Advanced Design Studio: Diaz-Alonso
Nomination, H.I. Feldman Prize
This project proposes a Hanging Garden Park to replace the Secession Museum in Vienna, Austria. The scheme is composed of a continuous path of platforms and stairways, which connect a series of small internal and external galleries. In the tradition of the raumplan, the Garden becomes a dynamic three-dimensional space. The original ornamental dome from the Secession Building is reinterpreted as interior space, while the exterior architectural components call into question conventional notions of structure, form and ornament.
The main entrance to the structure is located at street level and leads into the largest of the four golden spheres. Each of the spheres is completely enclosed and can be used as gallery space to showcase visiting artists’ work and permanent exhibitions. Starting at the entry, two paths of circulation weave through the structure, moving visitors between the enclosed galleries and large exterior garden platforms for sculpture. The scheme uses three basic types of components, which are repeated in variation throughout the project. They are: golden spheres, concrete stairs and platforms, and a glass structural system. The glass columns pierce into the ground and become a series of light wells, which serve to illuminate the Beethoven Frieze by Gustav Klimt in a basement gallery.
The project was represented and explained exclusively through animation. This method of representation allows opportunities to convey the complexity of the three-dimensional hanging garden. Multiple series of ‘MRI’-type section cuts that move through the scheme vertically and horizontally in the animation explain the sectional and plan qualities of the building and convey how the individual pieces fit together and pierce into the ground. The final animation drifts between gentle trips of insanity, rendered in Alice-in-Wonderland colors mixed with a Viennese psychosis.
Advanced Design Studio: Eisenman
This project constructs an antinomic and iconic sacred space by using a scheme of enclosure, drawn from the church cloister typology. By juxtaposing two normative typologies, the cloister against New Haven’s urban fabric of object buildings, our scheme achieves a typological resonance of difference.
Through the investigation of context, typology and iconicity, the project questions the typology of religious spaces in contemporary setting in the city of New Haven.
Currently, existing railway tracks form a depression on the ground, physically disconnecting two adjacent urban fabric- the New Haven nine squares and Wooster Square grid. Using the church cloister typology, the scheme bridges this gap by enclosing the site’s immediate urban block, restructuring the otherwise isolated State Street train station into an urban connector for the two neighbourhoods.
While enclosure typologies typically disconnect external forces to create a stable interior, the bridging courtyard frames and forces the aggressive movement of the trains travelling through New Haven to become part of the event of the cloister. This dramatic gesture results in a cloister without a ground and amplifies an external force internally. The result challenges the autonomy of the church cloister by creating a dynamic interior where the religious spaces are sandwiched between two datums of the profane - between the streets and the train station platforms - such that both their paths weave yet never physically accessible to the other.
In a city dominated by object-buildings, the cloister typology appears out of context - its visual and spatial displacement allows the church to gain iconicity through typological resonance of difference. As a result of the cloister eroding the existing fabric, a small, private chapel sits independently in the cloister, at the point of conflict between the paths of the religious and the profane. This is the only place in the scheme where both groups interact, and is the only figural object in the courtyard. Its height gives it an eminent presence from all parts of the cloister interior as well as from the exterior along Chapel St.
The Longer Wharf proposes a linear residential, commercial, and recreational development along the Boston harbor front. The narrative of a ‘linear village’ harkens back to Boston’s Historical Long Wharf, which was an active commercial and residential hub in the city for over two centuries, but was shortened almost to the point of nonexistence by land infill. In turn, our proposal for a new Longer Wharf links the existing cruise ship terminal to the Boston Convention Center, while extending the conceptual logic of the historical long wharf into the contemporary city. The Longer Wharf, therefore, becomes a new armature for development in Boston by extending the harbor into the city, and ultimately reconnects the city to one of its greatest amenities: the water.
This project proposes a headquarters for CASIS that explores the notion of scale, scalelessness, and the relationship of solid to void. The solid object within the project houses mainly ‘private’ program such as auditorium space, conference rooms, and offices; and exhibition space occurs in the area of void around the solid. Experientially, the object becomes an infinite surface against which space objects are displayed, and visitors circle up and around the object to experience this from multiple vantage points.