1
THE LIVING SCULPTURE A PIER IN NEW YORK CITY
KEVIN TENOR | MASTER THESIS | PROF. ALFREDO ANDIA | SPRING 2015
ARTIST RESIDENCE + EXHIBITION SPACE
ARTIST RESIDENCE + EXHIBITION SPACE
ACKNOWLEDGMENTS
First of all, I would like to thank God for allowing me to overcome this 6 years journey in architecture school. It was not easy at the beginning but with him on my side everything ended just fine. I would like to thank Juan Carlos Martin, Elite Kedan, Camilo Rosales, Brett Moss, Alice Cimiring and Alfredo Andia. Those people were my professors and mentors at Florida International University. They have gave me the knowledge and prepared me for the next upcoming years of my career. I would like to thank my parents : Micius Tenor, Willia Tenor. Thank you for supporting me financially and emotionally. Your investments would not be in vain. I would like to thank my siblings : Britnie Tenor, Adrian Tenor, Wilmiden Tenor, Junie Tenor. Thank you for always be there. I would like to thank all my COGHIC familly for all your prayers and supports. Thank you Pastor Nadege Dutes and Guerline Pierre for your spriritual supports. I would like to thank all my APX (Alpha Rho Chi) family. It was really a great pleasure to be part of this wonderful organization. I would like to thank all my architecture friends including Miguel Sanchez, Matthew JeanBaptiste, Alejandro Jordan and Diego Martinez. Thank you guys for your support and for being there for me when needed. Sincerely, Kevin Tenor
“If you can see the invisible, you can do the impossible.� -KT
INTRO The consumption of Art has become a major occurrence in the developed world in the past two decades. This boom has been escorted with the explosive expansion of major museums, art fairs, galleries, art collectors, and record breaking prices in art auction houses. In this book, the project is concentrated on the next version of the phenomena. This project looks at how art institutions and art patrons are beginning to support not only Art consumption but artists themselves via Art-in-Residence programs. Art-in-residence programs allow an artist or group of artist to live, work, and exhibit their work in a particular place. This Project is a studio and living quarter for one (1) to five (5) artists. Artist(s) will live and work for a period of 6 months to 1 year. The Art-in-Residence program is a highly funded program. It is expected that the Architecture of the Art-in-Residence program has a significant local and worldwide impact. Consider that the art in residence program is a prominent international program that searches to support worldwide artists. The architecture supports the visibility and prestige of the Art-in-residence program. In particular, this project explores how architecture can say something beyond just formal exploration but something fundamental about how we human can live in space.
INDEX PROCESS..................................................................... 6 - 63 PIER DESCRIPTION + SITE INFO............................... 64 - 75 PRECEDENTS.............................................................. 76 - 83 MODEL VARIATIONS + ADAPTABILITY...................... 84 - 115 CONTEXTUAL MASSING MODEL................................ 116 - 125 THE LIVING SCULPTURE............................................. 126 - 171 FINAL THESIS PRESENTATION.....................................172 - 181
PROCESS
8
In the past decade a large number of critical design practices have began to use the genre of “architectural installation� to explore the more suggestive and experimental part of architecture. These works are freed from function, clients, and code regulations. They remove the idea that architecture is exclusively about functionality, comfort, and shelter. These installations have become central to emerging practices. They have allowed for the exploration of the core architectural thinking of the authors, advancing the limits of the discipline.
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10
11
12
13
14
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OPTIMIZATION OF VERTICES AND TRIANGLES
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OPTIMIZATION OF VERTICES AND TRIANGLES
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Regular Hexagonal
Triangulation of Regular Hexagonal
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Joint Sliding_Variations
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Masonry structures must be compressively self-supporting; designing such surfaces forms an important topic in architecture as well as a challenging problem in geometric modeling. Under certain conditions, a surjective mapping exists between a power diagram, defined by a set of 2D vertices and associated weights, and the reciprocal diagram that characterizes the force diagram of a discrete self-supporting network. This observation lets us define a new and convenient parameterization for the space of self-supporting networks. Based on it and the discrete geometry of this design space, we present novel geometry processing methods including surface smoothing and remeshing which significantly reduce the magnitude of force densities and homogenize their distribution.
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ARRANGEMENT OF VERTICES
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SHAPE + FIELD = SPACES
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23
The emerging use of triangulation in architecture is not just for visual impact, but increasingly for funtional innovation. This emergence is probably due to a digital familarity and an increase in 3d modeling which is all done using mesh surfaces. They are tessalated with triangles. Three different triangulation methods for the same polygon. While horizontal decomposition into triangles does not result in an optimal number of triangles, the implemented optimizations to reduce the final number of triangles bring us closer to the optimal number. The merits of this technique are in its elegance and ease of implementation. It localizes the problem of triangulation by a systematic polygon traversal of edge pairs, then compensates for non-optimality with a greedy merge.
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Horizontal Decomposition
Merged
Detected as Concex
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PARTICLES UNFOLDING
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28
SHAPE UNFOLDED
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30
SHAPE UNFOLDED
31
32
SHAPE UNFOLDED
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34
SHAPE UNFOLDED
35
VARIANT OF SHAPES
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FIELD OF ASSEMBLY
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DISASSEMLED FIELD
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DISASSEMBLED FIELD
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SHATTERED TRIANGLES
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SHATTERED TRIANGLES
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CONTINUITY TRIANGLES
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CONTINUITY TRIANGLES
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HUMAN BEHAVIOR TO SPATIAL QUALITY
WHERE ARCHITECTURE HAPPENS, HAPPINESS COMES ALONG.... 44
HUMAN BEHAVIOR TO SPATIAL QUALITY
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It is arguable that many get inspiration from concepts, ideas and metaphors to gain knowledge in the design process. Knowledge through inspiration is the foundation to all. I believe that we as architects and designers are inspired to create design in many ways; rather than being informed and ordered.
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UNINTENTIONAL HUMAN BEHAVIOR 47
SHATTERED TRIANGLES
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SHATTERED TRIANGLES
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FIELD OF SHATTER
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51
52
53
54
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56
57
Light/Shadow Studies
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Light/Shadow Studies
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BEA GALLERY EXHIBITION 60
BEA GALLERY EXHIBITION 61
BEA GALLERY EXHIBITION
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PIER DESCRIPTION + SITE INFO
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PIER DEFINITION A pier is a raised structure, including bridge and building supports and walkways, typically supported by widely spread piles or pillars. The lighter structure of a pier allows tides and currents to flow almost unhindered, whereas the more solid foundations of a quay or the closely spaced piles of a wharf can act as a breakwater, and are consequently more liable to silting. Piers can range in size and complexity from a simple lightweight wooden structure to major structures extended over 1600 meters. Piers have been built for several purposes, and because these different purposes have distinct regional variances, the term pier tends to have different nuances of meaning in different parts of the world. Thus in North America and Australia, where many ports were, until recently, built on the multiple pier model, the term tends to imply a current or former cargo-handling facility. In Europe in contrast, where ports more often use basins and riverside quays than piers, the term is principally associated with the image of a Victorian cast iron pleasure pier. However, the earliest piers pre-date the Victorian age.
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TYPE OF PIERS Piers can be categorized into different groupings according to the principal purpose. However there is considerable overlap between these categories. For example, pleasure piers often also allow for the docking of pleasure steamers and other similar craft, whilst working piers have often been converted to leisure use after being rendered obsolete by advanced developments in cargo-handling technology. Many piers are floating piers, to ensure that the piers raise and lower with the tide along with the boats tied to them. This prevents a situation where lines become overly taut or loose by rising or lowering tides. An overly taut or loose tie-line can damage boats by pulling them out of the water or allowing them so much leeway that they bang forcefully against the sides of the pier. Working piers Working piers were built for the handling of passengers and cargo onto and off ships or (as at Wigan Pier) canal boats. Working piers themselves fall into two different groups. Longer individual piers are often found at ports with large tidal ranges, with the pier stretching far enough off shore to reach deep water at low tide. Such piers provided an economical alternative to impounded docks where cargo volumes were low, or where specialist bulk cargo was handled, such as at coal piers. The other form of working pier, often called the finger pier, was built at ports with smaller tidal ranges. Here the principal advantage was to give a greater available quay length for ships to berth against compared to a linear littoral quayside, and such piers are usually much shorter. Typically each pier would carry a single transit shed the length of the pier, with ships berthing bow or stern in to the shore. Some major ports consisted of large numbers of such piers lining the foreshore, classic examples being the Hudson River frontage of New York, or the Embarcadero in San Francisco. Pleasure piers Pleasure piers were first built in England, during the 19th century. The earliest structures were Ryde Pier, built in 1813/4, Leith Trinity Chain Pier, built in 1821, and Brighton Chain Pier, built in 1823. Only the oldest of these piers still remains. At that time the introduction of the railways for the first time permitted mass tourism to dedicated seaside resorts. However, the large tidal ranges at many such resorts meant that for much of the day, the sea was not visible from dry land. The pleasure pier was the resorts’ answer, permitting holiday makers to promenade over and alongside the sea at all times. The longest Pleasure pier in the world is at Southend-On-Sea, Essex, and extends 2,158 meters (1.34 mi) into the Thames estuary. With a length of 2,745 feet (836.68 m), the longest pier on the West Coast of the United States is the Santa Cruz Wharf. Fishing piers Many piers are built for the purpose of providing boatless anglers access to fishing grounds that are otherwise inaccessible. Many “Free Piers” are available in larger harbors which differ from private piers. Free Piers are often primarily used for fishing.
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URBAN MAP OF NEW YORK
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W. 34th St.
W. 34th St.
W. 33rd St.
W. 33rd St.
W. 33rd St.
M1-6
M2-3
Pier 72
NinthAvenue
C6-2M
Tenth Avenue
Eleventh Avenue
West Side Highway
W. 34th St.
W. 30th St.
C6-2A
W. 31th St.
W. 30th St.
W. 30th St.
M1-6
NinthAvenue
C6-2A
W. 28th St. W. 28th St.
W. 28th St. W. 28th St.
W. 27th St.
NinthAvenue
Tenth Avenue
West
Side
Highw
Eleventh Avenue
ay
W. 28th St. W. 28th St.
R8B
W. 29th St.
Tenth Avenue
W. 29th St.
West
Side
Highw
ay
W. 29th St.
Eleventh Avenue
M1-5
W. 27th St.
R8
M1-5 Pier 66
W. 26th St.
W. 26th St.
W. 26th St.
M2-3 W. 25th St.
C2-6
W. 25th St.
R7B W. 24th St.
M1-5/R8A
Pier 64
M1-5/R9A
Hig
hw
ay
C2-6 W. 23rd St.
W. 23rd St.
W. 22nd St.
High
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NinthAvenue
Tenth Avenue W. 21st St.
W. 21st St.
W. 20th St.
W. 20th St.
Wes
t Si
de
Pier
W. 22nd St.
R7B
way
M1-5
C1-6A
NinthAvenue
de
R8A Tenth Avenue
t Si
Eleventh Avenue
W. 23rd St. Wes
R8
W. 24th St.
W. 24th St.
61
R8A
R8
60 W. 18th St.
W. 18th St.
W. 17th St.
W. 16th St.
W. 16th St.
R8
way High
W. 17th St.
PR
OP
ER
TY
LIN
de
E
59
PR
E 9' SIT 12 1' X
E
LIN
TY
ER
OP
E
LIN
TY
LIN
E
86
PR
OP
ER
W. 15th St.
Pier
57
Tenth Avenue
TY
ER
OP
PR
t Si Wes
Pier
NinthAvenue
Tenth Avenue
Pier
C2-6A
W. 19th St.
W. 19th St.
W. 15th St.
W. 14th St.
C2-6A
W. 14th St.
West
Side
Highw
ay
HUDSON RIVER
NinthAvenue
Pier
W. 13th St.
Pier
56
Hud son
Little W. 12th St.
St.
Gre
54
t.
hS
wic
en
Pier
Was
400'
800'
53
M3-2
1/4 MILE
ort
St.
C6-2
vo
se
Gan
R6
St.
200'
ton
100'
hing
Pier
0
C8 -4
The High Line site and neighborhood context plan
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Zoning and the Waterfront Unlike any other public park in the city, the Hudson River Park is zoned for development, not just residential and commercial, but manufacturing. The district so zoned extends from Chambers Street north to West 59thStreet along the west side of West Street (State Highway 9W) 800 feet over the Hudson River to the Pierhead Line. How did this unique circumstance come to be? The manufacturing districts mapped in 1961 were based on land-use patterns of 1955, and the zoning has remained largely unchanged, with one third of the waterfront still zoned for industrial uses including Hudson River Park. The zoning map still shows the elevated Miller Highway as an existing structure. As pointed out in the December 2014 issue of WestView News, a zoning district specifies use and bulk on any given lot. Bulk is defined as Floor Area Ratio (FAR) which is the ratio of built floor area to the area of the lot on which it sits. The Hudson River Park is zoned M2-3 which permits Passenger Ship Terminals and many municipal facilities with a maximum FAR of 2 and “a maximum base height before setback of 60 feet,” all exempt from parking requirements (See Zoning Handbook 2011 Edition); however, here we have an anomaly, where the “lot” is a combination of dry land between West Street and the Hudson River and the river itself containing structures on pilings as well as open water. Since there are no mapped streets, the entire 550 acres of park land might be considered a single lot. The exact language and definition of terms will have to be answered by the City Planning Department which will have to create the zoning district and regulations before any transfer of “unused” development rights can take place. These proposed zoning changes will have to be reviewed by the adjacent community boards before being submitted to the City Council and the Mayor for adoption, a process which will take place next year. I was struck by the fact that the photograph accompanying the description in the Zoning Manual for M2 districts was of a pier on the Hudson River at 59thStreet.
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HUDSON RIVER PARK ZONING MAP
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SITE PICS
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SITE PICS
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PRECEDENTS
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1. Emporio showroom in India by NU. DE Architecture 2. ABC Museum in Spain by Aranguren + Gallegos Architects 3. Royal Ontario Museum in Canada by Daniel Libieskind
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1. Emporio showroom in India by NU. DE Architecture
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http://ilovemyarchitect.com/2013/01/26/abc-museum/
2. ABC Museum in Spain by Aranguren + Gallegos Architects
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http://ilovemyarchitect.com/2013/01/26/abc-museum/
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http://www.e-architect.co.uk/toronto/royal-ontario-museum
http://www.e-architect.co.uk/toronto/royal-ontario-museum 3. Royal Ontario Museum in Canada by Daniel Libieskind
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http://www.e-architect.co.uk/toronto/royal-ontario-museum
http://www.e-architect.co.uk/toronto/royal-ontario-museum
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MODEL VARIATIONS + ADAPTABILITY
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PIER CONDITION
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PIER CONDITION
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PIER CONDITION
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WATER EDGE CONDITION
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WATER EDGE CONDITION
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PLAZA CONDITION
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PLAZA CONDITION
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PLAZA CONDITION
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PLAZA CONDITION
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PLAZA CONDITION
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PLAZA CONDITION
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PLAZA CONDITION
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PLAZA CONDITION
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SECTIONAL CONDITION
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SECTIONAL CONDITION
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SECTIONAL CONDITION
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PROLONGATED PLAZA CONDITION
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PROLONGATED PLAZA CONDITION
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PROLONGATED PLAZA CONDITION
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PLAZA VARIANTS
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PLAZA VARIANTS
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PLAZA VARIANTS
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PLAZA VARIANTS
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PLAZA VARIANTS
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PLAZA VARIANTS
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PLAZA VARIANTS
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PLAZA VARIANTS
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CONTEXTUAL MASSING MODEL
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THE LIVING SCULPTURE
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PROJECT DESCIPTION The program provides a wonderful opportunity for dramatic new architecture and the creation of a great public attraction. This building tells a unique and a particular story which crystallizes New York programmatic content and the singularity of the site. The Crystal transforms the secretive and fortress-like character of New York City, turning it into an inspired atmosphere dedicated to the resurgence of Chelsea District as the dynamic center of New York City. The project site is an adjacent land underwater, and some associated frontage area, all of which are located in Hudson River Park at approximately West 15th Street. Immediately adjacent to and east of the site are other portions of Hudson River Park and the Route 9A bikeway and roadway.
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SITE PLAN
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AERIAL VIEW
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AERIAL VIEW
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AERIAL VIEW
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FRONT VIEW
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SIDE VIEW
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ENTRANCE
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ENTRANCE
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COVERED OUTDOOR TERRACE
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OUTDOOR TERRACE
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SIDE ENTRY VIEW
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INTERIOR EXHIBITION SPACE
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INTERIOR EXHIBITION SPACE 153
A structure is self-supporting when it stands in static equilibrium without external support. This idealization is fundamental when designing masonry structures which can withstand compression but are weak against tensile stresses.
This project provides a novel and natural way to parameterize the space of networks under equilibrium. The parameterization is based on the 2D regular triangulation and its dual, the power diagram. It comprises a simple set of 2D vertices each with a scalar radius, and avoids encoding discrete connectivity variables.
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SITE CONTEXT
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157
EXHIBITION SPACE
EXHIBITION SPACE
UP
OUTD
OOR
WALKW
AY
EXHIBITION SPACE
GROUND LEVEL 158
AY
LKW
R WA
DOO
OUT
AY
KW
AL
YW
TR
EN
OUTDOOR TERRACE
LOBBY UP
ENTRY
WAL
KWA
Y
SITE CONTEXT
EXHIBITION SPACE
EXHIBITION SPACE
EXHIBITION SPACE
BELOW DN
ARTIST ROOM
LEVEL 2
159
SITE CONTEXT
ARTIST ROOM
EXHIBITION SPACE EXHIBITION SPACE EXHIBITION SPACE
EXHIBITION SPACE
BELOW DN
ARTIST ROOM
LEVEL 2
LEVEL 2
160
UPPER LOBBY
PRESENTATION SPACE EXHIBITION SPACE DN
161
BELOW
LONGITUDINAL SECTION
Level 3 40' - 0"
Level 2 20' - 0"
Level 1 0' - 0"
CROSS SECTION-1
CROSS SECTION-2
Level 3 40' - 0"
Level 3 40' - 0"
Level 2 20' - 0"
Level 2 20' - 0"
Level 1 0' - 0"
Level 1 0' - 0"
162
Level 3 40' - 0"
Level 2 20' - 0"
Level 1 0' - 0"
Level 3 40' - 0"
Level 2 20' - 0"
Level 1 0' - 0"
CROSS SECTION-3
Level 3 40' - 0"
Level 2 20' - 0"
Level 1 0' - 0"
Level 3 40' - 0"
Level 3 40' - 0"
Level 2 20' - 0"
Level 2 20' - 0"
Level 1 0' - 0"
Level 1 0' - 0"
163
CROSS SECTION-1
Level 3 40' - 0"
Level 3 40' - 0"
Level 2 20' - 0"
Level 2 20' - 0"
Level 1 0' - 0"
Level 1 0' - 0"
164
CROSS SECTION-2
Level 3 40' - 0"
Level 3 40' - 0"
Level 2 20' - 0"
Level 2 20' - 0"
Level 1 0' - 0"
Level 1 0' - 0"
165
CROSS SECTION-3
Level 3 40' - 0"
Level 3 40' - 0"
Level 2 20' - 0"
Level 2 20' - 0"
Level 1 0' - 0"
Level 1 0' - 0"
166
There has always been a connection between architecture and visualization. Not all visualization is about communicating data, sometimes visualizations show concepts. The core of what architects do is creating visuals that communicate complex concepts, processes and spaces. Over hundreds of years, architects have developed and refined different drawing types and techniques that help to communicate these ideas to people.
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WEST ELEVATION
168
169
NORTH ELEVATION
170
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FINAL THESIS PRESENTATION
172
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