Jessica Flore Angel
Home is a Four Letter Word
Our project proposes 6000 units in eight residential towers facing the waterfront along the Embarcadero, creating an urban edge to the city as well as attempting to recoup the housing stock extirpated by the closing of residential hotels and SRO’s in San Francisco. Americans have lived in residential hotels for over two hundred years. From the 19th century boarding house to the residential hotel, people have chosen to live communally. Residential hotels and particularly Single Room Occupancy (SRO) hotels are deeply rooted in San Francisco’s history, but have unfortunately suffered from the misrepresented idea that these were places of blight and crime, eventually leading to the pandemic demolition of thousands of units. The project takes advantage of the residual, often discarded triangular sites along the waterfront, three-quarters of which are currently used as parking lots.
Framing Territories for the Voluntary Refugees of Sea Level Rise
The key elements of a city’s composition and preservation are ripe for thought under the threat of global warming, sea level rise and the foreseeable shortage of natural resources. The proposed project develops a series of programmatic “rooms” delineated by infrastructural “walls” which resist or allow the passage water. These walls are response to Bridgeport’s current urban predicament, a condition epitomized by sprawling vacant lots and abandoned buildings. These walls are seen as spatial catalysts that frame defined zones in order to control the potential de-growth of the area stretching from downtown to Seaside Park. Like Highway I-95, they are always twofold: they work as enclosures as well as connective elements. We believe that introducing new boundaries can revitalize some important areas that have sunken in the homogenous landscape of Bridgeport, and simultaneously connect different isolated zones of the city. Programmatically, the entire waterfront area is rehabilitated around new forms of local production, from aquaculture to greenhouses agriculture. Wetlands and dry terrains alternate in order to form a diverse landscape.
Architectural Speculation in a Black Market
This project investigates the affect of two spaces of "high culture". On the one hand there is Versailles and its highly decorated rooms, ornamented by a superimposition of frames. On the other side of the spectrum, I picked a typical contemporary Japanese home, characterized by its white walls and intersecting rectangular volumes. By transferring the intrinsic qualities of one space onto the other, hybrid affects are created.
Ornament Theory and Design
The project of ornament on the Yale Center for the British Arts reacts to the pervasive use of ornamental wrappers in the contemporary practice of architecture. These articulate surfaces, which most of the time cover the entire building, are utilized to provoke an immediate visceral effect through the juxtaposition of repetitive panels. As a result, the structural and material identity of the building disappears behind this extra “decorative” layer.This ubiquitous modus operandi is frequently perceived as a reinterpretation of Gottfried Semper’s theory of ornament due to its literal or metaphorical use of fabric. However, in his drawing of the primitive hut for the World Exhibition of 1851, Semper shows explicitly the wooden structure that holds the woven mat. This duality and exchange is fundamental in order to acknowledge the tectonic and geometrical qualities of the building.
As a result I chose to implement an ornament on the North facade of the Yale Center for the British Arts. The abstraction of the geometry of the Bradford pear trees dialogues with the existing concrete structure while holding the ornamental fabric veils, which have replaced the steel panels. In reference to Louis Kahn’s fascination for ruins, the building is projected in phase of entropic decay, in a far future where foliage and Nature have taken over architecture.
Architectural Design: New Haven Test
In order to fully address the elongated lot, the project starts with the introduction of a diagonal axis to the rectangular geometry of the site, thus dividing it in two parts. This trace becomes an environmental wall, the boundary that defines two clear entities but also the connecting spine of the whole. The servant apparatus of the house is accommodated along this feature, serving the diurnal spaces on the ground floor and the bedrooms on the upper floors. These units function according to common principles, both on the outside with the scenography of a garden, hardscape and transitional spaces, as well as on the inside with a play of natural light coming from skylights attached to the central wall.
Selected for development by Team B in part II of the Building Project - here
Visualization II: Combined Perspective
This combined perspectival drawing explores the relationship between a three-dimensional IPMS and a two-dimensional grid generated by a close analysis of ornamental letters around the Yale campus. Gradually, the imposing IPMS break the rigid grid which gets fragmented as the drawing evolves from the left to right of the canvas.
Architectural Design: Under Pressure
This project for two inhabitable spaces starts with a simple geometric gesture that cuts the site in half diagonally in order to generate two inextricably linked volumes. The interplay between the initial geometry of the site and the new geometry triggered by the diagonal is utilized to instill an “affect of repetition”. As a result, a new rhythm between void and plain is created that reinforces the ambiguous definition of interior and exterior spaces.