zachary john heaps
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Graduate and professional workTRANSCRIPT
zachary john heaps
stockholm center for digital emulation
critic: greg lynn, spring 2012
synchrony/diachronycritic: peter eisenman, fall 2011
carving the voidcritic: emmanuel petit, spring 2011
step citycritics: fred koetter and ed mitchell, fall 2010
orange on greencritic: john eberhart, fall 2010
3D graffiticritic: kevin rotheroe, spring 2012
kensington palace
london uk, 2007-2010
lady margaret hall
oxford uk, 2007-2009
39-40 lowndes square
london uk, 2007-2010
yuntolovo master planyuntolovo russia, 2008
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contents_graduate work - yale school of architecture
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_professional work - john simpson & partners
_center for digital emulationstockholm, sweden
Spring 2012 Advanced Studio Critic: Greg Lynn
As a center for emulation, this library would be crucial in combatting obsolescence in digital media, data and art by providing an outlet for open exchange of information as well as display. Formally, the studio was based around the design of a vast single volume single floor building with multiple spatial and volumetric characters as well as multiple stories or levels. Unlike projects of the early 1990’s that looked to ramps and monumental stairs as the expression of a Modernist extreme free plan and free section for library and other projects, this studio focused on the definition of discrete volumetric pockets and places within an otherwise continuous room. While the Asplund library embodies a more traditional spatial diagram - one tall, wide central space with
low narrow wings wrapping on three sides - this addition is proposed as a foil providing two distinct types of formal intimacy. A tall, narrow, triple height space runs the length of the addition and is capped with a large skylight. The formal inspirations for this element were Uzton’s Bagsvaerd Church and the children’s wing at Aalto’s Vyborg Library. This zone would provide kiosks at which emulated data could be exchanged and accessed. Adjacent to these tall, narrow spaces are low flat spaces - inspired by Asplund’s Woodland Chapel - providing lounges for reading rooms and display of new media art. Many of these zones become partially enclosed in order to cater to the visual and acoustic requirements of digitally based exhibitions.
_massing strategy_Spaces running adjacent to the triple
height skylight are read as distinct
volumes from the street. These
masses are separated by outboard
circulation that becomes transparent on the facade revealing movement from one to the next without revealing what is containted within.
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_mezzanine level plan_a. information center
b. restaurant
c. open classroom
d. research center
e. emulation lounge
a b
c
f. children’s library
g. emulation orientation
h. open offices
i. gallery space
j. events
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Stockholm Center for Digital Emulation
_biased circulation_Circulation is incorporated into a series of
stepped terraces that ramp gently from the street
entrance and the emulation orientation center
up to the main level of the Asplund Library and
back down into more intimate display spaces.
longitudinal section
Stockholm Center for Digital Emulation
Spatial Precedent Diagrams
Stockholm Center for Digital Emulation_diagrammatic analysis_While the Asplund Library embodies
a traditional formal hierarchy, the
addition investigates the inversion
of that relationship in the pursuit of
greater spatial intimacy.
massing studies
The studio began with a study of the terms disegno and colore which came to signify a dialectical pair used to describe the typological differences between Florentine (disegno) and Venetian (colore) painting. In this case, these styles were typified by Pontormo’s Joseph with Jacob in Egypt and Lotto’s Susanna and the Elders. Analysis revealed that disegno utilized a synchronous treatment of time and space collapsing them within the picture plane while colore confronted these issues in a diachronous fashion, allowing time and space to extend infinitely in as linear entities. These two housing blocks were developed with identical programs - 70 residential units - on sites of dramatically
_synchrony/diachronyflorence & venice, italy
Fall 2011 Advanced Studio Critic: Peter EisenmanPartner: Nicholas Coleman
different scale and character, the first in the Piazza della Signoria in Florence and the second within the Arsenale in Venice. The unique nature of each site is taken advantage of in order for narratives of synchrony and diachrony to play out as formal architectural tropes. In Florence, two thin parallel bars engage the Palazzo Vecchio directly, redefining the historic piazza while complementing the unfinished axis of Vasari’s Uffizi. In Venice, a low mat building mimics the linear development of the Arsenale’s sequence of doubling and extruding as Venice grew its navy. This sprawling mat dramatically redefines the reading of this uncharacteristic and undefined piece of the city.
_diagrammatic analysis_The historic progression within the piazza reveals a distinct clockwise rotation informing siting on the north-east corner. The housing block was then oriented to receive the unresolved axis of Vasari’s Uffizi.
florence - piazza level plan
florence - upper level plan
east - west section/elevation
roman encampment
imperial city
18th cen concentric growth
_the concentric city_ From its earliest settlement until the 18th century, major urban hinges have developed on the edge of the city walls which grew as concentric rings. This proposal seeks to re-establish the Piazza della Signoria as such a fulcrum.
arsenale site plan/axonometric
1. site as a four square
3. primary site axes 4. project footprint from scalar operation
2. dissolving eastern edge
study elevations
_the linear city_
The Arsenale has developed in a linear fashion, doubling and extruding as the city grew. This proposal reveals the resulting latent four square in the site by occupying the entire southeast quadrant and re-presenting the Arsenale’s defining geometries through a scalar operation.
arsenale historical development
arsenale diagrammatic analysis
_site plan/section_The scalar operation allows the site building masses to introduce canals in keeping with the character of the rest of Venice while allowing unique views into the vast Arsenale basin
_carving into the voidrio de janeiro, brazil
Spring 2011 Advanced Studio Critic: Emmanuel Petit Partner: Nicholas Coleman
Throughout the past decade, sociologist Zygmunt Bauman has been describing the state of contemporary culture as “liquid modernity.” One of the central characteristics of this phase of modernity is that human institutions and their related cultural forms do not have the time to congeal into durable structures that can act as ethical or aesthetic frames of reference for society. The passage from a state of “solid” modernity, typified here by Oscar Niemeyer’s Pampulha Casino, to its liquid phase has consequences on the level of the individual’s relationship to his or her direct sociocultural context, as well as on the scale of the human habitat at large. The challenge for this studio was to deal with the urban architecture of the future and to develop a position
towards the temporality of liquid modernity and “the culture of disengagement”. The site, Santos Dumont Airport has available land around it and lacks architectural and urban resolve. Following travel to Rio, analysis revealed the city as a sequence of distinct urban zones unified by disorienting and disengaging passageways. One such zone, Flamengo Park, was found to be incomplete surrounding Santos Dumont airport. This project attempts to provide a terminus to the sweeping axial movement of architectural follies through the park. At the same time it seeks to both reveal and move past Bauman’s “culture of disengagement” by carving out urban spaces with strong orientations and formal character.
massing studies
site section central corecarved void parking
parking
_liquid density_ The petrified paths that become the architectural manifestations of Bauman’s culture of disengagement blur and overlap to create dense cores. These large carved out voids allow the user to find moments of clarity and calm , reorienting before entering the labyrinthine paths that lead from one functional zone to the next.
santos dumonthotel
site connection diagrams
massing diagrams
petrified paths and programmatic overlap
financial services
galleries
spaconferencefamily reorientation
cosmetic tourismhotelillicit activities
Financial Services
Galleries
Family Reorientation
Spa
Conference Center
Cosmetic Tourism
Hotel
Illicit Activities
rio de janeiro neighborhoodanalytical model and diagrams
_liquid urbanism _
Urban analysis revealed a city of distinct neighborhoods linked by disorienting tunnels through extreme topography, dense forest or favellas. Each new neighborhood implores the viewer to reengage with a unique context.
_liquid connection_This analytic model of the area surrounding the Santos Dumont Airport demonstrates the extreme isolation of the central business district from the zone defined by the airport and Reidy’s Modern Art Museum and the need for a strong architectural link.
_liquid progression_Follies within Flamengo Park connect across the modern highway and provide a strong progression until just before Santos Dumont Airport where there exists no such link. This proposal seeks a monumental terminus to this sequence.
_liquid core_Areas of maximum programmatic density
produce deep, spherical cores based on the geometries of surrounding Burle Marx landscapes. These vast cores provide an opportunity for vertical circulation and visual reorientation
_liquid precedent_These abstracted analyses of Niemeyer’s Pampula Casino (above) are intended as exigeses of a quintessential example of solid modernity in the hopes of extracting liquid tropes that could be applied on site.
_step cityfall river, maThis proposal for the urbanization of the Fall River City Center exists within the larger context of three former industrial centers in southern Massachusetts. Working with the municipality, the studio investigated the potential of a networked urban fabric and includes a Smart Growth Corridor Plan to develop a blueprint for economic and residential growth along the proposed South Coast Rail system. As the highway system around Boston, defined by the I-495 ring, is heavily congested, the South Coast Rail network seeks to redevelop formerly thriving city centers as viable alternatives providing the much needed opportunity for research and development zones spawned by ground breaking work emerging from Harvard, MIT and UMass. The Fall River City Center seeks to
connect three vital components of the downtown which currently have no relationship - City Hall, the Arts district and Battleship Cove, currently Fall River’s major tourist attraction. Textile factories once made up the city’s geographic center but have subsequently been demolished and paved over following the decline of the textiles industry in the late 20th century. By developing a series of terraced, inhabitable steps oriented towards the Mt. Hope Bay in this zone, these vital elements could be linked together to create a sustainable urban core previously unprecedented in the city’s history. Fall river station is to be built into the largest terrace at the pivotal hinge of the scheme allowing the south coast rail to deliver commuters and visitors into the heart of the revitalized city.
Fall 2010 Urban Design Studio Critics: Fred Koetter & Ed Mitchell
site sections and aerial view
_an urban heart_By reducing redudant highway
infrastructure and redeveloping the abandoned area surrounding the I-95 cut-through, a phased development can be set in motion that would allow Fall River to link its major landmarks without disrupting its current function as a coastal city and with a bare minimum of demolition.
Fall River stationstudy model
before and after views
_instant citykoetter/mitchell studioAs a precursor to the South Coast Rail urban project, this instant city was developed to investigate the concept of an urban incubator. While many contemporary cities extend outward from central nodes, dissipating into suburbia, this instant city hinges on the idea of the central void. Central zones are intended to carry specific programs - from dense financial cores to rural agricultural
centers - for a ten year period after which they are to be completely replaced. These diverse functional zones would then radiate similar development outward instead of collapsing inward. Over time, these zones would overlap with incubator areas. Unique urban collisions would be possible that are unprecedented in contemporary urbanism.
Fall 2010 Urban Design Studio Critics: Fred Koetter and Ed MitchellPartner: Erik Hermann
_orange on greennew haven, ct
Computation Analysis Fabrication, Fall 2010Critic: John EberhartPartner: Daniel Dickens and Nathan St. Clare
Orange on Green is a proposal for a temporary pavilion on the New Haven Green. Inspired by Christo and Jean-Claude’s The Gates in Central Park this pavilion attempts to mediate the urban edge between New Haven’s financial center along Church Street. By creating a semipermeable membrane, Orange on Green defines and connects the currently ambiguous meeting of the historic green and the civic core of the city. The project brief was
constrained by two primary factors. First, the pavilion required a solution based in parametric design. Second, assembly and delivery on site should be achievable by a group of 10-15 YSOA students. The resultant script produced a form that was wholly distinct over the length of the structure while incorporating a “swiss army”, unfolding delivery technique that vastly simplified construction limiting time and cost.
lofted surfaces sin curve points projected sin curve vectors vector paths generate frame sequence
_3D graffitinew haven, ct
Spring 2012 Seminar Critic: Kevin Rotheroe
This course reviewed materials and computer-aided manufacturing processes especially suited for digitally crafting aesthetically unique architectural components and surfaces. Cross-fertilization of digital and conventional modes of making were emphasized. This series of exercises was intended to explore the formal potential of an
inherently two dimentional form of art, graffiti. Once freed from its social and 2D contexts, graffiti was explored on an architectonic level in a number of non-traditional materials. The intention was to blur the line between its delployment as simply a sculptural object and a more complex functional architectural element.
