Through the use of photoluminescent paint and optical fibers, Camera Lucida / Camera Obscura explores the materials’ potential to control the collection and distribution of energy in the form of light. The photoluminescent paint acts as the storage agent of light and slowly transmits it over time through the optical fibers to a field of remote points. The intent of the artifact is to demonstrate how the materials can be used to produce the emission of light at a location that is otherwise removed from a light source.
The photoluminescent paint’s ability to store and emit light for a long period of time without the use of a power source is limited due to the fact that the light can only be emitted at the surface of the paint. The design of Camera Lucida / Camera Obscura was driven by the desire to be able to reroute this light to a location that is separate from the storage location of the paint. The paint could be applied in an area adjacent to the source of light, and stored there for a length of time. By using optical fibers, light could be picked up off the photoluminescent surface, redirected through an opaque barrier some distance from the source, and then emitted across a field of point lights. The production of light without an electrical power source could be realized beyond the limitation of the location of the paint’s light collection location.
The form of Camera Lucida / Camera Obscura is designed as two cubes: one cube houses the light source and the other houses the light terminals. The source cube contains a piece of acrylic coated with the photoluminescent paint. This collects light off of an LED light bulb while the object is powered. Strands of optical fibers are secured in contact with the painted surface at a single point, becoming the light input for the fibers. These fibers are extended to the second cube, the surfaces of which are opaque and covered with a grid of perforations. The fibers are individually routed into the perforations and terminate on the inside of the cube. The ends of the fibers create a field of light emission. While the power is turned on, light from the bulb charges the photoluminescent paint. Once the power source is switched off, the paint continues to emit light, sending it across the fibers, and evenly distributing it within the terminal cube, where the glow of the paint can be observed at the ends of each fiber.
Comprehensive Studio II
NJIT - College of Architecture and Design
Critic: Will Prince
In my approach of designing a Google campus and Startup Lab, I took into consideration the engagement of key user groups associated with the corporation as a way of analyzing program adjacencies and special relationships. Through several programmatic and user studies, I was able to consolidate the program into 4 parts, office space, office amenities, public space, and public amenities.
In section we read office floor slabs, volumes, circulation, and public space. These volumes serve as the gradation from the two poles providing a platform for which the shifting levels of user engagement. I designed the lobby as a forum style space in which members interested in Google’s can have a stepping-stone into the resources. In this area, users can configure spaces with adaptable furniture for activities such as meeting, working, or pitching ideas to googles incubator.
I use placed the Exhibition space and gallery as the next realm in user engagement. Located at the ends. The next level begins to occupy the central volumes. These programs include the MFH, Device Library, and Cafeteria. Conference room and workshop serve as the gateway in program to the office floor slabs. Vertical and Horizontal Circulation tie together volumes extending the atrium feel through the central zone forcing user interaction as proceeding from one end to the other.
I employed a verendeel truss system to provide a framework for which the coordination of volumes and circulation can exist achieving various façade conditions as seen in the detail section including framed glazing, and cable net frameless glazing.
Office floors make us of a desk system for various modules for specific office activities including individual work, group work, meetings, and amenities.
Conference Rooms of the central zone begin to gain identity by providing various typologies of spaces for convening including pinup rooms, screening, rooms, broadcasting booths, and living room style seating as seen in the section perspective.
The approach to the site takes into consideration the ‘urgency’ to which a new social implication is needed as a counterpart to a radical environmental awakening.
Through this design scheme, an attempt is made to address the rising sea levels in the future and the response required from the city design to limit the damage caused to human life, infrastructure, and the environment. This prototype can be used and reused as a possible response to the changing environment that can begin to populate across the Union Beach as a regional attempt to mitigate the changes.
The current density of this union beach site is 8 units per acre, and the scheme tries to increase it up to 45 units per acre. Our scheme explores the ways in which the existing urban fabric can suggest new configurations through the inversion of figure-ground without compromising the quality of life.
The site has a commercial presence on Florence Ave and an adjacency to the wetland towards the south-west edge. In order to let the wetland span across our site and let the site be prepared for any possible sea level rise, the residential mass is lifted above creating a new ground plane to build upon through the jutting up of the ground. The continuous wetland from across and under the ground plane creates a new spatial experience and welcomes the wildlife and nature into our site
The form of the building is designed to have a minimum footprint my minimal touching through steel columns on concrete foundation. There is additional vegetation on the roof to reduce the heating loads and provide an elevated landscape walkway experience.
The voids in the building mass have been designed and placed strategically as to allow for maximum solar exposure in winters and natural ventilation. The voids at the ground level plane become the rain garden and collect and store rain water back to the ground instead of disposing it off to the storm outlets.
Parking populated the ground plane to allow for surface parking coupled with bioswales to offset the runoff of pollutants and chemicals.
Units are organized through various thresholds of publicity with living and kitchen spaces places towards the streetscape and bedrooms and intimate spaces placed towards the voids. Privacy is achieved in the voids through a vertical louver system that prevents cross views for adjacent apartments but encourages solar penetration. This strategy also encourages the views out and over the canopies of trees places in the voids.
Essentially, the scheme achieved a groundscape, streetscape, and roofscape divorcing itself from the negative connotations inherent to the idea of raising structures off the ground. Consequently, interesting thresholds and relationships are achieved through section that speak to the need for a more developed elevation strategy.
Saif Haobsh, Garima Kaushal, Naftoli Gut
In search of the “artifact-architecture” counterpart to the workings of ones interiority,this project began with the attempt to delineate typologies of the state of ones mind understood through the concepts of Freudian psychoanalysis. Inspired by the nature of ink-suspensions and concept of the transition of a pure droplet of minimum surface/maximum volume into a suspension of maximum surface/minimum volume, this architecture of interiority seeks to invoke the greatest possible reflection of a users memory and conscious through the superimposition, layering, and elapsing vitrines displaying suspensions of complex geometries and forms. Consequently, the artifact is programmed with a mechanism in which all suspensions emanate and filter through the landscape resulting in the sedimentation of the users interiority.
AS A WAY OF CHALLENGING THE STIGMA OF SUSTAINABILITY IN ARCHITECTURE BEING THE “GREEN” COMPONENT ATTACHED TO A DESIGN, THE PROPOSAL BOLDLY CLAIMS THAT SUSTAINABILITY AND ARCHITECTURE SHOULD BE ONE IN THE SAME. USING THE PRIME EXAMPLE OF SUSTAINABILITY TO CARRY A MESSAGE TO THE PUBLIC, THE DESIGN OFFERS SUSTAINABILITY THAT IS ARCHITECTURE AND NOT ARCHITECTURE THAT IS SUSTAINABLE, TO INSTILL INQUISITION AND PROVOKE RE-ANALYSIS AT A HIGHER DEGREE. IT IS NOT AN APPLICABLE SOLUTION TO TODAY’S ISSUES WITH SUSTAINABILITY AS IT RELATES TO ARCHITECTURE BUT RATHER A SUBTLE CRY FOR ATTENTION TO THE CRITICAL FLAW IN HOW SUSTAINABILITY IS BEING PERCEIVED.
THE PROPOSAL USES THE CUBE AS A UNIVERSAL FORM TO EXCITE PUBLIC INTERACTION, GENERATE CONVERSATION, IDENTIFY THE SITE, AND PROVIDE ALL USERS WITH A SENSE OF LOCATION. MORE THAN A CHALLENGE TO ENVIRONMENTAL SUSTAINABILITY, THE DESIGN SIMULTANEOUSLY QUESTIONS THE IDEA OF SUSTAINABILITY AS A WHOLE. IF ARCHITECTS ARE TASKED WITH DESIGNING TO SUSTAIN RESOURCES, SHOULD THE RESPONSIBILITY NOT INCLUDE SUSTAINING THE VERY USERS THEY ARE DESIGNING FOR?
IN WHICH CASE, THE IDEA OF SOCIAL SUSTAINABILITY MUST BE A REALITY WHERE THE CULTURE AND SOCIAL ENVIRONMENT THAT WE ARE ALL A PART OF MUST BE UPHELD. THIS IS NOT TO SAY THAT SOCIAL SUSTAINABILITY IMPACT ON A PERCEIVED ZEITGEIST OF THE PRESENT-DAY. IN THIS WAY THE PROPOSAL PROVIDES THE FESTIVAL WITH A PLATFORM THAT ENCOURAGES INTERACTION AND EXPLORATION AS A PROATIVE STEP TOWARD SOCIAL SUSTAINABILITY.
Team Members: Jesse Liaw, Naomi Patel, Saif Haobsh
The Shaykh Najjar Industrial Zone, located in Aleppo Syria was initiated in the late 1990’s as an infrastructural framework to foster the future development of Syria’s industrial growth. In 2011, geo-political issues sparked civil unrest leading to the demise of a once flourishing city. Severe damage to buildings, severed business relations, crippling unemployment, and diminishing industrial output has resulted in a widespread collapse in economy.
There is an apparent urgency for a strategy that seeks to mitigate and reverse the conditions plaguing the city. This proposal approaches the site by extrapolating untapped resources that can initiate a revitalization plan. Intervention is chosen at the threshold in which urbanity meets industry. Borrowing from the idea of crowdsourcing, the proposal intends to obtain materials, labor, services, ideas, processes, and contributions from the highly undefined displaced populace. This process is called crowd[re]sourcing.
With infrastructure at the heart of industrial performance, the first resources are obtained from building materials. With 89% of private buildings damages in Shaykh Najjar, recycling and downcycling building materials serves as the reemergence of the building industry for the construction of interim modern souq. The souq positions production at the level of the market for an immediate economic engine. Souqs are zoned according to essential categories of industry to encourage competition and fair transactions. Micro-factories and facilities are woven into the market fabric to encourage a “make-sell” attitude for the delivery necessary goods and services. Opportunities are provided for the unskilled inhabitants through training and workshops for strengthened labor resources, further aiding business endeavors.
The post-Civil War proposal understands the importance of community in an industrial setting. Social spaces are provided encouraging activities, social interaction, community gathering, and grassroots democracy. Various stakeholders are considered as constituents of the future industry of Aleppo. Negative implications of industry in an urban context are mitigated through bioswales and sound attenuation barriers. Pollutants and chemicals on impervious surfaces are filtered and collected through vegetated areas. Downcycled concrete contribute to barrier systems that offset sound pollution into residential areas.
Sandu’ao is one of the China’s largest aquacultural floating communities living on the sea. Located in the Fujian Province, the self-sustaining village was established on the economy of fishing and ocean farming. The vast network of cages, platforms, houses, and nets are built with salvaged pontoons, bamboo, wood, wire, and plastic. Located in in the Sandu Bay, the infrastructure of the villages is safe from any open sea waves floating in any change of sea level. Seasonal typhoon cause little damage on the fish farmers allowing them to quickly repair and continue on with their trade.
The most cultivated species is the abolone, a very rich and desirable delicacy in the global market. Seawead and kelp are grown on strung buoys that are harvested to feed the abalone. Daily lives of the aquaculturalists are spent entirely on the bay creating a very apparent work-live scenario.