expertise Rhino, Grasshopper, Modo, AutoCAD, Revit, SketchUP, Vray, Adobe CS [Photoshop, Illustrator, InDesign, After Effects] analysis - SAP 2000, Grasshopper, ComFen, FlowDesigner, Ecotect, Climate Consultant
digital
manual drafting / drawing / rendering [various media] modeling paper / wood / metal, rough, finish + furniture carpentry, mechanical, welding analysis - wind tunnel, heliodon
analog
experience Graduate Student Instructor - Arch 100b : Fundamentals of Architectural Design / UC Berkeley
S’ 2015
Architectural Intern - 360 Architecture (merged with HOK) / SF office landuse, development, and SD strategy client booklet graphics, formating and production BIM - complete modeling and CD set cartooning for a 4 room, 48 bed youth camp
May - Aug 2014
Graduate Student Instructor - Arch 150 : Intro. to Structures / UC Berkeley
F’ 13 + F’ 14
Project Visualization - architectural renders and models, graphic design / freelance
continuous
Alan DeMarche alandemarche.com 707.843.9025
(m)
contact@alandemarche.com
education 2015
Master of Architecture / option II : advanced placement / current GPA 3.8 College of Environmental Design / University of California, Berkeley
2013
Bachelor of Arts, Architecture / minor in City and Regional Planning / highest honors College of Environmental Design / University of California, Berkeley
2006 + 2011
Assoc. in Arts: Liberal Arts and Sciences + Assoc. in Science: Natural Science / highest honors Santa Rosa Junior College
distinction 2014 2014 2014 - 15 2013 - 15 2013 2012 - 13 2012 2012 - 13 2010 - 11
Paradigms in Computing, studio project included in essay by Kyle Steinfeld, print Peder Sather Grant: International design+build Workshop participant / NTNU - UCB Allen Scholarship in Architecture Martens Endowed Fellowship in Architecture CED Commencement Program and Awards Program Cover Prize Fong and Chan Architects Scholarship Honor Award, Berkeley Circus and SoirĂŠe, House of Rituals Studio project CED Executive Committee, Student Representative Mark Burroughs Memorial Architectural Scholarship
*climatic diagram : collect + compute
house of rituals - complimentary contrast a_typical housing - identity through amenity trellis: salvaged – an upcycled shelter 2020 milvia – seismic retrofit
galleria del divino - Michelangelo in the desert
SOMA center - activating passive systems
market in the mission - dynamic stasis of salt and light - experience as exhibit bridge to the bay - bringing the city to the water collect + compute - crowdsourcing a compositional aesthetic thermal shelter - the poetics of place breadWorks - continuity in polarity a monumentality of our time - a thesis... in progress on the cover: a monumentality of our time
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Rael / Seong Fields Black / Rastetter Black / Wilson Brager / Schiavon / Rastetter Creedon / de la Rosa Doll Ubbelohde Black / Wilson Steinfeld Brager / Davids Guthrie Rael / Davids
*diagrammatic concept model : house of rituals
house of rituals - complimentary contrast Rael / Seong A concrete ruin is discovered within a landscape derived from a material property inherent to the structure itself. The paradigm of site-specific architecture is reversed; this is architecture-specific siting. Engaging the ruin is a series of prefabricated plugin, prosthetic and parasitic structures designed by mapping the human body as it performs the ritualized acts of eating, sleeping and bathing.
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As one proceeds into the house of rituals from the surrounding landscape, each scalar change and spatial refinement is highlighted by various means of complimentary contrast. Through form, material property, spatial definition, and fabrication technique, each nested space contrasts its defining context.
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a_typical housing - identity through amenity Fields Emeryville is a conflicted city. On one hand it strives for human-scaled walkable communities, on the other it gives up a large percentage of its land to big pharma and biotech campuses, big box retail, and parking structures. The only natural features within the city are either buried under roadways, as with the Temescal creek culvert, or inaccessible, as with the bay shore denied by the behemoth regional transportation infrastructure and municipal water treatment plants. Additionally, Emeryville’s only cultural hub exists as an overly branded retail strip, almost singularly accessible by automobile.
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Drawing on various mappings of site and regional conditions, from particle fallout from the railway and freeway infrastructure, to floodplains, soil composition and contamination, to historic-industrial district designations and fledgling artisan communities, this project sets to create a cultural hub and city center within Emeryville, accessible to its population.
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trellis: salvaged – an upcycled shelter Black / Rastetter
with Kyle Yamamoto
Upcycling demolished stick framed housing debris for this notion of a shelter on Albany’s Bulb is a commentary on the unsustainable methods of design and construction that generated this bay-fill land mass decades ago and the current economic pressures and experienced neglect its residents face in a city without a homeless shelter. Utilizing a “waste stream” of 2 x 4s debris directly for the horizontal members and through lamination for the curved columns, the trellis is a repetition and rotation of a single structural bay. The structural bay is practically balanced over its columns footing, with a slight overturning inwards, allowing the center of the array to begin to act a as a compression ring. These structural and manufacturing considerations allow low-skilled assembly as well as minimal footings and site prep.
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floor plan
beams are 2” x .75”, varying lengths (see table) columns are glu-lam 1.5” thick and vary from 2” - 4” in depth
axon of tributary bay section
”4/1 = ’1 :elacs
scale: 1’ = 1/4”
noitces Alan DeMarche / Kyle Yamamoto / Albancy Bulb Trellis / arch 150, proj. 2 / Black / Rastetter / Fall 2012
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2020 milvia – seismic retrofit Black / Wilson Located on the corner of Milvia and Addison in downtown Berkeley, the existing lift-slab office building requires a seismic retrofit to capitalize on the prime location and adjacency to the University of California, Berkeley campus. In order to retain the views afforded by the curtain wall glazing, a seismic structure that is as unobtrusive as possible is preferred. Additionally, architectural relevance is required and design is equally as important as performance. To achieve these goals a structure that uses only the members necessary to provide the required performance while adding a unique, restrained character to the building has been designed. The tapered web wide flanges are at most 11 in. wide to fit within the existing column line.
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galleria del divino - Michelangelo in the desert Brager / Schiavon / Rastetter
with Cohen + Le + Urton
Situated in Calexico, CA, the gallery is constructed of rammed earth, a vernacular material of the southwest and an excellent thermal flywheel needed to dampen the extreme diurnal swings. The building as a whole provides a retreat from the Calexico sun but also celebrates that same intense light. A thin slit in the roof washes the central interior wall, providing lighting and delineation for the central sculptural space. Through high vertical clerestory walls on the northwest, the archival displays are lit by diffuse natural light from above. The splayed window openings in the massive walls on the southeast provide their own shading, while entering light washes across the angled geometry, reducing glare. The horizontal aspect provides panoramic views to the exterior while limiting heat gain on the south facade space.
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Architecture is at its most emotive when it makes use of multiple dimensions. Not only the three Euclidean axes, but those less quantifiable: time and place: Time, as an architecture that registers the qualities of light and the passing of seasons, Place, as an architecture that is born from and coexists within the material, cultural, and climatic environment in which it is located. This gallery space attempts to successfully incorporate these dimensions while providing an architecture that does not compete with the exhibit.
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2.7
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Floor Plan 1/4” = 1’-0”
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Section A-A 1/4” = 1’-0”
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Floor Plan 1/4” = 1’-0”
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SOUTH GLAZING
NORTH GLAZING
Section A-A
SHADING MASKS
CALEXICO SHADING REQUIREMENTS 33° N
NORTH GLAZING
1/4” = 1’-0” SOUTH GLAZING
SKYLIGHT - STRAIGHT
SKYLIGHT - CURVE
SHADE REQUIRED 76-100% June May April
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SOMA center - activating passive systems Creedon / de la Rosa Through a formal language of prismatic void, structure, light, circulation, and program are addressed. Light wells serve as structural cores, circulation ramps as band beams, and roof facets as integral stiffening ribs. The facade presents a tripartite system to delineate the programmatic divisions by floor otherwise lost in the scaleless elevation as apertures follow ramps and ceiling heights stagger to accommodate the smaller program aggregating around larger elements.
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Access on the ground level occurs through removals with inset glass, prismatic protrusions as a nod to San Francisco’s iconic bay windows open to community spaces, and above these, a louver system shrouds the remaining flush-fit glazing.
shading fins
elevator + stairs
track / ramp
open class space
pool
stage + bleachers
court
community space
fractured facade
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The louvers have complete and independent rotation, with one side a highly reflective gloss white and the other an absorbent matte black. Fully closed, the louvers provide a surface that can be used to reduce solar gain during daylight, or reversed to contain and maximize interior lighting at night, limiting the building’s contribution to the heat island effect and light pollution, respectively.
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When closed, the louvers also create an airspace that can help modulate the thermal exchange of the concrete mass. Open, however, the louvers can be controlled independently to tailor daylighting to programmatic demands.
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level 4
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ground level
ground level
minna st. elevation
mary st. elevation b
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misson st. elevation c
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market in the mission - dynamic stasis Doll
The industrial heritage of SF’s Mission provides an architectural vernacular that is the inspiration for this urban markethall’s design. Many of the neighboring warehouses have been gutted and built out to house new program, from high-end residential to startup offices. However, the shell remains holding the street wall and the material history of the area intact. This project is a new construction, borrowing some of the material and structural language of its predecessors with a programmatic flexibility built into the interior spatial configurations as an acknowledgment that its current use may only be a temporary one.
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Through simple moves, shifting geometries of exterior from and interior structure, movable partitioning of the market stalls, and layered roof planes with offset punctures registering varied light patterns throughout the interior, movement, flexibility, potential and dynamism are encoded in the static elements of the architectural form.
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valencia
of salt and light - experience as exhibit Ubbelohde This gallery displays its material as a modulator of light. From the scattered salt crystals on the entranceway’s ribbon skylight above, casting shadows on the faceted walls below, or the ribbon of glowing brine underfoot, to the horizontal band containing a gradient of salt from around the world, of various coloring and crystal size, light is reflected, refracted and colored through the material before entering the interior space.
These myriad lighting conditions provide an ethereal incidence while the ring of podiums with small identifying placards locate the salt to its geographic source. An audio tour, via phone app. provides more technical information and exhibit nuance for visitors wanting to further contextualize their experience.
520 lux.
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150 lux.
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Entering into the vertical slot canyon, lit from above by direct sunlight pouring down the faceted walls in patterns created by the salt crystals, contrast and illumination levels begin to adjust the eye for what is to come.
Turning the corner, following the salt ribbon diagonally down the wall of a more neutrally proportioned hall, illumination levels begin to drop and the salt’s luminance begins to register on the opposing faceted wall and the gradually falling ceiling planes. This continues into the main space, as the horizontal ribbon wraps to the far end of the room, where the ceiling’s faceted planes lower to enhance the horizontality and provide varied surfaces to catch the light emanating from the salt. Following the ribbon around the room, it again moves diagonally to ground plane as it leads you back out of the gallery.
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bridge to the bay - bringing the city to the water Black / Wilson
with Hyatt + Urton
The bridge is divided into three segments: extending from Bancroft to the east, the first portion rises from the ground at 1:20 to span the aquatic park, the second levels out at the height needed to clear the 10 lane freeway below, and the third extends past the frontage road and the Bay Trail into a cantilever over the bay. The canted towers alternate from the northeast side of the deck, with cables reaching city-side into the anchor block holding back the largest of the towers. From this first, almost vertical tower, the second and third begin to fall away from the deck (on alternating sides) and towards the water, as a gesture of the verticality of the city merging into the horizon of the water.
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The cables from each tower never cross the deck. The beginning of the first span is solely supported by cable to the north, to retain an unbroken view south across the aquatic park. As the bridge begins to cross the water and the freeway, cables enclose the deck from the north and the south. Then, the southern edge opens up again as the cantilever begins providing a clear view south and west to the new bay bridge, Treasure Island, San Francisco, the Golden Gate Bridge and beyond.
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collect + compute - crowdsourcing a compositional aesthetic Steinfeld Research and processing facilities for pioneering interdisciplinary research, data acquisition, classification and processing methods. As our climate changes at rates and in ways our statistical models could not predict, new federal and private research grant money is made available‌ with one caveat: the data must be shared across disciplines and processed to find new classifications and relationships currently missed in the standard approach. This presents a problem as data collected by researchers is still highly protected because of ongoing projects, institutional ownership, and coveted recognition.
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The research facilities require a specific location and are sited relative to the concurrence of multiple research proposals, including overlaps in their respective programmatic requirements and occupancy schedules. The processing facilities also require a physical location. Workers will access the data in-house from encrypted servers so as not to be streamed from the cloud (as with other discrete task work) for fear of pirated collection. The processing centers will exist in urban environments where city governments allow temporary development in easements, air space, and other interstices as they welcome the job creation.
To process this data generated by new research models, discrete human task sourcing is used. Taking advantage of a recent digital literacy and the unemployment or underemployment of workers in urban settings as their jobs are automated or outsourced, new data associations and classifications are generated by multiple discrete task workers, rather than the project - focused researchers themselves. Therefore new, highly subjective, qualitative and non-computational linkages emerge across disciplines through existing and instantaneously generated data sets as they are processed by numerous workers, multiple times.
Both the research and the processing facilities exist as impermanent structures positioned delicately in their context. Designed rapidly and prefabricated offsite for timely and non-disruptive deployment, these are facilities that are somewhere between permanent modular pre-fab construction and site-specific installation.
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thermal shelter - the poetics of place Brager
initial massing with Blankinship + Kaam, development, visualization, + details completed independently
Rising from the Bonneville Salt Flats, this highway rest stop on I-80 desires to do more than provide a place for weary travelers to relieve their legs and bladders. It acts to connect its visitors with the climactic and visual experiences of its place. Through natural ventilation, night flushing, and thermal sinks, temperature is modulated to comfortable levels but not flat lined to an air conditioned 74째 F. Through choreographed obstruction and revelation, the intensity and incident of the horizon and the reflection from the salt flats is celebrated. Tested in digital software and with physical models in a wind tunnel, the form of the building and its bermed earth works where refined to not only capture airflow for cooling (via night flushing of the mass and ancillary labyrinthine thermal sinks), but to also shelter the inhabitable zone of the open areas from the hot dry winds sweeping across the flats. The prevailing wind direction is often the same for these opposing requirements of shelter and collection.
detail of pendullum columns
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breadWorks – continuity in polarity Guthrie The scale of the co-working space (paired with the desire to have the lobby and bakery on the ground floor) requires that it be placed in multiple floors above the ground level. In essence, where residential units are located in the neighboring building’s typology. So this duality of the tech co-working space and the current neighborhood fabric lead to a desire to look for and expose other dualities in the program and form. While the massing of the building will present as two “pure modernist forms” through glass boxes along polk, they will be separated by an open courtyard entryway, a covered pavilion like space looking to the bakery below and the roof garden above. The cleaving of the massing also breaks the form into a patterning at the street level more akin to its surroundings. Highlighting the back of house functions as deign elements, compositionally (as well as programmatically) formal objects, and tectonically contrasting the other languages; the robotic parking structure, the fire escape stairwells, and the elevator and MEP cores, will offset the “dumb boxes” of the main massing. This structural / industrial tectonic is also used for the atrium canopy and shade structure for the roof garden, and especially to begin to bridge to two seemingly disparate program elements.
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The vertical structural organization is splayed around the void of circulation space of the tech massing, a subtractive space carving at the horizontal slabs with a physical structure in the massing of the production of intangible (digital) goods. The horizontal structural organization is offset and varied in the roof canopy, framing an additional occupiable space, devoid of vertical structure, above the massing of the production of tangible / tactile (physical) goods.
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office
office
office
roof deck
demo kitchen
clay st
bakery cafe
flex lobby
production bakery
bicycle parking
section BB
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a monumentality of our time – a thesis... in progress Rael / Davids Monumental architecture is in many ways the first architecture. In opposition to the idea of shelter, the primitive hut, as the driver for the initial architecture I would consider the first man-made construction that is more than the minimal requirements for shelter as the first architecture. Whether this be a place to rest the dead, a space of celebration, or of other ritual, the first construction where pure pragmatic function was not the essence of the design, where instead a uniquely human use of the space determined it realization is what I would consider the birth of architecture. What we have surviving to this day of that first architecture are the monuments of the past. Architecture of a geologic scale of time, where space, form, and order are frozen through geologic materials shaped by man. At the conception of this thesis is an interest in how our technologically driven epoch will contribute to this physical trace left by civilizations past, providing proof of our existence for those still to come.
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I believe that we are an era without a contemporary monumental formal language. By repositioning current digital technologies to iterate, visualize, simulate, and analyze the traditional materials of monolithic and stereotomic monumental constructions, we can generate a new monumental formal language. By leveraging volume over skin and a consistent relationship between material properties and their physical expressions, exploring these geologic materials and their potential forms through virtual and physical methods, designing the spaces that emerge, a monumental formal language that is uniquely of our time will emerge.
initial simulation studies, performed on all geometric primitives
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historical shoreline current shoreline inundation affected lands, 50-100-150cm epa listed vulnerable sites NPL Superfund sites Toxic Release Inventory sites Ohlone and Miwok mound and midden locations
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