TABLE OF CONTENTS MIRIAM JACOBSEN 21930 Valerio St. Canoga Park, CA (818) 461 - 4975 mimitabs@gmail.com - Architecture Traveling, new cultures, the merging of cultures... It all shapes my design Woodbury University 2010 - 2014
EDUCATION August 2014
Higher studies only:
Bachelor in Architecture (B.Arch) / Woodbury University Los Angeles, CA, United States
Honors: Magna Cum Laude GPA: 3.8
August 2009 - May 2010
General studies / Glendale Community College
GPA: 4.0
March 2005 - December 2006
Civil Engineering Studies / Universidad Catolica de Santa Maria
GPA: 3.7
EXPERIENCE
Work and research:
August 2014 - Present
Los Angeles, CA, United States Arequipa, Peru
SLO Architecture / Architectural Consultant, Pasadena, CA
Worked as part of a design team for the Guggenheim Helsinki Plan. In charge of coming up with the schematic design and producing plans, sections, renders and boards. Freelancing for a elementary and middle school project in Sacramento. Involved in the schematic design doing 3d models, renders and elevations.
August 2011 - December 2013
Woodbury University / Tutor, Los Angeles, CA
May 2012 - August 2012
Maxi Spina Architects / Research Assistant, Los Angeles, CA
January 2008 - August 2010
Oswaldo Alvarez Engineers / Intern, Los Angeles, CA
QUALIFICATIONS
- Drawing and Making: Hand drawing / Physical Modeling / Painting / Sketching / Digital drawing / Digital Fabrication
HONORS & EXHIBITS
- Nominated by Woodbury University to represent the school in Madrid 2015 Archiprix for the “World’s best
2014
- AIA Henry Adams Award for excellence in the study of Architecture - Frankel Degree Project Award: Dean’s choice, best Degree Project - Julius Shulman Emerging Talent Award / LABC, Winner team, 1st place - Woodbury Dwel on Design exhibit / Degree Project - Maxine Frankel Award Scholarship - AWA, Scholarship for Women in Architecture, Southern California - WUHO Gallery exhibit / ARCAM model and drawings
2012
2010
COMPETITIONS 2014
2012
PUBLICATIONS
Teaching peers subjects in structures, physics, chemistry, calculus, algebra, statics, dynamics, drawing, 3D software. Working on a detail publication for a fashion architecture book under guidance. Schematic design, drafting, 3D modeling, drawings and reading/research for the new Keelung Harbor Service Building. In charge of detail drawings in Autocad. Management of MS OFFICE, detail connections, on site measurements and equipment use. Tools - Rendering: 3DS MAX Design / Maxwell / Flamingo - 3D software: Autocad / Rhinoceros / SketchUp / Revit / Grasshopper graduation projects”
http://www.archiprix.org/2015/index.php?project=3471
- Madrid 2015 Archiprix for Hunter Douglas Award - submission - Guggenheim Helsinki Plan with SLO Architecture - submission - Julius Shulman Emerging Talent Charrette / LABC 2014 at Gensler for ECHO.LOGIC, a project for the Reef, against teams from all schools in Architecture of Southern California - 1st place - AISC Steel Competition for MEDIA.CERO - submission - Keelung Harbor Service Building with Maxi Spina Architects - submission
Portfolio, e-book and awards magazine
2014
Miriam Jacobsen Architecture Portfolio
2014
ECHO.logic
2012
Bi-polar Order / Archetypal Distortion
http://issuu.com/mimi_arch/docs/jacobsen_miriam_web
Los Angeles Business Council 44th Annual Los Angeles Architectural Awards
Programming Material: The Architecture, Fashion and Textiles e-book.
TABLE OF CONTENTS
DEGREE PROJECT
TOWARDS A CRITICAL GLOBALISM
06
STUDY ABROAD
KULTUR.BA(H)N MEDIA.CERO RECIPROCAL LAYERS
12 16 20
24 28
2014
2014
2013
STRUCTURES
CONTAINING THE LINE BIFURCATED FLOW
HOUSING
OPPOSITELY EQUAL URBAN TRANSFORMATION
30 32
SITE
DRAWING LIMIT RECIPROCAL DIVIDENDS
34 36
PROGRAM 2011
BIPOLAR ORDER ARCHETYPAL DISTORTION
40 42
WORK EXPERIENCE
NEW KEELUNG HARBOR BUILDING
44
MISCELLANEOUS
DESIGN CHARRETTE PROFESSIONAL PRACTICE MATERIALS AND METHODS HAND DRAWINGS LEARNING TO MODEL
46 48 50 52 54
2013
2012
2012
INSTRUCTORS: EWAN BRANDA & JAMES TATE How can a monolithic building contain multiple worlds and manifest the duality between plasticity and rationality, local experience and global abstraction? This project addresses this question through the transformation of the Bank of America building in Pasadena, California into an administrative and production facility for Netflix. It attempts to forge an intense local experience within the generic imagery of the existing building through the arrangement of highly specific architectural forms organized sectionally within the building’s interior. The result is a vivid sense of place within a general framework of placelessness.
Our conventional spatial models for globalization – networks, sprawl, decentralization – tend to be fundamentally horizontal and therefore planimetric; in contrast, this project proposes a sectional model for understanding the spaces of globalization. The section, rather than the plan, establishes the building’s principal social and functional relationships around a public datum line at plaza level. A series of spatial “eggs” within the box establish transitional, loosely programmed zones of shared amenities whose abstractly geometric yet spatially and materially specific forms navigate the dualities of globalization and intense local experience.
Case study that suggests the application of the poche to the plan’s building
Public datum line
Pasadena’s urban plan presents transverse access through the fabric. The building’s plaza adds up and enhances the city’s urban strategy integrating the pedestrian flow into and through the building. It becomes an important transition moment within local activities and global production.
Existing building edge
The shared amenities spaces are justified to the edges of the periphery, they break away from the bounding box at specific moments in order to articulate the plaza’s walking surface.
Façade treatment
The façade treatment reconciles historic and futuristic tensions; modernism juxtaposed with a plastic break.
Public Plan_Plaza Level
Plinth Programming
Currently used as a parking for workers, the plinth’s use is maintained in half of it’s length. The other half becomes production spaces.
Transitional zones
The shared amenities spaces offer different ways to circulate between levels and their specific size and orientation transforms them into nap and reading rooms, circulation cores, meeting spaces, etc.
Structure
The new programmatic “eggs” become structural elements as well. Office Plan_4th Level
New structure Remaining columns
Plinth Section
Section
Program Public Plaza Production offices, worker’s eateries & meeting rooms Administration, lounge rooms, principal’s office, conference rooms
Transitional zones
The shared amenities spaces isolate and connect individuals through their specific function and program.
Public datum line as a plaza
A vivid inhabitance of the building is achieved through the creation of an atrium, which together with the shared spaces, mediates the transitions.
INSTRUCTORS: OLSEN&&BERENIKA BERENIKABOBERSKA BOBERSKA INSTRUCTOR:GERARD GERARDSMULEVICH, SMULEVICH,ERICK ERIC OLSEN WITH: DENISSE ALEJANDRE
Urban project for the Kulturforum in Berlin. It uses the urban research done in Netherlands, Poland and Germany to estimate patterns of growth and development for the next fifty years. and create opportunities for future programming. In Berlin, the presence of the wall, which was once a divide, has left trails around the whole city. The urban continuity of the pre-walled city becomes discontinuous when central areas of the city do not feel “central”. The Kulturforum is part of what used to be a main city center, Potsdamer Platz, back at the beginning of 1900’s. The War and the Wall turned the central area into a “dead zone”.
The Kulturforum was commissioned as a West Berlin cultural project; it has very important buildings by modern architects. The wall came down and the Kulturforum had to reabsorb all the new flow of people coming from the East. From an urban point of view, the buildings standing in the forum do not relate to one another since there’s not a main plaza that connects them. By shifting the entrance of the New National Gallery 90 degrees, the whole site becomes activated. This forum can now become into a cultural center and add onto the many city centers, absorb urban flow and reinforce relationships between buildings and people.
INSTRUCTOR: GERARD SMULEVICH WITH: JUNG MI KIM, (VERONICA COPELLO, FLAVIA DRAMISIMO) Argentina Media.cero is an urban project that looks to re-purpose the Isla de Marchi in Buenos Aires, Argentina. Isla de Marchi is a peninsula that was built artificially through accumulation of soil which created a meander on the location as a contradiction to the natural river’s flow. The meander accumulates material and soil to the concave side, this concept was used as an urban strategy in where the new buildings contain the accumulation of program and re-purposed steel from the abandoned and deteriorated sheds. The history of the place, which has rusted steel and metal due to the abandonment from the metallurgical industry is a metaphor of the “old”, history that accumulates and serves as a support to what it is to come, “the new”, which is the renovation of the industry through the creation of an audiovisual and media pole. From a metallurgical industry to a cinema/media industry.
1. Artificial land
2. Meander
3. Meander for urban street
Meander concept serves as a methodology for the revitalization of the metallurgical steel.
Sectional study model showing water edge
Sectional study model showing existing buildings
Site Model
Plan: People in the atrium become spectators of the new building and the new building becomes the spectator of the atrium, thus generating a dynamic relationship between building and site. Elevation: The concrete elevates as topographic landscape to support steel against possible floods. A dual chain of support is synthesized, the heavy concrete becomes the backbone of repurposed steel and at the same time the repurposed steel becomes the backbone of the media steel. Section: Two types of steel shape the spaces. The duality between the two mend the different programmatic placement.
Elevated urban plaza Entertainment sector
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The repurposed steel serves as a “backbone� for the media steel (media acero) through the juxtaposition of elements. The dichotomy of steels is expressed through openness and enclosure, lightness and heaviness.
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1
INSTRUCTOR: MARK OWEN & GUILLERMO HONLES Currently, Cuzco city is a place for tourism, enjoyment and vacation as much as it is a place for investigation. The city needs to have emerging projects that compromise both scales which are: Major scale: History layer (the before layer/layers) Minor scale: Contemporary scale (young Cuzco’s population) The proposal for this project is to create a museum and archeological offices that respect both scales since it serves locals and tourists. The existing kanchas on the site mark the arrangement of program and circulation.
1. Cuzco map with 3 powers
2. Site with kanchas ruins
3. Longitudinal axis (Inca)
4. Transverse axis (Spanish)
5. Twelve angle keystone
The museum slab presents a couple of multiuse rooms in where the adjacent schools can have typical dances contests or workshops; these rooms can also be used by the Culture Ministery (adjacent to Kusikancha) as places to hold cultural events and conferences. The slab cantilevers looking into the current needs of the city and providing shade to the street. The proposed project integrates tourism with native people activities in a free flowing manner.
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Cross Section
Office and Administration
2nd floor
Research Lab Restrooms/ Maintenance Cafeteria and Outdoor Terrace Museum/ Exhibition Gallery
Program Diagram
Classrooms
A
Kanchas Wall Ruins Kanchas Rooms
Kanchas Diagram
B
C
D
E
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The longitudinal circulation responds to Cusco’s original Inca organization that connected the 3 main powers (Administrative-Colcampata, Politic-Huacaypata and Religious-Koricancha). Spanish built the city transversal to the Inca axis empowering it with churches creating a cross. The project organizes longitudinally having perpendicular points of access, thus empowering crisscross movement and impromptu meetings.
K
1
Inca Streets
Frosted Glass
Roof Access
Roof Access
2
Private circulation Public circulation Disabled circulation
Green Roof
Green Roof
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3 Elevator Lobby
Elevator
4 12
The intervention understands that the needs of the city are not based only on today’s life necessities but rather on the necessities of the flow of the city’s past, contemporary and future. Reciprocal Layers aims to change the profound architectural restrictions on the historical city center.
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5
Archeological center Maintenance/W.C. Museum
Kanchas Wall Ruins Kanchas Rooms
1st floor
0
6 3
Second Level
12
Kanchas Diagram
Inca Streets
Office and Administration
2nd floor
A
Research Lab
B
C
D
E
F
G
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Restrooms/ Maintenance Cafeteria and Outdoor Terrace Museum/ Exhibition Gallery Classrooms
Program Diagram
1 1
2
2
Solid / Private Translucent / Public
Entrance Archeological Center
Entrance Archeological Center
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10
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8 3
3 Kanchas Tour Elevator
1 Main Entrance
4 7
5
1st floor
2
6
5
Kanchas Wall Ruins Kanchas Rooms
Inca streets Kanchas Kanchas’ walls / ruins
Inca Streets Office and Administration
3
A
Kanchas (below)
4
Kanchas Diagram 2nd floor
Research Lab
Restrooms/ Maintenance
Cafeteria and Outdoor Terrace Museum/ Exhibition Gallery Classrooms
Program Diagram 0
First Level
6 3
12
A
B
C
D
E
F
G
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K
1
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3 1st floor Elevator
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5 Office and Administration
2nd floor
Research Lab Restrooms/ Maintenance Cafeteria and Outdoor Terrace Museum/ Exhibition Gallery Classrooms
Program Diagram
Kancha Level 0
6 3
12
B
C
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3 0
12 6
Longitudinal Section
INSTRUCTOR: GERARD SMULEVICH WITH: KENDRA RAMIREZ Tijuana has always experienced bigger population growth percentages due to economic and geographic closeness to the U.S. Future population growth tendencies continues to favor Tijuana at a ratio of 2.0 to 1.3. This means that by the year 2032 Tijuana’s population will double that of San Diego. Both cities’ population growth rates suggest a “pressure” through exchange of “energy” among them which in return is contained by the physical border. The research centers to be located on the border are COLEF (Mexico), and the Transborder Institute (USA).
300% 1500%
300% 900%
80% 600%
20% 60%
[ 1910 - 1940 ]
[ 1940 - 1965 ]
[ 1965 - 1985 ]
[ 1985 - 2013 ]
1sandiegan=52tijuanenses
1sandiegan=26tijuanenses
1sandiegan=23tijuanenses
1sandiegan=1.7tijuanenses
1. Tijuana-San Diego changes
2045
2030
2015
2000
1985
Tijuana San Diego
2. Future estimated growth
City Of San Diego
PACIFIC OCEAN
City Of Tijuana
3. Special economic zones.
4. Manufactural landscape
Population growth tendencies have always been interconnected through the region’s economical behavior, and have created special economic zones (SEZ) in both San Diego (regional enterprise zone) and Tijuana (maquiladoras) which contradict the implemented boundary. This free commerce area is situated on a divide and a regional surface dichotomy suggesting a bending of the physical border generating a new bi-national manufactural landscape. This manufactural landscape opens up to experience a dichotomy of a flexible border with the actual border line. The landscape is the concept for the project since it allows the program to be flexible and transmit spoken and physical information, thus breaking the implemented physical border with a flexible “border contained space�. On the site, the Tijuana River is a mediator between the maquiladoras and the two sides of the border. This manufactural landscape suggests commerce behavior where the industrial machines along the river line spread out into a surface.
Studying the contained border space
The existence of this free commerce layer with the constant pressure that the region’s populations have experienced, and keep on experiencing, bends the line and creates links that surpass physical limitations. The programs on the border space become a whole new self-contained program. Structural, spatial and programmatic lines are bent through contrasts. 1
1. Circulation next to façade:
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2 1
2. Interior bridges: The infrastructure has aspirations of retaining character of urban fabric. The internal bridges, receive an overall enclosure from the building but are open within.
3
The underside of the building is open to the breeze from the Pacific Ocean promoting natural ventilation. Air flow is absorbed and exhausted through the folded roof.
Louvers expose people’s path. Urban fabric and the individual have a reciprocal visual relationship.
3. Program next to the façade: Louvers cover the entire
3
height allowing daylight but not direct sunlight.
1. Switchback emergency stairs: They create a hollow core which allows the international conference room to cantilever above the border. 2. Cross-bracing, gusset plates and 1.5� bolts stabilize the structure on its 3 axis.
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INSTRUCTOR: GERARD SMULEVICH Two observation platforms are proposed in Ballona Creek, Marina del Rey. The Creek is a very important place for migratory birds all year round. It is an important rest point for them as they travel from Alaska to the south of Chile, thus attracting people who enjoy doing bird watching. The Creek not only attracts birds, boat racers also use the site to practice and compete professionally.
The program consists of two platforms, one to do bird watching and one to referee the regatta boat racing; at the same time, the structure has to shade two existing boat platforms at the surface level as well. The most important part about the design of the structure is the horizontality of the site, any structure placed there has a strong visual presence. The design breaks the horizontality in a graceful manner thanks to the structural geometry which allows for minimum vertical support and a maximum span. Tensile and compressive elements pull and push each other to create a floating roof to do bird watching with no view obstruction. Bird watching Platform
Judging Platform
INSTRUCTOR: JAY NICKELS The intervention proposes to add two apartments into the existing Woodbury University campus in San Diego. The strip-like area that can be treated sits at the end of one of the architecture studios and looks to house 2 different professors, one per apartment. The architectural approach: analyze the campus figure ground and classify the current school programs into private, semi-private and public program spaces. Conceptual approach: take the figure ground program and rotate it three-dimensionally so that the plan’s programmatic qualities are transferred into sectional ones. The result: the apartments carry and keep the existing sense of place.
1. School figure ground
FIGURE GROUND
FIGURE GROUND
2. Figure ground programmed
2. Figure ground rotated
The apartments offer very different living styles. Professor Stefano likes to have a private life. On the other hand, Professor Andrea likes to engage in public activities with students. Their personalities are reflected in the apartments. Dark versus light flooring, clear versus opaque windows, views towards the school versus views towards the alley. These additions are a narrative of the school spatial qualities and the individual’s personalities.
Alley
INSTRUCTOR: JAY NICKELS This prototype acts as a transition from the high rise buildings into the lower residential areas. The slab housing and retail frontage seek to maintain the existing urban fabric attracting single and young people as tenants. The terracing at the back offers private gardens to families which seek calm and retreat, something difficult to find in downtown LA. The placement of the different typologies on the site suggests the creation of a semiprivate area on the alley side. The activation of the alley can reach its maximum if the building becomes a prototype for a perimeter block.
3 0
12 6
Infill - Terrace
Slab - Courtyard
Terrace - Courtyard
Slab - Slab
Slab - Slab - Infill
Slab - Terrace - Infill
Infill - Slab
Slab - Slab - Infill
Infill
Terrace - Courtyard - Slab
Slab - Infill
Slab - Terrace - Infill
The pyramid stairs cut through the building interconnecting the internal program thus allowing circulation from the parking to the units and from the Metro to the units. The faรงade while seeking to maintain the urban fabric of the site, also allows for tenants to have moments of singular privacy. Minor yet noticeable extrusions for balconies balanced with deep interior spaces give comfort and movability to people.
INSTRUCTOR: NICOLE ACARON-TORO A dissection of a drawing produces various relationships that measure layering, composition and scalar shifts. When the intent of the composition is identified, the topographical features become obvious. The compositional relationships are expressed in form of a quadratic equation in were the “X” and “Y” values are dependent and independent at the same time. “X” and “Y” measure units and harmony; at the same time they help organize elements in any spatial dimension.
The elements relate by overlapping as well. The overlap of one over another one gives clues as to what the most important features of the drawing are. The overlap together with the quadratic scalar growth of the elements creates a well-balanced drawing that analyses sites conditions at different scales making it very informative. High contrast and scale shifts are predominant in the drawing. found in the section made noticeable the scalar relationships and the strategic placing of these in the composition. By measuring the distances between the scalar changes, a quadratic growth was observed.
Limit After dissecting the drawing, the creation of one through observation was made. The site chosen for mapping was the parking lot of the Huntington Library in Los Angeles. The collection of data was done with limits: Graph paper with a pencil
Charcoal for texture
Scale: 1/16”=1’0”
Scale: 1/32“=1’0”
INSTRUCTOR: NICOLE ACARON-TORO The design for the Bus Terminal in Downtown LA is a translation of prior site exercises done through drawing. The Stadium Way and Lilac Terrace intersection was formed due to investors who imposed on this site and created a new topography; topography that acts different on each side of the site. To the west, a carved mountain; to the east an open bounded space, to the west, creation by removal; to the east, creation by addition. East and west layers of temperature, wind, light, sound and movement are almost opposite on both sides. The contradictions and similarities help to define the Bus Terminal design parameters.
1. Site layer - wind
2. Site layer - topography
3. Site layer - vegetation
4. Site hybrid - proposal
The terminal connects the city in a new way. The design looks outside of the given boundaries. The west side has an urban grid which is created on top of the mountain that is carved to the side to create part of the new site. This urban grid while being connected through the analyzed layers is not connected in a deeper manner. The interrupted hill connects the top urban grid with the carved out site by creating a route that connects a short distance metro with that urban grid.
Continuous sections are cut through the site in order to study ground to building relationships. Vectors and masses become circulation and program.
Program:
a - Waiting interior b - Waiting exterior c - Restrooms d - Long distance ticket booth e - Metro ticket booth f - Driver lounge/restroom g - Mechanical h - Offices i - Dispatch room j - Retail concessions k - Benches / tables l - Covered bus parking m - Restaurant n - News stand o - Terrain p - Bicycle parking r - Parking spaces Buses Cars People Bicycles Vegetation
The Bus Terminal design adapts to the geological conditions that the site defines through an understanding of how the site evolves; it defines new boundaries and programmatic sequences. Floor Plan
INSTRUCTOR: LINDA CHUNG The design for the temporary exhibition shed at the Geffen Contemporary at Moca, follows studies taken from a dress made by designer Junya Watanabe. The dress qualities are expansion and compression, which repeated along the dress create flouncing, which diminishes as the seams start becoming unattached from one another towards the bottom of the skirt. Alternatively, the dress becomes more flexible, fluffy and expands in the lower portion, allowing it to respond to human movements in a direct manner. Consequential three-dimensional studies looked to produce effects of surface inflation (flounces and fluffiness), a by-product of the expansion and compression capabilities of the material.
1. Valley and Ridge
2. Twisting
3. Sliding
4. Joining
5. Inflating
6. Connection Detail
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Horizontal Pattern
a
b
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B
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A
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B A
B
c
d
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e
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A B
f
A
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g
h
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V e r t i c a l
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P a t t e r n
j
Dress technique.
rt p n l j h f d c b
s q o m ki g e
a
Seam analysis: A - expansion, B - compression: B1 + B2 = A3, A1 + A2 = B3
Pattern relationships
The shed is a composition of patterns and modules and it bridges extreme spatial and material poles: Compression-Dilation, OrderDisorder, White-Red, Inside-Outside, Light-Dark, etc. Visitors are pulled toward these extremes and experience architecture’s two sides, and everything else in between.
a b c d e f g h i j k l m n
o p q
t s r
Transversal Section
Study models explore modules that possess structural points, which are a direct consequence of the hyper accumulation of material due to the fold.
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Private 60%
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Space distorts in percentages to achieve the program placement
4. Private - 60%
N
SITE PLAN - SCALE 1'=1/32
4 3
4
2 & 3. Semi-Private 20%
ET
SILVERLAKE BOULEVARD
3
3
4. Public 20%
EFFIE STRE
102 02 2’’
91’
INSTRUCTOR: LINDA CHUNG The design of the boutique in Silverlake hotel adjusts to both rigid and final ideas taken from a dress made by the designer Junya Watanabe which at the same time adjusts to new and scrutinised forms of already final ideas. These new explorations, while might seem visually loose and malleable, are strict and firm since they adjust to studies done about circulation and space which are extracted from the Cooper Union in New York by Morphosis Architects. Cooper Union’s atrium is the main core of the building. This core is made by different pieces, these pieces present different relationships and the different relationships between the pieces; ceiling to wall, wall to floor, floor to wall and wall to ceiling; creates an unnoticed but yet strongly present psychology in the users.
Privat 60%
Semi15
Public 15%
4
2&3
1
The form in which the pieces are related within one another suggests the rhythm in which users move around the atrium. The pieces not only relate in an familiar manner, orthogonal relationships, but they start bending and sloping in order to create the desired effect. This new way of organizing the pieces is a distortion of the geometry of the orthogonal pieces. Furthermore, the distortion not only affects surfaces, program, circulation and materiality; it affects the user’s mind-set as a new proposal is taken to apply into the intended design of the boutique hotel. Private Semi-private Public Outdoor
Distortion materials
FLOOR PLAN 2ND FLOOR
Distortion gravity
Modules from research
FIFTH FLOOR PLAN
Modules distorted + program
WORK: MAXIMILIANO SPINA ARCHITECTS Infrastructure and service buildings have usually been characterized by the specificity and efficiency of their connections. While these two models of space organization have been in opposition, we recognize open spatial possibilities. Along that line of thinking, MSA’s design proposes a three-part based typology that subtly contorts its mass in order to link to neighboring spaces and activities.
Arrival
Departure
Domestic International
\ msa \
Image courtesy of MSA / Maxi Spina Architects / Los Angeles
maxi spina architects
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New Keelung Harbor Service Building
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FLAT DRAWING SHOWINGsystem UNFOLDED TECTONIC SYSTEM OF BUILDING’S Unfolded tectonic of building’s shell SHELL
Planar shell showing regular pattern
Complete building shell
Contorted shell showing fractured pattern
+ +
0
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Site Plan
JURY: THOM MAYNE, MICHAEL ANDERSON, BOB HALE, SCOTT JOHNSON, AMONG OTHERS WITH: JUNG MI KIM AND CONNER MACPHEE, WINNER TEAM “The Reef” building is located in Downtown LA and is a creative habitat for different designers. The current architecture of the building is stale and in need of an intervention. The concept proposal was the echoing process as a sensitive response that ties the dynamic external and internal conditions. By inverting the existing solidity of The Reef, a new series of pedestrian processions are revealed; exposing the diversity from within. This method of filtering forces allows a slippage between solid and void; creating an experience which reverberates the energy from the creative process inside the existing building. The formal activation of the already vibrant community embraces the pedestrian flows and creates a responsive exposure for the creative individual’s future.
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80
Freeway Circulation
1. Dynamic conditions
2. Echo and filtering
- 3. Inversion
Ecologic Composite
Dynamic Precession
Inverted Reverberations
Eroded Voids
4. Sectional echo
Exhibition / Pedestrian Procession
Residential
= =
Conceptual model
Existing building, “The Reef”, with new façade treatment, incorporated parking as a processional experience, retail and hotel addition.
“The Reef”
Hotel
Micro retail
INSTRUCTOR: GIULIO ZAVOLTA WITH: KENDRA RAMIREZ, JUNG MI KIM, BREANNA STAFFORD AND HAROLD RAMIREZ
INSTRUCTOR: ERIC OLSEN WITH: POOJA PATEL, CAROLINA SHELTON AND PIETER NUYGEN A composition of materials were studied and tested for this class. Diverse and alike studies tested fiberglass’ properties when mixedor applied with other materials in order to build a construct at real scale, (1:1).
The main focus is to create a light weight structure made out of fiberglass that once combined with other materials acts as a structural element, wall and envelope system. In the construct, a mix of fiberglass and resin holds loads from the wood posts and transfers it to the concrete base. The fiberglass wall carries compressive loads and tensile stress from the wood beams. Concrete and fiberglass are bad heat conductors so they don’t offer good thermal control, but when the insulation is put in between the two panels, it doesn’t only serves as a mold for the fiberglass, but it also creates an insulated wall. This construct is a prototype that is a floor, wall and roof framing system.
1/2” Thick Fiberglass With Prefabricated Forms And Epoxy Glue For Wood Beams
D.F.L. No. 2 Beam 2 X 4
51”
23”
31”
Foam Insulation Compressible Neoprene Gasket
26”
19”
Poured Concrete
Pre-drill Holes In Fiberglass
Pre-drill Holes In Concrete
4.25”
Mold For Concrete
” 26 13” 2.5”
INSTRUCTORS: MARC ERICSON, RAMON RAMIREZ
INSTRUCTORS: MARK OWEN, DOUG YOUNG