Architecture Portfolio

Fernando Herrera

Resume Academic Miami Beach Live-Work UNRAVELED; A Thesis Cantilever

UNStudio Dubai 2020 tower Star Dubai Dubai Expo Susutainability Pavilion

Winka Dubbeldam Inc Lima Residence Staten Island Hotel

+ FERNANDO HERRERA 954.805.6785 / FHERR001@FIU.EDU

+ EDUCATION -Southern California Institute of Architecture (M.ARCH 2) [Aug 2010 - Sep 2012] -Florida International University (B.A. of Architecture) [Aug 2003 - May 2010] +AWARDS AND HONORS - SCI-Arc Merit Graduate Thesis (In recognition of an outstanding thesis project) [2012] - SCI-Arc Service Award (outstanding contributions of service to the SCI-Arc community [2012] - MDC Sustainability In Urban Design Competition (1st place) - The National Dean’s List [2006, 2007]

TEACHING ASSISTANT, SCI-ARC [2011] www.sciarc.edu Digital fabrication seminar with responsabilities including tutoring students in Autodesk TEACHING ASSISTANT, SCI-ARC [2011] Maya and fabrication techniques including 3D printing, vacuum forming and CNC www.sciarc.edu milling Digital fabrication seminar with responsabilities including tutoring students in Autodesk Maya andPROJECT fabricationMANAGER) techniques including 3D printing, vacuum forming and CNC CSA GROUP INC. (ASSISTANT [2006 - 2009] milling www.csagroup.com

Responsabilities included construction site visits / inspections, conducting meetings CSAand GROUP INC. PROJECT MANAGER) [2006 - 2009] with clients and contractors closing out (ASSISTANT projects on numerous renovation projects. www.csagroup.com Responsabilities included construction site visits / inspections, conducting meetings clients and LOCATION OF EXPERIENCEwith + LOCATION OFcontractors PROJECTS and closing out projects on numerous renovation projects.

LOCATION OF EXPERIENCE + LOCATION OF PROJECTS

+ WORK EXPERIENCE OPPENHEIM ARCHITECTURE (DESIGNER) [ 2016 - 2017] www.oppen.com Position as a designer in a project team. Responsible include generating conceptual designs and corresponding drawings as well as building presentation models. Daily actvities include interfacing with clients and consultants.

UNSTUDIO (ARCHITECT / DESIGNER) [ 2014 - 2016] www.unstudio.com Position within a project team a design architect responsible for generating conceptual designs and corresponding drawings. Responsabilities increased to lead designer, coordinating a team in concept and schematic design stages.

SOFTWARE KNOWLEDGE

SOFTWARE KNOWLEDGE MAYA

WINKA DUBBELDAM INC (STUDIO LEADER) [2013 - 2014] www.archi-tectonics.com Held responsibility as the team leader and coordinator, responsible for communicating project initiatives directly from the principal and corresponding with clients and consultants. Engaged in projects vertically from concept design and onward. Daily tasks included; Conceptual design, 3D modeling, visualization, drafting, and construction administration.

RHINO

GRASHOPPER

MAYA

AUTOCAD

PHOTOSHOP

TOM WISCOMBE ARCHITECTURE (DESIGN INTERN) [2011] www.tomwiscombe.com Responsibilities included developing conceptual design via 3D modeling, rendering, and drafting. Tasks also included production of presentation models.

RHINO

ILLUSTRATOR

AUTOCAD

MICHAEL MALTZAN ARCHITECTS (DESIGN INTERN) [2012] www.mmaltzan.com Tasks encompassed 3D modeling, rendering, and production of physical models for a competiton and commisioned project under supervision of project designer.

REVIT

ARCHICAD

GRASHOPPER

REVIT

ARCHICAD

INDESIGN

PHOTOSHOP

ILLUSTRATOR

INDESIGN

REFERENCES

Frans Van Vuure UNStudio

Stadhouderskade 113 1073 AX Amsterdam f.vanvuure@unstudio.com T: +31 20 570 20 40

Tom Wiscombe REFERENCES Tom Wiscombe Architecture 2404 Wilshire Blvd, Suite 4b Los Angeles, CA 90057 contact@tomwiscombe.com Frans Van Vuure T: 213 674 7238

UNStudio

Stadhouderskade 113 1073 AX Amsterdam f.vanvuure@unstudio.com T: +31 20 570 20 40

Winka Dubbeldam Archi-techtonics

111 John st. Suite 700 New York, NY 10038 studio@archi-tectonics.com Tom Wiscombe T: 212 226 0303

Hernan Diaz Alonso www.xefirotarch.com

1451 4th street. Unit 218 Los Angeles, CA 90033 info@xefirotarch.com Winka Dubbeldam T: 323 780 3880

Tom Wiscombe Architecture 2404 Wilshire Blvd, Suite 4b Los Angeles, CA 90057 contact@tomwiscombe.com T: 213 674 7238

Archi-techtonics

111 John st. Suite 700 New York, NY 10038 studio@archi-tectonics.com T: 212 226 0303

Hernan Diaz Alonso www.xefirotarch.com 1451 4th street. Unit 218 Los Angeles, CA 90033 info@xefirotarch.com T: 323 780 3880

Miami Beach Live-Work Cultural Residential Florida International University Spring 2008 The site is perched on the intercoastal of the Miami Beach island strip facing downtown Miami. The scope of the project is to provide a live-work space for a group of eight artists and a separate house on the water for the art collector / curator.

The artists are provided a living unit with all necesary living accomodations. They are also afforded a comunal work space as their exhibition space. The art collector’s house is docked on the water separated from the working realm by a pair of cat walks. The house is paired with an exhibition gallery of ts own.

The apprach to the design is to deconstruct the massing of a condominum building to a scattered collection of its parts. The intent of the approach to yield a minimally invasive presence to the coasal comunity. The neighborhood views to the bay are preserved by breaking down the massing into floating pods held together by a framed body of translucent cladding.

MIAMI BEACH LIVE-WORK

FLORIDA INT. UNIVERSITY

The apprach to the design is to deconstruct the massing of a condominum building to a scattered collection of its parts.

Maintaining the desired translucency while providing a generous amount of conditioned public space is achieved via a double skin envelope of perforated aluminum panels draped over glass.

The porousity created via the breaking down of the solid mass yiels 60% translucency in elevation and 60% of the land parcel touched by construction

MIAMI BEACH LIVE-WORK

FLORIDA INT. UNIVERSITY

2nd Level Plan

The collector’s residence, a renegade pod, juts out over the water. The residence consists of two program types (home & gallery/entertainment) that are intertwined but have separate entrances on different levels 3rd Level Plan

+ 1m Plan

The object to whole programatic strategy balances the illusion of autonomy and the desire for community.

MIAMI BEACH LIVE-WORK

FLORIDA INT. UNIVERSITY

MEGA STRUCTURE

POD INSERT

CIRCULATION

POD FRAMING 3rd level

2nd level

1st level

The structural system is comprised of multiple subsystems for

The circulation occurs through two main sequences. One sequence features access to the brides that lead to the curator’s house on the water, the other

the divergent spacial systems

sequence moves through the public space. Both sequences give acces to pods

MIAMI BEACH LIVE-WORK

FLORIDA INT. UNIVERSITY

Geometric geneology of the circulation encasement.

The public space circulation sequence, contained by a lattice encasement encoaches on the exhibition spases towards the interior and beyond the envelope towards the exterior. The space becomes a type of observation deck to the bay

UNRAVELED THESIS SCI-ARC Summer 2012 Surface has a long standing relationship with architecture and has been the primary component through which we communicate architectural composition. However the less obvious contributor that has had its hand in the making of architecture is the line. The line has typically been the ghostwriter for compositions that have been manifested through surface. However surface has the potential to become a canvas for other rhetoric outside those of the lines’ and can dilute the lines’ original aesthetic intention. This thesis will remove the surface avatar and reveal the line as the protagonist of this project. A dynamic arrangement or movement is often illustrated with a line. Contextual forces will agitate the surfaces where intense moments of unrest will yield an unraveling of the lines within. The relationship of line to line and surface to line presents opportunities to explore different types of spacial configurations for the program.

The project is a new LACMA campus. A campus is defined as a collection of buildings that belong to a given institution. The product of this line accumulation is harnessed to address the campus typology within the urban fabric, the lines unraveling present the opportunity to spawn both open-air spaces and bundles to form enclosures where needed. The implication of this surface dilution in the campus configuration becomes a collection of open pockets rather than the familiar sprawl of buildings. This configuration becomes more relevant to an urban fabric.

UNRAVELLED

SCI-ARC

Variations of intensity through a veriety of proximeties to eachother narrates a divergent legibility as it relates to the facade-tofenestration composition

This persuit explores both the consistency to which the line can hold a formal language in respect to its surface counter part, where the similarities die and concieve a unique effect despite a linguistic solidarity.

UNRAVELLED

SCI-ARC

Surface dissolves. Lines bear the responsability of prosaic tasts that surface would otherwise take on. Walls, floors, furniture can be nothing more than tightly packed groupings of lines.

The varying intensities of line approximation is a vehicle by which spaces with different lighting requirements are created. Splayed groupings of lines allow filtered light to pierce spaces.

UNRAVELLED

The model stands themselves are disolved to representations of lines to further demonstrate their adequacy in prosaic tasks.

SCI-ARC

The models are objects of desire that signal towards architectural expression through the simplest of vehicles ...the line.

UNRAVELLED

Study models argue for the lines’ adequacy in its capability to accomplish figural intentionalities without the reliance on surface, much like in 2D drawings.

SCI-ARC

Stepping back, the prints dictate compositional swaths where lines intesify reading as solids. The hovering magnifyers over the line prints pull you in to be reminded of the lines’ autonomy in the part to whole strategy.

CANTILEVER INSTALLATION Tom Wiscombe Architecture Summer 2011 This project, supported by SCI-Arc as part of its Materials Lab Program, is an investigation into the advantages and limits of composite materials. Via an asymmetrical structural type-- the cantilever-- the goal was to create massive differences in stress patterns within an object and respond to those patterns in a way which would both index the structural diagram but also exceed it.

The piece was evolved with Buro Happold through a feedback loop between morphological developments and structural analysis in ANSYS, where features such as connective armatures and surface pleating were introduced over time. It was also informed by manufacturing logic, in terms of limitations of mold size, requirements for structural joining of components, and grading fiber density and orientation. Based on a consciously under-dimensioned overall thickness of 1/8� fiber-composite layup, a pattern of 2� fiberglass tape was created in order to locally respond to high stress conditions. Cantilever is ultimately neither a simple expression of a structural type nor a readable response to forces. As in biology, it is a mutation which performs but does so in a non-optimal way. Its features are irreducible; they cannot be associated 1:1 with behaviors. Excess and obfuscation define the project as much as structural and material intelligence.

Instructor:

Tom Wiscombe

Design Team:

Dave Bantz, Michael Gross,Paul Mecomber, Vince Pocsik

Construction Coordination:

Tom Benard, Henry Dominguez

CANTILEVER Construction Team:

Composites Fabrication:

TOM WISCOMBE ARCHITECTURE

Jacob Aboudou, Val Florescu, Mike Gladtchenko, Nina Handelman, Mo Harmon, Fernando Herrera, Kim Lagercrantz, Cindy Lin, Zach Main, Jason Orbe-Smith, Cat Pham, Keegan Quick, Tanveer Sami, Dale Strong, Anita Valrygg Machineous, LA

MATERIALS LAB I:

CANTILEVER Thanks for the generous support of:

Buro Happold Engineers, LA Machineous, LA ZCorp

III. Pleating on top and bottom begins to create internal hierarchy and eliminate buckling. Overturning is reduced but not eliminated.

This project, generously supported by SCI-Arc, is an investigation into the advantages and limits of composite materials. Via an asymmetrical structural type-- the cantilever-- the goal was to create massive differences in stress patterns within an object and respond to those patterns in a way which would both index the structural diagram but also exceed it.

MATERIALS LAB I:

Composites are more than a class of materials; they imply a paradigm shift in architecture in terms of allowing real progress on the contemporary desire to blend formal, structural, and ornamental systems. They also engender a new way of thinking about assembly and engineering, where layer-thinking is replaced by chunky parts fused without hardware, where structure cannot be broken down into discreet vectors. Continuous difference and variability in structural capacity, transparency, pattern, and color becomes the design space, as in nature.

Consider insect wings, which are made of bio-composites expressed in a highly differentiated arrangements of translucent cuticle characterized by variable depth, color, and pattern features. The unprecedented way that systems and materials are fused and graded in these wings offer a revolutionary new way of thinking about aesthetics and performance in architectural design.

MATERIALS LAB I:

CANTILEVER CANTILEVER The piece was evolved through a feedback loop between morphological developments and structural analysis in ANSYS, where features such as connective armatures and surface pleating were introduced over time. It was also informed by manufacturing logic, in terms of limitations of mold size, requirements This project, generously supported by SCI-Arc, is an investigation into the for structural joining of components, grading fiber density and orientation. Based Thisa project, generously supported by SCI-Arc, is anofinvestigation into the advantages and limits of composite materials. Via an asymmetrical structural on consciously under-dimensioned overall thickness 1/8” fiber-composite advantages and oflimits of composite materials.

Viain an asymmetrical structural type-- the cantilever-- the goal was to create massive differences in stress patterns layup, a pattern 2” fiberglass tape was created order to locally respond to type-the cantilever-within an object and respond to those patterns in a way which would both index high stress conditions.the goal was to create massive differences in stress patterns within an object and respond to those patterns in a way which would both index the structural diagram but also exceed it. the structural diagram alsoembedded exceed it. in the form: it is a translucent structural The tape operates as abut figure Composites are more than a class of materials; they imply a paradigm shift in tattoo which follows its own aesthetic logic as well as performance demands.

Composites more than a class they thicknesses imply a paradigm shift in architecture in terms of allowing real progress on the contemporary desire to The tattoo is are made of multiple layersofofmaterials; tape, reaching of up to 1/4”, architecture in variation terms ofinallowing progress the iscontemporary desire blend formal, structural, and ornamental systems. They also engender a new way with attendant opacity.real Critical for theon piece the depth effect that to is blend formal, structural, ornamental They also new way of thinking about assembly and engineering, where layer-thinking is replaced by produced by being able and to see the back systems. side of the tattoo asengender a ghostlyasilhouette of thinking about assembly and engineering, where layer-thinking is replaced by chunky parts fused without hardware, where structure cannot be broken down through layers of translucent material. chunky parts fused without hardware, where structure cannot be broken down into discreet vectors. Continuous difference and variability in structural capacity, into discreetis vectors.

Continuous and variability structural capacity, transparency, pattern, and color becomes the design space, as in nature.

Cantilever ultimately neither a difference simple expression of a in structural type nor a transparency, pattern, and As color becomes designwhich space, as inbut nature.

Consider insect wings, which are made of bio-composites expressed in a highly readable response to forces. in biology, it is athe mutation performs does Consider insect wings, are made of bio-composites expressed in a highly differentiated arrangements of translucent cuticle characterized by variable depth, so in a non-optimal way.which Its features are irreducible; they cannot be associated 1:1 differentiated arrangements of translucent cuticle characterized by variable depth, color, and pattern features. The unprecedented way that systems and materials I. The Monolith: a horizontal slab begins to devolp armature features which with behaviors. Excess and obfuscation define the project as much as structural color, and pattern features.

The unprecedented way that systems and materials connectintelligence. to existing steel, and fails. are fused and graded in these wings offer a revolutionary new way of thinking and material are fused and graded in these wings offer a revolutionary new way of thinking about aesthetics and performance in architectural design. about aesthetics and performance in architectural design.

The piece was evolved through a feedback loop between morphological Instructor: Tom Wiscombe The piece was evolved through a feedback loop between morphological developments and structural analysis in ANSYS, where features such as developments and Dave structural in ANSYS, where Vince features such as Design Team: Bantz,analysis Michael Gross,Paul Mecomber, Pocsik connective armatures and surface pleating were introduced over time. It was This project, generously supported

by SCI-Arc, is an investigation into also the connective armatures and surface pleating were introduced over time. It was also informed by manufacturing logic, in terms of limitations of mold size, requirements advantages and limits of composite materials.

Via an asymmetrical structural Construction Coordination: Tom Benard, Dominguez informed by manufacturing logic, Henry in terms of limitations of mold size, requirements for structural joining ofthe components, gradingmassive fiber density and orientation.

Based type-the cantilever-goal was to create differences in stress patterns for structural joining of components, grading fiber density and orientation. Based on a consciously under-dimensioned overall thickness of 1/8”would fiber-composite within an object and respond to those patterns in a way which both index Construction Team: Jacob Aboudou, Val overall Florescu, Mike Gladtchenko, Nina on a consciously under-dimensioned thickness of 1/8” fiber-composite layup, a pattern of 2” fiberglass tape was the structural diagram but also exceed it. created in order to locally respond to Harmon, Fernando Herrera, Kim layup, a pattern of 2”Handelman, fiberglass Mo tape was created in order to locally respond to high stress conditions.

Lagercrantz, Cindy Lin, Zach Main, Jason Orbe-Smith, high stress conditions.

Composites are more than a class of materials; they imply a paradigm shift in Cat Pham, Keegan Quick, Tanveer Sami, Dale Strong, Anita The tape operates as aoffigure embedded in the form: it iscontemporary a translucent structural Valrygg architecture in terms allowing real progress on the desire to The tape operates as a figure embedded in the form: it is a translucent structural tattoo which follows its and ownornamental aesthetic logic as well asalso performance blend formal, structural, systems.

They engender ademands. new way tattoo which follows Machineous, its own aesthetic logic as well as performance demands.

Composites Fabrication: LA The tattoo is made of multiple of tape, where reaching thicknessesisofreplaced up to 1/4”, of thinking about assembly andlayers engineering, layer-thinking by The tattoo is made of multiple layers of tape, reaching thicknesses of up to 1/4”, with attendant variation in opacity.

Critical for the piece is the depth effect that is chunky parts fused without hardware, where structure cannot be broken down with attendant variation in opacity. Critical for the piece is the depth effect that is produced by vectors. being able to see thedifference back sideand of the tattoo as ghostly silhouette into discreet Continuous variability inastructural capacity, Thanks the generous produced for by being able to seesupport the back of: side of the tattoo as a ghostly silhouette through layers pattern, of translucent material. transparency, and color becomes the design space, as in nature. through layers of translucent material.

Consider insect wings, which are made of bio-composites expressed in a highly Buro Happold Engineers, LA Cantilever is arrangements ultimately neither a simple cuticle expression of a structural type depth, nor a differentiated of translucent characterized by variable Machineous, LA Cantilever isMonolith: ultimately neither aslab simple expression of a structural type nor a readable to forces.The As inunprecedented biology, it is a mutation performs but does color, andresponse pattern features. way thatwhich systems and materials I. The horizontal begins toresults devolpinarmature features which II. Addition of a a concrete beam armature increased stiffness but readable response to forces. infails. biology, it is a mutation which performs but does so infused a non-optimal way.inItsthese features areoffer irreducible; they cannot beway associated 1:1 connect to existing steel,As and are and graded wings a revolutionary new of thinking overturning moment.

ZCorp so in a non-optimal way. Its features are irreducible; they cannot be associated 1:1 with and obfuscation define thedesign. project as much as structural aboutbehaviors. aestheticsExcess and performance in architectural with behaviors. Excess and obfuscation define the project as much as structural and material intelligence. and material intelligence.

The piece was evolved through a feedback loop between morphological

MATERIALS LAB I:

Insect wings in nature are made of biopolymers in various hierarchies and rigidities, and are characterized by variably opaque structure. Cantilever is similarily not an assembly, but rather a graded multimaterial construction.

CANTILEVER

CANTILEVER

Construction Team:

Systems for increasing stiffne ss in fibercomposite construction generally include the introduction of core or profile. Cantilever attempts the same through tape-winding and freeform build-up and breakdown of capacity.

IV. Adjustment in pleating orientation, and depth, edge detail, and armature design results in stability which is good enough for tuning with structural tape.

Cantilever is ultimately neither a simple expression of a structural type nor a readable response to forces. As in biology, it is a mutation which performs but does so in a non-optimal way. Its features are irreducible; they cannot be associated 1:1 with behaviors. Excess and obfuscation define the project as much as structural and material intelligence.

III. Pleating on top and bottom begins to create internal hierarchy and eliminate Instructor: buckling. Overturning is reduced but not eliminated.

II. Addition of a concrete beam armature results in increased stiffness but Design Team: overturning moment.

II. Addition of a concrete beam armature results in increased stiffness but overturning moment.

Tom Wiscombe Dave Bantz, Michael Gross,Paul Mecomber, Vince Pocsik

Construction Coordination:

Tom Benard, Henry Dominguez

Construction Team:

Jacob Aboudou, Val Florescu, Mike Gladtchenko, Nina Handelman, Mo Harmon, Fernando Herrera, Kim Lagercrantz, Cindy Lin, Zach Main, Jason Orbe-Smith, Cat Pham, Keegan Quick, Tanveer Sami, Dale Strong, Anita Valrygg

Composites Fabrication:

Machineous, LA

Thanks for the generous support of:

Jacob Aboudou, Val Florescu, Mike Gladtchenko, Nina

Buro Happold Engineers, LA Machineous, LA ZCorp

III. Pleating on top and bottom begins to create internal hierarchy and eliminate buckling. Overturning is reduced but not eliminated.

the introduction of core or profile. Cantilever

opaque structure. Cantilever is similarily attempts the same through tape-winding and Thanks generous Cantileverfor is the ultimately neithersupport a simpleof: expression of a structural type nor Thanks a an assembly, not but rather asupport graded of: freeform build-up and breakdown of capacity. for the generous

readable response to forces.

As in biology, itLA is a mutation which performs but does Buro Happold Engineers, multimaterial construction.

II. Addition of a concrete beam armature results in increased stiffness but III. Pleating on top and bottom begins to LA create internal hierarchy and eliminate Buro Happold Engineers, so in a non-optimal way. Its features are irreducible; they cannot be associated 1:1 overturning moment.

Machineous, LA buckling. Overturning is reduced but not eliminated. with behaviors. Excess and obfuscation define the project as much as structural Machineous, LA and material intelligence.

ZCorp ZCorp Instructor:

I. The Monolith: a horizontal slab begins to devolp armature features which connect to existing steel, and fails.

The tape operates as a figure embedded in the form: it is a translucent structural tattoo which follows its own aesthetic logic as well as performance demands.

The tattoo is made of multiple layers of tape, reaching thicknesses of up to 1/4”, with attendant variation in opacity. Critical for the piece is the depth effect that is produced by being able to see the back side of the tattoo as a ghostly silhouette through layers of translucent material.

The tape operates asLagercrantz, a figure embedded the Main, form: Jason it is a Orbe-Smith, translucent structural Handelman, Mo Harmon, Fernando Herrera, Kim Cindy Lin,in Zach Lagercrantz, Cindy Lin, Zach Main, Jason Orbe-Smith, Keegan Quick, Dale Strong, demands.

Anita tattoo which follows Cat its Pham, own aesthetic logic Tanveer as well Sami, as performance Cat Pham, Keegan Quick, Tanveer Sami, Dale Strong, Anita The tattoo is made ofValrygg multiple layers of tape, reaching thicknesses of up to 1/4”, Valrygg with attendant variation in opacity. Critical for the piece is the depth effect that is Composites Fabrication: Machineous, LAback side of the tattoo as a ghostly silhouette Insect wings in nature are made of Systems for increasing stiffne ss in fiberproduced by being able to see the Composites Fabrication: Machineous, LA and composite construction generally include biopolymers in various hierarchies through layers of translucent material. rigidities, and are characterized by variably

This project, generously supported by SCI-Arc, is an investigation into the advantages and limits of composite materials. Via an asymmetrical structural type-- the cantilever-- the goal was to create massive differences in stress patterns within an object and respond to those patterns in a way which would both index the structural diagram but also exceed it.

Composites are more than a class of materials; they imply a paradigm shift in architecture in terms of allowing real progress on the contemporary desire to blend formal, structural, and ornamental systems. They also engender a new way of thinking about assembly and engineering, where layer-thinking is replaced by chunky parts fused without hardware, where structure cannot be broken down into discreet vectors. Continuous difference and variability in structural capacity, transparency, pattern, and color becomes the design space, as in nature.

Consider insect wings, which are made of bio-composites expressed in a highly differentiated arrangements of translucent cuticle characterized by variable depth, color, and pattern features. The unprecedented way that systems and materials are fused and graded in these wings offer a revolutionary new way of thinking II. Addition of a concrete beam armature results in increased stiffness but about aesthetics and performance in architectural design. overturning moment.

The piece was evolved through a feedback loop between morphological I. The Monolith: a horizontal slab begins to devolp armature features which developments and structural analysis in ANSYS, where features such as connect to existing steel, and fails. connective armatures and surface pleating were introduced over time. It was also informed by manufacturing logic, in terms of limitations of mold size, requirements for structural joining of components, grading fiber density and orientation. Based on a consciously under-dimensioned overall thickness of 1/8” fiber-composite layup, a pattern of 2” fiberglass tape was created in order to locally respond to high stress conditions.

developments and structural analysis in ANSYS, where features such as Instructor: connective armaturesTom andWiscombe surface pleating were introduced over time. It was also Instructor: Tom Wiscombe informed by manufacturing logic, in terms of limitations of mold size, requirements Design Team: Dave Bantz, Michael Gross,Paul Mecomber, Pocsik Based for structural joining of components, grading fiber density andVince orientation.

Design Team: Dave Bantz, Michael Gross,Paul Mecomber, Vince Pocsik on a consciously under-dimensioned overall thickness of 1/8” fiber-composite Construction Coordination: Tom Benard, Henry Dominguez layup, a pattern of 2” fiberglass tape was created in order to locally respond to Construction Coordination: Tom Benard, Henry Dominguez high stress conditions.

Construction Team: Jacob Aboudou, Val Florescu, Mike Gladtchenko, Nina Handelman, Mo Harmon, Fernando Herrera, Kim

MATERIALS LAB I:

I. The Monolith: a horizontal slab begins to devolp armature features which connect to existing steel, and fails.

locally respond to high stress conditions.

IV. Adjustment in pleating orientation, and depth, edge detail, and armature design results in stability which is good enough for tuning with structural tape.

III. Pleating on top and bottom begins to create internal hierarchy and eliminate buckling. Overturning is reduced but not eliminated.

Tom Wiscombe

Design Team:

Dave Bantz, Michael Gross,Paul Mecomber, Vince Pocsik

Construction Coordination:

Tom Benard, Henry Dominguez

Construction Team:

Jacob Aboudou, Val Florescu, Mike Gladtchenko, Nina Handelman, Mo Harmon, Fernando Herrera, Kim Lagercrantz, Cindy Lin, Zach Main, Jason Orbe-Smith, Cat Pham, Keegan Quick, Tanveer Sami, Dale Strong, Anita Valrygg

Composites Fabrication:

Machineous, LA

Insect wings in nature are made of

Systems for increasing stiffne ss in fiberInsect wings in nature are made of construction generally include biopolymers in various hierarchies and the introduction of core or profile. Cantilever

biopolymers various hierarchies and of: composite Thanks forinthe generous support rigidities, and are characterized by variably

Insect wings in nature are made of biopolymers in various hierarchies and rigidities, and are characterized by variably opaque structure. Cantilever is similarily not an assembly, but rather a graded multimaterial construction.

Systems for increasing stiffne ss in fibercomposite construction generally include

Buro Happold Engineers, LA the same through tape-winding and rigidities, and are characterized by variably the introduction of core or profile. Cantilever opaque structure.

Cantilever is similarily attempts Pleating on top and bottom begins toattempts create internal hierarchy and eliminate and opaqueIII. Cantilever is orientation, similarily theedge same through tape-winding not an assembly, but rather a graded freeform build-up and breakdown of capacity.

IV.structure.

Adjustment in pleating and depth, detail, and armature Machineous, LA buckling.

Overturning is reduced but not eliminated. not andesign assembly, rather a graded breakdown capacity. multimaterial construction. resultsbut in stability which is goodfreeform enough build-up for tuningand with structural of tape. multimaterial construction.

ZCorp

IV. Adjustment in pleating orientation, and depth, edge detail, and armature design results in stability which is good enough for tuning with structural tape.

Based on a consciously under-dimensioned overall thickness of 1/8” fiber-composite layup, a pattern of 2” fiberglass tape was created in order to

Systems for increasing stiffne ss in fibercomposite construction generally include the introduction of core or profile. Cantilever attempts the same through tape-winding and freeform build-up and breakdown of capacity.

IV. Adjustment in pleating orientation, and depth, edge detail, and armature design results in stability which is good enough for tuning with structural tape.

R CANTILEVER

TOM WISCOMBE ARCHITECTURE

rizontal slab begins to devolp armature features which eel, and fails.

rete beam armature results in increased stiffness but

bottom begins to create internal hierarchy and eliminate is reduced but not eliminated.

ating orientation, and depth, edge detail, and armature ity which is good enough for tuning with structural tape.

Based on a consciously under-dimensioned overall thickness of 1/8” fiber-composite layup, a pattern of 2” fiberglass tape was created in order to locally respond to high stress conditions. Based on a consciously under-dimensioned overall thickness of 1/8” fiber-composite layup, a pattern of 2” fiberglass tape was created

Composites are more than a class of materials; they imply a paradigm shift in architecture in terms of allowing real progress on the contemporary desire to blend formal, structural, and ornamental

in order to locally respond to high stress conditions..

systems.

DUBAI 2020 TOWER RESIDENTIAL AND HOSPITALITY UNStudio 2014 - 2016 The vision for the tower is to create an icon for Dubai’s ever growing skyline. The tower is developed as an extension to the urban fabric. The strategy channels various urban networks; automotive, public transport and pedestrian. Moving vertically, the tower fetaures programatic reliefs in sky parks. The move is a simulation of an urban configuration in a vertical orientation. The sky parks split the tower’s program that consists of office space, hotel and serviced residences.

Aknowledging the cultural methods and natural applications that allow life to thrive in Dubai’s unique environment, we designed the project with all its sustailable inclusions. Envelope and facades are based on the orientation and solar models. Using computational methods, we optimize daylight and create efficient floor plates.

DUBAI 2020

UNStudio PROJECT ASSISTANT

MASSING

PARAMETRIC EFFICIENCY RATIO

PARAMETRIC CORE SIZING

The deisgn carried out for this tower was executed within the concept design stage. A multi use program with no specific requested organizational strategy rendered a design process of multiple itterations to test different ideas of architecture and efficiency. The complexity of this project combined with a tight schedule required a design tool that enables nimble manuveringto adjust quickly to evolving requirements.

Following the parametric generation of the tower mass, efficiency ratios and floor plates are generated. This is an extremely important tool as it allows real-time analysis and data extraction from the tower.

These calculations are made without regard to partition wall and shaft build out. Oncea general massing with a proper efficiency is found, a geometry export to torevit can be made with a click of a button to analyze at greater detail.

DUBAI 2020

UNStudio PROJECT ASSISTANT

Floor Plan Level 43

Ground Floor Plan

Floor Plan Level 57

DUBAI 2020

UNStudio PROJECT ASSISTANT

PANEL CATEGORIZATION

FACADE PANEL GEOMETRY PARAMETERS

The script for the tower facade is built upon the earlier base mass in Grasshopper allowing for one-step adjusting of the mass, floor plates, data extration and facade.

DUBAI 2020

UNStudio PROJECT ASSISTANT

FACADE PANEL COMPONENTS

FACADE PANEL COMPONENTS

DUBAI 2020

UNStudio PROJECT ASSISTANT

STAR DUBAI MIXED-USED DEVELOPMENT UNStudio 2015 With the Dubai 2020expo under development, the surrounding plot provides opportunity for lodging and entertainment. Sitting between the highway and the expo site, the project serves as a gateway. The 500,000 sm project scope includes six hotel buildings and over 200000 sm of shopping split into two phases.

Striving to break from the expected tower to plinth configuration of the retail-hotel project, the configuration of the massing flips the towers on their side. This simultaniously optimizes shade coveragefor open air courtyards featured in the retail below. The retail space is diversified into inner, outter and themed spaces.

Each of the retail courtyards are themed and act as attractors to move patrons through the large shopping mall. The southern edge of the project is framed by a canopied promenade that leads visitors from the shops to the expo site.

STAR DUBAI

UNStudio LEAD DESIGNER

Retail size placement and logic; The idea is to promote circulation through points of interest using oasis courtyards.

Site Plan

The massing strategy began by coiling dual corridor retail through the site forming themed “oasis plazas�. To provide thermal protection, the taller hospitality massings are reoriented onto their sides on top of the retail block, using theit shading capability over longer portions of the site

STAR DUBAI

UNStudio LEAD DESIGNER

The hotel strip facades are cladded deep louvers varying in thickness to balance views and protection from harsh Dubai sun.

Ground Floor Plan

DUBAI EXPO SUSTAINABILTY PAVILLION CULTURAL UNStudio 2015 This proposal for the Expo 2020 Iconic Sustainabilty Pavilion aims to create positive energy. The focus of the design proposel is to suggest the opportunity of creating a valuable resource for the region with water. In this 19000 sm pavilion we introduce a building that produces more than it consumes by producing not only water but also energy that can sustain itself, a lush biodiverse parkland, greenhouses in its vicinity and in its legacy stage, cooling of neighboring buildings with the aparatus of focus being the facade.

DUBAI EXPO SUSTAINABILITY PAVILION

UNStudio LEAD DESIGNER

We use a double skin facade configuration with external sun shading elements. The outer skin of the facade is a sandwich of insulated glass panes with thousands of integrated Peltier elements.

Powered by the solar tracking PV cells on the roof of the building, the Peltier elements will cool the facade cavity. Ambient air will be drawn through the cavity and will be cooled to dew point.

The condensation that will appear on the inner facade glass panels will be collected. Creating a cold surface is a common technique for creating water from ambient air. The treated air is used for ventilation and cooling of the building.

The two main spaces on either side of the big atrium are versatile and flexible in their design. by binding the logistics of these two spaces to the atrium we can organize a logistical route. The north wing consists of three floors to be used for finer organized exhibition events. The south wing consists of two floors and functions as a free open floor for bigger installations.

DUBAI EXPO SUSTAINABILITY PAVILION

UNStudio LEAD DESIGNER

Section B

The south wing consists of two floors and functions as a free open floor for bigger installations.

South Elevation

Section A

DUBAI EXPO SUSTAINABILITY PAVILION

UNStudio LEAD DESIGNER

LIMA RESIDENCE SINGLE FAMILY RESIDENCE WINKA DUBBELDAM 2014 The land parcel for the program offers tight constraints and sits next to a 10 floor apartment building. From these parameters we arrived at the concept; a vailed monolith. With privacy at a premium, the envelop features a double skin configuration where the outer envelope subtly becomes translucent in given areas.

The program consists of a car museum that is nestled into the ground below the house. The house itself is split into quarters through openings in the facade that serve as relief to the facade which is a field of louvers.

LIMA RESIDENCE

UNStudio LEAD DESIGNER

The house is seen as a light volume floating on top of the recessed car museum. The house functions as a light filter, it allows and controls the light going through it. The light crease is also the main artery of the house where one finds the stairs, bridges and ramps with views down into the museum.

LIMA RESIDENCE

UNStudio LEAD DESIGNER

Longidudinal Section

Transverse Section

1st Level Plan

LIMA RESIDENCE

UNStudio LEAD DESIGNER

The double skin envelope consists of the inner layer of masonty wall with window apertures, and the outher layer is louvers that thin out where the windows are in the first layer.

The louvers are relatively thin wood planks held by an aluminum bracket. The bracket is featured as rotatable hands attached to a framing system ont the walls. These rotatable manade the translucency of this seconf layer of the envelope

STATEN ISLAND HOTEL HOSPITALITY WINKA DUBBELDAM 2013 The project is a part of a collaborative redevelopment of the Staten Island harbor site that sits on a historic row of preserved buildings. The hotel is designed to hover above one of the preserved buildings using it as the gateway from the street. The hotel’s multi level plaza that leads up from the street to the hotel’s lobby level. The scope of the project calls for an entertainment attraction for Staten Island residents and visitors It is an attempt to revitalize the ‘forgoten borough’ and make it a destination in the New York City area. The program is a 185 room butique hotel that eatures a gym, spa, pool and a banquate hall.

The existing building will house the restaurants and shops as part of the street revitalization. The rooms which average 300sf feature a prefab bay window. The windows across the facade of the hotel rotate in angle to makimize views to the Hudson river. The facade is cladded with zinc diamond shaped panels in a continuation from the roof’s appearance of the existing building but provides a contrast to catalog the programatic change between the hotel and the brick surfaced plaza in the lower levels.

STATEN ISLAND HOTEL

UNStudio LEAD DESIGNER

The hotel is designed to hover above one of the preserved buildings using it as the gateway from the street. The hotel’s multi level plaza that leads up from the street to the hotel’s lobby level.

The formative process of the hotel tower was guided by setback and restrictions of standing on a preservation district. The design is a negotiation between an attempt to maximize the hotel square footage and preserve the public spaces of the existing plaza

Parking Level Plan

STATEN ISLAND HOTEL

UNStudio LEAD DESIGNER

Lobby Level Plan

4th Level Plan

Section 1

North Elevation