Pablo Iriarte AR C HI T ECTURE + D I G I TA L FA B RICATION
12/2020 PORTFOLIO VOL. 04
“Architectural design is not about having ideas, but about having techniques that operate on the material level.� Lars Spuybroek, Architect
Pablo Iriarte
Architect B. 1982, Mexico City
Bio
B
ased in Brooklyn, NY, Pablo defines his architectural practice through a bottom-up design approach: engaging materials, construction systems, and nonlinear geometries explored through computational processes and digital fabrication. Builder of several interior architecture and digital fabrication projects, Pablo is
an independent architect, and head of technology of the studio NODO DESIGNS in Brooklyn, US, as well as owner of H|Estudio in Mexico City. Holder of a Bachelor of Arts in Architecture by Tecnologico de Monterrey, he pursued studies in generative design processes with Pablo Kobayashi at Universidad Iberoamericana, theories of materials with
Manuel De Landa at Pratt Institute, spatial experimentation with Michael Hensel & Axel Paredes at Universidad Francisco M., scripted design with Marc Fornes at the University of Houston, robotic fabrication with Zaha Hadid Architects at the Massachusetts Institute of Technology, and architectural technology at the Technische Universitat, Germany.
EXPERIENCE
16
Digital Fabrication Projects Built
34
Typical Construction Projects Built
7
Architectural Competitions Submitted
14
Academic Experiences Lived
185 Wythe Av, 2nd Floor,
Brooklyn, 11249
NY
@IriarteIriarte + 1 347 809 3438 www.pabloiriarte.me me@pabloiriarte.com
Staten Island
Ma
nh
att an
Bronx
Queens
* Brooklyn
Projects by Material
1M.
2M.
Labrys Frisae by Marc Fornes Riveted Aluminum Miami, US Pg. 10
Lucerna by Osman Akan Rolled Carbon Steel Anchorage, US Pg. 30
4S. ACADIA 2018 Exhibition Concrete Masonry Unit Mexico City, Mexico
Metals
3M. Colmena
Bent Steel Sheets Villahermosa, Mexico Pg. 46
Stones 5S.
Support by Lanza Atelier Gypsum Panel News York city, US
Polymer
6P.
Modelo Bar Venue Thermoplastic Polyester Mexico City, Mexico
3M 2M 1M 5P 4P
6S
Labrys Frisae 1M by Marc Fornes
Riveted Aluminum Stripes
Year
2011
Size
29’ x 30’ x 17’
Status
Built
Type
Public Art
Client
Sushi Samba
Location Miami, US TEAM Schematic Design: Marc Fornes, Jeff Quantz, Dustin Mattiza Design Development: Jeff Quantz, Austin Mattiza, Pablo Iriarte Fabrication: Plastic Banana Construction: Pablo Iriarte, Ausint Smith, Kris Hennings and many kind volunteers
About
P
Art Basel is a large, international art fair that takes place every year in Basel, Switzerland, Hong Kong, and Miami Beach, Florida. Art Basel Miami brings in tens of thousands of visitors from all over the world every year during the first week of December, where art galleries showcase and sell their work at the Miami Beach Convention Center and numerous locations scattered throughout the city.
This international platform also helps the host city and local businesses collaborate with world-known architects and designers with creating art and sculpture installations. With the backing and support of Sushi Samba and Graffiti Gone Global, Pablo and his team collaborated with French architect Marc Fornes and principal of THEEVERYMAN to create, assemble and install the “Labrys Frisae� Pavilion during Art Basel Miami 2011.
1.
2.
3.
4.
Chunk Assembled
Single Node Assembly
Team Node Assembly
Single Stripe Assembly
NODE PL ACEMENT Labrys Frisae —
1M
About
P
Using computational design and digital fabrication, Pablo and his team built a large-scale metal perforated structure made of over 100,000 riveted metal stripes forming double curvature. The concept behind this project was to use technology to create a sculpture that can be entirely self-supporting. The metal, specifically aluminum, was less than one millimeter thick and consisted of two hundred fifty-six sheets of aluminum and 202,290 holes that wrapped around a central column that did not support the structure’s integrity. The overall size of the structure was 28’10” x 29’-9” x 17’-5”. The total rivets used to complete the structure were 101,145 rivets. The total texted was 12,584, while the total parts were 10,322. The structure weighed 1642lbs, 744kg 256.
There were seventy-four nodes in total and six missing parts that needed to be re-cut. The percentage of missing pieces was 0.05%. ablo was the construction manager and in charge of the design development while working with a team of interns for four weeks for the November 27 deadline for Art Basel Miami 2011. The whole concept behind this project
1M
With no installation instructions, Pablo guided his team using their notebooks on-site to build the vast structure from scratch assembling, cutting each piece painstakingly one by one by hand and using rivets and curvature to unify one piece to another. Through trial and error, conclusions, and reboots, Pablo and his team were able to create a collection of striped morphologies. The idea of this large-scale sculpture and installation was to dim the distinction between edge and space through “an immersive, multisensorial experience.” You’re drawn to the curves as you move inside the structure. This aesthetic changed throughout the day, especially at night as the shadows came through the perforated openings. These openings allowed the visitor to have a different experience day and night.
EAST VIEW
Each node has stripes, assembled by hand
Labrys Frisae —
T
was for it to be self-supporting and sustaining while allowing the visitors a unique experience with three different entrances inside the structure.
NODE STRIPES Labrys Frisae —
1M
WEST VIEW Labrys Frisae
Labrys Frisae —
1M
OVERALL GEOMETRY
LOW J Y Q
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L O G F
X
A
K
R
V U H
E
B Z W P
M D
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S
T N
U
Y
LOW Total Nodes: 26 Total Area: 854sqf Installation Height: 12.5 # Vertices: 20,087 # Faces: 36,184 # Connections: 194 Total Connections Length: 1,027ft Bounding Box: 17.5ft x 21.0ft x 12.4ft
Z
X
R
N
MEDIUM
MEDIUM Total Nodes: 22 Total Area: 774sqf Total Height: 14.5ft # Vertices: 18,065 # Faces: 32,638 # Connections: 168 Connections Length: 906ft Bounding Box: 19.9ft x 14.5ft x 14.3ft
C
1M Labrys Frisae —
HIGH S
V P N Q
M
L R T
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U
J I K
A
F S
V
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G
O
B
L
W
E
Q
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I F
K H
E D
A
HIGH Total Nodes: 26 Total Area: 905 sqf Installation Height: 15.9 # Vertices: 20,828 # Faces: 37,348 # Connections: 191 Total Connections Length: 1,007ft Bounding Box: 19.5ft x 15.0ft x 16.1ft
SINGLE NODES
LOW - A
LOW - B
LOW - C
LOW - D
LOW - O
LOW - P
LOW 26 Nodes.
LOW - K
LOW - L
LOW - M
LOW - N
LOW - W
LOW - X
LOW - Y
LOW - Z
MEDIUM 22 Nodes.
MED - G
MED - H
MED - I
MED - J
MED - K
MED - L
1M LOW - F
LOW - G
LOW - H
LOW - I
LOW - J
LOW - Q
LOW - R
LOW - S
LOW - T
LOW - U
LOW - V
MED - A
MED - B
MED - C
MED - D
MED - E
MED - F
MED - M
MED - N
MED - O
MED - P
MED- Q
MED - R
Labrys Frisae —
LOW - E
SINGLE NODES
MED - S
MED - T
MED - U
MED - V
HIGH 26 Nodes.
HIGH - G
HIGH - H
HIGH - I
HIGH - J
HIGH - K
HIGH - L
HIGH - P
HIGH - Q
HIGH - R
HIGH - S
HIGH - T
HIGH - U
HIGH - V
HIGH - W
HIGH - X
HIGH - Y
HIGH - Z
1M HIGH - B
HIGH - C
HIGH - M
HIGH - N
HIGH - O
HIGH - D
HIGH - E
HIGH - F
Labrys Frisae —
HIGH - A
Labrys Frisae —
1M
Lucerna 2M by Osman Akan
Rolled Carbon Steel
Year
2017
Size
L12’ x W11’ x H21’
Status
Built
Type
Public Art
Client
Alaska State Council of Arts
Location University of Alaska Anchorage, US TEAM Schematic Design: Osman Akan Design Development: Pablo Iriarte Construction Documentation: Pablo Iriarte
Material System
T
he University of Alaska Anchorage, AK, in 2017 contracted New York City based artist Osman Akan, to fabricate the Lucerna with the design developed by Pablo.
of Alaska. Pablo was also in charge of the construction documents. The materials used for this art installation were stainless steel, carbon steel, and tinted glass. The overall budget for design, materials.
With a team that included an engineer, contractor, and fabricator, Pablo was able to design a sculpture that represented and celebrated the colors of the University
WOOD TEMPL ATES
METALWORKS
2M Lucerna — LIGHT STUDY
Lucerna — 2M
TOP PART
2M Lucerna — METAL DETAIL
Steel Tube Arches
Steel Pipe Frame
Nonshrink Grout
Steel Plate 5 x 3/4" Total Area = 6sqf
Top of Anchor Bolt
ON SITE CONSTRUCTION
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1
Axonometric View Not to Scale
Overall
Concrete Footing
Organic Soil
Concrete Pedestal
Nonfrost Fill
Steel Base Plate
Organic Soil Level
Nonshrink Grout
Steel Base Plate
2M
Axonometric View Not to Scale
Pedestal
Lucerna —
2
Concrete Ba Top Radius = 1'-11 1/ Height = 2'-11 3 Bottom Radius = 2'-5 1/ Volume = 1.6 c Reinf. #6 @ 9" OC EW SIDES & T
Archor Bolt 24 x 3/4" 1'0" Embed
5 x 1 1/2" Total Area = 6sqf
Group C Group C Arch 4
STEEL FABRICATION Group C
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Front
1 Not to scale
Front View Group A
Group B
Lucerna — 2M
Group C Arch 1
Group C Arch 2
Group C Arch 3
2.0 Group C
Axo
GLASS INSTALLATION COLUMN (C) COLUMN (B)
59 PANELS TOTAL
COLUMN (A) ROW (5)
SIDES
(1) FRONT SIDE (F) HAS 32 GREEN PANELS (2) BACK SIDE (B) HAS 27 YELLOW PANELS
ROW (4)
COLUMNS (1) 5 COLUMNS TOTAL (2) FROM (A) TO (G) (3) COLUMN (F) DISREGARDED TO AVOID CONFUSION WITH THE (E) COLUMN (4) THEY GO FROM LEFT TO RIGHT IF SEEN FROM THE FRONT SIDE
ROW (3)
ROWS
(1) 5 ROWS TOTAL (2) FROM (1) TO (5) (3) THEY GO FROM BOTTOM TO TOP
ROW (2)
NOTES
(1) IDs ARE LOCATED IN THE BOTTOM RIGHT CORNER OF EACH PANEL (2) EXCEPTIONS FC1 ID IS ON THE BOTTOM LEFT CORNER. FC3 ID IS ON CENTER ROTATED 180 DEG. SEE DETAIL 5
FB2
(3) THE ID SHOULD FACE THE PERSON INSTALLING THE PANEL
ROW
SIDE
(4) BACK BOTTOM PANELS ARE TIGHT PROCEED CAREFULLY
1
ROW (1)
COLUMN
PANELS ID
3
NOT TO SCALE
FRONT ELEVATION SCALE: 1/4" = 1'
COLUMN COLUMN (E)
COLUMN (G)
BACK
ROW (5)
COLUMN (G) ROW (4)
LEFT
RIGHT
ROW (3)
COLUMN (E) ROW (2)
COLUMN (A) COLUMN (D)
ROW (1)
COLUMN (B)
10/19/2017 20:51:23 FILE NAME: uaa_MASTERMODEL_1.3dm
COLUMN (C)
FRONT 2
TOP VIEW SCALE: 1/2" = 1'
4
BACK ELEVATION SCALE: 1/4" = 1'
2M Lucerna —
COLUMN (E)
COLUMN (D) FE6
COLUMN (G)
FC6 FG5 FD5
FB5 FE5 FC5 FG4 FA5
FD4
FB4 FE4 FC4 FG3 FD3
FA4 FC3 FB3
FE3
ALASKA AIRLINES ARENA SCULPTURE
FG2
FD2
FA3 FB2
FE2 FC2
FA2
FE1
FD1
FG1
FC1 FB1
FA1 SEE DETAIL 1 NOTE 2
5
FRONT MAP (GREEN PANELS) SCALE: 1/4" = 1'
N (D) COLUMN (C) COLUMN (B) COLUMN (A)
BE5
BC5 BA5
BG4
BD4 BB4
BE4
BC4 BA4
BG3
BD3 BB3
BE3
BC3 BA3
BG2
BD2 BB2
BE2
BC2 BA2
BG1
GLASS MAPPING FABRICATION DRAWINGS
BD1
LUCERNA
BB1
ANCHORAGE, AK, 99508
SCALE: SEE NO Units: FEET/INC Paper: 11" x 17 October 19, 20
BE1 BC1 BA1
STUDIO OSMAN AKAN .
6
BACK MAP (YELLOW PANELS) SCALE: 1/4" = 1'
F008
Lucerna — 2M
Panal
Bent Steel Sheets Year
2012
Size
L20’ x W20’ x H11’
Status
Built
Type
Retail
Client
Palacio de Hierro
Location Villahermosa, Mexico TEAM Schematic Design: Nodo Espacio Design Development: Pablo Iriarte Construction Documentation: Pablo Iriarte Fabrication: Nodo Espacio Cotractor: Nodo Espacio
3M
MAQUETTES
A paper maquettes was assemmbled to understand the geometry in real life.
1.
Paper Cells Top
2.
Paper Cells Presentation
n
3M Panal —
Material System
G
Steel is an alloy of iron with typically a few percent of carbon to improve its strength and fracture resistance compared to iron. Many other additional elements may be present or added. Stainless steels that are corrosion and oxidation resistant need typically an additional 11% chromium. Because of its high tensile strength and low cost, steel is used in buildings, infrastructure, tools, ships, trains, cars, machines, electrical appliances, and weapons. Iron is the base metal of steel and it can take on two crystalline forms (allotropic forms): body
centred cubic and face-centred cubic. These forms depend on temperature. In the body-centred cubic arrangement, there is an iron atom in the centre and eight atoms at the vertices of each cubic unit cell; in the face-centred cubic, there is one atom at the centre of each of the six faces of the cubic unit cell and eight atoms at its vertices. It is the interaction of the allotropes of iron with the alloying elements, primarily carbon, that gives steel and cast iron their range of unique properties. Wikipedia
ELEMENTS I N ST EEL : IRON — B A SE M AT ER I A L CA RBO N — I M PR OVE ST R EN G H C HO RMIUM — I M PR OVE CO R R S I O N R E SI STA N C E
3.
Paper Cells Perspective
4.
Assembled single Column
5.
All Assembled in Tension
6.
All Assembled in Compression
METAL PROTOTYPE The prototype was assembled in the workshop before taking it to the final location.
E
Panal —
3M
Overview
l Palacio de Hierro is a chain of department stores located throughout Mexico that carry international
luxury
brands
from
apparel,
shoes, electronics, domestic housewares, and
electronics. El Palacio de Hierro contracted Nodo Espacio along with Pablo in 2012 to come up with a creative, playful, and unique idea in terms of geometry for the children’s shoe department at their Villahermosa store. The honeycomb structures were built around two columns to create depth in the children’s shoe department space. Pablo was in charge of the design development and construction documentation, which took approximately eight weeks, while fabrication was four weeks to complete. The installation of the honeycomb structure took one week. Before he could begin fabrication of the structure, he built a paper model to present to El Palacio de Hierro. The honeycomb structure was fabricated out of bent steel sheets. These bent steel sheets create a cell folding system that included four hundred thirty-six different cells.
DOUBLE COLUMN
OVERALL GEOMETRY
h
i
g
f e
j
d
k
c
l
b
m
n
a z
o y
p x
q w
r s
t
u
v
3M Panal —
COLUMN ASSEMBLY
3M Panal —
CELL FOLDING
3M Panal —
INDIVIDUAL CELL DATA
Panal —
3M
SINGLE COLUMN
“We live in a world populated by structures - a complex mixture of geological, biological, social,
and linguistic constructions that are nothing but accumulations of materials shaped and hardened by history.� Manuel De Landa, Philosopher
ACADIA 4S Exhbition Cinder Block Year
2020
Size
L20’ x W9’ x H5.5’
Status
Built
Type
Exhbiition
Client
Association of Computer Aided Design in Architecture
Location Mexico City, Mexico TEAM Schematic Design: Pablo Iriarte Design Development: Pablo Iriarte Construction Documentation: Pablo Iriarte Fabrication: Nodo Espacio Cotractor: Nodo Espacio
Cinder
Concrete blocks are made
Portland cement and aggre
gravel, for high-density block
use industrial wastes, such as
aggregate.[5] Recycled mate
glass, slag cement, or recy
used in the composition of
materials within blocks can c
in the block, such as a terraz
finished structure earn LEE
blocks can also be produce concrete. Wikipedia
e from cast concrete (e.g.
egate, usually sand and fine
ks). Lower density blocks may
as fly ash or bottom ash, as an
erials, such as post-consumer
cycled aggregate, are often
f the blocks. Use of recycled
create different appearances
zzo finish, and may help the
ED certification. Lightweight
ed using autoclaved aerated
4S Acadia Exhibition —
r Block
Overview
G
Pablo was the exhibition chair in computational design during ACADIA 2018.
The location of the exhibition was at the Hilton Hotel in the historic center of Mexico City. Pablo came up with the idea of using cinder blocks for showcasing artwork because it’s a readily available material and used as a building material in informal housing throughout Mexico and Latin America. He wanted to bring that aspect of Mexican and Latin
American culture into the exhibition. Assembling and disassembling of the cinder blocks had to be quick and easy. A curved wooden plank was used as the base of the structure where the cinder blocks were laid on top of each other with a metal wire holding them into place and shape without using cement or other binding material.
1.
Posters Presentation
2.
First Wall Side View
4S ACADIA Exhibition —
PROTOTYPES Several prototypes were built to understand the materiality of the monoblock wall system.
3.
First Wall Perspective View
4.
First Wall Front View
5.
Wooden Template Prototype
6.
Single Column Prototype
Material System
TEXTURE
CMU
L ABOR ACADIA Exhibition —
4S
Acadia Exhibition —
4S
Digital Craft in Semi-peripherial Nations
T
hese curated projects and the accompanying exhibition explore the material and cultural possibilities of digital craft in semi-peripheral countries. Digital craft can be described as follows: ” …pragmatic delivery processes and material constraints [define] an emerging territory known as ‘digital craft’ where the exchange between the technology of the digitally conceived and the artisanry of the handmade is explored.” Alvin Huang The selection of each project of the curated projects was based on three main criteria: (1) the material system (2) the embedded labor (3) the socio-political context.
MATERIAL SYSTEM Some of the innovative materials explored in the curated projects include: widely available natural fibers such as jute (Transmutations III); labor-intensive wood joinery (Ditebus Torus); wood shavings employed in combination with digital technologies (Tangible Formations); and repurposed objects with cultural meaning such as glazed ceramics (Milkywave). These material systems use locally available materials or cultural traditions in new ways. It is no surprise that concrete and brick repeatedly appear in the curated projects (DL1310, CGG, and CoBLOgo) .One of the primary economic activities of semi-peripheral countries is minerals extraction. According to the 2017 Global Cement Directory, China, India, Vietnam, Brazil, Iran, and Mexico are among the top cement producers in the world. Additionally, brick, stone, and concrete are ancient, low-tech material systems which
Digital Craft can be built with manual labor. LABOR CULTURE Poured-in-place concrete is so prevalent in Mexico that over time it acquired cultural significance; “Día del colado” (pouring day) is considered a festive moment in the construction process of a building. In this way, the building acquires an emotional meaning not only as a final object but through the process of its construction. Buildings are always embedded within a specific labor culture and working conditions. n semi-peripheral MATER IA LS EXPLORED IN T H E CUR ATED PROJECTS INC LUDE: NATUR AL FIB ERS , L A B O R INTE SIVE WOOD J OINERY, WOO D SHAVI N G S , AND GL A ZED C ERA MICS
countries, construction still relies heavily on manual labor. It is not a coincidence that these countries have a high carbohydrate-based diet, which provides the fuel for such work. SOCIO-POLITICAL OPPORTUNITIES The local social and political environment in developing countries tends to free construction of constraints. Codes are more loosely interpreted; this gives the opportunity to explore larger scales and take risks associated with experimentation. New forms may be explored through computational design, not only in the form of pavilions but also in large facade installations and building structures (DL1210 and CGG).
The curated projects in this exhibition reflect the values and opportunities in developing environments. They present an invitation to re-evaluate elemental modes of making with digital means of designing. By combining computational technologies with manual construction techniques, these projects embrace the interplay between digital perfection and human imprecision. The infidelities of the building become an expression of cultural values. Each project manifests the identity of the semi-periphery in its own unique way.
POURED CONCRETE
Formwork for pourded concrete in India.
4S ACADIA Exhibition — MEXICO Semi-peripherial nation.
CORE
Most economically diversified, wealthy, and powerful (economically and militarily).
SEMI-PERIPHERIAL
Countries moving towards industrialization and more diversified economies.
PERIPHERIAL
Least economically diversified. Relatively weak governments.
Acadia Exhibition —
4S
Acadia Exhibition —
4S
Support 5S by Lanza Atelier Gypsum Panel
Year
2020
Size
L13’ x W2’ x H20’
Status
Built
Type
Art Installation
Client
The Architectural League of New York
Location New York, US TEAM Schematic Design: Lanza Atelier Design Development: Pablo Iriarte Construction Documentation: Pablo Iriarte Fabrication/Installation: Pablo Iriarte
Seven title seven
S
The Architectural League of New York
He created this by building frames and attaching and
partnered with Lanza Atelier, an architectural
securing gypsum panel and finally applying plaster
firm based out of Mexico City, and with the help
over them to create this smooth and seamless wall that
of Pablo to create an exhibition that felt like it was part
feels part of the building.
of the gallery at the Parson School of Design. The design development took about four weeks to The concept behind the exhibition was to use the
complete, while construction took approximately four
gypsum board to create a curved wall with holes where
days. Installation on site was approximately one week.
visitors can see Lanza Atelier’s photos and see the change in transition and perspective of each diagram. Pablo decided to use the gypsum board as a way to showcase the exhibition since he had a limited budget of $2000.00 and needed the wall to blend in with the gallery space.
1.
Bird-Eye View
2.
Top View
3.
Elevation
5S Support — EXISTING WALL
FLEXIBLE PLYWOOD SHEET
WOODEN CNC CUT RIB
5/4/2017 10:04:14 C:\Users\iriarteiriarte\Dropbox\documents\in\ak\px\pi\p00\lanza\lanza_MASTERMODEL_1.3dm
ARONSON GALLERY 66 5th Av., New York, NY
LANZA ATELIER
ALUMINUM STUDS
FABRICATION LANZA ATELIER
ARONSON GALLERY 66 5th Av., New York, NY.
1
PABLO IRIARTE IA ARCHITECT
OVERVIEW
www.pabloiriarte.me 325 Rutledge St., . Brooklyn, NY, 11211 347.809.3438
WIP NOT FOR CONSTRUCTION ISOMETRIC VIEW
000
DIAGRAMS
Clockwise: Axonometric View, Plan View, Section View
SCALE: NOT TO SCALE Units: FEET/INCHES Paper: 8.5" x 11" May 10, 2017,
Exhibition time
5S Support — DIORAMAS
Students looking into the dioramas
Support —
5S
Support —
5S
Support —
5S
S Support —
5S
Modelo 6P Bar Venue Thermoplastic Polyester Year
2016
Size
L32’ x W12’ x H10’
Status
Schematic Design
Type
Retail Installation
Client
Modelo Brewery
Location Mexico City, Mexico TEAM Schematic Design: Pablo Iriarte, Nodo Espacio Design Development: Pablo Iriarte Construction Documentation: Pablo Iriarte Fabrication: Nodo Espacio Cotractor: Nodo Espacio
M
odelo Cerveceria was looking to create a bar to host events that could be easily transportable, assembled, and disassembled. The purpose of this bar was to be able to go from city to city and host events while being aesthetically pleasing, fun, and colorful for its guests. Pablo proposed using thermoplastic polyester, made out of 3D printed plastic elements that could easily be assembled.
1.
High Perspective
2.
Side View
3.
Top View
4.
Low Perspective
Modelo Bar Venue —
6P
Modelo Bar Venue —
2P
BACK VIEW
BIRD -EYE VIEW Modelo Bar Venue —
6P
Modelo Bar Venue —
2P
MEMBRANE ASSEMBLY
#L54
#L55 #L53
#K49 #K48
#K47 #J43 #J42
LK52
#J44
#J36
#J37
#J41
#J38 #J29 #H22
#J30
#J28 #H23
#J31
#G17
#G161
#H24
#E11 #G18 #E12 #D07
#G19
#E13 #C04
#D08
#D09 #C05 #B02
#B03 #A01
MEMBRANE ASSEMBLY
5
3
#L56
#K50
#J45
#K51
#J39
#L57 #J34
#J40
#H25
#J46 #H26
#G20
#E14 #J35 #E15 #D10
#C06
#G21
Modelo Bar Venue —
6P
Schematic Design
WALL MOUNTING Top Track Rail
Sliding Wall (A) Top Track Rail Sliding Wall (B) Sliding Wall (C)
Fixed Wall (G)
Fixed Wall (H)
BUILD IN WALL SYSTEM
Sliding Wall (D)
Top Track Rail Sliding Wall (E)
Fixed Wall (I)
6P
Schematic Design
Modelo Bar Venue —
REV03
Modelo Bar Venue —
2P
“The resistant virtues of the structure that we make depend on their form;
it is through their form that they are stable and not because an awkard accumulation of materials.� Eladio Dieste, Architect
Pablo Iriarte ARCHITECTURE + DIGITAL FABRICATION
PORTFOLIO VOL . 04
185 Wythe Av 2FL, Brooklyn, NY, 11249 +1 347 809 3438 www.pabloiriarte.me me@pabloiriarte.com SoMe @IriarteIriarte