Chris_Brown_Portfolio
105
KEY PRESENTATION DESIGN MEDIUM / TOOL PROJECT PAINTING COMPOSITION EXERCISE SACRED SPACE PAYNE/ GOODKIND RESIDENCE MAC SALON AUSTRADE EMBASSY OFFICE SLIMP BASEMENT DRAKE RESIDENCE NOONETIME NATURALS OFFICE JADE RESIDENCE KIT OF PARTS URBAN INFILL: DAMON STUDIO/ RESIDENCE KINDERGARTEN ARCHITECTURE FRANCISCAN MONASTERY RETREAT URBAN HOUSING AIAS/ VINYL COMPETITION: WATER ST. TRANSIT HUB CASA MALAPARTE WORKSHOP ROME GUIDEBOOK PUBLIC SPACE ANALYSIS PIAZZA GROUP PROJECT FRANCISCAN MONASTERY HERMITAGE ATLANTIC CITY BOARDWALK HOLUCAUST MEMORIAL COMPETITION ADD+F: ARTIFICIAL TOPOGRAPHY DEN [C] ITY: VARIABLE TOPOGRAPHIES MUSIC & ARCHITECTURE COMPREHENSIVE BUILDING DESIGN STUDIO AIAS CORRU- GATED CARD- BOARD CHAIR AFFAIR enVISIONing ANNAPOLIS CHARETTE FOUND OBJECT: KIT-OF-PARTS FOLLY EXHIBITION PAVILLION CELL PHONE ANALYSIS DRAWING ENTRY, PATH, ARRIVAL NEW ORLEANS MURAL WORK: E/L STUDIO TEACHING ASSISTANT: BIM & INFORMATION MODELING CONFERENCE: SMART GEOMETRY 2010 DESIGNDC 2011 UD:DC COLLAGE CITY TEACHING ASSITANT: RACE & ARCHI- TECTURE LECTURE SERIES THESIS SUPERJURY: GRADUATE CATASTROPHIC INTENT FIRST-RUNNER UP SENIOR COMPETI- TION STUDIO ‘08 FIRST RUNNER UP NATIONAL AIAS CHAIR AFFAIR ‘09 FOREIGN STUDIES RESEARCH GRANT GRADUATE FOREIGN STUDIES COMPETITION SCHOLARSHIP MERIT AWARD INNOVATION NATIONAL AIAS/ VINYL INSTITUTE COMPETITION ‘07 UNC WINS NCAA NATIONAL CHAMPIONSHIP
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Transcript of Chris_Brown_Portfolio
KEY
PRESENTATIONDESIGN
MEDIUM/ TOOL
PROJECT
PAINTING COMPOSITION EXERCISE
SACRED SPACE
PAYNE/ GOODKINDRESIDENCE
MACSALON
AUSTRADE EMBASSY OFFICE
SLIMP BASEMENT
DRAKE RESIDENCE
NOONETIME NATURALS OFFICE
JADE RESIDENCE
KIT OF PARTS
URBAN INFILL:DAMON STUDIO/ RESIDENCE
KINDERGARTEN ARCHITECTURE
FRANCISCAN MONASTERY RETREAT
URBAN HOUSING
AIAS/ VINYL COMPETITION:WATER ST. TRANSIT HUB
CASA MALAPARTE WORKSHOP
ROME GUIDEBOOK
PUBLIC SPACE ANALYSIS
PIAZZA GROUP PROJECT
FRANCISCAN MONASTERY HERMITAGE
ATLANTIC CITY BOARDWALK HOLUCAUST MEMORIAL COMPETITION
ADD+F:ARTIFICIAL TOPOGRAPHY
DEN [C] ITY:VARIABLE TOPOGRAPHIES
MUSIC & ARCHITECTURE
COMPREHENSIVE BUILDING DESIGN STUDIO
AIAS CORRU-GATED CARD-BOARD CHAIR AFFAIR
enVISIONing ANNAPOLISCHARETTE
FOUND OBJECT:KIT-OF-PARTS FOLLY
EXHIBITION PAVILLION
CELL PHONEANALYSIS DRAWING
ENTRY, PATH, ARRIVAL
NEW ORLEANS MURAL
WORK: E/L STUDIO
TEACHING ASSISTANT: BIM & INFORMATION MODELING
CONFERENCE: SMARTGEOMETRY 2010
DESIGNDC 2011 UD:DC COLLAGE CITY
TEACHING ASSITANT: RACE & ARCHI-TECTURE LECTURE SERIES
THESIS SUPERJURY:GRADUATE
CATASTROPHICINTENT
FIRST-RUNNER UP SENIOR COMPETI-TION STUDIO ‘08
FIRST RUNNER UP NATIONAL AIAS CHAIR AFFAIR ‘09
FOREIGN STUDIES RESEARCH GRANT
GRADUATE FOREIGN STUDIES COMPETITION SCHOLARSHIP
MERIT AWARD INNOVATION NATIONAL AIAS/ VINYL INSTITUTE COMPETITION ‘07
UNC WINS NCAA NATIONAL CHAMPIONSHIP
ARCHITECT
URE
CatastrophicCatastrophic
STATI D’ANIMO BY UMBERTO BOCCIONISTATES OF MIND - ‘THE FAREWELLS III’ - 1917
I n t e n t :
actualizing a formof human knowledge
Graduate ThesisThesis Advocate: Andrew CockeThesis Comittee: Lou Boza, Ann Cederna, Elizabeth Emerson, Matthew Geiss, and Mark LawrenceSemsester / Year: Fall ‘11Course Description: The thesis program at CUA consists of a research semester and design semester where the student is asked to formulate an project which builds upon some of the theoretical themes considered during the research phase. The program is meant to facilitate a continous design & research engagement whilst allowing the student to investigate his or her own interests to the fullest extent possible.
Since the proliferation of digital technologies into the architectural profession the relationship between data and form
has come under a heightened awareness in design circles. Whether it be parametricism, optimization or performatism, sus-
tainability and CAD/ CAM technologies, data is playing a more prevalent role in the production of form. Given the propensity
for data to rapidly undergo change, who is directing the design of these forms, architect, computer, or consumer? No single
institution is more aware of the rapid production of data and its continuous modulations, shifts in intensity and focus then
our nation’s knowledge warehouse facility, the Library of Congress. The LOC is where we give form to, codify, and access an
enormous, almost incomprehensible repository of data.
This thesis will argue that given the Library of Congress’ recent expeditions into the virtual world (archiving Twitter,
Wikipedia, eBooks, and the general digitization of the modern library), a fundamental shift has occurred in the classical model
of learning which necessitates a re-interpretation of the modern Library, and the classical model of knowledge acquisition
upon which it is based. The singular shift from a linear/ hierarchical model (classical) to the collective exchange model of
knowledge acquisition has specific formal consequences and constitutes an advanced form of Thomas Jeff erson‘s founding
democratic ideology, the notion that freedom of information is an essential component of democracy.
The intent of this project is to superimpose a dynamic & robust alternative presentation of knowledge by using the
data which the Library collects on a regular basis in working operation with a set of material behaviors (material agencies)
in order to both acknowledge the presence of (giving form & classifi cation to) and advance burgeoning intellectual pursuits
(open access to) which have yet to be concretized in form by our National Library.
MODES OF ‘EXCHANGE’ TECHNOLOGIES
PREDOMINANT METHOD OF RECORD [KNOWLEDGE]
SYMBOLIC NOTATION
ARTISINALSPOKEN WORD WRITTEN
RECORDPRINTING PRESS COPY
MACHINEINTERNET
& TELECOMMUNICATIONS
GROUND
DESK
GALLERY
DRUMLINE
COLLAR
CUPOLA
APEX
A1
C1
C2
C3 C4
D8 D7
D3 D4
D1
G1-A
G1-B
G2-A
G2-B
G3-A
G3-B G4-A
G4-B
G5-A
G5-B
G6-A
G6-B
G7-A
G7-BG8-A
G8-B
GR-1
D6
D5D2
C5
C6
C7
C8C9
C10C11
C12
CU-1
THE FORMAL (RE)PRESENTATION OF HUMAN KNOWLEDGE:A MONUMENT TO INTELLECTUAL PROGRESS & HUMAN ASPIRATION; LOC, JEFFERSON BUILDINGin SYMBOLS, STATUES, ICONOGRAPHY, MURALS, INSCRIPTIONS, PERSONIFICATIONS & ALLEGORIES
326111
500,0006,000
5.363
14.7
838147
1,620,000
MILLION CATALOUGED BOOKSMILLION MANUSCRIPTSMILLION GOVERNMENT PUBLICATIONSMILLION WORLD NEWSPAPERSMICROFILM REELSCOMIC BOOKS & FILMSMILLION MAPSMILLION WORKS OF SHEET MUSICMILLION SOUND RECORDINGSMILLION PRINT & PHOTOGRAPHIC IMAGES
MILES OF BOOKSHELVES
MILLION ITEMS
TWEETS DURING THIS REVIEW
THE COLLECTION IN NUMBERS:
“Information and knowledge about all subjects are
essential in a properly functioning democracy . . . for
legislators and citizens alike.”
Thomas Jeff erson
THE FORMAL (RE)PRESENTATION OF ALL HUMAN KNOWLEDGEA MONUMENT TO INTELLECTUAL PROGRESS & HUMAN ASPIRATION in
SYMBOLS, STATUES, ICONOGRAPHY, MURALS, INSCRIPTIONS,
PAINTINGS, PERSONIFICATIONS & ALLEGORIES
G
R
I
B
C
A
GEN
ERA
TOR
LIBR
AR
IAN
SEN
ATO
RR
ESEA
RCH
ERPR
OFF
ESO
RC
ASU
AL
VIS
ITO
R
REA
DER
INT
ELLE
CT
UA
LBU
ILD
ERC
ON
SULT
AN
TA
NA
LYST
GI
GI
GRIBCA
GRIBCA
GRIBCA
CAGRIBCA
C
C
RBA
RBA
GRBA
CLASSICAL MODEL
HIERARCHICAL / INDIVIDUAL
DIGITIZATION MODELCENTRALIZED /ARCHIVAL ACCESSIBILITY
OPEN-SOURCE MODELCOLLECTIVE EXCHANGE
CORE FUNCTIONALITY OF LIBRARY 2.0 MODEL: STORAGE RETRIVAL ANALYTICAL BROADCAST RESEARCH EXCHANGE
R
RR
20101990
19701950S
UB
What are the formal implications of this shift in the predominant
model of knowledge aquisition?
‘SINGULAR’ TO THE ‘COLLECTIVE’KNOWLEDGE AQUISITION MODELS
CA
ST O
F C
HA
RE
CT
ER
S
SCA
LE
EP
IST
EM
ILO
GIC
AL
CLA
SSIF
ICA
TIO
N
KN
OW
LED
GE
CLA
SSIF
ICA
TIO
N
‘EX
CH
AN
GE
’ TE
CH
NO
LOG
IES
PRODUCERS OF KNOWLEDGE
CONSUMERS OF KNOWLEDGE
CONTAINERS OF KNOWLEDGE
RENE THOM’S CATASTROPHE THEORYA CONTINOUS TRANSFORMATIONAL PROCESS &
MATHEMATICAL NOTION OF A ‘SINGULARITY’
MATERIAL AGENCYA HYBRID FIXED / FREE
4R BENNETT LINKAGE
SCIENCE RELIGION
COMMERCE
HISTORY
ARTPHILOSOPHY
FRANCISBACON
CHANCELLORKENT
EDWARDGIBBON
HERODOTUS
SOLON
MOSES
ST. PAUL
MICHAELANGELO
HOMER
LUDWIG VANBETHOVEN
WILLIAMSHAKESPERE
JOSEPHHENRY
SIR ISAACNEWTON
ROBERTFULTON
CHRISTOPHERCOLUMBUS
PLATO
POETRY
LAW
Syne
sthe
sia
Art
Nou
veu
Synergentics
Epigenetics
Nueroaesthetics
Nan
otec
hnol
ogy
Samkhya
Celebrity Gossip
Virtual Cartography
Materialism
Deconstructivism
Political Science
Simulation
Computational Biology
Tox
icol
ogy
Alg
orith
mic
Arc
hite
ctur
e
GeodesicsString Theory
Stru
ctur
atio
nBiopoliticsAnthroposophy
Anthroposophy
Genetic Engineering
Biomimetics
Bleb Concept
Topology
Med
ical
Rob
otic
s
Network Psychology
Chr
onop
hoto
grap
hyFu
rtur
ist
Furt
urist
Cub
ist
Catastrophe Theory
Dig
ital C
arto
grap
hy
Mic
hael
Jack
son
Gre
en A
rchi
tect
ure
Dig
ital M
edia
Art
Film
ogra
phy
Diss
ipat
ive
Stru
ctur
esD
ague
rrot
ype
Proc
ess
Palim
pses
t
Car
bon
Foot
prin
tT
he K
arda
shia
ns
Mat
eria
l Ene
rgy
Mar
ketin
g
Parametric Architectures
Socio-EconomicalSocio-Political
Euclidean Geometry
Epige
netic
Lan
dsca
pes
Sust
ainab
ility
Ope
n-So
urce
The
App
le R
evol
utio
n
Theosophy
Morphogenises
Emer
gent
Eco
logi
es
Affect Theory
Crowd Theory
Mat
eria
l Sci
ence
Neo
clas
sical
Com
puta
tiona
l Lite
ratu
re
Phen
omen
olog
y
Dissapative Structures Structuralism
Met
aphy
sics
Prot
ogeo
met
ry
Scientology
Map
ping
Hyl
omor
phism
Soci
al M
edia
Clim
atol
ogy
Scie
nce
Vort
icism
Mod
erni
sm
Kin
emat
ics
Science Fiction
Dig
ital L
aw
Impressionism
Literary Theory
Media StudiesStudent Loans
Futurism
Digital Architecture
Biom
edic
al E
ngin
eerin
g
Space-Time
1
2
3
1
1
1
2
2
2 3
3
3
DATA & FORMADDRESSING KNOWLEDGE SECTS ON THE CUSP
OF ACHIEVING FORMAL RECOGNITION
THE KNOWLEDGE STREAM
MAPPING VECTORS
TO THE MATERIAL
SYSTEM
INDEXED TO EXISTING ALLEGORICAL
FEMALE SCULPTURES - THE
METAPHORICAL CANON SUBJECTS OF
KNOWLEDGE
REF
EREN
CE
KEY
:
STROBOSCOPIC RENDERINGA DATA-RESPONSIVE MATERIAL CONSTRUCT
HOW IT WORKS?THE CATASTROPHE THEORY
SCRIPTED GEOMETRY
FORM POPULATIONSAGGREGATE EFFECTS (AGORA) + UNIT CONFIGURATIONS (PNYX)
THE LIBRARY OF CONGRESSJEFFERSON BUILDING - MAIN READING ROOM
THE PINNACLE OF THE ‘DATA’ PROBLEM
THE AGORATHE PUBLIC SQUARE OR EXCHANGE FLOOR,
AN UN-FOCUSED COMMENTARY/ OVERVIEW
OBSERVATION DECKADDITIONAL FUNCTIONALITY OF
THE MODERN LIBRARY
LANDING DECKNO DISRUPTION TO EXISTING CORE
FUNCTIONALITY OF LIBRARY
STAIR TOWERVISITOR - RESEARCHER
VISUAL FEEDBACK
THE STOA - BROWSING HALLWAYRESEARCHER INTERACTION WITH THE ‘AGORA,’
A RECESSED OVERVIEW
GANGPLANCKROBUST MULTI-ACCESS RETRACTABLE
SYSTEM TO ACCESS ‘PNYX’ SPACES
THE PNYXEMERGENT SPATIAL OCCUPATIONS FOR
FOCUSED DISCUSSION OF GROWING SUBJECTS
ROD-END (REVOLUTE JOINT)
PIN FLOOR ACTUATORS @
LINKAGE FRAME NODES
REVERSE THREADED LINEAR
ACTUATOR
INTEGRATED ROD-END
HINGE @ FLOOR FRAMING
UNIVERSAL JOINT @ FLOOR TO
LINKAGE FRAME CONNECTION
RECESSED PULLEY TRACK
CABLE PULLEY WHEEL
& MTL BALL BEARINGS
3-BAR CRANK & ROCKER ARM
ASTM GRADE STEEL FRAMING @
RIGID FRAME TYP.
AC-GRADE HOLLOW ALUMINUM
ROD FRAMING TYP.
THE TOWERALTERNATIVE PRESENTATION
OF KNOWLEDGE
G r e a t F a l l sG r e a t F a l l s
V i s i t o r s
C h a p e l
Sacred SpaceCritic: John NahraSemsester.Year: Fall.06Project Description: Using a site at Maryland’s Great Falls Park, a historic rock terrace forest, we were asked to design a non-denomonational chapel under one thousand sqaure feet for hikers and visitors on the many trails of Great Falls Park.
In studying Mircia Eliade’s theoretical writing between the sacred and the profane I learned charecteristics which
distinguish what is sacred from what is profane. By assuming everything sacred moves toward the center of the cosmos
I searched for inspiration in the landscape of the rock terraces. The site eventually selected contains rock formations that
seemingly move towards a single point in the universe and also incorporated three levels of sacredness; the water, beach, and
cliff. Using a metaphor of moving from hell [water] to purgatory [beach] up fi nally into heaven [cliff] the intervention was
situated atop the highest point of the site and envisioned as a found object in the landscape. The concrete walls move towards
heaven and provide an enclosure for places of worship, refl ection, and rest. Sunlight shines through the sliver opening at the
altar and provides natural lighting to the congregation.
PROCESS MODELSCENTRALITY & THE COSMOS
ENTRY & ARRIVAL SEQUENCEASCENDING THE ROCKY OUT-CROP UPON
DISCOVERY OF THE FOUND OBJECT
CHAPEL ENTRYOUTDOOR HARDSCAPED REST AREA
W a t h aW a t h a
T . D a n i e l
S H A Wp l
(public.library)
Eternal Sunshine of the Spotless CityCritic: Elizabeth EmersonSemsester.Year: Fall ‘08Project Description: Senior competition studio
The project, entitled ‘Eternal Sunshine of the Spotless City,’ investigates change and turnover in the city of Washington,
DC as it relates to political cycles specifi cally Presidential elections. Citywide population shifts occur on a rapid 4-8 year basis
with the changing administration staking claim to the city. In the wake of recent events, the neighborhood of Shaw is coming
into focus for its signifi cance as an african american historical culture. The neighborhood, in conjuction with Harlem, NY and
Jackson, MS can be seen as a cultural icon paving the way for fi gures like potentially the fi rst african american president in our
country’s history, Barack Obama.
This project explores funneling as a physical quality of memory to generate architecture which projects towards
future growth of a neighborhood and culture. Physical qualiti es of memory were derived from Michael Gondry’s fi lm,
“Eternal Sunshine of the Spotless Mind,” and transformed into an architectural concept. Within the fi lm, Montauk is used
as a symbol of the relationship between the two charecters. Montauk is a site which the two charecters are drawn towards
despite their memory erasure. Within Shaw, the site of 14th and U St serves as the same natural funnel; it is a gathering place
for major events in ti me. It serves as a place where local events can have nati onal consequence and pertains specifi cally to
this moment in time when our fi rst African American president is now our encumbent president elect.
“what happens to the blameless vestal’s lot?the world forgetti ng, by the world forgot;
eternal sunshine of the spotless mind,each prayer accepted, each wish resigned.”
-Alexander Pope
“This is not historic indulgence in a limited sense; not a questi on of travelling back, but merely of being aware of what ‘exists’ in the present- what has travelled into it: the projecti on of the past into the future via the created present”
-Aldo van Eyck
A N A LY
S I S
F o r e i g nF o r e i g n
S t u d i e s
I t a l y
2009 Graduate/ Summer Foreign StudiesTeam: Chris Brown + Lindsey DehenzelFaculty Advisor: Chris Grech, Dave Shove-Brown,Odile Decq, Mark Lawrence, and Michael AbramsSemsester.Year: Summer ‘09Descripti on: A marathon backpacking trip through Malta then up the Italian peninsula with highlight stops at Casa Malaparte and Rome for condensed studio projects.
Each summer, the School of Architecture and Planning conducts the Patrick Cardinal O’Boyle Foreign Studies Program
in Europe. The program is open to students who have completed the third year studio sequence. Typically, the students spend
three weeks in Italy; then, after one week for free travel, reconvene for two weeks or more in one or more other locations. In
the past, these have been Spain, Germany, Austria, France, England, Greece, Turkey, and/or Scandinavia. In 2009 the students
will be travelling to Malta off the southern tip of Italy.
The program encompasses 11 weeks from May to August. The students earn 15 credits (6 of studio, 9 of program
elective) toward their degrees. The program is limited to 15 students who are selected on the basis of their overall academic
records or by placing in a special competition held in the Arch 401 Design Studio each fall.
MAY - 15 [09]
JUNE - 1 [09]
AUG - 15 [09]
[64 A.D.]
[220 A.D.]
[392 A.D.]
[1099 A.D.]
[1224 A.D.]
[1354 A.D.]
[1386 A.D.]
[1404 A.D.]
[1500 A.D.]
[1562 A.D.]
[1577 A.D.]
[1682 A.D.]
[1709 A.D.]
[1762 A.D.]
[1798 A.D.]
[1805 A.D.]
[1858 A.D.]
[1869 A.D.]
[1937 A.D.]
[1923 A.D.]
[1954 A.D.]
[1961 A.D.]
[1965 A.D.]
[1973 A.D.]
[2009 A.D.]
[1522 A.D.]
JUNE - 15 [09]
JULY - 1 [09]
JULY - 15 [09]
AUG - 1 [09]
TOPOLOGICAL GARDENS NETWORK MAPPINGVENICE BIENNALE 2009
MEDIUM - INK & BROCHURE PAPER COLLAGE
STRATIFICATIONS OF THE BIENNALEVENICE BIENNALE 2009
MEDIUM - GRAPHITE, BROCHURE PAPER, AND WATERCOLOR COLLAGE
Basilica di San Clemente-Cardinal Anastasius-St. Jerome-Titus Flavius Clemens-Joseph Mullooly-Carlo Fontana
Museo di Castelvecchio-Cangrande II della Scala-Napolean Bonaparte-Fernando Forlati-Antonio Avena-Carlo Scarpa
Palazzo Grassi-Franceso Lo Savio-Tadao Ando-Giorgio Massari
Fortifi cations of Malta-Jean de la Valette-Claude-Henri Belgrand de Vaubois-Napolean Bonaparte
Fondazione Querini Stampalia-Conte Giovanni-Jacopo de Barbari-Vicenzo Maria Coronelli-Carlo Scarpa
Villa Malaparte-Adalberto Libera-Curzio Malaparte
Fondazione Querini Stampalia-Conte Giovanni-Jacopo de Barbari-Vicenzo Maria Coronelli-Carlo Scarpa-Mona Hatoum
Duomo di Milano-Antonio da Saluzzo-Nicholas de Bonaventure-Lucas Sforza-Charles & Franceso Borromeo-Napolean Bonaparte
PIAZZA SANTO SPIRITO ANALYSIS PROJECTFLORENCE, ITALY 2009 w/ LINDSEY DEHENZEL
MEDIUM - GRAPHITE & COLORED PENCIL DRAWING
MAY - 15 [09]
JUNE - 1 [09]
AUG - 15 [09]
[64 A.D.]
[220 A.D.]
[392 A.D.]
[1099 A.D.]
[1224 A.D.]
[1354 A.D.]
[1386 A.D.]
[1404 A.D.]
[1500 A.D.]
[1562 A.D.]
[1577 A.D.]
[1682 A.D.]
[1709 A.D.]
[1762 A.D.]
[1798 A.D.]
[1805 A.D.]
[1858 A.D.]
[1869 A.D.]
[1937 A.D.]
[1923 A.D.]
[1954 A.D.]
[1961 A.D.]
[1965 A.D.]
[1973 A.D.]
[2009 A.D.]
[1522 A.D.]
JUNE - 15 [09]
JULY - 1 [09]
JULY - 15 [09]
AUG - 1 [09]
me t r o p o l i s
c a p i t a l /Capital/ MetropolisProfessors: Elizabeth Emerson and Mark LawrenceSemsester / Year: Spring ‘10Course Description:
Project Descriptions... Projectctctctctttttttttttttttttcttttttttcttttttttttcttcttctttttt DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDeseseeseeseeseseseseseseseesseseeseesssseeeeeee crccrcrcrcrcrcrrccrccrrrrccrcccrrrrripipppippppppipppipppppipippppppppppppppppppppptittttitittttittttittttttttttttttttttttttitttttiononoononononooononnononooonononoonnoooooonononssss.ssssssssssssss ..
An excerpt from, ‘Street Boundaries: The Curb as an Artifact of War’ by Chris Brown:
The curb is typically thought of, if it comes up in daily thought at all, as a non-political system yet it sits at the intersection of two of the
most politically charged elements of an urban infrastructure, the pedestrian streetscape and road. It is a boundary condition by its very defi nition,
demarcating the space between automotive activity and the pedestrian environment. The stated function of the curb is simple, pedestrian protection
and drainage. This sounds as simple as the stated function of the government, ‘to protect and serve,’ which we know yields slightly more complex
behavior. This investigation will focus on the boundary condition as a means of revealing constructed aspects on both ends which reveal further
complex emergent social, economic, and political phenomena. The curb is an artifact of ideology and a device of coercion for enforcing the motives
of the state.
Washington, DC’s primary role as the nation’s capital realizes interesting physical compositions in the city’s street boundary condition. In
the federal city, the curb functions as a mechanism of ‘civil’ war through its functioning as a protection device against the pedestrian public. The
juxtaposition between local citizenry and federal governance necessitates perimeter security for federal buildings in the minds of city planners. Direct
measures are put into place by urban planners which provide a stratifi ed system of defense against public attack; the curb is the fi rst line in that defense
system. Some security systems are more apparent than within the federally controlled city as revealed through elements such as bollards, fences, and
walls while others are often perceived as ‘public’ uses but primarily function as defense mechanisms. Benches, fountains, bus shelters, planters, trees,
bike racks, trash receptacles, and lights are all part of the governments protection system for federal buildings. The curb reveals this defense system
through its special integrated molding technique which includes both curb and apron in a singular mold to reinforce its strength in functioning as a
defense device. This curb includes a characteristically sharp corner edge which begins to reveal its role in preventing against vehicular attack.
The falsifi ed planning schemes beginning with the street curb in the federal district function as an escarpment. Escarpment, which is mentioned
in the CPC’s publication on “The Comprehensive Plan for the National Capital: District of Columbia,” is a term which has strong connotations in
fortifi ed military fortresses of the 12th through 16th centuries. It refers to the steep slope at the front edge of a fortifi cation. The term is mentioned
in the CPC’s publication in reference to DC’s topography and emphasis of the ‘Topographic Bowl’ comprising of the city’s former swampland which
now serves as its ruling core but can be extended to include additional defense planning embedded within the city’s infrastructure. The curb functions
equally as an escarpment, at the super local scale, within the District’s federal core by staging a battle between the general public and the ruling class;
it is a mechanism protection against civil upheaval.
Outside of the city’s federal core lies the second function of the city as a place for living and raising a family. However innocent this may
appear it is documented within district codes that local street identity is formulated in response to national planning standards and national identity.
The curb within these historic districts serves as a device for enforcing historicity. Local streets in Washington, DC’s historic neighborhoods are graced
with a plethora of amenities such as solid granite curbs, and brick aprons. These characteristics reveal the nature of these neighborhoods as stakes
for cultural tourism which possess intimate tree-lined streets and extensions of L’Enfant’s characteristic radial avenues. These amenities appear to be
welcomed additions to the historic streetscape but are contributing factors to high housing prices in the neighborhoods by forcing an environment of
strict historical conformity.
In addition to its role in contributing to urban renewal the curb also promotes the imageography of the city through subtle enforcement of
the city’s public green spaces in city squares and parks. The curb exists on both sides of the sidewalk demarcating the boundary between sidewalk
and street, and sidewalk and green space. Interestingly enough the height of the curb between sidewalk and green space is nearly double the height
between sidewalk and street in many locations. This would seem to function in opposition to its function as a device for pedestrian protection, shifting
to a device for image protection for the history of the nation’s capital.
The rules and codes underlying the logic of curb construction in Washington, DC function to destabilize the public environment while
creating an atmosphere of protection for the federal government. The curb reveals the logic underlying the form of the city whether manifest or not.
APRON
CURB PLANNING MATRIX
EASEMENT EDGE
ROUNDEDLOWERED
EXTENDED
SOFT EDGE
INTEGRATED
SLOPEDRAMPEDSEPERATED
STRAIGHTHARD EDGEEXCLUDED
ENFORCER
SEPERATION
EFFICIENCY
PROTECTION
FEEDER
GRAPH
ICS
UD:DC - WASHINGTON AS COLLAGE CITY:
12 YEARS OF URBAN DESIGN IN OUR NATIONS CAPITAL
The Catholic University of America w/ Terry Williams, FAIA
DesignDC 2011 Presentation & Exhibition Boards
Spring ‘10 - Fall ‘11
MARION PARK
Fall ‘06
TOWN & GOWN: CUA
Fall ‘05
TOWARDS AN ARCHITECTURE OF INCLUSIVENESS
Spring ‘01 + Spring ‘08
H ST: MAIN STREET
Fall ‘04
5:30 PMKOUBEK AUDITORIUM
09.16.2009
CRAIG DYKERSEINAR JARMUNDPETER MACKEITH
PA N E L D I S C U S S I O N F E A T U R I N G :
G L O B A L V S . V E R N A C U L A R I N :
M O D E R A T E D B Y:
NORWEGIANARCHITECTURE
SUSAN PIEDMONT-PALLADINO
ARCHITECTURE
IDENTITY
10.26.09
11.30.09
11.16.09
00.TBD
ALL LECTURES TO BE HELD IN: KOUBEK AUDITORIUM
AT 5:30 PM E.S.T.DRINKS AND REFRESHMENTSTO FOLLOW IN MILLER SPACE
CATHOLIC UNIVERSITY OF AMERICASCHOOL OF ARCHITECTURE AND PLANNINGCATHOLIC UNIVERSITY OF AMERICA- CROUGH CENTER620 MICHIGAN AVE. NEWASHINGTON, DC 20064-0001
OCTOBER 21st 5:30 P.M.
KOUBEK AUDITORIUM
MILLENIUM PARKED UHLIR
SOLAR DECATHALON EXHIBIT
National Building Museum & E/L Studio
Exhibit Introduction Poster - April ‘10
ED UHLIR: MILLENIUM PARK
The Catholic University of America
Lecture Poster - October ‘10
THE GLOBAL VS. VERNACULAR IN:
NORWEGIAN ARCHITECTURE
Embassy of Norway & CUArch
Panel Discussion Poster - September ‘09
THE DUTCH ELEMENT AT HH400
Netherlands Embassy & CUArch
Lecture Series Poster - January ‘09
ARCHITECTUREARCHITECTURE
10.26.09*
YOLANDEDANIELS
11.23.09MILTONCURRY
PROFESSOR,TAUBMAN SCHOOL OF ARCHITECTURE,UNIVERSITY OF MICHIGAN
11.16.09CRAIGWILKINS
ASSOCIATE PROFESSOR IN PUBLIC CULTURE AND URBANISM,UNIVERSITY OF CALIFORNIA SAN DIEGO
T.B.D.TEDDYCRUZ
CATHOLIC UNIVERSITY OF AMERICASCHOOL OF ARCHITECTURE AND PLANNINGCATHOLIC UNIVERSITY OF AMERICA: CROUGH CENTER620 MICHIGAN AVE NEWASHINGTON, DC 20064-0001
ALL LECTURES TO BE HELD IN: KOUBEK AUDITORIUM
AT 5:30 PM E.S.T.DRINKS AND REFRESHMENTSTO FOLLOW IN MILLER SPACE
ACCOMPANYING EXHIBITION OF YOLANDE DANIELS’ (STUDIO SUMO) WORK WILL BE ON DISPLAY FROM OCT. 19TH- NOV. 30TH
DATE TO BE CONFIRMED SOON- PLEASE CHECK OUR WEBSITE:www.architecture.cua.edu/
*
ASSISTANT PROFESSORCOLUMBIA UNIVERSITY G.S.A.P.P.
STUDIO SUMO Architects, NY
ASSOCIATE PROFESSORCORNELL UNIVERSITY A.A.P.
ESTUDIO CRUZ, SAN DIEGO, CA
*
*
IDENTITYIDENTITY
ARCHITECTURE,
RACE & IDENTITY
CUArch
Lecture Series Poster
November ‘09
FAB
RICATION
A r t i f i c i a l
L a n d s c a p e
A s s e m b l y
ADD+F [Advanced Digital Fabrication]Design Critic: Andrew CockeSemsester / Year: Fall ‘10Course Description: Working in teams ranging from 3-5 students, we were asked to investigate the available digital fabrication tools in the School of Architecture and Planning (3-Axis Router, Laser cut-ter, 3D Printer, Woodshop, Etc.) and test a small design project in an eff ort to streamline and optimize the fabrication process. What we learned from these investigations continously fed into each teams manufacturing procedures and design revisions.
This is an arti fi cial landscape made up of concrete units. The units are simple hexagonal pieces that vary in height, mostlikely
between 6” and 30”. The point of the work is to create an occupiable space that can accomodate people and program and
allow for a visitor to straddle experiences of observati on and habitati on in a landscape. It is a means for viewers to engage
with and comprehend a schemati c representati on of landscape forms, lying somewhere between natural and artifi cial. The
creation of the landscape is the result of the implementi ng technology in the design process. Using holistic, generati ve design
programs with CNC milled materials the forms can be made with robotic precision.
The opening lightens the weight of each unit and allows for infi ll of soil and plants. This installation is to have the natural land-
scape creep back into the artifi cial landscape, fi lling the diff erent openings over time with its plants and animals of the area
and transforming it over time.
SCALE
SURFAC
EORIEN
TATION
SOLIDITY
BOUNDARY
SHAPE
UNIT
TRIANGLE SQUARE PENTAGON HEXAGON OCTAGON
PLANAR
XY-PLANE
SOLID
HARD- EDGE GRADIENT
PUNCTUATED VARIABLE POROSITIES
TOPOGRAPHY WALL
XZ-PLANE YZ-PLANE
FACETED UNDULATED SMOOTH TEXTURED
GROUP AGGREGATION FIELD
HDPE CAPHDPE SIDES HDPE CORE
8 HOUR CURE
HDPE COREHDPE CAP
LAYER PLY. SIDES8 HOUR CURE
HDPE CAPLAYERED PLY. SIDES
HDPE CORE
FOAM CAP/PLASTIC SEALPAPER CORE
ALUMINUM FLASHING SIDESFACETED CAP
FOAM CAP WITH PLASTIC SEALPAPER CORE
FINISHED PLY. SIDES
FOAM CAP WITH RUBBER SEALPAPER CORE
FINISHED PLY. SIDES
FOAM CAP WITH RUBBER SEAL &
BALL-END BIT MILLPAPER CORE
FINISHED PLY. SIDES
HDPE COREHDPE CAP WITH
BALL-END BIT MILLLAYERED PLY. SIDES
LAYERED PLY. COREHDPE CAP WITH
BALL-END BIT MILLLAYERED PLY. SIDES
LAYERED PLY. CORE 3 LAYER HDPE CAPLAYERED PLY. SIDES
18” TALL
MOLD ASSEMBLY AND CASTING
NOTES
MIXING PROPORTIONS
CASTING CONDITIONS
CASTING TECHNIQUES
3"
Varies
Circle (R:3.00)
Tall Form Height Variable
1"1"
114 "
312 "
Dependant on 12”/6”
112 "
Insert Part A
Tall Form Work.
1/2” Through Bolts spaced at 3 1/2” O.C.
Insert Part B
Poured Concrete Unit.
Insert Part A
Insert Part B
3/4” Plywood Base
2”x4” Blocking
Assembly Table
Tall Form Work #1
Mold Assembly
N.T.S
1/2” Bolt Through Insert A and Insert B
Tall Form Work #2
Insert Part A is made of 3/4” _____ Plywood to be fabricated according to Shop Drawing ______. Insert Part B is milled Douglas Fir with a 3/4” Ball End bit cut in a radial pattern. Together Insert A and Insert B are known as the Insert Assembly. The Insert Assembly is to be finished with ______ Polyurethane, lightly sanded with #400 sand paper and wiped clean with a damp rag three (3) times before use.
The Concrete Unit is poured into the mold at a ratio of 1:2:1; Water, Sand, Portland Cement
All Concrete Units are to be cast and allowed to cure for no less than twelve (12) hours at room tempera-ture before being released from the Mold Assembly
Concrete is to be mixed at room temperature and stirred at a high rate for 5-7 minutes before pouring. Once cast into the mold, concrete is to be vibrated with ________ for a 3-4 minutes.
578 "
778 "
ABC
DEF
G
A
BCD
EF
Insert B Section
G
Insert B Plan
Insert A Elevation
Insert A Cut Sheet
Insert Parts
Tall Form Work Plan
Tall Form Work Section A
A
B
Tall Form Work Section B
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A B C D E
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F G H I J K L M N 0 P Q R S T U V W X
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10111213141516171819202122232425262728293031323334353637
END PRODUCT
A I A SA I A S
Cha i rA f f a i r
2 0 0 9
2009 AIAS Chair Aff airDesign Competi tionTeam: Chris Brown and Mateusz DzierzanowskiFaculty Advisor:Lou BozaSemsester.Year: Spring.2009Project Description:Sponsored by the Corrugated Cardboard Association
The chair is combined of 7 diff erent kinds of pieces and a dowel joint element. The pieces are stacked and adhered
together in section with 8 layers of corrugated cardboard. Upon assembling the pieces a sheet of cardboard is taken and
scored in order to allow it to be rolled. From here it is tightly rolled into a dowel joint that will provide the chair with an easy
system of alignment when assembling the chair as well as the main dowel joint for the entire chair’s ability to fold.
The stopping joints and interlocking section pieces were constantly being tested and improved in order to strengthen
the chairs folding capabilities as well as its bearing capacity.
This lightweight chair can be moved around with ease, folded open quickly, shut easily, stacked either horizontally or
vertically, and having a bearing capacity of 225 pounds. Not only are these characteristics necessary for the successful use of
the chair, but the aesthetic and elegance of such a slender form for the folding chair become a seducing option for all users.
However, among its simple fold lies an intricate understanding of how to dowel, interlock, and stack in section multiple layers
of cardboard.
Among understanding these intricacies comes the challenge of most eff ectively manufacturing the chair. Being in an
architecture school provides an abundance of cardboard scrap found in all studio spaces, trash cans, and laser cutter rooms.
After obtaining a strong inventory of scrap, a series of rigorous nesting in CAD took place in order to produce cut sheets. By
nesting the required pieces onto scraps of cardboard we were able to fi t the scrap into a laser-cutter and then cut accurately.
The laser-cutting method allowed for a high level of precision and the fl exibility for one of us to be cutting cardboard, while
the other was gluing the pieces. By doing this we were able to rid material cost and still obtain very precise pieces.
STUDIO FURNITURE
$53.99$53.99
30.5” H x 15.38” W30.5” H x 15.38” W
10 LBS10 LBS
WOOD - NON RECYCLABLEWOOD - NON RECYCLABLE
FULL REPLACEMENT ONLYFULL REPLACEMENT ONLY
PRICE_PRICE_
DIMENSIONS_DIMENSIONS_
WEIGHT_WEIGHT_
MATERIAL_MATERIAL_
REPAIR_REPAIR_
EMBODIED ENERGY_EMBODIED ENERGY_
BEARING CAPACITY_BEARING CAPACITY_
VERY HIGHVERY HIGH
255 LBS255 LBS
PRICE_
DIMENSIONS_
WEIGHT_
MATERIAL_
REPAIR_
EMBODIED ENERGY_
BEARING CAPACITY_
$85.00
30” H x 18.5” W
9.5 LBS
STEEL - RECYCLABLE
FULL REPLACEMENT ONLY
HIGH
280 LBS
PRICE_
DIMENSIONS_
WEIGHT_
MATERIAL_
REPAIR_
EMBODIED ENERGY_
BEARING CAPACITY_
FREE
30” H x 16.25” W
11 LBS
RECYCLED CARDBOARD
RECYCLED PARTS
VERY LOW
225 LBS
In the ini al design process of this chair we sought to nd a way to produce a chair that would be ng among any design or architectural school for various lectures, juries, and other school-related func ons. This meant providing a chair that can be easily moved throughout the building, be stowed away, packaged neatly, and provides the aesthe c quali es and design charac-teris cs ng of the design atmosphere within our school. We rst looked at our own school’s chairs and began to discuss what characteris cs were successful of such chairs whether it was there presenta on, bearing capacity, weight, comfort, or there ability to be stacked. From here a series of mock-ups were con nuously produced un l all the details and mechanics of our ideas had nally t snuggly together. By understanding how to ghtly interlock cardboard elements and produce a strong rota onal element, we were able to meet both demands in crea ng
a well func oning and aesthe cally beau ful chair. From a series of trials nally came the Scissor Chair.
The chair is combined of 7 di erent kinds of pieces and a dowel joint element. The pieces are stacked and adhered together in sec on with 8 layers of corrugated cardboard. Upon assembling the pieces a sheet of cardboard is taken and scored in order to allow it to be rolled. From here it is ghtly rolled into a dowel joint that will provide the chair with an easy system of alignment when assembling the chair as well as the main dowel joint for the en re chair’s ability to fold. The stopping joints and interlocking sec on pieces were constantly being tested and improved in order to strengthen the chairs folding capabili es as well as its bearing capacity. This lightweight chair can be moved around with ease, folded open quickly, shut easily, stacked either horizontally or ver cally, and having a bearing capacity of 225 pounds. Not only are these characteris cs necessary for the successful use of the chair, but the aesthe c and elegance of such a slender form for the folding chair become a seducing op on for all users. However, among its simple fold lies an intricate under-standing of how to dowel, interlock, and stack in sec on mul- ple layers of cardboard.
Among understanding these intricacies comes the chal-lenge of most e ec vely manufacturing the chair. Being in an architecture school provides an abundance of cardboard scrap found in all studio spaces, trash cans, and laser cu er rooms. A er obtaining a strong inventory of scrap, a series of rigorous nes ng in CAD took place in order to produce cut sheets. By nes ng the required pieces onto scraps of cardboard we were able to t the scrap into a laser-cu er and then cut accurately. The laser-cu ng method allowed for a high level of precision and the exibility for one of us to be cu ng cardboard, while the other was gluing the pieces. By doing this we were able to rid material cost and s ll obtain very precise pieces.
The chair is seen as being an element that can be housed and used for all events within architecture schools or other events on campus. The ability for jurors to sit on edge, or recline while in discussion are both comfortable op ons on the scissor chair. In addi on the characteris cs of the scissor chair either out matched or competed with chairs already exis ng within our school. So the opportunity now arises for all schools to be able to reduce cardboard waste by recycling, save on materials or purchasing costs, and channel funds and educa on into the students of the school.
ROLLING DOWEL JOINT
BEARING JOINTS
FRAGMENTED ASSEMBLYRECYCLED NESTING
[ FIND ] [ NEST ] [ CUT ] [ ASSEMBLE ]
[ SCORE ]
[ ROLL ]
[ 150 LBS ]
[ 225 LBS ]
As a weight reduc on and aesthe c decision, we cut
voids within the backrest to allow air ow and a degree of
transparency without sacri cing comfort. The pieces were
cut from scraps in puzzle like fragments and assembled to-
gether to create 1” wide bearing members.
[ SCISSOR CHAIR ]
[ METAL FOLDING CHAIR ]
[ SCISSOR CHAIR ]
[ WOOD FOLDING CHAIR ]
W a t e r S t .W a t e r S t .
ETIENNE JULES-MAREYSTROBOSCOPIC PHOTOGRAPHY
T r a n s i t
H u b
2007 AIAS Vinyl Institute Miwaukee Transit HubDesign Competi ti onTeam: Chris Brown and Mateusz DzierzanowskiFaculty Advisor: Matt hew GeissSemsester.Year: Spring.2007Project Description: In this competi ti on, the “Architecture in Moti on” theme was applied literally to the transportati on system in the design of a transit stop. By uti lizing vinyl materials in a creati ve manner, the transit stop can become a vibrant and integral part of the surrounding community.
The AIAS/ Vinyl Insti tute nati onal student design competi ti on provided us with a defi ned concept from the start
derived from the theme of the 2007 AIAS Milwaukee Forum, “Architecture in Moti on.” As a team we studied the transit
system in Milwaukee and employed the concept in a collabriti ve approach between implied and phenomonal moti on. From
the site’s close proximity to Calatrava’s museum we drew from this the idea of using the human body as a method of depicti
ng implied moti on within a stati c structure. We considered the process of movement at a typical transit stati on from arrival
to departure and also applied this process to the larger picture of the architecture and design fi eld of practi ce. The interventi
on captures the essence of transformati on over ti me of what a transit stati on was [past] in contrast to what it can off er
[future] by its transformati on through ti me and space.
ADVERTISING FABRIC PROTOTYPEUNROLLED SURFACES & EASY UN-INSTALL FABRICATION METHOD
SG-2010:
SG .20 10
D2D
2010 Smart Geometry: Working PrototypesWorkshop: D2D (Design to Destruction)Faculty Advisor: Sam Conrad Joyce (University of Bath) & Dr. Al Fisher (Buro Happold)Semsester.Year: Fall 2010Project Description: In this workshop we plan to control/optimise a design through a recursive process of computational analysis, small-scale prototyping and physical testi ng. The aim is to integratethis analysis into the design process using testi ng as a validation of the design.
To concentrate the workshop our challenge is for all participants to make a CNC milled 1.2m timber cantilever, which will
undergo a calibrated structural test; the ‘winner’ being the design with the lowest self-weight but highest loaded capacity. The
wider aim of the work- shop is to enter a dialogue about the practice of engineering alongside the process of design to get a
feeling about truly how accurate engineering practice is and needs to be. Further- more to question what makes good design
in terms of form and function.
The group was split between structural engineers and young architecture students; each were asked to approach the design
differently to test optimization against intuition. The project below uses an agent simulation in Processing to create structural
fl ow lines and generate solids and voids for the cantilever.
PROCESSING SCRIPTSTRESS AGENTS
‘AGENTS’ ‘ATTRACTORS’
‘COMPRESSION ATTRACTORS’
class Agent{
fl oat x,y;
fl oat vx, vy;
Agent(){
}
Agent(fl oat ix, fl oat iy, fl oat ivx, fl oat ivy){
x=ix;
y=iy;
vx=ivx;
vy=ivy;
}
void update(){
for(int i=0; i<numAttractor; i++){
fl oat distX = attractors[i].x-x;
fl oat distY = attractors[i].y-y;
fl oat distance = sqrt(distX*distX+distY*distY);
vx+=attractors[i].vecX*(distX*attractors[i].pull)/sq(distance);
vy+=attractors[i].vecY*(distY*attractors[i].pull)/sq(distance);
/*
if (distance<0.1) distance=0.1; //a value of 0.1 produces bouncing
fl oat acceleration = (-pull/(distance*distance))/mass[i];
vx+=acceleration/distance*distX;
vy+=acceleration/distance*distY;
*/
}
x= x+vx*timeStep;
y= y+vy*timeStep;
}
void display(){
//line(x,y,x+vx,y+vy);
line(x,y,x+1,y+1);
}
void displayTri(){
fl oat triBase = 15;
fl oat triHeight = 28;
fl oat normL = sqrt(sq(vx)+sq(vy));
fl oat normX = vx/normL;
fl oat normY = vy/normL;
//line(x-normX*triBase/2,x-normX*triBase/2
pushMatrix();
translate(x,y);
//rotate(atan2(normX,normY)-PI);
rotate(atan2(vy,vx));
//a line
//line(0,0,10,0);
//a triange
rotate(-HALF_PI);
line(-triBase/2,0,triBase/2,0);
line(triBase/2,0,0,triHeight);
line(0,triHeight,-triBase/2,0);
popMatrix();
}
}
class Attractor{
fl oat x,y;
fl oat vecX, vecY;
fl oat pull;
Attractor(){
}
Attractor(fl oat ix, fl oat iy, fl oat ipull, fl oat ivecX, fl oat ivecY){
x=ix;
y=iy;
pull = ipull;
vecX = ivecX;
vecY = ivecY;
}
void display(){
line(x-pull,y,x+pull,y);
line(x,y-pull,x, y+pull);
}
}
class CompAttractor{
fl oat x,y;
fl oat vecX, vecY;
fl oat pull;
CompAttractor(){
}
compAttractor(fl oat ix, fl oat iy, fl oat ipull, fl oat ivecX, fl oat ivecY){
x=ix;
y=iy;
pull = ipull;
vecX = ivecX;
vecY = ivecY;
}
void display(){
line(x-pull,y,x+pull,y);
line(x,y-pull,x, y+pull);
}
}
WORKING PROTOTYPES EXHIBITIONDISSENY HUB
BARCELONA, SPAIN 2010
DESIGN2DESTRUCTION WORKSHOP EXHIBIT PHOTO
LACUNOSUSLACUNOSUS
A C A D I A
F l a t C u t
2011 ACADIA FlatCut CompetitionDesign CompetitionTeam: Chris Brown, Andrew Cocke, Sashi Murthy, and Julian PalacioSemsester.Year: Spring.2011Project Description: Building on research done in an independent study on Plastics the student and faculty group involved in the class tested ideas in this competition calling for complexity to emerge from fl at sheets of cut-able material.
For nearly two decades, architects have been obsessed with fl uidity. Architects spend vast amounts of time and
resources simulating ever larger, more detailed fl uid systems. And now with the use of fi nite element analysis and sophisticated
computer numeric controlled machinery, architects are “building” these fl uid forms. We use curvature to suggest fl uidity, but
these static objects, like a frozen waterfall, are reanimated only as we move around them and watch light and shadow play
over their surfaces.
Light is a critical component of this new fl uid architecture. Because fl at, even light tends to fl atten out the curved
surfaces, we have moved toward increasingly moody, dramatic lighting. If design has become increasingly fl uid, then lighting has
become increasingly sublime. But this evolution of fl uid form has had little eff ect on the form of luminaires. Lighting of fl uid
forms is often indirect, refl ected and diff used by the surface, light reveals curvature.
The lacunosus light by contrast achieves its variegated luminence by changing the scale of the folds that make up its
tessellated surface. As the pattern gets smaller, its curvature increases, changing the angle between the surface and the light
source, causing light to pass through greater number of layers of material. The eff ect is a not simply the illuminance of a curved
surface, but a variegated luminosity like the silver lining of a cloud.
Our work on the lacunosus light began as an investigation in manipulating origami tessellations to introduce local
variation within a tessellated surface. Building on the waterbomb tessellation (developed by eric gjerde), we developed the
“murthy fold” as a way of doubling or halving the scale of the fold pattern without interrupting the pattern.
We quickly realized that by changing the scale of the fold pattern we could control the relative stiff ness of discreet
areas, infl ecting the curvature of the fi nished surface. By manipulating the stiff ness, we can in essence sculpt the surface at the
same time we sculpt the light passing through the surface.
FABRICATION PROTOTYPEDIMENSIONAL RELATIONSHIPS - FOLDING SEQUENCE
MANUFACTURING SEQUENCE - CUT PLAN
DRAWINGSEXPLODED AXONOMETRIC - REFLECTED CEILING PLAN
GENERIC SECTION / ELEVATION
PRO
FESS IONAL
E/L .STUD IO
new york / washington
Firm Information
E/L STUDIO is the architecture and design collaboration of Elizabeth Emerson and Mark Lawrence, AIA. Together,
our experience refl ects a broad range of project types and scales. We share a deep belief in the transformative potential
of design. We believe in the promise of architecture to mitigate social conditions and enable positive change. Operating
from bases in New York City and Washington, DC, we draw from our two locations - innovation and fl exibility from the
metropolis, civic and public engagement from the capital. The hybrid of these two environments enables us to envision new
solutions. In our work, we resist the tendency to calcify the status quo as we resist customary stylistic distinctions. In search
of new tectonic solutions which, through their construction, anticipate new programs and new events, we develop strategies
and resolutions which are unique to the problems and potential posed in each individual project. We create an architecture
which is anticipatory; which fosters new relationships and growth.
PAYNE-GOODKIND RESIDENCEARLINGTON, VA
PAYNE-GOODKIND RESIDENCEARLINGTON, VA
M SALONANNAPOLIS, MD
AUSTRADE DCWASHINGTON, DC
MANHATTAN RESIDENCENEW YORK, NY
JADE RESIDENCEWILDWOOD, NJ
(UNDER CONSTRUCTION)
