BEB GALLERY THESIS BOARD LAYOUT
MONDAY 10/15/2012 4-6pm
THURSDAY 10/18/2012 4-6pm
GROUP E - CRITICS
OLGA MESA
JONATHAN KNOWLES
CHRISTOPHER BARDT
GROUP A - CRITCS
KYNA LESKI
ENRIQUE MARTINEZ
WARREN SCHWARTZ
GROUP A - CRITICS
SILVIA ACOSTA
IJLAL MUZZAFAR
PARI RIAHI
GROUP E -CRITICS
PETER TAGIURI
OLGA MESA
JOSH SAFDIE
GROUP B - CRITICS
THOMAS GARDENER
AARON BRODE
NICK WINTON
GROUP C - CRITICS
TULAY ATAK
FRIEDERICH ST. FLORIAN
CARL LOSTRITTO
GROUP A - THURSDAY
07 ALEX DIAZ
08 YOSHI SERGEL
09 AMARA FIGUERO
10 PHILIP KIM
11 ANDREW SALTER
12 XINYING HUANG
GROUP C - MONDAY
24 ELIAS GARDENER
25 THIEN NGUYEN
26 EUGENIA YU
27 SUSANNAH STOPFORD
28 GAVIN SIMMONS
29 SIDA WEI
GROUP A - MONDAY
GROUP E - THURSDAY
01 AVNEE JETLEY
02 YOU JIN LIM
03 BEAU JOHNSON
04 JAMES NALLEY
05 BRETT DUNNAM
06 CAMILA MORALES
13 KEVIN CASSIDY
14 JEANA ANTLE
15 RYAN MACCAFFERY
16 JULIE SYLVESTER
17 NAZLI ERGANI
GROUP B - THURSDAY
18 BENJAMIN CROCKER
19 T,PPIYACHAT SANGHIRAN
20 CAITLIN WEISMAN
21 SEAN LEE
22 CARLA SANCHEZ
23 SHERI FABIAN
SOUTH MAIN STREET
58 HAMED BUKHAMSEEN
59 HENRY ZIMMERMANE
60 MAX DEHNE
62 MARIANA BOTERO
63 MARGAUX FISCHER
GROUP E -MONDAY
GROUP B - MONDAY
30 ROMA CHATHAM
31 ADRIAN AU
32 DONGSEOP LEE
33 TOUSSAINT WALLACE
56 CARLOS GAMEZ
57 YU CHUAN LIU
GROUP F - THURSDAY
61 JACOB MILLER
64 KUN WU
65 JOHN MACAMBELL
66 KARL SIPPEL
GROUP F - MONDAY
52 MYUUNGGEN SONG
53 MARIA PAZ
54 MELISSA HAUSER
55 KYLE KEISER
GROUP F - CRITICS
JASON WOOD
ANASTASIA CONGDON
WILL YODER
GROUP F - CRITICS
NICHOLAS EVANS CATO
DAVID GERSTEN
ADI TOLEDANO
GROUP D - THURSDAY
46 DESMOND DELANTY
47 NICHOLAS MOORE
48 ELAINE KING
49 MEGAN FERRIS
50 GEORGIA READ
51 BURGESS VOSHELL
GROUP D - CRITICS
PRADEEP SHARMA
PARI RIAHI
DEITRICH NEUMANN
GROUP D - MONDAY
40 JEONG HYUN LEE
41 CHRISTOPHER ROSS
42 JAMES BOGLE
43 STACY CHOI
44 WILFRED LEUNG
45 SHU-CHI WENG
GROUP D - CRITICS
HANSY BETTER
DONGWOO YIM
THOMAS GARDNER
GROUP C - THURSDAY
34 CHONG HO PARK
35 SHALINI VIMAL
36 DANIEL LASTER
37 ROYCE BIXBY
38 DESIREE GONZALES
39 RAWAN AL-SAFFAR
GROUP C - CRITICS
LAURA BRIGGS
GABRIEL FELD
ADI TOLEDANO
GROUP B - CRITICS
JIM BARNES
ANNE TATE
MIKOLAJ SZOKA
BEB GALLERY THESIS BOARD LAYOUT
MONDAY 10/15/2012 4-6pm
GROUP A - CRITICS
SILVIA ACOSTA
IJLAL MUZZAFAR
PARI RIAHI
GROUP E -CRITICS
PETER TAGIURI
OLGA MESA
JOSH SAFDIE
GROUP C - CRITICS
TULAY ATAK
FRIEDERICH ST. FLORIAN
CARL LOSTRITTO
GROUP C - MONDAY
GROUP A - MONDAY
GROUP E -MONDAY
13 KEVIN CASSIDY
14 JEANA ANTLE
15 RYAN MACCAFFERY
16 JULIE SYLVESTER
17 NAZLI ERGANI
SOUTH MAIN STREET
01 AVNEE JETLEY
02 YOU JIN LIM
03 BEAU JOHNSON
04 JAMES NALLEY
05 BRETT DUNNAM
06 CAMILA MORALES
24 ELIAS GARDENER
25 THIEN NGUYEN
26 EUGENIA YU
27 SUSANNAH STOPFORD
28 GAVIN SIMMONS
29 SIDA WEI
GROUP B - MONDAY
30 ROMA CHATHAM
31 ADRIAN AU
32 DONGSEOP LEE
33 TOUSSAINT WALLACE
56 CARLOS GAMEZ
57 YU CHUAN LIU
GROUP F - MONDAY
GROUP D - MONDAY
52 MYUUNGGEN SONG
53 MARIA PAZ
54 MELISSA HAUSER
55 KYLE KEISER
40 JEONG HYUN LEE
41 CHRISTOPHER ROSS
42 JAMES BOGLE
43 STACY CHOI
44 WILFRED LEUNG
45 SHU-CHI WENG
GROUP F - CRITICS
NICHOLAS EVANS CATO
DAVID GERSTEN
ADI TOLEDANO
GROUP D - CRITICS
HANSY BETTER
DONGWOO YIM
THOMAS GARDNER
GROUP B - CRITICS
JIM BARNES
ANNE TATE
MIKOLAJ SZOKA
BEB GALLERY THESIS BOARDS
MONDAY GROUP A
CRITCS:
SYLVIA ACOSTA
IJLAL MUZZAFARI
PARI RIAHI
STUDENTS:
The myth of two cities does not exist. Rather, there exist two lines. One expands into the city – squatter settlements that take over its infrastructure and supplies.
The other distances itself from it - isolated islands that create their own supply chains behind gated walls and under armed guard. Both deprive the city of a fair
exchange of its resources.There comes a point where these two lines intersect. In the present climate of developing cities, the nature of this intersection is startling
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constant push-and-pull of these lines, unclear about which direction to take. The result of a city that is not respected by its citizens is the obliteration of its entity and
the social, historical and political values that come with it. If verticality is determined by the architecture and the formal, horizontal spread is determined by human
activity and the informal. Must the architect favor one typology over the other, or change the nature of this intersection to allow for adaptation or the bridging of these
two entities?
01 AVNEE JETLEY
02 YOU JIN LIM
03 BEAU JOHNSON
04 JAMES NALLEY
:KHQHYHU,DPEDFNKRPHLQ.RUHDWKHÀUVWWKLQJ,GROLNHDULWXDOLVWREHRQDVXEZD\*RLQJEH\RQGLWVSUDFWLFDOIXQFWLRQRIVHUYLQJDVDFRQYHQLHQWSXEOLF
transportation, to me the subway ride is exciting and enjoyable experience of everyday routine, even without having any particular destination. The enclosed space
of subway cabin turns out to have multiple purposes; when I take a book out it becomes a library, when I am looking out the window it is a moving observatory, and
within the space I can either be alone among surrounding strangers, or be part of crowds ofThis personal pleasure of mine drives me to think about two things.
First, people go on a journey to get to a destination but sometimes one decides to go somewhere just to be “on the way”. I am interested in the possibility of “on the
way” going beyond its simple mean of transferring and be recognized as a space, an experience. Second, the enjoyable experience of “on the way” becoming a key
factor for generating people to be on a journey, to weave through the city, rather than only acting as a passageway that contains movement. With the experiences I
earned from subway ride, I would like to focus on the ordinary streets in Seoul and study how streets could serve as a space of multi-function according to the need
of pedestrians and be a network system that people could use as a means of weaving through the city.
“The Hallucinatory effect derives from the extraordinary clarity and not from mystery or mist. Nothing is more fantastic ultimately than precision.”
- Robbe Gillet on Kafka
As we project the spatial relationships in which we occupy, the power of geometry facilitates an artistic autonomy and authority of architectural structure. Throughout
history, architects have served to mediate between the perceptive world of representation and weight of our reality. The precision of this relationship is resolved within
the scale of the human body. The probe is to make physical the depth of our human condition, locating the distance between ourselves and the perception of our
external world. This distance is a relationship dependent upon its reciprocal; balanced within duality, as with black and white, two-dimensional and threedimensional,
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WZRGLPHQVLRQVRQWKHSDJHLVUHOHDVHGIURPWKDWVXUIDFHDOORZHGWREHH[SHULHQFHGDWDGLVWDQFHVSHFLÀFWRRXUSHUVRQORFDWHGDWKXPDQVFDOH7KHVWHUHRVFRSH
is simply a device which seeks tolerance to achieve clarity,
“The ‘bricoleur’ is adept at performing a large number of diverse tasks, but, unlike the engineer, he does not subordinate each of them to the availability of raw materials and tools conceived for the purpose of the project. His universe of instruments is closed and the rules of his game are always to make do with ‘whatever is at
hand’…” My work consists of the re-appropriation of fragments and debris to create imagery and space. The imagined or recognized spaces comprise an archive.
Drawing, alternative photographic processes, and the invention of new printmaking techniques serve to produce substrates for the archive. The ultimate goal is to
FDSWXUHWKHFRQVHTXHQFHRIHQWURS\DQGWRLQWHUSUHWLWVPHDQLQJ7KLVLVDQLQWXLWLYHSURFHVVGLVWLQFWIURPEXWQROHVVYDOLGWKDQVFLHQWLÀFSURFHVVHV%RWKWKHGLVcovered residue and my interpretation of it harbor varying rates of deterioration depending on the materials ‘at hand’. In this sense, the archive is tacit and provisional.
It is a living archive in a state of decay tempered by growth and preservation. It must be constantly rediscovered, reinvented, and re-imagined. The origin of the work
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are only eight lines, but we see a circle. It should not matter if it is there or not; we see it. I look for opportunities to see imagery and space in residual matter. The
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My interest lies in developing an architecture which uses meaningful movement in order to reveal, frame, or create new relationships between occupants and their
environment. Contemporary architecture is too often physically static, not allowing for change over time or change in response to various stimuli. These buildings
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HOHPHQWVVXFKDVGRRUVDQGZLQGRZVWRODUJHVFDOHHOHPHQWVOLNHZDOOVRUVWUXFWXUHDUFKLWHFWXUHPXVWEHFRPHPRUHÁH[LEOH7KLVWKHVLVDUJXHVIRUDQDUFKLWHFWXUH
in which human occupation and interaction are the drivers of building movement.
05 BRETT DUNNAM
06 CAMILA MORALES
[mediating architecture] is an architectural thesis that explores the relationship between spatial conditions, new media technologies and human sensor stimuli. Within the framework
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Boundaries between physical and virtual space are becoming increasingly blurred. Information technology, alongside the multiple artifacts we use to connect to it are changing the
way we experience the built environment. My primary focus will be to examine and question the role of the architect as a mediator between the physical and the virtual world through
the lens of new media technology. In an effort to further understand the affects this may have to the discipline of architecture, I will create a series of interactive installations as a means
to investigate how their responsive nature can begin to inform a new typology in architecture. This architecture can be understood as an architecture of mutation, where both the
individual and their surroundings are active participants in the construct of the built environment. Antoine Picon explores this topic in his book Digital Culture in Architecture stating that
“Beyond tactile screens and digital gloves, architectural space itself will become, one day an integral part of the interface between the physical and the virtual. At an urban level, the
public spaces of tomorrow will be places where two realities are intertwined, allowing an even greater array of interactions than today” Through a series of probes, I will create a new
approach to spatial design where new media technology is seamlessly integrated into the architecture of the built environment. The technologies I will be focusing on will include sensors, motors, microcontrollers and leds to create a kit of parts that will allow for a new vocabulary in architecture. This investigation will allow future architects and designers to begin
to integrate processes of new media technology as part of the design methodologies. Architecture will be thought of as a dynamic entity that will no longer reside in the construct of
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BEB GALLERY THESIS BOARDS
MONDAY GROUP B
CRITCS:
JIM BANRES
ANNE TATE
MIKOLAJ SZOKA
STUDENTS:
30 ROMA CHATHAM
The superblock towers in a park models of public housing need to be changed. Many public housing projects throughout the world are disintegrated from the urban
fabric. The typology of public housing that dominated the mid-20th century was thought to be forward thinking. However, the model has proven problematic for lowincome housing. Inhabitants of these public housing projects have expressed the unhappiness and lack of positive identity with their homes. Some towers in the
park public housing projects were demolished because of the crime and unrest that their inhabitants experienced. Demolishing these structures may be a positive
statement about social development, but it might not be the best solution. Both environmentally and economically, removing and rebuilding has problems. Many of
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urban fabric. Architecture shapes the use of space. With urban and architectural strategies, these projects can provide opportunities and identities that they now
lack. Formal, social, and historical analysis will be tools for understanding ways of accomplishing this. A variety of strategies of representation will be developed
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The architectural program of use within an urban context creates a gravitational node, thus provoking physical movement based upon the needs and interests of
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DUFKLWHFWXUHWREHFRPHDVSDWLDOSODWIRUPIRUVRFLDOLQWHUDFWLRQDQGWRFUHDWHFRPPXQLWLHV7KLVFRPPXQDOJUDYLW\LQVWLWXWHVWKHÁX[LQXUEDQGHQVLW\RFFXUVLQERWK
WKHDUFKLWHFWXUDOXUEDQDQGWKHJOREDOVFDOH7KLVSRSXODWLRQGHQVLW\RIVSDFHÁXFWXDWHVLQWKHFRQWH[WRIWLPHWKLVGLUHFWO\DFWLYHVDQGGHDFWLYDWHVWKHDUFKLWHFWXUDO
space. I am interested in creation of community through a constant gravitational pull that maximizes the value of architecture program in time, and the drive of people
to migrate from space to space.
31 ADRIAN AU
Inescapable space
Inescapable space restricts our physical and mental freedom to coexist with external or internal society. Prisons are the architectural embodiment of inescapable
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and protection? Through an investigation of prisons from various geographies and historical periods, my aim is to understand what role architectural design plays in
governing physical and mental constraints, and to develop a proposal for a new form of inescapable space.
32 DONGSEOP LEE
My interests for thesis are focused upon the social and structural impact of low income housing projects. I’m especially interested in the rigidity of the unit. I’m interested in designing at the scale of the apartment; because once I design and fully understand the unit of housing projects I can successfully tackle housing at different
scales. The unit is particularly important in public housing because there are only a few types that are repeated throughout. To understand the unit is to understand
the building, and to understand the building is to understand the block, and to understand the block is to understand the city. Once I design and master the unit I can
multiply that unit to rework the entire housing project. After solving at the scale of the building I then can move further out in scale to the block and ultimately the city.
33 TOUSSANT WALLACE
56 CARLOS GAMEZ
Boundaries divide and separate, they ignite an activity between two forces without directly being affected. They are seen as the extent or termination of one plane and the beginning of another. Boundaries are a demarcation in space that acts as a physical or mental limit. As well as being a limit they also have the capability of transcending and becoming
a threshold and a place for new beginnings and a place that allows for progression from that point forth. Boundaries have many guises and many ways of being represented but
ultimately carry a constant core of principles that are applicable at countless scales. Rivers, can be physical demarcations as well as a limit, they can ignite activity on either side
RIWKHPRUFRPSOHWHO\UHVWUDLQLW7KH\DUHOLIHVRXUFHVWKDWFRQWLQXHWRSURYLGHPRGHUQFLWLHVZLWKVWDEOHHFRQRPLHVVXIÀFLHQWJURZWKDQGFRQQHFWLYLW\ZLWKWKHZRUOG%XWLQWKH
FDVHRIWKH860H[LFRERUGHULWLVWKHULYHUWKDWVHUYHVLQSDUWDVDPHWKRGRIIRUWLI\LQJWKHFLW\DOPRVWVHSDUDWLQJDQGVXIIRFDWLQJLWIURPLWVVXUURXQGLQJV,WVVXUUHDOH[LVWHQFHLV
FRQWUDVWHGZLWKWKHUHDOLW\DERYHLWDWULFNOLQJÁRZSHRSOHPHDQGHULQJDFURVVDEULGJHIRUPLQJDSHUSHWXDOFURVVFXUUHQWDJDLQVWLW0\WKHVLVLQYHVWLJDWLRQEHJLQVDWWKHUROHRI
the boundary in an architectural sense and how it affects the advancement and progression of architecture beyond the physical demarcation. How does architecture begin to
respond to the conditions of boundaries? Does it enforce the edge condition as the iconic buildings of Revolutionary Square in Havana Cuba or does it become a hinge between
two districts and soften a perimeter of a corner as the Fauster Library in Barcelona. Is it obligated by its limits or is it immune to its restrictions?
Think without Thinking, Learn without Learning, Understand without Understanding Louis Kahn once said that the design process has to begin with the search of
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ability to understand and discover form is the designer’s talent. Is such talent inherent or cultivated? If it is the latter, what contributes to such cultivation? Children
have a passion in the action of play. Through engaging themselves with a scaled object designed for didactic purposes, children unconsciously gain an understanding
of form and means of achieving radical abstraction. How does one achieve learning without intending to learn, thinking without intending to think, and understanding
without intending to understand? The topic of investigation I propose for my degree project is the relationship of toys as didactic apparatuses to foster the understanding of form and radical abstraction. How does one simply learn by passionately doing, making, and acting? There exists a strong and ever-present connection,
however unclear at present, between the intention and the outcome.
57 YU CHUAN LIU
Making is thinking.
BEB GALLERY THESIS BOARDS
MONDAY GROUP C
CRITCS:
TULAY ATAK
FRIEDERICH ST. FLORIAN
CARL LOSTRITTO
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LQXUEDQL]LQJODQGVFDSHVGHVHJUHJDWHGSURJUDPVVXUSOXVVSDWLDOFDSDFLWLHVXQLQWHQGHGFRQVHTXHQFHV,ZLOOWKHQWHVWWKHDELOLW\RIDQDUFKLWHFWXUDOSURSRVDOWR
respond to these trends, in an effort to better understand the forces that drive us to live closer to one another, and subsequently, the forces that drive us apart.
STUDENTS:
24 ELIAS GARDENER
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DLPVDWJHQHUDWLQJFRPSDUDEOHHFRQRPLHVRQWKHSURFHHGLQJÁRRUVE\WKHFUHDWLRQVRIYHUWLFDOXUEDQVSDFHVWKDWZLOOULYDOWKDWZKLFKDUHRQWKHVWUHHWV7DNH+R&KL
Minh City for example, and imagine its tightly bounded matchbox housing typology interrupted by something that is democratic and shared by the whole community.
It would be an elegant thread that could create more interesting spaces by bringing the city up and operating universally instead of just beneath. This proposal will
also challenge how private spaces could be improved within a democratic architectural system. Such precedent as The Highline in New York City has created an
elevated neighborhood by bringing nature into the vertical and urban fabric, and has also improved the experiences of private homes around it. By rethinking the
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25 THIEN NGUYEN
,VHHWKHGLIÀFXOW\RIGHVFULELQJDWKLQJ,VWDUWVHYHUDOWLPHVXVLQJGLIIHUHQWZRUGVFRORUVPRWLRQVZLWKP\KDQGV,VD\´LWIHHOVOLNHRUURWDWHVLWOLQJHUVDQGLWLV
KHDY\OLNHDURFN$QGQHYHUFDQ,VD\ZKDWWKDWWKLQJLV7KHVWRULHVRIP\SDUHQWVDUHÀOOHGZLWKWKHVHWKLQJV5RWDWLQJOLQJHULQJKHDY\WKLQJVFULVSZLGHSXUSOH
things. They are seized, and with tempo. ( ).In the end, the thing remains unformed, but the narrative appears like a mark.
_BB
26 EUGENIA YU
27 SUSANNAH STOPFORD
I am interested in Memory as an Architectural space—crafted, material, and temporal. It picks together a sequence of senses that are most familiar or most arcane.
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to bring our things, and our parent’s things, into a time of dense, universal culture.
I have always been fascinated by the mind’s ability to wander and dream, to create fractured images, places, constructed environments. Travelling much, as I have
all my life, I became curious about what it is about the transportation of the body that enables, or allows, the transportation of the mind. My curiosity is with how the
movement of a body (though a space or along a journey) can remove you to a different place. What is it about physical transportation that can cause a metaphysiFDOHIIHFW":KHQDWWHPSWLQJWRORFDWHWKHPHDQVRIWHVWLQJWKLVLGHDDSODFHWKURXJKZKLFKWRLQYHVWLJDWLQJLWPHWKRGLFDOO\DQGDQDO\WLFDOO\,UHFDOOHGWKHÀUVWSODFH
that I consciously recognised this effect. I took this place (Westminster Underground Station) as my site of departure; the initial testing ground of my idea. What is
it about this place of infrastructure, of transport, that causes oneself to be removed from it and delivered to the constructed land of thoughts and dreams? What is
it, perhaps something held in the nature of transitional spaces or in the scale of operation, which makes this place a cathedral, not just a building of infrastructure?
This model addresses the circulation of the space translated through materiality. The space is made ambiguous and fractured, real and unreal, invisible and yet
measureable. The effect returns the viewer to themselves, fractured and misplaced. It is both diagram and metaphor, a potential means of investigation, a form of
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Within a space, the physical individual singularities that make up the whole are experienced on a tactile level. The programmatic function becomes an implied sense
where the individual is not recognizing the system that creates the experience. One loses consciousness of the holistic value of the space when only focusing on the
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density of layers to supply the demand for convenience which adds to the habitual blindness of a collective conscience. Acknowledging the fact that one is directly
connected with their environment can lead to opportunities for improvement through metaphysical architecture that embodies values and a sense of self. Consideration of the interaction to details and the capabilities of the site speak about the external and universal aspect.
29 SIDA WEI
BEB GALLERY THESIS BOARDS
MONDAY GROUP D
CRITCS:
HANSY BETTER
DONGWOO YIM
THOMAS GARDNER
8QDYRLGDEOHXUEDQH[SDQVLRQKDVOHGWRFKDQJHVLQWKHGHVLJQPDLQWHQDQFHVHFXULW\ERXQGDU\DQGJRYHUQDQFHRISXEOLFVSDFHVUHÁHFWLQJWKHFRPSHWLQJLGHDV
DERXWZKDWFRQVWLWXWHVSXEOLFVSDFHDQGZKRFRQVWLWXWHVSXEOLFVSDFH0LWFKHOO)RUWKHSXUSRVHVRIOLYLQJWRJHWKHUWKHWHUPSXEOLFVSDFHLVGHÀQHGDQG
FRQWUROOHGE\FRQVHTXHQFHVIRUGHPRFUDWLFRSHUDWLRQV0\DLPLVUHGHÀQLQJSXEOLFVSDFHVLQIXWXUHKLJKO\FRQGHQVHGXUEDQFRQWH[WDQGDOVRGHVFULEHDVHULHVRI
VSHFWUXPEHWZHHQSXEOLFWRSULYDWHKRUL]RQWDOO\DQGYHUWLFDOO\H[DPLQLQJKRZWKRVHWZRGLIIHUHQWIDFWRUVLQÁXHQFHHDFKRWKHUDQGFUHDWHQHZW\SHRIXUEDQSXEOLF
space.
STUDENTS:
40 JEONG HYUN LEE
“Architecture does not construct an image of something other than itself; architecture is the making of the human understanding of the world. The places that result
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41 CHRISTOPHER ROSS
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hearth, the framework and the enclosure. In terms of a construction methodology there are two process at work, that of the lightweight frame or tectonic and that
of the heavier stereotomic earthwork. At one time there was a deeply elegant ability to build architecture on land or at sea that was heroic and representative
of this subconscious understanding of the constructed world. Our rationalization of architecture relies heavily on the integration and interdependency of the frame,
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today in the digital world.
Contextomy is a logical fallacy and a type of false attribution in which a passage is removed from its surrounding matter in such a way to distort its intended meaning.
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Context is everything architecture is rooted in. !e word is multifaceted; it can refer to place, culture, economics, environment, politics and time. !ese terms form a
lexicon in contemporary practice which realizes its form and program through manifestations of these ideas. !is thesis will challenge the relevance of this method
WKURXJKDFWVRIFRQWH[WRP\UHSODFLQJDFRQWH[WZLWKDQRWKHU5HDOL]LQJVSHFLÀFZRUNVRIFRQWHPSRUDU\DUFKLWHFWXUHLQWKLVZD\ZLOOUHYHDOWKDWLQPDQ\LQVWDQFHV
these buildings are able to exist anywhere, exposing them as icons. !e consequences of these informed fallacies will be the framework for a new contemporary
architecture that is not a-contextual but hyper-contextual.
42 JAMES BOGLE
43 STACY CHOI
“The relation of man to place is more than simply a matter of being able to orientate oneself to one’s surrounding, but has to do with a much deeper process of
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quest that has resulted in various arrays of forms. In a modern society, where constant movement stirs through the vast grids and verticality of a city, we often fail to remember
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VWDUWWRÀQGWKHUK\WKPRIRQHҋVMRXUQH\WRGHÀQHLGHQWLÀFDWLRQ"7KHHOHPHQWRIULWXDODFWVWKHYHU\FRUHRIZKDWGHÀQHVZKRZHDUHQHHGWREHUHERUQLQDV\QWKHWLFFRQWH[W
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VHOIH[SUHVVLRQ,QDV\QWKHWLFFRQWH[W$7KHPLQGDGDSWVWRWKHVXUURXQGLQJIHDWXUHVRUWKHGDLO\UHSHWLWLRQRIDUULYDODQGGHSDUWXUH%&RQVWDQWHIIRUWWRGHÀQHDQLQYLVLEOH
ERXQGDU\RIVROLWXGHSK\VLFDORUSV\FKRORJLFDOWDNHVSODFHWKURXJKSHUIRUPLQJKDELWXDOULWXDODQG´EHLQJRQHVHOIµ&2QHLVDWDVWDWHRIUHSRVHDQGGHÀQHVDVSDFHWR
LGHQWLI\RQHVHOI,ÀQLVKZLWKDQDQHFGRWHWRVXPXSWKHSURFHGXUH7KHÁkQHXULVZDONLQJGRZQWKHVWUHHWVRIWKHKHDUWODQGLQDFLW\DPRQJVWWKHEXVWOH6KRXOGHUVJUD]H
WKURXJKDVWKHFURZGÁRRGVWKURXJKWKHVLGHZDONVDQGDFURVVWKHVWUHHWV+HSDXVHVWDNHVDGHHSEUHDWKDQGWXUQVDURXQG+HVLWVOLHVGRZQDQGIDOOVDVOHS
44 WILFRED LEUNG
Architecture happens where boundaries collide.In collision, the nature of the new forged boundary becomes ambiguous. It achieves a dualistic character, becoming
RQHWKDWVHSDUDWHVDQGFRQQHFWVWKHWZRHQWLWLHV,EHOLHYHWKHYLWDOLW\RIDUFKLWHFWXUHLVJHQHUDWHGIURPWKLVGXDOLW\-X[WDSRVLWLRQRIWKHWZRHQWLWLHVH[HPSOLÀHVGLIIHUences, and heightens an understanding of either part. An architectural identity, then, is derived from neither one nor the other, but both—a totality. Identity is formed
through acknowledging different values. Hong Kong is a city constructed in a borrowed time. In the post colonial era, our sense of identity is
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ZHWUHDWWKHHQYLURQPHQWKRZZHSHUFHLYHWKHZRUOG3UHVHQWHGZLWKWKHVHGLIIHUHQWSHUVSHFWLYHVWKHFKRLFHVDQGVDFULÀFHVZHPDNHPROGVRXULQGLYLGXDOLGHQWLWLHV
and values. Thus, thee tensions of this collision present great vitality that directs us to view our own existence through personal discernment. This exploration searchHVIRUDQDUFKLWHFWXUHRIWKLVWHQVLRQ,WLVDWWKHVDPHWLPHDVHOIGLVFRYHU\7KHSURMHFWUHTXLUHVWKDW,ÀUVWORRNDWWKHVRFLRJHRJUDSKLFSKHQRPHQDLQVSHFLÀFDUHDV
RI+RQJ.RQJ7KHUHDUHWZRVLWHV,DPLQWHUHVWHGLQH[SORULQJ,ZLOOFKRRVHRQHRIWKHWZRWRIRFXVRQ
%RWKDUHGLVWULFWVSODQQHGWREHUHVWUXFWXUHGIRUUHVLdential purposes in the near future. Both have a socio-culturally diverse population and a strong geographic identity. These elements are ignitions points for collision
when new architectural program is implemented. How can the contradictions of modernity andhistory, program and environment, public and private coexist? I think
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45 SHU-CHI WENG
Throughout history, housing typologies and cultural phenomena have shared an interdependent relationship. When a cultural phenomenon incites architectural reVSRQVHVRFLDOYDOXHLVJHQHUDWHG)RUH[DPSOHWKHLGHDRIVHSDUDWLQJ´ZRUNµIURP´OLYLQJµLQ(XURSHÀUVWEHFDPHSRSXODULQ0LGGOH$JHV2QHFRQVHTXHQFHZDVWKDW
houses became smaller to contain immediately related members rather than the entire workforce – a simple spatial gesture thus began the concept of privacy. Social
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U.S, social networking accounts for 22% of all time spent online, with the population spending an average of 32 hours online per month. With new
mobile technology, we can connect to virtual communities anywhere, anytime. The ubiquitous presence of social media means that we simultaneously occupy a
virtual space and a physical world. Our perceptions of form, privacy, and interaction now require equal attention to the abstract and the concrete. What are the values
of superimposing a virtual space onto a physical one? How does the multiplicity of spaces change our tangible interaction, particularly in the intimate settings of
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physical space?
BEB GALLERY THESIS BOARDS
MONDAY GROUP E
CRITCS:
PETER TAGIURI
OLGA MESA
13 KEVIN CASSIDY
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Ultimately creating “have and have not” social systems. This can be extended to other minority subsets of the population like race, class, and gender. Observing the line
between visibility and invisibility will provide me with a better understanding of the limitations in architecture. An architect’s role is often malleable, meaning to some they
represent ultimate authority while others not. Within the context of this thesis i will explore power dynamic and how it relates to larger societal issues. Could an architect
hasten this process of assimilating through public space? As power is shifted through cultures how will this effect architecture? What will the new “norm” look like? Finding
the answers to these questions is not simple, but through the means of architectural design, steps can made toward a new, more inclusive, understanding of our built
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and Boston will serve as the precedents for this probe. These cities each contain hierarchical social structures that I would like to learn from. By the end of this process I
hope to better understand the power of the architect, the built environment and urban culture as a means for a more egalitarian society.
14 JEANA ANTLE
Butte, Montana was once the quintessential booming mining city, where money and ambitions ran sky high. Today this city rests on a hill, a museum of days gone
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FRQQRWDWLRQRIDPLVWDNHWKDWVKRXOGEHEXULHGDQGIRUJRWWHQEXWWKLVVNHOHWRQRIRXUSDVWVLWVLQWKHPLGGOHRIVRPHWKLQJYDOXDEOHWRRXULGHQWLW\SULVWLQHZLOGHUQHVV
The attitude is when its old, worn out, or a mistake; we simply make more, make new. What do we do with the stuff that is approaching obsolete? People have moved
to Montana for generations in search of their piece of paradise and a new start on life. Today this place continues to be idealized in a manner that is far removed
from the realities. For most audiences, it exists as a beautiful image on the wall, or arriving in the mail as a postcard. This distancing attracts a lifestyle with building
practices that are actually destroying this paradise, and neglects to tell the story of the people living in the place. I would even consider myself to have a postcard
relationship with Butte, though I grew up a mere hour’s drive away. Steven Holl wrote in his essay Anchoring that “architecture does not act as an intruder upon the
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are, and who the people of tomorrow’s Butte aim to be. I propose a process of investigation into the narrative of this place and its people, as they are today; listening
to their stories, their hopes, their struggles.My interest is in expressing what this place is today and tomorrow. I am arguing for a richness that comes with building
upon the past, rather than always starting fresh.
15 RYAN MCCAFFERY
scapus (Lt.) 1. stem, stalk (of a plant) 2. shaft (or similar upright column)
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pursuer with one’s cape
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historiscape of events unfolding in the present?
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16 JULIE SYLVESTER
Perhaps it is the hubris of architectural design that we believe a building can overcome feats as great as racial segregation, economic failures, or disaster relief efforts,
and materialize into a cure that provides a solution for any challenge. However, architecture should focus on its ability to create order and potentially more importantly,
maintain order. Order is brought about through the perceived observation of order, and disorder grows from perceived disorder. The Broken Window theory, explains
this phenomenon by asserting that accountability and pride result from a person’s sense of ownership and order, whereas disorder has a signaling effect that a lower
standard of behavior is acceptable. Tenants in Pruitt-Igoe lost their sense of ownership and identity when the buildings began to deteriorate and crime was enabled to
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further governmental funding? Can it be attributed to a lack of communication and understanding between the community and the architect? What is the invisible
infrastructure that determines the victory or collapse of a project? Buildings are required to be static, but architectural design needs to be kinetic; the initial design should
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its inhabitants. The initial design should be nimble, malleable, and able to address both the goal of expansion, as well as the unfortunate reality of potential contraction.
To question the role and responsibility an architect should have to a project suggests a greater potential for architecture to stay alive and avoid the threat of becoming
obsolete.
17 NAZLI ERGANI
We perceive the outside world through proximity, thus the built world around us shrinks and expands accordingly. We consciously locate ourselves physically and
mentally in a three dimensional boundary, which we call our personal space. The interactions of different senses within this space come together in the framework
of physical coordinates, movement and the posture of the body. Feelings are social and so is the spatiality of the human body; thus social properties of body image
ZLWKLQDUFKLWHFWXUHLVIRUPHGE\SHRSOHHQFRXQWHUVDQGVRFLDOHYHQWV6RZKDWGHÀQHVSHUVRQDOVSDFHDQGKRZGRZHUHODWHWRWKHFROOHFWLYHQDWXUHRILQWHUDFWLRQ",
will be investigating the body in how it corresponds to the built environment. People are accustomed to certain ways of experiencing the space that surrounds them,
through motion, touch, vision and sound. Implementing ideas of horizontality, verticality and scale of the human body, I intend to investigate the conversation between
the movement of the body and choreographed space. Through the emphasis on the performative approach to architecture, the body will be allowed to make imprints
in the space and generate new forms. I draw inspiration from the dialogue between classical ballet and modern dance in how movement is expressed. In essence,
I will pursue the movement–caption–imprint sequence, further elaborating the idea that movement is a stable element which is another interpretation of the concept
of dialectic.
JOSH SAFDIE
STUDENTS:
BEB GALLERY THESIS BOARDS
MONDAY GROUP F
CRITCS:
NICHOLAS EVANS CATO
DAVID GERSTEN
52 MYUUNGGEN SONG
There are methods and processes to create something. Combinations of different disciplines also generate new methods and processes. Writing words, drawing sketches,
taking pictures and recording videos are instruments of constructing a story. Making of architecture also can be operated by numerous methods and processes. Hand drawing, model making and computing are applied. However, the dominant process of contemporary architecture-making is one-way process from a concept sketch to computerDLGHGGHVLJQ$IWHUGHÀQLQJDFRQFHSWWKURXJKHDUO\VNHWFKHVDUFKLWHFWVDXWRPDWLFDOO\JRWKURXJKFRPSXWLQJSURFHVV7KHUHIRUHDQDORJZD\VRIDSSURDFKLQJVWDUWHGWREH
abandoned and lost its beauty and intelligence. This thesis investigates hybrid making of architecture between analog and digital. Initiated from understanding of the nature
of “exquisite corpse”, this thesis explores hybrid making of architecture as the “exquisite corpse” game. Invented by Surrealists, “le cadavre exquis boira le vin nouveau” exquisite corpse is a method by which a collection of words or images is collectively assembled. Each collaborator adds to a composition in sequence, by being allowed to see
the end of what the previous person contributed. For this thesis, three participants, the Activator, the Mediator, and the Generator, lead this game. The Activator is a master of
manual fabrication and drafting. The Mediator is an arbitrator of the other two. The Generator is a specialist in digital technique. In this thesis, the three collaborators play the
exquisite corpse game of hybrid making of architecture through model-making and drawing and examine the relationship between digital and analog in architecture practice.
53 MARIA PAZ
+RZGRHVWKHDUFKLWHFWXUDOYRLGEHFRPHWKDWJOXHWKDWDOORZVWKHEXLOGLQJVWREHSXEOLFWKDWVSDFHWKDWLVDOPRVWXVHGDVLILWZDV´EXLOWµEXWGRHVQRWKDYHDVSHFLÀFSURJUDP
shape or determined size? I am interested to exploring the parameters by which the architectural void exists, and what makes it inhabitable. Is there a particular formula
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of a subway system, connecting the city to its adjacent towns. This project will shift the concentration of people in response to this new infrastructure. The points of access
will become these voids that inevitably will puncture the city fabric in ways we have not experienced before. New vacant lots will be created in order to feed the infrastructure
needed and yet there is not projection of how these new spaces will function.The investigation will happen through the lens of the Inaquito Station and how this space will
shift in relation to this new programmatic function introduced to this existing city fabric. Looking at these shifts at the urban scale, as to how this void can enhance a city, or
deteriorate it. At a building scale, to understand the relationship between the building and the pedestrians or visitors and even at a small scale to look into the factors that
might affect such spaces in relation to occupation, climate and use.Through my exploration I aim to uncover a new understanding of how the voids can become the agents
of public interchange. Quito has a new opportunity at hand that should be closely analyze to take the positive advantages through this change.
ADI TOLEDANO
STUDENTS:
The city is a dynamic environment that we become desensitized to over time. In our daily experience what was strange becomes usual, disconnecting us from our
HQYLURQPHQW&DQZHDUFKLWHFWXUDOO\FUHDWHDQLQWHUYHQWLRQWKDWGHIDPLOLDUL]HVWKHXUEDQIDEULFDQGRUSKHQRPHQRORJ\RIDSODFHWRPDNHXVDZDUHRIRXUVXUURXQGings in the depth of routine? Through such a strategy, we could reconnect to ourselves and the built environment.
54 MELISSA HAUSER
55 KYLE KEISER
The 1961 New York City Zoning Resolution -- Privately Owned Public Space (POPS) – was inaugurated to encourage private developers to provide spaces for the public within
or outside their buildings in exchange for allowing them to build with greater density in highly dense areas. The spaces provided are not given back to the city but continue to be
owned by the private developers to maintain and control. Therefore, these private actors maintain the right to authorize and forbid how the space is used and who is allowed to
use it. The Occupy Movement’s occupation of Zuccotti Park, and eviction thereof, is an example and a calling for the renegotiation of what it means for urban spaces to be public
places. POPS, while localized in regulation to New York City, represents a broader spatial issue in urbanism. Public space in cities, like private space, is entirely parcelized,
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sky. The public is unable to lay claim to space on, in, under, or above urban form unless it is divided into its own parcel in the form of park or street. Even so-called public spaces
such as theaters, markets, museums, roof gardens, and galleries lock their doors to further control their use. It is not just a zoning problem – completely eliminating zoning would
not provide the necessary case for changing the tradition to market and develop parcelized space. A different type of urban form could make allowance for new experiences of
public interaction with built space by freeing the public “ground” so that it may permeate through our cities without lateral and vertical restraint.