ARCHITECTURE PORTFOLIO M . A . MARRERO
D
CHARLESTON, SC ARTWORK BY MÓNICA MARRERO + HUNTER WELLS MIXED-MEDIA
ESIGNER’S
S
TATEMENT
I AM ASTORYTELLER. INSTEAD OF USING WORDS PRINTED IN PAPER AND BINDED INTO BOOKS, I USE EXPERIENCES THAT ENVOLOPE THE USER, TRANSLATED INTO SPACES, WHICH ULTIMATELY COME TOGETHER INTO BUILDINGS, AND FURTHERMORE, CITIES. MY ARCHITECTURE IS BASED ON NARRATIVES, I SEE ARCHITECTURE AS A MEDIATOR BETWEEN PLACE, TIME, HISTORY, AND PEOPLE. IN ORDER TO COMMUNICATE A MESSAGE, IT HAS TO BE CLEAR, UNDERSTANDABLE AND ENVELOPING. I HAVE SEEN AND EXPERIENCED THAT THE BUILT ENVIRONMENT HAS AN IMPACT IN PEOPLE'S MENTAL AND EMOTIONAL HEALTH, THEREFORE, ARCHITECTURE SHOULD EMBRACE THE SENSES IN ORDER TO CREATE A POSITVE IMPACT IN PEOPLE'S LIVES. TODAY'S ARCHITECTURE IS TURNING AWAY FROM PEOPLE, AND IS BEING ISOLATED INTO UTOPIAN CITIES, AND CIRCUMSTANCES. MY BELIEVE IS THAT ARCHITECTS SHOULD TAKE A STAND AND CONVEY A MEANINGFUL MESSAGE TO THE PEOPLE THAT WE BUILD FOR THEM TRHOUGH EXPERIENCES, PERCEPTIONS, AND THE INTANGIBLE. FOR ME, ARCHITECTURE IS A STORY WRITTEN IN ITS OWN LANGUAGE, AND IT'S OUR DUTY TO MAKE THAT LANGUAGE RELEVANT AND TRASCENDENTAL.
RTIST
A S
05 IXED-
M u
THER
RTS
ORKS
ISTORY
ACE
HEORY
T
F NCARCERATION
F
UBLIC
P S
OI
USEUM
ARKET +
M OH
M
LTERNATIVES
A OLLEGE
A C
O W
ULINARY
C
ITE
LANNING
11 17 22 S P
SE
TUDIOS
01 09 15 21 23
PROVENCE, FRANCE ARTWORK BY MÓNICA MARRERO MIXED-MEDIA
A CLUSTER OF VISITING ARTIST STUDIOS FOR SCAD LACOSTE
PLUGGED-IN 01
EXTERIOR PERSPECTIVE + CONCEPTUAL SECTION + CONCEPTUAL MODELS
EXPLODED AXONOMETRIC OF COMPONENTS
PERSPECTIVE VIEW OF PLUGGED-IN COMPONENTS
UPPER LEVEL FLOOR PLAN
LOCATED INSIDE OF A QUARRY IN LACOSTE, FRANCE, THE ARTIST STUDIOS WERE INSPIRED BY THE PROVINCIAL TYPOLOGY OF THE BORIE, A PRIMITIVE HUT THAT CAPTURES THE GENIUS LOCI OF THE PLACE IN ITS IMPRESICION. BY RETROFITTING THE IDEA
PERSPECTIVE VIEW OF COMPONENTS IN PLACE
OF THE BORIE INTERLACING ITS VERNACULAR CHARACTER WITH THE CONTRASTING SHARPNESS OF THE SITE AND CONTEMPORARY CONSTRUCTION TECHNOLOGIES, THE PROPOSAL WOULD EMBRACE THE SPIRIT OF THE PLACE, OF SCAD, AND OF
ART. THE CLUSTER, AS A RESULT, IS SEEN AS AN ARCHITECTURE OF EXTENT INSTEAD OF RESTRAINT, RESPONDING TO THE PERSONAL AND INDIVIDUAL CHARACTER OF THE ART-MAKING PROCESS BY GENERATING EXPERIENCE, AN D ULTIMATELY, INSPIRATION.
02
4” x 4” STRUCTURAL TUBING SUPER STRUCTURE
PRE-WEATHER STEEL PANELS
2” DIA. STRUCTURAL TUBING SUB STRUCTURE
BOARD FORMED PRE-CAST CONCRETE
8 “ x 8” STRUCTURAL TUBING LATERAL SUPPORT
PRE-WEATHERED STEEL PIVOTING PANELS 4” x 4” STRUCTURAL TUBING
PRE-WEATHERED STEEL FIX PANELS AT 45 DEG. ANGLE
EXTERIOR PERSPECTIVE
03
WALL SECTION
THE LIFE IN PRIMITIVE HUTS REVOLVED AROUND THE HEARTH. IT WAS SYMBOLISM OF BALANCE, WARMTH, AN THE AXIS MUNDI. USING THE IDEA OF THE HEARTH OF THE HUT, A CORE IS ERECTED IN THE QUARRY GIVING THE CLUSER A
VERTICAL MOVEMENT TO EXPERIENCE THE QUARRY IN DIFFERNT DIRECTIONS. AT THE SAME TIME LEAVING THE FLOOR OPEN. THE STUDIOS ARE THEN PLUGGED-IN INTO THE CORE, AND THE CLUSTER AS A WHOLE IS ALSO PLUGGED-IN INTO QUAR-
RY ITSELF. THEREFORE THE PUBLIC ASPECT OF THE PROGRAM SERVE AS THE CIRCULATION CORE AND GIVES ANOTHER DIMENSION ON THE EXPERIENCE AND INSPIRATION OF THE ARTISTS INTO AND FROM THE QUARRY.
STRUCTURAL FRAME + BUILDING SKIN
WOOD
RESTROOM ARTIST'S STUDIO UNITS
ELEVATION
OPERABLE WINDOWS FIXED LOUVERS
STUDIO SPACE STORAGE
BOARD FORMED CONCRETE STEEL PILOTIS
04
CONCEPTUAL DEVELOPMENT
05 TEMPORARY MARKET + PUBLIC SPACE ON MLK BLVD
MARK [ET] SAVANNAH, GA
ENTRANCE
ARTS + CRAFTS
ARTS + CRAFTS
FARMERS MARKET
FARMERS MARKET
FARMERS MARKET
FARMERS MARKET
FOOD
FOOD
FOOD
FOOD
SPECIAL EVENTS
SPECIAL EVENTS
SPECIAL EVENTS
SPECIAL EVENTS
GOODS
GOODS
GOODS
GOODS
RESTROOMS
RESTROOMS
RESTROOMS
RESTROOMS
SERVICES
SERVICES
SERVICES
SERVICES
SEASONAL | PERMANENT
WEEKENDS | WEEKDAYS DAY-TIME | NIGHT-TIME
PUBLIC | SEMI-PUBLIC
PUBLIC | SEMI-PUBLIC
ACTIVE | SEDENTARY
ACTIVE | SEDENTARY
OFTEN | RARELY USED
OFTEN | RARELY USED
MANY PEOPLE | PERSONALMANY PEOPLE | PERSONAL
SITE VIEWS
SITE VIEWS
SUNLIGHT | SHADE
SUNLIGHT | SHADE
MLK | CHARLTON
MLK | CHARLTON
MLK | CHARLTON ORIENTATION
SHADE | SUNLIGHT
SITE VIEWS
PROGRAM TO SITE EXTERNAL FACTORS
PROGRAM TO SITE EXTERNAL FACTORS
MANY PEOPLE | PERSONAL SPACE
OFTEN USED | RARELY USED
ACTIVE | SEDENTARY
PUBLIC | SEMI-PUBLIC
MANY PEOPLE | PERSONAL SPACE
OFTEN USED | RARELY USED
ACTIVE | SEDENTARY
PUBLIC | SEMI-PUBLIC
PROGRAM TO PROGRAM USAGE FATORS
ENTRANCE
ARTS + CRAFTS
PROGRAM MATRIXES
ENTRANCE
ARTS + CRAFTS TOURIST | LOCALS
PROGRAMMATIC RELATIONS PROGRAM TO SITE
OD FO
TS
EN
EV
FRONTAL ELEVATION
PROGRAMMATIC RELATIONS PROGRAM TO SITE
TIME OF USE
IAL
EC
SP
PROGRAM ANALYSIS DIAGRAMS
PROGRAM MATRIXES
ET
RK
MA
ARTS + CRAFTS
SCAD CALENDAR ENTRANCE
MLK | CHARLTON ORIENTATION
RADIAL FLOW
CONFLICTING SPACES
SHADE | SUNLIGHT
ENCLOSED PROGRAMS LOCATED AROUND AN OPEN SPACE
FREE FLOW
CONFLICTING SPACES
PROGRAM TO PROGRAM USAGE FATORS
S OD S
ER
RM
GO
FA
USER TO PROGRAM SEASONAL MAP
FLOW ANALYSIS DIAGRAMS
PROGRAMATIC RELATIONS ARCHITECTURAL CONDITIONS
BREAKAGE OF THE COMMON SPACE THROUGHT THE PROGRAM
LINEAR FLOW
SITE VIEWS
PROGRAMMATIC RELATIO HIERARCHIC FLOW OF ACTIVI
FLOW ANALYSIS
SERVICE AREAS PERMANENT PROGRAMS COMMON SPACE SEASONAL PROGRAMS ENTRANCE | APPROACH TO SITE
3’
12’
06 6’
PERMEABLE PANELS WOODEN NECK
SECONDARY STRUCTURE
ROOF PANELING'S STRUCTURAL ELEMENTS
DECK'S STRUCTURAL ELEMENTS
PRIMARY STRUCTURE
TEMPORARY FOUNDATION SYSTEM
STRUCTURAL DETAIL
STRUCTURAL DETAIL
LONGITUDINAL SECTION
07 3’
12’
# A0 00
EXTERIOR PERSPECTIVE
3’ A0
# 00
FLOOR PLAN
MARK[ET] IS THE RESPONCE OF PROGRAM, CLIMATE, AND URBAN CONDITION'S ANALYSIS OF THE CITY. IT WAS A COLLABORATIVE PROJECT DEVELOPED WITH THE CITY COUNCIL WHICH IS CURRENTLY IN PROCESS OF REDEVELOPING THE URBAN FABRIC OF DOWNTOWN SAVANNAH TO EXTEND THE TOURIST'S ACTIVITIES FURTHER INTO THE CITY. THE PROPOSAL CONSISTS OF A TEMPORARY MARKET PLACE THAT PERMEABLY CAN HOLD SEASONAL , AS WELL AS SPECIAL EVENTS. 12’
6’
USING TEMPORARY MATERIALS SUCH AS SHIPPING CONTAINERS, AND WOOD, AS WELL AS TEMPORARY ASSEMBLY SYSTEMS, MARK[ET] WAS DESIGN TO HAVE PUBLIC AMENITIES EMBEDDED INTO THE PROGRAM TO ACTIVATE NOT ONLY THE PROGRAM ITSELF BUT THE AREA AS ENVISIONED BY THE CITY DEVELOPERS. IN THIS WAY THE PROGRAM IS LEAVING A TEMPORARY MARK IN THE URBAN FABRIC, WHILE THE USER IS LEAVING A TEMPORARY MARK IN THE PROGRAM.
INTERIOR PERSPECTIVE
08
HATO REY, PUERTO RICO ARTWORK BY MÓNICA MARRERO SPRAY PAINT ON ACETATE
GNAWING MIXED USE BUILDING 09
HATO REY, PUERTO RICO
SITE ANALYSIS DIAGRAM
CONCEPTUAL MODEL
THE ACTION OF GNAWING DENOTES THE BITING OR NIBBLE OF SOMETHING PERSISTENTLY. THE ARAMETERS OF THIS PROJECT WERE BASED ON THE RUSSIAN'S SOCIAL CONDENSER WHILE LOCATED IN TH HEART OF THE FINANCIAL DISTRICT OF PUERTO RICO. BECAUSE OF ITS URBAN CHARACTER, PUBLIC TRANSPORTATION SYSTEM AND PROGRAM ADJACENCIES, PEOPLE'S CIRCULATION, FROM, TO AND THROUGH THE SITE AT WHAT SEEMED TO BE AT RANDOM RANDOM, CREATING DIFFERENT PATHWAYS THROUGH THE SITE IN WHAT SEEMED THE GNAWING OF THE SITE, DISTRICT , AND THE CITY.
PHYSICAL MODEL
FLOOR PLANS
10
IAAM INTERNATION AFRICAN-AMERICAN MUSEUM
11
EXTERIOR PERSPECTIVE
CHARLESTON, SC
GROUND LEVEL FLOOR PLAN
EXTERIOR PERSPECTIVE
GROUND FLOOR PERSPECTIVE
FIRST FLOOR GALLERY
12 LOBBY TO COFFEE SHOP, THEATER + COMMUNITY ROOM
IN-TOWER GALLERY
THIRD LEVEL FLOOR PLAN IN-TOWER GALLERY ADMINISTRATION
SECOND LEVEL FLOOR PLAN GALLERY AFRICAN-AMERICAN LIBRARY
DISRRUPTION ARTWORK BY MÓNICA MARRERO MIXED-MEDIA
THE CITY OF CHARLESTON, SOUTH CAROLINA HAS PLAYED AN IMPORTANT TOLE IN THE AFRICAN-AMERICAN HISTORY OF THE UNITED STATES. IAAM IS THEN UNDERSTOOD AS AN ELEMENT THAT BRINGS TOGETHER HISTORY, PROGRAM, AND PLACE THROUGH THE EXPERIENTIAL ASPECT OF ARCHITECTURE TO CELEBRATE NOT ONLY THE NARATIVE OF THE PROGRAM, BUT OF CHARLESTON AS WELL. USING
13
THE PHYSICAL AND CONCEPTUAL RELATIONSHIPS BETWEEN THE CITY, PROGRAM, AND THE HARBOR AS A STARTING POINT, THE CONSTANT COMMUNICATION BETWEEN THE TWO IS EXPLORED THROUGH THE MOVEMENT OF THE USER THROUGH THE SITE AND ARCHITECTURAL PIECE, THE INTERPLAY BETWEEN SOLIDITY, TRANSLUCENCY, AND TRANSPARENCY, AS WELL AS THE CONCEPTS OF GEOMETRY, DISRRUPTION,
AND DIRECTIONALITY EXPLORED THROUGH THE CONCEPTUAL PHASE OF THE QUILT, AN AFRICAN-AMERICAN TRADITION IN THE SOUTH. AS A RESULT, IAAM IS AN EXPLORATION ON HOW THE NARRATIVES OF HISTORY AN PROGRAM INFORM THE UNDRSTANDING OF THE BUILT ENVIRONMENT AND VISCEVERSA, CREATING A SERIES OF EXPERIENCES THAT CONFORMS THE IDENTITY OF A CULTURE, AND OF THE CITY.
FIRST LEVEL FLOOR PLAN GALLERY THEATER COMMUNITY ROOM COFFE SHOP
THE TRIANGUAL PANELS THAT FUNCTION AS THE ENVELOP OF THE BUILDING ARE POLYTETRAFKUOETHYLENE, A MATERIAL THAT PREVENT DIRECT SUNLIGHT FROM STRIKING THE FAÇADE AND TO LIMIT DIRECT SUNLIGHT GAIN BY 50%. IT ALSO REDUCES GLARE, AND IMPROVES DAYLIGHT PENETRATION. THE SKIN SHAPE IS INSPIRED BY THE OYSTERS PERCHED ON THE PYLONS OF THE HARBOR FORMING AN ENCRUSTRATION THAT WORKS INDEPENDENTLY AND CHANGES THE APPEARANCE OF THE PYLONS, WHILE LEAVING INTACT THE STRUC-
TURE UNDERNEATH. THIS HELPED THE NARRATIVE OF GOING FROM THE SOLITY TO THE TRANSOARENCY AS THE USER CIRCULATES THROUGH THE DIFFERENT GALLERIES, GROING FIRST THROUGH THE GALLERIES ITH A SLAVERY CONTENT, AND ENDING IN THE ABOLITION ON THE TOP GALLERIES ON THE TOWER WHERE THE INCRUSTRATION DISAPPEARS SO THE USERS CAN ENJOY THE VIEWS AND BE REFLECT ON THE PLACE, HISTORY, AND CULTURE AS ONE. SKIN STUDY
LONGITUDINAL SECTION
TRANSVERSAL SECTION
LONGITUDINAL ELEVATION
TRANSVERSAL ELEVATION
14
AMPLIACIÓN DE MUSEO DE ARTE
MÓNICA ANGELIZ MARRERO CIURÓ ARQPOLI ARTE 3010 FA’12 P. MANUEL DE LEMOS 23.OCTUBRE.2012
15
CAYEY, PUERTO RICO
A
D
C
E
F
G
5’0”
50’0”
10’0”
15’0”
B
El propósito inicial de esta propuesta consistía en crear una ala nueva para almacenar valiosas obras de arte y ubicar oficinas administrativas además de mejorar el estacionamiento de visitantes e integrar una escalera o rampa para mejorar el acceso peatonal de los estudiantes al área del museo. Se utiliza como punto de partida el gesto de la escalera existente, la cual cortaba el terreno de manera perpendicular a las cotas, de la misma manera la rampa propuestabusca pronunciar esa ruptura en el terreno. Se propone además, mejorar la escalera existente que sirve de entrada al museo agrandándola y creando un acceso al área de estacionamiento y a un área pública añadida al programa. Ésta área se añade para otorgar a los estudiantes un área de estar y compartir y se ubica en el techo de la nueva ala que se propone soterrar para aprovechar el espacio y el terreno. Con ésta propuesta se busca enfatizar en ángulo lo añadido, mientras lo existentey/o mejorado se mantiene de manera ortogonal. Para el manejo de escorrentías se propone el uso de charcas y járdinera que recogen el agua que baja a través del terreno.
5’0”
8’6”
10’0”
6’0”
12’0”
3’0”
+150”
5’0”
50’0”
10’0”
11’6”
5’0”
8’6”
10’0”
6’0”
12’0”
3’0”
11’6”
EXPANSION AND REDESIGN OF ACCESS, AND WATERWAYS
SITE PLANNING
[METODOLOGÍA]
8’6”
8’6”
8’6”
16’0”
4’6” 3’6”
20’0”
10’0”
4’12” 13’0” 22’0”
30’0”
8’6”
8’0”
DIAGRAMA DE ESCORRENTÍAS 8’6”
8’6”
8’6”
16’0”
4’6” 3’6”
20’0”
10’0”
4’12” 13’0” 22’0”
30’0”
8’6”
8’0”
DIAGRAMA DE CORTES
SITE PLAN ESCALA: 1/16” = 1’-0”
FLOOR PLAN
AS PART OF A SITE DESIGN CLASS, A REDESIGN OF THE FRONT ENTRANCE, ADA ACCESS, REDISTRIBUTION OF WATER WAYS, PARKING EXPANSION, AND THE ADITION OF A STORAGE SPACE AND ACCESS FOR AN EXISTING ART MUSEUM IN THE UNIVERSITY OF PUERTO RICO'S CAYEY CAMPUS WERE REQUIRED. CLIMATE AND SITE CONDITIONS ANALYSIS WERE USED AS THE STARTING POINTS FOR THIS PROJECT,. MATERIALS, LIGHTING, FURNITURE, PAVING PATTERNS AND TEXTURES WERE TO BE CAREFULLY CONSIDERED AND PROPOSED AS PART OF THE EXCERCISE.
ORIGINAL FLOOR PLAN
AMPLIACIÓN DE MUSEO DE ARTE
MÓNICA ANGELIZ MARRERO CIURÓ ARQPOLI ARTE 3010 FA’12 P. MANUEL DE LEMOS 23.OCTUBRE.2012 [DETALLES]
A
B
TERRENO CORTADO
RELLENO
ÁREA PÚBLICA
ALMACÉN Y ÁREA ÁREA DE DESCARGA DE OFICINAS
CORTE TRANSVERSAL ESCALA: 1/8” = 1’-0”
LONGITUDINAL ELEVATION
C
D
E
F TERRENO CORTADO
LONGITUDINAL SECTION
ALMACÉN Y ÁREA DE OFICINAS
ÁREA PÚBLICA
ÁREA DE DROP-OFF
ÁREA DE ESTACIONAMIENTO
CORTE LONGITUDINAL ESCALA: 1/8” = 1’-0”
G
16
AN EXPLORATION ON ALTERNATIVES FOR ATYPICAL METHODS OF INCARCETARION
BEYOND BARS
CANTON OF GRISONS, SWITZERLAND
17
ARTWORK BY MÓNICA MARRERO CHARCOAL ON TRACING PAPER
CONCEPTUAL MODELS
THE PARAMETERS OF THIS QUARTER'S PROJECT WAS TO DEVELOP A PROPOSAL RESPONDING TO THE ARCHITECTURAL NATIONAL IDENTITY OF SWITZERLAND WHILE TAKING INTO CONSIDERATION THE CONCEPTS OF REFLECTION, RELAXATION, AND REJUVENATION. THIS WAS AN OPPOR-
TUNITY TO CREATE AN IMPACT IN THE LIFE OF PEOPLE THROUGH ARCHITECTURE. THE OFFICIAL WEBSITE OF THE SWISS DEPARTMENT OF HUMAN RIGHTS ADDRESSES THE OVERCROWDING OF PRISONS AS A RECURRENT PROBLEM ON SWITZERLAND'S JUDICIAL SYSTEM SINCE 2006. IT
ALSO MENTIONS THAT THE EUROPEAN COMMITTEE FOR THE PREVENTION OF TORTURE AND HUMAN DEGRADING TREATMENT OR PUNISHMENT HAVE BEEN ACTIVELY REQUESTING THE INCLUSION OF THERAPEUTICAL PROGRAMS AND OTHER TREATMENTS IN ORDER TO PROVIDE MORE
ADEQUATE INSTITUTIONS. BY COMBINING THESE TWO ASPECTS LIES AN OPPORTUNITY TO PUSH THE BOUNDARIES OF ARCHITECTURE AND THE PROPOSED PROGRAM'S ESSENCE [A PRISON] WHILE EXPLORING ALTERNATIVES FOR ATYPICAL METHODS OF INCARCERATION.
INTERIOR PERSPECTIVES
EXTERIOR PERSPECTIVE
EXTERIOR PERSPECTIVE
18
CLINIC + CHAPEL + VISITING UNIT
KITCHEN + DINNING ROOM UNIT
EDUCATIONAL + VOCATIONALUNIT
DORMITORIES + THERAPEUTICAL UNITS
CIRCULATION DIAGRAM
19
FLOOR PLANS
EXTERIOR PERSPECTIVE
SITE ANALYSIS DIAGRAM
LOCATED ON A CLIFF OVERLOOKING LAKE SILVAPLANA, NEXT TO A WATERFALL, AND IN ISOLATION, BUT IN A CLOSE DISTANCE TO A CITY CENTER, THE FACETED BUILDING INSPIRED IN THE SWISS ALPS, TAKES ADVANTAGE OF THE VIEWS, THE SOUNDS, AND SMELLS OF THE NATURAL ENVIRONMENT TO ORGANIZE THE PROGRAM AND CREATE AN ENVIRONMENT
OF REFLECTION, RELAXATION, AND REJUVENATION. THE ADDITION OF EDUCATIONAL, VOCATIONAL, THERAPEUTICAL, AND REHABILITATIONAL COMPONENTS, ORGANIZED IN A SPLIT-LEVEL SYSTEM FOR SECURITY, REINFORCE THE IDEA OF ARCHITECTURE COMING TOGETHER WITH NATURE TO CREATE REFORMATION.
20
administration lobby lecture hall library kitchens bakeshop/degustation restaurant relaxing area orchard/vegetable garden
URBAN SWAP
CULINARY ARTS COLLEGE, HATO REY - PUERTO RICO
classrooms student lounge kitchens restaurant
FLOOR PLAN 1 1/32” - 1’0”
HISTORICAL EVOLUTION STUDIES/SITE ANALYSIS By studying the evolution of the site in preceding decades, it is evident that the district area is moving towards a sharper distinction between an industrial and commercial context at north, and a residential node at the southern side of the site, therefore, by inversely relating programmatic elements, not only do the pedestrians that walk through the lot benefit from the site's activity, but also the student community and culinary institute begins to market its products and names
PARTI DIAGRAMS
SITE PLAN The proposal for the new culinary arts college takes place at the edge of the Central Business District known as Hato Rey in San Juan, Puerto Rico. It is the urban heart of the island and one of its most important regions because it hosts the economic center of Puerto Rico known as “Milla de Oro” or 'Golden Mile', as well as a variety of programs that converge and overlap in the zone such as commercial, residential, industrial and educational buildings, therefore consisting of a highly transited region. At present, the site is the only vacant lot on the area: With the 'Golden Mile' at north, almost all the ground floors of the context's buildings provide commercial spaces which address the pedestrians and make their commute more pleasant. This characteristic was identified as part of the site analysis and concluded that it prevails longitudinally, but lacks any connection transversely. By these matters the team sees the potential that the lot has concerning location and context, but also sees the potential that the program could bring to it. The culinary arts college has the potential of activating the site transversely through a programmatic urban swap regarding the context while taking advantage of the student community. While the north part of the lot was identified as the most formal because of the prevailing presence of banking and industrial buildings, the south was identified as informal because of the educational and residential buildings. In the design, we swapped the most informal programs regarding the culinary arts, like the bakeshop and an additional area to sample food made in class, locating them at the north, along a public space addressing to the pedestrian transit from the train station and bus stops through the lot, and organizing in the south of the lot more formal programs like the library, restaurant and a garden so the college can use their own products. Also, the hierarchic program, the teaching kitchens were located at the northwest side of the lot to establish a visual connection with the pedestrians and an inverse relationship to the location of others educational building in the area. This way, by inversely relating programmatic elements, not only do the pedestrians that walk through the lot benefit from the site's activity, but also the student community and culinary college begins to market its products and names, potentially benefitting in the future when seeking employment. Therefore, using identified physical axes, given by the morphology of the context, and perceptual axes, given by the aleatory behaviors of the citizens, were defined the location of the proposal on the urban block, geometries and the composition to achieve the urban swap. In this way, the project addresses the lack of programs transversely to the pedestrians at the north and the vehicular traffic in the south, also, attend the student community, workers and general public so they enjoy the amenities and programs that the culinary arts college offers to the city.
physical axis perceptual axis surface parking/lot areas industrial/manufacturing commercial/financial district residential area transitions/overlaps formal programs informal programs greenery
AXES 1/128” - 1’0”
BAND’S SCHEME 1/64” - 1’0”
CIRCULATION / VEGETATION 1/128” - 1’0” FLOOR PLAN 1 1/32” - 1’0”
EAST ELEVATION 1/16” - 1’0”
The main structure is an array of parallel bands in the form of trusses positioned in series in order to frame programmatic elements. each truss sequence varies in width and height in order to provide transparency to program areas below. The surface materiality and skin of the project is wrapped in an envelope cnstruction of 14mm steel sheet that has been pre-oxidized and treated with hot paraffin to aesthetically liken cor-ten steel.
pre oxidized sheet panel treated with hot paraffin air cavity asphalt metal decking open web steel joist
polycarbonate
mechanical open webs
PERSPECTIVE VIEW FROM RESTAURANT TERRACE TO ENVIRONS
WALL SECTION 1” - 1’0”
pre oxidized steel sheet treated with hot paraffin
The skin is perforated steel projecting an effect of transparency, lightweight luminosity, as well as a level of plasticity with the silhouette of the bands. Others materials on the proposal were polycarbonate and exposed concrete creating different perceptions in the experience of the space.
Each truss sequence varies in width and height, in order to provide transparency to program areas below. These variations maintain a common eastern façade, recognizing the pedestrian nature of the site and providing a shaded walkway or arcade at this edge condition. polycarbonate
PERSPECTIVE VIEW OF MAIN ENTRANCE AND CONTEXT
PARTIAL ROOF PLAN TOP VIEW 1/32” - 1’0”
SOUTH SECTION 1/32” - 1’0” TEACHING KITCHEN/SHADED WALKWAY DETAILED SECTION 1/4” - 1’0”
URBAN SWAP 21
BOARD SUBMISSION FOR ACSA STEEL COMPETITION 2011 TEAM | MONICA MARRERO, STEPHANNIE FERNANDEZ, BEATRIZ ORTIZ
THE TEAM'S PROPOSAL FOR A CULINARY ART SCHOOL WAS BORN FROM THE CONEXTUAL ANALYSIS, SPECIFICALLY THE HISTORICAL CHANGES IN THE URBAN FABRIC, TYPOLOGIES, AND MOVEMENT OF THE FINANCIAL DISTRICT OF HATO REY, PUERTO RICO.
WEST SECTION 1/64” - 1’0
MY CONTRIBUTION TO THE WORK WAS THE ANALYSIS AND CONCEPTUAL MAPPING, AND DIAGRAMMING. CONCEPTUAL DEVELOPMENT, FORMAL DEVELOPMENT, CONSTRUCTION OF 3D MODEL, BOARD LAYOUT, AND SOME OF THE STRUCTURAL DETAILING.
HATO REY, PUERTO RICO
Henry Klumb y su arquitectura de interés social:
Henry Klumb y su arquitectura de interés social: una
visión crítica ante una modernidad utópica en Puerto Rico
una
visión crítica ante una modernidad utópica en Puerto Rico
Mónica A. Marrero No. 64600 ARQPOLI ARHH 3010 FA’12 P. Nadya Nenadich
posicionamiento de Henry Klumb Los principios modernos para que funcionaran en la isla tenían que ser adaptados a los problemas, circunstancias, al clima, geografía y demás características propias del lugar.
“Una vida por delante que no podía identificarse con el concepto arquitectónico predominante del día. Para darle significado a mi existencia tengo que ir en busca de mayores ideales.”HKL
plan de modernización para Puerto Rico
=
1929 Gran Depresión
INFLUENCIAS
1933
políticas del Nuevo Trato PRERA: Puerto Rico Emergency
=
IDEOLOGÍA
El plan pretendía demostrar un adelanto estético y social en la colonia estadounidense a través de la moderniación e industrialización.
1933 Relief Administration
ALEMANIA
1934
Plan Chardón
+
PRRA: Puerto Rico Reconstruction
1935 Administration
ESTADOS UNIDOS
1941
Revolución Pacífica
=
PRIDCO: Compañia de Fomento
1941 Industrial de Puerto Rico 1941
Junta de Planificación, Urbanización y Zonificación
+
Comité para Diseño de Obras
1945 Públicas
PUERTO RICO
1947
Operación Manos a la Obra The Programs Administration of the Department of Agriculture and
1948 Commerce
“La revolución pacífica, como la concibieron los políticos, optó por hacer tabula rasa al intentar eliminar los males sociales con la erradicación de los efectos y el olvido delas causas.” E.Vivoni
[Propósito] Investigar tres etapas en la vida de Henry Klumb para analizar las influencias de cada una en el desarrollo de sus ideales profesionales respecto al carácter social de la arquitectura. Estas tres etapas están basadas en losdiferentes contextos en los que Klumb se desenvolvió: Alemania, Estados Unidos y Puerto Rico.
MID-CAREER RESEARCH IS A DESIGN STUDIO ADDRESSING THE THEORETICAL ASPECT OF ARCHITECTURE. THE INDIVIDUAL INVESTIGATION ON A TOPIC OF CHOICE YIELD A BETTER UNDERSTANDING ON THE INFLUENCES OF THE ENVIRONMENT, AND CIRCUMSTANCES THAT ENVELOPED HENRY KLUM WHILE DEVELOPING THE PROPOSAL OF "ZERO-PLIS HOUSING". THE PRO-
POSAL WAS INICIATED DURING HIS YEAR IN GERMANY, AND DEVELOPED IN THE UNITED STATES UNDER THE MENTORSHIP OF FRANK LLOYD WRIGHT, AND DURING HIS YEARS IN PUERTO RICO WHERE HE WAS INVITED TO DEVELOP A MODERNITY THAT WAS NEGLECTING THE SOCIAL PROBLEMS AFFECTING THE ISLAND. AFTER AN EXODUS FROM THE COUNTRY TO THE CITY
THAT CREATED A SERIES OF SLUMS WHICH THREATENED THE PHYSICAL AND MENTAL HEALTH OF THE CITIZENS AND PROGRESS OF THE ISALAND, THIS NEW ENVIRONMENT INFLUENCED THE RESULT OF HIS OWN INVESTIGATION, WHICH CONCLUDED IN A SERIES OF HOUSES THAT ADDRESSED THE SOCIAL AND ECONOMAL STRUGGLE OF THE ISLAND.
[Problema] ¿Cómo la visión arquitectónica de Klumb, para atender la problemática social en la isla, difiere de la visión moderna predominante en la isla?
“El arquitecto debe guiar, adiestrar y educar a otros para que vean, sientan, se asombren y estén conscientes de nuestro entorno inmediato. Que a través de su concienciación, traten de corregir los resultados de pasadas negligencias y errores que han destruido el balance de la naturaleza y mucha de su belleza, produciendo la deplorable y caótica condición que nos asfixia ahogándonos en una desesperanzada vulgar realidad.” HKL
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La iglesia Jesucristo Señor Nuestro les invita a...
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Iglesia Jesucristo Señor Nuestro Bo. Mariana, Humacao | Al lado de la fábrica Novartis | 29.noviembre.2013 | 7:00pm
MG Flores 01.10.13
Por tanto, hermanos míos, les ruego por la misericordia de Dios que se presenten ustedes mismos como ofrenda viva, santa y agradable a Dios. Éste es el verdadero culto que deben ofrecer. | Romanos 12. 1
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