84 DESIGn StUDIo — ADVAnCED — ArCH701 85 of the future. the studio focuses on a
large-scale multi-use development in a prototypically blighted urban area of new Jersey. the site is in Jersey City, on top of a new Jersey PAtH/new Jersey transit transportation hub, 15 minutes from Manhattan. the studio is steeped in real-world pragmatic considerations that will be reevaluated and distorted by radical new types of sustainable living.
—kyo ho chun, kenta fukunishi, Jaeyoung lee
the pollution level increases drastically during the 21st century. In 2050, the Environmental Protection Agey declares that it is no longer safe to breathe outdoor air. A group of architects, engineers, scientists and developers collaborate to find a solution. this solution is called ‘nEo ArC.’
nEo ArC incorporates mixed-use residential and commercial spaces with a major transportation hub. It integrates green technologies, such as solar panels and rain water collection that is filtered by plants and soils which generate oxygen and hydrogen. the façade of the building is a hyper-efficient structure that provides thermal mass for insulation and shade for residents. the building typology is a con- tinuous landscape. Spaces of the building
are generated by the deformed surfaces that play an important role in providing an optimized shelter for both nature and human beings. In-filled soils and water in the space will filter the rain water and offer the inhabitable ground. Stored water not only contributes to the perfor- mance of building, but also becomes an important resources to produce clean air, hydrogen, gas and potable water.
In 2050, petroleum is depleted. Decom- posed hydrogen from the water will be used for public transportation as well as for private cars owned by residents. Moreover, it will be delivered with oxygen through a cavity cable embedded in the
train tracks to Manhattan. nEo ArC becomes a lung for the city that provides clean air and resources.
nEo ArC’s façade varies according to intensity of program. the scale of tessellation and triangulation also responds to structure, water channeling, and glaz- ing systems. Cultural spaces are for social network interactions between neighbors. residential and office spaces are the most private spaces, in which the ecological relationships between peo- ple and nature are strongest.
130–133. KYo Ho CHUn, KEntA FUKUnISHI,
JAEYoUnG LEE
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obscuring others, the building increases the awareness of its position in the city. As the olympic site develops and the Borough of Hackney grows, the density of forms on the horizon will increase dram- atically, continually altering the perception of the horizon.
126–129. BrYAn KELLEY, LISA KEnYon
—matthIaS hollWIch
, critic adaPt! Studio$4.00 a gallon for gasoline has revealed the tipping point in America’s relationship with the automobile. the same shocking event that rattles the foundations of American transportation will transform every part of American society. We will open our eyes to the inevitable! We will embrace change! We will ADAPt!
Adapt! = A proactive studio fusing future needs with today’s realities. the Adapt! studio envisions a new way of life in a radically changing world. the studio is based on programmatic research, sociological considerations, ecological findings, futuristic considerations, and real market economic objectives. Like the industry redefining the toyota Prius, we design a product for today’s market that is calibrated to the needs
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—Joshua freese, nadine kashlan, Yadiel rivera-diaz
In the age after logical formalism, new desires and tolerances have emerged calling for more ecologically sensitive, honest and direct ways of working with existing (brutal) forms. this eco-brutalism affords a new way to adapt our under- standing of the image of architecture, and what that image means to convey. the operations work on multiple scales. they are urban planning moves, building and spatial constructions, and environ- mental and urban service frameworks. the operations are the logic behind our
components; they are as much strategy as they are technique, and establish a process for developing the site.
134–136. JoSHUA FrEESE, nADInE
KASHLAn, YADIEL rIVErA-DIAz
—Peter mcclearY
,dr.
mohamad al khaYer,
critics a PedeStrIan BrIdge In ParISStudents design a replacement for the Pont St Louis that bridges between Ile de la Cité and Ile St Louis, over the river Seine in Paris, France. Students begin with reading, case studies, research, and site visits. From this they attempt to describe the relationships among the variables in the continuum that conjoin matter, material, structure, skin, construction, space and place. All concepts are modeled in the geometric language of the vector (direction and magnitude) analysis of the isotropy (flow of space of human activities and poetics of construction) and rheology (flow of all matter) in the bridge itself, its site (local, urban and environmental) and use (pedes- trians, cyclists, street performers).
the design takes the systemic form that considers: Physics (vector analysis of all flow patterns at all scales), poetics (rhythmic patterns of joints of structure, construction and visual geometry), the essence of the archetype (from which the cases are derived), and the aesthetics of beauty (the configurations states of equilibrium, mechanical and visual) and the sublime (experiences that are beyond the human threshold).
—alexander dunham
Pont AnD CIrCUMStAnCE
At its most basic, the new Pont St. Louis is a dual path Seine crossing, deriving its shape from the existing urban fabric. the primary deck, to the south, accom- modates a speedy traverse—connection to elsewhere in the city. In contrast, the smaller pedestrian deck, to the north, allows contemplation—connection to the river. Between the two, a permanent amphitheater provides a place of rest and show. While the bridge’s form evokes a sense of dynamic “frozen motion,” its
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88 DESIGn StUDIo — ADVAnCED — ArCH701 89 and then strung between banks. once
they are tightened at the anchorages, they are prestressed with deployable diaphragms. Hangers are then clamped into place and the woven metal deck and handrails are hung within the structure.
141–143.ALEx MULLEr
—angela Spadoni
this design creates a continuum of matter, material, structure, construction, space and place. the essence of the project was to develop a framework that would allow visitors to experience the structural forces of the bridge. the bridge uses multiple tension members to create a web that allows the deck to vary vertically along different paths. Experientially, this allows the visitor to walk within the structure.
144, 145. AnGELA SPADonI
— enrIQue norten
, critic mIXed-uSe develoPment: mexico citythe aim of this studio is to develop a mixed-use project in the downtown area of Mexico City. the complexity and contrast of Mexico City places the students on a platform where multiple layers of information collapse and overlap, creating a complementary and contradictory network of forces. the site is located diagonally across from the Plaza de la republica, between two main avenues: Av. de la republica and Paseo de la reforma. the site has a prominent location within Mexico’s Centro Histórico and is part of a network of public spaces of great importance. the design process begins by mapping the site (edges, landmarks, paths, immediate context, zoning, program, etc.), while researching Mexico’s economy, market trends, and construction opportunities and demands. the students create a proposal that demonstrates the results of their research and analysis. the design
strategies which follow must address different scales, and include a business plan which works within the reality of the site. Each student has the opportunity to view the project through two very distinct lenses: the architect as a designer, and the real estate investor as a developer.
—Brandon donnelly, Joseph leffelman, matthew Smith
PArALLEL GroUnDS considers the differ- ence between a vertical city, such as tokyo, and a tall city, such as new York or Chicago. How does the experience of these two types of cities differ? But, more importantly, what does a “vertical city” within the dense urban metropolis of Mexico City look like and how does it perform?
our project is built on the premise of creating a dense, mixed-use urban environ- ment that replicates the vibrancy of a Mexico City street—above grade and multiple times. Using a strategy of contin- uous circulation bands and dense attractor programs to draw people up and into the system, it was our objective to re-think
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material palette remains pedestrian. Aspects of the visual experience include:
- occupation of the structure (stairs
connecting the lower quay)
- Sleek curving profiles—additional
members to compensate
- Austere, muted colors
- Deck surface differentiation—French
oak versus metal grating
the bridge’s primary structural system— twin arched trusses of a triangular section—carries the two decks below. these trusses tilt inward at mid-span, producing a visual disequilibrium and a continually changing spatial envelope across the span. Hung from these arches
via steel tension rods, each deck curves in opposition to its truss, creating a struc- tural equilibrium. A below-deck grid of steel ribs stiffens the assembly and pro- vides support to the handrails.
the new Pont St. Louis’ potential lies in its dual identity as transition and des- tination space. Capable of transforming into event space, the bridge can become a floating room, hovering above the Seine. Vinyl fabric curtains, which deploy from the trusses to the inside edge of each deck, enclose a space for street performers, festivals, historic and cosmic obser- vances, art exhibitions, fashion shows, screen projections, and various other
celebratory events. Both an external crossing and an internal experience, the new Pont St. Louis enables a way through, and a trip to, emerging as both Pont and Circumstance.
137–140. ALExAnDEr DUnHAM
—alex muller
the bridge is a “hollow rope.” this structural technique, pioneered by robert Le ricolais and Peter McCleary, uses tension and weaving to provide strength with minimum material. the woven wires are put in tension and create stiffness, while the diaphragms take compression. Since the banks of the river are weak, the anchorages allow the horizontal forces to be transferred vertically to more solid ground.
By using a minimum amount of mate- rial, the cost and time of fabrication and construction decrease. the only major construction done on site is the excava- tion and the erection of the anchorages. the diaphragms, deck and handrail are prefabricated and shipped by boat to the site. Cables are woven through the diaphragms while they are on the ground
90 DESIGn StUDIo — ADVAnCED — ArCH701 91 idents, infrastructure, facilities, and the
larger city, and work within the human, economic, and formal migrations that pressure the city to respond.
the program for the studio is a mixed- use 75 story high-rise building, to be located adjacent to the Museum of Modern Art in Midtown Manhattan. the only given program is that there must be at least one connection, either to the retail or cultural component of the
existing museum. Each student will determine and refine their own program during the course of the semester.
Students deal with a range of fam- iliar issues—how to turn the corner in a high-rise, and how to design ver- tical circulation and structure, for example. the resulting projects will contribute to the development of the high-rise typology, exhibiting innovative architectural features in variation, produced using topological surfaces, and component arrangements with different spatial and material qualities.
—rui guo
Digital design techniques enhance the potential to create brand new forms, which reflect the fact that the world is dynamic and complex. Consequently, the top-down design process which results in simple forms is questioned. With the assistance of computer soft- ware, the architecture evolves from a series of parameters and components in a way that is beyond the designer’s
imagination. In other words, computers can not only assist in the design pro- cess, but they can do design itself.
this project is a high-rise building adjacent to the Museum of Modern Art in new York. the program is exhibition spaces, offices and residential spaces. In this studio we used Maya software as a basic digital design tool and explor- ed some of its fundamental functions, such as polygon modeling, blend-shape and sub-division tools.
the topic of the studio is “Migration Formation” which places an emphasis on forms that are composed from qualita- tively different parts in a continuous way. Different areas of the high rise building have different effects. For instance, some parts have more exposure of the build- ing’s structure, or skeleton, and some parts are more surficial, like skin tissues. Color is another crucial component, for it enhances or blurs the reading of the geometry. In one example, a blue color grows from a white surface, but finally the two colors intersect, creating a
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the normative skyscraper typology and to propose a new type of urban exper- ience in Mexico City.
146–149. BrAnDon DonnELLY,
JoSEPH LEFFELMAn, MAttHEW SMItH
— alI rahIm
, critic mIgratIng formatIonS: vertical urbanism for new York cityPrivate and public infrastructures allow new York City to function at extreme levels of density. to some extent, the fascination of vertical urbanism resides in its qualities of instability. Absences and deficiencies in the city’s physical and social fabric carry a transformational potential. Densities allow for diversity, conflict, and change, and reflect qualities pertinent to our time, such as vicarious- ness, transformability, and the almost limitless absorption of information.
Vertical Urbanism can create new types of material organization that catalyze exchanges between new York City’s res-
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—tien-hao lin
ProLIFErAtE InVASIon
My research focused on communication and mobility. Being connected is an un- avoidable issue in modern life.
Proliferation Strategy: the design stra- tegy utilized the type of accumulated units that form a new urban style in Shanghai. the intent was to use the exist- ing urban social structure, and to allow the new dwelling units to proliferate on this structure. the progress of prolifer- ation was based on the different needs of, and relationships between, users.
Hence, a different dynamic shapes pub- lic and private spaces.
Stay Connected: our modern lifestyle is based on connecting to various services which bring us information or convenience. Mobility and telecommuni- cation create the most dynamic “space” in our lives. therefore, my research focused on designing single units, and applying a strategy to connect them with the urban fabric, forming new dialogues and spaces via the aggregation.
A graph represents the intensity of each dwelling element as defined by its
users. this graph determines the basic dwelling layout. the spaces and elements are morphologically and visually continu- ous, an integration similar to that found in a car’s dashboard.
152–154. tIEn-HAo LIn 156
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92 DESIGn StUDIo — ADVAnCED — ArCH703/PP@PD paintbrush effect. While at one end it is watercolor, plain and smooth, at the other end it is oil paint, composed of separate strokes. Such parts, qualitatively differ- ent, produce spaces for different uses. In this sense, the program is not predeter- mined, it is dependent on the inhabitants.
150, 151. rUI GUo
703 PP@Pd
— WInka duBBeldam,
davId ruY,
critics from the mechanIcal to the organIcthis year’s project looks to invent a new architecture between the house and the automobile. the rewriting and innovation of architectural design and its structures requires a revolutionary change in how architecture is conceived. From the notion that a building is a composite of standardized elements such as columns floors and walls, we must rethink a building as being composed of mass-customized
“generative components.” Prefabrication as pure repetition of standard elements is an outdated mode of operation; mass- customized units are evolving as a series of varying elements, defined by an analy- sis of specific performance, rather than just structural requirements. Standard repetition has been replaced by custom variation. the components’ intelligence refers more to automotive and aerospace design than to architectural design, and is more system-based than mechanical assembly-based. though the twentieth century largely celebrated the freedoms of a mobile transnational culture, the twenty-first century is quickly being de- fined by the environmental impact of the expansion. As we enter this new phase, architecture is clearly in the spotlight, and design culture needs to cultivate a fresh set of ideas. In particular, a new
convergence between the automotive and the prefabricated housing industries presents fascinating opportunities—the mobile and home as an integral unit, pro- vides a new green alternative to urban housing as a neighborhood. Structure, traditionally a result of engineering, will now be analyzed as a biome—“struc- tures which develop and behave not unlike organisms evolving in an ecosystem.” (Kevin Kelly, new Rules for the new
Economy)
the students developed unit aggrega- tions for Shanghai and tel Aviv. they entered the tel Aviv Centennial Competition: “From Garden City to Ecosystem,” and exhib- ited in the urban installation “Parasolar” in tel Aviv. two students, Michael Wacht and nan Yang, won two of the five Awards.
—todd costain and tian Qi, tas
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95 for Self-organization. the model for the institute is loosely based on the Santa Fe Institute, considered the premier institution for the study of complexity.
Since the 1960’s the world in which we live is increasingly being understood as an emergent outcome of complex systems. research into complexity cuts across traditional boundaries as the self-organizing systems which underlie one phenomena can be found to operate at various scales within a diverse set of circumstances. Consequently this studio will explore the nature and operation of complex systems as well as their appli- cation to design. this will involve extracting the processes that operate within the physical world as well as developing new models of self-organization. the development of non-linear design method- ologies involves a shift in the design process from invention to that of orches- trating systems in the generation of an emergent architecture.
Algorithmic design does not operate through a specific technique or medium— digital or analogue—however scripted techniques are encouraged as they enable a rapid investigation and testing of algorithmic methodologies. research is focused by, but not restricted to, successful models brought forth from the fall semester seminar’s Form and Algorithm. Algorithmic workshops will be conducted in the first half of the semester to help in rapidly developing scripted techniques. Students will have the opportunity to work directly with the Advanced Geometry Unit, Arup, London during a week-long intensive workshop at the Carlow House, Arup, London UK.
—Pablo kohan, difeng Zhou, dan Whipple, andrew gierke
SKYnEt is based on the idea that surface and volume can emerge through the ac- cumulation of lines which self-organize to achieve structure and enclosure. By using the bottom-up logic of a dynamic system with embedded intelligence (a multi-agent system), the project achieves biomorphic qualities. Its main goal, however, was to
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—axel vansteenkiste
Individual housing units are designed from the inside out, focusing on the performance of a core component