Aas Workbook
Aas Workbook
INTERIOR DESIGN
Work 2009
Volume 3
WORK BOOK
09
Parsons AAS Interior Design Volume 3
PARSONS AAS INTERIOR DESIGN | VOLUME 3
WORK
HEALTH MATERIALS FEATURED FACULTY
06 - 57 58 - 85 86 - 99
09
BOOK
FEATURED ALUMNUS SELECTED PROJECTS FACULTY LIST
100 - 105 106 - 129 130 - 132
Dean of the School of Constructed Environments
WilliaM Morrish
JOHANNE WOODCOCK
section contains the AAS student project published. I was constrained to limit the
submitted to the annual Dining By De- presentation to six provocative projects
sign Benefit, and two student abstracts. resolving three separate set of problems.
Featured Faculty
This years Featured Faculty looks at The goal of this publication is to encour-
a selection of projects by Antonio Di age the students, faculty and alumni to
Oronzo, who is the founding principal of share their design work with each other
BLUARCH. This past year, Antonio won and with professionals and interior de-
an IIDA Design Award for the first LEED sign enthusiasts outside the program.
certified nightclub Greenhouse.
I want to thank the faculty of the AAS
Featured Alum Interior Design Program, a faculty
formed largely of design professionals
The Featured Alum this year spotlights who take precious time from their prac-
the work of Alejandro Barrios who, after tice to focus on the growth of the next
completing the AAS program in 2000, generation of professionals. Their work
has completed over 30 restaurants in is truly inspiring.
Venezuela where he has his own practice.
Selected Projects
Chemotherapy ClinicS
Ingrid Gil Keil / Laura Malpero / Tiffany Willson / Caitlin Krause
HEALTH
FUNCTIONAL RESTORATION:
8
Architecture can be observed both from a distance and internally (close-up); we can
become internally ingested by it, become part of its interior. Instead of just being
an outside observer or an outside spectator, we can become part of its very interior
organism. We become physical-organic participators; we become enclosed. Architec-
ture is the only art form that affords us the opportunity of being voyeurs who watch
the outside from the outside, the outside form the inside, and the inside form the
inside. It is all made up of a series of outside fragments and inside fragments.
(from The Flatness of Depth by John Hejduk for Five Architects by Judith Turner)
Previous College MFA, Columbia University , Arts Administration & BA University of Utah
Design Faculty Aslihan Demirtas Digital Faculty William Ngo
My prosthesis is a physi-
cal embodiment of an
imaginary corporeal aura
that surrounds our body.
This embodiment was
imagined to be like the
carapace of a turtle or a
crustacean. I took the in-
terstices of the carapace
and gave them a physical,
hard line form, making the
remainder of the shell into
a void, giving it transpar-
ency. This created a free
form net or webbing that
covered the body.
18 C atharina R isberg
20 C atharina R isberg
21
Prosthesis / CLINIC / STUDIO 2
22 C atharina R isberg
23
Prosthesis / CLINIC / STUDIO 2
24 K im M itchell [email protected]
The Best Spot Around...is You. A. Hardwork surface with gripping soft
surface for editing, reading, writing
Protected, functional and flexible personal B. Lights highlight work area and
space creates soft boundaries providing movement path in dark
safe movement and adjustable cushions C. Lights signal wide load
for comfortable body position.
D. Straps work as holders
E. Seat for sitting, stillness, relaxation
F. Two adjustable, deflatable boundary
cushions for safe movement & multiple
positions like learning, sitting, sleeping
while sitting
G. Protective deflatable balls at key
prone bumping areas and hips
H. Gripping surface acts as carrying
assistant
I. Supplies carrying case connects to
handle under seat
J. Mirror provides rear viewing
K. Movement accented by bell sounds.
L. Scent follows movement &
enhances relaxation position
25
Prosthesis / CLINIC / STUDIO 2
26 K im M itchell
27
28 K im M itchell
29
Prosthesis / CLINIC / STUDIO 2
Previous College BA, State University of New York (SUNY), Binghamton Italian
BS SUNY Management MIS
Design Faculty Aslihan Demirtas Digital Faculty William Ngo
32 J ulia S alerni
33
Prosthesis / CLINIC / STUDIO 2
34 J ulia S alerni
35
Prosthesis / CLINIC / STUDIO 2
Previous College BA, Southern Methodist University, Journalism, Minor: Studio Art and Spanish
Design Faculty Aslihan Demirtas Digital Faculty William Ngo
37
Prosthesis / CLINIC / STUDIO 2
38 T rish I reland
39
Prosthesis / CLINIC / STUDIO 2
40 T rish I reland
Chemotherapy Clinic
42
The premise of the studio is that in- Finally, the students were asked to pro-
novation in this project occurs primarily pose strategies that will alter the current
through transformation of the chemo- experience of chemotherapy treatment.
therapy experience. The students were For the midterm, the focus is on the
asked to do a case-study analysis of an design of a prototypical experience of
experience based on Nathan Shedroffs the treatment room at the scale of the
definition of the word, which reads Ex- human body. The final presentation
perience is the sensation of interaction will show how the prototype unfolds
with a product, service, or event, through to create an experience specific to the
all of our senses, over time, and on both Atlantic Avenue site. Their presentation
physical and cognitive levels. The bound- must convey both the emotive, affective
aries of an experience can be expansive qualities of the experience as well as
and include the sensorial, the symbolic, the measurable, scaled properties of the
the temporal, and the meaningful. Also spaces and objects.
required were evidences of John Maedas
Laws of Simplicity from his book The
Laws of Simplicity (Simplicity: Design,
Technology, Business, Life).
CHEMOTHERAPY CLINIC / STUDIO 2
46 I ngrid G il K eil
52 T iffany W illson
53
56 C aitlin K rause
57
MATERIAL
2010: DECADE OF DESIGN
SARAH ROBERTS
AUDIBLE LIGHT
Hye Yeun Lee
COLOR MAYHEM
Mary Davis / Ting CHANG / TRUDIE CUNNINGHAM / SHELLY LYNCH-SPARKS
GREEN DESIGN
MARY DAVIS
60
2010:
The decade of design
S A R A H R O B E RT S [email protected]
SPONSOR International Interior Design Association (IIDA)
Ive always wondered if you can feel driving us to renew old resources, 2010
history in the making. At any point and the decade to follow will need to
marching alongside Martin Luther King answer to new demands of practicality.
Jr. did someone briefly hesitate to freeze
that moment in time? Or give himself a The role of interior designer must shift
quick pinch during Jimi Hendrixs Star accordingly, moving from a luxurious
Spangled ballad at Woodstock? Call it entity to a necessity. With shrinking
a passive twenty five years, but in my corporate budgets and a nearly stalling
lifetime I could probably count on one housing market, the temptation to push
hand the events that warrant recounting off design is undeniable. It seems an
in our grandchildrens history classes. obvious second to basic infrastructural
Up until now. necessities. But its a dangerous game to
ignore design.
In the past year we have seen a female
and minority candidate in the final Ive always thought the power of design
showdown for the presidency, a total is best summed up by New York Citys
housing meltdown, a rapid push to en- notorious tactic used to clean up the
vironmental sustainability, and the most crime ridden subways of the 1980s.
enveloping and pervasive economic
Passengers commuted in dismal graffiti
turmoil in most of our lives. It has been
covered subway cars among pick pock-
a whirlwind of progression, surprise and
eters and drug dealers. Tourists stayed
humility. Our long lived comfortable and
away. The subways were generally
privileged norm is being turned on its
feared and avoided. For decades, the
head. It eerily feels a little like history in
New York City police sought in vain to
the making.
stop the criminals who had acquired de
In times of economic and political facto control over the subways.
change of this magnitude, cultural shifts
Eventually, the impetus to restore order
invariably follow, spilling big implica-
in the subways drove the city to a new
tions into the world of design. With our
and totally unfounded approach: to
First Lady famously donning the ultra
tackle crime from the design up. The
attainable clothing of Ann Taylor, and
city laid out a simple but firm mandate:
dual environmental and economic forces
We must dutifully advocate the 61
each and every subway car must be kept rights and JFK that moved us away
clean of graffiti. It was a simple move, from neutral wood interiors to bright
but one that effectively tackled the bold colors and the iconic furniture of
slippery slope of perception one where Verner Panton. It was the air of rebel-
graffiti equaled rebels, rebels equaled lion against Vietnam and Nixon that
chaos, chaos equaled crime, and crime paralleled the introduction of the ball
kept passengers away. By taking out the chair, shag carpeting and all things
graffiti, the far removed but connected transcendental.
act of crime was taken out too. In short
time the stations were almost com- Society and design are deeply inter-
pletely free of crime. A tactic as simple mingled units thriving in osmosis.
as cleaning up the stations had proved Just as the world of design reaps the
its ability to change a perception strong benefit of stimulating societal change,
enough to cement change. society reaps the benefit of stimulat-
ing design. History is most definitely in
In the current global atmosphere, the the making for the design world in the
role of designer exponentially grows in decade to come.
importance. We must dutifully advocate
the need to push forward with progres-
FIRST PRIZE
sive design. We are the ones who must
convey the need for work places to Decade
remain stimulating, residences comfort-
able, and public places commanding
oF DESIGN
AWARDED BY
and orderly. For all intent and purposes,
THE IIDA
we will need to become the protectors
of design.
AUDIBLE LIGHT
62
H Y E Y EU N L E E [email protected]
Faculty ADVISOR Randy Sabedra
FIRST PRIZE
WINNER OF THE
IESNYC
NINth ANNUAL
STUDENT DESIGN
COMPETITION
DIFFA, DINING BY DESIGN BENEFIT
Color Mayhem
64
Design Industries
Foundation Fighting
AIDS annual (DIFFA)
DINNING by DESIGN
(DBD) brought together
some of the most
talented and celebrated
individuals in the
worlds of fashion,
interior design, art and
architecture to create
spectacular, over-the-top
dining environments.
The Starter Kits began unbeknownst of five interior design students. While
to the founders in April 2009, while the group did not take first place, the
most of the members were in their experience of collaborating struck them
final semester at Parsons. With only as an exciting opportunity and by June
two months of school remaining, Erika 2009, joined by fellow Parsons alum
Everett, Evelyn Lee, Mila Ducheva, Shelly Lynch-Sparks and computer
Tanya Beuyukian and Stephanie Luk de- scientist, Charles Logan, the group of
cided to join forces and enter a design seven established themselves as The
competition. Little did they know that Starter Kits. Their official mission is
this endeavor, Urban Re:Visions Dallas to re-think existing concepts and
project, would be the first ripple in what structures and to connect people with
has evolved into an award-winning, non- new resources and ideas geared toward
profit organization and design firm. bettering their physical environment
and general lifestyle.
The objective, to sustainably design an
entire city block in downtown Dallas, With the advice and support of Johanne
was a formidable challenge for a team Woodcock, Dr. Mitchell Joachim and
67
Phillipe Bauman, The Starter Kits de- On October 21st, 2009, just six months
cided to continue to enter competitions from their initial competition discus-
as well as to develop a flagship product, sion, The U.S. Green Building Council
a neatly boxed package of every day (USGBC), in concert with the American
domestic products that are the most Society of Interior Designers (ASID),
environmentally responsible items on named The Starter Kits the winner
the market - and some created by the of the first Sustainable Suite Design
group to fill a void in the market, meant Competition in the Student and Young
to replace the environmentally damag- Professional category. Their winning de-
ing items that currently line cupboards sign, Front Street Hotel in Brooklyn, NY,
worldwide. By focusing initially on retrofits an existing building into a sleek,
young professionals in metropolitan yet ecologically sensitive hotel.
areas, The Starter Kits seek to decipher
and disseminate information about
more efficient ways to live sustainably.
The Starter Kit is a neatly boxed package of every day domestic products that are
the most environmentally responsible items on the market - and some created by
the group to fill a void in the market, meant to replace the environmentally damag-
ing items that currently line cupboards worldwide.
USGBC ASID Sustainable Design Competition
I HEART DALLAS
At the core, our concept creates a dialogue with the people. Perceived boundar-
ies of space transform into a nesting ground of thought and wellness. Rather than
separation, exchange and connection multiply while awareness builds. Awareness is
vital. Without awareness, there is no dialogue, no interest and thus no involvement.
Even the ecological aspects- energetic autonomy, minimal ecological footprint, re-
circulated grey water and re-applied compost- serve not only to protect the future,
but also to provide jobs and build awareness of impact.
69
FIRST PRIZE
WINNER OF THE
USGBC ASID
SUSTAINABLE DESIGN
COMPETITION IN
INTERIORS
0 5 10 15
Sustainable suite
Located in Brooklyn NY, Front Street Hotel embodies an aesthetic of gritty elegance
that pays homage to the neighborhoods industrial past. Situated in a converted
warehouse, the sustainable suite allows guests to enjoy the stunning views of the
New York skyline on a private outdoor terrace or a communal roof garden and also
features two living walls. Upon checking in, each guest is given a starter kit which
includes walking activities and a pre-loaded/refillable Metrocard to encourage use of
mass transportation. An interactive channel on the television completes the experi-
ence by giving guests knowledge of sustainable features and ideas that will stay with
them far longer than the vacation.
ID CONTEMPORARY THEORY
GREEN DESIGN
70
Over the last 2 years in the AAS Most were not motivated solely by the
program, Ive learned several computer practice of sustainability.
programs like Adobe Photoshop, Au-
todesk 3dsMax and AutoCAD, and have Even more intriguing to me is how these
utilized the laser cutter to create ren- designs do not look old fashioned or
derings and prototypes of my designs. hand-crafted at all. They look con-
Ive also learned about many other temporary, modern, and are inspiring a
computer programs and processes that new generation of design proving that
designers use to create objects, such what we dream up can be produced in a
as the CNC Router, 3d scanner, and highly technological fashion; so can be
parametric modeling techniques which true when natural materials, and older
allow impossible shapes to be made techniques are employed. Because of
with highly engineered materials. And this, the designs are competitive with
though these are intriguing, important, short cycle design, and can help replace
and revolutionary developments; there a percentage of more toxic materials in
is also a high demand by our Earth and current usage, helping lighten our col-
by many people to utilize more sustain- lective footprint on the planet.
able practices as we design and build.
Several things are necessary for green
To conserve what we have; to create
design. First, items must take up a
fewer toxic and synthetic materials
smaller portion of the materials econo-
which are over consumed and dumped
my and be produced in smaller produc-
in short cycle.
tion cycles. With the industrial revolu-
In this paper, I have investigated what tion, large production facilities produced
designers are doing to enhance or cre- large quantities as a way of providing
ate a greener, more sustainable cycle; consumers with products. It soon came
and have found that many designers to be seen also as a vehicle for creating
look back to old techniques, some jobs and sustaining economic growth.
hundreds of years old, as precedent, The more goods produced and discard-
to create new innovative objects with ed, the reasoning went, the more jobs
natural materials. Many were intrigued there would be. But, as its been seen
and motivated to research techniques in the last 60 years, this is not environ-
and apply their artistic spin to them. mentally or even fiscally sustainable.
71
With the move away from the throw- niques in very new innovative ways.
away economy, people must Reduce, Using these techniques, are also quite
Reuse and Recycle. green. This is because of the choice
of materials, or means of production
One way to reduce is to produce less, employed; even though it may not have
or to produce things in smaller batches been the aim of the studio to do this.
rather than the mass-production
schemes. Each of the studios Ive Some of the most beautiful work I
chosen to investigate does this. Their surveyed comes from Callidus Guild, a
work is highly customizable, and they design studio founded by Yoland Milan
take commissions to make exactly what Batteau in Ft. Greene, Brooklyn. Cal-
is needed. From here they are able to lidus Guild designs and specializes in
mass customize, meaning they tailor a creating surfaces, what Ms. Batteau
product they initially designed differ- calls art for architecture. Many of her
ently, and fabricate just the amount techniques combine the use of natural
necessary for each specific project. materials like resin, marble powder,
This reduces waste by requiring fewer plaster, micaceous powder and pre-
raw goods to be used at a time, and cious metals like gold and silver leafs.
prevents having extra artifacts from She combines these ingredients with
the production cycle that exist without processes of adding and taking away,
immediate necessity to be used. Its tooling, burnishing several proprietary
also good because the products gener- techniques invented over the last five
ally have superior quality over mass years. Ms. Batteau says she was
produced items, because the batches inspired by Richard Serra to use fa-
are smaller and easier to supervise dur- miliar materials, using new processes,
ing the production cycle. The ability to and does this to create luminescent,
use sustainable materials is also much luxurious effects for wallpaper, murals,
greater, because sustainable materi- painted glass, and artwork.
als are generally available in smaller
quantities. One very old technique she employs is
encaustic painting, also known as hot
A common aspect of the studios Ive wax painting, a technique that dates
looked at, is that they use older tech- back to the 100s in Egypt, where they
ID CONTEMPORARY THEORY
72
74
when the import of dense tropical ity, when wood expands. It also has the
hardwoods allowed for extremely intri- advantage of concealing the end grains
cate joints to be developed. During this of the panel within the groove of the
period the combination of joints used frame, so that only the most attractive
in furniture making was almost infinite, wood grain can be seen.
with a particular joint being selected
based on its suitability to cope with the With the scrap pieces of wood leftover
stresses and strains that would be put from furniture production, Mr. Moyer
on it. produces Funk in Function Long-
boards, an old-school, solid-wood,
The mortise-and-tenon is one of the stringer-style skateboards. Through
most basic joints in Chinese furniture his very complete production of various
making. A tenon is a protrusion at the lines, he leaves very little wood to waste
end of one piece of wood, which fits furthering the sustainability effort.
into a slot, or the the mortise a cor-
responding cut out section in the piece Another way designers can help reduce
to be attached. There are many types of consumption is to design objects with
mortise-and-tenon joint, and to describe multiple purposes. Transformable
in the simplest manner, the ends of both furniture is a growing area of design
pieces of wood to be joined are squared. many are investigating. This presents a
paradigm shift for people to choose to
There is also the frame and panel utilize their space in the most efficient
system, used in cabinet panels, doors, capacity, by making the objects within
table tops and chair seats. The frame it multifunctional. Sofa-beds are just
is constructed using angled (mitred) one example of an object that has
mortise-and-tenon joints. A groove is been mass produced for many years to
cut around the inside of the frame and fulfilling multiple functions in a finite
the panel is constructed with a cor- space. Some designers are pushing the
responding tongue, allowing it to slot boundaries of design by expanding the
into the frame. This tongue and groove repertoire of multi-purpose furniture.
system secures the panel without using
nails and allows for some movement in Total Metal Resources is a design shop
the furniture due to changes in humid- in Brooklyn, which focuses on design-
Another way designers can help 75
ing, engineering and prototyping high- to plug our various tools for charge, and
edge, furniture, lighting, objects, and TMRs designers did an extensive search
environments. They provide detailed to find that no product like it was avail-
and hand-crafted solutions to everyday able. Pluggy also has a hidden cable
design issues, custom mixed-media management system and power source
fabrication, and UL listing services to which helps it aesthetically, whilemak-
designers, architects and contractors ing it fast and easy to get at the cable
with their commercial and residential ends to rearrange them when the need
applications in mind. Some of the arises. From their website: One of the
techniques they use for design are weld- solutions was to make the wire grom-
ing, fabrication, engineering, machining, mets a part of the design. The other
laser cutting, water-jet cutting, mold solution was to make a hinged tray to
making, lighting, underwriters Labora- manage the cables that can also hold
tory listing, patinas and special finishes. hard drives and any other corded object
They are able to do custom metal work that clutters the desktop.
for all types of fabrications utilize a
combination of new, traditional and Trudy Miller is a Brooklyn based archi-
forgotten metalworking techniques like tect whose design practice emphasizes
blacksmithing. They work in conjunction modular and customized design to re-
with glass blowers, glass casters, jewel- duce the waste and glut that is brought
ers, moldmakers and woodworkers to through mass production. One of her
make whatever can be dreamed up. prototypes is Live Work Play, a sofa
that turns into a desk and bench seat
A new double product they make is with storage. With dimensions measur-
nicknamed Pluggy, aka The Side Wired ing just 5 x 4, it would easily fit in the
Desk. This desk organizes all the visual tiniest of NY apartments, and creating a
madness of cords, power bricks, wires space that is truly able to transform to
and accessories that come with our the needs of its inhabitant.
technological lifestyles. With every lap-
top, monitors, hard drives and speaker She is among the small percentage
there is a cast of characters like the of architects who have branched out
power strip, and cables. Pluggy was to fashion to more deeply explore her
born from the constant needing we have design specialization. Most recently,
ID CONTEMPORARY THEORY
76
A Brief History of
78
Shipping Container
Architecture
Holly McWhorter [email protected]
Faculty Emily Abruzzo
Shipping containers of one kind or Malcolm McLean came up with the idea
another have been in use since human of a single type of metal container that
beings first began to transport goods would fit onto a truck trailer, train or
in bulk from one place to another. oil tanker, unopened, with equal ease.2
Any strong container would do, from He hired an engineer to devise a set of
a steamer trunk to a random wooden standard dimensions and markings to
crate, until the three primary modes be used on all shipping containers inter-
of long-distance transportrailroads, nationally, then proposed the idea to the
trucks and oil tankerscame about, International Standards Organization.
each developing its own type of stan- They approved it in 1968, along with
dardized container. Transferring goods structural features that would allow the
from one type of transport vehicle to containers to fit together like Legos in
another, however, was cumbersome, tall stacks, and large-scale global trade
with items having to be unpacked was able to begin.3
from railroad cars before they could be
loaded onto a ships, for example, and A standard ISO shipping container can
similarly unloaded piece by piece from come with any number of special fea-
a ship before being loaded into a truck. tures for specific uses, but the two stan-
And containers for the trains, trucks dard sizes are 8x20 and 8x40. Most
and boats of each different country had are 86 high, but 96 ones are not un-
different standard dimensions, mak- common. Many have built-in insulation
ing international trade that much more for transporting refrigerated goods, and
cumbersome. 1 most have marine-grade plywood floors.
4
China manufactures and exports more
In the mid 1950s, however, a truck goods than any other country, 5 and ev-
driver from North Carolina named erything they export travels in shipping
79
containers. This means that all the other
countries in the global trade system, the
U.S. included, import more than they
exportthus ending up with large sur-
pluses of empty shipping containers. 6
But even if that trade deficit didnt exist,
since a container can only go back and
forth a set number of times before it is
no longer considered structurally stable
enough for shipping, containers would
still begin piling up at their various final
destinations eventually.
80
least once, they are recycled materials of open-air tables or wooden stalls
that need little alteration for building similar to American newsstands are now
use; and because they can be so easily colonies of shipping container stores
altered for habitation in a factory and and micro-factories. A type of urban art
extremely easily transported intact to a form has even sprung up in the form
building site, they are the ultimate unit of business signage and advertising
for prefab constructionwhich on the painted on the doors of the contain-
whole is more sustainable than tradi- ers. Eastern Europe also has a number
tional on-site construction methods. of outdoor container markets, most
notably Ukraines 7th-Kilometer Bazaar
Though ISO containers made their (named for its distance from central
debut in the late 1950s, it wasnt Odessa), which is currently the largest
until the late 70s and early 80s that outdoor market in the world.
global trade really took off and unused
containers began to accumulate. Since Also in Africa and to a lesser extent
then, however, poor people have been in India and the West Indies, in recent
using them, more or less intact, as years, people have begun to alter the
rudimentary shelter all over the world containers for use as schoolrooms
mostly in third-world countries, but in and hospital clinics and wards.9 An
the U.S. as well, especially on Indian interesting aspect of this is the way
reservations. A door is either cut into a the containers are altered is often in
side or the existing doors at one end are line with the vernacular architecture
used, and a family or individual moves of the region. Some of these projects
right in. A lack of ventilation or light, are carried out by locals, but most are
however, makes this form of housing far spearheaded and funded by global
less than ideal. nonprofit organizations. Global Peace
Containers is one of the oldest of these
Minimally modified containers are organizations, creating simple schools
used as temporary worker housing in and community centers out of contain-
various countries in Northern Europe, ers in Jamaica and Haiti over the last
however, and throughout West Africa, 12 years. Containers are a particularly
raw containers are commonly used as appropriate building block in hurricane-
storefronts. Entire marketplaces that in and flood-prone locations like the Carib-
previous decades would have consisted bean because unless they are severely
81
damaged, they are watertight. Part of plexes are popping up in Europe, and
the reason these projects are more likely a complex of stacked live-work studio
to be initiated by people outside the Ca- apartments has been flourishing in East
ribbean is that the containers are con- London for several years now. A design
sidered ugly, and partly because islands group in Canada has even designed
in the Caribbean that tend to export small container sauna, and single-
a large amount of produce dont have container pop-up shops are being used
quite as many abandoned containers as marketing tools by big-name retailers
as places that dont export very much worldwide. 10
at allso the containers have some
(though not much) monetary value, and On the whole, prefab building of all
are not always affordable to poor and types is greener than traditional on-site
working-class people. construction techniques. Some kinds of
prefab are, of course, greener than oth-
The ugliness presumption, which is ersthe materials used, the degree of
hardly limited to the third world, is one insulation, the distance the components
that will be addressed by the simple or finished building is to be transported,
passage of time and by the growing body the type of water management and
of attractive container buildings being power options being offered, the price,
designed, primarily by young, eco-con- accessibility, final location, and the
scious architects in U.S. and Europe, for degree to which the building type en-
use everywhere. As more and more at- courages or discourages social interac-
tractive container buildings are built and tion are all factors, among others, that
seen by the general public, the assump- determine how green a prefab (or any
tion that a container building will neces- other) building is or isnt. But in general,
sarily be ugly will gradually fade away. the greenest aspects of prefab building
are that: 1) Making the components
In the meantime, containers are being of a building in a controlled factory
used for both mundane and ever-more- environment allows a greater degree
innovative purposes. A solar-powered of precision when it comes to material
emergency shelter called Future Shack, planning and use; 2) If the house is be-
by Australian architect Sean Godsell, ing mass-produced for individual orders,
made the rounds of design fairs a few pollution generated from transporting
years ago, and an army veteran (whose raw materials from manufacturers to the
name I couldnt find on his site) has builder is reduced because they can be
proposed to the U.S. military a con- ordered and delivered for several build-
tainer-based bulletproof housing unit ings at once; 3) Delivering a small num-
for soldiers living in live-combat zones, ber of completed components to the
and a host of single-container portable site instead of countless loads of raw
houses for vacation and permanent use materials reduced more transportation-
are on the market, ready to be loaded derived pollution; and 4) The natural
onto a truck and sent your way whole. features of the site itself are saved from
Multi-container houses in styles ranging destruction caused by long-term staging
from plain to fancy are being both built and storage of building materials.
and sold as build-it-yourself prefab kits,
gigantic student-housing container com-
ID Contemporary Theory
82
fantastic example of how quickly
and inexpensively large-scale
housing can be created in an urban
environment
been contracted to build countless other Manhattan. The tower of artists studios,
container complexes for other uses which will lean heavily toward the north
around the cityschools, farmers mar- (occupying a large amount of the air
ket stalls, a nursery, youth centers and space over the next building there, for
more. (A mixed commercial/residential which the developer has negotiated)
building for the corner of Lafayette and will have a one-story commercial base
Great Jones streets in Manhattan was whose faade will be of glazed terra-
scheduled for late 2006, but the deal cotta, and the upper stories will be clad
fell through.) Meanwhile, the modular in stainless steel. The staircases will
nature of container building has allowed reside in the north and south ends of
them to continually expand the original the building, providing an interesting
complex mostly upward and only mini- (if vertigo-inducing) view for someone
mally outward as demand increases, climbing the northern one. The roof will
which is of course far greener than hav- be covered with solar panels, and gener-
ing to clear enough land for whole new ous glazing all over the facade will allow
buildings. Urbanspace.com for plentiful daylighting, both features
that will greatly reduce the buildings
Lot-Ek: 87 Lafayette fossil-fueled energy drain. It will be New
York Citys very first shipping-container
LOT-EK, a firm headed by architects skyscraper. Lot-ek.com
Ada Tolla and Giuseppe Lignano, has
long been known for its experiments Steven Flum: Affordable
with shipping containers. A prototype Condos for Detroit
that has received a great deal of press
is their Mobile Dwelling Unit (MDU), a Exceptional Green Living on Rosa Parks
portable single-container house whose is a 17-unit, green, affordable condo
floor plan is expanded via seating and building (with a very cumbersome
sleeping areas that slide out like draw- name) planned for downtown Detroit.
ers from the sides into the surround- Made of 85 containers stacked four
ing space. They also have a couple of high, it will be the citys first large-scale
simple, two-story container-house plans container buildingand a fantastic ex-
available for purchase, but their most ample of how quickly and inexpensively
recent work may be their most intrigu- large-scale housing can be created in an
ing: A 19-story leaning tower of stacked urban environment, which is crucial for
containers being developed for the lot cities like cash-strapped and blighted
at 87 Lafayette Street in downtown Detroit. The low price of construction
ID Contemporary Theory
84
will allow the units to be sold at prices in Diemen, a city close to Amsterdam
between $100,000 to $190,000 for that also has a large student population.
anywhere from about 1000 to 2000 Tempohousing.com
square feet, meaning middle-income
singles and families will have the op- Dwight Doerksen: Ecopods
portunity to return to the largely empty
center of the city. And incorporating Then, finally, we have the recent ap-
various power-saving techniques, the pearance on the market of a number
building will be energy-efficient enough of single-container houses meant to
to save residents and average of 60% be purchased by people who might
on electric bills. The Power of Green (but might not) be able to afford other,
Housing, the nonprofit that came up larger, less-green accommodations.
with and developed the concept for the These houses are typically marketed as
building, is duplicating the building in a vacation homes, but one in particular,
warehouse for other builders, developers the Ecopod, since it come outfitted to
and government agencies to check out. be permanently off-grid, seems to be a
Hopefully theyll be inspired. Thepow- viable and extremely affordable option
erofgreenhousing.com as permanent housing as well. Each
pod comes with an 80-watt solar panel,
Tempo Housing: Keetwonen a 12-volt battery powerful enough to
light the room, run a computer and a
Amsterdam, like many cities with sev- small fridge, and a composting toilet.
eral universities, has long had a huge The container has one whole side thats
shortage of affordable student housing. been removed and reattached on hinges
So in 2006, the city contracted Tempo and can be opened and closed via a
Housing, a shipping-container builder, to remote-controlled hinge powered by
create more. They ended up making one the solar panel. When open, the side
of the biggest student housing complex- acts as a deck, and when closed, the
es in the world, called Keetwonen. Most container has all of its original structural
of the units are for one student each, integrity, so its ready to be loaded onto
taking advantage of the affordability of trailer and moved at any time. Even the
each container to allow the students the connecting pins have been left in place
one thing dorm residents crave most: so the pods can be stacked for future
private bathrooms. But the buildings do home expansion. The only thing missing
include units big enough for couples and is running water, but if someone plans
small families, as well. And each block to live in one permanently, that can be
of units, of which there are currently 12 hooked up without too much difficulty.
in a row on the site, has its own gigantic A group of pod owners could even build
enclosed area for bike storage, with a shared washhouse, a la RV camp-
bikes being the most popular means of sites. Nicely appointed with cedar
transportation for most of Amsterdam. paneling and rubber flooring made of
The project has been so successful, recycled tires but costing just under
with the units getting nothing but rave $43,000, an even simpler version could
reviews from students, architecture crit- be produced to provide an even more
ics and city planners alike, that another affordable option for housing during an
nearly identical complex has been built economic crunch like the current one.
Ecopods.ca
85
ENDNOTES
1
Shipping Container Housing.
<http://www.shipping-container-housing.com/container-overseas-shipping.html>
2
ISBU Association. All About Shipping Containers.
<http://www.isbu-info.org/all_about_shipping_containers.html>
3
Shipping Container Housing.
4
Shipping Container Housing.
5
Shipping Container Housing.
6
Rodrigue, Dr. John Paul. The Repositioning of Empty Containers. The Geography
of Transport Systems. http://www.people.hofstra.edu/geotrans/eng/ch5en/
appl5en/ch5a3en.html
7
Hart, Kelly. Building With Shipping Containers. Green Home Building and
Sustainable Architecture. <http://www.greenhomebuilding.com/weblog/2007/09/
building-with-shipping-containers.htm>
8
Alter, Lloyd. Shipping Containers Get Bamboo Floors.
<http://www.treehugger.com/files/2007/09/shipping_contai_3.php>
9
Shipping Container Housing.
10
Pinter, Dave. Site Visit: Uniqlo Container.
<http://www.psfk.com/2006/09/site_visit_uniq.html>
BIBLIOGRAPHY
Shipping Container Housing.
<http://www.shipping-container-housing.com/container-overseas-shipping.html>
ISBU Association. All About Shipping Containers.
<http:// www.isbu-info.org >
Rodrigue, Dr. John Paul. The Repositioning of Empty Containers. The Geography of
Transport Systems.
<http://www.people.hofstra.edu/geotrans/eng/ch5en/appl5en/ch5a3en.html>
Hart, Kelly. Building With Shipping Containers. Green Home Building and
Sustainable Architecture. <http://www.greenhomebuilding.com/weblog/2007/09/
building-with-shipping-containers.htm>
Alter, Lloyd. Shipping Containers Get Bamboo Floors.
<http://www.treehugger.com/files/2007/09/shipping_contai_3.php>
1Pinter, Dave. Site Visit: Uniqlo Container.
<http://www.psfk.com/2006/09/site_visit_uniq.html>
FEATURED
FACULTY
Antonio Di Oronzo
ALUMNUS
Alejandro barrios carrero
FEATURED FACULTY
ANTONIO DI ORONZO
88
firms philosophy.
Antonio Di Oronzo has been published in The New York Times; New
York Magazine; Sugar; Boston Herald; People Magazine; Public Cul-
ture (cover); Perspective[Honk Kong]; Metropolis, I.D., BOB [South
Korea]; DeZona [Bulgaria]; Shotenkenchiku [Japan, cover]; IQD [Italy],
Interior Design, Hospitality Design [cover]; Boutique Design; Total
Lighting [UK]; Eigen Huis & Interieur [Netherlands]; Edno [Bulgaria];
Andmag [Turkey]; Quintessentially [Turkey]; etc.
WINNER
OF THE
IIDA
20 09 Design
Award
FEATURED FACULTY
90 A N TO N I O D I O R O N ZO
91
Greenhouse
92 A N TO N I O D I O R O N ZO
94 A N TO N I O D I O R O N ZO
95
PRIVATE Residence
96 A N TO N I O D I O R O N ZO
Athens Caf
98 A N TO N I O D I O R O N ZO
99
FEATURED ALUmNUS
Alejandro
100
Barrios Carrero
CAFE ATLANTIQUE
ASTRID Y GASTON
ANTILLANA
The concept is to
transport the visitor to
a beachhouse in the
Caribean Sea, an escape
from the shopping mall
where the restaurant is
actually located.
FEATURED ALUmNUS
ALTO
Social Club
Rachna Chadha / Ritika Jain / Axelle Bloch
110 STyan
R U D EJNames
T NAME
111
Social Club / Studio 3
Previous College BS, Motilal Nehro Institute of Technology, Allahabad, India, Civil Engineering
Faculty Sarah Strauss and Noah Biklen
Previous College BA, St. Xaviers College, Mumbai, India, Political Science
Faculty Sarah Strauss and Noah Biklen
115
Inspired by the cultural context of art gallery. The fabric turns to become
Puerto Rico and challenged by the the ceiling of the farmers market, an
multiplicity of programs, this project outdoor canopy and a menu board for
was designed to weave spaces and food stalls in the shipping container.
programs together with a single piece As the programs change, the scale in
of fabric. Located on a hill in Rincon, the floor pattern changes creating a
Puerto Rico, the ground floor is planned field condition. The social hall occupies
to accommodate a bi- weekly farmers the first floor where scale and pattern
market, also used as an activity area. have been further developed to create
Drapes of vibrant colored fabrics divide interesting moments.
this area from the internet cafe and
Community Center / STUDIO 3
122 A L I S O N S W I D L E R & K AT H R Y N V E LO S O
123
Founded in 1879, The Glenrothes Distillery is all about flavor and its
effect on the senses. The color and material palette for this project
was inspired in the interaction of the spirit and the wooden cask;
which gives the liquor 60% of its flavor and its golden hue.
Each vintage has its own personality and unique flavor. The flavor
is visually represented in tasting notes. A tasting note is the visual
representation of the characteristic flavors that integrate the whisky.
It is through this 1972 tasting note that this projects concept and
floor plan was developed.
Bottled twice, first in 1996 and the second time in 2004, is the
reason why the tasting notes shape is repeated twice in the floor plan,
recreating a three dimensional shape resembling a jewel. The lounge
was placed in the center of the space to accentuate its importance as
a homage to The Glenrothes distillerys greatest achievement.
Studio 3 / Liquor Showroom & Offices
The whole project represents a homage to the liquid inside the bottle.
The Glenrothes greatest achievement: Vintage 1972.
129
AAS INTERIOR DESIGN
FACULTY
131
PA M E L A K L E I N PHILIPPE BAUMANN
Degree(s) M.Arch, Rice University, Texas,
A S S O C I AT E D E A N
BA, Brown University;
[email protected]
WORK Principal: Founder Baumann Architecture
Student Affairs
Website www. philippebaumann.com
Degree(s) MFA, BFA, Pratt Institute
NOAH BIKLEN
JOHANNE WOODCOCK [email protected]
D irecto R Degree(s) M.Arch, Yale University,
[email protected] BA, Brown University
Degree(s) M.Arch, Columbia University; BFA, WORK Debra Berke Architecture wand Interiors
Rhode Island School of Design;
Website www.johannewoodcock.com THOMAS BOSKET
[email protected]
Degree(s) MFA Yale University, BFA,
E M I LY A B R U Z ZO Parsons School of Design
Degree(s) M.Arch, Princeton University, BA, WORK Parsons AAS Coordinator
Columbia College.
WORK Editor: 30 60 90 Debra Berke Architecture LO R E L L A B R O C K E LS BY
and Interiors [email protected]
Website www.abruzzo-bodziak.com Degree(s) BA, Marymount Manhattan
WORK Professor of Humanities, NYU
A D E B OY E G A A D E FO P E
[email protected] MAXIMO BUSCHFRERS
Degree(s) BFA, University College Dublin, Ireland [email protected]
WORK Principal, GBOYEGA designworks Degree(s) MCM, New York University ,
Website www.gboyega.ws B.Arch, City College of New York
WORK Principal: MaxBush Architecture
U rapong A mor v i vant
Degree(s) M.Arch, Yale University, B.Arch,
Carnegie Melon University
WORK Partner,: TuG studio
WEBSITE www.tugstudio.com
AAS INTERIOR DESIGN
132
N ATA L I E C A R LS O N JASON GOLD
[email protected] [email protected]
Degree(s) AAS ID, Parsons The New School for Degree(s) M.Arch. Columbia University New
Design, B.Arch, Columbia University York, NY, B.Arch, Princeton University
WORK Designer, Studio Sofield,Charles Young WORK Designer: Richard H. Lewis Architecture and
Architects, Skidmore, Owings and Merrill Interiors
MARY CHAN M A R I A G R AY
Degree(s) AAS ID Parsons The New School for Degree(s) M.Arch, Columbia University,
Design, BA, Vassar College B.Arch, University of California at Berkeley
WORK Principal: Studio Barteleby Interiors, WORK Principal: Gray Area Design
Previously S. Russell Grove Website www.gadarch.com
Website www.studiobartleby.com
C A R R I E H A M I LTO N
J O H N C L I F FO R D Degree(s) BFA, Pratt Institute
Degree(s) BA, Boston College, Graphic Design WORK Principal: Kismet Design
courses at Calif College of the Arts, Website www.kismetdesign.com
WORK Graphic Designer, Creative Director. Principal
of Think Studio, NYC. THOMAS HICKEY
Website www.thinkstudio.com Degree(s) M.Arch, Columbia University ,
B.Arch University of Kentucky
D AV I D C R A N D A L L WORK Principal Grade Architecture and Interiors
Degree(s) B.Arch, Rhode Island School of Design Website www.gradenyc.com
WORK Partner Ishida/Crandall.
Website www.ishidacrandall.com KENT T. HIKIDA
[email protected]
A S L I H A N D E M I RTA S Degree(s) M.Arch, Columbia University,
Degree(s) MS in Architecture Studies: BA, Bennington College
Massachusettes institute of Technology (MIT), WORK Gensler Architects and Interiors,
B.Arch, Middle East Technical University (META) Project Manager.
Ankara, Turkey
WORK Aslihan Demirtas Architect, Principal AKI ISHIDA
Website www.Aslihan-Demirtas.com Degree(s) MSAAD, Columbia University,
B.Arch, University of Minnesota
A N TO N I O D I O R O N ZO WORK Partner at Ishida/Crandall
Degree(s) D.Arch, Sapienza Rome, MS in Urban Website www.ishidacrandall.com
Planning, City College of New York
WORK Principal, Bluarch Architecture STA C E Y J A C O V I N I
Website www.bluarch.com Degree(s) M.Arch, Harvard University,
BA, Architecture, Columbia University
KEITH GELDOF WORK Founder and Principal ASCAPE
[email protected] Website www.a-scape.com
Degree(s) AAS ID Parsons,
BFA Parsons in Illustration ASHIK JAFFER-ALI
WORK Illustrator and Interior Designer Degree(s) M.Arch, Rhode Island School
133
of Design, BS,Catholic University of America, THOMAS MORBITZER
Architecture Degree(s) M. Arch Yale University,
WORK Private Practice: Residential projects in B.S.in Architecture Ohio State
Southern India. WORK Principal: Tug Studio
Website www.tugstudio.com
M I TC H E L L J O A C H I M
Degree(s) Ph.D. Massachusetts Institute of WILLIAM NGO
Technology, MAUD Harvard University, [email protected]
M.Arch. Columbia University. Degree(s) MAAAD Columbia University
WORK Partner: Terreform WORK Diller Scofidio, Scott Wing, Stephan Jaklitsch
Website www.terreform.com - archinod.com
A N N E N I XO N
K I P K AT I C H Degree(s) M.Arch. Yale University, B.Arch, Rice
[email protected]
University, Houston Texas,
Degree(s) M.Arch Parsons The New School for
WORK Principal/Architect, Brooklyn Office
Design, B.Arch, Colorado State
Architecture + Design
WORK Architect, Roger Marvel, Designer Rogers
Website www.brooklynoffice.com
Marvel Architect
RANDOLPH SABEDRA
A U G U ST U S K I M W E N D E L L Degree(s) BA, California Polytechnic State
Degree(s) M.F.A., School of Visual Arts , BS,
University, San Luis Obispo, Architecture, Ecole
Northeastern University, Architecture
des Beaux-Arts.
WORK Partner: Kim.Wendell Design
WORK Principal of RS Lighting Design
Experience: Machado Silvetti; Kallmann McKinnell &
website www. rsltg.com
Wood; and Ferguson Shamamian
Website www.kimwendelldesign.com
S A R A H ST R A U S S
[email protected]
MALAIKA KIM Degree(s) M.Arch Yale University,
Degree(s) M. Arch, Yale University, B. Arch,
B A. Duke University
University of Notre Dame
WORK Partner: BigPrototype, LLC.
WORK Partner: Kim.Wendell Design
Website www.bigprototype.com
Experience: Robert A.M. Stern Architects; Cesar Pelli &
Associates; Sawyer/Berson
I O A N N A T H EO C H A R P O U LO U
[email protected]
T I M OT H Y L I T T L E TO N
Degree(s) Ph.D Columbia University, MSAAD,
Degree(s) MA Columbia University, AAS Interior
Columbia University, Architectural Association
Design Parsons The New School for Design
WORK Faculty: Columbia University and Parsons The
WORK Interior Designer Grade Architecture and
New School for Design
Interiors
Website www.gradenyc.com
J O H N T U L LO C H
[email protected]
M A R I A M M OJ D E H I
Degree(s) M.Arch Yale University,
Degree(s) MAAAD Columbia University,
B.Arch University of Texas at Austin
B.Arch Georgia State
WORK Designer for Polo Ralph Lauren
WORK Selldof Architects
134
CREDITS
135
EDITOR
JOHANNE WOODCOCK
Director of Graphic Design
KATARZYNA GRUDA
FACULTY ART DIRECTOR
CHARLES NIX
DESIGN AND PRODUCTION
Ed NACIONAL
COPY EDITOR
Tammy Nesmith
PRINTED BY
JML Digital Printing
SPECIAL THANKS
Jessica McCormack,
Alexandra Zsigmond,
Ching Hseih,
Lauren Ruggieri
PARSONS AAS
INTERIOR DESIGN
ISBN 978-0-9820433-6-3