Amanda: Schematic Peer Design Review

This project contained work by both Amanda Rigoni and Natalie Hetu. 

Photo Credit to: Diller Scofidio + Renfro Official Website

Personal Critique: 

Amanda and Natalie’s project concept is called “the connection,” but I think this label needs to be more specified. The idea is that there are 2 paths, one on the ground and one above; the ground plaza, and the sky path. The ground plaza contains the market, subway, and gallery, while the sky path holds apartments, daycare, parking, and offices, all more private. The paths travel diagonally across the site, creating an X, and where they cross is a public space containing the gallery, theatre, and studio spaces.

Admit-ably, their concept was rather unclear, in that it wasn’t as much a concept as it was a formal move that defined the block. I think this makes it hard to make smaller decisions as you progress in your design, so Amanda, you should consider going back and defining a clear reason for why this formal move should happen, so it can fuel the rest of your project. Possibly backtrack and find a question that your project is the answer to so that your design decisions become the solution.

Your visual representations of your project were a contributor to this confusion – Because there was not a main feeling or direction you were going for with your concept, the drawings and model became hard to relate to each other. Once you have that concept nailed down, you should be trying to express it in every single drawing, so that the main idea can be seen in every one. The model also, should be a lot clearer, simply because this project has so many elements and it is hard for critics to process all the details you are going over as a whole.

One of the critics said to beware of where the public can and can’t go. I agree with this in a lot of ways – whether you’re trying to bring people in from all over or produce a community based block, public circulation is one of the most important things to consider anywhere, especially when designing in a city. There needs to be a clear path of circulation that the public knows they’re allowed to be in/on. Your project thus far confuses this a bit, because all of it seems private to me. I’m not sure exactly how your picturing the market, subway, and gallery entrances, but I think they should interact a lot with the public circulation path and the ground plane, since you are defining that plane as a purely public one.

I think you guys have an interesting project in terms of your ordering of it – you have clearly imposed a hierarchy on where each element should go. This could be a major factor in reworking your concept, as you have clearly thought through why things should be where they are. I’d say stress that hierarchy more – make it more obvious in the design and in the graphics. It’s a very interesting hierarchical system; you guys have made the theatre is the focus point, and the most important element in the site. To me this means it needs to have a really awesome architectural element that draws people to it, and makes it worthy of all that attention. I think you have started to do this by making it a floating theatre. And I think this idea of ‘floating’ fits well with the other elements, as you have organized them by the levels that they should be on. Maybe this theatre is miraculously floating over nothing, which makes it very special, while everything else is confined to its own specified layer.

The theater, being your main element, should be what gets the most public attention and public traffic. At this point, its centrally located gallery space that is meant for public traversing is a bit hard to get to. You have to enter it through the side and through another building. If this is your big public space, it should have a substantial entrance that is very penetrating, that makes people want to move in and out. Also, since it is a theatre up above, a question arises about how important it is for the theater to have a great view of the bridges and downtown Manhattan. Personally, I think you can design it so that the view is not ignored while the theatre is still controlled. Dancing above the city seems like a whimsical kind of feeling, and I think keeping that in your project is going to give that building a really nice relationship to the rest of the city.

Look at the new building being made in Boston, the ICA, by Diller Scofidio + Renfro. It encompasses both of these ideas you are working with, an enticing public entrance below and a floating theater above. It really does this well and keeps with that whimsical feeling I think you guys should continue with.

As a presenting side note – Amanda you need to speak up more and defend your project! You guys have thought about it and I know you have reasons for your design decisions, and when you don’t defend them it makes it seem like all of your choices are arbitrary! I know this can be really hard to do during a crit, and I struggle with this a lot myself, but I’m trying to work on it because I have noticed in others and my own crits that when you turn a critique into a discussion rather than just a reprimand you get much better feedback and solutions 🙂

Critique of the Critique:

Amanda’s critics were Reggie, Christine, and Nat. Reggie wanted to see more cohesion between the drawings, as their inconsistencies made it hard to see your concept through them. Nat thought that you had a lot of fascinating moments, like the floating theater, but the idea of ‘connection’ was not enough of a concept to fuel the rest of your project. He suggested if you edit the formal strategy, and simplify it, then you can add complexity through details. But the complexity of the theater stands out and is important to your project as a whole.

The section was very well received – it showed how the public space has the potential to be a really exciting place. The lower spaces with hovering spaces above are really interesting. You need to activate the space for it to work however, and make it more interactive for the public who will be using it.

It was also suggested that maybe the x isn’t as clear and straightforward as you are showing it to be. Maybe it is shifted, maybe it has a different diagrammatic form, so that it is more site specific or more tailored to the needs of the immediate users in the community.

Liberating Space

Liberating Space: Schematic Design Review
Designer: Valerie Alvarado

Valerie, working in a team with Steph, stated her intentions to create designated outdoor spaces for private and public function within the first moments of the presentation.  Their primary formal moves derived from historical geometries found in Dumbo.  Maps dating back to 1827 showed a road that transversely cut the site in half.  While the diagrams highlighting the road made the intentions clear, I found that the use of a undistinguished 1800’s street as the driver of the formal logic to be a bit arbitrary in connecting with the current tech-infused population that occupies Dumbo today.

Continue reading Liberating Space

Schematic Design Review: Alice Stewart-Castner

Alice’s schematic design focused on a missing link beyond the Dumbo area that connects the historic naval shipyard and the developed commercial area. She modified her site with a stretching diagonal from the corner of Front and Jay Street to the opposite corner of Bridge and York Street. While a diagonal is the most immediate and effect way of reaching the opposing corners it ignores the apparent grid that exist in New York. Continue reading Schematic Design Review: Alice Stewart-Castner

Architectural Critique: Lili Alali & Eun Jae Baek

Image credit to Gigapan and Time Magazine 

September 11, 2011 was a day that will be forever etched into the nation’s heart, but the impact resonated worldwide. The debate whether what should replace Ground Zero was that of a fierce one. There were various point of views from all sides, it wasn’t possible to please everybody at such scale. Daniel Libeskind, an American architect won the competition and took it up on himself and his workers to fight the uphill battle and establish the new World Trade Center. Libeskind knew it was not going to be easy, but he always remained faithful to the project and his workers.

I admire Libeskind’s tenacity to deflect all sort of media blitz and angry citizens, it must have been difficult for him to complete the project with that much pressure. It is the architect’s ultimate challenge to design a space that represents tragedy of that scale, and to execute it well there is only so much he could do – he simply cannot please everybody. The world needs to understand that everyone has their own opinions, especially in America where literally everyone is wired with different thoughts and public opinions could not be more divided. Give the man a break as I believe he did an outstanding job and when I visited the site, the memorial made a huge impact for me personally, and there was an absolute silence, which proves that the memorial expresses its might to everyone visiting it. I also hope that the commercial buildings around the memorial will attract businesses and flourish again like it was 2001.

In the other hand, Frank Gehry refused to submit a proposal as he thought it was demeaning for architects that they were only paid 40,000 dollars for their efforts. The amount insulted Frank Gehry and he believed he was worth a lot more than that.

From my point of view, I agree with Gehry because if you’re an architect that famous, then you would already have a strong client network and accepting the proposal will downgrade you. Its not about the money as Frank Gehry will have plenty of that, but if a person is going to ask me to submit a project, at least treat me with respect.

Eric Sutherland gave a lecture and talked about his experience with the World Trade Center. What I understood was that it wasn’t easy at all. There were many complications and an enormous amount of work. People can’t expect architects to invest a huge amount of work and energy and then earn nothing. Frank Gehry said, if you’re an architect, you’ll understand what he means by putting in time and effort. I’m saying this as a student, and what will happen when I’m exposed to the real world? I don’t object to Gehry’s reasons, if he thinks that 40,000 is not enough, then it’s not enough.

Will you agree to work with a client with low commission? A client, who will drain you, but won’t pay you for the effort you put into the project?

 

Link to the presentation:

https://docs.google.com/presentation/d/1jb9UIipTLPBi5p2-z42AowykerkEN1-tPNVQYrADVkM/edit#slide=id.i0

Schematic Design Peer Review: Hajir

Note: Because Hajir and Selina are working together on this project, it isn’t clear where Hajir’s work ends and Selina’s begins, so I’ve decided to discuss their entire combined critique.

Hajir and Selina began their review talking about how their site reflects the connection between Brooklyn Bridge Park and the Navy Shipyard. Though this thought may have been the starting point for many of the design decisions made, I think that the project presented on Monday is no longer about that link. “The Link” is also the title of this project, which again, seems to no longer fit the project. The two presenters spent the most time in their review talking about the horizontal layers that designate programmatic uses. The diagrams they created that showed this use distribution were great, using color and clear graphics to show how they have begun to shift the layers and wrap them around the corner in order to create more interaction between the layers. Continue reading Schematic Design Peer Review: Hajir