2018 HARRISON STEINBUCH
SELECTEDWORKS
HARRISON STEINBUCH WORKS SAMPLE WWW.HARRISONSTEINBUCH.COM STEINBUCH.4@GMAIL.COM
513.518.2365
2018
HARRISON STEINBUCH | INFORMATION
RESUME
STEINBUCH.4@GMAIL.COM
513.518.2365 WWW.HARRISONSTEINBUCH.COM
EDUCATION
SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE (LOS ANGELES CA, SEPTEMBER 2012 TO SEPTEMBER 2014) GRADUATED MASTER OF ARCHITECTURE WITH DISTINCTION THE OHIO STATE UNIVERSITY (COLUMBUS OH, SEPTEMBER 2008 TO JUNE 2012) GRADUATED BACHELOR OF SCIENCE IN ARCHITECTURE
EXPERIENCE
WARREN TECHENTIN ARCHITECTURE (WTARCH) (LOS ANGELES CA, JANUARY 2018 TO PRESENT) FRANKLIN CANYON RESIDENCE: 2018 3,000 SF HILLSIDE RESIDENCE IN BEVERLY HILLS, CALIFORNIA. PROJECT DESIGNER, PROJECT MANAGER, CONSTRUCTION DOCUMENTS. MOTOR MIXED-USE DEVELOPMENT: 2018 INFILL MID-RISE INCLUDING COMMERCIAL AND 36 UNITS IN PALMS, CALIFORNIA. PROJECT DESIGNER, PROJECT MANAGER, CONSTRUCTION DOCUMENTS. SILVERLAKE RESIDENCE: 2018 HILLSIDE RESIDENTIAL RENOVATION IN SILVER LAKE, CALIFORNIA PROJECT DESIGNER, PROJECT MANAGER, CONSTRUCTION DOCUMENTS. OYLER WU COLLABORATIVE (LOS ANGELES CA, DECEMBER 2014 TO DECEMBER 2018) IRWIN CONFERENCE CENTER: THE EXCHANGE: 2016-2017 PAVILION INSTALLATION FOR EXHIBIT COLUMBUS, INDIANA PROJECT MANAGER. DIGITAL DESIGNER. FABRICATION MANAGER. LEAD FABRICATOR. CONSTRUCTION AND PRESENTATION DRAWINGS. 3DS CULINARY LAB: 2014-2015 INTERIOR RENOVATION AND GUARDRAIL INSTALLATION. PROJECT DESIGNER. DIGITAL MODELER. GUARDRAIL FABRICATION MANAGER. PRESENTATION DRAWINGS IN COLLABORATION WITH DWAYNE OYLER. HEADSPACE MEDITATION PODS: 2015-2016 ERGONOMIC SCULPTURE. PROJECT DESIGNER. DIGITAL MODELER. LEAD FABRICATOR, 5 PROTOTYPES. CONSTRUCTION AND PRESENTATION DRAWINGS.
P-A-T-T-E-R-N-S (LOS ANGELES CA, SUMMER 2013) THE LEAGUE OF SHADOWS: SCI-ARC GRADUATION PAVILION. DIGITAL DESIGNER AND FABRICATOR. TEXTILE ROOM INSTALLATION: CARBON FIBER SKIN INSTALLATION. NEW SCULPTURALISM EXHIBIT, M.O.C.A. SOLA VILLAGE: 1.6 MILLION SQUARE FOOT MULTI-PURPOSE BUILDING COMPLEX ALONG THE BLUE LINE, LOS ANGELES. DIGITAL DESIGN DEVELOPMENT. SHP LEADING DESIGN (COLUMBUS OH, SUMMER 2011 AND SUMMER 2012) RAMTEC: 2012 TRI-RIVERS CAREER & TECHNOLOGY CENTER. 10,000 SQUARE FOOT ROBOTICS FACILITY. PROJECT DEVELOPMENT. REVIT DESIGN. CONSTRUCTION DOCUMENTS. OHIO STATE SCHOOL FOR THE DEAF AND BLIND: 2011 MULTI-MILLION DOLLAR EDUCATIONAL AND LIVING FACILITIES. REVIT DEISGN, CONSTRUCTION DOCUMENTS, MATERIAL STUDIES. SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE (LOS ANGELES CA, FALL 2013 TO SPRING 2014) THESIS TEACHING ASSISTANT: WEEKLY RESEARCH AND DESIGN DISCUSSIONS WITH 48 STUDENTS UNDER DWAYNE OYER. FABRICATION SHOP: ABS AND POWDER 3D PRINTING, CNC MILLING, WOODWORKING, SHOP ORGANIZATION, TOOL RENTAL AND INSTRUCTION. FRATERNITY EXECUTIVE BOARD MEMBER (THE OHIO STATE UNIVERSITY, FALL 2009 TO SPRING 2010) HOUSE MANAGER: CHAPTER OF THE YEAR 2010. HOUSE MAINTANENCE AND OPERATIONS. INTERIOR WALL GRAPHIC DESIGNS, STADIUM SEATING AND STUDY ROOM DESIGN/ FABRICATION, BASEMENT AIR DUCT INSTALLATION. + RHINOCEROS + MAYA + AUTOCAD + REVIT + Z-BRUSH + GRASSHOPPER + MAXWELL + VRAY
+ ADOBE PHOTOSHOP + ADOBE ILLUSTRATOR + ADOBE INDESIGN + ADOBE AFTER EFFECTS + ADOBE PREMIERE + MICROSOFT SUITE
+ MODEL MAKING + CNC MILLING + LASER CUTTING + 3D PRINTING + VACCUFORMING + SCULPTING + PAINTING + SKETCHING
+ WOOD FABRICATION + STEEL FABRICATION + PHOTOGRAPHY
WORKS SAMPLE FRANKLIN CANYON RESIDENCE | HILLSIDE SINGLE FAMILY HOME 3DS CULINARY LABORATORY | INTERIOR RENNOVATION MOTOR MIXED-USE DEVELOPMENT | INFILL MID-RISE IRWIN CONFERENCE CENTER: THE EXCHANGE | INSTALLATION TRI-RIVERS CAREER & TECHNOLOGY CENTER | ROBOTICS TRAINING LAB OHIO STATE SCHOOL FOR THE DEAF AND BLIND | EDUCATIONAL FACILITIES ACTIVE INLAY FURNITURE | FURNITURE DESIGN HEADSPACE MEDITATION PODS | ERGONOMIC SCULPTURE
FRANKLIN CANYON RESIDENCE HILLSIDE SINGLE FAMILY HOME
|
IN DEVELOPMENT
WARREN TECHENTIN ARCHITECTURE | 2017 - PRESENT PROJECT DESIGNER. PROJECT MANAGER. CONSTRUCTION DOCUMENTS. THIS THREE BEDROOM, THREE BATHROOM, SINGLE FAMILY HOME - CURRENTLY UNDER DEVELOPMENT - IS FULLY EMBEDDED INTO ITS 1:1 HILLSIDE SITE, REPLACING 2,400 CUBIC YARDS OF EARTH ALONG FRANKLIN CANYON. THE MULTIPLE RETAINING WALL SYSTEM, DEFINED BY NUMEROUS CODE SPECIFICS OF THE LOS ANGELES HILLSIDE BUILDING ORDINANCE, CLEARS A CAVERNOUS SPACE ON THE LOT RESULTING IN AN ARCHITECTURE THAT STRUGGLES TO ASSERT ITSELF FROM THE DEPTH OF ITS FOUNDATION.
EACH FLOOR UTILIZES THE MAXIMUM HEIGHT ALLOWABLE BY CODE (14 FEET) TO HELP PULL THE BUILDING OUT OF THE GROUND; SIMULTANEOUSLY ALLOWING NATURAL LIGHT TO PENETRATE THE SPACES WHILE ALSO GIVING THE HOME AN AIR OF GRANDIOSITY, DESPITE ITS SMALL SIZE.
TO HELP FURTHER EXPRESS
THE HOME AS A PART OF A RETAINING SYSTEM, THE MAJORITY OF THE HOME WILL BE CONSTRUCTED FROM BOARD-FORMED CONCRETE (BOTH INSIDE AND OUT),
EMBRACING THE MATERIALITY WHILE ALSO EVOKING A SENSE OF SERENITY IN A NOD TOWARDS THE MINIMALIST QUALITIES OF BRUTALIST FORM.
BOOLEAN GEOMETRIES CUT INTO THE BUILDING MASS IN ORDER TO BREAK UP THE FORM AND ADD CHARACTER TO THE SPACES AS THEY RISE FROM BELOW GRADE. THE BASIC MASSING FOLLOWS THE EDGE OF THE RETAINING WALL AND IS ORGANIZED IN ELEVATION AROUND THE CRUCIFORM.
THE CENTRAL CIRCULATION CORE FURTHER
DEFINES THE CANTILEVERED MASTER SUITE POPPING OUT TO ONE SIDE AND THE OPEN PLAN GREAT ROOM EMBEDDED IN THE OTHER. THREE OBJECTS PERCHED ALONG THE UPPER MOST LEVEL
- ONE SOLID, ONE VOID, AND ONE FRAME - DEFINE ITS
UPHILL SILHOUETTE BOTH REINFORCING THE FORMALITY OF THE FACADE WHILE ALSO DIRECTING VIEWS OF EACH ROOM TOWARD THE PICTURESQUE FRANKLIN
CANYON.
+BASEMENT LEVEL
+FIRST LEVEL
+SECOND LEVEL
+ROOF DECK
+SECTION
+STAIR FEATURE DETAILS
+MODEL
3DS CULINARY LAB 3D PRINTING SHOWROOM |
INTERIOR RENOVATION
OYLER WU COLLABORATIVE | 2014-2015 PROJECT DESIGNER. DIGITAL MODELER. GUARDRAIL FABRICATION MANAGER. THE 3DS CULINARY LABORATORY REPURPOSES THE INTERIOR OF A 1928 NEOCLASSICAL BANK. THE NEW HYPER-MODERN INTERIOR SITS IN STARK CONTRAST TO THE RAWNESS OF THE ORIGINAL INTERIOR WHICH WAS STRIPPED DOWN TO ITS MOST BASIC ELEMENTS: THE CONCRETE VAULT,
MASONRY WALLS, WOOD CEILINGS, AND EXPOSED STEEL ROOF TRUSSES.
THE CENTRALLY LOCATED TWO-STORY FOOD PRINTING ROOM, AND ITS ADJACENT DEMONSTRATION KITCHEN, ARE USED TO SHOWCASE THE LATEST ADVANCEMENTS IN CULINARY TECHNOLOGIES. CANTILEVERED FROM OF THE PRINTING ROOM, AND STRATEGICALLY POSITIONED OVER THE KITCHEN, THE MEZZANINE LOUNGE HOVERS IN THE VOLUMINOUS SPACE. THE MEZZANINE IS WRAPPED IN AN INTRICATELY WOVEN GUARDRAIL MADE OF
CNC BENT STEEL ELEMENTS AND CNC MILLED WOOD PANELS. THE
DESIGN AND FABRICATION OF THE RAILING SYSTEM MIMIC THE COMPLEX GEOMETRIES OF THE
3D PRINTING TECHNOLOGIES.
THE GAURDRAIL IS COMPOSED OF HUNDREDS OF FEET OF WELDED LINEAR STEEL AND FINISHED WITH BALTIC BIRCH PLYWOOD SURFACES. THE TWO FORMS WEAVE IN AND OUT OF ONE ANOTHER AS THEY CLIMB UP THE STAIRS TO FORM SEATS ALONG THE PERIMETER OF THE MEZZANINE.
COMPLIMENTING THE QUALITIES OF THE GUARDRAIL, MASSIVE CNC MILLED SURFANCES ARE EMBEDDED THE WALL AND KITCHEN COUTERTOP.
TEAM: DWAYNE OYLER, JENNY WU, LUNG CHI CHANG, HARRISON STEINBUCH, HANS KOESTERS, YAOHUA WANG, SANJAY SUKIE, ZACK MATTHEWS, PO YAO SHIH, TONY MOREY, JOSHUA EHRLICH, JUNDA XIANG, SEBASTIAN MEDINA, JACQUES LESEC, ALBERT CHAVEZ, KEVIN MURRAY, JAMES CHOE, CYNTHIA ABI-NAKED, JUI HONG WENG
+GAURDRAIL SECTION
+INERIOR ELEVATION
MOTOR MIXED-USE DEVELOPMENT INFILL MID-RISE
|
IN DEVELOPMENT
WARREN TECHENTIN ARCHITECTURE | 2018 - PRESENT PROJECT DESIGNER. PROJECT MANAGER. DRAFTSMAN. THE FOCUS OF THIS DESIGN WAS ON THE FRONT FACADE. INCORPORATING ARCHES AS THE MAIN ARCHITECTURAL ELEMENT, THE FACADE ACTS AS A “SLEEVE” SIMULTANEOUSLY SOFTENING THE FORM AND DRAWING ATTENTION TO THE SMALL SITE. THIS 6 STORY MIXED-USE DEVELOPMENT - LOCATED ON AN INFILL PROPERTY AT THE INTERSECTION OF MOTOR AVE. AND VENICE BLVD. IN PALMS, CALIFORNIA - UTILIZES THE TRANSIT ORIENTED COMMUNITIES (TOC): AFFORDABLE HOUSING INCENTIVE PROGRAM TO PACK 36 RESIDENTIAL UNITS ON ITS SITE. THE TOC PROGRAM PROVIDES GUIDELINES AND INCENTIVES FOR MAXIMIZING THE ALLOWABLE DENSITY AND BUILDING HEIGHT PER ZONING BASED ON ITS DISTANCE FROM A MAJOR PUBLIC TRANSIT STOP.
BEING SO CLOSE TO A MAJOR INTERSECTION, OUR SITE WAS ALLOTTED 1 FLOOR OF COMMERCIAL/RETAIL SPACE AND 5 FLOORS OF AFFORDABLE RESIDENTIAL SPACE.
+GROUND FLOOR | PARKING PLAN
+NORTH ELEVATION
+SOUTH ELEVATION
+FIRST FLOOR | TYP. PLAN
+EAST ELEVATION
IRWIN CONFERENCE CENTER: THE EXCHANGE EXHIBIT COLUMBUS FINALIST
|
INSTALLATION
OYLER WU COLLABORATIVE | 2016-2017 PROJECT MANAGER. DIGITAL DESIGNER. FABRICATION MANAGER. LEAD FABRICATOR. THE EXCHANGE SITS WITHIN THE PLAZA ADJACENT TO THE IRWIN CONFERENCE CENTER BY EERO SAARINEN (FORMERLY THE IRWIN UNION BANK) AND MAKES USE OF THREE EXISTING CANOPIES THAT FORMERLY SERVED AS THE BANK’S DRIVETHROUGH TELLERS. THE DESIGN CHALLENGE WAS TO “ACTIVATE” THE SPACE WHILE RELATING A CONTEMPORARY DESIGN CONCEPT TO THE HISTORIC BUILDING AND EXISTING SITE CONDITIONS.
THE INTENTION WAS TO PRODUCE THE SENSE THAT THE
PAVILION IS SIMULTANEOUSLY BRAND NEW AND THAT IT HAS ALWAYS BEEN THERE.
RESEARCH INTO EERO SAARINEN’S OEUVRE, AND SITE SPECIFIC ANALYSIS, LED TO A FOCUS OF THREE KEYS CONCEPTS: THE UNIFICATION OF THE EXISTING CANOPIES INTO A RECTANGULAR VOLUME, SOLID AND VOID RELATIONSHIPS (INCLUDING A “LOOSE FIT” PLACEMENT OF SOLID ELEMENTS WITHIN CARVED VOIDS THROUGHOUT THE SCHEME), AND THE USE OF CONTRASTING SOLID AND FRAME TECTONIC STRATEGIES. THE PAVILION IS COMPOSED OF A COMPLEX RELATIONSHIP BETWEEN VOLUMETRIC SOLIDS AND AN INTRICATE SYSTEM OF FRAMEWORK. ITS SPACE IS DEFINED ON THE SITE BY COMPLETING THE GEOMETRIES IMPLIED BY THE THREE CANOPIES. AT SOME MOMENTS FRAME ARE EMBED IN SOLID, AND AT OTHER MOMENTS SOLID ARE EMBEDED IN FRAME. THIS PROVIDES A RANGE OF POROSITIES, FROM SEMI-PRIVATE SPACES TO FULLY OPEN PUBLIC AREAS - DEFINED OVERHEAD BY NUANCED FORMAL MOVES RELATING TO THE CANOPIES. THE RESULTING COMPLEX OF OVERHEAD ELEMENTS, SOLID WALLS, FRAMEWORK, AND BENCHES PRODUCE NEW AREAS OF CONTAINMENT AND NEW POINTS OF DESTINATION.
TEAM: DWAYNE OYLER, JENNY WU, HARRISON STEINBUCH, HANS KOESTERS, LUNG CHI CHANG. CLINT JOHNSON, ANDY MAGNER, TUCKER VAN LEUWEN-HALL, IRVIN SHAIFA, DONGWOO SUK, THOMAS LANHAM, EMILIJIA LANDSBERGIS, IBRAHIM IBRAHIM, SUHAN NA, HSIYUAN PAN
TRI-RIVERS CAREER & TECHNOLOGY CENTER RAMTEC
|
ROBOTICS TRAINING LAB
SHP LEADING DESIGN |
SUMMER
2011
PROJECT DEVELOPMENT. CONSTRUCTION DOCUMENTS. THIS INNOVATIVE COLLABORATION BETWEEN TRI-RIVERS, MARION TECHNICAL COLLEGE AND THE OHIO STATE UNIVERSITY AT MARION, IS THE FIRST TRAINING FACILITY OF ITS KIND IN THE STATE OF OHIO. THE ROBOTICS & ADVANCED MANUFACTURING TECHNOLOGY EDUCATION CENTER (RAMTEC) TRI-RIVERS CAREER & TECHNOLOGY CENTER PROJECT TRANSFORMS THE ORIGINAL CAMPUS INTO A HIGH-TECH STUDENT FACILITY. THE 10,000 SQUARE FOOT ADDITION IS HOME TO A ROBOTICS TRAINING LAB COMPLETE WITH SIMULATION WORKSHOPS, ROBOTICS LABORATORIES, CLASSROOMS,
GROUP WORK AREAS WITH INTEGRATED TECHNOLOGY, AS WELL AS A GALLERY SPACE.
THE FACADE ALSO INTEGRATES HUNDREDS OF LED
LIGHTS THAT MAKE THE BUILDING GLOW AT NIGHT.
+WALL | JAM DETAIL
+WALL | JAM DETAIL
+WALL | JAM DETAIL
OHIO STATE SCHOOL FOR THE DEAF AND BLIND EDUCATIONAL AND LIVING FACILITIES
|
REVIT DESIGN
SHP LEADING DESIGN | 2010-2011 PROJECT DEVELOPMENT. CONSTRUCTION DOCUMENTS AND BID SETS. THE OHIO STATE SCHOOL FOR THE DEAF AND BLIND IS A MULTIMILLION DOLLAR PROJECT THAT INCLUDED A CAMPUS WIDE MASTER PLAN AS WELL AS THE DEVELOPMENT OF NEW ACADEMIC BUILDINGS AND RESIDENCE HALLS.
THE CAMPUS SERVES THE NEEDS OF
STUDENTS WITH IMPARED HEARING AND VISION FROM THE STATEWIDE
K-12 POPULATIONS.
KEY FEATURES OF THE BUILDINGS INCLUDE: LARGE WINDOWS PLACED DIRECTLY ACROSS FROM THE CLASSROOM DOOR TO CREATE SPATIAL CONTRAST FOR VISUALLY IMPAIRED STUDENTS;
SEMI-CIRCULAR CLASSROOM DESIGN TO ENHANCE VISIBILITY AND
LIMIT DISTRACTIONS; CUSTOM VISUAL DISPLAYS TO HELP IMPROVE COMMUNICATION; AND SPECIAL ACOUSTIC CONSIDERATIONS.
THE TWELVE RESIDENTIAL COTTAGES (6 PER SCHOOL) REFLECT A NEIGHBORHOOD SETTING AND PROVIDE A HOMELIKE ATMOSPHERE FOR THE STUDENTS.
+ OHIO STATE SCHOOL FOR THE DEAF
+ OHIO STATE SCHOOL FOR THE BLIND
+PARAPET DETAIL
+SKYLIGHT DETAIL
+WALL SECTION
+DRAINAGE DETAIL
ACTIVE INLAY FURNITURE TAIPEI BENCH
|
CHERRY DESK
|
CHERRY DISPLAY CABINET
OYLER WU COLLABORATIVE | 2015-2017 PROJECT MANAGER. DIGITAL DESIGNER. LEAD FABRICATOR. THE WORD INLAY REFERS TO A MATERIAL OR ELEMENT EMBEDDED WITHIN A DIFFERENT MATERIAL IN SUCH A WAY THAT BOTH MATERIAL SURFACES COINCIDE. INLAY COMMONLY CONSISTS OF A PRIMARY MASS (TYPICALLY
THREE-DIMENSIONAL) AND A SECONDARY OBJECT (TYPICALLY A THIN LAYER OF MATERIAL).
HOWEVER, THIS DEFINITION DOES NOT EXPLICITLY CALL FOR
SUCH A HIERARCHICAL APPROACH, NOR DOES IT SUGGEST THAT EITHER OF THE ELEMENTS ARE LIMITED IN THEIR THREE-DIMENSIONALITY.
THIS SERIES OF FURNITURE, EACH COMPOSED OF CHERRY WOOD AND POWDERCOATED STEEL, EXPLOITS THE AMBIGUITY OF THIS DEFINITION -EXPLORING THE IDEA OF “INLAY” AS A MORE THREE-DIMENSIONAL ISSUEONE THAT AT TIMES CONVEYS ITS TWO-DIMENSIONAL FIGURAL QUALITIES AT THE SURFACE, AND AT OTHER TIMES EXISTS AS A THREE-DIMENSIONAL ELEMENT. NEITHER MASS NOR INLAY IS FULLY DEPENDANT UPON OR INDEPENDANT UPON THE OTHER.
TEAM: DWAYNE OYLER, JENNY WU, LUNG CHI CHANG, HARRISON STEINBUCH, HANS KOESTERS
+CHERRY DESK
+CHERRY DISPLAY CABINET
HEADSPACE MEDITATION PODS ERGONOMIC SCULPTURE
|
REVIT DESIGN
OYLER WU COLLABORATIVE | 2015-2016 PROJECT MANAGER. DIGITAL DESIGNER. LEAD FABRICATOR. DESIGNED FOR THE CREATORS OF THE HEADSPACE MEDITATION APP, THESE PERSONAL SEMI-ENCLOSED ENVIRONMENTS WERE DESIGNED WITH THE INTENTION OF CREATING AN ERGONOMIC IMMERSIVE EXPERIENCE WITHOUT BEING COMPLETELY ENCLOSED AND ISOLATED.
CAVERNOUS, ORGANIC THE
INTERIORS SIT IN STARK CONTRAST TO ITS CLEAN, MODERN EXTERIOR.
JUXTAPOSITION OF THE PURE RECTANGULAR VOLUME IS MEANT TO PROMOTE A SENSE OF CURIOSITY ABOUT WHAT’S INSIDE WHILE THE PLYWOOD INTERIOR IS MEANT TO BE INVITING AND ENGAGING TO THE USERS OF THE SPACE; REFLECTIVE OF THE HEADSPACE TECHNOLOGY.
THE ERGONOMIC HEADSPACE,
STRATEGY WAS DESIGNED IN CLOSE COLLABORATION WITH
WITH THE INTENTION OF BALANCING ERGONOMIC COMFORT AND A CALM SENSE OF FOCUS.
THE MEDITATION PODS ARE COMPOSED OF 72 LAYERS OF ALTERNATING 1/2” AND 3/4” BALTIC BIRCH PLAYWOOD PROFILES. TO REDUCE THE WEIGHT, A LIGHTWEIGHT WELDED STEEL FRAME EXISTS BENEATH EACH POD. THE LAMINATED WOOD NESTLES IN TO SHAPE WITH THE STEEL FRAME, THE TWO ARE BOLTED TOGETHER, AND THEN CLADDED IN 1/2” BALTIC BIRCH PLYWOOD PAINTED WHITE.
TEAM: DWAYNE OYLER, JENNY WU, LUNG CHI CHANG, HARRISON STEINBUCH, HANS KOESTERS SANJAY SUKIE, ALBERT CHAVEZ, TONY MOREY, KEVIN MURRAY, JESUS ABRIL, ZACK MATTHEWS, PO YAO SHIH, JUI HONG WENG
SELECTED ACADEMIC WORKS PAINTERLY PROJECTIONS | PERFORMANCE THEATER DESIGN LAS TÉRMICAS DEL BESÓS | THERMAL POWER PLANT REDEVELOPMENT NUISANCE PARAMETRICISM | AFFINITY THEORY GROUND AS FIGURE | LOS ANGELES SKYWALK RUMBLE IN THE JUNGLE | LOS ANGELES URBAN DEVELOPMENT
PAINTERLY PROJECTIONS THE PAINTERLY EFFECT
SCIARC |
SPRING
MARCELO SPINA |
|
PERFORMANCE THEATER DESIGN
2013 FOURTEEN WEEKS
THIS PROJECT SEARCHES FOR A CONTEMPORARY ARCHITECTURAL UNDERSTANDING OF THE TERM CHIAROSCURO; A SET OF PAINTING TECHNIQUES FROM THE RENAISSANCE THAT USE HARD LIGHT TO CREATE SHARP CONTRAST BETWEEN FORM AND CONTEXT. IN THIS SENSE, THE “PAINTERLY EFFECT,” REFERS TO THE USE OF HARD SHADOWS TO REPRESENT DRASTIC SPATIAL DEPTH AND ALTER THE PERCEPTION OF FORM.
BY PROJECTING A PATTERN ONTO THE OBJECT, BASED ON THE SHADOWS OF THE OBJECT ITSELF, FORM IS BLURRED WITH CONTEXT AND THE FIGURE BECOMES DISTORTED. THIS IS FURTHER ARTICULATED BY A TRANSPARENCY EFFECT ON THE EXTERIOR SHELL OF THE OBJECT THAT PHYSICALLY DISSOLVES THE BUILDING WITH ITS CONTEXT.
TO ACCESS THE BUILDING ON THE PLINTH LEVEL, ONE IS CONFRONTED WITH A SCULPTURAL MASS THAT DIRECTS CIRCULATION TOWARDS THE ENTRANCE.
EXPERIENCED UPON
ENTERING IS A LARGE PUBLIC ATRIUM, WHICH CAN BE SEEN
AS THE FORMAL MEDIATOR BETWEEN THE PROGRAM WITHIN AND THE CONTEXT BEYOND.
THE PUBLIC SPACE [FORMED BY
PULLING THE INTERIOR PROGRAMATIC VOLUME AWAY FROM THE EXTERIOR SHELL] BECAME THE SPACE OF INTEREST AND THE FOCUS OF THE PROJECT.
+SECTION
+MODEL
+ PLINTH PLAN
+MODEL
LAS TÉRMICAS DEL BESÓS THERMAL POWER PLANT REDEVELOPMENT
SCIARC |
SPRING
|
BARCELONA BEACH RESORT
2014
ERIC OWEN MOSS |
SEVEN WEEKS
LIKE MANY WATERFRONT AREAS AROUND THE GLOBE, BARCELONA IS IN THE PROCESS OF REEXAMINING THE CONSEQUENCES OF LONG TERM INDUSTRIAL PRODUCTION AND LOOKING TOP REDEVELOP THESE PLACES WITH RESORT, ENTERTAINMENT, RESIDENTIAL, AND RECREATIONAL PURPOSES ALONG THE
MEDITERRANEAN COAST.
ONE OF THE LARGEST WATER FRONT VENUES IS THE TERMICAS THERMAL POWER PLANT PROJECT. THE “THREE CHIMNEY” THERMAL PLANT, A GRANDIOSE PIECE OF INDUSTRIAL ENGINEERING AND CONCRETE CONSTRUCTION, IS A HIGHLY VISIBLE CONSTRUCTED OBJECT IN BARCELONA. THE PLANT WAS BUILT BETWEEN 1970 AND 1976, AND CEASED OPERATION IN 2011. THE PROJECT IS TO RE-MAKE LAS TERMICAS. WITH THE INHERENT ICONICITY OF LAS TERMICAS, THE QUESTION OF WHAT SHOULD BE PRESERVED, WHAT SHOULD BE MODIFIED, AND WHAT SHOULD BE REMOVED OR ADDED, SET THE CONDITIONS FOR THE RECONSTITUTION OF THE TOWERS. THE ACT OF CUTTING REVEALED UNIQUE GEOMETRIC PROPERTIES HIDDEN WITHIN THE TOWERS, GIVING EACH ITS OWN DISTINCT CHARACTERISTIC. THIS ACTION DEFINED A BOUNDING BOX OF PRESERVATION, REVEALED THE INTERIOR OF THE TOWERS AS THE NEW EXTERIOR CONDITION, AND OPENED THE BACK FACE OF THE TOWERS TO THE MEDITERRANEAN SEA. THE LEFTOVER PIECES WERE RE-UTILIZED TO MAKE UNIQUE LANDSCAPE CONDITIONS ON SITE AND A NEW ROAD THAT REDIRECTED TRAFFIC THROUGH THE SITE AND BACK TO THE CITY. THIS NEW ROAD CONNECTS EXISTING PUBLIC ARENAS, ITNTRODUCES COMMERCIAL AND RESIDENTIAL LIFE TO THE BEACH FRONT, AND SHIELDS THE INDUSTRIAL PART OF BARCELONA TO THE REAR. THE BUILDING AS A WHOLE CAN BE READ AS AN AMALGAMATION OF SIX UNIQUE TOWERS. THE THREE NEW VOLUMES GENTLY GUARD [OR HUG] THE OLD CHIMNEYS WHILE RE-DEFINING THE BARCELONA SKYLINE.
+ BOUNDARY OF PRESERVATION
+ GEOMETRIC CHARACTERISTICS
+ CUTS AND ROTATION
+EXTENSION
+ MUSEUM CONNECTION
+ NEW TOWERS SURROUNDING
+ CIRCULATION DIAGRAM
+ SPACE BETWEEN
+PLAN4
+PLAN3
+PLAN2
+PLAN1
NUISANCE PARAMETRICISM HYBRID OF EXTREMES
SCIARC |
FALL
|
AFFINITY THEORY
2013
MICHAEL ROTONDI |
FOURTEEN WEEKS
POINT, LINE, PLANE AND VOLUME. THESE ARE THE CHARACTERS IN THE GAME AND THEY ARE ORGANIZED ON A PLAYING FIELD. THE RULES OF THE GAME: LINES DEFINE SPACE. POINTS ARE DEFINED AT MOMENTS OF INTERSECTION. POINTS DEFINE LOCATIONS OF COLUMNS SPACES ARE ORGANIZED BY TYPOLOGY. SPACES ARE ORGANIZED BY MATERIAL. THE SIZE OF THE SPACE IS DEFINED BY ITS RERLATIONSHIP TO THE SPACES SURROUNDING IT. THE ROTATION OF THE SPACE IS DEFINED BY ITS RERLATIONSHIP TO THE SPACES SURROUNDING IT. THE HEIGHT OF THE SPACE IS DEFINED BY ITS RERLATIONSHIP TO THE SPACES SURROUNDING IT. HEIGHT DEFINES VOLUME. INTERSECTING VOLUMES DEFINE A SHARED SPACE. THE AFINITY SPACE [SHARED SPACE] IS THE SPACE OF INTEREST. MANIFESTED AS A VOLUMETRIC TREE-LIKE NETWORK, THE SHARED SPACE SIMULTANEOUSLY SEPERATES AND CONNECTS DISTINCT MOMENTS OF OCCUPIABLE AND PROGRAMABLE SPACE. IT IS THE PUBLIC OBJECT INSIDE EACH AMALGAMATION OF PRIVATE SPACES.
GROUND AS FIGURE LOS ANGELES SKYWALK
SCIARC |
SPRING
|
SECOND GROUND
2014
TOM WISCOMBE AND MING FUNG |
SEVEN WEEKS
THIS PROJECT REIMAGINES THE LOS ANGELES PEDESTRIAN WALKWAYS. SKYWALK ACTS AS A NEW GROUND. IT IS AN ELEVATED PLANE, DRAPED AMONGST THE CITY, WHICH IS DELAMINATED TO FORM VOLUME WITHIN. EXISTING INDEPENDENT OF ITS SURROUNDINGS, SKYWALK IS ITS OWN OBJECT THAT SIMULTANEOUSLY SEPARATES AND CONNECTS THE SURROUNDING BUILDINGS.
THE NEW GROUND, ELEVATES PEDESTRIAN
TRAFFIC AND PROVIDES A NEW FOUNDATION FOR URBAN DEVELOPMENT.
AS AN EXTENSION OF THE “SPACE BETWEEN,” SKYWALK PROVIDES AN OPPORTUNITY TO DESIGN A MEDIATING FIELD CONDITION BETWEEN DISTINCT PARTS OF THE CITY; A PUBLIC VENUE LINKING MULTIPLE UNIQUE PROGRAMATIC EXPERIENCES.
THE FIGURE OF THE GROUND WAS COMPOSED BY CONNECTING PREEXISTING ROOFTOP PLAZAS AND STRATEGICALLY CUTTING AWAY THE SURFACE TO REVEAL THE GROUND BELOW.
THIS INTRODUCES OBLIQUE
SURFACES TO AN INFRASTRUCTURE THAT IS OTHERWISE ONE-DIMENSIONAL.
ROCK-LIKE FORMATIONS SIT BOTH ON TOP OF, AND WITHIN, THE NEW GROUND. FROM THE SCALE OF FURNITURE TO THE SCALE OF A BUILDING, THESE ROCK-LIKE FORMATIONS ADD A LAYER OF INFORMATION TO THE MEDIATING FIELD CONDITION. THEY INTRODUCE PROGRAM, SPECIFICITY, AND UNITY TO SKYWALK WHILE INTERACTING WITH THE GROUND IN DISTINCT WAYS.
+SECTION
+SECTION
+ NEW GROUND
+ ELEVATED PEDESTRIAN TRAFFIC
+ DELAMINATED FOUNDATION
+ EXISTING PLAZAS
+ NEW GROUND
+ MEDIATING FIELD
+ GROUND REVEALS
+CIRCULATION
+TEXTURE
+MODEL PROJECTION
RUMBLE IN THE JUNGLE LOS ANGELES URBAN DEVELOPMENT
SCIARC |
SUMMER
|
ENTANGLED CHARACTERS
2014
ERIC OWEN MOSS |
FOURTEEN WEEKS
THIS PROJECT SEARCHES FOR A MORE PHYSICAL AND INTIMATE INTERACTION BETWEEN DISTINCT CITY PARTS AS A PROPOSITION FOR URBAN DEVELOPMENT IN DOWNTOWN LOS ANGELES. REPRESENTED AS A “PLAYFUL RUMBLE” BETWEEN CHARACTERS, OBJECTS INTERACT WITH EACH OTHER AND THEIR SURROUNDING CONDITIONS. CHARACTERS TWIST, PUSH, PULL, AND WRAP AROUND ONE ANOTHER MATERIALIZING AS A “KNOT IN SPACE,” ENTANGLED AROUND THE X, Y, AND Z AXIS. THE PROJECT IS INTRODUCED INTO THE URBAN ENVIRONMENT. THE PEDESTRIAN BRIDGES IN DOWNTOWN LOS ANGELES SET THE STAGE FOR A RANGE OF CHARACTER DEVELOPMENT. ORIGINALLY CONCEIVED AS INDEPENDENT ELEVATED BRIDGES, WITH NO REAL OVERALL PLAN OF ACTION, THE PEDESTRIAN WALKWAYS EXIST TODAY AS AN INCOMPLETE SYSTEM. INTERIOR LOBBY SPACES LINK TO ROOFTOP PLAZAS, HOWEVER, THERE IS NO REASON TO OCCUPY THE BRIDGES BETWEEN AND THE INFRASTRUCTURE RARELY CONNECTS TO THE GROUND LEVEL. AS CHARACTERS FORMALIZE AROUND THE BRIDGES [AND BETWEEN THE BUILDINGS] THEY REPURPOSE, RESHAPE, AND REDEFINE THE UNUSED EXISTING PIECE OF INFRASTRUCTURE. THE DESIGN CONSISTS OF: CHARACTER FAMILIES, EACH GIVEN THEIR OWN ARCHITECTURAL CHARACTERISTICS [DIFFERENT PROGRAMS, MATERIALITIES, FORMAL LOGICS, ETC] AND, CHARACTER CLUSTERS, EACH GIVEN A DIFFERENT UNIFYING CHARACTERISTIC [GRID, WALL, FIELD, VOLUME, SURFACE]. EACH CLUSTER OF CHARACTERS CONNECTS MULTIPLE LEVELS OF GROUND AND ELEVATES PEDESTRIAN TRAFFIC WITHIN THE CITY. THE SPACE BETWEEN THE CHARACTERS BECOMES THE NEW BRIDGE SYSTEM AND SETS UP A SOCIAL EXPERIENCE THAT COULD NOT BE EXPERIENCED UNLESS OCCUPYING THAT SPACE.
BACK ROOMS, REHEARSAL SPACES, KITCHENS, AND APARTMENTS REVEAL THEMSELVES ON THE SIMILARLY, THE MATERIALITY OF EACH CHARACTER COMES FROM THE OUTSIDE, IN. BRICK WALLS EXIST ALONGSIDE WOOD SHINGLES, METAL PANELS, CONCRETE FORMWORK, ETC… INSIDE.
ALTHOUGH EACH FORM MAY BE READ AS INDETERMINATE ON ITS OWN, EACH OBJECT RELATES INHERENTLY TO THE NEXT THROUGH THEIR PHYSICAL INTERACTIONS.
+INTERACTIING CHARACTER
+SHARED SPACE BETWEEN
+ LEVEL ONE
+ LEVEL THREE
+LEVEL FOUR
+LEVEL FIVE