AGGREGATION of parts
m.arch 1 portfolio SAM GUENIN
4
01
AGGREGATION of contents
A LIBRARY for ART, providing public spaces for lectures, studios, demonstrations, and research into the visual arts.
16
02 The PROTOCORNER acts as an interface between public and private, interior and exterior, big and small,
36
04
26
A CANOPY PROVIDES SHELTER FROM SUN AND WIND, AND VIEWS NORTH AND WEST, USING A CONTEMPORARY INTERPRETATION OF A CLASSICAL FORM.
44
03 This SUBWAY STATION is an outdoor area for interaction between commutors in a neighborhood during a daily ritual.
05 A simple THREEDIMENSIONAL TILE system facilitates a variety of spacial conditions and structural forms.
04
01 | ART LIBRARY
01
The LIBRARY OF ARTS
is a haven for locals of downtown Brooklyn to discover their passions, interests, and talents.
05
The main inspiration for this library comes from an alvar aalto project done in Russia in the 50’s titled the VYBORG LIBRARY. Aalto has always considered light to be one of the most important parts of a building, especially in a library where light determines how easy or difficult reading becomes.
e l ar eve ural l r we nat r e lo ave urthe h t in but h ch f ace. a ks tac und, l to re the sp s e gro ve to g a r in le tor de e s un igh Th gely t a h lar ter a n te ligh
06
a are ng ht, i d rea lig n’s thern s with e r hild sou book ges. a e c ct Th dire ading d im n s e a a r h for ext et od go larg
01 | ART LIBRARY
PRECEDENT
er rth no trol t c ire con . ind ore room y it b r m e is l sente in th m u re ing i itor the p light d u e e a ing th Th t, giv over ligh
t tha ng ing i n e op us . nd e, diff elow u o c b of r pa ks rid the s boo g r e a as nte f th a h t to e es o e r g a h ng lig pa adi direct g the e r ain any hittin e m llow fore h T r a be e ht nev ll lig a 07
SITE RESEARCH
WA LT W
CL
IN
HI
TM
AN
SIT
E
BR
OO
KL YN
PA CIF
HE
IGH
IC
TS
RA RY
CA R
RO
08
LIB
LL
GA
RD
EN
S
TO N
01 | ART LIBRARY
The greater area of Downtown Brooklyn stretching to Prospect Park is home to seven different libraries that are part of the Brooklyn Public Library system. Many of these locations lack a presence of the visual arts, especially at the future site of this library.
WA LT W
HI
TM
AN
SIT
E
BR
HI
OO
LL
KL YN
PA CIF
HE
IGH
IC
TS
LIB
RA R
CE
NT
RA L
LIB
RA RY
CA R
RO
PA R
LL
GA
RD
EN
S
KS
LO P
E
LIBRARY
ART GALLERY
PERFORMING ARTS
QUARTER MILE
09
The design of this project began with a study of negative space, designing the massing between occupied interior, and inverting that massing to create a series of visually connected spaces.
This organizational strategy was used to create the exterior boundaries, while the structural system took over the design strategy as a series of stacked ribbons that shift up and down for light, circulation, and views of surrounding urban landscape for artists.
10
01 | ART LIBRARY
MORPHOLOGY
11
A vertical shift for a stairway to an indoor balcony. All vertical circulation occurs at a ribbon opening such as this.
12
A split in ribbons for outdoor access. Many of the roofs double as an outdoor terrace for the floor above, creating space to observe unadulterated natural light.
01 | ART LIBRARY
A vertical shift for an exterior view of the street. Artists can look across the way towards the neoclassical bank.
SHIFTING TYPOLOGIES
13
pai
ntin g
gal
stu
dio
ler
/cr it
are y/w a ork out sho do or r p ead ing spa ce
40’
The design for the structure follows the main two axes established by the neighboring streets to the north and south. Many of the spaces are shared between reading areas and studio areas. All furniture is freestanding save the stacks, so any configuration of artistic and literary spaces is possible.
sta
cks
The general stacks are located in areas of circulation, convenience because they would be on anyone’s way anywhere in the building. More specific collections are located at the upper levels in the modular spaces.
20’
Critique and pin-up spaces are located in side rooms on balconies or next to circulation areas, allowing for either privacy in critiques or open discussion for anyone to join in when passing by.
art
his
tor y
dra win
gs
&t
heo
ry s
io/ rea d
ing
ula tion
0’
14
stu
ks
tud
circ
20’
tac
dio
cla
ssr oom
01 | ART LIBRARY
THE DESIGN
pro
60
’
jec tion stu per dio iod /re ica ls adi out ng do or p ub lic spa ce
40’ out do
or p
ub
lic
spa
ce
pai
ntin g
stu
dio /cr it a y/w rea ork out sho do or r p ead ing spa ce gal
ler
40’
sta
cks
20’
15
16
02 | PROTOCORNER
02
The PROTOCORNER
is an intersection between the street, the retail at ground level, and the residences above.
17
The intersection of 8th Ave and 14th St is a busy one, featuring bus routes, subways, bike lanes, and two-way avenues. This diagram shows the permeability as a facade as an effort to understand how to transition pedestrians from the exterior to the interior.
18
nd
th
S OID eV
be
hin
d
apartment portals
tertiary voids
secondary void
entrance portal
corner portals
main void
h
secondary void
tertiary voids
P main void
secondary void
d tertiary voids
secondary void
entrance portal
PO dt hin corner portals
Sa
AL RT an be
apartment portals
LS TA OR S OID eV
tertiary voids
ID VO 02 | PROTOCORNER
TAL POR
SITE RESEARCH
ID VO
TAL POR
19
1
The hinging mechanisms allow passage through from street to commercial business horozontally and from sidewalk to residential vertically.
ROTATING INTERFACES 20
3
2
4
02 | PROTOCORNER
5
MORPHOLOGY
21
22
02 | PROTOCORNER
There are 5 different types of levels going up the structure. The lower levels consist of larger segments that serve as stairs to the higher levels. As you travel upwards towards the residential floors, the sections get skinnier, dividing up the space significantly more to provide more privacy where necessary.
23
24
02 | PROTOCORNER
UNFOLDING FORM This transforming structure takes form when in use, while assuming a relatively quiet exterior in its closed position.
25
26
03 | INTER_SUBWAY
03
The INTER_SUBWAY
is an experiment in facilitating and encouraging community interaction in the daily lives of commuters on the L train
27
28 y: Pedestrians to the Station
SITE RESEARCH
03 | INTER_SUBWAY
The intersection of Avenue A and 14th St is adjavemt a neighborhood and many small communities. The site is the furthest east station in manhattan, marking it as an important keystone to the East Village and the larger neighborhood of the entire L line through Brooklyn. This diagram provides insite to the breadth of commuters that use this station as their waypoint to a destination. This is the ‘neighborhood’ of this station, where people cross paths daily without interaction.
29
30
03 | INTER_SUBWAY
THE CORNERS A simulation of scenarios.
The approach is smilar for all, unable to see the oncoming pedestrian traffic.
The collision varies, probably being most unexpected in the acute corner, unable to see the oncoming people which the obtuse and convergent corners can expect some amount of interaction.
The intersection involves some shifting in most cases. The ability to anticipate collision and avoid confrontation in the compression on the right seems to discourage interaction more than anything.
The exit of the acute angle leaves the pedestrians closer than any of the others, while the obtuse angle hides people around the corners. This simulation became useful for encouraging interaction.
31
The intersection of 8th Ave and 14th St is a busy one, featuring bus routes, subways, bike lanes, and two-way avenues. This diagram shows the permeability as a facade as an effort to understand how to transition pedestrians from the exterior to the interior. Typically, regular commuters tend to arrange themselves on the platform to line up with an exit at their final destination, and on most platforms it may be difficult to determine which car you will be in with the aid of only a bench or exit sign or track information. The undulating north wall provides easy landmarks for commuters to understand where they are on the track and which car they will enter when it arrives. 21
22
20
19
23
20
22
20
21
19 20
18
A
B
C
D
E
32
03 | INTER_SUBWAY
SHIFTING TOPOGRAPHY
17 19 14 18 17
19
13
16
18
15
17
12
14
19 11
20 21
10 22 15
14
13 09 12
17 16
07
11 10
09
10
11
08 10 09
08
08
07
12
06 13
05 04
13 14
14
03 15
15
14
02
13
01
12
00
16
16
11 10
17
17
09 08 07
18 09
06
18 19 19
05 04 03 10
02 01
11
12
13
14
15
16
17
18
19
15
F
G
H
I
33
20
F
EXTERIOR ACCESS The subway platform is a transition area between the street and the subway, or the exterior and interior. With the terrain dipping to the subway level, commuters are able to wait outside and see the arrival of the L train and walk down to the platform upon approach. A sloped exterior area provides pockets for people to interact or simply acknowledge others that commute at their time.
34
03 | INTER_SUBWAY
A
B
c
D
E
F
G
H
I
35
36
04 | R-eX
04
R-eX or recycled exoskeleton is a design-build project that reapropiates reused materials into a different form to provide shading on Governor’s Island.
TEAM: Sam Guenin, Travis Tabak, Jamie Waxter, Pei Pei Yang, Troy Lacombe, Allen Huang, Erin Huang
37
INITIAL PROTOTYPING Original ideas focused on using the dimensional lumber for its properties as wood, not its form. The idea of bending the wood to create more complex forms seemed much more compelling than anything else, and a more proper method of recycling by reapropriating the material, and the old form.
38
04 | R-eX
39
JOINERY Using wood was very beneficial for a design-build project. The flexibility and softness of the material affords many uses. The main constraints of this project was size. The forms for bending the wood into arches was milled on the CNC, so segments for the arch could not exceed 8’ long. The wood from last year’s project was also already cut into smaller pieces from 4’ to 7’, requiring the design to follow these parameters.
0.25”
slight parabola 8”
semi-circle
40
04 | R-eX
6”
10’
9’ 1’ center of arc
3”
41
SKIN CONNECTIONS 42
04 | R-eX
43
44
05 | Transitional Geometries
05
Transitional Geometries
is a study in tesselating and tiling in two and three dimensions, creating variations in forms and structures with the same module.
45
The initial ideas for the 2 1/2 dimensional tile was to erase the boundaries between the tiles. To make a tile look like it has infinite variation, the edges and centers of the module have the same design language. Random rotation is also necessary, as reorienting and repositioning each tile provides an additional level of seamlessness between edges of modules.
4”
1” 3/4”
3/4”
4”
3/4”
3/4”
3/4”
46
3/4”
1”
3/4”
3/4”
05 | Transitional Geometries
VARIATION THROUGH ROTATION
47
STRUCTURAL AGGREGATION
2”
1” 1” 1” 1” 1” 1”
48
05 | Transitional Geometries
The shift from a relief form to a 3-dimensional form was tricky. The combination of pieces had to be more than just placing modules adjacent to each other. The blocks can stack together in many orientations, and finding the structural balance becomes a challenge. Arches, towers, and simple large masses can all be created with sliding these pieces together.
49
50