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Abstract 2019

Abstract 2019

Amale Andraos

Abstract is the yearly publication of student work and research from Columbia GSAPP.

Produced through the Office of the Dean Amale Andraos, the archive contains documentation of exceptional projects selected by faculty at the conclusion of each semester.

Abstract 2018

Abstract 2018

Amale Andraos
Abstract is the yearly publication of work and research from the Columbia University Graduate School of Architecture, Planning and Preservation (GSAPP). Produced through the Office of the Dean Amale Andraos, the archive of student work contains documentation of exceptional projects, selected by faculty at the conclusion of each semester.
Abstract 2018 extends a familiar narrative: multiple, interspersed covers and wire-o-binding allow readers to choose their own sequence and a sticker sheet encourages further customization. Beyond the cover, student work continues to populate spreads with ample breathing room. But the visuals are now supplemented with concise descriptions, ideas, and questions. The ever-evolving relationship between the School's print and digital worlds is the focus of a new section of yellow half-page inserts, which preserve a selection of other-wise fleeting social media moments in print: hashtag-worthy quotes, studding #GSAPPtravels posts, and even a selfie of Dean Amale Andraos and Ai Weiwei.
Abstract 2016

Abstract 2016

Amale Andraos, Jesse Seegers
Abstract is the yearly publication of work and research from the Columbia University Graduate School of Architecture, Planning and Preservation (GSAPP). Produced through the Office of the Dean Amale Andraos, the archive of student work contains documentation of exceptional projects, selected by faculty at the conclusion of each semester.

The 2016 edition includes the applied research of the school's laboratories and projects from design studios taught by Kunlé Adeyemi, Benjamin Aranda, Gro Bonesmo, Eric Bunge and Mimi Hoang, Frida Escobedo, Jeanne Gang, Juan Herreros, Andrés Jaque, Laura Kurgan, Jing Liu, LOT-EK, Kate Orff, Jorge Otero-Pailos, Thomas Phifer, Hilary Sample, Bernard Tschumi, and others. This encyclopedic volume is conceived as both an organizational model for the school and a testament to the global distribution of the work included within.

Abstract 2017

Abstract 2017

Amale Andraos, Jesse Seegers

Abstract is the yearly publication of work and research from the Columbia University Graduate School of Architecture Planning and Preservation.

Produced through the Office of the Dean Amale Andraos, the archive of student work contains documentation of exceptional projects, selected by faculty at the conclusion of each semester. The 2017 edition includes the applied research of the school’s laboratories and projects from design studios taught by Eric Bunge and Mimi Hoang, Kersten Geers, Juan Herreros, Steven Holl, Andres Jaque, Momoyo Kaijima and Yoshiharu Tsukumoto, and Laura Kurgan, Jing Liu, LOT-EK, Reinhold Martin, Umberto Napolitano, Kate Orff, Jorge Otero-Pailos, Rural Urban Framework, Hilary Sample, Bernard Tschumi, and Enrique Walker and many others.

This volume is conceived as both an organizational model for the school and a testament to the global distribution of the work included within.

Abstract 2015

Abstract 2015

Amale Andraos and Jesse Seegers Yearly publication of work and research from the Columbia University Graduate School of Architecture Planning and Preservation. Produced through the Office of the Dean Amale Andraos, the archive of student work contains documentation of exceptional projects, selected by faculty at the conclusion of each semester. The 2015 edition includes the applied research of the school's laboratories and projects from design studios taught by Benjamin Aranda, Eric Bunge and Mimi Hoang, Juan Herreros, Steven Holl, Jeffrey Inaba, Andres Jaque, Laura Kurgan, Jing Liu, LOT- EK, Reinhold Martin, Kate Orff, Jorge Otero-Pailos, Hilary Sample, Bernard Tschumi, Nanako Umemoto and many others. This encyclopedic volume is conceived as both an organizational model for the school and a testament to the global distribution of the work included within.
The Empty Room + 100 Rooms

The Empty Room + 100 Rooms

Fragmented Thoughts on Space RZLBD (Reza Aliabadi) Part aphorism and part manifesto, this book by Canadian architect Reza Aliabadi (RZLBD) references his ideas and thoughts about space. He suggests 'the empty room' as the very essence of architecture, and 'the spatial experience' as its highest mandate. Reza revisits architecture —not as the walls that enclose the space— but rather the space in-between the walls. What he calls an "anti-architecture" of invisible voids. Today architecture has fallen short as a discipline and has instead converted into an industry, part of the commercial establishment. Accordingly it has given up its capacity to offer contributions and has been reduced to being a service. It has become all about a form-making exercise and dressing it up with a fashionable skin. What matters most, is the look of it, and the contest to keep that look relevant in the media— as long as possible. It submits itself to a sick competition for visibility. The more awes it creates, the more viral it becomes. What used to be an autonomous discipline and a source of inspiration, stimulation, and motivation now has become the subject of entertainment, speculation, and show business. Now, it is necessary or rather urgent to pause, take a moment, go inward, search for the essentials, and hope to rediscover a principle which is at once basic and timeless. Where to begin then! Well, as Kahn always said: "Architecture comes from the making of a room". This book starts with this, the very desire to dwell in a space in its most basic form— a room. Through short passages and aphorisms, this text revisits space as the only protagonist, the very foundation, and the sole essence of architecture. It affects your perception of space, it makes you to look at architecture differently —most likely to see the invisible. Today architecture has turned into a mere media device at the service of external forces. What used to be an autonomous discipline and a source of inspiration, stimulation, and motivation, now has become the subject of entertainment, speculation, and show business. It has given up its capacity to be a discipline and instead converted to be an industry, a part of commercial establishment. It is my hope that reading through these pages affects the way you perceive the space and hopefully invites you to look at architecture differently —most likely to see the invisible. _RZLBD (Reza Aliabadi) Many Untold Parables of The Empty Room RZLBD (Reza Aliabadi) The Empty Room, in the absence of any visual materials, was a written manifesto composed of RZLBD’s poems and collection of quotes intended to portray the room and the emptiness as the essence of architecture. Now, 100 Rooms complements our own blurry images of the empty room with a visual guide. Each spread consists of a plan and a physical model of a room, which is an excavation of the geometry and order inherent within the square. It holds no design intention — no scale or function — but simply one of infinite possibilities that emerge from a square. This framework suggests that the formal expression of a room comes from within. With these visual references, one can begin to imagine many approximations to the empty room. A line on paper is always less, as Kahn says, but through these measurable means, the immeasurable idea of the empty room will be formed in one’s mind.
100 Rooms

100 Rooms

Many Untold Parables of The Empty Room RZLBD (Reza Aliabadi) The Empty Room, in the absence of any visual materials, was a written manifesto composed of RZLBD’s poems and collection of quotes intended to portray the room and the emptiness as the essence of architecture. Now, 100 Rooms complements our own blurry images of the empty room with a visual guide. Each spread consists of a plan and a physical model of a room, which is an excavation of the geometry and order inherent within the square. It holds no design intention — no scale or function — but simply one of infinite possibilities that emerge from a square. This framework suggests that the formal expression of a room comes from within. With these visual references, one can begin to imagine many approximations to the empty room. A line on paper is always less, as Kahn says, but through these measurable means, the immeasurable idea of the empty room will be formed in one’s mind.
Out Of The Ordinary

Out of the Ordinary

The Work of John Ronan Architects John Ronan In previous decades, architectural production was constrained by the limits of technology; architects pushed on the boundaries imposed by technology and it gave them common purpose.  Those limits are gone.  Over the preceding two decades it has been demonstrated that with enough technology (and money) anything is possible.  What does an architect do when anything is possible? This is the question which confronts architects today, who now operate within a professional landscape where all is possible, but little has meaning.  The “anything goes” mentality which currently prevails has resulted in innumerable self-referential “object” buildings which engage only with their architect’s ego, often resulting in an urban fabric of autonomous formal objects comprised of arbitrarily-applied design tropes which celebrate formal invention for its own sake.  But what do architects leave society once the novelty of form has worn off? In this architectural age of arbitrary shape-making, devoid of context or meaning, Out of the Ordinary proposes an architecture of innovation rising from ordinary concerns, about relationships not form, which exposes new spatial relationships with diagrammatic clarity in a process of distillation what seeks to lay bare meaningful relationships between essential building elements.  With Contributions of John Ronan (author) Sean Keller Carlos Jiminez  EBOOK VERSION
WWW Drawing

WWW Drawing

Architectural Drawing: From Pencil to Pixel Janet Abrams, Mehrdad Hadighi, Daniel Cardoso Llach, Andrew Heumann, Jürg Lehni, Jane Nisselson, Seher Shah, Ann Tarantino, Michael Webb, Mark West, James Wines WWW Drawing explores architectural drawing in relation to technique and technology. What is the role of drawing for architecture, in a digital age? Articles have been written about the implicit value of hand drawing in comparison to computer-generated drawing; conferences and symposia on drawing have been held, even asking if drawing is dead! WWW Drawing -a project of Pennsylvania State University's Department of Architecture- explored the issues through events including a giant-scale drawing workshop and a symposium held at the Drawing Center, New York. WWW refers both to the World Wide Web, and the Three Ws: architects Michael Webb, Mark West and James Wines, who reflect on their individual approaches to hand drawing in this volume. Artists and architects of a younger generation -Daniel Cardoso Llach, Andrew Heumann, Jürg Lehni, Jane Nisselson, Seher Shah and Ann Tarantino- address various aspects of architectural drawing, both analog and digital. Together, their research and creative explorations- into contrasting ideologies of early computer-aided design; technology as expressive vocabulary; and drawing as live performance, whetever done by hand or robotic drawing machines - cast architectural drawing in a fresh light. "I want to voice my applause and appreciation for your masterful design of the WWW drawing book. The way you handled the visual content and its relation to the text is one of the best juxtapositions I have ever seen. I hope this publication reaches a giant readership; because it is both a fascinating book on the many conceptual and motivational possibilities of drawing; but also such a superior example of how words and visuals can integrate in the process of delivering messages. The architectural world needs to see accomplishments like yours." - James Wines EBOOK EDITION
The Empty Room

The Empty Room

Fragmented Thoughts on Space RZLBD (Reza Aliabadi) Part aphorism and part manifesto, this book by Canadian architect Reza Aliabadi (RZLBD) references his ideas and thoughts about space. He suggests 'the empty room' as the very essence of architecture, and 'the spatial experience' as its highest mandate. Reza revisits architecture —not as the walls that enclose the space— but rather the space in-between the walls. What he calls an "anti-architecture" of invisible voids. Today architecture has fallen short as a discipline and has instead converted into an industry, part of the commercial establishment. Accordingly it has given up its capacity to offer contributions and has been reduced to being a service. It has become all about a form-making exercise and dressing it up with a fashionable skin. What matters most, is the look of it, and the contest to keep that look relevant in the media— as long as possible. It submits itself to a sick competition for visibility. The more awes it creates, the more viral it becomes. What used to be an autonomous discipline and a source of inspiration, stimulation, and motivation now has become the subject of entertainment, speculation, and show business. Now, it is necessary or rather urgent to pause, take a moment, go inward, search for the essentials, and hope to rediscover a principle which is at once basic and timeless. Where to begin then! Well, as Kahn always said: "Architecture comes from the making of a room". This book starts with this, the very desire to dwell in a space in its most basic form— a room. Through short passages and aphorisms, this text revisits space as the only protagonist, the very foundation, and the sole essence of architecture. It affects your perception of space, it makes you to look at architecture differently —most likely to see the invisible. Today architecture has turned into a mere media device at the service of external forces. What used to be an autonomous discipline and a source of inspiration, stimulation, and motivation, now has become the subject of entertainment, speculation, and show business. It has given up its capacity to be a discipline and instead converted to be an industry, a part of commercial establishment. It is my hope that reading through these pages affects the way you perceive the space and hopefully invites you to look at architecture differently —most likely to see the invisible. _RZLBD (Reza Aliabadi) EBOOK EDITION
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