Adelaida Albir Portfolio by adelaidaa

Adelaida Albir Architecture Portfolio Columbia GSAPP

Contents

Ac a d em ic C ou nt e r C a mpu s C e nt e r for Pe a c e a nd I m m i g r at ion At mo s phe r ic S t r uc t u re Bre a k i n g t he Pe r i me t e r Fo o d a nd Wat e r R e s i l i e nc y R id ge wo o d t he at e r a nd Bre we r y

P rofe s sion a l Tat i a n a B i l b a o E s t ud io I nt e r n s h ip S t u d io V A rc h it e c t u re I nt e r n s h ip

Center for Peace and Immigration

Historic Preservation of Eero Saarinen’s US Embassy Building Critics: Jorge Otero-Pailos & Mark Rakatanksy Columbia GSAPP Oslo, Norway

The Center for Peace and Immigration redefines a historic and political symbol for the city of Oslo. Built in 1956, the building stood as symbol of friendship between the US and Norway. Up until the early 2000s, the building’s interior atrium, a defining feature in its design, was fully accessible to the public. However, increased security requirements closed off all access by erecting a high fence along its perimeter. The new program then will again define Norway’s stance on foreign affairs as it will be where newly-arrived immigrants can learn, integrate, and feel welcomed in their new home. The design maintains

the characteristic facade made of cast labradorite stone, and it re-establishes the atrium’s importance by transforming it into a beacon to be seen across all of Oslo. In the original design, the atrium wasn’t programmatically connected to the rest of the building. Therefore, by remodulating it and re-integrating it into the new program, it consistently centers the user. The brick is remodulated from the typical local brick, to a terracotta brick, to a cast stone that resemebles the original facade in proportion. Futhermore, the building’s perimeter was redesigned to create a wrap-around cultural exposition to further engage the public.

Programs used: Rhino, Adobe Suite, Vray

Axonometric of Inner Atrium

Original local brick of inner atrium remodulated into terracotta brick and cast stone

Cast Stone

Terracotta Brick

Local Brick

City Hall

Former US Embassy

Royal Palace

Site Plan

The Former US Embassy is situated next to the Royal Palace. Therefore, by designing a center for immigraiton adjacent to it, Oslo is taking a stance on immigration.

Center for Peace and Immigration

Royal Palace

Town Hall

Urban Gesture The new perimeter establishes a connection with the Royal Palace and the height of the added tower echoes the towers of the historic Town Hall, both now identifiable across Osloâ&#x20AC;&#x2122;s f lat skyline.

Center for Peace and Immigration | 7

US Embassy (1956) vs. Center for Peace Immigration (2018)

The original cast labradorite facade is preserved for its structural qualities and its historic importance to the region. The inner atrium, which was originally inaccessible to the public, is now extended and remodulated to enclose a viewing area and a symbolic space for citizenship ceremonies.

Center for Peace and Immigration | 9

-4m

e ie

Henrik Ibsen Gate

South Entrance into Market and Cultural Exposition.

The new perimeter market wraps around the whole building making it more accessible to the public. On the south side, visitors enter the market directly, but the market is one f loor below on the North side due to the topographical change of the site.

10m

Section

The brick from f loors 0-4 is the original local brick. Itâ&#x20AC;&#x2122;s position and size remodulates vertically through the building.

Center for Peace and Immigration | 11

Cut into ground

South Entrance into Market and Cultural Exposition.

10m

Section

The brick from f loors 0-4 is the original local brick. Itâ&#x20AC;&#x2122;s position and size remodulates vertically through the building.

Center for Peace and Immigration | 13

Peace Research Institue Extension on Immigra-

Library on Immigration and International Affairs

Library for International Affairs and Immigration | Floor +2

10m

Groupwork

Private Legal Aid Software Language

10m

Legal Aid and Technology Workshops | Floor +3

The brick from f loors 0-4 is the original local brick. Itâ&#x20AC;&#x2122;s position and size remodulates vertically through the building.

Center for Peace and Immigration | 15

+9m

Groupwork Area

Accounting Classes

Workshops for Immigrants and Norwegians on Cultural Crafts

Finance Classes Language Classes

Business and Accounting Classrooms | Floor +4

10m

+12m

Cafe

10m

Outdoor CafĂŠ | Floor +5

The brick from f loors 0-4 is the original local brick. Itâ&#x20AC;&#x2122;s position and size remodulates vertically through the building.

Center for Peace and Immigration | 17

Counter Campus

A C a mpu s t h at u s e s t he E x i s t i ng P ubl ic He a lt h K now le d ge Ne t work to D i s s em i nate I n for m at ion not Tau g ht i n Tr ad it iona l E duc at ion Sy s tem s Partner: Eugene Ong Critic: Nahyun Hwang Spanish Harlem, NY Columbia GSAPP Counter Campus questions the transfer of knowledge in the city and its level of “publicness.” Spaces of knowledge transfer tend to be private, or public to a certain degree, but never fully public. The project investigates what it would be like to couple public parks, spaces that are most open the public, with public education. Doing so creates a new system of education that is fully integrated with public spaces all over Manhattan. The aim of the project is to use existing “knowledge networks” throughout the city and create a new space in undertutilized park zones where the expertise of the area can help the public. Each park intervention will react to the existing park conditions to create different formal layouts. The knowledge that is spread will vary by location, but it will focus on spreading knowledge that is “counter” to

the information that is typically taught in formal education systems. In this way, our “Counter Campus” will be a place where the expertise of the area is displayed and opened to the public. During the semester, Eugene and I developed Marcus Garvey Park in East Harlem, characterized by its prevalence of public health. We analyzed the existing uses of the park to create different zones of public health, such as a vaccination center, and a physical health center. Formally, we studied corridors, or “streets” as we called them, as gathering spaces. The elevated streets sit on top of the parks, but they react to the local park conditions. Although the elevated street appears to have the same interior feel, we designed every space of the elevated bridge to give a lot of variety through light, elevation and width.

Programs used: Rhino, Adobe Suite, Vray, GIS

Manhattan Vision

Counter Campuses based on existing k nowledge networks

Student Lounge

Sky Quad

Student Lounge

Curtain Wall overlooking 5th Avenue

05 Real & Virtual,

Information Age

1990s

Free Space

Hall

04 Learning From,

Failure of Modernism

Wide C orridors

1972

C ourtyard

O verhanging Auditorium

Amphitheatre Study Areas Free Space

C orridor to Discussion Rooms

Architecture Studio

Workshop

Libra

C orridor to Discussion Rooms

Architecture Studio

Faculty Offices

Meet Room

01 Equality,

Democracy

500 BC

Historical Analysis of Stairs as Social Condensers

Beginning with the stairs as platform in Greek Democracy, stairs have evolved to contain more than circulation. Their relation to the rest of the building has become more integral.

Stage

2600 yea

Student Lounge

06 Innovating Capital,

Neoliberalism

Auditorium Mezzanine

2010s

Free Space

ar y Museum

Hall

03 Anti-Colonialism, Social Conflict

1960s

Cafe

ting ms Entrance Lobby

Canteen

02 Stage

Man & Machine,

Extension of Stage area

Industrial Revolution

1900s

C orridor to Lecture Room

Auditorium

C orridor to Lecture Room

C orridor to Workshops

Porch

ars later

Display Area

Vestibule

Counter Campus | 21

Master Plan of Public Health Campus

Zones include: Pediatric Health Center, Vaccination Cen ter, Sexual Health Center, Mental Health Center, Physical Health Center, and Legal Aid 5

20m

Counter Campus | 23

Exploded Axon of Pediatric Health Center

Each Specif ic Health Center has a strong relationship to its immediate surroundings. The center is adjacent to the playground and the kindergarten across the street.

Physical Health Center The elevated street wraps around the existing baseball f ield.

Counter Campus | 25

Pediatric Health Center Unfolded Section

The underside of the Elevated Bridge was mediated to have a storng relationship with the programs around it. In this case, the bridge extends into a playground to continue the program beneath it.

Sectional Models

Sectional Models of the Elevated Bridge. Even though the spaces inside the bridge appear homogenous throughout the campus, sectional differences were calibrated to create spatial diversity.

Counter Campus | 27

Segments of the Elevated Streets

These segments demonstrate the spatial diversity we designed. The eight-foot segments are more private and correspond to specific programming.

Pediatric Asthma Center

Vaccination Center Legal Aid

Sexual Health Center

Physical Therapy

8â&#x20AC;&#x2122; Elevated Streets

Childrenâ&#x20AC;&#x2122;s Play Zone

Community Space

Baseball Viewing Area

Gallery Space Work Area

16â&#x20AC;&#x2122; Elevated Streets Segments of the Elevated Streets

The sixteen-foot segments are located closer to the center, and correspond to looser, more public parts of the park.

Counter Campus | 29

COUNTER CAMPUS MANHATTAN

S PRING

COUNTER CAMPUS MARCUSMANHATTAN GARVEY PARK

S UMMER

A UTUMN

W INTER S PRING

MARCUSMANHATTAN GARVEY PARK COUNTER CAMPUS

S UMMER

A UTUMN

W INTER S PRING

COUNTER CAMPUS MANHATTAN ADELAIDA ALBIR + EUGENE ONG

S PRING

A UTUMN

ADELAIDA ALBIR + EUGENE ONG

COUNTER CAMPUS MANHATTAN

S UMMER

A UTUMN

W INTER

MARCUS GARVEY PAR

W INTER

S PRING

S UMMER

A UTUMN

ADELAIDA ALBIR + EUGENE ONG

Physical Health Center

W INTER

MARCUS GARVEY PARK

S UMMER

ADELAIDA ALBIR + EUGENE ONG

COUNTER CAMPUS MANHATTAN

S PRING

MARCUS GARVEY PARK

The underside of the Elevated Bridge is meant to be used and interacted with by the parkgoers. In the top image, the entrance of the basketball coar double as bleachers for the viewers.

ADELAIDA ALBIR + EUGENE ONG

W INTER

Counter Campus | 31

Atmospheric Structure

A L ibr a r y w here C olu m n Ty p e s G ener ate At mo s pher ic D iver sit y Critic: José Aragüez Columbia GSAPP Downtown Brooklyn, NY

The library in Downtown Brooklyn aims to provide different work atmospheres within a varied, and increasingly growing population. The small footprint of the site called for a library where program wasn’t defined by walls, where program could shift in the future according to the needs of the community, and where the relationship of structure and program could take on a new meaning. By using different types of one structural system - the column - the project creates, enhances, and even blurs the program within the library. The project stacks the core programs of the library vertically, and chooses the column type, number and placement that would define the program. Some programs, like the bookshelves, would

need more rigid definition, but other programs required a structural system that would not interfere with the f lexible nature of the program. Furthermore, structural system also starts to take on different identities that enhance the identities of each f loor. In some cases, they act as part of the urban landscape, and in others they become part of the library’s mechanical or plumbing system. In order to make the project structurally feasable, f loor plate thickness, number of columns, and column placement were considered throughout the project. Futhermore, f loor relationships were also considered so as to make the experience logical and pleasant for the user.

Programs used: Rhino, Adobe Suite, Vray, Grasshopper

One Structural System, Five Atmospheres

A xonometric diagram of how different column ty pes create distinct environments within a single librar y

Urban Column

Bookshelves Column

Ground Floor

Second Floor

Between Ground Floor and Second Floor

Bathroom In Column

Ventilation Column

Lighting Column

Fif th Floor

Fourth and Fif th Floor

Third Floor

Column Ty pes

The structure contributes to the program, the lighting, and the mechanical system

Dumbwaiter Column

8” Floor Slab:

12” Floor Slab:

Floor Slab between fourth and firth f loor has an 8” f loor plate that transmits force directly. Each hollow 5’ thick column has a skewed column underneath it, as shown.

Between the third and fourth f loors, there are a minimum of 15 2” columns under each skewed column. Each of these 2” columns is made of steel, and some of them carry force downward, while others are held by tension

12” Floor Slab:

24” Floor Slab

Between the second and third f loor, there is a maximum of 15 columns for every 10’ radius of each lower column. Even though the thin columns appear randomly placed, they are grouped according to the placement of the columns above and below.

The f loor plate between the first and second f loor increases to 2’ to account for the weight above. There is a maximum of 3 higher columns for every 10’ radius of each lower coumn.

Floor Plate Relationships

The thick ness of the f loor plate varies by f loor

Atmospheric Structure | 35

Plans with different column types

Clockwise from top left: Bookstacks (2nd Floor), Quiet Reading Room (3rd Floor), Open Work Area (4th Floor), and Cafe (5th Floor). Each column type evokes a different program

10m

1 5

10m

Site Plan and Section

The section shows that even though the columns are separated by f loor, there are intances in which one column type carries from one f loor to another to provide visual continuity for the visitor.

Counter Campus | 37

Quiet Reading Room and Book stacks underneath

Open Work Area

Atmospheric Structure | 39

Breaking the Perimeter

Rethinking the Courtyard Typology to Merge Community Program with Residential Program Partner: Julie Perrone Critic: Eric Bunge Columbia GSAP Oslo, Norway

The aim of the Breaking the Perimeter project was to create a housing complex that provided public program open green area to the residents as well as to the members of the community.The housing complex was located in Bronx and composed primarily of a low-income single parent population. The actual site included three blocks, When PS31 was torn down, community members felt that their vision for its replacement was not taken into consideration. Therefore, we sought to provide an inclusive work/

Programs used: Rhino, Adobe Suite, Vray

living complex that addressed the needs not only of its residents, but also those of the community. To do this, we decided to rethink the design of the courtyard typology. By having apartments on every other level, we created a dichotomy of “solid” (apartments level) versus “void” (open, semi-private terrance), where the “void” would include public program, such as work environments or small day cares for the local single mothers. Such public programs were designed as bridges intersecting the inner atrium.

Typical courtyard apartments

Remove every other level for horizontal light

Public program bridges across courtyard

Second levels of apartments

Remove parts of perimeter with low levels of light

New courtyard type brings in more light and engages community

Rethinking the Courtyard Ty polog y

The structure contributes to the program, the lighting, and the mechanical system

Breaking the Perimeter | 43

20â&#x20AC;&#x2122;

Apartments Floor Plan

N The apartment corridors are all single-loaded to increase sunlight to ever y unit. The diagonal program that crosses it is for resident use.

1/8th Scale

5 N

20â&#x20AC;&#x2122;

Kindergarten and Terraces Floor Plan 0 16 32 This f loor level holds the program that is open to the community, such as the local kindergarten. The surrounding perimeter is a terrace for the residents.

Breaking the Perimeter | 45

Studio + 1 Bedroom Apartments

Site Plan

The three buildings are located on three adjacent blocks. There is public program on the bototm level.

Bedrooms

20â&#x20AC;&#x2122;

Multi Bedroom Apartments

Living Space

Kitchen Core

Bathroom Core

Apartment Level Plans This f loor level holds the program that is open to the community, such as the local kindergarten. The surrounding perimeter is a terrace for the residents.

Lower Level

Upper Level

Iteration 2: Typical Floor Plan with Second Story Additions

20’ 10 5 0

Lower Level

Upper Level

Iteration 3: Lighting Study

50’

0 10

Breaking the Perimeter | 47

Between Two Worlds

Underwater Bath house in the Korean DMZ Critics: Joseph Brennan and Philip Crupi Columbia GSAPP Ultrareal

For this project, my team and I designed an underground bath house under the demilitarized zone of the Korean border. To do this, we materialized the border by creating an undulating frosted glass wall separating the two countries. Through the glass wall, citizens of each country can see each other without identity without having to physically or visually interact. The top part of the glass follows the

border line, whereas the glass undulates underground to push and pull the limits of the border. In creating the images, we wanted to convey the wetness of the space through the concrete f loor and the mist. We also wanted to show human presence without actually showing anyoneâ&#x20AC;&#x2122;s identity in the images. The interior view blurs the difference between the two countries, whereas the exterior view highlights it.

Programs used: 3DSMax, Rhino, Adobe Photoshop, Vray

Food and Water Resiliency

Historic Preservation of Eero Saarinen’s US Embassy Building Parnters: Silvia Cernea, Zara Gilbert, Udit Godel Critic: Craig Schwitter Columbia GSAPP Far Rockaways, Queens

The project identifies and attempts to address the issue of economic discrepancies within the range of communities in the Rockaways. As such, the scheme aims to create a sustainable food production, distribution and testing facility dedicated to reliable local food production. The facility relies on a passive water filtration strategy and integrated aquaponics systems to provide water and food, for the lower-income communities on the periphery of the site. This will allow the communities to redistribute their resources

towards a better standard of living. The site will serve as a testing ground, and hopefully as a precedent, for the integration of these self-sustainable food technologies to address issues of food deserts at a larger scale. The interested community members would “subscribe” to this service, and the food and water would be delivered to them weekly. The vegetables would vary “seasonally.” Each vegetable has its own growth rate, and the harvest would vary to allow for a range of produce to be delivered to the participants.

Programs used: GIS, Rhino, Adobe Suite, Vray

“END OF THE LINE” NYC Food Desert Map

NYC Water Systems

NYC Subway Lines

Aqueducts In Construction

Aqueducts Aqueducts In Construction In Construction

NYC Food Desert Map

NYC Water Systems

NYC Subway System

The site at the Rockaways is located “at the end of the line” of many of NYC’s systems. It’s located in an area with a high supermarket need index, far away from

the aqueduct sources, and there is only one subway line that reaches the site. Our project will therefore seek to reduce the site’s dependency on the city’s water “End of the Line” and food systems, and it will create its own distribution network for the community residents. This would allow us to reach further neighborhoods while still

The iste is located on what theThe“end theofline” for many using thewe samecoined amount of land. researchof portion the project would be dedicated to implementing this in the future at a low cost of the city’s sy tems. Not only is it on a food desert, it’s also the farthest location from the water reser ves and the subway system, creating a strong sense of dependency on the rest of the city.

SITE STRATEGY NOTES The water filtration pods are arranged on either side of the processing center to filter the water before food production and prior to sea discharge.

Learning Center Aquaponics

Filtered Water Inspection

Community Greenhouse

Processing & Market Seawater Collection and Holding

Multiple Effect Distillation Pods

Brine Treatment Facility

Multiple Effect Distillation Pods

Site Plan

The location of the different programs within the site are dependent on the water, resources, and energ y strategies. 019

WATER STRATEGY NOTES The hot brine byproduct of the MED pods is collected and reused to preheat the incoming seawater, catalyzing the entire water system.

Community Greenhouse

tion

Packing + Distribu

Potable + Production

Social

Production + Consumption

Brine Treatment Water Outflow at Topographic Low Point

Pre-treatment Brine Treatment

Water Intake at Topographic High Point

Water Strateg y on Site

In order to create a complete water resiliency, food enters on the Southern side of the site, it gets f iltered and its used to produce tilapia and aquaponic plants, and it gets resent into the ocean. 034

ENERGY STRATEGY NOTES

The two main forms of energy sources are solar and geothermal.

Geothermal Loop Geothermal Loop

Brine Loop

Energ y Strateg y on Site

In order to f ilter water as sustainably as possible, the site considers the use of solar and geothermal energ y. We placed certain programs on the site so that the heat of one program could be recycled for the heat intake of another program. 046

Food and Water Resiliency | 53

MOVEABLE POD SYSTEM

Storm throug

PV cells power pump and filter system.

9.5 foot wide truck bed delivers up to 4 pods at once to neighborhoods

9’

NOTES

We designed smaller aquaponic p that could, in the future, be delive to the distribution spots through the community once the prod is mature. We would train spe community members in our lear center to operate the pods du operation hours. This would allow to reach further neighborhoods w still using the same amount of l The research portion of the pro would be dedicated to implemen this in the future at a low cost

MOVABLE POD: Tank: 175 cubic feet 327 lbs tilapia/2.5 tilapia per person = 130 served per pod

9.5’

Hydroponics: 150 square feet 750 plants per pod x 1.5 lbs per plant = 1125 lbs = 450 people served per pod

AQUAPONIC PODS

9’

Stormwater filters through system

MED Module

Food Production Module

Th hex sun elem wat hyd to a

PV cells power pump and filter system.

22’

filtered water out

Food Production Module

Structure + Mobility

Aquaponics distribution

15’

Water distribution + Rainwater Capture

22’

water collection tank

Food Pr Grill/water check

27’

clean water in (every 12 hours)

rainwater filtration tank

2’

water collection tank

Aquaponic and Movable Pods

soiled water out (every 12 hours)

The movable pods f ilter water and send it up to the aquaponic plants. The users would be able to enter the pods and pick their plants.

12 hour flush cycle

Filtered water intake Rainwater Pathway for plant/fish manual collection

Hydroponic trays

to allow staff to come in and collect the produce.

Stormwater filters through system

27’

22’

Food Production Module

22’

Food Production Module

Structure + Mobility

Aquaponics distribution

iltration tank

out (every 12 hours)

Water distribution + Rainwater Capture

Grill/water check 22’

27’

clean water in (every 12 hours)

12 hour flush cycle 27’

Filtered water intake Rainwater

Hydroponic trays

Pathway for plant/fish manual collection

026 Movable Pods

The movable pods were designed use solar energ y to f ilter the water, and use it to feed the aquaponic plants.

Food and Water Resiliency | 55

22’

Food Production Module

Ridgewood Theater and Brewery

Historic Preservation of Eero Saarinen’s US Embassy Building Critic: Sarrah Kahn Columbia GSAPP Ridgewood, Queens Partners: Randy Armas, Tamar Behar, Joon Ma

The purpose of the Ridgewood Theater and Brewery was to create a f lexible space for community activity. By breaking the site up into three sub-blocks, we created inner “streets” that were allowed people to hang out in betwen the brewery, the theater, and then main lobby. Although this space was separate from the subblocks, it was enclosed and heated on the ground to warm the space during the winter months. The three sub-blocks would then be able to open up into this

in-between space and extend/mix their program with the activities on the whole block. This allowed for large events that took up the whole block, or small individual events that occurred simultaneously. The purpose of the Ridgewood Theater and Brewery was to create a f lexible space for community activity. Although this space was separate from the sub-blocks, it was enclosed and heated on the ground to warm the space during the winter months.

Programs used: Revit, GIS, Rhino, Adobe Suite, AutoCAD, Vray

Exploded Axon of Structural Systems

The exploded a xon demonstrates the three ty pes of structural systems: columns, structural walls, and trusses.

Sarrah Khan

No.

Description

Date

Structural Diagram Project number

001

Level 3 40' - 0"

Level 2 20' - 0" Level 1 10' - 0" Level 0 0' - 0"

NORTH SOUTH SECTION 1/16" = 1'-0"

Level 3 40' - 0"

Level 2 20' - 0" Level 1 10' - 0" Level 0 0' - 0"

EAST WEST SECTION 1/16" = 1'-0"

No.

Sarrah Khan

Description

Date

Sections Project number Date Drawn by Checked by

Ridgewood Auditorium

www.maabarchitecture.com

001 10/25/2016 MAAB S.K.

A301 Scale 1/16" = 1'-0"

A201 2

23 '

-8 "

A301

CY PR

-8 "

23 '

SEATING STORAGE 026 1183 SF

DN UP DN

2 A301

SA VE

23 '

-8 "

TRUCK LOADING 028 490 SF

LOAD DOCK 027 50 SF

A201 18 '

-8 "

1 -4

23 '

A201

1/8

" 11 '

STAGE 029 2015 SF

-1 0

-8 "

030 6307 SF

-8

22 '

23 '

-0

BATH 3 018 40 SF

-8

17 /3 2"

20 '

DN W2

3/3

STAIRS 'B' 017 192 SF

BATH 4 019 40 SF

3/3

22 '

OUTSIDE SEATING AREA 020 221 SF

OFFICES 016 760 SF

-0

18 '

-0

21 '

MA DI SO

23 '

5/1 6"

W2 W2 WET LAB 011 125 SF

15 /3 2"

CONF ROOM 2 014 120 SF

-7

CONF ROOM 1 015 120 SF

CONF ROOM 3 013 230 SF

-1 MALT STORAGE 009 605 SF

STORE 007 805 SF

18 '

-8 "

W2 CANNING HALL 008 120 SF

-0 " 20 '

OPEN CIRCULATION 005 11670 SF

20 '

BAR 004 530 SF

-0 "

RECEPTION 008 215 SF

BREWHOUSE 006 2070 SF

LOBBY/BAR 002 6545 SF

FERMENTATION ROOM 010 1835 SF

7/3 2"

MICRO LAB 012 130 SF

CLIMBING WALL 031 805 SF

25 '

W1 W1

-0

1/3

25 '

W1 HISTORIC WALL

3/4"

-0 "

39' - 11

25 '

W1 BOX OFFICE 002 145 SF

-0 "

MYRTLE AV

25 '

A201

Level 0 1/16" = 1'-0"

Sarrah Khan www.maabarchitecture.com

Ridgewood Auditorium

No.

Description

Date

Ground Level Project number Date Drawn by Checked by

001 Issue Date Author Checker

A101 Scale 1/16" = 1'-0" 10/24/2016 8:22:03 PM

WALL SECTION DETAIL 1â&#x20AC;? = 2'-0"

WALL SECTION 1" = 2'-0"

Sarrah Khan www.maabarchitecture.com

Ridgewood Auditorium

No.

Description

Date

Facade Detail Project number Date Drawn by Checked by

001 Issue Date Author Checker

F230 Scale

1" = 2'-0"

Ridgewood Theater and Brewery | 59

Low plants

Growth medium

1'-0"

Drainage layer 2” (lightweight granular mix) Thermal insulation

Metal cap

Water proof membrane

Hard insulation

1'-2"

Concrete

Green Roof 1’=1”

Green Roof Detail 1’-0” = 0’-1”

Slab

Slab 1” Acoustic Membrane 1” Acoustic Plasterboard

Resilient Bar 5” Poured Concrete

2” Hard insulation

Fire code Gypsum

5” Poured Concrete Floor

1'-0"

W3 - 3 W3HR3HR RATED STRUCTURAL Rated Strucutral Wall ACOUSTICAcoustic WALL 1’-0” = 0’-1/2”

Slab 1" Cement Board Air Cavity 3" Soft insulation 3/4” Sheetrock Fire code Gypsum

ncrete

Floor

W2 - 2 HR RATED W2- 2HR Rated Partition Wall PARTITION WALL

W3 ACO

1’-0” = 0’-1/2”

Ridgewood Theater and Brewery | 61

Tatiana Bilbao Estudio

Coordinated, Designed, and Produced Exhibition Tower for Chicago Architecture Biennial May 2016 - August 2016 Professional Mexico City, Mexico

Tatiana Bilbao Estudio’s “(Not) Another Tower” at the Chicago Architecture Biennial sought to rethink the function and aesthetics of the towers of the future. Believing that urbanization will lead to cities within towers, the office designed a tower that incorporated many of the ty pical programs situated in cities, such as hospitals, parks, housing units, or schools. The tower was purposefully “chaotic” to represent the haphazard planning of cities. Furthermore, the tower invited international offices to contribute their own models. When producing the tower, I, along with two other interns, one senior architect and

the head of the model workshop, was in charge of designing and producing all of the models for the office’s tower at the 2017 Chicago Architecture Biennial. Specifically, I set out the production schedule to create all of the models within a two-month timeframe. I coordinated the placement, sizes, and weight of out models and those of participating offices. In terms of production, I produced the laser cuts and the interiors of most models. The production process required coordination between the production staff, the participating architects, and the curators of the biennial.

Programs Used: AutoCAD, Adobe Suite, Excel

Tatiana Biblao Tower at Chicago Architectural Biennial Image from CAB Website

Interior and Exterior of Modules

Each model had to be tested for weight and size requirements before sending them to Chicago. The exterior of the models are made of sanded micro-cement, and the interiors of each varied.

Module Step-By-Step

The f irst step in assembling the units was assembling the wooden pieces and painting the interiors white. Af terwards, the exteriors were covered with micro cement and sanded three times

Tatiana Bilbao Estudio | 65

Studio V Architecture

D e velop e d C D S e t for O f f ic e Renov at ion May 2016 - August 2016 Professional New York, NY

As an Architecture Intern at Studio V, I designed and produced the Construction Documents Set for the office renovation under Michael Bevivinoâ&#x20AC;&#x2122;s super vision. Specifically, the office needed one more bathroom in addition to the existing two bathrooms, they needed to remodel the model workshop, the conference room, and design the millwork for a few extra desks. I was the only intern in

Programs used: Revit, AutoCAD, Excel

charge of this project, so I drew all of the drawings. In this process, I drew the demolition plan, the ref lected ceiling plan, the office elevations, and I also produced a few mill work details for new desks. Additionally, I was in charge of producing a working budget as we began to determine the door, finish, and material schedules.