GENESISMORPHO CAINCOWBOY ECOLOGYBIONIC OBJECTSPACE BELONGINGDISPLACEMENT& OTHER PROJECTS 4 -11 12 -15 16 -25 26 -29 30 -33 34
MORPHOGENESISMORPHOGENESISSTUDIOIV:URBANQUALITIES&MATERIALITIES ARCH 703
It would also be negligent to not consider the Queensboro Bridge. The silhouette of the building slopes in relation to the building. Lastly, the relationship between water and land continues to make this site so unique. We incorporate a waterline change of the East River into the design through these fractured outdoor elements. The materials and their spatial relationships drove the idea of reaction in our form. The facade will be composed of galvanized steel and a double skin sys tem of wood and glass. The composition of these elements help enforce the duality of nature and the machine. We are considering a double skin system, because we want to explore the idea of transparency and the ephemeral qualities that will balance the opaque, private and rigid qualities of steel. We are looking into a wood beam system, as wood would compliment the steel in its nat uralistic and organic feel. The contrast between organic and machine. This project does not only aim to create a waste to energy machine but also connect to the sensitivity and beauty of nature
SPRING 2022 PROFESSOR BARKERALEXANDRA
Putting a priority on the spatial relationship of the trucks that will be circulating the space
Scales, zebra stripes. The building emphasizes the site’s characteristics through engag ing specifically with the Queens Plaza street, as the building is jointed in relation to the street.
In partner ship with Dani Abella. The beginning of our design process was through ex ploring the science behind Morphogenesis which is a biological process that caus es organisms to create its shape. This is through a reaction and diffusion system, where chemical reactions in which the substances are transformed into each other, and diffusion which causes the substances to spread out over a surface in space.
MASSINGCONCEPT
level 0 asec. mech.level2level1level0 bsec. mech.levellevellevel asec. mech.levellevellevel SECTION PLANS
FIXED GLAZED OPENING CORTEN STEEL HUNG PANEL SCREEN SOUND ARCHITECTURALMAT CONCRETE FINISH FLOOR C.I.P VAPORRIGIDSLABINSULATIONBARRIERGFRCROOFPANELC.I.PROOFSLABGUTTERWATERPROOFINGROOF MEMBRANE RIGID VAPORINSULATIONBARRIERGFRCROOFPANELC.I.PROOFSLABWATERPROOFINGROOF MEMBRANE ROOF SCUPPER WATERPROOFING AND VAPOR BARRIER RIGID INSULATION CAST-IN-PLACE INSULATED AND REINFORCED CONCRETE CURTAIN WALL GLAZED OPENING FLASHING, BACKER RODSEALANTANDFLASHING BACKER ROD AND SEALANT FIXED GLAZED OPENING CORTEN STEEL HUNG PANEL SCREEN CONTINUOS RIGID HUNGPARAPETINSULATIONCOPINGFLASHINGPANELCLIPSFLASHINGBACKER ROD AND SEALANT FIXED GLAZED CLERESTORYOPENING CORTEN STEEL HUNG PANEL SCREEN CONTINUOS RIGID ANDBACKERHUNGPARAPETINSULATIONCOPINGFLASHINGPANELCLIPSROD,SEALANTFLASHING SCALE: 1-1/2” 1’-0” DETAIL 1_CLEARSTORY SCALE: 1-1/2” 1’-0” DETAIL 2_PARAPET SCALE: 1-1/2” 1’-0” DETAIL FIXED CLEARSTORY GLAZED OPENING DETAIL 1_ CLEARSTORY DETAIL PARAPET DETAIL CAST-IN-PLACE PARAPET WITH SCUPPER TYP. GFRC PANEL ON C.I.P. ROOF ASSEMBLY HUNG CORTEN PANEL SCREEN GLAZED OPENING HUNG CORTEN PANEL SCREEN CAST-IN-PLACE WATERPROOFINGCONCRETEINSULATEDWALLBARRIERCONCRETEPAVERS CAST-IN-PLACE SLAB VAPOR BARRIER SCALE: 1/2” 1’-0” C.I.P SLAB ON GRADE CAST PLACE INSULATED RETAINING WALL WALL SECTION CONTINUOS RIGID INSULATION TURALSTRUCPLAN
ABEL’S LAST WORDS TO CAIN A sparrow from my barn flew by your pasture as you gunned me down Brother, why do you sow my frozen fields with copper and lead? What can sprout in spring from these bullet seeds? In this black soil I grow wheat I could bake you such a crusty loaf of bread Why do my fruit trees have combat wounds? Why do my sheep and cattle lay dead? Why do women weave the sky’s threads and use them as gauze bandages? Brother, you could still bring me back to life to love to light if you don’t bomb the hospital where my pregnant wife prays that our newborn son’s first cry won’t be his last Why is my eye falling into my mouth and why is it red? Brother, you could still
This triptych interrogates the con ventions and processes of com puter rendering through narrative and materiality. My objective is to develop industry standard CGI platforms and means of produc tion. Substance Designer, Rhi no, Substance Stager, VRay, and Twinmotion to produce hyper re alistic imagery that conveys emo tion and achieve a narrativeimagery.base Cowboy Cain
SPRING 2022 PROFESSOR ASHTIANIAMIR
COWBOY CAIN COWBOY CAIN MEDIUMS III: VISUALIZATION ARCH 713
TRIPTYCH
ARCH 703
ECOLOGY BIONIC
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FALL 2021 ARNAIZCARLOS In partner ship with Sokaina Asar. Our housing project is at the intersection of technology and nature. Located on the NE corner of farragut housing in the Brooklyn navy yard. The project imagines a future where resources are redistributed, that is sensitive to local needs, while also understanding regional climate influences. As it exists today, many urban communities face food deserts. This project does not only aim to create a machine but to also provide collective new living spaces. Especially for low income housing, access to high quality foods is not easily ac cessible. Here we introduce agriculture programming through hydroponic garden, water filtration system, waste, compost and energy systems. From this programming, this building functions as a machine, a metabolic system that is self-sufficient. This building holds multi-family housing, one-bedroom, 2 bedroom units. Multi-family housing is located on the west side of the site as it has more access to yard space. The one-bedroom units are mostly located within the tower. 2-bedroom units are located on the east side of the site. The materials and their spatial relation ships drove the idea of ambiguity in our form. This is a reference to the relationship of neighbor hoods and nature, an ambiguous engagement with its environment. Our language is a refraction of light and space. We use both channel glass and brick. Brick is a reflection of the history of the farragut houses. While, channel glass reinforces ambiguity and refraction. The IPCC report states that the world’s resources are predicted to deplete in 6 years. These issues call on urgent rede sign of spaces to ensure the survival of neighborhoods. By centralizing our resources and creat ing a metabolic self-reliant machine, the community benefits from their individual living spaces.
STUDIOECOLOGYIII:URBANQUALITIES&MATERIALITIES
BIONICPROFESSOR
PERSPECTIVE FLOOR PLANS SITE MAP
ELEVATION PROGRAM DIAGRAM
SECTION CUT SITE ANALYSIS
DIAGRAMCONTROLENVIROMENTALSYSTEMS
SITE MAP These diagrams address the de sign of the mechanical, electrical, plumbing and other systems for providing services in our building design. Heating, cooling, elec trical service, lighting, plumbing, fire protection, vertical transporta tion, communication and security, acoustics, and energy conserva tion techniques are used. Grass hopper, and Rhino.
In partnership with Dani Abella. This project allowed me the capacity to develop an understanding of physical models and their requisite behaviors. Using content from researching space objects in the new yor city area. The research continues the developing models that fur ther enrich and alter the context of the designated site as well as heighten ing the interiorized urban experienc es on the site. Conceptually, this project intends to further illuminate the under standing of photographic principles, im age making and how that relates to the construction and development of mod els. It is also to influenced the project’s de velop narrative structures out of a limited set of images through how physi cal models are documented and used as vehicles for speculative design.
SPACEPROFESSOR OBJECT
OBJECT SPACE
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SUMMER 2021 ALTERED ESTATES: SPECULATIONS ARCH 648DP ERDMANDAVID
PERSPECTIVERENDERINGS
It is my contention that the architectural dimensions, forms, and style of these internment camps implicitly created a placelessness environment that also perpet uated the notion of displacement and instability in the Japanese-American cultural identity. The relocation and architectural design of these internment camps enforces the ephemerality of any sense of belonging, conditioning these camps as “non-places” and desta bilizing Japanese-Americans to their American identity.
DISPLACEMENT & BELONGING DISPLACEMENT & BELONGING SPRING 2021 PROFESSORS THROUGH THE HISTORY OFJAPANESE AMERICAN INTERNMENT CAMPS MENTARGU-
PANTELEYEVAMASHAY
In 1942, almost 120,000 Japanese Americans were forced from their homes in the West Coast of the United States as a part of the single largest forced relocation in U.S. history. This forced evac uation was in response to the Japanese attack on Pearl Harbor and the United State’s subsequent declaration of war on Japan. President Roosevelt issued Executive Order 9066, expelling all resi dents of Japanese ancestry from areas deemed to be strategic military zones. The Japanese ex clusion was revoked after three years in 1945; however, the internment of the Japanese-Ameri cans created decades-long repercussions due to losses of income, property, and community. Forty years later, the US government finally recognized the great wrongdoing they had imposed upon the Japanese-American community-- conceding that the relocation was based on racial bias, hys teria, and hostility.
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DESIGN
Certain elements and facilities that oc cupied the camp also evoke systemic control and confinement. Certain arti facts like barbed wire fences and watch towers patrolled by armed soldiers were fairly consistent elements. The lack of pri vacy and restricted freedom were also ex pressed through physical elements such as over crowded mess halls. Families were squeezed into tiny apartment homes that usually measured no larger than 400 square feet. Communal toilets lacked par titions. The humiliation produced by the lack of privacy and partitions affected the integrity of the Japanese-American family structure especially the dignity of the Issei grandmother. For Japanese-Americans, depriving the practice of tradition through over-crowdedness and lack of partitions further distance their cultural identity. To establish a place and an associated at tachment to it, there must be a link be tween the place itself and the identity of its inhabitants. Therefore, the architectural elements of the barracks and spatial con ditions of the site continued to perpetuate the instability of these centers.
Originally designed to house soldiers and not families with children and elderly people to take care of, the array of flimsy barracks under construction evoked the temporariness of the army camps. These camps were built in a hurry. More than 450 barracks were hastily constructed in 1942 to house the thousands who arrived at re location centers such as Heart Mountain. A single barrack measuring 20 by 120 feet could be assembled quickly in less than an hour. When the Japanese Americans moved out, the internment camps be came a reservoir of ready-made buildings and construction materials. Homestead ers disassembled and sawed the barracks by hand into transportable pieces, carry ing them off in flatbed trucks. The con struction and disassemblement design of the barracks reflects the fleeting and tran sitory nature of the environment and the lack of place. Permanency helps establish the concept of home and place; when that articulation is lost and the architectural elements and conditions do not support permanency, its conditions lean toward in stability and displacement.
ARCHITECTURAL
For Japanese-Americans, internment camps were primarily a function of place during Executive order 9066. Many of the internees came from urban environments. However, the geography of relocation was placed in isolated areas. The War Relo cation Authority that ran the operations of these internment camps hoped that the evacuation and relocation would fur ther assimilate the internees with white America. However, the confinement had the opposite effect. The explicit unfamil iarity of urban conditions, the alienation to the rest of the American population, and the forceful removal and relocation of a new environment only reinforced the dis establishment of place and belonging for the Japanese-Americans. Though impris oned, Japanese Americans did not hide their Japanese heritage. Artifacts such as ceramics, rice bowls and tea cups were found in several relocation centers. I ex amine this holding onto cultural artifacts and traditional activities not as an accep tance of their new environment and situ ation but rather as a resistance to white America assimilation.
BUILDING
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BACKGROUND
SITE
ANALYSIS
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THE ECLIPSE SCHOOL
SPRING 2021 PROFESSOR STUDIO
An eclipse is an obstruction of light from one celestial body by the pas sage of another between it, the observer, and its source of illumination.
ARCH 602
The intentions of this design exploration are to study and ana lyze the passage of light through different arrangements of ob struction of form In response to privacy. focus on perforat ed and semi opaque materiality that both allowed light into the space and seclusion to the children and faculty that occupy it.
THE ECLIPSE SCHOOL
Every design decision elicit an interstel lar form which compliments the concept of Eclipse.
Mud huts and castle floor plans where reconfigured and disintegrated to create a collage that focused on circularity and organic sensibilities.
The Middle School is organized as a ring of classes and rooms. Rooms vary in sizes, configurations, and light conditions. This versatile space en courages social interaction. Below ground will have the auditorium and storage, spaces that don’t need much light. The gym will be located on the first floor, extending physical activities conveniently to the surrounding neighborhood. The cafe will also occupy the first floor sitting right next to the other restaurants aligned on the street. The library, science, and art rooms will be located above the first floor, so as to have the most light.
Analyzing primitive plans and sections was the genesis of this project.
SCHOENENBERGERERICH
BASEMENT FIRST PLANS FOURTH FLOORSECOND & THIRD
CONCEPT PHYSICAL EXPLORATION
MATERIAL PHYSICAL EXPLORATION
Selected Works, 2012-2019 Left: Don’t Play with the time-out girls, 2015. VSCO Published, 2015. PHOTOGRAPHY WORKPHOTOGRAPHY WORK
Selected
Sculpture and ceramics allows me to explore my self expression in a physical way. This is my favorite art form. I have had the opportunity to truly examine and test my boundaries with iden tity and beauty. Wanting to investigate texture in relationship with touch through clay, I experie ment with nostalgic experiences in my past. I’m attracted to bold colors and opposing materials. I am fascinated by beauty, perception, feminity, and identity. Drinking Vessel, 2019. 8”x18”. Shasta clay, glaze, and gold wire. Works, 2018-2019
Left: House IV, 2019. 4”x6”. Red fabric and gold wire. Above: Lovers Sculpture, 2019. 10”x7”. Shasta Clay and glaze.
SCULPTURES + OTHER WORKS SCULPTURES + OTHER WORKS
&SCULPTURESOTHERWORKS
