A+D AN EXPERIMENTAL CULTURAL CENTER
Process Book
Veronica del Castillo Caldas Professor Khoi Vo Savannah College of Art and Design Winter 2015 Studio V
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Project Overview Case Studies User and Client Analysis Building AnalysiS schematic Design DESIGN DEVELOPMENT
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PROJECT OVERVIEW The experimental fashion retail center: AIWAA has the intent to narrow the margin between the artisans and designers. It is a creative arts center promoting entrepreneurial activities by showcasing AUTHENTIC designed ARTISAN PRODUCTS in order to elevate the appreciation of the value created by culture and innovation. The experimental fashion center is a place where CULTURE, SOCIAL DEVELOPMENT, TOURISM AND DESIGN COME TOGETHER AS ONE. The center will be located in Cartagena, a city located in the Caribbean coast of Colombia. Cartagena is a city rich of culture, heritage and history. As Colombia alleviates from the violence epoch, during the past years the city has become a center for the arts and tourism and also a destiny for the refugees of war in the Caribbean region of the country. The Colonial center of the city has become a WORLDWIDE DESTINATION creating as a result an urban reformation, bringing the magical realism to the city. Through this urban reformation new designers, both high-end and startups have migrated to the colonial district bringing together the art and design combined with the historical richness of the city. Still, some remains of the violence are still affecting the region there are 232.423 UNEMPLOYED VICTIMS of the conflict, of which the vast majority come from an artisan background. As a survival-paying job they have become informal street vendors, selling their CRAFTED GOODS to tourist. Still, the police often take these goods away since it is illegal to invade public space and the artisans have to pay a tax in jail in order to reclaim them. Also, many recognized designers such as Agua Bendita, Silvia Tcherassi, and Mercedes Salazar have started INITIATIVES TO WORK WITH ARTISANS directly in the affected region, introducing those techniques authentic from Colombia such as palm weaving, and silver filigree. The design pieces become authentic and are promoting
DESIGN
TOURISM
cultural products but unattached to the artisans and the history. Only few, which understand the Caribbean culture, appreciate the cultural richness of the pieces. AIWAA will become the community outreach center for the previously described brands, the center will be conformed by two components: EDUCATIONAL and RETAIL. Caribbean artisans affected by the violence will bring their cultural techniques to DEVELOP. There the designers will work directly with them improving their techniques, introducing new ideas and design principals, and educating towards entrepreneurship and management. The center will become a place for MANUFACTURING and SHOWCASE. The idea is to narrow the margin between the producer and the consumer therefor, the costumer can experience the manufacturing process learning the story of the piece they are purchasing while they have a retail experience in the boutiques. There will be 4 RETAIL SPACES in thee program, one for each of the designers: Agua Bendita, Mercedes Salazar, and Silvia Tcherassi. The fourth boutique will become an ENTREPRENEURIAL ENCOURAGER, therefor the artisans can showcase the education received and sale their products to the public. In order to draw people in, and learn about the culture and manufacturing even though they might not be interested into buying a specific good, an authentic cafĂŠ will be introduced where costumers can grab a small bite while learning about culture. The idea is that new micro enterprises will be encourage giving all the knowledge necessary for the artisan to progress and become independent by introducing innovative and sustainable goods representing their cultural traditions. By INTRODUCING and REINFORCING COMMUNITY as a way to demonstrate culture and equality the space will serve as an experimental and innovative arts center. Giving the artisans the foundations in creating exportable goods and exposing them to the global market. AIWAA is an INCUBATOR OF CULTURE, DESIGN AND COMMUNITY.
COMUNITY
CULTURE
THE CONFLICT
POPULATION: 990,000
CLIMATE: TROPICAL HUMID 28ºC - 32º C (82 – 90º F)
Area: 606 Km2
CURRENCY: Peso Colombiano
“El Heraldo Noticias Barranquilla.” Los Grandes Males Que Aquejan a La Región Caribe. N.p., n.d. Web. 24 Jan. 2015. Unemployment, poverty, violence refugees, winter refugees, domestic violence, corruption, social violence, are all challenges to overcome in order to develop. The region has the highest rates of poverty in the country, where 70% of the population live in POVERTY LEVELS; 16 points over the national average. Thousands of professionals earn their living through SURVIVAL JOBS such as street vendors, motorcycle taxi drivers and car keepers in the street parking. More than 2.600 families of the region are victims of violence, which have been forced to leave and abandon their lands through armed revolutionary groups. This families, which come from AGRICULTURAL and ARTISAN backgrounds have immigrated to the cities looking for a house and a job without any education and with little or no money at all. Despites the efforts of the government to reclaim their lands, families are receive constant threats making it impossible for them to return. In the department of Bolivar, there are 232.423 UNEMPLOYED VICTIMS of the previously described conflict. Along with the armed force conflict, harsh winters (the rainy season) have left 72% OF THE POPULATION ARE HOMELESS CITIZENS because of flooding and destruction consequences by natural disasters.
UNEMPLOYED POPULATION 53.2%
2.600 Families displaced by political violence
91.4% literacy level
70% OF POPULATION LIVE UNDER 2 dollars a day
EDUCATION
CULTURAL TOURISM
DESIGN
DEVELOPMENT
ART
JOBS
THE OPPORTUNITY main destination of Colombian congresses, conventions and business meetings.
“Most civilizations and societies have used creativity and architecture to seek advancement and change.” - Donald Hypson. Examples of art as URBAN RE-GENERATOR are present all over the world. Through the programs such as The War Veteran Art center in New York, to PMQ in Hong Kong, and Medellin, Colombia where architects and governments have used infrastructure through art as an urban regenerators. Creating the most beautiful architectural structures such as, libraries, community centers and stairwells to fight poverty by bringing EDUCATION TO THE POOREST AREAS. This has forced all the citizens to expose themselves towards poverty and created a sense of community in the city.
206.066 yearly FOREIGN TOURISM
This shows and opportunity, the Caribbean coast of Colombia has been greatly affected by the violence, as described before, and EMPOWERING AND EDUCATING is one solution to the issue. The center would work as an opportunity for educating, creating jobs, developing and creating cultural tourism through and experimental retail space. “Museums Can Play a Role in Urban Regeneration.” Museums Can Play a Role in Urban Regeneration. N.p., n.d. Web. 26 Jan. 2015.
15 of manufacturing of the country is done in the city
%
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CASE STUDIES
ART CENTER
EDUCATIONAL
INSTITUTIONAL
GOALS: • Foster Community • Collaboration • Entrepreneurial Focus
PROGRAM: • • • • • •
130 Design Studios Shops Library Restaurants Exhibition Space Rooftop Garden
SITE: • 450sq Studios • 1951 House of Police Married Officers
“PMQ: The New Creative Hub.” Time Out Hong Kong. N.p., n.d. Web. 26 Jan. 2015. PMQ is a grade three HISTORICAL SITE in the middle of Soho. It was formerly named the Police Married Quarters, and used to serve providing accommodation to married junior police officers. Later, in Spring 2014 PMQ became a new CREATIVE HUB, home of “CREATE-PENEURS.” The architect Billy Tam, designed the venue as a place to nurture local designers providing a stage for “CREATIVE HAPPENINGS. ” The program consists of 130 design studios, shops, restaurants, a library, exhibition space, and a rooftop garden. The studios are approximately 450sq ft and transform into pop-up shops for short-term rentals. The idea is to FOSTER COMMUNITY through common spaces, giving more importance to those, as are the courtyard and the library. They intend to nurture collaboration within the tenants of the various studios. Two times a month the building becomes a night market, inviting the cutting edge eateries, creating a gastronomy festival combined with open studio nights where its costumers and tenants interact celebrating creative happenings. PMQ is extremely successful in creating a space for both LOCALS AND FOREIGN to interact while expressing their innovation and cultural heritage. It is a center for the arts by the arts, finding some of the most authentic creative minds in the city. Along with this, the idea of the night market maintains the site live having a variable that changes every two weeks keeps the new and recurrent costumers coming in.
PMQ - Hong Kong, HK
Casa España- Cartagena, Colombia The center from the SPANIARD EMBASSY in Cartagnea is created with the objective of contributing with the process of modernization and reform for the state of Latin America. The center serves as an ENGINE FOR EDUCATION, REGIONAL INTEGRATION, SOCIAL COHESION, and encourager of the public policies of the Latin countries. It has educational classrooms, exhibition space, and offices.
GOALS::
PROGRAM:
SITE:
• Education • Modernization • Entrepreneurial Focus
• • • • • • •
• Santo Domingo Monastery
Multipurpose Room King’s Hall Lounge Mutis 3 Conference Rooms Workshop Room Computer Room Exhibition Hall
MOMA - War Veteran Art Center, New York, NY “TAG: THE PEOPLE’S ART CENTER.” InsideOut. N.p., n.d. Web. 07 Feb. 2015.
MOMA Innovated after WWII the war veteran ART CENTER with intention of extending programming done at war camps. The idea of the center was to provide art therapy by using art as a way of integrating veterans to civilization. At the moment MOMA has extended the center to all civilians as a public arts education center. The initial experimental goal was not to train professional artist but is has become an outcome of it as veterans find a new passion. The center consists of two visits a week of 3 hours. It is equipped with PAINTING, JEWELRY, WOODSHOP, AND PROFESSIONAL OUTREACH. The initial experiment is a demonstration of art and culture as a development factor. The idea of dealing with veterans of war and introducing new career paths and understanding through art is tied together with AIWAA. This case study demonstrates the positive outcomes of art and design as a bridge
to civilization by war veterans and victims.
GOALS::
PROGRAM:
SITE:
• Art Therapy • Education • Readjustment to Civilian Life
• • • • • •
• 11 West 53st. Old Building in NY
2 Workshops Training Art Therapy 2 Studios Painting Studio Exhibition Space
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USERS ARTISAN
CLIENT
SILVIA TCHERASSI
https://www.silviatcherassi.com/enter.html “La Luz De Silvia Tcherassi - Bocas - El Tiempo.” Eltiempo.com. N.p., n.d. Web. 25 Jan. 2015. As one of the most RECOGNIZED DESIGNER of the country, Silvia has received world recognition taking her designs to places such as Milan and Paris fashion week. Her eclectic designs have been described as having the delicateness of a ballet dancer and, at the same time the strength of a rock star. Silvia, is the spokes person for “MORE ARTS, LESS MINES” a campaign against anti-personal mines, of UNICEF. This campaign accommodates many of the CARIBBEAN ARTISANS, which are affected by the guerilla warfare. The business generates about 150 DIRECT JOBS and the seamstresses are all single mothers. Along this, she has intervened the Wayuu handbags with Swarovski crystals with great success and has become the livelihood of 300 in the Guajira (Northern most part of the Colombian Caribbean Coast). Her designs reflect the beauty of the Latin American women being greatly affected by the socio-political situation and her environment. Her name became a strong brand, which now covers design, shops and hotels. Silvia Tcherassi is a woman who embodies in itself a resounding concept: the importance of always being well dressed. Silvia is a perfect AMBASSADOR of Colombian fashion design brings CULTURAL ELEMENTS into her stores, yet adapting them to better catch the international market and incrementing their value. Even though her brand is a high-end couture it has a great social development and is often striving to expose traditional Colombian elements into her products such as Wayuu bags, landscape pictures and hand crafted bijouterie.
OWNER Name: Silvia Tcherassi Relationship Status: Married Age: 50 Profession: Fashion Designer Nationality: Barranquilla, Colombia As one of the most recognized designer of the country, Silvia has received world recognition taking her designs to places such as Milan and Paris fashion week. Silvia, is the spokes person for “More Arts, Less Mines” a campaign against anti-personal mines, of UNICEF. This campaign accommodates many of the Caribbean artisans, which are affected by the guerilla warfare. Loves high quality goods, traveling and luxury. Enjoys spending time with her kids and husband.
MANUFACTURING OVER LOOK MEETING WITH CLIENTS
HAS A COFFEE IN THE LOUNGE
TEACHES Design CLASS GOES HOME FOR LUNCH
DRIVER DROPS HER OFF
DRIVER DROPS HER OFF
MERCEDES SALAZAR “Mercedes Salazar, Una Hechicera Del Siglo XXI | Actualidad, BLOGS, La Moda Está En La Cabeza, Perfiles | Revista Diners.” Revista Diners. N.p., 14 July 2014. Web. 24 Jan. 2015. http://blog.mercedessalazar.com/ Mercedes Salazar is a COLOMBIAN BORN ARTIST famous for her jewelry design. After having three kids and returning to Colombia from her education in Mexico, along with her husband she created a jewelry company which to date has SIX BRICK AND MORTAR STORES IN COLOMBIA, one in Mexico D.F. and an on line store. The jewels are already in boutiques and design galleries in the UNITED STATES, FRANCE, SPAIN, PUERTO RICO, CYPRUS AND SWEDEN. Mercedes childhood was not an easy one; she lost her father at a young age and was raised by a single mother. Her family was affected in the violence epoch of Colombia. Because of this, her DESIGNS resemble her HUMANITARIAN NATURE. Mercedes investigates new materials and techniques before beginning to design, it is that search that takes her in creating her designs. After designing, SELECTED ARTISANS BRING THE DESIGNS TO LIFE working closely with the designer. Alongside. Mercedes is leading a new project with the prisoners of Colombia: Peligro. She teaches the prisoners how to weave with the yellow danger bands transforming them into baskets. This has given the prisoner a new way to support their families and dream of a better life as they get put of bars. The initiative has created great arousal and positive change within the prisons. “ The jewelry has a meaning, one does not get something nicer feeling that day or because the earrings come with certain clothes. I feel that what you get tied with it is because it has a sense of protection. If you use a stone it is because for you it means something important. The jewelry has a purpose in the lives of human beings. At the end there is a strong history behind, it is a woman expressing herself behind objects” - SALAZAR Introducing a designer such as Mercedes Salazar in the project will bring that humanitarian part of the brand introducing the STORIES BEHIND THE OBJECT, something that she is emphasizing already. Along with the baskets, the prisoners are weaving bracelets. The bracelet comes in a little bottle with a note from the prisoner, stating their goals and dream, giving them hope that someone is learning their stories and sharing compassion.
OWNER Name: Mercedes Salazar Relationship Status: Married Age: 40 Profession: Jewelry Designer Nationality: Bogotรก, Colombia Mercedes created the company with her Husband after the birth of her children. Along with being a mom she enjoys doing social service and promoting progress to the most remote areas of the country such as penitentiaries. She is a great humanitarian leader, and enjoys quality time and crafted goods.
LEAVES ON EVENING FLIGHT TO BOGOTA TEACHES Design CLASS
MANUFACTURING OVER LOOK HAS LUNCH WITH THE ARTISANS
DRIVER picks HER OFF DRIVER DROPS HER OFF
AGUA BENDITA http://shop.aguabendita.com.co/vista/index/aboutus#700heart “Copy of Cadena De Producto Agua Bendita.” Prezi.com. N.p., n.d. Web. 24 Jan. 2015. The Colombian Swim wear company begun in 20013, as a COLLEGE PROJECT between Catalina Alvarez and Mariana Hinestroza. In 7 years into the business they have positioned themselves as one of the fastest growing swim wear brands in the world. Their pieces are product of the best quality of Colombian spandex and handcrafts from local artisans. Their products are a mix of TECHNOLOGY, HANDCRAFT AND COLOR which come together in a maximal design tendency creating a bright and playful brand representative of the Colombian culture. Their new campaign is called 700 HEARTS, which is remuneration to the 700 artisans that handcraft each swimsuit. The campaign entails to demonstrate what makes them different. The vast majorities are mother’s head of household or belong to low-income families, which thanks to the brand initiative have been able to succeed today. The company has been part of the most important runways world wide including places such as: France, Russia, Germany, China, Panama, Miami, New York, Mexico, and Colombia.
OWNER Name: Catalina Alvarez Relationship Status: Married Age: 35 Profession: Fashion Designer Nationality: Medellin, Colombia Catalina loves traveling to beaches around the world and exploring local artisan goods that she can incorporate into her design ideals. She believes she does not work a day in her life because her job is her passion. She practices yoga with her partner daily helping her with meditation and keeping her temper. Name: Manuela Hinestroza Relationship Status: Engaged Age: 34 Profession: Fashion Designer Nationality: Medellin, Colombia Manuela enjoys playing sports. She grew up doing windsurf and water skiing in the lake. She has a dog which she carries everywhere specially while exploring natural environments in her weekends hiking trips.
QUALITY CONTROL
HAS BREAKFAST WITH THE ARTISANS VISITS RETAIL SPACE
TEACHES
Design CLASS
WALK FROM HOTEL WALK TO HOTEL
CLIENT Name: Adriana Plata Relationship Status: Engaged Age: 24 Profession: Lawyer Nationality: Barranquilla, Colombia Adriana’s finance is from Cartagena. They both enjoy visiting on the weekends to go to the beaches, walk in the colonial city and enjoy good food. Her passions in life are traveling, understanding cultures and reading.
MEETS WITH SILVIA TCHERASSI
GOES FOR TAPAS WITH HER BRIDESMAID
STOPS IN A RETAIL SPACE TO BUY A GIFT FOR HER SISTER IN LAW
WALKS THROUGH CENTER GRABS A CAB HOME WALKS TO RETAIL SPACE
CLIENT Name: Tatiana Gadala Relationship Status: Single Age: 21 Profession: Student Nationality: El Salvador Tatiana studies fashion at Parsons in New York. On her college vacations she enjoys backpacking around the world exploring different crafted goods, and getting inspiration for her designs. She enjoys having a healthy life, eats nutritional food and goes to the gym 5 times a week.
MEETS THE ARTISAN EXPLORES MANUFACTURING
LEARNS FROM CULTURE
STOPS IN A RETAIL SPACE TO SHOP WALKS TO MUSEUM
WALKS TO cultural center FROM HOTEL
EMPLOYEE Name: Kana Kuala Relationship Status: Union Age: 18 Profession: Artisan Nationality: Santa Marta, Colombia Her artisan heritage is made from minimalistic qualities, processing plant fibers as iraca conga, joro and bodre to produce hats, mats, and baskets. She was born to be married with the leader of the tribe. The guerilla warfare took their lands 4 years ago. Ever since she migrated to the city, she has been living on the streets and selling her products to earn a day-to-day living.
ATTENDS DESIGN CLASS
MEETS WITH PROSPECTIVE CLIENTS
WORKS IN MANUFACTURING
WALKS TO CENTER
SHARES HER STORY
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BUILDING AND SITE ANALYSIS
SITE ANALYSIS
HISTORICAL OVERVIEW Cartagena de Indias is a CITY FULL OF HISTORY AND CULTURE in its streets and inhabitants, FOUNDED IN 1533 by the Spanish conquistador Don Pedro de Heredia, at its time it was the most important port in America. With an excellent location for a Spanish military fort, the city rapidly became a treasure for the Spanish crown. The urban planning of the city was defined as a MAJESTIC RING OF WALLS and fortifications to defend the successive attacks by pirates that today is a reflection of the history of a COLONIAL TOWN. In its historical center, its streets, houses and balconies are proof of the architecture of a Spanish villa colonial times . As a city full of history, it was declared a UNESCO WORLD
Cartagena - Historical Center
GEOGRAPHY Cartagena de Indias is located in the NORTHERN CARIBBEAN COAST OF COLOMBIA, capital of the department of Bolivar. The altitude of the city is sea level with an exception: the formation of the hill of La Popa and its height is about 148 meters. The weather tends to be generally WARM ALL YEAR ROUND, yet the breeze makes the climate is very pleasant and bearable . Its average temperature is 31 ° C.
POPULATION The city of Cartagena has a population of 983.545 INHABITANTS, according to latest population estimate by the National Administrative Department of Statistics ( DANE ) in 2008 .
DEMOGRAPHICS The ethnic composition of Cartagena is the result of the MERGE of three primordial ETHNIC GROUPS: preColombian indigenous or native who were the Calamarí; white, coming from Spain, and brought enslaved black Africans. The symbiosis of these races manifests itself in a predominantly MULATTO , MESTIZO AND THE BLACK POPULATION.
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Access Routes 15 MINUTE WALKING DISTANCE FROM NEAREST PUBLIC TRANSPORTATION or MAJOR ROUTES NO VEHICLE TRAFFIC.
MAIN VEHICLE PATHS
THE NEIGHBORHOOD The neighborhood is composed by COLONIAL MILITARY STRUCTURES such as stone walls, bastions, and forts juxtaposed with a well-preserved colonial and republican city. The core of the neighborhood is predominated by the historical and cultural sites such as cathedrals, churches, the Gold Museum, Museum of Modern Art, Witchcraft Inquisition museum, and the colonial theater Adolfo Mejia al within walking distance from the site. There are not many parks in the surrounding area how ever, there are PLAZAS THAT SERVE AS COMMUNITY REINFORCEMENT. The street life surrounding the site is very live bringing allot of foot traffic and not being accessible by cars, except taxi drivers and special vehicles in certain hours of the day. The site is a 15 MINUTE WALK FROM THE CORNERS OF THE WALLED CITY, and in a 5 minute walk from most historical and cultural important landmarks.
HOTEL BAR
RETAIL INSTITUTIONAL / CULTURAL RESTAURANTS
PROXIMITY The site is located in the HUB OF RESTAURANTS, HOTELS, HISTORICAL MONUMENTS AND RETAIL SPACES. The location serves positively towards the programs as it encompasses retail,
Calle del Colegio 34-75 BUILDING ANALYSIS
Located in the northern coast of Colombia, the 1537 HOUSE HAS BEEN FOR CENTURIES A PLACE OF COMMERCE, RELIGION, HOSPITAL AND EDUCATION. Originally built as an episcopal church connected to th San Sebastian Hospital the house has the remains of some of the most important celebrities of the cities history such as: Fray Tomas, and Sebastian De Belalcazar. After its construction in 1537, the city suffered a huge fire in 1552 leaving the house in ruins. In 1610, after the cathedral is relocated a few blocks away, the house becomes purely a HOSPITAL: Capilla de San Cosme y Damian. Translating into the vice-royalty era 1717 CARTAGENA BECOMES ONE OF THE MOST IMPORTANT COLONIES under the crown of Spain. In 1775 the house becomes the Royal School of San Carlos Borromeo until 1825. The cities story took a drastic change afer the Independence, becoming home to many immigrants, such as the Italian Juan Bautista Mainero y Trucco, becoming the city’s biggest commerce men, through gold, silver, and lumber, who bought the house in 1869 FOR COMMERCIAL PURPOSES. After his death in 1913 the house has passed through various owners
LEVEL I
LOAD BEARING WALL NOT IN SCOPE OF WORK
STRUCTURE ROOF TOP LEVEL II
OPEN COURTYARD
house is built upon the COLONIAL ARCHITECTURE through load bearing walls and an
The
arcade in the courtyard. Its central courtyard allows for cross ventilation and shade. Floor to ceiling windows and doors allow for NATURAL LIGHT to penetrate into the interior space illuminating the tall ceilings. The central courtyard in the first floor and hall way in the second serve as the main circulation . The rooms connect within each other with small openings, yet maintaining privacy. It has two main SYMMETRICAL AXIS in the design planning, it is not ADA compliant, has NO ELEVATOR and only two staircases.
COMPOSITION
LEVEL III
The building is composed to 2 main levels and a small TOWER that overlooks the colonial city. Floor height levels vary achieving an open floor plan along with a central courtyard and circulation.
OPEN CEILING OPEN COURTYARD
The building contains balconies and ceiling variations allowing natural light to fill the space. The air circulation in the building is great serving in heating and cooling, the central courtyard serves for cross ventilation and all windows are equipped with shutters to filter the morning sun in through the main facade.
NATURAL LIGHT
LOWEST THERMAL GAIN HIGHEST THERMAL GAIN
1m
1.5m
2m 1.5m
1.5m
3.5m
NORTH ELEVATION
12.77M 10.28M 2m 3.2m
2.3m
.8m
4.90M
2.7m
VERTICAL CIRCULATION 3.5m
EXISTING ENTRY / EXIT EAST ELEVATION
POTENTIAL ENTRY / EXIT ENTRANCE
WINDOW / OPENING
Fire Safety &Fenestration Building contains NO ELEVATOR, and is not compliant to USA or ADA building codes.
- 29 floor to ceiling windows - 2 main entrances - 9 clerestory windows - 4.94 m first level height - 5.31 m second level height -12.77m tower level - 40:60 Fenestration : Massing
MATERIALITY
BRONZE STAIR CASE
RED BRICK / WHITE WOOD
EXPOSED HVAC / WOOD BEAMS / STUCCO WALLS
MARBLE TILE
CORALINA COLUMNS / DARK OAK WOOD
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SCHEMATIC DESIGN
PROGRAM
DESCRIPTION Lobby Reception Waiting Area Men's Restroom Women's Restroom Café Costumer Seating Kitchen Counter Utility Closet Men's Restroom Women's Restroom Retail Shop Display Area Dressing Room Cashier Storage Utility Closet Administrative Office Private Office Open Office Break Area Utility Closet Men's Restroom Women's Restroom Design Studio Open Workplace Meeting Room Tech Lab Locker space Men's Restroom Women's Restroom Utility Closet Seamstress Sewing Weaving Utility Closet Men's Restroom Women's Restroom Woodshop Manager Office Manufacturing Utility Closet Technology Room Men's Restroom Women's Restroom TOTAL:
SIZE UNIT IN SF
QUANTITY
100 300 100 100
2 2 1 1
2,000 600 150 50 100 100
1 1 1 1 1 1
1,500 300 100 350 50
4 2 4 4 4
1,000 80 25 200 50 60 60
1 3 5 1 1 1 1
800 300 1,000 150 100 100 50
3 1 1 1 1 1 1
1,000 1,000 50 100 100
1 1 1 1 1
200 2,000 50 500 100 100
1 1 1 1 1 1
TOTAL SIZE 1000 200 600 100 100 3000 2000 600 150 50 100 100 8,600 6,000 600 400 1,400 200 735 240 125 200 50 60 60 4,100 2,400 300 1,000 150 100 100 50 2250 1,000 1000 50 100 100 2850 200 2000 50 500 100 100 22,535
NOTES There will be 2 lobby areas in the different corners of thebuilding.
The Café will be a combination of closed and open seating with a closed kitchen.
The administrative office should be near the manufacturing and seamstrress for quality control, yet adjacent to the lobby.
Open and collaborative studios, with pin up space.
CONCEPT DEVELOPMENT
CONCEPT I: MAREA As the tide, A+D represents a STRONG CURRENT confined in the historical city of Cartagena, Colombia caused by a current of people seeking for culture and innovation in the city. By imitating the NATURAL MOVEMENT of a wave through out the space the user can freely navigate a path determined by form and flow in a complex program. Colonial architecture with dynamic and crafted elements will keep A+D true to the project. Creating a HARMONIOUS ENVIRONMENT, Imitating the culture and materiality of the site while still introducing the element of innovation.
CONCEPT II: ECSTASY Ecstasy is the state of PURE HAPPINESS, an active or effective force, a drive to undertake and grow. The idea of A+D is to create a space where people go to explore, play, and learn. The energy of ecstasy is exemplified through the use of BOLD COLORS AND A TACTILE EXPERIENCE. The use of textures and exemplification of movement and energy will encourage the user in the exploration of cultural experiences.
CONCEPT III: ROOTS
Roots are the connection to what surrounds you; this connection gives a strong foundation, security and stability of the individual. As the roots A+D intends to tie the roots of culture back to its origin by tangling the user in knowledge and cultural experiences. By imitating the form of the roots, the space will be created giving a strong fundamental DIRECTION to Colombian indigenous tribes origins. Incorporating raw and true to the region materiality will be key in achieving a successful holistic design..
FINAL CONCEPT: WAVES As a wave, A+D represents a STRONG CURRENT confined in the historical city of Cartagena, Colombia caused by a current of people seeking for culture and innovation in the city. The idea of A+D is to create a space where people go to explore, play, and learn. The energy of a wave is exemplified through the use of REPETITION AND A TACTILE EXPERIENCE. By imitating the NATURAL MOVEMENT of a wave through out the space the user can freely navigate a path determined by form and flow in a complex program. The use of textures and exemplification of movement and energy will encourage the user in the exploration of cultural experiences. Creating a HARMONIOUS ENVIRONMENT, Imitating the culture and materiality of the site while still introducing the element of innovation.
SCHEME I The courtyard becomes a recreational spot for all the parts of the program. By introducing a greet space with a fun, designed, and artisan arrangement the user will use this space as a reflection spot, where they can explore and understand the culture. As well, the green space will allow for ventilation and temperature control at the afternoon when the sun hits directly the house. Also, by introducing curved variation patterns in the floor the user will be introduced into a more dynamic space with a sense of direction inviting them to explore different spaces.
SCHEME II
The idea of having the restaurant in the center and bringing the design studios to the first level is to introduce a sense of community. By introducing ceiling installations with reflective surfaces, and the loud vivid courtyard the space will use the waves of sound as an inspiration for movement and explosion just as the culture of Cartagena. The idea is for the courtyard to be created of all different chairs and tables, and to carry this concept in designing the rest of the interior spaces in order to imitate the community of the neighborhood and introducing the story of the house. Mainero y Trucco, the official owner of the house use to owe most of the houses in the neighborhood and when ever something was broken from one he would tell the tenants to grab it from the following house. This collage of houses is still present today, specially in the balconies, by introducing this idea in the space it will evoke the culture of the city, and how each user brings a special something to the table, generating a space which principal is to share.
SCHEME III These scheme separates manufacturing from retail and design spaces. Design studios will take the most prominent commercial space, creating an open environment and inviting tourist into the space, while retail takes a step back for purely locals. For this, the design studios will be completely open with a lot of pin up space, allowing for them to become a walking gallery of the artisan process. Color variation and paths is the most important aspect of the scheme. The plaza will become a city plaza purely used for transit, yet having an intricate floor patterning to activate the space, and creating intricate journeys through space. Here, the space becomes direct rather than radial creating an easier user experience.
STAIR WAY ELEVATOR SHAFT CIRCULATION PATH PRIVATE EDUCATIONAL SEMI-PRIVATE EDUCATIONAL PUBLIC RETAIL RESTAURANT GREEN SPACE
FINAL SCHEME
These scheme separated the semi-private from the public spaces, and combines leisure with education laving manufacturing independently. The restaurant and retail space become the most prominent spaces creating an inviting environment and inviting a wider range of costumers into the space. The plaza will became a city plaza purely used for transit, yet having an intricate sculpture patio to activate the space, and reinforce culture. Here, the space becomes direct rather than radial creating an easier user experience. In addition the use of a neutral color pallete and few design accents create a more elegant space respecting the colonial architecture and achieving a more succesfull adaptive re-use.
SCHEMATIC FLOOR PLAN L1 This stage of development focused mostly on function and form. The intent was to create a space which fostered community through the use of connecting private spaces. The incorporation of classrooms on the first level, combined with retail and culinary arts intended to diverge manufacturing from engagement creating a more pleasant experience for the costumer.
Gallery
3' - 4"
UP
Gallery
UP
UP
Lobby
UP
Apparel Accesories Dressing
Window Display
1
Level 1 1/8" = 1'-0"
SCHEMATIC FLOOR PLAN L2
RETAIL: Clean and open space, where the element of surprise becomes the craft and the design a supporter of the elements sold. very dim lighting, focusing on the products and architecture. By introducing modern furniture, contrasting with the old architecture the adaptive re-use is reinforced and a better expression of culture expemplified.
RESTAURANT: The double height space is brought down through the use of pattern development and repetition in order to create a more personal environment. Various seating types are offered such as booth, lounge and traditional square tables. Again, very modern and monochromatic furniture is introduced to the space allowing the design to become inclusive rather than obtrusive to the cathedral space.
COURTYARD: The courtyard becomes a central area for communication within the different activities offered by the program. In this case, the central courtyard should showcase culture and reinforce art. By elevating the courtyard and introducing a water fountain which is naturally sourced by the water well the design is connecting to the origins of the house and accentuating traditional cultural elements. In addition, a sculpture patio is introduced in the space where various artist can showcase their work as a compliment to the gallery.
LOBBY: The lobby is used for all services of the program. The idea was to create a captive space that resembles the environment in which many of the artisans some from. The irregularity of the land is introduced by the ceiling element with the reciprocation of the wave. Very natural materials and mantaining the original flooring is a key element of the design.
6
DESIGN DEVELOPMENT
FINAL FLOOR PLAN
2
3 1
NOT IN PROGRAM
LEVEL I 0’ 10’
4
5
NOT IN PROGRAM
LEVEL II
0’ 10’
LOBBY
RESTAURANT
KITCHEN + LOUNGE
DESIGN STUDIO
RETAIL
SCULPTURE PATIO