portfolio jeisler salunga
portfolio jeisler salunga
table of contents -year 3
arch 366: urban intimacy arch 365: city of experimentation
-year 2
arch 206: unintensional arch 205: centurion tower
-year 1
arch 106: uc media center arch 105: bicycle depot
-year 3 [spring 2012] arch 366 [design studio] | julia capomaggi | chicago, il
URBAN INTIMACY
uses a directed path of circulation that wraps around the mass of the building. The path will funnel visitors in, out, and and around the mass. The path that one moves through fluctuates in scale according to program as well as expected amount of visitors for each program. Each path has points of contact with the mass that access program and provide an enclosed space opposed to the open and exposed space. The pressure of the circulation, and one of the mass. The spaces vary from large and open that are the most isolated and intimate spaces. Programmatica-ally this could be translated into spaces for communication and public interaction and spaces for study and concentraation. In this library, the public interior space is defined by this continuous path that connect the sequence of spaces of different intensities.
-year 3 [spring 2012] Form Development
Movement Through Spaces
!
View from train
Program Development:Stacks, Public, Commercial, Private
Level 1
Section 1 View from south
Level 10
Section 10
-year 3 [spring 2012]
Jackson Blvd
E Van Buren St
State St.
Plymouth Ct
Dearborn St
Federal St
Congress Parkway
Harrison St
Site Plan: Urban Intimacy acts as a funnel for citizens and visitors of the city.
Axonometric
Site Section: A simple drawing displaying the same funnelling for the library
-year 3 [spring 2012]
Unfolded Section: Displays path and penetration of vertical voids as well as program. Entrance
From interior to entrance
Community area
Relaxing area
Among the books
Reading area
-year 3 [spring 2012]
Second Floor Plan: The continuous path is always evident within plan. This floor shows the amount of various spaces for visitors to use. The library, reading areas, cafeteria, as well as spaces that look down below through the void.
Top Floor Plan: The top floor has one of the most intriguing areas in the building. It’s interior looks out to the full path from the west end. The path in this plan connects the path rising as well as descending. The open plaza offers an “interior” park.
-year 3 [spring 2012]
Section 1 (West-East): This section displays the presence of the path. The path maintains a dual purpose, in that it creates a path to travel, as well as a unique space underneath it. Again, program is displayed as well as strong graphics to help create each room into an event.
Section 2 (North-South): A section through the center path reveals the usage of its effect. The space below is utilized to create smaller rooms for reading or computers, as well as larger ones, such as bookstores or presentation rooms. Another space created from the path is the auditorium, forming a seating area as well as a storage or trapdoor room below the stage.
-year 3 [spring 2012] Looking out to the city from the interior
A nightime scene looking out at the flat path.
The flat areas of path creates areas of community and rest.
An event of gathering while the library is illuminated.
-year 3 [fall 2011]
CITY OF EXPERIMENTATION
provides a place for individuals and groups to enjoy a level of freedom, both publicly and privately, not obtainable within Chicago. The pier is divided into discrete podiums (zones), in which visitors are encouraged to enjoy taboo, contraband, and illicit activities. Every moment of experience is geared towards increasing the visitor’s awareness to the fantasy world they have entered into. CITY OF EXPERIMENTATION merges two opposing realities: a release from the confines of daily urban life, while also acting as an incubator for a freer one.
-year 3 [fall 2011]
City of Experimentation is a fantasy world, meant for new experiences of urban program that ha elevated city, to the programs used within the towers and podiums, this city is meant to push fan Touch-the-art Museum [P]
Great Lakes Ferry [P]
Drive-in Movie [T] Diners [T]
Canadian Ferry [P] Movie Cinema [T] Year-round Autoshow [P] Dollar Store [T] Expensive Merchandise [T]
[T]ower
[P]odium
as been adjusted an used in a different way. From its architectural lit canopy trees, to the ntasy and condone unique experiences. Contraband [T]
Arcade [T]
Extreme Amusement Park [T] Changing Program [P]
Changing Program [T] Endangered Animal Museum [P] Endangered Delicacies [T] Club and Casino [P] Hotel Suites [T]
-year 3 [fall 2011]
Tower Plans: The towers hold in the program listed previously. The tower program vary from podium to podium
Podium Plans: The program within the podium change and shift to create a unique relationship between it and the unique program found here. The program is unlike any program found in the city, and promo
Section (West-East): The section displays how the podiums are full of a singular program. It also shows how the towe half the size of their originals. The color and their program all play on the idea of a fantasy and d
ARRIVAL
DEPARTURE
m, each relating to the program in its base or podium.
their taller counter-parts. The podium program amplifies the fantasy by drawing awareness to otes an experimentation.
ers’ interior have been reorganized and altered to fit in this different program. The towers are different program for experimentation.
Endangered Delights
-year 3 [fall 2011] Model Photo: 1:100
Axonometric: Photo Map for following pages
*the “renderings� are altered photographs of two models
6
2
4 1
8
3
5
7
-year 3 [fall 2011]
1: Scuplture Park
2: Outdoor Restaurant
3: Shopping District
4: Transparent transitions
-year 3 [fall 2011]
5: Lit canopies illuminate the fantasy city.
6: Interior of the bright and fantastic tower.
7: Utilizing the exterior of the “Sears Tower”
8: Learning about what you could eat.
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-year 2 [spring 2011]: partner project arch 206 [design studio] | thomas kelley | chicago, il partner: cherin al-hayek
Nesting Curv
Oblique Curve
A2
B
A1
C
A
A, C, D
B, D
A
A Conversation
ves
D
B
C
D
A, B
C
A
Hinge
D
C D Transformation
SURFACE CONTROL
B
C Introspection
A surface is the main actor upon catenaries to create a dynamic set for the performers of “Rhinoceros.� Four play sets were focused in as different versions this set can take. The ease of change from the surface creates a distinct version with only one or two moves. Because of the ease of change, it transcends from being a set to becoming a performer. As the actors change and dynamically react to their script, as does the surface and its catenaries below. B Separation
-year 2 [spring 2011]: partner project The transforming surface that influences the curves below.
Plans and Sections of all four transformations:
A
B
A
B
Module
Plan [natural state]
Elevation [natural state]
C
D
C
D
Dimetric [natural state]
-year 2 [sping 2011] arch 206 [design studio] | thomas kelley | chicago, il
group: cherin al-hayek, timothy baldwin, kevin pazik, yuen yeung, ryan hernandez, aqsa tahir, erick sanchez, daniel fazcek, shuya washido, jose garcia, ryan odom, marko dimulja, kristian gehl
UNINTENSIONAL
To acheive the most dramatic changes between variations and create an environment in which several different scenes, if not the entire play Rhinocerous, can take place, our group decided to create a deformed reactive surface attached to four tensegrities. Each tensegrity controls a part of the surface. By flexing the nine foot tall tensegrities, the peice expands in width and the surface nears the ground plane, adjusting the catenaries, which are stretches and warped and may even touch the ground. The tensegrities allow for the surface to hang without a cube-like jig, and when the catenaries begin to shroud the four structures the piece looks as if it is floating.
-year 2 [spring 2011]: partner project The 1:1 installation was created with three main elements: catenaries, the surface, and the tensegrity aka “bungegrity�. The tensegrity was reinvented to ahve the ability to move and transform, thus using bungee cord rather than metal cable, which is normally used ina non moving tensegrity.
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07 x16
B
08 x44
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MODULE 2'
MODULE 4'
MODULE 6'
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c
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*all drawings were a group collaboration
22'4''
x16
d 10''
x22
e 2'4''
f
4'4''
g 6'4''
x2800 x4850 x4200
2 loops
3 loops
knot
-year 2 [sping 2011] Versions of which the Tensegrity can tranform into.
Natural State, with actors enclosed.
Expanded State, with actors exposed and transformed.
-year 2 [sping 2011] Final Project built and performed.
above: the tensegrity in its natural/relaxed state below: the piece in motion during the performance
above: the tensegrity in its collapsed state prior to performance below: the piece in its most extreme state, expanded and lowest to the floor
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