BRUCE_MOSHIER ARCHITECT
(IN-PROGRESS)
www.issuu.com/brucemoshier bmoshier1214@gmail.com 631-258-4980 B.ARCH
TABLE_OF_CONTENTS
BRICK_MANIPULATION 3-6
7-10
FACADE REDEVELOPMENT
WALL_AS_EVERYTHING URBAN SCHOOL OF JAZZ
11-14
SENSIBLE_CONFINEMENT URBAN LOW-RISE HOUSING
ENCLAVES_AND_ARMATURES 15-18
19-22
SUB-URBAN REDEVELOPMENT
BOTH_SCALES SEMI-URBAN BOXING GYM
AN_A.I.R._COMMUNITY 23-32
HOUSING FOR THE URBAN HOMESTEADDER
Professor- Erin Okeefe Course- Design II Year- Spring 2008 Site- Florence Italy Materials- Pine, Steel Coil, Plexi Size- 1”x1” Square Blocks, Overall 1’x1’ Scale- 1/8” = 1’ Description- Restoration of the Palazzo Rucellai began with a site investigation. Within the immediate vicinity there exists moments of vertical and horizontal tension, from the micro scale (materiality) all the way to the macro scale (neighborhood grid), the opposition of the two forces exists. The new Palazzo Rucellai facade is meant to take the relationship to the extreme and force it to become something else. This design expresses the ability to use a small orthogonal building block and create a different dimension on the facade as a whole.
Professor- Armignovat Goil Course- Design III Year- Fall 2008 Site- Washington Heights, N.Y, N.Y Materials- Chipboard, Bass Wood, Plexi Size- 100’ x 80’ Lot Size Scale- 1/8” = 1’ Description- The design for the Washington PRODUCED AN AUTODESK EDUCATIONAL PRODUCT Heights Center forBY Jazz has been a direct response to the sites surrounding cemetery wall. The cemetery’s retaining wall serves its primary purpose of retaining earth but in a different sense the wall serves to separate life and death. Within the Theatre design one wall serves to create all the program necessary while simultaneously forming connections from every space into the main space of the theatre. The form of the design mutated from this idea and ultimately progressed into a building of two forms representing two separate programs where the wall serves as the separation and connection to both.
WASHINGTON HEIGHTS CENTER FOR JAZZ CONSERVATORY CORE: Listening Jazz Theory Interpreting Chord Symbols Modes Styles Musicianship JAZZ JUNIOR CLASS: Piano Winds Brass Guitar Vocal Percussion JAZZ MASTERCLASS: Minimum of 4 years experience Open forum with faculty and guest artist performances CONCERT HALL Will hold public and private performances of many styles
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The design at the midway point consisted of one wall fenestrated to represent the musical rhythm of the program. The final building on the following page mutated into a building of two forms brought together.
Professor- William Rockwell Course- Design IV Year- Spring 2009 Site- SOHO, N.Y, BY N.Y AN AUTODESK EDUCATIONAL PRODUCT PRODUCED Materials- Black Matboard, Blue Plexi Size- 200’ x 100’ Lot Size Scale- 1/8” = 1’ Description- The difficulties of urban Housing design lie in the process of give and SINGULAR UNIT take between the singular unit, the way one unit interacts with the next, and the overall building. This particular design was a result of the singular unit functioning in the same way as the building as a whole. The unit design began with the notion that within an apartment all spaces should circulate around one single light corridor. The corridor has no walls, and the only aspect of it which serves to define the space it creates is light. The idea exploded and evolved into a building that in some aspects does not resemble the original concept; however the final design is a direct result of this transformative process.
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UNIT CLUMPING
RETHINKING THE UNIT
UNITS AS A BUILDING
Professor- Giovanni Santamaria Course- Design V Year- Fall 2009 Site- Freeport, L.I. , N.Y Materials- Bass Wood, Plaster 2009 1873 Size- Models 4’ x 2’ Scale- 1:250 Description- The goal of the redevelopment proposal was to recreate the dense areas present in the 1873 map of Freeport. The small urban enclaves were the centers of cultures and programs. The dense centers allowed the rest of the village to become open and rural which allowed for a relationship of perfect harmony between the two densities in Freeport. As life progressed in the village, suburban sprawl dominated. The first step in the design was to identify all low density areas such as parks, and establish connecting armatures. Studies were done through mapping models and we were able to identify the ideal locations for our urban enclaves.
1- CONVENTIO 100,000 SQ. FT. OFFICES RESIDENTIAL COMMERCIAL
3- FREEPORT H 160,000 SQ. FT. OFFICES RESIDENTIAL
COMMERCIAL
5- FREEPORT TO 55,000 SQ. FT. OFFICES RESIDENTIAL COMMERCIAL
GREEN SPA WATER
WOO
PRIV
WAT
PUB
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SINGULAR CONCEPTS
ON CENTER T.
CONGLOMERATED CONCEPTS
2 - PERFROMING ARTS CENTER700,000 SQ. FT. OFFICES RESIDENTIAL COMMERCIAL
HISTORICAL SOCIETY - 4- FREEPORT TRAIN STATION 100,000 SQ. FT. T. OFFICES RESIDENTIAL COMMERCIAL
OWN HALL-
6- FREEPORT EDUCATION DEPT. 400,000 SQ. FT. OFFICES RESIDENTIAL COMMERCIAL
PACE
ALONG THE RAILROAD A DENSE PUBLIC CENTER
WILD GRASS FLOWERS
FIELD
OD
DENSE TREES
PROGRAM DISTRIBUTION
VATE BOATING DOCKS - 35,000 SQ. FT.
TERFRONT HOUSING - 500,000 SQ. FT.
COMMERCIAL SPACE 100,000 SQ. FT.
BLIC BOATING DOCKS - 30,000 SQ. FT.
ALONG THE WATERFRONT NEWLY DREDGED CANAL AND PRIVATE HIGH DENSITY HOUSING
Professor- Janet Fink Course- Design VI Year- Spring 2010 Site- Astoria, Queens , N.Y Materials- Bass Wood, Museum board, Metal Sheet Size- Site 100’ x 180’ Model 10” x 8” Scale- 1/16”=1’ Description- Astoria is a place of two scales. Within the semi-urban environment there exists moments of simultaneous vertical and horizontal expression. The design of the boxing gym is meant to represent the duplicity of the site. The generic program of the design is designated to the vertical, whereas the program dedicated to boxing lies within the horizontal. The horizontal space is kept to a height consistent with neighboring buildings while the walls of the design hold the street line. The undulating facade is meant to be smooth and unbroken. The vertical portions of the design are meant to be contrasting and interrupting to the seamless form of the horizontal. Midway through the project the design was literally flipped on its head in order to provide the long span structure required for the arena. The bold move resulted in a form produced by its internal layout, along with the idea of designing within the context of the semi-urban.
GENERIC PROGRAM ADMINISTRATION CLASSROOMS RETAIL LIBRARY COMMUNITY ROOM OUTDOOR REC
BOXING PROGRAM LOCKER ROOMS SPA MASSAGE THERAPY GYM ARENA CAFE
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1/32”- PROGRAM DISTRIBUTION MODLES
1/16”- MIDWAY MODEL
FLIPPING THE MODEL
1/32”
1/16”
PRODUCED BY AN AUTODESK ED
Professor- Daniel Lawler Course- Design VIII Year- Spring 2011 Site- Red Hook, Brooklyn , N.Y Materials- Mat Board, Metal, Foam Size- Site 7.5 acres, Model 4’ x 18” Scale- 1/16”=1’, 1/128”=1’ Description- Thesis year began with a study of post-industrial cities around the Post-industrial cities take many years to bounce ba world. I wanted to understand not only why certain cities declined but how the process took form as of these places? Why do so many well. It was my goal to choose a specific urban site and divine a plan that would begin its regeneration. Red Hook, Brooklyn was my most interesting encounter. Red Hook was vivacious and full of life natural evolution of a place, and i Red Hook, Brooklyn. during its peak and my goal was to reestablish something here that would give Red Hook back its life Red Hook is a waterfront neighborhood in Brookly and eradicate it’s current problems.
was the one of the earliest locations in New York w sailing through the Port of New York, while the Ma in part due to the absence of the grain elevators o Thus began the rise of Red Hook.
The Red Hook landscape had transformed itself in
dents were employed in port-rela ers.
Industry in Red Hook was largely sustained in the w MOST
LEAST
after 1915. Longshoreman were the primary o
HIGHER EDUCATION
mous detrimental impact on Red Hook’s shipping
railroad cars, effectively cut out th
MOST
Red Hook’s period of decadence b lated it from the rest of the city. At
LEAST
GREEN LIVING
MOST
named Red Hook as one of the “worst” neighborho
The few blocks in Red Hook that a being practiced in back yards and board 6 tried stopping them but t they had to let it go on. Red Hook enough.
LEAST
RELIGIOUS
MOST
The gigantic loft like spaces are id
LEAST
sifcation has resulted in the creation of main arteri
POPULATION GROWTH
MOST
prompted developers interests. Fairway
LEAST
POVERTY
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MANUFACTURING COMMERCIAL RESIDENTIAL GREEN SPACE PUBLIC INSTITUTIONS VACANT MIXED
mar Red Hoo will be replaced with a Mega Mall. All of thes Ships. Transportation is no longer a dence. is grown right down the road at the
ack to the thriving communities they once were. It is possible to reestablish a community around new industry, so why does it take so long in most cases. Why
is there always a period of decadence in the evolution y post industrial neighborhoods and cities across the world become wastelands, filled with corruption? How can it be stopped, or is this deterioration apart of the if this is a natural process can it be eradicated? All of these question are answerable. The issues at hand will be assessed and addressed through the exploration of the rise, decline, and rise again of the neighborhood of
yn, named by 17th century Dutch settlers for the rust colored soil. Red Hook was isolated from the rest of South Brooklyn by wetlands and creeks that were drained and cultivated to use as farmland during the 18th and 19th centuries. Red Hook
where the Industrial Revolution took hold. With the opening of the Erie Canal in 1825, Red Hook’s maritime industry exploded. The Atlantic Basin provided convenient accommodation for large ships anhattan waterfront became increasingly congested and unmanageable. Richards then constructed the first steam grain elevator in 1847. Over the next twenty years the majority of the grain business in New York Harbor was done in Brooklyn, on the Manhattan side. The success of the basin prompted further development around the site. The then City of Brooklyn laid out an open street grid of more than 35 streets that connected Red Hook’s waterfront to the rest of South Brooklyn.
n fifty years from farmland to an industrial port center. Waves of immigrants from Ireland, Italy, and Germany, filed into South Brooklyn, settling near the docks and piers in search of employment. Most
of the neighborhood resiated industries, holding titles such as fisherman, sailors, and dry dock laborers. Others held manufacturing positions as factory workers, carpenters, and iron work-
wartime ship repair industry. The
high degree of industrialization in the area led to the devaluation of residential property, which discouraged the construction of housing
occupations of Red Hook residents and the irregularity of employment made incomes low and unsteady. By 1940 the population of Red Hook was steadily decreasing. In the decade following the Second World War containerization had an enor-
g industry. This
process by which goods are consolidated into metal containers for transport then sent by ship to a large port where they are unloaded onto trucks or he need for smaller port facilities such as Red Hook’s. When the ruling class cannot guide developments into profits any longer, civilization crumbles. And so we have the end to the second urban revolution.
began in the 1950’s with the advent of containerization and the construction of the Brooklyn Queen’s Expressway, which completely severed Red Hook and iso-
this time public transportation in Red Hook was non existent. If Red Hook was to survive this time it would need to evolve into a completely self sufficient neighborhood. The 1990’s Red Hook began its worst period of demise. LIFE magazine oods in the United States and as “the crack capital of America.” Squatters began pouring into the neighborhood to take advantage of the abandoned factories.
are not zoned to manufacturing and aren’t public housing are small private residences that have been transformed into live/work spaces. Hundreds of trades are d garages. From artists and blacksmiths to farmers and cooks. Artists began squatting in old abandoned factories along the waterfront during the 80’s. Community the squatters were relentless. Eventually they rezoned the warehouses to MX and issued, Artist in Residence permits so that they could at least make a profit if k is the perfect location for these type of urban homesteaders. The isolation of Red Hook was not bothersome because most everyone works from home or close
deal for people who work from home. The waterfront views that these spaces afford are terrific for artists and such who seek inspiration from nature. The radical reden-
ies like Van Brunt street, which has become the main street of Red Hook where all the hotspots are. With a growing population comes the need for public amenities that cater to a certain demographic. The growing interest in Red Hook has
rket opened up right on the water front, a revitalized factory which is a market at ground level and live/work residences on top. People from all over the five borrows come to the famous Fairway market. Some of the food sold at Fairway market ok gardens, which are serviced by unemployed volunteers from the Red Hook houses. A few blocks away an IKEA opened up with water ferry service that connects to Manhattan. The revere sugar refinery is currently being torn down and
se new developments have created thousands of new jobs and opportunities for a once hopeless community. The Atlantic Basin, the once heart of Red Hook has become the home of New York Water Taxi, and the docking site to many Cruise
major issue in Red Hook because of its transformation into a self-sufficient neighborhood. In fact many of Red Hook’s inhabitants enjoy the isolation and indepen-
THE ABILITY TO SUCCESSFULLY ESTABLISH A NEW CENTRAL BUSINESS DISTRICT WITHIN A POST-INDUSTRIAL URBAN SETTING REQUIRES A MIGRATION OF PEOPLE WITH SIMILAR IDEALS. THE ARCHITECTURAL AND GEOGRAPHICAL CONTEXT OF AN AREA WILL DICTATE THE TYPE OF MIGRANTS. IT IS THE JOB OF THE MASTER PLANNER TO CONSIDER THESE CONDITIONS AND MOLD A PLACE THAT SATISFIES THE NEEDS OF ITS INHABITANTS.
SITE DEVELOPMENTS
19 FAIRWAY MARKET
20 MEGA MALL
21 IKEA 22
MEASURES TO HOLD POPULATION WITHIN OUTMIGRATION EXISTING SETTLEMENT FOR JOBS
22 A.I.R. TO HOLD DECLINING URBAN SETTLEMENT INTENSIFIED NEW SETTLEMENT
WITHOUT
WITHIN TO INTENSIFY EXISTING URBAN SETTLEMENT
DIRECTED NEW SETTLEMENT
BUS ROUTE BIKE ROUTE WATER TAXI HAMILTON AVE SUBWAY LINES 1/4 MILE RADIUS 1/2 MILE RADIUS
TRANSPORTATION DIAGRAMS
TO DIRECT
INFRASTRUCTURAL CONNECTION
NEW URBAN SETTLEMENT
WILDLIFE MIGRATORY CORRIDOR THE LOCATIONS AND SIZES OF HABITAT OPEN SPACES SHOULD REFLECT SPECIES MIGRATORY PATTERNS, FOOD SUPPLIES, AND PROTECTION NEEDS TO AVOID BECOMING ENDANGERED
URBAN FORESTS CITY LANDSCAPES PERFORM A NUMBER OF BENEFICIAL ENVIRONMENTAL FUNCTIONS. DENSE URBAN FORESTS COOL THE AIR, MINIMIZE OZONE, CONSUME CARBON DIOXIDE. THEY ALSO MEDIATE TOXIC SITES AND BROWN FIELDS
CONCEPTUAL MODEL NEW SETTLEMENTS MUST BE CONCERNED WITH USING NATURAL ELEMENTS AS A PRIMARY TOOL OF DESIGN
AFFORDABILITY CITIES AND DISTRICTS MUST CONSERVE LAND OR PROVIDE FINANCIAL SUPPORT TO MAINTAIN AFFORDABLE USES AND ENCOURAGE DIVERSITY. IT IS NECESSARY TO THINK IN TERMS OF PLANNED, BALANCED, MIX-USED DEVELOPMENTS.
SUN EXPOSURE IN COLD CLIMATES MAXIMIZE SUN EXPOSURE IN PARKS AND PEDESTRIAN AREAS THAT INCUR HEAVY TRAFFIC
11-3 PM
40 FT
A.I.R. = ARTIST IN RESIDENCE
FINAL SITE PLAN WITH DESIGN PRICIPLES
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CITY
SUPPORT SERVICES
CITY GROWTH MUST STOP AT THE EDGE OF THE URBAN ZONE, SO AS NOT TO CREATE A SITUATION WHERE AGRICULTURAL LANDS ARE BEING ERODED BY AD HOC URBANIZATION.
A.I.R IS A HOUSING COMPLEX OF 300 UNITS ON MORE THAN SEVEN ACRES OF REAL ESTATE ON THE ERIE BASIN. UNITS RANGE FROM ONE TO FOUR BEDROOMS, ALL WITH GRAND LOFT SPACES FOR THE URBAN HOMESTEADER. WITH VIEWS THAT RIVAL ANY FROM MANHATTAN, A.I.R. PROVIDES THE INSPIRATION NEEDED FOR ALL WORKING ARTISTS. A.I.R. IS A SELF SUFFICIENT COMMUNITY THAT WILL FOSTER AND SUPPORT THE LIVES OF ITS INHABITANTS. PUBLIC AND PRIVATE SPACES ARE CLEARLY DEFINED AND ALLOWED TO INTEGRATE TO BETTER PROVIDE FOR THE SPIRIT OF A LIKEMINDED COMMUNITY IO
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MASTER PLAN WITH UNIT TYPES
SECTION THROUGH BASIN
A PUBLIC CORRIDOR
A COMMUNITY
MASSING MODEL
THE NEW INDUSTRIAL WATERFRONT
COURTYARD ELEVATION
A PLACE OF INSPIRATION
COURTYARD FACADE IN MODEL
WATERFRONT ELEVATION
MUSICIANS APARTMENT DURING DAY
MUSICIANS APARTMENT AT NIGHT
WATERFRONT FACADE IN MODEL