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CONCEPTSTATEMENTEMBRACING THE ABSENCE OF CREATIVITY

THE PROPOSED NEW SCHOOL OF MAKING IS A SERIES OF THRESHOLDS THAT DEFINES THE STREET EDGE. THE CONCEPT OF MODULAR, BY PULLING IN AND OUT VOLUMES IN A GRID CRE-ATES A RHYTHM AND GIVES THE SCHOOL AN IDENTITY. THE IDEA IS TO CREATE AN ACTIVE PATHWAY THROUGH THE SITE AND SCHOOL. THE GROUND LEVEL IS DIVIDED BY A PUBLIC BREEZE-WAY WHERE VISITORS AND STUDENTS CAN EX-PERIENCE VARIOUS ACTIVITIES AND PROVIDE AN EDUCATIONAL CULTURAL ATTRACTION. ANOTHER FOCAL POINT WAS TO RECONNECT THE SCHOOL TO THE RIVER BY FRAMING VIEWS OF THE CITY AND CREATING AN ACTIVE PEDESTRIAN RIVER WALK.

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roma vicenza cinque terre st.gimiano murano venice siena

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amsterdam firenze madrid manchester milano siena zurich

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CONCEPTSTATEMENTTHE PROPOSED SKYSCRAPER IS AN INNOVATIVE OFFICE AND EXHIBITION CENTER DEVELOPMENT LOCATED IN DOWNTOWN TAMPA. SITED ALONG THE WATERFRONT AND ADJACENT TO HISTORIC LYKES GASLIGHT PARK, THE PROJECT PRESENTS A PRECEDENT TOWARD INTEGRATING DEVELOP-MENT WITH ITS SITE AND CONTEXT, CREATING A MODEL OF SUSTAINABLE AND ENERGY EFFICIENT DESIGN AND REDEFINING THE WORKPLACE AS A HEALTHY, PRODUCTIVE AND CREATIVE ENVIRON-MENT. THE TOWER STANDS LIKE AN URBAN BEA-CON AMID LOW AND HIGH-RISE BUILDINGS, AN ASSERTIVE COUNTERPOINT TO THE SKYLINE OF DOWNTOWN TAMPA. ENVELOPED BY A TRANS-PARENT SKIN, THE TOWER APPEAR ALMOST IM-MATERIAL DURING THE DAY AND NIGHT. THE IDEA

IS A LIVING OFFICE THE CONCEPT OF URBAN LIVING IN WHICH LIVING, WORKING AND LEI-SURE ARE COMBINED AS ONE. TRANSITION, COMMUNICATION, AND TRANSPARENCY ARE CAR-RIED THROUGH THE VERTICAL SLAB, EXPRESSED AS TWO LAYERS SEPARATED BY A TRANSPARENT SLICE OF CIRCULATION. THE BUILDING’S BASE CONSISTS OF SUPERIMPOSED SPACES WITH DIF-FERENT FUNCTIONS: GLAZED RETAIL SPACES, DAY CARE CENTER, CAFE. THE VARIOUS COM-PONENTS ARE CONNECTED ALL THROUGH THE BUILDING. THE RESULT IS A STRIKING MODERN 60-STORY SILHOUETTE THAT IS EASILY DISTIN-GUISHED FROM THE BUILDINGS IN THE BUSINESS DISTRICT AND MARKS THE EDGE OF THE CITY’S DOWNTOWN EFFICIENTLY AND BEAUTIFULLY.

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PROBLEMSTATEMENT

HOW TO CREATE A SENSE OF COMMUNITY BETWEEN THE WORKERS? (SPACES,GROUND,SKY)HOW THE BUILDING MEETS THE GROUND AND SKY?HOW TO CREATE A SENSE OF TRANSITION BETWEEN INSIDE AND OUTSIDE? (FROM THE GROUND LEVEL UP TO THE ROOF)HOW TO REDEFINE THE WORKPLACE?HOW TO CREATE A MODEL OF SUSTAINABILITY?

GOALSOBJECTIVES

CREATING A MODEL OF SUSTAINABLE AND ENERGY EFFICIENT DESIGN: COLLECTING OF RAINWATER, DI-RECT SOLAR HEAT GAIN, WIND LOADS, GREEN ROOF AND TERRACES, SHADING OF WINDOWS, DOUBLE SKIN FACADES.REDEFINING THE WORKPLACE AS A HEALTHY, PRO-DUCTIVE AND CREATIVE ENVIRONMENT: USE OF SKIP-STOP ELEVATORS TO PROMOTE WALKING AND EXERCISE, PROVIDE OPEN SPACES SUCH AS A SKY GARDEN AND TERRACES FOR SOCIAL INTERACTION, THE USE OF DAY LIGHTING FOR ORIENTATION AND TREATED AS AN ELEMENT OF DESIGN.INTEGRATING DEVELOPMENT WITH ITS SITE AND CONTEXT: SITE ACTS AS A HUB, INTEGRATE AN OPEN SPACE AT STREET LEVEL.AN OFFICE BUILDING THAT FOSTERS PRODUCTIV-ITY; A PLACE WHERE PEOPLE CAN ENJOY AND TAKE PRIDE IN THEIR WORK; PLACE COMMERCIAL AND RETAIL ON THE GROUND LEVEL; GET WORKERS INVOLVED; A TOWER THAT IS OF TOTAL OPENNESS AND CLARITY;CREATE A NEW IDENTITY OF THE CITY.

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1. DROP OFF 4. SERVICE BAYS 7. LOBBY 2. PLAZA 5. LOADING SERVICE 8. SECURITY3. LEASABLE SPACE 6. REST ROOMS

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1. OFFICE 2. BRIDGE 3. ATRIUM 4. TERRACE 5. ELEVATOR LOBBY 6. RESTROOMS 7. ELECTRICAL 8. COMMUNICATION

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CONCEPTSTATEMENTA SPATIAL PAUSE

THE PROJECT IS TO DESIGN A MONUMENT AT THE NATIONAL MALL IN WASHINGTON DC TO MEMO-RIALIZE THE SEPTEMBER 11, 2001 AND THE FEB-RUARY 26, 1993 ON AMERICA. MEMORIALS GIVE US A CONTEXT FOR REMEMBERING THE PAST, EN-GAGING THE PRESENT, AND REFLECTING ON THE FUTURE. I PROPOSE A SPACE THAT ECHOES THE LOSS AND REGENERATION OF LIFE, CRE-ATING A SPATIAL PAUSE THROUGH LIGHT AND SHADOW. RECOGNIZE EACH INDIVIDUAL WHO WAS A VICTIM OF THE ATTACKS: VICTIMS OF THE SEPTEMBER 11, 2001 ATTACKS IN NEW YORK, VIRGINIA AND PENNSYLVANIA; VICTIMS OF THE FEBRUARY 26, 1993 TERRORIST BOMBING OF THE WORLD TRADE CENTER. PROVIDE A SPACE

FOR CONTEMPLATION: AN AREA FOR QUIET VISITATION AND CONTEMPLATION; AN AREA FOR FAMILIES AND LOVED ONES OF VICTIMS; SEPA-RATE ACCESSIBLE SPACE TO SERVE AS A FINAL RESTING PLACE FOR THE UNIDENTIFIED REMAINS FROM THE WORLD TRADE CENTER SITE. THE ME-MORIAL IT’S LOCATED ALONG THE TIDAL BASIN RIVER ACROSS FROM THE JEFFERSON MEMORI-AL. THE SITE IT’S COVERED BY CHERRY BLOSSOM TREES WHICH SYMBOLIZES THE REGENERATION OF LIFE AND THE RIVER SYMBOLIZES TRANQUIL-ITY. THEREFORE, THE MEMORIAL WILL EVOLVE OVER TIME AND ENCOURAGE REFLECTION AND CONTEMPLATION.

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SITE

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EASTSECTION

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WATERCOLOR ON CANVAS

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CONCEPTSTATEMENTSCULPTURE OF WAVES

HAVING RESEARCHED AND ANALYZED THE EXISTING CONDITIONS OF THE SITE, THE MARITIME MUSEUM WILL EXAMINE THE TRANSFORMATION OF AN EXIST-ING STRUCTURE, THE ADAPTATION OF THE STRUC-TURE TO THE SITE, AND THE INTERRELATION TO THE LAND, WATER AND COMMUNITY WILL BE ESSENTIAL ELEMENTS IN THE DEVELOPMENT OF THE MARITIME MUSEUM.THE IDEA IS TO CREATE AN ACTIVE PATHWAY THROUGH THE SITE. CREATING SCULPTURE WAVES THAT WILL HAVE INTERMEDIARY POINTS WHERE VISITORS CAN EXPERIENCE VARIOUS ACTIVITIES AND PROVIDE AN EDUCATIONAL CULTURAL AT-TRACTION.

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PROBLEMSTATEMENT

HOW TO CREATE AN ACTIVE PATHWAY THROUGH THE SITE, FROM THE COMMUNITY TO THE NORTH TO THE WATER TO THE SOUTH?HOW TO INTEGRATE THE SITE WITH THE WATERFRONT AND CITY?HOW CAN THE MUSEUM BE A VITAL PUBLIC SPACE FOR CULTURAL EXCHANGE, BOTH WITHIN THE COM-MUNITY AND BEYOND?

GOALSOBJECTIVES

PROVIDE AN ACTIVE AND LIVELY PEDESTRIAN AC-CESSIBLE WATERFRONT ON THE PENINSULA. DIS-PLAY ACTIVITIES WHICH CREATE AN INTERACTION WITH THE PUBLIC AND THEIR PHYSICAL SURROUND-INGS.PROVIDE NEW USES AND POSSIBILITIES FOR RE-DEVELOPMENT OF THE HARBOUR AND THE WA-TERFRONT AS A POWERFUL MAGNET FOR TOURIST AND URBAN ACTIVITY.ARCHITECTURE THAT PROVIDES A NEW FUNCTION-ALITY. PROVIDE A FACILITY FOR BOTH INTERNAL AND EXTERNAL EXHIBITS. INTERNAL: CAN ACCOMMODATE VARIED MUSEUM EXHIBITS. EXTERNAL: A NUMBER OF PIERS FOR SHIPS EXHIBITS.

• CREATE A MEMORABLE IMAGERY• PROVIDE A GATEWAY INTO THE HARBOUR• ESTABLISHED AN INTEGRAL RELATIONSHIP WITH THE USF’S CAMPUS.• PROVIDE AN EDUCATIONAL CULTURAL ATTRACTION TO THE CITY OF ST. PETERSBURG

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1. navigation exhibit2. navigation aids exhibit3. lecture room4. service5. terrace/cafe6. restrooms

1. small craft exhibit2. large craft exhibit3. service4. gallery5. viewing platform6. balcony7. restrooms

1. reading room2. meeting rooms3. truck dock4. administration5. shipping and receiving6. central storage

7. changing exhibit8. platform9. permanent dock10. visiting dock11. model exhibit12. gallery

1. artifacts exhibit2. small craft exhibit3. service4. viewing platform5. nautical exhibit6. restrooms7. terrace

1. lobby2. store3. cafe4. dry outdoor exhibit5. large craft exhibit6. service

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CONCEPTSTATEMENTTHE SITE OF THE PROJECT IS IN HAVANA, CUBA IN THE BARRIO DE COLON NEXT TO THE OLD CITY AND ON THE OCEAN. THE AREA CONSISTS OF TWO TO FIVE STORY RESIDENTIAL BUILDINGS, SOME COM-MERCIAL BUILDINGS AND COMMUNITY FACILITIES. IN HAVANA, THIS NEIGHBORHOOD IS THE MOST IN NEED OF NEW CONSTRUCTION OF HOUSING, COM-MERCIAL AND COMMUNITY AMENITIES. THERE IS A DESPERATE NEED OF HOUSING IN THREE WAYS: NEW HOUSING ON TOP OF EXISTING BUILDINGS AND REHABILITATION OF CURRENT EXISTING HOUS-ING. THERE IS A NEED FOR A NEW PLAZA IN THE CENTER OF THE AREA AND ADDITIONAL OUTDOOR PUBLIC SPACE. IN ADDITION THERE IS A NEED OF SOME EDUCATIONAL COMPLEX TO BE INTRO-DUCED. AT THE NORTH END OF THE SITE IS THE MALECON, AN AREA ALONG THE OCEAN THAT CON-TINUES THROUGH ALL THE AREAS OF HAVANA.

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INTRODUCTIONTHE NEIGHBORHOOD OF BARRIO DE COLON IS AN IMPORTANT ELEMENT. THE HUMAN AND CULTURAL RELATIONSHIP WITHIN THE BARRIO IS PRESENT THROUGHOUT ALL OF HAVANA. THE PHYSICAL AND CULTURAL TERMS GIVE CONTINUITY TO THE HERI-TAGE OF THE BARRIO’S URBANISM AND ARCHITEC-TURE. THERE IS A DESPERATE NEED TO ADDRESS ENVIRONMENTAL ISSUES, CREATE AN URBAN LAND-SCAPE, PRESERVE THE HERITAGE PRESENCE, AND INTRODUCE URBAN/ARCHITECTURAL TYPOLOGIES. LACK OF OPEN SPACE AND HIGH DENSITY FORCE RESIDENTS TO LIVE IN EXTREME ENVIRONMENTAL CONDITIONS. GREEN SCARCITY ALSO ADDS TO THE INCREASE OF HEAT WITHIN THE BARRIO.

STRATEGIES

URBAN SCALE:ESTABLISH A STRONGER CONNECTION TO SUR-ROUNDING BARRIOS; STRENGTHEN THE IDENTITY WITHIN THE AREA; INTRODUCE PEDESTRIAN ONLY STREETS; REDEVELOP THE WATERFRONT; DESIGN A NETWORK OF GREEN SPACE; CREATE A CENTRAL PLAZA; INTRODUCE NEW EFFICIENT HOUSING TY-POLOGIES; CONSIDER THE SPACE BETWEEN.

NEIGHBORHOOD SCALE:MAINTAIN THE DIVERSE IDENTITY WITHIN THE NEIGH-BORHOOD; PROVIDE URBAN AMENITIES SUCH AS A NEW MUSEUM, A LIBRARY/CULTURAL CENTER, REC-REATION AREAS, A PUBLIC MARKET SPACE, INTRO-DUCE A NETWORK OF COURTYARDS AND POCKET SPACES WITHIN THE ENTIRE BARRIO.

BLOCK SCALE:MAINTAIN THE CHARACTER OF EACH BLOCK WHILE IMPROVING PHYSICAL STANDARDS; DESIGN A MIXED USED STRATEGY; INTRODUCE NEW HOUSING IN FILL IN NEEDED AREAS.

SPATIAL STUDIES

OPPORTUNITY DIAGRAMS

CONCEPT DIAGRAM SITE MODEL

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ATTITUDE FORM MODELUNDERSTANDING THE ‘WHY’ OF THE PLACE IN RELATIONSHIP TO ISSUES OF STREET LIFE, PRIVATE LIFE, AND COMMUNITY LIFE. UNDERSTANDING WHAT THIS PLACE SHOULD BE.

SPACE BETWEEN FORM MODELSPACE THOUGHT OF AS SOLID/POSITIVE AND PRIVATE PARTS OF THE BUILDING AS VOID/NEGA-TIVE. IN THIS WAY PATHS, PLACES AND IN-BETWEEN SPACES ORGANIZE THE BUILDINGS

OBJECT FORM MODELAN INITIAL IDEA ABOUT THE DESIGN OF OBJECTS AT THE BLOCK SCALE

CONCEPT FORM MODELUSING FOUND OBJECTS OR ‘JUNK’ TO EXPRESS A QUICK IDEA ABOUT THE THOUGHTS OF THE AREA. LETTING THE OBJECTS TELL US SOMETHING AND FREEING US FROM

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HEAVY TRAFFICLIGHT TRAFFICBUS TRANSITBIKE PATHPEDESTRIANWATER FERRYNEW TRANSIT STOP

RESIDENTIALINSTITUTIONALMIXED USECOMMERCIAL RETAILHISTORICALCULTURALOPEN SPACE

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PROPOSED LOBBY SPACEPROPOSED CIRCULATION

LAND USE PROPOSEDPROPOSED COURTYARDS/POCKET SPACE

PROPOSED PUBLIC OPEN SPACE/BETWEEN

PROPOSED FIGURE GROUNDEXISTING FIGURE GROUND

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ELEVATION MONTAGE A NEW VOCABULARYDESIGNING ELEVATIONS ARE A WAY OF UNDERSTANDING MATE-RIALS, COLOR, SHAPE, CONTEXT AND IN OUR CASE DEVELOPING AN ARCHITECTURAL VOCABULARY THAT BOTH RELATES TO THE EXISTING AND AT THE SAME TIME IS NEW-”ORDINARY AND EX-TRAORDINARY”. THREE MONTAGES OF DIFFERENT AREAS AND USES INCLUDING HOUSING, PUBLIC, PRIVATE.

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“if the city is a landcape, buildings are mountains” vincent guallart

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DETAIL OF BLOCK437 m_1,432 ft_0.27 miles_479 yards x68 m_225 ft_0.04 miles_75yards

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THE STUDIO TRAVELED TO QUITO, ECUADOR TO STUDY ANOTHER SPANISH COLONIAL DEVELOPED CITY. THE TRIP UNVEILED CLUES TO UNDERSTANDING THE ‘WHY’ OF THE PLACE IN ORDER TO PRODUCE A STRONGER RESULT AT THE SITE IN CUBA. DURING THE TRIP WE STUDIED HOW THE PEOPLE LIVED, THE URBAN LAYOUT, THE ARCHITECTURAL TYPOLOGIES OF THE AREA, AND THE PUBLIC GATHERING SPACES. THE PHOTOS ARE MOMENTS OR CLUES THAT CAPTURE THE ‘WHY’ OF THE PLACE AND THE PEOPLE.

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CONCEPTSTATEMENTTHE BOATHOUSE PROJECT WAS TO CREATE A DI-RECT CONNECTION OF THE CITY GRID OF THE SITE TO THE WATERFRONT. EXTENDING 7TH AVENUE INTO THE PARK ONTO AN ELEVATED PEDESTRIAN PATH ESTABLISHES THE PRIMARY SPINE FOR THE BOATHOUSE PROJECT. DEFINED BY AN ALEE OF TREES, AN ELEVATED PATH WILL PROVIDE SEAT-ING FOR RELAXING AND VIEWING OF DOWNTOWN TAMPA AND THE HILLSBOROUGH RIVER CON-NECTING TO THE CITY’S EDGE TO CREATE EXTEN-SIONS OF THE URBAN FORM. IT SLOWLY SLOPES UP INTO THE BOATHOUSE BLENDING THE LAND-SCAPE TO ITS PROGRAM, AS WELL USING THE SPACE UNDERNEATH SHOWCASING FOUNTAINS, NUMEROUS PIECES OF PUBLIC ART, SITTING AND A SERIES OF SMALL SCALE VENDOR KIOSKS THAT

WILL CONNECT TO THE RIVER WALK. ANOTHER ARCHITECTURAL ELEMENT, AN OBSERVATION TOWER, IS A CLEARLY IDENTIFIABLE LANDMARK THAT LOOKS OUT ON THE CITY. THE DESIGN WAS DRIVEN FROM THE SPORT OF ROWING. ROWERS ARE OBSESSED WITH SPEED, PRECISE BALANCE AND LIGHTNESS OF THE BOATS. THE BOATHOUSE CONSIST OF TWO SYMMETRICAL VOLUMES AN-CHORED BY THE OBSERVATION TOWER FORM-ING AN L SHAPE IN PLAN, THIS SYMMETRICAL COMPOSITION RECOGNIZES THE NEED FOR BAL-ANCE IN THE SPORT. THE EFFECT OF LIGHTNESS IS THROUGH A TRANSLUCENT POLY CARBONATE SKIN PROVIDING A TRANSLUCENT IMAGE DURING THE DAY AND A DRAMATIC NIGHTTIME IMAGE OF FLOATING ABOVE THE RIVER.

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LOCATED ALONG THE HILLSBOROUGH RIVER, THE BUILDING WAS FORMERLY KNOWN AS THE TAMPA ARMATURE WORKS WAREHOUSE AND THE TECO TROLLEY BARN. ZONING COMMERCIAL OCCUPANCY BUSINESS/MERCANTILE BUILDING TYPE TYPE III AREA 77 ACRES GSF 25,000 CODE NO HEIGHT LIMITS

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1. ROOF MEMBRANE2. RIGID INSULATION3. STUCTURAL CONCRETE DECK4. ROOF METAL DECKING5. 12"X4" W-FLANGE GIRDER6. 26"X10" W-FLANGE BEAM7. STRUCTURAL COLUMNS8. FLOOR PANNELS 2'X2'9. PEDESTALS10. STUDS11. PARTITION WALL12. SUSPENEDED CEILING PLANE13. FLOOR SLAB14. SHADING CURTAIN15. CONCRETE SLAB ON GRADE16. PILE FOOTING17. CONTINUOUS FOOTING18. CURTAIN WALL/GLAZING19. LOUVERS20. TRACK SUPPORT21. FLASHING22. MULLION23. SPANDREL24. CONTINUOUS PERIMETER ANGLE25. FIRESTOPPING

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MECHANICALHVAC: DUCTS, WITH DIFFUSERS; SUSPENDED FROM STRUCTURE IN CEILING PLENUMELECTRICAL: ELECTRICAL WIRES AND CABLES PLACED MAINLY TELECOMMUNI-IN ACCESS FLOOR PLENUM AND STRUCTURALPLUMBING: MOST PLUMBING FUNCTIONS PLACED IN CORE AREA FOR EFFICIENT VERTICAL CIRCULATION OF SYSTEMSFIRE SAFETY: SPRINKLER SYSTEM SUSPENDED FROM STRUCTURE IN CEILING PLENUM

ADVANTAGES AND CHARAACTERISTICSMECHANICAL SYSTEMS, HIDDEN IN FLOOR AND CEILING PLENUMS, CAN BE ACCESSED THROUGH REMOVABLE PANELS IN FLOOR SYSTEMS.

CODEFINAL INSPECTION. TO BE MADE AFTER THE BUILDING IS COMPLETE, ALL PLUMBING FIXTURES ARE IN PLACE AND PROPERLY CONNECTED, AND THE STRUCTURE IS READY FOR OCCUPANCY. BUILDING AREA 25,000 SQ FTCAPACITY IN TONS 25,000 SQFT/300 = 83 TONS33,200 CFMMODEL TYPEJOHNSON CONTROLSCOMMERCIAL SERIES 100CAPACITY 50-130 TONS

1. HVAC CENTRAL LOCATION ROOFTOP CHILLERS2. RETURN3. AIR HANDLER4. BOILER5. SUPPLY

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CONCEPTSTATEMENTBOUND PART I

THE FIRST PART WAS A COLLABORATIVE PRO-CESS WITH THE STUDENTS FROM THE DANCE AND VIDEO DEPARTMENT. THE IDEA WAS TO COM-BINE ALL THIS ARTS AND COME UP WITH A DANCE PERFORMANCE THAT WOULD BE PERFORMED AT THE END OF FOUR WEEKS. THE IDEA WAS TO COME UP WITH A THEME, A RELATIONSHIP BE-TWEEN BODY, MOVEMENT, AND STRUCTURE. WE WANTED THE PERFORMANCE TO HAVE A NARRA-TIVE, A BEGINNING, A TRANSITION, AND AN END. WE WANTED THE AUDIENCE TO EXPERIENCE THE SENSE OF BLINDNESS, AND THE DANCERS A SENSE OF EQUILIBRIOCEPTION. SO WE THOUGHT OF CAPTURING THE BODY AND MOVEMENT THROUGH A PICTURE-FRAMED FABRIC (SCREEN) WITH SPOTLIGHTS BEHIND THE PROP CREATING A SILHOUETTE OF THE BODY. THEREFORE, THE PER-FORMANCE BECOMES AN ABSTRACT OF VISION (SEEING,BLIND). ALSO, THE BODY IS COMPOSED OF SYSTEMS AND WE FOCUSED ON THE MUS-CULAR SYSTEM. IN THE PERFORMANCE WE HAD PROPS THAT WE HAD TO INCORPORATED WITH THE DANCE. THE ROPE WAS USED AS A WAY OF BEING BOUND AND THE SENSE OF TENSION.

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CONCEPTSTATEMENTIF A BUILDING COULD MAKE YOU DANCE PART II

THE SECOND PART OF THE PROJECT WAS TO DE-SIGN AND CONSTRUCT AN INSTALLATION TO BE ERECTED IN THE CENTRAL SPACE OF THE LIN-COLN CENTER FOR THE PERFORMING ARTS IN NEW YORK. THE GOAL IS TO REFOCUS ATTENTION ON HUMAN BODY INTERACTION AS A GENERATOR FOR NEW ARCHITECTURAL CONSTRUCTS. THE IN-STALLATION OFFERS A PLATFORM FOR EXPLOR-ING THE BODY AND “PERFORMATIVE TRANSFOR-MATIONS OF THE SUBJECT” IN ARCHITECTURAL DESIGN, WHILE THE COMPLETED INSTALLATION WILL CREATE A DIALOGUE AND INSPIRE INNOVA-TION FROM THOSE ARCHITECTS WHO INHABIT AND EXPERIENCE IT. FINALLY, THE INSTALLATION WILL SERVE AS THE GENERATOR FOR THE CHO-REOGRAPHY OF A SITE-SPECIFIC DANCE, CREAT-ED IN CONJUNCTION WITH A LEADING CONTEM-PORARY CHOREOGRAPHER AND THE ARCHITECT TO BE PERFORMED.

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