Academic Portfolio. Option Studio by Lorena del Río

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GARDEN ESCAPE

SPRING 2014 CORNELL UNIVERSITY COLLEGE OF ARCHITECTURE, ART AND PLANNING DEPARTMENT OF ARCHITECTURE VERTICAL DESIGN OPTION STUDIO LORENA DEL RIO GARDEN ESCAPE is a design studio for 4th and 5th undergraduate students and master architecture students based on four fundamentals: - Propose an exercise based on a REAL project, with the same conditions and constrains that should be tackled in the real situation. - Involve all the parties that would intervene in the process, DESIGNERS, CONSULTANTS, CLIENTS, USERS and in doing so raise awareness on the students of the complexity of the design process. Architects have to work together with professionals of other fields, provide a service to their clients and at the same time fulfill all the needs of the future users. Giving the students the possibility to talk to the client, get to know the future users and be advised by professionals of other fields during the first stage of the design process facilitate the opportunity to inform their designs based on these inputs, which is unusual in an academic context but it is on an everyday basis in the practice of architecture. - Explore the psychological dimension of architecture, investigating how material, configuration, texture, color, light... determine the sensorial experience of the space. The main idea to convey is that design can be used as powerful tool to produce SOCIAL TRANSFORMATION, beginning by the individuals. - Use FABRICATION as a way to be consistent with the decisions made during the design process. Budget, feasibility, technical restrictions, time of fabrication and assembling process, take a part in defining material, geometry and complexity of the design and it is a way for the students to take responsibility of their decisions. 37

THE CLIENT Juegaterapia (play-theraphy) ( www.juegaterapia.org ) is a non-profit foundation that operates in Spain, Portugal, Morocco, Afghanistan, and Venezuela. They began delivering donated play-stations to children with cancer in order to be used during their ‘chemios’, under the slogan “chemio playing will feel like flying”, but they have expanded their agenda. La Paz Hospital’s fifth floor terrace, originally destined for installations, was transformed into a garden and a playground for the hospitalized kids. It’s the first one of a series of intervention throughout Spain. THE PROJECT Designing a playground, a series of open and close recreational spaces to provide “escape” for the hospitalized children with cancer and another long-stay illnesses using the second floor underutilized terrace of the “LA FE” Universitary Hospital in Valencia, Spain. Similar to the way video-games generate a parallel reality where children feel they can be superheroes, winners or adventurers...the new landscape will aspire to create a therapeutic environment for children whose medical challenges in a medical environment have prevented them from normalized play. Natural elements will be crucial in shaping this healing environment, as well as in controlling the weather of Valencia. Through technological advances, living systems can be introduced into these extreme environments and flourish independently of their natural habitats. They can be considered another constructive material at the service of architecture. The new space should be a sensorial retreat for their users, stimulating them and hence facilitating the children’s recovery. THE USERS Pediatric Cancer Patients of La Fe Hospital Siblings, cousins, friends... of the hospitalized children ( children ) Families and friends of the patients ( adults ) Staff of the hospital Volunteers of JUEGATERAPIA

THE CONSULTANTS Sheila Danko Architect,. Industrial Designer She is professor and Chair of the Department of Design and Environmental Analysis. She is an Architect , he obtained her degree at University of Michigan, she also has studies in Graphic Design, Commercial Art and Fine Arts at the College for Creative Studies at Detroit and she has a Master in Industrial Design at Rhode Island School of Design. Her research focuses on the intersection of design and leadership, Her goal is to expand the understanding of how design process and product can be a tool for transformational leadership and social change across a variety of disciplines. Nancy Wells Environmental Psychologist She is Associate professor at the Department of Design and Environmental Analysis. She is an environmental psychologist who studies people’s relationship to the built and natural environment through the life course. Dr. Wells received a joint PhD in Psychology and Architecture from the University of Michigan and completed a NIMH post-doctoral fellowship in the School of Social Ecology at the University of California. Nancy also received a Master’s degree in Design and Environmental Analysis from Cornell University and a Bachelor’s degree in Psychology from Connecticut College. Rodrigo García Industrial Designer, Inventor His research focuses on inflatable and, transformable structures and fractal deployable systems. He has developed several patents and his work has been recognized with numerous awards and grants such as the James Dyson Award, Archiprix, ArtScists, La Caixa, Arqui, Caja Madrid, Telefonica Award, and for three consecutive times the biennial GAU:DI European Competition on Sustainable Architecture. He recently obtained the Lexus Award with a project taht will be presented on the Salone Internazionale del Mobile di Milano in March.

In Academia he has collaborated with different institutions and universities such as CEPT ( India ) , Ilhan Koman Foundation ( Turkey ), Ecoweek ( Israel ) and OSSA and IWAU ( Poland ). Currently he is developing an experimental project at the Innovation Design Engineering Department at the Royal College of Art and the Imperial College of London about how to integrate effects used in magic in design and architecture.

Juana Canet Roselló Specialist in Participatory & Citizen Interaction Design. Architect Her research focuses in Designing with Nature: projects in which architecture recreates nature in a natural environment, enhances nature in an urban context by making artificial landscapes, and works with nature itself by implementing varied strategies such as disappearance or camouflage. Another important part of her work is the Participatory and Citizen Interaction Design: design capable of activating urban public and private spaces to empower users and promote urban development. Juana Canet develops two different lines of work in collaboration with other Architectural teams (Disc-0 Architecture s.l.: Ana Somoza + Juana Canet, Estudio SPN: Rut Cuenca, Elena Gómez and Juana Canet, amac-a : Ángel M Martín Cojo and C+arquitectos: Nerea Calvillo).

Edgardo Arroyo Architect He is an Assistant Professor at University of Puerto Rico and also principal at Casillas + Arroyo. His research focuses on new tecnologies of fabrication.

THE END OF THE PARTY During the last part of the semester the students developed their designs for the construction of a FULL SCALE partial model. We were all really excited with the process, specially when we started to see the results. One fundamental of this option studio was to frame the design with very similar constrains than a real project. To be consistent with the approach and development of the semester the studentsâ&#x20AC;&#x2122; projects needed to be tested out by our target audience. For that, we invited three groups of children, a total of 30 kids between 6 and 8 years old from the Elisabeth Ann Clune Montessori school of Ithaca to the final presentation of our work. The experience was incredibly pedagogical. We all learned from them. We could observe how the kids used the play structures in various unexpected ways, valuing things that were irrelevant for us, or not giving importance to others that were crucial during the design phase. Many students mentioned after the event that as a result of seeing the interaction between children and play structures, they wanted to modify and improve their projects based on the discoveries they made. It was eyeopening for all of us. We all lived the event as a real party. Some parents of the students came to participate in it, and also many people from other department who happened to see it brought their kids spontaneously to play with the structures. The kids were thrilled and so were we. The fact of considering the problem of the studio as â&#x20AC;&#x153;realâ&#x20AC;?, and having the opportunity to speak with the client, and interviewing prospective users affected the students drastically. As a result they were more committed to the work and more aware and consistent in their design decisions.The notion of architecture as a series of spaces meant to be used and experienced by people was a driving force for design during the whole semester.

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TINKERPLAY CORA VISNICK, B.ARCH 2015

0 8í -

TINKERPLAY is a three-post and three-bar system which together create countless combinations for flexible and interactive imagination. The combination of heights and lengths allows for implementation onto many sites and for countless situations, from small backyards to vast open fields.Working with the Spanish foundation Juegaterapia (“Play Therapy”), the system has been fitted for a rooftop at the childhood cancer center at La Fe Hospital in Valencia, Spain. TINKERPLAY facilitates the children’s desire for escape into created worlds from an everyday life of treatments and hospital beds. The colorful structural system becomes a frame for incredibly varied plug-ins. Rainwater tanks are repurposed as planters. Posts become the legs of benches, tables, and chairs. Plush foam furniture become toys for children to stack and reposition, creating mountains. valleys, and forests. Potential for swingsets, slides, and zip-lines to plug into the posts and bars allows for a more traditional playground system, while retractable screens could become mazes for hide and seek, movie screenings, and projected video games.

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Red, orange, yellow, green, blue, and purple become the iconic image of their surroundings, serving as an unforgettable backdrop to generations of play.

Play Components: The following components each attempt to address different issues associated with various programs. There is a strong need for a variety of seating and table options, and therefore benches, seats, and tables are strewn throughout the entirety of the project and scaled to their intended recipients. Vegetation is introduced in many ways, in an attempt to overtake the rigid orthogonality of the hospital system and create more varied and dynamic spatial sequences. A variety of artificial mounds are also developed to offer various play opportunities. A Narrative: It had been 8 long, difficult months, but we still found moments of great joy; moments when his face lit up, when he ran, laughed, and played like any kid. Mornings were by far the toughest. He was weakest wehen he woke and hope seemed thin; something to nurture and cradle and strive to keep alive. HIs treatment periods were especially bad. Bound to his IV and shut away, he became frail, his body betraying him, betraying us. The garden changed him. Even in the depths of his illness, when he was bound to his chair and tied to some life-supporting bag, I could see in him the healthy, happy kid he had been, and would be. The forest shade and gentle rolling peaks and valleys invited him in making him a giant, an elf, some magic forest dweller.There was a menace to the canopy as it dominated the sky, in its tangled way, but he never seemed to notice. He had faced scarier things. THe dark fantasies of normal chilrden could not touch him. I relaxed when he relaxed. For that one hour each day we could rejoin the normal world. He could be a kid busy at play, and I could be a parent with only small worries.The garden has been a refuge for us both, a connection to the outside world, an escape. He can build his strength and I can build hope, and we can both find it in us to face another day.

spatial sequences. A variety of artificial d to offer various play opportunities.

A canopy will float above seemingly by magic, using a system of tensegrity to defy gravity forces. It’s cloud-like language will find its pair in an undulating system of hillocks below which will create a seamless shadowed groundscape. This groundscape will eat the rigid hospital and create its own language and environment in order to offer true escape. This landscape mimicks a tree in a snowscape.

t months, but we still found moments of his face lit up, when he ran, laughed, and

Basic Ingredients:

toughest. He was weakest wehen he woke mething to nurture and cradle and strive to periods were especially bad. Bound to his IV frail, his body betraying him, betraying us. Even in the depths of his illness, when he was d to some life-supporting bag, I could see in he had been, and would be. The forest shade nd valleys invited him in making him a giant, dweller. There was a menace to the canopy as tangled way, but he never seemed to notice. s. THe dark fantasies of normal chilrden

FOREST ESCAPE - TENSEGRITY

OWEN SMITH, B.ARCH 2015

. For that one hour each day we could rejoin ld be a kid busy at play, and I could be a pares. The garden has been a refuge for us both, de world, an escape. He can build his strength we can both find it in us to face another day.

ARCH ‘15

FOREST ESCAPE-TENSEGRITY

A Narrative: It had been 8 long, difficult months, but we still found moments of great joy; moments when his face lit up, when he ran, laughed, and played like any kid. Mornings were by far the toughest. He was weakest wehen he woke and hope seemed thin; something to nurture and cradle and strive to keep alive. HIs treatment periods were especially bad. Bound to his IV and shut away, he became frail, his body betraying him, betraying us. The garden changed him. Even in the depths of his illness, when he was bound to his chair and tied to some life-supporting bag, I could see in him the healthy, happy kid he had been, and would be. The forest shade and gentle rolling peaks and valleys invited him in making him a giant, an elf, some magic forest dweller. There was a menace to the canopy as it dominated the sky, in its tangled way, but he never seemed to notice. He had faced scarier things. THe dark fantasies of normal chilrden could not touch him. I relaxed when he relaxed. For that one hour each day we could rejoin the normal world. He could be a kid busy at play, and I could be a parent with only small worries. The garden has been a refuge for us both, a connection to the outside world, an escape. He can build his strength and I can build hope, and we can both find it in us to face another day.

OWEN SMITH, B.ARCH ‘15

7’ - 8”

15’ - 2”

6’ - 8”

15’ - 2”

NATURE. SHELTER. FUTURE HOPE

DNA

Matrix

YIFEI YANG, M. ARCH I 2012

Juegaterapia (play-theraphy) ( www.juegaterapia.org ) is a nonprofit foundation that operates in Spain, Portugal, Morocco, Afghanistan, and Venezuela. They began delivering donated playstations to children with cancer in order to be used during their ‘chemios’, under the slogan “chemio playing will feel like flying”, but they have expanded their agenda. La Paz Hospital’s fifth floor terrace, originally destined for installations, was transformed into a garden and a playground for the hospitalized kids. It’s the first one of a series of intervention throughout Spain. In this option studio we will work closely with this organization to develop a design proposal for their next intervention that is expected to be constructed in 2015. The studio premises: Designing a playground, a series of open and close recreational spaces to provide “escape” for the hospitalized children with cancer and another long-stay illnesses. - Not unlike Gordon Matta Clark, our real estate will be the scavenged leftovers of the existing buildings: we will colonize terraces, alleys, interstitial spaces... - Similar to the way video-games generate a parallel reality where children feel they can be superheroes, winners or adventurers...the new landscape will aspire to create a therapeutic environment for children whose medical challenges in a medical environment have prevented them from normalized play. - Natural elements will be crucial in shaping this healing environment, as well as in controlling and mitigating the extreme weather of Cordoba. Through technological advances, living systems can be introduced into these extreme environments and flourish independently of their natural habitats. They can be considered another constructive material at the service of architecture. -The new space should be a sensorial retreat for their users, stimulating them and hence facilitating the children’s recovery. - Individual designs will be developed to a constructive level, followed by the fabrication of full-scale partial prototypes. Investigations of constructive systems will include material research, modular and prefabricated systems and address questions of standardization. It is the broader ambition of the project that it be understood as a potential prototype for future interventions. Through geometry, material, texture, color, light, shadows, temperature, and humidity we will explore the psychological dimension of architecture. We will explore the relationship between the sensorial experience of space and its therapeutic powers.

Silhouette

Sheltering Sliding

Resting

Talking

Playing

Communicating

Sport Ground

Maze

Drawing Wall

Hide-and-seek

Half-room

Exploration

Small Theater

Farming/Green House

GARDEN I ESCAPE Concept

GARDEN I ESCAPE

DNA I Matrix I Silhouette I Flexi

W=60in

W=60in L=66.8in

Details L=52in

H=20.5in

L=52in

GARDEN I ESCAPE Concept

L=30in W=60in W=60in

GARDEN I ESCAPE Concept

20 ft GARDEN I ESCAPE Concept

H=20.5in

15 ft

2in

1/4in

1/4in Angle= 143.1

Angle= 60.9 o Angle= 25.2

GARDEN I ESCAPE

FLOATING WORLD RYAN PETERSEN, B. ARCH 2014

Floating World is a design for a rooftop playground at a hospital for children undergoing cancer treatment. The intent is to create a world that displaces them from the negative perception of a hospital. To achieve this, the design creates a world that appears to float using ropes and chains suspended over distances. Catenary properties create the natural elevational change that enforces immersion into this world. Objects are hung from these ropes/chains that are repurposed from the hospital, such as doctorâ&#x20AC;&#x2122;s gloves, IV tubes, and food cans. Plants are also hung, in a new interpretation of a rooftop garden. Each object encourages multiple levels of interaction with the senses, from touch to sight and sound. The point is to take an object associated with a negative connotation and turn it into something beautiful. These are things that the cancer patients are surrounded by daily but seeing them in another, more optimistic and inspiring light creates a world that is familiar and yet new. The doctorâ&#x20AC;&#x2122;s gloves and iv tubes are filled with water dyed with watercolor paint. The gloves are hung with the lowest point just above head height as to not block pasage through the space but still allow physical interaction only when individuals want to reach up and touch it. The prototype allows for these objects to be switched out at will. Each is connected to their own set of steel wires that connects to the metal posts. Therefore they can be interchanged by merely unattaching one set of wire and attaching another set. The prototype also contains two types of furniture systems that utilze the same caternary language. The first are two connected benches that span roughly 6 ft each and consist of rope weaved

9ft.

13ft.

16ft.

IV TUBES

PLANTS

CANS

GLOVES

COLORED ROPE 53

LEAF GARDEN TIANWEI YE M. ARCH I 2012 The idea is to create a canopy but at the same time a platform where kids can go above. The prototype of the form is orriginated from feather/leaf, which gives the possibility to grow to fit variate sites. Different layouts are possible due to the ďŹ&#x201A;exibility of these unites, to adjust to specific site with different types of playgrounds. The fundamental needs for kids --- play is fulfilled by different elements of the structure.

Climb

Chase

Hang

Slide

BUBBLE DREAM ELENA SOFIA TOUMAYAN, B. ARCH 2015

This project is inspired by the quality of light produced by filtration of the trees. This dappled light has been frequently represented by painters, poets, and other artists for its pleasant qualities. This connection with nature is soothing and can have healing and relaxing properties. Through analysis of this dappled light, inspiraton was drawn from the light filtration of fabrics and woven Bubble Dream textiles and how the light changes as the fabric departs from a given surface. These properties and the desire to abstractly simulate trees and vegetation influenced the continuous undulating surface language that can be found throughout the project. The budget and feasability restrictions on the project This project is inspired by the quality of light produced by filtradesign decisions modulationrepresented and rep- by tion of thedrove trees. This dappled light regarding has been frequently etition. This need for modulation of aqualities. woven structure painters, poets, and other artists for its pleasant This connecsparked the indroduction of the circleand intorelaxing the design. tion with nature is soothing and can have healing properties. The feeling of a continuous undulating surface is divided into three realms: the ground-scape, the canopy, and the Through analysis of this dappled light, inspiraton was drawn from play domes.The groundscape consists of artificial mounds light produced by filtrathe light filtration of fabrics and woven textiles and how the light changes equently represented by designed for seating, planting, and as a base for lighting t qualities. This connecas properties. the fabric from a given properties andconthe deand relaxing ordeparts structural posts. The surface. canopyThese is a shade structure sire to abstractly simulate trees and vegetation influenced the continuous spiraton was drawn from structed out of cardboard (or plastic) tubes whose geomnd how the light changes undulating etry surface that strategy can be found the surproject. andlanguage connection createsthroughout an undulating properties and the defluenced the continuous face overhead. The play domes use a similar construction throughout the project. The budget restrictions on theand project drove design strategy asand thefeasability canopy but hang lower in individual n the project drove design units. They are designed for children to play and of s need fordecisions modulation of regarding modulation and repetition. This need for inside modulation he circle into the design. around them. The is to create a dynamic andthe enera woven structure sparked thegoal indroduction of the circle into design. g surface is divided into getic zone for positive thinking and playing. The desire is play domes.The groundeating, planting, and as a that with these three zones, users will feel that they are s a shade structure con- The feeling of a continuous undulating surface is divided into enveloped in a separate worldand of the flowing landscape and e geometry and connecthree realms: the ground-scape, the canopy, play domes. The groundead. The play domes use undulating surfaces both above and below. The sensation hang lower and in indiscape consists of artificial mounds designed for seating, planting, and as a inside and around them of being grounded will vanish and reality will slip away.The base for lighting or structural posts.cast Thebycanopy is a shade structure shadows and patterns the different elements willconergetic zone for positive e three zones, users will out of cardboard (or plastic) tubes whose geometry and connecstructed be visually stimulating and relaxing. ld of flowing landscape tionofstrategy an undulating overhead.aThe play domes The sensation being Forcreates my prototype I will surface be constructing portion of the use e shadows and patterns a and similar as the hang lower planting, and in indistimulating relaxing. construction canopy andstrategy some artifi cialcanopy domesbut with lighting, vidualof units. They are designed for children to play inside and around them and seating. cting a portion the

3’

1.5’

8’

2’

5’

g, planting, and seating.

The goal is to create a dynamic and energetic zone for positive thinking and playing. The desire is that with these three zones, users will feel that they are enveloped in a separate world of flowing landscape and undulating surfaces both above and below. The sensation of being grounded will vanish and reality will slip away. The shadows and patterns cast by the different elements will be visually stimulating and relaxing.

RNELL B.ARCH

For my prototype I will be constructing a portion of the canopy and some artificial domes with lighting, planting, and seating.

10’

9’

12”

10”

6.5’

8”

1’ 3’

15’

15’ 1.5’

8’ 10’

9’

2’

12”

10”

5’

6.5’

8”

1’ 15’

15’

ELENA SOPHIA TOUMAYAN, CORNELL B.ARCH

PLAY CUBES ANDRĂ&#x2030;S GUTIERREZ, B. ARCH 2014

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of a project featured by MOMA in the 1950s that shows the early investigations into the potential of this simple shape. The modular large cubes I have developed allow for these programs and more by not limiting themselves to the full cube size but allowing square foot modular components to be inserted and removed. Due to time and budgeting constraints, this larger system will not be prototyped at this stage.

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ANDRES GUTIERREZ, BARCHPLAY 2014 CUBES

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S GUTIERREZ, BARCH 2014

I have been exploring cubes at various scales with different materials and with various inter-cube-relationships. The final prototype I am building is one of these studies. Building on work by Heinz Strobl and Erik Aberg, I am creating large scale, three-dimensional play objects out of various materials. The first one is made out of cheaply and easily constructed standard cardboard boxes. This version allows kids to make their own boxes, draw on them and watch as their creations change as the boxes reconfigure themselves.The second is taking lessons from origami to wrap cloth around foam cubes to create soft and interesting textured blocks and interlocking these cubes to create transformable furniture and play structures. These blocks of cubes would then be able to interact with a large modular cube system that allows a variety of plug-in programs. There are three images on the right of a project featured by MOMA in the 1950s that shows the early investigations into the potential of this simple shape.The modular large cubes I have developed allow for these programs and more by not limiting themselves to the full cube size but allowing square foot modular components to be inserted and removed. Due to time and budgeting constraints, this larger system will not be prototyped at this stage.