EoYS21_MArch_23

A JOURNAL OF MY IMAGINARIES

BY ALICE FANG

CHAPTER I 4

HOPE ROPE

38

TABLE-CITY

62

IN.FRA.SCTRU.CTURE

82

SLOW WATER

104

FACTORY OF [UN]TOLD STORIES

124

HABITABLE CORE

2

3

GSAPP SPRING 2021 MAKERGRAPH STUDIO

PUBLIC INSTALLATION

INSTRUCTORS ADA TOLLA (LOT-EK) GIUSEPPE LIGNANO (LOT-EK)

HOPE ROPE My material investigation consists of the “string and glue mummification” of the plastic cup, an object deemed invaluable, disposable, obsolete…

When the cup is removed, the string and glue become structurally codependent, and we are left with its memory. As an exercise to scale up my object, I soaked rope in concrete, added wax in between, and used a box as my new cup. The relationship between the string-glue/rope-wax operates together to create something unnatural and uncanny as the rope wants to fall. However, the string is frozen still in the air with gravity seemingly working in reverse, rendering a feeling of unease – familiar but strange.

The memory of Columbia Gymnasium’s proposal is physically ingrained in the excavation of the liminal space between Harlem and Morningside Heights. My installation hopes to unveil this invisible history that is otherwise forgotten or unknown. It hopes to avoid history erasure by subverting oppression into positivity and togetherness.

THROUGH THIS LENS, DISCOVERING NEW TECHNIQUES, OPERATIONS, AND RELATIONSHIPS DURING MY MATERIAL EXPLORATIONS WAS ESSENTIAL TO INVESTIGATE HOW ROPE COULD BECOME A SYMBOL OF HOPE IN MORNINGSIDE PARK.

4

5

6

7

Harlem

113 th

or

ni

n

eD

r

St

M

or n

ing

s id

eA ve

W

M

id gs

M 113 th

ni

ng

D

r

St

M

or n

ing

s id

eA ve

W

or

e s id

8

Morningside Heights

TOP: COLUMBIA’S GYM CROW BOTTOM: INSTALLATION

9

TOP: CHAPTER I BOTTOM: CHAPTER II

10

TOP: CHAPTER III BOTTOM: CHAPTER IV

11

CHAPTER I: MEMORY

Memory is personal, subjective and fluid. To allow the moment to be ingrained into our memory, we need a moment of pause to acknowledge the physical and psychological landscape. My material exploration seeks to memorialize the thread. The act of tying becomes the operation that creates an interpretation of the original object, never accurate, but abstract.

12

13

CHAPTER I: INCONVINIENT OBSTACLE

On-site, the artifact is inscribed in the footprint of the Gymnasium's swimming pool, reflecting the proposed scale of the gym. It intersects with the existing path creating an obstacle. It is an uninhabitable dome that conceives a moment of pause, only allowing the view from the outside and forcing the body to move around the object.

14

15

16

17

CHAPTER II: UNCANNY

I was interested in investigating the material’s capabilities in terms of height, creating a hollow core. The rope-wax binding operates together to create something unnatural and uncanny as the rope wants to fall.

However, the string is frozen still in the air with gravity seemingly working in reverse, rendering a feeling of unease – something familiar but strange.

18

19

20

21

CHAPTER II: GHOSTED SHAFTS

22

The ghosted shafts delineate and expose the gym’s imposing height, but instead of denying access to the Harlem community, the installation becomes a lighting infrastructure to the park. On the cliff, the ghosted shaft behaves like a periscope that enables visitors to look into the park’s foundation covered by the water.

23

CHAPTER III: MUTATION

I was interested in investigating variations in the act of tying. New pressures create slopes, apertures, openings…

My process of making advances as I multiplied the cup generating connections between them. This mutation creates a constellation of satellites revolving around an anchored piece.

24

25

26

27

28

29

CHAPTER IV: PHANTASMAGORIC ROOM

If tying three points generates a space, the trees on the site become opportunities to create rooms. The word phantasmagoria usually found in literature, comes from Ancient Greek phántasma as “ghost,” and agorá as “to assemble, gather, or to speak publicly.”

In contrast to the previous installations, the phantasmagoric room is a habitable space roofed by the trees on-site where the community can gather in a room that is enclosed yet connected to the park.

30

31

CHAPTER IV: TYING

Before the concrete/wax method, I tried to use the string and glue technique on a plastic chair in attempts to scale up. However, the string wrapping failed to release from the chair.

Initially conceived as an unsuccessful experiment, it became the catalyst for the fourth intervention, which explores concepts of wrapping and release.

32

33

CHAPTER IV: WRAPPING ARMATURE

The installation wraps tightly around the existing trees and releases to create a habitable “skirt and boat” — the skirt of the armature dances with the breeze, while the boat oscillates with different body pressures. The installation attaches to the trees considering their specificity and height to produce engagement and play areas for the community.

34

35

36

37

GSAPP FALL 2020 OPEN WORK STUDIO

REIMAGINING THE CULTURAL INSTITUTION

INSTRUCTOR ENRIQUE WALKER TEAM BEGUM KARAOGLU CHENGLIANG LI JOEL MCCULLOUGH OLIVER BRADLEY PATIO PUBLICATION

TABLE-CITY With a haunting history of political reappropriation, UNCTAD, in Santiago, Chile, exemplifies how futile good intentions in architecture can be.

Originally built in 1972 as a socialist symbol under Salvador Allende for the UN Conference, the building was co-opted into the military headquarters of Augusto Pinochet’s dictatorship. With minimal architectural intervention, the building’s socialist ambitions were completely erased, entering into the Chilean imagination as a symbol of the dictatorship.

In 2006, a fire partially destroyed the building. Our project extends beyond the site and reuses what is left to create a new cultural institution in conversation with UNCTAD’s history.

Given this political history, we question how we can design for a democratic future without being naïve and acknowledging the imprecision of architecture as a political tool. Monumentalizing architecture is no longer enough since that definition can be easily changed by those in power.

Our goal is to redefine the current cultural institution. By freeing the ground and allowing for crisscrossing, the site becomes a public square for cultural exchanges allowing for friction with the city. The new cultural institution becomes an open framework and cultural condenser. Simultaneously, the project produces a moment of pause and self-consciousness of preconceived ideas of space. Our architecture is an actor that instigates political friction, and therefore societal change.

IS THIS A ROOF, A BLOCK, A BUILDING, OR THE CITY?

TOP: TABLE-CITY BOTTOM: UNCTAD AFTER 2006 FIRE

38

39

TOP: 1972 UNCTAD AS BUILT BOTTOM: 1973 MILITARY DICTATORSHIP

40

TOP: 2006 FIRE BOTTOM: AFTER FIRE RUIN

41

We utilize four tools: 1. Ground that extends to the city through different patches 2. Roofs that reorganize the block through covering 3. A datum of roof that transforms the tower into a progremeless totem of the city 4. Liminal space between roof and ground that is activated by props.

TOP: UNCTAD AS BUILT BOTTOM: UNCTAD AFTER FIRE

42

43

GROUND OF THE UNCTAD AS BUILT

44

PATCHING THE BLOCK

The ground becomes a programmatic device that activates the ground through different city patches. The juxtaposition of ground, roof, and in-between offers various conditions that foster a range of engagement possibilities.

45

OPEN FRAME

HEAVY HANGED

LIGHTWEIGHT HANGED

46

47

VAPOR

DIFFUSED FRAME

SMOKE

48

49

BODY OF WATER

BEACH

PLANTED

50

51

The project builds ten structurally independent tables. Due to the consistent effort to maintain the datum above and below the roof, the lifted archipelago becomes a unity of parts. The specificity of the tables cancels out individual authorship for the collective whole integrating in the cityscape.

52

53

GROUND AND ROOF PROPS UNCTAD III, Santiago, Chile - Alice Fang, Begum Karaoglu, Chengliang Li, Joel McCullough, Oliver Bradley

We introduce props that utilizes the logic of the theatre to provide a framework without creating enclosures between the ground and roof.

FROM ROOF

54

FROM GROUND

TOP: SCENARIO 1- LIGHTWEIGHT HANGED ROOF AND ROOF BOTTOM: SCENARIO 2 -GROUND HEAVY HANGED ROOF PROPS UNCTAD III, Santiago, Chile - Alice Fang, Begum Karaoglu, Cheng Liang, Joel McCullough, Oliver Bradley

55

DAILY MEDIA EXHIBITION

0

365

DAILY NON-LIBRARY

0

365

WEEKLY BBQ

0

12

WEEKLY SOUP KITCHEN

0

1

MONTHLY FOOD FESTIVAL

0

12

MONTHLY MUSIC CONCERT

DANCING PERFORMANCE

0

12

LIST OF POSSIBLE EVENTS MONTHLY 0

12

SEASONALY RUNWAY SHOW

ROOF FIREWORKS

56

0

1

300 people during the day 300 people during the night

YEARLY 0

The props allow for cultural engagement to happen through events instead of fixed programs. The events occur under or above different roofs depending on their structural capacity and seasonality.

1

300 people during the day and night

57

The new cultural institution becomes an open framework and cultural condenser. Simultaneously, the project produces a moment of pause and self consciousness of preconceived ideas of space. Our architecture is an actor that instigates political friction, and therefore societal change.

58

59

OUR PROJECT IS THE PRODUCT OF COLLECTIVE WORK

60

61

GSAPP SPRING 2020 DESIGN FOR OBSOLESCENCE STUDIO

DUAL FUTURES OF PRISON

INSTRUCTOR PHU HOANG TEAM LUIS MIGUEL PIZANO HONORABLE MENTION IN THE WARMING COMPETITION

IN.FRA.STRU. CTURE The studio explores the concept of dual futures that require designing for two building types that transform from one to another. “Fracture of Infrastructure” looks into prison obsolescence. Sited on the electrical substations and undeveloped grounds of a decommissioned high-voltage corridor in Newburgh, NY, the project comprises a timber nursery, community land trust, and dual-future correctional network focused on compulsory reformation in the near future and voluntary rehabilitation in the distant future. The voluntary rehabilitation facility emerges from the fracture of the compulsory reformation blocks.

THE CURRENT PRISON INFRASTRUCTURE WILL FAIL TO ADAPT TO CLIMATIC CHANGES IN THE FUTURE. The thermal density of this system is designed to improve as its construction progresses. Our project sources climate-resilient, native tree species to regulate climate conditions, organize the architecture, delineate the facility and community’s threshold, and define project phases through their maturity cycles. In addition, the tree nursery on the grounds of the corridors serves as the source material for a CLT business network that provides learning and work opportunities, and sustainable construction materials. Spanning from macro to micro, our proposal creates an underground network that feeds the equitable spaces aboveground and affirms the role of the tree as an organizing agent and climate controller.

62

63

TOP: PHASE 2 MASSING STUDY BOTTOM: PHASE 4 MASSING STUDY

64

65

ALCATRAZ FEDERAL PENITENTIARY

San Francisco Bay, California —Public

The project proposes a new methodology for climatic study of prisons, called “Thermal Density”, based on ASHRAE variables of radiant temperature, air temperature and humidity. In the floor plans, the darker the area, the less climatic adaptive it is. The research concludes that current prison infrastructure will fail to adapt to climatic changes in the future.

SANDERS ESTES UNIT

Venus, Texas — Private

SUOMENLINNA PRISON

Helsinki, Finland — Public

Radiant Temperature Humidity Air Temperature 66

Our project sources climate-resilient, native tree species to enhance sensorial engagement, protect against heat gain, wind and noise, and regulate climate conditions. The dripline of these trees delineates the architecture, and their maturity defines the project phases.

67

68

69

PHASE 2: COMPULSORY REFORMATION

70

PHASE 4: VOLUNTARY REHABILITATION

71

72

The water system is built into the residential block assembly through the addition of prefab awnings with integrated gutters that collect and drain water to feed the underground cistern and irrigate the nursery.

73

1

TOP: WELLNESS VASEEL BOTTOM: MAIN ACCESS

2

3

5

4

6

SITE 5: USE, MAINTENANCE AND WEATHERING

1. City of Newburgh, NY 2. CLT Works 3. Main access to the facility 4. Security rammed earth berm 5. Tree Nursery 6.Adjacent private Property

74

75

76

The tree nursery and substation network are the raw materials for the cross-laminated timber business. Its cyclical harvesting produces better climate regulation and sustainable construction materials, as well as learning and work opportunities.

77

78

79

80

81

GSAPP FALL 2019 ACCELERATION STUDIO

HOUSING FOR SINGLE PARENTING

SLOW WATER

TEAM ANGELA SUN

In the South Bronx, 72.4% of households are families, and 41.9% of those households include single females, often taking care of children under 18. Hearing first hand from parents and children in the community, the lack of safe spaces dedicated to kids and access to clean water and water infrastructure were everyday realities of the neighborhood. This led towards researching cultures celebrating water as a holistic performative relationship with the human body, such as Japan with onsens/sentos.

THE COLONNADE MODEL TEAM ANGELA SUN DAVID MUSA ANIRUDH CHANDAR

WE INVESTIGATED HOW WATER CAN HELP ALLEVIATE SOME EMOTIONAL BURDENS OF SINGLE PARENTING, ENHANCE INDIVIDUALS’ HEALTH, AND STRENGTHEN THE COMMUNITY.

BUELL CENTER PARIS PRIZE ABSTRACT PUBLICATION

Our proposal for future living provides housing for primarily single mothers who share lifestyles and goals of raising their children within a supportive community. The project also pushes for parent-child and parent-community interpersonal relationships guided by a spectrum of individual and shared water experiences to improve livelihood.

INSTRUCTOR DAISY AMES

Our project hopes to bridge something beyond just an economic model of housing sustainability, striving for human driven empathetic spaces.

Instead of a hard-line distinctions between spaces, the programs are interspersed amongst the living units, weaving in and out between spaces as a way to connect public and private, wet and dry, shared and individual.

82

83

PRECEDENT STRUCTURAL STUDY

Colonnade building in Singapore

by Paul Rudolph

84

PROPOSAL MASSING STUDIES

85

“There are more kids than adults here, but there’s really nothing here for them. It’s not meant for kids to be here. There is nothing to do after school, no sports, clubs, or playgrounds.”

- Fanta, 11th grader

“Flooding is a big issue in this area. You see a little bubble, and then a bigger bubble. I had to break the wall in my bathroom, and that’s how I got housing to come and fix things. You have to go to extreme measures to get housing to come. You have to go to the extreme to get any kind of attention.”

“Plumbing is disgusting and old, stripped away, and rusted. When housing comes they break down the pipes and that creates an even bigger problem.”

- Lenny, Local photographer

86

87

Considering the amount of water needed for the amenities, we created a water system that will harvest water that will sustainably provide potable and non-potable water to the tenants.

This water system is divided into three strata, taking advantage of gravity.

RAIN WATER HARVESTING

Mimicking NYC water system

STRATA 1

STRATA 1

STRATA 2

STRATA 1

STRATA 2

STRATA 3

STRATA 2

STRATA 3

STRATA 3

LIVING MACHINE

Mimicking nature

88

89

90

91

A B

B

A

C

C

92

93

COMMUNAL BATHS

94

95

96

TOP: ELEVATION FROM E 151 ST BOTTOM: STUDY OF SHARED AND INTIMATE SPACES

97

1

2

3

4

5

PROGRAMMATIC WALL TYPOLOGIES

98

1. Exterior Climatic Wall (8”) 2. Interior Acoustic Wall (10”) 3. Wet Wall (18”) 4. Partition Wall (4”) 5. Exterior Wall (16”)

99

100

101

102

103

GSAPP SPRING 2019 ILLITERATE LIBRARY STUDIO

POLITICAL ILLITERACY

INSTRUCTOR CHRISTOPH KUMPUSCH TEACHING ASSISTANT MATTHEW NINIVAGGI ABSTRACT PUBLICATION

FACTORY OF [UN]TOLD STORIES “LIFE IS LIKE BEING CHAINED UP IN A CAVE FORCED TO WATCH SHADOWS FLITTING ACROSS A STONE WALL” — PLATO IN ALLEGORY OF THE CAVE, CHAPTER VII IN “THE REPUBLIC.” According to United Nations High Commissioner for Refugees (UNHCR), “by the end of 2017, 68.5 million individuals were forcibly displaced worldwide as a result of persecution, conflict, violence or human rights violations.” The 21st century has become a benchmark for the refugee crisis achieving the record of individuals forcibly displaced.

Libraries are innately biased institutions in which a few selected individuals filter information and knowledge. Therefore, the curator has the power and the privilege to establish which knowledge is deemed worth sharing. However, the library for political illiteracy aims to shift this power to individuals in need of refuge.

The library of forcible displayed people at Sara D. Roosevelt Park, NYC intents to archive, produce, and share their stories, that are otherwise untold or forgotten. These untold stories potentially affect their following generations who often found themselves in an underprivileged position due to the inherited ignorance of their origin. Sharing stories not only allows forcibly displayed people to reclaim their identities and take control of their own life’s narrative, but also offers them an outlet to manage with lost and painful memories and emotions. Furthermore, it encourages understanding of their experiences to the audience, fostering empathy and literacy. Ultimately, through storytelling, the library creates the opportunity of reinvention, assisting them to produce new stories.

104

105

106

107

LAYERING + LIGHTING

108

Collecting stories develop an accumulation culture of immaterial and material knowledge. In the detail studies, this phenomenon was translated into an assemblage of a variety of details of buildings such as libraries, performing spaces, publishers, and galleries.

The multiplicity of building typologies through layering detail sections initiates a dialogue between them.

109

RE-CONTEXTUALIZING

Details, metaphorically, are the DNA of the building. By extracting them, changing their context through mutation such as sampling, rescaling, and projecting, the project departures from precision to abstraction, blurring each building’s DNA.

110

111

FRAGMENTING

112

Books contain a linear condition starting with the cover organized by the spine. By dissolving the spine and fragmenting the sequence, the book has no longer a linear condition, but rather a field quality that allows an interwoven reading of the book.

113

ABSORBING + PROJECTING

The book’s cover turns into memories of the buildings that one day will no longer exist. These fragments of memories are archaeologically absorbed, metabolized, excavated, and projected to create fragments of new stories.

114

115

SYNTHESIZING + METABOLIZING

The envelope absorbs the memories of the site, metabolizes and projects new fragments and stories back to the site.

The acrylic pieces are aperatures that frame fragments of the building. Due to the organic form of the skin the visitor will always have different views when looking at the building.

116

117

118

119

120

121

122

END OF THE YEAR SHOW AT GSAPP

123

GSAPP FALL 2018 BROADWAY STORIES STUDIO

PUBLIC SPATIAL INFRASTRUCTURE

INSTRUCTOR JOSH UHL TEACHING ASSISTANT WO WU ABSTRACT PUBLICATION

HABITABLE CORE In contrast to the 20th-century discourse, the binary classification of spaces as public-private, collective-individual, night-day… do not correspond to the current reality. Nowadays, buildings are no longer isolated but part of a more extensive system that connects the micro and macro impacting larger spheres such as the political, economic, and environmental realm. From this context, “Habitable Core” explores issues of elevators in affordable housing in NYC through an infrastructural intervention responding to the contemporary condition of the grand interior.

Affordable houses are often neglected, leading to a lack of collective facilities, inadequate infrastructure, limited natural light/ventilation, overcrowding, etc. Vertical circulation is one of the main issues: Larger-scale affordable houses usually have insufficient/inefficient elevators, and smaller scale ones do not have elevators at all.

THE LACK OF A SHARED SPACE IN AFFORDABLE HOUSES DISCOUR AGES NE IGHBORLY INTE R AC TIONS AND ENCOURAGES TENANTS TO BE IN THEIR OWN SELF-CONTAINED TERRITORY — EVANS, 1978.

The infrastructure system aims to redefine the meaning of core. The core is in part essential to the structure of a building but also to the organization and interaction of people. The circulation core arranges the layout, sequence, and distribution of spaces, which consequently dictates the occupant’s everyday life.

124

125

VERTICAL CIRCULATION SYSTEM IN NYC

126

127

This abstract machine can “parasite” on various sites to stabilize, connect, and strengthen communities in affordable housing.

128

129

The superstructure intervention generates new habitable public spaces as an extension of domesticity. The addition of new spaces is a manipulation of the shape and measurement of different staircases that create extrusions that contract and expand, absorbing, and dialoguing to various information of the city such as proximities, views, and noise.

130

131

MOVING IMAGE OF INTERIORITY

A. 03’

B. 19’

C. 37’

The video portraits the daily life and the atmosphere in affordable houses in New York City. The first scenes contrast with the intervention that attempts to respond to this reality by adding a livable public space for the inhabitants.

132

D. 52’

133

DETAILS OF OF INDOOR-OUTDOOR SPACES

The 1:1 prototype explores construction and materiality. The tension steel cables become the structure that host surfaces and envelopes that suggest programmatic engagement.

134

135

RELATIONSHIP TO THE URBAN FABRIC

Adding a core to the skin of the building and allowing it to proliferate disrupts the typical vertical circulation. It also displaces “body and soul” (Evans, 1978) of the community, creates opportunities for habitable and programmable spaces, and provides privileged views of the city.

136

137

138

139

CHAPTER II 142

POPULOUS THEATER

150

SUNSET BOTANICAL GARDEN

156

TWISTED TOWERS

160

EPISODES FROM SECTIONAL PHOTOGRAPHS

162

ECCENTRIC ARTIFACTS

166

PILGRIMAGE

170

PLAYFUL NOSTALGIA

140

141

Ineajomaira Mark-Henry Spenser A. K

POPULOUS THEATER

Roof Structure.

Retaining Wall.

4’ Strip Footing.

CIP Concrete.

Issue Date

Pile Cap.

Greenpoint Theatre

GLULAM Column.

Pile Foundations.

Structural A�on and Concept

GLULAM Beam.

Foundations.

FOUNDATIONS

Consultants

Bulkhead Structure.

COMMUNITY INFRASTRUCTURE

INSTRUCTORS JOE HAND AMY HARRINGTON KATHERINE CHAN JONCE WALKER CIARAN SMYTH TA ERICKA SONG KATE MCNAMARA

The Populous Theater is a primarily civic space that engages and acknowledges its environment and community. The concept emerges from a primary and secondary composition that creates a spectrum of heavy to light, new to old, and man-made to nature relating to the program, structure, and surface. The site is an industrial waterfront adjacent to Transmitter Park in Greenpoint, Brooklyn. As a resiliency strategy, the analysis of the 100-year floodplain led the group to set back the building with a berm, elevate 6’, and fortify its base through concrete structure.

The project relandscapes the park paths, bringing them into the building’s entry and creating a connection through the block with non-conditioned lobby space.

MEZZANINE Mezzanine STRUCTURE Structure.

12/12/2019 AM 11/25/2019 10:32:46 ��56�19 PM

GSAPP FALL 2019 INTEGRATED BUILDING SYSTEMS

Second Floor Structure.

S105

Joe Hand (SHoP Architects) Architecture

1 Structural Axonometric Diagram

ScaleAmy Harrington (Silman) Structural Engineering Gaby Brainard S/MEP Katherine Chan ENCL

No. 01 02 03 04

Team

Alice Fang Ineajomaira Cuevas Mark-Henry Decrausaz Spenser A. Krut

af3033 ic2466 mjd2233 sak2212

Second Floor Structure.

Consultants

BULKHEAD BulkheadSTRUCTURE Structure.

ROOF STRUCTURE Roof Structure.

Joe Hand (S Architecture

Amy Harring Structural En

Retaining Wall.

Gaby Braina S/MEP

TEAM MARK-HENRY DECRAUSAZ SPENSER A. KRUT INEA JOMAIRA CUEVAS

4’ Strip Footing.

Katherine Ch ENCL

Pile Cap.

Gree

CIP Concrete.

GLULAM Column.

Pile Foundations.

Team

Struc

Alice Fang Ineajomaira Mark-Henry Spenser A. K

GLULAM Beam.

Foundations.

Roof Structure.

Mezzanine Structure.

1 Structural Axonometric Diagram

Scale

CIP Concrete.

No.

GLULAM Column.

Description

Date

01

SD SUBMISSION

09 30 2019

02

DD SUBMISSION

10 22 2019

03

75% CD SUBMISSION

11 26 2019

04

CD SUBMISSION

12 13 2019

GLULAM Beam.

Second Floor Structure.

Mezzanine Structure.

Retaining Wall.

4’ Strip Footing.

Pile Cap.

142

Issue Date

Greenpoint Theatre

Pile Foundations.

Structural A�on and

No.

143

01 02 03 04

We endeavored to develop a working understanding of the assembly of pieces (beams, floors, columns) by focusing on the transitions between materials — concrete to glulam.

COLUMN TO FLOOR DETAIL

144

CONCRETE TO GLULAM COLUMN

GLULAM TO GLULAM COLUMN

145

maeT

3303fa 6642ci 3322djm 2122kas

metsyS revuoL ot lenaP reppoC edacaF tseW

gnaF ecilA sa veuC ariamojaenI zasuarceD yrneH-kraM turK .A resnepS

gnizalG

stnatlusnoC

slenaP anitaP reppoC

)stcetihcrA PoHS( dnaH eoJ erutcetihcrA )namliS( notgnirraH ymA gnireenignE larutcurtS draniarB ybaG PEM/S

pilC lateM ot sehctatta metsys pilC dirg noillum gnizalg

nahC enirehtaK LCNE

metsys troppuS spilc ot stcennoc dirg no

maeT

3303fa 6642ci 3322djm 2122kas

gnaF ecilA sa veuC ariamojaenI zasuarceD yrneH-kraM turK .A resnepS

metsyS revuoL ot lenaP reppoC edacaF tseW stroppuS lateM etaD 9102 03 90 9102 22 01

noitpircseD

.oN

NOISSIMBUS DS

10 20

NOISSIMBUS DD

9102 62 11

NOISSIMBUS DC %57

30

9102 31 21

NOISSNIM OIBSUSSIMDBCU% S 0D0C1

40

gnizalG

stnatlusnoC

slenaP anitaP reppoC

)stcetihcrA PoHS( dnaH eoJ erutcetihcrA )namliS( notgnirraH ymA gnireenignE larutcurtS draniarB ybaG PEM/S

ot sehctatta metsys pilC dirg noillum gnizalg

ertaehT tniopneerG

metsys troppuS spilc ot stcennoc dirg no noilluM gnizalG

D3 edacaF margaiD

maeT

etaD 9102 03 90 9102 22 01

noitpircseD

.oN

NOISSIMBUS DS

10 20

NOISSIMBUS DD

9102 62 11

NOISSIMBUS DC %57

30

9102 31 21

NOISSNIM OIBSUSSIMDBCU% S 0D0C1

40

01 9102/6 22 1/1 21 MA 6 74 3:2 73 4:2

gnaF ecilA sa veuC ariamojaenI zasuarceD yrneH-kraM turK .A resnepS

3303fa 6642ci 3322djm 2122kas

pilC lateM

etaD eussI

nahC enirehtaK LCNE

stroppuS lateM

111F elacS

Clip System: Glazing mullion grid

etaD eussI

ertaehT tniopneerG

9102 22 01

noitpircseD

.oN

NOISSIMBUS DS

10 20

NOISSIMBUS DD

9102 62 11

NOISSIMBUS DC %57

30

9102 31 21

NOISSNIM OIBSUSSIMDBCU% S 0D0C1

40

01 9102/6 22 1/1 21 MA 6 74 3:2 73 4:2

9102 03 90

Support system: Clips to grid

Copper patina panels transform into horizontal louvers

pilC lateM metsys troppuS spilc ot stcennoc noilluM gnizalG dirg no

D3 edacaF margaiD

etaD

slenap anitap reppoC latnoziroh otni mrofsnart srevuol

slenap anitap reppoC latnoziroh otni mrofsnart srevuol

stroppuS lateM

111F elacS

etaD eussI

ertaehT tniopneerG

D3 edacaF margaiD

noilluM gnizalG

slenap anitap reppoC latnoziroh otni mrofsnart srevuol

01 9102/6 22 1/1 21 MA 6 74 3:2 73 4:2

111F elacS

146

147

Sloped Roof

Directs rain water towards the water tank below.

The all-electric building delivers a passive design taking advantage of the site’s specificity to maximize energy efficiency and provide a high-performing space in terms of energy and function.

Unconditioned Space

The glazed unconditioned foyer serves as a naturally ventilated vestibule.

Recycled Brick

The East facade uses recycled brick as a finish to minimize waste production.

SLOPED ROOF UNCONDITIONED SPACE

Concrete with Recycled Materials

The structure shear walls use fly ash add mixture and recycled brick as aggregate.

The aim is to lessen the impact of the concrete CONCRETE+RECYCLED MATERIALS present in the project.

Solar Panel System SOLAR PANEL SYSTEM Solar Panels are angled south.

Passive PASSIVEShading SHADING On the West Facade, horizontal copper louvers Onusedthe Westsunfacade, are as passive shading device. horizontal copper louvers are used as passive sun shading device

Each panel is able to produce 6 Kwatts.

PVs produces around A total of 264 KWatts is produced.

13% of energy from the total consumption

The shear walls use fly ash add mixture and recycled brick as aggregate aiming to lessen the impact of the concrete present in the project

All Electric Building

RECYCLED BRICK

ALL ELECTRIC BUILDING

The East facade uses recycled brick as a finish to minimize waste production

The building uses solar evacuated tubes and VRF system, removing the need to burn fossil fuels.

The building uses solar evacuated tubes and VRF system, removing the need to burn fossil fuels

The glazed unconditioned foyer served as a 2.5 season naturally ventilated space that connects the park to the building

Directs rain water towards the water tank below

BERM

Resilience strategy to mitigate the issues of flooding by absorbing Berm and collecting river Resilience strategy to mitigate the issues of flooding water in the area by absorbing and collecting river water.

6’ RISE

The building is lifted 6’ from grade to address impeding 6’flood Rise risks

The building is lifted 6’0” from grade to address impending flood risks.

RADIANT FLOORS

Transporting heat through water is more efficient and consumes less energy. It Radiant Floors also allows the spaces to Radiant floors consume less energy since be transports evenlyheat heated water more efficiently.

It also allows t`he spaces to be heated evenly.

148

UNDERFLOOR VENTILATION

Ventilation is only needed when the seats are in use decreasing energy Underfloor Ventilation consumption Ventilation is only needed when the seats are in use which decreases the energy consumption in the building.

TIMBER CONSTRUCTION

Columns, beams, and partition walls are made of CLT and glulam resulting in lower embodied energy Timber Construction

Columns, beams, and partition walls are made of CLT and glulam resulting in lower embodied energy for the project overall.

CONCRETE STRUCTURE

Concrete structure is used on the 1st floor as a preventive method for flooding

PERMEABLE PAVERS

Permeable Pavers Passive system to mitigate Passive system to mitigate storm water, storm thereforewater, producingtherefore less combined sewage waste water. producing less combined sewage waste water Transmitter Park Irrigation

Filtered Storm Water Collection Transmitter Park Irrigation City Sewage Filtered Storm Water Collected from drain

149

City Sewa

GSAPP SPRING 2019 INTEGRATED BUILDING SYSTEMS

URBAN RESEARCH INSTITUTE

INSTRUCTORS ARL JACKSON AMY MIELKE TOM JOST MIKAYLA HOSKINS TA KATE MCNAMARA FRANK MANDELL

SUNSET PARK BOTANICAL GARDEN

Our botanical garden implements native and climate-resilient flora to research its potentials to improve the site’s conditions. The planting strategy has four zones.

Our study of Sunset Park led us to understand that the current neighborhood houses unideal living conditions, a landscape presently dominated by industry, truck traffic, air pollution, and lack of pedestrian access to the waterfront. Through developing community and educational spaces, we aim to improve the livelihood of the neighborhood. The research center we are developing is a new typology for a botanical garden that tests resilience to flooding and climate change, so we can study how our natural and urban systems respond. The garden will mitigate stormwater, enhance air quality, and add tremendous value to real estate to Sunset Park by displacing and redistributing current underused buildings.

TEAM ANGELA SUN TUNG NGUYEN YAXIN JIANG

150

151

­

Believing bringing nature to this industrial zone is the core of our redevelopment plan, we studied the size and composition of some botanical garden precedents. This comparison, along with the FAR study, allowed us to redefine the boundary of our intervention.

152

153

The greenery extends primarily from the BQE to the waterfront, providing new pedestrian green accesses from a cleaner and greener BQE now as a visual landmark. Besides being a new recreational destination next to the existing industrial city, the garden assists with flood resistances and brings real estate value to the adjacent blocks.

154

155

GSAPP SPRING 2021 TRANSITIONAL GEOMETRIES

TILING AND MODULAR FABRICATION

TWISTED TOWERS In the spirit of investigating tiling and modular fabrications, twisting towers explore the organizational, experiential, and aesthetic performance of three units and repetition in architectural compositionacross different scales and perspectives. The project consists of two-part mold-making and casting glycerin requiring consideration of efficiencies and economies of modular fabrication.

INSTRUCTOR JOSH JORDAN

156

157

158

159

GSAPP SPRING 2021 SECTION AS ANALYTICAL AND DESIGN TOOL

DOMESTIC INEQUALITIES THROUGH THE CUT

INSTRUCTOR MARC TSURUMAKI

EPISODES FROM SECTIONAL PHOTOGRAPHS The project aims to raise broader questions regarding the section as a representational techniques that mediates the complex interrelationship between delineation, ideation, and materialization. Episodes from Sectional Photographs seek to understand the way sections operate as a representational device to reveal as well as conceal social-political issues of domestic labor in Casa Butantã (1964) by Paulo Mendes da Rocha, São Paulo.

The modernist house is represented through three episodes that reveal the house’s horizontal organization — a central bedroom core between two habitable corridors — and the vertical organization — the family’s living space stacked on the “maid’s quarter.” The series of cross-sections emphasize the concrete structure that lifts the main volume above ground and cantilevers the balcony-corridors on both sides. While the building’s depth responds to the sun shading needs, the skylights provide light to the bedrooms. Furthermore, by representing the sections as hybrid — line and photos — it merges concepts of memory and nostalgia to spatiality, exposing inequalities in the domestic sphere.

160

161

GSAPP SPRING 2020 MATERIAL THINGS

THINKING THROUGH MAKING

ECCENTRIC ARTIFACTS These artifacts relates to our necessary attachment to materials and material things as designers, and a refers to the productive cultural institutions that emerge around the act of making.

INSTRUCTOR JOSH JORDAN TEACHING ASSISTANT ANOUSHAE EIRABIE

S.CONE: MIXED PRIMITIVES

162

Made of high-density foam scraps found in the shop, the pieces were cut and assembled into a custom stock block for more efficiency in time and material.

The mixed primitives are composed of a sphere with 6 cones radiating from the center to create a new composite. The final coating conceals the ways to the mean, alluding to a heavy artifact.

163

ELASTIC HUG: JOINT

Starting with Frascari’s proposition that “any architecture element defined as the detail is always a joint.” From there, we open the joint to questions of craft, process, materiality, and critique. The proposed joint system achieves a physical and formal connection between two components: one static and one elastic.

The wood elements’ geometry nest on each other while the hidden hardware allows the joint to lock in place.

164

165

GSAPP FALL 2019 TECHNIQUES OF THE ULTRAREAL

PILGRIMAGE

RENDERING AS A DESIGN TOOL

Pilgrimage focuses on techniques of color, light, material, context, reflection, and opacity to create a meditative experience through three scales: Environment, mid-view, and detail.

INSTRUCTOR JOSEPH BRENNAN PHILLIP CRUPI

THE JOURNEY Exploration creating landscapes and morning lighting employing onepoint perspective and rule of thirds to pull in the viewer from the landscape into the building.

TEACHING ASSISTANT SUJIN LEE TEAM JIAZHEN LIN

THE CONTEMPLATION Investigation of symmetry and interior lighting as a strategy to enhance the materiality and shape of the building.

THE ENCOUNTER Employment of soft lighting to enhance form of the building in addition to exploration of reflection, refraction, and steam.

THE JOURNEY

166

167

168

LEFT: THE CONTEMPLATION RIGHT: THE ENCOUNTER

169

GSAPP FALL 2018

METHODS OF REPRESENTATION

PLAYFUL NOSTALGIA

LUDIC EXPLORATIONS

Playful Nostalgia investigates Lina Bo Bardi’s ludic intentions in designing SESC Pompeia in Sao Paulo, Brazil. It consists of two parts exploring a specific form of representation: model and projection.

INSTRUCTOR DANIL NAGY

The model traces the circulation of the two towers connected by the bridges. It allows a marble to simulate people’s movement through the building. The process alternates between digital and analog, and it maintains the resin supports to emphasize the concept of the roller-coaster.

TEACHING ASSISTANT JULIA GIELEN

RHINO 3D MODELING

The projection brings forward the structure that allows for open space. In addition, the furniture becomes a suggestion for unprescribed interactions in this open ground for playfulness.

FORMLAB 3D PRINT CLIPPING

MACHINE ANALOG

REDUCE SUPPORTS TRACING

RESIN ROLLER-COASTER PLYWOOD BASE

BASE OF RESIN RHINO CAM SETTINGS FOR CNC CNC CARVE WOOD BASE SPINDLE SANDER ADJUSTMENT OF CARVED AREA

TRACING CARVED AREA LASER-CUTTING WOOD PIECE TO FOCUS LIGHT

170

171

A

A

172

B

B

C

C

173