SILVIA LORENA
GALDAMEZ CORNELL UNIVERISTY COLLECTION OF WORK
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I ARCHITECTURE I
01 MURO D’ACQUA...................................................................4-13 02 PORE..................................................................................14-23 03 GLENN CURTIS AVIATION MUSEUM..................................23-31 04 LUBRICUS RUBELLUS “EARTHWORM”.............................. 32-39 05 MATERIAL STUDIES............................................................40-41
I VISUAL ART I
06 VISUAL ARTS .....................................................................42-43
MURO D’ACQUA
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ENVIRONMENT | AQUEOUS MAP |Beebe Lake, Ithaca NY
As an abstract pattern, the visual representation of the hydrodynamic forces become a temporal art installation which ebb and flow on a single plane which map the intangible forces below this very surface. Swirling in a rhythm and order that cannot be explained or seen, the milky tracings reveal an otherwise invisible component of the waterways’ architecture and leave an open interpretation to what the physical form of this component might take.
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ARTIFACT | Rainbow Falls, Watkins Glen State Park
Located within Watkins Glen State Park, the gorge path is a moment carved out of the ground, winding through and under the waterfalls. Framed within the 200-foot cliffs, the circuitous path extends from the carved-out cliffs and through the spray of Cavern Cascade that composes an intimate moment that existing between the rock and the water. Finally terminating the path into a stairway leading to the suspended stone cut bridge that lies between the cliffs.
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ARCHIPELAGO| ROVINA D’ACQUA Sited within an abandoned, industrial area of the city of Ithaca, the project acts as a bridging connection within the archipelago. A structure whose main purpose is to bridge the gap between the more urban developed area of Ithaca and the less developed region that faces the inlet directly. The project is composed to two double curvature, dry masonry walls whose heights transition from occupiable bench space to 8-meter towering walls that encompass the space. Thus, the project becomes a ruin within the site, and the temporarily of the program inside becomes secondary to the main structure that is the walls. The project houses a children’s library, a café, and a nursery. As one moves through the project, the compression and expansion of space is reinforced both vertically and horizontally and open ups pockets of program. As the journey within the space comes to an end, the final reveal is a framed view of the inlet as the walls begin to descend into their final form of benches.
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PORE
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PORE | Roma, Italia
This project was conceived through the idea of the filter and the endless possibilities of its definition and manipulation. I began by analyzing the campanile of Basilica Dei Santi Giovanni e Paolo, specifically the foundational piece which originally belonged to the Temple of Divius Claudius. This piece was originally meant to support the temple’s terrace but was later repurposed as an aqueduct. Through observation I discovered a very specific form of each of the continuous stones. I noticed that each stone possessed a carved cavity that increased in frequency as the stones move further into the base. Drawing upon this observation I created a series of schematic variations extrapolating from the original stone components that I then manipulated. This generative process culminated into a range of filtering patterns that articulated several definitions of porosity. Following this generative process, I moved on to analyze the given site. With the help of a partner, I created several vector drawings that highlighted the points of interest within the given site, using points of attraction to indicate locations tourists and locals alike will be most likely to visit and points of dispersal that marked the locations people exit from, such as the metro station. Drawing upon these two analytical phases, I generated a filtering pattern using the point attractors from the site analysis and the components of the campanile. The pattern was then translated into a code of ten walls that were strategically placed within the pattern. This code proceeded to inform the curve attraction and the morphing each component within the design of the wall. The program of the project features two underground exhibition spaces where ancient military barracks are displayed with their original floor mosaic, the ground floor houses cafes, bookshops and utilities as well as an open aired courtyard and playground. The upper floors display smaller artifacts such as lanterns and pottery fragments.
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AVIATION MUSEUM
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CROSS-SECTION C-C 1/8” = 1’
CROSS-SECTION C-C 1/8” = 1’
CROSS-SECTION E-E CROSS-SECTION E-E 1/8” = 1’ 1/8” = 1’
CROSS-SECTION D-D 1/8” = 1’
CROSS-SECTION C-C 1/8” = 1’
GLENN CURTIS AVIATION MUSEUM | Ithaca, NY
The project began with an exploration various types of long span structural systems. The chosen system for this project is the space frame. With precedents such as Konrad Wachsmann’s 1950’s space frame for the Air Force, the chosen structure was chosen due to its strength and slenderness with a capability to impact interior lighting quality and create a wide range of types of spaces. A structural analysis was done. The aim of this analysis was to create a series of speculative models that played with the scale of the space frame and to explore the flexibility and visual transformation resulting in different atmospheric conditions. The observations taken from the analysis are later used to develop an architectural proposal for the Glenn H. Curtiss Aviation Museum. An architectural proposal designed to host a selection of exhibits from the Glenn H. Curtiss Museum in Hammondsport, NY. The main structure and atmospheric conditions come from the previous speculative analysis (see pg.25). The building morphs into the site, and addresses the cayuga inlet and the Cornell University Boat house. Visitors are first introduced to the project by an uncovered passageway composed of steel rigid frames. The proposal accommodates various programs in one, exhibition space, greenhouse, and park.
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GALLERY SPACE
CONC. PANEL CONC. PANEL MULLION CONC. PANEL
STEL FRAME
METAL SPACE FRAME JOINT CONC. ON CORRUGATED METAL DECK STRUCTURAL GLASS
STRUCT. SLAB
GREENHOUSE
STAINLESS STEEL GUTTER
GRADE BEAM.TYP.
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I 01 | Aviation Museum I Design IV I SP17 I
I 01 | Aviation Museum I Design IV I SP17 I
LUBRICUS RUBELLUS
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I 04 | Lubricus Rubellus I Design I I FA15 I
I 01 Lubricus Rubellus “Earthworm” I Design I Fall 2015 | Professor Lorena del Rio | The earthworm is a subterranean animal that consists of two sets of muscles that help the creature propel itself in order to dig through the earth. These two sets of muscles are a series of circular muscles that run along the body of the earthwom as well as a series of longitudinal muscles that span the entirety of the creature’s body. During my study of the creature, I identified two sets of muscles which aid in recognizing their relationship. Both sets work separately as well as together in order to create a propelling movement of the animal.
Earthworm Muscle Movement Analysis
I 04 | Lubricus Rubellus I Design I I FA15 I
Drawing: Sketch Initial Instrument
Group Drawing
Model : Sketch Initial Instrument
Group Drawing Final Initial Instrument
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Drawing : Final Instrument
FinaI Instrument
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MATERIAL STUDIES
TEXTURED ROCKITE + PLASTER
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SOLDERED METAL
WOOD
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VISUAL ARTS
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www.silviagaldamez.com I Cornell University I B.ARCH Candidate 2020 I I Cornell University I Department of Architecture I
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