Guatemala City has suffered from poor planning in the face of globalization and civil war. Its government works from scattered buildings built during times of dictatorship and conflict and reflect those conditions. Invited by Guatemalan architects Estudio Urbano, this project proposes replacing the brutalist Centro Civico complex built under the military coup with a mixed-use urban cell modeled after the L'Enfant Plan. Matching Otto Wagner's tectonics to local needs, the choice of style is a way to escape connotations of Spanish colonialism and corporate globalization. This project focuses on the civic center of the district: a covered town square, memorial tower, and a TransMetro BRT station. Leon Krier with George Knight, Critics. Spring 2013.
Strangely, the parametric and the classical are seen as incompatible ideas, when they bear more similarities than differences. Mapping the theory of bekleidung, as espoused by Otto Wagner and Karl Bötticher onto Leon Krier's "Tuning of the City," Grasshopper is used to generate the form and the ornamentation of residential buildings interpolated between the Classical Tetrapylon and a Vernacular 'Engineer's Hut.'
Léon Krier with George Knight, critics. Spring 2013
Otto Wagner often used a laurel wreath as a motif, symbolizing the Vienna Secession. The wreath motif repeats in various forms in his work. However, the Vienna Secession no longer exits and its symbols are inappropriate to the site. For Guatemala, the Wagnerschule style takes on a motif based on the national bird, the Resplendent Quetzal.
Kent Bloomer, instructor / Leon Krier with George Knight, critics. Spring 2013.
Otto Wagner extensively used glass tiles in his later projects, as an rational and hygienic form of ornament. The glass revealed the ornamental nature of the wall's surface with a pure product of industrial production. Given the theme of reconstruction from despair in the Ciudad Civico project, two shards of a broken tile form the sixteen basic figures. These figures are manipulated to understand their properties, and used in a section of Palacito #38. Kent Bloomer, Instructor / Leon Krier with George Knight, Critics. Spring 2013
Unlike natural products and industrialized goods, concrete offers little inherent formal constraint. Rather, it takes on the form of the molds provided by the designer. The design challenge then becomes one of designing the mold. The point network of College Woods' trees is inverted to make porous walls of ruled surfaces. Dirt is mounded to form molds for the concrete, which is cast in stages. This way, exuberant curvilinear architecture is possible with comparatively simple technology and reduced ecological impact.
John Patkau with Tim Newton, Critics. Fall 2012
Stamford, at its core, wants to be part of New York, without the hassles of the metropolis.
Following a study of Kevin Roche's corporate campuses, we placed an enclave over Stamford’s train station and I-95. This configuration provides easy access to The City, while also heightening the sensation that no matter how many streets they have, private developments are not part of a civic environment.
With Benjamin Sachs. Edward Mitchell, Critic. Spring 2012.
The Brooklyn Navy Yard is a site of production. Its value is precisely in its closed boundaries. It also floods frequently. These premises shape the project. This project proposes a set of open studios for six artists. Administration is for brokers and educators. The galleries employ six planometric and sectional relationships, challenging each artist uniquely, or suiting their needs. The exterior cladding is based on dazzle camouflage, hiding all but the studio towers that lift the building off of the ground.
Trattie Davies, Critic. Fall 2011.
The diagram of a building usually shows up where it's most visible. Solving for a problem of sound, you have to work in the physical world, not the visual. So, the diagram is in the structure and the ventilation. With a solid plinth in the middle, we hang the noisy lower floors to let the dead weight dampen vibration. Interlocking passive ventilation isolates the bedrooms acoustically while bringing them closer through bleeding light.
Jennifer Leung, critic. Spring 2012
Nobody goes on tumblr anymore, there are to many posts. But maybe if there were a place to collect all of this stuff and let us bask in the orgy of media, perhaps we'd find what we were looking for all along.
Eeva-Liisa Pelkonen, critic. Fall 2010.
Alban Berg paired the fifteen fragments of Georg Büchner’s play Woyzeck to sixteen expressionist musical objects to create Wozzeck. In a spat of nihilism, the Captain refers to the world as a “mill-wheel,” eternally drowning in misery. The drawing therefore follows the structure of the play and the style of its time: a set of formal expressions floats limply in the libretto. The objects are arranged in a wheel along the F-sharp and B-natural motifs, activating and trapping the offhand and insignificant brutality of the third act in its motion.
The resemblance to ground beef is intentional.
Rafael Mostel, instructor. Architectonics of Music, Spring 2008.