For Janson Goldstein. This 120,000 SF store was designed/built for high-end retailer Holt Renfrew. The design focuses on the architectural expression of the brand through the use of scale, articulated details, materials, patterns, light, and digital technology. The most striking design feature is the 600 LF facade, composed of 30 foot tall mirror-fritted glass with inlaid digital screens. These panels are then offset with a custom fin-shaped mullion to offset the glass panels and to allow rotation from panel to panel. This design will be the template for several more stores in the coming years.
Photography by Mikiko Kikuyama
For Janson Goldstein. This project was interesting because not only was it a 50,000 SF store plan and facade, but also because it was a complete brand launch and will now be the template for several more stores in the coming years. The design uses a combination of geometric patterns, dynamic lighting effects, and digital technology to create a wholly new retail experience defined by the architecture.
Photography by Mikiko Kikuyama
Cooler is an art gallery within a repurposed industrial icebox outside the Brooklyn Navy Yard — the physical border of large art, design, and manufacturing communities. The curation aims to reflect the essence of this intersection. Cooler Gallery seeks to be a breeding ground for thought at the crossing of fine art, design and manufacturing.
We host monthly group and solo exhibitions showcasing a specific artist or a theme. As a general guideline, pieces must be a reflection on the space itself, pieces must incorporate themes of material/materiality, and pieces must lie at the intersection of art, design, and manufacturing.
For Janson Goldstein. This 100,000 SF Public-Private Indoor Lobby Park lies at the center of mid-town NYC. The design proposed a collonade of solid extruded glass columns that divide the space. Along the collonade are several programs; flower shop, coffee shop, music stage, newsstand, and restaurant. This project successfully created a very intimate experience for inhabitants within a large public space.
Photography by Aaron Thompson
A series of table lamps to be used singularly or in a set that incorporate heavy construction materials with lines of light. Geometric forms of terrazzo, concrete and blackened steel integrate with warm white neon tubes lit in series. The name is derived from the masculine look, the Argon gas in the tubes, and the aggregate in the terrazzo.
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Artist Sheryl Oring commissioned this project to create an arch for her new exhibition at the McCormack Freedom Museum in Chicago’s Tribune Building.
The design is composed of just over 3000 self-fastening folded plastic modules. The pieces are scripted to seamlessly transition in scale/orientation; i.e. every component is unique.
Contributors: Ajmal Aqtash, Erin Bartling , DJ Kim, Erik Martinez, Roger Reichard , Richard Sarrach, Wendy Tang, and Peter VanHage
New York City’s Watershed is a site in crisis. Not only is there a larger demand for water due to the growth of the population, but due to further suburban development in upland areas, water catchment sites are not as hygienic as once thought. Within the Croton Watershed sits Carmel. This suburban town in Putnam County has large basins for water catchment integrated into a developed suburban community. The distributed system currently in place for the dispersal of sewage, though, has a very high risk of contaminating the watershed.
Based on a topological study using sand and cavities to represent the density and area of groundwater contamination risk, a landscape was generated. The areas that are highest upland have the highest ground water capacity and lowest contamination risk, and the areas downland have the lowest capacity and highest risk. This relationship is key to the remediation strategy, by creating a topography that channels effluent water to these specific sites. The exo-landscape is then populated with components that not only allow the material flow relationship but can also be modulated to allow for varying lighting conditions and the ability to contain soil and plants. This passive system is then activated by integrated pumps that draw sewage to biogas processing sites.
Using pastoral ideas native to the development of suburban landscaping, such as sweeping vistas, winding pathways, scenic overlooks and grottos, we develop the landscape to be a desirable recreation site.
Overlaid, layers of sewage, air, and water flow create a new material ecology within Carmel. Since the sites of highest contamination risk are protected, New York City’s Watershed is more protected than previously. Because the system is automated to deposit and process waste into the sites of highest capacity, the system as a whole has a larger capacity for sewage.
This project hopes to blur the boundary between what is considered clean and contaminated, synthetic and natural, and in doing so foster a modified suburban desire. This, through the intensification of existing conditions of a synthetic pastoral and the gizmo begins to challenge the boundaries that enabled the development of suburbia.
Contributors: David Anderson, Carla Lores, and Kate Moxham
Textile Tabernacle is a deployable fabric-and-frame sukkah. In reference to both its deeply-rooted tradition and its contemporary application in the urban context of Union Square, it provides portable sanctuary in memory of the 'period of wandering'. It is a space for meditation, contemplation, wonder, stillness and reflection. It is a temporary shelter for the body - the human instance of the spirit - which in turn is the temporary abode of the soul. It is a threshold to an ever-present but under-accessed reality, the ephemeral beyond the world of appearances.
Textile Tabernacle is able to be transported, assembled and erected wherever there is a need. The structural frame allows for the sukkah's skinning to be flexible in its application of schach. Its appearance in a dense, urban situation would offer a break from the speed and routine of the city, providing its dwellers with an experience outside of ordinary frames of reference.
The experience of the space changes continuously in the light, as well as dynamically in the act of moving through it. Slipping between its exterior layers, one enters a luminous, organic form that allows the exterior world to dissolve and recede. Zones of darkness and constriction give way to light and openness, encircling and meeting in a central space. The point of central meditation was established as a focus by use of light, rotation and contraction of space. Though large enough to to act as a semi-public space, it provides a very personal and intimate experience.
This project is one of several site-specific buildings designed for a developer in Toronto. Because of the historic residential site and the mixed-use program, an articulated screen was developed. This achieved the desired privacy and lighting conditions all while fitting in with the site context and creating an elegant architectural icon. For Janson Goldstein.