DSH Design Architecture Portfolio 2012

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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.

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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.

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CONTENTS DESIGN STATEMENT 02 HUNTER’S POINT SOUTH REDEVELOPMENT

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ASHEVILLE CENTER FOR THE ARTS

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SUSTAINABLE CAR DEALERSHIP

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ARTIST RESIDENCE

50

WOVA INTERNATIONAL STUDENT HOUSING

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FALL 2011

WINTER 2011-SPRING 2011

SPRING 2010

SUMMER 2009

FALL 2010

LACOSTE VENUE FOR THE VISUAL ARTS

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WINTER 2010, LACOSTE, FRANCE

ASHEVILLE LOCAL WINERY & RESTAURANT

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GENESIS BUILDING

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DWELL PLAYHAUS COMPETITION

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FALL 2010

WINTER 2009

FALL 2011

CONCLUSION 92

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HUNTER’S POINT SOUTH REVITALIZATION DANIEL SANCHEZ & ANDREA Y. LUCAS

FALL 2011

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LOCATION

NEW YORK CITY

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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.


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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.

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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.

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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.

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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.

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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.

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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

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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.

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ASHEVILLE CENTER FOR THE ARTS WINTER-SPRING 2011

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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

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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.

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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.

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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.

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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

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PUBLIC ENTRY NEAR SHARED PARKING AREA

SILO COURTYARD OVERLOOKS THE RIVER ARTS DISTRICT

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ELEVATIONS

SOUTH ELEVATION

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EAST ELEVATION


NORTH ELEVATION

WEST ELEVATION

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8 7 9

A

GALLERY SECTION A

B

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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

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RESIDENCE WALL DETAIL

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RESIDENCE FOUNDATION DETAIL

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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

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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

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MASTER PLAN BUILDING

MASTER PLAN BUILDING

N 67.00° E 72.28'

CAFE OUTSIDE SEATING S 24.65° E 240.00'


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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

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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

MAIL

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

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COMMUNITY KITCHEN & LIVING ROOM FOR ARTISTS

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1


AMPHITHEATER FOR PUBLIC EVENTS & ACTIVITIES

2

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SUSTAINABLE CAR DEALERSHIP SPRING 2010

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LOCATION

Site in Savannah, GA, USA.

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SITE ANALYSIS

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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


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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.

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BUILDING ELEVATIONS

SOUTH ELEVATION

EAST ELEVATION

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NORTH ELEVATION

WEST ELEVATION

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FLOOR PLANS

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BUILDING SECTIONS

SECTION A

SECTION B

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50


51


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ARTIST RESIDENCE SUMMER 2009

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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.

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Conceptual light studies. Cardboard, wood and velum.

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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.

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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.

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WOVA INTERNATIONAL STUDENT HOUSING FALL 2009

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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.

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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.

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BUILDING ELEVATIONS

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LACOSTE VENUE FOR THE VISUAL ARTS WINTER 2010

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Views from the site of the quarry, in Lacoste, France.

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DESIGN DEVELOPMENT

Initial sketches showing the development of the design for the building.

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BUILDING SECTIONS

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FLOOR PLANS

FIRST FLOOR PLAN

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SECOND FLOOR PLAN SECOND FLOOR PLAN

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Sketch showing the view as one approaches the building from the main entrance.

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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.

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ASHEVILLE LOCAL WINERY & RESTAURANT FALL 2010

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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.

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CONCEPTUAL DESIGN

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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.

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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.

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EAST ELEVATION

NORTH ELEVATION

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BUILDING SECTION

EVENTS PRODUCTION OFFICE BARRELS BAR RESTAURANT

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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

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View down Lexington, looking at the outside seating of the restaurant and the bar above.

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The facade facing Patton Avenue, looking at the exterior courtyard.

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GENESIS BUILDING WINTER 2009

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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.

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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

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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.

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