Jeffrey White Portfolio 2008-2011

J E F F R E Y W H I T EPORTFOLIO 2008-2011

COLUMBIA UNIVERSITY GSAPPMASTER OF ARCHITECTURE

YEAR

YEAR

YEAR

2

3

1

J E F F R E Y W H I T EPORTFOLIO 2008-2011

A prodigious education or foundation in architecture allows one to dream, design and eventually construct substantial works of the built envrionment. These

works can be exemplars and supportive to the engagement of current and past ideals of design, and oftentimes strive for such accolades. However, a common

thread throughout my work the past three years at Columbia was not to conform to this known and accepted discourse, instead to see it as resolutely static.

Therefore my projects, each in their own manner, are attempts to agitate (through inventive and resourceful approaches) as a way of questioning the current

discourse in hopes to make it stronger and more durable in their potential outcomes.

SUPPORTIVE ENGAGEMENT AGITATIONSUBSTANTIAL RESOURCEFUL

CONT

ENTS

EXPLOR

ATIONS

URBAN LABORATORY

ATMOSPHERES

META- BLOCK

231 BOWERY NYC

THE CHINESE CITY

ORCHARD.HOUSING.GROVE

PERFORATED PANELS

MASS VS. VOID

ARTISTS STUDIOS

RECONFIGURING LIBERTY ISLAND

HISTORIC FACADES

UM MANUAL

1

2

3

4

5

67

8

9

PAGE 6

PAGE 14

PAGE 18

PAGE 22

PAGE 30

PAGE 32

PAGE 44

PAGE 52

PAGE 54

PROJECT

PROJECT

PROJECT

PROJECT

PROJECT

PROJECT

PROJECT

PROJECT

PROJECT

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11

11.1

PAGE 62

PAGE 72

PAGE 74

PROJECT

PROJECT

NECCESSARY PROPAGATION12 PAGE 84PROJECT

CIUTAT MERIDIANA13 PAGE 88PROJECT

PROJECT

VIEW FROM MARKET SPACE

1

urban laboratoryFOR AGRICULTURAL RESEARCH, PRODUCTION, DISTRIBUTION AND POLICY


6


The Urban Laboratory for Agricultural Research, Production, Distribution and Policy is a mIxed use program that acts as a response to the problem of providing food for rapidly growing urban environments. Currently 60% of the earths population lives in an urban environment and this percentage will increase to 80% by 2050. To further distinguish this potential problem, the global population will increase by 3 billion in that same time frame. Urbanization is thus a potential problem as current models, like New York City, lack collaborative production and distribution centers for urban grown produce. Furthermore, the city is without a current model for how to produce large quanities of produce within its urban environment.

The design is a response by combining this provocation with the informal urban systems of street vending, a produce market, a restaurant as well as research potentials to act as a spatial experiment. In this manner, it is a parasitic intervention which laches onto the site (physically) as well as the cities infrastructure (West Side Highway, Holland Tunnel, Canal and Spring Streets) to distribute produce as well as knowledge to the general public of New York City.

Produce production occurs through a Hydroponic System which is supplied with water and nutrients via an arterial, siphoned route. The water is collected on the roof, filtered through a central core and deposited in a street level reservoir. This water system does not require energy as the siphon is created by air prressure which is provided by the buildings parasitic connection to the Holland Tunnels exhaust tower.

provide produce to recreational facilities along hudson river

provide produce to vendors on West Broadway Market

possible inclusion of NYU Union Square Green Market

site

CORE STUDIO 1: PROFESSOR GALIA SOLOMONOFF

JEFFREY WHITE PORTFOLIO 2008-2011 7


HYDROPONIC PLANTING SYSTEM

Rain Water Collecting Roof

Transparent Filtration System

Natural Filter

Industrial Filter

Reservoir

Siphon Through Planters

Wat

er T

rave

ls B

ack

Thro

ugh

Syst

em a

nd R

e-d

epos

ited

in R

eser

voir

Via

Sip

hon

Hydroponics (From the Greek words hydro, water and ponos, labor)

Is a method of growing plants using mineral nutrient solutions, in water, without soil. Terrestrial plants may be grown with their roots in the mineral nutrient solution only or in an inert medium, such as perlite, gravel, mineral wool, or coconut husk.

Researchers discovered in the 19th century that plants absorb essen-tial mineral nutrients as inorganic ions in water. In natural conditions, soil acts as a mineral nutrient reservoir but the soil itself is not essential to plant growth. When the mineral nutrients in the soil dissolve in water, plant roots are able to absorb them. When the required mineral nutrients are introduced into a plant's water supply artificially, soil is no longer required for the plant to thrive.

8


Distribution FacilityLaboratory

Water Reservoir

Market/ Elevated Park

Laboratory LaboratoryLaboratory

Social Space/ Gathering Area

Lobby/ Social Space

Section A

Inform Water Filtration/ Circulation through Hydroponic Siphon SystemInform Market Distribution/ Circulation through Program and Site

dirty blood

clean blood

waste and excess water

water with nutrients

excess water back to reservoir

nutrients absorbed by plants

water with nutrientsexcess water back to reservoir

W A T E R

systematically informed

area of diffusion

KIDNEYFILTRATION DIAGRAM

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Lobby/ Social Space

Restaurant

Restaurant

Laboratory


Water Reservoir

Market/ Elevated Park

Distribution Facility

Laboratory

Section B



Circulation/ Green Space

Lobby

Lab Gathering Area

Public Social

Research

Harvesting/ Maintenance

Distribution

Social Space 13,900 sf

Program 11,200 sf

SPATIAL D I S T I N C T I O N S

Level 01Street Ground Level6750 sf

B

A

Level 02Market Ground Level6000 sf (interior)7000 sf Market (exterior)

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SPATIAL D I S T I N C T I O N S


Laboratory

Laboratory

Laboratory

Laboratory



Restauranr

Outdoor Social Space

Circulation

Roof PlanLevel 04Level 035,350 sf 7,700 sf for collecting rain7000 sf (interior)

1000 sf (exterior)



MEGA BLOCK TO META-BLOCK

http://video.google.com/videoplay?docid=2777573406212584736&hl=en#

2

The Meta-Block is a de-monumentalization of the mega-scale infrastructure of Beijing. By linking multiple levels and ecological systems, it is an organic, holistic logic that complements the ring roads and towers-in-the-private-park. And it is a balancing act between Big and Small: it does not negate the value of the pragmatic large-scale framework, but rather recalls the historical value of Chinese architecture as a mediator between the larger cosmos and smaller habitats.

Mega-block development, in its current trajectory, is unsustainable in all aspects of the word: socially, environmentally, economically,and as a part of the built environment. The transformation into Meta-Blocks reinserts sustainable strategies into the existing city structure: Meta-plane (multi-level and cross-block connectivity and access to open spaces), Meta-transport (reprioritizing pedestrian and bike circulation above the massive vehicular grid), Meta-ecology (localized interaction between inhabitants and constructed nature), Meta-infrastructure (upgrading local telecommunications, water filtration, energy, waste revitalization), and Meta-economy (linking more diverse demographics, including the insertion of low-income housing, to new infrastructure.)

STILLS FROM VIDEO

meta-block

CHINA LAB BEIJING SUMMER WORKSHOP 2008

P R O J E C T F I L M

PROJECT WITH JEFFREY JOHNSON, CRESSICA BRAZIER, XU CHEN, EGBERT CHU, CAREN FAYE, STEVEN GARCIA,CHRIS GEE, DANNY KID, SHARON KIM, TAT LAM, DEBBIE LIN, DEBORAH RICHARDS

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MEGA BLOCK TO META-BLOCK

http://video.google.com/videoplay?docid=2777573406212584736&hl=en#

2

The Meta-Block is a de-monumentalization of the mega-scale infrastructure of Beijing. By linking multiple levels and ecological systems, it is an organic, holistic logic that complements the ring roads and towers-in-the-private-park. And it is a balancing act between Big and Small: it does not negate the value of the pragmatic large-scale framework, but rather recalls the historical value of Chinese architecture as a mediator between the larger cosmos and smaller habitats.

Mega-block development, in its current trajectory, is unsustainable in all aspects of the word: socially, environmentally, economically,and as a part of the built environment. The transformation into Meta-Blocks reinserts sustainable strategies into the existing city structure: Meta-plane (multi-level and cross-block connectivity and access to open spaces), Meta-transport (reprioritizing pedestrian and bike circulation above the massive vehicular grid), Meta-ecology (localized interaction between inhabitants and constructed nature), Meta-infrastructure (upgrading local telecommunications, water filtration, energy, waste revitalization), and Meta-economy (linking more diverse demographics, including the insertion of low-income housing, to new infrastructure.)

STILLS FROM VIDEO

meta-block

CHINA LAB BEIJING SUMMER WORKSHOP 2008

P R O J E C T F I L M

PROJECT WITH JEFFREY JOHNSON, CRESSICA BRAZIER, XU CHEN, EGBERT CHU, CAREN FAYE, STEVEN GARCIA,CHRIS GEE, DANNY KID, SHARON KIM, TAT LAM, DEBBIE LIN, DEBORAH RICHARDS



COLUMBIA UNIVERSITY GSAPP STUDIO X BEIJING

16


COLUMBIA UNIVERSITY GSAPP STUDIO X BEIJING



CONTOURS1

CONTOURS2

CHASMS

DIRECTIONALITY/TEXTURE

FRACTURES

CONTOURS1

CONTOURS2

CHASMS

DIRECTIONALITY/TEXTURE

FRACTURES

[email protected] [email protected]

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18

[email protected]@6.00

CORE 1: PROFESSOR GALIA SOLOMONOFF

EXPERIMENTS WITH ICE TECTONICSatmospheres


3VIEW FROM MARKET SPACE

TEST RUN 1

TEST RUN 2

20

CORE 1: PROFESSOR GALIA SOLOMONOFF

EXPERIMENTS WITH ICE TECTONICSatmospheres


231 BOWERY NYCTHE MUSEUM OF DELINEATION

4 STUDIO THESIS:

Core II Studio Description The Museum of Delineation/MOD is a museum for the arts, production and tools of delineation. MOD collects, exhibits, and educates the public on all manner of linear representations both analog and digital. MOD contains both flexible and permanent galleries for works ranging in scale and content from the postage stamp to urban graffiti to digital installations.

The site, 231 Bowery, is bordered on the north by the New Museum of Contemporary Art and south by the Bowery Mission. It is a 47,000-square-foot six-story structure occupied by a restaurant-supply company and was acquired by the New Museum of Contemporary Art for future expan-sion. The New Museum, designed by Sanaa. opened in 2006. These two institutions indicate the shifts in public culture along the Bowery from an infamous 'skid row' to the Bowery as the cusp of contemporary design.

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NDITIONS

26

915

13

12

GROUND PLANE

HEIGHT OF FIRST BLOCK (NEW MUSEUM)

HEIGHT OF SECOND BLOCK (NEW MUSEUM)

HEIGHT OF THIRD BLOCK (NEW MUSEUM)

HEIGHT OF FOURTH BLOCK (NEW MUSEUM)

28

49

75

TOP OF ADJACENT BUILDING

75

40

50

CURRENTLY BLOCKED BY BOWERY MISSIONBLOCKED BY NEW MUSEUMNORTH FACADE SOUTH FACADE

OPEN FROM ALLEY

POTENTIALLY BLOCKED BY FUTURE BUILDINGSOUTH FACADEBASED OF SITE CONDITIONS/ ZONING REGULATIONS

INITIAL SITE CONDITIONS ANALYSIS

CORE STUDIO 2: PROFESSOR JOAQUIM MORENO



gallery zone

gallery zone

education zone

cafe

reception

administration zone

administration zone

LESS

INTE

NSE

LIG

HT

SCAT

TERI

NG

MO

RE

INTE

NS

E LIG

HT S

CA

TTE

RIN

G

COREIICE PROJECT 1

southern light reected o The New Museum

northern light

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BOWERY MISSION

BOWERY ST

STANTON ST

PRINCE ST

1 = 64 CONTEXTUAL PLAN

3

2

1

4

5

13

open to belowopen to below

open to below

+4

6713

open to below

open to below

open to below

89

910

11

12

11

12

13

13

13

13

main entrance

reservations/ ticket counter/ login

plaza/ lobby/ reception

restrooms

event/ performance space

museum/ book store

lounge/ reading rooms

cafe

conference rooms/ offices

education zone/ training/ IT

large works galleries

small works galleries

loading dock

123456789

10111213

L1

L2

L3

L4

L5

L6



SMALL WORKS GALLERY

LARGE WORKS GALLERY

LARGE WORKS GALLERY

15

2

6

15

+ 100 = ROOF PLANE

+ 110 = LIGHT WELL PEAK

+ 85 = LEVEL 6

+ 62 = LEVEL 5

section cross

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section longitudinal



4231 BOWERY NYCTHE MUSEUM OF DELINEATION

28


CORE STUDIO 2: PROFESSOR JOAQUIM MORENO



5 the chinese cityPUBLICATION CONTRIBUTION (with Deb Lin)30

CONTEMPORARY CHINESE URBANISM: PROFESSORS JEFFREY JOHNSON


50 Orange70 Appleliters of water forone single (100 g) liters of water forone studio (500 sf) liters of water forone single (100 g)

percentage of water one single (100 g)

percentage of water one single (100 g)

percentage of water one person

54 Res. UnitIn average about 500 liters of waterare needed to produce one kilogramof oranges.One glass of orange juice (200 ml)requires about 170 liters of water.

Person: 2 liters (day)Flush a Toilet: 6 liters (x4 day)Sink: 5 liters (1 sec) Shower: 23 liters (4 min)

In average about 700 liters of waterare needed to produce one kilogramof apples. The exact amount of waterdepends on the origin and breed ofthe apple.One glass of apple juice (200 ml)requires about 190 liters of water.

Orange84 62 85Apple Res. Unit

Orange60-8568-7432-85 Apple Res. Unit

WATER

WATER

consumption

percentage

TEMPERATURE range

The American Society of Heating, Refrigertation, and Air- conditioningEngineers (ASHREA), specifies thermalcomfort conditions acceptable to 80%or more of the occupants within a space.The standard recommends the following temperatures: 68-74 OF (winter) and73- 79 OF (summer).

OF OFOF

% % %

32


1914Orange1738 Appletotal number of trees (on site) total number ofunits (on site) total number oftrees (on site)1500 Res. Unit4800 people x 365 = 1,752,000 a year

1 boxes = 26,136 (grams of oranges)26,136/ 100 (one orange) = 216.36 (oranges/box)1 (tree) = 3.5 (boxes)216.36 x 3.5 = 915 (oranges/tree)915 x 1914 (trees) = 1,752,000 (oranges produced a year)

4800 people x 365 = 1,752,000 a year

1 bushel = 126 (apples)126 x 8 (bushels/tree) = 1008 (apples/tree)1008 x 1738 (trees) = 1,752,000 (apples produced a year)

60% Affordable HousingStudio UnitsOne Bedroom UnitsTwo Bedroom UnitsFour Bedroom Units

1500 x 3.2 (people/unit)= 4,800 people

150 Orange500 Apple sf

sf

sf500 Res. Unit

UNITStotal required

SIZE minimum required

25

2510

15

20

30

THREE SEEMINGLY UNRELATED AND ISOLATED OBJECTS (AND THEIR SUPPORT SYSTEMS) CAN AND SHOULD CO-EXIST

orchardHOUSINGgrove




6 orchardHOUSINGgrove(project with Isabelle Rijnties)CORE STUDIO 2: LOT-EK STUDIO

34


Unpruned apple tree 25x2525 Pruned apple tree 25x2525 New Model of Pruning Potential 12.5x25x25

12.5

25

1

2

3

Placing the orchard on a slope allows for a densification without disrupting each trees ability to recieve unobstructed, direct light.

The inclusion of orchard and architecture is a symbiotic relationship, allowing for the potential relationships between various building systems/ orchard systems.

10

20

25252525252525

1 Traditional Orchard Spacing

12.5

12.5

12.5

12.5

12.5

12.5

12.5

12.5

12.5

12.5

2 3Densification Potential for Intervention with Residential Units



SECTION 1 LOOKING WEST





Longitudinal Section

36


25.00

UNIT TYPE 1 UNIT TYPE 2 UNIT TYPE 3

Kitchen Sink

Shower/ Bathroom Sink

Clothes Washing

Toilet FlushingTrees

Water Management USE AND RE-USE

GREY WATER TREATMENT (PHYTOREMEDIATION)

BLACK WATER OUT

TREATED GREYWATER (UNIT RE-USE)

POTABLE WATER IN

BLACK WATER TREATMENT ONSITE

38


SECTION 1 LOOKING NORTH










SITE PLAN



ORCHARD/ GROVE

RESIDENTIAL/ RETAIL

SITE CIRCULATION

LEVEL 1LEVEL 2LEVEL 3LEVEL 4LEVEL 5LEVEL 6LEVEL 7LEVEL 8LEVEL 9LEVEL 10LEVEL 11LEVEL 12LEVEL 13LEVEL 14LEVEL 15LEVEL 16LEVEL 17LEVEL 18LEVEL 19LEVEL 20

ORCHARDORGANIZATION AND LAYERS

40


+JEFFREY WHITE PORTFOLIO 2008-2011 41


6 orchardHOUSINGgrove

PHYSICAL MODEL IMAGES

42


7perforated panelsINTERPOLATING CONDITIONS


44

MIDDLE JOINT

END JOINTS

VISUAL STUDIES: COMPONENT SYSTEMS




perforated panelsINTERPOLATING CONDITIONS

46



perforated panelsINTERPOLATING CONDITIONS


Clouds act as a screen that l ter, d i use and refract natural sunl ight that shines through. This project a l lows for the potent ia l to take those ideas of l ight l t rat ion and transform them to the scale of the perf panel . The panels become a gradient that can l ter art i c ia l l ight in the same manner that couds t ranform natural l ight .

IMAGE 1

IMAGE 2

IMAGE 3

GRADIENT PATTERN 1

GRADIENT PATTERN 2

GRADIENT PATTERN 3

FLATTENED FOLD PATTERN 1



7.1

perforated panelsLIGHT FILTRATION/ DIFFUSION


48

PANEL 1 PANEL 2 PANEL 3



perforated panelsLIGHT FILTRATION/ DIFFUSION


50

8mass vs. voidVIEW FROM MARKET SPACE

OBJECTIVE:We began with a set of adjectives related to the dichotomy of mass and void: relation of top and bottom, smooth vs. textured, time and sequence, organic and engineered We were also influenced by and wanted to re-reinterpret current methods of concrete construction like casting and shotcrete. This led us in the direction of two distinct techniques based under the umbrella ideal that one of the most flexible places for experimentation is creating a lack of orientation. The prescribed dimension (1x1x1) allowed us to set-up a series of experiments that questioned the notion of top and bottom in concrete casting and in turn seeing how far we could push concrete from a stereotomic material to a tectonic material without using it in a manner looses its concrete-ness.

TEXTURE SAMPLES:Texture Samples: We tested a variety of concrete mixtures/ formwork materials and decided that curing time and concrete consistency were the most important factors. Other factors included texture of the concrete, color, ease of pouring, how much the concrete would disperse and fill the cast, weight.

52

VISUAL STUDIES: CONCRETE OBSESSIONS

STEP ONE: FILLING FORMWORKS WITH NEGATIVE SPACE (BALLOONS)To create the balance between positive and negative space in the cast, we chose balloons for the inverse space. Balloons are light, keep relative shape during curing, did not break often, and after curing we could pop them to remove from the cast. We used both air and water balloons- each of which had positive and negative aspects. Water Balloons would not float to the top of the cast due to their weight, and Air Balloons kept the casts relatively light. Furthermore, the latex of the balloon created a smoother texture than the foam-core which allowed for three distinct textures : Smooth, Semi-Smooth and Rough where the concrete broke.

STEP ONE: FORMWORKS IMAGE

STEP THREE: REMOVING FORMWORKS

STEP TWO: FILLING ORMWORKS IMAGE

STEP T WO: FILLING FORMWORKS WITH POSITIVE SPACE (CONCRETE)We found that it was important to mix the concrete after the balloons were either in place or readily available to be put in place, with attention given to the right ratio of balloons to allow for enough concrete to be poured to be solid, yet not too large of a volume of balloons which would not allow us to cap the formwork. This often meant preparing the cast with the balloons and having a general idea of the amount of concrete we were going to pour in relation to balloons, then removing all but the first layer of balloons. Each cast then had about 3-5 layers of balloons and therefore 3-5 different pours of concrete to be able to control the variables (that balloons do not shift/ concrete evenly fills the space between the balloons).We also found that mixing the concrete in smaller increments (opposed to mixing the amount of concrete that would fill the cast all at once) was beneficial because it allowed us the ability to be more precise with the pour as well as keeping the concrete fresh and fluid at all times. Pouring in layers allowed for much more control of the balloon placement as well as kept them from floating to the top.

Professor Keith Kaseman


Project with Benedict Clouette, Alina Gorokova, Irene Brisson

SOUTH FACADE: BRICK SCREEN

9

the artist studiosBRONX, NEW YORK

ARCHITECTURAL TECHNOLOGY V


54


Project with Benedict Clouette, Alina Gorokova, Irene Brisson

SOUTH FACADE: BRICK SCREEN

9

the artist studiosBRONX, NEW YORK

ARCHITECTURAL TECHNOLOGY V




23

SKYLIGHT STRUTS

THREADED TENSION ADJUSTMENT BOLTS

EXPANSION JOINT LINE


A##-## SOUTH FACADE: SINGLE FLOOR BRICK AXONOT TO SCALE

A##-## SOUTH FACADE: SINGLE FLOOR EXPLODED AXONOT TO SCALE

STEEL COLUMN W12

CONCRETE FLOORSTEEL DECKING

FIREPROOFING

ALUMINUM GRILL CEILING

BOLTED ANGLE CONNECTION

GYPSEUM BOARD FIREPROOFING

STEEL C-CHANNEL

DETAIL: COLUMN TO BEAM

56


23

SKYLIGHT STRUTS

THREADED TENSION ADJUSTMENT BOLTS



A##-## SOUTH FACADE: SINGLE FLOOR BRICK AXONOT TO SCALE

A##-## SOUTH FACADE: SINGLE FLOOR EXPLODED AXONOT TO SCALE

STEEL COLUMN W12

CONCRETE FLOORSTEEL DECKING

FIREPROOFING

ALUMINUM GRILL CEILING

BOLTED ANGLE CONNECTION

GYPSEUM BOARD FIREPROOFING

STEEL C-CHANNEL

DETAIL: COLUMN TO BEAM



EXTERIOR SOFFET PANEL

5 SHELF ANGLE

WEEP FLASHING

COMPRESSIBLE EXPANSION PAD

THREADED TIGHTENING BOLT

RAIN GUTTER

EMBED TIE-BACK

WEEP FLASHING

DROPPED WATERPROOF CEILING PANEL

ANGLED SKYLIGHT FRAMING

WIRE LADDER @ 24 O.C. (6 courses)

WELDED TAB CONNECTIONW8 BEAM

WELDED STIFFENER PLATES

THREADED STEEL TENSION ROD (3/4 Dia.)

EMBEDDED CONNECTION PLATE 4 - 3/4 THREADED BOLT STUDS

5 SHELF ANGLE

RECTANGULAR STEEL HEADER (9x5x0.5)

WEEP FLASHING

3" 4 3/4" 2 1/2" 3 1/4" 9" 3"

8"6 1/4"6"8 1/2" 5 1/4"8"6 1/4"6"5 1/4"8"

2'-10"2'-10" 2'-10" 2'-10"2'-10" 2'-10"

17'-0"

A02- 01. BRICK REPEATABLE UNIT PATTERNNOT TO SCALE

19'-2"

TRANSOM

SILL

HEAD

INSULATED PANEL UNIT

CURTAINWALL SYSTEM(KAWNEER 7500)

SLAB ON GRADE W/ CONCRETE SPREAD FOOTING

RIGID INSULATION

GLAZING

FLASHING

HALFEN ANCHOR

NORTHERN FACADE: GLASS DETAILCROSS SECTION

2.

3.

2.1.DETAIL: INLINE AT COLUMN DETAIL: SKYLIGHT AT BEAM 3.DETAIL: SOFFET AT BEAM

DETAIL: BRICK LAYOUT PATTERN

58


EXTERIOR SOFFET PANEL

5 SHELF ANGLE

WEEP FLASHING

COMPRESSIBLE EXPANSION PAD

THREADED TIGHTENING BOLT

RAIN GUTTER

EMBED TIE-BACK

WEEP FLASHING

DROPPED WATERPROOF CEILING PANEL

ANGLED SKYLIGHT FRAMING

WIRE LADDER @ 24 O.C. (6 courses)

WELDED TAB CONNECTIONW8 BEAM

WELDED STIFFENER PLATES

THREADED STEEL TENSION ROD (3/4 Dia.)

EMBEDDED CONNECTION PLATE 4 - 3/4 THREADED BOLT STUDS

5 SHELF ANGLE

RECTANGULAR STEEL HEADER (9x5x0.5)

WEEP FLASHING

3" 4 3/4" 2 1/2" 3 1/4" 9" 3"

8"6 1/4"6"8 1/2" 5 1/4"8"6 1/4"6"5 1/4"8"

2'-10"2'-10" 2'-10" 2'-10"2'-10" 2'-10"

17'-0"

A02- 01. BRICK REPEATABLE UNIT PATTERNNOT TO SCALE

19'-2"

TRANSOM

SILL

HEAD

INSULATED PANEL UNIT

CURTAINWALL SYSTEM(KAWNEER 7500)

SLAB ON GRADE W/ CONCRETE SPREAD FOOTING

RIGID INSULATION

GLAZING

FLASHING

HALFEN ANCHOR

NORTHERN FACADE: GLASS DETAILCROSS SECTION

2.

3.

2.1.DETAIL: INLINE AT COLUMN DETAIL: SKYLIGHT AT BEAM 3.DETAIL: SOFFET AT BEAM

DETAIL: BRICK LAYOUT PATTERN



1 2 3 4 5 6 7 8 9 10 11

A

B

C

D

E

F

1 2 3 4 5 6 7 8 9 10 11

A

B

C

D

E

F

1 2 3 4 5 6 7 8 9 10 11

A

B

C

D

E

F

28 TYPICAL

W18 X 71

W10

X 3

0

W16 X 67

W14 X 109

1 2 3 4 5 6 7 8 9 10 11

A

B

C

D

E

F

1/2" PEX Tubing6" O.C.

1 2 3 4 5 6 7 8 9 10 11

A

B

C

D

E

F

AIR HANDLER UNIT

EXHAUST (TO ROOF)

RETURN AIR (TO CHILLER)

CEILING SUPPLY AIR DIFFUSER

RETURN AIR GRILLE

SUPPLY AIR (FROM OUTSIDE)

1 2 3 4 5 6 7 8 9 10 11

A

B

C

D

E

F

PLAN: GROUND FLOOR

PLAN: TYPICAL FLOORPLAN: TYPICAL FLOOR

PLAN: HVAC HEATING

PLAN: HVAC SYSTEM

PLAN: FLOOR FRAMING

STRUCTURAL FRAMING

PLAN: ROOF FLOOR

60


1 2 3 4 5 6 7 8 9 10 11

A

B

C

D

E

F

1 2 3 4 5 6 7 8 9 10 11

A

B

C

D

E

F

1 2 3 4 5 6 7 8 9 10 11

A

B

C

D

E

F

28 TYPICAL

W18 X 71

W10

X 3

0

W16 X 67

W14 X 109

1 2 3 4 5 6 7 8 9 10 11

A

B

C

D

E

F

1/2" PEX Tubing6" O.C.

1 2 3 4 5 6 7 8 9 10 11

A

B

C

D

E

F

AIR HANDLER UNIT

EXHAUST (TO ROOF)

RETURN AIR (TO CHILLER)

CEILING SUPPLY AIR DIFFUSER

RETURN AIR GRILLE

SUPPLY AIR (FROM OUTSIDE)

1 2 3 4 5 6 7 8 9 10 11

A

B

C

D

E

F

PLAN: GROUND FLOOR

PLAN: TYPICAL FLOORPLAN: TYPICAL FLOOR

PLAN: HVAC HEATING

PLAN: HVAC SYSTEM

PLAN: FLOOR FRAMING

STRUCTURAL FRAMING

PLAN: ROOF FLOOR



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37 52

5140

4836

49 3842 52

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54 45 404451

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4354 53

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4040

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4343

615265

404064 48

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426155

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15 15 15

15

150 yardsSECURITY ZONE

x


10

reconfiguring liberty islandFROM AN ISLAND TO A LAGOON


62


The New Colossus To The New Coal-less

The Statue of Liberty is among the best known monuments in the world. Over four million people visit her annually, and millions more see her image in media of every kind from recreational to political. The image of the Statue, the iconography and monumentality, as a result, has had the power to be more than simply a statue in a park. It is not a coincidence that in 1924 the Statue and Liberty Island were placed under the system of the National Monuments (later National Park Services) administered by the War Department. For the previous decade, she was the face of Liberty Bonds and war bond campaigns that had a big impact in terms of helping pay for the war, while also providing immigrants a symbol of America that promoted nationalalistic identity and pride.

Today, The National Park Services and the State of New York have re-thought the Statue; however, they are old meanings in a new context. The 21st Century Liberty Island has taken on two (new) prominent images:

1. The changing meaning of freedom vs. security post 9/11 and the resiliency of New York/ America

2. The Statues prominent place in global as well as American pop-culture as an object to deomonstrate change

The percentage of people visiting Liberty Island is increasingly international, and I am urging in my proposal for The National Park Services to promote Lady Libertys Identity and symbolism in a manner that allows for her to be seen not only to the American people, but also globally, as an icon and monument of freedom. I think this can be achieved, as written in the 1913 NY Times article and in attempts post-2006, through depicting Liberty Island as a symbol for the future- Liberty Island can become a global symbol for the freedom from fossil fuels and potential for responsible sources of renewable energy to take precedence.

Liberty IslandSURFACE AREA= 71,230 yards

Security ZoneSURFACE AREA= 70,650 yards

2

2

VOLUME= 71,230 yards x 2 (height)2

USE

THE

CURR

ENT

ABOV

E HI

GH

TIDE

LIN

E LA

ND

AND

INFI

LL T

HE V

OID

CORE STUDIO IV: PROFESSORS MARC TSURUMAKI/ MARC KUSHNER



high tide line

low tide linehard substrate

5 ft

OUTERMOST PROCESSION SECTION (WITH TURBINES) closed

high tide line

low tide linehard substrate

5 ft

OUTERMOST PROCESSION SECTION (WITH TURBINES) open

tidal lagoonCONVERTING THE ENERGY OF TIDES TO ELECTRICAL ENERGY

- Tidal energy is one of the oldest forms of energy used by humans- Tidal Power is non-polluting, reliable, and predictable- Tidal turbines are located beneath the ocean surface and cannot be seen or heard- Water is 830 times more dense than air meaning that, for a given electricity output, tidal turbines can be much smaller than equivalent wind turbines

2 HOURS, +3 HIGH TIDE +5 1 HOUR ATFER HIGH TIDE +4

64


3 HOURS, +2

RENDER: 3 HOURS, +2

4 HOURS, +1 LOW TIDE +0



BULRUSH

ROCK WEED

ALGAE

MUD FLATSOYSTER BEDS

UNPLANTED

1

Wetlands Distribution 15 acres

high tide line

low tide line

CATTAIL

HIGH TIDE (Interior)/ HIGH TIDE (exterior)

66


MID TIDE 4 HOURS +1 (Interior)/ LOW (exterior)



1/8 LONGITUDINAL SECTION

STEPS TO INNER PROCESSION

BOUNDARY PROCESSION

MECHANICAL/ TURBINE MECHANICS

FERRY DOCK/ INITIAL SEQUENCE

LOBBY/ PUBLIC VIEWING AREA

CAFE/ GIFT SHOP

20 ft10 ft5 ft 30 ft 30 ft

LONGITUDINAL SECTION (THROUGH BUILDING) 1/8

68


water line contour

LOBBY/ PUBLIC VIEWING AREA

EXTENDED SECURITY QUEUE

SECURITY ZONE

30 ft 30 ft 30 ft 30 ft 30 ft 30 ft 20 ft 10 ft 10 ft 4 ft

4 ft

5 ft 34 ft

12 ft

13 ft

355 ft

4 ft

10 ft

34 ft

12 ft

3 ft

5 ft INTERTIDAL ZONE

4 ft

10 ft

34 ft

12 ft

3 ft

5 ft INTERTIDAL ZONE PUBLIC VIEWING AREA

ACCESS TO SITE

CAFE

INNER PROCESSION (+4)

PUBLIC VIEWING AREA

ACCESS TO SITE

CAFE

INNER PROCESSION (+4)





BUILDING AXO

70


LIBERTY ISLAND WELCOME CENTER PLAN (CUT THROUGH +3FT)

LIBERTY ISLAND WELCOME CENTER PLAN (CUT THROUGH -15FT)



Uniqueness, character and history are disap-pearing from the neighborhoods of Rio de Janeiro. In the past, neighborhoods like Gamboa had flavor and individuality; they continue to this day to be overrun by ordinary, mind-numbing buildings that are being built and found throughout the city and country. (even globally) Design originality, contextualization, and heritage are no longer as important as maximizing profit and space. The result of this development is the loss of historic layers, which used to rekindle memories of stories and events that took place in these older neighborhoods long ago. The distinctiveness and inimitable icons of the diverse neighborhoods created an aggregate urbanism. A sense of ownership was created. These iconic neighborhoods, special in their own ways, came together like a puzzle to create the aggregate we know as Rio de Janeiro. Unfortunately, the aggregation of the neighborhoods and city have slowly dissolved to neighborhoods of the have and have nots, the formal and the sponta-neous. The formaldevelopment without thought of history and character has won out.

PORTO MARAVILHAFormal development in Rio has and continues to be a pursuit of destructive foundingland use that ignores ecological and social signifi-cance of the environment/ existing built environment. Founding or alteration is a necessity in order for humans to adapt and to live, work, and feel at home, but we must also preserve what we have founded. Rem Koolhass, in the 2010 Venice Biennale, presented the two conflicting ideologies that continue to fracture preservation, the ideologies of Ruskin (Authentic) and Viollet-le-Duc (Restored). Each side poses a dilemma.

Desires and impact on the individuals and communities connected to the place. This brings to mind the questions of what, why and for whom are we preserving?

What pieces of the environment should we attempt to reconstruct or preserve, and what are the warrants for historical treatment? Are we looking for evidence of the climactic moments or for any manifestation of tradition we can find, or are we judging and evaluating the past, choosing the more significant over the less, retaining what we think of as the best? Should things be saved because they were associated with important persons or events?

historic facades do not tell the whole story

1172

Because they are unique or nearly so or, quite the contrary, because they were most typical of the time? Because of their importance as a group symbol? Because of their intrinsic qualities in the present? Because of their special usefulness as sources of intellectual informa-tion about the past? Or should we simply (as we most often do) let chance select for us and preserve for a second century everything that has happened to survive the first?

If we have been reasonably successful at junking environment in those most active central areas of our cities, where the intensity of new activity can support the cost of piecemeal removal, and also in the low-density fringes, where disposal is cheap-elsewhere in cities we have been much less successful, wherever the wanted change is more than a gradual improve-ment for an unchanging activity. Under the banner of historical preservation, we have saved many isolated buildings of doubtful significance or present quality, which are out of context with their surroundings and without a means of supporting their use or maintenance or of communicating their means to the public. At the same time, in urban renewal, we wipe out substantial areas of used environment at great psychological and social cost, to be replaced by new settings that lack man desirable features of the old. Having suffered the pangs of uprooting and saddened by the inhuman quality of much of the new urban development, many of us conclude that it is time to stop growth and change, or at least to leave the older areas alone and concentrate growth in the empty fringes.

DIFFERENCE BETWEEN PRESERVATION OF THE REMOTE AND IMMEDIATE PAST.

Might it also be possible to use environment to teach change instead of permanencehow the world constantly shifts in the context of the immediate past; which changes have been valuable, which not; how change can be externally effected; how change might occur in the future? Saving the past can be a way of learning for the future, just as people change themselves by learning something now that they might employ later. Public responsibility and the importance of intertwined communica-tion and social space are important characteris-tics moving forward and Tupi can serve as a marker or beacon of the transformation of these attributes over time. From a dictatorshipto a capitalist democracy to

Ruined structures, in the process of going back to the earth, are enjoyed everywhere for the emotional sensations they convey. This pleasurable melancholy may be coupled with the observers satisfaction at having survived or be tinged with righteous triumph, esthetic delight, or intellectual enjoyment. The base of this emotional pleasure is a heightened sense of the flow of time. Clever restoration, reuse, etc, obscures the essential quality of imper-manent remains. A pleasantly ruinous environ-ment demands some inefficiency, a relaxed acceptance of time, the esthetic ability to take dramatic advantage of entropy and destruction. A landscape acquires emotional depth as it accumulates these scars. Certain materials and forms age well. They develop an interesting patina, a rich texture, an attractive outline.

The loss of information increases as the rate of development rises, particularly as our technol-ogy now encourages us to make massive alterations of the earths surface for rural as well as for urban uses.

There is a pleasure in seeing receding, half-veiled space or in detecting the various layers of successive occupation as they fade into the pastand then finding a few fragments whose origins are remote and inscrutable, whose meanings lurk beneath beneath their shapes, like dim fish in deep water. We do not wish to preserve our childhood intact, with all its personalities, circumstances, and emotions. We want to simplify and to pattern it, to make vivid its important moments, to skip over its empty stretches, sense its mysterious beginnings, soften its painful feelingsthat is, to change it into a dramatic recital.

At the heart of architectural theory is a paradox: buildings are designed to last, and therefore they outlast the insubstantial pageants that made them. Then, liberated from the shackles of immediate utility and the intentions of their masters, they are free to do as they will. Buildings long outlive the purposes for which they were built, the technologies by which they were constructed, and the aesthet-ics that determined their form; they suffer numberless subtractions, additions, divisions, and multiplications; and soon enough their form and their function have little to do with one another. -Robert Smithson


um manualPARA TER A CIDADE DE VOLTA11.1 STUDIO THESIS: Can a new model of urban transformation and regeneration be conceived that is not dependent

upon the "newness value?

Is it possible to give new life to a city without following the Bilbao paradigm?

Today we speak about "globalizing the historic centers, which usually means devising ways to attract global capital.

Can a new preservation oriented architectural theory of the "center help us envision a different sort of global city?TUPI- CURRENT CONDITION

74


ADVANCED STUDIO 1: PROFESSORS KONYK/ OTERO-PAILOS

NEW PRESERVATION PARADIGM

Instead of adding new pageant after new pageant which over time will again become insubstatial in some manner, why not allow the building to take on a dialectics of entropy.

This project examines, defines and counteracts past and current methods/ preconceived notions of what preservation means and how we define heritage.

SITE:Radio Tupi Building(1949 by Oscar Neimeyer)Rio De Janeiro

TUPI- BUILD ON TUPI- EXTEND TYPOLOGY

TUPI- FACADISM TUPI- FACADISM V.2

TUPI- GEO DOME TUPI- ADAPTIVE REUSE

TUPI- EXAMPLES USING TYPICAL PRESERVATION MODELS....



Um Manual para ter a cidade de volta Preservao com o Povo, no para o Povo

A MANUAL TO TAKE BACK THE CITY: PRESERVATION WITH THE PEOPLE NOT FOR THE PEOPLE

Breanne Gearheart

The surface is being remade.

The city is in the midst of itself.

It is a reinvention and an unbiased creation.

It is a record, an accumulation.

Impressions made by a living city,

pressed into its body by the pressure of time.

It is no ones fault and no ones genius.

It is because of us and in spite of us.

Concrete is poured, smooth walls are pieced together,

metal is shaped and embedded in the ground, asphalt is

scorched into place. These physical undertakings create

the body of our cities. We often conceive of the urban

environment as entirely designed. Decisions were made.

Architects, city planners, landscape architects,

neighborhood organizations, graffiti artists, and shop

owners are seen as the creators of our urban surroundings.

Yet, a quieter design is adding depth and richness to our

cities.

Built forms are physically scarred, rubbed smooth, or

momentarily altered by passing phenomenon. Physical form

is activated by accidental interventions. The city

becomes a physical record of intangible temporal

occurrences. Time passes, people move about, rain falls,

wind blows. The city is an expression of the processes

that occur within it.

Through observing the changes on its surface, we can come

to see the built environment as a malleable expression of

the life of the city. Multiple narratives are unified and

expressed in the flexible form of the city.

Surface: the connective tissue of our malleable city HISTORIC FACADES DO NOT TELL THE WHOLE STORY

Uniqueness, character and history are disappearing from the neighborhoods of Rio de Janeiro. In the past, neighborhoods like Gamboa had flavor and individuality; they continue to this day to be overrun by ordinary, mind-numbing buildings that are being built and found throughout the city and country. (even globally) Design originality, contextualization, and heritage are no longer as important as maximizing profit and space. The result of this development is the loss of historic layers, which used to rekindle memories of stories and events that took place in these older neighborhoods long ago. The distinctiveness and inimitable icons of the diverse neighborhoods created an aggregate urbanism. A sense of ownership was created. These iconic neighborhoods, special in their own ways, came together like a puzzle to create the aggregate we know as Rio de Janeiro. Unfortunately, the aggregation of the neighborhoods and city have slowly dissolved to neighborhoods of the have and have nots, the formal and the spontaneous. The formaldevelopment without thought of history and character has won out.

"To survive, the spectacle must have social control. It can recuperate a potentially threatening situation by shifting ground, creating dazzling alternatives or by embracing the threat, making it safe and then selling it back to us. - Larry Law, The Spectacle: The Skeleton Keys

COVER

FIRSTF O L D

76


FORM

AL D

EVEL

OPM

ENT:

1930

FORM

AL D

EVEL

OPM

ENT:

2016

FORM

AL D

EVEL

OPM

ENT:

1972

If we have been reasonably successful at junking

environment in those most active central areas of our cities,

where the intensity of new activity can support the cost of

piecemeal removal, and also in the low-density fringes, where disposal is cheap-- elsewhere in cities we have been much less successful, wherever

the wanted change is more than a gradual improvement for an

unchanging activity. Under the banner of historical preservation,

we have saved many isolated buildings of doubtful significance or

present quality, which are out of context with their surroundings

and without a means of supporting their use or maintenance or of

communicating their means to the public. At the same time, in

urban renewal, we wipe out substantial areas of used environment

at great psychological and social cost, to be replaced by new

settings that lack man desirable features of the old. Having

suffered the pangs of uprooting and saddened by the inhuman

quality of much of the new urban development, many of us conclude

that it is time to stop growth and change, or at least to leave

the older areas alone and concentrate growth in the empty fringes.

- Kevin Lynch, What Time is this Place

PORTO MARAVILHA

Formal development in Rio has and continues to be a pursuit of destructive foundingland use that ignores ecological and social significance of the environment/ existing built environment. Founding or alteration is a necessity in order for humans to adapt and to live, work, and feel at home, but we must also preserve what we have founded. Rem Koolhass, in the 2010 Venice Biennale, presented the two conflicting ideologies that continue to fracture preservation, the ideologies of Ruskin (Authentic) and Viollet-le-Duc (Restored). Each side poses a dilemma.

Tupi

SP ONTANE O

US DEV

EL

OPM ENT

SP ONTANEOUS

The loss of information and communication increases as the rate of development rises, particularly as our technology now encourages us to make massive alterations of the earths surface for rural as well as for urban uses.

There is a pleasure in seeing receding, half-veiled space or in detecting the various layers of successive occupation as they fade into the pastand then finding a few fragments whose origins are remote and inscrutable, whose meanings lurk beneath their shapes, like dim fish in deep water. We do not wish to preserve our childhood intact, with all its personalities, circumstances, and emotions. We want to simplify and to pattern it, to make vivid its important moments, to skip over its empty stretches, sense its mysterious beginnings, soften its painful feelingsthat is, to change it into a dramatic recital.

At the heart of architectural theory is a paradox: buildings are designed to last, and therefore they outlast the insubstantial pageants that made them. Then, liberated from the shackles of immediate utility and the intentions of their masters, they are free to do as they will. Buildings long outlive the purposes for which they were built, the technologies by which they were constructed, and the aesthetics that determined their form; they suffer numberless subtractions, additions, divisions, and multiplications; and soon enough their form and their function have little to do with one another.

Instead of adding new pageant after new pageant which over time will again become insubstantial, why not allow the building to take on a dialectics of entropy.

Tupi lies on the threshold between the formal and spontaneous. It belongs with the spontaneous as it is and has been a symbol for the people. Spontaneous urbanization (here the favela) tend to grow organically, consuming and occupying space based on necessity. Contextually Tupi will be overgrown by the favela and therefore it becomes part of the favela or spontaneous city.

SECONDF O L D



Um Manual para ter a cidade de volta Preservao com o Povo, no para o Povo

A MANUAL TO TAKE BACK THE CITY: PRESERVATION WITH THE PEOPLE NOT FOR THE PEOPLE

Breanne Gearheart

The surface is being remade.

The city is in the midst of itself.

It is a reinvention and an unbiased creation.

It is a record, an accumulation.

Impressions made by a living city,

pressed into its body by the pressure of time.

It is no ones fault and no ones genius.

It is because of us and in spite of us.

Concrete is poured, smooth walls are pieced together,

metal is shaped and embedded in the ground, asphalt is

scorched into place. These physical undertakings create

the body of our cities. We often conceive of the urban

environment as entirely designed. Decisions were made.

Architects, city planners, landscape architects,

neighborhood organizations, graffiti artists, and shop

owners are seen as the creators of our urban surroundings.

Yet, a quieter design is adding depth and richness to our

cities.

Built forms are physically scarred, rubbed smooth, or

momentarily altered by passing phenomenon. Physical form

is activated by accidental interventions. The city

becomes a physical record of intangible temporal

occurrences. Time passes, people move about, rain falls,

wind blows. The city is an expression of the processes

that occur within it.

Through observing the changes on its surface, we can come

to see the built environment as a malleable expression of

the life of the city. Multiple narratives are unified and

expressed in the flexible form of the city.

Surface: the connective tissue of our malleable city HISTORIC FACADES DO NOT TELL THE WHOLE STORY

Uniqueness, character and history are disappearing from the neighborhoods of Rio de Janeiro. In the past, neighborhoods like Gamboa had flavor and individuality; they continue to this day to be overrun by ordinary, mind-numbing buildings that are being built and found throughout the city and country. (even globally) Design originality, contextualization, and heritage are no longer as important as maximizing profit and space. The result of this development is the loss of historic layers, which used to rekindle memories of stories and events that took place in these older neighborhoods long ago. The distinctiveness and inimitable icons of the diverse neighborhoods created an aggregate urbanism. A sense of ownership was created. These iconic neighborhoods, special in their own ways, came together like a puzzle to create the aggregate we know as Rio de Janeiro. Unfortunately, the aggregation of the neighborhoods and city have slowly dissolved to neighborhoods of the have and have nots, the formal and the spontaneous. The formaldevelopment without thought of history and character has won out.

"To survive, the spectacle must have social control. It can recuperate a potentially threatening situation by shifting ground, creating dazzling alternatives or by embracing the threat, making it safe and then selling it back to us. - Larry Law, The Spectacle: The Skeleton Keys

COVER

FIRSTF O L D

78


Might it also be possible to use environment to teach

change instead of permanencehow the world constantly shifts in the context of the immediate past; which changes have been valuable, which not; how change can be externally effected; how change might occur in the future?

Saving the past can be a way of learning for the future,

just as people change themselves by learning something now

that they might employ later. Public responsibility and

the importance of intertwined communication and social

space are important characteristics moving forward and

Tupi can serve as a marker or beacon of the transformation

of these attributes over time. From a dictatorshipto a capitalist democracy to

What pieces of the environment should we attempt to reconstruct or preserve, and what are the warrants for historical treatment?

Are we looking for evidence of the climactic moments or for any manifestation of tradition we can find, or are we judging and evaluating the past, choosing the more significant over the less, retaining what we think of as the best?

Should things be saved because they were associated with important persons or events?

Because they are unique or nearly so or, quite the contrary, because they were most typical of the time?

Because of their importance as a group symbol? Because of their intrinsic qualities in the future?

Because of their special usefulness as sources of intellectual information about the past?

Or should we simply (as we most often do) let chance select for us and preserve for a second century everything that has happened to survive the first?

- More than homes and churches of the rural elite, works of master builders, monuments of formality, aesthetically pleasing material objects, and sites for potential economic commodification.

- The use of the past to construct ideas of individual and group identities is part of the human condition, and that throughout human history people have actively managed and treasured material aspects of the past for this purpose.

- Tupi is a Niemeyer building, but that is not enough in this case...

- Costa would make an argument for both the unique and the vernacular, depending upon the time.

- FOR NOW, NOT THE FUTURE. Preservation for future generations is a rhetoric that undermines the ability of the present, unless under the professional, institutionalized guidance of preservation groups, to alter or change the meaning and value of heritage sites or places.

- In effect, the past is valued and understood differently by different peoples, groups, or communities and how that past is understood validates a sense or not a sense of place. In particular contexts this can be disabling for those groups or communities whose sense of history and place exist outside of the dominant heritage message or discourse.

...well, its very hard to predict anything; all predictions tend to be wrong. I mean even planning. I mean planning and chance almost seem to be the same thing... -Robert Smithson

- The important point here is that terms like the past, when used to discuss and define preservation, disengage us from the very real emotion and cultural work that the past does as heritage for individuals and communities. The past is not abstract; it has material reality as heritage, which in turn has material consequences for community, identity and belonging. Preservation has the power to legitimize someones sense of place and thus their social and cultural experiences and memories.

THIRDF O L D



"THE TUPI IS THE PEOPLE, THE PEOPLE IS TUPI!

- Averages 300,000 listeners/ minute- Over 2.2 million listeners/ day

Demographics:

43% male / 57% women

24% Class A/B

53% Class C

23% Class D

*Class A= Upper Class Class B= Middle Class

Class C= Lower Class (Favelas in or near city)

Class D= Lower Class (Fringe Favelas)

"Much of development communication programs in the post- WWII period was theoretically and ideologically informed by the modernization paradigm, which tried to resolve third world problems by facilitating the transformation-- through information transmission in mass media-- of pre-modern and 'backward attitudes and practices of 'traditional societies into modern, rational and western ways of life.

"One is tempted to resuscitate here the old Marxist 'humanist opposition of 'rekations between things' and 'relations between persons': in the much celebrated free curculation opened up by global capitalism, it is things (commodities) which freely circulate, while the circulation of 'persons is more and more controlled. - Slavoj Zizek, Violence

- Mowlana, 1990. UNESCO: Reports and Papers on Mass Communication

FAVELISTAS WANT TO BE AND ARE A PART OF BRAZILIAN HERITAGE, BUT ARE NOT FULLY RECOGNIZED AS SUCH.

The truth of globalization and market- driven, formal urbanization: the construction of new walls safeguarding and preserving prosperous locales from the spontaneous flood.

TUPI- CURRENT CONDITION

80


TUPI- PHYSICAL BRIDGE MADE FROM INFILL

TUPI

CURRENT CONDITION

PROPOSED CONDITION



82


THE PHYSICAL BRIDGE THAT CONNECTS TUPI WITH THE FAVELA IS IN CONSTANT FLUX, DUE TO SETTLING. THEREFORE THE INTERACTION AND HOW TUPI IS PCCUPIED VARIES WITH TIME AND TIME BECOMES THE CONSTANT IN THE EQUATION OF PRESERVATION FOR TUPIS FUTURE.



Brazil has been and continues to be a place in which things deemed impossible elsewhere are invariably possible, and where normal rules and conventions can and should be questioned. Perhaps it is because of this reality that Brazil, beginning in the late 1930s, became an exemplar of the modern movement. Brazilian modernity did not begin in 1937 with Lucio Costas Documenta-o Necessria first published in Revista do Servio do Patrimonio Historico e Artistico Nacional (SPHAN); however, it was this essay that both justified modernist architecture in Brazil and provided a platform for modernist architects to synthesize local tradition and Brazilian roots with the modern spirit, thus allowing modernism to become a symbol for the country and its theoretical, preservative and physical growth. Lucio Costa was born in Toulon, France in 1902 and was educated at the Royal Grammer School in Newcastle England as well as Montreaux before graduating in 1924 from the Escola Nacional de Belas Artes in Rio de Janeiro.

Costa practiced in the eclectic order, the predominant order of then current architec-tural design in Brazil defined largely by the styles or orders from other locales including but not limited to the beaux arts, from graduation until 1929, when by all accounts he adopted modernist principals. It is worth stating that 1929 is also the year in which Le Corbusier made his first of two trips to Brazil. It is with little doubt that the ideals of Le Corbusiers played a large role in shaping Costas theory which he later presents in Necessary Documentation; however, at this point Corbusiers influence might have been marginal as Costa even states he had dropped in on one of Corbusiers first lectures only to leave shortly thereafter having not really paid much attention. This could be due to the fact that Corbusier only spoke French and most likely did not have a translator at these lectures. More likely to be a larger influence to Costa in his early adoption of modernism was Russian born, Italian educated Gregori Warchavchik, who moved to Brazil in 1923. Warchavchik wrote two important manifestos on modern architecture (Manifesto of

Modern Architecture and Futurismo), the first of which was published in a Rio de Janeiro Newspaper in 1925. . Further-more in 1928 he completed his personal home Casa Moderni-sta which is considered the first Modernist Building in Brazil. Warchavchiks influence on Costa is undeniable as Costa, after becoming director of the Escola Nacional de Belas Artes, invites Warchavchik to teach at the university as part of his reform of the architecture department. Even though both their tenures are short lived at the university, they continued their association and between 1931 and 1933, and carried out such important projects as the Housing Estate and the Alfredo Gamboa Schwartz Housing. Costa was able to gain a wealth of knowl-edge and understanding from the likes of Corbusier and Warchav-chik and in many regards can be seen as someone whom embraced and adopted the international modern principals as Corbusier prescribes in Towards a New Architecture; with one main distinction- modern architecture for Costa did not represent a rejection of Brazilian history. Modern Architecture and Futurismo), the first of which was published in a Rio de Janeiro Newspaper in 1925. . Further-more in 1928 he completed his personal home Casa Moderni-sta which is considered the first Modernist Building in Brazil. Warchavchiks influence on Costa is undeniable as Costa, after becoming director of the Escola Nacional de Belas Artes, invites Warchavchik to teach at the university as part of his reform of the architecture department. Even though both their tenures are short lived at the university, they continued their association and between 1931 and 1933, and carried out such important projects as the Housing Estate and the Alfredo Gamboa Schwartz Housing. Costa was able to gain a wealth of knowl-edge and understanding from the likes of Corbusier and

Warchavchik and in many regards can be seen as someone whom embraced and adopted the international modern principals as Corbusier prescribes in Towards a New Architecture; with one main distinction- modern architecture for Costa did not represent a rejection of Brazilian history. In writing Necessary Documentation, Costa first wanted to assert his assessment that Brazilian vernacular architecture was as historically significant as refined works of architecture. Secondly, Necessary Documentation is Costas first step in outlining his strategy to show the direct relationship or lineage from historic Brazilian vernacular to modern architecture, and that a Brazilian modernism should emerge as the national vernacu-lar moving forward. Corbusier defined modernism not as a style but a philosophy based on the rational use of modern materials, the principals of functionalist planning, and the rejection of historical precedent and ornamentation. In Towards a New Architecture he states, If we set ourselves against the past, we are forced to the conclusion that the old architec-tural code, with its mass of rules and regulations evolved during four thousand years, is no longer of any interest; it no longer concerns us: all the values have been revised; there has been revolution in the conception of what Architecture is. Necessary Documentation can be seen as an argument in which Costa labels historical Brazilian vernacular as an asterisk in world architecture. He states that as a result of particular conditions, including the need for environ-mental adaptation, material and labor difficulties, simpler customs and colonial lifes greater largesse, Brazilian colonial architecture differs from that which it derived. Our houses thus appear almost always unadorned and poor compared to the opulence of Italian palazzi

century, the solid wall prevailed, and soon we understand why: as life became easier and streets better policed, the number of windows kept increasing. By the eighteenth century, voids and solids balanced each other, and by the beginning of the nineteenth century, openings clearly dominated; from 1950 onward, window frames almost touched each other until the faade, after 1900, was for all practical purposes entirely open, having in many cases a common frame. Along with the compli-mentary images, Costa is explicitly citing a direct Brazilian lineage to modernism. The cultural references yet again embed modernism into not only the next step in proper Brazilian vernacular but also Brazilian culture. To be Brazilian in 1937, for Costa, meant to be modern and Necessary Documentation was his was of proving this to others. In writing Necessary Documentation, Costa was attempting to shift the balance of power and ideology from the eclectics to his modernists. Linking traditional, historic Brazil with the international modernist movement was not only a stance to show Brazils rise to interna-tional power and prominence, but also an attempt to dethrone those who opposed him. Costa and other modernists like Warchavchik were only employed at Escola Nacional de Belas Artes for a brief stint because of this opposition. In order to overcome this opposition, Costa understood that he needed to adequately display modernism as a Brazilian identity, and an authentic one at that. Because of this, Brazils cultural heritage was just as important as designing monu-ments of the countries future as without the vernacular tradition displayed as the natural foundation, modernists would not be the group in charge of the potential future. To this, he defines the traditionalists, mainly neo-colonial and beaux-arts designers,

as unauthentic to Brazil and its heritage. That was when, with the best intentions, the so-called traditionalist movement appeared, of which we were also a part. We did not grasp that the true tradition lay right there, two steps away, with our contempo-raneous master builders; instead, through a contrived process of adaptation completely removed from actual customs that were every day more present and that the master builders had been adapting with simplicity and good sense we searched out lifeless elements from colonial times: if we are faking for the sake of faking, we should at least fake something of our own. And the farce would have continued were it not for what eventually happened. In 1937, Brazil and Rio de Janeiro was largely a place making itself in the image of the Second Empire Paris. Costa directly confronts this stylistic approach head on as he proclaims it is both fake or faux, and unnatural to Brazilian heritage. To strengthen his case, Costa even admits that he too was a part of this misguided approach and that he now sees modernism for its values, and for its ability to connect to Brazils past while also enhancing its future. Costa strongly disliked the notion of a new architecture that blends in with its historical context and he went as far calling it dishonest design. He argued that a contextual intervention would at best be a good imitation, which would have the unfortunate effect of blurring the limits of what is historic and what is not; or it would, most probably, be no more than a bad adaptation, which would be worse. These false interven-tions would also compete with the historically significant buildings because tourists would not be able to distinguish the significant works from those that are imitating them. Costa systematically broke down the then contemporary design approach and practices and placed modernism on the

and ville, castles of France or English mansions of the same period; or to the rich and vain appearance of many Hispano- American manor houses; or even to the palatial and coquettish aspect of certain noble Portuguese residences. However, to state that it does not have value as a work of architecture is a declaration that in no way corresponds to reality. The language (opulence, rich and vain) suggests that he agrees with Corbusiers proclamation that the rules, regulations and values of architecture have changed, but the unadorned, poor Brazilian vernacular is more in tune to the revolution of what Architecture is than elsewhere in the world. Documentation of this architec-ture will not only provide more knowledge of it, international understanding of Brazil and its culture, but also so to ensure that we modern architects take advantage of the lessons of over three hundred years of experi-ence, so as not to reproduce an aspect already dead. One must not forget that Necessary Documentation was first published in SPHAN and therefore is as much about a preservation of the past as it is a projection of the future. On this, Fares el-Dahdah said, For Costa, the aesthetic evolution found in Brazilian houses, furniture, and churches belonged to a continuum that was meant to somehow be recuperated in modern architecture rather than be falsified by the academicist tendencies of a neo-colonial architecture that he resisted from 1930 onward. Seen as a way to rescue historic and artistic monuments, modern architec-ture would thereby legitimate a modern Brazilian state in its ability to project and aesthetic tradition into an industrialized future. The essay is riddled with comparisons and connec-tions between the historic and modern, as a justification for both. . In some cases it is in defense of the heritage, and in others it is using the heritage as

a vehicle to justify the modern. Costa states, An examination undertaken in less haste would lead to intriguing observations that counter current beliefs and support the practice of modern architecture, observations that would indeed show how the latter can be viewed as the continuation of a normal evolution. Documentation of the past therefore becomes the citation for the future. With regards to the lineage of the Brazilian wall, What we witness, therefore, is a tendency to open the wall more and more. With this climate of ours, it makes sense that this should have happened, however: despite much talk about the blinding brightness of our sky, about the excessive clarity of our days, etc., the fact remains that when well oriented, verandas are the best places in our houses to sit; after all, what is a veranda if not a completely open room? And yet when we modern architects suggest leaving one side of a room open: aqui del rey! This statement suggests the audience of the essay, both the political and architectural realms, as well as the larger audience- the public- see modernism as a tertiary practice at this point. Costa connects common, and well liked aspects of the vernacular with modernist principals, and by linking modernity to an idea of an old yet retrievable Brazilian architecture, he is able to create both a justification for preservation as well as a validation that modernism, or their version of modernism, can be seen as inherently Brazilian. Documen-tation was also important for his argument because, as he states, full and proper documentation will show how the natural progression of Brazilian architecture directly coincided with the culture. Also worthy of study is the relation between window openings and the wall. In the older houses, presumably from the late sixteenth century and throughout the seventeenth

12necessary propagation

THE HISTORY OF ARCHITECTURAL THEORYPROFESSOR: MARK WIGLEY

84

Brazil has been and continues to be a place in which things deemed impossible elsewhere are invariably possible, and where normal rules and conventions can and should be questioned. Perhaps it is because of this reality that Brazil, beginning in the late 1930s, became an exemplar of the modern movement. Brazilian modernity did not begin in 1937 with Lucio Costas Documenta-o Necessria first published in Revista do Servio do Patrimonio Historico e Artistico Nacional (SPHAN); however, it was this essay that both justified modernist architecture in Brazil and provided a platform for modernist architects to synthesize local tradition and Brazilian roots with the modern spirit, thus allowing modernism to become a symbol for the country and its theoretical, preservative and physical growth. Lucio Costa was born in Toulon, France in 1902 and was educated at the Royal Grammer School in Newcastle England as well as Montreaux before graduating in 1924 from the Escola Nacional de Belas Artes in Rio de Janeiro.

Costa practiced in the eclectic order, the predominant order of then current architec-tural design in Brazil defined largely by the styles or orders from other locales including but not limited to the beaux arts, from graduation until 1929, when by all accounts he adopted modernist principals. It is worth stating that 1929 is also the year in which Le Corbusier made his first of two trips to Brazil. It is with little doubt that the ideals of Le Corbusiers played a large role in shaping Costas theory which he later presents in Necessary Documentation; however, at this point Corbusiers influence might have been marginal as Costa even states he had dropped in on one of Corbusiers first lectures only to leave shortly thereafter having not really paid much attention. This could be due to the fact that Corbusier only spoke French and most likely did not have a translator at these lectures. More likely to be a larger influence to Costa in his early adoption of modernism was Russian born, Italian educated Gregori Warchavchik, who moved to Brazil in 1923. Warchavchik wrote two important manifestos on modern architecture (Manifesto of

Modern Architecture and Futurismo), the first of which was published in a Rio de Janeiro Newspaper in 1925. . Further-more in 1928 he completed his personal home Casa Moderni-sta which is considered the first Modernist Building in Brazil. Warchavchiks influence on Costa is undeniable as Costa, after becoming director of the Escola Nacional de Belas Artes, invites Warchavchik to teach at the university as part of his reform of the architecture department. Even though both their tenures are short lived at the university, they continued their association and between 1931 and 1933, and carried out such important projects as the Housing Estate and the Alfredo Gamboa Schwartz Housing. Costa was able to gain a wealth of knowl-edge and understanding from the likes of Corbusier and Warchav-chik and in many regards can be seen as someone whom embraced and adopted the international modern principals as Corbusier prescribes in Towards a New Architecture; with one main distinction- modern architecture for Costa did not represent a rejection of Brazilian history. Modern Architecture and Futurismo), the first of which was published in a Rio de Janeiro Newspaper in 1925. . Further-more in 1928 he completed his personal home Casa Moderni-sta which is considered the first Modernist Building in Brazil. Warchavchiks influence on Costa is undeniable as Costa, after becoming director of the Escola Nacional de Belas Artes, invites Warchavchik to teach at the university as part of his reform of the architecture department. Even though both their tenures are short lived at the university, they continued their association and between 1931 and 1933, and carried out such important projects as the Housing Estate and the Alfredo Gamboa Schwartz Housing. Costa was able to gain a wealth of knowl-edge and understanding from the likes of Corbusier and

Warchavchik and in many regards can be seen as someone whom embraced and adopted the international modern principals as Corbusier prescribes in Towards a New Architecture; with one main distinction- modern architecture for Costa did not represent a rejection of Brazilian history. In writing Necessary Documentation, Costa first wanted to assert his assessment that Brazilian vernacular architecture was as historically significant as refined works of architecture. Secondly, Necessary Documentation is Costas first step in outlining his strategy to show the direct relationship or lineage from historic Brazilian vernacular to modern architecture, and that a Brazilian modernism should emerge as the national vernacu-lar moving forward. Corbusier defined modernism not as a style but a philosophy based on the rational use of modern materials, the principals of functionalist planning, and the rejection of historical precedent and ornamentation. In Towards a New Architecture he states, If we set ourselves against the past, we are forced to the conclusion that the old architec-tural code, with its mass of rules and regulations evolved during four thousand years, is no longer of any interest; it no longer concerns us: all the values have been revised; there has been revolution in the conception of what Architecture is. Necessary Documentation can be seen as an argument in which Costa labels historical Brazilian vernacular as an asterisk in world architecture. He states that as a result of particular conditions, including the need for environ-mental adaptation, material and labor difficulties, simpler customs and colonial lifes greater largesse, Brazilian colonial architecture differs from that which it derived. Our houses thus appear almost always unadorned and poor compared to the opulence of Italian palazzi

century, the solid wall prevailed, and soon we understand why: as life became easier and streets better policed, the number of windows kept increasing. By the eighteenth century, voids and solids balanced each other, and by the beginning of the nineteenth century, openings clearly dominated; from 1950 onward, window frames almost touched each other until the faade, after 1900, was for all practical purposes entirely open, having in many cases a common frame. Along with the compli-mentary images, Costa is explicitly citing a direct Brazilian lineage to modernism. The cultural references yet again embed modernism into not only the next step in proper Brazilian vernacular but also Brazilian culture. To be Brazilian in 1937, for Costa, meant to be modern and Necessary Documentation was his was of proving this to others. In writing Necessary Documentation, Costa was attempting to shift the balance of power and ideology from the eclectics to his modernists. Linking traditional, historic Brazil with the international modernist movement was not only a stance to show Brazils rise to interna-tional power and prominence, but also an attempt to dethrone those who opposed him. Costa and other modernists like Warchavchik were only employed at Escola Nacional de Belas Artes for a brief stint because of this opposition. In order to overcome this opposition, Costa understood that he needed to adequately display modernism as a Brazilian identity, and an aut

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Jeffrey White Portfolio 2008-2011