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NY | 914.565.4573 | ASVELIZ@OUTLOOK.COM WWW.ANNETTEVELIZ.COM
CAREER SUMMARY LEED Green Assoc.
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SEPTEMBER, 2017
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01 02 03 04 05 06 07 08 09 10 11
T H E
A R T E R I A L
Michael Su & Philippe Baumann
L U M I N O U S
P L A N E
P O C K E T S
Urban SOS hOUR City
L O U D
C I T Y
Robert Siegel
Ç¢ ' 2 Ç£ 5 + 6 5 Ç£ ( Ç 4 ' # 6 + 8 + 6 ; Eva Perez de Vega
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Anthony Buccellato William Ngo Angelo Zaharatos
FAMILY ART PROJECT LEADER WAVE HILL | MAY - AUGUST, 2015 + MAY - AUGUST, 2016 | VOLUNTEER
ENGLISH + SPANISH FLUENT
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TABLE OF CONTENT
A N N E T T E
V E L I Z
NY | 914.565.4573 | ASVELIZ@OUTLOOK.COM WWW.ANNETTEVELIZ.COM
CAREER SUMMARY LEED Green Assoc.
TRANSYSTEMS
SEPTEMBER, 2017
NORWALK, CT | 203.866.9221 | JULY, 2017 - PRESENT
Assoc.AIA
PHL International Airport. RFP Request for Proposal of a 15 store package. Surveyed LQWHULRU VSDFHV OD\RXW IORRU Æ&#x201C;[WXUHV FRRUGLQDWLRQ RI UHQGHULQJV Z RXWVLGH FRQVXOWDQWV GHVLJQ FRQFHSW GHYHORSPHQW &XUUHQWO\ ZRUNLQJ RQ 3KDVH 6XEPLVVLRQ
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Entry-Level Architect
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SARRAZIN ARCHITECTURE PORT CHESTER, NY | 914.584.8437 | MAY - AUGUST, 2014 + MAY - AUGUST, 2015
'(6,*1 +21256 $:$5' -85< 5811(5 83 1'
CITY TECH [NYCCT] 8* _ 7(&+ _ 75$16)(5(' 0$< HIGHEST HONORS [3.8] RHINO ILLUSTRATOR PHOTOSHOP ,1'(6,*1 $872&$' REVIT GRASSHOPPER V-RAY '<1$02 MAYA MAXWELL
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01 02 03 04 05 06 07 08 09 10 11
T H E
A R T E R I A L
Michael Su & Philippe Baumann
L U M I N O U S
P L A N E
P O C K E T S
Urban SOS hOUR City
L O U D
C I T Y
Robert Siegel
Ç¢ ' 2 Ç£ 5 + 6 5 Ç£ ( Ç 4 ' # 6 + 8 + 6 ; Eva Perez de Vega
4 ' 5 + Ç¢ 7 ' 5 2 # Ç ' 0 ; Ç Dragana Zoric
. + 0 ' 2 . # 0 ' 8 ǣ . 7 / ' Dukz Koschitz
2 Ç£ ' / 5 # 4 Ç * + 8 ' Ran Oron
2 7 $ . + Ç 0 # 6 7 4 ' Carlyle Fraser
9 # 6 ' 4 , Ç£ 7 4 0 ' ; Beth Oâ&#x20AC;&#x2122;Neill
. + 8 + 0 ǡ 9 * + . ' Ǣ ' # Ǣ Richard Sarrach
5 ; / $ + Ç£ 6 + Ç / ' 4 Ç¡ ' 4 BioDesign Challege
12
$ # 5 ' Ǣ ǣ 0 2 # 4 # / ' 6 ' 4 5
13
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Anthony Buccellato William Ngo Angelo Zaharatos
FAMILY ART PROJECT LEADER WAVE HILL | MAY - AUGUST, 2015 + MAY - AUGUST, 2016 | VOLUNTEER
ENGLISH + SPANISH FLUENT
KWWSV ZZZ OLQNHGLQ FRP LQ DQQHWWH YHOL] KWWS PHULWSDJHV FRP $QQHWWHYHOL] KWWS DUFKLQHFW FRP DYHOL] KWWSV ZZZ LQVWDJUDP FRP DQQHWWHYHOL]
TABLE OF CONTENT
01
T H E
A R T E R I A L
P L A N E
Are there many Lisbons? Are they based on the individualsâ&#x20AC;&#x2122; experiences and routines? Can they all merge and celebrate each other? May leisure, daily map, and street encounters live in a single combined space attracting both the permanent dweller and the temporary visitor. Our thesis is based on a criticism to the disconnected isolated park nodes and the street as a limited scape which controls encounters. 2.'#5' .'6 /' )'6 61 -019 6*' 4'#. ;17 016 ;174 /#0+%74'& 5+&' ARCH 503 Thesis Design/SP17 Instructor: Michael Su & Philippe Baumann Collaboration with: Elard Timana
EXTERIOR - WATERFRONT NODE
LISBON, PORTUGAL
01
T H E
A R T E R I A L
P L A N E
Are there many Lisbons? Are they based on the individualsâ&#x20AC;&#x2122; experiences and routines? Can they all merge and celebrate each other? May leisure, daily map, and street encounters live in a single combined space attracting both the permanent dweller and the temporary visitor. Our thesis is based on a criticism to the disconnected isolated park nodes and the street as a limited scape which controls encounters. 2.'#5' .'6 /' )'6 61 -019 6*' 4'#. ;17 016 ;174 /#0+%74'& 5+&' ARCH 503 Thesis Design/SP17 Instructor: Michael Su & Philippe Baumann Collaboration with: Elard Timana
EXTERIOR - WATERFRONT NODE
LISBON, PORTUGAL
LO N G S E C T I O N / I N N E R FA B R I C T O WAT E R F R O N T - T O P , P E R F O R AT I O N S AT PA R K N O D E - B O T T O M .'( 6, OPENING CIT Y UP BY TIDING SPACES/GRAPHIC M AP - BOT TOM RIGHT
DAY TO NIGHT/ EXPLODED PARK NODE - RIGHT
LO N G S E C T I O N / I N N E R FA B R I C T O WAT E R F R O N T - T O P , P E R F O R AT I O N S AT PA R K N O D E - B O T T O M .'( 6, OPENING CIT Y UP BY TIDING SPACES/GRAPHIC M AP - BOT TOM RIGHT
DAY TO NIGHT/ EXPLODED PARK NODE - RIGHT
SKETCH MODEL The streets in most cities have become static. Streets as datums could be use for activities and open leisure spaces. This sketch model is questioning the idea of what if the street datum will expand? New public spaces could be created above and below the existing city, through the process of delamination. This will also begin to uncover the hidden spaces within the city and open up cultural opportunities which will provide a different overview Lisbon, Portugal.
SKETCH MODEL - .'(6
SKE TCH MODEL - TOP, SECTION THROUGH WATERFRONT NODE- CENTER, SECTION THROUGH PARK NODE - BOT TOM
SKETCH MODEL The streets in most cities have become static. Streets as datums could be use for activities and open leisure spaces. This sketch model is questioning the idea of what if the street datum will expand? New public spaces could be created above and below the existing city, through the process of delamination. This will also begin to uncover the hidden spaces within the city and open up cultural opportunities which will provide a different overview Lisbon, Portugal.
SKETCH MODEL - .'(6
SKE TCH MODEL - TOP, SECTION THROUGH WATERFRONT NODE- CENTER, SECTION THROUGH PARK NODE - BOT TOM
02
L U M I N O U S
P O C K E T S
How can I help you rebuilt, start over a new life, in a different culture, region, to make it you own space? Growth and cultural resiliency is based on...? We questioned what it means for a space to become activated to entice growth and cultural resiliency. We chose Lisbon, Portugal as the site because we absolutely believe that in itself is an empty capital. Facing critical issues such as declining population (aging) and structure detereoration. So.. lets invite different cultures over to stay, this is the activating solution. Noetheless it isnâ&#x20AC;&#x2122;t perfect! Why would a differnet culture leave home and settle in Lisbon. Refugees need a place, still it isnt perfect. How do they provide for themselves, our proposal does! It is a moving structure, housing culture. %1/' %1/' 6#-' 6*+5 $1: +6 %1/'5 9+6* +05647%6+105ĐŻ URBAN SOS hOUR CITY, Los Angeles Independent Competition Collaboration: Shaguni Ghupta, Tara Fleur Boonkhun, Vardhan Mehta 5'/+ (+0#.+56 CPPQWPEGF 5GRVGODGT YCKVKPI QP 0QDGODGT (KPCNKUV 0QVKEG
EXTERIO NIGHT VIEWR - AT WATERFRONT
LISBON, PORTUGAL
02
L U M I N O U S
P O C K E T S
How can I help you rebuilt, start over a new life, in a different culture, region, to make it you own space? Growth and cultural resiliency is based on...? We questioned what it means for a space to become activated to entice growth and cultural resiliency. We chose Lisbon, Portugal as the site because we absolutely believe that in itself is an empty capital. Facing critical issues such as declining population (aging) and structure detereoration. So.. lets invite different cultures over to stay, this is the activating solution. Noetheless it isnâ&#x20AC;&#x2122;t perfect! Why would a differnet culture leave home and settle in Lisbon. Refugees need a place, still it isnt perfect. How do they provide for themselves, our proposal does! It is a moving structure, housing culture. %1/' %1/' 6#-' 6*+5 $1: +6 %1/'5 9+6* +05647%6+105ĐŻ URBAN SOS hOUR CITY, Los Angeles Independent Competition Collaboration: Shaguni Ghupta, Tara Fleur Boonkhun, Vardhan Mehta 5'/+ (+0#.+56 CPPQWPEGF 5GRVGODGT YCKVKPI QP 0QDGODGT (KPCNKUV 0QVKEG
EXTERIO NIGHT VIEWR - AT WATERFRONT
LISBON, PORTUGAL
THE PROCCESS
AND INSTAL ATION BY RESIDENTS
1 : 1 S C A L E M O D E L I N S T A L L A T I O N - T O P, S E C T I O N - B O T T O M
THE PROCCESS
AND INSTAL ATION BY RESIDENTS
1 : 1 S C A L E M O D E L I N S T A L L A T I O N - T O P, S E C T I O N - B O T T O M
IKEA INSTAL ATION M ANUAL, ONE PER PACKAGE
I N T E R I O R R E N D E R I N G . - T O P, FIN ALIZED INSTAL ATION AT WATERFRONT - BOTTOM
IKEA INSTAL ATION M ANUAL, ONE PER PACKAGE
I N T E R I O R R E N D E R I N G . - T O P, FIN ALIZED INSTAL ATION AT WATERFRONT - BOTTOM
03
L O U D
C I T Y
The studio requirement for this semester was to design a dormitory with 110 bedrooms, to follow and to respond to all zoning and code regulations; creating a diverse environment for Prattsâ&#x20AC;&#x2122; creative students. The approach my partner and I took was to use the site as a type of legend, to organize type of units and facade strategy. The site is a corner condition in Brooklyn, NY. Myrtle Avenue is a mostly FRPPHUFLDO ZLWK KLJK SHGHVWULDQ DQG FDU WUDIÆ&#x201C;F :KHUH DV *UDQG $YHQXH LQ D UHVLGHQWLDO VWUHHW ZLWK RQH ZD\ WUDIÆ&#x201C;F 7KHVH G\QDPLFV GHWHUPLQHG WKH GHVLJQ 5*** .'6 6*' %+6; 52'#- .17&'4 2.'#5'Я ARCH 301Comprehensive Design/FA15 Instructor: Robert Siegel Collaboration with: Sharvari Mhatre
EXTERIOR - GRAND AVE VIEW
B R O O K LY N , N E W Y O R K
03
L O U D
C I T Y
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04
C E L E B R AT E O R I G I N , N O T O N LY T H E E N D P R O D U C T. ARCH 202 Intermediate Design/SP15 Instructor: Eva Perez de Vega
SKETCH MODEL/ADDITIVE LAYERS OF GROWTH
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04
C E L E B R AT E O R I G I N , N O T O N LY T H E E N D P R O D U C T. ARCH 202 Intermediate Design/SP15 Instructor: Eva Perez de Vega
SKETCH MODEL/ADDITIVE LAYERS OF GROWTH
WAVE HILL - BRONX, NY
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AS YOU REACH DOWN THE SLOPE IS THE MOST LOCKED IN LAYER THE MOST PERMANENT, IT HAS TO DO WITH THIS IDEA OF LEARNING. AS YOU STUDIOS WALK DOWN THE SLOPE THE KNOWLEDGE GAINED BECOMES GREATER - IS A LEARNING PROCESSES CLASSROOM - PROFESSIONAL STUDIO GALLERY EXHIBITION OF END PRODUCT. THE GALLERY IS THE COLLECTION OF THOUGHTS, TIME AND ENCOUNTERS EXHIBITION THEREFORE PERMANENT.
1
TOP VIEW/FINAL MODEL - .'(6, STUDY MODEL - TOP RIGHT, ROOF PL AN + SPACE ORGANIZ ATION - BOT TOM RIGHT
SECTIONS- TOP, SIDE VIEW/FINAL MODEL - BOTTOM
R E S I D U E
S P A C E
N Y C
Residue spaces within New York City, should one inhabit them? Do they provide a platform to better observe and understand the city? Do they enhance the experience of the resident and visitor by being inhabited? Yes, one should inhabit the residue space, perhaps as a temporary seasonal structure that has potential to expand the streetâ&#x20AC;&#x2122;s capability, cultural character of the neighborhood, or just as a rest stop. The approach of the studio was to design-explore three different site conditions. Conditions were: the horizontal, vertical, and the elevated horizontal. Within this conditions rules and components extracted from an earlier collage study were applied to accomplish the goal of: CONNECTING/UNIFYING ONE TO THE CITY (OUT) or DISCONNECTING ONE FROM THE CITY (IN). In vs. Out.
05
/#; + +0*#$+6 ;174 9+0&19.'55 9#..! ARCH 402 Advance Design/SU16 Instructor: Dragana Zoric
COLLAGE/IDEAS BANK
NEW YORK, NY
R E S I D U E
S P A C E
N Y C
Residue spaces within New York City, should one inhabit them? Do they provide a platform to better observe and understand the city? Do they enhance the experience of the resident and visitor by being inhabited? Yes, one should inhabit the residue space, perhaps as a temporary seasonal structure that has potential to expand the streetâ&#x20AC;&#x2122;s capability, cultural character of the neighborhood, or just as a rest stop. The approach of the studio was to design-explore three different site conditions. Conditions were: the horizontal, vertical, and the elevated horizontal. Within this conditions rules and components extracted from an earlier collage study were applied to accomplish the goal of: CONNECTING/UNIFYING ONE TO THE CITY (OUT) or DISCONNECTING ONE FROM THE CITY (IN). In vs. Out.
05
/#; + +0*#$+6 ;174 9+0&19.'55 9#..! ARCH 402 Advance Design/SU16 Instructor: Dragana Zoric
COLLAGE/IDEAS BANK
NEW YORK, NY
:(67 (/(9$7,21
EAST ELEVATION/ON WALL DESIGN - .'( 6, ON WALL DESIGN/FIN AL MODEL - CENTER SPREAD
WEST ELEVATION
- RIGHT
:(67 (/(9$7,21
EAST ELEVATION/ON WALL DESIGN - .'( 6, ON WALL DESIGN/FIN AL MODEL - CENTER SPREAD
WEST ELEVATION
- RIGHT
6(&7,21 & $;2 PERSPECTIVE SECTION/AT TACHING TO RESIDUE WALLS - 612 .'( 6, INTERIOR SPACE/STAIR TOP RIGHT, TOP VIEW FINAL MODEL - $1661/ .'(6, SITE PLAN - BOTTOM RIGHT
SECTION / USE OF SPACES
6(&7,21 & $;2 PERSPECTIVE SECTION/AT TACHING TO RESIDUE WALLS - 612 .'( 6, INTERIOR SPACE/STAIR TOP RIGHT, TOP VIEW FINAL MODEL - $1661/ .'(6, SITE PLAN - BOTTOM RIGHT
SECTION / USE OF SPACES
. + 0 ' 2 . # 0 ' 8 1 . 7 / ' The semester began with the analysis of a classical, I analyzed a violin concert by Johann Sebastian Bach. 7KH VRQJ ZDV WZR KRXUV ORQJ , LOOXVWUDWHG WKH Æ&#x201C;UVW VHFRQGV DQG FUHDWHG D VHW of rules per note, the depicted by drawing was use as inspiration. As the beginning of architecture and introduction course, the exercises gradually transition from point, line - plane, surface - volume, void. The collection of methods, technology and contextualize ideas learned during these course were critical to understanding space and architecture. 6 4 # 0 5 + 6 + 1 0 + 0 ) 6 1 6 * ' 9 1 4 . & 1 ( #4%*+6'%674'Я ARCH 101 Core Design/FA13 Instructor: Dukz Koschitz
06 COMPONENT VARI ATIONS AS 2D MODEL
PROTOTYPE
. + 0 ' 2 . # 0 ' 8 1 . 7 / ' The semester began with the analysis of a classical, I analyzed a violin concert by Johann Sebastian Bach. 7KH VRQJ ZDV WZR KRXUV ORQJ , LOOXVWUDWHG WKH Æ&#x201C;UVW VHFRQGV DQG FUHDWHG D VHW of rules per note, the depicted by drawing was use as inspiration. As the beginning of architecture and introduction course, the exercises gradually transition from point, line - plane, surface - volume, void. The collection of methods, technology and contextualize ideas learned during these course were critical to understanding space and architecture. 6 4 # 0 5 + 6 + 1 0 + 0 ) 6 1 6 * ' 9 1 4 . & 1 ( #4%*+6'%674'Я ARCH 101 Core Design/FA13 Instructor: Dukz Koschitz
06 COMPONENT VARI ATIONS AS 2D MODEL
PROTOTYPE
LINES - TOP, PLANAR - $1661/ .'(6, VOLUMETRIC - BOTTOM RIGHT
S K E T C H E S : P L A N E S A N D A X O N O M E T R I C - T O P , E L E V AT I O N S O F F O L LY - B O T T O M
LINES - TOP, PLANAR - $1661/ .'(6, VOLUMETRIC - BOTTOM RIGHT
S K E T C H E S : P L A N E S A N D A X O N O M E T R I C - T O P , E L E V AT I O N S O F F O L LY - B O T T O M
2 1 ' / 5 # 4 % * + 8 ' [Afternoon and / the West and / the gorgeous / nothings / which / compose / the / sunset / keep] [Their high / appoint / ment /of I] [Clogged / only with / Music like / the wheels of / Birds] What caught my attention the most of this poem was its fragmented writings and the fact that in order to read along, it required and demand of me to interact, by turning its orientation as I read along. Once I began considering the writing and its meaning I began to feel as if the orientation of the text were intentional, as Emily Dickinson writes about the natural cycles, rhythms that occurred daily, which to me is what she means by the “gorgeous nothings”. I also feel as if this is all in relationship to Dickinson, to her thoughts and vantage point of view. Therefore Dickinson becomes like a point of reference from which things pivot from, she is the pin holding the wheel. To summarize the poem I selected “Nothings – I– and Wheels” nothings represent the rhythms, I the pin from which the rhythms pivot from in a circular repetitive motion represented by wheels. +052+4' /' 9+6* (4#)/'065Я ARCH 201 Intermediate Design/FA14 Instructor: Ran Oron
07 SECTION CUT ON GRAND ST DIRECTION OVERLOOKING CHRYSTIE ST + PARK
CHIN ATOWN - NEW YORK, NY
2 1 ' / 5 # 4 % * + 8 ' [Afternoon and / the West and / the gorgeous / nothings / which / compose / the / sunset / keep] [Their high / appoint / ment /of I] [Clogged / only with / Music like / the wheels of / Birds] What caught my attention the most of this poem was its fragmented writings and the fact that in order to read along, it required and demand of me to interact, by turning its orientation as I read along. Once I began considering the writing and its meaning I began to feel as if the orientation of the text were intentional, as Emily Dickinson writes about the natural cycles, rhythms that occurred daily, which to me is what she means by the “gorgeous nothings”. I also feel as if this is all in relationship to Dickinson, to her thoughts and vantage point of view. Therefore Dickinson becomes like a point of reference from which things pivot from, she is the pin holding the wheel. To summarize the poem I selected “Nothings – I– and Wheels” nothings represent the rhythms, I the pin from which the rhythms pivot from in a circular repetitive motion represented by wheels. +052+4' /' 9+6* (4#)/'065Я ARCH 201 Intermediate Design/FA14 Instructor: Ran Oron
07 SECTION CUT ON GRAND ST DIRECTION OVERLOOKING CHRYSTIE ST + PARK
CHIN ATOWN - NEW YORK, NY
Chrystie Street Elevation scale: 1/8” = 1’-0”
STREET LEVEL PLAN - 612 .'(6; ROOF LEVEL PLAN - 612 .'(6 $'..19, DETACHABLE MODEL CLOSED - TOP RIGHT
DE TACH ABLE MODEL - TOP, CHRYSTIE ST ELEVATION - BOTTOM
Chrystie Street Elevation scale: 1/8” = 1’-0”
STREET LEVEL PLAN - 612 .'(6; ROOF LEVEL PLAN - 612 .'(6 $'..19, DETACHABLE MODEL CLOSED - TOP RIGHT
DE TACH ABLE MODEL - TOP, CHRYSTIE ST ELEVATION - BOTTOM
P U B L I C
N A T U R E
We were asked to consider two characters,I invented Jamilet, and Theo. Theo, a gifted performer the best of his time, famous, and well admire by all artists. The space was designed for him, with the idea that his life is a daily public show, were all may see him. Yet he wanted assurance, that one will at all times be watching, and there Jamilet comes to the story, she is the space keeper, as well as a fan, maintains the space sound and the performer at all times performing. The idea derived from “Invisible Cities”, The city of Armilla which is a division of space by water pipes, resembling the water pipes as frames / transparent wall, allowing the visitors to see the inhabitants in their daily life. Calvino states that in the city of Armilla visitors come across “young women…not tall of stature, luxuriating in the bathtubs or arching their backs under the showers suspended in the void” (Page 49) Which made me consider the sense of privacy, and how this isn’t what stops the inhabitant from living their daily life, but maybe how no privacy is what pushes them to care further more for themselves, for their body. Theo as the inhabitant of the space, and mainly as a great performer chooses to VDFULƓFH KLV SULYDF\ IRU WKH LPSURYHPHQW RI KLV DFW 7KH VHQVH RI NQRZLQJ WKDW someone watches at all times makes him perform and be at his best, every second of his life, as every second will be enjoy by others. 2.'#5' .' 6 /' $' 2#46 1( ;174 '8'4; 5'%10&Я ARCH 102 Core Design/SP14 Instructor: Carlyle Fraser
08 SPACE AS SOLID MODEL
B R O O K LY N , N Y
P U B L I C
N A T U R E
We were asked to consider two characters,I invented Jamilet, and Theo. Theo, a gifted performer the best of his time, famous, and well admire by all artists. The space was designed for him, with the idea that his life is a daily public show, were all may see him. Yet he wanted assurance, that one will at all times be watching, and there Jamilet comes to the story, she is the space keeper, as well as a fan, maintains the space sound and the performer at all times performing. The idea derived from “Invisible Cities”, The city of Armilla which is a division of space by water pipes, resembling the water pipes as frames / transparent wall, allowing the visitors to see the inhabitants in their daily life. Calvino states that in the city of Armilla visitors come across “young women…not tall of stature, luxuriating in the bathtubs or arching their backs under the showers suspended in the void” (Page 49) Which made me consider the sense of privacy, and how this isn’t what stops the inhabitant from living their daily life, but maybe how no privacy is what pushes them to care further more for themselves, for their body. Theo as the inhabitant of the space, and mainly as a great performer chooses to VDFULƓFH KLV SULYDF\ IRU WKH LPSURYHPHQW RI KLV DFW 7KH VHQVH RI NQRZLQJ WKDW someone watches at all times makes him perform and be at his best, every second of his life, as every second will be enjoy by others. 2.'#5' .' 6 /' $' 2#46 1( ;174 '8'4; 5'%10&Я ARCH 102 Core Design/SP14 Instructor: Carlyle Fraser
08 SPACE AS SOLID MODEL
B R O O K LY N , N Y
AXONOME TRIC SECTION ILLUSTRATING FIN AL SPACES - 612 .'( 6, EXTERIOR VIEW RIGHT, CLOSEUP SHOT/AS VOID - CENTER
- TOP
SYNTAX DEVELOPMENT - TOP, CLOSE SHOT/AS VOID - CENTER, SPACE AS VOID DE TACHING M O D E L - $ 1 6 6 1 / . ' ( 6 4 + ) * 6 5 2 4 ' # &
AXONOME TRIC SECTION ILLUSTRATING FIN AL SPACES - 612 .'( 6, EXTERIOR VIEW RIGHT, CLOSEUP SHOT/AS VOID - CENTER
- TOP
SYNTAX DEVELOPMENT - TOP, CLOSE SHOT/AS VOID - CENTER, SPACE AS VOID DE TACHING M O D E L - $ 1 6 6 1 / . ' ( 6 4 + ) * 6 5 2 4 ' # &
9 # 6 ' 4 , 1 7 4 0 ' ; What potential does water have? Water can serve as a type of inspirational tool for the user. Water is channeled through the roof and at one point merges with the user for an experience of smell, sight and sound. There are two circulations. One for the public, along the exterior, always viewing the shore and the professional rowing team. A journey of water and information. The other for the professional rowing team, a direct route connecting main spaces used by rowers. / ' 4 ) ' / ' 9 9 # 6 ' 4 ĐŻ 6 # - ' / ' ( 4 1 / + 0 6 ' 4 ' 5 6 61 /16+8#6+10 ARCH 302 Comprehensive Design/SP16 Instructor: Beth Oâ&#x20AC;&#x2122;Neill Collaboration with: Pablo Gualde
09 CONCEPT DRAWING/THE SHED
INWOOD - NEW YORK, NY
9 # 6 ' 4 , 1 7 4 0 ' ; What potential does water have? Water can serve as a type of inspirational tool for the user. Water is channeled through the roof and at one point merges with the user for an experience of smell, sight and sound. There are two circulations. One for the public, along the exterior, always viewing the shore and the professional rowing team. A journey of water and information. The other for the professional rowing team, a direct route connecting main spaces used by rowers. / ' 4 ) ' / ' 9 9 # 6 ' 4 ĐŻ 6 # - ' / ' ( 4 1 / + 0 6 ' 4 ' 5 6 61 /16+8#6+10 ARCH 302 Comprehensive Design/SP16 Instructor: Beth Oâ&#x20AC;&#x2122;Neill Collaboration with: Pablo Gualde
09 CONCEPT DRAWING/THE SHED
INWOOD - NEW YORK, NY
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GROUND LEVEL FLOOR PLAN
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GROUND LEVEL FLOOR PLAN
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. + 8 + 0 ) 9 * + . ' & ' # & Is architecture to be static, inert, part of a massive production mean? Can architecture begin to live in-between the process of the large factory? The Living While Dead is a prototype space questioning and challenging the purpose of building materials as permanent and single purposed. It uses SCOBY (Symbiotic Colony of Bacteria and Yeast: A byproduct of Kombucha tea brewing) as a nutrient storage, which temporary cycles through the interior spaces. While moving through space, it serves as a temporary (2 years) wall, which gives off lime-citrus smells and itâ&#x20AC;&#x2122;s actively reacting to moisture content in the air, as well as heat. At the end of the cycle the material becomes insulation and ultimately a nutrient for nearby crops. 9 * # 6 # 4 ' 6 * ' 4 # / + ( + % # 6 + 1 0 1 ( # 5 ' / + # . + 8 ' 52#%'! ARCH 403 Advance Design/FA16 Instructor: Richard Sarrach Collaboration with: Ann Chai, Elaine Tan, Nohar Agadi
10 CONCEPTUAL DRAWING ILLUSTRATING PROTOTYPE SHEDDING
DESIGN PROTOTYPE - CHICAGO, IL
. + 8 + 0 ) 9 * + . ' & ' # & Is architecture to be static, inert, part of a massive production mean? Can architecture begin to live in-between the process of the large factory? The Living While Dead is a prototype space questioning and challenging the purpose of building materials as permanent and single purposed. It uses SCOBY (Symbiotic Colony of Bacteria and Yeast: A byproduct of Kombucha tea brewing) as a nutrient storage, which temporary cycles through the interior spaces. While moving through space, it serves as a temporary (2 years) wall, which gives off lime-citrus smells and itâ&#x20AC;&#x2122;s actively reacting to moisture content in the air, as well as heat. At the end of the cycle the material becomes insulation and ultimately a nutrient for nearby crops. 9 * # 6 # 4 ' 6 * ' 4 # / + ( + % # 6 + 1 0 1 ( # 5 ' / + # . + 8 ' 52#%'! ARCH 403 Advance Design/FA16 Instructor: Richard Sarrach Collaboration with: Ann Chai, Elaine Tan, Nohar Agadi
10 CONCEPTUAL DRAWING ILLUSTRATING PROTOTYPE SHEDDING
DESIGN PROTOTYPE - CHICAGO, IL
TEA, SUGAR, VINEGAR, AND A SCOBY CULTURE ARE ADDED TO A WATER SOURCE.
OIL IS TRANSPORTED VIA PIPES WHICH CAN CAUSE OIL LEAKS
FOSSIL FUEL CRUDE OIL EXTRACTED FROM EARTH
OIL TRUCKS TAKE THE CRUDE OIL TO REFINERY FACTORIES FOR PROCESSING
AFTER WEEKS, A NEW THICK LAYER OF SCOBY CULTURE FORMS AT THE SURFACE OF THE WATER.
THE LAYER IS EXTRACTED AND LEFT TO DRY.
THE REFINERY PROCESSES THE OIL TO PRODUCE PELLETS FOR PLASTIC. WATER AND ENERGY ARE USED. THE KOMBUCHA IS MADE ON SITE AND CAN BE USED RIGHT AWAY.
THE PELLETS ARE POURED INTO A FURNACE WHICH MELTS THEM AT HIGH HEAT TO PRODUCE LIQUID PLASTIC.
THE FINISHED PLASTIC IS THEN TRANSPORTED TO THE SITE.
LO N G S E C T I O N - T O P , C ATA LO G O F I D E A S / O U R C R I T I C I S M O N FA C T O RY M AT E R I A L P R O D U C T I O N COMPARED TO SCOBY IN-SITE - BOT TOM
SHORT SECTION - TOP, CATALOG OF SCOBY AS M ATERI AL TO SPACE - CENTER, USING THE SPACES - $16 61/ .'( 6, DISTRIBUTION OF NUTRIENTS M AP - BOT TOM RIGHT
TEA, SUGAR, VINEGAR, AND A SCOBY CULTURE ARE ADDED TO A WATER SOURCE.
OIL IS TRANSPORTED VIA PIPES WHICH CAN CAUSE OIL LEAKS
FOSSIL FUEL CRUDE OIL EXTRACTED FROM EARTH
OIL TRUCKS TAKE THE CRUDE OIL TO REFINERY FACTORIES FOR PROCESSING
AFTER WEEKS, A NEW THICK LAYER OF SCOBY CULTURE FORMS AT THE SURFACE OF THE WATER.
THE LAYER IS EXTRACTED AND LEFT TO DRY.
THE REFINERY PROCESSES THE OIL TO PRODUCE PELLETS FOR PLASTIC. WATER AND ENERGY ARE USED. THE KOMBUCHA IS MADE ON SITE AND CAN BE USED RIGHT AWAY.
THE PELLETS ARE POURED INTO A FURNACE WHICH MELTS THEM AT HIGH HEAT TO PRODUCE LIQUID PLASTIC.
THE FINISHED PLASTIC IS THEN TRANSPORTED TO THE SITE.
LO N G S E C T I O N - T O P , C ATA LO G O F I D E A S / O U R C R I T I C I S M O N FA C T O RY M AT E R I A L P R O D U C T I O N COMPARED TO SCOBY IN-SITE - BOT TOM
SHORT SECTION - TOP, CATALOG OF SCOBY AS M ATERI AL TO SPACE - CENTER, USING THE SPACES - $16 61/ .'( 6, DISTRIBUTION OF NUTRIENTS M AP - BOT TOM RIGHT
SCOBY AS INSUL ATION - .'( 6 Building emits lime scents throughout the interior spaces and sheds along the exterior walls
day 14
SCOBY AS PERMEABLE WALL - $'..19 Strung together to allow for door-less direct circulation
day 12-14
day 01
day 08-12
day 01
day 01-04
day 04-08
day 08
day 08-11 day 08
DIAGRAM OF IDEAS - TOP, MODEL SHOTS: 3D PRINTS IN COLOR .VRML + CNC SITE - BOTTOM
day 12
M ATERI AL/ON-SITE PRODUCTION - TOP, FIN AL MODEL/ SITE UNDERGROUND SPACES - BOT TOM
SCOBY AS INSUL ATION - .'( 6 Building emits lime scents throughout the interior spaces and sheds along the exterior walls
day 14
SCOBY AS PERMEABLE WALL - $'..19 Strung together to allow for door-less direct circulation
day 12-14
day 01
day 08-12
day 01
day 01-04
day 04-08
day 08
day 08-11 day 08
DIAGRAM OF IDEAS - TOP, MODEL SHOTS: 3D PRINTS IN COLOR .VRML + CNC SITE - BOTTOM
day 12
M ATERI AL/ON-SITE PRODUCTION - TOP, FIN AL MODEL/ SITE UNDERGROUND SPACES - BOT TOM
S I M B I O T I C
M E R G E R
As designer, creative thinkers, and mainly as the minds behind where and how spaces are inhabited. How does one begin to learn from the past, yet at the same time fully innovate and rethink todayâ&#x20AC;&#x2122;s critical energy crisis? So that every new space put out is absolutely a system simultaneously and seamlessly working with nature. Creating spaces that are actively cycling through the space, regenerating, interacting with users, and growing. JOINING FORCES IS THE WAY FORWARD BIODESIGN CHALLENGE Museum of Modern Art Advisor: Richard Sarrach + Catherine Ingraham Collaboration w/ ARCH 403 class FINALIST.
11 EXTERIOR - GRAND AVE VIEW
B R O O K LY N , N E W Y O R K
S I M B I O T I C
M E R G E R
As designer, creative thinkers, and mainly as the minds behind where and how spaces are inhabited. How does one begin to learn from the past, yet at the same time fully innovate and rethink todayâ&#x20AC;&#x2122;s critical energy crisis? So that every new space put out is absolutely a system simultaneously and seamlessly working with nature. Creating spaces that are actively cycling through the space, regenerating, interacting with users, and growing. JOINING FORCES IS THE WAY FORWARD BIODESIGN CHALLENGE Museum of Modern Art Advisor: Richard Sarrach + Catherine Ingraham Collaboration w/ ARCH 403 class FINALIST.
11 EXTERIOR - GRAND AVE VIEW
B R O O K LY N , N E W Y O R K
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4BED DUPLEX DETAIL CALLOUTS - %'06'4 .'(6 + $1661/ .'(6, REAR YARD VIEW/FINAL MODEL - BOTTOM RIGHT
4 B E D D U P L E X A X O / C O R N E R A P T . - T O P, REAR YARD/CURATED BY STUDENTS - BOTTOM
#2'4674' 9#..
$ $ ( ALUMINUM FRAME APERTURE PANEL #$ ( L A! $ ( ## ( TTICE $
KAPTON LEAF
# ( (
BACILLUS SUBTILIS N ANOGENERATOR
&(
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0% POROSITY ( " #%( (
0% RH
( " #%( ( 50% POROSITY
50% RH
( " #%( ( 100% POROSITY
100% RH
4BED DUPLEX DETAIL CALLOUTS - %'06'4 .'(6 + $1661/ .'(6, REAR YARD VIEW/FINAL MODEL - BOTTOM RIGHT
4 B E D D U P L E X A X O / C O R N E R A P T . - T O P, REAR YARD/CURATED BY STUDENTS - BOTTOM
B A S E D
O N
P A R A M E T E R S
Within the variation of components tested; there were those with interior alignment and exterior alignment. The alignment affected the interaction of the user; in the interior alignment the user will walk straight through the space and since the walls will all align within the interior, the exterior experience will be the preferable use of the pavilion (the active part). Which is interesting but I strongly felt that the interior interaction will be more ideal since the views will be frame, striated, and shadows will cast not only on ground but on interior surface. The intention was for the user to mainly use the pavilion from inside to outside, for the interior to be the main activated part. The analysis is based on the exterior alignment component. %10641. 07/$'45 #5 # 9#.-+0) ':2'4+'0%' PRATT - ARCH 521 BIM/SP16 Instructor: Anthony Buccellato
12
Highest Point 52' - 6"
3
2 6 7 L.F. Bracing
Lowest Point 11' - 0"
4
SKETCHES FOOTING OVERVIEW - TOP, LONG SECTION/CUT ALONG CENTER/COLORS HIGHLIGHT VOLUME INCREASE FROM RED-LESS TO BLUE-MORE - BOTTOM
5
8
1
TRIUMPH PAVILION by IPT Architects at Museum Gardens in Bethnal Green, LONDON UKCENTER, FRONT VIEW/INTERIOR ALIGNMENT VERSION- BOTTOM
B A S E D
O N
P A R A M E T E R S
Within the variation of components tested; there were those with interior alignment and exterior alignment. The alignment affected the interaction of the user; in the interior alignment the user will walk straight through the space and since the walls will all align within the interior, the exterior experience will be the preferable use of the pavilion (the active part). Which is interesting but I strongly felt that the interior interaction will be more ideal since the views will be frame, striated, and shadows will cast not only on ground but on interior surface. The intention was for the user to mainly use the pavilion from inside to outside, for the interior to be the main activated part. The analysis is based on the exterior alignment component. %10641. 07/$'45 #5 # 9#.-+0) ':2'4+'0%' PRATT - ARCH 521 BIM/SP16 Instructor: Anthony Buccellato
12
Highest Point 52' - 6"
3
2 6 7 L.F. Bracing
Lowest Point 11' - 0"
4
SKETCHES FOOTING OVERVIEW - TOP, LONG SECTION/CUT ALONG CENTER/COLORS HIGHLIGHT VOLUME INCREASE FROM RED-LESS TO BLUE-MORE - BOTTOM
5
8
1
TRIUMPH PAVILION by IPT Architects at Museum Gardens in Bethnal Green, LONDON UKCENTER, FRONT VIEW/INTERIOR ALIGNMENT VERSION- BOTTOM
13
H I S T O R Y
S H E L L
The museum displays Brooklyn History at a scaled recreation of architectural landmarks. Mainly focusing on the bridges and post-industrial buildings. / # ; + ) ' 6 % . 1 5 ' 4 * 1 9 + 0 6 + / # 6 ' % # 0 # 5 / # . . SCALE BE. CITY TECH/SP13 Instructor: William Ngo
SITE PL AN - TOP, ELEVATION VIEWS - BOTTOM
B R O O K LY N , N Y PERSPECTIVE/FINAL MODEL- BOTTOM
13
H I S T O R Y
S H E L L
The museum displays Brooklyn History at a scaled recreation of architectural landmarks. Mainly focusing on the bridges and post-industrial buildings. / # ; + ) ' 6 % . 1 5 ' 4 * 1 9 + 0 6 + / # 6 ' % # 0 # 5 / # . . SCALE BE. CITY TECH/SP13 Instructor: William Ngo
SITE PL AN - TOP, ELEVATION VIEWS - BOTTOM
B R O O K LY N , N Y PERSPECTIVE/FINAL MODEL- BOTTOM
14
P I V O T I N G The room/space volumes are set in motion and pivot from the center of main core. The main core is the volume which is penetrating at an angle in section. This is the force setting all spaces in motion. ARE YOU ABLE TO CONNECT ALL THE DOTS AND DETERMINE MY INTENTIONS? CITY TECH/FA12 Instructor: Angelo Zaharatos
GROUND FLOOR PLAN - LEFT, MODEL VIEWS - TOP RIGHT
SECTION - RIGHT
14
P I V O T I N G The room/space volumes are set in motion and pivot from the center of main core. The main core is the volume which is penetrating at an angle in section. This is the force setting all spaces in motion. ARE YOU ABLE TO CONNECT ALL THE DOTS AND DETERMINE MY INTENTIONS? CITY TECH/FA12 Instructor: Angelo Zaharatos
GROUND FLOOR PLAN - LEFT, MODEL VIEWS - TOP RIGHT
SECTION - RIGHT
FIN AL PRESENTATIONS @ HIGGINS H ALL PRATT INSTITUTE: ARCH 403 SATURDAY HONORS REVIEW/RICHARD SARRACH - TOP, ARCH 302/BETH Oâ&#x20AC;&#x2122;NEILL - BOTTOM
B R O O K LY N , N Y : A R C H 5 0 3 D I S T I N G U I S H E D P R O J E C T R E V I E W / H O N O R S A W A R D J U R Y / M I C H A E L SU+PHILLIPE BAUMANN - TOP, ARCH 301/ROBERT SIEGEL - BOTTOM
FIN AL PRESENTATIONS @ HIGGINS H ALL PRATT INSTITUTE: ARCH 403 SATURDAY HONORS REVIEW/RICHARD SARRACH - TOP, ARCH 302/BETH Oâ&#x20AC;&#x2122;NEILL - BOTTOM
B R O O K LY N , N Y : A R C H 5 0 3 D I S T I N G U I S H E D P R O J E C T R E V I E W / H O N O R S A W A R D J U R Y / M I C H A E L SU+PHILLIPE BAUMANN - TOP, ARCH 301/ROBERT SIEGEL - BOTTOM