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    <lastmod>2013-07-18</lastmod>
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  <url>
    <loc>http://hmaxgolden.com/detail</loc>
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    <priority>0.75</priority>
    <lastmod>2013-08-03</lastmod>
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      <image:title>DETAIL ANALYSIS</image:title>
      <image:caption>Exploded axonometric of hardware</image:caption>
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    <image:image>
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      <image:title>DETAIL ANALYSIS</image:title>
      <image:caption>Plan of connection and three panels</image:caption>
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      <image:title>DETAIL ANALYSIS</image:title>
      <image:caption>Exhibition view</image:caption>
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      <image:title>DETAIL ANALYSIS - UNIVERSAL CONNECTION</image:title>
      <image:caption>Universal Connection three-way joint hardware, cast bronze  In 1941, Konrad Waschmann and Walter Gropius collaborated on the design of a prefabricated timber panelling system that could meet the high demand for housing they anticipated following the Second World War. The design of the panels stemmed out of an elaborate three- way joint, the "Universal Connection,” which could be used to connect every surface of the house. In our absurdly couture fabrication and analysis of this failed industrial housing product, the faults and limitations of this design (and prefabrication in general) became apparent. Though the intersection and its hardware may be clean, beautiful, and easy to control, the panels they connect are almost certainly less so. As long as trees aren’t grown in a factory, the most effective universal connection may still be a nail.   </image:caption>
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      <image:title>DETAIL ANALYSIS</image:title>
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    <loc>http://hmaxgolden.com/events</loc>
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    <lastmod>2013-04-01</lastmod>
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    <loc>http://hmaxgolden.com/events/2013/4/15/event-one</loc>
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    <lastmod>2013-04-01</lastmod>
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    <lastmod>2013-07-24</lastmod>
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      <image:title>PHOTOGRAPHS</image:title>
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      <image:title>PHOTOGRAPHS</image:title>
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      <image:title>PHOTOGRAPHS</image:title>
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      <image:title>PHOTOGRAPHS</image:title>
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      <image:title>PHOTOGRAPHS</image:title>
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      <image:title>PHOTOGRAPHS</image:title>
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      <image:title>PHOTOGRAPHS</image:title>
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      <image:title>PHOTOGRAPHS</image:title>
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      <image:title>PHOTOGRAPHS</image:title>
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      <image:title>PHOTOGRAPHS</image:title>
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      <image:title>PHOTOGRAPHS</image:title>
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      <image:loc>https://static1.squarespace.com/static/51e423eee4b0e99c160010c0/51e56b76e4b0ae9dfc23887d/51e59965e4b02e5f9e417f46/1374001513158/DSC_0815.JPG</image:loc>
      <image:title>PHOTOGRAPHS</image:title>
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      <image:title>PHOTOGRAPHS</image:title>
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  <url>
    <loc>http://hmaxgolden.com/bags</loc>
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    <lastmod>2013-07-24</lastmod>
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      <image:title>BAGS</image:title>
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      <image:title>BAGS</image:title>
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      <image:title>BAGS</image:title>
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      <image:title>BAGS</image:title>
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      <image:title>BAGS</image:title>
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  <url>
    <loc>http://hmaxgolden.com/insula</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2013-08-03</lastmod>
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      <image:title>MANHATTAN INSULAE</image:title>
      <image:caption>Model photograph, elevation</image:caption>
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      <image:loc>https://static1.squarespace.com/static/51e423eee4b0e99c160010c0/51e59b8ce4b07ebd69ce4c15/51fd3c63e4b03005d2ef02cf/1430439907578/INSULAfront.jpg</image:loc>
      <image:title>MANHATTAN INSULAE</image:title>
      <image:caption>Ground plan and elevation</image:caption>
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      <image:title>MANHATTAN INSULAE</image:title>
      <image:caption>Second floor plan (piano nobile) and section</image:caption>
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      <image:title>MANHATTAN INSULAE</image:title>
      <image:caption>Ideal entry condition: plan, elevation, section.</image:caption>
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      <image:title>MANHATTAN INSULAE</image:title>
      <image:caption>Perspective sketch showing all main elements of the project : looking through entry corridor (fauces) towards sunken courtyard (impluvium &amp; compluvium) populated with the spoliated columns of the destroyed units of the colonnade (paterfamilias)     "Facing all who entered through the fauces, the paterfamilias controlled the boundaries of the house.  Some scholars have compared his position and control of the domus to that of the Etruscan and Roman soothsayers, or haruspices, who stood on the platform of the temple to define the physical boundaries (templum) of its sacred power"  - Clark, The Houses of Roman Italy, 6</image:caption>
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      <image:title>MANHATTAN INSULAE</image:title>
      <image:caption>TOP: Plan fragments of two ancient Roman domi ABOVE: Plan fragments of two ancient Roman insulae.  Note the similar syntax of central court wrapped by single-loaded corridors giving onto private chambers.</image:caption>
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      <image:title>MANHATTAN INSULAE</image:title>
      <image:caption>Site plan showing the proposal in black and the existing fabric in grey, overlaid by the extended Commissioner's Grid The point of origin for this project is LaGrange Terrace, on Lafayette Place. Butting up against the Commissioner’s Grid, Lafayette Place was the last street to have countered the Grid's orthogonal structure, though only by a few degrees. Located on Lafayette Place are the remains of the Colonnades at LaGrange Terrace, a displacement of Rome’s Piazza di Pietra, lifted on a podium, screening recessed townhouses. When first built, it extended along the entire block forming a Nash- like urban fabric, however now only four units remain, standing alone on what was once the most fashionable street in New York. But the Colonnade has always been a fragment; even in its various “complete” states it implied a continuation of its ideal fabric past the limits of its body. By clearing out the surrounding city – whose own forces countered those of the colonnade – this fragment of an alternative ideal has been transformed into an object: a static guardian. By incorporating this abandoned fabric into the syntax of the insulae, it becomes an active participant in a new urban still life. Rather than abandoning the city’s outdated ideals, it engages them in our modern dialogues to inform the invention of new orders.</image:caption>
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      <image:title>MANHATTAN INSULAE - MANHATTAN INSULAE</image:title>
      <image:caption>Manhattan Island with a completed Commissioner's Grid and the site (Astor Place and Lafayette Place)  marked. Though several millennia and the Atlantic Ocean separate our narratives, Rome is where this one begins. The double meaning of insula - referring to both the particular perimeter-block housing typology that housed ancient Rome's working class, and the word island - allow the ancient city to be read as a new archipelago for the displaced Greeks. Now, two millennia later, we have Manhattan: an island, gridded as though a fragment of the Roman Empire drifted across the Atlantic, and built as the seat of a new empire for a displaced republic. This ideal potential of the commissioner’s grid is dimmed, however, by the fact that it is incomplete – lower Manhattan predated it, and the topography of the northern tip dissolves it. Thus, the parti of the proposal is simply to extend the ideal grid across the existing city, completing the past vision and, by engaging it, restoring its civic relevance.</image:caption>
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      <image:title>MANHATTAN INSULAE</image:title>
      <image:caption>TOP: Etching of the Piazza di Pietra in Rome, 1761 ABOVE: Etching of LaGrange Terrace, 1835</image:caption>
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      <image:title>MANHATTAN INSULAE</image:title>
      <image:caption>TOP LEFT: plan fragment from Templum entry study of Seagram's Building BOTTOM LEFT: plan fragment from Templum entry study of CBS Building TOP RIGHT: superimposed plan and elevation from Templum entry study of the Temple of Seti I in Egypt BOTTOM RIGHT: plan from Templum entry study of the Temple of Seti I in Egypt</image:caption>
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      <image:title>MANHATTAN INSULAE</image:title>
      <image:caption>Model photograph showing programatic shim elements and elevated insulae</image:caption>
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      <image:title>MANHATTAN INSULAE</image:title>
      <image:caption>Model photograph, basswood, 2' x 4'   The form and program embodying this gesture to “complete” the Commissioners Grid align with its original roman roots as well, becoming a series of elevated perimeter-block insulae. This type of housing, which was akin to our contemporary dormitories, evolved from the syntax of the domus, in which the critical elements were the fauces (entry corridor), leading to an atrium with a conpluvium (skylight) directly above an impluvium (pool to collect water), and beyond, the lares (niche housing an- cestral figures). These four elements can be seen as a distillation of human experience across all space and time, embodying the sky above in the conpluvium, the ground below in the impluvium, the past in the lares, and the future with oneself entering the fauces. These four basic elements provide the syntax for the floating, wall-like insulae. A collection of piers holding circulation and program (bathrooms, showers, kitchens, etc.) support the insulae and serve as entry corridors (fauci) for the central court, which is depressed a few feet (impluvium) and open above (conpluvium). The “ancestors” (lares) populating each court are the spoliated columns from the demolished units of the Colonnade.</image:caption>
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      <image:title>MANHATTAN INSULAE</image:title>
      <image:caption>Perspective sketch showing all main elements of the project : looking through entry corridor (fauces) towards sunken courtyard (impluvium &amp; compluvium) populated with the spoliated columns of the destroyed units of the colonnade (paterfamilias)     "Facing all who entered through the fauces, the paterfamilias controlled the boundaries of the house.  Some scholars have compared his position and control of the domus to that of the Etruscan and Roman soothsayers, or haruspices, who stood on the platform of the temple to define the physical boundaries (templum) of its sacred power"  - Clark, The Houses of Roman Italy, 6</image:caption>
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