Manufactured Ecologies by Pablo Sandoval

MANUFACTURED ECOLOGIES

Pablo Sandoval ----------------------------------California Polytechnic State University San Luis Obispo College of Architecture and Environmental Design Bachelor of Architecture Thesis ----------------------------------2011-2012 Cal Poly Architecture Dean: Henri T. de Hahn Thesis Instructor: Karen Lange ----------------------------------Manufactured Ecologies All material is copyright by author

MANUFACTURED ECOLOGIES

TABLE OF CONTENTS

05 09 17

ABSTRACT 2

ISSUE 3

CASE STUDIES

49 55 81

PROGRAM 8

PROCESS 9

SAN FRANCISCO PROMENADE

TABLE OF CONTENTS

47 33 25

6 5 4

24 HRS

SF DAY & NIGHT MOVIE

SITE

157 149 131

11 HELIX

12 FERROFORM CHAIR

10 WHITE BOOK EXHIBITION

ABSTRACT 06

Blurred Boundaries

ABSTRACT

BLURRED BOUNDARIES Rapid developments in technology have blurred the boundaries of the natural and artificial. Nature no longer exists in its pure untouched form; humans have found a way of shaping and changing nearly all aspects of the natural world. From the micro scale of our own bodies, in their manufacturing and modification, to the larger scale of cities, in the creation of land, manufactured nature occurs across all scales. Our world has become one of blurred zones in which everything has become interconnected.

ABSTRACT

Manufactured Ecologies seeks to respond to current blurred living conditions and adapt to unknown futures. Architecturesâ&#x20AC;&#x2122; role is to accept the constant evolution of program, and loosely steer it by accommodating change through flexible spaces. The hybridization of landscape and architecture offers new possibilities for architecture to respond to its environment. Complex energies of site become infused and interconnected with architecture through the manipulation of land and building. Urban environments are understood as constantly evolving ecosystems in which architecture serves to allow fluidity of space, time, and culture.

Blurred Boundaries

Program or use is something which can no longer be predetermined. Spaces are constantly being used in unexpected ways; ways which no one could have predicted. Architecture has been unable to keep up with this complexity and volatility. A situation which dramatically intensifies in the urban fabric of cities which are composed of a complex network of forces in a constant state of metamorphoses. The history of architecture is one of segregation of parts. Buildings are viewed as free standing objects separated from the landscape and thus, like a rock, are unable to adapt or respond to change. Consequently, old buildings are constantly being readapted or replaced due to their inherent inability to respond to change.

ISSUE

Towards Manufactured Ecologies

ISSUE

Buildings in architecture are currently viewed as objects, completely separate from the landscape they rest on. At the scale of cities, landscape is nowhere to be found. Instead, only man made blocks of high rises propagate the city only to be rarely broken up by a park. This division has deep social implications. People are becoming so far removed from the natural that they cannot even begin to fathom the natural implications of their actions. The technocratic trance we find ourselves in has rendered us incapable of seeing the implications industrial urbanization has on our environment. We have in the words of Bruce Wilshire, Professor Emeritus at Rutgers University philosophy department, “encase(d) ourselves in controlled environments called building and cities. Strapped into machines, we speed from place to place whenever desired, typically knowing any particular place and

The current dominant working method in architecture has been deeply influenced by the ideas of modernism. Central to the ideals of modernism was the notion of form following function. A phrase coined by Luis Sullivan which means that design should derive from the purpose of the product. Any ornament or detail on a building was viewed as excess and unnecessary. This along with a broken capitalist economy has led to the completely unnatural aesthetic of our current built environment. The global machinic aesthetic of modernism is completely generic and de-territorializes our built environment. Buildings have been relegated to be measured against their materialistic worth rather than having any real experiential value. The ideals of minimalism were not always as prevalent as they are today, it was not until the end of the eighteenth century that ornament began to be challenged. Before the nineteenth century, “Ornament, in general, gave evidence of the creativity and the beauty of the cosmic order, just as the fruits and flowers that it often imitated were the product and the finery of nature” (Picon 298). While naturalistic imitations are no longer relevant today, what is important is the connection to nature achieved thru effect rather than mimetic natural forms. David Gissen, a historian and theorist of architecture and urbanism, states that buildings that attempt to recreate the effects of the natural “bring nature back into the view and experience of the city. This represents both an architectural construction and re-construction of nature because architects impart a novel return of the urban environment to a partially pre-modern and pre-industrial state” (456). The reconstruction of nature is necessary

Manufactured Ecologies

We live in a world which has become completely disengaged from the natural environment. The logics of speed and efficiency dominate the working methods of our time. In the hyper-speed industry of computers, technology is constantly replaced with bigger, better, and faster products. Companies claim to have created the fastest and best product only to be replaced by a faster model a few weeks later. Our consumerist society, completely entranced by this logic, crave the newest thing. We have become so concerned with speed that we have no time to think of the implications of our actions. Architecture has been removed from the natural environment and therefore we are blind to the destruction of nature. We should attempt to create a more integrated hybrid of the built and natural environment in order to release society from the functionalistic trance of efficiency, speed, and hyper-simplicity.

its regenerative rhythms and prospects only slightly” (Orr 30). We are blind to the natural processes of our world because we have removed ourselves from its forces.

ISSUE

MANUFACTURED ECOLOGIES

in order to make it possible to reverse the destructive effects of industrial urbanization. This reconstruction takes on both a social as well as a physical reversal. In polluted urban sites for example, a literal reworking of the land into a greener more naturalistic state returns the land to its original form, a form before the destructive effects of industry. This usually entails the planting of native historical plants that existed on the site hundreds of years before disturbance of its habitat. According to David Orr, a well known environmentalist, “We must begin to see our houses, buildings, farms, businesses, energy technologies, transportation, landscapes, and communities in much the same way that we regard classrooms” (30). On a social level these projects have the power to change people’s perceptions of their environment due to their elucidating capabilities.

ISSUE

Manufactured Ecologies

The current dominant design method in architecture is how to produce the fastest, cheapest, and most efficient building. Much has been lost by the drive for speed. In Pure war, cultural theorist and urbanist Paul Virilio poetically warns of the technocratic logic of speed: There again it’s the same illusory ideology that when the world is reduced to nothing and we have everything at hand, we’ll be infinitely happy. I believe it’s just the opposite—and this has already been proven—that we’ll be infinitely unhappy because we will have lost the very place of freedom, which is expanse....The field of freedom shrinks with speed. And freedom needs a field. When there is no more field, our lives will be like a terminal, a machine with doors that open and close. (Allen, “Terminal Velocities” 146) Much can learned by natural landscapes. They

are boundless and expansive. Landscapes offer freedom. They allow for autonomy and freedom of association and assembly. They allow for new modes of interaction, which are not predetermined by functionalistic buildings. Unlike modernist buildings they are able to adapt and accommodate changes. Landscape and building should become more integrated in order to enact a change in societies’ views on the natural environment. Landscape and building hybrids respond to their context, internal program, and time. These hybrids are understood as constantly evolving ecosystems in which architecture serves to allow fluidity of space and time. Like an ecology, landscape and building hybrids accommodate change slowly over time. In the words of Stan Allen, dean of Princeton’s University School of Architecture, “Architecture is situated between the biological and the geological —slower than living beings but faster than the underlying geology. Resistance and change are both at work in the landscape: the hardness of the rock and the fluid adaptability of living things” (Allen, “From The Biological To The Geological” 22). Unlike a purely natural mimetic project, landscape and building hybrids act like an architectural diagram. Capturing the forms of nature and transforming these images into a building would render the project as a static object and as such the building would quickly become outdated. Unlike the mimetic model a diagrammatic approach would focus on the behaviors of nature rather than the image. The fact that landform projects sometimes resemble their natural inspirations reflects the desire to recreate the effects of nature. Natural resemblance is not a negative attribute, so long as these projects focus on behaviors rather than mimetic still frames. Diagrams are an abstract way of thinking about organization. The forces at play in the diagram do not necessarily have to manifest themselves into

Functionalistic buildings are constantly being readapted or replaced due to their inherent inability to respond to change. Landscape and building hybrids are shaped by abstract machines and are able to incorporate change. These hybrid projects are also able to transform their physical and social context. Though landscape and building hybrids are often distinguished by large inhabitable surfaces they should not be defined purely by formal aesthetics. They follow what Sanford Kwinter, architectural theorist and professor at Harvard University Graduate School of Design, defines as true formalism. Kwinter defines true formalism as “any method that diagrams the proliferation of fundamental resonances and demonstrates how these accumulate into figures of order and shape...form is resonance and expression of embedded forces” (“Who’s Afraid Of Formalism” 146-47). Landscape is one of the driving forces of the project along with all the embedded forces within the building itself and the external environmental forces. These forces are behavior driven and are not based solely on the form of the shell

Landscape and building hybrids have the power to snap us out of our machinic trance: A trance which is too concerned with speed and efficiency and not on humanistic and social values. According to Marshall McLuhan, an influential philosopher on media theory, “The hybrid or the meeting of two media is a moment of truth and revelation from which new form is born. For the parallel between two media holds us on the frontiers between form that snap us out of the Narcissusnarcosis. The moment of the meeting of media is a moment of freedom and release from the ordinary trance and numbness imposed by them on our senses” (55). If we are to free ourselves from the narcissistic trance of functionalism we must use the power of the hybrid energy created by the fusion of buildings and nature to release ourselves from its enclaves and foster a society which is more in line with the natural.

Manufactured Ecologies

As opposed to a functionalist logic that would describe a fixed set of actions to be completed within a fixed architectural envelope (and risk obsolescence if those functions change), the notion of an abstract machine sees the building as a component in a larger assemblage that can be recontextualized according to the progressive rearrangements of the other components in this social/technical/ urbanistic machine. (18)

which would relegate the project to what Kwinter terms poor formalism. This type of design shifts away from placing emphasis on the end product and instead focusing on the process or forces which produce the project.

ISSUE

discernible attributes of the completed project because what is important is that the building behaves like a diagram. In Diagrams Matter, Allen distinguishes between the diagram working method and a functionalistic method:

MATTER

ISSUE

Manufactured Ecologies Matter

Landscape and building hybrids are deeply tied to materials and construction. Recreating landscape is complex task. If these projects are to be constructed, attention must be given to materials early in the design process. Massive structural challenges must be solved by employing the latest technologies. Often the construction solutions required for these projects are completely novel and therefore completely new techniques of construction must be designed. These projects push the boundaries of structural and fabrication techniques. These projects are hybrids and as such they blur the boundaries of landscape and building and employ many different disciplines into deeply interconnected systems. Unlike current working methods these projects favor heterogeneity and difference. Staying within the confinements of current structural and construction norms is not a viable solution. The current norms foster a design methodology which is completely static. Steel is one of the most widespread and most common construction material in our world. Modern steel is completely homogeneous. Purely technical reasoning for the proliferation of steel is insufficient, there exist important social implications as well. James E. Gordon, one of the founders of materials science and biomechanics, states that “steel, especially mild steel, might euphemistically be described as a material that facilitates the dilution of skills... Manufacturing processes can be broken down into many separate stages, each requiring a minimum of skill or intelligence”(DeLanda 20). Steel, a once natural material full of impurities underwent an intense chemical and physical transformation in order to become totally uniform and homogeneous. According to philosopher Manuel DeLanda “both human workers and the materials they used needed to be disciplined and their behavior made

predictable” (20). This transformation and homogenization of steel was necessary in order to actualize the machinic dream of total efficiency and economy of mass-production. We have undergone a disengagement with natural materials. Architects are no longer concerned with the variance in materials. The tendency in architecture is to view all materials as homogenous substance with static characteristics. However, the reality is that each material has its own set of rules and internal logics. Natural materials such as wood have a variance of structural capabilities. This is exemplified at the macro level in the variety of timber species and the different structural properties that each species possesses, and also at the micro level in the anisotropic structural capabilities of a single piece of lumber. The logic and information embedded in materials has been lost. Homogenous and uniform materials are preferred. The danger in this is that our built environment is becoming more and more static. Creativity and innovation are compromised when designers are blinded by homogeneity and ignore the variance and logic of natural materials. According to Kwinter all material have embedded intelligence. This information is accumulated over time and serves as instructions to be used by designers. The information can be in the form of production tools, typical use of material, material properties, or the relationships to other materials. Imbedded intelligence is lost when materials become increasingly homogenized and when materials with variable qualities are rejected. This has already been proven in the deskilling of our construction workforce. Materials have different properties with infinite possibilities, what limits us is our own perception of the materials. Innovation is lost when you become contempt with existing modes of design and production. In

Proponents of industrially produced materials argue that materials needed to become standardized in order to control the quality and reliability of the construction components. Quality, reliability, and efficiency are not

Functionalism has created a world of generic composite surfaces. This has led to a world occupied by spaces which are extremely unnatural and sterile. Today’s buildings lack any sense of humanism. The natural world on the other hand is heterogeneous and full of variance. While an essentialist would view difference in materials as a defect, a naturalistic approach would view it as part of the system and attempt to blend these differences into the system. It is the differences which create variance and interest in the products. Naturally occurring structures are complex. Designers should reflect this complexity and have a more varied repertoire of materials. Biological materials such as bone exhibit properties which are in continuous variation. New designs could learn from this variance and incorporate it into the structural system in order to actively decide which areas of the structure need certain structural properties and which areas need something completely different. This would in turn solve the problems of efficiency while creating a more naturalistic variance in the project.

Manufactured Ecologies Matter

Jesse Reiser, Professor at Princeton University School of Architecture, distinguishes an essentialist system from a system with singularities. An essentialist system is concerned only with optimization and pure form. It does not allow for any difference. According Reiser, “Mies’s constraint of matter by ideal geometry is based on an essentialist notion: that matter is formless and geometry regulates it, that geometry is transcendental and in some sense indifferent to the material that substantiates it” (88). The geometries of planes and lines are imposed on matter. Matter is subservient to geometry under an essentialist system. Contrary to this essentialist belief a system which accepts singularities is more in line with the natural universe because the world is full of variance. Reiser states that, “From a standpoint of natural systems, pure form is an abstraction, or at best a special case within a wide range of variation” (136). Matter has the ability to self-organize and guide the development of geometry.

negative ideals. There certainly is a role to be played by these qualities in the modern world and the advancements that were made due to these ideals have made many great things possible. What is dangerous however, is to place emphasis and value on efficiency and speed at the cost of other values such as human and ecological principles. It seems that our capitalist society places too much importance on materialistic and monetary values and not enough on social and naturalistic values.

ISSUE

order to progress we must “engage aspects of nature whose logic and pattern had previously remained ungraspable because they were lodged at too great a remove from the modalities of human sense and intuition” (Kwinter, “The Cruelty of Numbers” 98). These new forms release us from the trance of the status quo and serve to propel us into future advancement. Instead of excluding nature and all non-deterministic aspects of our world from design we should include this information in order to “free us from the multiple tyranny of determinism and from the poverty of a linear, numerical world”(Kwinter, “The Cruelty of Numbers” 98).

CASE STUDIES

Guangzhou Opera Atmosphere

CASE STUDY

Guangzhou Opera House Zaha Hadid Architects Guangzhou, China 2003 / 2010 ATMOSPHERE:

Guangzhou Opera Atmosphere

CASE STUDY

Like two rocks carved out by the Pearl River the Guangzhou Opera House evolved from the concepts of a natural landscape and the fascinating interplay between architecture and nature. Its vast canyon like interiors create landscape effects indoors and blur the boundaries between interior and exterior. Landscape in this instance is no longer viewed as a pure exteriority, the vast megaform of the opera recreates the experience of landscape. The project manipulates the notion of nature as a pure green rolling hill wilderness and instead focuses on reproducing landscape effects. The interior forms have a strong connection to the overall composition of the manufactured site and the larger urban landscape of the Pearl River, adjacent cultural buildings, the towers of international finance, and Guangzhouâ&#x20AC;&#x2122;s Zhujiang new town.

Yokohama Terminal Landscape

CASE STUDY

Yokohama Terminal Foreign Office Architects Yokohama, Japan LANDSCAPE:

Yokohama Terminal Landscape

CASE STUDY

The Yokohama Terminal emerged from the desire to eliminate the strong linear organizational structure of piers. This shift from a linear environment to one that is exploratory was achieved thru the creation of a landscape roof which approximates the effects of nature. The project is an extension of the urban ground, challenging typical figure ground typologies, the building is a hybrid in which undulating surfaces intertwine the outside landscape with the enclosed program. The continuous open roof plaza creates multiple path possibilities which undulate, disrupt the views, and create visual diversity as paths diverge under and over. As a hybrid, the building fuses structure, skin , roof, and ground through the use of structural folds that follow the shape of the form which distribute forces diagonally to the ground. This complex interrelated system is especially competent in coping with the massive seismic forces of the Japanese topography. The Yokohama Terminal is one the most convincing realizations of an emerging typology in which nature , culture, and building are unified.

Bryghusprojektet Interconnectivity

CASE STUDY

Bryghusprojektet OMA Copenhagen, Denmark 2008 / 2013 INTERCONNECTIVITY:

Bryghusprojektet Interconnectivity

CASE STUDY

Located along Copenhagenâ&#x20AC;&#x2122;s Harbor the Bryghusprojektet acts an urban connector. The project links the city to the waterfront and the historic to the new metropolis. Instead of merely responding to the contextual issues of the site the building works to redefine the site. The most remarkable aspect of the project is its novel mixed use characteristics. The complex program consist of housing, offices, public spaces, parking, and the Danish Architecture Center which includes exhibition areas, research facilities, an auditorium, conference rooms, a bookstore, and a cafe. Instead of simply positioning disparate programs in autonomous neighboring groups a hyper-connectivity between users is achieved by exploiting their coexistence. This condition creates exciting interactions that otherwise may not have occurred between different people. The Bryghusprojektet revitalizes the cityâ&#x20AC;&#x2122;s harbor front by providing public paths, creating public spaces, and increasing interaction on the site.

SITE

San Francisco

SITE

The constant flows of energy create an extraordinary experience on the site. The bay is in constant motion while boats and ferries move about this expansive space. The Bay Bridge emanates the energy of vehicles moving

These towers serve to shield the site from prevailing winds from the west. The only wind free to affect the site is the northern wind that blows across the bay, these winds however are not prominent and typically don’t flow with much force. The city is characterized by cold, wet winters, and temperate, damp summers. The most distinctive part of San Francisco’s climate is the fog that rolls in off the ocean year round. This fog quickly engulfs the city and wipes the expansive views of the bay. The site is well connected in terms of transit access. The Embarcadero road allows for

SITE

San Francisco

The site is situated along the Embarcadero in the unique South of Market (SoMa) district of downtown San Francisco. Located in between the towering landscape of San Francisco’s Financial District and the expansive landscape of the sea, the site acts as a mediator between these two forces. Neighboring the commercial area of the Ferry Building, the business district, and the downtown residential, the site is in a blurred zone, between the high traffic of downtown and the calm of the residential. The variety of forces acting upon the site lend themselves to a unique site.

between San Francisco and Oakland. In the distance to the North, Treasure Island,Yerba Buena Island, and Oakland contain you from an otherwise infinite view of the horizon. The city itself is full constant traffic against a backdrop of clustered towers.

SITE

SAN FRANCISCO

Protected by a seawall that lines the perimeter of the harbor, the site currently sits on an area which was once mud flats. The harbor has a history of constantly changing and adapting. Since the mid 1800s the natural coastline of San Francisco has been modified for the purpose of accommodating ships and

The Ferry Building, built in 1898, survived the Earthquake and fires of 1906 and in the 1920s became one of the busiest areas of foot traffic in the world. The completion of the Bay Bridge in 1936 and the addition of the freeway on The Embarcadero road in the 1960s

San Francisco

The site is situated in an area at high risk of earthquakes due to its close proximity to the San Andreas fault line which runs along the West Coast and flanks the west borders of San Francisco. In addition to its high risk of earthquakes the site is also prone to liquefaction, a phenomenon whereby saturated soil substantially loses strength and stiffness in response to an applied stress. This condition correlates with the sites location above reclaimed land, which is less stable due to its artificial nature.

trade. The coastline morphed and shifted culminating with the earthquake and mass fires of 1906 at which time a new era of port development began. The Board of State Harbor commissioners began extensive development along the waterfront and consequently San Francisco’s harbor became the most important harbor on the west coast. In the 1920s however the emergence of Los Angeles as the West Coast’s largest city and biggest industrial center relegated the Port of San Francisco to a secondary role. For the next few decades the harbor steadily lost market to the ports of Los Angeles, Long Beach, and its cross bay rival Port of Oakland. The rise of containerization in the 1960s marked the death of the Port of San Francisco as a major terminal due to its inability to accommodate the size of the containers. The port now specializes in break bulk and dry bulk cargo, ship repair, and ferry services. The site currently sits on an area of water which was once occupied by five piers located in between the Ferry Building and Piers 24 and 26. Those piers became obsolete and were removed around the year 1950.

SITE

private vehicular traffic while the BART’s Embarcadero station is half a mile in proximity. Connecting bus and light rail stations are situated on site. If transit by water is desired the neighboring Ferry Building connects to AT&T Ballpark, Fisherman’s Wharf, Oakland and most of the cities across the bay. A scenic pedestrian walkway is also situated all along the Embarcadero’s harbor edge and is constantly travelled by tourist, runners, leisure enthusiast, and people with pets.

rendered the area dead. After the freeway was severely damaged in the 1989 Loma Prieta earthquake and torn down in 1991, massive redevelopment began as a grand palm-lined boulevard was created, squares and plazas were restored or created, bringing new life to the Embarcadero. The SoMa district is a rapidly changing neighborhood of downtown that is the center of a lot of new construction, including new skyscrapers, some of the cityâ&#x20AC;&#x2122;s newest museums, and AT&T Park, home of the San Francisco Giants. Although a lot of construction has gone on in recent years, it is still not densely developed. Many areas are desolate while others are full of life. The neighboring Financial District is home to many

banks, financial institutions, law firms, and corporate headquarters. Infused within these moneyed corridors are upscale hotels, some of the cityâ&#x20AC;&#x2122;s best restaurants, and historic walking routes. The neighborhood has a constant flow of people. At the intersection of a multitude of forces the site has major potential to influence its surrounding environment. The varies energy forces of the residential, financial, and commercial can be redirected by the site in order to bring new life to an otherwise dead interstitial space. At an edge between the natural (water) and the artificial (city) the site must mediate our will to control our environment and natures contesting forces.

24 HRS SITE EXPLORATION

Day & Night

24 HOUR

24 HRS Shimmering lights, leaves blowing in the wind, birds flying by, grass swaying side to side, skies in motion, moonlight dancing in the water, rhythms of the sea, constant flow of traffic, crowds passing by, motion. Night Approaching the site for the first time, under the moon light, you feel entranced by its profound beauty. The towering landscape of the city captivates you with its grandness while the expansive beauty of the sea intensifies the experience. Lights reflect and refract upon a sea perpetually in motion.Yerba Buena Island, Treasure Island, and Oakland frame the view creating a picturesque scenery. The Bay Bridge radiates the energy of cars as they flow out into the horizon whilst boats pass under its grand underpass. Day

24 HRS

Day & Night

The metropolis emanates a different but no less commanding energy by day. Itâ&#x20AC;&#x2122;s energy source comes not from the reverberation of light but from the increased flow of traffic. Paths intersect as crowds of suits, tourist, runners, and locals rush by The Embarcadero. Cars, buses, and light rail cars flow through The Embarcadero as Ferries and boats create paths in the water. Historic trolleys pass by the towering metropolitan city, reminding us of its history. Amongst the intersecting flows of traffic, the natural rhythm of the sea balances the senses creating a pleasing experience by day.

Day & Night

24 HRS

Day & Night

24 HRS

Day & Night

24 HRS

Day & Night

24 HRS

Day & Night

24 HRS

Day & Night

24 HRS

http://Vimeo.com/ Pa3loSandoval/sf S F T H E M OV I E

PROGRAM

CULTURE

HOTEL

118000 ft2

119000 ft2

PARK

470000 ft2

UTILITY

137000 ft2

PARKING

300000 ft2

SF Promenade

The siteâ&#x20AC;&#x2122;s prominence on the harborâ&#x20AC;&#x2122;s edge gives great importance to the programming of the site. The main issue is how to connect the different energies on the site. The financial district, the commercial Ferry Building, and the residential SoMa district are currently separated on the site creating a dead zone. The programming strategy is to insert a large scale civic project, currently missing in the area, which will serve to tie all the elements of site together.

The proposed program is a performing arts center which will bring new life to the city day and night. Grand dance & music events will liven the nightlife of the city; while restaurants, shops, art, and a hotel will ensure activity on the site. The programming will have a strong connection to its surrounding context due to a large promenade park. The park will host a variety of different outdoor events and daily activities. The program is an unconventional mix of different activities normally separated into different buildings, joined, to create hyperinteractivity between people.

PROGRAM

SAN FRANCISCO PROMENADE

Suites 92000

Foyer 46000

Grand Theatre 22000

Theatre Lobby 13800

SF Promenade

PROGRAM

VIP Lounge 2300

Minor Theatre 5500

MultiPurpose Hall 5500

Sky Restaurant Entrance 9200 8700

Lobby 7600

Cafe 5000

Lounge 7600

Restaurant 8900

Sky Bar 2900

E 118000 ft2

L 119000 ft2

Park 237000

Park 233000

Parking 300000

Backstage 86500

Work Room 12500

Offices 12000 Rehearsal Recording Studio Studio Performers 5000 4000 Lounge 2500

Loading Room 3000

P A R K U

Y 137000 ft2

470000 ft2

PARKING 300000 ft2

SF Promenade

Ticket Office / Cloak Room 2500

PROGRAM

Giftshop 9000

PROCESS

MANUFACTURED E C O L O G I E S LANDSCAPE & C U LT U R A L H

Schematic Design Digital Explorations

PROCESS

â&#x20AC;&#x153;The hybrid or the meeting of two media is a moment of truth and revelation from which new form is born. For the parallel between two media holds us on the frontiers between forms that snap us out of the Narcissus-narcosis. The moment of the meeting of media is a moment of freedom and release from the ordinary trance and numbness imposed by them on our senses.â&#x20AC;? -Marshall McLuhan

Schematic Design Digital Explorations

PROCESS

Schematic Design Built Models

PROCESS

1 OVER

2 CRYSTALS

3 OVER & UNDER

This scheme explored the potentials of a public landscape with rising crystalline forms containing the program.

This scheme explored the potentials of a public landscape located over and under the programmed elements. The advantage of this scheme was the higher variability of experiences and the interconnectivity achieved between the exterior landscape and interior program.

Schematic Design Built Models

This scheme explored the potentials of a raised public RoofScape with the programmed elements located underneath the surface.

PROCESS

Over & Under

Penetrating Voids

PROCESS

Schematic Design Sketches

Hybrid: Tower, Roofscape, Seascape

Stair Voids

Form

PROCESS

Schematic Design Sketches

Alternate Scheme

1 RAISED ROOF

2 HOTEL TOWER

PROCESS

Design Development

3 FLOORS

4 BLENDING

5 RAMP

PROCESS

Design Development

6 REFINING

Drawing

PROCESS

Drawing

PROCESS

Site Plan / Drawings

PROCESS

Plan Diagram

PROCESS

MANUFACTURED E C O L O G I E S P . S A N D O VA L K . L A N G E

Section

PROCESS

100ft

300ft

Section

PROCESS

Elevation

PROCESS

Elevation

PROCESS

Circulation Diagram

PROCESS

Circulation Diagram

PROCESS

ENTRY ROOFSCAPE SEASCAPE TOWER

Stair Void

PROCESS

STAIR VOID

RECURSIVE SUBDIVISION - Based on surface curvature

PROCESS

MAJOR STRUCTURAL PATTERN

Pattern Studies

PATTERN DETAIL

Skylight Detail

PROCESS

GLAZING

PROCESS

Skylight Detail

HOLLOW STRUCTURAL SECTION

SAN FRANCISCO PROMENADE

SAN FRANCISCO PROMENADE The San Francisco Promenade emerged from the desire to create an architectural hybrid between landscape and building. The fusion of these two elements brings new life to the Embarcadero. The public is allowed freedom on the site which results in an architecture full of energy and boundless possibilities. The interior cultural spaces, hotel, and park all work together to create a place which is full of life. Like an urban oasis the project floats on the harbor connecting sea to land, land to city, nature to building, and people to culture. The project features a SeaScape inspired by the Irish tessellating landscape of the Giant’s Causeway. San Francisco’s bay is allowed to enter the tessellating canals and form reflecting pools on the site. The dancing of the bay’s water on the site’s pools and canals creates a beautiful experience of reflection, movement, light, sound, and nature.

The hotel towers over the south side of the site and creates a harmonious transition between the bay, Embarcadero, and the towering metropolis. Guest enjoy the best views of San Francisco and are allowed a special connection to the cultural parts of the building. The hotel ensures life on the site day and night and a sense of security during the late nights. All the components of the SF Promenade Center are blended harmoniously to create a fluid building which is connected culturally and formatively. The blending of landscape and building creates a new form which brings nature back into the eyes of the public and releases a special cultural energy on San Francisco’s Embarcadero.

Project Description

The interior programming is connected by a spectacular foyer filled with grand staircases and a view of San Francisco’s bay. The interior and exterior worlds are strongly connected by various entrances and a large exterior stairway which bisects the foyer. The design of the main theater takes its inspiration from a majestic cave in order to bring landscape effects indoors.

SF PROMENADE

The SF Promenade also features an elevated RoofScape which provides the public with an open plaza on which to view and enjoy the city from a different perspective. A cultural hot spot is created in which all types of people congregate on the site to enjoy the sun and the spectacular views.Visitors interact with each other on this space before entering the building to enjoy the cultural activities.

SKY BAR

HOTEL SUITES

HOTEL LOBBY MAIN ENTRANCE

PARKING

RECORDING STUDIO

MINOR THEATRE GIFT SHOP

BACKSTAGE

GRAND THEATRE

RESTAURANT

MULTI-PURPOSE HALL CAFE

3 B 2 R

R 1

3 1

R 3

R E

1 P

ROOF ENTRY

100’ 20’

MAIN ENTRY

ROOF

STAIR / RAMP

STAIR ENTRY

GROUND FLOOR

UNDERGROUND PARKING

Circulation Diagram

SF PROMENADE

PRIVATE BOAT VALET

100

1 VIP LOUNGE

2 STAGE 3 AUDITORIUM

4 MECHANICAL

5 BACKSTAGE

6 UNDERGROUND PARKING ACCESS

7 MAIN ENTRANCE

8 HOTEL ENTRANCE

Ground Floor Plan

101

SF PROMENADE

9 HOTEL LOBBY

10 SF BAY REFLECTION POOLS

Ground Floor Plan

SF PROMENADE

20’ 40’

102

100’

1 CAFE

2 AUDITORIUM 3 VOID ABOVE STAGE 4 BACKSTAGE

5 ENTRANCE HALL

6 AUDITORIUM II 7 STAGE II 8 CLOAK ROOM / TICKET OFFICE

9 BACKSTAGE ENTRANCE 10 ENTRANCE FOYER 11 GIFT SHOP

12 SCENERY ASSEMBLY

Floor Plan Level 2

103

SF PROMENADE

13 WAITING AREA

Floor Plan Level 2

20’ 40’

SF PROMENADE

4 3

7 6

9 10

104

100’

1 MULTI PURPOSE HALL

2 ENTRANCE 3 AUDITORIUM 4 VOID ABOVE STAGE 5 BACKSTAGE

6 AUDITORIUM II 2 ENTRANCE 7 VOID ABOVE STAGE II

8 OFFICE RECEPTION 2 ENTRANCE

9 OFFICES

Floor Plan Level 3

105

SF PROMENADE

10 HOTEL RESTAURANT

Floor Plan Level 3

SF PROMENADE

20’ 40’

3 2

2 6

8 2

106

100’

1 RESTAURANT 2 ROOF TERRACE 3 PERFORMERS LOUNGE

4 ENTRANCE

5 VOID ABOVE STAGE 6 MECHANICAL

7 REHEARSAL STUDIO

8 BACKSTAGE

9 RECORDING STUDIO 4 ENTRANCE 10 MECHANICAL II

Floor Plan Level 4

107

SF PROMENADE

11 VOID ABOVE RESTAURANT

20’ 40’

Floor Plan Level 4

100’

SF PROMENADE

5 6

4 9

108

1 STAIR VOID PATH

2 4TH LEVEL ENTRANCE PATH 3 EXTERIOR STAIR PATH

4 4TH LEVEL ENTRANCE PATH 5 3RD LEVEL ENTRANCE PATH 6 AMPHITHEATER

7 HOTEL ROOF ENTRANCE

Roof Plan

109

SF PROMENADE

8 RAMP PATH TO ROOF

9 SF BAY WATER POOLS

Roof Plan

SF PROMENADE

20’ 40’

4 5

110

100’

Roof Detail Skylights

SF PROMENADE

111

GLAZING

Roof Detail Skylight

SF PROMENADE

HOLLOW STRUCTURAL STEEL SECTION

112

Rain Water Collection System Sustainable Systems

SF PROMENADE

113 20’ 40’

100’

FROSTED STRUCTURAL GLASS

CONCRETE PAVING

RAIN WATER COLLECTION GUTTER

STEEL TRUSS WATER PROOF MEMBRANE

Roof Detail Paving / Gutter / Light

RAIN WATER COLLECTION TANK & FILTRATION SYSTEM

SF PROMENADE

1”

3”

6”

12”

LIGHT

114

Major Structural Pattern

SF PROMENADE

115

Major Structural Pattern

SF PROMENADE

116

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WHITE BOOK EXHIBITION

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WHITE Resembling a floating white cloud suspended in air, “White” was a temporary exhibition produced by the 20 students of Studio 400, a 5th year architectural design studio led by professor Karen Lange at California Polytechnic State University, San Luis Obispo. This space provided a sanctuary in which to read and display the thesis books of the students. Guest were invited to truly experience the space by walking, crawling, sitting, climbing, reading, and resting over and under the weaved space.

WHITE

Book Exhibition Studio 400

Studio 400 designed and produced the exhibition in a total of thirty days. Production was a period of 5 days in which 80,000 square feet of plastic sheeting was sliced, loomed, and weaved by the students in order to create the sculptural climbable surface. Large circular and linear loom systems were created in order to prefabricate most of the surface’s large scale plastic textile. These pieces were later hand stitched together in order to create a unique continuous surface capable of supporting an abundance of guest. The translucent white surface created a truly ethereal space not unlike walking on clouds.

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Book Exhibition Studio 400

WHITE

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Book Exhibition Studio 400

WHITE

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Book Exhibition Studio 400

WHITE

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Book Exhibition Studio 400

WHITE

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Book Exhibition Studio 400

WHITE

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Book Exhibition Studio 400

WHITE

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WHITE

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Book Exhibition Construction

Prototype

Pattern

Plastic Sheeting

Installation

Book Exhibition Construction

WHITE

Circular Loom

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http://Vimeo.com/ Pa3loSandoval/ white WHITE THE MOVIE

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HELIX COLLECTION

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Model: Yulia Pidlubnyak

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HELIX:

HELIX

Collection

Formed by the intertwining curves of a spiral, the Helix collection was inspired by the curvilinear forms commonly found in nature. The basic building block of a helix was multiplied in various fashions in order to create a familiar complexity in these pieces. The Helix collection resembles an ancient relic, bound to the earth and its processes of life.

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Collection

HELIX

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Collection

HELIX

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FERRO FORM CHAIR

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FerroForm

Chair

FERROFORM

Transformative in its appearance the FerroForm chair honors its purpose by complementing the human body in a symbiotic existence. As if carved from the body itself, its sleek sensuous curves gently wrap around you in a comforting embrace. The striking curves of the FerroForm chair evoke a sense of mystery and intrigue, while itâ&#x20AC;&#x2122;s dark lustrous finish reflects and transforms the world. Like a Rorschach Inkblob Test, this morphing chair elicits different emotional responses in people almost impossible to describe. Ferroform is a dynamic and evolving object with living characteristics. FerroForm seems to dance and morph with each changing view. Ferroformâ&#x20AC;&#x2122;s smooth and curvilinear shape are unlike any other of its kind, making it a rare and special piece of art.

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Model: Yulia Pidlubnyak

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Model: Yulia Pidlubnyak

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Model: Yulia Pidlubnyak

BIBLIOGRAPHY Allen, Stan. “Diagrams Matter.” Any 23 Diagram Work: Data Mechanics for a Topological Age June 1998: 15-18. Print. Allen, Stan. “From The Biological To The Geological.” Landform Building: Architecture’s New Terrain. Ed. Stan Allen and Marc McQuade. Lars Müller, 2011. 20-37. Print. Allen, Stan. “Geological Form.” Landform Building: Architecture’s New Terrain. Ed. Stan Allen and Marc McQuade. Lars Müller, 2011. 74-83. Print. Allen, Stan. “Terminal Velocities: The Computer In the Design Studio.” Practice: Architecture, Technique and Representation. By Stan Allen and Diana Agrest. London: Routledge, 2003. 144-61. Print. Allen, Stan. “The Megaform Revisited.” Landform Building: Architecture’s New Terrain. Ed. Stan Allen and Marc McQuade. Lars Müller, 2011. 192-199. Print. DeLanda, Manuel. “Material Complexity.” Digital Tectonics. Ed. Neil Leach, David Turnbull, and Chris Williams. Chichester: Wiley-Academy, 2004. 14-21. Print. Gissen, David. “The Architectural Reconstruction Of Nature.” Landform Building: Architecture’s New Terrain. Ed. Stan Allen and Marc McQuade. Lars Müller, 2011. 456-465. Print. Kwinter, Sanford. “The Cruelty Of Numbers.” Far from Equilibrium: Essays on Technology and Design Culture. Ed. Cynthia C. Davidson. Barcelona: Actar-D, 2007. 92-99. Print. Kwinter, Sanford. “Who’s Afraid Of Formalism?” Far from Equilibrium: Essays on Technology and Design Culture. Ed. Cynthia C. Davidson. Barcelona: Actar-D, 2007. 144-49. Print. Orr, David. “Architecture, Ecological Design, and Human Ecology.” The Green Braid: Towards an Architecture of Ecology, Economy, and Equity. Ed. Kim Tanzer and Rafael Longoria. London: Routledge, 2007. 15-33. Print.

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BIBLIOGRAPHY

McLuhan, Marshall. “Hybrid Energy.” Understanding Media; the Extensions of Man,. New York: McGraw-Hill, 1964. 48-55. Print. Picon, Antoine. “Architecture, Science, Technology and The Virtual Realm.”Architecture and the Sciences: Exchanging Metaphors. Ed. Antoine Picon and Alessandra Ponte. New York, NY: Princeton Architectural, 2003. 292-313. Print. Reiser, Jesse, and Nanako Umemoto. “Matter.” Atlas of Novel Tectonics. New York: Princeton Architectural, 2006. 72+. Print.

Manufactured Ecologies

BIBLIOGRAPHY

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Manufactured Ecologies

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IMAGE CREDITS

IMAGE CREDITS 1

p. 19

Hufton, Nick, and Al Crow. 2011. Photograph. Guangzhou, China. Web. <http://www.huftonandcrow.com/projects/gallery/guangzhou-opera-house/>

p. 19

Baan, Iwan. Photograph. Guangzhou, China. Web. <http://www.iwan.com/photo_Guangzhou_Opera_House_China_Zaha_Hadid_Patrik_ Shumacher.php?plaat=Guangzhou-Opera-ZHA-5850.jpg>

p. 19

Baan, Iwan. Photograph. Guangzhou, China. Web. <http://www.iwan.com/photo_Guangzhou_Opera_House_China_Zaha_Hadid_Patrik_ Shumacher.php?plaat=Guangzhou-Opera-ZHA-6972.jpg>

p. 19

Bertrand,Virgile Simon. Photograph. Guangzhou, China. Web. <http://virgilebertrand.com/>

p. 21

Mishima, Satoru. Photograph.Yokohama, Japan. Web. < http://upload.wikimedia.org/wikipedia/en/9/97/Osanbashi_Passenger_Terminal_-_Satoru_ Mishima.jpg>

p. 21

Brian. 2010. Photograph.Yokohama, Japan. Web. <http://2.bp.blogspot.com/_wmnzmw8naJA/TAz2t-1IEsI/AAAAAAAAAis/KtUzmJFAm7s/ s1600/Tokyo_4-28-10+064_Yokohama+Terminal.JPG>

p. 21

Locke, John H. 2009. Photograph.Yokohama, Japan. Web. <http://gracefulspoon.com/blog/wp-content/uploads/2009/05/yokohama.jpg>

p. 21

Heraud, Sylvain. 2010. Photograph.Yokohama, Japan. Web. < http://www.archiduchesse.com/blog/wp-content/uploads/2010/06/SylvainHeraud2.jpg>

9-12

p. 23

Office for Metropolitan Architecture (OMA). 2008. Rendering. Copenhagen, Denmark. Web <http://oma.com/projects/2008/bryghusprojektet>

p. 27

Bruchez, Erik. 2007. Photograph. San Francisco, California. Web. <http://www.flickr.com/photos/ebruchez/432860596/in/set-72157600024881915>

p. 27

Leto A. 1997. Photograph. San Francisco, California. Web. <http://www.panoramio.com/photo/3486411>

p. 30

USGS, and PG&E. North Faults. Image. San Francisco, California. Web. Edited by Pablo Sandoval <http://www.sfbayquakes.org/northview.html>

p. 31

Greg Gaar Collection. Photograph. San Francisco, California. Web. http://foundsf.org/index.php?title=Freeways_trashed_by_89_quake

IMAGE CREDITS 1958. Photograph. San Francisco History Center, San Francisco Public Library, San Francisco, CA. Web. http://foundsf.org/index.php?title=Aerial_of_Ferry_building_1958

p. 31

pp. 31-2 Lawrence, George

pp. 37-8 Watt, Justin. 2010. Photograph. San

Francisco, California. Web. <http://justinsomnia.org/2010/07/san-francisco-ferry-building-and-the-embarcadero/>

Manufactured Ecologies

IMAGE CREDITS

19-20

R. San Francisco In Ruins. 1906. Photograph. San Francisco, California. Web. < http://upload.wikimedia.org/wikipedia/commons/2/2a/San_Francisco_in_ruins_from_ Lawrence_Captive_Airship%2C_1906.jpg>

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