Architectural Portfolio | Selected Works 2020

MARY GREENERT

ARCHITECTURAL PORTFOLIO SELECTED WORKS | 2020

CycleGAN results | Artificial Biophilics

AC AD E M I C A TALE OF TWO CITY HALLS

04

Institutions Studio | Fall 2018

FABRICATION

14

Advanced Fabrication | Fall 2018 & Winter 2019

CULTIVATE DETROIT

18

Integrated Systems Studio | Fall 2019

ARTIFICIAL BIOPHILICS

28

Thesis | Winter 2020

P RO F E SS I O N AL PIZZERIA PARADISO

44

Washington D.C. | October 2018

CORK WINE BAR & MARKET

48

Washington D.C. | November 2018

THE IMPERIAL

52

Washington D.C. | October 2019

C R E ATI V E SELECTED WORKS

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A TALE OF TWO CITY HALLS IT WAS THE BEST OF THE CITY; IT WAS THE WORST OF THE CITY

CITY HALL, AS A FUNCTION, IS A NECESSITY TO LOCAL GOVERNMENT; IT HOUSES MANY LOCAL BRANCHES OF SERVICE GOVERNMENT AND PROVIDES THE COMMUNITY WITH ACCESS TO RECORDS, ADMINISTERS LICENSES, OVERSEES PUBLIC EVENTS, AND MUCH MORE. IT IS THE LIFEBLOOD OF THE CITY AND EXISTS TO SERVE THE PUBLIC. FOR ALL INTENTS AND PURPOSES, CITY HALL IS A PUBLIC BUILDING; IT HAS A LARGE AMOUNT OF PROGRAM THAT REQUIRES PUBLIC ENGAGEMENT. DESPITE THIS, CITY HALLS ARE GENERALLY NOT MORE THAN A GLORIFIED OFFICE BUILDING, FAILING TO CONNECT THE LOCAL GOVERNMENT WITH THE PEOPLE AROUND IT IN ANY MEANINGFUL WAY. INTERACTIONS WITH THE BUILDING ARE LIMITED TO IN-AND-OUT TRANSACTIONS FOR SERVICES THAT HAVE YET TO BE AUTOMATED, AND FOR MOST PEOPLE, THE BUILDING FUNCTIONS AS MOST TRANSACTIONAL PLACES DO; IT EXISTS AS A MEANS TO AN END AND NOTHING MORE. CITY HALL EXISTS AS A HALF-FULFILLED CIVIC STRUCTURE WITH TWO FACES, PRESENTING THE SIDE THE PUBLIC SEES AND THE SIDE THE WORKER SEES. THIS DICHOTOMY CREATES TENSION BETWEEN THE SPACES FOR ESSENTIAL FUNCTIONS, SUCH AS OFFICE AND ADMINISTRATIVE D E PA R T M E N T S , A N D T H E P U B L I C S PA C E F O R T H E EXTERNAL USER. WHILE THE NEED FOR OFFICE SPACE EXISTS WITHIN THE CITY HALL PROGRAM, THE PUBLIC SIDE IS OFTEN LACKING, PROVIDING NO CLEAR DISTINCTION BETWEEN THE TWO FUNCTIONS. THIS IS NOT TO SAY THE SPACES SHOULD NOT BE INTEGRATED; HOWEVER, THE PUBLIC SPACE OF CITY HALL SHOULD BE AN ACTIVE SPACE THAT WEAVES THE INTERNAL FUNCTIONS INTO THE CITY’S FABRIC, RATHER THAN BEING A DISTANT OBSERVER. AS IT STANDS, THE PUBLIC SIDE OF CITY HALL TENDS TO LACK A SENSE OF PLACE AND FAILS TO INTEGRATE INTO THE COMMUNITY.

FALL 2018 INSTITUTIONS STUDIO LIZ GALVEZ

04

A MONOTONOUS GRID OF CUBICLES CREATES A “MAXIMUM EFFICIENCY” MAZE

THE “PUBLIC” SP CITY HALL EXISTS AS IT EDGES ON BEING S PA C E , W I T H O U T COMMITTING, TEE ON THE EDGE O PUBLIC WORLD. TO PUBLIC SPACE MORE IT SHOULD ENGA EXTERNAL USER A CITY, CREATING A SE ACCESSIBLE AND V CONNECTED PROMEN

PUBLIC PLAZAS TY SERVE AS GATHERIN IN THE CITY HALL FU PROCEEDING THE BU ENTRANCE. AN IDEA PLAZA FUNCTIONS A THAN JUST A SPACE T IT BECOMES A PL ENGAGE WITH RATH PA S S T H R O U G H . A PLAZA OR SERIES OF PLAZAS AND TERRAC CREATE A CONNECTIN OF INTERSTITIAL SPAC ALLOW THE PUBLIC INCLUDED IN THE RE CITY HALL WITHOUT TO ENTER THE BU PHYSICALLY.

above | VIEW FROM SOUTHEAST ENTRY top | ISOMETRIC LOOKING NORTHWEST

06

ACE OF S A VEIL. G PUBLIC T F U L LY ETERING OF THE O MAKE E PUBLIC, AGE THE AND THE ERIES OF VISUALLY NADES.

Y P I C A L LY NG SPACE UNCTION, UILDING’S AL PUBLIC AS MORE TO EXIST; ACE TO HER THAN A PUBLIC F PUBLIC CES CAN NG MESH CES THAT C TO BE EALM OF T HAVING UILDING

N

SITE PLAN SHOWING GROUND LEVEL DENOTES PUBLIC INTERIOR SPACE

THERE IS A CLASH BETWEEN THE OFFICE AND PUBLIC SPACE. THE OFFICE SPACE IS RIGID; ITS FORM FOLLOWS FUNCTION AND SEEKS TO MAXIMIZE THE EFFICIENCY OF THOSE WHO INHABIT THE SPACE. PUBLIC SPACE TENDS TO BE MORE ORGANIC AND HAS AN EBB AND FLOW AS PEOPLE MOVE THROUGH THE SPACE. WHILE THESE INSTITUTIONS MAY SEEM SET IN STONE, EVEN THE MOST RIGID, SEEMINGLY IMMUTABLE STONES HAVE THE ABILITY TO CHANGE, CARVED AWAY BY FORCES OF NATURE, SO TOO THE OFFICE CAN BE CARVED BY PUBLIC SPACE.

LOBBY

OF THE EXISTING SPACES OF CITY HALL, PERHAPS THE MOST PUBLIC IS THE LOBBY, A CENTRAL HUB FOR REDIRECTING PATRONS TO THEIR FINAL DESTINATIONS. THE DESIGN OF THIS SPACE IS CRITICAL AS VISUAL CONNECTIONS OR CUES MAKE WAY-FINDING COME MORE NATURALLY WITHOUT THE VISUAL CLUTTER OF SIGNS. A LOBBY CAN FUNCTION AS A GATHERING SPACE, OR SECONDARY INDOOR PLAZA FOR CITY HALL, BRINGING THE EXTERNAL USER INSIDE. MAKING A LOBBY HAVE A PASS-THROUGH FUNCTION ALLOWS WOULD-BE PASSERBY TO INTERACT WITH THE SPACE. THE LOBBY SHOULD EXIST AS THE BUILDING’S CENTRAL CONNECTING UNIT, WITH PUBLIC PLAZA’S ACTING AS AN EXTENSION OF THE SPACE. PUBLIC FUNCTIONS SHOULD BE EASILY ACCESSED AND CONNECTED TO THE CENTRAL LOBBY, WHILE MORE PRIVATE FUNCTIONS COULD BE CONNECTED THROUGH ANOTHER PLAZA OR COMMON SPACES THAT ACT AS A BUFFER. right | CARVING THE GRID WITH PUBLIC SPACE left | TAKING CUES FROM NATURE TO CREATE PUBLIC SPACE

08

above | LOBBY LOOKING NORTH

above | EXTERIOR STAIR CUTS VERTICALLY

top | INTERIOR VIEW OF CARVED SPACE center | LOOKING DOWN THROUGH CARVED SPACE bottom | LOOKING UP THROUGH CARVED SPACE

top | JUXTAPOSITION OF OFFICE SPACE AND PUBLIC SPACE bottom | VIEW INTO OFFICE SPACE LOOKING SOUTHEAST

10

N

THIRD LEVEL PLAN SHOWING JUXTAPOSITION OF OFFICE SPACE AND PUBLIC SPACE

TOP DOWN VIEW IN PERSPECTIVE

12

FLEXIBLE CITY COUNCIL MEETING SPACE PROVIDES AREA FOR EVENTS OR GALLERIES

ISOMETRIC LOOKING SOUTHWEST

DESERT SCULPTURE THIS WOOD AND STEEL SCULPTURE IS AN ABSTRACTION OF THE DESERT IMAGE P I C T U R E D B E L O W. T H E D E S I G N O F T H E SCULPTURE WAS MADE BY EXTRACTING THE PIXEL DATA AND CONVERTING IT INTO A NUMERIC VALUE WHICH CORRESPONDED TO A HEIGHT. THIS PRODUCED A SINUOUS TOPOGRAPHY USED TO CREATE THE BASE, WHILE CONTOUR LINES EXTRACTED FROM THE BASE WERE USED TO CREATE THE DESIGN OF THE STRUCTURE AND PANELS. WHILE AN ABSTRACTION, IT WAS IMPORTANT THE QUINTESSENCE OF THE SAND WAS STILL QUITE PROMINENT.

DESERT | JONATHON SAU PHOTOGRAPHY

FALL 2018 FABRICATION ADAM FURE, ASA PELLER & DREW BRADFORD TEAM

ANISHA NAIK & RINIKA PRINCE

14

#6 3/4” HEX HEAD SHEET METAL SCREW (x9) 1/8” 11 GAUGE MILD STEEL SHEET TO BE CUT WITH WATERJET, TYP #6 METAL WASHER (x9)

1” PLYWOOD

STACKED 1/2” PLYWOOD SHEETS

STACKED 1/2” PLYWOOD SHEETS

MILLED FOAM BASE 1-3/4” FLAT HEAD WOOD SCREW (x4)

1” PLYWOOD WITH 1” DADO JOINT CUT

1

2

CONCRETE STOOL

Once all legs were assembled by app compressed during

THE DESIGN FOR THIS STOOL WAS GENERATED THROUGH A GRASSHOPPER PLUG-IN CALLED CROW, WHICH UTILIZES NEURAL NETWORKS AND SELF-ORGANIZING MAPS. ONCE THE S T O O L F O R M WA S G E N E R AT E D , I T WA S REINTERPRETED TO BE FABRICATED USING A KUKA ROBOT EQUIPPED WITH A HOTWIRE CUTTER. THE MOLD WAS MADE TO BE REUSABLE AND CONSISTED OF FOUR PIECES HELD TOGETHER THROUGH COMPRESSION AND SEALED WITH SILICONE CAULK. A FOAM CORE WAS ADDED DURING CASTING REDUCING THE AMOUNT OF CONCRETE REQUIRED BY A LITTLE UNDER 50%.

THE CASTING PROCESS TOOK THREE PEOPLE; ONE TO MIX AND POUR THE CONCRETE, ONE TO HOLD THE CORE IN PLACE DURING POURING, AND ONE TO TAP AND LEVEL OUT THE MOLD DURING THE POURING PROCESS. THE CORE WAS STABILIZED BY PARTIALLY POURING THE MOLD AND SUBMERGING THE CORE, HOLDING THE CORE IN PLACE UNTIL THE CONCRETE BEGINS TO CURE AND SECURING THE CORE WHILE THE REST OF THE MOLD WAS POURED.

WINTER 2019 ADVANCED FABRICATION WES MCGEE TEAM

TYLER VAN KIRK

16

3

One of the final legs after casting. Before assembly each piece was also grinded to clean up unfavorable edge conditions as much as possible.

4

e casted and cleaned up, the chair was plying construction adhesive to each face and g the gluing process using rachet straps.

5

FROM LEFT TO RIGHT: (1) POURING THE CONCRETE, (2) STYROFOAM MOLD AFTER EPSILON COATING, (3) REMOVING CONCRETE CASTING FROM MOLD, (4) ASSEMBLING THE CONCRETE STOOL (5) HOT WIRE CUTTING ON THE KUKA ROBOT

CULTIVATE DETROIT THE PROPOSED SITE FOR CULTIVATE DETROIT, LOCATED IN THE EASTERN MARKET AREA, IS CURRENTLY DIVIDED INTO 24 PARCELS THAT ONLY ALLOW SINGLE-FAMILY HOMES. THESE VACANT LOTS HARNESS THE POTENTIAL TO TAP INTO DETROIT’S EXISTING FOOD NETWORK; LOCAL FOOD PRODUCTION, POP-UP GOODS, AND ART ARE VITAL TO THE SURROUNDING NEIGHBORHOOD CULTURE AND ECONOMY. DETROIT CURRENTLY HAS LOW EMPLOYMENT RATES, PUBLIC HEALTH DISPARITIES, DILAPIDATING HOMES, AND AN ACCUMULATION OF VACANT LOTS, DEMONSTRATING THE POTENTIAL FOR MULTI-SCALED DESIGN INTER VENTIONS. OUR PROJECT SEEKS TO REVITALIZE THESE LOTS INTO A MULTI-GENERATIONAL COMMUNITY OF 33 INDIVIDUALIZED UNITS INTEGRATED WITHIN A SERIES OF COMMUNITY GARDENS AND GARDEN ATRIUMS. TO RESPECT THE HISTORY OF DETACHED SINGLEFAMILY HOMES IN DETROIT, MORE SPECIFICALLY THE ASPECT OF PRIVACY AND OWNERSHIP, OUR PROJECT’S INTENTION IS TO BE A HOUSING COMPLEX THAT STILL FEELS LIKE A PERSONAL HOME. WE PROVIDE FLEXIBILITY, PRIVACY THROUGH VARYING SCALES OF GREENERY, AND A MEANS FOR THE RESIDENTS TO PARTICIPATE SUSTAINABLY REGARDLESS OF HOT SUMMERS OR COLD WINTERS. BRIDGING TO THE SURROUNDING NEIGHBORHOOD AND TENANTS ALIKE PROVIDES SPACES THAT HARVEST DETROIT’S CULTURE TO HELP CREATE A COMMUNITY ASSET.

FALL 2019 INTEGRATED SYSTEMS STUDIO MICK KENNEDY & KIT MCCULLOUGH TEAM

ANDREA MARQUEZ, ANIKA SHAH

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SECTION PERSPECTIVE THROUGH NW QUADRANT CLUSTER

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N

SITE PLAN SHOWIN

NG GROUND LEVEL

1 2

3

1

4

6

5

7

8

9

10

6 11

19

20

18

12

14 13 13 14

16

15

17

SECTION A THROUGH EASTERN ATRIUM 1. TERRA COTTA: 6” X 12” X 1 - 9/16” SHILDAN LONGOTON TERRACOTTA PANELS IN A GRAPHITE GREY, ATTACHED TO ALUMINUM RAIN-SCREEN SYSTEM.

2. WOOD CLADDING: LUNAWOOD LUNA TRIPLE 1.25” X 5.5” X13’ SCANDINAVIAN SPRUCE WOOD CLADDING STRIPS ATTACHED TO WOOD BATTENS, HIDDEN NAILS, SEALED TO PREVENT GRAYING.

3.PAINTED ALUMINUM DOOR WITH FROSTED GLASS INSET PANEL 4.GARDEN ATRIUM ROOF ASSEMBLY SYSTEM: DOUBLE-PANE INSULATED GLAZING INSET BETWEEN 2.5” X 5” STEEL PRESSURE PLATED MULLIONS ATTACHED WITH STEEL PIVOT CONNECTOR TO 6” HSS

5.ROOF DECK/ INTERIOR ROOF ASSEMBLY (FROM EXT TO INT) LUNAWOOD SCANDINAVIAN PINE WOOD DECKING SLOPED, WOOD SLEEPERS, EPDM RUBBER MEMBRANE, R10 RIGID INSULATION, 3/4” PLYWOOD SHEATHING, 2X10 WOOD JOISTS FILLED WITH R30 BATT INSULATION, 1/2” GYPSUM BOARD

6.WALL ASSEMBLY (FROM EXT TO INT) WOOD CLADDING, 1X1 HORIZONTAL WD RUNNERS, 1X2 VERTICAL WD RUNNERS, VAPOR BARRIER, 3/4”PLYWOOD SHEATHING, 2X6 WOOD FRAMING WITH R21 BATT INSULATION, 1/2” GYPSUM

7. NANAWALL SL45 ALUMINUM FOLDING GLASS DOOR WITH FLUSH SILL 8. WOOD AND STEEL RAILING WITH METAL MESH PANELS 9. CEILING/ FLOOR ASSEMBLY (TOP TO BOTTOM) HARDWOOD FLOORING, 3/4” PLYWOOD SHEATHING, 2X10 WOOD JOISTS, R30 BATT INSULATION, 1/2” GYPSUM

10.BALCONY ASSEMBLY (EXT TO INT)

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LUNAWOOD SCANDINAVIAN PINE WOOD DECKING SLOPED, WOOD SLEEPERS, EPDM RUBBER MEMBRANE, 3/4”PLYWOOD SHEATHING, RIGID INSULATION BETWEEN TAPERED JOISTS, 1/2” GYPSUM

11. STOREFRONT STYLE GLASS AND ALUMINUM MULLION SYSTEM 12.FLOOR ASSEMBLY (TOP TO BOTTOM) 3” CONCRETE SLAB WITH 2” METAL DECKING, 10” OPEN WEB STEEL JOIST FILLED WITH BATT INSULATION, 1/2” GYPSUM ATTACHED TO METAL FRAMING.

13.WALL FURRING ASSEMBLY (CONCRETE TO INTERIOR) VAPOR BARRIER, 2X4 WOOD FRAMING, BATT INSULATION, 1/2” GYPSUM

14. CONCRETE WALL (INT TO EXT) 12” REINFORCED CONCRETE RETAINING WALL WITH BEAM POCKET ON 12” X 36” REINFORCED CONCRETE FOOTING, EXTERIOR VAPOR BARRIER, 2” RIGID INSULATION, GRAVEL, PERFORATED DRAIN

15. BASEMENT SLAB (TOP TO BOTTOM) POLISHED TOP FINISH LAYER OF CONCRETE, 5” REINFORCED CONCRETE SLAB WITH WIRE MESH INSERT, VAPOR BARRIER, 2” RIGID INSULATION, GRAVEL

16. RAIN COLLECTION DRAIN, BEYOND 17.COLUMN FOOTING, BEYOND 18. ALUMINUM FOLDING CURTAIN WALL DOOR 19. CURTAIN WALL 1.5” X 2.5” ALUMINUM MULLION WITH INSET DOUBLE PANE INSULATED GLAZING ATTACHED TO CURTAIN WALL SYSTEM

20. COLUMN ASSEMBLY 8 - 6” BENT HSS COLUMNS ATTACHED TO GARDEN ATRIUM ROOF ASSEMBLY

GARDEN ATRIUM SECTION A

SECTION A

FLEX SPACE FLEX SPACE

PACKAGING

COMMERCIAL KITCHEN

A DAY IN THE LIFE OF A RESIDENT DISTRIBUTION

EATERY

N

COMMUNITY CENTER USAGE DIAGRAM

ORCHARD & TENANT GARDENS

COMMUNITY (TENANT PRIORITY) GARDENS

GARDEN ATRIUM COURTYARDS

PRIVATE SEMI-PRIVATE PUBLIC

COMMERCIAL KITCHEN PACKAGING AND DISTRIBUTION PASSIVE & ACTIVE FLEX SPACES

EASTERN MARKET MIDTOWN/ DOWNTOWN SUSTAINABLE ECONOMY

GARDEN ATRIUM

LOCATED A FEW BLOCKS EAST OF EASTERN MARKET, A POPULAR COLLECTIVE OF CULTURAL AND LOCAL FOOD MARKETS, CULTIVATE DETROIT SEEKS TO BUILD ON THE EXISTING INFRASTRUCTURE WHILE ADDRESSING THE FOOD INSECURITY PROBLEM IN THE AREA. AS OF 2017, 48% OF HOUSEHOLDS IN DETROIT WERE FOOD INSECURE, WHILE 30K RESIDENTS DID NOT HAVE ACCESS TO A FULL-LINE GROCER. THIS IS THE RESULT OF DETROIT BEING AN “OPPORTUNITY DESERT.” IN ORDER TO EMPOWER THE COMMUNITY TO CREATE THEIR OWN BUSINESS OPPORTUNITIES AND LIVE AN ECONOMICALLY SUSTAINABLE SELFDRIVEN LIFESTYLE, WE DESIGNED CULTIVATE DETROIT TO HAVE A FLEXIBLE SERIES OF NUTRITIONB A S E D C O L L E C T I V E S PA C E S WOVEN INTO THE FABRIC OF THE DEVELOPMENT.

COMMERCIAL KITCHEN

TENANT COURTYARD SEMI-PRIVATE

THIRD LEVEL SEMI-PRIVATE

BALCONIES

PRIVATE

SECOND LEVEL

SEMI - PUBLIC

GROUND LEVEL PUBLIC

COURTYARDS PUBLIC

GARDEN ATRIUM

SEMI-PUBLIC

AXONOMETRIC SECTION OF NW QUADRANT CLUSTER

24

LONGITUDINAL SECTION THRO

WHILE THE COMMERCIAL ASPECT OF THIS DEVELOPMENT IS IMPORTANT, WE ALSO WANTED TO FOCUS ON THE INDIVIDUAL KITCHEN AS A CATALYST FOR OPPORTUNITY. WHERE AVAILABLE, WE WANTED TENANTS TO BE ABLE TO HAVE DIRECT ACCESS INTO THE GARDEN ATRIUMS AND GROWING SPACES. A N O T H E R I M P O R TA N T A S P E C T O F THE DESIGN WAS BEING ABLE TO GIVE RESIDENTS PERSONAL, INDIVIDUALIZED SPACE WHILE STILL BEING INTEGRATED INTO THE COLLECTIVE AREAS. WE USED VARYING SCALES OF GREEN SPACE AND EXTERIOR SPACE TO CREATE LAYERS OF PRIVACY FOR RESIDENTS, WHILE E N H A N C I N G T H E AT M O S P H E R E O F PUBLIC SPACES. THE LAYOUT OF THE UNITS BOTH IN PLAN AND ELEVATION WERE GIVEN CAREFUL CONSIDERATION TO CREATE UNIQUE MOMENTS, PRIVACY, AND INTERACTION. IT WAS IMPERATIVE THE DEVELOPMENT F E LT L I K E A C O M M U N I T Y R AT H E R THAN AN APARTMENT COMPLEX, BUILT TO SUPPORT MULTI-GENERATIONAL FAMILIES.

OUGH PUBLIC & PRIVATE SPACES

SECOND LEVEL UNIT CLUSTER PLAN, NW QUADRANT

THIRD LEVEL UNIT CLUSTER PLAN, NW QUADRANT APARTMENT UNIT TYPE STUDIO UNIT

ONE BEDROOM UNIT

TWO BEDROOM UNIT

THREE BEDROOM UNIT

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N

NORTHWEST VIEW OF SITE

E SHOWING MORNING SUN

ARTIFICIAL BIOPHILICS ACCORDING TO THEORIST QUATREMÈRE DE QUINCY, ARCHITECTURE IS INTERESTED IN “NOT NATURE’S CONCRETE PHENOMENA BUT THE UNIFORMITY (GESETZLICHKEIT) AND RULES

BY WHICH SHE EXISTS AND CREATES.” ARE THESE RULES THAT WHICH MAKE NATURE SO APPEALING TO HUMAN EYES AND IS OUR BUILT ENVIRONMENT A RESPONSE TO IT? THIS PROJECT IS INTERESTED IN HOW ARTIFICIAL INTELLIGENCE TAKES PART WITHIN THIS RELATIONSHIP AND HOW IT CAN HELP US BETTER UNDERSTAND OUR SENSORIAL SURROUNDINGS. IT IS OUR ASSERTATION THAT WE CAN MAKE USE OF ARTIFICIAL INTELLIGENCE BY ASKING THE FOLLOWING QUESTIONS; IF WE WERE TO THINK OF ARTIFICIAL INTELLIGENCE AS A PURE CREATIVE MIND, KNOWING ONLY THE NATURAL WORLD, WHAT TYPE OF ENVIRONMENT WOULD IT DESIGN? HOW WOULD IT INTERPRET THESE NEW ENVIRONMENTS INTO ARCHITECTURAL SPACE? NEURAL NETWORKS HAVE THE UNIQUE ABILITY TO INTERPRET AND CREATE DATA WITHOUT EXTERNAL BIAS, ALLOWING US TO VISUALIZE ARTIFICIAL ENVIRONMENTS, FACILITATING THE CREATION OF A NEW SENSORIAL CONTEXT IN WHICH WE CAN EXIST. WINTER 2020 THESIS STUDIO MATIAS DEL CAMPO & SANDRA MANNINGER ASSISTED BY ALEXA CARLSON & DANISH SYED TEAM

ANH-THU VUONG, FA ZHE REN

28

ARTIFICIAL INTERPRETATION OF ARTIFICIAL ENVIRONMENT GENERATED BY A.I.

OUR RELATIONSHIP TO NATURE, THOUGH EVERCHANGING, HAS ALWAYS EXISTED. THOUGH A PRODUCT OF NATURE, HUMANS REDEFINED THE NATURAL ENVIRONMENT INTO ARTIFICIALITY BY CREATING THE BUILT WORLD. STARTING WITH THE REPLICATION OF NATURAL SPACE, WE CURATED AND PRODUCED OUR INTERPRETATIONS OF THE NATURAL WORLD THROUGH THE MEDIATION OF MATERIAL OBJECTS. WE CREATED OUR OWN LANGUAGE OF SPATIAL RELATIONS, BUILDING UPON IT OVER THOUSANDS OF YEARS AND REFORMULATING OUR RELATIONSHIP TO WHAT WE CONSIDER TO BE NATURE. IN THE 18TH CENTURY, MARC-ANTOINE LAUGIER BROUGHT FORTH THE IDEA OF THE PRIMITIVE HUT, WHICH SOUGHT TO EXPLORE MAN’S INTRINSIC RELATIONSHIP TO THE NATURAL ENVIRONMENT LEADING TO THE CREATION OF ARCHITECTURE. AFTER WE DEVELOPED THIS LANGUAGE, W E C O N T I N U E D T O B U I L D O N I T, C R E AT I N G SYSTEMS, RULES, AND INTERPRETATIONS OF OUR INTERPRETATIONS. WE WILL ALWAYS POSSESS THIS RELATIONSHIP TO THE NATURAL WORLD, AND MUCH OF WHAT WE KNOW, ESPECIALLY AS DESIGNERS, HAS COME FROM THOUSANDS OF YEARS OF DEFINING THE ENVIRONMENT IN WHICH WE INHABIT. THE PRIMITIVE HUT, MARC-ANTOINE LAUGIER

ACCORDING TO RESEARCH DONE BY THE UNIVERSITY OF MONTANA IN COLLABORATION WITH JOHNS HOPKINS UNIVERSITY, NOT JUST NATURE ITSELF BUT ALSO IMAGES OR LIKENESS TO NATURE IMPROVES OVERALL HEALTH AND WELL-BEING. EXPOSURE TO IMAGES OF NATURE OR NATURAL ELEMENTS HAS BEEN TIED TO A DECREASE OF OXYHEMOGLOBIN CONCENTRATIONS IN THE BRAIN, WHICH IMPROVES PSYCHOLOGICAL CALMING AND POSITIVE CHANGES TO HEART RATES. IN ADDITION TO THIS, STUDIES SPANNING THE LAST 50 YEARS HAVE SUGGESTED HUMANS ARE INTRINSICALLY DRAWN TO NATURE. IN HIS BOOK “BIOPHILIA (1984),” EDWARD WILSON DEFINES BIOPHILIA AS “THE INNATE TENDENCY TO FOCUS ON LIFE AND LIFELIKE PROCESSES,” HYPOTHESIZING THE BRIDGE BETWEEN HUMANS AND NATURE IS PHYSIOLOGICAL AND GENETIC.

THE CAVE DWELLING, MANKIND’S EARLIEST FORM OF HABITATION, MITSUO INOUE

30

OUR GROUP COLLECTED A DATABASE CONSISTING OF OVER 4,000 IMAGES BROKEN INTO TWO DATASETS: NATURAL SPACES AND ELEMENTS, AND ARTIFICIAL SPACES AND ELEMENTS. USING THIS DATABASE, WE TRAINED NEURAL NETWORKS TO ARTIFICIALIZE THE NATURAL, CREATING NOVEL ENVIRONMENTS. TO DO THIS, WE USED TWO DIFFERENT METHODS, NEURAL STYLE TRANSFERS (NST) AND A GENERATIVE ADVERSARIAL NETWORK (CYCLEGAN). WE USED NST TO PRODUCE A NEW TYPE OF NATURAL ENVIRONMENT, AND THE CYCLEGAN WAS USED TO CONVERT THESE NEW ENVIRONMENTS INTO ARCHITECTURAL SPACE. FOR BOTH METHODS, ONLY THIS DATABASE WAS USED TO ENSURE THAT THE ARTIFICIAL INTELLIGENCE LEARNED THE PRESENTED FEATURES. below | TWO DATASETS FORM A MATRIX FOR UNPAIRED IMAGE TO IMAGE TRANSLATION

{}{} NATURAL

ARTIFICIAL

,

..

..

THE FIRST STEP OF ARTIFICIALIZING NATURE WAS EXPLORED THROUGH NEURAL STYLE TRANSFERS, WHICH CREATED FAKE NATURAL ENVIRONMENTS COMPOSED OF REAL FEATURES FOUND IN NATURE. THROUGH EXPERIMENTATION, OUR GROUP DEVELOPED A FORMULA FOR ITERATIONS WHICH WAS FOLLOWED FOR A MAJORITY OF STYLE TRANSFERS IN THIS PROJECT. THIS FORMULA IS: SPATIAL ELEMENT + PATTERN + FEATURE ELEMENT THIS PROCESS PRODUCES A NEW NATURAL ENVIRONMENT, WHICH IS LATER FED INTO A GENERATIVE ADVERSARIAL NETWORK TO PRODUCE AN ARTIFICIAL SPACE. THE DIAGRAM ON THE ADJACENT PAGE SHOWS THE RESULT OF THIS FORMULA WITH THREE ITERATIONS. A SPATIAL CONDITION OF STONE AND A BONE PATTERN IS COMBINED, CREATING THE STYLE OF THE PATTERN IMAGE WITH THE SPATIAL ARRANGEMENT OF THE BASE IMAGE, WHICH IS LABELED AS “OUTPUT 1.”

FOLLOWING THIS FIRST ITERATION OF OUTPUT 1, A SECOND STYLE TRANSFER IS PERFORMED WITH A FEATURE IMAGE. THE RESULT OF THREE DIFFERENT FEATURE IMAGES TRANSFERRED ONTO THE INITIAL OUTPUT IMAGE IS SHOWN WITH WIDELY VARYING RESULTS. THIS IS THE FIRST STEP OF ARTIFICIALIZING NATURE; HOWEVER, DESPITE THEIR UNIQUE COMPOSITIONS, THESE GENERATED IMAGES STILL LOOK “NATURAL.”

FEATURE REPRESENTATION SIMPLE FEATURES

STYLE IMAGE

CONVOLUTIONAL & MAX POOLING LAYER 1

COMPLEX FEATURES

CONVOLUTIONAL & MAX POOLING LAYER 2

above | NEURAL STYLE TRANSFER VIA VGG-19 CONVOLUTIONAL NEURAL NETWORK top | ARTIFICIAL NATURES PRODUCED THROUGH NEURAL STYLE TRANSFER right | MULTI-STEP PROCESS OF IMAGE MANIPULATION USING NEURAL STYLE TRANSFER

32

FULLY CONNECTED LAYERS

INPUT IMAGE (NOISE)

PRE-TRAINED NEURAL STYLE TRANSFER CONVOLUTION NEURAL NETWORK

CONTENT BASE IMAGE

STYLE IMAGE

GENERATED IMAGE - OUTPUT 1

CONTENT FEATURE IMAGE

CONTENT FEATURE IMAGE

CONTENT FEATURE IMAGE

GENERATED OUTPUT IMAGE

GENERATED OUTPUT IMAGE

GENERATED OUTPUT IMAGE

CYCLEGAN TRAINING RESULTS UNPAIRED IMAGE TO IMAGE TRANSLATION

REAL INPUT IMAGE | NATURAL

FAKE OUTPUT IMAGE | ARTIFICIAL

AFTER CREATING THESE NEW ARTIFICIAL-N TO BE ABSTRACTED INTO ARCHITECTURA TRAINED TO PERFORM THIS TASK. USING U FOR CYCLEGAN, WE TRAINED TWO NETWO ELEMENTS- AND ONE WHICH ONLY KNOW THESE NETWORKS ATTEMPT TO TRICK EA CREATED A REAL SPACE, USING ELEMENT OTHER NEURAL NETWORK.

GXY

NEW ARTIFICIAL

DX

NATURAL X

GYX

OUTPUT IMAGES

DISCRIMINATOR

REAL INPUT IMAGE | NATURAL

INPUT IMAGES

GENERAT

FAKE OUTPUT IMAGE | ARTIFICIAL

USING OUR DATABASE, THE CYCLEGAN RAN TO LEARN HOW TO CREATE THESE ARTIFIC TRAINING RESULTS BETWEEN THE TWO ATTEMPTING TO PRODUCE WHAT IT BELIE IS A REAL IMAGE. THE FAKE IMAGE PROD ADJACENT NATURAL IMAGE CAN BE SEEN 34

CYCLEGAN TRAINING RESULTS UNPAIRED IMAGE TO IMAGE TRANSLATION

REAL INPUT IMAGE | NATURAL

NATURAL ENVIRONMENTS, THEY ARE READY AL SPACE USING NEURAL NETWORKS WE UNPAIRED IMAGE TO IMAGE TRANSLATION ORKS, ONE WHICH ONLY KNOWS NATURAL WS ELEMENTS OF THE BUILT ENVIRONMENT. ACH OTHER INTO THINKING THE OTHER TS THEY ANALYZE TO BE SIMILAR IN THE

Y

ARTIFICIAL Y

DY

NEW NATURAL

X

ATORS

INPUT IMAGES

REAL INPUT IMAGE | NATURAL

DISCRIMINATOR

OUTPUT IMAGES

FAKE OUTPUT IMAGE | ARTIFICIAL

N THROUGH OVER 1.5 MILLION ITERATIONS CIAL NATURES. WHAT IS SHOWN IS SEVERAL O NETWORKS WHERE THE CYCLEGAN IS EVES THE OTHER NETWORK WOULD THINK DUCED BY THE CYCLEGAN BASED ON THE N IN THE ARTIFICIAL COLUMN.

FAKE OUTPUT IMAGE | ARTIFICIAL

NEURAL STYLE TRANSFER

NEURAL STYLE TRANSFER FED IN TO NETWORK TRAIN

AFTER THE CYCLEGAN WAS FINISHED TRAINING, PUT THEM THROUGH OUR CYCLEGAN TO PRODUC ARTIFICIAL ENV

INPUT IMAGES | REAL

36

STYLE TRANSFER RES

R TO CYCLEGAN RESULTS

NED USING UNPAIRED IMAGE TO IMAGE TRANSLATION

WE TOOK THE NST IMAGES WE PRODUCED AND CE AN ARCHITECTURAL INTERPRETATION OF THE VIRONMENTS.

SULTS | ARTIFICIAL ENVIRONMENTS

CYCLEGAN RESULTS | ARTIFICIAL INTERPRETATION

3D MODEL REPRESENTING TWO ART

CONVERTING THE ARTIFICIAL INTERPRETATIONS INTO 3-DIMENSIONAL SPACE

FOR THE IMPLEMENTATION OF THE ARTIFICIAL INTELLIGENCE GENERATED SPACES INTO 3-DIMENSIONAL UNDERGROUND OF DOWNTOWN CHICAGO, UTILIZING THE ABANDONED FREIGHT TUNNEL SYSTEM MA CARRY MAIL AND OTHER NECESSITIES ACROSS THE CITY. OUR GOAL WITH THIS SITE WAS TO CONNECT TUNNELS WITH SYSTEMS CURRENTLY BEING USED, SUCH AS THE CHICAGO TRANSIT AUTHORITY AND THE PED BREVITY, THESE DOCUMENTS HAVE BEEN OMITTED FROM THIS PORTFOLIO. THE UNDERGROUND NETWORK ARTIFICIAL NATURES TO CREATE NOVEL EXPERIENCES AND SPACES. DUE TO LIMITATIONS IN TECHNOLOGY, 2-DIMENSIONAL IMAGE POSSESSES, THE LAST STAGE OF THIS PROJECT BECAME A PARTNERSHIP BETWEEN ARTIFICIAL INTELLIGENCE. EVEN WITH THE CURRENT LIMITATIONS OF TECHNOLOGY, WE WERE ABLE TO TEAC TO PICK UP ELEMENTS WITHIN NATURE AND RECONSTRUCT IT IN A LOGIC INCONCEIVABLE BY HUMANS. HAVIN CAPABLE OF DOING THIS ALLOWS FOR THE POSSIBILITY OF A FULLY AUTOMATED DESIGNER IN THE FUTURE, W FROM DATASETS CURATED BY ARCHITECTS AND OTHER DESIGNERS.

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TIFICIAL INTERPRETATIONS

L SPACE, OUR SITE WAS THE ADE IN THE EARLY 1900S TO THE REDESIGNED FREIGHT DWAY SYSTEM. FOR PROJECT KS ARE ENHANCED BY THESE AND THE LACK OF DEPTH A HUMAN INTELLIGENCE AND CH ARTIFICIAL INTELLIGENCE NG ARTIFICIAL INTELLIGENCE WHOSE KNOWLEDGE COMES 3D MODEL REPRESENTING TWO ARTIFICIAL INTERPRETATIONS

LONGITUDINAL TUNNEL SECTION OF 3-DIMENSIONAL SPACE

IMAGES OF NATURE USED TO CREATE STYLE TRANSFER

FURTHER EXPERIEN NEW NAT AND AS I

BY BOTH PLAYING OF SOLE

STYLE TRANSFER (LEFT) AND ARTIFICIAL INTERPRETATION BY CYCLEGAN (RIGHT)

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SENSORIAL SPACE CREATED BY ARTIFICIAL INTELLIGENCE AMALGAMATION

R EXTRAPOLATING ON THIS, THE ARTIFICIAL INTERPRETATIONS CAN BE APPLIED TO THE SPACE TO CREATE NOVEL NCES. THESE SPACES ARE UNIQUE, YET HAVE A SIMILAR QUALITY OF WHIMSY THAT COMES WITH WANDERING INTO A TURAL SPACE. FOR THE TIME BEING, ARCHITECTS ARE STARTING TO USE NEURAL NETWORKS AS A TOOL FOR DESIGN, IT IS A TOOL, THE MAIN STREAM OF AGENCY STILL COMES FROM HUMANS. AS TECHNOLOGY ADVANCES, DRIVEN H HUMANS AND MACHINES, IT IS ONLY A MATTER OF TIME BEFORE ARCHITECTS AND A.I. COULD SHARE THE SAME FIELD. HOWEVER, BOTH WILL NEED TO COLLABORATE TO ACHIEVE HIGHER GROUNDS, ONE GREATER THAN THAT ELY HUMAN OR MACHINE.

ADDITIONAL COMPONENTS EXTRACTED FROM AI INTERPRETATIONS ALTER SENSORIAL QUALITIES

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APPLYING DIFFERENT ARTIFICIAL INTERPRETATIONS ALTERS SENSORIAL QUALITIES OF SPACE

ARTIFICIAL NATURE

REAL INPUT IMAGE

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ARTIFICIAL INTERPRETATION WITH ATMOSPHERIC QUALITIES OF ARTIFICIAL NATURE

PIZZERIA PARADISO PIZZERIA PARADISO, THE FOUR TH LOCATION OF A POPULAR WASHINGTON, DC PIZZA CHAIN, IS A 3500 SQ. FT. TENANT FIT-OUT LOCATED IN A NEW CONSTRUCTION SHOPPING PLAZA. IT WAS DESIGNED WITH A CONTEMPORARY AESTHETIC AND FEATURES THAT MATCH THE EXISTING BRANDING OF THE RESTAURANTS. THE DESIGN CONCEPT EMPHASIZES THE WOOD-FIRED PIZZA OVEN AND CRAFT BEER SELECTION THROUGH NESTED MATERIAL VOLUMES AND CUSTOM MILLWORK. THE PROJECT INCORPORATED RE-USED FF&E AND BUILDING MATERIALS FROM A PREVIOUS BUSINESS ENDEAVOR INTO THE DESIGN. SPECIAL ATTENTION WAS GIVEN TO THE PIZZA-MAKING PROCESS, SHOWCASING IT TO THE MAIN DINING SPACE WHILE MAKING THE FIRE FROM THE PIZZA OVEN VISIBLE FROM THE ENTRANCE. DUE TO THE LARGE SELECTION OF BEER, A DISPLAY STORAGE CABINET SERVES AS A FOCAL POINT, AND THE WALK-IN REFRIGERATION SYSTEM WAS FRAMED WITHIN THE BAR RATHER THAN HIDDEN AWAY. A TRELLIS IN THE CENTER OF THE SPACE CREATES A MORE INTIMATE SETTING FOR BAR SEATING, ACTIVATING THE SPACE AND CREATING A SOFT DIVISION BETWEEN THE TWO MORE OPEN DINING AREAS. FOR THIS PROJECT, I ASSUMED MOST OF A PROJECT ARCHITECT’S ROLES, FULLY REALIZING IT FROM SCHEMATIC DESIGN TO CONSTRUCTION ADMINISTRATION.

OCTOBER 2018 LEAD DESIGN & PROJECT MANAGEMENT GRONNING ARCHITECTS TEAM

ERIC GRONNING, DARREN FRASER, PHILIPPE PESSOTTI

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MAIN DINING AREA

PIZZA PREPARATION KITCHEN

BAR SEATING AREA

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CUSTOM BEER STORAGE DISPLAY CABINET

BAR SEATING AREA

CORK WINE BAR CORK WINE BAR & MARKET IS A LOCALLY WELL KNOWN SMALL-PLATES RESTAURANT AND FINE FOODS MARKET IN WASHINGTON, DC. THIS PROJECT WAS A RENOVATION OF THE EXISTING MARKET LOCATION TO COMBINE AND UPGRADE THE RESTAURANT, WHICH EXISTED AS A SEPARATE LOCATION, MAKING ONE COHESIVE ESTABLISHMENT. THE DESIGN WAS COORDINATED CLOSELY WITH THE OWNER, WITH AN EFFORT TO BUILD ON THE EXISTING STYLE, RESULTING IN A RUSTIC-CONTEMPORARY AESTHETIC. MY ROLE IN THIS PROJECT WAS PRIMARILY FOCUSED ON FF&E, IN ADDITION TO MATERIAL FINISHES. TABLES AND BOOTH/ BENCH SEATING WERE CUSTOM DESIGNED, WITH STORAGE SHELVING FOR THE MARKET BEING FABRICATED BY OUR TEAM. ADDITIONAL ROLES I CONTRIBUTED IN THIS PROJECT WERE RELATED PERMITTING, CONSTRUCTION DOCUMENTATION, AND CONSTRUCTION ADMINISTRATION. IN ADDITION TO INTERIOR AESTHETICS, EXTERIOR FINISHES AND DESIGN ALSO FELL UNDER MY PURVIEW.

NOVEMBER 2017 PROJECT DESIGNER GRONNING ARCHITECTS TEAM

ERIC GRONNING, PHILIPPE PESSOTTI

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BOOTH SEATING AREA

LOWER LEVEL | MARKET CAFE SEATING AND SHOP

LOWER LEVEL | MARKET CAFE AND WINE BAR

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SECOND LEVEL RESTAURANT MAIN DINING ROOM AND BAR

SECOND LEVEL | CUSTOM TABLES IN MAIN DINING ROOM

2L | PRIVATE DINING ROOM

SECOND LEVEL RESTAURANT BOOTH SEATING AREA

THE IMPERIAL THE IMPERIAL WAS A LONG-AWAITED ESTABLISHMENT IN THE WASHINGTON, DC RESTAURANT SCENE. OWNED BY PURVEYORS OF ONE OF THE MOST POPULAR RESTAURANTS IN THE DISTRICT, FEATURING FOUR SEPARATE DINING EXPERIENCES (INCLUDING THE RELOCATION OF DRAM & GRAIN) INTEGRATED INTO ONE BUILDING, THIS PROJECT WAS A UNIQUE AND CHALLENGING UNDERTAKING. MY ROLE IN THIS PROJECT WAS PRIMARILY R E L AT E D T O F F & E A N D B U I L D I N G MATERIALS, WITH VARIOUS CONSTRUCTION DOCUMENTATION AND CONSTRUCTION ADMINISTRATION. I WAS PRIMARILY FOCUSED ON THE IMPERIAL MAIN DINING SPACE, AND IT’S RAW BAR DINING AREA (SHOWN IN SUBSEQUENT PHOTOS), IN ADDITION TO SOME AREAS OF DRAM & GRAIN LOCATED IN THE BASEMENT. THE DESIGN INTENT OF THE IMPERIAL WAS TO BE A LIGHT AND AIRY ATMOSPHERE FEATURING A CONTEMPORARY I N F U S I O N W I T H E A R LY 2 0 T H C E N T U R Y TRADITIONAL.

OCTOBER 2019 PROJECT DESIGNER GRONNING ARCHITECTS TEAM

ERIC GRONNING, PHILIPPE PESSOTTI, MICHAEL FIELD

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MAIN DINING AREA

MAIN LEVEL BAR

MAIN DINING AREA AND BAR

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BOOTH SEATING AREA

STAIR TO ROOFTOP BAR

MAIN DINING AREA

RAW BAR SEATING

LOWER LEVEL RAW BAR

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ARTIFICIAL INTELLIGENCE ASSISTED ARTWORK

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ARTWORK

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PHOTOGRAPHY

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PHOTOGRAPHY