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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.
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Homyoun Ismael Zaryouni PORTFOLIO
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“-you’re either in love or out of love” -Damien Hirst
Homyoun Ismael Zaryouni PORTFOLIO 07
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].
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Figure 1-16. Beginning forms: overlaying skins on primitive(s). Figure 17. Primitive; skins overlaid.
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Figure 18. Skins overlayed on inhabitable mass. Figure 19. Perspective of initial schematic. 12
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Figure 20. Skins overlayed on mass top view. Figure 21. Perspective of initial schematic.
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Figure 22. Skins overlayed on second intitial mass perspective. Figure 23. top view: skins overlayed ed on second initial mass.
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Figure 24-25. Iteration two close-ups.
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Figure 26. Final Iteration placed in altered city context of Kilamba, Angola.
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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.
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Figure 32. City of Kilamba Cultural Center, Public Lobby Interor Perspective One. Figure 33. City of Kilamba Cultural Center, Public Lobby Interor Perspective Two.
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Figure 34. City of Kilamba Cultural Center, Elevation One.
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Figure 35. City of Kilamba Cultural Center, Elevation Two.
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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.
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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.
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Figure 43-59. Pictures of “Bella� [Pitbull Terrior] used for three dimensional scanning.
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Figure 60. 3D Scan of “Bella”.
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Figure 61-64. Doghouse Iterations. Figure 65. Final Doghouse Iteration.
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Figure 66. Guesthouse dog perspective one. Figure 67. Guesthouse dog perspective two.
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Figure 68. Guesthouse dog perspective three.
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Figure 69. Mainhouse.
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Figure 70. Mainhouse rooftop perspective. Figure 71. Mainhouse rooftop perspective two.
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Figure 72. Mainhouse aerial perspective one. Figure 73. Mainhouse aerial perspective two . 56
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Figure 74. Mainhouse aerial perspective three. Figure 75. Ground Perspective.
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Figure 76. Circulation diagram: morning path.
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Figure 77. Circulation diagram: evening path.
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Figure 80. Entrance Perspective One. Figure 81. Entrance Perspective Two.
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Figure 82. Entrance Perspective Three, Exterior Foyer. Figure 83. Kitchen Perspective.
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Figure 84. Master Bedroom Perspective. Figure 85. Doghouse; Guesthouse; Mainhouse;
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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”.
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Figure 88-99. Scanned popcorns for formal analysis. Object/ surface/cavity studies. Figure 100-101. Popcorn skins peeled & stiched together in surface analysis. 74
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Figure 102-104. Defining charecteristics of studied popcorns were mimicked to form the “perfect popcorn”.
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Figure 105-106. “Perfect popcorn” cut in half.
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Figure 106. Pop-up Performance theatre; Entrance one. Figure 107. Pop-up Performance Theatre; Top view close-up.
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Figure 108. Ground perspective. Figure 109. Top view close-up two. 80
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Figure 110. Interior perspective one. Figure 111. Interior perspective two. 82
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Figure 112. Interior perspective three. Figure 113. Ground perspective two. 84
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Figure 114. Entrance Perspective Two. Figure 115. Ground perspective three. 86
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Figure 116. Ground perspective four. Figure 117. Close-up perspective. 88
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Figure 118. Pop-up performance theatre; aerial view.
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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
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Figure 121. Roof typologies drive the secondary projection axis. Figure 122. Primitive huts with hay roofs drive the tertiary projection axis.
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Figure 123-124. Clusters of Mass are created. Figure 125-127. Mass cluster zoom-ins.
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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.
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Figure 131. Photograph of physical model.
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Figure 132. El Bulli Creativity Campus; Isometric render.
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Figure 133. Photograph of physical model. Figure 134. El Bulli Creativity Campus; Isometric render.
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Figure 135. El Bulli Creativity Campus; Site Model; scale 1:60.
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Figure 136. 1/8� = 1’ Chunk Model; Close up. Figure 137. El Bulli Creativity Campus; Campus Hotel close-up.
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Figure 138. El Bulli Creativity Campus; Section through Hotel & Artist Residence.
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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
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Figure 140-156. Alpha’d Contextual google map screenshotted perspectives projected on XYZ axises to produce contextual masses.
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Figure 157. Contextual form; result of alpha projections.
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Figure 158-170. Section cut animation through massing.
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Figure 173. Section cut frame.
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Figure 174-175. Exterior shell in relation to ground; Exterior shell w/ attached contexually textured voxels [threedimensional pixels].
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Figure 176-177. Interior massing in relationship to ground.
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Figure 178. A Contextual Monolithic; Ground perspective.
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Figure 179. A Contextual Monolithic; Arial perspective.
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Figure 180-181. Front Elevation & Top View. Figure 182. Voxel Detail - Close up. 122
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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.
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Figure 185. A Contextual Monolithic; Slit-Scan [or combined unrolled elevation & section].
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Figure 186. A Contextual Monolithic; Interior perspective. Figure 187. A Contextual Monolithic; Interior elevation. 128
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Figure 189. Middle frame; Perspective to axonometric camera path.
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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.
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Figure 191-195. Massing diagram & program distribution. Figure 196. Project site in relation to Financial District & Chinatown.
Recreational Spaces Emergency Egress
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Outdoor Spaces (public)
Galleries (private)
Cafe/Lobby (public)
Public Circulation
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Figure 197. SF MOCFA; Pine Street Elevation. Figure 198. SF MOCFA; Kearny Street Perspective. 138
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Figure 199-200. SF MOCFA; 1st & 2nd level plans. Figure 201. SF MOCFA; Entering lobby perspective.
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Figure 202-203. SF MOCFA; Gallery plans (levels 3-4). Figure 204. SF MOCFA; Gallery perspective.
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Figure 205. SF MOCFA; Photograph of physical model.
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Figure 206. SF MOCFA; Photograph of physical model.
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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.
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Figure 208-214. A&C School: Farmington; Cafe development in relation to program bars. Figure 215. A&C School: Farmington; Section.
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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.
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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. 152
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Figure 223-224. A&C School: Farmington; 1st & 2nd level plans. Figure 225. A&C School: Farmington; Perspective. 154
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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.
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Figure 227-232. Precedent images [from left to right] Coophimmel(b) lau’s Dalian Center & Jean Nouvel’s Tokyo Opera House competition entry.
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Figure 233-236. Jean Nouvel’s Tokyo Opera House elevation; First attempts to materialize facade.
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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 237. Exploded facade diagram.
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Figure 238. Structural materialization of interior volumes.
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Solar roof panels and exhaust louvers
Exterior shell; metal cladding.
Structural shell
Skylight roof glass
Ceiling roof surface.
Figure 239. Structural materialization of roof & ceiling.
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Panel F Panel A 1m x 4m x 1m
1m x 6m x variable Panel A
Panel F
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.
Panel E 1m x 8m .5m
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Panel E
Aluminum external skin Adhesive ďŹ lm Aluminum honeycomb spacer
Aluminum extrusion Aluminum internal skin 165
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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.
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I-Beam Interior Framing Interior Finish Fiber Reinforced Panel Wood Fiber Insulation
Aluminum Frame Concrete
HVAC Duct Floor I-Beam Floor Edge Beam
Figure 244. 3D Chunk 1; floor to wall to voxel tectonics. 170
I-Beam Interior Framing Fiber Reinforced Panel Interior Finish Wood Fiber Insulation FRP Framing
Aluminum Frame Concrete Slab Floor I-Beam Floor Edge Beam HVAC Duct
Figure 245. 3D Chunk 2; facade to voxel tectonics. 171
Embeded Aluminum Clip Joint Detail.
Cube Shaped Voxel
Pyramid Voxel
Embeded Aluminum Clip Joint. Embeded Bolt
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Figure 246. 3D Chunk 3; facade types and connections. Figure 247. Embeded Aluminum Clip Joint Detail.
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
Insulation Opaque Glass Insulating Glass Mullion
Wood Fiber Insulation Fiber Reinforced Panel
Seamless Weld 1/8” Embedded Bolt 1/8” Folded Powder Coated Aluminum Fold Guide
Figure 248. 3D Chunk 4; Facade, glass, voxel relationship Figure 249-250. 3D Details of voxel tectonics & assembly.
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Support Framing: 4” Diameter Tubed Steel.
Structural Steel: I-Beam W16x40.
Structural core.
Concrete footing.
Concrete transfer slab.
Concrete column 18” X 18”
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Secondary Framing: 4� tubed steel; 8’ O.C.
Figure 251-252. Structure diagrams; Highlighting primary & secondary framing.
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Cladding [tertiary] Framing 4� Aluminum Max. distance 6’ O.C.
Figure 253. Structure diagram; Highlighting tertiary Figure 254. Egress diagram.
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OCCUPANCY GROUP - LIBRARY, ASSEMBLY, FULLY SPRINKLED
OCC. TYPE Library, Stack Area LOAD: 1/100 AREA: 4014 SF OCC. LOAD: 40
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
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LEVEL 4
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OCC. TYPE Library, Reading Rooms LOAD: 1/50 AREA: 6146 SF OCC. LOAD: 123
OCC. TYPE Library, Stack Area LOAD: 1/100 AREA: 8794 SF OCC. LOAD: 88
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LEVEL 5
LEVEL 7
2’
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OCC. TYPE Library, Reading Rooms LOAD: 1/50 AREA: 8697 SF OCC. LOAD: 173
TOTAL OCCUPANCY LOAD: 1385
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LEVEL 6
OCUPANCY TYPE: LIBRARY Reading Rooms : 50SF/occupant Stack Area: 100SF/occupant Assembly: 15SF/occupant
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Auditorium 130 seats OCC. Load: 130
STAIR 2 Width 4’ Capacity 140
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LEVEL 8 OCC. TYPE Library, Assembly LOAD: 1/15 AREA: 9600 SF OCC. LOAD: 640
STAIR 1 Width 4’ Capacity 140
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STAIR 1 Width 4’ Capacity 140
STAIR 2 Width 4’ Capacity 140
LEVEL 8 LEVEL 7
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LEVEL 2
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Figure 255. ADA Diagram. Figure 256. Facade panelization for cost analysis. 178
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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.
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Figure 262. A decisive moment. Figure 263. Transient presence.
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Figure 264. Stills from film titled “Bottles”.
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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
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Figure 255-256. 3D scanned objects used as tools & brushes to create camouflage landscapes. Figure 257. Camouflage landscape. 196
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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. 198
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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.
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Figure 263. Roof mesh.
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Figure 264. Kuwait House; entrance perspective. Figure 265. Kuwait House; perspective.
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Figure 266. Kuwait House; east elevation. Figure 267. Kuwait House; entrance.
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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.
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Figure 271. Surrounding points of interest diagram. 214
Figure 272. Local transportation diagram. 215
Figure 272. Module A; Top view.
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Figure 272. Module A; Perspective. 218
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Figure 273-274. Conexion Barceloneta: Perspectives.
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Figure 275. Conexion Barceloneta: plan. Figure 276. Conexion Barceloneta; Plan Zoom-in.
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A6
part 5 part 4
Module A
part 3 part 2
part 1
A8
part 6
A7 B8
part 4
part 5
Module B
B9
B10
A5 A1 B0,B7
part 3
A10
A0
part 2
A9
B6
B2
B5 B11
B3
B1
A2
part 1
A3 B4
A4
Module A:Part 1 part 2
Module C
part 6
part 5
part 1
part 4
part 3
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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}
A8 A7
B8
A1 B7
A6
A0
A9
B9
A9
A12
B12 B6
B5
A10 B1
B2
B4
B10
A15
B0
A12
A3
B3
A5
B11
A2
B9
A4
A1 A10
A11
B10 B14
B8
B3 B4
A2B7 A5 B16
A4
A8
B12
A13
B6
A14
A7 A6
B5
A3
B13
B15 B11 B0
B2 B1
A0
{0,0,0}
Module A:Part 3
Module A:Part 2 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
225
A0
B3
A6 A6
B4
B2
A3
A5
A4
B8
B5
A2
B1
A3
B3
A8
B4
A7
A5
A4
B7
B5
B0
B7
A2
B6 B0 B2 B8
B1
B6
A7
A0 A1
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}
226
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
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
A3
A5,A20,A24
A6
A10 A1
A8 A21
A9 A0B9
A14
B24 B23
B25
A22
B20
A6 B21
B22
A23
B8
B16 B17
B15
B9
B5
B6
A8
A15
B10 B14
A7 B7
B28
A16
B10
B19
B3
B2
B1
B0
B4
A5 B8
B7
B5
B6
A18
A11
B18 B26
B13 B27A27
B11A12 B12
B0
A26
B4 B3
A2
B1
B29
B2
A13 {0,0,0}
A2
Module B:Part 1 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
227
A0,A1,A5,A6,A14
A2,A9,A18 A10
A15
A11
A10
B15
B2
B3
B10
A11
B7
B8 B9
A7
B5
B4
A2
B14
B13
B12
B11
B6
B16
A0
B16
A17
B0
B12
B13
B11
B15
B1
A4
B18
B1
B14
B2
B17
A12
B0
B3
B10
A12
B17
A3
B4
A6 B5
A16
B9 B6
A1
B7
B8
A17
A5
A13 A15
A8 {0,0,0}
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
228
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
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
A0,A1,A8,A10,A13,A14
A2,A14
A17 A21 A13 A17
A20
A10 A12 B11
A11
B12
B4
B14
A7
B15
A15
B5 B7
B19
B23
A3
B13 B0
B3
B7
B5
B8
B9
B1
B2
B16
A16
B21
B17
B2
A16
B24
B6
B17
B18
B22
B20
A1
A6
B16
B12
B0
A5
B1
A0
B8
B3
A3
B18
B6
A2
B10 B4
B13
B14 B15
B11
A4
A11
B9
B10
A19 {0,0,0}
A15
Module B:Part 5 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
229
A8
A6 B5
B11
A7
A5
B7
B1 B6
B8
B8
A10
A9
B6
A5
A0
B12
B4
B3
B0
A3 B2
B5
A2
A2 B10
A6 B7 B4 B9
B3
A0
B0
A1
A3
A1 A4
B1
B2
{0,0,0}
{0,0,0}
A4
A7
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}
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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
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
A8 A5
A4
A0 A8
B1
A1 A4
B12 B5
B6
B4
A7
B3 B10
B9 B8
B7
B2
A3
B0
A11 B11
B3
A10
A2 B2 B7
B4
B8 B9
{0,0,0}
A6
A9
B5
B6
B0
B1
A2
A6
A8 {0,0,0}
Module C:Part 4 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
231
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.
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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.
233
Figure 297. Conexion Barceloneta; Plan close-up two.
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235
236
Figure 298. Conexion Barceloneta; Elevation A.
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Figure 299. Conexion Barceloneta; Elevation B.
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“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.
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Figure 301. “Shenzhen”; Perspectival Section. Figure 302. “Shenzhen”; Courtyard perspective.
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Figure 303. “Shenzhen”; South elevation. Figure 304. “Shenzhen”; East elevation.
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Figure 305. “Shenzhen”; North elevation. Figure 306. “Shenzhen”; Aerial perspective. 246
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Figure 307. “Shenzhen”; Ground-level plan: close up.
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Figure 308. “Shenzhen”; Level one plan: close up.
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Figure 309. “Shenzhen”; Level two plan: close up.
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Figure 309-A. “Shenzhen”; Level two plan: close up two.
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