This invited competition design for Syracuse University consists of a football practice facility along with a larger strategic masterplan for the Lampe Athletic Campus situated about 3 miles south of the Main Campus. The site in its current state is an array of various athletic fields and parking lots situated between a residential neighborhood to the West and the Manley Field House to the East. Our design seeks to create an identity for this new "middle campus" by making an assemblage of disparate buildings into a strong collection. The spaces between the buildings are differentiated with separate vegetation zones and ground surface treatments that reinforce this sense of place and identity and establish the area as a social space for students and student-athletes. Vince Lombardi said that "Practice does not make perfect. Perfect practice makes perfect". For the football practice facility, we designed the building to create an environment that would enhance the practice session. Composed as a highly regulated and repetitive structure, all systems throughout the facility are deployed in the service of order and conceived to reinforce a sense of regularity and consistency. Column bays and light queen post trusses occur every ten yards, in alignment with the field landmarks. Translucent wall panels provide a well-lit neutral background and day lighting to minimize energy use. The base of the building is formed from precast concrete panels that are cast with patterned dimples of embedded footballs.
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 ocean view. The skylight volumes, which alternate around an 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 and across seasons and shifts in the weather. The larger of the volumes, situated over the kitchen and the living room, are provided with two skylights, producing diverging pyramidal forms that add to the unexpected quality of light. The outdoor deck on the ocean side of the house contains its own double-height space that is open to the sky. The second floor is supported by a cluster of plywood-clad volumes on the first floor containing building services. The second floor contains a series of bedrooms distributed around the skylight volumes coming up 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 dark-stained cedar battens which create a stark contrast to the light-bathed interior of the house. The depth and shape of the battens contribute to a shimmering dematerialization of the corners. The house, situated on a long narrow lot facing a coastal pond, frames a pool terrace in conjunction with a 2-story garage building with a loft above. The entire composition blends into the site through the expansion of an existing informal English garden complemented by native coastal plantings.
House of Fairy Tales
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.
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.
BAM North Site II
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.
A gut renovation of an apartment located in a landmarked loft building in Tribeca for a young family. The apartment is organized to create a dramatic and open loft space for cooking, eating and entertaining while accommodating 3 bedrooms and 3 bathrooms. The historic structure and perimeter walls of the former building are exposed, stripped and whitewashed to contrast with new design elements that are inserted. The main living space of the loft contains a large blackened stainless steel island and 2 cerused white oak cabinetry elements that anchor the space and define spatial and programmatic areas. The clean and minimal language within the apartment is balanced by the rich material palette that unifies the spaces and gives the apartment a sense of order.
Photos by Aaron Forrest/Bernheimer Architecture
(Malin+Goetz) is a New York-based skincare and perfume line that creates modern, unisex products for hair, body and skin. Their existing retail stores in New York reflect a modernization of traditional neighborhood apothecary concepts that create a distinctive, elegant and unique experience for the customers. For their first Los Angeles store in historic Hancock Park, we organized the space to highlight and showcase their product in various ways. We developed a custom shelving system that is precisely calibrated to the proportions of their product and allows for very deliberate display as well as the ability for flexibility. That system is continued on the opposite wall with a recessed niche within a series of panels that are milled with the "shelving" pattern. In addition to the shelving, an antique millner's table anchors the space and provides additional merchandising opportunities. For the exterior, BA created a very minimal and clean facade with a large glass opening within a white solid surface threshold and a small display niche.