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This studio studied the above tendencies in both architectural and representational terms so that we
might move beyond their anachronistic opposition. With a professional background as a sound artist
and composer, Bertucci was a ISSUE Project Room Artist-in-Residence (2015), a New Works
Fellow at Harvestworks, and a MacDowell Fellow (2016). Visitors can access the exhibit's physical
materials and the archive's expanded digital collection through computer terminals within the gallery.
He received his BArch degree from the Cooper Union in 1990. It is not that The Cooper Union holds
up free education but that free education holds up The Cooper Union. There is no singular definition
of what architecture is, does, or performs. This is to say, architecture as a discipline is steeped in
debate, discourse, and fortified positions. The studio addressed a twofold program connecting the
Heights with the water, while accommodating, defining and programming a Harlem River center for
urban agrarian culture. For instance, from the skeleton students derive notions of structure, from the
ribcage, cranium, and pelvis come notions of shelter and containment, and from joints emerge
notions of the mechanics of mobility. Material, which may seem straightforward, real and direct,
contains questions regarding the status of nature, artifice and craft. Innovators will lead virtual
workshops for an hour of discovery, inspiration, and community. With texts by Dore Ashton, Hayley
Eber, and Anne Romme. This unique study of the city advanced at The Cooper Union presents a
strong picture of a generation’s cutting-edge civic activism, poetic vision and concerns about
sustainability, which are aptitudes identified with the legacy of this architecture school. His 1969-70
thesis is a series of collages accompanied by some heady ideas on materials, semantics, and the arts.
From Alberti to Francesco di Giorgio Martino and Filarete, the body has been a referent, a tool, and
a construction in which the body (of man) is both a rhetorical construction having perfect
proportions and harmony, and an embodiment of nature and thus God, consistent with the transfer of
the center from God to man. The twenty-six projects featured in this publication can be understood
as self-portraits—reflections of our dreams and aspirations manifest through varied and unique
conventions of the discipline. —The Editors (Javier, Zhenia, Maks, Gabriella). The generic nine
square diagram constitutes an axis of reference across architectural history based on a structuralist
idea of stability. He is partner and principal designer of NADAAA, a Boston-based professional
practice dedicated to the advancement of design innovation, interdisciplinary collaboration,
construction practice, and green development. The architectural thesis is the production of new
knowledge, new possibilities, and, ultimately, new ways of being an architect. Hillyer has presented
the work of such distinguished architects as Raimund Abraham, John Hejduk, Louis I. This work
was developed through unique drawings and models over eight years in the context of the Advanced
Research Graduate Design Studio created and directed by Diana Agrest at The Irwin S. We then
gave the students a list of 160 speeches given in The Great Hall over the last 155 years. The area is a
microcosm of the many forces at play in today’s urban environments, be they economic, geophysical,
biological, ecological, historical, industrial, or political. His international work includes exhibitions at
Prague Castle, the Netherlands Architecture Institute, and the Canadian Centre for Architecture. The
Architecture School lobby was painted black, it was empty. There are several actions that could
trigger this block including submitting a certain word or phrase, a SQL command or malformed
data. It is the pedagogical thrust of the Advanced Drawing Seminar that through freely chosen
themes, the student will be motivated to hone and expand those skills and to take risks in further
exploring new and unfamiliar media. Former CIA employee and NSA contractor Edward Snowden
flew to Hong Kong and the first documents released by Snowden to Guardian journalist Glenn
Greenwald and filmmaker Laura Poitras, uncovering the existence of numerous global surveillance
programs, were published. This is the fourth in the annual series of thesis publications chronicling
undergraduate Thesis work. The building of the Great Hall constructs the community that is building
it. Body of Prayer is a record of the trialogue recorded on 14 October 1998, and the reverberations
between the writings, poems, and fragments of novels written by Shapiro, Govrin and Derrida and
an almost silent host, the Cooper Union School of Architecture’s late dean, John Hejduk.
The generic nine square diagram constitutes an axis of reference across architectural history based on
a structuralist idea of stability. Investigating a range of spatial, formal, and tectonic concepts and
effects, the studio focused on building the foundations of an architectural language in which
students are expected to gain a playful fluency. Flow, dynamics or movement are concepts
addressing issues of connections and links. Site-specific Theater, Promenade Plays, Environmental
Performances and Immersive Experiences challenge the relationship between performers and the
spectators and therefore should result in a different formalization of the Space for Performance, a
new typology for a reinvented type. Inevitably a third way is also apparent this year, an escape from
the complication that comes with going backwards or forwards, as you never know quite what or
who you might meet on the journey. There is no singular definition of what architecture is, does, or
performs. This is to say, architecture as a discipline is steeped in debate, discourse, and fortified
positions. The 2016-17 Thesis studio fostered group discourse exploring ideas of the relationship
between words (intentions, theories, questions, aspirations-the thesis) and form (shape, material,
representation, place scale, program-the project). As we saw early in the lockdown, issues of race,
identity, politics, culture, and everything in-between were unleashed in the public sphere, reaching a
climax in the summer of 2020 and striking us all with a new energy. Material, which may seem
straightforward, real and direct, contains questions regarding the status of nature, artifice and craft.
Colin Rowe, Wittkower’s student, traces a similar diagram between Palladio’s Villa Malcontenta and
Le Corbusier’s Villa Stein. It is important to underline that Vidler left many seats to be filled, and
with my arrival, we are able to expand our full-time faculty while also absorbing the voices of our
adjunct faculty by giving them increased roles and responsibilities; in itself, this has transformed the
intellectual culture of the school, diversifying it, and enriching it—all while plugging back into
certain tropes that are so characteristic of its academic atmosphere. Dierks previously worked as the
Archivist for Acconci Studio, a Brooklyn-based architecture and design office, and as the Archive
Manager for Van Alen Institute's Design Archive. While asking them to define the formal, spatial
and material terms of the equation, I also ask them to reflect on the dynamic nature of the
discipline’s boundaries, and how that might be challenged through the very work they are
undertaking. The twenty-six projects featured in this publication can be understood as self-
portraits—reflections of our dreams and aspirations manifest through varied and unique conventions
of the discipline. —The Editors (Javier, Zhenia, Maks, Gabriella). Has there been a consistent theme
or a consistent thread throughout the years in Cooper Union's approach to thesis. The studio asked
students to examine and engage these terms as dynamic, shifting and historically contingent. Fourth-
year Cooper Union students were challenged to draw on Trenton’s past in designing new uses for six
old industrial sites along the canal corridor in Chambersburg. The individual “kit of elements and
parts” framework creates an array of new inventive figures and possibilities in structural, formal,
composite and programmatic con-figurations, becoming a generating lexicon of design. The exhibit
will also feature schoolwork from Elizabeth Diller, who was just named the world’s most influential
architect by Time magazine. From Alberti to Francesco di Giorgio Martino and Filarete, the body has
been a referent, a tool, and a construction in which the body (of man) is both a rhetorical
construction having perfect proportions and harmony, and an embodiment of nature and thus God,
consistent with the transfer of the center from God to man. Each element varies based on a unique
arche-typical condition, for example flat vs. The site chosen for study was located on the eastern
upland banks of the Harlem River—a body of water that has been radically transformed through the
industrial era. It is also the moment when you realize how potentially the most potent moment of the
design process may be in the development of a program, or an agenda. But if we are to take
Gottfried Semper’s musings on textile walls seriously, we may start to think about ways that softness
can challenge our assumptions about theaters: not so much as well-oiled machines for the production
of specific and predictable effects, but as soft, flexible, permeable organisms within the city that
embrace some level of uncertainty. In their introductory essay, the student editors frame the Thesis
within the context of their time at Cooper Union, setting the stage for the remarkable work generated
by their class. Emphasis was placed in the studio on the conceptual and expressive quality of
drawings, models, and other possible modes of representation. Establishing constructive forms of
exchange between analytical research and design, the studio pursued an exploration and re-imagining
of a site that included an archetype of modern urbanism, transitional zones occupied by arterial
transit routes, abandoned industrial corridors and spaces that defy definition. The students were
asked to use the construction as an investigation into the potential of Structures to be Spatial
generators and creators of Architectural Form by systematic operations of repetition, combination,
and hybridization. MMD Senior Architect Don Keppler’s work is included as part of the exhibit. In
this full-scale stage, the act of framing becomes key.
Instead, the key differences are variations in genre, rhetoric, and audience. With less focus on the
final presentation, the iterative process of making, writing, drawings and thinking gains traction,
without the necessity of drawing strict barriers between their analytical and projective project.
Although there is only one project specifically proposed for the Ground Zero site, the subject as a
whole can be seen as an address to the question. The Cooper Union is just one example of rising
tuition costs that have risen at colleges and universities across the nation. Hillyer was instrumental in
building the Student Work Collection of the Architecture Archive, from which the exhibition
content will be derived. Two simultaneous yet discrete sequences needed to access a collection of
galleries within. So, one year ago the school obtained funding for a major digitization initiative: All
its archived analog works (including photographs of student works, transcripts of critiques, and
student work descriptions) would be made available online. The crucial questions revolve around
how architecture argues its cultural relevance and influence. We each found ourselves in our Thesis
and out of the school, half-in and half-out. Mirroring similarly ineffective protests from the Occupy
Wall Street effort in 2011, students at The Cooper Union occupied the office of President Jamshed
Bharucha and interrupted this spring's commencement ceremonies. Their hushed, darkened rooms
use architectural and social codes to produce an intense focus; but in turn, they no longer incite
participation, and more often than not, induce a state of drowsiness. With texts by Dore Ashton,
Hayley Eber, and Anne Romme. An understanding of the role and influence of these issues on
architectural design is fundamental. Around 1920, the estuaries of upper Manhattan were dredged
out, straightened, re-mapped and referred to as the Harlem River Ship Channel. The sap of some
trees gives forth a sweetness to the lips. Students developed the notion of architectural design as an
analytic, empirical, and critical process that is informed by culture, context, and logic. Students
studied centralized versus layered organization, courtyard types, field-object and object-frame
relationships and other conditions that qualified generic domestic types. This year the Third Year
Studio sequence was again divided into two separate but related semesters, each combining analysis
and design, both working with the same institutional program: the Library. Both programmatic
segments are interwoven with each other, proposing the inhabitation of that transition between the
water and the city. The installation of models, drawings, and photographs along with faculty and
student statements, documented work from 1964 to 1971. Building on scientific material, the
complex processes of generation and the transformations of extreme natural phenomena—such as
glaciers, volcanoes, permafrost, clouds, coral reefs, and algae—are explored, introducing a different
dimension of space, time, and scale that transcend the established disciplinary boundaries of
architecture, urbanism, and landscape. Students are admitted solely on merit and receive a minimum
50% tuition scholarship. He looked forward to a time when, “knowledge shall cover the earth as
waters cover the great deep.”. The exhibit features hand-drawn, born-digital, and three-dimensional
works, and coincides with the launch of a comprehensive web-based digital database of the school's
pedagogy. This entire exhibit is dedicated to the emergence of the digital archive, and in this sense,
the exhibit is just the tip of the iceberg. So yes, I think that students have an intuitive understanding
throughout their years of study, but the weight of responsibility that comes with the independence of
thesis feels entirely new. It’s hard to look at Elizabeth Diller’s thesis, Twin Houses for a Single
Resident, and not be in awe of her mastery of certain detailed specifications; in turn, it is infinitely
clear how those very details become the substance of numerous projects, exhibitions and built
installations. But even as these factors merged with the ever-present reality of physical isolation, our
interests, passions, and hobbies seemed to bring us into closer conversations than ever before. She
uses the language of freehand drawing, one of the most fundamental but overlooked speculative
tools for architects, to reveal the potential within even the most inexperienced students and show
them how to fully observe and perceive the world around them. She uses the language of freehand
drawing, one of the most fundamental but overlooked speculative tools for architects, to reveal the
potential within even the most inexperienced students and show them how to fully observe and
perceive the world around them.