rafael.dĂaz portfolio.2k8
And I am nothing of a builder But here I dreamt I was an architect And I built this balustrade To keep you home, to keep you safe From the outside world But the angles and the corners, Even though my work is unparalleled, They never seemed to meet This structure fell about our feet And we were free to go The Decemberists - Here I Dreamt I Was an Architect Castaways and Cutouts (2002)
foreword
This pocket portfolio is not about architecture. It’s about the ideas behind an architect. About the way these ideas came to be. How they developed into a point of view, and finally into elaborated theories and designs. It’s also about the architect itself. Because as his ideas evolved, he did as well. And it’s finally about the future. The next step and where it may take him.
table.of.contents
chapter.one
andy warhol would be so proud case.study.one Mr Weiland Goes to Vegas
chapter.two
le corbusier est mort: the public roof case.study.one Bambusa Guadua Research Centre case.study.two MOb: Museo Obreg贸n case.study.three Telecom DataBank
chapter.three
(a)temporary architecture case.study.one The Tommy Theatre Experience
chapter.four
welcome to our neighborheight case.study.one bmp: Multifamiliar Progressive Neighborhood case.study.two Tabula Rasa Plaza: A New Beggining
epilogue
curriculum.vitae
rafael.eduardo.díaz.rey alkalinephoenix@hotmail.com (57-1) 316 530 2856 (57-1) 648 0563
Education Colegio San Carlos - Bogotá DC, Colombia Universidad Jorge Tadeo Lozano - Bogotá DC, Colombia Language Spanish - native English - fluent German - basic)
2d.animation multimedia visual.identity infographical.design
graphic.design interior.design temporary.architecture architectural.representation
architecture
Publications Tommy: Escenografía para la Ópera Rock de The Who Hito Magazine - January 2007 Telecom DataBank La Brújula Magazine (University Publication) - September 2007 Professional Profile Autodesk AutoCAD Autodesk 3DMax Google SketchUp Macromedia Studio Adobe Creative Suite Corel Draw Academic Profile Adaptive Structures Investigation Group (GEA) Arch. Ricardo Franco Arch. Pablo Insuasty Convive Contest (2006) - National Contest for Ideas towards Economic Housing Arch. Pablo Insuasty Arch. Carlos Hernández Arch. Alexander Díaz Convive Contest (2007) - National Contest for Ideas towards Economic Housing Arch. Pablo Insuasty Arch. Carlos Hernández Arch. Óscar Salamanca Corona Pro-Habitat Contest (2007-present) Arch. Dario Vanegas Arch. Carlos Hernández Arch. Ricardo Rojas
chapter.one
andy warhol would be so proud
Las Vegas, which I learned from via the perspective of Rome and through the eyes of Denise Scott Brown, where we could discover the validity and appreciate the vitality of the commercial strip and of urban sprawl, of the commercial sign whose scale accommodates to the moving car and whose symbolism illuminates an iconography of our time. And where we thereby could acknowledge the elements of symbol and mass culture as vital to architecture, and the genius of the everyday, and the commercial vernacular as inspirational as was the industrial vernacular in the early days of Modernism. Robert Venturi. Pritzker Prize Acceptance Speech (1991)
pacific palisades los angeles california
mr. weiland goes to vegas
Scott Weiland, frontman and vocalist of the recently reunited Stone Temple Pilots, Velvet Revolver, and side-project band Camp Freddy. Born, raised and always resident of sunny California. When Atlantic Records informed Weiland and his bandmates that their band’s name, Mighty Joe Young was already taken, Weiland remembered the STP stickers every kid had on his bike while he grew up. Andy Warhol would be so proud!
A getaway home on the Santa Monica Hills overlooking the Pacific. A place to focus on music and stay sober.
chapter.two
le corbusier est mort: the public roof
Irony within irony within irony. After taking part in a massive suicide I end up agonizing in a LeCorbusier building. This is already ironic in itself, because I’m supposed to be dead and not agonizing. The second irony consists on that according to studies of the impact of architecture on human behaviour, LeCorbusier’s work elevates the suicide rate of exposed populations. And the third irony, is that if I really wanted to commit suicide from a LeCorbusier I wouldn’t be able to, because of the simple reason that it’s impossible to throw yourself through the 50 by 50 centimeter windows. Mauricio Loza Caviativá o cómo desaparecer completamente. Arango Editores Ltda. 2007 (original text in spanish)
If there’s something the 20th century has taught us, is that probably the only “ism” you should be willing to cut your ear off for is urbanism.
As far as architecture goes, a 5-point-easy-to-use-recipe is perhaps not the way to go. There is no final solution for design; every project has to be treated like an individual, with its very own needs, desires and problems. In this particular case, the main concern is public space as a result of a building, without the building itself having to be completely open to the public. As means for this discussion, Le Corbusier’s five points of architecture come to mind. Out of these five ideas, number one and five rise above the rest. Number one being the lifting of the building by use of pilotis; this resulting in an open floor plan, and thus, giving birth to the following three points (free façade, open floor plan and ribbon windows). And number five being the roof garden; this as a form of compensation for the ground area taken over by the building. So it could be considered that these five points can be actually reduces to only two; both of them different coexisting answers to one main concern: a building’s interaction with the ground. The main problem with point number one is that lifting a building so it doesn’t obstruct public space results in mainly useless spaces that most of the times bring negative connotations such as filth and lack of security with them. Architecture should instead solve both how a building comes in contact with the ground, and how it interacts with its surroundings, generating natural surveillance by means of public and pedestrian active spaces. On the other hand, point number five (the roof garden), has suffered a recent rebirth as an attractive and sustainable solution to both ecological and green space related issues. However, in this precise case, the term needs a certain adjustment. Instead of thinking of the area taken over by a building as merely a loss of green space, the concern shifts towards public space as a whole. Following this train of thought, the roof ceases to be thought of as just a garden accessible from within the building, and changes into a space open to the public working side by side with the building’s use but without having one interfering with the other.
parque nacional del cafĂŠ quindio colombia
bambusa guadua research centre
Guadua is a type of bamboo found all along the coffee planting regions of Colombia, and has been for a long time, the prime material for rural construction inthis area. Some years back, investigation has begun concerning this plants formal construction applications, which has resulted in it’s use by famous Colombian architects such as Simon Vélez’s Colombian Pavillion in ExpoHannover2000. This Research Centre is located in Parque Nacional del Café (Coffee National Park) and it’s idea is to serve simultaneously as an attraction for tourists, a look-out point towards the coffee fields and a live demostration of the advantages and strengths of guadua construction. All this without obstructing research. Therefor, the project is divided in two. The Research Centre itself is suspended under the tourist bridge giving scientists privacy within the same project. Tourists can transit through the Research Centre’s roof without even noticing it, while enjoying the bridge both as an attraction, and as a construction. The roof works as a transitory space, while the area under it allowes scientists to work and live for temporary periods of time, working as close as possible to the guadua’s natural habitat.
Tourists attending the park can participate of the project without having this have negative repercutions for the researchers hidden underneath.
cartagena de indias colombia
MOb: Museo Obreg贸n
Alejandro Obreg贸n Roses (June 4, 1920 - April 11, 1992) was one of the greatest Colombian artists of the 20th century. Above all a painter, throughout his life, also experimented with muralism, sculpture and engraving. Owner of a pictographic system of his own invention. Heavily influenced by Picasso, took this as a departing point to a later perfectioned form of colorful expressionism. The themes presented in his work are not shown literally, and extend from still life, landscapes, portraits and series of paintings concerning fauna and political violence in Colombia. After living in different cities throughout the world, Obreg贸n worked until his death in Cartagena de Indias, a city in the Caribbean coast of Colombia well known for its collonial walled city and fortress of inmense beauty and designated a UNESCO World Heritage Site.
Alejandro Obreg贸n. Las Costa Cartagenera. This painting is taken as the starting point for the project.
The marked interest in this precise painting is given mainly by two factors. First, the painting’s clear illustration of three different visual plans dividing the work’s composition almost into exact thirds. Sky, land and sea can easily be identified thanks to subtle but notable differences in color, form and brush stroke. This factor is taken into consideration as a mena of composing the building’s basic volume, and as a primal approach to material. The other factor is the artist’s signature as a vital part of the painting This final element appeals to an almost corporative image idea of the signature, and can easily be translated into basis for the museum as canvas for this type of branding aswell.
An abstraction of the coast of Cartagena is transformed into a topographical type public space, composed by the museum’s roof, a colorful plaza, and the existing landscape. The entrance wall shows both the hidden acces to the museum and Obregon’s signature.
bogotรก colombia
Telecom DataBank
How would a Jewish architect, an American citizen, born in postwar Poland, winner of numerous awards not only as an architect but as a humanist and even an artist; how would someone responsible for projects and masterplans all over Europe and North America, and winner of the contest for the design and reconstruction of the site of what could be called the determining event of the 21st century design a Datacenter? Before even trying to answer this question, it must be understood what is a Datacenter. This consists of a space designed for storage and safe-keeping of digital information under the higest levels of security and technology. It’s conformed by spaces of specific technical needs and redundant architecture. It’s a building whose importance grows exponentially in time and makes part of the vital elements for the development of the contemporary city towards the future. So the question arrises. ¿Where to begin the analysis of a project with such technical and spatial needs, and with so much meaning to the city? The answer (not just for this specific case) is in the last part of the question. It must be the city itself, that gives the starting point. A Datacenter must be a main character in today’s city and it’s security requirements must not be resolved by means of exhile or hiding. That’s why choosing a location is of the utmost importance. The location must be in a primarily institutional area, also of great importance and meaning within the city. Because of the inner functions of a Datacenter, it’s access is extremely limited, resulting in only few people who really get to experience the project at it’s fullest. But given the importance of this building, the common citizen shouldn’t be left out. Participation and interest of it’s visitors is also part of a building’s true function, and a project may not be considered finished until three-dimensional experiences of it’s different spaces are constructed. The citizen interacts not only with his equals, but with the city as well; and in this interaction public space serves as the catalizer. Most of the times, limits between what is institutional and what is public are too firm, thus, the interaction between the two is very low. Something public is more easily related to adjectives like natural, free and even green; rather than words like security, technology and information.
The project is divided into tow buildings, one that serves as a vault, and one that serves as a display. Both building are however connected and interacting at all times.
But is the apparent protagonism of these last nouns in the project enough to make public space be abbandoned as a determining part of the project? Not all existing limits must be physical and not all physical barriers should be limiting. Architecture must then be used as a tool to accomplish the participation of the individual in the project by means of public space, without compromising whatsoever the unconditional needs of the project. In order to achieve this effect, it would be ideal to be able to merge the project’s volume with it’s context and surroundings in an almost topographical way, while at the same time via the fragmentation of the building’s limits, the project’s total volume may surpass the limits of the location. Let it be noted that when refering to a volume there is no distinction made between interior and exterior. This happens because what is public does not necessarilly mean exterior (and viceversa); which suggests that the project must serve as a connector, a tunnel and transition between public spaces of different qualities. In the contemporary city and while it grows in time, lack of public space is not only an ever-present problem, but is also an ever-growing one. But as this happens, architecture finds it extremely difficult, inside it’s tradition, to manage to leap towards the contemporary and give way to new ideas. That’s why ideas such as the vertical development of public space must be taken into account. This gives us two choices, elevation or excavation. Of both choices, it’s the second one which brings a better quality of public space for this project, and by combining it with the extreme need for security, it’s easily the optimal solution for the datacenter. Having identified the way of maximizing the area of public space without sacrificing el functional volume of the project, the development of this functional volume must continue being as oblivious as possible towards it’s underground nature. It must be analized as if it was an above ground project, maintaining at all times a visual, formal, spatial connection
The project’s main storage facility is surrounded by a ring of inspectionable ducts. This limits the people with access to the information servers without lowering service and maintenance standards.
between the surface and the underground; even with the structure and materials used. The public space must not dominate over the project, since then it would lose it’s central objective. Whoever transits through these spaces, must recognize spaces of certain ambiguety, where it cannot be clearly stated whether it belongs to the interior or the exterior. This connection between interior and exterior, between surface and underground must be aswell present in the public space. Since it’s a project where common concepts of public space may not apply, it must use formal and technical tools from the datacenter as means of design. Therefor, this public space must be hard and artificial. It is part of it’s intention the fact that the outside is aswell the roof of the datacenter; so this must always be reminded and be treated as a vital part of the project. A biulding (whichever it may be) must trascend it’s simple form and function. Even when architecture is commonly seen as mute, it must speak to the community. Be it a museum that communicates the permanent conflict always part of the search for peace, or a public, private and commercial space complex that represents a rebirth, but not an oblivion.
Daniel Libeskind and the Piranesian* analysis of a Datacenter. *this text takes certain referencial liberties towards ideas and/or affirmations made by Daniel Libeskind B.Arch. M.A BDA just as a way of appealing to a method used in the past by Piranesi. But in this case, rather than serving as means to attribute projectual accomplishments in the words of recognized masters, it’s goal is to give way to an open discussion as to the way of approaching an architectural project, using as reference, extractions from texts and speeches made by Daniel Libeskind, which can be found published in Studio Libeskind’s official website. It is also a way to both recognize and admire an analysis and work method. It is never the intention of this text to interpret such ideas beyond what is literally said, and even less to attribute authorship of what is here written to Daniel Libeskind.
Both the building and public space become a pivotal point for the city. Attracting citizens, tourists and potential costumers interested in the databank’s services
By definition, a datacenter consists of the place, be it physical or virtual, destined to the storage and safekeeping of data and information organized around a particular branch of knowledge, of concerning a specific business. In this case, the datacenter’s function is not based on certain knowledge or owner in particular, but more on the service of storage and management of external client’s data by means of physical or virtual space rental within the datacenter’s facilities. On the other hand, a bank is an organization or financial entity that carries out (in its simplest way) the function of storage and management as well; but in this case of external clients’ valuables. Obviously with key differences, it is possible to find a parallel between both spaces as far as use go, that’s why for this project the concept (and therefore name) of databank is taken as a first approach.
The access, or control point serves as a space where interior and exterior merge together. As well as the first of many following security clearance points.
For this project, it is necessary to take into account two sides of a same place. While the databank must focus mainly on the storage and safekeeping of data, it must also take care of the commercial aspect of the service it provides. That’s why the concept of two coexisting buildings is conceived. First, there is the vault building. This building occupies most of the total area of the project and its function consists on acting literally as a security vault for its contents. Given the high security it demands, this building is almost completely underground; being the only exceptions the entrance or control point, and certain volumes that for technical needs must be above surface at some point (for example ventilation ducts). The second building is called façade/showcase building. This building seeks to take care of the commercial side of the databank, and thus, is the only volume in the project that is completely above ground. This building contains conference and exposition rooms, administrative offices and service areas. The building is also responsible for generating the exterior/public space and making the otherwise completely underground building present. It takes care of the visual aspect of the project; responding to both the spectator and surroundings. But these two building, apparently opposite in every aspect, must yet coexist in one project. It’s the before mentioned control point that takes care of this. It’s the only space common to both buildings and because of this serves as both union and transition between them. This space’s main objective is to serve as limit and door between buildings in order to maintain security. It is also placed strategically so it becomes that which can be seen but shows just how unattainable anything behind it can be.
The DataBank appears next to one of the main avenues in the city. Closing its entrance towards it, but using this faรงade more as a calling card.
1. First Floor Plan: Administrative Offices 2. Ground Floor Plan: Lobby, CafĂŠ, Public Space 3. First Basement: Miscellaneous Offices, Control Room 4. Second Basement: Expo Room, Technical Floor 5. Third Basement: Server Floor
The First and Ground Floor Plan interact with the outside, and form the commercial/public part of the project.
The underground levels form the project’s main component; technical floors and control rooms maintain the DataBank working without interfering with what happens above the surface.
chapter.three
(a)temporary architecture
The fact that buildings so small and of such short life have become part of modern architecture’s iconography is because of the mistery that has always surrounded them and that resides in their special starting conditions: a brief gestation period, a short existence in time and a sudden ending. Moisés Puente. Pabellones de Exposición. Editorial Gustavo Pili, S.A. Barcelona 2000. *original text in spanish
miami new orleans london belfast berlin the world
the tommy theatre project
Structure and stage mix when taking over both space and the audience. An old abbandoned warehouse becomes the set for the meeting point between all that’s majestic about the theatre, and the power of a rock concert. A display of lights, audio, video and special effects, where the public itself becomes an actor, and where distorsion of reality leads the way to the return of The Who’s masterpiece.
The stage becomes a vivid part of the whole space. And like the opera itself, takes control of the audience.
Almost too often, theatre takes the place of a distant happening. The stage is there for everyone to watch, but sometimes the experience calls for more that just watching at a safe distance. On the other hand, even though a rock concert also has a stage and there’s at least physical limit between performers and audience, the experience itself is completely different. Throughout the show artist constantly seek to connect with their audience on a deeper level. This not only gives fans a far more personal experience, but artists as well feed from the audience’s energy. The idea behind the Tommy Theatre Experience is not only to resemble more of a rock concert than theatre, but to literally blur the limits between audience and performer and this way allow both of them to get the most out of every show.
The stage becomes a vivid part of the whole space. And like the opera itself, takes control of the audience.
PLANTAS (C
CORTE N=15M) ESC:1/500
chapter.four
welcome to our neighborheight
4
The problem of the new house is, in essence, a spiritual problem, and the battle for the new house is merely a step along the way in the major struggle for new lifestyles. Werkbund Anstellung. “Die Wohnung� official catalogue. Stuttgart 1927.
bogotรก d.c. colombia
bmp: multifamiliar progressive neighborhood
4
The minimal dwelling must be converted simultaneously into a new form of living. It is precisely the limited means and available space that will make a crucial contribution to this. The minimal dwelling must offer greater comfort than the bourgeois house at a more reasonable price (...) I beleive that major housing complexes have more future than terraced or detached houses, since in these complexes it will surely be possible to attain higher quality habitability for the same price. S. Giedion. Befreites Wohnen. Orell I端bli. Zurich und Leipzig 1929.
A basic volumetrical approach to the project shows how different open areas can be identified in different heights. This allowing a sense of neighborhood to develop and grow in multi familiar housing as well.
4
Discontinuity in heights mitigates the idea of a multi unit building which is often taken as a negative solution as far as social housing goes. The changes in volume are reinforced by the appearance of public space in a third floor platform, present all throughout the project and this way connecting different apartments blocks. Under the platform, we find what could be called the base building. Inside we find duplex apartments and the main sets of stairs. The platform itself works as the ground floor for a series of smaller 3 floor buildings with their own sets of stairs, which strengthens the idea of a raised ground floor and two different buildings. Apart from this, each apartment offers certain characteristics normally associated with detached single unit housing. First of all, all apartments are duplex (with the exception of a few smaller apartments on the ground floor for handicapped residents). All ground floor apartments are accessed without the need for communal stairs, which gives the idea of living in single unit housing with even the chance of having a front yard. The third floor apartments are accessed through the third floor public platform, so they resemble those in the ground floor up to some point. Besides, some even have a private back yard accessible through the kitchen and laundry area. Finally the fourth floor apartments all have access to private terraces and higher roofs given the building’s inclined roof.
Instead of having a constant height, the building is divided into volumes of 5 and 2 stories. This way, patios and rised plazas are created, allowing for a sense of house although being elevated from the ground.
4
Both interior and exterior design of the building appeals to the benefit of its residents. The building as a whole is designed thinking first and foremost structurally. This allowing the building to minimize its costs in this department, and this way being able to afford commodities rarely present in this type of social housing, such as large floor to roof windows, terraces and patios. The materials used all throughout the project are chosen basically because of the benefits of using them in their most basic form, appealing to a loft concept of the interior but not approaching it as lack of design but as a choice. These materials include brick, concrete, wood and certains details in metal in spaces such as balconies. Most of the façades consist on brick walls which are used as the main structure as well and are normally associated with an idea of safety and home, as well as represent the grand majority of Bogotå’s constructions.
The interior design consists basically of 2 separate livings spaces with a common social area. This way, productivity within the home via rental of turning a living area into a workshop is encourgaged.
4
Ground, First and Second Floor Plans (respectively) show how apartments rotate around a communal inner patio. The Third Floor Plan (far right) shows the third floor public platform, Fourth Floor access and private patios.
4
bogotรก d.c. colombia
tabula rasa plaza: a new beginning
4
The Corona Pro-Habitat Prize is a national contest directed to universities all over Colombia, promoting new ideas and projects concerning social housing. The contest is divided in two parts. In the first phase, universities send project proposals from which 5 are chosen and therefore eligible for participation in the contests second phase. In this final phase, every chosen university can send up to 5 projects where the initial proposal is taken as a base. As part of this ongoing national contest, the Universidad Jorge Tadeo Lozano has organized a special workshop focused solely on the projects that will participate on late March 2008. The project proposal was designed by a group of teachers in the university’s architecture department and directed by Arch. Dario Vanegas (now director of the contest’s workshop). The idea behind this project is to merge two existing needs within the city. On one hand, due to violent situations occurring for some years now in Colombia’s rural regions, large groups have looked for shelter in Bogotá. This, added to an already existing shortage of social housing, has sent the city into an alarming need for this type of constructions; normally found in the outskirts of the city given the low cost of land in these areas. This manifests itself into a mobility issue, since most of the project’s inhabitants have to travel great distances in order to get to their jobs. On the other hand, because of the unpredicted growth the city had since the late 1970’s, Bogotá’s historical centre has deteriorated greatly. It is then, part of the city’s primal concerns to restore its centre, via projects in massive transportation, reutilization of abandoned buildings, public space and new housing. This is then one of very rare social housing projects located in Bogotá’s historical centre and definitely the largest (over 50,000 m2). The idea is to fulfil the need for housing both in the area and in the city as a whole, giving its inhabitants the opportunity to take advantage of the centre’s facilities, transportation, commerce, and of course the view to the park and Bogotá’s mountains. Given the high prize of the land, the project must work hand by hand with non-social housing, commercial and communal areas, and public facilities; this way generating a mixed neighborhood. As the first step into this program, the city has determined what has been named Bogotá’s Priority Restoration Area. An area between two major avenues both with heavy vehicular transit and mass transportation services (TransMilenio), stretching from El Dorado Avenue (direct connector between the historical centre and the international airport, and home for some of Bogotá’s most important buildings) and Ciudad Salud (an ongoing project looking to focus part of the city’s medical and health facilities within a large area of the historical centre and strengthen those already existing).
Google Earth Image of the project’s location and Parque Tercer Milenio.
4
Within this area, the project’s specific location is next to the Parque Tercer Milenio, a metropolitan park designed where the now disappeared Calle del Cartucho once existed; a place conformed by a series of abandoned blocks near the city’s historical centre, and focus for most of Bogotá’s drug, prostitution and homeless related issues. Apart from the park, the surroundings have had little or no intervention since the deterioration of the neighborhood. Thus, the project’s location (fronting the park) turns it into the starting point for the restoration of the entire area. In order to take full advantage of its location, the proposal consists of 10 to 16 story towers over a 2 story platform accommodating commerce, communal facilities, an elevated semi-public plaza, parking, and all of the towers technical needs. The towers themselves have a concrete industrialized lift-slab structure to allow faster construction, lower costs and an open floor plan for apartments and communal/green floors located in every tower.
The use of towers allow the park to flow into the rest of the neighborhood and generous public and communal space, still maintaining a large number of apartments.
4
epilogue
I probably never thought of becoming an Architect as I grew up (at least not consciously). The truth is I wanted to be a rockstar and my parents wanted me to be an engineer. Somehow, I like to tell myself that everyone got their way after all. Still, Graphic Design turned out to be first in line. So I guess we could easily develop this into an extensive investigation where chaos theory and butterfly effect finally shed some light into why everything happened like it did. But the truth is that while some people can think of it as a waste of time, I am convinced that if it wasn’t for the exact way my education (and my life for that matter) came to be, I would be a completely different person; and needless to say a completely different professional.
Call in the army corps of architects To flatten the skyline and begin again I knew the years would move quickly, But never quite as fast as this So bring the discrepancies, I'll pour the drinks Death Cab for Cutie - Army Corps of Architects You Can Play These Songs With Chords (2002)