EoYS21_MArch_3

NATURAL PAT TERNS I S A B E L L A B A RT E N ST E I N M A S T E R O F A R C H I T E C T U R E 2 0 21 COLUMBIA GSAPP

Melrose Housing 1

Ke y b o a rd D e t a i l 19

Everything Must Scale 23

Enclosed 41

Stacks 43

Process 59

Shells

Th e S h e l l s o f N e w b u r g h

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97

As Little As Possible

Broadway Stories

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10 9

Hypar Analysis 93

MELROSE HOUSING

2.1 1

Fall 2019 Critic: Hilary Sample Project Team: Isabella Bartenstein, Luis Miguel Pizano This new housing project, located in the Melrose district of the Bronx, is inspired by the self-similar, fractal-like mathematics that govern the form of O.M. Unger’s Berlin IBA 1.

The building’s mass is organized on three north/south bars on the ground plane, creating two distinct linear gardens, one public, the other private. Five additional stories organized as two large open squares sit upon this ground floor. Circulation is arranged around the wood-sided perimeter.

The resulting long bars of housing mass are punctured between every individual housing unit with courtyards or light wells clad in reflected tile. These voids step inwards every two stories in order to allow maximum light and air to reach each unit. A strict 25’ x 25’ structural column grid facilitates the dual use of CMU and steel studs. This arrangement provides the freedom to move internal walls around in accordance to the preference of inhabitants.

1.1 Bird’s Eye Oblique

2

MELROSE HOUSING

(1e) Rising Layer Cake

(1d) Flat Layer Cake

(2d) Loft Peaks

(1c) Distributed Terrace

(2c) Rising Loft Peaks

(1b) Courtyard

(1a) Rising Courtyard

(3c) Rising Loft Garden

(2b) Rising Rooftop Loft

(1) Terrace (2a) Rooftop Loft

(2) Rooftop Loft

(3b) Garden House

(3a) Rising Garden House

(3) Garden House

(4b) Bridge

(4a) Rising Bridges

(4) Bridge

Composite Studies

DESIGN PERMUTATIONS 3

(1f) Distributed Layer Cake

(2f) Loft-Castle

(3f) Loft Forest

(2e) Loft-Castle

) s

(4f) Jenga

(3e) Rising Loft Forest

(3d) Loft Garden

(4e) Rising Jenga

(4d) Catwalk

(4c) Rising Catwalk

1.2 IBA 1 Permutations 4

MELROSE HOUSING

28 5

1.3 IBA 1 Model Permutations 6

MELROSE HOUSING

1.4 Analysis of Ungers’ Self-Similar Components 7

1.4 Void Model 8

MELROSE HOUSING

9

1.6 Ground Floor Plan 10

MELROSE HOUSING

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1.7 Section 12

MELROSE HOUSING

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1.8 Exterior Elevations 14

MELROSE HOUSING

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MELROSE HOUSING

1.9 Bird’s Eye Perspective 16

MELROSE HOUSING

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2.10 Construction Isometric 18

K E Y BOA R D D E TA I L

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Spring 2019 Critic: Dan Taeyoung Project Team: Isabella Bartenstein How do we create detail today? Can we invent new detail elements that reflect modernity? Can we mine new detail methods that reflect the field’s move from analog drawing to the digital?

“Keyboard Detail” proposes a new generative process for discovering and producing architectural detail through mapping the journey of a typing hand across a keybord. A pattern is discovered, one born of simultanously unconscious and deliberate movement.

The procress goes as such: You type the name of the object you are trying to create, and the fingers’ paths of travel are recorded. The resulting splines are then given width.

2.1 Trim to decorate coffer

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2.2 Cornice generation, detail 21

2.3 Coffer trim generation, detail 22

EVERYTHING MUST SCALE

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3.1 Site Plan 24

EVERYTHING MUST SCALE

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Fall 2020 Critic: Michael Bell Project Team: Isabella Bartenstein

This clinic is designed to be rapidly deployable and adaptive to any location. It houses rotating testing pods which safely facilitate the interaction between the patient and tester. This project first studied current protocols of Covid-19 testing, specifically a rapid test clinic that had been installed in an empty Columbus Avenue storefront on the Upper West Side of NYC to determine a safer and more comfortable process for all involved.

The immediate lesson of the testing center in NYC was that of a more practical and safe space would be a facility as unenclosed and portable as possible.

3.2 Rapid Test Covid Clinic Study, 252 Columbus Ave. 10023

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EVERYTHING MUST SCALE

The Covid testing clinic, which can be installed in almost any parking lot space, features 6 autonomous testing pods, each housed under a wing comprised of a lightweight steel structure.

Across this armature, greenhouse plastic tarp weighted down with pockets of beads sits securely in place due to double u-channel extrusions and wiggle wire.

This project explored how mass is affected by rotation and gravity. The resulting design reflects this consideration with separate testing wings rotating around an invisible central point, with the roof sloped down towards it. The clinic’s volume remains forcibly combined, echoing the human desire to separate and come together during the Covid-19 pandemic.

3.3 Testing Pod Prototype 27

3. Constant

Constant Rate R=1/4 C R=1C Constant Gravity

Simple Harmonic Motion

Constant Gravity 3. Constant

Constant Rate R=1/4 C R=1C

1. MI Simple Harmonic Motion

2. MI 4. Distortion 1

Constant Rate Constant Gravity

1. MI

Simple Harmonic Motion

2. MI 4. Distortion 1

Constant Rate

2m Simple Harmonic Motion

6. Gravitational Distortion

Constant Rate R=1C

R=1/2 C

2m

6. Gravitational Distortion

Constant Rate R=1C

R=1/2 C

How do I apply the Newtonian Principals of Gravity to distort the circle?

5. Gravitational Pull

f1

f2

m1Newtonian Principals of Gravity to distort the circle? m2 How do I apply the

5. Gravitational Pull

r (distance)

f1 m1

f2

f1 = f2 = g

m1 m2 r2

m2

universal gravitational constant = 6.67 x 10

-11

m3 2 kg-s

r (distance)

f1 = f2 = g

m1 m2 r2

universal gravitational constant = 6.67 x 10

-11

m3 2 kg-s

3.4 Applying Newtonian Physics to Testing Pods 28

48'-10"

34

'-1

1"

52'-10 34 "

EVERYTHING MUST SCALE

19

'-0 4

29

1

"

32'-4 12 "

3.5 Rapid Test Clinic Plan 30

EVERYTHING MUST SCALE

31

3.6 Building Sequence Diagram 32

EVERYTHING MUST SCALE

3.7 Double U-Channel, Wiggle Wire, and Bead Weight Details 33

3.8 Tympanum Structure and Weighted Roof Detail 34

EVERYTHING MUST SCALE

35

3.9 Day Perspective 36

EVERYTHING MUST SCALE

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3.10 Evening Perspective 38

EVERYTHING MUST SCALE

39

3.11 Night Perspective 40

ENCLOSED

Spring 2020 Critic: Michael Vahrenwald Project Team: Isabella Bartenstein This project worked to capture Central Park during the quarantine period of Spring ‘20 and asked how free is nature in Central Park? As Koolhaas noted, the park is a synthetic carpet of greenery, and the human hand is evident in the wrapping, fencing, and construction within the park.

41

42

STAC KS

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5.1 Surrounding Site Elevations 44

STAC KS

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Spring 2019 Critic: Emmett Zeifman Project Team: Isabella Bartenstein This design proposal for a new branch library in the Chinatown neighborhood of New York City was inspired by stacking found objects and drawing existing architectural details.

In particular, this library proposal finds its genesis from close study of Wren’s library for Trinity College, Oxford and its rows of u-shaped reading nooks. The nook millwork and point of connection with the masonry wall and window was modeled with cut PVC pipe, resulting in a study of profile, extrusion, and how gravity affects stacking.

The same profile, arranged in different orientations and scales provides a multiplicity of spatial opportunities. Where the halfcircle profile stacks vertically in section, the form of the profile adjusts to meet the load with the opposite side thickened with an anti-clastic, pringle-like surface.

The library was arranged using the same half-circle profile of the cut PVC, both in stacked form vertically, and joined together horizontally to create distinct spaces with varying form and sound qualities. The plan is organized by sound requirements of different programs, including quiet and loud reading rooms. The concave and convex walls rise up in a combination of CMU and glass block. Every surface which receives human interaction is softened with wood cladding.

5.2 Worm’s Eye Perspective

46

STAC KS

5.3 Trinity College Library Form Diagram 47

5.4 Staatsbibliothek zu Berlin Form Diagram 48

STAC KS

5.5 Wren Millwork Detail 49

5.6 Wren Millwork Detail Abstracted Model 50

STAC KS

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5.7 Ground Floor Plan 52

STAC KS

5.8 Library Wall Typologies 53

5.9 CMU & Glass Brick Forms 54

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5.10 Section Perspective 56

STAC KS

5.11 Loud Reading Room Perspective 57

5.12 Quiet Reading Room Perspective 58

PROCESS PORTFOLIO

Spring 2019 Critic: Dan Taeyoung Project Team: Isabella Bartenstein This project questioned the use of adding accessories or random “real” objects to an architectural drawings. The project took a drawing by a contemporary firm in which many rendered stones were used to evoke the natural surroundings of the site.

Tracing these randomly placed objects with grasshopper, this representation project then began to unravel the boundaries of the stones and started to connect together different stones. This new arrangement of lines was used as a template to add and remove an overlay color, beginning to form a new geology of void rocks on a landscape below. The medium then changed to oil paint, with dabs of paint representing the stones on the new landscape. Solvent was then added in stages, flooding the rocky landscape and transforming it into a new watery world.

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60

PROCESS PORTFOLIO

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SHELLS

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Fall 2020 Critic: Robert Marino Project Team: Isabella Bartenstein

In the aim to provide a new dome roof for the Duomo di Firenze that uses the minimal amount of material in a shell structure, this project started by studying the bubble experiments of Frei Otto from the 1960s. This shell project conducted it’s own bubble experiements utilizing the octagonal base upon which a new roof would sit. The most interesting form generated was a surface with double curvature and fin. Then, additional experiments were carried out trying to create a complex surface with additional fins.

Replacing the existing dome within a dome arrangement, experimentation resulted in a lower dome which seals the volume of the cathedral below. This dome is comprised of 8 hypar surfaces punctuated at the ridge by vertical fins. Springing off the vertical fins, an upper dome, a 180 degree flip of the first roof, lifts off into the air, as if the existing dome is coming undone, filling with air, and beginning to float off into the atmosphere.

7.1 Minimal Surface Experiments

7.2 First Dome Hypar and Fins 64

SHELLS

65

7.3 Proposed Dome @ Duomo di Firenze Perspective 66

AS LIT TLE AS POSSIBLE

67

Spring 2021 Critic: Hilary Sample Project Team: Isabella Bartenstein, Liza Tedeschi, Aaron Sage

McKenna Square Park, located in the Washington Heights neighborhood of NYC was opened in 1985 and lacks frequent visitation today. Taking measured steps to improve the park, this project was inspired by the Native American Three Sisters planting tradition, in which three separate plants grow together in a symbiotic relationship. The first proposal is to crush the existing pavers that pose a significant safety hazard to re-imagine the ground plane into a softer, flexible, planting surface. The second proposal recycles existing airport style seating into new fixed and movable wire chairs. The third focus was on landscape, planting new editable and flowering plants and trees. As part of this third step, the existing post-modern arcade will be dressed with seasonal coats, a waterproof summer raincoat, fall jacket, and winter puffer to allow the arcade to function as a greenhouse. The produce grown on site would be distributed to local bodegas, given away, and will stock the community fridge.

8.1 McKenna Park Existing & Proposed Trees 68

AS LIT TLE AS POSSIBLE

8.2 Honeylocust Attributes 69

8.3 Red Oak Attributes 70

AS LIT TLE AS POSSIBLE

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8.4 Proposed Site Plan West 72

AS LIT TLE AS POSSIBLE

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8.5 Proposed Site Plan East 74

AS LIT TLE AS POSSIBLE

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8.6 New Tree Selection 76

AS LIT TLE AS POSSIBLE

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8.7 Exterior Perspective 78

AS LIT TLE AS POSSIBLE

8.9 Standard Bay 79

8.10 Seasonal Curtain Double-Rod Detail 80

AS LIT TLE AS POSSIBLE

8.11 Lift-All Strap Detail 81

8.12 Winter Coat Detail

8.13 Water Curtain & Lift-All Strap Detail 82

AS LIT TLE AS POSSIBLE

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8.14 Spring Perspective 84

AS LIT TLE AS POSSIBLE

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8.15 Summer Perspective 86

AS LIT TLE AS POSSIBLE

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8.16 Fall Perspective 88

AS LIT TLE AS POSSIBLE

89

8.17 Winter Perspective 90

AS LIT TLE AS POSSIBLE

91

8.18 Night Exterior Perspective 92

HYPAR ANALYSIS

93

Fall 2018 Critic: Lexi Tsein Project Team: Isabella Bartenstein

How can form be generated? At the Tel Aviv Museum of Art, designed by Preston Scott Cohen, the space is comprised by a confusing series of floor plates, ramps and circulation wrapped around a central void. Entitled “Lightfall” by Scott Cohen, the void is defined by the sharp meeting of seemingly random hypar planes. However, an underlying geometry governs Lightfall, unseen to naked eye. In plan, two hyperbolic parabolas on either end of Lightfall are connected by many lines. These lines, when extruded vertically, govern the hypar walls.

In exploratory drawings of Lightfall and the Museum of Art, flat planes are imagined to be floating in towards the controlling planar surface geometry and slowly twist and adjust to connect the corner control points of each plane with the rigid overriding rules. Following this same general logic, the floor plates follow suit, twisting and wrapping around Lightfall until comfortably falling into place. On the exterior, a different geometry governs entirely, yet utilizes the same vocabulary of hypar forms coming together to form a shell.

9.1 Lightfall Void Model

94

9.2 Lightfall Hypar Formation 94

9.3 Exterior Elevation/Section Perspective 96

THE SHELLS OF NEWBURGH

97

Spring 2020 Critic: Robert Marino Project Team: Isabella Bartenstein This project expands the square footage of the existing Newburgh Rowing Club by encasing the existing rectangular footprint and enclosure with an exoskeleton structure to build two additional levels. Each rectilinear volume, a vernacular Newburgh waterfront form, steps out towards the Hudson River by one bay, resulting in a stepping and shifting of mass towards the water, a stacking of three volumes. Each step is established by pushing the volume as far as gravity will allow. An endurance track is created by a series of crossing stairs that allows one to traverse up, across, and down the exterior envelope and doubles as a public feature to attract foot traffic from an adjacent riverside path.

Each volume interacts differently with the exoskeleton, the existing enclosure is grasped, the line of enclosure of the second floor is centered within the structure, and the envelope steps outside completely on the final third level. A project with real clients, there was a desire to maintain a realistic material palette, as the original structure was built by volunteer labor thirty years before.

The existing exterior envelope, of T1-11, a fake vertical plywood siding, is mirrored on the second floor with wood vertical siding.

On the third floor, as the volume steps out and over the structure, the siding responds to this change in condition and becomes horizontal.

10.1 Bird’s Eye View

98

THE SHELLS OF NEWBURGH

10.2 Circular Canal Model 99

10.3 Circular Canal Abstract Model 100

THE SHELLS OF NEWBURGH

10.4 Existing Boathouse Structural Diagram 101

10.5 Proposed Structural Model 102

THE SHELLS OF NEWBURGH

10.6 Proposed Structural Model 103

10.7 Proposed Ground & Second Floor 104

THE SHELLS OF NEWBURGH

105

10.8 Worm’s Eye View 106

THE SHELLS OF NEWBURGH

107

10.9 Exterior Perspective 108

B R O A D WAY S T O R I E S

109

Fall 2018 Critic: Anna Puijaner Project Team: Isabella Bartenstein

The Upper West Side of Manhattan is home to a housing typology that is unique for the city yet ubiquitous in other prospering cities around the world. A new building, often taller than ten stories, is designed to create two worlds within one by dividing luxury housing and low-income housing.

Trying to understand this split, the project focuses on one address and utilizes real-estate listings to recompose the interior arrangement. This study showed that much of the building was dedicated to high-income housing, with vast amounts of space dedicated for amenity activities. Low-income residents were not able to access any of these spaces, included outdoor courtyards. By sharing the same glossy building envelope, the two worlds are hidden to passerby. The question then emerged of how the two worlds could be reconciled and how space could be shared in a way that would be acceptable to both parties.

To reconnect the two disparate communities and living spaces, this project proposes a series of three interventions of different scales. The first calls to simply insert doors into existing walls to create new inclusive circulation routes. The second cuts into the existing volume, inserting a circular stair and void through the building leading to a community garden above on the rooftop.

The third re-labels the existing apartments by possible value or desired characteristic and encourages the building’s tenants and management to replace affordable and luxury housing labels.

11.1 Catalog of Market-Rate and Affordable Areas in same UWS building

110

B R O A D WAY S T O R I E S

11.2 Current Affordable/Market-rate Percentages 111

11.3 Intervention Strategies 112

B R O A D WAY S T O R I E S

11.4 Proposed Floor Plans 113

11.4 Section 114