Antonio Pacheco Portfolio 2015

Antonio Pacheco

20151

Proposals for Reconstructing Alamar

Contents:

Marcello in the Fountain

2014, Supertext

Designed interventions aimed at adapting the climactic incompatibilities of extant Soviet-era housing in Cuba to a hot, humid climate.

OCH Kitchen Incubator

2012, Studio Project

Antonio Pacheco

[email protected]

M.Arch 1M.PS

2015 Rome Prize Proposal in Historic Preservation and Design: Architecture categories.

A generic structure designed to facilitate the needs of a culinary academy in the Central City neighborhood.

Wetland Urbanism

2012-2014, Office of Jonathan Tate

Publication and traveling exhibition analyzing the resource-extraction industry’s impact along Bayou Lafourche, Louisiana. Exhibited: Houston, 2013; Buenos Aires, 2013; Rotterdam, 2013, Venice Biennale, 2014.

2015

2012-2013, M.Arch I Thesis

Antonio Pacheco

20152

Antonio Pacheco

Design

416 State StreetBrooklyn, NY 11217

314.566.3899

Education Work Experience

SkillsPublications

[email protected]

Washington University in St LouisSt. Louis, Missouri.Bachelor of Arts in Architecture,

Spring 2014

Tulane UniversityNew Orleans, Louisiana.Master of Architecture I;Master of Preservation StudiesSpring 2014

Marcello in the Fountain: Contemporaneity, the Ephemeral, and the Absolute: Monumentality in Rome, Reconstructed, 2014.

Proposal for American Academy in Rome’s 2015 Rome Prize; in collaboration with Rebecca X Fitzgerald. Analysis of changing attitudes towards and uses of monumentality and genericism in Rome.

Digital Technology

Historic Preservation

Production

Research & Writing

Seven years’ experience in architectural and graphic design. Recent interest in publication design, in print and online.

Fluent in Autodesk Revit and AutoCAD, Adobe Photoshop, InDesign, and Illustrator, and Microsoft Office/Open Office/Google Drive; working knowledge of SketchUp, Rhinoceros, and GIS.

Knowledge of historic nomination and tax credit process, Secretary of the Interior’s Standards, and Section 106 regulations; experience conducting building and neighborhood surveys for National Historic Register nominations; generating as-built drawings and historic structures reports; building documentation and adaptive re-use.

Extensive hand drawing experience, model building and wood working, silkscreening, book-binding, and digital mixed-media collage techniques. Working knowledge of analog photography, editorial design, and small-scale exhibition design.

Deeply interested in mid- to long-term research projects in the fields of design, architecture, historic preservation, and architectural history and urbanism.

Supertext

In partnership with Rebecca X Fitzgerald; a research-oriented self-publishing studio focused on issues in design, urbanism, and architectural history.

Office of Jonathan Tate

Assisted in the research, design, and production of a book about Southeast Louisiana under Jonathan Tate. Helped translate book’s contents into a traveling exhibition format.

Preservation in Print

Assisted in development of updated style-guide and contemporary branding for preservation-oriented magazine under Mary Fitzpatrick; contract writer, photographer and graphic designer.

Landmarks Association

Preparation of nominations to National Historic Registry under directors Jeff Mansell and Andrew Weil. Wrote building descriptions in support of nominations; conducted building permit research.

J. Paul Getty Museum

Assisted in public opinion surveys for Education Department under Mary Beth Caruselo, researched various museum collections across United States.

New Orleans, LA.Co-Founder, 2014 -

New Orleans, LA.Research Intern, Summer 2013

St. Louis, MODesign Intern, Summer 2012

St. Louis, MOResearch Intern, Summer 2011

Brentwood, CAUndergraduate Intern, 2008

Purpose-Built: Problematizing the Discrete Periodization of Patrimony and its Impact on the Postmodern City, 2014.

Self-Published booklet observing the contemporary state of postmodern architecture in the city and the impact of historic preservation on this urban condition through the lens of case studies in New Orleans, USA and la Défense, France.

Dixieland Ranch: The Ranch House in New Orleans, 2014.

A typological expoloration of post-war urban infill in historic neighborhoods.

Peaux-Meaux: The Post-Modern in New Orleans, 2014.

Article published by Failed Architectures surveying the extent of Post-Modernism in New Orleans’ Central Business District.

3 Continents Exhibition, 2014.

Work from ‘Wetland Urbanism’ exhibited: Houston, 2013; Buenos Aires, 2013; Rotterdam, 2013, Venice Biennale, 2014.

Bloc Mannerism - Khrushyovka Revival: The Soviet Apartment as Preservable Junkspace, 2013.Thesis, Masters of Historic Preservation, Advisor: Elizabeth Burns Gamard; An architectural-historical analysis of extant serially-produced apartments from the Soviet era in Moscow, Bratislava, Ulaanbaatar, and Havana.

Wetland Urbanism, 2013.

Publication observing and interpreting resource-extraction industry’s impact along Bayou Lafourche, Louisiana.

Proposals for Reconstructing Alamar: Adapting Soviet Housing in Cuba via Gradual, Self-Built Intervention, 2013.Thesis, Masters of Architecture I, Advisor: Scott Bernhard; A design-oriented intervention into alleviating climactic incompatibilities in Cuba’s Soviet-era housing.

Antonio Pacheco

20153

Jonathan Tate

Advisor:

A generic structure designed to facilitate the needs of a culinary academy. on Oretha Castle Haley Boulevard. Office and classroom spaces are elevated above a service floor containing forced air systems, utilities, walk-in refrigerators, and curing chambers. A double-height ground floor below is left open -utilities are supplied from above- allowing for flexible kitchen spaces on the ground. The liberated facade is allowed to take on a variety of configurations such that the function of the culinary academy shifts from being merely educational in nature to a hybrid between for-profit business incubation, on-the-job training, and public space. Facades, mounted on large, movable garage doors, can take on many configurations, allowing for each bay of the facade to potentially become a different storefront where, instead of attending baking class, for example, students spend time working at an impromptu bakery, or, learn about charcuterie through an improvised butcher shop.


Antonio Pacheco

20154


Antonio Pacheco

20155


Antonio Pacheco

20156

Natan Diacon-Furtado Rebecca FitzgeraldJessica O’DellAntonio Pacheco Jonathan TateNeena VermaAnn Yoachim

Project team:

A yearlong investigation conducted by Tulane School of Architecture and Office of Jonathan Tate observing and interpreting the resource-extraction industry’s impact along Bayou Lafourche, Louisiana through a design publication and traveling exhibition. Book and exhibition materials from Wetland Urbanism were exhibited in Houston, 2013; Buenos Aires, 2013; Rotterdam, 2013, and Venice Biennale, 2014 as part of a traveling exhibition, 3 Continents.

Images shown include work from “Postcards from a Crude Urbanism” and “Oiled Landscape,” projects that were developed as independent work for the in-studio portion of this investigation.

Wetland Urbanism

Antonio Pacheco

20157

Wetland Urbanism

Antonio Pacheco

20158

Roughly 140 million Soviet-style housing units exist around the world. These generic, pre-fabricated, and often cooperatively-constructed buildings were typically employed irrespective of climate and context. Simultaneously, they represent a tremendous amount of embodied energy -an intrinsic human and material value that demands contemporary intervention. This project supposes the Soviet type can be adapted to any locale if its current condition is steered towards passive ends. The following interventions, applied at expanding scales- beginning with that of the individual unit, graduating to entire buildings, and eventually neighborhoods, can, through aggregation and sensitivity to extant vernacular adaptations, catalyze urban-scale change.

Proposals for Alamar

Scott Bernhard, AIA

Advisor:

Antonio Pacheco

20159

Existing and Proposed Exterior and Interior Facades

Proposals for Alamar

Antonio Pacheco

201510

Rebecca Fitzgeral

d & Antonio Pacheco

Rome Prize 2015

01

Marcello in

the Fountain

Contemporaneity, the Ep

hemeral, and the Ab

solute:

Monumentality in Rome, Recon

structed

Since Roman antiquity is not only a recollection imbued with nostalgic ideologies

and revolutionary expectations, but also a myth to be contested, all forms of

classical derivation are treated as mere fragments, as deformed symbols, as

hallucinating organisms of an order in a state of decay.

Preservation’s mode of creativity is not based on the production of new forms but

rather on the installation of formless aesthetics to mediate between the viewer

and the building...As mediation, preservation can operate through the medium

of building, electric light, sound, recorded lectures, manufactured smells, video,

websites, journals, legal frameworks, and a host of other media.

Manfredo Tafuri, Architecture and Utopia: Design and Capitalist DevelopmentJorge Otero-Pailos, Supplement to OMA’s Preservation Manifesto

Rome has, for centuri

es, been a heter

otopic environment for t

he West: it is here, o

ften, that the gre

at myths of Western cu

lture are formed, refor

med,

contested and sub

verted. This proc

ess has relied on

a web of monuments, exc

eptional buildings

declared as wort

hy of preservatio

n for their conti

nuous value

to the world. When an e

xceptional buildi

ng, however exc

eptionality is def

ined, is declared

a monument, it has confe

rred upon it an

ahistorical qualit

y both

conceptually and

literally: a monument’s sta

tus as such guara

ntees its preserv

ation, and simultaneou

sly relays the pr

esumably eternal qual

ity of its value.

Beginning in ear

nest in post-war

Italy, and coming to b

e the center of a

rchitectural and

critical discourse

in the 1970s and

80s, an examination o

f the potential

for occupation to

deconstruct eter

nal, or absolute v

alue involved a

reconsideration of

time according to in

dividual and coll

ective action: momentary, f

leeting,

ephemeral. Concomitant wit

h this process w

as an exploration

of the global p

roductivities and

participatory cap

acities of reprod

ucible media: film

, magazines,

photographs, con

sumable objects, and

their ability to c

reate a new kind

of monumentality, just as t

hey deconstruct t

he old.

For millennia,

the Roman urban

condition has be

en one of overlai

d realities: the m

onuments of the city’

s past lives pers

ist, erode, are re

built,

resignified, and r

ediscovered alon

gside the spatial

incarnations of n

ew eras, and tak

en as an entire b

uilt environment, the

past, present, and

projected future

are

never wholly in

alignment, nor wholly a

ntagonistic. Narra

tives of national

formation and interna

tional influence,

embedded in the bu

ilt, exist in conv

ersation as

they are absorbe

d into the narrati

ve of the contem

porary lived moment. The

use of monuments as

symbolic capital, or t

he commodification of pat

rimonial

value, has its ro

ots in ancient Ro

me: the repurposin

g or outright cop

ying of Grecian

art and architect

ure according to

Roman national narra

tive represents o

ne

of the efforts th

at defined the em

pire’s birth. In 1

506, construction

of St. Peter’s B

asilica begins, w

ith stones from the Co

losseum asserting the po

tential for

another kind of

material transfer o

f monumental value. The

modern initiation o

f this process is

organized around

a reclaiming of th

e 19th century p

roject of

Risorgimento, or

Italian unification

, begun in 1815

with the Congre

ss of Vienna and

recouped by the

Fascists under M

ussolini in 1922.

The ideal of the

“terre

irredente” – liter

ally, “unredeemed lands

” – figured cent

rally in unificatio

n discourse, and

grounded nationa

lism in Italy’s built

fabric, both real

and projected.

The apotheosis o

f the terre irrede

nte came not through a

physical unificatio

n of territories, b

ut rather through

the contentious

but still significa

nt, if shifting,

repositioning of

ancient Roman tradit

ion, via monument, acco

rding to fascist id

eology.

The con

nection between

historic preservat

ion and nationali

st discourse, too,

is well establish

ed. Codified in t

he 19th century,

when industrializ

ing

countries began t

o place the monuments of

their past within

a teleological fra

mework that define

d their moderniza

tion as an inevita

ble progression t

owards

more technologica

lly refined manifestati

ons of their own

particular nation

al characters. The

practice of embedding

within monuments of

the past the “offi

cial

histories” of a na

tion came to cha

racterize the role

of preservation

in modern societies a

s on through wh

ich national narra

tives were establ

ished.

Rome’s privi

leged position as

the seat of Western ci

vilization is writ

large during World War II; po

st-war, Rome looks

to cities like Lon

don, whose

built patrimony has

been ravaged by

war, and sees its

elf “preserved” b

y contrast throug

h its being decla

red an “open cit

y” – for its perc

eived irreducible

value.

Italians in partic

ular, therefore, a

re tasked with as

sessing what this

means, and Rome, thereb

y, becomes the e

picenter of an ex

amination of the va

luation and

uses of material h

eritage, and the

meaning and perce

ived irreducibility

of monument: What is valued, wh

y, and by what

means? Moreover,

what is the material

value of classica

l antiquity, when

its ideological h

eritage has been

subsumed under fascist

doctrine both rhe

torically and thro

ugh the rationalis

t architectural

practice of the fa

scist era? As the

purposeful deco

nstruction of abs

olute narrative is

undertaken acro

ss the world, som

e nationalist disc

ourses are able

to shift

almost entirely away

from their histories a

s a means of pluralizin

g ideology and

wresting themselves o

f authoritarian co

ntrol; in Rome, much of t

he built is

protected, and it

is therefore impossible

to turn to the m

odern built enviro

nment as a refuge

from the ideologicall

y-complicated heritage

of past eras. In

the

vacuum of post-war Ital

y, the “Italian Ec

onomic Miracle” (roughly

post-WWII to 1969, but

in particular 195

0-1963) served a

s impetus in a radical

reshaping

of Rome’s constructed e

nvironment as the Italian

national narrativ

e was being red

efined along cor

porate capitalist

lines: the degree

to and rapidity

with which

Italy changed po

st-war, as American m

oney and Western id

eas about econom

ic progress, produ

ction and consum

ption flooded in

at unprecedented

rates, helped

to create an unav

oidable cultural

rift, though rathe

r than a division

between contem

poraneous classes

, it was a temporal rif

t between a past

imaginary and

a present one. P

ost-war Italians

contended with t

heir previous inca

rnations: what re

mained of a cultu

re that, until WWII, was

largely agrarian,

as they were

tasked with creat

ing a new nation

al identity, one t

hat could exist a

longside capitalist

products, attitud

es, and narrative

s. This collectiv

e project was de

fined by

changing attitude

s, grounded in a

built environment that

necessarily contin

ued to contain th

e evidence of a

material heritage –

that of ancient R

ome – that had

been ideologicall

y repurposed thr

ough the rational

ist architecture (

perhaps epitomized by

the Esposizione U

niversale Rome) – of

the fascist era.

This pos

t-war condition,

fueled by the in

flux of capital a

nd the Italian en

trance into an in

ternational conve

rsation about modernity

and consumption,

manifested itself in

a collective exam

ination of Roman monument; as I

taly’s architects

are busy designin

g social housing

for the rapidly u

rbanizing populat

ion,

it is the Italian

neo-realists, and

later the post-ne

orealist auteur d

irectors of the 1

960s and 70s, wh

o place all “Rom

es” together in a

hyperbolized bu

t

inseparable reality

with one anothe

r; a series of di

sconnected archi

tectural “moments,” th

e modern urban cond

ition emerges. It

was the neo-rea

lists who liberate

d

film from the studio, and

the revelation of

a highly subjec

tive, dematerialize

d urban experien

ce, seen in cine

matic representatio

n as early as the

1950s, becomes

a major generator of

thought and pre

cursor for the av

ant garde genera

tion, at a time when

intertextuality and

interdisciplinarit

y claimed dominance.

Antonio PachecoRebecca Fitzgerald

Project team:

From the Tendenza to the avant garde, “continuity with architectural history” was used as a means of reclaiming Italian material heritage from authoritarian ideology. The historicization of monuments according to personal narrative and ephemerality served to bolster monumentality by repeatedly and freely reasserting existence in the present, designed moment. Fellini’s Mastroianni and Ekberg in the Trevi Fountain, as they physically occupy a monument itself built from repurposed antiquity, are exemplary of this process. The image of this adulteration was self-consciously projected across the world, becoming part of a concomitant exploration of the productive capacities of reproducible media: at the moment of its dissemination, La dolce vita joined the discursive landscape, and became a part of the Trevi Fountain’s total construction. We too embrace the interpretive act and propose an exploration of Rome’s psychogeographies by retracing its occupation through alternative mappings.


Antonio Pacheco

201511

Rebecca Fitzgerald & Antonio Pacheco

Rome Prize 2015

The Fascists (1910s-40s)The Fascist conception of Italian statehood relied heavily on the use of antiquity and its associated symbols to trace a direct lineage between prior eras and the equally glorious potential Mussolini’s present. During the 20th century, Italian nationalist discourse focused intently on recapturing and reframing” Romanitas” – a term that encompasses the cultural/socio-political productions and reproductions that make up what it is to be “Roman,”– it also came to stand for Italian national character in general and a broader examination of relative cultural permanence and ephemerality.

Auteur Filmmakers (1960s-70s)Directors like Frederico Fellini and Michelangelo Antonioni utilized the gaze of their cameras and the Cinecitta’s “factory of images” to occupy and resignify ancient monuments and to write new narratives for Italians.

The Ancient Romans (27 BCE – 476 CE)The use of monuments as symbolic capital has its roots in ancient

Rome; they repurposed, copied, and resignified ancient Greek art and

architecture according to new national narratives; this process marks

one of the major efforts that defined the birth of the empire.

The Reformation, Counter-Reformation & The Baroque (1300s-1500s)

The Reformation and Counter-Reformation spawned invention of

Baroque architecture. The aggressive and copious production of new

but highly derivative works of ecclesiastical architecture was used

to solidify the Catholic Church’s authoritative grasp and ahistoricity

in that contemporary society.

The Neo-Realists (1944-52)

Italian filmmakers, forced out of the Cinecitta studios due

to damage sustained during WWII, took to the streets of

their cities and towns to dramatize the concerns of rural

and working poor by using mostly-non professional actors.

Lamentation of Christ,Andrea Mantegna, 1480

Mamma Roma,Pier Paolo Pasolini, 1962

Roma, Citta AperaRoberto Rossellini, 1945

Fontana di Trevi,Nicola Salvi, 1762

La Tendenza del Dottor Antonio,Frederico Fellini, 1962

La Dolce Vita,Frederico Fellini, 1962

Campo Marzio, Giovanni Battista Piranesi, 1762

Forum Romanum, 900 BCE

The Enlightenment Philosophers (1700s-1800s)Scholars, looking to escape the deeply dogmatic legacy of the Counter-Reformation, looked to the ruined -and pagan- artifacts of Rome and Greece, equating those relics with notions of civic virtue, order, and rational thought.

EUR, Marcello Piacentini,1936

The Grand Tourists (The Romantics) (1700s-1900s)

Synopsis: The nobility viewed travel in the pursuit of knowledge as a formative and

necessary experience expected of any proper gentleman. Travelers equated pilgrimage to

ancient monuments and the city of Rome, in particular, as an essential part of covering

the “blank slate” of selfhood with meaningful and timeless life experiences.

The Jubilee Pilgrims (1300s)Rome is he conceptual center of Christiandom’s Papal authority, housing

that faith’s most important physical artifacts. These two aspects combine during the Jubilee; engagement with both

is necessary for the faithful to receive

The Renaissance Artists (1300s)The gradual discovery of the roots of European cultural history would shape the tripartite chronological organization of the continent’s

history.

The Post-Modernists (1970s-90s) 1970s architects looked to antiquity for inspiration and guidance. The first Venice Biennale in 1980 brought together architects and Cinecitta craftsmen to “show real architecture.” They transformed ancient

monuments in the popular architectural imaginary as a vital tool deployed to diversify and erode Modernism’s conceptual rigidity.

L’Eclisse,Michelangelo Antonioni, 1962

Presence of the PastPaolo Portoghesi, 1980

Roma,Frederico Fellini, 1972

Statue of a wounded warrior, ca. 138–81 CE; (Roman copy of a Greek bronze statue, ca. 460–450 BCE)

Scale & Monumentality

The Monumental City

New MonumentsSingular Monuments

Abstracted Monuments

Groups of Monuments

Occupying Monuments

Copied Monuments

Postmodern Monuments

Re-staged Monuments

1

Coliseum, 70 CE

Staged Monuments

Studied Monuments

Commodified Monuments

The Tyranny of Monuments

Basilica Papale di San Paolo fuori le Mura, 386 CE

Basilica Sancti Petri;,Bramante, et al, 1626 CE

Veduta dell’Anfiteatro Flavio detto il Colosseo, Giovanni Battista Piranesi 1776 CE,

Das Pantheon und die Piazza della Rotonda in Rom, Rudolf von Alt, 1835 CE,

Consecrated Monuments

START HERE

The Re-signification of Monuments


Antonio Pacheco Portfolio 2015

Documents

Transcript of Antonio Pacheco Portfolio 2015