Derived from parallel literary and programmatic studies, this scheme for the Hans Christian Andersen Museum is a flexible, non-linear presentation of the writer’s life and work.
We identified, analyzed, and categorized major themes and motifs of all fairy tales of HCA that have been translated into English. This analysis yielded a series of recurrent literary techniques, objects, and characters, which we quantified as a table illustrating the chronological development of his storytelling. The stories are catalysts for the crafting of physical experience, sequences of events both interior and exterior, architectural and landscape.
Building shape is derived from a tracing of a Marguerite Daisy. Spoked in form, the “petals” of the structure define zones of the site. The Northwest corner of the site a plaza opens to the new blocks of development on the former Thomas Thriges Gade, inscribed by two wings of the museum programmed with public function. Civic space transitions into the southwestern corner of the site, bordered to the west by the light rail and a stairwell ascending from the parking lot below. The Tinderbox and Workshop hover over this civic ground. On the east, and between the Memorial Hall and the new structure, a garden of flowers and birds lends quiet and interiority. The exterior materiality is derived from recurrent motifs in Andersen’s stories. Mirroring, color, and darkness pervade many of his tales, and these are manifested in a combination of wood and colorfully reflective metal on the facade.
The museum’s interior spaces embrace subjectivity, and visitors must be able to garner, through programming, the opportunity of multiple readings. From scholarship of HCA’s writings and the appearance, re-appearance, and disappearance of certain themes and motifs, this museum is to be re-programmed over time. As scholars reveal new understandings, Andersen’s life and life’s work will become accessible, presented in thematic, as opposed to chronological, methods.
Completed in collaboration with Kate Bernheimer and Sarah Minor, researchers.
Located in the City Point project in downtown Brooklyn, this office for Art Partner, a fashion photography agency is a minimal, open, and airy arrangement of work spaces. Design was driven by a demand for mute, bare surfaces for the display of archiving materials and art from the collection of agency talent.
A dropped white metal grid at the ceiling of the space creates a datum line that permits perception of the overall height of the office (the existing ceiling is 17' tall) while shrouding a vast array of mechanical, electrical, and lighting systems.
Peloton is a start-up fitness company establishing a flagship space in the Chelsea neighborhood of New York City. Containing a storefront retail shop, a lounge for Peloton members, a cutting-edge broadcast and participatory spinning studio, and locker room facilities, this space is the nerve center for the company's worldwide transmission of spin classes. Remote users can take live or recorded classes, airing directly via the internet from the Chelsea location.
The Peloton cycle itself integrates a 22" PCAP multi-touch screen, providing live feedback along with a socially networked fitness experience.
Architectural elements within the store, lounge, and studio, are derived from the geometries of cycle design. A screen wall made of milled wood columns provides teasing views into the lounge space, and a series of compressing elements act as thresholds between the storefront space and the more private, exclusive club beyond. A map of the world (designed in collaboration with Dungjai Pangauthaikan) made of laser-etched steel receives colored magnets indicating locations of Peloton cycles around the globe.
The BAM North Site II will be a mixed-use, mixed-income building in the heart of the Downtown Brooklyn Cultural District. The building, to be called “EyeBAM,” will be home to Eyebeam and Science Gallery–bold new cultural uses that will enrich and diversify the district with a focus on the intersection of art, science, and technology. Above will be 109 affordable and market-rate apartments in the 12 story structure. The mix of apartment units will accommodate a range of modern urban households and include 40% affordable and 60% market rate units. Each unit has been carefully laid out to create light filled spaces with high-quality finishes and thoughtful furnishing options. A rich array of social and amenity spaces enhance the residential experience. Extensive glazing at the lower floors highlights the cultural components and activates the pedestrian experience. In-set balconies and double-height terraces articulate the upper base and tower. The building is designed to meet or exceed Enterprise Green Communities and LEED Gold criteria. The result is a dynamic form that reflects the truly mixed-use program and creatively expressing the arts and cultural district. This project is being developed by Jonathan Rose Companies and has been designed in association with Dattner Architects.
Replacing a house damaged by Superstorm Sandy, this new home is composed as a series of minimal, gabled structures split apart by an interior garden at the core of the ground floor. As a contrast to the more ornamented houses in the neighborhood, the design is intended to be a more simplified, desaturated version of a traditional gabled house, segmented into unique pieces that surround a small, exterior void filled with plantings. A street-facing garage is distinguished by white brick, topped by living space on the second floor. The volumes of the house are wrapped in whitewashed cedar siding in shiplap pattern.
Facing Jamaica Bay, the rear of the house is oriented with its wide face to the water. The main social space of the house, an open kitchen and living room,flows out to a swimming pool and deck at the same level. This deck is clad in weathering steel.
This house is currently under construction and will incorporate geothermal heating and cooling with radiant systems along with sustainable FSC wood for framing, flooring, and siding.
Home of the Future
Designed as a temporary, low-cost, five-day installation for the website Gizmodo, the Home of the Future was designed as a series of domestic-scaled containers for new technology and domestic items that will impact our day-to-day lives. Four rooms sit on a plywood platform, all built in two days. Each room is based on the scale and proportions of domestic spaces of mid-century Sears catalogue houses, a prior paradigm of the American home. Sleeping, cooking, working, and social areas are each housed within a translucent and luminous box made of off-the-shelf wire fencing wrapped in canvas mesh. Circulation space occupies the gaps between rooms and spills out to the gymnasium beyond; these gaps were used for a series of public discussions related to the future of our cities and related burgeoning technologies.
LED lighting embedded within the channels of the fence structure and projected lighting from outside the rooms allowed for programmed changes to the overall transparency of each space. The changing levels of light and varying direction of that light also created an amibiguity between inside and outside, public and domestic.
A weekend retreat for a family in coastal Rhode Island, Quonochontaug House is organized around an open-plan ground floor punctuated by a series of double-height skylit spaces that progress from entry to bay view. The skylight volumes, which alternate around an east-west axis defined by the pool terrace (to the east) and the ocean (to the west), taper at their apex to the dimension of standard skylights, which provide shifting and ephemeral natural light patterns throughout the day, varying across seasons and changes in the sky and weather. The largest of the volumes, situated over the kitchen and the living room, is provided with two skylights, producing diverging pyramidal forms that add to the unexpected quality of light. The outdoor deck on the water-facing side of the house contains its own double-height space that is open to the sky.
The second floor is supported, volumetrically, by a cluster of plywood-clad shapes on the first floor containing building services. The second floor is a simple series of bedrooms distributed around the skylight volumes which extend upwards from the first floor.The master bedroom is surrounded by windows on three sides, with an expansive view of the water.
The exterior of the house is clad in Shou Sugi Ban, custom-milled slats of cypress which have been charred and oiled. These slats, which require virtuatlly no maintenance over their lifespan, create a stark contrast to the light-bathed interior of the house. And, the deep shape of the slats contributes to a shimmering dematerialization of the edifice’s corners. The entire composition of house and garage blends into the site through the expansion of an existing informal English garden complemented by native coastal plantings.
Greg Jackson Center for Brownsville
The Greg Jackson Center for Brownsville is an 18,000 SF community hub for an economically challenged but vital Brooklyn neighborhood. Occupying an existing medical center building and the adjacent parking lot, the project will house a new community center as well as offices for three community-based non-profits and a flexible workspace for local entrepreneurs.
The ground floor community center acts as the public heart of the building, housing a cafe, performance space, and community garden in lieu of the former parking lot. New glazed openings on the facade of the building serve to connect the interior programs to the garden, effectively doubling the size of the community center during warmer months. A new canopy structure extends from the garden and in through the cafe, popping out again in front of the building as an entry canopy, unifying the entire composition and providing a visible identity for the hub as a whole.
The shade structure and fence will be made from a metal screen with a custom waterjet-cut perforation pattern that at once allows maximum visibility into the garden and becomes part of the identity for the center and its inhabitants. An existing window opening at the fourth floor, which houses the main offices of the Brownsville Partnership, the non-profit that runs the center, is expanded and given a similar material treatment to the canopy to signify its connection to the ground floor programs.
BA is providing full architectural services to the project, from programming to execution. The rehabilitation of the century old building required substantial pre-construction investigation and coordination. In addition to design, the project’s scope included the development of an intricate phasing and approvals strategy to meet the client’s space needs and financing capabilities.
BA was also charged with the design of the offices for the Brownsville Partnership. Using a palette of cost-effective, yet fun and tasteful materials, a narrow floor plate with little natural light will be transformed into a clean and active collaborative work environment. BA has proposed expanding one of the windows along the south facade both to allow more light and to provide a beacon to the neighborhood signaling the connection between the fourth floor offices and the ground floor community center.
The floor plan allows easy and open circulation from the front office space to the back, while allowing for needed privacy and security from the building’s main circulation core. The materials selected for the floor provide an element of warmth and softness in various forms, from oak flooring to colorful homasote and markerboard walls that allow the occupants to reclaim those surfaces as their own.