplication of the ground plane for neighbourhood shared space.

2.

Inserting specifically programmed resident space in every tower block.

3.

Decentralization of the core to provide for small scale unit to unit shared space.

gsapp core studio three / site­— south bronx, ny / critic — galia solomonoff / partner — yvette liu /

With this, we sought to address the 3 issues that arise from this type of housing:

gsapp core studio three / site­— south bronx, ny / critic — galia solomonoff / partner — yvette liu /

Each unit is equipped with functional shading panels that can be maneuvered to create impromptu space divisions within units. This allows for unit flexibility for changing family types and everyday social interactions as well.

gsapp core studio three / site­— south bronx, ny / critic — galia solomonoff / partner — yvette liu /

gsapp core studio three / site­— south bronx, ny / critic — galia solomonoff / partner — yvette liu /

gsapp core studio three / site­— south bronx, ny / critic — galia solomonoff / partner — yvette liu /

There are particular units that include an entire flex wall that is adjacent to a ‘nook’ space, this wall can open up allowing for larger gatherings of each neighbourhood and events. The specific patterning of colors on each unit’s panels is intended to externalize the individuality within.

gsapp core studio three / site­— south bronx, ny / critic — galia solomonoff / partner — yvette liu /

brooklyn cultural incubator gsapp core studio two / site­— downtown brooklyn, ny / critic — benjamin cadena /

a place to see the people beside you

The library is a building type that is formless, it evolves to fit the needs of culture and community. This library is developed in response to the reality of multiculturalism in Brooklyn. It seeks to incubate an attitude of awareness and inclusivity

gsapp core studio two / site­— downtown brooklyn, ny / critic — benjamin cadena /

Nothing in a city happens in a vacuum.

Urban culture as a result should be aware and involved in the multiplicity of the surrounding community.

Reading Tables

Staff Office and Lounge

Open Work Area Staff Balcony WC Custodian Office

+2

Terrace Auditorium (balcony)

+5

Parents Area

Art Studio (multipurpose) Gallery Space

Childrens Area

Reading Terrace

5 Loading and Sorting Kitchen

Teens Area

Cafe and Open Work

Ground

Auditorium

+4

Reading Lounge

Lobby

Auditorium Lobby

Non fiction Stacks and Reading

Maker space

4

Open Meeting Space M+E

-1 performative meeting inspiration

Poetry Lab

+3

Ext WC

Sunken Court

Dance Studio

WC

Meeting Rooms Reading Balcony Stacks Reading Tables

exploration exterior Staff Office and Lounge

3

service Open Work Area Staff Balcony

Reading Tables

Reading Tables

Staff Office and Lounge Staff Office and Lounge

+2

+2

Open Work Area

Open Work Area

Staff Balcony

Staff Balcony

WC

WC

Custodian Office

Custodian Office

Parents Area

Parents Area

Childrens Area

Childrens Area

2.5 Loading and Sorting Loading and Sorting Kitchen

Ground Ground

Kitchen

Cafe and Open Work Cafe and Open Work

Reading Lounge

Reading Lounge

Lobby

Lobby

M+E

M+E

Poetry Lab

Poetry Lab

Ext WC

Ext WC

Sunken Court

Sunken Court

2

-1 performative meeting inspiration exploration exterior

ground

service

-1

The building’s formal language was developed through a conversational interaction between the Line and the Curve. By facilitating the interfaces of each geometry, the volumes extruded carry forth the shape of interaction.

gsapp core studio two / site­— downtown brooklyn, ny / critic — benjamin cadena /

Thoughtful programmatic adjacencies create a microcosm of culture, creativity and learning. There are combinations of spaces accommodating different programs that peer into each other and are interconnected by the sectional relationships. Each spatially aware of the other.

gsapp core studio two / site­— downtown brooklyn, ny / critic — benjamin cadena /

gsapp core studio two / site­— downtown brooklyn, ny / critic — benjamin cadena /

Library spaces are created to peer curiously into one another. This serves to create vastly different environments that are spatially aware of the neighboring spaces.

lost and folly gsapp core studio one / site­— lower east side, nyc / critic — tei carpenter /

a house for lost things

mta lost and found archive Permanently misplaced objects are to be considered as displaced objects, objects in exile from their original homes. Such displaced objects in the MTA lost and found are submitted to the public archive at 14th st and Avenue A. Here they are sorted into five sizes and assigned to five object houses. The objects are curated and displayed by their respective ministers of displacement. The underground objects and their homes are free for visitation.

gsapp core studio one / site­— lower east side, nyc / critic — tei carpenter /

7

1

3

2 8

9 10

4 6

1

House for bags, purses, and umbrellas

6

Appendage between house

2

House for phones and identification cards

7

Appendage from house

3

House for books and pens

8

Appendage between house

3

and subway

4

House for instruments, costumes and strange objects

9

Appendage between house

4

and subway

5

House for clothing

10

Appendage between house

5

and subway

2

1

and subway

to house

4

5

The objects are monumentalized by the object houses that rise above the ground, and by displacing the surface they create five different surface conditions.

A

B

C

D

gsapp core studio one / site­— lower east side, nyc / critic — tei carpenter /

SECTION A 1/8

14 ST

14 ST

SECTION B 1/8

A

B

C

D

SITE PLAN 1/16

SECTION C 1/8

PLATFORM

Each surface condition facilitates a specific public use and together they form a public square, allowing the displaced objects to once again be in contact and use by the mta riders.

In forming both the public square and the underground archives, the object houses serve as local landmarks that mirror the above and below ground spaces, serving to orient commuters as they transition between them.

SUBWAY

PLATFORM PLAN 1/16

SECTION D 1/8

gsapp core studio one / site­— lower east side, nyc / critic — tei carpenter /

The MTA Public Archive Plaza is about revealing the underground presence of lost objects in New York by using the ground plane as an interface between the underground and surface conditions. By purposefully manipulating this interface, the contrasting conditions are mediated and unified.

friends of the river gsapp core studio one / site­— lower east side, nyc / critic — tei carpenter /

a squishy school

friends of the river is a kindergarten and public family park in East River Park at 6th St. This space is a response to the relatively young demographic of the neighbouring NYCHA community. The education center is placed on the East River because of the significance of its environmental history.

DISCOVERY CENTER

PARK ACCESS INDIVIDUAL LEARNING SPACE

DISCOVERY WADING POOL CENTER PLAY AREA

LENGTH: MEDIUM TOP: INHABITABLE BODY: INHABITABLE UNDER: WATER

FRIENDS OF THE RIVER

LENGTH: SHORT TOP: INHABITABLE BODY: --UNDER: ---

CROWN

The Park and the Kindergarten share a similar formal typology called Tooth and Crown. This system delineates the notion of the ground plane by implementing buoyancy, either elevating or sinking them both on ground and in water.

FRIENDS OF THE RIVER

PLAYGROUND AND SEATING

STEPPING PADS

FULLY SUBMERGED BODY IN WATER PERMANENT POOL CROSSING

PARTIALLY SUBMERGED IN GROUND

ELEVATED-GROUND

ELEVATED-GROUND

Tooth Friends have a downward facing appendages that initiate ground/water based spaces and allow for a multiplication of the ground plane on their ‘backs’ .

Crown Friends have upward facing appendages that initiate upward spatial activation away from the ground/water.

ex: The River Learning Room of the kindergarten implements tooth typology to insert rooms into the water that enable sub-aquatic learning and play experiences for the children. On the roof of this space is an open roof area where children are encouraged to play.

ex: The Discovery Center of the kindergarten lies on its back on the water with the children using the interior of the building as self learning space and the appendages providing vertical circulation to reach the kindergarten access bridge as well as letting in natural light for interior space.

PARTIALLY SUBMERGED INTERACTIVE PLAY SPACE

PLAYGROUND POOLSIDE WALKWAY AND SEATINGSEMI-SUBMERGED

PARTIALLY SUBMERGED BRIDGE FORINTERACTIVE HIGH TIDE CONDITIONS PLAY SPACE

SEATING FOR ADULTS

POOLSIDE WALKWAY

BRIDGE FOR HIGH TIDE CONDITIONS

SEATING HT FORPOOL ADULTS DIVISION BETWEEN AND WADING

APPENDED GROUND

SEMI-SUBMERGED DIVISION BETWEEN HT POOL AND WADING

HYBRID GROUND

RIVER LEARNING ROOM DISCOVERY CENTER

PARK ACCESS INDIVIDUAL LEARNING SPACE

WADING POOL PLAY AREA

HIGH TIDE WADING POOL LOW TIDE PLAY AREA

STEPPING PADS

PARTIALLY SUBMERGED IN GROUND

ROOFTOP RESTING AREA BUOYANT STRUCTURE

ANCHOR TO RIVERBED SUNKEN VIEW PLATFORMS FULLY SUBMERGED BODY WATER LARGEINACTIVY PERMANENT POOL CROSSING OPEN-AIR PLAY AREA ON ROOF

RIVER AMPHITHEATRE LEARNING ROOM

PARTIALLY ANCHOR SUBMERGED TO RIVERBED SUNKEN VIEW ALTERNATING USAGEPLATFORMS RAIN LARGE SHELTER ACTIVY OPEN-AIR PLAY AREA ON ROOF

OVERLOOK AMPHITHEATRE SLOPE

SHELTERPARTIALLY AND SEATING SUBMERGED RIVER VIEW AND RESTUSAGE AREA ALTERNATING

HYBRID GROUND

OVERLOOK SLOPE

SHELTER AND SEATING RIVER VIEW AND REST AREA

WINTER RAIN SLOPESHELTER FOR SLEDDING

WINTER SLOPE FOR SLEDDING

LEISURE + REST

LEISURE + REST

GROUND OVER WATER

GROUND OVER WATER

ELEVATED-GROUND

FR I E N D S OF T H E RI V E R PLAYGROUND AND SEATING

PARTIALLY SUBMERGED INTERACTIVE PLAY SPACE SEATING FOR ADULTS

POOLSIDE WALKWAY CLASSROOMS

SEMI-SUBMERGED INCLUDES OFFICES AND WC BRIDGE FOR HIGH TIDE CONDITIONS BROOKLYN ORIENTED VIEWHOLES DIVISION BETWEEN HT POOL BUOYANT STRUCTURE AND WADING

HYBRID GROUND

CLASSROOMS WATERFRONT STEPS

INCLUDES GROUND OFFICES OVER WATER AND WC BROOKLYN ACCESS ORIENTED TO EAST RIVER VIEWHOLES BUOYANT LEISURE STRUCTURE + REST

RIVERSIDE WATERFRONT PICNIC STEPS AREAS

GROUND GROUNDOVER OVERWATER WATER KINDERGARTEN ACCESS TO EAST ACCESS RIVER LEISURE LEISURE+ +REST REST

RIVERSIDE PICNIC AREAS

GROUND OVER WATER KINDERGARTEN ACCESS LEISURE + REST

gsapp core studio one / site­— lower east side, nyc / critic — tei carpenter /

LENGTH: MEDIUM TOP: INHABITABLE BODY: --UNDER: INHABITABLE

TOOTH

LENGTH: ASSORTED TOP: INHABITABLE BODY: INHABITABLE UNDER: WATER

LENGTH: SHORT TOP: INHABITABLE BODY: --UNDER: WATER

FULLY SUBMERGED HIGH BODY TIDE IN WADING WATERPOOL PERMANENT POOL LOW CROSSING TIDE PLAY AREA

SUBMERGED IN GROUND ROOFTOPPARTIALLY RESTING AREA BUOYANT STRUCTURE

ROOFTOP RESTING AREA BUOYANT STRUCTURE

LENGTH: MEDIUM TOP: INHABITABLE BODY: INHABITABLE UNDER: WATER

STEPPING WADING PADS POOL PLAY AREA

PARK ACCESS HIGH TIDE WADING POOL INDIVIDUAL LOW TIDE LEARNING PLAY SPACE AREA

gsapp core studio one / site­— lower east side, nyc / critic — tei carpenter /

The result is an erasure of the idea of ‘ground level’ delineating circulation to develop shifting perception of ground. In this way it is able to blend in the circulation with the interchange overpasses while maintaining differentiation of programs

gsapp core studio one / site­— lower east side, nyc / critic — tei carpenter /

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The act of adjusting the buoyancy of park spaces to instigate programmatic specification and is reflective of the Kindergarten buildings as well which act on and react to water as a ground to create differentiated programmatic spaces for children.

a way to mine parking lots, a way to clean land and build things at the same time, a group of people Part three includes a movie about who share their homes, a home for rolling in a library, a book for children, a drawing tool for good you posture, a game oriented towardand everyone else, a place to objects, a tool to build a communty, and a wall that moves.see They are the all people beside you, a house work from classes adjacent to the previous studio projects. for lost things, a squishy school, a For the sake of brevity and file size movie about rolling in a library, a they have been omitted and can be found on andrew-keung.com at book for children, a drawing tool a later date.

Thank you for your time. for good posture, a game oriented toward objects, a tool to build a communty, a wall that moves, from andrew keung

part three