Miguel Angel Arana Santiago
Graduate Portfolio M.Arch Candidate 2022
Fall 2020
01
Advanced Architectural Studio 1 6-9
The Light of Absence
10-27 Anthrotopia
Media and Modeling 3
02
30-33 Parametric Landscapes 34-37 Superficiem 38-41 Mutantur 42-47 Galleria Gwanggyo
01
Advanced Architectural Studio 1
1A
The Light of Absence Professor: George Johnston Term: Fall 2020 Project type: Warm Up
In Italo Calvino’s Mr. Palomar, ego is described as the window through which we see the world. This metaphorical aperture however, like a real one, it is a filter through which the world can also see us. Just as Calvino argues that ego is that which allows the world and ourselves to see each other, I argue that light is the enabler which allows both us and reality to do the same. By inverting our understanding of solid/void in reference to light, we are able to generate space from the absence of light. It is through this inversion that we can experience a new spatial reality that had been, until this point, negated to us both by our common interstice. By condensing the spatial defining elements, generated from inverting our spatial reality to a series of intersecting planes, space becomes a mere suggestion, an abstraction. Through this “the same space” can be read differently multiple times. With no clear definition of space these suggestions become a multitude of experiential opportunities, questioning our very notion of space. Merriam Webster defines the outside as “a place or region beyond an enclosure or boundary”. Is what we call the outside in reality outside if it is contained within a boundary that we cannot naturally see? Is the void of space actually a void if it is bound by the laws of space and time? What is Space and what is not?
Side B Side A
Side B Side A
Isometric Section
1B
ANTHROTOPIA Professor: George Johnston Term: Fall 2020 Project type: Social Incubator
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During the first half of the 21st century, humanity found its most dangerous inherent weakness, its divided self. Friction brought forth by neoliberal globalist policies proved to be extremely detrimental to social cohesion. As the barriers between different societal groups grew, so did social poverty. Realizing its survival depended upon unity, humanity embraced its capacity for compassion. In a collective effort to generate social capital, reduce friction, increase cooperation, and expand common ground, communities set up Social Incubators. These local institutions, help support the growth of businesses which in turn repay the community by financing social programs which foster the united embrace of human heterogeneity. By empowering communities and providing a solution where communities themselves foster the growth of social unity, this project aims to function as a catalyst for social capital by abridging the distance between an economic system that always appears to be in crisis and deep cultural societal issues. As Simmel tells us about bridges, “...the fortuitousness of that which is given by nature is elevated to a unity.�
In the northern portion of the site, a civic stair provides a moment of pause within the Beltline, a concurred public pedestrian thoroughfare. More than providing a point of access to the Beltline from North Highland Avenue, these stairs take on the function of a theatron. From here we can see people walking, jogging, scootering, arriving, departing, laughing and even crying, snippets of our daily lives become accessible to others. They become the viewing gallery upon one may experience snippets of the life of others, creating visual interpersonal connections. The already planned light rail station is also to be located within this portion of the site. This strategic placement ensures an ease of congestion between users of the Beltline, commuters, and users of the building.
This perspectival view, shows us how the theatron being used by observers. The variety of public interactions along the Beltline are elevated onto a stage and have become the protagonists in the play of everyday life.
The social incubator is nestled between Highland Avenue and the Beltline. Looking at the Beltline level a community dining room is located. The idea is that once a week a social dinner is shared between people. Anyone is welcome, those who may need the food that night, those who are looking to meet new people, and even those who just do not want to feel alone. To the left side a lobby serves as the main entrance to the business incubator from the Beltline.
In the third level, we encounter the Inc that interdisciplinary barriers are taken of ideas, the businesses funded by th The amphitheater located within the overlapping programmatic uses and u
cubator. The shared space collaborative environment ensures n down and cooperation is achieved. By providing a free flow he community have better chances of becoming successful. incubator is open to the public as well as entrepreneurs, by users the community-business symbiosis.
In the fourth level, we have a small multi use room, this space again can be used by the community or by the entrepreneurs. We traverse a roof garden as we cross the bridge onto the more community-oriented volume. moving across the rooftop garden we encounter workshop areas, a small classroom, and a communal area. These spaces again can be used by any user of the facilities. Grassroot movements might do a workshop for the community children financed by a business through one of its social programs. A projection box provides any type of audiovisual needs an activity in the agora might need.
This transversal section allows us see better how to the project connects both public thoroughfares together, it provides a place to be within the Beltline, and in doing so, it also it generates a spatial condition upon which spontaneous social capital might be generated.
Through this longitudinal section it is possible to see the highly public realm of the street is beginning to make its way down onto the Beltline. The sculpting of the floor condition allows for a public agora to be generated, a local politician might do their soapbox discourse from here, an outdoor talk can easily happen within the agora, or it may also function as a public plaza when no programed activity is underway.
This perspectival view provides us with a snippet of a ted talk underway in the agora.
02 Media and Modeling 3
2A
Parametric Landscapes Professor: James Park & Kurt Hong Term: Fall 2020 Project type: Attractor Fields
For this assignment I constructed attractor fields within Grasshopper. By implementing knowledge on two-dimensional parametric geometries and operations, it was possible to generate an arrangement of parametric motifs. These motifs can be altered and specified by a set of attractor points or curves. By altering the geometries to be attracted or repelled it is possible to generate a set of differing parametric landscapes through grasshopper.
Triangulum A series of quadrilateral planes, are affected by curves. The color oscillates between yellow and bluegreen as the quadrilateral planes shift in size.
Circu
A series of circular planes are repelle of points. The color changes from a circles get stretched.
ulus
ed, attracted, and scaled by a series a colder hue to a warmer one as the
Quadratum A series of square planes are repelled, attracted, and scaled by a pair of curves. These change color as they conglomerate in a more tightly packed manner.
2B
Superficiem Professor: James Park & Kurt Hong Term: Fall 2020 Project type: Mathematical Surfaces
For this assignment I constructed mathematical surfaces within Grasshopper. By implementing knowledge on three-dimensional parametric geometries and operations, it was possible to generate an arrangement of editable parametric surfaces. These motifs can be altered and specified by a set of mathematical expressions. By altering the variables within the expressions, it is possible to generate a set of differing parametric surfaces through grasshopper.
Mรถbius This image captures the moment just before a mรถbius strip begins to unravel itself apart.
Revo
The single surface generated fro unravel and stretch itself taking on
olvo
om a mรถbius strip commences to n a new shape.
Infinitus The ribbon resulting from the unraveling of a mรถbious strip has reorganized itself into a single perpetual surface.
2C
Mutantur Professor: James Park & Kurt Hong Term: Fall 2020 Project type: Morphing Tiles
For this assignment I constructed mathematical morphing tiles within Grasshopper. By implementing knowledge on three-dimensional parametric and spatial transformations, it was possible to generate an arrangement of editable parametric tiles. These arrangements were achieved by mapping and morphing relations of a three-dimensional polygon to a complex surface with a varying curvature.
Ellipsis A tile with a rotated elliptical fenestration in the center warps itself to follow a curved surface.
Duo Form
Here an ellipse and a cross join Substantially more porous than its and sun pass through itself.
mamenta
together to create this geometry. s sister, this tile allows for more air
Retorqueo A twisting tile again morphs through along a warped surface. This tile arrangement reconciles the solidity and porosity of its previous sisters. It is porous enough to allow ample sunlight and breeze through, yet solid enough to ensure privacy.
2D
Galleria Gwanggyo Professor: Team members: Term: Project type:
James Park & Kurt Hong Weston Byerly, Aliyah Cobb, Nirmit Patel Fall 2020 Parametric Building
For this assignment we recreated the Galleria Gwanggyo. OMA’s new retail complex, located within the vastly growing and prosperous city of Gwanggyo just south of Seoul, aims to become the new epicenter of social life. At the center of this young urban development surrounded by tall residential towers, the Galleria’s stone-like appearance makes it a natural point of gravity for public life in Gwanggyo. Striving to pull people from many different walks of life, this project not only functions as a retail complex but as a public space. Being this project was group effort, I have included the Facade System portion, as I was responsible for its development.
Building Systems Massing: Initial Building Geometry. Structure: Interior Structural Elements. Circulation: Glass Passageway. Facade: Geometricized Tiled Motifs
Circulation
Core
Massing
Input
Levels
Structure
Slab
Facade
Massing and Facade System The main building systems which drive the generation and design of the Galleria Gwanggyo are: Massing, Structure, Circulation, and Facade. Each of these systems has been broken down and defined by parameters which not only generate the original built form but allows for a variety of possibilities. By separating the designs’ elements into four (4) main categories it was possible to identify, establish , and in the end modify the design guiding factors of the project, both externally and internally. The facade system is intrinsically linked with the main volumetric form of the design. To ensure a clean façade, the height, width, and length of the building must be commensurable. That is, they must be all be measurable by a common standard. In this case the tiling grid is set up in a manner where the dimensions of the building are divided by that of a grid. Once this was established, it was decided to allow for comprehensive modifiability. By parameterizing the fenestration elements and the tiling grid, it was possible to allow for virtually any variation in both fenestration and tiling desirable, as long as the commensurability parameter was followed.
MASSING Firstly, the building footprint is referenced in from a planar surface in Rhinoceros. The surface is then extruded in the Z axis to the desired height in Grasshopper. In doing so we begin to parametrize defining elements of the building, such as height.
SOLID INTERSECTIONS The geometries which compose the varying fenestrations are created within Grasshopper. Utilizing the Solid Intersection functions, a boolean operation is carried out whenever the fenestration intersects with the main massing. Owing to the fact that the fenestration geometry is created within Grasshopper, we have total parametric control over the aforementioned fenestrations. Therefore it is possible to change the size, shape, and location of the fenestrations.
TILING Once all the fenestrations are subtracted from the main volumetry, the tiling can be generated and applied. By tiling the facade it is possible to accelerate installation and have cleaner connections in the facade system. Allowing for commensurability enables us to edit the tiling form and size whilst ensuring an ease of and clean connections at the facades terminal points.
Once the volumetry with fenestrations is generated, the sides of the volumetry are deconstructed into individual surfaces. A grid is generated over each face of the facade of the Galleria.
The centroids of the grid are located and a tiled geometry can be generated.
m
n To ensure commensurability of the tiling system, the building dimensions must be in multiples of 3.
The surface is tiled in a triangular manner to ensure a clean joinery between frnestrations, protrusions, and corners in the facade. The geometry can be changed an packed to provide a clean �it between the tiles.
Once the triangulationi has been mapped onto the faces, a surface split operation allocates for fenestrations within the facade system.
TILING Once the pattern is in place, the tiling is extruded to accommodate for real life materiality. The tiling at this stage is finished. Images, textures, and colors can be projected onto the tiling to provide for variability.
Original Facade Tiling
Facade Tiling Variant
Facade Tiling Variant