ANDREA HERRADA School of Architecture | Syracuse University Email: aherrada@syr.edu Mobile Number: (813)210-6634
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CHILDSCAPE, Conceptual Collage. Entanglements, Architectural Thesis.
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PIONEERING FOLLIES
CLOUDSCAPE REPOSITORY
Fall 2021
Spring 2020
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THE WINDOW AS SCREEN
1619 CENTER
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STACKING TECTONICS
SWISSNESS APPLIED
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CATALOGUING COUNTERCULTURE
BIOTIC WONDERS
Spring 2018
Fall 2018
Spring 2021
Spring 2019
Fall 2021
Summer 2021
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THE AGGREGATE WITHIN AGGREGATE
ENTANGLEMENTS 2021-2022
Spring 2019
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“After”, Collage 1 / 3, Paper on Drywall.
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Spatial Narratives / Arch Design Project
PIONERGFLS RECKONING WITH I-81 AND PIONEER HOMES PAST, PRESENT, & FUTURE PIONEERING FOLLIES 01
With time in a place, one becomes enveloped in the history of its place and cultural history. Pioneering Follies follows the historic narrative of Pioneer Homes, one of the first public housing projects to be created in Syracuse, NY after the erection of highway I-81. Working through mediums of physical collage, hand-drawing, sculpture, and digital modeling/drawing, we created a narrative depiction of the neighborhood along with a series of interventions that would restore the cultural memory of the area. Drawing from the cultural narrative and the broken effect of I-81 on the community, we created a catalogue of elements from Pioneer Homes in order to reclaim their memory into one that could foster moments of play, memory, and growth for the community. Ifeoma Ebo + Nathan Williams | ARC408 Visting Critic Studio In collaboration with Michael Heller and Morgan Rae Noone
Fall 2020 STUDENT WORK PORTFOLIO
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PIONEERING FOLLIES 01
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PIONEERING FOLLIES 01
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Facade Arch Design Project
THEWINDOASCR ARCHIVE LIBRARY SITED IN SYRACUSE, NY THE WINDOW AS SCREEN 02
In every project there exists a significant relationship between the facade of a given building and its context. This relationship can define its design and, in turn, define the context as well. It is this exchange that creates the environment and experience of a space as a whole. This project takes windows from the context around it and responds in a language that defines the window as a screen. Prefaced with a precident study of Sou Fujimoto’s Musashino Art University Museum and Library, this new archive space borrows from the original spiral organization to define the conversation between context, facade, and the inner spaces of the project. This project imagines a screen-like facade that has two layers: the outer layer (a thin screen perforated with window openings and mesh) and the inner layer (a thicker wall that echoes the window logic but uses it to host various activities). The two run together, inwardly spiralling to the multi-purpose lecture hall waiting in its hearth. Professor Nicole McIntosh | ARC208 Architectural Studio Spring 2018 STUDENT WORK PORTFOLIO
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By taking windows from surrounding previous buildings and altering them, there remains a subtle and delicate relationship with the context of the building. As one enters the first layer of the facade, it can be seen that the screen has a relationship both with the outer context and the layers that come after it, going deeper within the building. By maintaining this language, the circulation and spatial orientation of the inner spiral become clear and organized.
THE WINDOW AS SCREEN 02
Archive/Bookshelf Wall
Screen
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Tectonics Analysis + Design
STACKINGEO TECTONICS CASE STUDY ANALYSIS OF DIAGONAL 80 STACKING TECTONICS 03
In this exercise, we analyzed the tectonic structure and design of the case studies given in order to uncover the role that tectonics can play not only in the structure of the building, but the overall design as well. In the case of AMID Cero9’s Diagonal 80, the underlying steel frame of the building becomes the most important component of the structural security and visual design. In response to the tectonics analysis, I designed an abstract construct made up of the same geometric language found in AMID Cero9’s Diagonal 80. To define this language, it was necessary to identify a “kit-of-parts” that makes up the tectonic system of the steel frame in Diagonal 80. Using these pieces, I assembled my new construct in a chaotic jumble that echoes the structure of the original steel frame. Professor Valerie Herrera | ARC209 Architectural Studio Fall 2018 STUDENT WORK PORTFOLIO
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Grant Research Project / Collage
CATLOGUINER OF
American counterculture refers to the cultural phenomenon that occurred in the period between 1964-1972 when the capitalistic and domestic values of the 1950s were rejected by the younger generation. With the removal of the chains of social roles and conventional practices came an influx of ideas for living, creating, expression, and reclamation. In this “reboot”, the common object was now a medium for reclamation and reinvention. The hippie sought alternative uses for common domestic objects (materials/objects found in everyday life) and technologies such as taped music, synthesized sounds, feedback + distortion, light effects, slide projectors, portable video cameras, etc. This project is an investigation of countercultural modes of production and object/ material reuse or reinvention. It is imagined that this paper quilt, littered, layered, and labeled with images and thoughts, can be folded up and carried off. With threads and thoughts hanging, it can be taken anywhere so as to disseminate the ideas enclosed. In sharing it with any passerby, the collage challenges convention and pushes the modern-day consumer to imagine the ways in which the objects of their life can be reinvented.
CATALOGUING COUNTERCULTURE 04
MATERIAL EXPLORATIONS 1960S COUNTERCULTURE
Mentor: Susan Henderson | SOURCE Summer Research Grant Fall 2018 STUDENT WORK PORTFOLIO
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CATALOGUING COUNTERCULTURE 04
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Architecture Design Project
AGRET(S) ROCK MUSEUM: THE AGGREGATE WITHIN AGGREGATE
AGGREGATE(S) 05
Designed for the site location of a rock quarry in Syracuse, New York, this project was meant to be a museum specifically for rocks either found on-site or in places abroad. I found the play between the site and program subject to be quite interesting in its parrallelism, leading me to dream up a building that would make the visitor feel almost as if they were a rock themselves, becoming part of the greater whole. Through the idea of a rock made up of many aggregates of varying degrees of scale, the human scale being one of them, to imply the idea of the visitor themself being an aggregate within an aggregate. Professor Jonathan Louie | ARC209 Architectural Studio Spring 2019 STUDENT WORK PORTFOLIO
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AGGREGATE(S) 05
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Architecture Design Project
THECLOUDSAPRIY
The Cloudscape Repository is an architectural library and community center designed in response to a prompt detailing the University of Florance School of Architecture’s desire to relocate their architecture library. Sited in Florence, Italy, adjacent to the School of Architecture in the public square, Largo Annigoni, the Repository takes its place underground and links these two places with a meandering archival cavern. This was in order to save the public square’s accessability and allow the city to carry on alongside the existance of a new space. The “clouds” are the products of a new organizational system designed to make finding a book simpler and categorize the range of material that would be collected within the University’s library. Split between two planes of existence, the Repository simultaneously respects the longtime patterns of the city while providing solace for study, reflection, and thoughtful collection beneath.
THE CLOUDSCAPE REPOSITORY 06
ROCK MUSEUM: THE AGGREGATE WITHIN AGGREGATE
Professor David Shanks | ARC309 Architectural Studio In collaboration with Astra Sun
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THE CLOUDSCAPE REPOSITORY 06
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THE CLOUDSCAPE REPOSITORY 06
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THE CLOUDSCAPE REPOSITORY 06
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Comprehensive Design Studio Project
1619SHIPYARD MUSEUM + EXHIBTION CENTER
FOLLOWING THE NARRATIVE OF THE FIRST AFRICANS TO BE ENSLAVED AND BROUGHT TO AMERICA IN 1619 1619 CENTER 07
The 1619 Center is a Museum + Exhibtion Center marking the location of the arrival of the first Africans to be enslaved and brought to America in 1619. The Center’s organizational design takes from the compact and gridded organization of slave ships coming to America and the inhumane ways in which an entire people were transported and aims to make a very subtle commentary on the capitalistic nature of society, as a result of America’s foundations on slavery. Through the use of repetitive scale and threshold, we hoped to disorient the visitor with a logic based on the unit of a shipping container. The nature of the exhibition space is controlled through the careful use of windows and walls to create a meandering path throughout, but offers spaces of breath and relief on the floating bridges. What results is a more personal connection with the people and stories being told, and further, a varied encounter with the black history of our nation. Lawrence Davis | ARC209 Architectural Studio In collaboration with Emmei Gootnick
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1619 CENTER 07
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1619 CENTER 07
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Model Making / Fabrication Team
SWINEAPLD ON THE ROLE OF IMAGERY AND CULTURAL APROPRIATION IN ARCHITECTURE + URBAN DESIGN SWISSNESS APPLIED 08
Swissness Applied is a research project, led by Nicole McIntosh and the Architecture Office, that focuses on the transformation of European immigrant towns across the United States. These towns often share a common aspiration to preserve the architectural charm/identity of their cultural heritage to enhance the social and economic base of their communities. My participation in this project was in the fabrication of a series of white models, designed by Nicole McIntosh, with the intention of creating a typology that begins to pull from cultural ties and even employed the use of kitbashing using Swedish model parts to bring the models to life. Professor Nicole McIntosh | Swissness Applied Fall 2018 STUDENT WORK PORTFOLIO
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Set Design / Fabrication
BIOTCWNDERS FASHION SHOW SET FOR SU VPA FASHION BIOTIC WONDERS 09
The Biotic Wonders show was an annual fashion show organized and hosted by Syracuse Univeristy’s Fashion and Design Society (FADS), a group of students mostly belonging to the Fashion community of the School of Visual and Performing Arts. As part of the set design team, I helped design, plan, and fabricate a set of wooden frames with transluscent nylon fabric to create a surface for color projection and nature displays. With ideas of posthumanism in nature, the screens we designed would shroud the models with plays of light and shadow as they slowly made their way into view. The effect of the light and shadow on the set also emphasized its simple construction, bringing an awareness or bare simplicity of process. Project Leader: Alaina Marra
In collaboration with Syracuse University FADS Program members, Michael Heller, Adam Harris, Jessica Szymanowski, Danny Horan, Tyler Jessey, and Hannah Landon.
Fall 2021 STUDENT WORK PORTFOLIO
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Architectural Thesis
ENTAGLMS MICROCOSMS OF THE ABANDONED OBJECT ENTANGLEMENTS 10
The collection and curation of our material belongings shapes our material and immaterial identities. In our places of refuge, we categorize objects, stacking, folding, hanging, shoving our things into convenience to find order out of chaotic possession. Surrounded by consumerist invitations, we collect and possess in such fleeting appetites that we often lose grasp of how much we have accumulated. This objective cacophony of our belongings becomes the way we begin to understand and even recall our spaces, filling the background of our minds. As time pushes us forward with an eversteady hand, we continue to consume and compose even as the dust collects and age goes unnoticed. Advisors: Britt Eversole, Julie Larsen, Roger Hubeli, Jean-Francois Bedard 2021-2022 STUDENT WORK PORTFOLIO
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ENTANGLEMENTS 10
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ENTANGLEMENTS 10
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