Design Portfolio Daniel Bocozzi

DA N I EL B OC OZ ZI PORT FOL I O - I N D I V I D UAL WO R K

CONTE NTS 01

Critic al An alysis

56

Dyn amic Cu be

12

Dan c e M emo ry

60

J ewelry Visu al Me rc h a n d i si n g

20

Bo dy Ratio s

62

Ro of Ex p erime n ts

30

Un dergro u n d M u seu m

64

Oth er M ediu m s

C RI TI CA L A N A LYSI S This project searches the importance of analysing precedents, that which came before in history, in order to understand how the discipline, the conceptual ideas of Architects were transformed in their buildings expressed in a 3D form, to see how they established a connection with memory and history within each building proposed.

In order to expose those conceptual ideas in the buildings, a reading of the formal attributes of the building was required, interpreted in the mind and further translated into drawings and text which reflected thinking.

FI LI P P O BRUN ELLESCH I - SAN TO SP I RITO (LEFT) / SAN LO R ENZO ( R I G HT ) In San Lorenzo literal depth is exaggerated through perspectival means, the nartex bay where the subject would stand, was compressed by the movement of the columns thus the space pushed the apse away producing an elongation. Other elements reinforce depth, such as the plane between the side chapel and the side-aisle with windows and arches diminished in scale.

Conversely, in Santo Spirito depth is conceptually flattened, with a column occupying the center, its energy is no longer longitudinal but lateral, like the semi-circular side-chapel and the side-aisle space are contiguous, lacking the presence of an interrupted plane found in San Lorenzo.

01

L EON BAT T ISTA A L B E RTI - BAS I L I CA O F SAN T´ AN D R E A The drawing, which is a combination of half-elevation with longitudinal section and plan, seeks to represent what Alberti implemented in San’t Andrea.

First he abstracted two elements from history, the Greek Temgle front and the Arch of Titus (Triumphal Arch), with their former meanings to produce a new meaning. Next, he collaged them together on San’t Andrea facade, furthermore he repeated the external front facade on the interior side facade to create an inside-outside relationship. We see an elongation

of the arch in the facade, which have a backward thrust and this thrust elongates the apse end pushing beyond. The space seems to be consuming mass by the large transept compressed space, which repeats in different scales across the plan.

Moreover on the interior facades are a synecdoche of the facade architecture. The pilaster on the walls of the nave appear to be supporting the coffered barrel vault of the nave, but it is not. Columns have been stripped of their structural function as decorative pilasters.

DON ATO BRAM AN TE - ST. P ETER Bramante St. Peter the diagonal becomes the dominant axial condition, it’s a centralized church, the parts to the whole create a different structure, there may be an octagonal relationship, but there is also a cruciform set in a square. There are many different geometric forms and the diagonal axis operating on each plan. Bramante’s idea of accentuating the centrality of the plan was the suppression of the corner by placing piers diagonally, producing an image of the square with chamfered corners.

Starting anticlockwise at the left we have a cross overlaid on a square, the space pushes the solid, so the poché becomes dynamic and animated in itself. In the center, we have an octagonal shape that is subtracted from the solid, and this octagonal shape reverberates diagonally. Space is understood to be the dominant condition that consumes mass inboard

02

and outboard sides of the church, reducing the mass to a thin membrane. In the bottom plan, we have again the same cross overlaid on a square, the space expands from the center and flows until it reaches the pierced apse, pushing it from its square container. On the center, we have again an octagon shape which gives a diagonal thrust pushing the solid.

Figural elements are impressed by other voided figures on the outboard frame, with a rectilinear end wall, different from the previous plan where this same imprint ends in a convex wall, implying that space was pushing the solid out.

In the right plan, we have an intentional dialectic of solid and void, making uncertain which is the figure and the ground.

Closer to a nine squares organization with four squares expanding out. The square spaces are all concatenated by a grid organization.

03

SEBASTIAN O SERLIO - PALACE FOR A KI NG A common characteristic of the Anti-Classical period was to misread purposefully classical canon to produce an anarchic architecture, this took many forms like the blurring of forms, different geometries overlapped into one another, the changing of proportions to a preference for elongation or verticalism.

These intentional misreading of classical ideal proportions and symmetry can be seen in the plan through the elongation of spaces, the intentional disruption of geometrical clarity of forms, denying any kind of rigid orthogonality, forms are seen as bending and distorted similar to the paintings of the Anti-Classical style. We have the sense that there is a dynamic condition occuring in this building, which seems to make mass and void move from an ideal situation.

All the spaces are understood to be cut away, subtracted from fabric. They follow this oval form, however they do not align axially with other spaces. A closer examination of the four quadrants of this oval shape shows how they do not relate to each other, thus parts no longer relate to a whole but denies the whole for another part. The oval shape can be understood as a elongation and stretching of an ideal circle, common to renaissance ideal and stable forms.

The four rectilinear compressed spaces on the horizontal and vertical axis seem to be symmetrical, because of their similar access to the building with columns on the facade framing the center. But it is diminished in size as it approach the center.

04

05

RA PH A E L - PA L AZ ZO B RAN C O N I O D E L L’ AQ U I L A The palazzo unites the ground-floor and mezzanine by a unorthodox doric order without a frieze. A triangular pediment in the center evokes a structural accent, with an increase of scale upward between windows from the bottom to the top.

Structural elements were diminished in emphasis toward the top the decorative ones proliferated. Laterally we have a

06

shallower column, niches, and a vertical panel different from all the horizontal of the same level. A horizontal compression occured which makes these peripheral elements reduced.

Moreover, an advance and recession are at play when seeing the columns at the bottom closer, comparing to the columns above much smaller and farther, and farther away is the central window with bases lying on a distant layer.

RAP HAEL - CH IGI CHAP EL Raphael explores layering in his centralized church, the pilasters recessed on the walls, framing both the pyramid and the flanking niches.

This superposition can be seen through the pyramid crossing over the entablature which spans the arch.

The space of the chapel is vertically elongated, and in the plan figural space is cut away from matter and thus subtractive, with a centrifugal thrust about the diagonals

07

GIULIO ROM AN O - PALA Z ZO DEL T E The drawing unfolds the square palazzo into a single bar in an attempt to understand what each internal or external facade communicates. Moreover, the representation seeks to strip off the elements of the facade in order to comprehend the layering of elements overlaid over the others.

Surprise, shock, and contradiction were imparted by this Anti-Classical style, like the triglyphs slip downward as if they are about to fall out of place, and keystones rupture the pediment it is supposed to support, questioning how the stone arch is structurally supported. Producing a state of suspension between support and collapse, heavy and paper-thin rustication. The general effect is that the surface is unfinished, unstable and the user is constantly tricked.

Introducing the trope of irony into the composition, irony is the opposite of what is expected. The columns and entablatures in the facade are not real entablatures and columns, but metaphors for it, stripping their structural function and becoming ornaments. Rusticated blocks on the outer facades appear to shift in and out of the building, producing a sense of depth and a syncopated rhythm.

The artifices of the facades stucco pretending to be stone, at first glance it appears to be constructed out of marble, it is in fact comprised of brick overlaid with stucco, the facade pretends to be what it is not.

08

09

AN DREA PA L L A DI O - SA N G I O R G I O M AGGIO R E / R EDENTO R E I I Both churches display conceptual devices, compression, and extensions occurring on the facade using layered elements like pediments and columns that superimpose one another.

These energies produced by the layering on the facade, reverberate in the interior causing dynamic energies to coexist, causing spaces to be overlapped, distorting the mass of the building in multiple ways, thus making this church aberrant to previous traditional churches, for instance the double apse or double transept.

The facade layered pediment with orders reflect the interior conditions, establishing a inside-outside relation.

G IACOMO BA ROZ Z I DA V I G N O L A - V I L L A G I U L I A The layout undermines the axial organization through conceptual elements by making it passive, although the end of the villa can be seen it prevents the user to reach it by following the axis.

Through constantly interrupting loggias of different scales placed across the axis, general movement is deviated from the main axis to reach the end of the villa by backtracking and moving downward.

Moreover, a downward force is presented where the Nymphaeum is located privately about the center of the C shape repeated more than once in the layout, but interrupted by loggias.

10

11

DANCE MEMORY The project explores the temporality of the body movement in relation to the space, which violates and carves space out of a pliable surface as Bernard Tschumi once said. It takes inspiration from other disciplines to investigate how space, time, movement, memory, and trace are correlated using different perspectives. These were the base that inspired me to study a particular movement from a Bauhaus dance and how it informs its reproduction using different mediums.

Oskar Schlemmer’s for example analyzes space concerning body movement producing costumes that examined the gesture as a relation of man, which results in the formalization of human motion to geometrical forms. To uncover constituents of the movement memory, a temporal archeological excavation was necessary, Sigmund Freud argues that once a memory has been recorded it cannot be erased. For Jacques Derrida the trace is another form of memory, the traces leave their imprints and actions as a form of memory, a past in the present.

For Marcel Proust’s past coexists with the present as a reality, such writing of the past within the reality of the present is a condition of memory.

A similar approach to time, specifically the exposition of the past in the present was ÉtienneJules Marey’s photography, he used a similar approach to time using a camera, which allowed him to study the transformation of movement in time and space. He captured the data of the human motion, which revealed chronologically the traces of a moving figure.

JOINTS MOVEMENT TRACE ELEVATION

DANCE DECOMPOSITION

DA NCfor E every D ECtime O Mthe PO S I TIfeet ON A Bauhaus video was decomposed and recorded dancer touched the ground generating multiple frames.

A Bauhaus video was decomposed and recorded for every time the dancer DANCE DECOMPOSITION feet touched the ground generating multiple frames.

J OI N TS MOVE M E N T T RACE P L AN

A Bauhaus video was decomposed and recorded for every time the dancer feet touched the ground generating multiple frames.

VOLU M E CR E AT I ON E L E VAT I ON

COMPRESSED FRAMES The multiple frames was compressed in order to overlay the past in the present revealing the memory and traces of the dance.

COM P R E S S E D F RAM E S COMPRESSED FRAMES

The multiple frames was compressed in order to overlay the past in the The multiple frames wasrevealing compressed order to overlay the past thedance. present revealing the memory and traces of the dance. present theinmemory and traces ofinthe

14

VOLU M E CR E AT I ON P L AN

15

OSKA R S CH LEM M ER CUBIC BODY M ERGI NG ELEVATIO N

OSKAR SCHLEMMER CUBIC BODY MERGING PLAN

RE SULTED VOI D FROM CARVED S OLI D ELEVATIO N

RESULTED VOID FROM CARVED SOLID PLAN

16

17

SOL I D -VOI D R EC O N STR U CTI O N D I AG RAM Reconstruction of the dancer’s movement, retraced using planes and volumes transformed using formal operations, such as rotations, and crystallization of planes, mimicking those of the dancer. Thereby the initial volume was morphed into a final solid and void form which was animated by multiple displacement axis and orientations of the dancer, imprinted in the form traces of the past in the present as memory.

18

19

B O DY R AT I OS The project uses measurements and proportions found in the human body, translated across dimensions from 1D to 3D producing an object that reflected human measurements and movements.

It explores the potential of using human proportions and movement in the creation of spaces dictated by rules that governs the human body, the object was also constrained and explored using similar rules.

BODY LAWS

SELECT I O N O F L I M BS

Body range of motion of joints, limbs, and the defining the geometry of movement and the geometric definition of body and space. Inspiration: Oskar Schlemmer human figure constructed from circles and squares or rectangles (1928-29)

Ten length measurements of various parts of the body were recorded, the conceptual exploration was part-to-whole relationship between the different limbs, joints of the human body, and the golden section relationship between the parts.

P EN TAGRAM AN D TH E GOLDEN SECTIO N The stretched limbs of the human body form the geometric figure of a pentagram, whose proportions are the golden section. I decided to set up a connection with this figure and this proportion as a reference for the recording of my body measurements.

20

21

T RACI NG T H E PAST

Trace of projected shadows rotated about the golden section axis away from the picture plane.

RUL E S E X P LO RATI O N A set of rules were explored such as the transformation of the recorded measurements as lines rotating clockwise; using the axis angles of the Bauhaus dance. These rules were recursively applied to a 1D line generating an overlapped 2D spiraling figure and emerging 2D self-similar shapes of different scales, finally a 1D material steel wire reproduce the drawing obeying the same rules.

3

1

2

2

1

2 3

3

3

3 1 CLOCKWISE SPIRAL

AXES

3 AXES

2

POSSIBLE 2 AXES

SELECTED AXES

G OL DE N S ECTI O N O R D E R Two perpendicular golden section axis determined the rotation of the geometry in a clockwise manner.

22

S U P E RI M P OS E D T RACE S 2D self-similar shapes were generated through recursion mimicking the dance choreography.

23

FROM 2D TO 3D On the left a set of operations like recursion, rotation, scaling, and 4D projections were applied to the 2D geometry and later extruded in 3D. On the right different kinds of proportion systems were diagramatically applied to the same 2D geometry producing divergent 3D aspects.

24

25

SE L F-SI M I L AR S PATI AL G E N E RATI O N The diagram exhibits the aim to give the 2D geometry a new dimension, by rotating and raising clockwise about the dominant axis of the dance, erasing the lines that didn't created a triangular space, drilling with holes and connecting the vertex of the corresponding triangular space with thread.

K I T- O F- PARTS Two plexiglass with drilled geometries on them are used to give the geometry a new dimension, the top plexiglass is rotated, the other retained its original orientation, four threads rods used as structure are the same height of the plexiglass dimensions, and therefore a cubical space is achieved.

26

27

TRAN SLATION ACROSS DI M EN SION S The drawing translates from 3D back to 2D, by tracing the threads which identify the morphological change from 2D drawing into 3D, the drawing call out the change in itself by connecting point location from each abstraction.

28

29

UNDERGROUND MUSEUM This is a fictitious project which was inspired by writings of other architects about a common theme, building in nature. Although in the previous project solid and void resulted from a set of formal operations, a specific program was never mentioned.

U N DE RGR OU N D M U SE U M

This project then transposes this form to insert into a context, however, this would This project tries to give a program for the previously generated form, given that it has imply a negation of not only of an existing context but the site-specificity as well, such produced different spatial characteristics and was concerned with the movement of the user, I an egocentric build can ever exist in any context, but in a place without a context, chose museum to be the program, because of how museums today have a variety of spaces that nature for instance. However, nature also has its elements, trees, vegetations, why not accommodates a variety of artworks, as well as concerning how the user will move through the then camouflage this building within nature, an underground building, which will blur space while establishing a relationship to the art. its being as a building and become part of nature. Why not then define a program such as a museum to be the perfect place to visit the art and nature altogether, and to have a sense that nature is displaying itself as a work of art to be looked at more closely.

TRAN SFORM ATION AL DIAGRAM The diagram transforms the geometry according to the golden section axis through recursions, shift and rotations.

recursion of the geometry 3 and scaling oriented to the same axis of geometry 3

GRI D ABSTRACTION The YCBA Museum by Louis Khan 6x10 golden section grid was abstracted, and overlayed over the rectangle periphery.

31

I decided to create a temporal relationship to make a connection to history, by abstracting and collaging grids from museums from different styles since Altes Museum to Louis Khan YCBA Museum, by either tracing their literal presence as absence, cutting through the building, like Gordon Matta Clark Splitting houses. So that the building contained memory imprinted with different times as Alberti collage in San Andrea.

Although this project does not have a context, two texts influenced my decision to set up a relationship between building and nature to unify rather than confront it, to create a

32

that ‘’The site did not contain a single tree and its boundaries were vague’’, therefore ‘’I began to think that my only option was to bury the building underground. I thought there was no way to build a small building isolated in such a vast site’’, ‘’Excavate the flat site, make a plaza like a buried shell, bury buildings around its perimeter, then pile up the excavated earth to make a small hill nearby.’’ The other text which influenced my decision was in Peter’s Cook Archigram Legacy where he proposes a project as follows ‘’In the Prepared Landscape there is a complex building resting inside the landscape, with strands of vegetation dropping down amongst it.’’ In addition to the text, images from buildings that had a relationship to the

to the land, either inserting the building below the ground and camouflage it with landscape features inspired me even further. For example, across different times and cultures, in Jebel Dahar Matmata Troglodytic underground houses, Lac Sacre Monument in Egypt, and the waterline museum in Netherlands by Anne Holtrop.

33

I DEATION SK ETCH I N G A collage of sketches exhibits the embodiment about the circulation, openings, grids impressions, views, ground manipulation, and artwork display.

34

35

G R I D S OV E R L AYI N G The diagram aim to imprint memory by collaging spatial and movement organizations such as Le Corbusier Museum spiral and pinwheel movement, John Hejduk Museum rotated square, and Schinkel Altes Museum grid creating opening and shelves for art display.

36

GRI DS TRACI N G I established that in the interior the user could have more freedom about his path, while a spatial narrative is present for seeing the work of arts unfolding in space and time as a maze. For the exterior, grids created ramps and established the overall spiralling movement, multiple paths became available to the entrance as a labyrinth.

37

SECTION P ERSP ECTIVES

38

39

OP EN I N GS AX ES Worm’s eye view showing the overlapping lines of sight due to the rotations of bays about the center.

40

41

= public space / shallow = private space / deep

EXHIBITION

==private space // shallow deep public space

COMMERCIAL

= public space / shallow GRAPH MAP

CONVEX MAP

VGA MAP

AXIAL MAP

= private space / deep

EXHIBITION COMMERCIAL

public space == private space//shallow deep

COMMERCIAL EXHIBITION

= public space / shallow

EXHIBITION ENTRANCE COMMERCIAL EXHIBITION ENTRANCE

LEVEL 1 DEPTH FROM ENTRANCE = 9

EXHIBITION

ENTRANCE COMMERCIAL

LEVEL 1 DEPTH FROM ENTRANCE = 9

COMMERCIAL

LEVEL 1 DEPTH FROM ENTRANCE = 9

L1

COMMERCIAL

ENTRANCE

COMMERCIAL

RESEARCH

LEVEL 1 DEPTH FROM ENTRANCE = 9

OFFICE ENTRANCE PRODUCTION OFFICE ENTRANCE PRODUCTION

RESEARCH LEVEL 1 1 DEPTH FROM ENTRANCE =LEVEL 9

ENTRANCE

RESEARCH

DEPTH FROM ENTRANCE = 9

LEVEL 1 1 DEPTH FROM ENTRANCE = LEVEL 9

OFFICE

DEPTH FROM ENTRANCE = 9

EDUCATION

PRODUCTION

EDUCATION

EXHIBITION RESEARCH

OFFICE

EDUCATION

OFFICE

PRODUCTION

EDUCATION

RESEARCH

OFFICE

PRODUCTION

EDUCATION

OFFICE EXHIBITION PRODUCTION

RESEARCH

L2

PRODUCTION EXHIBITION

RESEARCH

RESEARCH

OFFICE

PRODUCTION ENTRANCE

EDUCATION

EDUCATION

EXHIBITION EXHIBITION ENTRANCE

LEVEL 2 DEPTH FROM ENTRANCE = 7

EXHIBITION ENTRANCE

EXHIBITION

LEVEL 2 DEPTH FROM ENTRANCE = 7

EXHIBITION

LEVEL 2 DEPTH FROM ENTRANCE = 7

ENTRANCE

STORAGE COMMERCIAL ENTRANCE PRODUCTION ENTRANCE

LEVEL 2 DEPTH FROM ENTRANCE = 7

STORAGE COMMERCIAL PRODUCTION ENTRANCE STORAGE COMMERCIAL PRODUCTION ENTRANCE

LEVEL 2 LEVEL 2 DEPTH FROM ENTRANCE =7 DEPTH FROM ENTRANCE = 7

L3

EDUCATION

ENTRANCE

LEVEL 2 DEPTH FROM ENTRANCE = 7

COMMERCIAL

LEVEL 2 DEPTH FROM ENTRANCE = 7

COMMERCIAL

STORAGE PRODUCTION

EXHIBITION

STORAGE

STORAGE COMMERCIALPRODUCTION PRODUCTION EXHIBITION STORAGE EXHIBITION COMMERCIAL EXHIBITION PRODUCTION

S EG REG ATIO N I NTI M ACY PRIVATE D I F F IC U LT AC C ES S C O N TRO LLED

I NTEGRATION E NC OUNTER P UB L I C E ASY AC CES S C ONTR OL

COMMERCIAL EXHIBITION

= private space / deep

EXHIBITION

= public space / shallow

ENTRANCE

LEVEL 3 DEPTH FROM ENTRANCE = 8

PROGRAM DISTRIBUTION ENTRANCE

ENTRANCE EXHIBITION ENTRANCE PROGRAM DISTRIBUTION

LEVEL 3 LEVEL 3 DEPTH FROM ENTRANCE = 8 ENTRANCE = 8 DEPTH FROM

PROGRAM DISTRIBUTION

EXHIBITION

LEVEL 3 LEVEL 3 DEPTH FROM DEPTH FROM ENTRANCE = 8 ENTRANCE = 8

SPAT IA L L AYO U T AN ALYS I S An analysis was conducted using Space Syntax Theory along with the software Depthmap, it performs a set of space syntax analyses, to understand the social behavior of its user in the layout, informing how to distribute the program accordingly.

The first step was to understand how topological space as a part has a relation to other parts and the whole, taking into account their configuration. A set of measures clarified the social logic of space that it potentially consists of, the link between spatial measures, and the possibilities for movement and occupation in a layout. Given these possibilities as the main factor for the functioning of a layout. A syntactic measure used to explain social behavior was Integration, the spaces are classified as the most integrated to the most segregated, segregation might indicate a high or low degree of power, it represents potential destination in the system, it indicates how

many people are likely to be in a space, it correlates to rates of social encounter and retail activities, it represents potentially core functionality where one can see much of the layout and be easily seen. Therefore higher integration is indicative of public space, it gives to the user a sense of power and control over the space and to other spaces, thus a characteristic of surveillance in terms of access, visibility, controllability that integration might afford. Higher Integration also correlates with pedestrian movement and occupation. The second step was to represent the layout in terms of rooms as nodes and doorways as links, also three different types of analysis were conducted and these are convex map, visibility graph analysis (VGA), and axial map. The convex map represents adjacency relationships, VGA represents mutually visible locations in a spatial layout, and the Axial map represents the set of fewest, longest, and walkable axial lines of sight.

STORAGE

PRODUCTION ENTRANCE

PROGRAM DISTRIBUTION PROGRAM DISTRIBUTION

ENTRANCE

DEP TH CON FIGURATION / P ROGRAM DISTRI BUT I O N ACCESS, DEPTH, EXPOSURE LEVEL 3 DEPTH FROM ENTRANCE = 8

ACCESS, DEPTH, EXPOSURE

EXHIBITION

ENTRANCE PROGRAM DISTRIBUTION

ENTRANCE programmatic proximity, such as exhibitions adjacent to the Lastly, the program was logically distributed according to the ACCESS, ACCESS, DEPTH, EXPOSURE DEPTH, EXPOSURE LEVEL 3 PROGRAM DISTRIBUTION commercial area, exhibition adjacent to the office spaces, thus prior analysis.

DEPTH FROM ENTRANCE = 8 ACCESS, DEPTH, EXPOSURE LEVEL 3 PROGRAM DISTRIBUTION offering visitors an insight into communicative processes. As COMMERCIAL DEPTH FROM ENTRANCE = 8 Isabelle Graw argues in High Price: Art Between the Market The most segregated private spaces, was defined to be the and Celebrity Culture “ the average gallery also had a sepoffices, management, storage, and artistic production, which DEPTH, ACCESS, EXPOSURE requires intimacy, close to the public, while the most integrated arate office and conference rooms that were inaccessible to public spaces with a higher correlation of movement, ACCESS, control, DEPTH, the public ”. Accepting the end of the era when the office was EXPOSURE visibility, and encounters were defined as exhibition and separated from the white cube, the main strategy toward this ENTRANCE ACCESS, DEPTH, EXPOSURE commercial spaces, like Nicolas Bourriaud argues in Relational shift is transparency, Graw mentions that ”transparency is sigAesthetics “being together as a central LEVEL theme” and “the naled with the welcome side-effect of breaking down the un1 DEPTH FROM ENTRANCE =9 encounter between beholder and picture, and the collective approachability of which galleries are often accused. Whereas elaboration of meaning” informed furthermore this decision. in earlier years, gallery visitors felt intimidated or even reCommercial public spaces like restaurants, coffee, library, pulsed by an atmosphere experienced as “stiff,” “elitist,” or store which are ubiquitous in contemporary museums as Rem “cold,” visible desktops and a show of teamwork now suggest Koolhaas argues are all found in my museum. Conceiving the openness at the same time as confronting visitors with obvious RESEARCH OFFICE PRODUCTION museum as a small city, with mixed sectors on the same floor, signs of economic triumph.”

43

42 EXHIBITION

EDUCA

EXHIBITION EXHIBITION SOCIALIZING SOCIALIZING PURCHASING EXHIBITION PURCHASING SMALL,MEDIUM,LARGE SCALE PAINTINGS

SMALL,MEDIUM,LARGE SCALE PAINTINGS

SMALL,MEDIUM,LARGE SCALE PAINTINGS

SMALL,MEDIUM,LARGE SCALE PAINTINGS

SOCIALIZING PURCHASING

DISCOVERING

SMALL,MEDIUM,LARGE SCALE PAINTINGS

SMALL,MEDIUM,LARGE DISCOVERING SCALE PAINTINGS

DISCOVERING

EXPLORING

EXPLORING

GATHERING GATHERING EATING

EATING BUYING TICKET EXPLORING

BUYING TICKET

GATHERING EATING

BUYING TICKET

FIRST LEVEL

COMMERCIAL

LECTURES INTERVIEW WORKSHOPS LECTURESLEARNING INTERVIEWCONFERENCE LEARNING WORKSHOPS PAINTING CONFERENCE PAINTING TEACHING READING ENCOUNTERS LECTURES INTERVIEW TEACHING SEATING READING ENCOUNTERS LEARNING WORKSHOPS SHARING READING CONFERENCE SEATINGSHARING SOCIALIZING CURATING PAINTING EXHIBITION EXCHANGING DIALOGUES READING EXPERIMENTATION CURATING SOCIALIZING TEACHING EXHIBITION READING ENCOUNTERS EXCHANGING DIALOGUES EXPERIMENTATION GATHERING DRAWING SEATINGSHARING DRAWING GATHERING DRAWING READING CURATING EXHIBITION SOCIALIZING EXCHANGING IDEAS DRAWING EXCHANGING DIALOGUES EXPERIMENTATION PROJECTING SHARING EXCHANGING IDEAS GATHERING DRAWING INSTALLING PROJECTING SHARING DISPLAYING DRAWING LIBRARY ADMINISTRATION INSTALLING TALKING DISCUSSIONS DISPLAYING EXCHANGING IDEAS LIBRARY ADMINISTRATION EXPERIMENTATION SHARING TALKING AUDIO-VISUALDISCUSSIONS MEDIAPROJECTING INSTALLING

EXHIBITION

STORAGE

PRODUCTION

AUDIO-VISUAL MEDIA ARTIST STUDIO PERFORMING

DISPLAYING OFFICE TALKING PERFORMING DISCUSSIONS OFFICE AUDIO-VISUAL MEDIA WORKING WORKPLACE

EXPERIMENTATION

LIBRARY ADMINISTRATION

ARTIST STUDIO

EXPERIMENTATION

PERFORMING WORKING MEETINGS ARTIST STUDIO WORKPLACE

ARTISTIC PRODUCTION

OFFICE

RESEARCH

WORKING

MEETINGS

WORKPLACE MEETINGS

ARTISTIC PRODUCTION

ARTISTIC PRODUCTION

SECOND LEVEL

EDUCATION

LARGE-SCALE SCULPTURES LARGE-SCALE SCULPTURES LARGE-SCALE SCULPTURES

EXHIBITION EXHIBITION EXHIBITION

MANAGEMENT

OFFICE

MANAGEMENT

MANAGEMENT

CONSERVATION

LARGE-SCALE SCULPTURES

CONSERVATION

ARTISTIC PROCEDURES

LARGE-SCALE SCULPTURES

ARTISTIC PROCEDURES CONSERVATION

LARGE-SCALE LARGE-SCALE SCULPTURES SCULPTURES

P R O G RAM P E R F LO OR

STORAGE

ARTISTIC PROCEDURES

LARGE-SCALE EXTRA-SMALL SCULPTURES

AND SMALL SCULPTURES EXTRA-SMALL AND LARGE-SCALE SCULPTURES SMALL SCULPTURES EXTRA-SMALL AND SMALL SCULPTURES

STORAGE

GATHERING GATHERING GATHERING PUBLIC SPACES STORAGE STORAGE

STORAGE

STORAGE

PUBLIC SPACES PUBLIC SPACES EATING, DRINK, SOCIAL GATHERING

EATING, DRINK, SOCIAL GATHERING EATING, DRINK, SOCIAL GATHERING

THIRD LEVEL

P ROGRAM M AP P I N G Analyzing museum precedents specifically by architects such as Rem Koolhaas, but also by curators such as Nicholas Serota and artists like Haim Steinbach and Richard Serra whose artworks diverge in scale and type, informed the decisions about the programmatic distribution, and the kinds of spaces capable of accommodating any kind of art that we face today.

44

45

46

47

CIRCULATION PRIVATE PUBLIC

48

49

WALL AXIS MOVEMENT FOLLOWING AXIS

PAI N TI N G S PAC E

50

51

WALL AXIS MOVEMENT FOLLOWING AXIS

MULTI M E D I A S PAC E

52

53

WALL AXIS MOVEMENT FOLLOWING AXIS

SC U L P TU R E S PAC E

54

55

9

4 8 1

3 2

5 7

6

DY N A M IC C U B E

TOP SP I N M OVEM EN T COLOR CODI N G

While the human body performs an activity, it moves through space and time, the activity consisting of a sequence of movements occurring in a specific direction.

Given how in Architecture the spaces we inhabit are shaped according to our movements, this project attempts to abstract or disaggregate the movements of an action, translate them into lines, that will divide a cube into parts that move into a specific direction, mimicking the movements of the action chosen to produce a dynamic cube achieving movement and retaining balance.

MOVEMENT

BODY PART

DIRECTION

DISTANCE

1. ROTATE 2. MOVE 3. BEND

TORSO LEFT LEG LEFT KNEE

RIGHT FORWARD FORWARD

30 CM 40 CM 35 CM

4. ROTATE 5. MOVE 6. ROTATE

RIGHT ARM RIGHT ARM RIGHT ARM

RIGHT DOWN LEFT

71 CM 40 CM 1.60 M

7. LIFT 8. MOVE 9. MOVE

RIGHT ANKLE LEFT ARM RIGHT LEG

UP UP FORWARD

17 CM 80 CM 46 CM

The final form of the dynamic cube results from the multiple stages that a tennis movement topspin has. Moreover, the final form results from a set of constrained rules that were explored according to the activity chosen.

TRAN SLATION OF M OVEM EN T I N TO LI N ES A set of rules were explored that constrained the manipulation of the form: 1. Record of nine body parts moving in space; 2. Translation of measurements into lines; 3. Composition of lines as the movements in space considering their direction; 4. Cube as the initial form; 5. Lines projected on the surface of the cube with the main axis of each movement determining the face of the cube; 6. Cube consisted of three distinct parts each of which moving in two different axes having the movements of each part of the body as its reference;

unknown configuration retaining its balance like any body movement or a building that must stand up. The reference for having distinct parts was from the Manifesto from “Theo Van Doesburg Toward a plastic architecture”, in which the New Architecture in place of symmetry “offers a balanced relationship of unequal parts; that is to say, of parts that differ from each other by their functional characteristics as regards position, size, proportion, and situation. The equality of these parts rests upon the balance of their dissimilarity, not upon their similarity.” For the development movements of different parts in space and time is also from the same Manifesto “the new architecture offers the plastic richness of an all-side development in space and time.”

57

TRAN SFORM ATION SEQUEN CE The diagram shows each part moving in two directions according to the main axis of movement, the final form expands from its initial static position to fill a virtual dislocated dynamic cube.

UN FOL D I N G STRATEGY Lines projected on the face of the cubes expanded to other faces for the creation of parts. These lines touched the edges for the creation of potential enclosed figures to become a part. The direction of each lines indicates the direction of movement.

JOI N ERY STRATEGY A joinery strategy to achieve movement and stability were obtained when different parts interlocked one another.

58

59

JEWELRY V I S UA L M ER C H A N D ISI N G The project explores the concept of visual merchandisign at a jewelry store, it creates visual displays at the eye level of the costumer, using different materials contrasting with the surrounding, hence focusing on the content inside the displays.

60

61

RO O F EX P ER I M EN TS This project plays with different kinds of geometries like circles and ellipses derived from the golden section on the corners of the horizontal plane of the roof. Causing internal compression by an external pressure of a positive volume.

62

63

OTH ER M EDI UMS Renders, Photography, and Drawings

RENDERINGS

64

P HOTOGRAP HY

65

D RAW I NG F R O M O B S E RVATI O N I N K / G RAP H I TE

66

DRAWI N G FROM OBSERVATION CHARCOAL

67