P PABLO ESTEBAN ZAMORANO
www.pablozamorano.com 1
Pablo Esteban Zamorano is a Chilean architect with experience in all the stages of design and construction. Since he graduated and registered as an architect in Chile in 2004 he has worked for several studios in Santiago (Chile) and New York City while developing at the same time his own projects and participating in several international competitions. His thesis project was selected to represent his school for the 2005 Archiprix world’s best graduation projects biennial and was selected as the front page for the “21 Proyectos de título” publication. As a student his work was published by the RIBA in the UK. As an independent architect Pablo has teamed with different architects for a significant number of competitions and recently he and Marcos Cardenas (PEZ+MC) won the Lavender lake competition in Brooklyn, NY. Pablo has also been an associate professor for the Universidad Central in Chile where he taught Studio, Urbanism and Theory classes. He currently lives between New York City and Santiago de Chile.
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GOO chair_pablo zamorano 2009
PERSONAL WORK OFFICE WORK STUDENT WORK
WATER FIELDS MASH-M URBAN ARTS CENTER BORDER IMMIGRANTS MUSEUM
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DALIAN CENTER SHANGHAI SPORTS CENTER AMBIENT TOWER MUSEUM OF POLISH HISTORY VITACURA MASTER PLAN
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MACHASA CITY D.P. CULTURAL CENTER
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ARTICHOKE chair_pablo zamorano 2009
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WATER
PROJECT ARCHITECT YEAR LOCATION TYPE SIZE CLIENT STATUS 4
ART FACTORY+PUBLIC SPACE Pablo Zamorano - Marcos Cardenas 2009 Gowanus Brooklyn, NY. U.S.A. Cultural 21367M2 site, 8000M2 built Suckerpunch magazine 1rst price competition, published
FIELDS
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PROJECT ARCHITECT YEAR LOCATION TYPE SIZE CLIENT STATUS
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MODULAR ART PAVILLION Pablo Zamorano, Giusi Mastro 2009 Austin, Texas. U.S.A. Cultural 18.5 M2 Art Alliance Austin Concept proposal
TEMPORARY OUTDOOR GALLERY AUSTIN, TEXAS
MASH-M, a modular pavilion to showcase art, is an eco-friendly, inatable structure. Its idea comes from three concepts: Mobility: Mash-M’s functional, minimalist construction of tactile skin over a strong, but lightweight skeleton, is easily collapsed, moved, and re-purposed. Flexibility: With its modular plan, Mash-M can be reconfigured by arranging additional modules in a variety of shapes limited only by imagination. Environmentally-friendly: Mash-M is an entirely green structure. The skin is corn bioplastic material derived from a renewable biomass source, rather than fossil fuel, offering, along with the aluminum frame, the option of either re-purposing or recycling.
MASH-M
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URBAN ARTS CENTER MEXICO DF 14
This competition seeked to create connections for a site that is now in the middle of a highway in Mexico City, isolated from any kind of activity and in poor condition. The character of the site is based on the colored Luis Barragan’s sculptures, tall structures that are now the only references for the rest of the city. Our project takes these sculptures and creates a horizon line as a messure for this vertical landscape and uses the urban activities to reconstruct this programmed horizon as a new public space for the city.
PROJECT ARCHITECT YEAR LOCATION TYPE SIZE CLIENT STATUS
URBAN ART CENTER Pablo Zamorano, Carlos Alegria, Joaquin Boldrini 2009 Mexico D.F. Cultural 10000M2 Arquine magazine Concept proposal
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Each tower will glow on the top as a reference and the highest tower will have a view point deck. The upper podium level serves as a public square and has an open auditorium. It connects all the levels in the project. The enclosure is translucent and has a twisted shape that plays with the light and define the project areas. The central plateau contains the graffiti workshops and recording studios.
The base plateau is presented as an urban public square open to non defined activities and follows the geometry of the towers.
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BORDER A LANDSCAPE LINE BETWEEN TWO COUNTRIES
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PROJECT FRONTERA/BORDER ARCHITECT Pablo Zamorano, Cristian Frias YEAR 2005 LOCATION Anapra, Mexico - Sunland Park, New Mexico TYPE Border crossing SIZE 300 m2 CLIENT Arquine Magazine Concept proposal STATUS
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Land
Demarcation
re-colonization
PROJECT ARCHITECT YEAR LOCATION TYPE SIZE CLIENT STATUS 24
of
a
Extraction landscape
IMMIGRANTS MUSEUM NYC Pablo Zamorano, Marcos Cardenas, Carlos Alegria. 2007 Battery Park, New York City, NY. U.S.A. Museum 3000 m2 Arquine Magazine Concept proposal
Exhibition /
active
immigration
IMMIGRANTS MUSEUM
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DALIAN CENTER
PROJECT ARCHITECT YEAR LOCATION TYPE SIZE CLIENT STATUS 26
DALIAN CENTER NBBJ 2009 Dalian, China Residential, Retail, Cultural 6.23 Hectare ETON Under construction
DALIAN CENTER DALIAN, CHINA
THE DESIGN for the Dalian Center expands upon the relationship between the Urban City Center and nature. Spatial programming orients program with time of day, occupancy, and density. Retail and culture spaces are located to the east for optimal solar orientation for morning and afternoon shopping; Conference and Entertainment located to the west for evening hour activities. Cultural venues sit atop the Podium roof plane anchoring the east and western sides with cultural venues. High density office and hotel towers are situated to the north of the site to offset shade and shadow. This dynamic mix of program, nature, and the urban city center combines into our concept of Urban Plateau. Urban Plateau fuses together mainstream city center programs with green spaces, light, and views in the form of atria, sky gardens, and public plazas, connecting the center with the natural surroundings of Dalian. The combination of Urban and Nature creates a simple of equation that generates the public spaces in the buildings, A + B = C. Nature + Urban = Urban Plateau A+B=C These intersections of Nature and Urban inform the placement of 3 major public nodes, bar street and conference to the west, performing arts and the retail atrium to the east, and the grand stair and retail in the center. THE PROJECT is a multi-function complex on a 6.23 hectare site, including a 5-level podium with retail, entertainment and cultural program, an 81-floor, 383-meter tall super tower with office and hotel functions, and a 60-floor, 280-meter tall tower of service apartments.
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S.S.C
SHANGHAI AQUATIC AND SPORTS CENTER
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PROJECT ARCHITECT YEAR LOCATION TYPE STATUS
SHANGHAI AQUATIC AND SPORTS CENTER NBBJ 2008 Shanghai, China Sports Concept proposal
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SHANGHAI SPORTS CENTER SHANGHAI, CHINA
The competition was a master plan with aquatic and sport center facilities facing the Pearl River. The idea is to introduce the river as a spine into the site creating a fluid that organizes the program where the swiming center works as splashes of water.
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PROJECT ARCHITECT YEAR LOCATION TYPE CLIENT STATUS
AMBIENT TOWER ZERAFA studio 2009 Dubai, United Arab Emirates Cultural Thyssenkrupp Concept proposal
AMBIENT TOWER 36
We have taken a lyrical point of reference and constructed a narrative to tell the story of this tower’s origin. A familiar image found perhaps in a romantic view of the desert is of a solitary figure on the horizon cloaked in an translucent cloth billowing in the desert wind. This wind-shaped undulating form whose image is made kinetic in light, suggests an architectural expression that responds to the complex environmental conditions of the site as well as the less tangible emotion and spirit of the city. Our tower is conceived as a free-form sculptural surface billowing in the park landscape, an instrument of light in the city skyline. The proposed tower is formed by manipulating a uniform flat surface into a free formed u-shaped profile around a central core to create a protective shell to claim and then protect an interior space or “espace calme”, from specific environmental factors, both solar and wind that impact the site. The resulting abstracted airfoil shape opens up to the northwest and establishes a direct spatial dialogue with the park landscape and city skyline. The smooth shell is then modeled to create an undulating “wind-formed” surface with dramatically contoured billowing edges. Ultimately, the tower silhouette is one that is continually being redefined by the changing lighting conditions and shading effect of the sun’s movement across the site. This constant state of re-making gives the tower a kinetic image in the skyline that is both organic and expressive of a technologically spirited architecture in support of the Park’s theme. At night, the tower is dramatically transformed with a façade integrated internal LED lighting grid to create the effect of a luminous surface billowing in the night sky. This tower of “Ambient Light”, is a provocative new symbol for Dubai. l 37
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Photovoltaic Laminated Glass
Exterior Curtainwall Layer
Interior Curtainwall Layer w/ Ceramic Frit 600 mm. Service Cavity w/ LED grid.
450 mm. Dia. Steel DIA-GRID
Tubular Steel 4-point Spider Connector
Reinforced concrete core
SKIN The specific quality of the Ambient Tower’s sculptural surface is the essential material component of the design. The proposed double-skin curtainwall traces the dia-grid geometry and incorporates an exterior Photovoltaic laminated glass layer with a second interior insulated glass layer separated by a 1m service and ventilation cavity. The density of photovoltaic cells within the glass is varied across the upper 120m of the façade in surface zones radiating from the center from east to west to maximize the most effective sun exposures and accommodate the desire to control the transparency in particular viewing areas. The interior façade layer is an insulated high-performance glass curtainwall with a stippled ceramic frit to control shading and transparency throughout the tower surface. The particular pattern and density is varied to enhance the surface movement of the dramatically undulating form. The service cavity incorporates an LED light grid that provides an undulating luminous light which alternately increases and decreases in brightness to create a kinetic sculptural surface. This lighting program corresponds to the evening shift in wind direction from the daytime northwesterly to the nighttime southeasterly winds. The significant facade surface area and building orientation suggests that large scale applications of suitable “green” technologies can be effectively and efficiently utilized to yield large scale benefits. The Ambient Tower’s symbolic role in relation to Za’abeel Park’s technology theme suggests that it should set a standard for design quality and sustainability. It is estimated that with a 15-16% efficient photovoltaic laminated glass on 75% of the tower’s effective exposures, the system would generate enough power to meet or exceed the typical building load requirements in addition to the evening lighting program. The ‘open’ northwest-facing elevation of the tower features a delicate aluminum screen wall which spans across the void with a subtle concave plan geometry. The screen design is based on a traditional Islamic pattern; however, the scale has been radically transformed to create an abstract surface that in daylight appears to close the u-shaped form of the tower, yet provides a substantial level of transparency from the building’s interior while framing views to the city.
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MUSEUM OF POLISH HISTORY PROJECT ARCHITECT YEAR LOCATION TYPE SIZE CLIENT STATUS 42
MUSEUM OF POLISH HISTORY ZERAFA studio 2009 Warsaw, Poland Cultural 20000 m2 City of Warsaw Concept proposal
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MUSEUM OF POLISH HISTORY WARSAW, POLAND
For the proposed museum building, we have inverted the typical exhibition space typology. The full exhibit gallery program is conceived as ten, 3-dimensional monolithic objects, a dramatic departure from the gallery defined exclusively as an interior space. Exposing the galleries to be viewed in the round, in space, adds a critical scale dimension to the program, one that is not typically legible in the museum experience. The galleries are given an impressive solidity and monumental scale, and yet many are floating in space- held up on virtual pedestals. It is the complexity of this dual expression of monumentality and lightness which defines the contradiction within the individual museum experience, celebration, judgment and the rejection of sentimentality. The ten gallery objects are juxtaposed to each other both vertically and horizontally to create a 3-dimensional cubic composition within and through a linear circulation volume. The objects are then push-in and pulled-out like drawers to create a series of interior voids and dramatic interstitial spaces. The six exterior surfaces of the gallery objects, sides, top and underside provide multiple canvases for nonconventional exhibition use. Also, in this configuration, the in between, or accidental spaces can become important opportunities for surprise temporary exhibits and mobile museum events and program space. The ten boxes contain the five chronological divisions for the permanent exhibit program, the two temporary exhibition spaces, and the exhibition related educational zones. The free composition of the gallery boxes does not determine a particular distribution of the permanent galleries; but provides a flexible environment for multiple interpretations of how the galleries can be allocated and the relationships between them. The temporary exhibition space is located in two of the upper gallery boxes clustered together to provide a multi-height venue for temporary exhibits when required. The “high” temporary gallery is a 12m tall box which projects out of the eastern façade and through the roof structure to form a dramatic towerlike element suspended within the museum.
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PROJECT ARCHITECT YEAR LOCATION TYPE CLIENT STATUS
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WEST VITACURA AVE. MASTERPLAN OPARQ + Pablo Zamorano 2004 Santiago, Chile Masterplan City of Santiago Concept proposal
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MASTER PLAN
Preserved buildings
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Proposed green areas
Proposed retail areas
Proposed high-rise
Proposed roads and parking
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PARK
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GREEN REATIL
BIKE ROAD
PARK
GREEN ROAD
VITACURA
PARK
HIGH-RISE RESIDENTIAL
GREEN CONNECTORS
GREEN AREAS
PARK
PARK
VITACURA
PARK 53
MACHASA CITY ACTIVE HERITAGE PROJECT ARCHITECT TUTOR YEAR LOCATION TYPE SIZE SCHOOL STATUS 54
MACHASA CITY ACTIVE HERITAGE Pablo Zamorano Vladimir Pereda 2003 Santiago, Chile Cultural-Comercial 50000 m2 Universidad Central Thesis Project, Highest Honor, Published
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DIEGO PORTALES CULTURAL CENTER PROJECT ARCHITECT YEAR LOCATION TYPE SCHOOL
MACHASA CITY ACTIVE HERITAGE Pablo Zamorano 2002 Santiago, Chile Cultural Universidad Central STUDIO TUTOR Hernan Marchant 62
The Diego Portales building is full of memories of Santiago City. Created for the culture, then was used for the military goverment during the dictatorship and now is used as a conference center. We used this unstable memory to create a new cultural center for the city, open to the community with public spaces, parks, libraries, auditoriums, temporary residencies for artists and public studios for the community to create and give culture for the city. The building will be open 24 hours and the different activities during the hours of the day will re-shape through light, sound and people what now looks cold and shielded. Every movement and deformation of the original structure aims to approach this big scale structure to the city and the pedestrian understanding the building as part of a landscape movement.
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www.pablozamorano.com
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