rpiattstegman_architecture portfolio

ROBIN PIATT STEGMAN

PORTFOLIO

ARCHITECTURAL DESIGN

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Image from “Fissu(red),” page 34

CONTENTS

I. M.ARCH WORK

1. CITY OF THE POST ANTHROPOCENE - STUDIO V - p. 4

2. MERGING PATHWAYS - STUDIO IV - p. 14

3. METAMORPHOSES - STUDIO III - P. 22

4. BASKET WEAVE - STUDIO II - p. 28

5. FISSU(RED) - MEDIUMS II - p. 34

6. THE SMOCKING STOOL - SEMINAR - p. 38

7. AMALGAM - MEDIUMS I - p. 42

8. INFINITE GAZE - VISUALIZATION - p. 46

II. PROFESSIONAL WORK

1. FERNANDEZ RESIDENCE - SPRING HILL DESIGN - p. 50

2. 205 BEACON ST - PIATT ASSOCIATES - p. 56

III. DESIGN BEYOND ARCHITECTURE

1. COSTUME CONSTRUCTION - p. 60

2. CRUMBLE - WOMEN’S THEATRE FESTIVAL - p. 64

3. THE IMPORTANCE OF BEING EARNEST - VASSAR COLLEGE - p. 70

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PIATT STEGMAN - PORTFOLIO - SECTION I - PART 1

1.

CITY OF THE POST-ANTHROPOCENE

STUDIO V

SITE: The Loujaine, Red Hook, New York

CRITIC: Alexandra Barker

Fall 2022

INDUSTRIAL INFRASTRUCTURE once defined Red Hook--economically

and visually--as the center of commercial shipping in New York City.

However, the decline of that industry, as well as the looming climate crisis,

has led to questions of how Red Hook can be revitalized and refortified in the

21st century.

The City of the Post-Anthropocene references the structural language of the

Red Hook Grain Terminal (which is currently sitting in decay behind the

Loujaine) but transforms and morphs it for the contemporary context. In

this design, the Loujaine is populated--even consumed--by silos adapted from

the grain terminal. However, now their form is utilized for vertical, aquaponic

farms. The silos extend below the ship, as well, creating pilings to ground

the ship and provide a reef structure for oysters and other marine wildlife.

Perforations in the concrete silo separate it from its industrial/human-centric

context. Above water, the perforations in the silo provide light for the plants,

below water, the perforations create space for aquatic organisms. As oysters

grow and help rebuild the ecosystem underwater, the project also encourages

wetland regrowth above the water.

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Since we must consider the ecology of New York’s waterfront as

paramount to any revitalization effort, the next part of the program

focuses on that aspect. Inside the ship, the original shipping holds

remain and will be focused on oyster aquaculture, algae growth, and

research into the marine ecosystem. The shell of the ship is cut away,

leaving floating segments, so that water can flow through the ship.

This creates environments for aquaculture that one can access from

catwalks all over the ship. And the permeability of the ship speaks to

the future of the site–as sea levels rise the ship will become more submerged.

And more of the structure will become homes for aquatic

organisms.

Extending out from the boat, the silos disperse into piers. The piers

create a barrier across the Eyrie Basin that protects the modular floating

wetlands that will be installed and attached to the piers. The goal

is to create a continuously shifting and growing site that provides

economic benefit to the local community, and ecological benefit to

New York Harbor, even as climate change alters the city over the

next hundred years.


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Chunk model highlighting connection

between structural grid and silos, as well as

human and “other-than-human” spaces.

Human spaces. A section showing one of the pods designed

for human users, as opposed to the more visible parts of

the vessel that are designed for the benefit of the “other-than-human”

(plant and animal) users.

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The view from the seafloor. In this rendering I wanted to highlight the fact that this is--at

its heart--an architecture for non human species to thrive in. The oysters pupulate the

silos over time, so that at some point the man-made structure will disapear beneath the

generations of shell. The silos are a skeleton for the reef that will one day support a thriving

underwater ecosystem in New York Harbor.


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An imagined future. What could this site look like once the marshes are remade, and

plants begin to crawl through the skeletal structure? What kinds of life will return to

the waters? What kind of city would this vestige of human manufacturing become?

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2.

MERGING PATHWAYS

STUDIO IV

PROJECT TEAM: Robin Piatt Stegman and Shuai Liu

SITE: University Heights, Bronx, New York

CRITIC: Stephanie Bayard

Spring 2022

THE OBJECTIVE of this project was to transform the narrative

around the concept of adding industrial infrastructure in underserved

communities. In practice, one might question whether a project

like this could ever be presented as desirable or equitable for those

in the community, but this assignment certainly opens the doors for

experiments and discussions. The program was a waste-to-energy facility,

a recycling center, as well as a public natatorium. The given site

was on the Harlem River in University Heights, Bronx. The program

also involved using the riverfront to create a ferry terminal and industrial

dock.

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We wanted to challenge ourselves with this project, and to expand our own ideas of

what an industrial building like this could look like--as well as how it could function.

We began by thinking how vertical and horizontal forms could support the various

program functions, and let that determine the massing arrangement. In addition, we

didn’t want to simply create industrial spaces on one side and public on the other--

we wanted the programs to interact. We wanted visitors to be able to engage with the

various functions of the building. That led to the winding nature of the plans, and

the mirrored landscape underneath the building. We wanted to encourage visitors to

be part of an experience and discover things that they might not expect.

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5 seating area

6 changing rooms

7 toilets

8 lap pool

9 thermal baths

10 sauna

11 training pool

12 diving pool

13 diving pool observation

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Plan showing the public program of the waste-to-energy

center. Far above the machinery, locals have the

opportunity to swim in pools, enjoy the spa, and even

learn to dive. All of the water would be heated by the

incineration process.

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Elevations and perspective render, showing

how the forms and materials intersect

throughout the form of the building.

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How would we turn an industrial site into a public space that the community would want

to visit? We wanted to forge a connection with the water, while also allowing the visitor to

get close to the monumental structure that houses the machines. The connection between nature

and the industrial architecture is highlighted in this scene of the promenade at sunset.


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3.

METAMORPHOSES

STUDIO III

PROJECT TEAM: Robin Piatt Stegman and Emily Gibson

SITE: Farragut Houses, Brooklyn, NY

CRITIC: Carlos Arnaiz

Fall 2021

PUBLIC HOUSING should prioritize equity and dignity for all of the residents

who reside there. With this scheme, we intend to offer agency to residents

by providing them spaces that they can make their own--through transformation

and cultivation within the greenhouses as well as the adaptability

of the units to create ideal living spaces at each interval of life. This building is

meant to be a home and a gateway for the community to connect the Farragut

Houses to the urban fabric of Brooklyn.

When considering the complimentary program, we were very aware of the

loss of greenspace that comes with adding density to a site, so we wanted to

include it in the building. However, since this is New York, where winter is

long and cold and dark, we wanted to make sure that this greenspace was accessible

all year round. The greenhouses that crawl up the side of the building

have a folding mechanism within the panels, allowing them to accordion up,

and make the greenspaces open air during the warmer months, but enclosed,

heated gardens during the winter. With a multitude of possible uses for the

greenhouses, The residents would have agency in how they engaged with and

made use of the greenhouses--an agency that is present in the physical form.

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Agency and transformation extends to the units

themselves. We want this building to be a place that

families can comfortably call home for many years.

But the needs of a family also shift over time. Therefore,

just as the greenhouse panels fold and move,

so do the partitions within the apartments. At their

core, all of the apartments in the building consist of

a two bedroom unit adjoined with a one bedroom,

with separate entryways from the corridor. However,

within the units, the central partition can be folded

away, creating a larger three bedroom unit, with

room to reconfigure the individual spaces. A family

might begin with parents and young children, who

use the apartment as a single, more expansive space.

Later, the children move out, and the parents might

not need the space so they repartition the unit. An

adult child could move into the one bedroom--a

stepping stone towards financial independence. And

then, perhaps a grandmother or grandfather move

into the space once they grow too old to live alone,

but still want some degree of independence and

closeness to their family.

25th floor alternative apartment layouts, based on folding walls, transforming

the unit from two separate spaces, to a single, three-bedroom family home.

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25th floor plan

14th floor plan

5th floor plan


In the context of Farragut, we wanted the building

to be inviting rather than imposing. At 25

stories, it appears fairly tall next to the other

residences on the site. Therefore, with the slatted

and glass facade design, we intend to let the

building blend and disappear into its surroundings.

In addition, despite its height, we wanted

to make it appear almost floating, employing a

large, cantilever structure. The structure itself

is based around long diagonal columns that cut

through the building, anchored on two “legs.”

Throughout the building, these diagonals add

interesting and varied moments as they pass

through the units.

Adding a new building to a site as complex as

Farragut is a delicate challenge. With this building,

we hope to supplement the existing facilities,

create new ways for new and existing residents

to engage with greenspaces, and reimagine how

the apartment can be designed to place the needs

and agency of the occupant at its forefront.

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4.

BASKET WEAVE

STUDIO II

SITE: Sunset Park, Brooklyn, NY

CRITIC: Jim Garrison

Spring 2021

WEAVING AS A CONCEPT can be literal, in the sense of weaving the old

into the new, but also lends itself to more conceptual ideas that are relevant to

a learning environment.

The site was the former 68th police precinct in Sunset Park, Brooklyn. At one

time, the police building was an icon of neo-romanesque architecture in the

19th century, but it had long since fallen into disrepare. Only two sides of the

facade were left. We were assigned to design a public middle school on the site,

with the choice of whether or not to preserve the remainder of the existing

building.

I chose to preserve and integrate the existing facade. This was a caredfully considered

decision. On one hand, I was hesitant to leave a relic of the NYPD in a

middle school, given the harm done by over-policing of minority students in

schools. On the other, the historic facade could also provide teaching opportunities

for the students, if they were given the chance to study it and understand

it on their own terms. This was the metaphorical aspect of of the weave;

the overlapping of old and new.

I believe a middle school should focus on connection, shifting perspectives,

and limitless possibilities, and through this space I would hope to encourage

that.

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View from lobby towards atrium, first floor

Coming up stairs to classroom, third floor

Interior of library, view to courtyard, fifth floor

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The physical representation of the weave became this basket-like structure in the center of the

building. Heavily inspired by Alvar Aalto’s Finnish pavilion and vases, this atrium is the

focal point of the building. In addition, the form of the atrium reflects and expands on the

form of the tower, uniting the disparate elements of the building. All of the other interior

spaces in the building are designed in relation to this atrium space, and the central circulation

follows it.

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5.

FISSU(RED)

MEDIUMS II

CRITIC: Emilia Landsbergis

Spring 2021

BEGINNING AS a technical exercise into the capabilties of Grasshopper,

this project went far beyond that. It allowed me to challenge myself to explore

creative ideas in an unbound environment, to imagine how it would feel to

enter a space untethered from reality.

There were two parts to the project. The first involved creating an interior

space with circulation. Then, we integrated a more conceptual element designed

in grasshopper. I built a vertical space that was supported by this central

column of spikes.

As it progressed, it gained a cinematic force. As the central column breaks

apart, the fissures light up, highlighting where the structure is breaking. Is it

a warning? You can climb the tower, but how long will it remain standing. It

appears as a ruin, of the past and the future all at once.

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6.

THE SMOCKING STOOL

ARCHITECTURE SEMINAR

CRITIC: Sulan Kolatan

Fall 2022

THE TRADITIONAL TECHNIQUE of English smocking has been used

for centuries to add shape and structure to garments. Through this project,

I wanted to see if I could use this technique to create enough structure in a

piece of fabric to create a standing, sculptural piece of furniture. Beginning

with honeycomb smocking, I used the properties of this fabric manipulation

to create a bending shape. The pleats at the end of the pattern concentrate the

loads of the cross grid. I inserted two Xs of metal to prevent the fabric from

buckling under the weight. This prototype represents a scalable model that, I

believe, could lead to an innovative new design for furniture of various types.

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IN PROC

EXPERIMENTS

My first experiemnts explored the properties

of this honeycomb smocking. What I

found was that it had an uncanny ability

to take on a sculptural form, just by

pushing and pulling the fabric. Changing

the pattern at various intervals turned

out not to work very well, as it seemed to

throw off the structural paths of the “x”

pattern. Therefore, I went back to relying

on the regular pattern, but examined the

effects of spreading it versus condensing

it in various places.

Once I established the type of

fabric that would work, and

where to place the smocked

stitches, I created a gridded

square. I stitched the center

but left the ends open, allowing

the fabric to naturally

fall into the tight pleats that

would turn into the load bearing

legs. Then, I experimented

with the metal rods. I knew

that the metal rods had to

act as opposing forces--some

pushing the fabric out, and

others pulling it in. This created

the tension that makes the

stool.


PROTOTYPE

The stool gained its aesthetic qualities through the way the

fabric responded to its various points of tension. It became a

very expressive piece. However, it also maintained certain important

characteristics of the fabric for user comfort, namely

the ability to mould its seat depending on how an individual

chooses to sit on it. This model is part of a study upon which I

intend to expand and edevelop furtner.

ESS

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7.

AMALGAM

MEDIUMS I

CRITIC: Robert Cervellione

Fall 2020

THIS PROJECT traversed many forms and materials throughout its development.

It began as photos of architectural details which were combined

into an abstract composition. I modeled this composition and transformed

it through various means, including cnc milling, 3d printing, and texture

rendering. The final composition takes these transformations, and combines

them into a new object. Through this final composite, I show all views of the

object at once, in different materials, thus giving this previously static object

inherent dynamism.

Upon reflection, these processes and the end result provided important examples

of how different types of representation can help or hinder the viewer’s

understanding of a project. These tools can be used to highlight materiality,

imagine new forms, and grant the viewer unprecedented access into the designer’s

concept.

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8.

INFINITE GAZE

VISUALIZATION

CRITIC: Amir Mohebi Ashtiani

Spring 2022

RENDERING AS storytelling was the goal of this exercise. We closely studied

architectural visualization, by experimenting with the ways that material,

color, light, and camera angles could enhance the narrative of the image. I

sought to create a space that felt both ancient and contemporary, minimal yet

richly evocative. I wanted characters that were part of the architectural space,

but also other.

On the following page you will find the fictional narrative that I wrote to accompany

this series of images. I wanted to create a point of connection between

the narrative and the viewer. I wanted it to feel like a window through

which we could fall into.

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YOU ENTER the hallway, running. You hope that you weren’t followed through the door.

Bright sunlight almost blinds you, reducing the dark shapes that line the corridor to shadows.

They extend infinitely. You can no longer tell how you got into the room. When you turn

back you only see your own reflection.

This space is boundless. As your eyes adjust, the shapes crystalize, and you realize that you are

looking into the eyes of a stone woman. There is something unnerving about the statue, as

if she is staring back at you, waiting. Waiting for what? That’s a silly thought. They are just

stone, after all. But then why do you still feel eyes on your back as you move down the cooridor?

You look back. They haven’t moved an inch. Of course not--they are just stone, after all.

You here a scream that echoes through the cavernous space. A loud, final crash. You round

the corner, expecting--dreading--to come upon some violent altercation. But there is nothing

that would suggest that anything like that has occured. There is only a stone head. A man.

The eyes are still compared to the gentle movement of the red liquid in the pools. Water,

right? It must be water...Something feels off. You back away.

You turn to find yourself face to face with one of the women. This time, there is no question

that she is staring back. And moving closer. Just as all of the women--it is now abundantly

clear that they are not mere statues--turn towards you and begin to come closer. Your whole

body tenses, fearing the worst. The face of the woman is now inches from your own. You dare

yourself to look back into those black, infinite eyes. But what you see isn’t threatening. It’s...

strong, assured...concerned even. The other women now surround you. In defense. Or, in

protection.

And now you understand. You stare back at the infinite sets of eyes that look upon you. And

you belong.


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PIATT STEGMAN - PORTFOLIO - SECTION II - PART 1

1.

FERNANDEZ RESIDENCE

ARCHITECT: Spring Hill Designs

ROLE: Drafting/rendering

CLIENT: Fernandez family

LOCATION: Edgartown, MA

To be completed in 2023

THE CLIENTS were looking for a Cape Cod-style summer home on Martha’s

Vineyard. Working for Spring Hill Designs, I was responsible for creating

the working drawings in Autocad. The architect, Jessica Snare, and I made

design changes to the drawings according to client feedback. I also created the

construction drawing set for the builder.

In addition, I was tasked with creating a rendering to help the clients visualize

their house. When I create renderings, my goal is to create a piece of art with

narrative and mood, in order to draw the viewer in. In this rendering, I tried

to capture the feeling of a warm, summer afternoon, giving the house and site

an approachable softness, to help the clients engage with the image. Vray for

Rhino was used for this rendering.

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2.

205 BEACON ST.

ARCHITECT: Piatt Associates

ROLE: Drafting/rendering

LOCATION: Somerville, MA

To be completed in 2023

MATERIALITY AND TONE were prioritized in the design of the apartment

interiors of 205 Beacon St. I was tasked with creating renderings as material

and furnishing studies for the 11-unit apartment building, currently

under construction. In this role, I took direction from the architects, but also

had the opportunity to contribute my own design thoughts, including selecting

all of the lighting and furniture. I also created drawings of the kitchen

arrangements in each unit, for the cabinet manufacturers to reference.

In addition, I was able to experiment with rendering techniques, in order

to stress the purpose of rendering as an artistic representation of an experience--where

color and lighting effect the viewer’s impression of the space.

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PIATT STEGMAN - PORTFOLIO - SECTION III - PART 1

College Mail Dress

1.

COSTUME CONSTRUCTION

PATTERNS CREATED BY Robin Piatt Stegman

CONSTRUCTED BY Robin Piatt Stegman

Projects completed between 2013-2017

BUILDING COSTUMES has greatly informed the way I think about architecture.

Creating patterns for garments means looking at flat pieces of paper,

and envisioning how you will attach them together to create structure and

form. The corset is the most analogous example--today, they even contain steel

boning, much like a building. It is a garment that is designed to support the

body and create shape. It isn’t a soft, passive piece of clothing. The way that

the fabric is seamed compels the steel to curve in a specific way, which then

informs the way the body is contained within it.

In addition, I have built garments out of non-traditional materials, like my

“college mail dress.” A tongue-and-cheek response to college pamphlets that

were mailed to be in high school, this project expanded my own understanding

of material potential. Such explorations have encouraged me to stretch the

boundaries of my own architecural thinking.

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19th Century Corset, including pattern drafting


Liberty & Co. “Amelia Gown

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2.

CRUMBLE

DIRECTOR: Kayla Minton Kaufman

COSTUME DESIGNER: Robin Piatt Stegman

LOCATION: Women’s Theatre Festival, Raleigh, NC

Summer 2018

CRUMBLE (Take me down, Justin Timberlake) presented an interesting design

challenge. It is an absurd, comedic piece of theatre, but with an honest

emotional core dealing with grief and loss.

In addition, one of the characters is an anthropomorphic representation of

the family apartment (left). To create the costumes for this character, I drew

on historical silhouettes to suggest the 19th c. origins of the building. Then,

in line with the quirkier elements of the show, I added elements like stylized

“cracks,”hardware, and upholstery fabrics. Perhaps, this was the first time I

got the chance to explore the connection between costume design and architecture,

in its most literal sense.

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2.

THE IMPORTANCE OF BEING

EARNEST

DIRECTOR: Darryl James and Jo Michael Rezes

COSTUMES: Robin Piatt Stegman

LOCATION: Vassar College, Poughkeepsie, NY

Spring 2017

THIS MODERN INTERPRETATION of The Importance of Being Earnest

took place between New York City and an upper crust Connecticut estate.

This production highlighted the queer subtext of Oscar Wilde’s original

play, and therefore was designed to show the contrast between the younger

generation expressing their gender identities, and the old-money, conservative

community that refuses to acknowledge them.

The costume designs played with these contrasts, while also heightening the

comedy of the show. It was important to show the differences between the city

and the country, and the way the characters performed in each setting. Collaboration

with the directors, actors, and set designer was essential to creating

the final vision.

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Robin Piatt Stegman, Pratt Institute M.Arch 2023

617-360-1042

robin.piattstegman@gmail.com

282 Atlantic Ave apt 2, Brooklyn NY 11201

rpiattstegman_architecture portfolio

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