California Polytechnic State University_Studio Works
DIANA RODRIGUEZ
2
CONTENTS STATEMENT OF INTENT
04
RESUME
05
MACHINE OBLIQUE
06 - 09
LOCATION: Hollywood, California TYPE: Mixed-Use [Digital Production Studios +Office+ Retail] DATE: Winter/Spring 2014_ LA Metro ADVISOR: Stephen Phillips
RED 40
10 - 11
LOCATION: Port Tonic, France TYPE: Mixed-Use [Art Gallery +Residential] DATE: Summer 2013_ Studio Ticino ADVISOR: Tom Di Santo
RE[CONNECTING] RED HOOK
12 - 13
LOCATION: Red Hook, New York TYPE: Mixed-Use [Wood Manufacturing + Digital Studios + Residential] DATE: Spring 2013_ Cal Poly ADVISOR: Margarida Yin
FRAGMENT
14 - 15
LOCATION: Bayview San Francisco, California TYPE: Library DATE: Fall 2013_ Cal Poly ADVISOR: Tom Fowler
C’EST BONE
16 - 17
LOCATION: San Luis Obispo, California TYPE: Digital Fabrication Installation DATE: Spring 2013_ Cal Poly ADVISOR: Mark Cabrinha / Jeff Ponitz
TOM WISCOMBE ARCHITECTURE LOCATION: Los Angeles, California TYPE: Port Terminal DATE: Winter/Spring/Summer 2014_Internship ADVISOR: Tom Wiscombe
18 - 19
STATEMENT Mies van der Rohe once said, “Architecture is the will of an epoch translated into space”, a quote that could not have been truer in reflection of my experience these past years. Attending Cal Poly has provided me with a newfound appreciation for not only architecture in itself, but in its contribution and responsibility to society as a whole. Every studio I have taken has provided me with thought-provoking perspectives and helped me to discover what architecture is really about and what it really means to be an architect. My second year professors, Jeff Ponitz, Robert Arens, and Don Choi allowed me to develop my own ideas of the conceptual, practical, and theoretical side of architecture demonstrated throughout each studio project. Tom Fowler, John Lange, and Margarida Yin of my third year further allowed me to develop and challenge the existing conceptions we have of architecture and really push the limits of what has been accepted and standardized. I also took a Digital Fabrication class with Jeff Ponitz and Mark Cabrinha which sparked an even greater interest in experimental design and how we can challenge the standards of today’s building materials and look more towards digital fabrication as a gateway to new construction techniques. After three years of absorbing all I could from my studios at Cal Poly, my fourth year off-campus introduced a new trajectory to more global approaches to architectural design. Studying abroad in Switzerland with Tom Di Santo for the summer allowed me to develop into an architecture student with a wider view of the world and experience diverse viewpoints. Throughout the travel, I stayed in a variety of cities with such different typologies and history including Zurich, Vals, Lugano, and Scudellate. Visiting quintessential buildings such as Unite de Habitacion and Couvent Sainte-Marie de La Tourette gave me the opportunity to experience first-hand and observe how an architect such as Le Corbusier articulates space, a completely different read than what we learn from in books and images alone. For the remainder of my fourth year I attended the Los Angeles Metropolitan Program with Stephen Phillips and was introduced to an entirely different side of architecture. This program fostered an open-ended spirit of inquiry as we attended many lectures with local architects engaged in the contemporary architectural discourse. It was a constantly evolving learning environment as our studio projects responded to shifts in society, on a technological and cultural level. At the same time, I began interning for Tom Wiscombe Architecture, which gave me an advanced critical perspective on contemporary architectural design as I became engaged in his design approach as we worked on a competition proposal. With each experience I have gained an even greater interest in investigating the contemporary architectural platform of what we do and to identify new possibilities for the integration of emerging techniques and technologies. Digital fabrication classes paired with design studios has taught me to challenge and gain an understanding of how to develop new design methodologies and their historical and contemporary contexts. Architecture has a significant responsibility in the ever-changing relationship between cultural, political, economic and social change. In my fifth year I intend to further explore this relationship with the possibility of emergent fabrication techniques to better understand how we can push the boundaries of architecture’s role in society. Post graduation, I am interested in pursuing more professional experience working at a firm for a year or two before continuing onto a Masters in Architecture. I would like to further investigate architecture from a more experimental perspective and the notion of architecture as a provocation, as a challenge of technique, method, and the nature of architecture we see today. - Diana A. Rodriguez 4
DIANA RODRIGUEZ 27555 Endeavor Street, Agoura Hills, CA 91301 | drodri20@calpoly.edu | 310.923.5883
EDUCATION Sept. 2010 - Present
CALIFORNIA POLYTECHNIC STATE UNIVERSITY, San Luis Obispo, CA Bachelor of Architecture, Current Standing: 5th Year Expected Graduation: June 2015 Concentration in Digital Fabrication
Jan. 2014 - Jun. 2014
LOS ANGELES METROPOLITAN PROGRAM, Los Angeles, CA Los Angeles Off-Campus, Professor Stephen Phillips
Design studio and theory courses focused on the architecture, urbanity, and culture of Los Angeles. Included digital workshops, lectures, and an internship with a local firm. Jun. 2013 - Sept. 2013
STUDIO TICINO, Ticino, Switzerland Switzerland Study Abroad, Professor Tom Di Santo
Traveled throughout France, Switzerland, Germany, and Italy studying architectural work. Completed workshops and studio design project for client. Sept. 2006 - Jun. 2010
MALIBU HIGH SCHOOL, Malibu, CA High School Diploma, 2010
GPA: 3.5 cumulative, National Honor Society
WORK EXPERIENCE Jan. 2014 - Present
TOM WISCOMBE ARCHITECTURE, Los Angeles, CA Architectural Intern, Principal Tom Wiscombe
Two-Phase International Competition SD drawings and diagrams for Kinmen Port Terminal. SD through CD drawings for Old Bank District Museum in Los Angeles. Sept. 2013 - Dec. 2013
DEEGAN DAY DESIGN, Los Angeles, CA Architectural Intern, Principal Joe Day
Competition publication renders, diagrams, and model building in the conceptual design and development phase of projects in the Los Angeles area and London. Jan. 2013 - Jun. 2013
(CIDS) STUDENT ASSISTANT with TOM FOWLER, San Luis Obispo, CA California Polytechnic University Assisted in the research, design, and prototyping of several project proposals for installations on the Cal Poly campus.
Sept. 2007 - Present
ROBERT RODRIGUEZ PROPERTIES, Canoga Park, CA Property Manager Assistant
Archive property information, coordinate lease agreements, facilitate rent, assist in property maintenance, renovation and operation.
HONORS/AWARDS Jun. 2013 Mar. 2013 2007-2010
Bello Mundo Cafe Parklet Design Competition, San Luis Obispo, CA Cal Poly Architecture Courtyard Design Competition, San Luis Obispo, CA California Scholarship Federation (CSF) Honor Society
SKILLS/PRESENTATION 3D Modeling / Rendering 2D Graphics / Illustration Physical Production Languages
Rhino/Grasshopper, Maya, Sketchup, FormZ, Vray, Maxwell, MentalRay Adobe Suite, AutoCAD, Hand Drafting, DSLR Photography, Watercolor CNC Milling [HAAS], Rhino Cam, Laser Cutting, 3D Printing, Plaster, Resin Excellent Public Speaking with English and Spanish Fluency
MACHINE OBLIQUE LOCATION: Hollywood, California TYPE: Mixed-Use [Digital Production Studios +Office+ Retail] DATE: Winter/Spring 2014_ LA Metro ADVISOR: Stephen Phillips ADDITIONAL INFO Architecture occupies the potential to create invigorating spaces, a paradigm of the translation where culture meets public responsibility. Machine Oblique promotes the idea of creating interstitial spaces that allow a public event to be continuous from the street level to inside the high rise. As a series of truncated extrusions, Machine Oblique explores the reinvention of the main core circulation of a building as the push-pull notion of the form. The core is surrounded by an interwoven atrium centralized within office and private program spaces. The building in its entirety becomes a machine of public and private circulation, with the cores functioning as the main structure as a theatrical display of circulation inside and out.
2 1
3
TOP Street view perspective TOP RIGHT Aerial perspective BOTTOM RIGHT Proximity to Los Angeles icons
6
01 Machine Oblique
02 03 W Hotel Hollywood Capitol Records
TOP Section perspective BOTTOM, CLOCKWISE Ground floor plan, exploded structural axon, section with interior floor plans, wall section detail
LEFT, TOP TO BOTTOM 3D printed process model, 1/64 , 1/32, 1/16 physical model in site, robot model in idle position on servo-integrated base RIGHT, TOP TO BOTTOM top view of 1/64, 1/32, 1/16 physical model, axon photo of 1/16 in site
8
N,
3
TUBULAR
FOLD
ROBOT
D.RODRIGUEZ ARCH 342
1
FOLD
MASS 2 MASS
COMPLETE
TOTAL
Hexagons fragmented into basic geometry composed of abnormal triangles. Extruded to produce tube-like masses. Through skewing and distortion, the extruded tubes become more crystalline in Preliminary study involving abstraction of hexagonal shape. Intersecting of tubes create variety of spatial moments.
pattern translated into robot with kinetic properties. The robot uses Outerpiston-like edge of hexagon shaperevolving transforms into wrapping arms around theelement central servo-core that encases tubes while allowing an interesting array of intermeembedded within the base to push and pull the exterior skin diate spaces. The thin lighter skin wraps around the masses proThis creates variation in intermediate spaces bevidingelements. variation in interior/exterior qualities. Intermediate spaces are filtered throughout building in section, with variousdifferent thicknessesspatial readings tween skin and structure providing in skin that almost hug tightly or loosely around the structure. dependent on user’s interaction. Tattooing would occur on the edges of this outer envelope, further TOP and highlighting corners to create a more dynamic efdistorting Original pattern abstraction fect. ON PAGE axon, plan, section, exploded axon of robot structure
MECHANICS MECHANICS DIAGRAM DIAGRAM
PLAN SECTION
SECTION PLAN
AXON VIEW
AXONOMETRIC PERSPECTIVE
EXPLODED
EXPLODED AXON STRUCTURAL AXON
RED 40 LOCATION: Port Tonic, France TYPE: Mixed-Use [Art Gallery +Residential] DATE: Summer 2013_ Studio Ticino ADVISOR: Tom Di Santo Studio Space and Gallery, Rooftop
ADDITIONAL INFO The proposed remodel brings together the community of Port Tonic to exploit a blending between the art and the artist along the Mediterranean Sea. The natural hierarchy of the Port Tonic hillside lends itself to a variety of imposed views as you progress to the central art gallery. Along the hill slope an avant-garde extrusion wraps around the existing structure. Red 40, a parasitic form that intrigues one to follow its path, navigates one throughout the spacious double floor art exhibitions. A delicate dissection of the parking structure spills one into the main entry into the art exhibition. Inspired by the work of Roy Lichtenstein, the simplicity of the color red hints at the circulation path throughout the art space with a dramatic outdoor staircase. Ascending the main exterior staircase, one wraps around a custom pixilated perforated skin showcasing an abstraction of Lichtenstein’s acclaimed work “Whaam!”. The contrast between the existing structural shell and the inorganic red extrusion create a suspenseful definition of passage in which accents of red compliment the subtle concrete. Approaching the roof of the art gallery, one is exposed to the expansive views of the Mediterranean enclosed by Port Tonic. The red steel prompts one to interact with the surroundings as it forms a canopy over the rooftop terrace. Sequestered on the hillside further down from the main central art gallery is a house designed specifically for an on-site artist. A designated studio space for the artist is located on the ground floor of the central building. Adjacent to it lies a scenic pathway along the waterfront carved through pools spilling into the main body of water beyond, thus connecting the artist from his residence to his studio workspace. Red 40’s juxtaposition of the art and artist accentuate the importance in drawing in the community from all different respects to truly live and experience the potential of Port Tonic. [Collaboration Project with Ben Pennell: Responsibilites split evenly between two]
10
Studio Space and Gallery, 2nd Floor
3 Garage and Public Park Studio Space and Gallery, Studio Basement
Studio Space and Gallery, 1st Floor
2
Living Unit
TOP Entry perspective and Plans OPPOSITE Circulation/Entry Diagram, Aerial Perspective, and Structural diagram
1
Rear Entry , First Floor
Main Entry, Second Floor
Public Path Entry, Second Floor
Studio Entry, Ground Floor
Seaside Entry, Ground Floor
1 Living Unit, East Elevation
3
1
Studio Space and Gallery, West Elevation
2
2 Studio Space and Gallery, East Elevation
Garage and Public Park, East Elevation
3
Remodeled Concrete
Building Axonometric
Extruded Steel Structure
Garage and Public Park, West Elevation
South Elevation
North Elevation
RE[CONNECTING] RED HOOK LOCATION: Red Hook, New York TYPE: Mixed-Use [Wood Manufacturing + Digital Studios + Residential] DATE: Spring 2013_ Cal Poly ADVISOR: Margarida Yin ADDITIONAL INFO Red Hook is a unique melting pot of a city: it’s got the industrial aspects of a lively port that founded its beginning, as it grew in population, large residential commnities grew to accomodate the growth. After recovering itself from being the high crime area it has been, Red Hook is moving to a more integrated community that exhibits an abundance of radiant community parks and communal spaces. Taking Red Hook’s unique history and emergance into accound, RE[Connecting]embraces Red Hook’s connection to the Industrial, Residential and Recreational aspects and reintroduces those in a more unified cohesive project that can educate the community in regards to wood technology. This project is the new founded heart of Red Hook, the center piece that ties all of Red Hook’s attributes into one showcase of Red Hook’s unique historical importance. Re[Connecting] exposes wood construction in two lights: heavy timber and practical cross-laminated timber. Heavy timber beams are embraced for it’s expressive structure in the more public program spaces, whereby the concealed CLT is the foundational structural centerpiece of the midrise residential tower behind. Together, Re[Connecting] embraces the evolution of wood technology as it showcases it’s diversity and flexibity in structure. ON PAGE Street view perspective, exploded axonometric
12
Skin
Wood louver system for passive cooling and shading for apartment units coupled with solar collecting facade for tertiary structure
Residential Program Four different typologies of housing units: 100 studios, 35 singles, 25 doubles , and 15 triple units
Commercial Program
Wood Manufacturing, Digital Wood Technology, Bike Shop
Vertical Circulation Towers Elevators and stair cores
Structure and Floor Plates Cross-laminated Timber
ON PAGE Programmatic diagram, section perspective
Program Organization
Plans and Program Organization
Collection of diverse programs to encourage and educate the community in wood technology
D5 D6 D7
STUDIO UNIT
D8
D6
D5
D7 D8
D5
1 BD UNIT
D5
D7
D6 D8
Residential Unit Organization
2 BD UNIT D5
Residential units organized with larger households at base of tower for easy access, gradually becoming smaller in higher ‘ elevation of tower. Studio units pulled apart from main residential tower due to shorter lease time
D5
D5
D7
D6 D8
3 BD UNIT B4
B4
B4
B5
B4
D4 A4
D3
A4
A4 A4
A6
A4
A4
A5
A7
FLOOR 2
B2
Vertical Circulation Locations Two circulation towers on the south and north facade of main residential tower. Studio section has separate circulation but may be reached from main residential tower
B3
B3
B3
B3
B1
D1
C3 D2
A3
C2
C5 C4 C1
A2 A1
Wood Production
A1 Main Production Area A2 Material Storage Warehouse A3 Mechanical A4 Office A5 Restroom A6 Research Workshop A7 Showroom
Digital Workshop
B1 Main Production Area B2 Material Storage B3 Workshop/Classroom B4 Office B5 Showroom/ Exhibition Space
Bike Shop
C1 Main Bike Storage C2 Workshop/ Maintenance Area C3 Shop Storage C4 Restrooms C5 Bike Parking
FLOOR 1
Residence
D1 Lobby D2 Mail D3 Laundry D4 Recreation D5 Bedrooms D6 Bathrooms D7 Living Space D8 Balcony
STAIRWELLS
FRAGMENT LOCATION: Bayview San Francisco, California TYPE: Library DATE: Fall 2013_ Cal Poly ADVISOR: Tom Fowler ADDITIONAL INFO Fragment Library in Bayview, San Francisco will provide the community with a library that fulfills the needs of a new coming age and utilizes this differentiation between old knowledge of physical books and new knowledge of growing technology as an expression of the library itself. Through a series of fragmented programmatic spaces, a more lively and active expression of digital workspace is revealed on the street side in contrast to the quieter more reserved book space section facing north. In between the two contrasting spaces is an outdoor park-like area addressing the growing use of libraries as more community gathering places. Glass catwalks pierce both sections of old and new library use to allow a connection and provide library users with expansive views of Bayview as they circulate around the library. The library enhances the Bayview community by addressing the growing need of technology but still retaining the importance of books and therefore utilizing this contrast as a form of expression for the library. In regards to cladding, this llibrary takes into account Bayview’s historical importance on the Bayview Port in which shipping container’s modulation were utilized to provide the differentiation throughout the series of programmatice spaces that capture the feeling of fragmenting technological growth.
14
CIRCULATION PATHS
ELEVATOR
Program [book stacks on north side, more active program on south] Book Stacks Reading Rooms Cafe DIgital Rooms Seminar/Meeting Rooms
Skin [structural corrugated metal]
Kawneer 1600 Wall System window framing
Primary Structure [truss support for circulation catwalks, Wide Flange post and Beam support for program rooms]
Structure [Wide flange beams with Truss support for circulation catwalks. Secondary Kawneer 1600 wall system along windows]
Circulation [glass catwalks connecting both sections of program]
Skin [corrugated metal providing moment support]
C’EST BONE LOCATION: San Luis Obispo, California TYPE: Digital Fabrication Installation DATE: Spring 2013_ Cal Poly ADVISOR: Mark Cabrinha / Jeff Ponitz ADDITIONAL INFO Digital fabrication as a means of efficient and flexible production was explored through C’Est Bone. Taking inspiration from the bones of sea birds, we discovered the efficiency of light-weight thin bones but of strong density that enables them to fly. We utilized the thin design of bird bones to recreate this flexible module that can be manipulated to different orientations. Using rhino with grasshopper, we were able to explore the geometry of the module we desired. After much protoyping, we settled on a module with the minimum thickness around the centerpoint of the bone, thus maximizing use of hydrocal material. The connection joints on both ends allow the flexibility to orient the bones in multiple arrangements while preventing slipping as each face “locks” with eachother. When locked together, the friction fit and shelfing is strong enough to hold a brick ontop a set of four bones. The fabrication process of C’Est Bone required CNCing a space-positive of the module and creating a silicone sleeve over to create a space-negative void. This sleeve allowed us to create multiple bones from just a single mold. C’Est Bone reinvents the way we can utilize digital fabrication as we explore surfaces in a three dimensional perspective.
16
[Collaboration Project with Trevor Larsen, Layan Barakat, and Stephanie Thompson: Responsibilites split evenly between four]
MODULE DETAILS LENGTH elongating the bone while maintaining the volume for high strength to weight ratio
CONNECTION using the idea of 3dimensional tessellation to connect and lock the modules into each other
THICKNESS using minimum material to acheive maximum structural capacity
CONNECTIONS
MATERIAL EFFICIENCY PREVIOUS ITERATION
50lb
=
50lb
=
IMPROVED ITERATION
50lb
=
50lb
=
1.7 SETS OF 6 MODULES
DERIVED FORM
4.25 SETS OF 4 MODULES 120% EFFICIENCY
FORMWORK PROCESS
FIBER REINFORCED HYDROCALJACKET
SILICONE MOLD
HYDROCAL POSITIVE SILICONE MOLD FIBER REINFORCED HYDROCALJACKET
PROCESS
+49.00M
屋頂層
ROOF LEVEL
3
+38.70M
4
機電機房層 MEP LEVEL
5
+33.40M
六樓
6
SIXTH LEVEL
+27.10M
6
五樓
10
FIFTH LEVEL
+21.80M
四樓
7
FOURTH LEVEL
+17.70M
三樓
8
THIRD LEVEL
11
+ 7.50M
二樓
1
2
9
12
高潮
一樓
13
5
HIGH TIDE
SECOND LEVEL
+- 0.00M FIRST LEVEL
- 4.50M
停車層
低潮
PARKING LEVEL
4 米退縮線 基地線
LOW TIDE
4M SETBACK
SITE LINE
14 1.
浮動碼頭
6.
FLOATING DOCK
2.
岸肩作業區 DOCKSIDE OPERATIONS
3.
冷卻塔 (戶外空氣) 船舶交通管理中心
9.
機電機房 MEP
入境大廳 ARRIVAL LOBBY
商業空間
13.
港務空間
停車層 PARKING LEVEL
14.
PORT WORKSPACE
10.
出境大廳 DEPARTURE LOBBY
12.
COMMERCIAL SPACE
VTC
5.
11.
餐館 RESTAURANT
8.
COOLING TOWERS (OUTDOOR AIR)
4.
行政 ADMINISTRATION
7.
隔牆 DIAPHRAM WALL
屋頂步道 ROOF PROMENADE
TOM WISCOMBE ARCHITECTURE LOCATION: Los Angeles, California TYPE: Kinmen Port Terminal_ Phase I & II DATE: Winter/Spring/Summer 2014_Internship ADVISOR: Tom Wiscombe ADDITIONAL INFO Over the course of four months, I worked at Tom Wiscombe Architecture where we competed in the Kinmen Port Terminal Competition in Taiwan. It was a two-phase competition and my responsibilities were to construct schematic design drawings (Phase I) and design development drawings (Phase II). The terminal is located on the South East coast of Kinmen, a small island with a unique history and currently approaching a new era of identitiy. The following sections and plans were submitted for the final competition phase in which we placed 2nd. Similar to an airport terminal, circulation was the main determining factor of this project. Five jacks of different orientation and scale are located throughout a raised street platform where most circulation happens. The jacks squish and stretch to manipulate the box, thus creating captivating interstitial spaces within the building envelope. Enclosed within each jack are different programs such as retail and administration. Elevator and stair cores are also located within the jacks, allowing one to gain interesting experiental views of the harbor. [Collaboration Project with Jo Zho: Drawing responsibilites split evenly between two]
+59.00m
屋頂層 ROOF LEVEL +49.00m
屋頂層 ROOF LEVEL
2 2
+38.70m
機電機房層 MEP LEVEL +33.40m
3 1
13
2
3
1
3
10 9
4
六樓 SIXTH LEVEL
3
+27.10m
3
+21.80m
11
+17.70m
五樓 FIFTH LEVEL 四樓 FOURTH LEVEL 三樓 THIRD LEVEL
4
6
4
4
14
6
+ 7.50m
二樓 SECOND LEVEL
5
7
12
2
8
2
15
7 8
+- 0.00m
一樓 FIRST LEVEL - 4.50m
停車層 PARKING LEVEL
二期擴建 PHASE 2 EXPANSION
18
TOP Transverse section BOTTOM Longitudinal section
S1
S2
S2
S4
S3
19
15
12
1 6
5
3
9
28
23
31 26
到達大廳
14
30
27
21
165 SM.
29
33
ARRIVALS LOBBY
10
162 SM.
22
182 SM.
13
4 2
18 20
7
2443 SM.
32
11
8
24 25
1.
溫度檢測
2.
設備機房
4.
7.
港務空間
8.
出入境檢驗檢疫
落地簽證
BUS/COACH SECONDARY PICKUP
小三通入境區
商店/餐廳
CROSS-STRAIT ARRIVAL
PASSPORT CLEARANCE AND QUENES
PORT ADMIN. OFFICE
921 SM.
267 SM.
559 SM.
旅客咨詢
17.
金融/租車
19.
港口作業區
TOURIST INFORMATION
22.
DOCK OPERATION
20.
行李提取
25.
公車專用道
193 SM.
18.
船務辦公室
貨物處理空間
BAGGAGE HANDLING
CUSTOMS
691 SM.
346SM.
私家車/的士通道 PRIVATE CAR/TAXI LANE
27.
船務公司作業區 FERRY COMPANY WORK SPACE
港務
PARKING
PORT WORK
港務台
入境大廳（二期） 32.
餐廳（二期）
31.
ADMIN. COUNTER
30.
商業空間（二期） COMMERICIAL(PHASE II) 1367 SM.
ARRIVAL LOBBY(PHASE II)
RESTAURANT(PHASE II)
商業空間（二期） 33.
急救站/電話室
COMMERICIAL(PHASE II)
FIRST-AID/TEL.
300 SM.
1145 SM.
24.
海關
停車
DEPARTURE
29.
CARGO HOLDING SPACE
DELERY DOCK
1061 SM.
21.
行李處理
PORT WORKSPACE
26.
運送
出發
ARRIVAL
28.
BUS LANE
C.I.Q.
23.
BAGGAGE CLAIM AREA
CASH/RENTAL
368 SM.
15.
出入境檢驗檢疫 166 SM.
海關查驗 CUSTOMS INSPECTION
459 SM.
船務辦公室
16.
1138 SM.
14.
STORE/RESTURANT
12.
證照查驗
行李提取 BAGGAGE CLAIM AREA
157 SM.
293 SM.
9.
13.
DUTY FREE
CIQ.
59 SM.
6.
公車/遊覽車 次級站點
免稅商店
11.
644 SM.
VISA UPON ARRIVAL
812 SM.
10.
LUGGAGE HANDLING
157 SM.
5.
MEP
3.
免稅商店 DUTY FREE
TEMPERATURE CHECK
到達
530 SM.
369 SM.
4
5
485 SM.
1159 SM.
1
1123 SM.
1584 SM.
1
882 SM.
1
1
649 SM.
586 SM.
1. 行政辦公空間 ADMINISTRATIVE SPACE
4. 金門歷史劇場
3
GREEN ROOF PROMENADE
584 SM.
2. 船舶交通管理中心 /設備空間 VTC/ MEP
5. 商業 COMMERCIAL 1159 SM.
649 SM.
3. 設備空間 MEP 649 SM.
2
6. 餐廳 RESTAURANT 774 SM.
TOP Ground floor plan BOTTOM Fourth floor plan with details of upper floors