Absurd / Everyday Campus
No longer just workplaces, tech campuses of today organize tours, host conferences, house hotels and public parks. Condensing life and labor, many also provide game rooms, in-house childcare, and daily dinners for the whole family. While outsiders see these amenities as absurdities, employees view them as part of the everyday culture in the world of technology.
The design for a new Cornell Tech campus is prompted by this tension. Conceived as a series of ceaseless loops, each is crafted to ‘serve’ the respective type of user. By celebrating the desire to keep workers at the office and promoting the campus as a tourist destination, the project hopes to question the workings of such corporations and their role in contemporary life.
The formal exuberance attempts to reflect the campus’ heterotopic conditions while giving imageability to a project that aims to emblematize the East Coast’s new status as an innovation hub. For what is absurd? What is quotidian? And therefore – what is contextual within the metropolitan fantasy and urban incubator that is New York City?
School of Architecture for Penn Design
The first rule of this architecture school is: there are no artificial lights. You come at sunrise and leave when it gets dark. The second rule of this architecture school is: students are not assigned desks. They move from space to space, desk to desk, performing different tasks. This movement will therefore be governed by changes in light and shadow. These rules are a critique of current architecture education, and stem from an interest in ‘time’ as it applies to architecture students.
The building’s conceptual diagram takes the form of a mat with different roofs, modulating natural light differently. Half the building folds upwards creating a tower where roofs are treated as windows, and each roof type has a unique structural logic, while shadow studies inform locations for specific programs.
Visualization IV: Tower House
Hastily, this artefact is constructed. Bridging between the sad realities of a broken family and the fantastical desire to escape it, in the eyes of Roberto, this drawing comes to life. His family home, designed by Mario Botta, was not constructed on the hill above Riva; instead, it is deep under the sea. As the family drowns in their own obsessions, the world around him submerges; drenched in imagination.
Visualization II: Combined Perspective
This sectional perspective is as much a product of previously drawn plans, sections and axonometric sketches, as it is a commentary on their ambiguous natures. Attempting to render a richness which belies the simplicity of these orthographic projections, a sense of depth and atmosphere is speculated, while ideas of scale are called into question.