Annette Veliz Portfolio-Full Version 2017 by AnnetteVeliz

A N N E T T E

V E L I Z

A N N E T T E

& ' 5 + ) 0 5 6 7 & + 1 5

V E L I Z

NY | 914.565.4573 | AVELIZ@PRATT.EDU WWW.ANNETTEVELIZ.COM

COMPETITIONS PRATT INSTITUTE

INTERNATIONAL MUSEUM of WRITING

UG | ARCHITECTURE | MAY, 2017

CENTRAL PARK OF SONGDO, INCHEON | TEAM OF 10 ADVISORS: PHILLIPE BAUMANN + MICHAEL WEN SU

DEANâ&#x20AC;&#x2122;S LIST SPRING 20107, 2014, FALL 2013

URBAN SOSâ&#x201E;¢ 2017: hOUR City by AECOM LISBON, PORTUGAL | | TEAM OF 5

PRESIDENTâ&#x20AC;&#x2122;S LIST FALL 2016, SPRING 2016, FALL 2015, SPRING 2015

BIODESIGN CHALLENGE

DESIGN 402-

PROTOTYPE | PRESENTER Museum of Modern Art | TEAM OF 11 ADVISORS: RICHARD SARRACH + KATHERINE INGRAM

DISTINGUISHED PROJECT REVIEW

DESIGN 503-

ARCHITECTURE INTERN

HONORS AWARD JURY - TOP RUNNER UP 2ND

HONORS [3.6] THESIS HONORABLE MENTION

AGNETA ARCHITECTS NEW YORK, NY | 917.821.9022 | JANUARY - MAY, 2017

CITY TECH [NYCCT] UG | B.TECH | TRANSFERED MAY, 2013 HIGHEST HONORS [3.8]

RHINO GRASSHOPPER

6 years 2 years

REVIT DYNAMO

4 years 1 year

AUTOCAD MAYA

6 years 1 year

V-RAY MAXWELL

2 years 1 year

WORD EXCEL

12 years 1 year

ILLUSTRATOR PHOTOSHOP INDESIGN

6 years 6 years 5 years

3D PRINTING CNC MILLING LASER CUTTING TIG WELDING OXY WELDING

2 years 2 years 5 years 1year 1 year

ENGLISH | FULL PROFICIENCY SPANISH | NATIVE

RESUME

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SARRAZIN ARCHITECTURE

01 02 03 04 05 06 07 08 09

6 * ' # 4 6 ' 4 + # . 2 . # 0 ' Michael Su & Philippe Baumann

. 1 7 & % + 6 ; 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 Ç£ . 7 / ' Dukz Koschitz

2 Ç£ ' / 5 # 4 Ç * + 8 ' Ran Oron

2 7 $ . + Ç 0 # 6 7 4 ' Carlyle Fraser

. + 8 + 0 Ç¡ 9 * + . ' Ç¢ ' # Ç¢ Richard Sarrach

9 # 6 ' 4 , Ç£ 7 4 0 ' ; Beth Oâ&#x20AC;&#x2122;Neill

PORT CHESTER NY | 914.584.8437 | MAY - AUGUST, 2014+MAY - AUGUST, 2015

$ ' ; 1 0 & 5 6 7 & + 1 2IÆ&#x201C;FH DVVLWDQW DUFKLYLQJ HPDLO FRUUHVSRQGDFH +RVSLWDOLW\ 5HVWDXUDQW 'HVLJQ &RPPHUFLDO SURMHFW 6WDPIRUG &7 6XUYH\ H[LVWLQJ LQWHULRU VSDFH 6' &' DVVLVW RUJDQL]DWLRQ RI HTXLSPHQW VLWWLQJ OD\RXW EDU GHVLJQ ' PRGHOLQJ LQWHULRU VFHQH YLVXDOL]DWLRQ H[WHULRU UHQGHULQJV )DEULFDWLRQ RI FHQWHU FHLOLQJ SDQHOV 3HUXYLDQ 6FHQH PROGHG

ACTIVITIES TEACHING ASSISTANT PRATT INSTITUTE | AUGUST, 2016 - MAY, 2017 '(6,*1 (YD 3HUH] GH 9HJD 7(&+1,&6 5(35(6(17$7,216 -XVWLQ 6QLGHU

FAMILY ART PROJECT LEADER WAVE HILL | MAY - AUGUST, 2015 + MAY - AUGUST, 2016 | VOLUNTEER

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$ # 5 ' Ç¢ Ç£ 0 2 # 4 # / ' 6 ' 4 5 Anthony Buccellato

6 ' Ç * 0 + Ç # . + 6 ;

* + 5 6 Ç£ 4 ; 5 * ' . .

2 + 8 Ç£ 6 + 0 Ç¡

$ . # Ç - # 0 Ç¢ 9 * + 6 ' Sarah Van Ouwerkerk

FUN

Jason Montgomery

William Ngo

Angelo Zaharatos

( 4 ' ' 6 + / '

TABLE OF CONTENT

A N N E T T E

& ' 5 + ) 0 5 6 7 & + 1 5

V E L I Z

NY | 914.565.4573 | AVELIZ@PRATT.EDU WWW.ANNETTEVELIZ.COM

COMPETITIONS PRATT INSTITUTE

INTERNATIONAL MUSEUM of WRITING

UG | ARCHITECTURE | MAY, 2017

CENTRAL PARK OF SONGDO, INCHEON | TEAM OF 10 ADVISORS: PHILLIPE BAUMANN + MICHAEL WEN SU

DEANâ&#x20AC;&#x2122;S LIST SPRING 20107, 2014, FALL 2013

URBAN SOSâ&#x201E;¢ 2017: hOUR City by AECOM LISBON, PORTUGAL | | TEAM OF 5

PRESIDENTâ&#x20AC;&#x2122;S LIST FALL 2016, SPRING 2016, FALL 2015, SPRING 2015

BIODESIGN CHALLENGE

DESIGN 402-

PROTOTYPE | PRESENTER Museum of Modern Art | TEAM OF 11 ADVISORS: RICHARD SARRACH + KATHERINE INGRAM

DISTINGUISHED PROJECT REVIEW

DESIGN 503-

ARCHITECTURE INTERN

HONORS AWARD JURY - TOP RUNNER UP 2ND

HONORS [3.6] THESIS HONORABLE MENTION

AGNETA ARCHITECTS NEW YORK, NY | 917.821.9022 | JANUARY - MAY, 2017

CITY TECH [NYCCT] UG | B.TECH | TRANSFERED MAY, 2013 HIGHEST HONORS [3.8]

RHINO GRASSHOPPER

6 years 2 years

REVIT DYNAMO

4 years 1 year

AUTOCAD MAYA

6 years 1 year

V-RAY MAXWELL

2 years 1 year

WORD EXCEL

12 years 1 year

ILLUSTRATOR PHOTOSHOP INDESIGN

6 years 6 years 5 years

3D PRINTING CNC MILLING LASER CUTTING TIG WELDING OXY WELDING

2 years 2 years 5 years 1year 1 year

ENGLISH | FULL PROFICIENCY SPANISH | NATIVE

RESUME

SARRAZIN ARCHITECTURE

01 02 03 04 05 06 07 08 09

6 * ' # 4 6 ' 4 + # . 2 . # 0 ' Michael Su & Philippe Baumann

. 1 7 & % + 6 ; 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 Ç£ . 7 / ' Dukz Koschitz

2 Ç£ ' / 5 # 4 Ç * + 8 ' Ran Oron

2 7 $ . + Ç 0 # 6 7 4 ' Carlyle Fraser

. + 8 + 0 Ç¡ 9 * + . ' Ç¢ ' # Ç¢ Richard Sarrach

9 # 6 ' 4 , Ç£ 7 4 0 ' ; Beth Oâ&#x20AC;&#x2122;Neill

PORT CHESTER NY | 914.584.8437 | MAY - AUGUST, 2014+MAY - AUGUST, 2015

ACTIVITIES TEACHING ASSISTANT PRATT INSTITUTE | AUGUST, 2016 - MAY, 2017 '(6,*1 (YD 3HUH] GH 9HJD 7(&+1,&6 5(35(6(17$7,216 -XVWLQ 6QLGHU

FAMILY ART PROJECT LEADER WAVE HILL | MAY - AUGUST, 2015 + MAY - AUGUST, 2016 | VOLUNTEER

$ # 5 ' Ç¢ Ç£ 0 2 # 4 # / ' 6 ' 4 5 Anthony Buccellato

6 ' Ç * 0 + Ç # . + 6 ;

* + 5 6 Ç£ 4 ; 5 * ' . .

2 + 8 Ç£ 6 + 0 Ç¡

$ . # Ç - # 0 Ç¢ 9 * + 6 ' Sarah Van Ouwerkerk

FUN

Jason Montgomery

William Ngo

Angelo Zaharatos

( 4 ' ' 6 + / '

TABLE OF CONTENT

& ' 5 + ) 0 5 6 7 & + 1 5 PRATT INSTITUTE UG ARCHITECTURE CLASS OF 2017

6 * ' # 4 6 ' 4 + # . 2 . # 0 ' 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

01 EXTERIOR - WATERFRONT NODE

LISBON, PORTUGAL

01 EXTERIOR - WATERFRONT NODE

LISBON, PORTUGAL

SKETCH MODEL - 4+)*6 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.

DAY TO NIGHT/ EXPLODED PARK NODE - .'( 6

SKE TCH MODEL - 612, SECTION THROUGH WATERFRONT NODE- %'06'4, SECTION THROUGH PARK NODE - $16 61/

DAY TO NIGHT/ EXPLODED PARK NODE - .'( 6

SKE TCH MODEL - 612, SECTION THROUGH WATERFRONT NODE- %'06'4, SECTION THROUGH PARK NODE - $16 61/

L O N G S E C T I O N / I N N E R F A B R I C T O W A T E R F R O N T - $ 1 6 6 1 / , P E R F O R A T I O N S A T P A R K N O D E - 6 1 2 .'( 6, OPENING CIT Y UP BY TIDING SPACES/GRAPHIC M AP - 612 4+)*6

GRAPHIC VIES: EXTERIOR PARK NODE - 612 , INTERIOR SPACES: WATERFRONT - %'06'4 .'( 6, PARK NODE - %'06'4 4+)*6

. 1 7 & % + 6 ; 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 WUDIĆ&#x201C;F :KHUH DV *UDQG $YHQXH LQ D UHVLGHQWLDO VWUHHW ZLWK RQH ZD\ WUDIĆ&#x201C;F 7KHVH G\QDPLFV GHWHUPLQHG WKH GHVLJQ 5*** .'6 6*' %+6; 52'#- .17&'4 2.'#5'ĐŻ ARCH 301Comprehensive Design/FA15 Instructor: Robert Siegel Collaboration with: Sharvari Mhatre

50'-0"

CORNER LOT

NARROW ST. SETBACK 15'-0"

GRAND AVENUE

90'-0"

55'-0"

SIDE LOT

NARROW STREET

100'-0"

REAR YARD 30'-0"

WIDE ST. SETBACK 10'-0"

100'-0"

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02 EXTERIOR - GRAND AVE VIEW

B R O O K LY N , N E W Y O R K

50'-0"

CORNER LOT

NARROW ST. SETBACK 15'-0"

GRAND AVENUE

90'-0"

55'-0"

SIDE LOT

NARROW STREET

100'-0"

REAR YARD 30'-0"

WIDE ST. SETBACK 10'-0"

100'-0"

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02 EXTERIOR - GRAND AVE VIEW

B R O O K LY N , N E W Y O R K

'&)' &72.': $'& #26 The apartment units are designed to uniformly decreased from corner edge 4Bed duplex. Balconies alternate every other unit, shifting every other floor.

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SETBA SET ETBA T ACK DESIGN IGN N

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11'-8" STEP / SEATING

10'-2" STEP / SEATING

8'-8"

STEP / SEATING

7'-2" STEP / SEATING

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4 B E D D U P L E X A X O / C O R N E R A P T . - 6 1 2 REAR YARD/CURATED BY STUDENTS - $1661/

'&)' &72.': $'& #26 The apartment units are designed to uniformly decreased from corner edge 4Bed duplex. Balconies alternate every other unit, shifting every other floor.

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10'-2" STEP / SEATING

8'-8"

STEP / SEATING

7'-2" STEP / SEATING

5'-8" STEP / SEATING

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S U S T A I N A B I L I T Y A N A LY S I S - 6 1 2 , S K E T C H V I E W C O M M U N A L S P A C E / S E T B A C K T E R R A C E - $ 1 6 6 1 /

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S U S T A I N A B I L I T Y A N A LY S I S - 6 1 2 , S K E T C H V I E W C O M M U N A L S P A C E / S E T B A C K T E R R A C E - $ 1 6 6 1 /

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& ' 2 1 5 + 6 5 1 ( % 4 ' # 6 + 8 + 6 ; 7KH SURSRVDO DWWHPSWV WR EH D FRQQHFWLRQ EHWZHHQ QDWXUH DQG DUWLĆ&#x201C;FLDO ,W DOVR illustrates the process of building the mind of an artist. The circulation and spaces are arranged based on degrees of knowledge and nature. The visitors witnesses the process it takes to develop the mind of an individual; the journey starts at the classURRP WUDQVLWLRQLQJ WR WKH VWXGLR Ć&#x201C;QDOO\ DUULYLQJ DW WKH JDOOHU\ At the gallery artists display the thoughts and the result of a mind in the process of learning. The laboratory spaces or gardens were arranged based on 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 further down garden, which decrease on biodiversity and sun exposure to the plants, the last laboratory is a shade garden. At last the proposal connects/bridges LQWR WKH ODUJH VFDOH RI D ZRRGODQG ZKLFK UHSUHVHQW D UHĆ&#x201C;QHG SHUPDQHQW V\VWHP RI endurance. Therefore illustrating a system that stands on its own as one. As the mind of an individual attempts to become through learning. % ' . ' $ 4 #6 ' 1 4 + ) + 0 0 1 6 1 0 .; 6 * ' ' 0 & 2 4 1 & 7 % 6 ARCH 202 Intermediate Design/SP15 Instructor: Eva Perez de Vega

03 SKETCH MODEL/ADDITIVE LAYERS OF GROWTH

WAVE HILL - BRONX, NY

03 SKETCH MODEL/ADDITIVE LAYERS OF GROWTH

WAVE HILL - BRONX, NY

1 2

3 3

1 1 2

4 3

PARKING 2

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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.

TOP VIEW/FINAL MODEL - .'(6, STUDY MODEL - 612 4+)*6, ROOF PL AN + SPACE ORGANIZ ATION - $16 61/ 4+)*6

SECTIONS- 612, SIDE VIEW/FINAL MODEL - $1661/

1 2

3 3

1 1 2

4 3

PARKING 2

CLASSROOM 02

CLASSROOM 01

THE MODULES ARE LAYERED ONE RESTING UPON THE PREVIOUS

DE PE GR RM EE AN OF EN CE

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TOP VIEW/FINAL MODEL - .'(6, STUDY MODEL - 612 4+)*6, ROOF PL AN + SPACE ORGANIZ ATION - $16 61/ 4+)*6

SECTIONS- 612, SIDE VIEW/FINAL MODEL - $1661/

4 ' 5 + & 7 ' 5 2 # % ' 0 ; % 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. /#; + +0*#$+6 ;174 9+0&19.'55 9#..! ARCH 402 Advance Design/SU16 Instructor: Dragana Zoric

04 COLLAGE/IDEAS BANK

NEW YORK, NY

04 COLLAGE/IDEAS BANK

NEW YORK, NY

:(67 (/(9$7,21

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WEST ELEVATION

- 4+)*6

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NA SECTIO

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ION

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6(&7,21 & $;2 PERSPECTIVE SECTION/AT TACHING TO RESIDUE WALLS - 612 .'( 6, INTERIOR SPACE/STAIR 612 4+)*6, TOP VIEW FINAL MODEL - $1661/ .'(6, SITE PLAN - $1661/ 4+)*6

SECTION / USE OF SPACES

NA SECTIO

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ION

SCALE: 3/16” = 1’-0”

6(&7,21 & $;2 PERSPECTIVE SECTION/AT TACHING TO RESIDUE WALLS - 612 .'( 6, INTERIOR SPACE/STAIR 612 4+)*6, TOP VIEW FINAL MODEL - $1661/ .'(6, SITE PLAN - $1661/ 4+)*6

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'Ð¯ ARCH 101 Core Design/FA13 Instructor: Dukz Koschitz

05 COMPONENT VARI ATIONS AS 2D MODEL

PROTOTYPE

05 COMPONENT VARI ATIONS AS 2D MODEL

PROTOTYPE

LINES - 612, PLANAR - $1661/ .'(6, VOLUMETRIC - $1661/ 4+)*6

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 - 6 1 2 , E L E V AT I O N S O F F O L LY - $ 1 6 6 1 /

LINES - 612, PLANAR - $1661/ .'(6, VOLUMETRIC - $1661/ 4+)*6

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 - 6 1 2 , E L E V AT I O N S O F F O L LY - $ 1 6 6 1 /

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

06 SECTION CUT ON GRAND ST DIRECTION OVERLOOKING CHRYSTIE ST + PARK

CHIN ATOWN - NEW YORK, NY

06 SECTION CUT ON GRAND ST DIRECTION OVERLOOKING CHRYSTIE ST + PARK

CHIN ATOWN - NEW YORK, NY

37'-6"

DN DN D N

Chrystie Street Elevation scale: 1/8” = 1’-0”

STREET LEVEL PLAN - 612 .'(6; ROOF LEVEL PLAN - 612 .'(6 $'..19, DETACHABLE MODEL CLOSED - 612 4+)*6

DE TACH ABLE MODEL - 612, CHRYSTIE ST ELEVATION - $1661/

37'-6"

DN DN D N

Chrystie Street Elevation scale: 1/8” = 1’-0”

STREET LEVEL PLAN - 612 .'(6; ROOF LEVEL PLAN - 612 .'(6 $'..19, DETACHABLE MODEL CLOSED - 612 4+)*6

DE TACH ABLE MODEL - 612, CHRYSTIE ST ELEVATION - $1661/

2 7 $ . + % 0 # 6 7 4 ' 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

07 SPACE AS SOLID MODEL

B R O O K LY N , N Y

07 SPACE AS SOLID MODEL

B R O O K LY N , N Y

AXONOME TRIC SECTION ILLUSTRATING FIN AL SPACES - 612 .'( 6, EXTERIOR VIEW 4+)*6, CLOSEUP SHOT/AS VOID - %'06'4

- 6 1 2

SYNTAX DEVELOPMENT - 612 , CLOSE SHOT/AS VOID - %'06'4, 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 4+)*6, CLOSEUP SHOT/AS VOID - %'06'4

- 6 1 2

SYNTAX DEVELOPMENT - 612 , CLOSE SHOT/AS VOID - %'06'4, SPACE AS VOID DE TACHING M O D E L - $ 1 6 6 1 / . ' ( 6 4 + ) * 6 5 2 4 ' # &

. + 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

08 CONCEPTUAL DRAWING ILLUSTRATING PROTOTYPE SHEDDING

DESIGN PROTOTYPE - CHICAGO, IL

08 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 - 6 1 2 , 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 - $16 61/

SHORT SECTION - 612, CATALOG OF SCOBY AS M ATERI AL TO SPACE - %'06'4, USING THE SPACES - $16 61/ .'( 6, DISTRIBUTION OF NUTRIENTS M AP - $16 61/ 4+)*6

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 - 6 1 2 , 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 - $16 61/

SHORT SECTION - 612, CATALOG OF SCOBY AS M ATERI AL TO SPACE - %'06'4, USING THE SPACES - $16 61/ .'( 6, DISTRIBUTION OF NUTRIENTS M AP - $16 61/ 4+)*6

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 - 612, MODEL SHOTS: 3D PRINTS IN COLOR .VRML + CNC SITE - $1661/

day 12

M ATERI AL/ON-SITE PRODUCTION - 612, FIN AL MODEL/ SITE UNDERGROUND SPACES - $16 61/

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 - 612, MODEL SHOTS: 3D PRINTS IN COLOR .VRML + CNC SITE - $1661/

day 12

M ATERI AL/ON-SITE PRODUCTION - 612, FIN AL MODEL/ SITE UNDERGROUND SPACES - $16 61/

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

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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$ ' ; 1 0 & 5 6 7 & + 1 Pratt Institute, City Tech, and free time

$ # 5 ' & 1 0 2 # 4 # / ' 6 ' 4 5 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

Highest Point 52' - 6"

2 6 7 L.F. Bracing

Lowest Point 11' - 0"

SKETCHES FOOTING OVERVIEW - 612, LONG SECTION/CUT ALONG CENTER/COLORS HIGH-

V O L U M E T R I C V A R I AT I O N - 6 1 2 . ' ( 6 T R I U M P H PA V I L I O N b y I P T A r c h i t e c t s a t M u s e u m G a r d e n s

LIGHT VOLUME INCREASE FROM RED-LESS TO BLUE-MORE - BOTTOM

in Bethnal Green, LONDON UK- %'06'4, FRONT VIEW/INTERIOR ALIGNMENT VERSION- $1661/

Highest Point 52' - 6"

2 6 7 L.F. Bracing

Lowest Point 11' - 0"

SKETCHES FOOTING OVERVIEW - 612, LONG SECTION/CUT ALONG CENTER/COLORS HIGH-

V O L U M E T R I C V A R I AT I O N - 6 1 2 . ' ( 6 T R I U M P H PA V I L I O N b y I P T A r c h i t e c t s a t M u s e u m G a r d e n s

LIGHT VOLUME INCREASE FROM RED-LESS TO BLUE-MORE - BOTTOM

in Bethnal Green, LONDON UK- %'06'4, FRONT VIEW/INTERIOR ALIGNMENT VERSION- $1661/

6 ' % * 0 + % # . + 6 ; The goal of the course was to use and become familiar with the different pencil leads, triangles, straight edge tools, and mayline. 6 1 & 4 # 9 9 + 6 * 6 5 3 7 # 4 ' # 0 & / # ; . + 0 ' CITY TECH/FA11 Instructor: Jason Montgomery

E L E V AT I O N / P O S T O F F I C E B U I L D I N G A D A M S S T. / C O L U M B U S PA R K - 6 1 2 , S E C T I O N PAT T E R N / PLAN DETAIL - $1661/

B R O O K LY N , N Y WALL SECTION - .'(6, PERSPECTIVE/WINDOW CORNER DETAIL - 4+)*6

E L E V AT I O N / P O S T O F F I C E B U I L D I N G A D A M S S T. / C O L U M B U S PA R K - 6 1 2 , S E C T I O N PAT T E R N / PLAN DETAIL - $1661/

B R O O K LY N , N Y WALL SECTION - .'(6, PERSPECTIVE/WINDOW CORNER DETAIL - 4+)*6

* + 5 6 1 4 ; 5 * ' . . The museum displays Brooklyn History at a medium side scale recreation of architectural landmarks. Mainly focusing on the bridges and post-industrial buildings. / # ; + ) ' 6 % . 1 5 ' 4 * 1 9 + 0 6 + / # 6 ' % # 0 + ) ' 6 # 6 # 5/#.. 5%#.' CITY TECH/SP13 Instructor: William Ngo

SITE PL AN - 612, ELEVATION VIEWS - $1661/

B R O O K LY N , N Y PERSPECTIVE/FINAL MODEL- $1661/

SITE PL AN - 612, ELEVATION VIEWS - $1661/

B R O O K LY N , N Y PERSPECTIVE/FINAL MODEL- $1661/

2 + 8 1 6 + 0 ) 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. # 4 ' ; 1 7 # $ . ' 6 1 % 1 0 0 ' % 6 # . . 6 * ' & 1 6 5 # 0 & &'6'4/+0' /; +06'06+105! CITY TECH/FA12 Instructor: Angelo Zaharatos

GROUND FLOOR PLAN - .'(6, MODEL VIEWS - 612 4+)*6, SECTION - %'06'4 524'#&

ROOF PLAN - 4+)*6

GROUND FLOOR PLAN - .'(6, MODEL VIEWS - 612 4+)*6, SECTION - %'06'4 524'#&

ROOF PLAN - 4+)*6

$ . # % - # 0 & 9 * + 6 ' PRATT - PHOT 101/SP16 Instructor: Sarah Van Ouwerkerk

T H E S H O E S O F T H E L I T T L E G I R L S C A U G H T M Y AT T E N T I O N AT F I R S T. T H E N O N C E I D E V E L O P E D THIS IM AGE THE AGES AND BODY POSTURES BECAME MY ARGUMENT DURING PRESENTATION.

$ . # % - # 0 & 9 * + 6 ' PRATT - PHOT 101/SP16 Instructor: Sarah Van Ouwerkerk

( 4 ' ' 6 + / ' I am currently interested in the development of my art techniques and the study RI ELUGV 6LQFH VXPPHU RI ZKHQ , KDG P\ Æ&#x201C;UVW ELUG ZDWFK ZDON ,Å§YH EHHQ sketching and etching photos of birds. The two bellow make up a total of I think 20 etches I have gifted to friends over the years.

ABSTRACT FLOWERS

FIN AL PRESENTATIONS @ HIGGINS H ALL PRATT INSTITUTE: ARCH 403 SATURDAY HONORS REVIEW/RICHARD SARRACH - 612, ARCH 302/BETH Oâ&#x20AC;&#x2122;NEILL - $1661/

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 - 612, ARCH 301/ROBERT SIEGEL - $1661/

FIN AL PRESENTATIONS @ HIGGINS H ALL PRATT INSTITUTE: ARCH 403 SATURDAY HONORS REVIEW/RICHARD SARRACH - 612, ARCH 302/BETH Oâ&#x20AC;&#x2122;NEILL - $1661/

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 - 612, ARCH 301/ROBERT SIEGEL - $1661/

T H A N K Annette Veliz aveliz@pratt.edu 914.565.4573

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