2012 Portfolio Sample

CHRISTO$ CHRISOVALANTIS BOLOS Yale School of Architecture Master of Architecture Portfolio Sample 2012

CHRISTOS CHRISOVALANTIS BOLOS Yal e_ S_c_boo_l_g_f_ Ar_c_bJ.:t_e_c_t u r e Mast e r of Ar ch i t ect ur e f'_Qr_t_f_o_l_i_9_s_gmp_Le_ 2 0 12

I NDEX

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THE YALE CONTEMPORARY

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THE KNOVVLEDGE DISTRICT

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THE TATE SWINDON

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THE WILSHIRE THE.1\TER

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YA LE CONTEMPORARY

RE-THINK I NG THE UNIV ERSITY MUS EUM

Fa II 20 I 0, Comp•·c he ns ive Desig n Studio C1·itie: Ma rk Fo~Lcr Gage

In considering a new museum for Yale's campus to accompany Louis Kahn's Yale University Art Gallery and the Yale Center for British .\rt, the primary impetus was that contemporary art has necessitated such a museum be one for housing objects of radically different scaJes. Therefore, the moti,·ation became to pursue a language of containers for the building, read clearly from both outside and in. The focus of the museum is a tripartite gallery organization, served by a central staircase.

Each large gallery ,·olume contains another, smaller volmne within, allO\\;ng art to be displayed either in a more open, day lit environment, or in a precisely controlled, hermetic gallery. The various scales of exhibit space also account for the ranging sizes and types of art, for instance accommodating field conditions such as Roxy Paine's cumaks as easily as larger single objects like Gabriel Orozco's Mobile Matrix. 'TI1e forma l language also incorporates a continuous dialog between interior and exterior by shifting the experience of the user occupying "solid" volumes, inte1·stitial space, and rooftop outdoor gallery space as he or she ascends.

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THE KNOWL EDGE DISTRICT PROVIDENCE, R.I. URBANI SM STUDIO

Spt·ing 20 I I, t·ban is m Desig n Studio Ct·itie: De bm·ah Ga ns Co llabo ration with Dani e lle Duryea Across the country, deftmct highway infrastructure is demolished as newer routes are built, leaving scars in the urban fabric of cities while wasting money and resources. Our proposal for the redeve lopment of the decommissioned I -195 corridor in Providence, RI asks, what e lse cou ld we do >vith these modern artifacts? .\ L once, this site posed two specific problems. First, the remo,·al of I- 195,

which originally separated Providence·s old Jewelry District from the downto\\-n, lea,·es the area without any traffic from the remaining exits off the city's freeways. Second, most commuters to Providence enter the city by automobile, flooding the downtown with potentially over 50,000 vehicles every day. As a consequence of this routine, the site is currently surrounded by numerous surface parking lots. This distancing between potential development and existing urban con text limits the density and UJ·ban e nergy which can be brought adjacent to our site to ensure its capacity to sustain vi bran t urban life.

Jmmediately, we sought to restore entry points from I -95 and I - 195 to ens ure access to the Jewelry District. In an e ffort to allow fo r redensification of its downtown, the city would relocate the adjacent surface lots tlu-ough incentives to their owners and consolidate all parking >vithin larger parking structures which serve as landmarks and icons for Providence.

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Also facilitated is a heightened public/private interaction between the city of Providence and the key institutions of Brown University, the Rhode Island School of Design, and Johnson & Wales University. Brown, in particular, is interested in immediately developing five laboratory buildings as a means of creating a "Knowledge District" extension of its campus. We sought to intensify this process. Through an investment of both public and private funds, the cost of tearing down the defunct highway would instead be used to install all the necessary infrastructures onto the existing highway, turning it into a continuous conduit which development can connect to. This provides the area with dedicated systems, also allowing adjoining buildings to be smaller and less expensive because key mechanical components would be located in the highway and collectively shared.

Our proposal feeds on the existing public life on College Hill, bringing that energy to the Jewelry District, creates a potent storm water management system, and rethinks the laboratory building typology in a way which promotes constant urban activity.

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THE TATE SWINDON RE-STORING PUBLIC POSSESSIONS

Fall 2011, Adva nced Desig n Studio Crilics: The AOC (Geolf Shearcroft, Tom Coward, Daisy Froud, Vincent Lacovara) with Jennifer Leung This project situates a publicly-accessible repository for the Tate Collection in Swindon, UK by hybridizing a big-box storage warehouse with the British country house typology. First, this branch of the Tate uses s~vindon's advantageous location, centrally located between the four existing Tate galleries. The Tate Swindon would absorb the entire contents of the existing Tate Store (which contains the majority of the Collection's items not currently on display) and provide ample room for an ever-expanding collection, becoming the central distribution center for the Tate. Second, in re-instituting the "dining room" as the center of social life and the primary venue for viewing art, the Tate S,vindon democratizes the country house by allowing individuals and groups

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hold events in the new facility 'vith the ability to curate the art which surrounds them while they dine.

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The design process began with a charrette aimed at establishing a methodology for 'sampling and synthesizing' elements from existing built forms. This was accomplished through the creation of an entrance for the yet-undesigned project by reappropriating and restyling portions of the Tate Britain and the New Raven's IKEA store. A new threshold brings visitors through a hyper-articulated, heavily ornamented space which becomes increasingly encrusted before finally framing a vast warehouse at its end.

This exercise was followed by in-depth research to gain expert knowledge as to the Tate as an institution and the logistics of museum and precious artifact storage. This phase included detailed sectional studies of Tate and Ikea facilities to understand the varying relationships between viewer and artifact, analysis of the Tate Collection's inventory and display requirements, cataloging of existing and projected Tate gallery allocation, and finally a proposed program and brief for the Tate Swindon.

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To further make the Tate Swindon an integral part of the Tate's operations, a cue was taken from the Tate Store's current function of serving as a staging venue for new acquisitions to the Collection or for upcoming exhibits. Currently, a mock-gallery must be constructed and subsequently torn down every three months to " test" the various artworks under museum conditions. The Tate Swindon improves on this model, making it more accurate and experientially rich, by directly reconstructing various rooms from the existing four Tates, providing an array of backdrops upon which the Collection can be rehearsed.

Although these rooms are infused with new programs such as overnight rooms and study areas for scholars, they are exact replicas of their original counterparts, thereby allowing staff to test artworks against the conditions of any Tate prior to transporting a piece.

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T HE WI LSH I RE T HEAT ER A CE NTER FOR CONTEMPORAR Y CI NEMA

Spr路ing 2012, Advanced Desig n Stud io Cr-ilics: Joe Day with Mic helle Paul The Wilshire Theater investigates the state of contemporary fjlm and its architectural implications in terms of commercial cinematography, new media art, and emerging technology. In 20 11, which proved to be a pivotal moment for the film industry, all remaining motion picture camera manufacturers ceased production of their film cameras, opting to concentrate entirely on their digital products. This essentially froze the stock of motion picture films; meanwhile, all commercial theaters have completed the transition to entirely digital projection equipment.

Simultaneously, high-definition LCD technology has achieved sizes comparable with feature-film cinema screens, and demands our attention as a logical replacement for antiquated projection techniques of displaying motion pictures. This project, a center for contemporary cinema, attempts to condense these issues into an architecture indicative of this unique moment in media.

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Respectively, each exercise lent itself to discovering an agenda which was immune to our preconceptions concerning contemporary film.

Film Analysis The films Apollo 18, The Blair Witch Project, and The Killing Room were chosen for their commonality as found-footage films- productions which attempt to deceive their audience into perceiving them as nonfiction by appearing to be amateur or surveillance footage. Each film was either produced or is set in a different time period, and therefore uses or emulates the recording technology of its time. The analysis for this project thus centered on the apparatuses either used or mimicked in these films. First, all scene transitions were indexed to catalog the number of different cameras used for each film. This information, along with further research, was then used to determine exactly what type of camera and film each scene uses, the specifications of each, and the formats the films were ultimately disseminated in.

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Given a heptagon composed of shapes which can recombine to form two, smaller heptagons, the transformation process was extrapolated and cataloged (below). To create an original composition that strayed from the given geometry, the key frames of the transformation were overlayed into a composite drawing (opposite). Interpreted as an axonometric, this composite was then digitally modelled and its geometry proliferated using localized symmetry and projection to create a final threedimensional diagram for the theater.

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This project addresses both the need for dedicated venues for film projection and an architectmal response to emerging LCD technologies.

At its base, the vVilshire Theater houses screening spaces for all common traditional formats. Each theater and screen is sized to an provide an optimal quality of picture relative proportionally to 70mm film. The upper, pinnacle volume of the theater contains the digital (LCD) display spaces, irnmersive video-art exhibit ion space and a large-format theater for screening feature films. These screening spaces utilize highdefinition and uniformly-backlit dynamic LCD displays to provide sharp and comfortable cinema-quality picture while a llowing for transparency and interaction of space. Fmther, these areas take advantage of digital display technology in its capacity to allow ambient light to enter screening volumes and allow for the re-architecturalization of cinema interiors.

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CHR I STOS CHRISOVALANTIS BOLOS lV X

www.christosbolos.com

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christosbolos@gmail.com