Portfolio Fa14 Part3

A SELECTION OF STUDENT WORK

STUDENT WORK

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STUDIO: ALL RIGHTS REVERSEDUNIVERSITY OF MICHIGANWINTER 2014

Professor: Leigha DennisWallenberg Studio, Undergraduate Thesis Studio

This studio investigated the rights to architecture —those that are bound by the ownership of copyright as private property, along with those that might reassess ownership through an ‘architectural commons’. There is not yet an active history of copyright protection in architecture, yet the design culture is one that oscillates between design influence and originality, wavering between illegality and legality. At a time when digital culture has accelerated the dissemination and duplication of ideas and information, the discourse around intellectual property rights regimes has expanded—as its current governance lingers in an indeterminate zone of ambiguity and subjectivity. Amnesty is scrutinized case-by-case.

In this studio, we established the policies and protocols for approaching an internal ‘architectural commons’. Students developed individual projects, but within a framework for sharing and citing portions of their research and strategies, addressing issues regarding non-proprietary content, standards for creating derivative work, plagiarism, citation, etc.

159

VIRILIO’S BUNKER BY COREY BLASKIE

A week long assignment aimed to provoke and question the definitions of copyright.Photographs of physical scaled models were made to replicate well known copyrighted architectural images.

STUDENT WORK

160

PRADA MARFA BY BROOKE DEXTER

TEACHING: ALL RIGHTS REVERSED

161

STUDENT WORK

BARCELONA PAVILION BY ADAM WAGNER

162

CONTROLThe independence of oneself is constantly interrupted by set guidelines.

DIVISIONGroups form according to various racial and political views.

PHYSICAL ISOLATIONIsolation of oneself from the group to avoid conflict.

COLLABORATIONThe requirement of group effort allow for the development of relationships.

BONDINGLack of an external human connection is replaced with an internal one.

MENTAL ISOLATIONSeparation from the surrounding environment is needed for reflection and personal development.

DAILY INTERACTIONSThe daily routine and interaction set up formal and informal relationships.

CONFLICTDisputes are often resolved in a verbal or physical namer.

[COOK]David

[HC595]Mathew

COUNSELINGAn essential need for relief from stress is necessary regardless of the environment.

OCCUPATIONOccupation within a system becomes obsolete when placed in a different system.

THRESHOLDLimitation of access keeps a constant barrier between the internal and the external society.

EDUCATIONLearning becomes not only a method for mental development but also pastime activity.

[LIBRARIAN]Jim

[GS509]Paul

A2

A1

A2

A1

A3

A3

A4

A4

A5

A5

S6

A6

A7

A7

A8

A8

A9

A9

B1

B1

B2

B2

B3

B3

[GUARD]Alex

[GS863] -------

[GS724]Dan

[GS903]Andrew

[CHIEF]Matt

[JANITOR]Corey (Police Officer)

[GS310]Josh

[GS195]Ethan

[GUARD]Tommy

[GS062]Sam

[COLLEGE PROFESSOR]James

[GS337]Taylor

[GS858]Adam

[GUARD]Sean

[COUNSELOR]Robert

[GS889]Chris

[GUARD]John

[TATTOO ARTIST]Dexter

[WRITER]Cody

[GS785]Phill

FORT LEAVENWORTH: AN EXISTING SOCIAL CONDITION

GUARDS

INCARCERATED


163

UpUpUp

Up

SOCIAL THEATER: A PLAN FOR A MODIFIED PRISON SYSTEM

GUARDS

INCARCERATED

PUBLIC

FAMILY OF INCARCERATED

In this space, which takes into account both acoustic and visual conditions, the fermentation airlock limits the physical access between the two groups.

Lowering the public space creates a switch in the hierarchies, giving visual control to the incarcerated.

The linear housing organization breaks away, focusing on establishing a familiar environment, one similar to the outside.

The transition between spaces becomes the stage for a conversation between bodies.

The auditorium capitalizes on the interactions between unfamiliar bodies and uses it as a tool to break the social barrier.

The theater questions the roles of society in terms of who is being observed and who is observing. It creates a play of theatrical value, not of entertainment, but of the body.

PRISON BY MUHAMMAD ALSHADOOD

STUDENT WORK

164

Username: jacqbuck22

Caption: #capturingtheimage #tcaup

Username: zomapa

Caption: #capturingtheimage

Username: icemmoo


Username: jdburg

Caption: #capturingtheimage #eiffeltowerselfie

Username: allysonhrit


Username: ajae_whittaker


Username: falroider

Caption: Someone was curious why I was reaching into this box #capturingtheimage

Username: matthrhe


Username: jue2joy


Username: lleigha


Username: unkrnmel

Caption: Paris, Michigan #capturingtheimage

Username: marygmil


Username: stephrit

Caption: Take images of the Eiffel Tower Replica!!! THIS WEEK ONLY! CMYK Space! #capturingtheimage

Username: mmob248

Caption: #capturingtheimage #godzilla #eiffeltower

Username: katiel813

Caption: Visited the Eiffel Tower on my break from studio thanks to @stephrit! #capturingtheimage

Username: dextebro

Caption: Eiffel Tower in motion #capturingtheimage

Username: hijohnyoon


Username: matthrhe


Username: szamler

Caption: Shout out to my ug1 homie @stephrit #taubman #capturingtheimage

Username: conpoy


Username: matthrhe

Caption: #capturingtheimage #imnottouchingit

Username: lilliancdela


Username: dclunis


Username: unkrnmel


Username: moeshadood

Caption: #capturingtheimage#fakefrance #eiffeltower #taubman #architecture



Username: zomapa


Username: icemmoo


Username: jdburg






Username: falroider


Username: matthrhe


Username: jue2joy


Username: lleigha


Username: unkrnmel


Username: marygmil


Username: stephrit


Username: mmob248


Username: katiel813


Username: dextebro




Username: matthrhe


Username: szamler


Username: conpoy


Username: matthrhe




Username: dclunis


Username: unkrnmel






Username: zomapa


Username: icemmoo


Username: jdburg






Username: falroider


Username: matthrhe


Username: jue2joy


Username: lleigha


Username: unkrnmel


Username: marygmil


Username: stephrit


Username: mmob248


Username: katiel813


Username: dextebro




Username: matthrhe


Username: szamler


Username: conpoy


Username: matthrhe




Username: dclunis


Username: unkrnmel






Username: zomapa


Username: icemmoo


Username: jdburg






Username: falroider


Username: matthrhe


Username: jue2joy


Username: lleigha


Username: unkrnmel


Username: marygmil


Username: stephrit


Username: mmob248


Username: katiel813


Username: dextebro




Username: matthrhe


Username: szamler


Username: conpoy


Username: matthrhe




Username: dclunis


Username: unkrnmel






Username: zomapa


Username: icemmoo


Username: jdburg






Username: falroider


Username: matthrhe


Username: jue2joy


Username: lleigha


Username: unkrnmel


Username: marygmil


Username: stephrit


Username: mmob248


Username: katiel813


Username: dextebro




Username: matthrhe


Username: szamler


Username: conpoy


Username: matthrhe




Username: dclunis


Username: unkrnmel





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CAPTURING THE IMAGE

C23

Eiffel Tower

N

As tourists get closer to the tower images are more focused on the

people rather than the tower, although capturing the Eiffel Tower is

also very important.Source: www.donteverlookback.com

Licensing InformationAttribution

CC BY

RELATIONSHIP TO SITE

S7

Eiffel TowerParis, France

The Eiffel Tower has a strong relationship to the lawn on which it sits. The lawn provides a clear view of the tower, because there are few obstructions. Tourists and locals are able to see the tower from a great distance because of its height in the city and the height of other buildings in Paris as well. The iconic images of the Eiffel Tower are generated because of the open lawn. This also allows for images of Paris to be from the top of the Eiffel Tower.

Licensing InformationAttribution-ShareAlike CC BY-SA

This license lets others remix, tweak, and build upon your work even for commercial purposes, as long as they credit you and license their new creations under the identical terms. All new works based on yours will carry the same license, so any derivatives will also allow commercial use.

The Lawn

N

Site Map (above)

Perspective of the foundation of the Eiffel Tower (left)Source: Bolloch, Joelle. The Eiffel Tower. Milan: 5 Continents Editions, 2005.

CAPTURING THE IMAGE

C25

Eiffel Tower

N

Tourists are able to take photographs of Paris when they start to climb the

tower.Source: www.colourbox.com

Licensing InformationAttribution

CC BY

R E P R O D U CT I O N SLicensing Information

Attribution-ShareAlike CC BY-SAEiffel Tower - Life Size

Eiffel TowerParis, France

324 meters

Las Vegas, Nevada1:2

Hangzhou, China1:3

Shenzhen, China1:3

Durango, Mexico1:6

Slobozia, Romania1:6

Parizh, Russia1:6

Paris, Texas1:16

Filiatra, Greece1:18

Paris, Tennessee1:20

The Eiffel Tower is replicated all over the world and at different scales. These are the 9 largest replicas in the world. In addition to these there are replicas in Spain, Bolivia, China, Honduras,

Japan, Guatemala, Morocco, Estonia, and the Czech Republic.

R1

TOURIST ATTRACTION BY STEPHANIE HRIT

STUDENT WORK

166

“This game created an implicit empathy between the

inanimate object and visitor, but it was the empathy of mortal danger

the point that for many it was unbelievably fearsome”

-Paul Virilio

“We identified these constructions with their German occupants, as if they had in their retreat forgotten their helmets, badges, here and

there along our shores….” -Paul Virilio

“The bunker, a summation of spaces and gazes, aesthetics and optimism, lives beyond its material

means, forcing conditions of rigidity, gravitational descent, and restricted mobility on all those who enter it. To

be clear, I’m talking about the violence of phenomenologviolence of phenomenology, rather

than the trendier phenomenology of violence.”

-Paul Virilio

TOR BUNKER BY COREY BLASKIE


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OPEN HOUSE STUDIOUNIVERSITY OF MICHIGANFALL 2013

Professor: Leigha DennisNetworks Studio, Graduate Architecture Studio

The home is an ecosystem—a place to live. It constructs the environment in which we find comfort, routine and ritual. It includes the objects we use daily, the spaces we live and sleep in, but can also extend beyond demarcated architectural boundaries. This studio investigated how digital culture has and will reshape the way we live—creating new social structures, and new ways of communicating, collaborating, and coexisting. Students were responsible for negotiating the domestic landscape across many scales, while at varying extents and resolutions: the scale of the object and domestic interior, the building form and the urban configuration.

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TEACHING: OPEN HOUSE

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STUDENT WORK

PROJECT BY JENNIFER NGUYEN

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PROJECT BY CARMEN PETERSEN

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PROJECT BY SEAN NIU

STUDENT WORK

ESTCODE

ESTCODE

1 bdm

1 bdm

cvs

studio

4 bdm

2 bdm

studio

studio

daycare

studio

studio

2bdm

2 bdm

studio

playground

studio

mcdonalds

studio

studio/laundrywaiting

laundromat

4 bedroom/game center/pool hall

studio

studio

bowling alley

1 bdm

studio

cafe

open communityspace

studio

studio

gym

locker room/pool

studio

studio/stage for cafe

1 bdm

studio

studio

bar

studio/kitchen for bar

studio

bakery

studio/uses kitchen in bakery

1 bdm

1 bdm

studio

studio

studio

deli

1 bdm/newstand/bus stop

studio

1 bdm

art gallery2 bed/artist studio

studio

1 bdm

1 bdm

1 bdm

studio

running track9 lap = 1 mile

street offresh food

glory supermarket

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PROJECT BY ALINA GRANVILLE

STUDENT WORK

PROJECT BY ALINA GRANVILLE

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SECRET LIFE OF OBJECTSUNIVERSITY OF MICHIGANFALL 2013

Professor: Leigha DennisARCH 516, Graduate Representation Seminar5 week project

In this seminar, we explicated and critically investigated object oriented modes of representation, in particular those which abandon the belief that humans exist at the center of being. We explored the representation of objects free from the hegemony of human perception—allowing objects to gain meaning through any use, not strictly human use, including all relations between one object and another. We used an indexical approach to dissect and analyze these relationships through lists, photographs, joiners, collages, dissections, exploding axonometrics, and other formats and methods that might emphasize the depiction of an object or subject in total, and not of a scene from the perspective of the artist.

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TEACHING: SECRET LIFE OF OBJECTS

“PARKING LOT” BY MARK KELLER

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STUDENT WORK

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“TELEPHONE” BY STEVEN CAVEZZALI

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STUDENT WORK

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“HARD DRIVE” BY AMBER BREWSTER

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STUDENT WORK

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“WALLET” BY SIDNEY MIGOSKI

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STUDENT WORK

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“GLASSES” BY BRIANNE PAPENDICK

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STUDENT WORK

“TANGLES” BY ALEXANDRA ZIEMBA

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“UMBRELLA” BY CAROL NUNG

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STUDENT WORK

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“UMBRELLA” BY CAROL NUNG

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WEB AS SITECOLUMBIA UNIVERISTY, GSAPPSPRING 2013

Architecture Online LabProfessors: Leigha Dennis and Troy Conrad TherrienAssistant: Jochen HartmanGraduate Seminar

Digital networks provide one of the primary interfaces and organizing structures of 21st century urban life, yet architects are often left without the skills to engage directly. This course, as part of the Architecture Online Lab, provided students from across the spectrum of programs at the Graduate School of Architecture, Planning and Preservation at Columbia University with the basic toolkit for web design and development in order to leverage the web as a site to more fully articulate the consequences of, and avenues for tapping the innovation capital of the Bowery. Students of architecture, urban design, planning, preservation, real estate development and critical and curatorial practices tapped APIs, summoned crowds, exploited interactivity, embraced mobile devices and connected online and offline space in a host of working and publicly accessible web site and apps.

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TEACHING: WEB AS SITE

PROJECT BY EBBERLY STRATHAIRN, PAUL CHAN, RICHARD DUFF, JEREMY KIM, JIM STODDART, DICHEN DING

191

STUDENT WORK

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PROJECT BY EMANUEL ADMASSU, VAHAN MISAKYAN, MADEEHA MERCHANT, CAROLINA MONTILLA, HANXIAO YANG

193

STUDENT WORK

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PROJECT BY MARTIN LODMAN, WHITNEY BOYKIN, TIFFANY RATTRAY

195

STUDENT WORK

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PROJECTS INSTALLED AT THE NEW MUSEUM’S IDEAS CITY FESTIVAL

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FACTORY STUDIOCOLUMBIA UNIVERISTY, GSAPPSPRING 2011

This studio reimagined the factory for the twenty-first century, setting out to understand the architect as a builder of not merely physical edifices but also social, conceptual, and technical structures.

If modernity is defined by mass production, then the factory is modern architecture’s definitive typology. Early factories were widely understood as sublime, sites of awe and horror that could only be overcome by the exertion of human reason. Spurred by this challenge from the eighteenth century onward, architects and social reformers envisioned rational and just factories, not merely workplaces but rather centers of human habitation, places of joy in labor, and envisioned societies built around them.

Today, the factory evokes images of structures either converted to art museums, lofts, or abandoned to decay. With factories outsourced, design has all but abandoned re-imagining this critical site of human activity, the one truly new building type of modernity. Our interest is to use architecture and the most advanced thinking in network culture to construct new and better ways of life. In doing so, this studio was engaged first and foremost with institution building and shaping of social behavior.

The studio topic emerged from research into how we can navigate a landscape defined not by scarcity but by over-abundance. The very model of economy—the management and distribution of scarce resources— is undone by overproduction and overaccumulation. 19 million housing units are vacant in the United States, 345,000 in Ireland, 340,000 in Dubai, 1.5 million in Spain and 64 million in China Such stark figures call into question the very premise of building. What is the purpose of building—no matter how sustainably—when it means only more excess that must somehow be consumed?

Students developed centers for small-scale manufacture and distribution. These centers eschewed a corporate model for a commons-based model, providing infrastructures, enclaves, guilds, or clubs in which individuals and small groups can work. Our intent was to envision such centers as means of reinvigorating local economies even as they provide models for life in societies if and when our current economic system collapses.

Network Architecture LabProfessor: Kazys Varnelis, Ph.D.Associate: Leigha Dennis

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TEACHING: FACTORY STUDIO

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“HIVEMAKER” BY KYLE HOVENKOTTER

STUDENT WORK

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STUDENT WORK

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“SPACING MUSICALLY” BY MOMO ARAKI


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STUDENT WORK

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Portfolio Fa14 Part3

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Transcript of Portfolio Fa14 Part3