EoYS21_MArch_9

Matthew A Brubaker

©2021

TenWorks.pdf

MASTER OF ARCHITECTURE GSAPP | NEW YORK, NEW YORK

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Ten Works

Matthew A Brubaker

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Work Title

GSAPP 2021

Date Professor

Contents

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01 The New Homestead ‘21 J.G. Moore & A.O. Ajayi

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An Academy for the Land

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D. Leong, C. Leong, & S. Connelly

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Z. Jamaleddine

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10 Facebook Story 03

In the Name of God

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Writings on Housing

04 Artists Housing ‘19 B.Cadena

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05 Park as Library ‘19 M.Hoang

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Residual of the Skyward Utopia

06 Inwood & The El ‘18 J.Uhl 07

Designing the Standard Human

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Ten Works

Matthew A Brubaker

GSAPP 2021

New Homestead

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The New Homestead

The homestead is a long mythologized part of the American dream and residual of the empowerment that land ownership brought in the new world.

The homestead encapsulates the hybrid problematics black farmers and black landowners have faced in the United States following emancipation.

The site of this project is the Lewis Family Homestead which was recently lost to heirs property law after 125years in the family. This contemporary form of erasure can only be combated by reconceptualizing how members of the Black rural community can securely and powerfully form a relationship with land in a post reparation America by tackling another “final frontier” of the American diaspora, “The New Homestead”.

The New Homestead learns from the long history of homesteading, takes from the current political and socio economic realities, and is a radical new way of living on the land. place: space: type: goals:

Claiborne Parish, LA Rural Community Land Trust Usher social change, anticipate climate change

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The Old Homestead

Matthew A Brubaker

GSAPP 2021

New Homestead

The New Homestead

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Deployment of the New Homestead

Matthew A Brubaker

GSAPP 2021

New Homestead

Lewis Rd Re-Occupation

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New Homestead

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Views From the New Homestead

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GSAPP 2021

Habitation Program

New Homestead

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GSAPP 2021

View From the New Homestead

Lewis Rd Site

New Homestead

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GSAPP 2021

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Section A

Lewis Rd Habitat Plan

New Homestead

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An Academy for Restorative Land Use

The Land Academy seeks a new form of academy adapted to hybrid postcolonial futures where native knowledge and modern solutions will need to exist hand and hand. Here the concept of Aloha Aina will govern the success and failure of humankind. This academy reaches into the past and the future for important departures from the traditional curricula, format, form, goals, locations, stereotypes, etc. This academy ushers in a new wave of old learning for Hawaii and beyond. The academy seeks to impart its pedagogy via ecological and social justice in the form of reparative practices as well as via productive and replicable learning goals.

For Waikiki to have a successful future and to sustain long term ecological and social growth the city must grow around the institution and its territories. The urban fabric must make space for the important, reparative, and restorative work which happens there. place: space: type: goals:

Waikiki, HI Urban Post Colonial Restorative & reparative land use

Matthew A Brubaker

GSAPP 2021

Land Academy

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Transformations

Matthew A Brubaker

GSAPP 2021

Land Academy

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Ecological Systems Concept

Matthew A Brubaker

GSAPP 2021

Land Academy

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Productive Systems Concept

LOCAL BUSINESS INVOLVEMENT

LOCAL BUSINESS INVOLVEMENT

FOOD

STEWARDSHIP

KALO

REGENERATED PLANTED KALO MARSH

RENEWED CULTURAL ACTIVITY

DECREASED DEPENDENCE ON TOURIST ECONOMY

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GSAPP 2021

Land Academy

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GSAPP 2021

Land Academy

Ground Conditions

Site Propositions

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Campus

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Matthew A Brubaker

GSAPP 2021

Campus Plan

Land Academy

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View of Campus & Waikiki Across Field

Matthew A Brubaker

GSAPP 2021

Land Academy

View of Fields From Campus Greenhouse

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Seed Library Vault

Matthew A Brubaker

GSAPP 2021

Land Academy

Water Treatment Lookout

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Land Academy

Learning Plants

Learning Mud

Learning Plants Plan

Learning Mud Plan

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Facebook Story an essay on friend requests, the “real”, and the concept of a holographic human reality submitted to CLOG 18 “Feeds” january 2021

GSAPP 2021

Facebook Story

The contemporary feed has been delivered as a sort of virtual corner store, a wholly exclusive and infinitely personalized newsstand custombuilt for each user. The success of the feed lies in the genesis of a faux-loyal customization to users’ tastes. In short, this is the function of the algorithm, the feed’s nerve center. The output is an endless content stream, where users bid for relevancy in a stimulating fantasy world which they find themselves the center of. The feed, nefariously disguised as an element of virtual space, dupes users into sensing an alternate (hyperreal) reality. Herein lies the genius of the feed. The indistinguishable moment of holographic multiplicity, where digital and physical realities hybridize, is the feed functioning most successfully.

In this state, a digital element may impact physical reality and a physical element may, inversely, impact virtual reality. The feed catalyzes a loop of impact where multiple realities are blended in an infinite, indistinguishable cycle. Various beams of existence are layered over one another to form a cohesive, new experience: the holographic reality.1 Composed equally of each beam, incomplete without any one, and impossible to comprehend without full consideration of all the others, the holograph is greater than the sum of its parts, just as the feed is greater than the sum of its posts

“The feed catalyzes a loop of impact where multiple realities are blended in an infinite, indistinguishable cycle. Various beams of existence are layered over one another to form a cohesive, new experience: the holographic reality.”

This multiplicitous existence is showcased in Frank Ocean’s “Facebook Story,” an impromptu audio recording featured on Blonde (2016). The skit anecdotally problematizes the intersection of the digital and the physical in a postfeed society. The narrator, French producer SebastiAn, wishes to deconstruct his breakup to establish a clear separation of his virtual and physical worlds. His denial of hybridity is evident in his refusal to add his partner on Facebook. “It was virtual...I am in front of you, I don’t need to accept you on Facebook,” he recounts in shocked disbelief.2

“Ughh technophobic reactionaries,” one commenter responds; “or you can just accept her friend request,” writes another. He does not, however, accept the friend request and a three year relationship comes to an end, squashed by the negligence of the virtual self. Can SebastiAn still parse the beams of a holographic reality out so cleanly? Is the feed real now? This story and its ontological implications have garnered intense speculation. From hundreds of interested fans debating on the Genius lyrics page, to articles dissecting the problematics of SebastiAn’s justifications, the feed’s implication is clear. To love someone right in front of you and to deny them access to your digital self is a real form of fragmentation with consequence.

As our digital and physical selves continue to compress into a unified and inseparable physio-digital presence, these consequences will become increasingly impactful. “Facebook Story,” is one of many stories exploring the struggle to maintain a division between holographic beams in a hybrid world shaped as much by algorithmic agency as by human agency.

Cited: 1 Meyer, Manulani Aluli. “Holographic epistemology: native common sense.” China Media Research 9, no. 2 (2013): 94+. Gale Academic OneFile (accessed October 31, 2020).

2 “Frank Ocean – Facebook Story,” Genius (Genius Media Group, August 20, 2016), https://genius.com/Frank-ocean-facebook-story-lyrics.

Editorial Assistance: Jelena Loncar, CLOG

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Water Land and Worship

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Place for Water, Land, and Worship

Conceived as a response in dialogue with in-depth research into the politics of water in the state of New York. More precisely, The project, interrogates the exploitive relationship between the rural and the urban through the lens of exclusive water systems and overlooked latent water potentials. This is particularly palpable at our site; Laurel Creek, a latent agricultural corridor in upstate New York.

01 Micro Reservoirs

02 Domestic Dwelling

03 Macro Reservoir

04 Community Program

05 Agricultural Cistern

06 Agriculture + Expansion

Interventions probe how a sequence of newly built reservoirs amount to accumulated different “scales of water”, subsequently forming curious and unique adjacencies that conspire to redefine the relationship between water, religion, agriculture and community and the many network benefits that arise as a result. place: space: type: goals:

Islamberg, NY Rural Private Prosperity via water and food independence

Completed with Alina Aboulenin

Complete Concept Diagram - Outward Trajectory

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Ten Works Politics of Water, Regional

Matthew A Brubaker

GSAPP 2021

Water Land and Worship Local Needs

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Water Land and Worship

Nolli

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Politics of Water, Localized

Matthew A Brubaker

GSAPP 2021

Water Land and Worship

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Mixed American Dream

Ten Works

Matthew A Brubaker

GSAPP 2021

Religion Agriculture Nature

Water Land and Worship

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Water Land and Worship

Proposal Master Plan

Domestic Dwelling

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Matthew A Brubaker

GSAPP 2021

Water Land and Worship

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Mosque Plan

Hills

Prayer Space Prayer Space

Ablution Prayer Space

Main Prayer Space

Farming

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Ten Works Zoom A

Long Section - Islamberg Proposed

Matthew A Brubaker Zoom B

GSAPP 2021

Water Land and Worship Zoom C

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Water Land and Worship

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Community Space Plan

Community Hall

Market

Classroom in Field

Palm

Reservoir

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Matthew A Brubaker

Writings On Housing an pair of short essays by partners grappling with the problematics of development submitted in CORE III “The Good Life” fall 2019

GSAPP 2021

Writings on Housing

The Neighborhood That Ate Itself

by Cam Fullmer

Artists make neighborhoods desirable. They have, over the past century, become catalysts for economic and “community” growth. Those who follow these artists, individuals and businesses, are responsible for gentrifying these neighborhoods to the extent that those artists who remain, are socially displaced from the community they helped start. Gentrification is both the bastard child of the artist neighborhood and its ideological antithesis.

New York City specifically has a complicated history with artists’ urban migrations and the synthetic communities hot on its heels.

It is the tale of the neighborhood that ate itself. Art as a symbol of culture has been quick to be commodified by developers and entrepreneurs. While the over-development of desirable neighborhoods within the city cannot provide the flexibility to match the ambitions of developers, areas on the fringe of trend, formerly neglected by the cosmopolitan, are seen as tabula rasa for “neighborhood makers”.

Who lives in these places? Those who need more space than commercially developed areas provide? Those who cannot afford to live in more “attractive” neighborhoods? Perhaps both.

“The statement is a break in the cycle. An opportunity to find security for what could be the first or the last time in your life.”

Artists, as they are priced-out of their metropolitan enclaves, have historically gravitated to areas established by the working class or of past-industry. The spatial needs of the artists align with net floor areas desired by a working class family, a formerly-industrial loft, and ironically, that of the luxury apartment.

Developers have been quick to identify artists as a leveraging point to make these neighborhoods attractive. The tagline reading: Do you want to live among New York City’s premier tastemakers and trend setters? In these areas the infrastructure exists, the space is plentiful, and the lack of metropolitan identity allows those calling the shots to turn it into

whatever they deem desirable.

As these neighborhoods become developed, artists are either displaced or remain as the area around them becomes less and less familiar. Municipal initiatives such as Rent Control and Tenant Protection enable the lower-income artists to retain their apartments, however the rising cost of living around them deteriorates the financial freedom that the area once provided. Quickly, the artist finds their home as an island in a new terrain, devoid of the community of peers that attracted them in the first place. It is from this condition that we depart.

Vomit

by Matthew Brubaker

The building does not seek to define or create a new idea of community because when architecture does such a thing it fails most awfully, functions most insincerely, and is at the height of its jargon abusing nonsense.

The building addresses the needs of a community that exists. The building seeks to assist members of that community, to provide for them, to enable them, to protect them, to empower these residents to reach new heights.

Heights which the burden of the city in their previous situations was found unattainable.

The statement is a break in the cycle. An opportunity to find security for what could be the first or the last time in your life. To seek haven from rent increases, eviction, inaccessibility etc. What is at stake is the community having a space. The potential to be given agency, opportunity, support, and enablement. professor Benjamin Cadena

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Housing for Aging Artists in the Bronx

GSAPP 2021

Housing for Aging Artists in the Bronx

The project seeks to create a multiscalar art centered community for the elderly. A porous ground plane with program open to both the inner and outer communities fosters interaction between tenants within the block and residents in the neighbourhood beyond the block. A continuous ring of semipublic program above provides a place for a street like experience within the project. This “street” hosts both casual and formal amenity programs for the residents and provides an opportunity to comingal and meander at will.

Above the ring the units are designed as new takes on loft living, a suite of “superlofts”, catered to different levels of care / needs present in the aged community.

A space where the creative can be cared for, continue to make, influence, and interact, all while aging gracefully. place: space: type: goals:

Melrose, NYC Urban Private / Public Age artists in place, break the gentrification cycle

Completed with Cam Fullmer

Concept In Elevation

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GSAPP 2021

The Site Block

Site Studies

concept diagrams 63

Housing for Aging Artists in the Bronx

Block Open Space Analysis

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Housing for Aging Artists in the Bronx

GSAPP 2021

a

Massing

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Nolli

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Ring Level

Section A

Matthew A Brubaker

GSAPP 2021

Ring Mezzanine

Housing for Aging Artists in the Bronx

Ring Roof

Section B

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Ring Interior

Matthew A Brubaker

Housing for Aging Artists in the Bronx

GSAPP 2021

Courtyard

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Housing for Aging Artists in the Bronx

unit concept - type b loft for assisted living

unit concept - type c loft as advanced care space

100% private

50% private 50% public

100% public

LOFT

LOFT

unit concept - type a loft for fully abled artists

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GSAPP 2021

Housing for Aging Artists in the Bronx

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6’4”

36”

36”

Physical Collages

Big Model 1/2” = 1’

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Matthew A Brubaker

Housing for Aging Artists in the Bronx

GSAPP 2021

Massing Model

Mega-Loft Model

Massing Studies

Program Model

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Structural Concept - Mega Box Trusses & a 40’ Cantilever

Matthew A Brubaker

GSAPP 2021

Housing for Aging Artists in the Bronx

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GSAPP 2021

Park as Library

Vertical Reality

Park As Library / Library As Park

The architecture of the library was molded around this new synthetic site specific understanding of nature to create a library that strategically gave way to elements of the park, and elements of the park that would intentionally bend around the needs of the library. The result is a multitude of spaces consisting of varying types of space, arrayed in a vertical system of alternating density.

The project is a constant dialogue and contestation between hedonism, the prescribed nature and pragmatic, necessary synthesisms. An attempt to condense and distribute the benefits of nature / park in building form, and to map the necessity and benefits of the public library into the park as a greater entity, together demonstrating the start of a new conversation on the public library / public parks dialogue in the welfare of the urban community. place: space: type: goals:

Sarah D Roosevelt Park, Lower East Side, NYC Urban Public Bring the Park up into the Library Library as Monumentality

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Two Worlds

Matthew A Brubaker

GSAPP 2021

Park as Library

The New Reading Room

“In Search of Hedonism” - Library as Park

The New Stacks

Library as Juxtaposition

“Under the Park” - Park as Library

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GSAPP 2021

Park as Library

Park Level (03)

Stacks Level (02)

Park Long Section

Ground Level (G)

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Section Perspective

Matthew A Brubaker

GSAPP 2021

Park as Library

Site Plan

The Sky (S)

Basketball Courts

Roof Garden (R)

Horticulturist Lab (05) Sitting Area

Gardens Level (04)

Rooms Level (03)

Park Level (02)

Stacks Level (01)

Library Ground Floor

Ground Level (G)

Planter Level (B) Basketball Courts

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Residual of the Skyward Utopia an excerpt from an essay on the race for verticality and the commons which it left behind submitted in the history and theory sequence spring 2020

GSAPP 2021

Residual Skyward Utopia

Modern American cities are idealized places which leave no room for the non-ideal. They are formalized spaces bound by rules and laws and grids. In these cities built on prescriptive formality they fail to account for the informal.

Wherein the modernist’s idea of utopia lives in the sky, the informal city borne out of urban reality lives on the ground. This negligence plays out in the repercussions of skyscraper obsessed urbanism and 20th century public housing policy and is highlighted in Rem Koolhaas’s observations in “The Double Life of Utopia, The SkyScraper”.

Western cities, specifically those in the United States, have often been touted as the ideal urban centers of modernity. The combination of a penchant for and faith in new technologies, an interconnected existence via the advent of the highway, and a reputation as being formalized, planned, gridded, and controlled environments in comparison to their old world, oriental, or primitive counterparts earned them praise and benefit. The idea that the modern city, the new city, the city of the future, is always a formal place is an idea of hubris and one riddled with oversight. The reality of the modern American city is that its existence is often defined more by the break in the system than the system itself. Frequently highly planned, zoned, gridded, set back, and districted places such as New York City (or its supposed opposite Los Angeles) are caught in fervent discourse centered around the informalities that disrupt the state of control granted by the ideal formal city.

“The idea of what nature was became skewed in the modern city and the notion it existed in the sky led to a detrimental abandonment of the human commons. “Nature” was now a build-able commodity ripe for elitism.”

In its new realization the formal city of North America is one of contrived verticality, disruptive transportation, and a decentralization of people. These post-urban factors are most impactful to cities in terms of their absence, specifically the absence they create in the urban ground plane. Of these driving factors one of the most in need of evaluation in American cities may be the fervent pursuit of verticality. This pursuit

manifests an informal ground plane via its abandonment of this elevation for assumed replications of it above. This abandonment can be studied in the quest for skyscraper utopias and in the romantic new idea of housing the masses whilst decreasing density utilizing tower in the park inspired development.

At the turn of the 20th century the tall building became the idealized version of urban living.

Championed as growing closer to nature by getting away from the manufactured pollution of the urban ground plane, this typology provided a clear plan for the city. The idea of what nature was in a city became further skewed and the pursuit of the idea it existed in the sky led to the abandoned the most important factor in the natural inhabitation of cities, humans.“... the greater the distance from earth, the closer the communication with what remains of nature (i.e., light and air)...”1 An idea based on the notion that mankind himself as a community was not the most natural thing about the city, and that the bother created by mankind’s co-habitation was unnatural and fit for abandonment. The utopian plan for the skyscraper became series of open spaces growing ever higher proliferating itself taller and taller as the original layers of the urban fabric receded to mere foundations, forgotten below the now floating ground plane, these vestigial realities remained only as necessary for mythological Atlas like support for new city above...

Cited: Koolhaas, Rem. Delirious New York. Rotterdam: 010 Publishers, 1994.

Mumford, Eric. “The “tower in the park” in America: theory and practice, 1920-1960” In Planning Perspectives, 10, 17-41. Routledge Press, 1995.

Cooper, E. Lee. “Uprooted Thousands Starting Trek From Site for Stuyvesant Town; Vans Rumble Through Lower East Side in City’s Greatest Mass Movement, With New Quarters a Problem”. New York Times, March 3, 1945.

An independent work

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GSAPP 2021

A New Commons For Inwood

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A New Commons for Inwood

Simple, radical, obvious, and illusive, is the silencing of the train. The complete and total encapsulation of its being, to smother and control its pollutants and therefore admonish the resulting conditions which deem its space unusable, the urban fabric fragmented, and the completion of the grand interior impossible. By silencing the train previously divisive parts of the urban terrain may be reclaimed.

The new spine supports the community by strategically interacting with specific existing realities to help heal the wounds of division and choreograph a new interconnectivity. New programs include; bleachers for free viewing of Columbia athletic events, a plaza, a linear commons, and intimate gardens. place: space: type: goals:

Inwood, NYC Urban Public Usher social change, anticipate climate change

soft-scape not hard-scape new, elevated urban promenade

chill stair

make places for people make more places for people

silence noise encourage sound

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Analytic Hydrology

Matthew A Brubaker

GSAPP 2021

A New Commons For Inwood

Speculative Hydrology

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GSAPP 2021

A New Commons For Inwood

Stair and Enclosures

Elevated Walk

Enclosures

Stadium Extension

Plaza

Stadium Bleache

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Stair Common Garden

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GSAPP 2021

A New Commons For Inwood

NEW Public w/ No Admission

Bleachers Section

Bleachers Urban Axo

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EXISTING Private w/ Paid Admission

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Matthew A Brubaker

Designing the Standard Human an excerpt from an essay unpacking the impact design standards have on the perception of human bodies submitted in QAH II of the history and theory sequence spring 2019

GSAPP 2021

Designing the Standard Human

Design Standards, they are all around; together they conspire to create the perfect synthetic universe, an enclosed, insulatory atmosphere of their own making, idealized for human inhabitation and at odds with the realities of human imperfection. In design standards the most damning evidence of human inequality is highlighted, and even celebrated via the flattened equality and synthetically objective view mapped upon the objects, figures, and dimensions given in the standards. Not only is mass standardization relatively new, the dialogue that standards engage in sweeps the across human existence from the angles of a chair seat in relation to its back, to the unit of thermal comfort assumed by the clothing of a business man, aptly named a Clo, to the reference book a designer uses when both designing sed chair and sed space for sed business man.

The omnipresence of design standards in daily life, along with their relatively short history make them the perfect historiographer of the Anthropocene. Without intensive human interaction it is unlikely these standards would exist at all. Standardization can in this way in fact be considered a sub-genre of human evolution, a study focused on object and self and the progressive change which occurs in each.

This conversation between design standard, designed result, and human, are what makes standardization such an important tracker of the progression of man kinds own attempt to define itself for means of production and selfunderstanding alike.

“Design Standards, they are all around; together they conspire to create the perfect synthetic universe, an enclosed, insulatory atmosphere of their own making.”

The impact which the designing of the human via design standards has had on the human experience is far greater than the common discourse on representation gives it and its economic roots are often sidelined for a more puritanical address of the social history and consequence. However, to deny the link between the proliferation of social norms and the economics driving them is impossible and a more in-depth discourse must be engaged.

This paper will attempt to present a study of the root factor which gave birth to the sudden, omnipresent, and irreversible phenomena of design standards, and second to study the impact the resulting implementation of these universal standards has had on the definition of the human. The study will present findings that efficiency and productivity of the mechanized era were the true motivation for standards, take a stance on the now known impact that the self-supporting cycle of body image in graphic standards has on figures, and respond to the contemporary discourse on the portrayal of the ideal, standard, and designed human. The idea that the standard man emerged as a tool of aesthetic visualization and not of productive intent is a dangerous conjecture to arrive at.

The myth of the standard human is an eternal question which society has grappled with continuously since its onset in the 19th and 20th centuries and whose circumstances it may continue to grapple with for as long as the contemporary ideas of human standardization persist.

As measure of the human body became increasingly normalized the figures depicting the body did as well. A common thread observable in scale figure creation is the linear progression of the figure that creates carved space directly translates an understanding of the extents the human figure is capable of in order to allow for design directly for these extents.

Cited: Hosey, Lance. Hidden Lines: Gender, Race, and the Body in Graphic Standards. Journal of Architectural Education, pg101-112, Online, 2013.

Neufert, Ernst. Architects’ Data (Second English Edition). Oxford, Blackwell Science Ltd. 1980 Dreyfuss, Henry. The Measure of Man & Woman Human Factors In Design. New York, John J. Wiley & Sons Inc., Revised Edition 2001.

Professor Nader Vossoughian Doctoral Asst Elliott Sturtevant

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Love and thanks to the family, friends, educators, critics, writers, architects, and etc. involved; you made this possible. <3

GSAPP 2021

Back Matter

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New York, NY Matthew A Brubaker Master of Architecture GSAPP 2021

©2021

Matthew A Brubaker