Catharsis. all I have made and nothing
Athina Zafeiropoulou GSAPP 2012 − 2015
1
not
BUILDINGS
MALT Publishers, New York A GSAPP Project
-BARCELONAA MANIFESTO TOWARDS A CITY OF ICONS
Early Early
Early
From the outset, we by were inspired ,we wewere were inspired by inspired by the of vaulted of early Gothic ngs Gothic ings ofearly earlyceilings Gothic Cathedrals and the geometry of he geometry the geometryof of kaleidoscopic and fractal-like patterns. dEarly fractal-like nd fractal-likepatterns. patterns.
References Pole Vault Fast Pace // Slow Space Spring 2014 // Tech Report
Pole Vault’s utilitarian materials are exaulted through their gothic aspirations.
References Pole Vault Vault Pole
Fast Pace Pace //// Slow Slow Space Space Spring Spring 2014 2014 // // Tech Tech Report Report Fast
Pole Vault explores the structural, spatial and aesthetic potential of PVC. It rethinks the formal qualities traditionally associated with the gothic— allusions to nature, structural clarity, and an emphasis on the view upwards.
design development - form
design development - form
References Pole Vault
Fast Pace // Slow Space Spring 2014 // Tech Report
References
Design Intention Fast Pace//Slow Space // Spring 2014 // Tech Report
5
Pole Vault Vault Pole
Fast Pace Pace //// Slow Slow Space Space Spring Spring 2014 2014 // // Tech Tech Report Fast Report
Design Intention Fast Pace//Slow Space // Spring 2014 // Tech Report
4
above: form-finding iterations below: canopy integrity test
55”
Design Development // Concept
55”
Fast Pace//Slow Space // Spring 2014 // Tech Report
6
55” 25”
25” 25”
canopy
cnc plasma-cut joint
arms
base
Design Development // Form-finding Fast Pace//Slow Space // Spring 2014 // Tech Report
9
Design Development // Grove and Tree Components Fast Pace//Slow Space // Spring 2014 // Tech Report
10
design design development design development development - form - form - incl - form - grasshopper incl- grasshopper incl grasshopper screenshots screenshots screenshots above: form-finding iterations below: canopy integrity test
Design Development // Form-finding Fast Pace//Slow Space // Spring 2014 // Tech Report
9
design development - form
POLEVAULT PROTOTYPE // v.041914
Design Development // Schematic Iterations Fast Pace//Slow Space // Spring 2014 // Tech Report
7
1
3 2
c
b a
4
5
1. Draw canopy curves. 2. Draw triangulated planar top surface. 3. Loft curves to make draping form.
4. Drape planar surface over form. 5. Extract curves for trees.
6
Design Development // Form-finding Fast Pace//Slow Space // Spring 2014 // Tech Report
8
Design Development // Prototype Fast Pace//Slow Space // Spring 2014 // Tech Report
20
fabrication PVC Materials and Hardware
Materials and Hardware
18-8 Stainless Steel Blind Rivet
JM Eagle 1/2 in. x 10 ft. Sched. 40 PVC
Zinc-Plated Steel Cap Screw
JM Eagle 1 in. x 10 ft. Sched. 40 PVC
Standard Nylon Cable Tie
JM Eagle 3 in. x 10 ft. Sched 40 PVC
Domed, 1/8” Diameter, .032”-.062” Material Thickness
1/4”-20 Thread, 1-3/4” Long
6” Long, 18 lb Tensile Strength, White
Twisted Nylon Twine
General Purpose Low-Carbon Steel
1/2-lb tube, .085” Diameter, 338-lb Breaking Strength 268’ Length
20 Gauge sheet, 48” x 48”
Quikrete 5000
80lb., High Early Strength Concrete Mix
Final Design // Materials Fast Pace//Slow Space // Spring 2014 // Tech Report
30
Final Design // Fabrication Fast Pace//Slow Space // Spring 2014 // Tech Report
32
Tree assembly process 1. base
3. tops
2. trees
4. aggregate
1. Cast Base 2. Attach arms 3. Assemble canopy 4. Attach Canopy
Design Development // Tree Assembly Fast Pace//Slow Space // Spring 2014 // Tech Report
14
Design Development // Joints Fast Pace//Slow Space // Spring 2014 // Tech Report
13
design development - infill
design development - infill
above, left: string infill above, right: mesh fabric below: ‘ruled surface’ silicone string above, left: string infill above, right: mesh fabric below: ‘ruled surface’ silicone string
Design Development // Infill Tests Fast Pace//Slow Space // Spring 2014 // Tech Report
19 Design Development // Infill Tests
Fast Pace//Slow Space // Spring 2014 // Tech Report
19
*For bench prototype: make an alternative 3” base for Tree 2 with 24” height
c
b
c
a
b
b a
1 TOP 54” 1/2” VERT
a 64” b 93”
2* TOP 54” 1/2” VERT
a 57” b 76”
c
b
a
3 TOP 54” 1/2” VERT
a 58” b 91”
c b
a
a
4 TOP 24 1/2” 1/2” VERT
a 67” b 85”
c
b
5 TOP 24 1/2” 1/2” VERT
a 59” b 76”
a
c
6 TOP 24 1/2” 1/2” VERT
a 53”
Design Development // Infill Strategy
b 67”
Fast Pace//Slow Space // Spring 2014 // Tech Report
c 86”
c 92”
c 72”
c 77”
c 68”
c 60”
1” 54” VERT
1” 45” VERT
1” 45” VERT
1” 24” VERT
1” 24” VERT
1” 24” VERT
3” 24” BASE
3” 12” BASE
3” 12” BASE
3” 6” BASE
3” 6” BASE
3” 6” BASE
18
This studio belongs to a collection of courses that explore the potential of Agonism to opening unexpected paths for the identification, confrontation and discussion of current polemics in architecture. It takes Architecture as a semi-Autonomous field, studying not only its disciplinary advances but also their their reverberation in society at large. It vindicates the role of the architect as a Public Intellectual, that is a designer that participates in the public debates that shape the city, someone able to risk his or her own position by questioning institutions, received ideas or the general status quo.
An International Consulting Agency of Secret Agents Infiltrated in Barcelona's Party Scene. This study will operate as an international urban consulting agency that is, as a group of experts or independent observers able to deliver a diagnosis and potential future Urban Imaginary based in urban configurations, programmatic strategies and architectural operations. Cristina Goberna − Fall 2014
not BUILDINGS: The Urban Imaginery Project
Architectural Agonism. The Construction of Urban Imaginaries.
By confining and decentralizing the monocultural party tourism into a party archipelago comprised of interconnected islands isolated from their from their surroundings, Barcelona will reclaim its waterfront and historic city center for Barcelonians. Terres Fesra proposes using radical architecture precedents as an attempt to isolate and contain Barcelona's increasing party tourism. These massive urban interventions are repurposed to serve in favor of a party utopia independent of the city of Barcelona but yet plugged in her urban fabric - a city within a city. The archipelago forces a common identity through strong links to different islands. It is a grouped pattern of distinct parts: the agora as a public space, oikoi (houses) as private, the theater and the templets as symbolic administrations. The archipelago party city is a collection of clearly bounded area of intervention that Together form a whole. It represents an assembly of distinct parts that together contribute to an imaginary understood as unified never ending party polycentralities.
with: Taylor Burch, Lucas Lind, Megan Murdock
not BUILDINGS: The Urban Imaginery Project
Barcelona a Manifesto: Towards a City of Icons
Terres Festa Choosing
1 2 3 4 5 6 7 8
Selection of problematic sites of the city as potential new centralities. Sagrada Familia Maremàgnum El Raval Barceloneta Beach Torre Agbar Port Olímpic Montjuïc W Hotel
1 5 3 7
2 4
6
not BUILDINGS: The Urban Imaginery Project
1 2 3 4 5 6 7 8
Sala Sagrada Party Mat Ville Spa Party Island Party in the Air Fun Port The Continuous Rave Sala Vela
New centralities and the exisisting metro system.
1 5 3 7
2 6 8
Towards a City of Icons: Terres Festa
Merging
4
Composing A new ritual promenade for the city: a proposal for a monorail circuit that links the selected sites and isolates the party.
26
In Terres Festa, the bourgeois shackles of work, family life, and civic responsibility are discarded. Individuals wander from one leisure environment to the another in search of new sensations. Beholden to no one, they sleep, eat, party, and Archipelago: the eight new party icons or Barcelona. 27 procreate where and when they want.
Projection: Current and predicted future monocultural hold on the Barcelona waterfront.
not BUILDINGS: The Urban Imaginery Project
Archipelago Party Centralities A new ritual promenade for the city
2 1 3
Towards a City of Icons: Terres Festa
6
4 5
1 2 3 4 5 6
Party Waiting Room Lobby Existing Platform VIP Lounges Platform Bar Tickets
34
35
Terres Festa Station
2 1 3
Towards a City of Icons: Terres Festa
6
4
1 2 3 4 5 6
TOWARDS THE WORLD’S MOST ICONIC PARTY, MALT PUBLISHERS
5
Party Waiting Room Lobby Existing Platform VIP Lounges Platform Bar Tickets
34
35
Terres Festa New Estacio de France The site plugs the party into Barcelona’s existing transit system. The Esatcio servises as a gateway to a monorail loop that moves parties throughout Terres Festa. Once there the party begins.
not BUILDINGS: The Urban Imaginery Project
PLACE STAMP HERE
1
3
2
4
6
5
TOWARDS THE WORLD’S MOST ICONIC PARTY, MALT
4
Non-Stop Party
PLACE STAMP HERE
3
2
6
5
TOWARDS THE WORLD’S MOST ICONIC PARTY, MALT PUBLISHERS
4
Non − Stop Party On the tip of Barceloneta beach and in front of the iconic and horizon−dominating W hotel. An interior and exterior continuous mirror field reflects the city of Barcelona. dimensions: 800 feet long × 500 feet tall × 40 feet wide
not BUILDINGS: The Urban Imaginery Project
1
not BUILDINGS: The Urban Imaginery Project
Towards a City of Icons: Terres Festa
80
81
conjecture Since the economic crisis in 2008 the city has increasingly relied on tourism as a vital source of revenue. As a result, the culture, history, and the waterfront of Barcelona are threatened by the culture of consumption, globalization and party tourism. There have been many reported incidents and of uncivil behavior in Barcelona. The project of TERRES FESTA as a City of Party Icons presented in this manifesto focuses on the rearticulation and redefinition of the idea of the party and the role of architecture as a tool to confine and at the same time exponentially rescale party tourism to spaces that exist parallel with but separate from the city of Barcelona.
UNCERTAIN STATES OF LA FESTA! economic
and
The vital nightlife of Barcelona fulfills the desires of locals and visitors and is directly linked to economic recovery. The extended life span and intensification of the party − from conception to the come down − will provide new economic possibilities. Barcelona will strive from the pre−crisis romantic notion to the Non−Stop Party. Participants should be stimulated and recuperated until they are fully functional, healthy beings before reintegrating them into everyday life!
Tourism is a neccessity!
festive
crisis!
not BUILDINGS: The Urban Imaginery Project
Barcelona is in a states of
not BUILDINGS: The Urban Imaginery Project
...
We must adress all scales or the urban and social fabric that are in crisis no. Four initiatives − preservation, recuperation , transportation and intensification − will strive to save Barcelona by enhancing party tourism!
with: Desmond R Palmer and Die Hu
Everything is behind us, everything is ahead of us, as is ever so in the passing of time in Barcelona. We gotta go and never stop going ‘till we get there.
We don’t know, but we gotta go.
not BUILDINGS: The Urban Imaginery Project
Where are we going?
Square Cicle in Cinema not BUILDINGS: The Urban Imaginery Project
Transformable Trucks not BUILDINGS: The Urban Imaginery Project
Extended Balconies Street Party not BUILDINGS: The Urban Imaginery Project
After-hours Bar Street Party not BUILDINGS: The Urban Imaginery Project
Cycle竏段n Tent Bar Projector not BUILDINGS: The Urban Imaginery Project
Pole Vault “This will kill that!”
A century and a half later, the question is no longer about the book and the building. The machine has evolved. The Gothic has returned. This time, the Gothic is no longer a static and unvaried object built in stone, but an infinitely variable space plastic in nature. It speaks even more - no longer about the divine, but about the material logics of structure. Instead of fearing change – change that now, like in the Victorian age, was ushered in by technology – we embrace the computational machine. For Frollo, the Gothic embodied the clash between old and new: the old struggling with its own obsolescence. For us, the old simply becomes new again: the familiar slightly unfamiliar.
with: Xiaoxi Chen, Benjamin Hochberg, Yasmina Kahn, Isabelle Kirkham-Lewitt, Lucas Lind, Ji Nia, Sareeta Patel, Madhini Prathaban, Jim Stoddert
not BUILDINGS: Pole Vault
Claude Frollo famously laments in Victor Hugo’s The Hunchback of Notre Dame. “This” is the printing press, “that” is the gothic cathedral.
Toaccomodate accomodatewet wetlawn lawnconditions, conditions,the thebench bench isis movable movable from from seat-height seat-height position position to To to the the ground. ground. Final Design // Final Form Final Design // Final Form Fast Pace//Slow Space // Spring 2014 // Tech Report
29
Design Development Development //// Base Design Base
Fast Pace//Slow Pace//Slow Space Space // Fast // Spring Spring 2014 2014 //// Tech Tech Report Report
12 12
​ 2 elevations
Final Design // Final Form Fast Pace//Slow Space // Spring 2014 // Tech Report
Fast Pace//Slow Space // Spring 2014 // Tech Report
28
Pole Vault explores the structural and spatial potential of Polyvinyl Chloride pipes, also known as PVC, to rethink forms traditionally associated with the Gothic. At once referencing a nave with aisles and a grove of trees, the project reduces the Gothic arch and its pointed ribbed vaults to a series of skeletal PVC trees.
not BUILDINGS: Pole Vault
The installation, produced for Columbia University’s Graduate School of Architecture, Planning and Preservation (GSAPP) Fast Pace/Slow Space course, it was installed at the End of Year Show on May 18th 2014 and at Frigment NYC Project in Sumer 2014.
Final Design // Final Form
the familiar slightly unfamiliar
not BUILDINGS: Pole Vault
no longer about the divine
not BUILDINGS: Pole Vault
2
almost
BUILDINGS
Paper Machines
All the speculations of the three studies were translated from video stills into two dimensional 11”×17” black and white drawings. A drawing was chosen − the light on surface − to be manipulated by laser cutter. When in the laser cutter different types of cuts and scores were used to generate the different line work of the drawing. Bristol paper was used as the cutting surface. The four layers that formulate the drawing were cut separately so each aggregation is constructed out of four bristol laser cut papers. The four layers are bind together with piano wire which represents and acts as the force of the water movement. For this project more that thirty six drawings were proceed in the laser cutter and the final natatorium machine constructed out of four different aggregations, each four layer thick. As a result many studies of paper machines were produced. Each with different unique qualities that can never be replicate even if the original drawing does not change. Philip Parker − Fall 2012
almost BUILDINGS: Paper Machines
Vertical Natatorium
16 video stills studies of people swimming London 2012: Final Men’s 4×100 freestyle relay
almost BUILDINGS: Paper Machines
8 video still studies of water transforms on surface Two Ice Cubes in a Pan (personal video)
almost BUILDINGS: Paper Machines
..if we were able to run on sunlight and utilize only the energy needed; if form and function would seamlessly merge and every bit was recycled; if we would reward cooperation and rejoice in diversity, if we would attend to things locally and curb our excesses from within, then we would be following some key laws of nature and many difficult problems would simply cease to exist‌
4 video still studies of light on water surface Ruff sea
almost BUILDINGS: Paper Machines
The Pool at Columbia University is intended as a component for physical health, fitness and educational facility for Columbia Students as well as immediate community located at corner of 125 Street and Amsterdam Avenue at the foot of one of NYCHA housing projects. The pool Building is a that harvests, uses and recycles its waters.
complete ecosystem
In order for the pool to be generated as a study of physical spaces and human movement into them three video studies were made: a precedent of an active pool and two examinations of the water as an element of nature. Video acts as the tool to investigate both
humanly active spaces and natural elementents.
Site Analysis W 125 St and Amsterdam Water relationship to Croton Aqueduct Traces of preexisting topography
Longitudinal section almost BUILDINGS: Paper Machines
Floor plan
Cross sections almost BUILDINGS: Paper Machines
Top Plan View Rotation
The study of body movement through small spaces as an apparatus to inform the design of a bathroom that is to accommodate two separate users at a time. A prototype of a self-contained unit that can be installed throughout New York City and will explore the relationship between ecological and mechanical systems, and will ask what is public about a public bathroom. An atempt to create enclosure, separating a within from an outside.
intense
interaction
Two spaces with people and movement within a constrain environment were documented and used to generate the bathroom operative machine. The first is a precedent study of the women’s bathroom on the fifth floor of Avery Hall. The second is the elevator of Avery Hall during rush hour. In both cases there was intense documentation of the ways people move into space. How they or with people they now, how they react in intrusion of their personal space and how this
strangers
interact with
Philip Parker − Fall 2012
almost BUILDINGS: Paper Machines
Public Bathroom
The first is a study of the women’s bathroom on the fifth floor of Avery Hall
Bathroom Traffic Juxtaposition Avery 500
of Avery Hall during rush hour
Elevator Traffic Speculations Directionality Movement Negative Space
almost BUILDINGS: Paper Machines
The second the elevator
field of constant forces provokes another dimension
Forces almost BUILDINGS: Paper Machines
Layering of forces Bathroom for Public
Section bb’
almost BUILDINGS: Paper Machines
Section aa’
Future Fulfillment Center Tokyo, JAPAN
AmaKon
The same is true for cities, where tangible structures embody the pulsating rhythms of urban life. New infrastructures are emerging to serve this 21st century city. The primary context for both the fulfillment center and the city at large is rapid technological acceleration. Gauging the of technology can be incredibly unintuitive. Moore’s Law tells us that computing doubles every two years.
exponential growth
The studio uses programming alongside conventional modeling and rendering tools. This is a core issue: programming literacy. Data visualization will be a first step in understanding how computing can be harnessed to visualize the massive scale of consumption. Computing will be a collaborator in the process to imagine responsive environments that can re-organize and adapt. Computing will interface the design logic with the exponentially increasing smart matter its embedded within. In Japan, even street pavers communicate. Designing with Processing is to understand ourslees.
another tool
Toru Hasegawa and Mark Colins − Spring 2014
almost BUILDINGS: AmaKon 2045
Steve Jobs said that “the boundary between soft and hard is really grey. Software is something that didn’t get implemented into the hardware.”
AmaKon business model
Amazon and Kickstarter operation diagrams
almost BUILDINGS: AmaKon 2045
Akihabara has a rich history as the electronics district of Japan and is an ideal place in which to speculate on the future of consumption as well as technologies role in our daily lives. Located directly in the center of Tokyo along the prominent Yamanote subway line, the neighborhood not only provides a large amount of foot traffic but also is a strategic node in which to serve a large metropolitan area.
Why do architects need to learn how to code?
Creative Networks in Process
almost BUILDINGS: AmaKon 2045
FT
FT 12
12
The project examines one such reflexivity between the physical and the digital by proposing a fulfillment center for future creativity and on site production for the city of Tokyo. Typically set on the perimeter of population centers, increasing consumer demand for fast delivery and infinite choice, along with the mathematical logic of density, will draw these facilities into the city cores. Set in the electronics district of Akihabara and the accelerating culture of our on-demand world, the fulfillment certain will not only explore the the infinite possibilities of creative networks, but will capitalize on new potentials made possible through the combimation of KICKSTARTERS and AMAZON prototypes as nodes of techology in adense urban context.
AmaKon resolvesconsumerism demand overflow by testing products in real time in the center of Tokyo.
the moving slab module
“the boundary between soft and hard is really grey�
120 FT
120 FT
plam diagrams PLAN DIAGRAMS
Akihabara Site almost BUILDINGS: AmaKon 2045
3
BUILDINGS
Industrial Happy Valley
Housing The Cow City A large scale factory feedlot hidden in a large scale urban housing project on East Harlem, on the edge of the grid on the edge of infrastructure, by the Harlem river on the beginning of nature. The spine of the design approach is the and of technology, machinery and circulation that forms the feedlot typology.
repetition
spatial concentration
This hyper-efficient prototype is informing the constant relationship between infrastructure and architectural space and stretches the extreme idea of cohabitation between mammals and humans in a dense urban environment. This narrative continuous on how the cows despite their dense environment in a parking feedlot underground condition, are been keeping grass-fed for a better meat quality to be available for the East Harlem food dessert. The project constantly contradicts the heavy machinery of the meat industry opposed to the pastoral vision of the happy valley. The housing unit is designed to be the most mechanical efficient with complete luck of or ornament. Thought the public spaces and the forced cow circulation to their nostalgic picture or a valley as the artificial landscape unfolds towards a heavily industrial contaminating river.
death;
happy
with: Mengxing Wang and Jonathan Yang LOT−EK − Fall 2013
BUILDINGS: Cow City
Hidden happy cow valley or brutal slaughter house?
BUILDINGS: Cow City
Cows are grass-fed for a better meat quality to be available for the East Harlem food dessert.
View from Park Avenue looking East
BUILDINGS: Cow City
Heavy Cow Machinery Prototypes
repetition and spatial concentration of technology, machinery and circulation that forms the feedlot typology.
Units Plans
BUILDINGS: Cow City
Section through the units and the Valley
The Valley is indeed hidden
SITE PLAN
BUILDINGS: Cow City
+3’ from street level
Plan of the Parking / Feedlot typology
FLOOR PLAN
level 4
Plan of Units and Valley
FLOOR PLAN
level 14 / units
Thought the public spaces and the forced cow circulation to their death; nostalgic picture or a happy valley as the artificial landscape unfolds towards a heavily industrial contaminating river.
Plan of the Cows Reaching their death
BUILDINGS: Cow City
top level / mountain
All−terrain Bank Landscape of Exchange The presence and usage of a landscape in the modern city could not but considered as of time for recreational activities. And in the modern hectic life the luxury of free time is closely associated with . The unstable economy of today challenges these relationships of time/nature/humans. In between this worldwide economic and environmental crisis this new branch bank in Downtown Brooklyn is designed to potentially challenge these interrelationships of modern discomfort between people and nature by introducing a new pace of movement. This building is designed to accommodate the complex network of a modern branch bank by introducing a parallel complex social network of lands. The different pieces of grounds emerge form the main ramp system to meet the heavy e arthy-like concrete core struture.
slower
The ramp system of this bank imposes a circulation through the spaces where people can take time to navigate in the landscape iso to reach their desired destination. The program runs parallel with the ramp system and the one informs the other in terms of organization as they generate this complex field where social and corporate interactions are in constant confrontation. The landscape is not meant to read as a green roof but rather as a vibrant field that is in constant connection with the site, dragging people into the bank and then operates as the main circulation devise. p.s First Building I ever made
Lindy Roy − Spring 2013
BUILDINGS: All−terrain Bank
a luxury capital
Long Section Fall Season
Cross Section
Spring Season
BUILDINGS: All−terrain Bank
Site Plan
Bank level Floorplan
Basement Public Space Floorplan
BUILDINGS: All−terrain Bank
The terrain bamk challenge these interrelationships of modern discomfort between people and nature by introduing a new pace of movement.
“The Forest of Bourg-Marie is the darkest, the deepest, the most impenetrable, the most forbidding. The stars of spring that light up other woods seem here rarely to pierce through the cold, hard ground to the sun: the sun itself seldom penetrates the thick branches of fir and pine and hemlock. The tints of autumn that beautify the death of the year in other places are absent from its partially-cleared fringe of pine-tasseled ground; there seems no color, no motion, no warmth anywhere.� The Forest of Bourg-Marie , S. Frances Harrison, 1898
Villa Industrie Bourg − Marie
Villa Industrie de Bourg-Marie is a statement about typology. Set in the post-industrial landscape of the Bronx, the industrial loft building references multiple histories at once – a commentary on, and perhaps a formal exaggeration of the co-working spaces of today’s corporate “avant-garde,” the Culture Shed, and early 20th century Albert Kahn manufacturing buildings. It strives to exist in a state of “in-betweeness” - between warehouse, between lightness and heaviness, between the cores. In the same way that the building references three historic and contemporary ideas about spaces of production, Villa Industrie plays with three equally charged structural strategies: the piloti, the core, and the grid.
THE PILOTI. For Corbusier, the ground floor belonged to the automobile and to nature. The Villa Industrie is a hovering box, raised above the ground by a forest of structural columns – allowing not only for easy loading and unloading of materials off of trucks, but also an extended continuity with the landscaped forest.
THE GRID. Historically the grid has been a declaration of Modernism. It is as much a formal device as an ideological one. The columnar grid of the Villa Industrie attempts to defy the homogenization of space to allow for a greater diversity on the interior. By skewing the regularity of the grid, the building fights against the indeterminate nature of space in the shed typology.
THE CORE. No longer simply a functional and contained utility, the core in is an exploded space generator. Not one core but 6 distinct smaller cores – two bathrooms, an elevator, a stair, and two mechanical rooms. with: Lucas Lind, Isabelle Kirkham-Lewitt, Laura Peterson Architectural Technology V − Spring 2014
BUILDINGS: Villa Industrie Bourg−Marie
Design Intent
On a typical floor, the two sets of cores create smaller nooks between and behind each volume. The seemingly random placement of columns between cores creates the sensation of zoned spaces. As the only division of space, the columnar forest allows corner offices, individual cubicles, couches and pool tables to co-exist in a single space. Larger 2’X2’ circular tube columns flank the perimeter, creating one 6’ continuous cantilevered walkway around the perimeter of each floor plate. TYPICAL STUDIO PLAN 1/40” = 1’0”
In the top floor galery, the smallest columns drop out to create a more open and expansive space for exhibitions and events.
On the roof, the cores become empty shells and stands for vendors, creating an occupiable roofscape and garden. Rising above the glass and aluminum facade, the concrete cores reference the chimneys and smoke stacks of the old Bronx industrial landscape.
ROOF PLAN 1/40” = 1’0”
BUILDINGS: Villa Industrie Bourg−Marie
GALLERY FLOOR PLAN - LEVEL 8 1/40” = 1’0
On the ground floor, the individual is drawn through the forest , underneath the building canopy and into a grove of distinct and slender structural columns. These trunk-columns are intended to create an open public space, whose activities, both intimate and communal, are defined by the irregularity of their spacing. The building’s structural system reveals itself most visibility on the ground floor. Five smaller cores, which wrap the glass enclosed lobby, touch the ground on both the east and west sides of the building.
CROSS SECTION
SITE PLAN
Heater
Mullion Structural silicone Insulation Bracket
Radiant floor Heater Anchor channel Fireproofing Insulation
BUILDINGS: Villa Industrie Bourg−Marie
Insulation Stud Fireproofing Insulation Gypsum Board Curtain wall unit
Backer rod
Mullion Aluminium panel Bracket Spandrel glazing Double paned glazing Aluminium arm Alum. louver frame
Aluminium louvers
Steel pipe column Steel column attachment plate
LONG SECTION
CURTAIN WALL DETAILS
SKIN The building’s façade system references and contemporizes the history of Kahn’s industrial factory buildings. It utilizes a combination of unitized curtain wall glass panels and opaque polished aluminum panels. The thin repetitive alternation of low emissivity floor-to-ceiling glazing and opaque elements on the north and south facade functions like a screen. This allows a reading of the activity within the buildin scaled to the human body, and also maintains the horizontal datum as a reference to the slabs. To minimize sun exposure, the South facade has a louver system exterior of the glazing. The louvers are supported by arms that tie back to the mullions from the vertical frame. Each 5’8” wide and 14’ tall unit on the North and South façade consists of a single 2’10” wide glazed glass panel and 2’10” wide aluminum panel.
In opposition to the North and South façade, the East and West are entirely opaque, composed of polished aluminum panels. Each panel is 3’ wide, comprising a unit that is 6’ wide and 14’ tall. The units hang from the slab and are attached at the vertical mullions using L brackets that allow movement in all three axes. The mullions visible from the exterior are limited to those which provide attachment to the louver system. The glazed panels are inset 3” from the aluminum panels to provide a reading of depth on the exterior. On the interior, the aluminium panels are sided with insulation, steel studs and gypsum board. The same panels on the exterior continue up and becomes the parapet and handrail for the roof to maintain the same vertical grid at +3’-6” above roof level.
Cast in place concrete
+116’- 0”
Cast in place concrete
+116’- 0”
Aluminium louvers beyond
Aluminium panel
+116’- 0”
Aluminium panel
Aluminium louver in front of glass
+88’- 0”
+88’- 0”
+88’- 0”
+74’- 0”
+74’- 0”
+74’- 0”
+60’- 0”
+60’- 0”
+60’- 0”
+46’- 0”
+46’- 0”
+46’- 0”
+32’- 0”
+32’- 0”
+32’- 0”
+18’- 0”
+18’- 0”
+18’- 0”
Steel column
Steel column
Cast in place concrete Cast in place concrete
Mullion
Mullion
Glass
+0’- 0”
Glass
+0’- 0”
South Elevation
East Elevation
1/40” = 1’0”
1/40” = 1’0”
+0’- 0”
Aluminium louvers beyond
Cast in place concrete
+116’- 0”
Cast in place concrete
+116’- 0” Aluminium panel
Aluminium panel
Aluminium panel
Spandrel glass
+88’- 0”
+88’- 0”
+74’- 0”
+74’- 0”
+60’- 0”
+60’- 0”
+46’- 0”
+46’- 0”
+32’- 0”
+32’- 0”
Glass
+18’- 0”
+18’- 0”
Steel column
Steel column
Cast in place concrete
Cast in place concrete
Mullion
Mullion Glass
Steel column Cast in place concrete
Glass
+0’- 0”
Mullion Glass
+0’- 0”
North Elevation
West Elevation
1/40” = 1’0”
1/40” = 1’0”
BUILDINGS: Villa Industrie Bourg−Marie
Cast in place concrete
4
vega
BUILDING
LAS VEGAS MARKET ANALYSIS VS. ART
SITE ANALYSIS
× 57 GUGGENHEIMs
× 10 ART BASELs
T H E V EN ET I A N
M G M G RA ND
550,000 SQ FT
17 1,000 SQ FT
B IG G ES T CA S INO
VS
$1,354
$38 BILLION
$156
1 0 X M O R E R EV ENU E P ER V I S I T O R
$10 .8 BILLIO N
vs
Desert Power ArtCasino Las Vegas Las Vegas has early-on realized the unimportance of monumentality. They tore it apart, minimized it and cheaply imitated them to decorate for the nouveau riche. Las Vegas, commercialized iconic monuments and cultural institutions as they have no significant value any longer. Culture, art and wealth change only few hands; those of the mega rich. Vegas is known to be a playground for adults, but as markets indicate, Las Vegas is losing its cache and revenues have steadily declined since 1990. Art Markets, however, have not only skyrocketed; art sales have continued to break records season after season. Art fairs exhibit Better and bigger art then museums, auctions have become the new gambling arenas. Both museums and casinos have failed.
Art fairs are the new museums and auctions the casinos for the mega rich. It is only logical the Las Vegas shifts gears in changes with these market conditions. By tapping into our commodities, we want to blur the lines of connoisseurship an investment by creating a hybridized museum, auction house, entertainment arena, and art fair thereby creating; with: Jonathan Yang Benjamin Aranda − Spring 2015
vega BUILDING: ArtCasino Las Vegas
new palaces
The circulation follows a close circuit passing through the different games. Each of the pits is capable to accommodate the massiveness of any art peace. To achieve that we are proposing a vierendeel structure that will will wrap around the gaming path.
vega BUILDING: ArtCasino Las Vegas
The site of the studio is an urban 50-acre plot in downtown Las Vegas slated for developmentcalled Cashman. Many in Las Vegas are describing this site as the greatest urbandevelopment opportunity in the city’s history. While the scale and proximity to downtown alone make it unprecedented, it is the location along Las Vegas Boulevard that give the site its epic civic value, continuing a linear sequence of connected walkable spaces from The Strip andthrough historic Downtown. Grasping this opportunity we aim to put Las Vegas back in the big players map proposing a large scale program of new art gabling pit typologies.
WINNER-TAKES-ALL PIT
SPECTACLE GALLERY
ROULETTE PAWN GALLERY
AUCTIONEER PIT
The new typologies of Art Gambling Arenas
vega BUILDING: ArtCasino Las Vegas
Artist studio spaces and housing is introduced on east corner of the site as an attempt to engage the existing residential community and at the same time to allow for a close interaction between artists and the their market.
Informal art gambling pits − where artist can impose their own rules − are integrated along the housing to provide the community with some freedom and revenue without the supervision of gallerists and art dealers.
The massiveness of this structural system allows for vehicular circulation along the same circular path as humans in the galleries and the pits. Therefore art can easily be delivered in the different arenas while vip access becomes more exclusive. Locating in Nevada dessert the the bridging level of the vierendeel structure needs no enclosure and allows for cross ventilation to dismiss car fumes.
vega BUILDING: ArtCasino Las Vegas
Both museums and casinos have failed.
a casino on steroids.
At night is when all becomes bright in ArtCasino
PLAN LEVEL +150 ft. scale 1:1000 vega BUILDING: ArtCasino Las Vegas
Beyonce performing in the spectacle gallery
PLAN LEVEL +150 ft. scale 1:1000 vega BUILDING: ArtCasino Las Vegas
appendix
ENVELOPE DETAILS
ENVELOPE DETAILS
THE FACADE
THE UNIT
CURTAIN WALL UNITS ARE PRE-ASSEMBLED IN FACTORY WITH SPANDREL PANEL, IGU, HALFEN HANGERS, AND ALUMINUM OUTRIGGERS 5 FT LONG AND 1-5/8 INCHES IN DIAMETER RODS
186,000 CERAMIC RODS 894,000 FT OF CERAMIC TUBING 15,000 WINDOW UNITS BOLTS CONNECT TO BOX COLUMN WITH 2-HOUR INTUMESCENT FIREPROOFING AND PAINTED FINISH
PVC SPACER IS INSTALLED BELOW HALFEN ANCHOR PLATE TO PREVENT COROSION BETWEEN CONCRETE AND ALUMINUM. PLATES ARE ADJUSTABLE LATERALLY AND PERPENDICULAR TO SLAB EDGE
CURTAIN WALL BEARING ANCHOR RECESSED INTO CONCRETE IN FLOOR 27 THROUGH 50
RECESSED EMBEDED FOR CURTAIN WALL
EXPOSED STEEL ROD WITH PAINTED FINISH (NOT INTUMESCENT) WITH STEEL CLOSURE PLATE HIDING BOLTED CONNECTION
EXPOSED BOX COLUMN EXPOSED STEEL BEAM
EXTERIOR INSULATION
CERAMIC RODS ARE REINFORECED WITH ALUMINUM SPLINES AND FACTORY MOUNTED TO ALUMINUM COMBS
ALUMINNUM PLATE
SPECIALIZED ALUMINUM COMB BRACKET WITH INTEGRAL CONCEALED WINDOW WASHING TRACKS EVERY 30 FT
TYPICAL ALUMINUM COMB BRACKETS WITH TEETH CONNECTORS AT CERAMIC ROD SPACING FOR UNITS WITHOUT WINDOW WASHING TRACKS
CONNECTION AT ROD TO MULLION
CONFERENCE ROOMS AND GLAZED PRIVATE OFFICES PLACED 23 FT FROM WINDOW WALL
EYE-LEVEL 0PENINGS WITH NO RODS 2.9 - 6.6 FT FROM FLOOR LEVEL
RECESSED WINDOW SHADES BLOCK EXCESS GLARE NOT BLOCKED BY CERAMIC RODS
WINDOW TO EXTERIOR WALL RATIO = 0.76
GLAZING VISIBLE TRANSIMITTANCE (TV) = 0.75
Curtain Wall Facade Details
ENVELOPE DETAILS ENCLOSURE
ALUMINUM OUTRIGGERS
CERAMIC ROD SCREEN BLOCKS SUNLIGHT
ALUMINUM FRAME CERAMIC RODS PLACED 1.5 FT OFF THE FACE OF THE GLAZED FACADE
IGU GLASS CURTAIN WALL BEGINS 7 INCHES BEYOND THE OUTER BEAM
CONTINUOUS EXTRUDED ALUM. GRILL
ACCESS FLOORING
FINISHED FLOOR IS INSTALLED CREATING A FLOOR PLENUM FOR AIR DISTRIBUTION
FLOOR PEDESTALS
STEEL DECK REBARS FOR REINFORCEMENT CONCRETE SLAB
HALFEN RECESSED
FIRE STOPPING
HALFEN RECESSED EMBED IS POSITIONED AT EDGE OF CONCRETE SLAB PRIOR TO POURING FOR CURTAIN WALLANCHOR
IS INSTALLED ALONG SLAB EDGE AND BEHIND SPANDREL PANELS
THE NEW YORK TIMES BUILDING, RENZO PIANO Architectural Technology IV − Fall 2013
m an air ibility assen-
East River Water Taxi Stand The Water Taxi stand is formed by the letters “TAXI”, evoking the iconic waterfront Pepsi sign nearby. Each letter is made of 36” square columns of lightweight steel. Electronic signage on the “A” announces the time for the next boat. Floating on pontoons, the stand is held in place by 2 pylons of 24” steel pipe filled with concrete which rise from the river bed, concealed by the vertical shafts of the letters “T” and “I”. The structure moves up and down with the tides but is otherwise fixed in place. Pedestrians arrive from land via a ramp hinged on the seawall which rests on wheels on the deck of the taxi stand, compensating for tidal swings. Passengers load and disem-bark from water taxis through two openings on either side of the “T”.
East River Water Taxi Stand The Water Taxi stand is formed by the letters “TAXI”, evoking the iconic waterfront Pepsi sign nearby. Each letter is made of 36” square columns of lightweight steel. Electronic signage on the “A” announces the time for the next boat. Floating on pontoons, the stand is held in place by 2 pylons of 24” steel pipe filled with concrete which rise from the river bed, concealed by the vertical shafts of the letters11“T” and “I”. The structure moves up and 11 down with the tides but is otherwise fixed in place.
Flood Rescue Resource
Pedestrians arrive from land via a ramp hinged on the seawall which rests on wheels on the deck of the taxi stand, compensating for tidal swings. Passengers load and disembark from water taxis through two openings on either side of the “T”.
10
ubles as flatable nd for equipers.
10
The enclosure is formed by pneumatic EFTE cushions fed by a system of hoses from an air handling unit hidden in the cross of the “A”. These traslucent cushions allow for visibility through the structure (letters can be read from any angle) while sheilding waiting passen-gers from wind and rain. In case of severe flooding, the taxi stand rises to the top of the floodwaters and doubles as a resource for waterborne emergency rescue for this low-lying neighborhood. An inflatable ramp extends to the nearest building, allowing stranded residents to reach the stand for evacuation via water taxis . Inflatable dingys, life preservers, and other emergency equip-ment is stored inside the letters, accessed by doors in the panels and internal ladders. with: Lisa West, Walter Cain and Daniel Watson de Roux Architectural Tecnhology III − Fall 2013
LAWD Lisa West Athina Zafeiropoulou Walter Cain
LAWD
Lisa West Athina Zafeiropoulou Walter Cain Daniel Watson de Roux
Assignment 3 Columbia GSAPP Tech III December 12, 2013
Floating Water Taxi stand, Dockside 45th Street, Queens, NY. Doubles as Emergency Rescue resource in severe flooding conditions.
Floating Water Taxi stand, Dockside 45th Street, Queens, NY. Doubles as Emergency Rescue resource in severe flooding conditions.
What lines? Some 1,000 lines
Lines not Splines − Spring 2013
Seating for two on the steps
Craft In The Digital Age − Spring 2013 with: Jonathan Yang
and now I can rest!