PROJECTS + SAMPLES (Full Page Spread Edition)

+FULL PAGE SPREAD 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

PROJECTS +SAMPLES

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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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

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ARCHITECTURE CORE STUDIOS

OTHER ACADEMIC

PHYSICAL MODELS

PROFESSIONAL

CODA

RESUME



07

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



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[1]-SINGLE CHANNEL

[1]

[2]

[3]

[2]-DOUBLE CHANNEL:OPPOSITE

[3]-DOUBLE CHANNEL:FACING

THE ARRAY IN PLAN

MIRRORED

MIRRORED AND ROTATED

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

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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.



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FINAL ARRAY01.07 01.14

FINAL ARRAY02.08 02.14

[1] [4]

[2] [5]

[3] [6]

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

[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.



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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

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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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

MECHANICAL FOR CHAMBER

LAB

TESTING CHAMBER

OFFICES FOR RESEARCHERS

OFFICES AND LABS

EXHIBITION

ADMINISTRATION

MAIN LEVEL / THIRD FLOOR

CAFE

AUDITORIUM9

5 20 30 50 100 20010



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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



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PROGRAM: ARRANGEMENT

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 patterning 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

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 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.



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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.



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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]

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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.

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09 10 11 12 13 14 15 16

PLANIMETRIC

ISOMETRIC

ELEVATION

01 02

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+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



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DESIGN PROGRESSION: TECTONIC REALIZATION 01

+ SITE

02

+ ECHOING THE NEIGHBORING PIERS: DURING DESIGN PROGRESSION, THE SOLID PIER IS CARVED TO REVEAL SPACES BELOW SEA-LEVEL

03

+WOVEN MASSES ARE FORMED FROM DEVELOPABLE, CURVED, SURFACES.

04

+ ENVISIONED ARE THE SITE VECTORS CURVING AND WEAVING IN THE X, Y, AND Z PLANES

05

+ WOVEN STRUCTURE IS CREATED PRIMARILY THROUGH A MIXTURE OF DESIGN INTENT, AND ASSISTED SECONDARILY THROUGH GRASSHOPPER-BASED PARAMETRICS

06

+ THE PRIMARY ENVIRONMENTAL STRATEGIES

DIVA RADIATION ANALYSIS

FRAUNHOFER PVS SIDWELL FRIENDSSCHOOL

VERTICAL GEOTHERMAL

WASTEWATER TREATMENTGREENROOFCOLORED PVS



49

07

+ DIAGRAMMATIC RENDER OF THE FINAL PROPOSAL



51

Elevations The final form was intended to echo the language of the existing piers, protruding into the East River, while being elevated gently into the surrounding context. Similarly, the curving forms of the mass echo the curving undulations in the projecting facade of neighboring 8 Spruce Street. The mass, being asymmetrical in all dimensions, assumes different visual profiles from different anglesmuch like

the urban context in which it sits.

E/SE

N/NE

S/SW

ELEVATION: ARCHITECTURE in CONTEXT



53

ee

Plans The various programs, while generally being assigned to their own respective areas, freely weave together to create a seamless exhibition and walking experience. Programs can blend together depending upon the evolving needs of curators. The shifting levels are connected through a series of ramps that expand to feature programs. Stairs perforate through floorplates to create shortcuts. As shown in the test program model on page 61 (which was one of a series), the various types of exhibitions and programs were delineated based upon a study that considered the relationships between programsas well as the relationships between various programs and the exterior and urban environments.

PLANS: DRAWINGS






SUN VERTICAL GARDEN

WASTE AND RECYCLING

WATER COLLECTION

WATER AND OCEANS

WATER TREATMENT

WEATHER AND AIR

PROGRAM ICONSGROUND / FIRST FLOOR SECOND FLOOR

+ BUILDING PROGRAM = 405,000 FT2 25 75 150 30010



55

Much like the plans for The Air of the Future, the plans for Woven Ecologies are my representational experimentation in conveying information in the x and y planes, as well as depth in the z plane. Without shadowing techniques, the shifting levels are largely illegible in the plans. Large portions of the street-level pier/platform are left open in an effort to facilitate opportunities for programmatic performance; for example, as seen in the left side of image [1] on page 44 (Looking NE), the immediate context is home to various types of retail kiosks and carts. The new platform is envis-aged as providing an exterior stage for extended farm and outdoor markets, and potential events.






SUN VERTICAL GARDEN

WASTE AND RECYCLING

WATER COLLECTION

WATER AND OCEANS

WATER TREATMENT

WEATHER AND AIR

PROGRAM ICONSTHIRD FLOOR FOURTH FLOOR



57

The roof park-garden is completely public, and features a gentle stepping from street-level to the various inhabitable zones.






SUN VERTICAL GARDEN

WASTE AND RECYCLING

WATER COLLECTION

WATER AND OCEANS

WATER TREATMENT

WEATHER AND AIR

PROGRAM ICONS

ROOF/ ROOF PARK-GARDEN



59

GG

FF

EE

DD

CC

The drawing above is an xray glimpse into the tectonic logic of the project. A serial section of the same view is on the following spread.

Model Section Test [1/4 = 1 = 1:48, 9x 6-1/2x 9-1/4] Section featuring an initial logic for the PV system. Acrylic; chipboard; MDF; Plastruct. The section above features details of the green roof and initial PV scheme. AutoCAD. Above: Test program model.

SECTION AND OPACITY: EXPLORATIONS



61

GG

FF

EE

DD

Due to the complexity of the woven design, with respect to structure, program, and shifts in level, it was determined that standard, orthographic sections would be insufficient to commu-nicate proper spatial information. All floors and primary structure were modeled in 3D to obtain this section.

SECTION: SERIAL SECTION THROUGH ENTIRE BUILDING



63

MODEL: FINAL FORM with IMMEDIATE CONTEXT

Final Model [1"=40' = 1:480, 36x 27x 7-3/4 ] The tectonic, three dimensional qualities of the project became more readily accessible visually via the large site model (team project/6 per studio). The 3D printed model was carefully sanded to remove surface imperfections, and to accentuate the curvilinear surfaces. This created a much cleaner and more accurate model than what was delivered directly from

the printer. Acrylic, sanded on bottom; MDF; mounting board, white; Mylar water; powder printed massing.



65

The platform gradually descends into the river below.



67

RENDERS: IN CONTEXT

View from Brooklyn Bridge Park The architecture seems to rise from the river, gradually emerging at street-level and into the elevated context of NYC, both towards Brooklyn and back into Lower Manhattan. As seen from the park, the buildings curves echo the Brooklyn Bridge as well as FDR Drive. Observation decks on the second and third levels allow museum guests to explore the citythe third floor deck is part of the Weather and Air exhibition. As an urban gesture, the base and roof decks/parks invite the public to freely engage the design as both a kind of pier-like extension into the East River as well as elevated pier, which keeps with the cultural motif of The South Street Seaport. This render, as well as the render shown on pages 40 and 41, features an alternate proposal for the street-level pier that surrounds the architectural mass. In this image, trees and tall grasses provide for a more lush landscape, while the render

on the introductory page omits trees in favor of accentuating the woven pattern that forms the boundary of the grasses.



69

View Looking East This render documents the upper portion/Ground Level of the Water and Oceans exhibition, as well as the portion of the program that descends below the river and continues into the walk- through fish tank behind the picture plane (per program requirements). As shown in the plans and serial section, large, gentle ramps descend and ascend throughout the entire design. The woven structural frame can be glazed, or as seen in the ceiling, infilled to create solid portions, as in the walls of some exhibitions. Materials: steel; polished concrete;

American Cherry.



71

WOVEN ECOLOGIESView from the Water While the surrounding context rises upwards like Gehry Partners 8 Spruce Street, the museum similarly grows outwards. From the vantage point of a marine vessel, the interiors are faintly visible behind the light blue, partially-mirrored glazing that reflects the Brooklyn skyline. The remainder of the curved, diagrid glazing is even more reflective, which mirrors the surrounding context. The steel exterior cladding, while maintaining a slight natural sheen, is diffuse by comparison to the glasswhich gives the glazing an intentional visual prominence.



73

CULTURE + RECREATION PARKMONTREAL, CANADA

704 SPRING, 2015 | Duration: 15 Weeks | Type: Individual

CRITIC: Simon Kim/ IK Studio

THE SMOOTH AND THE STRIATED//03

THE SMOOTH AND THE STRIATEDSTUDIO OBJECTIVE AND INTRO

ST. LAURENCE RIVER

MONTREAL

ST. HELENSISLAND

LONGUEUIL

JACQUES CARTIER BRIDGE

SIX FLAGS MONTREAL

STEWART MUSEUM

MONTREAL, CANADA

The island of Saint Helens in Montreal has a rich architectural history. In 1967, the Worlds Fair was situated on this thin strip of land, which sits in the Saint Laurence River. Although essentially all of the original pavilions have been demolished, Buckminster Fullers masterpiece still remains. In an effort to regain social relevance for the island, a culture park is being initiated along the West-ern bank of the island. Like Cedric Prices Fun Palace, this culture park will feature mostly flexible, programmatic space.

The key theoretical driver for the studio is dura-tion, and how the architecture might behave over time. Concatenated with the premise of duration is an emphasis upon possibilities for kinetic operations in the architecturethat is, design operations that espouse intelligence, and conse-quent physical changes in the tectonic environ-ment. Additionally, striated optical art is being employed over smooth, curvature continuous surfaces, to facilitate duration and visual, spatial, variation. Optical art will be utilized strategically within kinetic operations and with initial geomet-ric subdivision tests. The smooth/striated drivers harken Deleuzes and Guattaris A Thousand Plateaus.

The smooth, curvature continuous architecture has been delineated into three major formsthe Base, which houses offices, research units, living quarters, and museum/ gallery spaces; the large Perennial building, which houses various perfor-mance, event, and exhibition spaces; and the smaller, seasonal, Ephemeral building, which has no doors, but expands and contracts for inhabita-tion throughout the year as weather permits. This seasonal motif is a development of a motorized prototype model that responds to heat input.



77

SITE: DIGITAL SITE MODEL

SITE: PHOTOGRAPHS

PROCESS: INITIAL TESTS/ SUBDIVISION of FORMS

PROCESS: ADVANCED TESTS/ SUBDIVISION of FORMS/ KINETIC POSSIBILITIES

Located adjacent to the immediate site are The Muse Stewart, as well as Six Flags Park Montreal. At the behest of the studio instructor, Richard Buckminster Fullers notable American Pavilion for Expo 67 has been moved to the Western edge of the island, next to the site.

In order to research and discover a potentially viable design proposal, a series of subdivision tests were performed on simple geometries to understand how whole objects could be parsed into smaller units. While initial tests proved to be fruitful exercises in exploring the various possibilities for subdivisions, these early endeavors lacked spatial and formal complexity and interest.

To further develop the initial tests, curvature continuous, subdivision meshes were explored. This phase of research is concerned with exploring various permutations of, and possibilities of, movement for the constituent geometries. 3D printed model tests were

conducted to understand the possibilities as well as potential difficulties of the process.

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

[1]

[2]

[3]

A

B

C

D

+ A Distorted PyramidIntersecting Degree 3 Curves Non-Coincident Edge ConditionCounterpoint ContextSubdivision in Whole Dissection

+ BWhole MassInter- and Non-Intersecting Degree 2 Curves Non-Coincident Edge ConditionCounterpoint ContextSubdivision in Whole Dissection and Subtraction

+ CWhole MassIntersecting Degree 2 and 3 Curves Non-Coincident Edge ConditionCounterpoint ContextSubdivision in Whole Dissection

+ DDistorted QuadrilateralIntersecting Degree 2 Curves Non-Coincident Edge ConditionCounterpoint ContextSubdivision in Whole Dissection or Subtraction

+ Advanced Tests

+ Rotation About a Fixed Hinge

+ Telescoping and Rotation

+ Translation

+ Retractable Apertures at Isoparm Divisions

+ Translation and Rotation about a Track

+ Exploration of Gaussian Curvature NURBS Curves/ Surfaces

+ Subdivision Identify Max Edge Boundary for 11 May not Penetrate Boundary of 2

Mesh Conversion/ Sculpting of Geometry

+ Advanced Tests

+ 1 + 2 Mesh Composite

+ ENon-DevelopableNon-Intersecting Degree 2 and 3 Curves; Complete Figures Coincident and Non-Coincident Edge ConditionSympathetic and Counterpoint ContextSubdivision in Whole Dissection and Subtraction

1 2

1+2 Composite Curve/Isoparm = Max Edge Boundary

+ Translation NURBS Curves/ Surfaces

+1 Isometric

+2

+3

+1 +2 +3

+ Rotation About a Fixed HingeStarting Rotation = 0

2540

56

Sample Rotation = 25 Rotation = 40 Maximum Rotation = 56

+1

+2

+3

+1 +2 +3 +4

+ Retractable Apertures at Isoparm Divisions

+1

+2

+3

+1 +2 +3

+ Telescoping and Rotation

Sample Rotation = 8.25 (.55/1) Rotation = 11.25 (.75/1) Maximum Rotation = 15 (1/1)

+1

+2

+3

+4

+1 +2 +3 +4

+ Translation and Rotation about a Track

Sample Rotation = 28 (.5/1) Rotation = 42 (.75/1) Maximum Rotation = 56 (1/1)

+1

+2

+3

+4

+1 +2 +3 +4



79

SURFACE SUBDIVISION: COLOR and GRAPHIC CONSIDERATIONS

PROTOTYPICAL INVESTIGATIONS: MATERIAL and KINETIC TESTING via a MID-SCALE PHYSICAL MODEL

MATERIAL INVESTIGATIONS

FILM OF PROTOTYPE nemariakis.com/the-smooth-and-the-striated/prototype

Drawing from Razzle patterning and Supergraphics, similar graphic possibilities can be applied to an envelope without deference to any formal or geometric properties of the surfaces to which they are being applied. These options are to test the formal, visual, and possible spatial ramifications of the juxtaposition between the initial curvature continuous forms and contrasting patterns, as well as identifying possibilities for kinetic interaction with, or dependency upon, such patterns. Below: Rhino model with VRay rendering.

The initial tests became manifested in a mid- scale, fully motorized prototype model, measuring at 18 x 12 x 5, and which was intended as a heuristic tool for the subsequent architectural design. The model is driven by a servo motor scripted via an Arduino Uno, and is also interfaced with various Grasshopper scripts. The motorization is dependent upon a heat sensormy intention for the kinetic aspect of the design is based on responding to the extreme weather in Montreal. A short final film of the prototype can be seen at nemariakis.com. Acrylic cast plastic with cyan pigment; acrylic mirror- base; Arduino controller; MDF; servo motor; wood dowels; 3D powder print.

Concurrent with kinetic tests are material investigations

+ 1 + 2 + 3



81



83

INTEGRATION INTO THE SITE: DEVELOPING the FORMS SURFACE STRIATIONS/PATTERNING: OPTICAL ART

PROJECT DEVELOPMENT: EXPLORING STRIATIONS and PATTERNS

The two main building forms, designated as the Perennial building and the Ephemeral building, have been nested into the Base. By creat-ing a larger tectonic unit, this strategy allows for additional programmatic opportunities for this culture parksuch as spaces for museum/gallery; events; offices; research; and, living.

The Base is a continuous, flowing surface; this creates a series of upward and downward topological changes, which also allows for moments of spatial and peripatetic interest. The surface adapts to the waters edge by lifting the Northern and Eastern extents of the architecture, thereby creating additional opportunities for enclosure, and descends gradually into the Fleuve Saint-Laurent by means of a series of fingers. The fingers create a channel through, and under which, the river flows. Additionally, the fingers allow users to experi-ence the optical effects of the architectures patterning.

Working in contrast against the curvature continuous forms is a large- scale panelization logic, which carves and subdivide the surfaces. The logic of smoothing and striating is developing into the final proposal.

Among others, the work of seminal optical artist Bridget Riley was studied. The black and white piece on the bottom right is a vectoriza-tion of the work of Bradley Munkowitz, and the grey-scale and blue-toned versions to the left are adaptations of his original work.

In this phase, the earlier study of surface subdivision: color and graphic considerations is progressed. Above are some of the exploratory tests that consider color as well as possible patterning logics for the final design, based on a study of op-art/optical art.

+P

+B+E

+ Option 3: Planar, Box, Box + Option 2: Planar, Planar, Planar + Option 5: Planar, Planar, Surface + Option 4: Planar, Box, Planar

+ Option 6: Spherical, Box, Surface + Option 7: Surface, Planar, Spherical + Option 8: Spherical, Spherical, Box + Option 9: Spherical, Box, Capped Cylindrical + Option 10: Planar, Planar, Planar

+ Option 1: Mapping Type from Large to Small: Planar, Planar, Planar



85

+January

+February

+March

+April

+May

+June

+July

+August

+September

+October

+November

+December

+Closure/ExtensionDelamination

+Aleph/Arc inPerpetuity

+Q1

+Q2

+Q3

+Q4

+Lag +C

0-10 10-20 20 30

The movement and duration of primary and secondary kinetic elements are predicated upon factors related to weather. Responding to Montreals bitter temperatures in the Winter, the Ephemeral space telescopes and retracts over the course of the year. The upper glass facade on the Perennial building rotates and peels away when necessary, providing ventilation, cooling, and-or ambience for events.

Striations in the surface patterning become vehicles for a kinetic logic in the design. The above examples demonstrate how the architec-ture can break apart in unexpected ways. First, as seen in the State B options above, the glazing can rotate which creates minimal surface perforation. In the Summer, as seen in states C and D, the Ephemeral building extends fully open to invite habitation. There are no doors for public use; rather, delaminations create openings. A highly reflective cladding is utilized to enhance visual distortions.

The daily, monthly, and annual kinetic operations of the architecture are here diagrammed in duration.

+Architectural Logic in Diagram: Annual Space and Seasonal Space

+2 Objects-in-Objects+1 Outer Objects +3 Delamination of Outer Objects

+4 Breakage of Closed Volume

+5 Full Extension

+1 State A

+2 State B

+1 State A

+1 State A

+2 State B

+Reflections

+2 State B

+3 State C

+4 State D

DESIGN PROGRESSION: THE SMOOTH, STRIATED, and PERFORMATIVE

DELAMINATION: DETAIL SECTION and EXPANSION DIAGRAM

IN DURATION: DIAGRAMMING, KINETICS and ANNUAL WEATHER in MONTREAL

STATE CHANGES



87

12

3

4

9

13

3

2

5

9

10

11

12

6 6

7

7

7

8 8

6

Intended to accompany the previous duration drawing, this diagram provides another reading of the weather patterns of Montreal in relation to the intended kinetic response. As the Ephemeral space expands into full extension, this diagram traces and predicts the move-ments of the overall dilation. Aleph, the first letter of the Hebrew alphabet, is here arced as a symbolic abstraction of temporal perpetuity.

Striated Pattern The pattern which was ultimately chosen for the project provides several desired qualitiessuch factors include: curvilin-ear, striated, arrangements which vary by working both synthetically or contrarily against the smooth forms of the design; optical distor-tions that are powerful enough to alter perception, but not severe to the point of cacophony; providing mystery and intrigue. Additionally, due to Montreals extreme Winter conditions, and mild Summers, a mostly black envelope was chosen to maximize the absorption of solar radiation. Montreals Winter Before creating the final series of renders, this mood render was drafted to show the architecture as seen from the adjacent Jacques Cartier Bridge in the midst of Montreals brutal cold. Although the island of St. Helens is fairly desolate in the deep Winter, Buckminster Fullers dome of Expo 67 is in full use year- round, and this culture park aims to bring more persons to the island.

Plans Much like Cedric Prices Fun Palace, this culture park refrains from excessively prescribed programmatic spaces. Rather, the building performs and adapts to craft new types of inhabitation. This plan of the main platform level focuses on both the Perennial as well as Ephemeral buildings; however, it is the upper level (the object-in-object) of the seasonal, Ephemeral space which is mostly articulated. A portion of the Base building is featured as shown in 8 on the key of the plan. These portions are showing flexible space,

and can be viewed in the section on the following spread.

1234567

ENTRY FOR YEAR-ROUND SPACE

SEASONAL SPACE

YEAR ROUND OFFICES

FLEXIBLE

BASE ENTRANCE

RIVER AND BASE LEVEL OFFICES

RIVER VIEW

MAIN PLATFORM FLOOR/ UPPER LEVEL OF EPHEMERAL SPACE

BASE LEVEL EXHIBITION/ FLEXIBLE

ENTRY SPACE FOR PERFORMANCE HALL

PERFORMANCE HALL

GREEN-ROOM SPACES

GALLERY

RETAIL / EVENT MERCHANDISE

89

10111213

+ BUILDING PROGRAM = UNDEFINED; TO FIT WITHIN BOUNDS OF SITE

+ Static, Kinetic, Temporal, and Physical Conditions+ Q1

+ Relative Extent of Telescoping; Rotation (not to scale)

+ Ibid.

+ Annual Temperature Cycle: Highs and Lows of Montreal

+ Fluctuation of Telescoping, Rotation; Lags Behind Temperature Shift

+ A; A

+ Q 4

+ Q2+ Q3

+ Drawing in Duration/ Aleph

+January

+January

+February

+February

+March +April

+March +April

+May +June

+May +June

+July +August

+July +August

+September +October

+September +October

+November

0C

-10

-20

10

20

30

40

+December

+November +December

IN DURATION: EXAMINING the WEATHER PATTERNS that DRIVE the KINETIC OPERATIONS PLAN: MAIN LEVEL

5 20 30 50 100 20010



89

The section intends to show a wide range of activity possible in this modern culture park. The Base building connects to grade, and features a number of perforations leading into the architecture. The Base is also a continuous surface, ramping to various topological points. The Perennial building features spaces nested into larger spaces, or objects-in-objects. The glazing, in both the Ephemeral and in the Perennial buildings, is shown in duration.

This detail section highlights the Eastern edge of the Ephemeral building, which corresponds to the end of this building, which is furthest from the water. A suspended, or seemingly floating object hangs from the delaminating architecture above. This hanging space for offices or flexible program is habitable year- round and is able to be entered via stairs or the elevator which connects to the lower Base. The

lower level of the Ephemeral space features no doors, but rather delaminates in Spring and in the Summer to allow entry.

1

2

3

44

45

67

8910

9

11 12 13

1411 11

123456789

1011121314

SEASONAL SPACE (DOORLESSKINETIC EXPANSION CREATES OPENINGS)

SEASONAL ELEVATED OBJECT SPACE

YEAR ROUND SPACE FOR OFFICES/ FLEXIBLE

NON-ZERO GAUSSIAN RAMPING SURFACEWITH SPACES FOR REST AND VIEW

SPACE FOR OFFICES

ENTRY SPACE FOR PERFORMANCE HALL

LARGE PERFORMANCE HALL

STORAGE

EXHIBITION/ GALLERY/ FLEXIBLE

BASE ENTRANCE NORTH

FLEXIBLE

SMALL PERFORMANCE HALL

KINETIC ENTRY SPACE FOR SMALL PERFORMANCE HALL (WITH OPENING GLAZING)

SPACE FOR REPOSE/ SOCIAL SPACE

SECTION

IN SECTION: NORTH-SOUTH and in DETAIL

5 20 30 50 100 20010

5 20 30 5010



91

MODELS: DETAIL SECTION and FINAL FORM with IMMEDIATE CONTEXT

Final Models [SECTION: 1/8=1' = 1:96, 12x 9x 7; MASS/ SITE: 1/64 =1 = 1:768, 11-1/2x 10-1/2x 2 ] The final models are movable and intended to demonstrate duration. Visual distortions become quite apparent, especially in the bottom array with shallow depth of field.

+1 State A

+2 State B

+1 State A +2 State B +3 State C



93

This large section model expands and delaminates to reveal the movement of the architectural proposal. Enclosed within is a diagram-matic representation of the object-in-object. Metal fastener; PLA printed inner object; powder printed section model.

This massing/ site model features a slightly varied striation pattern. Acrylic; MDF; mounting board, grey; powder printed massing.

+1 State A

+2 State B

+1 State A

+2 State B



95

RENDERS: IN CONTEXT

View Looking West/ Northwest In this view, the architecture is shown in Spring or Summer the Ephemeral building has been fully expanded to show the suspended object inside. The Base gently curves and ramps to various levels, and is fully and freely open to the public. The super reflective cladding enhances the desired distortions in the striations, creating new experiences at each turn and with changing light. As a result, the cladding, in response to solar conditions, serves to facilitate the overall objective of demonstrating duration in the architecture, albeit in a non- mechanical fashion. To capture the quality of highly dynamic lighting conditions, a render style was utilized that harkens

the painting techniques of 19th Century Luminism.



97

View Looking West This rendering depicts the lower level of the Ephemeral space in Spring or Summer. Materially, the surfaces appear even more reflective than the exterior cladding, creating an ultra distortive effect, which enhances the striations against the smoothed surfaces. This extreme distortion recalls 16th Century Mannerist architecture, as seen in the swirling optical illusions in The Chamber of the Giants in Palazzo Te Giulio Romano. The bottom of the object-in-object above is clad with a slightly opaque, bronzed glazing. There are no doors in this lower

level, allowing free movement.



99

Object-in-Object Here, the habit-able roof of the object-in-object appears to float among the trees and Fullers Expo 67 dome. The cyan, plastic, material test has re-emerged

to the left of the render.

Inside the Perennial Building Looking West As the Ephemeral building is pushing the boundaries of weird, the interior of the Perennial building is contrastively comfortable. Striations, and reflections, however, are not dismissed here. The glazing, shown here, opens fully in the Summer. A live jazz band plays before

a view of downtown Montreal.



101

THE SMOOTH AND THE STRIATED

View from the River Depicted in Spring or Summer. Access to the far extents of the fingers is available from all sides of the Base.NICHOLAS EMMANUEL MARIAKIS

Projects + Samples 2011-2016102 ARCHITECTURE + DESIGN PORTFOLIO

Projects + Samples 2011-2016103

CRITIC: Scott Erdy/ Erdy McHenry Architecture

LUXURY + HOMELESS HOUSINGPHILADELPHIA, PENNSYLVANIA

601 FALL, 2013 | Duration: 13 Weeks | Type: Individual

REST / HOME//04

REST/ HOMESTUDIO OBJECTIVE AND INTRO

SCHUYLKILL RIVER

I-76

SCH

UYL

KILL

DRI

VE

8 STOREYIRS GARAGE

PENN PARK

CENTER CITY

RAIL

CHESTNUT ST

WALNUT ST

30TH

ST

UNIVERSITY CITY

IRS

Photo by me

PHILADELPHIA, PENNSYLVANIA

Located at the threshold between the University City area of Philadelphia and the greater Center City area of the metropolis, this studio calls for a new home for My Brothers Keeper; this organiza-tion is a non-profit Christian ministry that seeks the recovery and rehabilitation of homeless individuals.

The studio agenda additionally seeks to unite two very disparate groups of people into one architecturethe haves, and the have notsthe former group will assist in subsidizing the archi-tecture. The latter group comprises those persons served by MBK.

For those in transition between life on the streets and life in society, REST/ HOME seeks to be a place of renewal, featuring necessary housing, counseling, medical, and employment spaces. The architectural proposal also aims to be a place of respite for not only all who live here, but for the public as well. Multi-tiered parks have been programmed into the architecture, which serve as places of repose in an otherwise thronged urban milieu.

The site is located in a 33- to 36-foot deep plot, which requires the architecture to respond accordingly. The superstructure is elevated to allow upper- street level pedestrian traffic to pass beneath, and the supertruss provides for spatial and architectural opportunities and experiences.

Concurrent with the architectural project, instruc-tor Scott Erdy arranged for the studio to spend the semester designing and building a homeless park in Camden, New Jersey, at 442 Grant Street, called FORM/ REFORM. The team was given a 2000 dollar stipend by the University. Photo-graphs and a detailed description are on p.180.



107

172183

33-36STREETLEVEL

TRANSITION1 BEDLUXURY

LIFT ENCLOSURE (FOR A PLACE OF RESPITE)

PROGRAM- 50K SF ROTATE EXTERIOR (VIEWS TO CENTER CITY)

ANGLED COLUMNS CONNECT WITH STREET/ CUTS FOR LIGHT FLOOR PLATES/ SHELL

SUPER TRUSS ELEVATED PARKVERTICAL PATH/PROGRAM

PATH OPPORTUNITIES FOR PROGRAM

MASS

EXPAND INTERIOR

RAIL SWITCH

LIFT Bring the living spaces above the street; light is an essential aspect of space, especially domestic space.ENCLOSURE (for a place of respite) This provides a feeling of community, and allows sunlight below as well as facilitating ample perimeter lighting.PROGRAM Luxury and 1 bedroom spaces to be oriented towards Center City, and Penn Park, respectively.ROTATE EXTERIOR The luxury spaces to be rotated for maximum views towards the skyline of Center City Philadelphia. EXPAND INTERIOR This serves to break the monotony of the square courtyard, and provide usable floor space.ANGLED COLUMNS Allows cantilever to extend further over the rail switch; also provides aesthetic, spatial, and experiential interest.FLOOR PLATES/ SHELL In order to mitigate a static relationship between the bounds of the exterior envelope and the interior program, the superstructure will be distinct from the structure of the interior programs.TRUSS A supertruss, designed as an asymmetrical melding of Belgian and Warren trusses, supports the superstructure. VERTICAL PATH/PROGRAM This path will feature both park and program spaces; and, it will extend from the ground, to the street, and to the roof park. The aim is to create both public and private vectors.ELEVATED PARK The elevated park aims to connect Penn Park with the architecture, as well as to create a park space for thoseliving within the architecture.

[1]Looking E [2]Looking E [3]Looking W

[4]Looking N/NW [5]Looking S/SE [6]Looking E

[1]

[2]

[5]

[4] [3]

[6]

SITE: DIGITAL SITE MODEL PROCESS: FROM IDEA to ARCHITECTURE

SITE: PHOTOGRAPHS

The site is located at the intersection of 30th and Walnut Streets, at the transition between Center City Philadelphia and West Philadelphia/ University City. Adjacent and near to the site are several multistory and tall buildings ranging from 8 to 30 levels.

Inherent to this location within the city is the common condition of bi-level streetsthis site for My Brothers Keeper is on such a portion of Walnut Street, ranging from 33 to 36 feet below the Walnut Street bridge. These lower portions of streets are typically devoid of rich human occupation (or light). Overcoming the separation between ground and street, therefore is a goal of this project.

The above diagrams demonstrate the foundational drivers upon which the architecture is predicated. Such vignettes are intended to identify both challenges as well as opportunities, both of which serve to inform the architectonic manifestation of the project.



109

+ =

~ 105

15

BELGIAN WARREN

+ =

MASS VERTICAL PATH/PROGRAM SUPERTRUSS

LOGIC OF SUPERSTRUCTURE FILLING THE VOID

ELEVATED PARK

PERMEABILITY

ENCLOSURE

105-15= 90 DEGREES

HAVES LUXURY/ 2 BED (8 x ~1000 SF = ~8,000) HAVES 1 BED (12 x ~400 SF = ~4,800 SF)HAVE NOTS SRO (36 x ~250 SF = ~9,000 f)

MASS CONFORMING INNER OBJECTS NON- CONFORMING FLOOR PLATES TRUSS EMPTY SUPERSTRUCTURE

View to Center CityNear the Site. Photo by me

PROCESS: FROM IDEA to ARCHITECTURE DEVELOPING THE STRUCTURE: LOGIC and PHYSICAL MODEL TESTS

STRUCTURAL TESTS

These vignettes were further used to assist in describing and driving the formal and logical characteristics of the project. After analyzing the site, it became particularly important to address the lack of porosity of the site; given the lack of pedestrian traffic on 30th street, and the massive extents of the block (172 x 183), a street-level platform is introduced to bring individuals into the architecture.

According to programmatic constraints, the architecture is required to be a space of transition for homeless individuals, featuring 36 apartments specially designated to that demographic. The primary economic driver for the project is luxury apartments whose income will generate the needed revenue. Thus, every step was taken to craft luxury spaces that feature unimpeded views of the Center City skyline.

Based on square footage requirements for the project, and in light of other considerations such as the cloister, it was calculated that all of the apartments can fit into a two-level scheme.

As seen in the middle-left photograph above, an early structural test incorporated a moment-resisting/rigid frame, but evolved into the truss scheme. Structural test models were key. Below: Structural Section with Hinged Connections [18x 4-3/4x 2 ] Metal screws; MDF.

Test Model [1/16 =1 = 1:192, 13x 11-1/2x 2-1/2 ] Acrylic.

With Superstructure [13x 11-3/4x 5-1/2 ] Acrylic; chipboard; Plastruct.



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LUXURY TWO BEDROOM

RESTAURANT UPPER

GYM UPPER

ONE BEDROOM

HOMELESS ACCOMMODATIONS

MULTI-PURPOSE ROOM/SPACE

CLINICAL

KITCHEN

LAUNDRY

MANAGEMENT OFFICES

UPPER / THIRD FLOOR

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ROOF GARDEN/ PARK OVER THRIFT SHOP

GYM LOWER

RESTAURANT/ KITCHEN LOWER

COUNSELING OFFICE

CLASSROOM

DENTISTRY

PHARMACY

LOWER / SECOND FLOOR

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THRIFT SHOP / BACK-OF-HOUSE

THE PLATFORM IS AVAILABLE FOR OPEN-AIR MARKETS

IMMEDIATE INTAKE HOUSING/ CODE BLUE SHELTER

RESIDENT DIRECTORS QUARTERS

INTAKE OFFICE

STREET / FIRST FLOOR

ROOM WITH KITCHEN FOR PROGRESSING INDIVIDUALS

ROOM WITH MULTIPLE BEDS FOR EARLY ENTRANTS

+ BUILDING PROGRAM = 50,000 FT2

(FROM ROOF)

SRO/ HOMELESS ~250SF LUXURY/ TWO BEDROOM ~1000SFONE BEDROOM ~400SF

PLANS: UNIT and SITE

The program features full accommodations for incoming homeless individuals, as well as spaces for retaila restaurant, thrift shop, and the street- level deck, which can be used for pop-up, daily, farm-markets (common in West and South Philadelphia). Drafted in AutoCAD. 505 2510 5 2510



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SECTION AND MODELS: NORTH/SOUTH, TEST SECTION, and DEVELOPING the STRUCTURE

Section Drawing View looking West towards Penn/ University City. The ground- and roof- parks are intended as extensions of Penn Park to the left. Section Model [1/8 = 1 = 1:96; 14-1/2x 6-1/2 x 3-1/2] Section test featuring object-in-object logic. Acrylic; butterboard; MDF; wood dowels.

A SUPERSTRUCTURE B FILLING THE VOID C ENCLOSED/ ROOF PARK



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SECTION: EAST/WEST MODELS: SITE and DETAIL SECTIONS

ELEVATION: SOUTH

This section features the initial logic for the interaction between the superstructure of the truss and interior objects. Early iterations of the plans have been placed at their corresponding levels within the 3D model. To improve legibility, the lower/second floor plan has been projected to grade-level.

Large Scale Site and Final Massing [1/16 = 1 = 1:192; 42x 24x 46] Group model featuring cutaway for views of grade-level.

For the final model, an alternate stair scheme was proposed. Acrylic; chipboard; MDF (natural and spraypainted); plywood.

Along with the roof-park and luxury suites, the hanging restaurant at the top right faces Center City Philadelphia. *Note: The model above, and only this model, was completed for ARCH 731-001, Experiments in Structures. The goal was to create a diagrammatic iteration of a truss section, testing the structural behavior and viability of the pins and composite truss.



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Acrylic; birch ply; chipboard; wooden dowels; spraypaint.

Large Scale Section [1/4 = 1 = 1:48; 22x 16x 7] Section test featuring the pre- final structural logic; no object-in-object paradigm.



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RENDERS: IN CONTEXT

View from Center City On the oppo-site side of the river banks, the Schuylkill River Trail connects to the elevated streets above. Being situated along the body of water, the architecture enjoys unimpeded views

of Philadelphias skyline.

View from the East The composite truss logic was adopted in order to avoid the strict repetition of equally angled members. As a result, the architecture is more vibrant and espouses a more humane character. To counter the shear forces towards the ends of the trusses, the members become more closely arranged. Between Schuylkill Avenue and the site are regional SEPTA, CSX and AMTRAK rail lines. To the top-left of the architecture, the restaurant hangs from the superstructure, overlooking Center City and South

Philadelphia.



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Walking onto the Platform from Walnut Street As intended, the open logic of the design allows permeability into and through the site, and provides the opportunity for open-air, yet covered, pop-up markets. Towards the left of the frame, a perforation in the platform allows light to flood belowthus mitigating the imposing, dark, quality of the elevated streetas experi-

enced from grade.

Looking South from The Manage-ment Ofce This render depicts the experience of the interior cloister. Below this office, the roof of the retail space serves as a portion of the elevated park. On the upper/third floor plan, this view corresponds to number 10. As seen embedded in the right stairs leading to the upper roof, there are small extensions of concretethat create seats or platforms where human interaction or

rest may take place.



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Looking East from a Luxury Two Bedroom On the upper/third floor plan, this view corresponds to the apartment just above the number 1. As intended, these apartments deliver views of Philadelphias beautiful Center City, and R.A.M. Sterns Comcast Center. As seen in the

first two renders of the East facade, the platform near the truss is habitable; open-air, yet covered.



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REST / HOMEView from the South side of Walnut Street The architecture floats above the street, allowing pedestrians to pass through the otherwise imposing block. This will enable easier passage between the Walnut and Chestnut Street corridors near the rivers edge, over which

hundreds of pedestrians cross daily.



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URBAN HEALTH FACILITYPHILADELPHIA, PA

502 SPRING, 2013 | Duration: 13 Weeks | Type: Individual

CRITIC: Keith Vandersys/ PEG OLA

VERDURE SPACES//05

VERDURE SPACESSTUDIO OBJECTIVE AND INTRO

SCHUYLKILL RIVER

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PENNPARK

CENTER CITY

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AT&T

SOUTH ST

SOUTH PHILADELPHIA

PHILADELPHIA, PENNSYLVANIA

verdurenoun. Definition:1: the greenness of vegetation; also: 2: a condition of health and vigor.

Critical to the future of this nation, or any nation, is the health of its people. On the local level, each city must address this issue with respect to the specific needs of its inhabitants according to the nuances of its urban context. Places of preventa-tive care, such as urban health facilities, may prove crucial in bringing to fruition the dire need for salubrious living.

The design of VERDURE SPACES incorporates the essentials of an urban health facility: spaces for outpatient care; therapy; and, counseling. Additional amenities include spaces for exercise; class rooms; greenspace; dance; steam baths; a marketplace; and, spaces for those in transition from homelessness.

By means of utilizing interstitial spaces, or zones of Metaxis (from the Greek Metaxi, meaning in the midst), transitional zones become spaces for inhabitation. The overall form and logic of the architecture unfolds from contextual vectors that have been identified and mapped in 2D, and then explored in 3D.

The resultant design is predicated upon a logic of half- levels, enabling users to experience the architecture without requiring the use of stairs. Not only is this intended as an architectural and experiential maneuver, but pragmatically for those to whom the ADA applies, as well as to those with temporary disabilities.



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SITE: DIGITAL SITE MODEL SITE INVESTIGATIONS: VECTOR-MAPPING the HISTORIES and NATURAL FORCES of the SITE

SITE: PHOTOGRAPHS

[1]Looking S [2]Looking S/SW

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

[1]

[2]

[3]

[4]

The site is located at the Eastern bank of the Schuylkill River in Philadelphia, in between an abandoned artillery depot (as seen towards the left in image 4 above); a data/telecommunications center for AT&T (towards the right in image 3); and a series of residential blocks towards the South/Southwest of Schuylkill Avenue. The South Street Bridge immediately borders the site on the North (from where image 1 was taken) and is one of the major transportation hubs in the city, linking Center City with University City.

The initial tests conducted according to the studios methodology required identifying, mapping, and abstracting both historical and current forces embedded within the site. The aim is to find relevant vectors as well as ways of considering solid/void/interstitial spaces.

UNCONTAINED FLOW

1796 1855 1895 1962 CURRENT2013

IBID

LOCOMOTIVE USE-DENSITIES

MARITIME SERRIEDNESS

CIVILIAN CONSTITUENCIES

VERTICAL RIVULETS

HYDROKINETIC EXPANSIONS



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TEMPORAL CONSIDERATIONS: MAPPING the DIURNAL and NOCTURNAL CYCLES of the PROGRAMSITE INVESTIGATIONS: VECTOR-MAPPING the HISTORIES and NATURAL FORCES of the SITE

A Teleology The architectural proposal integrates event and program spaces intended for both the houseless and the housed. Programmatic sequencing aims to exploit spaces of metaxis, or interstitial spaces, in order to create and engender news ways for both groups in to interact. B Connectivity Vectors within the diagrams suggest directional pathways both through the architecture and into the urban context.

C Temporal Considerations In the diagrams to the left, entitled Initial Experiments and Hypothesis, lines are suggestive of spacessuch spaces being permeablelines are not intended to convey rigid structural boundaries. Resulting from these diagrams and above, the following interrogative questions arise: what results from interposing the proposed circulation with the tentative programmatic arrange-

ment? How will these potentialities function spatially/architectonically/temporally? What paradigm will best facilitate interstitiality?

+ = + =

S

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WINTER SPRING SUMMER AUTUMN SEASONS

INTERIOR / EXTERIOR

ANALYSIS OFPOTENTIAL ORGANIZATION

OF SPACES 5 6 7 8 9 10 11 12 1 2 3 4 5 6 7 8 9 10 11 12 1 2 3 4

TEMPORAL CONSIDERATIONS

...DAWN...... ...DUSK............

M T W TH F S SN WEEKDAY / WEEKEND

DIURNAL / NOCTURNAL

INTERIOR

EXTERIOR

HYBRID

TEMPORALITY / DIURNAL-NOCTURNAL UP TO 1/4 DAY

UP TO 1/2 DAY

UP TO 3/4 DAY

UP TO 4/4 DAY

KEY: SPATIAL / EVENT

SPACES FOR HEALTH-PROFESSIONAL/ PATIENT INTERACTIONS EXAMS INTERVIEW + COUNSELINGS OUTPATIENTS

SPACES FOR PATIENT WELLNESS SENSORY ISOLATIONS GROUP THERAPYM STEAM BATHSM SPACES FOR PRESENTATION/ EDUCATION SMALL LECTUREM PRESENTATIONM CLASSES (BODY/ MIND/ DANCE)M MEDIA CENTERM LECTUREL EVENT SPACE (PUBLIC)L CONFERENCEL

SPACES FOR MARKETPLACE EXCHANGE MARKETL

SPACES FOR PROGRAM/ VARIOUS KITCHENSM ENTRANCE(S) RESTROOMS MANAGEMENT OFFICES SHIPPING/ RECEIVING STORAGE MECHANICAL

SPACES FOR WILDCARD // HOMELESS REVIVIFICATION ENTRY-LEVEL HOUSING: SAFE HAVEN TRANSITIONAL HOUSING COMMUNAL SPACES TECHNOLOGY ACCESS SPACES SPACES OF EXTERIORITY OUTREACH AND COMMUNICATION HEALTH AND RECREATION LAND RESTORATION AND MAINTENANCE WATER DISTRIBUTION AND RETENTION WATER FEATURES (RECREATIONAL/ THERAPEUTIC/ FUNCTIONAL)

TEMPORALITY / SEASONAL WINTER

SPRING

SUMMER

AUTUMN

INTERIOR / EXTERIOR INTERIOR

EXTERIOR

HYBRID

PROGRAMMATIC / METRICS ~ 10,000

~ 15,000

~ 20,000

~15,000

+ =

INTERIOR

EXTERIOR

HYBRID

INTERIOR

EXTERIOR

HYBRID

1 2 3 4 5

ROTO-EXPANSIONARY TESSELLATIONS

METAXIS

MAPPING OF FLOOD AND URBAN VECTORS

MAPPING THE INTERSTITIAL / METAXIS

SPACES // OF METAXIS/ INTERSTITIALITY SPACES// OF EVENT OR PROGRAM FOLDING OF THE DIAGRAM // TO EXPLORE GEOMETRIC POSSIBILITIES

LINEAR GROUPS = POTENTIAL CIRCULATORY PATHS

INITIAL EXPERIMENTS // INTERIOR / EXTERIOR / BOUNDARIES HYPOTHESIS // PERMEABLE BOUNDARY OPTIONS

OPTION 1 OPTION 2

CONNECTIVITY // VECTORS WITHIN THE DIAGRAM SHOW PATHWAYS INTO CONTEXT. INTERROGATION // HOW DOES CIRCULATORY MOVEMENT INFORM PERMEABILITY?

A

B

C

// IN THE MIDST; BETWIXT; BETWEEN; INTERVENING.



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