Art Gallery and the City
This project takes root in the city of Korcula, a peninsular town on the coast of Croatia. The gallery complex engages in conversation with the town through a normative statement that incorporates or reinvents key elements of the city. In the list of such elements figure the defensive and internal nature of Korcula, the axiality and expansion at its center, the proportion and linearity of the narrow galleries and the playful bridging of the building fabric. Art is displayed in the complex in a variety of ways. One would experience the sculpture collection serially or axially in courtyards replicating the negative imprint of the city plots; reflections accentuate the experience of art as some of these courtyards are flooded by the carving of the architectural envelope. Specific pieces are displayed centrally in unique rooms of unexpected poché that bridge the narrow galleries.
Developed in the context of Wolf D. Prix’ studio at YSOA, this project is an alternate proposal for his latest built work for the city of Lyon. The program challenges the accepted nature of the museum as it redefines the relationship of the architectural fabric with the subject of the exhibition. Considering the site’s location at the conjuncture of Le Rhône and La Seine, water becomes central to the theme of the “exhibit”. In an effort to see art space as not a place for consumption of visual pieces, but a space for discourse and social catalyst, the main exhibition takes shape in a procession of public bath spaces. Re-embodiment and interaction are integral to the design direction.
This project presents a clash of varying cultures of baths and visions of the body, creating a high contrast dialectic in architectural expression. It introduces a conversation between an aesthetic of purity, ethereality, order and minimalism and a voice that is organic, textural, warm and chaotic. The project took shape in the act of dropping the organic elements of the baths into the normative layout which deformed and skewed the structure. This process resonates the ripples created by dropping solid objects into a body of water.
School of Architecture for Penn Design
This project for a design school for the University of Pennsylvania started with the aspiration to create overlap and interchange between the city, student body, faculty, and architecture students. At the site level, the project acts as a bridge between the urban fabric and the campus. Following a study of paths of natural travel on the site, trails have been carved out of the building mass. People are redirected through the central void of the school without having to penetrate the envelope of the building. Internally, the school unfolds as two systems of platforms that cycle around a central void connected by double helix ramps. The platforms always overlap to create visual connections between the different spaces and generate a dialogue between the two cycles. On the same level, the platforms are connected by a band of programmed bridges that act as gathering spaces for collaborative work.
Introduction to Urban Design
Yale Assembly Two Pavilion
This year’s Assembly Pavilion is a mobile pop-up structure appearing in different New Haven neighborhoods and on the green for the International Festival of Arts and Ideas. The pavilion collects storycore-like audio recordings from each neighborhood and plays them back in a series of interconnected domes. Designed, fabricated and built by Yale School of Architecture students, the composite foam and fiberglass structure is extremely lightweight; it can be stacked up in a single truck for delivery and installed on site in under an hour.
Since the Enlightenment, the introduction of new technologies have expanded the capacity of the human
senses: audio-visual devices from the camera obscura to iphones have enhanced the eye and ear while
infrastructures like plumbing and HVAC have catered to the needs of the flesh. This class will consider
the architectural consequences of these technological developments and their impact on our sensory
experience of space. Looking at this subject from a socio-historical perspective, we will consider how a
series of technical milestones transformed architecture and the human sensorium from the Enlightenment
to the Digital Age. After charting these historical developments, we will speculate about the future: how
can architects harness new technologies to craft immersive multisensory environments that engage sight,
hearing and touch?