sleeve house





This house is conceived diagrammatically as two intersecting volumes, a smaller one sleeved into a larger one. The sleeve diagram was chosen because it contains potentials to challenge disciplinary ideas about how to treat domestic interiors vs. exteriors. Surfaces and edges running from the outside to the inside of the sleeve present an opportunity rethink interiors and exteriors spatially and materially.


  sleeve diagrams


 sleeve studies

Spatially, the sleeve sets up three conditions: outside the outside, inside the outside (or outside the inside), and inside the inside. The final configuration of the sleeve is a larger outer volume containing public spaces of the house and a smaller inner volume containing private spaces. In between the two volumes, a variety of interior spaces are created: intimate spaces for cooking, dining, and living; a tall, thin vertical slice for circulation; and a dramatic entry gallery oriented toward views of the surrounding countryside. Removing space from between the upper sides of the inner and outer volumes creates a cut-out for a roof terrace. Space below the inner volume as it projects beyond the outer is used as a covered parking area.


 sleeve studies



upper level plan


lower level plan

Materially, the outside of both volumes is fully wrapped (top, bottom, and long sides) by weathered cedar boards.  This cedar skin, along with raw concrete wall and floors, runs continuously from outside the outside to inside the inside the outside.  Materials inside the inside are softer and more intimate. 


 cross section



Located in the Hudson Valley, approximately two hours north of New York City, the house is an all-season weekend destination for a professional couple residing primarily in the city. The site is an open, rolling hillside and the house is designed to enhance the experience of the surrounding landscape from its outside and inside.







The cedar skin gives the house a rough, weathered texture, a contemporary reinterpretation of old barns in the Hudson Valley. Boards of varying thickness and depth are placed alternately flat and on-end to give the facades depth and pattern. The on-end boards run continuously as screens over the windows on the long sides of the house to emphasize the simplicity of the sleeved volumes. Ends of both volumes are glass walls for maximum views.

 east elevation



 longitudinal sections

Project Team:
Adam Dayem, Farzam Yazdenseta
Structural Engineer:
Builder:
Lorne Dawes

sleeve house construction


2/15/17

2/8/17

1/25/17

10/5/16

 9/14/16

 8/15/16

 7/13/16

4/16/16

2/10/16

11/23/15

10/21/15

6/24/15

6/10/15

5/11/15

10/7/14

 10/1/14

9/24/14

drawing futures



The Arrested Image (redrawn)

At the conclusion of his book, The Projective Cast, Robin Evans formulates a diagram titled “The Arrested Image”.  The aim of this diagram is “to define the different fields of projective transmission that concern architecture.”  For Evans, projection is the transfer of information from one repository of knowledge to another.  The diagram describes four repositories of knowledge: orthographic projection drawings, perspective drawings and images, the designed object, and the human designer or observer (which is further subdivided into perception and imagination).  Each of these four repositories projects information to, and receives it from, the other three.  Design is thus described as a process of continuous informational exchange between the four repositories.  Information does not travel smoothly through the network; each type of projection contains some level of contamination or distortion, and the direction in which information travels matters.

“The Arrested Image” shows how architectural design works as an expanded set of dynamics in which drawing has historically played a pivotal role.  In order to make assertions regarding how drawing functions in a contemporary design environment, and claim for it potential futures, the diagram has been updated.  There are four structural differences in this new version.  First, the ‘perspective’ is replaced with the ‘model,’ this is assumed to be a three-dimensional digital model.  Second, a new repository of knowledge, ‘external resources’ has been added.  This includes information in the categories of software operations, parametric inputs, algorithms, and other data used to systematically inform design.  The ‘external resources’ node has been placed across the thresholds of imagination and perception because it becomes integral to how design potentials are imagined and perceived.  It has been placed behind the threshold of observation because it becomes a filter through which the designer observes other parts of the design network.  Effective incorporation of external resources creates a hybrid human/non-human designing and observing apparatus.  Projections between the human designer, design instruments, and the design remain; though they are considered to be of secondary importance.  Third, the model (previously the perspective) and the design (previously the designed object) are more closely related than before.  As digital models become increasingly comprehensive representations of buildings, and digital fabrication tools reduce the significance of type 5 projection lines, the model is becoming more like the design.  Fourth, models and drawings are more closely related than before, but deliberately held apart.  Digital tools tend to conflate drawings and models; two-dimensional drawings can easily be extracted from three-dimensional models, and information from two-dimensional drawings can feed directly into three-dimensional models.  While acknowledging this relationship, a clear distinction between drawings and models preserves a speculative, abstracted arena where more unpredictable explorations can unfold.

Full text published on suckerPUNCH and in Fresh Punches

pavilion 2113









Brandon Terry

Speculating on what the future will hold 100 years out is always a risky proposition. Though it seems the acceleration of technological evolution is also making it increasingly risky not to do so, particularly for a slow-moving discipline (architecture) concerned with the production of long-lasting artifacts (buildings). With this in mind, the proposition of the studio was to design a pavilion in downtown Troy, NY for the year 2113. The focus of future-oriented thinking was not as much on the future of building materials and technology, as on the future of culture and the augmented human body envisioned in the writings of Ray Kurzwiel.




 Haley Hahn

Spatial investigations were derived from one of the three space filling three-dimensional tessellations: cubes, dodecahedrons, or a combination of octahedrons and tetrahedrons. Multi-scalar tessellations were put through iterative transformations calibrated to introduce a level of roughness, or unpredictability to the overall assembly. Overlapping geometry allowed solid difference operations to cut out interior spaces and to perforate thickened surfaces. A series of transformational experiments finally lead to pavilion designs with varied interior spaces and particular attitudes to the urban site.




 Melissa Donnely