TECHNE 2024-2025

2024 2025

TECHNE 2024-2025 Published by Department of Architecture at City Tech, CUNY TECHNE is the annual print and digital publication of faculty-selected student work from City Tech, CUNY. FACULTY ADVISORS Elena M’Bouroukounda, exhibition Jieun Yang, publication STUDENT EDITORIAL TEAM Safa Amer Briana Carrasco, editor-in-chief Flaminia Cedeno Mari Kiguradze Nouha Lekhzoumy Nasir McIntosh Vladislav Molchanov Amanda Mostafa, design lead Anthony Phung Elijah Roman Pierre Theodat, design lead Elisabet Tolentino Catherine Valenzuela Aaron Verdugo Karen Yascaribay SOCIAL MEDIA DIRECTORS Amanda Mostafa Pierre Theodat @nycct_techne TYPEFACE Univers Next Pro IMAGE CREDITS Casual photography has been provided by members of the City Tech Community.

For more information, please write, call, or visit us at: Department of Architecture City Tech, CUNY Voorhees V-817 / 186 Jay Street Brooklyn, NY 11201 +1 718 260 5263 architectech@citytech.cuny.edu ©2026 Department of Architecture at City Tech, CUNY All rights reserved. No part of this book may be reproduced in any form without written permission from Department of Architecture at City Tech, CUNY. 2

TABLE OF CONTENTS 008

ARCH 5112 & 5212 - Architectural Design IX & X

032

ARCH 4812 - Architectural Design VIII

040

ARCH 4712 - Architectural Design VII

046

ARCH 3612 - Architectural Design VI

054

ARCH 3512 - Architectural Design V

066

ARCH 2412 - Architectural Design IV

076

ARCH 2312 - Architectural Design III

088

ARCH 1212 - Architectural Design II

100

ARCH 1112 - Architectural Design I

112

ARCH 1121 - Architecture History to 1900

136

ARCH 1101 - Intro to Architecture

144

College Now Summer Architecture & Urban Design

150

Architectural Electives

156

ARCH 1231 - Building Technology I

164

ARCH 2331 - Building Technology II

170

ARCH 2431 - Building Technology III

182

ARCH 3531 - Building Technology IV

186

ARCH 5112 & 5212 - Architectural Design IX & X 3

This edition of TECHNE focuses on spotlighting students’ work through the use of whitespace.

Its format allows images to stand alone and shine, while also being in harmony with the work that surrounds it. Through space, our students’ intentions breathe freely.

Briana Carrasco Editor-in-Chief B.Arch Class of 2026

4

EDITOR’S NOTE In architecture, the void is as critical as the mass. It is within the spaces between that life unfolds and design intention is truly felt. This latest edition of TECHNE, continuing its vital role as a living archive of student exploration, embraces this fundamental spatial concept through its deliberate curation and design.

If last year’s volume asked us to pause and look to history to understand our trajectory, this year’s edition invites us to pause and look closely at the immediate work before us to find a way to move forward. As noted by our student editorial team, the generous use of whitespace within these pages is not an absence, but a purposeful framing. It provides necessary breathing room, allowing the brilliance, complexity, and rigor of our students’ projects and influences beyond the classroom to stand on their own and speak for themselves.

In a world – and a discipline – increasingly defined by density, speed, and noise, carving out quiet space for reflection is a powerful editorial act. By surrounding these architectural stories, experiments, and ideas with visual clarity, this publication fosters a deeper, more intimate engagement with the evolving discourse of our built environment and within our department.

I am incredibly proud of the editorial team for their vision, and of the students whose work fills these pages. We hope this edition of TECHNE allows you to step into these intentionally crafted spaces and experience the future of architecture breathing freely.

Jieun Yang Faculty Editor / Assistant Professor Department of Architecture March 2026 5

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FOREWORD “The measure of a human is what they do with entropy” — Norbert Wiener [American computer scientist, mathematician, and philosopher] It is impossible not to feel the weight of the social, political and environmental convulsions shaking the nation, and our city. The pressures are visible in our neighborhoods, our institutions, and our public life. In this context public design education emerges as both necessary and urgent. If entropy is the condition of our time, architecture remains a discipline that teaches us how to collaborate, and how to respond. We tackle complexity, give it structure, and transform uncertainty into shared possibility.

The Department of Architecture is founded on access - the radical idea that higher education should not be reserved for the privileged, but open to talent wherever it exists. In a city defined by density, diversity, and inequality, public design education is not abstract; it is immediate and consequential.

Over my eleven years of service as the Department Chair, I witnessed a steady rise in enrollment and the growth of a studio culture rooted in solidarity and ambition. The camaraderie among students is not incidental - it is born of shared experiences, culture and values. Our student clubs, exhibitions and events reflect a department pulsing with creative energy and purpose. We are demonstrating the relevance of a public program of architecture in an increasingly privatized environment.

When asked to imagine their future beyond employment, licensure, or advanced degrees, students consistently articulate a vision larger than individual advancement. They speak of “giving back” - to neighborhoods that nurtured them, to their communities on the margins and to play a part in the city that is constantly remaking itself. Students recognize architecture as a manifestation of public service and cultural representation. Design justice that promotes equity, stewardship, and responsibility.

The work in this year’s TECHNE reflects that conviction. It confronts the climate crisis through adaptive and resilient strategies. It addresses housing inequity and public space with intelligence and empathy. It explores material innovation alongside social accountability. It engages New York as an active civic landscape - shaped by tension, diversity, and possibility.

“Tú nos dices que debemos sentarnos Pero, las ideas sólo pueden levantarnos Caminar, recorrer, no rendirse ni retroceder Ver, aprender, como esponja absorber Nadie sobra, todos faltan, todos suman Todos para todos, todo para nosotros” -Ana Tijoux If the measure of a person is what they do with entropy, then the measure of our department is found in the optimism, resilience, and generosity of its students and faculty.

In a city that never stands still, we are learning not merely to adapt to change, but to give it form - to transform turbulence into architecture that belongs to everyone.

Sanjive Vaidya, Architect Department Chair, 2015 - 2026 Department of Architecture 7

ARCH 5112 & 5212 ARCHITECTURAL DESIGN IX & X Design IX and X are yearlong thesis studio working closely with a faculty advisor. Students assemble comprehensive research on a preapproved topic.

Research includes user needs, precedent studies, site analysis, along with social, cultural, historical and technical implications of a proposed architectural intervention. Thesis research clearly focuses on the selected area of study presenting well-formed arguments to advance student approaches to architectural design and methodology. Students prepare a comprehensive document that includes their research and analysis, a written project statement along with all design methodology as part of their final presentation.

Breakout Learning 88 8

TEXTURA T TE XT TU UR R A | CH CHR CHRISTOPHER RISTOP RIST TOP PHE HER R MANC M MA MANCIA A NC NCIA CIA A

Longitudinal Section | Scale: 1” = 50’ - 0”

8

$5&+ B)$ B63 B/'B7+(6,6B/,1'6(< Edu

Professor Lia Dikigoropoulou

Professor Michael Duddy

Khadija Akther Kaylynn Daoud Chris Mancia Luis Rendon-Vazquez Lindsey Tlahuextl

Vincent Cheung Alyssa Duran Kawall Jagmohan Luckasz Klertiashvili Javon Morgan Yiyi Zhong

ARCH 5112 & 5212 - Architectural Design IX & X | 9

ALYSSA DURAN Institute for Humanity Today is the time to be here and now. We are living in a series of global events that pose risks to humanity’s future—from human rights, democracy, religion, housing, food access, and environmental pollution. To bring these concerns into a space for debate and research that will lead to future solutions, the Institute for Humanity will serve as an asset for cooperation and dialogues to develop understanding of the critical issues that are and will be affecting the future of the human race. The intersection of over-pollution—specifically microplastics— and human life is currently threatening the holistic future of our well-being. It is essential to explore how today’s problems can become tomorrow’s solutions. As designers, we have a responsibility to recognize and develop innovative strategies to better understand the challenges of environmental pollution caused by the pervasive nature of microplastics and their impact on ecosystems and public health. Through the integration of science, technology, and architecture, the Institute for Humanity will become a global hub for addressing these complex, interconnected challenges.

10

The institute for Humanity will be home of six research centers dedicated to focused research on pressing social and political challenges of our time and will convene conferences to promote discussion and debate to promote a more equitable future.

ARCH 5112 & 5212 - Architectural Design IX & X | 11

LUKAS KLERTIASHVILI Yale University Center for Humanities Center for Religious Understanding The proposed religious center at Yale would supplement the further acceptance and knowledge to the new generation of young minds of the many cultural and ideas of beliefs that are most popular in the present world. A center holding such aspects should aid the incoming population to achieve advanced knowledge in the beliefs that a majority of the individuals identify and hold a deep connection with. To respect the beliefs of each individual and be knowledgeable of the differences and the entire basis of what religion has to do in society.

12

The interior spacial layout is designed to resemble the notion of an infinite everlasting stacking of modules or rooms that would be relatable to the fractals and system of patterns and continuations that come from the resulting repetitive forms.

This circulation space would accompany all the spaces to unify them and give a uplifting feeling when you circulate through. The uplifting feeling is supposed to deepen sense of divinity and a sense of spiritual sensation when moving from class to any room via the hallway.

ARCH 5112 & 5212 - Architectural Design IX & X | 13

YIYI ZHONG Sustainable Agriculture Center The center’s primary goal is to redefine agricultural systems by integrating technological advancements, ecological research, and socio-economic studies.

By doing so, we aim to enhance crop yields while preserving soil health and biodiversity, optimize water management to combat scarcity and ensure efficient usage, develop resilient farming techniques that adapt to climate variability, and promote awareness of sustainable practices among communities and policymakers.

14

Lower Level -1

This center will serve as a hub for innovation, bringing together students, researchers, farmers, and policy-makers to collaborate on transformative agricultural practices.

Lower Level -2

29

ARCH 5112 & 5212 - Architectural Design IX & X | 15

VINCENT CHUENG Gateway to the Future The Research Center focuses on the between social media and human rights. Also, it is mainly in the context of elevating equality and civil rights. The center’s work is reported by the learning that social media platforms have become crucial areas for the talk and help of civil rights and social equality. It examines how these platforms can be inspired to improve democratic attention and address issues of inequality and injustice. The center’s research includes studying the impact of social media on the visibility and importance of civil rights movements.

16

The Arcade acts as a public, hybrid space that is central for tying individual research centers together.

It creates a sense of various circulation and platforms, adding to the vibrancy of the internal spaces within the hybrid spaces of the arcade.

e Conference Center sectional WLYH KDV GL΍HUHQW VSDFHV VXFK DV ODUJH ll auditoriums, classrooms, events, and 7KH JURXQG ȵRRU KDV WKH HYHQW DQG pace, rather than the connection space, e large and small auditorium. The top KH FODVVURRP ZLWKLQ WKH &RQIHUHQFH The Conference Center is for the fellows, administration, and publicity. conference center is extended to de, giving it more presence. The nce center faces directly on the Yale Building and the private courtyard.

Fig. 67: Conference Center Section Fig. 67

ARCH 5112 & 5212 - Architectural Design IX & X | 17

JAVON MORGAN Research Center of Academic Freedom The Center for Academic Freedom represents a vision for preserving and advancing the principles of intellectual autonomy in an era where these values are increasingly under threat. Academic freedom is the foundation of democratic societies, enabling scholars to question, explore, and innovate without fear of censorship or retaliation. Yet, political, economic, and cultural pressures continue to challenge this essential liberty, stifling progress and narrowing the scope of inquiry. Drawing on historical precedents, key intellectual figures such as Malcolm X, Noam Chomsky, and Edward Said, and contemporary movements advocating for intellectual autonomy, this study identifies the profound risks posed by restrictions on academic freedom. From governmental censorship to corporate influence on research, the barriers to open inquiry threaten not only academia but also the broader fabric of democratic society.

18

This thesis explores the theoretical framework, site analysis, and architectural design strategies that underpin the Center, offering a vision for how academic freedom can be preserved and strengthened in a rapidly changing world.

ARCH 5112 & 5212 - Architectural Design IX & X | 19

KAWALL JAGMAHON Humanistic Horizons The objective of this design is to establish a Center of Humanity within the central heart of Yale University campus, opposite the Sterling Memorial Library within 451 College St. My design involves the concept of dividing the institute into two “J-Shaped” wings. Connecting these two wings is a glass Hybrid Spine that interlocks them together and opens into each of the individual research centers’ public hybrid spaces as well as acting as the primary entrance for the research center.

20

Prominently facing Sterling Library is the Conference Center, a joint building that acts as the presentation and exhibition space for each of the individual research centers.

ARCH 5112 & 5212 - Architectural Design IX & X | 21

gr

ou

Pl

ay

Sunset Park Trauma-Informed Elementary School Sunset Park, a diverse NYC neighborhood, struggles with a hidden challenge: immigrant children aged 5-10 lack access to mental health support due to parental barriers including language differences, demanding work schedules, financial constraints, and cultural perspectives on mental health. With most local children coming from immigrant families, a trauma-informed elementary school could address their mental health needs without placing additional burdens on parents.

LUIS RENDON VASQUEZ Canal Stone Elementary Sunset Park, a diverse NYC neighborhood, struggles with a hidden A Nurturing Haven challenge: immigrant children aged 5-10 lack access to mental health support due The school must serve as a haven where children can escape difficult home circumstances, feel safe, and discover themselves. By creating an to parental barriers including language differences, demanding work schedules, environment that emphasizes safety, independence, and personal choice in learning approaches, we can help these children adapt, develop their + +perspectives on = financial constraints, and cultural mental health. With most identities, and foster genuine growth and education free from the burdens they experience at home as we build a community. From which we propose local children coming from immigrant families, a trauma-informed elementary a neighborhood corridor that bridge the connection between the Retreat Safety Growth A Nurturing Haven community and the school as the design language draw's Inspiration from school could address their mental health needs without placing additional rip rap stones, resembling a stronghold to reflect safety and growth. burdens on parents. The school must serve as a haven where children can escape difficult home circumstances, feel safe, and discover themselves. By creating an environment that emphasizes safety, independence, and personal choice in learning approaches, we can help these children adapt, develop their identities, and foster genuine growth and education free from the burdens they experience at home as we build a community.

01. Proposed Site

22

02. Infiltration

03. Carve

04. Fragmentation

05. Rise

06. Rotation

Breakout Learning

Longitudinal Section | Scale: 1” = 50’ - 0”

Educational Hub

Educational Hub

Technical Learning

Community Hub

A neighborhood corridor that bridge the connection between the community and the school as the design language draws inspiration from rip rap stones, resembling a stronghold to reflect safety and growth.

Legend: - Water - Administrative Programs - Support Programs - Circulation - Outdoor Programs

Second Floor Plan | Scale: 1” = 50’ - 0”

Breakout Learning

Longitudinal Section | Scale: 1” = 50’ - 0”

- Educational Programs

Educational Hub

Educational Hub

ARCH 5112 & 5212 - Architectural Design IX & X | 23

KAYLYNN DAOUD Cedars of Hope Lebanon hosts the highest number of refugees per capita and per square kilometer globally, with an estimated 1.5 million refugees. However, the country is grappling with its worst socio-economic crisis in decades, compounded by ongoing clashes in the south. This crisis has deeply impacted vulnerable populations, leading to a sharp increase in poverty, and limited access to housing, education, and essential services. As a result, both Lebanese citizens and refugees living in Lebanon face immense challenges, exacerbating an already unstable situation. Lebanon, a country noted for its rich history and culture, has encountered various challenges that have strained its economy and society, including economic insecurity, poverty, and limited access to essential services.

Creating community and temporary housing spaces for children and families who are experiencing being displaced or impoverished begins to address gaps in housing, mental health, and communities’ spaces. With millions of people forcibly displaced worldwide, Lebanon’s high refugee population highlights the urgency of creating living and community spaces that provide children and families, safety, support, and hope.

24

Residential and community spaces in Tripoli, Lebanon, designed to support families and children impacted by trauma.

Guided by principles of healing by design, the project provides resources that nurture physical and mental well-being; encouraging recovery, stability, and community.

ARCH 5112 & 5212 - Architectural Design IX & X | 25

KHADIJA AKTHER From Body to Soul Wellness Center Just as trees develop layers in response to their environment, the wellness center offers a layered healing experience structured around the journey of the Body, Mind, and Soul. The design is guided by the symbolic concept of tree rings, which represent the natural process of growth, resilience, and the passage of time.

26

Designed for sustainability, it reduces heat island effect, stores rainwater, and enhances comfort through evaporative cooling and thermal mass.

The green roof of the wellness center seamlessly blends architecture with nature, forming a continuous, walkable landscape that supports healing and connection.

ARCH 5112 & 5212 - Architectural Design IX & X | 27

CHRISTOPHER MANCIA Colonia de Arte This thesis proposal intends to activate the historical city center of Guatemala City through the expression of the country's arts, heritage and ecology.

Providing a flexible space promotes community integration and adapts to cultural and social needs as they develop over time.

NEW LIGHTING IN ALUMINUM FRAME 40 MM POLYCARBONATE PANEL - COLOR 1

2 1/2" X 7 1/2" ALUM CHANNEL TPO COVER BOARD R-50 RIGID INSULATION 8" REINFORCED CONC. SLAB

POLYCARBONATE PANELS TO BE BUTT JOINTED WITH 3/8" GAP. FILL JOINT WITH STRUCTURAL SEALANT

40 MM POLYCARBONATE PANEL - COLOR 2

WATER BARRIER 2" RIGID INSULATION 3/8" ACM PANEL WOOD CLADDED-STEEL COLUMN BEYOND LINE OF 2 1/2" X 7 1/2" ALUMINUM FRAME BEYOND

SLAB EDGE

This detail focuses on the connection between the Polycarbonate and the Exterior Slab condition recognizing the Double Skin conditions.

78

TEXTURA | CHRISTOPHER MANCIA

28

CHRISTOPHER C CH HR RIIST ST TOP O PH OP HE ER MANC ER MA M MANCIA A NCIA NC N CIA IA | T TEXTURA EX T EX TU URA RA

83 83

The intention for the facade is for it to be removable and used as another way of expressing the work of artists.

88 8

TEXTURA T TE XT TU UR R A | CH CHR CHRISTOPHER RISTOP RIST TOP PHE HER R MANC M MA MANCIA A NC NCIA CIA A

The use of the polycarbonate gives a canvas similar to the base developed within the backstrap weaving.

58 58

TEXTURA T TE E XT X TU UR R A | CHRI C CH CHRISTOPHER HR RIIST IS ST TO OP PHE HER ER MA M MANCIA A NC NCIIA A

ARCH 5112 & 5212 - Architectural Design IX & X | 29

LINDSEY TLAHUEXTL Museum of Emotion This research addresses the issues of traditional museum designs that often prioritize the display of artifacts, education and exhibit curation over the wellbeing of visitors and may not effectively integrate natural elements or address the emotional and psychological needs of visitors. By proposing architectural solutions to enhance visitor experience and create a deeper connection with nature in order to design a museum to not only educate but also provide a soothing, healing atmosphere, combining learning with wellness. In the context of today’s current events there is a growing need for spaces that support mental and physical wellbeing, especially in urban environments where access to natural environments are limited.

COVER IMAGE ALIGNED TO BOTTOM PAGE MARGIN WIDTH FIXED TO LEFT + RIGHT PAGE MARGINS ADJUSTABLE HEIGHT (min, max)

30

$5&+ B)$ B63 B/'B7+(6,6B/,1'6(< 7/$+8(;7/

This thesis investigates the design of a naturefocused museum that evokes emotions to enhance visitors' mental and physical wellbeing through senses in immersive natural environments.

It addresses the gap in traditional museum designs by proposing architectural solutions that combine education with therapeutic experiences, promoting a deeper connection to nature and supporting overall wellness in urban settings.

ARCH 5112 & 5212 - Architectural Design IX & X | 31

ARCH 4812 ARCHITECTURAL DESIGN VIII Environmental sustainability is explored as the focus of the studio to benefit both occupants and the environment while investigating material consumption, thermal comfort, and energy practices. A bioclimatic design approach is assumed to tie how we interact with the microclimate and pursue thermal comfort and delight with low- carbon solutions. To determine the bioclimatic performance, the studio incorporates quantitative methods throughout the design process, especially concerning the site, building form, spatial organization, and façade system. Students, as a team, work through a series of design reviews and workshops to develop a project that addresses performance criteria. Students integrate their full knowledge of life safety systems, structural systems, environmental control systems, and envelope systems and assemblies, while adopting the measurable outcomes of building performance in the course.

Professor William Antozzi Bryant Ariza Nouman Arshad Santiago Bello Kezang Dorji Alyssa Duran Fareda EIsherif Mohamed Hassan Fatima Ikhmais Jean Lucas Eugenia Parra Steven Romero Axel Sanchez Alejandro Veras Cruz Aaron Verdugo Yiyi Zhong

32

Professor Daniel Kidd

Professor Sergio Saucedo-Huerta

Anthonio Forbes Zijie Li Aia Mahmoud Maisha Meem Joseph Otchere Ravendra Ramnarace Giuliana Romero Cody Smith Shantal Tapia

Alina Beznos Briana Carrasco Reilly Gillen Pablo Herrera Alexander Mendoza Adam Pepere Kevin Sierra Pierre Theodat Mokhira Toirjonova

Briana Carrasco Alexander Mendoza Pierre Theodat

ARCH 4812 - Architectural Design VIII | 33

34

Jean Lucas Axel Sanchez Alejandro Veras Cruz

ARCH 4812 - Architectural Design VIII | 35

Maisha Meem Aia Mahmoud Giuliana Romero Shantal Tapia

Santiago Bello Kezang Dorji Aaron Verdugo

Zijie Li Jospeh Otchere

36

Fareda EIsherif Mohamed Hassan Fatima Ikhmais

ARCH 4812 - Architectural Design VIII | 37

Bryant Ariza Nouman Arshad Steven Romero

Alyssa Duran Eugenia Parra Yiyi Zhong

Anthonio Forbes Ravendra Ramnarace Cody Smith

Santiago Bello Kezang Dorji Aaron Verdugo

Pablo Herrera Adam Pepere Kevin Sierra

+

+

=

38

DESIGN DIAGRAM

Briana Carrasco Alexander Mendoza Pierre Theodat

DESIGN CONCEPT

EGRESS DIAGRAM

NORTHEAST ELEVATION

NORTHEAST SECTION

EXTERIOR VIEWS

Our design addresses the characteristice of this site in West Chelsea through:

LANGUAGE OF THREE

Alina Beznos Reilly Gillen Mokhira Toirjonova

typ floor plan

SOFT GEOMETRY

PUBLIC LANDSCAPE

Pablo Herrera Adam Pepere Kevin Sierra

REINFORCING LOWER GROUND

ARCH 4812 - Architectural Design VIII | 39

ARCH 4712 ARCHITECTURAL DESIGN VII This design course covers a range of urban and architectural design issues and the cultural aspects in the development of cites. As an advanced design class, this course incorporates previous studio and lecture coursework to tie together topics of urban planning, architectural design, environmental sustainability, urban infrastructure and historic preservation.

Professor Kevin Hom Briana Carrasco Kezang Dorji Hailey Lopez Adam Pepere Emmanuel Tejada Jasmine Vidal Professor Vesselin Milev Pamely Abreu Henrique Randy Abundiz-Jimenez Erik Asatryan Christina Benguechea Niamke Cole Reilly Gillen Sarawat Juthy Geovany Loarca Flores Britny Lopez Mariana Lozano Luis Medina Mokhira Toirjonova Joselin Zarate 40

%ɦǥŏȟŏ‫ם‬ɶ 6ƛɶǥdžȟ֮ äƛȟƈƛɦƛƈ ĥǥƛʺɶ

Briana Carrasco Kezang Dorji Emmanuel Tejada

ARCH 4712 - Architectural Design VII | 41

Reilly Gillen Britny Lopez Mariana Lozano Mokhira Toirjonova

42

Christina Benguechea Geovany Loarca Flores Luis Medina Joselin Zarate

Pamely Abreu Henrique Randy Abundiz-Jimenez Erik Asatryan Niamke Cole Sarawat Juthy

Ʃ ' ) $ 2

7+( 1(: (/0:22'

ARCH 4712 - Architectural Design VII | 43

Reilly Gillen Britny Lopez Mariana Lozano Mokhira Toirjonova

44

Hailey Lopez Adam Pepere Jasmin Vidal

Hailey Lopez Adam Pepere Jasmin Vidal

& 2 0 0 8 1 , 7 < ' , 6 7 5 , & 7

xí² Eùäx, ĥxEĨ

Briana Carrasco Kezang Dorji Emmanuel Tejada

Briana Carrasco Kezang Dorji Emmanuel Tejada

äƛȟƈƛɦƛƈ ÝƛɦɶɜƛŽʄǥʶƛ ĥǥƛʺɶ ‫ ג‬Eșșŏȟʙƛ

ARCH 4712 - Architectural Design VII | 45

ARCH 3612 ARCHITECTURAL DESIGN VI An investigation of the adaptive resure of buildings with a focus on projects involving the redesign and expansion of existing structures. Research, domuentation and redesign of an existing structyre from concept to design development are integral to the course. Addresses the integration of structure, lighting, interior materials, finishes, meet current design and functional needs of the design problem's program as well as code requirements.

Professor Naomi Langer-Voss Julia Kolpak Michael Ray Malonjao Anthony Ramos Nabor Professor Frederic Levrat Yenifer Rivera Pierre Theodat Aaron Verdugo Professor Paul King Bryant Ariza Nouman Arshad Raymundo Gomez Mohamed Hassan Elisabet Tolentino Lissette Torres 46

Aaron Verdugo

ARCH 3612 - Architectural Design VI | 47

48

Nouman Arshad

Elisabet Tolentino

Michael Ray Malonjao

ARCH 3612 - Architectural Design VI | 49

50

Yenifer Rivera

Anthony Ramos Nabor

Julia Kolpak

Bryant Ariza Lissette Torres

ARCH 3612 - Architectural Design VI | 51

52

Yenifer Rivera

Mohamed Hassan

Raymundo Gomez

Pierre Theodat

ARCH 3612 - Architectural Design VI | 53

ARCH 3512 ARCHITECTURAL DESIGN V An investigation of the adaptive reuse of buildings with a focus on projects involving the redesign and expansion of existing structures. Research, documentation and redesign of an existing structure from concept to design development are integral to the course. Addresses the integration of structure, lighting, interior materials, finishes, space programming and furniture layout.

Students are required to meet current design and functional needs of the design problem’s program as well as code requirements.

Professor Alexandre Delaunay Michael Morales Bryan Santiago Professor Lia Dikigoropoulou Nick Antoine Jeremyah Herrera Anthony Ramos Nabor Brailyn Ventura

Professor Juan Roque Urrutia Vitores Professor Paul Bailey Andrew Aucanzhala Arbenita Berisha Danielle Gibson Monisha Sooklall

Professor Miguel Maldonado-Torres Professor Michael Woods Ashton Estevez Julia Kolpak Michael Ray Malonjao Annie Mejia Vladislav Molchanov Louis Raiola Kiamfan Tang Liang 54

Avril Garcia Amanda Mostafa Chris Tellez Elisabet Tolentino Lissette Torres Chris Vila

Lissette Torres

ARCH 3512 - Architectural Design V | 55

56

Amanda Mostafa

ARCH 3512 - Architectural Design V | 57

Ashton Estevez

Brailyn Ventura

Chris Tellez

58

Anthony Ramos Nabor

Michael Ray Malonjao

ARCH 3512 - Architectural Design V | 59

Michael Morales

Bryan Santiago

Arbenita Berisha

60

Avril Garcia

Louis Raiola

Jeremyah Herrera

Annie Mejia Chris Vila

ARCH 3512 - Architectural Design V | 61

62

Monisha Sooklall

OFFICE ADMINISTRATIVE SUITE FOOD MARKET/COMMUNITY GARDEN BAR/CAFE KITCHEN/DINING FITNESS CENTER PUBLIC RESTROOM GENERAL STORAGE

2 3 4 5 6 7 8 9

17 RESTAURANT

16 6-BED DORM

15 2-BED DORM

14 LAUNDRY ROOM

13 JANITOR ROOM

12 EGRESS

11 TRASH ROOM

10 HOUSE KEEPING

LOBBY

1

LEGEND

ARCH 3512 - Architectural Design V | 63

Kiamfan Tang Liang

Danielle Gibson

Julia Kolpak

64

Elisabet Tolentino

Andrew Aucanzhala Nick Antoine

ARCH 3512 - Architectural Design V | 65

ARCH 2412 ARCHITECTURAL DESIGN IV The course emphasizes the architectural process involved in designing small to medium size projects for specific building types. The process includes initial research and analysis, program development, flow diagrams, schematic design, and massing studies, the development of schematic 3D models, plans and sections, through final presentation. Students propose a specific theme and content for “A Museum of Culture”, imagining the new museum as an exciting destination for local, regional, national, and international visitors. The curatorial theme draws from a particular culture or cultural phenomena, ranging from a topic directly related to the student’s own identity to a particular area of interest shared by a group of people.

Professor Claudia Hernandez Samanta Lopez Gil Steven Marquez Natalie Santacruz Professor Elisabeth Martin Priya Babu Gianni Colucci Santiago Gonzalez Jaimie Miave

Professor Jordan Parnass Willeiris Difo Guzman Noelia Lazo

Professor Elizabeth Parks Professor Jieun Yang Abdulbaset Elfgeeh Arianna DiLillo Pavlo Havryshko Diego Lopez 66

David Bailey Sofia Bilbao Vladislav Molchanov

Steven Marquez

ARCH 2412 - Architectural Design IV | 67

68

Samanta Lopez Gil

Per p e c t ive S e c t ion A & w ind c irc u l at ion

.

Site firSt floor plan

B

Sec H O U STO N ST.

C LA R KS O N ST.

lower level floor plan

Jaimie Miave

Santiago Gonzalez

Second floor plan

A

H U D S O N ST.

HILOS DE HERENCIA (Threads of Heritage)

SITE PLAN SCALE: 1/64” = 1’0”

Sofia Bilbao

A generation of designers is incorporating traditional fashion techniques that incorporates the artisan’s craftsmanship techniques into more modern designs, reflecting the artisan’s craftsmanship while also telling compelling stories. Whether through intricate techniques, vibrant colors, or meaningful patterns, these designers are creating pieces that honor Colombian heritage and sharing its rich history to the world.

Sofia Bilbao

Colombia is known for its rich cultural heritage, which is vividly expressed through its traditional clothing. These garments reflect the country’s history, indigenous roots, and regional diversity. Traditional fashion holds deep cultural significance, acting as a powerful form of storytelling that conveys the values and traditions of different communities. By preserving and promoting these traditional garments, we celebrate their origins and keep indigenous traditions alive.

ARCH 2412 - Architectural Design IV | 69

70

Vladislav Molchanov

CITY of NEW YORK MUSIC PERFORMANCE HOUSE NAME: DIEGO LOPEZ

Gianni Colucci

New York City is more often than not described as the capitol of the world,due to its multi-ethnic demographic. Entertainment is a mayor drive of the city and music overpowers as a favorite of many. Whether it be in concert halls, operas, clubs, sidewalks, or in your headphones, music is present in many forms. Music is influenced by culture, allowing people to identify to a genre.

Despite the unique cultures identities , in N.Y.C. music is blended among the different genres. Genres like hip-hop, punk, folk, salsa, jazz, and disco have influenced the cultures present in N.Y.C. The environment I want to create with my museum is to retell the historical impact that music has on the culture of New York City and the importance to cultivate musical talent among community members. Music is significant to preserving stories, context, and personalities of communities. As we know N.Y.C. is the prime example of the multi-cultural hub that the country has to offer. The diversity of communities settling along the city encouraged community members to preserve their cultural identities. With close proximity, music became an unbodied monument of communities that settled in N.Y.C. The importance of the multi-cultural museum is to become an educational epicenter for notable and up-and-coming genres that impact the communities that reside in NYC. Genres like Hip-Hip, Rock, Punk, Salsa, K-pop, and others are the distinct markers of communities and helps them reach higher level of awareness among a diverse city. Additionally, this museum can harbor the potential musicians of the future with adequate resources.

“CONVENE”

“WEAVE”

“EMBED” MASSING MODEL 01: SUNLIGHT SITE ANALYSIS: OPEN AREAS WITH DIRECT SUNLIGHT, NOISE POLLUTION & NATURAL BARRIERS, AND TRANSPORTATION TRAFFIC

FINAL CONCEPT MODEL: A SPACE THAT EMINATES TALENT AND CREATIVITY OUTWARDS.

MASSING MODEL 02: ACOUSTIC STEP 01: BUILDABLE AREA

STEP 02: PEDESTRIAN ACCESSIBILITY

STEP 03: PLINTH BASE

STEP 04: VERTICAL EXTRUSION

STEP 03: CAP EXTRUSION

MAIN EXHIBIT: PERFORMANCE HALL This space is reserved for large scale performances, providing a platform to express, direct, and share their music with others.

LARGE EXHIBIT 01: DIORAMAS Environments and settings where genres became popularized by their community memebers will be displayed at full scale.

BUILDING SECTION 1 1/16” = 1’-0”

LARGE EXHIBIT 02: STUDIO PRODUCTION ROOMS

People are invited to experiment or hone their melodic dreams with proper equipement and trained

FINAL MASSING MODEL

STEP 06: CANTILEVER EXTRUSION

SMALL EXHIBIT 01: ICONIC GARMENTS

SMALL EXHIBIT 03: SCREENING THEATER

Clothing becomes an associated expression of music and a physical identifier of iconic genres.

Documented media is displayed, historical significance is emphasized and analized.

SMALL EXHIBIT 04: AUDIO IMMERSIVE

SMALL EXHIBIT 02: HISTORICAL INSTRUMENTS The tools of musicians are the instruments, their intruments are an extension of them.

B-B

SITE PLAN

Pavlo Havryshko

MASSING MODEL 03: TRAFFIC

Surrounded by audio provides a rich setting to transport your body throught the frequencies emitted by music.

OUTDOOR EXHIBIT: COMPOSE AMONG THE GREATS Statues of famous artists are featured along a garden where people can take a moment to relax and get inspired to create music.

LONGITUDINAL SECTION

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SCALE BAR 1/16"=1'-0"

BUILDING SECTION 2

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Diego Lopez

OFFICE SPACE

CAFE

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David Bailey

A CLAVE: NEW YORK USEUM OF SALSA

iago gonzalez

Santiago Gonzalez

d in the cultural heartbeat of Latin New York, La Clave: New York um of Salsa celebrates salsa not only as a musical genre but as a tive narrative of migration, resilience, and identity. The museum’s am is anchored by a series of immersive exhibits—highlighting salfro-Caribbean origins, its evolution in Puerto Rico, Cuba, and Vena, and culminating in the explosive legacy of the Fania All-Stars w York. Together, they trace a rhythm of cultural convergence and ora, including nods to figures like Phideas Danilo Escalona, whose ering radio work in Venezuela helped amplify salsa across Latin ca. ecturally, the project unfolds through a terracing system that steps raps around the urban site—transforming the museum into a pubdscape as much as a building. These outdoor platforms interconndoor and outdoor exhibit areas, creating a fluid public realm that s enclosure and encourages gathering. The museum blurs the dary between institution and street, making culture accessible at evevation. açade employs a vertical fin system and metal panels configured hythmic pattern inspired by the clave beat—the syncopated 3-2 or ructure that defines salsa. This formal gesture doesn’t merely referrhythm; it enacts it, turning architecture into a performative skin that s with cultural meaning. core, La Clave is not only an archive of sound and history, but a of affirmation—a built manifesto for visibility, rhythm, and joy in the of the city.

hudSon St and weSt houSton St view

large exhibit: hector lavoe hall

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t iteration

Arianna DiLillo

cept collage

Abdulbaset Elfgeeh Noelia Lazo

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Willeiris Difo Guzman

Priya Babu Natalie Santacruz

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ARCH 2312 ARCHITECTURAL DESIGN III An exploration of abstract architectural design theory in the expression of three-dimensional space. The creation of comprehensive architectural design projects are developed following a building program and incorporating elements of site, enclosure, structure, material and technology. Design concepts and vocabulary are introduced and strengthened through design projects. A juried presentation takes place at the completion of each project.

Professor Eugene Park

Professor Paul Coughlin Dion Chand Armani Ferreira Samanta Lopez Gil Albert Mensah Angel Mirabal Marti Tapia

Prof. Ammr Vandal Gladys Vigil

Professor William Fryer

Professor Yan Wang

Caetana Abreu Daria Tourkova

Iris Alarcon Gianni Colucci Santiago Gonzalez Jonathan Green Ashley Guillen Anita Kovaci Mengyi Lin

Professor Margot Kleinman Barbara Carrion 76

Saira Bano Emerson Say Garcia Maya Shaqiri Nia Roberts Sonya Weinstock

Santiago Gonzalez

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78

Emerson Say Garcia

Gladys Vigil

Nia Roberts Sonya Weinstock

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2ND FLOOR PLAN ( 3/32” = 1’-0”)

CHANGING ROOM

UP

COMMUNITY PERFORMANCE SPACE

UP

BOX OFFICE

MECH. ROOM ATRIUM

Armani Ferreira

REHEARSAL ROOM

PRODUCTION

UP

ADMIN

1ST FLOOR PLAN ( 3/32” = 1’-0”)

Caetana Abreu

LONGITUDINAL SECTION ( 3/32” = 1’-0”)

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Anita Kovaci

Angel Mirabal Barbara Carrion 18

SECTION PERSPECTIVE

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Admin Office & Lounge

Bathroom

Jonathan Green

Labratory & Water Storage

Walkable Paths

Gallery Space

Classrooms

Water Collection System

Green Roof

Marti Tapia

Saira Bano Gianni Colucci

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Mengyi Lin

Dion Chand

6

84 5 4

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Daria Tourkova

Samanta Lopez Gil

Iris Alarcon

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Michael Osei Antwi

Window Curtain Wall, Metal Louver Facade

White Painted Brick, Stretcher Back Wall

Porphyritic Granite Roof

1ST FLOOR LEVEL

2ND FLOOR LEVEL

Finnish Grey Brick Back Wall

Granite Bowtie Ground Finish Perennial Ryegrass

Oscuro Floor Stage

White Coral Tristone Seating

Oak Veneer Stairs

White Painted Brick, Stretcher Walls

White Marble Floors

Dark Painted Brick Stretcher Bridge Plateform

Ashley Guillen

Albert Mensah

Maya Shaqiri

wight S t

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ARCH 1212 ARCHITECTURAL DESIGN II A first-year foundational course that advances students’ ability to perceive visual cues, create visual design, formulate concepts and render ideas in two or three dimensions. Students use a combination of hand and digital skills to aid in the creation and interpretation of three dimensional objects and space, and the delineation of the same using standard projection systems. The Visual Studies component of the course builds on the student’s knowledge of architectural representation and visualization and focuses particularly on: precise crafting of physical and analogue models, architectural presentations, analogue and digital rendering techniques.

Professor Colin Carpenter Elisa Nabijan Nathan Ramphal

Prof. Elena M'Bouroukounda

Professor Colin Carpenter Professor Ann Le

Flaminia Cedeno Brenda Minan Elijah Roman

Isaac Lati Nouha Lekhzoumy Sonya Weinstock Professor Claudia Hernandez Safa Amer Dion Chand Abraham Curay Armani Ferreira Daniela Guzman Anita Kovaci Nakeri Samuel 88

Professor Jason O'Koren Sebastian Cordero Leah Jerome Nia Roberts Joshua Rodriguez Professor Shaad Zaidi Fardeen Ahmed Michael Osei Antwi Reanna Rabina

Daniela Guzman

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Michael Osei Antwi

plan 1

plan 2

section 1

hero perspective

Sebastian Cordero

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section 2

plan 1

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FIRST FLOOR PLAN

section 1

hero perspective

Leah Jerome

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perspective 1

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Reanna Rabina

MIRROR THESE:

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ph

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Nia Roberts

Joshua Rodriguez

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Sonya Weinstock

Elisa Nabijan

Nathan Ramphal

Antia Kovaci

EXPLODED AXON

94 3

Fardeen Ahmed

Joshua Rodriguez

Isaac Lati

Nouha Lekhzoumy Nakeri Samuel

CC SHORT SECTION CUT

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Dion Chand

Fardeen Ahmed

Safa Amer

Armani Ferreira Abraham Curay

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Elijah Roman

Brenda Minan Flaminia Cedeno

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ARCH 1112 ARCHITECTURAL DESIGN I A first-year foundational course that increases students’ ability to perceive visual cues, create visual design, formulate concepts, and render ideas in two or three dimensions. Students use a combination of hand and digital skills to aid in the creation and interpretation of three-dimensional objects and space, and the delineation of the same using standard projection systems. The Visual Studies component of the course equips students to make aesthetic evaluations and translate information into graphic representations and visual designs.

Prof. Alexandre Delaunay Chelsea Escandon Yormayorix Holguin Joshua Munoz Danieliz Siqueiros Prof. Elena M'Bouroukounda Prof. Katie Rotman Yasmeen Aucapina Francisco Michelle Gonzalez Diaz Moustafa Hydara Angelina Mateo Luciana Ortega

Julio Guillen Mohammed Irfan Prof. Arie Salomon Betech

Prof. Caitlin Mcmanus Fahad Khan Ivan Yair Lopez 100

Algirdas Blazys Amanda Clare Jonathan Linares Tejada William Winckelman

Amanda Clare ARCH 1112 - Architectural Design I | 101

102

Yormayorix Holguin

Joshua Munoz

Fahad Khan Moustafa Hydara

Algirdas Blazys

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Julio Guillen

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Angelina Mateo

Yasmeen Aucapina Francisco

Mohammed Irfan

106

Jonathan Linares Tejada

Michelle Gonzalez Diaz

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Ivan Yair Lopez

Chelsea Escandon

Luciana Ortega

108

Ivan Yair Lopez

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Danieliz Siqueiros

William Winckelman

Mohammed Irfan

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ARCH 1121: Architecture History to 1900 As the first course in a three-part sequence, this class introduces the history of architecture from early civilizations to the beginning of the Industrial Revolution. Students learn methods of architectural analysis, practice describing structures through close visual observation, and develop critical questions about form, function, and historical context.

At the end of the semester, each student constructs a visual archive and research report on a building selected from a unit in the second half of the course, spanning the Early Modern period to Modernity.

Students analyze the building’s physical attributes—plan, section, elevation, and perspective—assemble an accompanying image archive, and write a historical narrative that integrates visual evidence with architectural analysis.

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Constructing Archives as Architectural Study The students featured in the following pages represent a broad geographic range of architectural study, with most sites dating to the early modern and modern periods.

During Fall 2024 and Spring 2025, Abrahman Curry examined St. Patrick’s Cathedral in New York City, while Chance Wade studied Mother Bethel AME Church in Philadelphia, Pennsylvania. Edelina Rousseau analyzed the Palace of Westminster in London, England, and Natalie SantaCruz investigated the Royal Palace of Madrid in Spain. Angelina Mateo researched the Cathedral of Santa María la Menor in the Dominican Republic, and Alexis Cordoba explored the Château de Vaux-le-Vicomte in France. Christopher Boyd focused on the rock-hewn Church of Saint George in Ethiopia, and Fahad Khan writes about the Süleymaniye Mosque in Istanbul.

ARCH 1121-Architecture History to 1900 | 115

St. Patrick’s Cathedral, New York, USA (1858–1878) Abraham Curay St. Patrick’s Cathedral was designed by James Renwick Jr., who is often depicted holding a perspective drawing of the cathedral, indicating his profession as an architect. He studied at Columbia College and later Columbia University; although he graduated in engineering, he demonstrated a strong talent for architecture. Renwick was inspired by Gothic styles from English, French, and German traditions (Wu, 2012). In 1843 the Grace Episcopal Church in New York held a design competition, which Renwick won in 1846 with a medievalinspired design. Despite limited experience, he continued to receive major commissions.

Recognizing his previous work, Archbishop John Hughes asked Renwick in 1853 to design a new St. Patrick’s Cathedral in New York City (La Farge).

St. Patrick’s Cathedral is a functioning Catholic church dedicated to Saint Patrick.

Construction began in 1858, paused during the Civil War, and was completed in 1878. The original St. Patrick’s Cathedral stood on Mulberry Street—now the Basilica of St. Patrick’s Old Cathedral—but a larger structure was required as the Catholic population expanded.

Archbishop Hughes declared the intention “to erect a Cathedral in the City of New York that may be worthy of our increasing numbers, intelligence and wealth as a religious community”(SPC). Work halted in the early 1860s due to the Civil War between the Union and Confederacy. During this period many Irish immigrants and soldiers marched from nearby Irish headquarters along Mott Street and Prince Street, symbolizing the resilience of Irish Catholics.

After Hughes’s death, Archbishop John McCloskey, later the first American cardinal, oversaw continuation of the project (SPC). In October 1866 a fire damaged parts of the Basilica of St. Patrick’s Old Cathedral, which was rebuilt by 1868. This event reinforced the revivalist ideals shaping the new cathedral. Construction of the new building resumed and continued toward completion in 1878.

[left] Renwick, James. St. Patrick’s Cathedral, New York. Avery Architectural and Fine Arts L James Renwick and James Renwick Jr: architectural drawings and papers, 1813-1960. Library, Columbia University.

[above] Sarony, Major & Knapp Lith. lithographer. Departure of the 69th Regt. N.Y.S.M., Tuesday, April 23d, 1861, the Irish Headquarters around St. Patrick’s Cathedral, for D.T. Valentine’s Manual, 1862.

The cathedral embodies Neo-Gothic Revival architecture through clustered columns, clerestory windows, and ribbed arches in the interior, along with symmetry and vertical height on the exterior. Clerestory glazing illuminates the nave, side aisles, transept, and apse, while tall columns divide spaces yet preserve circulation. The transept arms and front narthex contain large rose windows, symbolizing connection to heaven while maintaining axial symmetry along the nave. Because Renwick drew inspiration from English, French, and German Gothic traditions (Wu, 2012), the cathedral represents a revival of medieval architectural language.

St. Patrick’s Cathedral functions as both a religious center and architectural landmark, contrasting with the surrounding modern cityscape. Through Neo-Gothic verticality and symmetry, it stands as a revival of Christian identity in mid-nineteenth-century America.

The new cathedral, intended to be “worthy of our increasing numbers” (SPC), reflects the growth of Catholic communities and the continuation of Gothic traditions from the old cathedral to the new structure while retaining the traditional Latin cross plan.

ARCH 1121-Architecture History to 1900 | 117

Mother Bethel AME, Philadelphia, USA (1888–1890) Chance Wade Reverend Richard Allen was born into an enslaved family and sold at a young age. By the age of twenty-two he became a passionate preacher. After purchasing his freedom, he moved to Philadelphia and joined a church where he was invited to preach. Because the congregation was white and followed restrictions on gatherings for free Black people, Allen was inspired to create a place of worship for his own community. He purchased an old blacksmith shop and converted it into a church where Black worshippers could gather freely. Attendance quickly grew, and his vision emerged: a place where Black believers could praise God without limitation. Eventually, a Romanesque Revival style church was constructed on the site in dedication to Reverend Richard Allen and his congregation.

Allen lived during slavery, when Black people were denied basic rights despite the signing of the Bill of Rights during the era of James Madison. Literacy was uncommon among enslaved people, so faith and oral teaching became central sources of hope. Preachers held particular importance within the community, especially when they were members of the same oppressed group. The earliest phase of the church reflected these conditions.

Its architecture developed from necessity, using whatever structures enslaved or formerly enslaved Christians were permitted to occupy for worship.

Mother Bethel began without the grandeur typical of established churches. The original structure, converted from a blacksmith shop, lacked elements such as a transept that were common in formal church design. Despite its modest appearance, it became an active gathering place. Over time architectural interest expanded, including clerestory window forms that suggested Romanesque influence. The later Mother Bethel AME Church, built in the nineteenth-century Romanesque Revival style by the architects Hazlehurst and Huckel, presented a more monumental presence.

[left] Wartts, Adrienne.

“Mother Bethel African Methodist Episcopal Church [Philadelphia] (1794- )

At the front of the building stands a campanile beside the entrance steps leading into the narthex. Rounded arches supported by columns frame the doorway, and decorative crosses line the roofline. Small circular clerestory windows appear around the structure, while most windows are rectangular with rounded arches rather than strict geometric rectangles.

The façade emphasizes the entrance, which faces west in accordance with traditional church orientation. A fence once bordered the building but was later altered as the façade expanded. Together these features create a clear Romanesque Revival character while maintaining the building’s connection to its earlier origins.

In conclusion, Mother Bethel AME Church represents both architectural development and social history. It served as a place of trust, faith, and community for formerly enslaved people seeking spiritual freedom and mutual support.

Although Richard Allen was not an architect, his vision inspired the creation of a more permanent and dignified structure. The church has endured through slavery, Jim Crow, and the Civil Rights era, symbolizing the determination of the Black community. Its Romanesque Revival architecture transformed a humble gathering space into a lasting monument of faith, hope, and resilience, demonstrating how architecture can communicate belief and collective identity. [top] Caldwell, Charlette. The Crucible of the Freedom Church: The African Methodist Episcopal Church and the Culture of Building in the United States.buellcenter.columbia.edu/ [bottom] Newman, Richard. “Print.” Religion in America Mother Bethel A M E Church Comments, 2008, www.religioninam erica.org/ rahp_objects/ mother-bethel-a-m-echurch/.

ARCH 1121-Architecture History to 1900 | 119

Palace Of Westminster, London, England (1840–1876) Edelina Rousseau

[above] Walker, Edmund. Westminster Palace, 1851. © Parliamentary Art Collection, WOA 742.

The Palace of Westminster, situated on the north bank of the River Thames in London, serves as the seat of the United Kingdom’s Parliament. After the catastrophic fire of October 16, 1834, which destroyed much of the palace, the structure was rebuilt under the designs of Sir Charles Barry with decorative contributions from Augustus Welby Northmore Pugin.

Constructed in stages between 1840 and 1876, the complex includes Westminster Hall (a surviving medieval component), the Victoria Tower at the southern end, the Elizabeth Tower (Big Ben) at the northern end, and the Central Lobby connecting the House of Commons and the House of Lords.

The fire of 1834, captured in Joseph Turner’s painting "The Burning of the Houses of Lords and Commons", marked a turning point in British architectural history.

The blaze devastated most of the medieval structure, leaving Westminster Hall and a few chambers intact. In response, a nationwide competition sought a new parliamentary building reflecting Britain’s status as a global power.

During the Victorian era, national identity, progress, and industrial advancement were symbolically embodied in the [above] Turner, Joseph Mallord William. The Burning of the Houses of Lords and Commons. 1835 new palace.

Barry and Pugin’s design restored functionality while honoring England’s architectural heritage through the Gothic Revival, a major nineteenth-century movement. The palace also symbolized resilience during political upheaval, including nineteenth-century reforms satirized in Tom Merry’s 1891 lithograph *Britannia and Her Lion Begging. Monumental structures such as the Elizabeth Tower (Big Ben, 1856), with its specially cast bell, highlighted Britain’s technological achievements during the Industrial Revolution.

The Palace of Westminster represents the Gothic Revival style through vertical emphasis in the Victoria Tower and Elizabeth Tower, which dominate the skyline with pinnacles and spires. Westminster Hall’s hammer-beam roof demonstrates advanced medieval timber construction and remains one of the palace’s most remarkable surviving features.

The restored interiors of St. Stephen’s Crypt include ribbed vaults, groin vaults, and diagonal ribs that provide structural support while enhancing decoration. Clerestory windows, rose windows, and stained glass incorporate intricate stone tracery that fills the House of Lords and Westminster Hall with light. Exterior walls are reinforced with slender buttresses and pilaster columns that create vertical decorative lines, while corbelled arches appear around entrances both structurally and decoratively. The elaborate carvings, grotesques, and heraldic symbols reflect the Gothic Revival aesthetic and Pugin’s belief that architecture should be moral, beautiful, and functional.

In conclusion, the Palace of Westminster remains an enduring symbol of British identity, governance, and architectural achievement.

Its design, merging medieval inspiration with Victorian innovation, expresses the ideals of the Gothic Revival movement. From the destruction of 1834 to political reforms and modern restoration efforts, the building underscores Britain’s cultural and historical importance. Its survival—from the casting of the bell for Big Ben to the twenty-firstcentury Restoration and Renewal program— ensures that it continues to function as both a parliamentary building and a testament to the lasting significance of Gothic Revival [above] Bluck, John, Active 1791–1831, architecture.

British. Westminster Hall, 1809. Westminster Hall. Yale Center for British Art. ARCH 1121-Architecture History to 1900 | 121

The Royal Palace of Madrid, Spain (1738–1755) Natalie SantaCruz King Philip V, founder of the Bourbon Dynasty and ruler of Spain from 1700 to 1746, was the first Bourbon king to occupy the Spanish throne. His reign reshaped Spain’s political and cultural landscape through administrative reforms and strengthened royal authority.

A major achievement was commissioning the Royal Palace of Madrid, a focal point of the 18th-century monarchy and symbol of Bourbon legitimacy. Designed by architects Filippo Juvarra and Giovanni Battista Sacchetti, the palace represented the new Bourbon age of royal power. After the Alcázar burned in 1734, Philip V supervised reconstruction as a demonstration of Bourbon resilience. The new Baroque palace functioned as both residence and statement of Spain’s cultural prestige during the Enlightenment.

Diego Velázquez’s *Las Meninas* offers insight into courtly life later associated with Bourbon rule. Although painted before Philip V’s accession, it captures a political and cultural environment he would later reshape. Velázquez emphasizes the importance of the arts by portraying the royal family while inserting himself into the composition. This aligns with Philip V’s effort to unite culture and authority to strengthen the monarchy and elevate Spain’s status.

The painting’s layout reinforces authority: the royal family becomes both subject and focus of the viewer’s attention. Velázquez highlights court culture as a source of royal power, just as the Royal Palace expressed Bourbon determination. His presence illustrates the relationship between monarchy and intellectuals during a period when the arts flourished under royal patronage. Through artistic support, Philip V promoted cultural advancement similar to that depicted in the courtly setting of *Las Meninas*. The composition’s complex framing anticipates the sophisticated expression of authority later reinforced in Bourbon court culture. Ultimately, the painting portrays a court that, though predating Philip V, foreshadows the political and cultural transformations of his reign.

[left] The Sabatini Garden located north of the Royal Palace with various statues surrounding the fountain.

[above] Gómez De Mora. Alcázar of Madrid. Ground floor plan. [Spain] Photograph.

Retrieved from the Library of Congress.

The connection between the painting and royal space further anticipates Bourbon reforms.

The relationship between figures and surrounding architecture parallels the design strategy of the Royal Palace of Madrid after the 1734 fire. Because the earlier palace was destroyed, reconstruction emphasized power, order, and elegance. The gardens surrounding royal residences symbolized authority through harmony and restraint. Similarly, *Las Meninas* links court life to broader royal environments where art, architecture, and nature reinforce monarchical authority.

Velázquez’s self-representation demonstrates the importance of artists and scholars within the royal court, a value central to Philip V’s cultural program. By aligning artistic representation with royal spaces, the painting anticipates ideas realized in Bourbon architectural projects. Though depicting daily court life, the image expresses the political and cultural ambitions that defined the Bourbon era. Together, the Royal Palace of Madrid and *Las Meninas* show how visual culture, architecture, and patronage functioned as tools of power, projecting stability, legitimacy, and sophistication for the Spanish monarchy.

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The Cathedral of Santa María La Menor, Santo Domingo, Dominican Republic (1514–1541) Angelina Mateo The Cathedral of Santa María La Menor, located in Santo Domingo, Dominican Republic, was constructed between 1512 and 1540, making it the oldest cathedral in the Americas. Pope Julius II, head of the Catholic Church and ruler of the Papal States, ordered its construction.

The original plans were created by Alonso de Rodríguez in 1512 and later continued by Luis de Moya and Rodrigo de Liendo in 1522 under Bishop Alessandro Geraldini, before being formally declared by Bishop Alonso de Fuenmayor in 1541. The building follows a Latin cross plan and was constructed with coral limestone suited to the Caribbean climate.

Mixing Gothic, Romanesque, and Plateresque styles, it used vaulting, buttressing, arches, domes, thick walls, and small windows to withstand storms and heat.

The cathedral’s creation reflects Spain’s imperial expansion. After the Catholic Monarchs unified Spain in the late fifteenth century, the country rapidly expanded into the New World.

Christopher Columbus claimed Hispaniola for Spain in 1492, leading to the founding of Santo Domingo in 1496, the first permanent European settlement in the Americas. As the city grew, the Spanish crown constructed churches, cathedrals, and government buildings to establish order. The labor force included enslaved Indigenous and African people brought through the transatlantic slave trade and forcibly converted to Christianity. Commissioned

by Isabella I of Castile and Ferdinand II of Aragon, the cathedral served to spread Catholicism and reinforce Spanish authority overseas.

The cathedral stands near Parque Colón, the city’s social and political center, emphasizing its importance as a religious and administrative institution. Housing Christopher Columbus’s tomb, it functioned as both spiritual center and symbol of colonial power. Spanish authorities used religion to control Indigenous populations through forced baptisms and mass attendance while suppressing native practices. Architect Alonso González drew inspiration from Spanish cathedrals, including the cross layout of Seville Cathedral, the pointed arches of Toledo Cathedral, and the vault patterns of Burgos Cathedral. Combined with Renaissance Spanish influences and the Caribbean climate, these models shaped the cathedral’s final form.

[left] "Mapa de la isla de Santo Domingo." Map. Paris ; Paris: Lané e, succr. de Longuet, Graveur-Editeur des Cartes Gè ographiques. 1858.

[above] Catedral Santa María La Menor, Santo Domingo. 1855. [below] Briones, Ricardo.

Fachada plateresca de la Catedral Metropolitana Santa María de la Encarnación, Primada de América 2012.

Architecturally, the cathedral reflects early sixteenth-century European traditions, blending Spanish Gothic and early Renaissance forms. Ribbed vaults, pointed arches, and buttressed walls demonstrate the Isabelline Gothic style, directing the viewer’s gaze upward. The coral limestone façade shows Plateresque ornamentation through arches, pilasters, and religious reliefs. Thick walls and simplified exteriors adapted the structure to local weather conditions. The vaulted nave, carved altars, side chapels, and stained glass illustrate Spanish traditions and later renovations.

Among its artifacts is the "Virgen de la Antigua", reportedly recovered from a shipwreck by Captain Francisco Vara, depicting the Virgin Mary holding Christ while angels crown her. Together with the angel reliefs at the entrance, it emphasizes Catholic belief and Spanish cultural influence.

The Cathedral of Santa María La Menor stands as a monumental symbol of early Spanish colonial authority and religious expansion. Built to promote Catholicism and imperial control, it combines Gothic, Renaissance, and Plateresque styles adapted to its environment. The structure reinforced Catholic doctrine while asserting European power over Indigenous and African populations. It marks a significant historical moment when Spain expanded into the Americas, functioning both as a place of worship and a tool of empire. Through its geometry, imagery, and enduring architecture, the cathedral continues to convey spiritual meaning while preserving the complex history of its origins.

[left] Kubler, George, Art and Architecture in Spain and Portugal and their American Dominions: 1500 to 1800. Penguin Books, 1959. Figure 28.

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Château de Vaux-le-Vicomte, France (1658–1661) Alexis Cordoba In the *Portrait of a Man with the Louvre*, a portrait of Louis Le Vau, the architect of the Louvre, the Château de Vaux-le-Vicomte, and later the Palace of Versailles, he is shown casually seated beside a plan of the Louvre, with the pavilion north of the Petite Galerie in the background. Le Vau was born into a family of architects and builders and participated in numerous projects involving private mansions and castles. Although he never visited Italy, he studied architectural plans and books that influenced his designs, particularly the works of Bernini and Pietro da Cortona.

The Château de Vaux-le-Vicomte, built between 1656 and 1661, marked Le Vau’s major success. A defining feature was the two-story oval salon facing the garden. The structure also incorporated a triple opening on the ground floor, a motif characteristic of Le Vau’s projects. The Citadel of Belle-Île, connected to Nicolas Fouquet, Marquis de Belle-Île and Viscount of Melun and Vaux, influenced aspects of the château. Fouquet’s experience with fortifications and strategic planning contributed to defensive features such as the moated platform.

Nicolas Fouquet, superintendent of finances for Louis XIV, purchased the manor of Vauxle-Vicomte and expanded it to impress the king and court. He commissioned grand formal gardens designed by André Le Nôtre, featuring basins, terraces, and optical illusions.

Fouquet hosted an elaborate opening celebration in honor of Louis XIV, including a play by Molière and a formal dinner. Jean-Baptiste Colbert, former secretary to Cardinal Mazarin, grew jealous of Fouquet’s success and accused him of embezzlement. Louis XIV imprisoned Fouquet for life and confiscated his property, yet the château remained a landmark of French Baroque architecture and a model for Versailles. The king adopted Fouquet’s artistic team—Louis Le Vau, Charles Le Brun, and André Le Nôtre—for his own palace project. Le Brun had designed a ceiling for the Grand Salon honoring the king with solar imagery, reflecting Louis XIV’s identity as the Sun King, though the design was never completed). The château also appears in later imagery depicting the Queen of France with the building in the background.

[above] Marot, Jean, and Louis Le Vau. “Plan of Vaux Le Vicomte,”c.1660.

This plan of the main floor emphasizes how the chateau adapts to its surroundings, incorporating features like a moat, wing walls, and garden organization.

The château embodies Baroque symmetry and grandeur. Perspective views contrast natural landscape with geometric gardens and emphasize the scale of Le Nôtre’s terraces. The design combines monumental symmetry, theatrical interiors, and landscape integration.

Le Vau created balance through an axial layout with a central pavilion flanked by two wings The domed oval hall breaks the traditional rectangular salon and emphasizes vertical movement. Another innovation was arranging rooms side-by-side rather than stacked vertically. Charles Le Brun contributed ornate frescoes and gilded decoration enhancing the dramatic atmosphere. André Le Nôtre extended architectural symmetry into the landscape using geometric layouts, water basins, and optical perspective. The gardens at Vaux-leVicomte became a masterpiece and influenced the later gardens of Versailles, where Le Nôtre perfected long vistas, fountains, and terraces. His *jardin à la française* style spread throughout Europe and made him one of the most influential figures of the seventeenth century.

The Château de Vaux-le-Vicomte illustrates the ambition of Nicolas Fouquet and the creativity of Louis Le Vau, Charles Le Brun, and André Le Nôtre. Despite Fouquet’s downfall and the confiscation of his estate by Louis XIV, the building’s architectural and landscape innovations endured. The château directly influenced the Palace of Versailles and shaped the future of French classical architecture. Today it remains a preserved cultural landmark that continues to inspire visitors and historians.style for submission. [below] Pfnor,Rodolphe.Section of Chateau de Vaux-Le-Vicomte, 1888.

left page [eft] Anonymous (French) Portrait of a Man with the Louvre. 1662. [right] Silvestre, Israël. Perspective of the Chateaux de Vaux. 1660.

ARCH 1121-Architecture History to 1900 | 127

Church of Saint George, Lalibela, Ethiopia (c.1200) Christopher Boyd St. George’s Church of Lalibela is carved from a single piece of rock. The structure was formed by excavating a trench around the footprint of the church and then carving downward and inward over time. The trench measures approximately twelve meters deep and about twenty-three meters wide on each side. Among the three groups of rock-hewn churches in Lalibela, St. George stands alone, isolated from the others. The site also functions as a burial ground, with trenches and cavities surrounding the church.

Ethiopia was one of the earliest nations to adopt Christianity, dating to the fourth century.

The exact details of the construction of the Lalibela churches remain uncertain. In 1187 Jerusalem was captured by Muslim forces, making it inaccessible to Christian pilgrims. King Gebre Meskel Lalibela of the Zagwe Dynasty responded by creating a “New Jerusalem” in Ethiopia, with Lalibela serving as the capital at the time. The Zagwe dynasty, a medieval monarchy that ruled parts of Ethiopia and Eritrea, is still not fully documented in historical records.

St. George’s Church is part of a larger complex of eleven rock-hewn churches created under King Lalibela’s vision of the New Jerusalem. The site was described in the sixteenth century by the Portuguese priest Francisco Álvares, who regarded the churches as a wonder of the world. Today the complex remains one of the most significant religious sites in Ethiopia.

The church represents rock-cut architecture, a technique in which structures are carved directly into stone rather than constructed from assembled materials. St. George is unique within the complex because it stands fully detached on all sides from the surrounding rock mass. Rock-cut architecture appears in several ancient civilizations, with early examples including monuments such as the Dwarfie Stane in Scotland.

St. George’s Church remains a remarkable and mysterious example of this architectural method. Many aspects of its construction are still unknown, and the limited historical record of King Lalibela and the Zagwe dynasty adds to its complexity. What is clear, however, is the powerful impact the structure has on visitors. The precision and scale of a building carved entirely from a single stone continue to inspire awe.

Today thousands of pilgrims travel to Lalibela to worship at St. George’s Church and the surrounding sacred complex. The church stands not only as an architectural achievement but also as a living religious monument, preserving centuries of faith and devotion while connecting Ethiopia’s early Christian traditions to the present.

[above] Lalibala: Church of St. George: Ext.: Rock-Cut Church Entrance. Visual Arts Legacy Collection. [below] Scaffolding supporting workers at Rock-Hewn Coptic Churches. 1167-1207. [left page] Anonymous. Aerial View of Saint George Church ARCH 1121-Architecture History to 1900 | 129

Süleymaniye Mosque, Istanbul, Türkiye (1550–1557) Fahad Khan Koca Mi'mâr Sinân was an architect appointed by the Ottoman Sultan to design the Süleymaniye Mosque. Born to a Christian family in Southeast Anatolia, he was recruited at age twenty-one into an elite Ottoman infantry force drawn from Christian territories of the empire. Sinan converted to Islam and served Suleiman the Magnificent in military campaigns as both a soldier and engineer. His engineering experience contributed to his architectural expertise. At age forty-seven, Suleiman appointed Sinan (1491–1588) chief architect of Istanbul. He designed hundreds of structures in the city, most notably the Süleymaniye Mosque. Construction began in 1550 and lasted eight years, completing in 1557. The mosque functioned as a religious building while its surrounding complex served broader social purposes, reflecting the principles of classical Ottoman architecture.

Between the thirteenth and sixteenth centuries the Ottoman Empire expanded across Eastern Europe, Western Asia, and North Africa, developing a distinct architectural style.

Constantinople, the imperial capital, became the center of these projects. The nearby Golden Horn protected the city from naval attack using a chain barrier and also supported trade and commerce, contributing to imperial prosperity. The Süleymaniye Külliyesi (complex) extended beyond the prayer hall, courtyard (sahn), and tomb gardens. It included four madrasas dedicated to Islamic law, a hadith school, a Qur’an school, a medical school, hospital, hospice, public kitchen, baths, and fountains. Sinan himself was later buried within the grounds. These structures demonstrate the Ottoman emphasis on public service and education, making the külliye a center of cultural, religious, and social life.

A defining aspect of the Süleymaniye Mosque is its strong influence from Byzantine architecture, particularly the Hagia Sophia, originally a Byzantine church later converted into a mosque. Suleiman sought a structure rivaling its grandeur. The Ottomans adapted the Byzantine method of supporting a central dome on four large pendentives, flanked by halfdomes on the sides. This produced a unified interior space blending Islamic and Byzantine elements. Islamic practices shaped interior features: a carved mihrab indicating the qibla, a stepped minbar for sermons, and clerestory windows around the dome providing natural light. Intricate patterns and Arabic calligraphy decorate the dome and pendentives in accordance with aniconic tradition. Exterior elements include an ablution fountain in the courtyard, wall-mounted ablution tap, and prominent minarets, all essential components of mosque architecture. Together these elements illustrate how Ottoman architecture integrated multiple cultural influences while maintaining Islamic identity.

The Süleymaniye Mosque dominates the Istanbul skyline, its dome and slender minarets rising above surrounding neighborhoods and the Golden Horn. The structure represents the Ottoman synthesis of religion, culture, and imperial authority. By combining Byzantine structural methods with Islamic spatial and decorative principles, Sinan created a masterpiece of classical Ottoman architecture. The mosque stands as a testament to the fusion of traditions and the innovative architectural ideas produced by the Ottoman Empire. [from left to right] 1. Photogpraph of Süleymaniye Camii mosque. Library of Congress. ca. 1900 2. Süleyman I (the Magnificent), detail of an engraving of a panel by Pieter Coecke van Aelst showing a procession through Istanbul, 1533.

3. Interior of the Suleymaniye Mosque. Library, Rare & Manuscript. Cornell University. 1888.

Collections 4. Şakir Çakmak "Süleymaniye Complex". Museum With No Frontiers, 2025.

ARCH 1121-Architecture History to 1900 | 131

NOTES

Abraham Curay - St. Patrick’s Cathedral Fazio, Michael, et al. A World History of Architecture. McGraw-Hill, 2008.

Apmann, Sarah Bean. “James Renwick, Jr., 19th Century Architect Extraordinaire! - Village Preservation.” Village Preservation - Greenwich Village Society for Historic Preservation, 17 July 2020.

“Renwick, James (1818-1895),” John La Farge Stained Glass, accessed December 8, 2024, https://library.bc.edu/lafargeglass/items/show/60.

“Historical Timeline | St. Patrick’s Cathedral | New York, NY.” Saint Patrick’s Cathedral, saintpatrickscathedral.org/historical-timeline.

“St. Patrick’s Cathedral: A Gothic Revival Building.” ENG 1101 Composing Abstractions, Carlos Mo Wu, 17 Dec. 2012, openlab.citytech.cuny.edu.

Chance Wade - Mother Bethel AME Wartts, Adrienne. “Mother Bethel African Methodist Episcopal Church [Philadelphia] (1794- )”. www.blackpast.org/african-americanhistory. 14 Nov. 2019 Caldwell, Charlette. “Home | Buell Center.” The Crucible of the Freedom Church: The African Methodist Episcopal Church and the Culture of Building in the United States, buellcenter.columbia.edu/.

Newman, Richard. “Print.” Religion in America Mother Bethel A M E Church Comments, 2008, www.religioninamerica.org/rahp_objects/mother-bethel-a-mechurch/.

Collection , Kean. “Mother Bethel Ame Black Church - by Kean Collection.”

Pixels.com. Accessed 20 Dec. 2024.

Wood, Matt. “The Day the Constitution Was Adopted.” National Constitution Center – Constitutioncenter.Org, National Constitution Center, 24 July 2024.

“Reward Advertisements for Runaway Slave & Bitch...” Timothy Hughes Rare & Early Newspapers - Historic Newspapers, rarenewspapers.com.

“Nat Turner.” Wikimedia Commons, commons.wikimedia.org/wiki/ Category:Nat_Turner.

Edelina Rousseau - Palace Of Westminster Restoration and Renewal of the Palace of Westminster - Joint Committee on the Palace of Westminster, publications.parliament.uk.

Early History - UK Parliament, www.parliament.uk.

“The Medieval Palace of Westminster.”Building London - What London Is Made from and Where It Came From!. buildinglondon. blog.13 Jan. 2024.

How the Clock Tower Has Changed over the Decades - UK Parliament.

Centre, UNESCO World Heritage.“Palace of Westminster and Westminster Abbey Including Saint Margaret’s Church.” UNESCO World Heritage Centre,whc.unesco.org/en/list/426/.

“History of Architecture in 100 Buildings by Dan Cruickshank.” Anyflip, online. anyflip.com/mshuq/fgmh/mobile/. Accessed 20 Dec. 2024.

Natalie SantaCruz - The Royal Palace of Madrid Franco, Francisco, "Royal Palace of Madrid." Patrimonio Nacional, 2024, www.patrimonionacional.es/en/real-sitio/palacio-real.

Lesser, Casey, "How Centuries of People Have Seen Las Meninas.", 2016, www. artsy.net/article/artsy-editorial-centuries-people-las-meninas.

"Las Meninas, or The Family of King Philip IV, Velázquez." AFPRADOMuseum. org, 1656, www.afpradomuseum.org/las-meninas,-or-the-family-of-king-philipiv,-velazquez/history Halconruy, Claire, "Understanding Velázquez's Iconic 'Las Meninas' Painting."

Artsper Blog, 2022, blog.artsper.com/en/a-closer-look/understanding- velazquezs-iconic-las-meninas-painting/ Angelina Mateo - The Cathedral of Santa María La Menor Baez, Jennifer. “Hispaniola’s Early Colonial Art, an Introduction – Smarthistory.”

Smarthistory.org.

CatholicShare Contributor. “What Is the Oldest Cathedral in the Americas and Why Is It Significant?” Catholic Share, 17 Sept. 2023.

ARCH 1121-Architecture History to 1900 | 133

NOTES

Cont.

Kramer, Howard. “CATHEDRAL of SANTA MARIA LA MENOR”. The Complete Pilgrim - Religious Travel Sites, 3 June 2014.

Kubler, George, and Martin Soria. Art and Architecture in Spain and Portugal and Their American Dominions: 1500 to 1800. Penguin Books, 1959.

Niell, P. Late Gothic in the sixteenth-century Cathedral of Santa María la Menor, Santo Domingo, Dominican Republic. Postmedieval 6, 258–271 (2015).

Sullivan, Alice Isabella, and Kyle G Sweeney. Lateness and Modernity in Medieval Architecture. BRILL, 2023.

Alexis Cordoba - Château de Vaux-le-Vicomte Fazio, Michael W, et al. A World History of Architecture. Boston, McGraw-Hill, 2008.

Lavin, Irving. PAST-PRESENT Essays on Historicism in Art from Donatelfu to Picasso. Library of Congress Cataloging in Data, 1993.

Le Brun, Charles. “Design for the Cupola of the Grand Salon of the Château de Vaux-Le-Vicomte,” The Artistic Adventure of Mankind, 1650.

“Château de Vaux-Le-Vicomte, Maincy, France" Spottinghistory.com. 2025.

“French Painting of the Grand Siècle, Conclusion.” The Artistic Adventure of Mankind, WordPress, 10 May 2024.

Christopher Boyd - Church of Saint George, Lalibela Editors, Charles River. The Lalibela Churches the History and Legacy of the Medieval Cave Churches in Ethiopia.

Maffei, Bonita. Lalibela, Priest King of Ethiopia: The Rock Hewn Churches.

Findlay, Dr. Louis. The Monolithic Churches of Lalibela in Ethiopia.

Bidder, Irmgard. Lalibela: The Monolithic Churches of Ethiopia.

Sanceau, Elaine. The Land of Prester John a Chronicle of Portuguese Exploration. Alfred A Kopf, 1944.

Fahad Khan - Süleymaniye Mosque “Sinan, the Ottoman Empire’s Master Architect.” Encyclopedia Britannica, www.britannica.com.

“The Golden Horn of Istanbul - Istanbul Insider -.” Istanbul Insider, 3 May 2020.

“Byzantine Design Meets Islamic Design,” “The Magnificent’s Magnificent Mosque,” and “The Urban Imagination.” Hum54-15. omeka.fas. harvard.edu/exhibits/show/suleymaniye/design.

“Süleymaniye Külliyesi.” www.archnet.org, www.archnet.org/sites/2024.

“Hagia Sophia and its Influence on Ottoman Architecture,” Sutori, 2024, www.sutori.com/en.

ARCH 1121-Architecture History to 1900 | 135

ARCH 1101 INTRO TO ARCHITECTURE Understanding architecture is achieved by developing a visual literacy of New York City’s built environment. Using the city as a living laboratory, students explore concepts of design, composition, and construction by sketching and writing about their direct experience of buildings. Focus workshops on freehand drawing techniques, basic drafting skills, graphic standards, 2D and 3D composition, writing about buildings and their construction, and reading architectural drawings are central to this course. Students develop graphic skills and the basic foundation to talk, write, and graphically express architecture and its construction.

Professor Mark Fagan Amira Abdelmaged Eric Acevedo Sebastian Acosta Eduardo Amador Elicia Ayub Mayzu Chong Aliza Dominguez Kevin Gadsden Vargas Bryan Garcia Lesly Humala Moustafa Hydara Naomy Lopez Penelope Perez Castillo Jordy Polanco Brandon Rosario Malak Saleh Marieli Santiago Danieliz Siqueiros Diurn Kerby Ulysse Wei Yu

136

Prof. Peter Hsi Richard Alejandro Jonathan Linares Tejada Duscian Marcillo Prof. Benjamin Kaufmann Mohammad Alam Mariam Dzhaniashvili Mohammed Irfan Ahmed Mahmoud Brian Mendez Melany Piedrahita Akobir Ravshonov Brandon Tigselema Fernanda Yugsi

Professor Lynn Gernert

Professor Nicole Vlado

Alex Lavandero

Niyaila Whittington

Mohammed Irfan Brian Mendez Akobir Ravshonov

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138

Sebastian Acosta Eduardo Amador Penelope Perez Castillo Danieliz Siquieros Wei Yu

Richard Alejandro Jonathan Linares Duscian Marcillo

ARCH 1101 - Intro to Architecture | 139

Mariam Dzhaniashvili

Niyaila Whittington

Eric Acevedo Kevin Gadsden Vargas Jordy Polanco Brandon Rosario Diurn Kerby Ulysse

140

Elicia Ayub Aliza Dominguez Bryan Garcia Moustafa Hydara Malak Saleh

Amira Abdelmaged Mayzu Chong Lesly Humala Naomy Lopez Marieli Santiago

Melany Piedrahita

Mohammad Alam

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142

Alex Lavandero

ARCH 1101 - Intro to Architecture | 143

Ahmed Mahmoud Brandon Tigselema Fernanda Yugsi

Mohammad Irfan

COLLEGE NOW SUMMER 2025 ARCHITECTURE & URBAN DESIGN College Now at City Tech guides well-qualified high school students interested in pursuing architecturedegrees. The program uses New York City as a living laboratory to contextualize and comprehend forms and experiences of different neighborhoods and communities through the cultural lens – of architecture being influenced by cultural complexity and how it can shape our environments. The course frames these issues through multiple layers of documentation and representation learned from lectures, workshops with guest lecturers, laboratory work, and hands-on fieldwork/ weekly trips.

Professor Naomi Langer-Voss Professor Jieun Yang Maxwell Botshon Aaron Carberry Lucy Chen Sasha Cheung Angelica Khandros Heena Imtiaz Emmett Lieb Jaylenee Marin Jacob Miles Mika Ohashi Joseph Pagliuco Asha Rivera Stephanie Santana Fairuz Tarannum 144

Asha Rivera

College Now Architecture & Urban Design | 145

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Lucy Chen Sasha Cheung Heena Imtiaz Jaylenee Marin

Stephanie Santana Mika Ohashi

College Now Architecture & Urban Design | 147

148

Fairuz Tarannum

Angelica Khandros

College Now Architecture & Urban Design | 149

Maxwell Botshon Emmett Lieb Jacob Miles Joseph Pagliuco

Aaron Carberry

ARCHITECTURAL ELECTIVES ARCH 3592 - MEDIA AND REPRESENTATION I Space visualization using a combination of photo-realistic renderings, animations, and interactive 360-degree panoramic renderings. Creation of computer-generated scenes that can be viewed and explored as virtual and augmented reality.

ARCH 3609 - MEDIA AND REPRESENTATION II This design seminar explores how authorship, storytelling, and advanced architectural representation are interconnected. Students explore design, composition, data visualization, and construction concepts by writing descriptive texts to generate input for digital visual modeling systems. Students think critically about the intersection of authorship and technology.

Professor Esteban Beita Solano Saida Akbarova Auhtumn Archibald Mohamed Hassan Jean Lucas

ARCH 3550 - BUILDING PERFORMANCE WORKSHOP Review of the fundamentals of sustainability in architecture. The course fosters the students' understanding of climate change resulting from current waste, water, and energy practices, and introduces them to innovative building materials, systems and technologies to mitigate this change. The course introduces the criteria and the technological tools by which green buildings are measured, assessed, and funded.

Professor Uroosa Ijaz Alina Beznos Fatima Rahman Victor Daniel Vega Jr. 150

Auhtumn Archibald

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Mohamed Hassan

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ARCH 1231 BUILDING TECHNOLOGY I An introduction to basic materials of construction and the fundamental principals of hand drafting and system analysis. The coursework includes surveying existing conditions, development of plans, elevations, and sections, and basic details as well as the study of material properties and applications.

Professor Michael Loo

Professor Lynn Gernert Chelsea Escandon Fahad Khan

Sachi Barr Bryan Isaias Castillo Fermin Chasity Christolin Nouha Lekhzoumy Cindy Sosa Adriana Suarez Jose Toshua Professor Mi Zhang Chan

Professor Benjamin Kaufmann Brian Chong Amna Shah Amarda Shpata 156

Susan Gao Anita Kovaci Noah Mcleod Joshua Munoz

Bryan Isaias Castillo Fermin

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Noah Mcleod

Susan Gao

Anita Kovaci Joshua Munoz

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Fahad Kahn

Chelsea Escandon

Amarda Shpata

Amna Shah Cindi Sosa

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Chasity Christolin

Sachi Barr

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Nouha Lekhzoumy

Jose Toshua

Adriana Suarez

ARCH 2331 BUILDING TECHNOLOGY II A study of the basic materials of construction as well as the theory and practice of building technology. The course includes investigation of the assembly of building components and methods of construction while developing proficiency in both analog and digital drawing techniques, and professional level construction drawing.

Professor Alexander Aptekar Emilia Cando Louis Raiola Badr Serri Professor Chitra Mamidela Juan Luna Angel Mirabal Falehah Omar Marti Tapia Professor Patricia Semmler Fardeen Ahmed Pavlo Havryshko 164

Fardeen Ahmed

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ARCH 2431 BUILDING TECHNOLOGY III This is the third in the required sequence of four building technology courses. This course studies the development of building systems and their assembly as they occur during the design development phase of architecture with a focus will be on steel construction. A series of studio lab assignments will develop an understanding of steel building assembly while introducing the students to the use of Building Information Modeling (BIM) software. Using case study research methods students develop a comprehensive drawing set and using materials and assembly research, students will develop façade studies.

Professor Eugene Colberg Michael Ray Malonjao Dayana Navarro Scarlet Nunez Emilio Tlacomulco Professor Paul King Geovany Loarca Flores Arkadiy Mardakhaev Nasir McIntosh Jay Montesdeoca Joselin Zarate Professor Andrew Novillo Ashton Estevez Avril Garcia Bryan Santiago Professor Justin Sherman Omneya Aboelkasem David Bailey Aleesha Hafeez Michael Portillo 170

Michael Portillo

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WIDE FLANGE STEEL COLUMN

WELDED STEEL GUSSET PLATE

STEEL DIAGONAL BRACING STRUCTURE

LW CONCRETE ON METAL DECK

1

ISO B-2 PLAN 1

Aleesha Hafeez

CONCRETE FOOTING

ARCH 2431 - Building Technology III | 175

176

Geovany Loarca Flores

METAL COPING AIR / WATER BARRIER MEMBRANE

BEVELED WOOD BLOCK

METAL TOP TRACK L SHAPE SUPPORT BRACKET MINERAL WOOL INSULATION 3/4" SHEATHING

AIR / WATER BARRIER MEMBRANE GRIDWORX 4" ADJUSTABLE DISCRETE GIRT BRACKET WITH THERMAL ISOLATING BACK PLATE 24" O.C GRIDWORX ADJUSTABLE VERTICAL MULLION METAL PANEL WITH HOOK

Bryan Santiago

CANT

BACKUP WALL

FLASHING

Z CHANEL SCREWS ATTACH THE PANELS TO THE Z CHANEL AND TO THE BACKUP WALL INSULATION

ALUMINUM METAL PANEL

2 PIECE J-EXTRUSION AT THE WINDOW HEAD 2 PIECE J-EXTRUSION AT THE WINDOW JAMB

Scarlet Nunez

2 PIECE J-EXTRUSION AT THE WINDOW SILL

ARCH 2431 - Building Technology III | 177

178

Dayana Navarro

10" CONCRETE WALL FOR ANCHOR

INSULATION FILLIN IN GAP ABOVE ANCHOR

INSULATION IN SHADOW BOX

SPANDREL TINTED GLASS

PAINTED ALUM SHADOW BOX

1/4" THICK ALUMINUM COVER FOR ANCHOR CONCRETE WALL SHADOW BOX GASKET

SHADOW BOX ADAPTER

AIR SEAL GASKET

HORIZONTAL WEATHER SEAL GASKET

GLASS SADDLE

SETTING BLOCK

EXPANSION SILL

DOUBLE GLAZED INSULATED GLASS

SILICONE GLAZING GASKET

SILICONE WEATHER GASKET

FEMALE INSIDE CORNER MULLION

MALE INSIDE CORNER MULLION

WELDED STEEL BASE PLATE (4 PER FOOTING) BOLT ASSEMBLY C1 A-301

B3

rth-A

25'

REINFORCED CONC. FOOTING

- 0"

C3

Wes t-A

A-303

REINFORCED CONC. COLUMN

3 No

C2

2

- 0"

13'

23'

Room

- 0"

D

111

B2 Workroom

3C

104

Room - 0"

102

20'

118 Circulation Desk

Entarnce

B1

100

18.00°

1

23.50

Room

°

14 x 14 x 1/2" HSS SQUARE COLUMNS

107 0°

90.0

Room

18

2

.75

°

108 ° 71.25

Room 109

3' - 11" Restroom

Library

110

105

101

11' - 10 1/8"

Room

1' - 9" 1' - 2"

Restroom

REINFORCED CONC. FOOTING

106

A3

Room

Multipurpose

112

103

Room

BOLT ASSEMBLY

24' - 0"

113

115

114

4' - 0"

Room

Arkadiy Mardakhaev

14 X 14 1/2" HSS SQUARED COLUMN

Room

A2 2' - 0"

Room

Room 121 20' - 0"

116

SC-03 85

.5

0°

122

Room

3

B

Room

2' - 0"

117

2' - 0"

Room 120

30' - 0" 15' - 0"

2

3B

3A

2

HSS SQUARE FOOTING PLAN 1" = 1'-0"

2

14 X 14 X 1/2" HSS SQUARE HOLLOW COLUMN 1/2" RADIUS SHAFT

1' - 2" (2) 2" DIAMETER LOCKING NUT

LEVEL 1 0' - 0"

8" REINFORCED CONCRC. SLAB 2" DIAMETER WASHER 1" THICK STEEL BASE PLATE WELDED SQUARE COLUMN SHIMS 1 1/2" DIAMETER LOCKING NUT REINFORCED CONC. FOOTING

4' - 3"

1

3

1' - 1"

1' - 1"

1' - 0"

33' - 4"

Emilio Tlacomulco

A1

STEEL PLATING

1' - 9" 3' - 11"

HSS SQUARED FOOTING SECTION 1" = 1'-0"

ARCH 2431 - Building Technology III | 179

180

David Bailey

Ashton Estevez

SSALG "2/1

PAC FFODNATS

Jay Montesdeoca

FFODNATS ESAB

1/2" GLASS

STANDOFF CAP

Michael Ray Malonjao

STANDOFF BASE

ARCH 2431 - Building Technology III | 181

ARCH 3531 - BUILDING TECHNOLOGY IV The final course in a four-part sequence. Using digital technologies, the student explores the mechanics of building enclsures and structures and creates a set of working drawing. Emphasis is on communication and collaboration skills necessary in the professional office. Building information modeling (BIM) techniques and tools emphasized this course.

Professor Blake Kurasek Jeremyah Herrera Anthony Ramos Nabor Elisabet Tolentino Karen Yascaribay 182

Jeremyah Herrera Anthony Ramos Nabor

ARCH 3531 - Building Technology IV | 183

184

Elisabet Tolentino

Karen Yascaribay

Jeremyah Herrera

ARCH 3531 - Building Technology IV | 185

KANSHOU

VINYL BREAKFAST NOOK

UP

MUDROOM UP

DN

COURTYARD

Kanshou emerges from the earth raw, grounded, and rooted in th Nature acts as origin and guide. Biomimicry informs every gestur The form grows organically, like a living organism: irregular, unta There is no symmetry, no imposed control—only the logic of life u

DN

GARAGE

ARCH 5112 & 5212 ARCHITECTURAL DESIGN IX & X UP

DN

INDOOR/ OUTDOOR

UP

DN

UP

KITCHEN

Within, a contrasting reality takes shape: structured, rigid, algor A glitch is revealed—an artificial order applied to what resists co Geometry attempts to rationalize the irrational, to discipline the

DN

REST

BILLS

3RD

2ND

At the core, spatial boundaries collapse.

Floors bleed into each other, platforms overlap, and levels dissol Orientation is destabilized. Certainty is lost.

Design IX and X are yearlong thesis studio working closely with a faculty begin to question.. advisor. Students assemble comprehensive research on aYou preapproved topic.

Research includes user needs, precedent studies, site analysis, along withend, and the glitch begin?

Where does nature social, cultural, historical and technical implications of a proposed architectural intervention. Thesis research clearly focuses on the selected area of study presenting well-formed arguments to advance student approaches to architectural design and methodology. Students prepare a comprehensive document that includes their research and analysis, a written project statement along with all EXPAND PUBLIC VS PRIVATE COURTYARD design methodology as part of their final presentation.

DN

UP

GAMING

W.C

REST

UP

UP

LIBRARY

UP

DN

UP

DN

UP

DN

UP

LIBRARY

DN

DN

UP

DN

DINNING

DN

UP

LAUNDRY

DN

UP

DN

DN

DN

MUSIC

DN

UP

UP

UP

UP

DN

UP

DN

STUDY

DN

WORKOUT

CREATE

UP

OFFICE

UP

DN

DN

DN

UP

UP

TEA

REST

5TH

186

A Thesis Memoir by Salimatou Doumbouya

62

“The most challenging part about leadership is to master the art of authenticity” SD

(;7(5,25 9,(:

BRING THE AURORA HOME

1

4TH

BIOMIM

Professor Jill Bouratoglou

Star Aiken Osaruyi Amadasun Salimatou Doumbouya Zijie Li Keven Logrono Cody Smith Jayda White

Jennifer Camas Kevin Giron Yousif Nasr Paloma Nunciato Joseph Otchere Ravendra Ramnarace Tylee Rivera Mariela Saavedra

BREATHING HOUSE

65

Professor Phillip Anzalone

PERSPECTIVE VIEW

51

91

92

Fig. 58

PROPOSAL

ARCH 5112 & 5212 - Architectural Design IX & X | 187

53

OSARUYI AMADASUN Miles to Home The home is built on a series of ramps—not just for accessibility, but as a metaphor. Each ramp represents a memory, a transition, a movement from one stage of life to another. The act of walking, slowly, with intention, allows the client to relive moments from his journey—almost like moving through a personal museum. The layout isn’t rigid. It’s layered, open, and flexible reflecting his multicultural background. Elements of different cultures, textures, and motifs are woven into the interiors, creating a tapestry of his lived experiences.

(;7(5,25 9,(:

62

188

Ultimately, this project is about transition—from movement to stillness, from chaos to calm, from memory to meaning.

ARCH 5112 & 5212 - Architectural Design IX & X | 189

JAYDA WHITE Forms of Solitude This project is an exercise in introspection, using design as a mirror to explore the deeper layers of self. The fictional client—an abstracted reflection of myself—represents my truest desires, values, and emotional states. The house is not only a place of dwelling but a spatial narrative of identity, memory, and solitude. Each architectural element, from material choices to spatial sequences, is designed to evoke moments of pause, contemplation, and personal clarity.

Through the interplay of light, shadow, and mirrored volumes, the home becomes both a sanctuary and a canvas for internal reflection.

190

To protect the body and mind from the desert heat, I placed daytime spaces underground — the living room, the workspace,dinning room, meditation room — where the earth insulates and quiets. These rooms stay cool, dim, and slow, encouraging reflection during the brightest hours.

As the sun softens and the air cools, night spaces rise above ground — bedrooms, bathing areas, and moments of stargazing. Open to the breeze and sky, they invite rest, imagination, this vertical choreography mirrors the rhythm of introspection: The house breathes with its climate, and with the soul.

ARCH 5112 & 5212 - Architectural Design IX & X | 191

CODY SMITH Petal Ridge This project is more than the design of a home — it is the creation of a lived artwork. Rooted in the expressive brushstrokes of Viola’s paintings and grounded in the natural richness of Stony Hill, Jamaica, the design explores the relationship between art, architecture, and landscape. Each move — from the curved walls to the petal-like plan, from the carved views to the surrounding stream — was made with intention, emotion, and clarity of purpose. The home reflects Viola’s dual need for connection and retreat, balancing her desire for access to Jamaica’s urban cultural life with the serenity of nature. The architecture does not isolate her from the world; instead, it amplifies her ability to see, feel, and respond to it creatively.

192

Here, the house becomes more than a shelter — it is a studio, a sanctuary, and a source of continuous inspiration.

ARCH 5112 & 5212 - Architectural Design IX & X | 193

KEVEN LOGRONO Kanshou Kanshou emerges from the earth raw, grounded, and rooted in the real.

Nature acts as origin and guide. Biomimicry informs every gesture. The form grows organically, like a living organism: irregular, untamed, adaptive. There is no symmetry, no imposed control—only the logic of life unfolding. Within, a contrasting reality takes shape: structured, rigid, algorithmic. A glitch is revealed— an artificial order applied to what resists containment. Geometry attempts to rationalize the irrational, to discipline the wild. At the core, spatial boundaries collapse.

194 FLOATING PLATFORM

ENTRY 2

UP

Floors bleed into each other, platforms overlap, and levels dissolve.

Orientation is destabilized.

Certainty is lost. You begin to question - Where does nature end, and the glitch begin?

ARCH 5112 & 5212 - Architectural Design IX & X | 195

ZIJIE LI Curve of Stillness Designed as an antidote to the client’s high-velocity New York City life, this Staten Island residence prioritizes tranquility through architectural contrast. The interplay of ‘high’ and ‘low’ and shift from ‘fast’ to the ‘slow’ rhythm of domestic serenity, creating a balanced and restorative sanctuary. The curves of the roof and glass walls echo the energy and dynamism of James’s city life — a nod to his identity and success. But as you move through the space, the architecture guides you into a slower rhythm.

196

Time is a concept created by humans—a framework to organize our lives, track progress, and make sense of our experiences. But what if architecture could influence our perception of time?

It could slow us down, inviting us to pause and engage with the present.

By using time as a tool to explore space, architecture can reveal the quiet, often overlooked moments that add depth and meaning to our lives.

ARCH 5112 & 5212 - Architectural Design IX & X | 197

SALIMATOU DOUMBOUYA Bring the Aurora Bring the Aurora Home explores self-improvement through the concept of “receiving guests,” blending public and private spaces with controlled accessibility.

The owner navigates the duality of these spaces, merging them based on readiness and intention to build meaningful relationships.

198

BRING THE AURORA HOME

16

15

After a long journey, the owner finally understands and confirms that the way to ultimate authenticity is not isolation but connection with the 1 Vestibule outsideAurora world. meeting

14

9

eting

7

m

5

ony

5

Room

7

Living Room

9

Home Balcony

11

Observer Balcony

14 Study 15

Bedroom

16 Observatory

y North Section Elevation B-B

87

Letting people into his home allowshim to face and understand parts of himself that he has chosen to hide for the longest time. This elevates the art of his leadership.

5 Aurora meeting ARCH 5112 & 5212 - Architectural Design IX & X | 199 A community elder and other guests stand in the Aurora meeting room to share conversations

STAR AIKEN Rethinking Boundaries Rethinking Boundaries is a thesis that explores how modernization can coexist with cultural identity through spatial design. Set in Les Parcs de SaintTropez, France, this project questions the limitations of traditional architecture and proposes a home that challenges the idea of fixed boundaries physically, culturally, and emotionally. The design is a house for Camille Laurent, a French artist whose vision of home blends abstract art, color, and architecture. Using color theory, form, and spatial fluidity, the project investigates how boundaries can be redefinedmoving from rigid separations to flexible, interconnected environments. The contrast between a traditional exterior and a free-flowing interior reflects the larger theme of cultural preservation versus progressive reinterpretation.

Renders

44

200

Plan

sidence that rative built ation, interie retreat.

Through research, precedent studies, and site analysis, the design incorporates Mediterranean climate strategies, sustainable local materials, and indooroutdoor integration.

races her deesonance. It m through

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uid. Curves, in constant

re organized d material nother.

The final result is not just a house. It’s an architectural expression of movement, color, and identity.

42

By redefining boundaries through design, this project offers a response to the growing need for culturally sensitive, emotionally resonant modern spaces.

ARCH 5112 & 5212 - Architectural Design IX & X | 201

JOSEPH EPHRAIM OTCHERE Architecture Tailored to Fit This thesis project seeks to realize a multifamily residential building prototype in Ghana that reflects both Ghanaian and African design philosophies, and uses vernacular building techniques and materials in its construction.

202

The final design iteration is based on drawing a link between the philosophy and the design of the house.

The whole massing of the model is based on the woven hairstyles of African women.

Some facade openings on the wall are based on the tribal marks of some African cultures. The roof openings mirror the umbrellas used to cover chiefs at functions.

ARCH 5112 & 5212 - Architectural Design IX & X | 203

RAVENDRA RAMNERACE Renewal Through Renewal Architecture moves according to the activity of people, on a basic level all things are made because people wanted it to look a certain way or needed it to for structural or efficient reasons. Imagine a home that moves to your every need, empty without activity but operable furniture and appliances all molded into the wall. Pulling down a cabinet for your spices sends an electrical signal allowing the walls to open up giving just the perfect amount of light.

204

A visual interaction of micro-apartments.

92

ARCH 5112 & 5212 - Architectural Design IX & X | 205

KEVIN GIRON Futbol Central Queens This thesis re-envisions a city park as a soccer hub with an emphasize on indoor soccer, designed to promote the growth of the sport in the United States and foster cross-cultural exchange through diverse soccer cultures from around the world. A significant issue that faces our current times is the excessive use of electronic devices which detracts from living a productive and physically active life.

People may also be restricted to outdoor sports areas year round due to weather conditions. Indoor options are also scarce. With an emphasize on the indoor soccer facility, I would also provide other program that will help create connections between various cultures. This also doesn’t limit outdoor program which I will also provide through full sized soccer fields and junior fields.

ERSPECTIVE VIEW

206

FAMILY BOXES

Creating a soccer hub would provide year round access to the sport and could lead to the growth and exploration of new talent which in turn can open up opportunities to successful careerTHEATER paths.

N & IMMERSIVE

leads nmersive ed to ng exyou’re es from pace ke e heart adium ul—it’s onnec—and it into es it

N

CONCESSION FITNESS ROOM

LOCKER ROOM

LOCKER ROOM

SPORTS BAR

SPORTS BAR (OPEN TO BELOW)

MERCH SHOP

FAMILY BOXES

SECOND FLOOR PLAN

50’

100’

150’

200’

The second floor features an outdoor terrace, access to the rooftop pitch, family boxes for game viewing, more locker rooms, a gym and warm up area, a second concession and merchandise shop, and access to a sports bar and immersive theater for special game-day events.

54

ARCH 5112 & 5212 - Architectural Design IX & X | 207

PALOMA NUNCIATO Breathing House The main focus of my thesis is to create flexible modular designs that can be combined and arranged in various ways depending on the user needs. These modular houses will also adapt to different environments. I will work with two different sites that I closely relate to, each with a client who has different needs.

The goal is to demonstrate that my modular design can be applied to various family sizes and environments.

208

BREATHING HOUSE

6

SPACEBreathing USE House is all about creating harmony among people, space and nature.

BREATHING H

ARCH 5112 & 5212 - Architectural Design IX & X | 209

JENNIFER CAMAS Cross-Generational Connections Located in a small town named El Tambo in Ecuador, this thesis focuses on creating a new educational center that fosters connection, growth, and inclusion by addressing issues related to healing emotional and physical wellbeing of all age groups. Using the surrounding agriculture and culture of the residence this educational center aims to include vibrant materials and sustainable strategies like rainwater collections, natural cross-ventilation, photovoltaic panels, wind energy devices, as well as green roofs and courtyards. This project seeks to prioritize a learning environment with better access to light, air, and outdoor space while also including new adaptable teaching zones that can merge with the surrounding nature and create a teaching environment both inside and outside of this center.

210

This project aims to tackle the challenges of outdated eduactional spaces in El Tambo,Ecucador, by creating a flexible primary school for children and an elderly community hub, connected through a shared space that bridges both generations while also strengthing intergenerational connections, cultural preservations, and educational growth.

ARCH 5112 & 5212 - Architectural Design IX & X | 211

MARIELA SAAVEDRA Underneath the Highway This thesis aims to address the growing homelessness in New York City by providing a permanent community in underutilized spaces. In recent years, homelessness in New York City has reached its highest level since the Great Depression of the 1930s. As concerned citizens of New York City, we are witnessing a growing mental health crisis and homelessness issue affecting our community due to the lack of affordable housing. New York City built the world's first elevated highway, like the Cross Bronx Expressway, which has had a detrimental effect on neighborhoods like the Bronx.

Fig. 63

212 PROPOSAL

59

Often, the spaces beneath these elevated infrastructures become neglected and discouraged.

Fig. 58

PROPOSAL

53

This dead space can be used as an opportunity for urban revitalization to increase the vibrancy and resiliency of our neighborhoods by addressing and reclaiming the spaces underneath the highway.

Fig. 65

ARCH 5112 & 5212 - Architectural Design IX & PROPOSAL X | 213

6

TYLEE RIVERA Bridging Communities NYC is a city of much diversity, unites people from many different backgrounds. Communities full of rich history and culture, enriches NYC land.

However, one major issue disrupting these communities is rising sea levels. Sea levels are to rise by 8–30 inches by 2050s. Leaving riverbank communities great pressure of tackling a major threat. This thesis is rethinking on how communities unite and interact over the rising sea level plane. Through a set of notions extracted from history and the journey to the site. Mill Rock Island becomes the node of three major bridge communities. The project bridges existing communities, to create a new community.

214

With single adult New Yorkers housed in residential modular apartments, a new community is created.

While providing a new way of living and excellent views, the bridge communities will have started a new way of providing community to a constant growing city.

ARCH 5112 & 5212 - Architectural Design IX & X | 215

YOUSIF NASR Revitalizing Azbakeya Wall This thesis proposes a cultural and architectural intervention in the Azbakeya district of Cairo by reviving its historic identity as a center for books and literacy. Drawing from the area’s legacy of the Azbakeya Wall and the famed second-hand book market, the design reclaims public space through a new book market building and an interpretive garden. Together, they restore the district’s role as a cultural and intellectual hub, countering the congestion and neglect that have overtaken the site today.

216

The massing balances form and function. It rises dynamically, invites public entry, and integrates landscape as connective tissue.

This iteration embodies a cultural synthesis, where preservation meets invention, and the built form becomes both archive and author of urban memory.

ARCH 5112 & 5212 - Architectural Design IX & X | 217