MARTIN ANDERSEN ZANOLLI SELECTED WORKS 2017 - 2020
CONTENTS
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AIR TR AFFIC CONTROL TOWER: L A GUARDIA AIRPORT
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AVERY ARCHITECTURE LIBR ARY: BASEMENT REDEVELOPMENT
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MUSEUM OF URBAN SUSTAINABILIT Y
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BROWNSVILLE ELEMENTARY SCHOOL
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BROOKLYN ART MUSEUM
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VERTICAL URBAN FACTORY
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REWILDING THE URBAN
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DIGITAL ART
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LA GU AR
DIA
AIR
PO
RT
2”
km
00
=2
1/2” = 50km IN/OUT FLIGHT TRAFFIC LA GUARDIA
LGA Converging Air Traffic Analysis Prof. Martin Stigsgaard Spring 2018
2” = 200km
IN/OUT FLIGHT TRAFFIC LA GUARDIA
1/2” = 50km
IN/OUT FLIGHT TRAFFIC LA GUARDIA
IN/OUT FLIGHT TRAFFIC LA GUARDIA
00
km
LGA
AIR TRAFFIC CONTROL TOWER: LGA
LA GU AR
DIA
AIR
PO
RT
2”
=2
01
LA GUARDIA AIRPORT WITH GILBERT SANTANA FIRST PLACE: 3RD YEAR COMPETITION BOARD PROFESSOR: MARTIN STIGSGAARD
2” = 200km
LGA Converging Air Traffic Analysis Prof. Martin Stigsgaard Spring 2018
SPRING 2018
Flights into and out of LaGuardia Airport travel along paths that become more spread out the farther they are from the airport. Airplanes circle the airport before landing, twisting through the sky before landing on a rigid runway. The design of LaGuardia’s flight tower expresses this movement of aircraft. A twisting of paths that all end in a rigid position. Control tower uses recycled aluminum for its skin material. The flexibility of the material is suitable for the curving surfaces on the towers, while also allowing for a non-toxic and durable skin. Large savings in energy usage can be achieved with an aluminums facades ability as a solar reflector and thermal buffer. Aluminum aesthetically resembles the aluminum aircraft used in the past.
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LGA
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02 AVERY ARCHITECTURE LIBRARY: BASEMENT REDEVELOPMENT PROFESSOR: ALBERTO FOYO SPRING 2017
Avery Library is located under Columbia’s architecture school. A place for work and studying, Avery Library has an atmosphere of respect and silence that is influenced by the buildings symmetry, modularity, light, and ornamentation. These characteristics portray the building as a symbol of architecture and its relationship to Columbia University. The design of the basement uses conditions from the main hall to provide a similar setting that compliments the first. Light through the roof largely replaces the use of artificial lighting. Program of the first library is integrated into the basement, with subtle changes to accomodate for the adjacent rooms and staircase entrance.
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Skylight Incorporating a large skylight shows current use of techology that contrasts with the traditional arched windows of the existing main library. Both libraries recieve light in different ways, the extension recieves light from above while the main library recieves light from between the bookshelves.
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03 MUSEUM OF URBAN SUSTAINABILITY PROFESSOR: LEWIS ALLEN FALL 2017
Located on E22 street, the entrance to Madison One’s residential building is being converted to a museum of urban sustainability. A responsive facade that adjusts based on sunlight demonstrates a live solution for controlling intensity of light in a building. Translucent screens that fold allow for a variety of light conditions for the inside, while not completely blocking the light. To receive more light, the floors have been moved back, opening a large space behind the facade. Incorporating a staircase in this space allows for visitors to experience the effect of light on the interior. Transparency used in the staircase side railing allows light to pass through.
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Mechanical Shadows The geometric screens create patterns of light that change based on the facades porosity.
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Amplified Depth The staircase adjusts to the retreating floors of the building, exaggerating the perspective looking up or down the shaft.
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04 BROWNSVILLE ELEMENTARY SCHOOL PROFESSOR: JERREMY EDMINSTON FALL 2018
A design for the community of Brownsville, the school radiates into the surrounding site, permeating into the urban fabric. The north and south sides of the school pull downwards into the ground, creating openings in the building for views, light, and circulation. A bending roof conforms to the retreating planes of the building, expressing the movement of gravity. Much of the second floor remains open to air and light, allowing students and teachers to work outside. The schools open nature aims to promote a pedagogy that involves more interaction between people. The sloping roof supplies adjacent gardens with water. These gardens serve to help beautify the neighborhood, as well as provide a place for fruits and vegetables to grow that can be maintained and utilized by the community.
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04 BROOKLYN ART MUSEUM PROFESSOR: KUTAN AYATA SPRING 2019
A design for an Art Museum located below the Brooklyn bridge and next to an adjacent park. The Brooklyn Art Museum uses perspective elements and intersecting paths to create a museum that draws people in, and connects them with the adjacent park, while maintaining exhibit spaces without direct sunlight interference. Visually separate pieces of the building, serving as different exhibit spaces, are joined by intersecting circulation paths which Intersecting circulation paths split the Art museum into pieces visually, these pieces acting as varying program or exhibit space within. Splitting allows those on the outside to see directly in while keeping art hidden, promoting curiosity to draw people in, where the splits also become entrances. The raised main entrance allows an area for congregation where people can enjoy the view of the East River and park. The North-West of the Art museum serves as artist housing and workstations, to further strengthen the museums role in the art and local community.
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Museum Entrance Perspective directs the attention towards the entrance of the building, encouraging people to enter. Staircase provides wheelchair access while keeping an angular appearance that compares to the building. Located next to the open cafe, the front stairs also act as a place where people can rest and eat with a view towards the river and park.
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05 VERTICAL URBAN FACTORY SENTIENCE OF ROBOTIC FABRICATION PROFESSOR: ALI HĂ–CEK FALL 2019
With factories becoming more compact due to advances in robotics and fabrication, the ability to bring what is normally rural into the urban fabric becomes possible. In this vertical urban factory for 3D printed carbon bike frames, the factory integrates itself onto the existing AT&T building on 33 Thomas St. In contrast to the closed and secretive AT&T building, the factory plays with transparency and translucency, displaying itself and what’s within. Consisting of robotic arms that conduct various parts in the fabrication of a bike frame, the factory is moving and alive. The sentience of the factory, and the sentience of people walking through is expressed through a large transparent screen that moves according to the machines and the people within. While offering privacy and protection from the sun, the theatrical nature of the screen draws attention from people walking below, inviting people to come up into the building to discover the somewhat obscured interior. When inside, the elevator is positioned to bring people directly to an open space between the screen and factory. Here people can explore and see directly the processes o the manufacturing. This area also connects with the public area of the factory, where consumers can customize and purchase mass-produced or custom bike frames.
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Import/Export Process Factory allows bikes to be imported and exported within the city where there are nearby local bike shops. Work elevator slants to convenient location for loading trucks. Main/front elevator slants toward Church Street, where more people are located. People walking below see elevators moving through factory, further expressing the sentient alive nature of the factory. With additional space on facade, factory is able to expand in the future if necessary.
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06 REWILDING THE URBAN PROFESSOR: BRADLEY HORN INDEPENDANT PROJECT: THESIS STUDIO SPRING 2020
Urban environments often dissociate us from the pleasures of the elements. This project is about celebrating the beauty and power of wind and using it as a programmatic agent to reconnect inhabitants with the spontaneity of the wild. By manipulating temperature and intensity, this project aims to distort the physical and emotional sensations of the urban environment in ways that induce new kinds of movement, behavior, and desire. By momentarily defamiliarizing urban dwellers from their routines, my project produces a new kind of urban park – encouraging escape and a reconsideration of the human position within the urban ecosystem. This new park typology is meant to inhabit the existing cracks and openings of a city, allowing otherwise ambiguous areas to become new kinds of passageways and gathering spaces. As a formally adaptable and prefabricated proposal, this park can be integrated into a variety of urban sites and social contexts, instead of being limited to major commercial developments. For this park, I have chosen a residential block in upper Manhattan. Through formal manipulation of the air, the site is distorted physically, socially, and environmentally by the park’s presence, or what I call an un-condition. The site and program are ever changing, a literal expression of the fluctuating wind and climate conditions we often become habituated to in the city. The harnessing and manipulation of environmental conditions allows for unique situations or hyper phenomena of space. Air attracts and deflects people through the space of the park, effecting how they walk through and use the space. Wind and form also create additional sensations tied to varying intensities of humidity, light, coolness, wetness, and stagnancy. These unique environments open possibilities for foliage and plant growth different from the manicured gardens normally found in the city, and further the otherness/wild nature of the park. Through a distortion of scene, this park attempts to explore the ambiguous space between natural and artificial environments and questions how technology can be used to re-condition the sensory perception of urban dwellers.
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FRAME INTERVALS: 20
FRAME INTERVALS: 5
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DIGITAL ART
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MARTIN ANDERSEN ZANOLLI CIT Y COLLEGE: SPITZER SCHOOL OF ARCHITECTURE B-ARCH 716 848 0773 MARTINZANOLLI@GMAIL.COM 910 RIVERSIDE DR APT 3A NEW YORK, NY 10 032
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