RR Richard RiverA
DESIGN FOLIO ARCHITECTURE + GRAPHIC WORKS
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RR Richard Rivera
DESIGN FOLIO ARCHITECTURE + GRAPHIC WORKS E-FOLIO www.coroflot.com/rchard ADDRESS 27-15 Newtown Avenue, Apt. 3 Astoria, New York 11102 EMAIL riverari@hawaii.edu MOBILE 808.392.2131
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INTRODUCTION Each semester at the University of Hawaii at Manoa School of Architecture, I try not to take the same professor twice. One reason is because I enjoy observing different teaching styles – I believe I learn a lot more through their different backgrounds and professional practices. So far, I have taken professors from Switzerland, Honolulu, Bangladesh and Korea. With each professor, I have always gained something from their teaching style. In my first semester of design studio with Professor Lockard, I learned the importance of process – starting with research from library books, conceptualization, and then developing ideas into space and volume. In my 102 design studio with Professor Hamada, emphasis was on project delivery through the design of our presentation boards and like architecture, how they should also tell a story. In addition, I learned to question and not to limit oneself to a single design but to explore creativity and alternatives from Professor Jin Ho Park in Architecture 201. Process, time management and being able to work in a studio and team environment also became an important aspect of design. With an open-mind and wanting to gain a broader view of architectural practice, I am still learning at this point in my education and would like to take this opportunity to learn in a realistic setting
RICHARD RIVERA
DESIGN FOLIO
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PROJECT NO.1
PLANE (GRAPHICAL, 2D) PROJECT NO.2
DOMICILE FOR A ROUND OBJECT PROJECT NO.3
TIC + ToC + TOe Sundial PROJECT NO.4
Frank Gehry House STUDY PROJECT NO.5
Kualoa BEACH HOUSE ARCHITECTURE 100
BASIC DESIGN STUDIO FALL 2004 | SPRING 2005
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01 PROJECT NO.1
PLANE (GRAPHICAL, 42D) Weeks
BASIC ARCHITECTURE STUDIO A ARCHITECTURE 101 | LIZA LOCKARD | FALL 2004
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Figure/ground studies that deconstruct Kanji (Chinese letter characters). I became inspired by my Japanese workbook on Kanji writing. At the time of this project, I was enrolled in JPN 201. Learning a foreign language is tough, especially memorizing all these characters
PROJECT NO.1
PLANE (GRAPHICAL,4 2D) Weeks
BASIC ARCHITECTURE STUDIO A ARCHITECTURE 101 | LIZA LOCKARD | FALL 2004
Part I. Create a series of figure/ ground compositions, reverse hierarchy, investigate concepts of equivalence and balance. Color palette to be black, white and a single additional color 10
Part II. Select one 2D figure/ground composition and create a series of 3D relief models. Explore the projection and receding of planes and the effects of light and shadow produced
White as the dominant color
A balance between black and white
Black as the dominant color
Yellow is added to the palette as a middle tone to contrast equally between the black and the white
I used chipboard to translate my figure/ ground composition into a 3-Dimensional relief. Chipboard is hard to cut and difficult to make each piece identical, as noticed with the unaligned stacks
Varying elements of ramps and steps to create height and shadow
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The round object I selected to create a domicile for was an egg. Here are sketches where I explored and analyzed the “structural� quality of an egg shell, translating this information into a domicile for my round object 12
02 PROJECT NO.2
DOMICILE FOR A ROUND OBJECT 3 Weeks BASIC ARCHITECTURE STUDIO A ARCHITECTURE 101 | LIZA LOCKARD | FALL 2004
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Design and build a domicile for a round object which not only protects it but showcases it as well. A round object is selected because of its inherent static instability. The primary focus must be the round object – the housing unit must support it without overwhelming it. It should make the presentation of the object more exciting than if it was viewed on its own
PROJECT NO.2
DOMICILE FOR A ROUND OBJECT 3 Weeks BASIC ARCHITECTURE STUDIO A ARCHITECTURE 101 | LIZA LOCKARD | FALL 2004
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In my egg domicile, I wanted to represent the structure of the egg. Although the egg is a very strong form with its dome-shaped ends, it is also very fragile, especially at its short circumference. This edge is normally where a chick starts to peck at when ready to hatch
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Analytical models
PROJECT NO.2
DOMICILE FOR A ROUND OBJECT
Physical model was hand-cut and assembled using wire, foam core and translucent corrugated cardboard
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PROJECT NO.2
DOMICILE FOR A ROUND OBJECT
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03 PROJECT NO.3
TIC + ToC + TOE Sundial 4 Weeks
BASIC ARCHITECTURE STUDIO A ARCHITECTURE 101 | LIZA LOCKARD | FALL 2004
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PROJECT NO.3
TIC + ToC + TOE Sundial 4 Weeks
BASIC ARCHITECTURE STUDIO A ARCHITECTURE 101 | LIZA LOCKARD | FALL 2004
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To highlight a certain time of day is to use the existing elements and create a structure that will not only compliment these elements but also utilize them. The multicolored bands that are created within the courtyard change position throughout the day and dance on the walls as they move with the angles of the sun. This playful element was key in our process of humanizing the courtyard. In a sense, we felt the need to “play along� with the color bands in the form of a common game
Observation of time 2:49 PM
3:02 PM
3:33 PM
3:02 PM
(1) Our design worked with the color bands that were projected on the wall. (2) Use the concept of the game ‘TIC TAC TOE’ to demarcate the time (3:02 p.m.) utilizing the color bands projecting on the wall. (3) The X’s will be formed when the color bands project on the wall. They will appear diagonally, starting from the upper left square down to the lower right square
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3:02 PM
Construction materials Gator board, construction adhesive, shoe goo, 2x2x6 wood, nails, screws, foam tubing, PVC piping, yellow spray paint, gray spray paint and canvas/sail material
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3:09 PM
PROJECT NO.3
TIC + ToC + TOE Sundial
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PROJECT NO.3
TIC + ToC + TOE Sundial
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04 PROJECT NO.4
Frank Gehry House STUDY 5 Weeks
BASIC ARCHITECTURE STUDIO B ARCHITECTURE 102 | KYLE HAMADA + TONIA MOY | SPRING 2005
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PROJECT NO.4
Frank Gehry House STUDY 5 Weeks
BASIC ARCHITECTURE STUDIO B ARCHITECTURE 102 | KYLE HAMADA + TONIA MOY | SPRING 2005
Frank Gehry’s early style of architecture reflected a new “freshness” in his use of low-budget industrial materials that gave his work a deliberately unfinished quality. As one of his initial architectural experiments, Gehry combined various types of rough materials to create a collage of deconstructed and rough components to his Santa Monica Residence 30
Analysis
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C
E
B
D
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A. Additive & Subtractive – the constraints of a small budget directed Gehry to the experimentation of industrial materials like corrugated metal, plywood, chain link mesh and asphalt in his “urban junkyard” B. Circulation - there are two “main” entrances in the Gehry Residence; one leading into the old house and another that leads into the addition C. Symmetry & Balance - the symmetrical cut (vertical) must be slightly off center in order to create a balance with the collage elements and the original house D. Parti – the primary concept of the Gehry Residence is a “house within a house”
G
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CASE STUDY MODEL ANALYSIS: FRANK GEHRY RESIDENCE
E. Structure – Gehry stripped the walls of the original framework
to expose the wooden columns in order to open-up the interior spaces for natural lighting F. Plan to Section – the section reveals the existing structure wrapped in layers of corrugated metal and chain link, exposed structural columns and eccentricly rotated window elements piercing the skin of the house G. Unit to Whole – the columns can be used as a guideline to divide the old house into units. The new additions’ collage elements can also be considered as units H. Geometry – because the Gehry Residence does not follow a grid, geometry can be looked at through different shapes within the design: pentagon, cube, rectangle and other polygons 31
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Computer generated renderings of the Gehry Residence was done using FormZ. The floor and elevation plans had to first be traced using AutoCAD and then imported into FormZ for 3D modeling and rendering
PROJECT NO.4
Frank Gehry House STUDY
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05 PROJECT NO.5
Kualoa BEACH HOUSE 5 Weeks
BASIC ARCHITECTURE STUDIO B ARCHITECTURE 102 | KYLE HAMADA + TONIA MOY | SPRING 2005
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PROJECT NO.5
Kualoa BEACH HOUSE 5 Weeks
BASIC ARCHITECTURE STUDIO B ARCHITECTURE 102 | KYLE HAMADA + TONIA MOY | SPRING 2005
Using the style of contemporary Architect Frank Gehry, design a new beach house for the client in replacement of the deteriorating Blair House with the restriction that all coral walls surrounding the Blair House must remain
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Site Background Sandwiched between the Kamehameha Highway and Kualoa Beach, the walls and the original Coral House built by Elma Schadt and Charles E. King, are listed on the Hawai‘i Register of Historic Places. Although non-contributing to the sites importance, a small wooden domicile sits on the attached site fronting the ocean
Existing Coral House
Location of existing Blair House structure and future new beach house
Kualoa Beach
Emotion - “When I first stepped out of the car, I felt this place was abandoned. It felt eerie. The coral walls were not exactly white and seemed unwashed. I thought there was no roof on the existing coral house, but instead just one big open skylight. It seemed like this place was a secret location hidden by overgrown greenery. I wasn’t expecting this… I was expecting a place that was pretty much an empty lot. This is a sacred location with the crucifixes and religious icons scattered throughout the courtyard. I give this place a certain kind of respect.”
Frank Gehry often crumpled paper or playing cards when designing. I tried to follow in his design process footsteps. Similarly, I played around with mesh and timber framing elements to create functional design
With Frank Gehry’s unique style of deconstructed architecture, I thought about the idea of “ruins”. Seeing the existing off-white crumbling coral walls on the site, I wanted to incorporate Frank Gehry’s “popscultural” style with ideas and the history of Ancient Rome and Greek ruins. This was a complicated idea 38
Physical model was hand-cut and assembled using basswood, white museum board, translucent and clear plastic sheets, metallic silver construction paper, wire mesh and crushed sea shells
PROJECT NO.5
Kualoa BEACH HOUSE
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A trellis helps to shade the outdoor gathering space that overlooks the ocean
History of Coral Structure - During the first half of the 19th Century, coral blocks were used as building material by missionaries and foreign traders. The use of reef coral heads was rare and limited to minor ornamental functions
An outdoor shower is installed for the resident’s convenience
PROJECT NO.5
Kualoa BEACH HOUSE
An energy saving feature of the house is the skylight which will light the loft space interior of the small dwelling
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PROJECT NO.5
Kualoa BEACH HOUSE
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PROJECT NO.6
TRANSFORMABLE KIOSK PROJECT NO.7
WEAVING ROOF STRUCTURE PROJECT NO.8
THE PRIMAL SHELTER PROJECT NO.9
STUDENT MIX-USE COMPLEX
ARCHITECTURE 200
Intermediate DESIGN STUDIO SPRING 2005 | FALL 2006
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06 PROJECT NO.6
TRANSFORMABLE KIOSK 4 Weeks
INTERMEDIATE ARCHITECTURE STUDIO A ARCHITECTURE 201 | JIN-HO PARK | FALL 2005
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Design a creative kiosk design that will replace the existing one on campus. The aim of this project was to explore the issues of flexibility, mobility, and portability, mechanism, demount ability, and extendibility. There’s no fixed site for this project for the kiosk would be prominently placed anywhere on campus. When not used, the kiosk should be a compacted box. When used, the kiosk should be expanded, folded down and slide out of the main body such that it will form a recognizable place for interaction and fun. When compacted, the kiosk was to be 8’ (W) x 12’ (L) x 8’ (H)
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PROJECT NO.6
TRANSFORMABLE KIOSK 4 Weeks
INTERMEDIATE ARCHITECTURE STUDIO A ARCHITECTURE 201 | JIN-HO PARK | FALL 2005
The rectangular cube will detach into two compartments, revealing an inner extension for additional space. The 8’ x 4’ section will be used primarily as a coffee shop. The inner skin will serve as a waiting area for the customer who waits for his or her order. This space will contain LCD computer cubicles for quick internet use (checking email, online news, or “blogs,” also known as journals). The opposite wall will be a seating space with folddown tables for study use. The third space (8’ x 8’) or lounge area contains simple cubicle chairs with a graph screen on the back wall for viewing media 49
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Physical model was hand cut and assembled using translucent corrugated cardboard, white perforated plastic, clear plastic sheets, and plastic white square rods
PROJECT NO.6
TRANSFORMABLE KIOSK
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07 PROJECT NO.7
WEAVING ROOF STRUCTURE 3 Weeks
INTERMEDIATE ARCHITECTURE STUDIO A ARCHITECTURE 201 | JIN-HO PARK | FALL 2005
PROJECT NO.7
WEAVING ROOF STRUCTURE 3 Weeks
INTERMEDIATE ARCHITECTURE STUDIO A ARCHITECTURE 201 | JIN-HO PARK | FALL 2005
Design a creative yet experimental self-supported roof structure using a simple weaving system. The goal is to explore the issues of weaving structure, mechanism, construction, materials, joints, and other details. The structure will serve as a pavilion-like roof structure at the courtyard of the School of Architecture. The structure will be used for outdoor school activities and events 54
Concept
Reflection
Looking through my childhood, an inspiration came from paper ninja stars that I used to fold like origami and throw around the house. With this type of origami, my design intent was to create a wooden motif of its shape and playing with the idea of flight to portray a sense of movement. This idea evolved into Project 2—Wish (me luck) on a Ninja Star
Because this project primarily focused on structure, it was a challenge to make a roof that was structurally stable without the use of glue. At the same time, it was a challenge to design an original and creative composition that could be patterned into a natural wave with only so many combinations of polygons If I had to critique my project based on Vitruvius’ three components - structure, beauty and delight - I was not successful. I feel my beginning design intent of portraying movement was not shown in the final product. In the process of attaching my pieces together, the weight of the wood caused my structure to crumble. In the end, I had to salvage the unbroken pieces and forge a new roof design If I could change two things about my process, it would have been to use a smaller size wood and to scale down my design to reduce the amount of weight of the entire roof. This project seemed easy in the beginning, but in fact, very challenging in the thinking process
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08 PROJECT NO.8
THE PRIMAL SHELTER 5 Weeks INTERMEDIATE ARCHITECTURE STUDIO B ARCHITECTURE 202 | PATRICK ONISHI + CATHI HO | SPRING 2006
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PROJECT NO.8
THE PRIMAL SHELTER 5 Weeks
INTERMEDIATE ARCHITECTURE STUDIO B ARCHITECTURE 202 | PATRICK ONISHI + CATHI HO | SPRING 2006
Design and build a lightweight and portable shelter for a 24-hour campout period on Friday, February 10 thru Saturday, February 11, 2006. Shelters should be able to keep inhabitant(s) safe and comfortable from wind, heat, rain, and “things” that crawl in the night. Each person will have to carry their own materials and build their shelter without any help from anyone in a time period 58
Site Analysis Site Analysis Site Site Analysis Analysis
By: Michelle Jaime, Jared Miyahana, Richard Rivera By: Michelle Jaime, Jared Architecture Miyahana, Richard ARCH 202 : Intermediate StudioRivera B By: Michelle Jaime, Jared Architecture Miyahana, Richard ARCH 202 : Intermediate StudioRivera B ARCH 202 : Intermediate Architecture Studio B By: Michelle Jaime, Jared Miyahana, Richard Rivera ARCH 202 : Intermediate Architecture Studio B
Ho’omaluhia Botanical Garden Ho’omaluhia 45-680 Luluku Road Botanical Ho’omaluhia Botanical Garden Garden 45-680 Luluku Road Kaneohe, Hawaii 96744 45-680 Luluku Road Ho’omaluhia Botanical Garden Kaneohe, Hawaii 96744 Kaneohe, Hawaii 96744
45-680 Luluku ofRoad Parks and Recreation Department Department of Parks and Recreation Kaneohe, Hawaii 96744 City and County of Honolulu Department of Parks and Recreation City and County of Honolulu City and County of Honolulu Department of Parks and Recreation City and County Ho’omaluhia, oneofofHonolulu the five Honolulu Botanical Gardens, Ho’omaluhia, one of the five Honolulu Botanical Gardens, is located on the of Oahu in Kaneohe. Ho’omaluhia, onewindward of the fiveside Honolulu Botanical Gardens, is located on the windward side of Oahu in Kaneohe. Ho’omaluhia to “make aa place of peace and is located on means the windward side of Oahu in Kaneohe. Ho’omaluhia, one of the five Honolulu Botanical Gardens, Ho’omaluhia means to “make place of peace and quility.” This 400-acre Garden is planted with many tran Ho’omaluhia means to “make a place of peace and is located the 400-acre windward sidetrees ofisOahu Kaneohe. quility.on ” This Garden planted with from manythe tran dangered and rare rainforest andinshrubs en quility.” This 400-acre Garden is planted with manythe tran Ho’omaluhia means to “make a place of peace and dangered and rare rainforest trees and shrubs from endangered tropics of the world, including Hawaii and Polynesia. With and rare rainforest trees and shrubs from the en quility. ” This 400-acre Garden isfacility planted with many of lake the world, including Hawaii andwas Polynesia. With tran atropics 32-acre (no swimming), the developed of the world, including Hawaii and Polynesia. With dangered and rare rainforest trees and shrubs from atropics 32-acre lake (no swimming), the facility was developed in conjunction with the U.S. Army Corps &was Engineers tothe aen 32-acre lake (no swimming), the facility developed tropics of the world, including Hawaii and With in conjunction with the U.S. Army Corps & Polynesia. Engineers to provide flood for the community. in conjunction with the U.S. Corps Engineers to aprovide 32-acre lake protection (no swimming), the facility&was developed flood protection for Army the community. provide flood protection for Army the community. in conjunction with the U.S. Corps & Engineers to provide flood protection for the community.
Kahua Lehua Campsite Conditions Lehua Campsite Conditions -Kahua 4 water spouts, 5 fire pits, 5 picnic tables, 1 bathroom. Lehua Campsite Conditions -Kahua 4 water spouts, 5 fire pits, 5 picnic tables, 1 bathroom. -Kahua 4 water spouts, 5 fire pits, 5 picnic tables, 1 bathroom. Lehua Campsite Conditions -Site 4 water spouts, 5 fire pits, 5 picnic tables, 1 bathroom. Orientation Site Orientation Ko’olau Mountains: S, SE Site Orientation Ko’olauOcean: Mountains: S, Pacific N,SE NE, NW Ko’olau Mountains: S, Site Orientation Pacific Ocean: N,SE NE, NW Sun Direction: EN,(ocean) W (mountain) Pacific Ocean: NE, NWto Ko’olau Mountains: S, SE Sun Direction: EN (ocean) to W (mountain) Wind Pattern: to Sun Direction: EN, (ocean) Pacific Ocean: NE,SS NWto W (mountain) Wind Pattern: N to Climate: Overcast Wind Pattern: to S early Sun Direction: EN (ocean) to W morning. (mountain) Climate: Overcast early morning. Sunny midday. Climate: Overcast early morning. Wind Pattern: N to S in Sunny in midday. Humid with a chance of rain. Sunny in midday. Climate: Overcast early morning. with a chance of rain. Average temperature: Humid 75º Fahrenheit Humid with a chance of rain. Sunny in midday. Average Annual temperature: 75º Fahrenheit Average Rainfall: 80” temperature: 75º Fahrenheit Humid with a chance of rain. Average Annual Rainfall: 80” 2000-2005: Annual Rainfall: 80” Average for between temperature: 75º Fahrenheit Average Rainfall Rainfall for February February between 2000-2005: 0.91 (2000) – 16.79 (2004) Average Rainfall for February between 2000-2005: Annual Rainfall: 80” (2000) – 16.79 (2004) Wind pattern: N0.91 to S – 16.79 (2004) Average Rainfall for February between 2000-2005: Wind pattern: N0.91 to S(2000)
Microclimate: Wind variance Wind pattern: N0.91 to S(2000) – 16.79 (2004) Microclimate: Wind variance Microclimate: Wind Wind pattern: N to Svariance Microclimate: Wind variance - Native Hawaiian plants – Koa, Naupaka Kahakai, Hapu’u -- Native – Koa, Naupaka Hapu’u A plantHawaiian collectionplants from various countriesKahakai, of the world A plant collection fromcoot, various countries of the world -- Endangered Hawaiian Hawaiian gallinule -- Endangered Hawaiian coot, Hawaiian gallinule Native black-crowned night heron Native black-crowned night -- Various aquarium fishes due heron to unauthorized dumping -- Various aquarium fishes due to unauthorized Cattle, wilds pigs (boars), chickens and ducks. dumping - Cattle, wilds pigs (boars), chickens and ducks.
Flora Flora and and Fauna Fauna
Constraints: Rules, Regulations and Laws Constraints: Rules, Regulations and Laws - Collecting plants, fruits, flowers, seeds and other plant parts is not permitted.
-- Collecting fruits, flowers, and other plant parts isinnot Swimmingplants, in lake/streams is notseeds permitted due to impurities thepermitted. water. Swimming in lake/streams is not permitted to impurities in the water. -- Do not tie, nail, or attach anything to trees ordue structures. -- Do not tie, nail, or attach anything to trees or structures. Ball playing and other such games are not permitted. Ball playingare and other such arefire notpads. permitted. -- Campfires permitted on games concrete -- Campfires permitted onfor concrete firenot pads. Collecting are twigs/branches firewood allowed. Collecting for firewood not allowed. 59 -- Fires must twigs/branches be 20 feet from building. - Fires must be 20 feet from building.
Early Concept Working primarily with the microclimate of Ho’omaluhia Botanical Gardens, I became fascinated in playing with the ideas of two noteworthy architects and somehow incorporating their concepts into a creative, versatile, and functional design that can be manipulated to the varying climate conditions of the setting (rain, heat, wind, etc). Illustrating Frank Gehry’s “House within a house” concept of his Santa Monica Residence with a basic square framework and a connected cantilever roof, Shigeru Ban’s Curtain Wall House is reminiscent through the attached multifunctional curtain wall system
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Versatility of Concept With Frank Gehry’s concept of having an exterior and interior space that is somehow connected by the same composition, the exterior layer functions as an envelope, creating an in-between void that provides additional advantages. For this particular project and location, I am using this void in my shelter to 1) become a path for wind circulation and; 2) act as a storage space (1’ x 5’ ft. sq.) that is separate from the living space. In a circular shape where a small portion is taken away, I am able to maintain the maximum space available in my 5’ x 4’ ft. sq. living area, making it an airy and comfortable place (with doors open) for 4-6 people to hang out inside
The versatility of Shigeru Ban’s open and close curtain system not only allows for the circulation of wind and hot air to vent out, it becomes a protection from the natural elements such as the heat, the sun, chilly winds and rain. They can be opened to create a window for sightseeing or transformed into a personal private space. While the curtain entrances are closed, ventilation will be able to flow in, out and through the open/voided systems between the outer layer and the inner mesh-like layer of fabric
Co Pro
onstruction ocess
Materials
Dark Gray Nylon White Nylon Orange Mesh White PVC Piping PVC Joints (x14) Rope Hooks
$7.59/yard $4.69/yard $2.99 $1.75/10 ft $0.59-0.79 Donated Donated
TOTAL
$50-$60
The basic framework of my composition is constructed out of 1 inch white PVC piping and connectors. A gray waterproof nylon was used for the cantilever roof, an orange screen-like fabric for the inner roof layer and a white neutral color for the entrance/exit and connecting wall. The manageable weight and portability of PVC piping allowed me to transport my materials from the car to the camp site in two (2) trips. Having my framework composed primarily of 90 degree angles, assembly became a quick and easy 10 minute procedure
PROJECT NO.8
THE PRIMAL SHELTER
Design Problem With the basic framework of a square, rain water would collect on the top two layers due to the flat roof; the fabric were not secured tight enough to the framework to prevent the vinyl from drooping. Also, not enough coats of water repellent were applied to the white fabric; both the white fabric and orange mesh absorbed rain water and watermarks were visible on the black gray nylon. Although this curtain system prevented water from entering, rain could still enter from openings and by soaking through the fabric. Otherwise, my living area was pretty dry
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Design Solution There are two possible solutions to solve the problematic “cube� framework and the flat roof. The first option is to create additional layers of covering for the living space by using a fabric that would repel water easily, such as a plastic tarp. Another option would have been to tilt the box to allow water to run off to the sides, distorting the clean and simple visual of a simple composition
Analysis of the Cubicle - Lightweight and portable; 1- 2 trips to the car to get the materials - Quick and easy 10 minute assembly - Spacious yet comfortable - Able to fit 4-6 people at one time - Storage space is separate from the living space - Versatility with open and closed curtain systems, allowing for ventilation and sightseeing or protection from the natural elements such as heat, sun, chilly winds, and rain - Curtain system provided privacy from others - When the main entrances are closed, ventilation is still able to flow in, out and through the open/ void spaces between the outer layer and the inner layer - Diverse functions for PVC framework, functioning also as a clothesline to hang wet clothing on when entryways are open - Cost of “skin� material can be justifiable. For example, using a plastic tarp instead of nylon or other nice and colorful fabrics
PROJECT NO.8
THE PRIMAL SHELTER
1 64
2
3
1. Front - semi privacy 2. Front - open 3. Bacl - private
PROJECT NO.8
THE PRIMAL SHELTER
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1
8 3
7 66
6
4 5
1. The main structural framework is constructed of white PVC tubes and connections to create a smaller square for the living space within a larger square frame 2. Dark gray nylon as outer skin 3. Orange perforated fabric as inner second skin 4. The main entrances are covered with white nylon 5. The structure was secured tightly to the ground with rope and pins that were attached to the top four main corners 6. A blue tarp was used for the living space floor 7. Storage area and ventilation corridor between the inner and outer square framework 8. The pipe structure also functioned as a clothesline
PROJECT NO.8
THE PRIMAL SHELTER
Project Reflection This project was very exciting because we had to build our own shelters from scratch that we would occupy in an outdoor camping experience. It was also meaningful for me because it was the first project where my parents and grandparents gave me suggestions and ideas throughout the whole design process. Being that my dad and my grandpa both have experience in the construction field, they have very useful knowledge that I can learn and gain from. As for my mom and my grandma, their homemaking skills in sewing benefited me in stitching-up my building “skin�
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PROJECT NO.8
THE PRIMAL SHELTER
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09 PROJECT NO.9
STUDENT MIX-USE COMPLEX 3 Weeks
INTERMEDIATE ARCHITECTURE STUDIO B ARCHITECTURE 202 | PATRICK ONISHI + CATHI HO | SPRING 2006
PROJECT NO.9
STUDENT MIX-USE COMPLEX 3 Weeks
INTERMEDIATE ARCHITECTURE STUDIO B ARCHITECTURE 202 | PATRICK ONISHI + CATHI HO | SPRING 2006
This project is a mix-use project for live, work and retail with the hope to develop a complex that becomes the energizer of the Mo‘ili‘ili community and to provoke other areas of development so that in the end, the result becomes a college town. Process: Site analysis and progamming (teams), design (individual) 72
A. Property information The site is located at 1119 University Avenue at the intersection of University Avenue and Varsity Place in the Puck’s Alley area. Views include the freeway off-ramp in the North and the Varsity Theater in the West. Not much vegetation exists except for a few dried bushes, grass, pebbles and rocks. The land is classified as Commercial and is valued at $1,965,900
Concept Students love food and beverage. In addition, many of the eateries that are located on campus closes in the late afternoon–limiting the locations where students get together to study or to just socialize. To allure this nocturnal population, I wanted to create an oasis that will bring in students through food and beverage and a place for comfort and peacefulness. To achieve this oasis intent, I incorporated lush landscaping in and around the complex to mimic the lush environment of upper Manoa that is lacking in the current dry and hot traffic populated Mo‘ili‘ili community. My commercial space also helps to promote this feeling through the selling or refreshments that include coffee and ice cream
B. Details – TMK: 2-8-024:033 – Area (sq ft): 16,555 – Area (acres): 0.38 N C. LUO BMX-3 Development Stand. – Min. Lot area: 5,000 sf – Min. lot width: 50 ft. – Min. lot depth: 50 ft. – Yards: 10 ft. for dwellings, 5 ft. for other uses (front); 5 ft. for detached dwellings, 10 ft. for multifamily dwellings (side and rear) – Maximum building area: not regulated – Max. Density (FAR): 2.5 – Max. Height: 150 ft.
D. Public Spaces – Array of retail stores – Restaurants – Convenience stores – Academic facilities – Churches – Markets – Parks E. Private Spaces – Residences – Offices – Puck’s
F. Circulation Routes – University Avenue – Varsity Place – Coyne Street – S. BeretaniaStreet – S. King Street – H1 Freeway – Sidewalks for pedestrians – Public Bus (Route A, 1, 4, 5, 6) – Shuttle Bus, taxi, bicycle G. Views – Buildings – Streets – H1 Freeway – Vehicles – People
H. Sounds and smells – Streets and vehicles – People talking & walking – Surrounding bars and restaurants
I. Program Information Commercial Program – Coffee & Ice Cream Shop (bathrooms included) 3,800 sq. ft. – Indoor Garden 529 sq. ft. – Total: 4,329 sq. ft. Parking Program – Residential (8), 1 stall per unit – Commercial (15) 400 sq. ft. of area per stall
PROJECT NO.9
STUDENT MIX-USE COMPLEX
I. Program Information Residential Program – Dormitory Apts (8) bathrooms included 234 sq. ft. per unit – Community Kitchen (2) 132 sq. ft. – Laundy Room, 190 sq. ft. – Apartment Lounge/ Weight Room/ or Game Room (2), 875 sq. ft. – Total: 4,076 sq. ft.
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PROJECT NO.9
STUDENT MIX-USE COMPLEX
Computer generated 3D modeling and renderings was done using AutoCAD and 3D Studio Max. rendering
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y place sit var
Perspective of main entrance and tree courtyard enclosed by a glass atrium. The front of the building facing University Avenue consists of restaurants that include a coffee and ice cream parlour where students can study in this quaint college town
IV UN SIT ER E NU VE
YA
PROJECT NO.9
STUDENT MIX-USE COMPLEX
80
Placed on the opposite side from the restaurant aligned street of busy University Avenue are residential units for college students containing 8 student dormitory apartments
PROJECT NO.9
STUDENT MIX-USE COMPLEX
82
PROJECT NO.10
CATHOLIC CHURCH IN MACAU PROJECT NO.11
WATERFRONT CLUBHOUSE PROJECT NO.12
design for a multi-family residential complex
ARCHITECTURE 300
Advanced DESIGN STUDIO FALL 2006 | SPRING 2007
83
84
10 PROJECT NO.10
CATHOLIC CHURCH IN MACAU 8 Weeks
ADVANCED ARCHITECTURE STUDIO A ARCHITECTURE 301 | SPENCER LEINEWEBER | FALL 2006
PROJECT NO.10
CATHOLIC CHURCH IN MACAU 8 Weeks
ADVANCED ARCHITECTURE STUDIO A ARCHITECTURE 301 | SPENCER LEINEWEBER | FALL 2006
86
Design Process
To commence the anniversary celebration of the arrival of the Jesuits to Macau in 1563, a new Catholic Church will be built in the city’s historic center – a UNESCO World Heritage site near the ruins of St. Paul’s Cathedral. With its historic street, residential, religious and public Portuguese and Chinese buildings, the historic centre of Macao provides a unique testimony to the meeting of aesthetic, cultural, architectural and technological influences from East and West. This new landmark building will become the center of the festivities for fifty years until the sesquicentennial in 2063
– Site analysis and Programming (team) – Design (individual) A. Background of Macau
China Macau
– Country: Macau – Location: Eastern Asia, bordering the South China Sea and China, Southeast Asia – Area total: 28.2 sq km – Climate: subtropical with cool winters, warm summers – Terrain: generally flat – Geography: essentially urban; an area of land reclaimed from the sea – Wind Patterns: JanFeb & Nov-Dec: North; Mar-May & Sep-Oct: East South-East; Jun-Aug: Southwest – Religions: 50% Buddhist, 15% Roman Catholic 35% none and other 35% (1997 est.)
B. The Ruins of St. Paul The Ruins of St. Paul is the remains of the first Jesuit church of Macau and what was once the largest Christian church in Asia. Measuring 28 meters wide and 38.5 meters high, the façade is a symbolic historic structure referencing the remnants of the Church of Mater Dei and St. Paul’s College Located on a hill, the original church succumbed to fires in 1595 and 1601. A new church was built between 1602–1640 by the Italian Jesuit ‘Blessed’ Carlo Spinola who had stopped in Macau on his way to Japan in 1600 to do missionary work. In 2005, the Ruins of St. Paul of historic Macau became a UNESCO World Heritage Site
C. Occupancy Classification – Assembly Group A – Identifies areas that generally bring large groups of people together in relatively small spaces – 50 or more occupants – Group A-3 Occupancy: Assembly areas that include spaces use for worship or recreation – Religious educational rooms and religious auditoriums which are accessory to churches with occupant loads of less than 100 shall be classified as A-3
D. Construction Type – Type IV (Heavy Timber Construction) E. Allowable Building Height and Area – 3 stories in height with a 15,000 sf per floor max F. Egress – Continuous, unobstructed path of vertical and horizontal exit travel from any occupied point in a building or structure to a public way (outside of a building) G. ADA – At least one main entrance, and at least 50% of all entrances to the assembly shall be ADA accessible maximum H. Program Information – Assembly Space for 1,000 people: 12,031 sq. ft. – Administrative Offices: 760 sq. ft. – Support Facilities: 3,700 sq. ft. – Future Space: 1,000 sq. ft. – Outdoor Space: 10,000 sq. ft.
I. Proposed Future Observatory Space Throughout history, many religious scholars have attempted to draw closer relationships between religion and science through astronomical studies. Today, scientists, philosophers, and missionaries continue to seek the knowledge to reinterpret the relations of science and religion, reason and faith, as a way to reach out to people. Establishing an observatory space with a collection of previously gathered data would serve a great addition to the Roman Catholic Church. This space would embody the knowledge of the past and the new astronomical findings of the future
PROJECT NO.10
CATHOLIC CHURCH IN MACAU
J. Concept “Reminiscence” is a narration of past experiences where an event may bring to mind a similar experience; a mental impression that is retained or revived. At the site of the historic ruins of St. Paul’s Cathedral in Macau, a new Catholic Church will be built in the city’s historic center to commence the anniversary celebration of the arrival of the Jesuits to Macau in 1563. A historic locale of narrow streets and spectacular architecture influenced by both Eastern and Western styles, this new Catholic Church will look back upon its neighboring precedent while reflecting on the historic centre of Macau as it becomes a new landmark building
With the manipulation of natural sunlight and moonlight in combination with the emotion of reminiscence, I want to instill a sense of liveliness within the context of Macau. During the day, sunlight will play a symbolic aspect in the interior of the church. At night, artificial lighting from the interior will radiate from the building windows to resemble a glowing lamp, adding to the cities festivities for fifty years until the sesquicentennial in 2063
I intended to rotate my church on the site towards the direction of St. Paul’s Ruins to create a visual experience. An axis would also be created towards the ruins with sunlight from the central cut on the roof
The simple form and concept of my design derived from an ancient rock sundial 90
The purpose of incorporating the cut into my design was to emphasize sunlight to hightlight the central aisle, which holds the most important components of a church: the ambo, alter, chair and the baptistry pool
PROJECT NO.10
CATHOLIC CHURCH IN MACAU
In this design, I selected a girderbeam system rather than a truss system because the simpleness and straightforwardness followed my design
92
Space Division + Layout A. Administrative Offices 70’ x 11’ = 770 sq. ft. B. Church Sanctuary 151’ x 75’ = 11,325 sq. ft. a. Ambo b. Alter c. Chair d. Baptistry Pool C. Dark Atrium D. Support Facilities 32’ x 22’ = 704 sq. ft. E. Outdoor Observatory & Garden Space 11,000’ sq. ft. 6” x 3” girder 2” x 8” beam 2” planking 54” x 10” glue lam girder 18” x 3” beam 2” planking
8” x 8” wood column
18” x 18” heavy timber column
a
b
c
B
d
8” x 8” wood column
D C
E
Floor Framing Plan
Church Floor Plan A
18” x 18” heavy timber column
Roof Framing Plan
30” x 5” glue lam girder 18” x 3” beam 2” planking
T ransve rse E levation S ca le : 1 /3 2 " = 1 '-0"
Plates and metal hangers to stabilize and connect girders to columns, beams to girders and decking to beams
T ransve rse S ection S ca le : 1 /3 2 " = 1 '-0" Metal plates and bolts to connect beams to columns for rigidity and stability
T ransve rse E levation S ca le : 1 /3 2 " = 1 '-0"
PROJECT NO.10
CATHOLIC CHURCH IN MACAU
L o n g itu d in a l E le vation S ca le : 1 /3 2 " = 1 '-0"
54” x 10” glue lam girder
18” x 3” beam
concrete footing
L o n g itu d in a l S e ction S ca le : 1 /3 2 " = 1 '-0" Environmental Control Systems: Roof to create ventilation exit as hot air rises and escapes through opening
T ransve rse E levation S ca le : 1 /3 2 " = 1 '-0"
My intent was to create a sundial garden. Through research, I learned that in ancient times, the time of night could be foretold by the moonlight shining on metal
PROJECT NO.10
CATHOLIC CHURCH IN MACAU
98
Physical model was hand-cut and assembled using basswood, white museum board, translucent and clear plastic sheets, white foam core, green construction paper and colored model trees
PROJECT NO.10
CATHOLIC CHURCH IN MACAU
100
11 PROJECT NO.11
WATERFRONT CLUBHOUSE 4 Weeks
ADVANCED ARCHITECTURE STUDIO B ARCHITECTURE 302 | PU MIAO | SPRING 2007
101
PROJECT NO.11
WATERFRONT CLUBHOUSE 4 Weeks
ADVANCED ARCHITECTURE STUDIO B ARCHITECTURE 302 | PU MIAO | SPRING 2007
Clubhouse for a residential development in Lake Da-dian, Qing-pi District, in the north suburb of Shanghai, China 102
A. Site Lake Da-dian, Qingpu District, Shanghai, China, a triangular site of 10,856 square meter. The residential community to which the clubhouse belongs to is situated north of the site Residential Development Clubhouse Site Location Lake Da-dian
China Shanghai
Lake Da-dian
Clubhouse Site =10,856 m² Site PLan 0 25
– Topography: existing natural and man-made landscape is flat – Climate: mild with clear seasonal changes – Sun: maximum sun exposure occurs in the south during the winter – Wind Pattern: prevailing wind in the southeast during the summer
B. Program Information The clubhouse will be used by both residents in the community north of its site and visitors from elsewhere – The total floor area (all areas under a solid roof with walls or columns around) should be within 2,700 square meters (about 8,858 sq. ft.) Conference and other Generic Public Functions – Lobby – Cafe, including a bar and kitchen (this facility only needs to serve beverages and light meals) – Artist exhibition space – Auditorium for 100 people, used for conference, movie and simple performances – 3 - 5 conference or multi-purpose rooms for 10 - 30 people
104
Exercises – Gymnasium for 30 - 50 people – Group aerobic exercise room (sound proof to other parts of the club) – Indoor heated swimming pool, relaxation area and mechanical room – Two outdoor tennis courts for doubles – Men and women’s lockers rooms (including showers and toilets) – Men and women’s saunas and relaxation rooms Boating – Two boat training rooms – Boat pier and storage – Boat exhibition area
C. Design Intent To create a form that will allow for multiple spaces: a water courtyard and a dry courtyard. An “S” shape or two “C” shapes combined creates a central core gathering area which primarily holds the public spaces. The play with double and triple height spaces allow for undisrupted views of the lake that fronts the clubhouse The facade of the structure is wrapped with a horizontal trellis screen. With this design, it incorporates the tennis courts on the roof so that its fencelike boundary does not become an obstruction but rather, blends the entire clubhouse together more uniformly
PROJECT NO.11
WATERFRONT CLUBHOUSE
Boat docking station
Upon arriving to the waterfront clubhouse, visitors will first need to pass through the “dry” courtyard - an intimate and inviting space created by the building form. Floor to ceiling windows allow views towards the garden space, which is filled with trees and plants aligned by rock and mossy pathways. A “water” courtyard balances the “dry” garden on the opposite side of the building
Second Floor Plan
Third Floor Plan
106
First Floor Plan 0
50 FT
Structural Grid
PROJECT NO.11
WATERFRONT CLUBHOUSE
D. Code Requirements – The building can be located behind the set back lines along the street within the existing shorelines – Boat piers and small free-standing structures can be extended into the lake or located in the lake – No building height limit, but the developer does not want the clubhouse to (3 story high) north of site
In determining stair locations, a beam and column grid system was utilized. In the main lobby of the clubhouse, the beam and column structure support are exposed. In rooms that were more proportional to human height, the structure was hidden
Multiple height spaces are more common in the public areas such as the indoor swimming pool and gymnasium. Floor to ceiling windows allow for unobstructed views of the lake from these indoor public spaces and allows for a more indoor/ outdoor experience
The program beneath the tennis courts is an indoor swimming pool, which overlooks the “water� courtyard (provided by the neighboring lake). A trellis application on the upper half of the floor to ceiling window facade helps to control heat and sunlight gain into the building
PROJECT NO.11
WATERFRONT CLUBHOUSE
West Elevation 110
North Elevation
By increasing the height of the emergency stairs in contrast to the building itself, it helps to create a more interesting design composition by using vertical elements to divide a horizontal dominated form
Physical model was hand-cut and assembled using basswood, museum board, clear plastic sheets, construction paper and white baby’s breath
Horizontal wooden screens are wrapped throughout the building. Windows are less common on the east and west facades and the screens help to limit the amount of natural sunlight that filters in the indoor spaces
South Elevation
East Elevation
PROJECT NO.11
WATERFRONT CLUBHOUSE
112
12 PROJECT NO.12
design for a multi-family residential complex 6.5 Weeks
ADVANCED ARCHITECTURE STUDIO B ARCHITECTURE 302 | PU MIAO | SPRING 2007
113
PROJECT NO.12
design for a multi-family residential complex 6.5 Weeks
ADVANCED ARCHITECTURE STUDIO B ARCHITECTURE 302 | PU MIAO | SPRING 2007
114
A. Site Because we are looking for a prototypal solution, the site will be a generic, flat one The total Building Coverage (all areas under roofs as projected on the ground plane) should be within 840 sq. m. (about 9,060 sq. ft. or about 95 ft. by 95 ft) This area must be of a simple shape which can be repeated to form a larger residential area A multi-story residential building, located in the inner city of a metropolis with high population density. The central goal of this exploration is to find prototypal solutions to apartments which can have some of the advantages usually only associated with single family homes
The site is in a north hemisphere location. The climate is moderate with clear seasonal changes (cold in the winter and hot in the summer) The prevailing wind comes from the south
115
Stack + Cantilever Design The ideas of stacking and cantilevering became design strategies to resolving the problem of designing a multi-story residential building
116
Stacking would create verticality, especially in a constrained site situated in a high-density metropolis Cantilevering blocks would enable each unit the advantages only associated with singlefamily homes, most especially having an outdoor space, which would be provided by the apartment unit below By stacking and cantilevering the units to the perimeter of the site, a central atrium is installed with shafts for vertical circulation An open central site plan maximizes sunlight for all building units and takes advantage of the chimney effect. Likewise, the cantilevering strategy allows air circulation between the units
B. Program Information Design a single building which contains the following functional areas. – Minimum 9 apartments to include all 5 required types. The different apartment types range from a studio layout to apartments ranging with 1 to 4 bedrooms - One secured public lobby containing mailbox and public sitting area - One secured public stair and elevator plus any added EGRESS stair - One or more public open spaces, containing one children’s play area - One public trash deposit area - Parking garage, one car for each apartment. It may be centralized or individualized or combined - Bicycle parking, two bicycles for each apt
PROJECT NO.12
multi-family complex
The design gives each unit their own private outdoor space provided by the cantilevering strategy
118
B. Program Information (continued) Each apartment could be either flat or occupy two or more floors and should have at least the following indoor areas:
- Foyer w and one c - Living r part of th dining roo 1 1/2- or - Dining r combined - Kitchen - Master private ba lavatory a areas) an - Addition only one for a sing bedroom minimum closet for - At least every two bedroom additiona separate - One ha same floo living/dini bath is av - One lau - Storage
with visual buffer closet room, at least he living or living/ om should have r 2-storey height room (may be d with living) n bedroom with ath (divided into and bath/WC nd closet nal bedrooms, of them can be gle person. Each m should have m 5-feet long r each person t one bath for o additional ms or any al bedroom on a floor alf bath at the or where the ing is if no other vailable undry room e Space
Sometimes, cantilevers provide a shaded outdoor space due to the apartment unit above In other instances, some apartment units are openly exposed to the elements All outdoor spaces are positioned on the outside corner of the building to maximize natural lighting and ventilation
View of East Elevation
PROJECT NO.12
multi-family complex
Parking is dispersed around the site’s perimeter; however, pathways from the main lobby are integrated so residents can have easy and convenient access to their vehicles
120
View of West Elevation
Additionally, bicycle racks are placed under cover next to the elevator + stair shafts
TYPE IN-UNIT FLOOR AREA (only indoor areas) 4-bedroom 3-bedroom 2-bedroom 1-bedroom Studio
About 150-180 sq. m. About 120-150 sq. m. About 100-120 sq. m. About 60-100 sq. m. About 50 sq. m.
1,614-1,937 sq. ft. 1,291-1,614 sq. ft. 1,076-1,291 sq. ft. 645-1,076 sq. ft. 538 sq. ft.
PROJECT NO.12
multi-family complex
Each of the apartment units in this multi-family residential complex are connected through a series of private pathways that are linked together at the building’s open core, containing the primary vertical circulation of elevators and stairs
View of South Elevation 122
Physical model was created using basswood, white museum board, translucent corrugated boards, purple and gray construction paper and white baby’s breath. The entire physical model was hand constructed without the use of a laser cuter
PROJECT NO.12
multi-family complex
124
PROJECT NO.13
TOKYO FLOATS in Odaiba PROJECT NO.14
Mediatheque + Library on fort street mall PROJECT NO.15
honolulu zoo Wine HAUS
ARCHITECTURE 400-500
Comprehensive DESIGN FALL 2007 | SPRING 2008 | FALL 2008
125
126
13 PROJECT NO.13
TOKYO FLOATS in Odaiba 16 Weeks
Comprehensive Architecture Studio A ARCHITECTURE 401 | Kazi Ashraf | Fall 2007
127
PROJECT NO.13
TOKYO FLOATS in Odaiba 16 Weeks
Comprehensive Architecture Studio A ARCHITECTURE 401 | Kazi Ashraf | Fall 2007
128
Japan Site= 10,856 m²
Tokyo
Site Location: Odaiba, Tokyo Tokyo Bay
The urban transformation of Odaiba (お台場), a large artificial island in Tokyo Bay, Japan, across the Rainbow Bridge from central Tokyo
129
130
Frankly speaking, there is nothing on the site. Other than a few industrial buildings, the island is a blank slate. The diagrams on the right illustrate this observation as the yellow rectangles denote the few buildings that are on the island The site is surrounded by water on all sides where boats currently dock and unload cargo
PROJECT NO.13
TOKYO FLOATS in Odaiba
A sloping green space will allow visitors and permanent residents to enjoy the outdoors and panoramic views of Tokyo Bay
Waterway and fishing ports that connects back to Tokyo Bay. An open atrium allows for natural ventilation and sunlight of spaces beneath the sloping green promenade
The center of the island will allow fishing boats to travel through the island via a water route. Docks next to the marketplace will enable boats to unload produce and other goods Located on the waterfront are the commercial spaces. The bottom level will consist of markets and shops; above are offices and cubicles for travelers. The top cubicles will be projected out towards the sea for maximum views and natural light and ventilation. This projection will leave voids on the level beneath and will be used as boat docks 132
At the highest elevation of the green promenade will be clusters of cubicles for permanent residents. Taking on the idea of metabolism, these clusters will allow flexibility of living for these multi-family units
The main transportaton for the island is an light rail system, possibly a trolley system [black]. Below the elevated light rail is a direct network of roads [orange]
Hotel cubicles (protruding outwards towards the water) are interconnected with commecial and market space
Residential cubles for permanent residents are located at the highest point of the island. The idea of metabolism is applied as each unit is connected by a central core. This core also acts as a reinforcing structural element to hold up the man-made hill
Designing through physical models
Educational facilties and a research institution will be located across the commercial space. Public services that include a hospital, police and fire departmet will also occupy this area
Bridges will connect commercial areas with the buildings and open spaces across
The commercial and market space occupies the ground level; adjacent to both ground and water transportation systems Fishing boats and other water transportation types will be able to travel through the island via a water route. Docks next to the marketplace will able boats to unload produce and other goods
PROJECT NO.13
TOKYO FLOATS in Odaiba
Sketching out the program for the island. The initial sketch indicates three primary zones: private (residential), public (commercial) and a shared zone with the central water channel. As the entire site is surrounded by water, both private and public zones will have their own access to Tokyo Bay
134
Unlike the private residential zones, which are clustered in the sky, the public commercial spaces are designed to merge the topography of earth and submerging part of the public zone into the sea
The residential clusters and community spaces are arranges on pilotis for numerous reasons. Perching the units above the water gives privacy for residents and opens the ground plan for green space and future developments. The open space created directly below the residential clusters thus enables new activities to occur between land and sea. From afar, this majestic scene of metabolism architecture creates a new city skyline that percolates the sky
PROJECT NO.13
TOKYO FLOATS in Odaiba
The existing building is to be reused as a train station. An elongated skin shelters the existing building while creating additional area for new programs, that include a parking structure, retail and restaurants, and an indoor park. The perforatied skin will either be open, or covered in clear or opaque glass depending on the program located within.
136
A viewing pod at the end of the elevated residential promenade looks outwards into Tokyo Bay and future reclaimed land developments
Residential clusters mimic Kisho Kurokawa’s Nakagin Capsule Tower. An elevated promenade connects residents to the train station.
Structural stems will connect the different levels of the “Tube” and act as conduits for vertical circulation and utility networks
The “Tube” will be a large mixed-use civic building containing an indoor winter garden on the top level; the middle levels will house a concert hall, a museum, shops and restaurants; and an aquarium on the lower level where the “Tube” will be submerged in Tokyo Bay
PROJECT NO.13
TOKYO FLOATS in Odaiba
Winter (closed) garden during the colder seasons Summer (open) garden The dark green patch indicates a forest grove to demarcate between the public and private zones. Several existing buildings are kept but upgraded to maintain original operations
Perforated black box to house marine research institution. A docking zone for marine research vessels below
138
The light green patches demarcate the vast amount of open park space aligning the water promenade Recreation will include baseball and soccer fields, and tennis courts, among others
The central cut-out will allow Tokyo Bay to flow through the articial island, enabling water recreation sports to occur and for water vessels to enter
In the lowest level of the “Tube,� a unique aquarium experience will submerge visitors into Tokyo Bay
PROJECT NO.13
TOKYO FLOATS in Odaiba
Residential clusters mimic Kisho Kurokawa’s Nakagin Capsule Tower - a mixeduse residential and office tower. The housing clusters seem to be perched on stilts above the water
Due to the wavy design of the topography, residents are able to park their water vessels directly beneath their housing units
140
Civic spaces such as schools and grocery stores are placed in-between the residential clusters to provide services and goods to residents. Translucent material evokes the semiprivate spaces
Various perforation studies for designing the building envelopes The “Tube” building is proposed in concrete, translucent concrete, glass, and steel material to highlight the island’s history as an industrial port
Elliptical
Floral
Circle
A connecting bridge links the public and private zones of the island. However, visitors will only be able to access the park-space in the private (residential) zone as the private spaces are elevated
Physical model was hand-cut and assembled using basswood, bamboo, translucent corrugated cardboard, white perforated plastic, green construction paper, wires, baby’s breath and markers
PROJECT NO.13
TOKYO FLOATS in Odaiba
142
14 PROJECT NO.14
Mediatheque + Library on fort street mall 16 Weeks
Comprehensive Architecture Studio A ARCHITECTURE 542 | William Paluch | FALL 2008
143
Project Premise The City & County of Honolulu has revised its Administrative Rules to offer an expedited permit track to those masterplan developments, which have received Community Approval and demonstrate compliance with applicable benchmarks of the Hawaii 2050 Sustainability Plan. As a result, Honolulu’s Primary Urban Center is seeing an influx of public/private development partnerships to plan and implement several of the areas underutilized sites. This studio will consider the masterplan design and architectural character of three of these districts, yet interrelated, conditions in the city. The site under consideration that was chosen by my group was FORT STREET MALL
PROJECT NO.14
Mediatheque + Library on fort street mall 16 Weeks
Comprehensive Architecture Studio A ARCHITECTURE 542 | William Paluch | FALL 2008
Part I. 5 Weeks Group masterplan development of Fort Street Mall
144
Part II. 8 Weeks Individual design development proposals
Part III. 2 Weeks Final presentation narratives, graphics and models to conclude in an offcampus exhibition
Oahu Island
Hawaii
Honolulu Pacific Ocean
Site Location: Fort Street Mall in Downtown Honolulu
145
Program Fort Street Mall is to incorporate a mixed-use program of recreational, cultural, commercial, civic, hospitality, and housing uses in proportions appropriate to their context. Masterplan strategies are expected to consider the possible preservation of existing conditions while developing strategies for new construction, which optimize the development potential of the project area. Additionally, developer teams are required to implement 20% of the total proposal areas as a first phase by 2012. Individual designers will therefore be responsible for taking the selected Phase 01 parcels to a design development level of resolution 146
Honolulu harbor
Background on Fort Street Mall Architect: Victor Gruen Associates Funding: City & County 55%, private property owners 44%, Board of Water Supply 1% Cost: $2.7 million Construction period: Jun 1968-Feb 1969 (8 mos) Design goal: To ensure downtown is the center of retail & business activity Design problems: Traffic congestion, inadequate parking, competition from shopping malls Program: Retail, banking (Pedestrian Malls, Streetscapes & Urban Spaces, Harvey Rubenstein, 1991)
Demographics Population:
Events that occur in + around Fort Street Mall
Fairs + Festivals Total Daytime Population: 84,833 ppl, - First Friday - Chinese New Year Total Daytime Work Festivities: Lion Population: 65,847 ppl; Dances, Chinatown Total Household Units: Cultural Plaza 17,285 units (2007) Festivities, Maunakea Street Festival, About 950 housing Chinatown Parade units are available, but - Mardi Gras Carnival nearly 13,000 homeless Street Festival ppl are in need (2002). - Mushroom Music Festival 2008 Average Age: Community Events: Age 25-54 (2007) - Onipa’a: A Birthday Celebration Honoring Average Household Queen Lili’uokalani Income: $62,772 - Art After Dark (2007) - First Fashion Friday - New Year’s Eve Sources: Honolulu Star Bulletin (Feb 19, 2002) Celebration and Commercial Real Estate Online - Christmas Boat Parade - Bar/Club Event - Concerts - Performances - Theater Event
PROJECT NO.14
Mediatheque + Library
148
Zoning District
Zoning
Community Groups/Boards
Facilities 1902-1995
P-2: General Preservation BMX-4: Central Business Mixed-Use Aloha Tower Dev Corp Chinatown Special District Hawaii Capital Special District
TMK: 2-1-001:001 – 2-1-013:008 Land Classification: Commercial & Improved Residential State Land Use: Urban District
Downtown Neighborhood Board
Facilities Codes: 06 - Group Quarter (rooming house) 07 - Lodging Facility (50% or more units without kitchen) 18 - Utility Substation (Gas Tank, Telephone Sub Stat.)
The Wo Fat Building, at the corner of Maunakea Street and Hotel Street in the Chinatown Historic District
Zoning District Chinatown Special District Hawaii Capital Special District
23 - Freight Terminal (Moving Van) 31 - Commercial Building 32 - Retail Complex (Shopping) 33 - Office (Federal Building) 51 - Park 73 - Church, Shrine 91 - Parking Structure or Lot
Activity Code 3 - Boarding (Dorm, YMCA, etc.) 25 - Water & Pipeline (Pier, Marina) 27 - Wholesale Trade 32 - General Merchandise (Sears, Longs, 7-11, etc.) 33 - Apparel and Accessories
34 - Eating and Drinking Place 39 - Other (Commercial Art Gallery) 41 - Finance, Insurance, Real Estate (including cemetery ops.) 43 - Legal, Accounting, Engineering and Other Professional Services 45 – Business Services (Advertising 56 – Public Recreation (Golf Course)
61 – Public Administration (Exec., Legislative & Judicial) 66 – Religious Institution (church, temple, etc.) 72 – Electricity 91 – Subdivided Vacant Land 95 – Remnant Land (Road Widening, Planting Strip)
Zoning District P-2: General Preservation
150
BMX-4: Central Business Mixed-Use
PROJECT NO.14
Mediatheque + Library
Program Fort Street Mall is to incorporate a mixed-use program of recreational, cultural, commercial, civic, hospitality, and housing uses in proportions appropriate to their context. Masterplan strategies are expected to consider the possible preservation of existing conditions while developing strategies for new construction, which optimize the development potential of the project area. Additionally, developer teams are required to implement 20% of the total proposal areas as a first phase by 2012. Individual designers will therefore be responsible for taking the selected Phase 01 parcels to a design development level of resolution
education node retail node tourist node 152
Honolulu harbor
PROJECT NO.14
Mediatheque + Library
Alakea Street
H South
After 5 weeks of the masterplan development for Fort Street Mall, each individual in the group was responsible for taking a segment of the site for further design. Each student was to propose a building program that would narrarate a consistent and sensible proposal to the new masterplan development and to the proposed designs of group members
tree otel S t
154
South Beretania Street
South Kukui Stree t
Masterplan diagram created by group member Kristopher Werner
Bishop Street
Bethel Street
Nuuanu Avenue
Ala Moana B oulevard
Queen Street
g Street South Kin
South King Street
Honolulu harbor
PROJECT NO.14
Mediatheque + Library
This is my site!
156
Physical massing model of site context created with chipboard and wood. White fome and colored paper is used to denote the proposed designs of individual group members throughout the site
PROJECT NO.14
Mediatheque + Library
CONTEXT
USER CONTEXT
Land parcel Park/open land 158
on ati
Water
oc
Business
el
Housing/residents
Sit
Educational - Hawaii Pacific University - Central Intermediate School - University of Phoenix - St. Andrew’s Priory School - Hawaii State Public Libary
Manipulated by the small parcel constraint, the mediatheque will feature 2-floors of digital stations in which books, newspapers, magazines and other tangible written forms of medium can be accessed through a computer database. The small complex will also house a bookstore, cafe, cinema, gallery and auditorium for access to the busy population of students, professionals, tourists and community members
DESIGN INTENT - To create an iconic building, a new gateway into Fort Street Mall - To create an end node that serves the community and other user groups - To design a building that does not obstruct mountain views Existing Honolulu Fire Station
PROJECT NO.14
Mediatheque + Library
SIMPLE FORM DIAGRAM This diagram shows the evolution of the building form from an orthogonal stack of blocks, shifted and manipulated to take advantage of double height spaces and a terracing effect, allowing for unique views and natural daylighting within the interior
160
IDEA As a mauka gateway to Fort Street Mall, a mediatheque building is proposed. Located towards the Punchbowl end of Fort Street Mall on a small parcel in the Downtown + Chinatown district of Honolulu, a cluster of three small buildings is proposed: 1) a digital library/ mediatheque linked by bridges to 2) a seven-story HPU administrative building on one side and 3) a smaller structure for spaces supporting the mediatheque on the other end
PROJECT NO.14
Mediatheque + Library
Early sketch of fragmenting the building into smaller components rather than having one single solid mass
Early program sketch with bridges interconnecting spaces between the smaller building to the larger building
Sketch depicting the articulation of the buildings exterior skin and relationship to each other and the site’s existing use as a park. Fragility and structure
162
The changing form of the main building was derived from a stack of books that has been shifted to the sides. This effect allows for double height spaces within the interior and a terracing effect to take advantage of daylighting. The skin reflects tree branches as the location of the mediatheque was once a park. A “cut” thru the building maintains the essence of the old park as visitors wander in-between and around the two small buildings. Modernized to fit the new program of a “digital library,” the translucent skin allows the mediatheque to glow like a lantern in the Downtown + Chinatown district of Honolulu – a symbol of learning, working, and moving forward
Existing Honolulu Fire Station
et
tre S p o Bish
PROJECT NO.14
Mediatheque + Library
A 5
BUILDING INTERIOR HEIGHTS + EXTRUSION 12 - 25 ft 12 ft 12 ft 12 ft 12 ft 12 ft 15 ft
10
Level 4
A 9
5
A
Hawaii Pacific University StudentFaculty Building
12 - 40 ft 15 ft 15 ft 15 ft 30 ft Mediatheque
8
Level 3 A 7 5
A
8
Program
Level 2 A 7 5
A
Cafe + Mezzanine 164
A
1. Open plaza 2. Lobby 3. Cinema 4. Honolulu Fire Station 5. HPU meeting rooms 6. Cafe mezzanine 7. Office 8. Digital stacks 9. Auditorium + gallery 10. Bookstore
5,128 sf 20,236 sf Existing building/program 18,288 sf 9,801 sf 9,384 sf 33,278 sf 4,692 sf 31,231 sf
Me
A
20 ft 13 ft 13 ft 13 ft 13 ft ediatheque
130
5
6
10
Level 5
A
PROJECT NO.14
Mediatheque + Library
CONTEXT Manipulated by the small parcel constraint, the mediatheque will feature 2-floors of digital stations in which books, newspapers, magazines and other tangible written forms of medium can be accessed through a computer database
Existing Honolulu Fire Station
The small complex will also house a bookstore, cafe, cinema, gallery and auditorium for access to the busy population of students, professionals, tourists and community members
CIRCULATION DIAGRAM
1. Existing pedestrian circulation with solid building form
South Beretania Street
South Beretania Street
166
ay
ighw
Pali H
ay
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Pali H
2. Cutting the larger building into two creates another walking experience and gives people other options to enter, exit, and experience Fort Street
Axonometric of the building complex floor layers
eet
tr Bishop S
South Beretania Street
ay
ighw
Pali H
3-4. With the fragmentation, people enter into the building from Fort Street Mall. Visitors are distributed up to the different spaces of the building via elevators, stairs, and connecting bridges
PROJECT NO.14
Mediatheque + Library
Existin Honol Statio
168
Kukui Plaza
ng lulu Fire on
ay w h g i H Pali PROJECT NO.14
Mediatheque + Library
Honolulu Fire Station
Capital Place Elevation
Aloha Tower Elevation
Honolulu Fire Station
Kukui Plaza Elevation
170
HPU Existing Building
Punchbowl
Kukui Plaza Building
l Elevation
PROJECT NO.14
Mediatheque + Library
South Beretania Street
172
A connecting bridge hovers over the 5-lane South Beretania Street to connect the Mediatheque to the existing Hawaii Pacific University StudentFaculty Building. The bridge offers a cafe setting for students to study and the public, a place to enjoy a cup of tea while watching people + car traffic in the Downtown + Chinatown district of Honolulu
South Beretania Street
PROJECT NO.14
Mediatheque + Library
174
The physical model of the Mediatheque is in 1:50 scale. Perspective taken from Kukui Plaza A laser cutter was used to cut black museum board for the floor plates. The remainder of the physical model was hand-cut and assembled using basswood and clear and translucent plastic sheets
PROJECT NO.14
Mediatheque + Library
176
15 PROJECT NO.15
honolulu zoo Wine HAUS 15 Weeks Comprehensive design STUDIO ARCHITECTURE 544 | janine clifford + William Paluch | spring 2009
177
Winery architecture + skyscrapers Winery architecture and skyscrapers for vertical farming are two types of typologies still being explored. The idea of Wine Haus reflects to redefine the traditional concept of a small winery building surrounded by grape vineyards into a vertical one Located on the outskirts of Waikiki next to the Honolulu Zoo, a new typology of program and architecture is introduced to the Honolulu community with a modern, elongated snake form that merges a winery and water filtration center with a vertical skyscraper farm and hotel that will evolve to become a travel destination for hospitality, culture, food and entertainment
178
PROJECT NO.15
honolulu zoo Wine HAUS 15 Weeks Comprehensive design STUDIO ARCHITECTURE 544 | janine clifford + William Paluch | spring 2009
Part I. 5 Weeks Group masterplan development of the Honolulu Zoo and Waikiki
Part II. 8 Weeks Individual design development proposals
Part III. 2 Weeks Final presentation narratives, graphics and models to conclude in an offcampus exhibition
Leahi Street
Paki Street d
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ana
n Kapahulu Ave
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W Ala
ue
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aW
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SITE PLAN 0
20
60
110
210
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PROGRAM LAYERS An elongated form was derived to house an array of interconnecting programs A smaller structure houses the winery and is depressed into the land for thermal cooling of the interior spaces. Merging seamlessly into the background of Waikiki high-rises, the vertical counterpart of the winery is an iconic “green� skyscraper
180
PROJECT NO.15
honolulu zoo Wine HAUS
WINE
Wine is a popular drink that is made all over the world. Many people are knowledgeable of the different wines and have their preferences. However, little is known about how wine is made and how wineries operate as buildings. Recently, the concept and contents of a traditional winery is changing substantially from the old, small-scale building type into ones with integrated visitor centers,guesthouses... entertainment and display. [A + U, 08:12 457]
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B 1
B
LU AVENUE KAPAHU
A
A AL
WAI
D AR EV L OU
2 3 4
7 6
5
1 2 3 4 5 6 7 8
ENTRY PATHWAY WINE RETAIL WINE BAR BARREL ROOM (OPEN TO BELOW) WATER FILTRATION CENTER WINE COURTYARD DRY LAND TARO + SCULPTURE GARDEN PARKING
AINAKEA
6 STREET
GROUND FLOOR PLAN 8
0 20
60
110
210
B
A PROJECT NO.15
honolulu zoo Wine HAUS
WINE haus Wine | Haus takes advantage of sustainable opportunities in a modern “eco-chic” way. The design of the vertical tower not only blends itself with the backdrop of Waikiki high-rises, but serves as a vertical taro farm to accommodate the production needs of the winery. The unique slant form of the vertical skyscraper serves to provide sufficient sunlight for the taro crops. On the opposite end of the skyscraper, tree decks are planned to serve as light and wind barriers for the individual units. From an exterior view, the building seems to be coated with a “green skin”
184
WINERY HOUSE + WATER F
BASEMENT
GRO
FILTRATION CENTER FLOOR PLATES
OUND FLR
FLR 02
FLR 03
FLR 04
FLR 05
PROJECT NO.15
honolulu zoo Wine HAUS
TARO UNITS HOTEL UNITS
VERTICAL TARO FARM AVENUE KAPAHULU
WINE COURTYARD
WINERY HOUSE
HOTEL LOBBY WATER FILTRATION CENTER PARKING + LOADING ZONE
186
AINAKEA STREET
PROGRAM TARO LAYERS 55,464 SF 80,000 SF WINERY RETAIL 12,548 SF PROCESSING 55,279 SF BARREL ROOM 21,507 SF RESTAURANT 18,345 SF HOTEL LOBBY 86,706 SF WINE COURTYARD 22,328 SF WATER FILTRATION
20,468 SF
PARKING 101,565 SF TOTAL 394,210 SF BUILDING FOOTPRINT
53,235 SF
WINERY PRODUCTION BOTTLE (BTL) OF TARO WINE = 375 ML 1 LITER OF WINE = 3 BOTTLES 1 KG = 1 LITER WINE 16 KG/ACRE x 2 TARO LAND 1 ACRE = 43,560 SF
135,464 SF 3 ACRES
3 ACRES x 16 KG/ACRE x 3 BTL = 144 BTL
PROJECT NO.15
honolulu zoo Wine HAUS
FLOOR 21 FLOOR 20
FLOOR 08
ALA WAI BOULEVARD ELEVATION 0 20
60
110
Floor p
188
AINAKEA STREET ELEVATION
KAPAHULU AVENUE ELEVATION
KUHIO AVENUE ELEVATION
0 20
0 20
0 20
60
110
60
110
60
plates
PROJECT NO.15
honolulu zoo Wine HAUS
110
Structurally supported with a central core of elevator and stair shafts, and column supports around the perimeter, the nudge at the center of the vertical structure creates a terrace effect. This offset allows the taro farm on the lower levels to receive natural lighting
SECTION B 0
190
20
60
110
Physical model was created using basswood, white museum board, translucent and clear plastic sheets, green construction paper, white plastic rods, and baby’s breath. Model was hand assembled with the aid of a laser cuter
PROJECT NO.15
honolulu zoo Wine HAUS
1
3
2 11 4-10
SECTION A
12 13 14 15
0
192
20
60
110
VERTICAL TARO FARM DETAIL
1-2
16
3
17 18
4
5-6
19 20 21 22
7 8-9 10-15
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
STEEL VASE HOLDER HEAVY DUTY PLASTIC VASE WATER ROOM STEEL COLUMN SUPPORT GR Filter (Water Permeable, Soil Filter Fabric) GR Film TARO PLANT DRAINAGE Roof Soil™ (Porous Lightweight Growing Medium) Perlite (Obsidian-derived perlite promotes Aeration) GR Drain 20 (Drainage, Water Retention and Aeration) GR Mat (Membrane + Root Protect Layers Protect Mat) GR Film (Auxillary Root Resistant Film) GR Tape 20 (Double-sided Tape) CONCRETE SLAB TUBE WATER RELEASE TUBE WATER RECAPTURE IRRIGATION TUBE Roof Soil™ Perlite BRISE SOLEIL METAIL SUPPORT SOLAR BRISE SOLEIL
PROJECT NO.15
honolulu zoo Wine HAUS
194
PROJECT NO.15
honolulu zoo Wine HAUS
Site analysis diagrams
PROJECT NO.15
honolulu zoo Wine HAUS
VIEW FROM PAKI AVENUE TOWARDS THE ALA WAI CANAL Rendering developmed by group member Ardison Garcia
198
The Wine Haus emerges after a tree-lined Paki Street. The snakelike and elongated design of the Wine Haus bellows its surroundings as the smaller scale of the winery building reflects the residential area, which is located on the east. In contrast, the western edge of Waikiki is a backdrop of high-rise hotels in which the vertical counterpart of the winery is an iconic vertical “green� tower that looks to create a new icon in the Honolulu skyline. The diagram on the right illustrates this concept
PROJECT NO.15
honolulu zoo Wine HAUS
AERIAL OVERVIEW OF DEVELOPMENT Rendering developmed by group member Ardison Garcia
200
The Wine Haus is located on the northwestern outskirts of the Honolulu Zoo and adjacent to the Ala Wai Canal (in blue). This rendering illustrates the Wine Haus with other buildings in the Waikiki backdrop
PROJECT NO.15
honolulu zoo Wine HAUS
202
Landscape Memory
Hawaii Law Enforcement Memorial foundation The Habitat
2011 eVolo skyscraper DESIGN competition
ARCHITECTURE
DESIGN Competition FALL 2010 | SPRING 2011
203
204
16 Landscape Memory
Hawaii Law Enforcement Memorial foundation
state Design competition Jong Woo Kim, Queenie Leung, Richard Rivera | FALL 2010
205
THE HAWAI‘I LAW ENFORCEMENT MEMORIAL FOUNDATION (HLEMF) COMPETITION In the United States, more than 19,000 law enforcement officers have lost their lives in the line of duty, and each one’s name is enshrined in the National Law Enforcement Officers Memorial in Washington, D.C. As of May 2011, 61 law enforcement officers have been killed in Hawai‘i. These 61 Hawai‘ibased officers who have made the ultimate sacrifice have no memorial. There is no place for these men and women to be honored, no place for history to record their passing. The Hawai‘i Law Enforcement Memorial Foundation design competition was initiated due to the effort to create a home for the local fallen heroes Hawai‘i is the only state in the United States that does not have a law enforcement memorial to pay tribute to her fallen sons and daughters. In November of 2009, several community members took the first steps to correct this void and began to make the memorial a reality
Landscape Memory
Hawaii Law Enforcement Memorial foundation
state Design competition Jong Woo Kim, Queenie Leung, Richard Rivera | FALL 2010
Phase I. A 24-hr design charrette at the University of Hawai‘i School of Architecture, that would result in five top design finalists
Phase II. Five groups are given less than two weeks to develop their original ideas. The author and his group are one of the five finalists
Part III. Three chosen finalists would present their designs at the 1st Annual Hawai‘i Law Enforcement Memorial Foundation’s Gala Benefit in Dec of 2010
The boundary of the triangle is made up of an informal and intersecting footpath that connects South Beretania Street with South King Street on the north and south sides while connecting Punchbowl Street and Alapai Street on the west and east sides. Located on state land, the site sits within the Capitol District, and is co-located with the Frank Fasi Municipal Building and other city, county and state offices. The approximate dimension of the memorial was not to exceed a 50’ x 50’ on-site border
207
Program The competition announcement contained little tangible requirements that included two flagpoles (U.S. and Hawai‘i) and the need for permanent lighting. In addition, the memorial design was required to have the following inscriptions: (1) “E haliʻa aloha mau kakou…” – We will always remember with aloha; (2) “In the line of Duty;” (3) the names of the fallen officers with room for additional names; and the words (4) Honor, Valor, Courage, and Dedication
Design Concept
Landscape Memory seeks to become a visual tribute to remember Hawai‘i-based law enforcement officers by imprinting the co-idea of a textured memorial and using Mother Nature’s essence to capture and perpetuate the dynamic passing of time 208
Landscape Memory
Law Enforcement Memorial
Site Isolated on the grassy expanse is a slim and linear rectangular extrusion that rises from the ground – a simple expression that becomes the memorial. Scattered across the grassy landscape are square objects that match the dimensions of the voids from the nearby wall sculpture. The embedded pieces of wall are densely placed near the vertical extrusion and begin to disperse outwards in a more sporadic manner. No new pathways are incorporated into the design other than the existing trails that border the triangular site. However, the square pieces that now texture the grassy terrain are to imply an indirect means for individuals to approach the memorial wall.
210
From a bird’s eyeview, the composition can be perceived as police officers coming together to create one strong central force. Hence, the embedded fragmented stones in the grassy triangular expanse are to encourage and allure visitors towards the memorial wall
Landscape Memory
Law Enforcement Memorial
Memorial Architecture Throughout the day, the play of sunlight against the perforated memorial symbolizes change and the passing of time, which now becomes only a memory. The perforated block objects removed from the wall are scattered closely around the grassy memorial site so that at a specific time of day, the light and shadows created melodically by the interplay between sunlight and wall apertures will touch a specific block on the ground. Additionally, the scattered stone fragments help to forge a connection and a delicate balance between the isolated memorial wall and the adjacent structures
212
The tangible remnants of the voids are to be split in two halves: Onehalf would be scattered around the memorial as a landscape element; the second half of that piece will be given to the family of the fallen law enforcement officer, who then can use the object to use for their own personal memorial As family members may not live in Hawai‘i or may not have the opportunity to visit the memorial as often as they wish, having a piece of the wall encourages the family to maintain a meaningful and personal memory outside the main memorial site on State Capitol grounds
Landscape Memory
Law Enforcement Memorial
The concept of Landscape Memory is realized with a simple and elongated vertical wall that stretches across 50’ of the site and is textured by 10” x 10” voids to memorialize the absence of those who have fallen in the line of duty. The apertures fragment the solid wall and become “windows” that frame pieces of the surrounding undulating landscape and built structures as one walks in alignment to the vertical plane. The voids are in rows of varying heights, allowing for different views and visitors of different heights to peek through them to see what is beyond
Landscape Memory
Law Enforcement Memorial
214
Reflection
In the case of Landscape Memory, the graphic illustrations depicting the idea of a pixilated and checkered landscape may have been an inappropriate design approach due to strong evocations to the sacred and tabooed place of a cemetary
Another element in Landscape Memory that is open to several interpretations is the perforated wall surface of the memorial wall and the painful association of bullet holes
As the design competition for a memorial is an example that may evoke sensitive and painful reflections, one also wonders why a reference to death and pain is not desirable when that is what those commemorated experienced
216
e
f
n
Landscape Memory
Law Enforcement Memorial
218
17 The Habitat
2011 eVolo skyscraper DESIGN competition
international Design competition SPRING 2011
219
THE EVOLO 2011 SKYSCRAPER COMPETITION Launched in 2006 by eVolo Magazine, the annual eVolo Skyscraper Competition is one of the world’s most prestigious awards for high-rise architecture. The competition recognizes outstanding ideas that look to redefine what we understand as a skyscraper through the initiation of novel technologies, new materials, programs, aesthetics, and spatial organizations along with studies on globalization, flexibility, adaptability, and the digital revolution. Taking into consideration these multilayered elements, the contest serves as a forum that examines the relationship between the skyscraper and the natural world, the community, and the city in hopes to generate and experiment with ideas that potentially modify and improve our way of life within a dynamic and adaptive vertical community
220
The Habitat
2011 eVolo skyscraper DESIGN competition
international Design competition Richard Rivera | SPRING 2011
Site The Habitat is placed in the dense urban fabric of New York City, a busy metropolitan characterized by tall buildings that rise vertically into the open sky. The Habitat sits above the New York City High Line Park, a once abandoned thirty foot freight line that has been rejuvenated into a hip and urban green promenade that zigzags through Manhattan’s Meatpacking and Chelsea Districts. This specific site was selected to maximize the working effort between the zoo and the park below, and to provide the large population surrounding the area with maximum natural benefits
High Line
221
Design Concept
skyscraper paradigm
Skyscraper Architecture
For many centuries, the wild habitats of animals have been and continue to be destroyed or fragmented for agricultural use and new city construction; animals in-turn search for new territory to roam or face extinction. When Mother Nature begins to reclaim her land, humans and animals are forced to live co-dependently and ecologically together in a vertical urban community
A characteristic of skyscrapers is its verticality towards the open city. However, as skyscrapers continuously get taller and taller, there becomes a disconnect to the ground plane. New York City’s High Line – once a bustling [now] abandoned piece of city infrastructure recently revamped into a new spirit – is an original approach to fashion an elevated green, forming some balance in a skyscraper dominated concrete jungle
An elongated snake-like form merges the water street landscape with the new zoo habitat itself – an ecological building containing essential programs for energy collection, recycling, and distribution. Functioning as a zoo, the concept behind the design is for the structure to take advantage of all energy it collects and produces. It then distributes that energy to power the city life around it
The Habitat trials with two typologies: zoo architecture and skyscraper. The design solution is a novel urban hub that provides the new dynamic city opportunities for eco-chic practices to fuel and improve the way humans and animals live
The zoo envelope is articulated to resemble a cocoon with a bird’s nest texture. The lower portion is densely expressed to support the weight of the animals from the branch-like columns. The mesh disperses where there is less tension.
LESS TENSION
MORE TENSION
Perforations created by branching to be utilized for ventilation and lighting.
Sketches exploring the idea of a “push-pull” building envelop.
The Habitat
eVolo skyscraper DESIGN
224
column
floor plate column
While the skin and bones of a building are composed of floor plates supported by columns, the prominent zoo-scraper structure redefines the expression of these basic components. A push-pull articulation transforms the traditionally tall and rigid skyscraper building into a horizontal structure with an organic and undulating form. This introduces The Habitat to the benefit of sustainable practices in a modern ecochic: the undulating building form encourages a chimney effect while the aperture skin of the building filters daylight and natural ventilation. Like the intricate infrastructure of train networks concealed beneath busy New York City, the zoo’s unique structural and dynamic building enclosure will conceal an intertwined grid of HVAC, multi-transport lifts, and waste recycling distribution systems between the street level, the urban park and the zoo-scraper
150 ft tall
Skin+ Bones
a traditional building While the skin and bones of a building are composed of floor plates supported by columns, the prominent zoo-scape structure redefines the expression of these basic components
push
pull
e
transformation
tree nest zoo
transport
sun + wind
water recycling
A push-pull articulation transforms the traditional box to correspond to the horizontal and vertical requirements of the animals housed within the structure
The zoo’s unique structural and dynamic building enclosure will conceal an intertwined grid of HVAC, multiuse transport lifts, and waste recycling distribution systems between the street level, the urban park and the zoo-scape
Visitors will be carried to the zoo-scape by elevators tucked inside the columns. Larger columns will accommodate for animal and service lifts
Daylight and wind percolates through the perforated facade. The dimples and cones will release heat using the chimney effect. Apertures open and close based on climate
Rain water will help irrigate plant life, via network of conduits interwoven within the structural skeleton
The Habitat
eVolo skyscraper DESIGN
a new ecoscraper The design of The Habitat not only towers over tree canopies of its parkscape, or blends itself with the backdrop of super tall buildings. Like a stroll along the High Line, The Habitat gives visitors a new atmosphere of viewing animals as well as the city from a different vantage point 150 feet above street traffic
A
B
C
D
short sections
at various aspects of the elevated zoo to illustrate the interior articulation. Sections can be referred back to the longitudinal section elevation diagram above.
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A
B
C
D
section elevation
of the elevated zoo at New York’s High Line.
eco-chic zoo the habitat
+150.0
high line
+30.0
street +0.0
E
The zoo-scraper’s principle green practice is the waste distribution (nutrient recycling) to the park landscape below the structure. The park’s vegetation will in turn become feed for the animals housed in the zoo
Oou! I think the baby elephant is pooping! Did you know poop is a good fertilizer for the plants on the High Line?
birds eye view
of a portion of the elevated zoo at New York’s High Line, with renderings of the structural enclosure.
elephant poop collection
th for dis anim trib al utio wa n ste
drinking water pool
the habitat
pa
+150.0
high line
Sketches exploring the idea of a “push-pull” building envelope.
+30.0
street +0.0
E
The Habitat
eVolo skyscraper DESIGN
Look dad! The giraffe is taller than the Empire State Building! Yes, it is! The zooscraper has an amazing view of our city!
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The Habitat
eVolo skyscraper DESIGN
Various perforation studies for designing the building envelopes
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Cut-out perforations
Mesh strands
Rainwater will help to irrigate plant life via a network of conduits interwoven within the structural skeleton. Daylight and wind percolates through the perforated faรงade. The dimples and cones of the building will release heat using the chimney effect. Apertures open and close based on climate conditions. The outer skin-like layers are photovoltaic and adjust to the energy needs of the area within and below to generate electricity for the zoo and the city
The Habitat
eVolo skyscraper DESIGN
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RODRIGUEZ STUDIO ARCHITECTURE
69 WEST 9TH STREET
KOHN PEDERSEN FOX ASSOCIATES
HARBIN BANK HEADQUARTERS
PROFESSIONAL STUDIO
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69 WEST 9TH STREET NYC RESIDENCE RODRIGUEZ STUDIO ARCHITECTURE 2012
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69 WEST 9TH STREET NYC RESIDENCE RODRIGUEZ STUDIO ARCHITECTURE 2012
This project involved combining three apartment units into a cohesive, modern three bedroom, three-bathroom home in Chelsea, New York. The goal was to merge two of the units to create a space that felt like it was always a single apartment while a shared wall between the third unit would allow privacy to the master bedroom. 236
10
ALIGN WITH OPPOSING COLUMN
BEDROOM 15
STUDY 2
6 6
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LIVING ROOM
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MASTER BEDROOM
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AREA OF NO WORK
4 7
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WALK-IN CLOSET 8
FOYER-A 11
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KITCHEN
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6 4
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8' - 6"
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5' - 9 5/16"
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CLOSET
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LAUNDRY
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FOYER-B 9
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2
P-4 HEADBOARD WITH HIDDEN STORAGE
1' - 8"
OPERABLE TOP
P-4 MATTRESS SIDING
REMOVABLE PANEL ON CLIPS
1' - 6"
W-4
P-4 MATTRESS PLATFORM WITH UNDER STORAGE
ELEVATION @ 4 SCALE: 1/2" = 1'-0"
A-905
P-1
P-15
5
ELEVATION @ BEDROOM NOOK FACING SOUTH SCALE: 1/2" = 1'-0" REF: 3 / A-100
F-17 4"
P-4 STORAGE DOOR OPENING IN HEADBOARD
0' - 5"
0' - 5"
6" 6"
P-4 EDGE
2"
10"
3' - 11"
F-17
3' - 11"
2"
1' - 2"
EXISTING COLUMN
1' - 4"
OPEN
SLIDING DOOR WITH GUIDE ON WALL BEYOND. SEE SCHEDULE
2' - 2"
5' - 8" 1' - 4"
LIGHT SWITCH
6"
P-4 MATTRESS SIDING P-4 MATTRESS PLATFORM WITH UNDER STORAGE
F-17
1' - 3"
P-4 SHELVING
P-4 HEADBOARD WITH HIDDEN STORAGE
F-17
0' - 5
6"
P-4 EDGE
7
2"
ELEVATION SCALE: 1/2
7"
2 A-911
1' - 0"
1' - 6" 2" GAP FOR AIR
4' - 3"
10" P-1
P-7 W-4
ELEVATION @ BEDROOM NOOK FACING SOUTH SCALE: 1/2" = 1'-0" REF: 3 / A-100
1' - 2"
1' - 3"
P-4 WALL MOUNTED SHELVING
EXISTING COLUMN
1
1' - 0"
11"
OPERABLE TOP
OPEN
4' - 10"
P-1 TRANSFORMER STORAGE BOX FOR KITCHEN CABLE LIGHTING
W-4 SLIDING DOOR
REMOVABLE PANEL ON CLIPS
238 8
A-200
GAP FOR AIR
ALIGN TOP OF COVER WITH WINDOW SILL
P-1
- 1"
4"2' - 1"
FACING BUILT-IN REF: 3 / A-100
5
W-4
2' - 7"
4' - 2"
P-12 SLIDING DOOR
3' - 0"2' - 7"
2
2' - 4"
5"
10"
1.5" DROPPED CEILING
P-7 2' - 8" 1 LIVINGA-905 ROOM
GR-1, SEE SCHEDULE
10"
910
W-3
1' - 3"
10"
2"
P-7
P-7
LIGHT SWITCH
1' - 0"
4" W-3
W-4
11"
1" 1' - 2" 1' - 4"
2' - 7"
W-3
F-17
P-1
1' - 4"
W-4 SLIDING DOOR
P-1
PS-1
10"
ALIGN TOP OF COVER WITH WINDOW SILL
3' - 11"
P-1
P-4
P-1
5' - 8"
4' - 2"
P-4
1' - 3"
5"
P-4 WALL MOUNTED SHELVING
P-12 SLIDING DOOR
1' - 2"
6"
10"
P-1 TRANSFORMER STORAGE BOX FOR KITCHEN CABLE LIGHTING
2' - 4"
1.5" DROPPED CEILING
4' - 10"
6"
A-910
A-200
4"
1' - 0"
A-910
2' - 7"
1 A-905
1' - 4"
P-3
3
F-8
3
W-4
A-910
P-1
2
2' - 7"
1
W-5 EDGE W-5 MATTRESS PLATFORM EDGE
7
ELEVATION @ BEDROOM NOOK FACING EAST SCALE: 1/2" = 1'-0" REF: 3 / A-100
Our redesigned layout works with the apartment’s shape by placing the more private spaces on the perimeter. Grouping the more public areas into the center allowed for an open plan entertainment area.
239
240 8
2
1.5" DROPPED CEILING
5"
F-8
P-12 SLIDING DOOR
P-4
A-200
P-4 WALL MOUNTED P-1 SHELVING
P-9
1.5" DROPPED CEILING
1 A-910
4' - 10"
SLIDING DOORS. SEE SECTION DETAIL @ 2/A-903
P-10 P-1
W-3
P-7 2' - 8"
GR-1, SEE SCHEDULE
W-4
3' - 0"
ELEVATION @ LIVING ROOM FACING BUILT-IN 4 SCALE: 1/2" = 1'-0" REF: 3 / A-100
2' - 1"
GAP FOR AIR
1' - 2"
P-1
1' - 3"
EXISTING COLUMN
3' - 11"
6" P-4
ELEVATION @ BEDROOM NOOK FACING SOUTH P-7 SCALE: 1/2" = 1'-0" REF: 3 / A-100
1' - 0"
P-4
P-4 EDGE
F-17
0' - 5"
6"
2"
6"
PS-1
5
The design incorporates a variety of wood and stone materials and textures, bold lines, and vibrant colors to create a clean, dynamic living space. 7 1' - 4"
P-4
1' - 0"
1' - 4"
OPEN
2' - 4"
LIGHT SWITCH
W-12
2' - 7"
1' - 2"
2"
P-7
P-4 MATTRESS SIDING P-4 ADJUSTABLE P-4 MATTRESS SHELVES PLATFORM WITH UNDER STORAGE
P-1
2' - 7"
W-4
1' - 6"
REMOVABLE PANEL ON CLIPS
PS-1
1' - 2"
OPERABLE TOP
P-4 HEADBOARD WITH HIDDEN STORAGE
P-9
F-17
1' - 0"
1' - 8" 4"
W-3
W-4
11"
1" 1' - 2"
W-3
P-10 W-4 SLIDING DOOR
5' - 8"
1' - 2" P-4
P-1
1' - 4"
2' - 7"
ALIGN TOP OF COVER WITH WINDOW SILL
2' - 4"
P-1
PS-1
P-7
A-905
A-200
4"
P-4
4' - 2"
P-4
PAINTED METAL ANGLE DOOR STOP
2
10"
3
A-905 P-1 TRANSFORMER STORAGE BOX FOR KITCHEN CABLE LIGHTING
2
1' - 3"
A-910
2' - 7"
1 A-905
10"
A-910
10"
P-3
3
10"
A-910
P-1
2
1' - 4"
1
ELEVATION @ SCALE: 1/2" = 1
ELEVATION @ LIVING ROOM FACING DESK 6 SCALE: 1/2" = 1'-0"R EF: 3 / A-100
241
F-4
F-4
11C CEILING EL. 8' - 0"
W-3
P-1
2
S-1
4
3
1
A-908
A-908
A-908
W-3
AP-2 H
H
A-908 2"
J
H
AP-4
2"
PULL-OUT CABINET
W-3 ?
W-3 1/4" REVEAL
11TH FLOOR EL. 0' - 0"
7
ELEVATION @ KITCHEN - SOUTH SCALE: 1/2" = 1'-0" REF: 3 / A-100 3
2
A-906
3
A-906
2
1
A-907
A-907
3
1
A-907
A-906
69 W 9 ST, APT. 11 C, D & E
F-4
2 1/2"
F-4
2 1/2"
F-4
OWNER
ISAAC SILVERGLATE AND ANNETTE MORALES 69 WEST 9TH ST, APT 11 C, D & E NEW YORK, NY 10011
ARCHITECT
RODRIGUEZ STUDIO ARCHITECTURE P.C. 139 FULTON STREET, PH-3 NEW YORK, NY 10038 212-217-1535 www.rodriguezstudio.com
ISSUE IN PROGRESS
DATE 07/06/2012
CONSTRUCTION
07/27/2012
ELEVATION @ KITCHEN - WEST SCALE: 1/2" = 1'-0" REF: 3 / A-100
2 A-908
1' - 3"
2' - 1"
3' - 4"
2' - 10 5/8" F-4
2' - 6 1/4" F-4
2' - 2 1/4" F-4
3/4"
3' - 1" F-4
1' - 5"
1' - 1"
1' - 1"
F-4 A
P-4, FOYER CEILING
D
C B
T-4
1' - 6"
PL-6
T-4
8' - 0"
E
W-4
S-1
W-3 PL-6 S-1
1"
AP-4 S-1
F
3' - 6"
SLIDING DOOR
AP-1
G
11TH FLOOR EL. 0' - 0"
6
6 A-913 4' - 2" 6"
1' - 1"
4' - 3"
ELEVATION @ KITCHEN - NORTH SCALE: 1/2" = 1'-0" REF: 3 / A-100
5 A-913
1' - 1" 4' - 10"
6"
2' - 6"
2 EXISTING GRILLE TO BE REPLACED. SEE SCHEDULE
ELEVATION @ KITCHEN - EAST SCALE: 1/2" = 1'-0" REF: 3 / A-100 SEAL & SIGNATURE
1' - 10"
2' - 6"
2" 2"
P-2
6"
4 A-913
2' - 0"
1' - 1"
11C CEILING EL. 8' - 0" P-2
TILE EDGE TRIM. SEE SCHEDULE
BA-9
PL-3 BA-9
P-6
PL-3
G-1
BA-9 SHOWER ROD
P-6
G-1 T-2
3' - 1"
2' - 7"
T-2
T-2
BA-1
P-6
PROJECT
69 W 9TH
T-2
69 W 9 ST, APT. 11 C, D & E
7/29/2012 12:03:32 AM
8
ELEVATION @ BATHROOM - SOUTH SCALE: 1/2" = 1'-0" REF: 3 / A-100
EXISTING BATHTUB TO REMAIN TO BE REGLAZED
EXISTING BATHTUB TO REMAIN TO BE REGLAZED
3' - 6"
2' - 11"
3' - 0"
4' - 0"
1' - 0"
EXISTING BATHTUB TO REMAIN
11TH FLOOR ELEVATIONS @ KITCHEN + BATHROOM
PL-1
PL-3 3' - 4"
3' - 10"
3' - 6"
3' - 4"
PL-5
BA-8
242
PL-3
PL-5
3' - 0"
PL-1
6' - 5"
6"
BA-1
EXISTING HAMPER WITH NEW DOOR (T-2)
T-2 11TH FLOOR EL. 0' - 0"
5
ELEVATION @ BATHROOM - NORTH SCALE: 1/2" = 1'-0" REF: 3 / A-100
4
ELEVATION @ BATHROOM -WEST SCALE: 1/2" = 1'-0" REF: 3 / A-100
1
ELEVATION @ BATHROOM - EAST SCALE: 1/2" = 1'-0" REF: 3 / A-100
DATE CREATED: 06/12/12 PROJECT No: 82 DRAWING BY: RODRIGUEZ STUDIO CHK BY: CR DWG No:
A-300
BALDWIN 5025 IDM HAMPER DOOR CAD FILE No: copyright rodriguez studio 2012
69 W 9TH
82
69 W 9 ST, APT. 11 C, D & E
1' - 5" 2' - 0"
ARCHITECT
RODRIGUEZ STUDIO ARCHITECTURE P.C. 139 FULTON STREET, PH-3 NEW YORK, NY 10038 212-217-1535 www.rodriguezstudio.com
ISSUE IN PROGRESS
DATE 07/06/2012
CONSTRUCTION
07/27/2012
AP-3 MICROWAVE. SEE SCHEDULE
1/4" MAX.
2"
5 A-907
1' - 3"
3/4"
DETAIL @ KICTHEN CABINET DOOR HEAD SCALE: 3" = 1'-0" REF: 3 / A-907
3/4" FINISHED WOOD OPEN SHELVES, W-4
ISAAC SILVERGLATE AND ANNETTE MORALES 69 WEST 9TH ST, APT 11 C, D & E NEW YORK, NY 10011
3/4" FINISHED WOOD CABINET PANEL, W-3
G-3 FROSTED GLASS, SEE ELEVATION 6/A-300
1' - 3"
P-4 TRIM PIECE ALL AROUND
NEW OUTLET
G-3 FROSTED GLASS
6 A-907
M-1 FRAME
1' - 3"
4
ADJUSTIBLE SHELVES WITHIN OF PREFINISHED MAPLE INTERIOR. SEE SCHEDULE
3"
WOOD BLOCKING (1" x 3/8") TO BE PAINTED BLACK, TYP.
2' - 0"
3/8" 7/8" G-3, 1/8" GLASS PANEL TO BE INSERTED INTO METAL FRAME
W-4
WOOD BLOCKING (1" x 1/2") TO BE PAINTED BLACK, TYP.
P-4 ADJUSTIBLE SHELVES WITHIN OF PREFINISHED MAPLE. SEE SCHEDULE
M-1 FRAME
TYP.
3/8"
4 A-907 WOOD BLOCKING (1" x 3/8") TO BE PAINTED BLACK, TYP.
1"
3/8"
7 A-913
OWNER
F-12 LIGHT FIXTURE AS SCHEDULED
W-3 WOOD FINISH P-4 MAPLE PLYWOOD
T-4
P-4 MICROWAVE TRIM
AP-4. SEE SCHEDULE
AP-3 MICROWAVE. SEE SCHEDULE
INTEGRATED DISHWASHER SALVAGED FROM APT. 11D TO BE REUSED, AP-1
1' - 3"
DETAIL @ KICTHEN CABINET DOOR SILL SCALE: 3" = 1'-0" REF: 3 / A-907
ICE MAKER LINE 5' - 10"
1" MAX.
4' - 2"
AP-3 MICROWAVE. SEE SCHEDULE
P-4 MICROWAVE TRIM
SEAL & SIGNATURE
NEW DEDICATED OUTLET FOR AP-4 TO BE LOCATED AT RIGHT BOTTOM REAR OF REFRIGERATOR
DETAIL @ MICROWAVE SCALE: 3" = 1'-0" REF: 3 / A-907
EXISTING FLOORING TO BE REFINISHED THROUGHOUT APT. 11E
P-7
2"
4"
W-1 NEW WOOD FLOORING PER SCHEDULE
1' - 5"
6
AP-1 F-12 LIGHT FIXTURE. SEE SCHEDULE
P-7
W-1 NEW WOOD FLOORING PER SCHEDULE. SEE DEATIL 2/A-901
W-1 NEW WOOD FLOORING PER SCHEDULE
2"
3/4" FINISHED WOOD CABINET, W-3
1' - 3"
DISHWASHER
WOOD BLOCKING
PROJECT
69 W 9TH 69 W 9 ST, APT. 11 C, D & E 2"
5
AP-4
S-1
11TH FLOOR SECTION DETAILS @ KITCHEN
7/29/2012 12:03:46 AM
3
SECTION DETAIL @ MICROWAVE CABINET + DISHWASHER SCALE: 1 1/2" = 1'-0" REF: 1 / A-110
2
SECTION DETAIL @ REFRIGERATOR SCALE: 1 1/2" = 1'-0" REF: 1 / A-110
1
SECTION DETAIL @ KITCHEN SHELVES SCALE: 1 1/2" = 1'-0" REF: 1 / A-110
DATE CREATED: 07/05/12 PROJECT No: 82 DRAWING BY: RODRIGUEZ STUDIO CHK BY: CR DWG No:
A-907 CAD FILE No: copyright rodriguez studio 2012
69 W 9TH
82
243
244
HARBIN BANK HEADQUARTERS KOHN PEDERSEN FOX ASSOCIATES 2010
245
The design of the new 80,000 sq. m. Harbin Bank Headquarters consists of four separate buildings to house a specific function: offices for the bank headquarters, a bank operations hall, a guesthouse, and a health club
HARBIN BANK HEADQUARTERS KOHN PEDERSEN FOX ASSOCIATES 2010
246
247
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249
250
251
252
253
254
255
256
ART 113 SELECTED WORKS JAPAN ARCHITECTOUR SKETCHES EUROPEAN ARCHITECTOUR SKETCHES POSTER DESIGN LAYOUTS GREAT HAWAIIAN SANDCASTLE ESQUISSE MISCELLANEOUS
ASSORTED WORKS FALL 2003 | PRESENT DOCTOR OF ARCHITECTURE RESEARCH POSTER RESUME + BUSINESS CARD 257
Art 113 Selected Works SPRING 2004 Art 113 | Section 001 Pia Stern
INTRODUCTION TO DRAWING My self-portraits in charcoal and black ink, 24” x 18”
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259
Art 113 Selected Works SPRING 2004 Art 113 | Section 001 Pia Stern
INTRODUCTION TO DRAWING Quick portrait exercise in charcoal, 24” x 18”
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261
262
Japan ArchitecTour Sketches SUMMER 2006
Architecture 369 | Section 001 Marja “Magi” Savimaki
STUDY ABROAD: ARCHITECTURE STUDY TOUR A five week summer intensive study tour in Japan showcasing the Masterpieces of Japanese Architecture.
Japan ArchitecTour Sketches
B
SUMMER 2006
Architecture 369 | Section 001 Marja “Magi” Savimaki
STUDY ABROAD: ARCHITECTURE STUDY TOUR A. Kurashiki Folkcraft Museum B. Toranoko Watashi Garden at Nanzenji Temple C. Tofukuji Temple D. Byodo-In Temple Pheonix Hall
C
E. Nijo-jo Castle Gate F. Kawai Kanjiro’s House and his stool furniture designs G. Dragon Steps of Heian-Jingu H. Kinkakuji (Silver) Temple
A 264
G D F
E
H
L
Japan ArchitecTour Sketches SUMMER 2006
Architecture 369 | Section 001 Marja “Magi” Savimaki
STUDY ABROAD: ARCHITECTURE STUDY TOUR
J
I. Awaji Yumebutai International
K
Conference Center Garden J. Kyoto Concert Hall K. Miho Museum interior details L. Shin Umeda City M. 4 x 4 House with Akashi Kaikyo Bridge in the background N. Times I & II O. National Museum of Modern Art in Kyoto, front facade and lobby P. Hyogo Prefectural Art Museum
I
M
O
P
N
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268
European ArchitecTour Sketches SUMMER 2008
Architecture 569 | Section 001 Leighton Liu
STUDY ABROAD: ARCHITECTURE STUDY TOUR A five week summer intensive study tour throughout Western Europe: Spain, France, Italy, Austria, Czech Republic, Germany, Denmark and the United Kingdom, with an additional extension to Finland and Sweden.
European ArchitecTour Sketches SUMMER 2008
Architecture 569 | Section 001 Leighton Liu
A
IN SPAIN
E
A. Caixa Forum-Madrid B. Sondika Airport C. Puerta de Europa D. Plaza Mayor E. Museo Thyssen Bornemisza F. German (Barcelona) Pavilion G. Casa MilĂ (La Pedrera)
C
D
B EC
G F
271
European ArchitecTour Sketches SUMMER 2008
Architecture 569 | Section 001 Leighton Liu
IN FRANCE H. Foundation Maeght Gallery with section diagrams I. Pont du Gard J. Unite D’Habitation piloti diagrams and texture
272
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I
J
273
European ArchitecTour Sketches SUMMER 2008
Architecture 569 | Section 001 Leighton Liu
IN ITALY Q
K. Detail at San Lorenzo and Medici Chapels L. Basilica di Sant’ Apollinare
L
M. Floor mosaic of San Vitale N. Battistero (Baptistry) O. Duomo (Cathedral) P. Torre Pendente (Campanile) (Leaning Tower of Pisa)
M
Q. Church of the Redeemer R. Church of the Autostrada
K N
P O
R
275
European ArchitecTour Sketches SUMMER 2008
Architecture 569 | Section 001 Leighton Liu
S
IN AUSTRIA AND GERMANY S. Reichstag T. Retti Candle Shop U. Jewelry Store Deutsch (formerly Schullin I) V. A.E.G. Turbine Factory W. Saedden Kirke X. Philological Library Y. Berlin Wall Graffiti Z. Einstein Tower 0. Dutch Embassy in Berlin
T
U V
Y
0 W
X
Z
277
European ArchitecTour Sketches
1
SUMMER 2008
Architecture 569 | Section 001 Leighton Liu
IN CZECH REPUBLIC 1. Zlaty Andel Building (Golden Angel of Smichov Office Tower) 2. Buildings of Hradcany, Prague City Tour 3. ING Netherlands Bank Building (“Ginger and Fred”) with structural diagrams
278
126
3
2
279
European ArchitecTour Sketches SUMMER 2008
4
Architecture 569 | Section 001 Leighton Liu
IN DENMARK 4. Paustian Mobelhus (Furniture Showroom) 5. Black Diamond (Royal Library) structural member detail
5
6. Grundtvigskirken (Church and Housing Complex) 7. Bagsvaerd Kirke – roof parti diagram and exterior elevation
6 280
7
281
European ArchitecTour Sketches SUMMER 2008
Architecture 569 | Section 001 Leighton Liu
IN FINLAND 8. Main University Building, Otaniemi Technical University 9. Otaniemi University Chapel
8
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9
283
An Arkitektural Identity
One example of a typical traditional house found in most lowlands is the bahay kubo (nipa hut), described as “less of a building and more of a basket.” Assembled primarily by weaving and fitting together bamboo and thatch, the roof is constructed separately and later fitted on top like a basket lid. The bamboo floor and walls of the bahay kubo make for pleasant ventilation flowing in and out of the crevices. This wooden example of a house that “breathes” would inspire the development of the bahay na bato “stone house” townhouses during the Spanish Period.
overlays of foreign influences left in the Philippines
of earlier Hindu
2.
than 300 years of
The Bahay Kubo
The bahay-kubo (nipa hut) (above) is a typical traditional house found in most lowlands all over 4-5. the Philippines. The bahay kubo is also referred to as the “farmer’s hut” [Klassen, 261].
2.
influences, the more
Bauko House
In contrast to the bahay kubo of the lowlands are the mountain huts. Described as “nothing more than a pyramid resting on four posts,” the Ifugao house is one of the sturdiest dwellings constructed by early Filipinos. Comprised of a single multipurpose room, the interior space is a windowless void enclosed by slanting walls and an inclined roof frame hidden with thatches of grass, straw and reed. The four-post-two-girderthree-wooden-joist structure is assembled by a method of rabbetting, lashing and by mortise and tenon joints. Variations of the Ifugao house prototype include the Bokod house, the Bontoc house, the Sagada house, the Kalingga house and the Isneg house, each slightly differing in roof design and wall thickness to insulate against mountain climate [Perez 7-9].
Philippine Cordilleras
Local huts perched alongside the famous rice terraces, known as the Philippine Cordilleras, near Banaue.
1.
The Ifugao House
Muslim Influence
Variations of the Ifugao House Prototype to Other Filipino Mountain Dwellings
Islam was established in the southern coastal archipelago regions of Sulu and Mindanao in the 14th and 15th centuries. Among the many Muslim Filipino groups are the Tausog of Sulu. As seafaring people, they uncharacteristically erected their homes away from the shore and considered a site lucky if the location gently sloped in the westward direction towards Mecca. A distinctive element of the house is an elaborately carved wooden finial called tajuk pasung placed at one or both ends of the roof ridge.
[Klassen, 254].
Spanish domination, the almost 50 years of American rule, the Arab and Chinese influences
4-5. Roof Gable Decoration of the Tausug House The manuk-manuk tajuk pasung (right top) style of roof decor is also known as sari manok (bird). A naga tajuk pasung (right bottom) style is known as the “dragon style.” Both types can be found in houses in Kabbun, Maas, Indanan, Sulu [Klassen, 270].
6.
San Agustin Church
As the first church in Luzon to be built, it was con structed from bamboo, nipa and wood, making it prone to fire and earthquakes. It was rebuilt in stone in 1865 and became the first earthquake-proof building on Philippine soil. The San Agustin Church (bottom) facade is both Renaissance and Mexican inspired [Invernizzi, 100].
6.
and trade over the centuries. What resulted may have
Among the first noteworthy Filipino architects who rose to prominence in the 19th century was Felix Roxas Sr. (active 1840-1866). Noted for his affection towards Revivalist architecture, Roxas Sr. was educated in Europe and spent a part of his young architectural career in India and England. Among his many projects are the neo-Gothic Santo Domingo and the second neo-Classic San Ignacio Church in Intramuros [Perez 28-29].
been a hybrid, [an architectural melt-
Modern Filipino
ing pot], a totally
which may include a remembrance of the past, but transformed or framed in terms of its significance today.” Leandro Locsin
284
Architect
7.
Spanish Colonial Period
Spanish influence over the Philippines began in the 16th century with the capture of Manila in 1571. The arrival of the Spaniards introduced Christianity and Antillian architecture from Central America. With the spread of Christianity throughout the islands, friar-architects were hired to design Philippine colonial churches. Early religious structures were constructed from wood and bamboo, which became vulnerable to fire and earthquakes. The discovery of volcanic tuff quarries in San Pedro, Makati in the 1580s, allowed for the erection of more monumental stone structures. Though many of the projects constructed during the Spanish colonial period were the result of European influence, Filipino master-builders incorporated their native touch into the stone with ornamental motifs that included tropical flowers, fruits and animals.
through commerce
new configuration
Bontoc House
Sagada House
Where the low-land bahay kubo is ventilated on all sides, the Ifugao house (top right) typifies a more insulated dwelling [Klassen, 252].
3.
Banaue House
|
the early Malay culture and vestiges
Bokod House
7.
Ornamental Details
Motifs that include tropical plants and animals were often carved into the stone or wood that was used to make furniture, doors and walls. True to traditional Filipino homes, homeowners would comb the provinces sourcing old decorative details (far right) to incorporate within their simple lifestyle [Invernizzi, 133].
8.
The Urban Past
Some corners of provincial towns (right) look just as they did in the past. But such scenes are fast disappearing under the wrecker’s ball. The typical traditional townhouse had stone in the ground floor and wood with shell windows in the second floor. Because the upper level seems to fly past the sec- ond floor, the extended area, a covered balcony, is called the volanda [Invernizzi, 53].
9.
Mesa Altar Table
This furniture was generally used as a family altar, however it was used for storing silverware and linen. Characteristics of the mesa altar are drawers beneath the table top and the stretchers that rein force the legs [Invernizzi, 223].
10.
Silya Chair
Bamboo chairs with woven backs and seats are common in China. This Silya chair (far right corner) of uncertain provenance may have been copied from Chinese models [Invernizzi, 228].
8.
The 300 years of Spanish domination became shattered with the Philippine Revolution of 1887. This declaration of independence from Spain led the United States to occupy the Philippines in 1898 to help rebuild the economic, social and cultural status of the country. Young aspiring Filipino architects were given the opportunity to become educated in American institutions influenced under the Beaux Arts School of Paris. Among the first generation of architects who studied overseas and returned home to play a crucial role in the urban planning and design of Manila, was architect and painter Juan Arellano (1888-1960). Due to loyalty to tradition and disciplined classicism, Arellano’s design for the Metropolitan Theater incorporated art deco motifs, stylized interpretation of native plants and a variety of color and texture [Perez 29-31]. Although Filipino architecture can be traced back to foreign influences, the Filipino home perpetuates a nostalgic memory of the past and bears traces of the once ancestral lifestyle. In an approach that romanticizes the charmingly rustic, folksy or unsophisticated idea, homeowners have intuitively learned how to recycle traditional ideas of old within a contemporary space from discarded treasures that they are able to stumble upon. What enthusiasts sometimes label as “jeepney-design” or Bahala-na (leave it to fate), old decorative pieces such as hardwood lumber are rescued from old houses and are re-crafted or sometimes force-fit to become new flooring, walls, furniture, doors, windows and roofs. Interiors are adorned with a blend of textures, shapes, lines and colors that blur compositional foregrounds into backgrounds, while antique furnishings become accents into a new or very old house. The result is a pleasing, hand-hewn house that makes light of the traditional bahay. The heritage of the past enriches the charm of the present, exemplifying that “the best design is timeless” [Invernizzi 127].
Perez, Rodrigo D. Arkitektura: An Essay on Philippine Architecture. Philippines: Cultural Center of the Philippines, 1989.
thing…it is a residue of the different
0.
3.
Early Filipinos most likely found shelter in hollowed out cliffs and mountainsides where traces of their way of life are evident through illustrations of human figures, frogs and lizards. The Ilonggot in northern Luzon and the Tiruray in Mindanao interestingly took sanctuary in tree houses to protect themselves from floods, wild animals and enemies. Nomadic fishing and hunting groups constructed a light and portable free standing structure known as a lean-to shelter to benefit their traveling lifestyle. With the development of Swidden-farming (kaingin) and wet-rice agriculture, people began to settle down in one location [Perez 5-6].
1.
tecture is an elusive
Noche, Manuel D.C. (Architect). “History of Philippine Architecture.” About Culture and Arts. 2002. National Commission for Culture and the Arts (NCAA). 20 Mar 2006 <http://www.ncca.gov.ph/about_cultarts/comarticles.php?artcl_Id=110>.
Layout & Design, 30” x 40”
Prototypes
“Philippine archi-
over the centuries:
Philippine Architecture Poster
MINDANAO
|
ADVANCED GRAPHIC DESIGN AND TYPOGRAPHY
Philippines:
VISAYAS
Klassen, Winand W. Architecture in the Philippines: Filipino Building in a Cross- Cultural Context. Cebu City: University of San Carlos, 1986.
Architecture 405 | Section 001 Leighton Liu
0.
|
SPRING 2006
LUZON
“Appear[ing] to be a mountain range that is half submerged,” the Republic of the Philippines is a country in Southeast Asia composed of 7,000 islands of fragmented territory and rugged terrain. With an area of 300,000 sq. km., the country’s extensive coastline is surrounded by three seas: the Philippine Sea in the east, the South China Sea in the west and the Celebes Sea in the south. Its southernmost islands are located about four degrees from the equator; its northern and central islands are in the path of typhoons, resulting in fairly extreme tropical heat, humidity and rain. Natural disasters that threaten the people include drought, flooding, high winds and earthquakes. As the climate dictates the need for shelter, the land provides the materials for it: wood from the forests, bamboo from groves, nipa and grass from the fields, stone from quarries and coastal reefs and clay from the earth itself.
9-10.
Poster Design by Richard G. Rivera • ARCH 405 Work Cited | Invernizzi, Luca. Filipino Style. Singapore: Editions Didier Millet, 1997.
Poster Design Layout
Topography
Topography
LUZON
“Appear[ing] to be a mountain range that is half submerged,” the Republic of the Philippines is a country in Southeast Asia composed of 7,000 islands of fragmented territory and rugged terrain. With an area of 300,000 sq. km., the country’s extensive coastline is surrounded by three seas: the Philippine Sea in the east, the South China Sea in the west and the Celebes Sea in the south. Its southernmost islands are located about four degrees from the equator; its northern and central islands are in the path of typhoons, resulting in fairly extreme tropical heat, humidity and rain. Natural disasters that threaten the people include drought, flooding, high winds and earthquakes. As the climate dictates the need for shelter, the land provides the materials for it: wood from the forests, bamboo from groves, nipa and grass from the fields, stone from quarries and coastal reefs and clay from the earth itself.
Philippines: 0.
VISAYAS
MINDANAO
An Arkitektural Identity
Early Filipinos most likely found shelter in hollowed out cliffs and mountainsides where traces of their way of life are evident through illustrations of human figures, frogs and lizards. The Ilonggot in northern Luzon and the Tiruray in Mindanao interestingly took sanctuary in tree houses to protect themselves from floods, wild animals and enemies. Nomadic fishing and hunting groups constructed a light and portable free standing structure known as a lean-to shelter to benefit their traveling lifestyle. With the development of Swidden-farming (kaingin) and wet-rice agriculture, people began to settle down in one location [Perez 5-6].
thing…it is a residue of the different overlays of foreign influences left in the Philippines over the centuries: the early Malay culture and vestiges of earlier Hindu influences, the more than 300 years of
2.
Philippine Cordilleras
1.
The Bahay Kubo
2.
The Ifugao House
In contrast to the bahay kubo of the lowlands are the mountain huts. Described as “nothing more than a pyramid resting on four posts,” the Ifugao house is one of the sturdiest dwellings constructed by early Filipinos. Comprised of a single multipurpose room, the interior space is a windowless void enclosed by slanting walls and an inclined roof frame hidden with thatches of grass, straw and reed. The four-post-two-girderthree-wooden-joist structure is assembled by a method of rabbetting, lashing and by mortise and tenon joints. Variations of the Ifugao house prototype include the Bokod house, the Bontoc house, the Sagada house, the Kalingga house and the Isneg house, each slightly differing in roof design and wall thickness to insulate against mountain climate [Perez 7-9].
3.
Variations of the Ifugao House Prototype to Other Filipino Mountain Dwellings
Muslim Influence
Local huts perched alongside the famous rice terraces, known as the Philippine Cordilleras, near Banaue.
The bahay-kubo (nipa hut) (above) is a typical traditional house found in most lowlands all over 4-5. the Philippines. The bahay kubo is also referred to as the “farmer’s hut” [Klassen, 261].
Where the low-land bahay kubo is ventilated on all sides, the Ifugao house (top right) typifies a more insulated dwelling [Klassen, 252].
tion, the almost 50 years of American
4-5. Roof Gable Decoration of the Tausug House
The manuk-manuk tajuk pasung (right top) style of roof decor is also known as sari manok (bird). A naga tajuk pasung (right bottom) style is known as the “dragon style.” Both types can be found in houses in Kabbun, Maas, Indanan, Sulu [Klassen, 270].
Banaue House
Bauko House
0.
[Klassen, 254].
Spanish domina-
One example of a typical traditional house found in most lowlands is the bahay kubo (nipa hut), described as “less of a building and more of a basket.” Assembled primarily by weaving and fitting together bamboo and thatch, the roof is constructed separately and later fitted on top like a basket lid. The bamboo floor and walls of the bahay kubo make for pleasant ventilation flowing in and out of the crevices. This wooden example of a house that “breathes” would inspire the development of the bahay na bato “stone house” townhouses during the Spanish Period.
Bokod House
Bontoc House
Sagada House
Islam was established in the southern coastal archipelago regions of Sulu and Mindanao in the 14th and 15th centuries. Among the many Muslim Filipino groups are the Tausog of Sulu. As seafaring people, they uncharacteristically erected their homes away from the shore and considered a site lucky if the location gently sloped in the westward direction towards Mecca. A distinctive element of the house is an elaborately carved wooden finial called tajuk pasung placed at one or both ends of the roof ridge.
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tecture is an elusive
3.
Perez, Rodrigo D. Arkitektura: An Essay on Philippine Architecture. Philippines: Cultural Center of the Philippines, 1989.
Prototypes
1.
7.
<http://www.ncca.gov.ph/about_cultarts/comarticles.php?artcl_Id=110>.
“Philippine archi-
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Pamphlet Cover SPRING 2007
KAYAW KEN PARABUR TI SAO Pamphlet cover design for a tri-series Ilokano poetry reading + writing workshop for Dr. Aurelio Agcaoili
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Poster Design Layout SPRING 2008
Architecture Teaching/Library Assistant, School of Architecture
POSTER FOR STUDENTS RECENT WORKS EXHIBIT 24” x 36”
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Poster Design Layout FALL 2011
ARCHITECTURE COMMENCEMENT ANNOUNCEMENT
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Poster Design Layout Architecture Teaching/Library Assistant, School of Architecture
POSTER FOR STUDENTS WORK EXHIBIT
http://flickr.com/photos/87704480@N00/192719734/
SPRING 2008
24” x 36”
DOCTORATE OF ARCHITECTURE PROJECT EXHIBITION
University of Hawai‘i at M– anoa
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School of Architecture
DOCTORATE OF ARCHITECTURE PROJECT EXHIBITION 293
http://flickr.com/photos/87704480@N00/192719734/
Poster Design Layout SPRING 2006
Architecture 405 | Section 001 Leighton Liu
AN ARCHITECTS ESSENCE 46” x 22”
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The Great Hawaiian Sandcastle Esquisse SPRING 2005
The American Institute of Architecture Students (AIAS), Hawaii Chapter
THEME: A HOUSE FOR YOUR HEAD Winner of the Best Team Spirit and Banner Award
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Doctor Of Architecture Research
“Competitions are
FALL 2011
STUDENT + DESIGN + COMPETITION: DECODING THE COMPETITION CULTURE
Maya Lin
1981
Vietnam Veteran’s Memorial Competition
Presentation poster, 72” x 24”
1,420 entries received. Maya won as a twenty-year-old Yale undergrad student who created her design as a course requirement
Architect Unknown
Filippo
ANCIENT GREEK (800 B.C. UNTIL THE 1ST CENTURY A.D.)
REN (15TH
448 B.C.
Acropolis War Memorial Competition Athens, Greece
The Dome Cathedral C Flo
STUDENT+DESIGN+COMPETIT ABSTRACT
It is believed that young or undiscovered designers bring fresher and innovative ideas to the table of architectural competitions. For many aspiring and unrecognized young talent, a design competition is an opportunity to win public contracts and recognition through good, innovative design.
PARAMETERS
(1) Define the topic, the anatomy, and history of the competition system. (2) Examine significances
of competitions from a 2,500+ year history. (3) Implementation of the competition culture into the design studio. (4) Case study analysis of the 2010 World Exposition Denmark Pavilion Competition. (5) Analysis of the author’s design competition folio. (6) Synthesis and recommendations for students who will undertake a design competition.
METHODOLOGY Literature on design competitions is plentiful, yet difficult to trace. A small abundance of existing books, periodicals, and online
literature is available about specific competitions, yet only a small wealth of information exists about the contest details. The interpretivehistorical research method was applied to chronologize the 2,500+ year history of design competitions.
Additionally, the author attended two competitions as part of the research. The goal is not to discuss his design aesthetics, but to overview the critical evaluation process that will lead up to the conclusion on recommendations for students undertaking competitions.
CONCLUSION
In the course of this research, numerous points of information were uncovered, all of which could be helpful recommendations for students wanting to compete. The purpose of these strategies is to guide the student designer to not only assure a good and useful design competition entry, but to inspire and motivate students to compete as the reputations of many internationally known architects were started and propelled by winning a competition.
Bjarke Ingles Group
“Infinite, embodied qualities await to be discovered and shared. We are on a journey to know and to be known.”
Henning Larsen Architects
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Lundgaar
battlegrounds of opposing ambitions and antagonistic solutions, giant architecture classrooms with invisible boundaries and, often, open enrollments.” Hélène Lipstadt.
o Brunelleschi
James Hoban
Sir Charles Barry
Henry H. Richardson
Gustave Eiffel
Otto Wagner
Alvar Aalto
Jørn Utzon
Robert Venturi, Rauch + Scott Brown
Renzo Piano + Norman Foster
Itsuko Hasegawa
Daniel Libeskind
Future Systems
NAISSANCE CENTURY)
NEOCLASSICISM (LATE 18TH – 19TH)
GOTHIC REVIVAL (LATE 18TH – 20TH CENTURY)
RICHARDSONIAN ROMANESQUE (EARLY 19TH CENTURY)
STRUCTURAL EXPRESSIONISM (LATE 19TH CENTURY)
SESESSION AUSTRIAN ART NOUVEAU (20TH CENTURY)
MODERNISM (20TH CENTURY)
EXPRESSIONISM (20TH CENTURY)
POSTMODERNISM (20TH CENTURY)
HIGH-TECH (TECHNOISM) (20TH CENTURY)
POST STRUCTURALISM (20TH CENTURY)
DECONSTRUCTIVISM (PRESENT)
BLOBITECTURE (PRESENT)
1419
1792
1835
1872
1889
1903
1927
1956
1985
1970 - 1971
1985 - 1986
1988
2007
of Florence Competition orence, Italy
The White House Competition Washington D.C., USA
Houses of Parliament Competition, London, UK
Trinity Church Competition Boston, Massachusetts
World ExhibitionCompetition Paris, France
Post Office Savings Bank Competition, Vienna, Austria
Municipal Library Viipuri Competition, Vyborg, Russia (part of Finland in 1927)
Opera House Competition Sydney, Australia
Sainsbury Wing, National Gallery Competition London, England
Centre Georges Pompidou Competition, Paris, France
Shonandai Cultural Centre Competition, Fujisawa, Japan
Jewish Museum Competition Berlin, Germany
James Corner + Scofidio + Renfro
SUSTAINABLE ADAPTIVE USE (PRESENT)
National Library Competition Czech Republic, Prague
2003 - 2004
Designing the High Line Competition, New York
TION: DECODING THE COMPETITION CULTURE RICHARD GAMIAO RIVERA
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ARCH 588
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FALL 2011
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SPENCER LEINEWEBER (CHAIRPERSON), MARJA SARVIMAEKI, MIREILLE TURIN
RESEARCH AND DESIGN SYNTHESIS =
RECOMMENDATIONS FOR STUDENTS WHO WILL UNDERTAKE COMPETITIONS
3XN
Arkitema
CEBRA
QJR
rd & Tranberg
Dissing + Weitling + Spektrum
KHR Architects + MAPT
RYSJNT
Richard Rivera
Atelier CMJN
TYPE OF COMPETITION
PROGRAM + CONDITIONS
DESIGN PROCESS
PRESENTATION
(1) An open competition or a closed competition format that is open to students only. (2) Select a competition subject that interests you, something you would like to explore more of, to challenge yourself with, or a topic you have expertise in. (3) Pay attention to the competition schedule. (4) Evaluate the juror backgrounds. (5) Do the prizes and awards make the competition enticing? **By taking time to evaluate these first 5 strategies, you can gain a sense of the competition’s potential popularity.
(1) Abide by the competition rules. (2) Digest all the design and program data at the outset, organize the information so it is easy-tounderstand. (3) Use the question and answer period of a competition to clear up any misunderstandings. (4) Create a work schedule based on the given competition timeline. (5) Not following the rules will equate in the disqualification of your entry. **Remember, the rules established by the client is to create a fair and sound competition procedure.
(1) Know the design problem. (2) Know the site. (3) Study previous competition winners; research prototype designs. (4) Use the BeauxArts esquisse technique to generate quick ideas. (5) Use block models to get a sense of space planning. (6) Develop a strong visionary concept. (7) In a team effort, ascertain skills and assign tasks for efficiency. (8) Partner with an academic advisor or a professional to curtail design technical issues, if necessary.
(1) Create mock-up presentation boards and print them out in the scale required. (2) A single eye-catching rendering can capture the interest of the client and jurors. (3) Use drawing techniques and computer software that is familiar. (4) Learning a new software can enhance your entry. (5) View digital presentations on numerous projectors room conditions. (6) Ask colleagues and professors to critique your design at various phases. (7) Take time to write a good report to supplement your graphic submission.
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OBJECTIVE
Resume
My ambition is to work in a dynamic design operation doing a variety of projects around the world
SKILLS 3D: Revit 2013, Rhinoceros, SketchUp Adobe CS5: Illustrator, InDesign, Photoshop Drafting: AutoCAD, free-hand drawing Microsoft Office: Word, PowerPoint, Excel Rendering: Revit, 3DS Max Workshop: Attention to detail and dexterity with various physical model-making processes Language: English + Ilokano
WORK EXPERIENCE
RR
Junior Architect | May 2012 – August 2012 Rodríguez Studio Architecture, New York - Design assist on a 1,400 s.f. three-unit apartment renvoation from SD to CD - Translate site surveys into Revit for producing deliverables, with a strong emphasis in computer generated modeling and visualization
RRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRR RICHARD RIVERA RRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRR FOLIO www.issuu.com/rchard
ADDRESS 27-15 Newtown Avenue, Apt. 3 Astoria, New York 11102
EMAIL riverari@hawaii.edu MOBILE 808.392.2131
Architect Intern | Apr. 2012 – May 2012 Archipelagos, New York - Design assist on the Klaksvik City Center (Faroe Islands) Urban Design Competition Architecture Library Assistant | Nov. 2006 – Aug. 2009, Oct. 2010 – Dec. 2011 University of Hawai‘i at Manoa School of Architecture, Hawai‘i - Systematized publications at the John and Maria Lynn Reading Room - Assembled exhibitions in the Haigo & Irene Shen Gallery - Monitored the Kenneth F. Brown Asia Pacific Culture & Architecture Design Awards Teaching Assistant | Jan. 2011 – May 2011 University of Hawai‘i at Manoa School of Architecture, Hawai‘i - Conducted design lectures + labs for SketchUp, AutoCAD, Rhino, Adobe CS5 - Assisted professor with grading and with critique of student work and progress
Architect Intern | Dec. 2009 – Aug. 2010 Kohn Pedersen Fox Associates, New York - Harbin Bank Headquarters in Harbin, China - SD to CD/Fang-An Design Phase - Design assist Project Architect on the Harbin Bank HQ facade treatment through 3D visualization and physical model - Physical model coordination with KPF Office Shanghai to ensure proper execution and deadlines of presentation deliverables to clients in China - Executed diagrams to visually display and document a complete project analysis - Tackled additional duties for the Methodist Hospital Research Institute in Houston, the Abu Dhabi Media Company HQ, the KPF Office Renovation, a pair of office towers in Suzhou Industrial Park, and the Hyundai Tower in Seoul Graphic Design + Marketing Intern | Nov. 2007 – Apr. 2009 Peter Vincent Architects, Hawai‘i - Redesigned Peter Vincent Architects marketing portfolio - Designed advertisements for print in local publications - Assisted Marketing Manager with the preparation of RFPs for residential projects
EDUCATION
Doctor of Architecture | Summer 2003 – Dec. 2011 University of Hawai‘i at Manoa School of Architecture (UHM-SoA)
Researcher | Jan. 2009 – Dec. 2011 University of Hawai‘i at Manoa School of Architecture, Hawai‘i - Doctor of Architecture Project, “Student + Design + Competition: Decoding the Competition Culture,” explored the history of the design competition system, analyzed historic + current contests, and synthesized recommendations for students who desire to undertake the process Practicum Studio | Fall 2009 | Kohn Pedersen Fox Associates, New York
Study Abroad | Summer | 2006 Japan, 2008 Western Europe, 2010 China BA in Project Management and Design | Spring 2008 University of Hawai‘i at Manoa (Graduated on the Dean’s List)
AWARDS / EXTRA-CURRICULAR
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- Certificate of Completion for Revit Architecture Essentials at Microsol Resources - Design portfolio is featured in “Portfolio Design” (4th Edition) by Harold Linton - Finalist for the Hawai‘i Law Enforcement Memorial Foundation Competition - Two projects published in the UHM-SoA “Student Work Journal: Volume One” - Awarded the School of Architecture Practicum Scholarship: Spring 2009 - Awarded the Sen Soshitsu Travel Scholarship: Summer 2006
OBJECTIVE My ambition is to work in a dynamic design operation doing a variety of projects around the world
SKILLS 3D: Revit 2013, Rhinoceros, SketchUp Adobe CS5: Illustrator, InDesign, Photoshop Drafting: AutoCAD, free-hand drawing Microsoft Office: Word, PowerPoint, Excel Rendering: Revit, 3DS Max Workshop: Attention to detail and dexterity with various physical model-making processes Language: English + Ilokano
WORK EXPERIENCE
RR
Junior Architect | May 2012 – August 2012 Rodríguez Studio Architecture, New York - Design assist on a 1,400 s.f. three-unit apartment renvoation from SD to CD - Translate site surveys into Revit for producing deliverables, with a strong emphasis in computer generated modeling and visualization
RRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRR RICHARD RIVERA RRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRR FOLIO www.issuu.com/rchard
ADDRESS 27-15 Newtown Avenue, Apt. 3 Astoria, New York 11102 EMAIL riverari@hawaii.edu MOBILE 808.392.2131
Architect Intern | Apr. 2012 – May 2012 Archipelagos, New York - Design assist on the Klaksvik City Center (Faroe Islands) Urban Design Competition Architecture Library Assistant | Nov. 2006 – Aug. 2009, Oct. 2010 – Dec. 2011 University of Hawai‘i at Manoa School of Architecture, Hawai‘i - Systematized publications at the John and Maria Lynn Reading Room - Assembled exhibitions in the Haigo & Irene Shen Gallery - Monitored the Kenneth F. Brown Asia Pacific Culture & Architecture Design Awards Teaching Assistant | Jan. 2011 – May 2011 University of Hawai‘i at Manoa School of Architecture, Hawai‘i - Conducted design lectures + labs for SketchUp, AutoCAD, Rhino, Adobe CS5 - Assisted professor with grading and with critique of student work and progress
Architect Intern | Dec. 2009 – Aug. 2010 Kohn Pedersen Fox Associates, New York - Harbin Bank Headquarters in Harbin, China - SD to CD/Fang-An Design Phase - Design assist Project Architect on the Harbin Bank HQ facade treatment through 3D visualization and physical model - Physical model coordination with KPF Office Shanghai to ensure proper execution and deadlines of presentation deliverables to clients in China - Executed diagrams to visually display and document a complete project analysis - Tackled additional duties for the Methodist Hospital Research Institute in Houston, the Abu Dhabi Media Company HQ, the KPF Office Renovation, a pair of office towers in Suzhou Industrial Park, and the Hyundai Tower in Seoul
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Business Card
R richard rivera
27-15 Newtown Ave., Apt. 3 Astoria, NY 11102 808-392-2131 | riverari@hawaii.edu
R richard rivera
graphic [designer] + architecture www.issuu.com/rchard
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R richard rivera
R richard rivera
27-15 Newtown Ave., Apt. 3 Astoria, NY 11102 808-392-2131 | riverari@hawaii.edu
graphic [designer] + architecture www.issuu.com/rchard
R
R
richard rivera
richard rivera
graphic [designer] + architecture www.issuu.com/rchard
27-15 Newtown Ave., Apt. 3 Astoria, NY 11102 808-392-2131 | riverari@hawaii.edu
R
R
richard rivera
richard rivera
27-15 Newtown Ave., Apt. 3 Astoria, NY 11102 808-392-2131 | riverari@hawaii.edu
graphic [designer] + architecture www.issuu.com/rchard
R
R
richard rivera
graphic [designer] + architecture www.issuu.com/rchard
richard rivera
27-15 Newtown Ave., Apt. 3 Astoria, NY 11102 808-392-2131 | riverari@hawaii.edu
303
E-FOLIO www.issuu.com/rchard ADDRESS 27-15 Newtown Avenue, Apt. 3 Astoria, New York 11102 EMAIL riverari@hawaii.edu MOBILE 808.392.2131
RR RICHARD RIVERA
DESIGN FOLIO ARCHITECTURE + GRAPHIC WORKS