LESLIE EPPS

ARCHITECTURE PORTFOLIO
BERNARD AND ANNE SPITZER SCHOOL OF ARCHITECTURE
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Leslie Epps is an accomplished architecture student at the Bernard and

Anne Spitzer School of Architecture. She has been passionate about
architecture for half of her life and is eager to learn more and enact
change moving forward in her career. In the future she aspires to combine
architecture with urban planning in an effort to address social issues and
ultimately better society. She envisions her role in architecture as one of
service and aims to work towards her hopes for the profession by gaining
experience working with untapped communities.

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CONTENTS

THROUGH THE “U” 1-12

ROLLING AWNING 13-22

HII NOSTRAND 23-34

SORRY CAN’T TALK 35-46

 THROUGH THE “U”
ARTISTS’ RESIDENCES & COMMUNAL GALLERY SPACES
SPRING SEMESTER 2020
PROFESSOR KELLY BAIR

Through the “U” pairs two-dimensional typography with three-dimensional architecture to design collective
form. The spatial qualities of the typeface “Futura” were analyzed to create an idiom defined by processes of
translation, mirroring and applied transparency. This design language was then employed to form a site identity
for artists’ residences and communal art spaces. The final forms constitute a site defined by thresholds and layers
created through the sectioning of site, translation of building forms and transparency of the fenestration.

V I E W O F M U LT I - L E V E L D E V E LO P M E N T & C O U R T YA R D

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 2D FUTURA TRANSFORMATION AS DESIGN LANGUAGE 3D FUTURA TRANSFORMATION AS FORM EXPLORATION INITIAL FORM - SOUTHEAST VIEW INITIAL FORM - NORTHEAST VIEW

“J” PLAN BY JOHANN STEINGRUBER TRANSFORMED “J” PLAN INITIAL FORM - NORTHWEST VIEW INITIAL FORM - SOUTHWEST VIEW

The font “Futura” was selected for exploration, for its distinctive symmetry, sharpness and consistent kerning.
The “U” was explored as a building for its similarities to “J” and its symmetrical form. To
By employing techniques of mirroring, translating, and applying transparency, a complex idiom based on the
create the building’s form, an extruded “U” was mirrored twice on either side and translated in the z-direction. The
spatial relationship between letters was generated. To explore typeface as architecture, Johann Steingruber’s “J”
central “U” functions as the circulation through an internal ramp and the arms of the auxiliary “U” forms serve as
plan was transformed through mirroring and translation, resulting in centralized spaces in the overlap of the “J”
the habitable spaces for the building.
and an interconnected spatial relationship between the arms of the building.
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 E AST OBLIQUE VIE W SHOWING SITE INTERCONNEC TION THROUGH THE ARCHES

E L E M E N TA L F O R M S D E V E LO PM E N T T H R O U G H
T R A N S L AT I O N , M I R R O R I N G A N D T R A N S PA R E N C Y B E T W E E N A D J AC E N C I E S
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 SECOND GROUND FLOOR SITE PLAN THROUGH WORKSHOPS, RESIDENCES AND GALLERY SPACES

Within the three forms, there are artists’ residences and galleries and workshops that serve the residents. These
programs are diversified throughout the buildings, with fenestration and room division indicating the use of space.
Large uninterrupted areas function as the art galleries and smaller, fragmented spaces house the artists. All of these
spaces feature arched openings as fenestration, through which the buildings and their interiors are connected.
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 EAST SECTION THROUGH GALLERY SPACES AND ARTISTS’ RESIDENCES NORTH SECTION THROUGH ARTISTS’ RESIDENCES AND SUNKEN PUBLIC ARENA

Arched openings were subtracted to reveal the site to the viewer gradually. Through this technique a quality of
transparency was applied to the site, as the windows reveal the floor slabs, the curvature of the ramps, the interiors This connection is juxtaposed by the defined stepped thresholds that divide the site into an interior public arena and
of the arms, the “U” forms beyond and, sparingly, the last remaining Jane Addams Home and future home to the surrounding pavement. The multi-level site creates opportunities for viewers to visually engage with the site’s contrasts
National Public Housing Museum to the west of the site. and transverse through the divisions between the buildings and the landscape.

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 WEST ELEVATION SOUTH ELEVATION

SIGHT LINES THROUGH THE SITE

EAST ELEVATION NORTH ELEVATION

At the site scale, the transparency created by the windows connects the building forms and the surrounding context
through the resulting sightlines and through the applied brick that emulates the materiality seen adjacent to the site.

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 ROLLING AWNING
INTEGRATED HOMELESS SHELTER
FALL SEMESTER 2019
PROFESSOR JEREMY EDMISTON

In this project, a shelter in the form of redesigned bodega awnings was proposed for the chronically homeless
population of East Harlem. The homeless population’s movements was analyzed to reveal the areas of high
activity as well as lengths and speeds of travel. To connect the proposed intervention to this analysis, the
bodega was chosen for its amenities and strong ties to the community, as a place of respite and socializing.
The unused space of the existing awnings on bodegas would be replaced by a rollable and habitable
structure that serves as the awning and the roll-down gate for storefronts.

C I R C U L AT I O N D I AG R A M O F R O L L E D AW N I N G I N T E R V E N T I O N

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 qu
ick
10 MIN

TRA
20 MIN

VE L
30 MIN

R
40 MIN
TE w
slo
50 MIN

60 MIN

ACCEPTABLE
LOITERING
TIMES

HOMELESS LOITERING TRENDS IN EAST HARLEM

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 FRONT VIEW - DAY FRONT VIEW - NIGHT

CONCEPT MODEL OF TIME AND SPEED ALONG MAPPED PATHS SIDE VIEW - DAY SIDE VIEW - NIGHT

From the site analysis of East Harlem, curled forms were extracted and employed to create shelter spaces to replace
awnings above local bodegas, which serve as community gathering spaces with necessities such as food, power
and restrooms. This rolled awning would work as both an awning and storefront gate through its rolling mechanism,
thus replacing an unused space with much-needed shelters

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 N

B
C
A
D

B C D

PLAN
A

During the day, the unrolled awning would be a space for coalescence between the homeless in the awning above
and the residents that meet at the storefront. At night, when the bodega closes, the awning could be rolled down as
SECTION A 1ʼ 2ʼ 4ʼ the roll down gate and the habitation would then serve as a space to sleep.

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 DETAIL #1
SOLAR PANEL CONNECTION

1
DETAIL #4A

2 4A & 4B

DETAIL #2
CUSHION INSERT DETAIL
DETAIL #4B
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TRACK SYSTEM AND
STRUCTURAL CONNECTIONS

DETAIL #3
RADIANT HEATING PAD DETAIL DETAIL #5
STEEL GATE CONNECTIONS

R O L L E D AW N I N G I N T E R V E N T I O N
The proposed intervention uses a track system composed of insulated steel and formed structural steel to function as a
shelter, awning and storefront gate. The rolling awning features cushion inserts, radiant heatings and solar powered
sockets to accomodate users. To facilitate this addition, NYC policies would be changed for participating bodegas to
allow for larger signage and subsidized maintenance of awnings, to aid the business owners as well as the homeless.
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 HII NOSTRAND
NOMA STUDENT COMPETITION
MIXED-USE AFFORDABLE AND SENIOR HOUSING DEVELOPMENT
SUMMER SESSION 2019
PROFESSOR SAMANTHA JOSAPHAT

TEAMMATES: FERNANDO APARICIO, CARRY PAK, ELENE SOLOMNISHVILI, ASHLEY SINGH, JENNY TAN,
DAVID YANG, VICKIE YUEN, ALEJANDRA ZAPATA

HII Nostrand is a mixed-use affordable and senior housing development that endeavors to dignify the Flatbush
Community and its residents by addressing HEALTH, INTEGRITY and INTERACTION. The seven-floor development
includes a central courtyard, underground market, commercial ground level, 157 residential units and a greenhouse,
with amenities and active spaces featured throughout the complex. The design also considers site context through the
inclusion of Caribbean cultural and architectural elements and its stepped form that fits into the existing site heights.
Through the programs, aesthetics and form of the development, HII Nostrand provides an architectural solution that
sustains the Flatbush community as it grows.

H I I N O S T R A N D C O U R T YA R D I N T E R AC T I O N S

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 EXISTING CONTEXT WITH ON-SITE HOUSE STEPPED FORM BUILDING

HEALTH, INTEGRITY AND INTERACTIONS DEMOGRAPHICS OF EAST FLATBUSH FORM CARVING AND UNIT ROTATION FINAL FORM WITH CENTRAL COURTYARD
AND COMMUNAL TERRACES

Although East Flatbush is a vibrant Caribbean community, the neighborhood lacks fresh food, medical services, large
social spaces as well as a distinct architectural identity. Thus, the design approach centered on improving the Health,
Integrity and Interactions of Flatbush. HII Nostrand achieves this goal through the incorporation caribbean styles,
colors, and architectural elements such as porches as well as necessary communal and health programs.

NORTH ELEVATION
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 GROUND FLOOR PLAN OF COMMUNAL AMENITIES AND COURTYARD AXONOMETRIC SECTION THROUGH “HEALTH, INTEGRITY AND INTERACTIONS” PROGRAMS

The project contains a ground floor with a library, daycare, wellness center and dynamic community space to
address the community’s legitimate concerns about the lack of public parks, health care, child welfare and cultural
facilities. The commercial level also features a food market that sells produce grown on-site to serve a community
with limited access to fresh and healthy food.
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 NORTH ELEVATION VIEW OF COMMUNAL TERRACES, FARMING AND PUBLIC SPACES WEST ELEVATION VIEW OF STEPPED TERRACES, APARTMENT PORCH LINES AND IRONWORK BANISTERS

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 SECOND FLOOR PLAN OF APARTMENT UNITS AND HALLWAY STOOPS

The residential units are comprised of five-unit types that are dispersed throughout the complex to foster a mixed-
income and multigenerational community. The angled units allow each apartment to have exterior “porch” terraces
and hallway stoops as much-needed spaces for socializing.

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 HII NOSTRAND’S FORMING CONTEXT AND INTERACTION SPACES FROM NORTH EAST HII NOSTRAND DEVELOPMENT OVER TIME WITH CHANGING SITE CONTEXT

Looking to Flatbush’s future, the development’s stepped and unitized form allows the complex to grow in height along
with the community and maintain stability for its residents.

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 SORRY CAN’T TALK
DATA VISUALIZATION OF SYSTEMATIC INEQUITIES
SUMMER 2020
HENRY MARC DESIGN STUDIO

Sorry Can’t Talk is a collective project to understand and visualize life in the year 2020. Inspired by W.E.B.
Du Bois’ “Data Portraits” produced for the Exposition Universelle in Paris at the beginning of the last century,
the project combines data visualization, narrative, and social media to address marginalization, equity, and
white supremacy. Among various explorations of social issues, visceral and succinct graphics were produced
to demonstrate the systematic injustices that affect BIPOC communities but are often difficult to convey, as seen
through COVID-19, criminalization, education and racial violence.

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 RACIAL DISPARITIES IN SOCIAL DISTANCING ENFORCEMENT
SOURCE: RACIAL DISPARITIES IN NYPD’S COVID-19 POLICING, THE LEGAL AID SOCIETY
In light of anecdotal reports of disproportionate arrests for social distancing violations in neighborhoods of color,
graphs were created to demonstrate the skewed enforcement of social distancing in BIPOC communities. Although
majority-white neighborhoods, such as Williamsburg and Astoria, were highly reported, more responding arrests
were made in majority Black and Latinx neighborhoods, such as Canarsie and Crown Heights, despite BIPOC
communities receiving significantly fewer complaints.

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 MASS RACIAL VIOLENCE CASUALTIES
SOURCE: ZENN EDUCATION PROJECT - MASSACRES IN US HISTORY
To account for the casualities of mass racial violence the U.S., this timeline begins to count from the first recorded
indigenous massacre in the 1600s until today. As the death toll increases overtime to show the injustices experienced
by Indigenous Peoples, Blacks and Asians, casualties of acknowledged tragedies are used to evoke visceral and
legitimate concern over losses to racial violence in this country.
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RACIAL DISPARITIES IN NYC CRIMINAL JUSTICE SYSTEM
SOURCE: DCJS, COMPUTERIZED CRIMINAL HISTORY, U.S. CENSUS BUREAU (AS OF JUNE 2019)
The above graph tracks racial disparities in the NYC criminal justice system, comparing population percentages to
the arrested and sentenced demographics. As suggested by the Sentencing Project, a disparity ratio visualized as
overrepresented if convex and low if underrepresented, overlays the graph. This disparity accurately reflects the
inequality seen at the various criminal justice system stages.
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 RACIAL DISPARITIES IN HIGHER EDUCATION & STUDENT DEBT
SOURCE: RACE AND ETHNICITY IN HIGHER EDUCATION: A STATUS REPORT, AMERICAN COUNCIL ON EDUCATION 2019.
NATIONAL CENTER FOR EDUCATION STATISTICS AND DEMOS

The racial disparities of higher education and the student debt crisis, especially experienced by Blacks, are
simultaneously visualized in the above graph. Throughout the higher education track, Latinx and Blacks students are
seen at fewer rates. These groups, however, accumulate a significantly disproportionate amount of debt compared
to White and Asian students, which can be attributed to a lack of institutional grants and family contributions. Blacks
especially accumulate nearly twice as much debt as any of their counterparts and, unlike other demographics, owe
more debt a decade after graduating than what was originally owed.

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 AFRICAN AMERICAN LIFE SPAN MATRIX
GROUP EXPLORATION WITH KRYSTAL HERNANDEZ AND MOHAMMED GUEYE

To address misconceptions surrounding systematic racism, the life span matrix was created to explore the inequalities
seen at various stages of life for African Americans – from high maternal mortality rates marking birth, to the school-to-
prison pipeline experienced in youth and the high levels of debt and lack of opportunities seen during adulthood. Sets
“YOUTH” STAGE
SOURCE: U.S. DEPARTMENT OF EDUCATION FOR CIVIL RIGHTS DATA COLLECTION, 2015-2016
DISCOURSES OF DIFFERENCES AND THE OVERREPRESENTATION OF BLACK STUDENTS IN SPECIAL
EDUCATION, UNIVERSITY OF CHICAGO ON BEHALF OF ASSOCIATION FOR THE STUDY OF AFRICAN
AMERICAN LIFE AND HISTORY

of graphics were made to visualize the compounding injustices experienced by Blacks in the United States.

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 “COLLEGE” STAGE
SOURCE: RACE AND ETHNICITY IN HIGHER EDUCATION: A STATUS REPORT, AMERICAN COUNCIL ON EDUCATION 2019.
NATIONAL CENTER FOR EDUCATION STATISTICS AND DEMOS

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LESLIE EPPS