f i n g e r p r i n t s
Kassandra leiva :: design Portfolio
FINGERPRINTS : J u s t a s a r c h i t e c t u r e l e av e s i t s m a r k o n p e o p l e , p e o p l e l e av e t h e i r s o n A r c h i t e c t u r e . They are two parts of one whole that i nfi nitely catalyze one another. The following projects represent different “fingerprints,� enabling diverse interactions between the i ndiv idual and built form.
categories of Interaction SELF- AWARENESS FINGERPRINT These projects USE REFLECTIVE ARCHITECTURE TO FOSTER self- awaren ess. Shadow Play Pavilion 6 Villa D’Este Monument to Water
10
Sculpture Garden 12 Chair 14
conversational designs that r e qui r e i nteraction to p roduce a v isual/auditory p erformance. 16
Synesthetic Pavilion 18
COMMUNITY FINGERPRINTS at the communal scale, these d esi gn s consider largeR, diverse grou p s of people and functions. 20
Roman City Design 22 Archaeological Archive Library
29
Academic papers & Thesis excerpt Archaeological Excavations of Stryme, Greece.
30 32
VISUALIZATION B od y i n S pa c e
34
Travel S ket ch es 3 6
PERFORMANCE FINGERPRINT
Inter-City Unity: Urban Interventions in São Paulo
Robert Orr and Associates
ACADEMIC WORK
p rojects i n which architectur e i s con stan tly reshap ed b y human play.
Light Pavilion / Playground
Kilo Architectures 28
8
RECREATION FINGERPRINT
Suspension Studies: Outdoors Recreational Venue
PROFESSIONAL WORK
24
SHADOW PLAY Pavilion, Professor Paul Lewis, Sophomore Spring
6
E D B
A A
B
Lo fte d Pla n
T he Shadow Play Pavi lio n i s a h u ma n - s c a le s ha d o w t hea ter, i t s transl u c e n t na tu re a llo ws a p e n etra tion of light and shadow. Th e pa vi lio n i s mea n t to e v o ke a sea m l ess progressio n th ro u g h s pa c e , e n c o u ra g e d by i t s curv i li near wal ls . A s eri es o f lo fte d lo o p s c rea tes a K l ei n bot tl e ef f ect s o tha t th e i n terior a n d e xterior are i nsepara bl e, ca usi n g vi si tors to re fle c t o n th eir p osi ti on i n s pace and i n rela tio n to th e s ha d o ws o f o th ers . T he scal e m od el i s ma d e o f pa p er mâ ch Ê d strip s ; i d eal l y t he pav i lion wo u ld b e c o mp o s e d o f a meta l pi pe skel eton tightl y dra p e d b y a s emi- tra n s lu c e n t fa b ri c of ov erlappi ng strips.
D
E
7
An Reinterpretation in Glass of Villa D’Este Professor Mario Gandelsonas, Senior Fall
8
A
B
A
B
Pa t h s t h ro u g h la b yri n t h
T he 1 6t h- centur y V i l la D ’ E ste g ard e n i s a d em o n stra ti o n o f p o w er t h ro u g h a g ra n d ensem bl e of ela bora te wa ter e n g i n e eri n g fea t s ; I su b v ert t h i s n o ti o n b y re d esi g n i n g a m i ni m ali st gard en t ha t di sori e n t s t h e v i si tor ra t h er t ha n em p ha si ze t h e v i lla , m a ki n g t he project a bout t he v i si tor ra t h er t ha n t h e d esti na ti o n . I o v erlai d a n d i n ters e c te d t he pa t hs of t he ori gi nal gard e n a n d t h e m a p o f t h e w a terw ays (p o o ls , fo u n t ai n s , pi pes) to achi ev e a la by ri nt h o f s em i -o pa q ue b lue -ti n te d g la ss . T h e c ei li n g i s a n i nv ersi on of t he ground’ s i ncli n e , resu l ti n g i n a g ro w i n g fe eli n g o f e n c lo su re a s yo u reach t he v i l la. G radual , subt l e , yet o v erp o w eri n g , w a ter i s m o n u m e n t a li ze d i n g la ss .
9
Suspension Studies: Outdoor Recreational Venue, Self-initiated Project
I nspi red by Ei senstei n’ s mo tif o f ha n g i n g o b je c ts , su ch as t a bl es and boa t equi pm ent , i n Ba ttleship Potemki n , I a p p li e d th e id ea to an af f orda bl e open ai r recrea tional space for ea ti n g a n d rela xi n g lo c a te d i n m y hom e countr y of C uba ( Ranch Luna beach ) a n d ma d e o f lo w- c o st ma teri al s such as l ocal wood and ste el rope. In t he p ro je c t, th e sus p e n d e d stru c tu res and object s are t he crux of the d esign. Beg i n n i n g wi th th re e stru c tu ra l c u b e scaf f ol ds, I i ni ti al l y ex pl ored hangi ng panels a n d wa lls a n d th e n a d d e d ha n gi ng f urni ture and ci rcu la tion to crea te a s pa c e tha t, wh i le sta b le , su b tly responds to t he wei ght of i t s o ccupants.
10
11
Sculpture Garden Professor Hayley Eber, Junior Spring
T h i s i s a g ard e n d esi g n e d for t wo s c u lp tu res fro m P ri n c eto n ’ s c a m p us c o lle c ti o n w h i ch i n s pi re d t h e form s o f t h e ele va te d w a lkw ay a n d t h e m u l ti -us e m o d u les . T h e c yli n d ri c a l, h u m a n -s c a le d m o d u les p ro v i d e s ea ti n g area s , h i d i n g n o o ks , a n d p la n ters , li g h t e n o u g h to b e m o v e d i n res p o n s e to cha n g i n g us er n e e d s . T h e eart h y pa let te o f t h e m o d u les a n d t h e b ro n ze fi n i s h o f t h e w a lkw ay e v o ke t h e c o lor s ch em es o f m a n y o f P ri n c eto n ’ s b u i ld i n g s .
12
A
B
C
A
B
C
13
Chair
Professor Jesse Reiser, Junior Fall
O ri gi nal l y based on a torus for m, th i s chair i s m ad e up of 1, 00 0 mo d u les tha t s h ift wh e n sa t on, crea ti ng a surpri si n g ly c o mfor ta b le and dy nam i c sea t . T he structure i s based o n a mo ld e d g rid w hi ch, put through gra ss h o p p er , g e n era te d a d ense arrang em ent o f mo d u les . Th e 1 , 0 0 0 m odu lar com pon e n ts were ma d e o f car boniz ed steel w ire pi e c es . Th es e pi e c es w ere assem bl ed i n two s to for m a fo u r l egg ed , para boli c m odu le . T he m o du l es them sel ves b elo n g ei th er to t he “ surf ace” ca tegory or th e “stru c tu ra l” ca tegory. The l ong er extru d e d mo d u les a c t as t he structural l egs, wh i le s h or ter pi e c es ser v e as t he f l exibl e s ea t.
14
Extruded Modules
Mesh Structure with Assembled Modules in Place.
Under-wire Mesh Structure
15
Cantileverage Pavilion Professor Axel Killian, Computational Design Studio Study models of cantilevered elements.
Model-making process.
Final model drawings.
16
C
A
B
B
A T h i s pav i lion prov i d es a sti mu la ti n g a tmo s p h ere a s a play ground and m eeti ng pla ce tha t respond s d ire c tly to vi si tors ’ ste p s , mad e possi bl e by ardui no technol ogy, Though i t a p p ears to emerg e o u t o f a seem i ng l y chaoti c col l ecti on of canti l ev ered m emb ers , i n fa c t ea ch o f th e for m s has pur pose as ei t her t he roof , f l oor, centra l weig h t- b eari n g stru c tu re . T he i ntersecti ng plan ks t ha t i ntersect the centra l memb ers for m a res p o n si ve spi ral st ai r case: an A rdui no i s w ired to each ste p s o tha t i t lig h ts u p u p o n b ei n g stepped on, and once t he pressure i s rel eas e d , i t lea ves a fa d e e ffe c t, a light trace accentua ti ng t he notion of ord er emb e d d e d i n cha o
C
17
Synesthetic pavilion, Professor Hayley Eber, Junior Spring
A s a pav i lion d esigned for th e n e w Ar ts a n d Tra n si t si te a t P ri nceton, t hi s structure i s m eant to prov oke a synest heti c e xp eri e n c e . As o n e wa lks a lo n g t he connected ref l ecti v e cur v i ng m em bers, t he ex p eri ence i s of an i n ter mi tte n t la n d s c a p e , a ki n d of t hree- di m ensi onal f i l m stri p, as scener y al terna tes betw een v i e ws o f th e su rro u n d i n g si te a n d ref l ecti ons of v i si tors. A t t ached to ev er y el em en t i s a lam p-chi me tu n e d to a d iffere n t pi tch . Th e project becom es an enor m ous m usi cal i nstru ment tha t begs to b e p us h e d a n d ch i me d . It d e fi nes m ov em ent as som et hi ng bey ond a chang e of coordi na tes: i t i s a cha n g e o f s o u n d s , i ma g es , a n d m em ori es.
18
A
B
B
A
19
ICU (Inter - CLass Unity) Professor Mario Gandelsonas, Senior Fall
In colla bora tion wi th Mi sha Semenov. (Plans, sections, axons by Mi sha Semenov. Fi nal rend ers, 3D mod eli ng by a uthor.) Thi s tongue-i n - ch e e k u r b a n i n ter ve n tio n i n São Pa u l o ma n ip u la tes Nei me y er ’s i coni c Ibirapuera Par k Oc a d o me a n d Marqui se i nto fa vela - h id i n g me cha n i s ms . Whi l e their d ire c t p ro g ra m i s re c rea tio n , they highlight th e s o c ia l s eg reg a tio n preval ent i n Sã o Pa u lo b y c rea ti n g paral l el worl d s (a wa ter par k for th e ci ty’ s eli te a b o ve a n d h o usi n g a n d serv i ce areas for th e p o or b elo w). We f ound f av elas a ll th ro u g h o u t th e c i ty and stra tegi c a lly “ma n i c u re d ” th em wi th these “parks” .
Urban intervention hiding the unappealing side of the city.
20
elite poor
FIDALGA
Left: Buraçao Favela
PONTO DO JAGUARÉ CORTIÇOS
BURAÇAO
COLISE U
IBI RA PUERA
MARIO CARDI M NEID E APARECIDA
JARDI M PANORAMA REAL PARQUE
ASCENDI NO REI S
SOUZA RAMOS
Right: Map of São Paulo favelas proposed for intervention.
21
Roman city design Professor Diana Kleiner, Fall 2015 ROMAN BATHS DESIGN 1 Fri g i d ari u m 2 Te pi d ari u m 3 Pa lestra 4 C a ld ari u m 5 S u b si d i ary c a ld ari a 6 L o u n g es / c la ss ro o m s 7 L e c tu re ha lls 8 C u bi c u la / Ta v erna e (i n terna l) 9 Te pi d ari u m lo u n g es 1 0 S tora g e 1 1 (w a ll) I n terna l Pi pi n g
ROMAN CITY DESIGN
22
1.90
8
7
4
6 8
5
5
3
11
9
2
1.90
11
6
3
9
7
10 6
8
1
8
6
commercial residential imperial palace public / cultural streets
I d esigned thi s Roman ci ty and ba ths complex as part of a course ta ught by Professor Diana Klei ner tha t I a udi ted a t Yale duri ng the 2015 fall semester.
I based t he ci t y p la n o n a fo u r-p o i n te d st ar w i t h a su n d i a l a t t h e v ery center , whi ch i s d e d i c a te d to t h e su n g o d H eli o s . T h e p la n i s a b le n d o f t h e C astru m plan’ s p erp e n d i c u lar stre et s w i t h t h e ra d i a l stre et s g e n era te d b y t he sun- st ar pla n . T h e c la s h b et w e e n t h e t wo g ri d s c rea tes i rreg u lar p lo t s t ha t ex pl ore t he p o ssi bi li t y o f p la c i n g m ore p u b li c / m i x e d us e b u i ld i n g s where t hey g et m ore a t te n ti o n . T h e p u b li c b a t h s are m y fea tu re d b u i ld i n g . M y d esi gn rei tera tes t h e c la s h b et w e e n ort h o g o na l a n d ra d i a l h i era ch i es o f plan d esi gn.
23
Archaeological Library
Self-initiated project, Fall 2015
24
T hi s “ archaeol ogi cal lib rar y ,� si tu a te d o n a h y p o th eti c al col l eg e cam pus, ser v es as a storag e spa c e for c la ssi c a l Gre e k a n d Ro m an ar chaeol ogi cal f i nds whi l e prov idi ng stu d y /rea d i n g ro o ms for vi si ti n g scholars. T he bui l di ng has cl ear horiz ont al and ver ti c a l a xes , wh i ch s et i n p la ce t he col u m nar gri d dri v i ng the program . Co lu mn s are c a teg orize d i n a h i erar chy f rom structural to storag e to ornam enta l. Th e stora g e c o lu mn s o p e n u p to rev eal shel v es f or val ua bl e f i nds i nsid e , p ro vid i n g a c o n sta n tly cha n gi ng i nteri or landscape as shel v es are opened a n d c lo s e d . Th e s e c o n d a n d th ird f l oors are ti ered and d edi ca ted to study s pa c es , a c o mp u ter la b , a n d a conser va ti on la b. T he ex teri or col u m ns are a ll s emi- stru c tu ra l b u t are h o llo wed a t t he core to crea te a paradoxi cal sen s e o f sta bi li ty a n d fu r th er e n gag e t he v i si tor wi t h t he ti m el ess sym bol of th e c o lu mn .
25
study spaces & c arrels
conser va ti on la b
3rd Fl caf e ki t chen ar ti f act st acks 2n d Fl
e n tra n c e / re c e p ti o n area 1 st F l
2nd Fl
3 rd F l
com puter la b
stu d y spaces & carrel s
26
27
Professional Work at Kilo Architectures, France Gra ph i c d es i gn under superv isor (project m an age r ) B ob M oh r .
B us S ta ti o n for M arra ke ch
B a c c ara t H o tel
28
Professional Work Robert Orr & Associates The followi ng si te analysi s was done i n colla bora tion wi th Greg Li ttel from DPZ, D.C.; diagrams by a uthor (Bethel, CT Charrette: Project colla bora tion between ROA and DPZ).
Websi te d esi gn f or ROA .
Front ag e quali ty anal ysi s : We ma d e a b u i ld i n g b y b u i ldi ng apprai sal of ar ch i tectural and ur b a n c o h esio n .
Parki ng anal ysi s: We ca lc u la te d th e par ki n g lo t s pa c es i n downtown B et hel and ca tegoriz ed th em a s p o te n tia l s hare d lo ts to reduces l ot s el sew here.
P hotography f or ROA : Resi d ence i n E ssex , CT.
29
ACADEMIC WORK
POWERFUL TRANSPARENCY
La femme, l’espace, et le surréalisme
The Faustian Bargain Light Play or Inevitable Blasé?
GLASS: STRUCTURE SPATIAL DIFFUSION ENVIRONMENT
Kassandra Leiva ARC 311 Professor Nat Oppenheimer
A res ear ch re p or t o n th e structural , a tmo s p h eri c , a n d e n viro n m ent al fu n c tio na li ti es o f g la ss .
Kassandra Leiva FRE 547 Professor Efthymia Renzou
E x pl ora ti on and anal y si s of t he f em a le ’ s rol e i n surreali st ar chi tectural spac es .
By: Kassandra Leiva ARC 307: Midterm Paper Professor Bruno Carvalho
A n a na lysi s o n t h e n e u ro ti c na tu re o f c i t y li fe . A n i n ter-te x tu a l c o m pari s o n b et w e e n S i m m el a n d R a b a n . Kassandra Leiva arc 307 Professor Bruno Carvalho
The Agency of Architectons: Automatons and Architecture in Der Golem and Metropolis. Kassandra M. Leiva - ARC 302 Paper Professor S pyros Papapetros
An i n vestig a tio n o f Ver to v’ s hecti c f i l m ’ s d e pi c tio n o f th e c i ty ; e xp l ores li near traje c tori es , fra mi n g , a n d m oti on.
30
K a s s a nd ra L ei v a A RC 455 Pro fes s o r S p y ro s Pa p a p etro s
A n ex pl ora ti on t he hal f - hu m an- hal far chi tectural f i gure i n f i l m and i t s resonance i n a soci et y .
Cuba: A cycle of architectural nostalgia I n v esti g a ti o n a n d a na lysi s o f m o d ern arch i te c tu re i n C u b a a n d i t s resu l ti n g c o n ti n u a l s e n s e o f n o st a lg i a .
Se n ior Thesis: “Le isure i n Mot i o n”
Leisure in Motion Insurgent French Architecture, 1950s-1970s
Senior Thesis 2015
D uri ng m y resear ch on p o st -WWII housi ng i n France, I cam e across t h e D u p o n t ar chi v es, where I f ound ev i d ence o f a n array of gov ernm ent - sponsored p ro j e c t s f or pref a bri ca ted, al l - steel por t a b le h o m es m eant to ser v e as publi c housi ng . T h i s stri ki ng di scov er y went agai nst t h e w a v e of G rand E nsem bl e ( hi gh- ri se, l ow -c o st housi ng tower ) constructi on t ha t w a s so prom i nent a t t he ti m e. T hi s l e d m e to sear ch f or ot her f or m s of ar chi te c tu ra l “ i nsurg ency ” agai nst t he st a tus q u o o f f acel ess m od erni st towers. Consequent l y , I encountere d work by t he ar chi tect s of U topi e and th e G ro u p e I nterna ti onal d’ A r chi tecture P ros p e c ti v e ( GIAP ) . T hese t wo groups d esi gn e d ex peri m ent al ar chi tecture t ha t rea c te d to t he li m i t a ti ons, i nef f i ci enci es, an d o v era ll di scontent wi t h t he current si tua ti o n o f est a bli shed French ar chi tecture. W h i le t he C ongr ès I nterna ti onal d’ A r ch i te c tu re M od erne, ( CIAM) was t he a ut hori t y i n form i n g French m ass producti on of u l ti ma tely ali ena ti ng resi d enti al ar chi tecture , U to pi e and GIAP were concerned wi t h d esi g n i n g ar chi tectural spaces t ha t d ev el o p e d a hi gher sense of i ndi v i duali t y an d cohesi v eness i n soci et y .
Ra t h er t ha n a p p rai s e U to pi e a n d GIAP for t h ei r rea c ti o nary a s p e c t s (t h e su b j e c t o f c u rre n t li tera tu re o n t h es e g ro u p s ), I c lai m t ha t t h ei r arch i te c tu ra l p ro g ra m i s em b e d d e d i n a n d fu rt h er d e v elo p s t h e i n sti tu ti o n o f lei su re i n Fra n c e . M a n y o f t h e U to pi e arch i te c t s ’ p ro j e c t s w ere c o n c ern e d w i t h est a b li s h i n g lei su re i n t h e c o lle c ti v e s e n s e . T h es e p ro j e c t s i n c lu d e d i n fla t a b le t h ea ters , a u d i tori u m s , e x h i bi ti o n ha lls , a n d m u l ti -us e pa v i li o n s . T h e d esi g n s w ere a n arch i te c tu ra l e x p ressi o n o f t h e n e e d to ret h i n k lei su re i n t h e c o m m u n i t y, w h i le a p p ro p ri a ti n g res p e c t to i n d i v i d u a li t y. O n t h e o t h er si d e o f t h e s p e c tru m , GIAP arch i te c t s w ere i n v o lv e d i n t h e m ore c a pi t a li st form o f lei su re , i n tereste d i n re d esi g n i n g t h e re c rea ti o n o f t h e i n d i v i d u a l. W h i le U to pi e ’ s p ro j e c t s w ere lo c a li ze d i n t h e u rb a n c o n te x t o f Fra n c e , GIAP fo c us e d o n lei su re b e yo n d c i t y li m i t s . B y a na lyzi n g t h e works o f t h e arch i te c tu ra l g ro u p s o f U to pi e a n d t h e G ro u p e I n terna ti o na l d ’ A rch i te c tu re P ro s p e c ti v e fro m t h e 1 9 5 0 s to t h e 1 9 70 s , I p ortray h o w t h ei r p ro j e c t s , w h i le rea c ti n g to t h e s o c i o -p o li ti c a l si tu a ti o n i n Fra n c e , re c o n fi g u re d t h e i d ea o f lei su re , a n d i n d o i n g s o s h o w h o w lei su re s ha p es t h e t h e ory a n d org a n i za ti o n o f s pa c e .
31
STRYME EXCAVATION DRAWINGS AND RESEARCH; SUMMER 2013 PROFESSOR: NATHAN ARRINGTON
I worke d on t hese scal ed hand drawi ngs of the si te i n col la bora tion wi th Giorg o s K arani kol oudi s and Mari na Tasakla ki. L ef t : Rem ai ns of a resid e n c e . R i ght : Rem ai ns of a road i ntersection.
32
RESEARCH AND TRENCH REPORT EX CERPT The section o f th e ro a d i n ters e c tio n tha t I anal y z ed was f u l l of i ncl usi ons and beca us e o f th e d iffere n t ki n d s o f pa vi ng stones f ound, i t m ost likel y was a n i mp or ta n t ro a d . Re pa vi n g i t w as proba bl y cruci al f or t he i nha bi tants . Th e ro a d i s 5 meters wid e , wh i ch I f ound was wi d e enough f or v ehi cu lar tra ffi c b u t n o t e n o u g h to b e consi d ered a t horoughf are. The road i ts elf a lig n s p er fe c tly wi th th e rest of t he gri d t ha t was f ound throughout th e si te o f Str y me , i n c lu d i n g th e house ( shown on l ef t ) , whi ch f urther proves tha t th e ro a d wa s p u b li c , ra t her t han a pri va te al l ey . T here are bui l di n g fo u n d a tio n s a lo n g th e p eri meter of t he par t of t he road I excava ted, a n d u p o n fu r th er i n s p e c tio n , b eca use of t he unev enness and the cl ear s lo p e o f th e fo u n d a tio n , i t i s p o ssi bl e t ha t t he bui l di ng wal l s w ere rai sed a fter th e ro a d wa s laid . Th e fo unda ti ons on t he west consi st of larg e sto n es o n th e fa c i n g o f th e fo u n d a ti on. I nsi d e, howev er , t he
f ounda ti on i s f i l l ed wi t h sma ller a n d va st ly d i ffere n t sto n es . T h i s p o i n t s to t he lack of a par ti cu lar q u arry s o u rc e . I t i s m ore li kely t ha t t h e sto n es were t aken f rom near by rui n s or b ro ke n d o w n b u i ld i n g s . T he wal l s on t he east were p ro b a b ly b u i l t earli er b e c a us e b o t to m m o st f ounda ti on stones were not fo u n d t h ere d u ri n g t h e 2 0 1 3 e x c a va ti o n . We f ound t ha t t he top courses o f t h e ea stern a n d t h e w estern w a lls w ere shi f ted of f t he bot tom cours es o f fo u n d a ti o n to w ard s t h e N ort h w est . I n m y i nv esti ga ti on I reject t h e i d ea t ha t t h i s c o u ld b e d ue to w a ll p ha si n g beca use t hese wal l s bel ong to t wo s e para te b u i ld i n g s a n d w ere b u i l t a t di f f erent ti m es. C onsi d eri ng t h e s h ells fo u n d i n w a ll ru b b le w i t h i n o t h er trenches, t he ci t y ga tes f ou n d u n d er w a ter, a n d t h e g e o lo g i c a l h i story o f t he si te, I m ake a case f or a n eart h q u a ke / t su na m i to b e t h e c a us e o f t h e stones’ shi f t s and t he end o f s et t lem e n t i n S trym e .
33
The Body in Space Series
34
35
Travel Sketches
O t to W a g n er, H i et zi n g S t a ti o
J oz e P l ecnik, Na tional Lib rar y o f Slo ve n ia , L j ubl j ana.
36
L i na B obardi , SESC Pom pei a, S 達o Pa u l o.
on Pa vi lio n, V i enna.
Jan Kotera, M o zarte u m , P ra g ue .
37