WHAT DO YOU BELIEVE WILL BE THE FUTURE OF HOME ?
How do we define “home”? Although our ideas about home are constantly being rethought, the careful examination of “home” has recently come to our attention for architects and nonarchitects alike. Nearly everyone has to confront their perspective of “home” as they have adapted work places, social gatherings, fitness routines, and everyday life.
The HOME Competition 2020 invited all designers to explore ideas of domestic architecture for the future, creating a platform to speculate the ways new technological, political, environmental and cultural changes can redefine the spaces where we live. |
2020 WINNER |
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SHADOW HOUSING |
Jeffrey Liu | Haylie Chan
Shadow Housing is a model for collective living in a post-pandemic era: an open-air live/work commons that configures new domestic schedules of work and care through an architecture of light and shadows. As COVID-19 ruptures the boundary between the office and the home, the available time for domestic labor such as cooking or childcare is being subsumed by a “flexible” expanded workday. While the eight hour workday reflects an abstracted “clock time” coextensive with the capitalist emphasis on productive labor over unwaged housework, Shadow Housing embodies a natural time that tethers the workday to the movement of the sun, establishing a spatial and temporal separation between work and the necessary labor of care.
Situated in the temperate, arid climate of central Los Angeles, Shadow Housing proposes a pandemic-safe form of outdoor co-living where daily activity alternates between periods of work and shared domestic labor as directed by shadow and sunlight. Above a ground floor of enclosed private units and semi-enclosed patio rooms shared by two units, the rooftop common space is composed from a series of walls angled to cast shadows, forming shaded outdoor rooms for work and collective care at designated times of day. Demarcated by lines that approximate the average shadow length and angle at the specified time of day, these spaces shift in and out of alignment with the casted shadows according to their scheduled time of use within a reconstituted workday.
Situated in the temperate, arid climate of central Los Angeles, Shadow Housing proposes a pandemic-safe form of outdoor co-living where daily activity alternates between periods of work and shared domestic labor as directed by shadow and sunlight. Above a ground floor of enclosed private units and semi-enclosed patio rooms shared by two units, the rooftop common space is composed from a series of walls angled to cast shadows, forming shaded outdoor rooms for work and collective care at designated times of day. Demarcated by lines that approximate the average shadow length and angle at the specified time of day, these spaces shift in and out of alignment with the casted shadows according to their scheduled time of use within a reconstituted workday.
Honorable Mention |
UNHOMELINESS |
Boji Hu | Ya Liu
“the border between home and the world becomes confused: and, uncannily, the private and the public become part of each other, forcing upon us a vision that is as divided as it is disorienting.”
-Bhabha, Homi K. ‘The World and the Home’
For most of us, home is permeant, private and secure; however, home can be temporary, exposed, and unsafe. At the end of 2019, at least 79.5 million people were displaced or forced to flee their homes around the globe (UNHCR, 2020).
This scheme is pushing the boundaries of private and public spheres by fulfilling the potential of the vacant urban interior to shield refugee and asylum seekers. Inhabitable structures are prefabricated and assembled into the archipelago of urban vacancy, transferring abandoned spaces into the collective home for the vulnerable.
The images pictured three scenarios where inhabitable walls, inhabitable columns and inhabitable platform are implemented respectively in New York City (Great Central Terminal), London (The Lloyd’s Building) and Beijing (Ullens Centre for Contemporary Art). As the unpredictable future approaching with climate changes, local wars, and potential food shortages, the unhomely home may bring out the resilience in the ways we occupy buildings and spaces.
-Bhabha, Homi K. ‘The World and the Home’
For most of us, home is permeant, private and secure; however, home can be temporary, exposed, and unsafe. At the end of 2019, at least 79.5 million people were displaced or forced to flee their homes around the globe (UNHCR, 2020).
This scheme is pushing the boundaries of private and public spheres by fulfilling the potential of the vacant urban interior to shield refugee and asylum seekers. Inhabitable structures are prefabricated and assembled into the archipelago of urban vacancy, transferring abandoned spaces into the collective home for the vulnerable.
The images pictured three scenarios where inhabitable walls, inhabitable columns and inhabitable platform are implemented respectively in New York City (Great Central Terminal), London (The Lloyd’s Building) and Beijing (Ullens Centre for Contemporary Art). As the unpredictable future approaching with climate changes, local wars, and potential food shortages, the unhomely home may bring out the resilience in the ways we occupy buildings and spaces.
Honorable Mention |
A HOME IS NOT A PROPERTY |
Konstantin Kim | KaWai Cheung | Aleksa Milojevic
Domestic architecture has to find ways to hack the code, to form a healthy local communality expanding it to the dehumanized and the faux environments, to oppose pervasive compartmentalization. Modes of consumption of space have to be reinvented to cut the ground from under established practices of property rights and their financial speculative instrumentalization.
Architecture assumes shapes of soft domestic infrastructures, comprising engineering networks, systems of filtration, utilization, storage, inhabitation, circulation. An integral part of a city’s ecology this infrastructure can not be owned, but merely interacted with, played with, established a sympoietic responsible relationship with. This infrastructure, contained in bestial shapes, sometimes is spatially illogical and programmatically unyielding. In the process of usage householders reinvent domesticity, define new borders and guidelines, co-constructing a new form of cohabitation in space.
Dichotomy of public and private is continuously questioned within spaces and processes of livelihood, constructing new concept of communality.
Architecture assumes shapes of soft domestic infrastructures, comprising engineering networks, systems of filtration, utilization, storage, inhabitation, circulation. An integral part of a city’s ecology this infrastructure can not be owned, but merely interacted with, played with, established a sympoietic responsible relationship with. This infrastructure, contained in bestial shapes, sometimes is spatially illogical and programmatically unyielding. In the process of usage householders reinvent domesticity, define new borders and guidelines, co-constructing a new form of cohabitation in space.
Dichotomy of public and private is continuously questioned within spaces and processes of livelihood, constructing new concept of communality.
Director's Choice |
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RESPONSIVE CITY |
Jonas Swienty Andresen
Does considering transparency in all stages of the process create stronger bonds between the inhabitants, help build a stronger community and create a stronger connection to the surroundings? Can it nurture an environment which is more responsive to both social and environmental changes?
As physical and mental aspects of life become more disconnected from their surroundings, this project speculates on what it means to inhabit transparency and how this notion can help connect individuals in a larger scheme. This project is particularly focused on the notion of overlooking. The “structure” of overlooking, that is both how overlooking can mean to provide a view of and to oversee (as in not seeing), are translated into social interactions and architecture.
With a starting point in SW London, the project inhabits a green gap site around existing modernist blocks built in the 1950s. The project creates an ecosystem of overlooking and a housing typology that stems from its immediate surroundings. This form of housing questions our understanding of public and private spaces as well as the relationship between the individual and the community.
As physical and mental aspects of life become more disconnected from their surroundings, this project speculates on what it means to inhabit transparency and how this notion can help connect individuals in a larger scheme. This project is particularly focused on the notion of overlooking. The “structure” of overlooking, that is both how overlooking can mean to provide a view of and to oversee (as in not seeing), are translated into social interactions and architecture.
With a starting point in SW London, the project inhabits a green gap site around existing modernist blocks built in the 1950s. The project creates an ecosystem of overlooking and a housing typology that stems from its immediate surroundings. This form of housing questions our understanding of public and private spaces as well as the relationship between the individual and the community.
Director's Choice |
OUTRE |
Aditya Jagdale | Yu Qing Ma
“The home, along with its elements is deemed as one’s most comfortable environment, where interactions between the occupants and the elements occur repetitively over the span of one’s time in it. Therefore, routinary interactions with the architecture and the objects of the home get embedded in one’s subconscious, rendering usages of domestic elements nearly thoughtless. This is reinforced when the spatial distinction between one’s work and home is forcibly blurred due to the pandemic. The project therefore starts as an investigation of how the architecture of the home has become a part of one’s background, especially in the age of digital invasion.
The project then responds by using one’s subconscious relationship to the background against itself. Through borderline eccentric/absurd architectural upcycling of pre-existing elements and spaces, the “Home” is pulled out of one’s subconscious routine associated with how it was once used. By this questioning of the use or mis-use of the existing architectural language of the “Home”, we simultaneously question those specific elements as to their function and meaning, and attempt to create an architecture that outlasts strict definitions, and engages beyond rote functionality.
An Architectural background/foreground that now one has to adapt to.”
The project then responds by using one’s subconscious relationship to the background against itself. Through borderline eccentric/absurd architectural upcycling of pre-existing elements and spaces, the “Home” is pulled out of one’s subconscious routine associated with how it was once used. By this questioning of the use or mis-use of the existing architectural language of the “Home”, we simultaneously question those specific elements as to their function and meaning, and attempt to create an architecture that outlasts strict definitions, and engages beyond rote functionality.
An Architectural background/foreground that now one has to adapt to.”
Director's Choice |
A HOUSE FOR 4 FURNITURES |
Calvin Yang Yue | Taku Samejima
As houses are embodied with more complex and diverse programs, we often overlook the fact that our daily rituals essentially revolve around 4 furnitures: chair, table, bed and toilet. While our dwelling houses are increasingly isolated in the absence of communal life, the fundamental rituals we left with are constituted by our domestic routines and habits. Seemingly insignificant furnitures become the world to us, providing us with both physical and psychological means of Home.
The proposed house revolves around 4 furnitures: chair, table, bed, and toilet. Each furniture acts as an apparatus of a domestic behavior of working, dining, sleeping, and cleaning respectively. Such rituals are placed at 4 focal points along a continuous circulation loop, nested within tailored spaces for each corresponding performance. A continuous developable surface on the exterior echoes the interior circulation loop, wrapping around the house while delineating the infinite interior cycle of daily rituals. A House for 4 Furnitures amplifies our living essentials and reminds us the monumental importance of domestic rituals on a daily basis.
The proposed house revolves around 4 furnitures: chair, table, bed, and toilet. Each furniture acts as an apparatus of a domestic behavior of working, dining, sleeping, and cleaning respectively. Such rituals are placed at 4 focal points along a continuous circulation loop, nested within tailored spaces for each corresponding performance. A continuous developable surface on the exterior echoes the interior circulation loop, wrapping around the house while delineating the infinite interior cycle of daily rituals. A House for 4 Furnitures amplifies our living essentials and reminds us the monumental importance of domestic rituals on a daily basis.
INNOVATION AWARD |
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Aerial View.
Detail view of bio-integrated materials. Cells regulating heating and cooling. Cells extracting solar energy. Body therapy units. CRISPR editing workstation. Organic 3D printer. |
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Cutaway axonometric of communal lounge and lab space.
Section living units. Interior view of communal lounge and lab space. External view on approaching the residence. Plan View. |
BIOHACKER’S RESIDENCE |
Superficium - Samuel Esses | Jonathan Wong
Since the availability of home-use bio-technology kits, do-it-yourself biohacker communities have surged along with an increasing synthesis between home and laboratory. The ability to control and reprogram your body is an uncharted territory
of personalization and modification. Biohacker’s Residence is a communal retreat for self experimentation. It proposes a spatial technology to be optimized for the augmentation of DIY hacking processes.
Organic 3D printing and CRISPR editing workstations merge with communal lounge areas where hobbyists come together searching for self-empowerment. Bio-integrated materials are (re)programmed for environmental responsiveness, comfort
and sterilization. Multi-material cells integrate biological and synthetic materials supporting a space of cellular modification.
As gene editing lies on the cups of legality and morality, biohackers head inland to the redrock desert landscape of Utah for remote practice and self administration, where they look to challenge what it means to be human.
of personalization and modification. Biohacker’s Residence is a communal retreat for self experimentation. It proposes a spatial technology to be optimized for the augmentation of DIY hacking processes.
Organic 3D printing and CRISPR editing workstations merge with communal lounge areas where hobbyists come together searching for self-empowerment. Bio-integrated materials are (re)programmed for environmental responsiveness, comfort
and sterilization. Multi-material cells integrate biological and synthetic materials supporting a space of cellular modification.
As gene editing lies on the cups of legality and morality, biohackers head inland to the redrock desert landscape of Utah for remote practice and self administration, where they look to challenge what it means to be human.
Honorable Mention |
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Seeding, Fertilizing & Harvesting
Sifting Cleaning Hulling & Sorting Kiln |
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Sorting
Packaging Storage Platform Lift Retail & Distribution |
ARCHIPARAGO |
Nai-Hua Chen | Eileen Xu
Archiparágo
noun, a network of urban Architecture that produces farm goods by automation.
Parágo
verb, to produce (Greek)
The expansion of agriculture over the fertile soils of our planet has taken over the habitats of immense biodiversity, resulting in weakened ecosystems and threats to all species, including ourselves. The proposal of Archiparágos is a call to reverse the land-grab that humans have been pursuing ever since we began to farm, by establishing agricultural systems within advanced cities.
The desired result is a building typology that integrates quality housing with automated food production, where each building in a district produces one basic essential food that is then distributed as part of a network of locally-produced, easily-affordable foods. Dwellers in an Archiparágo are owners-managers of their collective community, responsible for maintaining and overseeing production and trade. Displaced farm-factory workers will find their homes here, as will engineers and scientists. Knowledge in robotics and machination is shared and essential in lieu of physical labor, as the architecture does all the heavy lifting, literally.
The unit of Archiparágo explored in this proposal is devoted to oats. Different building components are designed to perform different stages in the delivery of oat-based products farm-to-table.
noun, a network of urban Architecture that produces farm goods by automation.
Parágo
verb, to produce (Greek)
The expansion of agriculture over the fertile soils of our planet has taken over the habitats of immense biodiversity, resulting in weakened ecosystems and threats to all species, including ourselves. The proposal of Archiparágos is a call to reverse the land-grab that humans have been pursuing ever since we began to farm, by establishing agricultural systems within advanced cities.
The desired result is a building typology that integrates quality housing with automated food production, where each building in a district produces one basic essential food that is then distributed as part of a network of locally-produced, easily-affordable foods. Dwellers in an Archiparágo are owners-managers of their collective community, responsible for maintaining and overseeing production and trade. Displaced farm-factory workers will find their homes here, as will engineers and scientists. Knowledge in robotics and machination is shared and essential in lieu of physical labor, as the architecture does all the heavy lifting, literally.
The unit of Archiparágo explored in this proposal is devoted to oats. Different building components are designed to perform different stages in the delivery of oat-based products farm-to-table.
Honorable Mention |
ON THE ROAD |
Kathy Teng | Zhenqianhui Tong
Home used to represent a place one lives permanently. With COVID loomed on the horizon, new business models and technology are constantly pushing towards remote working. Remote working encourages people to travel, sojourn and sever ties with a permanent home.
Permanent home serves two most important purposes, dwelling and storage. At OnTheRoad, we believe that home is personalized by the objects and the memories one collected over time. OnTheRoad is a system responding to one’s constantly changing lifestyle and routine, promoting mobility with digitized personal belongings.
OnTheRoad, a cloud platform utilizes cutting edge 3d scanner and printing technology to provide you a new concept of home, digitized home that is always on the road.
At OnTheRoad we believe dwelling and storage can be detached from each other. All the fuss about moving can be tucked away. Moving will be as simple as ordering food: The unique personal objects that only a permanent home can store can be uploaded to the cloud and print out at ease:
1. Initiate the OnTheRoad app
2. Scan your personal belongings, all the magnets from the fridge, family photos, favorite posters, etc.
3. Call to schedule storage service
Upon departure, the collection will be sorted and packed to a physical warehouse as well as digitized and uploaded to our cloud storage. The structure for dwelling can be customized and printed with recyclable material at any location you desire. One can choose to print or project their personal belongings to decorate the newly printed unit.
1. Initiate the app
2. Choose a city and neighborhood
3. Choose available slots on the eld
4. Reserve communal kitchen time slots anytime
5. Schedule arrival time
Upon arrival, your unit will be 3d printed ready. Enjoy!
Permanent home serves two most important purposes, dwelling and storage. At OnTheRoad, we believe that home is personalized by the objects and the memories one collected over time. OnTheRoad is a system responding to one’s constantly changing lifestyle and routine, promoting mobility with digitized personal belongings.
OnTheRoad, a cloud platform utilizes cutting edge 3d scanner and printing technology to provide you a new concept of home, digitized home that is always on the road.
At OnTheRoad we believe dwelling and storage can be detached from each other. All the fuss about moving can be tucked away. Moving will be as simple as ordering food: The unique personal objects that only a permanent home can store can be uploaded to the cloud and print out at ease:
1. Initiate the OnTheRoad app
2. Scan your personal belongings, all the magnets from the fridge, family photos, favorite posters, etc.
3. Call to schedule storage service
Upon departure, the collection will be sorted and packed to a physical warehouse as well as digitized and uploaded to our cloud storage. The structure for dwelling can be customized and printed with recyclable material at any location you desire. One can choose to print or project their personal belongings to decorate the newly printed unit.
1. Initiate the app
2. Choose a city and neighborhood
3. Choose available slots on the eld
4. Reserve communal kitchen time slots anytime
5. Schedule arrival time
Upon arrival, your unit will be 3d printed ready. Enjoy!
Director's Choice |
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Staging
Sleeping Working Cleaning |
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Playing
Plan Looking Section |
SCATTER HOUSE |
Caroline Chao
The home is experiencing a scale shift - from buildings and rooms to ever-smaller devices and smart-objects, even as our networked reality ensures no real boundary between the home and outside world. Where we once built rooms for various activities, we now have Alexas and Roombas at our perpetual service. Our smartphones have become phantom limbs, eternally attached to the body. Where we once had static rooms; we now have mobile super-objects.
Scatter House examines the rise of super-objects over the building. Activity is privileged over form; defined rooms are nonexistent. Conventional room classifications - Bedroom, Office, Living-Room - are now identified by activity: Sleeping, Working, Playing.
Scatter House contains no walls - only objects. Building elements - removed from their surrounding architecture - transform architecture into objects: doors without walls, curtains without windows, stairs without floors.
Scatter House is a disorienting clutter of conditions. Much like our world, it is impossible to read as a singular, cohesive composition. Objects create a life of their own - interacting and misbehaving, refusing to be confined by architectural boundaries. We find ourselves decentered and displaced in a world no longer intended solely for us as inhabitants. Yet, we carve out our home among the scatter.
Scatter House examines the rise of super-objects over the building. Activity is privileged over form; defined rooms are nonexistent. Conventional room classifications - Bedroom, Office, Living-Room - are now identified by activity: Sleeping, Working, Playing.
Scatter House contains no walls - only objects. Building elements - removed from their surrounding architecture - transform architecture into objects: doors without walls, curtains without windows, stairs without floors.
Scatter House is a disorienting clutter of conditions. Much like our world, it is impossible to read as a singular, cohesive composition. Objects create a life of their own - interacting and misbehaving, refusing to be confined by architectural boundaries. We find ourselves decentered and displaced in a world no longer intended solely for us as inhabitants. Yet, we carve out our home among the scatter.
Director's Choice |
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South-East Elevation Render -The advanced ceramic skin is robotically fabricated with mesmerizing textures that are created through our own AI neural network.
Long Section Drawing Site Plan Drawing North-East Elevation Render South-West Elevation Render Level 4 Plan Level 3 Plan Level 2 Plan Ground Level Plan View of Exterior Balcony Interior View at Ground Level -These flexible interiors support balance in less traditional live-work situations, making work from home more desirable; reducing the carbon footprint due to commuting. View at Ground Level Entrance Ceramic Tile Prototype Fabrication Process - These full-scale ceramic prototypes are produced using a slip-casting technique that forms liquid clay using plaster molds. The clay tiles were glazed and then fired in a kiln to temperature above 2200 F. Photo of the Ceramic Tile Prototype Photo of the Ceramic Tile Prototype |
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Triplex Unit 1
Kitchen, Dining Room, & Living Room Family Room Bedrooms Master Bedroom Unit 1 Balcony Triplex Unit 2 Kitchen, Dining Room, & Living Room Family Room Bedrooms Master Bedroom Unit 2 Balcony Triplex Unit 3 Kitchen & Dining Living Room Bedrooms Master Bedroom Unit 3 Balcony |
GIMME SHELTER |
Baumgartner + Uriu Architecture
Gimme Shelter is a housing triplex developed in response to the accelerating threat climate change poses to California’s communities. Each year, the frequency and severity of wildfires increase, moving destruction further inward on our cities. Now, in the midst of a pandemic that keeps thousands of families locked-down in these vulnerable communities, it’s imperative that our homes be better designed to help protect us.
Made with a skin of sustainable fire-resilient ceramics, the Gimme Shelter units function as protective cocoons built to survive the intense blaze of wildfire for days at a time. Compact and spherical, the housing units are shaped to deflect heat upwards, away from their spacious interiors. Generous openings let in natural light and large landscaped balconies help families stay connected to the outdoors during normal use. In the event a fire, ceramic shutters seal off these openings, protecting the property and inhabitants from destruction. Inside, the design of this multigenerational four-story triplex provides plenty of spaces for living, working, and leisure; accounting for the new realities of remote working, distance learning, and limited travel.
Gimme Shelter represents a new generation of architecture built with respect for nature and the needs of families for a resilient future.
Made with a skin of sustainable fire-resilient ceramics, the Gimme Shelter units function as protective cocoons built to survive the intense blaze of wildfire for days at a time. Compact and spherical, the housing units are shaped to deflect heat upwards, away from their spacious interiors. Generous openings let in natural light and large landscaped balconies help families stay connected to the outdoors during normal use. In the event a fire, ceramic shutters seal off these openings, protecting the property and inhabitants from destruction. Inside, the design of this multigenerational four-story triplex provides plenty of spaces for living, working, and leisure; accounting for the new realities of remote working, distance learning, and limited travel.
Gimme Shelter represents a new generation of architecture built with respect for nature and the needs of families for a resilient future.
Director's Choice |
BUBBLE |
Sidian Tu
The ‘Bubble’ is an emergency home responding to natural catastrophe and global pandemic. It is an open-ended question I constantly ask myself during the 2020 lockdown. How much space do I need to sustain quality living? How much stuff should I process to be happy? If I am only allowed to stay in a 5m x 5m x 5m cube, what would be the answer.
The ‘Bubble’ consists of two breathable membranes. The inner membrane is the living space adapting to different activities; the outer membrane offers weather protection. The area in between is an accessory space for one to customize their plug-in program. The ‘Bubble’ eliminates the need for furniture. The cells on the inner membranes transform to accommodate lying, seating, and standing. With each plug-in, the membranes are programmed to connect and to transform.
The ‘Bubble’ is a flexible living system relying on high-tech Nano building material. With the new material, our home turns into an organ that can contract and expand. We no longer go around the minimum dimensions that dictate the size of our dwelling, instead, we plan around the quintessential items in our lives.
The ‘Bubble’ consists of two breathable membranes. The inner membrane is the living space adapting to different activities; the outer membrane offers weather protection. The area in between is an accessory space for one to customize their plug-in program. The ‘Bubble’ eliminates the need for furniture. The cells on the inner membranes transform to accommodate lying, seating, and standing. With each plug-in, the membranes are programmed to connect and to transform.
The ‘Bubble’ is a flexible living system relying on high-tech Nano building material. With the new material, our home turns into an organ that can contract and expand. We no longer go around the minimum dimensions that dictate the size of our dwelling, instead, we plan around the quintessential items in our lives.
ADAPTABILITY AWARD |
STUYVESANTTOWN |
Carla Bonilla Huaroc
The year is 2035, as the ratio of luxury to affordable housing causes a major recession, former luxury condos end up being transformed for other housing purposes. As the crisis of homelessness becomes even more dire, and as the consequences of mass incarceration occurring earlier in the millenium become more visible, transitioning housing for returning citizens becomes more and more necessary.
The location is Stuyvesanttown in New York City. Planned originally in 1942 as postwar-housing, it became a private development with its spaces being constantly re-adapted for increasingly high rent prices. In the year 2035, level 10 to 15 of Stuyvensanttown 409 E 14th St, apartment complexes that had been adapted to extravagant luxury apartments, are transformed into transitional housing.
Transformed to house people leaving prison, these become a way of rehabilitating people. It contains apartments, as well as dorm-like units, that aim to help people take the one of the first steps during such a critical time, to find safe shelter. Containing also classrooms, offices and conference spaces, these spaces also house institutions and non-profits aiming to help them take the steps to self-sufficiency.
The location is Stuyvesanttown in New York City. Planned originally in 1942 as postwar-housing, it became a private development with its spaces being constantly re-adapted for increasingly high rent prices. In the year 2035, level 10 to 15 of Stuyvensanttown 409 E 14th St, apartment complexes that had been adapted to extravagant luxury apartments, are transformed into transitional housing.
Transformed to house people leaving prison, these become a way of rehabilitating people. It contains apartments, as well as dorm-like units, that aim to help people take the one of the first steps during such a critical time, to find safe shelter. Containing also classrooms, offices and conference spaces, these spaces also house institutions and non-profits aiming to help them take the steps to self-sufficiency.
Honorable Mention |
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Rainwater, itself a local material, can be collected and distributed to the planting systems or stored for later.
Crop and plant plots allow for food to be grown on site, as well as assisting in the filtration of potential toxins in the local soil. |
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The shared community labor of waste and material extraction is extended into the kitchen, which is removed from the house to create a common space between neighbors.
The field of material extraction is no longer across the world, but in the backyard. |
RE-GROUNDED |
Andrew Economos Miller
As virtual lines are made physical across the face of the earth through the unequal flow of industrial material and its waste, the house of the future must negotiate the accumulating arche-geological strata of human material. This strata presents a difficult contradiction: it encourages speculations toward techno-fetishistic flight, but these soil-less follies only reinforce the subjectivity of wastefulness. The house of the future must counter ideas of being-without-the-earth while simultaneously coming to terms with the literally and figuratively poisoned ground—microplastics, property, large-scale waste, blood and soil politics.
An inclusion of human waste products within the science of Geology allows for a redefinition of material extraction. As the earth is increasingly covered by our own waste, the quarry becomes more and more familiar, filled as it is with our childhood homes. In negotiating a new future for domesticity, (re)Grounded dives right into the new quarry, allowing for a material reconstitution of the contradictions between modern immaterialism and anthropocenic “objectivity” (landed/ landless, fight/flight, poison/cure).
An inclusion of human waste products within the science of Geology allows for a redefinition of material extraction. As the earth is increasingly covered by our own waste, the quarry becomes more and more familiar, filled as it is with our childhood homes. In negotiating a new future for domesticity, (re)Grounded dives right into the new quarry, allowing for a material reconstitution of the contradictions between modern immaterialism and anthropocenic “objectivity” (landed/ landless, fight/flight, poison/cure).
Honorable Mention |
HOME DURING SICKNESS |
Yuexin Yu | Dessery Dai
This project aims to re-envision the boundaries between private home and intensive care units during hospitalization. By an intermix of private home space and hospital facilities, the separation between the patients in critical condition and their close relatives is avoided.
Instead of keeping the ICUs as isolation cells, the design turns them into the middle ground between temporary living units and the rest of the hospital facilities. This eliminates the traffic and travel time that patient families usually have to abide with in order to be immediately present in difficult times or emergencies. Patients are also able to sense the presence of home rather than acknowledging that they are isolated and monitored. Two major circulations are carefully designed for the living units as well as medical workers. These two circulations are adjacent yet never overlapped, and thus clearly defining the zones between private and Organization.
The presence of home is absolutely crucial during difficult times of hospitalization. This architectural reinvention between home and critical care space provides agency for patients and their families to condition the space for themselves within a constrained hospital context, and furthermore, recreates a domestic and welcoming environment by incorporating green areas and warm materials.
Instead of keeping the ICUs as isolation cells, the design turns them into the middle ground between temporary living units and the rest of the hospital facilities. This eliminates the traffic and travel time that patient families usually have to abide with in order to be immediately present in difficult times or emergencies. Patients are also able to sense the presence of home rather than acknowledging that they are isolated and monitored. Two major circulations are carefully designed for the living units as well as medical workers. These two circulations are adjacent yet never overlapped, and thus clearly defining the zones between private and Organization.
The presence of home is absolutely crucial during difficult times of hospitalization. This architectural reinvention between home and critical care space provides agency for patients and their families to condition the space for themselves within a constrained hospital context, and furthermore, recreates a domestic and welcoming environment by incorporating green areas and warm materials.
Director's Choice |
THE TIERS |
Hiba Charek-Brewster | Jocelyn Hernandez
The Location: Speculative pressure on urban living has increased the need for multifamily housing in cities like Los Angeles. Adaptability and density are key to create the connectivity to an already heavily populated city. Looking at an existing parking structure as a base to create a melting pot of LA’s societal tiers and placing them on display.
The Tiers: The tower features an extension to the adaptable parking structure below. It is designed to address the homeless crisis and create a hub where individuals can acquire amenities and basic needs. Second tier is dedicated to low income housing with limited indoor and outdoor space. The middle class is housed in the third tier designed for more comfortable living, and lastly a penthouse cluster for the luxurious upper class.
The Architecture: The architecture of each tier is imposed by the wealth of that tier’s residents with arches hinting to both the Spanish and art deco style scattered around the city. Second tier is random and creative. It features multiple small amenity spaces designed to create intimate gatherings, navigating through them using exterior stairs. Lastly, the third tier is unified, and structured to resemble the lifestyle of the middle class.
The Tiers: The tower features an extension to the adaptable parking structure below. It is designed to address the homeless crisis and create a hub where individuals can acquire amenities and basic needs. Second tier is dedicated to low income housing with limited indoor and outdoor space. The middle class is housed in the third tier designed for more comfortable living, and lastly a penthouse cluster for the luxurious upper class.
The Architecture: The architecture of each tier is imposed by the wealth of that tier’s residents with arches hinting to both the Spanish and art deco style scattered around the city. Second tier is random and creative. It features multiple small amenity spaces designed to create intimate gatherings, navigating through them using exterior stairs. Lastly, the third tier is unified, and structured to resemble the lifestyle of the middle class.
Director's Choice |
BRING YOUR HOME |
Felix Kim | Pui Luk | Zeb Saiyed
Stay safe at home; work from home; travel from home; let home evolve with you, and always be part of community where you can explore with your two feet. As the future society grows out from mass production goods and lessens the obsession of private possession of goods, people have become much more mobile and the homes have evolved to be adaptive and portable. With the shift in general demand, centralisation to city has reduced and population spreads out across the lands. The project exists in a context where cities are scaled down to a more humanistic level within a walking distance of 30 minutes from its centre. Highways and main roads are evolved into safety assisted autopilot transportation system that loops around the city providing inter-cities connections. The notion of home becomes more closely related to social bonds and physical engagement with its surroundings. Networks of new infrastructure allows people to travel inside their home. Homes are like mobile devices; they seek water and electricity supply from nearby charging stations / platforms. The form and appearance are autonomous from one and another that ultimately reflects the user's persona. Mobile homes and environment create a much more dynamic society which learns to appreciate the unique offerings of each loop and facilitates social exchanges. And yet, home will always have a unique sentimental value.
Director's Choice |
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THE CYCLIC HOME |
Gary Chung
In light of the recent pandemic and housing crisis, people rely on the comfort and necessity of their homes more than ever for shelter, work, remoteness and more. Yet, we are social animals that feed on brilliance, communication and interaction beyond our residential perimeter. If home is where the heart is then regardless of setting, one’s mental satisfaction can be one of, if not the, true determinant(s) for overall happiness within a space.
Is it possible to have both physical mobility and psychological stability in a home, especially in today’s climate? The Cyclic Home is a modular duplex living space designed to achieve both.
By introducing a detachable base for the option of travel through hauling and more as well as windows all around a cylindrical space, there is a simultaneous interplay between the ideas of inward and outward. The typology itself creates the intimacy of inward-ness that a roundtable would, whereas a sense of outward-ness comes from the framed viewpoints that provide various vistas of the environment which also act as ‘moving imagery’ when mobile.
The opportunity to grow our perspective(s) and experience the ever-changing world is a combination of never feeling homesick and the perfect getaway.
Is it possible to have both physical mobility and psychological stability in a home, especially in today’s climate? The Cyclic Home is a modular duplex living space designed to achieve both.
By introducing a detachable base for the option of travel through hauling and more as well as windows all around a cylindrical space, there is a simultaneous interplay between the ideas of inward and outward. The typology itself creates the intimacy of inward-ness that a roundtable would, whereas a sense of outward-ness comes from the framed viewpoints that provide various vistas of the environment which also act as ‘moving imagery’ when mobile.
The opportunity to grow our perspective(s) and experience the ever-changing world is a combination of never feeling homesick and the perfect getaway.
PRAGMATIC AWARD |
HOUSE IS NOT A HOME |
Qin Ye Chen | Yiwen Wang
"A House is Not a Home" addresses central questions that resonate in important ways with life in our cities today: "How can architecture offer a remedy to social isolation?" and "Can architecture organize different scales of community engagement over different time frames?"
This multifamily housing design redefines home as a space for knowing and engaging with objects and others for some amount of time. It acknowledges that the current housing system no longer responds to the need for community engagement or contributes to building higher levels of community attachment. The project manifests architecturally multiple time scales of knowledge, awareness, and engagement of one's neighbors. Whether it is knowing your neighbors through windows over the years, a space occupied by different inhabitants for certain days of the week, or objects collected in treasure chambers changing by the hours.
This design combines a range of dwelling types in varying configurations and all seamlessly synthesized on the site. This range of apartment types and the idea of overlapping shared spaces that oscillate between private and public realms are used as an important component of community building and engagement. Furthermore, the aggregation of these varied units in different scalar configurations ranging from low to mid-rise building forms suggest choices in terms of living opportunities for different demography across ages as well as income groups. Most critically, these objectives are integrated into a form that is responsive to the urban fabric and context in which it is situated. The project suggests a new form of urban living that is socially inclusive and architecturally accommodative of varying lifestyles and cultural aspirations. In addition, the human-centric approach and experiential imagination of space have resulted in inventive places of encounters, which will "serve as a remedy to social isolation" through enhancing community engagement.
This multifamily housing design redefines home as a space for knowing and engaging with objects and others for some amount of time. It acknowledges that the current housing system no longer responds to the need for community engagement or contributes to building higher levels of community attachment. The project manifests architecturally multiple time scales of knowledge, awareness, and engagement of one's neighbors. Whether it is knowing your neighbors through windows over the years, a space occupied by different inhabitants for certain days of the week, or objects collected in treasure chambers changing by the hours.
This design combines a range of dwelling types in varying configurations and all seamlessly synthesized on the site. This range of apartment types and the idea of overlapping shared spaces that oscillate between private and public realms are used as an important component of community building and engagement. Furthermore, the aggregation of these varied units in different scalar configurations ranging from low to mid-rise building forms suggest choices in terms of living opportunities for different demography across ages as well as income groups. Most critically, these objectives are integrated into a form that is responsive to the urban fabric and context in which it is situated. The project suggests a new form of urban living that is socially inclusive and architecturally accommodative of varying lifestyles and cultural aspirations. In addition, the human-centric approach and experiential imagination of space have resulted in inventive places of encounters, which will "serve as a remedy to social isolation" through enhancing community engagement.
Honorable Mention |
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THE HOME ALIVE |
Tianyi Wang
In today's home, program-specific space does not capture the way people live. People's activities are not limited to their programmed area-moreover, spatial demand shifts during different life stages of a family. Buildings today do not provide enough flexibility, and flexibility is what I am chasing after. The home that embraces different families, and everyone can find their spaces here.
Each family is given a structural framework (1) where various panels and boards are adjustable and interchangeable (3) (4). Occupants can design their own space breaks down to 5 x 5 ft panels. In order to provide different programmatic spaces (2) of unique spatial qualities, rooms are redefined within the structure through the difference in elevation, instead of regular walls and door.
All the paneling, including floors and facades, are removable and space itself changes through time. (5)-(10) When a child leaves the home, the home can be redesigned into another configuration that better fits the new family structure. Older facades and floor panels can be recycled and replaced, even with new materials or the latest technology. The building itself does not determine any spatial configuration, which is changing according to occupants' demands. Thus, this home could be the dream home at any given time (11).
Each family is given a structural framework (1) where various panels and boards are adjustable and interchangeable (3) (4). Occupants can design their own space breaks down to 5 x 5 ft panels. In order to provide different programmatic spaces (2) of unique spatial qualities, rooms are redefined within the structure through the difference in elevation, instead of regular walls and door.
All the paneling, including floors and facades, are removable and space itself changes through time. (5)-(10) When a child leaves the home, the home can be redesigned into another configuration that better fits the new family structure. Older facades and floor panels can be recycled and replaced, even with new materials or the latest technology. The building itself does not determine any spatial configuration, which is changing according to occupants' demands. Thus, this home could be the dream home at any given time (11).
Honorable Mention |
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REMOTING |
Andrew Miller | David Ruperti
In a fallow field in upstate New York sits a modern building. Its inhabitants are co-owners. They left the City of New York because most are able to work remotely from home. Children are able to learn from home and if a parent needs to leave for work, their children can be supervised by the other adults.
Some left the city because of economic pressures, some climate change, and others concerns over police brutality. They mix and work together on the lower level and have private family-specific spaces on the upper level. This “Co-existing” arrangement allows them to feel a sense of cosmopolitanism and activity even in a remote setting.
Less a small village than a relocated fragment of the city, this building exists between binary notions of urbanity and ruralism. It stands as a model for how creatives and other groups can get out of a problematic unaffordable model of city life that commodifies their cultural cache. Through community and remote work, anywhere can be a home or an office or both.
Some left the city because of economic pressures, some climate change, and others concerns over police brutality. They mix and work together on the lower level and have private family-specific spaces on the upper level. This “Co-existing” arrangement allows them to feel a sense of cosmopolitanism and activity even in a remote setting.
Less a small village than a relocated fragment of the city, this building exists between binary notions of urbanity and ruralism. It stands as a model for how creatives and other groups can get out of a problematic unaffordable model of city life that commodifies their cultural cache. Through community and remote work, anywhere can be a home or an office or both.
Director's Choice |
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(A) (B)
(C) (D) (E) |
Shared living, dining, kitchen, bathroom
Separate sleeping area with loose boundaries Minimized interaction with other occupants limited to TV schedule Separate bedroom with changing properties (Fully private or extended beyond one family when D uses the bathroom or C uses the attic) Separate furniture overlapping with spaces of others Private in constant shift to public Blended sleeping and living and scheduled TV viewing space Loosely defined boundaries through materiality |
MY YOUR HIS HER IT’S OUR THEIR HOME |
Moones Mirbeygi
Building Code in which houses are legislated, Builder’s Catalogues as shopping platforms for houses and Revit as a tool for making them encourage distinctions and boundaries, breaking the house into specifically defined discrete units that map on our ways of life as social actors. This project subverts this principle of architectural and social distinction, providing an alternative to notions of domestic life by destabilizing the boundaries of the house and spaces of its occupants. The Revit sample house as a base is challenged in terms of individual programmatic units, relationships between occupants and divisional properties of its components. This single family house that is fully accommodating for a single family is occupied by five families put into tension by the new circumstances challenging the presumptions of privacy, resulting in a house with three different levels of performance, changing through occupants perspectives, and read differently depending on points of view.
Director's Choice |
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LIVING IN MOTION |
Mete Cem Arabaci
Environmental migrations will cause very high urban density in the near future. "Living in motion" shows us the reaction to this change with the domination of 5th level autonomous vehicles over urban life. The inadequacy in the housing service leads people to purchase prefabricated fixed houses consisting only private zone and plumbing facility by default. However, self driving volumes can be attached to fixed homes if desired. Thus, our homes cease to be static shelters. Autonomous vehicles that can make their own decisions, just like today's elevators, turn into moving living spaces. Corporate firms decentralize their services and inhabitants can customize their homes by subscribing to many different autonomous services. Users also can stay at any point in the city with the mobile extensions of their homes.
Director's Choice |
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COUCH HOUSE |
Lourenço Vaz Pinto
The couch House is a machine designed for the millennial generation and beyond, the idea of the house as seen so far as the traditional spatial arrangement of hierarchies is no longer asked or wished for.
The Couch House produces a habitat for the user, the house has the purpose of offering comfort and space for the users' activities and thus revolves solely on the user space, a mix of a living room, dining room and outdoor area, space where eating sleeping existing in VR and consuming media is acceptable.
The Geological qualities of the house are found in its treatment of layers of dierent softness and utility, the house is considered as a solid singular object, not made of components but embedded functionality.
This is the house has no interest in irrelevant distracting things; it instead works with contrast and singularity to produce space that cannot help be disassembled.
The Couch House produces a habitat for the user, the house has the purpose of offering comfort and space for the users' activities and thus revolves solely on the user space, a mix of a living room, dining room and outdoor area, space where eating sleeping existing in VR and consuming media is acceptable.
The Geological qualities of the house are found in its treatment of layers of dierent softness and utility, the house is considered as a solid singular object, not made of components but embedded functionality.
This is the house has no interest in irrelevant distracting things; it instead works with contrast and singularity to produce space that cannot help be disassembled.
THANK YOU TO ALL THE PARTICIPANTS AND JURORS!
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