pardon the dust

FELDMAN ARCHITECTURE

Role: Project Designer

dosa by DOSA brings the energetic warmth and spirit of Mumbai street food to the easy-going Uptown Oakland neighborhood. We took full advantage of high ceilings and abundant natural light in the century-old, brick-and-timber building at 2301 Broadway. Hand-crafted interpretations of traditional Indian elements play with new and old, developing an enduring design idiom for future dosa by DOSA locations.

dosa by DOSA is street corner casual and quick. An all-day bar keeps the energy light and lively from breakfast through dinner. The open kitchen and its wood clad hearth showcase the handwork of creating fresh dosa. Highlighting the meeting of Oakland and Mumbai, two large mural walls commissioned from local artists transports the customer from Oakland to India and promises fresh discoveries with every family dinner, casual cocktail, or morning chai.

Beautiful, healthful, soulful spaces that inspire people and enhance our communities: those are the objectives of Feldman Architecture. Aligned with our clients’ vision, this Uptown Oakland project’s resourceful design, fine materials, and thoughtful detailing make dosa by DOSA both journey and destination.

Team:

Jonathan Feldman, Partner in Charge

Jeff Wheeler, Project Manager

IDEO, Branding and Identity

Terra Nova Industries, Contractor

Melinda Morisson, Lighting,

MHC Engineers, MEP

Nahum Goldberg, Kitchen Consultant

Anna Molina, Furnishings Consultant

Namita Kapur, Muralist

Kassie Borreson, Photographer

FELDMAN ARCHITECTURE

Role: Project Designer

The stable was built in 1909 by Bricca family. The building sits at the edge of the old shoreline looking east toward the bay in iconic Jackson Square. The brick and timber building was seismically retrofitted with steel moment frames marking the first modernization of the building in 2002. As a move to preserve the structure and its inherent history, the project sought to camouflage the desired private conference and meeting rooms through reflection. Etched glass walls mirror the brick and timber space, multiplying it through spatial sequencing while clear glass partitions allow for clear visibility through the space. The result is an office that is both private yet open, opaque and transparent. The addition mimics a layer of fog near a damp port referencing the building's original bay side geography. Nautical modern preservationist. Clean crisp and raw and gnarled. Tranquil.

The office serves a staff of 14 with 2 large conference rooms, 2 private meeting rooms, 1 lounge, kitchen, lobby and 2 benches of workstation. The lighting comes from a rectangular architectural element marking the perimeter of the computer stations. The project was completed in 5 months sketch to finish. 

Team:

Scenic Advisement, Client

Tai Ikegami, Partner in Charge

Morosos Construction, Contractor

Tineke Trigs, Interior Furnishings

Techlinea, Lighting Design

MHC Engineers, MEP

Adam Rouse, Photographer

LUNDBERG DESIGN

Pro bono design permitting and construction administration for the Sonoma Land Trust Baylands Center. The project is sited on the flood line where the Land Trust is working to let the levies out and the water to reclaim the marsh. In 5 years, this will be overlooking water. Make sure to look out for it next time you travel across HWY 37.

The project is both rural and modern, hiding a glass enclosed meeting space within a veiled wood barn structure. The glass slides open for extended events and slides closed on cold or windy days without ever loosing connection to the spectacular setting. A private office and bathroom flank the entry anchoring and anchoring the front of the building. The landscape rolls away as one walks out onto the deck perching them high to see for miles. 

Team:

Olle Lundberg, Principal

Nonella Builders, Contractor

Yu-Strandberg, Structural Engineers

LUNDBERG DESIGN

Role: Project Designer

Renovation and remodel of 1912 concrete and timber factory building for retail and residence for clients with extensive art collection. In an effort to preserve wall space, a pre-fabricated units from salvaged shipping containers where cut and stacked for a ship-in-the-bottle concept bed/bath below and office/terrace above. The stair was designed to further push the material efficiency of steel, bending a single 3/8 inch plate to a maximum 55 degrees for a modular build. The full build out included master bath, kitchen, radiant heating, and root deck. The pre-fabricated units and stair were installed in two days with a single hoist. 

Team:

Olle Lundberg, Principle

David Battenfield, Project Manager

Donald Lewis, Contractor

Yu-Strandberg Engineering, Structural Engineers

Compass Container (Port of Oakland), Fabricator

Tony Orantes, Fabricator

Pat Carson, Fabricator

Kerf Cutting Timber is a project in which kerf cut lines are used to program the bending, stretching, and warping of hardwood timber. The research is part of an on-going investigation at Autodesk's Pier 9 workshop. See the full Instructable here.

http://www.instructables.com/id/Kerf-Cutting-Timber/

Design, fabrication, and installation of a window seat for an office renovation. This bench curves to provide a back rest in 2 places while creating ventilation for the floor board heater it masks. The bench was made with 1" Birch plywood and the bends were created with a 7 layers of 3mm birch laminated together. The curve is asymmetrical creating two seating options: the lounge and the upright. Both offer the informal office more options for working, meeting, or dreaming.
 

Infrastructure is the fabric of our urban environment. Water, air and fire have been captured and distributed through conduits and veins below the surface and above the trees. These utilities meet the human body at the scale of the street and designate a particular behavior. This set of drawings looks at the scale to which infrastructure exposes itself and the relationship to the human dimension as an investigation toward a new prototype for the next generation of utilities.

3_Ply was a personal investigation in analog, non-digital manufacturing and prototyping for a furniture course. Using a series of anatomical studies, a surface curve was established that could work for the legs, seat and back support for bent plywood construction. Tests proved a 3 inch bend radius with 3 layers of 1/8" birch plywood. Wetting, dry_bend and then glue_up resulted in an extremely strong, repeatable, and low waste design that is rooted in the ergonomics of sitting.

RIP Calvin Street Fire 7/25/2013

Lead Fabrication and Project Management for the exhibition of Liam O'Brien Jr's portfolio for the New York League's Young Architects prize 2011. The project challenge the ornate geometry and construction of the frame, negating mitered construction for solid form. It resulted in 71 unique frames and 140 unique corner conditions. The exhibition entitled "Its Different" gathered the work of 5 young designers and ran at the Parsons New School of Design main gallery from June-August 2011. The project was re-appropriated as a component LIam's solo exhibit at MIT's Keller gallery November 2012.

Team:

LIam O'Brien Jr.

Juan Jofre

Alan Lu

Iman S Fayyad

Majeda I AlMarzouqi

David Costanza

Aaron Willette

A specimen analysis, digitization, and physical translation of a sycamore seed or Neri Oxman's mediated matter design research workshop "Crafted By Nature" 2011 at MIT's media lab.

partner:

anthony divencenzi

published:

[AD} Architectural Design

Special Issue: Material Computation: Higher Integration in Morphogenetic Design

Volume 82, Issue 2, pages 88–95, March/April 2012

This project was conducted as a 3 week material and assembly investigation as a part of the first year curriculum at MIT's Master of Architecture program. We were challenged to find variable volumetric strength conditions derived from a  flat sheet material that could adapt to multiple environments. We ultimately extracted a repeatable module from an origami folding pattern developed by the artist Ron Resch. Here we installed it for the Open House exhibition showcasing a flat, arched, column, and floor condition all inherent in the logic of the system. The final installation took 12 hours of lazer cutting and 12 hours assembly. It was on display for 12 hours.

TEAM:

Juney Lee

Keven Lee

INSTRUCTORS:

Skylar Tibbits

Liam O'Brien Jr.

Ashley Shafer

QUEST CRITICS:

Mark Gaulthorpe

Neri Oxman

Joel Lamere

Sheila Kennedy

Designer and Project Management for Historic Renovation of 1908 Brick building in Jackson Square. Structural upgrade for commercial office upstairs, Steel Facade Remodel, Cafe, Kitchen and Fine Dining. Effectively doubled mechanical and power utility and maximized building's production capacity through a highly collaborative fast pace design process. 

LUNDBERG DESIGN all rights reserved

Team:

Lundberg Design:

Olle Lundberg

Jennifer Brodie

Contractor:

Tera Nova Industries

Mechanical Engineers:

Leonard M Rose (LMR)

Kitchen Consultant: 

East Bay Restaurant Supply

Concept renderings for an investor package adapting a large double height space into a restaurant and leisure club. Hand drawn with graphite and reference images to convey the exterior and interior potentials with a the sense of San Francisco lifestyle

3 days total from inception to .presentation

Role: Project Designer

Contour follows the contours of the landscape to terrace two molded bar structures into the hillside. Uphill are the bedrooms and the den. Down hill is the kitchen, dining and living room. In the middle is the outdoor living room. The levels of the house rise as the family member or visitor traverses from the bottom of the hill to the top of the site. The house is a journey. 

The structure is composed of long stone walls that extend into the landscape. Roofs span between the walls to create the rooms that are of the hill. Wood slats and fenestration puncture the stone walls for views and warming texture while the landscape is designed to pass through the house filling the space with wild beauty. 

The geometry is both gentle and rigorous, finding the right level of cut and fill to balance the site. Every corner is accounted for. Every inch resolved. 

Unfortunately the client abandoned the project. The approved design and lot are up for sale. We hope a new buyer will share this dream and the project can come back to life. 

Team:

Jonathan Feldman, Partner in Charge

Ben Welty, Project Manager

Bernard Trainor, Landscape Architect

Junior Designer and Project Management for two level kitchen for the new California Academy of Sciences. Structural upgrade for showcase wall, Steel Stair remodel, Cafe, Kitchen, Bar, Fine Dining, Wine Storage, and 2 story living wall and aquarium. Managed and Facilitated Vast team of consultants while working through in-house fabrication features in consultation with Renzo Piano Building work Shop.

LUNDBERG DESIGN all rights reserved

Team:

Lundberg Design:

Olle Lundberg

David Battenfield

Contractor:

Tera Nova Industries

Mechanical Engineers:

MHC Engineers

Kitchen Consultant: 

East Bay Restaurant Supply

Inhabiting the Cycles of Maritime Obsolescence 

Redirecting the National Defense Reserve Fleet

Defense is in a state of obsolescence. The metrics of risk have changed from threat of military invasion to that of weather. Infrastructure is in a state of transition. The Maritime Administration’s National Defense Reserve Fleet (NDRF) has dwindled from 2,700 in 1946 to only 140 in 2013.  Now, along with closure of over 350 military installations and their subsequent infrastructures in the continental US, the 140 remaining sealift merchant vessels are deemed obsolete, no longer needed for global defense operations. This cycle of infrastructural obsolescence offers an opportunity to realign coastal sites of maritime service and production to serve within regional seaport operations to mitigate the inevitable threat of a catastrophic seismic and/or flood event. Waterfront development must now be coupled with appropriate metrics of defense and redundancy to project long term phasing for the future occupation of the post industrial estuary.

This thesis proposes a strategic redevelopment of obsolete maritime infrastructures that programs a regional sealift defense program for the urban edge of San Francisco Bay. It realigns one of 3 remaining sites of the NDRF to serve in a region where there is a 63% chance that an earthquake with magnitude of 6.7 or greater with occur in the next 30 years resulting in the loss of water, power, and shelter for  more than 27,000 buildings and 60,000 people. The project proposes reprogramming the remaining NRDF merchant vessels as floating water, power, and food utilities and the staging of strategic coastal infrastructures to produce an entirely ship powered waterfront, beyond the grid.  These proposed hybrid landscapes_leisure and emergency_ work together as a strategic urban model for phasing resilient seaports in highly vulnerable coastal regions, inverting the “hard”, land borne conduit infrastructures of power and water in favor of multiplied and thus redundant “soft” distributed waterborne infrastructures to deliver power, water, and food in order to deploy an emergency urbanism. 

Bayview Hunters Point is the southeastern point of San Francisco. Its hidden geography and historical isolation poses a challenge to both invigorate the site while integrating the surrounding communities into a symbiotic relationship. Urban Hydration refers the urbanization of the estuary through a process of coupling programmatic potential with a resilient infrastructure that acts as a new hub for hydrological processing, supply, and transportation.

Urban hydration re-imagines and reprograms the hard infrastructure of San Francisco’s water systems. From greywater and blackwater treatment and stormwater runoff to the pressurized auxiliary water supply for fighting fire, this dual system both serves and protects. Integrating civic and social uses into the design and access of the infrastructure creates a clear relationship between the use of water and hazard.

Within a multi-hazard site that combines flooding, seismic, and ground contamination, the project proposes a development that is entirely above grade allowing the ground to be properly remediated for future use. The hovering infrastructure connects the existing neighborhoods to the site and strategically engages existing structures with a appropriate use. The branching network combines a water treatment facility, a cruise and ferry terminal, a waste incineration plant, a manufacturing hanger, and artist studio, to create a self sufficient zoning that stems from a spine, and not conventional centers. This continuous mega structure integrates the desired mixed use ration of transportation, residential, and creative and spaces in an effort to propose a new urban development that is both horizontal and vertical and simultaneously wet and dry. 

This project was an adventure. It was my first studio working at an urban scale and its complexity was multiplied by the cultural and infrastructural chaos that is Caracas Venezuela. The project opened doors to new questions; the role of an architect; the economics of space; the politics of public; the meaning of a park, the mechanisms of modernism and the failures of master planning. Caracas is like a swelling relic where informal settlement consumes a post-capitalist city plan. The phases intermingle like concrete scars to be mended, bridged, or broken. 

This project takes the opportunity of time to couple projected realities. It begins by mapping the development in tandem with socio-political agendas of dictators, planners, and technology. It ends up using the identified modes of connectivity to develop a void through the phasing of land stewardship, mobility, and ecological rehabilitation. It proposes a network with existing parks, transportation corridors, institutions, and waterways, pulling on the origins of the land. The project attempts to sequence the void from the original flood plane to the contemporary vacant tarmack toward a varied and diverse territory of rich tropical urbanism. 

In the end, the project focuses on the primary phase of accessing the site; bridging and tunneling a river and a 10 lane highway with a proposed subway line. The systemic development surrounding the new subway station stems from the program of a convention center. The station becomes integrated as a park, recreation, exhibition, education, and commercial nodes as a generator for public diversity spanning from infrastructure to open space. 

The project is presented in collage, plans sections and diagrams. It left me with many questions that I continued to work on at a similar scale in the Fall semester and offered new grounds to focus why architecture happens, and grounding it to a social and political urban condition as infrastructure and culture. I am indebted to Franco Micucci for the long and deep dive of cultural sharing, patience, and enthusiasm and look forward to watching the realities of the project develope.

This project re-imagines the new life of a collection of abandoned and obsolete spheroid steel water towers that have been harvested from across the United States. While harnessing the inherent structural performance of each form, the project operates at the conical base to produce a tilting array of grafted combinations and re-combinations at three specific scales for three specific functions: the cloud performance above ground, the cistern performance below ground, and the central public promenade floating in between.  The reflected condition of bulb clusters pushes the duality of highly defined seated theaters high above the street and highly transient fluid theaters that blur the boundaries between performer and audience underground.  These two mirrored horizontal zones provide a gradient of actor and observer in an episodic tour of space and time. This architecture of once pastoral infrastructural objects proposes a new typology in between building and network, an institution that can grow, adapt and change to imagine an alternative PERFORMAPLEX.

Partner:

Kelly Shaw

Instructor:

Ada Tolle and Guiseeppe Linguano | LOT-EK

MIT | OBJECTS and OPERATIONS SPRING 2012

Maintaining Contemporaneous Systems for the Future of LIncoln's New West Lab

Lincoln Lab faces the challenge of the unknown. Technological research initiatives are open ended react to global trends in communication, intelligence, energy, and security. This project proposes a systemic organization that structures multiple functions using a hierarchical kit of parts that act together to maximize the efficiency of project adaptation and the growth of the lab over time. 5 bands of infrastructure provide 4 bays of operation that can support all required conditioned environments. It uses the base logic of metabolist warehouse while enlisting a rule set for expansion for maintaining an interior environment conducive to cross discipline research and both formal and informal collaboration. The lab is highly specified, negotiating collaboration through spatial management allowing the operators to continuously engineer the facility for contemporaneous operations during an expanding lifecycle.

Playback Theater is a building performance. Choreographing the visitor and the operator, the plan of the building weaves the stage and audience throughout. The sidewalk extends into the facade, playing back the movements of the visitor as a physical theater to the street. Inside, volumetric theaters are flanked by front of stage and back of stage as the staff and visitors circulate like a double helix up above the surrounding buildings. Glass is triangulated to swell and contract to the undulating pathways and seating areas forming an urban juke box.

Featherfield is a design exercise that negotiates a pedestrian park and parking structure in a trapezoidal site in Fort Point of Boston. Deriving a geometric condition from plumage, this project develops a hierarchy of intersecting and overlapping grids. The integration of the grids allow for multiplied and scalar operations in a field condition. Small benches are formed as well as large structural folds that bridge high and low points for continuous circulation. The resulting pattern is thus system and a landscape that can adapt to multiple condition. 

nfo Placard

Group 4.333 (b. 2012)

Cold War Kitchen_Verbal Prohibition, part of Hearsay House series, 2012

Breathalyzer, LED Output,Whiskey, Vodka, Arduino Recording

Installation Text

“Gasp. Yawn. Whisper. Breath. Air, is our collective medium. Alcohol is our collective lubricant.” Group 4.333 is engaged with the participatory affect of sensory action.  When the 1986 meetings between Reagan and Gorbachev were occurring, the staff of both sides resided in the basement where they exchanged cultural reference. Often without translation, this neutral environment enlisted non-verbal communication between strangers. Hearsay suggests that the key ingredient to this exchange was access to a bar where American Whiskey and Russian Vodka  was secretly consumed.  Here, this environment is recreated within that context of contemporary society and cultural production under global capital. Participants  are invited to share one breath into breath sensor in exchange  for 1 oz of alcohol without using any words. Each breath will be recorded and archived as a collective blood alcohol level and uploaded to the database of the cold war kitchen. Viewers are then invited to view the graphic breath content of the cold war kitchen from the online Hearsay House system, or see its effect on an intoxicated  volume of collective air at the Hearsay House installation at the Reykjavik Art Museum.

Instructions as part of installation

Shhhhhhhhhhh! Don’t say a word. Use the breathalyzer to order an ounce of booze and add to the collective archive.

Reykjavik Art Museum

Group 4.333 (b. 2012)

Breath, part of Hearsay House series, 2012

Weather Balloon, Inflate/Deflate Vacuum

A mold a casting project that re-appropriates the archive of cellular phones for contemporary functions.

Designed for MIT 150th Anniversary and the Festibval for Arts Science and Technology (FAST) this 20' inflatable dodecahedron is constructed from aluminized nylon and filled with helium. I was sited within the Lobby 7, the main entry to MIT's campus from Massachusetts Avenue. The piece was installed for 6 days, changing shape with passing crowds and reflecting the expression of the festival. 

TEAM:

Moe Amaya

Juan Jofre

Kyle Barker

Nick Polansky

Cycle is a concept for an integrated plaza, parking stucture, transit hup, and bicycle kiosk. Inscribed within the landscape, the interior works as a landform that actively separates, pedestrian, bicycle, automobile, and bus traffic as an interchange where transportation types can change. A motorist to a cyclist. A commuter to a park goer. On one of Copenhagens 5 fingers, this would be a prototype hub for people entering and exiting the center of the city. In effect, it is an inhabitable intersection.

Slip Medium is a concept for a building that can freeze and thaw through the seasons. The project was conceived in Denmark during the winter of 2005 and was used an entry into a student competition in Germany. The book that was produced tells the story as a narrative of creative process and cross-reference debate, animating a facade made of chain-male that collects ice and swells into an urban waterfall during winter, melting in spring, and shading summer sun with vine coverage in the summer. The lattice structure can be adapted to existing buildings or new construction.

A woman sits down in the middle of the sculpture gallery in the Glyptotek. She sets her bag down on the neighboring chair, crosses a leg and retrieves her mobile phone. Silently, a message is transmitted, head down and disconnected. Is this an outlet of distraction or has the modern gallery  transformed into a multi-level experience? How can design interpret and include the tempting digital filter?

Art has been represented within the gallery as a static medium until the moving image was employed in 1923 on 16 mm film. Audio visual stimulation and mobile network capabilities have now turned a once closed forum into a multi-media platform for emerging artists. This project intends to confront the progressive art medium through an architectural exploration of an urban infill gallery.

How long is a temporary exhibition and how is the residue absorbed?

2005 

Denmark’s International Studies Program spring John

Instructor:

 Anderson and Regitza Hess