dsh DANIEL SANCHEZ HOYOS
ARCHITECTURE PORTFOLIO SAVANNAH COLLEGE OF ART AND DESIGN
dsh DANIEL SANCHEZ HOYOS
Architecture Studio II Inspiration collage. The collage dealt with the idea of the old versus the new, related to the program of the project, a sustainable car dealership in a historic city.
4
DESIGN STATEMENT
During my childhood I created space out of tables and blankets, which were dusty and uncomfortable. The inspiration came from our friends, movies, and experiences. The intention, however, went beyond the fabrics we used for walls and tables to support them. The space created existed primarily in our minds, and it was through our imagination that we could spend hours pretending we were inside a world of our own. These hobbies slowly faded as I became older, but the creativity remained. I realized it was easy for me to visualize space in my mind, even spaces that I had never experienced. A growing interest for lighting was then put to practice for several years with participation and involvement in theatrical performances. From these activities I discovered that my interest was not only the space the stage created, the lighting, or the sound involved. It was the combination of all that created a unique experience for the audience. Architecture culminates all of these interest into one. It allows me to engage in spatial design, lighting and acoustics. Throughout my studies at SCAD I have learned to organize and develop a coherent design process, from concept and meaning to final product. This portfolio shows a selection of projects, from initial ideas to final product. Evidence of process and development of ideas is perhaps the most meaningful aspect this portfolio conveys. Not only from project to project, but of myself as a designer.
5
6
CONTENTS DESIGN STATEMENT 02 HUNTER’S POINT SOUTH REDEVELOPMENT
06
ASHEVILLE CENTER FOR THE ARTS
18
SUSTAINABLE CAR DEALERSHIP
34
ARTIST RESIDENCE
50
WOVA INTERNATIONAL STUDENT HOUSING
58
FALL 2011
WINTER 2011-SPRING 2011
SPRING 2010
SUMMER 2009
FALL 2010
LACOSTE VENUE FOR THE VISUAL ARTS
64
WINTER 2010, LACOSTE, FRANCE
ASHEVILLE LOCAL WINERY & RESTAURANT
74
GENESIS BUILDING
86
DWELL PLAYHAUS COMPETITION
90
FALL 2010
WINTER 2009
FALL 2011
CONCLUSION 92
7
8
HUNTER’S POINT SOUTH REVITALIZATION DANIEL SANCHEZ & ANDREA Y. LUCAS
FALL 2011
9
LOCATION
NEW YORK CITY
10
This project was meant to revitalize Hunter’s Point South in the Queens borough of New York City. The existing site had poor water-edge conditions, the appearance of an industrial area, and not very pedestrian friendly. The project’s goals were to improve such conditions by introducing middle-income residences, provide parks and green spaces for people to enjoy the outdoors, as well as shops and restaurants to activate the area. The design dealt specifically with the connection between the users and the waterfront, the creation of pedestrian friendly parks and activities, in order to make of Hunter’s Point South a destination and an iconic location.
11
The creation of a landscaped area would make the space more dynamic to users, allowing spaces for retail and restaurants. It would also fragment the area into separate spaces for separate uses.
12
Initial conceptual design explored the connection between users and the waterfront. The use of various levels would allow the public to have different ways of interacting with the water, both directly and visually.
Users would have the option to experience the waterfront area from various levels. Pathways with vegetation will encourage the public to engage in outdoor activities.
13
The design of a tower element was essential in helping make Hunter’s Point South a destination. The tower would act as a marker in the landscape, announcing visitors and locals of this active area.
14
This section sketch shows how the pedestrian areas would connect without being interrupted by vehicles circulating the area. Allowing people in vehicles to see the waterfront area would promote its use.
A view from the top shows an initial plan that includes a multi-purpose field in the center, overlooked by the iconic tower. The built landscape would embrace the field, housing restaurants and shops that overlook activities in the field, or out to the water front area. The edge of the waterfront would include vegetation and monumental concrete blocks that allow the connection between water and user.
15
PROPOSED DESIGN
5TH ST.
2ND ST.
CE
NT
ER
VERNON BLVD.
BL VD .
POINTS OF INTEREST
50 ST AVE.
51ST AVE.
SCHOOL
BORDEN AVE.
F
The following diagrams show programmatic elements of the proposed design; the multipurpose field for performances or games, the ferry terminal as an alternative connection with Manhattan, a school and the areas for restaurants and shops. The entire area is pedestrian friendly, accessible to users within about 5 minutes from any location inside. The ferry, subway and vehicular transportation will connect the area with the rest of the New York City.
16
LONG ISLAND CITY
3RD ST.
TERMINI
T GREEN BELT
FERRY TERMINAL
MTA VERNON
JACKSON M BLVD/ AVE
54 TH AVE.
WATERFRONT CONNECTION
MULTIPURPOSE FIELD RETAIL/ RESTAURANTS
POINTS OF INTEREST
TOWER/ PERFORMANCE STAGE
QUEENS MIDTOWN TUNNEL
5TH ST.
50ST AVE.
MTA VERNON
JACKSON M BLVD/ AVE
TO JACKSON AVE.
51ST AVE.
51ST AVE.
BORDEN AVE.
BORDEN AVE.
LONG ISLAND CITY
3RD ST.
QUEENS MIDTOWN TUNNEL
3RD ST.
T GREEN BELT
TERMINUS
F
2ND ST.
5TH ST.
SCHOOL
CE NT E
VERNON BLVD.
BL VD . ER NT 2ND ST.
CE
50 ST AVE.
FERRY TERMINAL
RB LV D.
VEHICULAR CIRCULATION
5 MIN. WALKING DISTANCE
NHAT
TO MA
TAN
QUEENS MIDTOWN TUNNEL
54 TH AVE.
54 TH AVE.
UNDERGROUND PARKING/SERVICE
WATERFRONT CONNECTION TERMINUS
PARKING UNDER FIELD
MULTIPURPOSE FIELD RETAIL/ RESTAURANTS
TOWER/ PERFORMANCE STAGE
5 MINUTE WALKING DISTANCE
VEHICULAR ACCESS
17
View of the waterfront area. Users can engage in multiple activities such as shopping or dining, walking,and enjoying a view of Manhattan. The steps around the water edge are meant to improve the connection between the user and the water.
18
19
20
ASHEVILLE CENTER FOR THE ARTS WINTER-SPRING 2011
21
ASHE VILLE CENTER FOR THE ARTS
ACA
THE RIVER ARTS DISTRICT DESTINATION
F RE
H
R OAD R I V E BR
A
H
RIVE TE D INU 4M ILE 1M
DOWNTOWN ASHEVILLE
SITE
6 I-2
NC
S ADIU GR IN LK
10 M IN. W
F RE
R OAD R I V E BR
6
I-2
NC
I-240
10 M IN .W A
RIVER ARTS DISTRICT
I-240
S ADIU GR IN LK IV E DR NUT 4 MI E 1 MIL
E
DOWNTOWN ASHEVILLE
4000 ft 800 m
S WA
NN
OA RIVER AN
SITE
HELPING ARTISTS IN NEED. The main goal for this project is to develop an affordable solution for artists to live and work, as well as a public link to downtown Asheville. By creating a place for the public to engage in numerous activities, artists will be able to benefit economically and from diverse interactions.
RIVER ARTS DISTRICT
4000 ft 800 m
NN S WA
22
OA RIVER AN
EXISTING PROPERTY
PROPOSED MASTER PLAN BUS STOP PROPOSED PEDESTRIAN & BIKE PATH
EXISTING SILOS & CONCRETE PAD
EXISTING SITE FEATURES
ACCESS & CIRCULATION
MASTER PLAN DEVELOPMENT
RADA. The site is located in the River Arts District, which is currently comprised of more than 150 artists creating highquality art in various mediums. Many artist studios are open up to seven days a week, surrounded by an area intermingled with eateries, galleries, shows and more.
23
EYE TO THE FUTURE. Preparing for the future development of Asheville, the design for the new ACA follows the residential and mixed-use pattern of the master plan. The buildings are then split and oriented to maximize natural light, views, and to create different interaction spaces.
EVERYBODY WINS. The new ACA is designed to be able to handle activities all year-round. Artists will be able to live affordably and work on their arts or in positions around the building. These include the coffee shop, gallery shop, offices and classrooms. The public will get a place to interact with the artists, purchase some art, or bring their children to an art summer camp.
DESIGN DRIVERS SERVICE & EGRESS CORES
ARTIST RESIDENCES LIVING & KITCHEN
ARTIST STUDIOS OFFICES & CLASSROOMS AMPHITHEATRE
SPLIT FOR LIGHT.
3
6
Both studios and galleries are split to allow light, ventilation and to create a shared courtyard in between. A glass and steel prism will diffuse direct light into the studios. Skylights on the courtyard will diffuse this light to the galleries below.
24
GALLERIES
PROGRAM LAYOUT
SEMI-PRIVATE ARTIST COURTYARD
SERVICE ENTRY LOCATED ON HAYWOOD ST.
ARTIST COMMUNITY LIVING & KITCHEN
1
AMPHITHEATER ALLOWS COMMUNITY EVENTS, FROM MOVIES TO CONCERTS
2 MAIN RESIDENT ENTRY ON ROBERTS ST.
LIGHT PRISM ON STUDIOS ALLOWS DIFFUSED NATURAL LIGHT IN
3 OBSERVATION TOWERS ALLOW A PRIVATE AREA FOR ARTISTS
COURTYARD ALLOWS ARTIST/ PUBLIC INTERACTION PUBLIC BIKE RACKS AND SHOWERS ENCOURAGE BIKE USE
4
5
PUBLIC ENTRY NEAR SHARED PARKING AREA
SILO COURTYARD OVERLOOKS THE RIVER ARTS DISTRICT
25
ELEVATIONS
SOUTH ELEVATION
26
EAST ELEVATION
NORTH ELEVATION
WEST ELEVATION
27
8 7 9
A
GALLERY SECTION A
B
28
SECTION KEY
DURING SUMMER, EXCESSIVE HEAT IS RELEASED THROUGH OPERABLE WINDOWS ON THE LIGHT PRISM. OUTDOOR WOOD DECK ON STUDIO LEVEL IS EXPOSED TO SUN, SNOW AND RAIN.
THE PRISM, MADE OF GLASS AND A STEEL FRAME, WILL DIFFUSE DIRECT SUNLIGHT TO THE STUDIOS THROUGH FINS ON ITS INTERIOR.
SOLAR EVACUATED TUBES ON SOUTH-FACING ROOF WILL CONTRIBUTE TO THE RADIANT HEATING SYSTEM ON THE STUDIOS AND GALLERIES DURING WINTER TIME.
AIR SPACE BETWEEN DECK AND CONCRETE WILL ALLOW WATER TO DRAIN.
HVAC SYSTEM WILL COOL AND DEHUMIDIFY THE AIR IN THE GALLERIES. LIGHT SHELF HELPS BRING LIGHT TO DISPLAY WALLS.
GALLERY STRUCTURE WILL CONSIST OF STEEL COLUMNS AND OPEN WEB STEEL JOISTS, FOLLOWED BY CONCRETE POURED ON METAL DECKING.
SUMMER SUN 80째 SPRING SUN 55째
STUDIO DECK DETAIL
7
RESIDENCE WALL DETAIL
8
RESIDENCE FOUNDATION DETAIL
9
METAL ROOF FOLDS TO THE EXTERIOR WALL, FOLLOWED BY INSULATION, MOISTURE BARRIER AND INTERIOR WOOD WALL FINISH.
HEAVY TIMBER STRUCTURE CONTINUES TO THE ROOF.
WINTER SUN 30째
GLASS IS SUPPORTED BY LATERALLY BRACED WIDE FLANGE BEAMS THAT GO FROM THE FLOOR TO THE CEILING.
HEAVY TIMBER COLUMN CONNECTS TO FOUNDATION THROUGH METAL PLATE BOLTED TO FOUNDATION WIDE FLANGE BEAM. NOTE: DRAWING NOT TO SCALE
SKYLIGHTS ON COURTYARD BRING LIGHT TO GALLERIES BELOW.
6 GALLERY SECTION B
FOUNDATION WALL WITH FOOTINGS FOR EACH COLUMN.
SOUTH FACING DISPLAY WALL WILL DUAL AS THERMAL MASS. OPERABLE WINDOW ON GLASS ALLOWS VENTILATION OF SUN SPACE IN THE SUMMER TIME.
WALL DETAILS
29
MASTER PLAN BUILDING
SITE PLAN EXISTING
EXISTING
TO DOWNTOWN ASHEVILLE
ROBERTS STREET BIKE PATH
G RADIUS ALKIN TE W INU 1M
MASTER PLAN BUILDING
S 62.91° W 192.32'
HAYWOOD STREET
R 0’ O 25
E 1° .9 7' 62 .3 N 134
N 27.09° W 398.20'
ARTIST/ PUBLIC COURTAYRD
ARTIST COURTYARD
PUBLIC PLAZA
SHARED MASTERPLAN PARKING
LOADING AREA SILO COURTYARD
N 23.00° W 241.95'
AMPHITHEATRE
PROPERTY LINE
ACTIVE RAILROAD
100 ft 20 m
PLANMASTER BUILDINGS PROPOSED DESIGN WITHMASTER ADJACENT PLAN DEVELOPMENT
30
MASTER PLAN BUILDING
MASTER PLAN BUILDING
N 67.00° E 72.28'
CAFE OUTSIDE SEATING S 24.65° E 240.00'
31
FLOOR PLANS
PUBLIC & ARTIST COURTYARD
2.0 ARTIST STUDIOS
AMPHITHEATRE
ARTIST
S
STUDIO
ARTIST
S
STUDIO
GATHERING SPACE
STAGE
OBSERVATION TOWER
OBSERVATION TOWER
RAILROAD
STORAGE
CATERING
MECH.
MECH.
GALLERY SHOP STORAGE LOADING AREA LOBBY/ SCULPTURE AREA VISITING ARTIST EXHIBIT
MAIN GALLERY
AMPHITHEATRE
1.0 GALLERIES
LECTURE COFFEE SHOP OUTSIDE SEATING
STAGE
32
RAILROAD
EXISTING SILOS
S
OM BATHRO
LOFTS
TRASH MECH.
READING AREA
4.0 RESIDENTIAL
STRG.
E
TERRAC
DUAL INDIVI
TERRACE
OMS
RO
G READIN AREA
ROBERTS ST.
4
SIDEWALK
TRASH E
LOBBY
AG STOR
MECH.
DRY LAUN
3.0 STREET LEVEL
N
LIVING
TV
DINING
KITCHE
PC LAB
SHOWERS CONF. ROOM
PUBLIC BIKE RACKS
CLASSROOM
PUBLIC WELCOME AREA SUPPORT OFFICES
OUTDOOR TERRACE
33
COMMUNITY KITCHEN & LIVING ROOM FOR ARTISTS
34
1
AMPHITHEATER FOR PUBLIC EVENTS & ACTIVITIES
2
35
36
SUSTAINABLE CAR DEALERSHIP SPRING 2010
37
LOCATION
Site in Savannah, GA, USA.
38
SITE ANALYSIS
39
INSPIRATION COLLAGE
This collage is based on the idea of contrasting features. With the site of this project located within Historic Savannah, it represents the combination of an innovative project program within a historic context. The collage was done on a 20� x 20� square canvas, with a 14� diameter opening in the middle. The circular shapes takes up almost the entire canvas, contrasting its square frame and coming out towards the viewer. The remaining of the square canvas contains a relief of a grid pattern of the city of Savannah. The grid is oriented towards the east to simulate the actual tilting of the Savannah plan. The circular spiral that rises from the bottom of the collage represents the new ideas emerging from the past and how they are still controlled and tied to old habits. The circular pattern below the level of the canvas represents a new and contrasting grid, while the pattern above it represents innovative ideas that are leading the future, and sprout like seeds. 40
41
CONCEPTUAL DEVELOPMENT
These conceptual models explore the overall form of the building, focusing on a low-rise, horizontal design. The interaction between the spaces, as well as how these spaces relate to one another, were also the main focus for these models.
42
43
BUILDING ELEVATIONS
SOUTH ELEVATION
EAST ELEVATION
44
NORTH ELEVATION
WEST ELEVATION
45
FLOOR PLANS
46
47
BUILDING SECTIONS
SECTION A
SECTION B
48
49
50
51
52
ARTIST RESIDENCE SUMMER 2009
53
INSPIRATION CUBES
This project consisted on the development of a town house for a young artist. The lot was located in Charleston, South Carolina, to be built between existing historical townhouses. These cubes were meant to serve as an inspiration for the design of the townhouse. Light, depth and layers were the primary focus for these conceptual models, as well as the final design.
54
Conceptual light studies. Cardboard, wood and velum.
55
LIGHT SCREENS
Light screen studies demonstrating how different objects at different depths can be hidden or shown depending on lighting conditions and the use of a translucent screen.
56
57
Final model of the townhouse applying the light screen concept. Movable light screens at different depths reveal or hide subjects or objects, depending on how lighting conditions change. People and objects behind the screens appear as shadows, altering the entire perception of space.
58
59
60
WOVA INTERNATIONAL STUDENT HOUSING FALL 2009
61
CONCEPTUAL MODELS
These conceptual models express the weaving patterns that followed the concept of interwoven relationships. They were the basis for the stairs an the skin of the building. Made from cardboard, they allowed the curved and twisting of the shapes.
62
DESIGN DEVELOPMENT WOVA is the new residence hall for the students of the Savannah College of Art and Design. It will replace the existing building of Oglethorpe House located at 201 W. Oglethorpe Avenue in Savannah, Georgia. The design explores the concept of community amongst students, through shared community areas and linked rooms. It will feature duplex, as well as single apartments, that can house between two and four students. It will also include a roof garden and sustainable features that will redesign the way students live and interact. Above: an inspiration collage, previous to the design of the building. It is based on different objects and textures. Below: some initial sketches for the stairs and skin.
63
64
BUILDING ELEVATIONS
65
66
LACOSTE VENUE FOR THE VISUAL ARTS WINTER 2010
67
Views from the site of the quarry, in Lacoste, France.
68
DESIGN DEVELOPMENT
Initial sketches showing the development of the design for the building.
69
BUILDING SECTIONS
70
71
FLOOR PLANS
FIRST FLOOR PLAN
72
SECOND FLOOR PLAN SECOND FLOOR PLAN
73
Sketch showing the view as one approaches the building from the main entrance.
74
View of the lobby stair that leads to the second floor.
View from the second floor, showing one of the skylights, and the acoustical panels of the theatre in the back.
View of the theatre seating area from the stage. Acoustical panels surround the area to improve the acoustical experience.
75
76
ASHEVILLE LOCAL WINERY & RESTAURANT FALL 2010
77
PROJECT STATEMENT
What was interesting about this project was the fact that we were designing for a radical program. Vertical farming exists today as a model for the future of food production. However, vertical farming for grape vines is perhaps something that has not even been considered. The approach I took on the project was not focused on the vast production of grapes or wine, but to create a model of a building that was unique and shared with the community the potential of vertical farming within an urban context. The location of the site in Asheville, North Carolina, also contributed to this idea. The city is highly active, with a great focus on art, the community and the natural environment. From all these factors, I was interested on the idea of creating something useful for the citizens of Asheville. It would not only be a winery that benefited from selling wines. It would become a space that contributes to the active lifestyle of the residents and visitors, engaging them with a functional model of a local winery.
78
79
CONCEPTUAL DESIGN
80
DEVELOPMENT OF FORM The inspiration for these concept models came from various elements related to vineyards, grapes, light, and even the earth. Through these models I was exploring not only the different methods of growing the vines, but the interaction of the public with the building, the relationship of the building with the site, and how the distribution of light affected the architecture. I chose the tectonic plate concept to further develop my project. The idea behind this concept was the urban fabric as tectonic plates, which push against each other to generate a vertical form. This form would represent the vertical farming within an urban context.
81
EVENTS WILL BENEFIT FROM THE PRIVATE AREA AND GREAT CITY VIEWS.
GRAPE VINES WILL BENEFIT FROM THE NATURAL SUNLIGHT ON THE SOUTH-FACING SLOPE.
PUBLIC GATHERING AREA ALLOWS INTERACTION WITH BAR AND RESTAURANT.
OPEN ATRIUM ALLOWS LEVEL INTERACTION.
RESTAURANT ROOF SLOPES DOWN AND ALLOWS USERS TO WALK UP OR SIT ON IT.
EXISTING MEMORIAL PARK IS MAINTAINED. TWO LEVELS OF UNDERGROUND PARKING.
82
EAST ELEVATION
NORTH ELEVATION
83
BUILDING SECTION
EVENTS PRODUCTION OFFICE BARRELS BAR RESTAURANT
84
WALL SECTIONS CASTELLATED BEAM
COMPOSITE METAL DECKING WITH CONCRETE FILL
PRECAST CONCRETE CLADDING
OPEN WEB STEEL JOIST
LATERAL BRACING FOR OPEN WEB STEEL JOIST
SUSPENDED CEILING
DOUBLE PANE GLASS
FINISHED FLOOR
COMPOSITE METAL DECKING WITH CONCRETE FILL STEEL COLUMN
PRECAST CONCRETE CLADDING
PATTON AVE.
METAL PLATE
STEEL COLUMN
LEXINGTON AVE.
B
COMPOSITE METAL DECKING WITH CONCRETE FILL
CONCRETE TOPPING HOLLOW CORE CONCRETE SLAB
BEARING PAD
PRECAST CONCRETE WALL
CONCRETE SLAB LAYER OF SAND RIGID INSULATION MOISTURE BARRIER LAYER OF GRAVEL
A
B
FOUNDATION
A PRECAST CONCRETE WALL
LAYER OF SAND
RIGID BOARD INSULATION
RIGID INSULATION
MOISTURE BARRIER
MOISTURE BARRIER
GRAVEL FOR DRAINAGE
LAYER OF GRAVEL
DRAINAGE PIPE
85
View down Lexington, looking at the outside seating of the restaurant and the bar above.
86
The facade facing Patton Avenue, looking at the exterior courtyard.
87
88
GENESIS BUILDING WINTER 2009
89
90
91
DWELL PLAYHAUS COMPETITION
youth.
Ă la mode
play, hide. watch, be seen. These renderings were developed as part of the Dwell & JamesHardie Playhaus competition in 2011. The goal was to develop a modern playhouse for children that could go on a backyard, and showcase some of the JamesHardie products.
92
dwell & james hardie design competition. design and renderings by daniel sanchez hoyos. 2011
youth
theatre.
this is not your neighbor’s playhouse. stylish simplicity. inspired on tree climbing, this play-fortress will give you a place to hide and observe. others will not resist to look.
dwell & james hardie design competition. design and renderings by daniel sanchez hoyos. 2011
93
94
CONCLUSION
The significance of a portfolio is that it shows the development of individual projects, as well as the overall growth of the designer. In this portfolio, projects reveal a growing concern for form that struggles to achieve a balance with function. As the projects develop, and go from one to the next, what were once challenges to the design, become a tool to develop and inform the design. One way I see architecture is as a management of factors. These factors must be prioritized and come from everything related to the building, such as users, neighboring buildings and materials. As architects, we have to be able to handle dozens of factors, arrange them, and give them a certain importance. A successful design comes from being able to read these factors, balance them, and design accordingly. I understand architecture as a direct relationship with its users. Most of us take buildings for granted, we know they are there and that they have the function of providing a space for various uses. I want the architecture to have a closer relationship with the user. Creating stairs that invited people to sit on, or a green roof that allows others to climb on, erasing the border between a roof and a floor, are all ways of making the architecture more tangible to the user. Architecture then becomes a unique experience. Developing integrated building design is the challenge I will take from this point forward. The human population is growing, and it demands building techniques that reduce the stress on our energy sources. And it is not only about building on new pieces of land, but about reusing and adapting what we already have. These environmentally conscious ideas are starting to appeal to the general public, and it is predicted to increase as we experience the fragility of out planet. Building sustainably, as well as meeting the functional and aesthetic requirements that the clients want, is the ultimate architecture challenge.
95