PORTFOLIOMiriaM roure Parera
DeceMber 2010
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LIST OF SELECTED PROJECTS
PROFESSIONAL - Office for Metropolitan Architecture and MATEO Arquitectura
1 TTE DE PONT2 BIENNALE DI VENEZIA - OMA EXHIBITION3 FONDACO DEI TEDESCHI4 PRADA WOMAN SS2010 CATWALK5 CASARTS . TTRE DE CASABLANCA
ACADEMIC - Cornell University, B.Arch 2009
6 TESTING BENIDORM7 INTERLOCKING PATHS8 MAGNETOS MUSEUM9 NIHIWATU HOTEL10 LIBERAS POST-OFFICE11 RED HOOK12 SEIPP PRIZE COMPETITION13 ScreeN oF ScaLeS14 CONES OF LIGHT
0711172531
375765779197
103109115
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1 TTE DE PONT
MATEO Arquitectura2006 CompetitionProject development: November 2010 -Participation in the project: 6 weeks -
Bayonne, France Principal and Project Leader: Josep Llus MateoOriginal team: Till von Mackensen, Marta Gual, Jos Garca Perpi, and Maria Martnez.Current team: Laurent Baudelot, Anna Llimona, and me.
REMODELLING OF THE RIVERFRONT AND HOUSING PROJECT
Historically, Bayonne is a port city that links the Adour with the
Ebro River, serving as a link between the Atlantic Ocean and the
Mediterranean Sea for commercial routes. It stands at the inter-section between two rivers: the Adour and the Nive. During the
last Century, the city went through an important industrial growth
and the city doubled its size. Three new bridges were built to fa-cilitate travel and transportation between the three different sides
of the city.
The Henri Grenet Bridge was the last one to be built along with
heavy pieces of infrastructure following the Adour River. The com-petition for the project was about the arrival of this bridge from
the North to Nouveau Bayonne. It had to adress the riverfront as
a new attraction for the city, as well as it presented the challenge
of integrating the newly built infrastructure within a pedestrian,
green environment. Three plots were designated as housing and
commercial buildings with the intention of densifying this area
that has been progressively sprawling and loosing the rich urban
life that characterizes the center.
The project presented by MATEO Architects in 2006 won with a
modest group of buildings and a great importance to the integrat-ing the context and creating new green areas - currently lacking
by the riverfront. Even though the city asked for a large amount
of constructed area, there was an effort to fragment the built vol-umes so that the overall intervention would be as integrated as
possible with the scale of the rest of the city.
The project was put on hold for four years and has recently re-started with the intention of breaking ground in five months. Since
I started working on Tte de Pont, most of the effort has gone into
getting to agreements in terms of area constructed corresponding
to the different programs, general volumetry and defining typolo-gies for the social and private apartments to be built. Surprisingly
enough, the underground parking lot has been a key element in
negotiations since the perimeter and excavation depth are highly
limiting cost-efficient parameters that end up defining the amount
of parking spots and, therefore, the number of apartment units
and commercial area permitted.
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LAdour
La Nive
MAPPING OF THE PARK AND FORESTED AREAS OF NOUVEAU BAyONNEAERIAL VIEW OF THE TTE DE PONT
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TTE DE PONT GENERAL MASSING AND URBAN STRATEGy
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2 BIENNALE DI VENEZIA - OMA EXHIBITION
OMA - Office for Metropolitan ArchitectureJune 2010 - August 2010Participation in the project: 3 months (full duration)
Venice, Italy
Partner in charge: Rem KoolhaasCurators in charge: Ippolito Pestellini Laparelli and Kayoko OtaTeam: Carolina Cantante, Farshid Gazor, Andrew Linn, Amelia McPhee, Simon Pennec, Stephan Petermann, Becky Quintal, Sasha Smolin, Lawrence Siu, James Westcott, and me.
CRONOCAOS EXHIBITION ON PRESERVATION THROUGH 26
PROJECTS OF THE OFFICES HISTORy
OMAs exhibition for the Venice Biennale of 2010 is about the
issue of Preservation. It starts from the premise that Preservation
has been long neglected by architecture and urban theory and is,
nonetheless, bound to these fields and central to any discussion
about the future of architecture and development in the XXI
Century. The installation attempts to be a manifesto in space, in
which Preservation is understood to be of simultaneous political,
economic and social relevance.
The exhibition occupies a suite of two rooms, each one with
a distinct character and function. The first room is a Vestibule
featuring 26 OMA projects never presented before together as a
body of work concerned with time and history. Sites ranging from
the Dutch parliament to China National Museum, from the Libyan
Desert to the Hermitage in St. Petersburg, are displayed through
photographs, historical documents, and even relics including the
chairs and doorknobs from Munichs Haus der Kunst, a 2008 OMA
preservation project.
The second room presents the wrenching simultaneity at which
preservation and destruction have been conquering any notion of
historical linearity. The contemporary situation is described as of
acute Cronocaos. The argument is presented through a series
of panels organized in thematic bands: Introduction, Side Effects,
Black Hole, Zurinch+ and La Defense+.
At the back of the second room, there is a timeline of OMA
projects, spanning through 35 years of its history. Each project is
presented through three images ready for the visitor to peel off
and take home, as postcards or souvenirs of a kind. By the end of
the Biennale, preservation and depletion should be evident in the
exhibition itself.
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FIELD OF RESEARCH AND VESTIBULE ROOMS
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PLAN OF THE EXHIBITION ROOMS
VES
TIBU
LEFI
ELD
OF
RESE
ARC
HOMA HISTORY WALL
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VISITORS THROUGH THE FIELD OF RESEARCH
FIELD OF RESEARCH
VESTIBUILE
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OMA HISTORy WALL
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3 FONDACO DEI TEDESCHI
OMA - Office for Metropolitan ArchitectureSeptember 2009 - June 2010Participation in the project: 9 months (full duration)
Venice, Italy
Partners in charge: Rem KoolhaasAssociate in charge: Ippolito Pestellini LaparelliTeam: Marco de Battista, Andrew Chau, Andreas Kofler, Kayoko Ota, Carlos Pena, Agustin Perez-Torres, and me.
TRANSFORMATION PROJECT OF A GERMAN TRADEHOUSE IN
THE HEART OF VENICE INTO A CULTURALLy-PROGRAMMED
COMMECIAL SPACE.
The Fondaco dei Tedeschi, formerly a trading post for German
merchants, then a customs house, now stands as a muted
icon of the Venetian mercantile era. First constructed in 1228,
twice destroyed by fire and rebuilt (in its current for in 1501),
then subject to a series of major architectural interventions to
accommodate new uses (towers removed, courtyard covered with
glass, structure rebuilt), the Fondaco has constantly reshaped
itself. Its history is the history of change.
In front of the diminishing role of the building as a Post Office and
its partial vacancy, the city decided to give to the building a new
life. The project is about a radical programmatic transformation
and a sensitive preservation intervention.
A culturally-programmed department store will occupy the
building. Given the general typology of the department store as
an open plan, the Fondaco challenges the program into reduced
spaces with limited visibility from the circulation areas. This is
taken as an opportunity to promote sporadic exhibition spaces
and art manifestations. The main courtyard is left free from any
commercial activity and will be used for events, art, and cinema.
The renovated top floor becomes a unique public space: two
sides of the existing roof will be removed leaving the buildings
profile intact and creating a terrace with views of the Grand Canal
and Rialto, and offering a rare vantage point on Venices dense
roofscape.
Amongst a range of architectural modifications (not seen in
contradiction with a preservation attitude), the most significant
ones are: the new entrances to the building from Campo San
Bartolomeo and the Rialto Bridge, the introduction of escalators
cutting through the building and creating a new public route, and
the removal of two sides of the roof to create a terrace. On the
other hand, some aspects of the building, lost for centuries, will
be resurrected: the walls of the gallerias will once again become a
surface for frescoes, reappearing in a contemporary form.
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CANALETTO PAINTING ERASED - THE FONDACO STANDS AS PART OF THE BACKGROUNDLOCATION OF THE FONDACO DEI TEDESCHI ON THE GRAN CANAL AND By THE RIALTO BRIDGE
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THE GALLERIAS REVIVE WITH NEW FRESCOES INSPIRED ON FASHION ADVERTISEMENTS AND VENETIAN MOTIFS
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ROOFTOP PLAN - THE TERRRACES AND VELARIUM
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1:300
0 20M
SECTION EAST-WEST. OMA PROPOSAL
1:300
0 20M
1:300
0 20M
SECTION EAST-WEST. OMA PROPOSAL
1:300
0 20M
CROSS SECTION - ESCALATOR PATH THROUGH THE BUILDING AND ROOF MODIFICATIONS
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CULTURAL INSTITUTIONS AND SITES IN VENICE - BRANDING OF THE CITyRETROFEEDING BETWEEN THE CULTURAL ACTIVITIES OF THE CITy AND THE OFFERING AT THE FONDACO
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CULTURAL MASTERPLAN - PROGRAMMING OF EVENTS, PERFORMANCES, EXHIBITIONS, INSTALLATIONS...
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4 PRADA WOMAN SS2O1O CATWALK
OMA - Office for Metropolitan ArchitectureJuly - September 2009Participation in the project: 2 months (full duration)
Milan, Italy
Partners in charge: Rem KoolhaasAssociate in charge: Ippolito Pestellini Laparelli Team: Fausto Fantinuoli, Andreas Kofler, and me.
FASHION SHOW SET DESIGN INSPIRED By GRAND PALACES AND
MOTEL CORRIDORS
The audience is divided along two sides of an abstract wall, which
is pierced with seven doors. Models walk along the wall and
turn around through its last opening, proceeding back down the
runway on the opposite side. They appear and disappear through
the openings, at the same time that the wall changes its identity
through a series of twelve projections.
Collection, set design, projections and music are choreographed
from glamorous XIX Century palaces, to motel corridors and beach,
trashy images or illusions. Neon lights, ornamented door frames,
palm trees in the middle of neoclassic palace halls, and multiplied
doors leading to banal interiors invade the space with color.
The wall simultaneously divides two spaces that are both identical
and different: the plexiglass checkerboard floor on one side relates
to the other, where black metal sheets squares create a bigger
checkerboard when considered in relation to the plain concrete
of the original room.
As the show develops, spectators experience the various layers of
its spatial organization: foreground models, wall projections, and
background models. Three layers of content which overlap and
generate the full narrative of the show.
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RUNNING SHOW - MAJESTIC CURTAINS AND GREEN NEONSBEGINNING OF SHOW - GRAPHIC PALACE AND FAKE PERSPECTIVES
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CHECKERBOARD FLOORS, BEACH PATTERNS AND OBLIQUE VIEWS
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REFLECTIVE FLOOR, CHANDELIERS AND MOTEL CORRIDORS
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BACKSTAGE
ENTRANCE
350+2 Seats250 Standing Spots30 Photographers
85m Catwalk
PLAN OF SET DESIGN
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5 CASARTS - THTRE DE CASABLANCA
OMA - Office for Metropolitan ArchitectureMarch - July 2009 Competition Participation in the project: last 5 weeks
Casablanca, Morocco
Partners in charge: Rem Koolhaas, Reinier de GraafAssociate in charge: Clment BlanchetTeam: Iyad Alsaka, Sandra Bsat, Antoine Decourt, Alessan-dro De Santis, Boris Girin, Ravi Kamisetti, Patrizia Zobernig, Selma Maaroufi, and me.
AN ENCLOSED URBAN COMPLEX CONTAINING TWO THEATRES IN
THE CENTER OF CASABLANCA, MOROCCO
The sitting of a building is perhaps more crucial to its impact and
success than its design. While design defines the users experience,
sitting determines its ultimate contribution for citizens as a new
insertion into the urban condition. Located in the administrative
district of Casablanca, the project starts by challenging the given
site - on the outermost of three public squares - to the middle
plaza. All of the activities already present in the site are brought
to the inside of the theater complex hopefully enriching and
interacting with the life of the place.
Imperative to the sitting strategy is the articulation of the two
theatres required for CasArts not as trophy objects, but as
integrated entities in an enclosed yet permeable urban complex.
Drawing from the Arab classical architecture, the project is
centered around a courtyard. This open space is accessible from
all sides to the public and its thought to act as an incubator of
urban density, popular arts and cultural activity. Architecture and
urbanism are addressed simultaneously in order to clarify the
surrounding environment, augment the interaction of CasArts
with the city, and extend the range of the theatres with open-air
or semi-enclosed possibilities.
Two typologically different theaters are embedded within the built
thickness forming the courtyard and each one of the two long
sides of the complex are dedicated to separate users: production
and public. The production side, with its grid of studios and
rehearsal rooms, fosters the participation of multiple activities
and cultural entities; the public side, with its caf and restaurant,
attracts visitors.
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BUILDING WITHIN THE CITy FABRIC - VIEWS
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FIRST FLOOR PLAN
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CASARTS AT NIGHT - A SOURCE OF LIFE FOR THE CITy
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SECTION THROUGH THEATERS
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6 TESTING BENIDORM
Undergraduate Thesis Project - Fall 2008
Benidorm, Spain
Thesis Advisors: Leire Asensio, David Mah, and Kevin Pratt
URBAN STUDy OF BENIDORM AND LATENT HYPER-BENIDORM
A double-headed goat appears out of a misty dense forest.
By-products of scientific experiments find their place in Hyper-
Benidorm - on itself, also an experiment. By exacerbating the
differential on population and inhabitation densities - hyper-
densification and de-densification processes -, a series of fantastic
environments are able to happen. Hyper-Benidorm is a summer
place year-round. Giant solar panels and wind turbines expand
over the desert and sea to power the desalination plant which
provides enough water for the agricultural central-pivot irrigation
systems, the extensive golf courses, the never-ending pools and
water works, and, of course, the misty dense forest. A constant flux
of elderly retired people also a by-product of our contemporary
societies gathers here for purely hedonistic purposes. In a similar
way, families and young adults come looking for its hyper-active,
beyond-expected fantastic situations.
Although Hyper-Benidorm only exists at the level of the project, its instances are already happening. Benidorm is a unique tourism
enclave in the Mediterranean Coast of Spain which is able to attract
5 million visitors per year. With over 300 skyscrapers, Benidorm
presents a population density at record-level year-round, and its
still growing. The surrounding abrupt topography and strict zoning
laws establish a limit of construction close to be met.
This project uses this problematic as an opportunity to study and
rethink the case of Benidorm in terms of its density, the tower
typology, and in terms of contemporary forms of leisure.
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Comunidad Valenciana 5 016 348Bemodormenses 71 102
TOURISTS PER yEAR in Benidorm 5.5 MILLION! 9.2% of Spains total tourists
tourists per year in Spain 59.2 million
area of Benidorm urbanized area 37.88 km2 16.29 km2 (43%) PERMANENT RESIDENTS TEMPORARy RESIDENTS
MONTHLy AVERAGE number of tourists.................................................. 14 022.65 people/km2 32 607.62 458 333
72 845 inhabitants + Average number of tourists in AUGUST ................................................ 15 741.42 36 604.35 523 440
Average number of tourists in DECEMBER ............................................ 11 559.26 26 870.37 365 020
GEOGRAPHICAL AND NORMATIVE EXPANSION LIMITS
POPULATION NUMBERS AND DENSITy
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DENSIFyING + DE-DENSIFyING PROCESS
BORING-BENIDORM HyPER-BENIDORM
exacerbation of density differential
Desert of the Eternal Rave
VERTICAL CORES
CONNECTING STRUCTURES
VERTICAL DISTRIBUTION
RESPONSE TO LATERAL LOADS
pair singlelowstable
pair singlelowunstable
pair multiplemultipleunstable
multiple multiplemultiplestable
multiple multiplemultiplestable
CONNECTING STRUCTURES - SUPERTRUSS
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URBAN DENSITIES - mapping of towers according to height
VONOROI DIAGRAM
TRIANGULATION DIAGRAM
NETWORKING DIAGRAM - max. distance connection (150m)
2+ floor levels 8+ 16+
2+ 8+ 16+
2+ 8+ 16+
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24+ 32+
24+ 32+
24+ 32+
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CONNECTING STRUCTURES - MULTIPLE PROGRAMMING
section A : top connection - retail space, walkway and cantilevering cafe bottom connection - hotel, disco, garden and terrace
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section B : ballroom dancing, open-air bocce ball and terrace
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DENSE FOREST OF THE GENETICALLy ENGINEERED
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EXPLODED HyPER-BENIDORM
1
2
3
4
5
6
7
De-densification and Fantastic Environments1 Desert of the Eternal Rave2 Power Plant3 Infinite Pool4 Fields of Mist 5 Golf Course of Odds6 Dense Forest of the Genetically Engeneered7 Desalination Plant
Densification and Tower Connections
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Desert of the Eternal Rave
Desalination Plant
Infinite Pool
PLaN oF Hyper-Benidorm
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Desalination Plant
Golf Course of Odds
Dense Forest of the Genetically Engeneered
Fields of Mist
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COLL AGE OPER ATION TO FANTASY ENVIRONMENTS TESTING BENIDORMmiriam roure parera
Thesis Studio / fall 2008
COLL AGE OPER ATION TO FANTASY ENVIRONMENTS TESTING BENIDORMmiriam roure parera
Thesis Studio / fall 2008
DE-DENSIFICATION AND FANTASTIC ENVIRONMENTS
BENIDORMsPaseo de Levante
HyPER-BENIDORMsDense Forest of the Genetically Engineered
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DESERT OF THE ETERNAL RAVE
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7 INTERLOCKING PATHS
Design Studio 302 - Spring 2007Professor: Jose Salinas
New york City, US
PROGRAMMATIC CLUSTERING IN CHELSEA AND CONNECTING
INFRASTRUCTURE
With over 300 art galleries and a top Meatpacking fashion district,
Chelsea stands out as a highly innovative, trend-setting, young
neighborhood. Its possible to distinguish between an Upper and a
Lower part of Chelsea with clustering conglomerations of galleries
and stores.
The lack of public transportation, the inefficient traffic network
and the inner organizational pattern results in the isolation of
these clusters, and, most importantly, leaves the Upper and Lower
part disconnected from each other.
The Highline presents itself as a reminiscent connecting
infrastructure. The project uses the already proposed re-activation
of the Highline and its logic to create a series of programmed
Interlocking Paths that would connect the Meatpacking District,
the waterfront, Upper Chelsea, the Highline, and adjacent
buildings. The new paths are programmed with existing
activities and space types that belong to the two main areas being
connected: galleries, exhibition spaces, fashion show-rooms,
artists and designer studios, offices for the administration, cafes
and other meeting points.
The intention is to create a new hub that would simultaneously
attract, gather, redistribute, connect and promote flows of people,
their activities and interests, and hopefully create new fruitful
relationships.
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uPPer aND LoWer cHeLSea - location and identification of the different galleries, fashion stores and other agents
W.14thSt.
W.15thSt.
W.16thSt.
W.17thSt.
W.18thSt.
W.19thSt.
W.20thSt.
W.21stSt.
W.22ndSt.
W.23rdSt.
W.25thSt.
W.26thSt.
W.28thSt.
W.29thSt.
W.24thSt.
W.30thSt.
W.31thSt.
W.33rdSt.
Ninth
Aven
ue
Tenth
Aven
ue
W.13thSt.
LittleW.12thSt. GreenwichSt.
WashingtonSt.
HudsonSt.
Gansevoor
tSt.
Pier54
Pier56
Pier57
Pier59
Pier60
Pier61
Pier62
Pier64
Pier66
Pier72
Pier53
hthgiEAv
enue
A C EL
C E
AMTRAK
14
23
11 11
02
0 2
GALLERIES FASHION STORES
RESTAURANTS
HOTELS
ASSOCIATED RETAIL/SERVICES
LEADING AGENTS
ASSOCIATED AGENTS
METRO LINE
AMTRAK LINE
HIGH LINE/ NOT IN USE!
BUS LINE / NORTH-SOUTH
METRO LINE / EAST-WEST
TO AGENTS: TRAFFIC SPOTS AND TRAFFIC LINES
SITE ANALYSIS - location and identification of existing agents
W.14thSt.
W.15thSt.
W.16thSt.
W.17thSt.
W.18thSt.
W.19thSt.
W.20thSt.
W.21stSt.
W.22ndSt.
W.23rdSt.
W.25thSt.
W.26thSt.
W.28thSt.
W.29thSt.
W.24thSt.
W.30thSt.
W.31thSt.
W.33rdSt.
Ninth
Aven
ue
Tenth
Aven
ue
W.13thSt.
LittleW.12thSt. GreenwichSt.
WashingtonSt.
HudsonSt.
Gansevoor
tSt.
Pier54
Pier56
Pier57
Pier59
Pier60
Pier61
Pier62
Pier64
Pier66
Pier72
Pier53
hthgiEAv
enue
A C EL
C E
AMTRAK
14
23
11 11
02
0 2
GALLERIES FASHION STORES
RESTAURANTS
HOTELS
ASSOCIATED RETAIL/SERVICES
LEADING AGENTS
ASSOCIATED AGENTS
METRO LINE
AMTRAK LINE
HIGH LINE/ NOT IN USE!
BUS LINE / NORTH-SOUTH
METRO LINE / EAST-WEST
TO AGENTS: TRAFFIC SPOTS AND TRAFFIC LINES
SITE ANALYSIS - location and identification of existing agents
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W.14thSt.
W.15thSt.
W.16thSt.
W.17thSt.
W.18thSt.
W.19thSt.
W.20thSt.
W.21stSt.
W.22ndSt.
W.23rdSt.
W.25thSt.
W.26thSt.
W.28thSt.
W.29thSt.
W.24thSt.
W.30thSt.
W.31thSt.
W.33rdSt.
Ninth
Aven
ue
Tenth
Aven
ue
W.13thSt.
LittleW.12thSt. GreenwichSt.
WashingtonSt.
HudsonSt.
Gansevoor
tSt.
Pier54
Pier56
Pier57
Pier59
Pier60
Pier61
Pier62
Pier64
Pier66
Pier72
Pier53
hthgiEAv
enue
A C EL
C E
AMTRAK
14
2311 11
02
0 2
GALLERIES FASHION STORES
RESTAURANTS
HOTELS
ASSOCIATED RETAIL/SERVICES
LEADING AGENTS
ASSOCIATED AGENTS
METRO LINE
AMTRAK LINE
HIGH LINE/ NOT IN USE!
BUS LINE / NORTH-SOUTH
METRO LINE / EAST-WEST
TO AGENTS: TRAFFIC SPOTS AND TRAFFIC LINES
SITE ANALYSIS - location and identification of existing agents
CLUSTERING OF GALLERIES AND FASHION STORES
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PHYSICAL DISTANCE BETWEEN AGENTS
WALKING DISTANCE BETWEEN AGENTS
Overlapping clusters D1
Overlapping clusters D2
Overlapping clusters D3
Overlapping clusters D4
Overlapping clusters of same agent / discrepancy between physical and walking distance
GalleriesFashion stores
High line / reference path
OVERLAPPING ZONES CLUSTERSD1: 98ftd1: 35ft
D2: 196ftd2: 90ft
D3: 392ftd3: 180ft
D4: 784ftd4: 360ft
37 gallery clusters19 f. store clusters
37 gallery clusters19 f. store clusters
10 gallery clusters 8 f. store clusters
20 gallery clusters 8 f. store clusters
5 gallery clusters 4 f. store clusters
7 gallery clusters 6 f. store clusters
1 gallery clusters 1 f. store clusters
2 gallery clusters 2 f. store clusters
walking speed: 3mph= 4.4ft/sec
22 sec 45 sec 89 sec 1min 29sec
CLUSTERING TO DENSITIES
D: maximum distance between centers of two points that defines a cluster
CLUSTERING AND CONNECTING INFRASTRUCTURE DIAGRAMS
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PHYSICAL DISTANCE BETWEEN AGENTS
WALKING DISTANCE BETWEEN AGENTS
Overlapping clusters D1
Overlapping clusters D2
Overlapping clusters D3
Overlapping clusters D4
Overlapping clusters of same agent / discrepancy between physical and walking distance
GalleriesFashion stores
High line / reference path
OVERLAPPING ZONES CLUSTERSD1: 98ftd1: 35ft
D2: 196ftd2: 90ft
D3: 392ftd3: 180ft
D4: 784ftd4: 360ft
37 gallery clusters19 f. store clusters
37 gallery clusters19 f. store clusters
10 gallery clusters 8 f. store clusters
20 gallery clusters 8 f. store clusters
5 gallery clusters 4 f. store clusters
7 gallery clusters 6 f. store clusters
1 gallery clusters 1 f. store clusters
2 gallery clusters 2 f. store clusters
walking speed: 3mph= 4.4ft/sec
22 sec 45 sec 89 sec 1min 29sec
CLUSTERING TO DENSITIES
D: maximum distance between centers of two points that defines a cluster
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HIGH LINE / DISTRIBUTIVE CONNECTIVE SYSTEM
HL1
HL3HL5
HL5
HL1
HL3
HL1
HL1
HL1
HL1
HL2
HL2
HL4
HL3
HL3
HIGH LINE + CITY / INTERACTION TYPOLOGIES
HL1 - FREE STANDING minimum interaction
HL2 - SITTING ON 1-way adaptation building fill-in of empty space
HL3 - NEXT TO (and sitting on) 1 to 2-way adaptation high line changing path according to existing buildings
buildings growing by the high line
HL4 - THROUGH EDGE 1 to 2-way adaptation high line cutting through (exiting) buildingbuilding partially wrapping around high line
HL5 - THROUGH 2-way adaptation high line cutting through (exiting) buildingbuilding wrapping around high line
HL5 - INTO maximum interaction mutual adaptation:
mutual dependance: distribution purpose - program interlocking
section condition in plan condition
multiple adaptation
HIGHLINE - CONNECTING INFRASTRUCTURE
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HIGH LINE / DISTRIBUTIVE CONNECTIVE SYSTEM
HL1
HL3HL5
HL5
HL1
HL3
HL1
HL1
HL1
HL1
HL2
HL2
HL4
HL3
HL3
HIGH LINE + CITY / INTERACTION TYPOLOGIES
HL1 - FREE STANDING minimum interaction
HL2 - SITTING ON 1-way adaptation building fill-in of empty space
HL3 - NEXT TO (and sitting on) 1 to 2-way adaptation high line changing path according to existing buildings
buildings growing by the high line
HL4 - THROUGH EDGE 1 to 2-way adaptation high line cutting through (exiting) buildingbuilding partially wrapping around high line
HL5 - THROUGH 2-way adaptation high line cutting through (exiting) buildingbuilding wrapping around high line
HL5 - INTO maximum interaction mutual adaptation:
mutual dependance: distribution purpose - program interlocking
section condition in plan condition
multiple adaptation
HIGHLINE - SECTIONS THROUGH SITE
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change in angle of sectional plane
HL1
HL3
HL1
HL1
HL1
HL3
HL1
HL3
HL3 / WE4
HL3 / WE1
HL4 / WE1
HL2 / WE1
HL3 / WE2
HL1 / WE1
HL3 / WE3
HL2 / WE3
hign line (HL) and waterfront edge conditions (WE)
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
AABCDEFGHI
J
KLMNOP
Q
VEHICLE CIRCULATION PATHS
S1
S2
S3
S4
INTERSECTION / encountering flowsmultiple directionality - weakening of connection flow to upper zone weakening of connection flow to upper zone
S4S3S2S1
PROGRAMMATIC TRANSVERSAL SECTION
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INTERLOCKING PATHS - ROOF PLAN
Pier 57
Pier 59 -
Chelsea
Piers
Pier 60 -
Chelsea
Piers
Wes
t Sid
e H
ighw
ay
>> to Waterfront
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strip C
strip B
strip A
distances
directionnality openness
openness degree
AB
C
AB
C
A
B
C
G A L L E RY entranceentrance entrance
t o > > a r t i s t s a t e l i e r s
t o > > Wa t e r f r o n t
t o > > M e a t p a c k i n g D i s t r i c t
t o > > g a l l e r i s t s , e v e n t s , h i g h - e n d r e s i d e n t i a l
t o > > s t r e e t l e v e l > C h e l s e a
t o > > H i g h l i n e > C h e l s e a
t h r o u g h t h r o u g h
& R E S E A R C H L A B S
a r t i s t s & g a l l e r i s t s OUTLOOK GALLERYMANAGEMENT
T E M P O R A R Y C AT W A L K S
S H O W - R O O MWATERFRONT PASARELA
CAFEEVENT SPACES
HIGHLINE PASARELA
ARTISTS STUDIOS
> > > > > > > > > > > > > > > > > < < < > < < < < < > > > > > > > > > > > > < < < < > < < < < < < < < < > > < > > > < < > > < < < < < < < < < < < < > > > > > > > > > < < < < < < < < < > > > > > > > > > > > > > > >
STUDIOS
113 238 103200 200455
450
strip C
strip B
strip A
FACADE PANNEL VARIATIONS AND PROGRAMMATIC CORRESPONDANCE - LONGITUDINAL SECTION
60
strip C
strip B
strip A
distances
directionnality openness
openness degree
AB
C
AB
C
A
B
C
G A L L E RY entranceentrance entrance
t o > > a r t i s t s a t e l i e r s
t o > > Wa t e r f r o n t
t o > > M e a t p a c k i n g D i s t r i c t
t o > > g a l l e r i s t s , e v e n t s , h i g h - e n d r e s i d e n t i a l
t o > > s t r e e t l e v e l > C h e l s e a
t o > > H i g h l i n e > C h e l s e a
t h r o u g h t h r o u g h
& R E S E A R C H L A B S
a r t i s t s & g a l l e r i s t s OUTLOOK GALLERYMANAGEMENT
T E M P O R A R Y C AT W A L K S
S H O W - R O O MWATERFRONT PASARELA
CAFEEVENT SPACES
HIGHLINE PASARELA
ARTISTS STUDIOS
> > > > > > > > > > > > > > > > > < < < > < < < < < > > > > > > > > > > > > < < < < > < < < < < < < < < > > < > > > < < > > < < < < < < < < < < < < > > > > > > > > > < < < < < < < < < > > > > > > > > > > > > > > >
STUDIOS
113 238 103200 200455
450
strip C
strip B
strip A
+12.53
+0.00 (+11 asl)
+57.61
+72.26
+91.77
+107.34
+123.24
+42.75
+12.53
+18.85
+27.47
+156.10
West S ide Highway
61
office/studio
office/studio
office/studio
office/studio
office/studio
office/studio
office/studio
plant
office/studio
PERFORMANCE STUDIO
COURTyARD GARDEN
caFe
ARTISTS GALLERy
studio/gallery
studio/gallery
Tenth Avenue
B
C
A
HIGHLINE
artists studios
artists studios
CROSS SECTION
62
Tenth Avenue
HIGHLINE
artists studios
artists studios
EXTERIOR VIEW ALONG 10TH AVE AND INTERIOR VIEW
63
64
8 MAGNETOS MUSEUM
An open International Competition was released in order to
find a proposal that would interestingly transform the no-longer
operative Secretaria de Telecomunicaciones of Buenos Aires into
a Museum. Taking this competition as the point of departure, we
used the diagrammatical study of an existing relevant museum to
re-interpret this early XX building.
We analyzed the case of the Tate Modern Museum of London
which revealed a clear organization in terms of levels and points
of control: from the open Turbine Hall to the bared art storage
rooms or board member offices. We implemented the same
kind of diagramming strategy onto the Post Office building. The
significant organizational and capacity differences between the
two buildings required a different way of understanding the
later resulting diagrams. After a series of rigorous iterations and
re-interpretations, we were able compile the connections three-
dimensionally and assign a geometrically-based control value to
each one of the connections and their joint-points. The result is a
raw diagramming scheme from which the formality of the new art
museum can find its logic.
Design Studio 301 - Fall 2006Professor: Julian Varas
Buenos Aires, Argentina
in collaboration with Nathan Friedman
65
NETWORK OF CONNECTIONS MODELSECRETARA DE TELECOMUNICACIONES, BUENOS AIRES
66
L11
L10
L9
L8
L7
L3
L4
L5
L6
L1
L2
DIAGRAMMING IMPLEMENTATION - BASEMAPPING
67
3-B1 4-B1 6-B1 7-B1 8-B1 9-B1 10-B1
6-B2
6-B3
6-B4
3-B2
3-B3
3-B4
4-B2
4-B3
4-B4
7 -B2
7-B3
7-B4
8-B3
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THRESHOLD POINT CHARACTERIZATION
68
69
8 ROOLF7 ROOLF6 ROOLF4 ROOLF3 ROOLF2 ROOLF1 ROOLF 01 ROOLF9 ROOLF
A
B
C
DE
zone A
zone B
zone C
zone D
zone E
1-A1
1-B1
2-A1
2-B1
3-A1
3-B1
4-A1
4-B1
6-A1
6-B1
7-A1
7-B1
8-A1
8-B1
9-A1
9-B1
10-A1
10-B1
6-B2
6-B3
6-B4
6-B5
6-B6
1-B2
1-B4
1-B5
1-B5
2-B2
2-B3
2-B4
2-B5
2-B6
2-C11-C1
1-D1 2-D1
1-E1 2-E1
3-B2
3-B3
3-B5
3-B6
3-C1
3-D1
3-B4
4-B2
4-B3
4-B5
4-B6
4-C1
4-D1
4-B4
4-E1
6-C1
6-D1
6-E1
7 -B2
7-B3
7-B5
7-B6
7-C1
7-D1
7-B4
7-E1
8-B3
8-B5
8-B6
8-C1
8-D1
8-B4
8-E1
9-B2
9-B3
9-B5
9-B6
9-C1
9-D1
9-B4
9-E1
10-B2
10-B3
10-B5
10-B6
10-C1
10-D1
10-B4
10-E1
B1a
B2a
B4a
B5a
B3a
B1b
B2b
B4b
B5b
B3b
CONNECTING POINT - EXIT
CONNECTING POINT - DEAD END
VERTICAL CONNECTION - DEAD END
VERTICAL CONN. - VERTICAL CONN.
CONNECTING POINT - VERTICAL CONN.
CONNECTING POINT - CONNECTING POINT
POINT
COLOUR CODING FOR CONNECTIONSPOINTS PERFORMANCE
VERTICAL CONNECTION
CONNECTION POINTDEAD END
EXIT POINT
POSSIBLE CONNECTIONS OF POINTS
Repeated connections
SySTEM STACKING AND NETWORK ENVELOPES
70
8 ROOLF7 ROOLF6 ROOLF4 ROOLF3 ROOLF2 ROOLF1 ROOLF 01 ROOLF9 ROOLF
A
B
C
DE
zone A
zone B
zone C
zone D
zone E
1-A1
1-B1
2-A1
2-B1
3-A1
3-B1
4-A1
4-B1
6-A1
6-B1
7-A1
7-B1
8-A1
8-B1
9-A1
9-B1
10-A1
10-B1
6-B2
6-B3
6-B4
6-B5
6-B6
1-B2
1-B4
1-B5
1-B5
2-B2
2-B3
2-B4
2-B5
2-B6
2-C11-C1
1-D1 2-D1
1-E1 2-E1
3-B2
3-B3
3-B5
3-B6
3-C1
3-D1
3-B4
4-B2
4-B3
4-B5
4-B6
4-C1
4-D1
4-B4
4-E1
6-C1
6-D1
6-E1
7 -B2
7-B3
7-B5
7-B6
7-C1
7-D1
7-B4
7-E1
8-B3
8-B5
8-B6
8-C1
8-D1
8-B4
8-E1
9-B2
9-B3
9-B5
9-B6
9-C1
9-D1
9-B4
9-E1
10-B2
10-B3
10-B5
10-B6
10-C1
10-D1
10-B4
10-E1
CONTROLLED CONNECTIONS
71
B1 a B2 a B4 a B5 aB3 a
B1 b B2 b B4 b B5 bB3 b
N17
N17.1
type of connections abs. %connecting point - dead end 0 0vertical connection - dead end / v. connection 0 0connecting point - v. connection / c. point 153 100
average length of lines (m) 10.2min. length of lines 2.7max. length of lines 26.4
vertical span (m) 40.8horizontal planes 8
implied volume (m3) 32 093
control pts
1
3
2Total 9
4CONTROL LEVELN4.1 N4.2 N4.3 CONTROL LEVEL 4
ZONE D
N4
N4.1
type of connections abs. %connecting point - dead end 17 23.6vertical connection - dead end / v. connection 12 16.7connecting point - v. connection / c. point 61 59.7
average length of lines (m) 21.3min. length of lines 0.4max. length of lines 39
vertical span (m) 43.3horizontal planes 9
implied volume (m3) 9 469
control pts
2
2
1Total 5
3CONTROL LEVELN5.1 CONTROL LEVEL 4
ZONES A,B
N3
N3.1
N3.2
N3.3
type of connections abs. %connecting point - dead end 31 25.4vertical connection - dead end / v. connection 30 24.6connecting point - v. connection / c. point 61 50.0
average length of lines (m) 23.5min. length of lines 0.5max. length of lines 42.2
vertical span (m) 43.3horizontal planes 9
implied volume (m3) 7 270
control pts
2
2
1Total 5
3CONTROL LEVELN4.1 N4.2 N4.3 CONTROL LEVEL 4
ZONES A,B
VOLUMETRIC PERIMETTER AND ASSIGNED CONTROL LEVELS
72
N1
N5
N2
N3
N4
N6
N7
N8
N9
N10
N11
N12
N13
N14
N15
N16
N18
N17
N19
N20
N21
N13.1
N12.1
N14.1
N14.2
N20.1
N17.1
N20.2
N21.1
N11.1
N8.1
N5.1
N3.1 N3.2
N3.3
N16.1
N15.1
eXPLoDeD FiNaL VoLuMeS
73
POINTS AND SEAMS - JOINT CHARACTERIZATION
MAGNETOS MUSEUM COMPILED
CONVERGING OF LEVELS OF CONTROL
2 levels of control
3 levels of control
4 levels of control
CONVERGING OF PARTS2 parts
3 parts
4 or more parts
74
Ave. CO
RRIENT
ESmel
A .N.L
.vA
OTNEIMARAS ellaC
ENIL O
RTEM
M
M
location of entrances / exits
Ave. EDUARDO MADERO
Ave. ALICIA MOREAU DE JUSTO
MAGNETOS MUSEUM IN SITU
75
76
9 NIHIWATU HOTEL
A BEACH RESORT FEATURING THE CREATION OF PRECISE
MICROCLIMATES
Located in Levu Vana, one of the Fiji Islands, Waki Kau Resort offers
a series of delicate and precise microclimates taking advantage of
the existing natural resources and environmental qualities. The
visitor is able to experience from a dense tropical forest, to a misty
atmosphere surrounded by extensive pools, or an arid beach area.
Using Generative Components and the data available on the site,
we mapped the area in terms of its topography, orientation, and
proximity to stream water and salted water. An ideal site was
located along an existing stream, which became the central spine
of the development. We projected a sectional understanding of
the programmatic components in relationship with the stream and
the microclimates that could be produced. A surface was created
from these sections, like an artificial skin that is able to morph and
vary its porosity responding to the different environments and
programmatic needs.
The porosity of the surface was achieved through the parametric
programming of its roof components. These would vary their
geometry according to light incidence, water and surface slope.
They were, thus, able to create different lighting conditions,
channel and store water, and function as an irrigational and
planting system.
Design Studio 402 - Spring 2008 Professors: Kevin Pratt and Dana Kupkova
Levu Vana, Fiji
in collaboration with James Ferrulo and Ana Leschinsky
77
DENSE TROPICAL FOREST AND ARID BEACH ENVIRONMENTS
78
SITE STRATEGy - central spine from existing water line and sectional response to topography
PARAMETRIC SECTION - programmatic organization and desired microclimates
Water Stream P1 P2 P3 P4LG1LG2 RG1 RG2
Point Controlled by T value along the left base curve
Point Controlled by T value along ellipse
0,0 point
H3H2
H1
H4
Each ellipse is constructed by:Center PointPrimary Radius Secondary RadiusSupport
The ground condition is a function of the program the local structure ground relationship
I
10 20 30 40 50 60 70
3
9
6
12
0
-10-20-30-40-50-60-70 0LIVING UNITS - TYPE2SPA
1 Parametric Spine Construction
2 Skinning
Water Stream P1 P2 P3 P4LG1LG2 RG1 RG2
Point Controlled by T value along the left base curve
Point Controlled by T value along ellipse
0,0 point
H3H2
H1
H4
Each ellipse is constructed by:Center PointPrimary Radius Secondary RadiusSupport
The ground condition is a function of the program the local structure ground relationship
I
10 20 30 40 50 60 70
3
9
6
12
0
-10-20-30-40-50-60-70 0LIVING UNITS - TYPE2SPA
1 Parametric Spine Construction
2 Skinning
Water Stream P1 P2 P3 P4LG1LG2 RG1 RG2
Point Controlled by T value along the left base curve
Point Controlled by T value along ellipse
0,0 point
H3H2
H1
H4
Each ellipse is constructed by:Center PointPrimary Radius Secondary RadiusSupport
The ground condition is a function of the program the local structure ground relationship
I
10 20 30 40 50 60 70
3
9
6
12
0
-10-20-30-40-50-60-70 0LIVING UNITS - TYPE2SPA
1 Parametric Spine Construction
2 Skinning
PARAMETRIC SURFACE DESIGN
parametric structure possible resulting surface
79
SECTION 1 - Tropical Microclimate
SECTION 2 - Water Microclimate
SECTION 3 - Arid Microclimate
80
81
21
3 Arid Microclimate
Water Microclimate
Forest Microclimate SPA
RestaurantVegetable Garden
Dense Vegetation
Water Events
Units Type 3 :: Free Platforms
Units Type 2 ::
Units Type 1 :: Full Service
LobbyVisual Garden
Relaxation Garden
Library Garden
Active Recreation
Reservoir
Tours
Connection to the development
Connection to main road
Dense Forest
PROGRAMMATIC PLAN
82
MISTy ATMOSPHERE
83
January March May July September NovemberFebruary April June August October December
Wind SpeedBeam Solar
Annualy and Daily Sun PathSun shown at noon
Hourly Temperatures
Outside Temp.
ANNUAL SURFACE LIGHT AND SHADOW ANALySIS
84
January March May July September NovemberFebruary April June August October December
Wind SpeedBeam Solar
Annualy and Daily Sun PathSun shown at noon
Hourly Temperatures
Outside Temp.
85
COMPONENT STRATEGy
WATER PATH [through surface to collection]
PLAN ELEVATION AXON
Basic Component Congurations
Allows sunlight to enter as reected light
Opening Dimension
50%
Allows water to enter when positive
Offset25%
Restricts water and light entry when negative
Offset-25%
Offset and Opening Dimension
Functions as structural louver
100%
100%
Closed: component restricts water and light entry
Offset and Opening Dimension0,0
_01 Semi-Sheltered and Daylit _02 Sheltered and Daylit _03 Planter _04 Open Structure
Offset 0 0 0 0 -25% 25%
Opening Dimension 0 25% 50% 75% 50% 50%
Conguration 01. Semi-Sheltered and DaylitConguration 02. Sheltered and DaylitConguration 03. Planter Conguration 04. Open Structure Conguration 04. Open Structure
_Component Details
ROOF SURFACE COMPONENT - PROVIDES RAIN SHELTER WHILE EXLUDING RAIN AND DIRECT SUN - ALLOWS VARYING AMOUNTS OF INDIRECT SUNLIGHT TO ENTER - IN ARRAY, CREATES A ROOF WHICH COLLECTS, TRANSPORTS, STORES, AND USES RAINWATER - IN ARRAY, INDIVIDUAL COMPONENTS MAY BE FULLY CLOSED TO CREATE A SELF-IRRIGATING GREEN ROOF
86
WATER PATH [through surface to collection]
PLAN ELEVATION AXON
Basic Component Congurations
Allows sunlight to enter as reected light
Opening Dimension
50%
Allows water to enter when positive
Offset25%
Restricts water and light entry when negative
Offset-25%
Offset and Opening Dimension
Functions as structural louver
100%
100%
Closed: component restricts water and light entry
Offset and Opening Dimension0,0
_01 Semi-Sheltered and Daylit _02 Sheltered and Daylit _03 Planter _04 Open Structure
Offset 0 0 0 0 -25% 25%
Opening Dimension 0 25% 50% 75% 50% 50%
Conguration 01. Semi-Sheltered and DaylitConguration 02. Sheltered and DaylitConguration 03. Planter Conguration 04. Open Structure Conguration 04. Open Structure
_Component Details
ROOF SURFACE COMPONENT - PROVIDES RAIN SHELTER WHILE EXLUDING RAIN AND DIRECT SUN - ALLOWS VARYING AMOUNTS OF INDIRECT SUNLIGHT TO ENTER - IN ARRAY, CREATES A ROOF WHICH COLLECTS, TRANSPORTS, STORES, AND USES RAINWATER - IN ARRAY, INDIVIDUAL COMPONENTS MAY BE FULLY CLOSED TO CREATE A SELF-IRRIGATING GREEN ROOF
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UNIT AND COMPONENTS MODEL - ROOFING AND CABLE SySTEM DETAILING
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GENERATED TOPOGRAPHy SECTIONAL MODEL
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10 LIBERAS POST OFFICE
TRASNFORMATION OF THE POST OFFICE INTO A LIBRARy
In 1932, Adalberto Libera designed one of the main Post Offices
in Rome. Located on Via Marmoratta, the emblematic modernist
building stands at the intersection of major arteries of the city. The
project proposes the transformation of the now almost obsolete
Post Office program into a Post-Library. If, traditionally, a library
was a place where knowledge could be gathered, archived, and
found; a Post-Library embraces the contemporary condition in
which there is an abundance of information that is easily acces-sible through digital means. The core of the building is opened and
large open ramping areas are flexibly programmed for people to
physically and digitally interact. The two wings of the building are
used as traditional book-stacks, emphasizing the diminishing ma-terial value of the books as objects.
The back of the building is opened towards the park. The existing
small square windows of the faade designed by Libera are colored
according to the changing interior digital activity, simulating a code
for interaction between the inside and the outside.
Design Studio 401 - Fall 2007Professors: Vincent Mulcahy and Alberto IacovoniDuration of project: 3 weeks
Rome, Italy
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SITE WITHIN THE URBAN FABRIC AND INFRASTRUCTURES
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VIA MARM
ORATA
PLAN AND FRONTAL SECTIONS
section asection b
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CROSS-SECTIONS
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BACK FAADE OF THE POST-LIBARy AND NEW TOPOGRAPHICAL APPROACH TO ENTRANCE
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11 RED HOOK
INDUSTRIAL DEBRIS AND FLOATING POOLS
Decaying industrial cranes and abandoned factories still populate
the piers area of Red Hook, in lower Brooklyn. Like ruins of better
times, these structures stand like amorphous animals on the wa-ter. The area is detached from public transportation and its streets
are often dead-ends. It is hard to see a soul walking around, and
not a trace of green can be found. Concrete, water, bricks and rust-ed steel are its only materials.
Some of Matthew Barneys movies seem to embody part of the
feeling of standing at the site. Slow-motion actions, dense water
movement and sound, and the constant presage that something
is about to happen.
In the leftover space from a destroyed pier, a new dense structure
appears with platforms bridging at different levels. Part of it is un-derwater, and part of it stands above creating elevated pools of
different colors, densities and transparency effects. During the day,
it attracts kids from the neighborhood to come and play. Vertical
structures are used to dive into some of the deep pools. At night,
it acquires a different life: boats arrive from all parts of Manhattan
or from further up the Hudson River. Some pools glow in the dark,
some others have a constant steam, and others have a poignant
smell impossible to avoid. It is a place of earthy pleasures and illicit
activities, a place where to get lost and where to be found. A place
where to escape from an increasingly moralized, politicized and
dullified society.
Design Studio 202 - Spring 2005Professor: George Hascup
New york City, US
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COLLAGES OF THE SITE USING THE OVERLAPPING AND CUTTING OF STILLS FROM MATTHEW BARNEyS MOVIES
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INDUSTRIAL SITE OF RED HOOK
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COLLAGED SECTIONS OF IMAGINED GIANT INDUSTRIAL PIERS
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MODEL OF AN AQUATIC LANDSCAPE
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12 SEIPP PRIZE COMPETITION
AN ADDITION TO SIBLEy HALL, A CHALLENGE OF ACCESSIBILITy
Sibley Hall, Cornells central building for the School of Architecture,
Art and Planning was in need of a renovation to make it handi-capped accessible. The ground level of the building were divided at
two different heights, which, at a time, were a few steps above the
surrounding street level. The competition brief asked to connect
the two different levels at ground floor, and to develop an acces-sible link to the basement.
The project uses the problematic of accessibility as an opportu-nity to reshape the core of the schools activity by creating a new
exhibit/review space on the back of the building that would come
together with the existing Hartell Gallery. The project proposes
linking the front of the building with the back, creating a space
that ramps from one level to another and bifurcating to establish
a direct connection with the schools Green Dragon Cafe - at base-ment level. The intervention would provide a new (no-longer) back
facade for the building using semi-translucent panels. From Uni-versity Ave., one of the main arteries of the campus, one would be
able to hint the interior activity of the school.
Fall 2006 - SEIPP PRIZE COMPETITION*Honorable MentionProject duration: 2 weeks
Ithaca, US
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existing circulation paths
projected geometry lines
SITE ANALySIS - THE ARTS QUAD
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SITE ANALySIS - SIBLEy HALL
existing trees - circulation obsticles existing circulation movement
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GROUND LEVEL PLAN AND ELEVATION
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13 SCREEN OF SCALES
PARAMETRIZED SURFACE RESPONDING TO ENVIRONMENTAL
INPUTS
In the Component Architecture Seminar we studied a series of
successful and failed cases in prefabrication and their attempt
at architectural innovation. When being traced to contemporary
techniques, reviving possibilities were identified in the digital
technologys potential to create differentiated systems with
customizable variations. As part of the course we were to develop
a prototype using Generative Components software.
Our project was set out to develop a component-based structure
that could respond to environmental inputs: prevailing wind
direction and incidental radiation on a surface. Given a diagrid
surface, thought to be part of a building envelope, light and wind
studies could be made to dictate the components necessary
performance. The components were divided in two; one part was
to be optimized for light, and the other one for wind. Opening and
incline degrees would vary.
The half-size prototype we developed was made out of laser-cut
corrugated cardboard and bolted joints. The different unfolded
pieces were identified using Pepakura Designer.
Component Architecture Seminar - Spring 2008Professor: Dana Kupkova
in collaboration with Chris LEONBERG
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- prevailing wind direction
- incident radiation ondiagrid surfaces
0.00
0.503400 Wh/m2
0.753800 Wh/m2
1.004200 Wh/m2
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BUILDING EVELOPE - STRUCTURAL AND PERFORMATIVE PARTS
PV pannels
strips of flexible surface onlight structural space-frame
structural beams
BUILDING ENVELOPE
BUILDING EVELOPE - LIGHT STUDy component variations driven by incident radiation data
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PROTOTyPE MADE OUT OF CORRUGATED CARDBOARD AND BOLTED JOINTS
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14 CONES OF LIGHT
LUMINAIRE PROJECT
Departing from the most basic shape for a point light, the cone, we
developed a series computer-generated variations that challenged
the way in which the luminaire would sit, stand or hang, and stud-ied the way in which the resulting lighting condition would vary.
We selected those that presented the most interesting qualities
(including oddness), intentionally modified them and constructed
them using laser-cut corrugated cardboard. The potential of these
luminaires relies on their simple design, their ease of fabrication,
the materials light weight and the achieved sublte lighting effects.
CONE : mother-shape. Fixture type: pending, free-standing or surface-mounted.
CONE_VARIATION1 : slight deformations were made on the ex-terior side of the cardboard for it to be able to stand on itself and
direct the light upwards. The aperture is reduced adding the begin-ning of an inverse cone. Fixture type: free-standing.
ARCH 362 Environmental Systems: Lighting and AcousticsSpring 2007Prof: Martha BOHN
in collaboration with Nathan FRIEDMAN
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CONE CONE_VARIATION1
KIT OF PARTS A
coNe
CONE CONE_VARIATION1
contours_external surfacecontours_external surface
KIT OF PARTS
- bulb / fluorescent 14W (60W equiovalent)- ballast- electrical cord - aluminum shell- corrugated cardboard, 0.125 thick // KIT A
KIT OF PARTS_var1
- bulb / fluorescent 14W (60W equiovalent)- ballast- electrical cord - aluminum shell- corrugated cardboard, 0.125 thick // KIT B
VARIATION1
adaptation of the cone to: a sitting-on-the-floor and looking-up condition.a double set of irregularities and an inverse cone are used to inform this variation.
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CONE CONE_VARIATION1
contours_external surfacecontours_external surface
KIT OF PARTS
- bulb / fluorescent 14W (60W equiovalent)- ballast- electrical cord - aluminum shell- corrugated cardboard, 0.125 thick // KIT A
KIT OF PARTS_var1
- bulb / fluorescent 14W (60W equiovalent)- ballast- electrical cord - aluminum shell- corrugated cardboard, 0.125 thick // KIT B
VARIATION1
adaptation of the cone to: a sitting-on-the-floor and looking-up condition.a double set of irregularities and an inverse cone are used to inform this variation.
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KIT OF PARTS B
CONE_VARIATION1
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CONE AND CONE_VARIATION1
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LIGHT EFFECT DETAIL
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