A R C H I T E C T U R E r o x a n n a
P O R T F O L I O
m a r t i n e z
s a l c e d a
mobile exhibition space break on through field sketches l.a. metro station flockwall mobile dance space neural sky schoal wall tessellation cloud
C O N T E N T S
f e a t u r e d
p r o j e c t s
M O B I L E
E X H I B I T I O N
S P A C E
PROCESS PROCESS Left:sketches sketchesshowng shownghow howpopouts popoutscould could Left: workand andfitfitwithin withinthethespace. space.Above: Above:PrelimiPrelimiwork narymodel modelmaximizing maximizingpopout popoutspaces spacesand and nary glazing withing the exhibition space. Right: glazing withing the exhibition space. Right: finalmodel; model;bass basswood, wood,polycarbon, polycarbon,styrene styrene final details.1”= 1”=1’-0” 1’-0” details.
February/March2005 2005 February/March
M O B I L E S P A C E
E X H I B I T I O N
This course explored the ranging spatial qualities of alignment, lighting, and many more, by studying, interpreting, and building upon the details of works by reknown architects. This project in particular focused on the methodologies used in Le Corbusier’s Villa Savoye. This exhibition space took Corbusier’s idea of the house being a machine. By turning the exhibition space mobile, the design maximized the program requirements, in addition to making transportation efficient.
B R E A K
O N
T H R O U G H
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BREAK ON THROUGH Top Left: floor plan (hand drawn) Top Right: site diagram illustrating winds, and the general overview of the sun paths. below: section elevation (hand drawn)
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Opposite Page: photographs of the 1/4�=1’-0� scale model of the exterior of the building.
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B R E A K
O N
T H R O U G H
Our studio’s project was in conjuction with the Great Park Competition in Irvine. There were two parts of the competition, and for our year, students were to individually design the offices and cafe building for the Great Park. Because the Great Park’s location on the former El Toro Air Base, my concept for my particular project was the opportunity for nature to regain its position. The ceiling/roof emulates a singular piece of concrete- broken- as if some force of nature pushed upon it and broke the slab into pieces. The transparency of the building was achieved by using glazing on the exterior, and concrete columns for its structure. The use of extensive glazing was not intended to cause any discomfort in the buildig during winter or summer, as studied in sunpath diagrams for equinox and solstice. During winter, sunlight is allowed in to warm the space; during summer the overhangs (roof) procvides enough shade inside.
F I E L D
S K E T C H E S
SKETCHES Left to right: Studies of my hand in outdoor light, charcoal and eraser in sketchbook 8.25”x5” ; study of my foot in light, charcoal and eraser in sketchbook 8.25”x5” ; sketch of sculpture underneath the Loggia in Florence, Italy, pencil in sketchbook 8.25”x5” Opposite Page: sketch of Rape of the Sabine Woman, pencil in sketchbook 8.25”x5” ; live sketch of nude, 2.5 hours, pencil on paper 14”x8” ; building sketch, Florence, Italy, pen in sketchbook ; Mission Inn facade sketch, pen on lightweight sketch, 10.5”x10.5”
F I E L D
S K E T C H E S
There was a time when drawing and figure drawing were considered prerequisites for not only artists but architects and engineers. The aim of this course was to enable architecture students to increase their flexibility in drawing. We were taught to study the space the model occupies and the existence of simple geometry underlying complex shapes. Different medias were utilized. Because this course took place in Florence, Italy, the city was our classroom; we utilized sculptures and buildings. Inside the classroom, we utilized live models to paint and draw.
SKETCHES Left to right (in no particular order): sketches done during study tours with DIS to Finland (kiasma Museum, Rock Church, Aalto house, and a city hall done by Aalto), and outside of Copenhagen in the Open Air Musuem. Pen on sketch paper (Moleskine) Opposite page (clockwise from top left): Holy Cross Chapel, pen on white sketch and sepia pencil rubbing on white sketch; Koldinghus, pen on sketch (Moleskine).
F I E L D
S K E T C H E S
In this particular series of sketches (opposite and current page), quick studies were to be made of the architecture, details, urban layout, and landscape. These were meant to be relatively quick in order to capture the essence of the subject matter. Although some were actually more meticulous than others, these sketches- which were done during the summer study abroad program through DIS in Denmark, Sweden, and Finland- made me realize the hidden details in the everyday, and sometimes mundane, architectural elements .
L . A .
M E T R O
S T A T I O N
w i l s h i r e - b u n d y
circulation to below
secondary staircase direct access from ground fl to terrace
lobby
main circulation stairway from below ground to terrace
elevators
entrance
the ground floor is the main circulation hub to both metro and library. it creates a constant motion emulating wilshires traffic- the library’s main circulations run horizontally through the buildingthe the vertical circulations being staircases, elevators, and escalators. here is the filter in which the users get separated between metro users and library users.
this room provides maximum flexibility within the program. it can be a computer room, a conference/meeting room, a community room, study area............ emergency exit through secondary staircase
one elevator becomes only service from 2roof levels
reading/study areas
October/November 2008
service bar elevators serivce and public
enclosed walkway
covered cafe space electrical/hac personnel only
book lending-vending on the go
restrooms at the mezzanine level we find a secondary entrance to the library and a small lending-vending area for those heading specially towards the metro and would like to pick up a magazine, journal, or just a quick read-book. the children’s area is located near the secondary circulation desk for added security. this is where the expected heavier traffic is to occur
circulation 2 children’s area
ticket booth
ticket gates
the ground floor is the main circulation hub to both metro and library. it creates a constant motion emulating wilshires traffic- the library’s main circulations run horizontally through the buildingthe the vertical circulations being staircases, elevators, and escalators. here is the filter in which the users get separated between metro users and library users.
covered cafe space
sun roof
WILSHIRE-BUNDY METRO STATION Left: preliminary sketches showing how stacking and arranging blocks like books can create spaces. Above: diagram of a metro/library user Right: floor plans of all levels of the library, including the metro station levels. Opposite: Renderings. Clockwise from bottom left: street view (day); street view (night), train platform view; mezzanine/ticketing view.
cafe kitchen prep area; service elevator provides service to users
automatic ticket sales
the terrace provides the users of the library the cafe experience. the small will filter through the whole building and onto the stree at well. this will bring the users through the library- they will experience the library as they move towards the cafe on the rooftop. this will not just function as a cafe, but as a meeting point, a social gathering point, a reading space, whatever the user may make of it.
L . A . M E T R O S T A T I O N [ B U N D Y - W I L S H I R E ] The purple line extension of the Los Angeles Metro provided this course an opportunity to create designs of new metro stations within the “Subway to the Sea� line, starting from L.A. Union Station and ending in Santa Monica. Each station was to have a unique program in addition to a metro stop. This station, the Bundy-Wilshire station, was designed as a library, in a location where retail shops and midrise business buildings exist. Because of such an environment where businesses are on every corner, an investigation was made of relationships between libraries and bookstores. What was gained was insight on how a library can be successful by adopting a bookstore program, thus aiding in furthering the design of the building and its relationship with its surroundings, including that of the metro station.
F L O C K W A L L
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FLOCKWALL PROCESS Images on this page show- in no particular order- the process of this project from initial sketches to construction of the project. [1] concept drawing by Sarah Hovsepian on the movement of the ‘birds’ [2] motor attachment to skin [3] assembled ‘birds’ [4] primary whiteboard sketches [5] floor construction [6] putting it all together @ our Coachella site [7] motor assembly on campus [8] conceptural rendering of the ‘birds’ by Daisy Yiu. Opposite: photographs from Coachella January-April 2009
F L O C K W A L L
Flockwall is a human-scale spatial environment composed of discrete collaborative modules. The primary goals were to develop and understand strategies that can be applied to interactive architecture. The design and construction was carried out in an academic context that was displayed to a public audience of approximately 200,000 people over the course of three days. In addressing the performance parameters of the prototype, the concept focused on several key strategies: 1) geometry 2) movement 3) connections 4) scale and 5) computational control, and human interaction. The final objective of the approach was to create an innovative design that was a minimally functional spatial environment with the capability for evolving additional multi-functionality. Heavy emphasis was placed on creating a full-scale environment that a person could walk through, interact with, and experience spatially. Presented at Coachella Arts and Music Festival 2009.
M O B I L E
D A N C E
S P A C E
STUDIES + PROCESS FOR MOBILE DANCE CENTER From left to right: tensile study models with mock buildings sustaining the tensile tent; drawing mennequin in a fishnet stocking to visually show stretch on a body; study of movement with a dancer underneath white stretch fabric. Opposite: concept sketches for the Mobile Dane Space form, keeping in mind motion within tensigrity. Also shown: diagram by Martin Bloom of a performer surrounded by the audience. April 2009
M O B I L E
D A N C E
S P A C E
Dancers are constantly creating a space through their performances that not only moves with their choreographies, but with their touring schedule; it is important to realize that a stronger and more popular performance from them might be achieved through creating a space that flexes with them and their tour by moving with them rather than the dancers accommodating themselves a new venue. It shall not only be a space only for the dancers like a stage, but for the audience as well. The audience yearns to be entertained and at the same time dancers yearn for the approval and acceptance from the audience. The audience is the city. The audience help dancers survive through this. By housing the dancers is to also house the audience. Incorporating the two together in a design will blur the traditional line between stage and audience and further creates a stronger and enhanced experience between the users and the venue. >>
FINAL IMAGES AND DRAWINGS Clockwise: Interior renderings and montages in Chicago and Center Pompidou (Paris); floor plan of the Mobile Dance Center; photograph of the final physical model, made from stretch fabic, tule, acrylic, and metal; section drawings of the dance space. [drawings not to scale] Opposite: still images from animation showing assembly of the space; main rendering of the dance space. June 2009
M D S
c o n t i n u e d
The world will be the stage for the mobile dance space and its dancers. The sites of the mobile space will be selected by following certain parameters. The goal is to encourage a wide audience by selection of a site, not only limited to the urban city dweller as most theaters typically treat it. Not only will it accommodate ticket holders, but the surrounding will also welcome others into experiencing the event from the outside, which will offer a new perspective to the experience.
N E U R A L
S K Y
NEURAL SKY PROCESS Images on this page show- in no particular order- the process of this project from initial sketches to construction of the project. Top Left: photographs from set-up at the Coachella campgrounds in April 2010. Left: construction of spheres and fabric; set-up at Beyond Wonderland, March 2010. Right: concept sketch of the structure. Opposite: photographs of final project @ Coachella January-April 2010
N E U R A L
S K Y
Neural Sky is a massive networked nodal structure that connects people via lightening fast bolts of luminescence. When a person moves into close proximity to any of the legs of the structure, an ultrasonic sensor detects their position and emits beams of light that connect that person to another standing in the 3D the nodal structure. As additional people occupy the space the installation evokes a large 3D network of firing neurons. The network is constructed of a light steel frame and fabric-wrapped volumetric shells at each node. Neural Sky was designed and built by Michael Fox in collaboration with the students in his Architectural Robotics course at Cal Poly and alumni from the architectural program. Darius Miller provided custom electronics on the project. Presented at Beyond Wonderland (March 2010) and Coachella Arts and Music Festival (April 2010)
S C H O A L
W A V E
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[�] SHOAL WAVE PROCESS Images on this page show- in no particular order- the process of this project from initial sketches to construction of the project. [�] ‘scale’ assembly and materials for the wall [�] site plan showing dimentions of the proposed project [�] diagrams showing how the scaled wall will work in the absence of wind, moderate wind, and high wind. [�] preliminary sketches of the form. [�]
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Opposite: renderings of Schoal Wave during night and day settings.
S C H O A L
W A V E
In collaboration with the same group that brought Flockwall and Neural Sky, smaller groups were formed to create separate proposals to be submitted for Coachella ����and subsequently other music and arts festivals for the next year. Schoal wave is an installation designed to be environmentally interactive, harnessing the power of wind to initiate movement along the facade of the wall. the movement is inspired by A school of fish, otherwise known as a “schoal” in scientific communities. the wall is clad in specially fabricated, hindged, scales that move with the wind; they are � sided, with the inside scale bearing color while the outer side has a highly reflective surface (like the surface of water). with a gust of wind -provided naturally or by integrated fans- the scales on the wall will cause a wave-like effect, accompanied by changing color. At night, during periods of wind, mounted LED lighting along the wall is exposed when the scales open. Once the scales closed back flat against the wall, the leds provide a backlight to the structure.
T E S S E L L A T I O N
C L O U D
PROCESS Clockwise from bottom left: studies in tessellation; installation and process of making a each cloud; room re-arrangement in order to maximize each resident’s space within the shared room.
[fall 2012]
T E S S E L L A T I O N C L O U D
The cloud is about creating a private enclave within a larger semi-private space. It is about meshing the horizontal with the vertical: creating a bed canopy while maintaining the elements of a bed curtain. The cloud gives an interaction to a group of women who otherwise would not have had the experience otherwise. It draws their attention to the ceiling- away from the clutter of their lives and room, bringing them closer to ‘me ’ time, to a private moment away, or even an instance with the other women in the room by interaction with the other clouds above them. The cloud was formed from a blank slate, a simple piece of fabric- like a metaphor for the women in the shelter who are in a transitioning point of their lives, either starting fresh, or heading towards a new direction- hence, giving their lives a fresh start, or a blank slate.