Reflections: GSAPP Portfolio, Part 2

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CultFitnessRetail

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Cult

FACE OFF

Storage Hotel

MEMORY HOUSE FREE HOSTEL PR

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169

TOOLING

BONE GROWTH

Inspired by organic growth, we developed an algorithm that

would simulate bone growth and the process of ossification

that gives strength to bone walls, creating spongy bone

surfaces in between.

Teammates: Chao Wei, Casey Worrel, Wei Wen

SIMULATING BIODYNAMIC GROWTH PATTERNS

iteration = 1000 iteration = 800 iteration = 600 iteration = 400

al 1.6sep 0.8coh 0.6att 0.2rad 2








iteration = 200

iteration = 1000 iteration = 800 iteration = 600 iteration = 400 iteration = 200

iteration = 400 iteration = 200iteration = 500 iteration = 100







iteration = 300



LINE

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iteration = 200









iteration = 300












iteration = 200









iteration = 300



LOOP

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iteration = 200









iteration = 300



import rhinoscriptsyntax as rsimport scriptcontext as sc

import maththres = 2scale = 0.1class Trail(): def __init__(self,INITPTS): self.pts = INITPTS self.id = rs.AddCurve(self.pts) def appendPt(self,pt): rs.DeleteObject(self.id) self.pts.append(pt) self.id = rs.AddCurve(self.pts) def coagulate(self,AgentPopulation): crv = self.id copyofcrvslist = [] for otherAgent in AgentPopulation: if otherAgent.myTrail != notaclassyet: otherTrail = otherAgent.myTrail.id if otherTrail!=self.id: copyofcrvslist.append(otherTrail) if len(copyofcrvslist)>0: allotherpts = [] for othercrv in copyofcrvslist: othercrvpts = rs.CurvePoints(othercrv) allotherpts.extend(othercrvpts) rs.EnableObjectGrips(crv) locations = rs.ObjectGripLocations(crv) self.newlocations = [] for coord in locations: vec = [0,0,0] index = rs.PointArrayClosestPoint(allotherpts, coord) closestpt = allotherpts[index] dist = rs.Distance(coord, closestpt) if dist>thres: self.newlocations.append(coord) else: if closestpt!=coord: #rs.AddLine(closestpt, coord) vec = rs.VectorCreate(closestpt, coord) vec = rs.VectorUnitize(vec) vec = rs.VectorScale(vec, scale) newcoord = rs.PointAdd(coord, vec) self.newlocations.append(newcoord) else: self.newlocations.append(coord) #rs.ObjectGripLocations(crv, self.newlocations) #self.pts = newlocations rs.EnableObjectGrips(crv,False) def render(self): rs.EnableObjectGrips(self.id,True) rs.ObjectGripLocations(self.id, self.newlocations) self.pts = self.newlocations rs.EnableObjectGrips(self.id,False)class Agent(): def __init__(self, POS, VEC, POINTID,BOUND,ATTRACTORS, ALIGNMENT, SEPARATION ,COHESION,ATTRACTION, RADIOUS ): #here we initiate the class by matching the inputs to the variables in the class self.pos = POS

This project is an investigation of physics engines that are

available on the open source coding platform, Processing.

Using all available resources, we programmed a spring-net

system that would react to weights as they are added to the

system. Our initial concept was to model structral reactions

to a bird or several birds landing on a wire. By creating a two

dimensional grid of wire, instead of a one-dimensional line, we

created an opportunity to study 3-dimensional forces when

multiple weights are added to a complex system over time.

SPRING-NET STRUCTURES

SEARCH: Advanced Algoruthmic Design

With Dong Joo Kim

195

HISTORICAL ANALYSES

Written by Nicole Mater, Kamilla Csegzi, Sebastian Medina, and

Veronica Patrick

with a special interview by Kamilla Csegzi with the Li Han, WHY & Phi

A Little Bit of Beijing: On the agengy and performance of

architectural guidebooks

A Little Bit of Beijing is a little book written by architects at Atelier 11.

This essay dissects the book, accompanied by excerpts of an interview

with the designers. Within it, we question the validity of the guidebook

as a useful method of furthering discourse. Where it is lacking, we see it

as a furtherance of the performance that the original writers criticized in

San Li Tun and 798, that engendered the creation of the book.

197

A Little Bit of Beijing is a mixture. It is an illustrated book, a travel

guide, a photography collection with subjective perspectives,

and a set of accurate technical drawings. It is a publication

with the aim to document and to collect realistic portraits of

Beijing. But what is the role and purpose of the book? Is it pure

architectural documentation? In order to find an answer to these

question, we interviewed the authors/architects (Li Han, Wang

Hongyue and Lu Wenhui). The following text is our dialogue with

them, and our personal reflection on the issues they talk about.

VNSK: Could you introduce yourself and explain what inspired

you to start working together on this documentation?

Li Han: I am a registered architect who likes to design architecture

and also loves to draw in a way that is different from most

architects. I worked in a state-owned architecture design institute

in Beijing for quite many years until I left and started my own

studio this year. Back in 2006 when I returned to Beijing after my

graduate study in Australia, I found China was undergoing an

unprecedentedly rapid urbanization process. I got the urge to

record the phenomena that I found interesting and typical in this

process.

Xu Lei was my boss and Wang Hongyue was my colleague at that

Design Institute. We shared the same curiosity about urban life

and interest of doing some self-motivated research works, so they

joined me with this documentation project soon after I started.

VNSK: How did you choose to focus on the 798 Art District and

San Li Tun? What are the similarities between these two areas?

Li Han: Both San Li Tun3 and 7984 are two areas that developed

spontaneously. 798 used to be a factory manufacturing military

supplies. After its downfall, some artists rented the abandoned

workshops to use as studios. After more and more people joined

the group, 798 eventually became an art district. VNSK: In your

book you describe San Li Tun and 798 in Beijing through the

performances that take place there. What are you referring to

when talking about performances?

Li Han: The word of performance is rather like an expression

of sarcasm. It refers to different activities that take place in San

Li Tun and 798, but we found that those activities are more

like the performances on the stage rather than the natural life

behaviors. For example, people will spend a whole afternoon in

the caf reading or surfing online. It is not because they want to

have coffee or meet friends, but just to show how so-called white

collars would spend their weekend time. Or they will flood into

galleries to show their passion for art works, but actually not

everyone understands or cares about what art is. These activities

are not to show who they are, but rather to show who they hope

others to think they are.

VNSK: What are the elements of truth that you are looking to

identify behind these performances?

Li Han: These two places are among the trendiest venues in

Beijing, so people tend to have more desires to perform there.

Frankly I wont try to identify any truth in those performances, if

the truth here refers to the true motive, thoughts, or something

like that. We dont mean to judge or correct others behaviors

through our documentation. Everyone may be a performer. Even

I myself would be a performer when I go to those places. Probably

performance is a shared desire to Chinese people in such an

impetuous era.

VNSK: Could you talk about the representation tools you used

within the documentation?

Wang Hongyue: The axonometric images in this book are

45-degree bird's-eye views giving an objective and detailed

representation of the reality. Although parallel projections allow

for an infinite extension and inclusion of a large area, they cannot

reflect the real experience. Our photos serve as an additional,

subjective content that captures the common and trivial details

of the urban life.

The methodology of the documentation had a vast influence

from Made in Tokyo, a book by Japanese architects Atelier

Bow-Wow.[2] The reference to this text is of importance at

two different levels. In terms of graphic representation, the

introduction of the axonometric projection plays an important

role for both. In terms of the material being documented, both

texts use as the main subject the architecture that originates

from the folk, or what is described in Made in Tokyo as bad

architecture; The type that is ordinary, inexpensive, anonymous

and among the silent majority of architecture.[3] Similar to Made

in Tokyo, the ordinary architecture of San Li Tun ...

A Little Bit of Beijing, by Li Han, WHY & Phi

199

and 798 disregards aesthetics and forms, and instead returns

to the grassroots which can be described through their honest

response to the environment and their functionality. The main

difference between the two works is that Made in Tokyo explores

the exteriors of architecture while San Li Tun and 798 pay much

closer attention to the interiors. Besides the architecture itself,

furniture, electronic appliances, machinery, advertising light

boxes, transportation tools, and even tableware were carefully

documented.

As a result of the uniqueness that defines the ordinary things

around San Li Tun and the 798 Art District, the areas had to

be archived using axonometric projection, which is a method

that unveils the critical and humorous feelings from their

rough reality. In fact, the decision to use drawing as a means

of representation was very significant towards the outcome of

book. In an era in which digital imagery is available everywhere,

making documentations by drawing requires courage, patience,

and persistence and these observations are clearly evident in

A Little Bit of Beijing.[3] Additionally, because axonometric

projection does not have a vanishing point, it makes it uniquely

useful when documenting highly dense and mixed spaces such

as the ones in San Li Tun and 798. It is a type of drawing that

in a certain way holds the capacity to make the infinite visible

and to equalize the space in the drawing so that each corner

can display the details equally. In other words, perspectives

can only document different spaces with various viewpoints

and vanishing points through a group of images. Axonometric

projection, on the other hand, can gather all the spaces in one

image so that the continuity of the space can be represented.

This gives axonometric projection an innate privilege in

representing huge and complex objects such as cities.[4]

The problem with complex objects, or spaces in the case of

San Li Tun and 798, is that when all the elements are placed

together, obstruction becomes highly inevitable. Consequently,

these two urban areas were represented in the book using

techniques known as cutting and parallel sliding. Cutting

involves creating voids on the obstructing object so that the

spaces behind can be clearly revealed. Parallel sliding, more

commonly known as exploded axonometric, simply means

removing the obstruction by sliding the objects that block each

other following the parallel projection lines. Overall, as a special

representational form, axonometric projection has become an

ideal starting point for architects but in A Little Bit of Beijing the

documentation is complemented with a series of photographs

which serve as additional, subjective content that captures the

common and trivial details of the urban life.[5]

Finally, with relation to the larger city, the documentation

unveils that San Li Tun and 798 are the specific embodiment

of Fumihiko Makis theory of group form. As opposed to Rem

Koolhaas concept of bigness from his 1994 manifesto where

the primary focus was the whole, the big in group form is

manifested through the accumulation of the small as a naturally

evolved consequence.[6] A Little Bit of Beijing in a certain

way is a documentation of this process. San Li Tun and 798

represent the survival of the small shop through a necessary

combination with the larger city. The unity of the two creates the

complexity that characterizes these two urban areas of Beijing.

The Big provides support to the small (shops) with integral

function and providing a constant influx of bodies. In return, the

small provides the Big with diversity and interaction. What

is important to learn from this documentation and the method in

which it was executed, is that it does not represent the ordinary

in San Li Tun and 798 as a thoroughly regulated system from

the beginning, but instead as a naturally evolving organism

growing from within where the ordinary has created a special

relationship between architecture, life, and human beings.

Li Han: To me, the true value is the urban life itself. In most cases,

it is presented on a very small scale. You can never see the urban

life from a plane, because it is not close enough and there is no

detail. So we should say the truth results from details.

VNSK: This is the reason why the focus of your documentation

is on the relationship between life, architecture and human

beings. You mention in one of the chapters that the interior is

the birthplace of urban dynamics in China. Could you elaborate

on this? ....

A series of similar books by the same authors is available for sale in

their shop in San Li Tun

201

Li Han: In China the planning of the land is basically some

administrative regulations conducted by the government.

Architecture is attached to the land. Its free development is

highly restricted by the rigid land policies. Only in the range of

the interior, the free market economy has the opportunity to

develop fully on its own right. That is why we often find some

buildings quite ordinary from the outside, but surprisingly

extraordinary and dynamic inside. So I found if only

documenting the exteriors, we would never get the reality of how

the city, architecture, and space is used. That is why I decided to

focus on the interiors and details in the documentation from the

very beginning.

VNSK: How does smallness manifest in San Li Tun or the 798?

Li Han: It shows in many small shops, restaurants, cafes, bars,

and galleries. All of them are small, independent, but at the

same time are bound to the city and rely on each other to

survive.

VNSK: You mention that the analyses and the research on small

shops will be your focus in the future work. You actually own a

shop. Is it part of the experiment?

Li Han: Yes. But actually we started our shop before we began

our research. To document San Li Tun is not because we have

our shop. However, after we finished the documentation on

San Li Tun and the 798, I started to analyze and summarize the

urban phenomena we saw during the research and realized the

important role of small shops. So you could say there is certain

coincidence. But now we do think that we can make our own

shop an important reference for our future study.

VNSK: Do you consider change as the key value of a human

scale-architecture?

Yes.

VNSK: You, as an architect and observer taking record of these

performances, how do you see the purpose of your involvement

within this process of change?

I think through our documentation we become the observer,

recorder, and communicator for such a process of change. Our

job is not to make judgments on whether those performances

are good or bad; we only hope our works will help more non-

professionals to understand why these naturally developed

places are interesting and appreciate their uniqueness.

Continuing their description of representations and divulging

yet another reality, the use of photography throughout the book

is discussed within the final section: Memories of My Body.

The author, Wang Hongyue, provides an argument that is both

independent from the rest of the text and seemingly critical of

the very genre that the book itself exists within. Referencing

this era deliberately surrounded by imagery and an excess

of drawing, images and movies, Hongyue exerts a desire to

find truth amongst the fake and misleading, taking this book as

an opportunity to reveal the individual artistic mission behind

his own imagery. However honest the motive, this section is no

less a spectacle or performance than the rest of the book, as

the photography displays a clear layer of personal intention. In

fact, one that renders a perception of San Li Tun and 798 that

is quite contrasting to the feel of the drawings produced by the

collaborating artists.

Hongyue begins the section with a quote from Guy Debords

Society of the Spectacle, claiming that Debords issue of the

spectacle has only increased since 1967. Hongyue claims that

the inundation of imagery affects human beings past our sight

as our body and consciousness also take a deep sleep in this

imagery world composed by fake representations. Although

the text is clear to paint excess imagery in a negative light it

does not make the effort to explain what exactly the detriment

is.

Is the issue within the imagery itself or a result of who is

producing it? Should we be worried about receiving filtered

messages or missing out on the sensation of reality?

To this regard the author expresses a sense of nostalgia to a

time before people had the ability to create imagery, when the

use of the movement of a body was used to experience space.

If personal, unfiltered experiences of a city is what we should

strive for then where does place books of this nature? The

author seems to be making the same somewhat contradictory

argument that can be read within the Situationists Internationals

psychogeography maps. That the ideal way to experience a

city is to walk it and lose yourself within it. To expect nothing

and be open to everything. However, in both cases the reader

One of many graphic axonometric drawings from the book is used as a

pattern on bags and clothing, promotional materials for Atelier 11.

203

is presented with a tool for experiencing the city, a map or a

guidebook highlighting places of interest.

Hongyue is writing about the falseness of imagery within a book

of highly stylized images and is also presenting images that

are full of personal intention. Again, the objective behind the

photographic method is a search of truth. The author writes that

by replacing your eyes and mind with your camera and letting it

become an unconscious part of your body, you will find that the

obstruction over the true imagery will be reduced. This seems

to suggest a style of photography that limits the composition of

the image, employing less intention, yet many of the images are

carefully posed and constructed. Even the choice to make the

images black and white rather than leaving them the colors of

reality overlays the very obstruction the author talks against. The

fact that these ideas must appear in a book format seems to be

the trigger for the contradictory nature of this section. Perhaps

the images were taken in the way described and the author did

personally experience the city in a more truthful way. Then, the

real issue, again, becomes the production of a book. It seems

impossible that a book can ever be argument-less because of

its nature to be comprised of edited text and images.

Architects like to produce books. They take pleasure out of

preparing drawings, of observing and gathering evidence of

phenomenon, and formatting it into a legible body of work. It

is bred into us through our educations and through the sheer

proliferation of guidebooks that exist today. The architects

responsible for A Little Bit of Beijing admit to their love of

bookmaking as one of the prime reasons for assembling this

guide book. They also suggest that the book serves as a

valuable guidebook, presumably for travelers. This may be

the case, however, it is certainly less likely that their goal is to

inform travelers than it is to garner attention for their work.

One probable reason that architects and designers produce

guidebooks is to establish their knowledge over a particular

area or subject. This has proven very effective for many firms,

taking a cue from Rem Koolhaass Delirious New York, the

canonical retroactive manifesto.

It is fitting that a book that describes the spectacle and stages

of the urban environment, is a furtherance of the performance

discussed at length in the book. The writers are aware of the

lineage of architectural guidebooks and reference several of

them in order to establish their books place within that lineage.

We question this books agency, and by doing so question other

books of its kind. The reasons provided by these authors are

flimsy at best, and we find that the book results in little but to

further more of the same.

[1] A Little Bit of Beijing / Atelier 11 | China Architecture Design

& Research Group / Works / Research

http://www.atelier11china.com/english/work.aspx?id=351

[2] Kaijima, M., Kuroda, J., & Tsukamoto, Y. (2001). Made in

Tokyo. Tokyo, Japan: Kajima Institute Publishing Co., Ltd.

[3] Atelier 11. (2011). A Little Bit of Beijing. p.19

[4] J. Krikke (1996). A Chinese perspective for cyberspace. In:

International Institute for Asian Studies Newsletter, 9, Summer

1996.

[5] A Little Bit of Beijing Interview with Architects Li Han, Want

Hongyue, and Lu Wenhui. Arhitectura Nr. 6/2013 (648) p.64

[6] Atelier 11. (2011). A Little Bit of Beijing. p.25

The mere fact that we are analyzing a book with little to no

purpose, a form of attention-getting spectacle, only adds to this

performance. The agency of this essay is to what? Analyze a

body of writing in search of its agency?

205

HOUSE : HOUSINGAN UNTIMELY HISTORY OF

ARCHITECTURE AND REAL ESTATE

The Temple Hoyne Buell Center

For The Study Of American Architecture

With Curators Jacob Moore and

Susanne Schindler

Research assistant: NIcole Mater

House Housing: An Untimely History of

Architecture and Real Estate is an ongoing,

multi-year research project conducted

by the Temple Hoyne Buell Center for

the Study of American Architecture at

Columbia University. The initiative seeks to

encourage a public, historically informed

conversation about the intersection of

architecture and real estate development.

The untimeliness of this history, as

indicated by the projects title, is twofold.

First, it returns us to financial matters

widely discussed in the immediate

aftermath of the 2008 foreclosure crisis

but now largely abandoned by mainstream

discourse. Second, it discloses surprising

repetitions of themes, tendencies, and

actionsreminding us that the economic

infrastructures on which architecture rests

are the outcome of such repetitions, rather

than an a priori, natural ground. These

infrastructures locate housing at the center

of the current economic regime, with the

United States as an influential node in a

transnational network.

House Housing consists of a growing

body of research that draws on multiple

types of media; appears in numerous

locations in the form of exhibitions, panel

discussions, and publications, among

others; and relates to different institutional

frames. The projects objects of inquiry

range from architect-designed houses

to prefabricated apartment blocks to

suburban gated communities. All of these

architectures are analyzed in light of their

position at the intersection of design,

policy, and finance. New narratives emerge

out of surprising juxtapositions.

207

1946

Herbert Greenwald and Mies van der

Rohe began working together with the

development of Promontory Apartments,

a cooperative apartment complex in Hyde

Park, Chicago. As a relatively inexperienced

developer, it was difficult for Greenwald to

raise funding from financiers to further his

projects.Creative financing in the form of

mutual ownership plans enabled their first

project to come to fruition. The co-operative

model attracted further investment from a

life insurance company. The success of the

Promontory Apartment funding scheme

enabled Greenwald to find investors with

deeper pockets for subsequent projects. The

two went on to develop seven major projects

together.

Promontory Apartments takes risk with new type of

funding scheme:

MvdR Office expands from eight to thirty employees and moves to larger space

209

1973

Section 235, a program to promote low-income

home ownership through low-rate mortgages

to developers, was passed as part of President

Johnsons Fair Housing Act in 1968. In a telling

case in Philadelphia, 235 enabled private

builders to buy groups of 50 to 100 residences,

abandoned during white flight, contracting with

the city to make improvements for subsequent

use as owner-occupied housing. Due to lax

oversight, many of the homes sold were of such

poor quality that they were soon abandoned

by new homeowners who could not afford to

make necessary repairs. The National Home

Ownership Foundation (NHOF) had been

conceived as a regulatory body by Republican

Senator Charles H. Percy of Illinois to monitor

Section 235. President Nixon, who succeeded

Johnson in January of 1969, and Percy were

known to disagree over many issues, even

though they shared the same political party.

When Percy voted against Nixons Safeguard

Anti Ballistic Missile System in 1969, Nixon

shut the NHOF down.

Nixon declares Moratorium on Housing Assistance

Wave of Section 235 foreclosures cited as one

cause

211

1995

In 1995, the City of Ferguson, Missouri

commissioned a Vision Plan for 2013,

setting thirteen objectives to improve the

quality of the city, ranging from improved fire

department facilities to greater compatibility

with the neighboring Lambert Airfield.

Meanwhile, other suburban towns in the

St. Louis area set up zoning ordinances

preventing multifamily housing for Section

8 voucher holders, making it more difficult

for real-estate investors to offer market-

rate housing to disadvantaged renters.

Two decades later, Ferguson lacks the

local improvements set forth in the vision

plan, regardless of its periodic updates

and revisions. The town remains relatively

unpopular with home buyers, with home

values as low as $13 per square foot.

Real-estate investors have noticed the

areas potential for rental-backed security

properties, and many single family homes are

being rented to Section 8 voucher holders

and other low-income families at market-rate

prices. In 2014, the town became infamously

scrutinized after the shooting of unarmed

African-American high school student,

Michael Brown.

City of Ferguson, MO Commissions Vision Plan

for 2015:

Housing Components Fall Far Short of Goal

PARALLEL OBSESSIONS

The format of a comic book creates opportunities

to tell stories in an abstract manner, using

visualizations in place of language to further a

deeper message of the book.

In this comic series, Architecture vis-a-vis Ideology,

the architecture of historical dictators is analyzed

via a dictators obsession. In the case of former

Yugoslavian autocrat, Marshall Tito, he was equally

obsessed with film and sculptural monument.

Under his leadership, Tito commissioned many

films and monuments to glorify the integrity of

Yugoslavia, to memorialize the heroic acts of his

people.

This comic acts as a film strip, portraying the

soft ideology of Yugoslavia in its soft colors and

monotone gradients. The beauty of the Balkan

region is shown as ravaged by war, and scattered

with Monuments thereafter. The actor Richard

Branson, who famously played Marshall Tito in

film, serves as the mediating voice between Tito

and the reader.

click, click, click, click...



click, click, click, click...click, click, click, click...

hummmmmmm....

The Marshall and his wife are seated for their evening film...

215




click, click, click, click...click, click, click, click...

hummmmmmm....

The Marshall and his wife are seated for their evening film...

RICHARD

SOPHIA

Nazi-occupied Bosnia and Herzegovina in 1943. Under the faithful leadership of Marshal Tito, the Yugoslavian partisans have put up a staunch fight against the occupying Axis powers for a number of years. Despite being outgunned, outmaneuvered, and vastly outnumbered, they managed to recuperate in the harsh mountainous region called Durmitor in northern Montenegro. However, their rest was short-lived, as the combined foreign and domestic Axis powers begin an encirclement offensive, outnumbering them 6:1. The Partisans have no choice but to fight out of the encirclement, heading towards eastern Bosnia. They finally clash with the Axis on the plains of Sutjeska in southeastern Bosnia.

Various people are caught up in the fighting, such as a Dalmatian who lost all of his children during the war. As the fighting intensifies, the story and the scenes are drawn more and more into the colossal battle as both sides are forced into a conflict that can only be described as a living hell. The scenes are interlaced between general battle rage and individual, personal fates and agonies of several main characters, from supreme commanders to ordinary soldiers.

The offensive finally ends as a failure for the Axis armies, but the Partisans are not in a mood to celebrate they suffered devastating losses. Still, they marched on.

The bridges were destroyed, the infrustructure was brought down. What was a welcoming landscape became a warzone.

tingkt, tingkt, tingkt, tingkt tingkt, tingkt, tingkt, tingkt




crrrashhhhh....

the land has been ravaged

Hmmmf...

(long high whistles)

eeeeeeeeeeeooooo!!

jchhhhhhhhhuuu....

221

Can we run that again, Rick? This time, really hit it home with a feeling of heroism. This is for the Marshal, you know....

Sure thing...

...Marshal!

But are films really the best way to commemorate what happened here...?

Of course not, Richard, let me show you some of my other pet projects...

For each battle site, in which our countrys heroism was displayed...

...I commissioned monuments Works of art honoring our bravery...

223

Each one unique.... And anticipatingthe future of design...

...Celebrating the inguinuity of our country, honoring the beauty of the landscape...

...Part sculpture, part place....

...The strength of a nation, displayed in perpetuity...

225

...As years pass, and memories of our nation begin to fade, these monuments will retain our cultural memory.

227

APPLIED CONCEPTS

Fanchang Feng

Jasmine Ho

Jordan Meerdink

Julie Gonzalez

Max Hartman

Nicole Mater

Nutchanun Boontassaro

Shalini Amin

Tanya Griffiths

Renyuan Wang

FP//SS 2015

WHO IS KERBY?

Kerby is a little monster of a pavilion. He is made of panels full of

kerfs, or sninges, that allow stiff material to become flexible and

curved. He was born to be a world traveler. Kerby can easily flat-

pack and fit in a crate to visit cities all over the world. He is low

maintainance and can be re-built quickly, like a big 3D puzzle.

You could totally stand on it. Thats a stong bowl!

We did, however, test it to failure by jumping up and

down on it.

231

IT STARTED WITH A POP-UP BOWL

We were interested in creating a pop-up stricture, and this kerf pattern

showed us that it was possible to turn a single flat sheet into a domed

structure.

JOINT EXPLORATION

By testing many types of flexible joints, we

clarified our intention of creating a moving

structure and explored viable options for our

connection points.

MATERIAL TESTING

We let materials guide the process. By

working our way from the material to the form,

we discovered the design together, rather

than prescribing it.

SCALE PROTOTYPING

We used lasercut mondels to test kerf

patterns, connections, and forms. This

allowed us to move faster, but to prove our

ideas in a physical way.

MATERIAL TESTING

We let materials guide the process. By

working our way from the material to the form,

we discovered the design together, rather

than prescribing it.

(MIS)USE THE STREETS

REDEFINE THE POOL

COLUMBIA GSAPP

ADVANCED STUDIO I

CRIT IC : PHU HOANG

DESIGN TEAM: N . MATER, J . HO, S . MEDINA

Beyond a building, this project creates a hub for social

interraction, utilizing the streets of New York as fair

ground for urban play. Treated as a vessel for activity, the

dumpster is a program generator which is disseminated

throughout the city. The envelope acts both as an

incomplete wall, when attached to the building, and

as a public platform that adapts the program of the

dumpsters. This results in an architectural solution

characterized by incompleteness, constantly altering in

scale as units are dispatched and returned.

The potentials of spatial misuse.

UNPLEASANTBEHAVIOR

FIREHYDRANT

SLIP NSLIDE

DUMPSTERPOOL

SKATEBOARDING STREETPERFORMANCE

FOOD CARTSvs. TRUCK

JOGGING DININGSTREET

PLAY EXPANSION PERFORATION DISSOLVE ATTRACTION COLLECTION VOIDPercieved alterations of the street

253

UNPLEASANTBEHAVIOR

FIREHYDRANT

SLIP NSLIDE

DUMPSTERPOOL


FOOD CARTSvs. TRUCK


PLAY EXPANSION PERFORATION DISSOLVE ATTRACTION COLLECTION VOID

UNPLEASANTBEHAVIOR

FIREHYDRANT

SLIP NSLIDE

DUMPSTERPOOL


FOOD CARTSvs. TRUCK


PLAY EXPANSION PERFORATION DISSOLVE ATTRACTION COLLECTION VOID

DRY LOUNGESERVERY/KITCHEN

CAFE STOREWET LOUNGE

RECEPTION/TICKETINGTOILETS

POOL OPERATION OFFICEMANAGERS OFFICE

STAFF OFFICEMEETING ROOMS

WET CHANGEROOMSLOCKERSFIRT AID

WEIGHTS + CARDIOSPIN ROOM

DRY FITNESS STUDIO

PROGRAM POOLHYDROTHERAPY POOL

SPIN ROOMOUTDOOR POOL

SPECTATOR SEATINGLEISURE WATER POOL

AQUATICSCENTER

PROGRAMDUMPSTERPROGRAM

DUMPSTER

POOLURBAN BEACH

SPIN

CLASS

YOGABEAUTY SALON

HYDROTHERAPY

BALL PIT

PLAYGROUND

PUPPET SHOW

TRAMPOLINE

HALF PIPE

BILLBOARD

PET ADOPTIONSITE

THEATER OR CINEMA

LUCHALIBRE

FIGHT CLUB

CLASSROOM

HOUSE OFWORSHIP

ART GALLERY

VIDEO GAMEARCADE

FARMERSMARKET

WORK SHOP

TOOL LIBRARY

LIBRARY

INTERNETSTATION

SEED BANK

ICE CREAM STAND

KITCHENCAPSULE

HOTEL

START-UPCOMPANY

HYDROPONICAGRICULTURE

TOILETS

SHOWERSTEMPORARY

SHELTER

HEALTH CLINIC

DISPENSARY

CONCERT DJ BOOTH RAVE SPEAKEASY

BURLESQUE CLUB

HOOKAH BAR COFFEE SHOPCASINO

DUMPSTER DICTIONARY

static diffuse

255

DRY LOUNGESERVERY/KITCHEN

CAFE STOREWET LOUNGE

RECEPTION/TICKETINGTOILETS

POOL OPERATION OFFICEMANAGERS OFFICE

STAFF OFFICEMEETING ROOMS

WET CHANGEROOMSLOCKERSFIRT AID

WEIGHTS + CARDIOSPIN ROOM

DRY FITNESS STUDIO

PROGRAM POOLHYDROTHERAPY POOL

SPIN ROOMOUTDOOR POOL

SPECTATOR SEATINGLEISURE WATER POOL

AQUATICSCENTER

PROGRAMDUMPSTERPROGRAM

DUMPSTER

POOLURBAN BEACH

SPIN

CLASS

YOGABEAUTY SALON

HYDROTHERAPY

BALL PIT

PLAYGROUND

PUPPET SHOW

TRAMPOLINE

HALF PIPE

BILLBOARD

PET ADOPTIONSITE

THEATER OR CINEMA

LUCHALIBRE

FIGHT CLUB

CLASSROOM

HOUSE OFWORSHIP

ART GALLERY

VIDEO GAMEARCADE

FARMERSMARKET

WORK SHOP

TOOL LIBRARY

LIBRARY

INTERNETSTATION

SEED BANK

ICE CREAM STAND

KITCHENCAPSULE

HOTEL

START-UPCOMPANY

HYDROPONICAGRICULTURE

TOILETS

SHOWERSTEMPORARY

SHELTER

HEALTH CLINIC

DISPENSARY

CONCERT DJ BOOTH RAVE SPEAKEASY

BURLESQUE CLUB

HOOKAH BAR COFFEE SHOPCASINO

DUMPSTER DICTIONARY

static diffuse

x1

PARKING LANE

SITUATIONAL MATRIX

PARKING LANE + SIDEWALK STREET CLOSING PARK

x2

x3

x1

PARKING LANE

SITUATIONAL MATRIX


x2

x3

257

x1

PARKING LANE

SITUATIONAL MATRIX


x2

x3

x1

PARKING LANE

SITUATIONAL MATRIX


x2

x3

The dumpster can be utilized in various

configurations to create temporary public

platforms for activity. The articulated

skin used to make the transformation is

a deployable portion of the facade of the

building where the units are stored.

PL ATFORM CONFIGURATIONS

(MIS)APPRPROPRIATE THE DUMPSTER

OUTDOOR TERRACEHYDROTHERAPY STORERECEPTION/TICKETINGPUBLIC TOILETSDRY LOUNGE SEATINGCAFESERVERY/KITCHENWET LOUNGE SEATINGCAFE TOILETSSTAIRSLIFTLEISURE WATER AREAMANAGERS OFFICESTAFF OFFICEMEETING ROOM 1MEETING ROOM 2POOL HALLPROGRAM POOLPOOL OPERATIONS OFFICEHYDROTHERAPY CHANGEROOMSWET CHANGEROOMSLOCKERSFIRST AIDHYDROTHERAPY POOLFORECOURTFOYERPOOL PLANT AND SERVICESPOOL STORAGEFITNESS OFFICE 1FITNESS OFFICE 2WEIGHTS AND CARDIOSPIN ROOMDRY FITNESS STUDIO 1DRY FITNESS STUDIO 2DRY CHANGEROOMS

SOUND Pool

PROGRAM ELEMENTS

Program Pool

Foyer

Outdoor Terrace

Forecourt

Leisure Water Area

Spin Room

Weights and Cardio

Dry FitnessStudio 2

Dry FitnessStudio 1

Dry Changerooms

Dry Changerooms

Cafe

Kitchen

Wet Lounge Seating

Dry Lounge Seating

Reception/Ticketing

Hydrotherapy Store

Hydrotherapy Pool

Pool Hall

Pool and PlantServices

Lockers

Fitness Office 2

Fitness Office 1

Lockers

Cafe Toilets

Public Toilets

First Aid

Managers Office

Pool OperationsOffice

Meeting Room 2

Meeting Room 1

Staff Office

Lockers

Pool Storage

HydrotherapyChangerooms

Wet Changerooms

259

OUTDOOR TERRACEHYDROTHERAPY STORERECEPTION/TICKETINGPUBLIC TOILETSDRY LOUNGE SEATINGCAFESERVERY/KITCHENWET LOUNGE SEATINGCAFE TOILETSSTAIRSLIFTLEISURE WATER AREAMANAGERS OFFICESTAFF OFFICEMEETING ROOM 1MEETING ROOM 2POOL HALLPROGRAM POOLPOOL OPERATIONS OFFICEHYDROTHERAPY CHANGEROOMSWET CHANGEROOMSLOCKERSFIRST AIDHYDROTHERAPY POOLFORECOURTFOYERPOOL PLANT AND SERVICESPOOL STORAGEFITNESS OFFICE 1FITNESS OFFICE 2WEIGHTS AND CARDIOSPIN ROOMDRY FITNESS STUDIO 1DRY FITNESS STUDIO 2DRY CHANGEROOMS

SOUND Pool

PROGRAM ELEMENTS

Program Pool

Foyer

Outdoor Terrace

Forecourt

Leisure Water Area

Spin Room

Weights and Cardio

Dry FitnessStudio 2

Dry FitnessStudio 1

Dry Changerooms

Dry Changerooms

Cafe

Kitchen

Wet Lounge Seating

Dry Lounge Seating

Reception/Ticketing

Hydrotherapy Store

Hydrotherapy Pool

Pool Hall

Pool and PlantServices

Lockers

Fitness Office 2

Fitness Office 1

Lockers

Cafe Toilets

Public Toilets

First Aid

Managers Office

Pool OperationsOffice

Meeting Room 2

Meeting Room 1

Staff Office

Lockers

Pool Storage

HydrotherapyChangerooms

Wet Changerooms

URBAN BEACH

PARKING LANE + SIDEWALK

SPIN CLASS / YOGA


PLAYGROUND


P O P - U P P O O L

M I N I - GY M

P LAY P E N

GROUND FLOOR

LEVEL 2

263

A B C

D E F

G H I

J K L

BY LAND

BY WATER

BROOKLYN

MANHATTAN

NEW JERSEY

WATER SOURCES

LONG ISLAND CITY/HAMPTONS, NYWATER SOURCE

RED HOOK, NYWATER SOURCE

265

BY LAND

BY WATER

BROOKLYN

MANHATTAN

NEW JERSEY

WATER SOURCES

LONG ISLAND CITY/HAMPTONS, NYWATER SOURCE

RED HOOK, NYWATER SOURCE

A LIVING WALLFOR THE DEAD

Death is not scary. We are all affected by it as

we grow. As a part of life, death needs to be

seriously considered when planning the urban

environment.

This design solution integrates death with

the city, intertwining the living and the dead,

and dissolving barriers that we have created

by expanding from the borders of existing

cemeteries and infiltrating into already-revitalizing

knowledge-economy districts.

Teammates: Nicole Mater, Jiteng Yang, Ao Liu,

Joung-taek Yi

Urban Funerary Infrastructure

We are out of space.

We need new, integrated solutions.

Cemeteries

Funeral Homes

Columbaria+

CROSS-CULTURAL FUNERARY RITUALS

By studying many cultures, we can locate

critical intersections where architectural

program can be implemented.

r Circle size shows number

of people involved

Brightness of shading

indicates likelihood of

occuring indoors

DIAGRAMMING MATERIAL BEHAVIORSDISSOLUTION AND REDENSIFICATION

Contour study

Controlled dissolution study models

275

Material obfuscated by casting it in glycerin

Industry City Development

New Industry City Canal

279

Sunset Park

MTA Depot

Greenwood Cemetary

FIBROUS CONCRETE

JOINT LOCATION

JOINT LOCATION

DRAINAGE PORES

JOINT LOCATION

SHELL THICKNESS 2 MINUMUM

STAINLESS STEEL METAL CHANNEL INSCRIPTION

DRAINAGE PORES

COURTESY OF DEATHLAB

METAMORPHOSIS

PROMESSION

VIBRATION COMPOSTING

The deceased is pre-frozen, then

placed in a sealed promator,

where the metamorphosis occurs.

Immersed in liquid nitrogen, the

corpse becomes crystallized.

Ultrasonic vibration reduces the

remains to a fine white powder, about

30% of the original body mass.

Promains may be placed in a

biodegradable container and buried in

shallow topsoil or scattered, re-absorbed

into the ecosystem.

281

FIBROUS CONCRETE

JOINT LOCATION

JOINT LOCATION

DRAINAGE PORES

JOINT LOCATION

SHELL THICKNESS 2 MINUMUM

STAINLESS STEEL METAL CHANNEL INSCRIPTION

DRAINAGE PORES

8888888888888888

32 32 32 32

ft ft ft ft ft ft ft ft ft ftftftftftftft

8888888888888888 ft ft ft ft ft ft ft ft ft ftftftftftftft

ft ft ft ft

Aromatic Sumac

Blue Aster

Feather-reed grass

Milkweed

Sea Lavendar

Yarrow

Black Eyed Susan

Coneflower

Blue Star

Dwarf Fothergilla

Sideoats Grana

Winterberry

Blazing Star

Copper Iris

Gibraltar Bushclover

Mortimer Sackler Rose

Swamp Sunflower

Purple Moor Grass

Blue Hyssop

Cutleaf Lilac

Himilayan Indigo

Mosquito Grass

Thimbleweed

Himilayan Sweet Box

283

May

Ap

ril

Mar

chFe

brua

ry

Janu

ary

December November

October

September

August

JulyJune

The selection of prefered plants provide the occupied wall with a

range of color year-round.Natural species were chosen based on their

ability to thrive in New York Citys climate. Many of the plants have

medicinal properties and support the natural ecosystem with their

fruits and seeds.

ANNUAL FOLIAGE COLORING

SPRING

SUMMER

285

AUTUMN

WINTER

Memorial aggregations can

begin to attach themselves

to existing buildings, carrying

with them the program

neccessary to honor the dead

while improving the built

environment.

CITY : GRAVEYARD EDGEPortential to diffuse, connect, and intensify the edge of the

cemetery, creating a place for memorial, reflection. amd

everyday interraction.

PROTOTYPICAL EXPANSION POTENTIAL

Connecting cemeteries to supporting facilities throughout the city.

By grafting our program into the existing death infrastructure areas of the city,

and creating connections between them utilizing water routes, we create a

memorial network throughout the city.

The system lends itself to implementation

throughout New York and in other dense cities.

Linear memorial parks can stem off of cemeteries

throughout the area, creating a network of

procession and a new death industry in a

hyperdense city.

299

One year at GSAPP is both a long time and not

enough time at all. I tried my absolute best to use

it wisely.

N I C O L E M AT E RNicole Mater, Assoc. AIA, LEED GA is an architectural designer and entrepreneur studying in New York. Her work emphasizes her belief that that provocative design can draw attention to social issues, an impetus to a wave of innovative solutions.

Nicole is interested in design that focuses on user experience, design research, and context awareness. She currently attends the Graduate School of Architecture, Planning, and Preservation at Columbia University. At GSAPP, she is investigating urban infrastructures, housing, post-ideological architecture, and evolutionary computational design.

C U R R I C U LU M V I TA E

E D U CAT I O NC O LU M B I A U N I V E R S I TY G RA D U AT E S C H O O L O F A R C H I T E C T U R E , P LA N N I N G , A N D P R E S E R VAT I O N [ G SA P P ]

Candidate for a Master of Science in Advanced Architectural Design [MS. AAD]Anticipated graduation in May 2015

Master of Architecture with Distinction [top 10%] - May 2014Graduate Certificate in the Architecture of Health and Wellness - May 2014wInternational Education - Transmutational Cities - 2012[London, Rome, Barcelona, Paris, and Lyon]

May 2013 - December 2013Architectural Design InternDesign aid for two major projects and two winning project pursuits. Contributed to design concepting, details, and material selections. Gained exposure to clientele and business relations throughout.

September 2014 - PresentResearch Assistant to Susanne Schindler and Jacob MooreResearch, write, and edit materials in preparation for international exhibitions

May 2014 - September 2014Production TechnicianOperate and maintain laser cutters, 3D printers (Dimension and CubeX), and large-format plotters

U N I V E R S I TY O F K A N SASS C H O O L O F A R C H I T E C T U R E , D E S I G N , A N D P LA N N I N G [ KU SA D P ]

H D R A R C H I T E C T U R E , I N C . G R E AT P LA I N S ST U D I O - O M A H A , N E B RAS K A

T H E T E M P L E H OY N E B U E L L C E N T E R FO R T H E ST U DY O F A M E R I CA N A R C H I T E C T U R EC O LU M B I A U N I V E R S I TY - N E W YO R K , N E W YO R K

C O LU M B I A G SA P P O U T P U T S H O PN E W YO R K , N E W YO R K

R E LAT E D E X P E R I E N C E

301

SAV I N G M A I N ST. U SA

A B ST RAC T, C O LU M B I A U N I V E R S I TY G SA P P

P O ST - I D E O LO G I CA L A R C H I T E C T U R E

I N T E R I O R D E S I G N M AG A Z I N E

VA LU E O F D E S I G N : D E S I G N & H E A LT H , A I A P U B L I CAT I O N S

D U A L I TY - SAV I N G M A I N ST. U SA

H OT M E S S : L I N E S O F AT T RAC T I O N

L E E D G R E E N AS S O C I AT E

AS S O C I AT E A I A

A M E R I CA N I N ST I T U T E O F A R C H I T E C T U R E ST U D E N TS [ A I AS ]

2013 - 2014, KU SADP Graduate ThesisEvaluating the decay of Small Town America and the efficacy of related rescue efforts

2014 - 2015 edition, expected release Winter 2015Selected for multiple entries

Current researchConcerning the political nature of architecture and post-ideological futures of forgotten places.

String Art Installation featured in Big Ideas issueMarch 2013

Impacting Health and Wellness of a Community by Designing a Hybrid Community Hospital.April 2013

May 2014 - 360 Architecture Gallery - Kansas City, Missouri

July - November 2013 - KANEKO Museum - Omaha, Nebraska

Eager to learn and grow as a designer Strong computational design skillsExperience in digital fabrication Excellent craft and attention to detailCommunication aided by hand sketchingBasic literacy in German and Spanish

Columbia University Academic Scholarship AIA St. Louis Ranft Award, 2013Kelly Architectural Scholarship, 2013AIA St. Louis Wischmeyer Award, 2012J. Gordon Moorman Scholarship, 2012

GCBI, License 10760855

New York Chapter2014 - Present

University of Kansas Chapter2010 - 2014

Graduate Advisor, 2014Chapter Governance Board, 2013-2014Community Outreach Coordinator, 2013Architecture School Affordability Advocate, 2013Midwest Quadrant Conference Planning Committee, 2012

S E L F - D I R E C T E D R E S E A R C H

P U B L I CAT I O N SC E RT I F I CAT I O N S

E X H I B I T I O N S

P R O F E S S I O N A L M E M B E R S H I P S

S E L E C T E D AWA R D S

A D D I T I O N A L Q U A LT I E S

S O F T WA R E P R O F I C I E N C I E S

0 108642

ADOBE CREATIVE SUITERHINOCEROSSKETCH UP

VRAY

AUTOCAD

GRASSHOPPER

REVIT3DS MAX

ECOTECTPYTHONPROCESSING

CELLULAR MULTIPLICATION

COPY + PASTE

OPERATIONS ANNEX

ADD

BOIDS

BOOLEAN

BREEDING

CONSTRAIN

This biological topic is interesting because it involves two principles. The sequence

involved in this process is first multiplication, then division resulting in duplication. It

is also interesting because each generation is a copy of the proceeding generation.

A basic tenant of propagation is multiplication. The multiplicity and enumeration

of objects is one way to begin to understand the relationship each object has to

the other and to begin to qualify the space between them. The negative space can

become a crevice, a tunnel, or a channel through the combined mass. The crystalline

aggregations become a spatial game for the mind to inhabit.

Boids are a well established algorithm for flocking. I am particularly interested in

the sequencing of information as each unit follows a leader, but how the leader

consistently changes, and how the flock is influenced by outside influences. Chains

and patterns are developed, and incredibly intricate relationships can be observed .

Boolean functions allow for the combination or subtraction of one three-dimensional

form to or from another. In this work, the terms Addition and Subtraction are preferred.

Domestic breeds are derivatives of choice, each created for a specific purpose. Take

any domesticated organism, flora or fauna, it can be analyzed by its lineage and

use. From my own perspective, raised in an agriculturally-rich culture, this concept

is deeply ingrained in how I see the world. If we evaluate architecture as a species

composed of breed-like elements, perhaps it is possible that cross-breeds and

mutations have come into being without us even realizing it. We should question our

ability to optimize these breeds and to develop elements that have a broader depth

of use.

To accumulate and build up. To overlap and to create relationships of shared space.

Constraints have many implications on their respective designs. They can be seen

as a hindrance, but I choose to believe that working with constraints can enable

transcendent design. As a monograph, this book was produced under a set of many

constraints. The sites were given as a cleared, generic Manhattan block divided

into five lots. The program for each lot, each building, was prescribed with a single

word: Cult, Fitness, Storage, Retail, and Hotel. Further constrained, each building

design was to be produced in a weeks time, accompanied by pursuits of preexisting

interests. Those interests became molded the thesis, and the buildings came to

manifest it. The most beneficial constraint of all is the self-imposed one. Forming

constraints creates a path to escape convention.

303

DISTORT

GAME OF LIFE Within the context of this book, the Game of Life algorithm was used to simulate changes that could occur to the field over time, in an effort to achieve the effect that

buildings with cells can choose to live or die. The resulting forms are an imperfect

representation of a moment frozen in a lifetime of possible changes. In actuality,

each level produced by the algorithm, increasing in the z-axis, represents a potential

generation directly influenced by its precursor. Each floor remains unchanged as

the building, in this scenario, grows. A four-dimensional representation method

of the Game of Life could have been used that would have been a more accurate

representation of the design as intended, but ultimately one would not be able

to differentiate between the two outcomes without seeing the building changing

throughout time. Since the design is being represented in three, not four, dimensions

the former was the preferred method.

What are the benefits of distorting the normal? Within this body of work, distortion

was used to primaries that more accurately reflected the ways in which subsequent

operations effected them and were instigated by programmatic desires.

FIBONACCI SEQUENCE The ultimate mathematical realization of propagation, this sequence is consistently used throughout this body of work. 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610,

987, 1597, 2584, 4181, 6765, 10946, 17513, 28459...

HYBRID BREEDS Combining two or more breeds creates a new one with components of both parents. Thinking about hybrid nature in architecture could lead to more efficient structures

with fewer elements doing more work.

MULTIPLY To reproduce rapidly. To duplicate. To proliferate. Enough said.

RANDOMNESS Choice is integral to propagation, where randomness is a false effect. I preference rules, games, and strategy over random functions.

STANFORD RABBIT The three dimensional rabbit figure used in pages 20-41 is a commonly used mesh model known as the Stanford Rabbit. It is known for its mesh complexity and

the varying degrees of faceting it has as a potential. In each sequential round of

multiplication, the model of the rabbit is reduced in complexity in order to optimize

the use of the computer. More rabbits, each one less complicated than the last; each

iteration more spatially complex.

Reflections: GSAPP Portfolio, Part 2

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