collin anderson march portfolio gsapp

COLLIN R. ANDERSON

Portfolio of workMaster of Architecture, 2009 - 2013

Columbia UniversityGraduate School of Architecture, Planning and Preservation

While this body of work is layered with a system of explorations in history, tectonics, computation, and methods of representation, it is presented under a more unifying lens - that of explorations of surface as interface.More specifically, the projects in this portfolio consider the functions of ground plane and envelope, and their performance as thresholds in space and time. Ground plane and envelope, as we know, are innately polemical terms. Despite the popular definition each suggests, neither embodies a finite architectural element: the ground plane is not a plane; the building envelope is not a line. The following experiments seek expanded definitions for the functions of ground planes and envelopes, as they perform as interfaces and extend into and beyond three-dimensional space.

E EnvelopeEnvelope as mechanism to connect multiple buildings1. Advanced Studio IV, Part A. Spring 2011.

Critics Laura Kurgan, Scott Marble, David Benjamin.

Envelope as inhabitable building component2. Advanced Studio IV, Part B. Spring 2011. Critics Laura Kurgan, Scott Marble, David Benjamin.

Envelope as structure5. Architectural Technologies IV. Fall 2011.Critic David Wallance.

Envelope as mechanism to inform internal program3. Architectural Technologies V. Spring 2012.Critics Robert Condon and Russ Davies.

Ground planeGGround plane as plinth1. Advanced Studio IV. Fall 2012.

Critics Laurie Hawkinson, Vishaan Chakrabarti.

Ground plane as mechanism to conflate space5. Advanced Studio VI. Spring 2010.Critic Mark Wasiuta.

Ground plane as mechanism of resistance4. Core Studio III, Housing. Fall 2010.Critic Michael Bell.

Ground plane as mechanism of re-orientation3. Core Studio I. Fall 2009.Critic Philip Parker.

Ground plane as remediated landscape2. Architectural Technologies, Infrastructure. Fall 2010.Critic Sean Gallagher.

Envelope as light filter6. Advanced Curtain Walls. Spring 2013. Critic Robert Heintges.

T ThresholdThreshold as fold1. Architectural Drawing + Representation II. Spring 2010.

Critic Bryan Young.

Threshold as interval in space and time2. Experiments in theory. Fall 2009 and Spring 2010.In tandem with first year studios.

Threshold as event space4 History, Architecture History II. Spring 2010.Professor Kenneth Frampton.

Threshold as continuum3. History, Architecture After 1945. Fall 2010.Professor Felicity Scott.

Envelope as hypersurface4. Core Studio II. Spring 2010. Critic Karla Rothstein.

Ground plane as plinth

GSAPP Advanced Studio VI, Fall 2012Critics Laurie Hawkinson and Vishaan Chakrabarti

Fabrication is an emerging industry based on materials research, and advanced softwares and machinery used to manipulate materials in new ways. It has been driven in recent years by tools now known as rapid prototyping, 3D-printing and digital electronics fabrication. The most innovative projects being completed today are the products of collaboration among small companies and start-ups. The tools and machinery required for this industry, however, are expensive and unaffordable for most startups: shared facilities are a must. Additionally, Cornells future campus will serve as an ideas-producing factory that will be in great need of product development and fabrication facilities.

Merging fabrication with office program

Design for a fabrication center and greater technologies development corridor in Long Island City, New York

The project proposes a new Technologies Hub for the Long Island City (LIC) waterfront along with the construction of a pedestrian and light rail bridge to connect Queens at Anable Basin with the new Cornell University Roosevelt Island campus.

In 2011, Mayor Bloomberg announced the choice of Cornell University to build a new Applied Science Campus on Roosevelt Island, marking a new phase of development and public policy for the city. LIC holds great potential for extending new, high-technology development beyond the proposed campus as an opportunity to integrate tech industries with the rest of the city.

The most innovative projects of the emerging fabrication industry are the products of collaboration among small companies and start-ups that require materials research facilities, advanced computer software and machinery for rapid prototyping, 3D-printing and digital electronics fabrication. The tools and machinery are expensive and unaffordable for most startups - the shared facilities of the Tech Hub provide an opportunity for new businesses to innovate and succeed. The Hubs facilities will complement Cornells future campus as a laboratory for the materialized development of new ideas.

Collin Anderson Allison SchwartzAlex Hinkfuss (RED)Sam Alison-Mayne (RED)

Design team:

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The project is sited at Anable Basin, historically an industrial boat slip, and the adjacent vacant lot at 44-02 Vernon Blvd. At current, this areas development has been stalled by its disconnection from the city due to the lack of public transportation. Located along the East River adjacent to the new Cornell campus, the project proposes a new pedestrian and light rail bridge to Roosevelt Island, as well as a new terminal for water-based transit, such as the East River Ferry. These increased transportation connections will bring the whole of LIC closer in greater contact to the city.

Improved transit infrastructure

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Long Island City

Astoria

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Technologies Hub

FAR Trade district

Technologies Hub site

Regenerating Long Island Citys industrial fabric with an urban strategy at three scales:

Regional light rail system and pedestrian bridge spanning from LIC to Roosevelt Island

A product development center works in conjunction with new industry and the future Cornell campus

To incentivize added density and building preservation for non-waterfront sites

Three-part development strategy

Light rail regional connectivity


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GLong Island City connects to Roosevelt Island

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LONG ISLAND CITY

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FAR Trade program guidelines1. Buildings within special zone can enter into the

FAR trade program

2. Maximum building height of 60 within zone

3. FAR +1 for renovatation and provision of commercial/industrial space to light industry

Expected spatial requirements

Expected population increases

Space required to meet population increase:11.8 million sq ft

Available unbuilt floor area: 7.2 million sq ft

Space deficit: 4.6 million sq ft

For regions with access to proposed light rail line

Within proposed FAR Trade zone

84000 Total

Long Island City

Roosevelt IslandGreenpoint

Existing conditions with underbuilt and vacant lots

Purchase of available far within zone

Garage typology intermixed with infill development


GA proposed FAR-trade program encourages infill development along Vernon Boulevard, to meet projected population increases resulting from new transit connectivity.

Corridor development

New development as a result of the FAR trade program

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The Technologies Hub at Anable Basin performs as the projects centerpiece, and works in conjunction with the proposed FAR-trade program to initiate corridor development and connect Long Island City to Roosevelt Island, Greenpoint, and Astoria.

Development focal point


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Shipping lane

East River

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Commercial Office + Hotel ResidentialTechnologies Hub Cultural Retail


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Ferry line and terminal

Shipping lane

East River

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Residential phase

1. 85,000sf Cultural

2. 25,000sf Retail (redevelopment)

1. 230,000sf Atria + Convention

2. 780,400sf Commercial

3. 117,000sf Boulevard + Park

4. 55,000sf Retail

5. 153,600sf Infrastructural Plinth

6. 165,000sf Walkways

1. 242,500sfTownhouses

2. 405,500sf Apts

3. 25,000sf Retail

Commercial Office + Hotel phase

1. 192,000sf Hotel

2. 336,000sf Commercial Tower A

3. 273,000sf Commercial Tower B

Development phasing strategy


GThe plinth houses fabrication workshops and vehicular support circulation for materials and equipment distribution. These are separated from offices above by a porous public plane, programmed with a mix of indoor and outdoor spaces that house classrooms, cafes, an auditorium, and a library. The atria perform as visible connections between these three sets of program.

Atria as both connector and divider

Fabrication workshopswith vehicular access

Public plane

Offices

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Shared fabrication machinery and software facilities based on size:

1. Materials cutting and milling; testing

2. Digital electronics fabrication

3. Rapid prototyping

Public spaces, including a library, cafe, classrooms, and auditorium

A collection of atria house shared facilities embedded in the plinth:

Atria distribution


GThe Technologies Hub on the East River

01 GROUND PLANE

The waterfront real estate in Long Island City is prime for development, but remains vacant due to soil contamination from decades of industrial use, risks of storm-surge flooding, and a regional disconnect from public transportation systems. This project establishes a new destination with a design that attempts to solve the issues that currently undervalue the land, by leveraging expected future growth initiated by the Cornell campus, the first phase of which will be constructed by 2017. It proposes to reinvigorate LICs waterfront with new, innovative activity and help to bring NYC to the forefront of tech innovation.

Waterfront development

A pedestrian bridge spans Anable Basin


Ground plane as remediated landscapeProposing a development strategy for contaminated brownfields in Jersey City, New Jersey

Part A: Lot scale

Man, Machine, and the Industrial Landscape focuses on industrial techniques for material extraction, refinement, and redistribution. The intent is to identify areas where the industrial technology or landscape might be re-calibrated to serve future infrastructural networks that imagine new relationships with the public.

Infrastructure and ground manipulation

Jersey City developed as a chromite processing center beginning 1905. One hundred years of ill-managed waste removal has resulted in widespread land contamination, now urgently requiring remediation.

Chromium processing refers to the extraction of chrome from chromite ore, which generates as a byproduct Chromate Ore Processing Residue (COPR). COPR includes hexavalent chromium, now recognized as a human carcinogen.

PPG Industries operated from 1954 to 1963 selling an estimated 2-3 million tons of COPR as fill material used in construction sites across the region. The residue was judged as hazardous to human health; in 1982 Jersey City and New Jersey Department of Environmental Protection initiated the detection of chromite ore processing residue sites.

In 2010, a class-action lawsuit brought against the former operators of the site qualified immediate remediation measures with plans for a future mixed-use development.

This proposal seeks to remedy the effects of past industrial land use by providing in-situ remediation techniques for future development.

Architectural Technologies, Infrastructure, Fall 2010Critic Sean Gallagher

Collin Anderson Simon McGown

Design team:

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Remediated soil forinfill elsewhere

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Case Study Site: 900 Garfield Avenue, 16 Acres Contaminated soil to excavate or cap

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Test site A

Soil analysis and infill strategyContaminated soil is identified. Heavily contaminated soils at risk of spreading are removed, while contaminated soils surrounded in protective layers of clay are capped. Locations of removal become sites for new construction, while capped locations become open or green spaces.

Case Study Site: 900 Garfield Avenue, 16 Acres

Section through Test Site A

Contaminated soil layers to excavate or cap

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Unprotected and contaminated

Soil to excavateSoil to cap

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Other Contamination

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Contaminated soil extraction strategyPhased development strategy

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INFRASTRUCTUREFA10

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Remediated/activePlanned remediation

Contaminated zoneProposed rail line + stations

Hoboken

2nd Street

Exchange Place

Essex Street

Harborside FinancialCenter

Harsimus Cove Pavonia-Newport

Marina Boulevard

Jersey Avenue

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Proposed new rail line to spur brownfield remediation in Jersey City

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$Land valueRail construction Remediation Development

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The $2.2 billion Hudson-Bergen Light Rail system established in 2000 is the states largest infrastructural project to date, covering a distance of 30 miles, serviced by 32 stations with an estimated weekday ridership of 50,000.

Rail development and direct regional connectivity to Hudson County and New York City has shown to increase local real estate value. As a result, 6000 residential units and 4.5 million square feet of commercial and retail space will be built on lands within walking distance of Light Rail stations.

In tandem, the Brownfield Reimbursement Fund Program will reimburse developers up to 75% of annual property taxes to offset costs incurred for brownfield site cleanup.

This study proposes new Light Rail lines and stations based on locations of known brownfield sites. By adding new lines, surrounding land values will increase, and remediation will be incentivised.

17-year land value appreciation rates based on vicinity to rail stations

Part B: Urban scale

Proposed lines based on brownfield remediation sites located along the Hudson-Bergen Light Rail system

Remediation by rail extension

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This project systematizes the translation of climatological data into form. By assessing climate variations in a given space over a defined time period, it establishes the places and moments of climate stasis as islands in a sea of otherwise constantly shifting conditions. These spatial-temporal places of stability or relative calmness are inscribed onto an urban site: locations for primary program, to be surrounded by a system of overlapping circulation networks.

A proposal for an institution focused on climatoligical research and data, the designed buildings program includes private faculty offices and laboratories, as well as public spaces for weather-related events and educational facilities. These are distributed three dimensionally within a downtown-Manhattan site along the High Line, a raised public park which is itself a place designed with a special focus on the natural environment.

Experiments in drawing

Ground plane as mechanism of re-orientation

A study of changing conditions read as vectors in a field, this project focuses on moments and places of stasis, assigning these to be opportunity areas for a variety of programmed spaces.

Fields of change

Core Studio I, Fall 2009Critic Philip Parker

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Fields of change, with areas of stasis highlighted

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Axes of movementA series of climatological readings over time produce a continuum, approximated here in a process of conditional layering. Overlapping areas of sameness are considered to have stability - these are highlighted and re-formulated as bridges connecting multiple sets of otherwise different conditions. All other points in the field are considered to be places of change - axes of movement connecting earlier with later conditions.

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Points of re-orientationWhen translated into three-dimensional form, moments of stasis are considered to be points where multiple conditions converge, or forks in a road leading to a series destinations. The resulting form produces a range of spatial affects as a public art pavilion.

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ServicesServices

Exhibit ExhibitMachine Shop/Research

Cafe/gallery

Cafe/gallery

Interactive Gallery

Research

Faculty Oces

Vertical Circ

ulation

Site as public climate center

A collection of exhibition, gallery and cafe spaces open to the street and drop below ground level. Strips of circulation lead both from the street and internal spaces upwards to connect with the High Line.

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Services

Exhibit

Cafe/gallery

Interactive Gallery

Research

Site as climatological research institution A cross section through the buildings center reveals a collection of large spaces for research and exhibition. At the buildings periphery, the spaces become atomized and privatized into faculty office, as seen in the street view (left).

PARKER STUDIOFA09

The ubiquitous use of internet-based computing services has helped to perpetuate a lifestyle of increased mobility and simultaneity. The cloud has in many ways conflated the once-separate worlds of home life and work life. Urban lifestyles in particular are fueled by mobility and connectivity.

Our conception of the cloud is immaterial: massless, imageless, faceless, formless or free-form in its actions and performance as an infinitely distributed network of connectivity. But the lightweight, or hardly-invisible devices used to connect people in cities rely, ironically, on massive cumputing infrastructures built on cheaper, remote lands.

The territory of the cloud is expanding infinitely. It is highly structured and structural. Datas location, even as it shifts, can always be pinpointed to a specific server, hard drive, or IP address. The cloud exists in a highly formalized matrix. Server farms, at hundreds of thousands of square feet, serving the uploads and downloads of millions of people and shifting the locations of trillions of megabytes in ever-shorter periods of time, are composed of softly humming, linear rows of vertically stacked hard drives. The cloud is framed by a highly structured platform.

Ground plane as mechanism of resistanceA series of structural details links residential units with office spaces in Hoboken, NJ

The project seeks to reveal a dichotomy between free form and structure. Structure is treated as a highly-ordered platform, onto which a more varied set of surfaces and spaces is overlaid. In this way, the project proposes an architectural response to modes of living in the age of the cloud, based upon this structural versus post-structural dichotomy.

Housing and technology

Core Studio III, Housing, Fall 2010Critic Michael Bell.

Collin Anderson Simon McGown

Design team:

GThis architecture is conceived as two separate, yet integrated, systems: multi-directional planes of concrete overlaid onto a structured steel matrix. The degree to which the concrete takes form, informs the type of space it might hold, for instance: private homes, shared outdoor spaces, or public throughways.

Forces at the structure-surface interface

04 GROUND PLANE

Shift in resistance

Structural compression

Release of force with glass

Use of the oblique to organize housing units

The key function of oblique surfaces is ones shifting sense of weight and gravity, and hence his continual sense of gravitational change. By inclining surfaces, the changing relationship with the horizontal puts the user into a state of resistance.

Forces exposed by use of the oblique

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Glass is located at the interface between a system of concrete and a system of steel. The glass and reveal in which it sits work in dichotomy to (1) expose this high-energy interface and (2) perform as a visual release to its integral forces.

Structural forces in the housing unit

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2This same system extends into the workplace, establishing a continuum of structural details linking home and office.

Structural forces in the office space

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A steel structure penetrates a concrete exoskeleton at a glass plane. This glass plane visually enhances the divide between these two systems, and simultaneously connects the two, strengthening the steel-concrete dichotomy.

Structural forces in the envelope

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GHousing structures

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Office structures

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GThe series of structural details were designed as sequential moments. In following, the site was arranged linearly to enforce this sequence, with an urban pedestrian boulevard extending from the housing structures on the Hoboken-city-owned proerty of the railyards, to the office structures on the Jersey-City-owned property on the southern portion of the site.

Housing and technology in section

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Glass is located at the high-force and high-moment points of interaction between the two systems.



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Concrete slabs

Concrete exoskeleton

Steel space frames

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This project proposes new forms of cultural capital within the Brazilian city. It is focused on new ways of viewing art in public spaces funded by corporations, and is based on the corporate tax structure of Brazil.

It is in part a comparative study, initiated with an analysis of the Benesse Art Sites in Naoshima and Teshima, Japan. Here, a museum collection is set up as a shareholder of Benesse Holdings, an international corporation, and funded by annual stock dividends. The expanding art collection and its similarly-expanding geographical territory describe a unique relationship among corporate economy, art, architecture, and the changing spaces of cultural production as a result of accumulation.

Using this logic, a similar analysis was performed on the economic structure of Brazil, which has one of the worlds strongest mechanisms for funding culture, driven primarily by modes of corporate investment as a means to tax breaks.

This project expands upon the existing tax system to propose a new form of urban renewal based on corporate-sponsored art pavilions, that also house civic spaces central to Brazilian culture. The conflation of corporate space, civic space, and art space establishes a new architectural form that ultimately blurs public and private components of the Brazilian city: the city becomes the museum, and vice versa.

Ground plane as mechanism to conflate spaceCollecting Architecture Territories: The architecture of public capitalism

The proposal offers new forms of viewing art based on corporate sponsorship strategies. It is a hybrid model of existing forms of cultural space in Brazil, combining conventional civic activity spaces, with spaces of corporate-sponsored art displays. The spaces perform like a museum, or art pavilion, dispersed as a series of arcades within the existing city fabric.

Corporate-cultural funding in Brazil

Advanced Studio VI, Spring 2013Critic Mark Wasiuta

Book Seller

Benesse Headquarters

Tokyo Stock Exchange

Naoshima

Artworks

Art Sites

Shareholders

Book sales

Stock value

Dividends

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Mapping the art foundations financial territory

05 GROUND PLANE

Dividend 9/26/2012 = 47.50

47.50 x 3,090,000 shares = 147 million

Benesse Holdings, Inc. Naoshima Art Foundation

Art collector and businessman

I am proposing a type of management concept called public capitalism.... After using our company to establish a foundation with the clear objective of cultural and regional development, the foundation became the largest shareholder in the corporation. With the dividends it earned as capital, we have created a mechanism to make a positive contribution to society.

Soichiro Fukutake

The Naoshima Art Foundation in Japan is funded by the dividends it receives as the largest shareholder of Benesse Holdings. The chairman of Benesse, Soichihiro Fukutake, is the art collector that provided the shares to manage his collection, which is housed by art sites on the islands of Naoshima, Teshima, and Inujima in souther Japan.

Corporate-cultural funding in Japan

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NAOSHIMA ART FOUNDATION IS TOP BENESSE SHAREHOLDER

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Go'o Shrine Art House, Masaru Kimura

Chichu Art Museum, Tadao Ando

Naoshima Ferry Terminal, SANAA

Ishibashi Art House, Tadakatsu Honda

Art and Agriculture Project

Gokaisho Art House, Tadakatsu Honda

Haisha Art House, Tadakatsu Honda

Benesse House Additions, Tadao Ando

Paradise 36, Thomas Struth

Inujima Art Project SeirenshoHiroshi Sambuichi

Naoshima Bath House, Graf

Con of Light, Hiroshi Sugimoto

Lee Ufan Museum, Tadao Ando

Infinite Heartbeats, Christian Boltanski

Teshima Art Museum, Ryue Nishizawa

Setouchi International Art Festival sites

Art house Project, Kazuyo Sejima

Art house Project, Kazuyo Sejima

Weeds, Yoshihiro Suda

Kinza Art House, Masaru Kimura

Naoshima Art Foundation becomes top Benesse Holdings shareholder

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Go'o Shrine Art HouseMasaru Kimura

Chichu Art MuseumTadao Ando

Naoshima Ferry TerminalSANAA

Ishibashi Art HouseTadakatsu Honda

Gokaisho Art HouseTadakatsu Honda

Haisha Art HouseTadakatsu Honda

KinzaMasaru Kimura

Inujima Art Project SeirenshoHiroshi Sambuichi

Naoshima Bath HouseGraf

Teshima Art MuseumRyue Nishizawa

Lee Ufan MuseumTadao Ando

Art house ProjectKazuyo Sejima

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GCorporate-sponsored rock climbing wall

Corporate-sponsored public art

1. Library

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This project proposes a new system of corporate-civic-art spaces to be distributed throughout the Brazilian city, based on:

A new model for corporate sponsorship

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Art pavilions

Rouanet corporate tax law

Forms of ground manipulation

SESC community centers

The logic and program of existing models of public art display in Brazil

The constraints of the Brazilian corporate tax structure for the funding of culture

To establish new ways of viewing art and public spaces, by inverting the logic of the city

The logic and program of existing models of civic community centers in Brazil

Forms of spatial compression

To enhance the conflation of multiple types of space in this corporate-civic-art system

2. Library

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A series of compressed art spaces border a public pool. The pool is inserted within an existing city block and accessed through an entry to this civic, corporate-sponsored arcade. Concrete walls are patterned with a series of coroporate logo pores through which the pool is viewed.

Corporate-sponsored public pool3. Pool

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A dance hall is suspended within a larger art gallery. The artwork is made of a material product affiliated with the sponsoring corporation. In this model, the civic space is inverted to be contained by the art space, and the civic activity of dance is put on view to pedestrians walking through the space from below.

Corporate-sponsored public dance hall4. Dance hall

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A theater is sited beneath a glass floor, in which artworks are embedded. Theater seating materiality and color is affiliated with the corporate sponsor. In this sponsorship model, viewers transit through a compressed space, informed to look down, through the artwork, to the civic space below.

Corporate-sponsored theater5. Theater

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1. 3. 2. 5. 4.

The proposal offers new forms of viewing art based on corporate sponsorship strategies. It is a hybrid model of two existing forms of cultural space in Brazil, combining conventional civic activity spaces, with spaces of corporate-sponsored art displays. The spaces perform like a museum, or art pavilion, dispersed as a series of arcades within the city.

Corporate-sponsored art arcades

WASIUTA STUDIOSP13

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I ask the questions: does a surface have thickness? Can an infinitely thin surface be described as having two separate yet equal faces? A discrete front, and a discrete back?

In determining a surfaces role as an interface between spaces, times, experiences, this project investigates a distorted, and seemingly infinitely-thin surface at its most interesting geometric point: its fold.

Experiments in drawing

Threshold as fold

The project questions the relationship between two sides of the same surface.

Thinness of a surface

Architectural Drawing and Representation II, Spring 2010Critic Bryan Young

Threshold

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Analysis of a folded surfaceA reconstruction of the surface of a drapery to inspect the relationship between points on either side of the same surface, near and at its fold.

ADR IISP10

TMapping of a surface at its fold

01 THRESHOLD

Mapping of the folds interior

ADR IISP10

Point 1: In his 1905 paper On the Electrodynamics of Moving Bodies, Einstein introduces special relativity and the coupling of space and time. Merging these variables to structure a new framework for the universe, he undermines classical mechanics and Euclidian three-dimensional arrangement: space was, then, a function of time predicated upon Reimmanian partial differentiation in n dimensions.

Point 2: Henri Bergson, in the early 20th century, formulated the notion that time is always in a state of flux through changes in space: Thanks to the third dimension of space, all the images making up the past and future are...not laid out with respect to one another like frames on a roll of film.... But let us not forget that all motion is reciprocal or relative: if we perceive them coming towards us, it is also true to say that we are going towards them.

The following work explores surfaces and their relation to these notions of time and space.

Henri Bergson, Duration and Simultaneity, trans. Leon Jacobson (New York: Bobbs-Merrill Company, 1965), 142.

Experiments in theory

Threshold as interval in space and time

A mathematical investigation of the relationship between space and time, and the capacity of a surface to have depth or substance.

1

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Time, space, movement, and surface

Personal projectFall 2009 and Spring 2010

f (x )0

x0

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Bernhard Riemann, On the Hypotheses Which Underlie Geometry, 1868.

Space

Reimann integral of finite sums Reimann integral of infinite sums

Reimannian geometryExtension of dierential geometry of surfaces into n dimensions to approximate distance across a space.

Distances across space are infinitely divisible

Space-timeSpace and time are inseparable variables

T 02 THRESHOLD

( )

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Space-time

dx, dy, , dz, dt ... ...dxdt,

dydt

dzdt

Relative motion Space is a function of time

Einsteinian relativityTime is a function of a change in space, and vice versa.Albert Einstein, On the Electrodynamics of Moving Bodies, 1905.

Space and time are inseparable variables

EXPERIMENTSSP10

SurfaceTravel across a surface is a function of change in both space and time

l. A right-continuous function is continuous at all points when approached from the right.

MovementTravel through space is continuous

Right-continuity Left-continuity Discontinuity

Henri Bergson, Time and Free Will, 1889.

Bergsonian durationExperience is continuous.

ll. A left-continuous function is continuous at all points when approached from the left.

lll. A function is continuous if and only if it is both right-continuous and left-continuous.

T 02 THRESHOLD

Surface

a

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Surface as topological space

Euclidean surface Non-Euclidean surface

A space of continuous curvature, deformation, transformation.

Travel across a surface is a function of change in both space and time

EXPERIMENTSSP10

This lecture course addresses key developments in architecture during the period from the end of World War II until the early 1990s.

Architecture After 1945

Paper: The Architectonics of Space-Time Physics

Threshold as continuum

History, Architecture After 1945, Fall 2010Professor Felicity Scott

An analysis of Sanford Kwinters reading of futurist theories in Architectures of Time: Toward a Theory of the Event in Modernist Culture, through his interpretation of the philosophies of lived time and experience as proposed by Henri Bergson. Drawing from the work of French cultural theorist Paul Virilio, this paper will update these readings with elements of Bergsonism evident in Virilios later writings. Two distinct theoretical frameworks particularly influenced by both war and technology are considered: (1) Italian futurist plastic-field theory prior to WWI and (2) Virilios limit-state theory in the decades following WWII. This paper seeks to discover a level of relations shared by these disparate frameworks so as to suggest a unified continuum theory of space.

The combination of extensive technological innovation and developments in scientific theories concerning space and time at the turn of the twentieth century rejected classical Euclidian geometry and redefined the human experience. French philosopher Henri Bergsons Time and Free Will, 1889, and Creative Evolution, 1907, employed Einsteinian special relativity and Reimannian multiplicity to align ideologies of consciousness with physical theories of space-time; these writings significantly influenced the work of Italian futurist artists Umberto Boccioni and Antonio SantElia prior to WWI.

This lecture course addresses key developments in architecture during the period 1850-1930.

History of Architecture, II

Paper: The Physics of Futurist Theory: Continuity, Dynamism and Field-Condition Plasticity; Bergsonism and Italian Futurist Architecture Prior to the First World War

Threshold as event space

History, Architecture History II, Spring 2010Professor Kenneth Frampton

C BIP COLUMBIABUILDINGINTELLIGENCEPROJECTPart A. Shared atria for decreased energy usage in high-rise buildings: an analysis in parametric design

Advanced Studio IV, Spring 2011Critics Laura Kurgan, Scott Marble, David Benjamin

Using parametric construction, this project re-evaluates open floorplan programming and energy use by spanning between high-rise towers to join adjacent vertical spaces. Minimal facade reconstruction or removal will affect maximum program area: passive ventilation will drive down energy costs; newly constructed public atria will transform program.

The design responded to one of the central challenges of PlaNYC a city wide initiative to reduce carbon emissions in NYC by 30% by 2030 by developing adaptive strategies for the existing NYC building stock that reduce energy consumption while also enhancing the quality of urban life.

The design of this parametric element was driven by fundamental energy metrics and the challenge of making a significant building and urban intervention through minimal means. The intent of the project is to establish architectural solutions for energy mitigation in existing buildings.

As an adaptive building component, this intervention is designed to be grafted onto a variety of high-rise towers. It is comprised of a connective bridge surrounded by a hyperboloid-form atrium with triangulated glass envelope. The parametric envelope can be oriented in the direction of primary winds to maximize ventilation, and offers new shared program space by spanning one or multiple floors in height.

Shared atria

Envelope as mechanism to connect multiple buildings

EThe envelope allows for shared program between buildings

01 ENVELOPE

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The envelope and bridge structure transforms traditional open-floorplan offices by merging programs among multiple buildings. It decreases energy use via passive ventilation, with open-air atria located on floors adjacent to the new shared structure.

Shared program

CBIP STUDIOSP11

EForms derived from a variation in parameters

01 ENVELOPE

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Design parameters

Ring count, dependent upon span

Node count, dependent upon diameter

Point model for instantiation of panels

Micro and macro parameters drive changes in geometry, as well as the effects of passive ventilation. The open-air cool adjacent spaces in the summer months, and heat adjacent spaces in the winter months as greenhouses.

Opening angle dependent upon wind direction + panel location

3

CBIP STUDIOSP11

EA collection of ventilated atria open to the shared envelope

01 ENVELOPE

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Multiple small-scale atria open to the new primary, ventilated space, activating several floors of engaged office buildings with shared program and decreased energy use.

Connectivity and energy efficiency

CBIP STUDIOSP11

C BIP COLUMBIABUILDINGINTELLIGENCEPROJECTEnvelope as inhabitable building component

In the early and mid 1900s, building ventilation standards called for approximately 15 cubic feet per minute (cfm) of outside air for each building occupant. As a result of the 1973 oil embargo, however, national energy conservation measures called for a reduction in the amount of outdoor air provided for ventilation to 5 cfm per occupant. It is widely thought that these reduced outdoor air ventilation rates are inadequate toward maintaining the health and comfort of building occupants. Only recently have the building regulations changed the requred air-exchange to 15 cfm per occupant, and in the case of offices, 20 cfm.

60 Broad street in Manhattan suffers from poor natural daylighting and air circulation, as do most NYC glass towers constructed in the 1970s. Additionally, single-client leases are fractured among various floor levels, creating working conditions that inhibit collaboration and flexibility.

Part B. Re-thinking 60 Broad Street, Manhattan

This retrofit strategy pairs new methods of inhabitant connectivity with passive ventilation and natural daylighting to recirculate both people and clean air. It aims to positively change the internal life of the building, drive down energy costs, and decrease carbon emissions. This is accomplished via a double-skin cladding that houses perimeter stairwells and programmatic breakout nodes.

Facade inhabitability + sustainability

Collin AndersonAlexis BursonStephen Chou

Design team:

Advanced Studio IV, Spring 2011Critics Laura Kurgan, Scott Marble, David Benjamin

AHU AHU AHUAHU AHU AHUAHU AHU AHU

WINTER(heating season)

SPRING / FALL(ventilation season)

SUMMER(cooling season)

mechanical heat is pre-heated by cavity air

cavity acts as exhaust vent; air is pulled through the building via stack eect

hot air in the cavity is vented out of the cavity to prevent over heating

AHU AHU AHU







AHU AHU AHU







AHU AHU AHU

E

Mechanical heat is pre-heated by cavity air Cavity acts as exhaust vent; air circulates through the building via stack effect

Warm air in the cavity is vented out of the cavity to prevent over-heating

Winter (heat-driven ventilation) Summer (cooling-driven ventilation) Spring + Fall (cross-ventilation)

02 ENVELOPE

21

Increased flexibility for building inhabitantsPerimeter circulation

Increased natural ventilation and more efficient management of building mechanical systems

Double skin

The facade extension consists of double skin components and perimeter circulation components: the double skin increases natural ventilation and more efficient management of building mechanical systems; the perimeter circulation components increase flexibility for building inhabitants.

Double skin with perimeter circulation

CBIP STUDIOSP11

EExisting conditions

Double skin components

Perimeter circulation components

02 ENVELOPE

Designed parametrically, this second envelope system adapts to buildings based on existing structural grid layout, floor-to-floor height, overall building height, and the distance between connection points for new perimeter circulation passages.

Component assembly

Perimeter wall circulation

Double skin

CBIP STUDIOSP11

Envelope as mechanism to inform internal programTechnical detailing and design: building for the industrial arts in the Bronx, Manhattan

Collin AndersonMichaela MetcalfeSimon McGownJohn SimonsDavid Zhai

Project team:

Architectural Technologies V, Spring 2011Critics Robert Condon and Russ Davies

The building is imagined as a state-of-the-art laboratory for innovation and exchange, intended to provide open commercial loft space for artisan workshops and light manufacturing.

Floors are subdivided to accommodate multiple tenants with co-operative studio spaces ranging in scale from 150 sf to 3000 sf. Support and collaborative spaces include wood and metal shops, photography studios, and digital media labs. Exhibition galleries, lecture rooms, storefront space and a cafe are located at ground level to offer connections to the surrounding community.

A variety of collective and individual spaces for creative production are housed within an undulating envelope of glass and terra-cotta. The envelope is designed to peel away at points to expose internal spaces and control solar heat gain.

The structure is composed of a concrete beam and column assembly; its grid varies between 20x20 and 20x12 and includes four shear walls inserted within the core. Two 8x11x30 grade beams support a column-free auditorium located at level 2 and require a transfer structure at level 3.

Situated in the Bronx, the site is accessible via district thoroughfares with the potential to become a locus for community-based industrial design partnerships and private enterprises. The concentration of designers within open workflow spaces harbors the potential for integrated design collaborations.

Industrial arts program

ETwo envelopes - one internal and one external - fluctuate about a central linear core to create a programmatic pinch in plan to provide spaces of two scales: individual studios and larger collaborative, shared spaces. The relationship between these two envelopes encourages flexibility and stimulates parternships across disciplines.

Envelope programmatic pinch concept

Programming

Variations

Programmatic pinch

Private studios

Large studios

Outdoor decks

Shared work spaces

03 ENVELOPE

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Openings in the exterior envelope reveal programmatic function, and the terracotta facade mitigates solar gain. The interior envelope - a glass partition - divides circulation and shared spaces from individual studios, while providing visual connectivity among occupants.

Typical floor plan

TECHNOLOGIES VSP11

EStreet view

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Level 4 - Workshop spaces

Level 3 - Transfer structure

Level 2 - Auditorium

TECHNOLOGIES VSP11

S-01S-02

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South elevation

Longitudinal section through auditorium

03 ENVELOPE

S-01S-02

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The structure is a cast-in-place system; building loads are transferred to 11x11x3 footings and two 8x11x30 grade beams which support the column-free auditorium located at level 2. The auditoriums transfer structure at level 3 exhibits 8x16 beams and spans 60. The transfers structure houses an air handling unit.

Four shear walls inserted within the cores counter the structures gravitational and lateral forces. Shallow grade beams support the lateral forces at the base of each shear wall. An elevator shaft in each core services freight and passenger circulation; each 20x12x120 shaft is provided a 5-deep footing. Columns at levels 1-3 are 22 in diameter; columns above are 18 in diameter. Columns support cantilever beams that are enforced by a 12-deep, 2-way slab and perimeter curb walls that also support the facade.

Formal moves are driven by a series of envelope peels that allow openings with a range of sizes based on internal programmatic needs and scales . Terracotta is the primary visible envelope material. 12x60 typical terracotta panels are engaged by steel channels, backed by 4 of rigid insulation. A stick mullion system is supported by a 22 cast-in-place reinforced concrete perimeter curb.

Structure

Terracotta envelope peel concept

East elevation

Transverse section through auditorium

TECHNOLOGIES VSP11

E1

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03 ENVELOPE

EXTERIOR WALL DETAIL: TYPICAL CONDITION

GLASS CONDITINON TERRACOTTA CONDITION

EXTERIOR WALL DETAIL: BALCONY CONDITION


EXTERIOR WALL DETAIL: BALCONY CONDITION


EXTERIOR WALL DETAIL: TYPICAL CONDITION


21 Typical terracotta detail at perimeter wallTypical terracotta detail at balcony

TECHNOLOGIES VSP11

E1

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03 ENVELOPE

EXTERIOR WALL DETAIL: SOFFIT CONDITION


EXTERIOR WALL DETAIL: SOFFIT CONDITION



EXTERIOR WALL DETAIL: FOUNDATION


EXTERIOR WALL DETAIL: FOUNDATION

21 Typical terracotta detail at soffit Typical terracotta detail at ground

TECHNOLOGIES VSP11

Memories of the deceased comprise a unique set of remembered events and feelings, both real and imaginary. This project for an urban burial structure seeks to unite visitors with the memory of the dead, and to create a phenomenal experience for the general public - in many ways a reminder of the density of human life in cities.

Hypersurfaces make use of the geometries of physical materials and the techniques of dynamic projection to take on a temporal dimension. The project uses calibrated projections driven by sunlight entering through a thin outer membrane, to establish a constant alternation between light and darkness.

Design for an urban burial ground and public sanctuary, using light projection to generate a dynamic outer membrane

Core Studio II, Spring 2010Critic Karla Rothstein

Envelope as hypersurface

Bodies, placed as ashes within glass tiles, create unique projections of light and shadow. The program includes a variety of ceremonial spaces as well as a more intimate private sanctuaries.

An envelope of human bodies

E 04 ENVELOPE

Open to daylight

Projective surface

Reflective glazed panel

Glass panel with remains

Year 5Year 1 Interior projections

Blackout panels for empty units

Projective membrane detail

Projective membrane over time

The envelope is transformed with the addition of each body in time. As the membrane is adjusted, so are the ways by which it transmits and reflects sunlight, altering the internal and external building conditions.

Membrane dynamism

ROTHSTEIN STUDIOSP10

E ENVELOPE04

Light wells increase the membrane surface area. Each surface is filled over time with glass panels cast with the ashes of NYCs deceased.

Section through light wells


E ENVELOPE04

Openings in the membrane offer a variety of relationships between interior and exterior. The components of facades facing away from the light wells increase in scale, with openings large enough to access outdoor sanctuary spaces with views of surrounding downtown Manhattan.

Membrane porosity


E ENVELOPE04

Entry sequence plan

Sanctuary plan, closed light wells

Sanctuary plan, open light wells


E1

ENVELOPE04

Elastic tubing on striated plexiglass. Lightwell study model.

Sand cast in resin. Prototype for the casting of ashes within glass tiles. Each projects a unique shadow.

Material studies, aggregation of bodies1

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2Multiple material studies incorporated in the schematic design of an interior atmosphere.

Clear inflated balloons within a molded elastic netting. Building membrane study model.

1

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Material studies, building membrane


Exterior walls are made of high-strength prefabricated perforated concreteperfcon panels, composed of a 10x20 with 40-square grid, to distribute lateral and gravity loads at the building perimeter.

The system of panels acts as a rigid exoskeleton frame similar to a Vierendeel truss , and functions as a load-bearing wall, with a regular pattern of cavities that supports large openings and cantilevers.

The colors of the windows (blue, green, yellow, red) correspond to the level of stress within them. Each color represents the size of reinforcing steel required by the concrete. Where stresses exceed the capacity of the system, panels are infilled.

Perforated concrete perfcon envelope

Envelope as structure

This 180,000 sf undergraduate residence at MIT, whichmeasures 10 stories in height (100), 385 long and 54 deep, was envisioned as a porous sponge. The concept of porosity permeates the architecture at a number of scales, from the incorporation of five large openings in the envelope which correspond with entrances, views, and outdoor terraces, to the 40x40 square window grid at the resident dormitories.

The envelope is composed of a specialized system of perforated concrete panels, which are mechanically spliced to form a continuous structural faade. The envelope is clad in both standardized L-shaped and custom aluminum panels. The L-shaped aluminum panels are used on the faade to clad the majority of the perforated concrete exoskeleton and light gauge steel construction.

Two types of aluminum panels are used: 0.90 anodized aluminum and perforated aluminum. The L-shaped geometry correlates with the network of 2x2 window openings built into both concrete units and light gauge steel construction. Custom fabricated panels are utilized at large curvilinear openings.

Facade analysis of Simmons Hall, Massachusetts Institute of Technology

Architectural Technologies IV, Fall 2011Critic David Wallance

Collin AndersonJake Matatyaou Tom McKeoghMichaela Metcalfe

Design team:

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Longitudinal section through atria

05 ENVELOPE

Splice Joint

Typical light gauge steel facade configurations

Glazing with bespoke aluminum facade panels

Aluminum perforated panel on PVC membrane

Typical perfcon facade configuration

Transverse section through atriaFacade components

TECHNOLOGIES IVFA11

EL. - 18'-0"BASEMENT

EL. +100'-0"ROOF LEVEL

EL. +90'-0"TENTH FLOOR

NINTH FLOOREL. +80'-0"

EIGHTH FLOOREL. +70'-0"

SEVENTH FLOOREL. +60'-0"

SIXTH FLOOREL. +50'-0"

EL. +40'-0"FIFTH FLOOR

EL. +30'-0"FOURTH FLOOR

EL. +20'-0"THIRD FLOOR

EL. +10'-0"SECOND FLOOR

EL. +/- 0'-0" (20'-4")FIRST FLOOR/GROUND LEVEL

EL. +103'-6"T.O. PARAPET













384'-10"

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Elevation, with structural stress regions higlighted

Section through atria

Typical floor plan

ENVELOPE05

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Facade as structure

Cast-in-place concrete columns at the perimeter of the building distribute vertical loads in zones where perfcon panels are not utilized.

Precast concrete panels, typically 10 x20, distribute vertical and horizontal loads at the building perimeter. The system of panels acts as a rigid frame similar to a vierendeel truss.

Non-structural, light gauge steel construction infills zones where perimeter columns are utilized to provide continuity.

Perfcon panels

Light gauge steel

Perimeter columns

TECHNOLOGIES IVFA11

E1.

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1. Perfcon panel, assembled

2. Rigid board cavity insulation

3. 1 argon-filled insulated glass light

4. Break form aluminum panel

5. Iodized aluminum panel

Panel components

ENVELOPE05

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Panel construction sequence1. Perfcon panel with cast-in-place concrete curb

2. Rigid board cavity insulation

3. Break form aluminum panel screwed into place. Screws mounted to grout joint cast into perf-con panel. Aluminum panel finished with 2 coat megaflow paint.

4. Break form aluminum panel screwed into place. Screws mounted to cast-in-place concrete curb.Aluminum panel finished with 2 coat megaflow paint.

5. Argon-filled insulated glass light (1) with low-e coating and clear anodized aluminum frame

6. Anodized aluminum panel mounted to gaskets via slip joint connection with concealed gasket

TECHNOLOGIES IVFA11

Designed for a NYC gallery, the curtain wall is composed of translucent, acid-etched glass panels to fill interior spaces with indirect sunlight. The facade fans open at perimeter stairwells to exterior views at these spaces outside of main galleries. Here, hinged fins reveal a second layer of transparent glass.

Light filter concept

Aluminum curtain wall design for a NYC gallery

Envelope as light filter

This unitized curtain wall system is factory-assembled and -glazed, delivered to the job site in unit sizes of 2-6 x 12 and 2-6 x 24, and hung from the face of the concrete floor slab. The design features translucent glass combined with clear vision glass, so as to transmit filtered natural light to interior spaces while allowing for visual openings at perimeter circulation corridors. A smooth transition between the two glass types is achieved with a hinge element inset within the vertical mullions. The laminated, continuous hinge performs as a bearing from which translucent glass fins are hung, allowing for an opening effect in the faade that reveals the second layer of vision glass. Fins are fixed with a pin that can be released for maintenance and cleaning. Translucent glass is low-iron, surface-treated with an acid etch on the #1 surface of the outer lite, and laminated with translucent interlayers. Vision glass is also low-iron with a low-reflective coating.

Advanced Curtain Walls, Spring 2013 Critic Robert Heintges

E 06 ENVELOPE

Sections through curtain wall at stairwell

Fabricated units at stairwells are double-height (24) with a 12 translucent, acid-etched fin connected to a continuous hing with a leaf glazed into the glass. This design has two purposes: aesthetically, the angled fin appears as a door to a second layer of transparent glazing beyond for exterior views at stairwells; mechanically, the hinge can be opened for maintenance.

Hinged fin design

CURTAIN WALLSP13

E 06 ENVELOPE

Acid etched outer liteTranslucent interlayer

Acid etched outer lite

Polished inner liteContinuous, laminated leaf

Custom container hinge




Low iron, low reflective coating

Translucent interlayer







Acid etched outer liteTranslucent interlayer








Translucent interlayer







Vertical mullion detail at fin and glazing transition Vertical mullion detail at fin

Vertical mullion detail at glazing transition Vertical mullion detail, typical

CURTAIN WALLSP13

COLLIN R. ANDERSON

Portfolio of work

Master of Architecture, 2009 - 2013

Columbia University

Graduate School of Architecture, Planning and Preservation

collin anderson march portfolio gsapp

Documents

ground planegground

advanced studio iv

core studio

plinthgsapp advanced

building envelope

functions of ground

architecture history

critic david wallance