SHORT GSD PORTFOLIO 2014 - Miriam Roure

PORTFOLIO JULIA AMORY APPLETON FELLOWSHIP GSD SELECTED PROJECTS MIRIAM ROURE PARERA MARCH II 2013 CANDIDATE

1 FIELD MARKET 2 INHABITABLE INFRASTRUCTURE 3 THE FUNCTION OF TIME 4 ALABA ELECTRONICS MARKET

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1 FIELD MARKET

Design Studio 1320 - Fall 2012 Professor: Toshiko Mori

KYOTO STUDIO: FROM JAPANESE CRAFTS TO BUILDING FOR RESILIENCY IN FRAGILE COMMUNITIES

Kyoto, Japan // Ethiopia

This project challenges the program of the market in developing areas at two different scales. The first is at the scale of an architectural object and urban signifier. The second is at the scale of the local economies through the insertion of the cultivation of bamboo, its processing, transportation, trading businesses and the development of craftsmanship.

As an architectural object and urban signifier, the project attempts to create a space for the community, a kind of forum, where exchanges of goods mix in with the life of a community, their meetings, festivities, and celebrations. The inherent flexibility of the activities defines the openness and simplicity of the architecture.

A light structure of vaulting bundles of bamboo is the sole definer of the space. The scale of the implied volumes and the thinness of the members create a certain light monumentality.

The vaulting bundles are made by grouping longitudinally cut pieces of bamboo stems. When cutting the bamboo stems, their structural integrity is broken, but the new pieces gain substantial flexibility while keeping the compressive strength of the fibers.

These bundles are tied together with simple knotting techniques and stretched as long as necessary. Mud brick foundations with holes of different sizes accommodate for the different amount of bundles coming together. The span and the height of the vaults can be adjusted in place. The simplicity of this construction method allows for rapid construction and deconstruction, for easy replacement of members, and for flexible organizations.

The construction of these markets doesn’t come without the previous cultivation of bamboo and its processing. Local economies have the potential of being reactivated by the insertion of this new construction material – not only locally sourcing can have economical benefits, but also constructing taking account for resiliency can provide longer-lasting and more sustainable urban environments.

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FABRICS SUN-SHADING

BAGS

PERMANENT STRUCTURE ROOF RAIN PROTECTION FABRICS SUN-SHADING

BOXES STEPPED DISPLAY

BAGS STORAGE AND DISPLAY

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PROGRAMMATIC SCALES WITHIN A MARKET

program

MINIMAL

individual trading point

SMALL

small trading point toilets agricultural processing

MEDIUM

medium trading point toilets storage financial services agricultural production agricultural processing

LARGE

large trading point educational spaces storage market administration agricultural production agricultural processing

X-LARGE

x-large trading area educational spaces community gathering space events space agricultural production

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BASE UNIT - AGGREGATIONAL PATTERNS AND SEQUENCE

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MODULAR AGGREGATION - MEANDERING CIRCULATION

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STALLS MODULAR SYSTEM Stalls _ Unit1

4m

Stalls _ Unit2

2.8m

8m

4m

Stalls _ Unit3

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BAMBOO - NATURAL HABITAT AND GROWTH Bamboo naturally grows in areas around the equator. These greatly correspond with developping territories and areas that are greatly suffering the consequences of climate change.

Water requirement: the plant species is a dry savannah specie and grows well in areas with rainfall as low as 600mm without irrigation. Planting this species in wet or water logged areas is not advisable. Total water requirement is 5000 l per year per clump.

Soil requirement: It does best in well drained soils with a PH between 4 and 7. Wet clay soils results in stunted growth and low culm production.

Ideal temperature: between 20 ยบC and 40ยบC. It can withstand black frost temperatures as low as - 5 ยบC without dying.

HEIGHT: 45 ft average - some species growing up to 100ft.

THICKNESS: 3-6 in - some species growing up to 6-8in in diameter.

source: Constructions Research Singapore

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FROM THE UNIT TO THE BUNDLE From the unit to the bundle 1) Following the fiber grain of the bamboo it can be split multiple times getting to the thickness desired.

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flexibility increase

2) Bamboo is tied together alternating breaking points and bundles of different thicknesses are created.

Tying points

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DETAIL MODEL OF BUNDLING AND BRICK FOUNDATIONS

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MUD BRICK FOUNDATIONS - the bamboo bundles are plugged into the prefabricated mud bricks

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STUDY PLAN AND SECTION OF MARKET IN SHILAVO, ETHIOPIA

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CULTURAL AND COMMERCIAL ACTIVATION

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2 INHABITABLE INFRASTRUCTURE

Design Studio 01306 - Fall 2011 Professor: Marion Weis and Michael Manfredi

EVOLUTIONARY INFRASTRUCTURE - THE NEW MEGA FORM

New York City, US

he Guenther’s Bridge Towers have a grand history of failed utopias: they embody a series of social and technological aspirations that were not able to be fully completed. In 1963, they were constructed as part of a large infrastructure project involving the I-95 and the Washington Bridge reaching into Manhattan and crossing over to the West Bronx. The towers were built over six lanes of traffic that exhaust their noxious fumes onto their façades. Today, the towers stand in isolation from a lively neighborhood and in deplorable living conditions.

The project tries to address the scale of this mega-infrastructure through three main strategies: (1) IDENTITY: the towers are connected through the top providing a unified iconic identity. A platform that connects the four towers redefines their profile into a single distinct silhouette. From the platform, the city is appropriated. Ballroom spaces, running tracks, carnivals and lecture rooms could all happen within that thin strip.

(2) INHABITATION: a new second skin envelops the towers. The cladded façade of the towers is removed and is replaced by a new thickened inhabitable perimeter of 2.5 meters. This new space is able to transform the interior life of the towers, the apartment typologies and optimize their energy consumption through a performative façade.

(3) SITE ACTIVATION: a new infrastructure running through the length of the site rethreads the towers into the neighborhood.

A series of programmatic ecologies are produced: commercial exchange, inhabitation, culture, recreation and education.

The result is a cohesive megatructure that responds to the scale of Manhattan, the live of its neighborhood and to the living conditions of 630 families. This project also has the ambition of presenting a strategy for preservation and renovation that would give a new life to hundreds of housing prefab buildings that were built during the 60’s and 70’s and that are today in state of disrepair.

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PLANS OF SITE, COMMERCIAL, HOUSING AND VIEWING PLATFORM LEVELS

CONNECTING VIEWING PLATFORM INFRASTRUCTURE OF IDENTITY

CONNECTING VIEWING PLATFORM INFRASTRUCTURE OF IDENTITY

THIKENNING OF SKIN INFRASTRUCTURE OF INHABITATION THICKENNING OF THE SKIN INFRASTRUCTURE OF INHABITATION

CONNECTING COMMERCIAL PLATFORM - INFRASTRUCTURE OF EXCHANGE CONNECTING COMMERCIAL PLATFORM INFRASTRUCTURE OF EXCHANGE

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EXTRUSION OF EXISTING CLADDING AND THICKENNING OF FAÇADE

STRUCTURAL, ECOLOGIC, PROGRAMMATIC LAYERING OF FAÇADE

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MOTHER STRUCTURE

MOTHER STRUCTURE

THICKENED SKIN STRUCTURAL SKIN PRIVATELY MODIFIED SKIN

PRIVATELY CUSTOMIZED SKIN

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PLANS OF SITE, COMMERCIAL, HOUSING AND VIEWING PLATFORM LEVELS

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WASHINGTON TOWERS SECTIONAL PERSPECTIVE

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THIKENNING OF FAÇADE PLANS - HOUSING UNIT CONFIGURATION

WATER NET - FACADE TYPE

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GREEN FAÇADE PLANTING

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BASIC WATER COMPONENT CONFIGURATION

BASIC WATER COMPONENT CONFIGURATION

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HYDROPONIC SYSTEM

HYDROPONIC SYSTEM

R&Sie “I’m Lost in Paris”, 1200 hydroponic ferns

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PHASING OF LIVE FAÇADE AND BUILDING ACTIVITY

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3 THE FUNCTION OF TIME

Design Studio 1320 - Spring 2012 Professor: Farshid Moussavi Professor Associate: Jonathan Scelsa

THE FUNCTION OF TIME: THE CONTEMPORARY ART MUSEUM ART SPACE THROUGH SPATIAL VARIATION AND DIFFERENTIATION

Stockholm, Sweden

The White Box paradigm refers to a space that is untouched by time and by the vicissitudes of the outside world. As Brian O’Doherty points out, “this specially segregated space is a kind of non-space, ultra-space, or ideal space where the surrounding matrix of spacetime is symbolically annulled.” Like in religious buildings, values and objects inside live in an artificial perpetual eternity. And us, as spectators, surrender to a viewer position. We don’t speak loudly, we don’t run, we don’t laugh out loud, we don’t eat or sleep in such a space - we are repressed in favor of the glorification of art.

The White Box’s eternity is that of a certain sensibility, of a certain neutrality that relies on specific forms of art, scales of art and mediums of art. Since its institution as the main type of space for museums, artists have systematically questioned it finding spaces of intervention outside of the gallery space and actively intervening on iy. Exhibition spaces outside the definition of the White Box such as the Tate’s Turbine Hall, New York Guggenheim’s atrium or the Neue Nationalgalerie have proven to result in some of the most challenging and thought-provoking exhibitions/installations of the last fifty years.

It’s impossible to foresee the future of art, or to even try to direct it - by nature it will always escape a forced definition. It’s possible, however, to think of the Museum of the Future as an institution that will embrace the evolution and change of art as of in response to social, political and economical forces. It’s possible to think of the Museum of the Future as a place which will embrace different mediums and radically different spatial and environmental conditions. It’s also possible to think of the Museum of the Future as a place that belongs to an urban context: a place of encounter, a place for discussion, a place for learning, a public space, a political space.

In a stretch, the Museum of the Future could be inspired by its origins - the Greek Musaeum or Mouseion at Alexandria: a place that would bring together some of the best scholars of the Hellenistic world. It was the home of music or poetry, a philosophical school and library.

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BIGNESS

PROGRAM AND BUILDING SCALE COMPARISON NEUE NATIONALGALLERIE BERLIN 14,225 m2

21st CENTURY MUSEUM OF CONTEMPORARY ART KANAZAWA 100m

10,234 m2

115m

100m

METROPOLITAN MUSE NEW YORK CITY 190,000 m2

DIA BEACON NEW YORK

TATE MODERN TUBINE HALL LONDON

22,000 m2

145m

164m

305m

34,500 m2

95m

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22.5m

175m

GUGGENHEIM NEW YORK CITY

CONTEMPORARY ART MUSEUM STOCKHOLM

4,880 m2

70m

EXTERIOR PATIO / COURTYARDS 1,500 sm (min)

EUM

PROJECT ROOMS 600 sm

LIBRARY 5,000 sm ANTI-MUSEUM EXHIBITION 1,500 sm

LECTURE HALL 1 600 sm

42m

STORAGE FOR TEMPORARY COLLECTIONS 5,000 sm

CIRCULATION 19,300 sm

EDUCATION + SEMINAR SPACE 2,000 sm SEMINAR ROOM 75 sm

TICKETING 100 sm

COAT CHECK 100 sm

BOOK EXHIBITION 2,000 sm

EDUCATION OUTREACH OFFICE SUITE 100 sm

KITCHEN 100 sm

COMPUTER LAB 200 sm

118,975 m2 NANO EXHIBITION 6,500 sm

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WHITE/BLACK BOX EXHIBITION 17,000 sm

AV PRODUCTION CENTER 200 sm

TIME EXHIBITION 2,000 sm

SEMINAR ROOM 2 200 sm

EVENT SPACES 3,000 sm

DAYCARE 50 sm

SEMINAR ROOM 75 sm LOUNGE 25 sm

GARDEN EXHIBITION 6,000 sm

LECTURE HALL 2 500 sm

TOILETS 500 sm

LOUNGE 25 sm

SEMINAR ROOM 75 sm SEMINAR ROOM 75 sm

SEMINAR ROOM 75 sm

SEMINAR ROOM 1 200 sm

LECTURE ROOM 300 sm

GIFT SHOP 500 sm

ADMINISTRATIVE OFFICE SUITE 3,500 sm SECONDARY DINING HALL 500 sm

MEDIA EXHIBITION 6,500 sm

LOADING DOCK 500 sm

MECHANICAL 14,475 sm

DOMESTIC EXHIBITION 3,000 sm

DREAM EXHIBITION 4,500 sm ARTIST'S EXHIBITION 4,500 sm

CHAPEL EXHIBITION 4,500 sm

AUDITORIUM 1,200 sm

WOOD ASSEMBLY + FABRICATION SHOP 700 sm

DINING HALL 1,000 sm

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PROGRAM BRIEF TOTAL: 118,975 m2 RECONFIGURATION FLEXIBLE PROGRAM: 77,300 m2 PROGRAM ANALYSIS AND FIXED PROGRAM: 41,675 m2

BOOK EXHIBITION 2,000 sm

ANTI-MUSEUM EXHIBITION 1,500 sm

TIME EXHIBITION 2,000 sm

ARTIST'S EXHIBITION 4,500 sm

DOMESTIC EXHIBITION 3,000 sm

TICKETING 100 sm

COAT CHECK 100 sm

EDUCATION OUTREACH OFFICE SUITE 100 sm

TOILETS 500 sm

NANO EXHIBITION 6,500 sm

LECTURE HALL 2 500 sm

GIFT SHOP 500 sm

CHAPEL EXHIBITION 4,500 sm LECTURE HALL 1 600 sm

DINING HALL 1,000 sm

CAFETERIAS 1,600 sm

SECONDARY DINING HALL 500 sm

KITCHEN 100 sm

AUDITORIUM 1,200 sm

WORKROOMS 1,500 sm

EXTERIOR PATIO / COURTYARDS 1,500 sm (min)

MEDIA EXHIBITION 6,500 sm

DREAM EXHIBITION 4,500 sm

WOOD ASSEMBLY + FABRICATION SHOP 700 sm

LOADING DOCK 500 sm

AV PRODUCTION CENTER PROJECT ROOMS 200 sm 600 sm

SEMINAR ROOM 1 200 sm

EVENT SPACES 3,000 sm

COMPUTER LAB 200 sm

LOUNGE 25 sm DAYCARE 50 sm LOUNGE 25 sm

LECTURE ROOM 300 sm

EDUCATION + SEMINAR SPACE 2,000 sm

SEMINAR ROOM 75 sm

GARDEN EXHIBITION 6,000 sm

WHITE/BLACK BOX EXHIBITION 17,000 sm

SEMINAR ROOM 2 200 sm

SEMINAR ROOM 75 sm

SEMINAR ROOM 75 sm

SEMINAR ROOM 75 sm

SEMINAR ROOM 75 sm

STORAGE FOR TEMPORARY COLLECTIONS 5,000 sm

LIBRARY 5,000 sm

PUBLIC PROGRAM

EDUCATIONAL OUTREACH

57,300 sm

ADMINISTRATIVE OFFICE SUITE 3,500 sm

10,900 sm

MECHANICAL 14,475 sm

BACK OF HOUSE

CIRCULATION 19,300 sm

MECHANICAL

9,000 sm

CIRCULATION

14,475 sm

19,300 sm

PROGRAM SPATIAL QUALITIES

PROGRAM AND SPATIAL QUALITIES

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1620 m2

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2,360 m2

675 m2

2,310 m2

2,800 m2

360 m2

90 m2

2,460 m2

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1395 m2

6,495 m2

225 880 m2 m2

7,825 m2

2,595 m2

310 500 790 m2 m2 m2

1,815 m2

315 180 m2 m2

16,525 m2

WHITE/BLACK BOX EXHIBITION

GARDEN EXHIBITION

ANTI-MUSEUM EXHIBITION

MEDIA EXHIBITION

TIME EXHIBITION

NANO EXHIBITION

DREAM EXHIBITION

DOMESTIC EXHIBITION

ARTIST’S EXHIBITION

CHAPEL EXHIBITION

BOOK EXHIBITION

FIXED PROGRAM

6,670 m2

13,865 m2

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GRID UNIT - SCALAR TYPES LOW CEILING

GRID UNIT / SCALAR TYPES HEIGHT : 10m

Base surface: 60m x 68m

30m x 34m

15m x 17m

VAULT CURVATURE : LOW COLUMN HEIGHT : MEDIUM spatial qualities

spatial qualities

spatial qualities

art display

art display

art display

structure

structure

VAULT CURVATURE : HIGH COLUMN HEIGHT : LOW spatial qualities

art display

structure

spatial qualities

art display

spatial qualities

art display

structure

GRID UNIT / SPATIAL DIFFERENTIATION / SCALE AND CURVATURE HEIGHT : 40m

GRID UNIT - SCALAR TYPES HIGH CEILING

VAULT CURVATURE : LOW COLUMN HEIGHT : MEDIUM spatial qualities

spatial qualities

spatial qualities

art display

art display

art display

structure

structure

structure

VAULT CURVATURE : HIGH COLUMN HEIGHT : LOW

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spatial qualities

spatial qualities

spatial qualities

art display

art display

art display

structure

structure

structure

SCALAR TYPES AND AFFECTS HEIGHT : 40m

VAULT CURVATURE : LOW COLUMN HEIGHT : MEDIUM

GRID UNIT / SCALAR TYPES / AFFECTS

spatial qualities

spatial qualities

spatial qualities

art display

art display

art display

structure

structure

structure

GRID UNIT / SCALAR TYPES / AFFECTS VAULT CURVATURE : HIGH COLUMN HEIGHT : LOW

spatial qualities

spatial qualities

spatial qualities

spatial qualities

spatial qualities

spatial qualities

art display

art display

art display

art display

art display

art display

structure

structure

structure

structure

structure

structure

spatial qualities

spatial qualities

spatial qualities

art display

art display

art display

structure

structure

structure

ID UNIT / SPATIAL DIFFERENTIATION / QUALITATIVE ADD-ONS HEIGHT : 10m

Base surface: 60m x 68m

TIFICIAL LIGHTING

RTIFICIAL LIGHTING - DIRECT

30m x 34m

15m x 17m

VAULT CURVATURE : LOW COLUMN HEIGHT : MEDIUM spatial qualities

spatial qualities

art display

art display

structure

structure

GRID UNIT / SCALAR TYPES / AFFECTS 30m x 34m

spatial qualities

spatial qualities

art display

art display

art display

structure

structure

VAULT CURVATURE : HIGH COLUMN HEIGHT : LOW spatial qualities

art display

structure

art display

spatial qualities

art display

structure

art display

art display

structure

spatial qualities

spatial qualities

spatial qualities

art display

art display

GRID UNIT / SCALAR TYPES / AFFECTS

15m x 17m

spatial qualities

spatial qualities

spatial qualities

structure

FICIAL LIGHTING - DIRECT

ARTIFICIAL LIGHTING - INDIRECT

g lighting racks are used for direct lighting

incisions on the vaults provide the source for indirect artificial lighting

4m min.

HEIGHT : 25m

GRID UNIT / SCALAR TYPES / AFFECTS

VAULT CURVATURE : LOW COLUMN HEIGHT : MEDIUM spatial qualities

spatial qualities

spatial qualities

art display

art display

art display

structure

structure

structure

VAULT CURVATURE : HIGH COLUMN HEIGHT : LOW spatial qualities

art display

structure

spatial qualities

spatial qualities

art display

art display

structure

structure

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VAULT TESSELLATION AND LIGHT STUDIES

EE ADD-ONS ADD-ONS ERFORATION ERFORATION

dimensions: 15m x 15m diamonding degree : 4

dimensions: 20m x 20 diamonding degree : 6

dimensions: 15m x 15m diamonding degree : 4

dimensions: 20m x 20m diamonding degree : 6

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BASE GRID

LOCALIZED GRID DEFORMATION

cells: 22 by 16 15m x 15m grid units BASE GRID cells: 22 by 16 15m x 15m grid units

BASE GRID / DEFORMATION TYPES / LOCALIZED DEFORMATION GRID - 21 by 18 16m x 16m grid units

r: 96m deformation degree: 0.6

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GRID DEFORMATION

BASE GRID / DEFORMATION TYPES / LOCALIZED DEFORMATION

BASE GRID / DEFORMATION TYPES / LOCALIZED DEFORMATION

GRID - 21 by 18 16m x 16m grid units

GRID - 21 by 18 16m x 16m grid units

r: 96m deformation degree: 0.6 r: 96m deformation degree: 0.6

r: 96m deformation degree: 0.6

r: 96m deformation degree: 0.6

BASE GRID / DEFORMATION TYPES / LOCALIZED DEFORMATION

BASE GRID / DEFORMATION TYPES / LOCALIZED DEFORMATION

GRID - 21 by 18 16m x 16m grid units

GRID - 21 by 18 16m x 16m grid units

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CEILING PLAN / STRUCTURAL REDUNDANCY

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PLAN VATIATION AND SECTION

N FLEXIBILITY 2

SECTIONS A and B

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3D PRINTED MODEL STUDIES

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4 ALABA ELECTRONICS MARKET

Course 3241 - Fall 2012 Professor: Pierre Belanger

LANDSCAPE AS URBANISM, LANDSCAPE AS INFRASTRUCTURE

Lagos, Nigeria

Alaba Electronics Market in Ojo (Lagos, Nigeria) is the largest importer of electronic goods in West Africa. It is a processing plant and a major trading point of second hand and new materials, within an international network of electronic use, reuse and waste management. The Electronics Market was originally a street market, located in the center of Lagos, right next to the Mushin Alake market, within a residential area. Its growth spilled over logistical boundaries, blocking the expressway, and in 1978 the Lagos State Government relocated the market to Ojo, where it stands today, on the site of a former forest.

With over 5000 shops and sub-shops, two million people transact business in this market daily. There are 30-50 containers, which arrive daily together at the Apape port and the Murtala Mohammed International airport in Ikeja, from where they get trucked to the Alaba electronic market. 22% used and 78% new electronic items of all kinds and sizes arrive mainly from Europe, USA and East Asia to then be disassembled, re-assembled and discarded and/or re-distributed and re-sold to merchants from West Central Africa. Three quarters of the 22% second hand goods, which cannot be fixed or up-cycled, are inappropriately disposed in e-waste dump sites and landfills what results in contaminated soil, air and ground water.

The market exists six days a week from 8.00AM to 6.00PM and implies a whole industry of ancillary products and services like furniture markets, banking, secretary services. It runs along two major arteries where the large-scale trading activity happens, from which the activities expand perpendicularly in the form of a branching system, wrapping around CMU single-storey lock-ups.

The commercial space is accommodated mostly in the interstices between these structures.

Within the city of Lagos, which is expected to be one of the 10 biggest cities in the world in 2015 by the UN, the future prospects for the market are growth and expansion. As a result of that, the market might will spill over its boundaries, having to potentialy face further dislocation.

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