SCRAPBOOK: ADRIAN COLEMAN, M. ARCH., GSAPP 2009-2012

SCRAPBOOKADRIAN COLEMAN, M. ARCH., GSAPP 2009-2012

FOREWORDLike many before, I began my graduate studies with the ritual of the ice drawing. The assignment is to docu-ment the melting process of an oversized ice cube with scrupulous, pseudo-scientific observation. I modified the exercise to a sensory experiment. Grasping the frozen block in my left palm, I recorded my changes in skin color, body temperature, and my own subjective rating of pain. A more straight-laced critic might have halted this idiocy. Yoshiko, now sadly departed, seemed amused. She encouraged my behavior. In my two attempts, I was never able to bear the ice for more than two hours. None-theless, I lost sensation in my pinky for nearly a week.

My drawing speculated on two extreme outcomes had I held the ice longer. In the first, my capillaries contract, flesh fades to blue-gray, and pain subsides to deathly, vegetative numbess. In the alternate ending, I assume a meditative trance. Illuminated by a higher mental clarity, my body temperature rises and the ice melts faster.

Unwittingly, the drawing has been a rough template for my Columbia experience, My architectural inter-ests have often concerned experience, memory, and induced perception. You will find these themes through out this book. The portfolio itself is something of a time capsule, intended more for tomorrow than for immediate consumption today. How will I perceive these projects in ten years? In twenty years? I may look back upon these pages and find a few good ideas. Conversely, I may also look back and discover a trove of nonsense. Whether fond recollections, fragments of inspiration, or simply junk, this is my SCRAPBOOK. Like Yoshiko, I hope you are amused.

Adrian Coleman, May 2012

OPPOSITE_ICE DRAWINGFall 2009, Sato studio

CONTENTS

A_PROJECTS

The Oshima Sea RoomsFall 2011, Critics: Kunio Kudo, Lynn Breslin

Museum of the Diaspora Spring 2010, Critic: Charles Eldred

Railyard Housing_The Infrastructural Living RoomFall 2010, in collaboration with Idan Naor, Critic: Robert Marino

The Chapel of the Street, Sensory Ethnography Lab Spring 2012, Critic: Mario Gooden

Bob the PavilionSpring 2011, studio collaboration, Critics: Galia Solomonoff, Nate Carter, Liam Gillick

The House That WeepsFall 2009, Critic: Yoshiko Sato

B_TECHNICAL STUDIES

TromhausSpring 2011, team collaboration, Critic: David Wallance

Advanced Curtain WallSpring 2012, Critic: Dan Vos, Robert Heingtes

C_PAINTINGS

OSHIMA SEA ROOMSOSHIMA ISLAND, KESENNUMA, JAPANKunio Kudo and Lynne Breslin, Critics (Fall 2011)

The small fishing town of Kesennuma was ravaged by the Japanese tsunami in march 2011.

In memorial, the Oshima Sea Rooms are a ritualistic sound procession. Passing through an island cliff, the visitor proceeds through an anechoic changing room, a resonant bath chamber, and finally an off-shore sea organ. Meditating on its aural qualities, the visitor recalls and reimagines the enigma of the sea.

Oshima Sea RoomsOshima Island, Kesennuma, Japan

APPROACH

LEFT_THE SEA ROOMS COME INTO VIEW

RIGHT_PLANS

ABOVE_SOUND AS MEMORY

BELOW_A SERIES OF SOUND CHAMBERSan anechoic chamber, a resonating bath chamber, and a sea organ

RIGHT_SITE SECTION

APPROACH TO THEANECHOIC CHANGING ROOMS

ANECHOIC CHANGING ROOMSThese suspended spaces, mounted on enormous hydraulic shock absorbers, are designed exclude all external sounds. The anechoic chambers are entered through an airlock. The interior is lined with fiberglass wedges to disrupt the slightest echo, The floor is a hung mesh surface, eliminating the sound of footsteps. External noise is completely muffled such that the sound of visitors breathing and heartbeat is distinctly audible. This initial aural experience compells the visitor to clear their head and confront their internal human vibrations.

RESONATING BATH CHAMBER

RESONATINGBATH CHAMBER,SECTION PERSPECTIVEThe loud pounding of the waves carries through the chambers occuli and reverbates against the hard, smooth surfaces of the space. The agitation of sound contrasts the docile salt water pool, which is an isolated vol-ume of the sea. The ritual of bathing becomes a meditation on the serenity, violence, and mystery of the sea.

SECTIONAL MODELS

visitors circulate along ramps and out through wind tunnels

RESONATING BATH CHAMBERdiagrams of various shells

APPROACH TO SEA ORGAN

SEA ORGAN DIAGRAMSThe sea organ is a musical instrument played by the sea. The movement of water forces air pressure through the tubes of a specific length, provoking a vibration of a tuned fre-quency. The resulting sound is something akin to whale song. Entering into the sea organ, the visitor confronts a different voice of the sea, altered, per-sonified, perhaps comforting but ever enigmatic.

SEA ORGAN FROM ABOVE

SEA ORGAN INTERIOR

DEPARTURE

OVERHEAD VIEW,OSHIMA SEA ROOMS

MUSEUM OF THE DIASPORACHINATOWN, NEW YORK CITY

Charles Eldred, Critic (Spring 2010)

Diaspora is a condition of memory. Scattered, the people of a diaspora share the memory of a place. Memory, of course, is a malleable artifact. A mem-ory distorts, ferments, or breaks down according to other ingredients with which it is incubated. The memory of an origin mingles with the experience of dispersal. It is a record of starting point, journey, and imagination.

The spaces of the Museum intend to reconstruct the process of an evolving memory. The visitor enters the museum understanding it as series of discreet paths: 4 separate exhibitions.As the visitor moves through the building, he or she encounters unexpected intersections and fragmented interiors. No one space is perceptible in its entirety. The visitors conception of the building shifts according to the latest architectural cues.

The Museums transversal arrangement defies the tradition of linear galleries and segregated exhibitions. Unlike the visitor, the curators under-stand the Museum as a sequence of intersec-tions. They install shows that cross-cross. An intersection can be subtle, luring the visitor from the exhibition he aimed to follow, or clear and significant, drawing an insightful connection between pieces of art and culture. An intersection can also be a red herring, implying no particular connection but provoking the visitor to examine his surroundings and to question previous as-sumptions.

Museum of the Diaspora, Chinatown, New York City

A_TITLEandundusdam ipiciet, si nam, ipsunti atiasped modi nul-lautem quo quam fuga. Aqui

B_TITLEandundusdam ipiciet, si nam, ipsunti atiasped modi

PREVIOUS PAGE_VIEW INTO GALLERY SPACE

LEFT_MEMORY DIAGRAMMemory involves a complex chemistry of forgetting and imagining. In this case, the identity of ones people or family evolves by seeing certain experiences through certain lenses.

RIGHT_GALLERIES INTER-SECT

A_TITLEandundusdam ipiciet, si nam, ipsunti atiasped modi nul-lautem quo quam fuga. Aqui

B_TITLEandundusdam ipiciet, si nam, ipsunti atiasped modi

UNDERGROUND COURTYARDbeneath the glass floor of the atrium

LEFT_VISITORS MAPThe visitor understands the museum as a series of dicreet, linear galleries.

RIGHT_CURATORS MAPThe curator understands the museum as one continous loop of intersecting galleries.

ABOVE_BUILDING IN CON-TEXT

BELOW_BUILDING ISOLATED

RIGHT_EXPLODED AXON

LEFT_MUSEUM ENTRYThe building is situated between a cluster of existing buildings in Chinatown. From here, visitors can see into the atrium and the underground courtyard below.

CENTER_SECT. PERSPECTIVEthrough museum entry

RIGHT_SECT. PERSPECTIVEthrough atrium and under-ground courtyard

LEFT_PLANSThe plans are not cut con-ventionally, at a single datum, but along certain pathways that change elevation. The key below describes the cut.

RIGHT_SECT. PERSPECTIVEcut through edge of courtyard and the north side

UPPER GALLERY

ADJACENT LOWER GALLERY

RAILYARD HOUSING_THE INFRASTRUCTURAL LIVING ROOMHOBOKEN, NEW JERSEYIn Collaboration with Idan NaorRobert Marino, Critic (Fall 2010)

Traditionally, developments above a railyard involve the construction of a massive platform above the tracks. The new buildings begin on the surface of the platform, segregated from the mechanical func-tions of the trains below.

Hoboken, however, poses a site in which the transit system can not be ignored. Hobokenites physi-cally live in New Jersey but their life is essentially organized in reference to New York. By day, they earn their living in Manhattan and at night, long-ingly admire the skyline across the Hudson. For many, Hoboken is an economic choice - you live somewhere more financially feasible to be a part of a grand public experience, New York City. The mediator of this relationship is the train system.

Our railyard housing strategy proposes an occupi-able, vaulted platform in which the relationship of

the tennants to the train below is emphasized. We engage the rail depot as the cafe chooses to engage the street.

Each tennant occupies a condensed, duplex apartment. Each bedroom floor looks on to a large communal porch overlooking the railyards. As one move upwards in the building, this space expands into public cafes. Suspended public concourses hang above the rails.

Railyard Housing, Hoboken, New Jersey

ENTRY TO THE RAILYARD HOUSINGA reflecting pool prevents bystanders from wandering on to the tracks.

SITE PROCEDURESclockwise beginning at upper-left:(A) the empty Hoboken railyard(B) Tunnels are constructed to facilitate as many existing train lines as possible.(C) Lateral tunnels are con-structed to facilitate pedes-trian travel across the tracks.(D) Infrastructural housing is built into the vaulting of the tunnels.

VIEW ALONG CENTRALCORRIDORA suspended promenade hangs aboves the train yard.An industrial escalator moves people rapidly up into the buildings above.

LEFT_STACKING DIAGRAMDue to the arched nature of the tunnels, the footprint of the interstitial buildings expands with increased height.

CENTER_SECTIONAll units open on to a large in-frastructural terrace overlook-ing the trains. As one moves up in the buildings, the terrace expands and allows public activeties such as cafes.

RIGHT_CAFEa cafe at the top of the vault-ing

LEFT_ELEVATIONSThe exterior elevation of the buildings incorporates large shutters. While the interior face is characterized by col-lective experience, the exterior expresses an individualism in the separate balconies and a facade that is determined by the occupants.

CENTER_UNITSTwo bedroom (above) and one bedroom (below) units. Typically, the second bedroom floor of each unit opens on to the terrace, although this situ-ation flips at the higher floors once the terrace becomes completely public (and avail-able to non-occupants).

RIGHT_VIEW FROM TERRACE

TYPICAL 4TH FLOOR80

TYPICAL 5TH FLOOR80

TYPICAL 4TH FLOOROccupants enter in the bottom storey of their unit, where liv-ing spaces are located.

TYPICAL 4TH FLOOR80

TYPICAL 5TH FLOOR80

TYPICAL 5TH FLOORThe second storey of each unit contains bedroom spaces and opens out on to the infra-structural terrace. When this terrace becomes mor public higher up, the sequence of the living and bedroom spaces is reversed.

LEFT_MODEL SHOTThe buildings are contructed form massive, cast archways.

RIGHT_STRUCTURAL DRAWINGThe cast semi-arches of a single railyard housing build-ing.

STRUCTURAL DIAGRAMThe platform and new neighborhood are constructed from long series of their cast archways, which make up the tunnels in which returning trains dock.

VIEW ALONG TUNNELThe suspended promenade through the tunnels and above the tracks inevitably referenc-es the connection to New York but provides the possibility of a uniqueHoboken identity.

THE CHAPEL OF THE STREET & SENSORY ETHNOGRAPHY LABJOHANNESBURG, SOUTH AFRICAMario Gooden, Critic (Spring 2012)

The space of Johannesburg presents distinct economic and cultural landscapes. The systems of value are not intrisinically divorced. Rather, the disjoined economic landscape reflects expired or external cultural biases, the prejudices of apartheid or the pressure to emulate Western success. In return, Johannesburg projects an architecture of estrangement: transportation infrastructure that divides communities, hermetically-sealed sky-scrapes, suburban developments bound in walls.

In contrast, the Chapel of the Stree and the Sen-sory Ethnography Lab explore an architecture of exchange through the excavation and ritualization of site-specific memory and programs.

The Chapel is an African film forum whose cinemas can be entered at street level, through a retractable screen, or through a promenade of street programs

folded into the sides of the building. Across the street is a parking garage with bankers who do no use the street. They park their cars and use skybridges to get to work. The Chapel forces them to confront the street.

The Sensory Ethnography Lab is a profane surface that is punctured, excavated, and inter-rupted by programs of sacred space, specifically a series of public galleries related to the history of the Freedom Charter, and a laboratory that col-lects artifacts ad memories of the site, recording oral histories of locals at the market.

The Chapel of the Street &Sensory Ethnography Lab, Johannesburg, South Africa

THE CHAPEL OF THE STREET

SENSORY ETHNOGRAPHY LABThe groves into the plaza surface are interview booths, where the market slightly folds into the ground.

RESEARCH

LEFTThis is a diagram of the prop-erty values of two adjacent neighborhoods, the wealthy Sandton and the poorer township of Alexandra. The extreme disparity is mediated by architecture - an enormous highway that divides one side from the other.

RIGHTThe second diagram maps the path of Twitter users and their tweets. The Tweets affect this value landscape in that they represent someone using a relatively expensive mobile de-vice with a relatively expensive subscription package. More importantly, some tweets are strong declarations of identi-ties once problematic in South Africas recent history. The capacity of mobile technology to give enhanced voice to the previously downtrodden in any part of town suggests a new value of universal con-nectivety. This exchange, un-like the disparities, is not yet marked in the built landscape.

I'm African RT @narriage: Bengazi ukuthi ubuya eLimpopo RT

RT @khayadlanga: My latest column "Land is a black and white issue."

We have learned to fly the air like birds and swim the sea like fish but we have not yet learned the simple art of living together as brothers.

bus station

bad buildings with upper floor, interior markets

Carlton Centreshopping area

Small TownMall street vendors

Central Business District

economic currency of space

bus station





economic currency of spacecultural currency of space

bus station





LEFT_CENTRAL BUSINESS DISTRICT SITE RESEARCHalternately landscapes of cultural and economic value

RIGHT_CHAPEL OF THE STREETThe corner is an upstairs public square.

LEFT_SECTION PERSPECTIVEThe Chapel across from the bankers parking garage.

CENTER_EXPLODED AXONSrevealing different types of street program

RIGHT_ELEVATION AND SECTION

SKYPE LOUNGEEXERCISE TRACK

FRUIT AND VEGETABLE SELLERSAFRICAN NEWSPAPER WALL

AFRICAN NEWSPAPER WALL

STREET FOOD COURT

PUBLIC SQUARECAFERETRACTABLE TRANSLUCENT CINEMA SCREEN

INTERIOR CINEMAS

EXTERIOR CINEMAS




STREET FOOD COURT


INTERIOR CINEMAS

EXTERIOR CINEMAS




STREET FOOD COURT


INTERIOR CINEMAS

EXTERIOR CINEMAS

AFRICAN NEWSPAPER WALLEvery day, newspapers from across Africa are hung along this walkway.

SOAPBOX CORNERa place for public assem-bly and expression. In the distance is the public SKYPE lounge.

KLIPTOWN RESEARCHThe memory of a dusty field, where the Freedom Charter was signed, is paved over by a modern plaza development in 2011. Other social active-ties, such as the taxi rank and the path to the local train station, are also erased.

field ofFreedom Charter signing,1955taxi rank

footpath to train station

Walter SisuluSquare

KLIPTOWN, 2001 KLIPTOWN, 2011

economic currency of space

field ofFreedom Charter signing,1955taxi rank


Walter SisuluSquare


economic currency of spacefield ofFreedom Charter signing,1955taxi rank


Walter SisuluSquare


economic currency of spacecultural currency of space

ABOVE_SITE SECTION

BELOW_SITE PLANThe intervention encourages the marketplace to fill the footprint of the taxi rank and excavates into the earth to recover the cultural value of the sites memories.

VIEW TOWARDS VITRINESThe Media Library, which col-lects oral histories, is housed in crystalline vitrines along the former path to the railway station.

RAMP TOWARDS THEFREEDOM CHARTERGALLERIES

SECTION PERSPECTIVEview through the Freedom Charter Gallery and into the adjacent archaeology labora-tory, underground, where researchers collect and study artifacts related to the history of the site

VIEW TOWARDS MEDIA LIBRARY

BOB THE PAVILIONCOLUMBIA UNIVERSITY, NEW YORK CITYIn Collaboration with 11 other architecture students and (in theory) 12 other art studentsGalia Solomonoff, Nathan Carter, Liam Gillicks. Critics (Spring 2011)

BY ADRIAN COLEMAN

According to the New York Post, the National 9/11 Memorial will open this year with no bathrooms. The $508 million project will draw legions of visitors and is characterized by gushing water, but anyone seeking a toilet will have to leave the site for a nearby department store. This omission of public bath-rooms resonates with a personal architec-tural experience. Over the past six months, I participated in a collaboration of art and architecture students to design a pavilion at Columbia University. It is located in a courtyard behind the architecture school and will be up for most of the summer. A temporary structure, a pavilion is often the architects opportunity to build without the inconvenience of plumbing or other practicalities. Bucking the trend, our team es-chewed highbrow inutility to design a pub-lic bathroom. Our mantra was an adapted Carl Andre quotation: A society that does not provide public bathrooms does not de-serve public art. Columbia has almost no specified public bathrooms. By deploying a public bathroom in an academic courtyard, we wanted to recast a space of seclusion as open and engaged with the city. What distinguished our design from most public bathrooms was its composting toilet. Because our design was

temporary, we couldnt connect to existing pipelines. A septic tank, as in a portable toilet, was also impractical because it required frequent emptying. A composting toilet is a waterless technology that breaks human waste into organic fertilizer. Numerous community gardens in New York use this method because it requires little maintenance, produces a useful product, and is astonishingly unsmelly. Sewer gases are the product of anaerobic digestion, which takes place in a wet system with little oxygen. Composting toilets, through sawdust and a continu-ous airstream, dry and oxygenate the tank to enable aerobic digestion. Microbes decompose matter efficiently. Instead of manufacturing sulfate or methane gases, the composting toilet produces soil-enrich-ing nitrates and nitrites. In our proposal, the fan-assisted ventilation of the tank also pressurized a large inflatable canopy. This balloon signified the bathroom from a distance. It represented its sphere of influence. We enjoyed the idea that something as taboo as the toilet could support a whimsical and highly visible thought-bubble. Alas, the reality of architecture is that few projects are realized as they are designed. Sometimes the powers-that-be are not interested in experimentation. Columbia Facilities reviewed our pro-posal early in the semester and expressed

OP-ED: The Neglected Public Bathroomsufficient approval such that plans for ordering the composting toilet began during Spring Break. However, during April, with construction under way, Facilities informed us that the composting toilet was not permitted. They raised concerns about the smell of the bathroom, the legality of the installation, and the possibility of a leak. In response, our team put together a lengthy document to address each of their concerns. We included a letter from the manufacturer that verified the toilet would neither smell nor leak and that our installation scheme was consistent with manual specifications. We included passages of code to indicate our proposal was within the boundaries of the law. We also included a contingency plan so that in the unlikely case of a leak, a hazardous waste company could remove the toilet and decontaminate the site within twelve hours. Facilities was unmoved. Next, they claimed our composting toilet had been used in recreational or residential situations but not an academic courtyard. It would require six months of testing prior to installation. The reasoning was finicky, but we realized no matter how we argued our case, Facilities was determined to block the composting toilet. Ultimately, we completed our pavilion with the composting toilet for display purposes only. Named Bob for its gentle undulation, the balloon hangs above

the non-functional bathroom and is in inflated by an electric fan separate from the composting system. Although our pavilion does not operate as we wished, we hope the diagram of our intention endures. For many of us, Bob is the first built proect in which we were principal designers. The process was inspiring, frus-trating, and eye-opening. I am proud of our pavilion, but our non-functional bathroom remains a lost opportunity. That Columbia University found our public bathroom threatening perhaps confirms its urban disengagement. That the City of New York and Columbia University both found public bathrooms to be extraneous or unjustified suggests a broader theme. Our society is invested in the photogenic image of architecture but not the gritty infrastructure to facilitate collective experience. As a young architect interested in more than art museums, I hope to chal-lenge this trend throughout my career. ------------------------------------ Adrian Coleman is a graduate architecture student at Columbias Graduate School of Architecture, Preservation, and Planning. Directed by Professors Galia Solomonoff, Liam Gillick, and Nathan Carter, he and other students designed Bob the Pavilion, which will host various events through the summer of 2011.

ArchinectJune 9, 2011

VIEW FROM GOOGLE EARTHA secluded academic court-yard is activated by a lone public bathroom, signified above by the pneumatic.

LEFT_VIEW TOWARDS CHAPEL

RIGHT_CONCEPTUAL DIA-GRAMThe typical American house is unwrapped and reduced to a toilet under a roof.

LEFT_PROPOSED SECTIONThe private courtyard is activated by the buoyant pneumatic, which in turn is propelled by exhaust from the public bathroom.

RIGHT_BOB SEEN FROM SCHMERHORN

LEFT_BOB AT NIGHTDuring the summer, several performances, parties, and gatherings took place at the pavilion.

RIGHT_BATHROOM WALL OF PROJECTIONThe wall of the bathroom consists of a translucent scrim, such that the occu-pant can watch films from the comfort of the throne. This idea of projection and pubic anonymonity recalls the graffitied walls of other public bathrooms.

LEFT_THE TOILETstrictly for display purposes. A piece of acrylic was bolted beneath the seat.

CENTER_THE WELLthe courtyards ceremonial well, embedded in the deck-ing, in seeming dialogue with the purely exhbitional toilet

RIGHT_BOB AT NIGHT

THE HOUSE THAT WEEPSNEW YORK CITYYoshiko Sato, Critic (Fall 2009)

Over the next decades, the United Nations predicts that world population will grow most intensely in urban areas. Simultaneously, water will become a scarcer, more precious resource.

Could architecture address both issues?

This laboratory considers how future urban architecture might harvest water from atmosphere. Structurally, the laboratory is a system of occupi-able box beams hung with ultra-lightweight, glazed shingles. The laboratory acts as a Trombe wall: sunlight shines through the thin glass exterior on to the massive concrete structure behind, heating the air in the cavity between the layers. This creates a stack effect. Hot air rises and is diverted through the interior of the box beams to the central atrium, which acts as a chimney. The air cavity loses pressure, and cool air streams in at the base of the

building.

At night, the lightweight glass shell cools quickly and easily. Water vapor in contact with the glass sheds energy and condenses on the surface, running into collection troughes at the bottom of each canted shingle. The water is used to support experimental gardens in the air cavity be-tween the glass and the box beams. This space is accessible only during the daytime; at the night, the air cavity is sealed off as an insulating layer, ensuring the glass shell only radiates energy towards the outside of the building. Meanwhile, the thermal mass wall radiates only towards the interior.

The House that WeepsNew York City

THE HOUSE THAT WEEPSa laboratory for collecting water from the atmosphere

LEFT_AXONThe building is comprised of a concrete tube structure on which hangs a thin, glass shel..

CENTER_AXON. SECTIONThe buliding features large cavities for air movement along its perimeter and in a center atrium.

RIGHT_EXPLODED AXONThe exterior glass shell is removing, revealing the masonry structure. This particular combination of lightweight and heavy ma-terials allows the building to release large amounts of heat at night, encouraging vapor to condense on the thin layer of exterior glass.

LEFT_SECTIONAL DIAGRAMThrough a stack affect, air warms and rises through the exterior cavity, through the building, and out through the solar chimney.

CENTER_ELEVATIONThe concrete thermal mass retains heat during the day and sheds it through out the night. The facade is used as condensing surface.

MODELNUMBER

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DAYLIGHT VS. 24 HR PROGRAM

PLANSThe laboratory incorpates garden spaces within the air cavity between the glass and concrete core. These spaces are accessible only during the day. At night, the air cavity must be sealed to maximize its insulating effect, thereby forcing the building to shed heat towards the exterior.

VIEW OF GARDEN WITH AIR CAVITYThe plants are grown with water collected from the atmosphere.

THE LABORATORY AT NIGHT

MODEL SHOTS

KJIHGFEDCBA

KJIHGFEDCBA

T.O. MASS WALL 131'-6"

1ST FLOOR 0'-0"

2ND FLOOR 18'-0"

3RD FLOOR 32'-0"

4TH FLOOR 46'-0"

5TH FLOOR 60'-0"

6TH FLOOR 72'-0"

7TH FLOOR 88'-0"

ROOF 116'-0"

15'-6

"28

'-0"

14'-0

"14

'-0"

14'-0

"14

'-0"

14'-0

"18

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131'

-6"

TECHNICAL STUDIES

KJIHGFEDCBA

KJIHGFEDCBA


1ST FLOOR 0'-0"

2ND FLOOR 18'-0"

3RD FLOOR 32'-0"

4TH FLOOR 46'-0"

5TH FLOOR 60'-0"

6TH FLOOR 72'-0"

7TH FLOOR 88'-0"

ROOF 116'-0"

15'-6

"28

'-0"

14'-0

"14

'-0"

14'-0

"14

'-0"

14'-0

"18

'-0"

131'

-6"

TROMBHAUSBRONX, NY

in collaboration with Idan Naor, Garth Priber, and Mi-chael Marsh

Technical ProjectDavid Wallance, CriticSpring 2011

The Tromhaus is an indus-trial workshop for boutique manufacturing. Conceptually, a packed wall supports the entire building, housing the service cores, mechanical systems, vertical circulation, and trombe system. The trombe system involves thin tubes of fluid that warm inside a thermal mass and circulate through the building back into the heat exchanger. This greatly reduces the buildings reliance on active heating during the winter. In the sum-mer, metal shades block the sun from warming the trombe wall.

SOUTH ELEVATIONThe southern face incorpo-rates the trombe wall and all of the building central mechanical and circulation systems.

KJIHGFEDCBA

KJIHGFEDCBA


1ST FLOOR 0'-0"

2ND FLOOR 18'-0"

3RD FLOOR 32'-0"

4TH FLOOR 46'-0"

5TH FLOOR 60'-0"

6TH FLOOR 72'-0"

7TH FLOOR 88'-0"

ROOF 116'-0"

15'-6

"28

'-0"

14'-0

"14

'-0"

14'-0

"14

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14'-0

"18

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131'

-6"

LEFT_EAST ELEVATION

RIGHT_NORTH-SOUTH SEC-TION


1ST FLOOR 0'-0"

2ND FLOOR 18'-0"

3RD FLOOR 32'-0"

4TH FLOOR 46'-0"

5TH FLOOR 60'-0"

6TH FLOOR 72'-0"

7TH FLOOR 88'-0"

ROOF 116'-0"

321

321

15'-6

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14'-0

"14

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14'-0

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131'

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T.O. MASS WALL 131-6"

1

1ST FLOOR 0'-0"

2ND FLOOR 18'-0"

3RD FLOOR 32'-0"

1 2

4TH FLOOR 46'-0"

5TH FLOOR 60'-0"

ROOF 116'-0"

7TH FLOOR 88'-0"

6TH FLOOR 72'-0"

2 3

HOLLOWCORE CONCRETE SLAB

PRIVATE OFFICE(MEZZANINE)

SHARED INDUSTRIALFABRICATION SPACE

PRIVATE OFFICE(MEZZANINE)


EXHIBITION SPACE


DIAGONAL BRACINGSET BACK ONE WAY

DRYW

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SUNS

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SOUTHERN WALL ASSEMBLY AXONOMETRICS

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KAWNEER 1600 VERTICAL MULLION SUPPORTED BY HALFEN GLAZING ANCHORS

CAVITY BEHIND STANCHION TO BE FILLED WITH FIRE STOPPING AND BATTON INSULATION AROUND STANCHION BASE

ALUMINUM SHEATHED FOAM SPANDREL PANELS WITH CENTER CUTOUT TO ACCOMMODATE STANCHION

4 x 4 STAINLESS STEEL STANCHION BOLT-MOUNTED TO INTEGRAL STANCHION BASE AND NOTCHED FOR POHL EUROPANEL BUTTON

1/8 WELDED ANODIZED ALUMINUM SUN SHADE UNITS SEPERATED FROM STANCHION WITH NEOPRENE GASKETS

KAWNEER 1600 HORIZONTAL MULLION FRAMING IGU ABOVE AND ALUM. SHEATHED PANEL BELOW

W 10 X 45 STEEL EDGE BEAM BOLTED TO COLUMNS WITH 2-EA L BRACKETS PER SIDE

W 14 X 53 STEEL BEAM BOLTED TO COLUMNS WITH 2-EA L BRACKETS PER SIDE

W 12 X 120 STEEL COLUMN RUNNING FULL-HEIGHT AND SPLICED AS REQD

HEAT-TREATED 1 IGU PANEL

C 15 X 50 C CHANNEL SPANNING BETWEEN COLUMNS AND SECURING CONCRETE PANEL TIE-BAKCS

HALFEN ANCHOR CHANNEL CAST INTO CONCRETE PANEL WITH LONG HALFEN TEE-BOLT INTO C-CHANNEL

10 THICK PRECAST CONCRETE PANELS +/- 7-0 x 14-0 ON A MID-FLOOR TO MID-FLOOR MODULE, DEAD-LOADED TO GROUND

HYDRONIC HEATING TUBES SLID INTO PRECAST CHANNELS IN CONCRETE PANELS AND SWEAT-CONNECTED IN REVEAL LOCATIONS

ADJUSTABLE STAINLESS STEEL DIAGONAL CROSS BRACES SUPPORTING ALUMINUM STANCHIONS FOR SUN SHADES (WITH NEOPRENE SPACER)

OLDCASTLE PRECAST HOLLOWCORE PLANKS 8 THK x 4-0 WIDE, SPANNING FULL +/- 28-0 STRUCTURAL BAYS

HALFEN HWLC1 WIND-LOAD GLAZING ANCHOR SUPPORTING UPPER END OF VERTICAL MULLIONS

INTEGRAL STANCHION NOTCHES TO RECEIVE POHL EUROPANEL (OR EQUIVALENT) BUTTON SUNSHADE SUPPORTS (NEOPRENE SLEVE BTWN)

FIN PLATES WELDED TO ENDS OF STANCHIONS TO RECEIVE STEEL CROSS BRACING RODS

HALFEN HCWL1 DEAD-LOAD GLAZING ANCHOR SUPPORTING LOWER END OF VERTICAL MULLIONS

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

222 THICK CONCRETE TOPPING

CAST IN PLACE REVEAL FOR SWEAT-CONNECTIONOF HYDRONIC PIPES

ADRIAN COLEMANADVANCED CURTAIN WALL

PERSPECTIVE (CONCEPT)1

ADVANCED CURTAIN WALL

Technical ProjectDan Vos, Robert Heintges, Critics, Spring 2012

The proposed curtain wall system is a unitized double-skin faade with responsive, computer-operated louvers. The system is intended to moderate heating and cooling costs in a temperate climate. The cavity between the glazing acts as a thermal buffer and a natural ventilation channel. The automated louvers ne-gotiate solar gain. Conceptu-ally, this system considers environmental control as an aesthetic prompt. Across the buildings curved eleva-tion, the angle of the louvers adjusts to the sun angle and each panels respec-tive orientation. Accordingly, the elevation oscillates with the changing gradient of the louvers. The buildings shifting image is a product of the suns arc.

1 1/2" = 1'3ELEVATIONADRIAN COLEMAN

ADVANCED CURTAIN WALL

ELEVATION

SECTION, ELEVATION, PLAN

2' 11"

8' 8"

8

5

13' 5"

10 1/2"

11 1/2"

ADRIAN COLEMANADVANCED CURTAIN WALL 1 1/2" = 1'

PLAN, SECTION, ELEVATION

6

2

7

SEASONAL DIAGRAMSdescribing at what times of yearthe wall intakes and exhaust external air

SUMMER DAY

ADRIAN COLEMANADVANCED CURTAIN WALL 1 1/2" = 1'

SEASONAL DIAGRAMS

SPRING/FALL/SUMMER NIGHT

4

WINTER

SEASONAL DIAGRAMS4 1 1/2 = 1

LEFT_PLAN DETAIL AT AN-CHOR PLATE

RIGHT_SECTION DETAIL AT STACK JOINT

4"

6"

1/2"

4"

6" = 1'


6

51/2"

6"

6" = 1'PLAN DETAIL AT ANCHOR

computer-controlled sunshade

anchor

vertical mullion

shuttle and bracket

1/2"

12"

1/2"

12"

vertical air exhaust

PLAN DETAIL AT VERTICAL OPENING

horizontal air intake

motorized gear system

11 1/2"

6" = 1'PLAN DETAIL AT ANCHOR


8

7

12"

8 1/2"

5"

4 1/4" 3/4"

open ceiling plenum

louver controlling air exhaust to cavity

anchor

shuttle and bracket

electrical junction box

SECTION DETAIL AT ANCHOR

6" = 1'

fan/coil unit

louver controlling air intake to fan/coil unit

computer-controlled sunshade

vertical air exhaust

horizontal air intake

PAINTINGSMOSTLY BROOKLYN, GENERALLY WATERCOLOR

selected works (2009 - 2012)

LEFT_SUBWAY SECTIONandundusdam ipiciet, si nam, ipsunti atiasped modi nul-lautem quo quam fuga. Aqui

RIGHT_BROOKLYN THRIFTSTORE

MECHANICAL UNIT ON DE-MOLSIHED WAREHOUSE

G TRAIN AT 4TH AND 9TH STREETS

GRAFFITI TRUCK AT SMITH AND 9TH STREETS

BROOKLYN GROCERY

TRUCK 1

GOWANUS CANAL FROM 9TH STREET BRIDGE

Documents

SCRAPBOOK: ADRIAN COLEMAN, M. ARCH., GSAPP 2009-2012