PORTFOLIO 2011 - Miriam Roure

PORTFOLIO Miriam Roure Parera December 2010

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LIST OF SELECTED PROJECTS

PROFESSIONAL - Office for Metropolitan Architecture and MATEO Arquitectura 1 TÊTE DE PONT 2 BIENNALE DI VENEZIA - OMA EXHIBITION 3 FONDACO DEI TEDESCHI 4 PRADA WOMAN SS2010 CATWALK 5 CASARTS . TÉÂTRE DE CASABLANCA

07 11 17 25 31

ACADEMIC - Cornell University, B.Arch 2009 6 TESTING BENIDORM 7 INTERLOCKING PATHS 8 MAGNETO’S MUSEUM 9 NIHIWATU HOTEL 10 LIBERA’S POST-OFFICE 11 RED HOOK 12 SEIPP PRIZE COMPETITION 13 SCREEN OF SCALES 14 CONES OF LIGHT

37 57 65 77 91 97 103 109 115

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1 TÊTE DE PONT

MATEO Arquitectura 2006 Competition Project development: November 2010 Participation in the project: 6 weeks Bayonne, France Principal and Project Leader: Josep Lluís Mateo Original team: Till von Mackensen, Marta Gual, José García Perpiñá, and Maria Martínez.

Current team: Laurent Baudelot, Anna Llimona, and me.

REMODELLING OF THE RIVERFRONT AND HOUSING PROJECT Historically, Bayonne is a port city that links the Adour with the Ebro River, serving as a link between the Atlantic Ocean and the Mediterranean Sea for commercial routes. It stands at the intersection between two rivers: the Adour and the Nive. During the last Century, the city went through an important industrial growth and the city doubled its size. Three new bridges were built to facilitate travel and transportation between the three different sides of the city.

The Henri Grenet Bridge was the last one to be built along with heavy pieces of infrastructure following the Adour River. The competition for the project was about the arrival of this bridge from the North to Nouveau Bayonne. It had to adress the riverfront as a new attraction for the city, as well as it presented the challenge of integrating the newly built infrastructure within a pedestrian, green environment. Three plots were designated as housing and commercial buildings with the intention of densifying this area that has been progressively sprawling and loosing the rich urban life that characterizes the center.

The project presented by MATEO Architects in 2006 won with a modest group of buildings and a great importance to the integrating the context and creating new green areas - currently lacking by the riverfront. Even though the city asked for a large amount of constructed area, there was an effort to fragment the built volumes so that the overall intervention would be as integrated as possible with the scale of the rest of the city.

The project was put on hold for four years and has recently restarted with the intention of breaking ground in five months. Since I started working on Tête de Pont, most of the effort has gone into getting to agreements in terms of area constructed corresponding to the different programs, general volumetry and defining typologies for the social and private apartments to be built. Surprisingly enough, the underground parking lot has been a key element in negotiations since the perimeter and excavation depth are highly limiting cost-efficient parameters that end up defining the amount of parking spots and, therefore, the number of apartment units and commercial area permitted.

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Aerial view of the TĂŞte de Pont Mapping of the park and forested areas of Nouveau Bayonne

L’Adour

ive La N

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TĂŞte de Pont general massing and urban strategy

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2 BIENNALE DI VENEZIA - OMA EXHIBITION

OMA - Office for Metropolitan Architecture June 2010 - August 2010 Participation in the project: 3 months (full duration)

“CRONOCAOS“ EXHIBITION ON PRESERVATION THROUGH 26 PROJECTS OF THE OFFICE’S HISTORY

Venice, Italy

OMA’s exhibition for the Venice Biennale of 2010 is about the issue of Preservation. It starts from the premise that Preservation has been long neglected by architecture and urban theory and is, nonetheless, bound to these fields and central to any discussion about the future of architecture and development in the XXI Century. The installation attempts to be a manifesto in space, in which Preservation is understood to be of simultaneous political, economic and social relevance.

Partner in charge: Rem Koolhaas Curators in charge: Ippolito Pestellini Laparelli and Kayoko Ota Team: Carolina Cantante, Farshid Gazor, Andrew Linn, Amelia McPhee, Simon Pennec, Stephan Petermann, Becky Quintal, Sasha Smolin, Lawrence Siu, James Westcott, and me.

The exhibition occupies a suite of two rooms, each one with a distinct character and function. The first room is a Vestibule featuring 26 OMA projects never presented before together as a body of work concerned with time and history. Sites ranging from the Dutch parliament to China National Museum, from the Libyan Desert to the Hermitage in St. Petersburg, are displayed through photographs, historical documents, and even relics – including the chairs and doorknobs from Munich’s Haus der Kunst, a 2008 OMA preservation project.

The second room presents the wrenching simultaneity at which preservation and destruction have been conquering any notion of historical linearity. The contemporary situation is described as of “acute Cronocaos.” The argument is presented through a series of panels organized in thematic bands: Introduction, Side Effects, Black Hole, Zurinch+ and La Defense+.

At the back of the second room, there is a timeline of OMA projects, spanning through 35 years of its history. Each project is presented through three images ready for the visitor to peel off and take home, as postcards or souvenirs of a kind. By the end of the Biennale, preservation and depletion should be evident in the exhibition itself.

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Field of Research and Vestibule rooms

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Plan of the exhibition rooms

VESTIBULE

FIELD OF RESEARCH

OMA HISTORY WALL

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Visitors through the Field of Research

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OMA History Wall

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3 FONDACO DEI TEDESCHI

OMA - Office for Metropolitan Architecture September 2009 - June 2010 Participation in the project: 9 months (full duration)

TRANSFORMATION PROJECT OF A GERMAN TRADEHOUSE IN THE HEART OF VENICE INTO A CULTURALLY-PROGRAMMED COMMECIAL SPACE.

Venice, Italy Partners in charge: Rem Koolhaas Associate in charge: Ippolito Pestellini Laparelli Team: Marco de Battista, Andrew Chau, Andreas Kofler, Kayoko Ota, Carlos Pena, Agustin Perez-Torres, and me.

The Fondaco dei Tedeschi, formerly a trading post for German merchants, then a customs house, now stands as a muted icon of the Venetian mercantile era. First constructed in 1228, twice destroyed by fire and rebuilt (in its current for in 1501), then subject to a series of major architectural interventions to accommodate new uses (towers removed, courtyard covered with glass, structure rebuilt…), the Fondaco has constantly reshaped itself. Its history is the history of change.

In front of the diminishing role of the building as a Post Office and its partial vacancy, the city decided to give to the building a new life. The project is about a radical programmatic transformation and a sensitive preservation intervention.

A culturally-programmed department store will occupy the building. Given the general typology of the department store as an open plan, the Fondaco challenges the program into reduced spaces with limited visibility from the circulation areas. This is taken as an opportunity to promote sporadic exhibition spaces and art manifestations. The main courtyard is left free from any commercial activity and will be used for events, art, and cinema.

The renovated top floor becomes a unique public space: two sides of the existing roof will be removed leaving the building’s profile intact and creating a terrace with views of the Grand Canal and Rialto, and offering a rare vantage point on Venice’s dense roofscape.

Amongst a range of architectural modifications (not seen in contradiction with a preservation attitude), the most significant ones are: the new entrances to the building from Campo San Bartolomeo and the Rialto Bridge, the introduction of escalators cutting through the building and creating a new public route, and the removal of two sides of the roof to create a terrace. On the other hand, some aspects of the building, lost for centuries, will be resurrected: the walls of the gallerias will once again become a surface for frescoes, reappearing in a contemporary form.

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Location of the Fondaco dei Tedeschi on the Gran Canal and by the Rialto Bridge Canaletto painting erased - the Fondaco stands as part of the background

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The gallerias revive with new frescoes inspired on fashion advertisements and Venetian motifs

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ROOFTOP PLAN - the terrraces and “velarium“

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CROSS SECTION - escalator path through the building and roof modifications

TION EAST-WEST. OMA PROPOSAL

0

20M 20M

WEST. OMA PROPOSAL

20M 20M

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Retrofeeding between the cultural activities of the city and the offering at the Fondaco Cultural institutions and sites in Venice - branding of the city

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Cultural Masterplan - programming of events, performances, exhibitions, installations...

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4 PRADA WOMAN SS2O1O CATWALK

OMA - Office for Metropolitan Architecture July - September 2009 Participation in the project: 2 months (full duration)

FASHION SHOW SET DESIGN INSPIRED BY GRAND PALACES AND MOTEL CORRIDORS

Milan, Italy

The audience is divided along two sides of an abstract wall, which is pierced with seven doors. Models walk along the wall and turn around through its last opening, proceeding back down the runway on the opposite side. They appear and disappear through the openings, at the same time that the wall changes its identity through a series of twelve projections.

Partners in charge: Rem Koolhaas Associate in charge: Ippolito Pestellini Laparelli Team: Fausto Fantinuoli, Andreas Kofler, and me.

Collection, set design, projections and music are choreographed from glamorous XIX Century palaces, to motel corridors and beach, trashy images or illusions. Neon lights, ornamented door frames, palm trees in the middle of neoclassic palace halls, and multiplied doors leading to banal interiors invade the space with color.

The wall simultaneously divides two spaces that are both identical and different: the plexiglass checkerboard floor on one side relates to the other, where black metal sheets squares create a bigger checkerboard when considered in relation to the plain concrete of the original room.

As the show develops, spectators experience the various layers of its spatial organization: foreground models, wall projections, and background models. Three layers of content which overlap and generate the full narrative of the show.

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Beginning of show - graphic palace and fake perspectives Running show - majestic curtains and green neons

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checkerboard FLOORS, beach patterns and oblique views

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reflective floor, chandeliers and motel corridors

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PLAN OF SET DESIGN

350+2 Seats 250 Standing Spots 30 Photographers 85m Catwalk

BACKSTAGE

ENTRANCE

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5 CASARTS - THÉÂTRE DE CASABLANCA

OMA - Office for Metropolitan Architecture March - July 2009 Competition Participation in the project: last 5 weeks

AN ENCLOSED URBAN COMPLEX CONTAINING TWO THEATRES IN THE CENTER OF CASABLANCA, MOROCCO

Casablanca, Morocco

“The sitting of a building is perhaps more crucial to its impact and success than its design. While design defines the user’s experience, sitting determines its ultimate contribution for citizens as a new insertion into the urban condition.” Located in the administrative district of Casablanca, the project starts by challenging the given site - on the outermost of three public squares - to the middle plaza. All of the activities already present in the site are brought to the inside of the theater complex hopefully enriching and interacting with the life of the place.

Partners in charge: Rem Koolhaas, Reinier de Graaf Associate in charge: Clément Blanchet Team: Iyad Alsaka, Sandra Bsat, Antoine Decourt, Alessandro De Santis, Boris Girin, Ravi Kamisetti, Patrizia Zobernig, Selma Maaroufi, and me.

Imperative to the sitting strategy is the articulation of the two theatres required for CasArts not as trophy objects, but as integrated entities in an enclosed yet permeable urban complex.

Drawing from the Arab classical architecture, the project is centered around a courtyard. This open space is accessible from all sides to the public and it’s thought to act as an incubator of urban density, popular arts and cultural activity. Architecture and urbanism are addressed simultaneously in order to clarify the surrounding environment, augment the interaction of CasArts with the city, and extend the range of the theatres with open-air or semi-enclosed possibilities.

Two typologically different theaters are embedded within the built thickness forming the courtyard and each one of the two long sides of the complex are dedicated to separate users: production and public. The production side, with its grid of studios and rehearsal rooms, fosters the participation of multiple activities and cultural entities; the public side, with its café and restaurant, attracts visitors.

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Building within the city fabric - views

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First floor plan

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CasArts at night - a source of life for the city

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Section through theaters

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6 TESTING BENIDORM

Undergraduate Thesis Project - Fall 2008 Benidorm, Spain Thesis Advisors: Leire Asensio, David Mah, and Kevin Pratt

URBAN STUDY OF BENIDORM AND LATENT HYPER-BENIDORM “A double-headed goat appears out of a misty dense forest.

By-products of scientific experiments find their place in HyperBenidorm - on itself, also an experiment. By exacerbating the differential on population and inhabitation densities - hyperdensification and de-densification processes -, a series of fantastic environments are able to happen. Hyper-Benidorm is a summer place year-round. Giant solar panels and wind turbines expand over the desert and sea to power the desalination plant which provides enough water for the agricultural central-pivot irrigation systems, the extensive golf courses, the never-ending pools and water works, and, of course, the misty dense forest. A constant flux of elderly retired people – also a by-product of our contemporary societies – gathers here for purely hedonistic purposes. In a similar way, families and young adults come looking for its hyper-active, beyond-expected fantastic situations.”

Although Hyper-Benidorm only exists at the level of the project, its instances are already happening. Benidorm is a unique tourism enclave in the Mediterranean Coast of Spain which is able to attract 5 ½ million visitors per year. With over 300 skyscrapers, Benidorm presents a population density at record-level year-round, and it’s still growing. The surrounding abrupt topography and strict zoning laws establish a limit of construction close to be met.

This project uses this problematic as an opportunity to study and rethink the case of Benidorm in terms of its density, the tower typology, and in terms of contemporary forms of leisure.

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POPULATION NUMBERS AND DENSITY

Comunidad Valenciana “Bemodormenses“ 71 102

5 016 348

TOURISTS PER YEAR in Benidorm

5.5 MILLION!

9.2% of Spain’s total tourists

tourists per year in Spain

59.2 million

area of Benidorm

37.88 km2

PERMANENT RESIDENTS TEMPORARY RESIDENTS

MONTHLY AVERAGE number of tourists.................................................. 14 022.65 people/km2 458 333

urbanized area 16.29 km2 (43%)

32 607.62

72 845 inhabitants + Average number of tourists in AUGUST ................................................ 15 741.42 523 440

36 604.35

26 870.37

Average number of tourists in DECEMBER ............................................ 11 559.26

365 020

Geographical and normative expansion limits

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CONNECTING STRUCTURES - “SUPERTRUSS“

VERTICAL CORES CONNECTING STRUCTURES VERTICAL DISTRIBUTION RESPONSE TO LATERAL LOADS

pair single low stable

pair single low unstable

pair multiple multiple unstable

multiple multiple multiple stable

multiple multiple multiple stable

DENSIFYING + DE-DENSIFYING PROCESS

BORING-BENIDORM

HYPER-BENIDORM exacerbation of density differential “Desert of the Eternal Rave”

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URBAN DENSITIES - mapping of towers according to height

VONOROI DIAGRAM

2+ floor levels

8+

16+

8+

16+

8+

16+

TRIANGULATION DIAGRAM

2+

NETWORKING DIAGRAM - max. distance connection (150m)

2+

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24+

32+

24+

32+

24+

32+

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CONNECTING STRUCTURES - MULTIPLE PROGRAMMING

section A : top connection - retail space, walkway and cantilevering cafe

bottom connection - hotel, disco, garden and terrace

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section B : ballroom dancing, open-air bocce ball and terrace

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Dense Forest of the Genetically Engineered

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EXPLODED HYPER-BENIDORM

Densification and Tower Connections

De-densification and Fantastic Environments 1 Desert of the Eternal Rave 2 Power Plant 3 Infinite Pool 4 Fields of Mist 5 Golf Course of Odds 6 Dense Forest of the Genetically Engeneered 7 Desalination Plant

2 4

1 3

5 6

7

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Plan of Hyper-Benidorm

Desert of the Eternal Rave

Infinite Pool

Desalination Plan

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Fields of Mist

Golf Course of Odds

Dense Forest of the Genetically Engeneered

nt

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DE-DENSIFICATION AND FANTASTIC ENVIRONMENTS

TO FAN NTA TASSYY EEN RON NM ME NTS O FA N VVIIRO EN TS BENIDORM’s Paseo de Levante

HYPER-BENIDORM’s Dense Forest of the Genetically Engineered

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Desert of the Eternal Rave

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7 INTERLOCKING PATHS

Design Studio 302 - Spring 2007 Professor: Jose Salinas

PROGRAMMATIC CLUSTERING IN CHELSEA AND CONNECTING INFRASTRUCTURE

New York City, US

With over 300 art galleries and a top Meatpacking fashion district, Chelsea stands out as a highly innovative, trend-setting, young neighborhood. It’s possible to distinguish between an Upper and a Lower part of Chelsea with clustering conglomerations of galleries and stores.

The lack of public transportation, the inefficient traffic network and the inner organizational pattern results in the isolation of these clusters, and, most importantly, leaves the Upper and Lower part disconnected from each other.

The Highline presents itself as a reminiscent connecting infrastructure. The project uses the already proposed re-activation of the Highline and its logic to create a series of programmed Interlocking Paths that would connect the Meatpacking District, the waterfront, Upper Chelsea, the Highline, and adjacent buildings. The new “paths” are programmed with existing activities and space types that belong to the two main areas being connected: galleries, exhibition spaces, fashion show-rooms, artists and designer studios, offices for the administration, cafes and other meeting points.

The intention is to create a new hub that would simultaneously attract, gather, redistribute, connect and promote flows of people, their activities and interests, and hopefully create new fruitful relationships.

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ADING AGENTS GALLERIES

SITE ANALYSIS - location and identification of existing agents FASHION STORES

UPPER AND LOWER CHELSEA - location and identification of the different galleries, fashion stores and other agents LEADING AGENTS GALLERIES

ASSOCIATED AGENTS

SOCIATED AGENTS RESTAURANTS HOTELS

RESTAURANTS

ASSOCIATED RETAIL/SERVICES

HOTELS

ASSOCIATED RETAIL/SERVICES

TO AGENTS: TRAFFIC SPOTS AND TRAFFIC LINES

BUS LINE / NORTH-SOUTH METRO LINELINES / EAST-WEST AGENTS: TRAFFIC SPOTS AND TRAFFIC METRO LINE AMTRAK LINE

BUS LINE / NORTH-SOUTH METRO LINE / EAST-WEST METRO LINE AMTRAK LINE

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HIGH LINE/ NOT IN USE!

FASHION STORES

EighthAvenue

CLUSTERING OF GALLERIES AND FASHION STORES

Pier72

NinthAvenue

TenthAvenue

W.33rdSt.

AMTRAK

W.31thSt.

W.30thSt.

W.29thSt.

W.28thSt.

Pier66 W.26thSt.

W.25thSt.

W.24thSt.

Pier64

C E

W.23rdSt.

W.22ndSt.

2 Pier 6

W.21stSt.

W.20thSt. 1 Pier 6

W.19thSt.

0 Pier 6

W.18thSt.

W.17thSt. 9 Pier 5

W.16thSt.

W.15thSt.

7 Pier 5

W.14thSt.

L A C

W.13thSt.

6 Pier 5

t. onS Huds

LittleW.12thSt.

t. ichS enw Gre

4 Pier 5

t. ort S sevo Gan

t. tonS hing Was

53 Pier

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CLUSTERING AND CONNECTING INFRASTRUCTURE DIAGRAMS CLUSTERING TO DENSITIES

Galleries Fashion stores Overlapping clusters D1 Overlapping clusters D2 37 gallery clusters 19 f. store clusters

10 gallery clusters 8 f. store clusters

Overlapping clusters D3

5 gallery clusters 4 f. store clusters

High line / reference path

PHYSICAL DISTANCE BETWEEN AGENTS D1: 98ft d1: 35ft

WALKING DISTANCE BETWEEN AGENTS

d2: 90ft

D3: 392ft d3: 180ft

Overlapping clusters of same agent / discrepancy between physical and walking distance

walking speed: 3mph= 4.4ft/sec

22 sec 37 gallery clusters 19 f. store clusters

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D2: 196ft

45 sec 20 gallery clusters 8 f. store clusters

89 sec 7 gallery clusters 6 f. store clusters

1 gallery clusters 1 f. store clusters Overlapping clusters D4

D4: 784ft

OVERLAPPING ZONES

d4: 360ft

CLUSTERS

1min 29sec 2 gallery clusters 2 f. store clusters

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HIGH LINE / DISTRIBUTIVE CONNECTIVE SYSTEM

HIGHLINE - CONNECTING INFRASTRUCTURE

HL1

HL3

HL5

HL1 HL3

HL1

HL2

HL1 HL4 HL2 HL1 HL3

HL1

HL3

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HL5

HIGHLINE - SECTIONS THROUGH SITE HIGH LINE + CITY / INTERACTION TYPOLOGIES

section condition

HL1 -

in plan condition

FREE STANDING minimum interaction

HL2 -

SITTING ON

1-way adaptation

building fill-in of empty space

HL3 -

NEXT TO (and sitting on)

1 to 2-way adaptation

high line changing path according to existing buildings buildings growing by the high line

HL4 -

THROUGH EDGE

HL5 -

THROUGH

1 to 2-way adaptation

high line cutting through (exiting) building building partially wrapping around high line

2-way adaptation

high line cutting through (exiting) building building wrapping around high line

HL5 -

INTO

mutual adaptation: maximum interaction

multiple adaptation

mutual dependance: distribution purpose - program interlocking

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PROGRAMMATIC TRANSVERSAL SECTION

A

A B C

INTERSECTION / e

multiple directionality

D E F G H

B

HL1

C

HL1

I J K L M

S1

N O P Q

hign line (HL) and waterfront edge conditions (WE)

change in angle of sectional plane

D

HL1

E

HL1

F

HL3

G

HL1

H

HL3

I

HL3

VEHICLE CIRCULAT

HL3 / WE4

J

K

HL3 / WE1

L

HL4 / WE1

M

HL2 / WE1

N

HL3 / WE2

O

HL1 / WE1

HL2 / WE3

P

Q

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HL3 / WE3

e t Sid Wes

way High

INTERLOCKING PATHS - ROOF PLAN

0ier 6

lsea

Che

s Pier

P

iers

ea P

hels

9-C

5 Pier

Pier

57

t rfron

Wate >> to

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FACADE PANNEL VARIATIONS AND PROGRAMMATIC CORRESPONDANCE - LONGITUDINAL SECTION

strip

C

strip

B

strip

A

strip

C

strip

B

strip

A

ARTISTS’ STUDIOS

to >>

O U T L O O K GAL L ERY

artists’ ateliers

through to >>

distances directionnality openness

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E V E NT

Wa t e r f r o n t



e nt r anc e

to >>

openness degree

SHOW-ROOM

WATERFRONT PASARELA

Meatpacking District

A

A

B

B > > > >>>>>>> >>

GALLERY

C

200’

>> > >> >

A

113’

450’

>

>> >>

C > > > > > >> >>> << < >>> << <

C B

en

en tr a n ce

<

>>> > < > <<

+156.10’

artists&gallerists

T S PA C ES &

CAFE through

RE S E ARCH

+123.24’

MANAGEMENT to >>

gallerists, events, high-end residential

+107.34’

T E M P O R A R Y C AT WA L K S

S T UDIOS

LABS

HIGHLINE PASARELA to >>

+91.77’

Highline > Chelsea +72.26’

trance to >>

street level > Chelsea

+57.61’

+42.75’

+27.47’ +18.85’

455’

238’

<<< < < < << < < < < < < <<< < <<

+12.53’

103’

200’ +0.00 (+11 asl) +12.53’

We st S i d e H i g hway

>>

<

>>> < >>>

>>

>>>>>>> << >

>>> >

<<<<<

<<<

<<

<<<

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CROSS SECTION

office/studio

office/studio

office/studio

office/studio

studio/gallery

office/studio

studio/gallery

office/studio

CAFE

artists’ studios artists’ studios

C office/studio

COURTYARD GARDEN

ARTISTS’ GALLERY

HIGHLINE

B

office/studio PERFORMANCE STUDIO plant

A Te nt h Ave n u e

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EXTERIOR VIEW ALONG 10th AVE AND INTERIOR VIEW

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8 MAGNETOâ&#x20AC;&#x2122;S MUSEUM

Design Studio 301 - Fall 2006 Professor: Julian Varas Buenos Aires, Argentina in collaboration with Nathan Friedman

An open International Competition was released in order to find a proposal that would interestingly transform the no-longer operative Secretaria de Telecomunicaciones of Buenos Aires into a Museum. Taking this competition as the point of departure, we used the diagrammatical study of an existing relevant museum to re-interpret this early XX building.

We analyzed the case of the Tate Modern Museum of London which revealed a clear organization in terms of levels and points of control: from the open Turbine Hall to the bared art storage rooms or board member offices. We implemented the same kind of diagramming strategy onto the Post Office building. The significant organizational and capacity differences between the two buildings required a different way of understanding the later resulting diagrams. After a series of rigorous iterations and re-interpretations, we were able compile the connections threedimensionally and assign a geometrically-based control value to each one of the connections and their joint-points. The result is a raw diagramming scheme from which the formality of the new art museum can find its logic.

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SecretarĂ­a de Telecomunicaciones, Buenos Aires Network of connections model

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Diagramming implementation - basemapping

L11 L10 L9 L8 L7 L6 L5 L4 L3 L2 L1

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6-B4

14

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6

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69

zone A

1-A1

SYSTEM STACKING AND NETWORK ENVELOPES

B2b

B2a zone B

1-B1

1-B2

B3a

B3b

B4a

B4b

1-B4

POINT

B5b

B5a

1-B5

POINTS’ PERFORMANCE

POSSIBLE CONNECTIONS OF POINTS

COLOUR CODING FOR CONNECTIONS

CONNECTING POINT - EXIT

1-B5POINT - DEAD END CONNECTING

VERTICAL CONNECTION

VERTICAL CONNECTION - DEAD END

CONNECTION POINT DEAD END

70

VERTICAL CONN. - VERTICAL CONN.

zone C

1-C1

CONNECTING POINT - VERTICAL CONN.

EXIT POINT CONNECTING POINT - CONNECTING POINT Repeated connections

zone D

2-A1

3-A1

4-A1

6-A1

7-

CONTROLLED CONNECTIONS

2-B1

3-B1

4-B1

6-B1

7-

2-B2

3-B2

4-B2

6-B2

7

2-B3

3-B3

4-B3

6-B3

7-

2-B4

3-B4

4-B4

6-B4

7-

2-B5

3-B5

4-B5

6-B5

7-

2-B6

3-B6

4-B6

6-B6

7-

2-C1

3-C1

4-C1

6-C1

7-

71

VOLUMETRIC PERIMETTER AND ASSIGNED CONTROL LEVELS

B1 a

B1 b

B2 a

B4 a

B3 a

B2 b

B4 b

B3 b

N3

control pts

type of connections

abs.

connecting point - dead end 31 vertical connection - dead end / v. connection 30 connecting point - v. connection / c. point 61

average length of lines (m) min. length of lines max. length of lines

ZONES A,B

N3.1

N3.3

23.5

43.3 9

implied volume (m3)

7 270

N3.2

2

Total 5

1

3

CONTROL LEVEL N4.1 N4.2 N4.3

2

0.5 42.2

vertical span (m) horizontal planes

%

25.4 24.6 50.0

CONTROL LEVEL 4

N4

control pts

type of connections

abs.

connecting point - dead end 17 vertical connection - dead end / v. connection 12 connecting point - v. connection / c. point 61

average length of lines (m) ZONES A,B

min. length of lines max. length of lines

2

2

21.3

0.4 39

vertical span (m)

43.3 9

implied volume (m3)

9 469

horizontal planes

%

23.6 16.7 59.7

Total 5

N4.1

1

3

CONTROL LEVEL N5.1 CONTROL LEVEL 4

72

N17

control pts

type of connections

connecting point - dead end

abs.

0

%

0

1

EXPLODED FINAL VOLUMES

N8

N8.1

N7

N4

N5.1

N2

N6

N5 N1

N3

N13 N10

N3.2

N3.1

N13.1

N11

N3.3

N16 N15

N9

N16.1 N15.1 N14.2

N12

N12.1

N14

N11.1

N19 N21

N14.1 N17.1

N21.1

N17

N18 N20

N20.1

N20.2

73

MAGNETO’S MUSEUM COMPILED

POINTS AND SEAMS - JOINT CHARACTERIZATION

CONVERGING OF LEVELS OF CONTROL

2 levels of control

3 levels of control 4 levels of control

CONVERGING OF PARTS 2 parts 3 parts 4 or more parts

74

Magneto’s Museum in situ

Av e.

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EA UD

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US TO

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DE

.

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75 RO

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76

9 NIHIWATU HOTEL

Design Studio 402 - Spring 2008 Professors: Kevin Pratt and Dana Kupkova

A BEACH RESORT FEATURING THE CREATION OF PRECISE MICROCLIMATES

Levu Vana, Fiji

in collaboration with James Ferrulo and Ana Leschinsky

Located in Levu Vana, one of the Fiji Islands, Waki Kau Resort offers a series of delicate and precise microclimates taking advantage of the existing natural resources and environmental qualities. The visitor is able to experience from a dense tropical forest, to a misty atmosphere surrounded by extensive pools, or an arid beach area.

Using Generative Components and the data available on the site, we mapped the area in terms of its topography, orientation, and proximity to stream water and salted water. An ideal site was located along an existing stream, which became the central spine of the development. We projected a sectional understanding of the programmatic components in relationship with the stream and the microclimates that could be produced. A surface was created from these sections, like an artificial skin that is able to morph and vary its porosity responding to the different environments and programmatic needs.

The porosity of the surface was achieved through the parametric programming of its roof components. These would vary their geometry according to light incidence, water and surface slope.

They were, thus, able to create different lighting conditions, channel and store water, and function as an irrigational and planting system.

77

Dense Tropical Forest and Arid Beach environments

78

SITE STRATEGY - central spine from existing water line and sectional response to topography

PARAMETRIC SECTION - programmatic organization and desired microclimates

Each ellipse is constructed by: Center Point Primary Radius Point Controlled by T value

Secondary Radius

along ellipse

Support

H1

The ground condition is a function of the program the local structure ground relationship

H4 H2 H3

LG2

P2

P1

LG1

Water Stream

P3

RG1

P4

RG2

0,0 point Point Controlled by T value along the left base curve 12 9 6 3 0 -60

-70

-50

-40

-30

-20

-10

0

10

20

30

40

50

60

70

LIVING UNITS - TYPE2 SPA

I

PARAMETRIC SURFACE DESIGN 1

Parametric Spine Construction

Each ellipse is constructed by: Center Point Primary Radius Secondary Radius Support

RG1

RG2

1

12

Parametric Spine Construction

2

Skinning

9 6

parametric structure

3

possible resulting surface

0 30

40

50

60

70

LIVING UNITS - TYPE2 SPA

I

79

SECTION 1 - Tropical Microclimate

SECTION 2 - Water Microclimate

SECTION 3 - Arid Microclimate

80

81

PROGRAMMATIC PLAN

Tours

3 Arid Microclimate Units Type 3 :: Free Platforms

Active Recreation

Library Garden

Water Events

2 Water Microclimate Units Type 2 ::

SPA

Relaxation Garden

1 Forest Microclimate Units Type 1 :: Full Service

Dense Forest

Vegetable Garden

Restaurant

Dense Vegetation

Reservoir

Conne

Visual Garden Lobby

Connection to main road

82

Misty Atmosphere

83

ANNUAL SURFACE LIGHT AND SHADOW ANALYSIS

January

84

February

March

April

May

June

Hourly Temperatures Outside Temp.

Wind Speed Beam Solar

Annualy and Daily Sun Path Sun shown at noon

July

August

September

October

November

December

85

COMPONENT STRATEGY

Configuration 03. Planter Configuration 04. Open Structure

Offset

PLAN

ELEVATION

AXON

Opening Dimension

Basic Component Configurations

Configuration 02. Sheltered and Daylit

Configuration 01. Semi-S

0

0

0

0

0

25%

50%

75%

_01 Semi-Sheltered and Daylit

_02 Sheltered and Daylit

50% Allows water to enter when positive

Allows sunlight to enter as reflected light Opening Dimension

86

25%

Offset

Restricts w entry when

-25%

Offset

Sheltered and Daylit ConďŹ guration 04. Open Structure

%

WATER PATH [through surface to collection]

-25%

25%

50%

50%

_03 Planter

_04 Open Structure

100%

water and light n negative

Closed: component restricts water and light entry

0,0

Offset and Opening Dimension

100%

Functions as structural louver Offset and Opening Dimension

87

Unit and Componentsâ&#x20AC;&#x2122; Model - roofing and cable system detailing

88

Generated topography sectional model

89

90

10 LIBERAâ&#x20AC;&#x2122;S POST OFFICE

Design Studio 401 - Fall 2007 Professors: Vincent Mulcahy and Alberto Iacovoni Duration of project: 3 weeks Rome, Italy

TRASNFORMATION OF THE POST OFFICE INTO A LIBRARY In 1932, Adalberto Libera designed one of the main Post Offices in Rome. Located on Via Marmoratta, the emblematic modernist building stands at the intersection of major arteries of the city. The project proposes the transformation of the now almost obsolete Post Office program into a Post-Library. If, traditionally, a library was a place where knowledge could be gathered, archived, and found; a Post-Library embraces the contemporary condition in which there is an abundance of information that is easily accessible through digital means. The core of the building is opened and large open ramping areas are flexibly programmed for people to physically and digitally interact. The two wings of the building are used as traditional book-stacks, emphasizing the diminishing material value of the books as objects.

The back of the building is opened towards the park. The existing small square windows of the façade designed by Libera are colored according to the changing interior digital activity, simulating a code for interaction between the inside and the outside.

91

Site within the urban fabric and infrastructures

92

PLAN AND FRONTAL SECTIONS

secti

on A

secti

on B

VIA

RATA MO MAR

93

CROSS-SECTIONS

94

Back faรงade of the Post-Libary and new topographical approach to entrance

95

96

11 RED HOOK

Design Studio 202 - Spring 2005 Professor: George Hascup

INDUSTRIAL DEBRIS AND FLOATING POOLS

New York City, US

Decaying industrial cranes and abandoned factories still populate the piers area of Red Hook, in lower Brooklyn. Like ruins of better times, these structures stand like amorphous animals on the water. The area is detached from public transportation and its streets are often dead-ends. It is hard to see a soul walking around, and not a trace of green can be found. Concrete, water, bricks and rusted steel are its only materials.

Some of Matthew Barneyâ&#x20AC;&#x2122;s movies seem to embody part of the feeling of standing at the site. Slow-motion actions, dense water movement and sound, and the constant presage that something is about to happen.

In the leftover space from a destroyed pier, a new dense structure appears with platforms bridging at different levels. Part of it is underwater, and part of it stands above creating elevated pools of different colors, densities and transparency effects. During the day, it attracts kids from the neighborhood to come and play. Vertical structures are used to dive into some of the deep pools. At night, it acquires a different life: boats arrive from all parts of Manhattan or from further up the Hudson River. Some pools glow in the dark, some others have a constant steam, and others have a poignant smell impossible to avoid. It is a place of earthy pleasures and illicit activities, a place where to get lost and where to be found. A place where to escape from an increasingly moralized, politicized and dullified society.

97

Collages of the site using the overlapping and cutting of stills from Matthew Barneyâ&#x20AC;&#x2122;s movies

98

Industrial site of Red Hook

99

Collaged sections of imagined giant industrial piers

100

Model of an aquatic landscape

101

102

12 SEIPP PRIZE COMPETITION

Fall 2006 - SEIPP PRIZE COMPETITION *Honorable Mention Project duration: 2 weeks Ithaca, US

An addition to Sibley Hall, a challenge of accessibility Sibley Hall, Cornell’s central building for the School of Architecture, Art and Planning was in need of a renovation to make it handicapped accessible. The ground level of the building were divided at two different heights, which, at a time, were a few steps above the surrounding street level. The competition brief asked to connect the two different levels at ground floor, and to develop an accessible link to the basement.

The project uses the problematic of accessibility as an opportunity to reshape the core of the school’s activity by creating a new exhibit/review space on the back of the building that would come together with the existing Hartell Gallery. The project proposes linking the front of the building with the back, creating a space that ramps from one level to another and bifurcating to establish a direct connection with the school’s Green Dragon Cafe - at basement level. The intervention would provide a new (no-longer) back facade for the building using semi-translucent panels. From University Ave., one of the main arteries of the campus, one would be able to hint the interior activity of the school.

103

SITE ANALYSIS - THE ARTS QUAD

projected geometry lines

existing circulation paths

104

SITE ANALYSIS - SIBLEY HALL

existing trees - circulation obsticles

existing circulation movement

105

GROUND LEVEL PLAN AND ELEVATION

106

107

108

13 SCREEN OF SCALES

Component Architecture Seminar - Spring 2008 Professor: Dana Kupkova in collaboration with Chris LEONBERG

PARAMETRIZED SURFACE RESPONDING TO ENVIRONMENTAL INPUTS In the Component Architecture Seminar we studied a series of successful and failed cases in prefabrication and their attempt at architectural innovation. When being traced to contemporary techniques, reviving possibilities were identified in the digital technology’s potential to create differentiated systems with customizable variations. As part of the course we were to develop a prototype using Generative Components’ software.

Our project was set out to develop a component-based structure that could respond to environmental inputs: prevailing wind direction and incidental radiation on a surface. Given a diagrid surface, thought to be part of a building envelope, light and wind studies could be made to dictate the components’ necessary performance. The components were divided in two; one part was to be optimized for light, and the other one for wind. Opening and incline degrees would vary.

The half-size prototype we developed was made out of laser-cut corrugated cardboard and bolted joints. The different unfolded pieces were identified using Pepakura Designer.

109

COMPONENT DEVELOPMENT

DOUBLE SIDED COMPONENT

A

A: optimized for sun

B

B: optimized for wind

ENVIRONMENTAL INPUTS

- prevailing wind direction - incident radiation on diagrid surfaces

110

component variations

0.00 <2600 Wh/m2

variations on diagrid surface

0.25 3000 Wh/m2

0.50 3400 Wh/m2

0.75 3800 Wh/m2

1.00 4200 Wh/m2

111

BUILDING EVELOPE - STRUCTURAL AND PERFORMATIVE PARTS

PV pannels

strips of flexible surface on light structural space-frame

structural beams

BUILDING ENVELOPE

BUILDING EVELOPE - LIGHT STUDY component variations driven by incident radiation data

112

Prototype made out of corrugated cardboard and bolted joints

113

114

14 CONES OF LIGHT

ARCH 362 Environmental Systems: Lighting and Acoustics Spring 2007 Prof: Martha BOHN in collaboration with Nathan FRIEDMAN

LUMINAIRE PROJECT Departing from the most basic shape for a point light, the cone, we developed a series computer-generated variations that challenged the way in which the luminaire would sit, stand or hang, and studied the way in which the resulting lighting condition would vary.

We selected those that presented the most interesting qualities (including oddness), intentionally modified them and constructed them using laser-cut corrugated cardboard. The potential of these luminaires relies on their simple design, their ease of fabrication, the materialâ&#x20AC;&#x2122;s light weight and the achieved sublte lighting effects.

CONE : mother-shape. Fixture type: pending, free-standing or surface-mounted.

CONE_VARIATION1 : slight deformations were made on the exterior side of the cardboard for it to be able to stand on itself and direct the light upwards. The aperture is reduced adding the beginning of an inverse cone. Fixture type: free-standing.

115

CONE

CONE

KIT OF PARTS - bulb / fluorescent 14W (60W equiovalent) - ballast - electrical cord - aluminum shell - corrugated cardboard, 0.125â&#x20AC;? thick // KIT A

CONE

165

175 180 175

165

155

contours_external surface 155 145

145 135

135 125

125 115

115

105

105

95

95

90

90

85

85

75

75

65

65 55

55 45

45 35

35 25 15

5

0

5

15

25

KIT OF PARTS A

116

CONE_VARIATION1

CONE_VARIATION1

VARIATION1 adaptation of the cone to: a sitting-on-the-floor and looking-up condition. a double set of irregularities and an inverse cone are used to inform this variation.

KIT OF PARTS_var1 - bulb / fluorescent 14W (60W equiovalent) - ballast - electrical cord - aluminum shell - corrugated cardboard, 0.125â&#x20AC;? thick // KIT B

CONE_VARIATION1

165

175 180 175

contours_external surface 165

155

155 145

145 135

135 125

125 115

115

105

105

95

95

90

90

85

85

75

75

65

65 55

55 45

45 35

35 25 15

5

0

5

15

25

KIT OF PARTS B

117

Cone and Cone_Variation1

118

Light effect detail

119

120

121