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de s i g n

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Spring 2013 | Dan Powers 01 P u b lish in g My st e r y ................................................................................6 02 Mu s e u m o f B ro ke n C ra f t ..................................................................20

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de s i g n

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Fall 2014 | Josue Robles 01 U C L d p u su m m e r L a b : Londond 2013 ...................................................................38 02 L o n d o n L e g a c ie s : Sutaining Local Identity ....................................................46

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de s i g n

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Spring 2014 | Jan Wampler 01 Va ro sh a , C y p r u s: The Rehabilitation of a Divided Culture ..........................62

d i g i t a l fa br i c a t i o n & p a ra m e t r i c a ppl i c a t i o n s Mark Weston 01 D ig it a l E x p lo ra t io n s: Parametrics ......................................................................105 Mechanics ......................................................................107 Interactive .......................................................................109 02 In d e p e n d e n t S t u d y : Means of Fabrication .....................................................111

JAN. 2013- AUG. 2014

a dv a n ce d

USF + SACD _ advanced design portfolio

00 introduction............. ....................................................................................4

CHRISTOPHER GALBRAITH

c on t e n t s


i ntro duction The following pages are an abridged record of the last year and a half. They suggest personal growth as it applies to design and technical skill and application. The following pages are a test, full of failures and successes. The process laden exercises in the recent past have pushed me along paths of experience, social awareness, and technical means. Much of my time is spent endeavoring to find different ways to accomplish tasks as well as inventing new ways to simplify difficult efforts. That quest has provided me a myriad of digital and analog tools in which to accomplish many tasks as well processes for thinking and design. More important is the critical and analytical nature in which I have begun working. Beginning around Design A with basic parametric exploration to Design C with “bi-communal� cultural integration In terms architecture, I began using parametric processes and applications as digital sketches allowing me unending iterations of ideas and thoughts. Utilizing various

mathematical

formulas

and

algorithmic

procedures, parametric design has forced me to think beyond the swift sketch but understand analyze the result and consequences of a particular action and the effect it has another objects along with an acute understanding of three dimensional space with in the

4


digital realm. Conversely the sketch itself can hold

“Architecture as a political act,� its influence is a

London and divided cities in Cyprus. Both of which

so much more value and hidden information. The

product of centuries of cultural association. Its uses of

had enormous impacts on local populations. Class

sketch holds the concepts while the digital model

congregations and public unity are just as prevalent as

boundaries in London seemed overly defined due

can quickly lose meaning. The acquisition of skill is not

aggregating social divisions. Cyprus, and London to a

to financial strife in the area as a result of the 2012

a replacement but another valuable tool used for

lesser extent, exhibited this greatly and it has affected

Olympic Games. As well, environmentalists were in

designing

the way I see the world and introduced concepts

conflict. The problem was then not where and how to

pertaining to cultural, social, and public needs,

orient this thing on this site, but rather how do we build

identity, and relevance. Architecture is a product of

this thing to make out investors happy while catering

necessity.

to the people that could actually use it? Do I dictate

Though in some cases my designs have faltered due to my digital investigations, it’s my opinion that I have reached a point where digital sketching has

program or do I simply supply a blank canvas and

found a home in my workflow and now impacts every

Perhaps it is a product of my personal values and

project I work in though it may be not apparent in all

politics on class, social division, and cultural institutions.

of my work.

I have grown critical of my surroundings where ever I

some loosely defined programmed and let the users make of it what they will?

may be. Questions continually arise within about the

I have a wide focus of my own expectations and

Beyond the pursuit of technological ability I have

tears in cultural fabric and what causes them. More

foresight and I often allow my fleeting interests drive

taken notice of cultural significance and identity.

importantly, without engaging in iconoclasm, can

me. I remain open to the remarks of my peer and

These last three design studios have introduced me

architectural intervention begin to mend the wounds?

more importantly the educators. This, I believe, is what

to people, cultural signifiers, and built environments

Can the details of the building act to engage in

has been conducive to growth and allowed me the

that were otherwise unknown to me. The relevance of

conversation with those unversed in their importance?

freedom to be so thoroughly explorative.

these places, respective of the home, initially seemed

Like a painting or a sculpture or even a piece of

irrelevant. They are in fact places that play host to

music, anyone, anywhere without preconception can

significant ideas that, in some way or another, affect

respect and appreciate beautiful they can be. So it is

local decisions made by planners, architects and

not impossible to imaging the built environment could

interest groups.

contain similar characteristics as it applies to popular significance.

It is my experience over the past few years that

a

These design based philosophies and ideologies

building, a dwelling, or a shelter. Architecture is now

Architecture

has

become

more

than

have been making their way into my work for the

an environment and its details are the buildings.

past few semesters. Likely, it is due to the projects I

Encasing and influencing the population it inhabits.

have been engaged in, including social housing in

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DA

c h ro no l o gy

“I agree that a film should have a beginning, a middle, and an end, but not necessarily in that order.” Jean-Luc Godard

hierarchy & continuity “Nobody reads a mystery to get to the middle; they read it to get to the end. If it’s a letdown, they won’t buy anymore. The first page sells the book; the last page sells your next book.”

Mickey Spillane

p o s s i b i l i ty “...when you have eliminated the impossible, whatever remains, however improbable, must be the truth.” Sir Arthur Conan Doyle (Sherlock Holmes)

7

a mystery novel publshing house

a n d

PUBLISHING MYSTERY

o rd er


5 4

3

6

2

1 8


g en eral s i te in fo r mati o n address:

Southern 1/3 of 211 N. Tampa St Tampa FL

PIN:

A-24-29-18-4Z1-000080-00003.0

folio:

193600-0000

property use:

3911 FULL SERV A (Hotel)

plat book / page: 1/7 neighborhood:

505001.00 | Ybor City / East Seminole Heights Area

Subdivision:

4Z1 | Tampa General Map of

ne i g h bo ri n g

build ing s

1. Wells Fargo Center

311’

2. 100 N Tampa

579’

3. Bank of America Plaza

577’

4. Hilton

260’

5. One Tampa City Center

537’

6. Fort Brooke Parking Garage

60’ 2523 Spaces

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unrav e l i ng

the

mys tery

Mystery is not necessarily the standard Sherlock or Poirot, though they are rather well known. But reading these two characters and the work of their respective authors, Doyle and Christie, I have come to a see a sort of formula begin to take shape.

chronologically: 01 _ the why: usually criminal motivation, a turning point for the individual from a path of relatively good behavior to do something bad, which can lead to: premeditation and planning anticipation and contemplation

02 _ the crime: The action the culmination of motivations behavioral circumstance.

03 _ the clues: Often left behind unbeknownst to the criminal due to the heat of the moment or the passion of the crime. Clues can be dead ends or lead directly to the culprit but they also cause: reaction, conflict, and confrontation

04 _ the reveal: All the clues together rebuilding the scene, circumstance, whodunit.

05 _ the resolution: The aftermath and closure. Perhaps there is no resolution leaving it open for interpretation or a continuation of the story.

This all does tend to be sequential but the previous list is only the chronology. The story can be told in order but none of it can be left out or would be incomplete. This lead me to create a two axis gridded matrix displaying these attributes as they comply with temporal order providing a foundation to begin planning and programming the requirement and secondary functions of a publishing house.

10


11


8

9

7

04

10

12

03

OFFICES

01 _ reception 02 _ open office 03 _ conference room 04 _ office 05 _ restroom 06 _ mechanical 07 _ multi purpose 08 _ storage room 09 _ mail room 10 _ staff lounge 11 _ CEO’s office 12 _ Roof Garden

11

6 1 5

01 _ auditorium 02 _ gallery below 03 _ office 04 _ small conference 05 _ cheif editor 06 _ restroom 07 _ mechanical room 08 _ work / layout 09 _ open office space

1

7

6

2 5

8

6

4

3 9

4

4

4

3

3

5 3

3

12

third floorplan

4

4

2


floorplans

02

8

01 _ gallery space 02 _ caterers kitchen 03 _ reference library 04 _ sec. / controller’s office 05 _ restoom 06 _ mechanical room 07 _ warehouse below 08 _ garden below

7

6

01

GALLERY

1 01 _ ext. garden south 02 _ entry / reception 03 _ main thoroughfare 04 _ ext. garden west 05 _ production office 06 _ break room 07 _ office 08 _ warehouse 09 _ restroom 10 _ electrical 11 _ mechanical rm 12 _ elevator pump rm 13 _ elevator

2

11

13 3 9

5 10

2

12 9

5

7

3 8

3 1

PUBLIC ACCESS / GARDENS

6

4

4

north

0 4 8

16

32

64

scale (ft)

13


14 4


02

i nte r i or

01

interior perspective

• second floor gallery / multi-function space • catering cafe • balcony from administrative • access from main vertical circulation and reference library located on second floor

02 03

southern elevation

west / east section cut

a _ garden b _ shop c _ gallery d _ assembly / auditorium e _ offices

03 e

d

c

b 0 4 8

16

32

a

64

scale (ft)

15


02

e xte r i or

01

exterior perspective

02

west elevation

03

south / north section cut

a _ garden b _ warehouse c _ auditorium / assembly d _ offices

03 d

c

a

b

0 4 8 scale (ft)

16

16

32

64


17


e xte r i or

01

northwest perspective

02

preliminary sketch

03

preilminary southern elevation

below: programmatic, compositional, southern elevation studies.

18


19


south east perspective

20

from whiting and franklin st


21

an exhibition of the incomplete

DA

museum of broken craft


b ui l di n g i nf o r m ation Construction Type Type I B Occupancy Classification Mixed Use Assembly A3 Business

(museum)

B

(Proffesional Office)

Gross Sq Ft / Floor Lvl

1

6350 SF

Lvl

2

6350 SF

Lvl

3

6350 SF

Lvl

4

4191 SF Total SF

23,241 SF

Building Elevation x’-x” Above MSL BFE

10’

Flood Zone

X, AE

Building Height (Above Grade) 65’-0” (Allowable Height Per FBC Tbl 503 = 165’) Number of Stories 4 (Allowable # of Stories Per FBC Tbl 503 = 11) Exterior Openings Per Floor x

0 north scale (ft)

22

15

30

60


lk

exist walk

wa

New 4 Story 65’ Tall Concrete Structure

Secondary Museum Entry

museum entry

office entry

covered walk

Tampa St

new

bus stop

To Fort Brooke Parking Garage

Franklin Fran an nk St

Whiting W Wh hit itin itin ng St S

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d ev e l o p i ng p a th

a

In many cases and through many case studies, there are a number of exhibitions and museum spaces that really on a sequential order or an episodic path. There are decidedly a variety of pros in favor of this method. Not having large groups of people intercede from different directions. Starting with a swift gesture of an organic form giving a path of travel, I attached program to main circulation needed. Of course the program for this building (museum, administrative and leased office space) require multiple means of vertical circulation, so that was taken into account as shared stair wells among other means. Massing the building to the site limits, I employ a parametric script to create breaks in the building and punch openings where the main circulatory system may be. The closer the circulation is to the exterior the larger the exterior openings get. Likewise, where circulation could be, but is not, the building itself becomes cracked to create and maintain the visual continuity of the path of circulation. This gives suggestion to the user that they should precede in a particular direction. This also gives the exterior skin a unique visual appearance that lends to the theme of the permanent exhibition of “broken craft.�

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25


04

01 _ museum storage 02 _ service lift 03 _ open to below 04 _ production 05 _ catalog 06 _ copy / work 07 _ staff lounge 08 _ conference 09 _ restrooms 10 _ from arch office lvl-1 11 _ elevator (architectural office)

1

3 2

03

OFFICES 1

4

5

3

2

1

4

5

8

11

6

5 9

9

26

7

10

7

6

10

third floorplan

01 _ 3rd floor exhibition space 02 _ service lift 03 _ crate / uncrate / storage 04 _ main elevator 05 _ mechanical 06 _ restrooms 07 _ mechanical room 08 _ elevator (architectural office) 09 _ architectural office lvl-1 10 _ stairs to architectural office lvl-2


floorplans

02

5 1

01 _ open to below 02 _ east exhibition space 03 _ west exhibition space 04 _ service lift 05 _ main elevator 06 _ mechanical 07 _ restrooms 08 _ main stair to 3rd floor exhibition space.

6 7

4

GALLERY

7

2

01

1 13

6 5

PUBLIC ACCESS / GARDENS

2

12

01 _ vestibule 02 _ ticketing 03 _ gallery 04 _ cafe 05 _ exhibit 06 _ main circulation 07 _ service entrance 08 _ service lift 09 _ storage 10 _ mechanical 11 _ electrical 12 _ restrooms 13 _ main elevator 14 _ pedestrian pass through 15 _ office vestibule 16 _ museum administration 17 _ elevator to architectural office

12

11 10 7 8

4

3

9

14

15 16

17

3

8

north

0 4 8

16

32

64

scale (ft)

27


28


02

interio r f

01

interior perspective

d maintaining the notion of broken, or incomplete much of the interior structure stays exposed save for areas were lighting need to be strictly controlled utilizing a white plaster finish. d Because of its relatively small size, much of the structure is concrete. This construction gives both a strong building and a heavy monolithic, almost ruinous feel on the inside. The tectonics are steel and glass giving human scale and giving material definition and

b

d

c

a

hierarchy to place.

02

west / east section

03

a _ main entrance b _ administrative c _ gallery d _ exhibition e _ main circulation f _ leased office space

03

south elevation

0 4 8

16

32

64

scale (ft)

29


30 0


de v e l oping the d etail Beyond the scope of the design studio the following pages endeavor to develop the design in the details. from the structural concrete frame to the how the glazing is attached, I’ve spent time designing most aspects of that give this building detail away from its monolithic skeleton. Naturally, as most of the conceptual form making came from the circulation through the architecture, a fair amount of effort was spent detailing the main stair case from code compliance in the event of emergency to its steel construction. Most of what this building is made of can be found readily as it is standard structural stock that slightly modified and fabricated in the field to fit the design. As well some custom pieces have been designed, the most of expensive of would the curved glass and the point supported glass fittings to hold it all in place.

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w a l l @

se cti o n

gal l e r y

01

overall wall detail

• from second floor plate down to gallery curtain wall glazing and structure

02

enlarged detail

• glazing head detail • water proofing at soffit framing. a _ double glazed insulated low e-glass b _ ‘wt’ section vertical support mechanically fastened to HSS structure abover for point support glazing system. c _ spider fitting attached to vertical structure d _ 2”x2” alum. glazing channel fasted to beam above e _ neoprene guides f _ silicone sealant g _ backer rod h _ flashing i _ steel stud framed soffit j _ sheathing k _ fiber cement board finish

01 32


02 i

e

j

k

g

f

d

h

c

a

33 3 3


sha t t ered

s k i n

One of the biggest challenges for this particular project was figuring out how to achieve a functional skin that took the form of broken stone, let light in, and protected the building from the elements. Of the ideas that were considered, between this and an aluminum panel rain screen, the more interesting and true to form decision was a light weight precast panel. Though likely not cost effective each unique section is formed with requisite structural integrity built in along with steel connectors anchored into the 3� panels.

01

exterior panel assembly

a _ precast panel b _ embedded mounting plate c _ panel to panel connection and spacer d _ vertical structural support

02

typical exterior wall assembly

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c b

b d

a

b

c

01


36


north perspective from Hilton / Franklin St

37


38


• Hannah Boehmer • Brett Freeman • Chris Galbraith • Daniel Houghton • Nina Reali

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2013 summer series: london legacies

DB

dpu_summerLab the bartlett

group members


the

inbetween

enterprises, while enabling their capacity for creativity,

These spaces often sit empty for a span of time after

sustaining identity

flexibility, and mobility, to be supported by the

purchase, wherein the developer is either working

resilience of other more established small businesses.

on the design of the new building or is waiting for the

The result will make Hackney Wick an incubator of

market to change, etc. The coalition will work with

small businesses based upon a foundation of integrity

developers on selling the idea of preservation through

and fiduciary relationships.

occupation - where a small business is allowed to

H

ackney Wick is an area of the London Borough of Hackney that has received

a great deal of attention since a portion of it was

occupy their newly purchased storefront, warehouse,

selected as part of the 2012 Olympic Park. This ‘honor of

alleyway, parking lot, etc. during the time period while

selection’ is often sold to communities on the idea that

Development is certainly here and will continue

it will benefit and grow the area, creating improved

to come - that is a fact that cannot be ignored.

economy and quality of life for residents. However, due

However, it can be done in a way that creates a more

to the influx of activity from the Olympic park and now

harmonious relationship between small businesses and

the proposed ‘fashion district,’ development is moving

developers, which will then benefit the residents-at-

business benefits from access to a space to produce and build their business, whether it be bottling soda, opening a small cafe, or even artists creating their work, and the developer knows their property is being

too quickly for the identity of Hackney to remain intact.

large through maintaining and growing the character

This development is running the risk of squeezing out

of the borough. To facilitate this relationship between

local residents and small businesses, as the untold

small businesses and developers, the small businesses

effect of gentrification of an area often means an

will band together to create a Micro Enterprise

increased cost of living that cannot be sustained by

Coalition. This coalition will benefit from its strength in

the existing population.

numbers, and will act as a much larger voice than an

These short term ‘leases’ or ‘pop up shops’

individual small business could on its own. This voice

lend themselves to the flexibility with which small

will be used to work with the Hackney Council and

businesses function as they are beginning to grow: as

developers who are interested in building in Hackney

they need more space, they move to the next larger

Wick.

space available. This will help small businesses flourish

Hackney Wick is an area worth protecting; its people and small businesses. Compromising their ability to remain will void Hackney Wick of the character it

activity in the area before their new development is built.

access to rent space, and instead be able to grow.

of growth and awareness of local businesses and

The main function of the Micro Enterprise

the artistic community, through involvement in the

Coalition is to provide support for small businesses

development process, to sustain and enhance the

- and this will be done in two specific ways. The first

identity of Hackney. The values behind this movement

is to create a ‘network’ or ‘map’ which is aware of

want to capitalize on the cultural significance of small

protected from vandalism and is already promoting

where they may have struggled to find affordable

is known for. Our proposal centers on the promoting

40

the developer moves through design plans. The small

the spaces that are being bought up by developers.

However, this system is not meant to act as a loop in which a business exists, but rather a first stepping stone

towards

being

an

independent

business.

It is even possible that the small business could outgrow space available in Hackney Wick - but they will always


remember that Hackney Wick was the one who gave them the chance to start, and word will spread. Use of these spaces would need to go through the Hackney Council, in order to make the process legal, and discussions with the developer about the state in which the space will be returned to them will also be a discussion which is taken into account.

The Micro Enterprise Coalition will also promote these small businesses through events in which the public can tour these businesses and create awareness about their products (if they want that kind of exposure) - in a sense, it would be a ‘venue crawl’ that gives residents more insight into the type of work these small businesses do. This could lead to further investment, a stronger sense of pride in the area, and generate economic activity through self-promotion that might otherwise be unattainable for individual small businesses.

MICRO ENTERPRISE COALITION

A SMALL BUSINESS CO-OP

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filling thespace

EXISTING SMALL BUSINESSES POTENTIAL INBETWEEN SPACES

t h e _ i n b e t w e e n The main focus of the Micro Enterprise Coalition is the ability to capitalize on vacant spaces as they move through the development process. Often, a space sits empty while a developer is getting all the appropriate pieces in a row - so why not use these spaces to house small pop-up shops? We have been referring to this process as preservation through occupation because if a business is occupying a warehouse or a storefront or an alleyway, vandalism is deterred. This idea is expanded upon by the decision to make these interventions low-impact - they will not leave a mark on the space once they have moved out.

Haringey Waltham Forest

Islington

Hackney

Tower Hamlets

Newham

MICRO ENTERPRISE ENTER COAL COALITION

A SMALL BU BUSINESS CO-OP

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01

02

04

05

03

01

alleyway infill market place. can be either temporary or permanent and can act as an advertisment of the businesss.

02 03

urban open space occupation utilizing open space up property create an oportunity to work.

04 05

pop up market.

pop up market like the alley way market, provides a great opportunity for exposure generally located along a public route.

mobile business opportunity with in existing structure expressing a minimal impact to the surrounding context.

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Cultural Significance

sustaining hackney’s i d e n t i t y

Flexibility Economic growth [larger tax base]

Legalization

Happier residents and businesses.

Safety Inspections

Incubator

Promoting / Marketing Validation

Duties

Arbeit

Benefits

Crate Brew&Pizza The White Building

HACKNEY COUNCIL

MICRO-BUSINESS + HACKNEY COUNCIL + DEVELOPERS

Summit Gallery Mother Studios Existing

Truman Brewery Land Ownership Share Available Properties

Duties

Foreman&Son DEVELOPERS VISIBILITY

Create a balanced relationship with the community.

ACCESS

MICRO-BUSINESS COALITION

Benefits

POP - UPS

BRANDING

Industrial Estates Intervention

PROMOTING GROWTH, AWARNESS OF LOCAL BUSINESSE,S AND THE ARTISTIC COMMUNITY.

MICRO ENTERPRISE COALITION

Integrity

Mobility

Resiliance

Markets Empty Parking Lots In-Between Spaces

A SMALL BUSINESS CO-OP

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Artistic


01 02 03 04

01

03

02

04

one day

a weekend

weeks

months to years

45


46


47

sustaining local identity

DB

LONDON LEGACIES


01 Stratford City (shopping mall)

Queen Elizabeth Olympic Park (Olympic Stadium & London Aquatics Centre)

Site

02

Stratford Station (Underground, Overground, DLR, & bus services )

03 0 north (ft)

48 48

25

50

100

200

Stratford Centre (Shopping mall)

Stratford Circus & Theatre Royal Stratford East (theatre, arts, and performance hub)


s tra tford, east l on don East London was host to the 2012 summer Olympic Games. It would be the 3rd time the games were hosted in the city. The Olympics were held in Hackney, immediately west of our site in Stratford, West Ham. A lower income part of London with lower land values (some of the land was even toxic prior to the games). These third games were branded as Legacy games, an event that would build up, develop, and bring money into east London. New housing developments were put into place as well as large shopping hubs, all this near a large tube station. Without getting to far into the local politics of the area and the social opinion of the local population as far as whether these Olympics were a benefit or a drag on the community. It certainly did drive a much larger influx of consumers to the area. The area has become rebranded to attract consumers. For instance, Stratford City is infact not a city but the name of a new mega mall at the Olympic park‌ So, among rebranding, the key concepts for this project become social capitol and a sort of localism. An idea of community interest or ownership, it is a concept that helps to identify the local values of the community. What is the community known for? Not only should new architecture address the immediate needs of the community and contextual conformity e.g. places to live, eat, shop, etc. but it should also address the community’s intangible needs and social values e.g. arts, music, and other sub cultures.

01

02

03

49


a 50

b

c

d

e


conceptualizing social capital The program for this project is a 300+ ft. tall residential tower. The tower’s units should be a mix of market rate housing and subsidized housing. Adding to those requirements, a third program is to be introduced. The third programmed space should be conducive to social capitol. Conceptual systems include the two types of tenants as well as the tertiary program that anchors the two to the local context. The conceptual model idealizes molding the context to the needs of the population. In this case the context would not be necessarily the physical site, which would be and anchor. The context would be the local identity that many communities strive to acquire, for example, Ybor City in Florida with Spanish culture and cigars or Portland Oregon and craft breweries. I tend to think of the arts when I think local identities. People tend to buy and conduct business locally. They tend to farm their own foods when possible and sell their wares to make ends meet. Given a sort of freedom to pursue their passion and desire could prove fruitful as it could become a destination in itself to those who desire what is created, be it music or a trinket. The place would not only be identified intangibly but it would also begin to take on the physical appearance of those inhabiting. The place would be worn in and lived in, furthering the perception of importance and identity to those who reside there.

51


a study in section This Th Thi hiss model hi mode od odel del is is an an early, e ea arly, arl ar arly y, speculative, specul spe ecul culat cu ati at ttive, ve e,, attempt e pt at creating g portion of tthe he bui b bu building ldi d ng ng whe where he ere th the main systems and functions might m ght mi g first stt intersect. in nte te sec ter ec e ct. t Anchored Anc nc chored by y the e main mai vertical circulation, cirrcul c ati cu a on, n,, both graphically gra ra raphi ap ph h cal hi a ly al y and implicitly, y the structural make mak m ma a e up p begins begins nss to n o mimic mim imic ic c the th th initial iini nitia ni nitia al concepts concept onc onc on n ept pts ts to to create crea crea reate eate e a dynamic dyna dyna yn y na amic m engagement en e ng gag ga a eme ement em ntt of o the he third t ird th d space. sp pace. ac ace ce. might the How o th he tertiary tert e iary y program program ram am interact, am in nter e act a , unobtrusively, unobtrusi s vely, with the e core cor ore e programs prog gram r s off the the e project? projec je e t? That That is Th is where w wh her he her e e knowledge know know ow wled l dge ge coupled couple cou oup ple led with wiit ith tth market/ ma arket/ subsidized sub su ub bsi ssid idize ze ed rates rate ate es comes come come ome omes es into into ntto play. play. pl ay There er might miigh m ght g h be be noise noise from events markets and on even ve ents or weekend m a etss an ark a d tthe h tra he ttrains in ns o ns n the north sid side structure de of the struct ctture u might m ght get loud. mi loud o . ou

01 0 1 02 0 2 03 0 3 04

overall ove eral rallll view main entrance vie ew from m north nort no rth at the rt tth he m ain n en e ntr ttra r nce studio d / storefront space spac p ce e jjust ust outside off the ust t lobby

north no nor rth h sid sside e of the model e

sto storefronts to oref refron ronts ts / stu studi studio dio sp di space pace on north side ground level lev vel

52


01

02

03

04 53 53


lvl_01

ground level public / commercial

a

b

a _ exterior public event space b _ box office / studio / event space c _ commercial / studio d _ public mulit purposed space e _ lobby f _ commercial g _ bulding services

lvl_02

second floor plan commercial

h _ commercial / studio i _ resident use / dinning / private event space

c

d c

e left:

54 4

f

a progression of plans illustrating thoughts of alignment, site lines and division of site and massing based on programatic means.


h

i

lvl_02 a

d

g

c

f

b

e

0 north (ft)

25

50

100

200

lvl_01 55


unit plans market rate flats 01 _ 1 bed 02 _ 2 bed

400 - 600 sf (120-180m) 500-800 sf (120-150m)

council / subsidised flats 03 _ 1 bed 04 _ 2 bed

400 - 500 sf (120-150m) 500-700 sf (150-215m)

balcony / garden

balcony / garden bed

bed living/dining

living/dining

living/dining

bed

living/dining

bed

bed

bed foyer

foyer foyer

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1

2

3

foyer

4


lvl_04

fourth floor plan residential

a _ typical residential floor plan

lvl_08

eight floorplan residential / 3rd space

c

b _ a physical occurance of social capitol. not necessarily open to the public this space with in the building gives an opportunity for residence to mingle and get to know each other. funtions as a gallery, even space, resident use, etc. c _ residential

b

lvl_08

a

0 north (ft)

25

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01

02 01 02

public entrance into tower

03

overall from stratford station bus terminal

commercial / 3rd space southside looking to exterior public space and studio front

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03

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02 01 02 03 60

view from east of the tower

view from west of the tower near queen elizabeth olympic park overall aerial


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DC the rehabilitation of a divided culture

VA R O S H A , C Y P R U S


a brief and recent history of the island Though I have always been interested in ruin and anthropologic and cultural studies, I have never before been presented with a modern day ruin face to face. An area of the modern world that is has been blocked off and has been relatively untouched for a long enough period of time for nature to start reclaim. Enough time has passed for the buildings and structure to begin deteriorating alongside of the city’s infrastructure. All this and only four decades have passed. Another hundred years and Varosha will no longer hold a place in the immediate memory of the local population as those who once lived there will be all but gone. It will become another short chapter in the history of the island’s struggle with identity and cultural unity. The city is Ammochostos, or Famagusta, and area in question is the southern, previously primarily Greek Cypriot inhabited municipality of Varosha. The tale of this city’s fate is hundreds of years in the making spanning the authority of multiple nations and cultures from Venetians the British. Every culture that has come to the island, from Mycenae to the Turks has left its mark. Through the islands history the cultural differences have manifested into prejudice between the two major cultures on the island, the Greek Cypriots and the Turkish Cypriots. This is has caused military and social unrest on the island, nationalistic demonstration and religious divisions.

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The political state of Cyprus eventually led to a division of the entire island. In the north resided the Turks, and in the south, the Greeks. To keep the peace, The UN intervened and created a DMZ, the “green line”, across the entire island, north of the demilitarized zone lies Varosha. Occupied by the Turkish military, but by order of the UN, it is unable to be inhabited by anyone but its Greek land owners and residents. Until a peace is met the area goes into disrepair and left for ruin and its stakeholders wanting.

This very difficult urban design problem is quite unique. The original intent is to create and ecologically conscience and sustainable settlement. Unknown to us at first we ended up on a political battlefield, listening to the valid yet heated concerns of stake holders and residents for a number of days. As the project considerations grew exponentially in size, the requirements for the area became muddied. Out scope of work went from the northern portion of Varosha to the entire municipality of Famagusta. Considerations ranged from hotel re-inhabitation on the shore of Varosha to inland wet lands to the North East. The largest hurdle for us was contemplating how to reintegrate two opposing cultures, an opposition and cultural prejudice that is in engrained into most of the society.

Within an hour of this city lies the Venetian walled city Nicosia, a fully functioning divided city, of the world’s last, with the void of the demilitarized zone passing right the city’s center. The ultimate questions would be concerning, peaceful cohabitation, cultural integration, reoccupation of the voids left by the UN as well repairing and repopulating the empty city of Varosha.

L e g e n d a _ DMZ b _ Nicosia c _ British Overseas Territory d _ Greater Famagusta

North Cyprus (Turkish)

a Republic of Cyprus (Greek)

d

b c


Great er Fama g us ta

Old Walled Famagusta

Famagusta

Varosha Kontea

British Territory

DMZ D yni Der yniea e

Paralimni British DMZ

Territory north

0

1

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inten t To create a framework that would integrate Varosha to the rest Famagusta through a series of public greenways. While minimally impacting the existing cultural remnant and existing physical infrastructure, these greenways would create a new ecological identity that establishes a network of social connectivity and sustainability through the city.

All work for this project is a group effort. starting in Cyprus and continuing through to the final presentation to the Cypriot stake holders.

group members • Daniella Covate • Juan Ferreira • Chris Galbraith

our Cypriot members: • Stavros Adamou • Safiye Ozaltiner • Despo Thoma

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objec t i v e s

01

Use modern ideal sustainable practices and permacultural theory to produce a working example of an “Eco City”

02

The greenways potentially introduce value to property around them taking focus off of the shore.

03

To add to the meandering greenways, series of public infrastructural transport features would be implemented to reconnect smaller settlements south of the Greenline to the modern city of Famagusta. several of these transport means would be:

• Electric Rapid Transit both local within Varosha and no local acting as a connection between neighboring towns and Famagusta up to EMU and over to Nicosia • Hiking trails and oter pedestrian pathways

04

To avoid seasonal population absence, a solution might be to create an economically lucrative and sustainable overlap between seasonal tourism and student populations by introducing University satellite campuses into southern Famagusta. This would also facilitate a youth driven cultural unification.

05

Creation of landscape features within the permacultural zone the southern shore and throughout in other key areas using nontoxic, ecologically safe building ruble from buildings unfortunately unable to escape demolition due to its deteriorated structural integrity. This would help to maintain and explorative attitude from eco-tourist and urban explorers. As well, the building ruble and other found objects could promote a certain amount of security for local wild life to find refuge in and create a new eco system. This ecosystem could populate the water as well creating a sort of artificial reef. These are, of course, building materials that are not being reused in new construction phases of Varosha.

06

The undeveloped land in the DMZ between Famagusta and Deryneia shows to be an ideal location to sow the seeds of a permacultural selfsustaining environment. Also allowing and inspiring ideas of ecological tourism including hiking, camping, and natural preservation among other activities.

07

• South of that there would be a less commercialized, secluded sort of water front condition. • Toward the southern end Famagusta, the water front would be left to nature and inhabited in only a few areas to allow access along trails to docks and public space. No commercial activity.

08

Seasonal population change could benefit the Port. Not being the major shipping port it was in the past, there is opportunity to create a more recreational destination for tourism and scholarly endeavors. With a focus around the walled city become clearer, it could help to aid in making the old walled city a World Heritage site.

New Waterfront conditions based on public exposure and types of uses.

• To the immediate north and south of the walled city along the shore and along the existing port seawall, the public water front would be commercialized and subject to varying degrees of seasonal tourism and vacationers as well as cater to educational requirements

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varosha Varosha as it is today, 40 years since it was first fenced off. Though I took all of the photos on this page, photographs are generally prohibited generally by threat of armed Turkish military, not be confused with the Turkish Cypriots. Unable to actually get into the fence to explore the abandoned city, these are about as close as we could get without inviting any trouble. The buildings closest to the fence are in the worst shape and many of the high-rise hotels on the shore have not weathered well either. Likely, by appearance alone, many of these buildings will have to be demolished and are beyond repair.

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old famagusta This site is a living historical record. The area os not fenced off, nor protected. There are many churches and mosques spanning centuries in this ancient fortified city that are both in ruin and in practical use. A major goal posed to our group was making this area a UNESCO World Heritage Site. This is something that can only be attained after there is resolution between the north and south. Because this city is located north of the green line in an internationally unrecognized country, there is really nothing that can be done. So it gets no funding, rehabilitation or care.

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kontea Kontea is a small village situated about half way between Famagusta and Nicosia. Generally unremarkable, but an initiative was established here to allow bicommunal group of people including Greek and Turkish Cypriot figure heads to restore an old church to it’s original shape. Interesting, though, was a manor on site that had been left to ruin. This gave us an opportunity to better understand early architecture and building methods used on island in terms of stone construction where wood is scarce. The site is now used for goat farming and various agricultural functions.

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nicosia A functioning divided city, it is the capital of the Republic of Cyprus. A centuries old Venetian walled city, it has seen many rules come and go. The City suffers from a division caused by the same conflict that displaced the Greek Cypriot Famagustians in 1974. What’s unusual is this split of the city. The U.N. DMZ goes direrctly through the center of the walled city, leaving the nothern half to the Turkish Cypriots and the Southern to the Greek Cypriots. An interesting observation made, looking around from just south of DMZ, was the skyline of the North was generally lower. The Skyline allowed a view to the northern mountain range and, at times, was pierced by towering minarets. Conversely the southern, Greek, side of the city’s skyline was taller dominated by wealth and large towers.

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conceptualizing the design These three models are an exercise in composition and scale. The big ideas and concepts begin taking shape on a portion of Varosha, just south of the walled city, without intervening with program quite yet

01

found object study

• major pedestrian thoroughfare in densest urban core.

02

massing the density

• a less conceptual, loose study of density.

03

exploring the in-between

• abstract overlay of various public spaces and their connections.

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developing a new urban density

0 north

100

200

400

scale (feet)

75 5


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degrees of public access Describing and urban density at such a scale before getting in to the detail and the program of building allows license for a speculative public activity. The image on this page does that. The darker areas are that of a more private function, either commercial or residential, while the lighter greys public nature of space. This exercise derives from the previous, in that concepts where first laid upon the site allowing to mold each are of Varosha as it complied to concepts, while striving to maintain as much existing infrastructure, and architecture as possible.

envisioning a new landmark As a land mark, this pier, now an active public area, is located where once the previous residents could only watch their city deteriorate in time. It is not meant to stand as a reminder of a less fortunate era but perhaps a place where the new generation can watch their city grow and prosper.

0 north

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78 78


01

02

access between Much of the conceptual capitol for this project consisted of sustainable ideologies. Chief among these would be pedestrian mobility. Though it goes without saying that city without vehicles would be ideal, there is no getting away from the need for them. So we took into consideration the idea of blocks where pedestrian access took precedent and then there are areas where vehicular traffic was primary. Bicycle traffic is integrated in both areas.

01

pedestrian path

• major pedestrian thoroughfare in densest urban core.

02

pedestrian path

• pedestrian path within a typical residential block.

03

03

museum main street

• major pedestrian through fare in densest urban core at a public open space

far left: a major public square at the heart of the urban core.

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8 80


exploring a new urban block Focusing in to a typical block or neighborhood condition, we are forced to re adjust the scale of the architecture within the new urban environment. We are faced with how to solve the issue of pedestrian and vehicular separation while creating cohesive and identifiable neighborhoods and commercial zones, all of which would have to be easily accessible.

left: model showing the inner core of a block where people might interact in this multi-purpose public space. right: key plan, n.t.s

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Pedestrian / Bicycle

Two way traffic + Dedicated, Protedted Bicycle Lane

single lane one way traffic

Below grade parking

Pedestrian / Bicycle

Pedestrian / Bicycle

Pedestrian / Bicycle

outdoor theatre

single lane one way traffic 0 north

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scale (feet)

25

50

100


defining the block

01

The typical formula for a block consists of vehicular traffic around the perimeter with pedestrian paths through, subdividing into 4 smaller blocks. Each of the smaller blocks would be community oriented within the neighborhood, encouraging social interactions with the residents.

01

the public edge

• occuring at an outer edge of the urban block. This open space was placed in relationship to existing open conditions and use. • uses both existing and new architecture to an active multipurpose space

02

02

outdoor theater

• another view of the “public edge” gives detail of the major feature at the center of the space. unprogrammed, it is left open for a variety of uses from a place to eat lunch to public performance.

03

residential

• courtyard, common space • these larger courtyard spaces occurring at the heart of each block constitute the center of each neighborhood.

03

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84 8 4


contextual cohesion These elevation studies are reflective upon typical conditions based on what was seen and what was photographed. Of course, based on circumstance, most of what is here is based on the architecture of the surrounding villages that were accessible to us. By using photographs of elevations similar to conditions that might be found within Varosha, we were able to create a series of viable studies depicting speculative conditions. Continuing the rhythm of existing street walls, pulling lines from the surrounding contexts, and looking to proportion of the neighboring buildings, these elevations begin to display a sense of belonging while being distinguished as new architecture.

left: typical housing within an urban block top right: elevation study of public space with in an area of higher density. right: hotel, tourism, bed and breakfast

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developing a secondary density

0 north

100

200

400

scale (feet)

87 7


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capitalizing on public access Less dense than the urban core, we are faced with a new opportunity and a different sort of public space and social dynamic. This plan shows areas of public access similarly to a previous one among the different shades of grey. In this more spread out area of Varosha, the green paths pass through the city, encompassing much more of the ground. This condition starts to take some of the attention off the water front, perhaps adding some land value more inland. Likewise more public and civic programming could occur along the green path to encourage full engagement. This more open area of Varosha is also conducive to permacultural practices and small scale agriculture. The further west the larger the plots get to yield larger crops. The water front toward the southern end of the site, particularly starting in this area becomes less commercially active attracting a different sort of visitor. The building line has been set back at least 400 feet and sand dunes and berms utilizing existing fill and ruble from around Varosha to help maintain and protect the ever changing shoreline of the area.

0 north

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03 90


04

a re-imagained waterfront The north side of Varosha’s beachfront is slowly being eroded. It is thought that the reason is because the buildings were built so close to the shore with no regard for erosion. This same issue seems to be the cause for the poor building condition. To combat this, we’ve employed setbacks as well as other erosion resistant installations along the shore. .

01

preliminary waterfront sketch

• exploring water line setbacks and conditions between the buildings and the shore

02

preliminary water front plan view

• vehicular and pedestrian movement along water front while maintaining a set back

03

section

• connectivity between the built environment and the waterfront

04

waterfront & boardwalk

• isolation from the built up environment but not undeveloped allowing for a variety of activities from sun bathing to local markets

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01 02 03

92

04


social importance The main pedestrian thoroughfare in the northern urban center, just south of the walled city is activated via two significant anchors, the main public square and the pier/convention center. This “dog bone� condition is ideal bringing life this area. Along the path would be a series of public spaces or businesses stimulating the economic wellbeing of the area as well as influence communal interaction.

far left_ night gathering infront of a gallery / exhibition event images_ 01_overhead view of museum 02_a view down the main pedestrian thoroughfare 03_a view looking toward the entrance of the museum 04_public open space right_ a portion of the main pedestrian path exhibiting various condition. vehicular crossing, museums, lodging and educational structures

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the overall scheme legend 1

open natural preservation / public park

2

trail

3

re-purposed industrial dock yards to cater to

commercial and touristic activities 4

port re-worked to allow for small craft

recreational marinas local storage with both dry and wet slips. 5

though the port has small marinas integrated, it

still allows for larger ships to dock. 6

old walled Famagusta

7

open public parks and green spaces

8

new cultural and civic hubs

9

greenway public path

10

public water front

11

local permacultural farming

12

existing agricultural use

13

demolition and ruble reuse features (reefs and

water retention) 14

0

1/8

1/4

green line hiking trail

1/2

north scale (miles)

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critical systems isolated

01

public paths & places

• marina / port • main plaza • civic event and gathering • arts • education • waterfront

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01


02

02

permaculture & eco-tourism

03

04

• natural preservation • open green space • multi-purposed green space • local agriculture

03

building use

residential com./ res. mixed use commercial institutional religious | public | educational | municipal | health

tourism existing existing institutional transportation

04

transit

pedestrian public pathways and trails transit electric rapid transit (ERT) local routes with in Famagusta connections routes between cities and villages roads primary seconday primary road with ERT

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phases of development

01

urban core development

• defingin parks and public spaces • introduction of permacultural areas

02 03 04 05 06 07

major, local transit routes

and

connective,

developing connective green paths

public

defining areas of local agriculture and permacultural importance areas of interest

ecologically and value

touristic

waterfront development

the walled city, Old Famagusta

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01

02

03


04

05

06

07

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ideas of sustainability

01 02

parks preservation connective greenway trail

• defining parks and public spaces • introduction of permacultural areas

a

03

agriculture permaculture

• Permacultural farms and crops distributed through out Varosha. • Kitchen farms and cooperative (community) farms that sustain the inhabitants

b

• Existing farms

04

demolition reuse

• Utilizing the demolition material from damaged structures to create: • Berms and landscape build up for rain water control and capture • Landscape features inviting new wild life habitat creation and • eco tourism areas of interest

image; this page_ a_ eco-tourism_camping, hiking, etc. b_artifical reef c_urban agriculture_roof garden

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c


01

02

03

04

101 10 01 0 1


10 102 10 02 2


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visual programing Parametrics can be loosely likened to the idea that all things are connected and modifying the parameters of one object directly, or indirectly, affect another. This is the basis for building information modeling software like Revit or Archibald and has quickly gained a foot hold as a modeling standard for many firms. What you see on this page is my first attempt at visual coding. It is a digital representation of sweet gum seed. It was modeled in Grasshopper, a parametric application / plug in used with in the Rhinoceros environment. It relies on visual coding to achieve the desired result. The organic nature of the final result was achieved using a parametric equation for a sphere, provide on Wolfram Alpha, that allowed me to populate x number of points in space in the form of a sphere. I then used those points to create directional vectors that would give me working planes that are oriented to what is essentially the tangent to the surface of the sphere. I then took the shape of the opening and oriented them to the openings. The major parameters involved are the size of the sphere, the number of points and the sphere domain (0 to 2Ď€)

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DF

generative mathmatical design applications

DIGITAL EXPLORATION


understanding mechanical connections & structure Upon understanding and practically applying the use of visual coding in several projects, I found it is also useful for testing and simulation. Though this project may not appear to be a typical digital fabrication project, it utilizes digital means for the design and production of the final artifact. The object is meant to be impermanent, not parasitic, but symbiotic to a structure in need. Whether on an abandoned building or need for emergency shelter, it is a light weight segmented tensile skin structure that can attach itself to virtually anything. This is theoretically achieved with a high stress tensile skin pulling on the linked members cause it to close tightly on to any structure. Iterations of the design were worked out with a sharpie marker on trace paper then taken to Grasshopper. I utilized standard geometric relationships and trigonometry to create a smart model with lengths and angle controlled by parameters. This allowed me the freedom to adjust proportion and test range of motion (see series of image to the left).

106 06


1 107


interactive sketching This is part of a study on interactive architectural elements. It utilizes a series or rudimentary servomotors and a micro processing board to control the skin of 2’x8’ panel. The servomotors were created using a 18v high speed hobby motor gear down for torque. The gears move a pulley that would pull on the surface of the panel when activated by sound in front of the panel. Though ultimately a failure from faulty power distribution, this project introduced the importance of physical mechanics (gears, pulleys, and linkages), electronics, and programming in architectural applications. The sound sensor would send a signal to the microprocessor (Arduino) which would in turn activate the motors pulling the surface. When the motor pulled a specified distance, it would hit is switch that would stop the motion and pause the machine before sending the surface back to its original resting position. This was a group effort involving: • Daniel Leal • Jay Powell • Toan Tran

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a

b

c

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de sk top

cnc

router

As a companion to Mark Weston’s digital fabrication workshop on building CNC machines, I was inspired and took on study of open source hardware and technologies pertaining to digital fabrication. Without knowing much about CNC machines or how they functioned, I found an endless amount of support via the internet. The design I ended with is inspired by and based on about 3-4 various open source projects and hours of message boards. The machine is designed using relatively cheap components if you know where to look for them. It is controlled using open source g-code senders (universal g-code sender). G-code is the machines command code. The g-code interpreting software (grbl), flashed onto the microcontroller is also open source. The one downside to using all open source is writing the g-code. Upon researching, I found that CAM software to create tool paths for 3d models can be quite costly. To circumvent the spending I resorted to creating tool paths utilizing the Grasshopper plug-in for Rhino. This allows me the freedom to not only create tool paths and their corresponding code, but I was able to design the tool paths so they weren’t just back forth, rather it allowed the freedom to create texture as well as carve out the final product.

top left_ plan view | scale: 1-1/2” = 1’ bottom left_ side elevation view | scale: 1-1/2” = 1’

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111

DF

an idenpendant study of cnc technology

DESKTOP FABRICATION


c omp one nts e l e ctroni cs 24V DC power supply

&

L N ground VVV+ V+

01 _ micro-controller: ardiuno uno r3 02 _ motor controller:sythetos g-sheild v5 03 _ motors: nema 1.7 stepper motor (x3) 04 _ power supply: 24v dc (for motor control) 05 _ limit / homing switches 06 _ 12v dc cooling fan for housing 07 _ spindle: dremel 08 _ spindle control

housi ng

120VAC in

12v voltage regulator

limit / homing

09 _ 1/8” lasercut birch housing containting the power supply and motor controllers. The perferations on the box are meant for cooling, which is supplied by an oversizes 12V DC computer fan. • inputs:

120V AC USB

M

cooling fan

limit / homing • Outputs:

X-axis motor Y-axis motor Z-axis motor empty motor connection

• Future connections: spindle relay for spindle control spindle speed control USB in

relay for dust collection

g-Sheild + Arduino

(-) (+)

to stepper motors

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z

Y

X


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me cha nics 01 _ locomotion: acme lead screws (3/8” x 12) 02 _ guides: bronze sleeve bearings on 3/8” steel rods 03 _ shaft couplings: 3/8” to 5mm 04 _ ball bearings 05 _ bronze thrust bearings 06 _ shaft collars (keep rods and screws in place)

02

01

03 114

04

01 02 03 04 05

manual gantry adjustment.

carriage, rail and sleeve bearing

carriage rail termination into wood frame. limit switch to stop carriage from hitting termination. z-axis motor and mount assembly. motor attached to lead screw with shaft couplings overall view of gantry with dremel in place


05

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T ha n k speci a l m y

thanks

professors Robyn

y ou

and

to: mentors

Galbraith

Brian Giancar lo

Watts S antillan

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02_Advanced Design Portfolio