Peter Stoll ’20 MArch Columbia GSAPP

L T

I

M E

P

E

S

T O

T

E R L

L

I

N

E

S

It’s hard to say how much time is

represented in this portfolio. Three years of academic work, certainly, but also a specific moment in time that necessitates its existence only as a digital work. The work itself is also very much about time. From a flying machine that tries to spin a block of concrete up into the air, even if only for a second, to a proposal for a century of forest growth atop the suburbs of the Seattle, I’ve always had a preoccupation with casting the lives of our ideas out into an unknown future. For all our careful drawing, it’s the moment that time wrests control from us that an idea becomes architecture. In the hands of time, the daily flows of gravity, sun, and rain can do their work; living things can polish desire paths into floors, walls, and roofs; motes of dust can congregate in the air. Out past our time lines, the work just keeps becoming.

CONTENTS New Growth Advanced VI, Spring 2020 1 A Hall of Rocks & Foam Advanced V, Fall 2019 15 Makerschool Advanced IV, Spring 2019 27 Teacher Housing Core III, Fall 2018 39 Fulton Landing Library Core II, Spring 2018 49 Flyweight Core I, Fall 2017 59 Hudson Street Dolmen Core 1, Fall 2017 65 Slow Change Pier Core 1, Fall 2017 71

Cold Smoke Refuge Techniques of the Ultrareal, Spring 2020 79 Corporate Indigenism Questions in Architectural History II, Fall 2017 83 Red Dog Mine Rehabilitation Man, Machine, & Industrial Landscapes, Fall 2017 23 Greenpoint Theater Architectural Technology III & IV, Fall 2018 23

NEW GROWTH

SEASONAL COASTAL RAINFOREST ZONE VANCOUVER, BC

2.5M (METRO), 675K (PROPER) 13,590 P/SM

Advanced VI David Benjamin & Alexander Odom Effective responses to climate change in America are held back by its suburbs.

Designed for car usage, they ensure high carbon emissions and replace natural ecosystems with hardscape and monoculture. Seattle demonstrates the damage caused by suburbs, and the opportunities found in rethinking this landscape in terms of density, material extraction, and ecology. The two sites of this project - a postsuburban sustainable timber extraction network and newly densified housing within the city itself - demonstrate the entanglement of natural and urban systems, and the opportunities for better ways of growing together.

40M

WESTERN HEMLOCK

60M

WESTERN RED CEDAR

SEATTLE, WA

85M

4.5M (METRO), 750K (PROPER) 7,962 P/SM

DOUGLAS-FIR

25M

RED ALDER

PORTLAND, OR

2.5M (METRO), 648K (PROPER) 4,740 P/SM (CITY PROPER)

Facing: map of seasonal coastal rainforest and major metropolitan areas in the Pacific Northwest 1

2

25

65 ALL UNITS IN METRIC TONS OF CO2

Above & following: average household CO2 emissions by zipcode, from UC-Berkeley 3

CoolClimate Network “Average Annual Household Carbon Footprint (2013)” 4

5

6

Existing

Desuburbanization

Densification

Forestation

Above: proposals for new suburban and urban landscapes in Seattle New Growth

Facing: diagram of project phases 7

8

View from city toward forest

View from forest toward city

9

10

Red Alder mass plywood process

Prototypical building system

11

12

13

14

A HALL OF ROCKS AND FOAM Advanced V Paul Preissner & Melissa Frost Dumb as rocks. Stone cold. The Rock wearing a fanny pack. The Rolling Stones, but not Metallica. Rocky.

Stonehenge. Glacial erratics. Pet rocks.

Elf and troll houses. One of our most familiar materials, rocks are imbued with cultural meaning just as much as with physical properties. Through making and material exploration, this project sought to reveal new relationships to rock by pairing it with soft, flexible foam.

15

16

A/B

A B C

A A/B

B/C A C A A

C

A

B/C C C

A/B

A

C C C

A A/C

A

A/B A/B

A/B C

B/C

A

A/C A/C

B/C

C A/C

C C

C C

B/C

C

A

A/B/C A

A

A

A

Construction sequence with foam poured between courses of stone chips A - Block B - Shim C Fill

Facing: elevation and plan at corner & wall opening

1/2” = 1’-0”

17

18

Rosarito Beach, Baja California, Mexico - source of Pet Rocks Opposite: geologic map of Rosarito Beach

Alpine glaciation showing longitudinal moraines comprised of rock pulled off of surrounding mountainsides

Yeager Rock, a glacial erratic boulder in eastern Washington State

Human and car on o ered erosion a New York

19

ilcon

uarr Ha ers ra

Rock music, as demonstrated by Bob Dylan on the electric guitar

Marble Quarry, Apuane Alps, Italy S ill from s or lm Il a o

Window through masonry at Macchu Pichu, Peru

Hard rock

u no

ui e me al as demons ra ed

ed e

elin

Rocky Balboa, as played by Sylvester Stallone (1976)

Boree (stone hut), Provence, France

Sign marking an Elf House rock in Iceland

20

a ne

e ock

o nson

Following months of deliberation in the local government, this boulder (home to an ancient group of trolls) is being carefully moved to a safe place away from road construction

Above: the “salmon” in action Facing: precast floor elements Previous: spreads from research book, “ROCKS.” 21

22

23

24

25

26

MAKERSCHOOL Advanced IV Phu Hoang The Makerschool is a new chapter in the story of Newburgh as an industrial city: a public magnet elementary school that leverages the site-specific relationship between water and making to engage STEAM learning as play. A radial village of volumes abstracted from nearby industrial typologies, the discrete structures are connected together over time to incorporate additional functions as a hydrology field station, community center, and vocational training facility.

Facing, above: view from within Facing, below: view from pond 27

28

29

30

Above: plan at deck level Facing: Swath axonometric at water’s edge Following: Unrolled section through all buildings 31

32

Approx. FEMA 100-year Flood Line

33

34

35

36

Gabled

Discrete/ Freestanding

Flat

Volumes

Orthogonal

Infill

Non-Orthogonal

1-2

3-4

Above: industrial vernacular buildings Previous: surface conditions throughout site region

Industrial vernacular component taxonomy

37

38

5+

TEACHER HOUSING Core III Hillary Sample A proposal for public school teacher housing in the Bronx - the borough with the lowest percentage of teacher residency in New York City - as a means of increasing teachercommunity interaction in keeping with the pedagogical framework of Critical Education. Exploring the idea of a porous perimeter block, the housing units are held within a concrete, gridded scaffolding that allows passage through the perimeter to the public space at the heart of the block. Dispersed across the upper levels of the scaffolding, the units themselves are three variations on a basic, flexible co-housing module designed to help teachers save as much time as possible and provide an abundance of common space. All three variations feature a large, glass garage door which opens up to the spaces between modules programmed with childrens’ play spaces, gardens, and seating areas. The ground level of the scaffolding features amenity spaces accessible to the public, including a grocery store, branch library, gym, makerspace, and recreational facilities including a winter skating rink.

Opposite: dinner in one of the smaller units Following: site section 39

40

41

42

Above: early exploration of duplex units Opposite: layout of volumes within framework 43

44

Ground floor plan

Typical upper floor plan

45

46

47

48

THE BORROWING ROOMS Core II Mimi Hoang Embracing the ambivalence of the 21st-Century library, the Borrowing Rooms seek to transcend the binaries between introverted and extroverted, monument and infrastructure, engaging and intimate. The building is set on a plinth above the site, creating a public plaza below that flows up through a series of voids within the building.

The intersections of these void spaces establish relationships across all scales from the urban to the intimate, and create telescopic moments that reframe our relationships to media, the city, and each other.

Facing: Upper reading room facing the East River 49

50

Ground Floor Plan GROUND FLOOR 1/8” = 1’0” 0

51

10

5

20

52

Oscillation of scale in stair-to-wall relationship

53

54

Early concept model

Early concept elevation

55

56

Above: view across main reading room, through lobby, to street Opposite: section through void intersections 57

58

FLYWEIGHT Core I Tei Carpenter The Flyweight Device grew out of explorations into the scale of movement at the moment of liftoff, as well as into the opposing concepts of weight and aerodynamic lift. Juxtaposing the density of the concrete and steel wire bod against the balsa and mylar rotor blades, the Flyweight is powered by a ripcord that - when pulled - slowly accelerates to lift the entire device into the air.

59

60

22’0”

20’0”

CL

0:02.50

0:02.00

18’0”

16’0”

0:01.50

Rotor Mast & Wing Diaphragm 14’0”

0:01.00 12’0”

10’0”

Concrete Body

50 8’0”

0:03.00

0:02.50 6’0”

Wire Substrate & Base

0:02.00

0:02.00

4’0”

0:01.50

0:00.50

0:01.00

2’0”

0:00.50

0:00.00 0

1’0”

2’0”

3’0”

4’0”

5’0”

6’0”

7’0”

8’0”

9’0”

10’0”

11’0”

12’0”

13’0”

14’0”

15’0”

16’0”

17’0”

Opposite: an approximation of altitude & distance over time 61

62

Rotor mechanism from above

Concrete and steel body

63

64

HUDSON ST. DOLMEN Core I Tei Carpenter Amongst the hum of commerce, deadlines, and digital life along 14th Street, sits the Hudson Street Dolmen.

The Dolmen is made up of a pair of large Olivine rocks - each hollowed out to provide programmed spaces within suspended from a scaffold that occupies a void carved into the existing site.

The volumes move with the seasons, spending the summer months, from vernal equinox to autumnal equinox, occupying the corner in a position that allows them to use the passive processes of Olivine to sequester Carbon Dioxide out of the atmosphere (in the process slowly transforming into Magnesite).

Visitors move freely upward through the lower volume, which houses a public art space, and the upper volume, which serves as a field station for monitoring

the carbon sequestration process within the rocks.

The volumes hibernate during the winter in accordance with the atmospheric carbon cycle, when they flip to the back sides of the scaffold, vacating the corner and ceasing their sequestering function, though circulation paths along the rocks’ winter axes still allow visitors unimpeded access up to the top of the Olivine volumes.

In contrast to the glossy, transparent consumerism of the Apple store on the opposite corner, the Dolmen provides a view into the flip side of the same system - the waste on the other side of the product - while defining itself along annual patterns and geological timescale rather than 24-hour cycles and linear progressive time.

Facing: View from across intersection 65

66

03:00

09:00

15:00

21:00

Winter Solstice

Vernal Equinox

Summer Solstice

Autumnal Equinox Opposite: Annual movement relative to sun Above: Movement study model 67

68

69

70

SLOW CHANGE PIER Core I Tei Carpenter Juxtaposing the past, present, and futur of the Manhattan shoreline, the Slow Change Pier is a new kind of public space: a park that goes beyond the curated stability of the picturesque to embrace the messy reality at the border of the manmade and the natural.

A discontinuity inserted into the island’s edge, it is composed of a static, elevated platform above and a topographic surface below. The platform is perforated to allow daylight and vertical circulation through its su face, and provides a space that easily accommodates community events and creates a new vantage point from which to view the Brooklyn waterfront. The lower surface is a metal mesh volume, made up of a series of ridges and pools. The ridges at the edges allow access to the platform above, while the pools in the middle of the pier capture silt, trash, and plant life

out of the river with each passing tide.

A forest of columns connects the two planes, spaced loosely across the ridges to allow for easy pedestrian movement and tightly in the pools to slow down water flow and aid the accumulation on the mesh. This accumulation allows the mesh to act as a substrate for the growth of a salt marsh - the historical coastal biome of the Lower East Side and in turn to provide a new experience of the river for the current and future residents of the city.

As sea level rises over the next hundred years, the marsh and its peat substructure will expand and grow into an irregular volume reaching towards the platform above, setting up a dynamic in-between space that is as much a part of the river as of the island, as much a product of humanity as of nature.

Facing: Pier from East River 71

72

HT MWL LT

Tidal flat

Platform

Columns

HT MWL LT

Spartina Alterniflora Colonization

Mesh

High Tide

HT

Medium Tide Low Tide

MWL LT

Topo-forming mediates High Tide level

rshes

73

74

75

76

77

78

COLD SMOKE REFUGE Techniques of the Ultrareal Joseph Brennan & Phillip Crupi

Images from a snowbound backcountry hut, exploring the materiality and geometry of snow as it interacts with various manmade and landscape forms.

79

80

81

82

CORPORATE INDIGENISM

encompassing Kotzebue Sound, the Noatak River Valley, the Kobuk River Valley, the Baird Mountains, and the southern part of the DeLong Mountains.

They are bordered to the north by the territories of the Arctic Slope Regional Corporation, to the east by Doyon Limited, and to the south by Bering Straits Native Corporation. A detailed map of the NANA Region shows the complex boundaries between Federal, State, and Native Corporation lands spread across the region - both as regimented orthogonal lines tacking back and forth from latitude and longitude, and following the wiggling curves of braided streams that had probably moved by the time the map went to print. There are overlapping boundaries, and hatched areas representing Native and State claims on Bureau of Land Management territory. Lines denoting winter trails run fluidly across the map’s various bodies of water, a reminder that the residents of this region are well-adapted to the seasonal sea ice in this frigid Arctic environment.

Excerpts from final essay for Questions in Architectural History II Mark Wigley In the video, a young man cradles a rifle in his right arm, using his left to check that the field-dressed caribou in front of him is secure on the back of his ATV. A road winds across the brown tundra behind him, and in the muted landscape his reflective orange vest seems to be the brightest light source around. The next shot shows an older man, rifle held the same as his younger companion, looking with pride and intensity into the camera past the antlered head of a dead caribou in the foreground. Behind the two men, a double-length tractor trailer rumbles by, either on its way to the seaport with a load of zinc ore or back to the mine for another load.

A narrator provides commentary over the video: “I mean, Eskimo cultures survived in the most inhospitable region in the world - not just survived but thrived. I guess we’ve gone from harvesting the ocean to the land.”

In the northwest corner of the map, in the foothills of the DeLong Mountains, is Red Dog Mine - the mine featured in the youtube video described in the introduction. The largest zinc mine in the world in terms of reserves and production, the complex is made up of the mine pit, tailings pond, mill, worker housing, diesel power plant, and an airport. The mine itself is fairly straightforward, what Teck calls an “open-pit truck-and-loader operation, using conventional drill and blast mining methods.” Trucks bring the bouldersized chunks of blasted zinc ore out of the pit to the mill building, where the material moves through a series of milling processes before the minerals are

The video, posted on Youtube by NANA Regional Corporation, Inc., celebrates the 25-year business partnership between NANA and Teck Resources, Ltd. at the Red Dog zinc mine in Northwest Alaska. Teck, a Canadian resource extraction corporation focused primarily on metal ore, coal for steel manufacturing, and oil extraction from tar sands in Alberta, manages the mine’s operations, including extraction, concentration, and transportation of materials. NANA, which owns the mine and the surrounding land, is one of thirteen for-profit Regional Native Corporations created by the 1971 Alaska Native Claims Settlement Act (ANCSA), with the more than 14,000 native Inupiat residents of Northwest Alaska as its shareholders, including, presumably, the two men strapping their tundra harvest to the backs of their ATVs in the video. ...

NANA Regional Corporation controls lands straddling the Arctic Circle along the Chukchi Sea in Northwest Alaska, 83

leave for places less remote in American economic and social life, it has also become a place of connection to the land for those who have left.

Above: Map of NANA land use (image from NANA) Opposite: Red Dog Mine aerial photo (image from NANA/Teck)

“floated out” and filtered into powdery zinc concentrate. Water from these processes is stored in the tailings pond, which is lined and reinforced to help prevent leaking metals into surrounding ground and surface water.

On the map of the NANA region, the legend calls out thin, black lines as roads, but there is only one on the map.

Stretching 52 miles southwest from Red Dog to the coast, the DeLong Mountain Transportation System (as the road is referred to on the map) was developed

by Teck and NANA to move the zinc from Red Dog to their seaport on the Chukchi sea. The scene of the two caribou hunters watching the truck pass by in “Red Dog - 25 Years,” as described in the introduction, takes place along this road: as the only paved road in the region, it has been appropriated

by Native people in their subsistence activities throughout the year.

Given the mine’s remote location, Teck provides worker housing for all of its employees while they are on-site. The mine employs 460 people, including over 200 NANA shareholders. The 1982 agreement between Teck and NANA requires Teck to hire NANA shareholders across all aspects of its operations While some live in the nearby villages of Noatak (35 miles away) and Kivalina (50 miles away), other shareholders commute by plane from Anchorage. In the “Red Dog Mine - 25 Years” video, one of the shareholders interviewed describes her experience working for the mine: “I fly in an out of Anchorage, so, you know, I see the city all the time when I’m on my R&R. So to come back here and, you know, see some of our land… it’s pretty nice.” As the mine worker notes, at the same time that the mine is an economic force based on extracting resources from the Inupiat land, and which has provided the means for many Inupiat to

At the end of the road, trucks unload zinc concentrate into a large storage facility at the seaport. The mine operates year-round, and as long as the mine is operating the trucks move the concentrate from the mountains to the sea. The zinc, however, remains in this storage facility for much of the year.

The Chukchi Sea is largely frozen over throughout the winter, and in the spring, Teck is required by their 1982 agreement 84

with NANA to wait for approval from the Red Dog Subsistence Committee, confirming that the annual Bearded Seal hunts have been completed before they can begin bringing ships into the port.

With the approval of the Subsistence Committee begins a 100-day sprint to get the zinc onto cargo ships bound for consumers around the world before the ice closes back in. 30% of the concentrate goes directly to Teck’s foundries in Trail, British Columbia, Canada, while the rest is split between Korea, Australia, China, Japan, and European consumers.

owns the business operations, while NANA Regional retains land holdings), moved into its new Anchorage, Alaska headquarters building in 2012, and the design called for incorporating materials from the NANA region wherever possible.

The lobby features a wall covered in zinc panels, arranged in a geometric pattern reminiscent of Inupiat designs, and the elevators feature jade tile mined in the NANA region as well.

The six-storey, 55,000-square-foot building was originally constructed in 1970, and housed the offices Chevron and Unocal. As if this heritage of resource extraction companies was not clear enough, the cover photo for the project on project architect KPB Architects’ website makes a point of juxtaposing the NANA remodel in front of the Conoco-Phillips building nearby.

Taken together, the mine complex, road, and seaport serve as an integrated system for resource extraction, acting as an extension of the reach of global markets into the Alaskan interior to efficiently instrumentalize the landscape as a means toward capital. At the same time, this same system - both the organizational structure of resource extraction corporations and the physical infrastructure of the mine operation - has been instrumentalized by the Inupiat to keep control of their land and maintain a version of their historical subsistence economy. ...

Having made it across the Pacific Ocean to foundries and been processed into metal sheets, some of Red Dog’s zinc or, at least, zinc from somewhere - has made its way back to NANA. NANA Development Corporation, a whollyowned subsidiary of NANA Regional Corporation (NANA Development

The NANA renovation of the building left only the existing steel and concrete structure in place, with the entire exterior envelope being replaced by a more energy-efficient glass system, the clearing out of “hazardous materials that may have been used in the original construction,” and the clearing out of existing non-structural partitions to accommodate NANA’s needs. The mechanical and electrical systems were entirely replaced, and low-emission finishes were used throughout the building. The renovation also saw the addition of a cantilevered addition on the sixth floor, giving the boardroom views

across Anchorage and Cook Inlet. KPB Architects describes their treatment of the floor plans as follows:

for Teck’s ships. It’s a fairly explicit commodification of Inupiat heritage, calling on a representation of the Inupiat that has long-since ceased to be an accurate portrayal of their ATV-and-rifledriven modern subsistence, but it’s also an earnest homage to that past. It both replicates and undermines existing ideas of what a corporation is. Like everything about ANCSA Regional Corporations, it makes a clear statement that this is a for-profit company ready for the 21st century global economy, and also calls on the obscure details that defined life at the periphery of American hegemony until relatively recently, bringing them into a new and very different kind of native autonomy.

The floor plans were designed to provide an efficient layout while providing a mix of working environments and group gathering spaces. The floor plans include open workstations, private offices, enclaves for focused work and an open coffee bar on each floor that can be used as dual purpose for either collaboration or a break area… The interior walls are modular which allow the tenant to change and adapt as needed. The wall materials are a combination of glass, metal and applied graphic film. The glass walls provide daylight to the building core while also providing all staff 360 degree views from the interior of the building.

Nine foot sliding glass doors for the private offices were installed to provide a space saving solution. All office doors are on a soft close mechanism that automatically closes with a light touch.

...

While the architects’ description emphasizes the character of the building as a perfectly nice office building that would be enjoyable for almost any corporate client, NANA’s statement on the building emphasize the designs ties to NANA’s indigeneity.

From the zinc and jade, to using the elevator as a chance to learn Inupiaq words, to naming the eleven conference rooms after the eleven villages in the NANA region and decorating them with artwork from their respective villages, the NANA public statement on their new headquarters makes it clear just how much native symbolism and representation permeates the corporate offices.

The ANCSA is a messy, ethically complicated piece of legislation.

Emerging out of a complex history of colonialism, resource extraction, and native autonomy, the law - and the corporations that it created - has a somewhat two-faced, contradictory nature. It has been both a source of substantial empowerment, economic opportunity, and self-determination, and an assimilationist project that has re-constructed native people as western liberal subjects, eliminating the possibility of acknowledging other ways of being. It is a neoliberal framework for ensuring the most efficient conversion of native land into market-determined value possible, and also an oddly socialistic program (by American standards, and particularly by Alaskan standards) of federal restriction and required wealth redistribution.

Perhaps most indicative of this embrace of both the symbolic capital of multinational corporations and the cultural heritage of Alaska Natives is the treatment of the building’s penthouse.

Wrapped in a perforated metal screen, the top of the building quite precisely follows the established convention for corporate buildings, with an illuminated sign featuring the name of the company in a well-proportioned, all-caps sansserif font, next to a slightly abstract corporate logo. The difference is that, in this case, the corporate logo is an abstracted figure of an Inupiaq hunter carrying a spear and rope - the ancestor of the rifle-cradling men from the “Red Dog - 25 Years” video, prepared for the same Bearded Seal hunt that today marks the opening of the seaport

John Harwood argues in his essay “Corporate Abstraction,” that “...there is no corporation without an architecture that places it in the world, articulating its relation to its surroundings.” For Native corporations, this architecture - the reappropriated infrastructure of extraction and the reinterpreted symbolic tropes of corporate professionalism articulates their positioning precisely at the intersection between the local and the global, between the aboriginal and the hegemonic, between validation and oppression.

Opposite: NANA headquarters penthouse (image from KPB Architects) 85

86

RED DOG REHABILITATION Man, Machine, & Industrial Landscapes Sean Gallagher The proposal calls for a new integratedsystem made up of a salmon hatchery and environmental field station, an aquaculture facility making use of the nitrogenated water from the hatchery, and a binary geothermal plant to power the facility. The proposal sits upon the existing footprint of the mine facility. Despite its small size, the facility provides an effective means of balancing between the restoration of a scarred landscape, the stewarship of a hazardous site and the preservation of a site that ties into the fraught cultural history of the Alaskan Bush.

87

88

89

90

91

92

GREENPOINT THEATER AT III & IV Facade details prepared as part of a proposal for a new arts facility including a large, adaptable theater; a blackbox theater; rehearsal, workshop, and office spaces; and amenities connecting the theater to a neighboring park. The facade is composed of two overlapping screens, one of explanded aluminum mesh and another of terracotta baguettes.

93

94

95

96

97

98

676 Riverside Dr, 5A New York, NY 10031 (914)806-7859 ps3010@columbia.edu