EoYS21_MArch_47

adela p. locsin

a seat at the table

For Dad

and his Dad too.

CONTENTS — 1 On Architectural Agency p. 6

4 New Collective Infrastructure in Edgemere, Queens p. 34

7 An Academy of Aquatic Regeneration in Oahu, Hawai'i p. 78

2 A Library for Sara D. Roosevelt Park p. 10

5 A Typology Inversion for the Bronx p. 54

8 Towards a New Rural Density in Newburgh, New York p. 92

3 An Urban Intervention for Inwood p. 26

6 Studying Gifu Kitagata p. 72

9 Redrawing Pace Layering p. 106

10 Acknowledgements p. 111

ON ARCHITECTURAL AGENCY— AGENCY — Frankly, I grew up in a family of nerds, and dinner at our house always came with winding conversations about how aspects of life folded into each other and how everything is interconnected.

My father is an architect slash musician and my mother is a teacher slash writer. I was always made acutely aware that nothing was ever by accident; everything was always decided by someone; and that architecture could be an embodiment of history, politics, sociology, science, art, and human values, all at once.

Architecture is a confluence of forces, and to approach it through a lens of problem-solving is to understand how everything affects everything.

In the three generations that architecture has existed in my family, there have been many conversations about what it means to be an architect. The responsibility that comes with being a designer has always been an important aspect of practice, but what has developed is a focus on critical thinking and how resources are allocated to create spaces and forms that actually serve their end users. There is more pressure for projects to work. There is always more that we can do.

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In high school, I learned about Stewart Brand and his concept of pace layering. He contends that our society is organized into layers that evolve at different rates of time. Nature and Culture are what ground us as human beings, and Fashion and Commerce turns over quickly and keeps things interesting.

What I didn't realize then was that pace layering could be an interesting way for me to figure out how I can create impact in this world as an individual. How might understanding how to position myself among these systems, some of which have existed for thousands of years, change my design process?

Keller Easterling writes that "maybe it is not the existence or content of a problem, but the interplay between problems that is important." Through my GSAPP career, I've realized that the goal is not really a solution of any kind – but rather, a rearrangement to figure out what else is possible.

This portfolio is an attempt to piece together my work, research, and investigations to examine new possibilities for architectural agency within these layers.

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How might aesthetic affect the approachability of an institution?

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A Library

In the age of the internet and digital distribution, libraries have never been so important: they are vital social infrastructure.

A new branch library for the NYPL system, located at a crucial intersection of Chinatown and the Lower East Side, becomes an opportunity to connect directly to the park, make resources accessible to those who lack internet and personal computers, and carve out invaluable community space.

For Sara D. Roosevelt Park

Core II “The Library as Third Space” “Stacks” with Emmett Zeifman APL

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Through material explorations, an interest in creating a flexible system through a restrained materiality became the starting point for a project. Columns embed themselves in book stacks and walls, and become the datum for all spaces in the building. This gradient of density allows for different levels of porosity through the building, and the continuity of the translucent material creates a dematerialized environment, where the life of the library is the focus instead of the architecture.

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Exploring

Material Systems

HOW CAN WE CREATE VARIATIONS WITH UNIFORM MATERIALS?

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A LIBRARY

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Exploring

Material Systems

WHAT CONSTRAINTS ARE EMBEDDED IN MATERIAL CHOICES?

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A LIBRARY

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A LIBRARY

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A LIBRARY

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A LIBRARY

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How might we support informal but necessary community spaces and make them resistant to commercial pressures?

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An Urban Intervention

Inwood is the last neighborhood to be gentrified in Manhattan. The proof lies in the fact that at the time of writing, there is still only one Starbucks in Inwood, located on Broadway.

Broadway is the only street that runs the entire length of Manhattan but in Inwood, it represents a divide: it divides Inwood residents based on race, income, education, and employment.

For Inwood

Core I “The Grand Interior”

What is critical to Inwood’s community is the neighborhood’s

“Broadway Stories” with Josh Uhl APL

“soft program” – people-centric, often malleable, sometimes informal programs that tie its community together. In addition to a lack of formal community spaces, Inwood is a high-need supermarket area 8 and has a high rate of food insecurity. A proposed series of greenhouses, classrooms and community spaces sited on top of singlestory commercial properties create access to fresh produce in a food desert and formalize gathering spaces for residents.

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City Harvest. “Washington Heights / Inwood Community Food Assessment, 2012.”

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A TAXONOMY OF FARMING AND GREEN PUBLIC SPACES

OM DS FR TAN T S I U T FR REE T S

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(AND HOW THEY DO NOT INTERSECT)

SINGLE-FAMILY FARM

SMALL FARM

+ PROGRAMMATIC SOPHISTICATION -

S EN RD GA CE VE SPA PROPOSED FORMALIZATION TI UC LIC D O B PR PU AS

RESIDUAL SPACE GARDEN

PROGRAMMED PARK

LARGE CITY PARK

COMMUNITY GARDEN

FARMER’S MARKET

SMORGASBURG PRODUCTIVE GARDENS

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FRUIT STANDS

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AND PROGRAMMING & ON S TI RAM A UC OG ED PR D EN O FO TCH KI

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FOOD EDUCATION PROGRAMS

While Inwood has facilities for its residents, they are in danger of being pushed out because of their passive programming. Restructuring the THE HIGH LINE

COMMUNITY CENTER

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COMMUNITY KITCHENS

programs that Inwood needs into formal architecture is critical, and there is most potential in integrating urban agriculture along Inwood’s single-story commercial corridor.

- SIZE + APL

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LARGE-SCALE FARM COMMUNITY GARDENS

HYDROPONIC GARDEN

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AN INTERVENTION

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How might we create infrastructure for a community that has been systemically deprived of resources?

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New Collective Infra– structure

Working through the advantages and unexpected spatial qualities of the prefabricated steel barn, the studio performed five Obstructions in order to generate new possibilities for the generic Barn as a civic center:

In Edgemere, Queens

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Advanced 6 “One Barn, Five Obstructions" with Jaffer Kolb and Ivi Diamantopoulou APL

Impersonation Inhabitation Material Afterlives Comfort Temporal Transformations

Struck by the ideas of self-assembly and collective barnraising, an idea 34

for a new collective infrastructure emerged: one that seeks to create a reconfigurable and adaptable commons that provides access and support to vulnerable community members in a systemically disadvantaged area.

Brick made from NYC C&D waste is the main building material here, and it assembles itself underneath prefabricated steel barns that allow for an incomplete architecture underneath. The brickwork creates a new ground plane of stability but is open to transformability.

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‘RAISING THE BARN’

AMISH BARN RAISING. PHOTOS BY JIM MCBRIDE

COLLECTIVE BARN-RAISING AS COMMUNITY EQUITY

A NEW COLLECTIVE INFRASTRUCTURE

IN EDGEMERE, QUEENS

OBSTRUCTION 1: IMPERSONATING PEZO VON ELLRICHSHAUSEN'S SERIAL AND NESTING GEOMETRIES

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AN INFRASTRUCTURE

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BUILD #2 mortarless rod and steel plate screen construction

mobile brick screen

row-lock course mixed-bond assembly with assorted types and sizes on CMU

BUILD #1

insulated wet wall with veneer BUILD #3

Architecture is often viewed as a static outcome that represents a freeze frame of interests, needs, and availability of resources. There is room for architecture that can transform itself and adjust to the needs of its community over time, building a sense of community equity and agency in its assembly and disassembly.

OBSTRUCTION 3: INVESTIGATING THE TEMPORAL AND MATERIAL POSSIBILITIES OF BRICK ASSEMBLIES

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AN INFRASTRUCTURE

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Program organizes itself around an infrastructural spine, which is built first.

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The datum of the barn acts as a frame for further division and enclosure as rooms, walls, and partitions are built with brick.

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AN INFRASTRUCTURE

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The initial programming strategy was developed through interviewing community stakeholders and city agency employees, and is meant to support the most immediate needs of Edgemere residents. The first build includes a communal tool share, wood shop and lumber storage, a commissary kitchen that supports small business owners, and a plant nursery and compost center.

SITE AXONOMETRIC DEPICTING THE OPEN-WORK NATURE OF THE BARNS AND VOLUMES UNDERNEATH

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AN INFRASTRUCTURE

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AN INFRASTRUCTURE

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AN INFRASTRUCTURE

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DETAILED FLOOR PLANS OF BRICKWORK TEMPORALITY (L) COMMISSARY KITCHEN SPACE (R) PLANT NURSERY, MARKET, AND COMPOST CENTER

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AN INFRASTRUCTURE

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AN INFRASTRUCTURE

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How might we challenge housing conventions to create housing for new kinds of families?

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A Typology Inversion For The Bronx

Core III “States of Housing” with Chengjie Jacob Li

In the Bronx, the demographics most prone to housing insecurity are the elderly and those who

“Part to Whole, After the Nuclear Family” with Adam Frampton APL

live with extended family. In New York, transient populations are displacing those who have been here for decades. Housing must now challenge the definition of existing nuclear family structures and the idea of “units.” Shared spaces become an organizing device, creating levels of neighbor-ship as a prescription within the architecture.

These new groups of neighborhoods play a role in reinforcing the human relationships that can be lost in a high-density apartment building.

Acknowledging that a new type of building form would risk appearing alien in the the urban fabric of the Bronx, two familiar New York forms are utilized: the tower and the perimeter or rowhouse building.

By inverting the typical populations that reside in these typologies and and overlapping their forms, a new typology of housing emerges: one that focuses on how space is shared.

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AN INVERSION

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AN INVERSION

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1 2 3 4

BUILDING ENTRANCE AND LOBBY CO-OP GROCERY STORE CAFE COMMUNITY BASKETBALL COURT

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OPEN-AIR MARKET AND FOOD TRUCK AREA BRONX DOCUMENTARY CENTER BRONX DOCUMENTARY CENTER SCREENING EXTENSION

To mitigate the risks of displacement by gentrification and support the surrounding community, essential programs and services are built into the porous ground level of the site.

Spaces like a community reading room and a co-op grocery store anchor its residents, and create facilities that are integral to the neighborhood instead of replacing what already exists.

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AN INVERSION

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1/16” = 1’ MODEL

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AN INVERSION

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DRAWN AT 1/8" = 1'

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HERE, SHARING IS BUILT INTO THE ARCHITECTURE

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TO CULTIVATE COMMUNITY AND SUPPORT FOR ALL

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AN INVERSION

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NORTH-SOUTH SECTION

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AN INVERSION

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PARAPET 1" thick glass railing Aluminum parapet capping Brick veneer w/ mortar joint 3/4" plywood sheathing Metal flashing Retention tee

ROOF ASSEMBLY R = 49.2 Soil Reservoir layer Moisture-retention layer Aeration layer 6" Rigid Insulation Air Vapor Barrier Concrete on metal deck

WALL ASSEMBLY R = 22.0 Soil 1" Air gap Air Vapor Barrier 2" thick Rigid Insulation Brick tie 5/8" Gypsum wall board 2x6 CFS Stud wall Batt Insulation 6" CFS Stud wall

FLOOR ASSEMBLY R = 51.0 3/4" Tongue + groove floorboard 4" Concrete on metal deck Light gauge steel beam Intumescent paint

1" Insulating sheathing 6" Rigid insulation Cast-in-place waffle slab 14x14 Reinforced concrete column

SITE ELEVATION

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AN INVERSION

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AN INVERSION

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Studying Gifu Kitagata

Assessing R-values for insulation and comfort in public housing 1/2” = 1’ model and wall section completed with Chengjie Jacob Li APL

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How might architecture be a tool to create a culture of stewardship?

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An Academy of Aquatic Re generation

In Oahu, Hawai’i

The ahupua’a is, among many things, an understanding of the relationship between humans and the land that they live on. It is a unit of organization, a ridgeto-reef connection, a way of indigenous knowing,3 and a part of life in Hawai’i.

This proposal for an Academy of Aquatic Regeneration reclaims the Ala Wai Small Boat Harbor as a new territory for nonhuman actors that are essential to ahupua’a recovery. Programmed as a marine estuary,

Advanced 5 with Greta Crispen “Hawaii Non-Linear: Academies for Ahupua’a Recovery” with Dominic Leong, Chris Leong, and Sean Connelly APL

coral farm, and space of pedagogy, the site is a constructed ecology that comes to life through a multi-scalar design approach over 100 years. Here, architecture becomes a mechanism of rewilding as it provides scaffolding for nature.

Through the radical act of reclaiming the shoreline as a singular entity, the project seeks to repair the fragmented ownership of the Waikīkī waterfront, work towards repairing the health of the watershed, and foster collective indigenous memory and stewardship for the decades to come.

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See: Aluli Meyer, Manulani.

“Holographic Epistemology: Native Common Sense" 2013.

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AN ACADEMY

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In Hawaiian oral tradition, the Kumulipo is the sacred creation chant. It tells us that Ko'a, or coral polyps, are the building blocks of biodiversity and life on Earth. Here, coral is a focus of scientific research, a teaching tool, and gives meaning to the form of the buildings on the site.

It is used as a design device across scales: coral polyps graft onto the architecture, architecture emerges from volcanic rock that is the base of the coral reef, and coral gardens aggregate into coral villages to create new ecosystems.

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AN ACADEMY

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CORAL RESEARCH TANK LABS COMMUNITY GATHERING SPACE KITCHEN AND STORAGE CORAL GARDENS OBSERVATION POINT CANOE HOUSE SHOWERS AND LOCKERS CORAL STUDY AREA

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On site, architecture serves the ecology as a pedagogical device through its ability to frame. Architecture becomes a way of sharing knowledge, a frame for the future, scaffolding for nature, and a guardian.

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THROUGHOUT THE SITE, VISITORS INTERACT WITH CORAL AT DIFFERENT SCALES.

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AN ACADEMY

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AN ACADEMY

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How might architecture change our relationship to nature and resource extraction?

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Towards A New Rural Density

be distanced from the activities of everyday life. Using hardwood mass timber products that are harvested from 2,000 acres of converted agricultural land, a new post-mass industrial typology is created: one that sets out the limits of growth beforehand.

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Spaces of industry, education, and housing can grow, shrink, and coexist in one building This proposal for a envelope. A renewed new timber flow in proximity to the land on Newburgh focuses on changing a commonly- which the materials for space comes from is held perception of established. Slowly, we manufacturing as a will reject carbon form. 2 process that must

Advanced 4 “Scales of the Environment” “Fringe Timber: A Wildland Urban Intermix Laboratory School” with Lindsey Wikstrom APL

Our current built environment is planned and designed under the premise of limitless energy and resources.

This attitude creates configurations of space that concretely manifest our power structures, the state of our economies, and our cultural practices and values, and may be referred to as carbon form. 1

Iturbe, Elisa. “Carbon Modernity.”

Log 47: Overcoming Carbon Form.

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See also: Aureli & Giudici.

“Islands: The Settlement from Property to Care.” Log 47.

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An acre of farm land in New York State makes an average net profit of $283 a year.

SUGAR MAPLE 20 year growth cycle

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WHITE ASH 40 year growth cycle

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OF 507,051 ACRES IN NEW YORK STATE:

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15.6% IS FARMLAND (79,100 ACRES) THIS LAND IS RESPONSIBLE FOR 1.6% OF NEW YORK STATE'S INCOME.

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How might we create more value on New York farmland? If density is going to be required moving forward, how should we determine the resources that we use to create it? The project proposes a shift from agricultural land to a new post-industrial typology that

A NEW TIMBER INDUSTRY

maintains a relationship to the land. By planting trees in phases, mass timber is produced for buildings at a controlled rate. This relationship fosters an awareness around material production and working with available resources.

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Mass Timber RAW MATERIAL

Manufacturing Flow PROCESSING

RE-SIZING

ASSEMBLY

LAYUPS

Glue-Laminated Timber (GLT)

Oriented Strand Lumber (OSL)

LUMBER IS LAMINATED END TO END AND GLUED TOGETHER

8-12 IN LONG CHIPS ARE ORIENTED AND COMPRESSED

98% WOOD, 2% ADHESIVE

98% WOOD, 2% ADHESIVE

PRE-FINISHING

APPLICATION

FRAMING LVL, MPP, OSL, LSL, PSL LOGS WOOD SHEETS Various dimensions

COMPRESSION

Wood is sorted manually or using artificial intelligence

ROTARY CUTTING

Laminated Veneer Lumber (LVL)

Laminated Strand Lumber (LSL)

VENEER LAYERS ARE STACKED AND GLUED

1 FT LONG STRANDS ARE ORIENTED AND COMPRESSED

98% WOOD, 2% ADHESIVE

98% WOOD, 2% ADHESIVE

VERTICAL MEMBERS GLT, LVL, MPP, PSL

HORIZONTAL MEMBERS GLT, LVL, MPP, PSL 2x4 LUMBER

2x4 LUMBER Various lengths WOOD CHIPPING

Mass Plywood Panel (MPP)

Parallel Strand Lumber (PSL)

STACKED AND GLUED VENEER: 20% LESS MATERIAL THAN CLT

2-6 FT LONG STRANDS ORIENTED LENGTHWISE AND COMPRESSED

98% WOOD, 2% ADHESIVE

98% WOOD, 2% ADHESIVE

VERTICAL PANELS GLT, MPP, NLT, DLT, CLT

WOOD CHIPS Various grades

RECYCLED CLT PANELS

Adhesive is applied and wood is layered

In order to understand the spatial requirements for a manufacturing facility, an assessment of mass timber products and their processes was completed.

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Nail-Laminated Timber (NLT)

Cross-Laminated Timber (CLT)

2X4 LUMBER IS STACKED SIDEWAYS AND REINFORCED WITH NAILS

2X4 LUMBER IS LAYERED, ROTATED AND GLUED TOGETHER

95% WOOD, 5% METAL

99% WOOD, 1% ADHESIVE

Dowel-Laminated Timber (DLT)

Wave-Laminated Timber (CLT)

2X4 LUMBER IS STACKED SIDEWAYS AND FRICTION-FIT WITH DOWELS

2X4 LUMBER IS MACHINED WITH A WAVY PROFILE, STACKED, AND REINFORCED WITH STEEL MEMBERS

100% WOOD

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CUTTING Depending on layup type, can be performed with a rotary saw or CNC mill

HORIZONTAL PANELS GLT, MPP, NLT, DLT, CLT

HORIZONTALLY STACKED VERTICAL PANELS WLT

92% WOOD, 8% METAL

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ROOFING Dowel-laminated timber with aluminum cladding

PORTAL FRAMES Glulam

PARTITIONS Hardwood crosslaminated timber

FLOOR PLATES Dowel-laminated timber with concrete decking

ENVELOPE Hardwood crosslaminated timber and glazing with torched timber cladding

A variety of mass timber products are used in the phased assembly to demonstrate the facility's offerings.

Some components were selected for

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A NEW TIMBER INDUSTRY

their ability to be manufactured with off-the-shelf 2x4 lumber, in order to account for potential supply chain interruptions due to the phased harvest.

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The building enclosure acts as a finite constraint, demarcating space onsite.

Throughout its lifetime, the building subdivides, switches, replaces, and

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densifies within itself. This system resists the pressure of continuous production by adapting itself to the changing needs of its community.

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A NEW TIMBER INDUSTRY

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A NEW TIMBER INDUSTRY

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REDRAWING PACE LAYERS— LAYERS — Co-written with Lindsey Wikstrom for ARCH A6901: Research II – "A Systemic Cartography of Mass Timber"

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It was adapted from architect Frank Duffy's theory of Shearing Layers in the 1970's, which explained how the different components of a building age at different rates.

2

Eugen RosenstockHuessy, Out of Revolution (United Kingdom: Wipf & Stock Publishers, 2013), 563

3

Stewart Brand, “The Order of Civilization” in The Clock of the Long Now: Time and Responsibility, (New York, NY: Basic Books, 1999), 36

In The Clock of the Long Now, Stewart Brand introduces a simple diagram representing the rate of change of civilization. 1 He organizes and stacks the systems that sustain our life on Earth, from the slow moving stable core that serves as a foundation, to the faster, more frivolous bands that provide radical newness. Alongside the diagram, he quotes historian Eugen Rosenstock-Huessy: “Every form of civilization is a wise equilibrium between firm substructure and soaring liberty.” 2 Brand contends that a “healthy society” requires that each layer be allowed to operate at its own pace; implying that the slow layers of Nature and Culture will sustain shifts in Governance and Infrastructure, which in turn absorb the volatile superficial layers of Commerce and Fashion. 3 He notes that certain impactful events can send ripple effects through the system. In many ways, Brand’s diagram imitates a sectional cut of the planet that we share.

Brand's original Pace Layer diagram, published in The Clock of the Long Now, has been used as a framework for multiple disciplines.

If we were to zoom in and draw the interactions between these sectors with higher fidelity, one might be able to see how human activity creates turbulence and pressure, and how catalysts and accelerators

Excerpt of Levi Walter Yaggy's drawing, Geological Chart.

Originally published in 1887, his Geographical Portfolio – Comprising Physical, Political, Geological, and Astrological Geography was intended for teachers to use in classroom settings.

The layers of our Earth measure time on a scale that is almost foreign to us as humans. Similar to tectonic plates, change can come from above and below, and is not always linear.

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If we were to zoom in and draw the interactions between these sectors with higher fidelity, one might be able to see how human activity creates turbulence and pressure, and how catalysts and accelerators like climate change and capitalism have interfered with the speed at which the layers evolve. Through an interrogation of these specific relationships, we might identify new nodes of Agency as humans and as architects. Here, I propose that Technology be added as another system to grapple with, shuffle the order of the layers to more accurately depict the speed at which they evolve, and begin to think about how each of these systems apply pressure on our agency as individuals.

FASHION

FASHION

Instead of depicting the layers as a neat COMMERCE stack, as COMMERCE Brand does on the left, perhaps it is more helpful INFRASTRUCTURE INFRASTRUCTURE to draw directional vectors to depict how the layers GOVERNANCE GOVERNANCE apply pressure on each other and CULTURE CULTURE identify which systems are ripe for intervention.

NATURE

NATURE

AGENCY

AGENCY

COMMERCE

COMMERCE

TECHNOLOGY

TECHNOLOGY

GOVERNANCE

GOVERNANCE

CULTURE

CULTURE

INFRASTRUCTURE INFRASTRUCTURE NATURE

NATURE

In drawing these pace layers as dynamic entities, we can recognize that their boundaries are less absolute. They also have different densities and weights: some layers are more rigid, like Infrastructure – and others may be more porous and prone to exceptions, like Governance and Culture.

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Assigning weights to the layers can also change how they affect one another – and the representation of their thickness may allude to a layer's ability to absorb systemic shock. For example, the impact of Technology might visibly pierce through Governance, bypassing it and irretrievably changing our Culture forever. Commerce might appear more like a molten iron core, liquid and heavy and mixing itself into Nature, which might be renamed Land Transformation rather than insinuate any semblance of Wilderness.

With more exact or geographic context, something Brand has indicated the importance of, the diagram could begin to function more like a working drawing, a long term vision, in progress. In drawing how it has been done, we can map out where we must go.

In this long moment of crisis, Pace Layering is an essential reference. By zooming in further and designing on a longer time scale, we might be able to explore—possibly determine—how an architect’s material expertise and agency cuts across all of these layers. Our knowledge is valued here.

After all, we are the ones that move natural resources across borders, embody labor, create capital, and establish narratives that might last hundreds of years. We are also in a position to embed new, radical values and attitudes of resistance in our architecture.

Change is urgently needed. We cannot take this responsibility lightly.

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ACKNOWLEDGEMENTS — This work was written, laid out, produced, and conceived on the unceded ancestral lands of the Lenape peoples on the island of Mannahatta in Lenapehoking.

There is no way that I can comprehensively thank all the people that have made this experience what it was, but here's a few: Thank you to my parents, who are the most casual overachievers I have ever met but are still the most humble people I know. You raised me with a restlessness and sense of ambition that fuels me.

Thank you to my wiser-than-me younger brother and family for supporting me unconditionally; to Lindsey for being everything I could have asked for in a mentor; to friends who rode the train downtown just to sit at my dinner table, and made it all worth it; to Sam for making me apply to Columbia, because without him I never would have.

This work is what it is because of you and all that you have shared with me.

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