PORTFOLIO JEFFERSON VILLACIS ZUMBANA
CONTENTS:
01
MORPHOLOGICAL MAPPING
02
SPATIAL COMPOSITION
03
LANDFORMING
04
ASSEMBLAGE
05
PROGRAM
06
SUPERIMPOSTION
07
EXPERIENCE
08
FINAL PROJECT
The site can be observed either analitically or experimentally. It
Crowd Intensities
plays an important role on the construction of the space and the interaction of elements. The Concrete Lawn at the Parkville Campus, the University of Melbourne, presents particular characteristics of behaviour, climate, action and chronicle.
Map of intensity of used and unused areas in differents parts of the site.
Temperature
01/ MORPHOLOGICAL MAPPING
- Concrete Lawn, University of Melbourne
The local climate affects the site conditions, having a significant impact on the temperature of the site.
History The Concrete Lawn was initally a swap, which after the construction of the University became a lake and then a lawn. It was officially designed in 1968.
9am
5pm
1pm
Shadow The vegetation and the buildings cast different patterns of shadows throughout the day that has different effects on the temperature and occupancy of the site.
9am
Circulation The circulation on the site is determined by the spatial quality and functional features of the place. The continuous line denotes pedestrian traffic, the dashed line cyclists and the dotted line indicates the presence of vehicles.
3pm
5pm
Plan Drawing
By the integration of two concepts “Grid” and “Frame”, a whole new concept, that protrude the space, is created . The repetition of shapes in different sizes and with different angles makes the individual parts come together in the space. Although the contiguous elements do not meet with each other, in space a relative interaction si generated amog each other.
Section Plan Drawing
The balance of the design is achievd by creating two counterparts, giving the
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appearance of two complementary bodies.
“Everything we see is a perspective, not the truth
02 SPATIAL COMPOSITION -Frame and Grid
-Marcus Aurelius
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“Glorious is the Voice of Man, and sweet is the music of the harp
-Richard Llewellyn
Section Plan Drawing The extrusion of land in two different quadrants converts its line of intersection into a wide negative open space. This in turn generates covered area under the earth. From a high plane, the inspiration has been the harp, since each one of the stairs on the land gives the appearance of the harp strings.
Plan Drawing
03 LANDFORMING
-Extrusion and Subtraction
Section Plan Drawing
The grafting technique, is the separation and then recombination of forms - an often violent collision and interpretation. The resulting composition of this is that there are no
04 ASSEMBLAGE -Grafting
clean cuts. This model conveys Freedom and Constraint. The disruption of the elements, the distortion and the collision make this structure a Formal conflict, a kind of ‘third space’.
Plan Drawing
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By the time civilisation was born, the city was born. They are the heart of humanity, the integral part of being a human. They are the bond, the essence and the existence. The passive nature grows through the urban form. The fleeting cars collapse with the time. The early commuters run on the streets, the passive night is
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death and the city life is born.
The amalgam of patterns and congestions, with
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nuisances and imperfections are the best reflection of the exorbitant beauty in the city
05 PROGRAM
-Spatio-temporal Narrative “Meeting”
06 SUPERIMPOSITION
spatio-temporal narrative
The juxtaposition of the forms, shapes and colours are brought together in multiple stages to form one single system. It is important to highlight the contrast of colors, the disjuction of forms and the natural sharing of the space on the plan.
07 EXPERIENCE
-Metal
The metal is experienced by its character. It is a maleable material with a shiny appearance. The incorporation of materiality, scale, light, texture and form are synonym of abstraction, which at the same times creates an atmosphere able to be sensed and lived by the spectator.
08 FINAL PROJECT
Plan Drawing 1-200
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“Fine - tuning and gaining control of a design proposal via development is a key moment in the sophisticated realisation of an ambitious idea
A conceptual model based on the Program idea of meeting. I takes as initial phase the inspiration of‘City’.
The project has been developed through a process of ‘Adaptation’, ‘Articulation’ and ‘Consolidation’. The essential aspect of this idea is the way it connects cohesion and abstraction so that elements interact with each other creating a holistic body and recreating the urban form.
•1) The full sectional drawing allows to observe the different levels of density, history and transformation within a city. This gives the system a sense of hierarchy according to their significance. •2) The use of the spire: The Victorian Arts Centre spire is the most powerful cultural symbol in Melbourne — it is an artistic landmark, and one which represents the city as the arts capital of Australia - Haddon Storey, Minister for the Arts, 1995 The spire is symbolic, providing a visual feature and signpost for the entire complex. •3) The idea of the agora. In ancient Greece the agora was the main point of encounter and city life. The agora itself was an informal club. As the dominant feature of the ancient architecture,
it has been
incorporated a colonnade of perforated panels on the site. •4) The perforated panels form a theatre of entrance, and they give the sense of immersion into the inner space. •5) The molecular, triangular pieces are divided and taken from the Melbourne City Official logo 2016. The superimposition of these irregular forms has ben taken from THE GIGANTOMAKHIA - one historical piece of the Greek Art. •6) In terms of materiality the building is seamlessly integrated into the urban context, unfolding its interconnecting shapes of steel, glass and titanium.
Par tial Section Drawing 1-50
Full Section Drawing 1-100