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Paul Germaine McCoy SELECTED WORKS


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CONTENTS


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Memories Ink. A MARKET FOR MANAYUNK

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Accessing Artifacts THE PENN MUSEUM ARCHIVE

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Stitched Immanence AN AQUAPONIC RESEARCH CENTER

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Contingencies A PERFORMING ARTS LIBRARY

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As Built Drawings KAHN & SERLIO

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Rear Window HOUSING - MARKET IN SOUTH PHILLY

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Jukeboats POP-UP FOR MANAYUNK

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Faรงade Foreplay SAN FRANCISCO MUSEUM OF MODERN ART

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Drawings PROJECTS ABOUT DRAWINGS

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ACADEMIC


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Memories Ink

A MARKET FOR MANAYUNK Graduate / University of Pennsylvania Spolia Redux Studio by Brian De Luna Nominated for Pressing Matters VIII Ink is ‘a colored fluid used for writing, drawing, printing, or duplicating’. A substance that validates permanence. For Manayunk, ink is a product produced and distributed in a pier facility at the edge of the Schuylkill River. Over the next 100 years that river will overflow and permanently claim certain areas of Manayunk, and redefine the edge of land and water. The project questions the framing of this environmental issue through the creation of a new public space rather than a refuge from its consequences. A series of seams cut through the pier to reveal the water below that over time changes colors thanks to a special dye that enhances its fluid qualities. The idea of a dirty flooding evolves into a liquid aurora that emerges from the ground at night to lure visitors into its wonder. A figure-ground expose that ink has two qualities in reference to time: the pause of a moment forever remembered, and the movement or change of our surroundings..

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ACADEMIC / Memories Ink.


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Accessing Artifacts THE PENN MUSEUM ARCHIVE Graduate / University of Pennsylvania Foundations Studio by Andrew Saunders Nominated for Pressing Matters VIII Featured in suckerPUNCH Featured in Penn Museum Chamber Exhibition Penn Museum Archive Exhibition Finalist Access is ‘a means of approaching or entering a place’. To today’s visitor, it is a means of being in presence of artifacts that sit in an archive deep within the Penn Museum. These artifacts have stories embedded in the materials that describe their origins; every edge and crack on the surface elaborating on the journey that has brought it to this precious and fragile state. If these artifacts hold such importance to our culture, then the new archive should demand that our culture contemplates the privilege of accessing them in a special, restricted, and controlled space deep within the museum. We question the traditional notion of accessing and archiving artifacts through the orientation of sequential chambers with reference to a visitor or researchers means of access. The idea of a display chamber evolves into one of a vast, infinite space that is beyond immediate reach, yet tangible to our imagination and desire. A desire so profound that makes the accessing the archives a near religious experience.

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ACADEMIC / Accessing Artifacts, The Artifact


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2 0 ACADEMIC / Accessing Artifacts The Chamber


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2 2 ACADEMIC / Accessing Artifacts, The Archive


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ACADEMIC / Accessing Artifacts, The Archive


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2 6 ACADEMIC / Accessing Artifacts, The Archive


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2 8 ACADEMIC / Accessing Artifacts, The Archive


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Stitched Immanence AN AQUAPONIC RESEARCH CENTER Undergraduate / Texas A&M University T4T Lab: Rough & Saturated by Nate Hume Featured in suckerPUNCH Featured in AXIOM Magazine The project is a new complex for the Texas A&M Department of Wildlife and Fisheries Sciences. Isolated in a field on the perimeter of the university’s campus, the project provokes a distinctive relationship between landscape and object. A series of lines from the site offset and merge to produce the immanent figures that foster different parts of the program between the buildings and the spaces in between. We speculate on the representation of this architecture through drawings and models that stitch different parts of the complex to construct reality without fully revealing its truth. The drawings speculate on the use of the orthographic and perspectival projections while the model renders rich colors and textures to produce something familiar. Together they seek to illustrate that in the abstraction that are drawings and photos of models, we cannot know everything there is to architecture, regardless of how detailed the drawings or the model may be. What we know is what we can see in our own personal reality.

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ACADEMIC / Stitched Immanence


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Contingencies

A PERFORMING ARTS LIBRARY Undergraduate / Texas A&M University Integrated Studio by Koichiro Aitani Awarded “Best Integrated Studio Project” Featured in AXIOM Magazine Located in the middle of the developing New York High Line, the project pays homage to Chelsea’s history with theatre by staging new ways of experiencing a library and its contents. Two theaters one anchored below and another suspended above - act as narrators that guide the visitor up and down the library in a journey from an audience member to a performer. Through the contemplation of how each theater is positioned in space, the visitor engages with different kinds of content as a series of catwalks, steps, and hallways guide their ambitions to and from each theater. The different degrees of enclosure within each theater present the visitor with a choice: that of becoming a member of an audience that consumes information, or that of becoming a performer that creates it.

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ACADEMIC / Contingencies


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As Built Drawings KAHN & SERLIO Undergraduate / Texas A&M University T4T Lab: Object Redux by Adam Fure The project begins with the attitude that if everything is already designed and we can easily access geometry from the Internet, why don’t we just download it and change it into something ‘new’? This project looks at how the appropriation of completed projects from the architectural cannon can be altered, or changed under the manipulation of simples commands such as Extrude or Clipping Plane. We then navigate the line between the actual substance in 3D space and its representation by placing the project on a paper plane through which a series of models and drawings emerge. Through the referencing of traditional architectural tropes of drafting and rendering we read new depths of content and representation into each model and drawing on the wall.

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5 6 ACADEMIC / As Built Drawings


As Built Drawings is an exploration of the manifestation of form through line and figure, utilizing deformation as a set of tools to achieve meta-reality. “To operate critically with the instrument of architecture implies a deformation of architecture itself; it has to change from language into meta language, it must speak of itself, it must explore its own code without leaving it, except for very carefully measured experiments.” - Manfredo Tafuri A characteristic of the post-digital era is the access to the historical cannon as a set of data. We acquired freely accessible drawings and geometries, treated them as raw data, and through the deformation of architectural tools, produced a new geometry. Through the continuous deformations we uncover the resilience of the substance that the operations cannot exhaust. Through the continuous deformations we uncover the resilience of the substance that the operations cannot exhaust. International exploitation of the methods of drawing, such as technique and viewpoint in relation to the directionality of the cutplane of such drawings (plan-oblique, axonometric cuts etc.) produces the reality of the drawing figure through the forced occurrence of conditions, languages, and parts. The produced is a new object; changing the inflection of qualities in the original geometries establish new form and spatial configurations. The qualities produced, such as the excess overlap of line and figure (treatment of poché, thick-thin, delamination, corner and edge conditions) provoke new realities of architectural language: a visual meta-language. Expressed within each reality is an architectural syntax that is nevertheless accepted as such.

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6 0 WRITINGS


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Façade Foreplay SAN FRANCISCO MUSEUM OF MODERN ART Writings Featured in AXIOM Magazine When a designer creates an object, she understands it as a whole. Sometimes that object is conceived with an understanding of how it will present itself to the observer. In the case of the extension of the San Francisco Museum of Modern Art by Snøhetta, the object is understood through the selective glimpses of its undulating facade. The series of photographs deliniates the reality and allure of a building fractally emerging from the background. Walking by the SF MOMA makes me think about how false my perception was of the new extension by Snøhetta. The aerial views I had previously seen on the internet gave me an understanding of the object as a whole, but did not convey what I am really interested in: how the building is understood from a San Francisco pedestrian’s perspective..

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Built in 1995 by Mario Botta, the original building has a royal position overlooking a plaza, symmetric and central, commanding. Botta describes the original project as an “anchor” amongst the vertical tension in the urban scene. In its orthogonal mass, an oculus perforates the solid to create a void, becoming an interface for the human condition which naturally draws the subject’s eye upward. In 2017, Snøhetta completed the extension. The discussion of how these two interact is just beginning since this is a very young project, but I think we can speculate on how parts come together in terms of architecture and how we, the subject/user, understand and engage in the interface in its entirety. Its ungrounded solid brings into question the contrast in metaphysics of presence between both objects in the way that they are perceived by the subject. Moreover, there is a striking presentational contrast between the buildings. It is perhaps unintentional, due to the timing of construction and lot allocation, but nonetheless renders interesting observations about direct revelation vs. subtlety and the resulting observational “affect”. The site situation of the Botta building is expected and ideal, provoking instantaneous comprehension, while the Snøhetta building seems claustrophobically pinned between Botta’s original and its neighboring highrises. The Botta building grandly bares all, while the the Snøhetta is inadvertently concealed, evoking curiosity of what resides in its interior. The two objects denote the difference between understanding an object through a sort of holistic “aha” moment, and understanding it through small teasers by “leaving something to the imagination...”. Formally, the extension projects itself onto the slim alleys left behind by the same vertical tension. The projection’s swelling is caused by the cascading staircases that orient and move humans up and down the section. To me this speaks to the physical versus visual movement that occurs within the interior and exterior of the object. Trimmed at the sides by the site’s boundaries, its horizontal movement contrasts with the city’s occasional verticality. Snøhetta cites the waters of San Francisco as the source of inspiration for the lines extruded along the swelling facade.

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Curiously, the surface neglects the street adjacent to the alley by bluntly slicing the mass and activating the alleyway to “open up new routes of public circulation” throughout the urban interface. As the building is circled, the veil is lifted in glimpses. An analysis of these two approaches raises questions about how we expect to experience a building. As designers we develop a holistic understanding of our project, yet our sensorial contact with it is always discretely revealed through our fragmented experience of it. The grounding versus un-grounding of the project shows the part to whole relationship between itself as two objects functioning in unison and to the city as a larger whole to which it engages on levels of both contextualism and abstraction. The series of photographs demonstrate the inseparability of the building from its context. If the building can only exist as it can be understood, and if the building cannot be visually accessed from the ideal vantage point, it can be said that it does not exist in the privileged, diagrammatic way we, as architects, want it to, as we design from above. As much as it would please architects to alienate the building from its surroundings, pose it, and discover its most flattering angles, the building is still ultimately framed by the unplanned, disorderly milieu of the city. What do curated attempts at holistic visualization do for a built project if the public never bears witnesses to it? To assume detachment is to falsify the experience of a project. We must admit the inaccessibility of some aspects of our design, and the glaring prominence of some our least favorite portions of it as we view it from below. The Snøhetta addition is rarely experienced as it is commonly represented, perhaps for the better. It is unclear whether the shell of the extension was poised to be viewed from above, but intentionally or not, the restricted access to this view forces a new, more nuanced perspective, one that is driven by unrestrained and fluid urban “frame.” The series of photographs deliniate the reality and allure of a building fractally emerging from the background…

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WRITINGS / Façade Foreplay


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6 6 COMPETITIONS


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Rear Window

HOUSING-MARKET IN SOUTH PHILLY Competitions / 2019 HOK Futures Finalist, Third Place A market and housing development in South Philly that celebrates the idea of public space not as a grand urban gesture, but rather as an experience that is small, intimate, and personal. The exterior facade is a reflection of individuality while the interior is an expression of a collective whole. Via an extension of the historic market, this new communal alley provides an experience that perforates into the local’s backyard and gives the visitor a glimpse into the neighborhood’s rear window.

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Jukeboats

POP-UP FOR MANAYUNK Competitions / PennDesign Shenk-Woodman Team Submission The project frames gentrification as the relationship between two groups of people that co-exist in a given space. Typically, the drastic scenario is defined by either the local group adapts or the incoming group replaces. This project proposes an alternative scenario where through popular media, two different groups of people can enjoy being in the same space over time despite their differences. Attached underwater, each pair of jukeboats welcomes two groups into separate dance chambers. The imagery and sounds played within and on the exterior surface of the boats is defined by both participating groups. Through the enjoyment of familiar and unfamiliar music preferences, the two groups are eventually asked if they would like to “merge� into one party. At this point each group must decide if they would like to be a part of a larger party or remain on their own. Through the potential of these two dance chambers merging, the project fosters the possibility of new dialogues between both locals and visitors of Manayunk that can convey that we are more alike than different, and that it is up to us to decide if we want to engage in experiences that while initially awkward, can yield positive results.

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COMPETITIONS / Jukeboats


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Drawings

PROJECTS ABOUT DRAWINGS Graduate / University of Pennsylvania Featuring work from the Visual Studies Seminars I, II & Foundations Studio II by Brian De Luna A set of finished and in-progress drawings from my studies at PennDesign. While some of the drawings from these seminars are featured in the actual studio projects, I decided to present these on their own as they represent my favorite part of architecture: drawing. The act of differentiating figure from ground, describing the outside and the inside, and delineating openings in boundaries. Lines that contain unique kinds of information: from line weight, to scale, to parameters that tells us about texture, thickness, and tactility.

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8 0 ACADEMIC / Drawings


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Paul Germaine McCoy paulgermainemccoy@gmail.com +1.956.588.7146

Education UNIVERSITY OF PENNSYLVANIA SCHOOL OF DESIGN Master of Architecture Candidate / 07.2018 - 05.2021 PennDesign Merit Scholarship

TEXAS A&M UNIVERSITY Bachelor of Environmental Design / 08.2014 - 05.2018 Study Abroad / Barcelona Architecture Center Diversity Certificate

Proficiencies LANGUAGES English (fluent), Spanish (native), French (limited)

SOFTWARE Rhino, Grasshopper, Maya, Z-Brush, Revit, AutoCAD, Illustrator, InDesign, Photoshop, MS Office

FABRICATION Makerbot, Cura, Catalyst EX, ULS Laser Cutting, CNC Routing

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CURRICULUM VITAE


Experience Professional CORGAN Architectural Intern / Dallas, TX / 05.2018 - 07.2018 Projects: 401 Garage (Shell), Tarrant County Community College NW Campus

SMITHGROUP Architectural Intern / San Francisco, CA / 05.2017 - 08.2017 Project: Kaiser Permanente Sacramento Railyards

ATELJÉ SOTAMAA Architectural Intern / Helsinki, Finland / 06.2016 - 08.2016 Projects: Fazer Visitor Centre, Westwood House, Pickala Masterplan

ALL STAR THEATRE Technical Director / Helsinki, Finland / 06.2016 - 08.2016 Project: Pippin

Academic BABBLE MAGAZINE Editorial Team / Philadelphia, PA / 09.2018 - Present

T4T LAB Studio Assistant / Texas A&M Department of Architecture / 01.2018 - 05.2018

ARCHITECTURE DEPARTMENT HEAD SEARCH COMMITTEE Student Representative / Texas A&M Department of Architecture / 09.2017 - 05.2018

DEEP VISTA SYMPOSIUM Coordinator / Texas A&M Department of Architecture / 09.2017 - 04.2018

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In order of appearance Accessing Artifacts (pg. 7-9)

Calli Katzelnick Huadong Lin Meichen Ai

Stitched Immanence

S. Grant Parker Daniel Eynon

Contingencies As Built Drawings

Luis Muñoz Cody Clancy David Forero Matthew Foster

Façade Foreplay

Hannah Terry

Rear Window

Madison Green

Jukeboats

Robert Schaffer Edward Sheng

with special thanks to Jawad Altabtabai, Andrew Atwood, Jeannelle Fernandez, and Daniel Wang.

8 6 COLLABORATORS


Paul Germaine McCoy


www.PaulGermaineMcCoy.com

Profile for paulgermaine

Paul Germaine McCoy, Selected Works  

Projects completed at the University of Pennsylvania (year 1), and Texas A&M University (year 4).

Paul Germaine McCoy, Selected Works  

Projects completed at the University of Pennsylvania (year 1), and Texas A&M University (year 4).

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