G I N A C H AVA R R I A G A PORTFOLIO 2010
GINA CHAVARRIAGA
5427 SW 127 WAY | Miami, FL 33175 | 305.812.6531 | gina_chava@yahoo.com
MY INTENTIONS TO PURSUE THE FIELD OF ARCHITECTURE IS TO BE ABLE TO DESIGN FORMS, STRUCTURES THAT REDEFINE ARCHITECTURE, REDEFINE SPACES, SUPERIMPOSING INTERIOR AND EXTERIOR, AND ESSENTIALLY CREATING A WORK OF ART THAT IS FUNCTIONAL. MY PLAN IS TO ABSORB DIFFERENT TECHNIQUES, STYLES, AND METHODS OF THE DESIGN PROCESS IN ORDER TO GAIN NEW PERSPECTIVES AND APPLY THEM IN THE FUTURE. I AM CONSTANTLY LOOKING BACK TO PRINCIPLES AND PREVIOUS PROJECTS IN ORDER TO REINVESTIGATE THEM AND APPLY THEM IN A NEW INNOVATIVE WAY YET SILL MAINTAIN SMPLICITY AND FUNCTIONALITY. I WANT TO APPLY EVERYTHING THAT I HAVE LEARNED AND WILL LEARN TO CONTRIBUTE TO COMMUNITIES AND CREATE CITIES OF GREAT ARCHITECTURE. I PLAN TO STAY TRUE TO GOOD DESIGN THAT DOES NOT OVER POWER ITS LOCATION BUT RATHER EMBRACE ITS SURROUNINGS. EMBRACE THE ENVIRONMENT BY INTEGRATING SUSTAINABLE DESIGN TO REDUCE ENVIRONMENTAL IMPACT. I BELIEVE THERE IS A HUGE NEED OF GREAT ARCHITECTURE AND I PLAN TO BE A PART OF CREATING BETTER COMMUNITIES.
G I N A C H AVA R R I AG A
CONTENTS
THRESHOLDS| LIBRARY AT MIRACLE MILE SYMMETRY| MIXED USE HOUSING STRETCHING| ROOM FOR A COLLECTOR DUALITY | URBAN DESIGN IN GENOA FRAMING | HIGH DENSITY AFFORDABLE HOUSING SKETCHES| ITALIAN ARCHITECTURE
THRESHOLDS| LIBRARY AT MIRACLE MILE
DESIGN 5. PROF. ELIZABETH CARDONA
LIBRARY AT MIRACLE MILE
8/51
threshold within the mile
A
PROCESS
The grid is based to the proportions of the site and is manipulated by the site’s circulation. The main axis of the block is off centre therefore the main axis of the site is shifted to the right. In order to embrace miracle mile’s circulation and welcome pedestrians from the intersection the site centre and the block’s centre slide to create a threshold. This shift, in turn, causes program to shift as well and push other program up or down. The centre of the site is highlighted by a higher wall, while the shift is expressed by the longer wall in plan. These two load bearing walls are the primary structure and the space between them becomes the primary circulation within the building.
PUBLIC ENTRY AND CIRCULATION 1 ENTRANCE LOBBY 2 CONTROL/DESK/GREETER 3 CIRCULATION DESK 4 CIRCULATION WORKROOM 5 BOOK RETURN 6 REST ROOMS 7 EXHIBITION ADMINISTRATION 8 LIBRARY DIRECTOR 9 ASSISTANT DIRECTOR 10 VOLUNTEERS WORKROOM 11 CONFERENCE ROOM 12 RESEARCH ROOM COMMUNITY RESOURCES 13 COFFEE SHOP 14 GIFT/BOOK SHOP REFERENCE DEPARTMENT 15 REFERENCE DESK 16 REFERENCE WORK ROOM 17 PATRON SEATING 18 PERIODICALS ADULT AND YOUTH DEPARTMENT 19 BOOK STACKS 20 ADULT SEATING AREAS 21 YOUNG ADULTS PUBLIC SUPPORT 22 COMPUTER ACCESS AREA 23 STORAGE 24 EXTERIOR SPACE
B
C
6 8
9
D 12 11
4
3
15
2 14
E 1
F
5
THRESHOLDS| LIBRARY AT MIRACLE MILE
9/51 149 Miracle Mile Miami, Miami-Dade, Florida
A
CB
C
17
17
17 23
6
6
20
20
20
22
22
23
23
24
24
22
9 20
20
20
12 4
4
3
3
19
19
2
5
2
15
24
15
24
24
24
5 20 18
20
14
1
19 15
20 18
1
18
21 20
20
20
21
21
10/51
SECTION A-2
ELEVATION B-1
SECTION A -1
THRESHOLDS| LIBRARY AT MIRACLE MILE
11/51
SECTION A-4
ELEVATION B-2
SECTION B -1 SECTION A -3
12/51
THE IDEA BEHIND THE THRESHOLDS ARE THAT EACH WALL ADDRESSES A CENTER. THE TALLER 2 FOOT WALL IS THE CENTER OF THE ACUTAL SITE WHILE THE LONGER WALL, IN PLAN, RELATES TO THE CENTER OF THE ENTIRE BLOCK. THE PROGRAM WAS INITIALLY ARRANGED IN VOLUMES ACCORDING TO THE CENTER OF SITE THEN SHIFTS INTO THE CENTER OF THE BLOCK CREATING INTERESTING CONNECTIONS, VOIDS AND SPACES. BETWEEN THESE TWO HEAVY 2 FOOT STRUCTURAL WALLS IS THE MAIN AREA FOR CIRCULATION AND THEY ATTRACT PEDESTRIANS TO THE SITE AS THE STRUCUTRE ALMOST IMPEDES THE CURRENT CIRCULATION INTO IT.
THRESHOLDS| LIBRARY AT MIRACLE MILE
13/51
LONGITUDINAL SECTION
TRANVERSE SECTION
14/51
1
5
2
6
7
THRESHOLDS| LIBRARY AT MIRACLE MILE
15/51
3
1. MODEL INVESTIGATING THE VOLUMES AND HOW THEY WILL BE MANIPULATED IN THE NEXT STEP. 2. FINAL MODEL PERSPECTIVE VIEW 3. VIEW OF THE CIRCULATION BETWEEN THE STRUCTURAL WALLS 4. VIEW FROM ABOVE 5.INTERIOR VIEW OF 3RD FLOOR AND ITS CIRCULATION 6. INTERIOR VIEW OF LIBRARY, LIGHT WELLS AND STAIRS 7. VIEW OF INTERIOR DEMONSTRATING THE POSSIBITLY OF USING THE WALLS AS A TABLE. 8. FIRST FLOOR CIRCULATION
4
SYMMETRY| MIXED USE HOUSING
DESIGN 6. PROF. JASON CHANDLER
MIXED USE HOUSING
18/51
reflecting symmetry in the design district
NORTHEAST PERSPECTIVE
SOUTHEAST PERSPECTIVE
NORTHWEST PERSPECTIVE
SOUTHWEST PERSPECTIVE
MIXED USE HOUSING| DESIGN DISRICT
19/51
DIAGRAM OF SITE
SITE IN CONTEXT
THE PROCESS WAS MIRROR FLIP ROTATE EXTRUDE. THE PROJECT MIMICS THE CONTEXT AND ENGAGES tHE PROGRAM IN CONTEXT. LITTERALLY APPROPRIATING THE CONTEXT’S PROPORTIONS.
TOP: PRIVATE VS PUBLIC BOTTOM: EGRESS. REFLECTS THE THREE CORE POINTS FOR CIRCULATION.
PROCESS DIAGRAM
NORTH ELEVATION
SCALE 1/4”=1’0”
OAK PLAZA
20/51
THE CURRENT BUILDING IN THE SITE PROMOTES NO ACTIVITY WHATSOWEVER SO THAT BECAME THE GOAL, TO PROMOTE ACTVITY INTO THE SITE. ACROSS FROM THE SITE IS OAK PLAZE DESIGN IN L SHAPE AND THIS AREA NEEDED TO HAVE AN IMPLIED ENCLOSURE THEREFORE THE STRATEGY WAS TO MIRROR AND FLIP. THEN THE SECOND MAIN AREA NEED TO BE ADDRESSED SO THE L SHAPE WAS REUSED TO ADDRESS THAT ACTIVTY AS WELL. THESE TWO MAIN AREAS FOR ACTIVITY ALSO HAD NO LINK, PRATICAL CIRCULATION OR FLOW SO THIS PROPOSAL HAS A VOID TO CONNECT THESE POINTS OF INTEREST. THE BUILDING WAS NEEDED FOR MIXED USE HOUSING. THE THREE PRIMARY PROGRAMS WERE RETAIL (PUBLIC) STUDIOS (SEMI-PRIVATE) AND RESIDENTIAL (PRIVATE). THEY ARE DISTIGUISHED VIA MATERIALITY THAT REFLECT ITS PROGRAM. PUBLIC ARES WERE DESIGNED COMPLETELY TRANSPARENT TO GIVE A SENSE OF AIRINESS AND WELCOME THE CIRCULATION IN AND A PUBLIC FEELING. THE SEMI-PRIVATE STUDIOS WERE DESGNED WITH METAL CLADDING SO THAT RESIDENTS COULD SEE OUTWARDS BUT FROM THE OUTSIDE IN IS A BIT MORE DIFFICULT TO SEE THROUGH AND PROVIDES SHADE AS WELL. PRIVATE, RESIDENTIAL UNITS WERE DESIGNED OF CONCRETE CREATING A VERY PRIVATE FEELING TO IT. THE SECONDARY PROGRAM WERE EXTERIOR SPACES FOR THE RESIDENTS. THERE ARE TWO AREAS FOR RECREATIONAL ACTIVITIES ONE OF THEM IS LOCATED ON THE THIRD FLOOR. IT IS BRIGHT YET UNDER THE SHADE SO IT LENDS ITSELF TO COMFORTABLE GATHERING AREA. THE SECOND IS LOCATED ON THE FIFTH FLOOR WITH NO ROOF FOR OTHER ACTIVITIES. THE THIRD FLOOR EMPHASIZES THE CONTINUTY OF THE SITE’S DIMENSIONS AND PROPORTIONS.
METAL CLADDING BRACE
COLUMN
SITE CAST CONCRETE MULLION
STRUCTURAL SECTION
UNIT TWO
4 4
1 2 3 4 5
BATHROOM BEDROOM 1 KITCHEN 2 LIVING DINING 3 PORCH 4 5
MIXED USE HOUSING| DESIGN DISRICTBATHROOM 5
5
5
4
1
3 1 4 2 5 3 4 5
3 1
BATHROOM
UNIT ONE 2 BEDROOM
53
4
1
21/51
UNIT ONE
2
BEDROOM KITCHEN LIVING DIN PORCH
KITCHEN LIVING DINING BATHROOM PORCH BEDROOM KITCHEN LIVING DINING PORCH 1 1
2
2 2
STUDIOS
3
1
3
1 2 3 4 5
2
1
4 4
2
3
UNIT TWO
3 4
1 BATHROOM UNIT TWO 2 BEDROOM
5
4
5
3 1 4 2 5 3 4 5
KITCHEN LIVING DINING BATHROOM PORCH BEDROOM KITCHEN LIVING DINING PORCH
5 5
STUDIOS
ARCHEOLOGIST COLLECTOR 1 ARCHEOLO ARCHITECT 2 COLLECTO HISTORIAN 3 ARCHITEC FASHION 4DESIGNER HISTORIAN 5 FASHION D
22/51
SECTION 1
SECTION 4
SECTION 3
SECTION 4
LOBBY GALLERY 1 GALLERY 2 GALLERY 3 GALLERY 2 LOUNGE UNIT FOR ARCHITECT STUDIOS FASHION DESIGNER UNIT ARCHEOLOGIST UNIT OUTDOOR AREA COLLECTOR UNIT HISTORIAN UNIT
SECTION 2
SECTION 2
1 2 3 4 5 6 7 8 9 10 11 12 13
SECTION 3 1
1
SECTION 1 4 2
4
2
3
3 5
5
MIXED USE HOUSING| DESIGN DISRICT
23/51
9
6
6
9
12
9
6 8
7
7
7
8
11
8
10
10
10
11
12
12
11
13
13
24/51
WEST ELEVATION
SECTION 1
NORTH ELEVATION
SECTION 2
MIXED USE HOUSING| DESIGN DISRICT
25/51
EAST ELEVATION
SECTION 3
SOUTH ELEVATION
SECTION 4
STRETCHING| ROOM FOR A COLLECTOR
DESIGN 6. PROF. JASON CHANDLER
ROOM FOR A COLLECTOR ROOM FOR A COLLECTOR an extenstion of the Farnsworth house
28/51
at the Farnsworth house
PERSPECTIVE VIEW. FARNSWROTH HOUSE EXTENSION INTO A ROOM FOR A COLLECTOR. THE PROGRAM FOR THIS PROJECT WAS TO CREATE A SPACE FOR BOOKS AND ARTWORK. THE ROOM WAS THEREFORE ELEVATED IN ORDER TO KEEP THE BOOKS FROM GETTING WET DURING THE RAINY SEASON. THE STRUCTURE MIMICS AND REPRESENTS THE FARNSWORTH HOUSE USING THE SAME CONCEPT OF THE CORE AND APPLYING A CONTRAST OF MATERIALS.
ROOM FOR A COLLECTOR| PUSHING THROUGH THRESHOLDS
29/51 DIAGRAMATICAL PLAN.THE FARNSWORTH HOUSE; THE INSIDE, A ROOM FOR A COLLECTOR . THE IDEA IS ABOUT REFLECTING THE CORE OF THE FARNSWORTH INTO A WALL. THE CORE IS PUSHED THROUGH A 2 FOOT WALL AND SEEMS TO STRETCH IT TO THEN CREATE SPACES FOR ART WORK, THE 3 PAINTINGS BY FRANCIS BACON AND OF COURSE, THE LARGE VIEW TOWARDS THE FARNSWORTH HOUSE. THE SECOND STRUCTURE’S PROGRAM IS FOR THE COLLECTION OF BOOKS. THE FIRST SET OF STAIRS REFLECT THAT OF MIES VAN DER ROHE.
30/51
THE THREE STUDIES OF LUCIEN FREUD BY FRANCIS BACON
LE CORBUSIER STOOLS AND TABLE
ROOM FOR A COLLECTOR| PUSHING THROUGH THRESHOLDS SECTION 2
THE THREE STUDIES OF LUCIEN FREUD BY FRANCIS BACON WERE A REQUIREMENT FOR THE PROJECT AND ARE LOCATED ON THE “PEIRCED” WALL PROTECTED FROM LIGHT USING THREE PANELS.
SECTION 1
THE CORBUSIER STOOL AS WELL AS THE TABLE ARE LOCATED IN THE CENTRAL AREA LOOKING BACK AT THE FARNSWORTH HOUSE.
THREE STUDIES OF LUCIEN
BOOKSHELVES ARE INCORPORATED THROUGHOUT THE LIBRARY FOR THE COLLECTOR AND ALMOST BECOME A TYPE OF WALLPAPER TO THE SPACE. BOOK COLLECTION 3
PLAN
SECTION 1
SECTION 2
31/51
BOOK COLLECTION 1 & 2
FRAMING| HIGH DENSITY AFFORDABLE HOUSING
DESIGN 8. PROF. NIKOLAY NEDEV
HIGH DENSITY AFFORDABLE HOUSING
34/51
framing the metromover
Urban Strategy The urban strategy is to create an interior space within a threshold. This method then creates a double facade made up of a high density housing development. These “facades”, are shallow, as shallow as its own stairs. The project establishes a Modular Standardization minimizing construction waste. However the monotomy of the modular building block is dissolved in terms of the facade as well as in internal spatial configurations by the habitants themselves. The occupants manipulate the facades by opening or closing their “walls” and a variety of internal spatial configurations are generated. Various types of spatial configurations are generated to suit for various sizes of families. Larger familes are use 5 modular building blocks with “vertical courtyards. Every unit, except those designed for just 1 habitant, is contains “vertical courtyards.” The thiness of the “facades” allows to design in section. This perspective allows for “vertical courtyards” than penetrated the thin facade. These “courtyards” become peircing holes in the facades.
Site Development. Maximizes open space
Small Footprint. Modular system of 12’ x 10’
35/51
Metromover. Alternative transportation.
Public use. Bicycle storage and changing rooms.
Parking. Integrated covered parking for residents reducing the heat island effect.
Site plan10’
Diagramatical Elevation
36/51 The Process The process began by understanding that the metromover acts as a threshold. This urban device can be further defined by spliting this threshold into two facades and then creating space within as well as within the facades themselves. A modular system was applied creating strips that then fold and wrap around the metromover accorind to boudaries and site restrictions. These strips create covered parking and define new spaces.
37/51
Unit 1
Unit 4
Unit 7
Unit 2
Unit 5
Unit 8
Unit 3
Unit 6
Unit 9
38/51
Top: Plan
Bottom:Section
39/51
2nd floor
3rd floor
4th floor
10’
40/51
Reclaimed Dade County Pine
Corrugated Metal
Bamboo C Channel Steel ibeams
Piano Hinge Interior layer
Reclaimed Dade county Pine
Steel Exterior facade
Materiality The materiality and products were chosen with intent to reduce a demand for virgin material, depletion of finite raw materials, reduce waste, thereby lessening the impacts associated with the extraction and processing of virgin resources, implemeting long-cycle renewable materials
INNOVATION & DESIGN PROCESS
41/51
Credit 1.1 Innovation in Design. Operable Walls
(1pt)
Operable Walls The majority of walls within the proposed housing development are composed of operable walls. The walls offer a variety of compostios from completely closed to fully open. This allows for a wide selection of wind circulation as well as a selection of privacy.
42/51
43/51
0’
Tranverse Section 5’
10’
44/51
45/51
DUALITY| URBAN DESIGN IN GENOA
DESIGN 7. PROF. MATHEW RICE
DUALITY OF DATUM
48/51
urban design for Piazza Vittoria in Genova, Italy
THE RELATIONSHIP BETWEEN STREET AND VOLUMES OR FIGURE AND GROUND WAS TAKEN INTO CONSIDERATION AS WELL AS THE STRATIFICATION OF CITY LEVELS, OR THE “ROOF” CONDITION CREATED. FRAGMENTED PLANES FORM THE STRATIFICATION OF “ROOFS” BUT TOGETHER THEY READ AS ONE CONTINUOUS LANDSCAPE, OR DATA. THE VOLUMES CREATE AN EDGE CONDITION TO THIS DATA IN THE BOTTOM LEVEL. THIS URBAN ANALYSIS IS CONTINUED AND INVESTIGATED THROUGHOUT THE PROJECT TOWARDS AN ABSTRACT PROPOSAL OF APPROACH TO URBAN ARCHITECTURE. IT’S ABOUT THE CONTINUATION OF THE URBAN FABRIC COMBINED WITH CONTINUATION HORIZONTALLY USING A DATUM. THE PROJECT RELATES TO THE SCALE AND PROPORTIONS OF GENOA AND CONTINUES THE URBAN FABRIC BY INSERTING OBJECTS TO CREATE A NEW FIELD. SPACE IS DEFINED AND MANIPULATED BY THE OBJECTS AND STREETS. THE DATA IS DEVELOPED USING THE HORIZONTAL TENSION CREATED BY THE TRAIN STATION AND THE HILL IN PIAZZA VITORIA. THE DIMENSIONS OF VOLUMES, OR OBJECTS, ALSO RELATE TO THE TRANSITION OF SCALE AND PROPORTION. THE DATA IS SPLIT IN TWO, CREATING TWO DIFFERENT FIELDS AND YET THEY RELATE DIRECTLY TO EACH OTHER IN TERMS OF REVERSE FIGURE GROUND. THE DUALITY OF ONE DATA WAS DEVELOPED IN NEGATIVE VS. POSITIVE ASPECT. ONE DATA IS DESCRIBED BY CREVICES OF SKY, THE OTHER BY OBJECTS.
DUALITY OF DATA| URBAN DESIGN IN GENOA, ITALY
49/51
1
40
80
50/51
1
1. DRAWING. REFLECTING THE DUALITY OF DATA WHERE BOTH LEVELS ARE EQUAL 2. AXON DIAGRAM- DEMONSTRATES THE TRANSITION OF PROPORTION FROM OLD CITY TO NEW CITY AND INCORPORATES THE CITY’S GRAIN.
3. DIAGRAM. SHOWS THE GRAIN ON AND PROPORTION TRANSITION. OBJECTS IN A FIELD 4. GRID SYSTEM OF THE EXISTING PIAZZA VITTORIA.
5. ORIGINAL ANALYSIS OF THE SITE. 6. DIAGRAM OF THE PROCESS OF THE DUALITY OF THE DATA
DUALITY OF DATA| URBAN DESIGN IN GENOA, ITALY
51/51
2
3
4
5
6
52/51 EXTERIOR VIEW DEPICTING THE DUALITY OF DATA.. VOLUMES CONTINUE THE GRAIN OF THE CITY.
DUALITY OF DATA| URBAN DESIGN IN GENOA, ITALY
53/51 INTERIOR VIEW EMPHASIZING FIGURE VS GROUND BY MEANS OF CREVICES.
SKETCHES| ITALIAN ARCHITECTURE
DESIGN 7. PROF. MATHEW RICE
56/51
SKETCHES| ITALIAN ARCHITECTURE
57/51
58/51
SKETCHES| ITALIAN ARCHITECTURE
59/51
60/51
SKETCHES| ITALIAN ARCHITECTURE
61/51
62/51
SKETCHES| ITALIAN ARCHITECTURE
63/51