Internal Networks

Professor: Catherine Spellman, Zubin Shroff6th Year, Arizona State University*Project Nominated for Design Excellence Award

Phoenix Metro Area Phoenix 2009 Buenos Aires 2009

what is my goal? the creation of interstitial spaces will allow the city to become denser in terms of people and scale, increasing activity to enhance culture and identity for Downtown Phoenix

SCALE

how did the topic originate? Living and studying in both Phoenix and Buenos Aires has infl uenced my understanding of public space and human scale in cities. Working within a historical context enhanced the importance of specifi c periods of time in the development of the overall urban fabric of a city.

methodology fi gurative something reused or altered but still bearing visible traces of its earlier form.

palimpsest

Densifying the Urban Fabric through Palimpsest

Older cities expose a variety of styles and scales imposed by its past generations. Many times they are accidental, meaning that as cities grow and older buildings are demolished traces are left behind to remind the public of what existed. Few times, however, as the modern city grows, are traces of history intentionally left behind. Phoenix is a prime example of this occurrence. When something new comes along, everything in its path is demolished, leaving no visible trace of its existence. The real question is how in a city like Phoenix can traces of history be exposed when 120 years ago there was nothing here? The solution lies in dealing with current problems in existing conditions, and changing the method that produced them.

What is the problem?

pa·limp·sest (n.)

an object, place, or area that refl ects its historyTHESIS

grid

building typology

building style

landscape

water

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Transit Hub

Civic SpacePark

Site

ASU Downtown Campus

Ground Floor Plan

Using the concept of water as movement, the ground fl oor opens the street into the core of the block to internalize activity with a variety of retail and seating.

view from light rail station on Central Ave.

view from Polk St.

Polk St.

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tral

Ave

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Ligh

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ail S

tatio

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1 Ramp to Cultural Center2 Cafe3 Information4 Bookstore5 Restaurants

6 Outdoor SeatingArizona Center

Cen

tral

Ave

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1st

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2nd

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3rd

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1st

Ave

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Van Buren St.

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retail

performance space

exhibition space

workshops/labs

lobby

offi ces

circulation

Second Floor Plan

Third Floor Plan

Fourth Floor Plan

1 Lobby2 Exhibition Space3 Storage4 Offi ces5 Workshops/Labs6 Mechanical7 Performance Space8 Gathering Space9 Restaurant/Bar10 Kitchen

The new cultural center must be an expression of the fl ux and uncertanties of the world of contem-porary art and must break away from tradition. With growing numbers of needs and spaces, the new cultural center must be manipulable and fl exible, almost acting as a factory.

Phoenix Cultural Center

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10122

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Public CorridorPublic Corridor adjacent roof viewadjacent roof view

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La Manzana de Las LucesProfessor: Claudio Vekstein, Sergio Forster

The Block of Lights (Knowledge)

6th Year, Universidad Torcuato di Tella

Framing HistoryThis exploration is based on the topic of history, and how to expose it to the public. As part of a studio focusing on public demonstrative architecture (pda), this project aims to involve the community and give the public rights to access their history. The block repre-sents the transformation of the city of Buenos Aires, founded in the 17th Century by the Jesuits, and developed as a center for religion, medicine, education, and government. The actual site is a parking lot within the block and exists because of a political dictatorship and thus represents an opportunity to expose the result of when people do not have equal rights. Furthermore, this is a study to frame the social and cultural transformation of a place in order to expose it to the public.

Monserrat section of downtown Buenos Airesf

SITE

Plaza de Mayo

Diagon

al Sur

Avenid

a 9 de Julio

*Project Nominated and Won Design Excellence Award

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Conceptual Framework Primary StructureEncased Program Embedded CirculationSTEP 1: STEP 4:STEP 2: STEP 3:

The conceptual framework wasdeveloped through careful analy-sis of historical plans of the blockover time from fi rst construction topresent. Four different plans wereabstracted, stacked, and extrudedaccording to the numbers of yearseach plan existed before renovation.

Programs are embedded inside theconceptual framework, representingthe idea of using past generationordering systems to encase newlydeveloped programs while the newprogram never interrupts the histori-cal framework.

Vertical circulation follows the same access points as one of the origianlbuilding plans: two side stairs and acentral elevator core. The conceptof moving vertically and horizontallythrough the building in respects totime of construction is enhanced bythis orientation.

Primary structure was carefullyinserted, only replacing certainconceptual members to supportprogram and circulation as to notdisrupt the original framework andalso to consider the buried founda-tions and tunnels needing to beexcavated. Conceptual and primarystructure would then cohesivelyblend to create one.

+ + + =

Four different plans overlayed from1600- present of Manzana de Las Luces

The project was developed through diagramming and considering each layer of history that was important to the block. A number of existing conditions were preserved, including a series of tunnels underground dug by the Jesuits when founding the city.

Public Realm

Block Plan

Excavation and Tunnel Plan Ground Floor Plan Second Floor Plan Thrid Floor Plan

1 Events offi ce2 Outdoor amphitheatre3 Cafe/Study space4 National Commission of History5 School of Museum Science6 Excavations7 Tunnel chamber

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Cross Section

Elevation on Calle Peru

Market on ground fl oor 2nd fl oor terrace view from Calle Peru

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Phoenix Actor’s TheatreProfessor: John Meunier5th Year, Arizona State University

ACTORS STAGE

PUBLIC STAGE

MULTI- USE

The theatre has long been considered a very private event. The challenge has always been how to attract not only a younger, but more diverse crowd. By raising the theatre and opening the activity to the general public, a spectacle is cre-ated. The building has an inherent distinction between public and private. Street performances, a gallery, and bar, are all open to the public and also entice them to possibly return for a show. The fi rst step is to interest the majority, not only the minority.

Raising the theatre:

*Project Nominated for Design Excellence Award

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A

Section 1

Metal Mesh

Waterproofi ng

Foam Insulation

Concrete over Metal Decking

Suspended Mico-perforatedAluminum Panels

Steel Tubing

Tie Rods

Glazing

1 Public Stage2 Cafe/Bar3 Rehearsal/Gallery4 Restrooms5 Storage6 Mechanical7 Loading Dock8 Offi ces9 Conference Room10 Kitchen11 Lobby12 House13 Dressing Rooms14 Wardrobe

Program Key

Detail A

Level 1 Level 2 Level 3

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89

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Global Meteor Exploration CenterProfessor: Donna Barry

5th Year, Arizona State University

Existing as the best preserved meteor crater in the world, this museum is the premiere place to study and discover meteors. In a constant cycle, geologists and digital artists work together and live on-site to produce exhibitions for the museum. Con-cepts include digging and retaining the original slope of the crater, generated by existing site features and by Daniel Bar-ringer, the man who discovered and had such an impact on the crater.

Museum entryseemless transition from desert into exhibits and crater views

Lobbyticket counter with preserved remains of Daniel Barringer house

Site Locationat original crater entry point

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Section through Lobby and Underground

1 Entry2 Workshops3 Living Units4 Lecture Hall5 Mueseum Lobby6 Historical Gallery7 Scientifi c Gallery8 Current Gallery9 Exit/Gathering SpaceUnderground Level Level 1

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y gGallery Circulation Diagram

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Venezia-Fusina HostelProfessor: Charles Hailey and Diana Bitz4th Year, Vicenza Institute of Architecture

Vicenza, Italy

The focus of this project was the design of a hostel. The hostel shall be placed onto an existing camping ground, a site with Scarpa infl uence in the form of a restaurant and bathing station. It must accomodate a constant infl ux of student travelers in different sized groups. Designing a hos-tel allowed me to work in a familiar territory after staying in them throughout Europe. This particular design can be easily prefabricated. A number of these hostels will be scattered around the site, and each one will be differently sized for groups of four, fi ve, six, etc. The example above is a four person room hostel. There are two rooms per fl oor, each with a bathroom in the center, and a light well core. “Scarpa-esc” elements were added to the site such as carving channels to embed the hostel into the ground and also adding fi ne detail to everything including the handrails. The site is accessible to Venice through an existing Vaporetto stop.

Fusina Camping Grounds

Venice

Railing detail to correspond with Scarpa design22 23

Revitalizing New York’s Waterfront

Professor: Pablo Herenu4th Year, University of Florida

Partner: Ruben Ramos

United NationsBuilding

Beginning Platform

FDR Highway

Esplanade

ImplementedGreen Zones

East River

Pedestrian Routes

Located adjacent to the United Nations Building on the East River, the site had to integrate the pedestrian. The site is surrounded by condominiums and apartments and its somewhat distant from New York’s commercial center. A revitalization process had to occur. I connected the city to the waterfront through public functions and the creation of an esplanade. A marine center, restaurants, and retail were placed on the site as well as apartments and a hotel. The site had to interest the common pedestrian, which includes tourists, locals, shoppers, and busnessmen.

Old Con-Edison Site

Tudor City

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The EsplanadeThe esplanade is envisioned to reunite the city of New York to the wa-ter. Despite being surrounded by water, the island of Manhattan is mostly disconnceted from views or experiences with water. Some linear infra-structure is already in production such as the High Line project along the Hudson to create a park on the old elevated railway. This esplanade is an initial move to attract residents in the surrounding neighborhood such as Tudor City to exercise and experience this highly traffi ced waterway. At the beginning platform exists public functions to attraction outsiders as well.

1 Residential Towers2 Elevated Retail3 Hotel4 Parking Garage/Entrance5 Outdoor Recreation6 Marine Center7 Esplanade8 East River

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NYC Mega-Bookstore HotelProfessor: Pablo Herenu4th Year, University of Florida

New York is a very hustling and bustling city. The skyline illumi-nates the intriguing experience of the city life.

What characterizes New York? Sky-scrapers. Buildings are not the main facet of the city but rather secondary. The people, the diversifi cation, and the plethera of cultures truly characterize the atmosphere of New York City.

Program: Hotel + Bookstore + Book fair arenaLocation: 6th Avenue, between 29th and 30thInfl uences: Rem Koolhaas Seattle Public Library Coop Himmelbau Frankfurt ECB

Ground Floor

2nd Floor 3rd Floor 4th Floor

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6th Avenue

6th Avenue

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Charleston Maritime MuseumProfessor: Peter Prugh3rd Year, University of Florida

This museum was designed for the common pedestrian. The building is situated between two high-volume traf-fi c areas, one being the automobile and the other being the pedestrian. Both routes stem from the main market in Charleston. There is a dual-entrence lobby containing a visiting exhibtion space. This leads to the main gallery space on the second fl oor as well as a media center that is centered around the atrium. The atrium houses the main spectacle: the old Hunley submarine from the civil war.

H.L. Hunley:Confederate submarine that was sunk and recovered is the main spectacle in the Maritime Museum of Charleston

Level 1 Level 2 Level 3

LobLoboLobLobLoboLoooooooooo bybybybybybyyyyyyy

GalGalGalGalG lerlerlerleryyyy

Cafe

ClassroomOffi ces

LibraryOutdoor Exhibition Space

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Welaka School for Boat Repair and Construction

Professor: William Tilson3rd Year, University of Florida

The issue at hand involves creating an educational facility for mari-time research with the ability to house ten students and a faculty member. Placed on a remote edge of the St. John’s River in Welaka, FL, the project was forced to fi t into a landscape and adhere to a specifi c form relevant to the production and repair of mid-sized boats. Entry to this very linear site occurs through a dense, wooded area off a county road. Upon approach, visitors may enter the main boathouse consisting of a large repair/production space, classroom, storage, and an offi ce, all which are located on the dock edge. Ad-jacent to the dock and connected by stairs and an overhead bridge lies the living facilities for both the students and professor.

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