architecture portfolio marissa fabrizio
17 19
ice house
osseous aerial-scape
final project: research
E VOLUT I ON O F URB A N ISSUES
1 URBAN ISSUE: COMMERCIALIZATION ESTABLISHMENT OF A MARKET BASED URBAN INFRASTRUCTURE
2 URBAN ISSUE: WETLAND DESTRUCTION
3 URBAN ISSUE: FLOODING
GEOGRAPHICAL LOCATION + WETLANDS AS FLOOD MITIGATORS
O S S E O U S AERIAL-SCAPE
FLOODING + ITS URBAN IMPACT ON SHANGHAI
[research topics and progression] URBAN METABOLISM FOR MEGA-URBAN GROW T H
FLOODING
“The mean land level is between 3m to 4m above sea level in Shanghai, but the flood defense wall is more than 6m now. It is still not high enough with the sea level rising and land sinking.”
M A R I S S A FA B R I Z I O
CONSTRUCTED IN 1990
CONSTRUCTED IN 1970
CONSTRUCTED IN 1960
-Quanlong Wei
5.25 m
5.0
4.09 m
4.0 3.59 m
3.14 m
3.0 1940
[wetland concentration around the Yangtzee River]
1
1950
1960
1970
1980
1990
2000
[flood wall growth]
build up of waste, space that was needed for infrastructure, and the cities desire for green spaces and gardens. Unfortunately in Suzhou, and other water towns like it, they have suffered from flooding, deterioration of building materials that interact with the water, lack of space for growth, and water contamination are present.
SPATIAL CONSEQUENCES IF... THE CURRENT FLOOD WALL SYSTEM CONTINUES TO BE BUILT C URRE N T
O S S E O U S AERIAL-SCAPE
URBAN PROJECTION
1 WALL ACTS AS A BARRIER, BISECTING THE CITY
2 CITY DIVIDED INTO CELLS, ACTING SIMILAR TO ANCIENT CHINESE CITIES SPATIAL CONSEQUENCES IF... 3 LOSS OF TRANSPORTATION AND VISUAL CONNECTIVITY
WATER L EVEL RISE: 5 M
URBAN METABOLISM FOR MEGA- URBAN GROWTH
M A R I S S A FA B R I Z I O
[projected spatial consequences: flood wall]
WETLANDS WERE KEPT INTEGRATED INTO THE URBAN CONTEXT
EX I S T I NG U R B A N CONTEXT
Thesis Statement: In the deltaic region of Shanghai, rapid urbanization has created “market” driven planning, forcing the relocation of the low and middle class to the outskirts of the city and causing the destruction of the natural elements that have mitigated annual flooding patterns. Each year the Huangpu river floods, causing the center of the city and other locations along the river to become partially submerged and as a result pauses the ground level circulation and movement. In addition to the flooding, Shanghai experiences typhoons during the same season, causing extreme high tides, as well as all other built up spaces to become flooded. With this impending catastrophe and continuation of sea level rise, these conditions are worsening and the current flood wall system will eventually fail and a new system will be needed to replace it. This proposal looks to accept the flooding that Shanghai experiences by re-organizing the infrastructure and ground level activities above the flood plane, through the investigation of a controlled natural process of calcification to aid as a structural solution to grow the city upwards. As a result, the “new” ground level acts as an extended flood buffer that, through phases, can evolve over time to control, protect, and restructure the urban infrastructure of Shanghai.
1 WETLANDS CREATE A VOID OF UNINHABITABLE SPACE 2 CURRENT SHANGHAI HAS DESTROYED WETLANDS, CREATING A SOLELY URBAN SPACE (HARD SURFACE) 3 TO HAVE BOTH WETLAND AND URBAN SPACE, CITY WOULD HAVE TO BE RESTRUCTURED, RAISING IT
[projected spatial consequences: wetlands]
ABOVE THE WETLANDS, WITH MINIMUM FOOTPRINT
2 2011-2012
osseous aerial-scape
U R B A N B O N E T Y P O LO GY M A N I F E S TAT I O N
final project: materiality
B O N E T Y P OLOGY
-high strength -provides height -dense exterior; spongy, porous interior FLOOD WALL PHASE 1
FLOOD WALL PHASE 2
I N F RUA S TRR U B C T UAR E N M A NMIAFNEISFTEASTTAT ION ION
-high -provides strengthheight in an -provides urban height setting -dense -element exterior; that spongy, delaminates porous interior the city -minimal footprint for elevating urban elements
INF MA
-hard exterior + porous interior provide space -provides height in an for carrying infrastructural urban setting elementsthat -element -acts as vertical delaminates the city circulation + -minimal footprint for transportation elevating urban elements -vertical infrastructural elements
-protective -structure element spans and -provides bridges planar between urban surfaces nodes, providing -long pedestrian spans andcirculation surface area
-larger spans act as -structure spans and surfacebetween for faster, bridges urban exterior transportation nodes, providing pedestrian circulation
-spinal chord: protects fragile elements -provides interior conditions and enclosure -serves as connections between nodes
-spinal -provides chord: interior protects fragile pedestrian elementsconnections -provides between interior buildings conditions and enclosure -serves as connections between nodes
-providesinterior space for -provides horizontalconnections high speed pedestrian transportation between buildings -horizontal infrastructural elements
-dense, yet lightweight -strong, yet porous -structural at micro-scale
-provides dense space -dense, yet lightweight within porous city -strong, yeta porous -structural at micro-scale
-at ground levelspace allows -provides dense for a continual within a porous city ecosystem -porous wetland -bottom layer as an ecological buffer
-protective element -provides planar surfaces -long spans and surface area FLOOD WALL PHASE 3
[future: elevated urbanism]
SMALL COURTYARD PARK
LARGE URBAN PARK
NEW URBAN LANDSCAPE TYPOLOGY
[future urban landscape typology]
3
[bone typology manifestation]
CAN MATERIALITY CHANGE THE WAY A FLOOD PRONE CITY GROWS?
CaO + H 2 O → Ca(OH) 2 calcium oxide
water
c a l c i u m hydroxide
Ca(OH) 2 + CO 2 → CaCO 3 + H 2 O c a l c i u m hydroxide
carbon d i ox i d e
calcium carbonate
water
In order to lift a city upwards, can this calcifying process become controlled to create a new type of building material? Is it possible to create man-made stone? Through the experimentation of the elements that make up calcium carbonate, a new way of controlling the process begins to emerge. In one instance, limewater is created from calcium hydroxide. When carbon dioxide is combined into this solution it yields calcium carbonate as a substance in water. Another process that can be considered is calcium carbonate precipitation through electrical currents produced through electrosys. The problems with these two processes is they have little potential for large scale implementations and structural properties. Also, as a building method, they are equally unrealistic. In order to become possible in an urban setting, a new method will have to be developed to organically grow a city upwards. In order for calcium carbonate to house all of these elements within the aerial-scape of a city, there needs to be a typology. Through previous experimentation, the forms that are produced are visually (as well as chemically) similar to bone structures. By creating a catalog of different typical bone forms, their functions within the body start to translate into scaled up urban elements
[calcification test samples]
4 2011-2012
osseous aerial-scape
Y E A R 2 0 1 2
2 H VAC, WAT ER, EL ECT RI C B U I L DI N G SYS T EM S EL ECT RI C POW ER GA S WAT ER
S U B WAY T RAN S PO RTAT I O N
S EWAG E
[program adjacencies proposal]
[program adjacencies proposal]
Y E A R 2 0 5 0
CALCIFICATION PHASE 1
Y E A R 2 0 1 2
SEEDING / SCAFFOLDING
DEEP WAT ER
3
5
PROGRAM REORGANIZATION
Y E A R 2 0 1 1
PRESENT SITE CONDITIONS
final project: design
1
4
[Osseous Aerial-Scape phases]
Projecting into the future, Shanghai will have to be redeveloped in phases in order to seed the landscape for aerial growth. Immediately, the ground level would have to be rethought, with the lower level infrastructure acting as scaffolding for future development. By removing lower level enclosure, the structural elements are left for calcium to grow on, strengthening and providing a base for future growth. Simultaneously, the existing buildings will have to be re-organized to create room for underground infrastructure to inhabit above the future wetland ground level.
As a result, elevated networks begin to emerge. Instead of the city originally being divided into streets and avenues, the city begins to be divided into elevated program pods with multiple connections to all other areas of the city. At the ground level, enlarged spongy bone structures would become embedded within the ground level surfaces, allowing the wetlands to not become closed off entities, but continuous sprawling ecologies. The ground level becomes a flood buffer, rather than a flood prone area.
5
[Osseous Aerial-Scape final render]
osseous aerial-scape
6 2011-2012
Y E A R 2 1 5 0
CALCIFICATION PHASE 2
All of this preparation is setting up the ability for the ground level to become wetlands, while at the same time the city is growing upwards. This new planning protects infrastructural elements, as well as daily activities and programs that will no longer be paused due to flooding catastrophes.
ATTRACTOR LINE
EAST ELEVATION
NORTH ELEVATION
WEST ELEVATION
PLAN
PLAN
4” MAX.
1” 9.5”
9.5”
17.25”
17.25”
NOTE::CONTOURS CUT AT 0.5”
[molds being milled]
7
NOTE::CONTOURS CUT AT 0.5”
[milled molds for panels]
[fiberglass panels]
This facade was designed and completed in the summer of 2011 in Jackson, Wyoming while interning at E/Ye Design. Using parametric software, Grasshopper, as well as Rhinoceros 5.0, the facade was conceived as a series of six tiles that could be arranged in a way to create a fluid pattern on two surfaces of a residence. Using a line attractor, a grasshopper definition was developed to create a system where as a tile gets closer to the line, the raised geometry increases in thickness and width, developing curves that are created in response to changing widths of the tiles, as well as the heights. The shadow lines created also add an additional layer of geometric complexity.
[perspective image of panel facades]
8 summer 2011
ice house
LIATSOS RESIDENCE FIBERGLASS FACADE
PANEL LAYOUT
PA N E L 1 PA N E L 2 PA N E L 3 PA N E L 4 PA N E L 5 PA N E L 6
NOR TH E L E VAT I ON
NO R T H E L E VAT I ON
W E S T E L E VAT IO N
W E S T E LE VATION
PA NEL 1 9.5” x17.25” MA X . H EIGH T: 1.5” TOTA L: 86 PA NELS
PAN E L 4 9.5”x17.25” MAX. HE IGHT : 3 . 0 ” TOTAL : 4 4 PAN E L S
PA NEL 2 9.5” x17.25” MA X . H EIGH T: 2.0” TOTA L: 24 PA NELS
PAN E L 5 9.5”x17.25” MAX. HE IGHT : 3 . 5 ” TOTAL : 4 4 PAN E L S
PA NEL 3 9.5” x17.25” MA X . H EIGH T: 2.5” TOTA L: 34 PA NELS
PAN E L 6 9.5”x17.25” MAX. HE IGHT : 4 . 0 ” TOTAL : 2 2 7 PAN E L S
[individual panel layout and dimensions]
9
The molds for the panels were milled, creating six different geometries. The molds were then used to create fiberglass panels, fabricated in North Carolina by Windsor Fiberglass. Once applied to the 500 square foot residence, the panels also add an environmental design component, creating a surface that interacts with wind, creating turbulence on the surface
2
3 [geometric process and wind]
Photographs courtesy of E/Ye Design, Windsor Fiberglass, and David J. Swift
[facade detail perspective]
ice house
10 summer 2011
1
[perspective render]
[original 3XN proposal]
11
[interior courtyard]
[exterior ramping]
LANDSCAPE
LANDSCAPE
URBANSCAPE
URBANSCAPE
BUILDING
connection between theatrical district + building
shaping of site from surrounding urban programs
::ORIGINAL INTENT FOR PROJECT
URBANSCAPE
URBANSCAPE
BUILDING
connection to district only seen on exterior landscape
3XN BUILDING + LANDSCAPE
shaping of site from surrounding urban programs only appears on edges
::CRITIQUE OF ORIGINAL PROJECT
Frederiksberg Municipality commissioned a competition at a highly trafficked significant site in the “Revykvarter” neighborhood (of Frederiksberg, Denmark), which is historically known for theatrical entertainment. The jury called for the entrees to not only be architectural designs, but inventions of what defines the future of cultural activity and what motion is in the context of activating a dynamic city life. 3XN proposed FALKen. They placed the center of the proposal in the southernmost corner of the site; the most active and visible point, working back a built landscape, with defined program underneath back into the depth of the site. The program is defined by “7 zones” which contain areas to facilitate “culture” (auditorium performance spaces), exercise, and play (a framework for unexpected new leisure activities). The ground floor area, which is the main open connective space to the surrounding urban area, is to be 2,200 square meters. There are also 35 meters of shop fronts that should be incorporated along one of the major roads bordering the site.
BUILT LANDSCAPE + PROGRAM
programs percieved as a built landscape + an extension of urban district
BUILT LANDSCAPE
falken site woven into urban context
::INTENT FOR DESIGN DEVELOPMENT
12 fall 2010
design development: FALKen
13
[site plan]
[plan level 1]
[focus area model]
[hand render from bridge]
[dance studio render]
[textile formwork study models]
design development: FALKen
14 fall 2010
[focus area model]
At the site, an important intersection of entertainment and activity, a fluid transition and integrated extension of the urban landscape evolves into the program. The result is a new typology, a blend between functional program and fluid landscape, which serves three distinct yet integrated purposes. The first is the evolution of fixed boundaries, changing to a supple network of intersections and freedom of experience. This is achieved by extracting the functionality of the formal and typological boundaries of a building (boundaries like walls and singular accesses like stair cores) and morphing them to perform and feel like a landscape/urban fabric (blurred boundaries, fluidity, and casual ease of use). The second is a blurring of the actual programs so there is fluidity and interconnectedness, while maintaining a functional independence achieved by eliminating defined thresholds and discrete singular circulation spaces (such as hallways), and overlapping the programs while morphing them to function as needed. Finally, the third is to pull the urban activity into the site and effectively integrate it to inform the program. The urban activity is the people and how they behave, but this is largely shaped by the surrounding programs and landscape of the urban fabric around the site.
[unrolled elevation]
[unrolled courtyard elevation]
[elevation]
WALL SECTION 3” = 1’-0”
[wall section]
15
[section]
Dissolving the correlation of typical fixed boundaries and how program spaces are defined, and re-defining programs according to their adjacencies, connections, and incorporation of the related urban activity is to be accomplished through the evolution of boundaries and thresholds into interconnected fluidity and blurred formality comparative to the activity of an urban landscape.
[night render]
[section]
16 fall 2010
design development: FALKen
[layers of facade and building in relation to integumentary system]
Effects Due to Amount of Tension of Fibers: Spatial, Sun, Wind, Moisture
[internal heat and heat rash] Tension callout “b�
0 Wind Turbulence 10 Solar Gain
[main layers of skin]
17
[moisture and microclimate]
10 0
0 Screen Effectiveness from Rain
10
10
0
[fiber facade reaction to tension, wind, solar energy, and rain]
During my semester at the Center for Architecture Science and Ecology I researched the human integumentary system and how it can be developed into a working sustainable facade for an art gallery located in Prospect Park in Brooklyn, New York City. My research was focused on clothing, the fourth layer of skin, and the micro climates it creates directly around a body. This focus stemmed from understanding of heat rash and its architectural implications if applied to a facade. In order to prevent heat rash air flow is needed to wick the moisture away. This fibrous facade dynamically changes according to the time of year and the area of the building that needs the most insulation or cooling. Just like how a piece of clothing can be stretched to allow air flow through, the fibers on the facade can also stretch, creating more visibility, airflow, and sunlight. The render to the left shows the facade with an increasing amount of tension as it reaches the top of the building.
[sectional perspective render]
18
[plan at 5’]
[plan at 15’]
[perspective render]
19
The negative spaces of the facade and the amount of visibility present when the fibers are in tension or relaxed help imply the form of the interior of the building. Two mobius strips start at the bottom gallery where less privacy is needed and travel to the top to create more privacy and protection from outside elements.
10 residenc
office
gall
es
s
ery o r p
a gr
priv
m
acy
fi
0
b
s r e
in
f
ib
e
rs
k s [program fibers diagram]
20
[interior “core” rendering]
[site model]
21
[sectional model of “core”]
[grid, building, and landscape diagram]
[perspective render]
The design intent for my train station is based off of the convergence of the two city grids that meet on the new railroad site in Cordoba, Argentina. The curves of the tracks are influenced by the street patterns that bleed their way into the site and manipulate the new city blocks to create a unique grid pattern that changes in scale as it approaches the train station. The resulting product of these factors is a manipulated urban landscape that connects the station, the shopping area, and the hotel. As the trains enter the site, they are covered by the walk able artificial landscape. The theme of controlling how the passengers and visitors enter the city is continued into the interior of the train station. Ramping is utilized to connect the varying levels of the station, as well as columns, railings, vegetation holders, ticketing booths, and benches, which act in the same way as the tilted and ramped landscape on the exterior of the building. The merging of the two grids is apparent to the visitor in the interior of the building when they step into the area of the “core� where the geometry of the landscape is continued through the building to create a striated atrium. Each building works at both the urban and site level, with an approachable entrance that can be accessed by the sidewalk. The hotel’s tourqued tower works at the urban level, with the tourque aligning with the right grid as it starts, and gradually ends aligned with the left city grid.
[section]
22
[overview render]
[interior render]
[panorama render]
23
The intention of this project was to design a new monument for the Four Corners site that marks the borders of Arizona, Colorado, New Mexico, and Utah. My design created a visual and physical experience that showed the boundaries of the states without using solid lines. The raised stones in each quadrant face toward the direction of the four sacred mountains that mark t aries of the Navajo land. The stones also lower into the ground as they approach the state lines to allow for the visitors to experience the borders as well as visualize them. The stones extend out towards the highest mountains to emphasize the views. The market stalls are positioned in the direction of the wind to allow for natural ventilation.
Height of Raised Stones
1’
10’
[height of raised stones]
[study models]
24
DN
Second Floor Plan
[second floor plan]
¼”=1’-0”
Solar Umbrella House Pugh+Scarpa United States Marissa Fabrizio Ben Miyagi
UP UP
UP
DN
UP
DN
First Floor Plan
[first floor plan]
¼”=1’-0”
DN
Section Perspective
[front facade render]
[sectional perspective] Second Floor Plan
25
¼”=1’-0”
Solar Umbrella House Pugh+Scarpa United States Marissa Fabrizio Ben Miyagi
[model detail]
Located in Venice, California the Solar Umbrella House, designed by Pugh+Scarpa, attempts to solve many environmental issues. The new addition onto the original design changed the orientation, making the front facade face south to allow for optimum heat loss and gain. Photovoltaic panels were also utilized to create shading and make use of the natural sunlight for energy. From images and a set of plans a three dimensional model was made, as well as renderings, plans, sections, and diagrams.
[basswood model]
Exploded Axon
[exploded axon]
[model detail]
26