Small Urban Factory
Nomination, H.I. Feldman Prize
The “Small Urban Factory” rethinks the prevalent factory typology in favor of a full-service station in the urban context. Customers, enthusiasts and the general public become part of the spectacle of the factory.
The concept sees the factory not only as a place for the assembly of new motorbikes, but also a place to sell, service, repair, customize, train, and entertain. The architecture becomes an important negotiation of these multiple programs. It is developed as a system that allows the interweaving of the two major programmatic functions: the factory and workers, as well as the service center and visitors.
The scheme takes the typically flat, continuous factory floor and thickens a few areas to create figural volumes of space within it. This inhabitable poche allows the service center and visitors to coexist with the factory and its employees. The visitor is allowed to experience the factory in an orchestrated manner without interfering with its daily operations. The factory floor also extends above the volumes, thereby relegating certain assembly line processes to a space between the faceted volumes. The result is a distinct spatial experience of compression and expansion.
The project seeks not to reveal the entire assembly process to the visitor, but rather reframes the experience of catching glimpses of the process-- while moving in and out of the embedded volumes—a spectacle unto itself. As the visitors move from the outside in, the path is conceived as an extension of the road folding into the building and onto itself. The circulation path winds through the main hall and within the thickened volumes.
Parts is Parts: Dolos
Like the Greek god of trickery and guile Dolos, our project addresses the part to whole relationship with a cunning deception which blurs the reading of the part to the overall monolithic body it composes. Our project is composed of singular modules which are sculpted to give a reading of a component made of multiple parts when in reality the module is the only part. As the modules aggregate to compose a larger body, the reading of the part is further blurred. Additionally, the application of a dazzle paint camouflage pattern was intended to further conceal the part to whole relationship. The final prototype is made of carbon fiber as a response to the desired qualities defining a monolith, qualities of seamlessness and continuity.
2024 Boston Olympic Village: Hub City
Hub City proposes a weaving of urban fabric and networks across several scales of local and inter-neighborhood connectivity with subway, light rail, bike, pedestrian, car, and water taxi. The architectural form proposes a combination of bar, plinth, courtyard, tower, and landscape typologies which merge and diverge at corners to create multiple datums to establish new ground conditions. Each datum becomes a layer of infrastructure that builds up to create an ‘architectural hill’ of many networks. These layers culminate with a roof park which provides a continuous surface for public leisure and becomes a piece of the larger Boston park network. The infrastructural solution exploits the opportunities provided by transit as rising sea levels reclaim much of Boston's infill land area and existing infrastructure. The courtyard rhythm oscillates and inverts, becoming interior atrium spaces for events and cultural programs as density increases towards Hub City’s cultural corridor, which connects the Boston Convention Center and several large entertainment and recreation programs along its central axis. This creates a new neighborhood which becomes a symbolic architectural hill among the cluster of Boston psychogeographic hill-neighborhoods, playing within and re-imagining the micro and macro identity conceptions of urban and geographic Boston.
Material Formation in Design
A series of panel prototypes are produced from manipulations of image scans of an initial basswood hand carved panel. Beginning with a hand-carved panel allowed for a freedom in design that is achieved through simple intuitive moves that are applied directly on the material. By scanning to “digitize” the initial model, the new genre of formed panels registers new data from traces of the material properties of the basswood which begin to add a new layer of complexity and texture to the digital forms.