Advanced Architecture Studio VI Supercrit

so everyone in thing else going on today and beyond this is like G SAP history the first time ever she's up doing a webinar but more seriously I want to you know welcome everyone to the G SAP a dance studio six super crit as you all probably know this is the last session in our series of studio wide Friday sessions during the semester and as you also probably know the super crit is really the other bookend to this studio lottery with the studio lottery showing a five-minute presentation from each studio by the critic at the beginning of the semester and then the super Cretaceous from each studio by the student at the end of the semester so it's kind of two different snapshots on the work of the studio and the methods of the studio and the topics of the studio are our kind of guest critics and at this time consist of three people from outside of the school we have Irene Chang who is an architectural historian and associate professor at California College of the Arts as well as partner and co-founder of Chang and Schneider so I don't know if I mean you can wait I can't see everyone at the moment now but Thank You Irene for being here we also have Stephanie Carlisle who is principal and environmental researcher at Karen Timberlake as well as lecturer at the University of Pennsylvania School of Design thank you Stephanie also for being here and the third critic is Tim Michels a structural engineer designer and preservationist and also currently part of the school an adjunct assistant professor here at Columbia G SAP and although not teaching in advance six part of the Columbia ji-suk faculty so as you probably already know the format of this is going to be similar to you know what we did last semester so this is meant to be a kind of collective discussion about the studio's their approaches the work of the students the type of topics and you know an open-ended discussion about our work kind of as a collective the way we'll structure this is to have one project from each studio present there will be a pretty strict timeline for this and we'll structure this so long or in the order of having four different groups where for each group will have four or five different student presentations right in a row followed by a session of brief discussion and then we'll repeat that another four or five presentations another discussion and so in that way we hope to kind of draw out some interesting themes from the work and have an interesting discussion today all of the presentations you know with a couple of exceptions I guess will be controlled by our fearless studio I da Skyler Royal so she owes the toughest job of anyone today Skyler thank you for all of your help and collecting the presentations and running this session so by design we're asking each presenter to have to say next slide when they want the slide to advance apologies to everyone for that aspect of the format but I think we'll get used to it and it should be fine and finally students will receive a signal when they have one minute remaining and when the time is up you know we're really asking you when you hear time is up to basically conclude your remarks right then if everyone takes an additional minute to finish then it'll really cut into our time for a group discussion so with that I think everyone should know the order of presentations we've distributed that to the students the faculty and also the guests critics and I think we will launch right into the first presentation so maybe Schuyler if you want to share your screen now and I'm going to pull up the list myself but I believe the first presentation will be from Jing Luz studio just cool ok hello my name is Ed and I don't see the shared screen yet yeah I think Schuyler have you shared yet this won't count on your time thank you okay now I think we see it right so it's gonna go into the read mode or full screen just one more nope sorry I'd write before you start umm if you are not currently speaking if you could turn off your camera I think that that would make will make the experience a lot better so that we can understand who is presenting rather than focusing on everyone's video feed yeah that's a great point so actually Schuyler you could also turn off your camera and so we'll just have that'll that'll be a way to focus on only the presenter like the current presenter hi my name is ed firstly I cannot summarize thoroughly the depth of the studio concepts only with few sentences but in general as the title explains it is a straight studio to the research and introduced an architectural intervention on Fulton Street Mall in Brooklyn by introducing the new players in the street rediscovering past experimentations they might still offer relevance and studying possible new technologies that might be constitutive of the contemporary discourse next I would like to start my presentation with installation art titled over the revert by inspiring artist crystal and jean-claude - artists are inclined to experiment their projects within the nature through massive scale and materiality to create unperceived moments to achieve pure joy of audiences next however their projects due to its massive scale are often brought up disputations from the local communities especially over the river project in order for permission to be granted he had to go through the lawsuit almost for 25 years next next let you however their projects do tutes on fiber interesting idea comes when he suddenly decided not to pursue his project and what makes the project more interesting is the history and the process of actualization next local communities student a stood against the project because of its threat to ecosystem of site Arkansas River however in other perspectives the potential benefits to the site is quite abundant such as economical benefit from visitors and ecological benefits even to some animals so when I researched and analyzed the project over D River I figured that this project is intriguing about the fact that it reveals the complexity of the phenomenon in nature to the surface which were already there but invisible with simple gesture can be next this is an informative and analytical drawing of the project over the river and listed all the animal and plant species and information about the site next next next in this proposed design he used the perforated metallic canopy and suspended a pencil structure over the river and what this does is through openness and reflection achieved by materiality he projects earthing ground in one scene next and this is where our site is it is a Fulton Street Mall in downtown Berkeley next and I went through some examples of things that makes invisible visible next next next next in my project that I try to express the concept through very minimal gesture and the complexity of the material next this is the first sketch of my architectural intervention on the street next and then I researched about the elements that compose the Fulton Street Mall and see what are the unintended consequences by introduction of those elements next and I researched about the the possible and potential purposes of those elements and categorized into interrelated concepts next next next and I went to sectional drawings of elements of the street to see how those interactions are made and those can be range of human occupation of the street and the range of the lighting and Street signage Next Next Next Next Next Next Next Next Next Next Next Next and those pink areas are aware my intervention will be located on the side and those locations are selected based on the site conditions where the actual fultonville begins and differences in height of the building on the site actual buildings on the Fulton mall has relatively low heights than surrounding buildings because of its assignment of historical preservation next next in my project it does not have a specific programs because my concept is to understand and reveal the complexity of the ecosystem the street and also to see what kinds of unpredicted consequences possibly happen with minimal gestures intervention can you start the video please and I'm sorry for the silence in the movie I couldn't merge the sound into the movie hope you guys enjoy you you you you you you okay we'd have to move on to the next person okay I think you can maybe just scroll through that really quickly behind Schuyler yeah it's almost done yes it's this and this was a little bit you know we were getting our system started so you get a little bonus extra few seconds here yep thank you for the presentation okay great so and like I explained before we'll just keep going through three more presentations and then kind of start to unfold a discussion about them the next presentation is from the studio by Steven Cassell and Annie Barrett hi everyone my name is Erica and I'm from the castle Barrett studio I'm Skylar oh okay next it's gonna be so weird saying next because that to you all right so the site program and universal the studio takes place in a book called the city in the city by the author China Mieville in the city in the city we are introduced to Bozell and okoma two city states that occupy the same physical territory but where citizens are forbidden from acknowledging the presence of the other city to navigate the social construct citizens from one city unsee the people and Architecture from the other yielding a complex cross-hatching of the urban fabric violating or breaching the rules results entire consequences you're immediately removed from both cities by mysterious and shadowy neutral third entity never to be seen again written as a police procedural the plot follows a detective from bazzill as his investigation into the murder of a young Canadian exchange student takes him from his home city to the other copla Hall is a shared City Hall for both bozell and okoma a huge complex building housing both bureaucracies is a holy gateway from one city to the other and it is the focus of our studio next so we began the studio by deconstructing the text to develop an understanding of the nuances and conditions that a cross-hatched city and society imposes on its citizens there are descriptions of the city but of course there was no physical form for us to work with so the first task was to design the city together as a studio based on our understandings from the novel here you see an analysis of the Greater City region completed by our studio member chocolate which the rest of the studio used as a starting point next as we narrow down the urban context the studio divided up into two groups each representing one city and we held town halls to reach a consensus on the site for coppola Hall next we mined the novel for descriptions of the architecture designing a set of architectural features that embody the qualities of the respective cities next and the site for coppola Hall is centralized in the city which is part of the old town that you see here highlighted in a darker gray next so the old city is also the most notoriously cross-hatched which means that both the cities sort of exist exist adjacent to each other versus some of the total zones that you see on the outlying regions where the entire area might belong to one city the color coding represents the different cities Rena versus blue next and two five and here we see the finalized design of the site and so here from here on out I'm going to get into my own interpretation of the site and my proposal for Coppola Hall next so they're clues in the book that reveal a precious shared past where the cities were built on the bones of an ancient civilization next we imagine this excavation site as an early attraction that brought both cities together working alongside one another but neither Lane claimed this initial discovery next before designing Coppola Hall itself we started with the design of a gateway which is the border crossing between the two cities which could later to inform the character of Coppola home so for this proposal I proposed a series of walls that bridge across the entire site across the original shared side of the city's routes next next so as these walls traverse the site there's an opportunity to slip below the surface of the city an opportunity to escape the chaos entering a no-man's land next next so you see here these things that would initially be considered walls could also be sort of pre conceived as bridges passing from one city to the next next so from the gateway this translated to the design of the overall City Hall which is of course I'm still in progress so if the walls are sort of extruded to scale the building this is what it would look like and you see here on the left side that there's sort of this counter character to the city hall itself which is in the form of a large public park next one minute remaining crazy oh okay and imagining these bars is a series of different programmatic elements that actually mix the two cities together where entrances from both sides would be given to each of the cities next and it's sort of reimagining what the idea of something that's double ended could be like next I'm just going to blow through these slides then so here's a section looking through this underbelly of the city where it would be a communal public space and the bars above that are separated into the programmatic elements with a transverse connection across next the experience from the street next and then you can kind of flip through the next four or five slides going to show the build up so you see the public space there underneath and connecting above next and the circulation connecting the bars would ultimately be the place that would be the place of interaction between city officials and both cities next and there are variations on how the circulation could work next next so we leave off with a final scene from the book which kind of culminates in this really dramatic shootouts and this is what it would be like to be in this sort of no-man's land underbelly of the city thank you great thank you you hit the deadline just in time and we thank you and apologies if it's going to sound rude me continue a second time is up but great you perfect five minutes the next presentation will be from Hilary sample studio and I believe it's Matthew us here hello my name is Matthew and I'm from this hemisphere I started the studio is comprised of three distinct yet interrelated parts and excuse staircases and social so mixed-use in terms of repetitive structural grids that are adaptable staircases unambiguous interconnected circulation spaces and social urban socialization associated spaces of today next so we we aim to analyze why Washington DC in these terms next so to begin from staircases next next we want to understand different type logical approaches and forms of stairs from the gala to the National Museum of women in the arts discovering and expanding upon multiplicities of choice and experience through different assemblages of form so next next so you get to see how next how these begins to create different iterations of direct and non direct approaches single double and then the different versions of how could assemble to a surface our next and how this creates different multiplicities of choice and experience next the next element being the social so through our walks and explorations there was herb invert habitats along the National Mall of Washington DC so this brought on this need for communal spaces for urban species human and non-human next next and so I started to analyze contained ecosystems and try to understand how this could be related to social spaces and next and how it from the aviary you move from an observation cage to an educational device next and the materials of ecosystems and next next which turn into these uh weaved surfaces of different densities and transparencies next then analyzing the Botanical Garden through its mixed-use properties of how it had this organic growth through rigid structural grids next and how this could be combined with they were going to bird habitat next into in terms of birds needs and creating these interconnected social spaces of human and on human next and different assemblages of this within the structure next so this all ends up in creating a project that aims to reimagine the typical atrium space of buildings in Washington DC the depletion of program in nature and it aims to question the boundary of interior and exterior space in service of a self-sustainable dynamic architectural ecosystem next so it begins by creating a sort of interior aviary that's nested within the building that opens up to the urban Plaza and across into adjacent parks then is capped off by rings our program that next rings a program that are set within the other rigid grid on the periphery these are our programmatic and studying food rehabilitation centers research labs seed vaults roof garden and other elements that service this interior ecosystem next so you can see here it's that you're able to enter below below into this park that's set into the atrium with layers of mesh material next and how all these elements are so within this rigid grid and there's these staircases that lead up similar to the assemblages from before that connect across atrium space next next and are able to cut through the atrium space so you're able to climb underneath using it as a park sort of in it an interior part but it's exterior it's covered in mesh and it has all these layers as you go through and once you're in there you're able to look up and see these paths crossing that go between the different inter-related programs that are meant to service and create that interior space route some greenhouses and research labs next next here's another illustration of that next next next next and then the central space blown up more also next and next then how that could be rendered in different materials how it evolves over time thank you perfect again perfect timing thank you and the last presentation for this first set of projects is from the studio by Steven hall and Dimitra shurelya and I don't think I can great I'm sorry so just make sure to introduce your yourself as the student yeah my name is partner with Russia who and we are from hosts to do the host studio started abstractly from a piece of music so basically we're designing accounts or how in crak design based some piece of music from a composer and the music we chose is from Dvorak the new word simple X and we're really interested in the duality of this piece it is music by a Czech composer for the u.s. something from the oak continent is a composed for the new word it is and by Dvorak he says that that the inspiration comes from injecting a kind of black Indian music soulful music into a really classical structure next and then we are designing this kind of device to showcase the real joke is that this typical malady that's reappearing in this whole chapter so it is in in space it's more like a typical ratio of pattern reappearing in this volumetric way and then we we have done this test multiple time just to show that there could be a potential acoustic voice in this reappearing fashion next and then by that device we can see that each volume can form a really dynamic section drawing and then each one is really different from each other but they are interconnected through this boarding next next so my motto you can see that the way we did our physical model is by slicing those sections and kind of putting them together next and then by that we can form this kind of thick wall volumetric acoustic walls just to have those kind of expression and then from each test the expression is different next for sometimes it looks like this next and then next the way we chose this to tests is that they are formed by a really simple method but they have really different expressions why it's more you know have funny shapes have is more close the otherwise more openness more powers next and then we think after that because this resemble the duality that we talked before so we're thinking what's in between those two walls next next can take over okay so as we continue to like zoom in to develop on its core in Spanish we find that the auditory of a suspect or a highly developed and pragmatic so we like started to trying understanding how our language of the acoustic voice in the sick war can be integrated with the being European the sitting so from the left to right we can see how our developed and next and this is how we like organize the four of our sick words together and assign them different programs like also we have a lot of supporting functions like the ticket ticket office get some cafeteria and some other functions index this this kind of shows how we are like trying to make use of the cracks in our worlds and the gap created like in between two supposed to be entrances to our interior spaces next and some of the openings on the walls can be transformed into our open sea sky gardens and other entrances next this is like a street Beauty pics the view you are like standing in the street you can see how the front ality of the world transformed into the facades in next one minute remaining places okay next on an X so then we'll continue to develop our interior space in this section perspective next as you can see we have been reduced directly from the wall and we have the language from the being our seating which is a broad part and the yellow one integrating the two together and next and then next please and then we also like trying to like work together with the sideline and ever since nets so this is the section perspective we developed as you can see the solid words are not like solid spaces actually they are like having supporting functions serving the auditorium and next so this is our interior rendering depicting the view you are like sitting to the side of the stage and next also a rendering as you can see the thick walls actually create spaces those gaps at both sides they are like work as our entrances index so we also have something that like better special seating like oh because from the world language we extruded some of them and they're headed at a relatively high space we also think about transform in those things into specialties where you have a spatial experience you can hear the music but you actually don't have a visual contact with the orchestra so this is also kind of experience we want to explore and that's pretty much we have thank you great thank you very much for that presentation [Music] so let's see I think I'm not sure did you stop sharing Schuyler yes I'm not saying yeah okay I stopped it's do I need to should I share no I just didn't see that so now I think Lila so again for everyone this is our first time doing a webinar so please bear with us Lila could you make the cameras of the critics live now is that something they should do their selves what do you think is it already and if you place if everyone places their screen into into gallery view instead of speaker view you should be able to see all three of the critics at the same time it looks like each of you are muted so I'm gonna go ahead and unmute you the critics there you go there's a comfort in being muted though power great so so there was obviously a you know a variety of different projects presented and I think you know they were you know each had their own world they were responding to so I think part of the discussion is just to start thinking you know in the broadest sense how can something like advanced studio at a place like G SAP have you know the best of the diversity of all the different approaches and research interests and topics and sites and programs and types of representation have the best of the diversity but also participate in a shared discussion and and I think that's an aspect in a way that we've been working on in the past couple of years for advanced studios at GCF but it might be a little generalizable as well to like how do we as a discipline both in academia and in the profession you know each do our own thing but kind of come together under like what do we got in common what unites us what how can we you know have a shared discussion around some of these topics so that that might be one of the things that we to trace as a thread through these first four but I think we can also explore some other observations and topics that any other critics have well I can jump in just to break the ice maybe sure I don't know if I have a kind of idea yet about sort of what is the commonality or what sort of unites the different participant maybe I can start with just differences it's so interesting I think to see this panoply of projects from different studios and to see the different methodologies I'm I'm sort of at least initially as I'm kind of you know trying to work through what I what was just presented more struck by the differences maybe we can start there yeah yeah I'm good I'm buying time for the other critics to identify the similarities I'm struck by the different starting points and then the kind of evolution of the projects and then sort of where they end up and struck by for example how Ed's project starts with a kind of artwork and analysis of an artwork and then you know in the kind of end point the the final project I see the kind of that translation and some of the material properties and and even some of the formal properties of the initial inspiration the Christo artwork still sort of residual in the end point the the final project and what I see is the strength of that project is I mean the kind of utterly beautiful form and it's both a kind of if the reality but plausibility as a kind of installation in this space of the Fulton Street mall but also productive of such an that kind of extraordinary aesthetic experience that really came across in the renderings and I think that's a kind of threat of continuity from the original starting point then with the city in the city project Erica's project starting with a novel conceptual sort of sci-fi novel and then ending up with a kind of proposal that seems less you know like a kind of realistic proposals be built in a conceptual provocation it still has that remnant of a kind of sci-fi feeling about it in the case of Matthew's like starting with a kind of architectural typology of the stair and then sort of integrating that into a specific kind of building proposals you know I spatially intricate building design the the yuning and you Sheen's project the end that's the one where I see that kind of greatest leaf sort of starting with a piece of music and then ending up with a concert hall and in between there was this kind of moment where I couldn't wasn't quite sure whether it was like the music was translated into this formal model and then became a building so I was really curious about that moment of translation or conversion but yeah I mean for at least a kind of initial thought was just sort of I was reflecting on the different starting points and how those are both determining of and also allow for sort of different end points yeah that's that's a nice way to to start us off okay and that speaks I think to the kind of studio method because part of this is about like what did you produce at the end but part of it is about like how do you how do you design what is a way to get from A to B and where do you even select us they ended to be I was very much struck by this image of Matthew where he showed the birds in a cage mixed with humans and I could not help but reflect about our current situation where we're all swooped up and still all four projects so prominently addressed public space in a way addressing how people come together it was in clearly in at projects where he decided not really to intervene on the existing buildings but model something around it then we had the public plaza under the newly designed city in cupola Hall studio the birds and then I I especially in an in the practice studio I was struck by the challenge of you know designing a new space for a large public in a place where there is such a great history of music and taking on that challenge of doing something radically different in Prague and that's still from the outside sympathetic to the street use that were shown but then I think radically innovative and on the inside and the technology was used to create that and getting that inspiration from sounds that struck me very much and I I'm still trying to wrap my head around how we should start thinking about these public spaces now that you know we're all cooped up and how these projects could be translated yeah those are my first impressions I would say yeah that's that's a really interesting way to think of them together I think all of the projects were really dealing with enclosure and threshold in very different ways and it came out and kind of like unfolded in each of those pieces I think quite it with some surprises as well so the with Ed's piece in the beginning it was interesting because if the Christo project is really sort of a membrane that both reflects and reveals it was interesting to see how the intervention that you chose really turned into these these gateways right which first revealed themselves as walls but then as we saw in the video I found it you know quite surprising that they too had a sense of enclosure and were inhabited by people as well there was something really really nice about that moment where you could see that you could be inside that threshold they weren't just gates at every street enclosure on Fulton Street you know similarly I think there's that question of with the city and the city of trying to manage how people occupy space together and what that looks like in this tension between the wall the hallway and an actual space obviously with the birds and the third project as well in in all of them I feel like there are some some questions it seems that you're all still sussing out of who is occupying these spaces and I think it can always be really or often be really challenging when talking about the city to figure out how to create spaces that are equitable but also acknowledge that people would experience those faces differently right and they they are in a place right now these projects where there's so much potential I think to explore that a little bit further you know and think about whatever categories are particularly helpful for you whether it's characters and behaviors or agendas you know who are these people what are they doing rather than a sort of typical person what is the variation of that experience because I think that would even help push even further the exploration of the interventions that have been made with city in the city I think I'm not familiar with the book but I think that I would be quite interested to see you know how you can even draw from that text a sense of characters and also you know is there a real difference between those two cities and how the inhabitants of those cities would move through this government building and I didn't expect that theme would carry through it all with this with the final project but I thought what was quite interesting is that I I would I tend to think of an opera hall as being quite enclosed and impermeable you know it's a special space unto itself that is separate from the city and halfway through that presentation I think the the way that that team is starting to explore openings and aperture we was really really compelling I wonder if it came also I wonder to Tim's point about you know this moment of us not wanting to be completely contained everything all the explorations seem to be very much about the stage and the acoustics and then there was this moment where you can see the city you know outside and then I think that's something that we're all you know thinking about right now is what are those different perspectives what does it mean for the viewer that's in the balcony that can't see the stage as they said they really wanted to explore withholding site the site of the visual side of the stage and I think that it similarly for all of the everyone in the interior T of that space what does it mean to be completely removed from the site of the city itself so I think I think there's a lot of really interesting themes to keep exploring in that project as well I really like this question about who is the public because it does seem like that's a kind of fraught question in architecture in it when you when you posed that question Stephanie it it did seem like there's sort of implicit answers but not so many explicit ones I think the Matthews project where there was clearly a desire to expand that public to multiple species humans and birds you know and maybe if there was more time we could have heard more like how those species are interacting and how the building is responding to each of those constituencies but we do have a tendency I think in archetype there's the long history of this in architecture kind of abstracting that public as a kind of generic or you know undifferentiated or homogeneous public and so you know I think that question could be posed at each of these projects in the case of the Fulton Street Mall you know who are the residents of that neighborhood how might they respond differently to this kind of beautiful you know gateway structure form I was curious with the city in the city having not read the novel you know of course I think that the topology and the kind of premise of these two communities or cities overlaid on each other sitting lying side by side and having to coexist and yet alienated from each other in some some way of course I'm thinking you know red and blue America black and white in the city and so I was you know I sort of wanted more fleshed out sort of what were these what's the kind of nature of these two cities that are being brought together in this kind of provocative way so I think that question of like how do you qualify and differentiate and make specific the that that public that architecture is addressing I think is an important one yeah and maybe maybe some of these themes are ones we can pick up and you know after viewing the next group because you know based on the rhythm of this set up we'll have to move on and in just a second to the next group of presentations but I wonder if we could also start thinking about representation a little bit you know about you know given these themes what are the ways to draw them either drawing the the enclosures and thresholds and things that are sometimes invisible drawing the relationships between species you know using a combination of more typical architectural representation but some techniques of video or other ways of of starting to make more science fictiony drawings because I think it's an interesting moment it's an interesting moment in a lot of ways for architecture right now but including in representation when we've gone through a number of phases of emphasizing tools or returning the old modes of representation and an increasing sense of like these things that are so important that they can change the world stop us in our tracks like a virus or like climate change that are just totally invisible so how do we possibly start representing those as well as the other intentions and themes of the project and maybe I'll just leave that as an open thing that we can kind of track a little bit in the next round of presentations so this will seem I'm gonna be the bad guy the whole day I think because just as we're getting interesting in the discussion I'm going to cut that off to just like each project does its you know hitting its highlights I'm keeping the dizziness moving but I will unless anyone has something urgent they're gonna throw in right now then I think we can move on to the next round of presentations and kind of continue these threads that okay no objections okay great thanks so we'll get back in the you know we have two rhythms the rhythm of presentation the rhythm of discussion so I think Skylar we're ready for you to share yeah and we'll start off this sequence of presentations with student representing Galia solomonoff studio hello my name is Oscar Caron this is the studio led by Calais Romanov and you would it go something of value for the City of London you can wipe out an entire generation you can burn their homes to the ground and somehow they'll still find their way back but if you destroy their history you destroy their achievements and it's as if they never existed imperialism is the attempt of one country to control another especially by political and economic methods colonialism is a distinct way of liberalism the British invaded 90% of the world during the invention invasions there was an infinite transfer of valuable items this is how today the UK possesses so many treasures that are not from British land nor respond to British culture of the time the traces of British colonialism are still alive and showing the deep-rooted political and migration crisis that many countries have been facing 30 years layers of parallel histories that echo to each other in what it seems to be like an endless cycle of racism and disruption of human connections migration is connected to every aspect of a nation it is the global transfer and transnational connections that makes migration a political action these heritage objects hold an entry an intrinsic relation with migration no longer and they no longer hold the story of one place but all of those places that they went what is interesting and what is interesting in the movement of these objects is that happen through water by following the liquid traces of this parallel histories this project aims to navigate through the memory of water in order to tell the stories of these objects from their origin extraction and style and recontextualization the British Museum museum currently gathers most of the heritage objects taken during British colonialism there are 170 museums in London but none of them presents these objects from a point of view that is not the colonial point of view so this project is not a museum for British colonialism or a museum of British colonialism yes a Memorial and Museum that represents the stolen heritage objects taken during British colonialism it aims to relocate the pieces from other museums in London and open the possibility of a rifle place for assemblance a celebration of history and culture language is an important part of the project so the first step was to create a glossary database of several definitions of colonialism that haven't been addressed by their historical problem context the research led me to analyze the common information that is presented in museums so many of the words were replaced by factual data in an inscription was created based on the origin extraction and exile of the piece an inventory of some of the most controversial pieces that need to understand the traces of the migration of these objects the place where the project is located in shortage London and abandoned train station damaged by humans in time its main structure has been semi demolished and nature has populated its roads but it might seem like a part from above it's actually an inaccessible place due to the lack of information a taxonomy analysis to the photographs was made in order to reconstruct through drawings most of the existing structure this proposal holds an appreciation for these for these drawings and it's semi demolish walls as a symbol of resilience endurance and the value that could bring the reuse of this architectural device a memorial part will arise on top of the existing building creating an accessible green space for the CD time is usually understood as linear but in this case the galleries will approach the multiplicity of histories of each object water is a conduct to tell the stories through mechanical devices that will create an interactive experience of the user the galleries will gather physical and digital data the memorial part will consist of segmented walls that arise from the existing building become in a space for meditation and exploration the program will consolidate exhibits contemplative spaces in interactive rooms the journey through the building becomes an explore it becomes explorative and as the user walks through spaces the use of light in real an abstract water it books the sense of the sublime in this role of the stories people contemplative spaces emerge in the case of the first space entering the building a - in light that comes through natural elements that has been extracted out of their original context the roots of culture extracted from their land or ship tunnel exhibit many humans and non-human elements were lost in the ocean in the attempt of taking them to Great Britain becoming underwater secrets of history rain room a space for meditation where the use of lighting water creates an effect of endless continuity interactive rooms as devices that shift with the movement of the user revealing the parallel histories of the piece chambers that rotate as you go in showing the multiplicity of the stories of a single object creating an intimate experience for the user the project incorporated is ephemeral elements of the surroundings this gallery intersects the entire building phases the lower train level on the outside and as the Train moves through the facade it changes the perception of the gallery through shadows and sound the history of humanity will never be rated but can definitely be told from a different point of view we need to come from the past in order to move our and I would like to conclude with the phrase of modern order keen that reads we are not the makers of history we are made by history thank you great Thank You Oscar and moving on to the next one the next presentation is actually from my studio David Benjamin studio Eduardo so hi everybody i'm eduardo from David Benjamins for City studio and if you go to the next slide it'll just start with the video with the kind of narration and then I'll talk afterwards you you you you you you you you you I mean I guess I apologize for the lack of audio but there would be that sort of a company again as well [Music] [Music] but I got a note what's with the purple glowing box sometimes if you pass by City Hall at night you can see through the windows all the plants and produce all the structures are interesting but my biggest question is is any of it really good is this how we'll be growing food in the future you guys would like set up some tours or something I'm sure the city would like to take a walk inside not on mine volunteering as a guide either maybe a workshop or two but I'm sure you're all just waiting for more things to grow in might not be so cool to walk inside an empty box but that's just my two cents I'll end the letter with saying that it's pretty nice to see so many people sitting up shop near the factory now all the tents lawn chairs and tables it's like a little flea market full of goods and things for sale some people even just come and hang out playing music catching up on gossip trying to peek inside the farm and the timber factory I gotta wonder just what bigger cities feel like I don't again I won't lie to you this has to be the most people I've ever seen around this place hope to hear from you soon okay so if you go to the next slide please so the video that just played was a kind of day in the life of a project that positions the forest material production food and production of energy um if you could change the slide please Oh back one thank you as a kind of expansion to a City Hall in College Station um it's trying to take those elements and sort of expand them into the civic capacity and so the kind of focal point of the project the roof it ties together all the additions as a collecting concentrates heat from the Sun to later convert into energy the factory plays with what production storage and enclosing should look like it's envelope able to grow and contract depending on how much material is coming into and leaving the factory the farm aims to see what could be grown in a limited footprint in areas with less than ideal conditions all while carving out space for the public to engage in and inhabit areas of production so if you could go to the next slide please and so this project is just one of 10 in the studio that look at how timbre can be the starting point for addressing the need to build for growing world could you next slide please all also thinking of scenarios and remaining sensitive to environmental concerns with the end goal of being how do we imagine the ways the build environment can comes again in the future thank you great thank you the next presentation is from the mini pong studio and please remember to introduce yourself I'm William from Minister video me and my partner Kenya and it's working on bio construction so this studio is a factory studio the studio is interested in developing what are the architectural opportunities for innovation at the scale of the factory building and is can spatial component and its relationship to the city and waterfall so on outside it's in Sunset Park which is by the waterfront next next so the big image of our project is to shape the construction of for the future and we are looking at first of all we are looking at the current condition of construction boom in New York and Brooklyn and there is a lot of construction projects going on before coronavirus and next and this one generates the question of construction wasteful over six millions tons of construction and demolition waste are generated in New York City every year next and 80% of them are not properly recycled next so this one provide as an opportunity to rethink the whole process of recycling the construction waste and we want to include this process into our first step as a factory next and also we're thinking the new opportunity you use biological process to creating new materials as biomaterials which is more environmentally friendly and in economic social friendly to the society and to use the raw materials that sawdust from the construction waste to produce new materials next so this shows the diagram of our factory process from recycling construction ways to producing new materials next and then we look at the sighting strategy there is a large concrete plant in Sunset Park which you can see the close relationship to the residential area and it's provide a lot of pollutions to the city as well and next next next all right yeah so it's throwing its relationship to the city next and we we think this is a great design opportunity to replace this concrete plant with our new and biomaterials factory you create more public friendly waterfront next and with them we look into the cross growth condition of biomaterials it's very different from industrial process it's more like a biological process it has specific requirement in terms of temperature light wing moisture and it provide us on the sinking of cancer designed to provide different intimate internal environment for different types of materials and we want to produce next so this basically is showing and this whole process the whole phone making is highly related to the environmental thinking of creating internal environment next and we look at the freezing view of ideas next for different next this cohesive group were thinking it to allow maximum light and wink that's coming from different directions to our city to your factory and under this cohesive roof it's next it's all these different types of cluster that's happened different scale variations from pavilion to the next she's a large auditorium type next yeah this one's showing basically the variations of the tower itself and also the variations of the coil is generated for different types of space that needed for different activities that happens in your factory next yeah that's how these two things come together next and this one they think the concept section showing from the first steps of recycle collecting recycling recycled construction waste she produce new materials in the middle and then the next most social related activities next next this one's showing on the left side left triangular that it's showing the custom factory process from the good coming from the city from highway I'm riding at taking place and then going to the starting call answer to the bio caster and then stored in the storage and going back to the city again and the middle part the middle le showing how we connect public from the city to the park and the right and triangular corner corners showing how this is open to the public to the city next one minute remaining place next sorry we can just going next to the end next now design the second floor plate and showing how it's more connected on the second floor next this is the structure unit we want to avoid all the columns and hide all the structure inside the wall next different types of the Sonico units next next yeah this is how the cluster works together next and the sections showing the pavilion heart next and decide the units of Storting castle next next these factions shows how all the factory activities happens and connected inside the classes next and that's some views from the factory classes next and how the Kodiak works is the cow itself next next next next next next sorry and design the bio towers as you can see before it's showing how open is on the ground floor and then how connected it is on the third floor as the bio caster towers next and this one basically shows how it's connected as we as excellent before all the different castle works under a cohesive roof as the fact new factory pipe to the city that's it thank you thank you and then the final presentation from this group is a student representing enrique walker studio i can't seem to start my video your video has started your your on oh really in addition to hi pong and okay so we are studio walker and we were tasked with doubling the surface area of three projects in japan built 50 plus years ago by the metabolised architects and it's going based on the growth patterns of growth established by these metabolise how can we modify these patterns for contemporary issues as these buildings were conceived over half a century ago so we'll just go through each groups real fast and the Madaba this group developed a language of elevating from the ground and emphasizing the support in structure next on this matter we studied a serie a series of buildin that have a conversation with each other regarding coarse and horizontal plans starring the common centralized chords Kenzo tange here later develop his proposal into multiple course that will serve an open-plan this would maximize flexibility light and movement in buildings allowing a truly open space these vertical structures became the host of services that cervical neck is open plans next we proposed to keep the original tensile structure which is the building that we were supposed to work with it will function as a large core by hosting and supporting our new proposal inside an air square next alternating floor plates would that would compose a passing the that will compose public space would be placed on the bottom part inside of a rigid or a rigid original tensile structure as for the doubling the proposal will go up and will be supported by two independent course that will support beams from water from floor plates will hang next finally this side course would host the services that would feed all of our open horizontal plans next also from a radius to do so karmush housing project is an atrium mega-structure housing context designed by Japanese architect city attorney located in Kanagawa Japan next over the time the aging of the Japanese population older people encountered loneliness depression due to lack of close family ties and this issue also applied to the ignore car much housing project next next next we study of houses and a firm structure genealogy we decided to bringing the advantages back from the traditional Japanese houses and other a-frame structures and we are doubling the public space and then creating a clash of new college program to the old residence residential complex we're transforming the old interior a from space to an even larger a-frame campus in the middle and creating more connectivity between buildings which bringing the vitality back to the older community next we're also doubling the size of individual units which increases the individual unit capacity of the units and bringing the traditional Japanese stand sheet back to the complex which not only allows a larger family size but also reinforces the family ties for the whole community next and that's our project I'll give it back - I said so next so we were looking at Masato papa who was the eldest member of the multiples group and his project in Sakai Japan called Sakai the artificial ground where he envisioned envisions basically these raised platforms existing above the old city to create a tabula rasa for the development of a new post-war Japan next so this is a genealogy of some projects that he was either influenced by or worked on directly but you can see that his concept was literally raising off from the existing ground a platform usually consisting of concrete to build a new urban pattern next um so looking at these projects so kinda artificial ground and then has layered building but what she could Prefecture Council Assembly Hall um he develops the artificial ground and began to thicken the ground essentially beyond just a single platform as you see in the top image but then adding additional programs that could thicken the concept of what a ground conceptually could be in the next so these series show on the development of the platform above the existing cityscape however the current issues that are faced in the project are underneath the platform spaces are underutilized and very dark so what one of our proposals is maximizing doubling the amount of void space to introduce light into underneath the platform and next on in addition replacing on what is an underutilized parking lot seen in the second axon and doubling the public program that happens underneath into a cultural function with access points and circulation routes that can allow people to penetrate the site rather than be relegated to the perimeter of the site as is currently and the section below shows how we begin to really try to make alive again what is happening underneath and truly create a city not only above but also below as well and that's it great thank you so that that completes the second kind of set of presentations if we can pull back up the discussion mode you and I guess as Lila mentioned before going to gallery view is probably the best way to view this so let's just let's just open it up you know in a way continuing the theme of difference but yeah I think it was a great Benjamin that um that you're you know our last discussion bringing up the topic of climate change in the environment and I think we really saw that topic permeates these four projects in a way I think in the first project what I really appreciate it was that Oscar made this very deliberate choice to reuse the vaults that were already in place and then what I liked really in Eduardo's project was that there was this strong focus on energy from a whole different range of perspectives so on the one hand he was using CLT to reduce the embodied carbon in the building and then he was considering the operational by building a solar tower and then with the next project we really went into recycling and we were looking at what remya was explaining and there I I just think she's making such an she was making such an important point when she said that in New York recharge so much construction materials out and that we need to reuse them and that we you know need to build while recycling and that immediately make make me think back about and CLT and the timber because very often we think of New York as a city of steel and masonry but really once you go out of Manhattan everything is almost wood and then all of our floors in Manhattan are this beautiful long leave and yellow pine that's long grown and that's every year just gets stretched whenever like a building gets remodeled we take the wood out and we throw it out rather than just recycling it which is perfectly possible and then in the last project from the Walker studio what I really appreciated was that there was a very clear effort to reuse buildings so you know they have so much embodied carbon once they're already we're not just gonna churn them out and do something entirely new no we'll take what we have we'll see what can we reuse how can we reuse it and then build upon that so I really appreciate it that's very thorough focus on the environment and how can we build something sustainable in four very different approaches I was struck by that as well these these projects I loved all four projects and they were a little bit easier for me to kind of United conceptually in some of the ways that tim has already mentioned I was very inspired by the way that all the projects deal with the problem of materiality and the kind of material constitution of architecture and sort of recognizing that architectural buildings are these kind of momentary embodiments of kind of larger flows and processes are and an architectural way is a kind of intervention into those flows or processes I loved how that that kind of materiality was really highlighted and grappled with in all of these projects I think they all sort of revealed that architecture is not something that's static like a building is never a static formation but is something that is you know mobile that engages questions about sort of we're building materials come from how they're extracted how those materials move as you know over the ocean in the case of kind of the modes of transport constitutive of British imperialism you know and then kind of undergo processes and including disuse and reuse and even in the last project where that that fee might have been a little bit harder to discern I think there's a kind of you know implicit politics there around preservation and reuse and the kind of intricate ways in which the students were engaging the existing material and kind of we reworking the buildings so yeah these were really thought-provoking for me I need to continue on that really those last close of those comments all really resonate with me a lot I think that there's something also that really struck me in hearing all of these projects where there seems to be a desire and a sentiment to reveal to say all right here all of these complex systems whether it's construction or weather I mean urbanism colonialism all of them right what can we bring forth can we render them visible can we draw these systems in a way where we understand their parts and their pieces and their interconnection and it is interesting to me that especially in the factory and the timber project there seemed to be this desire to make those processes in those industrial processes public in some way or at least a reckoning with that and duardo I'm sorry we didn't hear the beginning of your video but following along from the captions it seems like that was even you know an explicit question of the narrator like what's going on in this building what's happening in my town you know and I think it's so interesting to question as a designer being in that space where it's it's not always clear what to make public or what to make private or what to reveal and what you're not revealing I think that while we on projects are often trying to render lots of interesting dynamics visible we're also always choosing to keep things hidden and I think on all of these projects you know provide so many opportunities to question what is what is being revealed what is being unearthed and what has stayed hidden and that's not necessarily a bad thing or critique I think it's more that as a designer you really get to choose both physically as well as deciding which elements of the systems you find the most important so is it important to trace where that construction debris comes from is it important to trace where it goes is it important to understand who's working in that Factory I think with Timber project I would be so interested to actually to see more on the forestry side I feel like the production at least in you know this small glimpse was really well really delved into in terms of CLT and the farming but I was so curious what landscapes all of those materials are really connected to which seems like it's also part of the project and I think surprisingly for the first project for Oscars as well you know there's this question where now the context of these artifacts is not necessarily the physical geography they came from but is also this social context of colonialism and history right that we cannot really remove ourselves from but this real challenging question of how to contextualize and what you choose to put those artifacts around and how you place the bureau within them so I think it's a big it's kind of a big chewy question that it's very helpful I think to be able to ask us explicitly on projects what we're trying to reveal and what what we're either hiding or what is just downplayed or less important in terms of all the systems in play I think you said something very important there Stephanie and that was reckoning and I think that's something that all of these projects did really well they started with an excellent analysis and then came to indeed a very good decision of what to make public and what to keep and I would especially like to applaud the first one like Oscar I think in your museum that is not a museum about colonialism but about memorizing what happens you really did that reckoning very well then Tim also I guess to come back to the first comment you know you made I actually I appreciate like the the optimism in these projects as well and in your comments I'm always a little on the darker side so you know it's I totally agree with you it's like look how we can actually address some of these issues and start actually grapple with environmental impacts when I see projects I'm often like I go to that place but first I know it just resonates with any of the students like I kind of stop over and make a little stop in the space it just is like what have we done like really like you know use you sit with all of that construction waste and all the way things are right now in the way that we build and the way we deal with manufacturing the mess we've made of the economy of the environment of colonialism and I think that it's good to sit in that space and and reckon but not if it just stays there right so that's seeing these projects that really say ok what piece of that can I can I pull forth on and not gloss over all the troubles but really try to do something specific and intentional and sort of like reckon with that actual whether it's a historical context or an environmental or social dynamic is it's it's wonderful to be able to go to that with that space I think that's I mean you're sort of touching on the idea that architecture has different capacitors of ways that it dresses environmental problems or you know history of empire colonialism you know one band is the kind of critical or the you know the capacity to reveal or make something public that revelatory sort of mode of exposure in order to raise consciousness about something and then I think what's interesting for me about these projects is that you know many of them do that but they also like intervene materially and and transformative lis so it's sort of both it's both that kind of critical move but also actually sort of intervening in the in the kind of material processes in a different way and so that I mean I wouldn't I wouldn't call them post critical projects but in a way like they're sort of opening up this question of like how do we go beyond simply just revealing the problem which is you know one way that architecture historically has approached some of these issues yeah that's that's not you're saying that's a that's a really interesting thing to consider maybe generationally or like at this moment that the dad could be a you know a way that the students are engaging the world in both of those modes that you're describing Irene and I just wanted to you know again I'm gonna stop our conversation sure you know even as there's more to say and we can continue some of this thread but I'm I'm wondering you know especially as each of you in in appreciating the projects has talked about things like systems and flows and you know broader issues of everything from culture to environment and energy nevertheless we see a lot of building ok I mean that the actual project is a building in almost every case and so I wonder it's it's it's it's I think an open question especially Irene picking up on some of your threads that you know maybe architecture and design is as much a momentary crystallization of these flows and forces as it as it is like some kind of final product and I think you know as everyone is picking up on like preserving aspects of of buildings and as an environmental strategy so you know I I think a moment like this can be interesting to think about where where are we intervening and what what is the outcome so working on designing a building especially when in the past there has been a kind of question is do architecture studios need to produce a building should architecture students be questioning the building as the as the site of design and intervention and so maybe I'll just I'll just kind of throw that out of it as a possible topic for next time I think to kind of think through like I think it's an interesting moment as students in the world is grappling with invisible things things that are bigger than a single building things that are like you're saying Irene not necessarily static but more these kind of dynamic systems then I we should we still be after the building our buildings good examples of that should we be expanding the boundaries of the buildings or even just reconceptualizing what could be designing in the first place so just as open questions and I think now we'll switch modes again back to presentation mode and the next presentation set we'll start with a student from the an of Goodge Honor studio there two of us great thank name is Adina so so the kitchen lists stories studio looks at contemporary neighborhood kitchens a cooking infrastructure that is used by a community and operates at a metropolitan level in this semester's particular case we look at the system of communal kitchens of comodoro Spa Pilates in Lima Peru made prevalent by the efforts of women seeking to gain empowerment during wartime in the 1970s these women were able to increase their political voice by cooking communally for their neighborhoods and creating centers of community life and this was revolutionary in its moment the kitchen is where domestic work has progressively lost its economic value and become instead a labor of love as sylvia Federici names it but domestic work has also lost value outside of the kitchen and with our project we seek to expand upon these commodores to include spaces of both communal cooking but also communal domestic work the communal mentality of the commodores originates from Inca culture which is a deeply rooted in good tradition of community work and voluntary collective labor for the purpose of social utility and community improvement this mentality was critical in the growth of the BRE otten neighborhoods of Lima but today the conditions of ariados faced many challenges parents must leave the area to look for work many mothers work as domestic workers in the wealthier neighborhoods of Lima and can be gone for days at a time in their absence the domestic labor falls on the young daughters who must cook clean wash clothes and care for their siblings girls spend about 80 minutes more per week doing chores with each year of age by age 12 only 2.3 percent of these girls who labor as domestic workers are able to attend school because of the time spent on chores this amplifies a gap as a gender gap as boys are not expected to forego schooling for the sake of helping with domestic work we recognize that the conditions of lima of limas economic economy forced his parents to work outside of the home for days at a time leaving their children to do the desk domestic work but what we both but we believe that this does not have to become a debtor into these young girls receiving an adequate education by expanding upon the commodore s we take domestic work into the urban realm making it visible and communal by attaching spaces for education we not only alleviate some of these some of the burden for these girls we also give them time to participate in education we therefore designed an infrastructure of domestic work that acts as a bridge between the urban educational system and the existing chromodoris system but the condition of the commodores wall very much empowering women do not actually transgress gender biases as women are the only participants so our project will engage both genders by making domestic work part of the educational curriculum for both boys and girls using the existing pedagogical reference of Montessori schools with parents out of the home elderly neighbors volunteer for roles to cook care for younger children and clean receiving them free meals in return laborers therefore also reduce tributed in a transgenerational manner teachers are provided through Leamas existing public education system and in this hybridized system community members engage at many levels than to foster the education of the next generation so here in this plan these program adjacencies make clear the ability for these structures to redistribute the time and the labor of the young girls in the barrio des and allow them to share this burden formally this infrastructure of domestic labor becomes almost monumental with large concrete columns touching the ground to create spaces for the various programmatic elements the canopy above delineates the space for activity below and allows for necessary shade and provides water which is captured through fog humidity up in the hills to the infrastructure the structure is open and fluid to the surrounding neighborhood houses and the form of the columns differ depending on the program and so at times becoming a stove a sink a storage unit spatial boundaries are therefore renegotiated domestic activities are taken into the urban sphere and cooperative care leads to a new typology of community in which different parts of the population collective eyes reproductive labour this emergent domestic education model may turn reproductive work from an oppressive discriminating activity into a liberating and create creative ground of experimentation and human relations in the barrios thanks great thank you and the next presentation will be a student from Pedro Rivera studio and again please introduce yourself hi um we're julian mark from pedro rivera studio okay and so the studio said in Manaus a city of about two million people in the center of the Brazilian Amazon rainforest our focus sorry next okay our focus is the growing indigenous population in the city and its relationship to indigenous languages next Manaus is home to people from over thirty four tribes spread across 51 neighborhoods but the highest concentration can be found in the outskirts next moving to the city is often associated with the expectation of better health care and education but it's often a result of increasing exploitation in the rate of the rainforest and climate change next in reality a lot of indigenous people are forced are faced with economic challenges discrimination little to no political representation and the pressure to fit in and hide their cultural identity next language is a crucial part of this identity and every effort to document the language promote its transmission to younger generations is an effort to valorize the identity of the individuals who speak them next and we have identified several efforts of language revise of language revitalization in the community or in different communities in manaus next thanks and we would like to tap into these existing efforts next so what does language arises a revitalization mean in an urban context next our proposal is a network of community language centers focused on strengthening strengthening and adaptation of indigenous culture in the city through languages next by providing audio and visual recording and broadcasting facilities education and gathering space the centers will allow for interaction and coordination between different groups next we aim for creating a multifunctional space in which programs overlap depending on time of day next similar similarly to what we have found in our analysis of spatial organization and indigenous architecture next the zones are defined depending on time of day next and the boundaries between public/private inside/outside move dynamically next next so our site is located in tribes park a neighborhood famous for its indigenous biodiversity next next it's the lively community with several small meeting spots next and by setting our project there we aim to make more public space accessible by permit primarily providing shelter from sun and rain so this is a line in the plan of our project next the first architectural move was drawn from our studies in the typological architecture of indigenous groups a lot of the schemes that we tapped into while researching those structures focused around ideas of the center and the peripheral periphery borders and kind of soft edges between outside and inside so our first architectural move was to create a perimeter around the in green space on our site to define what would be like the inside of our project and outside and then to organize the programs and spaces along the dichotomy of that access next so then to mediate with the kind of different programs for incorporating recharge gathering spaces Medical spaces kitchen workshop areas and daycares we've undulating spaces to create moments of enclosure the kind of overlap with one another and oriented spaces either outside or inside depending on you know the privacy or functions of the program remaining place okay so here's the plan if incorporate addressed a lot of keeping the site the next most important architectural move was the design of the roof responsible for not only delineating like the batteries of the project but also control your light and shading from the Sun and also moderating rainfall on the project in the rain forest there's a ton of rain every day next so this is a graph of a rainfall analysis of the shape of our roof this small kind of skylights are the high points of the roof geometry so you can see we studied how the rainfall and where it flows to hits our roof and then use this to organize water catchment areas and systems and ways of mediating water flow on the site next so we identified or basically made up a system of channels on the roof that would lead to water to the specific locations where we would collect the rainwater next next so in plan this looks like this and basically makes the roof part of the landscape of the entire sites that consists of different rainwater collection pools and little streams that go through the indoor space but also then collect further into pools at each end of the site next this is a plan again with the programs that can extend and expand and contract thank you okay thank you oh just continuing to move on and we have by the way five presentations in this set the next one will be a student from the Marquess suit us to do you you hello you hi do you mind starting it from the beginning it's a time Jeff hi I'm Grayson and Marcus Udo's studio cultural Agent Orange focusing on the Vietnam War my in 1965 at the height of the Vietnam War in just four years before Ho Chi Minh's actual death the North Vietnamese declared Ho Chi Minh's body national property in Ho Chi Minh's final testament he requested that his remains be cremated stating there should be no bronze statue but rather a small ceramic urn on tree lined hills for visitors denying these final requests the parties began the party began preparations for the long term preservation of his body through a series of secret military operations a special committee of Vietnamese medical experts was sent to the Soviet Union where they met scientists inventory at Soviet embalming laboratory the lemon lab here they engaged in intensive practical research learning and the painstaking procedures and techniques of embalming finally at the time of his death the collection of six Soviet and Vietnamese embalmers work to remove critical organs of ho's body his lips were sewn together false eyeballs were implanted to prevent drooping his I would sewn shut the body tissue was fixed with formalin formaldehyde solution to delay the cell walls from breaking down do gallons of formalin injected into the arteries at an incision site may near the neck all this was completed on their strict environmental requirements that provided a stable temperature at 16 degrees Celsius was body marinated in a chemical bath remodel soupy eventually lay him is Billy used every eighteen months as routine maintenance as a meticulous work was in constant danger during wartime Vietnam ultimately host body was moved six times throughout the course of the war each time involved complex system of military operations and technical savvy modified truck was designed for transport the body massive ice box were used as air conditioners the team carried enough chemicals for the unscheduled maintenance of postponements body as it moved through the jungle pacifically modified shock absorbers were reinforced with air pumps to reduce vibration a special engineering brigade were assigned to survey and nine military base located on mountain in the jungle the site had been had to be equipped with running water electricity and proper air conditioning an existing glass Hut at the base was used to house the body a five meter wide and six meter deep pit had to be built underneath no explosion was used instead 1,800 manual drill twists lifted the hut in order to further fit to be dug the question of how to move the body up and down without inclination came with a solution of a curved rail track system though specifically engineered to move the body today not the end of this military history remains on the site the Bobby mountain is now an eco-tourism site in the early 2000s the state built a temple dedicated to Uncle Ho this event on quinces a timely occurred soon after the true events of hos will were leaked and the his request of ashes remain is the temple in an attempt to rectify and appease to conceal another history by using religious connotations more importantly how can the space between afterlife at the mausoleum as we know in Hanoi be exposed what is the future of long-term preservation of Ho Chi Minh's body the proposal seeks to both expose and expand the material production of Ho Chi Minh's body and the architectures of his afterlife expanding the existing temple site at Bobby the proposal is a memorial complex that unearthed the military history of the site acting as a counter-narrative the architectures include a laboratory Museum and embalming school that inverts the logic of the mausoleum laboratory often hidden from public view the laboratory here is instead fully on display duly acting as an embalming school it is the museum mimicking the military architectures of the site visitors enter on a curved rail track that circumnavigates for laboratory spaces where classrooms act as stations of reenactment for viet viewers a cosmetic the station displays them invisible surfaces the sculpting and Reece Culp ting of test bodies an embalming station becomes the new space where hos body is ritually embalmed every 18 months circuit bodies are used in the interim to display full and Balmain procedure an underground tunnel mimicking the 5 meter by 6 meter fit Harry's visitors underground the reprogrammed interior of the temple for the space is similar in scale to the area where Hall was originally embalmed there embodies that enter the site act as surrogate bodies in which rituals associated with the care and maintenance of the body replicates that of hose body the movement and dignified transfer of bodies is put on display after maintenance circuit Birgit by the certain surrogate bodies are ultimately stored in a refrigerated storehouse where they await to be the inevitable replacement of hose body ultimately the complex expands hidden oppositional forces of states honored state-sponsored veneration and uses them for display you you thank you great thank you the next presentation will be from the studio by Sarah Dunn and Martin Felson you hi can you hear me yes okay hi I'm Lana my name's Sarah Dunn in martin feldstein studio located in tokyo japan our project began with the research into a range of Japanese lifestyles next folk I focused on the ma lifestyle of which which celebrates the negative space and absence of chaos next next then I looked into the Japanese show tan guy a bustling Street that involved that evolved from ancient markets to modern social and commercial hubs next next next last I researched the mo tonigh lifestyle which translates into what a waste next drawing from the kamikatsu town south of Tokyo that has gone zero waste in the past ten years moats and AI is a way of life that could be enhanced in Tokyo next our second exercise had to do with looking at unbuilt projects as precedence next we began to find forms within these within these images by creating our own versions of what we could not see next next next next these sections were used to create a catalogue for urban structures next combining these two exercises I developed my what if then statement next what if we were to consider away no train station in Tokyo not as purely as a Transit Center but as a new urban typology specifically designed to house and maintain a bustling Moton high community focused on zero waste living and working next then a mega structure could begin to fulfill the needs of residents businesses and waste collection workers in order to create a harmonious moats and a lifestyle next by building above the existing train station in a neighborhood with an existing high density this project would activate unused space with minimal intrusion this model could plug into the existing on a yokocho so Tang guy below the Uni train station and rehabilitate vacant storefronts that struggled to compete with dominating department stores next next I then began researching different scales of repurposed architecture and waste such as landscape next building next furniture and spaces next and materials next next additionally some of the interesting combinations seen in today are bow-wows made in Tokyo's book started to play an influence on my project as well such as the combination highway department store next next next and the bridge home next I began to create my own library of primitives for both commercial next and residential spaces building off of existing Tokyo storefronts and facades next next while the structure sits over the train tracks it links both sides of the city and begins to reach out into the urban fabric with multiple connection points to the street and to the ground level of the Ueno Park the structure becomes a catalyst for the city to take part in the moat ni lifestyles supported by this structure next so here are a few views that show this hill town created by a combination of residential commercial and waste reduction infrastructure next next by studying existing tokyo facades i started thinking about how building materials could be reused to build up this urban structure incrementally over time next next the structure attempts to create both compact and efficient spaces while also allowing for large open plazas and public space next so these next few slides you can just flip through the next steps will create will go into creating a larger oblique drawing that lays out multiple section cuts showing the inner workings of the urban structure and how the different relationships of primitives - plaza - existing site interact as a system thank you great thank you and the final presentation from this set will be a student representing the Mario goodand studio you hello everyone my name is Benjamin Gomez I will be sharing with you the work of the water studio led by Mara Gooden I will be going through a brief presentation of each student's work the space of water studio investigates the cultural topographies of water in formed by the line from colonialism to climate change in consideration of forced migration resources extraction environmental degradation and water scarcity next in that sense students propose a series of projects that relate to those issues using water as a common factor that relates socially historically an environmental environmentally with the context of Cape Town in South Africa a city that has been known for its relationship with water and the access to it as a main character in the development of the city next the first project through the analysis of to Haku earthquake focuses on the physical variables of ocean water to interrogate the feasibility of being an equatorial organism next Jolene's project found out the lack of water in Cape Town Peninsula in South Africa because it's dried out so land fires that encompass and this place indigenous species next this project seeks to visualize interspecies migration movements due to destructive fires create an architecture that can set on fire to regrow the local fine bush species environments next sultans project is focused on a study on the wane on the waves direction to predict fish and bird migration at the time of a man-made disaster next he research about the wide ocean section showing the different species that live in the deep ocean and oil spill nearly Shoshana that affected migrant birds and the species that live under the Gulf floor next Brandon's project found that as climate change causes drastic shapes in pre-existing movement of wildlife it is important to follow the human spawns from north war fishing migration in Iceland causing international conflict next to understanding the efforts of traditional Fisher people in Cape Town next the project looks to provide a place of learning and growth for scientists artists traditional Fisher people and the fish themselves to sustain both environmental environment and their own cultural practices next in this project research on forests migratory patterns in the wake of natural disasters that led to an investigation into the relationship between collective memory water landscape and forced migration in pre-colonial post-colonial apartheid era in future Cape Town next the project explores how a divided neighborhoods relationship to water might be restricted to the repurposing of colonial infrastructure previously used to systematically govern the distribution of water next Bush project aims to bring me a VAD cool the cool River first and connect the part of Khayelitsha Township that have been segregated due to apartheid era policies and urban development next to this end the project is laid out as a green belt blue belt connected series of waterways constructed wetlands and bio soils that connect the existing bond neglected parks urban farms community gardens within the township relying on a pin type steel jaws foundation which boasted existing cultural fabric of the township and improves the condition of its water without much intervention next and finally my project consists on a two kilometer long pier that creates a connection between the community of Khayelitsha and the sea next it's intended to be placed 50 percent on water and 50% over the ground giving the community a connection to the sea a connection that has been historically denied by pre use apartheid policies and current unequal environment next the pier is a public promenade that intends to give access and restore the right of recreation education and energy that the sea has to offer to the community it hosts spaces for recreation next as well as spaces for research and creativity for local foreigner scientists and artists next it is it is meant to create a strong special gesture in the landscape of the zone and proposes a radical and strategic public program that connects both land and the sea with an inflection in the middle at the beach next consisting of a desalination plant that is connected to a public park an Olympic pool complex the surrounding set for the surrounding settlements next recreation oceans Olympus a surfing school fishing decks next temporal residences for scientists and artists along with labs with a salinity center and a sea and anabolic park all of these users intend to provide a benefit for the community on land and for the context around it and finally next and in conclusion the project intends to make the sea the ultimate public space as well as source of recreational knowledge and energy thank you great thank you and now we'll go into discussion mode and at this point I think we may also broaden the discussion and invite in any comments from other advanced studio six faculty but I think we can start off with the discussion with our invited guests Oh Stephanie yeah there you go I say I jump in first just offer you know a very one element that was really interesting that bridged a few of these projects in a really lovely way that I think responded to some of the earlier questioning was and particularly I'm thinking of the Tokyo project the Lima project and the one in the Amazon where you know each of these projects were really trying to make this bridge between personal behavior elements of that are happening in typically in the household and then really making a bridge out towards social infrastructure in public space and I think those connections whether they're dealing with waste in the Tokyo example domestic labor in the lima example which is literally seen as being within the household and hidden from view or local languages and local language preservation which one would tend to think of as the work of families the work of communities I think it was quite beautiful how each of the projects we're trying to figure out what it means to create a space and how to best support those different issues and taking some of the burden not taking on all of the burden of larger systemic issues not completely rethinking Waste Systems not completely rethinking the economics of labor in Lima but saying is there a way to intervene and create some social infrastructure that can actually address or start to make visible those issues and I thought each of those projects did that in a very a very interesting way for me and maybe this is just because of my orientation as historian one of the threads that I found very prominent across a number of the projects is that I was impressed by the ways that so project started with a kind of rich historical analysis or analysis of historical condition and then several of them had a kind of orient around an attempt to redress history somehow and in but in very divergent ways so you know in the case of the coma Doris the idea that you would monumental eyes you know and of activity that has been undervalued or made modest and that you would also insist on you know both boys and girls undergoing domestic training or training and domestic work you know that's a form of kind of redress or and I think you know you could sort of trace this idea of sort of analyzing historical wrong or condition and somehow trying to respond to it in the studio from Marquess Sudha the militarization of memory I mean in that case it's sort of like taking this you know kind of problematic practice of memorialization and and you know state-sponsored veneration I think is the phrase you used and pushing it to its extreme like the response then of the architectural project is to kind of point out the absurdity or the kind of farcical quality of it by sort of exacerbating it and I think that comes up again and again and saw all the project so it was very it made me think a lot about how how does architecture sort of address his history yeah in a way because I I find it really interesting to see how architecture in all these projects was leveraged to deal with equity and representation and to come back to David's earlier question at the end of the previous session whether we should always be looking at just a building or maybe in a more systemic way of like how do we address big challenges in the built environment like climate change like equity and representation and kovat do we do that just through a building or two looking at the bigger picture and I really felt that in all of these studios because there was such a broad focus on I would say what lay behind this project like the backgrounds the the cultural context and so on really understanding that understanding those problems and then really clarifying those it really makes how necessary is actually that proposal for the building and I think it does add definitely an extra layer but I'm curious Stephanie and I really what do you think if if that is something that's really needed here or if we could keep it sometimes on a more abstract level and deal with with just the challenges of climate change equity and representation or a global pandemic and not going to that that detail of the building hmm I mean I think what is just personally for me has always been quite fraud and I think you see it in looking across the projects it's not fraud in any one project but I think you know picking up on this question was is sort of how do we how do we honor a topic right so if you want to make us and I think sometimes we and by honor I mean kind of pausing hey it's paying attention addressing we've used lots of different words to talk about how we call attention to or bracket or create spaces for these elements or systems I think as architects there's a tendency to say that you honor a topic by putting it in a beautiful box right and and sometimes we just can't help ourselves right we don't want to just make a school or a factory won't want it to be a beautifully expressive factory we wanted to have an elegant a unified structural roof and I think I think it's a big question you know of what the whether one is a distraction from the other or not right I think we are interested in interventions and interested in right it's a moving past that space of just calling attention to problematic systems but I but I do wonder sometimes when they're the emphasis on the on the image and on the final you know the the sort of containers to speak can which also takes a great deal of work to resolve in studios I think in my mind if we could work on projects forever there would be really very little tension but I wonder how much that exploration supports the questioning of underlying systems and contexts and concepts and when it supports it and and I think that's just a that's actually a personal thing that everyone has to work through on they're different in their projects because I don't think they're inherently in conflict but it's true sometimes there's moments when there's I think there feels like there's pressure and Studios to put aside the background or the research or the understanding of the system and then make a building make some renderings make the the image of the thing in order to be taking it taking it seriously and I think it's an open question I mean my impulse on this question of like do we have to have a building do we have to kind of pay attention to architecture or can we you know address those broader issues is always to kind of want to have both you know and to kind of resist the either/or and to say both and and of course within the you know practicalities practical constraints of like 13 weeks in a studio it's impossible to do so I think inevitably and hopefully a student over the course of three years will have something or you know a year and a half in advance studios or whatever it is we'll have some studios that you know spend two thirds of the semester on that kind of macro analysis of historical and you know climactic conditions and then others where they're also getting to because they've done that work maybe in another class get to kind of drill down into the sort of resolving the details of a building and then of course there are those amazing projects and I think we've seen some today that somehow managed to telescope at both scales I mean I think the one that's one of the ones that stood up for me was the the project that when you presented the factory where it was kind of processing construction waste and so you know you know doing this kind of analysis of construction waste in New York City and the kind of problems generated by that and then zooming in and showing us the kind of detail you know sort of almost the stations within that recycling plant so you know it's amazing I think that's remarkable when you can see the world in a detail and a building a moment in a building and those are very powerful moments but you know pragmatically it's hard to get to both ends yeah I mean maybe maybe that's a good moment to transition a little bit and we can keep that thread going but also think that I mean maybe part of this discussion of focus and of a range of approaches and of each person kind of taking their own developing their own take on these you know impossible questions and challenges especially considering 13 weeks maybe there's the question of like in advance studios are these really like thesis projects I mean do although each studio has its own system its own kind of issues at stake its own worldview in a way our art is this a is this a good way to address a thesis by within the worldview of the studio kind of carving out your own take on the balance of research and design the balance of building and systems the types of representation I mean in a way though all of those choices represent the kind of personal direction and voice and authorship that could be similar to what some other schools do as a thesis so but always been an open question not an open question buddy then a question about advanced studios and she saw up in other schools like what about the thesis are these studios a form of a thesis is the traditional version of thesis you know one that's valid and offers other you know benefits compared to this so I think again interesting discussion and let's try to fold some of this into our final set of presentations and then our final discussion and in that final set I think I'd like to you know again start with some comments from the invited guests but open it up them not only to any faculty comments but if students want to jump in and offer their thoughts about seeing all of this work at the end of the studio about the current moment about some of the threads that they invited some critics have offered today so everyone can kind of get collect their thoughts and be ready for again what will have to be a rapid-fire analysis at the end after this last group of four presentations so let's switch modes again and the next presentation in this final set is from the Olga Alexa Cova and Julia Cordova studio okay can everybody see this yes okay so hi everyone we're Kate and Frank presenting in progress proposals on behalf of the studio conducted by Olga Julia and Esteban at this time we have Co members in New York Turkey Korea and Russia and unfortunately all healthy safe and adapting to this new mode of crisis production proposes this proposes new resolutions of incomplete post-revolutionary urban plans in Havana by responding to housing environmental and infrastructural crises at multiple scales simultaneously we develop master plans and pairs and then zoomed in to examine a specific aspect either individually or in pairs framing seven tropical assemblages the first and the Antonio Gutierrez suburban housing development is transformed into a forestry production site in which locally planted IPE palm and bamboo provides sustainable building materials Becky's project on trailers o árboles provides improvements to existing housing including extra space and external connection points on large housing logs and this projects using uses using material grown in the introduced forestry programming tropical hybrid strategically intervenes on the existing blocks adding connections from core to core adjacent to a major cuban hospital the proposal for ultima bana reorganizes the surrounding community facilitate rehabilitation while increasing the existing housing stock surgeons project culture and rehabilitation complex building combines culture and rehabilitation programs in one building for patients medical tourists and locals contains project healthcare assemblage provides a plugin system of patient housing collective rehabilitation programs and uses an elevated pedestrian bridge to the proposal for those Pinos reorganizes the site include expanded programs of organic Juanico urban farming and alternative schemes of new housing using tactically recycled materials Luciano's la comunidad extent EDA aims to critique the ongoing social housing construction process at the end south end of Los Pinos through the reuse of concrete panels and offers an option for existing families in the neighborhood to expand their college United farms of Los Pinos as a collective farming campus maintained by the community it provides local food educates farmers in offers public stage so now we'll quickly talk through our proposal Havana's history could be read through its hotels in their pools as exclusive sites of international lessor pleasure built as unclaimed divorced from the rest of the city while new construction is rare in Cuba hotel construction persists not only just this focused development along a single coastal spine but it reserved spaces of leisure and access to reliable infrastructure exclusively for tourists after the successful collaboration between their varied auto resort and the Spanish based water infrastructure firm agbar in 1994 it was formalized into a Cuban Spanish public-private partnership hasta la havana to manage the water infrastructure of Havana however the residents of Havana rely on aging roof water cisterns leaking and broken pipes and emergency water trucks for intermittent access to potable water 50% of water distributed is lost due to ruptured and aged pipes and a system largely on maintain since 1959 earlier this year transporting fuel to the Havana Airport ruptured contaminating the water supply of five districts one of which F fuel leaked into the supply was visible on the surface of water and residents could not oil water for fear of explosion the problem is still ongoing so we propose to turn the hotel inside out and unroll it at the scale of a district creating a self-sustaining reliable access to water and the new political organization of management and of transforming the need for a new relationship of water into a desire for something new after calculating the potential capture of potable water based on the surface area of existing roofs in the site we found that while most buildings could not gather enough water on their own they could become self-sufficient when organized we defined water districts through a series of six infrastructural interventions that extend domestic public and ecological space using an equitable access to water as a new means of collective and political organization the roof membrane extends the surface area of the building collect rainwater with an integrated filter creating a canopy of gathering and maintenance the ground floor is reorganized to program visible grey water filtration and collective water use activity which opens up before the addition of the water room that accesses earth access is a facade integrated system extends a new infrastructure loggia supports overflow and great water distribution above ground that empties water into a centrally located reservoir while creating a sunshade and gathering and circular the open air reservoir extends the surface area of water collection and creates a habitat for various ecosystems that are sustained by consuming bacteria in the waters by changing its pay for human consumption finally the swales form a former Brazilian it's a natural distribution network that links districts using the Agra fee of the city circulating water propagating ecosystems and drawing the water towards a large naturally filtered public swimming pool the strategy applies to the organization of every district creating a new infrastructural political ecological community the transforms of precarious relationship with water into an equitable and desirable one more to come thanks guys stay healthy safe insane created thank you the next presentation is from the michael bell studio can you just make it into one screen I mean is exploding right now PDF you is that can you comment L your Mac system comment account can you bring yeah should be in one screen but it's not caught off it's showing up this one screen on here what else is being shown on the screen sorry I understand what you mean by one screen I mean on my screen is split in it so it's portrayed it rather than landscape but when I see the screen is on me yeah it's caught off in half so it should be like this and not ring like this so like is that better yeah I think okay hello my name is hung me from Studio Michael Bell or so distance only so this is about the teacher less microscope the about a diffusion next so this is a really simple diagram that computer can replace the human occupation and nets so in terms of thought and education what's the difference between thinking and education is education is really development of knowledge which is knowledge is same as the thought next so next question is how can we build the form of thinking first when your kid when you're really young so don't Chomsky such that when you're learning a language there's basic system of the language and it defined defines our basic system of thinking next so also recently the author horses of architecture by petitioner are handles also this kind of session the medium as universe of possibilities in architecture in recent society there's a lot of softwares and those softwares are actually building our mindset so it's really an important point in next next also next so the exercise about the transcribing those new points of the studio buildings into mine in the next so I picked the two buildings to get read by to share the house and these are hardest to peek so it's more like drawings rather than buildings next next so in order to transcribe the carriage by the sugar house I have to understand what's the process it make them as it is so it isn't really important how it gave me to be sure how its processed aside next so actually the first mass models of the garret where sugar house is actually just food blog mass better than many surfaces in it next so how it became from here next from there next so because dairy Twitter sure house use the material as a medium in the book of I mentioned previously it handles that actually reach belt change its model material from wood to D car for yourself next so what it happens number one is actually it was the mass and activity changes is material into the cardboard now he became the gateway to the share house with many surfaces next yeah so as it is next so you say only about the material or is it all about something else as a medium yes there's also another abutment medium next in the architecture so this is George Cape is one of drawings they represent the idea also tools as a medium can change our mindset for example the compass actually see ourselves or the wall in the circular system next so this is a simple diagram and I'm using soft herbs recently of course so next what's the recent area air era what's the point of the software how it can mind us the different system or different perspective toward the world so the basic difference between software's of the coordinate systems left-handed right-handed so left-handed coordinate system is based on the pixelized software such as Photoshop put in a blender and white an encoding system is actually many sources that has been used for architects Rhino AutoCAD or Sketchup it is safe and next so why these corner systems are important aesthetic depends on the quarter system you're using you use the different method to really coordinate system so for example this left corner system and white corner system reads the corner system really reversely so next so first version of the transcription a transcribing is really simple just bending the Garrity's house instead of really simple plan so how this could be connect to the education and the as a perception next so this is one of the tasks the Georgia keep is handling white broken perspective is happening actually as a kid we actually had the broken perspective and multiple perspective in my mind but after we have insert to be educated we starts to lose it and I think it is really important to educate or remind them we actually or letting had a kind of multiple perspective system next about one minute remaining please yes so how does cornice different system started historically rather than soldiers next so it starts with you solicitor mechanics from 14th century next next next so coordinate system and corners transfers are really important because he makes you express the points that cannot express in the other coordinate system that's why we need to develop the corner system differ difference and transformation next so next next next so with the single mathematics the second over version of transcribing is transforming don't carry two parts house into circular coordinate system with systemic Heights next but the problem is it doesn't have any main point because midpoint is really important to transcribe or transform the whole new system next so the point is where is the midpoint erase the centroid next since the Garrity's house start from the mass it actually starts from the centroid of the mass should be really volume center of the mass next so this is the third version of the describe house next next next next and this is the model of the tractor to describe next next and how can I put this idea into the space and the education is next from Peter Eisenman's form to relationship showing relationship is the basic titulus education and the basic deep structures are generated by the base system of the roots next and what represents the basic rules of the system in a historical building is a eg building these are short ssy which is really represent the base system of the industrial next as an industry building next next next yeah so this is AJ Peter Behrens you're the next so as I say the form and the base system really reminds us this system and the coordinate system that we have laws to do to the education and I think those next basic geometries and basic a coordinate system could remind us the lowest corner system perception next those are based geometries the flattening soul is next and the divine axis are really important to centuries center it is really important next in those different centroids and different bit points those generators gonna generate all those panels and other forms next and those fours now became becoming a facet and deep the architectural furniture of the AEG building as a microscope panel yourself next next yeah so this is the inside yeah those are references next thank you thank you the next presentations we have two more the next one is from the audit Ola and Giuseppe big nano studio the low-tech studio wait hold on I could just introduce myself while Scott are you doing that sound good and Schuyler we need to go directly to presentation Oh nom would you be able to share from your subpoena personal reason re yeah I could try yeah sure what are you what do you prefer you can tell us for some reason the tab that I'd set up went away I'm just going back to it um okay we'll wait for you Schuyler them okay yeah the maker graph right yes yeah okay anam you could go ahead and introduce yourself and yeah hi everyone my name is annum I'm 5 the maker graph studio which is run by editor and a civilian ya know so I'm just gonna do a short introduction to the studio and then dive into my project and yeah I'm just at present perfect next the maker graph studio operates in two parallels of weekly preoccupations and the processes of making physical objects it hinges on the notions of thinking - making thinking - book making and thinking through tangible objects next the first half this semester was heavily reliant on making objects with material scalar and spatial prompts all the while in pal with a more personal introspective part of the project Liam just shows some of the objects made during the semester next our student was fortunate to travel to Hawaii during the canary week we explored extreme formations that exist in natural conditions from the lava fields in Galileo to the black sand formations due to residue allow in Ho China - volcano creators and the summit of Mauna Kea all the while discovering observing attempting to understand making as it exists in nature next the second half the semester calls for relaying the making aspect of the studio into our house the prompt called for two or more objects to work together in terms of material properties and spatial connections every week a part of the project is developed diving deeper into the functional playful insightful moments are very carefully designing for precise physical objects next all the work in the studio is documented formatted and presented in the form of chapters each week that go on to become part of the final book the book is the main process of collecting viewing and retaining the information in hopes to inspect and detect our most intuitive methodologies of designing next next my book is titled home objects notions and other things it asks a pertinent question of what home means to me through an examination of my surrounding space and what is not my home in the making it looks at objects that I've collected over time there's no station with me my space and how they contribute to this idea it encompasses simple daily life elements that are oftentimes considered ordinary but when decontextualize become very significant next the first chapter is an introduction and self-reflection about the formulation of home through a series of investigations of meanings attached to objects and notions such as access safety and expression based on gender it transcends the notion that home is a place rather explores that home is a culmination of something as tangible as objects of affection to basic human rights to default identities and develop notions next these weekly explorations have been in battle with the intense making processes with material prompts I approach the objects by using previously owned founder collected objects there was an attempt to push and test empty oddity of the objects and oftentimes were created through a series of repetitive moves next the third chapter is based on a handicraft the GABAA this is that is very special to me that has been in all of my houses from the time I can remember and exploring it I cut it open to reveal the back and found the knots and entanglements the materials used and the trace of the hand and of the work done it was an emergence of methodology of viewing things the notion of observing from the front and the back next the wood object follows a similar logic of an even flat surface made of 64 found wood pieces and an uneven back that bears resemblance to the strands of the GABAA the idea of understanding through the to the back and the front next similarly another own piece the shawl which is a considered staple of Pakistani women is one that serves many purposes and something the back of which reveals intricate weaving patterns that juxtaposed with a metal object which was made of hundred twelve cans questioning questions and notion of sides design is a shawl of sorts the object tries to really consider these binaries next next the second half the studio brings together these methodologies of operating to design the physical and the physical objects and the making of a house with the processes of collaging and now digitizing those objects to understand and explore spatial possibilities next this is an excerpt of frightening from the house of my book a collection assortment juxtaposition or arrangement if you will of courtyards verandas vistas display shelves gallery walls storage spaces workspaces thought spaces or crooking spaces this house is not everything at once this house is moments and in those moments it becomes a home next it is an amalgamation of the hardened softscape the rigid and the flex the house is intended to explore new ways of living and domestic cities with the help of pre-existing conditions and using the physicality of the objects to push the design limits it is a domestic Museum of sorts a series of rooms that act as their own space and expand to redefine those spaces next my book is also called kailasha harlot or couch easing which is a title in order it begins from the other side essentially the book begins from both sides I'm currently developing my book and the lack of distinction of sides as an operative device to blur the boundary of star in it thank you thank you and finally for our last presentation of the day a student representing the one Herrera studio deploying the archive cultural decentralization through archival programs the history of Spain can be seen as a story of unification and centralization the story about the construction of the unified identity through symbols and infrastructures this condition generated a division in which a few large cities are the main beneficiaries and for which the rest of the territory accident are you trying to say something and the well as you see we are going to present approaching deploying the archive using a video and with the sound working yes I'll press play again the back of the house enabling them to function properly in this framework we can understand our area of work as a fragment of this back of the house condition this fragment contains almost abandoned villages around infrastructures with practically no relationship to them infrastructures such as reservoirs bridges dams windmills or dump lands which despite being in use are not able to mobilize the surrounding population in this territory we also identify the centralization of memory where the majority of Spain's cultural institutions are in Madrid archiving culture by containing 14 of the 23 museums administered by the state government including Reina Sofia El Prado and Tyson born Amos culture can be the ideal vehicle to promote decentralization capable of mobilizing people and funding in the confluence of decentralization identity and memory architecture emerges is the one kind of historical artifact that could not be archived only in the large cities where museums theaters and libraries may not be present castles monasteries and churches are plenty among all these infrastructures the bullring stands out as one that represents both tradition and modernity an icon multiplied throughout the Spanish territory an architectural typology with unique shape and measures loaded with historical political and social values utilizing the repetitive and constant configurations and dimensions of the bullring we propose to build a network of archives through the empty Spain the Spanish is back at the house to create new opportunities in this territory from the constellation of villages and bullring spread along our fragment we propose to create an initial network of three villages located within ten kilometer radius to function as a larger entity in the future this constellation can expand to other bull rings of this area and even to the whole of Spain in these three villages we propose three monuments two reefs Ignace I both the archive and the bullring these structures will change the landscape in the villages in which they are implemented creating a new relationship between memory and intervention as a new symbol of the decentralization of culture the structure in SAS Adan will archive artworks from El Prado and Reina Sofia Smew Siam's decentralizing hi culture the structure in Perham will archive documents and fragments of different infrastructures from the empty Spain decentralizing history the structure in Samer Anzio will archive objects and memorabilia from the local rural communities decentralizing value in memory once the bull rings re signified there will be new shared spaces between the three villages a network containing a square a garden and a pool that will create a new relationship between humans and animals what was once an arena for sacrifices now is a space for healing but continuously expanding characteristics of archives become its main visible element over time the building will expand in unison with its growing collection intrinsically tied to the urban fabric of the villages these monuments open the possibility of new public infrastructure for these small towns the archive will be understood more than just a storage of memory a new curator and performer will be the subject in charge of socializing and democratizing the storage content in a series of intermediate spaces where the archive is being deployed linking the nonhuman information with the human audience while the building and its interior will be designed to allow this performativity the public role of the archive will be understood as a living entity not limited only to its continuous growth but is the way the information is being stored and represented constantly this brings us back to the social purpose of the cabinets of curiosities which were collections of extraordinary objects that built a narrative about the pieces they contained and were the origin of what today we know as museums the archive will be complemented with public programs related to leisure health education or work the function related to conservation and research will be kept and enhanced with these new complementary programs the interior of the archive will multiply the spaces to read research and interact within within the performative areas instead of understanding the archive as a warehouse in other words a repetition of fixed and stable slabs the space will be altered to allow new spatial arrangements and programmatic configurations in this case a series of hanging asymmetric ranks the central area and the spaces in between the Rings will allow congregations and movements of people without foregoing security and conservation conditions the circulation around the information and complementary programs will be the input to link the different levels allowing a series of non repetitive movements a sequence of a bull ring a hotel a restaurant and a pool archival areas will be mixed with reading spaces and meeting rooms as well as with a foyer an auditorium and a coworker eeeh the building will be proposed as a continuous diagonal movement instead of only a vertical one the central space will has more public but related programs that will be linked to the archival rings by a series of exhibition spaces like the interior of a giant living being the central spaces are interconnected with several public and performative areas that appear in every level where the collections will be deployed investigation and research will take place while the curator and the visitors act as the principal performers of the space the project can be understood not only as a stack of different levels of storage but as a whole single entity that is activated through the movement of people in this project the contemporary definition of an archive is defined not by the spaces of the information that it stores but by the spaces of information that is deployed and the programs that reinforce its publicness making the new archive a complex social infrastructure great thank you so now we'll go back into presentation mode for the last discussion and the kind of wrap-up of the session I like to start by yes just saying that I am truly amazed by the amount of work and quality of drawings and quality of visuals that were produced by all the students and I think especially during this challenging time when everyone had to move during the middle of the semester and the group work and the normal studio environment didn't function as it normally would have I am truly amazed and I want to congratulate everyone on their work and then I really appreciated this last presentation and its focus outside of the city I think that almost all the other projects that we have seen were settled in urban environments maybe with one or two exceptions so I I really like this thinking about how do we take our focus somewhere else and how do we look at indeed those cultural powerhouses and take them away so I found it very inspiring you I totally echo Tim's remark about the quality of the work really impressive across the board tremendous amount of just also amazing research and then integrated into projects that are really well resolved considering everything all that kind of adversity that all of you have had to overcome it so since this is the last discussion period if I can kind of free associate for a second I was really struck in the last presentation that it was the entire presentation was this video or film that was narrated by this machine 'voice the machine that voice was very strange to me or interesting I mean it was intriguing and it was then so he then started thinking about sort of you know going back to our earlier discussion about who is the public or who's the subject and you know in some of the projects today of you know incorporated animals materials kind of broader range of subjects and I was just thinking about sort of like a kind of humanists versus humanists kind of approach to architecture something about that kind of machine at voice and the way that that project was sort of about you know almost kind of neutrally decomposing this typology of the archive the bullring and then adding other typology is and sort of remix in them it was almost like a kind of designed by a machine or remixed by a machine and and and oddly enough even the previous project the house even though it started with these very personal reference the kind of end product also because of the way that it sort of deconstructs the house into a series of objects or moments or rooms also strangely is sort of like really getting away from you know kind of a traditional humanist conception of the house as a kind of you know cozy space or you know adapted to particular subjects and of course with the olice Micra school that you know then the opening question is like can can machines replace humans particularly around kind of learning and teaching which is a problem that is kind of confronting all of us right now you know I think there's something interesting about the way that all of these projects like sort of make us really rethink these kind of type Utley's you know very old topologies so sorry that was a little incoherent but you know as I said now I'm sort of like reflecting across the board at this point it's it's fascinating to see so many different projects and studios all at once it's my first time seeing this kind of this format and super crate I'm finding it really actually really wonderful to see these through lines between the different studios but also sort of take as a given this like many many different ways of exploring a project right and finding your way I am I'm still really thinking across all these projects to David's question earlier about modes of research and I think with that maybe think of take it a little bit of a different direction was how we what are the ways in which we really explore a site and I don't mean the literal you know territory of this site but a site if in its most expanded sense of site which is physical social cultural ecological and economic all of those different layers I think I would I wish I could talk to all of the students right now and hear from you how you know being in the studio I know my students right now at Penn are really struggling with this question of how to continue to explore site when you can't go there or where some when some of the traditional methods in which we are may be accustomed to accessing information have been taken away from us right and I think it's an interesting time to really think about those tools because hopefully they won't be taken we will not be isolated forever but it really often makes me think of how different types of information are always actually mediated or have very accessibility at different times so it really strikes me that a lot of the projects feel very very grounded in architectural history and precedent buildings some are really delving into as we talked about already cultural context or historical events some are grounded in literature and I think some other those are disciplines that maybe are a little closer to us as architects and I'm also really interested in the projects that are trying to also move into these spaces that might feel a little more distant industrial ecology behavioral ecology thinking about non-human species thinking about material flows chemistry racial theory social justice so I think it's it's just kind of an overarching comment I'm not very many projects have really looked at microclimate or the actual physicality of experience in the site in that way and I don't think all those layers should be present in every project but I think it's it's an interesting looking across all of those studio all of these different Studios to think about you know what techniques we have at our disposal and what sorts of information is more or less accessible whether it's a specific version of history right rather than all the other versions of these sites we could be looking at or other disciplinary lenses and when is their benefit to kind of opening up those different spaces of inquiry yeah I mean I think this this general line of discussion is really interesting and relevant especially at this moment because I think as as all the comments have have touched on the work is like a kind of tour de force in you know research and design and representation and different levels of taking on you know architecture but more broadly the city and more broadly even the countryside and the world and as we've talked about at different times flows of materials of information layers of culture and history and you know one way of looking back at all of the presentations over the afternoon is to just be kind of in awe of the not only the diversity of projects but of the diversity of skills that each single author must have had in order to execute this you know really clear and concise presentation you know using a whole range of you know skills and expertise and and I think like what you're saying Stephanie there are some that may have been a little under represented today as a whole there are some probably that each author has that they didn't use in that single project but as a whole it's it's kind of hard not to be impressed by their the range collectively and individually of of the kind of skills we saw I know we've gone over time and I feel responsible for that because I was probably not as strict a time keeper as I intended to be so I did want to give you know one quick opportunity if there are other professors on the line I I know that you know everyone can if they want to see the list of presenters and I I'm very happy to see that many faculty of joined today and and a lot of students I know some people had to drop off a little bit early but let's see is there any is there anyone who wants to make a kind of question or comment before we start to wrap it up you I can say one thing very quickly I was pretty impressed that I mean with the quality of the work I mean after I mean everything that we'd go going through and especially I mean the fact that most of the students they didn't travel and they had to engage is such broad context which are entirely alien to their background I mean it's pretty impressive how research was well conducted and how people were able to really dig into other realities introduced such amount of such amount in such quality of work that's it yeah I think here Pedro and it's a great point I mean there's there's a whole like list of things that people have had to go through this semester and still to be at a point where we're having you know this level of presentations and this level of discussion is it's really great to see I'll just read a note from Galia who I think had wanted to join in but she had to leave for another meeting and she said that this she found that this year's super grid was stronger and more cohesive than even in past years so despite our new format all the challenges of the semester you know the glitches of dealing with the webinar for the first time all the boxes of faces on the screen you know I think it's I think that's a kind of shared sentiment that this was a really great moment to see the work together to kind of celebrate the work even though you know it should be noted that it's still two weeks away from most final reviews so it's it's only you've no agreeing was saying yes thirteen weeks is not enough this is really you know since only been eleven weeks plus maybe you subtract some of the weeks of lost time of moving and stuff so it are there any yeah it looks quite complete to me I think all the students should just take the next couple weeks often rest on their laurels yeah yeah a tremendous tremendous look across my notes and think about the range of really important and meaty issues that you guys are delving into and with such depth and you know sophistication of thought and care I'm just kind of overwhelmed and and and you know very very impressed of congratulations to everyone yeah agreed I just wanted to again also echo that the the work is really really incredible that I you know I hope that for all the things we're all you know missing in terms of being in studio and and being together you know I hope we can find a little bit of a few ways in which some of this digital communication actually helps us share our work and feel comfortable and letting things not have to be perfect or totally polished all the time but really peek in on each other's crickets talk about work in process share some of these thorny issues because you know a really good project is never right there's no perfect conclusion to a studio and I think the ideas that's been it's been a real privilege and a pleasure to see all of this work and all this incredible thinking what's going on in your studios okay I think that's that's a perfect way to end it I do want to thank you know all of the all of the students even the ones who didn't present for kind of producing this you know great body of work for engaging the discussion for being here on this kind of session even though it's you know late on a Friday many of you are different parts of the world I'm going to thank everyone for bearing with us during some of our technical difficulties of this new format for the super crit and I send a big thanks to all of the presenters for staying cool going with this format that we kind of imposed on you of having to say next for most of you and submitting your ear file in a way that was a little bit thrown upon you and especially to Irene Stephanie and Tim for really engaging with such kind of clarity and insightfulness these projects and all the kind of diverse worlds so it's really a mind bender to kind of jump into all of those different worlds and and it was great to see the threads of topics that you that you raised you know kind of connecting the dots a little bit between the projects but also giving some very specific and relevant comments to individual people so and last but not least I want to thank very much Lila and Skylar for running this show and you know very complicated way probably you know as we were saying of the first webinar of the school but also probably one of the biggest zoom sessions we've hosted with certainly the most in a row presentations we've probably ever done on zoom so thank you all to be continued in the final reviews and hope everyone is able to find some moment of rest and peace and over the weekends before getting got to work thank you everyone

Channel: Columbia GSAPP

Views: 24,530

Rating: 4.9378238 out of 5

Keywords: David Benjamin, Irene Cheng, Jing Lui, Stephen Cassell and Annie Barett, Hilary Sample, Steven Holl and Dimitra Tsachrelia, Galia Solomonoff, Mimi Hoang, Enrique Walker, Anna Puigjaner, Pedro Rivera, Mark Wasiuta, Sarah Dunn and Martin Felson, Mario Gooden, Olga Aleksakova and Julia Burdova, Michael Bell, Tim Michiels, Skylar Royal, Ada Tolla, Giuseppe Lignano, Juan Herreros

Id: PNTtUikDhyk

Length: 178min 53sec (10733 seconds)

Published: Mon Apr 27 2020