Claudia Bode Apellรกniz www.claudiabode.com // clau.bode@gmail.com
Portfolio 4 // PERSONAL Blue Heart (Thesis) Re-territorializing the North Sea Vector House Marsh Farm Network Urban Follies Marfa Housing (Housing for Radical Collectivity) 64 // PROFESSIONAL Kujenga Collaborative LLONAZAMORA MVRDV Andreas Heupel Architekten Anderson Hallas Architects 84 // TEACHING Boston Architectural College, Fall 2015 M.Arch option studio Northeastern Universty, Fall 2015 undergraduate urbanism studio
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Personal
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Blue Heart (M.Arch thesis) 2015 The Dutch landscape is curious - almost entirely man-made, seemingly infinitely moldable, understandable as a system of systems, and mythologized. The historical production of the Netherlands is a story of landscape manipulation through technology, starting with the need for defense: against water (poldering, diking, damming, etc), or using water (the defensive hydrology of Water Lines and associated forts). This project examined the Green Heart, an agrarian zone in the middle of the highly urbanized Randstad, through the lens of landscape architecture (systemic, water-based intervention) and architecture (as a shaper of cultural identity). Since the Randstad is defined literally by its position on the edge of something else (the anti-city that is the Green Heart), any change in the Green Heart has significant implications for the city.
So if the Green Heart shifts into a Blue Heart, a change necessary to respond to climate change and subsidencerelated environmental crises, how does the meaning of the traditional and pastoral shift along with it? Can traditional, mythical forms (such as those represented and rerepresented in Dutch landscape paintings) adapt to respond to new needs while retaining their roles as the signifier of the anti-city?
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The Randstad is the historical, economic and cultural core of the Netherlands; the cities of Amsterdam, Utrecht, Rotterdam and the Hague surround an agricultural area called the Green Heart, which since the 1960’s has served explicitly to prevent the Randstad (“Edge City”) from becoming a megalopolis. The Green Heart was created artificially out of the need for an anti-city; it represents a mythical, romanticized Holland out of the Golden Age even as its small
family dairy farmers are forced to consolidate in light of increased globalization. Those forms that produce this myth (the cow, the windmill, the barn, straight canals, green grass, etc) are strictly protected even as they become less and less relevant to the modern economy. As urban Holland grows, this false “countryside” takes on the role of the void: a green, peaceful, natural, historical antidote to the sprawling city.
The entire Randstad region, with the Green Heart at its center, functions as a “sponge”, soaking in and holding excess water in the boezem system before it floods the cities. In light of climate change, the region’s capacity to store and hold water is not enough. In fact, water is already creating space for itself: the Green Heart is made of largely peat
polders, which are the oldest pieces of reclaimed land in the Netherlands and which are subsiding very quickly (making agriculture increasingly difficult). Given climate change and rising seas, the Green Heart will need to be able to become significantly wetter if it is to continue absorbing enough water to keep cities from flooding
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As threats from water increase and the dairy industry in the EU is restructured, the basic building blocks of this binary landscape (Randstad / Green Heart) are forced to evolve. Climate change and globalization are forcing fundamental changes not only in how it looks, but how it functions. What if existing waterways within the Green Heart were reconceptualized as places for flexible water storage and new economic diversity? What if existing typological landscape elements were adjusted and rethought to provide new functions, land ownership arrangements and architectural typologies?
The Blue Heart is a wetter, more communal evolution of the Green Heart which is adapted to changing environmental and economic conditions, but which continues to operate within the myth of the pastoral even as its physical, social and economic processes are radically shifted. The water functions as a commons and as the landscape shifts, so too do the iconic forms within it. (The cow, the windmill, the barn�)
The Blue Heart is a systemic shift to the Dutch landscape that creates an opportunity to question the pastoral: is there even such a thing as a modern pastoral void? Can the forms which create the mythologized Dutch countryside change without losing their significance?
ability of the old reclamation forms; between the urbanized strips typical of peat polders, parallel canals called weterings are widened and the excavated earth used to create mounds between the water and the farmhouses. Through a process of negotiation (a “de-polder system�), groups of farmers can choose the profile of their mound, which will determine The Blue Heart landscape extends the water-storing boezem how wet their land is. Between mounds, a feeder canal system into the heart of the agricultural polders to make connects the new water storage area to the existing canals new wet zones with water levels that vary according to via a pump. This produces long linear water storage areas storage needs. This system takes advantage of the predictbetween farmhouse strips - a new commons.
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The Continuous Barn is a formal adaptation of an existing pastoral typology that enables farmers to access the economic potential of this new landscape. It is a transect that cuts across all wetnesses and topographies, bringing together farmers, cows and visitors into new productive assemblages. The structure is located atop the pump that connects mound to mound and boezem water to existing canal.
Its program is informed by its relationship to the ground in both plan and section and marked by certain critical moments: its facade on the street, the moment at which it lifts off of the ground/the pump, and the end which hovers over the water.
The Continuous Barn houses not only cows, but also people: as a productive space, it generates income for dairy farmers from multiple sources: livestock, tourists, and locals. This intensity of production is also a strength: visitors experience a true working farm, while farmers are able to supplement their incomes and cows are given free range to roam.
The Continuous Barn is an expanded prosthetic: while the profile of the barn is a signifier of the (strangely warped) pastoral, the envelope is delaminated into the external shell (a minimal, non-insulated rainscreen suitable for cows) and an internal Human Tube (a fully insulated space for human activity).
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Marine Re-Territorialization in the North Sea Article published in SCENARIO Journal Issue 5: “Extraction” http://scenariojournal.com/article/energy-extraction-from-wind
In light of the politics of climate change, the security implications of dependence on foreign oil, and environmental activism, governments around the world are investing increasingly large sums into the development of alternative energy sources such as wind or solar power. The European Union is a significant force for the research and design of alternative energy technologies. The development of wind power is a fundamental component of these alternative energy scenarios, many of which have identified the North Sea as a source of strong, regular winds and an excellent location for the future deployment of offshore wind farming on a massive scale. The national-scale concept of Marine Spatial Planning (MSP), along with larger regional planning efforts, is the lens through which this paper examined how offshore wind energy, as a result of its dual nature as a network of disembodied energy flows and as a physically grounded, spatialized place, becomes an agent in the process of re-defining and re-scaling European territories. I analyzed two scales – the North Sea region and the Dutch EEZ - in order to extend this argument to the space of the sea and to understand how the process of developing wind energy in Europe leads to new and re-scaled understandings of marine territory, including contested, fluid and non-human territories.
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Vector House 2012
When a private house is to be built in a beloved park, it requires thoughtful negotiation between the public and private realms. This house, an intensely private space of solitude and reflection, creates separation from the public through the implication rather than the definition of boundaries of privacy. It accentuates the experiential transition from landscape to architecture, extending and blurring the boundary between the two. The house consists of movement (of spaces, water, light, people) along a vector rather than experience at one moment of stasis. This separation is marked by carefully defined moments of interaction between the public and inhabitants. A “thickened wall� doubles as a water reservoir that reuses water filtered through the house itself. The movement of water is guided through the same landscape intervention that directs visitors to the entrance The plan transitions from horizontality (landscape) to verticality, to horizontality again (a view of Boston) through long walls that curve in section as well as in plan. The form of the house in section works to anchor the house in the hill, as well as to collect rain- and groundwater in a central filtration tank, where it is pumped to other parts of the house. The program of the house is shaped around this division between wet and dry. The main structure is constructed of a fiber-reinforced polymer to provide a lightweight cantilever and effectively channel water, and the interior is clad in rough-cut wood.
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EBER M ATLU IC LN U EER ATD TPRO M
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Marsh Farm Network (Mississippi River Delta, USA) 2013
The eroding Louisiana coast The Louisiana delta is a unique ecosystem facing imminent destruction. As sea levels rise, the coast is eroding at an alarming rate; because the Mississippi was prevented from flooding its banks in the early 20th century, moreover, sediment is not being replenished. When this is combined with the destruction of marsh plants by oil prospectors the picture is clear: in only few years, the delta will be underwater. At a first glance this problem would seem to be entirely out of the scope of an architectural design. But systemic problems demand systemic answers, and so in this case the individual building is conceived as a node in a much larger network. Architecture as the mediator between the physical and the cultural The need for a Wetlands Awareness Center arises out of the fact that the problem is not only physical: it is also a political and social issue. The role of the building, then, is not only to contribute to the physical reconstruction of the delta: it is also, more subtly, to help change attitudes about the wetlands.
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FLOTANT MAIDENCANE-BASED MARSH IS GROWN UNDER PROTECTED CONDITIONS
THE MARSH FARM ITSELF IS A BEACON AND EDUCATIONAL ADVERTISEMENT
MATURE MARSH IS PUSHED TOWARD TRANSPORTATION WATERWAYS AND PICKED UP BY PASSING BOATS
BOATS DROP MARSH OFF WHERE IT IS NEEDED
03_DROPOFF
01_PRODUCTION AND PICKUP
02_TRANSFER
Houma, LA is on one of the rapidly sinking bits of solid land in the Louisiana delta. A combination of subsidence and rising sea levels are contributing to the rapid destruction of this unique ecosystem, visible in the expanding stretches of open water. Another element of this problem is cultural, not physical: people in the region sometimes do not understand the full value of the wetlands and the extent of the threats they face. This building aims to contribute to the solution in two ways: by acting as a platform for the regrowth of floating marsh plants, to be distributed in the region; and by increasing awareness of the wetlands through tourism, exhibitions and educational services.
FLOTANT MAIDENCANE-BASED MARSH IS GROWN UNDER PROTECTED CONDITIONS
01_PRODUCTION AND PICKUP
THE MARSH FARM ITSELF IS A BEACON AND EDUCATIONAL ADVERTISEMENT
MATURE MARSH IS PUSHED TOWARD TRANSPORTATION WATERWAYS AND PICKED UP BY PASSING BOATS
BOATS DROP MARSH OFF WHERE IT IS NEEDED
03_DROPOFF 27
The building is a hub within a large network of marsh farming and distribution. Flating maidencane marsh plants are farmed on platforms under protected conditions, and then distributed where necessary by passing boats, through a BP-financed community marsh regrowth project. The building form protects the marsh farming bays from swells, and also creates a linear path that takes visitors along an educational and immersive journey. In this way
it acts as a cultural catalyst: by turning marsh farming into an educational and cultural event, it helps to change attitudes about the wetlands.The building is a hub within a large network of marsh farming and distribution. Flating maidencane marsh plants are farmed on platforms under protected conditions, and then distributed where necessary by passing boats, through a BP-financed community marsh regrowth project.
MARSH DISTRIBUTION PROGRAM TARGETS COMMUNITY MEMBERS AND VISITORS TO DISTRIBUTE MATURE FLOTANT MARSH TO NEEDED LOCATIONS
ALONG ZIGZAGGING RAMP/PIER: AN EDUCATIONAL PATH FOR VISITORS, WITH ALTERNATING VIEWS OF NATURAL MARSH AND MARSH PRODUCTION
fhsdofij osdfjsodfj osidfj odifj osifj sodfj sodfjs pfu spdofi spdfio psfi psdfi psdfio prfio prfoi prfi profi fhsdofij osdfjsodfj osidfj odifj osifj sodfj sodfjs pfu spdofi spdfio psfi TERRACED SEATING ALLOWS FOR A VIEW BACK psdfi psdfio TOWARD THE NATURAL MARSH AND A BREAK prfio prfoi prfi FROM THE EXHIBIT PATH profi MARSH PRODUCTION: FARMING AND RESEARCH TAKES PLACE IN FOUR PROTECTED BAYS
LOWER LEVEL: CONITNUOUS INTERIOR/EXTERIOR SPACES ALLOW THE CAFE AND ARCHIVE TO BE USED IN A NUMBER OF WAYS IN ANY KIND OF WEATHER
THE BALLROOM CAN BE RENTED OUT FOR EVENTS, BRINGING ATTENTION TO WETLANDS ISSUES IN A NEW WAY
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The form of the building is shaped both by the technical demands of farming maidencane marsh, and the need to create an immersive experience for visitors. In the lower level are scientific and farming facilities as well as visitor services; a winding exhibition path allows visitors to experience marsh farming while learning about coastal erosion. The marsh farm platforms are designed to allow marsh plants to grow into a mat in the form of a strip, which is continuously being pulled away from the building as plants mature and are distributed. The farming bays are covered to protect them from nutria, an invasive rodent which is causing much of the damage to marsh plants in the region.
Marsh strip (extracted in direction of arrows) Wooden decking
Screen for protection against nutria Peat and burlap substrate
Maidencane root mat Buoyant pvc frame
ARCHIVES (PUBLIC) STAFF WORK/BREAK SPACES (NOT PUBLIC) CAFE/BAR (PUBLIC) REBEMMUTLAN DTO CNLIUREED A AO ED ARM PT
REBEMMUTLAN CNLIUREED DTO A AO ED ARM PT
REBEMMUTLAN DTO CNLIUREED A AO ED ARM PT
STUDY ROOMS
REBEMMUTLAN CNLIUREED DTO A AO ED ARM PT
PT ARM AO D EDTO CNLIUREED A UTLAN REBEMM
MODELNUMBER TRADENAME PRODUCT MATERIAL
PT ARM AO D EDTO CNLIUREED A UTLAN REBEMM
MODELNUMBER TRADENAME PRODUCT MATERIAL
PT ARM AO EDTO CNLIUREED A UTLAN REBEMM
MODELNUMBER TRADENAME PRODUCT MATERIAL
MODELNUMBER TRADENAME PRODUCT MATERIAL
MODELNUMBER TRADENAME PRODUCT MATERIAL
MODELNUMBER TRADENAME PRODUCT MATERIAL
FARMING PLATFORM
PT ARM AO D EDTO CNLIUREED A MUTLAN REBEM
PT ARM AO D EDTO CNLIUREED A MUTLAN REBEM
TERRACED SEATING
PT ARM AO D EDTO CNLIUREED A MUTLAN REBEM
FARMING PLATFORM OUTDOOR PATIO
OUTDOOR PATIO
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Urban Follies (Surabaya, Indonesia) 2014
The second-largest city in Indonesia, Surabaya is blessed with a visionary mayor who has spearheaded a move towards public transit that attempts to deal with the effects of increased vehicle ownership, pollution, and congestion. The effects on these trends on public space have been drastic, as streets turn into highways and pedestrians disappear onto motorcycles. This project looks at the Joyoboyo transit hub in Surabaya as an opportunity to explore how public transit can establish a symbiotic relationship with a new kind of public space which is cultural, democratic, intimate and accessible. BIOSKO
P
Darmo Area
GUDANG PN. HUTAMA KARYA
PABR
IK
TENU
N
AJBS
PABR
IK
BIR
BINT ANG
PABRIK
JL.
NGAGEL
REJO
UTARA
PAKU
Zoo JL.
BRATAN
G GEDE
School
Darmo Trade Center Wonokromo Station
BIOSKOP
SURYA
DINAS KESEHATAN
KANTOR POS
DEP.TRANSMIGRASI
RADIO MCA
Mall
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Can a new kind of transit hub change the culture of a city which is heavily reliant on private vehicle ownership? Can public space be reintegrated with public life in Surabaya? Massive, air-conditioned malls dominate the city and provide stark contrast with the small-scale kampungs that surround them. They are primarily commercial spaces, and do not provide the infrastructure necessary to host cultural, creative or civic events, political dialogue, or space for tourist attractions. The Joyoboyo site could be the location for a newspatial and programmatic typology that marries transportation infrastructure with public cultural and civic spaces, simultaneously increasing demand for transit while activating the public sphere. Flows of people who are there to use the transit hub can activate a variety of small-scale public and cultural programs, and the very existence of those programs would increase ridership as people take public transit to reach them. The existence of such a space could contribute to a new “Gateway to Surabaya� that reconceptualizes the river as a civic space, linking this site to other parts of the city farther downstream.
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Daycare Dance Demonstration
Music Performance
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Reading Room Public Lecture Immersive Cinema Children’s Games
Night Food Market
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An Urban Folly has three components: a ground-level waiting area for buses, an open area above which is connected to the elevated pedestrian network, and an upper enclosed area which can contain several floors, and which is covered in a digital media facade. Public programming (managed by the city) is anchored in the upper level. Examples include art classes, performances, lectures, book clubs, political speeches, meetings, craft workshops, etc. They are small in scale and open to all members of the community.
The extent to which these public programs extend onto the pedestrian network is determined by the rhythms of public transit usage. During rush hour, the network is used primarily as a circulation zone to access busses, tram and metro. During off-peak hours, however, the entire elevated network can become activated as programs extend (where appropriate) onto this public space.
The Anatomy of a Folly Upper programmed area Programmed area 1 (programmed only during off-peak hours, may extend onto network) Bus pickup area
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Marfa Housing (Housing for Radical Collectivity) 2014
Two versions of Marfa, TX This little town in the middle of nowhere is known mostly for its Minimalist art, a legacy of Donald Judd. Every year countless artists and others interested in art make the trek to Texas, often staying in renovated historic houses while they sample the town’s collection of galleries. In truth, there are several versions of Marfa. One is the town reserved for artists and the international elite: a place to come to for several weeks out of the year, to enjoy the fresh air and the art. The other Marfa is starkly different: a large population of Mexican immigrants and border patrol employees struggles to survive as the real estate market in the town responds to the interest from out-of-towners. The result is that there is very little housing to be found, and homeowners have little incentive to rent to locals when they could make significantly more money on short-term vacation rentals. Housing/community This proposal for affordable housing in Marfa proposes new forms of collectivity that strengthen the bonds between the diverse individuals who would be living there: young people, border patrol employees, immigrants, the elderly, and families. By analyzing, dis-assembling and re-assembling the prototypical elements of small-town domesticity, the design proposes to categorize domestic spaces not by their function but by their degree of “publicness”, leading to new and surprising frictions, combinations, and opportunities. By analyzing, dis-assembling and re-assembling the prototypical elements of small-town domesticity, the design proposes to categorize domestic spaces not by their function but by their degree of “publicness”, leading to new and surprising frictions, combinations, and opportunities.
Marfa, TX
Site
This proposal for housing organizes domestic spaces by degrees of publicness. This coincides with the split between wet/dry and flexible/inflexible, meaning that the most public spaces are also the most open and programmatically flexible, whereas more private spaces are more enclosed and rigid, and contain plumbing and “wet� zones. At the block scale, the center is pierced by an internal street that is surrounded by a phytoremediating pond. At the building scale, the most private spaces are also split by a connecting social zone. At both scales, these splits set up opportunities for new types of collectivities and social arrangements.
House as source of water
Wet/private core, two more public ends
Interstitial social space
Interstitial social space pierces wet cores, creating a new kind of intimate shared zone
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The simplicity of the buildings allows for user-defined flexibility. The two large spaces on either side of the wet cores are simple wood frame construction and internal moveable walls that allow it to be used in a variety of ways as needed. The central cores are concrete and form the central spine of the building block.
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BACKYARD
PUBLIC-FACING LIVING SPACE
CORE
BACKYARD-FACING LIVING SPACE
PRIMARY WATER SOURCE, FILTER
PRIMARY WATER SOURCE, FILTER
SECONDAR WATER FILT MACROPHY POND
RY TER: YTE
GREEN SPACE AND PEDESTRIAN STREET
TREES REABSORB WATER
PUBLIC-FACING LIVING SPACE
SECONDARY WATER FILTER: MACROPHYTE POND
BACKYARD-FACING LIVING SPACE
CORE
PRIMARY WATER SOURCE, FILTER
BACKYARD
PRIMARY WATER SOURCE, FILTER
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Degrees of publicness depart from traditional suburban housing typologies: some intimate zones are made into social spaces, while other semiprivate zones are fully enclosed and separated from public life. The front yard, typically an underused symbolic separation between house and street, is fully enclosed and private. The back yard is transformed into a social interior street, and the intimate space between the kitchen and bathroom is reconsidered as a flexible space for family and neighbors. The central cores correspond with the wet zones, which are reconsidered as a source, rather than a sink, of water. After water (from the town and from rain) is collected and used in the core, it is partially treated and then flows into a central circulation phytoremediation pond, where it is treated by plants and then released into a nearby stream. This ensures that water is not wasted on landscaping.
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The connective strip
The interior street
The living rooms
Case 1: the private party Front/back doors closed, kitchens used communally
Case 2: the block party Internal partitions create a hallway between interior street and bathrooms
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Professional
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The Kujenga Collaborative www.kujenga-collaborative.org
Founding partner (2014 - present)
The Kujenga Collaborative is an international researchdesign-build organization. It works with the Olive Branch for Children (TOBFC), an NGO based in rural Tanzania, to facilitate the construction of needed infrastructure and buildings that are in service of TOBFC’s goals of community-led rural development. Simultaneously, it serves as a platform for research into processes and materiality of rural design; the intersection of design and strategies for in-place rural development; design outreach and education; and techniques for local skill building. The decline in commodity pricing and the increasing growth of urban labor markets in Tanzania have fueled Tanzanian rural-urban migration in the last two decades. In addition to being “pulled” by the promise of a better life and economic opportunities, many rural communities are “pushed” out of their homes by extreme economic hardship, lack of access to medical care or education at home, and environmental degradation. In turn, this rapid urbanization has had a familiar effect on Tanzania’s metropolises – it has intensified many of the infrastructural and socio-economic difficulties faced by the urban poor while also causing the dismantling of previously well-rooted communities and a homogenization of once diverse traditional cultural practices. The Olive Branch for Children’s initiatives provide economic opportunity, needed education and health care, and hope for the residents of one of Tanzania’s poorest and most isolated regions. By working closely with many small, rural villages on a wide variety of initiatives, the organization promotes an improved quality of life that reduces the chance of residents being “pushed” to urbanize because they have no other choice. This strategy gives communities the opportunity to develop economically on their own terms while retaining important cultural, family and community bonds.
The Kujenga Collaborative is invested in exploring the architectural and design implications of this strategy. What is the meaning of rural design in the 21st century, when the conversation is dominated by globalization and urbanization? The Collaborative works through several intersecting avenues: 1. Designing and constructing needed buildings for TOBFC in a rural context 2. Creating construction skills training programs 3. Creating design outreach programs that engage community members and students in the design and development of existing communities 4. Researching and publishing on indigenous construction techniques, rural architecture, and the intersection of rural development and design 5. Educating and creating opportunity for cross-cultural dialogue with the engagement of students and young professionals through a fellowship program and other educational initiatives such as design studios and workshops. 6. Increasing the capacity of TOBFC’s communities to thrive in rural settings through off-grid sustainability projects
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We collaborate across cultures to imagine new possibilities for beautiful, sustainable rural Tanzanian architecture
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We research and document typical and indigenous construction methods and work to improve communication and building strategies
Defining radii for porch geometries
Simplified plan to lay bricks
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Typical component 3: metal roof on wooden trusses. An open ceiling allows for increased air ventilation to offset the increased heat of a metal roof (as opposed to traditional thatch, which is much cooler).
Typical component 2: loadbearing bricks, columns with reinforced concrete that tie into reinforced concrete crown beam. Gaps in the walls allow for infill using different materials, such as wooden shelving.
Typical component 1: raised plinth made of rock and concrete.
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We work closely with the community and an imbedded local nonprofit to understand how simple architecture can address important and changing needs and create inspiring, uplifting spaces
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LLONAZAMORA www.llonazamora.com
Project manager, architect (2016)
Project manager for exterior public spaces and landscape architecture for the new Machu Picchu museum and visitor center. In addition to being the lead architect and landscape architect, I was responsible for managing a team of designers, coordinating with consultants, checking drawings and submitting deliverables to the client. Worked in Rhino, Sketchup, and AutoCAD. Client: Ministry of Culture, Peru
This project is situated on an extremely complex site: not only is it located on a mountain, but it must contend with ancient Inca walls that cannt be disturbed and must be protected. Parts of the site lie very close to the river and must be protected from flooding. The outdoor spaces in this project knit together the three architectural volumes while discreetly doing this work: protecting against flooding, emphasizing the cultural values of the Inca walls and other archaeological features, and negotiating steep and variable topography.
Plano de corte sector residencias
P-008
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Minist Cul
Dirección D de Cult
DIRECTOR REGIO DR. VÍCTOR VIDAL P
OFICINA DE PLA PRESUPUESTO
ECON. José Luis Herr
V°B°
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AREA FUNCIONAL DE PROYECTOS
ARQ. Claudia Mirand
V°B°
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RESPONSABLES D CONSULTORA: Arq. CAP
Mi
CONSULTORA: Arq. CAP
María Al
EQUIPO TÉCNICO Arq. Arq.
Gab
Arq. Arq.
Cr
PROYECTO:
MEJORAMIENTO D CULTURALES DE EXPOSICIÓN, IM SERVICIOS COMP TRAVÉS DEL CEN VISITANTES DE DEL DISTRITO D PROVINCIA DE U DEPARTAMENTO D COMPONENTE:
Arquitectura d
REGION
:
PROVINCIA
:
DISTRITO
:
PLANO:
Arquitectura d
Planta Teschos LEYENDA _ AREAS PUENTES, RAMPAS Y PISTAS PRINCIPALES PTE.1 _ PUENTE AUDITORIO PTE.2 _ PUENTE INGRESO MUSEO PTE.3 _ PUENTE SALIDA MUSEO RMP.2 _ RAMPA JARDIN BOTANICO RMP.3 _ RAMPA A PUENTE DE MACHU PICCHU PUEBLO
LEYENDA _ GRAFICA E1 _ PISTA DESDE EL PUENTE AL COMPLEJO E2 _ PISTA DENTRO DEL COMPLEJO E3 _ ESTACIONAMIENTO DE BUSES E4 _ ESTACIONAMIENTO DE AUTOS PLAZA PARADEROS E5 E6
_ PARADERO 1 _ PARADERO 2
E7 _ E8 _ E9 _ E10 _ E11 _ E12 _ ESC.1 AUTOS ESC.2 ESC.3
VEREDA PLAZA PARADERO 2 ZONA DE ENTRADA A RESIDENCIAS ZONA DE ESCAPE RESIDENCIAS PLAZA DE MAESTRANZA CAMINO DESDE PARADERO 2 _ ESCALERA ESTACIONAMIENTO _ ESCALERA DE PARADERO 2 _ ESCALERA ZONA DE SERVICIOS
ESC.4 _ ESCALERA DE PARADERO 1A
PLAZA PRINCIPAL
RMP.1 _ RAMPA RESIDENCIAS RMP.6 _ RAMPA EN VEREDA PLAZA PARADEROS
E13 _ PLAZA PRINCIPAL E14 _ PLAZA FRENTE A SERVICIOS E15 _ BALCON MURO 2 E16 _ BALCON FOSO SECO E17 _ BALCON JARDIN BOTANICO
ESC.14A _ ESCALERA PRINCIPAL 1 ESC.14B _ ESCALERA PRINCIPAL 2 ESC.16 _ CAMINO PEATONAL A MACHU PICCHU
ZONA DE RESIDENCIAS
E21 _ PLAZA RESIDENCIAS E22 _ PASEO MURO 1 E23 _ CAMINO Y PLAZA NIVEL -3.40 ESC.9 _ ESCALERA DE FRENTE PASEO MURO1
ESC.11 _ ESCALERA MURA 6
PLAZA OFICINAS
E25 _ PASEO MURO 4 E26 _ PLAZA DEBAJO DE EDIFICIO E27 _ CAMINOS DEBAJO DE PUENTE 3 _ ESCALERAS Y RAMPAS
E24 _ PLAZA OFICINAS _ ESCALERAS Y RAMPAS
RMP.5
_ RAMPA MURO 6
CENTRO DE IVESTIGACION/PASEO MURO 4
ESC.10A-E _ ESCALERA CENTRO DE INVESTIGACION E28 _ PLAZA FRENTE MUSEO E29 _ BALCON E30 _ PLAZA FRENTE CUARTO AIRE ACONDICIONADO E31 _ PLAZA FRENTE MURO 6 _ ESCALERAS Y RAMPAS RMP.4
_ RAMPA PUESTE FOSO SECO
ESC.13 _ ESCALERA A MURO 7 ESC.12 _ ESCALERA CUARTO AIRE ACONDICIONADO
E36 _ MURO 5 E37 _ MURO 6
ARBOLES ROCAS EXISTENTES EXISTENTES
MURO INCA + SARUNA
CANALETA
CUNETA
BANCA
ASIENTO INDIVIDUAL
BEBEDERO
BASURERO
ESPEJO DE AGUA
ESPEJO DE AGUA
Escala Fecha LAMINA:
MUROS INCA E32 _ MURO 1 E33 _ MURO 2 E34 _ MURO 3 E35 _ MURO 4
77
MVRDV
www.mvrdv.com Intern architect (2103)
Worked on the design development phase of this housing complex in Emmen, Switzerland, including serving as a main point of contact with german-speaking co-architects. The project is a re-interpretation of typical housing block that emphasizes individuality and playfulness over standardization, with a particularly Dutch approach to street life. Worked in Rhino, Revit, Photoshop and Illustrator to create studies, designs and drawings that advanced the project. Was also primarily responsible for coordinating with our Geraman-speaking co-architects.
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Andreas Heupel Architekten www.heupel-architekten.de Intern architect (2011)
Worked on the design development phase of this private school located in Bonn, Germany. The main feature of the school is the large central “Agora�, meant to be used as a space of gatherling and community. Responsible for creating drawings in Vectorworks, ranging from elevations and plans to stair details.
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Anderson Hallas Architects www.andarch.com
Junior designer (2008-2009)
Contributed to several large historic preservation projects for the US National Park Service, focusing on visitor centers and museums througout the American West and Midwest. Worked in AutoCAD and Revit to create drawings in all phases, from schematic design to final construction documents.
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Teaching
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M.Arch Option Studio, Boston Architectural College Fall 2015
I designed the curriculum for and taught this C-2 level M.Arch option studio at the BAC in fall 2015. While the subject matter and program brief was inspired by my work with the Kujenga Collaborative, the studio was fundamentally about interrogating method. As per the BAC requirements for a C-2 studio, students were required to show evidence that they understand technical building systems. After completing a rigorous case study of a completed builing in Africa, students used their knowledge of construction methods and materials to design not only a new building in rural Tanzania, but also the way in which it should be laid out and erected. This necessitated an investigation into alternative and inventive forms of representation that can convey process and not only final product.The site and program requirements are taken directly from the needs of the Olive Branch for Children, the nonprofit I have been collaborating with for several years through the Kujenga Collaborative. Over the course of the studio, we spent a significant amount of time discussing the history and meaning of terms such as vernacular, critical regionalism and modern; interrogating assumptions of and expectations for African design; finding and discussing example of architectural representation that explore process and temporality; and researching the potentials of such materials as bamboo or compressed earth. Students received additional feedback from MASS design group and MIT faculty.
Image: Partners in Health Dormitory by Sharon Davis, Rwanda
Instructor | Claudia Bode with Susanna Pho Contact | clau.bode@gmail.com Time | Tuesdays 4-7pm
In this studio we will explore opportunities for rural architecture in the Mbeya region of Tanzania, in East Africa, while asking critical questions: How do western architects work collaboratively with people in other countries? How can architectural projects create lasting positive impacts? What learning opportunities exist at cross-cultural intersections? What are the spatial and formal potentials of simple materials? How do different relationships between architect, client and builder necessitate different forms of representation? Learning Objectives | -- Understand processes of collaborative design with partners in developing countries -- Critically analyze and invent methods of visual representation and communication -- Explore material and form through the design of a well-developed, culturally specific architectural design
The charge of this studio is twofold: first, you will be asked to create a detailed design that can be constructed using local labor and materials and that responds to our partner’s needs as they move onto a new site. You will be asked to think synthetically about structure, materials, form, thermal comfort, insect barriers, constructability and durability. We will also think critically about context while exploring architectural and formal potentials through drawing and prototyping. Secondly, you will be asked to invent a method of representation specific to and sensitive of local building strategies and norms. As a studio, we will investigate, deconstruct and analyze contemporary modes of architectural representation. Ultimately, you will invent your own method of communication with which to convey your building design. This studio is partnered with the nonprofit The Olive Branch for Children, which is headquartered in both Canada and in Tanzania.
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Drew Chamberlin, investigation of solar chimneys
Luis Bolivar, proposal for school as Experiential Learning Center
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Roosevelt Miranda, proposal for temporary and reconfigurable housing for Tanzanian visitors to the Olive Branch site
Nick Lima, proposal for modular school with bamboo structural elements
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Undergradute Urbanism Studio, Northeastern University Fall 2015
This is a required studio for Northeastern University’s fourth-year undergraduates which introduces students to the idea of urbanism as a balance of infrastructure, landscape, and architecture. Over the course of the semester, students investigated the project at scales that ranged from Boston-wide to architectural and material. The site is a post-industrial area in East Boston called Maverick Mills, which lies at the intersection of a variety of topographic, programmatic, infrastructural and ecological zones. By working through a series of cumulative design exercises at varied scales, students gradually developed new models of urban development that capitalized on the networked characteristics of the site. These segments included an intial mapping analysis; the development of an urban “taxonomy” and “framework” inspired by Kevin Lynch; the design of an urban “node” building; and a variety of mixed-use programming. I encouraged students to think conceptually across scales and explore the opportunities that arose out of the overlapping of various ecological, social, cultural, economic and topographical layers. Studio coordinator: Charles Garcia
Valerie Kai Tong Tao
MAPPING 01 A NEW COORIDOR OF BOSTON
URBAN TAXONOMY ELEMENTS & FRAMEWORK NEIGHBORHOOD POCKETS OF BOSTON
PERMEABLE MEMBRANE
1
PUBLIC GARDEN EDGE
NEIGHBORHOODS AFTER 10’ WATER RISE
STREETS WITH STRONG GRAIN AS CHANNELS TOWARD OPEN FIELD CONDITION
orien t he
igh ts
yach t clu
b
boston bay marina
east
bost on
SHOPPING “PROMENADE”
2
NEWBURY STREET
yach t clu
WIDE SIDEWALKS AND STREETS AS CHANNELS OF MOVEMENT
b
boston boatworks
w vie rbor
ha at th e na vy
URBAN RENE W 1950 AL
rd ya
SHAPING FACTORS
ORIGINAL LANDMASS INFILLED NEIGHBORHOODS ANNEXED NEIGHBORHOODS 1
cou
FIR
E
2
s sa
3
72
ou
stow arle ch
rage
RESIDENTIAL POCKETS
ilin
MISSION HILL NEIGHBORHOOD
18
vy
n na
nter g ce
4
rd ya
HOMES GROUPED AROUND SMALL-SCALE FIELDS
Y UR XB RO
5 FHA
ROXBUR YC
AN AL
19
FHA 193 6R ED LIN IN G
burroughs wharf
36
C
R
LINING ED
3
AL AN
boston sailing center
boston yacht haven
STREET EDGE PLAZA
4
ORIENT HEIGHTS
bost on
SOUTH END
port of
PLAZA ACTS AS PERMEABLE MEMBRANE BETWEEN STREET AND RETAIL
al
EAGLE HILL
log
an
fer ry
ter min
india wharf
NORTH END
nte r
NEIGHBORHOODS
JEFFRIES POINT
WEST END
wo rld tra de ce
boston harbor sailing club
BEACON HILL
DOWNTOWN / FINANCIAL
sea
port
BACK BAY
CHINATOWN / LEATHER
STREET AS CONNECTOR
propsed bike & walk trails
FENWAY
5
NORTHEASTERN UNIVERSITY
existing carfree bike trails
SOUTH BOSTON
HUNTINGTON AVENUE AS JUNCTION BETWEEN TWO POCKETS
existing bike trails
SOUTH END
future development industrial landuse
MISSION HILL
harbor development
ROXBURY
commercial landuse main road/ highway DORCHESTER
Valeriew Tao: analysis drawing of Boston’s harborfront as “corridor”.
KristenAXON Starheim: DISTRICT
analysis drawing exploring historical events that form neighborhood “pockets”, urban fabric, and potential sea level rise RESIDENTIAL
15,000 sf x 2 floors 18,000 sf x 4 floors 18,500 sf x 2 floors 139,000 sf
COMMERCIAL OFFICE 21,000 sf x 10 floors 210,000 sf
150,000 sf x 4 floors 600,000 sf
COMMERCIAL OFFICE COMMERCIAL RETAIL NODE RESIDENTIAL GREEN SPACE
COMMERCIAL RETAIL 15,000 sf x 2 floors 16,000 sf x 2 floors 16,500 sf x 2 floors 95,000 sf
NODE INTERIOR: 20,600 sf EXTERIOR: 19,000 sf 39,600 sf
COMMERCIAL RETAIL 4,000 sf + 6,000 sf + 4,000 sf 14,000 sf
URBAN FRAMEWORK
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TAXONOMY of urban fabric
URBAN FABRIC program distribution dis tric ts
districts
parking
green area ratio 20%
commercial (retail) 12%
The districts are determined based on housing density.
pat hs
paths
community/institutional facilities 10%
commercial (office) 12%
residential 64% The paths are determined based on conformance to the grid layout versus an overlayed route.
edges
ed ge
s
The edges are determined by paths that can or cannot be crossed perpendicularly.
fences
fen
ces
The fences include actual built fences versus building faces that act as fences.
buffer
bu
ffe rs
The buffers are expanses of either water or land.
filter
filt ers
The filters are the paths that allow people to access East Boston, including roads or the MBTA line.
points
po
int s
The points are gathering zones for parking or people.
voi d
voids
The voids are open areas of land left by surrounding buildings.
s
Rebecca Rice: urban taxonomy and program analysis
URBAN SPONGE site plan @ 1/64”=1’
Regina Benitez: site as “Urban Sponge” with nodes acting as performative follies
REGINA BENITEZ CARDENAS
URBAN SPONGE
ARCH 3170 // Claudia Bode
node plans + axonometrics
1 A RT GALLERY
2 OUTDOOR STAGE
2
3 GAME ROOM
3 5
1
4
4 DANCE/AEROBICS STUDIOS
5 MAIN NODE theater, classrooms, offices + multi-purpose space
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REGINA BENITEZ CARDENAS ARCH 3170 // Claudia Bode
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Danielle Roberts:: landscape strategies to produce a new wet-dry landscape that remediates water from the river
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LANDMASS EVOLTUTION ARCHIPELAGO URBAN ISLANDS
1795
1852
1916
1950
2015
2100 water level +5ft.
INFILL AND FLOODING
REGIONAL PROPOSAL
EXPANSION OF EAST BOSTON GREENWAY
Ryan Hogan: new site as an extension of Boston’s “archipelago”, connected to the city through an extension of the existing bike network
MAVERICK MILLS | GROUND PLAN
scale: 1/64
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REGIONAL