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Yael Hameiri


The Grid & Its Other


Jenin Jenin 16,209 16,209

Abil al-Qamh

Tulkarm18,310 Tulkarm 18,310 Far’a 7,632 Nur Shams 7,632 Far’a Nur Shams Askar 9,163 15,887 9,163 Askar 15,887 Camp No.l Balata Camp No.l 6,750 Balata 23,600 6,750 23,600 Jalazone 11,182 DeirJalazone Ammar 11,182 Deir Ammar Am’ari Am’ari Kalandia Ein el-Sultan Kalandia Ein el-Sultan Shu’fat Aqabat Jabr Shu’fat Aqabat Jabr

al-Zuq al-Fawqani

Aida Aida Beit Jibrin Beit Jibrin Dheisheh Dheisheh Arroup Arroup

al-Buwayziyya al-Muftakhira al-Zawiya Khiyam al-alid al-Nabi Yusha' al-Nabi Yusha' Jahula al-Urayfiyya al-Malikiyya Qadas Baysamun Harrawi Suruh 18,955 Irbbin Khirbat al-Dirbashiyya Dayshum Mallaha Tarbikha 18,955 Al-Bassa Neirab Sliha Iqrit al-'Ulmaniyya Al-Nabi Rubin 'Arab al-Zubayd Neirab Arab Al-Samniyya Fara 'Arab al-Zaytun 'Alma Al-Mansura Tulayl Al-Zib Kafr Bir'im al-Husayniyya al-Ras al-ahmar Dayr Al-Qasi Sa'sa' Marus Kirad al-Ghannama Ghabbatiyya 8,263 Al-Kabri Dallata Sfasaf Tayataba 8,263 Al-Tal Hama Al-Nahr Suhmata Yarda Kirad al-Baqqara Sabalan Hama Qaddita 'Ammuqa Qabba'a al-'Wayziyya Umm Al-Faraj Al-Gabisiyya 'Ayn al-Zaytun Firim Mughr al-Khayt'Ammuqa Mirun Biriyya al-Muntar, Khirbat Al-Sumayriyya 22,034 Amaqa 22,034 Homs al-Ja'una Mansurat al-Khayt al-Zanhariyya Homs Kuwaykat

Zarqa Zarqa 18,509 18,509 Marka 45,593 Marka 45,593 Amman New Camp Amman New Camp Jabal el-Hussein 51,443 Jabal el-Hussein 51,443 29,464 29,464 6,970 6,970 Talbieh Talbieh

Nahr el-Bared Beddawi Nahr el-Bared Beddawi 16,591 16,591

107,590 Jabalia 82,009 107,590 Beach Jabalia 82,009 Beach 62,117 Nuseirat 62,117 Nuseirat Bureij 31,360 Bureij 31,360 Maghazi Maghazi Deir el-Balah 23,981 Deir el-Balah 23,981 20,753 20,753 Khan Younis 68,117 Khan Younis 68,117

4,048 Wavel 4,048 Dbayeh Wavel Dbayeh Shatila 8,645 7,909 Mar Elias Shatila 8,645 615 7,909 Marel-Barajneh Elias 615 Burj Burj el-Barajneh 19,771 19,771

Rashidieh Rashidieh 27,521 27,521

al-Sanmmu'i al-Khisas al-Mansura al-Zuq al-Tahtani Madahil Lazzaza al-Abisiyya Qaytiyya al-Dawwara al-Hamra' al-Salihiyya

Baqa’a Baqa’a 93,916 93,916

Fawwar Fawwar

47,614 47,614 Ein el-Hilweh Ein el-Hilweh Mieh Mieh Mieh Mieh 4,683 4,683 9,849 9,849 El Buss El Buss Burj el-Shemali 19,771 Burj el-Shemali 19,771

Al-Manshiyya

Al-Damun

18,740 Miar Jaramana 18,740 21,210 Al-Sumayriyya Jaramana Sbeineh Qabr Essit 22,348 21,210 Sbeineh Khan Qabr Essit19,059 22,348 Eshieh

98,872 98,872 Rafah Rafah

Khan Eshieh 19,059 Khan Danoun 9,788 Khan Danoun 9,788

13,342

13,342 Dera’aWa'arat al-Sarris Hawasha al-Kasayir, Khirbat Dera’a

Sa'sa', Khirbat

Saffuriyya

al-Damun, Khirbat al-Jalma Jenin 16,209 Tulkarm18,310 Far’a 7,632 Nur Shams 9,163 Askar 15,887 Camp No.l Balata 6,750 23,600 Jalazone 11,182 Deir Ammar

Tulkarm18,310 Far’a 7,632 Nur Shams 9,163 Askar 15,887 Camp No.l Balata 6,750 23,600 Jalazone 11,182 Deir Ammar Am’ari Kalandia

Sauf 20,142 Jerash 24,090

Ein el-Sultan Irbid Aqabat Jabr 25,250 Shu’fat Husn 22,194 Aida Beit Jibrin Sauf Dheisheh 20,142 Jerash Arroup 24,090

Aqabat Jabr

Zarqa Baqa’a 18,509 93,916 Marka 45,593 Amman New Camp Jabal el-Hussein 51,443 29,464

Fawwar

Aida Beit Jibrin Dheisheh Arroup

Zarqa Baqa’a 18,509 93,916 Marka 45,593 Amman New Camp Jabal el-Hussein 51,443 29,464

Fawwar

6,970 Talbieh

Nahr el-Bared Beddawi 16,591

4,048 Wavel Dbayeh Shatila 8,645 7,909 Mar Elias 615 Burj el-Barajneh 19,771 47,614 Ein el-Hilweh Mieh Mieh 4,683

Rashidieh 27,521

Rashidieh 27,521

9,849 El Buss Burj el-Shemali 19,771

Jenin 82,009 16,209 4,048 Beach Wavel Dbayeh Shatila 8,645 7,909 Tulkarm 18,310 Mar Elias 615 62,117 7,632 Far’a BurjShams el-Barajneh Nur Nuseirat 9,163 19,771 Askar Bureij 15,887 31,360 Camp No.l Maghazi Balata23,981 6,750 Deir el-Balah 47,614 23,600 20,753 Ein el-Hilweh Jalazone 11,182 Deir Ammar Mieh Mieh Khan Younis 4,683 68,117 Am’ari Kalandia Ein el-Sultan 9,849 El Buss Burj el-Shemali Shu’fat Aqabat Jabr 98,872 19,771 Rafah Aida Beit Jibrin Dheisheh Arroup

8,263 Hama

107,590 Jabalia

82,009 Beach 8,263 Hama 62,117 Nuseirat Bureij 31,360 Maghazi 22,034 23,981 Deir el-Balah Homs 20,753

107,590 Jabalia

Wadi Qabbani

18,740 Jaramana 21,210 Sbeineh Qabr Essit 22,348 Bayyarat Hannun Khan Eshieh 19,059 Khan Danoun 9,788

Irbid 25,250 Husn 22,194

Ghabat Kafrr Sur

Sauf 20,142 18,740 Jerash Jaramana24,090 21,210 Sbeineh Qabr Essit 22,348 Khan Eshieh 19,059 Khan Danoun 9,788 Zarqa Baqa’a 18,509 93,916

6,970 Talbieh

Miska al-haram

4,048 Wavel Dbayeh Shatila 8,645 7,909 Mar Elias 615 Burj el-Barajneh 19,771 47,614 Ein el-Hilweh Mieh Mieh 4,683

Rashidieh 27,521

9,849 El Buss Burj el-Shemali 19,771

Tabsur

Kafr'Ana 18,955 Biyar Neirab 'Adas Ijlil al-Qibliyya al-Safiriyya al-Gharbi

107,590 82,009 Jabalia Beach

Abu Kishk al-Muwaylin

8,263

Majdal Yaba

22,034

Homs Salameh al-Muzayri'a Rantiya al-Khayriyya Qula Saqiya al-Abbasiyya Yazur al-Jammasin al-Tira Bayt Dajan Dayr Tarif al-Safiriyya Bayt Nabala

62,117 Nuseirat Bureij 31,360 Maghazi Deir el-Balah 23,981 20,753 Khan Younis 68,117

98,872 Rafah

Kafr Saba

al-Shaykh al-Mirr

al-Sharqi Hama Jarisha Fajja al-Mas'udiyya

Nahr el-Bared Beddawi 16,591

Fardisa

al-Zababida 13,342 Dera’a

Marka 45,593 13,342 Amman New Camp Dera’a Jabal el-Hussein 51,443 29,464

Fawwar

Qaqun

Umm Khalid Bayt Lid, Khirbat

Khan Younis 68,117

98,872 Rafah

al-Jalma

Arab Zahrat al-Dumayri Arab al-Fuqara' al-Sarkas, Khirbat Raml Zayta Arab al-Nufay'at 22,034 al-Majdal, Khirbat Zalafa Homs al-Manshiyya Wadi al-Hawarith al-Jalama

18,955 Neirab

Nahr el-Bared 6,970 BeddawiTalbieh 16,591

al-Mazar

al-Haditha 18,740 Sarafand al-'Amar Dayr Abu Salama Jaramana 21,210 Abu al-Fadl Khirbat Sbeineh Qabr Essit 22,348 Sarafand al-Kharab Eshieh 19,059 Jimzu Wadi Hunayn Khan Khan Danoun 9,788 Zakariyya, Khirbat Daniyal Kharruba Bir Salim al-Nabi Rubin Shilta Barfiliya al-Burj 'Innaba al-Qubayba al-Kunayyisa Bit Ma'in 13,342 al-Barriyya Dera’a Zarnuqa Bayt Shanna al-Buwayra, Khirbat al-Na'ani Yibna Salbit 'Ajanjul Al-Qubab 'Aqir Abu Shusha Saydun al-Maghar al-Maghar Nitaf al-Latrun Dayr Muhaysin Dayr Ayyub Bayt Thul Bashshit Qatra Khulda Shahma Umm Kalkha Bayt Jiz Bayt Susin Arab Suqrir Bayt Naqquba Bayt Mahsir al-Mukhayzin Lfta Bayr Far, Khirbat Saris Qalunya 'islin al-'Umur, Khirbat al-Qastal Sajad Qazaza Dayr Yasin Dayr'Amr Jilya Baraqa Sar'aIshwa' Kasla Ism Allah, Khirbat al-Mays Sataf 'Ayn Karim al-Khayma al-Batani al-Ggarbi Ysur al-Kabira Dayr Rafat al-Burayi al-Lawz, Khirbat 'Aqqur Isdud al-Tina al-Saghira Dayr al-Hawa al-Jura al-Maliha Idnibba al-Batani al-Sharqi Bayt Umm Dayr Aban Qastina Sulfa Dayr al-Shaykhal-Walaja Ras Abu'Ammar Mughallis Tall al-Turmusl Jarash Bayt'Itab al-Qabu Bayt Daras 'Allar al-Sawafir al-Sharqiyya al-Tannur, Khirbat Zakariyya Tall al-Safi al-Sawafir al-Gharbiyya al-Sawafir al-Shamaloyya Hamama al-Jaladiyya Bayt Nattif Bi'lin 'Ajjur Julis Barqusya 'Ibdis Dayr al-Dubban Zikrin Bayt'Affa Summil al-Jura Ra'na Jusayr Hatta 'Iraq Suwaydan Kudna Karatiyya al-Khisas Ni'ilya Zayta Umm Burj, Khirbat al-Jiyya Barbara al-Faluja Bayt Time 'Iraq al-Manshiyya Dayr Nakhkhas Hiribya Jibrin Bayt Jirja Hulayqat

Dayr Sunayd Dimra

al-Qubayba

Burayr Simsim Najd

al-Dawayima Huj

al-Muharraqa

Kawfakha

al-'Lmara

al-Khalasa

Lubya Nasir al-Dim al-Shajara Ghuwayr Abu Kafr Sabt

al-Nuqayb

al-Samra Ma'lul al-Mujaydil

Ayn Hawd

Shusha Khirbat Wadi al-Hamam al-Majdal Hittim Nimrim

al-Manshiyya Samakh Ma'dhar al-Hamma Hadatha al-'Ubaydiyya 'Awalam al-Dalhamiyya Sirin Al-Tira

al-Sarafand Jaba' Ljzim Umm al-Shawf Kafr Lam al-Manara, Khirbet Qira Abu Zurayq Indur al-Sawamir al-Rihaniyya Qumbaza Abu Shusha Al-Taqa, Khirbat Dann al-Ghubayya al-Tahta Lid, Khirbat al-Tantura Al-Bira al-Naghnaghiyya Daliyat al-Rawha' al-Ghubayya al-Fawqa al-Mansi Kawkab al-Hawa al-Zawiya, Khirbat 'Ayn al-Mansi Khirbat al-Kafryn Yubla Sabbarin al-Lajjun Jabbul Khubbayza al-Butaymat Qumya Burayka Zir'in Al-Murassas Kabara al-Sindiyana Ummv al-Shawf Zab'a Al-Hamidiyya al-Shuna, Khirbat Nuris al-Mazar Qannir 'Arab al-Bawati 18,955 Barrat Neirab Qisarya al-Burj, Khirbat Qisarya Al-Sakhina Al-Ghazzawiyya al-Jawfa, Khirbat Wadi Ara Tall Al-Shawk

Irbid 25,250 Husn 22,194

Am’ari Kalandia

Ein el-Sultan Shu’fat

Atilit

al-Salihiyya al-Zanghariyya 'Akbara al-Farradiyya Karraza, Khirbat Jubb Yusuf al-Butayha al-Shuna al-Qudayriyya al-Mansura 'Arab al-Shamalina Yaquq Al-Samakiyya al-Tabigha

Kafr Inana Al-Birwa

Balad al-Shaykh al-Tira Yajur

Jenin 16,209

Khan al-Duwayr al-Shawka al-Tahta

al-Manshiyya Hunin

Irbid Irbid 25,250 25,250 Husn Husn 22,194 22,194 Sauf 20,142 Sauf 20,142 Jerash Jerash 24,090 24,090

al-Jammama

Al-Ashrafiyya Unn' Ajra Farwana Masil Al-Jizl 'Arab al-'Aris 'Arab Al-Safa Al-Hamra Al-Khunayzir

Al-Samiriyya

Al-Fatur


Without Beyond About Inside

Plan The Its Side & Ground Grid Other Chronotope

Between Names & Tunnels Playing and reality in the Refugee Camp Jabalia The Jabalia Refugee Camp and the Tunnels in Gaza are representations of literal and figurative questions of movement and its limitation. The refugee camp Jabalia is a new urban place, studied in the context of the Palestinian refugee problem at large. The paradox-in-definition between the space and time of the camp, where broken political and social narratives build its reality, forms the basis for dwelling. Located in the Gaza Strip near Gaza City, with the Israeli border on its other side, density and narrowness characterizes the Camp’s internal organization while implemented siege and blockade have defined its relationship to the world for 3 years and occupation for 60 years. Consequently, the Tunnels are a necessity where legal limits are crossed out; they are voided sections. Though physically separated, through the juxtaposition of the camp and the tunnels, a new play is conceived, maneuvering between the constraints of the Camp and the ‘eye’ of the tunnels. The project is an attempt to find and define the metaphoric tunnel space in the camp, but one that is a channel of hope, not economy. Like the tunnels, the spaces of the project provide alternative of moving beyond walls, and investigating the ground as an architectural material. However, as an opposition to the tunnel space, they are stationary, proving space of play and light.


THE JABALIA REFUGEE CAMP

Tunnel Zone TUNNEL ZONE

GAZA STRIP

GAZA CITY

MEDITERRANEAN SEA

GAZA

EGYPT

MEDITERRANEAN SEA

ISRAEL

GAZA

EGYPT

ISRAEL

THE JABALIA REFUGEE CAMP


A network of spaces is spread across the camp where there is no traffic and no buildings. The spaces are defined through a set of programmatic insertions and minimal formal acts, allowing the outdoors experience and the programmatic activities to coexist as an opposition to the camp concrete-shelter structures. The programs are meant to accommodate small theatrical spaces, graffiti and painting walls, reading spaces, and playgrounds. New pathways are defined in relation to the camps organic development; along side the roads that were carved in the 1920s by the Israeli army. They provide continuity in the chaotic built environment. Water channels will run at the side of the pathways as a narrative of this continuity, providing utilization of rainwater for kids play.

PROJECT PLAN


At the alley end

Along the cutout

Within a hole in the neighborhood’s density

Aside the passage In the heart of the block Submerging

Visual continuity

Elevating

Open enclosure

Flowing

Crossing

Carving Play

Theater of cross visual connections

Water Channel of continuity and flow, leading footsteps

Urban tree house

Safe passage overlooking traffic from an


The work is an attempt to trace those aspects of the situation that are systematically erased or ignored by making their presence undeniable, creating a path for view, through which the associated blindness could be examined. This mental blindness is the threshold communicated through the concrete physical questions of movement and crossings and is to be overcome by space for childhood and imagination.

Enacting Hiding

Climbing Resting

inhabitable bridge

Play in shade or reflection

Centralizing Water in a decentralized plan

Reading niche and space for secrets


6490 BC

6300 BC

1600 BD

Without Beyond About Inside

Plan The Its Side & Ground Grid Other Chronotope

Surfaces and Transformation

MAPPING OF MARKS THAT WERE LEFT ON THE GROUND BY LAKE AGASSIZ

On the land of the glacial lake: At the origins of the Red River of the North, Lake Traverse, once the south edge of lake Agassiz, recurring floods get closer and closer to the height of the historical lake. This relatively young basin is not deep enough to manage the quantities of water in the spring. Unusually, on this land of Agassiz, the streams of water are northbound. A Hydrodynamic reading of Flat land: The system transports the floodwater from the tributary area to a reservoir, operating on the scale of the marks left by lake Agassiz and applying it back on to the landscape. This subtle intervention activates movement of water using the volumetric potential of the site. On a land that is otherwise divided abstractedly by the Jeffersonian grid, a new mesh on the plan along with sectional movement gives it new identify born out of its own ground and history; permeability is an operating narrative. The part of the water system that is above the flood line holds the potential for a new settlement as a water organ, allowing excessive streams of water to run through and return to the system un-wasted.


SITE PLAN

SITE SECTION


PLROJECT PLAN

PLROJECT SECTION


Without Beyond About Inside

Plan The Its Side & Ground Grid Other Chronotope

On The Correction Line Site: A road is a direct expression of a pencil line; the Jeffersonian grid that divided the United States farmland into individual plots of land finds its limits in the totality of the North Dakota flat land. As the longitudinal lines get closer to each other, to maintain the rigidity of a system based on equality, a diversion from the grid is necessary. Between every four townships, a correction line was established in order to re-stretch the grid on the vast landscape. As it is imposed on the ground, the road that represents this line turns ninety degrees with no visible logic, as experienced by someone driving through. Then, shortly after, the road turns back to its original direction. The correction line is an attempt to fix the total abstraction of the grid system. Access: As one drives into the horizon and suddenly has to turn, this access road continues the original road as if there were no correction, and recreates the cross moment of the grid. This line further expresses the possibility of drawing a line on the land, and questions the original system by emphasizing its oddness, playing out the reality of a drawing, which becomes the reality of a place. The road reflects the distance of the correction and then dissolves into the landscape, turning toward the prevailing wind direction. SITE PLAN STUDY 1

Dwelling: A strong wind, the main character of the site, is registered on the ground, creating a variety of relations to the horizon line. The form of the house is based on the fundamental principles of a wind-breakfence: porosity and proportions. It dissolves into fragments, into the exiting— shifted— road, allowing snowfall and wind to blow through, creating a broken line as a memory plow tills the ground frozen in space. The spaces in the house are dense and intimate, as a contrast to the vast flat land.


SECOND FLOOR PLAN

LONG SECTION 1

LONG SECTION 2

THIRD FLOOR PLAN


SITE ANALASYS

WIND FORCE & WIND BREAK FENCE ANALASYS


Without Beyond About Inside “The city’s gods, according to some people, live in the depths, in the black lake that feeds the underground streams. According to others, the gods live in the buckets that rise, suspended from a cable, as they appears over the edge of the wells, in the revolving pulleys, in the windlasses of the norias”… “This said, it is pointless trying to decide whether Zemobia is to be classified among happy cities or among the unhappy. It makes no sense to divide cities into these two species, but rather into another two: those that through the years and the changes continue to give their form to desires, and those in which desires either erase the city or are erased by it. “ Italo Calvino, Thin Cities: Invisible Cities

Plan The Its Side & Ground Grid Other Chronotope

The Poetic Potentiality of the Vertical City Under the Waldorf Astoria towers, between 49th and 50th Streets, the train-track continuity from Grand Central is terminated and shifts to continue under Park Avenue only, forming its structural character as a submerged urban bridge. As a reading of the train tracks and its underground supports, a secondary grid is stretched on the transitional block, between 50th and 51st streets, between Park Avenue and Lexington Avenue, structurally holding St. Bartholomew’s Church. On this conceptual and structural grid, as continuity to a ground level path between the two towers of the Waldorf Astoria, a wall runs through the middle of the block giving St. Bartholomew’s a second facade. A lower wall, defining the other side of the new urban pathway, is an exposure of an already existing stitch between the two parts of the block.

On the west side of the block, the church is supported by the exposed grid. Its courtyard, a vertical puncture in the grid, is a formed void, suggesting the roots and grounding of the tower on the other side of the block. The plan of the void is the plan of the tower, together forming a vertical continuity in which one could not be fully perceived without the other. The ground of the city is a built stratified platform with datum and possibilities below and above. The same attitude is expressed towards the block itself, which is thought of as a volumetric unit for potential choreography, rather than a container with limits.


ST. BARTHOLOMEW’S CHURCH WALDORF ASTORIA LOCATION

SECTION UNDER PARK AVENUE


SITE FOR THE SCULPTURE MUSEUM

N FLATIRON BUILDING

MADISON SQUARE PARK


Without Beyond About Inside

Plan The Its Side Ground Grid&Other Chronotope

The Diagonal Cut: Duet of Triangulated Sites The Dialogue of the Site as the definition for the program: The Flatiron building is an extrusion of a triangulated plan, but has no architectural implications for the specificity of its site in section. From some angels it is perceived as flat. The Flatiron building fulfills its site’s potential in plan, while the design for a museum across from it tests the sectional implications of the triangulated site. Intensifying the Site: Introducing a new focal point to its chaotic and crowded street level, coupled with opening the area surrounding it to pedestrians without subdivisions of traffic islands and side walks, creates a new coherent civic space on the site. Moreover, a sculpture garden, open to Madison Square Park, opens the majority of the street level to the public. The galleries: The exhibition space is contained within a volume that reflects a typical Manhattan 19th century apartment building, floating six stories above street level. The floors are adjustable horizontally so that they can accommodate different exhibitions. This also provides with the possibility for a dialogue between the different floors and allows a play with the light penetrating from above. Transparency: Surfaces of transparency are used to reflect cuts and shifts as revealed design operations. Transparent sections are also positioned in relation to the neighborhood and maintain, rather than interrupt, continuity and coherence of surfaces.


STUDY 1

STUDY 2

STUDY 3


PLAN: ENTRANCE LEVEL

PLAN: LOBBY AND OFFICES LEVEL

PLAN: OFFICES & GALLERIES LEVEL

PLAN: ROOF & GALLERIES LEVEL


The Diagonal Cut: Smart Station A Smart Station, used for the display and sale of the 2.5 m (98.4 in) long Fortwo Smart Car,� located on an urban site at Houston and Lafayette in Manhattan. Two cars are located here, one outside for display, one inside for test-driving. The Smart Station has one employee, one exhibition space, and service space. This project brings ideas of shelter and technology into the context of this site and introduces it with a new scale. The station is an architectural dialogue between the neighborhoods load-bearing walls and billboards.


Without Beyond About Inside

Plan The Its Side & Ground Grid Other Chronotope

The Interior of the Block The originally uniformed rectilinear space in the heart of the Manhattan residential block changes constantly, reflecting the evolution of the built environment in relation to the grid. The interior of the block is a revealed latency hidden by the front facades; it is a space charged with the complexity of the contemporary city built environment. The city’s Other, between the exposed fastspeed avenue and the hermetic space of the small apartment, holds the potential for a new transitional space. Open to the street at moments, the spaces read as an urban continuity: an architecture of community.


PLROJECT PLAN


Without Beyond About Inside

Plan The Its Side & Ground Grid Other Chronotope

FOUR-STORY COLUMN-BURIAL

Porous City: Cemetery Bridge The Trinity Cemetery was moved uptown from Trinity Yard downtown, and later was separated between its east and west parts when Broadway was extended north. This deep cut penetrated the cemetery ground, and is reactivated every time the cemetery is experienced in speed through this axis, in contrast with its original pathways.

PLATFORM

The inhabitable bridge is a new part of the cemetery that connects its two parts above Broadway. It maintains 75 percent porosity to allow light into the avenue. It is a grid; a net of units, each one maintains these relations between solid and open plane. In each unit, a platform and pathway, and a four story column-burial. There are seven different positionings of the body in relation to the burial space. These are mirrored, giving fourteen plan conditions that are distributed, equal in number, across the occupiable rectilinear zone of the inhabitable bridge, while the pathways create continuity of movement, providing free pedestrian wandering. The structure of a Space Frame allows the plane of the cemetery to be light, where weight and its reflection stay below. Programs associated with the cemetery, ceremonial gathering space and a chapel, are hung from the Space Frame and opened up to the street level. The grid, the frame, and the porosity are associated with the ironframe structures from the time the original cemetery was built, and their frequent catching on fire. The bridge cemetery is a reflection on the relationship between the remained and reminder.

PLAN: CEMETERY BRIDGE OVER BROADWAY BETWEEN 153RD & 155TH STREET, MANHATTAN


The Cemetery: After Heterotopias

CEMETERY OVERVIEW: ABOVE BROADWAY

CEMETERY: VIEW FROM BROADWAY

The cemetery is the physical location of our future, of the past contributions to our memories by individuals we have lost, and the present reflection we have on the location of the ‘in between’ space of existence. In “Of Other Spaces,” Foucault uses the mirror as the first example of distinguishing where differences blur, where ‘Other Space’ starts. In the mirror example, we see ourselves in a different space, and therefore we return back to make sure we exist. I see this conceptual condition as a description of some qualities of the cemetery. What we see has implications of other spaces that are unreachable to us, and is defined only by the way we think of it. This spatial condition clarifies the way we perceive what we carry in our minds. Its importance is in evoking the projections of meaning and the reflections of it on our perspective. We then check upon our own existence, which is the service of the cemetery to our society. It reminds us of some aspect of our existence that would not be completely perceived without it, which is the spatial quality of our memories and the temporal qualities of our lives. Its space takes us outside of the city but its location is clearly within it. The reciprocal relationship with Broadway underlines the heterotopic condition of the cemetery to a greater extent. The brutal stream of traffic brings the city into the cemetery, penetrating the land of burial, so the two exist in the same space. I see Broadway as a window frame: maintaining the two parts divided, offering an imagery space implied by the very idea of their separation, while allowing them both to collapse into one picture plane. This act of bridging signifies opening that window of reflection rather than closing a gap.


Without Beyond About Inside The chronotope is “the intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature. .…It expresses the inseparability of space and time (time as the fourth dimension of space). We understand the chronotope as a formally constitutive category of literature. “ “In the literary chronotope, spatial and temporal indicators are fused into a one carefully-thought-out, concrete whole. Time, as it were, thickens, takes on flesh, and becomes artistically visible; likewise, space becomes charged and responsive to the movements of time, plot and history. This intersection of axes and fusion of indicators characterizes the artistic chronotope.”

Plan The Its Side & Ground Grid Other Chronotope

The Cycle of Information Two stationary locations The Chronotope here is an exploration of a sequence of spaces, the unfolding of time in space in relation to the two modes of stations. Time becomes simultaneous as it repeats itself in space, and measure becomes a function of its gained perspective. Simultaneous experience of times is emphasized by the volumetric suspension threshold, which keeps the internal circulation of spatial experience.

Mikhail Bakhtin: The Dialogic Imagination: Four Essays: Forms of Time and of the Chronotope in the Novel

Data collection: observation – There are two rooms for surveillance: One is constricted and directional for one person only. The other is open to the observation of the entire site. Data Storage: Perspective – On the other side of the volumetric suspension threshold, observations are being recorded, the information becomes accessible through filters: sketches and notes. The room has a work area with two windows, and a long wall, which expands over time, to present the information. The process of storing images challenges one’s perspective by the time one returns to the collection area. A cyclic path creates a simultaneous experience of collecting and storing in which different times expand into a spatial experience.


LONG SECTION 1

LONG SECTION 2

STUDIES: PATH AND STATIONS


PROJECT PLAN AND PERSPECTIVES


Architectural Practice


Yael Hameiri Architectural Design

Abstract for an Outdoor Play Space Jenin, The West Bank, 2010-Present

An Outdoor Play Space in Palestine: Children and Their Community Proposal: To build a children’s playground for Palestinian children in the West Bank based on research findings for healthy early childhood development. This playground will not only be a place where Palestinian children will play with each other, but will serve as a practical training ground for Palestinian teachers to learn how to cultivate healthy creative play activities and movement in children in order to provide an environment that promotes a healthy social, emotional, cognitive, and physical foundation. Play is the work of childhood. “Make-believe”, the young child’s use of dramatic play and socio-dramatic play, cultivates the child’s imagination in such a way that it lays a foundation for learning in the elementary-school years while also establishing the capacity of empathy for others, an essential quality in all peace building work. Play allows children to use their creativity while developing their imagination, their dexterity, and physical, cognitive and emotional strength. Dramatic and socio-dramatic play develops critical resources for social, emotional and cognitive development. (Smilansky, 1990) Make-believe play allows children to play out feelings they do not understand or do not have the words to express. A body of research supports the viability and success of play and the creative arts in helping children cope with trauma and related problems (Disasters as Lessons, Joe Frost, 2005). It works because play and creative arts are the child’s natural medium for self- expression, integration, and adaptation. One of the amazing qualities of the imaginative play of children is the child’s spontaneous and natural use of play to work out emotional distress, a critical need for children who are living under the chronic stress of regional conflict. Current studies in neuroscience reveals the intrinsic relationship of healthy brain development to physical activity play as seen on playgrounds. An enhanced play ground environment would be one where healthy creative dramatic play and physical activity is encouraged. Our proposed Outdoor Play Space is a play environment of daylight—its variations and shadows—activated through usage of open-ended forms. Protective spaces, partial enclosures, variety of textures, and different positioning in relation to the ground and moving through spaces, activate the body and fascinate the child. This space for childhood choreographed with built elements and carving the ground, utilization of rainfall for play, paths for view and framing. Challenging curiosity and physical development, built for the child’s scale, the elements provoke inventive games and investigation of movement. The built elements are open to interpretation in the play and are instruments in the process of naming the world around through experience. Their materiality is exposed or painted in primary colors, open to child’s interpretation and supporting the development of his will. The space serves as a window: by activating it, the child can be taken out of the immediate environment into a space of childhood and imagination.

The community and Existing Conditions Proposed Site, Jenin


Yael Hameiri Architectural Design

Avner Residence, The Galilee Mountains, Israel, 2007-2009 75 square meters Antique-stone horizontal house Architectural Design and Construction Administration. TheofGalilee Mountains, Israel Jerusalem stone that was brought to the site. The house is built carefully selected antique Antique-stone horizontal house The architecture of the house is attempting to synthesize the local architectural memory of the site: the Palestinan house and the traditional terrace. The antique stone was brought from Jerusalem from a house that was in a state of disrepair. It was carefully chosen to maintain horizontal continuity and consistency of size for this small house. The windows and doorframes recall the disappearing history of the places’ architecture.


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KITCHEN

SECURITY ROOM

LIVING ----------------------------------- ROOM

BATHROOM

BEDROOM

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Yael Hameiri, Usonian Houses Exhibition, City College, NY 2005

Pew House, Madison (1940) By Frank Lloyd Wright Site Model


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EXTERIOR ORGANIZATION

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INTERIOR ORGANIZATION

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CIRCULATION


Yael Hameiri, Historic Museum Exhibition Cooper Union 2008

Dulwich Picwture Galley Dulwich, London (1811- 1814) By Sir John Soane Architectural Expression of Two Skins

The first skin is the enveloping four-facade continuity surrounding the buildings that contain three individual programs: gallery space, mausoleum and almshouse (that early on was converted into galleries). The second skin was realized in the process of drawing a section cut through the gallery. The articulation of the interior space is defined by the manipulation of light. The diagonal surfaces, which are the extension of the gallery walls, and the overhead space of light, create a unique spatial condition. In the exhibition space the daylight spreads evenly and allows comfortable viewing conditions of the paintings while at the same time there is tension puling upward towards the sky, penetrating the exterior skin. This penetration is a hole in both skins and is the only interaction between them. The architectural expressions of interior and exterior are independent from each other, giving meaning to their separation. While the exterior provides unity to the building, continuity in all of its four facades and abstracted classical proportional articulations, the interior takes it out of time into an abstract unique form generated by the specific program. At the point of penetration the pochĂŠ disappears, and the surfaces become stretched to the point of transparency.


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The Grid and Its Other