Retrospective by Miriam Malpartida

retrospective miriam jacobsen

woodbury university

retrospective: an exhibition of the development of my work: miriam jacobsen

TABLE OF CONTENTS

Design Studio 3B: structure systems: Gerard Smulevich Bending the Line: with Kendra Ramirez Bifurcated Flow

Design Studio 3A: house and housing: Jay Nickels

6 18 Fall ‘12

1928’s Intervention

Oppositely Equal Urban Transformation

34 44

Design Studio 2B: site orders: Nicole Acaron-Toro Reciprocal Dividents

Design Studio 2A: program and space: Linda Chung Bi-Polar Order Archetypal Distortion

Design Studio 1B: natural tendencies: Doug Young, Louis Molina, Rennie Tang Under-Light Classical Space Timeless Growth

Design Studio 1A: Principles and Processes: mark ericson Cutting Outburst Tensile Corruption Distorted Perspective: with Jonathan Raya, Abdul Alessa

Design Communication 2: mark owen A.R.C.A.M Case Study

Design Communication 1: ramon ramirez Learning To See

Professional Practice: Giulio Zavolta 4:1 Architects: with Jung Mi Kim, Harold Ramirez, Kendra Ramirez, Breanna Sttandford 4

Spring ‘13

Spring ‘12

58 Fall ‘11

76 88 Spring ‘11

100 104 108 Fall ‘10

112 116 122 Spring ‘11

130 Fall ‘10

136 Spring ‘12

144

Materials And Methods: Composite: Eric Olsen

Multiuse: with Pooja Patel, Carolina Shelton and Pieter Nuygen

Digital Painting: Ramon Ramirez

152 Fall ‘12

Receptive World: with Kendra Ramirez 160

Urban Drawing: ramon ramirez

Fall ‘11

Spring ‘11

Edgeless Boundaries 164

Work Experience: M.S.A. Architects: Maxi Spina

Summer ‘12

Pattern Studies 170 Terminal 178

Intensive Rhino: Jason King

Villa NM Case Study

Fall ‘11

184

Art: self

Timeless Learning

188

looking back... 6

DESIGN STUDIO 3B DESIGN STUDIO 3A DESIGN STUDIO 2B DESIGN STUDIO 2A DESIGN STUDIO 1B DESIGN STUDIO 1A DESIGN COMMUNICATION 2 DESIGN COMMUNICATION 1 PROFESSIONAL PRACTICE MATERIALS AND METHODS DIGITAL PAINTING URBAN DRAWING WORK EXPERIENCE INTENSIVE RHINO ART/HAND DRAWINGS

bending the line 8

3 000 000 BENDING THE LINE: A Dichotomy

2 000 000

Since the amnesty, Tijuana has

The San Diego -Tijuana conurbation has become the third largest in the world after Shenzhen-Hong Kong, with Tijuana’s population predicted to double that of San Diego’s by 2032. DETROIT - WINDSOR Tijuana has always experienced bigger 5.7 MILLION PEOPLE population growth percentages due to economic and geographic closeness to the U.S. Future population growth tendencies continue to favor Tijuana at a ratio of 2.0 to 1.3. Both cities’SAN popu- DIEGO - TIJUANA lation growth rates suggest a “pressure” 5.1 MILLION PEOPLE through exchange of “energy” among them which in return is contained by the physical border.

1 500 000

resulting in

more than 50%

1 000 000 500 000 250 000 100 000 50 000

prohibition law

1925

world war I

VIsas required

1910

the great boom real state boom ends

1 000

1900

5 000

1880

10 000

1848 us.-mexico war

20 000

military build up

30 000

hotel developments

u.s border patrol created

40 000

Through time, one San Diegan percent has always

300% 1500%

300% 900%

[300% 1910 - 1500% 1940 ]

[300% 1940 - 900% 1965 ]

[ 1910 - 1940 ]

[ 1940 - 1965 ]

1sandiegan=52tijuanenses

1sandiegan=26tijuanenses

1sandiegan=52tijuanenses

1sandiegan=26tijuanenses

Tijuana San Diego Tijuana San Diego

[ 1985 - 2013 ]

1sandiegan=1.7tijuanenses

2045

[ 1965 - 1985 ]

2030

20% 60%

2015

80% 600%

2000

been worth more than one Tijuanense percent. population boom

1979 fence “tortilla curtain” is raised outbound migration increases economic crisis 1984 amnesty

Tia juana trolley construction. s.d. and t.j linked

california's second-largest city

termination of the labor program maquiladora program

operation “wetback”

world war II

operation “gatekeeper” pushes immigration east

2050

2035

2015

2010

2005

recession begins illegal immigration started decreasing

2000 death toll at border rises

1995

1990 ﬁrst smuggling tunnel discovered

1985

1980

1975

1970

1965

1960

1955

1950

agricultural boom

pearl harbor bombing labor program

casinos changed to schools

immigration lessens due to 1929’s crash

raising maquiladora industry,

1985

1sandiegan=23tijuanenses

1945

1940

1935

1930

s had a thus causing migration

% of its population being from other parts of Mexico.

HONG KONG - SHENZ 19 MILLION PEOPLE

Future population growth tendencies continue to favor Tijuana.

3, 443,928

1,743,928 1,607,402

1,307,402

Population growth tendencies have always been interconnected through the regionâ&#x20AC;&#x2122;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 in where American manufacturers focus on quick sourcing rather than outsourcing. This manufactural landscape opens up to experience a dichotomy of a flexible border with the actual border line. 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.

Free commerce layer

Site

Regional enterprise zone City Of San Diego

Tijuana River as a mediator

Physical border line

PACIFIC OCEAN

Maquiladoras

City Of Tijuana

camino de la plaza

z ayala av fernando sanche

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idg e

neg ret e

avenida revolucion

ion avenida constituc

z ayala av fernando sanche

ion avenida constituc

z ayala av fernando sanche

ave ni

The research done about the border and region conditions is used as a precedent for an architectural proposal for two Border Research Institutes for Demography, Government and the Environment. The issues that relate to the development of the border region are studied, documented and discussed by a series of â&#x20AC;&#x153;think tanksâ&#x20AC;?, semi â&#x20AC;&#x201C;private organizations staffed by experts who develop an ongoing body of observations about the border and share them through lectures, publications and public communication channels. The two organizations are: El Colegio de La Frontera Norte (COLEF), Tijuana , Mexico and The Trans Border Institute. The study models translate the research into architectural conditions. Both sides contrast and meet each other creating pressure and interstitial space in between. The linear structure suggests the arraignment of program following the manufactural landscape that is eventually transformed into volumetric conditions.

Detail Detail study model of meeting point of both sides

International conference room

The river acts as a permeable surface in where the program is terraced around a main international conference room. The circulation threads and distances of the “balconies” allow for researches of the same think tank to share data through impromptu meetings and the raise of voice (proximities calculated on program loudness levels). The data shared through informal and formal meetings (conference rooms) is then taken to the international conference room, where a crack on the floor plate opens up to expose commercial transactions between both parties through the purchasing of food and the actual border line with the river and its issues, which contradicts with the observed trade. Proximities of program allows for “quick sourcing”. From this room information continues to be transferred back and forth. Program in section, is located throughout as a translation of the population growth timeline.

Circulation and program contrast themselves by opening holes on the floor plates which also allow penetration of roofs onto spaces which then create other floor plate. Plan and section adjust program so that is sits along the open commerce trade along northern-southern lines. Tijuanaâ&#x20AC;&#x2122;s density is carried on by the program and structure, it starts becoming less dense as it approaches the big box ground figure on the other side. As it approaches the actual physical line structural and programmatic functions change and continue to the other side which is less dense. Thereâ&#x20AC;&#x2122;s a dichotomy between structure and volumes as well. The structure of the think tanks is created due to the folding of tensile and compressive members; steel is treated so that the structure looks as part of a complicated machine that deals between the south and the north. This complex structural envelope has a very clear and open spatial relationship inside that contradicts the form.

On this page: The relationship of sketches to model reveals the architectural intent of impromptu meetings through circulation. Circulation is marked with red strips. Opposite page: Hand drawn floor plan, long and cross section, and an elevation. Skin and circulation issues are designed. The model studies issues of structure and program. Skin is studied in elevation.

The existence of this free commerce layer with the constant pressure that the regionâ&#x20AC;&#x2122;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.

bifurcated flow 20

The site for two observation platforms is Ballona Creek in Marina del Rey. 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. 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. This characteristic attracts people who enjoy doing bird watching. This site also hosts local boat races allowing the platform to congregate 5 people at the time to judge the contestants. The most important part when designing the structure is to consider the horizontality of the site. Any structure placed there has a strong visual presence. The design has to break that horizontality in a graceful manner.

Solar studies to determine the placement of platforms and roofs according to each platformâ&#x20AC;&#x2122;s program.

UCLA Extension Bike and pedestrian path Site Existing boat platforms

River for boat racing

Bird reserve

The study models and sketches thrive for a cohesive structure and program requirements.

The structure modulates according to site needs. The trusses are tapered and modulated, deeper where it needs to be and thinner where it wants to be. The studies are done through the alternation of sketching and modeling.

The platforms are built in a way in where the structural form allows for minimum vertical support and maximum spanning. The structural pieces flow within the elements creating tensile and compressive elements that balance each other allowing for the creation of a floating roof in the referee platform.

Circulation ramps serve as a shading device. This continuous ramping with a bifurcation at the corner allows for people to enjoy the site views and the structural and formal qualities of the construction.

Elevation in model, section in drawing. The columns are reinforced at the middle by creating a three dimensional axis. Compression of lateral loads is re-distributed along the individual columns that form a structural mega column.

The placement of the new viewing platforms in Ballona Creek, interferes vertically and horizontally on the site in an elegant manner. The structure sits and floats over the river.

1928’s intervention 30

El Cabrillo Housing is the case study for a housing intervention. This courtyard is located at the heart of Hollywood in Los Angeles and it is an archetypal Mediterranean courthouse apartment building. Migration of people, also brought migration of architecture, and by implementing this, travellers felt more at home. As a corner building, El Cabrillo was originally entered from both streets. Unfortunately, because of continual street widening, the main entry has been closed altogether, and the building configuration on the sidewalk has been altered considerably. El Cabrillo is built with concrete blocks, nonstandard in size, to create an adobe block effect.

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On the right, the figure ground reveals density patterns; the grey tone diagram distinguishes private from public and next to it a lot diagram divides the land.

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The beginning of the 20th century was a period of changes for LA. More than 2 million Eastern Europeans immigrated. LA potentialâ&#x20AC;&#x2122;s for the entertainment industry started being noticed. A growing number of filmmakers located in the city, drawn by accessibility of varied scenery, and a climate ideal for year-round outdoor filming started opening film studios. Hollywood symbolized â&#x20AC;&#x153;the new moralityâ&#x20AC;? of the 1920s--a mixture of extravagance, glamour, hedonism, and fun. LA started offering short term housing for people in the industry and adapted architectural European typologies.

The circulation of a courtyard is controlled by the center piece of the typology which acts as a filtering device for each unit. El Cabrillo was one of the first courtyards to offer car parking.

W.C

Courtyard

Living Room Bedroom

Kitchen W.C

Living Room

Patio (Common Area)

W.C

Bedroom 8

Main Entry

Kitchen

6 0

Car Entry

Living Room

W.C

Patio (Common Area)

SINGLE- BAR TYPE/ ONE SIDE 1

Courtyard

Living Room

Main Entry

24 6 0

Car Entry 24

SINGLE- BAR TYPE/ ONE SIDE 2

Kitchen

COMPLETED COURTYARD TYPE/ ALL SIDES SINGLE- BAR TYPE/ ONE SIDE 3

COURTYARD DIAGRAMS

El Cabrillo, Arthur and Nina Zwebell, 1928 1832-1850 N. Grace Ave. Los Angeles, CA

SINGLE- BAR TYPE/ ONE SIDE 4

Kitchen Studio 3A // House and Housing // Date: 8-30-2012 // Instructor: Jay Nickels // Students: Miriam Jacobsen & Faisal Alzakari

When looking at each unit separately, vertical circulation is the main driver for tenants to distinguish eating and cooking from sleeping in the upper level. An intervention that tests this pattern is verified.

Domestic gesture: A single unit incorporates a two story living room, a mezzanine, and graceful staircases. All the dwelling interiors are skilfully modelled in light with a variety of windows openings. Small lunette windows in the upper part of the livingroom space are especially effective. Furniture and household activities are controlled by the staircase.

sleeping room

bathroom

courtyard

dining room (behind)

second entrance (behind)

kitchen (behind)

.5 0

2 1

Intervetion: By eliminating the centrepiece of the unit: staircase; the furniture arraignment of the entire apartment has to be adjusted. A simple activity just like going to sleep is turned into a dynamic one. The ladder placement also allows for the double height walls to present offsets and extrusions, acting as object holders along the way.

1928

.5 0

2 1

Miriam Jacobsen

oppositely equal 36

`The intervention on this site is done through the addition of 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 was to analyse the campus figure ground and classifying the current school programs into private, semi-private and public program spaces. In last’s project’s intervention (staircase into ladder) the wall got activated and turned into a programmatic area contrasting the treatment of the archetypal plan design; as a result, the approach taken for this intervention was to 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 keep organizational qualities and the environmental feel that the school has.

FIGURE GROUND

The school has two main studios (turquoise columns) which are completely different. One is light the other dark; one is more public the other is more private. This spatial quality is taken into the design of the future apartments.

FIGURE GROUND

Study models test vertical circulation that is now activated by being turned into programmatic areas. Both apartments intersect each other along their sections. Professors won’t know that they are practically “sharing” common space.

The apartments are for two professors who enjoy arts and have an edgy approach towards living conditions in two different ways. Professor Stefano likes to have a private life and enjoy the spatial complexities and leisure that one of the apartments has to offer by himself. On the other hand, Professor Andrea likes to engage in public activities with the school students. She likes to have her work space visible to the students and to observe the school spirit. 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 and the individualâ&#x20AC;&#x2122;s personalities.

urban transformation 46

Vision: Prototype for a future perimeter block This prototype acts as a transition from the high rise buildings to the north into the lower residential areas to the south. 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 this building becomes a prototype for the perimeter.

Elevation view from the model on the site; both slab and terrace contrast the different living conditions. As seen in the sketch above, this prototype has the potential to repeat itself along the perimeter.

SITE: Hope Street/ Downtown L.A.

W S

TYPOLOGIES: Terrace Slab Perimeter Infill NUMBER OF UNITS: 27 TYPES OF UNITS: 6 – 2bed. Apartments 7 – 1bed. Apartments 14 – Studios ADDITIONAL PROGRAMS: Bar/Restaurant Gym Outdoor Pool Recreational Room

Housing Typologies responding to the current site issues acting as â&#x20AC;&#x153;transformersâ&#x20AC;?

Infill

Infill - Slab

Infill - Terrace

Slab - Courtyard

Slab - Slab

Terrace - Courtyard

Terrace - Courtyard - Slab

Slab - Slab - Infill

Slab - Terrace - Infill

Slab - Infill

Slab - Terrace - Infill - Final One

A future perimeter block will create a much needed private courtyard with the slabs acting as permeable forts allowing people to circulate from the metro station to the adjacent areas.

The public program is placed at street level; the parking for the public is 4’ below grade having a ramp for disabled and stairs connecting to the bar/restaurant. The housing program sits on top of the public program and allows for a free tenant car circulation.

Studios Circulation One Bedroom Circulation Two Bedroom Circulation 1 Bed. Outdoor 2 Bed. Outdoor

Semi Private Circulation

Laundry Rooms Gym Recreational Room Pool Car’s Circulation Public Circulation Bar and Restaurant

CIRCULATION

TO METRO

Retail Parking EXPLODED AXONOMETRIC PROGRAM

Public Parking Residents Parking

Shared Spaces

Car Circulation

FROM METRO

Living Spaces

Studios 1 Bedroom 2 Bedroom Main Stairs Alley

Outdoor Spaces

Private Circulation

Studios Outdoor Elevator

Circulation study model in plan view. The entrance from the alley leads into the main stairs which feeds into the units.

On this page: West elevations shown in drawing and model. Entrance to main tenant circulation from the Metro Line in between the terracing and the parking lot. Opposite page: 1st Floor Plan: Bar and restaurant on the east slab with parking; two mirrored apartments on western side

3 0

12 6

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Long section with terracing for future inner activation. Slab facing street respecting the urban fabric

12 6

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Below: 3rd Floor Plan: Main private inner elevated plaza with pool, mirrored 2 bedroom apartments and 1 bedroom apartments with private patio. East Elevation: Shared areas such like laundry rooms, gym and recreational room are grouped in the gray vertical extrusion. One bedroom apartments and studios group around vertical extrusion.

3 0

12 6

The faรงade while seeking to maintain the urban fabric, 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.

Two 1 Bedroom Apartments Back Circulation Bedroom/Lounge Bathroom Laundry Front Balcony Back Private Patio

Two Studios Back Balcony Bedroom/Lounge Bathroom Kitchen Living Area Front Balcony

Opposite Page: The pyramid stairs cut through the building interconnecting the internal program allowing quick and easy circulation from the parking to the units. The stairs also connect the Metro to the units in a direct manner. The easy and quick accesibility of the elevator at the front serves the dissabled to acces their apartments from the parking lot and the street.

One bedroom apartment second floor panoramic

One bedroom apartment first floor panoramic

reciprocal dividents 60

Describe A drawing can be described and examined in many different ways. The analyzed drawing is titled Windmill Topography and the makers are James Corner and Alex S. MacLean. The drawing presents landscape characteristics and geographic to site conditions. The analysis done is the following: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

The top of the drawing contains the title of the drawing which is “Windmill Topography” by placing an elevation view of the (invisible )mountain with the windmills on top of it. An aerial/plan view is framed within a strange shape. This shape is actually a part of the windmill. This part is the blade. By doing this, horizontal and vertical elements are being related and contrasted. By placing the windmills at a bigger scale in the right side of the drawing, the author is emphasizing the importance of the windmills in the composition. The placement of the windmills overlapping the “blade map” makes it easier for the viewer to draw the connection between the importance of the windmills in the topography which are drawn in red lines. The red lines specify the smallest vertical measurement (windmills in aerial view), but it becomes important since it is showing how the windmills are located within the topography of the site. The wind pressure chart is strategically placed next to the elevation of the mountains because the chart measures how wind changes with altitude. This also determines the placement of the windmills. The start of the red lines are determined by the recognition of wind directionality. These vectors together with the topography call for a placement of a series of windmills. Placing a section of the mountains with the windmills gives the drawing an extra scalar measurement. It also provides city information (LA). At the same time it serves as the floor for the windmills on the right. The moon shaped drawing adds weight to the bottom part of the drawing. It is also related to the topography by using the same fill as the section and to the wind-pressure chart by taking its shape. A part of a photo shows the scenery. At the same time the overlap of text in it relates the photo back to the measurement of the wind-pressure chart.

Dissect The dissection of the drawing produced various relationships that measure the layering, composition and scalar shifts. By trying to identify the intent of the composition, the intent of the topographical features was more obvious. All elements in the drawing are related to one another. Compositionally, these relationships are expressed in form of a quadratic equation in were the “x” and “y” values are dependent and independent at the same time. These values measure units and harmony (composition); at the same time “x” and “y” can 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. The layered section analyses materiality, depth and overlap within the layering. The relationships 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 and how even though at first glance the relationship might seem chaotic, it is actually organized when separating the scalar shifts between parts and the whole. Plan and elevation views are contained and mixed within. Information about climatic conditions is related to the topography by framing the pieces equally.

Limit After dissecting the drawing, the creation of one through observation was the following step. The site chosen for mapping was the parking lot of the Huntington Library in Los Angeles. The collection of data was done with the following limits: Photos to be plans and elevations related to one another by shifts of scalar perspective by moving the camera’s position. To measure, the use of body parts were used. The actual scale was measured by going to the element and standing next to it. Horizontal distances were measured by the amount of steps. Sound was measured by time lapses. Every second determined the amount of how a particular sound changes by drawing contours of the element in different thicknesses. Documentation was done on graph paper with a pencil and charcoal with different colours. Graph paper overlaid and contrasted the moments of scale change since it presents a grid that can be easily notated and related which will be repeated over and over for different moments. Texture patterns were obtained with charcoal. Represent: Drawings are overlapping, shifting a defining themselves and the others. Elevations are shaped to specify climatic conditions. The site is represented through the narrative of the experience and through the mapping of it just like the precedent drawing is laid out. Scale: Scale to be 1/16”=1’0” (required). The other two scales are full scale and 1/32“=1’0”. Full scale helps to understand more the site and how the elements relate to one another. The other scale used is 1/32”=1’0”. This is to get a better understanding of how the site is constructed in order to provide the right water flow through the parking lot. Drawing represents vegetation taking over.

Extract The site in Stadium Way and Lilac Terrace is one that is formed mainly due to the power of different sources. One source was investors who imposed in this site and created a new topography. This new topography acts different in each side separated by the street. The west side of the street has a carved hill that created a parking space. The west side of the site is created by removal whereas the east side of the street is created by addition. The west side acts in a totally different way in comparison to the east side. Temperature, wind, light, sound and movement are almost opposite even though both sides are next to one another. These relationships of similarity and opposition will help define the Bus Terminal design and parameters.

Vegetation taking over

Water pattern

Wind direction Existing infrastructure

Vegetation on east side

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Geological conditions of the west side that were once taken before are regaining ground. Vegetation is taken over the place. Relationships interrupted with man-made materials are beginning to exist again. Geology is moving at a very fast pace. This is due to the abandonment of the site. At the same time this side is more appealing for pedestrians and bikers since there is no wind present and it is under shadows for most of the day. Topography of the west side is being changed by the vegetation taking over again which at the same time brings new and interesting conditions to the site. To the right: The study models break the site in puzzle-like pieces allowing the site edges to express the focus of the layers which translate the site conditions.

The program for the bus terminal is translated using the studied layers: a - Waiting interior - 5000 sq2 b - Waiting exterior - 3500 sq2 c - Restrooms - 350 sq2 d - Long distance ticket booth - 50 sq2 e - Metro ticket booth - 50 sq2 f - Driver lounge/restroom - 500 sq2 g - Mechanical - 1000 sq2 h - Offices - 200 sq2 i - Dispatch room - 200 sq2 j - Retail concessions - 300 sq2 k - Benches / tables l - Covered bus parking - 12000 sq2 m - Restaurant - 3000 sq2 n - News stand - 200 sq2 o - Terrain - 25000 sq2 p - Bicycle parking - 100sq2 r - Parking spaces Buses Cars People Bicycles Vegetation

Continuous sections are cut through the site in order to study ground to building relationships. Vectors and masses become circulation and program.

a - Waiting interior - 5000 sq2 b - Waiting exterior - 3500 sq2 c - Restrooms - 350 sq2 d - Long distance ticket booth - 50 sq2 e - Metro ticket booth - 50 sq2 f - Driver lounge/restroom - 500 sq2 g - Mechanical - 1000 sq2 h - Offices - 200 sq2 i - Dispatch room - 200 sq2 j - Retail concessions - 300 sq2 k - Benches / tables l - Covered bus parking / maintenance - 12000 sq2 m-Restaurant - 3000 sq2 n - News stand - 200 sq2 o - Terrain - 25000 sq2 p - Bicycle parking - 100sq2 r - Parking spaces

ZERO WIND ZONE

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SCALE: 32’ = 1”

STUDENT: MIRIAM JACOBSEN // INSTRUCTOR: NICOLE ACARON-TORO // STUDIO 2B // SPRING 2012

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CUT PLAN

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TICKET BOOTH WAITING EXTERIOR

SECTION 14

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The terminal connects the city in a new different and better 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 layers of vegetation, wind, sound, and temperature is not connected in a deeper way. This 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. The reason why public transportation is so successful in other countries is because they connect almost every point of the city. People living here are not only connected to the terminal, but also to other parts of the city. Since the buses will go all the way up to the west hill, another route for pedestrians will connect them to this route.

The proposal blends in with the siteâ&#x20AC;&#x2122;s topography. It looks to connect the Dodger Stadium and the western hill through the addition of a Metro station.

Thereâ&#x20AC;&#x2122;s two ways of circulating, slow and fast. People taking the long term busses circulate slower and people taking the metro move faster. This defines shape of masses and the breakage of them . The restaurant breaks into a slow paced restaurant and a quick snack store. A park addition suits the needs of the adjacent neighbours. It invites more people to work out, to have day picnics or just regular meetings. The terrain folds and facets to house all programs required by the terminal and the park adding new plants that enrich the scheme like dogwood and trees that attract seasonal birds.

Entrance to the park.

Entrance to the terminal.

Standing on the covered waiting area overlooking the exterior waiting area and the buses departures and arrivals.

Gym and park area. In this space people can also wait for the Metro.

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.

DESIGN STUDIO 3B DESIGN STUDIO 3A DESIGN STUDIO 2B DESIGN STUDIO 2A

l k j i h g f e d c b a

DESIGN STUDIO 1B DESIGN STUDIO 1A DESIGN COMMUNICATION 2 DESIGN COMMUNICATION 1 PROFESSIONAL PRACTICE MATERIALS AND METHODS DIGITAL PAINTING URBAN DRAWING WORK EXPERIENCE INTENSIVE RHINO ART/HAND DRAWINGS

a b c d e f g h i

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bi-polar order 78

The design for the temporary exhibition shed follows studies taken from a dress made by the designer Junya Watanabe. This dress presents qualities as expansion and compression, the immediate expansion and compression repeated along the dress create flouncing, which diminishes as the seams start becoming unattached from one another towards the bottom of the skirt. The characteristics found in the dress itself apply as well to the characteristics found between the relationships of dress and human body. The part of the dress that is closer to the waist is more rigid, distended and compressed; therefore the dress doesnâ&#x20AC;&#x2122;t directly respond to the movements of the person. Alternatively, the dress becomes more flexible, fluffy and expands in the lower portion, allowing it to respond to human movements in a direct and immediate manner.

Section analyzing the relationship of body to dress

Seam analysis over a graphite drawing.

tr p n l j h f d c b

s q o m ki g e

a b c d e f g h i j k l m n

o t s r

p q

A - expansion 1

B - compression 13

B1 + B2 = A3

A1 + A2 = B3 31

B B A A

A BA B

A A B B

B B A

B B

A B B

B B

A B B

The dress motif is formed around a seemingly radial geometry; however, there are vertical and horizontal patterns hidden behind the geometry. The relationships existing on the pattern grid are based on equal areas for expansion and compression, organized in a checkboard fashion. This graphic study was followed by three-dimensional ones that look to producing effects of surface inflation (flounces and fluffiness), a by-product of the expansion and compression capabilities of the material. Given the limitations of folding paper implementing the ‘inflation’ effect, a series of modules are extracted. Each of these modules possess structural points, which are a direct consequence of the hyper accumulation of material due to the fold. Finally, two colours –white and red- both exacerbate the folding technique, expose the reversible nature of the design as well as challenge conventional distinctions between interior and exterior space. These modules are arrayed and accreted following both linear (and predictable) spinelike concatenations of pieces, as well as random, pilelike aggregations. This creates an architecture that promotes a sense of an orderly matrix as much of a stochastic jungle of pieces.

Horizontal Pattern

V e r t i c a l P a t t e r n

Organizational Spine Modular Connection Site Connection

Diagram of modular structure, the red connections are from piece to piece and the black/gray connections are from module to site

To the left: Process explaining the steps that obtain the final modulation technique. 1. Valley and Ridge 2. Twisting 3. Sliding 4. Joining 5. Inflating 6. Connection Detail Below: Light Diagram showing apertures.

SHADOW OPAQUE SPACE TRANSLUCENT SPACE

Fiber glass on steel framing

6 084

24 9

Transverse section showing the modular structure transforming from roof to wall to floor to furniture.

The resulting shed bridges extreme spatial and material spectrums, or poles: Compressiondilation, Order-Disorder, White-Red, Inside-Outside, LightDark,etc. Visitors are pulled toward these extremes and experience architectureâ&#x20AC;&#x2122;s two sides, and everything else in between.

The modular expansion and compression, together with the dress analysis, is a reaction to the figure ground. The compressed urban fabric to the south is continued in the first exhibition room expanding towards the second one and the entrance of the museum. This is a response of the site change towards the north.

SITE PLAN Scale: 1/16"=1'-0"

Exhibition Room II

Ticket booth Exhibition Room I

6 0

24 9

6 0

24 9

LONGITUDINAL SECTION Scale: 1/4"=1'-0"

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    

The ‘inflated’ module studies done are one of the precedents for the next ‘program and space’ project. The translation of the drawings and thick surfaces will play a rigorous important role.

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archetypal distortion 90

Cooper Unionâ&#x20AC;&#x2122;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. The form in which the pieces are related within one another dictates 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 userâ&#x20AC;&#x2122;s mind-set as a new proposal is taken to apply into the intended design of the boutique hotel.

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.

The arraignment of the relationships of surfaces to interstitial space dictates rhythm which in consequence creates program placement on the site. The site is located in Silverlake, Los Angeles.

Outdoor Space

Public Sp

pace

EQUATION DIAGRAM: The program for the boutique hotel follows studies of the atrium presented at Cooper Union. Space distorts in percentages in order to achieve the needed program placement. 

APERTURE OF SERIAL SPACES

FAST SPEED SLOW SPEED FAST SPEED ELEVATOR SLOW SPEED ELEVATOR INTERSTITIAL SPACE AFTER CONTACT

4 2 4 3 3 2

BEFORE CONTACT

2 4

4 4 4 4 2 2 2 4 4 4 3 4

3 3 3 1 2 2 2 1 1 1 1

4 2 4 3 3

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4 - PRIVATE 3 - SEMI-PRIVATE 2 - SEMI-PRIVATE 1 - PUBLIC 5 - OUTDOOR

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Private 60%

PUBLIC CIRCULATION PRIVATE CIRCULATION SLOW CIRCULATION

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4 3 3 2 1

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Semi-private Space

Private Space

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Semi-private 15%

The main intention of the design of the boutique hotel is to affect and/or distort both peopleâ&#x20AC;&#x2122;s and carsâ&#x20AC;&#x2122; path of travel and rhythm. The way in which the interstitial spaces are conformed dictates circulation rhythms and once a rhythm has been established, the program falls into place. A level of comfort that is expected to be obtained in resting rooms is different from the levels of comfort that is to be obtained in public scenes. The spaces that are more public and fast paced will be more distorted with the intention of controlling to a certain extent how people moves and lingers in that space. On the other hand, private rooms are spaces that have the same system of already familiar spaces, this means that those spaces have the already known orthogonal relationship; the configuration that the new hotel is to have is tied to the module extracted from the precedent studies of the dress. The new modules test distortion through opposite materials adapting to different types of circulation

PRIVATE PRIVATE PRIVATE

PUBLIC

PRIVATE

SEMIPRIVATE

PRIVATE C

BLI

Study diagrams test possible program space arraignments. Private spaces are in red pushed towards the edges. Public spaces tie the building to the site through a spine-like connection 48ft 43ft 39ft 37ft 30ft 27ft 25ft 22ft

22ft

19ft 17ft 15ft

10ft

0ft

Private Circulation Public Circulation

Semi-private Space

Public Spaces

Outdoor Space

Private Spaces

Public program

Semi-private program

Private program

Circulation

Massing program

The module itself forms and distorts to act both as skin or structure, therefore engaging the person with the programmatic space. At some parts, a part of the module is the structure or wall and at other parts the structure or wall is no longer, it distorts to form ramps and stairs. What dictates the changing reciprocity between the pieces is the requirement of program. Scale shifts and relationship between the parts of the module also permits for aperture of spaces to be tested dividing program inside the building. Skin and structure act as a whole; skin and structure become one. This union marks an invisible but well defined separation of program since walls and floors are continuous and faceted.

EET

EFFIE STR

102 02 2’’

91’

SILVERLAKE BOULEVARD

SITE PLAN - SCALE 1'=1/32 9 0

36 18

3 0

NORTH FAC

12 6

CADE 6 0

3 0

12 6

T REE IE S T EFF

1ST F

PLAN

- SCA

LE 1'

=3/32

" - 9.

6 ft

This hotel offers Silverlake and Los Angeles residents the opportunity to populate the space in a different way; this hotel tests human psychology. Typical ideas of perception of spaces and program are challenged thus allowing the user to experience what it is to have a suite on the first floor right next to the retail area.

FLOOR PLAN 2ND FLOOR

FIFTH FLOOR PLAN

Opposite page: Top: Sketch of a floor plan, rooms are organized along ramped corridors diminishing the use of stairs. The easy accessibility to the rooms through ramping and the elevator, accommodates disabled circulation. Bottom: The module grows and reduces in scale to form furniture and structural connections in between.

100

People experience a new type of space which would be manifested to them as a â&#x20AC;&#x153;changeâ&#x20AC;? of pre-conceived ideas about organization and privacy standards. The changes are seemed as benefits to the guest, private and public are not antonyms anymore, inside views and outside views are equally preferred.

Concrete on steel framing

101

under-light 102

103

Site: Underground Element: Fire Methodology: Shifting Precedent: Tadao Ando Site Connection: Pueblo people in Chaco Canyon Focus on materiality

104

The following three projects explore a human tendency through the relationship and analysis between a natural element, a mentor, a methodology and a site connection. We tend to be curious and discover unexpected things while doing so. The chosen activity for all the projects is: mind and body exercise. Tadao says: “When building and under underground space the exterior shape is not important since it is not seen”. The interior is built through the shifting of voided circles; the shifting creates stairs and seats along the way. The reflection of light on the glass creates optical illusions. When people are going down the space, this reflection doesn’t allow people see the reality of the architectural pieces. Once they get all the way down and look up they will see how things really work. Light has a physical presence just like fire does, people are engaged in a constant mind and body exercise.

105

classical space 106

107

Schulz says: “There are three dif different types of landscapes: In the romantic one the ground is rarely continuous, it’s subdivided and has a varied relief which create a rich ‘microstructure’; the cosmic one is the opposite to the romantic one since the ground is continuous with no varied relief that may create a rich ‘microstructure’, the sky is usually experienced as a total hemisphere. The classical is “neither characterized by monotony nor multifariousness. Rather we find an intelligible composition of distinct elements: clearly defined hills and mountains which are rarely covered by the woods of the North, clearly delimited, imaginable natural spaces such as valleys, which appear as individual “worlds” (Norberg-Schulz) . According to him the classical space is the one in where people feel more comfortable since it is easier to be understood. The room will go from a romantic space to a cosmic having the balance of the classical one in between. The design is built by the interlocking methodology. There’s an interlocking of valley and ridge points to determine the exterior shape; at the same time the exterior is interlocked to the interior considering people’s circulation which in return is interlocked to the different sun angles and openings that the room has. The density of steps is also determined by circulation and the change from the romantic space to the cosmic one; when people explore this space, the activity will result in mind and body exercise.

Connection detail

Cantilever detail

108

Site: On the hill Element: Water Methodology: Interlocking Precedent: Peter Zumthor (Thermal Vals) Site Connection: Chumash people Focus on comfort

Density of steps

109 0

12 6

timeless growth

Form is nothing but an expression of forces. Plants shapes, sizes and behaviors change according to the altitude, solitude, etc. The same seed, same geometry, will adapt different to the conditions around it. The space is designed for one person at the moment. The way in which time will affect the design is by allowing it to grow following a pattern, this will keep a constant mind and body exercise because the design will grow according to the time that it takes for one person to dominate the obstacle. The growth of it will also allow the space to be used by several people in the future. People will be constantly exercising their minds and bodies in both short term and long term.

Growth in plan

People moving through future obstacles

Growth in section

Perspective of future growth

112

Site: The gap Element: Wind Methodology : Intersecting Precedent: Fernando Romero, Soumaya Museum Site Connection: Teotihuacan people Focus on time

113

cutting outburst 114

This construct translates the relationships of joints within a bird resulting in cutting outburst. Each basswood point act as joints and rotation points; from these points there are lines which are vector forces; these forces are multidirectional, in some directions the forces increase in intensity and in some directions the forces dramatically decrease. According to how these forces and points act among each other, the planes transport describing expansion of the birdâ&#x20AC;&#x2122;s body. The forces cut each other in the air and it outbursts with every micro movement of the flight pattern.

116

117

flexible pathway 118

119

This study is about the Japanese business card exchange. This transaction consists of non-physical contact and very controlled movements; this transaction offers each person their own personal space and is hierarchical having the person of more range bowing after the other. The transaction is studied through photographs that reveal very precise movements frozen in fractions of seconds.

The card exchange is studied in this diagram. The plan view shows relationships between abstract and/or indirect connections that become direct ones; the elevation view studies how the movement is controlled through rotation, in order for one element to do the next movement depends on the other element, so there is an action-reaction sequence as well.

120

The hybrid analyzes rotation points which leads to abstraction which was achieved through taking the copy of the copy of the copy of black and white pieces used for the collage. From there the relationship between visibility/ abstraction and direct connection was established.

121

122

The studies done about the card exchange were translated into relationships between wood connections with other materials and with itself. For the joints the connection between two pieces of wood through another one was the chosen one. The construct which uses piano wire, has rotating pieces which are controlled by the wire and the wood. The piano wire has different obstacles which donâ&#x20AC;&#x2122;t allow it to move completely (it is a controlled rotation) and they are joined through simple and weak joinery which at the same time create a very complex construct. The construct is connected to the site on the back, giving the idea of an abstract connection; it corrupts the site by presenting obstacles in peopleâ&#x20AC;&#x2122;s right of path making them move through it carefully. Besides walking carefully, people have to bend the wires since they can poke them. This effect on people comes from the spatial analysis in the business card exchange; when this exchange occurs, people around it have to carefully walk around the ones doing the transaction since they cannot be bothered, but even though people around them are not physically touching them, they can feel their presence.

123

distorted perspective 124

125

Natural light was the phenomenon used in order to create a construct that translates its qualities. Initial studies were done through the use of photography at the Getty Center in LA. Natural light has the ability to diffuse, reflect, brighten, etc., and that was tested through photography.

126

The angles in which light hits surfaces creates different tones while keeping a similar brightness and color distinguishing an object’s surface from one another. Since there is a very distinguished tone and shadow the sense of shape and deep of space is noticeable. Light reflects depending on the surface it hits, there can be “blind spots” when different reflections of light come from different sources. To trace the reflections, tangents of the helicoid and the perpendicular reflected are drawn. Light reflection on the blind spots or very bright spots on water, does not allow the observer to see under water. Light can also be controlled by studying how the sun is going to hit a certain spot at a certain time. The different angles on which it is reflecting will change an object’s shadow.

127

Natural light does not only make possible shadow projections but it also allows certain surfaces to reflect objects. Different shadows angles are projected throughout the day and this sets different tones to objects. Someone can approximately know what time it is due to their shadow projections. The two materials chosen to express the light qualities were dogwood and Plexiglas. These materials allow the person to look down to look up. Depending on their position and sight they look at different moments. The empty holes give a sense of deepness into the construct making differentiating the reflections. The construct is self-supported through the creation of an self-supported structural system.

128

129

The use of Plexiglas makes light act in different ways. Materiality changes the experience a person has with light. Light reflects and is projected through shadows. The art of making shadows has to do with the different angles of light source and the different ways in which pieces of material are assembled together. The creation of the overall shape transform this â&#x20AC;&#x153;homogenousâ&#x20AC;? element into an interactive one offering different experiences with the manipulation of materials, shapes and angles of light.

130

131

a.r.c.a.m case study 132

133

Circulation diagram

Offices program diagram

Quay Level

First Level

Section and elevations

134

135

Architect: RenĂŠ van Zuuk Architekten Location: Oosterdok, Amsterdam, the Netherlands Client: Ontwikkelingsbedrijf Gemeente Amsterdam / NL Structural Ingeneering: Advies en Ingenieursbureau Van der Laar, Eindhoven/ NL Project Year: 2002-2003 Site Area: 300 sqm Constructed Area: 477 sqm Strong focus on computer representation through renderings, floor plans, elevations, sections, and diagrams. The model is done using digital and manual techniques.

Second level / administrative offices

136

Quay Level looking to first level

First level; entrance in the back

Second level; offices in the back

137

learning to see 138

139

The class focuses on hand drawing and hand drafting. Elevations and perspective drawings are represented through tone. The charcoal drawings helped distinguish light versus darkness and how to give deep of field to flat drawings. The focus is in showing what we want the other to see and not necessarily drawing things as they are. Composition is explored through the placement of still objects and overall page distribution. Once black and white drawings were learned, the use of color was introduced.

140

141

After representation techniques were learned; photography came into place. An urban ore study was done in order to learn how to extract information through observation to eventually represent them through drawing, constructs and final models. The site chosen for observation was Chinatown with a focus on its boundaries and the hidden life of the city within a city.

142

143

The final steps translate the relationships into dynamic models. A light box framing time of hidden events and a multilayered sticker poster that freezes actions of different people throughout time.

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streamline residence 146

147

Assignment Number Zoning & Grading

4:1 ARCHITECTS

Harold S. Ramirez Miriam E. Jacobsen Kendra S. Ramirez Jung mi Kim Brianna M. Stafford

7500 Glenoaks Blvd. Burbank, CA 91510

4954 E. Meridian street Los Angeles, CA 90042

Streamline Residence

ALL DESIGNS, ARRANGEMENTS AND PLANS INDICATED OR REPRESENTED BY THIS DRAWING ARE OWNED BY AND THE PROPERTY OF 4:1 ARCH I T E CT S. AND WERE CREATED, EVOLVED,AND DEVELOPED FOR THE USE ON AND IN CONNECTION WITH THE SAME SPECIFIED PROJECT. NONE OF SUCH IDEAS, DESIGNS, ARRANGEMENTS OR PLANS SHALL BE USED BY OR DISCLOSED TO ANY PERSON, FIRM, OR CORPORATION FOR ANY PURPOSE WHATSOEVER WITHOUT THE WRITTEN PERMISSION OF 4:1 ARCHI T E CT S. WRITTEN DIMENSIONS ON THES E DRAWINGS SHALL HAVE PRESENCE OVER SCALED DIMENSIONS. ALL CONTRACTORS AND SUBCONTRACTORS SHALL VERIFY AND BE RESPONSIBLE FOR ALL DIMENSIONS AND CONDITIONS ON THE JOB, AND THIS OFFICE MUST BE NOTIFIED OF ANY V AR IA TI ONS F RO M T HE D IME NS ION S AN D CONDITIONS SHOWN BY THESE DRAWINGS.

Site Plan

Date:

SCALE: 1/8" = 1'-0"

May 1, 2012

Page Title:

Site Plan Page Number:

N W

A 1.0

Assignment Number Design Floor Plan

4:1 ARCHITECTS

Harold S. Ramirez Miriam E. Jacobson Kendra S. Ramirez Jung mi Kim Brianna M. Stafford

7500 Glenoaks Blvd. Burbank, CA 91510

4954 E. Meridian street Los Angeles, CA 90042

Streamline Residence

Date: May 1, 2012

Page Title:

Floor Plan Page Number:

148

Floor Plan SCALE: 1/4" = 1'-0"

A 2.0

Assignment Number Plans and Programming

4:1 ARCHITECTS

Harold S. Ramirez Miriam E. Jacobson Kendra S. Ramirez Jung mi Kim Brianna M. Stafford

7500 Glenoaks Blvd. Burbank, CA 91510

4954 E. Meridian street Los Angeles, CA 90042

Streamline Residence

Date: May 1, 2012

Floor Framing Plan

SCALE: 1/4" = 1'- 0"

Roof Framing Plan

Page Title:

SCALE: 1/4" = 1'- 0"

Floor & Roof Framing Plan Page Number:

A 2.1

Assignment Number plans and programming

4:1 ARCHITECTS

Harold S. Ramirez Miriam E. Jacobson Kendra S. Ramirez Jung mi Kim Brianna M. Stafford

7500 Glenoaks Blvd. Burbank, CA 91510

4954 E. Meridian street Los Angeles, CA 90042

2.5

Streamline Residence

Date: May 1, 2012

Page Title:

Sections Page Number:

Section SCALE: 1/4" = 1'-0"

A 4.0

149

Assignment Number Plans and Programming

4:1 ARCHITECTS

Harold S. Ramirez Miriam E. Jacobson Kendra S. Ramirez Jung mi Kim Brianna M. Stafford

7500 Glenoaks Blvd. Burbank, CA 91510

South Elevation

SCALE: 1/4" = 1'- 0"

West Elevation SCALE: 1/4" = 1'- 0"

Stucco

4954 E. Meridian street Los Angeles, CA 90042

Streamline Residence

Date: May 1, 2012

Page Title:

Elevations

Page Number:

North Elevation SCALE: 1/4" = 1'- 0"

East Elevation

A 3.0

SCALE: 1/4" = 1'- 0"

Assignment Number Plans and Programming

4:1 ARCHITECTS

Harold S. Ramirez Miriam E. Jacobson Kendra S. Ramirez Jung mi Kim Brianna M. Stafford

7500 Glenoaks Blvd. Burbank, CA 91510

South Framing Elevation SCALE: 1/4" = 1'- 0"

West Framing Elevation SCALE: 1/4" = 1'- 0"

4954 E. Meridian street Los Angeles, CA 90042

Streamline Residence

Date: May 1, 2012

Page Title:

Elevations Framing

Page Number:

150

North Framing Elevation SCALE: 1/4" = 1'- 0"

East Framing Elevation SCALE: 1/4" = 1'- 0"

A 3.1

Assignment Number DOCUMENT & CODES

4:1 ARCHITECTS

Harold S. Ramirez Miriam E. Jacobson Kendra S. Ramirez Jung mi Kim Brianna M. Stafford

4:1 ARCHITECTS

7500 Glenoaks Blvd. Burbank, CA 91510

May 1, 2012

Page Title:

WALL SECTIONS Page Number:

WALL SECTION SCALE: 3/4" = 1'- 0"

Drawn by: J.M.K

WALL SECTION SCALE: 3/4" = 1'- 0"

Drawn by: H.S.R

A 5.0

WALL SECTION SCALE: 3/4" = 1'- 0"

Drawn by: M.J.

Assignment Number DOCUMENT & CODES

4:1 ARCHITECTS

Harold S. Ramirez Miriam E. Jacobson Kendra S. Ramirez Jung mi Kim Brianna M. Stafford

7500 Glenoaks Blvd. Burbank, CA 91510

4954 E. Meridian street Los Angeles, CA 90042

Streamline Residence

7500 Glenoaks Blvd. Burbank, CA 91510 ALL DESIGNS, ARRANGEMENTS AND PLANS INDICATED OR REPRESENTED BY THIS DRAWING ARE OWNED BY AND THE PROPERTY OF 4:1 ARCH I T E CT S. AND WERE CREATED, EVOLVED,AND DEVELOPED FOR THE USE ON AND IN CONNECTION WITH THE SAME SPECIFIED PROJECT. NONE OF SUCH IDEAS, DESIGNS, ARRANGEMENTS OR PLANS SHALL BE USED BY OR DISCLOSED TO ANY PERSON, FIRM, OR CORPORATION FOR ANY PURPOSE WHATSOEVER WITHOUT THE WRITTEN PERMISSION OF 4:1 ARCHI T E CT S. WRITTEN DIMENSIONS ON THES E DRAWINGS SHALL HAVE PRESENCE OVER SCALED DIMENSIONS. ALL CONTRACTORS AND SUBCONTRACTORS SHALL VERIFY AND BE RESPONSIBLE FOR ALL DIMENSIONS AND CONDITIONS ON THE JOB, AND THIS OFFICE MUST BE NOTIFIED OF ANY V AR IA TI ONS F RO M T HE D IME NS ION S AN D CONDITIONS SHOWN BY THESE DRAWINGS.

4954 E. Meridian street Los Angeles, CA 90042

Date:

Harold S. Ramirez Miriam E. Jacobson Kendra S. Ramirez Jung mi Kim Brianna M. Stafford

Streamline Residence

4954 E. Meridian street Los Angeles, CA 90042

Streamline Residence

Date: May 1, 2012

Page Title:

WALL SECTIONS

Date: May 1, 2012

Page Number:

Page Title:

WALL SECTIONS

A 5.0

Page Number:

WALL SECTION SCALE: 3/4" = 1'- 0"

by: J.M.K

WALL SECTION SCALE: 3/4" = 1'- 0"

Drawn by: H.S.R

WALL SECTION SCALE: 3/4" = 1'- 0"

WALL SECTION A 5.0

Drawn by: M.J.

SCALE: 3/4" = 1'- 0"

Drawn by: M.J.

151

Assignment Number DOCUMENT & CODES

4:1 ARCHITECTS

Harold S. Ramirez Miriam E. Jacobson Kendra S. Ramirez Jung mi Kim Brianna M. Stafford

7500 Glenoaks Blvd. Burbank, CA 91510

Typ. Door Head Jam Detail

Double Window Head Detail

Fixed Window Sill Detail

Roof Edge Detail

SCALE: 3" = 1'- 0"

Fixed Window Head Detail SCALE: 3" = 1'- 0"

Drawn By: M.J.

Drawn By: J.M.K

Drawn By: K.R.

4954 E. Meridian street Los Angeles, CA 90042

SCALE: 3" = 1'- 0"

Streamline Residence

SCALE: 3" = 1'- 0"

Drawn By: J.M.K

SCALE: 3" = 1'- 0"

Drawn By: M. J.

Date: May 1, 2012

Page Title:

DETAILS

Page Number:

Double Window Sill Detail SCALE: 3" = 1'- 0"

Drawn By: J.M.K

Fixed Window Head Detail SCALE: 3" = 1'- 0"

Drawn By: M.J.

A 5.2

Wall Intersection Detail SCALE: 3" = 1'- 0"

Drawn By: M.J.

Assignment Number SECTIONS & DETAILS

4:1 ARCHITECTS

Harold S. Ramirez Miriam E. Jacobson Kendra S. Ramirez Jung mi Kim Brianna M. Stafford

7500 Glenoaks Blvd. Burbank, CA 91510

4954 E. Meridian street Los Angeles, CA 90042

Streamline Residence

Date: May 1, 2012

Page Title:

STAIRS SECTIONS

Page Number:

152

STAIR SHORT SECTION SCALE: 1/2" = 1'- 0

Drawn by: J.M.K

STAIR LONG SECTION SCALE: 1/2" = 1'- 0

Drawn by: B.S.

A 6.0

Assignment Number SECTIONS & DETAILS

4:1 ARCHITECTS

Harold S. Ramirez Miriam E. Jacobson Kendra S. Ramirez Jung mi Kim Brianna M. Stafford

7500 Glenoaks Blvd. Burbank, CA 91510

SCALE: 1 1/2" = 1'- 0"

Drawn by: H.S.R

STAIR TO FLOOR MEZZANINE SCALE: 1 1/2" = 1'- 0"

Drawn by: M.J.

4954 E. Meridian street Los Angeles, CA 90042

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

STAIR TO LANDING DETAIL

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Streamline Residence

Date: May 1, 2012

Page Title:

STAIRS DETAILS

Page Number: Drawn by: B.S.

STAIR TO FLOOR DETAIL SCALE: 1 1/2" = 1'- 0"

Drawn by: K.R

LANDING GUARDRAIL DETAIL SCALE: 1 1/2" = 1'- 0"

Drawn by: J. M. K

A 6.1

Assignment Number Specifications & Schedules

4:1 ARCHITECTS

Harold S. Ramirez Miriam E. Jacobson Kendra S. Ramirez Jung mi Kim Brianna M. Stafford

4954 E. Meridian street Los Angeles, CA 90042

SCALE: 3' = 1'- 0"

Streamline Residence

HANDRAIL DETAIL

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Date: May 1, 2012

Page Title:

Schedules

Page Number:

Schedules & Elevations SCALE: 1/4" = 1'- 0"

A 7.0

153

multiuse 154

155

Composite was the material chosen to be studied and tested for this class. Diverse and alike studies test fiberglass material properties when mixed or applied in other materials. Plastic and foam also offer other approaches. For example the first test was done with fiberglass insulation that was put on a waxed wood surface. Once the fiberglass was placed on the wood surface, the resin and hardener were applied to it with a paint brush. The results were best seen the next day. The resin completely dried and hardened. The insulation was very difficult to work with because its woolalike texture made it move and cluster when it was being mixed with the resin which is very thick and dries very quickly. The good thing about this “problem” was that this mix allowed for the experiment to create different colors and contrasts from hard to soft textures. It also allowed for the opportunity to create a hard shell (Fiberglass and resin), with a soft inside (fiberglass insulation with no resin).

’ 1.5

Other studies test compression and tension when forces are applied.

HOLLOW PREFABRICATED FIBERGLASS BEAMS

FOAM INSULATION

2.5’

156

’

HOLLOW PRE-FABRICATED FIBERGLASS BEAMS

3.5

’ 1.5

PRE-FABRICATED FIBERGLASS PANELS

157

1 2 3 4

Fiberglass cloth and resin 2 x 6 DFL SILL W/20d’s @ 3” O.C. 12” x 6” Steel plate Plexiglass 5” thick 



1 Fiberglass cloth and resin 2 2 x 6 DFL SILL W/20d’s @ 3” O.C. 3 12” x 12” Steel plate 4 Plexiglass plastic tube. Diameter 1 1/2” 



3/4” 3/4”



 Bolt acting as a structural stabilizer



 

” 12



’

Scale: 4” = 1’ - 0”

No. 8 - #2 Drive Washer O.D: 370”; Head Ht.:115“ @ 1/2” O.C.

Pre-fabricated Fiberglass

1/8”

Mix of Fiberglas cloth and resin, steel and Plexiglas. Steel, Plexiglas and wood were used in order for the structure to work.

Compressible Neoprene Gasket

Pre-fabricated Steel Shape

Pre-drill Holes





  





   





Pre-drill Holes

Detailed 3D view

158

Plexiglass 1 foot Thick

159

Since fiberglass is a composite that can be manipulated to an extreme shape, the idea of using this as a possible framing and envelope system is explored in this drawing. The main focus of the project is to create a light weight structure made out of fiberglass that once combined with other materials can act as a structural element. In this model the fiberglass is holding load from the wood posts and transferring it to the concrete base. The fiberglass wall is carrying compressive load from the wood beams. At the same time it is also carrying 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 between the two panels, it not only helps the fiberglass to be molded around it, but it also creates an insulated wall that can offer protection from the heat or cold. This construct is a prototype that acts as the floor, wall and roof framing systems of a structure.

Foam Insulation Compressible Neoprene Gasket

Poured Concrete

4.25”

Final Construction.

13”

160

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”

26” 19”

Pre-drill Holes In Fiberglass

Pre-drill Holes In Concrete

Mold For Concrete

” 26 2.5”

161

receptive world 162

163

Digital paintingâ&#x20AC;&#x2122;s concept and definition is reinvented. This project takes something digital and through analog fabrication makes it digital again. Different world connections just like social media, travel, music, etc, are traced showing how the world is in a time of globalization in where geographical borders are surpassed by digital ones. These connections were drawn and take to the laser cutter to create a base for it. This base acted as the support for the layers of connections that had a map hatched on it. The model represents analog and digital connections.

164

165

edgeless boundaries 166

167

Los Angeles is a city that divergences beauty and roughness together with old and new. These photos take a look into the cityâ&#x20AC;&#x2122;s characteristics that describe the constant opposition of the controlled versus the imposed.

168

169

170

171

pattern studies

Tatting is a technique for handcrafting a particularly durable lace constructed by a series of knots and loops. Tatting can be used to make lace edging as well as doilies, collars, and other decorative pieces. The lace is formed by a pattern of rings and chains formed from a series of cow hitch, or half-hitch knots, called double stitches, over a core thread. Gaps can be left between the stitches to form picots, which are used for practical construction as well as decorative effect. This technique was studied as an architectural proposal for an addition to the Aalto University Campus in Finland. Tatting was chosen since this technique has origins in this country; it also brings a new way or organizing program around circulation strips that connect the addition with the existing campus program and landscape.

The constant looping joins internal programs so that circulation flows. The loops are repeated and placed in a way that they donâ&#x20AC;&#x2122;t get trimmed by the boundaries. The edges of the addition area are defined by the main building of the former Helsinki University of Technology and Main Library, and a number of other buildings of cultural and historical value. The principal users of the new facilities are School of Arts, Design and Architecture with the Department of Architecture.

174

The hidden geometry of the technique is revealed through a series of geometric studies. Through the use of circles, bisectors and medians tatting is found.

175

The geometry gets a 10 feet offset so that they act as strips of program with circulation. Adjacencies, Intersections and continuity are found in all of the studies; the most successful ones are the less triangulated ones since they are more continuous and sufficient.

Direction

Result

Trimmed

OďŹ&#x20AC;set 10 Ft.

Final

On The Site

176

177

Original Motif

Medium Facet Linear Tatting_Site Analysis

Most successful application of tatting on the site

DESIGN ARCHITECTURE ART MEDIA DEAN LUME VTT EXTENSION BELOW

RES TAU RAN T

1st Floor plan

PATIO

RESTAURANT

PATIO PATIO

PATIO

PATIO PATIO

RESTAURANT

178

PATIO PATIO

RESTAURANT

PATIO

2nd Floor plan

PATIO

Design Architecture Art Media Dean Lume Vtt Extension

RES TAU RAN T

179

ferry terminal

10 16

4 5

5 6 7

Infrastructure and service buildings have usually been characterized by the specificity and efficiency of their connections. This paradigm has resulted in two distinct typologies: the fluid ones, borrowing from the dynamism and speed that characterizes travel and movement in general; and the rigid clusters of buildings, creating strictly d ifferentiated volumes arranged in fixed layouts composed of wings or bays. While these two models of space organization have traditionally been in opposition, we recognize open spatial possibilities in service and transport buildings not yet coded with an architectural typology. Thus borrowing as much from fluid, knot-like, connective design as well as from clear, bay or wing-based space organization.

Drop-oďŹ&#x20AC; area

International gate

Ticketing and check-in

Domestic gate

1+2 = 3

CITY

International document check-in

ROAD

International gate

SEA TYPICAL TRANSPORT NODE

TYPICAL TRANSPORT - BUILDINGS DIVIDED INTO WINGS

LINKED INDIVIDUAL MASSES

RESULT

Security point international

Exit/Ground transportation

Security point domestic

Domestic gate

Image courtesy of MSA / Maxi Spina Architects / Los Angeles

182

\ msa \

maxi spina architects

Los Angeles, CA - Rosario, Argentina

New Keelung Harbor Service Building

CIRCULATION ROUTES OF DEPARTING/ EMBARKING PASSENGERS INTERNATIONAL TRAVELERS DOMESTIC TRAVELERS

DEPARTURE

ARRIVAL

183

* Text courtesy of MSA architects.

Retail Boardwalk Terminal Oﬃce

Along that line of thinking, MSA’s design for the New Keelung Harbor and Service Building proposes a three-part based typology that subtly contorts its mass in order to link to neighboring spaces and activities, achieving overt continuity between service, travelling, leisure and commerce, while at the same time maintaining differentiation among the many functions.

Exit ramp Elevated road Passenger drop-oﬀ

Departure transportation

Coach bus terminal

Passenger pick-up Movable ramps Taxi queue line Terminal parking Entrance

Exploded axonometric program

Arrival transportation

Entry ramp

184

Shell

Oﬃces Vip lounge Continous public Elevated boardwalk Commercial facilities

Departure drop-oﬀ Domestic security Custom oﬃces

Elevated boardwalk

Passenger drop-oﬀ

Lounge International security

Domestic arrival 1

Luggage service international

Departure

Arrival lobby Luggage service domestic

International arrival Domestic arrival 2 Service road

Arrival

Terminal parking Entrance

Below grade

1000 parking spaces One level below grade

185

villa nm case study 186

187

Architects: UNStudio Client: Anonymous Location: Upstate New York, USA

Bathroom

Building area: 300 m2

Bedroom 1

Programme: Single family house Status/phase: Construction/ realization August 2006. This single family house uses the box-like architecture with seamlessly bifurcations to test the powerful Rhino tools. Drawings, diagrams and renderings are all done using this software.

Living Room Kitchen

Plan First Floor

Master Bedroom

VILLA NM Bedroom 2

Bathroom

Plan Second Floor

3 0

West Elevation

188

12 6

South Elevation

CIRCULATION

Bedroom Master Bedroom Bathroom

BATHROOM

BEDROOM 1

Kitchen

SHORT SECTION

North Elevation

LONG SECTION

West Elevation

189

timeless learning 190

191

192

193

194

looking ahead...

thank you