01
EDUCATION
REFRENCES
Homayoun Ismael Zaryouni
.2014-2016 M. Arch II Southern California Institute of Architecture [SCI-Arc]
HERNAN DIAZ ALONSO // XEFIROTARCH
D.O.B: July 12, 1989
2009-2014 Bachelor of Science In Architecture University of Las Vegas Nevada
Director/ CEO [SCI-Arc] Hernan@sciarc.edu Executive Assistant to Director: Nicole_Fisher@sciarc.edu
MARCELO SPINA // P-A-T-T-E-R-N-S // SCI-Arc mspina@p-a-t-t-e-r-n-s.net 323.284.8816
EXPERIENCE
Address: Apt. 1010 417 S. Hill St. Los Angeles, California 90013 US CITIZEN.
05/15 - 09/15 XEFIROTARCH Majority of responsibilities include schematic spacial and formal design, production and post production of renders and images. Also work on the upcoming monograph in terms of graphic layout, image composition & file documentation.
Dora Epstein Jones // General Studies Coordinator [SCI-Arc] dora_epstein@sciarc.edu
Contact: Homayoun.Zaryouni@gmail.com
Craig Sean Palacios // BUNNYFiSH Studio 12/14 - 2/15 COOP HIMMELB(L)AU: DYNAMIC RAUMPLAN [SCI-Arc Exhibit] Majority of Responsibilities include assembly of parts and whole. Installation and deistallation within the SCI-Arc Gallery
09/14 - 12/14 Bryan Cantley: Dirty Geometries + Mechanical Imperfections Majority of Responsibilities include Installation and de-istallation within the SCI-Arc Gallery
03/14 - 9/14 BUNNYFiSH Studio Majority of responsibilities include schematic spacial and formal design, production and post production of renders and images. Also composition AIA award & various other award submission presentations.
06/13 - 02/14 ASSEMBLAGE STUDIO Majority of responsibilities include physical model making, two-dimmensional space and layout planning, schematic design, & CAD drawing.
craig@studiobunnyfish.com 702.374.8409
Eric Strain // ASSEMBLAGE STUDIO // UNLV eric@assemblagestudio.com 702.592.7602
HONORS 2016 SCI-Arc Graduate Thesis Summer Kickoff [Wirth & Schimmel] Minature models & images exhibited at Hauser Wirth & Schimmel Gallery
2016 SCI-Arc Spring Show Featured as selected work from Hernan Diaz Alonso Vertical [Dogs to Masses]
13 Ways of Looking at Architecture Theory Sketch Featured in a book compiled by Professor Glenn Nowak
02
03
The graphic has been a topic of conversation and representation between architects in contemporary discourse. These projects look to redefine the grounds of the “graphic”. High resolution clarity promoting a physical reality offers a counter conversation to the diagrammicaly dominated idea of the “graphic”. Projects are “graphical” as they produce affects within the pure digital. Visual representation is the architecture and driving force behind these projects. These projects look to push the envelope of the digital into a “digital realism”. digital models operate on a nano scale; the texture is the geometry; the diagram does not exist; the render is the reality; there is nothing lost in translation.
08-43
04
44-71
72-91
92-111
112-133
134-145
146-155
05
Homyoun Ismael Zaryouni PORTFOLIO
58-167 06
168-179
194-201
202-211
122-239
240-259
260-273 07
“-you’re either in love or out of love” -Damien Hirst
Homyoun Ismael Zaryouni PORTFOLIO 08
09
SKIN; HIDES; MASS; Thesis Advised by: Hernan Diaz Alonso Skin and Mass are inseperable, but their logics operate in completely different ways. Mass creates inhabitable space, program, and most important form; skins excess, accent, and elaborate. Skins operate on a cosmetic level as manipulation of mass dig deep to mutate form. Operating almost exclusively on a surface level layering of furry [hyper-textural] skins work to transform mass into a new project. Maybe the comparison of a toupee changing the character of a face or ďŹ gure into a new identity would be appropriate here, or one extravagant fur coat turning a human body into animal form would be the best comparison. Embracing the power of the architectural skin to mutate and transform; layers are overlaid in excessive manner to empower the architecural skin as form making mechanism. Mass and skin become separable; what’s underneath is made beautiful; and the skin hides become the new form [or mass].
10
11
Figure 1-16. Beginning forms: overlaying skins on primitive(s). Figure 17. Primitive; skins overlaid.
12
13
Figure 18. Skins overlayed on inhabitable mass. Figure 19. Perspective of initial schematic. 14
15
Figure 20. Skins overlayed on mass top view. Figure 21. Perspective of initial schematic.
16
17
Figure 22. Skins overlayed on second intitial mass perspective. Figure 23. top view: skins overlayed ed on second initial mass.
18
19
Figure 24-25. Iteration two close-ups.
20
21
Figure Figure F e 26. 26. 26 Final F Fin al Iteration Ite Ite era rrat a ation on o n placed plla p ace ac ce c ed in in altered alte te ered rre ed ed city c ci cit i y cont context c on o ont n ntte ex ext xtt of of Kilamba, Kiila K ilam la amb am amba, ba, ba a a, Angola. Ang An gol go ola.
22
23
Figure 27-30. Final selected iterations; These objects contain public programs for the proposed City of Kilamba Cultural Center [From left to right: City of Kilamba Rare Books Libary, City of Kilamba Performance theatre, City of Kilamba Contermporary Art Museum and gallery. Figure 31. City of Kilamba Cultural Center, Top View.
24
25
26
27
28
29
30
31
32
33
34
35
Figure 32. City of Kilamba Cultural Center, Public Lobby Interor Perspective One. Figure 33. City of Kilamba Cultural Center, Public Lobby Interor Perspective Two.
36
37
Figure 34. City of Kilamba Cultural Center, Elevation One.
38
Figure 35. City of Kilamba Cultural Center, Elevation Two.
39
Figure 36-40. Photographs of physical 3D printed models on aluminum welded stand. Figure 41. Final Thesis Presentation Pin-up: Three still image prints. Three screens playing animation. Three models on alunimum welded stand.
40
41
42
43
44
45
DOGS TO MASSES Studio by: Hernan Diaz Alonso & Ivan Bernal Addressing the literal in architecture as a massing approach [literal dog scan as a starting point] the project embraced the pre-set associations of the Pitbull Terrier mass and posture; skins, surfaces, and couture shingles were added to accentuate the mass to a level of exuberance which created a misreading of mass, scale, proportion, & silhouette to the extent which caused dis-association between skin, furr, and mass. In turn a re-association was triggered; Doghouse, Guesthouse, & Mainhouse.
46
47
Figure 43-59. Pictures of “Bella” [Pitbull Terrior] used for three dimensional scanning.
48
Figure 60. 3D Scan of “Bella”.
49
Figure 61-64. Doghouse Iterations. Figure 65. Final Doghouse Iteration.
50
51
Figure 66. Guesthouse dog perspective one. Figure 67. Guesthouse dog perspective two.
Figure 68. Guesthouse dog perspective three.
52
53
Figure 69. Mainhouse.
54
55
Figure 70. Mainhouse rooftop perspective. Figure 71. Mainhouse rooftop perspective two.
56
57
Figure 72. Mainhouse aerial perspective one. Figure 73. Mainhouse aerial perspective two . 58
59
Figure 74. Mainhouse aerial perspective three. Figure 75. Ground Perspective.
60
61
Figure 76. Circulation diagram: morning path.
62
Figure 77. Circulation diagram: evening path.
63
64
65
Figure 80. Entrance Perspective One. Figure 81. Entrance Perspective Two.
66
67
Figure 82. Entrance Perspective Three, Exterior Foyer. Figure 83. Kitchen Perspective.
68
69
Figure 84. Master Bedroom Perspective. Figure 85. Doghouse; Guesthouse; Mainhouse;
70
71
72
73
POP-CORN: UNDEFINED FORM Studio by: Hernan Diaz Alonso & Ivan Bernal The possibility to use literal Popcorn, as a method of analysis, production, behavior and accumulation, should serve as a “fun Platform” to overcome the stiff attitude that usually architecture has to it owns disciplinary understanding. Rosalyn Krauss and Yves-Alain Bois explore some of these concepts in “Formless”, Quote: “Although it has been over sixty years since Georges Bataille undertook his philosophical development of the term informe, only in recent years has the idea of the “formless” been deployed in the theorizing and reconfiguring of the field of twentieth-century art. This is partly because that field has most often been crudely set up as a battle between form and content; “formless” constitutes a third term standing outside that opposition, outside the binary thinking that is itself formal.” The studio will explore, through very precise digital techniques, multiple ontologies through stitching of architecture pieces and different level of motion mutation, puffiness and variation. Distorted form making, animations, rendering, biosynthetic replacements, will serve an Aesthetic technique catalogue for the production of architecture design. This proposal produces a massive scale “pop up” preforming arena in the tradition of the “tiatro del mundo” of Aldo Rossi or “Pavilion 21 mini opera space” by Coop Himmelblau”.
74
75
Figure 88-99. Scanned popcorns for formal analysis. Object/ surface/cavity studies. Figure 100-101. Popcorn skins peeled & stiched together in surface analysis. 76
77
Figure 102-104. Defining charecteristics of studied popcorns were mimicked to form the “perfect popcorn”.
78
Figure 105-106. “Perfect popcorn” cut in half.
79
80
Figure 106. Pop-up Performance theatre; Entrance one. Figure 107. Pop-up Performance Theatre; Top view close-up.
81
Figure 108. Ground perspective. Figure 109. Top view close-up two. 82
83
Figure 110. Interior perspective one. Figure 111. Interior perspective two. 84
85
Figure 112. Interior perspective three. Figure 113. Ground perspective two. 86
87
Figure 114. Entrance Perspective Two. Figure 115. Ground perspective three. 88
89
Figure 116. Ground perspective four. Figure 117. Close-up perspective. 90
91
Figure 118. Pop-up performance theatre; aerial view.
92
93
DIS-APPEARANCES; Authentic vs. The Speculative Real Studio by: Marcelo Spina This project is an exploration of the in-between form existent between a built and found object. The Countryside has always been a site for innovation building with or without the presence of architecture; The Elbulli Creativity Campus becomes a medium for exploring speculative realism, monolithicity, and muteness. Can the architect(s) design a site plan with all objects reading as homogeneous while creating objects that are true to the desired aesthetic but also unique in their own right? The urban plan of the campus was understood and approached as a family of clustered masses. Masses that share the same aesthetic characteristics and moments of direct proďŹ le-esque interaction while creating a part to whole language in which particular pieces take focus and enter further tectonic development as others take a supporting role. Tectonic aspects of the project were approached from a vernacular sampling with intention of creating confounding affect. From each scale the objects embrace a different characteristic, the monolithic, the in-between, and the mysterious tectonic. At all scales the built and found aesthetics of the objects are confounded. From the furthest scale it becomes difďŹ cult to distinguish between the mountainous landscape and the rocky Elbuilli Creativity Campus. As you move closer to the objects their tectonic elements and details start to reveal themselves. Are they built through tectonic construction or are they bumps , cracks and textures pre-existent on found objects? These Dis-Appearances become the driving force of the project as the representation questions the authentic versus the speculative real.
This studio project was in collaboration with: Colin Jacobs
94
95
1.
6. 2.
3.
4.
2.
4.
5.
3.
5.
1.
6. 10.
9.
7.
8.
7. 9.
8.
10. Figure 120. proďŹ les of pillars, roof typologies, & primitive huts (w/ hay roofs in particular) were used for initial form making projections. Figure 121. Rocks & Boulder proďŹ les drive the primary axis. 96
Figure 121. Roof typologies drive the secondary projection axis. Figure 122. Primitive huts with hay roofs drive the tertiary projection axis.
97
Figure 123-124. Clusters of Mass are created. Figure 125-127. Mass cluster zoom-ins.
98
99
Figure 128. Masses are chosen out of the cluster for the El Bulli campus and projected onto the site. Figure 129. Masses on site ground.
100
101
102
103
Figure 131. Photograph of physical model.
104
Figure 132. El Bulli Creativity Campus; Isometric render.
105
106
Figure 133. Photograph of physical model. Figure 134. El Bulli Creativity Campus; Isometric render.
107
Figure 135. El Bulli Creativity Campus; Site Model; scale 1:60.
108
109
110
Figure 136. 1/8� = 1’ Chunk Model; Close up. Figure 137. El Bulli Creativity Campus; Campus Hotel close-up.
111
Figure 138. El Bulli Creativity Campus; Section through Hotel & Artist Residence.
112
113
MODELS OF VARIABLE RESOLUTION; A Contextual Monolithic Studio by: Ramiro Diaz-Granados Resolution, understood in the sense of images, is the fineness of a raster grid (in the form of pixels) that determines the legibility of information. This Project couples this with an idea about Contextual Resolution, where image information from the immediate and distant context of the city is referenced in the overall form and articulation of the mass. A “Weird Contextualism” ensues. The project is composed of three discrete elements: an exterior monolith massing, an interior ruin-like massing, and extruded pixels that bind them acting as structure and ornament. Each element extracts data from the site’s immediate context to generate its form making the entire project highly contextual.
This studio project was in collaboration with: Huijin Zheng
114
115
Figure 140-156. Alpha’d Contextual google map screenshotted perspectives projected on XYZ axises to produce contextual masses.
116
Figure 157. Contextual form; result of alpha projections.
117
Figure 158-170. Section cut animation through massing.
118
Figure 173. Section cut frame.
119
Figure 174-175. Exterior shell in relation to ground; Exterior shell w/ attached contexually textured voxels [threedimensional pixels].
120
Figure 176-177. Interior massing in relationship to ground.
121
Figure 178. A Contextual Monolithic; Ground perspective.
122
Figure 179. A Contextual Monolithic; Arial perspective.
123
Figure 180-181. Front Elevation & Top View. Figure 182. Voxel Detail - Close up. 124
125
126
Figure 183-184. A Contextual Monolithic; Cross river perspectives highlighting contextual relationships between roof typologies of Copenhagen and the New Modern Library’s architectural mass. In addition voxels reect the textures of Copenhagen at various resolutions.
127
Figure 185. A Contextual Monolithic; Slit-Scan [or combined unrolled elevation & section].
128
129
Figure 186. A Contextual Monolithic; Interior perspective. Figure 187. A Contextual Monolithic; Interior elevation. 130
131
132
133
Figure 189. Middle frame; Perspective to axonometric camera path.
134
135
SAN FRANCISCO MOCFA UNLV School of Architecture Third Year Studio Spring. A wealthy collector has donated a collection ection of folkart and ďŹ nely crafted utilitarian objectss from around the world to the Museum of Craft and nd Folk Art of San Francisco. A site located in the Financial District within walking distance from Chinatown has the potential to become a social hub for those looking king to spend lunch or an afternoon at the museum. Each major program division offers rs a unique experience from the other. The ground levels become uid and transparent, the gallery spaces secluded and protective, and the roof spaces scenic & panoramic. The project looks to create three environments ronments two of which plot and place the other in the e spotlight. SF Mocfa levitates the galleries above ground und level like a hand holding a treasure chest full of valuables. aluables.
136
137
Figure 191-195. Massing diagram & program distribution. Figure 196. Project site in relation to Financial District & Chinatown.
Recreational Spaces
Outdoor Spaces (public)
Galleries (private)
Cafe/Lobby (public)
Public Circulation
Emergency Egress
138
139
Figure 197. SF MOCFA; Pine Street Elevation. Figure 198. SF MOCFA; Kearny Street Perspective. 140
141
Figure 199-200. SF MOCFA; 1st & 2nd level plans. Figure 201. SF MOCFA; Entering lobby perspective.
142
143
Figure 202-203. SF MOCFA; Gallery plans (levels 3-4). Figure 204. SF MOCFA; Gallery perspective.
144
145
Figure 205. SF MOCFA; Photograph of physical model.
146
Figure 206. SF MOCFA; Photograph of physical model.
147
AGRICULTURE & CULINARY SCHOOL UNLV School of Architecture Fourth Year Studio Fall. A vocational school is to be designed to accomodate for the agricultural and culinary arts. Farmington is a city with high crime and high school dropout rates, a program like this can give the city new life but also give young adults who do not relate to the standard educational system a new path to follow and excel in. The program consists of two tracks, agriculture and culinary. Giving each subject its own building (or bar) simpliďŹ es the layout of the site and creates a shared courtyard space for students. The school intends to be public, private & communal. With a cafe and market placed near the public entrance, the Agriculture & Culinary School of Farmington uses the opportunity to mark its place within the community.
148
149
Figure 208-214. A&C School: Farmington; Cafe development in relation to program bars. Figure 215. A&C School: Farmington; Section.
150
151
Adjustable metal mesh shading panels Steel railing Glazing
Figure 216-217 A&C School: Farmington; Courtyard material axon twinkie ďŹ lling material concept. Figure 218. A&C School: Farmington; Courtyard perspective.
152
153
Shading Panel (bolted) Welded Joints Shading structure
Shading Fabric
Girders 5’ X 5’ Steel frame
6” Columns Bolted joint (girder support)
Concrete column base Steel welded joints
Columns
Figure 219-221. A&C School: Farmington; Shading structures. Figure 222. A&C School: Farmington; Perspective. 154
155
Figure 223-224. A&C School: Farmington; 1st & 2nd level plans. Figure 225. A&C School: Farmington; Perspective. 156
157
WHOLE DICTONOMY Instructor: Marcelo Spina In collaboration with: Oscar Abrahamsson, Anhuar Farah, Colin Jacobs, & Joseph Lock Supported by advance digital and manufacturing technology. Monolithic architecture became the predominant form of the avant-garde, but also of its resistance in the last two decades. Rodolfo Machado and Rudolph El-Khoury argued in 1995, that in its allegorical mode, monolithic architecture has more to do with representational strategies than pure material qualities or construction systems. Substantiating and at the same time challenging this assumption, this project aims to investigate the inheret relation between monolithic form and the expression of material solidity in architecture, Specifically, the project concentrate into both intricate [tectonic] and composite [concrete and other advanced contemporary building technologies] forms of construction and material assembly. Beginning with Jean Nouvel’s Tokyo Opera House [the monolithic] competition entry as a foundation, tectonics of the Co-op Himmelb(l)au’s Dalian Convention Center [the tectonic] were applied to the Tokyo Opera House’s exterior and interior. Jean Nouvel’s proposal can be described as a monolithic that refuses to sacrafice its idealogy with the feasability of tectonics. However this proposal solves the problem Jean Nouvel was avoiding to approach. Viewed as if the team was brought onto the project during the design development phase, the team used the tectonic analysis of the Dalian Convention Center to bring Jean Nouvel’s proposal to a tectonic reality while still maintaining its original monolithic qualities.
158
159
Figure 227-232. Precedent images [from left to right] Coophimmel(b) lau’s Dalian Center & Jean Nouvel’s Tokyo Opera House competition entry.
160
161
Quatroclad Metal Facade Panels. Secondary structural framing; 6” diameter steel tubes; diagnally spaced 4’ O.C. Primary structure; Steel welded framing; 12’ O.C.
Figure 233-236. Jean Nouvel’s Tokyo Opera House elevation; First attempts to materialize facade.
162
Figure 237. Exploded facade diagram.
163
Solar roof panels and exhaust louvers
Exterior shell; metal cladding.
Structural shell
Skylight roof glass
Ceiling roof surface.
Figure 238. Structural materialization of interior volumes.
164
Figure 239. Structural materialization of roof & ceiling.
165
Panel F
Aluminum external skin
Panel A 1m x 4m x 1m
1m x 6m x variable
Adhesive ďŹ lm
Panel A
Panel F
Aluminum honeycomb spacer
Standard Panel Panel B 1m x 10m x .75m Panel B
1m x 6m
Panel C 1m x 2m x 1m Panel C
Panel D 1m x 2m x .5m Panel D
Figure 240. Panel types and placements. Figure 241. Panel exploded axon.
Aluminum internal skin
Panel E 1m x 8m .5m
166
Aluminum extrusion
Panel E
167
168
169
Design Development Instructor: Herwig Baumgartner (B+U) & Brian Zamora (Gehry Technologies) In collaboration with: Majeda Alhinai, Jinhee Kim, Stanley Lin, and Xiaonan Yang. This semester we will take a new approach to Design Development as it is conventionally understood in practice. Our approach will be a disciplinary one, where we challenge representation and search for relevancy in an era where documentation of design and manufacturing are in flux and are increasingly based on three-dimensional live data. While BIM is an important development in this regard, our aim is to re-think how we can envision and communicate design in innovative ways which exceed the design object itself. We will re-consider drawing in terms of plastic surgery and magnetic resonance imaging, where things can be hacked apart, peeled away, cut away, sliced, and exploded. Cuts will no longer be flat as in conventional plans and sections, but will be warped and active. We will combine multiple ontologies into the discussion, where things may be represented in terms of their profile, silhouette, internal organization, energy, action on other things, depletion, integration, and disintegration all at the same time. The primary part of our work will be Mega Drawing which will contain different views, chunks, components, sizes, descriptions, energies, systems, vantage points, transparencies, materials, colors, scales, and so on. A point of departure will be the genre of meticulous aerospace and military drawings, although we will also consider approaches from fine art such a Damien Hirst and so on. This drawing will be approximately 10’ long and will require new ways of working as a group as well as new logics of representation.
170
171
I-Beam Interior Framing
I-Beam
Interior Finish
Interior Framing Fiber Reinforced Panel Interior Finish Wood Fiber Insulation
Fiber Reinforced Panel Wood Fiber Insulation
FRP Framing
Aluminum Frame Concrete
HVAC Duct Floor I-Beam Floor Edge Beam
Aluminum Frame Concrete Slab Floor I-Beam Floor Edge Beam HVAC Duct
Figure 244. 3D Chunk 1; floor to wall to voxel tectonics. 172
Figure 245. 3D Chunk 2; facade to voxel tectonics. 173
Wood Fiber Insulation Fiber Reinforced Panel 1/4” Embedded Clip Joint 1/4” Embedded Aluminum Plate
1/8” Folded Powder Coated Aluminum Fold Guide Seamless Weld
Embeded Aluminum Clip Joint Detail.
Insulation Opaque Glass Insulating Glass Mullion
Wood Fiber Insulation Fiber Reinforced Panel
Seamless Weld 1/8” Embedded Bolt 1/8” Folded Powder Coated Aluminum Cube Shaped Voxel
Pyramid Voxel
Fold Guide
Embeded Aluminum Clip Joint. Embeded Bolt
174
Figure 246. 3D Chunk 3; facade types and connections. Figure 247. Embeded Aluminum Clip Joint Detail.
Figure 248. 3D Chunk 4; Facade, glass, voxel relationship Figure 249-250. 3D Details of voxel tectonics & assembly.
175
Support Framing: 4” Diameter Tubed Steel.
Structural Steel: I-Beam W16x40.
Secondary Framing: 4” tubed steel; 8’ O.C.
Structural core.
Concrete footing.
Concrete transfer slab.
Concrete column 18” X 18”
176
Figure 251-252. Structure diagrams; Highlighting primary & secondary framing.
177
OCCUPANCY GROUP - LIBRARY, ASSEMBLY, FULLY SPRINKLED
LEVEL 8 OCC. TYPE Library, Assembly LOAD: 1/15 AREA: 9600 SF OCC. LOAD: 640 Auditorium 130 seats OCC. Load: 130
LEVEL 6 OCC. TYPE Library, Reading Rooms LOAD: 1/50 AREA: 8697 SF OCC. LOAD: 173
LEVEL 5
Cladding [tertiary] Framing 4” Aluminum Max. distance 6’ O.C.
OCC. TYPE Library, Reading Rooms LOAD: 1/50 AREA: 6146 SF OCC. LOAD: 123
LEVEL 2 OCC. TYPE Library, Stack Area LOAD: 1/100 AREA: 4014 SF OCC. LOAD: 40
STAIR 1 Width 4’ Capacity 140
STAIR 2 Width 4’ Capacity 140
OCUPANCY TYPE: LIBRARY Reading Rooms : 50SF/occupant Stack Area: 100SF/occupant Assembly: 15SF/occupant TOTAL OCCUPANCY LOAD: 1385
LEVEL 7 OCC. TYPE Library, Stack Area LOAD: 1/100 AREA: 8794 SF OCC. LOAD: 88
LEVEL 4 OCC. TYPE Library, Assembly LOAD: 1/15 AREA: 3153 SF OCC. LOAD: 210
LEVEL 3 OCC. TYPE Library, Reading Rooms LOAD: 1/50 AREA: 4962 SF OCC. LOAD: 99
LEVEL 1 OCC. TYPE Library, Stack Area LOAD: 1/100 AREA: 1147 SF OCC. LOAD: 11
6’ 3’
6’
3’
5’
10’ 4’
6’
6’ 3’
6’
Figure 253. Structure diagram; Highlighting tertiary
3’
5’
Figure 254. Egress diagram.
6’ 3’
6’
3’
5’
3’ 5’
6’ 3’
5’
3’ 5’
3’
3’ 3’
5.5’
2’
2’
5’
3’ 5’
3’
6’
3’
178
179
STAIR 1 Width 4’ Capacity 140
STAIR 2 Width 4’ Capacity 140
LEVEL 8 LEVEL 7
LEVEL 6 LEVEL 4
LEVEL 5 LEVEL 3
LEVEL 2
LEVEL 1
Figure 255. ADA Diagram. Figure 256. Facade panelization for cost analysis. 180
181
Precensing Perseption Instructor: Coy Howard This seminar was constructed of four parts. The first three sections were about mastering three schools of photography: The Trivial Familiar, Transient Presence, and Decisive Moment. The fourth section was a video composition containing one or all of the themes explored during the weeks of the photography. The Trivial Familiar photographs an object with intentions to give the object a sense of universality / bigger-than-life quality. Transient Presence photographs attempt to capture a higher being or ghostly presence in a photograph of an unassuming situation or context. Decisive Moment photograph captures a moment where a story full of depth can be unraveled through the photograph. The video titled “Bottles” is an attempt to defamiliarize a familiar object (a bottle) and create a new narrative and visual perception of the object.
182
183
184
185
186
187
188
189
190
191
Figure 262. A decisive moment. Figure 263. Transient presence.
192
193
Figure 264. Stills from film titled “Bottles”.
194
195
Hidden In Plain Sight Instructor: Elena Manferdini The Project Closely analyzse examples of “camouflage” techniques: geometric abstractpop art vs. biomorphic realistic expressionism. The seminar focused on the tactical elements that enabled this body of work to create specific optical effects (rather than on their relative artistic contents or historical positioining) and the project unraveled the underpinning strategies used in these two painterly approaches to trigger viewers’ simultaneous reading of a figure against its environment. Such case studies will be used as a benchmark to inform the production of contemporary envelopes and their relationships to the context. The seminar discussed the co-mingling of true and synthetic materials, texture and surface finishes and their role in the creation of an effect. Ideas about figure and background and their visual reading and simulation are central to the project, inviting the students to question what is ‘real’ and what is not.
Credit shared with Oscar Abrahamsson
196
197
Figure 255-256. 3D scanned objects used as tools & brushes to create camouflage landscapes. Figure 257. Camouflage landscape. 198
199
Figure 258-259. Camouflage lanscape with script overlay close ups. Figure 260. Final Camouflage as wall paper In Mapo Oil Tank in Seoul, S.Korea; Section. 200
201
202
203
Kuwait House Xefirotarch // office of Hernan Diaz Alonso Lead Designer: Ivan Bernal Privided with a predetermined layout and plan the e client looked to extend the project through the skin. n. Operating much like a surgical manner the skin wass conceptually stripped and replaced with a series off fluid meshes and panels. Interiority and exteriority in material concept become e one as the mesh creates outdoor oaseses. The project was never realized and was terminated d after the initial schematic design phase. Credit on this project are shared with: Andrew Cheu, u, William Miguel Virgil,Polina Alexeeva, BenCheng, Jun-jieGuo, Cunhao Li, Huijin Zheng, & Ana Derby.
204
205
Figure 263. Roof mesh.
206
207
Figure 264. Kuwait House; entrance perspective. Figure 265. Kuwait House; perspective.
208
209
Figure 266. Kuwait House; east elevation. Figure 267. Kuwait House; entrance.
210
211
212
213
Conexion La Ciutadella Y La Barceloneta Xefirotarch // office of Hernan Diaz Alonso Lead Designer: Ivan Bernal This bridge serves as a connection between the city of Catalonia & Barcelona. The scheme operates through composition of modular motifs. With multiple levels and circulation flows the bridge passes its role as a connection and embraces the role of “sky park”. Some paths on the birdge are fat free & fluid while others confound and flow pedestrians through every nook & cranny. Development of Conexion La ciutadella Y La Barceloneta is currently frozen & has been on hold after completion of the schematic design phase. Credits on this project are shared with: William Miguel Virgil,Polina Alexeeva, BenCheng, JunjieGuo, Cunhao Li, Huijin Zheng, & Ana Derby.
214
215
Figure 271. Surrounding points of interest diagram. 216
Figure 272. Local transportation diagram. 217
Figure 272. Module A; Top view.
218
219
Figure 272. Module A; Perspective. 220
221
Figure 273-274. Conexion Barceloneta: Perspectives.
222
223
Figure 275. Conexion Barceloneta: plan. Figure 276. Conexion Barceloneta; Plan Zoom-in.
224
225
A6
part 5 part 4
Module A
part 3 part 2
A8
part 1
A7
B8
A1 B7
A6
A0
A9
B9
A9
A12
B12
A8
B6
B5
A10 B1
B2
B4
B10
A15
B0
A12
A3
B3
A5
B11
A2
B9
A4
part 6
A7
A1 A10
A11 B8
part 4
part 5
Module B
B9
B10
B3
A5
B4
A1 B0,B7
part 3
A10
A2B7 A5 A8
B12
A13
B6
B16
A4
B13
A14
A7 A6
B5
A3 A0
part 2
B10 B14
B8
B15 B11 B0
B2
A9
B6
B2
B5 B11
B3
B1 B1
A2
part 1
A0
{0,0,0}
A3 B4
Module A:Part 1 part 2
Module C
part 6
part 5
part 1
part 4
part 3
226
Module A:Part 3
Module A:Part 2
A4
arc end points (m) B0. {-4.26 , 7.27, 0.0} B1. {-3.58, 6.07, 0.0} B2. {-4.61, 6.05, 0.0} B3. {-5.78, 5.54, 0.0} B4. {-5.83, 3.71, 0.0} B5. {-9.03 5.56, 0.0} B6. {-6.43, 5.72, 0.0} B7. {-4.22, 7.27, 0.0} B8. {-2.92, 9.26, 0.0} B9. {-7.33, 8.47, 0.0} B10. {-9.31, 8.14, 0.0} B11. {-8.31, 5.38, 0.0}
arc center point (m) A0. {-3.82, 6.70, 0.0} A1. {-4.13, 7.60, 0.0} A2. {-4.90, 5.11, 0.0} A3. {-3.81, 4.57, 0.0} A4. {-8.78, 1.99, 0.0} A5. {-7.89, 8.24, 0.0} A6. {-14.24, 19.20, 0.0} A7. {-6.83, 10.38, 0.0} A8. {-5.92, 13.25, 0.0} A9. {-7.98, 6.27, 0.0} A10. {-8.45, 6.93, 0.0}
radius (m) 0.69 1.62 0.98 2.19 3.41 2.90 15.58 4.06 4.98 2.29 1.48
angle (degree) 199.29 36.79 80.78 49.27 51.82 53.30 9.94 33.98 53.30 51.69 121.51
length (m) 2.41 1.04 1.38 3.88 3.09 2.70 2.70 2.41 4.63 2.07 3.15
{0,0,0}
arc end points (m) B0. {-7.89, 12.61, -0.3} B1. {-10.23, 12.71, 0.0} B2. {-12.21, 12.38, 0.0} B3. {-13.04, 11.97, 0.0} B4. {-13.64, 12.51, 0.0} B5. {-15.24, 13.46, 0.0} B6. {-12.41, 13.1, 0.0} B7. {-9.37, 15.21, -0.31} B8. {-7.69, 16.04, -0.6} B9. {-6.66, 16.15, -0.6} B10. {-5.77, 13.55, -0.6} B11. {-12.83, 11.04, 0.0} B12. {-10.87, 13.97, 0.0}
arc center point (m) A0. {-7.74, 15.81, 1.7} A1. {-9.31, 15.79, -3.16} A2. {-10.88, 10.5, 0.0} A3. {-11.35, 11.17, 0.0} A4. {-21.63, 9.58, 0.0} A5. {-13.77, 11.77, 0.0} A6. {-13.18, 15.11, 0.0} A7. {-13.41, 16.54, 0.0} A8. {-14.31, 18.27, 0.0} A9. {-11.28, 14.68, -5.3} A10. {-7.3, 13.73, 1.28} A11. {-6.65, 11.32, -0.6} A12. {-6.66, 14.7, -0.6}
radius (m) 3.78 4.51 2.3 1.49 8.92 0.76 2.64 3.58 5.51 5.36 3.0 4.83 1.46
angle (degree) 35.98 30.42 51.69 59.91 6.14 64.59 41.4 47.01 18.49 21.17 36.91 12.21 142.52
length (m) 2.37 2.39 2.07 1.55 0.96 0.85 1.91 2.94 1.78 1.98 1.93 1.03 3.62
arc end points (m) B0. {-8.28, 7.95, 0.0} B1. {-10.47, 6.48, 0.0} B2. {-13.1, 6.69, -0.3} B3. {-12.32, 8.56, -0.3} B4. {-11.63, 8.18, -0.3} B5. {-11.15, 7.84, -0.16} B6. {-9.83, 9.07, 0.0} B7. {-10.87, 9.48, 0.0} B8. {-12.42, 9.82, 0.0} B9. {-11.54, 11.77, 0.0} B10. {-10.25, 10.56, 0.0} B11. {-7.25, 8.54, 0.0} B12. {-6.76, 10.6, 0.0} B13. {-8.05, 10.51, 0.0} B14. {-10.04, 10.27, 0.0} B15. {-7.55, 8.61, 0.0} B16. {-10.62, 7.59, 0.0}
arc center point (m) A0. {-4.71, 4.7, 0.0} A1. {-12.37, 11.65, 0.0} A2. {-11.55, 9.48, -0.16} A3. {-12.6, 7.58, -0.3} A4. {-12.81, 6.83, -0.3} A5. {-11.36, 8.49, 0.85} A6. {-10.34, 8.04, -1.36} A7. {-10.34, 8.39, 0.0} A8. {-11.07, 7.41, 0.0} A9. {-10.26, 15.93, 0.0} A10. {-12.06, 10.83, 0.0} A11. {-13.36, 8.53, 0.0} A12. {-6.33, 13.12, 0.0} A13. {-7.04, 9.58, 0.0} A14. {-7.28, 8.73, 0.0} A15. {-9.43, 13.65, 0.0}
radius (m) 4.83 5.51 3.19 1.02 1.79 1.22 1.46 0.85 2.07 6.48 1.08 3.71 4.68 1.06 1.94 3.44
angle (degree) 11.73 27.64 49.11 166.29 25.59 28.32 23.9 162.78 31.33 14.06 189.83 27.52 45.52 175.71 39.23 33.81
length (m) 0.99 2.66 2.74 2.96 0.8 0.61 0.61 2.42 1.13 1.59 3.56 1.78 3.72 3.25 1.33 2.03
{0,0,0
227
A3
A5,A20,A24
A6
A0
A10 B3
A1
A8
A6 A21
A6
B4
A9 A0B9
B2
A14
B24
A3
A5
A4
B8
B5
A2
A3
B3
A8
B25
A22
A4
B7
B5
A23
A2
B6
B21
B22
B0
B7
B8
B16 B17
B15
B9
B5
B6
B7
A15
B10 B14
A7 A8
B0
B28
B20
A6
B4
A7
A5
B23
B1
A16
B8
A11
B4
A5 B8
B7
B5
B6
B18 B26
B13 B27A27
B11A12 B12
B0
A26
B4 B3
A2
B6
A7
B19
B3
B2
B1
B0
A18
B2 B1
B10
B1
B29
B2
A13 {0,0,0}
A0 A1
{0,0,0}
{0,0,0}
Module A:Part 4 arc end points (m) B0. {-5.37, 4.27, 0.0} B1. {-6.94, 3.95, -0.32} B2. {-8.44, 4.02, -0.6} B3. {-7.16, 7.96, -0.6} B4. {-5.62, 7.13, -0.27} B5. {-4.47, 5.78, 0.0} B6. {-2.76, 4.17, 0.0} B7. {-1.26, 4.61, 0.0} B8. {-4.09, 3.83, 0.0}
228
arc center point (m) A0. {-5.18, 2.76, 0.0} A1. {-5.15, 2.26, -3.2} A2. {-7.79, 5.5, 0.46} A3. {-7.77, 5.98, -0.6} A4. {-7.72, 5.86, 1.5} A5. {-5.97, 5.1, -2.98} A6. {-1.17, 7.59, 0.0} A7. {-2.26, 5.24, 0.0} A8. {-2.96, 5.25, 0.0}
radius (m) 1.52 3.78 1.93 2.08 3.03 3.4 3.77 1.18 1.81
Module A:Part 5 angle (degree) 52.85 24.82 46.66 178.2 34.15 30.58 36.33 82.66 108.12
length (m) 1.4 1.64 1.57 6.46 1.8 1.82 2.39 1.7 3.42
A2
Module B:Part 1
A1
arc end points (m) B0. {-4.67, 5.04, 0.0} B1. {-6.12, 6.92, 0.0} B2. {-7.6, 8.23, 0.0} B3. {-8.78, 6.06, 0.0} B4. {-6.99, 5.56, 0.0} B5. {-4.75, 5.08, 0.0} B6. {-5.74, 2.93, 0.0} B7. {-7.45, 4.54, 0.0} B8. {-10.14, 6.73, 0.0}
arc center point (m) A0. {5.55, 14.37, 0.0} A1. {-9.14, 4.99, 0.0} A2. {-8.13, 7.11, 0.0} A3. {-7.01, 8.95, 0.0} A4. {-6.97, 0.21, 0.0} A5. {-5.24, 4.0, 0.0} A6. {-4.15, 6.35, 0.0} A7. {-11.49, 2.33, 0.0}
radius (m) 13.84 3.58 1.24 3.39 5.35 1.18 3.77 4.6
angle (degree) 9.82 32.04 173.95 31.68 24.75 180.43 36.33 44.19
length (m) 2.37 2.0 3.75 1.87 2.31 3.72 2.39 3.55
arc end points (m) B0. {-30.43, 16.71, 0.01} B1. {-20.37, 14.62, 0.01} B2. {-12.77, 13.89, 0.01} B3. {-12.41, 16.26, 0.01} B4. {-18.79, 17.44, 0.01} B5. {-27.64, 16.9, 0.01} B6. {-31.3, 16.67, 0.01} B7. {-34.31, 17.49, 0.01} B8. {-34.28, 19.22, 0.01} B9. {-31.49, 19.68, 0.01} B10. {-25.62, 17.86, 0.01} B11. {-23.77, 17.28, 0.01} B12. {-22.63, 17.36, 0.01} B13. {-22.59, 18.69, 0.01} B14. {-25.1, 19.3, 0.01} B15. {-27.6, 20.11, 0.01} B16. {-27.51, 20.81, 0.01} B17. {-25.35, 20.86, 0.01} B18. {-10.7, 20.2, 0.01} B19. {-10.7, 22.08, 0.01} B20. {-21.7, 22.08, 0.01} B21. {-35.46, 19.34, 0.01} B22. {-40.76, 19.97, 0.01} B23. {-40.64, 23.0, 0.01} B24. {-37.27, 23.69, 0.01} B25. {-19.26, 22.8, 0.01} B26. {-10.71, 20.2, 0.01} B27. {-12.91, 18.42, 0.01} B28. {-15.03, 22.63, 0.01} B29. {-12.24, 16.17, 0.01}
arc center point (m) A0. {-35.32, -32.0, 0.01} A1. {-14.88, 31.73, 0.01} A2. {-12.91, 15.12, 0.01} A3. {-18.09, 3.44, 0.01} A4. {1.66, -392.89, 0.01} A5. {-47.26, 291.22, 0.01} A6. {-31.59, 21.53, 0.01} A7. {-33.73, 18.35, 0.01} A8. {-32.34, 16.12, 0.01} A9. {-42.45, -26.01, 0.01} A10. {-20.05, 32.4, 0.01} A11. {-23.33, 19.06, 0.01} A12. {-22.91, 18.04, 0.01} A13. {-25.28, 13.13, 0.01} A14. {-24.97, 23.99, 0.01} A15. {-27.38, 20.43, 0.01} A16. {-26.35, 17.59, 0.01} A17. {-16.74, 48.99, 0.01} A18. {-10.89, 21.14, 0.01} A19. {-16.19, -4.05, 0.01} A20. {-146.66, 615.27, 0.01} A21. {-37.11, 28.16, 0.01} A22. {-39.95, 21.45, 0.01} A23. {-37.76, 17.55, 0.01} A24. {4.63, 689.87, 0.01} A25. {-29.41, -276.23, 0.01} A26. {-9.98, 17.05, 0.01} A27. {-11.3, 17.67, 0.01}
radius (m) 48.95 17.97 1.24 14.02 410.84 275.01 4.87 1.03 3.66 46.99 15.57 1.84 0.73 6.18 4.69 0.4 3.42 29.41 0.96 26.7 606.21 8.97 1.69 6.16 667.5 299.2 3.23 1.77
angle (degree) 12.05 24.54 149.33 26.77 1.24 0.76 37.35 113.93 45.54 7.49 7.15 36.11 132.0 24.13 32.44 126.09 36.9 28.88 156.25 23.78 1.33 34.57 127.22 32.43 1.55 0.81 51.94 83.15
length (m) 10.3 7.7 3.24 6.55 8.87 3.67 3.17 2.05 2.91 6.14 1.94 1.16 1.68 2.6 2.66 0.87 2.2 14.83 2.61 11.08 14.04 5.41 3.76 3.49 18.03 4.24 2.93 2.57
A0,A4,A9,A17,A25
A1
{0,0,0}
A3
A4
A19
Module B:Part 2 arc end points (m) B0. {-27.92, 12.17, -0.31} B1. {-22.86, 12.56, -0.97} B2. {-17.75, 12.84, -1.29} B3. {-12.62, 13.11, -1.29} B4. {-7.52, 12.87, -1.27} B5. {-7.43, 11.57, -1.27} B6. {-13.68, 10.82, -1.32} B7. {-20.07, 11.08, -1.23} B8. {-26.37, 11.29, -0.51} B9. {-32.2, 11.85, 0.01} B10. {-32.66, 11.59, 0.01}
arc center point (m) A0. {-32.24, 12.58, -28.89} A1. {-6.56, -4.7, 132.72} A2. {-16.74, -1.45, 44.34} A3. {-22.69, 159.27, 104.27} A4. {-11.14, -9.97, -2.02} A5. {-7.66, 12.21, -1.27} A6. {-12.64, 28.84, -1.96} A7. {-17.85, -42.77, 82.33} A8. {-18.14, 17.59, 42.14} A9. {-32.04, 12.59, -31.31}
radius (m) 28.9 135.78 47.82 180.57 23.14 0.68 18.06 99.43 43.9 31.34
angle (degree) 8.54 2.16 6.14 1.63 12.68 147.75 20.1 3.69 8.28 11.58
length (m) 4.31 5.13 5.12 5.14 5.12 1.76 6.33 6.4 6.34 6.33
A7
229
A0,A1,A5,A6,A14
A2,A9,A18
A0,A1,A8,A10,A13,A14 A10
A15
A2,A14
A17 A21 A13
A11
A10
A17
A20
A10 A12 B11
A11
B12 B15
B11 B2
B3
B10
B13
B12
A11
B7
B8 B9
A7
B5
B4
A2
B6
B16
A0
B16
A17
B0
B11
B4
B17
A3
B4
A6 B5
A16
B7
B19
B23
B13
B1
B2
B16
A16
B21
B17
B6
B17
B18
B20
B9
B16
B0
A5
B1
A0 B11
A11
B9
B10
B8
A19 A13
{0,0,0}
A15
A15
A8 {0,0,0}
Module B:Part 5 A8 {0,0,0}
Module B:Part 4
Module B:Part 3 A3
arc end points (m) B0. {-36.17, 10.48, 0.01} B1. {-43.5, 11.09, 0.01} B2. {-43.32, 12.44, 0.01} B3. {-40.78, 12.7, 0.01} B4. {-32.91, 12.53, 0.01} B5. {-18.56, 12.2, 0.01} B6. {-13.79, 12.62, 0.01} B7. {-13.75, 13.57, 0.01} B8. {-17.53, 13.86, 0.01} B9. {-28.91, 12.56, 0.01} B10. {-34.05, 12.98, 0.01} B11. {-34.1, 13.8, 0.01} B12. {-32.07, 14.29, 0.01} B13. {-20.2, 14.49, 0.01} B14. {-10.15, 15.23, 0.01} B15. {-6.91, 16.12, 0.01} B16. {-10.36, 13.56, 0.01} B17. {-9.68, 11.98, 0.01} B18. {-25.33, 11.24, 0.01}
A4,A13,A9,A18
230
arc center point (m) A0. {-48.84, 271.56, 0.01} A1. {-37.54, 38.68, 0.01} A2. {-43.24, 11.74, 0.01} A3. {-39.84, -9.39, 0.01} A4. {-38.25, -53.74, 0.01} A5. {-22.81, 137.76, 0.01} A6. {-20.03, 55.65, 0.01} A7. {-13.86, 13.1, 0.01} A8. {-16.55, 1.85, 0.01} A9. {-3.13, -162.64, 0.01} A10. {-30.58, 23.93, 0.01} A11. {-33.92, 13.4, 0.01} A12. {-31.74, 8.5, 0.01} A13. {-23.76, -129.51, 0.01} A14. {-18.93, 66.09, 0.01} A15. {-13.04, 31.99, 0.01} A16. {-1.37, 5.06, 0.01} A17. {-9.68, 12.92, 0.01} A18. {-8.91, -170.15, 0.01}
radius (m) 261.38 28.23 0.71 22.11 66.49 125.64 43.48 0.48 12.06 177.09 11.49 0.44 5.81 144.05 51.61 17.01 12.37 0.94 182.12
angle (degree) 2.38 14.98 151.98 6.6 6.79 6.55 6.31 158.32 18.09 3.71 25.94 138.47 20.66 4.72 11.21 11.33 19.99 133.41 4.93
length (m) 10.87 7.38 1.87 2.55 7.88 14.36 4.79 1.34 3.81 11.46 5.2 1.07 2.09 11.88 10.1 3.36 4.32 2.19 15.67
arc end points (m) B0. {-42.99, 29.1, 0.01} B1. {-46.12, 29.79, 0.0} B2. {-49.3, 31.04, 0.01} B3. {-55.05, 28.5, 0.01} B4. {-50.31, 26.43, 0.01} B5. {-50.44, 25.36, 0.01} B6. {-44.63, 25.73, 0.11} B7. {-38.83, 25.77, -0.23} B8. {-33.06, 25.85, -0.95} B9. {-27.31, 26.49, -1.27} B10. {-22.32, 28.18, -1.27} B11. {-22.44, 31.18, -1.27} B12. {-27.67, 32.02, -1.27} B13. {-29.81, 31.8, -1.27} B14. {-35.21, 30.88, -0.89} B15. {-39.1, 30.03, -0.28} B16. {-59.03, 32.22, 0.01} B17. {-52.48, 27.06, 0.01}
A7,A14,A16
B3
A3 A1
A6
B12
B8
A17
A5
B8
B2
A16
B24
B22
A4
B9 B6
A1
B15
A15
B0 B3
B10
A12
B14
A7 B5 B7
A3
A12
B0
B3
A2
B7
B5
B18
B6
B12
B13
B15
B1
A4
B18
B1
B14
B2
B17
B10 B4
B13
B14 B15
B14
radius arc center point (m) (m) 3.63 A0. {-43.86, 32.63, 0.02} 5.83 A1. {-49.75, 25.22, 0.05} 38.18 A2. {-49.6, 69.21, 0.01} 7.13 A3. {-61.53, 25.55, 0.01} 2.64 A4. {-52.69, 29.69, 0.01} 3.67 A5. {-52.36, 23.39, 0.01} 0.61 A6. {-50.65, 25.93, 0.01} 78.1 A7. {-42.72, -51.98, 7.67} 35.66 A8. {-43.68, 17.38, -34.55} 101.73 A9. {-31.73, 117.49, 43.2} 32.09 A10. {-31.77, 50.75, 19.26} 17.01 A11. {-30.2, 43.25, -1.27} 1.66 A12. {-23.09, 29.65, -1.27} 10.84 A13. {-26.73, 21.22, -1.27} 73.52 A14. {-21.31, -41.22, -1.27} 28.68 A15. {-28.77, 20.22, 24.95} A16. {-55.49, -21.88, -188.13} 195.58 27.12 A17. {-41.37, 22.83, -26.33} 107.1 A18. {-70.29, 132.67, 0.01}
angle (degree) 52.34 34.03 14.76 44.98 67.76 35.87 125.91 4.27 9.34 3.28 10.36 17.79 129.1 28.28 1.68 10.98 1.18 8.49 5.19
length (m) 3.32 3.46 9.84 5.59 3.13 2.3 1.33 5.83 5.82 5.82 5.8 5.28 3.75 5.35 2.16 5.5 4.02 4.02 9.71
arc end points (m) B0. {-26.52, 16.33, -2.56} B1. {-30.0, 15.61, -2.56} B2. {-38.97, 15.06, -2.56} B3. {-40.5, 15.45, -2.56} B4. {-40.52, 17.15, -2.56} B5. {-38.97, 17.52, -2.56} B6. {-37.78, 19.65, -2.56} B7. {-37.92, 18.4, -2.56} B8. {-24.62, 16.11, -2.56} B9. {-12.85, 13.77, -2.56} B10. {-0.49, 12.5, -2.56} B11. {-0.28, 14.21, -2.56} B12. {-11.77, 16.26, -2.56} B13. {-28.92, 18.36, -2.56} B14. {-34.02, 19.58, -2.56} B15. {-27.79, 19.24, -2.07} B16. {-21.55, 18.88, -1.3} B17. {-15.32, 19.37, -1.23} B18. {-9.09, 20.38, -1.27} B19. {-29.96, 18.59, -2.56} B20. {-24.74, 17.53, -1.69} B21. {-19.44, 17.32, -1.27} B22. {-14.26, 18.68, -1.27} B23. {-34.12, 17.56, -2.56} B24. {-9.09, 20.06, -1.27}
arc center point (m) A0. {-55.95, 149.26, -2.56} A1. {-36.55, 49.21, -2.56} A2. {-38.99, 18.2, -2.56} A3. {-40.08, 16.3, -2.56} A4. {-38.95, 13.98, -2.56} A5. {-35.61, -76.85, -2.56} A6. {-37.37, -57.17, -2.56} A7. {-37.77, 19.02, -2.56} A8. {-13.55, 120.11, -2.56} A9. {-31.68, -50.27, -2.56} A10. {-3.25, 46.39, -2.56} A11. {-0.56, 13.38, -2.56} A12. {-12.83, -22.99, -2.56} A13. {-9.31, 107.5, -2.56} A14. {3.35, 165.02, -2.56} A15. {-33.0, 18.69, 23.93} A16. {-19.42, 19.95, -43.84} A17. {-20.06, 40.72, -7.56} A18. {-3.71, -31.9, 21.29} A19. {54.27, 32.17, -476.41} A20. {-21.06, 30.68, -7.99} A21. {-21.81, 36.93, -1.23} A22. {-6.46, -0.19, -1.27}
A8 radius (m) 136.15 34.24 3.14 0.95 3.54 94.42 76.82 0.63 104.59 66.75 34.0 0.88 39.26 91.27 150.17 26.53 42.61 22.76 57.19 481.47 15.04 19.75 20.42
angle (degree) 1.49 15.09 29.14 125.95 26.06 2.94 2.8 166.22 7.4 10.31 21.05 156.69 17.1 10.86 2.0 13.57 8.47 15.79 6.32 0.64 20.37 15.56 15.06
length (m) 3.55 9.02 1.6 2.1 1.61 4.84 3.75 1.84 13.51 12.02 12.5 2.41 11.72 17.3 5.25 6.28 6.3 6.27 6.31 5.4 5.35 5.37 5.37
A22
A4
{0,0,0}
Module B:Part 6 arc end points (m) B0. {-28.72, 18.38, -0.61} B1. {-24.4, 18.19, -1.27} B2. {-9.65, 21.63, -1.27} B3. {-9.91, 23.82, -1.27} B4. {-19.46, 23.88, -1.27} B5. {-26.37, 22.0, -0.73} B6. {-34.6, 19.59, 0.01} B7. {-20.86, 23.54, 0.01} B8. {-17.34, 24.2, 0.0} B9. {-13.76, 24.34, 0.0} B10. {-18.1, 25.5, 0.0} B11. {-20.12, 28.87, 0.0} B12. {-23.28, 25.28, 0.0} B13. {-27.98, 23.76, 0.0} B14. {-35.49, 23.51, 0.0} B15. {-42.73, 22.18, 0.01} B16. {-33.05, 18.63, 0.01} B17. {-33.24, 20.0, 0.01} B18. {-42.78, 19.82, 0.01}
arc center point (m) A0. {-32.96, 18.34, -14.74} A1. {-24.11, 19.89, 14.51} A2. {-24.34, 51.29, -1.27} A3. {-10.17, 22.68, -1.27} A4. {-14.83, 1.67, -1.27} A5. {-19.34, 19.45, 32.53} A6. {-33.81, 17.5, -46.9} A7. {150.05, -596.22, 0.01} A8. {-15.34, 3.82, 0.31} A9. {-14.48, -5.0, 0.44} A10. {-13.31, 34.65, 0.0} A11. {-16.35, 28.84, 0.0} A12. {-27.01, 31.74, 0.0} A13. {-29.15, 35.44, 0.0} A14. {-33.66, 80.45, 0.34} A15. {-36.05, 6.11, 0.07} A16. {-42.36, 20.99, 0.01} A17. {-38.35, 32.11, 0.01}
radius (m) 14.76 15.88 33.1 1.17 22.69 34.09 46.98 642.9 20.48 29.35 10.32 3.77 7.47 11.74 56.97 17.41 1.25 13.07
angle (degree) 17.05 15.85 26.45 141.13 24.29 12.09 8.78 1.27 10.03 7.01 25.14 62.78 37.37 24.29 7.56 24.42 142.83 36.52
length (m) 4.39 4.39 15.28 2.89 9.62 7.19 7.2 14.29 3.59 3.59 4.53 4.13 4.87 4.97 7.52 7.42 3.11 8.33
A9
A12 A5,A6,A9,A18
A7
231
A8
A8 A5
A4
A0
A6 A8
B5
B11
A7
A5
B7
B1 B6
B8
B8
A10
A9
B6
A5
A0
B12
B1
B4
B3
A1 A4
B0
A3 B2
B5
B6
B4
B10
B3
A11
A6
B11
B3
B7
A10
A2 B4
B2
B9
B3
A0
B10
B9 B8
B7
B2
A3
B0
A7
A2
A2
B12 B5
B0
A1
A3
A1
B7
B4
B8 B9
{0,0,0}
A6 A4
B1
B2
A9
B5
B6
B0
B1
A2
A6 {0,0,0}
A8 {0,0,0}
Module C:Part 1 arc end points (m) B0. {-11.68, 3.65, 0.0} B1. {-8.82, 2.04, 0.0} B2. {-6.03, 7.8, 0.0} B3. {-7.91, 8.77, 0.0} B4. {-13.24, 5.26, 0.0} B5. {-13.97, 7.19, 0.0} B6. {-9.75, 9.64, 0.0} B7. {-7.41, 11.45, 0.0} B8. {-7.99, 9.94, 0.0} B9. {-11.95, 4.68, 0.0} B10. {-9.96, 6.9, 0.0} B11. {-7.25, 11.7, 0.0} B12. {-7.46, 8.94, 0.0}
232
arc center point (m) A0. {-13.44, 3.73, 0.0} A1. {-9.84, 3.56, 0.0} A2. {-12.37, 7.32, 0.0} A3. {-7.27, 7.71, 0.0} A4. {-4.22, 2.68, 0.0} A5. {-13.2, 9.27, 0.0} A6. {-13.23, 6.36, 0.0} A7. {-5.99, -1.68, 0.0} A8. {-11.18, 13.92, 0.0} A9. {-4.81, 9.59, 0.0} A10. {-6.98, 9.83, 0.0}
radius (m) 1.76 1.84 6.37 1.25 7.13 4.02 1.11 11.94 4.51 3.19 1.01
angle (degree) 35.39 126.73 60.43 116.86 22.48 54.36 137.36 23.6 42.04 29.29 68.36
length (m) 1.09 4.06 6.72 2.54 2.8 3.81 2.65 4.92 3.31 1.63 1.2
{0,0,0}
A4
A7
Module C:Part 4
Module C:Part 2 arc end points (m)= B0. {-5.22, 9.25, 0.0} B1. {-8.63, 11.51, 0.0} B2. {-13.29, 3.8, 0.0} B3. {-15.02, 5.52, 0.0} B4. {-11.52, 9.85, 0.0} B5. {-10.64, 12.74, 0.0} B6. {-9.8, 11.41, 0.0} B7. {-10.58, 7.28, 0.0} B8. {-8.67, 11.45, 0.0}
arc center point (m) A0. {-7.0, 10.26, 0.0} A1. {-0.26, 5.09, 0.0} A2. {-15.5, 8.32, 0.0} A3. {-13.86, 4.95, 0.0} A4. {-3.75, 0.01, 0.0} A5. {-13.16, 11.93, 0.0} A6. {-7.97, 13.49, 0.0} A7. {-9.26, 12.03, 0.0}
radius (m) 2.05 10.55 5.03 1.29 12.54 2.65 2.77 0.82
angle (degree) 172.08 25.51 52.01 142.12 25.64 69.57 33.01 86.77
length (m) 6.17 4.7 4.57 3.19 5.61 3.22 1.6 1.24
A7
Module C:Part 3 arc end points (m) B0. {-19.51, 6.36, 0.0} B1. {-13.84, 6.49, 0.0} B2. {-5.16, 11.29, 0.0} B3. {-6.0, 12.61, 0.0} B4. {-11.93, 9.54, 0.0} B5. {-17.24, 6.73, 0.0} B6. {-25.33, 6.74, 0.0} B7. {-25.32, 8.99, 0.0} B8. {-19.27, 8.88, 0.0} B9. {-13.52, 8.45, 0.0}
arc center point (m) A0. {-19.51, 125.38, 0.0} A1. {-14.37, 17.72, 0.0} A2. {-5.85, 11.77, 0.0} A3. {-4.08, 1.62, 0.0} A4. {-19.24, 16.91, 0.0} A5. {-21.24, 27.14, 0.0} A6. {-25.1, 7.87, 0.0} A7. {-22.55, -5.49, 0.0} A8. {-14.97, 27.75, 0.0}
radius (m) 119.02 11.23 0.85 11.16 10.37 20.8 1.14 14.74 19.35
angle (degree) 2.73 52.37 134.83 34.82 33.65 22.43 157.86 23.67 17.13
length (m) 5.68 10.27 1.99 6.78 6.09 8.14 3.15 6.09 5.78
A5
arc end points (m) B0. {-12.45, 9.75, 0.0} B1. {-8.18, 10.78, 0.0} B2. {-3.44, 10.97, 0.0} B3. {-3.22, 9.33, 0.0} B4. {-10.54, 8.71, 0.0} B5. {-16.01, 9.54, 0.0} B6. {-20.7, 8.92, 0.0} B7. {-20.72, 7.41, 0.0} B8. {-13.15, 7.67, 0.0} B9. {-9.16, 8.37, 0.0} B10. {-7.7, 7.98, 0.0} B11. {-8.09, 5.94, 0.0} B12. {-16.32, 9.61, 0.0}
arc center point (m) A0. {-14.73, 19.0, 0.0} A1. {97.84, -438.0, 0.0} A2. {-5.32, -1.33, 0.0} A3. {-3.57, 10.12, 0.0} A4. {-7.77, 19.66, 0.0} A5. {-17.55, -19.1, 0.0} A6. {-16.7, -3.21, 0.0} A7. {-20.45, 8.16, 0.0} A8. {-17.28, 17.11, 0.0} A9. {-9.73, -0.16, 0.0} A10. {-9.43, 4.44, 0.0} A11. {-8.17, 7.01, 0.0}
radius (m) 9.52 461.14 12.44 0.86 11.29 28.69 12.77 0.8 10.29 8.55 3.93 1.07
angle (degree) 23.44 0.55 21.97 147.56 37.92 11.08 21.34 142.21 43.14 27.42 22.28 149.62
length (m) 3.9 4.4 4.77 2.23 7.47 5.55 4.76 1.98 7.75 4.09 1.53 2.8
A1
233
A7
A5
A2 B3
A4
B6
B4
B0 B2
A1 B5
A0
B1
A4 B2
A1
B3
B1 B8 B7 B0
{0,0,0}
B6
A3
A5
B4
B5
A2
A6
Module C:Part 5 arc end points (m) B0. {-5.52, 10.17, 0.0} B1. {-6.23, 7.67, 0.0} B2. {-9.79, 9.45, 0.0} B3. {-17.35, 12.76, 0.0} B4. {-17.96, 11.17, 0.0} B5. {-9.11, 7.5, 0.0} B6. {-12.36, 11.63, 0.0}
arc center point (m) A0. {-14.48, -15.11, 0} A1. {-5.96, 8.94, 0.0} A2. {-4.58, 15.45, 0.0} A3. {-18.88, -1.03, 0.0} A4. {-17.45, 11.88, 0.0} A5. {-5.55, 28.55, 0.0}
{0,0,0} radius (m) 26.82 1.3 7.95 13.87 0.88 21.35
angle (degree) 14.99 172.43 29.02 34.62 150.82 25.92
Module C:Part 6
length (m) 7.02 3.91 4.03 8.38 2.31 9.66
A0 A3
Figure 277-295. Conexion Barceloneta: Modular & curvature analysis.
234
arc end points (m) B0. {-18.89, 13.25, 0.0} B1. {-23.5, 15.69, 0.0} B2. {-23.1, 16.73, 0.0} B3. {-19.25, 16.21, 0.0} B4. {-12.15, 12.04, 0.0} B5. {-5.83, 10.73, 0.0} B6. {-5.52, 12.15, 0.0} B7. {-10.06, 13.74, 0.0} B8. {-16.63, 14.86, 0.0}
arc center point (m) A0. {-18.37, 19.81, 0.0} A1. {-22.99, 16.09, 0.0} A2. {-21.99, 10.45, 0.0} A3. {-39.47, -26.28, 0.0} A4. {-7.51, 18.56, 0.0} A5. {-6.0, 11.51, 0.0} A6. {-10.34, 5.67, 0.0} A7. {-9.19, 38.62, 0.0}
radius (m) 6.57 0.65 6.38 47.06 8.01 0.8 8.08 24.89
angle (degree) 46.68 118.75 35.49 10.03 47.54 131.3 34.64 15.38
length (m) 5.36 1.35 3.95 8.24 6.64 1.83 4.88 6.68
Figure 296. Conexion Barceloneta; Plan close-up.
235
Figure 297. Conexion Barceloneta; Plan close-up two.
236
237
Figure 298. Conexion Barceloneta; Elevation A.
238
239
Figure 299. Conexion Barceloneta; Elevation B.
240
241
“Shenzhen” Xefirotarch // office of Hernan Diaz Alonso Lead Designer: Ivan Bernal This project was a Invite only competition for the Shenzhen Longhua Library & Museum. “Shenzhen” explores the potential of architectural skin as hyper textural overlay. Metallic hairs or furrs overlay the mass acting as shading. Perforated metal panels create accents within the couryard. Tears on the outer mass lead circulation into the couryard and ground floor entrances. Flow is embraced through metal furrs and mesh accents. From each elevation facade textures flow as if brushed by a wind & tears lure the occupants inside to experience an alternative perspective on the interior. The program in this design is centered around the intelligent 3D stack and two courtyards. The service areas which cater to the public are located around these courtyards, each with access to the adjacent streets. These service areas includea bookstore, art supplies shop, cafe, restaurant, art library, customer service office, er al. The museum spaces occupy the west and north ends of the building while the south and east ends house the library stacks primarily. Visitors can enter from the pedestrian access streets in the north east corner of the site, or enter the seperate facilities from the southwest museum entrance or the southeast library entrance. There is also a south loading access point for the intelligent 3D stack and a northern access point for the two courtyards. Credits on this project are shared with: Andrew CheuWilliam Miguel Virgil,Polina Alexeeva, BenCheng, JunjieGuo, Cunhao Li, Huijin Zheng, & Ana Derby.
242
243
Figure 301. “Shenzhen”; Perspectival Section. Figure 302. “Shenzhen”; Courtyard perspective.
244
245
Figure 303. “Shenzhen”; South elevation. Figure 304. “Shenzhen”; East elevation.
246
247
Figure 305. “Shenzhen”; North elevation. Figure 306. “Shenzhen”; Aerial perspective. 248
249
Figure 307. “Shenzhen”; Ground-level plan: close up.
250
251
Figure 308. “Shenzhen”; Level one plan: close up.
252
253
Figure 309. “Shenzhen”; Level two plan: close up.
254
255
Figure 309-A. “Shenzhen”; Level two plan: close up two.
256
257
Figure 310. “Shenzhen”; Level three plan: close up.
258
259
Figure 311. “Shenzhen”; Level five plan: close up.
260
261
Figure 311-A. “Shenzhen”; Level five plan: close up two. 262
263
Figure 312. “Shenzhen”; Level six plan: close up. 264
265
Rususupuisto Competition Xefirotarch // office of Hernan Diaz Alonso Lead Designer: Ivan Bernal This competition entry is for the expansion upon the Alvar Aalto Museum in Jyvasjarvi, Finland. The design embraces the programatic preface: a homage to Alvaar Aalto. In a contemporary undertaking Xefirotarch’s “Rususupuisto Competition” embraces the spirit of Aalto through the schemes’ distinct seperation between wall and roof. The curvatures of each element contribute to a whole silhouette or autonomy. Each element uniquely represented through material choice plays its part to enhance the affects of the project. The reflective floorplates combined the reflective metal roof and glass wall exteriors create a sense of blurr within the project; This blurr affect creates a background which highlights the still sharp exhibited pieces of the museum.
266
267
Figure 314. Rususupuisto Competition; Ground oor circulation. 268
Figure 315. Rususupuisto Competition; Level one oor circulation. 269
Figure 316. Rususupuisto Competition; Section.
270
271
272
273
274
275
Figure 321. Rususupuisto Competition; Interior perspective. Figure 322. Rususupuisto Competition; Exterior aerial view. 276
277
Figure 323. Rususupuisto Competition; Entrance perspective. Figure 324. Rususupuisto Competition; Section nts. 278
279
280
281
282