DANI S. LANDS Architecture Portfolio 2014 - 2020
ONTENT
Spikey: Pavilion .......................................................................................... 4 Invasive Species ........................................................................................ 8 Teus: The Mask ......................................................................................... 12 La Dolce Volta .......................................................................................... 16 Resilient Engine ........................................................................................ 20 Thesis: Subconscious Imaginaries......................................................... 24 Professional Work I ................................................................................ 34 Professional Work II ............................................................................... 36 Music Studio ........................................................................................... 38 Fashion Show .......................................................................................... 40 Void Rotation ............................................................................................ 42 Film Archive .............................................................................................. 44
PIKEY: PAVILIO
The project consisted of designing and building a pavilion which explored a part-to-whole relationship. The group members were myself, Lillian Candela, Sarah Davis, Sylvia Wang and Yuhao Wu. Spikey consists of a nested series which blur the definition of what is part and what is whole. Each component arose from intersecting geometric tiling patterns, which were then aggregated into larger meta-components. The meta-components were connected via a combination of spiked vertices and flat surfaces, in turn amalgamating into the final whole, the pavilion itself. The fabric bands place an additional level of subdivision within each meta-component. Designed for the Russel Wright center at Manitoga, NY, Spikey’s formal characteristics are in contradiction to the site and the work of Russel Wright in every aspect except palette. There are multiple structure systems which work with one another; the first level is the interconnection of the meta-components, the second is the wooden structural frame, and third is the tensile fabric, granting composure to the form. The conversation between tension and compression is embedded within the structure, as well as through its aesthetic. Critic: Ezio Blasetti
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Tiling Extrusion & Intersection Process
Tiling Form Interations
Full-Scale Constructed Pavilion
Component 9N
Tiled Meta-Components
Component 9M
Components aggregated into meta-components based on tiling
Component 9L Component 9K Component 9J
Geometries smooth and soften to create a series of fragile spikes and more massive sections
Component 9I Component 9O
Component 9H
Component 9P
Component 9G
Component 9Q Component 9R Component 9A
Component 9S
Component 9B Component 9C Component 9D Component 9E Component 9F
System I: Creation of Meta-Components
Meta-Component No. 5
Meta-Component No. 6
Meta-Component No. 4
Meta-Component No. 7
Metacomponent No. 9
Meta-Component No. 8
Meta-Component No. 3
Meta-Component No. 9
Meta-Component No. 10
Meta-Component No. 2
Meta-Component No. 16
Meta-Component No. 15
Massive Shear Wall Meta-Component No. 14
Meta-Component No. 1
Meta-Component No. 13 Meta-Component No. 12
Fabric Strip No. 1 Avocado
System II: Flexible Framing
Meta-Component No. 11
Metacomponent No. 1 Fabric Strip No. 2 Turqoise
System III: Fabric Skin
Wooden Dowel 1R
Metacomponent No. 7 Wooden frame is clad in a series of fabric strips providing compression to the frame and then is further amplified by the moments of spikiness. Spikes further stretch the fabric, increase compression and stability for frame Fabric Strip No. 3 Pink Sherbet
Members attached with eye-hooks and zip ties to create a flexible frame
Wooden Dowel 1A Wooden Dowel 1B
Wooden Dowel 1Q Wooden Dowel 1P
Wooden Dowel 1C Wooden Dowel 1D
Wooden Dowel 1O Wooden Dowel 1E
Fabric Strip No. 4 Ice Blue
Wooden Dowel 1F Wooden Dowel 1G Wooden Dowel 1N
Fabric Strip No. 5 Avocado
Wooden Dowel 1K Wooden Dowel 1M
Exploded Axon
Wooden Dowel 1J
Wooden Dowel 1L
Wooden Dowel 1I Wooden Dowel 1H
Render
NVASIVE SPECIE
Invasive Species is a brutalist gallery situated at the Russel Wright Center in Manitoga, NY. Inspired by Yugoslavian World War II memorials, the gallery explores a variation of part-to-whole, with what appears as infinitely dividing polygons. The base polygons were created by rotating and intersecting simple geometries, primarily the triangle and the arc. The form of the polygons is directly caused by their collision and intersection, creating an aggressive interior with infinitesimal portions, while maintaining a massive and monumental exterior. The multiple entry points into the gallery create a cavernous experience. The concrete exterior invades the landscape, and begins to transform the land into lifeless steps. This project speaks to the invasion of the built environment into the natural landscape, an all too common phenomena. Critic: Ezio Blasetti
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Rotation Method
Section
Physical Model - 3D-Printed
1. A twisted extrusion is chosen based on its mass and self-intersecting areas.
2. The extrusion is scaled, with each volume increasing by 10% towards the centre.
3. The extrusion is multiplied four times and mirrored on the bottom plane.
4. A second, smaller extrusion is chosen to excavate the interior space of the first extrusion.
5. The second extrusion is multiplied four times and mirrored on the lower plane.
6. The second extrusion is placed inside the first extrusion, a form for the excavation.
7. The interior is excavated from the primary exterior extrusion.
vasive Species
2. Volume Gallery
West Entrance
Complexity Gallery Outdoor Gallery 1
Light Gallery
4.
South Entrance
Outdoor Gallery 2
6.
Plan
7.
Graphic Scale, 1/8” = 1’-0” 0
4’
8’
16’
32’
EUS: THE MAS
TEUS: The Situated Mask is a character-based approach to developing a performing arts and cultural center programmatically. The cultural center, located in Philadelphia, PA, is a place of gathering, where people can have chance encounters while enjoying theatre, music, art and cinema. The festival grounds allow visitors to benefit from the waterfront location, as well as take in views of Philadelphia’s skyline. Using the mask as inspiration, the programmatic organization of the buildings become the mask, and the visitors purely audience. The forms of each theatre were deirved from the projection of cones, which creates particular moments where, if standing at a precise location, visitors see the building’s mask. Each performance house represents a different mask, all of which sit on a plinth. The masks become the true characters and players on the stage, and the visitors are the perpetual audience, whether they are watching an opera, a theatre piece, or simply walking past the center. TEUS places the architecture on center stage, forming the performances they hold and the experiences occured. Critic: Jonathan Scelsa
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Plan
Section
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
Massing Strategy
Isometric
A DOLCE VOLT
Many contemporary courthouses in the US are hyper-functional, intimidating and stressful.The intention of these structures is to instill a sense of authority to the occupants. Dolce Volta strives to create a space of refuge from the stress and pressure inherent in the justice system and its architecture. Filled with contemplative spaces, this novel approach gives judges, jurors, lawyers, and charged individuals a space to think clearly and come to just decisions. The project is defined by three vault typologies: full vaults, half vaults, and groin vaults. The full vaults are employed in the public spaces, and carve one another to create the courtyards. The half vaults are applied to the semisecure office spaces and back-of-house circulation, and finally the groin vaults are used exclusively in the courtrooms. Dolce Volta rebrands the common conception of courthouses, and offers meditative transitions and circulation, while considering the well-being of the visitors. The primary spaces were conceptually and formally inspired by the cloister as a formal expression of a contemplative space. Cloisters are designed to encourage reflection and meditation through the action of circumambulation, which inspired the public spaces of Dolce Volta, primarily the courtyards and access from the exterior to the courtroom. All of this work was done collaboratively with Ji Yoon. Critic: Brennan Buck Opposite Page: Formal Studies
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MASSING AXON
Circulation Strategy
Worms-Eye Isometric
Section
Parti Strategy
Carving Strategy
Plan
ESILIENT ENGIN
Santa Monica, although an exemplary city in terms of sustainability, still imports its energy and much of its water, as well as exporting its waste, which is both inefficient and harmful to the local and global environment. This centralized Sustainable performance Machine aims to hybridize existing infrastructure and new performance entities that will produce and store energy through gasification and anaerobic digestion, catch and purify water, and manage waste with a collection and management center. This concentration will liberate portions of Santa Monica to perform other functions for the city. The Santa Monica Sustainable Machine is located on the 10 Freeway, as a highway cap, and extends approximately 15 blocks towards downtown Los Angeles, along the subway line. It is formally differentiated from the water purification center in the West, in proximity to extensive parking structures, leading into public space. An amphitheatre acts as a bridge to the local residential community, and is starkly demarcated from the gasification and waste center in the East end of the cap. This project was done in collaboration with Kaj Marshall and Josh Schultz. Critic: Thom Mayne Opposite Page: Formal Studies
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PV & Scaffolding
Gasification & Waste Management Administration Amphitheatre Gasification Unit & Energy Distribution Substation
Parking
Water Treatment Administration
Water Treatment Facility
Exploded Axon
Site Plan
Amphitheatre Section
Public Landscape
Vehicular Network
Site Perspective Render
MAGINARIE
Subconscious Imaginaries of the Berlin Palimpsest, my graduate thesis, aims to explore notions of collective subconscious imaginaries, memory and alternate readings of public spaces as they are spatially and temporally interactive. It poses that this methodology of representing and spatializing the subconsciousness of the public, a space of psychological equality and adaptability can be designed. This process of analyzing public space, through a lens of reading the city as a palimpsest, and granting events of a non-linear temporal placement a venue within media, allows for a holistic analysis which has otherwise been missed. This is an architectural interpretation of the Paranoiac Critical Method, which questions everything: past, present, future, as well as potential alternate outcomes of past events. The outcome is a proposed methodology of architectural analysis, which aims to lead to the design of adaptable, contextual and egalitarian public space. Thesis Advisor: Prof. Daniel Barber Opposite Page, Top: Night Opposite Page, Bottom: Flooded
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Potsdamer Platz
Photo-Documentary Tour
5
4
1
2 3
1 2 3 4 5
In the great flood of 2027, Potsdamer Platz was abandoned to its new aquatic inhabitants due to the remarkable amount of damage. The water encased in the station remembers other times, which are at times visible in the reflection. At certain times, Berlin forgets its current infrastructure, and returns to its past. Typically, this is manifested in a sudden slip into a different illumination system, ranging from the revival of the 1920s Golden Era of technology, to the flickering lights of 1989. The inverted memorial is accessed through a hidden entrance within the Holocaust memorial in Leipziger Platz. Visitors can wander between the blocks and squeeze past monoliths of time until they eventually reach alternative exits, found by following the inpouring light. The public waiting space is accessible from Basement Level 1, close to the ticketing booths. The spiral staircase leads into the waiting area and the Bahn Bar, which serves some of Berlin’s best cocktails in a smoky and peaceful setting for passengers awaiting their train. After human annihilation in 2136, Potsdamer Platz was left to the other native German species, such as the barn owl, and the raccoon. The bear, once connected to the Berlin monarchy, once again becomes the top predator, using the arcade, and the ground below, as a new-found home.
Leipigger Platz
B PP 1924
0’
5’
10’
15’
Leipzigger Platz Section
0’
Leipzigger Platz Plan
5’
10’
15’
The Arcade
0’
The Arcade Section
0’
5’
10’
The Arcade Plan
15’
5’
10’
15’
ROFESSIONA
In the summer of 2016, I worked at Red Dot Studio, a client-focused architecture studio in San Francisco, CA. I was engaged in solving conceptual design challenges in residential and commercial projects with the senior architects, including designing kitchen cabinetry and a fireplace. I designed content and layout of client presentations using the Adobe Creative Suite, so we could successfully convey our design intensions concerning the project. I participated in client meetings and site visits during various phases of development, gaining hands-on experience in the design and development industries. I also created and modified construction documents, schedules, 3D models and renders using AutoCAD, Rhino and VRay, as well as building and presenting models to clients We entered a design competition, which I organized and modified drawings and pictures of the project; the project was one of the finalists, and recognized for its efficient circulation.
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Garden Perspective No. 1
Front Elevation
Rear Elevation
Garden Perspective No. 2
ROFESSIONA
As part of my internship as an Assistant Project Manager at the University of Pennsylvania Facilities departmant, I was responsible for site documentation of several projects. This served a dual purpose: Facilties wanted weekly documentation of construction progress, and I was testing the potential implimentation of a new photo-documentation platform, Multivista, which is now used by Facilities. Once a week over a 12-week period, I would attend the weekly construction meetings with the project team to take note of all prominent advances in construction, and any potential issues that had occured during the week. Following the meeting, I would photograph each floor, focusing on the topics discussed in the meeting. This aspect of the summer made me very comfortable on job-sites, and allowed me to learn how architects manage projects after the design phases. This project was designed by KPMB.
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USIC STUDI
As part of finalizing the interior programming of the Music Studio at 250 West 81st Street in Manhattan, I designed an album collage, consisting of 144 influential albums from the last 100 years. They ranged in musical genres, as well as album art direction. The albums were arranged from light to dark vertically, and from red to orange, etc. horizontally. The piece was printed on a 6’ x 6’ canvas, and mounted in the Music Studio. It has since been duplicated in the Alchemy Properties’ office.
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ASHION SHOW
In 2015, PennDesign fabricated a runway piece for the Wharton Charity Fashion Show, an event which raises money for an educational NGO in West Philadelphia. In 2016, there were five pieces that walked the runway. Through design charette’s, the students involved in PennDesign Looks decided on five designs, and selected my proposal as one of these. Laser cutters allowed for the precise forms of the leaves; mesh was added on, then the pieces were hand-stitched together. The team, consisting of myself, Caroline Morgan, Jesus Elizondo, Matthew Mayberry and Danielle Dong, assembled the skirt, and made additions to the under-garment and shoes. For the 2018 show, I was the President of PennDesign Looks and a board member of the Wharton Charity Fashion Show, aleading the runway buildout and assisting in the design and fabrication of the looks in the show.
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OID ROTATIO
The summer prior to the start of the PennDesign M.Arch, I completed the Summer Studio requirements, with the instruction and guidance of Larry Mitnick. The studio consisted of a wide variety of architectural drawing techniques, in order to enter the M.Arch prepared with the appropriate tools. This particular project, Void Rotation, was designed as a monumental occupation of a planar void, answering the void with a secondary plane in the z-axis. The rotational aspect is architecturally embodied by the staircase, and is best seen when occupied, and the circulation becomes the driving force behind the placement of the suspended masses.
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Axonometric
Section No. 1
Section No. 2
Section No. 3
Section No. 4
Section No. 5
Section No. 6
ILM ARCHIV
The inspiration for the project originated in an exploration of thresholds, and the changing experience as the visitor progresses through each threshold. This was initially investigated through a series of models and collages.
Emphasis was placed on intergrating the local Sommerville/Boston community into the multi-use program. This led to observations of the natural environment and of the residents. The form intends to welcome individuals from all walks of life, much like films do, making the Cinema Bean a gathering place for the film connoisseur and amateur. This project was completed using only analogue techniques, varying from drawing, collage, model-making and photography.
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Collage
Model
Site Analysis