ANALYSIS

STUDIO

OTHER

PHOTOGRAPHING ARCHITECTURESPRING 2011

D4. NEW SEED CITYSPRING 2011

VILLA DALL’AVAUNIVERSITY OF SOUTH FLORIDA

REPRESENTATION & ANALYSIS IISPRING 2010

SPACE, TECTONICS & SURFACEFALL 2009

DRKLGHTFALL 2009

D5. TALL BUILDINGFALL 2011

T H E C L O U DTEMPORARY ENVIRONMENTS

D6. WATER HOUSESPRING 2012

T H E C L O U DTEMPORARY ENVIRONMENTS

S P R I N G 2 0 1 2INSTRUCTORS: GRANGER MOORHEAD | ROBERT MOORHEAD

SPONSOR: CARNEGIE 2012 INTERNATIONAL CONTEMPORARY FURNITURE FAIR

Throughout h is tor y, fabr ics have p layed an impor t ant suppor t ing ro le in the shaping archi tectural in ter iors , typ ica l ly as uphols ter y for furn i ture or decorat ive wal l cover ings . Increas ingly, text i les are breaking free of wal l s and furn i tureto become dominant space-defin ing e lements - sof t s t ructures . On the f loor of the ICFF, Parsons s tudents created an exper iment al ins t a l lat ion that explored text i les as sof t s t ructures . Sponsored by Carnegie Fabr ics , the ins t a l lat ion wi l l be constructed by Xorel , a Cradle- to-Cradle cer t i fied text i le invented by the company.

The s tudent ’s fina l ins t a l lat ion, an overhead canopy composed of s imple fo lded fabr ic pyramids , i s the cu lminat ion of a semester- long ser ies of fabr ic invest igat ions . Taking advant age of the proper t ies inherent in paper-backed Xorel fabr ic , the s tudents not only des igned the fo lded form of the modular t i les , but a lso the pat tern of the d ig i t a l ly pr inted fabr ic .

This cross-d isc ip l inar y, ef fect ive s tudio inc ludes s tudents f rom graduate and undergraduate programs of the School of Constructed Environments at Parsons and was led by Granger and Rober t Moorhead of Moorhead & Moorhead.

Rubber Band Connect ion on s tructure Structure with Bench base

Module

Students involved:

Behnaz BabazadehDanie l le Bl ickensderferLuke EddinsLee GibsonHoda OmidvaromidhEl izabeth ParkerEmily RichardsonGosia RodekTamara SablerNiyoshi SanghviDevang ShahJunrui WangBi l ly WongLinda Xin

Pattern for c loud

C R E AT I N G A F I E L D : T O D I S A R R A N G EELEMENTS OF SPACE, TECTONICS & SURFACERHINOCEROS 4.0 | 3D NURB MODELING PROGRAMWE HAD TO CHOOSE A WORD FROM RICHARD SERRA’S VOCABULARY LIST TO CREATE A FIELD OF COMPONENTS THAT ARE BASED ON A SYSTEMATIC SET OF RULES.

This pro ject was to get bet ter acquainted with Photoshop, AutoCAD, and Rhino with VRay. Firs t , I took photographs of something in the urban environment that gave a gr idded pattern, an i rregular pat tern and a shal low re l ief pat tern . From there, I extracted informat ion us ing the d i f ferent programs to create a fie ld condi t ion . From the three images , I created a h inge movement that would generate one lof ted shel l component which would be used to create a fie ld condi t ion .

“Fie ld Condi t ions refers to des ign s trategies based on the aggregat ion of smal l , se l f - s imi lar par ts to create local d i f ference whi le maint a in ing overal l coherence; fie ld condi t ions impl ies the des ign of sys tems and assemblages , pay ing c lose at tent ion to intervals and the spaces between th ings .” - St an Al len

GRID PATTERN

SHALLOW RELIEF

IRREGULAR PATTERN

HINGE MOVEMENT TO CREATE COMPONENT

HINGE MOVEMENT TO CREATE COMPONENT

WATER HOUSEDESIGN STUDIO 6

SPRING 2012INSTRUCTOR: MITCHELL OWEN

LOCATION: PALM SPRINGS, CALIFORNIA

SCALE

5’ 10’ 20’ 50’

REM KOOLHAAS | VILLA DALL’AVA FRANK LLOYD WRIGHT | FALLINGWATER JOHN LAUTNER | ARANGO RESIDENCE JOHN ROBERT NILSSON | LAKE HOUSE

CONSTRUCTED ON A WATERFALL

REFLECTING POOL

FIREPLACES

POOL THAT WRAPS AROUND HOUSE GIVING THE HOUSE A SEAMLESS TRANSITION BETWEEN THE HOME AND THE OCEAN IT SITS NEXT TO

REFLECTING POOL

FIREPLACE

CONSTRUCTED ON A LAKE

INFINITY POOL

FIRE PIT

FIREPLACE INDOORS

POOL ON THE ROOF

JOHN LAUTNER | CARLING RESIDENCE

POOL INDOORS

FIREPLACE

EERO SAARINEN

MIT CHAPELMOAT OUTDOORS REFLECTSINSIDE

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5’ 10’ 20’ 50’

REM KOOLHAAS | VILLA DALL’AVA FRANK LLOYD WRIGHT | FALLINGWATER JOHN LAUTNER | ARANGO RESIDENCE JOHN ROBERT NILSSON | LAKE HOUSE

CONSTRUCTED ON A WATERFALL

REFLECTING POOL

FIREPLACES

POOL THAT WRAPS AROUND HOUSE GIVING THE HOUSE A SEAMLESS TRANSITION BETWEEN THE HOME AND THE OCEAN IT SITS NEXT TO

REFLECTING POOL

FIREPLACE

CONSTRUCTED ON A LAKE

INFINITY POOL

FIRE PIT

FIREPLACE INDOORS

POOL ON THE ROOF

JOHN LAUTNER | CARLING RESIDENCE

POOL INDOORS

FIREPLACE

EERO SAARINEN

MIT CHAPELMOAT OUTDOORS REFLECTSINSIDE

“I RECEIVED YOUR LETTER HIGH UP IN THE MOUNTAINS WHERE I AM HAVING A VACATION... IT IS ONE OF THE MOST MARVELOUS PLACES IN AMERICA. I CAMP ON THE SHORE OF THE TENAYA, SLEEP ON A BED OF SPRUCE NEEDLES UNDER A FREE SKY AND BATHE IN THE ICE COLD W A T E R F A L L .”RM SCHINDLER | IN A LETTER TO RICHARD N E U T R A I N 1 9 2 9 F R O M Y O S E M I T E P A R K

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“THE FINDING OF WATER TURNS OUT TO BE INTRINSIC, STORED IN OUR DESIRES THAT PUSH US OUT LOOKING EVEN IN THE MOST HOSTILE OF PLACES.”C R A I G C H I L D S | T H E S E C R E T K N O W L E D G E O F W A T E R

INVESTIGATIONS | WATER AND FIRE ELEMENTS IN THE HOME

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This studio, through direct engagement with architectural precedents and social contexts, investigated the single-family house’s uneasy positioning between persistent sentimentality and heroic vision in order to offer more potent possibilities for its role in contemporary, culturally infused environments. The Water House started by looking at the Schindler | Chase House by R.M. Schindler in Los Angeles, CA. From this provocative study, questions arose from Schindler’s design of sunken gardens and numerous fireplaces and I began to compile a repetoire of images and other residential studies pertaining to water and fire and their role in the home as well as look at the extraodinary lengths we go to in order to have these elements incorporated into our home. From there, I began to become interested in the absence and presence of water so this house was put in the desert, Palm Springs. In Palm Springs, there can be an abundant lack of rain water or a deluge of rain in one day so this house mediates that abd brings in a visual reminder of this natural occurrence with the design of rain water troughs that run through the house. I wanted to focus on the ephemeral water, or water that waits (reflecting pools and swimming pools) and water that moves (the rain running through the house).

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SECOND FLOOR PLAN1/8” = 1’0”

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MAIN FLOOR PLANOVERLAYED WATER FEATURES1/8” = 1’0”

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THIRD FLOOR PLAN1/8” = 1’0”

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ROOF PLAN1/8” = 1’0”

N

“THERE ARE TWO EASY WAYS TO DIE IN THE DESERT: THIRST AND DROWNING.” C R A I G C H I L D S | T H E S E C R E T K N O W L E D G E O F W A T E R

SECOND FLOOR PLAN1/8” = 1’0”

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MAIN FLOOR PLANOVERLAYED WATER FEATURES1/8” = 1’0”

N

THIRD FLOOR PLAN1/8” = 1’0”

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ROOF PLAN1/8” = 1’0”

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“THERE ARE TWO EASY WAYS TO DIE IN THE DESERT: THIRST AND DROWNING.” C R A I G C H I L D S | T H E S E C R E T K N O W L E D G E O F W A T E R

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NEW SEED CITYDESIGN STUDIO 4

SPRING 2011INSTRUCTORS: NATALIE FIZER | MICHAEL MORRIS

W A T E R R E T A I N E R S

STELLARIA HOLOSTEAAKA | CHICKWEED SEEDPHOTO FROM SEEDS, A TIME CAPSULE OF LIFE

The first part of the semester began with an analytical study of a particular seed to analyze as well as study maps of New York City. After thorough research, we had to imagine New York City in the future with possible apocalyptic conditions wherein we had to house seeds. Some examples referenced in the initial research phase were projects such as Kew Gardens, the Svalbard Seed Vault in Norway, or the UK Pavilion for Shanghai World Expo 2010 by Heatherwick Studio.

WIRE MODEL OF SEED AS IT WERE SITTING IN SOILPLAN VIEW

WIRE | PLASTER | STIFFENED FABRIC MODEL OF SEED AS IT WERE PUSHING THROUGH THE TOP LAYER OF SOILELEVATION

TOPOGRAPHY MAP OF THE GREATER NEW YORK CITY AREA

FIGURE | GROUND MAP OF MANHATTAN (PRESENT)

SITE | MADISON SQUARE PARK

7 Miles 13 Miles 20 Miles 30 Miles 40 Miles 60 Miles

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We were asked to consider in the beginning of the project whether we were preservationists or evolutionists. Through inhaling information of the morphology of greater New York City and Manhattan and analyzing the programmatic transformations - my project begins to criticize the current trend of residential housing as well as the density of Manhattan and suggests a step back in densification because of environmental changes that are speculative or rapidly accelerating. My focus was on the sea level rise. Our assignment was to design a seed vault which would house 100,000 visible seeds and additional storage for 200,000 seeds. The assignment also included residential pods and a water retaining system all within Madison Square Park.

7 Miles 13 Miles 20 Miles 30 Miles 40 Miles 60 Miles

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S E C T I O N P E R S P E C T I V E O F U N D E R G R O U N D L I V I N G P O D S

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TALL BUILDINGDESIGN STUDIO 5

FALL 2011INSTRUCTORS: HAROLD FREDENBURGH | KENNETH LEWIS

LOCATION: NEW YORK, NY

In th is s tudio, we were asked to des ign a t a l l bu i ld ing which prov ided space for consol idat ing the of fices and programs of Tr in i ty Church with in the base and lower f loors of the tower, and develop the upper f loors as a ver t ica l res ident ia l ne ighborhood integrat ing res ident ia l , smal l shops , and community uses .

SKETCH OF INITIAL FORM IN PLAN BASED CIRCULATION

MASSING EXPLORATION WITH PROGRAM OVERLAY

Par t icu lar at tent ion in the des ign was g iven to the interplay between bui ld ing and p lace, the potent ia l i ty for bui ld ing form and program, especia l ly at s treet level , to enhance and intens i fy the character and l i fe of the publ ic realm.

RESIDENTIAL

TRINITY CHURCH SCHOOLMUSIC FACILITY

CHURCH OFFICES

SKY PARK | INTERIOR ATRIUM

MIXED USE | COMMERICIAL OFFICESCOMERCIAL RETAIL

ELEVATOR CORE

SKY LOBBY | RESIDENTIAL AMENITIES

RESIDENTIAL

TRINITY CHURCH SCHOOLMUSIC FACILITY

CHURCH OFFICES

SKY PARK | INTERIOR ATRIUM

MIXED USE | COMMERICIAL OFFICESCOMERCIAL RETAIL

ELEVATOR CORE

SKY LOBBY | RESIDENTIAL AMENITIES

SKY PARK ACCESSIBLE TO PUBLIC AND RESIDENTSSKY LOBBY FOR RESIDENTIAL UNITS RESIDENTIAL FLOOR PLAN SHOWING BALCONY

SPACES OUTSIDE THE EXTERIOR ENVELOPE

OFFICE FLOOR PLAN

OFFICE FLOOR PLAN

RESIDENTIAL FLOOR PLAN SHOWING OCCUPIABLE FLOOR SPACE WITHIN THE EXTERIOR ENVELOPE

GROUND FLOOR PLAN

SCALE 1/16 = 1’

The res ident ia l program ent a i led development of new typology for h igh-r i se urban res idences with the intent to break away from the se l f -cont a ined mass ing of bui ld ing form and i so lated by e levator-s top f loor-by- f loor s t acking of apar tment levels with apar tments a l igned a long corr idors and typ ica l ly hav ing out look only in a s ingle d irect ion, and i f prov ided, balconies of l imited area. In developing a new typology the format ive chal lenges are the shaping of the indiv idual res idences and the grouping of the res idences around common open space forming the center of a neighborhood community.

VIEW LOOKING SOUTHVIEW FROM NEW JERSEY

VIEW FROM THE WTC MEMORIAL

V I L L A S T E I N D E M O N Z I EREPRESENTATION & ANALYSIS II

SPRING 2010INSTRUCTORS: PETER LYNCH | JEREMY BARBOUR

LOCATION: GARCHES, FRANCE 1927

GROUND FLOOR FIRST FLOOR

This course ’s main focus was on analyz ing an archi tect , a bui l t work of theirs and develop a hypothes is on what we though the dr iv ing force was behind the des ign. Le Corbus ier was outspoken with h is ideals on what archi tecture should convey. The Vi l la Ste in i s ev idence of h is Five Points of Archi tecture. He incorporated freest anding suppor t p i lot i , open f loor p lan, ver t ica l facade, long hor izont a l s l id ing windows and roof gardens .

SECOND FLOOR

Through research, I found the or ig inal in tent Le Corbus ier had for th is s t ructure through h is notes and sketches which i s modeled below in whi te and what was actual ly bui l t in accordance with the c l ients wishes which i s the ch ipboard model on the lef t .

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PHOTO BY OMA

V I L L A D A L L ’ A V AINTRO TO DESIGN STUDIES

FALL 2008ARCHITECT: REM KOOLHAAS

BUILT IN: 1991SITE: PARIS, FRANCE

The v i l la i s s i tuated on a h i l l whcih s lopes s teeply towards the Siene, the Bois de Boulogne, and the c i ty of Par is , in the res ident ia l area of St . Cloud with an axia l v iew of the Ei f fe l Tower from the rooftop. My ass ignment was to s tudy an archi tect , se lect a pro ject f rom works that have been completed, and reconstruct i t by analyz ing the formal concepts executed, s tudy ing d iagrams, f loor p lans , and whatever was avai lable to accompl ish th is ass ignment .

MAIN FLOOR PLAN UPPER FLOOR PLAN

ROOF PLAN

INTRO TO GRAPHIC DESIGN FALL 2010

I N S T R U C T O R : J U L I A G O R T O N

THE ULTIMATE DARKLIGHT CONSUMER I S A N E X P R E S S I V E , C E R E B R A L SOPHISTICATE WITH A CHEEKY SENSE O F S T Y L E W H O A P P R E C I AT E S C R A F T, I N D I V I D U A L I T Y , A N D Q U A L I T Y .

This pro ject was an introduct ion to creat ing a brand. The c lass created random word combinat ions which each of us p icked from, however we could not p ick our own combinat ion. From there, we had to create a company. We had to des ign the logo, packaging, and most impor t ant ly the ident i ty of the company through explorat ions in graphic des ign. The word combinat ion I chose was DarkLight which I imagined as a sunglass company.

DAR K

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dark.i ght DAR K

LIGH T

BEGINNING SKETCH PROCESS

FINAL LOGO

PHOTOGRAPHING ARCHITECTURESPRING 2010

INSTRUCTOR: RICHARD SCHULMAN

IN THE MANNER OF A 19TH CENTURY PHOTOGRAPHER

The person I chose to t r y and shoot photographs in the manner of i s Henr y Peach Robinson. He was a not able 19th centur y photographer who used an i l lus trat ive s ty le f rom paint ing, find ing the s implest th ing to be a wor thy subject for ar t i s t ic represent at ion. Typica l ly when I shoot photos , i t i s a product by one of two methods . I t i s e i ther a snap and shoot , hoping to capture with my camera what I see with my eye which more t imes than not , never does the real l i fe exper ience just ice. Or, the second method would be to arduous ly set up my camera and fidd le with a l l the set t ings unt i l I hope to receive, again , what I see with my eye, which again gets the same resul ts as the fi rs t method. I do not find H.P. Robinson’s subject matter fore ign as I l ike to t r y and do the same. The end resul ts are much more my concentrat ion. The ass ignment concerned me as I thought the cabs and hot dog vendors would ru in the integr i ty of th is ass ignment but I be l ieve th is par t icu lar photographer would l ike the ever y day mundance exper iences to be caught in a photograph.