KATIE MUELLER
Master of Architecture Candidate
Harvard Graduate School of Design
RESUME
GEORGIA INSTITUTE OF TECHNOLOGY
Aug 2017 - Dec 2021 | GPA: 3.89; Bachelor of Science in Industrial and Systems Engineering; Concentration in Supply Chain Engineering; Minor in Architecture
GEORGIA TECH TOUR GUIDE
Jan 2018 May 2021 | Provided tours for prospective students and informed their decisions to attend Georgia Tech
GEORGIA TECH AMERICAN INSTITUTE OF CHEMICAL ENGINEERS PRESIDENT & TREASURER
May 2018 - Sep 2019 | Registered 500+ members and promoted member engagement; Organized the chemical engineering career fair and weekly recruiting lunches; Allocated funds from sponsorships, invoiced companies, and managed ~$60k budget
DOW CHEMICAL COMPANY PROCESS ENGINEERING INTERN
May 2018 - Jul 2018 | Analyzed and presented data to reduce the time a product spends in the tank; Developed an instructional batch sheet for operators when assembling recycled ion exchange canisters
TECH THE HALLS EXECUTIVE DIRECTOR & EVENTS DIRECTOR
Jan 2019 May 2021 | Led rebranding/restructuring effort to transform the organization from a semester-long to a year-round program; Planned and executed event involving ~150 students from Georgia Tech and ~70 children from Boys and Girls Club
EXXONMOBIL CRUDE OIL DISTILLATION INTERN
Jan 2019 - May 2019 | Scoped and budgeted a proposal for a new line of piping for a distillation tower; Optimized heat transfer fluid rate for a furnace air preheater system; Increased margin on dewaxed oil product
INSTITUTE OF INDUSTRIAL AND SYSTEMS ENGINEERING PROFESSION PLANNER
Jan 2020 May 2021 | Helped plan and manage professional recruiting events; Led scholarship selection committee
EXXONMOBIL GLOBAL SUPPLY CHAIN INTERN
Jun 2020 - Aug 2020 | Analyzed third-party trucking data and created future analysis plan; Performed a cost analysis of various packaging types for Vistamaxx product
EAST ATLANTA ENGINEERING FOR KIDS
Jan 2021 May 2021 | Taught engineering courses to children in Pre-K through 5th grade; Served as an administrative assistant for the program
DELTA AIR LINES
Jan 2022 - Jul 2022 | Created future service pattern for Caribbean flights; Developed timeline and action plan for servicing new terminal in LAX
HARVARD GRADUATE SCHOOL OF DESIGN
Aug 2022 Present | Master in Architecture I
SKILL: MATLAB
ABROAD: Monte Cristi, Dominican Republic, one-week teaching trip
SKILL: Microsoft Office Suite
AWARD: American Institute of Chemical Engineers Freshman Recognition Award
ABROAD: Lorraine, France, threemonth study abroad
DECISION: Change of major from chemical engineering to industrial and systems engineering
SKILL: Python
SKILL: Simio
SKILL: SQL
AWARD: Semmes Memorial Scholarship
SKILL: RStudio
SKILL: Adobe Creative Suite
SKILL: Rhino
DECISION: Apply to Master in Architecture programs
AWARD: Highest Honors
During my time in Harvard’s Design Discovery Virtual program, I became acquainted with a variety of design programs and philosophies. Using programs such as Rhino, Photoshop, and Illustrator, I explored the areas of public spaces (publics), social justice, and climate change through the lenses of one urban setting, one housing complex, and one landscape. I selected Tiong Bahru, Singapore, the single-loaded bar, and the large urban park as my urban setting, housing complex, and landscape, respectively. These selections were made based on their similarities to spaces from my own experiences and the challenges that I wished to address. The Design Discovery program provided me with base plans, sections, and axononmetric projections of these different settings, which I then altered to express the ideas that I had about these settings based on readings, discussions, and independent research. Throughout the program, I primarily focused on how peoples’ biases impact their use of space, how alterations in space can impact social interactions, and how to adapt spaces to prepare for climate change.
DESIGN DISCOVERY
instructor: agustina labarca 2021
Tiong Bahru, Singapore: Selected because of its history with gentrification, Tiong Bahru was the original public housing district in Singapore. It has since had many expensive, private complexes pop up, creating a divide between old and new. I explored how this divide has been and can be shaped by design.
Single-Loaded Bar: Selected because of its unique layout and ability to house many, the singleloaded bar typically consists of multi-story apartments accessible from one external corridor for each floor. I considered how the space could be altered to adapt to and create a variety of conditions.
Large Urban Park: Selected because of its similarity to Piedmont Park in Atlanta, the large urban park often serves as the primary means of outdoor access for city dwellers. Throughout the program, I explored how the landscape might be impacted by changing climate conditions over time.
WITHIN & WITHOUT PUBLICS & SOCIAL JUSTICE
During the Black Lives Matter protests of the summer of 2020, I became increasingly aware of the white privilege surrounding my own life and the lives of so many around me. I saw firsthand how easy it was for some to ignore the struggles of those around them. To express this phenomenon, I created the collage below to represent the idea that someone can be living in the midst of a crisis yet still be able to turn a blind eye to it. I then used this collage as inspiration for the image to the right, which depicts the idea that even though two groups may occupy the same space, the existences of those groups can be very different.
SINGLE-LOADED CITY
PUBLICS & SOCIAL JUSTICE
Throughout the program, I was fascinated with how space can impact social conditions. To explore this theme, I created a “Single-Loaded City” that consists of three different housing complexes, all constructed using a base model of a singleloaded bar complex. At the city level, I used dots to represent how these complexes impact the locations of social interactions between residents of the different complexes. At the complex level, I used thickness of colored lines to represent the density of interactions between residents of the same complex. At the floor level, I used darkness of color to represent shared spaces.
GENTRIFICATION IN TIONG BAHRU
PUBLICS & SOCIAL JUSTICE
Tiong Bahru, Singapore, is Singapore’s first public housing estate and now serves as a conservation site. Despite these efforts to preserve Tiong Bahru’s past and authenticity, the city is undergoing rapid gentrification and is now home to many high-end private housing complexes. I analyzed this gentrification process first through a map of the city. I marked public and private areas and then further expanded the bounds of private space to include areas that are likely only frequented by the wealthier class. I then used an axonometric drawing to bring these maps to life and mark traditional versus new developments.
Buildings depicted in dark blue
Private buildings depicted in dark blue, semi-private buildings depicted in stripes
Wealthy areas depicted in dark blue, intersection of wealthy and impoverished areas depicted in light blue
PRIVACY & ORDER
PUBLICS & SOCIAL JUSTICE
The single-loaded bar apartment complex is defined by a single exterior corridor on each floor that permits entry to the multi-level apartment units and shared courtyard spaces. In this experiment on privacy and order, I began by furnishing a provided plan of one floor of this complex. I then assessed how this plan of a single-loaded bar facilitates areas of public, private, outdoors, light, and order. Next, I focused on a two-story apartment within the complex and assessed these same factors under two different sets of conditions: a single family apartment with air conditioning (AC) and a shared apartment without AC.
Public Private Outdoors Light Controlled Light Disorder Order
Temperature: Atlanta is expected to experience between 45 and 75 days above 95°F by the end of the century. This will create extreme discomfort for people and may result in changes in vegetation and wildlife.
Erosion: As a result of the heavy rainfall likely to occur in the future, the top layers of the soil are likely to erode down the slope of the park.
Drought: As the temperature rises and water usage increases, the local Atlanta area is likely to experience a drought. This will impact plant growth and the ability of people and animals to obtain water.
TIME CONSTRAINTS CLIMATE CHANGE
Moving into climate change, began by using a large urban park to analyze how climate change in Atlanta will impact the landscape. I researched how climate change will impact Atlanta in the short term (horizontal line hatching), medium term (dotted hatching), and long term (grid). I added these representations to a section of the large urban park, letting the mediumand long-term changes fade into the background of the image to mirror the way in which people push future problems to the back burner.
Smog: As the temperature rises, it will become easier for ground level ozone to form. This ozone can contribute to the formation of smog, resulting in poor air quality.
Flooding: As climate change produces more unpredictable weather events and more severe hurricanes on the coast, heavier rainfalls can be expected and may result in flooding.
WHEN IT RAINS, IT POURS
CLIMATE CHANGE
After gaining a deeper understanding of climate challenges in Atlanta, I looked back at Tiong Bahru to explore more about the impacts of climate change on a different region. I found that Tiong Bahru experiences two monsoon seasons and high temperatures throughout the year due to its location near the equator. In the future, an increase in temperature, sea level, and intensity of rainfall can be expected. In this piece, I focused on changes in rainfall. I used a gradient to represent where this rainfall will have the greatest impact on a street view of the city. I also used dotted hatching to illustrate where and how heavily the rain will fall. This image demonstrates some of the primary challenges that intense rainfall will create: pedestrian discomfort, traffic hazards, and flooding.
COVERED PATHWAY CLIMATE CHANGE
Throughout my investigation into Tiong Bahru, I focused on gentrification and increased rainfall. To address these challenges, I wanted to create a space within the city to connect people to nature and to each other regardless of the outdoor weather conditions. To do this, I created a covered, outdoor pathway that connects two parks on opposite ends of the city. This pathway runs between a set of public and private apartment complexes and will be accessible to those with a variety of socioeconomic statuses. This pathway is also two levels to allow for use during different weather conditions. The roof at the top level can be used for rain protection, and the trees at the bottom level can be used for shade. In addition, two covered garden spaces will allow for usable community areas during any weather condition.
3 4
1 Polycarbonate Roof: The polycarbonate roof allows light to enter the upper level and people to see out. This level is good for rainy days but likely will not be used as frequently on hot, sunny days.
2 Walkway Shade: Since the roof of the pathway does not provide any shade, trees along the path will be used to provide shade for pedestrians.
5 Wind Direction: Wind blowing during monsoon season may cause rain direction to change. The sloped roof of the upper level of the pathway prevents rain from penetrating the upper path.
6 Roof Opening: The opening between the roof and the floor allows air to pass into the upper level, preventing the feeling of stuffiness.
3 Garden Shade: The polycarbonate roof of the covered garden will allow light in. Therefore, the trees will function as the main source of shade within the garden.
4 Air Flow: The large, open sides of the covered garden allow for air flow. This prevents discomfort on days when it is not raining and will allow pedestrians to take advantage of the garden as a community space even when they do not need cover from rain.
7 Pathway Connection: The covered garden is connected to the pathway and can be accessed from the upper level via a set of stairs.
8 Sprinkler System: Since the plants in the covered garden will not have direct access to rainwater, the rainwater outside of the garden will be collected and sent upward into a sprinkler system that will run at night to keep the plants alive and healthy.
WIND CATCHER CLIMATE CHANGE
The final area of climate change that I focused on was increasing temperatures in Tiong Bahru. As temperatures have increased, residents of the city have begun to use air conditioners more frequently, which only worsens climate change. When looking into solutions to this issue, I was inspired by wind catcher designs found in Pakistan and Iran. Tiong Bahru is located a few miles off the coast, so it receives sea breezes from the south. With this in mind, I incorporated these wind catcher designs into a single-loaded bar building to take advantage of the wind and create natural ventilation that will reduce the need for air conditioners.
The image above shows a view of the wind catcher from the front. The dark gold depicts the vents created for air to enter the wind catcher. The light purple depicts the roof of the building, upon which the wind catcher sits. The wind catcher is situated on the southern side of the building to capture the sea breeze coming in from the coast.
This image shows a depiction of the air vent system. The vents provide a place for the air captured by the wind catcher to enter each apartment. Each apartment will contain between two and four air vents depending on the apartment size. Also note that the air vents are situated near the floor of each level to assist with air flow.
Above is an illustration of how the air brought in from the wind catcher works to cool the space. The wind catcher is situated on top of the building. It brings in cooler air than would be found on lower levels because of heating that takes place on the streets. This cool air enters the apartments through the vents and then pushes the warm air up and out the windows in a cross-ventilation scheme.
CONTRAST IN PLAN
CORE I: LIVING SINGLE, LIVING TOGETHER
instructor: helen han 2022
This Core I project entailed creating a duplex with two private homes and a required amount of shared space based off of a given plan for one of the floors. In order to create the shared space, I used the logic of a zipper to create a shared porch that enlarges as you move up the different levels. In addition, I used this project to explore how a building reads in plan. I used the juxtaposition between curved walls and rectilinear ones to show an explicit example of how these two different languages can be perceived in plan, and through photography I showed how those same differences appear in three dimensions.
FROM ART TO ARCHITECTURE
MODERN ARCHITECTURE AND ART WORKSHOP
instructor: harris dimitropolous 2018
As the first project in an introductory architecture course, this project was designed to help students gain an understanding of the Cubism movement and to introduce students to the idea of designing in three dimensions. I began the project by selecting a piece of art created by Juan Gris. I then simplified this image in Adobe Illustrator and transferred it to a cardboard base. Finally, I created a threedimensional model by raising different sections of the painting to various heights. I then photographed the model, giving me a better understanding of how angles and shadows impact perception.
SPACE THROUGH SECTION
CORE I: JUMP CUT
instructor: helen han 2022
In this assignment, one free plan section and one raumplan section were provided and were required to be stitched together. To accomplish this task, I created an art museum that used the sectional difference to create circulation space. I also took advantage of the horizontal nature of one of the sections and the vertical nature of the other to create two different types of spaces: exhibit space and performance space. Finally, I used the differences in width of the two sections to insert a back of house while using glass and windows to explore transparancy and visible accessibility.
1/8" = 1'-0"
KIT OF PARTS
CORE I: ORDINARY, EXCEPT
partners: keane chua and nana aba turkson instructor: helen han 2022
This project explored both the triple decker typology and a specific site in Dorchester, MA. The brief involved adding three triple deckers to the site to create a combination of artist residency and family housing within the existing neighborhood. To address this challenge, my team created a three act play, with each building serving as an act. The building to the left in the image below internalized the bay window form, the building to the right externalized it, and the central building used a modular kit of parts that can be added and removed to an anchored building in order to allow the structure to adapt to the needs of the community throughout time. Three proposed configurations were created for 2022, 2032, and 2052 as the central building transforms from residency to community exhibition space to community market and housing.
Personal Contributions: Sections, Models (pictured top and bottom right), Other Models (collaborative)
WRITING SAMPLES
In addition to my design work, I have included two recent writing samples. These samples were written for the GSD’s Buildings, Texts, and Contexts course. This course is largely responsible for my interest in pursuing a Master in Design Studies, and the samples shown below demonstrate some of the specific research interests I wish to continue to explore in the Publics domain.
HISTORICAL NARRATIVE REVIEW
BUILDINGS, TEXTS, AND CONTEXTS
instructor: ana maría león 2022
Prompt: Choose a short historical narrative of a place or space that you are familiar with... Write an approximately 500-word reflection on how the discussions on power and positionality we have explored in this module play a role in the selected text. Are all viewpoints represented? Does the author privilege one group over another? What audience are they addressing themselves to? When are they writing, and from where? Do these circumstances affect their point of view?
In her piece entitled “Inman Park: A Case Study in Neighborhood Revitalization,” Eileen Segrest details the history of the Atlanta’s first planned suburb from its origins to its decline and eventual resurgence. She elaborates on how zoning changes shifted the suburb from an affluent area inhabited by Atlanta elite to a low-income area that could only be brought out of its depths by the efforts of a group of hardworking community members.[1] However, what appears on the surface to be an unbiased description of events is actually a biased piece that uses language to reinforce problematic ideals and divisions that persist in today’s world.
When describing the original and the post-revival Inman Park that was dominated by singlefamily Victorian homes, Segrest uses words such as “elegant,” “desirable,” and “rebirth.” On the contrary, she uses language such as “long and dramatic decline” and “slum” when discussing the in-between Inman Park defined by low-income families and apartment complexes. The stark dichotomy between these two sets of vocabulary in a text that is presented as a historical account creates for the readers a truth that wealth and single-family homes are good and anything contrary to this is bad. In other words, it creates an alterity. The way the text uses language and its connotations to establish this Other is so subtle that the reader likely does not realize it happens. This phenomenon is described by Trouillot in his discussion of North Atlantic universals as words with the ability to seduce and to hide their affect and in his claim that “modernity disguises and misconstrues the many Others that it creates.”[2] Trouillot’s points do not just apply to North Atlantic universals, but rather to any language that is presented as fact while managing to evade the detection of its subjectivity, as is the case in Segrest’s writing.
However, hidden affect on its own is not necessarily problematic, as all language contains some degree of unperceived connotation. What makes Segrest’s language an issue is that she uses it in the same way that modernists use North Atlantic universals: to place her own values on society as a whole. In her work, Segrest does the same thing that advertisements did in the 1950s in that she “projected a cultural ideal of white identity associated with cleanliness, order, property, and the nuclear family.”[3] This is particularly problematic because Segrest’s values were constructed in 1970’s during a time of profound racial tension in Atlanta. The influence of these times on Segrest’s ideas of good and bad is exemplified in the way she praises those that fought against change in post-resurgence Inman Park through actions such as litigating the introduction of a public transit stop. She refers to these people as the “most important resource and the reason for [Inman Park’s] success” and applauds their efforts to maintain their lifestyles by preventing the infiltration of their suburb by Others.[4] While Segrest never directly mentions race, it is important to apply to an analysis of her work the notion discussed in the “Intro to Race and Modern Architecture” that “race is there, even when we think it is not.”[5] What is not said in Segrest’s piece is that the actions she reveres limit Atlanta’s black population’s accessibility to the area, revealing how the values she projects inherently place African Americans in the Other.
While it is tempting to believe that throughout time ideals such as Segrest’s have been detected and begun to dissipate, residents of Atlanta suburbs to this day use the same rhetoric as Segrest to prevent the expansion of its public transit system into other suburbs. This demonstrates that the true issue with work such as Segrest’s is that it is not alone in its use of language to establish certain values as truth and to indirectly place minorities in the Other. It is the collection and culmination over time of such works that subconsciously establish and reinforce the ideals of those in power that deepens the chasm between them and what they deem as Other.
[1] Eileen Segrest, “Inman Park: A Case Study In Neighborhood Revitalization,” The Georgia Historical Quarterly 63, no. 1 (1979): 109–17.
[2] Michel-Rolph Trouillot, Global Transformations: Anthropology and the Modern World (New York: Palgrave Macmillan, 2003).
[3] Irene Cheng, Charles L. Davis, and Mabel O. Wilson, Race and Modern Architecture: A Critical History from the Enlightenment to the Present (University of Pittsburgh Press, 2020).
[4] Segrest, “Inman Park.”
[5] Cheng, Davis, and Wilson, Race and Modern Architecture.
Works Cited
Cheng, Irene, Charles L. Davis, and Mabel O. Wilson. Race and Modern Architecture: A Critical History from the Enlightenment to the Present. University of Pittsburgh Press, 2020.
Segrest, Eileen. “Inman Park: A Case Study In Neighborhood Revitalization.” The Georgia Historical Quarterly 63, no. 1 (1979): 109–17. Trouillot, Michel-Rolph. Global Transformations: Anthropology and the Modern World. New York: Palgrave Macmillan, 2003.
SITE-VISIT ANALYSIS
BUILDINGS, TEXTS, AND CONTEXTS
instructor: ana maría león
2022
Prompt: Your assignment is to each do a short formal and historical analysis (aprox. 1,000 words) of the selected building.... Your analysis should include the following:
1. A formal analysis based on your close observation of an aspect of the building at any scale...
2. A contextualization of these observations using a specific approach related to the themes explored in this module...
Walking up to the Government Service Center, one is immediately struck by the mass of a seven story and 225,000 square-foot concrete building. This building’s connection to the other member of the Government Service Center, the Charles F. Hurley building, only contributes to its monumentality, creating a harsh interface between the brutalist complex and the more traditional brick buildings of the surrounding historic West End of Boston. The upper levels of the building hang over the sidewalk, creating a sense of imposition that, coupled with the curved forms, corrugated façade, and frog-like ornamentation on the exterior, creates a sense of confusion and intrigue as to what is housed within. Few would likely guess that the polarizing structure is home to the Erich Lindemann Mental Health Center, and even fewer would guess that it was designed with the “[aim] to create a humanizing architecture.”[1] This mismatch between intention and perception can be explained through its design in the late 1960’s by famed architect Paul Rudolph. While the care and attention Rudolph put into the Mental Health Center are often used as evidence of his concern for the patients at the Center, a brief investigation into the building’s interface with the surrounding community reveals this may not be the case.[2] His prioritization of design ideals over the needs those being served by the Center ultimately contributes to the stigmatization of mental illness and exposes the failure of the architectural community to consider those outside of it.
Stigma surrounding mental illness and mental health facilities has been a persistent obstacle faced by those experiencing mental health challenges. People with mental illnesses are often labelled, discriminated against, and even feared by others, adding to the anxieties faced by such individuals and reducing their willingness to seek help.[3] Architects, though unable to eliminate such stigma, can begin to combat it by “[creating] spaces that ensure the protection of in-patients’ dignity and privacy while maintaining security, as well as appropriate humanisation of hospital space with respect for local and cultural determinants.”[4] Though this is supposedly what Rudolph set out to do, the façade of the Center starkly juxtaposes this idea of humanization. With this façade, Rudolph focused on the architectural goal of creating a form that reflects the program within, using curvilinear extrusions to introduce what is often described as the shape of a frog’s face to the side of the building in an effort to “make the building look ‘insane’ in order to express the insanity within.”[5] The projection of this insanity to the surrounding community shows a lack of consideration for the stigma faced by the mentally ill and actively contributes to the notion of design of mental health facilities as “the architecture of madness.”[6]
Aside from this misalignment of Rudolph’s design decisions and the needs of the mentally ill, Rudolph’s lack of understanding of and consideration for the group being served is also revealed more subtly through instances in which his ideologies take precedence over reality. Trying to escape the grips of modernism, Rudolph came to the conclusion that the open spaces often implemented in urban planning by the modernists actually resulted in alienation, leading him to believe that enclosures were the best means to elicit positive responses from community members.[7] Rudolph tested out this idea on the Mental Health Center, creating a courtyard that isn’t visible from the streets and a main entrance only accessible via a circuitous route through the interior plaza. However, this enclosure of the Mental Health Center contradicts the purpose of placing the Center in the heart of Boston, which was to allow those who had been deinstitutionalized to gain familiarity with Boston in a way that the remote facilities of the past could not.[8] In closing off the Center, Rudolph created a separation between those inside and those outside of the Center, maintaining the same separation that the site was selected to prevent.
This separation and the stigmatization that results from removing people from that which they don’t understand is furthered by Rudolph’s use of the brutalist style. Much like the Mental Health Center itself, brutalism polarizes the public. While often revered by the design community and analyzed for its formal merits, there is a large portion of the general public that finds it disdainful. This likely stems from the core tenant of brutalism that the building is an “image,” meaning “something which is visually valuable, but not necessarily by the standards of classical ethics.”[9] It is this departure from classical ethics, or “antibeauty”[10] quality of brutalism, that creates such strong negative opinions toward it amongst many of those who haven’t studied it, and it is this same quality that makes it popular among the academics and designers that use it as a means of exploring their ideals rather than addressing the realities of those using the space. Using a style that results in negative reactions from the community for a mental health facility, which already has negative connotations of its own, enforces the idea that it is harmful to the community and further pushes the pre-existing stigma against mental illness, once again demonstrating the way in which Rudolph uses the building to advance his own designs rather than the lives of those using the facility.
The Mental Health Center is not the only case of designing for the sake of design instead of for the users, but rather is a case study in an all-too common phenomenon of the design community. Rudolph was selected for the role because “his virtuosity enthralled colleagues and appeared capable of channeling the myriad political and economic forces of urban redevelopment into compelling civil forms.”[11] Ultimately, this selection of Rudolph and his ignorance of the need to destigmatize mental illness and to serve the mentally ill community resulted in a building that received “admiration for the ingenious architecture paired with concerns about the complex’s appropriateness.”[12] Rather than focusing on the realities at hand or giving consideration to those in less powerful positions, such as the mentally ill, often times architects, so entwined in the niche social sphere that exists in the architectural profession, design around “absent causes, present nowhere in the world but existing only in plans.”[13] Those who are able to design for these absent causes and articulate to those in power convincing proposals for an ideal world are the ones who go on to be “starchitects,” praised by those within this same niche sphere, yet ultimately confusing and, at times, alienating those outside of it.
[1] Mark Pasnik, “Concrete Therapy: Paul Rudolphs Architecture of Mental Health,” Harvard Design Magazine, no. 40 (2015): 156–61.
[2] Pasnik.
[3] Jakub S. Bil, “Stigma and Architecture of Mental Health Facilities,” British Journal of Psychiatry 208, no. 5 (2016): 499–500, https://doi. org/10.1192/bjp.208.5.499b.
[4] Bil.
[5] Philip Nobel, “The Architecture of Madness,” Metropolis (New York, N.Y.) 19, no. 2 (1999): 128–61.
[6] Bil, “Stigma and Architecture of Mental Health Facilities.”
[7] Timothy M. Rohan, “Scenographic Urbanism: Paul Rudolph and the Public Realm,” Places (Cambridge, Mass.), no. 2014 (2014), https://doi. org/10.22269/140623.
[8] Rohan.
[9] Reyner Banham, The New Brutalism: Ethic or Aesthetic?, Documents of Modern Architecture (New York Stuttgart: Reinhold Krämer, 1966).
[10] Banham.
[11] Rohan, “Scenographic Urbanism.”
[12] Pasnik, “Concrete Therapy.”
[13] JAMES HOLSTON, “Insurgent Citizenship in an Era of Global Urban Peripheries,” City & Society 21, no. 2 (2009): 245–67, https://doi. org/10.1111/j.1548-744X.2009.01024.x.
Works Cited
Banham, Reyner. The New Brutalism: Ethic or Aesthetic? Documents of Modern Architecture. New York : Stuttgart: Reinhold Krämer, 1966. Bil, Jakub S. “Stigma and Architecture of Mental Health Facilities.” British Journal of Psychiatry 208, no. 5 (2016): 499–500. https://doi. org/10.1192/bjp.208.5.499b.
HOLSTON, JAMES. “Insurgent Citizenship in an Era of Global Urban Peripheries.” City & Society 21, no. 2 (2009): 245–67. https://doi.org/10.1111/ j.1548-744X.2009.01024.x.
Nobel, Philip. “The Architecture of Madness.” Metropolis (New York, N.Y.) 19, no. 2 (1999): 128–61.
Pasnik, Mark. “Concrete Therapy: Paul Rudolphs Architecture of Mental Health.” Harvard Design Magazine, no. 40 (2015): 156–61. Rohan, Timothy M. “Scenographic Urbanism: Paul Rudolph and the Public Realm.” Places (Cambridge, Mass.), no. 2014 (2014). https://doi. org/10.22269/140623.