de s i g n
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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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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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
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USF + SACD _ advanced design portfolio
00 introduction............. ....................................................................................4
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 â€œbi-communalâ€? 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
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
digital realm. Conversely the sketch itself can hold
â€œArchitecture as a political act,â€? 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
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
to the people that could actually use it? Do I dictate
Though in some cases my designs have faltered due to my digital investigations, itâ€™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
contain similar characteristics as it applies to popular significance.
It is my experience over the past few years that
These design based philosophies and ideologies
building, a dwelling, or a shelter. Architecture is now
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
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.”
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)
a mystery novel publshing house
a n d
o rd er
g en eral s i te in fo r mati o n address:
Southern 1/3 of 211 N. Tampa St Tampa FL
3911 FULL SERV A (Hotel)
plat book / page: 1/7 neighborhood:
505001.00 | Ybor City / East Seminole Heights Area
4Z1 | Tampa General Map of
ne i g h bo ri n g
build ing s
1. Wells Fargo Center
2. 100 N Tampa
3. Bank of America Plaza
5. One Tampa City Center
6. Fort Brooke Parking Garage
60’ 2523 Spaces
unrav e l i ng
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.
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 _ CEOâ€™s office 12 _ Roof Garden
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
01 _ gallery space 02 _ caterers kitchen 03 _ reference library 04 _ sec. / controllerâ€™s office 05 _ restoom 06 _ mechanical room 07 _ warehouse below 08 _ garden below
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
13 3 9
PUBLIC ACCESS / GARDENS
0 4 8
i nte r i or
• second floor gallery / multi-function space • catering cafe • balcony from administrative • access from main vertical circulation and reference library located on second floor
west / east section cut
a _ garden b _ shop c _ gallery d _ assembly / auditorium e _ offices
b 0 4 8
e xte r i or
south / north section cut
a _ garden b _ warehouse c _ auditorium / assembly d _ offices
0 4 8 scale (ft)
e xte r i or
preilminary southern elevation
below: programmatic, compositional, southern elevation studies.
south east perspective
from whiting and franklin st
an exhibition of the incomplete
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
Gross Sq Ft / Floor Lvl
4191 SF Total SF
Building Elevation x’-x” Above MSL BFE
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)
New 4 Story 65â€™ Tall Concrete Structure
Secondary Museum Entry
To Fort Brooke Parking Garage
Franklin Fran an nk St
Whiting W Wh hit itin itin ng St S
d ev e l o p i ng p a th
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 â€œbroken craft.â€?
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)
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
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.
PUBLIC ACCESS / GARDENS
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
11 10 7 8
0 4 8
interio r f
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
hierarchy to place.
west / east section
a _ main entrance b _ administrative c _ gallery d _ exhibition e _ main circulation f _ leased office space
0 4 8
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, Iâ€™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.
w a l l @
se cti o n
gal l e r y
overall wall detail
• from second floor plate down to gallery curtain wall glazing and structure
• 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
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 3â€? panels.
exterior panel assembly
a _ precast panel b _ embedded mounting plate c _ panel to panel connection and spacer d _ vertical structural support
typical exterior wall assembly
north perspective from Hilton / Franklin St
• Hannah Boehmer • Brett Freeman • Chris Galbraith • Daniel Houghton • Nina Reali
2013 summer series: london legacies
dpu_summerLab the bartlett
enterprises, while enabling their capacity for creativity,
These spaces often sit empty for a span of time after
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
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
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
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
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 â€˜venue crawlâ€™ 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
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
MICRO ENTERPRISE ENTER COAL COALITION
A SMALL BU BUSINESS CO-OP
alleyway infill market place. can be either temporary or permanent and can act as an advertisment of the businesss.
urban open space occupation utilizing open space up property create an oportunity to work.
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.
sustaining hackneyâ€™s i d e n t i t y
Flexibility Economic growth [larger tax base]
Happier residents and businesses.
Promoting / Marketing Validation
Crate Brew&Pizza The White Building
MICRO-BUSINESS + HACKNEY COUNCIL + DEVELOPERS
Summit Gallery Mother Studios Existing
Truman Brewery Land Ownership Share Available Properties
Foreman&Son DEVELOPERS VISIBILITY
Create a balanced relationship with the community.
POP - UPS
Industrial Estates Intervention
PROMOTING GROWTH, AWARNESS OF LOCAL BUSINESSE,S AND THE ARTISTIC COMMUNITY.
MICRO ENTERPRISE COALITION
Markets Empty Parking Lots In-Between Spaces
A SMALL BUSINESS CO-OP
01 02 03 04
months to years
sustaining local identity
01 Stratford City (shopping mall)
Queen Elizabeth Olympic Park (Olympic Stadium & London Aquatics Centre)
Stratford Station (Underground, Overground, DLR, & bus services )
03 0 north (ft)
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 parkâ€Ś 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 communityâ€™s intangible needs and social values e.g. arts, music, and other sub cultures.
conceptualizing social capital The program for this project is a 300+ ft. tall residential tower. The towerâ€™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.
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
04 53 53
ground level public / commercial
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
second floor plan commercial
h _ commercial / studio i _ resident use / dinning / private event space
a progression of plans illustrating thoughts of alignment, site lines and division of site and massing based on programatic means.
0 north (ft)
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
fourth floor plan residential
a _ typical residential floor plan
eight floorplan residential / 3rd space
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
0 north (ft)
02 01 02
public entrance into tower
overall from stratford station bus terminal
commercial / 3rd space southside looking to exterior public space and studio front
02 01 02 03 60
view from east of the tower
view from west of the tower near queen elizabeth olympic park overall aerial
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.
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)
Great er Fama g us ta
Old Walled Famagusta
DMZ D yni Der yniea e
Paralimni British DMZ
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
objec t i v e s
Use modern ideal sustainable practices and permacultural theory to produce a working example of an “Eco City”
The greenways potentially introduce value to property around them taking focus off of the shore.
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
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.
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.
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.
• 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.
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
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.
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.
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 itâ€™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.
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. Whatâ€™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 cityâ€™s skyline was taller dominated by wealth and large towers.
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
found object study
• major pedestrian thoroughfare in densest urban core.
massing the density
• a less conceptual, loose study of density.
exploring the in-between
• abstract overlay of various public spaces and their connections.
developing a new urban density
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.
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.
â€˘ major pedestrian thoroughfare in densest urban core.
â€˘ pedestrian path within a typical residential block.
museum main street
â€˘ 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.
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
Pedestrian / Bicycle
Two way traffic + Dedicated, Protedted Bicycle Lane
single lane one way traffic
Below grade parking
Pedestrian / Bicycle
Pedestrian / Bicycle
Pedestrian / Bicycle
single lane one way traffic 0 north
defining the block
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.
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
• 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.
• courtyard, common space • these larger courtyard spaces occurring at the heart of each block constitute the center of each neighborhood.
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
developing a secondary density
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.
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. .
preliminary waterfront sketch
• exploring water line setbacks and conditions between the buildings and the shore
preliminary water front plan view
• vehicular and pedestrian movement along water front while maintaining a set back
• connectivity between the built environment and the waterfront
waterfront & boardwalk
• isolation from the built up environment but not undeveloped allowing for a variety of activities from sun bathing to local markets
01 02 03
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 â€œdog boneâ€? 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
the overall scheme legend 1
open natural preservation / public park
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
open public parks and green spaces
new cultural and civic hubs
greenway public path
public water front
local permacultural farming
existing agricultural use
demolition and ruble reuse features (reefs and
water retention) 14
green line hiking trail
north scale (miles)
critical systems isolated
public paths & places
• marina / port • main plaza • civic event and gathering • arts • education • waterfront
permaculture & eco-tourism
• natural preservation • open green space • multi-purposed green space • local agriculture
residential com./ res. mixed use commercial institutional religious | public | educational | municipal | health
tourism existing existing institutional transportation
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
phases of development
urban core development
â€˘ defingin parks and public spaces â€˘ introduction of permacultural areas
02 03 04 05 06 07
major, local transit routes
developing connective green paths
defining areas of local agriculture and permacultural importance areas of interest
ecologically and value
the walled city, Old Famagusta
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ideas of sustainability
parks preservation connective greenway trail
• defining parks and public spaces • introduction of permacultural areas
• Permacultural farms and crops distributed through out Varosha. • Kitchen farms and cooperative (community) farms that sustain the inhabitants
• Existing farms
• 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
101 10 01 0 1
10 102 10 02 2
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€)
generative mathmatical design applications
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).
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
de sk top
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’
an idenpendant study of cnc technology
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
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
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
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)
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
T ha n k speci a l m y
Brian Giancar lo
Watts S antillan
Published on Aug 21, 2014
A collection of architectural explorations between January 2013 and August 2014. University of South Florida School of Architecture and Com...