Juan Felipe Lopez Arbelaez BA Architecture Portfolio
Contents
Stage 3 -4McAlpine Plaza -5-
Stage 2 -12Spaces of Astral Projection -13Shore Place Student Living -20-
Stage 1 -24James Place Street Row House -25A Room Beyond the Frame -30-
Stage 3
McAlpine Plaza
McAlpine Plaza; a revolutionary approach to a mixeduse development that provides a socially, culturally and environmentally conscious alternative to the existing model. The design needed to consider how the clients would function effectively as singularities but also how they would interact and coexist within the same boundary. By understanding the clients’ approach to their work and their ethos, and how these two could be interrelated, the spatial qualities and aesthetics began to emerge out of the necessity to house such a breadth of processes and activities in a logical and refined manner. Having established my own personal brief to the project, it was now a matter of pushing the possibilities of how people will use and interact with each other in the space under two key approaches towards the design: adaptability and distillation. Throughout its development, the variable upper volumes and the functionality of the cores were continuously questioned and subsequently redesigned. It is this “restless reinvention� which inevitably became a theme in the final iteration whereby providing a guide and set framework which distils all elements of design, structure and atmosphere to its essentials, the proposal was now able to provide a rational and convincing new approach towards the mixeduse leased-space inhabitation model. It culminated in the perfect intersection between the cultural and commercial worlds.
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Commercial Client Personal Brief TEMPORARY CITY “an approach with a static future vision, in other words, leads to disillusion and failure because it is often not able to adapt to its changing context” “a permanent condition in which all interventions are by definition temporary until such time as they are proven successful and acquire a more permanent form”
NOT A PLAN, BUT A SCRIPT
RIFT
“where traditional instant urban development works from a plan or a blueprint”
“there is clearly a rift, a gaping breach between ambition and reality”
“within such a framework, rules do not suffocate but they create spaces within which a great degree of freedom remains”
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Conceptual Model
Scale 1:200 The model shows the interaction between the cultural (lower) and commercial (upper) client volumes. The solid volume represents the main commercial tenant while the void volumes represent the adaptable space for the commercial sub-tenants.
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viewing platform
expansion pod
variable commercial clients
fixed commercial client
the stage cultural client
Ground Floor Cultural Client
Section (Far Left) North / South
Key Section The sections best highlight the regularity of the steel frames that make the building form possible. The arrangement of the cores and the steel frame enables the commercial client to seemingly hover delicately and respectfully above the cultural space in an attempt to change the perception that corporate entities have complete disregard for anyone else’s interest except their own. This presents the commercial client’s approach as one of more inviting and considerate towards the local community.
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Commercial Sub-Let Expansion Module
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The stage can also be used to house various functions such as sculpture gallery, food festivals or even private events in coalition with The Core Nightclub.
Walker + Bromwich studio space where the general public can observe their creative process from ‘The Stage’.
The office spaces provide a unique view of Glasgow as people are able to get an unobstructed view of the skyline.
The East Core houses a unique nightclub experience, The Core. A narrow space runs from the basement to the viewing platform.
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Stage 2
Spaces of Astral Projection
Technology has enabled us to be incredibly digitally connected; yet physically disconnected. Despite all of the advances in communications, it still isn’t a match for face to face contact. Skype, Facetime, Facebook Video, they all have the same pitfalls. It usually feels like you spend more time checking if the other person can hear you while the other person complains they can’t see you clearly enough. Progress, they call it. But what if there was a way to change the experience of using programmes like these from a mere interaction between two people and a screen, to one that blurs the boundaries between the real and virtual world? I believe the way in which this can be achieved is through how people perceive and manipulate space. My proposal will be focusing on long distance relationships and how architecture can help to improve the experience through dedicated spaces that allow for varying degrees of virtual submersion. Long distance relationships extend beyond the common amorous kind to include family and even work relations. Having had a firsthand experience in all of these areas, I am able to see the potential that can be unlocked by linking architecture and technology in order to revolutionise how people interact on a daily basis to better our lives by seemingly bringing us so close to each other, that it may as well be real. The building will be a hub for this experience that will hopefully be the founding site of many locations that provide the same range of experiences. I intend to keep the rear façade and the arches of the existing building while adding a modern extension to house three key spaces: a larger scale exhibition space that further explores the capabilities of immersive technology; medium scale space for a virtual reality restaurant where people can have a long distance activity and on occasion be the birthplace of a long distance relationship and dedicated smaller scale pod spaces for anyone.
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Section
North / South
Designing by Section The existing structure informed the vertical layout of spaces. Where spaces needed to be enclosed then this was deďŹ ned by the existing building; where they could be open they formed part of the extension. The second oor was setback to make a subtle distinction between the existing wall and the new addition; here, the screen disguises this addition. In the triple height atrium, a deliberate enclosed, monolithic structure for the lift and stairs. This makes it a very physical real experience to move around the building to contrast the wealth of digital and inferred reality opportunities.
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Elevations
Silver Street / Anderson Court
Responding to the Context The aim was to maintain the roofscape by not have the building protrude out of the neighbourhood. The designs of the elevations relfect the atmospheres to which they face, the front being more open and the rear being more closed. The rear screen ensures privacy for the nearby hotel guests by reflecting the surroundings; while the external pods at varying heights create a cubic landscape so that people can still enjoy the space even when there is no available pod to enter.
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Pods
Astral Projection / Exhibition
The pods implement the arch that was retained from the original structure as an instrument for both aesthetics and thresholds. The final design doesn’t copy it directly, instead it is simply inferred by how the stone is cut on the slatting. The concept behind them is that they all have identical facades that use the materials that represent the old and new aspects of the deisgn in identical exteriors (bar the individual heights) to allow for a completely adaptable, fully immersive experience. The insides of the Astral Projection Pods have climate and lighting control HD Surround Sound Systems and all-round projection screen that can accurately interpret the setting of any place around the world so that the use can feel as if they could either be on a tropical beach or atop a snow-capped mountain. Their partner, using the same pod, under the same condition wherever they may be can then also share the same experience. Both people can choose to hear and see, or just one to still allow for interaction. It is the unique experience and new form of interaction that will enable people in long distance realtionships to be able to sustain long distance as they can continue to build memories together that strengthen the bond between two people. The Exhibition Pods differ by having screens on the exterior facades. This allows artists that primarily focus on digital or film art to display their work, such as Bill Viola. Spectators can then enter the pods to represent them going into the wolrd and mind of the artist by being allowed to enter the artwork itself and its environment.
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Virtual Reality Restaurant The Presence of Absence
The virtual reality technology does not create the experience in the restaurant, it enhances it by being able to correctly present a realistic image of the person you are with that responds to movements and environments. People still go out to dinner not because they have to, but because they want to. The act of making the effort to do something different, seeking pleasure in the tradition of going on dates with current or new partners is the focus here. This continues to build shared experiences allowing people to do something that orginally couldn’t be done without the other person. The smells, sounds and atmosphere of the real restaurant make it extremely real up until you want to touch that person and you remember they aren’t there. At that moment you know that you still want to have a physical connection with a person, moving the relationship forward and keeping it from becoming stagnant. Taking visual cues from the exterior pods at varying heights, here, the frames that hold the technology for virtual reality lower at various levels to subtly distinguish each of the spaces being mapped out. Diners would have the opportunity to create their own photo-realistic avatar within the building in the dedicated Avatar Creation Room situated on the ground floor. -17-
Key Models
Astral Projection Pod Model at 1:20 / Left Rear Screen Model at 1:50 / Right
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Form Renders
Site Approach from Silver Street / Left Rear Screen Focus / Right, Top Site Approach from Anderson Court / Right, Bottom
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Shore Place Student Living Taking into consideration the accessibility to local universities from the site and Edinburgh’s large student population, the project caters to the minority groups within the student population: international students, mature students and independent students. The building will house a student-run pub affiliated to one of the nearby universities that will have two key benefits. Firstly, it will enable these students to earn money and integrate themselves within the community. Secondly, it will provide a more accessible price bracket for the area due to the large council homes nearby that may not be able to afford some of the newer shops that have opened - the locals should not be denied the opportunity to enjoy their neighbourhood. It would also combat the somewhat closed atmosphere of the current neighbourhood to encourage socialisation. Open yet secluded, the student-run pub. The seasons may come and go, each determining how the pub and courtyard is used, but this space will always retain those two fundamental qualities. In Springtime the flowers would bloom on the living wall to bring life to the building. The colours, textures and smells would add a softer quality to the harsh and rigid stone and metal used throughout. Come Summertime, opening the folding doors would to eliminate the boundary of interior/exterior space and turn the pub and courtyard into one collective endless volume. Here people could gather and enjoy the most of the warm evenings provided by the sunlight pouring directly into the place. When Autumn arrived anyone could seek refuge from the rain and wind by sheltering underneath the overhangs and the little nook formed at the juncture of the main building and living wall - it almost invites you in. A very defined and intentional line between the interior and exterior occurs in Wintertime. People would pack into the long and narrow pub and gaze from the large windows out into the desolate outside world. Throughout the year it offers an escape from the noise and manmade environment of Shore Street just a mere distance away. Walking along the street my design gives no indication that such a space has been carved out from the building; serving as a pleasant surprise for any unsuspecting person walking by. Its effectiveness is due to its adaptability. It happens almost naturally and effortlessly by factors determined beyond the users’ control: the weather and inherent design qualities of my proposal. -20-
Section
North East / South West
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Hydroponic Living Wall Section Scale 1:20 Key 1. Fundamental Wall 2. Water/ Nutrient Ion Input/ Circulation System 3. Pump 4. Waterproof and Root Resistant Membrane 5. VF Planting Blanket 6. Nutrition Soil and Planting Blanket Pocket 7. Plants 8. Water Channel (Recycled)
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Key Renders
Areal view accentuating the intricate roof design and cascading terrace spaces / Left Internal view of the student-run pub / Right
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Stage 1
James Place Street Row House
In this project, a long narrow site had to be manipulated to deliver a design tailored to an individual’s requirements. By considering the client’s personal taste, a very refined and streamlined aesthetic approach was adopted to not draw attention to the house from the street. A family home, a photographer’s office and a teenager’s den. These were the three main requirements that had to be met. By concentrating all circulation into a linear progression either side of the plot, it maximised the space and its usefulness for the rooms inside. The long, narrow corridor spaces double up as a gallery to showcase the client’s work. Strategic placement of rooms at opposite corners gave the future residents some much needed privacy. Envisioning a future in which the entire of the street adopts this design, by mirroring the layout in pairs, the central opening created thus ensures sufficient natural daylight enters the secluded garden. Here, the ‘floating’ landing completely wrapped in glass helps to avoid the casting of shadows but also plays a visual trick to any guests visiting the house for the first time. Another vital outdoor space is the elevated lounge terrace which provides the occupants a private vantage point of the Ouseburn Valley ahead. The biggest accomplishment of this design is the range, quality and equality of space that was able to be resolved given the pre-existing site conditions.
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Section and Elevations Original Scale 1:50 @ A1
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Plans
Original Scale 1:50 @ A1 -27-
Key Exterior Renders
Areal View of Floating Landing and Garden / Right Rear Approach from Back Stephen Street / Left, Top Balcony and Living Spaces / Left, Bottom
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Key Interior Renders
Stairs Looking Down into Living Space / Left Entrance Looking Up to Floating Landing / Right, Top Kitchen and Living Space / Right, Bottom
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A Room Beyond the Frame
Using a painting by Dutch Golden Age painter, Pieter de Hooch, as foundation; the task was to envision the journey and spaces travelled from the room depicted in the painting to the space where de Hooch would work from within the house. There were two approaches that could have been adopted. One was to translate the 17th Century house to the present day and imagine the new spaces as such. However, in this instance, the second option was favoured: to remain true to the painting’s period and recreate a genuine representation of the spaces at the time. By using tiles drawn in the painting, a sense of scale and room dimensions could be derived to accurately recreate the painted room. For the second half of the requirements, the painter’s studio featured a cupboard that the artist could use to store and protect all work; a double height space with skylights to make most of the northern light and a staircase that leads only to his studio and the servants’ quarters to keep these areas separate from the rest of the house. The biggest challenge that had to be overcome was to create a convincing extension of the painting by using one’s critical design thinking and imagination. The image given is shown opposite: A Woman Preparing Bread and Butter for a Boy (1663).
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Section
Original Scale 1:20 @ A2
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Ground Floor
Original Scale 1:20 @ A2
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First Floor
Original Scale 1:20 @ A2
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Painting Room Model Scale 1:20
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Painter’s Studio Model Scale 1:20
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Newcastle University 2014 - 2017