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
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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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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.
AL
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AM
OR
EA UD
EJ
Av e.
US TO
ED
UA R
DO
MA
DE
. Ave
R CO
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TES IEN
Av .L
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lem
RO
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MI
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M
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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