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ANNETTE VELIZ

ANNETTE VELIZ Pratt Institute School of Architecture Undergraduate

FALL 2013 - FALL 2016


ARCH 403

Advance Design 02-13

Living While Dead

02-13

Residue Spaces NYC

14-25

Water Journey

26-35

Deposits of Creativity

36-45

Pratt Dormitory

Ran Oron

46-53

Poem Archive

Carlyle Fraser

54-61

One’s Public Nature

Dukz Koschitz

62-69

Line, Plane, Volume

Richard Sarrach

ARCH 402

Advance Design Dragana Zoric

ARCH 302

Comprehensive Design Beth O’Neill

ARCH 202

Intermediate Design Eva Perez de Vega

ARCH 301

Comprehensive Design Robert Siegel

ARCH 201 ARCH 102 ARCH 101

Intermediate Design

Core Design

Core Design

UNDERGRADUATE SCHOOL OF ARCHITECTURE


Living While Dead ARCH 403 Advance Design Instructor: Richard Sarrach Team member: Ann Chai, Elaine Tan, Nohar Agadi DESIGN STATEMENT Is architecture to be static, inert, part of a massive production mean? Can architecture begin to live in-between the process of the large factory? The Living While Dead is a prototype space questioning and challenging the purpose of building materials as permanent and single purposed. It uses SCOBY (Symbiotic Colony of Bacteria and Yeast: A byproduct of Kombucha tea brewing) as a nutrient storage, which temporary cycles through the interior spaces. While moving through space, it serves as a permeable wall, which gives off lime-citrus smells and is actively reacting to moisture content in the air, as well as heat. At the end of the cycle the material becomes insulation and ultimately a nutrient for nearby crops.


MATERIAL STUDIES - SCOBY

A JANUS GREEN

B METHYLENE BLUE C NEUTRAL RED (NUCLEUS STAIN)

(CYTOPLASM STAIN)

D IODINE

(CARBOHYDRATES STAIN)

2 DRIED

(KOMBUCHA)

1 WET

(KOMBUCHA)

(MITOCHONDRIA STAIN)

4

FALL16


95%

95%

day 0.5

95%

day 0.5

95%

day 1

day 2

day 3

day 4

day 6

day 8

day 10

85%

75%

65%

55%

45%

45%

35%

day 1

day 2

day 3

day 4

day 6

day 8

day 10

85%

75%

65%

55%

45%

45%

35%

day 1

day 2

day 3

day 4

day 6

day 8

day 10

85%

75%

65%

55%

45%

45%

35%

day 1

day 2

day 3

day 4

day 6

day 8

day 10

85%

75%

65%

55%

45%

45%

35%

ARCH 403

5


6

FALL16


IN-SITE SYSTEMS

ARCH 403

7


NET

SUPPLY L

The framed net cut out from the SCOBY strips on the conveyer belt are moved to a shallow pool with other nets, in their live state they will merge together and form a mesh net with multiple layers of nets.

When enough nets are layered to become a thick and closely knit layer, the piece is laid out to dry. It will be manually taken and installed as hammocks for the community.

The remaining frames will be set aside, and the machine will lay out the strings within the frame once again, and reuse it on the next active pool. day 14

Rainwater is collected through “wells” that are open to the roof of the building

day 12-14

day 01

Lemon juice, tea, and sugar are fed through these tubes on a schedule managed E\WKHͤUHVWDWLRQ This mixing pool combines all the ingredients together before pumping into one of the active pools.

day 08-12

day 01

The cut SCOBY strips are left to dry for 3 days. The machine lays the piece of net-embedded SCOBY on the conveyor belt.

WALL 8

The SCOBY is then moved to the cutting table, where a cutter built onto the conveyor belt cuts the SCOBY into 1’ x 2’ strips, leaving 1” thickness around the strings of the net. The framed net is then moved by the machine to the next stage while the strips continue in this process. day 08

day 08-11

Finally, the SCOBY strips are rolled by a roller and tied together by a machine at the end of the conveyor belt. The strings of this machine directly travel upo the sides of the well and move into the building as SCOBY walls.

After 4 days (8 in total) the SCOBY has grown around the net and in the desired thickness. The machine then extracts it from the pool to the conveyer belt for the drying process.

After 4 days, the machine lays a framed net onto the currently grown SCOBY layer and allows it to grow for 4 more days undisturbed.

The mixing pool feeds its ingredients into one of the 8’ x 8’ growth pools and allows it to grow undisturbed for 4 days. day 01-04

day 04-08

This vacant pool is then ͤOOHGE\WKHPL[LQJSRRO with ingredients to continue growing SCOBY again. day 08

day 12

FALL16

GROWTH


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ARCH 403

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WALL 9


DISTRIBUTE SCOBY, soil, and rainwater are drained through the mounds and gutter system into the underground fertilizer manufacturing process. Under each mound hosts a similar 500 gallon container. day 01-07

The compost is piped into barrel containers, in which they can be delivered to other sites. day 10

7KHͤOWHUHGRXW compost is then connected via a pipe to the post processing site where it can be packaged and delivered. dayy 10

A flat blade connected on the straining bed then moves across the surface, clearing away the excess large chunks of compost back under the soil. day 10

The compost is drained onto the straining bed, a container with a mesh VXUIDFHWKDWͤOWHUVRXW large chunks of compost.

After 3 days, the compost is ready to be further processed. The bottom drain will turn open and the compost is allowed to fall out underneath to the straining bed. day 10

day 10

10

FALL16

The compost steeps for 3 days, being shifted by the container occassionally. The container has a rounded blade that gently shifts the compost by rotating. day 07-day 10

When the container senses it has reached a certain volume, the upper drain will turn shut so that the steeping process can begin. Rainwater will then be absorbed by the surrounding landscape during this time. day 07


ARCH 403

11


12

FALL16


ARCH 403

13


14

FALL16


ARCH 403

15


PLAN B

16

FALL16


ARCH 403

17


Residue Space - New York City ARCH 402 Advance Design Instructor: Dragana Zoric DESIGN STATEMENT Residue spaces within New York City, should one inhabit them? Do they provide a platform to better observe and understand the city? Do they enhance the experience of the resident and visitor by being inhabited? Yes, one should inhabit the residue space, perhaps as a temporary seasonal structure that has potential to expand the streetâ&#x20AC;&#x2122;s capability, cultural character of the neighborhood, or just as a rest stop. The approach of the studio was to design-explore three different site conditions. Conditions were: the horizontal, vertical, and the elevated horizontal. Within this conditions rules and components extracted from an earlier collage study were applied to accomplish the goal of: CONNECTING/UNIFYING ONE TO THE CITY (OUT) or DISCONNECTING ONE FROM THE CITY (IN). In vs. Out.


SITE 01

SOCIAL SPACES (IN)

20

SUMMER16


ARCH 402

21


22

SUMMER16


GROUND LEVEL

SECTION MODEL ARCH 402

23


SITE 02

NYC GAZING PLATFORM (OUT)

24

SUMMER16


ARCH 402

25


SEC

TIO

N

N

SITE PLAN SCALE: 3/16” = 1’-0”

UP

TO BRIDGE

DN

UP

MID LEVEL PLAN SCALE: 3/16” = 1’-0”

DN TO ST.

UP TO MID LEVEL

LOW LEVEL PLAN SCALE: 3/16” = 1’-0”

26

SUMMER16


ARCH 402

27


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SUMMER16


SITE 03 ARTISAN MARKET (IN)

NA SECTIO

ROOF PLAN

SE

CT

ION

B

N

SCALE: 3/16” = 1’-0”

TOP LEVEL PLAN SCALE: 3/16” = 1’-0”

LOW LEVEL PLAN SCALE: 3/16” = 1’-0”

ARCH 402

29


WATER JOURNEY ARCH 302 Comprehensive Design Instructor: Beth Oâ&#x20AC;&#x2122;Neill Team Member: Pablo Gualde DESIGN STATEMENT waterâ&#x20AC;&#x2122;s potential into a type of inspirational tool for the user. Water is channel through the roof and at points merges with the user for an experience of smell, sight and sound. The circulation of the public is scenic, along the exterior; with one side viewing the shore and the other viewing the professional rowing team, a journey of water and information.


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MAR 21

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GROUND FL. LEVEL 32

SPRING 2016

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SPRING16


JUN 21

4PM

8AM 8A 8A AM M

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Weight Tranning 2000 Sq.Ft.

JUNE 21

Rest / Gather Area Kitchenette 390 Sq.Ft.

UP

Ventilation Opening

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15 '-

5"

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16' - 0"

28' - 0"

SECOND FL. LEVEL ARCH 302

ARCH 302

33


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THIRD FL. LEVEL 34

SPRING 2016

SPRING16


SOUTH ELEVATION

NORTH ELEVATION

EAST ELEVATION

ARCH 302

ARCH 302

35


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ARCH 302 ARCH 302 37

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38

SPRING16


ARCH 302

39


EARLIER STUDYINSPIRATION

40

SPRING16


ARCH 302

41


DEPOSITS OF CREATIVITY ARCH 202 Intermediate Design Instructor: Eva Perez de Vega DESIGN STATEMENT 5WTUTXFQFYYJRUYXYTGJFHTSSJHYNTSGJY\JJSYMJFWYN‫ܪ‬HNFQFSISFYZWJFX\JQQ as attempts to illustrate the process of building the mind of an artist. The circulation and spaces are arranged based on degrees of knowledge and degrees of nature. As visitors journeys through the spaces they will experience the process it takes to develop the mind of an individual: Beginning with the classroom to the studio into the exhibition or gallery which displays the thoughts and the result of a mind in the process of learning. The laboratory spaces or gardens were arranged based exposure of sun and biodiversity, beginning with full sun species of plants and large biodiversity encouraging one to interact longer in order to get a full extend - - - > Essentially while reaching the other garden there is a decrease of biodiversity and sun exposure to the plant, the last laboratory being a shade garden. At last the proposal connects/bridges into the large scale of a \TTIQFSI\MNHMWJUWJXJSYFWJ‫ܪ‬SJIUJWRFSJSYX^XYJRTKJSIZWFSHJYMJWJKTWJNQQZXYWFYing a system that have being perfected and now stands on its own as one. As the mind of an individual attempts to become through learning.

LAYERING DEPOSIT, PATHS AS SKELETONS, GROWTH OCCURS GRADUALLY, LEVEL OF BALANCING NEEDED, MATERIALITY - UNSTABLE SOLID (POWDER), GRAVITY AND NATURAL ELEMENTS AFFECTING COMPACTION AND BALANCING.

PILES OF SALT SALON DE ATACAMA, CHILE BY Bobby Haas NATGEOCREATIVE.COM


THE JOINT - COMPONENT PARTS

GRADUAL SHIFT OF LOCATION

PART NOT FILLED - INDIRECT PATH

ALL PART

GRADUAL INCREASE

S

WITHIN THIS SYSTEM THERE IS THE IDEA OF DEPOSIT: WE FIND ONE COMPONENT LOCKING IN THE PREV.AS THE SYSTEM GROWS THE PREVIOUS LAYERS BECOME MORE INNERLOCK ALSO THIS SYSTEM EXPLORES THE QUALITIES OF THE MATERIALITY WHERE IT CONSIDERS POWDER, WHEN IT COMES TO THE ABILITY TO FILL DIRECT SPACES AND NOT INDIRECT SPACES, WHICH ONLY A LIQUID HAS THE ABILITY TO DO.

PERFORMING ASSEMBLAGE 44

SPRING15


WITHIN THIS SYSTEM THERE IS DEPOSIT: WE FIND ONE COMPONENT LOC PREV.AS THE SYSTEM GROWS T LAYERS BECOME MORE INNERL

AS COMPONENTS SLIDES GRADUALLY MODEL COMPRESSES OR EXPANDS

ALSO THIS SYSTEM EXPLORES T OF THE MATERIALITY WHERE IT POWDER, WHEN IT COMES TO T FILL DIRECT SPACES AND NOT IN SPACES, WHICH ONLY A LIQUID ABILITY TO DO.

WET JOINT

HERE THE IDEA OF GROWTH IS EXPLORED WHICH COMES FROM THE MINERAL SYSTEM ABILITY TO EXPAND, AND DUE TO GRAVITY AND WEATHERING IT HAS THE ABILITY TO COMPRESS.

ARCH 202

45


46

SPRING15


ARCH 202

47


1

4

3

1

1 1 2 2

3

48

SPRING15


4. 3

PARKING

1

2

2 CLASSROOM 02

CLASSROOM 01

3

3

STUDIOS

EXHIBITION

1

1 2

KEY PLAN 1. CLASSROOMS 01 2. CLASSROOMS 02 3. STUDIOS 4. EXHIBITION

4

5

4

ARCH 202

49


THE MODULES ARE LAYERED ONE RESTING UPON THE PREVIOUS

DE PE GR RM EE AN OF EN CE

INTERLOCKING THE PREVIOUS LAYER.

+

INTERLOCKED

N

AS YOU REACH DOWN THE SLOPE IS THE MOST LOCKED IN LAYER THE MOST PERMANENT, IT HAS TO DO WITH THIS IDEA OF LEARNING. AS YOU WALK DOWN THE SLOPE THE KNOWLEDGE GAINED BECOMES GREATER - IS A LEARNING PROCESSES CLASSROOM - PROFESSIONAL STUDIO GALLERY EXHIBITION OF END PRODUCT. THE GALLERY IS THE COLLECTION OF THOUGHTS, TIME AND ENCOUNTERS THEREFORE PERMANENT.

50

SPRING15


ARCH 202

51


PRATT DORMITORY ARCH 301Comprehensive Design Instructor: Robert Siegel Team Member: Sharvari Mhatre DESIGN STATEMENT The studio requirement for this semester was to design a dormitory with 110 bedrooms, to follow and respond to all zoning and code regulations, while creating a diverse environment for Pratt’s creative students. The approach my partner and I took was to use the site a type of legend, use to organize type of units, and facade strategies. The site is a corner condition in Brooklyn, NY at the intersection of Myrtle &[JSZJFRTXYQ^HTRRJWHNFQ MNLMUJIJXYWNFSHFWYWFK‫ܪ‬H street, and Grand Avenue, an all residential; quite street, with TSJ\F^YWFK‫ܪ‬HTSQ^9MNXI^SFRNHX\JWJ\MFYIJYJWRNSJI the design.


SOUTH ELEVATION

54

MYRTLE AVE

FALL15


EAST ELEVATION

GRAND AVE

GRAND AVENUE ELEVATION EAST

ARCH 301

55


Up Dn 11'-8"STEP / SEATING

Dn

Dn 10'-2"STEP / SEATING

8'-8"STEP / SEATING

Ramp to Parking

7'-2"STEP / SEATING

Dn

Individual Study Area

5'-8"STEP / SEATING

4'-2"STEP / SEATING

2'-8"STEP / SEATING

Group Study Area

1'-2"REAR YARD

Dn

Bicycle Parking 0'-0"DATUM

Computer Room

Lobby

Security Desk Dn Up Dn

Mailroom

Gallery

Dn

Entrance

Dn Dn

56

FALL15

LOBBY LEVEL


Dn

Unit A

11'-8"

7'-8"

Up

Up

Up

Unit B

19'-4"

7'-6"

Unit B

7'-8"

Unit A

12'

EVEN LEVELS Unit A Unit B

Lounge

Up

Unit B

8'-4"

Trash chute

Unit E

Data Dist. Room

Up Dn

19'-4"

7'-6"

146'

Up

Up

28'

Unit C

Unit E

6'-10"

11'

Unit A

7'

7'

10'-7"

7'

10'

10'-10"

91'

ARCH 301

ARCH 301

57


58

FALL15


REAR YARD EXTERIOR - SEMI EXTERIOR ART DISPLAY

INTERIOR

VISUAL TRANSITION

EXTERIOR

GALLERY INTERIOR ART DISPLAY

ARCH 301

59


SOUTH ELEVATION

REAR YARD

WEST ELEVATION

REAR YARD

31'-2" FOURTH FLOOR

21'-10" THIRD FLOOR

12'-6" SECOND FLOOR 10'-6"ELEVATED PLANTING AREA

60

FALL15


ARCH 301

61


POEM ARCHIVE ARCH 201 Intermediate Design g Instructor: or: Ran Oron

[Afternoon and / the West and / the gorgeous / nothings / which / compose / the / sunset / keep] [Their high / appoint / ment /of I] [Clogged / only with / Music like / the wheels of / Birds] What caught my attention the most of this poem was its fragmented writings and the fact that in order to read along, it required and demand of me to interact, by turning its orientation as I read along. Once I began considering the writing and its meaning I began to feel as if the orientation of the text were intentional, as Emily Dickinson writes about the natural cycles, rhythms that occurred daily, which to me is what she means by the “gorgeous nothings”. I also feel as if this is all in relationship to Dickinson, to her thoughts and vantage point of view. Therefore Dickinson becomes like a point of reference from which things pivot from, she is the pin holding the wheel. To summarize the poem I selected “Nothings – I– and Wheels” nothings represent the rhythms, I the pin from which the rhythms pivot from in a circular repetitive motion represented by wheels.


64

FALL14


Chrystie Street sca

ARCH 201

65


UM 0'-0" DAT LEVEL CELLAR

UP

MECHANICAL ROOM DN

0" 10'-0 10

7" 15'-7 15

DN

DN

DN

UP

0" -10 26'-1 26

DN

DN UP

UP UP

UP

UP

UP DN

UP UP P

37'-6"

0 2'-0" 2

66

FALL14

UP


UP

1" 48'-1 48

UP

2" 81'-2 81

8" 55'-8 55

UP

DN

DN

5" 74'-5 74

DN DN

DN

DN

DN

58 9" 58'-9

DN

DN

UP

DN

DN UP P

UP

DN

UP DN D N

8" 55'-8 55

DN D N

0" -0 70'-0 70

0" 55'-0 55

UP

ARCH 201

67


68

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ARCH 201

69


ONE’S PUBLIC NATURE ARCH 102 Core Design Instructor: Carlyle Fraser DESIGN STATEMENT We were asked to consider two characters,I invented Jamilet, and Theo. Theo, a gifted performer the best of his time, famous, and well admire by all artists. The space was designed for him, with the idea that his life is a daily public show, were all may see him. Yet he wanted assurance, that one will at all times be watching, and there Jamilet comes to the story, she is the space keeper, as well as a fan, maintains the space sound and the performer at all times performing. The idea derived from “Invisible Cities”, The city of Armilla which is a division of space by water pipes, resembling the water pipes as frames / transparent wall, allowing the visitors to see the inhabitants in their daily life. Calvino states that in the city of Armilla visitors come across “young women…not tall of stature, luxuriating in the bathtubs or arching their backs under the showers suspended in the void” (Page 49) Which made me consider the sense of privacy, and how this isn’t what stops the inhabitant from living their daily life, but maybe how no privacy is what pushes them to care further more for themselves, for their body. Theo as the inhabitant of the space, and mainly as a great performer chooses to XFHWN‫ܪ‬HJMNXUWN[FH^KTWYMJNRUWT[JRJSYTKMNXFHY9MJXJSXJTKPST\NSLYMFYXTRJTSJ watches at all times makes him perform and be at his best, every second of his life, as every second will be enjoy by others.


72

SPRING14


DETACHABLE

ARCH 202

73


74

SPRING14


ARCH 202

75


76

SPRING14


ARCH 202

77


78

FALL13


LINE, PLANE, VOLUME ARCH 101 Core Design Instructor: Dukz Koschitz DESIGN STATEMENT The semester began with the analysis of a classical, I analyzed a violin concert by Johann Sebastian Bach. 9MJXTSL\FXY\TMTZWXQTSL.NQQZXYWFYJIYMJ‫ܪ‬WXY 29 seconds and created a set of rules per note, the depicted by drawing was use as inspiration. As the beginning of architecture and introduction course, the exercises gradually transition from point, line - plane, surface - volume, void. The collection of methods, technology and contextualize ideas learned during these course were critical to understanding space and architecture.

ARCH 101

79


80

FALL13


ARCH 101

81


82

FALL13


ARCH 101

83


84

FALL13


ARCH 101

85


Annette veliz fall 2016