3. By bringing the neighborhooods to the skyline,
New York City can experience a new form of
living and working. The tower is divided into
seven neighborhoods, made up of a mixture of
residential and commercial zones in arrange-
ments of varying densities and connections.
The vertical neighborhoods share centralized
atria that look over their own shared amenities
spaces. These thresholds serve as a cross-
roads within the neighborhoods, physically
separating while also creating visual and audi-
tory connections among the inhabitants. The
vertical strips of glazing and structure create a
non-indexical outward expression, hiding the
horizontality of the staggered floor plates. Si-
multaneously, the tower’s exterior is brought
inside in whatever form that suits the varying
programs’ needs. The verticality is broken only
to create public spaces at the tower’s base as
well as its peak, including plazas, green spac-
es, and other social venues.
VERTICAL NEIGHBORHOODS
Mixed Use Tower| West Soho, New York City
Studio Hina Jamelle
Consultants: Dan Brodkin and Matt Jackson, ARUP New York
Collaborators: Christopher Arth and Emily Tyrer
3Vertical Neighborhoods | Spring 2014
5. 1.
2.
0 ft 5 ft
1. Stairslinkinglevelswithin asingle
verticalneighborhood
2.Viewupanatriumthatseparates
andbridgesneighboringzones
3.WallSectionofatypicalmiddle
zoneshowingconstructiondetails
3.
5VerticalNeighborhoods | Spring2014
6. The different housing units interweave and overlap, blend-
ing together both vertically and horizontally, thus blurring
social and economic boundaries, while also maximizing
rentable square footage and providng a diverse array of
housing units. These residential clusters are united by the
communal floors that occur between them, bringing peo-
ple out of their homes and into their community.
Creating a smooth integration of two extremes in the
socio-economic spectrum requires a reminder of what
unites us as people. Providing shelter, a sense of commu-
nity, and art, the tower is composed of a blend of low-in-
come and luxury housing, linked by communal floors that
provide ample opportunity for social interaction.
BLURRING BOUNDARIES
Luxury / Low-income Housing Tower | High Line, NYC
Studio Jonas Coersmeier
6Blurring Boundaries | Fall 2013
7. ROOF TERRACE
PENTHOUSE
SHARED AMENITIES
COMMUNE
GALLERY | CAFE
COMMUNE
LOBBY
SERVICE
PUBLIC LIFT
FIRE STAIR
PRIVATE LIFT
0 ft 10 ft 25 ft
Residential Floor Plan
Commune Floor Plan
0 ft 20 ft 50 ft
Communal
PublicLift
Roof Terrace
Penthouse
SharedAmenities
Commune
Commune
Lobby
Service
Exhibition
FireStair
PrivateLift
Luxury
Low-income
Publlic
7Blurring Boundaries | Fall 2013
8. 1. Fire Stair and structural core
2. Residential Elevator
3. Communal Outdoor Patio
4. Luxury Unit with double height
space
5. Large Low-Income Unit
6. Large Luxury Unit
1
3
5
0 ft 8 ft 20 ft
2
4
6
8Blurring Boundaries | Fall 2013
9. Slab I
Cracking Strategy
Deformed Surface Final Fragments
In the not so distant future, there are those that hunt
us. Earth’s natural resources are on the brink of ex-
haustion, and mankind’s survivors resort to scav-
enging for survival. While some feebly attempt to
revive and reconstruct their surrounding condition,
others attempt to live in the dilapidated remains of
the past cities, taking refuge wherever possible.
The predators oversee the cities from the skies,
scanning the abandoned buildings for any signs
of inhabitation. The skyline only serves as a grave-
yard for the careless and a reminder for those that
have seen the cruelty of the oppressors first-hand.
In an attempt to disguise our shelters, we are forced
to collapse our once proud metropoles, ironically
for the sake of safety. We dine under the crumbled
slabs and nets of rebar, creating a refuge within the
rubble. We exist in spite of them. We use destruction
as our camouflage, favoring the unfavorable, and re-
defining the ruin.
(DE)CONSTRUCTED RUINS
Process of Urban Nibbling | Bangkok, Thailand
Studio Francoise Roche | TA: Devin Jernigan
Collaborator: Geongo Lee
Cracking | Deformation
step size = 1.0
divergence = 3.1
gap = 0.1
t = 45
t = 60
t = 90
t = 116
t = 150
step size = 0.75
divergence = 2.2
gap = 0.15
step size = 0.75
divergence = 2.5
gap = 0.2
step size = 1.0
divergence = 1.5
gap = 0.18
step size = 0.5
divergence = 2.1
gap = 0.23
The chaotic nature of destruction is driven by the
physical laws of conservation, gravity, and equlibirum.
As the destruction process progresses, the structur-
al system takes on new configurations as it reaches
an equilibrium, creating new paths and adjacencies.
Ergo, the system evolves as fragile zones search for
stability while falling into place. The occupants can
discover new paths of stability amongst the rubble,
stopped by “invisible” walls of fragile fragments and
shielded by a labyrinth of camouflaged stability.
9(De)Constructed Ruins | Fall 2014
t=150
t = 35
t = 35
t = 73
t = 73
t = 121
t = 121
The cracking not only activates the evolu-
tion of the abandoned structure, but also
shapes the space and movement within.
The cracks pose as obstacles as well as
bridges. By freeing tbe material from its
casted shape, new connections of varying
stability and access can be achieved.
10. The spatial zones are dependent on the stability of both the floor below
and the “ceiling” above. Flat zones denote a static equilibrium granted
by steady support and resilient material strength. However, forces may
shift with improper loading, and the occupants must take care not to
disturb their shelter’s weakness.
The fragile zones act as the “fold”, blurring the indoor and outdoor,
it creates separation and enclosure for the occupants. Ironically,
the danger becomes their protection. Ergo, risk becomes a part
of their daily life. It sparks the survival instinct within the occupants,
and through fear, their internal chemistry is altered with adrenaline
production, and they become more aware of their environment.
Knowledge is thus gained through the paranoia of risk.
Continuity |SeparationStability Analysis
Stable Fragile
10(De)Constructed Ruins | Fall 2014
11. Soft Robotics refers to a subfield of robotics that uti-
lizes soft and deformable material like silicone, plastic,
fabric, rubber, or springs to build robots that can ac-
tively interact with their environment and can undergo
“large” deformations relying on inherent or structural
compliance due to the softness or the morphological
features of its body.
Soft and deformable structures are crucial in systems
that deal with uncertain and dynamic tasks and environ-
ments, such as grasping and manipulating unknown
objects, movement through rough terrain, and physical
contact with living cells and human bodies.
SOFT ROBOTICS
Immersive Kinematics | Orpheus & Eurydice
Seminar with Simon Kim
Collaborators: Kevin Alcedo and Mike Choi
11Soft Robotics | Fall 2014
12. A
A
A
A
18.000 in
0.500 in
0.150 in
0.100 in
10.150 in
Prototype Design
A. Prototype Design
B. Prototype Mold Design
C. AcrylicShoulder
Harness
D. Final Design
A.
B.
The Soft Robotic Snake utilizes pneumatic air inflation to create its movement. The snake itself is made out of
casted silicone, with air channels molded out of the body. The molds were 3D printed and sanded to form an ad-
equate seal. The voids within the snakes act as the air channel that are linked to a compressed air tank, pumped
at variable pressure and speed, providing actuation, and thus, its movement.
Final Design
C.
D.
12(De)Constructed Ruins | Fall 2014
The final design abstracted the idea of the snake to its bite and its movement. The robot is composed of two
“fangs,” one representing the snakes head and the other, its tail. The differentiation is made apparent through
the movement of each segment. The tail actuates smoothly, curling towards the wearer’s neck, forming a
graceful curve, while the head portion contains slits at the points of actuation, allowing a faster, more dramatic
motion necessary for the snake’s death blow.
13. A. Final Mold Design
B. Pouring Process
C. Curing Process
D. Actuation on Performer
A. B.
C.
13Soft Robotics | Fall 2014
D.
14. The Arbitristas were a group of reformist writers in 17th
century Spain. They were concerned with the decline
of the economy of Spain and proposed a number of
measures to reverse it.
The Jester Don Diego de Acedo is one of a series of
portraits of jesters at the court of Philip IV of Spain
by Diego Velazquez. The breeze that blows through
these paintings overwhelms the tension and anxiety of
the Spanish court, transforming it into a carnival freak
show, a comic representation of the human condition...
wounded, distorted, and blemished.
The Sathorn Unique Tower is a 49-story building in
downtown Bangkok, built in 1990. At 80% completion,
it was abandoned in 1997 due to the Asian financial
crisis and was never completed. Locals insist that the
skyscraper is haunted and call it the “Ghost Tower”.
WHATEVS~4~EVS
The Banished Arbitrista | Bangkok, Thailand
Short Film / Installation with Francois Roche
Collaborators: Michael Royer, Walaid Sehwail,
Jackie Martinez, Rhea Gargullo, Peter Wildfeuer,
Geongu Lee, Hyeji Yang
14WHATEVS - 4 - EVS | Fall 2014
16. 3.4 m
2.25 m 2.35 m
Preliminary Grotto Design Final Assembly and Filming on Site
16WHATEVS - 4 - EVS | Fall 2014
17. The 600 sq. ft pavilion will be composed over over 500
individually assembled sphenoid hendecahedrons made
out of aluminum flashing. These units are then grouped
into clusters and fastened to the plywood arch and truss
structural system. This pavilion is a student-led design
build project under the guidance of structural and and
design faculty requiring coordination between students
of all grade and experience levels as well as industry pro-
fessionals
PennDesign Graduation Pavilion
Sphenoid Hendecahedron | Philadelphia, PA
Full-Scale Pavilion Seminar with Dr. Mohamad Al-khayer
Group Leaders: Billy Wang Kyle Ingber and Kathryn Vergeyle
Collaborators: Rhea Gargullo. Erik Leach,
Harry Lam, Walaid Sehwail, Amanda Huang,
Clay Gruber, Jose Holguin, Emily Gruendel,
Noor Al Awadi, Ma Ning, Jie Xu, Cynthia
Anastasiou, Jung Jae Suh, Mark Chaloub,
Yannick Rodriguez-Diaz, Xi Yao, Alex Chin,
Benita Trenk, Matthew Lewis, Sameeha
Joshi, Samantha Aguilar, Ruiyi Chen, Daniel
Fachler, Amanda Huang
Rose 1 Breakdown
17Graduation Pavilion | Spring 2015
18. SCALE SHEET
DATE
DWG NO.
DRAWING TITLE
NO.
PROJECT:
PennDesign Student Project
TEMPORARY MONUMENT LAB
SCULPTURE
LOCATION:
University of Pennsylvania
campus,
PennDesign- Meyerson West
210 South 34th street #102,
Philadelphia, PA 19104.
DATE DESCRIPTION
63.4°
63.4°
1'-1 7/16"
1'-0"
1'-1 7/16"
8 1/2"
53.1°
81/2"
90.0°
99.9°
35.4°
99.9°
90.0°
124.8°
8 1/2"
109.0°
47.1°
109.0°
94.9°
76.0°
76.0°
1'-17/16"
1'-1 7/16"
81/2"
8 1/2"
28.1°
64.6°
90.0°
115.4°
81/2"
2'-0 13/16"
2'-0 13/16"
1'-0"
1'-1 7/16"
2'-0
13/16"
2'-0 13/16"
1'-17/16"
8
1/2"
2'-0 13/16"
81/2"
2'-0 13/16"
Panel Cut
Sheet
1/8”Metal Rivets
Folded Tabs
Individual Panels
Bottom Component
Top Component
Whole Component
2" SCREWS
1" SCREWS
SHEET
DWG NO.
1:20
NO.
SCALE
DATE
DATE DESCRIPTION
DRAWING TITLE
PROJECT:
PennDesign Student Project
TEMPORARY MONUMENT LAB
SCULPTURE
LOCATION:
University of Pennsylvania
campus,
PennDesign- Meyerson West
210 South 34th street #102,
Philadelphia, PA 19104.
ARCH
FABRICATION
MAR 30 2015
VARIED POST HEIGHT FOR ALIGNMENT
4 LAYER 3/4" LAMINATED PLYWOOD GLUE TRUSS
8" TIMBER LOCK
6" TIMBER POST
4" CARRIAGE BOLT
6" OZ-POST SYSTEM6" OZ-POST SYSTEM6" OZ-POST SYSTEM
4 LAYER 3/4" LAMINATED PLYWOOD GLUE TRUSS
4 LAYER 3/4" LAMINATED PLYWOOD GLUE ARCH
4 LAYER 3/4" LAMINATED PLYWOOD GLUE
12"x12"x2" PLYWOOD PLATE
4" L-BRACKET
4 LAYER 3/4" LAMINATED PLYWOOD GLUE ARCH
4 LAYER 3/4" LAMINATED PLYWOOD GLUE
6D
6A
1" WOOD SCREWS
TRUSS FRAME COMPONENTS CONNECTION DETAIL
6" X 6" L STRAP (#66L)6" X 6" L STRAP (#66L)
SITE FOUNDATION
FOUNDATION DETAIL
3-1/8" X 5" METAL TIE PLATE (#TP35)
TRUSS CORNER TO ARCH CONNECTION DETAIL
6B 6E
3-1/8"" X 7" L STRAP (#TP37)
1" WOOD SCREWS
TRUSS CORNER TO ARCH CONNECTION DETAIL
6C
1" WOOD SCREWS
18Graduation Pavilion | Spring 2015
