PROJECTS + SAMPLES (One Page/Web Reader Edition)

2011-2016

ARCHITECTURE + DESIGN PORTFOLIONICHOLAS EMMANUEL MARIAKIS

Selected Works from M.ARCH I Penn 2011-2016

Academic/Professional/ Others

nemariakis.comissuu.com/nemariakis

archinect.com/nemariakislinkedin.com/in/nemariakis

2011-2016

PROJECTS +SAMPLES+ONE PAGE/WEB READER EDITION

APRIMARILY DEALS WITH THE MAKING OF SPACES,

WHICH SERVE THE INSTITUTIONS OF [HUMANITY].

-LOUIS KAHNFrom Space and the Inspirations1967

The projects and samples contained within this broad volume represent my own diligent efforts to bring to fruition this dictumand to do so as artfully as possible.

In addition to the making of space, I am committed to the crafting of place, and thereby striving to cultivate an experiential, aesthetic, and socially amenable architecture that affects not only designers, but the client and the public. Architecture should move and inspire not merely designers. I believe in, and aim to help produce, Capital-A Architecture.

Included in this portfolio is a breadth of works that range from academic to professional and personal, extending from 2011 to 2016. I find process to be extremely important in my own work; therefore, a key logic in the structure of this book is that each of the architectural projects features a thorough description of the processes involved.

Academically, my emphasis was upon studios in which I could maintain as much aesthetic, creative, philosophical, and theoretical control as possible. Thus, the work in my portfolio represents no work from an ultra-prescriptive studio aesthetic. Many of the methodologies were highly prescriptive, however; which is, of course, common in architectural academic pedagogy. Geometrically, I have cultivated, and hope to continue cultivating skills in both developable and non-developable surfacesin Euclidean, curved, and doubly-curved typesvia NURBS, Mesh, and parametric modeling. As demonstrated in the wide variety of projects in this portfolio, I feel confident within both paradigms.

Ultimately, my focus in graduate school was to develop and explore my own identity, while still appreciating and dialoguing with the greater architectural zeitgeist.

In conclusion, the architectural designs incorporated within this volume predominantly dem-onstrate my desire to craft a literary or cinematic story arc into each projectthat is, analo-gous to the way in which a skillful author or screenwriter insinuates a level of unpredictability into a narrative, and therefore an element of directional uncertainty, these projects generally aim to do the same. Each return experience should contribute to the richness of the arc. As the incalculable elicits intrigue in the reader and viewer, it can in architecture as well, via the crafting of space, place, planning, form, light, materiality, and conceptual performance.

Thank you for your time and consideration.

Grace + Peace,

APRIMARILY DEALS WITH THE MAKING OF SPACES,

WHICH SERVE THE INSTITUTIONS OF [HUMANITY].

-LOUIS KAHNFrom Space and the Inspirations1967

The projects and samples contained within this broad volume represent my own diligent efforts to bring to fruition this dictumand to do so as artfully as possible.

In addition to the making of space, I am committed to the crafting of place, and thereby striving to cultivate an experiential, aesthetic, and socially amenable architecture that affects not only designers, but the client and the public. Architecture should move and inspire not merely designers. I believe in, and aim to help produce, Capital-A Architecture.

Included in this portfolio is a breadth of works that range from academic to professional and personal, extending from 2011 to 2016. I find process to be extremely important in my own work; therefore, a key logic in the structure of this book is that each of the architectural projects features a thorough description of the processes involved.

Academically, my emphasis was upon studios in which I could maintain as much aesthetic, creative, philosophical, and theoretical control as possible. Thus, the work in my portfolio represents no work from an ultra-prescriptive studio aesthetic. Many of the methodologies were highly prescriptive, however; which is, of course, common in architectural academic pedagogy. Geometrically, I have cultivated, and hope to continue cultivating skills in both developable and non-developable surfacesin Euclidean, curved, and doubly-curved typesvia NURBS, Mesh, and parametric modeling. As demonstrated in the wide variety of projects in this portfolio, I feel confident within both paradigms.

Ultimately, my focus in graduate school was to develop and explore my own identity, while still appreciating and dialoguing with the greater architectural zeitgeist.

In conclusion, the architectural designs incorporated within this volume predominantly dem-onstrate my desire to craft a literary or cinematic story arc into each projectthat is, analo-gous to the way in which a skillful author or screenwriter insinuates a level of unpredictability into a narrative, and therefore an element of directional uncertainty, these projects generally aim to do the same. Each return experience should contribute to the richness of the arc. As the incalculable elicits intrigue in the reader and viewer, it can in architecture as well, via the crafting of space, place, planning, form, light, materiality, and conceptual performance.

Thank you for your time and consideration.

Grace + Peace,

ARCHITECTURE CORE STUDIOS 01 The Air of the Future 701 02 Woven Ecologies 602 03 The Smooth and the Striated 704 04 Rest/ Home 601 05 Verdure Spaces 502 06 Dance Party 501

OTHER ACADEMIC 07 Inhabitable Surface Design Innovation 08 Trans Mutation Visual Studies 09 Construction 10 My Brothers Keeper: Park for the Houseless Form/REForm 11 Conservation as Exhibition: Turning Hidden Space into Public Space at the Philadelphia Museum of Art Museum as Site

PHYSICAL MODELS 12 Salk Institute: Louis Kahn Case Studies 13 Spatial Collage Intro Studio

PROFESSIONAL 14 HD Architecture Work Samples 15 New Standard Management Chrissy Keegan

CODA 16 Sketches/ Drawing 17 Photography 18 Graphic Design 19 Additional Models 20 Additional Renders

RESUME

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160174176180188

208210244250256

See nemariakis.com for select, full-size, images of renders, model photographs and drawings, as well as two short films of my 704 work

(kinetic physical model prototype).

issuu.com/nemariakisarchinect.com/nemariakis

linkedin.com/in/nemariakis

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HELLO. BEGIN GOODBYE. END

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NICHOLAS EMMANUEL MARIAKISProjects + Samples 2011-2016

04 ARCHITECTURE + DESIGN PORTFOLIOProjects + Samples 2011-2016

05

ARCHITECTURE CORE STUDIOS 01 The Air of the Future 701 02 Woven Ecologies 602 03 The Smooth and the Striated 704 04 Rest/ Home 601 05 Verdure Spaces 502 06 Dance Party 501

OTHER ACADEMIC 07 Inhabitable Surface Design Innovation 08 Trans Mutation Visual Studies 09 Construction 10 My Brothers Keeper: Park for the Houseless Form/REForm 11 Conservation as Exhibition: Turning Hidden Space into Public Space at the Philadelphia Museum of Art Museum as Site

PHYSICAL MODELS 12 Salk Institute: Louis Kahn Case Studies 13 Spatial Collage Intro Studio

PROFESSIONAL 14 HD Architecture Work Samples 15 New Standard Management Chrissy Keegan

CODA 16 Sketches/ Drawing 17 Photography 18 Graphic Design 19 Additional Models 20 Additional Renders

RESUME

contents

194196

008040074104130146

200202

266

006

158

192

198

206

160174176180188

208210244250256

See nemariakis.com for select, full-size, images of renders, model photographs and drawings, as well as two short films of my 704 work

(kinetic physical model prototype).

issuu.com/nemariakisarchinect.com/nemariakis

linkedin.com/in/nemariakis

///

01224364860

280

TRAN

S

HELLO. BEGIN GOODBYE. END

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03 04

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ARCHITECTURE CORE STUDIOS

OTHER ACADEMIC

PHYSICAL MODELS

PROFESSIONAL

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ARCHITECTURE CORE STUDIOS

OTHER ACADEMIC

PHYSICAL MODELS

PROFESSIONAL

CODA

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CLIMATE RESEARCH FACILITYMEXICO CITY, MEXICO

701 FALL, 2014 | Duration: 15 Weeks | Type: Individual | Published in Pressing Matters 4 | Featured in suckerPUNCH

CRITIC: Brennan Buck/ FreelandBuck Architecture/ YSOA

THE AIR OF THE FUTURE//01

CLIMATE RESEARCH FACILITYMEXICO CITY, MEXICO

701 FALL, 2014 | Duration: 15 Weeks | Type: Individual | Published in Pressing Matters 4 | Featured in suckerPUNCH

CRITIC: Brennan Buck/ FreelandBuck Architecture/ YSOA

THE AIR OF THE FUTURE//01

MEXICO CITY, MEXICO

Climate change exists as one of the fundamental challenges facing the future of planet Earth.

While rising sea levels pose threats of catastrophic flooding, greenhouse gases and carbon dioxide pose threats to the planets supply of air. Additionally, acid rain, along with ozone depletion, are serious concerns; this climate research and testing facility is intended to assist in the amelioration efforts of scientists fighting the environmental degradation of the planet.

Set in one of Mexico Citys major parks, the Bosque de Chapultepec, this project also aims to engender public use of both the landscape as well as the architecture itself.

The tectonic formation of the project is predi-cated upon a methodological stacking logic of modular geometric units which grow to articulate the whole. Such expansion of the parts creates tumbled, multi-orientationsin both internal and external conditionswith the intention of cultivating spatial and tectonic variety (and com-plexity) in both plan as well as section.

The expansion of the constituent geometries first proceeds outwards, which creates the basic form of the project. Gaps in the geometry of the mass are filled, whereby the individual dodecahedrons begin to fold in upon themselveswhich creates non-manifold volumes. The non-manifold remnants are then excavated to reveal spatial and planimetric opportunities. Channels, embedded in the modules, create linear arrays of fenestra-tion. Nested within the internal volumes are six, glass, testing chambers, which proceed from a hierarchically arranged, central cluster of research and office spaces.

THE AIR OF THE FUTURESTUDIO OBJECTIVE AND INTRO

NATIONAL MUSEUM OF ANTHROPOLOGY

BOSQUE DE CHAPULTEPEC

TAMAYO MUSEUM OF CONTEMPORARY ARTPASEO DE LA REFORMA

CHAPULTEPEC ZOO MUSEUM OF MODERN ART

11

MEXICO CITY, MEXICO

Climate change exists as one of the fundamental challenges facing the future of planet Earth.

While rising sea levels pose threats of catastrophic flooding, greenhouse gases and carbon dioxide pose threats to the planets supply of air. Additionally, acid rain, along with ozone depletion, are serious concerns; this climate research and testing facility is intended to assist in the amelioration efforts of scientists fighting the environmental degradation of the planet.

Set in one of Mexico Citys major parks, the Bosque de Chapultepec, this project also aims to engender public use of both the landscape as well as the architecture itself.

The tectonic formation of the project is predi-cated upon a methodological stacking logic of modular geometric units which grow to articulate the whole. Such expansion of the parts creates tumbled, multi-orientationsin both internal and external conditionswith the intention of cultivating spatial and tectonic variety (and com-plexity) in both plan as well as section.

The expansion of the constituent geometries first proceeds outwards, which creates the basic form of the project. Gaps in the geometry of the mass are filled, whereby the individual dodecahedrons begin to fold in upon themselveswhich creates non-manifold volumes. The non-manifold remnants are then excavated to reveal spatial and planimetric opportunities. Channels, embedded in the modules, create linear arrays of fenestra-tion. Nested within the internal volumes are six, glass, testing chambers, which proceed from a hierarchically arranged, central cluster of research and office spaces.

THE AIR OF THE FUTURESTUDIO OBJECTIVE AND INTRO

NATIONAL MUSEUM OF ANTHROPOLOGY

BOSQUE DE CHAPULTEPEC

TAMAYO MUSEUM OF CONTEMPORARY ARTPASEO DE LA REFORMA

CHAPULTEPEC ZOO MUSEUM OF MODERN ART

11

[1]-SINGLE CHANNEL

[1]

[2]

[3]

[2]-DOUBLE CHANNEL:OPPOSITE

[3]-DOUBLE CHANNEL:FACING

THE ARRAY IN PLAN

MIRRORED

MIRRORED AND ROTATED

SITE: DIGITAL SITE MODEL PROCESS: HIERARCHIES

SITE: PHOTOGRAPHS

SITE: ANALYSIS/ CONSIDERATIONS PROCESS: DEVELOPMENT of CONSTITUENT DODECAHEDRON GEOMETRIES

CAR VOLUME

100%

PEOPLEVOLUME

FLORADENSITY

CONTEXTHEIGHT

PICNICS DOGS NAPSOLD GROWTH CYPRESSES

[1]Looking S/SE [2]Looking W

[3]Looking W/NW [4]Looking E/NE

[1]

[2][3]

[4]

CENTER/ FRONT

SECONDARY

TERTIARY AND BEYOND

CENTER/ FRONT

SECONDARY

TERTIARY AND BEYOND

POSITION

FIGURE UNDERLAID/ INCOMPLETE

L/XL

M

S

SIZENeil Denari has referred to the digital platform as a black ether in which the metrics of a project can become lost or distorted. A Rhino site-model, therefore, was individually constructed in order to study the resultant iterations in and against the urban context of the site.

Despite the various towers which surround the park, the old growth deciduous trees of the Bosque generally prevent views of the tall urban extents beyond.

In order to understand the potentialities of the project, the site context, as well as the habits of the local people were studied. The design takes into account a deep respect for the peoples love of eating, sleeping, and playing with dogs in the park. The Bosque features a network of pedestrian vectors, which will be redirected into the immediate site of the project. Trees will be preserved when possible.

The investigation of hierarchical relationships served as a generative initiator; hexagonal, 2D figures transmute into 3D dodecahedronal geometries which deviate from the familiar, pentagonally faced, twelve-sided figure. Channels are introduced into the geometries, thus

creating solids with more than twelve sides. For nomenclatural consistency, the geometries will remained called dodecahedrons.

SAN VITALE

MUSEO TERRITORIO DE LAS MIGRACIONES: Mansilla + Tunon

WINTON GUEST HOUSE: Frank Gehry

Hierarchical relationships in case studies were analyzed, diagrammed, and essayed. Of particular interest were hierarchies pertaining to position, size, and figurethe latter concerned with whether such figures are whole, partial, or below other figures. Students were free to choose references that might best inform pending design choices. The case studies above were beneficial planimetrically as well as spatiallyeach design above maximizes the pushing and pulling of numerous geometries in space, especially the first and the last. Assessments were further informed by chapter 9 of Venturi's Complexity and Contradiction in Architecture, The Inside and the Outside.

13

[1]-SINGLE CHANNEL

[1]

[2]

[3]

[2]-DOUBLE CHANNEL:OPPOSITE

[3]-DOUBLE CHANNEL:FACING

THE ARRAY IN PLAN

MIRRORED

MIRRORED AND ROTATED

SITE: DIGITAL SITE MODEL PROCESS: HIERARCHIES

SITE: PHOTOGRAPHS

SITE: ANALYSIS/ CONSIDERATIONS PROCESS: DEVELOPMENT of CONSTITUENT DODECAHEDRON GEOMETRIES

CAR VOLUME

100%

PEOPLEVOLUME

FLORADENSITY

CONTEXTHEIGHT

PICNICS DOGS NAPSOLD GROWTH CYPRESSES

[1]Looking S/SE [2]Looking W

[3]Looking W/NW [4]Looking E/NE

[1]

[2][3]

[4]

CENTER/ FRONT

SECONDARY

TERTIARY AND BEYOND

CENTER/ FRONT

SECONDARY

TERTIARY AND BEYOND

POSITION

FIGURE UNDERLAID/ INCOMPLETE

L/XL

M

S

SIZENeil Denari has referred to the digital platform as a black ether in which the metrics of a project can become lost or distorted. A Rhino site-model, therefore, was individually constructed in order to study the resultant iterations in and against the urban context of the site.

Despite the various towers which surround the park, the old growth deciduous trees of the Bosque generally prevent views of the tall urban extents beyond.

In order to understand the potentialities of the project, the site context, as well as the habits of the local people were studied. The design takes into account a deep respect for the peoples love of eating, sleeping, and playing with dogs in the park. The Bosque features a network of pedestrian vectors, which will be redirected into the immediate site of the project. Trees will be preserved when possible.

The investigation of hierarchical relationships served as a generative initiator; hexagonal, 2D figures transmute into 3D dodecahedronal geometries which deviate from the familiar, pentagonally faced, twelve-sided figure. Channels are introduced into the geometries, thus

creating solids with more than twelve sides. For nomenclatural consistency, the geometries will remained called dodecahedrons.

SAN VITALE

MUSEO TERRITORIO DE LAS MIGRACIONES: Mansilla + Tunon

WINTON GUEST HOUSE: Frank Gehry

Hierarchical relationships in case studies were analyzed, diagrammed, and essayed. Of particular interest were hierarchies pertaining to position, size, and figurethe latter concerned with whether such figures are whole, partial, or below other figures. Students were free to choose references that might best inform pending design choices. The case studies above were beneficial planimetrically as well as spatiallyeach design above maximizes the pushing and pulling of numerous geometries in space, especially the first and the last. Assessments were further informed by chapter 9 of Venturi's Complexity and Contradiction in Architecture, The Inside and the Outside.

13

FINAL ARRAY01.07 01.14

[1] [4]

[2] [5]

[3] [6]

[1] [2] [3] [4] [5] [6] [7] [8] [9] [10] [11] [12] [13] [14]

PROCESS: CATALOG of PERMUTATIONS

PROCESS: DIGITAL GROWTH TESTS

PROCESS: ANALOG GROWTH TESTS

PROCESS: VOLUMETRIC and AREA STUDIES

In order to fully understand the combinatorial possibilities of the constituent geometries, an array of permutations was amassed that explores the possible connections between two shared faces. In the diagram above, each face of the twelve sides is given a unique color. The connections that yield favorable spatial outcomes were highlighted.

After the permutations were studied, growth tests proceeded. The fundamental rule of this set of digital growth tests was that each new child geometry must share a mirrored face with its parent, and not pierce the walls of other geometries. This procedure yielded the distinc-tive look of the agglomerations above, which lacked the potential for voluminous interiors. Thus, in order to maintain control over the volumes, it was apparent the rules required breakingchildren could fold in upon other geometries, creating non-manifold volumes. Although a parametric scripting was considered going forward, it was decided to pursue a series of analog based growth studies.

Individual constituent geometries were 3D-printed, then manipulated and taped by hand. These studies helped generate the final form.

The exterior masses generated via digital and analog processes were brought within metrical parameters and analyzed. Both area and volume required consideration, as the programmatic constraints necessitated calculation of cubic footage for the testing chambers. Such considerations were kept in mind when the dodecahedron was initially chosen as the basic geometric unit. Area, and volume, respectively, were such: 125,000 FT2 for the total area; 125,000 FT3 for the volume of each testing chamber. It was decided that the volume requirement should be comprised of one dodecahedron, rather than multiplesthus reducing the number of units. The series of scale tests above considered factors necessary for the creation of architectureshapes and areas of possible floors; logic for fenestration; and, solid vs. void.

15

[1] [4]

[2] [5]

[3] [6]

[1] [2] [3] [4] [5] [6] [7] [8] [9] [10] [11] [12] [13] [14]

PROCESS: CATALOG of PERMUTATIONS

PROCESS: DIGITAL GROWTH TESTS

PROCESS: ANALOG GROWTH TESTS

PROCESS: VOLUMETRIC and AREA STUDIES

In order to fully understand the combinatorial possibilities of the constituent geometries, an array of permutations was amassed that explores the possible connections between two shared faces. In the diagram above, each face of the twelve sides is given a unique color. The connections that yield favorable spatial outcomes were highlighted.

After the permutations were studied, growth tests proceeded. The fundamental rule of this set of digital growth tests was that each new child geometry must share a mirrored face with its parent, and not pierce the walls of other geometries. This procedure yielded the distinc-tive look of the agglomerations above, which lacked the potential for voluminous interiors. Thus, in order to maintain control over the volumes, it was apparent the rules required breakingchildren could fold in upon other geometries, creating non-manifold volumes. Although a parametric scripting was considered going forward, it was decided to pursue a series of analog based growth studies.

Individual constituent geometries were 3D-printed, then manipulated and taped by hand. These studies helped generate the final form.

The exterior masses generated via digital and analog processes were brought within metrical parameters and analyzed. Both area and volume required consideration, as the programmatic constraints necessitated calculation of cubic footage for the testing chambers. Such considerations were kept in mind when the dodecahedron was initially chosen as the basic geometric unit. Area, and volume, respectively, were such: 125,000 FT2 for the total area; 125,000 FT3 for the volume of each testing chamber. It was decided that the volume requirement should be comprised of one dodecahedron, rather than multiplesthus reducing the number of units. The series of scale tests above considered factors necessary for the creation of architectureshapes and areas of possible floors; logic for fenestration; and, solid vs. void.

15

Section Tests While the analog growth tests were fruitful for providing a tactile and imme-diate set of explorations, the basic dodecahedronal units could not fold in upon them-selves. These analog tests required digital rebuilding, and therefore recreated in Rhino, which could then allow for additionally added geometries to become non-manifold; that is, to intersect other geometries to create larger, more spatially- rich volumes.

The most promising test masses/arrangements were sectioned and excavated to cultivate spatial opportunities. While some non-manifold geometries contributed positively to the tectonics of the design, some non-manifold geometries were awkward or unmanageable and therefore considered vestigial and deleted. Floor plates were carefully and thoughtfully placed so as to meet programmatic area requirements, while special attention was given to volumetric openings. Multi- level, multi- orientational volumetric and spatial conditions were sought, which required floor plates to open and break. These studies were meant to insinuate the beginnings of architecture, and therefore did not feature elements such as stairs, et. al.

Additionally, these early tests were neither concerned with specific materials, nor color; rather, emphasis was placed upon depth, light, and shadow. A linework strategy was imple-mented that echoed Paul Rudolphs drawing aesthetic.

17

Section Tests While the analog growth tests were fruitful for providing a tactile and imme-diate set of explorations, the basic dodecahedronal units could not fold in upon them-selves. These analog tests required digital rebuilding, and therefore recreated in Rhino, which could then allow for additionally added geometries to become non-manifold; that is, to intersect other geometries to create larger, more spatially- rich volumes.

The most promising test masses/arrangements were sectioned and excavated to cultivate spatial opportunities. While some non-manifold geometries contributed positively to the tectonics of the design, some non-manifold geometries were awkward or unmanageable and therefore considered vestigial and deleted. Floor plates were carefully and thoughtfully placed so as to meet programmatic area requirements, while special attention was given to volumetric openings. Multi- level, multi- orientational volumetric and spatial conditions were sought, which required floor plates to open and break. These studies were meant to insinuate the beginnings of architecture, and therefore did not feature elements such as stairs, et. al.

Additionally, these early tests were neither concerned with specific materials, nor color; rather, emphasis was placed upon depth, light, and shadow. A linework strategy was imple-mented that echoed Paul Rudolphs drawing aesthetic.

17

SIMULATION CHAMBERS, RESEARCH CORE PUBLIC: DINING, EXHIBITION HALL ADMINISTRATION

CONFERENCE SPACES INTEGRATED EXTERIOR SPACES ALL

PUBLIC ACCESS: PERMEABILITY THROUGH THE PARK RESPONSE TO SITE: TOPOGRAPHY

Model Section Test [1/4 = 1 = 1:48, 21x 16x 12] Essential to the process was an interplay between digital and physical modeling. These explorations yielded opportunities as well as revealing spatial and geometric difficulties. Acrylic; butter/chipboard; plywood.

Unlike the previous growth tests, which were made of discrete modules that were manipulated by hand, these iterations were modeled as complete masses in Rhino, 3D printed, and evaluated.

Based on prior site analyses and considerations, the massing was adjusted to incorporate pedestrian flows. Additionally, the working form was manipulated to respond to the topographical changes in the site.

The program is arranged around the central core and its related adjacent zones, which pertain to: the simulation labs; research spaces; offices for scientists; and, mechanical spaces. Interior public spaces are generally orientated towards the park.

DESIGN PROGRESSION: MODELING TESTS

DESIGN PROGRESSION: ADAPTATION via DIAGRAM

PROGRAM: ARRANGEMENT

19

SIMULATION CHAMBERS, RESEARCH CORE PUBLIC: DINING, EXHIBITION HALL ADMINISTRATION

CONFERENCE SPACES INTEGRATED EXTERIOR SPACES ALL

PUBLIC ACCESS: PERMEABILITY THROUGH THE PARK RESPONSE TO SITE: TOPOGRAPHY

Model Section Test [1/4 = 1 = 1:48, 21x 16x 12] Essential to the process was an interplay between digital and physical modeling. These explorations yielded opportunities as well as revealing spatial and geometric difficulties. Acrylic; butter/chipboard; plywood.

Unlike the previous growth tests, which were made of discrete modules that were manipulated by hand, these iterations were modeled as complete masses in Rhino, 3D printed, and evaluated.

Based on prior site analyses and considerations, the massing was adjusted to incorporate pedestrian flows. Additionally, the working form was manipulated to respond to the topographical changes in the site.

The program is arranged around the central core and its related adjacent zones, which pertain to: the simulation labs; research spaces; offices for scientists; and, mechanical spaces. Interior public spaces are generally orientated towards the park.

DESIGN PROGRESSION: MODELING TESTS

DESIGN PROGRESSION: ADAPTATION via DIAGRAM

19

Plans While plans are excellent tools for describing information in the x and y planes, they typically fail to convey meaningful data regarding the z axis. These drawings are my own experiment in using shadowing techniques in order to convey the depth which occurs between perforations in floorplates, as well as

between the plane of the plan with respect to grade below.

PLANS: DRAWINGS

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3

2

3

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2

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8SPACE OF ENTRYTESTING CHAMBER

EDUCATION

FLEXIBLE

MECHANICAL FOR CHAMBER

LAB

PUBLIC CAFE

ADMINISTRATION

GALLERY

MEETING SPACES

GROUND / FIRST FLOOR

+ BUILDING PROGRAM = 125,000 FT2 AREA and ~125,000 FT3 x(6) VOLUME FOR TESTING CHAMBERS

LAB

TESTING CHAMBER

OFFICES FOR RESEARCHERS

OFFICES AND LABS

EXHIBITION

ADMINISTRATION

MAIN LEVEL / THIRD FLOOR

CAFE

AUDITORIUM9

5 20 30 50 100 20010

21

Plans While plans are excellent tools for describing information in the x and y planes, they typically fail to convey meaningful data regarding the z axis. These drawings are my own experiment in using shadowing techniques in order to convey the depth which occurs between perforations in floorplates, as well as

between the plane of the plan with respect to grade below.

PLANS: DRAWINGS

1

6

4

5

9

7

13

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2

3

8

1

6

7

2

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1234567

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EDUCATION

FLEXIBLE

LAB

PUBLIC CAFE

ADMINISTRATION

GALLERY

MEETING SPACES

GROUND / FIRST FLOOR

+ BUILDING PROGRAM = 125,000 FT2 AREA and ~125,000 FT3 x(6) VOLUME FOR TESTING CHAMBERS

LAB

TESTING CHAMBER

OFFICES FOR RESEARCHERS

OFFICES AND LABS

EXHIBITION

ADMINISTRATION

MAIN LEVEL / THIRD FLOOR

CAFE

AUDITORIUM9

5 20 30 50 100 20010

21

Given the speculative nature of the project, such large panels of glazing might hypothetically be composed of electro- or photo-chromic Smart Glass, which would darken automatically or per user override, and thus reduce incoming solar radiation when Mexico City is not overcast. The large aperture in the central core brings sunlight to the floors below via the octagonal perforations in the floorplates. Lastly, the diamond windows and triangular

clerestories derive their shaping from the exterior cladding, and are flush with the envelope. East-West.

Section This final section is the culmination of the earlier section tests on pages 16 and 17. The climate simulation chambers are constructed of transparent glazing, and each features interior-perimeter access catwalks; adjacent to each ~125,000 FT3 chamber is mechanical space and equipment that is required for the simulation experiments. In this render, various climate simulations have been Photoshopped into the chambers, representing various types of atmospheric conditions. From the interior looking outward, the bands of channel glass (colored white, as seen in the exterior render on pages 8 and 9), allow for wide apertures to the exterior context.

SECTION: IN PERSPECTIVE

23

Given the speculative nature of the project, such large panels of glazing might hypothetically be composed of electro- or photo-chromic Smart Glass, which would darken automatically or per user override, and thus reduce incoming solar radiation when Mexico City is not overcast. The large aperture in the central core brings sunlight to the floors below via the octagonal perforations in the floorplates. Lastly, the diamond windows and triangular

clerestories derive their shaping from the exterior cladding, and are flush with the envelope. East-West.

Section This final section is the culmination of the earlier section tests on pages 16 and 17. The climate simulation chambers are constructed of transparent glazing, and each features interior-perimeter access catwalks; adjacent to each ~125,000 FT3 chamber is mechanical space and equipment that is required for the simulation experiments. In this render, various climate simulations have been Photoshopped into the chambers, representing various types of atmospheric conditions. From the interior looking outward, the bands of channel glass (colored white, as seen in the exterior render on pages 8 and 9), allow for wide apertures to the exterior context.

SECTION: IN PERSPECTIVE

23

MODEL: FINAL FORM on the IMMEDIATE SITE

Final Model [1/32 = 1 = 1:384] The multi-orientational nature of the final form is captured in this approximately 18 x 11 x 4 3D printed model, which was easily inspectable during final review. As can be seen in the image directly above, portions of grade are carved, and descend below. The large void bordering the long, black, ramp differs from the same corresponding location in the top render on pages 28 and 29a conscious choice to experiment with how geometries meet the ground. MDF; mounting boardgrey/black; powder print

mass.

RESEARCH CORE/OFFICESSIMULATION LABS/CHAMBERS MECHANICAL FOR LABS AND BUILDINGPUBLIC/ EXHIBITION

CONFERENCE INTEGRATED EXTERIOR SPACES

ADMINISTRATION

25

MODEL: FINAL FORM on the IMMEDIATE SITE

Final Model [1/32 = 1 = 1:384] The multi-orientational nature of the final form is captured in this approximately 18 x 11 x 4 3D printed model, which was easily inspectable during final review. As can be seen in the image directly above, portions of grade are carved, and descend below. The large void bordering the long, black, ramp differs from the same corresponding location in the top render on pages 28 and 29a conscious choice to experiment with how geometries meet the ground. MDF; mounting boardgrey/black; powder print

mass.

RESEARCH CORE/OFFICESSIMULATION LABS/CHAMBERS MECHANICAL FOR LABS AND BUILDINGPUBLIC/ EXHIBITION

CONFERENCE INTEGRATED EXTERIOR SPACES

ADMINISTRATION

25

27

RENDERS: IN CONTEXT

View from the South Paths in the Bosque are directed towards and into the site. Some of the dodecahedro-nal constituent geometries deform to create habitable spaces as observed in the top right geometry that connects with the ground. While much of the glazing is white and fairly opaque from the exterior, some portions allow glimpses into the architecture from afar while retaining the feeling of the solidity of the geometries. Additionally, the patte- rning in the cladding features light and dark interference lines which operate to achieve two ends: first, the small scale of the subdivisions is intentionally diminutive by compari-son to the dodecahedrons to create a reading that enhances visual dynamics; second, the light lines disappear in bright light, and the dark lines fade in shadows, creating

continuous shifts in reading.

View from the North This view shows the architecture as potentially seen from the following towers: Residencial del Bosque; Coca Cola Mexico; or, the Australian Embassy. Rest spaces dig into the terrain below the conference spaces. The North chambers can be seen behind the

midnight blue glazing.

29

RENDERS: IN CONTEXT

View from the South Paths in the Bosque are directed towards and into the site. Some of the dodecahedro-nal constituent geometries deform to create habitable spaces as observed in the top right geometry that connects with the ground. While much of the glazing is white and fairly opaque from the exterior, some portions allow glimpses into the architecture from afar while retaining the feeling of the solidity of the geometries. Additionally, the patte- rning in the cladding features light and dark interference lines which operate to achieve two ends: first, the small scale of the subdivisions is intentionally diminutive by compari-son to the dodecahedrons to create a reading that enhances visual dynamics; second, the light lines disappear in bright light, and the dark lines fade in shadows, creating

continuous shifts in reading.

View from the North This view shows the architecture as potentially seen from the following towers: Residencial del Bosque; Coca Cola Mexico; or, the Australian Embassy. Rest spaces dig into the terrain below the conference spaces. The North chambers can be seen behind the

midnight blue glazing.

29

Birds Eye View Isolated, quiet, and private, this view shows one of the various upper-level outdoor rest spaces. At close distance, the white channel glazing reveals its slight opacity, allowing intimations of the tectonics and depth of the interiors. Behind the top right glazing is two of the testing chambers, and behind the lower left, a space for administrative duties. Here, the floor peels away from the channel glass. Below, at grade, the design incorporates the earlier site analyses and consider-ations; upon studying the general culture of Mexico City, and in particu-lar, the habits of the citizens who use this particular park, it was apparent that many different people enjoy sleeping, resting, napping, or picnicking in the grass. Thus, the architecture responds to accommo-date and welcome such persons. Additionally, as seen on page 28, the site welcomes those with dogs, as such animals are common and impor-

tant to the users of the Bosque.

View Towards the South Entrance Also shown in this view is one of the large, public spaces with integrated seating. In the space above the entrance, one of the testing cham-bers is visible behind and under the

floor slab.

31

Birds Eye View Isolated, quiet, and private, this view shows one of the various upper-level outdoor rest spaces. At close distance, the white channel glazing reveals its slight opacity, allowing intimations of the tectonics and depth of the interiors. Behind the top right glazing is two of the testing chambers, and behind the lower left, a space for administrative duties. Here, the floor peels away from the channel glass. Below, at grade, the design incorporates the earlier site analyses and consider-ations; upon studying the general culture of Mexico City, and in particu-lar, the habits of the citizens who use this particular park, it was apparent that many different people enjoy sleeping, resting, napping, or picnicking in the grass. Thus, the architecture responds to accommo-date and welcome such persons. Additionally, as seen on page 28, the site welcomes those with dogs, as such animals are common and impor-

tant to the users of the Bosque.

View Towards the South Entrance Also shown in this view is one of the large, public spaces with integrated seating. In the space above the entrance, one of the testing cham-bers is visible behind and under the

floor slab.

31

Interior The tumbled, multi-orientations that exist on the exterior also read in the interior. Ample light pervades the spaces by means of both the curtain glazing as well as the channel glassand via the octago-nal atrium which extends to the glazed roof. The octagonal outline is adorned with linear lighting, which during the evening, recalls the effect of sunlight spilling below during the day. This view corresponds to number 1, the Space of Entry, on the Ground/ First Floor plan, and is looking towards the East. Some of the testing chambers are accessible and visible from this main level, providing a didactic and engaging architectural experience. The materials are envisaged as polished concrete; bush-hammered concrete;

and gypsum, which varies in color. Notable is the cyan which recalls native architect Luis Barragn.

33

Interior The tumbled, multi-orientations that exist on the exterior also read in the interior. Ample light pervades the spaces by means of both the curtain glazing as well as the channel glassand via the octago-nal atrium which extends to the glazed roof. The octagonal outline is adorned with linear lighting, which during the evening, recalls the effect of sunlight spilling below during the day. This view corresponds to number 1, the Space of Entry, on the Ground/ First Floor plan, and is looking towards the East. Some of the testing chambers are accessible and visible from this main level, providing a didactic and engaging architectural experience. The materials are envisaged as polished concrete; bush-hammered concrete;

and gypsum, which varies in color. Notable is the cyan which recalls native architect Luis Barragn.

33

View Looking West Much of the urban context is obscured by the surrounding old-growth trees, albeit some towers can be viewed at various locations. From this vantage point, the upper level offices are visible, revealing interior spatial depth (and the exterior beyond) and providing a visual insight into the underlying concept of hierarchy that helped drive the tectonic decisions of the project. Towards the left, one of the testing chambers is visible, its geometry not strictly conform-ing or corresponding to the dodecahedronal envelope. Spatial depth and interest is here capitalized. Given the visual access to the testing chamber from the park, the architecture becomes didactic and provides a clue regarding the purpose

of the building, while also intending to generate curiosity, mystery, and intrigue.

35

View Looking West Much of the urban context is obscured by the surrounding old-growth trees, albeit some towers can be viewed at various locations. From this vantage point, the upper level offices are visible, revealing interior spatial depth (and the exterior beyond) and providing a visual insight into the underlying concept of hierarchy that helped drive the tectonic decisions of the project. Towards the left, one of the testing chambers is visible, its geometry not strictly conform-ing or corresponding to the dodecahedronal envelope. Spatial depth and interest is here capitalized. Given the visual access to the testing chamber from the park, the architecture becomes didactic and provides a clue regarding the purpose

of the building, while also intending to generate curiosity, mystery, and intrigue.

35

View Looking South A large, gentle ramp descends through the North-South axis of the architecture and site. An Eastern entrance is located at lowest point of the ramp (as seen in the section drawing). Towards the left side of the architecture some of the mechanical systems are apparent, revealing the internal organs of the building. Visible below the apex of the central core is the octagonal atrium, which assists in light dispersion to the

levels below, as well as providing spatial depth and optical interest.

37

View Looking South A large, gentle ramp descends through the North-South axis of the architecture and site. An Eastern entrance is located at lowest point of the ramp (as seen in the section drawing). Towards the left side of the architecture some of the mechanical systems are apparent, revealing the internal organs of the building. Visible below the apex of the central core is the octagonal atrium, which assists in light dispersion to the

levels below, as well as providing spatial depth and optical interest.

37

THE AIR OF THE FUTURE

Satellite View Architecture, site, and immediate context as seen from orbit. As many trees as possible are left undis-turbed.

39

THE AIR OF THE FUTURE

Satellite View Architecture, site, and immediate context as seen from orbit. As many trees as possible are left undis-turbed.

39

MUSEUM OF ECOLOGYMANHATTAN, NEW YORK

602 SPRING, 2014 | Duration: 15 Weeks | Type: Group Lin Yong Jia, Nathan Galvez

CRITIC: Justin Korhammer / Anima

WOVEN ECOLOGIES//02

MUSEUM OF ECOLOGYMANHATTAN, NEW YORK

602 SPRING, 2014 | Duration: 15 Weeks | Type: Group Lin Yong Jia, Nathan Galvez

CRITIC: Justin Korhammer / Anima

WOVEN ECOLOGIES//02

WOVEN ECOLOGIESSTUDIO OBJECTIVE AND INTRO

EASTRIVER

LOWER MANHATTAN

BROOKLYN

FDR D

RIVE

BROOKLYN BRIDGE

PIER 15

PIER 16

MANHATTAN, NEW YORK

In the Lower East Side of Manhattan, the area surrounding the South Street Seaport is rapidly burgeoningthis growth is typified by the recent construction of Pier 15, as well as the nearby 8 Spruce Street by Gehry Partners. The context of the site features a confluence of forces, including pedestrian; residential; economic; and, transpor-tation (bike, auto, boat, and MTA subway/light rail). For this reason, the site of Pier 17 has been selected for a new museum of ecology, next to Gehry Partners original proposal for the Down-town Guggenheim.

WOVEN ECOLOGIES seeks to maximize the aforementioned confluence of forces by utilizing the concept of weaving as an operational driver to facilitate a quadruplicate union between program, structure, mass, and the urban and ecological milieus. As such, the architecture is composed of a series of bars that weave together, and into the site.

Programmatically, weaving is utilized by curving and overlapping x-y vectors to create tectonic elements that form new volumetric zones. In the z axis, the floor plates shift according to 5-foot vertical subdivisions, and the superstructure curves. Structurally, weaving is incorporated via a diagrid system that creates a continuous series of fibers that weave into each other, as well as into adjacent bars, thereby forming the enclosed spaces within.

* While this project began and concluded as a team proposal, in this portfolio all of the 3D modeling, physical modeling, drawings, renders, diagrams, photographs, and text descrip-tions are solely by me, with exception to the urban context portion of the final site model, which was a group task. The goal being to create a design project that demonstrates my own learning via 3D modeling and representational skills, and to not rely upon the representation, 3D modeling, nor physical model-building skills, of others.

43

WOVEN ECOLOGIESSTUDIO OBJECTIVE AND INTRO

EASTRIVER

LOWER MANHATTAN

BROOKLYN

FDR D

RIVE

BROOKLYN BRIDGE

PIER 15

PIER 16

MANHATTAN, NEW YORK

In the Lower East Side of Manhattan, the area surrounding the South Street Seaport is rapidly burgeoningthis growth is typified by the recent construction of Pier 15, as well as the nearby 8 Spruce Street by Gehry Partners. The context of the site features a confluence of forces, including pedestrian; residential; economic; and, transpor-tation (bike, auto, boat, and MTA subway/light rail). For this reason, the site of Pier 17 has been selected for a new museum of ecology, next to Gehry Partners original proposal for the Down-town Guggenheim.

WOVEN ECOLOGIES seeks to maximize the aforementioned confluence of forces by utilizing the concept of weaving as an operational driver to facilitate a quadruplicate union between program, structure, mass, and the urban and ecological milieus. As such, the architecture is composed of a series of bars that weave together, and into the site.

Programmatically, weaving is utilized by curving and overlapping x-y vectors to create tectonic elements that form new volumetric zones. In the z axis, the floor plates shift according to 5-foot vertical subdivisions, and the superstructure curves. Structurally, weaving is incorporated via a diagrid system that creates a continuous series of fibers that weave into each other, as well as into adjacent bars, thereby forming the enclosed spaces within.

* While this project began and concluded as a team proposal, in this portfolio all of the 3D modeling, physical modeling, drawings, renders, diagrams, photographs, and text descrip-tions are solely by me, with exception to the urban context portion of the final site model, which was a group task. The goal being to create a design project that demonstrates my own learning via 3D modeling and representational skills, and to not rely upon the representation, 3D modeling, nor physical model-building skills, of others.

43

SITE: DIGITAL SITE MODEL PROCESS: PARAMETRIC VECTOR INVESTIGATION

SITE: PHOTOGRAPHS PROCESS: VECTOR-MAPPING

SITE: ANALYSIS/ CONSIDERATIONS

GRADATION

FINGERS

FINGERS+ THE MAIN ARTERIES WHICH CONNECT THEIMMEDIATE AND LARGER CONTEXTS OF THE SITE.ZONAL+ TWO DISTINCT ZONES EXIST WITHIN THE CONTEXT OF THE SITEAN OPEN ZONE, AND A THRESHOLD ZONETHE LATTER BEING UNDER WEST STREET.FEATHERING+ EDGE FEATHERING IS CREATED BOTH THE BOUNDARIES OF THE BUILT PIERS, AS WELL AS THE WAKES CREATED BY MARINE VESSELS.GOSSAMER+ THE PATHS OF MARINE VESSELS CREATE CURVILINEAR VECTORS.GRADATION+ THE HIGHEST DENSITIES OF PEDESTRIAN OCCUPATION ARE ALONG THE PIERS, AND GRADUALLY WANING UNTIL RETURNING AT WATER STREET.BIFURCATION+ VERTICAL SPACE, FLOWS OF CARS, BIKES, AND PEDESTRIANS ARE SEPARATED BY FDR DRIVE.

FEATHERING

BIFURCATION

GOSSAMER

ZONAL

FINGERS+ LONG, NARROW BANDS WITH POCKETS.

GRADATION+ ALTERNATING SIZES OF VOIDS/POCHE SUGGEST SPATIAL VARIETY AND OPPORTUNITIES.

FEATHERING+ EDGE FEATHERING OCCURRING ALONG THE PERIMETER FISSURESPIERCE WITHIN INTERIOR SPACES.

ZONAL+ DISTINCT ZONES OPEN ZONES, AND A THRESHOLD ZONE.

GOSSAMER+ ELEGANT THREADS SERVE AS VECTORS THAT EMANATE FROM A CENTRAL NODE.

STRATA+ DIFFERENT ZONES ARE LAYEREDWITHIN THESE VARIOUS ZONES ARE VOIDS, VECTORS, AND CORRIDORS.

PERFORATION+ THREE-DIMENSIONAL VOLUMES ARE ENCOMPASSED BY, AND STRUCTURED BY, SOLID MEMBERS.

[1]

A

B

D

C

E

F

GH

[2]

[3]

BIFURCATION+ AN OTHERWISE HOLISTIC SPACE IS SEPARATED HOWEVER, A LINKAGE SERVES TO CONNECT THE NOW DIVIDED ZONES.

WEAVING+ DIAMETRICALLY OPPOSED VECTORS ENCOMPASS EQUIVALENT SPACE, ALBEITIN AN AMBIGUOUS MANNER.

01 02 03 04 05 06 07 08

09 10 11 12 13 14 15 16

PLANIMETRIC

ISOMETRIC

ELEVATION

01 02

03 04

+PEDESTRIAN, BIKE, AND AUTOMOTIVE VECTORS

+EDGES SUPPLIED WITH PROGRAMMATIC POTENTIAL

+REINTERPRETED WITH POSSIBLE HARD EDGES

+VECTORS WOVEN AT VARIOUS LEVELS

LOW

MIDDLE

HIGH

[1]Looking NE [2]Looking N [3]Looking W/NW

A 8 SPRUCE STREET

B EAST RIVER BIKEWAY

C EAST RIVER ESTUARY

D BROOKLYN BRIDGE

E SITE (PIER 17)

F SOUTH STREET SEAPORT

G FDR DRIVE (ELEVATED) SOUTH STREET (BELOW)

H FINANCIAL DISTRICT

The site is located at Pier 17, the building at which required demolition due to extensive fire damage. The Seaport area is bifurcated by FDR Drive above, but relative ease of access remains from South Street below.

The framework of floral references informed a parametric vector study, which was overlaid upon the immediate site. The aim was to deter-mine in what ways such references could be transposed and utilized in plan and-or section strictly, and within three dimensional space.

Even in January, the Seaport area is lively and draws pedestrians, bikers, and street vendors.

Given the project is a museum of ecology, the site was analyzed and cataloged through a framework of floral referencesin an effort to identify strategic opportunities, parallels were sought between the built/urban environment and the microscopic, ecological world.

It was determined that the project would benefit by a mapping of vector forces that engage the site. Pedestrian, bike, and automotive forces are agglomerated; imagined with edge conditions and potential program; and then elevated into the urban skyline.

45

SITE: DIGITAL SITE MODEL PROCESS: PARAMETRIC VECTOR INVESTIGATION

SITE: PHOTOGRAPHS PROCESS: VECTOR-MAPPING

SITE: ANALYSIS/ CONSIDERATIONS

GRADATION

FINGERS

FINGERS+ THE MAIN ARTERIES WHICH CONNECT THEIMMEDIATE AND LARGER CONTEXTS OF THE SITE.ZONAL+ TWO DISTINCT ZONES EXIST WITHIN THE CONTEXT OF THE SITEAN OPEN ZONE, AND A THRESHOLD ZONETHE LATTER BEING UNDER WEST STREET.FEATHERING+ EDGE FEATHERING IS CREATED BOTH THE BOUNDARIES OF THE BUILT PIERS, AS WELL AS THE WAKES CREATED BY MARINE VESSELS.GOSSAMER+ THE PATHS OF MARINE VESSELS CREATE CURVILINEAR VECTORS.GRADATION+ THE HIGHEST DENSITIES OF PEDESTRIAN OCCUPATION ARE ALONG THE PIERS, AND GRADUALLY WANING UNTIL RETURNING AT WATER STREET.BIFURCATION+ VERTICAL SPACE, FLOWS OF CARS, BIKES, AND PEDESTRIANS ARE SEPARATED BY FDR DRIVE.

FEATHERING

BIFURCATION

GOSSAMER

ZONAL

FINGERS+ LONG, NARROW BANDS WITH POCKETS.

GRADATION+ ALTERNATING SIZES OF VOIDS/POCHE SUGGEST SPATIAL VARIETY AND OPPORTUNITIES.

FEATHERING+ EDGE FEATHERING OCCURRING ALONG THE PERIMETER FISSURESPIERCE WITHIN INTERIOR SPACES.

ZONAL+ DISTINCT ZONES OPEN ZONES, AND A THRESHOLD ZONE.

GOSSAMER+ ELEGANT THREADS SERVE AS VECTORS THAT EMANATE FROM A CENTRAL NODE.

STRATA+ DIFFERENT ZONES ARE LAYEREDWITHIN THESE VARIOUS ZONES ARE VOIDS, VECTORS, AND CORRIDORS.

PERFORATION+ THREE-DIMENSIONAL VOLUMES ARE ENCOMPASSED BY, AND STRUCTURED BY, SOLID MEMBERS.

[1]

A

B

D

C

E

F

GH

[2]

[3]

BIFURCATION+ AN OTHERWISE HOLISTIC SPACE IS SEPARATED HOWEVER, A LINKAGE SERVES TO CONNECT THE NOW DIVIDED ZONES.

WEAVING+ DIAMETRICALLY OPPOSED VECTORS ENCOMPASS EQUIVALENT SPACE, ALBEITIN AN AMBIGUOUS MANNER.

01 02 03 04 05 06 07 08

09 10 11 12 13 14 15 16

PLANIMETRIC

ISOMETRIC

ELEVATION

01 02

03 04

+PEDESTRIAN, BIKE, AND AUTOMOTIVE VECTORS

+EDGES SUPPLIED WITH PROGRAMMATIC POTENTIAL

+REINTERPRETED WITH POSSIBLE HARD EDGES

+VECTORS WOVEN AT VARIOUS LEVELS

LOW

MIDDLE

HIGH

[1]Looking NE [2]Looking N [3]Looking W/NW

A 8 SPRUCE STREET

B EAST RIVER BIKEWAY

C EAST RIVER ESTUARY

D BROOKLYN BRIDGE

E SITE (PIER 17)

F SOUTH STREET SEAPORT

G FDR DRIVE (ELEVATED) SOUTH STREET (BELOW)

H FINANCIAL DISTRICT

The site is located at Pier 17, the building at which required demolition due to extensive fire damage. The Seaport area is bifurcated by FDR Drive above, but relative ease of access remains from South Street below.

The framework of floral references informed a parametric vector study, which was overlaid upon the immediate site. The aim was to deter-mine in what ways such references could be transposed and utilized in plan and-or section strictly, and within three dimensional space.

Even in January, the Seaport area is lively and draws pedestrians, bikers, and street vendors.

Given the project is a museum of ecology, the site was analyzed and cataloged through a framework of floral referencesin an effort to identify strategic opportunities, parallels were sought between the built/urban environment and the microscopic, ecological world.

It was determined that the project would benefit by a mapping of vector forces that engage the site. Pedestrian, bike, and automotive forces are agglomerated; imagined with edge conditions and potential program; and then elevated into the urban skyline.

45

WINDOW TO WALL RATIO IN IECC ZONE4A CLIMATE: BETWEEN 20-30%. A 20% WWR RESULTS IN AN SHG OF ~1.5 KWH/M^2

e

PROGRAM: DELINEATION PROJECT LOGIC: WEAVING

ENVIRONMENTAL SYSTEMS/STRATEGIES CONSIDERATIONS: VIGNETTES

PROCESS: INCORPORATION OF PRIOR ANALYSES/ INVESTIGATIONS / MAPPINGS

ARCHITECTURE ABOVE

= FLOOR PLATES / ~405,000 SF ARRANGEMENT TESTS

ANIDOLIC LIGHT SHELVES FOLD DOWN FROM MEMBERS

PVS INTEGRATED INTO THE ROOF AND FACADE

A GREEN HOUSE CONNECTS WITH HYDROPONIC GARDEN

OKALUX: FOR DIFFUSE LIGHTING

HYDROPONIC FARM

ACTIVE VEGETATION/AIR FILTRATION WALLS

FRITTED GLAZING FOR AMBIENT LIGHTING

WINDOW TO WALL RATIO20-30 %

COLORED FRAUNHOFER PVS INTEGRATED INTO FACADE

ELECTROCHROMIC GLASS FOR SPACES THAT NEED THE POTENTIAL TO BE TRANSFORMED FOR SPECIAL EXHIBITIONS

RETRACTABLE GLAZING FOR WEATHER AND AIR EXHIBITION

WASTE AND STORMWATER MANAGEMENT VEGETATION

GEOTHERMAL HEATING AND COOLING VERTICAL LOOPGREEN WALL

PROGRAM STRUCTURE URBAN MILIEU MASS

EXTENSION OF OUTDOOR, PUBLIC PIER NETWORKINTO EAST RIVER

PEDESTRIAN FLOW OVER, UNDER, AND THRU SPACE;CREATES VERTICAL CONNECTION WITH URBAN FABRICTHE SITE

FLORA: FOR CARBON POSITIVITY, AND, "WEAVING" NATIVE MAMMAL, INSECT, AND AVIAN SPECIES INTO SITE.

CONNECTION WITH MTA A AND C SUBWAY LINES CONNECTION WITH ERBEAST RIVER BIKEWAY: BIKE PATHS TO PROCEED OVER, UNDER, AND THRU ARCHITECTURE

MARINE DOCKING TO BE ADDEDTO INVITE ROWERS, CANOERS, AND SAILORS

ELECTRIC CAR PARKING/ LOOP TO BE USED AS OBJECT-LESSON/ EXHIBITION SPACEEXTENDS INTO MUSEUM.

The program briefing calls for 405,000 square feet of total space. Square icons above represent various programmatic spaces, while the circular icons represent specific exhibitions.

Urban Weave: Based on initial studies of the context, the preceding diagrams represent possible architectural strategies. In light of the program, a museum of ecology, these diagrammatic vignettes served to inform design choices for the architectural proposal. The primary focus for this project was upon: photovoltaics; geothermal exchange; waste/stormwater management; vegetation.

Based upon preliminary studies, weaving was deemed as the most appropriate framework on which to base the project. Weaving, there-fore, functions as an operational driver to cultivate a four- part union between program, structure, the urban milieu, and mass. The teleol-ogy for weaving is described as thus: program woven program creates opportunities for overlapping spaces and transitional experience; structure/envelope woven structure will be efficient, and visually/spatially interesting; urban milieu the logic of weaving maintains the inherent potential to interconnect various threads of the city, including boat, pedestrian, bicycle, public, and automotive vectors; mass

woven mass will recall such urban vectors and seek to enhance them via the resulting design.

eCAFE LIGHT PUBLIC DINING DINING- ELEGANT DOCKING/

RECYCLINGARCH AND URBANISM

AUDITORIUM CLASSROOMS ECOLOGY OF NYC ELECTRIC CARS ENERGY

OFFICES- ADMIN PATHS- WALKING PATHS- BICYCLE RETAIL EVOLUTION FARM MARKET FAUNA FLORA GREENSPACE INTRO TO ECOLOGY

SUBWAY LABS OBSERVATORY SPECIAL EXHIBITION

SUN VERTICAL GARDEN

WASTE AND RECYCLING

WATER COLLECTION

WATER AND OCEANS

WATER TREATMENT

WEATHER AND AIR

PROGRAM ICONS

47