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m iron g ‘10 Env Sprin ru uilt Studio ma, Pe he B avids s, Li of t René Drios Alto Bar site:
<traveling studio>“River/City/Life”: revitalization and reclamation of the heavily urbanized Rimac River at an impoverished site in the liminal fringe of historic Lima. Pedagogical Museum program “to inform, influence and inspire people making decisions about the built environment at all levels” Site of a former garbage dump encroached by informal housing, “barriadas” in close proximity to the colonial center. Issues of culture+class conflict and environmental remediation paramount. El Instituto de Contexto Oculto is not a traditional museum presenting just another collection of edited relics from a contrived past. It is a profound reordering, a remembering of forgotten sequence: River-Bridge-TowerCity. It is a warping and peeling of the underlying and buried contextual fabric of the built environment to reveal and re-realize the true nature of Lima. It is a museum of the people, a counterpoint to the corporate watchtowers and walls defining the streetscape of the city. It’s a connection of high art and graffiti, the sacred and profane, the slum and the villa, the river, the sky, the rock, and the city.
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This project reconnects the developing waterfront park in the colonial center of Lima through a reclaimed riverfront, river crossing, and tower to an overarching view of the city. This progression rises from the river edge though local grasses, shrubs, and boulders transected by paths and seating where couples congregate. It ramps up, pulling forcibly out of the ground geometric masses of rammed earth evoking the contextual built environment and geology. The path continues into these forms creating the museum ruin: dark corridors with baffled entrances open into oculus lit galleries exhibiting publicly chosen art. The entire architecture becomes the exhibit wrapped as a â&#x20AC;&#x153;huacaâ&#x20AC;? in a shimmering glass sheath. The progression syncopates from light to dark allowing flexible public uses in the gallery spaces. The public is drawn onward and finally up the tower to the moment of opening: a wholistic realization of the city, and a People connected beyond time, space, and class.
SLOW-REVERSE/F AST-FORWARD
site: 101 Corridor SF Jill Stoner Studio Fa O-Foster City ll ‘09 comprehensive
<2 phase studio> Phase 1:“an architecture that is reductive and subtractive, addressing buildings as site that architecture can be excavated out of their very substance”. Buildings selected from the 101 Corridor with the intention to “reverse the environmental degradation of the past 50 years, while at the same time taking on the least appealing architectural products of that period”. Comprehensive studio drawing set: “1. Demolition, 2. Structure, 3. Codes, and 4. Details.” produced. Phase 1: Efflu-essence converts conservative, security driven architecture of a fortune 500 tech company into a next generation closed-system sewage treatment facility. The system perforates the office floors introducing, light, air, plants, and animals while maintaining office functionality. Volumetrically the potential exists to treat 90,000 gallons of raw sewage expanding service across the Peninsula. The project will act as a functional treatment plant, as well as an educational opportunity expressing the process of waste water treatment and its integration into the bay ecosystem. The surrounding hardscape is removed and the lower floors opened to accommodate expanding wetlands due to sea level rise.
Phase two elaborated on phase one by going up in scale to “explore the impending re-territorialization of the 101 corridor over the next 100 years”. Phase one proposals expanded to corridor-wide strategies in order to create visionary images, city scale plans, and ballot measures to “engage both ecological imperatives and population growth along the corridor”. PHASE 2: San Mateo Bay Network (SMBN) amplifies the concepts explored in phase 1 by proposing a nodal network of vegetated service corridors (VSCs) that reorganize and integrate infrastructure while reclaiming lost bay wetlands. Assuming a 1.4m sea level rise, 35 km2 of land along the highway101 corridor will be submerged in the next century. Six waste water treatment plants and miles of utility corridors representing more than 9 billion dollars in public infrastructure, and serving the majority of the population on the peninsula will be lost. The SMBN plan calls for the system of VSCs to progressively replace and reorganize the inundated service corridors. They will be the harbingers of phased reclamation as well as provide an evolving service substrate for construction of the next vision of the corridor as it adapts to the changing bay. The VSCs will first restore historic creeks, waterways, and existing corridors. Then expanding with the rising bay, they will form a green network and tidal buffer zone connecting new and remaining structures with sinew of vegetated space and mechanical service.
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1L: manifolds and catchment .5L: catchment petals, transfer tubes 2L: structure 3L: catchment and filter
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Mark An ousPlastic d R site: Wu erson 269X Sem ainFlower rster C ourtyar inar Fall ‘09 d
<construction seminar>a group “study in structure, construction and materials“ constructed from “fertile waste of excessive human consumption” to “capture and purify drinking water from the sky”. ”Beautiful and grotesque, our flower will further serve as a wide-spreading public umbrella tree drawing people to gather under its shelter” EPRF was constructed from over 3000 2L, 3500 .5L, and 90 3L bottles harvested from a local recycling plant. Cut and heat-welded they formed structural members and tubes capable of resisting tension/compression forces, conveying water, housing activated carbon filters, and supporting storage bladders. A system of spaceframe water storage pylons formed a translucent airy pavilion; shading, harvesting water, and defining an intimate space in the courtyard. The flower was prefabricated in pieces and installed by the class in 6 hours. After its exhibition it decomposed organically piece by piece into the urban Berkeley environment.
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rd g ‘10 urtya inar Sprin r Co urste 9X Sem es site: Wamoto 26 ometri Lisa Iw rial Ge
<digital construction> teams “develop a structural precedent model, a structural derivation of this model, a material system, and a fabrication assembly system to design and construct an installation in the Wurster courtyard“. Structural surface not for “structural optimization, but for negotiating material, digital, visual, aesthetic, etc. conditions towards experiential and perceptual criteria” Kubb Thunder Dome imposed a shelter program for viewing lawn games in the courtyard. The formal strategy warps the existing courtyard surface into a small folded-plate enclosure. A parametricized folded-plate script was applied iteratively to formal base surfaces. The final surface was then unrolled and tabs+holes for nylon fasteners were added via script. The final surface was structurally analyzed to identify where holes could be punched. Pieces were then laser cut from HDPE. Prefabricated in strips, the installation was erected in under 2 hours by 4 people.
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<research/analysis> “examine the relationship between technology, design philosophy and the realities of practice through analysis of an individual building and an examination of the architect’s writings and lectures”. Interrogate the “role of technology in the design philosophy of the architect” and establish their theoretical position. Trenton Bathhouse was the first iteration of the servant/served relationship executed in Kahn’s later buildings. In the project Kahn applies the classical greek cross plan in the pylon spacing, creating a spatial plaid. This arrangement relegating service spaces into mass “building with hollow stones”. Re-invisioning the classical axis-mundi, it becomes void rather than a focal point, implying a dynamic nature to that space. With the voiding of the center, the cross takes on a bi-axial importance, equally weighting all sides and evoking a equilateral tension of transition between them. The building responds to the climatic conditions of the pool season by remaining open and allowing passive ventilation. The roof is lifted above the pylons shading the interior space while allowing air to pass through. This offset also creates openings to define circulation and secondary spaces. Within the individual pavilion a plaid of space is articulated by the flowing ambiguity of materials but defining geometry, moving the circulation from the center to the secondary light defined space between the pylons.
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“Every window should have a free wall to face. This wall receiving the light of day would have a bold opening to the sky”
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ne usan ra Ub tio be n lohd of e 2 si Ur 49 te: P ba Sem otr n ina ero W <research/data mapping-analysis> a r Sp Po te rin int “examine the topic of urban rfr g ‘1 waterfronts and the sustainability issues on 0 ts raised in their transformation from industrial
sites to urban amenities” In the process “develop methodology for assessing sustainable issues” and apply it to a site with the potential for recasting the urban land/water interface. Phased Restoration Identification+Targeting taking data/testimony based reconstructions of historic pre-human condition as a baseline of a complete restoration, the project compiled publicly available GIS watershed, demographic, historic, spatial, seismic, infrastructure, and urban data into a logical framework to identify target zones for regeneration in Potrero Point. These zones were quantified by their potential for ecological regeneration, social impact, susceptibility of sea level rise, and ease/availability of restoration, to present a comprehensive assessment of reclamation/regenerative potential. Attributes were isolated and subjectively weighted according to their potential(+) or challenge(-). Layers were then arithmetically aggregated. The resulting conglomeration represents a numerically weighted index of reclamation-potential corresponding spatially to the area. Overlaying this onto parcel and current orthographic aerials it is possible to modify, plan, and design the future of the area with an understanding the best areas for regeneration.
2 projects: K o Independen rea-Goshen t â&#x20AC;&#x2DC;09-â&#x20AC;&#x2122;10 On
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Seoul, Korea
<photo/experience> photos and sketches made while exploring context/architecture: Seoul: independent visit Goshen: independent research intent I use my photography and sketching to relate to the underlying context of a place, not only to capture a beautiful visual scene but the experiential phenomena it represents. I try to isolate important factors in a contextual setting/architecture/place and speak about them artistically in the hope of informing a design that can relate. These observations and images are a set of tools helping to develop, analyze, and convey not only what I see but more importantly how I see.
Goshen, Utah
TAPE HERE! Bryan Allen
1934 Stuart St Berkeley CA 94703 b.allen@berkeley.edu 801.916.0885