work 10 11

WORK 10–11

WORK 10–11UNIVERSITY OF PENNSYLVANIASCHOOL OF DESIGNDEPARTMENT OF ARCHITECTURE

WILLIAM W. BRAHAM, FAIA, INTERIM CHAIR, DEPARTMENT OF ARCHITECTURE

WINKA DUBBELDAM, DIRECTOR OF THE POST-PROFESSIONAL PROGRAM

DAVID LEATHERBARROW, CHAIR OF THE GRADUATE GROUP IN ARCHITECTURE

INTRODUCTIONFOUNDATIONVISUAL STUDIESCORETRAVEL ABROADADVANCEDCOURSESNEWSEVENTS

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Since its founding in 1890, the architecture program at Penn has emphasized the link between theoretical speculation, professional practice, and artistic expression. Our faculty is distinguished precisely by their ability to engender new ways of seeing, new trajectories for imagination, and new models of practice.

Our Master of Architecture program is a rigorous, first professional degree that develops expertise and pursues innovation in all aspects of design and construction. Penn provides a robust academic infrastructure in which students acquire the knowledge and skills needed for creative practice today, while also cultivating a critical orientation toward contemporary issues of culture, technology, ecology, and urbanism. Taking advantage of continuing developments in technology and computation, we create environments that support fuller and richer lives in settings around the world. Our design studios foster abilities to conceptualize latent potentials and realize new cultural formations that will contribute to the co-evolution of social and natural systems.

Digital media was initially introduced at Penn over a decade ago at the upper levels. It now permeates the entire curriculum, as it does contemporary practice and everyday life. Students learn techniques of visualization in a discrete sequence of courses closely bound to the design studios; their power to assemble information, analyze, integrate, and simulate are simultaneously developed in technology courses and examined in history-theory courses. The design studio sequence begins with abstract models and techniques—gener-ated through diagrams, models from geometry or nature, experiment, and even computer scripts. Through the sequence students incorporate all of the aspects of design, use, and construction required of archi-tectural propositions. On the one hand, digital media have been the subject of specific experiment and inquiry in architecture, while on the other, digital models are so pervasive in engineering, fabrication, and project management as to generate convergence and demand collaboration. Computers provide powerful tools for analyzing sites and developing programs. They enable students to distill ever more

INTRODUCTION

extensive and detailed data in order to understand less tangible dynamics of behavior and change: flows of people, energy, water, resources, goods, information, images, and capital.

Our curriculum extends beyond traditional disciplinary boundaries at many points, allowing students to deepen their skills and explore other aspects of design. Environmental sustainability is addressed at almost every level of the program, and now more explicitly in a certificate program in Ecological Architecture and a new Master of Environmental Building Design (MEBD). These programs include the study of contemporary approaches to environmental design, performance simulation, and the political and cultural aspects of implementation. The work in these programs is enhanced by the ambitious research agenda of the TC Chan Center of Building Simulation and Energy Studies. In other areas new approaches to the generation of complex form are supported by an on-line Scripting Group, and complemented by the research activities of the Non-Linear Systems Organization (NSO) and the innovative collaboration in bio-logical research of LabStudio. The new program in Integrated Product Design (IPD), offered in collaboration with the School of Engineering and the Wharton School of Business, introduces the materials and methods of industrial design and product development, and explores the integration of advanced sensing and control technologies in design products at all scales.

A range of other certificates and dual degrees provide opportunity for students to combine their studies with the other disciplines in the School of Design—especially popular have been the dual Master degree with Landscape Architecture and the certificate programs in Urban Design and in Real Estate Development. Many graduates use these opportunities to launch themselves into hybrid and specialized careers. We foster a culture of research that mines fields of knowledge and activity beyond architecture and prioritizes a capacity to integrate diverse (even competing) objectives through the creative process of design.

Research studios and thesis projects undertaken in the final semester, as well as our one-year Post-Professional Program (PP@PD), have become the locus of advanced experimentation, pushing the

5 INTRODUCTION

boundaries of professional practice and advancing the discipline. Advanced studios link seminars, travel, and research groups to form novel intellectual collaborations between faculty and students. From their sites in Fishtown and West Philadelphia to the Delaware Waterfront and Center City, studios at every level engage the poten-tials of community development in Philadelphia. At the same time, advanced studios engage situations around the world. Last year, student projects developed interventions in Dhaka, Tokyo, Stuttgart, London, Mexico City, Monterrey, Rio de Janeiro, and along the US-Mexico border. A sequence of seminars and studios initially focused on the subject of nursing homes led to an international symposium last fall on New Aging.

To develop creativity a school requires more than academic programs, facilities, and financial resources. It requires an open and generous community of faculty and students participating in a pro-gressive, collaborative experiment. The freedom to form different kinds of connections, and even to disagree, is crucial for the chemistry that makes a school productive. Students are capable of great things when given the freedom to explore ideas, exceed limits, and take risks in the company of others doing the same. Learning to design requires a social milieu disposed to welcome the anxieties of uncertain trajec-tories, the exhilaration of discovery, and the thirst for connectivity in new directions.

I want to thank all the students and faculty for making 2010-11 such a productive year. Thanks also to our dedicated staff—Staci Kaplan, Valerie Beulah, Patrick Crowley, and Tanya Yang, our coordinator. This publication has only been possible through Staci’s conscientious work, the design talents of Thumb, and Gabrielle Ruddick’s editing. Dean Marilyn Jordan Taylor and her staff deserve equal thanks for all their support and encouragement.

Dr. William W. Braham, FAIAInterim Chair, Department of Architecture

6INTRODUCTION

FOUNDATION

10DESIGN STUDIO —FOUNDATION— ARCH 501

Throughout the semester this studio addressed a common social and urban question: How will cities eat in a future that promises growing populations and diminishing food availability? Each project, whether it addressed food packaging, food display, or food urbanism, proposed alternative scenarios for our society’s relationship to food processes. While we attended to these cultural, social, and political concerns, we also examined contemporary architecture through the lenses of production and choreography, utilizing different spatial models

—surface-form, performance-form and event-performance—as we increased the scale of the system examined.

Phu Hoang, coordinator

ARCHITECTURE 501

PHU HOANG, critic JILLIAN BERGMAN, JIARUI SU

The inverted lid, something between art and trash, becomes a surface-form.

At the molecular level, the proliferation of cancer occurs through various mutations in healthy cells, often with chromosomes inverting positions. We infused this notion of inverting into the surface-form on multiple scales: in discrete units and modules with simple inversions; through connections between modules; by the transfer of structure from rim to membrane; and with the production of both densely packed and voluminous regions. Our surface gives rise to a form that generatively defines spaces and inverts our understanding of the lid itself.1, 2, 3.

Surface form : Inverting

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Between art and trash, the inverting of lids becomes a surface form. On a molecular level, the proliferation of cancer occurs through various mutations of the healthy cells, often with chromosomes inverting positions. We infused this notion of inverting into the surface-form on multiple scales, with discrete units and modules with simple inversions, connections between modules, the transfer of structure from rim to membrane, and the production of both densely packed and voluminous regions. Our surface gives rise to a form that generatively defines spaces and inverts our understanding of the lid itself.

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Module Variations

Lid reconstruction colorectal cancernormal colorectal tissue pre-cancerous colorectal villous adenoma

Colorectal CancerVisualization

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DESIGN STUDIO—FOUNDATION—ARCH 501—PROJECT 1—HOANG

PROJECT 1

The first project required the design and construction of a surface-form assembly that interfaced with the human body in a precise and calibrated manner. The structure was constructed from the re-appropriation of an ubiquitous part of our fast food culture: the disposable food container.

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Surface form : Inverting

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Between art and trash, the inverting of lids becomes a surface form. On a molecular level, the proliferation of cancer occurs through various mutations of the healthy cells, often with chromosomes inverting positions. We infused this notion of inverting into the surface-form on multiple scales, with discrete units and modules with simple inversions, connections between modules, the transfer of structure from rim to membrane, and the production of both densely packed and voluminous regions. Our surface gives rise to a form that generatively defines spaces and inverts our understanding of the lid itself.

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Module 1 Module 2 Module 3 Module 4 Module 5 Module 6

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Module Variations

Lid reconstruction colorectal cancernormal colorectal tissue pre-cancerous colorectal villous adenoma

Colorectal CancerVisualization

DESIGN STUDIO —FOUNDATION—ARCH 501—PROJECT 1—HOANG13

PHU HOANG, critic KYLE O'CONNER, MAIREN FOLEY

This surface-form emerged from a series of four component modules that are packed and arranged into a multitude of densities and patterns. Each component was created through a process of folding indi-vidual paper plate units and aggregating them into configurations that allowed for variations in connections and packing. A density gradient among the plate units was achieved through folding upon the foldings within the individual plate units. Specialized connector components tie the larger components together and create the directional variations. The layered folding and packing has generated a human-scale, self-organizing entity that operates as an interface relating to the body.4, 5, 6, 7.

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ADAM DAYEM, critic ALBERT CUA, NICOLE REAMEY,

NATHANIEL SCHLUNDTThis project explores how changes in a dynamic module can affect a larger aggregation and how that larger system can then influence human interactions.

Our project aimed to create a moment of connection between two people through dance. The primary connection logic utilizes the trigonal geometry of our base module to form a sheet. The secondary structure of the sheet was defined by the concept of dance. We determined two methods by which a sheet might encourage dance: undulation and decay. Undulations would push and pull the body into new contortions, while a pattern of decay would allow the penetration of the body into holes in the structure.8, 9, 10, 11.

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ADAM DAYEM, critic MEGHAN BRENNAN,

ALEXANDER ENEYSurface-form Lean explores the act, expression, and execution of leaning—from single module types to facilitated body movements. The original module exploits leaning to varying measured degrees. Once assembled as a family in series, the sense of lean is further described in its natural contours and the relationship of each piece to the whole. As an entire structure the modules begin to wrap, support, and deform into an assemblage that allows the body to deform in a similar manner. Individuals must lean and support one another in order to sustain themselves, all the while mimicking inherent qualities of leaning in the surface-form.12, 13, 14, 15.

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JULIE BECKMAN, critic ANDRES BLOHM, WESS DIPTEE

Modular configurations for each food display respond to the different geometric properties of the ingredients being displayed. As such, the undulations and curvature created are driven by food placement—the ingredient displayed determines the degrees of concavity and convexity that the rest of the structure must respond to in order to hold the ingredients in place. Ingredients occur in proportion to the quantity of each required for the recipe. While the top surface displays a smooth topology with connections only appearing at the ingredients, the underbelly illustrates a complex labyrinth of geometric controls and structural connections.16, 17, 18, 19.

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JULIE BECKMAN, critic YING WEI CHIANG, LE TANG,

YUCHEN ZHANGMaking popcorn requires only one ingredient—corn kernels—and one step—the application of heat to the kernels. All the physical changes come from chemical deformation at the molecular level. The four different folding combinations of paper plates represent the four steps of popcorn formation—condensed, expanded, popped, and deformed—that arise from the instability of starch and moisture in the kernels. These steps manifest themselves in the continuous process of transformation from kernels to popcorn, which in turn is used to sequentially connect and carry the property of volumetric expansion in our work.20, 21, 22, 23.

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SIMON KIM, critic RYAN LEICHTOWICZ, HAYLEY WONG

A hyperbolic surface is the geometric opposite of a sphere and grows exponen-tially in an infinite, constant, negative curvature. This type of surface can be produced by increasing a given unit’s number by the constant ratio of n to n+1 per row. Using the folded paper plate as the initial module, this project utilizes hyperbolic logic to invent a lacy, complex surface-form.24, 25, 26, 27, 28.

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SIMON KIM, critic CHRIS DOWD, XINYUE GUO

This design focuses on module aggregation. After a study of module typology and module assembly variations and methods, we settled on the form of a Möbius strip. 29, 30.

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DESIGN STUDIO —FOUNDATION—ARCH 501—PROJECT 1—KIM

BEN KRONE, critic ANDREAS KOSTOPOULOS,

ANOSHEY RAHIMThe development of growth patterns in ivy plants is contingent upon the maturity of the vine and the natural forces present during its lifespan. Solar patterns and access to nutrients cultivate unique configurations of plant growth that we have dissected, simplified, and manifested through simple fractal systems. These systems are studies of ivy plant growth in terms of fractal evolution and explore natural progressions of density. Through the design of five modules and the empirical development of disparate fractal systems, we are able to mimic the natural organization of ivy growth.

A plastic cup lid—sliced, twisted and fastened—acts as a building block for our larger modular systems. The lid’s inherent structure is consistently utilized in the production of our modules and results in several types of joints. The fastener then becomes an integral part of our process and is constantly challenged by opposing pressures and forces we have harnessed and used to our advantage. 31, 32, 33.

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22DESIGN STUDIO—FOUNDATION—ARCH 501—PROJECT 1—KRONE

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23 DESIGN STUDIO —FOUNDATION—ARCH 501—PROJECT 1—KRONE

BEN KRONE, critic XIAO LIN, DAVID LIU

Our project describes the fractal structure of Romanesco Broccoli. The geometric rule set of its fractal based geometry is derived from a logarithmic spiral. We translated the basic logic behind the fractal structure into a physical assembly utilizing the rigid yet flexible character of the paper plates. When the modules are assembled together without any additional connectors, the front of the form exhibits a highly organic system, while the backside reveals the internal triangular structure. 34, 35.

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24DESIGN STUDIO —FOUNDATION—ARCH 501—PROJECT 2—HOANG

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PHU HOANG, critic PAUL CHAN

Through the utilization of "ribbon-ing" as a primary parametric design driver, Soba(u.ibingu) entices street-food lovers through a series of porous, shifting, and interjecting planes that provide an engag-ing soba eating and making experience. The project's primary parameters lie on three didactically programmed skins: 1. Food preparation plane; 2. Eater’s plane; 3. Structural plane. These three planes are distinct in their porosity, undulation, and materiality. A secondary parameter is then interjected so that a sectional combination of these three unique planes creates pockets of spaces for the patrons to eat, drink, congregate, and observe the noodle making process simultaneously through a series of interweaving conditions.36, 37, 38, 39.

PROJECT 2

The second project probed the performance-form relationship. Students created a prototype for an urban food stand that was both light and re-deployable.

25 DESIGN STUDIO —FOUNDATION—ARCH 501—PROJECT 2—HOANG

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PHU HOANG, critic MAIREN FOLEY

Folding is inherent to all aspects of the food industry, from the containers food is delivered in, to the way food is prepared. This performance-form design is a crepe stand built from a system of layered panels that form a folded skeleton, which dictates the use and overall program of the stand. This skeleton folds in, around, and on itself to blur the distinction between the interior and exterior of the stand, folding the outside urban setting into the stand itself. The degree to which the panels’ layers are connected and unfolded further informs the use of the space, from storage to preparation to seating. Finally, the form takes on one more role as it redirects water along the surface through the folds themselves. This system of folding on a multitude of scales, from structure to siting, seamlessly links food, food consumption, environment, and materiality within the context of a small stand.40, 41, 42, 43, 44, 45.

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28DESIGN STUDIO —FOUNDATION—ARCH 501—PROJECT 2—BECKMAN

JULIE BECKMAN, critic YING-WEI CHIANG

In the modern city, bicycles have become a major alternative form of transportation due to their eco-friendly attributes. However, there have been several issues that have hampered their popularity, including limited bicycle parking facilities, rampant bicycle theft, and the necessity of carrying the bicycle because of inadequate urban infrastructure. These issues are particularly severe for bikers who are looking for places to eat. A bicycle-friendly food stand will be able to solve many of these problems simultaneously by creating spaces that allow bikers to stop, rest, shop, and eat without ever leaving their bicycles.46, 47, 48.

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JULIE BECKMAN, critic MARY CARROLL-COELHO

This market plaza, governed by the people occupying it, responds to the product within. The amount of food and paper con-tained in the stand is directly proportional to the width and height of the structure: less food results in less structure, more food results in more structure. This action/reaction concept is consistent throughout the market. The weight of the products controls how the structure behaves. When completely empty the stands are thin like knife blades. At night, when most of the stands have sold their inventory, specialty stands become projection screens, allowing tourists or late night employees to catch a movie on the ramp and bench conditions. The market is ever changing. The plaza in the morning is filled with bulbous ribbon-like structures that, throughout the day, grow taller and thinner to become planes in the skyline of New York.49. 50.

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SIMON KIM, critic BRETT DONG HA LEE

Skewers are the inspiration for this food stand prototype. The performative aspect of the project is modeled on the revolving motion of the skewers—how fast the polygons revolve about their inner angle per unit time depends on the stand’s changing program or occupancy. Manipulations of polygons (n+1) and their inner angles (180(n-2)/n) sinuously form cells within cells, which results in skewed spaces that converge and diverge continuously. 51, 52, 53, 54, 55.

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SIMON KIM, critic CHRIS DOWDS

This project for a food stand was derived from an exploration into the inside/outside conditions of the Möbius strip and the kaleidocycle. The lack of distinction between what is inside and what is outside these forms was the primary factor informing the design and program. 56, 57, 58, 59, 60.

COOKING FOOD PREP COUNTER SPACE EATING

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ADAM DAYEM, critic MEGHAN BRENNAN

Data has made it evident that there is very rarely equal distribution of wealth across the United States. This inequality segregates people both economically and with respect to the accessibility of nutritious foods that lead to healthier living. This food stand works to further push that division by serving people according to their economic standing. The aggregation of miniature food stand components makes it so that there is no contact between opposing faces of the structure or between people. Economic classes are thereby served by a particular aggregate in which they only receive food typical of the diets in their economic stratum, both in preparation and in the quality of ingredients. 61, 62, 63, 64.

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ADAM DAYEM, critic TAINQI ZHANG

A module-based system was used as a design tool for formulating architecture. The implementation of rule sets developed from Project 1 provided an implicit logic for the seemingly unusual form of the architecture. Arising from an initial interest in exploring the hidden relationship between food habits and society class system, the design is also guided by rigorous research into the two types of food systems in New York: fast food and green food.65, 66.

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BEN KRONE, critic JEONG HWA LEE

The set of rules used to develop this design system were derived by carefully observing the performative qualities of fish scales. The design system controls how the program space can be shaped according to its performance. The faceted surfaces are connected by hinges that enable the building to transform according to the program and the circulation of the users. These surfaces are also pulled and pushed, maintaining the performative directional qualities of the fish scale: pitch, roll, and yaw. 67, 68, 69.

DESIGN STUDIO —FOUNDATION—ARCH 501—PROJECT 2—KRONE

BEN KRONE, critic SARA SADEGHI

In order to arrive at a spatially complex structure, I began by looking at natural systems that could be easily described and whose behavior could be easily diagrammed. This brought me to the rice plant. The cross-sections of rice roots under different conditions of drought generated multiple layers of conceptual information, as they evoked ideas about water resources, the availability of food, and the drying effects of the sun. The resulting design is an exercise in com-pactness, geometric applications, and most importantly, the spatial relation-ships between the objects themselves and between people and the objects.70, 71, 72.

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PROJECT 3

Finally, in the third project, students designed an event-performance space in the public plaza of New York City’s McGraw-Hill building. The project required a new design for a privately owned public space (POPS) with programs for an “urban lobby” that includes a public food market, subway station entrance, and recreation areas.

PHU HOANG, critic PAUL CHAN

This three strata system provides multiple surfaces for the architectural goal of synthesizing programmatic elements with landscape and park conditions. By utilizing “self-peeling,” the three strata both divide and synthesize landscape and program conditions into the ebb and flow found in surface tension and air pockets.73, 74, 75, 76, 77.

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PHU HOANG, critic ANOOP PATEL

This proposal explores the physical and conceptual dynamics of a program component (the step) in order to create a continuous sequence of evolving spaces that enclose, moderate light, openly circulate, and provide the framework for urban food-markets that are also complemented by a green landscape. The stepping component develops micro-indoor and outdoor performance venues, a cafe, and open program spaces that provide for a variety of leisurely, cultural, and intellectual activities.

The project was driven by research into the physical properties and limitations of the staircase, the implied spatial relationships it creates, as well as terrace farming and the step’s ability to create a fluid transition between wall, stair, and planter.78, 79, 80, 81.

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JULIE BECKMAN, critic AGNES LAJEVARDI

The redesign of this little-used sunken plaza took into account the need for respite felt by Midtown’s tourists and workers. It negotiates the eight-foot change from the sidewalk level to the subway level through a series of sloped paths and stepped bleachers. The site’s ground is at times pulled upward, to offer sheltered spaces for markets.82, 83, 84, 85.


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JULIE BECKMAN, critic ARYAN OFEANY

The human body is composed of multiple intricate systems that interrelate and function as one.

To allow the body to move, the muscular system and the skeletal system are attached through a series of tendons that expand according to the position required by the bone. Through the observation of relationships between tendons, muscle, and bone, an opportunity arose to explore program and space through a similar filter. As currently designed and used, the McGraw-Hill public plaza in New York City lacks the means to incite interaction between user and site.

To address this absence, the relationship between tendon and muscle—or program and armature—was shifted until an equilibrium was reached that would optimize the usability of the space. While the existing site was interpreted as bone, the tendons, which are both structural and accessible, allow for muscle responses that expand and contract to form variably sheltered spaces for market, recreation, and social interaction.86, 87, 88, 89, 90.

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re DESIGN

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CURRENTLY, THERE IS VERY LITTLE INTERACTION AND ACTIVITY ON THE SITE. WILL INDUCE INTERACTION BETWEEN PERSON AND SITE.

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SIMON KIM, critic ERIN SAVEN

The term “alter ego” refers to the creation of an imagined other self, resulting in a parallel second life that is both absent and present. In this project individual components within the modules, and the modules themselves, are able to transform, through sequential patterning and rotation, from a normal to an abnormal state. As a result, the modules appear to grow organically, but are governed by the mathematical properties of the Fibonacci sequence. Ultimately, there is a pattern of growth as opposed to a rate of growth. The different formations that arise are of disparate egos: the normal and the super.91, 92, 93, 94.

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DESIGN STUDIO —FOUNDATION— ARCH 501—PROJECT 3—KIM

47

SIMON KIM, critic HWAE EUN KANG

95, 96, 97, 98.

95. 96.

97.

98.

DESIGN STUDIO —FOUNDATION— ARCH 501—PROJECT 3—KIM

48DESIGN STUDIO —FOUNDATION— ARCH 501—PROJECT 3—KIM

SIMON KIM, critic RYAN LEICHTWEISZ

This external façade appears erratic and deranged from almost every angle. How-ever, from specific points of view, the eye aligns the floating volumes and planes in perspective to arrive at fleeting glimpses of squares and circles. The composition tests the human sense of sight, highlight-ing the things that one person sees, but which others in positions of lesser privilege may not. 99, 100, 101.

99. 100.

101.

49

ADAM DAYEM, critic YOONSUN HWANG

The functionality of these component-based assembly systems was driven internally by component-to-component attachments. External constraints were at first abstract, in that they spoke to nothing but the logic of the system itself, but soon transitioned into real social, economic, or urban parameters qualified and quantified in maps. Maps tracked food production, distribution, and consumption as well as transportation and transaction networks surrounding the site. Findings generated by the maps constructed conceptual sites responding to the larger cultural systems in which a food market is inevitably embedded. Proposals for the food market grew out of a continually evolving material system.102, 103, 104.

102.

104.

103.

DESIGN STUDIO —FOUNDATION— ARCH 501—PROJECT 3—DAYEM

50

105.

106.

107.


51

ADAM DAYEM, critic DUNJA SIMUNOVIC

This project focuses on nesting forms and their advantages and disadvantages when expressed as architecture. My intervention encompassed the raised and sunken plazas at the McGraw-Hill building in New York City. Both upper and lower levels were converted into nesting forms and overlapping circulation circuits. I used temporal diagrams to explore the trajectories created by varying densities of people and their speeds of movement, incorporating the deviations that occur when people veer from their expected paths.105, 106, 107, 108.

108.


BEN KRONE, critic MING CHANG LIU

My project describes the different states of plant cells and the geometric rule set of their normal, diseased, and parasite states. The space exhibits a highly organic system, while also revealing the arrangement of different seasonal programs in a plant nursery. The living structure is a symbiosis of programs and forms.109, 110, 111.

52

109.

DESIGN STUDIO —FOUNDATION— ARCH 501—PROJECT 3—KRONE

110.

111.

53 DESIGN STUDIO —FOUNDATION— ARCH 501—PROJECT 3—KRONE

BEN KRONE, critic ANDREAS KOSTOPOULOS

This project aims to activate a privately owned, public sunken plaza. 1221 Market provides a collection of thirty varieties of produce each season, carefully curated by key personalities influential in New York. Each guest is continually drawn more deeply into the space by the products, and the dynamic nature of the structure responds accordingly. A complex network of cables yields a series of interconnected spaces that expand and contract with fluctuations in human load.112, 113, 114.

112.

113.

114.

54DESIGN STUDIO—FOUNDATION— ARCH 502

What does it mean to build into and inhabit a transient urban landscape in which all terms are in flux?

Architecture 502 deals with the question of the city, investigating how its many types of organization support the collective and individual lives of its inhabitants. These organizations can be physical—the city’s streets, its typical houses, its infrastructures, or they can be about how the city is used—its programs, its activities, its rituals, or they might rely on a deep morphology accrued over a long history. Every urban site is situated within all of these narratives and is inter-twined in all of them. A site is never defined merely by a legal boundary. By learning to design into the city as well as into the specific sites, architects acknowledge the porous nature of site that makes impossible the drawing of a definitive line demarcating the boundary of a project.

The semester-long program undertook the design of a large public bathhouse and pool facility along the waterfront of the Schuylkill River in Philadelphia, a river that has been quietly but dramatically augmented in the past few years and currently continues to be at the heart of a substantial new area of parkland gradually being drawn south, further into the center of Philadelphia.

Cities fortunate enough to have bodies of water within their limits have huge advantages and disadvantages as a consequence. Distinct forms of urbanism have developed in these terrains of exceptional constraints and possibilities. Building at the water’s edge engages very specific spheres of ecology, technology, and politics. At the ever-changing interface with water, unconventional material sensibilities and programmatic typologies have evolved in the urban realm, and, given the urgent contingency of ecological concerns at the waterfront, we can expect new ones to be generated in response to some of the most pressing environmental concerns of the present day.

Annette Fierro, coordinator

ARCHITECTURE 502

ANNETTE FIERRO, critic YUCHEN ZHANG

This project, Continuous Bathhouse, suggests a multiplicity of landscape layers that provide a thoroughly new vision and experience of the simultaneous occupation of parks, bathhouses, and outdoor pools.115, 116.

56

115.

116.

117.

118.

DESIGN STUDIO—FOUNDATION—ARCH 502—FIERRO

119.

57

JULIE BECKMAN, critic XINYUE GUO

If two ripples coexist next to each other, they will collide with each other and form an interference pattern. When water waves constructively interfere, the waves will amplify each other and produce a crest or trough; conversely, when water waves destructively interfere, the waves will cancel each other out.

This project situates itself amidst a collision of cultural and recreational ripples. Each resonates at different rates, and with different users, causing inter-ference at our site along the Schuylkill River. Spatializing amplified and canceled collisions of program, user, materiality, and space, the public bathhouse offers new opportunities for constructive and destructive social collisions.117, 118, 119, 120.

118.

DESIGN STUDIO—FOUNDATION—ARCH 502—BECKMAN

58

120.

DESIGN STUDIO—FOUNDATION—ARCH 502—BECKMAN

59 DESIGN STUDIO—FOUNDATION—ARCH 502—BECKMAN

60DESIGN STUDIO—FOUNDATION—ARCH 502—BECKMAN

121.

JULIE BECKMAN, critic ANDREAS KOSTOPOULOS

The Met.A, a mixed-use bathhouse, country club, and boutique hotel on the Center City waterfront of Philadelphia’s Schuylkill River, explores the spatial consequences of varying physical and mental speeds through the use of urban research, mapping analyses, and conceptual diagrams.

Colliding speeds along the continuous arteries of this vibrant site can be strategically repositioned to cause collisions between users, interests, and new recreational activities. Seemingly disparate worlds—or zones—interact with each other when a user moves through them on her way toward a specific goal or destination. Establishing speed priorities on site sets users in motion amidst a highly merged spatial and programm-atic synthesis. Wet and dry conditions merge to create a link between the urban (city) and the rural (water front park). Public and private join in the space of colliding circulation fields, immersing hybrid programs at the area of collision.121, 122, 123, 124, 125.

122.

61 DESIGN STUDIO—FOUNDATION—ARCH 502—BECKMAN

123.

124.

125.

62

KIAN GOH, critic MARGO ANGELOPOULOS

The Schuylkill River Bathhouse uses water as thermal mass for moderating the interior temperature of individual program environments with the outdoor conditions, creating spaces surrounded by transparent aquarium-sized water tanks with glass roofs open to the sky for maximum solar gain. The scale of each unit was derived from the volume of thermal mass required to achieve the desired temperature moderation for that program. The interpolated curves, which generated the arching waves, create regions in which program space, open space, thermal mass, pools, and baths are assigned using direct, indirect, and isolated methods of solar heat gain.126, 127.

126.

127.

DESIGN STUDIO—FOUNDATION—ARCH 502—GOH

63

128.

KIAN GOH, critic BRETT DONG HA LEE

By excavating the hidden urban infrastruc-tures, such as sewers and aqueducts, under the site and embracing them in the “wet” atrium system with “floating” cellular programs, both the bathers and passers-by plunge into the cele-bration of the urban underworld and its augmentation into the re-illuminated architectural discourse.128, 129, 130, 131, 132.

129.

130.

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64

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65 DESIGN STUDIO—FOUNDATION—ARCH 502—GOH

133.

66

KEITH VANDERSYS, critic AGNES LADJEVARDI

This design for a bathhouse responds to the infrastructural nature of the site and to the necessity for intimacy and gender separation, as well as play and exchange. The aim was to develop a strategy enabling the human body to evolve from fully clothed to nude and from single to multiple. The building evolves from its infrastructural birthplace to an open landscape that ties back into the Schuylkill’s riverwalk. The strategy is that of uncovering the ground.133, 134, 135, 136.

REVEALED / ROOF PLAN

EXPOSED / 2nd FLOOR

BURIED / 1st FLOOR

134.

135.

136.

DESIGN STUDIO—FOUNDATION—ARCH 502—VANDERSYS

67

KEITH VANDERSYS, critic CHRIS DOWDS

The void is often considered the empty space in a design. In this project, for a bathhouse in the Logan Square neigh-borhood of Philadelphia, the void space is that space ignored by the primary intakes on the site: transportation, water, and occupancy. This project aims to activate the void space in the program, thus creating a secondary network of “wet” circulation. The void network will use changing levels of water inundation to reprogram the site at certain moments. Using research on occupancy in the neighborhood, it was determined that this site, as well as its encompassing neighborhood, suffers from long breaks in activity and connectedness to other neighborhoods. The need for occupancy at certain times, when baths are not desirable and traffic is not heavy, can be fulfilled by claiming bath space as meeting space for many of the city’s neighborhood associations. The purpose is to deliver activity as well as intercon-nectivity among neighborhoods. The design blurs both physical boundaries within the structure and the abstract neighborhood boundaries without.137, 138, 139.

137.

138. 139.

DESIGN STUDIO—FOUNDATION—ARCH 502—VANDERSYS

68

JENNY SABIN, critic MARY CARROLL-COELHO

The bathhouse design arises from an understanding of thermal relationships between materials, temperature, pro-gram, and people. This design explores a thickening and thinning of space and expresses an understanding of materials in conjunction with program. The cyclical nature of “heat” and “thermal movement” became increasingly important in the design. All of these relationships, com-bined with early water studies of force, drove the design process.140, 141, 142.

140.

141.

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DESIGN STUDIO—FOUNDATION—ARCH 502—SABIN

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JENNY SABIN, critic ERIN SAVEN

This project acts as a weavescape, a continuation of the site that treats both ground and structure as a woven fabric that cuts and peels up from the terrain at different levels of intensity, depending on the concentration of views towards the site. The interactions that occur at points of intersection within this system depend on one another in a symbiotic way, whereby all elements coexist, as they do in a weave. Just as one shift of a warp or weft can affect the rest of a textile, when a specific element of the site fluctu-ates, it resonates throughout the site, causing the entire fabric to shift with it and enabling variation.143, 144, 145.

143.

144.

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70

146.

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149.

71

JENNY SABIN, critic YOONSUN HWANG

To conceptualize a bathhouse on the waterfront of Philadelphia, I researched various data on the Schuylkill River, the hydrologic cycle system, and local public transportation. I have combined data from these three research areas and defined patterns that form the surfaces of the bathhouse, creating structure and facades for privacy.146, 147, 148, 149.

148.


VISUAL STUDIESThe Visual Studies sequence is based on the proposition that architectural representation is a creative, rather than mimetic, act. Often, but not always, exceeded by the physical constructs it helps to make manifest, architectural drawing has the capacity to both provoke and communicate architectural ideas. Because of this, it is an indispensable tool in the design process. To demonstrate its projective value and to encourage students to develop the capacity for visual thinking and visual analysis as a central part of their introduction to design, Visual Studies is taught as a co-requisite to the design studio in the foundation and core curriculum.

73

Arch 521Simon Kim, coordinator

Serra Kiziltan, Lasha Brown, Jackie Wong, Justin Chen, Kristen Smith, critics

This course instructs students in the theory, design, visualization, and production of geometry

in the service of architecture. The application of geometry has traditionally been conceived

of as something inert—receptive materials are cut, shaped, poured, and joined into

forms that are in the service of the abstract and intellectual demands of the designer. The

embodied meaning of the resultant geometry as a conveyor of broader cultural significations

is not in the scope of this class, but the application of geometry as a feedback device will be

introduced. This responsive relationship negates the classical treatment of form making as

a top-down discipline and queries the shared authorship of MAKING (as a pre-mathematical

discipline) and non-designer-centric networks of parametrics. Students will complete the

course with a knowledge of architectural geometry, the prevailing techniques and discourse,

and advanced modeling and its representation.

≥

JACKIE WONG, critic JOHN JOHNSTON

150, 151, 152.

SIMON KIM, critic HAYLEY WONG

153, 154.

LASHA BROWN, critic WES DIPTEE

155, 156.

≥

≥

≥

VISUAL STUDIES—ARCH 521

150.

74VISUAL STUDIES—ARCH 521

151.

152.

75

153.


76

154.

155. 156.


77

Arch 522Cathrine Veikos, coordinator

Andrew Lucia, Matt Choot, critics

A continuation of the study of analysis and projection through drawing and

computer visualization.

≥

MATT CHOOT, critic JOHN JOHNSTON

157, 158, 159.

ANDREW LUCIA, critic YUCHEN ZHANG

160.

≥

≥

157.


78

158.

159.


79

160.


80

161.

Arch 621Cathrine Veikos, coordinator

Andrew Lucia, Matt Choot, Chris Mackowiak, critics

The last of the Visual Studies half-credit courses. Drawings are explored as visual

repositories of data from which information can be gleaned, geometries tested, designs

refined and transmitted. Salient strengths of various digital media programs are identified

and developed through assignments that address the specific intentions and challenges

of the design studio project.

≥

CHRIS MACKOWIAK, critic NATE SCHLUNDT

161, 162, 163, 164.ANDREW MCBRIDE

165, 166, 167, 168, 169.

JOSHUA FREESE, critic KACIE COMELY

170.

≥

≥

≥


81

164.

162.

163.


82

165.

166.

168.

169.

167.


83

170.


86DESIGN STUDIO — CORE — ARCH 601

In the third semester studio students engaged architecture in its role as a cultural agent and examined the way buildings in the city establish and organize dynamic relationships between site, program, and material. The focus of our work was the design of an urban dwelling of approximately 50,000 square feet. Each studio questioned the defini-tion of dwelling in a different urban condition, and programs varied from dormitories and hotels, to co-ops and collectives. Students extended their skills in effectively relating geometrical organization, site analysis, and building massing to program organization, requirements of circulation and egress, and building systems and materials. Our conceptual focus was on program and its functional and experiential impacts. The studios posited that program itself is a design tool that can be employed to develop and promote dynamic relationships and conditions through time, both within the building and between the building and its context.

Through research and experimentation, students developed design methodologies to support the potential for design innovation. Special attention was given to the means and effects of the building envelope, with studios particularly attending to the affect of environ-mental and sensory conditions (such as daylight, temperature, and sound) on the design and scale of interior space. Students worked towards a high level of design resolution and visual representation, including the articulation of the building’s circulation system, its structure, and its material assembly. Finally, the studio emphasized an understanding of the programmatic and representational contribution of the building to both its immediate urban context and to the larger society in which it participates.

Cathrine Veikos, coordinator

ARCHITECTURE 601

88

BRICK CITY

SCOTT ERDY, criticFueled by years of racial discrimination, substandard living conditions and civic under-representation, the Newark Revolution of 1967 left 26 people dead, 800 injured and 1,800 arrested. The six-day conflict ranked among the most deadly and destructive of the decade’s urban uprisings and many argue that downtown Newark has yet to recover from this devastating event. Plagued by crime, corruption, and nepotism, the city has continued its downward spiral for 40 years. Even today, Newark’s lack of safe and affordable housing continues to contribute to the city’s inability to rebuild strong urban neighborhoods.Newark, however, is poised for a comeback. The 2006 election of Mayor Cory Booker has brought great hope for the possibility of revitalization. In support of this revitalization the studio developed prototypical housing types for three separate sites within the central business district of Newark, New Jersey. The studio used urban housing and neighborhood integration as agents for change, beginning with a temporary single occupancy dwelling, and expanding this module into full proposals for site and program. Students developed an individual thesis for their project in response to specific site, economic, and social criteria.

171.

DESIGN STUDIO —CORE—ARCH 601—ERDY

172.

DAVID TAOIn the heart of Newark, New Jersey design can be employed to increase the city’s prosperity. Inspired by the transportation hub of Newark, a super-complex of living and working spaces was developed. The different programs were established by using the sun to sculpt the building and identifying key moments of solar exposure. Responding to the very temporal lives of business people today, the building allows a fast-paced interweaving of work to flow through it. Moreover, as one ascends, the program becomes increasingly permanent and at the top the two programs of living and working finally merge as one. It is the ultimate living experience.171, 172, 173, 174.

89 DESIGN STUDIO —CORE—ARCH 601—ERDY

173.

174.

MO ZHENGThe Mobile Job Box System is a prototype for a green-collar worker training and living center in an abandoned parking lot in downtown Newark. Trained construction workers can operate bridge cranes to move mobile units from the “mother” building in order to renovate adjacent buildings. When the two-year training program finishes, the entire prefabricated structure can be moved to the next site—only an air-purifying park will be left behind. The general structural system features four bridge cranes, a triple-layer truss system with steel frame floors to “store” prefabricated package units. Electricity is generated from grid connected Photovoltaic thermal hybrid solar collectors (PVT) installed on the roof. Individual mobile units can be charged in the “mother” build-ing when they are plugged-in.175, 176, 177.

175.

176.

90DESIGN STUDIO —CORE—ARCH 601—ERDY

177.

91 DESIGN STUDIO —CORE—ARCH 601—ERDY

COLLECTION: THE CURATING OF SCALE, MATERIAL AND HABITAT

TINA MANIS, critic“We are able to hold the miniature object within our hand, but our hand is no longer in proportion with its world; instead our hand becomes a form of undifferentiated landscape, the body a kind of background.”—Susan Stewart

Drawing on research into theories of collection and the rich history of collections themselves, this studio used the object collected as a catalyst for discovery and research into the material properties pertaining to the spatial experience inherent in any collection. Students developed both a catalogued collec-tion and its corresponding container. The insights developed through this thoughtful and thorough account of scale, context, and material were then applied to newly recognized analogues in other systems, networks, structures and sites in order to generate new types and modes of dwelling.

178.

179.

92DESIGN STUDIO —CORE—ARCH 601—MANIS

LAURA SUSSMANThis housing project is based on the differences in lifespan of two distinct bird populations: the feral pigeon and the trained homing pigeon. The built environment was shaped by the scalar, material, and programmatic implications derived from patterns in the two groups. The building aims to repopulate the city with a demographic that has left for more balanced lifestyles in the city’s outskirts by proposing a framework that can be inhabited equally by people and by the natural world.178, 179, 180, 181.

180.

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93 DESIGN STUDIO —CORE—ARCH 601—MANIS

94

NGA TING CHANFeathers are considered the most complex of the integumentary systems that protect a vertebrate’s body from damage. The demand for protection, regulation, and exchange between a building and its surroundings is just as significant in birds and other vertebrates. Inspired by a series of studies on how feathers function, this design project endeavors to create a dwelling that allows optimal air exchange between the internalized, conditioned space and the external atmosphere through an internal, homogeneous environment of airflow space. The building design features different types of programmatic enclosures and a shifting core within an airflow atrium that reinforce the organization of diverse living-unit cohabitation driven by program-matic and environmental forces.182, 183, 184, 185, 186, 187.

182.

184.

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DESIGN STUDIO —CORE—ARCH 601—MANIS

95

185. 186.

187.


96

YOUNG BUM KIMAn investigation of A-POC fabric and the Fastskin swimming suit enabled me to figure out the structure of A-POC fabric. The fabric self-adjusts against the cuts in the Fastskin swimming suit while the sharkskin mechanism manipulates the water speed and pattern at the surface of the fabric.

Just as the cuts made by customers activate Miyake’s A-POC, the sunlight makes the cut that transforms the build-ing’s form and allows more natural light into the building. The patterns from the sharkskin mechanism of the swimming suit are introduced to the unit distribution in plan and section, considering the patterns and speed of the resident’s lifestyle.

The building accommodates both long-stay and short-stay residents and includes a BMX landscape. The sunlight cuts create the outdoor public place where residents can bring their bike to enjoy the BMX landscape. 188, 189, 190, 191, 192, 193.

188. 189.

190.


193.

97

189.

191. 192.


QIYAO LIFrom the façade to the arrangement of inner programs, this project creates a continuous shifting in plan and in elevation that allows for a constant reorientation and reconstitution of the public and private activates inside. The building is divided into different unit groups according to the people it serves. From the ground level up, it intentionally creates an increasing level of exclusivity in the programs that serve the people on that floor. The changing pattern of the façade, with regard to its thickness, quality of enclosure, and response to light, follows the programs inside. In the building, each private unit encloses and occupies its own piece of façade, in order to give each student a unique view of the city. In contrast, in public spaces the façade keeps a distance from the edge of the floor so that the façade allows for a larger-scale experience of its pattern and movement. 194, 195, 196, 197, 198.

196.

98

PROGRAM ECOLOGIES: RESIDENCES FOR THE CURTIS INSTITUTE OF MUSIC

CATHRINE VEIKOS, critic“…A programme is a description of the spatial dimensions, spatial relationships and other physical conditions required for the convenient performance of specific functions…It is difficult to imagine any programme in which there is not some rhythmically repetitive pattern—whether a manufacturing process, the curriculum of a school, the domestic routine of a house, or simply the repeated movement in a circulation system.” —John Summerson

The objective of this studio was to produce and analyze program ecologies: new spatial and temporal relationships for urban dwelling. The studio designed residences, rehearsal, and performance spaces for the students of the Curtis Institute of Music, one of the world’s leading conservatories. Students attended to the dynamic condi-tion of the building surface, and particularly the ways in which it acts both as a performative field and as a site for the mediation of physical and phenomenal effects. 194.

195.

DESIGN STUDIO —CORE—ARCH 601—VEIKOS

99

197.


100

198.


101 DESIGN STUDIO —CORE—ARCH 601—VEIKOS

102

JAMES TENYENHUISIn this project material studies led to a strategy of pulling some spaces together and pushing others apart. Open spaces gather programs and erode the volume of the building and a stepped atrium is cut through the length of the volume, allowing sunlight to penetrate to the rear lane.

A longitudinal void is topologically cut to both provide access transversally and to allow the public to witness the various rehearsal spaces. Two-story atria establish vertical neighborhoods within the residential floors, while smaller interstitial spaces reinforce public and private separations and connections.199, 200, 201, 202, 203, 204, 205.

199.

200. 201.


103

201.

202.

203.

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104

206.


105

FLEET HOWERThis project examines the complex relation-ship between traditionally segregated architectural systems. Using a series of generative techniques, the conventional hierarchy of building systems is flattened into a single model that combines structure, expressive form, and interior topology. This compression of parts produces a cohesive whole that is understood across a range of scales and materials. 206, 207, 208, 209.

207.

208.

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106

BUSTED BOOMERS

TIM MCDONALD, criticMillions of baby boomers born into the dawn of the most spectacular economic expansion in history are being forced to reimagine their retirement futures. Few news outlets have been able to resist the low-hanging pun: the boomers have gone bust. Among the adjustments forced by the new circumstances, perhaps the cruelest for many boomers is the need to join younger generations in the roommate queue.

The housing crash has forced record numbers of late- middle age homeowners to take in boarders or risk becoming boarders themselves. From California to Vermont, home-share and co-housing organizations founded to assist the elderly are scrambling to meet the demands of newly bust boomers.

The studio looked at alternative models of “senior housing” for the city’s burgeoning busted boomers, questioning the very idea of senior housing itself. A focus was placed on affordability, sustainability, and independent yet collaborative living. While this was conceived of as an "intentional community,” marketed toward busted boomers (aged 46 to 64), discrimination against other age groups was not permitted.

210.

211.

212.

DESIGN STUDIO —CORE—ARCH 601—MCDONALD

107

PALLAVI BISWASSHousing for the Elderly is a new model for urban, elderly living in Northern Liberties that aims to infuse a sense of community, as well as independence, into the lives of its inhabitants and users. The building places primary emphasis on public and communal activities by integrating these spaces, both indoor and outdoor, into the complex as points of destination. By providing a setting that entertains multiple layers of community—residents, visitors, surrounding Northern Liberties, and Philadelphia community—the building makes the rich variety of activities and interactions of an urban neighborhood directly available to its elderly residents.210, 211, 212, 213, 214.

214.

213.


108

BRAYTON ORCHARDThis project provides densely arranged liv-ing spaces for aging baby boomers on an awkward site on Second Street in Northern Liberties. Prefabricated units are gathered into five large “houses,” consisting of approximately ten units each, which in turn define public program spaces on the site. Communal living happens at three scales: in the units themselves, in the housing blocks that group the units, and in the large public spaces on the site.

Units accommodate elderly singles, couples, and roommates and provide the opportunity for younger roommates and young families to live with or near the elderly. Around 70% of the occupants are over 50 years of age. The units are designed for independent living while also accom-modating home care visits and the transition into assisted living. This mixture of people begins to combat the institutional atmosphere that characterizes most elderly housing.215, 216, 217, 218, 219.

215.

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109

217.

218. 219.


110

ANDREAS TELDFLAATVia aims to fill in the gap created by I-676 in Philadelphia by extending the urban fabric north and south of the Expressway into a new, infrastructural network that is elevated above street level and reconnects the bisected neighborhoods.

The proposed infrastructure responds to the existing flow patterns of pedestrians, cyclists, and retailers that cross the 10th Street overpass. The expressway gap is taken advantage of through the addition of express bicycle lanes, thereby advancing bicycles as a truly efficient mode of trans-portation in Philadelphia. This project also takes on the issues related to living with a bicycle in a city. Bicycle ramps terminate in each living unit, providing the residents with direct access by bike to homes tailored for a bicycle lifestyle.220, 221, 222, 223, 224.

SUPERHOUSING

BRIAN PHILLIPS, criticHousing is an urban resource—it stimulates the surrounding fabric, creates street energy, bolsters economies and spurs other types of development. It is a basic building block of cities and should itself be thought of as a richly productive infra-structure. In response to the “new normal” of economic, social, and environmental conditions, we must elevate our expectations of urban housing by requiring it to take a pro-active role in shaping the city. Rather than simply focus on housing as a solution to the individual dwelling unit, or as the “program” for a larger building, this studio investigated its potential as a generative infrastructure for the city. The project became an amplifier of existing resources and the qualities of adjacent neighborhoods while also hybridizing itself with the flows of the city.

220.

221.

DESIGN STUDIO —CORE—ARCH 601—PHILLIPS

111

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113 DESIGN STUDIO —CORE—ARCH 601—PHILLIPS

114

+1.5 +1.0 +0.8 0.0 -0.8 -1.0 -1.5

225.

226.

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115

GREG KNOBLOCHWith a “housing more than housing” philosophy, this project was driven by an acknowledgement of the opportunities for a housing project to perform for the greater urban context. Following an in-depth site analysis, it was evident that I-676 creates a gap between North and South Philadelphia that has social, physical, and economic implications. In response, I determined that I could pinch the gap by treating housing as a “connector.” The various ways to connect, how to connect, and where to connect were the fundamental investigations that served as the basis for design.225, 226, 227, 228, 229, 230.

LIVE

SLEEP

BATH

BALC.

+1.5

+0.8

-0.8

-1.5

B 0.0

A -1.0

C+1.0

228.

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116

ACCUMULATIVE GEOMETRIES: TRANSFORMATIONS FOR A NEW HOTEL AND RESIDENTIAL BUILDING IN TRIBECA

HINA JAMELLE, criticAn exceptionally sophisticated part-to-whole relationship resolves the integration of materials, structure, scale, and spatiality to allow for an overall formation possessing lightness and elegance. The scale of the part to the whole must be adjusted with precision and refinement to produce the desired effect. If the scale of the part is too diminutive in relation to the whole, or if the whole consists of too many smaller pieces, then the occupant of the space may be overwhelmed and the potential for producing elegance is lost.

This studio examined emergence and its relation to the formulation of architecture through the opportunistic use of digital techniques. In particular, this studio examined part- to-whole organizations and their potential in architecture by developing tools to create effects that exceed the sum of their parts. These concepts were explored through the design of a new hotel and residential building located in the Tribeca neighborhood of Manhattan.

231.

DESIGN STUDIO —CORE—ARCH 601—JAMELLE

117

SHULEI WENGThis project is inspired by the study of part-to-whole relationships in coral formations; it explores how individual units vary by different parameters, as well as the patterns they create as they develop form. The design starts with a single unit and examines how its form and porosity change. An aggregation method is then applied to the units, transforming them into interlocking and merging forms such that a pattern develops that can incorporate a range of experiences and variations. Woven together by the shared space between them, the hotel and residential building are connected through different programs and experiences, creating a unique hybrid that changes from monolithic volume to an elegant lightness.231, 232, 233, 234.

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118

HANXIAO LIUThe hybridization of hotel and residence generates an innovative way of perceiving and experiencing spaces. The twist of the building, which maximizes and main-tains the viewing angle in the hotel and residential units, is a critical programmatic approach as well as a formal expression. The public programs are fashion focused and are consistently integrated into either the stationary programs or the dynamic spaces. Additional private space is provided in the hotel units, and as the program starts to transition to the more public, the space starts to define types of interactions and the “Programmatic Tornado” is created.235, 236, 237, 238, 239.

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119

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238. 239.


120

DWELLING, THE BODY, AND THE BICYCLE

JULES DINGLE, criticHousing is the most fundamental component of our built environment, yet it is in many ways the most complex. As a way of gaining fresh insight into the multifaceted requisites of dwelling form, this studio examined the bicycle as a constructive reference for our thinking on this topic. The bicycle is in some sense one of the most basic technologies we encounter on a daily basis, yet somehow the bicycle never ceases to evolve. This studio looked at useful parallels that can be drawn between this nearly 200-year-old conveyance technology and the ageless, yet evolving, ideas of dwelling and shelter. The studio framework was intended to encourage expansive thinking on a familiar topic as a means of imagining unfamiliar, yet inventive, new territory. Explored through the design of a 50,000 square feet residential facility at the intersection of a river, a railway, a bike path, and the city grid, this studio aimed at stepping outside of our personal preconceptions of what a dwelling is and reapproaching it, from the scale of the city to the scale of furniture, in inventive and coordinated new ways.

240.

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DESIGN STUDIO —CORE—ARCH 601—DINGLE

121

ALLISON WEILERThis project, a residential development in Southwest Philadelphia that connects the city grid to the new Schuylkill River Trail extension, attempts to translate the opposing textures of the site into opposing modes of dwelling. The site poses two conflicting languages: one, the densely vegetated landscape below, the other, a highly materialized, highly articulated, inherently dangerous infrastructure above. This conflict between the industrialized and the natural reveals the site as fractured, in a constant struggle. Dwellings are also in opposition; the contemporary occupant displays themselves to the public, living precariously suspended above nature, while the more natural, traditional occupant recedes into privacy, taking solace in the original dwelling—the protected cave. These two dwellers both find their habitat on this site.240, 241, 242, 243, 244.

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GOUVERNEUR SCHUYLERThe evolution of the plan in western domestic architecture depicts a gradual cultural shift from a fondness for social-izing to a more private organization of space via the corridor, an apparatus for removing traffic from rooms. The goal of this project has been to challenge the idea of a circulatory "backbone" in con-temporary housing and attempts to create a new model of social living. By developing interactive architectural components between living units, the design operates as a social catalyst, making carnality, debate, and incident into daily norms.245, 246, 247, 248, 249, 250.

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124DESIGN STUDIO —CORE—ARCH 602

With the maturation of digital techniques over the past fifteen years, architecture has undergone a series of critical transformations. Chief among them is the emergence of a new ecology that has formed through the coalescing of software, fabrication, and material intel-ligence. The 602 Design Studios are positioned to investigate these changes and to formulate strategies that can implement them in various ways. The goal is to generate design solutions that take full advantage of our contemporary tools and lead the way in proposing novel and unprecedented ways to improve our built environment. Design integration in particular benefits from the convergence of the design and engineering disciplines, brought along by advanced computational modeling and reciprocal information flow. Formerly autonomous, layered, and linear approaches to building development have evolved into multi-directional and updateable processes, thus allowing for deeper and more complex levels of integration. In lockstep with these tendencies come opportunities for better performing build-ings, as well as the ability to express novel design characteristics and advance our field in practical, conceptual, and cultural terms.

The format of this studio evokes a practice-oriented atmosphere that includes teamwork and collaborations with outside experts in the fields of architecture, engineering, fabrication, and construction. A series of mandatory reviews, lectures, and workshops are held to fur-ther assist students in developing their comprehensive design projects.

Ferda Kolatan, coordinator

ARCHITECTURE 602

126DESIGN STUDIO —CORE—ARCH 602—KOLATAN

IN_FORMATION: INSTITUTE OF GEOLOGY ON WARDS ISLAND IN NEW YORK CITY

FERDA KOLATAN, criticGeology deals in the most fundamental way with the formation of matter over time. It provides an understanding of how all inanimate shapes emerge, grow, transform, interact, and dissolve. These complex processes are not autonomous; they depend on external pressures and lack the internal program (DNA) that distinguishes living organisms. Thus, geological structures are an expression of the dynamic forces that mold them and cannot be sufficiently understood without the context of environment, climate, and most critically, time. This becomes evident in the historical branches of geology, such as paleontology, fossil dating, and plate tectonics. Indeed, rocks are the record keepers of the evolution of the earth. As such, geology constitutes the principle platform upon which all life depends, and is an integral part of any updated and comprehensive definition of ecology.

The studio developed a comprehensive design for an Institute of Geology on Wards Island in New York City. After investigating geological processes and developing dynamic modeling tech-niques, the students explored the island as a miniature geo-habitat within which novel solutions could both formalize and perform within the larger context of the program and the site.

251. 253.

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127 DESIGN STUDIO —CORE—ARCH 602—KOLATAN

ALEX KNOWLES, SANDRA SCHWARTZThe formal characteristics of the erg are reconsidered as a means of negotiating structure, program, and ornament, producing an entirely synthetic landscape that gradually intensifies into the building form.251, 252, 253, 254, 255.

254.

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128DESIGN STUDIO — CORE — ARCH 602 —KOLATAN

256.

129 DESIGN STUDIO — CORE — ARCH 602 —KOLATAN

UHN CHOI, AMANDA MORGAN, MARK NICOL Motivated by an interest in understanding the deep structural forces that drive geologic formations, this project sought to develop a process of formation and a resulting form that were integrally linked across various scales. Formation, from site to space to surface, is driven by a fundamental system of forces that informs the overall site strategy, interior programmatic organization, and surface articulation. The result is a fluid formation, operating across scales and driven by deep structural forces, just as is the case with natural geologic formations.256, 257, 258, 259, 260.

257. 258.

259.

130DESIGN STUDIO — CORE — ARCH 602 —KOLATAN

260.

131 DESIGN STUDIO — CORE — ARCH 602 —KOLATAN

132DESIGN STUDIO — CORE — ARCH 602—ROTEM

MAKING SENSE—DESIGNING AN INTERACTIVE ARTS CENTER FOR SENSE (DIS)ABILITY

RACHELY ROTEM, criticIn our changing societies, in which digital technologies and telecommunications have become commonplace, the building automation system (BAS) is positioning itself as a new form of architectural intelligence. But are these building automation systems truly intelligent? Do they actually offer participants interactive relationships with buildings? And even if they do, have we become so used to buildings that are optimized for performance and convenience that we are losing our sense perception of the ordinary? The studio explored novel means to create interactive relationships between our senses and our built environments. We explored the world of senses by designing for sense (dis)abled users while considering the condition of muted sense, rather than enhanced sense, an opportunity to experience the environment in different ways.

261.

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133 DESIGN STUDIO — CORE — ARCH 602 —ROTEM

JASON JACKSON, IHNIL KIM Equilibrium is determined by the inter-pretation of, and connections between, a person’s sense of sight, sound, and space. The human brain utilizes all three senses to balance the body, yet each individual interprets these senses differ-ently. The Institute for Balance looks to explore the concept of stability through the duality between internal and external experiences in order to develop a range of stability that allows individuals to maintain their own personal equilibrium as they explore and utilize the building. Programs are redefined externally by their relationships to the city (Bowery Street–Downtown–Midtown) and internally through a synthesis with adjacent programs via transitional thresholds. These thresholds are defined by hard and soft building elements that each provide a unique experience through alterations of sight, sound, and space. At a macroscopic scale, programs are strategically located to maintain a steady rate of balance in the building, while simultaneously creating spaces that challenge degrees of stability locally.261, 262, 263, 264, 265.

264.

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134DESIGN STUDIO — CORE — ARCH 602 —ROTEM

EVAN LITVIN, LEA OXENHANDLER People born with a directional or orient-ational disability experience anxiety, helplessness, and utter frustration on a daily basis; their disability hinders their movement through space everywhere they travel. At the same time, the general public’s growing dependence on technolog-ical devices for navigation has caused an overwhelming lack in the development of crucial way-finding and orientation skills.

This arts center on the Bowery allows visitors, disabled or not, to navigate programmatic divisions in the spaces primarily through sensory experience and interaction with various sensory stimuli. The placement of voids throughout the building allows for the distribution of specific sensory cues between programmatic adjacencies, allowing the user to predict or sense what is ahead, behind, above, and below. Voids may frame views to the outside, allow scents to carry upward, and connect multi-height spaces of various programs. 266, 267, 268, 269, 270, 271.

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135 DESIGN STUDIO — CORE — ARCH 602 —ROTEM

271.

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136DESIGN STUDIO — CORE — ARCH 602 —HOANG

NOW WHAT(II)? FUTURE VISION OF AN INTERNATIONAL COURT OF THE ENVIRONMENT

PHU HOANG, criticThis studio was the second half of a two-year project that pro-posed scenarios for an International Court of the Environment (ICE). The first year of the project speculated on an ICE located in New York City. This year’s project proposed an ICE for a waterfront site in Rio de Janeiro. The studio imagined a new form of global political institution that required radically new architectural organizations and spaces. This unprecedented institution does not yet exist, but if it were created the court would fulfill a global need to transparently resolve environmental disputes. The ICE would rule on environmental law, investigate “eco-crime,” and enforce environmental compliance. The design of the ICE required each design group to address two types of architectural performance: one, programmatic, the other func-tionally linked to the engineering disciplines. With this in mind, the studio focused on the integration of architecture with structural, environmental, and façade engineering disciplines in an attempt to answer the question: How will an International Court of the Environment perform—architecturally, ecologically, and politically?

272.

137 DESIGN STUDIO — CORE — ARCH 602 —HOANG

JINSUK SEO, ANNA UMANTZ The conceptual basis for our project is rooted in studies of both river mixing and circulation flow patterns inside the court-house. Based on these two phenomena, our proposal deals with a fluid exchange of conditions between interior and exterior. Mixing between inside and outside environments is structured according to three levels of accessibility (public, staff, and security) and is visually indicated in the building with three large atriums that act as circulation devices, natural light shafts, and water collectors. The atriums also perform as sources of mixing motion, structuring the space adjacent to them both in plan and in section.272, 273, 274, 275.

274.


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NGA TING CHAN, SHULEI WENG This project for a courthouse began with the examination of configurations for pro-grams and circulation zones according to user type. Categorizing different scenarios, we investigated various “moments” in the courthouse design. The organization of programs for the judicial process, as well as various waiting spaces, was carried out according to our investigation of places where movement and stasis occurred.

The environmental forces were then integrated into the design on the basis of programmatic requirements. This helped to define a series of basic geometrical principles and rules that modified corres-ponding architectural organizations. By rendering the building in an expressive gesture based on our parametric research and analysis, we aimed to generate a building complex that not only serves as a typical courthouse, but also as an engaging public zone between the aquatic and terra firma.276, 277, 278, 279, 280.

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142DESIGN STUDIO — CORE — ARCH 602 —RICKENBACKER

AN ARCHITECTURE OF PURITY: AN AIR PURIFYING TOWER

SHAWN RICKENBACKER, criticThe environmental and biological impact of poor air quality has plagued civilizations throughout history. The industrialized age, in particular, has recorded unprecedented negative environmental changes. Using both digital and analog technolo-gies, this studio addressed the issue of air quality in NYC while simultaneously exploring the potential for public infrastructure to reduce energy consumption, remediate environmental degradation, and harvest and distribute energy. Part science, part creative problem solving, and part entrepreneurial invention, the studio operated as a collective research group organized into teams of no fewer than two members. The research and design process explored the efficiency of component-based, parametrically-derived designs to arrive at effective design and performance. Projects evolved from practical research into natural forms of remediation and cleansing. A scientific approach to systems analysis culminated in design concepts employed as urban purifiers that are accessible to the public, both aesthetically and functionally. Collaborative communication and workshops with engineers and software specialists complemented the studio work.

282.

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143 DESIGN STUDIO — CORE — ARCH 602 —RICKENBACKER

ERIC CRAIG, DAVID DUXBURY New York City’s 996 acres of open-air, below-grade highways and railways have long been seen as aesthetically and economically destructive fissures that fragment the urban territory. We, however, envision these canyons as ripe terrain for creating ecological, economic, and civic activity. Our proposal transforms a quarter- mile length of the Brooklyn-Queens Expressway trench between Cobble Hill and Red Hook into a research center for harvesting pollution through the production of biofuels. This proto-typology hybridizes much-needed public parkland, laboratories, a library, and an auditorium with the mechanical infrastructures necessary for ventilating the below-grade expressway. We do not seek to sequester the processes of ventilation and air purification but rather to allow these systems to create an architectural vocabulary that celebrates and reveals the necessary process of phytoremediation.

Beneath a deep, productive, vegetated rooftop, three programmatic sponges are clad in electrostatically charged Tyvek panels that filter ambient particulate matter. These sponges are suspended over the topography of an open first-floor concourse that accommodates a variety of public gatherings. At critical points along the trench where throughways are cut off by the expressway’s construction, the roof arches up to provide pedestrian passage. On the west side of the site, where a number of high-rise buildings already stand, the programmatic sponges are “sliced” and glazed, thereby allowing natural light to permeate interior spaces. On the site’s east side, the roof curves down to meet street level, allowing points of public access to a public promenade.281, 282, 283.

144DESIGN STUDIO — CORE — ARCH 602 —JAMELLE

SYMPHONIC TRANSFORMATION: PERFORMING ART CENTER, BATTERY PARK CITY, NY

HINA JAMELLE, criticThis studio examined emergence and its relation to the formulation of architecture. Digital techniques were used to generate growth and evaluate patterns in the development of form. These techniques also allowed us to deal with the full complexity of material systems, making possible the creation of effects that are greater than the sum of their parts.Students examined highly formally and spatially integrated organizations, which operate in the same way as organic sys-tems, whose forms result from their adaptation to performance requirements. We explored the potential uses of stasis and differing rates of change in the building’s formal manifestation. The inclusion of stasis is an important development as it allows for particular movements in form to be made evident, generating innovative systems for architecture. The goal for each student was to develop a sophisticated understanding of form using strategies to design architecture that flows from topological surfaces and spatial arrangements, and to apply these to a range of familiar architectural issues.

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145 DESIGN STUDIO — CORE — ARCH 602 —JAMELLE

FEI CHEN, HANXIAO LIU Situated in lower west Manhattan, this project, developed with a site driven strat-egy, aims to create a green corridor that provides a visual connection between the parks of the neighborhood and Battery Park at the waterfront. The employment of green spaces throughout the building serves as a catalyst of programmatic organization. The green area on the ground level helps to form a site-responsive, uninterrupted path that swirls up and becomes a shared public area for both visitors and the students of the music conservatory located on the third level. On the theater floor, the green space transforms into the resting area for music goers during intermission, and on the rooftop it buffers two programmatic zones. The green space leads a route of promenade through the building, activates and pauses human activities, and makes all the programs seamlessly work together as a cohesive integration. The architectural design was dictated by the aggregation of a single unit, which transforms according to the requirements of site, program, space, and circulation. This building also incorporates a hybrid structural system with intensive landscaping both in the interior and exterior.284, 285, 286, 287, 288.

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146DESIGN STUDIO — CORE — ARCH 602 —JAMELLE

MARTIN MILLER, MO ZHENGThis urban performing arts complex accommodates a large orchestra hall, theater space, public amphitheater, hotel restaurant, and exterior public spaces. Beyond the programmatic function, the form and structure of the building developed from a study of organic meta-morphosis and an examination of various stages of growth and change, which are reflected in the space. The different pro-grams reflect unique morphing exteriors that reference phases of change while still blending from one stage into the next.289, 290, 291.

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21'6" 29'0" 13'2" 26'7" 40'3" 38'5" 27'0" 9'5" 14'4" 22'1" 20'0" 20'0" 22'1" 14'4" 8'8" 40'6" 34'0" 16'2"

39'9"71'6" 78'9" 27'0" 65'9" 105'7" 50'2"

438'6"

11'2

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11'6

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46'8

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FL 1 SLAB0'-0"

FL 2 SLAB+11'8"

FL 3 SLAB+33'2"

FL4 SLAB+50'4-1/2"

FL4 SLAB

FL B1 SLAB-11'6"

FLB2 SLAB-22'7-1/2"

FL B3 SLAB-33'9-1/2"

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FL1 SLAB

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+0'0"

FL2 SLAB+15'5"

FL3 SLAB+30'6"

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FL5 SLAB+59'0-1/2"

FL6 SLAB+71'2-1/2"

B-B SECTION SCALE: 1’0”=1/32”

1. Underground Path2. Audio Control Room3. Outer Dome Support Struture4. Restroom5. Parking Facility6. Balcony Seats7. Sky Stage8. Audio Control9. Back Stage10. Actors Entrance11. Cafe12. Water Stage13. Lobby14. Performance Platform

1. Foyer2. VIP Lounge3. Restroom4. Audio Control Room5. Second Floor Seating Area6. Balcony Seating7. Above Stage8. Rehearsal Room9. Musician Lounge10. Bridge11. Freight Elevator/ Storage12. Kitchen13. Restaurant14. Pravite Club15. Outdoor Deck16. Audio Control17. Water Stage18. Back Stage19. Outdoor Seating

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39'9"71'6" 78'9" 27'0" 65'9" 105'7" 50'2"

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FL 1 SLAB0'-0"

FL 2 SLAB+11'8"

FL 3 SLAB+33'2"

FL4 SLAB+50'4-1/2"

FL4 SLAB

FL B1 SLAB-11'6"

FLB2 SLAB-22'7-1/2"

FL B3 SLAB-33'9-1/2"

-12'2"

FL1 SLAB

FLB1 SLAB

+0'0"

FL2 SLAB+15'5"

FL3 SLAB+30'6"

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FL5 SLAB+59'0-1/2"

FL6 SLAB+71'2-1/2"

B-B SECTION SCALE: 1’0”=1/32”

1. Underground Path2. Audio Control Room3. Outer Dome Support Struture4. Restroom5. Parking Facility6. Balcony Seats7. Sky Stage8. Audio Control9. Back Stage10. Actors Entrance11. Cafe12. Water Stage13. Lobby14. Performance Platform

1. Foyer2. VIP Lounge3. Restroom4. Audio Control Room5. Second Floor Seating Area6. Balcony Seating7. Above Stage8. Rehearsal Room9. Musician Lounge10. Bridge11. Freight Elevator/ Storage12. Kitchen13. Restaurant14. Pravite Club15. Outdoor Deck16. Audio Control17. Water Stage18. Back Stage19. Outdoor Seating

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147 DESIGN STUDIO — CORE — ARCH 602 —JAMELLE

291.

TRAVEL ABROADArchitecture has become a global business that spans cultures, economies, and building practices, so PennDesign provides a number of opportunities for students to travel and study in international con-texts. Travel opportunities range from a full-semester abroad at the Architectural Association in London (see Architecture 701) to summer programs in Paris, Scandinavia, and Mexico to week-long trips in design studios at the 700-level.

149

Haiti, Spring 2011Brian Phillips, Julie Beckman, critics≥

TRAVEL ABROAD—HAITI

TRAVEL ABROAD—JAPAN 150

Japan, Fall 2010Ali Rahim, critic≥

151 TRAVEL ABROAD—MEXICO

Mexico, Summer 2011Enrique Norten, critic≥

152152

Denmark, Spring 2010Martin Haas, critic≥

TRAVEL ABROAD—DENMARK

153153 TRAVEL ABROAD—STUTTGART

Stuttgart, Spring 2011Martin Haas, critic≥

TRAVEL ABROAD—PARIS 154154

Paris, Summer 2011Annette Fierro, critic≥

155155

ADVANCED

158DESIGN STUDIO — ADVANCED — ARCH 701

Architecture 701 is the first semester of the third year of the design curriculum. This semester differentiates itself from the first two years by allowing students to pursue their own interests in contemporary architecture design, including formal, technological, critical, and post-critical explorations. The intention is for each student to be able to pursue and develop their own interests from within the discourse of architecture and to have the opportunity to explore these interests through a range of project scales. The challenge of these projects is to work within the provided framework of each studio section while exploring all the complexities that the various urban conditions provide. The resulting projects vary in scale, yet are inclusive in their disposition and influenced by their contexts. The chosen contexts are exciting; they are urban and range from London to Mexico City. Each studio section takes these contexts on in different ways, yet the primary concern for all is the relevance of design particular to its location. These issues are explored in different ways, from studying demographics to studying local methods and techniques of assembly, to perhaps developing financial models of urban renewal or relying on new ways of impacting and invigorating a city.

Ali Rahim, coordinator

ARCHITECTURE 701

160

TOURISM AND THE MAYAN RIVIERA: NATURE, PLEASURE, AND CITYNESS

JOSE CASTILLO, criticTourism is not only the world’s largest industry, it is also a spatial and temporal practice that transforms territories through economic, social, and physical techniques. Recent global events, such as the world financial crisis and the recent flu pandemic, have shown both the impact tourism has on the global economy and how sensible the industry of tourism has become to such contingencies. Indeed, the modern industry has developed adaptive strategies for its own survival, from branding and thematization, to its (half-hearted) embrace of the agenda of sustainability.

The Yucatan, from the ex-novo tourist city of Cancun, less than 40 years old, to its recent linear expansion into the territory known as the Mayan Riviera, is the linear tourist city of our times. As the fastest-growing destination for tourism in Mexico, the area is a rich testing ground for the future of global tourism. The studio designed a large-scale architectural project that negotiates between the touristic, the urban, and the territorial. We critically engaged present strategies and techniques of tourist development, and discussed prospective alternatives focusing especially on the possibility of bridging the gap between our notions of city-ness and the current territorial models of tourism.

DESIGN STUDIO — ADVANCED — ARCH 701—CASTILLO

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ILDA YANG, SOOBONG BANGAll resorts and hotels create their identities by either physically enclosing their proper-ties or suggesting privacy by enclosing their properties with private amenities. Resort City proposes large, public programs on the beach and direct access to the beach by elevating resort facilities. Large, open spaces and green areas have been provided, as well as shopping, dining, and entertainment facilities. The resort and the city share the public amenities, and the shared experience becomes a new attraction of the city. 292, 293, 294, 295, 296.

161 DESIGN STUDIO — ADVANCED — ARCH 701—CASTILLO

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BEN LEE, CHRISTINA RODRIGUEZOur project focuses on the naturally occur-ring phenomenon of the cenote. Essentially a sinkhole in the geologically unique conditions of the Yucatan Peninsula, the cenote plays an important role as a provider of fresh water, a site of ritual for the Mayan culture, and, today, a hotspot for ecological and recreational tourism. With an emphasis on raising awareness of the complex issues surrounding the cenote, our research takes us through several established practices of resort design and operations in different parts of the world and in Mexico, all the while analyzing the development of tourism, identifying key target markets, and developing a design code that is responsive to the site and environment.

Our site is a rocky cove 50 km southwest of Playa del Carmen, close to the Mayan ruins of Tulum. We envision a resort that is not reliant on an exclusive private beachfront development. Instead, we employed a lightweight strategy that utilizes the entire site. We have designed a development that recreates the cenote experience and redefines the hotel room typology for different groups of people.297, 298, 299, 300.

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162DESIGN STUDIO — ADVANCED — ARCH 701—CASTILLO

TIFFANY LI, MYONGKI SEONGThis is a highly complex and integrated design for a vibrant urban block in Roppongi Hills, Tokyo. Inspiration from turbulence path flows and behaviors guided the organizational logics of the site, landscaping, and towers. Techniques such as nesting, embedding, bifurcating, and interlocking are implemented to allow various programs and qualities to traverse the site in a very organic, yet orderly manner.301, 302, 303, 304.

NESTED URBAN FORMATIONS: CENTRAL DISTRICT, ROPPONGI HILLS, TOKYO

ALI RAHIM, criticA Nested Urban Formation of infrastructure, architecture, and urbanism can create novel material organizations that shape a city’s development. Nested Urbanism takes advantage of the city by allowing for the coexistence of different urban qualities at differing simultaneous scales.

In this studio our Nested Urban Formations aimed to catalyze exchanges between Tokyo’s residents, facilities, and larger city networks by working within the landscape of the ongoing human, economic, and social changes that are currently pressuring the city to respond.

301. 302.

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163 DESIGN STUDIO — ADVANCED — ARCH 701—RAHIM

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164DESIGN STUDIO — ADVANCED — ARCH 701—RAHIM


CHIA LIAO, KIN MACities are aggressively expanding in size and population; Urban Swirl is a new design concept that re-thinks the relationship between a skyscraper and its immediate urban context. In metropo-lises like Tokyo and New York City, the shortage of land is the major reason for vertical developments, but skyscrapers are increasingly becoming isolated islands within the cities—disconnected from the horizontal plane.

Urban Swirl examines the opportunity to connect the vertical with the hori-zontal by building connections between towers, as well as connections between the towers and the ground plane. Instead of traditional program organization, different programs are categorized and nested together throughout the whole site. Starting from the edge of the site, the program intensity grows stronger as the programs swirl into the buildings. In general, the base is the least rotated part of each building. The base is ‘looser,’ and its space is opened up to accom-modate public programs. In the upper floors, rotation becomes vigorous, space tightens, and partitions are formed along the rotation axis—spaces become more private and rooms for offices and residential are created. 305, 306, 307.

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167 DESIGN STUDIO — ADVANCED — ARCH 701—FEDUCHI

BE HANBerlin has been formed by divergent ideas. Thesis and antithesis coincide here like breathing in and breathing out. Now/here: the superimposition of ideas, concepts, decisions, causalities, and reality across the arc of seven centuries has given the city its present form. The current plan is a book of events in which the traces of history have remained clearly visible; it is not a unitary image, but a living collage, a union of fragments.

Linear|trace: The contemporary vicinity of contrasting elements is, from an historic point of view, the expression of the dialectic process in which the city has always found itself, and still does. The project for critical antithesis and for a divergent multiplicity is the profound sense and characteristic of Berlin. Singular|autonomy: The urban plan is a loose, more or less differentiated, conglomerate of disparate structures. Block|density: The basic typology remains the same—a street, lane, atrium, courtyard or square, made up of blocks. Network|intensity, emergent [properties and capacities]: Irreducible to the parts; a characteristic of the whole conditional on the interactions of the parts. 308, 309, 310.

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BUILT INTO THE VOID: APROPOS HUMBOLDT–FORUM

LUIS FEDUCHI, criticThis studio engaged global contemporary architectural issues that are particularly prevalent in Berlin’s present urban development. These include the lack of an urban center, the polemics of preserving a city’s past, the role of open space in the 21st-century city, the definition of new urban venues for the arts, and the necessity of understanding the city as project. The studio explored, proposed and developed ideas for the development of one of the largest voids existing in a European city center: the empty and unprogrammed site where the Berlin City Palace, the royal residence of the Prussian kings, and the Palast der Republik once stood.

168DESIGN STUDIO — ADVANCED — ARCH 701—FEDUCHI

SARAH BULGARELLINature has been an identifying charac-teristic of the German culture since its birth. Exemplified by its extensive park system, as well as the establishment of the Schrebergartens, community allotment gardens within the city, Berlin has established a hierarchy of open space that organizes the cityscape while continuously remembering German identity. Positioned on Museum Island at the nexus of the sciences, arts and education, the new Humboldt-Forum is a cultural landscape that explores not only Germany’s ever-evolving relationship with nature but also how the rest of the world interacts with the earth.

At the surface, the new Humboldt- Forum responds to the agricultural needs of Berlin’s culturally diverse community. Taking cues from past on-site circulation systems as well as the hierarchical structure of Berlin’s Schrebergartens, the landscape is organized into gardening plots dedicated to the production of international, yet locally grown goods. Institutions representing an array of global cultures can grow goods as a symbol of their communities’ interaction with the earth in Berlin. The inherent German-ness of the site will be preserved in the creation of two large, unobstructed gestures: the forest and the field. By introducing elements of Berlin’s greenscape within the Schrebergarten-like infrastruc-ture of the landscape, the city’s open space system will be recreated at the Humboldt-Forum. 311, 312, 313.

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QIAN LIUThe site of the Humboldt-Forum is so full of history that a gentle approach was necessary. Therefore, it was my goal to create a center for learning that would allow solidity to form its hidden portion and lightness to float over the excavated ruins. While the lower portion of the building constitutes the permanence of the site, the upper portion lifts to contain elements of the program, such as auditorium space, the café, and viewing areas. The pivot points of the lifting are where the programs I have deemed most important—the library and gallery spaces—exist. 314, 315.

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WILLIAM HEYER, JOHN SCHERERThe relationship between people and the buildings we occupy is increasingly characterized by symbiotic utility; we maintain and supply the structures with their needs and in return achieve our own. However, the “aging home” of the future will not be composed of lifeless mechanical systems; it will be a living organism of synthetic DNA that helps us age more comfortably and gracefully. 316, 317, 318, 319, 320.

BRECYCLING

MATTHIAS HOLLWICH, criticThe United States faces two acute crises, both an embarrassment of riches: an excess of real estate and an aging of people. This studio explored the possibility that these crises might solve each other. Since the recession began in 2008 there has been a wild overstock of commercial real estate that has depressed prices and riddled the nation with empty and abandoned properties. The nation is also grappling with a population that is living longer and in need of new forms of care and community. Super-positioning one crisis onto the other reveals an archi-tectural opportunity. Using the term “Brecycling” to describe the process by which waste in the construction industry is reduced by reusing buildings, we envisioned progressive design strategies to renew the aging community’s relevance and strength through meaningful architectural interventions. The studio created a new architecture typology that serves the specific needs of the elderly beyond medical care, a new typology that accounts for strategies that transform physical disadvantages into opportunities. Our Brecycled buildings fuse the private context with urban programming to transcend simple decorative motifs designed to evoke hominess. Over the course of the studio, we searched for spatial inspirations, speculated on new programmatic solutions, applied humanistic concepts, and envisioned a building that is a living example of its own agenda.

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SHANNON BRENNAN, ADAM PYSEGRANDscape is not just any nursing home... It is a dynamic, active, and expres-sive community of people. Those who live at GRANDscape are encouraged to live a fit and healthy lifestyle, where workouts are catered to their needs. Circuits have been developed to challenge those of all fitness levels, both physically and mentally. The openness of the floor plates allow for constant engagement with the ongoing activities as well as integration into the surrounding Penn campus.

Each of the floor plates represents a unique landscape condition found in Iceland, which was visited on a studio trip. The sculpted floor plates increase in intensity as the user moves up through the building. Each individual unit is carefully nested within the overall landscape, barely interfering with its surroundings.

The units are designed to start and end each workout circuit. Three types of units have been developed, all stemming from the idea that stretching is integral to the daily routine. Each unit or “POD” has strategic stretch bars located throughout it to encourage stretching while performing daily activities such as getting out of bed, showering, sitting, and washing dishes. 321, 322, 323, 324.

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WATER URBANISM IN LONDON

HOMA FARJADI, criticThe relationship between London and the Thames has been undergoing a reformulation ever since the river shed its primary trading functions in the 20th century. A number of recent projects, among them the South Bank development, the Tate Modern, and the Millennium Bridge, have attempted to better integrate the city with the river and to arouse a new vitality in the relationship between the north and south banks, yet the physical and cultural connection between the two sides remains distant.

This studio proposed an unprecedented instance of north-south bank interface by addressing sites on opposite sides of the Thames in a single project. Instead of treating the river as a barrier to be crossed, we worked to conceive of the ways that water systems can develop shared ground between their two banks. The spatial designs and organizations took account of the physical continuity and territorial differences between the river and the rest of the city; an integrated city becomes possible by using the river in unprecedented ways.

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MICHAEL GLOUDEMAN, SARA WITSCHIThis proposal for a multifunctional shipping distribution center takes advantage of London’s extensive, existing water network and the adjacent post-industrial land-scape. The design of the center revolves around the notion of functional duality. This duality is seen both in the continual shifts in program and in the structure itself.

The large, compressive, structural legs become an internalized volume for occupation and circulation; the mixture of steel ends provides both strength and lightweight capabilities for additional internal volume. The topside of these steel pads is an exterior space for temporary shipping container storage and inhabitable programmatic endeavors, as well as a displaced vertical landscape for large-scale events and breath-taking views of both the Thames and London. In essence, this proposal looks to rejuvenate the post-industrial landscape through a more efficient mode of distribution, while providing a location for entertainment and leisure activities in the internalized volumes of the legs and belly of the bridge. Through the combination of industry and leisure, a truly adaptable infrastructure is born. 325, 326, 327, 328, 329, 330.

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ALEXANDRIA MATHIEU, MICHAEL WETMOREThis project seeks to reconnect the disjointed, post-industrial landscape by redistributing site occupations into a network of high-capacity nodes. By expanding the flood plain into the site, the project explores these shifting occupations of the River Thames as a new type of urbanism. The pathways and reconstructed landscape are networked along a new field condition, taking into consideration how this new network plugs into the existing tube and road circulation and larger city connections. As a result, a re-occupied landscape that is conditional with the tides provides a hierarchy of networks, creating a hybrid landscape with occupational shifts in program density, towers, and water connections. 331, 332, 333, 334.

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The New Normal: A Radical New Plan for Santurce, San Juan This year’s Post-Graduate (M.Arch II) studio was invited by the Dean of the University of Puerto Rico, UPR, to join three International teams to study, analyze, and help reinvigorate the area of the Monserrat Avenue in the district of Santurce, San Juan. In direct coordination with a large developer, the students looked to invent a new architecture where social engineering and emerging production methods meet. The rethinking of the possibilities afforded by these two important objec-tives, and the development of designs for how they may converge as a new settlement, will be the main objective of the studio. We believe that the implications of this experimental research will be broad and interna-tional in scope. We are not looking for small retrofits of old models.

We are looking for innovation and alternative futures. The studio will explore non-linear design methodologies that give rise to emergent order through complex, bottom-up systems. These sys-tems encode design intent at the micro-scale and, through a series of local interactions, coherent order emerges at the macro-level. These design strategies shift intent from operating directly on the object to operating through the abstraction of a complex system where control operates through orchestration, rather than invention. The non-linear operation of these systems enable seemingly competing design deci-sions to interact and negotiate in the process of formation, rather than considering design decisions sequential and hierarchical. Architecture is made of parts; from construction components to building systems, all architecture relies on the careful design, assembly, and coordi-nation of individual pieces into one coherent whole. While this basic principle has changed little over the last few millennia, the nature of what parts are and what they can do has undergone some fundamen-tal transformation. Among the more radical changes we see, falls the

ARCHITECTURE 703 PP@PD

capacity of parts to act responsively. Rather than purely mechanistic pieces with clearly defined and constrained roles, contemporary part performance is more akin to cells. They can be programmed to multiply, change properties and configuration, and adapt to both internal as well as external forces and stimuli. This has significant ramifications for how we think about building design from the conceptual phases all the way to fabrication and assembly. The students jumpstarted the semester with an urban competition for Santurce, and the provocative winning scheme provided the framework in which all students worked. The large physical model produced for the final review provided not only a radical new alternative to conventional urban housing and sub-urban neighborhoods, but instigated an intense, passionate discussion on the future of architecture.

Winka Dubbeldam, director

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WINKA DUBBELDAM, critic CONG YAN, YUAN ZHU

Located in the center of San Juan’s cultural complex and adjacent to the area’s central park, the program for site No.10 has great potential to vitalize the surrounding neighborhoods by creating a new way of living. But at the same time the site presents an extraordinary architectural challenge: it must resolve the tension between its very small maximum height and the program’s need for a series of different, large public spaces.

Our solution is to maximize the limited volume we have by fully exploring the underground space, letting in sunlight through various atriums that penetrate the mass. As a result, the building represents an unusual synthesis of two opposing but equally important elements: the solid and the void. Museums, galleries, artists’ studios, as well as houses and apartments, are organized around atriums of different sizes. In essence, it is a series of indepen-dent, functional units stacked together, connected by geometric episodes of horizontal and vertical circulation, which is quite similar to what animal cells and the extracellular matrix (ECM) do in animal tissue. Thus, a self-sustainable structure of the public and the private, the commercial and the residential, is achieved in both vertical and horizontal directions. Moreover, the program relates to local architectural tradition through its spatial form, which can be easily seen from its separated, small scale spaces as well as the “gray space” in between them, which are neither too open nor too enclosed, and thus can provide both shading and ventilation at the same time.335, 336, 337, 338.

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WINKA DUBBELDAM, critic JEFF DAVIS, DANE ZEILER

Our site rests at the boundary between our speculative master plan and the existing urban fabric. By integrating an aggregation of vertical and horizontal structures, we have attempted to unify these conditions. We have embraced the inherent emergent properties of a market and allowed them to influence our design decisions and philosophical approach. The migration of proliferating residential and commercial components is guided by relationships within the marketplace and interactions throughout our site. A bottom-up system provides us with continuous feedback by cultivating a seed for emergent growth in the heart of San Juan. 339, 340, 341, 342, 343, 344.

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FERDA KOLATAN, critic KIN WAI LEUNG, ERWIE YI

Emergent architecture has often lacked sufficient consideration of site and contextual factors. Through a series of methodologies that challenge this short-coming, this project proposes a new mixed land-use that revitalizes and stimulates the waterfront area in Puerto Rico, creating an integrative relationship between land and sea.

To realize the revitalization, a dynamic system is introduced. The product of the system creates the new coastline, which provides three shores of different attributes, as well as platforms for different activities. The system is further expanded from the water into the site with the same system logic, but instead it produces heterogeneous spatial properties. 345, 346, 347, 348.

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FERDA KOLATAN, critic PREETHI PATHIREDDY, QIN ZHANG

This project investigates the potential of complex, urban conditions, reworks the quality of the neighborhood, and attempts to achieve the effectiveness and connectivity that exist in a dynamic and emergent system. The project, therefore, presents an adaptive neighborhood that integrates densities of people, activity, culture, commerce, and the environment with built forms, allowing us to design for a wide-range of scenarios. In order to both reconfigure and achieve a variety of condi-tions, a physical network was required to morph form and feel. To redefine the notion of a “home,” a fluid, continuous system was incorporated that forms unique individual dwelling units that interweave with one another, creating possibilities for communication and the transition between boundaries. Connective Tissues describes a form of spatial expression that responds to the surrounding environment and creates a new living neighborhood. 349, 350, 351, 352, 353.

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ROLAND SNOOKS, critic SIZHE CHEN, DIEGO TACCIOLI,

TYLER WALLACESan Juan's uncontrolled urban sprawl and ecological devastation is a tremendous burden on the small island. The Graft Tower is a net plus resource building that not only provides water, food, and energy for the neighborhood, but also brings in revenue that subsidizes the building and creates many,needed, new jobs in Santurce. The ground level is an epicenter of commercial activity and services that support the light-rail hub. A tower at the south end of the site rises thirty-six floors and contains an eco-tourism hotel and living units for permanent residents.

The network of organically responsive parts makes an entirely unique building that engages and supports the Santurce community.354, 355, 356, 357, 358.

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ROLAND SNOOKS, critic JOSEF MUSIL, CHENGHAN YANG

This project focuses on research into non-hierarchical design systems and the aesthetics generated by those systems. The fundamental substratum is a nonlinear system where two systems interact and negotiate with each other.

Previous principles have dictated that either “form follows function” or “function follows form.” These are replaced by a new principle: form negotiates with function. The project creates a constant dialogue between spatial and structural organization, as represented by the two systems of curves. 359, 360, 361, 362.

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Integrated Product Design (IPD) is an interdisciplinary Masters degree developed to train students in technology, business, design, and human-product interaction. Courses are offered by the School of Engineering, the School of Design, and the Wharton School of Business. The IPD studio sequence moves beyond the limits of any one discipline to new levels of creative and strategic design thinking. Students are challenged to solve complex problems as they collaborate to create products and processes that respond to social, environmental, and experiential contexts in a rapidly changing world.

Mark Yim, directorBen Krone, IPD Studio 1

INTEGRATED PRODUCT DESIGN

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NILS DAHLThe Smart Cart Shopping System enhances the efficiency of the grocery shopping experience, from home to store. The system provides automatic shopping list generation, autonomous guidance through-out the store in the most efficient path possible, and a nimble, slim cart balanced by a gyroscope for easy maneuverability.363, 364, 365.

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JULIE LORCHA hand bag that flips over your head for relaxation on public transportation and airplanes, the Muffle Duffel includes a neck rest, noise canceling headphones with an ipod jack, and an adjustable eye mask that hooks in front of the user’s face. Stuff sacks keep valuables securely tucked away when the bag is worn as an isolation device.366, 367, 368, 369.

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JOHN ZOXThe patent-pending Lima Cocktail Plate elegantly solves the problem an individual faces when they find themselves in the awkward cocktail party situation of being unable to feed themselves because one hand is holding a plate while the other holds a cup. A simple curved indentation along the plate’s edge allows the individual to easily hold a variety of cup sizes, along with the plate, in one hand, freeing the other to grasp food or shake hands.370, 371, 372.

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JOHN ZOXThis one-of-a-kind, programmable manual QR Code Stamper allows for customizable, unique promotions that can be affixed anywhere in great quantity, creating a bridge between the print and the online worlds. A phone number, document, coupon on a wall/billboard, business card, GPS coordinates, URL, or a poster image can be accessed by a mobile phone when a picture is taken of the programmed and stamped code. QR Code technology is blur-ring the distinction between smart phones, digital destination and content, and paper-based communication mediums. Signs inundate our streets, informing pedestrian and driver alike with their often times unsightly presence. An examination of their attributes reveals interesting insight into their sociological, anthropological, and aesthetic qualities. The signs are arguably a pock on the urban landscape, but the alternative is a dangerous, confusing world. Is there a more efficient and aes-thetically pleasing method for conveying essential street sign information? From a macro-perspective this could take the form of a universal, modular sign system that places emphasis on attachment, flexibility, clarity, and beauty. Should an abstract universal “street sign language” be introduced into the urban iconographic lexicon? Alternately, a micro-challenge might involve addressing the intricacies of a single sign’s functionality—or the introduction of a new sign altogether.373, 374, 375.

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204DESIGN STUDIO — ADVANCED —MEBD

MEBDThe Master in Environmental Building Design is a specialized, post-professional degree developed to train architects in the new skills and knowledge required for environmental design, and especially in the design techniques with which those skills must be integrated into the practice of architecture. The one-year course of study includes coursework on building performance simulation, integrated building design, building envelopes and systems, lighting, daylighting, and the theory and practice of environmental design. Coursework is complemented and extended by a Performance Design Workshop and then explored in depth in an intensive Environmental Design Laboratory in the early summer.

William Braham, director

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MEBD STUDIO – SUMMER 2011

FRANCA TRUBIANO, criticThe inaugural design studio for the Masters of Environmental Design (MEBD) was dedicated to the design of a high performance mixed-use office building of 100,000 square feet located in the Philadelphia Navy Yard. Its goals included the learned integra-tion of low energy design solutions in pursuit of an ecologically responsive environment. Students proposed and tested a range of energy-free architectural design principles with the aim of achieving reduced carbon emissions and net zero energy buildings. The studio was directed toward the synthesis of skills and knowledge sets cultivated by students in the first two semesters of the MEBD program. Leveraging their full spectrum of skills, students foregrounded the use of digital simulations to measure solar insulation, solar shading, energy consumption, lighting design, and air flow in order to maximize the attainment of net zero designs. The building’s program, the site’s configuration and micro climate, its engineering systems, projected energy consumption and/or production, and the selection of materials were considered synergistically in order to maximize the benefits of an integrated design pro-cess. And lastly, the building’s envelope was a critical site for design innovation, being one of the components most favored for technological invention and effective energy savings.

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KELLY BALL, NIKETA LAHERIEnergy efficient building design depends on the mediation and harvest of naturally occurring on-site energy flows for building use. A building’s attentiveness to site allows a productive relationship between building and environment to develop. Early design decisions about form, orientation, and thoughtfulness towards landscape integration allow for the appropriate adap-tation of a building to its site and result in energy demand reduction and bottom line savings. The Navy Yard office complex, Parkway Towers, shares a site with a public park and will be an integral part of a quasi-urban work-live community. Design strategies aimed at minimizing energy demands from off-site are also focused around a commitment to positive impact on-site, to interaction with the sun, wind, water and soil, and to providing enjoyable public outdoor space in all seasons. Exten-sive green roofs, daylighting, passive solar ventilation strategies, high-performance building materials, integrated water management, grey water reuse, and photo-voltaic energy harvesting all contribute to a low-impact project which reduces off-site energy demand by 60% of a typical office building’s baseline.376, 377, 378.

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LOURDES ESPAILLAT, KATRINA FERNANDEZ, JONATHAN SHRIFTOur design concept identifies the use of the sun as the principal resource providing significant benefits in terms of both environmental performance and quality of space. The use and control of daylight frames the narrative of experience for users as they pass through the site and the buildings. Two of the main goals are to deliver an energy efficient building without compromising human comfort for occu-pants and to create an asset for the overall community. This is achieved by creating a balance between energy efficiency and the user’s ability to manipulate daylight, views, and natural ventilation. Further connection to the outdoors happens in multiple indoor/outdoor public spaces of various types throughout the building and site.379, 380, 381.

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Architecture 704, Design Research Studio, is offered in the last semester of the Master of Architecture and Post-Professional design curricula. These studios encourage design innovation while providing a platform for each student to pursue their design interests after grad-uation. Specific modes of architectural design innovation vary across the studios according to the interests of each advisor, but there are two models of design innovation that persist throughout the semester. The first is a model that operates within the discipline of architecture and innovates by questioning particular aspects of architecture. The second borrows techniques from other disciplines and brings these techniques into architecture in an attempt to develop new knowledge for the discipline of architecture itself. Each studio makes explicit their design research intention by identifying which of the two frameworks will be employed for innovation and discovery. Students are encouraged to select and study with advisors who can provide them with a platform to develop their own design research agendas.

Ali Rahim, coordinator

ARCHITECTURE 704


INTERIORITIES: AN URBAN CLUB FOR AOYAMA, TOKYO, JAPAN

ALI RAHIM, criticIn this design research studio we were interested in designing affective formations: works of architecture that maximize their affects, and hence responsiveness, to users and contexts. The creation of affects is most clearly pursued by starting with interiors and delaying the development of the architecture within its environment. We aimed to build up a multi-layered complexity with a high degree of differentiation within each visual system and scale, and with a high level of correlation between the various levels of perception.

During our trip to Tokyo, we acquired new knowledge that assisted us in understanding how interiors can accumulate in specific ways to produce maximum affects at the city scale. Students developed their own sensibility for variation and employed part-to-part, as well as part-to-whole arrangements, in extreme variation to produce distinct formal interior features. The final product was a building designed, with morphological continuity, from the inside out.

TIFFANY LI, WILLIAM NETTERLocated in a high-fashion district of Omotesando-Tokyo, Japan, this urban club draws inspiration directly from its eclectic surroundings. Five spaces—bars, lounges, VIP capsules, a smoking room, and a dance floor, each with distinct qualities and atmospheres—were developed through lighting, material shifts, and accumulation. Though adjacent rooms have distinct atmospheres, morphological continuity ties these spaces together to create hybrids. Glimpses of nearby programs are offered up to entice the user to navigate this maze of sensual experiences.382, 383, 384, 385, 386.

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DESIGN FOR DELIVERY: CONSTRUCTS FOR POST DISASTER HAITI

JULIE BECKMAN, BRIAN PHILLIPS, criticsThis studio investigated the role of the architect in post-crisis scenarios and explored how designers can contribute to the positive transformation of a region traumatized by natural and man-made crises. In particular, we examined and addressed Haiti and the aftermath of the January 2010 earthquake. We interrogated the role of the designer in the post-disaster context—not simply as a form-maker, but as a strategist on a quest to demonstrate real value through architectural action. We focused especially on architecture as infrastructure. While much attention has been given to emergency and transitional structures, there has been a lack of exploration into the connective tissues that link these buildings. Infrastructure offers value and purpose at a scale that can extend beyond the individual building project—a crucial scale and program for Haiti to confront as it rebuilds. We imagined networks, resources, and amenities that encourage communities to reemerge and thrive. Each team designed a program hub, providing community services, enabling the development of housing, and addressing environmental, social, and economic issues.

All students in this studio traveled to Haiti, where we worked closely with AFH volunteers and presented an exhibition of work in progress to a range of stakeholders, including Architecture for Humanity, UN-Habitat, The Clinton Foundation, FOKAL, local students and faculty, and members of the Haitian Government.

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ALEXANDRIA MATHIEU, THOMAS MICHAEL, VALMYK VYASOur project proposes repurposing the ravines as ecological and programmatic engines for development. These ravines, as a new site typology, yield a vast amount of unused and underdeveloped land, serving as natural cross-cuts through the urban fabric. However, the ecological benefits the ravines have historically produced are now limited or lost, due to overpopulation and an overall mismanaged infrastructure. This has led to treating the site as an urban landfill, creating disease-ridden water conditions, limited accessibility, restricted fresh-water collection points, land erosion, and flooding.

Inserted at strategic points along the central ravine, our project consists of pre-fabricated structural strips that line the localized zone. The base foundations, along with flexible panels for enclosure and filtration meshes, form an operational circuitry along the length of the ravine. The productive components consist of filtration units, collection systems, information hubs, enclosure panels, and check dam structures; all used as needed. Together, this system functions ecologically as a freshwater filter that could potentially prevent erosion and restore natural habitats. It creates new spatial opportunities, redefines the street condition along the natural borders of the ravines, and increases cross-accessibility and awareness while also expanding into the surrounding urban fabric. This expansion allows it to contribute to the existing value of community, restoring the surrounding agriculture, and provid-ing the opportunity to form a local and global economy.387, 388, 389, 390, 391.

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SARAH BULGARELLI, BRAD SCHNELLCurrently, the focus of aid in Haiti is oriented toward meeting basic human needs. Meanwhile, the country’s cultural capital is being undervalued, both as a means of sustaining local community networks and as a potential global export. By reframing Haiti’s particular cultural nuances, it is possible for the country to reposition itself as a global focal point, not for its trauma, but for its unique culture. The image itself becomes an infrastructure of recovery. This project asks how Haitians can be empowered to reshape a future image of Haiti by framing new representations of its existing cultural production. How can the intricately woven layers of Haitian culture be framed by a series of minimal design interventions? Much of the country’s cultural capital, such as art, spirituality, and city life, is being overshadowed by the extreme contrasts that exist in Haiti today. By focusing on street life as the nexus of many of these contrasts, it is possible to accentuate Haiti’s details. The delicate wooden structures, inserted at contrast-ing points within the city, not only draw attention to the subtleties of Haitian culture but also introduce a building material that has long been considered a lost resource. 392, 393, 394, 395.

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MULTIMODAL MIX-COAC

ENRIQUE NORTEN, criticMexico City, the Western Hemisphere’s largest metropolitan area, provides a tremendous platform for massive urban infrastructure. The city’s changing public transportation needs require a constant re-evaluation of newer and more efficient technologies of transportation, as well as a radically increased understanding of the capacities and possibilities of urban terminals where one mode of transportation connects with another (CETRAMs).

We examined the CETRAM in the Mixcoac neighborhood, analyzing the movement and activities of the neighborhood’s inhabitants, as well as existing problems identified by the city, and similar transportation conditions around the world. We looked for ways to replace models of horizontal urban expansion with strategies for re-densifying areas near public transporta-tion nodes. Aided by a site visit, students developed designs for a multimodal terminal that thoughtfully juxtaposed existing requirements with programmatic components addressing health, education, retail, and entertainment. Ultimately, the studio generated designs capable of both developing and strengthening the neighborhood beyond the CETRAM.

ELI LINGER, DEREK MOLENAAR, KARLI MOLTERThis project for a transit hub is not just a place of exchange for people, but also for culture, ideas, and information. The existing site is rich with transportation, but dominated by vehicles. Our vision for the transit hub will transform the idea of circulation in Mexico City; a new landscape will emerge that prioritizes the pedestrian and creates a connective tissue between key programmatic anchors throughout the site.396, 397, 398, 399, 400.

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TOKYO /LA: PROTO-METABOLIST ECOLOGIES AFTER THE FACT

HOMA FARJADI, criticThe projects and buildings of Kenzo Tange and the text of Reyner Banham’s Los Angeles: the Architecture of Four Ecologies set the terms of our research in this studio. The two sources were at once analyzed in their original historical context and again interpreted in juxtaposition, with an eye toward contemporary implications. Our research included materials from Tange’s archive at Harvard and a trip to Los Angeles. Students produced a project of speculative design imagining the counterfactual conjunction of Tange and Banham’s positions on the organic life of architecture. Student’s resisted formal hybridity as a quick solution and constructed a design based on a dialogic configurations set up by the strategic, formal, material, and technological values presented in the two texts.

LEE JIAE, YIRAN WANGWe have developed a new type of facility for big box retail and drive-in entertainment at the East Los Angeles Interchange—perhaps the most complicated highway system in Los Angeles. In this large-scale project, visi-tors are provided with particular spatial experiences by way of changes in speed, level, and scale within the building’s system of roads.

We used a combination of architecture and freeway rings to form the basic functional cell, and applied the stack-up building system to organize different cells. This system integrates Banham’s autotopia with Kenzo Tange’s notions of a mega-structure for city transportation. The proposal tries to find a new architecture type that combines “car energy” and building logic. 401, 402.

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DUCKYOUNG LEE, YI-TING CHIUA peculiar relationship exists in Surfurbia: a juxtaposed opposition between private life and public space. The beach is the ultimate public domain, yet the living spaces on it stand in isolation, bound by solid walls, fences, and vegetation. Our proposal involves the removal of these solid boundaries in order to add to the ambiguity between what is public and what is private, between what is beach, what is parking, and what is living space.

This project is a new type of parking structure that is concurrently living space and beach space. It is essentially an extension of the beach landscape, which is further extended into the city through the mobility of the car. The four essential activities—bathing, eating, sleeping, and viewing—form four distinct land-scapes, offering unstable and shifting relationships with the horizon, with incidental programs, with pedestrians and cars, and with the water.403, 404, 405, 406.

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EMERGING CHAOS

WINKA DUBBELDAM, criticThis studio’s research focused on the Great Pacific Garbage Patch, a floating junkyard that stretches across hundreds of miles in the North Pacific, and its local impact on Lower Manhattan and Staten Island. We designed robotic systems for gathering plastics from the ocean and recycling them into smart construction materials, as well as a robotic plant capable of producing prototypes of buildings made from these materials. We worked with a research group in Linz, Austria, and a robotics centre in Odense, Denmark, to study space and design strategies for this project. Given the international nature of our collaboration, the studio also examined the social space of emerging internet communities and the ways in which they form a base necessary for realizing this kind of project.

WEN XUI used a shifting method of construction to enrich the experience of visiting and to present plastic’s wide range of uses and scales. 407, 408, 409, 410.

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TIA CROCKER, MARK SHKOLNIKOVDoes plastic really last forever? Current estimates suggest a lifespan of over 1000 years, but the truth is we really do not know. Only in popular use for 50 years, plastic’s history is too short to evaluate its longevity. However, the facts are clear: plastic does not biodegrade and its unique synthesis of petrol chemicals removes it from a natural lifecycle, leaving it to slowly break apart into smaller and smaller pieces as it floats off into our oceans, contaminating our water.

The ocean, however, with its swirling currents whirling a dense accumulation of plastic into what is known as the “Great Pacific Garbage Patch” has offered us the gift of redemption. Consisting of a confetti of plastic, 80% of the Patch consists of the same plastic we find in our bottles and grocery bags, but it has been broken down into little digestible

morsels, allowing it to become part of our food chain.

We propose a solution to simultane-ously remove the plastic from the ocean, and put it to use in a way that will better the world, not harm it. Our solution involves a network of Sensor Buoys, scattered within the Patch, that relay information for the deployment of our Whirlpool Agents—a system of robots able to combine and swim to the targeted plastic and generate microcurrents that further densify the particles. Through this high-pressure system, the plastic is vacuumed down for the journey to the second half of our project, the Deepwater Island Habitat. Our design for this floating, artificial island proposes a unique environment loaded with clean-energy systems. This includes a plant for Ocean Thermal Energy Conversion and a “Spike” building skin that rhythmically adapts

to the local ecology while absorbing wind and solar energies. We have designed a plastics silo for docking the Agents where they will deposit the plastic into the submerged factory for recycling and reuse as an innovative architectural building material, embedded with biodegradable matter. In addition, our proposal includes research labs, an eco-hotel, amphithe-aters, docks, pools, and other activities harnessing the unique qualities of a life adrift, as it draws scientists, artists, and adventurers alike to engage with the pressing issues of cleaning, enjoying, and learning from our oceans. 411, 412, 413, 414.

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COMPLEX PHENOMENA

CECIL BALMOND, ROLAND SNOOKS, critics

This studio investigated non-linear systems and self-organization at both a methodological and programmatic level. Since the 1960s, the world in which we live has been increasingly understood as an emergent outcome of complex systems. Research into complexity cuts across traditional boundaries; the self-organizing systems that underlie one phenomenon can be found to operate at various scales within a diverse set of circumstances. Consequently this studio explored the nature and operation of complex systems and their application for design. This involved extracting the processes that operate within the physical world while also developing new models of self- organization. The development of non-linear design methodologies within this studio involved a shift in the design process from inventing to that of orchestrating systems in the generation of an emergent architecture.

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SIZHE CHEN, HONG CHENG TSE, KAICONG WUThis project can be seen as a retrospective critique of classical ideas of ornament. We believe a new emergency design strategy will transform the very typical linear relationship between structure and orna-ment into a non-hierarchical condition. Ornament was abandoned by Modernists in order to create “pure,” but boring spaces. Now if we introduce a new behav-ioral continuity to ornament it will never become redundancies on a building’s surface, instead ornament will become real structural and spatial elements that dominate every scale of a building, in this case, a bridge. This research and design was assisted by a multi-agent system, as well as the stigmergic behaviors of agents. Technically, the emergent agents of the bridge can possess the intelligence to recognize geometries that have emerged from themselves, allowing for feedback.

There are two ways to create continuity among all the constructions. The first one is a self-organized system that will make every skeleton touch its neighbors. The

touching performance will also generate a radiant way to link different scales smoothly; blending system is introduced. Our ambition was to discover connections between any two types of geometries. So although all the skeletons have distinguished basic geometries, they do no lose the elegance of smoothness. The skeletons started as singular ornaments but at last transform into a body.415, 416, 417, 418.

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CRISTINA RODRIGUEZ-VASQUEZ, BRIAN ZILLISStuttgart 21 is a visionary urban develop-ment and transport project attempting to modernize the city with a high-speed rail system. Relocating existing railways has provided the city with large urban plots of unused land. Park Blur is a residential building that caters to an active public as its primary goal. Bicycles are permitted, and encouraged, to engage with the building on all levels, including a 2nd floor bike shop and a 4th floor restaurant. The building was designed through moments involving public and private interactions focused on an active lifestyle and quality environmental conditions.419, 420, 421.

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MARTIN HAAS, criticWe recognize that any undertaking as substantial as the construction and subsequent operation of buildings naturally consumes considerable natural resources. The questions we must ask are: How can we, as architects and environmental engineers, create buildings that are better integrated into our world, and how can our buildings place fewer strains on the environment? We must also account for the ways in which architecture affects the processes of dwelling. For just as we shape architecture, the built environment reciprocally shapes and influences our behaviors, habits, and social developments. Given this dynamic, the architect must pay increasing attention to the tasks architecture must achieve within society and within the environment.

The studio developed concepts and solutions for visionary ecological urban planning on one of the sites of the urban development Stuttgart 21, which we visited. Students designed a residential tower that expressed an ecological approach, while at the same time being inviting and friendly.

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STEVEN PARK, MARGARET YOOThe vast areas of rich soil revealed by the removal of train tracks can be converted into urban farms. Urban farms are distributed throughout the site but the most prominent tracts entwine along side an urban landscape where they are concentrated for the use of the public. In order to create an inviting and active urban environment that is well connected, we strived to blur the boundaries between defined public nodes and connecting streets, as well as between park and urban greenscape, by interweaving narrow and wide streetscapes that accommodate people, bicycles, cars, and public trans-portation. Toward this end, we introduced the use of Alternative Fuel Vehicles (Zero- Carbon Emission, Solar, Fuel Cell etc) and E-bikes to facilitate a new lifestyle at both urban and human scales.

The Residential Tower merges urban life and nature. Planter-integrated skin always wraps around kitchen areas, allowing the kitchen to become the center of a space where one can cook while uti-lizing the crops grown in the planters. The skin is a smart, automatic system that opens up during the summer to optimize natural daylighting and ventilation and closes in the winter to capture heat and achieve comfortable temperatures; it is also manually operable to give the tenants the freedom to control the temperatures of their units. Density of plant growth and the patterns of glazed surfaces overlap to create various levels of privacy and shading for the residents.422, 423, 424, 425, 426.

During their final semester, students may elect to do an independent thesis, on a topic they develop, with an advisor of their choosing, subject to approval by the Thesis Committee.

Annette Fierro, coordinator

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ANNETTE FIERRO, advisor MIKAEL AVERY

Thesis Question: How can we use the material practices of outsider-art (based on the primary constraints of necessity and local availability) in conjunction with modern fabrication techniques (CNC Routing) in order to create an architectural assemblage that challenges precon-ceived ideas about material use, re-use and re-purposing?

All materials were locally sourced within an hour’s drive of the City at a total cost of less then $100. The materials were cut exclusively on a 4’x8’ CNC Router. This method of working resulted in the development of CNC compatible joints, as well as a new way of looking at bowed, twisted, cupped, and otherwise unworkable and discarded materials.427, 428, 429.

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ANNETTE FIERRO, advisor MICHAEL GOLDEN

Drawing on the visual storytelling techniques used in comics and graphic novels, this thesis seeks to exploit the potential of sequential, perspectival image creation in the design process.Beginning with eye-level perspectives, the design was driven by experiential and atmospheric qualities, which in turn implied certain geometries; the creation of images in sequence further developed the intended experience of the project, while at the same time suggesting more specific and coherent form. With this emphasis on image, digital models were judged by the images they produced, rather than as singular objects in digital space, while images were judged by their ability to invoke viewer participation.430, 431.

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MATTHIAS HOLLWICH, advisor BENJAMIN LEE

“…death seems to have no place in the modern city. The architecture associated with death is generally that of the neutral sympathy of the undertaker. Unobtrusive and bland like the piped music played in funeral homes, it is an architecture that does not attempt to address the gravity of its theme or the existential questioning and crises which death can prompt.” —Edwin Heathcote, Monument Builders, 1999

The cloud is a new prototype for a cemetery in contemporary society. Today’s expression of communication has revolutionized how we interact with each other...and the dead. Call. Text. Email. Tweet. When we die we will have vast amounts of information stored about us, vast archives of personal artifacts in both physical and digital form. The cloud is a park and datacenter located at Penn Station where the organicity and lightness of life meet the rigidity and heaviness of the graveyard. The cloud will aggregate as more people age and die...and it will self-organize to the latest #trends on twitter. Check-in, navigate and “like” the #cloudcemetery at http://www.sideten.net/cloud with your iPhone or android device. 432, 433, 434, 435, 436.

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For many years scholarship in Penn’s Ph.D. Program has operated under a double constraint: the development of knowledge that is both descriptive and productive. Although dedication to productive knowledge is uncommon in many Ph.D. programs, it is entirely relevant to architecture. Marx’s dream for philosophy—to change, not merely interpret the world—is an unremarkable commonplace of architectural thought. Architecture is a form of engagement par excellence, aimless if not oriented toward given conditions, intent on their transformation. The particularity of architecture’s productive sort of knowledge, that it gets its hands dirty in the actual transformation of the environments in which we live, has been and remains a central concern of Penn’s architectural scholarship.

David Leatherbarrow, graduate group chair

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NANCY STEINHARDT, advisor YOUNG JAE KIM

This dissertation explores why a Buddhist monastery combined stupas (mahaceti-yas)/caityas (cetiyas) and halls/pagodas, and how it was ultimately constructed applying vernacular construction methods and pre-existing building types, through two sites: temple compounds at Nagarjunakonda and Bulguk-sa (Pure Land) monastery, comparing with significant locales such as Ajanta, Ellora, Jaulian, Takht-i-bahi, Kalawan, Dharmarajika, Adzina Tepe, Guru dara, Tapa Sardar, Ximing-si, Gamun-sa, Horyu-ji, Fujiwara/Heijo Yakushi-ji, Daian-ji, Hojo-ji, and Byodo-in in India (including Gandhara), Central Asia, China, Japan, and Korea, which follow the same notion of placement and construction as the two sites. My contention is that the monasteries represent the harmony of a particular vernacularized material “body” with a universalist “spirit” of ideas, situated both firmly amidst a particular set of geographical, geomorphologic, and historic factors, and a cosmopolitan philosophical system shared across the Asian continent. The first tendency towards universalization is demonstrated

in the adoption of broader intellectual programs through the combination of a mahacetiya with a cetiya, and a hall with a pagoda, and afterward paired cetiyas and paired pagodas in the main precincts of temples “from Nagarjunakonda to Gyeongju,” modeled on a concatenation of causality. The incorporation of a hall with two pagodas in Bulguk-sa temple had already appeared at Nagarjunakonda monastic complexes. The historiographi-cal texts inclusive of epigraphical and literary evidence pertaining to these sites show that the homologous synthesis of stupa/cetiya and hall/pagoda was intended to pursue ‘merit-making’ and ‘posthumous rebirth and well-being into the Pure Land.’ The amalgamations likewise represented sacred loci and events in the Buddha’s life from his birth to Mahaparinirvana passing through great departure, meditation, enlighten-ment, and preaching, and embodied the reminiscence of the honorific venues on a narrative law of ‘cause to effect,’ ‘mundane to sacred,’ and ‘principle to knowledge,’ all of which were later converted into the Pure Lands, and further affected the architectural representation of the Womb and Diamond World mandalas

which culminated in the temples of Heian Japan and Liao China. The second tendency towards vernacularization is shown through the acceptance of local idioms to invent a new model for “Pure Land architecture” which was an effective media in making a paradisiac milieu as a bridge between the future happiness and the present suffering world. The buildings of the two sites fused different styles in their contextualized applications of various structural elements and building techniques at different times and places. They also preserved the indigenous functions of pre-Buddhist building types in persistent uses according to the tastes and needs of votaries, and the previous construction methods and styles as a form of the transition period based on material properties of timber, earth, brick, and stone, as viewed in Ito Chuta’s evolutionary theory of architecture. The adopted systems for structural stability, moreover, occurred as localized adaptations in response to the degree of combination between “piled-up” and “framed” structures.437, 438, 439, 440, 441, 442.

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WILLIAM BRAHAM, advisor JOHN SADAR

In the late-1920s, a new architectural glass appeared which promised health benefits, by the enhanced transmission of the beneficial ultraviolet spectrum of sunlight. Vitaglass promised to turn buildings into therapeutic devices at a time when Euro-American societies were preoccupied with the promise of the sun in the combatting of disease. Through its evocative visualizing of the invisible properties of ultraviolet light, Vitaglass captured the imagination if not the market, and opened the door not only for competitors, but for today’s tailoring of architectural glass to particular performance characteristics. Moreover, in its intertwining of medical science, glass chemistry, and advertising was a particular construction of the modern body and its relationship to the built environment. 443, 444, 445, 446, 447, 448.

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COURSES

249 COURSES—VISUAL STUDIES AND DESIGN TECHNIQUES

Visual Studies and Design TechniquesREQUIRED

ARCH 521Visual Studies ISImon Kim, coordinatorBrown, Kiziltan, Smith, Chen, WongThe study of analysis and projection through drawing and computer visualization.

ARCH 522Visual Studies II Cathrine Veikos, coordinatorFreese, Mackowiak, Choot, Medow, LuciaA continuation of the study of analysis and projection through drawing and computer visualization.

ARCH 621Visual Studies III Cathrine Veikos, coordinatorChoot, Mackowiak, Freese, Hostettler, Murata, Yancone, LuciaThe final Visual Studies half-credit course. Drawings are explored as visual repositories of data from which informa-tion can be gleaned, geometries tested, and designs refined and transmitted. Salient strengths of various digital media programs are identified and developed through assignments that address the specific intentions and challenges of the design studio project.

ELECTIVES

ARCH 726 401Contemporary Furniture DesignMueller-RussoThis course provides a platform, in the form of furniture, for executing and deploying architectural and engineer-ing principles at full scale. It will be conducted as a seminar and workshop and will introduce students to a variety of design methodologies that are unique to product design. The course will engage many of the considerations that are affiliated with mass-production, such as quality control, efficient use of material, durability, and human factors. Students will conduct research into industrial design processes, both traditional and contemporary, and will adapt these processes into techniques to design a prototype for limited production. Instruc-tion will include: model making, the full-scale production of a prototype and its detailing; design for mass-production and the possibility of mass customization; design for assembly and furniture case-studies; design techniques, software integration, and optimization studies; Computer Aided Manufacturing (CAM); and a site visit to a furniture manufacturer. 449. AMY LINSENMAYER450. SANAM SALEK

ARCH 727 401 Industrial Design IBressler Industrial Design (ID) is the professional service of creating and developing concepts and specifications that optimize the function, value, and appearance of products and systems for the mutual benefit of both user and manufacturer. Industrial designers develop these concepts and specifications through collection, analysis, and synthesis of user-needs data, guided by the special requirements of the client or manufac-turer. They are trained to prepare clear and concise recommendations through drawings, models, and verbal descriptions. The profession has evolved to take its appropriate place alongside engineering and marketing as one of the cornerstone disciplines represented in an Integrated Product Design team. The core of Indus-

trial Design's knowledge base is a mixture of fine arts, commercial arts, and applied sciences utilized with a set of priorities that are focused first on functionality and the needs of the end user, and then on the market and manufacturing criteria. This course will provide an overview and understanding of the theories, thought processes, and methodologies employed in the daily practice of Industrial Design. This includes understanding ethnographic research and methodologies, product problem solving, creative visual com-munication, human factors /ergonomics application, and formal and surface development in product scale. This course will not enable one to become an industrial designer but will enable one to understand and appreciate what indus-trial design does, what it can contribute to society, and why it is so much fun.

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ARCH 729 401Design of Contemporary ProductsGibson, KrallThis course introduces students with a design background in architecture, landscape architecture, and engineer-ing to the design of products using a combination of seminar and workshop formats. The first half of each session presents aspects of the history, theory, and practice of product design as it relates to the course. Guest lecturers and critics engage at regular intervals throughout the course to share their insights. The goal of the course is to inspire innovation in product develop-ment. By capitalizing on product design theory and process, which encourage the integration of engineering and business concerns, along with the experience of human interaction and emotive qualities, students are encouraged to rethink a utilitarian product by pushing beyond those models promulgated by disciplines that focus more exclusively on either form or function. 451. NICHOLAS ARAUJO

ARCH 730 001Building Product Design: TRANSWALL GoldsteinCraig Vogel notes in The Design of Things to Come, “we are in a new economic age that is in need of a new renaissance in product development, one that leverages multiple minds working in concert.” With this mindset, this interdisciplinary workshop guides students through the product design process from design brief to concept generation in one semester, while working firsthand with Transwall, a leading manufacturer of demountable wall systems, to focus on a specific product need. This design opportunity looks for the next generation of pre-manufactured wall systems, getting away from field constructed walls and looking at the critical issues of mass-produced wall systems: flexibility, mobility, structural stability, acoustics, transpar-ency/opacity, and operability. During the workshop, students will explore the context that creates the unique need for a new product and have an opportunity to conceptualize their design ideas through sketch and model studies.452. JIANQIU OUYANG, MARGARET YOO, CHENGHAN YOUNG

ARCH 734 001Architecture & EcologyMartinBuilding is an inherently exploitive act—we take resources from the earth and produce waste and pollution when we construct and operate buildings. As global citizens, we have an ethical responsibility to minimize these negative impacts. As creative professionals, we have a unique ability to go further than

simply being “less bad;” we can learn to imagine designs that heal the damage and regenerate our environment. This course explores the evolving approaches to ecological design, from neo-indigenous to eco-tech to LEED to biomimicry to living buildings. Taught by a practicing architect with many years of experience designing green buildings, the course also features guest lecturers from complementary fields—landscape architects, hydrologists, recycling contractors and materials specialists. Coursework includes in-class discussion, short essays, and longer research projects.

ARCH 740 001Formal EfficienciesCarcamo The seminar is part of ongoing academic research that introduces students to contemporary discussions about formal

exploration and technical attainment. It is a discourse based in the use of multi-layered techniques and production processes that allow for control over intelligent geometries, calibration of parts, and behavioral taxonomies. Our goal is to explore innovative potential architectural expressions of the current discourse around form through technique elaboration, material intelligence, formal logic efficiencies, and precision assemblies as an ultimate condition of design. The seminar will develop and investigate the notion of proficient, complex geomet-ric variations, so that questions about geometrical effectiveness, accuracy, and performance can begin to be understood in a contemporary setting.

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ARCH 741 001Architectural Design Innovation Rahim The mastery of techniques, whether in design, production or both, does not necessarily yield great architecture. As we all know, the most advanced techniques can still yield average designs. Architects are becoming increasingly adept at producing complexity and integrating digital design and fabrication techniques into their design process, yet there are few truly elegant projects. Only certain projects that are sophisticated at the level of technique achieve elegance. This seminar explores some of the instances in which designers are able to move beyond techniques by commanding them to such a degree as to achieve elegant aesthetics within the formal development of projects. 453. TIFFANY LI, KINCHUN MA

ARCH 742 001Digital Ceramics: Experiments in DesignSabinThis course uses a combination of seminar and workshop formats to explore new design techniques from a number of sources; topics include advances in digital technology, natural models, advanced geometry, and material practices in allied arts, crafts and design disciplines. This section of the course focuses on the use of algorithmic design techniques for the digital fabrication and production of ceramic modules at a range of scales and for a range of applications. Case studies will explore the role of the ceramic module and tile in architecture. The course will introduce scripting techniques in a parametric and associative environ-ment with feedback derived from material constraints as well as performance

assessments. Students will work in groups and will follow one of two project tracks: 1. Mold Production and Slip-Cast Ceramic Component Design or 2. 3D Printed Ceramic Component Design

ARCH 743 001/002Form and Algorithm Balmond This is a course on the philosophy and generative tools of informal design, which is defined in terms of non-Cartesian, non-linear geometries and borrows algorithmic procedures from models in mathematics and the physical sciences. The course comprises readings on the topic, introductory instruction in script-ing, and assignments that help students gain familiarity and skill with specific non-linear models.

ARCH 744 401 Digital Fabrication Kolatan This seminar course investigates the fabrication of digital structures through the use of rapid prototyping (RP) and computer-aided manufacturing (CAM) technologies, which together allow for the production of building components directly from 3D digital models. In contrast with the industrial-age paradigms of prefabrication and mass production in architecture, this course focuses on the development of repetitive non-standardized building systems (mass-customization) through digitally controlled variation and serial differentiation. Various RP and CAM technologies are introduced with examples of use in contemporary building design and construction.454. IHNIL KIM, ANDREAS TJELDFLAAT

ARCH 745 001 Non-Linear Systems Biology & Design Sabin Systems biology examines the nature of nonlinearities, emergent properties, and loosely coupled modules that are the hallmarks of complexity. New models for research and design in architecture have grown in response to radical break-throughs in technology and an increasing interest in the use of algorithmic and generative tools within the design process. Algorithmic imaging and molecular tools found useful in analyzing nonlinear bio-logical systems may therefore prove to be of value to new directions in design within architecture. This course, part of the Sabin+Jones LabStudio at PennDesign, situates itself at the nexus between architecture and nonlinear systems biology to gain insight into living systems, develop techniques for digital modeling, and create experimental designs with rigor at various length-scales, from the microscopic to the human. Part seminar and part workshop, it serves to deepen knowledge of nonlinear biosynthesis,

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a synthesis of design thinking and tooling through the study of systems biology. Students will develop a series of digital and physical models through the use of 3D printing and a diverse range of scripting and modeling techniques in parametric and associative software. 455. WING KWAN, MARK NICOL

ARCH 746 001 Interactive Design PrototypesKim, YimThis interdisciplinary course is prepared for the instruction of graduate students of architecture and engineering in the theory, design, visualization, and produc-tion of interactive machines. We will be utilizing interaction and mechatronics in the space of performance. A local theater company, acting as collaborator, will be working with the course in shaping outcomes and behaviors. 456, 457. NICHOLAS ARAUJO, CHRIS MCADAMS, AMANDA MORGAN, REBECCA PIERCE, JACQUELYN SANTA LUCIA, PETER STRAHS

458. BEN GOODMAN, ANDREAS KOSTOUPOLOS, STEVE KUM, SARAH WOLF

ARCH 748 001 Fibrous AssemblagesSnooks This seminar will explore the generation of fibrous assemblages through high population agent-based methodologies. The re-conceptualization of the agency of matter through an understanding of swarm logic necessarily resituates design intent, transferring it from the global to the local level. The posited application of swarm systems within architectural design involves encoding simple archi-tectural decisions within a distributed system of autonomous computational entities. It is the interaction of these local decisions that self-organizes design intention, giving rise to a form of collective intelligence and emergent behavior at the global scale.

The repositioning of design intent and the complex order generated by the

behavioral techniques of multi-agent systems has implications for the affects that are generated as well as the nature of hierarchy within architecture. The distributed non-linear operation of swarm systems intrinsically resists the discrete articulation of hierarchies within Modern architecture and contemporary parametric component logic. The bottom-up nature of swarm systems refocuses tectonic concerns on the assemblage at the micro- scale rather than the sequential subdivision of program or form. The seminar will explore strategies for high population agent models through the use of lightweight algorithmic environments.

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History/Theory

REQUIRED

ARCH 511History and Theory I Salomon The first of three required courses in the history and theory of architecture, this is a lecture course with discussion groups that meet weekly with teaching assistants. The course explores fundamental ideas and models of modern architecture as they have emerged over the past three hundred years.

ARCH 512History and Theory II Furjan This course traces the emergence of con-temporary issues in the field by exploring the architecture of the twentieth century. Buildings, projects, and texts are situated within the historical constellations of ideas, values, and technologies that inform them through a series of close readings. Rather that presenting a parade of movements or individuals, the class introduces topics as overlaying strata, with each new issue adding greater complexity, even as previous layers retain their significance. Of particular interest for the course is the relationship between architecture and the organizational regimes of modernity.

ELECTIVES

ARCH 711 001 Topics in Architecture Culture from World War II Ockman This course charts the evolution of architectural theory and practice from World War II to the end of the 1960s, from the period of postwar reconstruction and planning through the events of 1968 when, after 250 years, the Ecole des Beaux-Arts in Paris was shut down by student strikes. During this quarter cen-tury of sociopolitical, technological, and urban change, architecture underwent an intensive process of reorientation, self-questioning, and restructuring. The seminar also addresses issues of peri-odization and documentation, exploring questions of how “architecture culture” is produced and reproduced at a specific historical moment, all the while situating the developments of the post-World War II period in relation to current debates.

ARCH 711 002 Network Culture Varnelis The purpose of this seminar is to introduce students to a historical understanding of our era and to come to terms with the changed conditions that characterize our new, networked age.

This course explores how the network is not merely a technology with social ramifications, it also connects changes in society, economy, aesthetics, urban-ism, and ideology. As a history of the contemporary, the seminar is organized around topics that trace a genealogy of present-day culture. Students will read authors such as Bruno Latour, Friedrich Kittler, Gilles Deleuze, Manuel Castells, Fredric Jameson, and Jean Baudrilland, as well as Michael Hardt and Antonio Negri. The situation of architecture and urbanism is explored throughout.

ARCH 711 003 The Architecture of Patterns Salomon

ARCH 711 004 Sites of Consumption Bideau

ARCH 711 401 Poetics of ArchitectureLeatherbarrow

ARCH 712 001 Philosophy, Materials & Structures DeLanda This seminar introduces students to all the basic concepts in Materials Science, stressing not only the usefulness of this knowledge for the purposes of design but also its intrinsic value as a basis for a technically-sound philosophy of matter. Lectures include: Deleuze and the Genetic Algorithm in Architecture; History of Materials Science; The Importance of Scale; Metallurgy and Fracture Dynamics; The Mathematics of Structure; Nanotechnology and its Consequences; The Materials Revolution; Organic Materi-als; The Mathematics of Structure; and Virtual Materials.

ARCH 712 002 Architecture Between Science and Humanities: The Changing Nature of Architectural RepresentationVesely Most of the questions facing architecture today are linked directly or indirectly with the problem of representation. This is clearly an open problem created by the growing preoccupation with the new possibilities of digital representation and virtual realities. The course will address the changing nature of representation in relation to the new kind of knowledge developed in modern science and in relation to the conditions under which any meaningful design is possible, developed, and cultivated in the modern humanities.

ARCH 712 003 Designing Asia Ashraf This seminar presents the emerging landscape of Asia as a theater of new challenges and conceptualizations for

architecture and the city. A vast part of Asia, from Kazakhstan to Mumbai, and from Dubai to Shenzen, is being rearranged by the turbulent wave of a “second modernity” that is also challenging and revising received precepts of culture, identity, traditions, practices, and participations. At the same time, Asia has increasingly come to dominate the production and imagination of architec-ture in the West. There is a new matrix of exchanges and encounters that await understanding. Lectures by Kazi K. Ashraf with Brian McGrath, Dilip da Cunha, and Priya Joshi.

ARCH 712 004 Spectacle/Post-SpectacleFurjan This seminar looks at current debates surrounding questions of spectacle, media, commodification and architecture through the relations and frictions between a history of spectacular space, defined by a confluence of theatricality, media effects and commodity culture, and its counter-history, “postspectacle,” which encompasses everything from immersive environments redolent with special effects to an architecture of surface effect (color, luminosity, and so on). It also examines different modes of attention that are characteristic of the modern subject: a passive and absorptive attention that corresponds to spectacu-larity, and a distractive attention aligned with a haptic spatiality.

ARCH 712 005 The Spaces of Tourism CastilloTourism is not only the world's largest industry, but also a spatial and temporal practice that transforms territories through economic, social, and physical techniques, as well as through particular modes of time management. This seminar will look into some of these techniques and procedures undertaken by tourism as they relate to the transformation of space, and uncover the effects and potentials they have on architecture, cities, and landscapes. The seminar will dwell on specific cases, projects, histories, and readings that frame the architecture/tourism relationship. Students are expected to use maps, diagrams, and other representational and documentary techniques to discover tourism’s impact on architecture and planning.

ARCH 712 005The Urban PrpjectEisenschmidt We live in a world of dramatic urbanization. Therefore, it is important to ask: “How can architecture engage the city?” The seminar examines architectural visions of the city from the emergence of the Metropolis to the contemporary City of Bits. It investigates the different agendas,

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urban strategies, and deliberate manipu-lations that were employed in relation to the existing city. Understanding architecture as an urban project, we are facing today challenges that might as well be understood as potentials. After all, the city might become all there is.459. BONNIE KIM

ARCH 712 006 Culture of Glass OckmanThis is a seminar exploring the multiple meanings of glass in the modern architec-tural and cultural imagination, beginning in the mid-nineteenth century and continuing to the present. Sessions will address themes ranging from rationalism to mysticism and minimalism to spectacle, drawing on a very rich variety of examples and texts.

ARCH 712 401 Cultural Ecology Leatherbarrow This course will study and argue a single thesis: that the architects of the early twentieth century did not neglect the environmental and cultural context of their buildings because they were narrowly focused on the production of free-standing and radically new objects of design, but developed green buildings that combined attention to environmental issues with both imaginative approaches to social and cultural purposes, and a new understanding of aesthetic content. A review of contemporary ecological mandates will begin the course. In depth studies of specific buildings will follow, looking again at works we assume we know perfectly well. The course will end with a return to contemporary conditions. With a more nuanced view of our inheritance, we will ask what is not only possible, but necessary for architecture in our time.

ARCH 751 001 Ecology, Technology and Design BrahamThis course will examine the ecological nature of design at a range of scales, from the most intimate aspects of product design to the largest infrastructures, from the use of water in the bathroom to the flow of traffic on the highway. It is a first principle of ecological design that everything is connected, and that activi-ties at one scale can have quite different effects at other scales, so the immediate goal of the course will be to identify useful and characteristic modes of analyzing the systematic, ecological nature of design work, from the concept of the ecological footprint to market share. The course will also draw on the history and philosophy of technology to understand the particular intensity of contemporary society, which is now characterized by the powerful concept of the complex, self-regulating system. The system has become both the dominant mode of explanation and the first principle of design and organization.

ARCH 715 001 Writing on Architecture RybczynskiThe practice of architecture relies on the clear and effective communication of design ideas to clients, reviewing agencies, the public, and other interested parties. This communication occurs not only through drawings, models, and verbal presentations, but often, especially in the early stages of a project, through the written word. The aim of this course is to train students in the principles and tech-niques of nonfiction writing as it relates to architecture. Readings will include different types of architectural prose, but you can only learn to write by writing. Writing exercises will include brief critical reviews of existing buildings and unbuilt projects, opinion pieces, and formal presentations of buildings and projects.

ARCH 716 401/402Chinese Architecture Steinhardt This course is a survey of Chinese buildings and building technology from the forma-tive period in the second millennium B.C. through the twentieth century. The course will deal with well-known monuments such as the Buddhist monasteries of Wutai, the imperial palaces in Chang'an and Beijing, the Ming tombs, and the Temple of Heaven, as well as less frequently studied buildings. Also covered will be the theory and principles of Chinese construction.

ARCH 717 001 Self-Organization & Dynamics of Cities DeLanda Cities are among the most complex entities that arise out of human activity. For some of these cities (Versailles, Washington DC) the process through which they emerge is not hard to grasp because it is planned to the last detail by a human bureaucracy. Other cities, such as Venice, with its labyrinthian system of streets, emerged spontaneously without any central agency making the relevant decisions. But even those cities in which urban structure was the result of a deliberate act of planning house many processes that, like Venice, represent the spontaneous emergence of order out of chaos. This seminar will examine a variety of these processes, from markets to symbiotic nets of small producers, from epidemics of urban diseases to the creation of new languages and urban dialects. It will also explore the interaction between these self-organized phenomena and centrally controlled processes that are the result of human planning.

ARCH 718 401 Japanese ArchitectureSteinhardt This course is an introduction to the visual, aesthetic, historical, religious, philosophical, and symbolic aspects of Japanese structures from earliest times to the mid-nineteenth century. Through a discussion of shrines, temples, palaces, tombs, cities, and gardens, students will explore what makes Japanese architecture distinctive and how the traditions of Japanese architecture evolved over time.

ARCH 719 001 Archigram and Its Legacy Fierro Acknowledging the ubiquitous proliferation of “Hi-Tech” architecture in contemporary London, this research seminar examines the scope of technology as it emerges and re-emerges in the work of various architects currently dominating the city. This scope includes the last strains of postwar urbanism, which spawned a legacy of radical architecture directly

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contributing to the Hi-Tech. A particular focus of the course will be on the contributing and contrasting influence provided by the counter-cultural groups of the 60's—Archigram, Superstudio, the Metabolists, and others. Using Archigram's ideas about infrastructure, the course will attempt to discover relational networks between works of the present day—Rogers, Foster, Grimshaw, and others. As this work practices on and within public space, an understanding of the contribution of technology to urban theatricality will evolve that is relevant to contemporary spheres of technological design practices.

Building TechnologyREQUIRED

ARCH 531 401Construction I Trubiano This is a lecture course exploring the basic principles of architectural technology and building construction. The course is focused on materials used in construction, methods of on-site and off-site preparation, material assemblies, and the performance of these materials in the field over time. Topics covered include load-bearing masonry structures of small to medium size (typical row house construction), heavy and light wood frame construction, sustainable construction practices, emerging and engineered materials, integrated building practices, and building codes. 460.NATHANIEL SCHLUNDT

ARCH 532 401Construction II Falck A continuation of Construction I, focusing on light and heavy steel frame construction, concrete construction, light and heavyweight cladding systems and systems building.

ARCH 533 401Environmental Systems I Malkawi An introduction to the influence of thermal and luminous phenomenon in the history and practice of architecture. Issues of climate, health, and environmental sustainability are explored as they relate to architecture in its natural context. The classes include lectures, site visits, and field exploration.

ARCH 534 401Environmental Systems II Braham This course examines the environmental technologies of larger buildings, including heating, ventilating, air conditioning, lighting, and acoustics. Modern buildings are characterized by the use of such complex systems that they not only have their own characteristics, but interact dynamically with one another and with the building skin and occupants. Questions about building size, shape, and construc-tion become much more complex with the introduction of sophisticated feedback and control systems that radically alter their environmental behavior and resource consumption. Class meetings are divided between lectures, demonstra-tions, and site visits. Course work includes in-class exercises, homework assignments, and a comprehensive environmental assessment of a room in a building on campus.

ARCH 535 401Structures I Farley Theory applied toward structural form. A review of one-dimensional structural elements; a study of arches, slabs and plates, curved surface structures, lateral and dynamic loads; a survey of current and future structural technology. The course comprises both lectures and a laboratory in which various structural elements, sys-tems, materials and technical principles are explored.

ARCH 536 402Structures IIFarley A continuation of the equilibrium analysis of structures covered in Structures I. Areas of study include: static and hyperstatic systems and the design of

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their elements; flexural theory, both elastic and plastic; design for combined stresses; pre-stressing; graphic statics; and the design of trusses. The course comprises both lectures and a weekly laboratory in which various structural ele-ments, systems, materials and technical principles are explored.

ARCH 631 001Technology Case Studies I Falck A study of the active integration of various building systems in exemplary architec-tural projects. To deepen students’ understanding of the process of building, the course compares the process of design and construction in buildings of similar type. The course brings forward the nature of the relationship between archi-tectural design and engineering systems, and highlights the crucial communication skills required by both the architect and the engineer.

ARCH 632 001Deployable StructuresAl KhayerThis course introduces the history, theories, and application of the rapidly growing field of deployable structures and folded plates (complex geometric structural configurations that are used as temporary and rapid assembly configura-tions) through hands-on experiments conducted in a workshop environment. The course’s objective is to introduce various concepts and techniques to the design, modeling, simulation, and physical building and execution of deployable structures. Experiments will be conducted using the hand (during the construction and observation of physical models), as well as computer modeling of deployable structures using computer simulation software (Solid Works). The course is divided into two parts: in the first part, students work individually on weekly assignments build-ing deployable structures related to the topic taught that week; in the second half of the semester, students work as one team in the fabrication shop, designing and constructing a full-scale deployable structure (working prototype). Studies are made of Platonic and Archimedean solids, space filling geometries, topology and morphological transformations, studies of different mechanical joints, and computer simulation.

ARCH 632 002Performance and Design: Parametric IntegrationYi This course develops techniques for integrating environmental performance analysis and the design of buildings, with an emphasis on parametric methods. Performance analysis techniques can provide enormous amounts of information

to support the design process, acting as feedback mechanisms for improved per-formance, but careful interpretation and implementation are required to achieve better buildings. Parametric descriptions will be combined with decision-making methods to achieve more complete integration. Students will begin by using analytical tools to examine the environ-mental performance of existing buildings. Following the results of the analysis, the students will develop high-performance goals and use analytical tools to develop an initial design proposal. Different decision-making and parametric form control methods will then be introduced to achieve high performance designs.

ARCH 632 003Constructing Technologies Integrating Matter Trubiano This seminar/workshop is dedicated to the promotion of architectural innovation in the field of construction technology. Students will design and fabricate build-ing related prototypes that productively respond to a well-documented and socially relevant environmental need. Matter and energy are the two fields of enquiry that will guide and structure both the research seminars and the design/build workshop; their articulated integration is the goal of each prototype. Materials such as composites and plastic/polymers will be central to the investigation, as will the energy related topics of thermodynamics, light/heat studies and solar technology. Invited design and building industry profes-sionals will advise student teams and offer critical reviews of their process throughout the semester. Lastly, students will be introduced to design metrics used to evaluate the environmental impact of their material and energy choices, be they embodied energy calculations, carbon emissions, or Life Cycle Assessments.461. GOUVERNEUR CADWALADER, YING XU462. STEVEN GUERRISI, MARTIN MILLER, LAURA SUSSMAN463. KATRINA FERNANDEZ, WING KWAN, ALEXANDRIA MATHIEU

ARCH 632 004Design for Light Structures Morrison This is a course on structural design principals involved with dematerialized and weight-minimized structures. The course will include a review of fundamental structural elements, the flow of forces, and contemporary structural engineering methods using a generally visual and intuitive approach. These principals will be applied to the qualitative analysis of numerous notable realized examples of lightweight and transparent structures in a case-study format. Discussion topics will include methods of off-site

fabrication, on-site assembly and disas-sembly (recycling), current and emerging materials, and collaboration between architect, engineer and fabricator. Design exercises will be used to apply knowledge and intuition gained within contexts reasonably distant from familiar forms.

ARCH 632 005Component-Based Design Igou This course explores how traditional and cutting edge materials in conventional and non-conventional applications are used in building assembly design. Students are exposed to actual case studies, presented by scientists, engineers, and fabricators, that convey the decision making process used to arrive at innovative, high performance design solutions for building assemblies and systems. Students participate in collaborative teams with outside professionals to develop and build their own high performance materials and building systems. Discussion topics range from “The Fundamentals of Performance Design” to “The Exploration of Material Innovation”. These topics are overlaid with how and why the construction industry operates and what strategies are avail-able to architects to help them realize these innovative solutions. Techniques such as “technology transfers” from other industries are explored to maximize innovation potential.

ARCH 632 005Daylighting Phinyawatana This course introduces fundamental daylighting concepts in lectures while the tools for analyzing daylighting design are presented in design workshops. The central objective of the course is to pro-vide students with both the fundamental knowledge and tools needed to analyze the effectiveness of design options. Fundamentals of daylighting availability and visual perception are introduced, and then advanced design-oriented techniques are developed in workshops and a final project.

ARCH 632 401Surface EffectsVeikos This seminar addresses contemporary interests and debates that surround the question of surface as it relates to architecture. It sets out the proposition that the appearance of a building, both before and after its construction, mani-fests itself as an image. The visible surfaces of drawings, buildings, and the surfaces they frame work to constitute and characterize the full range of presence for a building, organizing and structuring perception and performance through the design of its surfaces. It is a provocation that finds its bearings in


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the pictorial practices of architects and the drawings and buildings they produce. The subtle and dynamic effects of recent works by Herzog and de Meuron, Kengo Kuma, OMA, Gigon/Guyer, Peter Zumthor, Jun Aoki, Sejima + Nishizawa/SANAA, and others are achieved through well-orchestrated details grounded in built reality. The perceptual effects of a building’s surface as a whole are directly related to the design of its construction elements and its specific material and tectonic assemblies. Exhibition designs and works of installation art, as well as works of architecture and research in contemporary building enclosures, will be considered in lectures that demonstrate a range of effects created by selected architects and artists.

ELECTIVES

ARCH 731 001 Experiments in StructureMcCleary This course studies the relationships between geometric space and those structural systems that amplify tension. Experiments using the hand (touch and force) in coordination with the eye (sight and geometry) will be done during the construction and observation of physical models. Verbal, mathematical and computer models are secondary to the reality of the physical model. However, these models will be used to give dimen-sion and document the experiments. Team reports will serve as interim and final examinations. In typology, masonry structures in compression (e.g., vault and dome) correlate with “Classical” space, and steel or reinforced concrete structures in flexure (e.g., frame, slab and column) with “Modernist” space. We seek the spatial correlates to tensile systems of both textiles (woven or braided fabrics where both warp and weft are tensile), and baskets (where the warp is tensile and the weft is compressive). In addition to the experiments, we will examine Le Ricolais's structural models held by the Architectural Archives.

ARCH 732 001 Building Systems Integration Malkawi This course explores the interrelation-ships of environmental control systems by means of building-type studies. Innovative systems will be emphasized. Projects such as residential, educational and commercial buildings, as well as office and assembly buildings will be analyzed in details. The main principles of "integrated building design" will be illustrated and studied. The relationship between energy conservation and the principles of initial building cost versus life cycle costs will be discussed.

ARCH 733 401 Building Product Design GoldsteinCraig Vogel notes in The Design of Things to Come, “we are in a new economic age that is in need of a new renaissance in product development, one that leverages multiple minds working in concert.” With this mindset, this interdisciplinary workshop guides students through the product design process from design brief to concept generation in one semester, while working firsthand with Transwall, a leading manufacturer of demountable wall systems, to focus on a specific product need. This design opportunity looks for the next generation of

pre-manufactured wall systems, getting away from field constructed walls and looking at the critical issues of mass-produced wall systems: flexibility, mobility, structural stability, acoustics, transparency/opacity, and operability. During the workshop, students will explore the context that creates the unique need for a new product and have an opportunity to conceptualize their design ideas through sketch and model studies.

ARCH 737 001 Design for Delivery: Haiti Beckman The goal of the seminar is to uncover innovative tactics that will address Haiti’s rebuilding challenge. It will position architects as strategists operating within a network of experts and stakeholders for the deployment of innovative design approaches. Students will undertake research on Haiti through a variety of lenses including ecologies, building technologies and social, economic and political contexts. Collectively the students will formulate a research archive and articulate strategic design opportunities based on these findings. At the core of the research effort will be a rigorous investigation of the pre-disaster local building and construction environ-ment, as well as the identification of


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global best practices and case studies for emergency, temporary, and permanent disaster responses. Guest lectures, roundtable discussions, and formal reviews of the research will feature local and national experts. The final product of the seminar will be a book of collected research, as well as a catalog of strategic design opportunities. While the book and catalog are intended as stand-alone documents they will also serve as resources for a Spring 2011 704 Research Studio for which seminar participants will have priority placement.

ARCH 738 001 The Modern House: Technology Then and Now Fierro In the current age of new fabrication methodologies, methods are emerging forthe conception and design of the contemporary house that have radical potential for enclosure, habitation and practices of daily life. This course begins by examining the canonical houses of the original avant-garde—Adolf Loos, Frank Lloyd Wright, Le Corbusier, Mies van der Rohe, and Alvar Aalto—on the premise that their houses were working manifestos for rethinking space, form and indeed ideas of life itself, all of which were prompted by new concepts of con-struction. From this spectrum of issues, contemporary houses and contemporary methods and materials will be studied extensively to develop equally new ideas about matter and quotidian life. As the primary task of the course, students will work in teams to develop highly detailed constructional proposals for a portion of a speculative home.

ARCH 739 401 Building Pathology Henry This course addresses the subject of building deterioration and intervention, with the emphasis on the technical aspects of deterioration. Construction and reconstruction details and assem-blies are analyzed relative to functional and performance characteristics. Case studies cover subsurface conditions, structural systems, wall and roof systems, and interior finishes with attention to performance, deterioration, and stabilization or intervention techniques.

ARCH 751 001 Ecology, Technology, and DesignBraham This course draws on theories of ecological design and on the history and philosophy of technology to examine the complex interaction between the built and natural environments. The energy diagramming techniques of H.T. Odum are used as a common framework for projects in the course. Weekly lectures are supported

by in-class and take home exercises, culminating in a final project. 464, 465. NATASHA DUNWOODY, MELODY REES, NATHANIEL ROGERS, MOSTAPHA SADEGHIPOUR ROUDSARI

ARCH 753 001 Building Performance Simulation Malkawi This course provides students with an understanding of building design simulation methods, hands-on experience in using computer simulation models, and an chance to explore the technologies, underlying principles, and potential applications of simulation tools in architecture. Classroom lectures are given each week, with a series of analysis projects to provide students with hands-on experience using computer models.

ARCH755 401Sustainability in Action HughesThe term “Sustainability” loosely orga-nizes a diverse mix of issues relating to the science, politics, and business of how humans can endure on Earth. Sustainability is about carrying capacity: making resource decisions without compromising the ability of future generations to make their own resource decisions. Sustainability thus requires an understanding of the systems whose carrying capacities matter for human endurance; three prominent and interconnected systems are the environment, the economy, and society. Sustainability also requires an understanding of the decision-making that operates on these resource systems and affects their carrying capacities. In sum, the study of Sustainability requires an introduction to environmental science,


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energy production, human settlements, economic development, social justice, policy development, and international relations. This course will provide that introduction though a weekly lecture series drawing on scholars from across the university and a small group project that addresses a real problem confronting an institution in Philadelphia.

ARCH 755 402 Energy Strategy for Businesses in University Ball The Penn Green Fund awarded a grant to the University City District (UCD) to help small businesses along the 40th St. commercial corridor optimize their use of resources. In this recitation, students will act as “sustainability consultants” to participating businesses. The challenge depends on the business: a computer store uses a great deal of electricity, while a restaurant uses a great deal of water. This section is perfect for design students who want to put their skills to use. Other students can also participate as team members developing materials and conducting outreach in partnership with UCD staff.

ARCH 755 403 Sustainable Business Practice in University City How can smart resource decisions by small retailers change business models and opportunities? In this recitation, students will work with the businesses along the 40th St. commercial corridor to leverage their energy investments discussed in the preceding recitation. Students will learn about the Philadelphia Sustainable Business Network, coordinate power-purchasing agreements, and other sustainable business practices among local businesses in partnership with the University City District. This recitation is perfect for students interested in enterprise and strategic consulting.

ARCH 755 404 Residential Energy Efficiency Campaign Lutsky Wasted energy in homes is a major source of potential efficiency gains. Gas and electric utilities as well as local govern-ments are in search of ways to get households to make small changes that can add up to be improvements. For example, the Mayor’s Office of Sustain-ability is running a competition for “coolest block” which will award a reflective “white roof” coating for the entire winning block. This recitation will work with the University City District to design and organize other ways to encourage and reward neighborhood residents to improve energy use. This recitation is perfect for students who want to educate and organize residents for change.

ARCH 755 405 Tree Planting Campaigns with West BrightMaking the City more sustainable can be as simple, or as challenging, as planting 300,000 new trees by 2015—a Greenworks target for increasing Philadelphia’s tree canopy. This recitation will work with the City’s Department of Parks and Recreation to consult with large property owning institutions in West Philadelphia to develop customized plans to leverage the enormous potential to plant more trees on land owned by such institutions. This recitation is perfect for students interested in strategic marketing and campaigns.

ARCH 755 406 Tree Planting Outreach to Residents in West Empty tree pits and barren back yards represent huge potential for small-scale greening that can add up to large environmental improvement in West Philadelphia. Do you want to empower individual homeowners, renters, and small retail establishments to make their city more sustainable? This recitation will design and implement a tree campaign with a broad reach and impact. Working with the City’s Department of Parks and Recreation, this recitation will help implement new tree planting incentives geared toward individual households and small retail storeowners. This recitation is perfect for students interested in either communications and/or organizing residents for change.

ARCH 755 407 Urban Agriculture in West Philadelphia Alexander Are you interested in improving community nutrition and economic opportunity through urban agriculture? This project will work with the Urban Nutrition Initiative and others to improve West Philadelphia’s access to nutritious locally grown and distributed food. This will help to achieve the Greenworks target of bringing local food within 10 minutes of 75% of residents by 2015. This recitation will work with West Philadelphia high school students to change derelict or under-used land into productive agricultural sites.

ARCH 755 408 Green Buildings and InnovationSadeghipourWhat makes a building "green"? What innovations are breaking through in green building as a result of Philadelphia's new zoning code and how does all of this affect people? Working with the City’s Zoning Code Commission and the Delaware Valley Green Building Council, this recita-tion will shadow green builders and tour a green building downtown. Each student

will profile a local green building and these will be added to an innovative online map as part of an outreach campaign for the City’s new zoning code debuting this fall. This recitation is perfect for students interesting in green development and how cities regulate buildings.

ARCH 755 409 Managing Water through Green Infrastructure BillhymerThe Philadelphia Water Department is gathering kudos from around the world for a green infrastructure plan that will revolutionize one of civilization’s oldest challenges: how to manage drinking water, wastewater, and storm water. But to what extent do local residents embrace this new strategy and why should they? This recitation will develop new materi-als—ranging from posters to video—that seek to educate and empower neighbors to become constituents for greener, cleaner waters.

ARCH 755 410 Expanding Neighborhood Waste Reduction As resources become scarcer and landfills become fuller, the importance of recycling grows. Recycling is an extremely visible effort at the forefront of the envi-ronmental movement. In this recitation, students will study recent initiatives such as RecycleBank and Philly Throws Green. Working with the Philadelphia Streets Department, students will identify and mitigate current challenges in City programs. This recitation is perfect for students interested in designing effective programs and implementing them well.

ARCH 755 411 Green Transportation Alternatives How do cities move and how can goods and people move more sustainably? In this recitation, students will work with the Philadelphia Streets Department and explore bicycle use with a focus on barriers to expanded bicycle use. Allocating scarce street space to contending users (moving cars, parked cars, delivery and emergency vehicles, pedestrians, bicyclers, storm water management, utilities, etc.) creates trade-offs and potential conflicts. Students will address a problem identified by the Streets Department and other key stakeholders on this complex challenge.

ARCH 756 401 Policy and Design: Next Generations Codes Hughes This year's Policy and Design seminar will focus on next-generation building regula-tion, especially energy codes related to both new and existing buildings. In addition to exploring the seminar's regular theme of the relation between design

260COURSES—PROFESSIONAL PRACTICE

thinking and policy development, this year's seminar will investigate standard and best practices in how the energy performance of buildings is regulated, especially through building codes. The primary product of the seminar will be a multi-year research agenda on next-generation building codes with a focus on the technical, political, and organizational challenges to making these aspirational policies a reality in the U.S. The seminar will be embedded in the work of the Department of Energy’s new energy hub at the Navy Yard know as GPIC, will work closely with the symposia scheduled this spring at the Garrison Institute (including fully funded attendance by all students in one of three symposia at the Institute's Hudson Valley retreat), and will involve guest seminars by former Overseer Jonathan Rose, Overseer Chuck Leitner, and other thought and practice leaders from the regional and national scenes.

Professional PracticeREQUIRED

ARCH 671 001Professional Practice IGardner This course consists of a series of four workshops that introduce students to a diverse range of practices that architects currently employ and the architectural profession more generally.

ARCH 672 001Professional Practice II Capaldi A continuation of ARCH 671. Further study of the organizational structures of architectural practices today, especially those beyond the architect’s office. The course is designed as a series of lectures, workshops and discussions that allows students and future practitioners the opportunity to consider and develop the analytical skills required to create build-ings in the world of practice.

ARCH 772 001Professional Practice III McHenry The course focuses on the nature of projects in the context of activities within an architect’s practice and on the idio-syncrasies of managing multiple projects. Detailed studies are made of the legal, financial, marketing, management and administration issues associated with the different forms of office proprietorship. The special set of contractual and ethical obligations of the architect, particularly in response to client needs and safety, are examined. Codes, standards and regulations and their relationship to the different activities in the practice of architecture are presented.

ELECTIVES

ARCH 674 920 Curricular Practical Training Capaldi This class has been developed for Master of Architecture students who will be working for a licensed architect in a country other than their home country. The course develops critical thinking about the organization, operation, and ethics of professional practice in archi-tecture. It also allows students to begin accumulating the training units required for professional licensure following the definitions developed by the National Council of Architectural Registration Boards (NCARB) Intern Development Program (IDP). Course work includes online readings, discussions, exercises that focus on the work experience, and the submission of a summary report. Requirement: Student must be employed

by a licensed architect for no less than 60 days.

ARCH 760 401 Case Studies in Urban DesignLarice Through three case studies and a final project this course explores several fundamentally different ways in which the urban design process is realized in this country: The campus as historical prototype and contemporary paradigm; the new community, both modernist and neo-traditionalist; the expansion/relocation of central business districts; and urban/suburban infill. Particular emphasis is placed on the roles of plan-ning, historic preservation and landscape architecture in the practice of urban design.

ARCH 762 001 Design and Development Rybczynski This course provides an introduction to the relationship between architectural design and real estate development. Following a discussion of fundamentals, examples focus on commercial building types, and illustrate how architectural design can contribute to real estate development. Topics include housing design, commercial buildings, adaptive reuse, downtown development, mixed-use projects, and planned communities. The course consists of lectures, reading assignments, short essays, a group project, and a mid-term test. Invited lecturers include architects and real estate developers.

ARCH 764 001 Vertical Cities Asia Hollwich In an age of ever increasing urbanization with massive migrations from the countryside to the city, Asia is at a crossroads. Either existing urban architectural models will continue to be recycled to accommodate increased populations with devastating effects on land, infrastructure, and the environment or new models of urban architecture will be formed to take on the specifics of Asian urban development. Competition will promote the development of ideas and theories in urban growth and archi-tectural form related to density, livability and sustainability specific to the rapid and exponential growth of urbanism in Asia. This seminar will prepare one or two entries to the international competition Vertical Cities Asia. 466. TIA CROCKER467. ARIEL GENADT

ARCH 765 001 Project Management Arena This course is an introduction to tech-niques and tools of managing the design and construction of large, and small,

≥

261 COURSES—PROFESSIONAL PRACTICE

construction projects. Topics include project delivery systems, management tools, cost-control and budgeting systems, and professional roles. Case studies serve to illustrate applications. Cost and schedule control systems are described. Case studies illustrate the application of techniques in the field.

ARCH 768 401 Real Estate DevelopmentNakahara This course analyzes the development process in terms of the different functions performed by real estate developers and architects, and the inter-relationships, between these two professions. Emphasis is placed on property evaluation, site planning, building design, underlying economics, and discounted cash flow analysis. Outside lecturers are featured.

ARCH 780 001 Architecture in the Schools Braham Architecture in the Schools, run by the American Institute of Architects, is a 20+ year program of teaching architec-ture in Philadelphia area schools. As participants in the AIE (Architecture In

Education) program, students have the opportunity to work directly with children in the classroom, making an impact on their lives and on the future of our neighborhoods and cities. Students work with a classroom teacher and a design professional to develop a weekly series of eight (1-1/2 hour) interdisciplinary experiential lessons that use the built environment as a laboratory for creating stimulating new ways of seeing, learning, and doing.

ARCH 792 001 Performance Research Haas

466.

467.

263 NEWS—FACULTY

Faculty

STANDING/ASSOCIATED

William Braham published a number of articles

developed from his work on Systems Ecology, includ-

ing “Household Conditioning (if you are cold, put on a

sweater),” in Building Systems: Technology, Design &

Society, edited by Ryan E. Smith & Kiel Moe, “Household

Power: How Much is Enough?” in Design and Construction

of High Performance Homes: Solar Technology, Innovative

Materials and Integrated Practice, edited by Franca

Trubiano, “Waste and Dirt: Notes on the Architecture of

Compost,” in VIA: Dirt, and “Re(de)fining Net Zero Energy:

Renewable Energy Balance in Environmental Building

Design,” in Building and Environment co-authored with

Ravi Srinivasan, who just completed his PhD at Penn.

Braham also wrote a historical article, “Building Technology:

‘Steel as Required,” in Schooling the Architect: Two Centuries

of Architecture Education in North America, edited by J.

Ockman. He gave a lecture on “Maximum Power: Modeling

the Ecology of Buildings,” at a symposium on Imminent

Ecologies at Cornell University, and with Kiel Moe co-

organized an ACSA conference at the New School, called

“Performative Practices: Architecture and Engineering in

the Twenty-First Century.”

This year, Winka Dubbeldam was the External Examiner

(RIBA/ARB part 1) for the Architectural Association

in London, a Member of the Board of Directors at

the Institute for Urban Design, and a Member of the

Advisory Board of BOFFO. She was also a juror for both

the ArchiPrix International at the Guggenheim Museum

in New York and the XXII Columbian Biennial 2010 in

Bogota, Columbia.

In 2010 Archi-Tectonics completed the John Legend

Loft, a 4,000 square foot Chelsea Townhouse, in New

York, the Ports 1961 Flagship store in Shanghai, and the

VIP Lounge at the Tribeca Grand Hotel. This Spring the

Dutch Architecture Institute opened in Rotterdam, as did

the Pavillion in the Dutch Fashion Biennale. A new (third)

monograph came out this year with DAAB, Archi-Tectonics.

Archi-Tectonics was included in the following book

publications: Performalism—Form and Performance in

Digital Architecture, published by Routledge, and DESIGN

FUTURES, Bradley Quinn, ed. (Merrell) Spring 2011.

Archi-Tectonics was included in the following exhibitions:

ACADIA 2010: “LIFE in:formation, On Responsive Information

and Variation in Architecture” in New York; “The City We

Imagined/The City We Made: New York 2001-2010, at the

Architectural League, New York; “Contemplating the Void:

Interventions in the Guggenheim;” at the Guggenheim

Museum, New York; and in a group exhibition at the

Frederieke Taylor Gallery. Awards for the firm include:

Award Winner Maashaven Towers Design Competiton,

Hommes Foundation, The Netherlands, 2011; Nomination

for Interior Design Best of Year 2010 for Inflection Sconce,

designed for Ivalo Lighting and Retail Interiors Awards

2010; and second prize in the Shopfitting Excellence

Award for PORTS 1961, London in 2010.

Annette Fierro published a chapter in Architecture

and Violence, Ed. Bechir Kenzari (Actar 2011) entitled

“Inscription of Violence: London’s Landscape of

Violence,” part of her ongoing study on the legacies of

Archigram in contemporary London. She also published

a film review on Bregtje van der Haak’s Grand Paris:

The President and Its Architect (Run/Icarus Films, 2010)

in H-France Review Vol. 10 (December 2010), No. 209.

In addition, she acted as a consultant to the NSF/EFRI

Penn Project award winning team, for “eSkin: Energy

Minimization via Multi-Scaler Architectures.” In August

2010 she chaired a competition jury in Copenhagen for

the Architectural Foundation of Los Angeles.

Stephen Kieran and James Timberlake’s Philadelphia-

based architecture firm KieranTimberlake is currently

working on several projects nationally and abroad

including the United States Embassy in London, Yale-

NUS College in Singapore, the Edgar Putman Event

Center at the Michener Museum in Pennsylvania, and

private residences in New York and California. Recently

completed projects include Brockman Hall for Physics

at Rice University, a recipient of a Texas Society of

Architects Award, Belles Townhomes in Presidio National

Park, recipient of an AIA California Council Award, and

Morse and Stiles College at Yale University, a renovation

and addition to one of Eero Saarinen’s last works. Kieran-

Timberlake published a book, Cellophane House(tm), and

a new monograph, KieranTimberlake: Inquiry, published

by Rizzoli International, is due out in September 2011.

Exhibitions of the firm’s work are planned at the University

of Melbourne in August 2011, and the University of Texas

at Austin in September 2011.

≥

Frank Matero was a Scholar in Residence at the Getty

Conservation Institute in May. His research is focused on

conservation and the architectural surface, the subject

of a book to be published by the GCI as part of their Readings

in Conservation series. May also saw the inauguration

of Change Over Time, a new international journal on

conservation and the built environment, edited by Matero

and published by University of Pennsylvania Press.

Peter McCleary, Emeritus Professor of Architecture, was

awarded, in competition, the 2011 Tuev-Sued Foundation

Visiting Professor to the Technical University of Munich,

Germany. Professor McCleary lectured on “energy effi-

ciency and least weight structures” and led a three-month

workshop on “pre-stressed, tensile, carbon fiber cable,

pedestrian bridges in the city.” In October 2011 a final

lecture in summary of that research will be given in

Munich. Additionally, he was appointed as a Fellow of the

TUM Institute for Advanced Study. In Fall 2010, Professor

McCleary led a four-month research workshop at the

University of Hawaii.

Witold Rybczynski received the President's Award for

2011 from the Pennsylvania Chapter of the American

Institute of Architects. He lectured on Makeshift

Metropolis, his recent book, at the National Building

Museum in Washington, D.C., the Center for Architecture

in New York, the University of Miami, the University of

Georgia, the Philadelphia Athenaeum, and the Aspen

Ideas Festival. Rybczynski delivered a paper on “Naming

the Federal City” at a conference on George Washington

held at Mount Vernon, gave a keynote speech at a sympo-

sium on Andrea Palladio at the University of Notre Dame,

and lectured on domesticity at The Gathering, Keystone

College, LaPlume, Pa. He participated in a documentary

film, Olmsted and America's Urban Parks, currently being

shown on PBS stations nationwide, and his controversial

op-ed piece on the High Line appeared in the May 5 edi-

tion of The New York Times. His new book, The Biography

of a Building, with an introduction by Norman Foster, will

be published by Thames & Hudson in London and New

York this fall.

468.

Assistant Professor Franca Trubiano has recently

completed a manuscript entitled, Design and Construction

of High Performance Homes: Building Envelopes, Renewable

Energies and Integrated Practice to be published by

Routledge in 2012. The book is dedicated to the study of

design in the engineering and construction of contempo-

rary homes. Franca was the recipient of an NSF grant in

2010 for Workshop/Collaborative Research: When

Engineering Design Meets Architecture. She is also a prin-

cipal investigator with the GPIC (Greater Philadelphia

Innovation Cluster ) project for the Energy Efficient

Retrofit of buildings, completing an initial roadmap for

Integrated Practice. She has been invited to present her

results at the ASHRAE 2012 Chicago Conference. At pres-

ent she is completing construction of the PennDESIGN

Emerging Materials Lab for use by students and faculty

aimed at expanding knowledge of innovative design

materials. In 2010, she was elected Treasurer/Secretary

of BTES (Building Technology Educators Society).

Marion Weiss, Graham Chair Professor of Architecture

and Partner at Weiss/Manfredi Architecture/ Landscape/

Urbanism, is a finalist for the 2011 National Design Award

for Architectural Design presented by the Smithsonian’s

Cooper-Hewitt. Her firm will be honored this fall at the

White House. She and her partner, Michael Manfredi,

were also awarded the Tau Sigma Delta Gold Medal,

an international award presented by the Honor Society

in Architecture and Allied Arts to one firm each year.

Weiss/Manfredi’s recently completed Diana Center won

a 2011 AIA National Honor Award and a New York State

AIA Honor award. Additionally, it won the International

ArchDaily Best Educational Building and the New York

State AIA’s Best Building in 2010. The building has

received a Progressive Architecture Award from Architect

Magazine, has been featured in Lotus, Metropolis

Magazine, Architect Magazine, and was recently

exhibited in Barcelona’s World Architecture Festival.

264NEWS—FACULTY

468.

265 NEWS—FACULTY

469.

470.

266NEWS—FACULTY

Currently in construction is the Krishna P. Singh Center

for Nanotechnology at the University of Pennsylvania.

Weiss/Manfredi was a finalist for “Framing a Modern

Masterpiece,” an international design competition

for the City of St. Louis. Weiss’s original drawings were

featured in Yale University’s Art and Architecture Gallery

exhibition “Notes from the Archive: James Frazer Stirling,

Architect and Teacher,” and her firm’s “Draw the Void,

Trespass the Void” was exhibited in the Guggenheim

Museum’s fiftieth anniversary celebration. The Institut

Français d’Architecture’s “Ville Fertile” exhibition in Paris

featured the Olympic Sculpture Park, which will also be

exhibited in the Carnegie Museum of Art’s “White Cube,

Green Maze” show in 2012. Marion Weiss spoke at Penn’s

“Terrain of Water” and Harvard’s Graduate School of

Design conference, “Territories of Urbanism: Urbanism

at 50.” She also participated in the Princeton “Landform

Building: Architecture’s New Terrain” conference and

its corresponding publication by Stan Allen and Marc

McQuade. Weiss/Manfredi’s forthcoming monograph,

Pro Architect: Weiss/Manfredi, will be published this year

in Korean and English.

469, 470.

LECTURER

André Bideau’s book Architecture and Symbolic Capital

was released by Birkhäuser in July. This quintessence

of his research from the past years investigates the work

of O.M.Ungers after 1967, taking into account the backdrop

of German cities in a period of shifting social, political

and economic forces. Bideau’s forthcoming essay in AA

Files on Ungers and West Berlin will discuss the advent of

postmodern urbanity and its relevance for a new profes-

sional identity of architects.

Dirt, viaBooks, A PennDesign Publication, Volume 2,

will be released as part of The MIT Press’ Spring Book

List for 2012. Edited by Megan Born, Helene Furján, and

Lily Jencks, with Phillip M. Crosby, Dirt is designed by

K. T. Anthony Chan, and published by PennDesign and

The MIT Press. Contributors include Barry Bergdoll,

Alan Berger, Keller Easterling, Sylvia Lavin, Ian McHarg,

Robert Le Riccolais, and Marion Weiss. viaBooks is a

series of individually published scholarly books produced

by graduate students of PennDesign in collaboration

with the Series Editor, Helene Furján. Each volume is

471.

472.

a themed, polemical topic allowing the expression,

engagement, and confrontation of critical issues within

the facets of design—its themes are fresh and original.

The co-publishing agreement with MIT Press represents

a major opportunity for PennDesign to have a publishing

partnership with a highly respected and leading univer-

sity press.

Dirt comes from a position at the intersection of

landscape and architecture and presents a selection of

work that shares dirty attitudes. A landscape architect’s

understanding of dirt—a fertile medium—overturns

the term’s negative connotations to understand it

as explicitly productive. Rooted in the study of ecology,

landscape architecture sees dirt as a highly complex

system, dynamic, adaptive, and able to accommodate

great difference while maintaining a cohesive structure.

This productive definition of dirt collides with the histori-

cal view of dirt: that which is unclean, out of place, or

morally corrupt. Dirt is less that by which we are repulsed

than that which is endlessly giving and fertile. Organisms

grow, thrive, and evolve amidst dirt. Dirt is thus a matrix

capable of emergent behaviors, nurturing growth, spawn-

ing development, and igniting change.

471.

Helene Furján’s scholarly book, Glorious Visions: John

Soane’s Spectacular Theatre, released in Spring 2011 by

Routledge’s scholarly Architectural Division, studies the

house-museum of the renowned eighteenth-century

architect, Sir John Soane, within the broader context of

early nineteenth-century British aesthetics, theories of

taste, and cultural currents, viewing the house as a cul-

tural, architectural, aesthetic, and museological product.

The subordination of affect, effect, sensibility, and asso-

ciation to decorum, fixed rules, idealized beauty, general

truths, or rationality, reversed in the late eighteenth and

nineteenth centuries. Soane’s house illustrates a focus

on these more subjective aspects or possibilities of art,

and on the importance (if not pre-eminence) of imagina-

tion and genius. Furján has submitted a book proposal,

entitled Fine Fabling: Gothic Architecture, Gothic

Literature, and the Imaging of Nationhood, to Routledge,

which is currently under review.

472.

Mark Gardner’s firm, Jaklitsch / Gardner Architects,

completed construction on a new, freestanding flagship

building for Marc Jacobs in Tokyo’s Aoyama neighborhood.

The project has since received several awards, including

two Awards of Excellence from the New York State

AIA, a Tri-State Award from the AIA, and an American

Architecture Award from the Chicago Athenaeum

Museum of Architecture and Design. Mark Gardner recently

joined the Board of SUPERFRONT—an organization

that fosters exchange between architecture and other

disciplines by sponsoring exhibitions, panels, and

publications—and serves as the organization’s Business

Development Chair. Gardner and the SUPERFRONT

Board were recently featured in Architect magazine’s July

Emerging Talent issue.

Jordan Goldstein (March ‘96, lecturer IPD) is working

with Duke University to envision a new China campus.

The project was initially planned as one new building,

but under Jordan’s design leadership, it has expanded to

encompass a full six-building campus across nearly

one million square feet and will be the first full campus

abroad for a top tier American University. Also in China,

Jordan is designing twin 220 meter office towers in

downtown Beijing. In addition to his role as managing

director of Gensler’s Washington, DC office, Jordan is

opening a new office for the firm in Bangkok. Jordan also

led the start-up of a new company, called GDiD, a joint

venture between Gensler and Di Designs, a Thailand-

based design company, to partner on new projects

throughout China and Thailand and to jointly pursue R&D

for sustainability and smart growth development. On the

product design front, he is collaborating with Humans-

cale on an LED task light and with Halcon furniture on a

desking system.

Phu Hoang Office and Rachely Rotem Studio won the

2010 Art Basel Miami Beach/Creative Time Oceanfront

competition. PennDesign students Federica Von Euw (’11)

and Sunghyun Park (’11) were part of the competition

design team. The “Exhale” environment created a

public art venue for the annual Art Basel Miami Beach

contemporary art fair. “Exhale” harnessed the essential

formlessness of wind to create a dynamic interactive

environment for public art. The twenty-five thousand

square foot beach site in Miami Beach was temporarily

transformed by seven miles of hanging ropes that

NEWS—FACULTY267

268NEWS—FACULTY

shimmered and glowed in the wind. The “Exhale” pavilion

eschewed static divisions of space, instead promoting

constant activity in informal public spaces that changed

their use and interactivity as the evening winds change.

473.

Matthias Hollwich’s HWKN is a New York-based group of

architects, designers, social media experts, and inventors

operating within the fields of architecture, urbanism,

branding, digital media, and development. In 2010 and

2011, HWKN garnered international acclaim with work

ranging from the digital to large scale urban plans,

through projects including BOXER, an innovative exercise

in branding for AOL, a pop-up store design for Google,

and il laboratorio del gelato in the New York City’s Lower

East Side, as well as competition awards including first

place in the Piraeus competition, third prize in Visegrad

and an honorable mention for a competition to design

a floating pavilion in Turku, Finland. HWKN is energizing

architecture through Architizer, the world’s largest social

media site for architecture; the launch of BOOM, the

most progressive community in America to come; and

most recently J2, the tallest high-rise building in New

Jersey in 2015.

KBAS, Julie Beckman, in collaboration with site-artist,

Stephan Koplowitz, was awarded the commission for

a public art installation at the Salt Lake Community

College Center for New Media at the South City Campus

in Salt Lake City, Utah. They will be designing three

camera obscuras to be located throughout the campus.

Katrin Mueller-Russo was awarded a three-month

research residency at the European Ceramic Workcentre

(ekwc) in the Netherlands for the summer of 2011. Her

project focused on designing a stool that takes advan-

tage of the compressive strength of clay and its ability

to conform to complex curvatures, and to further develop

her pedagogy around analog material investigations

and fabrication techniques in combination with digital

tools. A specialized mold was built during the residency

to produce multiple versions of the T-Stool, each with its

own uniquely glazed surface. The design benefited from

an interdisciplinary approach that combined techniques

and tools, both analog and digital, from the disciplines

of industrial design and architecture. Mueller-Russo’s

work was published in Matter: Material Processes in

Architectural Production, edited by Gail Peter Borden

and Michael Meredith and published by Taylor & Francis/

Routledge.

474, 475.

Brian Phillips' Philadelphia-based ISA won five AIA

Design Awards (including a National Housing Award)

for three separate projects. The firm was named

Treehugger.com's Residential Architect of the Year

and had work featured in dwell and The New York Times

among others. ISA is curating a 2011 Philadelphia

473.

269

474. 475.

Designweek exhibition called GRAY AREA which will

explore innovative approaches to historic resources in

the context of contemporary design issues.

‘K-Residence’, designed by su11 architecture+design

(Partners: Ferda Kolatan & Erich Schoenenberger) was

featured as the cover story in Dwell Magazine (3/11). The

firm was also invited to show their work at the Beijing

Biennale 2010 and the ACADIA 2010 conference, where

Ferda participated in the roundtable discussion. Their

project “duneHouse” was written up in an article for

the highly regarded German newspaper Sueddeutsche

Zeitung and “E_Vine,” another project, was featured

in Monitor. Ferda Kolatan also co-authored the book

Meander: Variegating Architecture together with Jenny

Sabin (Publisher: Bentley Institute Press, 2010).

NEWS—FACULTY

270NEWS—STUDENTS

Students

ALL SCHOOL AWARDS

Susan Cromwell Coslett Traveling Fellowship

Established in memory of former Assistant Dean, Susan

Coslett. It is awarded to a School of Design student for

summer travel to visit gardens and landscapes.

Awarded to: Ashley Brianna Ludwig

DEPARTMENT OF ARCHITECTURE

American Institute of Architects Henry Adams Medal

The first prize medal is awarded to the top-ranking stu-

dent in the professional degree program with the highest

record in all courses.

First Prize: Nathaniel Forbes Race Rogers

The second prize is awarded to the student in the

professional program with the second highest record in

all courses.

Second Prize: Michael Jeffrey Gloudeman

Arthur Spayd Brooke Memorial Prize

Established in 1900 in memory of Arthur Spayd Brooke, a

graduate of the School of Architecture, and awarded to

graduating architecture students for distinguished work

in architectural design. Former winners include Julian

Abele, Louis I. Kahn, and Jenny Sabin.

Gold Medal: Valmik Vyas

Silver Medal: Michael Francis Golden

Bronze Medal: Dane Richard Zeiler

Paul Philippe Cret Medal

Founded by the Architectural Alumni Society in 1946,

awarded to the graduating student who has consistently

demonstrated excellence in design in the Master in

Architecture professional degree program.

Awarded to: Tiffany Linda Li

Harry E. Parker Prize

Awarded to the student who has an outstanding record in

architectural construction.

Awarded to: Betty Louise Prime

Alpha Rho Chi Medal

Awarded to a graduating architecture student for leader-

ship, willing service, and promise of professional merit.

Awarded to: Bradley Andrew Schnell

Warren Powers Laird Award

Named for Warren Powers Laird (1861-1948), the first

Dean of the School of Fine Arts (now PennDesign).

Awarded to a student with the highest standing in all

courses in the first year of the professional degree

program in architecture.

Awarded to: Erin C. Saven

Charles Merrick Gay Scholarship

Awarded to the student who has shown outstanding

ability in architectural construction and a realization of

its relationship to design.

Awarded to: Allison W. Weiler

Frank Miles Day Memorial Prize

Named for Towne School graduate and architect of

Penn’s Houston Hall, University Museum, Weightman

Hall, and Franklin Field. Awarded to the architecture

student submitting the best essay in courses in the

history and theory of architecture.

Awarded to: Nathaniel T. Schlundt

Harlan Coornvelt Memorial Medal

Established in 1975 in memory of Harlan Coornvelt, who

served as an Associate Professor of Architecture at the

School of Design from 1968 until his death in 1973.

Awarded to the student who achieved the most outstanding

record in required architectural structure courses.

Awarded to: Wy-Men Loh

Mario J. Romanach Fellowship

Established in 1984 in memory of one of Penn’s most

beloved teachers, the fellowship is awarded to a student

entering the final year in the professional degree

program, for demonstrated excellence in design, a love

for architecture, and the determination to develop as

an architect. Mario J. Romanach served as Professor

of Architecture from 1962 until his death in March 1984.

He was Chairman of the Department of Architecture from

1971 to 1974.

Awarded to: Fei Chen

≥

NEWS—STUDENTS271

James Smyth Warner Memorial Prize

Awarded to the second year student with the highest

record in required studio courses. Established in 1938

by Professor George Walter Dawson for a student in

Architecture; prize to be used for expenses for a trip to

see and study American architecture.

Awarded to: Shulei Weng

Faculty Prize

Awarded to students who have demonstrated excep-

tional growth and development.

Awarded to: Maria Federica von Euw

Walter R. Leach II Fellowship

Established in memory of Walter R. Leach II, M.Arch ’67,

this fellowship is awarded on the basis of academic merit

to students entering the third year.

Awarded to: Amanda M. Morgan

T-Square Club Fellowship

Established in 1984 and awarded annually for excellence

in design to a student who has just completed the first

year. Among the patrons and members of the T-Square

Atelier were Penn professors Paul Philippe Cret, Walter

P. Laird, John Harbeson, Jean Hebrand and Norman Rice.

Awarded to: Brett Dong Ha Lee

Mr. and Mrs. William L. Van Alen Traveling Fellowship

Awarded to one Architecture student and one Landscape

Architecture student who are in the second year of their

programs, for summer travel to Europe.

Architecture Fellowship Awarded to:

Leslie S. Cacciapaglia

Will M. Mehlhorn Scholarship

Established in 1989 through a bequest by Will M.

Mehlhorn, BFA ‘30, former architectural editor of House

and Garden. Awarded to the students who have done the

best work in the theory sequence.

Master of Architecture Professional Degree

First -Year Students

First Prize: Andrew K. McBride

Second Prizes: Brett Dong Ha Lee

Third Prize: Dunja Simunovic

Fourth Prize: Sara Sadeghi

Fifth Prize: Wy-Men Loh

M.S. Architecture

First Prize: Anthony Caicco

First Prize: Bonnie C. Kirn

Ph.D. Architecture

First Prize: Eric D. Bellin

Second Prize: Ariel Genadt

The Donald Prowler Memorial Prize

Established in 2002, the Donald Prowler Memorial

Prize is awarded annually in memory of Donald Prowler,

MArch’75, a dedicated teacher of environmental

architecture at PennDesign. Awarded to the student with

an outstanding record in required environmental courses

and a desire to further sustainable architecture.

Awarded to: Andres H. Blohm

The following awards were made during the Department

of Architecture’s annual competition week held at the

beginning of the Spring 2011 Semester:

Albert F. Schenck- Henry Gillette

Woodman Scholarship

Awarded to students in the first year of the professional

degree program on the basis of a competition.

First Prize: John N. Johnston

First Prize: Le Tang

Second Prize: Paul Chan

Third Prize: Andreas Kostopoulis

Third Prize: Nicole L. Reamey

Honorable Mention: Margo Angelopoulos

Honorable Mention: Catherine Guentert

Honorable Mention: Erin C. Saven

Honorable Mention: Melanie S. Silver

E. Lewis Dales Traveling Fellowships

Established under the will of E. Lewis Dales in 1963 for

travel abroad during the summer prior to a student’s final

year as a candidate for the first professional degree in

architecture.

Awarded to:

Nga Ting Chan

Fei Chen

Uhn Choi

Jessica N. Condor

Patrick J. Corrigan

Eric K. Craig

Elizabeth A. Hobart

James F. Hower

Jason P. Jackson

Dongyul Kim

Ihnil Kim

Young Bum Kim

Gregory D. Knobloch

Alexander J. Knowles

Qiyao Li

Evan M. Litvin

Hanxiao Liu

Michelle S. Ma

Christopher K. McAdams

Natali Medina

Amanda M. Morgan

Mark T. Nicol

Lea B. Oxenhandler

Bowen Qiu

Kathryn M. Rufe

Sudipto Sengupta

Jinsuk Seo

David Tao

James Tenyenhuis

Andreas A. Tjeldflat

Jennifer R. Tobias

Sarah Wan

Allison W. Weiler

Shulei Weng

Ying Xu

Hung Kit Yuen

The 2011 John Stewardson Memorial

Scholarship in Architecture

The John Stewardson Memorial Scholarship in

Architecture, established in 1897, is a statewide competi-

tion among the five schools of architecture in Pennsylvania

for a traveling fellowship after graduation.

First Prize: Michael Jeffrey Gloudeman

2011 PennDesign John Stewardson

Memorial Competition

Winners of the department’s internal qualifying

competition are entered in the statewide competition.

First Place: Michael Jeffrey Gloudeman

Second Place: Tiffany L. Li

Honorable Mention: Qian Liu

272NEWS—STUDENTS

EVENTS

275 EVENTS

Fall 2010

October 1-2

New Aging Symposium476, 477, 478, 479.

November 4

Anna Dyson

November 4-5

PennDesign/Penn State NSF Workshop480, 481, 482.

November 17

Ed Keller

November 22

Urbanism Now

December 1

Enrique Norten

December 8

Ulrika Karlsson

≥

476.

478.

480.

477.

479.

481.

482.

276EVENTS

Spring 2011

February 7

Bernard Cache

February 28

Dennis Sheldon

March 16

Qingyun Ma

March 22

Urbanism II483, 484, 485.

March 24

Armand Grüntuch & Almut Ernst

March 28

Karim Rashid

April 1-2

In the Terrain of Water Symposium

April 12

Mohsen Mostafavi486, 487, 488.

April 18

Conversations: Doppler ReduxBob Somol & Sarah Whiting

May 13-20

Penn Pixels489, 490, 491, 492.

≥

483.

484.

486.

488.

487.

485.

277 EVENTS

489.

490.

491. 492.

278

Well-known for his broad research across the history

and theory of modernism in architecture, art, philosophy,

and urbanism, Detlef Mertins challenged historical

assumptions in the field and addressed architecture’s

uncertain future in a time of rapidly-shifting technology.

A leading scholar on the history of modernism and

the pioneering work of the modernist Ludwig Mies van

der Rohe, Mertins wrote prolifically. His numerous pub-

lications include The Presence of Mies and the recently-

published G, a volume celebrating the 1923 journal that

ushered in a new crop of Europe’s avant-garde. Mertins

also published widely on Zaha Hadid, Natalie de Blois,

Walter Benjamin, optical instrumentation and the

spatiality of modern events.

Mertins joined PennDesign in 2003 and was

appointed a Full Professor with tenure, serving as chair

of the department of Architecture from 2003-2008.

He held a B.Arch from the University of Toronto (1980)

and a PhD from Princeton University (1996). Prior to

joining PennDesign, he taught architectural history and

theory, and supervised doctoral research at the

University of Toronto. He was also a visiting professor

at Columbia University, Harvard University, Princeton

University and Rice University.

EVENTS

Detlef Mertins1954-2011

279

“Architecture is practiced in the

world—and so is poetry: it’s prac-

ticed in the world. The question

becomes one of relationship. Our

students, and students in most

schools, are indeed looking at the

world that’s out there—but rather

than perpetuating that world in its

own terms, as it currently is, archi-

tects are prone to thinking about

alternatives: about how the world

could be or should be. There’s an

ethical dimension to the practice, of

course, but there’s an imaginative

one, as well. There’s a desire to think

about alternatives—which is, in fact,

the most realistic thing you can do.”

—September 2006

“Great things are possible when

people feel supported in explor-

ing ideas, stretching their limits,

and taking risks in the company

of others doing the same, all the

while remaining curious about other

ways, eager for responses and

discussions, and to engage things

seemingly unrelated. Learning to

design is infinitely enriched in social

milieu disposed to welcome the

anxieties of uncertain trajectories,

the exhilaration of discovery and

the thirst for connectivity in

a new direction.”

—January 2007

“At a time of economic stress, it

may be especially important to

underscore that beauty is not a

supplementary value any more than

art and culture are supplementary

economies. Although in the West

modern society isolated art into

a seemingly independent sphere,

the impulse of art, beauty and

freedom is evident in every aspect

of human ecology and economy. The

production of beauty, elegance and

other aesthetic values—even

tension and ugliness—is as integral

to science and engineering as it was

to ancient cultures and traditional

crafts.”

—July 2009

EVENTS

work 10 11

Documents