AndrĂŠs Macera Espinosa | BArch UTFSM, Chile | MsAAD GSAPP, Columbia University, New York.
ANDRÉS MACERA ESPINOSA.
Education
2014 2001 2012 2009 2006 2001
Awards
2014 2014 2013 2013 2004 2003 2003 2001
606W 148th St, Fl 1 New York, NY 10031 T: +1 (917) 244 9797 E: macera.andres@gmail.com
Professional Experience
2014 2004 / 2013 2003 2002
Teaching Experience
2014 2007 / 2013 2010 2010 2005 / 2007 2002
Work Experience
2002 / 2014
Publications
2015 2012 2009 2004 2003
Lectures
2013 2010 2008 2003
Skills
References
Master of Science in Advanced Architectural Design, GSAPP, Columbia University, New York. Bachelor of Architecture (5yrs. Professional Degree), School of Architecture – UTFSM, Chile. Parametric Design & Digital Fabrication, School of Architecture - Universidad de Chile. After Effects, Introduction, animation and visual effects, Mac Academy, Chile. Advanced Actionscript for Adobe Flash MX, Pontificia Universidad Católica de Chile, Chile. Urban Interfaces + Connective Membranes and Global Capital Flow, University of British Columbia, Vancouver / Hong Kong. William Kinne Fellows Travel Prize, GSAPP, Columbia University. Lucille Smyser Lowenfish Memorial Prize, GSAPP, Columbia University. Fulbright Scholar, Fulbright Chile. Becas Chile Scholarship recipient, Government of Chile. First Prize, “Flob”, Mutek.Nation” competition for digital animations. Honor Mention, “Onomatopeya Urbana, online version”, AIA Puerto Rico Chapter, Publication/Investigation Category, Puerto Rico. Honor Mention, “Design Competition for the Annex to the CAAPPR”, Puerto Rico. Federico Santa María Honor Medal Award, Best graduate from UTFSM School of Architecture, Chile. International House of Architecture, New York, Team Member Dolly | Arquitectos, Santiago de Chile, Principal Hernández-Bauzá Architects, San Juan, Puerto Rico, Project Manager ArqZe [Architecture in Extreme Zones], Valparaíso, Chile, Project Manager Teaching Assistant, Advanced Design Studio, GSAPP, Columbia University, New York. Multimedia Representation Instructor, School of Architecture, Universidad Finis Terrae, Chile. Invited Instructor, “Web interfaces for architects”, School of Architecture, Universidad de Talca, Chile. Invited Instructor, “Feast” Workshop, School of Architecture, Universidad de las Américas, Chile. Invited Instructor, Architecture Workshop for 1st year, School of Architecture, UTFSM, Chile. Teaching Assistant , Design Studio for 5th year, School of Architecture, UTFSM, Chile. Conceptual and technical design, management and construction supervision of numerous architectural and graphical projects in different scales, such as housing, television scenographies, retail, furniture and digital interfaces. ABSTRACT 2013/2014: Publication of selected student projects from GSAPP, Columbia University ENTORNO 21: “Vivienda Asequible”, “La Beneficiosa Agitación” POLIMORFO Vol 1: “Ciudadlab: Puerto Rico in Orlando”, “The Result of the superficial” DOMUS #870: “Picturing Utopia”, Architecture in Extreme Environments 1. Antarctica ARQZE AAA #17, Archivos de Arquitectura Antillana, “Proposal for the Annex to the CAAPPR” What Do We Call Experimental?, GSAPP, Columbia University, New York. Failures, School of Architecture of Universidad De Las Américas, Chile. The TV Experience, DUOC UC, Pontificia Universidad Católica de Chile, Chile. Superficialities, ArqPoli, the School of Architecture at the Polytechnic University of Puerto Rico. 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 Mark Wasiuta, Adjunct Assistant Professor of Architecture, Planning and Preservation. Columbia University. 1172 Amsterdam Avenue, New York, NY 10027 Email: mw2283@columbia.edu Andrés 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. Columbia University. 1172 Amsterdam Avenue, New York, NY 10027 Email: cg2322@columbia.edu / cristina@fakeindustries.org
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 Sånchez. 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.
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.
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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.
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Receiving Unloading dock Warehouse Laboratory / Cloning
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Indoor Grow Rooms
Grennhouses
05 Mother Plants 06 Vegetation 07 Flowering
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Harvesting Quarantine Trimming Drying Extraction Packaging Vault Loading Dock Shipping
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.
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.
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.
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.
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.
BRIDGING MEDELLIN: PHASE 2.0 Project developed as part of the AAD Master Program, GSAPP, Columbia University. 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.
COLLECTING VIOLENCE; A MUSEUM FOR CENSORED ART. Project developed as part of the AAD Master Program, GSAPP, Columbia University. 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?