Aiko Osa-Zahra Alvarez-Gibson: Architecture Portfolio by Aiko Alvarez-Gibson

A I K O O S A - Z A H R A A LVA R E Z - G I B S O N

A R C H I T E C T U R E P O RT F O L I O

DWELLING PG. 12-15

STUDIO SPRING 2021 MULTI-GENERATIONAL HOUSING

HIDDEN GEM PG.4-11

MY TOP CONCERN AS A DESIGNER IS L E AV I N G C O M M U N I T I E S BETTER THAN HOW WE RECEIVED IT

FINAL STUDIO PROJECT FALL 2021 IN COLLABORATION WITH NIKITA RAJARAJAN

art of storytelling alive, and using storytelling as a tool to foster community engagement and building. In order to channel these ideals, THE S T O RY L I N E a i m s t o p r o v i d e i n t i m a t e s e t t i n g s that encourage storytelling, use architectural promenade to slow the pace of movement to encourage listening, and to continuously reconnect the patron to the greater context of the site.

TA B L E O F C O N T E N T S

ISOLATED PERSPECTIVE

NOOK

A NOTE

STUDIO FALL 2020 LIBRARY

RACIAL JUSTICE IN ARCHITECTURE

PG. 17-19

THE STORYLINE PG. 16

STUDIO SPRING 2021 PERFORMING ARTS HQ

PG. 21

EYES ON THE STREET PG. 20

PERSONAL INQUIRY FALL 2021

When I first sat aside to think about Architect. I find it to be sort of look our job title isn’t like any other desi job title is what they design, followe who design graphics are graphic des fashion are fashion designers, but w called building designers. Instead, w because we are responsible for mo building. As architects, we plan, de achievement of a goal. Notice I didn of an architectural project, which w project is what drives the decisions Therefore, I think that because we a we have to honestly treat it that way goal is for the projects that we try to On a fundamental level, the goal is

HIDDEN GEM

C R E AT I N G A PROCESSION OF GRADUAL R E V E L AT I O N

THE SITE IS LOCATED IN THE GEORGETOWN NEIGHBORHOOD, ABUTTED BY TWO COMMUNITIES THAT ARE PREDOMINATELY WHITE. THROUGH INPERSON SITE ANALYSIS AND CENSUS DATA, AN INTERMEDIATE ZONE ON MCARTHUR BOULEVARD WAS IDENTIFIED AS PREDOMINATELY BLACK. ONE OF THE GOALS OF THE PROJECT WAS THUS TO PROVIDE COMMUNITY GATHERING OPPORTUNITIES IN A WAY THAT UNIFIED TWO OTHERWISE NONAMICABLE GROUPS (THE PALISADES COMMUNITY KEEPS A NEIGHBORHOOD WATCH DUE TO PERCEIVED THREAT FROM THE FAMILIES LIVING ON MCARTHUR BLVD.) GEORGETOWN RESERVOIR IS THE ADJACENT PROPERTY TO THE NORTH, AND IS SEPARATED BY A 30 FT TALL BERN, THUS THE SITES ARE CONCEALED FROM VIEW OF EACH OTHER. HIDDEN GEM EXPANDS UPON THAT HIDDEN QUALITY BY CONTINUING TO REVEAL ASPECTS OF THE PROJECT TO THE USER ALONG THE PROMENADE. THIS ACT OF CONCEALING CREATES AN OASIS FOR THE COMMUNITY.

DC LOCATION MAP

COURTYARD LEVEL PLAN

GROUND LEVEL PLAN

THIRD LEVEL PLAN

TROLLY TRAIL

SITE DEMOGRAPHICS Foxhall Villiage: Historically and Currently Predominately White 66% WHITE 12% HISPANIC 11% BLACK

Intermediate Zone: Predominately Black

Palisades Community: Historically and Currently Predominately White 73% WHITE 11% HISPANIC 8% BLACK

GEORGETOWN RESERVOIR

PATH TO TRAIL OFFSITE OUTDOOR EDUCATION PARKING

SEATING

KIDS PLAYING VOLLEYBALL IN SMALL PARKING LOT ADJACENT TO SITE

LVD

HUR B

T MCAR

TERRACED PATH INTO COURTYARD VOLLEYBALL AND SOCCER FIELDS

SITE AXO MADE BY NIKITA RAJARAJAN

CROSS SECTION

E A S T E L E VAT I O N N I K I TA R A J A R A J A N

W E S T E L E VAT I O N N I K I TA R A J A R A J A N

LONGITUDINAL SECTION

N O R T H E L E VAT I O N N I K I TA R A J A R A J A N

S O U T H E L E VAT I O N N I K I TA R A J A R A J A N

PERSPECTIVE OF APPROACH RENDERS THE DESCENT INTO THE EARTH AND BUILDING BOUND COURTYARD. TREES BEGIN TO DISPERSE AND PRISMATIC SCULPTURES FORESHADOW THE PRISMATIC GREENHOUSE. USERS OF THE SPACE ARE SLOWLY TRANSPORTED INTO A COMMUNAL OASIS, FURTHER FROM THE URBAN CONTEXT THAT HUGS THE SITE.

MODEL AN EQUAL C O L L A B O R AT I O N

DWELLING C H A N G I N G THE S TAT U S QUO OF V E R T I C A L L I V I N G DWELLING BRINGS A SENSE OF COMMUNITY BACK INTO MIXED USE, MID-RISE LIVING. C O M M U N A L “ B A C K YA R D S ” P R O V I D E OPPORTUNITIES FOR INTERACTION B E T W E E N OLDER TENANTS AND YOUNGER F A M I L I E S .

The site is located on the corner of 14th Street and Swann St in Northwest D.C. Known as the U Street Arts District, this area of D.C. is dense, bussling with entertainment businesses including clubs and restaruarants, and has a current art scene with historic prominance. Dwelling takes advantage of this lively community with balcony like greenhouses that push of the 14th Stree facade, allowing a buffered engagement with the street below. On the quieter Swann Street facade, shared terraces act as floating backyards, mini oases, and opportunities for neighborly connections that span several demographics.

STORAGE TELEPHONE AND DATA LOADING DOCK AND CORRIDOR QUIETEST

ELECTRICAL

LOUDEST

PEDESTRIAN TRAFFIC

FREE SLEEPING PODS W/ WASHROOM

HOT SPOTS

ONE BEDROOM UNIT

VEHICULAR TRAFFIC

UNIT TYPES

INTERIOR FACING BALCONY

LEASING OFFICE

CONNECTIVITY

LOBBY

LOBBY SEATING

FIFTH FLOOR PLAN

SCALE: 1’0” : 0’ 1/8”

S E N S O RY SSITE I T E DDIAGRAM IAGRAM SENSORY

UNITS WERE DESIGNED WITH CONNECTION TO EXTERIOR AS A PRIMARY FOCUS 0

INTERIOR FACING BALCONY

SECOND LEVEL COURTYARD

STUDIO UNIT

INTERIOR FACING BALCONY

TWO BEDROOM UNIT

ONE BEDROOM UNIT

roll open glass door opens courtyard completely to Swann St. LOBBY

INTERIOR FACING BALCONY

STAIR

STAIR STUDIO UNIT

STUDIO UNIT

ONE BEDROOM UNIT

INTERIOR FACING BALCONY

STUDIO UNIT

ELEVATOR

STUDIO UNIT

ELEVATOR

RESTROOOM BOOK EXCHANGE

RETAIL FOR LEASE

SCALE: 1’0” : 0’ 1/8”

INTERIOR FACING BALCONY

TWO BEDROOM UNIT

GYM

COURTYARD

GROUND PLAN

TRASH AND RECYCLING

LEASING OFFICE

book exchange is open for the public to donate or take books

STUDIO UNIT

FREE SLEEPING PODS W/ WASHROOM

STUDIO UNIT

ELECTRICAL

FIRE STAIR FIRE STAIR

homeless persons may request a key card from front desk to access pods

LOBBY SEATING

SCALE: 1’0” : 0’ 1/8”

LOADING DOCK AND CORRIDOR

VEHICULAR TRAFFIC

PRODUCE MARKET

RETAIL FOR LEASE

STORAGE TELEPHONE AND DATA

HOT SPOTS

RESTROOOM BOOK EXCHANGE

Dwelling also supports those experiencing homelessness, providing ground level beds accessible with an overnight keycard.

PEDESTRIAN TRAFFIC

GYM

roll open glass door opens courtyard completely to Swann St.

STUDIO UNIT

SUPPORT

COURTYARD

STUDIO UNIT

TRASH AND RECYCLING

homeless persons may request a key card from front desk to access pods

book exchange is open for the public to donate or take books

GROUND PLAN

STUDIO UNIT

PRODUCE MARKET

STUDIO UNIT

SCALE: 1’0” : 0’ 1/8”

STUDIO UNIT

SECOND FLOOR PLAN

GROUND PLAN

SECOND FLOOR PLAN

STUDIO UNIT

SCALE: 1’0” : 0’ 1/8”

THIRD FLOOR PLAN

SCALE: 1’0” : 0’ 1/8”

STUDIO UNIT

F O U RT H F L O O R P L A N

FOURTH FLOOR PLAN

SCALE: 1’0” : 0’ 1/8”

FIFTH FLOOR PLAN

INDOOR PLANTING REPLACES CERTAIN FLOORING PLANKS, INTEGRATED NATURE AS ITS USED TO DEFINE SPACE

DOUBLE UNIT STUDIO UNIT

MOVABLE WALLS ALLOW FOR THE ADAPTIVITY OF ROOMS AS FAMILY SIZES FLUCTUATE

FIRE STAIR

KITCHEN RESTROOM

OPEN OFFICE

MEETING ROOM

EXTERIOR PULL OF CIRCULATION

PACE IN MOVEMENT

OFFICE RECEPTION

PRIVATE OFFICE

CO-ED RESTROOM

GREEN ROOM

THIRD FLOOR PLAN

COAT CHECK

CO-ED KITCHEN RESTROOM

PACE IN MOVEMENT OFFICE RECEPTION PERSPECTIVE

FIRE STAIR

1/8” : 1’-0”

FIRE STAIR FIRE STAIR

GREEN TICKETS ROOM RESTROOM

FIRE STAIR

COAT CHECK

CO-ED RESTROOM

TICKETS

LOBBY FACING STAIR PERSPECTIVE

GREEN ROOM

COAT CHECK

TRANSFORMATIVE PERFORMANCE SPACE

LOBBY FACING STAIR PERSPECTIVE

TRANSFORMATIVE

PERFORMANCE OPEN SPACE TICKETS

OFFICE

LOBBY

LOBBY FACING STAIR PERSPECTIVE

LOBBY MEETING ROOM

OFFICE RECEPTION PERSPECTIVE

MECHANICAL

A headquartes for Story District, a performing arts organization, Storyline amplifies their mission to keep the art of stroy telling alive as a tool that fasters community e n g a g e m e n t . S T O R Y L I N E provides intimate s e t t i n g s t h a t e n c o u a rg e sotrytelling and uses promenade to slow the pace of movement to encourage listening and engagement.

MECHANICAL

LOBBY

3RD FLOOR PLAN

LONGITUDINAL SECTION 1/8” : 1’-0”

1/8” : 1’-0” 1/8” : 1’-0”

THIRD FLOOR PLAN

LONGITUDINAL SECTION

VESTIBULE FACING COURTYARD PERSPECTIVE

FIRST FLOOR PLAN

FIRST FLOOR DIRECTIONALITY

FIRST FLOOR PLAN

DRESSING ROOM PODCAST

1/8” : 1’-0”

CROSS SECTION VESTIBULE FACING COURTYARD PERSPECTIVE TRANSVERSE SECTION

SECOND FLOOR DIRECTIONALITY SECOND FLOOR DIRECTIONALITY

MECHANICAL

1/8” : 1’-0”

THIRD FLOOR DIRECTIONALITY THIRD FLOOR DIRECTIONALITY

FIRE STAIR

1/8” : 1’-0”

PODCAST

VESTIBULE FACING COURTYARD PERSPECTIVE

FIRST FLOOR PLAN DRESSING ROOM

CO-ED RESTROOM

FIRE STAIR

CAFE AND BAR

GREEN ROOM

PODCAST

FIRE STAIR

CAFE PERSPECTIVE

PODCAST

VIDEO EDITNG

COAT CHECK

TICKETS

FIRE PODCAST STAIR

LONGITUDINAL SECTION CO-ED RESTROOM

PODCAST

CAFE AND BAR

SECOND FLOOR PLAN TRANSFORMATIVE

PERFORMANCE SPACE

PODCAST

DRESSING ROOM

GRAND STAIR PERSPECTIVE T H E S TTEXTURES O RY L I N E

1/8” : 1’-0”

VIDEO EDITNG

CAFE AND BAR

PODCAST

FIRE STAIR CO-ED RESTROOM

LOBBY

GREEN ROOM

CHECK

SECOND FLOOR PLAN

PODCAST

CAFE PERSPECTIVE CAFE PERSPECTIVE

TEXTURES

TOP OF STAIR FACING PODCAST CORRIDOR

A h LOBBY e a d qFACING u a r tSTAIR e r sPERSPECTIVE a n d p e r f o r m i n g a r t s l o c a t i o nCAFEt hPERSPECTIVE at a m p l i f i e s S t o r y D i s t r i c t ’s m i s s i o n o f k e e p i n g t h e art of storytelling alive, and using storytelling as a tool to foster community engagement and building. In order to channel these ideals, THE S T O 1/8” RY: 1’-0” LINE aims to provide intimate settings TOP OF STAIR FACING PODCAST CORRIDOR t hVESTIBULE a t e n cFACING o u r aCOURTYARD g e s t oPERSPECTIVE rytelling, use architectural promenade to slow the pace of movement t o e1/8” n c: 1’-0” ourage listening, and to continuously TOP FACING PODCAST CORRIDOR r e c VESTIBULE oVESTIBULE n n e c t FACING t h e FACING p a t r o n PERSPECTIVE t o t h e g r e a t e r c o n t e x t TOP o f OFt hSTAIR e STAIR OF PERSPECTIVE COURTYARD site. COURTYARD PERSPECTIVE PODCAST

PODCAST

MECHANICAL COAT

TICKETS

1/8” : 1’-0”

LOBBY FACING STAIR PERSPECTIVE

LOBBY TRANSFORMATIVE PERFORMANCE SPACE

FIRE STAIR

TRANSVERSE SECTION

PODCAST

2ND FLOOR PLAN

TICKETS

PODCAST

GREEN ROOM

COAT CHECK

PODCAST

1/8” : 1’-0”

TEXTURES

THE STORYLINE

TRANSFORMATIVE PERFORMANCE SPACE OFFICE RECEPTION

PRIVATE OFFICE

PODCAST

VIDEO EDITNG

PODCAST

LOBBY FACING STAIR PERSPECTIVE

1/8” : 1’-0”

TRANSFORMATIVE PERFORMANCE SPACE

MECHANICAL

FIRST FLOOR PLAN

PODCAST

T H E S T O RYSECOND L I N EFLOOR PLAN LOBBY

1/8” : 1’-0” FIRST FLOOR PLAN

DRESSING ROOM

PODCAST

SITE PLAN

1/8” : 1’-0”

VESTIBULE FACING COURTYARD PERSPECTIVE

FIRST FLOOR PLAN

FIRE STAIR

PODCAST

DRESSING ROOM

PODCAST

SITE PLAN

MECHANICAL

FIRE STAIR

DRESSING ROOM

CAFE AND BAR

ISOLATED PERSPECTIVE

A headquarters and performing arts location that a m p l i f i e s S t o r y D i s t r i c t ’s m i s s i o n o f k e e p i n g t h e art of storytelling alive, and using storytelling as a tool to foster community engagement and b u i l d i n g . I nGROUND o r d e r t o cPLAN hannel these ideals, THE S T O RY L I N E a i m s t o p r o v i d e i n t i m a t e s e t t i n g s that encourage storytelling, use architectural promenade to slow the pace of movement to encourage listening, and to continuously reconnect the patron to the greater context of the site. SITE PLAN

PODCAST

FIRE STAIR

CAFE PERSPECTIVE

PODCAST

VIDEO EDITNG

ISOLATED PERSPECTIVE

CAFE PERSPECTIVE CAFE PERSPECTIVE CAFE AND BAR

CAFE AND BAR PODCAST

PODCAST

VIDEO EDITNG

PODCAST

PODCAST PODCAST

PODCAST

NOOK P R O V I D I N G I N T I M AT E S PA C E S T H AT F O S T E R C O M F O RT I N A LEARNING AND OFFICE ENVIRONMENT

INSPO

PRODUCED BY AN AUTODESK STUDENT VERSION

FORMOLOGY

PRODUCED BY AN AUTODESK STUDENT VERSION

INTERIOR GREENHOUSE PROVIDES NATURAL BUFFERS BETWEEN OFFICE SPACES

INTERIOR-EXTERIOR TRIPLE VOLUME GREENHOUSE ACTS AS A TRANSITIONAL SPACE INTO THE LIBRARY AND IS A COMMUNITY GARDEN AND REST ZONE

SPECIAL COLLECTIONS LIBRARY A CAPPED BY A PITCHED CEILING, FE OF A HOME

AND STUDY ROOM IS EELING REMINISCENT

Fire Stair

Book Receiving ServiceBook Elevator Book Receiving Receiving Service Elevator Service Elevator Fire Stair Trash and Mech Trash and Mech

Trash and Mech

Fire Stair

Service Elevator Fire Stair Unisex Restroom Service Elevator Service Elevator Unisex Restroom Unisex Restroom Classroom Classroom Classroom

Fire Stair

Fire Service Elevator Stair Elevator Service Elevator Service

Fire Stair

Classoom Private Reading Private Reading Private Private Reading Room Reading Private Reading Room Room Room Room

Main Stair and Elevator

Winter Garden

1/8” : 1’0” 1/8” : 1’0” 1/8” : 1’0”

Unisex Restroom

Main Stair and Elevator

Lobby Storage

Lobby Lactation Storage

Lactation

Winter Garden

Main Stair and Elevator

Special Collections Special Collections Special Collections

Indoor Open Cafe and Indoor Open CafeIndoor and Open Cafe and Seating for Reading Seating for Reading Seating for Reading

Children’s LibraryChildren’s Library

GROUND PLAN Floor 1Floor Plan 1 Floor Plan 1 Plan

Main Stair and Elevator

Lobby Lobby Storage

Winter Garden

Unisex Restroom

Mian Library and Mian Library andMian Library and Atrium Atrium Atrium

Main Library and Main Library andMain Library and Atrium Atrium Atrium

Main Stair and Elevator

Unisex Restroom

Lobby

Classoom

Private Reading Room

Main Library Atrium Main Library Atrium Main Library Atrium

Lobby

Unisex Restroom Unisex Restroom

Cheif Office

Cheif Office Winter Garden

Winter Cheif Office Garden

Winter Open Office Garden

Open Office

Lactation

Winter Garden

Outdoor Seating Outdoor Seating

Outdoor Seating

Winter Garden

Children’s Library

SECOND FLOOR PLAN

Floor 2Floor Plan 2 Floor Plan 2 Plan 1/8” : 1’0” 1/8” : 1’0” 1/8” : 1’0”

THIRD FLOOR PLAN

Floor 3Floor Plan 3 Floor Plan 3 Plan 1/8” : 1’0” 1/8” : 1’0” 1/8” : 1’0”

Unisex Restroom

“Eyes on the street” is a concept popularized by Jane Jacobs in the 1960s during the de-urbanization of American cities. Urban planners prioritized traffic and easing work commutes from suburban towns, and in effect dehumanized the streets of once lively blocks. I have begun to attempt to think about how to bring a sense of community and belonging back to inner city sidewalks, where there is often limited space for fron yards. This rendering begins to realize pocket yards that break up the typical continuity of the town home. Higher stories shade the sidewalk, protecting it from the concentrated heat the typical city sidewalk attracts via the heat island effect.

EYES ON THE STREET

Protrusion shields the sidewalk making it more enjoyable

Spaces between homes provide pocket garden opportunities.

A Note on Racial Justice Within

Architecture...

When I first sat aside to think about this, I started with just the title, Architect. I find it to be sort of looked over, but very important that our job title isn’t like any other designer’s title. Usually a designers job title is what they design, followed by the word designer; people who design graphics are graphic designers, people who design fashion are fashion designers, but we, who design buildings, aren’t called building designers. Instead, we’re architects, and that’s simply because we are responsible for more than just the design of a building. As architects, we plan, design, manipulate, and oversee the achievement of a goal. Notice I didn’t say we oversee the realization of an architectural project, which we do, but the goal behind the project is what drives the decisions we make in the design process. Therefore, I think that because we aren’t just “building designers”, we have to honestly treat it that way. We should think about what the goal is for the projects that we try to achieve.

On a fundamental level, the goal is always to cater to both the spoken and unspoken needs of the client, and to effectively respond to the immediate context of the site for the project. At this fundamental level, architects can begin to address race in our projects. I think when it comes to responding to the needs of our clients, part one of our fundamental job, we have to address our own prejudices and biases of people (as categorized by race, class, profession, etc.). As designers, our prejudices have a very real impact on the design decisions we make. I think the most obvious example of how our preconceived notions of a group of people play into building design is Prison Architecture, and especially becomes clear when you compare American prison architecture to the newer humane prison architectures in countries like Denmark. The American prison design is rooted in the idea that imprisoned people are criminals, dangers to society, and are inherently different from us, and should therefore be kept separate from us. This is clear in the materiality, using heavy concrete and steel, making the building itself feel like a heavy “safe” that keeps the bad guys from running loose. It’s clear in the cellular, confined, and minimal designs of the interior spaces within the prisons, making the imprisoned person feel more like an organized number than a person, and imposing the feeling of ostracization from the rest of society. Humane prisons, such as the Storstrom Prison in Denmark, are rooted in the idea that imprisoned people are people who have made mistakes, deserve consequences for those, but also are people who need some direction and assistance towards becoming a better version of themselves who will have a second chance once they re-enter society. It’s a rehabilitative design approach instead of a punitive design approach, and is a clear reflection of the beliefs and priorities of the architects as it relates to their ideas about the people their structures are intended to inhabit. When it comes to addressing context, part two of our fundamental job, this should be done not just at an environmental lense, but socially, and economically as well. Just as we manipulate formology to respond to typography, I think architects can take more responsibility in acknowledging the social and financial state of the site of our projects. I think this means either taking on some responsibilities of Urban Planners, or consulting with Urban Planners in our projects, because as I alluded to in the beginning, we don’t design in a vacuum, and aren’t “building designers”, we’re architects, and our buildings contribute to the overall functionality of a street, a neighborhood, and a city. If we are designing a home, maybe we consult urban planners in the process and find out that the community is financially stressed, so we source the materials and construction from local businesses, and now not only do those businesses have more paid work in the next few months, but they’ll have a project to add to their portfolio. If we are working on a public space, maybe through consultation we find out that the community is really lacking green space and has been begging community leaders for safe outdoor spaces, so even though its not directly a request of the developer, the architect could incorporate a green roof or a courtyard space that would be accessible to those within the community. In this note, I typed without making the clear connection between things like biases, financial stress, and outdoor spaces, and racial (in)justice. Several decades of misrepresentation of black people have perpetuated stereotypes that feed into the decisions designers make. Afterall, we design buildings to uplift the lifestyles of our clients, and despite interviewing our clients, if we have beliefs about them based on what we think about black people, we will have a stereotyped understanding of our black clients lifestyles, and will continue to fail to design architectures that uplift them(us). Several decades of redlining and dsicrimination in deeds have created segregated black communities that are in food deserts, lack transportation, that while there are businesses there, there aren’t clients that support them, and that lack green spaces for children to explore. This may seem like the work of a city planner, but I think that it should be the collaborative work of architects and planners.

THANK YOU

A I K O . O Z . A LVA R E Z G I B S O N @ G M A I L . C O M

@OSAZAHRA