PORTFOLIO Academic-edition Architecture
Human Rights Democracy
Occupation
Media Participation Public Space
History
Office Institutional
Infrastructure
Leisure
“If architecture is both concept and experience, space and use, structure and superficial image— nonhierarchcally—then architecture should cease to separate these categories and instead merge them into unprecedented combinations of programs and spaces.” 1 Bernard Tschumi
Ecology
Justice
Sports
Technology
Museum Preservation
Poverty Gender Residential
Conceptualization Exhibition
Race
2
Cultural Heritage
Criticism
Contents 04
Theory
Introduction Projects
Urbanism
Culture
06
Space of Agonism: Reconfiguring the Capitol of Puerto Rico
20
Urbanism: The Common Border
36
Enlace: La Marina Housing Complex
52
Senior Housing & Office Complex
62
Suburban Condenser
68
John Malkovich’s Residence
78
MĂŠndez-Bagur Museum
Writings
Pedagogy 92
Pleasure in Space :
The Body as a Political Construct
Research 94
112
Miscellaneous Notes 3
Introduction
4
Architectural production arises from experimentation, analysis and the investigation of conceptual, spatial, theoretical and programmatic explorations. These learning resources invite us to expand and redefine our understanding of architecture; differently from traditional modes of practice. The way in which architectural knowledge operates, in learning processes and production, is non-linear and requires different strategies for its representation. For this, critical thinking becomes an essential & neccesary tool, helping to shape the ongoing transformational shifts in architecture. Through a multidisciplinary approach that includes sociology, politics, history, theory, media, conceptualization, design, criticism of architecture/culture and spatial practices, these works look for new possibilities and understandings of architectural discourse. At the same time, this portfolio aims to generate new debates for some of the present circumstances in architectural practice.
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Space of Agonism: Reconfiguring the Capitol of Puerto Rico Institutional + Democracy + Citizenship + Public Space + Occupation + Justice
6
7
The occupation of urban spaces has been recognized as a citizen’s right when it involves the participation and organization of social events in public spaces. Occupying a territory is manifested as a direct democratic act with socio-cultural and spatial components. These type of activities have been conceived as scenarios where “deeper currents of social and political change rise to the surface”2. Recently, as a result of the “shortcomings of the democratic system” and the “hegemonic neo-liberal market logics”, citizens have come to organize new spatial practices in symbolic spaces. Such practices attempt to reclaim the citizen’s representation and provide enactment towards dissensus.
Capitol of Puerto Rico
Even though each of these manifestations has to be analized in its specific context, some of them have been directly influenced by hegemonic struggles of political and governance models. Representative modes of participation in parliamentary assemblies and decision making processes have been limited only to consensual models, eradicating conflict and disagreement. However, politics also have an agonistic dimension that involves making choices between conflicting alternatives and recognizing the “legitimation of conflict”. Therefore, the possibility of a place where agonism becomes an essential category in introducing conflict to democratic politics arises.
“We are witnessing a crisis of representation as a consequence of the ‘consensus at the centre’ that had come to dominate politics in most liberal-democratic societies. This consensus, which is the result of the unchallenged hegemony of neo-liberalism, deprives democratic citizens of an agonistic debate where they can make their voices heard and choose between real alternatives.” 3 Chantal Mouffe
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What will it take to reintroduce conflict into the core of a political “democratic” system? What would constitute a place of agonism where citizens could participate in developing a type of radical democracy?
The Capitol of Puerto Rico and its surroundings have become a consistent site of confrontation between citizens and the established political system.
Consensus
“Participation”
... Associative View NORTH
Liberal Democracy Façade, Materials...
Occupied Area
SJ
Security
“Plaza de la Democracia” Spaces of Confrontation
Ave. Muñoz Rivera Capitol of Puerto Rico
Ave. Juan Ponce de
León
Stairs
What if a new political order was to propose a parliamentary system where the citizens could be directly engaged?
Agonism
“Dissociative View”
Radical Democracy 9
Existing Site
Site Analysis
The Capitol of Puerto Rico was constructed during the 1920’s and is located at the entrance of Old San Juan in Puerta de Tierra. Its location, right between two main avenues, makes it difficult to experience the building without the use of a vehicle.
Puerta de Tierra, 1929
Historical Monument
Fernández Juncos Ave.
De la Constitución Ave. Muñoz Rivera Ave.
Institutional
Open Spaces
Commercial/ Residential
N
S
E
“Capitolio de Puerto Rico” Sr. Finlayson, Francisco Roldán, Pedro de Castro y Rafael Carmoega
E
“Antigua Escuela de Medicina Tropical” Rafael Carmoega
“Senado de Puerto Rico” Rafael Martínez Nadal Toro Ferrer arquitectos
Paseo Covadonga
N
O “Cámara de Puerto Rico” Ernersto Ramos Antonini Toro Ferrer arquitectos
O
Primary
“Casa España” Pedro Adolfo de Castro Besosa
Existing
Secundary
Green Areas
Public Transportation
Public Plazas
“Fuerte San Cristobal” Hermanos Antonelli
Historical Buildings
Institutional Open Spaces
S
Comercial/ Residential Industrial
Public Spaces
Primary Roads
Historical Monument
Zones
Industrial
N
NORTE
Mean Annual Precipitation (inches) 1981-2010 San Juan Ave. Muñoz Rivera
56.35 70.78
E
O S
Ave. Juan Ponce de
70.56
León
National Weather Service O
S
Winds
NNW 30% NW
NNE NE ENE
10%
W
E
0%
10°
Iluminación 6:00 AM - 9:00AM
E
N
20%
WNW
N
Iluminación 9:00AM - 12:00PM
20°
Iluminación 12:00PM - 3:00PM
30°
Iluminación 3:00 PM - 6:00PM
40°
N
WSW
ESE SW
SE SSW
50°
SSE
S
Wind Direction Frequency Distribution, San Juan
60° Ave. Muñoz Rivera
Monthly Variation of Wind and Speed Temperature, San Juan
28.0 2.0
Dec
Nov
Oct
Sep
Jul
Aug
1.0 Jan
Mar
Feb
Jan
20.0
May
24.0
Wind Speed
E
Apr
80°
Temperature ( ˚C )
70°
W
Month Temperature
3PM
12PM
León
9AM
Diurnal Variation of Wind and Speed Temperature, San Juan 32.0
4.0
28.0 2.0 24.0
Temperature
S
Wind Speed
22:00
20:00
18:00
16:00
14:00
12:00
10:00
08:00
06:00
04:00
10
02:00
00:00
20.0
Overall Main Wind Speed
1.0
Wind Speed
Temperature ( ˚C )
5:56PM
Ave. Juan Ponce de
Overall Main Wind Speed
Wind Speed
Urban Plan
Infrastructure
? Past - Future Proposals
Proposal
Avenues Pedestrian Street Bike Lane Avenues
Pedestrian walkway
Pedestrian Street
Route AMA
Bike Lane
Stops AMA
Pedestrian walkway Route AMA Stops AMA
Light Train Light Train Route
Light Train
Light Train Route
Capitol District
Pedestrian Street
Park Park
Pedestrian Street
+
Capitol of Puerto Rico
GS Educ a GS Publis
Plaza - South
Public Plaza - South
+
Public Plaza - North “Plaza de la Democracia�
Plaza - North
Access
Park Park
+
Access
For this reason, it was necessary to consider the periphery of the building as an opportunity to create pedestrian access and public spaces. Initially, an urban proposal was designed to locate infrastructure (light train, pedestrian streets, walkways and bus routes), that would facilitate arrival and conglomeration around the building. In addition, two plazas where located next to the main entrances of the Capitol.
11
Site Plan
During protests or social manifestations, citizens tend to occupy the Capitol’s surroundings and a small plaza called “Plaza la Democracia� on the north side of the building. However, this plaza is usually controlled by the police force to provide security surveillance. Moreover, the government has also maintained restrictions on the ways to exert constitutional rights, like the use of public spaces or the freedom of speech.
12
The architectural intervention had to adress these issues in order to offer an alternative where justice and human rights could be practiced regularly.
13
Third Floor: 1. Majority Caucus (2) 2. Minority Caucus (2) 3. Stair Hall (2) 4. Stenographers and Files (2) 5. Senators office 6. Foyer 7. Rooms (4) 8. Senators Office 9. Press Office 10. Public Toilet (4) 11. Public Lobby 12. Museum & Exhibition Halls
The Legislative Assembly is formed by two galleries: The House of Representatives and the Senate. Each of these galleries has a determined area for the public. However, these areas have often been restrained or closed to the public access. On the other hand, the way in which these assemblies opperate under a parliamentary system favors an order that deprives citizens of any potential participation.
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Hyperboloid of Revolution
Democracy
Ramp
Second Floor: 1. Consultation Room 2. Public Toilets 3. Stair Hall (2) 4. Public Consultation Room (2) 5. Committee Room (4) 6. Secretary (2)* 7. Chief Clerk Room (2)* 8. Stenographers & Messengers Room (2)* 9. General Office (2)* 10. Foyer* First Floor: 1. Consultation Room 2. Public Room 3. Lobby 4. Public Room 5. Stenographers Room 6. General Office 7. Public Toilets 9. Law Library 10. Lawyers Office 11. Lawyers toilet 12. Terrace (2) 13. Public Office 14. Entrance Lobby 15. Parliament (2nd Floor)
Symbolism:
Internal Structure New Structural System
External Structure
Basement: 1. Public Plaza 2. Kitchen & Serving room 3. Storage 4. Showers 5. Telecommunications 6. Capitol Police 7. Restaurant & Cafe 8. Heater Room 9. Electrical Room 10. Parliament (Politics area)
Axonometric Diagram
n
Stays - * Eliminated - x Substitute - Subst. Basement: 1. Receiving and Loading Platform Sust. Core 2. Archives Subst. Public Plaza 3. Kitchen & Serving room * 4. Dinning Room x 5. Cloak Room x 6. Bedroom x 7. Storage * 8. Showers* 9. Archives Clerk x 10. Bureau of Translation & Caligraphy x Subst. Telecommunications A 11. Capitol Police * 12. Barber Shop x Subst. Capitol Police 13. Restaurant * 14. Telegraph & telephone exchange x Subst. Telecommunications 15. Heater Room* 16. Battery Room x Subst.
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Demolition Plan
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GSE GSEducationalVersion S du d ca c titionalV lVers rsion
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Basement Plan
Stays - * Eliminated - x Substitute - Subst. First Floor: 1. Consultation Room* 2. Robin Room X 3. Supreme Court X 4. Marshall room* 5. Private Lobby* 6. Chief Clerk Room* 7. Stenographers Room* 8. General Office* 9. Toilet Male Employes* Subst. 10. Toilet Female Employes* Subst. 11. Law Library* 12. Lawyers Office* 13. Lawyers toilet* 14. Museum and A Exhibition Hall Subst. 15. Curator’s Office x 16. Terrace (2) * 17. Chief Justice* 18. Entrance Lobby* 19. Associate Justice (6) x 20. Justice Lounge 21. Justice Toilet x
11
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First Floor Plan
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Existing Structural Plan GSEducationalVersion
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Demolition Plan
15
Stays - * Eliminated - x Substitute - Subst. Second Floor: 1. Consultation Room* 2. Toilet Female Employes Subst. 3. Stair Hall (2) x 4. Sergeant At Arms (2)* Subst. 5. Committee Room (4)* Subst. 6. Secretary (2)* Subst. 7. Chief Clerk Room (2)* Subst. 8. Stenographers & Messengers Room (2)* 9. General Office (2)* 10. Toilet Male Employes Subst. 11. Senator’s Toilet x 12. President’s Ante-Office x 13. Foyer* 14. Senate x A 15. State Reception Room* 16. Governors Room x 17. Rotunda x Subst. 18. President toilet x 19. Speaker’s Office x 20. Speaker’s Ante-Office x 21. House of Representatives x 22. Representatives toilet x
27
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Stays - * Eliminated - x Substitute - Subst. Third Floor: 1. Majority Caucus (2)* 2. Minority Caucus (2)* 3. Senators Toilet* 4. Members Toilet* 5. Private Stair Hall (2) Sust. Public Stair Halls 6. Stenographers and Files (2)* 7. Senators office x 8. Foyer x 9. Private toilet* 10. Private Room (4)* 11. Senators Office* 12. Press Office* 13. Senate Gallery Sust. Museum and Exhibition Hall 14. Press Gallery Sust. A Museum and Exhibition Hall 15. Public Toilet (4)* 16. Public Lobby * 17. Congressional Library x 18. Reading Alcove (2) x 19. House of Representatives Gallery Subst. Museum and Exhibition Hall 20. Representatives Office *
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16
Existing Structural Plan GSEducationalVersion
Third Floor Plan Demolition Plan
5
The main goal was to both reconceptualize and redesign the Legislative Assembly, in order to make it accessible, “participative� and agonistic. The two galleries were transformed into two big atriums that visually connect the ground floor with the upper floors. The basement, previously an archives area, was demolished and modified into an open space that serves as the entrace hall.
North elevation
Demolition Plan
Section A
Demolition Plan
Section B
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Wall Section (1) Notes (Existing) 1. Cement Plaster Finish 1/4 2. Met.Lath 3. Rough Floor Concrete 4.Cooper Counter Flashing 5. Plaster 6. Mural Paintings 7. Italian White Marble 8. Plaster Mould 9. Napoleon Grey Marble 10. Breche Paonazzo Fiorito Marble
Opposite to the traditional parliament, the proposal provides a space where citizens can interact directly with the politicians. A new structure in the middle of the old rotunda, and holding the existing dome, serves as the political arena and symbolically represents an alternative definition for a radical democracy.
1
2
4
5
11 12
(2) Notes (Proposal)
13 14 15 16
11. Steel Beam (a) I Beam 12. Steel Beam (b) I Beam 13. Premolded Joints between Columns & Beams 14. Steel Bearing Plate welded to Column 15. Double Glazing Glass 10 (8+8)mm 16. Mullion Glass 17. Aluminum Window Frame 18. Continous Cant Strip 2” 19. Base Flashing 8”- Cap Flashing 4’’ 20. Roof Suitable for foot traffic: Marmol Tiles 21. Thermal and Impact Sound Insulation 1” 22. Waterproofing Layer Membrane 23. Levelling Layer, Slope 2% 24. Cover Floor Marmol Tiles Placed with Adhesive 25. Concrete Floor Slab 2 1/2”(Metal Deck Steel Floor) Form Decking Spanning 4”-8” 26. Steel Beam (c) 12” 27. Gypsum Ceiling 28. 10 mm Plastic Mortar on 15mm Steel Plate (with sheet metal damper beneath) 29. Stainless Steel handrail 30. Laminated Safety Glass: 2 x 8 mm Thoughned glass 31. Steel Hanger to Viewing Platform 32. Concrete Slab & Stairs 33. Steel Column, Diameter 1’-0” N.P.T
N.P.T
18
6
3
17 18 19 20 21 22 23
Roof Level Elev. 45'-0" 5 7
24 8 25 26 9
Elev. 30'-0"
27 28 29 10
30 31
N.P.T
Second Floor Elev. 16'-0"
N.P.T
First Floor Elev. 0'-0"
32 33 34 35 36 37 38 39 40
41 42 43
Urban Sections
As a result, The Space of Agonism becomes a stage for dissensus, difference, opposition; a choice to practice democratic politics every day.
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Urbanism: The Common Border Research + Institutional + Sports + Public Space + Urbanism + Borders
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21
The urbanism of the border operates within geographical boundaries, multiple layers of history and territories that are defined by sovereignty and cultural paradigms. These blurry lines trace the proceedings and administration of divisions, districts, areas and countries, as part of political, social and market forces.
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23
The urbanization of Puerto Rico is not foreign to these forces. The territorial segragation of land, regarded by functions, started to determine a countless number of divisions between what was individual and what was of collective ownership. In this matter, the type of border that was examined as a problematic for the project was a jurisdictional border in function of a “common”.
New Deal (1933-1938) Welfare State Direct intervention of the government Public infrastructure: Housing, roads and public agencies Rexford Tugwell
Manos a la Obra (1947-1965) “Ley de Incentivos Industriales de 1947” Industrialization of the territory Luis Muñoz Marín
As part of the process of understanding the jurisdictional role of the laws and settlements arranged by government administrations, in order to divide the lands, the dispositif’s of Foucault and Agamben were crucial to reinterpret the bureaucratic mechanisms that were proposed at certain historical moments. 24
“What I’m trying to pick out with this term is, firstly, a thoroughly heterogenous ensemble consisting of discourses, institutions, architectural forms, regulatory decisions, laws, administrative measures... in short, the said as much as the unsaid. The Dispositif (Apparatus) itself is the system of relations that can be established between these elements.” 4 Michel Foucault
Hato Rey Centro is a sector in San Juan, mostly with residential communities, that manifests much of the complex ways in which collectives have organized themselves to segregate and empower. “This -negotiations- has leaded to the use (for example) of community gates in public and private housing enclaves” 5.
Territorial Segregation [1940-1950] Dispositif: Urb. Huyke
Urb. Roosevelt
Operación Manos a la Obra The imaginary of the “American Dream”
Urb. El Vedado
[1938-1940] Dispositif: P.P.R.A Suburbanization Urb. Roosevelt as a prototype of residential community
[1937-1939] Dispositif: New Deal (urbanization) HUD FHA
Ext. Roosevelt
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Urb. Baldrich [1980’s] Dispositif: Ley núm. 21 Cierre de Calles Redefinition of public-private El Monte (north) El Monte (south) [1959-1961] Dispositif: Modernity Residential Hi-Rise Building
Similarly to our case study, Baldrich is a gated community that was privatized in 1987. Ley de Cierre de Calles 1987, in search of security issues related to the incrementing criminality in PR, settled the use of public streets as private collective property, even though the streets are legally recognised as of “public use”.
‘Dispositif ’ Progress + Industrialization 25
x = Time - day & hour y = Space - place (public or private / interior or exterior ) z = Event - activities ( cultural, educational, entertainment, leisure, ludic, etc. ) d = Dispositif - legal or social settlements C = Common Manifestation
[(x+y)z]+d = + - C [ ( Time + Space ) Event ] + Dispositif = + Common manifestation
“The production of the common, as we have seen in philosophical terms, tends to displace the traditional divisions between individual and society, between subjective and objective, and betweenprivate and public.� 6 Michael Hardt & Antonio Negri
For us, the production of the common is a Formula that has the power of establishing its own borders and limits, creating inclusions or exclusions, solidarities or resistances, and in this way destabilising and manipulating the power dispositifs.
26
Exterior Public Spaces Interior Public Spaces
[ (x + y) z ] + d = +- C
[ (Thursday 3:00pm + Plaza Las Américas) Protest ] + Public Expression = C
Red : [ Dispositif : exclusive]
Day Evening Night Activity Density
[ (x + y) z ] + d = +- C
[ (Friday 7:00pm + Plaza Roosevelt) concert ] + Public Order = C
Red : [ Dispositif : exclusive]
Yellow : [ Dispositif + inclusive] Yellow : [ Dispositif + inclusive] Green : [ Dispositif : inclusive] Green : [ Dispositif : inclusive]
PLAZA LAS AMÉRICAS Shopping Mall
PLAZA ELEANOR ROOSEVELT
[ (x + y) z ] + d =-+ C
[ (x + y) z ] + d = +- C
[ (Saturday 8:00pm + Domenech train station) public art ] + 500 meter law = C
[ (Tuesday 5:00pm + Urb, Baldrich) Party ] + Law #21 (”Cierre de calles”) = C Red : [ Dispositif : exclusive]
Yellow : [ Dispositif + inclusive]
Green : [ Dispositif : inclusive]
Red : [ Dispositif : exclusive]
Yellow : [ Dispositif + inclusive]
Green : [ Dispositif : inclusive]
TRAIN STATION : DOMENECH
URB. BALDRICH [CLOSED SECTION]
27
[ (Thursday 3:00pm + Baldrich Community Center) Sports/Entertainment ] New Public Programs (collective ownership setlement) = > 8 (Common Manifestation)
URB. BALDRICH
Baldrich Community
Baldrich Community Center
[ (x + y) z ] + d = + C Sección Ave. Roosevelt [ (Monday 6:00pm + Roosevelt ave./ Plaza Las Américas/ Coliseo Roberto Clemente) Commercial/ Entertainment ] New Public Programs (collective ownership setlement) = > 8 (Common Manifestation)
[ (x + y) z ] + d = + C
[ (Domingo 11:00pm + Parque Pasivo Zeno Gandía) Competencias de skateboarding] = > 9
Plaza Las Américas
Roosevelt Ave.
[ (Saturday 1:00pm + Roosevelt ave./ Train Station) Leisure/ Entertainment ] New Public Programs (collective ownership setlement) = > 9 (Common Manifestation) *d = Skatepark | Bus Stops with Commercial activity | Gallery @ Train Station | Public Transportation - Light Train
Roosevelt Train Station
José Gandara Park Parque Zeno Gandía
Estación Roosevelt
12’-0” FT
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20’-0” FT
14’-0” FT
20’-0” FT
6’
10’-0” FT
16’-0” FT
[Hardt & Negri] – el nuevo común es un “sujeto político’ que actúa, se manifiesta, se opone, se apropia y cancela el espacio mismo; de este !
Urban Interventions 1’-0” FT
The challenge was to make this formula more inclusive in the use of public places, as a more democratic practice... *d = Public Library | Pools | Tennis Courts | CafĂŠ
*d = Outdoor Market | Bus Stops with Commercial activity Music School | School Yard
Domenech Ave.
Baldrich Entrance
29
Another site of intervention was the community sports center in Baldrich. The strategy, in order to deal with the privatization of various existing programs, was organizing new programmatic relations.
Tennis Courts CafĂŠ Gym
Bus Stop
Park Running Track
Pools
Soccer & Field Hockey
Market Small Theater
School Pavillion
Local TV Station
Parking Public School New Programs Redesigned Programs Existing Progrmas
Programmatic Symbiosis
30
The tennis courts, with a public cafĂŠ and a gym in its first level, were positioned next to the soccer court, both with sharing locker rooms. A Health Market was designed in the center of the site in order to relate it with all the adjacent programs. The new pools were open to the public next to the public park, and a school pavillion served to the existing school inside the site.
Sports Pavilion (1st floor) Gym + Health food center + pools
After School Pavilion Basketball court + Studying areas + playground
Sports Pavilion (2nd floor) tennis courts + Soccer courts + pools
Health Market
Programs 31
The result was a form of urban symbiosis of infrastructure, public and commercial spaces and social integration of individuals sharing collective property.
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Zzzzz...
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La Marina Housing Complex Residential + Institutional + Urbanism + Occupation + Social Justice + Participation
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Located in Barrio Obrero Marina, Caño Martín Peña, San Juan P.R.,Marina is a housing complex that integrates local resident’s interests, their collective work and their efforts to enhance a socio-economic scheme fueled by a self-governance model. The objective was to implement urban solutions in a diverse social, economic and demographic urban context while preserving the socio-cultural conditions of an existing residential enviroment.
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Since the beginning of the 1900’s El Caùo received Puerto Rican workers that migrated from the central area of the island in search of better job opportunites. To resolve the immediate necessity of dwelling, they settled around a mangrove which subsequently evolved into a large community that now shelter’s 27,000 residents.
These communities are vulnerable to health problems related to the abscence of a sound sanitary infrastructure and the ecological degradation of its water sources. Since they historically lacked the support of The State, a public land trust called Fideicomiso de Tierras was organized to develop a self-government scheme which allows the participation of citizens and the collective ownership of land in order to deal with their ecological and social ills.
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In response to the failed public housing projects developed during the modernization period in Puerto Rico (as part of a political and social redemption agenda), Proyecto ENLACE seeks to explore existing conditions of poverty, marginality, identity, sense of belonging, and social participatory interests of public & private sectors with a common vision.
Suggestions of ENLACE : 1. To consider the proportions and scale of the existing community 2. Provide public & private spaces that encourage institutional, cultural and commercial activity 3. Future connections with the proposed urban plan 4. The importance of communal spaces and their own backyard 5. To implement existing entertainment & commercial events The design process involved the consideration of important assets that required to be maintained; as part of the community’s relocation during the future dredging plan. For this, it was fundamental to consider the proportions, scales, aesthetic features as well as other functional and spatial aspects of the already existing houses.
41
Since all the residents wanted views from the apartments, different plan organizations of the units were layed out. Single-loaded corridors seemed appropiate for the unit’s settlement around the site’s periphery. In addition, this arrangement created a hierarchical space in the middle of the site that would later serve as the main public space for the project. Program 6 am
NE
E
winds
Orientation
Housing units Backyard Parking Commercial
12 pm
S
6 pm
N
O Housing units
views
views Community
financial district
views
Changes in scale responding to the context
Communal Backyard Parking Commercial spaces next the main avenues
Main entrance from the community
Diagrams 42
One of the challenges was to design a parking above the ground floor due to geological and phreatic implications. This type of design, along with its size, forced to place the parking in the center of the site and its roof instantly became the communal backyard. This use of the space turned a problem (a masive groundfloor parking) into a potential (its use of the roof).
“ ¡Mami, mami, cómprame uno! ”
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20’
30’
C
10’
7
6
5
B
4
3
2
1
Community
Service B
40’
10 9 11 8
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12
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11
13
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12
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5 3
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Day Care
5’
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Outdoor Market
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16
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E
3
3
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1
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2
3
Outdoor Space : sports, studying areas and kayak rentals
2
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3
B
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1
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3
1
1
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3
2
9
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Split Level Parking
1
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1
3
2
F
2
3 2
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1
1
G
3
5’
16.13 %
3
2
8.06 %
A
1
A
Auto Repair Shop
3
2
C
3
2
1
1
18
17
16
15
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10
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6
5
5
4
3
2
A
1
Ground floor
Gym
N
B
Instead of establishing a monolithic housing project with no variations, the complex was divided into four parts, connected by corridors, bridges and different levels.
A
N
Second floor
B
A
Caño Martín Peña
N
Third floor
45
South elevation
46
West elevation
North elevation
Section A
47
Studio
2 rooms
3 rooms
2 rooms (Second Floor)
3 rooms (Second Floor)
02
1 room
48
Units
1
Wall Section Details:
2
3
4
5
6
7
Elev. 61'-6"
8
1. EDPM Drainage 2. Waterproof Morterplas FPV + Morterplas FP 3. Bituminous plate ( Kolxik-3 o Kolxik-4) 4. Asphalt topping 5. Aisladeck BV / P.I.R. Polyisocyanurate foam 6. 40mm washed concrete pavers 7. Layer - Filter of glass fibre 8. 2x2 continous canstrip 9. Draining board - layer of galvanized tinplate .22. 10. (FLOS) Mini Beam Dali, MountingPendant, suspension cable, indoor, bare lamps, Aluminum 11. GFRC Panel Glass Fiber Reinforced concrete panel 12. Steel beam 10mm 13. Timber window with double glazing, sound insulation glass 14. (FLOS) Mini Glo-Ball S, pendant, suspension cable, 1 x MAX 20W G9 indoor 15. Concrete Handrail 16. Ardex - “Self Levelling concrete topping” 17. Concrete Floor 1’-0” 18. Waterproof membrane 19. 4” of gravel 20. Compact terrain
9 10 11 12 13
6th Floor Elev. 51'-6"
N.P.T
14
3rd Floor Elev. 21'-6"
N.P.T
15 16 2nd Floor Elev. 11'-0"
N.P.T
17
Ponce de León ave.
N.P.T
1st Floor Elev. 0'-0"
18
19 20
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50
The result of the building’s inflection, as a formal gesture responding to the scales, helped to reinforce the community’s identity and sense of belonging. The complex’s lower inflected part opens to welcome all the sides of the community to it’s public spaces.
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Senior Housing & Office Compl ex Residential + Office + Urbanism
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53
Puerto Rico is experiencing one of its biggest exodus. The island’s austerity measures and high unemployment rates have caused younger generations to leave in search of a better future and opportunities. Recent studies report that, as a result of such migratory movement, the population being left behind would be 50 years and over. For this reason, there is an urgent need to set new spaces that respond to the most immediate concerns for the senior citizens; security, protection and a better quality of life.
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55
Apt.
This project envisions the rehabilitation of Santurce’s central sector; specifically “parada 18” in Fernández Juncos Ave. Rather than locating them in isolated spaces and out of the lively urban enviroment, the project seeks to accommodate to their needs in a healthy living way, ensuring them walking distant places, public transportation and active street life.
PKG
S
OF. A. S
A
S
GYM
OF. SP.
INF.
P
Public Private
56
L
Total Area 192,180 ft2
The complex is composed of 65 living units and an office building. The tight building regulations, and the demands between the offices and residences, dictated an array of separated buildings. We proposed to place the apartments facing the main avenues and the office buiding next to a small industrial district. The arrangement created an interior courtyard filled with vegetation, shading and privacy for the security of the residents.
57
Section A
1 room unit 58
Section B
All units have master bed, living and dining rooms oriented to the outside, providing both visibility and shade. The glass façades allows spectacular views and sunlight exposure.
Wall Section Details: 1. EDPM Drainage 2. Waterproof Morterplas FPV + Morterplas FP 3. Bituminous plate ( Kolxik-3 o Kolxik-4) 4. Asphalt topping 5. Aisladeck BV / P.I.R. Polyisocyanuratefoam 6. 40mm washed concrete pavers 7. Layer - Filter of glass fibre 8. 2x2 continous canstrip 9. Draining board - layer of galvanized tinplate .22. 10. (FLOS) Mini Beam Dali, Mounting- Pendant, suspension cable, indoor, bare lamps, Aluminum 11. Timber window with double glazing, sound insulation glass 12. (FLOS) Mini Glo-Ball S, pendant, suspension cable, 1 x MAX 20W G9 indoor 13. Ardex - “Self Levelling concrete topping” 14. Concrete Slab 1’-0” 15. Water Stop 16. Membrane 17. 4” gravel 18. earth 19. Exterior Ceramic rods 1 5/8 inches diameter, 5 feet long, placed at 1.5 feet off the glazed façade 20. Mechanical System 21. Sprinklers 22.“Waffle slab” 3” x 26” 23.“gypsum board” 1”
Roof Floor Elev. 98'-6"
N.P.T
19
20 21
1
2
3
4
5
6
7
Elev. 61'-6"
8
9
N.P.T
Sixth Floor Elev. 51'-6"
N.P.T
Third Floor Elev. 28'-6"
10
11
Sixth Floor Elev. 51'-6"
N.P.T
12
22
23
Third Floor Elev. 21'-6"
N.P.T
Second Floor Elev. 14'-0"
N.P.T
13 Second Floor Elev. 11'-0"
N.P.T
14
Roberto H. Todd Ave.
Torre de la Vega
N.P.T
N.P.T
Primer Nivel Elev. 0'-0"
N.P.T
First Floor Elev. 0'-0"
Parking Elev. -30'-0"
N.P.T
Parking Elev. -10'-0"
15
16 17 18
59
60
Ground Floor - Reception Area
Senior Housing and Office complex is a facility designed to fulfill the desires of senior citizen’s and ensure that their best moments in life are yet to come.
61
Suburban Condenser Research + Urbanism + Technology + Enviroment + Infrastructure
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63
-How do we bring the most useful and needed programs of suburbia to the urban center? -How do we reduce the use of the vehicle as a way to promote an effective urban infrastructural system with the efforts to bring people back to the city? How do we invite individuals to engage in a better use of land by dwelling in already urbanized areas?
64
Evolo Competition
These issues establish the main sustainable objectives: bringing people back to the inner cities and reducing the need of the car, both as an alternative way to deal with our desired “American Dream�. Puerto Rico, having San Juan as its capital, is experiencing a constant a demand to expand and attend to the needs that arise. As a result of this continuous rise in population that manifests in the suburban areas, there has also been a rise in demand and need for recreational spaces, amenities, and specialty stores.
65
These programs, located outside of the urban area, push people to travel out of the city, to shop, recreate, and drive to places, to get everything they are looking for; making people rely constantly on vehicle usage as the main transportation medium. Within the urban areas, recreational and public spaces, along with its amenities, are all dispersed, obliging people to drive to these points of destination by vehicle. This brings negative side effects such as: energy waste, increased air pollution from the emission of green house gases from vehicles, health hazards, and also rejects experiencing the city as a place, not merely a route.
Observatory
Clubs & Restaurants
Outlet Mall The skyscraper reverses the horizontal trend and gives people a place where they can shop and recreate at the same time, creating a center hub of stores that attend to the contemporary lifestyle needs of the population. In a sustainable way, this promotes other means of transportation and alternatives of perceiving and experiencing the city. Addressing social mobility within the city is a key element in promoting sustainability. The skyscraper turns into a framework in the urban tissue, seeking to increase the efficiency of the city, reducing private vehicle dependency, encouraging mass pedestrian transit usage, as well as walking and cycling in the city.
Public Spaces
Cinemas
Philarmonic & Concert Hall
Pedestrian Bridge & Park
66
Condado and Santurce, two of the most important urban areas in San Juan, currently divided and disconnected by a highway, will be linked by the skyscraper thru a pedestrian bridge and walkway.
The skyscraper will include a concert hall for the philharmonic, prime outlet stores, superstores, multilevel plazas, cinemas, clubs, restaurants and observatory on the top floor.
The Condado area is a residential/tourist zone, which contains a lot of pedestrians and Santurce is an area composed, in its majority, of a residential, commercial and the cultural district. The proposal links the suburban amenities within the urban context. 67
J o h n M a l k o v i c h’ s R e s i d e n c e Residential + Theory + Media + Pedagogy + Conceptualization
68
69
The project explored the “intricate necessity for the human body to dwell” . For this, it was necessary to represent the expressions of the human body and problematize them as “a set of systems which are applied to structural, spatial, functional, aesthetical and significance aspects”.7 After analyzing the troubled identity of John Malkovich in his movie Being John Malkovich (2000), the task was to design a residence for him based on the notions of domestic, public & private and the conceptualization of his spatial, tectonic and formal experiences in the film. These were accompanied with an analysis of his complex personality, manners and behaviors.
70
Behavior CHANGE
Bipolar Disorder 71
Along with the subject’s interpretation, formal analyses, cognitive drawings and the development of the project, part of the pedagogical experiment was to “trigger” a dialogue with the “architectural unconscious” and stimulate a relationship with form and creativity in my unconscious.
The idea behind it was to encourage interest in the possibilities of architectural creation, differently from the traditional ways in which architecture education creates signifiers (composition, geometry, etc.).
Process 72
Bedroom Living room
Kitchen Performing stage
Section - program & formal explorations
1st Floor
Jacques Lacan psychoanalysis concepts of the image-screen (The Wall of Language), based on the acquired identity of the subject, and John Hejduk’s “spatial apparatus” (The Wall House) helped to trace and interpret the codification of the Imaginary/ Symbolic apparatus in architecture’s “machinery of subject construction”
2nd Floor
The gaze
image screen
The subject of representation
73
“The Wall is a site of desiring transactions”
“The viewing subject of architecture is not just the observer of an object focused as an image and arrayed before him or her on the plane of perception. Rather, the subject is also produced by the architecture, in the moment of encounter, inasmuch as the architecture- exerts a defining, identifying force back on the subject, and in the same vertical plane, so to speak. Architecture is the point of subjectification from which the viewer’s subject position emerges” 8 Michael Hays on John Hejduk’s Wall House
74
Elevations
‘All of architecture’s latent possibilities, the entire architectural language, lie waiting in accumulated layers just behind the plane. “Its physical by memory”, he says of this plane at one point. His elevation surface–the Wall as a signifying apparatus–contains all the sedimented conventions of the discipline, the codes of architecture built up over centuries From Alberti to Le Corbusier and Mies..., overlaid with qualifications and values, shot through with the ideals and ideologies of past generations.” 9 Michael Hays on John Hejduk’s Wall House
‘The Wall it’s an expanding universe. It’s emanating from a center; it’s an explosive center. And you are in it, you become an element of an internal system of organisms” 10 John Hejduk
75
In addition to being Malkovich’s new residence, the house is a “prosthetic resource� for this psychoanalytical process. It represents the passage between the imaginary and the symbolic orders in language; the origin of signification.
Models 76
In this way, the residence ended as a programmatic crossover between his domestic necessities and Hejduk’s universal Wall.
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MĂŠndez-Bagur Museum History + Research + Preservation + Institutional + Cultural Heritage
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Museum of Luis MĂŠndez Baz y MarĂa Bagur is a residence located in the historic zone of Miramar, Santurce, Puerto Rico. The house was constructed during the 1910s as part of an urban residential development. Its style resembles the Renaissance Revival of the Maisons in Paris during the 19th century and the history tells that its first owners fell in love with the design during a trip to Paris, France. The designer is still unknown.
North elevation / Collage
80
2002 2012 Since then, the house has passed through a series of architectural changes (from additions to new constructions) and actually suffers from deterioration problems due to the elaborate maintainance it requires. Now a days, the family’s heirdoms want to transform the house into a museum and preserve it as part of Miramar’s history.
The project was presented as a real case, and it followed a series of objectives related to preservation’s process such as: investigation and documentation of materials, context, technologies, existing conditions, zoning regulations and historical documents. There was also an interpretative analysis of the traditional theories in architectural history related to preservation, realized during the trimester.
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13’-7’’ 13’-7’’
11’-9’’
11’-9’’
West elevation
East elevation
13’-7’’
12’-1 1/2’’
11’-9’’
South elevation
13’-7’’
12’-1 1/2’’
North elevation
82
11’-9’’
Documentation
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4’-6 1/2’’
3’-0’’
3’-8’’
4’-10’’
’-7 1/2’’
3’-0’’
3’-11’’
4’-3’’
’-3 1/2’’4
’-2 1/2’’
13’-3’’
83
Architectural preservation finds itself between two “conflicting ideologies: Ruin or Restoration” 11. This dichotomy tends to raise concerns about how the object and its documents should be preserved and conserved. The building’s given identity, as a ruin, accepts a condition in time that doesn’t need to question its supposed veracity. On the other hand, restoration’s operational process displaces its temporality by transforming the object/document as a “mechanism of validation” or, in the worst cases, as a “farce”. In this way, they both play an important role in the construction of identitary and cultural imaginaries and in the interpretation of the notions of memory and time, in their own subjective ways.
“To restore a building is not to repair it, nor to do maintenance or to rebuild, it is to reestablish it in an ultimate state that never existed before.” Eugene Viollet-le-Duc (1814-1879)
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“Do not let us deceive ourselves in this important matter; it is impossible, as impossible as to raise the dead, to restore anything that has ever been great or beautiful in architecture.” 84
John Ruskin (1819-1900)
Instead of choosing between the authentic or the restored, a more inclusive path was chosen to propose the co-existence of the old structure and the new one.
The palimpsest, as a conceptual metaphor, helped to trace what the future intervention could be. The palimpsest as a manuscript on which the past writings remain (as visible traces) but it is reused to make room for the future ones12, is a legitimate explanation to understand the “multiple temporalities” that could be combined in a preservation project, without renounicing to the possible dialogue between the old and the new.
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A faceted formal composition with granite stone as material (to contrast it with the existing concrete), was used to differentiate the new intervention with the old. Subsequently, this juxtaposition permitted a multi-layer interpretation that speaks of the building’s lifetime configurations.
“I advocate for a critical philological approach that distinguishes between layers of intervention in order to present the historical structuring of buildings in their material aunthenticity.” Camillo Boito (1836-1914) 85
Section A
Section B
86
North elevation
East elevation
South elevation
87
The design operations helped to formulate a new compositional technique that nurtured from a critical and theoretical perspective. The Museum now enjoys a part of Miramar’s history, conversing with some of the programmatic contemporary features of our era.
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89
Writings Research + Theory + History + Criticism
90
91
Pleasure in Architecture: The Body as a Political Construct Research + Theory + Criticism + Gender + Human Body
Bernard Tschumi, Parc de la Villette 92
The architectural principles of beauty, firmness and
It is important not to consider the body as an in-
utility have been related to pleasure in space since Vit-
dependent entity of space and architecture but as a
ruvius to the present. In the majority of architectural
product and political construct for the conception of
treatises, pleasure has been explained under the effects
pleasure in architecture. For this we have to recog-
of beauty and how it can be considered the subject’s ex-
nise that the production of architecture and the expe-
perience for the appreciation of it.
rience of pleasure are strictly attached to the notions
In history beauty has been a theme of debate and its
that define what is pleasurable to the human body.
interpretation has been recognised because of its polit-
The contemporary discussions of phenomenology,
ical dimension. Beauty went from the normativization
sexuality and biopolitics in architecture point out to a
of the clasical aesthetical pleasure to aesthetical relativ-
quest to set the body’s presence in space. This absence
ity in the XVII century, to the sublime, grotesque and
is becoming evident within the body’s displacement
eccentric in the XVIII and XIX centuries, and contem-
around theoretical architectural debates.
poraneously with the abject, ominous and phenomenological. The experience of pleasure has been recon-
The purpose of this investigation is to explore the tradi-
ceptualized from beauty’s understanding and through
tional architectural principles related to our perception
this a traditional relationship between the artistic object
and ways of experiencing pleasure, through the body, in
and the subject who appreciates it has been established.
space and architecture.
However the work’s communicable capacity has been attached to certain notions of what is to be under-
The problem resides in idenfitying which are the roles of
stood as “pleasurable” from the interpretation of the
pleasure’s notions in the interpretation of architecture
(human) body’s interaction with space. This has pro-
and its relationship with the body.
voked that the experience of the subject, on occasions, depends on external justifications to his or her own forms of enjoying architecture.
93
Miscellaneous Design + Media + Research + Theory + Conceptualization + Pedagogy
94
95
B
E
A C
C
D
D
B
A 96
E
Formal Analyses
97
98
99
E u r i p i d e s :T h e B a c c h a e
“Dionysus, the God of wine, has returned to his native land to take revenge on the puritanical Pentheus who refuses to recognise him of his rites.�
100
101
L i g h t i n g De s i g n 2’-0” ft
A
S
10fc
Duplex
22fc
22fc
L-1
L-3 L-
B
L-7
22fc
10 fc 2’-0” ft
4.8fc
34fc
146fc
4.8 fc
B A
A
L-5 B 60fc
L-2
34fc 175fc
L-5
L-1
22fc
B
60fc B
A
L-6
S S
60fc L-5 B
L-3
A
B DIM
L-4
A 3W DIM
62fc A
22fc
A
L-1 22fc
22fc
62 fc
L-1 32 fc
C
14’-4” ft 5’-6” ft
1’-0” ft
4” in 2” in
1 1/2” in
40 fc
1’-6” ft
34 fc 7.5 fc 1’-0” ft
9’-0” ft
7’-0” ft
30 fc 1’-0” ft 1’-0” ft
60 fc
1’-8” ft 2’-6” ft
22 fc
22 fc
3’-0” ft
175 fc
14 fc 4” in
102
146 fc
22 fc
BB
2’-0”
20fc
2’-0”
L-2
L-2
42 fc
42 fc
L-2
L-2
20fc
20fc
L-3
L-2 L-2
Floating shelf C 30” F.F.F
20fc
2’-0” L-2
L-2
94fc
94fc
L-1
L-2
12’-0”
2’-6”
L-2
L-3
L-2
58 fc
L-2
58 fc
L-2
58 fc
L-1 42.92 fc
L-2
L-2
94fc
14’-0”
4’-0”
2’-0”
Logo (48” dia.)
L-2
75fc
20fc L-2
L-1
Product Displays L-2
6’-0”
L-1
AA
L-2
L-2 94fc
L-1
94fc
L-3 AA
20fc
30”H. Bookcase w/shelves above C 48” & 60”
Notes: 1-Ceiling Height 9’-0” 2-All floors to be carpeted 3-24”x48” exposed “T” ceiling (Layout 2’x2’)
BB
Notes: 1-Ceiling Height 9’-0” 2-All floors to be carpeted 3-24”x48” exposed “T” ceiling (Layout 2’x2’)
Interior Corridor Elevator Lobby 12’-0”
12’-0” X
W
L-1 Gatto Lamp Table lamp providing diffused light 1 x MAX 60W E 27 IAA/W indoor Finish Cocoon Cocoon resin, Steel (V) 230
L-2 3 3/4” Aperture MR16 Slot Reflector Trim Recessed Downlighting Angle 0˚-30˚ @ 6 ft angle 0˚ L 4.0’ W 4.2’ Fc 42
Ceiling Mounted Wall Washer
Duplex Outlet @ 18” inches f.f.f
Adjustable Accent Light Ceiling Mounted Recessed
S
Interruptor Wall Switch @ 42” f.f.f unless otherwise indicated
58 fc
Telephone Outlet
1’-0” Exit Sign (Ceiling Mounted)
1’-6”
1’-0”
9’-0”
Recessed Accent Lighting @ 2 ft from C Distance 3‘-0”h angle 30˚ L 3.5’ W 1.9’ Fc 94
L-3 Exit sign Recessed Edge-Lit LED Double face/ red Clear Panel ceiling trim finish - black battery back-up housing aluminum
Ceiling Mounted Down Light Letter denotes switch
42 fc
2’-6”
42 fc
EXIT
4’-0”
6’-0”
2’-0”
1’-6”
1’-0”
9’-0”
9’-0”
2’-0”
2’-6”
42 fc
16’-0”
2’-6”
14’-0”
103
(1923) G errit Rietveld‘s End Table
Divantafeltje Materials mahogany
table top (1x) 500 x 500 x 10 element below table top (1x) 200 x 350 x 18 element on base (1x) 240 x 350 x 18 base (1x) 400 X 25 rail under table top (1x) 15 x 15 x 425
104
250 600
100 250 25 50
115
18
145 500
122
50
75 37 18
145
225
15
500
105
Collages
106
Voyeurism in Architecture
107
Austerity Debate
108
109
Empire of Excess 110
111
Notes 1. Bernard Tschumi, Architecture and Disjunction (Cambridge: MIT Press, 1994). p. 254 Space of Agonism: Reconfiguring the Capitol of Puerto Rico 2. Chantal Mouffe, Agonistics: Thinking the World Politically (Verso Books, 2013). p.119 3. David Harvey, Rebel Cities:From the Right to the City to the Urban Revolution, (Verso Books, 2013) Preface Urbanism: The Common Border, in collaboration with Damaris Rivera and Astrid Danivé fig. 2. picture p. 59, Map_SJU_Metropolitana_BW, www.earth.google.com/maps fig. 3. 1951_Hato Rey, Archivo Digital USGS, 1:15,000 GS-LR-12 108 4. Michel Foucault, Power/Knowledge Selected Interviews and Other Writings, (Ed. Colin Gordon, 1980),p.194-228 fig. 4. picture p. 65, Baldrich Community, photographer Gabriel Rivera-Pagán, 2013 5. Dinzey-Flores, synopsis explaining her book Locked in, Locked out: Gated Communities of the Rich and Poor in a Puerto Rican City, School of Arts and Sciences - The University of New Jersey, 2013. Department of Sociology 6. Michael Hardt & Antonio Negri, Multitude, ed. Penguin Books (New York, 2004) p. 202 fig. 5. picture p. 78, www.earth.google.com/maps Baldrich La Marina Housing Complex fig. 9. picture p. 37, Caño Martín Peña 19:30 8 nov 2012, es.m.wikipedia.org fig. 10. picture p. 40, Caño Martín Peña 1936, www.dragadomartinpena.org fig. 11. picture p. 41, Modern Buildings tower over the shanties crowded along the Martín Peña Canal, San Juan:photo by John Vachon for the Enviromental Protection Agency’s Documerica Project, February 1973 (U.S. National Archives), www.tomclarkblog.blogspot.com fig.12. picture p. 42, Comunidad La Marina, Caño Martín Peña, photographer Gabriel Rivera-Pagán, 2013 John Malkovich’s Residence fig. 13. John Malkovich’s Picture p. 7, www.fanpop.com 7. Prontuario General curso ARCH 1020: Diseño Básico II, Universidad Politécnica de Puerto Rico Escuela de Arquitectura 8. K. Michael Hays, Architecture’s Desire: Reading the Late Avant-Garde, (Cambridge: MIT Press 2010) p. 97 9. K. Michael Hays, Architecture’s Desire: Reading the Late Avant-Garde, (Cambridge: MIT Press 2010) p. 97 10. John Hejduk, Mask of Medusa: Works, 1947-1983, ed. Kim Shkapich (New York: Rizzoli 1985), pp. 50, 62 Méndez-Bagur Museum
fig. 14. Picture p. 17, Ornament Detail, Cuevillas st. 607 Casa Luis Méndez Baz y María Bagur, photogra-
pher still unknown. Group research, Conservation course 3020 UPPR. fig. 15. Picture p. 18, Miramar 1916, photographer still unknown. Group research, Conservation course 3020 UPPR fig. 16. picture p. 20 Cuevillas 607 History, picture 2002, photographer still unknown. Group research, Conservation course 3020 UPPR 11. Venice Biennale 2010: Cronocaos Exhibition OMA/AMO, Venice, Italy. 2010 12. Dictionary, version 2.2.3 (118.5), 2005-2011 Apple Inc. All Rights Reserved, definition palimpsest Suburban Condenser, in collaboration with David Alemán, Frank Jorge Morales and Lianabel Paz fig. 17. picture p. 87, en.wikipedia.org/Santurce, San Juan, Puerto Rico/file: San Juan from above.jpg
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