Diptych as Building
Nomination, H.I. Feldman Prize
In questioning how to join two to create one, only the façade of the Palazzo Ruccelai, the single Albertian structure, is preserved. With this tabula rasa both adjacent to and behind Rucellai, a framework based on the prescripts of Alberti’s text Della Pittura, and their manifestation in Sandro Botticelli’s painting Cestello Annunciation (1489), allows for a choreography of forms that define a diptych composition. Oscillating between the rational and the pictorial, contextual forces shear the supplemental building, establishing a void at the hinge. This voided, weaving hinge reflects the tension between the hands of the angel Gabriel and the Madonna figure in the Annunciation; the two figures incline towards one another, but do not yet touch, signaling the immanent motion of the composition. From this initial framework, additional contextual reactions from the triangular piazza in front of Ruccelai and the monastery cortile behind it signal entry along the diagonal and carve away at the mass beyond. Ruccelai’s original residential program is preserved, yet it is destabilized through the hinge as it intertwines with the new adjacent public institution. This conversation between existing and new, solid and void, ideal and destabilized, draws upon the call and response of the Annunciation, establishing forms in dialogue and poised for union, yet separated by the activated void of the hinge.
The silo, in this project, is renewed to adjust to today’s dynamic fulfillment typology and further formally manipulated to encourage alternative spatial experiences that reimagine the Silo Cloud as a public viewing space and outdoor market. By collapsing the familiar form of a silo into itself and manipulating the figure, the compound figure creates a satisfyingly vague relationship between the original familiar form and the ambivalent larger whole. The two characters—the strange familiar form on the exterior, and the technical machine character on the interior—work together to enhance the experience of the visitor making the machine an observational event for the city as the machine is working to feed it.
but also a way of connecting to the part of the world where I come from. I began composing the Earth’s surface on the screen and wondered why so many lines left a mark on the ground in such a strange way, perhaps farmers made shortcuts in the land and created a diagonal or a curve. The tones changed as you moved from one city to the next. I used the tones and lines in this series to abstract the essence of the part of the Earth’s surface that I was zoomed in on. Each part tells a different story from a different part of the world, yet there is a trace of similarity from Northern Iraq to Northern Africa.
This scheme proposes a combination of mixed use new structures, event urbanism, and water resilience as the basis of a culturally referential urban intervention in an underused neighborhood of the city – Cedar Creek. Cedar Creek is a forgotten zone that currently separates the Black Rock neighborhood from the South End. We’re proposing a solution for the land to be converted so that it can connect the neighborhoods while solving the flooding issues. Part of our proposal then is to let Cedar Creek breathe by allowing it to return to its natural state as well as using it to attract people, through a series of key event spaces along the creek, to the underused spaces surrounding the creek to attract people to the waterfront. The key event spaces include a hotel inspired by the Iranistan mansion, a circus berm, and a system of constructed wetlands. Storm water runoff ponds area unified along with the key event spaces under a dazzlingly colorful landscaping scheme, promising an optimistic new urban heart for the troubled city.
Visualization III: Wiggle Wall
We were interested in testing paper as a material by transforming the way it behaves and generating three dimensional forms out of the two dimensional, conventional material. For the site, we chose the drawing studio courtyard which had a concrete wall bisecting the space. By repeating these panels we created a wall which enclosed an existing space within the courtyard. By varying the degree of the porosity in the panels, we able to manipulate the light conditions and transform what was once a neglected space into a sacred and private space.