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: FAT
The collection of work pursues an investigation of the partial control of meaning, positioning of work within history, constructing the critical joke, and the discipline of copying.
The project proposes an unlikely marriage of a banking headquarters, social housing, and luxury condos. These programs exist in a singular form, a mimicked Battersea power station, creating a metaphor of 21st century financial power against 19th and 20th century industrial power.
The façade explores a new version of a classic discipline, translating two-dimensional drawing into three-dimensional architectural surface through tone. Using alphas and a digital stamp, the exterior façade overlays gothic, domestic, industrial and corporate symbols, illustrating the interrelated complexity of real estate and the contest for space, power, and urban life in contemporary London.
A mind map of FAT’s work, in the form of a chess set of art, architecture, and literary influences, reconstructed and remixed FAT into semi-accidental encounters. What if chess characters took the form of Thomas Pynchon, Doge’s Palace, and Jasper Johns and could come together to make something else entirely? How about Piranesi, Soane, Gandy, Giles Gilbert Scott, Portman, and Rudolph?
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.
Simultaneity in Line
Yale Assembly Two Pavilion
This year’s Assembly Pavilion is a mobile pop-up structure appearing in different New Haven neighborhoods and on the green for the International Festival of Arts and Ideas. The pavilion collects storycore-like audio recordings from each neighborhood and plays them back in a series of interconnected domes. Designed, fabricated and built by Yale School of Architecture students, the composite foam and fiberglass structure is extremely lightweight; it can be stacked up in a single truck for delivery and installed on site in under an hour.
Since the Enlightenment, the introduction of new technologies have expanded the capacity of the human
senses: audio-visual devices from the camera obscura to iphones have enhanced the eye and ear while
infrastructures like plumbing and HVAC have catered to the needs of the flesh. This class will consider
the architectural consequences of these technological developments and their impact on our sensory
experience of space. Looking at this subject from a socio-historical perspective, we will consider how a
series of technical milestones transformed architecture and the human sensorium from the Enlightenment
to the Digital Age. After charting these historical developments, we will speculate about the future: how
can architects harness new technologies to craft immersive multisensory environments that engage sight,
hearing and touch?
Massive Infra-Structural Furniture
The House, conceived of as a volume, utilizes the extend of its small cubage with multi-functional floors, walls, stairs, shelves, seats, and cabinets. The proposal reimagines these defined entities as 'cabinet-floor', 'seat-shelf', or 'stair-nook' creating dynamic Loosian volumetric adjacencies which maximize the small space. The sensation of occupation is retrospectively likened to a coral with moments of exposure, flowing movement through three dimensional space, and private sheltering within the poche-like thickness of the furniture. An adaptable shingle skin wraps the volume with variable apertures and bulges to mediate the interior programmatic order with exterior program and environment while several defiant furniture pieces escape to to the porch and yard.