Running through the center of Athens, the Eridanos River is engaged in a quiet rebellion.
Interred by the development of modern Attica, its course is defiant of the world above it.
The river continues to endure, as an unseen element, and as a drawing in the landscape.
“Hidden lines” takes the Eridanos as its backbone. The historical pathway of the river is revived by marking it and in a very literal sense bringing it into the light. This marker is a Botanical Museum, which is defined by masses divided either by the current flow of the river, or by the memory of its flow. The internal spaces are organized around a filigree stair- suspended over a fountain created from the rubble of the walls of the ancient city and the still living eridanos. The collection- is meant to be experienced sectionally- Greece is a mountainous country and her landscapes are experienced via altitude.
The building has an underbelly-it faces northwest to swallow the gentler sunlight and blocks off its southern facade with solid panels of stone. The visitor is brought into the space through an extension of the streetscape galleries (urban hallways) that run beneath the ubiquitous Polykatoikies- this path becomes the main circulation, snaking around the programmed spaces and summiting at the library.
The technical considerations of creating a pool out of springwater are facilitated by the infrastructural works of the historical city. The river still courses through a historical aqueduct. A system of pipes and filters bring water into the pool, where it passes over gravel and other stones. This is then gathered and the flow resumes along its course under Mitropoulos avenue until deltaic emergence in Kerameikos where it joins the Kifissos Watershed and subsequently terminates in the bay of Faliro.
For a moment, the Eridanos emerges articulated in an architectural space.
The Camera Obscura remains one of the simplest and most beautiful means of projection. A pinhole allows a flipped image of a scene to be reflected and projected into a darkened room- a moment of inversion of inside and outside.
Casa Obscura takes this notion of the inverted panorama and gives it a form. The project is an arrangement of stone cabins, adjacent to Myvatn Lake, which permit a panoramic view of the icelandic landscape, unobstructed by one another. The structure is outside of the 200 meter zone where permanent construction is forbidden. A monumental, stone and turft architecture consistent with Icelandic building tradition is in this interpretation, a project that will age with the landscape and have a sense of permanence and belonging.
All program is organized into this radial plan- northern facing bedrooms welcome the entire range of experiences of the icelandic landcsape, including the northern lights. This outer circle offers privacy by means of its outwardness- dark wooden shutters enclose every window, and when shut, the parlor trick of the camera obscura projects the-live- image of the icelandic landscape onto the back wall of every bedroom.
It belongs to the earth, is therefore still.
It is witness to the constant motion of the sky.
Over the Batture
The interpretive center of the Water Research institute attempts to embody the industrial history of the site and enmesh it with the site conditions and ecology. The form is derived from a response to the humid, hot conditions of the Louisiana batture. The entire project is clad in shaded cedar louvers- with the exception of the underbelly, anobservation deck looking into the flood-plane.
The Southern Dogtrot house was the first point of inspiration for the building form. In this vernacular architecture, two masses encourage the passage of air between one another, and create a cooling cross breeze as a consequence of their dialogue. In mapping the prevailing summer winds I found an orientation that presented favorably towards a strong southwest tonortheast orientation, but unfavorably oriented the project towards the sun. To negotiate this, louvers bridge the two gaps between the masses, closing off the southern facade to sunlight but opening it at the bottom,to the cool and moist Batture.
Steel and wood louvers enclose a central atrium- at the base of which an interpretive center meets the flood plane and exposes the underbelly of the architectural form. A stairwell ultimately descends into the Batture itself, completing the connection between a place of research/theory and a place of biological reality
Hand carved laminated poplar.
Design for a series of desktop planters. Chasmophytes refer to plants that grow in the clefts or voids of rocks and other inhospitable environments. Each volume has a drainage network and mesh worked into the base.
WEST END TOWER
“As above, so below”
Advanced Studio, LDAR/INTARCH Fall 2015
The 14th Arrondissement is the site of a major intervention into the Parisian Belt railway, the Petite Ceinture. Along a stretch of the railway that has been spanned by parking, I have proposed a wintergarden and a series of small shops and cafes that flank a grand public space- an entryway into a networked park that spans the circumference of Paris.
The Broussais corridor is fundamentally a project with a horizon line- a semi translucent public square separates an upper, articulated topography of wildflowers and hills, from a lower winter garden, nestled into the earth.
Infrastructure acts in anticipation- It is a framework for action. Le Petite Ceinture - an abandoned railway line, was once an operation on the landscape that would define the Parisian city limits.
Paris has a long tradition of making and unmaking through fragments of its own self. The southern arrondissements are pockmarked with quarries, catacombs, and the record of active engagement with the city. This is a logic of displacement- the units of stone were transported aboveground and made into the city. The ceinture is a routed line in the city- in places it is cut, in places it is drilled, and in places it becomes additive- it spans, connects, and passes over.
WIntergarden- Undergound Passage
Main Entry at Hopital Broussais
Detail Drawing- Channel Glass meets Garden
Typological Adjacencies- the petite ceinture in Broussais