EoYS21_MArch_27

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S P O L I T I C S abhinav gupta [ M Arch III ]

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S P O L I T I C S notation and notation highlighting my way or a notation of processes of lighting on my way to studios

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abhinav gupta [ M Arch III ]

pūjā here, a handmade icon of ganapati handed down in my family is is photographed in photography studios lights/lighting conditions and continuously projected and re-projected back onto itself utilizing the processes of different architectural technologies. the word, pūjā, or the Hindi word for worship/worshipping , is defining processes in line with the politics of specific processeses — here, process manifests as both ‘a process’ and ‘to process’ — moving to questions posed by object-oriented ontology, or, more importantly, a critical questioning of spatializing questions posed by object-oriented ontology, in and of itself. vs2, critic : violet whitney

notation and notation motion is dense or presenting a notation system for the film, “the way things go” (1987)

morphing Understanding the extreme density of Neo-Classical buildings on Broadway from w 87th to w 120th, I was set on distorting and disempowering the painful iconography of the Neo-Classical by designing a way for people to find more of the premium these buildings exclude – and always excluded – specific communities from: space – both living space and public space – in the city.

As Pre-War building windows were mostly standardized, I employ them to hack – and let people hack – these façades by defining forms using ergonomics, common non-ergonomic motions, and a perception-based parallax projection system, ers’ perception activities within the forms’ interfaces, while maintaining material transparency.

With these ‘morphologies’, people may finally actually act on these buildings in which they are living; cutting into and/or transforming existing programmes, or even forming new programmes entirely.

More, by maintaining the material transparency, these ‘morphologies’ may distort Neo-Classical notions of sublimity and, in so doing, generate a new hyper-real public space, whereby people experience new sets of performative and intimate conditions and interactions – both between inhabitants and inhabitants, and inhabitants and city-dwellers, dwelling down below… core1, critic : lindy roy

building vision(s) building vision(s), or object-oriented relativity, 360º images, are edited / re-imaged / re-imagined to find discourses on our core 2 site — here, between both the Tenement Museum and the Public Hotel buildings by filming and editing 360º images to imagine ‘building vision’ or ‘building visions’; we are re-imagining how the political beliefs of the people designing these buildings may inform how these buildings envision the site — elements are added/moved/removed in line with these political beliefs ( e.g.: police / police presence, homelessness and homelessness programmes, food pricing, etc… ) users could then use a VR headset to see as the buildings see core2, critic : christoph kumpusch

library of sense/non-sense For a library for illiteracy, I utilize the site as a library, expanding beyond notions of pavilion.

An architecture of depriving sensory stimulus could bring users into meditative states related to specific points on the site, not only by visualizing, but even more so by depriving auditory stimulus — which is, generally, privileged in American culture, but not always for the cultures of the people moving into the site or even living at the site already.

Moreover, with a large — one of the largest — African burial grounds in America buried just under the site, the notion of depriving visual and auditory senses/stimulus brings more potent, painful, site-specific points to meditate on and read/learn/unlearn/relearn.

In the opening photo, not only is the model at 1:1/8 scale structurally, but the model functions at 1:1 scale; its auditory functions depriving auditory stimulus/senses function so that anybody that holds it to their ear may hear the uniquely disorienting experience of completely depriving any audio in spite of it being inside a non-enclosed structure — a user on one side cannot hear the voice of a user talking into the other side. core2, critic : cristoph kumpusch

room/not-room When we surveyed people living in the Bronx / next to the Bronx Documentary Center, they were repeating the same thing: ‘we really love our neighbours; we just hate our neighbourhood.’

Here, we are designing specific forms of hybridized modules for living, while utilizing some more generative systems to inform spacing, orientation, and packing, of the centre courtyards, living cores clustered to the courtyards, and the new, hybridized modules / living programmatic modules.

We surveyed and researched more into people’s day-to-day lives to find that, indeed, many programmes could be combined by designing hybridizing programmes into these modules.

With that, we set courtyards and courtyard / exterior side conditions and oriented living cores by these conditions, whereby residents could select their hybridized programmes by their own desires — and define a new localized/hyper-localized neighbourhood with form. collaboration with helen winter core3, critic : eric bunge

foresta forma ! wood + wine living lab Realizing the two industries of forestry and winemaking in the historic Hudson Valley AVA, the desires in these industries to be more sustainable, and the natural waste materials discarded by these natural material heavy processes, I use these waste materials of oak waste and of wine pomace in stabilizing a new material whereby remaining tannins in wine pomace act on oak / red oak where we engineer/re-engineer wood from sawmills/ sawmill waste.

Here, existing shipping routes are re-routed for a new material flow in line with these new materials — bolstering these industries more sustainably and empowering the people of the historic Hudson Valley AVA. adv4, critic : lindsey wikstrom

jay centre for american democracy This story is a story of “owning”.

This land was always inhabited, labored, and loved by people before the notion of owning land or owning people even existed.

This land was always their land.

This land was owned by a man that was initially for Britain owning the Colonies -- with misgivings over a new country -only to become a founding father of the United States of America.

This land was owned by a man that promoted a movement for abolition; that is, against slavery, or owning people, yet he and his family engaged in slavery, owning people ‘til the end of their time.

This story is of how generations decided to own their narratives to reconcile with them -- and, in doing so, move that narrative forward for generations to come.

This story is of the growing pain that comes with American Democracy. adv5, critic : mark rakatansky

éclat[é] v., exploding, expanding, shattering, projecting, projecting onto itself and itself onto spaces in which it exists, brilliantly starting with an anni albers tapestry, éclat, I analyze the mathematical languages of the tapestry to engage it, activate it spatially, and finally: let people activate it spatially. adv6, critic : stephen burks