Portfolio 2019

Peter Maffei Selected Works pamaffei@syr.edu (609) 917 4255 1 Dryer Ct, Plainsboro, NJ, 08536

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Menu The Voluntary Prisoners of Instagram 4-7 Hudson Rail Yards 8-15 Post Cubicle-ism 16-19 Everson Expansion 20-29 Hortus Architecturalis 30-35 The Pink Program Collider 36-45 The Cave And the Winter Garden 46-49 Mies Van Der Rope 50-51 Manhattan Clam Chowder 52-53

(Right) Cheap, But Full of Charm is a project that examines the transformation of former Victorian warehouses and tenements into luxury apartments, in which exposed beams, red bricks and rusted machinery become part of a bourgeois fascination with the aesthetics of the post industrial city.

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The Voluntary Prisoners of Instagram Cambridge Heath, London The Voluntary Prisoners of Instagram is an Instrument for the fabrication of an online personality, within a clandestine former warehouse in Cambridge Heath. Through a series of infrastructures and sequences, an aspirational and cash poor millennial is transformed into a glamorous jet-setting Instagram Influencer at the loss of their privacy and individuality.

They become prisoners of Instagram and find that even their most intimate moments are staged and posted for the likes

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Hudson Rail Yards Competition Poster

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Iterative Paper Models

Hudson Rail Yards This site exists as a series of platforms constructed over top of the West Side Rail Yards in Manhattan, which house the trains that head into Penn Station. Our proposal begins with what we call an “elevated mesh�- a reintegration of the site into the city grid. Elevating above the rail platforms allows for public programs on and under. In order to allow light to flow through this elevated ground, we carved voids along the street grid, and devised a series of folds that act as major ramps and house open-air programs, such as theaters, markets and cafes.

These folds and voids produce a series of sectional conditions. These conditions generate potential interactions, programs and experiences that can be explored throughout the site. The West Side Rail Yards then become a 3-dimensional field condition that mediates between the tower and the ground.

In Collaboration with Sarah Quinn

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Sectional conditions 12

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Post Cubicle-ism In order to adress the changing Dichotomy of Work and Play, our tower is comprised of 3 commercial offices programs that we feel are representative of the past, present, and future of “cubicleism� in New York City. Cubicle-ism is our invented name for a discourse surrounding workspace politics. As the city moves towards creative industries, a new typology of office space is needed. We chose an accounting firm, a start-up tech company, and a fashion design headquarters, supported by a hotel and retail component. By incorporating these three extremely different office styles into one tower, we aim to exploit their differences and similarities in order to raise questions about the progression of commercial workspaces. Each of these programmatic components have their own interior circulation systems. The individual programs have their own distinct volumes that shift in order to accommodate these different systems of interior circulation. This helps to separate the programs into clear zones.

These formal shifts also create gaps in which mixing spaces can occur. While the office spaces are more closed off from the public, the lobby spaces in between them serve as areas for everyone in the tower to converge.

They incorporate programs such as performance and play spaces.

In Collaboration with Sarah Quinn 16

When looking at our tower juxtaposed next to the mid-century office towers that we aim to respond to, we begin to see certain parallels. However, these programmatic elements of our tower are much more dynamic, and in this way we have started to see our tower as an exploitation of cubicleism, the modernist office blocks of the past, and the commercial developer towers of the present. Ultimately, by exploiting the various office conditions that we researched and comparing them through juxtaposition in our tower, we arrived at the question of whether or not the idea that we call post-cubicleism is actually meant to revolutionize office functionality. It may just be a piece of capitalist propaganda. Can the dynamic of the commercial tower actual be changed or is post-cubicleism just a new reinforcement of traditional capitalist hierarchies? Although the three phases of cubicleism that we chose to represent appear to all be extremely different, the juxtaposition also highligh the underlying similarities that may never be erased.

(Opposite Page left to right) World Trade Center, Post Cubicle-ism comparison (Above) Leverhouse, Post Cubicle-ism comparison 17

Axonometric Program Drawings 18

(Left) Physical Model, (Right) Night Renderimg 19

Conceptial Collage

Everson Expansion In the creation of the new Everson Museum of Art, an extension to a project by IM Pei, Pei’s brutalist pavilions are aggregated into a tower that inhabits the central atrium of the existing museum.

I was fascinated by the form, surface, and function of Pei’s Everson pavilions, especially their geode like interiors that could house diverse environments, and programs within a similar form. For instance depending on materiality, a glass enclosed pavilion could house a sculpture garden, while a pavilion clad in concrete could transform into a darkened screening room to show film. The tower is a vertical neighborhood that relates not only to the Pei project, but collects indigenous forms, and materials from the surrounding city, and Upstate New York.

The stacking of pavilions within the tower is motivated by the pinwheel rotation intended by Pei, and thus experienced by a spiral staircase. The central void of the tower is an extension of the existing atrium.

Ultimately my project plays with the iconicity of the Everson Museum. Through aggregation, collage and distortion, the upside-down L shapes, loose independence and merge into a collective form. If the Everson is a sculpture, my project exists as the sculpture within a sculpture.

The selected works were shown in the Exhibition “From Bloomies to The Everson” curated by Professor Johnathan Louie 20

Everson museum analysis

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A North Pavillion of Everson Museum K 32.00

B East Pavilion of Everson Museum C West Pavillion of Everson Museum D South Pvaillion of Everson Museum

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E Pavillion clad in Everson concrete F Pavillion with vernacular house, arches, structure rooftop garden 32.00

G Paviliion enclosed by structure infilled with traditional clapboard H Pavillion enclosed by structure and glass I Paviliion enclosed by structure infilled with traditional clapboard U J Pavillion enclosed by arches and structure T

K Pavillion enclosed by structure, infilled with brick L Pavillion clad with bricks M Pavillion enclosed by structure, infilled with brick N Pavillion with structure and Art film projection O Pavillion clad in traditional clapboard, rooftop patio and greenhouse 16.00

P Pavillion enclosed by structure with vernacular house and rooftop garden Q Paviliion enclosed by structure infilled with traditional clapboard R Pavillion enclosed by structure with Everson concrete infill, vernacualar house S Pavillion enclosed by structure, infilled with brick T Paviliion enclosed by structure infilled with traditional clapboard

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U Pavillion with Oncenter inspired vaulted structure enclosing garden 32.00

V Victorian house, James Street W Water Tower, NY State Fairgrounds X Bovine, Byrne Dairy, East Syracuse Y Cape Cod, East Genesee Z Shanty, Skunk City

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Catalog of Pavilions Existing and proposed 23

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(Opposite Page) Elevation (Below left) Perspective (Below Right) Physical Model (mirror, Lasercut museum board, ink)

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ROOF +154.00

10TH FLOOR 140.00

9TH FLOOR +126.00

8TH FLOOR +112.00

7TH FLOOR +102.00

6TH FLOOR +86.00

5TH FLOOR +72.30

4TH FLOOR +62.00

3RD FLOOR +51.30 EVERSON ROOF 48.83

EVERSON 2ND FLOOR +23.36

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(opposite Page) Section (Above) Perspective Section 27

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54.00 60.00

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(Opposite Page) Plan Perspective (Above Left) Plan (Above Right) Roof Plan (Below) Physical model

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Analysis of The Tuscan Villa Gamberaia

Hortus Architecturalis

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An Architecture School in Florence, Italy The Tuscan gardens of Villa Rossa, the Home Of Syracuse University in Florence, are a space of Otsium, or the latin term for the act of leisurely pursuing academic and artistic endeavours, usually in the serene setting of a villa and garden. The garden is a critical aspect of the schools culture and its picturesque setting is fundamental to the schools brand. Italian classes host Spazio conversazione in which the garden becomes a makeshift classroom, ballroom, restaurant, art gallery and concert hall. From the beginning we knew our project had to accommodate as well as expand this Otium that could only happen in the context of a renaissance garden. Our project called Hortus Architecturalis is a series of working follies and landscaped rooms which accomidate a school fir architecture seemingly without architecture.

In Collaboration with Melissa Melone (Right) Design facilitated through collage and research of the garden in Florentine history, and the gothic perspectives of Giotto, and Fra Angelico

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Early Design Proccess

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Catalog of Gardens The Ancient concept of a Walled garden, or hortus Conclusus separates a precious and fragile piece of paradise from the chaos of the city. Otsium can only be facilitated in such a vacuum.

Iterative Physical Models

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Parterre

bookshelf

Library

Gothic style Perspectival Caprice

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L NI UA DNG I V I D N

W ION O AT R R O K

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The Pink Program Collider I started with a form generated by the various views on the site, which lies on the slope of a steep promontory overlooking Green Lakes State Park. The project is lifted of the ground and angled towards the water. But at a certain point the project became more about the intersections of different learning environments and play styles. social, physical, aural and verbal, solitary and logical.

Through convergence or collision, new programs are invented, and interactions facilitated. Some collisions cause extreme juxtapositions like solitary and logical becomes interrupted by aural and verbal. While other collisions are more aggregable as when physical spaces blend into social spaces Each space has a unique program and identity suited to a terrain dotted with furnishings specifically designed to facilitate a specific style of learning or style of play. And their intersections are orchestrated to promote unexpected interactions.

Imagine what might happen if children on a field trip might pass by a scientist testing water samples while on their way to the play space.

Or a lecturer standing on a catwalk or platform might attract unexpected audience from students attempting to perform their own biological experiments Finally when traversing the project, subjects are encouraged to interact and participate through such collisions of space environments, textures and vistas. Moreover the olor scheme pays tribute to the bright pink colored bacteria that thrive beneath the surface of the green lakes.

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Perspective Plan 37

Group discourse converges with play space

Lecture hall converges with group learning

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Office converges with intimate study

Elevations (Left) Catalog of Intersections

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Interior and Exterior Renderings 40

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Cross Section 42

Longitudinal Section 43

(Opposite Page) Physical Model, Paper (Below)Plan

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(Below) Catalog of opperations (Oposite Page) Perspective Section HILL

CAVE

Exhibition Studio

Fish Scale Terrace

Sculpture viewing/ display

Lecture Hall

VALLEY

Ampithearter

STALACTITE/STALAGMITE

STALACTITE/STALAGMITE

Structural Column/Spatial organizer

Pedestal

BOROUGH

Private Studios

GREENHOUSE

Enclosure & Organizational system

The Cave And the Winter Garden This Project is about the natural, and the constructed. The Greenhouse which traditionally encloses nature is placed on equal footing to a geography of hills valleys and caverns whose form provides spatial and atmospheric advantages to each program. For Instance a cave takes the form of a lecture hall, isolated from sounds and distractions, beneath the earth. Or a hill used as a point of observation or staging of artwork or an artist at work. The project could be seen as a Petri dish of the neighborhood. The heart of the project is a cruciform void, contextualizing the intersection of East Fayette and South Townsend Street, and the lushly vegetated upper floor becomes a year round extension of Fayette Park, especially appealing during the harsh Syracuse winter.

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DOWN

EXHIBITION STUDIOS

TO CLOSED STUDIOS

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LOUNGE

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CAFE

KITCHEN

Plans 48

FIRST FLOOR 1/8”=1’-0”

GROUND FLOOR 1/8”=1’-0”

Exploded Axonometric 49

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Mies Van Der Rope Mies Van Der Rope is culmination of studies of both the materiality and form of Van Der Rohe’s Barcelona Pavilion and Brick House the result, a rope embroidered plexiglass, faux onyx, and mirror 7”x 11”physical model, explores Miesian grids and Miesian walls with Miesian materiality and the addition of permeable rope walls (Below)Plan of Instalation, Photographs of model

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Manhattan Clam Chowder THE SKYLINES OF OUR URBAN IMAGINARIES- from Project prompt In collaboration with Dora Lo, Akhil Arun, and Erick Sanchez Our relationship to the world is largely determined by fiction. This extraordinary shared language is the medium through which we exchange ideas and engage with our environment. It is impossible to underestimate the importance of media in the production of culture. Architects once speculated on the impacts of industrialisation and then mass production. In this workshop lead by visionary Architect Liam Young, we deployed techniques from film and fiction to again imagine the architectural and urban implications of emerging technologies. Film is a powerful medium through which we can prototype our most wondrous hopes and darkest fears of a day soon to come. In the workshop we will not design singular buildings but rather we will visualize a speculative city in which we can project new cultural trends, environmental and technological forces. We will exaggerate the present to critique existing phenomena and construct alternative realities.

Our fictional city is a post climate change manhattan in which the financial district, once home to the industries and institutions that heated the climate and melted the glaciers, now home to a new ecosytem and subsistance economy centered around a Waterlogged Wall Street.

Through an examination of the principles of world building and the tools of animation we visualised a large panoramic matte painting film for a science fiction plot that has almost unravelled, as well as narative surrounding an individual who inhabits our immagined future.

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Story Downtown Manhattan is flooded. I could almost remember the gleaming skyscrapers and the hustle & bustle of the city. But all is gone. What was once a nerve center of finance and business, now becomes home to a community of subsistent oyster shuckers and fisherman/fisherwoman, in which people trade clamshells for gasoline. An economy that demands access to the water. yet each time the tide comes in, people are forced to climb higher into the towers previously inhabited by their ancestors.

The rich and powerful moved away from their flooded towers to higher, drier ground. Meanwhile, we survive on barnacles and shellfish, latching onto the skeleton of the former city and digesting the filth of past extravagance. (scream) Beware of the rising tide! Climb higher. Yeah, you don’t want to be washed away into the opaque water. Now you smell it. The mixed pungent smell of pickled fish and fresh laundry, someone cooking manhattan clam chowder, are those real tomatoes? Nets are strung about wall street, their salty tentacles swaying in the air as if to greet the incoming fishing boats. The creaking noise of the huts fighting against the incoming tides and struggling to cling onto the skeleton of the city like barnacles on the boardwalk. Artefacts of the old city serve as constant reminders of a greater civilization. Such memories are being washed away everyday by the sound of the angry sea.

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THANKS FOR YOUR CONSIDERATION