MARGARETGAGGIOLI
MARGARETGAGGIOLI 2112 Taylor Court Northfield, MN 55057 maggnum@ksu.edu | 562.237.3943
02
Manhattan, Kansas Farmer’s Market
08
Kansas City Main Street Market
18
Reading, Kansas Arts and Community Center
24
Arik Levy New York Artist Museum
32
Sacred Space of the Konza Prairie
38
Patterned Illumination
42
Spinal Beam
46
Artwork
01
02
MANHATTAN, KANSAS FARMER’S MARKET
03
MANHATTAN, KANSAS FARMER’S MARKET The problem facing Manhattan, Kansas’ Farmer’s Market is the lack of protection from extreme weather conditions in order to operate all year round. The project is an attempt to create a structure that is able to function all year round while enhancing the overall experience of a traditional farmer’s market. The implementation of both openair and enclosed structures allows for the continuation of the Farmer’s market throughout every season. Today’s Farmer’s Markets seem to have lost the main focus and aesthetic because of the overbearing display of mismatched vendor cars along with the fresh produce. The natural aesthetic and main focus towards the surrounding natural landscape, fresh produce, and the interaction between vendors and customers is restored by placing vendors’ cars in enclosed carports.
04
The structure is based off of the modular carports that begin in the enclosed central core.
Two wings off the central core are open air structures meant to be used during the temperate seasons of the year. Produce displays face out to allow for a more free form circulation in the surrounding landscape.
05
08
MAIN STREET MARKET
09
POROSITY 10
MAIN STREET MARKET
An old parking lot on the corner of Main Street and 19th Street in the Crossroads District of Kansas City, Missouri is chosen as the site for the new Urban Supermarket. However, this begs the question, ‘What is an urban supermarket?’ Upon approahing this question, the shortcomings of the traditional ‘box’ supermarket came to mind. Two of the most important shortcoming were the lack of connection between internal and external space and the stereotype of supermarket shopping being a tedious task that is impersonal. These two elements formed the two main concepts behind the design; porosity and interactive programming. In order to improve the experience and the relationship between inside and outside, more glazing was incorporated into the facade of the building. Large sliding glass doors on the first floor allow for the produce program space to extend outside to become a farmer’s market. Large sliding glass doors also connect indoor and outdoor cafe seatomg.
11
2
1
5
4
3
28' - 6"
28' - 6"
28' - 6"
6
28' - 6"
28' - 6"
3
A Loading Loading Dock
Storage Storage 1
4
UP
2
Bakery Bakery
B
Deli Deli
UP
Checkout Checkout
UP
1
UP
DS_9
C
UP
D
2 DS_8
E
Entrance Entrance Cafe Cafe
2 DS_9
Produce Produce
F
4.5 3.5 2.5
1st Floor
1.5
MAIN STREET
INTERACTIVE PROGRA
12
1
3
2
4
6
5
A
Office Office
StorageStorage
Breakroom Breakroom
DN
B
DN
C
DN DN
D
GeneralGeneral SalesSales Shelving OpenOpen to Below to Below
E
19TH STREET
Frozen Groceries Frozen/Chilled Groceries
DN
F
4.5
M A P 1
3.5
1
2.5
2nd Floor 1/8" = 1'-0"
AMMING
2nd Floor
1.5
MAIN STREET General Sales shelving in the middle of traditional supermarkets creates a large area where impersonal and tedious grocery shopping takes place. The urban supermarket raises the general sales shelving to the second floor allowing more personal and interactive program space on the first floor such as the Deli, Bakery, Produce, and Cafe. 13
A 2
14
15
BAKERY
5/32” SWISSPEARL METAL PANEL STAINLESS STEEL RIVET STEEL SUBFRAMING
1” VENT CAVITY STEEL BEAM
STEEL SUBFRAMING WEATHER BARRIER
5/8” DENSGLASS
.1” PLEXWOOD PANEL
5/8” DENSGLASS PU RIGID INSULATION 5/8” DENSGLASS 1’2” LG STEEL SUBFRAMING
16
Metal Panel Rainscreen Corner Wall Detail
STANDING SEAM METAL ROOF
OPEN WEB STEEL JOISTS
BEAM ROOF STRUCTURE
2ND FLOOR BEAM STRUCTURE CONCRETE FOOTINGS
PRIMARY BEAM ROOF STRUCTURE SECONDARY BEAM ROOF STRUCTURE STANDING SEAM METAL ROOF
17
18
READING, KANSAS ARTS AND COMMUNITY CENTER
19
GO TO
VISIT FROM OUT
DROP OFF THE KIDS AT
ER NT CE
CO
MM
UN
ITY
GO TO
BASKETBALL COURT NEXT TO COMMUNITY CENTER TO WATCH THE GAME AND SIT ON
CENTER’S LAWN
SEE
AY
OUTDOOR CONCERT AREA TO SEE THE SPRING BAND PL FOR ART EXHIBIT BY WELL KNOWN RESIDENT ARTIST THE COMMUNITY CENTER’S CHILD CARE CENTER BEFORE WORK IN THE MORNING TOWN NEWS OR TO ADD AND WRITE ABOUT UPCOMING EVENTS AND DATES ON THE WALL CHAIRS TOWN
GO TO COMMUNITY CENTER’S
CHALKBOARD FACADE TO
OF
GO TO ART CLASS TAUGHT BY THE RESIDENT ARTIST WITH FRIENDS AT THE
READING, KANSAS ARTS AND COMMUNITY CENTER Reading, Kansas was struck by an EF3 tornado on May 21, 2011. More than half of the existing buildings were destroyed. The vision began with an interactive and living architecture that would restore life to Reading’s Community. Every wall is thought of as a blank canvas- a new beginning for the community. Exterior facades are constructed with chalkboard slate and interior walls are utilized as gallery space. Public program space such as art classrooms and circulation space are glazed and positioned towards the front of the structure to allow a connection between community members both inside and outside of the Arts and Community Center.
20
21
01
02
03
04
06
01 Entrance 02 Art Classrooms 03 Main Circulation/Gallery Space 04 Individual Artist Spaces 05 Community Multipurpose Room 06 Outdoor Community Space 22
05
Top: View from Main Circulation/Gallery Space to Individual Artist Spaces Right: View From Main Circulation/ Gallery Space to Outdoor Community Space
23
24
ARIK LEVY: NEW YORK MUSEUM
25
I confront a MATERIAL, it AWAKENS feelings in me, then I begin the Feeling Artist. transformation process. Technopoetic Souvenir.
LIFE is a system of SIGNS and SYMBOLS where nothing is as it seems.
26
The world is about PEOPLE, not objects.
ARIK LEVY
What is NOT SEEN is almost as important as what is seen.
Technopoetry.
Emotional Ergonomics. An expression was BORN to me, and then I shared it.
CREATION is an uncontrollable muscle.
ARIK LEVY: NEW YORK MUSEUM
SCALE
Arik Levy is best known for his metallic Rock Sculptures whose materials and geometries reflect and refract whichever setting, environment, or culture they inhabit. The museum is elevated with galleries beginning on the third floor taking individuals up and out of the context of the New York street and providing them with a new view and perception of the city. Upon entry, individuals travel up a large enclosed staircase through the support program spaces held in the first and second floors. Different settings for the artwork are created within the gallery spaces by intentionally circulating individuals through a sequence of enclosed, glazed, single height, and double height gallery spaces.
27
3rd Floor Gallery: Double Height View
28
4th Floor Gallery: Enclosed to Open Progression
Northwest Section
5th Floor Gallery: Single to Double Height Perception
6th Floor Gallery: Enclosed/Open-air Viewing Stairs
Southwest Section
29
Southwest Section Pe
30
erspective
31
32
SACRED SPACE OF THE KONZA PRAIRIE
33
SACRED SPACE OF THE KONZA PRAIRIE The sacredness of the Konza Prairie lives in the continuous wind of the prairie. The wind is both seen and felt as it blows through the tall grass and trees, adding movement and life to the vast landscape. Spatial sequencing of the structure creates a meditative and spiritual experience with the unique perceptions of the prairie’s wind. Individuals enter the space through an inhabitable wall that serves as an entrance, light source, and structural member. In these individual prayer spaces the physical presence of the wind is experienced as the orientation and circular form allows wind to enter and surround the inhabitant as they look upward to the sky and have private prayer or meditation. Solely the visual presence of the wind is seen within the circulation space to the main sacred space as lower portions of the wall are glazed. The culmination of the visual and physical presence of the wind experienced in these two spaces comes together in the main sacred space.
B C A
Plan
Section
34
C
A
B View Diagrams 35
36
37
38
PATTERNED ILLUMINATION
39
PATTERNED ILLUMINATION The intent of this project was to design through digital fabrication. Begun with hand sketches and study models, the design process progressed to Rhino modeling, laser cut models, and CNC produced prototypes. The end result, a 24” tall side table made from one 4’x4’ piece of melamine and assembled together without the use of bolts or adhesive. The table is required to withstand 50 lbs or more with the structural reinforcement of simple joineries in design. The aesthetic demeanor of this project was not first sought in the material or form, but in the assembly and joinery. The central concept, which iterations and design processes expanded upon, was the simple yet elegant joinery of four boards in the pinwheel form.
1
40
2
3
4
5
41
42
SPINAL BEAM
43
SPINAL BEAM
Building upon the Patterned Illumination project, the next task was to design and fabricate a five foot long concrete beam to span between two of the pedestals constructed from the previous project. This project’s challenge was to construct the beam using the form-tie method and less than one cubic foot of concrete. The beam began as a simple concept- the use of expressed form ties and a constantly changing cross section to create an elegantly curved beam. The formwork was cut out of melamine coated particle board on the CNC Router using a rhino model. The form ties are made of 1/8� acrylic and help to hold the sides of the formwork in place.
CONCEPTUALIZATION
44
ASSEMBLY
PRODUCTION
45
46
ARTWORK
47
Conte Pastel on Black Paper 2009
48
49
Left: Oil Paint on Canvas 2009 Right: Watercolor and Colored Pencil 2009
50
51
Oil Painting on Canvas 2009
52
53
Charcoal and Conte Pastel on Illustration Board 2010
54
55