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suckerPUNCH: Describe your project.

jon BAILEY: Increasing infatuations with technology and biology have created a society of biophilia and technophilia, where these ide-ologies have seeped into nearly every facet of human existence. With architecture dependently bound to the technologies of human creation, as we are able to manipulate biological matter at the unit of the molecule, simulate complex biological systems and synthesize DNA our habitat shall too become more bionic. The posthuman landscape becomes an interwoven meshwork of genetically manipulated biological growth and technological apparatus aimed at reconnecting to the human physiological matrix. Biophilia : Technophilia envisions an autonomously printed scaffolding system that grows into the city creating a bionic infra-structural network of physiologically responsive interfaces and augmented atmospherics.



donovan BALLANTYNE: By amplifying the tessellation and porosity of the geodesic dome I am giving the geodesic dome a face-lift. This thesis looks to misconstrue the face of the geodesic dome by amplifying its unintentional, yet inherent esthetic, and monu-mental qualities. I am proposing to bring depth and discontinuity to a typology that has been about continuity and surface. A face with no ears, no eyes, and no nose is not a face. Similarly, a building with no face is not architecture. The dome has been the most celebrated forms in architecture since its genesis, while the geodesic dome has been adored by scientists and structural engineers. Buckminster Fuller’s interests were only in structural efficiency, not in monumentality or surface effects which were the driving forces of historic domes such as the Pantheon. This is a 1,700 seat rock star arena sits weightlessly in Los Angeles’s Pershing Square, and acts both as an urban speaker screaming sound outward through its ears, and as a sound chamber that brings in the noises from the city inward.



ivan BERNAL: This thesis uses familiar primitives and operations among them to generate complex spatial systems that retain a high level of formal legibility and clarity. Throughout history primitives have been used as an expression of monumentality, religiousness or even utopian dreams. They carry an intrinsic value and formal expectancy that can be used to capture its users. Since childhood we have been playing with this basic shapes creating a predisposition to them, we have experienced them, and we know what to expect. In contemporary architecture and with the use of digital tools, spatial configuration has advanced to a degree in which the audience out-side the architectural field can no longer recognize it. By bringing back primitives, we can introduce a level of recognition to which most people can relate to, and establish the foundation for the excessive formalism that can be achieved with contemporary techniques. The project: Cuba has been a country in constant search of its own identity since they first became a Spanish colony. In this search they found their identity in music through a mixture of american, african and french influences, in religion, they found it by merging the catholic church and african beliefs, and in art and in literature they where able to express their own ideas and positions,…but not in architecture. The architecture of the country has seen many styles from colonial to modern to regionalism , but none of them really express their unique culture, their struggles and views. In the early 1960’s before the Soviet Union was fully established in Cuba, the government commissioned a design and construction campaign in search for their own architectural character, resulting in the art schools and isolated houses which were then forgotten as they did not fit the later views of the government. This project reexamines the issue of identity as it questions and searches for its own character, for its place,its context. . . . El Malecon. If the current state of the city is not perceived as old, how to make it new? The city is decaying, it is deteriorating and collapsing, it wears it’s scars. This idea is what gave rise to a project which embraces its condition, it searches to relate to what people in Havana are familiar with and under-stand as architecture, to move back and forth between the old, the decayed and the new.



paul CATTANEO: The America’s Cup Pavilion, designed for the America’s Cup Yacht Race to take place throughout 2012, is a design deploying the characteristics of folded plate structural geometries to re-form a site – here specifically Piers 27/29 in San Francisco – in structural efficiency experimentation at a variety of scales. By tying the folded plate geometry to parameters of both site and program, the geometry acquired an active tension with its urban context and programmatic form through the variability allowed in its parametric computation. A cohesive body developed conse-quently as the product of a matrix of parameters upon which the site operated: from the macro to the micro level, feedback mechanisms allowed for a conversation between unitary form and its requirements at its foci.



jessica DOVLETIAN & wenny HSU: Manifold Masses: Kaohsiung Port Terminal, Taiwan. This project investigates formal internal orders of architecture, specifically saddle polyhedral and their potential for generating intensive massing and figural interstices. We were inter-ested in a rigorous and playful examination of these systems and their capacity to generate new forms and spatial expressions that are themselves embedded within a deep underlying order. Our initial investigation explored the potential of saddle polyhedra to aggregate and generate figural primitives with features beyond strict surface conditions, followed by an investigation of the instantiation and hybridization of these systems into new massing orders: figural / figureless voids and figural / figureless masses. The design of the Kaohsiung Port Terminal dematerializes the physicality of the building by eroding the mass to create a porous interior. The two main interior figural voids bifurcate the mass to the exterior, connecting internal program to both city and sea. These erosions contain the system of saddle surfaces that converge and diverge from each other, thus allowing the two major programs, cruise terminal and port services center, to be visually coexisting while spatially separated. Various saddles are strategically truncated to create ellipsoidal apertures on walls, roof, and ground to intensify this visual connectivity.



mengyi FAN & joseph JUSTUS: The scenario describes a structure that grew out from the ocean—facing a progressive rising of water as its colonizers struggle to maintain an equilibrium. It is forever undergoing constant repair as it struggles to stay afloat—supported only by a system of mechanic agents who supply it with the necessary substances and means to create inhabitable grottoes. Without this ongoing system, the structure would easily collapse, returning back to the depths of the ocean from which it has once risen. The colonizers live in fragile pockets, grottoes created by the voids between the calcium carbonate deposited by the machines and the resulting upward forces of gases. These spaces are always fluctuating, their morphology adjusting to deal with the constant beating of forces from water currents and pressure. The machines themselves are not immortal—over time as they continue to deposit substance, the calcification process eventually renders them immobile, trapping them in their own secretions. They eventually float to the surface, like the oxygen released by the creation of the structure, and become part of what they had set out to create. Their logic is simple—only flocking towards other machines as they mimic the movements of the currents. The spiraling created by the machines are imprinted in the memory of the structure, layers stratified with the history of the movements.



carla LORES + michael YARINSKY: New York City’s Watershed is a site in crisis. Not only is there a larger demand for water due to the growth of the population, but due to further suburban development in upland areas, water catchment sites are not as hygienic as once thought. Within the Croton Watershed lies Carmel. Based on a topological study using sand and cavities to represent the density and area of groundwater contamination risk, a landscape was generated. The areas that are highest upland have the highest ground water capacity and lowest contamination risk, and the areas downland have the lowest capacity and highest risk. This relationship is key to the remediation strategy, by creating a topography that channels effluent water to these specific sites. The exo-landscape is then populated with components that not only allow the material flow relationship but can also be modulated to allow for varying lighting conditions and the ability to contain soil and plants. This passive system is then activated by integrated pumps that draw sewage to biogas process-ing sites. Using pastoral ideas native to the development of suburban landscaping, such as the sweeping vista, winding pathway, scenic overlook and grotto, we develop the landscape to be a desirable recreation site. Overlaid, layers of sewage, air, and water flow create a new material ecology within Carmel. Since the sites of highest contamination risk are protected, New York City’s Watershed is more pro-tected than previously. Because the system is automated to deposit and process waste into the sites of highest capacity, the system as a whole has a larger capacity for sewage. This project hopes to blur the boundary between what is considered clean and contaminated, synthetic and natural, and in doing so foster a modified suburban desire. This, through the intensification of existing conditions of a syn-thetic pastoral and the gizmo begins to challenge the boundaries that enabled the development of suburbia in the first place.



paul MECOMBER: The Whitney Museum, by architect Marcel Breuer, is an iconic cultural artifact of New York City, and serves as the identity of the institution of the museum itself. This identity has been thrown into a state of turmoil as a result of plans to relocate from Madison Avenue to the southern terminal end of the Highline Park. Seeing this as an opportunity, this project seeks to re-imagine the problems associated with iconic identity in museum design by twining Breuer’s Whitney on the new Highline site. This doubling responds to the need of the institution to grow while producing a strange familiarity with the new architectural identity of the museum. The figure of the conjoined twin is notable in that it retains both a sense of maximum differentiation (in terms of identity) and maximum similarity (in terms of massing). Architecturally, conjoined twins produce an overall organization of near symme-try which, in turn, produces a series of predicaments for the parts and secondary organizations. This is a strange symmetry in which a heightened sense of the uncanny is tangible. Sensation can be both immediate and abstract, as much about the present as it is about the near future and the recent past.



christopher SAVANELLI & ivan OSTAPENKO: As metropolitan economies outgrow their bases in industrial manufacturing and trade into global markets for cultural production and consumption, large tracts of now disused land are being redeveloped to serve contempo-rary cultural institutions. Because of its siting, scale, and programmatic requirements this competition provides an opportunity to gage the disciplinary standing of architecture in an environment where distinctions between once clearly demarcated fields of architectural, urban and landscape design are becoming increasingly blurred. Pop Music and Marine Culture are understood as elastic categories, encompassing various activities that change with time. For example, Marine Culture can be used to designate industrial and economic activities, as well as biological ecosystems that may be seen as threatened by their expansion. Understanding that the two are not mutually exclusive systems (industry and nature), one of the aims of the project is to structure an environment that allows for both to occur simultaneously. The project’s design internalizes object/environment or figure/field relationships through articulation of a thickened urban sur-face and distribution of program into a campus plan. Strategies from landscape design are used to create a range of shifting microcli-mates that are brought together in a network. Surface, thickness, and protrusions of the artificial ground condition and are conditioned by bodies that occupy them. In other words, as the intensity of activity in one zone of the project increases or decreases, other zones respond accordingly. Topography acts as a structural field allowing a degree of control over fluctuations in climate and program.



ji-young YOON: The goal of this project was to explore the hypostyle hall as a new typology for high speed rail stations capable of con-necting the space of the station to the existing city fabric. The site for this project was Los Angeles, California.

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