NCCR WS by Luisel Zayas

LUISELZ LU U S SEL LZ W O R KS +

THE WORK AND CREATIVE THINKING OF LUISEL ZAYAS-SAN MIGUEL BOSTON, MASSACHUSETTS ARCHITECTURE 2018

ACADEMIC WORK

BRICK HOUSE

GH ACADEMIC WORK

GLASS HOUSE is not merely a material/construction type but an architectural position that created the concept of transparency. It changed the way we perceive space and the relationship between architecture and landscape. Ever since the Farnsworth House by Mies van der Rohe, the ideas embedded in glass house have reinterpreted, expanded, or challenged by generations of architects. This project presents a guest house or single-room hotel for visiting artist(s)/architect(s), one person or a couple. This is a special facility that simultaneously serves as a private residential quarters and a public art exhibition. The brick house is a it's an even more introverted reinterpretation of Johnsonâ&#x20AC;&#x2122;s Glass House.

INPUT SURFACE

CONTOUR LINES

INTERPOLATE POINTS

IDENTIFY PLANES

GENERATE BOXES

BRICK HOUSE

STEREOTOMY

SELECTED WORK

BRICK HOUSE

LUISEL ZAYAS

QUARRA CAIRN

08 QC

ACADEMIC WORK ACADEMIC WORK

QUARRA CAIRN is a eigth ton installation that self-balances within its 18â&#x20AC;? diameter. The column was design using computation tools to generate a hollow cavity, insuring its stability. The intention of this research is to build processes that improve accuracy and reduce the gap between drawing and making. Quarra Stone has vast resources dedicated to complex carving of stone, and Matter Design has an interest in engaging this resource and shoring it up with computational intelligence. The installation serves as an example of what digital fabrication and stone-carving techniques can generate when they work together.

INITIAL DESIGN ASPIRATION

ORIGINAL INTENT ACHIEVED THROUGH INTERIOR CARVING

EXTERIOR MORPHING TO ACHIEVE BALANCE

BALANCE

CENTER OF GRAVITY

An object is in balance if its center of gravity is above its base of support. For the two columns to the left, the first column’s center of gravity is not above the base of support so these two forces cannot align and instead create a torque that rotates the object, tipping it over. For the two columns on the right CG is above the base of support so the upward support force from the base is aligned with the downward force of gravity. The line of gravity helps you determine balance; if it passes through the base of support then the object is in balance. If the line of gravity touches the ground at a point outside the base of support then the object will tip over.

The average position of an object’s weight distribution is called the center of gravity (CG). For simple, solid objects, such as a spheres or a cube, the X center of gravity is located at the geometric center. If an object does not have a uniform weight distribution then the center of gravity will be closer to where most of the weight is located.

REFERENCE Physics of Balance & Weight Shift by Alejandro L. Garcia

QUARRA CAIRN

FABRICATION SEQUENCE

RAW STOCK from the Quarry

CUT BLANKS with a Circular Saw

BLANK STOCK

MILL THE KEY (a) with the kuka 7 axis.

MILL TOP FACE (b) with the kuka 7 axis.

b a

KEYED FLIP MILL with the kuka 7 axis.

QUARRA CAIRN

3’7” HORIZONTAL DISPLACEMENT

15’6” HOLLOW CAVITY HOLLOW CAVITY

6’0”

1’3 ” 1’3” JOINT DETAIL 1/8

FRONT VIEW

SIDE VIEW

ROBOTIC ROBO TIC TIC C FORM FORMWORK MWORK WOR RK K

BOAT HOUSE

08 BH

ACADEMIC WORK ACADEMIC WORK

This BOAT HOUSE for Rowing creates a new facility for the MIT and Boston community. It supports more than half of the rowers on the Charles River and provides equipment and instruction for rowers at all skill levels, including the D1 Team at MIT. This new building occupies a site along the Charles that establishes a bookend to the riverâ&#x20AC;&#x2122;s collection of historic boathouses, connecting the MIT campus to the Charles River. This facility is composed of four buildings that form a common space between them, creating both a new public space in the river and a staging terrace for the boats. The three smaller buildings are glass pavilions for all kinds of shells. Its transparency allows for a unique perspective on the boats during storage and can be viewed from the adjacent footpaths and roadway.

SELECTED WORK

SECOND PLAN GROUND PLAN SUB PLAN

BO B BOAT O BOAT AT A TH HOUSE OUSE OU OUS O HOUSE USE US U SE S E

ENVELOPE DETAIL

SECTIONS & ELEVATIONS

KINETICS STUDIES OF ROWING 4 POINTS & 3 POINTS PLANES

118 14 4

SELECTED WORK

BOAT HOUSE

CODE.FORM_SPACE

CFS ACADEMIC WORK ACADEMIC WORK

Emerging from a summer workshop on parametric tools and design co-taught at the University of Puerto Rico by Alexis Sablone and myself, CODE FORM SPACE presents it’s first installation: a pavilion consisting of a surface composed of a thousand hand-made plastic modules threaded over a structural system of high-tension ropes. Located on the corner of Cerra and Aurora Street in Santurce, Puerto Rico, the installation became a central feature of 2014’s Santurce Es Ley, an annual street art festival that brings together artist from around the world. Project Leaders: Alexis Sablone, Luisel Zayas Project Team: José Rivera, David Rodriguez, Kiara Marina, Karena Taveras, David Oliveras, Gabriela Becerra, Steven Morales, Dannielys Staback, Franco Marcano, Marcos Gonzalez, Alfredo Llop, Alitza Cardona, Kevin Rivera, Camila Azalea, Gustavo Vega, Bertil Ramirez. Photos by Rachid Molinary

CODE.FORM_SPACE

MEGALITHIC ROBOTICS

08 20 MR

ACADEMIWORK ACADEMIC WORK ACADEMIC WORK

MAGALITHIC ROBOTICS is a way of exploring the methods and math behind the Moai built as part of the experimental studio taught by Brandon Clifford and Mark Jarzombek. Carved starting around 1100 A.D., the Moai of Easter Island weigh up to 82 tons apiece and are believed to honor ancient ancestors. People have long wondered how the natives of Papa Nui managed to move the massive stone carvings across the island from the volcanic quarry in which they were carved without modern machinery. As a final project a 2,000-pound concrete sculpture was built and erected, at MIT Kilian Court.

TRANSLATION

MEGALITHIC ROBOTICS

ERECTION

FISH MARKET

FM ACADEMIC WORK

Built in 1913, the Boston FISH MARKET was at one point the largest fishing pier in the United States. At the time it was built there were two long buildings, an auction house building, an ice production plant, and a power plant building. Today, all that remains are the two long buildings and the auction house (now the Exchange Conference Center). In 1972, The Massachusetts Port Authority took control of the Pier. The new market uses a exoskeleton to control the wind ventilation, minimazing the use of external mechanical systems.

IDENTIFY THE SPACES TO VENTILATE

PUBLIC SPACES [BAR + RESTAURANTS]

PUSH IN PUSH DOWN

SPLIT UP + DOWN PUSH ABOVE [+/- 50%] PUSH DOWN [+/- 50%]

2D SIMULATION ANALYSIS [SOUTH EAST WIND +/- 5-10 M/S]

ARTICULATION WIND VENTILATION

3D SIMULATION ANALYSIS [SOUTH EAST WIND +/- 5-10 M/S] DISTRIBUTION THROUGH THE SITE

GENERATE THE SURFACE

DISTRIBUTION OF THE PROGRAM

VENTILATE

MARKET RESTAURANTS ACTIONS HOUSE PROCESSING AREA STORAGE OFFICES PACKING AREA FREEZER INSULATE

SPLIT UP + DOWN PUSH ABOVE [+/- 90%] PUSH DOWN [+/- 10%]

SPLIT UP + DOWN PUSH ABOVE [+/- 60%] PUSH DOWN [+/- 40%]

FISH MARKET

CIRCULATION PUBLIC PRIVATE

STRUCTURE CONCRETE BEAM CONCRETE SHELL ALIGNMENT BAR

PROGRAM

55%

45% fish market restaurants auctions circulation

PUBLIC

10% 10% 17% 18%

cold storage processing administration infrastructure circulation

PRIVATE SPACES

32% 15% 13% 7% 31%

DRONEPORT

08 20 DP

ACADEMIWORK ACADEMIC WORK ACADEMIC WORK

A proof-of-concept DRONEPORT shell was realised at the 2016 Venice Architecture Biennale in less than six months, including only four weeks on site in Venice. The project team was comprised of researchers from the Block Research Group at ETH Zurich, MIT, the Norman Foster Foundation and a team of builders lead by master mason Carlos Martin JimĂŠnez. The construction of the prototype was sponsored by the Lafargeholcim Foundation for Sustainable Construction. The prototype vault spans an area of 10 by 8 metres with only three layers of bricks, an inner layer of traditional clay tiles from Spain and two outer layers of "DuraBrick", which is a naturally cured building block made of compressed earth and cement developed by the LafargeHolcim Research Centre in Lyon.

DRONEPORT

ROBOTIC FORMWORK

08 20 RF

ACADEMIWORK ACADEMIC WORK ACADEMIC WORK

ROBOTIC FORMWORK aims to reconsider

the role of concrete in the digital era via the aid of robotic fabrication. If formwork is commonly informed by the goal of efficiency and economics, this research asks what emerges when it is informed by environmental, structural, or formal concerns. This thesis proposes a specific way of making that emerges from a computational understanding of spline geometries. The process allows the designer to materialize data into a complex geometry that has been programmed to perform one or more architectural parameters. Fabrication methodologies today are leading architects to reclaim the role of the masterbuilder. This thesis argues that designing and making are part of a single process. Architects should not design materialy uninformed architectural spaces; rather, they should design through the making process while integrating geometrical and material concerns.

SKYLIGHT ITERATIONS

SAHARA DESERT

ROBOTIC FORMWORK

KEBILI, TUNISIA 36°50 N 10°9 E AZ 20-56° 130 F 40 F

SURFACE DESCRITIZATION

ROBOTIC FORMWORK

RESEARCH & FABRICATION

HELIX

Project Credits: material: Pre-cast Unreinforced Concrete principal: Brandon Clifford + Wes McGee in collaboration with: Matthew Johnson — Simpson Gumpertz & Heger project team: Aaron Willette \ Austin Smith \ Christopher Miller \ Daniel Clark \ Edrie Ortega \ Elizabeth Galvez \ Enas AlKuhdairy \ Johanna Lobdell \ Justin Gallagher \ Lina Kara’in \ Luisel Zayas \ Matthew Sherman \ Patrick Little \ Rebecca Priebe \ Sixto Cordero

ROUND ROOM

Project Credits: material: Autoclave Aerated Concrete principal: Brandon Clifford & Wes McGee in collaboration with James Durham--Quarra Stone structural: Matthew Johnson--Simpson Gumpertz & Heger project team: Myung Duk Chung / Sixto Cordero / Logan Cudd / Lincoln Durham / Frank Haufe / Juhun Lee / Patrick Evan Little Rebecca Lubrano / Chris Martin / Dave Miranowski / David Moses / Alexis Sablone / Luisel Zayas

MICRO THERME

Project Credits: material: Glass Fiber Reinforced Concrete, Baltic Birch Plywood principal: Brandon Clifford + Wes McGee environmental: Christoph Reinhart structural: Matthew Johnsonâ&#x20AC;&#x201D;Simpson Gumpertz & Heger project team: Myung Duk Chung \ Cody Glen \ Asa Peller \ Maya Shopova \ Tyler Swingle \ Luisel Zayas

ROBOTIC FORMWORK

TOUGH PUFF

Project Credits: material: Canvas Composite, Epoxy Resin principal: Joel Lamere project team: David Costanza \ Luisel Zayas

SELECTED

WORK

2018 ARCHITECTURE