JEAN-PIERRE VILLAFAÑE ARCHITECTURE WORK AT GSAPP
787.504.0000 jv2590@columbia.edu www.jeanpierreskem.com
Education
JEAN-PIERRE VILLAFAÑE
Columbia University - Graduate School of Architecture and Planning Masters in Architecture
Savannah College of Art and Design SCAD - School of Architecture BFA Architecture
Savannah College of Art and Design SCAD - HONG KONG Architecture Inmersion Program
New York City 2016-Present Savannah, GA 2015 Hong Kong 2013
Work Experience HAVAS Chicago, IL The Living Gallery, NY Salón Chelsea, NY Chicago Biennial, CH Geste Paris, FR Cabourg Mon Amour, FR Batofar Paris, FR GSAPP Fab Shop, NYC Atelier Manferdini, LA Shake Shack Inc., NYC Biaggi Faure, PR William M. Balbi, PR Gustavo Arango, NYC Whitebox Art Center, NYC JR Design Group, FL Newman Architects, DC De La Cruz Gallery, PR ID Deko , PR Hotel Da Haus 312, PR SKEM® INQ Enterprises, PR
Designed Camel Crush Packs for R.J. Reynolds Tobacco Company Collective art exhibition in the East Village, New York City Collective art exhibition in Chelsea, New York City Collaborated with Tatiana Bilbao in (Not) Another Tower project Curated photography vernissage Designed and built installations for music festival in Normandy Solo exhibition over the Seine River Wood Shop and Fabrication Lab monitor Architectural intern, designer and construction manager Designed artwork for latest restaurant in Buckhead, Atlanta Represented by Fine Art Gallery of modern & contemporary art Architectural intern and construction management Designed textiles for the Spring fashion show Designed proposal for gallery reburbishment in the Lower East Side Graffiti design for wine display at the Miami Art Basel Architectural Intern, managed technical drawings for schools First solo exhibition Art design for Dorado Beach Wellness Center Permanent Art Exhibition in Hotel guestrooms Fashion, Product, Interior and Architectural Design Commission canvasses for lobby and offices
2018 2018 2017 2017 2017 2017 2017 2016 2015 2015 2014 2014 2014 2014 2013 2013 2011 2011 2010 2010 2010
Extracurricular Studio X_GSAPP Ritsona Refugee Camp in Greece Savannah College of Art and Design Hope for Kasai Congo, Africa AIA+Draw Together Hong Kong Savannah College of Art and Design
Workshop examining the UAE and the island Republic of Maldives Volunteered at a Syrian Refugee Camp in Greece Lab Normal Digital Fabrication Marketing Committee Member - Urban Artist Handel Architects Drawing Activity w. Shing Mun Spring Youth AIAS Member
2018 2017 2015 Present 2013 2013
Publications Abstract GSAPP 2018 3Nta DoSavannah Glamour Magazine Adidas Originals Ambiente y Color Magazine Modo de Vida Magazine
Featured project for Columbia’s Abstract yearly journal An All Around Designer Art Rise, Thincsavannah Team opportunities Fashion Designers of the Future Skem Twelve Days in Paradise Arte Urbano, una Opción de Color DesignersLab 2011; Wellness Center 2011;
2018 2015 2014 2014 2013 2012 2011
Graffiti sobre Lienzo 2011; Grafiti Arte Urbano 2011 Nueva Generación Philippe Starck 2011; Arte Urbano 2010
El Nuevo Día Newspaper
Sueño Grafitero, Con Madera de Empresario
2011
Skills Computer Skills
Adobe: Photoshop, Illustrator, InDesign, After Effects, Premier Pro, Autodesk: Revit, AutoCad, Maya, 3DS Max. Rhinoceros 3D, V-Ray, Keyshot, Grasshopper, T- Splines, VisualArq, Z-Brush, Sketchup
Languages
English, Spanish
New York was an inexhaustible space, a labyrinth of endless steps, and no matter how far he walked, no matter how well he came to know its neighbourhoods and streets, it always left him with a feeling of being lost. Lost, not only in the city, but within himself as well. Each tiem he took a walk, he felt as though he were leaving himself behind, and by giving himself up to the movement of the streets, by reducing himself to a seeing eye, he was able to escape the obligation to think, and this, more than anything else, brought him a measure of peace, a salutary emptiness within. The world was outside of him, around him, before him, and the speed with which it kept changing made it impossible for him dwell on any one thing for very long. Motion was of the essence, the act of putting one foot in front of the other and allowing himself to follow the drift of his own body. By wandering aimlessly, all places became equal and it no longer mattered where he was. On his best walks, he was able to feel that he was nowhere. And this, finally, was all he ever asked of things: to be nowhere. New York was the nowhere he had built around himself, and he realized that he had no intention of ever leaving it again. Paul Auster , City of Glass / New York Trilogy.
unit.
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15'-0"
FILTER PARK BROOKLYN, NYC
URBAN FARM EAST RIVER, NYC
SCHOOL THAT LEARNS CHICAGO, BIENNALE
THE AVIARY
CHICAGO, BIENNALE
LOST NOT FOUND EAST VILLAGE, NYC
DOMESTIC THEATRE BRONX, NYC
VERTICAL SIDEWALK STUYVESANT TOWN, NYC
BOTANICAL LIBRARY the aviary
BROOKLYN, NYC
the aviary / proposal for TBE Entry to the Chicago Architecture Biennial 2017 Stephan van Eeden / sav2124@columbia.edu Jean Pierre Villafañe / jv2590@columbia.edu JUNE 23, 2017 BEYOND ARCHITECTURE
EVERYWHERE
FILTER PARK BROOKLYN, NYC
The waste and water infrastructures of New York City are its shadow heroines and background music— overburdened, outdated, and continuously processing, transferring, and accumulating the city’s and our own outputs. Heaps of unwanted trash bags ready to be trucked out of the city every day and leaky, overflowing sewage pipes offer a counter narrative to modernist progress. These infrastructures mediate repressed and abject materials and fluids, and are not so much smooth and fast technological machines, as they are forgotten systems inundated by excess. It is in this excess that we might explore a different kind of nature and definition of environment, a Third Nature (borrowing a term from anthropologist Anna Tsing) that accepts our environment as compromised as a starting point, and admits coexistence with contamination and waste as a given to open up hopeful new design possibilities for our strange time. New York City is a hydropolis, surrounded, governed, and shaped by its waterways. Water both binds and divides the city, a collection of islands that historically prospered due to its critical aqueous position for international industry, transport, immigration, and trade. But these days, water is a slippery thing, quite literally difficult to grasp, at once charismatic and hostile. New York presents a contradictory attitude towards water and its public perception in how water contributes to our urban experience. On one hand, New York City is developing an engaged, resilient edge of parks, recreational activities, and greater public accessibility to the water for leisure and enjoyment. On the other hand, with mounting anxieties due to global warming, rising water levels and the realities of the impacts from Hurricane Sandy, the city’s response has also been one of fortification with barriers, walls, and big Us. This response suggests that water, and nature by extension, should be feared, opposed and controlled. New models are necessary for designing infrastructure at a time of new normals when global warming is no longer a looming threat but amongst us and the need for collective civic design is critical. While the design of infrastructure has been limited because of a technocratic approach, in fact infrastructures have alternative capacities precisely because they are not necessarily buildings. Rather than relying on a modernist attitude of problem-solving, functional efficiency, and sterile designs, can we produce frisky infrastructures that propagate and spatially risky proposals that have new energetic capacities for the city?
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Interior elevation of botanical garden & water purification station
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water purification process as a public process
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oblique looking at Brooklyn and Queens connector
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LEISURE
RECREATIONAL
LEISURE
RECREATIONAL
DISTRIBUTION
CISTERN
FINAL PURIFICATION
FILTRATION
SEDIMENTATION
DISTRIBUTION
CISTERN
FINAL PURIFICATION
FILTRATION
SEDIMENTATION
RIVER PLAYGROUND
DISCO GROTTO
CAVERN THEATRE
ART LAB
BATH COMPLEX
RIVER PLAYGROUND
DISCO GROTTO
CAVERN THEATRE
ART LAB
BATH COMPLEX
GROUND PLAN 1/64”=1’-0”
HEALTH/FITNESS
EDUCATIONAL/RESEARCH
SANCTUARIUM
HEALTH/FITNESS
EDUCATIONAL/RESEARCH
SANCTUARIUM
FLOCCULATION
FLOCCULATION
RAPID MIXER
PUMPING STATION
HAVEN OF TRANQUILITY
FLOCCULATION
FLOCCULATION
RAPID MIXER
PUMPING STATION
HAVEN OF TRANQUILITY
CITY CIRCUS
ATHLETIC CENTER
CITY CIRCUS
ATHLETIC CENTER
URBAN OASIS OASIS HAVEN neighborhoods OF TRANQUILITY above - arrangement of plansURBAN as a threshhold between below - expansion URBAN OASIS for industrial URBANproceses OASIS with public HAVEN components OF TRANQUILITY
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URBAN OASIS RAPID MIXER
[ public garden ( rapid mixer ) ] DISCO GROTTO CISTERN
BATH COMPLEX SEDIMENTATION
[ disco grotto ( retention ) ] 12
URBAN OASIS RAPID MIXER
POWERHOUSE FLOCCULATORS
[ cultural factory ( flocculator ) ]
BATH COMPLEX SEDIMENTATION
DISCO GROTTO CISTERN
[ pool and sauna ( purification ) ] 13
URBAN FARM EAST RIVER, NYC
The East River, historically the East edge of Manhattan, moves more and more into the center, essentially becoming a central line between Manhattan, Brooklyn and Queens. The X-Pier is not only reaching out onto the water, but potentially also reaching in, connecting the East River Park to the City, which is currently mostly cut off by the FDR Drive. The X-Pier should bWe considered as part of a regional plan for storm surge protection and rising water levels, with a rise in sea level by as much as two feet along the North American Atlantic coast by the end of the 21st century.* Sitting at the edge of the city, the interface with the water, at the limit of 14th Street where it meets the East River Park, the X-Pier becomes part of the promenade sequence around Manhattan. Reversing the dominance of the car, the X-Pier gives priority to pedestrians and cyclists. A new transport interchange must be meticulously incorporated to allow easy pedestrian circulation between 14th Street and the East River Park. Moreover, the new reliance on ferries means that many people now arrive from the water at East 34th Street and require safe street crossings and transportation connections. The X-Pier predicts future patterns of living in the city, re-structuring, systematizing and re-grounding the urban relationship between infrastructure, ecology, and culture, ephemeral and physical. The X-Pier creates a new ground, physically, but also conditionally as a site of interaction. Programs for the X-Pier will be variable and spring from a comprehensive list of possibilities. As the corners and intersections form a line east-west along 14th Street, the pier can be understood as an extension of this line beyond the edge of Manhattan, a vector of energies to the opposite shore and horizon, pier-ing into the future of myth and reality.
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NEWTOWN CREEK OIL SPILL GREENPOINT/LONG ISLAND CITY TO BUSHWICK, BROOKLYN EXXON MOBILE Oil, Mercury, Lead, Multiple Volatile Organic Compounds, PCBs, Coal Tar, Cement, Nitrate, Pathogens and Sewage Wastewater
CONSOLIDATED EDISON EAST RIVER REPOWERING LOWER EAST SIDE Responsible for 1/4 of air emissions in the area Oil burning toxins released into river ASTORIA & EAST RIVER PARK SEWAGE DISPOSAL Streetwater runoff + Sewage Disposal and Bathroom Drainage
SUPERFUND SITE: 2010
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Appearance of Sarcoma Cancer, Ghonorrhea and Dysentery GOWANUS CANAL OIL SPILL 1947 - 1977 CHEVRON TEXACO + BRITISH PETROLEUM SPILL Oil, Mercury, Lead, Multiple Volatile Organic Compounds, PCBs, Coal Tar, Cement, Nitrate, Pathogens and Sewage Wastewater “Mafia” dumpsite: bodies & guns
Soil and Ground Water Toxic Vapors Water Toxicity Level (density refers to concentration) 1/32”=1’-0” Underwater Map of East River + Health Wave of LES & Brooklyn
SUPERFUND SITE: 2010
mapping correlations between water toxicity and diseases
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antology of forms for a catalog of events: dock, pool, farm, fishing and entertainment 16
OYSTER HABITAT
FISHERY
URBAN FARM
AMPHITHEATER
MARINA
FOYER
GROTTO
POOL
LAGOON
site plan
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roofscape
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above - roofscape below - plunge pool
fox
pool section
farmers market
fox
pier section 19
fox
farmer’s market section
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hydroponic folly
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THE PERFORMANCE OF DOMESTICITY IN THE THEATER OF THE SIDEWALK BRONX, NY
Domesticity is not a condition, but a performance. There is nothing about the table covered in a plastic tablecloth patterned with a faded flower motif that imposes the feelings of domesticity in abuela’s kitchen. Yet the image induces certain emotive and sensory metaphors that urge us to behave in certain ways around the kitchen table. Yet, the table may just be a table, and the kitchen just a room with cooking appliances. The prescriptive nature of the plastic covered table and of abuela’s kitchen materializes through the way these rooms are used and the memories created in them, which they in turn evoke. The kitchen table is covered with plastic to make cleaning an easier chore for grandmother. Yet the same exact table serves as a study for the granddaughter more often than it hosts a large family meal. Is this room a kitchen, or is it a study? Perhaps it is both. And the aforementioned description of the table becomes a nostalgic image of memorizing the multiplication tables just as it brings back the smell of a hearty arroz con gandules. The rooms in a house are thus imbued with an aura by the inhabitants, instead of the rooms commanding a certain behavior from the same residents.
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domestic sidewalk
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This aura of domesticity and the multiplicity of experiences lived in the private sphere are not confined to the house. If the living room is not defined by the couch but by the fact that the family gathers every evening to listen to music, talk, and eat, then the living room could move to the stoop on a balmy summer evening. Domestic performance is not constrained by the living space, but rather by domestic activity in and of itself. Domesticity can thus be read as a self-referential act, an autopoiesis.
spatial variations
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UNIT VARIATONS CORNER & CENTER APARTMENTS 1/4”=1’-0”
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a. steel column cast in concrete b. channel glass wall c. curtain for exterior opening d. perforated brick wall e. pivoting fold out bed f. steel column g. wall cavity for bed h. wet wall i. folding door j. curtain support suspended from ceiling k. interior curtain l. pivoting lightweight concrete panels m. sliding concrete panel faced with mirrors n. overhead rails for sliding panels o. yellow acrylic panels p. red acrylic panels c
d
FLEXIBLE UNIT 1/2” = 1’ - 0”
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1/32"=1'-0" SOUTHWEST CORNER
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left: ground level plan right: housing proposal
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housing plan: a city within a building
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The space of domesticity in the public sphere is thus a hybrid place, which changes its aura and significance at a much quicker pace than the space described the home. People have a tendency to alter the space they inhabit so as to tailor it to their specific user requirements. Just the kitchen is a place exclusively for cooking in one house and a room primarily for studying in the unit next door, the public domestic space of the sidewalk can take on many meanings. In fact, it proves an even better laboratory to observe the performance of domesticity, as it acts as a tabula rasa, a blank stage which is serially occupied in mutable ways. If we agree that domesticity is less so described by a domestic space, but instead by a domestic actor, the sidewalk becomes the ideal place for the playing out of domesticity. As a nonprescriptive, flexible space, the public theater of the sidewalk allows the autopoiesis of the domesticity to expand and metamorphose to its full potential.
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SECTION A-A DAWN VIEW OF THE BRONX 1/16”=1’-0”
SECTION A-A DAWN VIEW OF THE BRONX 1/16”=1’-0”
above: skatepark section below: housing section
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SECTION B-B NIGHTIME 1/16”=1’-0”
THE AVIARY
CHICAGO BIENNALE
The urban park lies on the boundary between city and nature. We ask the following questions: How do we imagine a park within collaborative vertical urbanism ? How do we align the typology of the tower with nature? We propose that a reframing of how we understand the boundaries between urban and wild, culture and nature, within the tower begins with a recognition of the existing territory. By minimizing its horizontal footprint, the tower inhabits a vertical territory. This proposal moves against the instinct to replicate or construct a horizontal landscape within the confines of the vertical tower that by its definition is artificial, disconnected from the ground. Instead, we propose to give a place for one of nature’s vertical inhabitants, its birds, to enter. Over 300 different species of birds can be found in Chicago throughout the year. Some pass through during migration. Others nest, or spend the winter. Orioles, hummingbirds, falcons, tanagers, herons, cranes, woodpeckers, sandpipers, cuckoos, owls and more. Some of these birds are endangered, threatened or rare, and many are facing population declines due to loss of habitat. To enhance the role of the park as a place to recognize the territory, we propose to create an aviary for protection of local wildlife. A non constructed space— but with each ‘house’ is calibrated for the needs of each species. The embedded structure gives the condition for birds to roost, construct their nests, and security of place.
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15'-0"
15'-0"
is itself a community. Above is an n of birdhouses within one 15x15 unit. ouses give additional voids for birds build -the aggregation and structure a tree.
scheme the aviary for
an aviary
the aviary / proposal for TBE Entry to the Chicago Architecture Biennial 2017 Stephan van Eeden / sav2124@columbia.edu Jean Pierre VillafaĂąe / jv2590@columbia.edu JUNE 23, 2017
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368.00’
+23 +22
on comm
wk nighha
352.00’
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304.00’ w house
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ren
288.00’ 272.00’
ick er
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384'-0"
ind
igo
bu nti ng
+15
256.00’
no r th ern
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240.00’
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s ney
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160.00’
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ke Mi ch
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from their perch, birds occupy the sky, and return in the evening. In their flight path, the birds visit other areas of the tower and surrounding neighbourhood.
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176.00’
+10
bird paths
flight patterns
the aviary / proposal Chicago Architectur Stephan van Eeden / Jean Pierre Villafañe
Blue Jay CYANOCITTA CROSTATA (Corvus Cristarus) The beautiful blue jay is a survivor, doing well these days on our very doorstep. For the blue jay to rob a nest is a natural act. Jays have helped themselves to eggs for centuries and still the small birds thrive.
Northern Cardinal CARDINALS CARDINALS (fringilla Cardinals) One would think a bird so brightly coloured would surely migrate to the tropics, along with the tanagers and orioles, but, on the contrary, a cardinal that spends the summer in a garden is likely to winter there too, probably not wandering more than a quarter of a mile away, even in New England or southern Ontario, where the snow lies deep and the temperature drops below zero.
Common Nighthawk CHORDEILES MINOR (caprimulgus virginianus) The favorite time for hunting insects is at twilight, but nighthawks can be heard uttering their cries at any time of the night over cities where the lights create a glow. In fact, in some of the more wooded parts of the United States, the only breeding nighthawks are in cities and towns where they lay their two heavily freckled eggs. There at dusk one can watch the aerial maneuvers of the males which climb erratically, dive earthward, and then zoom up sharply with a whir of their wings.
Downy Woodpecker PICOIDES PUBESCENT (Picus Pubescens) This woodpecker perforates the bark of trees with uncommon regularity and care; and greatly assists their growth and health and renders them more productive. The downy woodpecker is a sedentary species with a broad range from tree limit in Canada to California.
study on species common birds of the Chicago area we imagine to inhabit the avairy. Each birdhouse calibrated to the needs of its bird while giving the possibility to settle & nest. / text from Audubon’s Birds of America
birdhouses
the aviary / proposal for TBE Entry to the Chicago Architecture Biennial 2017 Stephan van Eeden / sav2124@columbia.edu Jean Pierre VillafaĂąe / jv2590@columbia.edu JUNE 23, 2017
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a city for birds
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15.
15.00'
00'
m mu
xi ma
floor of base. It ved for the 140sqft.
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the aviary
nce wa o l al
the aviary Chicago Stephan v Jean Pierr
VESSEL FOR ALTERNATIVE ECONOMIES QUEENS, NYC The project seeks to identify existing synergies and complementary methodological approaches between art, architecture, design and social experiments as communication entities, that can be applied transversally into problem solving scenarios. The approach consisted of an interactive exchange between myself and a specific community. The focus of the experiment aims to provide methodological tools to be translated into the architectural process. Using the case-study of Queens in New York City, and with the view of creating spaces that can learn from its users, it challenges the understanding of architecture as an object by transforming it into a subject. The research methodologies include: ethnographic techniques, asset basedmethodology and design thinking applied in participatory games/toys, in addition to cognitive mapping and knowledge exchange strategies. These allow a vision to understand different forms of comprehension, identities and social practices involved in place-making processes around the Jackson Heights, Corona and Flushing neighborhoods, enabling a more ludic and diverse participation in architecture and urban interventions.
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intersections for alternative economies
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Translate & Communicate e Th
ses to amplify the propo opp ortu lbox niti too es
he jornaleros by connec for t ting
of an artist for a needs fram he ht e. wit
ted sen pre
s kill
the m The obrero ex stries. chan indu ges er his oth
s
In
h wit
The cards become a translational tool as well as an instrument to discover new uses within other disciplines. Their possibilities are endless, small icons suggest a use that can foment exchanges through the accumulation of knowledge
olbox transpo rts t , the to he nario jorn sce ale this ro
to s that confor ed cage m to cializ his spe boa of t.
Device for understanding common points within communities and individuals. The design of the box offers communication strategies for hispanic construction workers.
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d ee
As an educational device, the jornalero box unveals the construction process and translates tool names and their
This toolbox has been hacked to help undocumented inmigrants of Queens navigate and establish new transactions which are outside of the technocratic building environment of New York. Using simple
n
e Th
ulti-faceted in strum es a m ecom ent lb . too
Marina, where a fish erm Field an Citi is the in
Learn, Teach, Build Integrate & Construct
boyfriend
break up with him
crisis
work!!
money $$
rent
sink
insects
call exterminator
gangs
education
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commuting
This tool-wheel proposes vehicle that should works as a tool for mediation, by bringing together the possibility of constructing an intermediate and intermediating space. In such space, limits should be broken, and citizens should have a place to negotiate their ways to behave, without losing their fundamental identity values.
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2m
7.5m
24m
TO JACKSON HEIGHTS
TO 69ST SUBWAY TO PIGEON PARADISE
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The design material and conceptual framework conceives a building able to engender a double condition: (i) a new space that is constructed by visions in conflict; and (ii) that is simultaneously a “hollow” in a solid physical condition. These conditions will allow the construction of interactions, interchanges, and encounters between different points of view and antagonistic standpoints.
A physical way of visualizing no social boundaries is a “porous space”. The architgecture proposed is always in conflict and conciliation, it is a point of encounter and contradiction, that is ambiguous by definition and simultaneous in its use. The multiplicity of encounters based on porosity, allowed to integrate, into the infrastructure, new actions, attitudes and performances. Rather than designing “buildings” we want to produce growing and changing “artifacts”, according to particular or temporal circumstances. The space itself must be a strategy that admits changes, accidents and interchangeability, thought more as a method than as a permanent shape. The project should become a strategy to create dynamic spaces that will learn how to react to people’s behaviors.
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LOST NOT FOUND EAST VILLAGE
The project proposes a transient space for lost and found objects, a database and portal connected to the new L Train station at 14th Street and Avenue A. The Lost + Found portal is a new structure between grounds: a space for the misplaced, lost between the public and private domain, the personal and the political, social engagement and poetic disengagement, competing identities, all which constitute the complex territory of [the] city. Shifting the view 90° from the proto-corner to emphasize the ground plane, Lost + Found, as an exploration and translation of figure and ground, not only implies the relationship of above to below, but also the threshold, and the in-between: a transitional space of objects and people, transforming states of moving through the city. It considers the essential notions of inhabiting the edge: threshold / transition / transformation, expanding and extending both above and below ground. The portal includes a database terminal and reception center to receive lost articles (collected weekly from the portal), and accommodates one attendant, known as the MTA Secretary of Misplacement. It is accessible from and connected to the subway station [under] and street level [above] in proximity, merging the two. The structure articulates cycles of dispossession and reclamation within a city space. The pattern is symbolic of the city’s continuous losing and finding of itself.
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Effect of social exchange on perception of time in MTA Subway
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Site and circulation become not a fixed destination, but an experience along the way. The threshold calibrates transformation, a change from one state to another.
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Thinking about the act of breaking the ground within a very hard urban surrounding is indicated and experienced through very small cuts, almost as though each hidden entrance leads one down into a separate layer of the urban fabric. 53
UP UP
UP
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Ground Plan
SUBWAY PLATFORM -20’-0”
BOTTOM LEVEL -40’-0” 5’
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Lost and Found
10’
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above: section - below: axonometric exploded
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The project uses the ground, cut and threshhold as a volumetric, sectional strategy and structural system carving and cutting into the ground. It transforms, modifies and translates the system with programmatic continuities and discrepancies. The Lost + Found shelter provides a space to deposit and receive lost articles, as well as a database terminal. This added transportation portal must relate to the new subway entrance on 14th street, and mediates the flow of people and different speeds and modes of traveling through the city.
Longitudinal Section
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BOTANICAL LIBRARY This project explored the current changing nature and cultural significance of the space of the public library through the lens of light and shadow. Emphasis was given to the importance of the human experience and qualities of these spaces. Libraries today are changing how they address the needs of their communities. Particularly in NYC, libraries are becoming more and more hybridized. The program of our public libraries go far beyond the traditional circulation of books and study. This more diverse collection of program requires, perhaps, a greater diversity of spaces. And with the use and program of our libraries now constantly in flux, how does that change the way we design and organize the space of the library? What if the spaces of the library were organized less on program specificity and instead offered a variety of room types based on size, different qualities of light and shadow, greater or lesser amounts of acoustic privacy, etc?
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Library Section
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Second & Third Level Plans 60
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Reading Level Plan 61
Physical Model
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Cross Section
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VERTICAL SIDEWALK EAST VILLAGE, NY
Design a critical corner, a quarter of an urban inter-Section, not as the meeting of two planes, or elevations, but as an active, habitable face, reinterpreting and overlaying patterns of analysis. Rotating the ground [plane of interaction] vertically, we will work with static dynamics: the moment, translating the corner into dynamic architecture, making the corner habitable. We will introduce the thickness of a layer, aka the materializations of the corners’ skin, as we define our layers of intervention, occupation, dissection, subversion and inversion. This is a reintroduction to the city. The grid is not neutral, the grid is a device. Expediency, economy, politics and culture run through it. The grid is defined as a field of inter-Sections. The inter-Section is a point marked by a cross, but this is an abstraction. On the ground, the inter-Section is expressed as corners, lines, street and sidewalk edges, traffic, definition of zones, sense of place and identity. Extraction of information from the grid informs our proto-corner. The proto-corner has orientation, there is a base and roofline or profile implied, but this is not a volume or a model of building simply located on a corner, or an elevation as we know it. This corner should be conceived as a bent plane, a modulated surface, a scrim or theatre set piece. It is a performative, active face, a face that is absorbing or reflecting the overlays and patterns of analysis. It should take into account enclosure versus exposure, inside versus outside. Its modulation will take inspiration from a real corner, yet become the translation of an analyzed and scrutinized site condition: an analysis grid.
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Urban conditions in East Village as a diagram of vibrant impact on social diversity
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Re-building the corner means re-imagining its bones; think about inhabitable thickness rather than thinness. The construction hinges, merges, and morphs, manipulating the corner condition to turn the void into solid, occupying the in between. The project exists as a vertical roof (and ground), a habitable facade, a layered, thickened surface that pools, collects, distributes and shifts water, people and light.
This inter-Section of the street corner overlayed and distorted with the analysis grid becomes the architectural element[s], and field condition, through unpacking and filtering, a world of lines and projections, layering, rather than a copying of conventional signs, textures or details. Interpolating between grids, the occupant of the corner lives on this edge. Vertical movement of inhabitants over a 12 hr cycle allow the ground to become an urban vertical field condition and a habitable facade in the city.
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COLMBIA GRADUA ARCHITE
SPB TASK
PROFESS
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ERECTIO
FASHION EXHIBITION
SPECIAL EVENT
ART EXHIBITION
DESIGNE METROPO DRAWN B VILLAFAÑ CHECKED FILE NAM former_A
DRAWING
2.0 CINEMA
Prada Transformer - illustration of assembly
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Nathalie Djurberg: Turn Into Me
DRAWING NUMBER
1.0 1_2
SHEET NUMBER
August 15 – September 13, 2009
COLMBIA UNIVERSITY: GRADUATE SCHOOL OF ARCHITECTURE AND PLANNING
SPB TASK NUMBER: 2 PROFESSOR FARZIN LOTFI-JAM SUBMISSION DATE: 10/18/2016 ERECTION DATE: MARCH 13, 2009
DRAWING TITLE SECTION PERSPECTIVE ORTHOGRAPHIC
DESIGNED BY: OFFICE FOR METROPOLITAN ARCHITECTURE DRAWN BY: JEAN-PIERRE VILLAFAÑE CHECKED BY: COCO KE SHI FILE NAME: jv2590_Prada Transformer
PROJECT TITLE PRADA TRANSFORMER
An Eclectic Sampling Menu by Iñárritu
June 29 - June 30, 2009
September 29 - September 30, 2009
Student Takeover: Chung, Sunwoo Yang, Jungyoon Cho, Heehwa
Simultaneous events in section
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April 25 – May 24 2009 Waist Down: Skirts by Miuccia Prada
DEAR VIEWER: My work is an anthology of delirious explorations in an attempt to escape reality – the sequential time and the fragmented space - that the City has imbued us with. By simultaneously focusing on the distortion of forms and the creation of imaginary environments, I dream. Deliberately intuitive and instinctually calculated, I have developed a new visual vocabulary comprising of simple forms, sinuous lines and vivid colours to oppose gradation, nuances and confusion of “reality”. By navigating the line in a deviating trajectory I encourage viewers to visually participate in creating their own compositions as a chimerical delight in a voyage to the uncertain.
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Exploded Axon
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North East View
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jv2590@columbia.edu WWW.JEANPIERRESKEM.COM