Resources for an Urban World

B+C|A BARNARD AND COLUMBIA ARCHITECTURE

RIO DE JANEIRO

RESOURCES FOR AN URBAN WORLD

RESOURCES FOR AN URBAN WORLD RIO DE JANEIRO

ARCHITECTURAL DESIGN III: FALL 2012 B+C|A BARNARD AND COLUMBIA ARCHITECTURE

Instructor: Karen Fairbanks Teaching Assistant: Marcelo Lopez-Dinardi Special Research Assistant: Leticia Wouk Almino BC ‘08 Editors: Ava Amirahmadi CC ‘13 + Caroline Lukins CC ‘13

TABLE OF CONTENTS i. - x.

INTRODUCTION

xi. - xii.

EDITOR’S NOTE

1 - 34

RESOURCE RESEARCH

35 -50

GUEST PRESENTATIONS

51 - 162

FINAL PROJECTS

163 - 216

TRIP TO BRAZIL

217 - 222

B+C|A EXHIBIT

INTRODUCTION KAREN FAIRBANKS

In June 2012, Rio de Janeiro hosted the United Nations Conference on Sustainable Development. This conference, titled “The Future We Want,� addressed many important issues, including those around the increasing pressures on natural resources to support an increasingly urban world. This studio looked at questions such as what is the role of design in relationship to the use of limited resources for a progressively urban global population? And, what are the relationships of local and global needs to local and global resources in different urban environments? Natural resources, those materials obtained from the environment that are utilized to meet the needs of human beings (or other living organisms), as well as human resources such as economic and cultural resources all contribute to the specificity of inhabitation in any one place.

Architectural Design III, an upper level design studio for undergraduates that included a one-week research trip to Rio, was an opportunity to look at the role of architecture and design in a global context in parallel to their understanding of New York City. We researched how Rio de Janeiro is structured around its natural resources and experienced how architecture and urban development in Rio utilize natural and human resources. Working in pairs, the first research projects started with an investigation of a resource critical to the infrastructure of New York City. Teams chose to look at the water supply and sewage systems, trees as both living resources and as the source of lumber and other products, urban agriculture i

and farming, natural landforms and geology, and trash as an underutilized resource. These projects quickly then looked to parallel conditions in Rio with students investigating the local and global connections between New York City and Rio de Janeiro, as well as world trade and exchange around these resources.

While urbanization has contributed much to the problems of sustainability, this studio looks to the opportunities that can arise from the density of industry and creativity that is located in cities. The students were asked to imagine and design for new forms of public engagement with the issues around resources that are necessary for urban development and growth. The first project was to design a temporary structure and event space that reframes how their resource(s) is understood / known / seen / used in the context of the city. Our site for the work of this studio was Praca Tiradentes in Rio, chosen for its historical significance and for the potential of the studio work to contribute to discussions around the current revitalization underway in this area. This project was an opportunity to create a place for the experimental inhabitation of public space that intensifies and engages the user(s) in an interactive way with the resource(s) the team researched.

The installation project was developed before the studio trip to Rio. Students were asked to not only research the site thorough maps and photographs and written histories, but also ii

design for a site they had never visited. Their intense engagement with the site, through their design work prior to visiting it, heightened their actual experience of the site when we arrived. The nuances of a particular site and those qualitative aspects of a place that you can’t fully understand without being there were highlighted for them in this process.

The students had a number of days to learn about Rio de Janeiro, and Praca Tiradentes in particular, before presenting their design work to a group of local architects. The opportunity to have a dialog with local architects who knew the site, understood the design process, and could speak with expertise about different aspects of the culture was transformative for the work the students would go on to do in this studio.

After starting with five two-person research teams, at the time of our visit to Rio we had a four-person design team, two two-person design teams, and two individual projects. While the studio emphasized collaborative teamwork, students were allowed to reorganize their teams throughout the semester. The research on resources was a clear way for students to pursue their design projects but also supported their reorganization around shared topics or passions. The four-person team organized around deforestation – the members originally being from a team that researched trees and a team that researched urban agriculture.

A two-person team, ultimately interested in research related to water management and providing emergency shelter in the case of urban disaster, was formed from a team member iii

originally researching water and sewage joining a team member originally researching geology and land reclamation projects in Rio. The projects that were developed after the trip to Rio naturally evolved from the students’ first hand experiences around the city and in Praca Tiradentes. Their final projects were to be an expansion of the installation project – through both the expansion of program and site. The projects were to maintain a public component in the program and to continue to engage the public with their resource – reframing the role of the resource in the city and in relationship to the urban infrastructure.

Our studio produced six final projects. Ava Amirahmadi developed her project around the neighborhood unit, the condominial, that organizes the water supply and sewage system in much of Rio. Her project, titled “The Filter,” is a community center, swimming pool, and neighborhood water filtration system, providing potable water to the local community.

Gwyneth Bacon-Shone became interested in composting as a particularly underutilized resource in recycling efforts. Her urban “Compost Machine” is coupled with a compost collection system for neighborhood restaurants and includes educational spaces as well as a restaurant on site. Nick Mingrone, in his project “Art, Trash, Works,” was also interested in recycling and the concept that trash is an underutilized resource and developed an artist residency program and gallery adjacent to the praca. The sorting of the trash and its reuse by artists would be made public through art installations on four sites in the neighborhood. iv

Benita Trenk, in “ReStore”, designed a center for teaching sensitive demolition processes and providing the storage space and restoration facilities for carefully collected local building materials. She observed many neglected sites where buildings were beyond repair and developed her program around keeping building materials in the neighborhood for reuse in future local projects. Her project incorporated a neighborhood passage through her site with reclaimed building materials displayed in storage units. Caroline Lukins and Shivina Harjani together developed “Rain Cloud”. This project provided space for researchers working on projects related to the study of water in Rio and doubled as an emergency shelter and information center. The parallel programs were facilitated in the design through oversized building infrastructure and an expandable building façade system. “Structuring Landscapes,” developed by Manuel Cordero, Keenan Korth, Zoe Namerow, and Hannah Novack, located four projects on and around Praca Tiradentes that together address deforestation in Brazil and support the development of an urban system to supply trees to the city of Rio while also engaging the community in their maintenance and providing space for community events and high tech research. The Stage 1 project, Aeropark, utilizes aeroponic farming techniques to support a sapling farm on the praca. The kit of parts could be assembled in various configurations, eventually moving to other sites in the city. Stage 2 is a structure to support the first three years of the saplings growth while also providing classroom space for community workshops. It reuses the façade of an abandoned building adjacent to the praca as a screen v

for the folded structure inside. Stage 3 moves the plants into a repurposed existing structure that supports larger growth and community activities. Finally, the Stage 4 site provides a public landscape garden and space for research teams working on related projects.

Karen Fairbanks Professor of Professional Practice and Chair, Architecture January 2013 ____________________________

vi

With most sincere thanks: This studio would not have had the successes it had without the support of Pedro Rivera and Raul Correa-Smith at Studio-X Rio. Their guidance in planning our trip to Rio, the many activities they organized for us while there, and the materials they provided to assist us in understanding Rio and Praca Tiradentes made this work possible. We would also like to thank Thomas Trebat, Director of the Columbia University Global Center in Rio de Janeiro, for his encouragement and enthusiasm for our work and research and for generously welcoming us as his first students in Rio. Safwan Masri, Vice President for Global Centers at Columbia University, has been instrumental in his support of our use of the Global Centers for undergraduate architecture students participating in international travel design studios.

Throughout the planning of this studio we have had the gracious support of Dean Mark Wigley of the Graduate School of Architecture, Planning and Preservation at Columbia. Dean Wigley has been unwavering in his commitment to the undergraduate architecture program and continues to encourage us to take full advantage of the Studio-X locations around the globe. The undergraduates who participated in this studio are from both Columbia College and Barnard College. Columbia College generously supports all seniors with a senior thesis fund and we appreciate that the students were able to apply that fund to this research. Thank you to Hazel May, Senior Associate Dean of Academic Affairs, for her assistance in organizing these funds, and Kathryn Yatrakis, Dean of Academic Affairs, for her ongoing support of our vii

program. Barnard College has provided a substantial stipend for travel to the Barnard students in this studio as well as for the faculty. Hilary Link, Barnard’s Vice Provost, was crucial to the planning of this studio and provided critical institutional support. We also thank Barnard President, Debora Spar, for her enthusiasm for the work of the students and for her support of our mission.

Our alumna, Leticia Wouk Almino BC ’08, was our special research assistant for this studio, providing significant research on the history of major cities in Brazil as well as specific information on our particular site in Rio. Having lived in Brazil, Leticia was absolutely instrumental in our ability to navigate the city and bridge the language and culture. Finally, Marcelo Lopez-Dinardi, our graduate teaching assistant, played an invaluable role in this studio. His commitment to the students and his passion for teaching raised the bar for any future TA. For the students of this studio, I want to express my deepest gratitude for their dedication to their work, their willingness to work collaboratively, and their serious engagement with the issues that the studio raised. Their collective growth was palpable.

viii

Students: Ava Amirahmadi Gwyneth Bacon-Shone Manuel Cordero Shivina Harjani Keenan Korth Caroline Lukins Nick Mingrone Zoe Namerow Hannah Novack Benita Trenk

ix

x

EDITOR’S NOTE AVA AMIRAHMADI + CAROLINE LUKINS

The layout and organization of Resources for an Urban World takes its root in the numerous connections and overlaps between each team’s chosen resource(s). Our main goal was to use the book as a whole to visually map out the web of connections between these resources as they developed and evolved throughout the studio. This was achieved through the use of three visual methods: color blocking, tabbing and icons.

The tabs and icons that appear in the upper-right corner of each page identify the specific resources that are referenced on that particular spread. The color block that runs along the open edge (the edge opposite the spine) refers to the primary resource of the respective project. This particular method was developed with the intent that the reader would have the ability to identify the resources simply by referring to the edges of the book. The color blocking system on the open edge helps to track specific primary resources and the tabbing system at the top edge of the book allows for a comprehensive understanding of the overlapping of resources.

For the sections of this publication that did not contain student work, such as the itinerary and guest presentations, we shifted to the use of icons as our primary method of identifying resources as they explicitly or referentially appeared throughout our travels.

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xii

RESOURCES RESEARCH HANNAH NOVACK + ZOE NAMEROW

AGRICULTURE

GWYNETH BACON-SHONE + NICK MINGRONE

WASTE

CAROLINE LUKINS + BENITA TRENK

GEOLOGY

MANUEL CORDERO + KEENAN KORTH

TREES

AVA AMIRAHMADI + SHIVINA HARJANI

WATER

1

AGRICULTURE HANNAH NOVACK + ZOE NAMEROW

2

3

4

5

WASTE GWYNETH BACON-SHONE + NICK MINGRONE

6

Rubbish and Recycling in New York City 1997

Department of Sanitation set up

Visy Paper Mill opened on Staten Island Recycles all Paper Materials

NYC sets up first garbage sorting plant

1933

1885

The first garbage incinerator in the U.S. is built on Governors Island

The Mobro, a Long Island garbage barge, is turned away by six states and three countries. The garbage is finally inciner-­ ated in Brooklyn

2007

1880

1918

Recycling Ends Labor and materials shortages due to WWI

75% of NYC waste dumped into Atlantic

1/3 of NYC garbage is burned.

1,700 building incinerators 22 municipal incinerators

1989

Fresh Kills is the last landfill in NYC to close

2011

Local Law 19 Recycling becomes mandatory

2001

food waste: steamed and compressed to produce grease for soap products and fertilizer rubbish: paper and other marketable materials ash: with the nonsalable rubbish was landfilled

Public Space Recycling Pilot begins placing recycling bins on streets

1960s

First recycling established:

1895

1866

NYC's Metropolitan Board of Health forbids the "throwing of dead animals, garbage or ashes” into the streets.

Glass and plastic recycling collection temporarily suspended due to budget cuts

1987

NYC banned from dumping municipal waste in the Atlantic Ocean, commer-­ cial and industrial waste dumping still continues.

Fresh Kills becomes the largest landfill in the world. Viewable from Space

2002-2004

1898

1986

1881

The first recycling center is established in New York City.

1897

1800

Visitors describe NYC as a "nasal disaster, where some streets smell like bad eggs dissolved in ammonia."

Major Bloomberg begins 20yr plan to alter waste disposal routes

7

Broadway

120th Street

119th Street

118th Street

117th Street

116th Street

115th Street

114th Street

113th Street

Broadway

112th Street

111th Street

110th Street

Recyclable Organic Waste

The User 8

2004-5 NYC Waste Characterization Study of Street Basket Waste

47% 16%

37%

The Transport Sims Material Recovery Facility (MRF) plastic, glass, paper

truck transfer station

Sims MRF, plastic, glass, paper

marine transfer station

Sims MRF, plastic, glass, paper

rail transfer station

Sims MRF, plastic, glass, paper

Pratt Industries paper

After recycling gets picked up by Department of Sanitation trucks, it is sent to these location where the profitable recyclables (80%) are removed.

The remaining is transfered to landfills After rubbish trucks pick up street trash, they bring the waste to these stations where they are stored until they are trasnfered to landfills.

Without being sorted.

15% paper and card 4.1% metal

23% 21.4% food scraps 5.2% yard trim-足

2.4% glass 1.5% plastic 0.4% beverage carton

34%

7.2% nonrecyclable paper

21.7% other 13.4% other plastic

23%

7% textiles 0.7% electronic waste

Sunday afternoon 5pm Sunday late night 12:30am Monday morning 8am Broadway at 116th

Broadway at 114th

Broadway at 110th

9

Favela Organica

Recycled Park

Urban Mining

Rio de Janeiro

Vidigal Sitiê

Rocinha, São Paulo

São João & Bandeirantes

Seropédica

Gramacho Pre-2012

Seropédica São João

Gramacho

Rio de Janeiro

Sao Paulo

Storage Earth and trash are layered over each other daily.

Treatment

Rio de Janeiro

Storage Earth and trash are layered over each other daily.

Treatment

Storage Earth and trash are layered over each other daily.

Treatment Porous tubes in a layer of sand beneath the piled waste collect leachate as it seeps downward and pump it to a treatment center where it is cleaned and recycled water is harvested.

Containment

Containment

Landfill is sealed with a plastic lining applied to a layer of compacted clay.

Landfill is sealed with a plastic lining applied to a layer of compacted clay.

Harvesting Wells extract methane from decomposing trash.

This methane is burned to generate electricity. *São João & Bandeirantes: plants now generate over 175,000 MW/h each, or 7% of the electricity consumed by São Paulo. An estimated 11 million tons of CO2 have been prevented from entering the atmosphere*

Results

10

Containment

Harvesting

Harvesting Wells extract methane from decomposing trash.

This methane is burned to generate electricity.

If labor is available and private demand is sufficient, catadores pick through trash to recover and sell recyclable materials.

Results

Results

Landfill

Rio de Janiero

Catadores

Leakage

Park

SeropĂŠdica

Government Workers

Methane Harvesting

11

Water

Energy

R

CONSUMPTION

Favela Organica Rio de Janeiro

Urban Mining Rocinha, S達o Paulo

Recycled Park Vidigal Siti棚

AGGREGATION

Leakage

Methane Harvesting

Catadores

Governmen

PROCESSING

Stor

Eart o

Trea

Con

EXTRACTION Landfill applied

Harv

Wells ext This me *S達o Jo達 over 175 consume tons of C

Re

12

Land

via Gramacho

TRANSITION

LOCAL SCALE

Recyclables

vernment Workers

Rio de Janiero

Seropédica

São João & Bandeirantes

Landfill

Park

Seropédica

Gramacho Pre-2012

Seropédica São João Gramacho

Rio de Janeiro

Storage

Storage Earth and trash are layered over each other daily.

Storage Earth and trash are layered over each other daily.

Earth and trash are layered over each other daily.

Treatment

Treatment

Treatment Porous tubes in a layer of sand beneath the piled waste collect leachate as it seeps downward and pump it to a treatment center where it is cleaned and recycled water is harvested.

Containment

Containment

Containment

GOVERNMENT SCALE

Sao Paulo

Rio de Janeiro

Landfill is sealed with a plastic lining applied to a layer of compacted clay.

Landfill is sealed with a plastic lining applied to a layer of compacted clay.

Harvesting

Harvesting Wells extract methane from decomposing trash.

This methane is burned to generate electricity. *São João & Bandeirantes: plants now generate over 175,000 MW/h each, or 7% of the electricity consumed by São Paulo. An estimated 11 million tons of CO2 have been prevented from entering the atmosphere*

Harvesting Wells extract methane from decomposing trash.

This methane is burned to generate electricity.

If labor is available and private demand is sufficient, catadores pick through trash to recover and sell recyclable materials.

Results

Results

Water

Energy

Results

Recyclables

Land

13

GEOLOGY BENITA TRENK + CAROLINE LUKINS

14

THE CHANGING COASTLINE OF MANHATTAN BETWEEN 1660 AND 2012

excavated areas

landfills

Completed Canal 1979

Bolton Canal 1832 Harlem Ship Canal 1897

RIVERSIDE PARK 1937-1941

Manhattan 1850

Manhattan 1660

Manhattan 1950

Manhattan 2012

BATTERY PARK CITY 1970s

SOUTH STREET SEAPORT 1825 earliest NYC subways 1901

BAKER FIELD, COLUMBIA UNIVERSITY 1920s

WORLD FINANCIAL CENTER 1970s and 1980s

15

reclaiming rio using natural materials to create artificial sites which play an integral role in the city’s urbanization

NUMERIC RECLAIMED VS EXCAVATED

GEOGRAPHIC RECLAIMED VS E Coastline Expansion in Rio De Janeiro, Brazil

i

179

Current 1790

Cur

2012

1.0 M

2

Aterro do Flamengo

4,000 M 2.4 Million M

2

2

Castelo/Lapa Tunnel Santa Barbara 1960 2

1.3 Million M

Tunnel Reboucas 1960

Lagoa

Alaor Prata 1885

Copacabana Beach Zuzu Angel 1971

Lagoa Rodrigo de Freitas Site: 2,400,000 sq meters lagoon Source: Catumbi hill, Praia do Pinto hill Praia Do Pinto Hill

Catumbi Hill

1920 Morro Do Castelo/Lapa Site: Hill Destination: Aeroporto SanDumont Swamplands and Lagoa

Castelo/Lapa Aterro do Flamengo

Lagoa

Lagoa

Alaor Prata 1885

Lapa/Morro do Castelo Copacabana Beach

1890

Aterro do Flamengo

CopaCabana Beach (N/S)b Site: 4,500 sq meters Beach Source: Atlantic Ocean

Lagoa

Alaor Prata 1885 Copacabana Beach

CopaCabana

1860

Atlantic Ocean

Aterro doFlamengo: “Area Reclaimed from the Sea” Site: 1,301,306 sq meters Sand Source: Guanabara Bay Guanabara Bay

Morro do Castello

1820

Flamango

1790

reclaimed land volume of reclaimed land on site

volume of land taken from site

16

Image: beach reclamation

HALLMARKS OF RECLAMATION

olympic development program interference Olympic zones favelas UNESCO sites

Maracan達

Barra da Tijuca

VS EXCAVATED

2030

LEGACY MODE Copacabana

Urban and Natural Zones in Rio De Janeiro, Brazil 2018

transition MODE

1790 mountainous regions urbanized regions

Current urbanized regions natural landform

185 acres

2016

olympic park

olympic games

transportation 2012-2016

2012

2012-2016

$19 million

+14km

renovation

engo

+6

80,000

subway stations

people

1982 1979-2009

tourism

subway lines 1 & 2

1922-1931

1920

Christ the Redeemer Statue

32

reinforced concrete and soapstone

ngo

60,000

peices of stone renovated in 1980 1990 2003 2010

trains

182

550,000

cars

passengers/day line 1: 18km long line 2; 24km long

1890

39.6 meters tall 30 meters wide 5,000 visitors/day scale of urban impact

1860

0-2,000 2,000-50,000 50,000+

0-5,000 500-200,000

capacity (volume in square meters)

level of use (#people/day or event)

200,000+

1820

1790

Unaltered Land Mountainous/Forest Areas Urbanized Areas

Image: urbanization moving into hillside

17

TREES KEENAN KORTH + MANUEL CORDERO

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b r azi l i a n a m e r i c a n

united states lumber imports BR A ZIL ECUADOR PERU M A L A Y SI A I N D O N E SI A B O LI VI A OTHER C OUNTRIES

united states lumber exports CANADA JAPAN M E XI C O C HI N A SP AI N U NI T E D KI N G D O M ITALY OTHER C OUNTRIES

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lumber industry

b r azi l i a n l u m b e r e x p o r t s UNITED STATES EUR OPE AN UNION U K G ER M A NY B E L GIUM M E XI C O SP AI N MOROCCO

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WATER AVA AMIRAHMADI + SHIVINA HARJANI

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NATURAL WATER

NYC WATER SUPPLY

WATERSHEDS

AQUEDUCTS

CATSKILL / DELAWARE WATERSHEDS

HUDSON RIVER EAST DELAWARE TUNNEL WEST DELAWARE TUNNEL CATSKILL AQUEDUCT

DELAWARE AQUEDUCT

CROTON WATERSHED DELAWARE RIVER

NEW CROTON AQUEDUCT

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2.0 BILLION

1.0 BILLION

100 MILLION

WATER TREATMENT PLANTS

COMINED SEWAGE OVERFLOW POINTS

SEWAGE SYSTEM IN DIANA CENTER

ESTIMATED ANNUAL AVERAGE OVERFLOW (GALLONS)

WATER TREATMENT PLANT CAPACITY (MILLION GALLONS / DAY) 301-350 251-300 201-250 151-200 101-150 51-100 0-50

NYC MORPHED DIAGRAM

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$35,001 - $45,000

$45,001 - $75,000

$75,001 AND UP

WHERE DOES YOUR TOILET FLUSH TO ?

$25,001 - $35,000

MEDIAN HOUSEHOLD INCOME

UP TO $25,000

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POPULATION

8m

MANHATTAN WATER CO. GAINS CHARTER

WATE APPO

ESTABLISHED NETWORK OF 249 PUBLIC WELLS

CITY SPENDS TAX REVENUE ON DIGGING OF WELLS

PUBLIC RESERVOIR

7m

MASONRY + WOOD RAIN-COLLECTING CISTERNS

FIRST PUBLIC WELL AT BOWLING GREEN

SPRINGS + STREAMS + PONDS + PRIVAT SPRINGS + 6m

visible

invisible

1700

1750

1800

FIRST HILLTOP PUMP PLANNED

5m FIRST MUNICIPAL WATERWORKS USING HILTOP PUMP BEGINS CONSTRUCTION BUT IS DESTROYED DURING BRITISH OCCUPATION IN 1776

4m

3m

2m

1m

200,000

30

NEW Y O R CITY IN TIME

BEGINNING

WATER SEWAGE

END

WATER COMMISSION APPOINTED BY NY STATE

WIDE USE OF FLUSH TOILETS + FIXED WASH BASINS

VOIR AT BROADWAY & PEARL ST

EEN

CREATION OF METROPOLITAN SEWERAGE COMMISSION

VATE WELLS 1850

WATER FILTRATION TECHNOLOGIES AVAILABLE TO THE WEALTHY

USE OF WATER CHLORINATION

1900

OLD CROTON AQUEDUCT

MULTIPLE SEWAGE TREATMENT PLANTS BUILT THROUGHOUT THE CENTURY TO MEET THE NEEDS OF GROWING POPULATION, TOTALLING 14 PLANTS TO DATE (SEE ORANGE DOTS)

FEDERAL GOVERNMENT PASSES CLEAN WATER ACT, MEANING THAT PLANTS HAD TO BE UPGRADED TO TREAT 85% OF POLLUTANTS

2000

1950

FIRST SEWAGE TREATMENT PLANTS

NEW CROTON SYSTEM

CATSKILL SYSTEM ACTIVATED SLUDGE

DELAWARE AQUEDUCT STEP-AERATION PROCESS

PILOT CSO FACILITY SECONDARY TREATMENT UPGRADES

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7 GALLONS USED PER DAY

GALLONS USED IN ACTION 0 GALLONS

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NATURAL WATER

RIO DE JANEIRO

INDUSTRIAL DISCHARGE POINTS

RIO DE JANEIRO WATER SOURCES

WATERSHED

WATER TREATMENT PLANTS

PARAIBA DO SUL RIVER

GUANDU RIVER

RIBEIRAO DAS LAJES RISERVOIR

SAO FRANCISCO CANAL GUANDU WATER TREATMENT PLANT

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GUEST PRESENTATIONS CHRIS ANDREACOLA

MUSEU DA IMAGEN E DO SOM

ANDREW KAYE

MUSIC IN BRAZIL

LETICIA WOUK ALMINO ‘09

ON EDGE: 16 SQUARES

DAVID SMILEY

BRASILIA

35

MUSEU DA IMAGEN E DO SOM CHRIS ANDREACOLA

Chris Andreacola, an architect at Diller Scofidio + Renfro, presented an overview of DS+R’s Museu da Imagem e do Som to the Design III studio prior to traveling to Rio de Janeiro, Brazil. DS+R won the design competition for the headquarters of Museu da Imagem e do Som, which will be located in Copacabana.

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37

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MUSIC IN BRAZIL ANDREW KAYE

Andrew Kaye, an Ethnomusicologist and adjunct professor at Columbia University, discussed both the African origins and the development of Brazilian music and dance with the Design III class including samba, zouk, choro, forro, maracatu, and “funk carioca.�

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ON EDGE: 16 SQUARES LETICIA WOUK ALMINO BC ‘08

Leticia Wouk Almino, a special research assistant to our class and a Barnard 2008 Alumn, presented her research titled “On Edge: 16 Squares”, which was exhibited in the Tunnel Gallery at Barnard College. The research included the analysis of 16 public squares that span over 4 different cities (Lisbon, Salvador, Rio de Janeiro, and Brasilia). One of the squares of Leticia’s focus was used as the proposed site for Project 1 in the Design III studio - Praca Tiradentes.

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BRASILIA DAVID SMILEY

David Smiley, an architecture professor at Columbia University, gave a presentation on Brasília- Brazil’s built capital. David discussed both the conception of the urban planning of the city and the politics surrounding the programmatic and design decisions of the architecture within the capital. The Design III studio took a day trip to Brasília, visiting many of the sites that David discussed during the presentation.

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FINAL PROJECTS HANNAH NOVACK , ZOE NAMEROW, KEENAN KORTH + MANUEL CORDERO

AEROPARK

GWYNETH BACON-SHONE + NICK MINGRONE

K(NO)W WASTE

NICK MINGRONE

ART TRASH WORKS

GWYNETH BACON-SHONE

COMPOST MACHINE

BENITA TRENK

_SCAPES + RESTORE

CAROLINE LUKINS + SHIVINA HARJANI

RAINCLOUD

AVA AMIRAHMADI

THE FILTER

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CULTIVATING LANDSCAPE MANUEL CORDERO, KEENAN KORTH, ZOE NAMEROW, HANNAH NOVAK

Cultivating Landscape aims to provide a nurturing environment for the growth of trees from saplings to mature trees. As the plants mature, the associated programs become more exible and accommodating to community events. The sites for the initial stages provide a platform for education and awareness of environmental issues at both local and global scales. For the city of Rio de Janeiro, these programs take advantage of the underutilized spaces scattered around Praca Tiradentes by providing miniature cultural hubs open to public events. These sites are templates for a larger network that can take place throughout the city. This network can expand to encompass other plazas and parks to initiate more cycles throughout the urban landscape.

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4

3

1 2

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STAGE 1 AEROPARK

Our solution for a temporary structure in Praca Tiradentes addresses the environmental issues surrounding deforestation within an urban landscape.

The structure utilizes aeroponic farming techniques in a modular system, which cultivates tree saplings as a part of reforestation efforts and encourages community involvement by allowing visitors to take and re-plant tree saplings. The structure is sustainable, incorporating solar panels and rain collecting modules to generate energy for the aeroponic mechanisms.

Specific manifestations of this system are driven by site-specific parameters such as sun movement.

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DAY 1 Small clipping from a tree can be cut and used as the starting point for saplings

DAY 2 Tree clippings are taken to Praca Tiradentes and planted in the aeroponic growing system

DAY 2-21

DAY 22

Over the course of 2-3 weeks, the saplings develop a callous and root system

Once sapling roots have fully developed, community members remove the saplings from the aeroponic system

They are watered every hour with a nutrient mist that is pumped throughout the system Roots must grow 7-10 inches to reach full maturity

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DAY 23 After tree saplings are removed, they are planted into the ground in an effort to help eradicate deforestation

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KIT OF PARTS The assembly of the aeroponic structure can adapt to fit every environment. The kit of parts includes the pieces needed to achieve different heights in order to accommodate the proper program and unique, site-specific experiences.

58

59

PROGRAM TAXONOMY

60

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PLANS

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63

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DETAILED ELEVATION 9’

6’

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STAGE 2

After spending two to three weeks in Stage 1, the tree saplings move to Stage 2 in this adjacent site. Here the plants are housed for two to three years.

The plants gradually move through a gradient of pot sizes to accommodate their growing root structure. The perforated surface that houses and feeds the plants also creates an immersive experience for visitors. The exterior ramps allow the visitor to experience the gradient of growth over time. The interior forms a cave-like environment that exposes the roots of the trees and contains two small lecture spaces.

67

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STAGE 3

While many plants from Stage 2 are distributed throughout the city those remaining are transferred to the Stage 3 site. Once again, this site utilizes an existing facade near Praca Tiradentes. Trees are placed in tracks below grade, while the rootball is exposed. An elevated drip irrigation system further maximizes the visibility of the care of the small trees. An overhead light box collects solar energy throughout the day and serves to fuel the irrigation system as well as illuminate the space for evening events. At this stage, the role of public space becomes more prominent, as visitors can walk and sit between the rows of the trees within the space.

73

The light box collects rain and provides light for evening events

The rain is pumped into the drip irrigation system to provide water to the trees The walkway leads to a small event space at the corner end of the site Tracks below grade hold the trees in place while slight changes in elevation create seating opportunities 74

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STAGE 4

The final stage creates a permanent landscape for the trees that have not been adopted elsewhere from earlier stages. The landscape is extruded and torqued upward creating architectural volumes that house research facilities dedicated to forwarding the many new and innovative ways to utilize trees as a resource. This space also houses a small permanent aeroponic garden providing specimens for research as well as an open patio that accommodates up to two hundred people for public events.

From this point, new clippings can be taken from the permanently planted trees and recycled back through the systems beginning in Aeropark on Praca Tiradentes.

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Extension Manager CS5 — informacje o wydaniu

AdobeÂŽ Extension ManagerÂŽ Czytaj to Witamy w programie AdobeÂŽ Creative SuiteÂŽ 5 Extension Manager. Niniejszy dokument zawiera najnowsze informacje o produkcie, aktualizacje oraz porady dotyczÄ…ce problemĂłw, ktĂłre nie zostaĂĄy Ä…Ä…ce rozwiÄ…zywania rozwiÄ…zywania Ä… zostaĂĄy omĂłwione w dokumentacji programu Extension Manager.

Wprowadzenie Instalacja oprogramowania Odinstalowywanie oprogramowania Znane problemy Inne zasoby

Wprowadzenie Program Extension Manager umoÄŞliwia instalowanie rozszerzHÄ” L ZW\F]HN NWyUH VÄ… spakowane jako rozszerzenia, a takÄŞe zarzÄ…dzanie Ä…Ä…dzanie nimi. Aby uruchomiĂź program ([WHQVLRQ 0DQDJHU NOLNQLM GZXNURWQLH SOLN UR]V]HU]HQLD 3OLNL UR]V]HU]HÄ” ]RVWDQÄ… zainstalowane w lokalizacji zarezerwowanej dla produktu, na potrzeby ktĂłrego zostaĂĄo stworzone dane rozszerzenie. Program Extension Manager wyÄžwietli wszystkie aplikacje Creative Suite, ktĂłre zostaĂĄy zainstalowane. Aby zobaczyĂź rozszerzenia zainstalowane do danego produktu, kliknij ten produkt. Kliknij rozszerzenie, aby wyÄžwietliĂź informacje o tym rozszerzeniu pochodzÄ…ce Ä…Ä…ce od SURJUDPLVW\ UR]V]HU]HÄ” L GRZLHG]LHĂź siÄŠ, jak uzyskaĂź dostÄŠp do rozszerzenia w produkcie czÄ…stkowym. Ä…stkowym. Ä… ProgramiÄžFL VWZRU]\OL VHWNL UR]V]HU]HÄ” NWyUH XPRÄŞliwiajÄ… rozbudowanie funkcjonalnoÄžci produktĂłw Creative Suite. Program Extension Manager pozwala w prosty sposĂłb zainstalowaĂź rozszerzenia, a takÄŞe wyĂĄÄ…czyĂź wyĂĄÄ…czy ĂĄÄ… Ăź je, ĂĄÄ…czy zaktualizowaĂź lub odinstalowaĂź.

Instalacja oprogramowania

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BUILDING PROGRAM DIAGRAM

Traversable rooftop greenspace

Research/laboratory facilities

Exhibition/presentation space

Public Lobby

Indoor aeroponic garden Cafe and Lounge space

Horticulture/environmental research

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Public Space

Mixed-use

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K[NO]W Waste NICK MINGRONE + GWYNETH BACON-SHONE

K[no]w Waste is a temporary installation for Praca Tiradentes, a public square in the historic downtown of Rio de Janeiro. In the hopes of challenging the common tendency of the public to forget about waste once it is discarded, as landfills are tucked far away out of sight, the project forces the public to confront it, visually and physically. The installation acts as an alternative to disposing of waste in a trash can on the street. As objects are placed into the structure, it transforms, taking on the attributes of whatever materials it holds. The system itself is also reconfigurable, thus allowing users to dictate both form and materiality for themselves. Rather than treating waste as something to be discarded and forgotten, its characteristics are made experiential, and its sight impossible to ignore. Because it functions as a waste receptacle system, the structure also has a release mechanism so that the collected materials can be properly collected and recycled or sold off, rather than simply being discarded.

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UNITS

three panel

four panel

ITERATIONS

perspectives

plans

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EVENT CYCLE

INITIAL

GATHERING

GROWTH/ ENGAGEMENT

COLLECTION

$ glass

88

metal

blue

EXPANSION

$$$

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INTIMATE SPACE

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POTENTIAL MATERIALS FOR COLLECTION Recyclables: Plastic cups Household papers Cardboard Newspaper Water bottles Glass bottles Metal Cans Aluminum (foil, trays)

Construction Materials: Mirrors Glass Wood (panels, small beams) Gutters Pipes (pvc, metal)

Miscellaneous: Plastic Utensils Tire Scraps Coat Hangers

90

ROOF PANELS collection of materials as well as providing shelter

DIAGONAL PANELS collection of materials as well as partial shelter and intimate space

SINGLE PANELS configuration will allow for collection of smaller materials LAMINATED PANELS configuration will allow for collection of large materials

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CONSTRUCTION DETAILS

Joint Plans

Collection: Elastic Tension and Release Joint Elevations

Joint Sections

A

Holes: Front Elevations

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B

A

Side Elevation

B

Section

PANEL TEMPLATES

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MATERIAL VALUE STUDY

Potential Value Example Material: 1 Load Design to accomodate smallest base unit -> width of water bottle Assume average bottle = 3” diameter Cord spacing -> 2” to trap bottle 8 ft panel height -> 32 bottles (@ 3” wide) 32 bottles high x 72 bottles wide (72 rows of cord) =2304 bottles 2304 bottles @ $0.05 (printed refund value) =$115

Value of one load ->

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=

=

12’

8’

Spacing: 2” Gap

Cost: 1 Panel Bamboo: 12 ft x 8 ft 40 feet @ $4/ft = $160 Cord: 2” spacing across 8 ft = 48 lengths 48 x 12 ft = 576 ft 576 ft @ $0.12/ft =$69.12

Skin: Bungee Shock Cord 1/4” Thick

Frame: Structural Bamboo 3” Diameter

Total=$230 Cost of one panel ->

or more, system generates profit

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TRASHWORKS NICK MINGRONE

Trashworks builds upon the K[no]w Waste project and applies its function to a more permanent construction. It operates as a part of an ongoing event cycle across several abandoned lots surrounding Praca Tiradentes in Rio de Janeiro. Trashworks is an artist in residence headquarters that offers an alternative solution to waste disposal through waste collection and art installation. Using a structural suspension system that fosters openness and transparency, particularly for the ow of light and views throughout the structure, the main site is broken into a series of smaller programmatic spaces. Private spaces housing resident artists are brought to the uppermost levels, while the ground level is designed to receive both incoming trash and the public from the outside world. Public and private meet at the middle level, which contains both artist workspace and gallery and event areas. Central to everything is the waste itself, actively sorted and on display. A series of satellite sites have also been selected to house the completed artist installations, and a final exhibition at the conclusion of residency returns the work to Praca Tiradentes, the original site of material collection.

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MAP OF SITES

Summer: January-March

Spring: October-December

Periodic Event/Exhibition

Artist Residences/ Headquarters

Fall: April-June

Winter: July-September

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EVENT CYCLE

Exhibition

Summer Artist Arrives

Collection Event

Spring Installation

N

Exhibition

D

J

F

O

Fall Artist Arrives

M A

S A

Winter Installation Exhibition

M

J

J

J

J M

O F

J

D

N

Exhibition

Collection Event

Spring Artist Arrives

Summer Installation

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Winter Artist Arrives

S M

YEAR 2

Collection Event

A A

Fall Installation

YEAR 1

Collection Event

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SAMPLE SATELLITE INSTALLATION: WINTER SITE Senior Portfolio.indd 64

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Public Circulation

Artist Circulation

Light and Shadow Waste Circulation 67 Senior Portfolio.indd 67

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ARTIST RESIDENCES

STORAGE

SHARED KITCHEN/LIVING SPACE

PUBLIC RECEPTION

WASTE SORTING/MATERIAL POOL

ARTIST STUDIO

WASTE CLEANING WASTE RECEIVING

EVENT/GALLERY SPACE

DOORS

TRACKS

OPERABLE LOUVERS

CATWALKS

GLASS SKIN

STAIRS

Senior Portfolio.indd 68

OPERABLE CURTAINS

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102 71

KITCHEN

LIVING RESIDENCE

ARTIST STUDIO

RESIDENCE

ARTIST STUDIO WASTE SORTING

WASTE SORTING EVENT/GALLERY SPACE

STORAGE

STORAGE

WASTE CLEANING

WASTE RECEIVING

KITCHEN RESIDENCE

LIVING

RESIDENCE

WASTE SORTING EVENT/GALLERY SPACE

RECEPTION

Senior Portfolio.indd 70

WASTE CLEANING

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COMPOST MACHINE GWYNETH BACON-SHONE

Rio de Janeiro produces 3.5 million metric tons of solid waste annually, and up to 50% of it is organic waste. Unfortunately, there is not a good system in place for reducing this waste.

This design for a composting machine serves to provide a solution, through the means of composting this waste.

The site is within walking distance of popular dining district, Lapa, making it an attractive alternative to simply throwing all the waste away. The composting machine would not only serve to compost the waste of the area, but also provide a educational opportunity for the community, encouraging them to establish their own smaller composting networks in other locations, particularly in favelas. As a system that turns waste into produce, the community would also share in the end results of their waste!

The compost machine works with the Bokashi wheat germ which ferments the waste in order to produce compost fertilizer. With a garden on its roof, the entire composting system is contained within the architecture of the space, interweaving the community with the circular waste system’s mechanics.

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Map of site + 5 minute walk radius

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CURRENT LINEAR SYSTEM : WASTE

PRO T POS POS ED CY CLICAL SYSTEM : COM

waste systems diagram

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COLLECT

SHRED

GROW

FERMENT

compost process diagram 107

cross section 108

ROOF

GARDEN

3RD FLR

DINING KITCHEN

2ND FLR

DINING SHREDDER

1ST FLR

BAR

1/2 FLR

CLASSROOM

GROUND FLR

DINING

full axonometric 109

REUTILIZAÇÃO REDUZIR RECICLAR

longitudinal section 110

reutilizar os nossos resĂ­duos!

DADOS DE COMPOST

111

GARDEN

5

SHREDDER

2B

KITCHEN

2A

FERMENTATION 3

PRE-COMPOST 4

1

compost axonometric 112

COLLECTION

1

EDUCATION OF PLANTS

OBSERVATION DECKS

CLASSROOM

EDUCATIONAL SEATING

education axonometric

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_SCAPES + RESTORE BENITA TRENK

_____Scapes is a public installation and reaction against the material waste created by large scale infrastructural and excavation changes in Rio. Projects such as dredging Rio’s port, the subway tunneling and the Sambodromo Parade area construction produce exorbitant amounts of waste materials, which end up in landfills.

Each season, _____Scapes brings a percentage of raw waste materials from a construction site in the city to Praca Tiradentes. Specially shaped material-filled containers are then arranged in different configurations on the plaza, functioning as infrastructural volumes for the changing seasonal needs of plaza-goers. These temporary experiential and informational material-scapes re-activate the ground of the plaza and bring awareness to the scale of changes occurring in Rio.

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4 million 3 million 2 million

DREDGING RIO PORT

3.5 million

1 million

VOLUME OF MATERIAL (in cubic meters) 4 million 3 million 2 million

PPRACA TIRADENTES

1 million

SUBWAY EXCAVATION 1.4 million

4 million 3 million

RIO DE JANEIRO

2 million 1 million

SAMBODROMO RECONSTRUCTION 11,000

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SAND

SOIL

STONE

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_____SCAPE SAND

Temporary experiential and informational landscapes which activate the ground in praca tiradentes, bringing awareness to the scale of changes occuring in rio.

SOIL

STONE

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ASSEMBLAGE 1

Raw materials are delivered to the plaza via construction truck.

2

container units are brought out of storage garages and assembled onsite.

3

containers are filled with material, becoming infrastructural volumes for plaza-goers.

CALENDAR DEC

JAN B

N

MAR

OCT

containers are made of scaffolding units and mesh netting from construction projects.

SUMMER

FE

OV

APR

SEP

SPRING

JUN

JUL

120

Y

AU

G

MA

FALL/WINTER

MATERIALS IN THE PLAZA

volumes

4 million 3 million 2 million

DREDGING RIO PORT

3.5 million

x 1/1000 =

SUBWAY EXCAVATION

x 1/1000 =

1 million

sand

4 million 3 million 2 million

1.4 million

1 million

soil

4 million 3 million 2 million

SAMBODROMO RECONSTRUCTION 11,000

x 1/1000 =

stone

1 million

121

the SAND containers

16FT

4FT

4FT 6FT SANDBOX

_____SCAPE SAND

122

10FT

6FT

6FT

16FT BEACH LOUNGER

20FT

6FT 12FT SMALL SAND DUNE

12FT LARGE SAND DUNE

the SOIL containers 20FT 6FT

3FT

planters

6FT grassy plots

8FT

4FT

3FT

2FT 3FT

10FT

12FT picnic areas

16FT stages

_____SCAPE SOIL

123

the STONE containers

2FT stools

_____SCAPE STONE

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2FT cafe tables

6FT

5FT

4FT

3FT

2FT short column

2FT tall column

RESTORE is a non-profit organization and multi-functional storage facility, which preserves downtown Rio’s local infrastructure through green demolition, storage, trade, education and re-use of building materials.

Stage 1, Deconstruction: A deconstruction crew removes materials in need of restoration from their sites, and brings them to the local warehouse.

Deconstruction Process: Green demolition is the process of taking a building apart while carefully preserving valuable elements for reuse. More than 90% of a building’s materials can be diverted from the landfill.

Stage 2, Storage: The crew sorts materials by type and loads them into a exible storage system. A programmatic ramp weaves around two large, open storage units, maximizing access and visibility of materials, while encouraging residents to take an active role in rebuilding their own community.

Stage 3, Trade, Education, Re-use: Once in the storage warehouse, materials are available for purchase as well as for trade. The RE-construction crew returns select restored materials back to their original sites, while other materials find new uses through community educational workshops. Local artists, educators, architects, small business and home-owners can use the warehouse for support and creative pursuits.

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1

2

3

three buildings in need of restoration

4

126

1

2

3 61

127

EXPLODED AXONOMETRIC SHOWING PARTS n roof

garage doors

ramp

storage

128

re

store

loading/unloading

storage

circulation

63

129

public workshop: turning doors into desks time: 2:00 pm location: second floor, large classroom/shop area

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stor

store 3 4

re-using doors

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131

RAINCLOUD SHIVINA HARJANI + CAROLINE LUKINS

Raincloud is a temporary pavilion installation that aims to educate the occupants about water as a natural, sustainable resource in Rio de Janeiro, Brazil. The intervention brings to the community an interactive public space that hopes to inspire a new consciousness around Rio’s historically tenuous relationship with water. The space both engages users in leisurely activity and uses water to unveil a series of ironies in Carioca’s water access. Water levels at the site directly respond to the population of users, bringing about a sensitivity to control over one’s own access to and influence over the community’s water.

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133

Canopy-Occupant Relationship: A pump and pulley mechanism connects the pavilions topography to the canopy, causing an increase in weight to pull the canopy shut, therefore expelling less water.

cable pulls down canopy contracts

more people=less water STRUCTURAL FRAME WATER PUMP

weight pressure cable pulls down

134

pump & pulley mechanisms

Topography: Using the same geometric language as the canopy, the topography of the site is instrumental in creating different conditions of water flow and social interaction along the sight.

135

Folding Diagram: On the folding surface, specific panels are perforated, allowing the canopy to expel water when open and to hold water when closed.

1

1 2

2

3

3

1 2

3

1

2

Perforated surface Solid surface

136

3

less occupants

More occupants

137

Less Occupants 138

topography program e wa er i r ula ion c nopy

More Occupants 139

RAINCLOUD

Shivina Harjani Caroline Lukins

Raincloud2 adopts an abandoned site West of Praca Tiradentes to develop as a Flood Research Center/ Emergency Evacuation Shelter that uses the same technologies developed in Raincloud1 to build a reactive facade that opens and closes in response to monthly rainfall. In the event of a flood emergency, the facade and floor plates expand fully, allowing the Research Building’s programs to transform and accommodate the immediate neighborhood’s evacuees. At times of evacuation, the floor plates expand to 160% of the original square footage to accommodate the influx of residence in the building and the additional programs that are associated with evacuation necessities.

140

emergency warning

building expansion sliding floor plates pop up roof program remapping

evacuees in

provisions

warning

sleep space storage food+distribution medical triage lounge space recreation

withdrawn

evacuees out

10% evacuees remain

building contraction

partial building contraction

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142

143

research

evacuation

researchresearch evacuation evacuation research

evacuation research research evacuationevacuation kitchen

420

+ 340 + 200 + 4170 + 700 +

+ + 200 + 4170 + 700 +

circulation

6000

6000 6000

bathrooms

bathrooms

340

420

+ 340 + 200 + 4170 + 700 +

bathrooms

+ + 200 + 4170 + 700 +

kitchen

kitchen

420

kitchen

420

bathrooms

administration

340

administration

administration administration

recreation space

recreation space

recreation spacerecreation space

residence

residence

residence

circulation

residence

circulation

6000

circulation total square footage

research 11830 evacuation

total square footage total square footage total square footage

11830

11830 11830

classroom

staff quarters

research research research evacuation evacuation evacuation

700 + 700 + 650 + 420 + 4170 + 4170

collaborative research classroom classroom classroom

staffstaff quarters staff quarters quarters

700700 700 + +medical + medical triage medical triage triage 700700 700 + +sleep + sleep individual research individual individual research research units sleep units units 650650650 + + medical + medical conference space conference conference spacespace supplies medical supplies supplies 420420420 + +arrival + arrival public space publicpublic space space &arrival Check-in & Check-in & Check-in 4170 4170 4170 + +water + water exhibition space exhibition exhibition spacespace collection water collection collection 4170 4170 4170

individual research

collaborative research collaborative collaborative research research

conference space

public space

exhibition space

medical triage

sleep units

medical supplies

arrival & Check-in

water collection

total square footage

10810 research

evacuation

totaltotal square total square footage square footage footage

10810 10810 10810 research research evacuationevacuation

storage

4700

+ + 1000 + 1200 + 500 + 4500 +

distribution storage

storage

4700 4700

+ 1200 + 1000 + 1200 + 500 + 4500 +

+ 1200 + 1000 + 1200 + 500 + 4500 +

distribution

distribution

seating

seating

recreation

recreation

communication exchange communication exchange

additional sleep units additional sleep units

lounge

144

lounge

500 500 total square footage total square footage 13600 13600

1200 seating

recreation

communication exchange

additional sleep units

lounge

500 total square footage 13600

third floor

medical triage+ storage

lounge

n

distribution

roof

fourth floor

sleep units

recreation

sleep units

-in

on

sixth floor

second floor kitchen

cafe

admin+ communication 30�

storage

storage

fifth floor

first floor arrival+check-in

residence+ kitchen+ bathroom

recreation

seating

145

146

Interior Scale: Oversized Circulation Oversized circulation is central to the design of Raincloud2; the floor plates’ shapes react to an extra-wide staircase that runs through the core of the building. The oversized stairs allow for both accessibility and for adaptable programmatic space (i.e. seating) during times of emergency.

147

desk

3”

sliding partition bed 1 0.5” 3”

3”

3”

storage

0.5”

floor plate 2”

1.5”

SLIDING floor cover

1.5”

emergency supplies/bed 2

plug-in research/sle 148

Human Scale To accommodate the substantial influx of building residences during time of evacuation, interior transformations are designed within the structure of the building. The diagrams to the left shows the transformation between desk space and food storage during Research to sleeping cubicles and personal storage during times of Emergency Evacuation.

149

THE FILTER AVA AMIRAHMADI

The Filter is a community center that is located next to Praca Tiradentes that also functions as a water purifier for the neighborhood. The community center will tap into the beginning of the condominial block and redirect the water to its Granular Activated Carbon Filters. The potable water will be used in different activity areas in the community center, as well as feeding the rest of the condominial block. The roof also collects rainwater to feed the two green walls.

Pipes that run along the exterior of the facade connect to potential temporary exhibits, such as a pavilion that will collect and filter rainwater. This pavilion then feeds the purified water into activity areas around the plaza. By exposing the pipes and creating spaces with this continually owing system, people who interact with these projects will be able to appreciate the beauty and importance of water and learn about water filtration.

150

151

152

153

154

155

156

157

158

159

160

161

162

TRIP TO BRAZIL NYC TO RIO - CASA AUREA

DAY 1

COPACABANA + IPANEMA - LAGOA - PAO DO ACUCAR

DAY 2

FAVELA - MUSEU DE ARTE MODERNA - PARQUE GUINLE

DAY 3

TOUR OF DOWNTOWN - CU GLOBAL CENTER - PRACA TIRADENTES

DAY 4

PEDREGULHO - COMPLEXO DO ALEMAO - STUDIO-X

DAY 5

RIO TO BRASILIA - BRASILIA - BRASILIA TO RIO

DAY 6

IPANEMA BEACH - STUDIO-X PRESENTATIONS

DAY 7

BRULE MARX ESTATE -AECOM PRESENTATION

DAY 8

DRUM SESSION - RIO TO NYC

DAY 9

ARRIVE NYC

DAY 10

163

DAY 1 5:30 AM - 9:15 PM: FLIGHT FROM NEW YORK CITY - JFK TO RIO DE JANEIRO GALEAO INTERNATIONAL 11:00 PM : ARRIVE AT CASA AUREA

164

NEW YORK, NY

RIO DE JANEIRO, BRAZIL

165

166

167

DAY 2 8:30 AM - 4:00 PM: WALK COPACABANA - WALK IPANEMA - WALK TO LAGOA RODRIGO DA REITAS 4:00 PM - 6:00 PM : PAO DO ACUCAR (SUGAR LOAF)

168

PAO DO ACUCAR

LAGAO RODRIGO DA FREITAS

COPACABANA

IPANEMA

169

170

171

172

173

DAY 3 9:30 AM - 12:00 PM: FAVELA SANTA MARTA 1:00 PM - 4:00 PM: MUSEU DE ARTE MODERNA - WALK PAST ATTERO DO FLAMENGO 4:00 PM - 6:00 PM : PARQUE GUINLE

174

MUSEU DE ARTE MODERNA

PARQUE QUINLE

FAVELA SANTA MARTA

LAGAO RODRIGO DA FREITAS

175

176

177

178

179

DAY 4 9:00 AM - 3:00 PM: TOUR OF DOWNTOWN RIO 3:00 PM - 5:00 PM: TALK WITH TOM TREBAT AT CU GLOBAL CENTER 5:00 PM - 7:00 PM : PRACA TIRADENTES SITE ANALYSIS

180

DOWNTOWN RIO DE JANEIRO

PRACA DA REPUBLICA

CU GLOBAL CENTER

PRACA TIRADENTES

181

182

183

184

185

DAY 5 10:00 AM - 12:00 PM: PEDREGULHO HOUSING COMPLEX 2:00 PM - 3:30 PM: COMPLEXO DO ALEMAO 6:00 PM - 9:00 PM : LECTURES AT STUDIO-X

186

COMPLEXO DO ALEMAO

PEDREGULHO HOUSING COMPLEX

STUDIO-X

LAGAO RODRIGO DA FREITAS

187

188

189

190

191

DAY 6 5:00 AM - 9:00 AM: FLIGHT FROM RIO DE JANEIRO-SANTOS DUMONT TO BRASILIA-PRESIDENTE JUSCELINO KUBITSCHEK 9:00 AM - 6:30 PM: BRASILIA 6:30 PM - 10:05 PM : FLIGHT FROM BRASILIA-PRESIDENTE JUSCELINO KUBITSCHEK TO RIO DE JANEIROSANTOS DUMONT

192

BRASILIA

RIO DE JANEIRO

193

194

195

196

197

DAY 7 9:00 AM - 12:00 PM: IPANEMA BEACH 2:00 PM - 5:00 PM: DESIGN III PRESENTS TO STUDIO-X 6:00 PM - 8:00 PM: LETICIA WOUK ALMINO PRESENTS TO STUDIO-X

198

STUDIO-X

LAGAO RODRIGO DA FREITAS

IPANEMA

199

200

201

202

203

204

205

DAY 8 9:30 AM - 11:00 AM: BURLE MARX ESTATE 2:00 PM - 4:00 PM: AECOM PRESENTATION

206

AECOM

BURLE MARX ESTATE

207

208

209

210

211

DAY 9 8:30 AM: CHECK OUT OF CASA AUREA 2:00 PM - 4:00 PM: DRUM SESSION 7:00 PM: FLIGHT FROM RIO DE JANEIRO GALEAO INTERNATIONA TO NEW YORK CITY - JFK

212

NEW YORK, NY

RIO DE JANEIRO, BRAZIL

213

214

215

216

EXHIBITION B+C|A BARNARD AND COLUMBIA ARCHITECTURE EXHIBIT

NEW YORK, NY

217

B+C|A EXHIBITION JANUARY 2013 NEW YORK, NY

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219

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221

222

Instructor: Karen Fairbanks Teaching Assistant: Marcelo Lopez-Dinardi Special Research Assistant: Leticia Wouk Almino BC ‘08 Editors: Ava Amirahmadi CC ‘13 + Caroline Lukins CC ‘13