Antonio Pacheco Portfolio 2015
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Transcript of Antonio Pacheco Portfolio 2015
Antonio Pacheco
20151
Proposals for Reconstructing Alamar
Contents:
Marcello in the Fountain
2014, Supertext
Designed interventions aimed at adapting the climactic incompatibilities of extant Soviet-era housing in Cuba to a hot, humid climate.
OCH Kitchen Incubator
2012, Studio Project
Antonio Pacheco
M.Arch 1M.PS
2015 Rome Prize Proposal in Historic Preservation and Design: Architecture categories.
A generic structure designed to facilitate the needs of a culinary academy in the Central City neighborhood.
Wetland Urbanism
2012-2014, Office of Jonathan Tate
Publication and traveling exhibition analyzing the resource-extraction industry’s impact along Bayou Lafourche, Louisiana. Exhibited: Houston, 2013; Buenos Aires, 2013; Rotterdam, 2013, Venice Biennale, 2014.
2015
2012-2013, M.Arch I Thesis
Antonio Pacheco
20152
Antonio Pacheco
Design
416 State StreetBrooklyn, NY 11217
314.566.3899
Education Work Experience
SkillsPublications
Washington University in St LouisSt. Louis, Missouri.Bachelor of Arts in Architecture,
Spring 2014
Tulane UniversityNew Orleans, Louisiana.Master of Architecture I;Master of Preservation StudiesSpring 2014
Marcello in the Fountain: Contemporaneity, the Ephemeral, and the Absolute: Monumentality in Rome, Reconstructed, 2014.
Proposal for American Academy in Rome’s 2015 Rome Prize; in collaboration with Rebecca X Fitzgerald. Analysis of changing attitudes towards and uses of monumentality and genericism in Rome.
Digital Technology
Historic Preservation
Production
Research & Writing
Seven years’ experience in architectural and graphic design. Recent interest in publication design, in print and online.
Fluent in Autodesk Revit and AutoCAD, Adobe Photoshop, InDesign, and Illustrator, and Microsoft Office/Open Office/Google Drive; working knowledge of SketchUp, Rhinoceros, and GIS.
Knowledge of historic nomination and tax credit process, Secretary of the Interior’s Standards, and Section 106 regulations; experience conducting building and neighborhood surveys for National Historic Register nominations; generating as-built drawings and historic structures reports; building documentation and adaptive re-use.
Extensive hand drawing experience, model building and wood working, silkscreening, book-binding, and digital mixed-media collage techniques. Working knowledge of analog photography, editorial design, and small-scale exhibition design.
Deeply interested in mid- to long-term research projects in the fields of design, architecture, historic preservation, and architectural history and urbanism.
Supertext
In partnership with Rebecca X Fitzgerald; a research-oriented self-publishing studio focused on issues in design, urbanism, and architectural history.
Office of Jonathan Tate
Assisted in the research, design, and production of a book about Southeast Louisiana under Jonathan Tate. Helped translate book’s contents into a traveling exhibition format.
Preservation in Print
Assisted in development of updated style-guide and contemporary branding for preservation-oriented magazine under Mary Fitzpatrick; contract writer, photographer and graphic designer.
Landmarks Association
Preparation of nominations to National Historic Registry under directors Jeff Mansell and Andrew Weil. Wrote building descriptions in support of nominations; conducted building permit research.
J. Paul Getty Museum
Assisted in public opinion surveys for Education Department under Mary Beth Caruselo, researched various museum collections across United States.
New Orleans, LA.Co-Founder, 2014 -
New Orleans, LA.Research Intern, Summer 2013
St. Louis, MODesign Intern, Summer 2012
St. Louis, MOResearch Intern, Summer 2011
Brentwood, CAUndergraduate Intern, 2008
Purpose-Built: Problematizing the Discrete Periodization of Patrimony and its Impact on the Postmodern City, 2014.
Self-Published booklet observing the contemporary state of postmodern architecture in the city and the impact of historic preservation on this urban condition through the lens of case studies in New Orleans, USA and la Défense, France.
Dixieland Ranch: The Ranch House in New Orleans, 2014.
A typological expoloration of post-war urban infill in historic neighborhoods.
Peaux-Meaux: The Post-Modern in New Orleans, 2014.
Article published by Failed Architectures surveying the extent of Post-Modernism in New Orleans’ Central Business District.
3 Continents Exhibition, 2014.
Work from ‘Wetland Urbanism’ exhibited: Houston, 2013; Buenos Aires, 2013; Rotterdam, 2013, Venice Biennale, 2014.
Bloc Mannerism - Khrushyovka Revival: The Soviet Apartment as Preservable Junkspace, 2013.Thesis, Masters of Historic Preservation, Advisor: Elizabeth Burns Gamard; An architectural-historical analysis of extant serially-produced apartments from the Soviet era in Moscow, Bratislava, Ulaanbaatar, and Havana.
Wetland Urbanism, 2013.
Publication observing and interpreting resource-extraction industry’s impact along Bayou Lafourche, Louisiana.
Proposals for Reconstructing Alamar: Adapting Soviet Housing in Cuba via Gradual, Self-Built Intervention, 2013.Thesis, Masters of Architecture I, Advisor: Scott Bernhard; A design-oriented intervention into alleviating climactic incompatibilities in Cuba’s Soviet-era housing.
Antonio Pacheco
20153
Jonathan Tate
Advisor:
A generic structure designed to facilitate the needs of a culinary academy. on Oretha Castle Haley Boulevard. Office and classroom spaces are elevated above a service floor containing forced air systems, utilities, walk-in refrigerators, and curing chambers. A double-height ground floor below is left open -utilities are supplied from above- allowing for flexible kitchen spaces on the ground. The liberated facade is allowed to take on a variety of configurations such that the function of the culinary academy shifts from being merely educational in nature to a hybrid between for-profit business incubation, on-the-job training, and public space. Facades, mounted on large, movable garage doors, can take on many configurations, allowing for each bay of the facade to potentially become a different storefront where, instead of attending baking class, for example, students spend time working at an impromptu bakery, or, learn about charcuterie through an improvised butcher shop.
OCH Kitchen Incubator
Antonio Pacheco
20154
OCH Kitchen Incubator
Antonio Pacheco
20155
OCH Kitchen Incubator
Antonio Pacheco
20156
Natan Diacon-Furtado Rebecca FitzgeraldJessica O’DellAntonio Pacheco Jonathan TateNeena VermaAnn Yoachim
Project team:
A yearlong investigation conducted by Tulane School of Architecture and Office of Jonathan Tate observing and interpreting the resource-extraction industry’s impact along Bayou Lafourche, Louisiana through a design publication and traveling exhibition. Book and exhibition materials from Wetland Urbanism were exhibited in Houston, 2013; Buenos Aires, 2013; Rotterdam, 2013, and Venice Biennale, 2014 as part of a traveling exhibition, 3 Continents.
Images shown include work from “Postcards from a Crude Urbanism” and “Oiled Landscape,” projects that were developed as independent work for the in-studio portion of this investigation.
Wetland Urbanism
Antonio Pacheco
20157
Wetland Urbanism
Antonio Pacheco
20158
Roughly 140 million Soviet-style housing units exist around the world. These generic, pre-fabricated, and often cooperatively-constructed buildings were typically employed irrespective of climate and context. Simultaneously, they represent a tremendous amount of embodied energy -an intrinsic human and material value that demands contemporary intervention. This project supposes the Soviet type can be adapted to any locale if its current condition is steered towards passive ends. The following interventions, applied at expanding scales- beginning with that of the individual unit, graduating to entire buildings, and eventually neighborhoods, can, through aggregation and sensitivity to extant vernacular adaptations, catalyze urban-scale change.
Proposals for Alamar
Scott Bernhard, AIA
Advisor:
Antonio Pacheco
20159
Existing and Proposed Exterior and Interior Facades
Proposals for Alamar
Antonio Pacheco
201510
Rebecca Fitzgeral
d & Antonio Pacheco
Rome Prize 2015
01
Marcello in
the Fountain
Contemporaneity, the Ep
hemeral, and the Ab
solute:
Monumentality in Rome, Recon
structed
Since Roman antiquity is not only a recollection imbued with nostalgic ideologies
and revolutionary expectations, but also a myth to be contested, all forms of
classical derivation are treated as mere fragments, as deformed symbols, as
hallucinating organisms of an order in a state of decay.
Preservation’s mode of creativity is not based on the production of new forms but
rather on the installation of formless aesthetics to mediate between the viewer
and the building...As mediation, preservation can operate through the medium
of building, electric light, sound, recorded lectures, manufactured smells, video,
websites, journals, legal frameworks, and a host of other media.
Manfredo Tafuri, Architecture and Utopia: Design and Capitalist DevelopmentJorge Otero-Pailos, Supplement to OMA’s Preservation Manifesto
Rome has, for centuri
es, been a heter
otopic environment for t
he West: it is here, o
ften, that the gre
at myths of Western cu
lture are formed, refor
med,
contested and sub
verted. This proc
ess has relied on
a web of monuments, exc
eptional buildings
declared as wort
hy of preservatio
n for their conti
nuous value
to the world. When an e
xceptional buildi
ng, however exc
eptionality is def
ined, is declared
a monument, it has confe
rred upon it an
ahistorical qualit
y both
conceptually and
literally: a monument’s sta
tus as such guara
ntees its preserv
ation, and simultaneou
sly relays the pr
esumably eternal qual
ity of its value.
Beginning in ear
nest in post-war
Italy, and coming to b
e the center of a
rchitectural and
critical discourse
in the 1970s and
80s, an examination o
f the potential
for occupation to
deconstruct eter
nal, or absolute v
alue involved a
reconsideration of
time according to in
dividual and coll
ective action: momentary, f
leeting,
ephemeral. Concomitant wit
h this process w
as an exploration
of the global p
roductivities and
participatory cap
acities of reprod
ucible media: film
, magazines,
photographs, con
sumable objects, and
their ability to c
reate a new kind
of monumentality, just as t
hey deconstruct t
he old.
For millennia,
the Roman urban
condition has be
en one of overlai
d realities: the m
onuments of the city’
s past lives pers
ist, erode, are re
built,
resignified, and r
ediscovered alon
gside the spatial
incarnations of n
ew eras, and tak
en as an entire b
uilt environment, the
past, present, and
projected future
are
never wholly in
alignment, nor wholly a
ntagonistic. Narra
tives of national
formation and interna
tional influence,
embedded in the bu
ilt, exist in conv
ersation as
they are absorbe
d into the narrati
ve of the contem
porary lived moment. The
use of monuments as
symbolic capital, or t
he commodification of pat
rimonial
value, has its ro
ots in ancient Ro
me: the repurposin
g or outright cop
ying of Grecian
art and architect
ure according to
Roman national narra
tive represents o
ne
of the efforts th
at defined the em
pire’s birth. In 1
506, construction
of St. Peter’s B
asilica begins, w
ith stones from the Co
losseum asserting the po
tential for
another kind of
material transfer o
f monumental value. The
modern initiation o
f this process is
organized around
a reclaiming of th
e 19th century p
roject of
Risorgimento, or
Italian unification
, begun in 1815
with the Congre
ss of Vienna and
recouped by the
Fascists under M
ussolini in 1922.
The ideal of the
“terre
irredente” – liter
ally, “unredeemed lands
” – figured cent
rally in unificatio
n discourse, and
grounded nationa
lism in Italy’s built
fabric, both real
and projected.
The apotheosis o
f the terre irrede
nte came not through a
physical unificatio
n of territories, b
ut rather through
the contentious
but still significa
nt, if shifting,
repositioning of
ancient Roman tradit
ion, via monument, acco
rding to fascist id
eology.
The con
nection between
historic preservat
ion and nationali
st discourse, too,
is well establish
ed. Codified in t
he 19th century,
when industrializ
ing
countries began t
o place the monuments of
their past within
a teleological fra
mework that define
d their moderniza
tion as an inevita
ble progression t
owards
more technologica
lly refined manifestati
ons of their own
particular nation
al characters. The
practice of embedding
within monuments of
the past the “offi
cial
histories” of a na
tion came to cha
racterize the role
of preservation
in modern societies a
s on through wh
ich national narra
tives were establ
ished.
Rome’s privi
leged position as
the seat of Western ci
vilization is writ
large during World War II; po
st-war, Rome looks
to cities like Lon
don, whose
built patrimony has
been ravaged by
war, and sees its
elf “preserved” b
y contrast throug
h its being decla
red an “open cit
y” – for its perc
eived irreducible
value.
Italians in partic
ular, therefore, a
re tasked with as
sessing what this
means, and Rome, thereb
y, becomes the e
picenter of an ex
amination of the va
luation and
uses of material h
eritage, and the
meaning and perce
ived irreducibility
of monument: What is valued, wh
y, and by what
means? Moreover,
what is the material
value of classica
l antiquity, when
its ideological h
eritage has been
subsumed under fascist
doctrine both rhe
torically and thro
ugh the rationalis
t architectural
practice of the fa
scist era? As the
purposeful deco
nstruction of abs
olute narrative is
undertaken acro
ss the world, som
e nationalist disc
ourses are able
to shift
almost entirely away
from their histories a
s a means of pluralizin
g ideology and
wresting themselves o
f authoritarian co
ntrol; in Rome, much of t
he built is
protected, and it
is therefore impossible
to turn to the m
odern built enviro
nment as a refuge
from the ideologicall
y-complicated heritage
of past eras. In
the
vacuum of post-war Ital
y, the “Italian Ec
onomic Miracle” (roughly
post-WWII to 1969, but
in particular 195
0-1963) served a
s impetus in a radical
reshaping
of Rome’s constructed e
nvironment as the Italian
national narrativ
e was being red
efined along cor
porate capitalist
lines: the degree
to and rapidity
with which
Italy changed po
st-war, as American m
oney and Western id
eas about econom
ic progress, produ
ction and consum
ption flooded in
at unprecedented
rates, helped
to create an unav
oidable cultural
rift, though rathe
r than a division
between contem
poraneous classes
, it was a temporal rif
t between a past
imaginary and
a present one. P
ost-war Italians
contended with t
heir previous inca
rnations: what re
mained of a cultu
re that, until WWII, was
largely agrarian,
as they were
tasked with creat
ing a new nation
al identity, one t
hat could exist a
longside capitalist
products, attitud
es, and narrative
s. This collectiv
e project was de
fined by
changing attitude
s, grounded in a
built environment that
necessarily contin
ued to contain th
e evidence of a
material heritage –
that of ancient R
ome – that had
been ideologicall
y repurposed thr
ough the rational
ist architecture (
perhaps epitomized by
the Esposizione U
niversale Rome) – of
the fascist era.
This pos
t-war condition,
fueled by the in
flux of capital a
nd the Italian en
trance into an in
ternational conve
rsation about modernity
and consumption,
manifested itself in
a collective exam
ination of Roman monument; as I
taly’s architects
are busy designin
g social housing
for the rapidly u
rbanizing populat
ion,
it is the Italian
neo-realists, and
later the post-ne
orealist auteur d
irectors of the 1
960s and 70s, wh
o place all “Rom
es” together in a
hyperbolized bu
t
inseparable reality
with one anothe
r; a series of di
sconnected archi
tectural “moments,” th
e modern urban cond
ition emerges. It
was the neo-rea
lists who liberate
d
film from the studio, and
the revelation of
a highly subjec
tive, dematerialize
d urban experien
ce, seen in cine
matic representatio
n as early as the
1950s, becomes
a major generator of
thought and pre
cursor for the av
ant garde genera
tion, at a time when
intertextuality and
interdisciplinarit
y claimed dominance.
Antonio PachecoRebecca Fitzgerald
Project team:
From the Tendenza to the avant garde, “continuity with architectural history” was used as a means of reclaiming Italian material heritage from authoritarian ideology. The historicization of monuments according to personal narrative and ephemerality served to bolster monumentality by repeatedly and freely reasserting existence in the present, designed moment. Fellini’s Mastroianni and Ekberg in the Trevi Fountain, as they physically occupy a monument itself built from repurposed antiquity, are exemplary of this process. The image of this adulteration was self-consciously projected across the world, becoming part of a concomitant exploration of the productive capacities of reproducible media: at the moment of its dissemination, La dolce vita joined the discursive landscape, and became a part of the Trevi Fountain’s total construction. We too embrace the interpretive act and propose an exploration of Rome’s psychogeographies by retracing its occupation through alternative mappings.
Marcello in the Fountain
Antonio Pacheco
201511
Rebecca Fitzgerald & Antonio Pacheco
Rome Prize 2015
The Fascists (1910s-40s)The Fascist conception of Italian statehood relied heavily on the use of antiquity and its associated symbols to trace a direct lineage between prior eras and the equally glorious potential Mussolini’s present. During the 20th century, Italian nationalist discourse focused intently on recapturing and reframing” Romanitas” – a term that encompasses the cultural/socio-political productions and reproductions that make up what it is to be “Roman,”– it also came to stand for Italian national character in general and a broader examination of relative cultural permanence and ephemerality.
Auteur Filmmakers (1960s-70s)Directors like Frederico Fellini and Michelangelo Antonioni utilized the gaze of their cameras and the Cinecitta’s “factory of images” to occupy and resignify ancient monuments and to write new narratives for Italians.
The Ancient Romans (27 BCE – 476 CE)The use of monuments as symbolic capital has its roots in ancient
Rome; they repurposed, copied, and resignified ancient Greek art and
architecture according to new national narratives; this process marks
one of the major efforts that defined the birth of the empire.
The Reformation, Counter-Reformation & The Baroque (1300s-1500s)
The Reformation and Counter-Reformation spawned invention of
Baroque architecture. The aggressive and copious production of new
but highly derivative works of ecclesiastical architecture was used
to solidify the Catholic Church’s authoritative grasp and ahistoricity
in that contemporary society.
The Neo-Realists (1944-52)
Italian filmmakers, forced out of the Cinecitta studios due
to damage sustained during WWII, took to the streets of
their cities and towns to dramatize the concerns of rural
and working poor by using mostly-non professional actors.
Lamentation of Christ,Andrea Mantegna, 1480
Mamma Roma,Pier Paolo Pasolini, 1962
Roma, Citta AperaRoberto Rossellini, 1945
Fontana di Trevi,Nicola Salvi, 1762
La Tendenza del Dottor Antonio,Frederico Fellini, 1962
La Dolce Vita,Frederico Fellini, 1962
Campo Marzio, Giovanni Battista Piranesi, 1762
Forum Romanum, 900 BCE
The Enlightenment Philosophers (1700s-1800s)Scholars, looking to escape the deeply dogmatic legacy of the Counter-Reformation, looked to the ruined -and pagan- artifacts of Rome and Greece, equating those relics with notions of civic virtue, order, and rational thought.
EUR, Marcello Piacentini,1936
The Grand Tourists (The Romantics) (1700s-1900s)
Synopsis: The nobility viewed travel in the pursuit of knowledge as a formative and
necessary experience expected of any proper gentleman. Travelers equated pilgrimage to
ancient monuments and the city of Rome, in particular, as an essential part of covering
the “blank slate” of selfhood with meaningful and timeless life experiences.
The Jubilee Pilgrims (1300s)Rome is he conceptual center of Christiandom’s Papal authority, housing
that faith’s most important physical artifacts. These two aspects combine during the Jubilee; engagement with both
is necessary for the faithful to receive
The Renaissance Artists (1300s)The gradual discovery of the roots of European cultural history would shape the tripartite chronological organization of the continent’s
history.
The Post-Modernists (1970s-90s) 1970s architects looked to antiquity for inspiration and guidance. The first Venice Biennale in 1980 brought together architects and Cinecitta craftsmen to “show real architecture.” They transformed ancient
monuments in the popular architectural imaginary as a vital tool deployed to diversify and erode Modernism’s conceptual rigidity.
L’Eclisse,Michelangelo Antonioni, 1962
Presence of the PastPaolo Portoghesi, 1980
Roma,Frederico Fellini, 1972
Statue of a wounded warrior, ca. 138–81 CE; (Roman copy of a Greek bronze statue, ca. 460–450 BCE)
Scale & Monumentality
The Monumental City
New MonumentsSingular Monuments
Abstracted Monuments
Groups of Monuments
Occupying Monuments
Copied Monuments
Postmodern Monuments
Re-staged Monuments
1
Coliseum, 70 CE
Staged Monuments
Studied Monuments
Commodified Monuments
The Tyranny of Monuments
Basilica Papale di San Paolo fuori le Mura, 386 CE
Basilica Sancti Petri;,Bramante, et al, 1626 CE
Veduta dell’Anfiteatro Flavio detto il Colosseo, Giovanni Battista Piranesi 1776 CE,
Das Pantheon und die Piazza della Rotonda in Rom, Rudolf von Alt, 1835 CE,
Consecrated Monuments
START HERE
The Re-signification of Monuments
Marcello in the Fountain