ANNA MURNANE
(412) 600 - 9143
ammurnan@syr.edu
/////
123 Lincoln Ave Pittsburgh, PA 15218
PORTFOLIO
In 1947, following WWII, the United Nations decided to invite prominent architects from the founding nations to work in a collaborative, peaceful manner, rather than hold a competition.
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Their goal was to create a new world headquarters to be the symbol of the bright, peaceful future ahead that did not dwell upon the past.
FALL 2012 /// A. Munly View from the entrance of the Piazza, using V-Ray in Rhino and Photoshop
b
c
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SUMMER 2012 /// J. Della Valle
The architects in attendance were...
N.D. Bassov [Soviet Union], Gaston Brunfaut [Belgium], Ernest Cormier [Canada],
4 b
1/2 Ice : 1/2 Rock
5 6
SPRING 2012 /// J. Yoder 100% Humidity
70%
50%
Howard Robertson [United Kingdom], G.A. Soilleux [Australia], Garrett Gruber [United States], and Julio Villamajo [Uruguay]. 30%
0%
Le Corbusier [France/Switzerland], Liang Seu-cheng [China], Sven Markelius [Sweden], Anne-Claus Messager [France/United States], Oscar Niemeyer [Brazil],
Powder-based 3-D Print of Facade System
Detail of Basswood model, 18�x18�
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Humidity test on basswood, 4 thicknesses
View from the entrance of the Piazza, using V-Ray in Rhino and Photoshop
SPRING 2014 /// L. Kallipoliti
c
3/4 Ice : 1/4 Rock
FALL 2011 /// B. Snyder
SPRING 2012 /// B. Coleman
PIAZZA INTERVENTION /////////////////////////////////////////////////////
HO(S)TEL
Florence, Italy Pg 4-13
New York City, NY
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Pg 14-27
VISUAL APPARATUS
No Site
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Pg 28-33
MICROBIAL BLOCK /////////////////////////////////////////////////////
BREATHABLE STUDIO /////////////////////////////////////////////////////
WHITMAN ANALYSIS /////////////////////////////////////////////////////
New York City, NY Pg 34-41
Seneca Army Depot, NY Pg 42-47
Syracuse, NY Pg 48-59
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PROJECT /////////////////////////////// LOCATION
BRUNELLESCHI PIAZZA Florence, Italy
1870
HISTORY
CURRENTLY
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Present Day
The Brunelleschi Rotunda, the first centrallized church, was once embedded within the walls of a monestary, successfully separating the world of the monks from the daily lives of serfs and workmen. Operates as a parking lot and dysfunctional piazza. University using previous monestary space.
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BRUNELLESCHI PIAZZA
INTERVENTION
Intervention
PROJECT
Create a piazza that pays proper tribute to the Brunelleschi Rotunda.
PROPOSAL
Unwrap the geometry of the Rotunda to re-establish the corner and redefine the level of engagement with the cloisters.
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Process Sketches
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Conceptual Model Museum Board, 11 x 17
o
Duom
Cloisters
Enclosed Piazza
ima Santiss ta zia Annun
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8
Public Circulation
University Circulation
CINEMA
STUDYING
G MEETSIN G IN S U C IS D G
READINCHING PEOPLE-WAT G
SUNBATHIN
TCHING PEOPLE-WAI G REAUDSSN G N I DISC
RAMP 0
5
20 10
40
READIHNINGG SUNBAT ING
H CLOUD-WATCN I T SIT NG G MEETING I EAT
CAFFTE
INFO GI Center SHOP
LOBBY
Museum Public Space
Site Plan
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View from the entrance Piazza,of the Piazza, View from of thethe entrance using V-Ray in Rhino and Photoshop using V-Ray in Rhino and Photoshop
,
Axon of Piazza
the entrance of the Piazza, View fromView the from entrance of the Piazza, using V-Ray in Rhino and Photoshop using V-Ray in Rhino and Photoshop
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zza, p
1.3’
24’
1’ 5” 5” 2.65’
1’11”
6.25”
3.8” 9.25” 2.5”
1’7”
10”
10”
1.3’
2’
10”
1.5’
Polychystalline Photovoltaic Cells 12’
Translucent Patterned Glass, 8 6x3.25’ Panels per side
4.5”
6.5’
Enclosure Material
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PROJECT /////////////////////////////// LOCATION
LONG ISLAND CITY New York City, NY
HISTORY
CURRENTLY
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Home to a high density of multiple ethnic neighborhoods that would be able to maintain their culture within a close proximity to New York. Despite recent gentrification, Long Island City attracts a large population of foreigners, given the opening of the 2012 U.S. Citizenship and Immigration Services, as well as the high density of affordable hotels, including the Q4 Hostel.
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Site Map
HO(S)TEL
PROJECT
Research existing conditions of Long Island City and study patterns of real estate development to come up with a program for the site.
PROPOSAL
Given the community’s identity as an international city, as well as its visual and physical connection to the United Nations headquarters across the river, I propose a second United Nations building: a cross between a hotel and a hostel, providing visitors with something Manhattan does not have: a view towards Manhattan.
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Rendering of Street View using V-Ray in Rhino and Photoshop
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In 1947, following WWII, the United Nations decided to invite prominent architects from the founding nations to work in a collaborative, peaceful manner, rather than hold a competition. Their goal was to create a new world headquarters to be the symbol of the bright, peaceful future ahead that did not dwell upon the past.
The architects in attendance were...
N.D. Bassov [Soviet Union], Gaston Brunfaut [Belgium], Ernest Cormier [Canada], Le Corbusier [France/Switzerland], Liang Seu-cheng [China], Sven Markelius [Sweden], Anne-Claus Messager [France/United States], Oscar Niemeyer [Brazil], Howard Robertson [United Kingdom], G.A. Soilleux [Australia], Garrett Gruber [United States], and Julio Villamajo [Uruguay].
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symbol he past.
Brazil], [United
In the end, the two determining schemes for the project were a combination of the proposals presented by Oscar Niemeyer + Le Corbusier.
OSCAR NIEMEYER‘s
SCHEME 32,
which featured a 39-story International-Style tower
LE CORBUSIER’s
SCHEME 23,
which incorporated an oblique general assembly building.
*Despite Le Corbusier’s desire for the two buildings to be centralized, Niemeyer’s scheme involved the creation of civic space; because of this the two buildings were pushed to one side to allow for civic space on the other side.
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OSCAR NIEMEYER‘S TOWER
EXTERNALIZES THE PRESENCE of the
United Nations.
It can both see and be seen,
operating not just at the scale of a city... but the world.
The
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Sou
thea
st fa
cad e di
rect
ly fa
ces
Lon
g is
land
city
The
Nor th
eas
t fac
ade
dire c
tly f
ace
s Ma
nha
ttan
LE CORBUSIER’S GENERAL HALL
INTERNALIZES THE FUNCTIONS of the
United Nations.
It serves as a common ground for worldly gatherings and discussion.
serving as a protective space for nations to collaborate on the solving of political, economic, and military issues.
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Complete Hotels
1
Q4 Hostel $35+ per night
3 Hilton Garden Inn $129+ per night
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2
8
Comfort Inn $175+ per night
Hotels Planned
3
Mariott 2 $249+ per night
1
Aloft
5 $139+ per night Crowne Plaza 7 $200+ per night
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5 6 0.15 mi
0.3 mi
Complete Services
0.45 mi
U.S. Citizenship
6 + Immigration Services
Locations and Rates of Surrounding Hotels + Hostels in Long Island City
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LO NG I CI SLAN TY D
T
ICU
T NEC ON
C
MAN HATT AN
270째 90째
ONS
HAMPT
UNITED NATIONS
WORLD HEADQUARTERS
EMPIRE STATE BUILDING
ATTAN H N A M
G UR
LLI
AM
BR
SB
K OO
LYN
QU
// Hostel Guests // Few Requirements
EE NS
// Bed, Bathroom, + Roof
Desired View // Hotel Guests // More Requirements // Bedroom, Bathroom + Roof // Views + Sunlight // Acoustic Isolation
WI
TUE STA
TY BER
LI OF
Undesired View
// Due to the success rate of
hostels and hotels located in close proximity to eachother, as compared with other gentrified areas, I propose a hybrid between a hotel and a hostel, which would provide visitors with more affordable views to Manhattan- an accomodation most hostels do not provide.
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Ground Floor
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2nd Floor
3rd Floor
0
5
20 10
1”=16’
25
HOTEL
(2) LUXURY SUITES (1) STANDARD
HOSTEL
(2) Doubles (2) 4-PERSON SUITES
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HOTEL
(8) STANDARDS (2) DOUBLES
HOSTEL
(3) 6-PERSON SUITES (1) 4-PERSON SUITE 0
5
20 10
1”=16’
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PROJECT ///////////////////////////////
IN COLLABORATION WITH
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J. Lee M. Hernandez
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VISUAL
APPARATUS
PROJECT
Understand definition of Op-Arc, i.e. the increasingly important roles of visuality in contemporary ‘ocular-centric’ design practice. Create a visual apparatus based on understanding of Diller Scofidio + Renfro’s Broad Art Museum.
PROPOSAL
Produce an active viewer by pairing a radial exterior with a planar grid interior.
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Interior Exterior
The apertures on the facade of the Broad Art Museum maintain the same depth throughout the entire building.
Our Visual Apparatus amplifies the relationship between interior and exterior, between occupant and vehicle. By extending the depth of the undulating diagrid and aligning it against the linear promenade of the user, our apparatus creates a condition in which radius geometry intersects with the Cartesian grid. The time in which you expect to see the context through this apparatus is irregular. Based on the depth of the aperture and proximity, the reveal may be anywhere from drawnout to rapid. The two externalized “bulges� are connected by the intersecting sine and cosine curves to the internalized grid, creating a condition in which the user must visually construct the outer geometries based on the depth of each aperture and become differently engaged with what was preconceived as a Cartesian space.
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Modes of VISUAL APPARATI
Perspective Viewing Producing photographic architecture, or ocular geometry, through the extension and continuous undulation of each aperture.
Vehicular Viewing, or “Kino Eye” The creation of hyper-vehicular awareness. Cars have the ability to enduce the “panning effect” withinthe driver’s visual apparatus. This is the notion that machine vision cannot be perceived with human eyes.
Passive Viewing In areas where there is a large area of continuous depth in apertures, regularity is enscribed and the user becomes passive until he or she reaches the irregularity of the undulating facade.
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Powder-based 3-D Print of Facade System
Densities of VISIBILITY based on REGIONALITY
Plan View of Promenade
Various Levels of Visibility
Ocular Geometric Perspective
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PROJECT //////////////////////////////
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SYRACUSE UNIVERSITY | SCHOOL OF ARCHITECTURE | SPRING 2014 | 409 ARCHITECTURE STUDIO | SECTION 004 | STUDIO CRITIC | ASSISTANT PROFESSOR | LYDIA KALLIPOLITI, PhD | office room 308E | e: lydiakal@syr.edu In the late 1950s, Robert Moses' plans to raze the area were halted by neighborhood protest led by the Cooper Square Committee. Buildings cleared through eminent domain sat unused until La MaMa secured a 30-day lease from the City, and the new Off-Broadway movement took off. Gradually other small groups moved in, and
LOCATION
BOWERY + E. 4 ST TH
New York City, NY
the block developed into a nationally recognized incubator for New York and diverse artistic voices. By the 1980s, theatrical and cultural organizations had taken over many of the abandoned buildings, rejuvenating the artistic and social spirit of the block. Today, the 4th street building block is a neighborhood environmental initiative that builds an experimental, interconnected, action-learning community and a pilot sustainable urban block around the E. 4th St Cultural District. The building block is currently used as an experimental laboratory for diverse research proposals and actions, including ‘hard research’ –energy assessments, management of resources and the building stock- as well as ‘soft actions’ -community initiatives, art projects and communication strategies. The interplay of the hard and the soft research model is crucial to the approach of this studio as it may inspire a variety of stakeholders across different disciplinary fields.
HISTORY
The district south of Cooper Union campus in the East Village is known as a theater district with a strong community coop.
CURRENTLY
With gentrification spreading and threatening the identity of the Lower East Side, this arts block is an ideal location for investigating the convergence of social with infrastructural and environmental concerns. Aerial View
MICROBIAL Block ||||| Feedback Microgrids ||||| Energy-generating Theater and housing community in New York City page| 5
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MICROBIAL
BLOCK
PROJECT
Operate on three scales: the occupy unit, the scale of the building, and the scale of the block to create a microbial system. PROPOSAL PROPOSAL Heat loss, as revealed by the infrared analysis of this block, is a prominent issue. Rather than sacrifice the aesthetic integrity of these historic buildings, this issue could be re-imagined as a public spectacle. Thus, the problem of heat loss becomes an opportunity, providing this community with an identity to fight back against surrounding gentrification.
Conceptual Model of Microbial System, wood
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Physical Investigation
b
c
a
a
4/4 Ice : 0/4 Rock
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c
b
1/2 Ice : 1/2 Rock
3/4 Ice : 1/4 Rock
Visualization + Spatialization
Water Entry Chamber
Pass Through
Channel
Overflow Chamber
Pass Through
Deflated Air Sac Pass Through
Pass Through
Storage Chamber
Storage Chamber
Inflated Air Sac
Main Storage Chamber
Storage Chamber
Heated air causes the air sacs to expand and press on the sides of the channels halting the water flow between chambers
d
Pass Through
Pass Through
Channel Channel allows water to flow between storage chambers
Storage Chamber 150x
Greywater is stored in chambers of various sizes and is released through the release of pressure on connecting channels
d
Section of AirFilled Membrane
Radial Expansion Points of Bladders and Membrane
Section showing Porous Entry Points
Section showing Radial Distribution of Water towards Neighboring Bladders
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// MICROBIAL BLOCK
st
Ea
h
4t
Bow
ery
St.
st
Ea
d
3r
Exploded Axonometric
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A
Inflatable Module Connection to Structure
B
Airflow between Modules controlled by pressure valve
C
Flexible Connection between Inflatable Modules
D
Air Filter connection to supply pipe
A
B
C
4x6 HSS Rectangular Steel Frame Steel Channel Frame
Cladding and Structure of Theater
E
D
E
3/4” Plywood Sheathing 1/16” Copper Siding Stage Structure
F
F
Elevation
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Roof Plan
Cross Section
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9
UP
3 8
UP
2
6
1
5
UP
UP
7
Floor
Outdoor Seating Entrance / Lobby Coatroom
11.
Balcony Space Theater 1 Lounge
Cafe Kitchen
4
Theater 2
Balcony Space Theater 3
Ground Floor
10.
Floor 2
Floor 3
Floor 4
Floor 5 _ 1”=8’ 0
10
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Ground Floor 1. Outdoor Seating 2. Entrance / Lobby 3. Coatroom Floor 2 4. Balcony Space 5. Theater 1 6. Lounge Floor 3 7. Cafe 8. Kitchen Floor 4 9. Theater 2 Floor 5 10. Balcony Space 11. Theater 3
Long Section
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PROJECT ////////////////////////////// LOCATION
SENECA ARMY DEPOT Seneca County, NY
HISTORY
CURRENTLY
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From 1941-1990s this area served the U.S. Army as a secret place to store and protect munitions and other weaponry. In 2000, it was shut down. 459 abandoned earth-covered concrete “igloos”, and an unusually large population of white deer, occupy this 10,587 acre facility.
Aerial View of “Igloos”
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PROJECT
PROPOSAL
Ground-level Sequence of “Igloos”
BREATHABLE
STUDIO
Redefine purpose of igloo (each having 60’ length and a 13’ radius) A space that translates humidity into a meaningful visual experience. Similar to the gills of a fish, the individual strips of the membrane curl as they pull in moisture from the environment. As the sun sets, the space becomes illuminated with perforated light. The ceiling of the original igloo, however, remains purposefully dark, paying tribute to its monolithic beauty.
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0%
30%
50%
70%
Detail of Basswood model, 18�x18� 100% Humidity
Humidity test on basswood, 4 thicknesses
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Studio Space
Kitchen Space
Study Space
Living Space
Private Space
Axonometric of Artist Studio, using Rhino and Illustrator
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Basswood model, 18”x18”
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Interior view of Artist Studio, using V-Ray in Rhino and Photoshop
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50
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Vertical Brick Reveals Painted Metal Panel 4’ Face Brick on CMU Back Up
Painted Aluminum Louver 2’-8”x14’-0” Each
Painted Aluminum & Glass Curtain Wall 4’ Face Brick on CMU Back Up
Horizontal Brick Reveals
Aluminum and Glass Window
Aluminum and Glass Window Composite Aluminum Panel System Alucobond or Equal Steel Trellis
Painted Aluminum & Glass Curtainwall
Composi System A
Painted A & Glass C
Aluminum and Glass Curtain Wall Painted Aluminum & Glass Curtainwall
Steel & Glass Canopy
Precast Seat Wall
Painted Aluminum & Glass Curtain Wall
Vertica
Painted Metal Panel
Painted Aluminum & Glass Curtain Wall
Painted Aluminum Louver 2’-8”x14’-0” Each
4’ Face Brick on CMU Back Up
Painted Glass C
Aluminum and Glass Window
4’ Face CMU B
Horizontal Brick Reveals
Horizon
Painted Aluminum & Glass Curtainwall Aluminum and Glass Curtain Wall
Painted Aluminum Louver (12’-4”x9’4”)
Precast Concrete Screen Wall
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Vertical Brick Reveals Painted Aluminum & Glass Curtain Wall
4’ Face Brick on CMU Back Up
Aluminum and Glass Window
Horizontal Brick Reveals Composite Aluminum Panel System Alucobond or Equal Painted Aluminum & Glass Curtainwall
Steel & Glass Canopy
Vertical Brick Reveals Painted Metal Panel
Painted Aluminum Louver 2’-8”x14’-0” Each Painted Aluminum & Glass Curtain Wall 4’ Face Brick on CMU Back Up
Aluminum and Glass Window
Horizontal Brick Reveals Composite Aluminum Panel System Alucobond or Equal Painted Aluminum & Glass Curtainwall
Painted Aluminum & Glass Curtainwall
Steel & Glass Canopy
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