Final Dossier Writing Architecture in Practice Spring 2019
author
Daniela Pardo
Writing Architecture In Practice | University of Maryland
Biography Professional Bio Vertical Support Deep Dive Descriptive Writing An Architectural Gem Narrative & Story Telling Brion Cemetery, Altivole Image Captions Community Center: Ellicott City Project Summary for Different Audiences Becoming Writing, Becoming Writers ‘Why I Write’ Reading Response a+u Magazine Layout Diagrams Latin America: Public Spaces Comparative Analysis Around a Theme
Contents
Call for Submissions Call for Submissions Emails Cold “Call” Email Design Changes Since Last Week Have NGO’s Divided Haitians More? Architectural Journalism Sustainable Roof Structures Architecture as a Metaphor Free Write Poem
Writing Architecture In Practice | University of Maryland
Daniela survives her days drinking caramel lattes, listening to Spanish music, and reading the daily news on twitter. On her free time, you can find her watching Gordon Ramsey, Chip and Joe or every other novella on Netflix. She fuels her creativity through Pinterest, travel and reading all about her favorite Architects. Although she is very passionate about architecture, she has a proclivity for graphic design and marketing.
Biography
author Daniela Pardo editors Tricia Rowedder, Nic Przybocki prompt Professional Biography
Daniela is currently a senior at the University of Maryland pursuing a Bachelor of Science in Architecture, with a minor in sustainability. As a young architect in training, she is very passionate about the design field, and everything associated with it. Her college career has taught her that curiosity and passion are what drive design to be the best. Daniela’s background encompasses a wide range of architectural, graphic design, public relations, and marketing skills as she has gained experience and knowledge in each of these fields. Since the beginning of her college career, Daniela has worked as a freelance graphic designer and as the graphic designer for the Latin American Studies Center at UMD. These opportunities led to her involvement with Alpha Rho Chi as their marketing chair in 2017, and to her recent appointment as Roots Home & Abroad marketing leader, a program she helped co-found in 2018. Additionally, Daniela has served as the Vice President for Women in Architecture in Fall 2018, rising to President the following semester. Her most recent internship was at Page DC, where she participated in multiple departments in the office including marketing, sustainability, and architecture. Daniela grew up in Bogota, Colombia for the first half of her life and then moved to the U.S. with her mother. Once in the U.S. she moved in with a Jewish family and encountered people from all over the world. This experience kindled her desire for traveling and learning about different cultures. She has been privileged to have traveled to and explored 12+ countries and lived in three of the 12. One of the cities she called home was Florence, Italy. Here, Daniela spent a semester abroad during Spring 2018 studying at the International Studies Institute of Florence. Through these experiences she has been able to expand her knowledge of the role of architecture and what it means to be an architect. It has taught her the meaning of leadership, collaboration, and the importance of having an open mind.
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author Daniela Pardo editors Christina Wan prompt Deep Dive Description
I am as old as the Architecture building, yet I don’t have many friends. I am a crucial piece in a building like this; I touch both the top and bottom floor to make sure I play my role. Although I am not as smooth or friendly as most of my siblings in the building, we are all made out of light grey concrete and strenght. Within me you can find small pieces of white and dark gray gravel that compliment me; they also make up six circles evenly across me. The circles make me look like the face of a number eight domino. They’re a little odd but they make my body unique. They reinforce my physique by making me stand straight and strong.
Vertical Support
Due to who I am my strength is significant, and my texture can hurt you. If you punch me, you may regret it afterwards. I like to be friendly but cannot control whether I hurt you, it is all based on how you touch me. My neighbor is a beautiful evergreen pine shrub that gently rubs itself against me. It blocks the bottom part of me, to give my visitors some privacy. Depending on the time of day, the light reflects its shadows, creating an intricate pattern of the evergreen on me. Since I am far away from the crowded spaces, people often like to come to me to take breath of fresh air. They sit on a block that intersects me, generally with their backs against me. I generally enjoy the visits, because they wam me when it’s cold. Together, we listen to the footsteps and voices of the students passing by. Due to my height, I can see them on a daily basis, or in a smaller scale I enjoy the squirrels that play around me. On a regular day, you’ll find me staring at my twins which stand on either side of me. I am one of six, however we are not the only ones in the school. Others are not as wide as I am, nor have the benefit to be next to an amiable plant. Unfortunately, my proximity to the elements mean that water is beginning to leave me a scar. Small enough for one who is not paying attention, but big enough for those who take a look at me. Nonetheless, we all may not be the prettiest, but we are essential to the structure of a place. 3
author Daniela Pardo editors Kelsey Winter, Parker Callahan prompt Narrative Writing & Story Telling / Image Captions
Poetic representation of earth, heaven, and the spiritual world through the circles. Brion Sanctuary Entrance, March 2018, San Vito D’Altivole. Photograph by author. editors: Parker Callahan, Collin Haslup
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An Architectural Gem
Finally the day had come, and our trip on the road began. The schedule was packed with multiple architectural must see sites including: a privately-owned apartment designed by Scarpa, Castle Vecchio in Verona, Banco Popolare di Verona, and the Brion Cemetery in Altivole. Even though I was already falling in love with every detail I had seen so far, I did not foresee what was coming next. It was around an hour drive through the beautiful hills of the countryside, before we arrived at a cemetery. I will admit I was a bit confused. What are we doing at this isolated cemetery? There was only a few others around, and we were in the middle of nowhere. While we stood outside of the gates, most of us were puzzled. My professor spoke of this place as one of the most sacred and influential architectural pieces. We were given two hours to explore and sketch. two hours here? As soon as I took a step past the gate, I found myself on axis with a very alluring entrance in the back. I was immediately filled with curiosity. The cemetery was beautifully decorated with colorful flowers left by loved ones. At the entrance, there was a hanging willow tree that framed the view of two intertwined circles – each decorated with red and blue tiles. Th geometry signifies the earth, the heavens and the spiritual world, all to create a poetic statement of the graveyard. When looking at the circles from the entrance, I could also see the lines created by the grass, concrete wall, and sky. Once I passed the entrance, as well as took multiple photos, I found myself in a split corridor. Do I go right or left or can I hop in through the circles. The left-hand side was brighter and opened up to a field of green views, with a touch of water, and concrete. If I turned right I found yourself in a darker corridor, with an intricate passage that lead me to a raised pavilion floating over a pond.
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Carlo Scarpa always loved the details that catch your eye. For instance, slanted walls and funky stairs. Photographed by author.
Brion Sanctuary Chapel exterior, west entrance from the cemetery. A place that provides space for big gatherings. Photographed by author.
The space is designed in an L-shape. A pond on either side, connected with streams weaving through the tombs connecting them with a sense of life. All throughout, you find yourself bending down, or looking up, sometimes even turning your head sideways to see all the thought put into the design. There is a repetition of details on the walls, and the floors. The steps are fun and uneven, some may say impractical. Though that may be true, the steps really allow you to take in every detail and get into your thoughts. The Chapel is situated on the east side. It is the biggest structure on the site, made up of multiple vertical planes. Each piece is harmonious, and every corner is thought out like a poem. After walking through every corner, touching every wall, analyzing every window, taking in every moment of tranquility, and smelling every piece of nature, I found myself back at the beginning. I sat by the floating pavilion sketching, listening, and staring at the drops of rain that danced on the pond.
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View from pavilion over reflecting pool. The raindrops danced over the water on a peaceful, cloudy day at the Brion Sanctuary. Photographed by author.
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author Daniela Pardo editors Taylor Eyo, James Jesmer prompt Project Summary for Different Audiences
Proposal
Community Center
After the multiple floods that have set back Ellicott City’s success, the goal for this design is to create a space for the community. The civic center will cater to the locals as well as the outside public to generate economic growth. The center consists of two buildings: an elevated library, and a public makerspace and community center. It provides multiple entrances and views into the courtyard, the B&O Historic Museum, and Main Street to create a welcoming environment. The courtyard and green roofs create a connection between the building and the outside. The center creates a sense of place and belonging through its multiple gathering spaces. The design allows for a flexible program and celebrates the environment by tackling the ongoing flooding issue and welcoming the creek for community interaction.
Career Fair Architecture is a field where change is made. It is not about the salary; it is about the people and places you get to change for the better. Every project comes with challenges, learning curves, and a personal fulfillment when you see the final result. The latest design I worked on was for a town called Ellicott City in Maryland. The city has suffered multiple floods that have set back the city’s success. Therefore, the main goal for the civic center was to create a space that would bring the community together, while working with nature instead of against it. This meant researching different factors such as, water movement, materials, water collection options, among other things.
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The final design used a courtyard to maximize the outside connection and create multiple public and green spaces. It created an area for both the locals and visitors to come together and enjoy the beauty of Ellicott City. The inside spaces provide flexible programs that adapt to the people’s needs, and create an optimal community environment.
Facebook page for client/organization Join us for the grand opening of Elevate, our new civic building in Historic Ellicott City! The center caters for both the locals and the public, creating beautiful gathering spaces. The views into the courtyard, the B&O Historic museum, and Mainstreet are a perfect way to connect to the outside or the history. The design allows for a flexible program, and celebrates the environment by tackling the ongoing flooding issue. We offer, yoga classes, movie nights, cafe treats, and more! If you have an event you’d like to host, need a space for your business meeting, or for your kids to study, the Elevate Civic Center has it all for you. In the meantime, visit www.ElevateEC.com to check out how we’re bringing sustainability to the town. This project is the result of two years worth of planning, community design, and sustainable thinking.
Axonometric diagram of community center in context of program, materials and circulation. Image by author.
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author Daniela Pardo editors Parker Callahan prompt Writing Response
Writing Response
In her essay, “Becoming Writing, Becoming Writers,” Julia Colyar questions whether writing and talking are the same skills. She explains that, “speaking and the written text are not as closely aligned.” Through writing, the author can emphasize phrases or words in a more poetic or graceful way. Each requires a different pace and timing. Often, it’s easier to speak than to write down what has been already explained. You have to anticipate your audience and their questions. Writing is more deliberate and developed, while speaking is more practiced but informal in the structure. The grouping of these two forms of communication is quite irrational. There are people who are great speakers in group settings but may not be the best writers, while some of the more shy speakers may exceed within their writing. After doing multiple public presentations I have learned how much more informal they can be depending on the setting. That is because once a mistake has been made, it is only a matter of making a joke or moving past it. In contrast, writing can be modified. If a sentence is badly structured or the wrong word was used it is essential to modify it to improve the piece. Writing gives you the opportunity to iterate your thoughts and provide the audience with the best you have. Through practice, it provides you with a precedent of your own work that will serve to improve your future pieces. Personally, I prefer writing over speaking. It gives me time to look up word definitions and synonyms as well as iterate my initial thoughts.
“Becoming Writing, Becoming Writers.” SAGE Journals. Accessed April 03, 2019. https://journals.sagepub.com/doi/ abs/10.1177/1077800408318280.
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a+u Magazine
author Daniela Pardo editors Parker Callahan prompt Publication Diagrams
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Latin America: Public Spaces
author Daniela Pardo editors Andrew Macek prompt Project Summary for Different Audiences
Latin America is one of the most urban regions in the world; most of its residents live in the cities, for this reason, public spaces are essential to their success. In recent years, Latin Americans have exceeded in the advocacy for placemaking and creation of very successful spaces1. Mary Louise Pratt defines such spaces as ‘contact zones’: spaces where cultures meet, clash, and grapple with each other, often in contexts of highly asymmetrical relations of power2. Public buildings in addition to plazas are vital in the development of the more economically disadvantaged neighborhoods. Interestingly enough, poor communities also known as barrios, invasions, favelas are the ones to outperform vibrancy of the spaces and community life3. For them the street is more than a place to drive or walk, it’s a place for work, commerce, soccer, roller blading, drinking and more. These spaces shape social interaction and become a backdrop for production, reproduction and sociological attention. They condition how individuals think of themselves and how they can change their own social inequities. The streets are crucial precedents when designing for the citizens. Although within the contemporary Architecture world in Latin America the concept surrounding people appears to be central in the development of their work. They provide you with a different mindset and point of view. 1. “The Growing Latin American Placemaking Movement.” RSS. Accessed March 27, 2019. https://www.pps. org/article/the-growing-latin-american-placemaking-movement. 2. Halasek, Kay, and Nels Pearson. Highberg. Landmark Essays on Basic Writing. New York: Routledge, 2009. 3. ”The Role of Urbanism in Latin America - #1.” Gehl. February 07, 2018. Accessed March 27, 2019. https:// gehlpeople.com/blog/the-role-of-urbanism-in-latin-america-1/.
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Social dimension has not limited them from carrying out riveting explorations, instead it has stimulated a diverse formal search by encouraging users to appropriate the designs and challenge the architects’ perspective1. The next three projects examine the uniqueness of the space within their context, the spatial proximity to other structure, movement and boundaries – all in comparison to the success of the ‘barrio’ streets. In addition, while the case studies focus in Latin America, they contain characteristics and lessons for architects all around the world. Plaza de San Victorino / Bogota, Colombia Lorenzo Castro Plaza San Victorino was founded in 1597 next to the San Victorino church. It is located in the center of Bogota, a few streets away from the capitol building, Palacio de Nariño. In 1827 the church was destroyed after an earthquake, allowing for the growth of a plaza outside of religious standards2. This led it to the evolution of a commercial hub due to its central location in the city. Eventually it became occupied by a permanent market, making the space very congested, visibly poor and dirty3. Bogotá is a city that is under a lot of political pressure and has not seen a lot of positive change. Its public spaces have gone through a crisis of inappropriate use, or at some point became illegally privatized. For this reason, it became a focus for the ambitious plan to recuperate the city center by placemaking the space. A few plans were proposed by multiple architects, however the plan by Lorenzo Castro in 1998 to partially close off the nearby streets for pedestrians was chosen. The plaza was built under the argument that public spaces belong to all citizens, not only the vendors from the market. For this reason a 15000-meter square project underwent major renovation around the year 2000. Retail venues were successfully integrated without the interruption of passing cars or street markets. Moreover, the streets on the east and south sides are now devoted for pedestrians only, with an addition of a transportation system: transmilenio. This created a public space network that now connects the larger grid of the city. Exceptional for its simplicity, the square consists of three areas: a semi-porous floor finish with scattered trees on the east; a brick floor finish crossed with a stream of water; and an elevated garden space on the west. The spatial arrangement responds to the pedestrian’s daily circulation and to the
1. Hernández, Felipe. Beyond Modernist Masters: Contemporary Architecture in Latin America. Basel: Birkhäuser, 2010. 2. Sabogal Bernal, Sandra Jinneth. “Imagen Y Memoria de La Transformación Urbana de San Victorino Image and Memory in San Victorino.” Bitácora UrbanoTerritorial 1, no. 10 (January 24, 2011): 234–247.
3. Hernández, Felipe. Beyond Modernist Masters: Contemporary Architecture in Latin America. Basel: Birkhäuser, 2010.
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environmental conditions to create a more sustainable space. The trees are placed to provide protection from the mild morning sun, while creating a walking path. The central space is one that allows for pop-up markets, street vendors, and larger groups to gather. A post-occupancy evaluation was done by Camila Coronado Cabrera from the University of Texas at Austin. After multiple interviews, she found the impact to be both positive and negative1. The plaza is considered as a space of social interaction and/or work for its users. Yet, the same way that people from the barrios are great at creating lively spaces by using every bit of space, they’re also connected to insecurity, untidiness, drug dealing and prostitution. A large part of the users believe that although the plaza may be successful, it is in need of maintenance. It appears like the government built it and forgot about it, leading to insecurity problems at the end. This project is an example of a battle between different groups of people. Lower income communities may see it as more successful than those with a higher income. There are different levels to culture within the same countries, and it is necessary to study all in order to make a successful space like this one. Santo Domingo Library / Medellin, Colombia / 2007 Giancarlo Mazzanti The Santo Domingo Library, widely known as the Biblioteca España (Spain Library) was designed by El Equipo Mazzanti, the design firm of Colombian Architect Giancarlo Mazzanti. The project begun as a government’s social master plan program to provide social and economic equality to its citizens. It is located in one of the hillsides of Medellin, that most affected by the violence of the drug cartels2.
1. Cabrera, Coronado, and Maria Camila. “Understanding Change : Public Space Construction in Bogota, Colombia, the Plaza De San Victorino.” TexasScholarWorks. May 01, 2014. Accessed March 27, 2019. https:// repositories.lib.utexas.edu/handle/2152/25058.
2. “1.0 PROJECT INFORMATION.” 017_SPAIN LIBRARY PARK | El Equipo Mazzanti. Accessed March 27, 2019. http://www.elequipomazzanti.com/en/proyecto/parque-biblioteca-espana-2/.
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Medellin is a mountainous city located in the north of the Los Andes mountain ridge, a topographical challenge of Colombia. Therefore, the project intended to blend with the context by creating an interpretation of the hill. The project is now noticeable from multiple parts of the city, defining itself as a symbol of the city for unity, community and pride. The building was able to successfully celebrate the slums, while also fulfilling their needs. Although accessible by road, the primary transportation method is the cable car known as the Metro Cable. This was implemented by the local government to improve the connection of the slums to the network of the city. Now, just like the building, the symbolic building is paired with a dramatic 2km ride on the cable car at an average altitude of 20 meters over ground. It overlooks the entire city of Medellin and more importantly, its informal settlements1. The library consists of three different modules, united by a circulation path and plaza. Its main entrance is through the covered plaza, on the lower ground level, below the deck. The southernmost volume houses the auditorium; the central piece is a multi-level library that can be accessed at ground level through the public deck; and the last volume contains a community center containing offices, classrooms, community rooms and a nursery2. Lastly, to take advantage of the elevation of the site, each structure is oriented overlooking a different part of the city. This building was a remarkable success among its community who now speak of pride and excitement about their new public space. It became a center of social activity and a stronger image as a community. Although Plaza de San Victorino is a different type of public space, both represent two different types of public spaces that believe in sustainable and people-based design. They’re both successful in bringing people together and providing the community with a need. Vertical Gym / Caracas, Venezuela / 2004 Urban-Think Tank Another successful but different type of public space across low income communities is the Vertical Gym in Caracas. It was designed by Alfredo Brillembourg and Hubert Klumpner’s firm Urban-Think Tank, as the first vertical gym in the country. The structure is located in the municipality of Chacao, a slum that is often claimed by housing and retail, leaving little space for a community building3. For this reason, the architects developed a prototype and strategy to design a 4,000 square meter multilayer facility.
1. Saieh, Nico. “España Library / Giancarlo Mazzanti.” ArchDaily. June 17, 2008. Accessed March 27, 2019. https://www.archdaily.com/2565/espana-library-giancarlo-mazzanti.
2. Hernández, Felipe. Beyond Modernist Masters: Contemporary Architecture in Latin America. Basel: Birkhäuser, 2010. 3. “Vertical Gym in Venezuela.” Architizer. Accessed March 27, 2019. https://architizer.com/projects/vertical-gym-in-venezuela/.
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The four-level gym is superimposed upon a sports field, the size of a basketball court. It is supported by a concrete base that contains spaces for local businesses, offices and potential parking. In order to reduce costs, it was designed as a prefabricated kit of parts that can be customized to fit its context. The Vertical Gym can be assembled and built in three months, and it can go anywhere where there’s a structure to hold it. According to Brillembourg, “you could put in on top of a Walmart if you want to.”1 Such structures are meant to be experienced from the interior, leaving the exterior to not be the most pleasing aesthetic. Nonetheless, the prototype uses materials such as, concrete blocks, metal trusses, wind turbines and photovoltaic cells, to make the project more sustainable. After it opened, the gym was open 24/7 offering everything from dance classes to chess tournaments; dropping 30% of the crime in the neighborhood. After seeing one successful design, everyone is excited to see how the prototype can evolve and start to develop in different parts of the world. Now U-TT is working on another two projects in Caracas regarding the Vertical Gym idea. More than a structure, it became a symbol of a positive lifestyle, strong community, and lower crime2. In sum, these past precedents, as well as many more, are great examples to study Latin American culture and developments of successful public spaces. The projects show designers the importance of not only physical context but cultural stigma. It is essential for architects to understand a space, but more importantly learn about a place that is unfamiliar to them. This means familiarizing oneself with the local materials, common community activities, cultural taboos and more.
1. Schwartz, Ariel, and Ariel Schwartz. “A Prefab Vertical Gym For Urban Slums.” Fast Company. July 09, 2018. Accessed March 27, 2019. https://www.fastcompany.com/1680630/a-prefab-vertical-gym-for-urbanslums.
2. “Vertical Gym Chacao.” U–TT. Accessed March 27, 2019. http://u-tt.com/project/vertical-gym/.
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The success of Latin American public spaces and most designs is the afterlife of the structure. A quality scheme is able to interpret the needs of people and develop the methods and structure that can positively impact its neighbors. This questions how the space gets used and adapted by the people years after it is developed. During the design process is important to think of the building’s after life in terms of; maintenance, management and use of program. A lot of projects that have potential for success fall due to abandonment of the structure, and cleanliness of the structure. Users don’t always have the manpower or resources to upkeep a space.
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author Daniela Pardo editors Taylor Eyo, Collin Haslup prompt Project Summary for Different Audiences
Call for Submissions!!
The upcoming issue of See/Saw is interested in photo essays, design projects, research projects or critical essays discussing designs that heavily rely on the community to be successful. Community design encompasses community planning, participation, development and architecture, in addition to social architecture and public interest design. The designs should take on issues of poverty and political content, while recognizing the citizens’ social and environmental problems. Designing alongside the community supports environmental awareness and leads to transparency in the design process; it makes them content with the outcome while also guiding the focus of designers on to the community to improve their daily life and experiences. The proposals must include sustainable measures, flexible programs and an aesthetically pleasing design for a particular location, citing why these proposals would be successfully integrated within the community. Community designs are environmentally and socially conscious to improve the future for community members. Would you be pleased to use this space? The proposals should be able to record perspectives and narratives of community based thinking, or aspects of the architectural form, material, space and landscape. The following question should be answered: How can these spaces reinforce the links between the community and the city context? We invite international architects, planners, designers, philosophers, thinkers, scientists, companies, educational institutions and students to submit their proposals from April 1st to May 31st, 2019.
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Patricia Gruits, Architect – MASS Design Patricia Gruits is a Director with MASS Design Group leading both design and research projects in health, education, and equity. Since joining MASS, she has led the design of the Maternity Waiting Village in Malawi and a series of primary schools in East Africa. Giancarlo Mazzanti, Architect – El Equipo Mazzanti El Equipo Mazzanti is a Colombian design studio specialising in socially driven architectonic design and academic research. Giancarlo Mazzanti has been the lead architect for, “projects [that] have built examples of citizen participation and pride,” he believes, “the value of architecture should not be only in itself, but in what it produces. this is one of the statements that we seek to put into practice in the buildings we design.” Omar Hakeem, Design Director – BC Workshop Omar works in Washington, DC to bring social and environmental equality to the city’s affordable housing, disaster relief and pedestrian infrastructure, through thoughtful design and planning. Alejandro Aravena, Architect – ELEMENTAL Alejandro Aravena was named the winner of the 2016 Pritzker Prize, highlighting his dedication to improve urban environments and address the global housing crisis.
Ideal contributors:
Dr. Paul Farmer, Physician and Anthropologist Dr. Farmer is a physician and anthropologist, who serves as a U.N. Special Adviser to the Secretary-General on Community-based Medicine and Lessons from Haiti. Dr. Farmer has written extensively on health, human rights, and the consequences of social inequality. He is a partner of MASS Design Group and was the one who provided the director, Michael Murphy with his first project for the firm. Carol Gilbert – MD Dept. of Housing and Community Development She is responsible for managing State and Federal grant and loan programs totaling approximately $85 million dollars annually revitalize communities and assist lower income households.
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author Daniela Pardo editors Christina Wan prompt Emails
To: Publication – Places Journal
Subject: Call for Papers Submission
To whom it may concern, My name is Daniela Pardo, a senior at the University of Maryland, College Park, pursuing a Bachelor of Science in Architecture. I have come across your current call for papers: Transformative Practices in Design Education and believe my research is relevant. It is an investigation based on community design and education in the peripheries of Latin American countries. As a part of my exploration, I’ve studied multiple case studies that use architecture to improve learning or construction as a part of their education. The projects use materials, sustainable methods and multi-purpose programs to improve the overall education and life of their respective neighbors. These methods have allowed communities to sustain themselves, and children to further their education and understand the outside world. Attached is my abstract, “Building Optimism: Community Design in Latin America.” I would be happy to edit accordingly for the publication, or write a more informal piece. If you need more information, please contact me back through this email at your convenience.
Best, Daniela Pardo LEED Green Associate pardo.daniela04@gmail.com
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Subject: Design Changes Since Last Week
Dear Kakenya, It was such a pleasure to have finally met you in person last week. Since the meeting, our team has been working hard on the design points we discussed. Recap: - Roof design – Rain / light / wind / sound mitigation - Addition of smaller spaces - Courtyard design - How is water going to be mitigated? Since last week:
To: Client – Kakenya
A new roof design has been designed sloped towards the outside of the building instead of the courtyard. Our team has also been exploring materials, solar panels and the option of a double roof to mitigate sound, rain and thermal quality of the space while still allowing enough light in. In regards to the smaller spaces, we are continuing the concept of “thick walls” to introduce a variety of spaces within. As of right now, the courtyard is still in the works – however, we’ve been thinking of see through solar panels or glass to create a light well instead. Next steps: - Detail drawings of roof. - Discussion on materials: Is Rammed Earth going to make it, or are we sticking to CSEB? - Detail drawings on rainwater collection, and mitigation. If you have any more questions or concerns in regards to the changes / attachments, please feel free to email me or call Provide phone number in signature or write it here.
Best, Daniela Pardo LEED Green Associate pardo.daniela04@gmail.com
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Have NGO’s divided Haitians more?
author Daniela Pardo editors Collin Haslup prompt Emails
In January of 2010, an earthquake of seven magnitude destroyed Haiti’s infrastructure to the ground. This natural disaster resulted in 300,000 deaths, as well as a state of extreme poverty. Mass displacement led to the increase of population in the major city of Port-au-Prince, resulting in a rise of informal settlements. Now, Haiti ranks as the poorest country in the Western Hemisphere – more than half of the population lives below the poverty line1. Since the natural disaster, the state has been recognized as the Republic of Non-Governmental Organizations (NGO’s) as there are more per-capita in comparison to anywhere in the world2. The lack of coordination and communication between NGO’s, the communities and the government, left a disaster behind. This brings us to wonder what the role of an NGO should be. Are they doing good, or are they feeding their own ego? Many communities rely on the support of different NGO’s such as, La Difference, SAKALA, CARE, Project Haiti, Oxfam and more. However, this dependence impedes sustainable lifestyles and it has not always been appreciated by the locals. Haitian Jean-Ronal Jocelyn stated, “They are helping, but they are not here to solve our problems.”3 Haiti faces a long list of issues, from poverty and education to a shortage of housing and health. U.S. anthropologist, Mark Schuller, believes the aid only saved some lives but ultimately brought more division, cynicism and separation between classes4. These organizations need to not only think of the present change but focus on educating the people to be able to sustain themselves and move out of poverty. 1. Corradi, Anna, Ashleigh McEvoy, Katherine Dario, Anna Corradi, Katherine Chin, Sai Allu, Namsai Seth-
pornpong, Namsai Sethpornpong, Winston Otero, Lucien Turczan-Lipets, Matt Ishimaru, Henry Ace Knight, Benjamin Shumate, Sara Erkal, and Emily Skahill. “The Problem with NGOs: Culture and Inequality in Haiti.” Brown Political Review. November 05, 2018. Accessed April 16, 2019. http://www.brownpoliticalreview. org/2018/11/the-problem-with-ngos-culture-and-inequality-in-haiti/.
2. Ibid. 3.“Are N.G.O.s in Haiti Doing More Harm than Good?” America Magazine. February 22, 2018. Accessed April 16, 2019. https://www.americamagazine.org/politics-society/2018/02/22/are-ngos-haiti-doing-more-harm-good.
4. Ibid.
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Adrien Cerezo, a social ecologist and expert on community engagement, reiterates design for international development must always begin with a conversation with the community. During the 2010 earthquake, only a small amount of the help donated made it to the Haitian people. Haiti has a reputation for having a corrupt government, but fraud and corruption are also consumed by charities, non-governmental organizations and aid agencies1. Donations surpassed six billion dollars, however they only seemed to have reached the charities. Many NGO’s were unfamiliar with the communities, local governments and other alike agencies which led to ill-conceived projects that only affected Haitians lives even more. These mistakes left Haiti with deteriorated sanitation, less safe water and very high prices for basic supplies2. The most influential NGOs in Haiti have projects all over the world often influenced by Western countries and therefore lack sensitivity towards the culture and community of Haiti. This type of situation is also seen in the executive roles who tend to be foreign individuals not residing in Haiti. The country’s greatest need is not for more outside groups or missioners but for stronger and more functional public institutions and leaders committed to service their country, not just gain power and wealth. Recently, nonprofit organizations have begun to develop programs that take into consideration ways to educate people long-term. In addition, donors have imposed restrictions on the funds they donate. They provide detailed programs they would like to see implemented, often working along with programs designed by their own corporations. An example is the Village Savings and Loans Association by CARE. This project provides women with a basic level of knowledge in regard to finance and stability. This is often more so helping the corporations than the country itself, but it is still providing sustainable knowledge to the communities. The role of the architect is key in Haiti’s success, they must examine the context, the community and the culture before they proceed to the design. Understanding the standards of the project allows for thorough evaluation of the needs, resources and challenges. In order to begin to move out of poverty, community leaders must be part of the design process just like government leaders need to take charge. As for the NGO’s, they have to start the conversation and begin to look into the future in addition to the present. They need to understand that doing charitable work is not always positive if it done with closed eyes. When a country is going through a tough time, building random houses or schools don’t make the difference if the people are dying from hunger or illness. Offering a hand means you are willing to listen and work alongside the community. It also means things may not go as planned or compromises will have to be made, but it will be successful among the people it serves. 1.“Are N.G.O.s in Haiti Doing More Harm than Good?” America Magazine. February 22, 2018. Accessed April 16, 2019. https://www.americamagazine.org/politics-society/2018/02/22/are-ngos-haiti-doing-more-harm-good.
2. Ian Birrell for The Mail on Sunday. “Haiti Earthquake: How Donated Billions Have INCREASED Poverty and Corruption.” Daily Mail Online. January 27, 2012. Accessed April 16, 2019. https://www.dailymail.co.uk/news/article-2092425/Haiti-earthquake-How-donated-billions-INCREASED-poverty-corruption.html.
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Sustainable Roof Structures
author Daniela Pardo editors Andrew Macek, Tricia Rowedder prompt Architecture as a Metaphor, Social Critique
The challenge of community design is similar to the structure and goals of a sustainable roof. The exploration of each material as well as the layers of the structure are comparable to each stage community design must go through to successfully design a space. Through community design each building must satisfy the needs of its neighbors, while using low-cost materials that provide specific spatial qualities such as, thermal heating, natural ventilation, natural light and air quality flow. It requires an open mind, innovation and a large understanding of the building, the site, its context and the necessities of the users. Similar to a roof structure, community design creates a sense of community by creating a safe sheltered space. Both involve a collaborative team effort between the architects, the structural engineers and the client. Neither has a one-size-fits-all solution, every design must be customized to cater to different climates, cultures, context and materials. Often the main challenges arise from the limitation of local resources, technologies and construction knowledge. Although that is not always the case for every roof structure, sustainable systems have their own complex limitations. When one thing is achieved, another may fall behind. How do we stop rain from entering, while letting in natural light and air?
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Research, immersion and collaboration are all vital stages in the design process of a roof just like they are for community design. The exploration of each concept, form, material and structure is necessary to successfully design the most efficient roof. It may not result in a monumental piece, but it may become an exceptional form in the way it responds to the needs of the client. It can create a sense of place and bring people together under a sheltered space. For a proper roof structure to be built, designers must identify the elements below the roof such as; the bearing walls and the columns, to define the boundaries and possibilities. Like community design, this allows you to understand the background and resources available to further understand the ability of the site. This is essential for both to meet the client’s needs in order for long term success.
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author Daniela Pardo editors N/A prompt Free Write
Neither and both Identity is what I see in the mirror, Identity is what confuses my thoughts. I am everything yet I am nothing at all, I have become a unique soul. I represent two countries, Yet I feel like a foreign in both. I am still learning two languages, But I am fluent in both.
Poem 1
For half of my life I have lived here and there, I am American, I am Colombian, I am Hispanic, I am a gringa. For my entire life, I have been neither poor nor rich, Catholic, Jewish, Christian nor an atheist. I have been surrounded by a little of everything, And although I am neither nor all, I am learning to accept the mixture I come from.
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ARCH 428w Writing Architecture In Practice Spring 2019 instructor Lindsey May University of Maryland School of Architecture, Planning, and Preservation