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TABLE OF CONTENT

PHASE I PHASE II PHASE III PHASE IV PHASE IV PHASE IV

PROPOSAL

“ LA CRISIS” PROJECT HAS THE MAIN GOAL OF RECOVERING AND RECONSTRUCTING THE CULTURAL AND ARTISTIC NATURE OF THE VENEZUELANS. THE ACTUAL ECONOMICAL, HUMANITARIAN AND MORALISTIC CRISIS IN VENEZUELAN HAS LED OUR CULTURE TO THE DECADENCE OF ARTISTIC OPPORTUNITIES IN VENEZUELA. THE PROJECT HAS THE CHALLENGE OF COVERING ALL THE BASIC TOOLS AND NECESSITIES OF EMERGING ARTIST IN VENEZUELA. THAT ARE THE STARTING ENGINE FOR THE RECONSTRUCTION OR ART IN VENEZUELA. THIS PROJECT WILL BE LOCATED IN THE CAPITAL OF VENEZUELA, CARACAS. THE BUILDING IS CURRENTLY A BANK LOCATED IN A VERY COMMERCIAL AND BUSY AREA. THE PROGRAM WILL COMPROMISE THE FIRST FOUR FLOORS. IT WILL CONSIST IN THREE DIFFERENT PROGRAMS WORKSPACES, RETAIL AND EXHIBITION AREAS. THIS UNIQUE PROJECT WILL GIVE THE ARTISTS THE OPPORTUNITY TO EMERGE AS PROFESSIONALS.

GOAL

TO EDUCATE THE VENEZUELAN POPULATION ABOUT ART AND ENCOURAGE ART LOVERS TO PURSUE THEIR DREAMS.

I WORK ON MY ARTISTIC ASSIGNMENTS FROM HOME

I NEVER HEAR LIVE MUSIC.

FOOD AND MUSIC UNIFIES OUR CULTURE THE MOST RECOGNIZED VENEZUELAN ARTIST ARE OUTSIDE VENEZUELA VENEZUELA’S GOVERNMENT DO NOT SUPPORT ART LACK OF OPPORTUNITIES

VENEZUELA’S GOVERNMENT DO NOT SUPPORT ART

5 YEARS FROM NOW i SEE MYSELF OUTSIDE OF VENEZUELA

ART INSTITUTE INTERVIEW

1. WHAT’S YOUR FAVORITE VENEZUELAN DESIGNER? SHE HAD TO RESEARCH BEFORE ANSWERING THE QUESTION. HER ANSWER WAS: ANDREA GOMEZ, MARITAL ESCOBAR AND JOSE ANTONIO ARAJUO 2. WHERE DO YOU WORK WHEN IT’S TIME TO WORK? AT HOME 3.WHERE DO YOU SEE YOURSELF IN FIVE YEARS? IN MADRID OR MEXICO. I WAN TO HAVE MY OWN FIRM, SHE DOESN’T SEE HERSELF WORKING IN VENEZUELA. 4.WHAT DO YOU THINK ABOUT YOUR BUILDING INSTALLATIONS? WHATS MISSING? THE ART INSTITUTE HAS A REALLY GOOD PROGRAM.THE INSTITUTE IS IN REALLY BAD CONDITIONS. THE AESTHETICS AND INSTALLATIONS ARE BAD. WE DON’T HAVE AFTER SCHOOL AREAS TO WORK. WOULD LIKE A COMMON AREA TO RELATE WITH OTHERS. 5. HOW DO YOU THINK YOUR GENERATION RESPONDS TO ART? SHE THINKS THEY HAVE A REALLY GOOD LEVEL AND THAT WE CARE FOR AESTHETICS. 6.DO YOU THINK OUR GOVERNMENT SUPPORTS ART? SHE ANSWERS NO AND EXPLAINS THAT THATS ONE OF THE REASON SHE WANTS TO WORK OUTSIDE VENEZUELA. 7.WOULD YOU LIKE A PLACE TO WORK AFTER SCHOOL? YES, SHE WOULD LOVE A PLACE WERE SHE COULD WORK AND DEVELOP HER IDEAS. A POINT OF ENCOUNTER FOR DIFFERENT DISCIPLINES.

VENEZUELA WAS KNOWN AS ONE OF THE RICHEST COUNTRIES IN THE WORLD IN TERMS OF GOODS, BEAUTIFUL WOMEN, LANDS,OIL AND CULTURE. SO WHAT HAPPENED? WHAT HAPPENED WITH ALL THE ART, HAPPINESS AND SENSE OF SECURITY OF THE VENEZUELAN?

THE CURRENT SITUATION OF VENEZUELA IS CHAOTIC. IN ALL THE LEVEL: -HUMANITARIAN -CULTURAL -ECONOMIC -PROFESSIONAL -MORAL -RELIGIOUS

PROBLEM CORRUPTED GOVERNMENT STEALS FROM THE STATE AND GOODS OF THE COUNTRY. THE STATE IS IN CHARGE OF THE MAINTENANCE AND CREATION OF THEATERS, MUSEUMS AND CULTURAL CENTERS. GOVERNMENT CONTROLS ART AND PROPAGANDA ALL OVER THE COUNTRY.

CONSEQUENCE DISAPPEARANCE OF MUSEUMS, THEATERS AND CULTURAL CENTERS. THE CURRENT VENEZUELAN ART AND DESIGN LACK OF VOICE AND SELF EXPRESSION.

SOLUTION PROMOTE VENEZUELAN ART THROUGH ART EXHIBITIONS AND EVENTS. PROMOTE SELF EXPRESSION AND FREEDOM.

PROBLEM THE CURRENT SITUATION OF CRISIS, LACK OF HUMAN RIGHTS, HUNGER AND POVERTY DO NOT LEAVE SPACE FOR OUR CULTURAL OBLIGATION.

CONSEQUENCE MOST OF THE VENEZUELAN ARTIST THAT ARE CONSIDERED “SUCCESSFUL” ARE RECOGNIZE OUTSIDE OF VENEZUELA. LACK OF OPPORTUNITIES

SOLUTION PROVIDE SPACES FOR YOUNG ARTISTS THAT ARE FULLY EQUIPPED WITH ALL THE TOOLS AND TECHNOLOGY. GIVE A SENSE OF HOPE AND THE OPPORTUNITY FOR THEM TO GROW AS PROFESSIONALS.

USERS

PEOPLE BETWEEN 20 AND 26 YEARS OLD. LOVES ART AND WANT TO BE SUCCESSFUL ON THEIR PASSION.

PEOPLE BETWEEN 16 AND 20 YEARS OLD. THAT ARE INTERESTED IN ART AND ARE ECONOMICALLY STABLE.

PEOPLE BETWEEN 30 AND 35 YEARS OLD. THAT ARE INTERESTED IN ART AND ARE STARTING A FAMILY.

PEOPLE BETWEEN 16 AND 20 YEARS OLD. THAT ARE INTERESTED IN ART AND ARE NOT ECONOMICALLY STABLE.

2. PHASE II OVERVIEW

1. WHAT DO YOU THINK A PROPER ART CLASSROOM SHOULD HAVE? I use the same resources and techniques from back when I was a Venezuelan art teacher. 2.WHAT IS A MUST IN A PROPER ARTISTIC EDUCATION? Art History and a proper knowledge instinctual artistic designer and painters. 3.WHAT FACILITATES YOUR TEACHING METHODS? The interest of my students and the passion. Most of my students are Hispanics. 4.DO YOU THINK THAT THE SCHOOL AND OVERALL CULTURE SUPPORTS ART? She has her own school and back in Venezuela too 5.WHAT DO YOU THINK ABOUT THE NEXT ARTISTIC GENERATION? I think it is hopeless the only way that the talent can revive is when all the professionals return to the country. 6.WHAT WOULD MAKE OUR CULTURE MORE COMPLEX? The only way is to incentive the art students to research and express themselves. 7.WHAT DO YOU THINK THAT UNIFIES OUR CULTURE? Mainly food and music. The warmth of the Venezuelan and our personality

INTERVIEWS

LUCY SAENZ

INTERVIEWS

MARIA ALEJANDRA LOPEZ 1. WHAT DO YOU THINK A PROPER ART CLASSROOM SHOULD HAVE? A proper art classroom should have: a proper illumination, long tables, a sink, cutting tables, light Tables and classic materials such as: pencils, scissors, among others. 2.WHAT IS A MUST IN A PROPER ARTISTIC EDUCATION? Art education is very important. It helps you handle the basic elements of expression. It helps you explore your surroundings and mind 3.WHAT FACILITATES YOUR TEACHING METHODS? Basic tools such as: wifi, video bims and materials to give examples of the techniques 4.DO YOU THINK THAT THE SCHOOL AND OVERALL CULTURE SUPPORTS ART? The culture do support art, the government uses it to educate the generations about socialism 5.WHAT DO YOU THINK ABOUT THE NEXT ARTISTIC GENERATION? It’s something that worries me. We don’t have access to museums or cultural centers. I think that is a generation that will be seen through social media 6.WHAT WOULD MAKE OUR CULTURE MORE COMPLEX? A better economic administration and the creation of new cultural centers for all kinds of people to awake the interest of the youth.

THE 100% OF STUDENTS BETWEEN 16 AND 20 YEARS EDUCATE THEMSELVES ABOUT CULTURAL EVENTS ON THE INTERNET. THE 86% OF THE STUDENTS THINK THAT THE GOVERNMENT DO NOT SUPPORT ART.ALTHOUGHT SOME PEOPLE THINKS IT DOES BECAUSE OF THE EMBELLISHMENT PROGRAM. THE 80% OF THE STUDENTS LIKE THEATER PLAYS. THE 60% OF THE STUDENTS PRACTICE SOMETHING RELATED WITH ART AFTER SCHOOL. STUDENTS BETWEEN 18 AND 20 YEARS OLD DO NOT PARTICIPATE IN ANY CULTURAL EVENT. THERE ARE NO CULTURAL EVENTS IN VENEZUELA THIS GOES BACK TO MARIA ALEJANDRAâ€™S INTERVIEW. THE HALF OF THE STUDENTS WANT TO STUDY SOMETHING RELATED WITH ART AFTER GRADUATING. OF THE STUDENTS DO NOT HEAR LIVE MUSIC. OF THE STUDENTS DO NOT SUPPORT THE EMBELLISHMENT PRO-

GENERAL ANSWER FOR: WHAT IS DESIGN?

DESIGN IS A WAY TO EXPRESS YOURSELF. TO BE TRUE TO YOURSELF AND YOUR BELIEFS. DESIGN IS TO BE ABLE TO PUT YOUR THOUGHTS, DREAMS AND DESIRE AND TRANSFORM THEM INTO REALITY YOUR OWN REALITY.

ART INSTITUTE STUDENTS 1. WHAT IS MISSING IN YOUR BUILDING? INTERNET CONNECTION, COMPUTER LABS,COMMON SPACE AREAS, BREAK ROOM,CAFETERIA, PRINTING LAB AND CUTTING TABLES. 2. WHERE DO YOU SEE YOURSELF IN 5 YEARS? THE 70% OF THE STUDENTS ANSWER OUTSIDE VENEZUELA 3. WHERE DO YOU WORK WHEN IT’S TIME TO DESIGN? HOME. KITCHEN. 4. WHO’S YOUR FAVORITE DESIGNER? 80% OF THE ANSWER WERE INTERNATIONAL DESIGNERS

ART INSTITUTE INTERVIEW 1. WHAT’S YOUR FAVORITE VENEZUELAN DESIGNER? SHE HAD TO RESEARCH BEFORE ANSWERING THE QUESTION. HER ANSWER WAS: ANDREA GOMEZ, MARITAL ESCOBAR AND JOSE ANTONIO ARAJUO 2. WHERE DO YOU WORK WHEN IT’S TIME TO WORK? AT HOME 3.WHERE DO YOU SEE YOURSELF IN FIVE YEARS? IN MADRID OR MEXICO. I WAN TO HAVE MY OWN FIRM, SHE DOESN’T SEE HERSELF WORKING IN VENEZUELA. 4.WHAT DO YOU THINK ABOUT YOUR BUILDING INSTALLATIONS? WHATS MISSING? THE ART INSTITUTE HAS A REALLY GOOD PROGRAM. THE INSTITUTE IS IN REALLY BAD CONDITIONS. THE AESTHETICS AND INSTALLATIONS ARE BAD. WE DON’T HAVE AFTER SCHOOL AREAS TO WORK. WOULD LIKE A COMMON AREA TO RELATE WITH OTHERS. 5. HOW DO YOU THINK YOUR GENERATION RESPONDS TO ART? SHE THINKS THEY HAVE A REALLY GOOD LEVEL AND THAT WE CARE FOR AESTHETICS. 6.DO YOU THINK OUR GOVERNMENT SUPPORTS ART? SHE ANSWERS NO AND EXPLAINS THAT THATS ONE OF THE REASON SHE WANTS TO WORK OUTSIDE VENEZUELA. 7.WOULD YOU LIKE A PLACE TO WORK AFTER SCHOOL? YES, SHE WOULD LOVE A PLACE WERE SHE COULD WORK AND DEVELOP HER IDEAS. A POINT OF ENCOUNTER FOR DIFFERENT DISCIPLINES.

USERS.

SHE IS FULL OF OPPORTUNITIES. LIVES IN A NICE NEIGHBORHOOD AND HAS ACCESS TO ART MATERIALS AND PROFESSORS

ART INSTITUTE STUDENTS

SHE IS AN ARTIST. HER ONE TRUE LOVE IS ART. SHE IS SEARCHING FOR OPPORTUNITIES OUTSIDE VENEZUELA BECAUSE OF THE LACK OF OPPORTUNITIES

3. STUDENTS BETWEEN 1520 YEARS OLD WITH FINANCIAL PROBLEMS

HE IS AN HIGH SCHOOL STUDENTS. HE DOESNâ€™T KNOW WHEN HE IS GOING TO EAT AGAIN. LOVES ART AND EXPRESSES HIMSELF THROUGH GRAFITIS

HE IS A PREPARED PROFESSIONAL THAT IS STARTING A FAMILY. HE IS REALLY INTERESTED IN ART. ENJOYS OPEN AND SOCIAL SPACES.

4. ART DEDICATED PROFESSIONAL STARTING A FAMILY

3. PHASE III OVERVIEW

PROGRAMMING LIST OF SPACES CONSIDERING THE USERâ€™S NEEDS:

-EXHIBITION SPACE - RESTAURANT - ART SUPPLY STORE - ART WORK SPACES -STORAGES -LIBRARY -COMMON SPACES

-WOMEN BATHROOM -MEN BATHROOM -CONFERENCE ROOMS -OFFICE -PRINTING OFFICE + CUTTING TABLE -BREAK ROOM

SPACES AND ACTIVITIES: 1.EXHIBITION SPACE: THIS SPACE IS NOT GOING TO BE OCCUPIED EVERYDAY (TAKING INTO CONSIDERATION THE INTEREST OF THE VENEZUELAN IN ART) ALTHOUGH THIS SPACE CAN BE ACTIVATED BY OFFERING DIFFERENT ACTIVITIES IN ORDER TO CALL THE ATTENTION OF MORE PEOPLE. THIS SPACE NEED A LOT OF ATTENTION AND DETAIL IN TERMS OF LIGHTING AND MOVABLE WALL PARTITION .HIGH CEILINGS CAN BE HELPFUL FOR BIG INSTALLATIONS (THIS SPACE MUST BE PLACED ON THE FIRST FLOOR) . THE EXHIBITION SPACE MUST BE OPEN TO EVERY KIND OF PEOPLE AND THE FUNDS COLLECTED BY THE EXHIBITIONS COULD HELP MAINTAIN THE CULTURAL CENTER GOAL: SPACE WELL EQUIPPED FOR ALL KIND OF EXHIBITIONS. 3.STORAGES: THESE MUST BE LOCATED NEAR THE EXHIBITION SPACE AND WORK SPACES. THEY MUST BE EQUIPPED TO STORE MODELS, PAINTINGS AND PROJECTS OF MANY OTHER DISCIPLINES. THE STORAGE MUST HAVE A HIGH LEVEL OF HUMIDITY AND HEAT RESISTANCE. THEY MUST BE LOCATED NEAR THE EXHIBITION SPACE AND STUDIO /WORKSPACES.

4. ART STORE AND LIBRARY: THIS IS GOING TO BE A PUBLIC SPACE. ALTHOUGH WE MUST TAKE INTO CONSIDERATION A PRIVATE SPACE NEAR IT FOR THE STUDENTS. THIS IS GOING TO PROVIDE AN “INSPIRATIONAL PLACE” FOR THE STUDENTS WERE THEY CAN SOCIALIZE AND BE ABLE TO SKETCH AND BE INSPIRED BY THEIR SURROUNDINGS. THIS IS GOING TO BE A HEALTHY AND ARTISTIC ENVIRONMENT. ART STUDENTS WOULD BE ABLE TO RESEARCH AND DEVELOP THEIR PROJECTS IN THIS SPACE IF THEY CHOOSE TO DO SO. THIS SPACE WILL REQUIRE ORGANIZED SHELVINGS, STUDY TABLES AND PAYMENT STATIONS (TAKING INTO CONSIDERATION THE VENEZUELAN CULTURE). GOALS: HEALTHY WORK ENVIRONMENT, SOCIAL AND INSPIRATIONAL SPACE. 5.PRINTING STATION: THIS SPACE IS GOING TO BE COMPLETELY DEDICATED FOR TECH MATTERS. PRINTING AND DIGITAL DESIGN. COMPUTERS WILL BE PROVIDED WITH A HIGHLY EFFICIENT WIFI . ALL THE PROGRAMS WILL BE SPONSORED BY THE CULTURAL CENTER FOR THE MEMBERS OF THE ART STUDIO. COMPUTERS WILL BE RENTED A DAY BEFORE. A CUTTING TABLE WILL BE PROVIDED IN ORDER TO CUT THE PROJECTS AFTER PRINTING. LONG TABLES WITH MAC COMPUTER WILL BE PROVIDED .THE NEED OF FURNITURE AND EQUIPMENT WILL IMPACT THE SIZE AND FUNCTIONS. GOAL: ACHIEVE INTERNET EFFICIENCY AND CREATE A FUNCTIONAL/COMFORTABLE SPACE. 6.WORK SPACES: THIS SPACE IS GOING TO BE OVER UTILIZED BY THE ART STUDENTS, SO, THIS MUST BE QUIPPED WITH “ALL NIGHTERS MUSTS”. SUCH AS: VENDING MACHINES AND HEALTHY SNACKS. THEY NEED TO BE LOCATED WITH A REALLY CLOSE BATHROOM. THE SPACE WILL NEED: DESKS WITH STORAGING AND COMFORTABLE CHAIRS. THIS SPACE MUST BE REALLY BIG. PREFERABLY LOCATED IN A PRIVATE SPACE WITH SOUND CONTROL.

SPACES AND ACTIVITIES: 7.COMMON SPACE: THIS SPACE IS COMPLETELY DEDICATED FOR THE ART STUDENTS. THE PURPOSE OF THE COMMON SPACE AREAS IS TO FULFILL THE DESIRE OF THE ART STUDENTS TO BE ABLE TO WORK AND COLLABORATE WITH DIFFERENT DISCIPLINES. THIS IS AN “INFORMAL CONFERENCE ROOM” WHERE STUDENTS CAN WORK TOGETHER AND SHARE IDEAS. THE COMMON AREA WILL BE AN ANNEX OF THE WORKSPACE STATIONS. THE COMMON SPACE WILL PROBABLY SHARE THE SPACE OF THE WORK STUDIO. THIS SPACE WILL REQUIRE FUN AND MOVABLE FURNITURE. 8. BREAK ROOM: THIS SPACE WILL BE LOCATED IN A PRIVATE SPACE NEAR THE WORK SPACE AREA. THE MAIN PURPOSE OF THIS ROOM IS TO PROVIDE HEAD SPACE FOR THE ART STUDENTS. THIS PLACE IS GOING TO BE A FRESH AND FUN ENVIRONMENT WHERE THE STUDENTS CAN SOCIALIZE AND MAYBE HAVE A SNACK BEFORE GOING TO STRAIGHT TO WORK AGAIN. PLOT TWIST: WHAT IF THE BREAK ROOM IS LOCATED IN THE PUBLIC SPACE OF THE BUILDING?

9. CONFERENCE ROOMS: THIS CULTURAL CENTER WILL ALLOW ARTIST TO GROW AS PROFESSIONALS AND AS A PERSON. THE PURPOSE OF THIS CONFERENCE ROOMS IS FOR THE ARTIST TO BE ABLE TO MEET CLIENTS AND POSSIBLE BUYERS. IN THIS SPACE THEY CAN HAVE INTERVIEWER AND EXPLORE THEIR OPPORTUNITIES. THIS SPACE MUST BE RENTED THE DAY BEFORE. THIS SPACE WILL REQUIRE ATTENTION TO THE NOISE CONTROL AND AESTHETICS. A LONG TABLE, Comfortable CHAIRS AND A TV WILL BE REQUIRED. THIS SPACE CANâ€™T BE USE FOR INFORMAL MEETINGS.

10. RESTAURANT: FOOD UNIFIES OUR CULTURE! SO THIS CULTURAL CENTER WILL INCORPORATE FOOD INTO ITS PROGRAM. THIS IS GOING TO BE A SMALL RESTAURANT WITH GOURMET AND MINIMALIST TRADITIONAL VENEZUELAN FOOD. THE RESTAURANT WILL CELEBRATE THE VENEZUELAN CULTURE. LIVE MUSIC WILL BE AVAILABLE DURING THE DAY, WHERE YOUNG ARTIST WILL HAVE THE CHANCE TO PROVE THEMSELVES TO THE PUBLIC. THIS SPACE WILL BE PART OF THE PUBLIC AREA AND WILL BE OPENED FOR EVERYONE.

POPULATION: VENEZUELA: 32.529.126 DISTRITO CAPITAL: 3,000,000 CARACAS: 1,943,901

JUGUETELANDIA

HISTORY THIS WAS THE PREVIOUS LOCATION OF A VERY SUCCESSFUL AND VERY KNOWN TOY STORE IN CARACAS. THIS TOY STORE WAS THE CHILDHOOD OF EVERY VENEZUELAN. THE COMPANY WAS ALSO A VICTIM OF SOCIALISM AND CONSUMPTION. REMEMBER VENEZUELA’S GOVERNMENT DO NOT SUPPORT PRIVATE INSTITUTIONS. THE IMPORTANCE AND NOSTALGIA OF THIS TOY STORE IS SUCH THAT THE ARCHITECTS AND DESIGNERS OF THIS NEW BUILDING NAMED THE PROJECT “JUGUETELANDIA” (THE NAME OF THE TOY STORE). VENEZUELANS ARE KNOWN FOR THEIR DRAMA AND NOSTALGIA, THIS OLD TOY STORE IS PART OF OUR TRADITIONS AND MAKES US REMEMBER THE OLD GOOD TIMES WERE YOU DID NOT HAVE TO WORRY ABOUT YOUR NEXT MEAL.

DEMOGRAPHICS

THE CITY HAS A POPULATION OF 1,943,901 PEOPLE PER THE CITY’S LAST CENSUS. THE METRO AREA HAS A MILLION MORE INHABITANTS, WITH A TOTAL POPULATION OF 2.9 MILLION. THE CITY COVERS A TOTAL AREA OF 300 SQUARE MILES, GIVING IT A DENSITY OF ALMOST 11,000 RESIDENTS PER SQUARE MILE. MOST OF THE POPULATION OF CARACAS IS MIXED RACE, PRIMARILY FROM EUROPEAN, AFRICAN AND INDIGENOUS ANCESTRY. THE 20TH CENTURY BROUGHT AN INFLUX OF IMMIGRANTS FROM ALL OVER EURASIA, INCLUDING PEOPLE OF GERMAN, PORTUGUESE, CHINESE AND ITALIAN DESCENT, JUST TO NAME A FEW.

DIRECTION: AVENIDA FRANCISCO DE MIRANDA, CARACAS 1060, DISTRITO CAPITAL, VENEZUELA

THIS BUILDING IS LOCATED IN THE HEART OF CARACAS WERE THE MOST BEAUTIFUL AND HISTORIC BUILDING ARE LOCATED. MOST OF THE ARCHITECTURE IN CARACAS IS VERY GEOMETRIC AND WITH STRAIGHT LINES

RESTAURANTS COMMERCIAL BUILDINGS GOLF FIELD TRANSPORTATION SERVICES CLOSED GALLERIES FIRE DEPARTMENT

ACCESS AND CIRCULATION

FRONT BUILDING VIEWS: (SOUTH VIEW) - GEOMETRIC BUILDINGS -CONSTRUCTIONS -RESIDENTIAL BUILDINGS -TREES AS MAIN FOCUS OF AESTHETIC IN THE STREETS - TWO “QUIOSCOS” IN FORM TO THE BUILDING. (SNACKS AND THE PAPER)

- THE CONSTRUCTIONS IN FRONT OF THE BUILDING CAN BE A SOURCE OF THE BUILDING CONTAMINATION AND SOUND POLLUTION. QUIOSCO

QUIOSCO

OBSERVATIONS: - THE ONLY WAY TO GET IN THE BUILDING IS THROUGH THE FRONT GATE. - YOU CAN ENTER WALKING OR IN A CAR. - THE CAR IS PARK IN THE LAST FLOOR OF THE BUILDING. WINDOWS PROVIDE A SENSE OF COMFORT AND VISUAL SECURITY

EAST VIEWS: D N A H T R O N LUB. - THE GOLF C -GOLF FIELD TIONS: CONSIDERA LLS? WIN- GOLF BA GLASS D N A S W O D ISTANT TO WALLS RES CES. SOLID SURFA

VISIBLE PROTECTING BARRIER

IN VENEZUELA THE CLIMATE IS HOT ALL YEAR ROUND, AT LEAST AT LOW ALTITUDES, SO THE MAIN DIFFERENCES ARE FOUND IN THE SEASONAL RAIN PATTERN: THERE IS A DRY SEASON (WHICH USUALLY RUNS FROM MID-DECEMBER TO MID-APRIL) AND A RAINY SEASON (USUALLY, FROM LATE APRIL TO MID-NOVEMBER). THE RAINY SEASON IS ALSO THE MOST SULTRY AND UNPLEASANT SOUND: THE BUILDING IS LOCATED IN A HIGH TRAFFIC ZONE. FULL OF COMMERCIAL AND RETAIL SPACES. THE MAIN SOURCE OF SOUND IS THE TRANSPORTATION VEHICLES. ANOTHER SOURCE IS THE ZÃœRICH BUILDING (FRONT BUILDING) AT LUNCH BREAK.

MICRO CLIMATE: THIS BUILDING IS LOCATED NEAR THE MAIN MOUNTAIN OF VENEZUELA WHAT MAKES THIS MICRO CLIMATE COOLER AND WETTER.

PRECIPITATION

JANUARY 2018

10:30 am

4:15 am

DECEMBER 2018

10:30 am

4:15 am

BUILDING ANALYSIS PHASE 3.2

LEGEND: ELEVATOR COLUMNS STAIRS/ FIRE SCAPE NATURAL LIGHT/ SUN PATH ENTRY/EXIT WINDOWS

4. PHASE IV OVERVIEW

“ Let’s not pretend that things will change if we keep doing the same things. A crisis can be a real blessing to any person, to any nation. For all crises bring progress. Creativity is born from anguish, just like the day is born form the dark night. It’s in crisis that inventiveness is born, as well as discoveries made and big strategies. He who overcomes crisis, overcomes himself, without getting overcome. He who blames his failure to a crisis neglects his own talent and is more interested in problems than in solutions. Incompetence is the true crisis. The greatest inconvenience of people and nations is the laziness with which they attempt to find the solutions to their problems. There’s no challenge without a crisis. Without challenges, life becomes a routine, a slow agony. There’s no merit without crisis. It’s in the crisis where we can show the very best in us. Without a crisis, any wind becomes a tender touch. To speak about a crisis is to promote it. Not to speak about it is to exalt conformism. Let us work hard instead. Let us stop, once and for all, the menacing crisis that represents the tragedy of not being willing to overcome it.” - Albert Einstein

A D E E N U O G Y S N I E W M I O T L E F M E N I “SO L A N E R D A R U O Y T E G O T S I S ” I L R A C I E T N E T LITTL O P E U R T R U O Y H C A E R U O Y P L E H D N A - JEANNETTE WALLS

THE LIFE CYCLE OF A CRISIS. CONCEPT 4.

INCIDENT OCCURS

ESCALATES

RECOVERY

EVERY CRISIS IS LIKE A SONG THERE ARE UPS AND DOWNS. JUST LIKE A SONG, EVERY CRISIS IS DIFFERENT.

PUBLIC PRIVATE

1.INCIDENT OCCURS 2.RESPONSE 3.RESOLUTION 4.RECOVERRY

ARTISTIC

INSPIRATIONAL

COGNITIVE

HOPEFUL CONCEPT APPLICATION

PRIVATE THE PRIVATE SPACES SERVE AS A WORK AREA FOR THE ARTISTS. THAT WILL COVER ALL THE EMERGING ARTIST NEEDS THAT WILL GIVE THEM THE OPPORTUNITY TO GROW AND BE HOPEFUL ABOUT THEIR FUTURE. 3.COGNITIVE: THE PRIVATE SPACES ARE GOING TO SERVE AS A HEALTHY AND COLLABORATIVE WORKSPACE AREAS . AMONG THESE SPACES ARE: THE BREAK ROOMS, COMMON SPACES AND CONFERENCE ROOMS. 4. HOPEFUL : THE SPACES ARE GOING TO BE WELL EQUIPPED FOR ALL KIND OF ARTISTIC DISCIPLINES. GIVING THE ARTIST A SENSE OF HOPE AND GROWTH. AMONG THESE SPACES: OPEN WORKSPACES, COMPUTER LABS, WOOD SHOP, SCULPTURE ROOM AND PRINTING OFFICES.

PUBLIC THE PUBLIC SPACES ARE MEANT TO BE A SOURCE OF INSPIRATION AND ARTISTIC ENRICHMENT. THESE SPACES ARE GOING TO BE DESIGNED FOR ALL THE HUMAN SENSES WHERE YOU CAN RECONNECT YOUR SPIRIT WITH ART AND CULTURE. 1. ARTISTIC: THE SPACES ARE GOING TO BE AESTHETICALLY PLEASANT AND CHAOTIC. 2. INSPIRATIONAL: SOME OF THE SPACES IN THE PROGRAM THAT ARE GOING TO BE MEANT FOR THE PUBLIC INSPIRATION WILL BE: THE AUDIOVISUAL, THE EXHIBITION SPACE AND THE ART SUPPLY STORE.

KEY EXPERIENCES

THE SPACE WILL BE DIVIDED BY THE HIERARCHY OF PUBLIC AND PRIVATE SPACES. THE FOUR STAGES OF A CRISIS WILL BE CONTRASTED AND EXPRESSED THROUGHOUT THE SPACE. THE CHAOTIC WILL BE CONTRASTED WITH CALM AND CLEAN LINES. WHO SAID THAT CHAOS CANâ€™T BE FUN?

THE CHAOTIC AND INSPIRATIONAL STAGES OF A CRISIS WILL BE REPRESENTED WITH EDGY AND CREATIVE FORM AND SHAPES THROUGHOUT THE SPACE. CONTRASTING CLEAN AND STRAIGHT LINES.

THE INITIAL INSPIRATIONAL DIAGRAM WILL BE PLACED IN DIFFERENT AREAS OF THE PROGRAM.

CLEAN LINES AND SHAPES WILL BE PLACED THROUGH THE SPACE. DEVELOPING A SENSE OF CONTRAST BETWEEN THE EXTRAVAGANT SHAPES OF THE CHAOTIC STAGES OF A CRISIS. THE CLEAN EDGES WILL TRANSMIT CALM AND HOPE

THE PUBLIC SPACES WILL BE CONNECTED WITH A MONUMENTAL STAIR. THIS STAIRS WILL REPRESENT THE DIFFERENT STAGES OF A CRISIS.

PROGRAM REFINEMENT

PROGRAM GOALS: 1. TO CREATE A SPACE FULL OF ART AND INSPIRATIONAL AREAS COMPOSED BY CONTRAST BETWEEN THE CALM AND CHAOS OF A CRISIS. 2. TO EDUCATE THE VENEZUELAN POPULATION ABOUT ART AND ENCOURAGE ART LOVERS TO PURSUE THEIR DREAMS.

1 2 3 4

ARTISTIC

INSPIRATIONAL

COGNITIVE

HOPEFULLY

GOAL: TO CREATE VISUAL AND AUDITIVE INSPIRATION FOR THE ARTISTS.

3000sf 3000sf

SPACE: EXHIBITION SPACE OCCUPANCY LOAD: 100 LOAD FACTOR: 30

SPACE: AUDIO VISUAL OCCUPANCY LOAD: 100 LOAD FACTOR: 30

GOAL: TO CREATE A SOCIAL SPACE FULL OF ART AND ARTISTIC EDUCATION.

SPACE: RECEPTION OCCUPANCY LOAD: 2 LOAD FACTOR: 10

SPACE: CUSTOMER SERVICE OCCUPANCY LOAD: 12 LOAD FACTOR: 10

120 sf

SPACE: INTERACTIVE SPACE OCCUPANCY LOAD: 20 LOAD FACTOR: 40 SPACE: CAFE OCCUPANCY LOAD: 80 LOAD FACTOR: 200 SPACE: ART SUPPLY STORE OCCUPANCY LOAD: 70 LOAD FACTOR: 100

120 sf 800 sf

1600 sf 7000 sf

20 sf

GOAL: TO CREATE A COLLABORATIVE SPACE BETWEEN ALL THE DISCIPLINES. WERE YOU CAN LEARN AND SUPPORT EACH OTHER.

600 sf

144 sf 600 sf

600 sf 144 sf 600 sf

SPACE: COMMON SPACE OCCUPANCY LOAD: 20 LOAD FACTOR: 30

SPACE: CONFERENCE ROOM OCCUPANCY LOAD: 12 LOAD FACTOR: 12

SPACE: BREAK ROOM OCCUPANCY LOAD: 30 LOAD FACTOR: 20

4 GOAL: TO CREATE A PRIVATE SPACE WITH ALL THE NECESSARY TOOLS TO DEVELOP GREAT ART.

SPACE: OPEN WORK SPACE OCCUPANCY LOAD: 100 LOAD FACTOR: 20 SPACE: COMPUTER LAB OCCUPANCY LOAD: 20 LOAD FACTOR: 20

2000 sf 400 sf

400 sf

SPACE: WOOD SHOP OCCUPANCY LOAD: 15 LOAD FACTOR: 50

750 sf

SPACE: SCULPTURE ROOM OCCUPANCY LOAD: 14 LOAD FACTOR: 50

700 sf

SPACE: PRINTING OFFICE OCCUPANCY LOAD: 15 LOAD FACTOR: 50

350sf

WORKSPACE

ART SUPPLY STORE

EXHIBITION SPACE

THE FIRST AND SECOND FLOOR ARE GOING TO BE DEDICATED AND SUITED FOR THE STUDENT NEEDS. THIS WILL BE A PRIVATE SPACE WERE THE ARTIST ARE GOING TO BE ABLE TO SOCIALIZE, COLLABORATE AND LEARN FROM EACH OTHER.

THE GROUND FLOOR AND THE MEZZANINE WILL BE DEDICATED FOR THE PUBLIC WITH ARTISTIC INTERESTS. THE ART SUPPLY STORE WILL BE USED AS A TOOL FOR THE ARTIST USING THE BUILDING, ALSO USED AS AN SOCIAL SPACE.

THE EXHIBITION SPACE WILL BE DEDICATED FOR EVENTS AND DAILY EXHIBITIONS TO PROVIDE OPPORTUNITIES FOR THE ARTIST. THIS WILL REQUIRE OPEN SPACE AND SITTING AREAS.

FIRST FLOOR: 1600 SQ SECOND FLOOR: 1600 SQ CONFERENCE ROOM: BREAK ROOM: COMPUTER LAB: PRINTING LAB: RESTROOMS:

GROUND FLOOR: MEZZANINE: ART SUPPLY STORE: CAFE:

EXHIBITION SPACE: STORAGE: RESTROOMS:

RECEPTION

CONFERENCE ROOM

STORAGE RESTROOMS

4 WORK SPACE

BREAK ROOM

RESTROOMS

1 EXHIBITION SPACE

COMPUTER LAB

1 ART SUPPLY STORE

NATURAL LIGHT CIRCULATION MAIN SPACES PUBLIC SPACE DIRECT RELATIONSHIP INDIRECT RELATIONSHIP FILLED CIRCLES=PRIVATE

PRINTING LAB

SITTING SPACE

2 COFFEE PLACE

1 ARTISTIC 2 INSPIRATIONAL 3 COGNITIVE 4 HOPEFUL

BREAK ROOM EXHIBITION SPACE

SUPPLY STORE

CAFE

RECEPTION

BREAK ROOM

COMPUTER LAB STUDIO SPACE STUDIO SPACE STUDIO SPACE

CONFERENCE ROOM

PRECEDENT STUDIES

Alliance Francaise Bangkok / Stonehenge THE STONEHENGE BUILDING IS DEDICATED TO CELEBRATE ART AND CULTURE. EDUCATING THE PUBLIC AND SUPPORTING ARTISTS OF DIFFERENT DISCIPLINES.

THE PROGRAM CAN BE SUMMARIZE IN THREE PARTS: 1. ART AND CULTURE 2. OFFICE SPACES 3. CLASSROOMS AND WORKSHOPS.

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PUBLIC SPACE PRIVATE SPACE

STAFF ONLY ELEVATORS/VERTICAL CIRCULATION STAIRS/VERTICAL CIRCULATION

PROGRAMMING: -THE PRIVATE SPACES ARE LOCATED WITH ACCESS TO NATURAL LIGHT -THE PRIVATE SPACES ARE MOSTLY OFFICES AND CLASSROOMS. -THE PUBLIC CULTURAL AREAS ARE LOCATED IN FRONT OF THE STAIRS. -THE BUILDING CORE IS COMPOSED BY THE ELEVATORS AND BATHROOMS. -THE “STAFF ONLY” AREAS ARE LOCATED NEAR THE PUBLIC AREAS.

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PROGRAMMING: - FLOOR 5 AND 6 ARE CAN BE CONSIDERED A PRIVATE SPACE. ALTHOUGH IT HAS THE SAME ROUTES OF ACCESS AS THE PUBLIC SPACES IN THE OTHER FLOORS. - THE OFFICES AND CLASSROOMS ARE LOCATED RADIALLY TO FROM THE CORE OF THE BUILDING TO THE WINDOWS.

PROGRAM: FOCUSES ON THE KNOWLEDGE, RESEARCH AND EXPLORATION OF THE USER. PRIVATE VS. PUBLIC: THE BUILDING IS ORGANIZED BY VOLUMES INCREASING THE VERTICAL CIRCULATION. THE HIERARCHY AND ORGANIZATION OF THE BUILDING GIVES THE HIGHER FLOOR MORE SENSE OF PRIVACY.

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THE MAIN CULTURAL/ART SPACES ARE CONNECTED BY THE STAIRS. THE OVERALL DESIGN IS CONNECTED BY THE STAIRS. THIS PARTICULAR DESIGN MAKES EASIER THE VERTICAL CIRCULATION WITHIN THE FLOORS TO GET TO THE DIFFERENT CULTURAL AND ARTISTIC SPACES. SEPARATING THE PUBLIC AND PRIVATE SPACE.

THE EXHIBITION SPACE IS LOCATED IN THE TRANSPARENT PART OF THE BUILDING IN THE GROUND FLOOR AND THE WALLS SURROUNDING THE STAIRWELL. THE BUILDING IS ORGANIZED IN THREE PARTS: CULTURE AND ART, WORKSPACES AND CLASSROOMS.

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THE FIRST FLOOR AND PART OF THE SECOND FLOOR IS DEDICATED FOR THE ART AND CULTURAL EXHIBITIONS. THE PLACEMENT OF THE STAIRWELL CREATED A DOUBLE HEIGHT CEILING SITUATION. DOUBLE HEIGHT CEILING ARE CONSIDERED PROPER FOR AN EXHIBITION SPACE.

THE MASSES AND VOLUMES OF THE BUILDING ARE CONTRASTED WITH THE SIZE AND MASSING OF THE AUDITORIUM. THE MASS OF THE AUDITORIUM SERVES AS A FOCAL POINT TO THE FACADE OF THE BUILDING. THE DIAGONAL NATURE OF THE AUDITORIUM DIRECTS THE ATTENTION TO THE STAGE.

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BUILDING ELEVATIONS

THE MAIN SOURCE OF LIGHT OF THIS BUILDING DESIGN ARE THE WINDOWS THAT PROVIDES A NATURAL SOURCE OF NATURAL LIGHT. ANOTHER ASPECT OF THE BUILDING HIERARCHY IS THE QUANTITY AND SIZE OF WINDOWS IN THE LAST TWO FLOOR IN COMPARISON TO THE OTHER FOUR.

The Nelson-Atkins Museum of Art / Steven Holl Architects THE NELSON-ATKINS MUSEUM OF ART IS A MIX OF THE HISTORIC MUSEUM AND A BRAND NEW CONTEMPORARY PROGRAM

THE PROGRAM CAN BE SUMMARIZE IN THREE PARTS: 1. ART EXHIBITIONS 2. THEATER 3. RETAIL SPACES AND COFFEE SHOPS

THE AREAS THAT ARE GINGTO BE ANALYZED ARE THE CONTEMPORARY NEW PARTS IN CONTRATS AND ITS CONNEXION TO THE HISTORIC ART MUSEUM. THE MAIN PURPOSE OF THIS BUILDING CONSTRUCTION WAS TO CONTRAST THE NEW CONTEMPORARY PART WITH THE OLD MUSEUM. THE MAIN CONNEXION BETWEEN THE HISTORIC ART MUSEUM AND THE CONTEMPORARY EXHIBITIONS ARE MAINLY THE CIRCULATION SPACE, ACCESS AND GROUND FLOOR AREA.

THE EXHIBITION PROGRAM OF THIS SPACE IS DIVIDED IN CATEGORIES: - AFRICAN EXHIBITIONS - PHOTOGRAPHY -CONTEMPORARY ART -FEATURED EXHIBITIONS - HISTORIC EXHIBITIONS - FILM EXHIBITIONS - JEWRY

THE MAIN PROGRAM OF THIS BUILDING IS BASICALLY ART EXHIBITIONS, OPEN SPACES, RETAIL AND CAFE. THE EXHIBITION AREAS ARE LOCATED IN A DOUBLE HEIGHT SPACE. THE OPEN SPACE ARE PROVIDED FOR CIRCULATION AND SITTING AREAS. THE EXHIBITIONS ARE LOCATED THROUGHOUT THE SPACE WITH NO ACCESS TO NATURAL LIGHT, SINCE THIS IS LOCATED IN THE BASEMENT. THE SECOND FLOOR OF THE CONTEMPORARY SPACES ARE DEDICATED FOR SITTING SPACES.

EXHIBITIONS CIRCULATION SPACE RETAIL SPACE

THE YELLOW SPACES ARE THE STRUCTURES OF THE CONTEMPORARY PART OF THE BUILDING THAT COMES OUT OF THE GROUND. THE CIRCULATION PATH IN THIS DIAGRAM IS THE WAY YOU CAN WALK BETWEEN THIS STRUCTURES. SPACIAL RELATIONSHIP: THE MAIN RELATIONSHIP IN TERMS OF THE ORGANIZATION OF THE BUILDING RELIES ON THE PATHS OF CIRCULATION IN THE GROUND FLOOR. ANOTHER ASPECT OF THE RELATIONSHIP WITHIN SPACES IS THE CONNEXION BETWEEN THE GROUND STRUCTURES WITH THE OLD MUSEUM LINKED BY THE BASEMENT.

Cultural Center in Nevers / Ateliers O-S architectes THIS CULTURAL CENTER IS DEDICATED TO NATURE AND SUSTAINABLE PRACTICES.THE OVERALL DESIGN FOCUSES IN THE GREEN AREAS AND SOCIAL SPACES WITHIN THEM.

THE PROGRAM IS BASICALLY DIVIDED INTO FIVE PARTS: 1. THEATER 2.OFFICES 3.WORKSHOPS 4.EXHIBITION 5. CAFE

THE MAIN ATTRACTION OF THE BUILDING IS THE GREEN AREA ON THE CENTER. THE SPACES ARE ORGANIZED GRADUALLY FROM THE CENTER OF THE BUILDING TO THE WINDOWS. THE PRIVATE SPACES ARE LOCATED WITH ACCESS TO THE NATURAL LIGHT. NEAR THE PUBLIC SPACES “STAFF ONLY” AREAS ARE PLACED.

PUBLIC SPACE PRIVATE SPACE STAFF ONLY ELEVATORS/VERTICAL CIRCULATION STAIRS/VERTICAL CIRCULATION

PUBLIC SPACE PRIVATE SPACE STAFF ONLY

THE SECOND FLOOR IS COMPLETELY DEDICATED FOR THE GREEN SPACES AND A WIDE PATIO. THE VOLUMES AND MASSES OF THE BUILDING DESIGN MAKES EASY THE VERTICAL CIRCULATION THROUGHOUT THE TWO FLOORS. THE BUILDING FOCAL POINT IS THE GREEN AREA IN THE CENTER OF THE SPACE. MAKING THIS THE MAIN ATTRACTION OF THE DESIGN. THE BUILDING ENVELOPE MA IS ORGANIZED RADIALLY FROM THE GREEN SPACE TO ITS SURROUNDING.

ELEVATORS/VERTICAL CIRCULATION STAIRS/VERTICAL CIRCULATION

THE PROGRAM IS BASICALLY DIVIDED INTO FIVE PARTS: 1. THEATER 2.OFFICES 3.WORKSHOPS 4.EXHIBITION 5. CAFE THE CAFE IS LOCATED IN THE GROUND FLOOR IN A HIGH TRAFFIC AREA (OPEN SPACE). NEAR SITTING AREAS AND EXHIBITION SPACES.

THE CIRCULATION ITS VERTICAL AND RADIAL. THE EXITS AND ENTRIES CONNECT THE PUBLIC SPACES. MAKING IT EASIER TO SEPARATE PUBLIC FROM PRIVATE SPACES.

HE MAIN SPACE AND FOCAL POINT OF THE WHOLE BUILDING IS THE GREEN AREA ON THE MIDDLE. THE CIRCULATION AND OPEN SPACE INT EH DESIGN SURROUND THE CENTER OF THE BUILDING. THE AREAS ARE LOCATED GRADUALLY FROM THE MIDDLE TO THE WINDOWS

Houndstooth Coffee MLK

THIS COFFEE PLACE IS AN INTERACTIVE AND MULTINATIONAL SPACE. IS A COMBINATION OF A BAR AND A COFFEE PLACE.

PROGRAM: INTERACTIVE BAR AND COFFEE PLACE

BAR STAFF ONLY COFFEE RESTROOMS

AESTHETICS THE FIRST TWO FACES OF THE CRISIS ARE MESSY AND CHAOTIC. THE AESTHETIC OF THE PROJECT IS CLEARLY A DESIGN DRIVER THAT TRANSLATES THE REAL PURPOSE OF THE PROJECT INTO MATERIALS AND SHAPES. THE AESTHETICS OF THE PROJECT WILL COMBINE THE PEACEFULL LINES AND CURVES OF “HOPE” AND THE AKWADR SHAPES OF THE CHAOTIC PART.

PRODUCTIVE “PRODUCTIVE” IS ANOTHER DESIGN DRIVER. THE CULTURAL CENTER WILL HAVE SEVERAL TOOLS AND SPACES THAT WILL HELP THE CREATIVE PEOPLE TO COMPLETE THEIR PROJECTS EFFECTIVELLY.

SOCIAL LA CRISIS IS ALL ABOUT SOCIAL INTERACTIONS. HOW YOU INTERACT AND HELP YOUR FRIENDS AND FAMILY. THE SOCAIL SPACES ARE SUPPOSED TO BE REALLY CALM AND WITH THE INVOLMENT OF NATURE.

GROUND FLOOR VERTICAL CIRCULATIOIN DESIGN DRIVER 1: AESTHETICS DESIGN DRIVER 2: PRODUCTIVE DESIGN DRIVER 3: SOCIAL

OVERLAYS

MEZZANINE VERTICAL CIRCULATIOIN DESIGN DRIVER 1: AESTHETICS DESIGN DRIVER 2: PRODUCTIVE DESIGN DRIVER 3: SOCIAL

OVERLAYS

LEVEL 1 VERTICAL CIRCULATIOIN DESIGN DRIVER 1: AESTHETICS DESIGN DRIVER 2: PRODUCTIVE DESIGN DRIVER 3: SOCIAL

OVERLAYS

LEVEL 2 VERTICAL CIRCULATIOIN DESIGN DRIVER 1: AESTHETICS DESIGN DRIVER 2: PRODUCTIVE DESIGN DRIVER 3: SOCIAL

OVERLAYS

THE PRESENCE OF ARTWORK ADDS A LITTLE CAOS TO THE GREYISH COLOR PALETTE

THE ART SUPPLY STORE GIVES THE ART STUDENT A PLACE WERE THEY CAN HAVE ACCES TO DIFFERENT TOOLS AND MATERIALS TO COMPLETE THEIR PROJECTS

THE CONCRETE FLOOR PATTERN CREATES A CHAOTIC ARTISTIC SENSE THAT PROVIDES DEPTH AND COMPLEXITY TO THE SPACE

CONCEPT APPLICATION

THE LIBRARY AND REASEARCH PLACE GIVES THE STUDENTS A SOCAIL SPACE WHERE THEY CAN BE INSPIRED. THE COLORS IMPLY CHAOS WHILE THE GREYSCALE SIMBOLYCES THE EMERGING CRISIS AND THE DIFERENT STAGES.

CONCEPT APPLICATION

CONFERENCE ROOM

MAKER SPACE RECEPTION

CONCEPT APPLICATION

REASEARCH

CREATE

PRESENT

CONCEPT APPLICATION

GROUND FLOOR

FINAL FLOORPLANS

MEZZANINE

FINAL FLOORPLANS

LEVEL 1

FINAL FLOORPLANS

LEVEL 2

FINAL FLOORPLANS

GROUND FLOOR

FINAL FLOORPLANS

MEZZANINE

LEVEL 1

FINAL FLOORPLANS

LEVEL 2

INITIAL SKETCHES

CONFERENCE ROOM

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G THE CONFERENCE ROOM IS DEDICATED FOR THE USERS TO HAVE THE BEST PRESENTATION OF THEIR WORK. THE SPACE IS SOUROUNDED BY COMMON AREAS THAT CAN BE DEDICATED TO INFORMAL MEETINGS. THE STRUCTURE IS COVERED WITH GLASS AND ACOUSTICAL FELT TO PROVIDE NOISE CONTROL.

LIBRARY

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THE LIBRARY IS DEDICATED AS A INSPIRATIONAL SPACE FOR THE ARTISTS. SUPPORTED BY SOCIAL INTERACTION AND ARTISTIC SOURCES.

SITTING +EXHIBITION SPACE

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CAFE + EXHIBITION

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THE CAFE, EXHIBITION AND RECEPTION PROVIDES A PLACE WHERE YOU CAN FEEL FREE TO BE YOURSELF AND BE INSPIRED BY YOUR SOUROUNDINGS.

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THE CAFE, EXHIBITION AND RECEPTION PROVIDES A PLACE WHERE YOU CAN FEEL FREE TO BE YOURSELF AND BE INSPIRED BY YOUR SOUROUNDINGS.