PORTFOLIO JANUARY 2011

PORTFOLIOMiriaM roure Parera

DeceMber 2010

1

LIST OF SELECTED PROJECTS

PROFESSIONAL - Office for Metropolitan Architecture and MATEO Arquitectura

1 TTE DE PONT2 BIENNALE DI VENEZIA - OMA EXHIBITION3 FONDACO DEI TEDESCHI4 PRADA WOMAN SS2010 CATWALK5 CASARTS . TTRE DE CASABLANCA

ACADEMIC - Cornell University, B.Arch 2009

6 TESTING BENIDORM7 INTERLOCKING PATHS8 MAGNETOS MUSEUM9 NIHIWATU HOTEL10 LIBERAS POST-OFFICE11 RED HOOK12 SEIPP PRIZE COMPETITION13 ScreeN oF ScaLeS14 CONES OF LIGHT

0711172531

375765779197

103109115

5

1 TTE DE PONT

MATEO Arquitectura2006 CompetitionProject development: November 2010 -Participation in the project: 6 weeks -

Bayonne, France Principal and Project Leader: Josep Llus MateoOriginal team: Till von Mackensen, Marta Gual, Jos Garca Perpi, and Maria Martnez.Current team: Laurent Baudelot, Anna Llimona, and me.

REMODELLING OF THE RIVERFRONT AND HOUSING PROJECT

Historically, Bayonne is a port city that links the Adour with the

Ebro River, serving as a link between the Atlantic Ocean and the

Mediterranean Sea for commercial routes. It stands at the inter-section between two rivers: the Adour and the Nive. During the

last Century, the city went through an important industrial growth

and the city doubled its size. Three new bridges were built to fa-cilitate travel and transportation between the three different sides

of the city.

The Henri Grenet Bridge was the last one to be built along with

heavy pieces of infrastructure following the Adour River. The com-petition for the project was about the arrival of this bridge from

the North to Nouveau Bayonne. It had to adress the riverfront as

a new attraction for the city, as well as it presented the challenge

of integrating the newly built infrastructure within a pedestrian,

green environment. Three plots were designated as housing and

commercial buildings with the intention of densifying this area

that has been progressively sprawling and loosing the rich urban

life that characterizes the center.

The project presented by MATEO Architects in 2006 won with a

modest group of buildings and a great importance to the integrat-ing the context and creating new green areas - currently lacking

by the riverfront. Even though the city asked for a large amount

of constructed area, there was an effort to fragment the built vol-umes so that the overall intervention would be as integrated as

possible with the scale of the rest of the city.

The project was put on hold for four years and has recently re-started with the intention of breaking ground in five months. Since

I started working on Tte de Pont, most of the effort has gone into

getting to agreements in terms of area constructed corresponding

to the different programs, general volumetry and defining typolo-gies for the social and private apartments to be built. Surprisingly

enough, the underground parking lot has been a key element in

negotiations since the perimeter and excavation depth are highly

limiting cost-efficient parameters that end up defining the amount

of parking spots and, therefore, the number of apartment units

and commercial area permitted.

7

LAdour

La Nive

MAPPING OF THE PARK AND FORESTED AREAS OF NOUVEAU BAyONNEAERIAL VIEW OF THE TTE DE PONT

8

TTE DE PONT GENERAL MASSING AND URBAN STRATEGy

9

2 BIENNALE DI VENEZIA - OMA EXHIBITION

OMA - Office for Metropolitan ArchitectureJune 2010 - August 2010Participation in the project: 3 months (full duration)

Venice, Italy

Partner in charge: Rem KoolhaasCurators in charge: Ippolito Pestellini Laparelli and Kayoko OtaTeam: Carolina Cantante, Farshid Gazor, Andrew Linn, Amelia McPhee, Simon Pennec, Stephan Petermann, Becky Quintal, Sasha Smolin, Lawrence Siu, James Westcott, and me.

CRONOCAOS EXHIBITION ON PRESERVATION THROUGH 26

PROJECTS OF THE OFFICES HISTORy

OMAs exhibition for the Venice Biennale of 2010 is about the

issue of Preservation. It starts from the premise that Preservation

has been long neglected by architecture and urban theory and is,

nonetheless, bound to these fields and central to any discussion

about the future of architecture and development in the XXI

Century. The installation attempts to be a manifesto in space, in

which Preservation is understood to be of simultaneous political,

economic and social relevance.

The exhibition occupies a suite of two rooms, each one with

a distinct character and function. The first room is a Vestibule

featuring 26 OMA projects never presented before together as a

body of work concerned with time and history. Sites ranging from

the Dutch parliament to China National Museum, from the Libyan

Desert to the Hermitage in St. Petersburg, are displayed through

photographs, historical documents, and even relics including the

chairs and doorknobs from Munichs Haus der Kunst, a 2008 OMA

preservation project.

The second room presents the wrenching simultaneity at which

preservation and destruction have been conquering any notion of

historical linearity. The contemporary situation is described as of

acute Cronocaos. The argument is presented through a series

of panels organized in thematic bands: Introduction, Side Effects,

Black Hole, Zurinch+ and La Defense+.

At the back of the second room, there is a timeline of OMA

projects, spanning through 35 years of its history. Each project is

presented through three images ready for the visitor to peel off

and take home, as postcards or souvenirs of a kind. By the end of

the Biennale, preservation and depletion should be evident in the

exhibition itself.

11

FIELD OF RESEARCH AND VESTIBULE ROOMS

12

PLAN OF THE EXHIBITION ROOMS

VES

TIBU

LEFI

ELD

OF

RESE

ARC

HOMA HISTORY WALL

13

VISITORS THROUGH THE FIELD OF RESEARCH

FIELD OF RESEARCH

VESTIBUILE

14

OMA HISTORy WALL

15

3 FONDACO DEI TEDESCHI

OMA - Office for Metropolitan ArchitectureSeptember 2009 - June 2010Participation in the project: 9 months (full duration)

Venice, Italy

Partners in charge: Rem KoolhaasAssociate in charge: Ippolito Pestellini LaparelliTeam: Marco de Battista, Andrew Chau, Andreas Kofler, Kayoko Ota, Carlos Pena, Agustin Perez-Torres, and me.

TRANSFORMATION PROJECT OF A GERMAN TRADEHOUSE IN

THE HEART OF VENICE INTO A CULTURALLy-PROGRAMMED

COMMECIAL SPACE.

The Fondaco dei Tedeschi, formerly a trading post for German

merchants, then a customs house, now stands as a muted

icon of the Venetian mercantile era. First constructed in 1228,

twice destroyed by fire and rebuilt (in its current for in 1501),

then subject to a series of major architectural interventions to

accommodate new uses (towers removed, courtyard covered with

glass, structure rebuilt), the Fondaco has constantly reshaped

itself. Its history is the history of change.

In front of the diminishing role of the building as a Post Office and

its partial vacancy, the city decided to give to the building a new

life. The project is about a radical programmatic transformation

and a sensitive preservation intervention.

A culturally-programmed department store will occupy the

building. Given the general typology of the department store as

an open plan, the Fondaco challenges the program into reduced

spaces with limited visibility from the circulation areas. This is

taken as an opportunity to promote sporadic exhibition spaces

and art manifestations. The main courtyard is left free from any

commercial activity and will be used for events, art, and cinema.

The renovated top floor becomes a unique public space: two

sides of the existing roof will be removed leaving the buildings

profile intact and creating a terrace with views of the Grand Canal

and Rialto, and offering a rare vantage point on Venices dense

roofscape.

Amongst a range of architectural modifications (not seen in

contradiction with a preservation attitude), the most significant

ones are: the new entrances to the building from Campo San

Bartolomeo and the Rialto Bridge, the introduction of escalators

cutting through the building and creating a new public route, and

the removal of two sides of the roof to create a terrace. On the

other hand, some aspects of the building, lost for centuries, will

be resurrected: the walls of the gallerias will once again become a

surface for frescoes, reappearing in a contemporary form.

17

CANALETTO PAINTING ERASED - THE FONDACO STANDS AS PART OF THE BACKGROUNDLOCATION OF THE FONDACO DEI TEDESCHI ON THE GRAN CANAL AND By THE RIALTO BRIDGE

18

THE GALLERIAS REVIVE WITH NEW FRESCOES INSPIRED ON FASHION ADVERTISEMENTS AND VENETIAN MOTIFS

19

ROOFTOP PLAN - THE TERRRACES AND VELARIUM

20

1:300

0 20M

SECTION EAST-WEST. OMA PROPOSAL

1:300

0 20M

1:300

0 20M

SECTION EAST-WEST. OMA PROPOSAL

1:300

0 20M

CROSS SECTION - ESCALATOR PATH THROUGH THE BUILDING AND ROOF MODIFICATIONS

21

CULTURAL INSTITUTIONS AND SITES IN VENICE - BRANDING OF THE CITyRETROFEEDING BETWEEN THE CULTURAL ACTIVITIES OF THE CITy AND THE OFFERING AT THE FONDACO

22

CULTURAL MASTERPLAN - PROGRAMMING OF EVENTS, PERFORMANCES, EXHIBITIONS, INSTALLATIONS...

23

4 PRADA WOMAN SS2O1O CATWALK

OMA - Office for Metropolitan ArchitectureJuly - September 2009Participation in the project: 2 months (full duration)

Milan, Italy

Partners in charge: Rem KoolhaasAssociate in charge: Ippolito Pestellini Laparelli Team: Fausto Fantinuoli, Andreas Kofler, and me.

FASHION SHOW SET DESIGN INSPIRED By GRAND PALACES AND

MOTEL CORRIDORS

The audience is divided along two sides of an abstract wall, which

is pierced with seven doors. Models walk along the wall and

turn around through its last opening, proceeding back down the

runway on the opposite side. They appear and disappear through

the openings, at the same time that the wall changes its identity

through a series of twelve projections.

Collection, set design, projections and music are choreographed

from glamorous XIX Century palaces, to motel corridors and beach,

trashy images or illusions. Neon lights, ornamented door frames,

palm trees in the middle of neoclassic palace halls, and multiplied

doors leading to banal interiors invade the space with color.

The wall simultaneously divides two spaces that are both identical

and different: the plexiglass checkerboard floor on one side relates

to the other, where black metal sheets squares create a bigger

checkerboard when considered in relation to the plain concrete

of the original room.

As the show develops, spectators experience the various layers of

its spatial organization: foreground models, wall projections, and

background models. Three layers of content which overlap and

generate the full narrative of the show.

25

RUNNING SHOW - MAJESTIC CURTAINS AND GREEN NEONSBEGINNING OF SHOW - GRAPHIC PALACE AND FAKE PERSPECTIVES

26

CHECKERBOARD FLOORS, BEACH PATTERNS AND OBLIQUE VIEWS

27

REFLECTIVE FLOOR, CHANDELIERS AND MOTEL CORRIDORS

28

BACKSTAGE

ENTRANCE

350+2 Seats250 Standing Spots30 Photographers

85m Catwalk

PLAN OF SET DESIGN

29

5 CASARTS - THTRE DE CASABLANCA

OMA - Office for Metropolitan ArchitectureMarch - July 2009 Competition Participation in the project: last 5 weeks

Casablanca, Morocco

Partners in charge: Rem Koolhaas, Reinier de GraafAssociate in charge: Clment BlanchetTeam: Iyad Alsaka, Sandra Bsat, Antoine Decourt, Alessan-dro De Santis, Boris Girin, Ravi Kamisetti, Patrizia Zobernig, Selma Maaroufi, and me.

AN ENCLOSED URBAN COMPLEX CONTAINING TWO THEATRES IN

THE CENTER OF CASABLANCA, MOROCCO

The sitting of a building is perhaps more crucial to its impact and

success than its design. While design defines the users experience,

sitting determines its ultimate contribution for citizens as a new

insertion into the urban condition. Located in the administrative

district of Casablanca, the project starts by challenging the given

site - on the outermost of three public squares - to the middle

plaza. All of the activities already present in the site are brought

to the inside of the theater complex hopefully enriching and

interacting with the life of the place.

Imperative to the sitting strategy is the articulation of the two

theatres required for CasArts not as trophy objects, but as

integrated entities in an enclosed yet permeable urban complex.

Drawing from the Arab classical architecture, the project is

centered around a courtyard. This open space is accessible from

all sides to the public and its thought to act as an incubator of

urban density, popular arts and cultural activity. Architecture and

urbanism are addressed simultaneously in order to clarify the

surrounding environment, augment the interaction of CasArts

with the city, and extend the range of the theatres with open-air

or semi-enclosed possibilities.

Two typologically different theaters are embedded within the built

thickness forming the courtyard and each one of the two long

sides of the complex are dedicated to separate users: production

and public. The production side, with its grid of studios and

rehearsal rooms, fosters the participation of multiple activities

and cultural entities; the public side, with its caf and restaurant,

attracts visitors.

31

BUILDING WITHIN THE CITy FABRIC - VIEWS

32

FIRST FLOOR PLAN

33

CASARTS AT NIGHT - A SOURCE OF LIFE FOR THE CITy

34

SECTION THROUGH THEATERS

35

6 TESTING BENIDORM

Undergraduate Thesis Project - Fall 2008

Benidorm, Spain

Thesis Advisors: Leire Asensio, David Mah, and Kevin Pratt

URBAN STUDy OF BENIDORM AND LATENT HYPER-BENIDORM

A double-headed goat appears out of a misty dense forest.

By-products of scientific experiments find their place in Hyper-

Benidorm - on itself, also an experiment. By exacerbating the

differential on population and inhabitation densities - hyper-

densification and de-densification processes -, a series of fantastic

environments are able to happen. Hyper-Benidorm is a summer

place year-round. Giant solar panels and wind turbines expand

over the desert and sea to power the desalination plant which

provides enough water for the agricultural central-pivot irrigation

systems, the extensive golf courses, the never-ending pools and

water works, and, of course, the misty dense forest. A constant flux

of elderly retired people also a by-product of our contemporary

societies gathers here for purely hedonistic purposes. In a similar

way, families and young adults come looking for its hyper-active,

beyond-expected fantastic situations.

Although Hyper-Benidorm only exists at the level of the project, its instances are already happening. Benidorm is a unique tourism

enclave in the Mediterranean Coast of Spain which is able to attract

5 million visitors per year. With over 300 skyscrapers, Benidorm

presents a population density at record-level year-round, and its

still growing. The surrounding abrupt topography and strict zoning

laws establish a limit of construction close to be met.

This project uses this problematic as an opportunity to study and

rethink the case of Benidorm in terms of its density, the tower

typology, and in terms of contemporary forms of leisure.

37

Comunidad Valenciana 5 016 348Bemodormenses 71 102

TOURISTS PER yEAR in Benidorm 5.5 MILLION! 9.2% of Spains total tourists

tourists per year in Spain 59.2 million

area of Benidorm urbanized area 37.88 km2 16.29 km2 (43%) PERMANENT RESIDENTS TEMPORARy RESIDENTS

MONTHLy AVERAGE number of tourists.................................................. 14 022.65 people/km2 32 607.62 458 333

72 845 inhabitants + Average number of tourists in AUGUST ................................................ 15 741.42 36 604.35 523 440

Average number of tourists in DECEMBER ............................................ 11 559.26 26 870.37 365 020

GEOGRAPHICAL AND NORMATIVE EXPANSION LIMITS

POPULATION NUMBERS AND DENSITy

38

DENSIFyING + DE-DENSIFyING PROCESS

BORING-BENIDORM HyPER-BENIDORM

exacerbation of density differential

Desert of the Eternal Rave

VERTICAL CORES

CONNECTING STRUCTURES

VERTICAL DISTRIBUTION

RESPONSE TO LATERAL LOADS

pair singlelowstable

pair singlelowunstable

pair multiplemultipleunstable

multiple multiplemultiplestable

multiple multiplemultiplestable

CONNECTING STRUCTURES - SUPERTRUSS

39

URBAN DENSITIES - mapping of towers according to height

VONOROI DIAGRAM

TRIANGULATION DIAGRAM

NETWORKING DIAGRAM - max. distance connection (150m)

2+ floor levels 8+ 16+

2+ 8+ 16+

2+ 8+ 16+

40

24+ 32+

24+ 32+

24+ 32+

41

CONNECTING STRUCTURES - MULTIPLE PROGRAMMING

section A : top connection - retail space, walkway and cantilevering cafe bottom connection - hotel, disco, garden and terrace

42

section B : ballroom dancing, open-air bocce ball and terrace

43

DENSE FOREST OF THE GENETICALLy ENGINEERED

44

EXPLODED HyPER-BENIDORM

1

2

3

4

5

6

7

De-densification and Fantastic Environments1 Desert of the Eternal Rave2 Power Plant3 Infinite Pool4 Fields of Mist 5 Golf Course of Odds6 Dense Forest of the Genetically Engeneered7 Desalination Plant

Densification and Tower Connections

45

Desert of the Eternal Rave

Desalination Plant

Infinite Pool

PLaN oF Hyper-Benidorm

46

Desalination Plant

Golf Course of Odds

Dense Forest of the Genetically Engeneered

Fields of Mist

47

COLL AGE OPER ATION TO FANTASY ENVIRONMENTS TESTING BENIDORMmiriam roure parera

Thesis Studio / fall 2008

COLL AGE OPER ATION TO FANTASY ENVIRONMENTS TESTING BENIDORMmiriam roure parera

Thesis Studio / fall 2008

DE-DENSIFICATION AND FANTASTIC ENVIRONMENTS

BENIDORMsPaseo de Levante

HyPER-BENIDORMsDense Forest of the Genetically Engineered

48

DESERT OF THE ETERNAL RAVE

49

7 INTERLOCKING PATHS

Design Studio 302 - Spring 2007Professor: Jose Salinas

New york City, US

PROGRAMMATIC CLUSTERING IN CHELSEA AND CONNECTING

INFRASTRUCTURE

With over 300 art galleries and a top Meatpacking fashion district,

Chelsea stands out as a highly innovative, trend-setting, young

neighborhood. Its possible to distinguish between an Upper and a

Lower part of Chelsea with clustering conglomerations of galleries

and stores.

The lack of public transportation, the inefficient traffic network

and the inner organizational pattern results in the isolation of

these clusters, and, most importantly, leaves the Upper and Lower

part disconnected from each other.

The Highline presents itself as a reminiscent connecting

infrastructure. The project uses the already proposed re-activation

of the Highline and its logic to create a series of programmed

Interlocking Paths that would connect the Meatpacking District,

the waterfront, Upper Chelsea, the Highline, and adjacent

buildings. The new paths are programmed with existing

activities and space types that belong to the two main areas being

connected: galleries, exhibition spaces, fashion show-rooms,

artists and designer studios, offices for the administration, cafes

and other meeting points.

The intention is to create a new hub that would simultaneously

attract, gather, redistribute, connect and promote flows of people,

their activities and interests, and hopefully create new fruitful

relationships.

51

uPPer aND LoWer cHeLSea - location and identification of the different galleries, fashion stores and other agents

W.14thSt.

W.15thSt.

W.16thSt.

W.17thSt.

W.18thSt.

W.19thSt.

W.20thSt.

W.21stSt.

W.22ndSt.

W.23rdSt.

W.25thSt.

W.26thSt.

W.28thSt.

W.29thSt.

W.24thSt.

W.30thSt.

W.31thSt.

W.33rdSt.

Ninth

Aven

ue

Tenth

Aven

ue

W.13thSt.

LittleW.12thSt. GreenwichSt.

WashingtonSt.

HudsonSt.

Gansevoor

tSt.

Pier54

Pier56

Pier57

Pier59

Pier60

Pier61

Pier62

Pier64

Pier66

Pier72

Pier53

hthgiEAv

enue

A C EL

C E

AMTRAK

14

23

11 11

02

0 2

GALLERIES FASHION STORES

RESTAURANTS

HOTELS

ASSOCIATED RETAIL/SERVICES

LEADING AGENTS

ASSOCIATED AGENTS

METRO LINE

AMTRAK LINE

HIGH LINE/ NOT IN USE!

BUS LINE / NORTH-SOUTH

METRO LINE / EAST-WEST

TO AGENTS: TRAFFIC SPOTS AND TRAFFIC LINES

SITE ANALYSIS - location and identification of existing agents

W.14thSt.

W.15thSt.

W.16thSt.

W.17thSt.

W.18thSt.

W.19thSt.

W.20thSt.

W.21stSt.

W.22ndSt.

W.23rdSt.

W.25thSt.

W.26thSt.

W.28thSt.

W.29thSt.

W.24thSt.

W.30thSt.

W.31thSt.

W.33rdSt.

Ninth

Aven

ue

Tenth

Aven

ue

W.13thSt.


WashingtonSt.

HudsonSt.

Gansevoor

tSt.

Pier54

Pier56

Pier57

Pier59

Pier60

Pier61

Pier62

Pier64

Pier66

Pier72

Pier53

hthgiEAv

enue

A C EL

C E

AMTRAK

14

23

11 11

02

0 2


RESTAURANTS

HOTELS


LEADING AGENTS

ASSOCIATED AGENTS

METRO LINE

AMTRAK LINE






52

W.14thSt.

W.15thSt.

W.16thSt.

W.17thSt.

W.18thSt.

W.19thSt.

W.20thSt.

W.21stSt.

W.22ndSt.

W.23rdSt.

W.25thSt.

W.26thSt.

W.28thSt.

W.29thSt.

W.24thSt.

W.30thSt.

W.31thSt.

W.33rdSt.

Ninth

Aven

ue

Tenth

Aven

ue

W.13thSt.


WashingtonSt.

HudsonSt.

Gansevoor

tSt.

Pier54

Pier56

Pier57

Pier59

Pier60

Pier61

Pier62

Pier64

Pier66

Pier72

Pier53

hthgiEAv

enue

A C EL

C E

AMTRAK

14

2311 11

02

0 2


RESTAURANTS

HOTELS


LEADING AGENTS

ASSOCIATED AGENTS

METRO LINE

AMTRAK LINE






CLUSTERING OF GALLERIES AND FASHION STORES

53

PHYSICAL DISTANCE BETWEEN AGENTS

WALKING DISTANCE BETWEEN AGENTS

Overlapping clusters D1




Overlapping clusters of same agent / discrepancy between physical and walking distance

GalleriesFashion stores

High line / reference path

OVERLAPPING ZONES CLUSTERSD1: 98ftd1: 35ft

D2: 196ftd2: 90ft

D3: 392ftd3: 180ft

D4: 784ftd4: 360ft

37 gallery clusters19 f. store clusters


10 gallery clusters 8 f. store clusters






walking speed: 3mph= 4.4ft/sec

22 sec 45 sec 89 sec 1min 29sec

CLUSTERING TO DENSITIES

D: maximum distance between centers of two points that defines a cluster

CLUSTERING AND CONNECTING INFRASTRUCTURE DIAGRAMS

54

PHYSICAL DISTANCE BETWEEN AGENTS

WALKING DISTANCE BETWEEN AGENTS





Overlapping clusters of same agent / discrepancy between physical and walking distance

GalleriesFashion stores

High line / reference path

OVERLAPPING ZONES CLUSTERSD1: 98ftd1: 35ft

D2: 196ftd2: 90ft

D3: 392ftd3: 180ft

D4: 784ftd4: 360ft









walking speed: 3mph= 4.4ft/sec

22 sec 45 sec 89 sec 1min 29sec

CLUSTERING TO DENSITIES

D: maximum distance between centers of two points that defines a cluster

55

HIGH LINE / DISTRIBUTIVE CONNECTIVE SYSTEM

HL1

HL3HL5

HL5

HL1

HL3

HL1

HL1

HL1

HL1

HL2

HL2

HL4

HL3

HL3

HIGH LINE + CITY / INTERACTION TYPOLOGIES

HL1 - FREE STANDING minimum interaction

HL2 - SITTING ON 1-way adaptation building fill-in of empty space

HL3 - NEXT TO (and sitting on) 1 to 2-way adaptation high line changing path according to existing buildings

buildings growing by the high line

HL4 - THROUGH EDGE 1 to 2-way adaptation high line cutting through (exiting) buildingbuilding partially wrapping around high line

HL5 - THROUGH 2-way adaptation high line cutting through (exiting) buildingbuilding wrapping around high line

HL5 - INTO maximum interaction mutual adaptation:

mutual dependance: distribution purpose - program interlocking

section condition in plan condition

multiple adaptation

HIGHLINE - CONNECTING INFRASTRUCTURE

56

HIGH LINE / DISTRIBUTIVE CONNECTIVE SYSTEM

HL1

HL3HL5

HL5

HL1

HL3

HL1

HL1

HL1

HL1

HL2

HL2

HL4

HL3

HL3

HIGH LINE + CITY / INTERACTION TYPOLOGIES

HL1 - FREE STANDING minimum interaction

HL2 - SITTING ON 1-way adaptation building fill-in of empty space

HL3 - NEXT TO (and sitting on) 1 to 2-way adaptation high line changing path according to existing buildings

buildings growing by the high line

HL4 - THROUGH EDGE 1 to 2-way adaptation high line cutting through (exiting) buildingbuilding partially wrapping around high line

HL5 - THROUGH 2-way adaptation high line cutting through (exiting) buildingbuilding wrapping around high line

HL5 - INTO maximum interaction mutual adaptation:

mutual dependance: distribution purpose - program interlocking

section condition in plan condition

multiple adaptation

HIGHLINE - SECTIONS THROUGH SITE

57

change in angle of sectional plane

HL1

HL3

HL1

HL1

HL1

HL3

HL1

HL3

HL3 / WE4

HL3 / WE1

HL4 / WE1

HL2 / WE1

HL3 / WE2

HL1 / WE1

HL3 / WE3

HL2 / WE3

hign line (HL) and waterfront edge conditions (WE)

B

C

D

E

F

G

H

I

J

K

L

M

N

O

P

Q

AABCDEFGHI

J

KLMNOP

Q

VEHICLE CIRCULATION PATHS

S1

S2

S3

S4

INTERSECTION / encountering flowsmultiple directionality - weakening of connection flow to upper zone weakening of connection flow to upper zone

S4S3S2S1

PROGRAMMATIC TRANSVERSAL SECTION

58

INTERLOCKING PATHS - ROOF PLAN

Pier 57

Pier 59 -

Chelsea

Piers

Pier 60 -

Chelsea

Piers

Wes

t Sid

e H

ighw

ay

>> to Waterfront

59

strip C

strip B

strip A

distances

directionnality openness

openness degree

AB

C

AB

C

A

B

C

G A L L E RY entranceentrance entrance

t o > > a r t i s t s a t e l i e r s

t o > > Wa t e r f r o n t

t o > > M e a t p a c k i n g D i s t r i c t

t o > > g a l l e r i s t s , e v e n t s , h i g h - e n d r e s i d e n t i a l

t o > > s t r e e t l e v e l > C h e l s e a

t o > > H i g h l i n e > C h e l s e a

t h r o u g h t h r o u g h

& R E S E A R C H L A B S

a r t i s t s & g a l l e r i s t s OUTLOOK GALLERYMANAGEMENT

T E M P O R A R Y C AT W A L K S

S H O W - R O O MWATERFRONT PASARELA

CAFEEVENT SPACES

HIGHLINE PASARELA

ARTISTS STUDIOS

> > > > > > > > > > > > > > > > > < < < > < < < < < > > > > > > > > > > > > < < < < > < < < < < < < < < > > < > > > < < > > < < < < < < < < < < < < > > > > > > > > > < < < < < < < < < > > > > > > > > > > > > > > >

STUDIOS

113 238 103200 200455

450

strip C

strip B

strip A

FACADE PANNEL VARIATIONS AND PROGRAMMATIC CORRESPONDANCE - LONGITUDINAL SECTION

60

strip C

strip B

strip A

distances

directionnality openness

openness degree

AB

C

AB

C

A

B

C

G A L L E RY entranceentrance entrance

t o > > a r t i s t s a t e l i e r s

t o > > Wa t e r f r o n t

t o > > M e a t p a c k i n g D i s t r i c t

t o > > g a l l e r i s t s , e v e n t s , h i g h - e n d r e s i d e n t i a l

t o > > s t r e e t l e v e l > C h e l s e a

t o > > H i g h l i n e > C h e l s e a

t h r o u g h t h r o u g h

& R E S E A R C H L A B S

a r t i s t s & g a l l e r i s t s OUTLOOK GALLERYMANAGEMENT

T E M P O R A R Y C AT W A L K S

S H O W - R O O MWATERFRONT PASARELA

CAFEEVENT SPACES

HIGHLINE PASARELA

ARTISTS STUDIOS

> > > > > > > > > > > > > > > > > < < < > < < < < < > > > > > > > > > > > > < < < < > < < < < < < < < < > > < > > > < < > > < < < < < < < < < < < < > > > > > > > > > < < < < < < < < < > > > > > > > > > > > > > > >

STUDIOS

113 238 103200 200455

450

strip C

strip B

strip A

+12.53

+0.00 (+11 asl)

+57.61

+72.26

+91.77

+107.34

+123.24

+42.75

+12.53

+18.85

+27.47

+156.10

West S ide Highway

61

office/studio

office/studio

office/studio

office/studio

office/studio

office/studio

office/studio

plant

office/studio

PERFORMANCE STUDIO

COURTyARD GARDEN

caFe

ARTISTS GALLERy

studio/gallery

studio/gallery

Tenth Avenue

B

C

A

HIGHLINE

artists studios

artists studios

CROSS SECTION

62

Tenth Avenue

HIGHLINE

artists studios

artists studios

EXTERIOR VIEW ALONG 10TH AVE AND INTERIOR VIEW

63

8 MAGNETOS MUSEUM

An open International Competition was released in order to

find a proposal that would interestingly transform the no-longer

operative Secretaria de Telecomunicaciones of Buenos Aires into

a Museum. Taking this competition as the point of departure, we

used the diagrammatical study of an existing relevant museum to

re-interpret this early XX building.

We analyzed the case of the Tate Modern Museum of London

which revealed a clear organization in terms of levels and points

of control: from the open Turbine Hall to the bared art storage

rooms or board member offices. We implemented the same

kind of diagramming strategy onto the Post Office building. The

significant organizational and capacity differences between the

two buildings required a different way of understanding the

later resulting diagrams. After a series of rigorous iterations and

re-interpretations, we were able compile the connections three-

dimensionally and assign a geometrically-based control value to

each one of the connections and their joint-points. The result is a

raw diagramming scheme from which the formality of the new art

museum can find its logic.

Design Studio 301 - Fall 2006Professor: Julian Varas

Buenos Aires, Argentina

in collaboration with Nathan Friedman

65

NETWORK OF CONNECTIONS MODELSECRETARA DE TELECOMUNICACIONES, BUENOS AIRES

66

L11

L10

L9

L8

L7

L3

L4

L5

L6

L1

L2

DIAGRAMMING IMPLEMENTATION - BASEMAPPING

67

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THRESHOLD POINT CHARACTERIZATION

68

8 ROOLF7 ROOLF6 ROOLF4 ROOLF3 ROOLF2 ROOLF1 ROOLF 01 ROOLF9 ROOLF

A

B

C

DE

zone A

zone B

zone C

zone D

zone E

1-A1

1-B1

2-A1

2-B1

3-A1

3-B1

4-A1

4-B1

6-A1

6-B1

7-A1

7-B1

8-A1

8-B1

9-A1

9-B1

10-A1

10-B1

6-B2

6-B3

6-B4

6-B5

6-B6

1-B2

1-B4

1-B5

1-B5

2-B2

2-B3

2-B4

2-B5

2-B6

2-C11-C1

1-D1 2-D1

1-E1 2-E1

3-B2

3-B3

3-B5

3-B6

3-C1

3-D1

3-B4

4-B2

4-B3

4-B5

4-B6

4-C1

4-D1

4-B4

4-E1

6-C1

6-D1

6-E1

7 -B2

7-B3

7-B5

7-B6

7-C1

7-D1

7-B4

7-E1

8-B3

8-B5

8-B6

8-C1

8-D1

8-B4

8-E1

9-B2

9-B3

9-B5

9-B6

9-C1

9-D1

9-B4

9-E1

10-B2

10-B3

10-B5

10-B6

10-C1

10-D1

10-B4

10-E1

B1a

B2a

B4a

B5a

B3a

B1b

B2b

B4b

B5b

B3b

CONNECTING POINT - EXIT

CONNECTING POINT - DEAD END

VERTICAL CONNECTION - DEAD END

VERTICAL CONN. - VERTICAL CONN.

CONNECTING POINT - VERTICAL CONN.

CONNECTING POINT - CONNECTING POINT

POINT

COLOUR CODING FOR CONNECTIONSPOINTS PERFORMANCE

VERTICAL CONNECTION

CONNECTION POINTDEAD END

EXIT POINT

POSSIBLE CONNECTIONS OF POINTS

Repeated connections

SySTEM STACKING AND NETWORK ENVELOPES

70

8 ROOLF7 ROOLF6 ROOLF4 ROOLF3 ROOLF2 ROOLF1 ROOLF 01 ROOLF9 ROOLF

A

B

C

DE

zone A

zone B

zone C

zone D

zone E

1-A1

1-B1

2-A1

2-B1

3-A1

3-B1

4-A1

4-B1

6-A1

6-B1

7-A1

7-B1

8-A1

8-B1

9-A1

9-B1

10-A1

10-B1

6-B2

6-B3

6-B4

6-B5

6-B6

1-B2

1-B4

1-B5

1-B5

2-B2

2-B3

2-B4

2-B5

2-B6

2-C11-C1

1-D1 2-D1

1-E1 2-E1

3-B2

3-B3

3-B5

3-B6

3-C1

3-D1

3-B4

4-B2

4-B3

4-B5

4-B6

4-C1

4-D1

4-B4

4-E1

6-C1

6-D1

6-E1

7 -B2

7-B3

7-B5

7-B6

7-C1

7-D1

7-B4

7-E1

8-B3

8-B5

8-B6

8-C1

8-D1

8-B4

8-E1

9-B2

9-B3

9-B5

9-B6

9-C1

9-D1

9-B4

9-E1

10-B2

10-B3

10-B5

10-B6

10-C1

10-D1

10-B4

10-E1

CONTROLLED CONNECTIONS

71

B1 a B2 a B4 a B5 aB3 a

B1 b B2 b B4 b B5 bB3 b

N17

N17.1

type of connections abs. %connecting point - dead end 0 0vertical connection - dead end / v. connection 0 0connecting point - v. connection / c. point 153 100

average length of lines (m) 10.2min. length of lines 2.7max. length of lines 26.4

vertical span (m) 40.8horizontal planes 8

implied volume (m3) 32 093

control pts

1

3

2Total 9

4CONTROL LEVELN4.1 N4.2 N4.3 CONTROL LEVEL 4

ZONE D

N4

N4.1

type of connections abs. %connecting point - dead end 17 23.6vertical connection - dead end / v. connection 12 16.7connecting point - v. connection / c. point 61 59.7

average length of lines (m) 21.3min. length of lines 0.4max. length of lines 39



control pts

2

2

1Total 5

3CONTROL LEVELN5.1 CONTROL LEVEL 4

ZONES A,B

N3

N3.1

N3.2

N3.3

type of connections abs. %connecting point - dead end 31 25.4vertical connection - dead end / v. connection 30 24.6connecting point - v. connection / c. point 61 50.0

average length of lines (m) 23.5min. length of lines 0.5max. length of lines 42.2



control pts

2

2

1Total 5

3CONTROL LEVELN4.1 N4.2 N4.3 CONTROL LEVEL 4

ZONES A,B

VOLUMETRIC PERIMETTER AND ASSIGNED CONTROL LEVELS

72

N1

N5

N2

N3

N4

N6

N7

N8

N9

N10

N11

N12

N13

N14

N15

N16

N18

N17

N19

N20

N21

N13.1

N12.1

N14.1

N14.2

N20.1

N17.1

N20.2

N21.1

N11.1

N8.1

N5.1

N3.1 N3.2

N3.3

N16.1

N15.1

eXPLoDeD FiNaL VoLuMeS

73

POINTS AND SEAMS - JOINT CHARACTERIZATION

MAGNETOS MUSEUM COMPILED

CONVERGING OF LEVELS OF CONTROL

2 levels of control

3 levels of control

4 levels of control

CONVERGING OF PARTS2 parts

3 parts

4 or more parts

74

Ave. CO

RRIENT

ESmel

A .N.L

.vA

OTNEIMARAS ellaC

ENIL O

RTEM

M

M

location of entrances / exits

Ave. EDUARDO MADERO

Ave. ALICIA MOREAU DE JUSTO

MAGNETOS MUSEUM IN SITU

75

9 NIHIWATU HOTEL

A BEACH RESORT FEATURING THE CREATION OF PRECISE

MICROCLIMATES

Located in Levu Vana, one of the Fiji Islands, Waki Kau Resort offers

a series of delicate and precise microclimates taking advantage of

the existing natural resources and environmental qualities. The

visitor is able to experience from a dense tropical forest, to a misty

atmosphere surrounded by extensive pools, or an arid beach area.

Using Generative Components and the data available on the site,

we mapped the area in terms of its topography, orientation, and

proximity to stream water and salted water. An ideal site was

located along an existing stream, which became the central spine

of the development. We projected a sectional understanding of

the programmatic components in relationship with the stream and

the microclimates that could be produced. A surface was created

from these sections, like an artificial skin that is able to morph and

vary its porosity responding to the different environments and

programmatic needs.

The porosity of the surface was achieved through the parametric

programming of its roof components. These would vary their

geometry according to light incidence, water and surface slope.

They were, thus, able to create different lighting conditions,

channel and store water, and function as an irrigational and

planting system.

Design Studio 402 - Spring 2008 Professors: Kevin Pratt and Dana Kupkova

Levu Vana, Fiji

in collaboration with James Ferrulo and Ana Leschinsky

77

DENSE TROPICAL FOREST AND ARID BEACH ENVIRONMENTS

78

SITE STRATEGy - central spine from existing water line and sectional response to topography

PARAMETRIC SECTION - programmatic organization and desired microclimates

Water Stream P1 P2 P3 P4LG1LG2 RG1 RG2

Point Controlled by T value along the left base curve

Point Controlled by T value along ellipse

0,0 point

H3H2

H1

H4

Each ellipse is constructed by:Center PointPrimary Radius Secondary RadiusSupport

The ground condition is a function of the program the local structure ground relationship

I

10 20 30 40 50 60 70

3

9

6

12

0

-10-20-30-40-50-60-70 0LIVING UNITS - TYPE2SPA

1 Parametric Spine Construction

2 Skinning




0,0 point

H3H2

H1

H4



I

10 20 30 40 50 60 70

3

9

6

12

0



2 Skinning




0,0 point

H3H2

H1

H4



I

10 20 30 40 50 60 70

3

9

6

12

0



2 Skinning

PARAMETRIC SURFACE DESIGN

parametric structure possible resulting surface

79

SECTION 1 - Tropical Microclimate

SECTION 2 - Water Microclimate

SECTION 3 - Arid Microclimate

80

21

3 Arid Microclimate

Water Microclimate

Forest Microclimate SPA

RestaurantVegetable Garden

Dense Vegetation

Water Events

Units Type 3 :: Free Platforms

Units Type 2 ::

Units Type 1 :: Full Service

LobbyVisual Garden

Relaxation Garden

Library Garden

Active Recreation

Reservoir

Tours

Connection to the development

Connection to main road

Dense Forest

PROGRAMMATIC PLAN

82

MISTy ATMOSPHERE

83

January March May July September NovemberFebruary April June August October December

Wind SpeedBeam Solar

Annualy and Daily Sun PathSun shown at noon

Hourly Temperatures

Outside Temp.

ANNUAL SURFACE LIGHT AND SHADOW ANALySIS

84

January March May July September NovemberFebruary April June August October December

Wind SpeedBeam Solar

Annualy and Daily Sun PathSun shown at noon

Hourly Temperatures

Outside Temp.

85

COMPONENT STRATEGy

WATER PATH [through surface to collection]

PLAN ELEVATION AXON

Basic Component Congurations

Allows sunlight to enter as reected light

Opening Dimension

50%

Allows water to enter when positive

Offset25%

Restricts water and light entry when negative

Offset-25%

Offset and Opening Dimension

Functions as structural louver

100%

100%

Closed: component restricts water and light entry

Offset and Opening Dimension0,0

_01 Semi-Sheltered and Daylit _02 Sheltered and Daylit _03 Planter _04 Open Structure

Offset 0 0 0 0 -25% 25%

Opening Dimension 0 25% 50% 75% 50% 50%

Conguration 01. Semi-Sheltered and DaylitConguration 02. Sheltered and DaylitConguration 03. Planter Conguration 04. Open Structure Conguration 04. Open Structure

_Component Details

ROOF SURFACE COMPONENT - PROVIDES RAIN SHELTER WHILE EXLUDING RAIN AND DIRECT SUN - ALLOWS VARYING AMOUNTS OF INDIRECT SUNLIGHT TO ENTER - IN ARRAY, CREATES A ROOF WHICH COLLECTS, TRANSPORTS, STORES, AND USES RAINWATER - IN ARRAY, INDIVIDUAL COMPONENTS MAY BE FULLY CLOSED TO CREATE A SELF-IRRIGATING GREEN ROOF

86

WATER PATH [through surface to collection]

PLAN ELEVATION AXON

Basic Component Congurations

Allows sunlight to enter as reected light

Opening Dimension

50%

Allows water to enter when positive

Offset25%

Restricts water and light entry when negative

Offset-25%

Offset and Opening Dimension

Functions as structural louver

100%

100%

Closed: component restricts water and light entry

Offset and Opening Dimension0,0

_01 Semi-Sheltered and Daylit _02 Sheltered and Daylit _03 Planter _04 Open Structure

Offset 0 0 0 0 -25% 25%

Opening Dimension 0 25% 50% 75% 50% 50%

Conguration 01. Semi-Sheltered and DaylitConguration 02. Sheltered and DaylitConguration 03. Planter Conguration 04. Open Structure Conguration 04. Open Structure

_Component Details

ROOF SURFACE COMPONENT - PROVIDES RAIN SHELTER WHILE EXLUDING RAIN AND DIRECT SUN - ALLOWS VARYING AMOUNTS OF INDIRECT SUNLIGHT TO ENTER - IN ARRAY, CREATES A ROOF WHICH COLLECTS, TRANSPORTS, STORES, AND USES RAINWATER - IN ARRAY, INDIVIDUAL COMPONENTS MAY BE FULLY CLOSED TO CREATE A SELF-IRRIGATING GREEN ROOF

87

UNIT AND COMPONENTS MODEL - ROOFING AND CABLE SySTEM DETAILING

88

GENERATED TOPOGRAPHy SECTIONAL MODEL

89

10 LIBERAS POST OFFICE

TRASNFORMATION OF THE POST OFFICE INTO A LIBRARy

In 1932, Adalberto Libera designed one of the main Post Offices

in Rome. Located on Via Marmoratta, the emblematic modernist

building stands at the intersection of major arteries of the city. The

project proposes the transformation of the now almost obsolete

Post Office program into a Post-Library. If, traditionally, a library

was a place where knowledge could be gathered, archived, and

found; a Post-Library embraces the contemporary condition in

which there is an abundance of information that is easily acces-sible through digital means. The core of the building is opened and

large open ramping areas are flexibly programmed for people to

physically and digitally interact. The two wings of the building are

used as traditional book-stacks, emphasizing the diminishing ma-terial value of the books as objects.

The back of the building is opened towards the park. The existing

small square windows of the faade designed by Libera are colored

according to the changing interior digital activity, simulating a code

for interaction between the inside and the outside.

Design Studio 401 - Fall 2007Professors: Vincent Mulcahy and Alberto IacovoniDuration of project: 3 weeks

Rome, Italy

91

SITE WITHIN THE URBAN FABRIC AND INFRASTRUCTURES

92

VIA MARM

ORATA

PLAN AND FRONTAL SECTIONS

section asection b

93

CROSS-SECTIONS

94

BACK FAADE OF THE POST-LIBARy AND NEW TOPOGRAPHICAL APPROACH TO ENTRANCE

95

11 RED HOOK

INDUSTRIAL DEBRIS AND FLOATING POOLS

Decaying industrial cranes and abandoned factories still populate

the piers area of Red Hook, in lower Brooklyn. Like ruins of better

times, these structures stand like amorphous animals on the wa-ter. The area is detached from public transportation and its streets

are often dead-ends. It is hard to see a soul walking around, and

not a trace of green can be found. Concrete, water, bricks and rust-ed steel are its only materials.

Some of Matthew Barneys movies seem to embody part of the

feeling of standing at the site. Slow-motion actions, dense water

movement and sound, and the constant presage that something

is about to happen.

In the leftover space from a destroyed pier, a new dense structure

appears with platforms bridging at different levels. Part of it is un-derwater, and part of it stands above creating elevated pools of

different colors, densities and transparency effects. During the day,

it attracts kids from the neighborhood to come and play. Vertical

structures are used to dive into some of the deep pools. At night,

it acquires a different life: boats arrive from all parts of Manhattan

or from further up the Hudson River. Some pools glow in the dark,

some others have a constant steam, and others have a poignant

smell impossible to avoid. It is a place of earthy pleasures and illicit

activities, a place where to get lost and where to be found. A place

where to escape from an increasingly moralized, politicized and

dullified society.

Design Studio 202 - Spring 2005Professor: George Hascup

New york City, US

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COLLAGES OF THE SITE USING THE OVERLAPPING AND CUTTING OF STILLS FROM MATTHEW BARNEyS MOVIES

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INDUSTRIAL SITE OF RED HOOK

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COLLAGED SECTIONS OF IMAGINED GIANT INDUSTRIAL PIERS

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MODEL OF AN AQUATIC LANDSCAPE

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12 SEIPP PRIZE COMPETITION

AN ADDITION TO SIBLEy HALL, A CHALLENGE OF ACCESSIBILITy

Sibley Hall, Cornells central building for the School of Architecture,

Art and Planning was in need of a renovation to make it handi-capped accessible. The ground level of the building were divided at

two different heights, which, at a time, were a few steps above the

surrounding street level. The competition brief asked to connect

the two different levels at ground floor, and to develop an acces-sible link to the basement.

The project uses the problematic of accessibility as an opportu-nity to reshape the core of the schools activity by creating a new

exhibit/review space on the back of the building that would come

together with the existing Hartell Gallery. The project proposes

linking the front of the building with the back, creating a space

that ramps from one level to another and bifurcating to establish

a direct connection with the schools Green Dragon Cafe - at base-ment level. The intervention would provide a new (no-longer) back

facade for the building using semi-translucent panels. From Uni-versity Ave., one of the main arteries of the campus, one would be

able to hint the interior activity of the school.

Fall 2006 - SEIPP PRIZE COMPETITION*Honorable MentionProject duration: 2 weeks

Ithaca, US

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existing circulation paths

projected geometry lines

SITE ANALySIS - THE ARTS QUAD

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SITE ANALySIS - SIBLEy HALL

existing trees - circulation obsticles existing circulation movement

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GROUND LEVEL PLAN AND ELEVATION

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13 SCREEN OF SCALES

PARAMETRIZED SURFACE RESPONDING TO ENVIRONMENTAL

INPUTS

In the Component Architecture Seminar we studied a series of

successful and failed cases in prefabrication and their attempt

at architectural innovation. When being traced to contemporary

techniques, reviving possibilities were identified in the digital

technologys potential to create differentiated systems with

customizable variations. As part of the course we were to develop

a prototype using Generative Components software.

Our project was set out to develop a component-based structure

that could respond to environmental inputs: prevailing wind

direction and incidental radiation on a surface. Given a diagrid

surface, thought to be part of a building envelope, light and wind

studies could be made to dictate the components necessary

performance. The components were divided in two; one part was

to be optimized for light, and the other one for wind. Opening and

incline degrees would vary.

The half-size prototype we developed was made out of laser-cut

corrugated cardboard and bolted joints. The different unfolded

pieces were identified using Pepakura Designer.

Component Architecture Seminar - Spring 2008Professor: Dana Kupkova

in collaboration with Chris LEONBERG

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- prevailing wind direction

- incident radiation ondiagrid surfaces

0.00

0.503400 Wh/m2

0.753800 Wh/m2

1.004200 Wh/m2

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BUILDING EVELOPE - STRUCTURAL AND PERFORMATIVE PARTS

PV pannels

strips of flexible surface onlight structural space-frame

structural beams

BUILDING ENVELOPE

BUILDING EVELOPE - LIGHT STUDy component variations driven by incident radiation data

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PROTOTyPE MADE OUT OF CORRUGATED CARDBOARD AND BOLTED JOINTS

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14 CONES OF LIGHT

LUMINAIRE PROJECT

Departing from the most basic shape for a point light, the cone, we

developed a series computer-generated variations that challenged

the way in which the luminaire would sit, stand or hang, and stud-ied the way in which the resulting lighting condition would vary.

We selected those that presented the most interesting qualities

(including oddness), intentionally modified them and constructed

them using laser-cut corrugated cardboard. The potential of these

luminaires relies on their simple design, their ease of fabrication,

the materials light weight and the achieved sublte lighting effects.

CONE : mother-shape. Fixture type: pending, free-standing or surface-mounted.

CONE_VARIATION1 : slight deformations were made on the ex-terior side of the cardboard for it to be able to stand on itself and

direct the light upwards. The aperture is reduced adding the begin-ning of an inverse cone. Fixture type: free-standing.

ARCH 362 Environmental Systems: Lighting and AcousticsSpring 2007Prof: Martha BOHN

in collaboration with Nathan FRIEDMAN

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CONE CONE_VARIATION1

KIT OF PARTS A

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contours_external surfacecontours_external surface

KIT OF PARTS

- bulb / fluorescent 14W (60W equiovalent)- ballast- electrical cord - aluminum shell- corrugated cardboard, 0.125 thick // KIT A

KIT OF PARTS_var1

- bulb / fluorescent 14W (60W equiovalent)- ballast- electrical cord - aluminum shell- corrugated cardboard, 0.125 thick // KIT B

VARIATION1

adaptation of the cone to: a sitting-on-the-floor and looking-up condition.a double set of irregularities and an inverse cone are used to inform this variation.

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contours_external surfacecontours_external surface

KIT OF PARTS

- bulb / fluorescent 14W (60W equiovalent)- ballast- electrical cord - aluminum shell- corrugated cardboard, 0.125 thick // KIT A

KIT OF PARTS_var1

- bulb / fluorescent 14W (60W equiovalent)- ballast- electrical cord - aluminum shell- corrugated cardboard, 0.125 thick // KIT B

VARIATION1

adaptation of the cone to: a sitting-on-the-floor and looking-up condition.a double set of irregularities and an inverse cone are used to inform this variation.

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KIT OF PARTS B

CONE_VARIATION1

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CONE AND CONE_VARIATION1

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LIGHT EFFECT DETAIL

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PORTFOLIO JANUARY 2011

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