Dubrovnik Gallery of Contemporary Art and Sculpture
Nomination, H.I. Feldman Prize
The city of Dubrovnik, the ‘city of stone and light’, enjoys an urban environment rich in culture, materiality, and intimacy. Her streets contract, and plazas expand. Public spaces are small, large, narrow, short, indoor, and outdoor. There is no shortage of urban variety or places to be. The city breathes.
The Dubrovnik Gallery of Contemporary Art and Sculpture is not a single building, but a neighborhood of buildings. Built upon the existing structure of Dubrovnik’s former arsenal – a building once used to build, repair, and store the city’s four warships – the gallery must respect what is existing – and when, and only when does the gallery understand the language, character, and tectonic of its site, will the city give back to the gallery her diverse inventory of potential exhibition spaces. It will be a quiet set of buildings. It will not beg for attention, but be modest, yet powerful. Above all, the gallery neighborhood must be a worthy contribution to the city - a good neighbor today and in the future.
High Density Urban Order
Nomination, H.I. Feldman Prize
London’s skyline can be thought of as a collage city – where the unique individuality of each tower prevents it from engaging with the urban scale of its surroundings. This divergent urban order is neither unique to London nor a condition that will diminish without careful and direct intervention. This project seeks to address this collage condition by creating a complex that is at once individual and collective as a field of pencil towers blending seamlessly between one another – creating a new and iconic urban order as an archetype for London’s continued growth.
The project is organized into four main components: a high-density tower, a mid-rise neighborhood, a train station that bridges between the two, and a park landscape that mediates between the existing viaduct and the various access points throughout the site. The blending of four distinct architectural typologies addresses a diversity of urban functions, from living, working, recreation, and transportation. Respectful of its greater surroundings, this proposal creates a distinct sense of place in the city of London, a significant contribution to her public realm for pedestrians and city alike.
The Seed Cathedral seeks a language of ornament that is utilitarian – here, ornament is united with structure, thermal enclosure, and building systems – investigating a language of building where architecture and ornament are dependent on one another to exist. The building block of the cathedral is the 'seed', a repeated unit that rises to the pinnacle of the cathedral where it becomes the skylight of the sanctuary. From the ceiling are ornamented skylight openings and light fixtures, all of which retain the seed geometry and are generated from the spiraling nature of clustered floral seeds. The Seed Cathedral seeks to revive the forgotten but highly valuable tool of ornament by making it a necessity to the cathedral's existence itself.
Architectural Speculation in a Black Market
The Liquid Threshold Between Order and Chaos
This seminar explores the design of complex three-dimensional structural systems. Through discussions on existing projects, including some of the instructors’ own, and also modeling and testing new systems to destruction, both physically and digitally (using tools such as Karamba 3D), the seminar intends to foster a deeper intuitive understanding of structures. At what point do you know a structure is at its limit?
Drawing and Architectural Form
School of Architecture for Penn Design
Though light and airy, the tree coverage on this particular site is substantial. Ultimately the tree canopy is composed of individual leaves – small and meaningless when single, but vast and significant when multiplied in numbers. The unit of a tree canopy is a leaf. The unit of a sandcastle is a grain of sand. What is the unit of an architecture school? Aggregation of a simple 5’ x 5’ x 12’ frame provides the UPenn School of Design with a unique appearance from all sides of entry. The building’s boundaries are ambiguous. The large bulk of the 120,000 ft2 program is mitigated with this logic that is consistent inside and outside of the building. The structure, exterior, interior, floor plates, systems, lighting, enclosure – factors that typically have their own expression, dimensions, and color – here, are all unified to speak the same architectural language.
Building Technology: Tiles Hill – Wang Shu
Architectural Design: New Haven Test
The Minimum Dwelling was designed in response to the client’s request for a two unit micro-home prototype with a 500ft2 owner unit and a 300ft2 tenant unit. This requirement was manipulated to accommodate 3 equal units stacked up to 3 stories to better fit into New Haven’s large housing stock. An efficient plan allows for prefabrication and customization, while its slender profile permits this prototype’s constructability on a variety of neglected narrow sites. The additional third unit not only increases the scale of the micro-home, but increases ‘eyes-on-the-street’, neighborhood density, return for the developer, while being mindful to the spatial needs of a growing family.
Selected for development by Team C in part II of the Building Project - here
Architectural Design: Reduction and Recombination
The Minimum Dwelling Code is represented as a collection of standard household appliances required to support a family of 3. Its 212ft2footprint is determined by the minimum amount of space required to operate these appliances – no more, no less. As a statement of our material excess, it exists within the ghosted volume of the 2,492ft2 typical United States household.
Reduction and Recombination
This experiment combines the Minimum Dwelling Code to Corbusier’s Mill Owner’s Association Building exterior staircase. The durability of the Minimum Dwelling Code is tested with the incline of Corbusier’s staircase, carved out of a concrete monolith of the typical United States household to further demonstrate our gluttonous attitude to space and material.
Chiesa di San Lorenzo and Cappella S.S. Sindone, Guarino Guarini
Architectural Design: Dance Machine
The Meatpacking District coexists with two pieces of great New York City infrastructure: The High Line, and The Manhattan Grid. This dance studio presents itself as two buildings to address this infrastructure. A subterranean theater mass connects The Grid of street-life and activity to The High Line, while a rectilinear torus contains dance studio program above. At the heart of the torus is an open void, a stage for public performance, a patio for an evening dinner, a viewing point to witness dancers rehearse. A stage of programmatic cross-pollination.