STEPHEN M DINNENYALE SCHOOL OF ARCHITECTURE | YALE UNIVERSITY | M.ARCH 1 | 2010-2013KNOWLTON SCHOOL OF ARCHITECTURE | THE OHIO STATE UNIVERSITY | B.S. ARCH | 2004-2008

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* RETROSPECTA - ANNUAL PUBLICATION OF STUDENT WORK AT THE YALE SCHOOL OF ARCHITECTURE 3

EVOLUTION STAMFORD

OCCUPIED FACADE *

INSTITUTE OF CULINARY ARTS *

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BNY KUNSTHALLE

MUSIC HOSTEL*

VLOCK TEAM F*

VLOCK BUILDING PROJECT*

DUMBO OFF-AXIS*

RE-SURFACE

BRAZILIAN FEAST

COLOCATION*

SYSTEMS INTEGRATION

ASSEMBLY 2

3D WEAVE

SEAM REVISITED

CRAFT + COMPUTER-AIDED ARTISTRY

VISUALIZATION

HCMC CENTER

WANDA PLAZA

TONG SHAN JIE

DFTC CLINIC

ARCHITECTURE DESIGN STUDIOS YALE SCHOOL OF ARCHITECTURE | M.ARCH 1 | 2010-2013

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INSTITUTE OF CULINARY ARTS

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YALE SCHOOL OF ARCHITECTURE | TOD WILLIAMS / BILLIE TSIEN | 2012 FALL

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São Paulo is defined by its unique topography. Sectional changes in the ground are registered through the city’s many plateau-spanning viaducts. The project’s site encompasses all levels of the city’s streets: from the uppermost Viaduto Nove De Julho to the lowermost Avenida Nove De Julho. The proposal relocates a public stair linking all three levels of road bounding the site. It takes advantage of the pedestrian-heavy viaduct by creating a new public enclave along its route while protecting against the harsh, high-speed avenue that passes below.

INSTITUTE OF CULINARY ARTS2012 FALL

CULINARY SCHOOL AND DORMITORYSÃO PAULO, BRASIL

8 VIADUTO NOVE DE JULHO: UPPERMOST LEVEL OF CITY

9BUILDING LAYOUT: DORMITORY ABOVE VIADUCT / SCHOOL BELOWCONCEPTUAL STRATEGY

EXISTING ROUTE

NEW PLACE

VIADUCT SEPARATION

10 AVENIDA NOVE DE JULHO: LOWEST LEVEL OF CITY

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DORMITORY LEVEL 2 DORMITORY LEVEL 1

DORMITORY PLANS

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1 COMMUNITY SPACE2 ENTRY COURTYARD3 TYPICAL ROOM4 TERRACE5 APARTMENT

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PLAZA LEVEL

1 CAFETERIA2 SERVING KITCHEN3 SCHOOL ENTRANCE4 PLAZA5 FIRE PIT6 TEACHING KITCHENS7 CLASSROOMS8 STUDENT LOUNGE9 THEATER ENTRANCE10 BAR11 THEATER12 FLEX SPACE13 TERRACE14 MECHANICAL

EDUCATION LEVEL

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CULINARY SCHOOL PLANS

The plaza is defined by an elevated dormitory which provides separation from the busy street. Anchored with a student-run cafeteria, this zone is programmed to foster interaction between the public and the school. In the plaza, a secured entrance to the dormitory offers a second layer of protection from the neighborhood.

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EVENT LEVEL THEATER LEVEL

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ENTRANCE TO PLAZA UNDER ELEVATED DORMITORY

PHYSICAL MODEL: DORMITORY BAR ABOVE / CULINARY SCHOOL BELOW

Relocating the existing stair allows the public to move through the project without interfering with school procedures. The formal entrance to the theater occurs where the stair turns (see Longitudinal Section: Public Stair). Due to a concern for the student’s safety, this is the only place where the stair has access to the building.

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PUBLIC STAIR: CONNECTS THREE CITY LEVELS WITHOUT INTERFERING WITH SCHOOL

As an extension of the already programmed viaduct, the educational component inhabits the extent of the site below the level of the plaza. Taking advantage of the high Brazil-ian sun, light wells are utilized to enhance common spaces below. A cooking presentation theater, available to the public during scheduled assemblages, links the school to a larger network of community sponsored event spaces, promoting a new neighborhood arts district. In the dormitory, rooms are arranged in bunks to utilize additional space for communal spaces and courtyards.

16 CROSS SECTION: THEATER

17CROSS SECTION: PUBLIC STAIR

18 LONGITUDINAL SECTION: SCHOOL

Cantilevering over the expressway, the dormitory provides the students with views down the urban corridor of Anhangabaú Valley toward the center of Downtown. It also provides a sur-face to represent the school, viewed from Anhangabaú and visible at high speeds along Avenida Nove De Julho.

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20 LONGITUDINAL SECTION: PUBLIC STAIR

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OCCUPIED FACADEYALE SCHOOL OF ARCHITECTURE | ANGELO BUCCI | 2013 SPRING

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In 2006 the city of São Paulo issued Cidade Limpa (clean city law), a ban on billboard advertisements, as a response to an overwhelming and visually distracting agglomeration of sig-nage. The removal of these large advertisements revealed many hidden favelas, or shantytowns, where squatters occu-pied the space behind the billboard. This attempt to clean the city has left many party walls exposed, giving São Paulo its distinguishing character. These party walls have been a canvas for many graffiti artists, commissioned or not, to use their artwork to animate the blank facades of the city. The project uses architecture as a means to cover the exposed walls, providing new façades for all the affected buildings throughout São Paulo.

OCCUPIED FACADE2013 SPRING

RESIDENTIAL / COMMERCIAL DEVELOPMENTSÃO PAULO, BRASIL

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BLANK WALL CONDITION AFTER BAN

SÃO PAULO BEFORE SÃO PAULO AFTER

MCDONALDS AFTER BANCLEAN CITY BILLBOARD BAN

CIDADE LIMPA (CLEAN CITY): 2006-07 BILLBOARD BAN

As residential duplex units, these 4.5M thin facades respond to the lack of housing in the Historic Downtown of São Paulo, where many buildings are left vacant as the major commer-cial and financial district relocated across town to Paulista Av-enue. As a new formula for the city, each residential tower is connected at the elevated lobby level with a series of shared open-air gardens that provide buffer from a new public arcade below. The design strategy borrows from the site’s existing context, program, and infrastructure. With the chosen site, the project capitalizes from an existing parking garage with lift, an active commercial district along 25 De Marco Street, a busy highway at the Anhangabau level, accessible rooftops, and a metro stop nearby.

26 PROGRAM: RESIDENTIAL, COMMERCIAL, INFRASTRUCTURAL

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NEW FACADE: BORROW FROM AND CONNECT TO SITE

EXISTING SITE PARTY WALLS

PARTY WALL FACADE BORROW FROM EXISTING

1 FACADE - BORROW2 ARCADE - CONNECT3 GARAGE - BORROW4 GARDEN - BORROW5 METRO - CONNECT

28 CROSS SECTION: INFRASTRUCTURAL CONNECTIVITY

Located adjacent to the Anhangabau expressway, the exist-ing parking garage provides easy vehicular access to the site. To provide additional parking for the complex, the park-ing garage is renovated and expanded utilizing its lift. It also provides additional structure for a helipad, a common form of upper-class transportation. On the opposite side, 25 De Marco is known for its heavy pedestrian traffic and street venders. By utilizing the arcade, a typology commonly repli-cated in São Paulo, a void is cut into the dense city, relieving congestion and providing another connection to the Anhang-abau level. Within this crossing, a place is defined for street vendors, safely relocating their carts from the street. Also, an air vent to the metro further connects the project with existing infrastructure while informing the public of the nearby stop at São Bento.

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ANHANGABAU (EAST ELEVATION 728M)25 DE MARCO (WEST ELEVATION 724M)

30 CROSS SECTION: DUPLEX APARTMENTS

The system developed for the apartments utilizes light, venti-lation, and views. To allow the unit to be universally replicated across São Paulo, views and glazing are oriented down the new urban void that each project will create. Using opaque materials, privacy is provided directly across this void with the anticipation of new and existing building adjacencies. The angled façade walls also prevent views into adjacent apart-ments. Each duplex unit plugs into a core, has bedrooms on the second floor, and has a double-height space with balcony access on the opposite end. The core is pulled away from the party wall to provide cross ventilation for all apartments.

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SYSTEM COMPONENTS: TWO DIFFERENT LAYOUTS

The public arcade levels of the project connect three major levels of São Paulo, the lower city (25 De Marco), the upper city (Florencio De Abreu), and the level of Anhangabau river valley. The city is defined within this 20M ground and the arcade utilizes these sectional changes to create an open, well-ventilated, and well-lit public thoroughfare. A progres-sion of retail spaces moves people by street carts at the 25 De Marco Level, to smaller newsstands, and to eventually two larger stores at the Anhangabau Level that provide a café with seating.

32 CROSS SECTION: GARDEN AND SHIFTED CORE

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25 DE MARCO LEVEL (ELEVATION 724M)

ANHANGABAU LEVEL (ELEVATION 728M)

FLORENCIO DE ABREU LEVEL (ELEVATION 740M)

34 VIEW FROM APARTMENT DOWN URBAN CORRIDOR

Keycard access to the lobby level is located under the bridged gardens at the Florencio De Abreu Level. The linked lobby level terminates in a larger garden, utilizing the roof of an ex-isting building. Entrance to the apartments above is located at the end of each bridged garden with cores that access two units per level.

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SHARED GARDEN LEVEL (ELEVATION 746M)

APARTMENT LEVELS (ELEVATION 752M+)

36 LONGITUDINAL SITE SECTION: SOUTH

37LONGITUDINAL SITE SECTION: NORTH

EVOLUTION STAMFORD

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YALE SCHOOL OF ARCHITECTURE | ALAN PLATTUS | 2012 SPRING

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The city of Stamford, CT operates as an in-between city. It is located literally between locations (New York and Boston) and between identities (City and Suburb). Upon a Google search, the images from Stamford appear disconnected and without a strong definition, especially when compared to a search of New York, the city that never sleeps, or neighbor-ing Greenwich, CT, an embodiment of quaint New England towns. Stamford, therefore, is in search of a defining image and this proposal explores the possibilities of High Speed Rail and its impact on identity in various local, regional, and global scales.

EVOLUTION STAMFORD2012 SPRING

URBAN DEVELOPMENT

STAMFORD, CONNECTICUT

IN COLLABORATION WITH:MATT HETTLER

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41FRAGMENTED IDENTITY: STAMFORD, CONNECTICUT

NEW YORK CITY GREENWICH, CONNECTICUT

The existing financial identity of Stamford developed along with its infrastructure. The city experienced large scale de-velopment as a result of the construction of I-95 in the 1960’s. As a result, financial institutions branching from New York were brought in as a response to the regional implications of the interstate. The future possibilities created by the High Speed Rail and its regional connectivity will introduce an en-tirely new scale to Stamford. The existing train station has has a limited ceiling for the kind of development that a new terminal can sponsor.

42 REGIONAL SCALE: CONNECTIVITY

43PROPOSED TERMINAL BUILD-OUT AND URBAN EXPANSION

The Terminal is situated with the existing rail and highway moving through it. Between these infrastructures is a large, pedestrian street that connects entrances on Canal St. and Altantic St. and moves up into the terminal’s volume. Retail and lobby space align the street and provide access to the platforms. Offices are located above and a terraced hotel re-sides in the high-rise that culminates with a control tower for the trains. New utilities supporting the entire development, including water storage and a power grid, are located in the tower opposite the atrium.

44 THE TERMINAL: ENGINE FOR DEVELOPMENT

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With the construction of the High Speed Terminal, three Sites were chosen along existing infrastructures that are ready for present development. The first site sits adjacent to the station and would fulfill the need for new office space resulting from the influx of business stemming from the terminal. It would respond to an existing office corridor located across Wash-ington Blvd. A public park, underground parking, ground level retail, and the cultural institution of a museum anchor the public amenities of this site into the existing urban fabric.

CIVIC PARK

OFFICE + PARK + MUSEUMSTAMFORD, CONNECTICUT

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FIRST SITE: PARK, MUSEUM, AND OFFICE TOWER

47EXISTING INFRASTRUCTURE: PARK

Referencing the current and successful waterfront develop-ment in Hamburg, Germany, the focus of this area is to re-purpose an existing industrial canal site as an extension of the terminal to include an entertainment district. Flanking both sides of the canal, which terminates into the station, are apartment buildings to the East and retail that responds to the newly constructed Fairway Market across Canal St. to the West.

CANAL DISTRICT

RESIDENTIAL + COMMERCIALSTAMFORD, CONNECTICUT

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SECOND SITE: RETAIL AND APARTMENT TOWER

49EXISTING INFRASTRUCTURE: CANAL

The third site, by the Long Island Sound waterfront, will be the location for a new Sound Research Campus that is an extension of the University of Connecticut. The campus buildings plug into the existing hurricane barrier to designate areas specifically for wetland research. A monorail that runs along Atlantic St. provides a direct link to the terminal and allows the university to connect regionally with other areas of the Sound. This educational component branches out to the infrastructure of the Sound as a more permanent element of Stamford.

RESEARCH CAMPUS

UNIVERSITY OF CONNECTICUTSTAMFORD, CONNECTICUT

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THIRD SITE: LONG ISLAND SOUND AND WETLANDS RESEARCH CAMPUS

EXISTING INFRASTRUCTURE: HURRICANE BARRIER

The growth sponsored by the High Speed Terminal is not specific to these three sites. Existing in Stamford is the op-portunity for the potential development of numerous sites in the future. With the limited capacity of the existing station, this development is only made possible through the con-struction of a new, XL-scale terminal.

52 POTENTIAL URBAN GROWTH

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BNY KUNSTHALLEYALE SCHOOL OF ARCHITECTURE | JOEL SANDERS | 2011 FALL

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A spiraling spatial sequence stitches elements of the nearby site with the city beyond and reveals typically isolated/hidden elements of back of house program along the public museum path. It differentiates between the two locations by embed-ding the entrance bar to reveal the dry dock, connecting with the immediate site and Brooklyn, and elevating the galleries to connect with the more distant city.

BNY KUNSTHALLE2011 FALL

ART AND SCULPTURE GALLERYBROOKLYN NAVY YARDBROOKLYN, NEW YORK

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59SITE STUDIES: MEDIATING BETWEEN TWO DISTINCT PLACES

ABOVE

BELOW

GALLERY

GALLERY

In experiencing the building, one is exposed to different as-pects of the art process. Three differently defined galleries (sculpture, digital media, and viewing) are linked by circu-lation through an artist community, and an administration/education component. This spatial sequence provides many unique zones for special displays of art such as installations, sculpture, painting, digital media, etc. that are essential for the temporary exhibitions of a Kunsthalle. The building dis-plays art as well as its creation and logistics.

60 GALLERY SPECIFICITY: SITE ADJACENCIES

61TWO DISTINCT GALLERIES: EMBED AND ELEVATE

The site-specificity of the dry dock gives the Kunsthalle an immediate connection with the history of the Brooklyn Navy Yard. Repurposing the unused dock allows for production space, originally for the construction of ships, to be regained and converted to an indoor/outdoor sculpture yard that an-chors the building to the historic site.

62 DRY DOCK: SPACE FOR PRODUCTION

63BROOKLYN NAVY YARD 1944

OPERATIONAL DRY DOCK

SITE SPECIFICITY

DRAINED DRY DOCK

64 LEVEL IN-BETWEENLEVEL BELOW

1 ENTRANCE 2 INDOOR SCULPTURE GALLERY 3 OUTDOOR SCULPTURE GALLERY 4 BOOKSTORE 5 ARTIST COMMUNITY 6 DIGITAL MEDIA GALLERY 7 LOUNGE 8 CLASSROOMS 9 RAMP GALLERY 10 OFFICES 11 VIEWING GALLERY 12 THEATER/FLEX SPACE

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En route to the digital media gallery, the public procession wraps around the studios, giving the artist community oppor-tunity to display process. Through a series of rotating wall-panels, the artist has complete control over privacy and ac-cess to personal terraces above. Space is provided in front of each panel for the presentation of artwork to the public.

66 LONGITUDINAL SECTION: ARTIST COMMUNITY

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MUSIC HOSTELYALE SCHOOL OF ARCHITECTURE | TINA MANIS | 2011 SPRING

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Situated compactly, components of livable space (structure, material, program, etc.) depend on an economical arrange-ment. The project explores human scale relationships to uti-lize individual spaces for maximum efficiency. As a result, the residual space produced is reused to provide for larger, luxu-rious communal performance areas. The core of the building, labeled “performance,” houses communal activities, and the volume attached to it focuses on the individual.

MUSIC HOSTEL2011 SPRING

HOSTEL FOR MUSICIANSDOWNTOWNNEW HAVEN, CONNECTICUT

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SECTION: INDIVIDUAL (ROOM) VS COMMUNAL (PERFORMANCE SPACE)

FORM STUDIES: FACADE PERFORMANCE

The transition from spatial efficiency to spatial lavishness is gauged by interaction between individual and group. Allow-ance for luxury fractures the economical rigidity and creates contention for programmatic arrogance on the facade. These communal spaces project outward to integrate the compart-mentalized interior with the rest of the building, site, park, and community.

72 SPATIAL MODEL STUDY

73DETAILED SECTION: PERFORMANCE SPACE STUDY

74 VIEW FROM ORANGE STREET

LEVEL 3.5

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LEVEL 5.0

LEVEL 4.5

LEVEL 2.5

SPATIAL LUXURY VS SPATIAL ECONOMY

VLOCK TEAM FYALE SCHOOL OF ARCHITECTURE | A. BENNER / J. LEUNG | 2011 SPRING

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The program for the 2011 Vlock Building Project called for a three-bedroom owner unit in conjunction with a two-bedroom tenant space. As a means for the owner to attract tenants, preference in form was designated to the rentable space. The owner, however, was given possession of the front fa-cade and yard. Pushed to the back of the house, the slight rotation of the tenant’s unit aligns with a predominant viewing axis on site to provide another separate, but visible, connec-tion to the street.

VLOCK TEAM F2011 SPRING

HOUSING COMPETITION ENTRY

NEW HAVEN, CONNECTICUT

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79TENANT UNIT ROTATION

LEVEL 1

TENANT ENTRANCE

OWNER ENTRANCE

LEVEL 2

Through its traditional form, the front of the house was de-signed to blend into the existing urban fabric of the site by using proportions that correspond to adjacent buildings. This allowed for the formal aberration to occur at the back of the house, less noticeable from the street. To address the own-er’s concern for privacy, separate entrances were created. Higher windows were also implemented in the tenant’s space to prevent direct views into the owner’s backyard.

DESIGN TEAM:

TEOMAN AYASTODD CHRISTENSENCARL CORNILSENSARAH GILLBRANDON HALLMATT HETTLEROWEN HOWLETTAMY KESSLERYASEMIN TARHAN

80 OWNER’S UNIT: VIEW TOWARD FRONT ELEVATION

81FRAMING STRATEGY: STRUCTURAL MODEL

ROTATION OF TENANT UNIT CREATES STREET PRESENCE

The 2011 Vlock Building Project was designed and construct-ed entirely by the class of 2013 at the Yale School of Archi-tecture in collaboration with Neighborhood Housing Services of New Haven. The 1500 SF low-income house includes three bedrooms with a separate, two bedroom 900 SF rental unit. This tenant’s unit is on the second floor with an entrance opposite to the owner’s, providing privacy between the two occupants. The project conforms to Energy Star® 3.0 stan-dards for equipment and building performance.

VLOCK BUILDING PROJECT2011 SUMMER

SELECTED SCHEME

NEW HAVEN, CONNECTICUT

CLASS OF 2013

ALAN ORGANSCHIADAM HOPFNER

82 VIEW FROM ORCHARD STREET

YALE SCHOOL OF ARCHITECTUREA. ORGANSCHI / A. HOPFNER

2011 SU

83VLOCK BUILDING PROJECT 2011

VIEW TOWARD BACK YARD

TENANT STAIR

DUMBO OFF-AXISYALE SCHOOL OF ARCHITECTURE | BEN PELL | 2010 FALL

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The theme of trespassing, as it relates to circulation and pro-gram, deals with the forced interplay of public and private spaces and the intentional displacement of a perceived path. The proj-ect’s public realm, reliant on axiality, incorporates a direct prom-enade with programmatic events occurring at grand scales to provide entertainment for audiences from the greater New York City metropolitan area. In contrast, the local community’s experi-ence relies on permeability and captures the intimate nature of the site to connect with adjacent neighborhoods and park space. Interference with the axial public path forces a staged interaction between two separate users of the site and park.

DUMBO OFF-AXIS2010 FALL

COMMUNITY CENTERD.U.M.B.O. BROOKLYN, NEW YORK

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87DIAGRAM: AXIAL PATH (SANT’ ANDREA DELLA VALLE) INTERSECTED BY OBLIQUE PATH (BARCELONA PAVILION)

SECTION THROUGH COURTYARD

SECTION THROUGH THEATER

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MODEL IN CONTEXT: TOBACCO WAREHOUSE AND BROOKLYN BRIDGE PARK

ROOF LEVEL 2 LEVEL 1

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LEVEL 2

LEVEL 1

1 FORMAL ENTRANCE2 INFORMAL ENTRANCE3 MUSEUM STORE4 LOCKER ROOMS5 LOADING DOCK6 COFFEE SHOP7 TERRACE8 PARK9 COURTYARD10 FORMAL ENTRANCE 11 THEATER12 ART GALLERY13 RESTAURANT

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RE-SURFACEYALE SCHOOL OF ARCHITECTURE | BEN PELL | 2010 FALL

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Through a designed measurement system, the folded surface controls transparency levels of a series of enclosures and apertures that generate a dialogue between two separate occupants. Manipulating the field condition, created through the surface’s application, allows for a controlled sequence of interaction to occur between two destinations. The tech-nique of the “pinch” provides structure to the material while also allowing for apertures perpendicular to the direction of the folds.

HAND DRAWN PLAN AND SECTIONS 91

BRAZILIAN FEASTYALE SCHOOL OF ARCHITECTURE | TOD WILLIAMS / BILLIE TSIEN | 2012 FALL | WITH MICHAEL MILLS

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In preparation for a Brazilian feast before travel to São Paulo, the studio was instructed to design and fabricate a utensil and vessel for the display and consumption of a prepared food dish. Moqueca, a traditional Brazilian fish stew, was served in five sealed Rockite bowls casted into vacuum-formed plastic molds. The ladle was created from sanded-down, vacuum-formed ABS plastic. Its form was designed to hold one serving of moqueca, and fit inside the bowl for easy distribution of stew. It responds to the contours and motion of the hand while serving.

93LADEL AND BOWL TO SERVE MOQUECA

ACADEMIC SEMINARSYALE SCHOOL OF ARCHITECTURE | M.ARCH 1 | 2010-2013

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COLOCATIONYALE SCHOOL OF ARCHITECTURE | KYOUNG SUN MOON | 2011 FALL

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The term “colocation” refers to the close proximity of serv-ers and their offices, allowing for increased speed in busi-ness transfers, and therefore, more profitability. The project proposes an office tower coupled with a vertical server farm, to allow for the close monitoring of this equipment. Servers are designed as complete units that are attached to exposed areas of the core to catch Chicago’s prevailing winds for cool-ing. The building accommodates these servers by providing sufficient structure and a custom “server elevator” that allows for these units to be lifted and plugged into place.

COLOCATION2011 FALL

OFFICE TOWER

CHICAGO, ILLINOIS

IN COLLABORATION WITH:TOM FRYER

98 EXPOSED CORE CATCHES PREVAILING WINDS FOR COOLING

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TYPICAL FLOOR (85-120)

TYPICAL SKY LOBBY (2)

TYPICAL FLOOR (45-80)

SERVER EXCHANGE/ MECHANICAL

TYPICAL FLOOR (4-40)

PACKAGED SERVER UNIT

OPERATIONAL SERVER UNIT

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ASSEMBLY 2YALE SCHOOL OF ARCHITECTURE | BRENNAN BUCK | 2013 SPRING

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The Arts and Ideas Festival in New Haven asked the class to design and build a pavilion that could easily travel between three sites prior to the main event on New Haven’s Green. The project was required to be easily assembled, packed, and stored in an 8’X35’X14’ truck bed. Interactivity is also a main focus as the project uses domes to create five differ-ent aural environments. Each dome is constructed out of low density foam and reinforced by fiberglass to create a light-weight structure and isolate noise. For quick and easy as-sembly, each dome is split into 4-6 vertical slices and secured by a system of tabs and zip-ties. The 22 constructed pieces are efficiently stacked for storage.

ASSEMBLY 22013 SPRING

TRAVELING PAVILION

NEW HAVEN, CONNECTICUT

ARTS AND IDEAS FESTIVAL 2013

CONSTRUCTION MOCK-UP104

ELEVATION: QUARTER DOME PIECES

CONSTRUCTION PLAN: ALL COMPONENTS

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DESIGN TEAM:

TEOMAN AYASDINAH ZHANGMICHAEL MILLERCRAIG ROSMANJAY TSAICHENXI GONGSUNHI CHUNGBORIS MORIN-DEFOYNEIL FLANAGANNOAH MORGANSTERNHIBA BHATTY DION CHO

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SYSTEMS INTEGRATIONYALE SCHOOL OF ARCHITECTURE | K. KAWKINS / E. STANLEY / P. STEINER | 2012 SPRING | LINDA LEE / CARL CORNILSEN

108 STRUCTURAL DRAWING FROM REVIT MODEL

Using Autodesk Revit 2012 Architecture, MEP, and Struc-tural software, our objective was to retrofit a Fall 2012 studio project (Linda Lee) with these systems. In close collabora-tion with architectural consultant, Kristen Hawkins from Pelli Clarke Pelli, structural consultant, Ed Stanley from Edward Stanley Engineers, and Phil Steiner from Altieri Sebor Wieber Consulting Enginners, a full set of detailed drawings were produced that outlined all building components and construc-tion phasing.

109EXPLODED SECTION OF ALL BUILDING COMPONENTS

3D WEAVEYALE SCHOOL OF ARCHITECTURE | B. PELL / J. EBERHART | 2011 SPRING | WITH NICK KEHAGIAS

110 INDIVIDUAL PROTOTYPES: ROCKITE

The project aims to create a wall-system from the aggrega-tion of two self-similar forms. Each piece was designed to nestle within the other in order to provide a stable connection when multiplied. The final product was fabricated with the use of a CNC 3-axis mill to create the inverted form of the mold. Rockite was then casted into the foam mold to produce a prototype of each piece.

111CNC MILLED FOAM MOLD

INDIVIDUAL PROTOTYPES: FOAM

AGGREGATED COMPONENTS

SEAM REVISITED YALE SCHOOL OF ARCHITECTURE | B. PELL / J. EBERHART | 2011 SPRING | WITH NICK KEHAGIAS / AARON DRESBEN / ALEX CHABLA

112 VIEW FROM RUDOLPH HALL

VIEW FROM LORIA CENTER

As an appendage to Paul Rudolph’s Art and Architecture building, the Loria Center, by Gwathmey and Siegel, sits as its modern counterpart. The project expresses the seam be-tween the two buildings by obstructing movement into either space. The form of the piece makes the passerby uncomfort-able and forces them to take a seat and inhabit the seam. It makes obvious the transition between the two buildings that often goes unnoticed. The piece is constructed out of one inch thick insulation foam, laminated and melted together via heat gun.

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29.00

83.00

6.00

62.00

30.00

2.001.50

54.00

6.00

5.25

5.75

83.00

9.00

48.54

41.25

16.75

16.96

32.50

11.25

9.50

11.25

11.256.00

7.7511.25

11.25

11.25

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13.00

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2.50

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LORIA CENTER

EXPANSION JOINT: SEAM BETWEEN BUILDINGSSCALED MODEL: INHABITING THE SEAM

SURFACE TREATMENT

CRAFT + ARTISTRYYALE SCHOOL OF ARCHITECTURE | KEVIN ROTHEROE | 2012 SPRING

114 OIL AND WATER MIXTURE

The goal of the seminar was to produce a tile of a larger, ag-gregated system at building scale. After an initial exploration of oil and water, the challenge was to capture the movement and luminosity of the original sampling in material form. An image was carefully selected according to the ratio of black vs. white to create varying thicknesses in a digital heightfield. Using a 3D printed tile created from the heightfield, I became interested in the passage of light through the material and the opportunity for aperture. The final version combines a multi-stepped process that involved casting wax into a 3-D printed mold and then using the solidified wax as a new mold for plaster. When the plaster dried, the wax was melted away to produce the final form.

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HEIGHTFIELD SAMPLES

3D PLASTER PRINT OF HEIGHTFIELD FINAL PRODUCT: PLASTER WITH MELTED WAX MOLD

WAX MOLD CREATED FROM 3D PRINT

VISUALIZATIONYALE SCHOOL OF ARCHITECTURE | GEORGE KNIGHT | 2011 SUMMER

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117CHARCOAL: WITH CARL CORNILSEN AND OWEN HOWLETT

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119GRAPHITE ON ACID-FREE DRAWING PAPER

END

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