TIGRAN PARSAMYAN WOODBURY UNIVERSITY UNDERGRADUATE PORTFOLIO 2013 - 2015
SELECTED UNDERGRADUATE WORKS
TABLE OF CONTENTS
04 14 20 24 36 44 50 54
LA MEJORADA STUDIOS
THE LIBRARY OF SOUNDS
LOS ANGELES RIVER
ANGELINO HEIGHTS APARTMENTS & GARDENS
CABRILLO BEACH ATHLETIC COMPLEX
MUSEUM OF CONTEMPORARY ART
THE VITRA CONSTRUCT
MEDUSAE ANALOGUE
FACULTY OF ARCHITECTURE UADY
LA MEJORADA STUDIOS
The site is located in the historic part of the city of Merida, Yucatan, within La Mejorada Barrio (neighborhood). The current site includes the following houses; No. 493A, 495, 497, 499 located on Calle 57, Centro, Mérida, Yucatán. The houses have no association with the plaza and the historical context of the area; hence, the proposal of the following project will replace and provide new programs to the plaza and the architectural university located across the plaza. The architectural university (Facultad de Arquitectura UADY) is a division of the Universidad de Yucatán and its building was once a prison, than a convent and part of the Franciscan Church (Iglesia de la Mejorada, built in 1640) located right next to it. In short, the current condition of the university is not adequate for the students who are in need of additional space and new technologies, which are available to students in other University campuses. The project will create a multi-functional space for the students and will include the following
SITE LOCATION S CATION T N
programs: digital fabrication lab, wood shop, computer lab with plotting capabilities and lastly an open studio space. The building will be an addition to the Architectural University and will mostly be used by the students. With the addition of the new technologies and the ease of access to them by the students, the university will be able to add new programs to their curriculum and enhance their educational system.
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U R BAN D E S I GN MÉRIDA, YUCATÁN: CALLE 59 & CALLE 50-A
MEXICO
YUCATAN PENINSULA
MÉRIDA
STATE OF YUCATÁN
(1542-1906)
CITY OF MÉRIDA
(1907-1920)
(1921-1950)
THE 8 DISTRICTS
(1951-1978)
(1979-1990)
THE 7 HISTORIC BARRIOS (NEIGHBORHOODS)
(1991-2005)
SANTA LUCIA MEJORADA SANTA ANA SANTIAGO SAN JUAN SAN SEBASTIAN SAN CRISTOBAL CITY CENTER
(2006-2010)
CITY PROGRESSION / EXPANSION
5
L A M E J O R A DA P L A Z A P RO P O SA L PLAZA REDESIGN (GROUP CHARETTE WITH STUDENTS FROM MARISTA UNIVERSITY, MÉRIDA) EXISTING CONDITIONS La Mejorada plaza is located east of the city center. It is surrounded by many beautiful colonial houses, schools and restaurants. The Mejorada neighborhood is organized around this plaza and serves as a small neighborhood square. The plaza honors the loss of the “Niños Héroes de Chapultepec,” with its main monument in the center of the plaza. The “Niños Héroes” were six Mexican teenage military cadets, who died defending Mexico, at Mexico City’s Chapultepec Castle against the U.S. invasion in 1847. The plaza is often used by the local youth for dance performances or school events; as well as, by the neighboring police department and the local church for various activities. ISSUES: The existing sitting areas face the street towards the views of the parked cars, instead of the park. The platform in the middle is raised by two feet above ground, and limits access.
CITY CENTER
LA MEJORADA PLAZA
Shade is provided above the sitting areas by local trees, which are inhabited by many birds that produce droppings; hence, people are discouraged to occupy the sitting areas. There are no sitting areas on the platform & there is no shade on the platform. There are only three entrances to get on the platform, which makes people walk around from a certain point to get to an entrance.
SEATING AREAS
RAISED PLATFORM
VIEW OF THE PLAZA FACING NORTH
NIÑOS HÉROES
LACK OF SEATING AREAS
VIEW OF THE PLAZA FACING SOUTH
L A M E J O R A DA S T U D I O S - P RO C E S S W O R K AN ADDITION TO THE FACULTY OF ARCHITECTURE OF UNIVERSIDAD AUTÓNOMA DE YUCATÁN
PROJECT LOCATION - WEST OF THE PLAZA
EXISTING BUILDINGS ON SITE
ARCHITECTURE UNIVERSITY - EAST OF THE PLAZA
6
MODULE WHICH INFLUENCED THE DESIGN, TAKEN FROM THE GOVERNOR’S PALACE WALL DETAIL IN UXMAL - THE ANCIENT MAYA CITY.
PROGRAM DISTRIBUTION
THE PROPOSAL Creates sitting areas throughout the plaza for local youths and local residents. Creates areas with shade incorporating local non-fruit bearing trees. Includes gathering space. Includes restrooms. Creates paths that will allow people to cross through the park
NORTH ENTRANCE & CAFE
instead of going around it. Includes areas for all age groups to interact in one park. Creates a design that includes the statue of the “Niños Héroes” as a central figure. Creates a landscape that focuses attention towards the statue of the “Niños Héroes” located in the heart of the plaza.
EXISTING PLAN
N
0 30’ 60’ 90’
150’
PROPOSAL PLAN
OPEN AMPHITHEATRE
THE
STREET VIEW OF THE PLAZA
CROSS SECTION OF THE NEW PLAZA
SOUTH ENTRANCE
LONGITUDINAL SECTION OF THE NEW PLAZA
REDESIGNED PLAZA
LOT SIZE - 14,696 SF 1/16” PLEXIGLASS MODEL & CURRENT PLAZA
DEMONSTRATING THE CONTINUOUS SURFACE
CURRENT SITE CONDITION & PLAZA
PROPOSED BUILDING & PLAZA
CONTINUOUS RIBBON FORM
7
L A M E J O R A DA S T U D I O S AN ADDITION TO THE FACULTY OF ARCHITECTURE OF UNIVERSIDAD AUTÓNOMA DE YUCATÁN
STUDIOS
LEVEL 3 PLAN
LEVEL 3 VIEW
INTERIOR VIEW OF STUDIOS ON LEVEL 3
LEVEL 2 VIEW
INTERIOR VIEW OF COMPUTER LAB ON LEVEL 2
COMPUTER LAB
B. B.
LEVEL 2 PLAN A.
1 2 3
4
DogFixed Parts
eriT eriT
G
WOODSHOP
17 6
F
LASER LAB E
D
C
PARKING 1
B
A 2 3
GROUND LEVEL PLAN
SECTION A - A
A.
4
N 0’ 15’ 30’ 45’
75’
GROUND LEVEL VIEW
INTERIOR VIEW OF WOOD SHOP ON GROUND LEVEL
VIEW WITH BASSWOOD MODEL AT 1/8” = 1’ - 0”
NORTH SIDE VIEW WITH BASSWOOD MODEL
SOLAR PATH DIAGRAM 1
SOLAR PATH DIAGRAM 2
ANNUAL WIND ROSE DIAGRAM
Date:
June 21, Summer Solstice
Date:
December 21, Winter Solstice
Form:
Location:
Lat. 20.96°N, Long. 89.6°W
Form:
The form allows “Winter Sun” to penetrate further
Wind Speed (m/s)
Form:
Offseted windows minimize “Summer Sun” penetration into the building.
into the building.
The form allows Cross Ventilation 6+
3-4
5-6
2-3
4-5
1-2
4-4
0-1
SECTION B - B
10
The design concept of La Mejorada Studios was influenced by many case studies, as well as from the short visit to Merida, Yucatรกn. Understanding the culture, its history, the climate and building strategies helped with the design decisions. Concrete buildings are the top choice for any new building in Merida, since it has a very humid climate, and timber construction is just out of the question because of climate and expense. Geologically Yucatรกn is low and pretty flat, and its limestone bedrock makes it very expensive to build anything below ground, such as underground parking structures. The two case studies which heavily influenced the design were Parque De Las Americas, in Merida and the Educatorium, by OMA in Utrecht, the Netherlands, which influenced the continuous surface form.
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T H E S A M I TAU R B U I L D I N G BY ERIC OWEN MOSS - LOS ANGELES, CALIFORNIA CASE STUDY Eric Owen Moss’ Samitaur building is essentially a box of offices raised above an automotive right of way in an industrial part of Culver City, California. This addition was carefully sculpted and placed into the site accommodating the lower truck road clearance of 15 feet and the Los Angeles height limit of 45 feet; all within the rectangular air rights - fire department limits of 110 feet long and 30 feet wide. The building is supported by a bridge support system made of steel pipe columns and girders that span the original road width. Since the building is placed between three existing structures to accommodate the road, some columns are placed within neighboring structures and other bordering. Moss’ design applies a large conventional rectangular volume as contrasting to bold sculptural moments. The first dent in the rectangular block is the main entry piece enfolding a stairway. This piece is formed by two cones and is influenced by an hourglass concept, where the upper cone encloses circulation, while the lower exits to an open staircase. Similar to the idea of, “sand coming in at the top and dropping out at the bottom. In this case the sand was people walking the stair.” Other stairways and elements were also used as moments of disorder; this strategy was appraised by juror Steven Holl as “a question of order and disorder; where the order is extreme, the disorder is a real joy.”
FRONT FACADE WITH 1/8” = 1’ - 0” SCALE SECTIONED BASSWOOD MODEL
EXPOSED STRUCTURAL SYSTEM & ITS ASSOCIATION WITH THE ADJACENT BUILDINGS
3D SECTION EXPOSING THE STRUCTURAL SYSTEMS
12
DETAIL OF COLUMN & GIRDER CONNECTION
BACKSIDE VIEW OF THE MODEL WITH ITS TWO ADJACENT BUILDINGS
DETAIL OF THE BRIDGE SYSTEM STRUCTURE
A.
SECTION A - A
LEVEL 3 PLAN A.
B.
SECTION B - B
0’ 6’ 12’ 18’
LEVEL 2 PLAN
30’
B.
GROUND LEVEL PLAN
DETAIL OF GIRDER, COLUMN & FLOOR CONNECTION 0’
1’
2’
3’
5’
N
0’ 6’ 12’ 18’
30’
The interior plan for the building in the air includes open and closed office space and conference rooms. On the ground are the multimedia classrooms, lounges, open offices and production space. In the center of the rectangular block building is the bathroom and utility core, one of two double height volumes within the otherwise regular floor to floor height structure.
13
LA RIVER ELECTRONIC, ANALOG & DIGITAL LIBRARY
THE LIBRARY OF SOUNDS
The program of the Library of Sound separates itself into two categories, high noise level activities and low noise level activities. The program starts to shift in order to accommodate common programs, circulation, sun light, and structure, this then creates the organization for the building in the vertical and horizontal plains. The goal of the building is then achieved through smooth fluid forms that move from wall to floor to ceiling allowing sound to travel throughout each program differently. Various types of techniques are then used in order to control and manipulate sound in order to allow for unique experiences within the library. SITE TE E LOCATION LO LO OC CA C ATION
S T R U C T U R E , S YS T E M S , S PA C E & F O R M LOS ANGELES, CALIFORNIA: HYPERION AVE. & GLENDALE BLVD.
N
CLOSER LOOK AT THE SITE OVER THE LA RIVER AND SITE CONTEXT
N
N
SITE LOCATION IN THE CENTER OF THE THREE LA DISTRICTS: ATWATER VILLAGE, LOZ FELIZ & SILVER LAKE.
STREET VIEW OF THE SITE AND TOP VIEW OF THE CONCRETE PYLONS
15
CURRENT PROJECT - WORK IN PROGRESS SITE ANALYSIS, ANALYTICAL DIAGRAMS & MASSING DIAGRAMS
CURRENT SITE CONDITION SHOWING THE CONCRETE PYLONS WHERE THE STRUCTURE WILL BE BUILT
PICTURE TAKEN FROM THE LA RIVER SURVEYING THE CONCRETE PYLONS
MASSING MODEL PLACED ON THE CONCRETE PYLONS REFLECTING CONTINUOUS SURFACE DESIGN
PROGRAM ORGANIZATION WITHIN THE MASSING, ORGANIZED BASED ON NOISE LEVELS
Low Noise Activity
0’ 40’ 80’
200’
N
SITE PLAN SHOWING ADJUSTMENTS & IMPROVEMENTS OF THE CURRENT SITE CONDITIONS & RESOLVING THE PUBLIC PARKING CHALLENGE.
16
IDENTIFIED NOISE LEVEL CONDITIONS OF THE CURRENT SITE; LOW LEVEL RESIDENTIAL & HIGH LEVEL HIGHWAY
SECTION A - A
SECTION A - A
SECTION B - B
SECTION B - B
0’ 15’ 30’ 45’
SECTION C - C
SECTION C - C
SOLAR PATH DIAGRAM: MARCH 21.
SOLAR PATH DIAGRAM: DECEMBER 21.
Concave
Convex
75’
Diffuser
SOUND DIAGRAMS EXPLORING SOUND TRAVEL & INCORPORATING THE SOUND OF THE RIVER INTO THE PROGRAMMATIC SPACES OF THE DESIGN
17
18
The design concept of The Library of Sound was influenced by numerous case studies ranging from historic library structures to the modern; as well as, various modern cultural centers which help to clarify the question of what is a library today. The precedents studied were: the Stockholm Public Library by Gunnar Asplund, the Millennium Library by Patkau Architects, the Birmingham Library by Francine Houben, the Free University’s Philology Library by Foster + Partners, the VanDusen Botanical Garden by Perkins+Will, the Heydar Aliyev Centre by Zaha Hadid, the Educatorium by OMA, the Design Concept for Bollywood Museum by Yazdani Studios and the Sheet Metal Assemblies by Richard Serra.
19
ECOLOGICAL RESERVE VIEWING EMPLACEMENT
LOS ANGELES RIVER
The project focuses on the design of a structural cover and multi-use program for the viewing and overall enjoyment of the riparian landscape of the Los Angeles River passing through Frogtown/ Elysian Valley. The program of the project offers indoor and outdoor spaces for digital reading and analog reading, fully accessible viewing platforms for the observation of the river and also bicycle parking. The concept of the project started from exploration of a pavilion design and the geometric form was derived from solar studies taken on the site. The shape of the pavilion is porous and allows the local breeze to pass through, avoiding hot temperatures in the covered area. The design also
2
concentrates on the views from the pavilion, which overhangs into the river bed, and the shape of the pavilion creates an imaginative compression effect on the people upon entering, which expands into the vast vegetation of the Los Angeles River. The project also resolved the structural challenge, where the support points were limited to only three points and located on the sloping bank of the river. The design also solves an issue for avoiding generic railings and creates platforms that ramp up and become guards. S LOCATION SITE LO O AT O
0’ 2’ 4’ 6’
10’
S T R U C T U R E , S YS T E M S , S PA C E & F O R M LOS ANGELES, CALIFORNIA: BENEDICT ST. & BLAKE AVE.
1ST ITERATION
2ND ITERATION
3RD ITERATION
21
PROCESS WORK PROCESS DIAGRAMS, ROOF PLAN & VIGNETTES
40˚
PLAN MANIPULATION
1.
2.
4.
5.
1.
2.
3.
4.
5.
6.
7.
8.
3.
3D MANIPULATION
22
N 0’
15’
38’
The structure of the pavilion explores the continuous ribbon effect and is derived from a rule system. The rules system introduces an A-A-B sequence, where two consecutive trapezoids are connected by a triangle and so on to a final trapezoid, which overhangs over the river bank. The Process Diagrams on the left explain the manipulation of the surfaces both in plan and in 3D.
23
APARTMENTS & GARDENS
ANGELINO HEIGHTS
The site is located in the Angelino Heights quarter within the Echo park district of Los Angeles, California and expands to about 63,535 SF area. The projects goal is to promote and beautify the Sunset Blvd. and provide comfortable living quarters for people who prefer living close to the booming Downtown LA because of work. The city of Los Angeles has categorized this particular portion of the Sunset Blvd. for commercial use; hence, the project has evolved into a mixed use apartment complex with retail spaces on the ground level. Most of the site is occupied by a slight hill that goes up to the neighboring street and to the residential homes; therefore, the structure tries to engage and preserve most of the hill. The guiding process for the evolvement of the project were the views of the Downtown LA’s skyscrapers and each move performed, is developed by that idea.
O T HE R S U N SE T S T R IP S LOS ANGELES, CALIFORNIA: SUNSET BLVD. & EVERETT ST.
b.
a. SEC. B
-B
a.
b. SEC. A
-A
EXISTING BUILINGS ON SITE | SITE BOUNDARY LOT AREA 63,535 SQ. FT
25
H O US I NG P RO P O SA L
-
P RO CESS W ORK
SITE MODEL AND TYPOLOGY EXPLORATIONS
SITE MODEL WITH EXISTING BUILDINGS
SLAB TYPOLOGY ITERATION
SLAB TYPOLOGY ITERATION WITH STACKING, CURVING & ROTATING
SLAB TYPOLOGY ITERATION SHOWING FLOOR PLATES
TERRACING TYPOLOGY ITERATION
COURTYARD TYPOLOGY ITERATION
COURTYARD TYPOLOGY ITERATION WITH SLICING
SLAB TYPOLOGY ITERATION WITH STACKING
SLAB TYPOLOGY ITERATION WITH STACKING & MERGING
SLAB TYPOLOGY ITERATION WITH CURVING
26
SLAB TYPOLOGY ITERATION WITH CURVING & SLOPING
SLAB TYPOLOGY ITERATION SHOWING TERRACED FLOOR PLATES
SLAB TYPOLOGY ITERATION WITH MODULATIONS
FLOOR PLATE MODEL: SHOWING GREY-COMMERCIAL AREA, BLACK-PARKING, ORANGE-CIRCULATION
FLOOR PLATE MODEL WITH RESOLVED CIRCULATION
MODELED UNDERGROUND PARKING
TYPOLOGY EXPLORATIONS THROUGH MASSING MODELS: From the onset of the massing model studies the main approach to the potential housing complex was to find the best typology that could work with the site (using the hillside to the advantage of the building) and be efficient enough to provide a lot of natural sunlight into the rooms, providing beautiful views of the downtown LA from each room. The following typologies were given a try: slab, terrace and courtyard. Then those typologies were hybridized and processed through different operation of stacking, rotating, curving, cutting, stretching, slicing and merging. From the eighteen massing model studies the slab typology worked best with the site, since the site itself is elongated and the slab typology can be repeated and hybridized with terracing. The slab typology was chosen from the massing model studies and expanded on. The slab typology was introduced to curvatures; first curved on its longer sides and later on one of the short sides. Later the form was given sloping edges both to the top and to the curved short end. The sloping surfaces were placed on the site in a direction that will allow large amount sunlight to get through into the potential housing units and to the ground levels around the building. Taking into considerations the large hillside on the back of the site, the form of the building was repeated and arranged in a way that implies a snaking pattern on the hill.
27
H O US I NG P RO P O SA L SITE PLAN & ANALYTICAL DIAGRAMS N
MASSING DIAGRAM
COMMERCIAL SPACE DIAGRAM
Site Size:
63,535 SF
1.
Leasable Retail Properties
F.A.R. :
1.0
Zoning:
C2-1VL
Setbacks:
Front - 5’
G.L.A. :
8,700 SF
SITE PLAN
Back - 15’
Location:
1225 Sunset Blvd., Los Angeles, CA 90026
Sides - 5’
Levels:
3 to 4
Units:
28
Unit Types:
Double-orientation unit, open-ended Property Line
SECTION A - A
4.
3.
2.
1.
CIRCULATION DIAGRAM
UNIT TYPE DIAGRAM
PARKING DIAGRAM
Location:
Interior
1.
Type 1, 2 Bedroom Unit
1.
Private and Public Parking
Type:
Single-Loaded Corridor System
2.
Type 2, 3 Bedroom Loft Unit
2.
51 Parking Spaces
Cores:
6
3.
Type 3, Studio Unit
3.
3 Handicap Parking Spaces
Access:
ADA accessible
4.
Type 4, 1 Bedroom Unit Building Outline
4.
GROUND PLAN & LEVEL 1 FOR BUILDING 3
KITCHEN/LIVING AREA
BATH
30
D
BEDROOM 2
w
KITCHEN/LIVING AREA
N
FLOOR & UNIT PLANS
H O US I NG P RO P O SA L
BEDROOM 1
MASTER BEDROOM
KITCHEN/LIVING AREA
2,604 SF N
630 SF
BATH
BATH FOYER
N
N
708 SF
UNIT TYPE 2, 3 BEDROOM LOFT UNIT
N
BATH
UNIT TYPE 3, STUDIO UNIT
N
UNIT TYPE 4, 1 BEDROOM UNIT
1. A.
A.
LEVEL 4 PLAN B.
0
40’
66’ N
3. 0
8’
16’
40’ N
24’
2.
LEVEL 3 PLAN
N
UNIT TYPE 1, 2 BEDROOM UNIT
B.
KITCHEN/LIVING AREA
BEDROOM MASTER BEDROOM BATH FOYER
N
2,328 SF
PARKING PLAN
31
SECTION B - B
32
The living spaces are broken down to twenty-eight individual units, and vary from three bedroom condominiums, to six-hundred square foot studios. The structure itself is broken into three separate buildings, which allows light to access all of the individual units. A single loaded corridor system is provided for the open ended units. An underground parking is offered both for the residences and to the public. The main attractions of the apartment complex are the community spaces offered for its residences. A small private park is located in the middle of the three buildings, which is accessed from the main circulation corridor and leads to the rooftop community gardens located on top of the second building.
33
THE WHALE HOUSING BY DE ARCHITEKTEN CIE. - AMSTERDAM, THE NETHERLANDS CASE STUDY The Whale building designed by deArchitektenCie was completed in the year 2000, and was part of the Boreno-Sporenburg development/master plan, by West 8. The goal for the master plan was to occupy the Boreno and Sporenburg peninsulas located in the eastern part of Amsterdam and creating a harborresidential area of low-rise dwellings. The architecture of the dwellings was based on the patio-house and was an attempt to reinvent the traditional Dutch canal side house. The Whale building is located on the Sporenburg peninsula and is located within the three blocks of low-rise dwellings. It is a high-rise apartment complex that has two-hundred fourteen housing units, provided between six to thirteen levels. Its geometric shape is derived by lifting the sides of the rectangular block making a sloping roof, which provides two functional purposes: one allows access underneath the block at ground level and the other allows sunlight to reach deep into the courtyard. The building’s typology is considered to be a courtyard, since its circulation is organized within the courtyard, branching out from the opposing corners by elevators and with series of corridors, which look like series of cuts in the elevations. Additional staircases are placed within the courtyard void, which provides not only alternate routes to different floors but also creates traffic and human interaction within the corridors. The building which spans on a 165 by 330 foot footprint, is wrapped in zinc cladding, and provides a variety of unit types, from duplex to single story units with internal stairs. It has floor plans that are different at every level providing diversity. Its ground level has commercial spaces, with its basement serving as a parking lot for the tenants, being as large as a football field. Its courtyard is accessible to the public and is overlooked by the access corridors at alternate levels. Through this design Frits van Dongen, the designer of the building was able to create efficient housing units and by maximizing the provided space through his creative circulation system, he was able to fit twice as many apartments on a same size building lot as the typical “Berlage block” located on the south side of Amsterdam.
N
SITE PLAN
0
8’ 16’ 24’
40’
Location:
Amsterdam, The Netherlands
Levels:
6 to 13
Units:
214
Unit Types:
Double-orientation unit, open-ended Double-orientation unit, 90
Inhabitans: 430
34
165
fft.
MASSING DIAGRAM 0 33
Size:
ft.
CIRCULATION DIAGRAM
54,450 SF
Site Size: 141,000 SF F.A.R. :
Location:
Interior
Type:
Single-Loaded
6.0
System
Footprint: 165 ft. x 330 ft.
Frequency: Skip Stop Cores:
PUBLIC SPACE 1.
1: Public Park
PART TO WHOLE 1.
2: Commercial Spaces 2.
3.
3: Access to Underground Tenant Parking
1: Private Living Quarters
2.
2: Public Park
3.
3: Unit Types
1: Type 1, Upper Duplex 2: Type 2, Lower Duplex
2.
3: Type 3, Corner Unit
3.
PRIVATE SPACES 1.
6
BUILDING FAÇADE & SITE CONTEXT
Typological studies play a big role on the design for housing complexes. The various typologies serve as a starting guide for a developing project, and its importance is shown particularly for housing projects; since most of the time the design is systematic, consisting of repeating units and in constant relation to the main circulations. The typologies are identified both as a group, consisting of different units and as individual unit types, and each unit type has a unique condition, having hierarchy over one another, having advantages and disadvantages. These fundamental organizational rule-sets provide key understanding for the different conditions and problems, which the architect would need to take into consideration and is presented as a starting point for the architect who will need to find a solution to those problems.
35
ATHLETIC COMPLEX
CABRILLO BEACH
The main ain ch characteristic aracttteristic ffor tthee cur current r ent nt ssite i t iis a b boat o llaunching u hi n ramp, m which is shared a db by th thee b beach ch t Th Thee site its self iis a d e ntt to th dja tthe he S he a de San PPedro salt m h and the h vast a Cabrillo a b ll o parking llot. itself adjacent Salinas marsh beach in So outhe o uthern ern Ca alifornia. a a. Southern California. ly th h re iss n no much done w not i iss fenced c off f dividing v the ssalt alt marsh a a and the h Currently there with the site;; it off, arking lot,, an a nd d dens n e y pla an a n te d in between tw w we o fil e out any p ll a h can a get e iinto concrete parking and densely planted to filter pollutants that a oug o gh h th tthee vegetation e eta ea att n p a marsh, a , it unfortunately o a yb the ssalt ma marsh. Although playss a big rolee for tthe salt blockss of he vie eew of tthe he m sh h and dm mak ess iitt u ceeeab to the public n its natural r beauty e He en eenc ncc e off tthe view marsh makes unnoticeable public,, hiding beauty. Hence, co once ncee p be eh nd d th tthe p osall for fo thee C b i lll B hA Ath l e tti C t is developed p ped byy ex b x p n the h thee con concept behind proposal Cabrillo Beach Athletic Center exposing t tural beau be uty. site’s nat natural beauty. ugg ug ass that h t will illl pe per e r mea ate tee thr h gh th he ath h hletic t center, eentee m making k ng The proposal willl su suggest recreational areas permeate through the athletic a and th e ch TThe he re r ationa na al area a w wi p n to o a valuable connection b between the salt marsh the beach. recreational areas will b be open h th wa y. Th h ro gh h tthe hee pathway hwa y which hi c h would h o lld the public and will flow th throughout the site byy a small p pathway. Through nter’s com xees , the re wou ul d b be vviews e w op n to thee sa alt m r h and d the he be adjacent to the athletic center’s complexes, there would open salt marsh go oing o ng in to o th he S h n Pe ed drro ob ba bay yy. TThe re rrecreational e e ona a a ea end of the pathway would lead to the pierr g going into the San Pedro bay. areas
SALINAS L DE SAN PEDRO D SALT MARSH
m to b bee mo ore ree in iinvolved n o ve wit with w itt th tthee athletic t et i center e t r and d will attract many visitors to the site, engaging them more develop a welcoming relationship in the community.
SITE S ITE LOCATION C
S ITE O R D E RS SAN PEDRO, CALIFORNIA: SHOSHONEAN RD.
20’
40’
60’
100’
N
0
37
H O M E B U S H B AY - S Y D N E Y O LY M P I C P A R K BY HARGREAVES ASSOCIATES - SYDNEY, AUSTRALIA CASE STUDY Homebush bay was home to the Sydney 2000 Summer Olympic Games. The Olympic Park and the Olympic Plaza was designed by the master planner George Hargreaves and the design was based on three colored moves: red for urban space, blue for designed water elements and green for parks which flow through the site. The Olympic Boulevard, which is an eleven hectare paved space and the spine of the whole scheme, leads to this particular portion of the Olympic Park. This northern section of the boulevard connects the urban space with the wetland swales through the use of sixty water cannons that shoot water down the terraces and into the wetland ponds. This portion of the park is very unique, because it includes all three moves of the planner; from the urban space to the water features and from the water features to the parks. The 1.8 hectare of wetland ponds serve as a contrast to the active Olympic Plaza, as well as a strong image of sustainability for Homebush Bay. The ponds serve as storm water management system, where the native plants filter and cleanse the storm water, as it moves through the wetland. This water is then used for irrigation on the site, or is introduced into the adjacent Haslam’s Creek.
CABRILLO BEACH ATHLETIC COMPLEX - PROCESS WORK SITE MANIPULATION & DESIGN ITERATIONS INSPIRED BY SALT MARSH FORMATIONS
0
PLANAR SITE MANIPULATION IMITATING SALT MARSH FORMATIONS TO EXPAND & ENHANCE THE ADJACENT SALINAS DE SAN PEDRO SALT MARSH
CONTOURS
38
GEOMETRY
PROGRAM
VEGETATION
0
20’
20’
DRAINAGE
40’
40’
60’
60’
100’
100’
N
SECTIONAL SITE MANIPULATION ITERATION WITH 25 DIFFERENT SECTIONS
SITE ANALYSIS
1 2 3
GEOMETRY
UNNAVIGABLE CONTOURS
NAVIGABLE CONTOURS
DRAINAGE
PROGRAM
VEGETATION
4 5 6 7 8 9 10 N 0
50’
150’
250’
1. CONTOUR LINES SHOWING THE OUTLET POND. 2. LINE SHOWING THE ASPHALT PATH FOR CYCLISTS AND PEDESTRIANS. 3. CONTOUR LINES HIGHLIGHTING THE WETLAND LANDFORM. 4. HATCH PATTERNS SHOWING VARIETY OF WETLAND PLANTS. 5. GROUP OF CONTOUR LINES SHOWING THE BOULDER SLOPE.
6. CONTOUR LINES SHOWING THE INLET POND. 7. PARALLEL LINES SHOWING THE PIER, WHICH GOES INTO THE WETLAND. 8. CONTOUR LINES SHOWING THE FROG POND. 9. GROUPS OF SHORT LINES SHOWING THE FOUNTAINS AND THE WATER STREAMS. 10. PARALLEL LINES SHOWING THE TERRACES, WHICH FACE THE WETLAND.
HORIZONTAL SITE MANIPULATION WITH 1/16” MICROBOARD AND PLEXIGLASS 1ST DESIGN ITERATION PARKING ENTRANCE
SITE MANIPULATION EXPANDING THE ADJACENT SALT MARSH 2ND VERTICAL ITERATION CHILDREN’S PLAY AREA VERTICAL SITE MANIPULATION WITH 1/16” MICROBOARD 3RD HORIZONTAL ITEATION
SITE MANIPULATION UNDERSTANDING NAVIGABLE & UNNAVIGABLE SURFACES
ACCESS TO THE OCEAN & PIER
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CABRILLO BEACH ATHLETIC COMPLEX PLANS, SECTIONS & ANALYTICAL DIAGRAMS
0
20’
40’
60’
EXERCISE ROOM
ROOF GARDENS
LEVEL 3 PLAN
BALCONY
LEVEL LOBBY
3
1ST AID MAIN EXERCISE ROOM LEVEL
2
LEVEL 2 PLAN WOMENS MENS
ADMIN. OFFICE
MECH.
LEVEL MAINT. EQPT. STORAGE
PARKING
LOBBY MENS SHOWERS
1
SNACK BAR
MENS LOCKER RM.
WOMENS LOCKER RM. WOMENS
EXPLODED VIEW OF COMPLEX SHOWERS
LEVEL 1 PLAN
UNDERGROUND PARKING LEVEL ISOMETRIC VIEW OF THE COMPLEX
SECTION B - B
100’
N
ATHLETIC COMPLEX ROOF PLAN
SECTION A - A
SECTION E - E
SECTION D - D
SITE CONTOURS
VEGETATION
CIRCULATION
SECTION F - F
SECTION C - C
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The idea behind the conceptual topographic model, which later influenced the design of the structure by its natural curvatures came from an inspiration from Spain’s Coto Donana National Park, which is organized around an enormous salt marsh. Salt marsh is a habitat that acts as an enormous filter. As water flows through a salt marsh, marsh grasses and peat (a spongy matrix of live roots, decomposing organic material and soil) filter pollutants such as herbicides, pesticides and heavy metals out of the water, as well as excess sediments & nutrients. The site also serves its visitors as a place for relaxation and stress reduction. As the visitors walk around the salt marshes through the narrow pathways they get engaged into its beauty and get away from their busy lives.
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MOCA PACIFIC DESIGN CENTER ogr am ma aspe peect e t of the de sig The he required equ reeed program m ffor the he m s w th was the h following: l ow ow wiin i g programmatic aspect design. museum pt o ssecure currree g ery flexible i ble bl galle g y, p errm ma ta llation room, o m , art p prep & sstorage, o a e ora reception, gallery, gallery, permanent installation ro oo s d ir t o fff ice & a m e al roo e off thee d de design i gn ign np process c a ccubic bi c b bathrooms, director office mechanical room.. At the o onset process, n w en w h gr m w would u be b incorporated po dw it hin n th tthe h e 50 0b by 5 0 ffeet e t site. itt A platonic wass gi given where thee pr program within 50 sp p a attention tt t n w wa e e g of spaces a an u l tti , zoning ulatio ulation n ga ac o d n to light ght g special wass gi given to sequencing and circulation, according
SE
T
BL VD
.
equ qui u eem tss ttransparency rency and vview, w, and material aterial e articula a ar articul u o requirements, articulation.
SU N
MUSEUM OF CONTEMPORARY ART
Thee p proposal r p ffor th the h Museum he eu of Contemporary ontemp po ry Art A in the Pacific Ar a Design gn C g Ce Center e nte tter focuses ccuses o on th the h
SITE LOCATION S OC ON
2
P RO GR A M A N D S PAC E WEST HOLLYWOOD, CALIFORNIA: MELROSE AVE. & SAN VICENTE BLVD.
PACIFIC DESIGN CENTER MASSING & SITE CONTEXT
FAÇADE OF PROPOSED MUSEUM WITH 1/2” = 1’ - 0” SCALE MODEL
NORTH-WEST VIEW OF MUSEUM
45
THE PANTHEON & GUGGENHEIM MUSEUM ANCIENT & 20TH CENTURY PRECEDENT ANALYSES CASE STUDY - THE PANTHEON, ROME, ITALY. 118 - 128 CE
FAÇADE OF PANTHEON & MULTI-LAYERED RELIEF MODEL
FLOOR PLAN & SPLIT SECTION ELEVATION
PROPOSAL
ANALYTICAL MODEL OF PANTHEON & SPLIT SECTION ELEVATION RELIEF MODEL
FOR
MUSEUM
OF
COLOR REPRESENTATION: WHITE-BEAUTY, BLACK-STRUCTURE, GREY-FUNCTION(DOME)
C O N T E M P O R A RY A R T MOCA PACIFIC DESIGN CENTER
N
LEVEL 2 FLOOR PLAN
46
0’ 5’ 10’ 15’
25’
LEVEL 1 FLOOR PLAN
CRITICAL SECTION DENOTING SPATIAL DEPTH & VOLUMETRIC ARTICULATION
90 DEGREE PARALLEL PROJECTION DRAWING
CASE STUDY - GUGGENHEIM MUSEUM, NEW YORK. 1959
COLOR REPRESENTATION, SHOWING THE FACADE AS THE
MOST BEAUTIFUL ASPECT OF THE MUSEUM.
FLOOR PLAN & SPLIT SECTION ELEVATION
ANALYTICAL MODEL OF GUGGENHEIM MUSEUM & SPLIT SECTION ELEVATION RELIEF MODEL
COLOR REPRESENTATION, SHOWING GREY AS THE
DOMINATING COLOR FOR THE CONTINUOUS RAMP SYSTEM.
PROCESS MODEL WITH REMOVABLE FLOOR PLATES
MAIN ENTRANCE OF THE MUSEUM
1/2” = 1’ - 0” SCALE HINGED MODEL EXPOSING THE MULTI-LAYERED STRUCTURE
BALCONIES OVERLOOKING THE PACIFIC DESIGN CENTER
TOP VIEW OF THE MUSEUM SEEN FROM THE CENTER GREEN BUILDING
SKYLIGHT OF THE MUSEUM ILLUMINATING THE GALLERY DURING THE DAY
MAIN GALLERY SPACE OVERHANGING OVER THE ENTRANCE
TOP FLOOR OF THE MUSEUM AND HUMAN OCCUPANCY
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A special influence to the design was the Rita and Taft Schreiber Permanent Collection. It comprises eighteen paintings, sculptures, and drawings created between 1939 and 1972 by thirteen artists. Included are Jackson Pollock’s No.1 (1949); Piet Mondrian’s Composition of Red, Blue, Yellow, (1939); Alberto Giacometti’s Tall Figure II (1960); and Arshile Gorky’s Betrothal I (1947). In addition, the gift consists of Pierre Alechinsky’s Pres de la bete (1960); Alexander Calder’s Portrait (1964); Jean Dubuffet’s L’ecoulement de la ville (1962); Giacometti’s Interior Studio with Man Pointing and Three Apples (1950); Morris Louis’s Pillar of Delay (1961); Joan Miro’s Personnages dans la nuit (1949); George Rickey’s Two Lines Down Eighteen Feet (1972) and Nuages II (1962); Mark Rothko’s Yellow and Orange (1949); Nicolas de Stael’s The Football Players (1952), View of Agrigente (1954) and Nu Debout (1954); and Mark Tobey’s Lake (1959). Various art pieces guided the programmatic strategy and the typology of spaces for the museum.
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CONSTRUCTION METHODS & TECHNIQUES
THE VITRA CONSTRUCT
The VitraHaus Construct was influenced by Herzog & De Meuron’s Vitrahaus Museum. The concept of the Vitrahaus Museum connects two themes which are occurring in the architectural practice of Herzog & De Meuron: the theme of the archetypal house and that of stacked volumes. The fivestorey structure is comprised of 12 houses – five houses are set at the base in which seven other houses are stacked upon one another. Each of the structural volumes appear as if they have been shaped by an extrusion press and are cantilevered up to 50 feet in some places. The floor slabs intersect the underlying gables, resulting in a three-dimensional assemblage or pile of houses.
V ITR A H AU S - P R E C E D E N T A N A LYSIS & REPRESENTATION UTILIZED MATERIALS: CONCRETE & TIMBER
7 cm
60 cm 87
3
14 22.5
36 41
VERTICALLY ORIENTED ARCHETYPAL HOUSE STRUCTURE
EXTERIOR BENCHES MADE FROM LARCHWOOD
TIMBER-CLAD WALL DETAIL SECTION
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PROCESS WORK MODULARITY, ARTICULATION & EXPRESSION
FRONTAL VIEW OF CONSTRUCT
BACK VIEW OF CONSTRUCT
6” CONCRETE BASE WITH GALVANIZED STEEL CONNECTION RODS
L-3
R-4
L-2
R-3 L-1
R-2
PARTICLE BOARD FRAMING & STYROFOAM CORES
BENCH STRUCTURE
R-1
CONCRETE BASE WOODEN BENCH
BURNING THE STYROFOAM OUT OF THE DRIED CONCRETE MODULES
MODULES & ASSEMBLY CONCRETE MODULE SIZES (L x W x H) 4' - 0"
0' - 2" 0' -3 19 /32 "
L1 - 36” x 6” x 14” L2 - 34” x 6” x 14”
0' - 6"
R4 - 36” x 6” x 14” BASE - 36” x 48” x 6”
3' - 0"
0' - 6"
R2 - L3 MODULES
52
1' - 0"
0' - 2"
R3 - 46” x 6” x 14”
1' - 2"
R2 - 36” x 6” x 14”
1' - 0"
R1 - 6” x 6” x 12”
0' - 9"
L3 - 46” x 6” x 14”
R1 MODULE
BASE MODULE
REPEATING THE RIGOROUS PROCESS TO CREATE VOIDS
The design intent behind the Vitra Construct was to imitate the special character of the Vitrahaus Museum and through explorations with scale and proportions the design idea was developed. The hollow concrete modules represent the prefabricated house blocks of the Vitrahaus which are covered in charcoal color stucco.
53
CLOSED POLYSURFACE MODULES
MEDUSAE ANALOGUE
In the preceding decades, the role of computing technology in architecture has reached a state of ubiquity, having assimilated into every conceivable corner of the profession, and at every stage of design. Discussions of quality, ingenuity, efficiency, and precision have been fundamentally altered as a result. Techniques of representation (drawings, images, models), methods of construction (CNC fabrication, file-to-factory production, mass-customization), and approaches to formal exploration, discovery and manipulation have all benefitted from the high-level deployment of computing software in the design fields. The Medusae Analogue uses a selection from Alfred Goldsborough Mayer’s Medusae of the World as precedent to enforce the rigorous construction of third-degree curves transforming them to closed polysurface modules. Two small modules were taken from Mayer’s detail drawing and manipulated in a semi linear order. After multiplying and sizing the modules to alternating sizes the third degree-curves were lofted/connected together forming a unit type. The unit type later was aggregated into a composition and transformed into closed polysurface modules, which was later introduced to materiality.
R E PR E S E N TAT IO N O F C OMP LE X M ORPHOLOGIES UTILIZED SOFTWARE: RHINOCEROS 5, KEYSHOT 5, ADOBE ILLUSTRATOR & GRASSHOPPER
DETAIL TAKEN FROM MAYER’S MEDUSAE DRAWING
OUTCOME FROM THE AGGREGATION OF MODULATED UNITS
55
T H E M E D U S A E A N A L O G U E F O R M AT I O N & O T H E R D R AW I N G S INSPIRED BY ALFRED GOLDSBOROUGH MAYER’S MEDUSAE OF THE WORLD
1. PLANAR ARRANGEMENT OF MODULES
2. MAYER’S MEDUSAE DETAIL DRAWING
IDENTIFIED MODULES FROM THE DRAWING
VERTICAL ARRANGEMENT & SIZING OF MODULES
OBLIQUE DRAWING OF CONNECTED MODULES & FRONTAL VIEW OF ARRANGED MODULES
ELEVATION DRAWING OF CONNECTED ISOCURVES & WIREFRAME VIEW OF ARRANGED MODULES
AGGREGATION OF PRODUCED UNITS
REPRESENTATION OF THE ANALOGUE THROUGH MATERIALITY
56
PERSPECTIVAL PROJECTIONS (INSPIRED BY CATH CAMPBELL’S WORK)
VOLUME WITH GRID LINES & HORIZONTAL PLANES
VOLUME WITH LINES & SOLIDS
VOLUME WITH LINES, PLANES & RAMPS
VOLUME WITH LINES, PLANES, RAMPS & SOLIDS
SUBTRACTIVE ITERATION RULE SET
ADDITIVE ITERATION RULE SET
REPETITIVE MODULE RULE SET
DIMINUTIVE RECURSION WITH VOLUMES #1
DIMINUTIVE RECURSION WITH VOLUMES #2
REPETITIVE MODULE RULE SET
RECURSIVE TECHNIQUES
DIMINUTIVE RECURSION RULE SET
PARAMETRIC INTEGRATION
DIMINUTIVE RECURSION RULE SET
57