A N N E T T E PRATT INSTITUTE UNDERGRADUATE 17
V E L I Z
A N N E T T E
V E L I Z
NY | 914.565.4573 | AVELIZ@PRATT.EDU WWW.ANNETTEVELIZ.COM
C O M P E T I T I O N S PRATT INSTITUTE
INTERNATIONAL MUSEUM of WRITING
DEAN’S LIST SPRING 20107, 2014, FALL 2013
URBAN SOS™ 2017: hOUR City by AECOM
UG | ARCHITECTURE | MAY, 2017
PRESIDENT’S LIST FALL 2016, SPRING 2016, FALL 2015, SPRING 2015 DESIGN 402-
DISTINGUISHED PROJECT REVIEW
CENTRAL PARK OF SONGDO, INCHEON | TEAM OF 10 ADVISORS: PHILLIPE BAUMANN + MICHAEL WEN SU
LISBON, PORTUGAL | | TEAM OF 5
BIODESIGN CHALLENGE
PROTOTYPE | PRESENTER Museum of Modern Art | TEAM OF 11 ADVISORS: RICHARD SARRACH + KATHERINE INGRAM
DESIGN 503-
HONORS AWARD JURY - TOP RUNNER UP 2ND
HONORS [3.6] THESIS HONORABLE MENTION
CITY TECH [NYCCT]
UG | B.TECH | TRANSFERED MAY, 2013 HIGHEST HONORS [3.8]
SKILLS RHINO -GRASSHOPPER REVIT -DYNAMO AUTOCAD MAYA V-RAY MAXWELL OFFICE ILLUSTRATOR PHOTOSHOP INDESIGN
A R C H I T E C T U R E AGNETA ARCHITECTS NEW YORK, NY | 917.821.9022 | JANUARY - MAY, 2017 Brooklyn Historical Society | Cultural Project - Brooklyn, NY Organization of exhibition spaces assist Red-line correction and sketch revision 6LWH YLVLWV DQG GLPHQVLRQ YHULƓFDWLRQ Mill work design assist and shop drawings Coordination of lighting and shading systems
SARRAZIN ARCHITECTURE PORT CHESTER NY | 914.584.8437 | MAY - AUGUST, 2014+MAY - AUGUST, 2015 5-7 Story | 30-60 units | Residential projects - Stamford, CT + White Plains, NY Single family | Residential design - Scarsdale, NY Residential site survey and documentation, SD, CD, and project sheet set-up Red-line correction and revision Hospitality | Restaurant Design | Commercial project - Stamford, CT Survey interior space, assist w/ organization of equipment, sitting and bar design 3D modeling, interior scene visualization, exterior renderings Fabrication of center ceiling panels - Peruvian Scene molded
A C T I V I T I E S
3D PRINTING CNC MILLING LASER CUTTING TIG WELDING OXY WELDING
TEACHING ASSISTANT
ENGLISH | FULL PROFICIENCY SPANISH | NATIVE
FAMILY ART PROJECT LEADER
RESUME
I N T E R N
PRATT INSTITUTE | AUGUST, 2016 - MAY, 2017 DESIGN 1, TECHNICS, REPRESENTATIONS 2
WAVE HILL | MAY - AUGUST, 2015 + MAY - AUGUST, 2016 VOLUNTEER https://www.linkedin.com/in/annette-veliz-394461103 http://meritpages.com/Annetteveliz http://archinect.com/aveliz https://www.instagram.com/annetteveliz/
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/28' &,7< Robert Siegel
Beth Oâ&#x20AC;&#x2122;Neill
ǥ(3Ǣ6,76 Ǣ) ǡ5($7,9,7< Eva Perez de Vega
Anthony Buccellato
Richard Sarrach
Dragana Zoric
3Ç¢(06 $5Ç¡+,9( Ran Oron
Carlyle Fraser
Dukz Koschitz
TABLE OF CONTENT
EXTERIOR - WATERFRONT NODE
7 + ( $ 5 7 ( 5 , $ / 3 / $ 1 ( DESIGN STATEMENT Are there many Lisbons? Are they based on the individuals 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. $5&+ 7KHVLV 'HVLJQ Instructor: Michael Su & Philippe Baumann Collaboration with: Elard Timana
01 LISBON, PORTUGAL
6.(7&+ 02'(/ 5,*+7 The streets in most cities has become static. Datums where spaces and activities depart from, but not the host. This sketch model is questioning the idea of what if the street datum will expand? Through the process of delamination, creating new public spaces above and bellow the existing city. While doing so it will also begin to uncover the hidden spaces within the city, opening up culture and providing a different overview of Lisbon, Portugal.
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PERFORATION AT PARK NODE
LO N G S E C T I O N - I N N E R FA B R I C T O WATERFRONT
UNCOVERING - TIDING SPACES
$%29( *5$3+,& 9,(: (;7(5,25 3$5. 12'( CENTER - INTERIOR SPACES
EXTERIOR - GRAND AVE VIEW
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The studio requirement for this semester was to design a dormitory with 110
bedrooms, to follow and respond to all zoning and code regulations, while creating a diverse environment for Prattâ&#x20AC;&#x2122;s creative students. The approach my partner and I took was to use the site a type of legend, use to organize type of units, and facade VWUDWHJLHV 7KH VLWH LV D FRUQHU FRQGLWLRQ LQ %URRNO\Q 1< DW WKH LQWHUVHFWLRQ RI 0\UWOH $YHQXH D PRVWO\ FRPPHUFLDO KLJK SHGHVWULDQ FDU WUDIĆ&#x201C;F VWUHHW DQG *UDQG $YHQXH DQ DOO UHVLGHQWLDO TXLWH VWUHHW ZLWK RQH ZD\ WUDIĆ&#x201C;F RQO\ 7KLV G\QDPLFV ZHUH ZKDW determined the design . 6+++ /(7 7+( &,7< 63($. LOUDER PLEASE!
$5&+ &RPSUHKHQVLYH 'HVLJQ Instructor: Robert Siegel Collaboration with: Sharvari Mhatre
40'-0" MIN. 65'-0" MAX. 80'-0" 15'-0" NARROW ST. 10'-0" WIDE ST
CORNET LOT COVERAGE:
100'-0"X100'-0" 80% (8,000 SQ FT)
SIDELOT COVERAGE:
100'-0"X50'-0" 65% (3,250 SQ FT)
50'-0"
100'-0"
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90'-0"
55'-0"
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INTERIOR ART DISPLAY
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: $ 7 ( 5 - 2 8 5 1 ( < DESIGN STATEMENT What potential does water have? To serve one as a type of inspirational tool for the user. Water is channel through the roof and at ONE point merges with the user for an experience of smell, sight and sound. The circulation of the public is scenic, along the exterior; with one side viewing the shore and the other viewing the professional rowing team, a journey of water and information. MERGE ME W/ WATER! TAKE ME FROM INTEREST TO MOTIVATION.
$5&+ &RPSUHKHQVLYH 'HVLJQ Instructor: Beth Oâ&#x20AC;&#x2122;Neill Collaboration with: Pablo Gualde
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' ( 3 2 6 , 7 6 2 ) & 5 ( $ 7 , 9 , 7 < DESIGN STATEMENT 3URSRVDO DWWHPSWV WR EH D FRQQHFWLRQ EHWZHHQ WKH DUWLĆ&#x201C;FLDO DQG QDWXUH DV ZHOO DV attempts to illustrate the process of building the mind of an artist. The circulation and spaces are arranged based on degrees of knowledge and degrees of nature. As visitors journeys through the spaces they will experience the process it takes to develop the mind of an individual: Beginning with the classroom to the studio into the exhibition or gallery which displays the thoughts and the result of a mind in the process of learning. The laboratory spaces or gardens were arranged based exposure of sun and biodiversity, beginning with full sun species of plants and large biodiversity encouraging one to interact longer in order to get a full extend - - - > Essentially while reaching the other garden there is a decrease of biodiversity and sun exposure to the plant, the last laboratory being a shade garden. At last the proposal connects/bridges into the large scale of a woodland, which represent a UHĆ&#x201C;QHG SHUPDQHQW V\VWHP RI HQGXUDQFH WKHUHIRUH LOOXVWUDWLQJ D V\VWHP WKDW KDYH being perfected and now stands on its own as one. As the mind of an individual attempts to become through learning. & ( / ( % 5 $7 ( 2 5 , * , 1 1 2 7 2 1 /< 7 + ( ( 1 ' 3 5 2 ' 8 & 7 $5&+ ,QWHUPHGLDWH 'HVLJQ Instructor: Eva Perez de Vega
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THE MODULES ARE LAYERED ONE RESTING UPON THE PREVIOUS
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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.
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B A S E D
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P A R A M E T E R S
DESIGN STATEMENT 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. CONTROL NUMBERS AS A WALKING EXPERIENCE. $5&+ %,0 Instructor: Anthony Buccellato Lateral Force Bracing
Footing Structure / Adaptive Component
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/ , 9 , 1 * : + , / ( ' ( $ ' DESIGN STATEMENT 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 EXLOGLQJ PDWHULDOV DV SHUPDQHQW DQG VLQJOH SXUSRVHG ,W XVHV 6&2%< 6\PELRWLF &RORQ\ RI %DFWHULD DQG <HDVW $ E\SURGXFW RI .RPEXFKD WHD EUHZLQJ DV D QXWULHQW 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. : + $ 7 $ 5 ( 7 + ( 5 $ 0 , ) , & $ 7 , 2 1 2 ) $ 6 ( 0 , $ / , 9 ( SPACE? $5&+ $GYDQFH 'HVLJQ Instructor: Richard Sarrach Collaboration with: Ann Chai, Elaine Tan, Nohar Agadi
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DAYS 10
THE BACTERIA AND YEAST GROWS BEST BETWEEN 77°F
TEA, SUGAR, VINEGAR, AND A SCOBY CULTURE ARE ADDED TO A WATER SOURCE.
OIL IS TRANSPORTED VIA PIPES WHICH CAN CAUSE OIL LEAKS
AND 90°F.
FOSSIL FUEL CRUDE OIL EXTRACTED FROM EARTH
THE BACTERIA ARE ACIDOPHILES WHICH MEANS THEY THRIVE IN ACIDIC ENVIRONMENTS. THE IDEAL PH LEVEL FOR THE BACTERIA TO THRIVE IN IS PH 5.0 TO PH 6.3. 7
SECONDARY STAGE
5
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.
WHEN SUGAR IS ADDED IN AN AIR-TIGHT ENVIRONMENT, IT REACTIVATES THE YEAST AND RELEASES CARBON DIOXIDE INTO THE LIQUID WHICH INCREASES THE NATURAL CARBONATION.
4 THE LAYER IS EXTRACTED AND LEFT TO DRY.
BOTTLING STAGE 3
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YEAST CONSUMES THE SUGAR AND PRODUCES CARBON DIOXIDE AND ETHANOL. THE ACETOBACTER BACTERIA CONSUMES THE ETHANOL AND PRODUCES HEALTHY ACIDS CALLED ACETIC ACID. THE YEAST AND THE BACTERIA WILL CONTINUE FEEDING ON EACH OTHERâ&#x20AC;&#x2122;S WASTE PRODUCTS AS LONG AS SUGAR IS PRESENT.
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.
BOTTOM IM AGES ARE A CATALOG OF IDEAS RESPONDING TO: : + < 6 & 2 % < + 2 : 6 & 2 % < : , / / * 5 2 : + 2 : / 2 1 * "
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M ATERI AL/ON-SITE PRODUCTION - ABOVE
COLLAGE
5 ( 6 , ' 8 ( 6 3 $ & ( 1 < & DESIGN STATEMENT 5HVLGXH VSDFHV ZLWKLQ 1HZ <RUN &LW\ VKRXOG RQH LQKDELW WKHP" 'R WKH\ SURYLGH D platform to better observe and understand the city? Do they enhance the experience RI WKH UHVLGHQW DQG YLVLWRU E\ EHLQJ LQKDELWHG" <HV RQH VKRXOG LQKDELW WKH UHVLGXH 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 DSSOLHG WR DFFRPSOLVK WKH JRDO RI &211(&7,1* 81,)<,1* 21( 72 7+( &,7< 287 RU ',6&211(&7,1* 21( )520 7+( &,7< ,1 ,Q YV 2XW 0$< , ,1+$%,7 <285 :,1'2:/(66 :$//" $5&+ $GYDQFH 'HVLJQ Instructor: Dragana Zoric
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3 2 ( 0 6 $ 5 & + , 9 ( DESIGN STATEMENT [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 â&#x20AC;&#x153;gorgeous nothingsâ&#x20AC;?. 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 â&#x20AC;&#x153;Nothings â&#x20AC;&#x201C; Iâ&#x20AC;&#x201C; and Wheelsâ&#x20AC;? nothings represent the rhythms, I the pin from which the rhythms pivot from in a circular repetitive motion represented by wheels. ,163,5( 0( :,7+ )5$*0(176 $5&+ ,QWHUPHGLDWH 'HVLJQ Instructor: Ran Oron
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SPACE AS SOLID MODEL
P U B L I C
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DESIGN STATEMENT 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 DOO PD\ VHH KLP <HW KH ZDQWHG DVVXUDQFH WKDW RQH ZLOO DW DOO WLPHV EH ZDWFKLQJ 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 â&#x20AC;&#x153;Invisible Citiesâ&#x20AC;?, 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 â&#x20AC;&#x153;young womenâ&#x20AC;Śnot tall of stature, luxuriating in the bathtubs or arching their backs under the showers suspended in the voidâ&#x20AC;? (Page 49) Which made me consider the sense of privacy, and how this isnâ&#x20AC;&#x2122;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 VDFULĆ&#x201C;FH 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. 3/($6( /( 7 0( %( 3$57 2) <285 (9(5< 6(&21' $5&+ &RUH 'HVLJQ Instructor: Carlyle Fraser
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