PP O O RR TT FF O O LL I I O O
DANIEL LUIS MARTINEZ 2 0 1 6
I N D E X
I.
ALLIED WORKS
II.
FOX IN THE SNOW STUDIO
2013 - PRESENT 2014 - PRESENT
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III. S T U D E N T W O R K
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IV. S E L E C T E D P U B L I C A T I O N S
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V.
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2008 - 2012
2008 - PRESENT
BIOGRAPHY
A L L I E D
W O R K S
2013 - PRESENT
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M E T R O P O L I T A N M U S E U M
NARRATIVE In march of 2014 the Metropolitan Museum of Art invited ten architecture firms to present their qualifications for a 330,000 square foot renovation and new construction project. The brief would include tearing down the existing modern and contemporary wing to build a new one, breathing much needed life into the museum’s neglected south-west corner. Allied Works Architecture made it to the final competition round along with only three other international firms. Our proposal aimed to poetically bind landscape and art by carefully introducing natural light and air into the museum’s new wing. STATS 330,000 sq ft (30,650 sq m) Total New Construction 97,500 sq ft (9,050 sq m) New Galleries, 33,000 sq ft ( 3,065 sq m) Amenities 144,000 sq ft (13,380 sq m) Total Renovation TEAM Brad Cloepfil, Kyle Lommen, Chelsea Grassinger, Brent Linden, Keith Alnwick, Kyle Caldwell, Chris Brown, Minh LeDao, Emily Kappes, Daniel Luis Martinez, Linda Xin, Mia Kang, and Adam Logenbach PERSONAL ROLE Documented existing building conditions through photographs and analytical diagrams; developed schematic building concepts with the design team, creating iterative plans, elevations, sections and models; produced presentation drawings, including building elevations and sections; acted as a liaison between AWA and professional rendering and physical model sub-consultants, creating 3d models and drawings to aid their development of final presentation materials.
N E W Y O R K, N Y MODERN & CONTEMPORARY WING INVITED COMPETITION FINALIST
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AERIAL RENDERING SHOWING A WARM AND GLOWING BEACON FOR THE MET IN CENTRAL PARK
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SOUTH, WEST, AND NORTH ELEVATIONS 1:600
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THE WEST FACADE ACTS AS A PRISMATIC LENS LOOKING OUT OVER CENTRAL PARK
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CLOCKWISE FROM TOP LEFT: FIRST FLOOR GALLERIES PLAN, SECOND FLOOR GALLERIES PLAN, ROOF PLAN, FOURTH FLOOR MEMBERS SERVICES PLAN FOURTH FLOOR PLAN allied works architecture 1:800 10.09.2014
FIFTH FLOOR PLAN
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ABOVE: EAST-WEST BUILDING SECTION 1:600 BELOW: NORTH-SOUTH BUILDING SECTION 1:600
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2. Interior Ceiling Assembly - 5/8” Gypsum Board On Ceiling Suspension System - Acoustical Insulation 3. Exterior Wall Assembly - Stone Veneer Panel - Rigid Thermal Insulation - Membrane Waterproofing - Sheathing (Or Concrete Structure) - Metal Stud Framing With Batt Insulation - Gypsum Wall Board
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1. Interior Floor Assembly - 3/4” T&G White Oak Flooring - 3/4” Plywood Sub-Floor - 3/4” Wood Sleepers - 10” Thick Pre-Cast Concrete Planks
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4. Pre-Cast Concrete Framing Member
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5. Storefront Window System - Thermally Broken Extruded Bronze Framing - High Performance, Low-E Insulated Glass
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6. Exterior Roof Terrace Floor Assembly - Stone Paver Tiles On Adjustable Pedestal System - Membrane Roofing - Protection Board - Sloped Rigid Insulation - Pre-Cast Concrete Planks
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SCULPTURE GALLERY
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SECOND FLOOR 125'-0" SECOND FLOOR 125'-0"
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8. Exterior Sun Shading Assembly - Formed Glass Panels With Reflective Interlayer On South Facing Glass - Structurally Glazed Into Bronze Curtain Wall 9. Exterior Curtain Wall System - Thermally Broken Extruded Bronze Framing - High Performance, Low-E Insulated Glass With Translucent, Light Reducing Interlayer 10. Interior Window System - Extruded Bronze Framing - Varied Transparent And Translucent Light Directing Interlayer 2
ELEVATION DETAIL - WEST FACADE
11. Interior Fascia1/2"=1'-0" Assembly - Gyp Board - Gypsum Wall Board ELEVATION DETAIL - WEST FACADE 2 - Metal Stud Framing 1/2"=1'-0" 12. Interior Fascia Assembly - Metal Panel - Painted Metal Panel With Rigid Insulation
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WALL SECTION AND PLAN DETAIL WEST FACADE 1:50
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PLAN DETAIL - WEST FACADE 1/2"=1'-0"
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ABOVE: 1/4” SCALE MODEL PHOTOGRAPH SHOWING A CROSS-SECTION OF THE MUSEUM BELOW: 1/4” SCALE MODEL PHOTOGRAPH SHOWING SECOND LEVEL ART GALLERIES
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ABOVE: RENDERING OF ENTRY LOBBY BELOW: RENDERING OF FIRST LEVEL ART GALLERIES
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¨ R T A R V O P A C E N T R E
NARRATIVE Allied Works participated in an invited international competition to develop a new building honoring the life and music of Arvo Pärt, arguably Estonia’s most important classical composer and a revered musical genius around the world. Sited on a tract of dense forest in Laulasmaa (forty-five minutes outside of the capital city of Tallinn), our proposal uses local materials to develop an architectural language of earth (low, rough-cut stone masses) and sky (dramatic roof canopies clad in wood that rise to bring natural light into the building). The plan disperses five distinct domains (entry pavilion, library, auditorium, offices/archives, and chapel) throughout the context, creating various scale exterior courtyards that allow the occupant to remain constantly connected to the landscape. STATS 26,000 sq ft (2,400 sq m) Total New Construction 9,700 sq ft (900 sq m) Public Program (Foyer, Auditorium, and Library) TEAM Brad Cloepfil, Brent Linden, Daniel Luis Martinez, Samantha Mink, William Smith, and Linda Xin PERSONAL ROLE Created analytical diagrams and collected precedent images during initial research phase; developed building concepts with design team, creating plans, sections, elevations, as well as, digital and physical models; Developed and contributed to nearly all final presentation materials, including site plan, plans, sections, elevations, exterior and interior renderings, and physical model.
L A U L A S M A A, E S T O N I A ARCHIVES & PERFORMANCE HALL INVITED COMPETITION FINALIST
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RENDERING SHOWING THE DESIRED RELATIONSHIP BETWEEN INTERIOR SPACE AND LANDSCAPE THROUGHOUT THE BUILDING
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BUILDING ELEVATIONS 1:600
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1. Roof Assembly 1 ROOF ASSEMBLY - Metal Exterior Cladding - Ventilated Cavity - WOOD EXTERIOR CLADDING - 60mm Tongue - VENTILATED CAVITY& Groove Vapor - 60mm TONGUE & GROOVE Permeable Wood Fiber VAPOR Insulated PERMEABLE WOOD FIBER INSULATED Sheathing SHEATHING - 250mm Mineral Wool Insulation - 250mm MINERAL WOOL INSULATION Continuous Air Barrier - CONTINUOUS AIR BARRIER - Sheathing - SHEATHING - 300mm WOODWood ROOF Roof STRUCTURE, - 300mm Structure, MINERAL WOOL NSULATION Mineral Wool insulation - Sheathing - SHEATHING - Ventilated Cavity - VENTILATED CAVITY - Interior Wood Ceiling - INTERIOR WOOD CEILING - U = 0.067 W/m2k U = 0.067 W/m2K
2. Window - Triple Glazed Operable Window 2 WINDOW - U = 0.6 - 0.8 W/m2k 2
- TRIPLE GLAZED OPERABLE WINDOW 3.EMISSIVITY Wall Assembly - LOW COATING, GAS FILLED INSULATED FRAMEStacked Stone Exterior - 150-200mm
Cladding, Gravity Loaded - Masonry Tie-Backs - 60mm Tongue & Groove Vapor Permeable Wood Fiber Sheathing 3 WALL ASSEMBLY - Thermally Broken Tie-Back Clips - Air Space - 150-200mm STACKED STONE EXTERIOR CLADDING, LOADED - 100mmGRAVITY Rigid Foam Insulation - MASONRY TIE-BACKS - Continuous Air Barrier - 60mm TONGUE & GROOVE VAPOR - 200mm Steel Reinforced Concrete Wall PERMEABLE WOOD FIBER INSULATIVE - 150mm Stacked Stone Interior SHEATHING Cladding,BROKEN GravityTIE-BACK Loaded CLIPS - THERMALLY - AIR-SPACE U = 0.109 W/m2k U = 0.6 - 0.8 W/m2K
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- 100mm RIGID FOAM INSULATION - CONTINUOUS AIR BARRIER 4. Floor Assembly - 200mm STEEL REINFORCED CONCRETE - Stone Flooring WALL - Concrete SlabSTONE INTERIOR - 150mm STACKED CLADDING, GRAVITY - Continuous AirLOADED Barrier
- Waterproofing - 300mm Rigid Foam Insulation - U = 0.101 W/m2k
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4 FLOOR ASSEMBLY - STONE FLOORING - CONCRETE SLAB - CONTINUOUS AIR BARRIER - WATERPROOFING - 300mm RIGID FOAM INSULATION U = 0.101 W/m2K
DETAIL WALL SECTION 1:30
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FINAL PRESENTATION MODEL MADE OF LASER CUT, DARK MUSEUM BOARD AND CNC ROUTED MAPLE
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ABOVE: RENDERING OF PERFORMANCE HALL BELOW: RENDERING OF ENTRY PAVILION
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I N S T I T U T E O F A R T S & S C I E N C E S
NARRATIVE In 2014 Allied Works Architecture was selected to participate in a competition to design a new center for arts and sciences for the University of California Santa Cruz campus. The provocative site is located at the edge of dense woodland and an open meadow with views towards Monterey Bay and the Pacific Ocean. Our proposed building acts as a filter between two distinct landscape conditions and is designed as a continuous lattice-like structure that follows the contours of the land. The roof shears to allow clerestory light to illuminate exhibition galleries and gathering spaces below, while an exterior porch runs the length of the building taking advantage of the inspiring views and California’s mild climate. STATS 21,500 sq ft (2,000 sq m) Total New Construction 13,000 sq ft (1,200 sq m) Galleries, Labs, Research Studios, and Offices 4,350 sq ft (400 sq m) Public Amenities TEAM Brad Cloepfil, Kyle Lommen, Chelsea Grassinger, Brent Linden, Keith Alnwick, Daniel Luis Martinez, Samantha Mink, William Smith, and Linda Xin PERSONAL ROLE Created analytical diagrams and collected precedent images during initial research phase; developed building concepts with design team, creating plans, sections, elevations, as well as digital and physical models; Developed and contributed to nearly all final presentation materials, including site plan, plans, sections, elevations, exterior and interior renderings, and physical model.
S A N T A C R U Z, C A G A L L E R I E S, S T U D I O S & L A B S INVITED COMPETITION FINALIST
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THE RESOLUTELY HORIZONTAL BUILDING ACTS AS A GATEWAY TO THE FOREST BEYOND WHILE LOOKING OUT OVER THE MEADOW
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TRANSVERSE SECTION A SCALE: 1" = 10'
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FINAL PRESENTATION MODEL MADE OF PLEXI GLASS AND BLACK THREAD WITH CNC MILLED, HIGHDENSITY FOAM BASE
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ABOVE: RENDERING OF A TYPICAL GALLERY WITH CLERESTORY LIGHT ABOVE BELOW: THE BUILDING’S LONG PORCH LOOKS OUT TOWARDS MONTEREY BAY AND THE PACIFIC OCEAN BEYOND 31
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E F S T U D E N T R E S I D E N C E S
NARRATIVE Allied Works Architecture was asked to design a 50,000 square foot dormitory for 240 students at an international preparatory high school in Thornwood, New York. The design accommodates two communities of thirty students with a parentteacher apartment per group on each of the four floors. A centralized circulation spine provides access to different scales of social and study spaces, while the building’s simple but richly textured exterior, made of forty-five foot tall precast concrete panels, reinforces the abstract diagram of the parti. STATS 50,000 sq ft (4,650 sq m) Total New Construction 23,000 sq ft (2,130 sq m) Living Space 8,500 sq ft (800 sq m) Public Amenities TEAM Brad Cloepfil, Chris Stoddard, Brent Linden, Daniel Luis Martinez, Peter Storey, and Linda Xin PERSONAL ROLE Worked from pre-design through construction documentation to develop building concepts, siting strategy and program organization; attended meetings and interacted with client, as well as structural, civil, and MEP sub-consultants; produced drawing sets, specifically working on site plan, plans, interior and exterior elevations, building and detail wall sections, life safety drawings, and schedules; continue to have a limited construction administration role
T H O R N W O O D, N Y DORMITORIES UNDER CONSTRUCTION COMPLETION DATE FALL 2016
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ABOVE: TYPICAL FLOOR PLAN 1:500 ABOVE: SOUTH, NORTH, AND EAST BUILDING ELEVATIONS 1:500
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UNIQLO DESIGN HEADQUARTERS
NARRATIVE Allied Works Architecture was commissioned by Fast Retailing (parent company of clothing retailer Uniqlo) to design the interior spaces of their new headquarters in the Ariake neighborhood of Tokyo. Nearly the size of an entire Manhattan city block, this massive office space will be home to over one thousand employees and will house several different scales of social hubs interspersed throughout the building’s circulatory ‘street’. The driving goal of the design is to inspire creative interaction between employees working in different sectors of the company’s current hierarchy. STATS 204,500 sq ft (19,000 sq m) Total Interior Fit Out 46,300 sq ft (4,300 sq m) Public Amenities and Gathering Spaces TEAM Brad Cloepfil, Brent Linden, Yuri Suzuki, Thea von Geldern, Rashmi Vasavada, Rachel Schopmeyer, Bjorn Nelson, Daniel Luis Martinez, Lauren Bordes, and Rebecca Wood PERSONAL ROLE Developed concepts and architectural language with the design team for several largescale gathering spaces throughout the complex, including entry gallery, circulatory street, lounges, digital library, print library, dining hall and product examination
T O K Y O, J P FASHION DESIGN STUDIOS UNDER CONSTRUCTION COMPLETION DATE SPRING 2017
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N THE GREY TONE HIGHLIGHTS PRIMARY CIRCULATION AND SOCIAL GATHERING SPACES, WHICH WAS MY AREA OF FOCUS; DRAWINGS FOR THE PRINT LIBRARY (SHOWN IN BLUE) ARE ON THE FOLLOWING PAGE
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ABOVE: RENDERING SHOWING THE ROOM’S WARM MATERIALITY AND LOUNGE ATMOSPHERE BELOW: RENDERING SHOWING THE LIBRARY’S ARTICULATED METAL STRUCTURE
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ABOVE: MEZZANINE (LEFT) AND MAIN FLOOR PLAN (RIGHT) OF THE PRINT LIBRARY 1:200 BELOW: SECTION THROUGH STAIRS AND SHELVING STRUCTURE 1:100
Project Site Address: 1-6, Ariake, Koto-Ku, Tokyo, Japa Mailing Address:
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O H I O V E T E R A N S M E M O R I A L
NARRATIVE After an international competition held in 2012, Allied Works Architecture was selected, along with Laurie Olin Landscape Architects, to design a new, iconic veterans memorial museum and park in Columbus, Ohio. The structure’s form is comprised of concrete arches that span up to seventy-five feet and support a public path leading to an exterior amphitheater which will become the focal point of the city’s yearly veterans parade. Inside, the building provides several scales of exhibition spaces, along with expansive views out towards downtown, the new memorial park, and the Scioto River. STATS 45,000 sq ft (4,200 sq m) Total New Construction 23,300 sq ft (2,200 sq m) Special Exhibition and Galleries 14,700 sq ft (1,365 sq m) Public Amenities and Visitor Services TEAM Brad Cloepfil, Kyle Lommen, Chelsea Grassinger, Brent Linden, Chris Brown, Kyle Caldwell, Rachel Schopmeyer, Alexis Kurland, Jared Abraham, Luciana, Varkulja, Daniel Luis Martinez, and Samantha Mink PERSONAL ROLE Worked on the development of the scheme’s structural form for three months of schematic design; produced plans, elevations, sections, and digital study models
C O L U M B U S, O H I O MUSEUM AND PARK UNDER CONSTRUCTION COMPLETION 2018
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ABOVE: AERIAL VIEW OF THE BUILDING COVERED WITH SNOW ON A WINTER DAY BELOW: EARLY CONCEPTUAL RENDERINGS OF THE BUILDING’S STRUCTURE
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ABOVE: INTERIOR RENDERING FOR THE ALBRIGHTKNOX ART GALLERIES EXPANSION BELOW: EXTERIOR RENDERING OF OBAMA PRESIDENTIAL CENTER IN HONOLULU, HI
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INDEX OF FURTHER PROJECTS I.
BRUCE MUSEUM EXPANSION
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OBAMA PRESIDENTIAL CENTER
GREENWICH, CT INVITED COMPETITION HONOLUU, HI INVITED COMPETITION
III. A L B R I G H T - K N O X A R T G A L L E R I E S BUFFALO, NEW YORK INVITED COMPETITION
IV. T H E O R Y F A S H I O N D E S I G N S T U D I O S NEW YORK, NY PARTIALLY COMPLETED - UNDER CONSTRUCTION
V.
CASE WORKS
TRAVELING EXHIBITION OPENED JANUARY 24, 2016
MODEL FOR BRUCE MUSEUM EXPANSION
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F O X I N T H E S N O W S T U D I O
2014 - PRESENT
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I A M H E R E B E F O R E T H E C I T I E S C O M E
NARRATIVE For Chicago’s first ever architecture biennial, Fox in the Snow and artist Ben Butler collaborated on a kiosk whose design began by first looking to the prairie for inspiration. The proposal seeks to engage with the basic materials and building practices that have shaped Chicago’s modern identity to create a space whose quality of light and air would be at home on the prairie. While architecture can only manifest as something man-made, we hope that this project has nonetheless captured something essential about the most important landscape in Midwest America through an architectural lens. STATS 200 sq ft (18.5 sq m) TEAM Lulu Loquidis, Daniel Luis Martinez, and Ben Butler PERSONAL ROLE Contributed to every facet, from conceptual design through final presentation.
C H I C A G O, I L LAKEFRONT KIOSK OPEN COMPETITION WINTER 2015 51
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ABOVE: FLOOR PLAN 1:50 BELOW: DIAGRAM SHOWING THE ELEVATION OF EACH OF THE KIOSK’S MODULES
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PHOTOGRAPHS OF BASSWOOD MODELS SHOW A HIGHLY TEXTURED PLAY OF LIGHT AND SHADOWS CREATED BY THE KIOSK’S SEQUENCE OF LINEAR ELEMENTS
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13'-0" 2'-2"
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ABOVE: ELEVATION OF ENTRY 1:50 BELOW: WINTER RENDERING OF THE PROPOSED KIOSK ALONG CHICAGO’S LAKE FRONT
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ABOVE: ELEVATION DRAWING 1:50 BELOW: SPRING RENDERING OF THE PROPOSED KIOSK IN LURIE GARDENS
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NARRATIVE Fox in the Snow placed 2nd in the professional category of an international competition to re-imagine Philadelphia’s Athenaeum (the oldest architecture library in the US) in the year 2050. Our proposal is dedicated to the exploration of design practices guided by the human hand. It is organized around the idea that we can gain access to the past through what we make in the present, while what is made today can be archived for future generations to access. This cyclical process resonates with the structure of memory and forms the foundation of our programmatic strategy. We strived to create a building ‘out of touch’: rooted in craft and contoured to evoke abstractions of the human body. STATS 26,000 sq ft (2,415 sq m) Total New Construction TEAM Lulu Loquidis and Daniel Luis Martinez PERSONAL ROLE Contributed to every facet, from conceptual design through final presentation.
P H I L A D E L P H I A, P A ARCHIVE & LIBRARY IDEAS COMPETITION RUNNER UP 57
LANDSCAPE
BUILDING
CITY
ARCHIVED
MADE
ACCESSED
SCREENED
OPEN
STRUCTURE
CONCEPT DIAGRAMS EXPLAINING THE VARIOUS SYSTEMS INTERACTING WITHIN OUR PROPOSED ATHENAEUM
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STUDY MODELS JUXTAPOSED WITH PRECEDENT IMAGES; FROM TOP TO BOTTOM: “WOMAN AND MAN” EGON SCHIELE, “LEE MILLER (NECK)” MAN RAY, VIIPURI LIBRARY DETAIL ALVAR AALTO
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FROM BOTTOM TO TOP: BASEMENT, GROUND FLOOR, SECOND, AND THIRD FLOOR CONCEPTUAL PLANS (PENCIL AND MULTI-MEDIA COLLAGE)
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PHOTOGRAPHS OF THE FINAL PRESENTATION MODEL MADE FROM MAPLE AND PLASTER
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S T U D E N T
W O R K
2008 - 2012 UNIVERSITY OF FLORIDA
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Writer’s Scroll Catalog of Experience
3
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3
L I B R A R I E S O F M I N D A N D M A T T E R
NARRATIVE This project envisions the design of a public typing pool and library in downtown Gainesville. At the heart of the building, a field of typewriters on desks is sunken three feet into the ground beneath a large skylight. As a counterpoint to the public character of the building’s central room, a roof garden is proposed with three contemplative alcoves. These spaces are shaded by the building’s continuous roof plane, which is interrupted by ‘text screens’ at the center of each room. Embedded within the screens are works of poetry creating an opportunity for two possible readings. One as powerful works of language in and of themselves, and the other as dynamic architectural elements, filtering the rain and sun into beds of wild grasses below.
G A I N E S V I L L E, F L GRADUATE STUDIO VISITING PROFESSOR TOD WILLIAMS 65
3 1 1. 2. 3. 4. 5.
Entry Lobby Typing Pool Archive Book Stacks Covered Terrace
2
5
4
Section A 1/16” = 1’
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ABOVE: GROUND FLOOR PLAN 1:400 BELOW: BUILDING SECTION 1:400
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THE TYPING POOL GAINESVILLE, FL
As a counterpoint to the public character of the building’s central room, a roof garden is proposed with three contemplative alcoves. These which is interrupted by ‘text screens’ at the center of each room. Embedded within the screens are works of poetry creating an opportu language in and of themselves, and the other as dynamic architectural elements, filtering the rain and sun into beds of wild grasses belo
Section A 1/16” = 1’
Typing Pool: Main Volume
Roof Garden: The Wasteland
Approach from
42
Section
Presentation Model
ABOVE AND CENTER: RENDERINGS SHOWING THE APPROACH FROM THE STREET AND ROOF TOP GARDEN TERRACE BELOW: FINAL BASSWOOD MODEL
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19 33
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T H E E T H I C S O F D I S A P P E A R A N C E
NARRATIVE We have come to blindly accept the idea that Mies’s buildings had their own autonomous agenda which largely ignored their particular contexts. However, is it possible to expand their internal logic outward to forge a speculative view of the work that becomes highly contextual? This act would not justify the modernist desire for autonomy but rather illustrate a point: agency is when you own up to your actions, no matter how abstract their origins. My thesis project analyzed some of Mies’s most iconic projects, including the German pavilion in Barcelona, the Seagram tower in New York, and Crown Hall in Chicago, in order to tease out the ethics behind an architecture that desires to be, in Mies’s words, “almost nothing.”
G A I N E S V I L L E, F L GRADUATE THESIS PROJECT CHIEF ADVISOR MARTIN GUNDERSEN 69
S E L E C T E D P U B L I C A T I O N S
2011 - PRESENT
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R I V E R D E E P, M O U N T A I N H I G H Every American is the inadvertent heir to a particular view of occupying wilderness. It stems from that early vision of manifest destiny put forward by the founding fathers from the Louisiana Purchase to the Monroe Doctrine. Our expansion towards an unspoiled frontier would eventually be elevated to mythic status by the lives of Daniel Boone and Davy Crockett, rationalized by writers like Emerson and Thoreau, and re-injected into America’s body politic at the beginning of the 20th century by Teddy Roosevelt. While the scale of the West has always inspired awe, our path toward civilization would eventually forge a paradox. Two views – one of passive reciprocity and the other of active domination – historically prevailed, creating a rift in our domestic identity. It would be another century before architecture would make a serious attempt at translating this tension into built form. No two individuals have polarized the idea of wilderness in the U.S. more profoundly than Henry David Thoreau and Teddy Roosevelt. Though their convictions fundamentally differ, their views on nature both engender significant spatial qualities. Thoreau’s Concord, like so many burgeoning American towns, offered an alluring proximity to undeveloped countryside. This was where he lived “a sort of border life,” making only “occasional and transient forays” into the wild. While nature required a certain level of physical commitment, for Thoreau, being outdoors naturally evolved into a form of mental abstraction. “I am alarmed,” he once wrote, “when it happens that I have walked a mile into the woods bodily, without getting there in spirit ...
SAN ROCCO MAGAZINE M I L A N, I T A L Y V O L U M E 8, W I N T E R 2 0 1 3
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TRUE LOVE LEAVES NO TRACES ... The Wall of Sound here is a veritable shadow of its days backing the Ronettes. By 1977, Spector’s layered production evoked the aural equivalent of physical collapse. The flanged hiss in the chorus of Nino Temp’s open and closed hihat rhythm implies multiple takes out of synch with each other. Also, Spector’s usual lengthy decay of echo is pulled in closer to slab-back lengths. These effects are even more intense by the second track, “Iodine,” where drums flutter with delay, guitars are soaked with heavy phasing and Cohen’s voice actually warbles at times (“You let me love you till I was a failure / your beauty on my bruise like iodine”). These are, rather notoriously, Cohen’s raw, scratch vocal takes on the final versions. It seems worth asking whether Spector’s famed technique was ever that stable to begin with. The name ‘Wall of Sound’ was always intended as an architectural metaphor, though it’s really not as straightforward as it seems. The simplified interpretation is that a wall is built in a way that embodies structural integrity, as with masonry, where the repeated pattern and placement of the individual components form a compounded rigidity. A wall in this sense is the outcome of a precise logic whose endgame is often to divide. The common analogy for Spector’s work is that through the methodic layering of identically played parts he achieves a similar kind of structural integrity; a thick and solid foundation which forms the backbone of his pop arrangements. Yet Spector’s walls simply do not work this way ...
MAS CONTEXT C H I C A G O, I L V O L U M E 19, F A L L 2 0 1 3
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I REMEMBER HIM ... Borges invents the tragic tale of Funes because navigating the terrain of extreme human conditions shows us something remarkable about how we actually think. It also opens up a new context within which to situate a work of fiction. The remembrance of a man who was capable of remembering everything was probably sparked, in all honesty, by something Borges remembered reading once in Pliny’s Historia Naturalis. Though it seems trivial at first, it is an especially revealing anecdote. When Funes speaks aloud from the dark corner of his room upon the narrators return visit: “ut nihil non iisdem verbis redderetur auditum,” (“nothing that has been heard can be retold in the same words”), it is as much a confession of the story’s true origin as it is a summation of its main theme. Borges is remaking Pliny; a repetition that becomes new again through fiction. There is good reason to look towards Borges (and Funes in particular) at a time when Metabolist architecture has circled back into the conversation at the hands of fate and a particularly famous architect-writer. Consider the Nakagin Capsule tower for instance, which is based on the repetition of identical modules anchored to two main cores. It stands as an argument against traditional forms through the more ‘organic’ distribution of identical units. It might also be read as the simultaneous desire for standardization and freedom. But when I see the ruins of such platonic experiments I always remember Funes. I remember the impossibility of pure repetition and begin to imagine an architectural language based on our far more textured memory.
ENGAWA B A R C E L O N A, S P A I N V O L U M E 14, F A L L 2 0 1 3
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INDEX OF FURTHER PUBLICATIONS I.
BETWEEN EARTH AND SKY
II.
ALL ROADS LEAD TO HIALEAH
WA {WETTBEWERBE AKTUELL}, FREIBURG, GERMANY VOLUME 8, 2014 {ARVO PART CENTRE PROPOSAL WITH AWA} CLOG JOURNAL, NEW YORK, NY VOLUME 9, 2013
III. O B J E C T S A N D S U B J E C T S PROJECT JOURNAL, NEW YORK, NY PUBLISHED ONLINE, 2012
IV. W H E N T H E C A T H E D R A L S W E R E B L A C K THINK SPACE PAMHLETS, ZAGREB, CROATIA VOLUME 1, 2012
V.
FROM OBJECTS TO BUILDINGS ARCHITRAVE, GAINESVILLE, FL VOLUME 19, 2012
VI. C O N S T R U C T I N G E T H I C A L Q U E S T I O N S ARCHITRAVE, GAINESVILLE, FL VOLUME 18, 2011
SELECTED PUBLICATIONS 2011 - PRESENT
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BIOGRAPHY Daniel Luis Martinez is an architect and writer living in Brooklyn, NY. He earned a bachelors degree in philosophy at the University of South Florida (2005) and an M. Arch from the University of Florida (2012), where he received the prestigious AIA Henry Adams Medal. As a lead design architect for Allied Works Architecture he has worked primarily on the conceptualization and design development of cultural projects. In 2014 he also co-founded Fox in the Snow Studio; a design and research collaborative interested in the connections between landscape and architecture. His writing has been published in several international journals including San Rocco in Milan, Engawa Magazine in Barcelona, and Mas Context in Chicago.
DANIEL LUIS MARTINEZ 2 0 1 6
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