Andres Macera | 2014 Portfolio

AndrĂŠs Macera Espinosa | BArch UTFSM, Chile | MsAAD GSAPP, Columbia University, New York. | Portfolio | 2001 - 2014

Table of Contents.

04

Curriculum Vitae

10

2013-2014 | MsAAD, GSAPP, COLUMBIA UNIVERSITY

12

“A Superpowered Funeral Home for New York”. Critic: Andrés Jaque

22

“Bridging Medellin: Phase 2.0”. Critic: Cristina Goberna

34

“Collecting Violence”. Critic: Mark Wasiuta

52

2001-2013 | PROFESSIONAL WORK

54

Architecture

114

Television

158

Digital

168

DOLLY

Andrés Macera Espinosa Architect Curriculum Vitae.

Profile

He began his architectural studies in 1996, being part of the generation that inaugurates the School of Architecture at Universidad Técnica Federico Santa María in Valparaíso, Chile. In 2001 he became one of the first four students to obtain the architecture degree of this House of Studies, being awarded with the Medal of Honor Federico Santa María for the best degree project of his class. Between 2002 and 2003 he developed projects for territories as dissimilar as the Antarctic and Puerto Rico and in 2004 he co-founds “Dolly”, office in which he practiced as an architect until 2013, exploring diverse scales and formats of architecture, such as the design of scenographic projects for television. Between 2005 and 2013, he offered multiple architecture workshops at diverse Chilean schools of architecture and practiced as a Multimedia Representation instructor at the School of Architecture at Universidad Finis Terrae. In 2014 he obtained the Master degree in Advanced Architectural Design from Columbia University, where he currently works as a Teaching Assistant for Advanced Design Studio.

Contact Information

606W 148th St, Fl 1 New York, NY 10031 T: +1 (917) 244 9797 E: macera.andres@gmail.com

Education

Master of Science in Advanced Architectural Design, GSAPP, Columbia University, New York. May 2014.

Bachelor of Architecture (5yrs. Professional Degree), School of Architecture – Universidad Técnica Federico Santa María, December 2001.

Parametric Design & Digital Fabrication School of Architecture - Universidad de Chile, 2012 After Effects, Introduction, animation and visual effects, Mac Academy, Chile, 2009 Advanced Actionscript for Adobe Flash MX, Pontificia Universidad Católica de Chile, Chile, 2006 Urban Interfaces + Connective Membranes and Global Capital Flow.

Guided by the instructors Oliver Lang and Chris McDonald, from the University of British Columbia, and Marc Aurel, from the University of Hong Kong. UBC, UHK, Hong Kong / Vancover, 2001

Academic & Professional Awards

William Kinne Fellows Travel Prize GSAPP, Columbia University.

Award granted on the merit of proposals submitted for travel abroad incorporating the study of architecture.

Proposal Title: “Dissecting Bodies of Emerging Japanese Architecture of Death”, 2014 Lucille Smyser Lowenfish Memorial Prize GSAPP, Columbia University, 2014 Given to the graduating student who submits the best final semester design problem.

Project: Collecting Violence.

Fulbright Scholar Fulbright Chile, 2013 Becas Chile Scholarship recipient, Government of Chile, 2013 First Prize, “Mutek.Nation” competition for digital animations, for “Flob”, 2004.

Honor Mention, AIA Puerto Rico Chapter, Publication/Investigation Category Project: Online version of Onomatopeya Urbana journal, 2004.

Honor Mention, Design Competition for the Annex to the Colegio de Arquitectos de Puerto Rico (Puerto Rico Architect’s Association) (Architect Istra Hernández team leader), 2003 Federico Santa María Honor Medal Award, Best graduate from Universidad Técnica Federico Santa María School of Architecture, 2001

Professional Experience

International House of Architecture, New York, 2014 Dolly | Arquitectos, Principal, Santiago de Chile, 2004-2013 Hernández-Bauzá Architects, San Juan, Puerto Rico, 2003 ArqZe [Architecture in Extreme Zones], Valparaíso, Chile, 2002

5

Work

2014 Exhibition / Air Manifesto: “Los Angeles, 1955, 1965”, Istanbul.

Facilities for the cultivation of Medical Marijuana, IL, USA. 2012/2013 Design and construction of the following television sets: Burlesque, TVN, Chile El Informante, TVN, Chile Goles, TVN, Chile Design / construction of the following buildings: Pochat House, Santiago, Chile.

2011 Design / production of the following web interfaces: www.matusactores.com, Matus Actores Casting Agency, Chile www.dilhanconsultores.cl, Dilhan & Dilhan Consultants, Chile www.solouno.cl, Graphic Designer, Chile www.cs.cl, Covarrubias & Silva Intellectual Property, Chile Design / construction of the following television sets: Central News, Canal 13, Chile Sports Zone, Chilevisión, Chile Contacto, Canal 13, Chile Design / construction of the following buildings: Walker House (under construction), Quillota, Chile Feria Chilena del Libro, El Belloto Store, El Belloto, Chile Invelab Industries, Santiago, Chile 2010 Design / production of the following web interfaces: Interactive Sustainable Development Report 2009, Anglo American Chile, Chile www.koandina.cl, Coke Chile, Chile Design / construction of the following television sets: Central News, TVN, Chile Central News, TVN Cable Signal, Chile Medianoche, TVN, Chile Interviewing Set, TVN Cable Sign, Chile Design / construction of the following buildings: MC House Remodeling and Extension, Santiago, Chile 2009 Design / production of the following web interfaces: Interactive Sustainable Development Report 2008, Anglo American Chile, Chile www.asanta.cl, AguaSanta Construction Company, Chile www.complementadiseno.cl, Complementa Designs, Chile www.enblanco.cl, En Blanco Graphic Design, Chile www.hh6vermont.com, Private, Puerto Rico www.danielgilrodrigo.com, Photographer, UK www.revistapolimorfo.com, Polimorfo Magazine, Puerto Rico Design / construction of the following television sets: Press room for Candidate Sebastián Piñera, Chile La Jueza, Chilevisión, Chile Tolerancia Cero, Chilevisión, Chile Gente Como Tú, Chilevisión, Chile

Design / construction of the following buildings: Access Hall for Monarch Industries, Santiago, Chile House in Caracas, Private, Venezuela (competition) Feria Chilena del Libro, Concepción Store, Concepción, Chile Feria Chilena del Libro, Los Angeles Store, Los Angeles, Chile 2008 Design / production of the following web interfaces: Interactive Sustainable Development Report 2007, Anglo American Chile, Chile www.toroferrer.com, Toro Ferrer Architects, Puerto Rico Design / construction of the following television sets: Central News, Chilevisión, Chile Club de la Comedia, Chilevisión, Chile 7 Días, Chilevisión, Chile Veredicto, MEGA, Chile Gente Como Tú (Regular and Summer edition), Chilevisión, Chile 2007 Design / production of the following web interfaces: www.uri-arte-arquitectos.cl, Uriarte Architects, Chile www.misionesderengo.cl, Southern Sun Wine Group, Chile www.vinamar.cl, Southern Sun Wine Group, Chile www.asanta.cl, v1.0, AguaSanta Construction Company, Chile Design / construction of the following television sets: Show de Goles, Chilevisión, Chile Gente Como Tú, Chilevisión, Chile La Jueza, Chilevisión, Chile Sinvergüenzas, Chilevisión, Chile SQP, Chilevisión, Chile Design of the following buildings: Torres House Remodeling and Extension, Limache, Chile Wrinkled House, Limache, Chile 2006 Design / production of the following web interfaces: www.brjoyas.cl, Private, Chile www.risopatron.cl, Private, Chile www.defensapatagonia.cl, NGO Defensa Patagonia, Chile www.elobservatorio.cl, El Observatorio Foundation, Chile Design / construction of the following television sets: Sports Zone, Chilevisión, Chile 7Días, Chilevisión, Chile Primer Plano, Chilevisión, Chile 2005 Design / production of the following web interfaces: www.e185.cl, E185 Photographers, Chile www.mutek.cl, Mutek Festival, Chile CD Rom for the UCEN, Universidad Central, Chile CD Rom for the UTFSM, Universidad Técnica Federico Santa María, Chile CD Rom for the Telematics Department, Universidad Técnica Federico Santa María, Chile Design / construction of the following buildings: Feria Chilena del Libro, Florida Store, Santiago, Chile

7

2004 Design / production of the following web interfaces: www.mutek.cl, Mutek Festival, Chile CD Rom for the UCEN, Universidad Central, Chile CD Rom for the UTFSM, Universidad Técnica Federico Santa María, Chile CD Rom for the Telematics Department, Universidad Técnica Federico Santa María, Chile www.lwpac.net, Lang Wilson Practice in Architecture Culture, Canada www.arq.utfsm.cl, School of Architecture, Universidad Técnica Federico Santa María, Chile www.monarch.cl, Monarch Industries, Chile Design / construction of the following buildings: Feria Chilena del Libro, La Dehesa Store, Santiago, Chile Feria Chilena del Libro, Las Condes, Santiago, Chile Teaching Experience

Teaching Assistant, Advanced Design Studio GSAPP, Columbia University, 2014 Multimedia Representation Instructor School of Architecture, Universidad Finis Terrae, 2007 – 2013 Invited Instructor, “Web interfaces for architects” School of Architecture, Universidad de Talca, 2010 Invited Instructor, “Feast” Workshop School of Architecture, Universidad de las Américas, 2010 Invited Instructor, Architecture Workshop for 1st year School of Architecture, Universidad Técnica Federico Santa María, 2005-2007 Teacher Assistant , Design Studio for 5th year School of Architecture, Universidad Técnica Federico Santa María, 2002

Lectures

“What Do We Call Experimental?”

School of Architecture, Planning and Preservation, Columbia University, New York, 2013 “Failures”, School of Architecture of Universidad De Las Américas, Chile, 2010 “The TV Experience”, DUOC UC, Pontificia Universidad Católica de Chile, Chile, 2008 “Superficialities”, ArqPoli, the School of Architecture at the Polytechnic University of Puerto Rico, Puerto Rico, 2003

Publications

ABSTRACT, 2015: Publication of selected student projects from GSAPP, Columbia University Published Projects: “A Superpowered Funeral Home for New York”, “Bridging Medellin. Phase 2.0”, “Collecting Violence” ENTORNO 21, 2012: “Vivienda Asequible” “La Beneficiosa Agitación” POLIMORFO Vol 1, 2009: “Ciudadlab: Puerto Rico in Orlando” “The Result of the superficial” DOMUS #870, 2004: “Picturing Utopia” Architecture in Extreme Environments 1. Antarctica ARQZE Ice Station in Chile AAA #17, Archivos de Arquitectura Antillana, Caribbean Architecture Magazine, 2003 Proposal for Design Competition for the Annex to the Colegio de Arquitectos de Puerto Rico.

Skills

Autocad, Google SketchUp, Adobe Suite: Photoshop, After Effects, Illustrator, InDesign, Flash, Microsoft Office, Apple iWork, Studio Tools Trilingual, fluent in English, Italian and Spanish (native language) Photography.

References

Mark Wasiuta, Adjunct Assistant Professor of Architecture, Planning and Preservation.

Graduate School of Architecture, Planning and Preservation, Columbia University.

1172 Amsterdam Avenue, New York, NY 10027 Email: mw2283@columbia.edu Phone: +1 212 854 3414 Adam Bandler, Adjunct Assistant Professor of Architecture, Planning and Preservation.

Graduate School of Architecture, Planning and Preservation, Columbia University.

1172 Amsterdam Avenue, New York, NY 10027 Email: amb2297@columbia.edu / adam.bandler@gmail.com Phone: +1 212 854 3414 AndrĂŠs Jaque, Principal at Office for Political Innovation.

312 W 73rd Street, New York, NY 10023 Email: andres@andresjaque.net Cristina Goberna, Adjunct Assistant Professor of Architecture, Planning and Preservation.

Graduate School of Architecture, Planning and Preservation, Columbia University.

1172 Amsterdam Avenue, New York, NY 10027 Email: cg2322@columbia.edu / cristina@fakeindustries.org Phone:+1 212 854 3414

9

MsAAD/ GSAPP.

2013. Design of three questions in the course of one year at GSAPP, Columbia University.

11

13

How can architecture celebrate life through death in New York?

A SUPERPOWERED FUNERAL HOME FOR NEW YORK. Critic: Andrés Jaque.

Studio: Superpowered Urban Enactments.

Dead bodies engage an impressively large an invisible network of urban actors in modern cities. In New York, the performance of a specific funeral home in Harlem - “First Avenue Funeral Home - is not only related to many different religions (and thus, body treatments) but also to several scales of action (from the neighborhood to the whole world), many technological devices (webcams, chemical machines, body refrigerators) and radically different purposes (religious, market, academic and scientific ones).

The project aims to find the potentials of this specific, large-scale industry of dead bodies performing from a small three-story building in East Harlem, and “superpower” them, turning the process of death into a new reason to celebrate life in New York.

15

Blow up. Final proposal for a superpowered funeral home.

17

19

21

23

Should architects perform as secret agents in Medellin?

BRIDGING MEDELLIN: PHASE 2.0 Critic: Cristina Goberna Studio: Medellin Renascence; a Post-War Imaginary.

In order to test the possibilities of central social housing in Medellin - a quixotic enterprise nowadays - we will work under the logic of a double agenda: we will recognize the achievements accomplished by the government in the last two decades and we will convince them to deliver the so-called “Phase 2.0”; three cultural hyper bridges oriented to recover the social space that was suppressed by the narco war in the ‘90s. By doing that, however, our main goal will be nothing but to introduce the infrastructure needed for the insertion of a new way of living in Medellin: a house comprised only by balconies and curtains.

25

27

29

31

33

35

What is the architecture able to collect and exhibit violence in Beirut?

COLLECTING VIOLENCE. Critic: Mark Wasiuta.

Studio: Collecting Architecture Territories.

In 1991, Beirut transformed the violence of the war into a new form of violence: cultural terrorism. This violence was waged by the government as a large censorship apparatus, confiscating both art and buildings that carry memories from Beirut’s past.

What is the architecture for that perverse, bureaucratic, violent collection?

A collecting space that both promotes censorship and makes it transparent?

A collecting space that lies between a museum and a prison? between a gallery and an island of exile?

37

39

41

43

45

47

49

51

Professional Work.

2001-2014

53

01.Architecture.

The first architectural project that I developed once graduated as an architect was a toilet for a base in the Chilean Antarctic Territory. A year later, I had the possibility to collaborate on a couple of projects for single-family houses on the tropical island of Puerto Rico. From the conditions associated to the ice, extreme winds, and temperatures below zero; I had to quickly move to conditions relating to heat, humidity, hurricanes, and air conditioning. The diversity of situations in which I have been able to practice as an architect have usually put me in contexts that are little orthodox, and it is this experience that has been good for me as a way of escape from that homogeneity that could be called “style�.

Almost forcibly, I have been constantly forced to forget and look again, something that arguably moves in the opposite direction of learning. This delicate relationship between amnesia and experience, indeed, has become a subtle balance that I have tried to look after as an architect during all these years –a necessary and liberating exercise.

55

FACILITY FOR GROWING MEDICAL MARIJUANA. Industrial / Illinois, 2014 In collaboration with: Mark Wasiuta, Adam Bandler, Jessica Rivera and Marcos Sรกnchez.

A wide set of rules and protocols defined for security, biosecurity and architecture was part of the requeriments demanded by the State of Illinois in order to be able to apply for a license to grow, manage and sell medical marijuana in that State.

The design of the building was not only driven in terms of meeting those requirements but also as a physical transcription of the differents procedures the plants were part of, while moving along the facility.

This project demanded the design of both the building itself and the graphic language for a set of documents, technical drawings, and diagrams that would be helpful in terms of conveying how the delicate protocols of growing medical marijuana were accommodated in the facility.

57

UNLOADING DOCK

01.

SEEDLING CULTIVATION

01.1 Germination 01.2 Sex and CBD/THC tests 01.3 Propagation 01.4 CBD/THC tests 01.5 Mother Plant selection 01.6 Tissue Culture 01.7 Transplantation 01.8 Migration TIME: 38-59 DAYS

02.1 OUTDOOR CULTIVATION

03.

HARVEST

02.1.1 Propagation 02.1.2 Vegetation 02.1.3 Flowering 02.1.4 Migration

03.1 Arrival 03.2 Trimming 03.3 Sorting 03.4 Waste 03.5 Migration

TIME: 11 WEEKS

02.2 INDOOR CULTIVATION

02.2.1 Propagation 02.2.2 Vegetation 02.2.3 Flowering 02.2.4 Migration TIME: 11 WEEKS

06.

PACKAGING

05.1 Packaging 05.2 Migration TIME: 8 HOURS/DAY

TIME: 8 HOURS/DAY

04.

DRYING

04.1 Drying 04.2 Migration A 04.3 Migration B

07.

VAULT

07.1 Management 07.2 Delivery

TIME: 5-10 DAYS

05.

EXTRACTION

05.1 Extraction 05.2 Migration TIME: 1-3 DAYS GROW ZONE

LOADING DOCK

PRODUCT ZONE

08.

WASTE

08.1 Compost 08.2 Medical 08.3 Landfill 08.4 Hazardous

59

Begin to flower.

2nd week flower.

3rd week flower.

4th week flower.

5th week flower.

6th week flower.

7th week flower.

8th week flower.

STRAIN #1

21 plants ready fo every week.

Begin to flower.

2nd week flower.

3rd week flower.

4th week flower.

5th week flower.

6th week flower.

7th week flower.

8th week flower.

STRAIN #2

21 plants ready fo every week.

Begin to flower.

2nd week flower.

3rd week flower.

4th week flower.

5th week flower.

6th week flower.

7th week flower.

8th week flower.

STRAIN #3

21 plants ready fo every week.

Clones under cfl lighting inside Bio chamber.

Newly rooted clones.

Plants in 1st week of vegetative.

Plants in 2nd week of vegetative.

Begin to flower.

2nd week flower.

3rd week flower.

4th week flower.

5th week flower.

6th week flower.

7th week flower.

8th week flower.

STRAIN #4

21 plants ready fo every week, per gr Begin to flower.

2nd week flower.

3rd week flower.

4th week flower.

5th week flower.

6th week flower.

7th week flower.

8th week flower.

STRAIN #5

21 plants ready fo every week, per gr Begin to flower.

2nd week flower.

3rd week flower.

4th week flower.

5th week flower.

6th week flower.

7th week flower.

8th week flower.

STRAIN #6

21 plants ready fo every week, per gr Begin to flower.

2nd week flower.

3rd week flower.

4th week flower.

5th week flower.

6th week flower.

7th week flower.

8th week flower.

STRAIN #7

21 plants ready fo every week, per gr

WEEK 1

WEEK 2

WEEK 3

WEEK 4

WEEK 5

WEEK 6

WEEK 7

WEEK 8

WEEK 9

WEEK 10

WEEK 11

WEEK 12

147

plants ready for ha every week, per gr

4,368

plants per year, pe total 4 flowering gr LABORATORY

VEGETATIVE GREENHOUSES (2)

FLOWERING GREENHOUSES (4)

1,092 / 1,6

the useable yield p total 4 greenhouse

7,644 / 11,

the useable yield p 4 greenhouses (4

WEEK 1

2

3

4

5

6

7

8

1 STRAIN

2 3 4 5 6 7

MOTHER PLANTS Raesequatet, veliqua mcommod tatem vel ut pratet num volortie min velit nosto odolore magna am velessit delendre feugiam corperosto dolobore delendre feugiam corperosto dolobore

VEGETATION Raesequatet, veliqua mcommod tatem vel ut pratet num volortie min velit nosto odolore magna am velessit delendre feugiam corperosto dolobore delendre feugiam corperosto dolobore

FLOWERING Raesequatet, veliqua mcommod tatem vel ut pratet num volortie min velit nosto odolore magna am velessit delendre feugiam corperosto dolobore delendre feugiam corperosto dolobore

61

Udam perrit pera nende habesse ntementis. Cupicup iortus. Mandiurnum num, di st diis re manteris.

Udam perrit pera nende habesse ntementis. Cupicup iortus. Mandiurnum num, di st diis re manteris.

Udam perrit pera nende habesse ntementis. Cupicup iortus. Mandiurnum num, di st diis re manteris.

Do, nonsili inam defex noneque terfirm ilnena, facii firmili bulegil ierfiri publicastrum

Do, nonsili inam defex noneque terfirm ilnena, facii firmili bulegil ierfiri publicastrum

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X.X.x[x]

INTERIOR ELEVATION OF LABORATORY

X.X.x[x]

IN A

3/16”=1’-0”

3/

Satquemus imilica venatimplius fac iaecesupimus etifect uscritum, entes audetora Sp. Qua pubis hossulocae nemus veri fue consus, quiura niqueri triameri publicere cupimilici factem publis nos peris iam ad cae pere, consciaetium octus autemoentus. Fuitum tem sti, cum que non turisse perore prem P. Satalius. Murniae, Ti. Cupicis.

Bus audeo aur, qui ia in vehene tum in di peruder finere co Catquam pro veraelium orudam se adhum. Valatiendium nihil conem precese nductum vehebun temuscr emnirtium inatil tande pecrei tertuam di, quemo consum et avolto ventum, pri sendem nos octo auctala maximur, fin seres furbi se cultorudem publinte, nocum te, quidis.

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63

Udam perrit pera nende habesse ntementis. Cupicup iortus. Mandiurnum num, di st diis re manteris.

Do, nonsili inam defex noneque terfirm ilnena, facii firmili bulegil ierfiri publicastrum

IESO CULTIVATION FACILITY

Udam perrit pera nende habesse ntementis. Cupicup iortus. Mandiurnum num, di st diis re manteris.

Udam perrit pera nende habesse ntementis. Cupicup iortus. Mandiurnum num, di st diis re manteris.

Do, nonsili inam defex noneque terfirm ilnena, facii firmili bulegil ierfiri publicastrum

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IESO CULTIVATION FACILITY

65

67

AIR MANIFEST: LOS ANGELES, 1955, 1965.

INSTRUCTIONS FOR THE RECONSTITUTION OF HISTORICAL SMOG. Exhibition / Istanbul, 2014 In collaboration with: Mark Wasiuta, Adam Bandler and Marcos SĂĄnchez.

Air Manifest: Los Angeles 1955, 1965 extracts two critical periods of archival atmospheric data from the Los Angeles Air Quality Management District (AQMD), an agency that records LA air quality, chemical composition and particulate saturation.

The project reads LA smog as a prevalent, visually intrusive protagonist and as an airborne registration of the city’s material history narrated at molecular level. Taking data samples from the AQMD archive, Air Manifest describes a process for reconstituting historically accurate smog.

69

RECORD 1955 1

1965

Air Condition.

Air Condition.

Photograph from September 14, 1955.

Photograph

alert in downtown Los Angeles near Air

in the Watts area of Los Angeles, which

Control

Temperature

high

District of

Station

93

13,

1

1965.

National Guard troops march toward fires

Image shows air conditions during a smog Pollution

from August

had just been subjected to martial law and

1.

curfew. Temperature high of 94 degrees

degrees

Fahrenheit.

Fahrenheit, inversion lid at 1,000 feet.

approximately

Photograph

three

taken

miles

from Air

Pollution Control District (APCD) Station 1.

1

1

Air Network.

2

Map indicates the location of APCD air

2

sampling stations in August, 1965. In the decade since 1955 Los Angeles had repositioned nodes of the air network, 2

which was now capable of sampling

Air Network.

numerous

pollutants,

including

hydrocarbons, oxides of nitrogen, nitric

Map of the Los Angeles Basin showing

oxide, nitrogen dioxide, sulphur dioxide,

typical onshore air movement. By 1955,

carbon monoxide and ozone.

the APCD network included dozens of

sampling stations distributed throughout the basin measuring contaminants, eye

irritation, and plant damage. Map indicates APCD Station 1 and other main sampling locations.

Station 1: Central.

Peak Ozone (O3) readings. temp = 87oF

temp = 93oF

Station 1: Central.

Station 72: South Coastal

HC : 12 ppm

HC : 14 ppm

Station 70: USC Medical Center HC : 9 ppm

Nox : 90 pphm

Nox : 44 pphm

Nox : 50 pphm

Co : 31 ppm

Co : 23 ppm

Co : 22 ppm

O3 : 33 pphm

O3 : ----------

O3 : 30 pphm

Sept. 14, 1955

10:52 am

.64 ppm

10:56 am

.60 ppm

11:12 am

.64 ppm

11:29 am

.56 ppm

11:46 am

.47 ppm

01:00 pm

.26 ppm

Watts Burn Map.

After decades of resistance to the policing

3

methods of the Los Angeles Police

2

Department, an unremarkable roadside

Station 1: Central Hydrocarbons (HC)

12 ppm

Oxides of Nitrogen (Nox)

90 pphm

Nitric Oxide (No)

71 pphm

Nitrogen Dioxide (No2)

47 pphm

Sulphur Dioxide (So2)

5 pphm

Carbon Monoxide (Co)

31 ppm

Ozone (O3)

33 pphm

incident

between

California

Highway

Patrolman Lee W. Minikus and 21-year-old Marquette

Frye

begins

a

series

of

increasingly violent clashes with law

enforcement personnel. Over the next four

days much of the city center is covered by smoke 3

plumes

from

Watts

and

surrounding areas, as businesses are set

Air Sampling Station.

afire, leading to numerous residential fires in the densely populated area. Map

APCD air sampler used until the early

indicates buildings burned and looted

1960s to collect particulate matter. Over

one hour air was drawn through 2 inch

filter disks mounted in a “reel-to-reel� belt.

Marquette Fry is arrested.

advance and the cycle would repeatto

Curfew Area Outline

between August 11-15, 1965. The curfew area was approximately 40% larger than

Manhattan.

At the end of the hour, the belt would

3

produce a continuous material recording.

Watts Area outline Burned buildings.

Motors and other equipment were housed within the base of the station, where

ambient air samples were drawn into a

Air Sampling Station.

glass and metal canister for later lab

Street level high volume APCD air sampler

analysis.

4

commonly used in mid 1960s Los Angeles.

Msking use of a suite of newly available air sampling instruments, the machine draws 3

air downward and through a square filter

4

that could be quickly replaced and returned to the APCD laboratory for analysis

4.1

of

particle

density

and

composition.

Particulate Sampling.

After the filtration phase the disks carried

data on pollutant ratios and particulate density, measured in micrograms per

Particulate Sampling.

cubic meter.

4.2

5.1

After the filtration phase the square filter 5.1

Hydrocarbon Sampling.

Air samples collected at network stations

5.2

carried

data

on

particulate

density,

measured in micrograms per cubic meter.

Hydrocarbon Sampling.

were analyzed using gas chromatographs;

Air samples collected at network stations

this equipment measured hydrocarbons in

were analyzed using gas chromatographs;

units of parts per million (PPM).

4.1

4.2

this equipment measured hydrocarbons in

units of parts per million (PPM).

5.2

REPLAY 2014

A clean air generator fills the FEP - Teflon reactor bag with purified air; pollutants are then injected through the bag’s side

ports. Black light arrays irradiate the bag’s aerosol contents with UV light, producing controlled and specific photochemical reactions. After irradiation, the reactor’s contents match air

samples taken on September 14, 1955, resulting in a volume of historical air.

A

Components for supplying a continuous flow of purified air to the enclosure around the reactor bag. This prevents outside pollutants from migrating into the bag.

Equipment used to supply UV radiation to the bag.

B

The two banks of black lights match the emission spectrum of sunlight between 300 and 450 nm.

Components used to inflate the reactor bag with purified air, and later, to inject a flow of pollutants into the bag.

A separate system (not shown) samples the bag contents to achieve and maintain the required balance of ingredients.

C

1.1

1.1

Particulate Injection.

A graphite aerosol generator is used to

produce carbon particles, which are mixed with purified air and injected into the

reactor bag. The resulting suspended particulate

density

measurements.

1.2

follows

the

1955

71 1.2

Hydrocarbon Injection.

Xylene, a hydrocarbon present in solvents and fuels, was registered across the Los Angeles basin from the 1950s onward.

Here, it is vaporized into a stream of molecular nitrogen (N2). The resulting

vapor is then injected into the reactor bag.

A similar

hydrocarbon

apparatus results

used

in

for

each

hydrocarbon

concentrations equal to those of the target date.

D

Wearing a sealed transparent helmet, a subject is exposed to the bag contents. Viewing a Snellen eye chart, the retinal

irritation and obscuring of vision asociated with the 1955 smog syndrome are manifest.

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WALKER HOUSE. Residential / Chile, 2013 A young family expects to go from the city to the countryside. Their attachment to the nature affects not only in the location of its new home, but also in the architecture and construction methods involved.

A straw bale home achieves not only this objective, but also the thermal requirements of the same housing, being the straw one of the most efficient materials in the field. The house is inserted into the ground and vice versa which establishes diffuse indoor/outdoor relationships.

A central patio has the purpose to organize public and private spaces, and to make the landscape a more domestic and involved area with the daily tasks of its inhabitants.

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MC HOUSE/ REMODELING AND EXTENSION. Residential / Chile, 2010 The remodeling of the MC house consisted of adapting a series of spaces poorly distributed to new uses that would have once the new owners arrived. The changes consisted mainly of providing a higher quality of “air� to the old house, significantly renovating the space of the kitchen, dining room, and the play area on the second floor. The recovery of a small interior patio was key in the improvement of the quality of the first level spaces.

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MONARCH INDUSTRIES/ ENTRANCE HALL. Commercial / Chile, 2012 The fit-out project of the Hall of the new facilities of Monarch Industries was gestated from two fundamental ideas: First, the grandeur of the space available was such that every interior design project, beyond the purely functional aspects, would be almost unnecessary. For this reason, we chose a few elements project, the essential to maintain a balance between the “weight” of the original space and the “weight” of the intervention on it.

Second, every interior design project that wanted to put elements of daily scale would achieve as only result to unsharp the industrial proportions of the existing space and its components (double and triple height walls, fans diameter of 5 feet, etc). Therefore, we decided to design objects of great scale, of exaggerated proportions, tuned with dimensions, and character of the hall.

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CARACAS HOUSE. Competition / Venezuela, 2009 The project for the Lusitana country estate arises from the idea of being literally in the middle of the landscape. Under this premise we have attempted rather than constructing a series of enclosures on the ground to regulate a series of shadows under the eaves of them. In practice, we removed the largest possible quantity of walls and pillars on the first floor in order to leave the garden always visible and certainly occupant from the house in all its directions. By contrast, on the second level, private rooms are located with more serene and personal view over the garden and the pool.

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FERIA CHILENA DEL LIBRO: PORTAL LA DEHESA STORE. Retail / Chile, 2005 The project was a new field of possibilities to get away from the traditional model of bookstores in Chile: a repetition of tables crammed with books without holding up to considerable spaces of reading and leisure time.

In this strategy, a piece of furniture of exposure 8 meters in length along to the local access meant a notable change according to the traditional manner of exhibiting books. This mosaic of covers would enable a more agile, casual, and immediate look by the customer where to look and to take a book becomes a more likely fact.

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TORRES HOUSE/ EXTENSION. Residential / Chile, 2005 The project had as central aim to “sanitize� a constantly damp, and dark house where a marriage lived with their three daughters, one of them born with hydrocephalus. The constant care towards this patient and the lack of an ideal space for her (to move her in a wheelchair, to bath her with the help of two people, etc), made the accommodation of the house more complex every day. The architectural proposal consisted of eliminating one of the rooms of the house and turning it into an interior patio, turning the use of the bathroom not only into something easier but also more pleasant.

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WRINKLED HOUSE. Residential / Chile, 2004 The demands of a space that appears to be larger than what it really is, do not result in the classic transparent monolith, but in its total opposite: a body based on folds and fragmentations whose interstices comes into effect the idea of something ambiguous, imprecise, whose definition is adjustable.

The wrinkled house runs on their uncertainties, on the transgression, and manipulation of their shape. Rooms become independent or they are joined according to occasional closure such as to stretch or to wrinkle privacy, to regulate boundaries of coexistence, etc.

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VINYCON INDUSTRIES. Industrial / Chile, 2004 Under the basic premise of a series of administrative and dispersed storage buildings on a wild landscape, we tried to “build” a building to intensify the expression of its use: a worn, corroded building which comes closer to the primitive and abandoned image than compound and “processed” image, a way of organizing the set which would allow not only to give up the temptation to force the assignment, but also to link their spaces and routes between asphalt and shrubs.

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DESIGN COMPETITION FOR THE ANNEX TO THE COLEGIO DE ARQUITECTOS DE PUERTO RICO. Competition / Puerto Rico, 2003 (Honor Mention) The challenge of designing an annex building for the Casa Gonzalez Cuyar, a property of the early twentieth century and current headquarter of the Colegio de Arquitectos y Arquitectos Paisajistas de Puerto Rico (CAAPPR) whose purpose would be to resolve the obvious lack of functionality and capability that had been associated not only to the problem of intervening a construction of a period turned into an enclave in the area, but also to the complexity of increasing its current surface by 500%.

The proposal consisted of avoiding the obvious issue (to touch the house) and resolving the programmatic needs in a stylish and discreet building, separated from the house. This new building would not only create a reinterpretation of the old interior patio by means of a small square for the CAAPPR events, but also would become a backdrop, highlighting the relevance of a Puerto Rican historical construction, still standing in through an active, informal and typologically diverse neighborhood in the middle of San Juan.

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SHOCKWAVE (ARQZE) Institutional / Chile, 2002 The design of the blue ice hangar was undertaken systemically by ARQZE, generating Shockwave, a tactical tent system designed to provide deployable semi-permanent shelter in extreme environments.

Designed from materials of the highest specifications, the shockwave system offers secure and innovative infrastructural solutions for multiple activities in conditions ranging from desert storms in the atacama to the catabatic winds of the antartic interior.

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BUNGYDOME (ARQZE).

Leisure / Chile, 2002 The bungydome is a deployable entertainment structure produced hybridizing standard bungy-trampoline equipment with geodesic dome structures. The bungydome is designed with rigid joints, generating a top down assembly process that allows the dome to be hoisted by a crane while four people work at ground level assembling all the tubes and hubs in 3 hours. It was evolved through a series of prototypes tested on chilean beaches in 2001, allowing the scale, organization and assembly process to be fine tuned.

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SANITARY CAPSULE / EPTAP PROJECT (ARQZE).

Institutional / Patriot Hills, Antarctica, 2001 Situated at 80 degrees south, the Patriot hills perforate 850m of ice and produce an acceleration in the catabatic winds which flow constantly downwards from the 4000m polar icecap. This local increase in the velocity of the winds displaces the snow layer and exposes the surface of the highly dense and transparent blue ice.

In 1984 it was confirmed that this extensive horizontal surface could be implemented as a natural runway capable of receiving cargo planes such as the Hercules c130, flying directly from Punta Arenas in 6 hours and landing with wheels on the ice.

EPTAP [Estaci贸n Polar Teniente Arturo Parodi] was a commission undertaken by ARQZE for the Antarctic Division of the chilean airforce [FACh], establishing a permanent infrastructure in Patriot Hills to accommodate the increase in the logistical activity of the blue ice runway.

EPTAP is the first permanent polar station in a blue ice zone and has a residential capacity for 24 persons, allowing the Chilean Air Force to provide navigational, communicational, and logistical services throughout the summer months. EPTAP becomes the first node in a network that is extending national activity towards the pole and an aerial link with other continents close to antarctica.

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Water is an alien element in the interior of Antarctica, and their generation involves an energy investment and impact on the environment. Evacuation costs of greywater have promoted the design of a water cycle that runs inside an archetypal capsule. This cycle is made possible by a micro filtration system that allows the reuse of contaminated water for personal hygiene.

The constitution of this water cycle allows the station to operate as an autonomous system with a certain amount of water, radicalizing the application of zero impact.

The water cycle is articulated through a series of prostheses of prototypical design that integrates corporal processes with systemic processes of the station. Prostheses are lightweight, collapsible and are organized around the sanitary unit, a stainless steel structural matrix that allows different combinations.

The sanitary unit incorporates a PVC screen that goes up and down to allow access to either a cabin or a shower which has a low pressure gun of 1 liter of capacity, water used for a normal daily shower.

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02.Television.

Television is all about timing. Inflexible schedules, camera sequences, coreographic displacements within a set, large human resources synchronized to take along a product to the public for a brief periodical time. Here, the design of television sets necessarily demands a deep turn on the principles, methods and traditional materials usually involved in an architectural project. Television sets, designed to be dismantled after two hours, mean challenges of other order: reversible, storable, affordable constructions of resources exaggeratedly “noisy”, little orthodox and, above all, treacherous; they have to deceive the viewer’s eye, making the audience believe that what they see is actually what they get. Curiously, this is how these projects come to value only outside themselves, once on the screen, translating a complete system of spatialities, scaffolding, optical effects and unusual resources of material order into a two-dimensional moving image, balanced compound, taken simultaneously to the masses.

Since 2006, Dolly | Arquitectos freely develops projects for the four most important TV channels in Chile, highlighting the central news for Television Nacional of Chile (TVN), Chilevisión and Canal 13. Our most recent projects are part of the advent of digital television in Chile, event that restates almost all television production processes, making a decisive impact on the design and manufacture of television architecture.

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CABARET BURLESQUE. TVN / Chile, 2013 Cabaret Burlesque was a prime-time live televised competition among a group of women whose dream was to become a cabaret vedette.

Because of the fast pace dynamic of the competition along with the fact of being a live broadcasting, the design was conceived as a duplicated, symmetrical stage, both of them connected by a long catwalk and a central revolving seating booth for the jurors.

By following a symmetric order of the components in the show along with a precise camera control, the show would easily deceive the eye of the audience, making them believe that there is only one stage.

The scenography also incorporated a backstage for informal interviews and making-up area for the competitors.

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THE INSIDER (+) GOALS. TVN / Chile, 2012 The scenography for “The Insider” - an in-deep political talk show- and “Goals” - a weekly review and analysis of the soccer activity in the country- would have to accommodate both of them under the same architecture.

The design incorporated few but large scale components: LED walls and standalone elements, all of them moveable and embodying LED lights so to make their appearance adjustable to the atmosphere of either one show or the other.

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24 HORAS / TVN CENTRAL NEWS. TVN / Chile, 2010 24 Horas was the key project which allowed Dolly to enter the most important channel of Chile. After winning the competition for the design and construction of the set, the project was developed for 8 months (time unusually extensive in television) with multiple local teams from the channel: engineers, lighting technicians, graphic designers, directors, producers and journalists.

The project was developed on the basis of materials and high standard finishes on the eve of the channel transition to HD television, and it consisted in the design of multiple elements both fixed and mobile that allows to resolve with versatility the broadcasting of up to 13 different programs of the Press Department in the same space, all under the same aesthetic spirit.

By coincidence and for benefit of TVN, the project was released the same day it was known that the 33 miners trapped underground in the Chilean north were all alive, a day when all channels aimed to keep a good rating.

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24 HORAS / TVN NEWS, CABLE SIGNAL TVN Cable Signal / Chile, 2010 Along with the project for the TVN central news, the channel further requested the set design for the news broadcasted by the cable signal.

In a extremely small studio, the project consisted of recovering the lost space lost by the previous set, taking all elements against the original walls of the building. The design elements had as objective to give a new mark to the program and at the same time to establish relations of unity with his elder brother: the central news.

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MIDNIGHT NEWS. TVN / Chile, 2010 Set for Medianoche had, as central axis, the implementation of few objects of large scale that could mutate from large white surfaces to only some areas and specific lines of light. Thereby it was putting in importance as the idea of a nocturnal space as the importance of the conversation between the host and the guest over the scenery.

145

TVN INTERVIEWING SET. TVN / Chile, 2010 The versatility of this small space demanding to house almost 8 micro TV spaces broadcasted by the TVN cable signal, meant to solve it through a wall of 11m in length based on retro acrylic light panels with LED spotlights and a monitor cart sliding along it. With just these few elements, the possible different possibilities of this space are multiplied enormously.

147

PRESS ROOM FOR PRESIDENTIAL CANDIDATE SENASTIAN PIÑERA. Television / Chile, 2009 In his election campaign, the committee of the former President of Chile, Sebastián Piñera, decided to call for a competition to transform a room of an old house located in the commercial district of Santiago into the new press room for th candidate. Dolly won the competition, through a project that could give a modern air to a candidate who intended to introduce himself as that. The set looked to revitalize the available space with the ability to have different backgrounds for the interviews, depending on the lines he would take.

149

THE COMEDY CLUB. CHV / Chile, 2008 Under the assignment of creating a clandestine atmosphere, the set is developed as an underground urban space, an architectural decision that would drive unconventional camera shots on television. The installation of a street section on the heights of the studio and a vertical displacement of the camera would give the feeling of “crossing� the thickness of the street and dive into this bar, an idea reinforced by the trace of diverse nocturnal elements in the level of the exterior street.

151

SHAMELESS. CHV / Chile, 2007 The set had the purpose to make echo of the humorous spirit of the program, a family show of comedy video review through the use of shapes and colors easily associated to the distorted world of cartoons.

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CLOSE-UP (PRIMER PLANO).

CHV / Chile, 2006 Primer Plano is the foremost and longest running prime time show biz program in Chile. Its editorial line has as a central objective to cover news events, but with a serious focus that lets one catch sight of a detailed investigation in each of the exposed contents. The set had as its main purpose to strongly emphasize the confrontations between the invited guests and the hosts, developing a set for them in the form of a cross, where the cameras, located in the four extreme corners, not only can give an enclosed setup of the participants (placed, as well, in a similar manner with 4 seats), but can also generate camera shots with the maximum amount of spatial depth possible for a television set.

The atmosphere of the set is developed in between the elegance of a classical room and the bawdiness of a cabaret, giving the exposed contents a dual reading.

155

TV FURNISHING. Furniture design is a craft that was expanding as the production of television projects did too. Generally associated with such projects, furniture developed for television has been due not only to meet unusual requirements, but also with materials and formal logic consistent with the space to be located, forming a single communication unit between them, a fundamental thing on television. In this way, and with particular reference to these projects, we could say that there is a common logic in the generation of furniture and television space that houses it: the same design strategy, but a different approach to scale.

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03.Digital.

The interest in designing web interfaces comes from the understanding of this format as dynamic systems that operate in network, curiously as a sort of reflection of how the head of the architect works. Arguably, the hyper-reading, the surfing, the real-time construction of narratives made possible by this medium, becomes a visualization of what remains invisible in architecture: the coordination and construction of bodies of information and knowledge laying under a materialized idea. This has meant for a long time the driver of a personal pleasure discovered when working, not only on the surface, but also in the structure and body of these digital constructions.

161

index:// 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40

Cazú Zegers, Architect. (V.2), Chile OF23, Architects, Chile Sireza, Vintage Tiles Importer, Chile Neumann, Thermal Plants, Chile Matus Actores, Acting Agency, Chile Covarrubias & Silva, Intellectual Property, Chile SoloUno, Graphic Designers, Chile Dilhan & Dilhan, Maritime Ingeneering, Chile Embotelladoras Andina, Coca-Cola distributors in Chile, Chile Anglo American, sustainable Development Report, 2010, Chile Polimorfo, Architectural Magazine, Puerto Rico Anglo American, sustainable Development Report, 2009, Chile Rolls, sushi restaurant, Chile HH6 Vermont, private, Puerto Rico Erasmus Chile, Erasmus, Chile Daniel Rodrigo Gil, Photography, Chile EnBlanco, Graphic Designers, Chile Agua Santa, Civil Works, (V.2), Chile Renato Del Valle, Photographer, Chile Anglo American, sustainable Development Report, 2008, Chile Toro Ferrer, Architects, Puerto Rico Viña Mar, Southern Wine Group, Chile Misiones de Rengo, Southern Wine Group, Chile Agua Santa, Civil Works, (V.1), Chile Uri-Arte, Architects, Chile CD ROM for Universidad Central 2007 Admissions, Chile María Ignacia Risopatrón, Architectural Lighting, Chile Defensa Patagonia, NGO, Chile BR Joyas, Jewelry Design, Chile CD ROM for Universidad Central 2006 Admissions, Chile Dolly Arquitectos, Architects, Chile LWPAC, Architects, Canada MUTEK, Festival of Digital Culture, Chile Monarch, Textile Industries, Chile E185, Photography, Chile CD ROM for Universidad Central 2005 Admissions, Chile School of Architecture, Universidad Técnica Federico Santa María, Chile Cazú Zegers, Architect, (V.1), Chile CD ROM for Universidad Técnica Federico Santa María 2005 Admissions, Chile Onomatopeya Urbana, Architectural Journal, Puerto Rico *

( * 2004 Honor Mention, AIA, Puerto Rico Chapter, Publication/Investigation Category.)

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FLOB. Video / Chile, 2004.

First Prize at the Mutek.Nation Digital Animation Competition.

Registered in the Electronic Culture Festival MUTEK Chile 2004, the contest “Mutek.Nation” had as a purpose to bring together designers in general to present their proposals in live in synchrony with the events of the Festival, held at Baron Dock of Valparaíso. ”Flob” consisted of an animation of 45’ where small films of accelerated rhythm were showed as opposed to others that are extremely slow and almost imperceptible animated. On the one hand, these subtle changes hard to notice, but evident, at the same time, they confronted the hectic rhythm of the party, and on the other hand, they made explicit reference to the equal and eternal movement of the stars which that night took the sky in Valparaiso.

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Dolly.

2004-2013

Most of the projects shown on this portfolio were designed, discussed, managed and executed under the collaborative work of architects Takashi Hirose, Claudio Montenegro and Andrés Macera. As founders of a small firm established in Santiago de Chile in 2004, we managed more than a hundred of projects in nine years in almost every possible scale and format. We were interested in making architecture by testing new grounds without prejudices. We wanted to state a sort of discomfort against the clichés and the burdens of the profession. We wanted to do what the architectural dogma would consider outside the discussion; we wanted to work seriously without being boring, to carry out our ideas in unexpected ways. We were not afraid of being ugly, provocative, plastic or superficial. We wanted to try new formats, niches, scales, colors, names.

We called our firm “Dolly”, our logo was the face of the sheep.

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26.

4% FAILURE = SUCCESS Of all the projects managed between the years 2004 and 2013, the number of projects finally executed, in the same period, only amounted to 26.4%. The littleness of this rate came to confirm some notions of the the exercise of architecture: First and quoting Rem Koolhaas, “architecture is a chaotic adventure” whose realization depends on the most unsuspected, out of control vicissitudes. Second, great deal of the time practiced as architects is devoted to manage, discuss, convince, negotiate, think and show ideas; to “project” in the most pure sense of the word. But even more central was to understand that “failure” is a fundamental part of the profession, and failure obligates to persist, to reinvent oneself, to find market niches and new formats; it forces to constantly reorientate the practice of architecture. Failure, in short, works as an unsuspected virtuous driver over the architects’ mental predisposition nowadays.

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“Dolly”, Architectural publication. 2002.

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Humberto Maturana once stated that “The opposite of love is not hate,but indifference”.

No format or medium would be ever indifferent to Dolly.

Dolly is pure love.