Nathan Garcia Spring 2020
Graduate: Yale 2017-Present Fall 2017 Museum of Excess
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Fall 2018 Computational Composite Forms
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Restorative Justice Center Spring 2019 City Lampooned: Critical Play in a Digital Way Summer 2019 Design Through Stories: Foster and Comics Fall 2019 Nachdenken-schaft
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Professional Work Summer 2015:Gilles Retsin Architecture BlookHut Summer 2016: Mark Foster Gage Architects Mali Museum Competition
Science Island Lithuania Competition Summer 2018: SOFTLab Iris Summer 2019: REACH Architects
pfamCa Fellowship: multi-gen-family dwelling
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Graduate School: Ya le U n i ve rs i t y
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Museum of Excess Instructor: Mike Szivos of SOFTLab Fall 2017
In this project of the semester we were tasked with designing an archive in the south western block of the New Haven 9 square grid. This would be Yale’s 9th building in the 9 square grid and 5th library, seems excessive doesn’t? Well, Yale has aggregated so much knowledge in the form of collections and books through donations and will’s that over 2/3’s of the actual Yale collection is located off site at the LSF warehousing system. It is estimated that 80% of the things stored there will never see the light of day and simply collect dust for all eternity. I was curious why this was, so I spoke to one of the collection specialists at the Beinecke rare books and manuscripts archive and was shocked to discover some of the items in storage included collections of cars (yes drive able cars), shampoo bottles, comic books, beanie babies, and even more strange things. Many of these collections come from deceased former professionals or wealthy socialites that wanted to ensure their things were well preserved after their deaths. So for my archive, in gluttonous fashion, I sought out to create an archive overflowing with the plethora of knowledge and stuff aggregated by Yale. The bulbous system smashes right up against the site lines and even punctures it in some places. The archive invades the roof space of the buildings next to it and spills over the sidewalk. This is an archive for a university overflowing with knowledge and seizing up the space to put it, but still always needing more.
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Drawing. exploded axon
Diagram.negative spatial study 1
Diagram.positive spatial study
Diagram.negative spatial study 2
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Model.zone 1 x-ray
Model. zone 1 x-ray top
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Museum of Excess
Drawing.iso of gallery layout
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Model. chapel street elevation
Section.view from orange street
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Museum of Excess
Plan. floor +0
Plan. floor +1
Plan. floor +2
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Computational Composite Design Methods Instructor: Ezio Blasetti, UPENN Critic Fall 2018
In cooperation with Lemond Carbon Fiber, for this project we looked into the structural and modular capabilities of woven carbon fiber using the aid of computational design tools and automated assembly. First looking to develop a modular system of construction, the module we designed focused on quickness of assembly and ease of transportation. Therefore we utilized a flat-pack system with foldable tabs for the carbon fiber to be woven around. The module is part of a tetrahedron modulation system with each edge of the module being 2ft in length. This allowed for each individual unit that had the volume of 2.65ft3 to lay flat and be shipped in a 24”x2”x.5” bundle. With only one mass producible construction member and one type of mechanical joiner needed, there are a total of 3 parts needed to construct each of these units. For our final installation we used laser cut light gage steel to act as the solid framework for the module and with our further developed system of folding tabs we wove pre-impregnated weather around these frames. We looked at many different ways of weaving this pattern and in out final construction showed examples of these weave types and how they could be
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hybridized and reordered to form different structural focuses. Our final step was to move back into the digital examining possible aggregations of this unit and what their architectural implications might be. Looking at free standing structures, column supports, tension trusses and even replacement of steel rebar in concrete casts. These are the areas we specifically believe this technology would see the most success in the AEC industry. Teammates: James Bradley, Rachel Lefevre, Armaan Shah, and Paul Wu
Installation. frame aggregation
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Diagram.frame production
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Computational Composite Forms
Diagram. frame aggregation
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Process.robotic weaving
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Computational Composite Forms
Process. concept and final frame
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Photos.
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Computational Composite Forms
Photos.
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Restorative Justice Center Instructor: Emily Aburizo of ABA Fall 2018
This project addresses how a single modular form can complement, protect, enhance, and guide a specific and delicate emerging program typology. It does this by scaling, slipping, and inverting spatial relationships in an ideal way for the restorative justice process. The Restorative Justice movement is quickly growing in today’s juvenile correctional system. By holding “circle� talks, the movement allows for mediation and correction alternatives to juvenile incarceration. The circle is a shape that must be kept in order for this process to have success. The formal system here allows for discreteness, conveyance of safety and anonymity while not truly being a circle. Despite the buildings monolithic aesthetic which offers no direct views into any space, the dyed sand aggregate shines and bounces light around and conveys warmth and protection in its cave like concave bays. This pre-cast modular system does not stop here, throughout the buildings life and the life of the city, space can be added and removed with ease and the formal language be kept or adapted according to the needs of the user.
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Diagram. spatial concept diagrams
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Site Plan.mediation of mainstreet and river
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Restorative Justice Center
Section. long section of “bridge”
Section. short section
Section. long section through classrooms
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Plan.ground floor
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Restorative Justice Center
Plan. second floor
Plan. alternative auditorium uses
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Plan.restorative justice room
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Restorative Justice Center
Model. restorative justice room solar study
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Render.100 person circle process room/gym/auditorium
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Restorative Justice Center
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Render.interior spaces
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Restorative Justice Center
Render.main street approach
Render.river approach
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City Lampooned: Critical Play in a Digital Way Instructor: Bimal Mendis Yale Critic Spring 2019
In response to projects like Calm NYC, ROOM, and LinkNYC, we are developing an interface and framework for which to make architectural projects and urban proposals more accessible to public involvement. As digital technology is gaining a stronger presence in our cities every day urban fabric, we aim to capitalize on this paradigm shift in play and invite the citizens to play their city through the immerse quality of virtual reality. Conversely to traditional architectural drawings such as plan and section which requires prior training or explanation to be interpreted virtual reality is instantly understandable by anyone. We believe that helping people understand architectural proposals through lenses that they can more easily comprehend and interface with empowers them to be vocal about changes to the urban environment. This helps in filling the gap between the academically trained designer and overall community initiatives. In cooperation with PLAE (Kelsey Rico and Maya Sorabjee), we studied how this process would cooperate with another groups physical proposal and worked with them as a mediation entity to adapt and
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grow their design based on feedback from others playing the game. Ultimately in our project we hope to answer the question of how can we interact with the built environment through play and take advantage of cultural and technological shifts to develop a meaningful language of playfully designed space allowing for greater connection of people across the community. By both placing experiences “in the shoes“ of other members of the community, interventions outside of ones personal mindset can be experienced and empathized with. Team: Laelia Valout and Xiaohui Wen
Site Plan. marx brothers playground
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Diagram.possibilities of imagination
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Critical Play In A Digital Way
Drawing. the play board
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Diagram.levels of empathy and game-play experience
Back End.VR urban structure
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Critical Play In A Digital Way
Render.weather settings and vision impairment empathy
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Render.intervention live feedback testing
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Critical Play In A Digital Way
Photo. live demo
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Drawing. speculative future expansion locations for framework and “Phone-booth 3.0”
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Critical Play In A Digital Way
Drawing. speculative expansion locations for framework
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Motion Through Drawing Instructor: Inaqui Canicero of RICA Studio Summer 2019
Tasked with exhibiting Norman Foster’s work in a newly renovated slaughter house, my exhibition was inspired by the following quote. “I think as a child, as an adolescent, as a student, starting a practice, developing practices, over that whole period I have had a fascination with science fiction with utopian visions...It could be Dan Dare in a comic, I could be Flash Gordon in the cinema, it could be the writing of Jules Verne, it could be anybody who saw a brighter future.”
-Norman Foster, 2017 Foster has often expressed his love of science fiction. Born in 1935, Foster grew up watching the hit 1936 film series Flash Gordon and reading comics like Dan Dare and Buck Rodgers. For Foster, science fiction narratives like Arthur C. Clarke’s “Fountains of Paradise” present a future of optimism and reliance on engineering and innovation to solve humanities greatest challenges. From this love, a theme can be seen in Fosters architecture and design as he uses innovative engineering and mechanical techniques that many would say belong in the space age. In this collection of objects, we can see a more subtle but strong influence of Sci-Fi comics on the
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sketching and drawing techniques that Foster uses. The original purpose of putting comics in the newspapers was that perhaps, if one would read a newspaper for the comics, they might also read it for the news; a good comic would bring more interested readers to the paper. These sketches are vibrant and full of life and motion unlike the vernacular sketches of architecture. By using the composition of representation and drawing techniques from comics, Foster has been able to create easily legible drawings for clients and coworkers to understand the ideas he is trying to convey. With these drawings as the foundation for presenting and communicating ideas before moving into the traditional drawing types of architecture, Foster is able to propose radical and innovative engineering solutions in his architecture to help build the brighter future that he imagined as a child. Some images provided by Norman Foster Foundation
Cover. opening panel for exhibition
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Drawing.hung from main trusses
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Motion Through Drawing
Plan. right entrance bay
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Fig.1
Fig.2
Fig.3
Fig.4
Fig.5
Long Section Panels 1-6
Fig.9
Fig.10
Fig.11
Fig.12
Fig.13
Fig.14
Long Section Panels 9-14
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Motion Through Drawing
Fig.6
Fig.7
Fig.8
Short Section Panels 7 & 8
Fig. 7 Sainsbury Center for Visual Arts Ink on Paper. 1979
Fig. 8 Frankfurt National Indoor Stadium Pencil on Paper 1982
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Fig.1 Palmerston School Ink on Paper. 1975
Fig. 4 Hammersmith Center Ink on Mylar 1979
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Fig. 2 Palmerston School Ink on Paper. 1975
Fig. 5 Hammersmith Transportation Hub Ink on Paper. 1979
Motion Through Drawing
Fig. 3 London Gliding Club Ink on Paper. 1976
Fig. 6 Sainsbury Center for Visual Arts Ink on Paper. 1979
Fig.9 Slacker Gallery Pencil on Paper 1988
Fig.10 Slacker Gallery Pencil on Paper 1988
Fig.11 Slacker Gallery Pencil on Paper 1988
Fig.12 Great Glass House Ink and pen on Paper 1998
Fig.13 30 St. Mary Axe Pencil on Paper 1999
Fig.14 30 St. Mary Axe Pencil on Paper 1999
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Collage. figures 4 and 5 double wide panels of “exhibition hull”
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Motion Through Drawing
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Collage. installation on-site
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Motion Through Drawing
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Nachdenken-schaft Instructor: Graham Harman with Mark Foster Gage of MFGA Fall 2019
For this project lead by Graham Harman , a prominent philosopher and inventor of Object Oriented Ontology and Mark Foster Gage, this project was located on the sloped shore of Lake Yamdrak in Tibet. Taking queues from Tibetan monasteries, some of the only architectures created solely dedicated for thought, we created a think tank for the Brookings Institute. For an architecture of thought, our project explored the boundaries of object to object relations and developing an understanding of the essential qualities that make something what we perceive it to be. This is most evident through the distance between the qualities that produce a landscape and a Landschaft. Landschaft is a Germanic word used to describe a land defined by qualities related to custom and culture not by physical or geographical characteristics. Our project seeks to find the pivotal point between Landscape and Landschaft to appropriately and distinctively address the “Land” of thought. Architecturally the project takes advantage of ambiguity with an allowance for nature to express itself within the realm of architecture and for architecture to express itself within the realm of nature. These ideas parallel with Graham Harman’s thoughts on the relationship between the real and the sensual object. By conceptually pursuing the real and sensual qualities of both, and the qualities which are shared amongst the two, we strive to intuit the qualities inherent to both - even while, most importantly, some
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of these qualities are forever withdrawn. Per Graham’s model of this relationship, as applied to our proposal, the conception of real objects is synonymous to landschaft as sensual objects are to landscape. The architecture of a place of thought is an imperative place for exploring the dichotomous relationships formed through thought. There is the act of thinking itself, and the actions done while thinking. For example, Graham says he thinks best when he is writing, Mark says he gets his best ideas when he is boxing, Nathan says he thinks best when he is running, Ruike says she thinks best sitting in a comfortable place doing absolutely nothing, and James says he thinks best when he is reading. Thought is not only occupied by a place, but also by an action. Through our project’s engagement with the landscape, we are creating a place for participants in the think tank to engage in simple activities around the site that promote thought like gardening, farming, strolling, etc. while also creating conditions for group and individual conversation, debate, and meditation. Team: James Bradley, Nathan Garcia, Ruike Liu
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Render. meeting hall and grand stair
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Nachdenken-schaft
Plan. level 1
Plan. level 2
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Render. winter ecology
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Nachdenken-schaft
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Render. western view morning heavy crop season
Render.aerial render
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Nachdenken-schaft
Section. cutaway section through meeting hall
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Render.“interior courtyard”
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Nachdenken-schaft
Render. “exterior courtyard”
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Professional Work
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BlokHut Gilles Retsin Architecture Summer 2015
The Blokhut research project explores an architectural system where discrete, prefabricated, concrete elements are organized on intersecting grid-like construction planes which are joined at the intersections by 3D-Printed components. The end result is a differentiated and complex structure which maintains a high degree of economy with only a small percentage of the total structure requiring customized components. The large scale physical model is 2x1.5x0.3m and is built using 3000+ precast plaster components and a number of 3D-printed elements. To effectively deal with tension forces in the model, a layer of fiber glass reinforces the planes of pre-cast plaster elements. Cheap, relatively weak components with a high-thermal mass become structurally efficient through the addition of a thin layer of strong but expensive composite. The prototype can be constructed without the need for micro-managing thousands of unique, numbered pieces. Instead, the 3D printed components set out the different construction planes, effectively becoming an informed building component or communication device which contains the instructions for assembly.
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My role in the project was oversite and development from start to finish. Beginning with digital optimization of the design concept, management of fabrication of a 6’x8’x2.5’ model, creating the molds for casting all of the bricks, casting all of the bricks, 3D printing all custom joints, welding all interior skeleton and support columns, and creating an assembly process for the model in 6 “chunks“ and shipping container/stand assembly. Published: “Discrete Assemblage as Design and Fabrication Strategy.” (2015). Print. Team: Gilles Retsin, Nathan Garcia and Rahul Mirpuri
Diagram. digital aggregation concept
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Render. roof plan
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BlokHut
Render. speculative pavilion
Render. speculative stacking
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Render.front elevation
Render.approach
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Blokhut
Render.front elevation
Render.approach
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Diagram.custom vs module
Diagram. bottom 3 chunks with modular optimization
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BlokHut
Photo/Diagram. process diagram
Model. 5’ spine with welded metal interior skeleton
Model. assembled and painted bottom 3 chunks
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Photo.unit layout
Photo.fiberglass reinforcement
Photo.job site 1 fiberglass reinforcing
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BlokHut
Photo. human for scale
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Model.close ups
Model.close ups
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BlokHut
Model. completed model and display box
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Mali Museum Competition Mark Foster Gage Architects Summer 2016
The journey into this, as required by the site, subterranean museum complex begins by passing through a new megalithic cantilevered structure that combines the tectonic scale of historic cyclopean masonry with contemporary structural technologies and calculations of balance. The recycled aggregate cast megalith, a piece of seemingly ancient underground technology elevated to the plane of the contemporary city, marks the beginning of a gentle ramp sequence down into the depths of a submerged and hyper-botanical outdoor space equal in size to that of the existing courtyard in the adjacent 1872 Palacio de la Exposición, to which this project is programmatically attached. After visiting the primary museum floor- an expansive horizontal volume surrounded by smaller pocheembedded shaped rooms, visitors descend to the lower level through a second, brightly daylit, interior mass structure into the more casual gallery, retail and café spaces. The end of museum sequence places visitors in the excavated outdoor gallery - shaded by the presence of the megalithic entrance structure hovering far above. Dappled in cool shade and surrounded by sculpture, visitors are transported from the everyday urban world into
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one of subterranean serenity made possible only through a uniquely Peruvian orchestration of art, color, architecture, botanical life, and megalithic structure. To sojourn underground doesn’t always entail an unwanted visit into a basement- to visit the new subterranean extension of MALI. The ambition was to experience the opposite—a descent into a new genre of public and artistic space. My responsibilities in this project were varied throughout the design process. I worked with developing the “kitbashed” vaults which involved a vast variety of digital computational techniques. I was also worked on all site drawings, floorplans, and renderings. Team: Mark Foster Gage, Ryan Wilson, Zach Bale, Nathan Garcia, Arif Javid, James Bradley
Render.entrance vault
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render.front elevation
render.approach
Drawing.museum park site connection strategy
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Mali Museum
Diagram.massing and program strategy
Diagram.circulation strategy
Collage.approach study
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Drawing.short section
Drawing.long Section
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Mali Museum
Drawing.plan -0
Drawing.plan -1
Drawing.plan -2
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Render.interior Vault
Render.ground floor entrance
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Mali Museum
Render. interior courtyard study
Render. interior courtyard study
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Render.front approach 86
Mali Museum
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Science Island Lithuania Mark Foster Gage Architects Summer 2016
Situated in an important urban park in Kaunas, Lithuania, the National Center for Science and Innovation proposal is comprised of a series of cubelike fractal geometries placed on heavily planted botanical plinths. The project’s origins emerge from Philosopher Timothy Morton’s work on “Dark Ecology” which reconsiders for a new millennium the historic boundary between human and nature. The composition of the project formally investigates this boundary through reinventing the architectural and landscape fusion strategies found in mid-16th century French Baroque paintings by figures such as Nicolas Poussin and Claude Lorraine. In these paintings, as with the proposal, particular emphasis is placed on aesthetic interlocking of architectural and landscape elements, rather than the reinforcement of landscape as something outside of an architectural composition. We believe a science and technology center should open the minds of new generations to the possibility of entirely new forms of curiosity and discovery. Our proposal for the Science Island Kaunas project not only assumes this is possible but made it the goal of every decision of the design
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process. We do not believe that it is possible for a building to be properly designed without collaboration with the client—and so this proposal is one of ideas rather than set details. My responsibilities in this project were to develop the digital strategies necessary to generate the formal plan qualities of the project. Translating 2D point clouds and images into model-able 3D fractals was my main focus. I also worked on the renderings and environmental strategies. Team: Mark Foster Gage, Ryan Wilson, Zach Bale, Nathan Garcia, Arif Javid, James Bradley
Render.site view from top
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Render.boundary of human and science taxonomy of interior concepts
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Science Island
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render.front elevation Diagram.environmental strategy
Diagram.daylighting strategy
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Science Island
Diagram.sectional program layout
Diagram.geothermal and natural cooling section
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Drawing.floorplans
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Science Island
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drawing.west elevation
Drawing.north elevation
Drawing.long Section
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Science Island
Render.grand hall entrance
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Render.interior vault
Render.ground floor entrance
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Science Island
Render. front approach
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Iris SOFTLab Summer 2018
Iris was commissioned for Signal Festival in Prague. The installation is an interactive array of responsive mirrors and LEDs that creates a circular enclosure within the Mirror Chapel. The mirrors rotate in response to the movement of people in the circular space, while the LEDs respond to ambient sound. The circular array can be thought of as a lens that reflects both light and sound. The installation is meant to blend or confuse light and sound through its capacity to focus and unfocus these mediums. As the mirrors rotate, they open the perimeter allowing not only direct views of the Mirror Chapel, but also creating a “Mise en abyme”, mixing the surrounding chapel, viewers, and light in a vertically fragmented, recursive, and panoramic image. Both the intricate nature of the Mirror Chapel’s architecture and its use as a classical concert hall drive the design of the installation. A mirrored object in the round reflects the ornate surroundings externally while reflecting the viewer infinitely on the interior of the circular enclosure. This reflective enclosure is disrupted as people approach for a closer look. In this way, it is curiosity and sound that activate the installation. A closer look has the
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potential to produce a delightful bewilderment as the exterior leaks in while space and sound become multiplied in unexpected ways. In that sense, Iris is not an object, image, or artifact on its own, but relies on the existing space as the medium. As it bends, multiplies, and conflates light and sound it calls into question the lenses (both mechanical and cultural) that limit or expand our spatial experiences. Design Team:Mike Szivos, David Frank, Nathan Garcia & Jewel Pei
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Site.assembly in space
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Iris
Plan and Section. processional entrance
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Diagram.mirror assembly and proof of concept base
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Iris
Photo. mock model testing clear frames to see mechanism
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Photo. installation interaction
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Iris
Render. entrance
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lacking in diversity and bursting into isolation. More recently however, many cities have started re-densifying. While the common consensus is that this is a good thing, we want to look more critically at all of this.
Multi-Gen-Fam Dwelling REACH Architects Summer 2019
PfamCA stands for project for a more Christian Architecture. as a design intern and pfamCa fellow at REACH architects for summer 2019, I had both regular responsibilities within the office as well as research responsibilities on “pfamCa Fridays”. This involves developing a topic of research and engaging in conversation with people in the office about that research topic as well as others in the broader community. At the end of the summer, the pfamCa project is presented to the office and other architects and members of the community at the summer pfamCa Symposium which I, the pfamCa fellow, was responsible for scheduling, inviting, and presenting at. The following is a brief synopsis of the hour long presentation and conversation about my research topic: Multi-Gen-Fam Dwelling. The pfamCa project plays a key role in REACH’s long term goals of fostering a greater community of Christian architects and a platform for conversation concerning architecture and faith. With “the American Dream” directing many people’s desires to find the right city, neighborhood, school district, yard size, etc. in decades past, many of our cities have been shaped into low density, exclusive, and bland fragments of specialized islands
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The Question: Could a Christian reconsideration of how we live in the city today, point to aspects of a “more Christian Architecture” and, if so, what are the material and immaterial implications? The Methods: 1.) Examine urban trends and data figures alongside my families genealogical architecture footprint 2.) Look at urban trends speculation on the future architectural footprint of my life 3.) Project some possible scenarios that could, through material and immaterial architectures reconsidered through the lens of the Christian Faith, act in the interest of a more Christian city. Major Takeaways: 1. The immaterial effects of our architecture can far outweigh the physical effects. 2. Understand how slight tweaks to good thought, can become Christ-like thought, and create more Christian living situations. 3. Begin conversation amongst brothers and sisters in Christ in complementary professions about the presence of more Christ-like design and how that can impact the built environment and the lives of those we serve.
Ecclesiastes 4: 9-12 9 Two are better than one, because they have a good reward for their toil. 10 For if they fall, one will lift up his fellow. But woe to him who is alone when he falls and has not another to lift him up! 11 Again, if two lie together, they keep warm, but how can one keep warm alone? 12 And though a man might prevail against one who is alone, two will withstand him—a threefold cord is not quickly broken.
People in times of rapid change or need for stability/assistance 1.) Collegiate years 2.) Young professional years 3.) Development of older neighborhood’s 4.) Empty nester 5.) Senior living
College Student
Empty Nester
Strapped for cash Seeking stability Missing home
Extra space Restless Could use help with daily chores
Needs
Area for Capitalization
Costly surplus
Diagram.necessity breeds opportunity
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We use more architecture than ever There is in an increase in the number of buildings lived in over a lifetime because there are more “stage of life“ specific developments and neighborhoods: First home, “best” high school home, dorms, college houses, apartments, bachelor pad, pre-kids, young with kids, “emptynesters”, senior living, assisted living, etc.
Diagram.garcia male line chronological moves
Diagram. age for settling down vs likeliness to move
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Diagram. number of moves vs age
Multi-Gen-Fam-Living
Garcia Family
Martykan Family Ivan Garcia Family
Aspen Guys
Me Brianna
Lugo Family
Profit
Debt
Profit
Equity Debt
American Dream
Cost
Equity Debt
American Dream
Laredo Texas: Dad 1977: double wide trailer, upgrade from the previous 5 years in delrio in a single wide trailer. 3 bedrooms, 2 bathrooms. 4 kids, 1 girl,3 boys. This will be his parents home for the next 42+ years. Mom 1972: 3.5 bedroom, 2 bathroom. bought brand new. 5 kids, 2 girls, 3 boys.
Profit
Cost
Equity Debt
American Dream
Waco Texas: Dad moves out to go to trade school in Waco and starts saving for wedding. 4 people, 1 bedroom,1 bathroom.
Profit
Cost
American Dream
Profit
Equity Debt
Cost
American Dream
Waco, Texas: Austin, Texas: Parents got married and dad is going to Move for work and now live in a 1 bedtrade school while working at a Sheraton room 1 bathroom apartment Inn. Mom works for a bank. 1 bedroom, 1 bathroom
Profit
Equity Debt
Cost
American Dream
Round Rock, Texas: Round Rock, Texas: Windrift way house, 3 bedroom 2 bathroom, planning ahead for kids
Profit
Equity Debt
Cost
American Dream
Profit
Equity Debt
Cost
American Dream
Profit
Profit
Equity Debt
Equity Debt
Cost
American Dream
Round Rock, Texas: Round Rock, Texas: College Station, Texas: I am born and live at Winddrift way for 5 Moves to Morning View Place: bigger 2013 Moves to college dorms for 1 year 1 years. yard, bigger rooms, bigger garage, dining room, 1 bath, 1 roomate room, office, laundry room. Keeps Windrift house, payed off and now renting to others. I Lives here for 12 years
Cost
American Dream
Golden Girl Garcia Family
s
Cain Family Marcus
Profit
Profit
Equity Debt
Cost
Profit
Equity Debt
American Dream
Cost
London, England: with roomates: 4 other London 2015: lived with family that has edroom, I share a room with extra bedroom in flat
American Dream
Profit
Equity Debt
Cost
New York, New York: 2 bedrooms 1 bathroom 4 roomates. Share room with Johnny
American Dream
Profit
Equity Debt
Cost
New Haven, CT: Pink House, 8 roomates, 9 bedrooms, 3 kitchens.
American Dream
Profit
Equity Debt
Cost
American Dream
Profit
Equity Debt
Cost
Round Rock, Texas: Austin, Texas: Move back home to work in Austin and In about 2 years I move out to be closer pay off student loans/save as much to work with a friend. money as possible
American Dream
Profit
Equity Debt
Cost
Austin, Texas: I finally get married and we get an apartent in Austin near both of our jobs.
American Dream
Profit
Equity Debt
Cost
Round Rock, Texas: Grandpa Lugo passes away and Grandma comes to live with Mom and Dad. My old room is converted into a room for her.
American Dream
Profit
Equity Debt
Cost
Round Rock, Texas: Dads parents decide to move into rental unit to be closer to their kids whom now the majority live in Austin
American Dream
Equity
Cost
Unknown: It is finally itme to build the Dream Houses for my sister and I, but what do those look like?
Diagram.my chronology and architectural footprint
Garcia
Cost
London, England: Bryan, Texas: London 2015: lived with family that has Aspen House with roomates: 4 other roomates. 3 bedroom, I share a room with extra bedroom in flat cody.
Lafayette Guys Martykan Family
Equity Debt
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American Drea
New York, New 2 bedrooms Share room w
Diagram.house that can be rearranged into a duplex.
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Multi-Gen-Fam-Living
Somewhere in ATX Area: Builds home and begins family
Somewhere in ATX Area: Kids move out to go to college. Two college freshman move into their rooms.
Somewhere in ATX Area: Resident Medical student moves into converted home into suite.
Somewhere in ATX Area: Kid moves out and we rent unit to another young married couple, its their first home.
Somewhere in ATX Area: one kid gets married and moves back to the home, we trade places with them and take the smaller suite
Somewhere in ATX Area: Kid is ready to start a family and moves out, we return to main house and now older parents come to live with us in suite.
Somewhere in ATX Area: After graduating one kid moves back into suite to get started in life.
Diagram.potential future of multi service single architecture
Conclusions: 1.) The immaterial effects of our architecture can far outweigh the physical effects. 2.) Density and redefining personal spatial values is the future 3.) Understand how slight tweaks to good thought, can become Christ-like thought, and create more Christian living situations. 4.) Begin conversation amongst brothers and sisters in Christ in complementary professions about the presence of more holistic Christ-like design and how that can impact the built environment and the lives of those we serve.
Garcia
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