The Portfolio of Emilio Hernandez Submittion for M. Arch
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Foreword: Studio has presented a new meaning to what design and architecture is to me as an individual. It has shifted all my prior understanding of what design is and has revealed to me distinctive ways of perceiving the world around us, whether visually or philosophically. During my four years at Florida International University’s School of Architecture (SOA), I have become aware and have grown in my knowledge in concept, form, theory and structure. As time continues, my passion for design only grows stronger. My interest in art, imagination and creativity stemmed as a child and became the foundation that has motivated me and fueled my aspirations to design. Additionally, my inclination for art and design was more influenced and encouraged by my creative and freethinking parents. My prior view of what an architectural career was altered only after my first week at FIU’s SOA. I had pictured myself producing generic plans of houses and simplistic concrete buildings, but that was far from the case. My new experience has opened my mind to the endless ways of designing, while upholding a sense of rationality and function. During my studies abroad in Genoa, Italy, my exposure to a new culture cultivated a new approach to design, specifically in designing buildings to affect the urban environment. Studying abroad also allowed me to learn from the past and see how it has influenced our present and ongoing design. My intention is to become a designer and to place my heart and passion into my work. I have chosen to continue my studies by pursuing a Master of Architecture because architecture is a means of creating designs that open up possibilities to improve societies and provide for its locals. I experienced a clear example of this during my last trip to Medellin, Colombia, where I visited “la Biblioteca España” by Giancarlo Mazzanti. Its design was equally as impressive comparing to the history of its area. My parents described to me that since their childhoods that area was one of the poorest slums of Medellin, it was a haven for terrible crimes and gangs. Because of the construction of this library and the cable cars leading directly to the library for public transportation, this area and its people have been reprogrammed. It has given the local children and adolescents a chance and motivation to learn. They have become more knowledgeable and have been given a chance to make a better life for themselves through means of education. In addition, I hope to visit and learn more from others around the world. I strongly believe that new experiences promote shared learning between a society and architecture in order to facilitate and improve daily life. It is because of this that I am determined to excel in the field of design. I am to discover truths within shapes, forms, space, theories and technologies. I am driven to create innovative and influential designs. I aim to maintain a uniqueness, and stretch limits, if not beyond.
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Curriculum Vitae: Education: -Florida International University, Bachelor in Architecture (August 2005-July 2009) > Study Abroad in Genova, Italia (Fall 2008) for Historical Arch. & Urban Design -Belen Jesuit Preparatory School (1998-2005) Achievements: -D1 Project displayed in Main Gallery (Fall 2005) -D2 Project submitted for School Accreditation (Spring 2006) -D3 Project submitted for School Accreditation and remains in Faculty Gallery (Fall 2006) -Undergraduate Portfolio submitted for School Accreditation, remains in Faculty Archives (Spring 2007) -D7 Group Project displayed in Faculty Gallery (Fall 2008) -Dean’s List (Fall 2008) -D8 Project submitted for Miami-Dade Transport Hub and submitted to Faculty Archives (Spring 2009) -Assisted in founding “Eco-Soluciones” within JFS Design Inc. (June 2007-February 2008) -Façade Revitalization Group of NW 12th Ave, Downtown Miami with UrbanAll Development Group. (Current and ongoing) Volunteer Coordinator and Group Assistant Work Experience: -JFS Design Inc., Landscape Architecture (June 2006-September 2008) > Administrative Assistant to Principal Landscape Architect > Duties: Drafting, Book-Keeping, Graphic Design, Customer Service, and Field work -Construction at West Palm Beach (June 2005-August 2005) > Laborer -Cinnabon at Miami International Mall (June 2004-November 2004) > Duties: Customer Service, Cashier, Inventory & Quality Control Special Skills: -Bilingual (English/Spanish) -Adequate in Italian -Computer Literate > Linux, Macintosh and Windows Operating Systems > Microsoft Word, Excel, Outlook, PowerPoint and Quickbooks > Adobe Photoshop, Illustrator, InDesign, Acrobat Professional > AutoCAD, 3D AutoCAD, and Google SketchUp >3DS Max, Autodesk Maya and Rhino
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Table of Contents: Design 1 / Fall 2005 008
-P1: Threshold/Movement Project
Design 2 / Spring 2006 014 022
-P1: Matrix Bus Station -P2: Landscape of Performance
Design 3 / Fall 2006 028 036
-P1: Habitation in an Urban Landscape -P2: Layering/Folding of a Landscape
Design 4 / Spring 2007 044 050
-P1: 3-on-3 Spring Charrette -P2: Downtown Miami Culinary Institute
Design 5 / Fall 2007 058 064
-P1: The Ascension Project -P2: Design District Library
Design 6 / Spring 2008 074
-P1: Madame X, Housing for Student Artists
Design 8 / Spring 2009 080
-P1: Miami Metro Transport Hub
Architectural Installations / Summer 2009 092
-P1: Mutable Origami Iterations
Personal Works / 2008-2009 098
-Art
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DESIGN 1/FALL 2005
Threshold/Movevement Project: The project was introduced as an opportunity to perform an action and record a series of movements. The idea was to implement an analysis of the movement into a design. In the end a landscape was added, which required to continue the exploration of the chosen “movement.�
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Diagramming / Analysis B2
A1
C3 B3 A2 A3
C1
B1
C2
The design of the movement/threshold building began with the recorded movement of the hands and arms. Through the use of photography and LEDs as a light source, light trails were able to be recorded. Because the camera settings were changed to overexposure, each image taken was able to display the movements during the time the camera was taking the overexposed pictures. Diagramming the sequence of movements, a series of developments occurred in order to implement the movement into the design.
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Process
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Final Design
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Final Design
The structure contains three levels. There
develeoped the design. The consistency of both
is a series of ramps that transverse through the
movement and transparency was to be incorpo-
space. Based upon the same idea as the Guggen-
rated into the landscape. The idea of circulating
heim by Frank Lloyd Wright in New York, the focal
ramps that could allow inhabitants to travel into
part of the structure is affected by the circulation.
each space was also imitated in the landscape
There is a consistency of transperancy throughout
extension. The results of the design was expressed
the whole structure.
with beams that traveled through the space and an
The extension of a landscape further
additional ramp that loops above ground.
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DESIGN 2/SPRING 2006
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Matrix Bus Station: This bus station was an exercise in learning and understanding the concept of the “matrix� and body proportions from the masters like Da Vinci and Le Corbusier. The analyses of one’s own body was transferred into an archictectural formand provided a multitude of levels and interactive spaces, but maintained the rules of human proportions.
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Diagramming / Analysis
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Process
The project began with research about the matrix. An understanding of proportions came from research on the Golden Proportions, Da Vinci’s Vitruivius Man, and Le Corubsier’s Modular Man. With this knowledge, a diagrammatic matrix was composed of my own proportions in different body stances. From this grid and proportions, a design was extracted. With the collectection of information and sketches, the design of a dadum was created. The dadum was used as the main structure that intersecte through the project. The next idea was to create a multitude of spaces at different levels and with different enclosure types.
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Final Design
This compostion was created by the fusion of a linear 3D design and a planar design extracted from the analysis. The spaces and circulation paths were formed and defined by the volumes, planes and linear elements found in this composition, Each zone consists of a space that controls a different level of interactivity and visibility to the exterior. The final design was intended to reflect the different levels of activity within the body pose analysis.
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Final Design
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DESIGN 2/SPRING 2006
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The Performing Landscape: The project was an experiment to convert a landscape into architecture, but remain as a type of landscape. One principle of the design process was the implementation of occurrences by chance from the teachings of Merce Cunningham. The proceedures required to use folding to create architectural and landscape spaces that allow the users to inhabit and perform.
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Diagramming / Analysis
The site location was in front of Florida International University’s School of Architecture in Miami, Florida. The site was analyzed and diagrammed to investigate its existing conditions and 22
for patterns existing on the site.
Process
The final diagram was produced from the creation of nodes at each path and circulatory intersection on the site. Then, taking these nodes and interconnecting them with divisionary segments. From the final diagram, a general set of rules, parameters and systems were created to guide the design of the project. Research was done about the famous performer and choreographer, Merce Cunningham. Based on the teachings and studies of Cunningham, the compositions that were made were done arbitrarily and at random. But even after relying on chance, there were rules and guidelines implemented to give Cunningham’s performance stability and form. Process models were created based on the diagrams while fusing the concept of folding and the concepts from Cunningham.
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Process
This project incorporated a manipulation of the landscape; to transform the landscape design and to create architectural characteristics, and eventually blur the difference between landscape and architecture. Returning to the main diagram, the line widths became the basis for the division of program as well as the main form of circulation through the spaces. The rules of folding came by chance just like the methods of Merce Cunningham. But certain folds were intentional, in order to create spaces and assign the program of the spaces. 24
Final Design
25
Final Design
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Final Design
The final design presented itself as an extension to the School of Art and Performance.
surfaces of the structures. The design also allowed there to be an op-
The assembly of piercing structures were made
portunity for performance on the landscape as well
to house certain performances, for example an
as in the interior of the folded structures.
amphitheater for dance and music and a student center. The relationship of the architecture and landscape fused together by creating openings in the terrain and by providing green roofs on the
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DESIGN 3/FALL 2006
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Habitation in an Urban Landscape: The project required to conduct a case study analysis of a well-known residence. Then create a conceptual structure that follows the analysis and relates to the similar principals from the case study. There was also an opportunity to further develop the structure by introducing a mesh which defined spaces within the initial structure.
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Diagramming / Analysis
The project began with a case study analysis from the plans of Maision a Bordeaux by Rem
the analyses. Secondly, the design had to be applied
Koolhaas. What was analyzed where the divisions
to a narrow site with fire walls at both sides. Once
of spaces and the creation of a pattern from the
the orthogonal structure was procured, a fabric
case study. Experimental forms were then derived
mesh was introduced, to create a circulation,
from the analyses, in order to investigate different
defines spaces, invade and unify the structure.
spaces that can be created. The first model was created based on the 30
preliminary experiments and extracting forms from
Diagramming / Analysis
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Final Design
After the conversion of the fabric/fluidlike mesh was introduced and transformed into a rigid structure, the overall foundation of the design was created to generate spaces in which an artist could reside within. Its components consists of two orthagonal structures that suspend a triangulated structure that has an appearance of infestation.
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Final Design
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Final Design
The final design consists of a glazing mesh that define an elevated space that uses the two orthagonal structures as structural support. The mesh also creates an invasive simulation of growth and carves through the structurs to create atrium-like spaces at both ends. As well, the polygonal mesh produce a means of circulation within the residence. As the two rectangular structures suspends the mesh structure, the mesh structure suspends a platform in the interior that serves as a dadum and transverses horizontally through the whole project.
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Final Design
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DESIGN 3/FALL 2006
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Folding/Layering of a Landscape: The project asked to create a path through a defined site by using patterns to create folds in the landscape. These folds were intended to create spaces on the predefined path and design monumental spaces that narrowly define indoor and outdoor spaces. Folding and reflecting were the primary means of the design of this project and an experiment with layering of these iterations.
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Diagramming / Analysis
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Diagramming / Analysis
The site was given, and a path was created
those shapes, different cuts and folds were done
to limit the area being manipulated and create
to the pattern and organized in such a way to cre-
a primary circulation through the site. The first
ate architectural spaces upon the defined path.
diagram was chosen to be further developed. From
Experiments were performed with these textures
the path model, divisions and sectors were estab-
and shapes to find an ideal overlapping of folds to
lished only to then be replaced with textures from
create different layers of information and differ-
aerial images of the earth. Further analyses were
ent levels of habitation. Openings in the landscape
created from these textures to obtain geometric
created subterranian opportunities to explore within
shapes with distinct regulating forms. From
the project.
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Process
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Process
Trial and error occurred until a final design
consisted of a roadway, that bends in and out of the
was manifested from a series of attempts. Com-
site, and a river towards the rear of the site that
pared to the previous experiments, a design was
became a key factor to incorporate.
created that was more volumentric and created
The final design contained a dynamic char-
semi-enclosed spaces for use. Once this overall
acteristics and monumental spaces that provide a
form was established, further development was
series cantilevers and wrapping structures.
needed to enclose the spaces, Then it was necessary for these folds to be reflected and to extend its edges and boundaries to unify the whole project with itself and to the site. The site conditions
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Final Design
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Final Design
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DESIGN 4/SPRING 2007
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3-on-3 Spring Charrette: The project consisted of a two week charrette competition within Florida International University School of Architecture by Bernard Tschumi. The site was located within the School of Architecture, on the third floor of the “Red Generator” building. The theme of the charrette was based on a concept of “3-on-3.” A term that could be used in any fashion and integrated into the third flood as a temporary space for the “Red Generator.” Most importantly, the space was to become more habitable. 45
Site Conditions
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Final Design
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Final Design
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Final Design
The term “3-on-3” was established as part of the school competition, and played a decisive factor in the design of this project. It was contains three main elements: Light, Seating and Division of Space/Circulation. The lighting consisted of three different sets of light colors placed around the site as a way to create a luminary attraction to the site. It would provide a glowing attraction from a distance. The three colors (red, yellow, green) relate to Tschumi’s palette of the “Generators.” The second and third features are combination of a panel system, which has seating attached to it. The panels serve as a way to divide the space and define the methods of circulation. The panels as well, contain three levels of visibility: opaque, translucency and transparency. Each level of visibility is meant to work in conjunction with the lighting system. The seating served as a base to the panels and created opportunities for social interaction.
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DESIGN 4/SPRING 2007
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Downtown Culinary Institute: The Culinary Institute was to be located in the highly populated, Downtown Miami. A preliminary visit to Le Cordon Bleu Culinary Institute helped organize and understand the types of spaces the users need. Additionally, the process and art of cooking was incorporated into the design form. The overall project was based on a specific cooking process, which was translated into architectural characteristics.
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Site Conditions
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Site Conditions The site condition included major road ways and a metro line connecting both to the site. and to Miami Dade College Wolfsonian Campus. This project was to be designed within a constricted space and implement the program in order to meet the needs of the culinary students in DownThe Site
town Miami.
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Diagramming / Analysis
Elevator Machine Room
Circulation
Elevator
Ser. Elevator Machine room
Service Elevator
Loading Dock
CIRCULATION
Trash Room
Mechanical Room
Restrooms
Rooftop Herb Garden
MISCELLANEOUS
Storage
Master Chef Office
Master Chef Residence
Broadcast Kitchen
EDUCATIONRESIDENCE
Demonstration Kitchen
Dump Waiters
Dry goods storage
Walk-in Chiller
Walk-in Freezer
Captain's Table
Wine Cellar
Waiter Station , drinking
Balcony, Rooftop dining
MAIN KITCHEN SUPPORT
Wet Bar
Fine Dining
Informal Dining
Kitchen (open to dining area)
Program
RESTAURANT
Relationships Public Private Visible Invisible Light Dark Smell Sound Open Enclosed Service Low Density High Density Interior Exterior Day Usage Night Usage
Secondly, a catalog of the program requirements was documented. This included,
analysis. It required to diagram its movements and
defining its charactersitics, for example: private,
distinguish its characteristics, so that it could be
semi-private, semi-public, public, and etc. The
integrated into architectural elements.
principal theme to the design was food prepera54
tion, in this case baking a cake became a subject of
Process
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Final Design
The final design took on certain features reiterated from the cooking process. Its resemblance to the cake mixture through curvilinear forms and each floor level representing the knife as sharp cutting through the organic form. The design incorporated a large public space, that gradually becomes more private as the inhabitant/visitor ascends to higher levels. 56
Final Design
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DESIGN 5/FALL 2007
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The Ascension Project: The project was introduced as a two week charrette based off one of the architectural works of the famous Michelangelo, a design was required to follow the principle of “Ascending.” The design was to appeal to the inhabitants’ senses. Specifically, the inhabitants will experience a sensation of ascending into a higher space and transcending mainly in a vertical manner.
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Diagramming / Analysis
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Diagramming / Analysis
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Final Design
The design process is the investigation of different forms of ascension. The movement of flying was further studied. From birds to
void. The final design became an iteration
insects to airplanes, and how the movement
of ascending by ways of flying, and by using
affects the air particles that give the vessel
the repetive semi-planar elements, it allowed
flight. In this case the roles were reversed and
an interplay of lighting to the design. The is
frozen in time. The void to the ascension proj-
repetitive element was added to the vertical
ect related to the flying vessel , while the air
circulation and intended to continue into the
around it became the solid structure contain-
structure.
ing the void. The project took form as repetitve
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solid elements that contains the transitional
Final Design
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DESIGN 5/FALL 2007
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Design District Library: Located in the midst of the Miami’s Design District, the low income surroundings became an ideal location to establish a hypothetical public library for the benefit of its local population. Being amongst a variety of design firms and businesses, the project gave some liberty in the structure’s form. The primary focus was to provide a program layout which would allow the inhabitants to educate themselves.
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Site Conditions
The site was located in a trendy part of Miami, the “Design District.� Named for its multitude of design stores, firms and restaurants, it is active during the day and open for night time activities during the weekends. One feature of the design district was its surrounding zones, which had demographics of being a low income neighborhood and business area. The location became an opportunity to establish a library to serve its local people and inspire knowledge to its users. Additionally, its location has relatively close proximity to one of Miami’s major expressways, I-195. A set of analyses were done to investigate not only the site conditions, but the general matrix of its surrounding areas and try to create a formal connection of the design to its surroundings. 66
BL E
CA YN B IS
95 I-9
7T H AVE . NW 17
NW 7TH A VE.
N M IA MI A
Diagramming / Analysis
79T H ST. CAUSEWAY
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NW W 62ND ST T.
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CITY OF MIAMI (City Boundary)
W 40TH ST . SW
NE
BS
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87TH S T
79TH ST CA AUSEWAY Y
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NW 1 9TH AV VE
NW 79TH S T
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NW 17T H AVE
S W 42ND A VE.
City of Miami Boundary Library site
N W 71S T S T
NW 62ND ST
NW 37TH A VE NW 3 6T H S T
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SR 8 3 6 D O
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CITY OF MIAMI (District Division) Library site
BA AY
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NW 7TH AVE.
.
S W 42ND A V E
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1 Model City 2 Little Haiti 3 Upper Eastside 4 Allapattah 5 Wynwood/Edgewater 6 Flagami 7 West Flagler 8 Little Havana 9 Overtown 10 Downtown 11 Coral Way 12 NE Coconut Grove 13 SW Coconut Grove
Lit tle
2
1
R iv er
CAUSEWAY
6
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3
5
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79TH ST.
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NW 58 TH ST.
BISCAYNE BAY
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13
1 Model City 2 Little Haiti 3 Upper Eastside 4 Allapattah 5 Wynwood/Edgewater 6 Flagami 7 West Flagler 8 Little Havana 9 Overtown 10 Downtown 11 Coral Way 12 NE Coconut Grove 13 SW Coconut Grove
ISLAND NW 7T H ST .
MA C AR
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POVERTY LEVEL
SW 37TH AVE.
SW 42ND A VE.
SW 47TH AVE.
SW 22 ND ST.
RICKENBACKER CAUSEWAY
VIRGINIA KEY
less than 15% 15 - 24.9% 25 - 34.9% 35 - 49.9 50% and above
SW 40TH S T.
POVERTY RATES S
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Library site SW 42ND AVE.
SW 57TH A VE.
SW 8T H ST.
S W 67TH A VE.
EX WY. O SR826 PA LM ET T
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1 Model City 2 Little Haiti 3 Upper Eastside 4 Allapattah 5 Wynwood/Edgewater 6 Flagami 7 West Flagler 8 Little Havana 9 Overtown 10 Downtown 11 Coral Way 12 NE Coconut Grove 13 SW Coconut Grove
PERCENT with less than 9TH GRADE EDUCATION less than 10% 10.0 - 19.9% 20.0 - 29.9% 30.0 - 39.9% 40% and above EDUCATION RATES Library site
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Process
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Process
Attempts were made to generate different volumetric forms that could be applied to the site. The structure of the library had to adapt to fit into the form of the lot with the other buidings and to the north. After several investigations, a general visual connection was made to the major expressway and created views to its surroundings. A conceptual connection was made to the highway by imitating the occurences when different highways meet, interconnect and exchange its users. By creating tube like forms the circulation was controlled and opportunities for exterior views increased.
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Process
The general concept was established, creating tube-like structures that subtly shift in
with the circulation. Three of the forms branch
different directions and having large openings at
off from the primary form which is the main
the structures’ ends. The final design took on the
library and the masses intertwine each other.
form and characteristics of a highway network and
Its skin was to allow the greatest permeation
created a visual connection to the adjacent express-
of natural light into the structure. Consid-
way.
erations were made to furniture that would Four tube-like masses were designed to
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incorporate the function of the space along
reflect the form of the final design.
Final Design
Circulation-01-Bottom Levels
Circulation-02-Top Levels 71
Final Design
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Final Design
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DESIGN 6/SPRING 2008
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Madame X Student Residence: Playing a fictional role, a woman named “Madame X” owned a series of apartments dedicated for art students, while having her own residence near by on the water. The primary focus of this project was not to created radical forms but to exercise the design process by using the site’s qualities. 75
Site Conditions
Residencial
The site contains a major water feature that
Commercial Locations Institutions
provides an uninhibited view of the ocean water channel. With its proximity to the famous Miami Beach, it provides an important to which Madame X may provide residency to student artists. Because of the large art scene in Miami Beach, the students need to be able to produce and display their artworks. Therefore
Residencial vs Gathering Spaces
76
a question arose, “what is art and what are artists?�
Process
Trials with the organization of program layout and general conceptual form of the Madame X and the student residences.
77
Final Design
2
1
3 10 9
4
7
6
11
5
8
12 Second Floor Plan
18 16 19 13
14
17
20
15
2
1 3
5
4
Student Residence Section 7
6
8
10
9
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11
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16 17
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18
20
1- Housing - Living Work Room 2- Housing - Balcony 3- Housing - Kitchen 4- Housing - Living Work Room 5- Housing Balcony 6- Housing - Living Work Room 7- Housing Balcony 8- Housing - Kitchen 9- Housing - Living Work Room 10- Housing - Balcony 11- Housing - Living Work Room 12- Housing - Balcony 13- Housing - Kitchen 14- Housing - Living Work Room 15- Housing - Balcony 16- Housing - Kitchen 17- Housing - Living Work Room 18- Housing - Balcony 19- Housing - Living work Room 20- Housing - Balcony
1- Caretaker - Bedroom 2- Caretaker - Closet 3- Caretaker - Bathroom 4- Housing - Bathroom 5- Housing - Bedroom 6- Housing - Living Work Room 7- Housing - Kitchen 8- Housing - Balcony 9- Communal Studio - Stairs 10- Communal Studio - Communal Garde 11- Communal Studio - Stairs to Commu 12- Land/Water Transition Space (Secon 13- Madame X - Kitchen 14- Madame X - Pantry 15- Madame X - Dining Room 16- Madame X - Media Room 17- Madame X - Living Space 18- Madame X - Guest Bathroom 19- Madame X - Guest Bedroom 20- Madame X - Balcony
Final Design
The final design consisted of three main parts: the student apartments, the studio workshop and Madame X’s residence over the water. The residence for the student artists consisted of stacking a generally similar layout and shifting the volumes. The workshop provides for painters, sculptors, photographers, digital designers, musician, etc. As for Madame X’s residence, it holds a gallery on the lower level and her home above it.
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DESIGN 8/SPRING 2009
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Miami’s Dadeland Transport Hub: The project was introduced as a competition for redesigning the existing transport hub. This particular station was a place to transpose from bus transportation to metro and vice versa. One key requirement for the competition, was to incorporate types of sustainable design into the architecture. 81
Site Conditions
82
Diagramming / Analysis Programatic Diagram -First Gesture was to create slight deviation of the two transit systems that participate with the Transit Hub. -The second gesture was to organize the Waiting Zones for both the Metro and the Bus transit systems. -The third gesture was to accommodate the rest of the program, but with the circulation and use of space in mind. -The final feature that was established was the Plaza, which in turn had created the first gesture
sustainability
White Concrete
Natural Ventilation
Affordances
Titanium Dioxide Cement. Keeps it cool and purifies the air.The white concrete will absorb less of the sun’s energy, and will reflect the light. Concrete use helps reduce the urban heat island effect.
The tunnel opening and the porosity The plaza will afford users immedof the skin both allow the entry of ite necessities, thus eliminating light and wind. Natural ventilation second or third stops during their creates indoor airflow that minicommutes. By providing users with mizes the need for mechanical vena convenience store, a pharmacy, a tilation systems, which reduces a bank, etc. users will ultimately Certain qualities were noted reduce in thetheir existing site, it provided the building’s operational costs and incarbon footprint, concreases its sustainability. to a sustainable lifestyle. amenities needed for waiting on the tributing transports, but lacked interactivity
with its users. As well, its existing design disallowed non-users from entering the metro waiting area. Through some analysis, the concept was to insert a plaza into the existing conditions and shift the metro and bus line to wrap around this intervention. This plaza attempts to create a sustainable place where commuters and local neighbors will be afforded opportunities based upon their immediate needs and contribute to a sustainable lifestyle. The daily lives of commuters was analyzed and was translated into the program with the addition of the central plaza. Architecturally, the metros were re-tracked in order to enclose and house the plaza.
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Process
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Final Design
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Dadeland Miami Metro Station Longitudinal Section-Scale: 1/16”=1’ A-SecondaryTicketing Machines / Secondary Stairs B-Equipment Room C-Information desk D-Metro Car-Waiting Area E-Public Restrooms F-Cafe / Restaurat G-PrimaryTicketing Machines / Primary Stairs H-Convenience Store I-Possible Small Bank Post
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Furthermore, the needs of the commuters were divided
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into three groups, immediate, tranitory, and leisure. By includ-
Dadeland Miami Metro Station Longitudinal Section-Scale: 1/16”=1’ A-SecondaryTicketing Machines / Secondary Stairs B-Equipment Room C-Information desk D-Metro Car-Waiting Area E-Public Restrooms F-Cafe / Restaurat G-PrimaryTicketing Machines / Primary Stairs H-Convenience Store I-Possible Small Bank Post
ing a convenience store, fresh market, bank, etc, additional stops could be eliminated. Thus
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contributing to a reduction in the
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commuter’s carbon footprint. A
Developments were
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made to test different ways of introducing “the plaza”. The idea
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was to wedge a plaza in between the metro rails and have its shape defined by its limited property. Dadeland Miami Metro Station Longitudinal Section-Scale: 1/16”=1’ A-SecondaryTicketing Machines / Secondary Stairs B-Equipment Room C-Information desk D-Metro Car-Waiting Area E-Public Restrooms F-Cafe / Restaurat G-PrimaryTicketing Machines / Primary Stairs H-Convenience Store I-Possible Small Bank Post
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Final Design
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Dadeland Miami Metro Station Cross Section-Scale: 1/16”=1’ A-Employee Facilities B-Metro Car-Wating Area C-Bus-Waiting Area D-Plaza of Convenience
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E L G Dadeland Miami Metro Station Longitudinal Section-Scale: 1/16”=1’ A-SecondaryTicketing Machines / Secondary Stairs B-Equipment Room C-Information desk D-Metro Car-Waiting Area E-Public Restrooms F-Cafe / Restaurat G-PrimaryTicketing Machines / Primary Stairs H-Convenience Store I-Possible Small Bank Post
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J-Elevator and Employee Facilities Access K-Metro Waiting Area Access to Elevator L-Bus Route
Final Design
Exterior Skin, White Concrete
8 Skin Structure, Metal Beams & Plates
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Metro Waiting Area
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1 - Bus Waiting Area 2 - Vertical Circulation to Emloyee Facilites 3 - Plaza of Affordance 4 - Elevator 5 - Employee Facilities and Offices 6 - Bus Waiting Area 7 - Bus Route 8 - Metro Route
Bus Waiting Area
Materially, the structure will be of a white concrete with a titanium dioxide treatment in the cement of the concrete. This will keep it cooler and purify the air from pollution. The white concrete will absorb less of the sun’s energy, and will reflect the light. Also, the use of concrete -helps reduce the urban heat island effect. Additionallly, the structure’s tunnel opening and sliver openings allow the entry of light and wind. The natural ventilation creates an indoor airflow that minimizes the need for mechanical ventilation system, which reduces a building’s operational costs and increases its sustainability.
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Final Design
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Final Design
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Final Design
Re-design of the previous design was made to incorporate a series of bands that define the movement of the design. This redesign also includes an additional feature of sustainablity. Using a form of geothermal cooling system. As well this design of wrapping bands contains a groove that gives an opportunity of installing light fixtures that will lead the inhabitants vision to the wraping of the structure.
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Final Design
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ARCH. INSTALLATIONS/ SUMMER 2009
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Mutable Origami Iterations: In Collaboration with: David Lopez. The project was introduced with the purpose creating a type of field, the installations should not be base off of function and it had to be made out of paper. The end result was obtained by experimenting in the area of origami and finding different ways to convert the installations into architecture and other ways of design. 93
Diagramming / Analysis
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Process
This project required
the next step was to transmute
the use paper as the method of
paper mesh into other forms of
producing the installations project.
design. For example, its possible
Therefore, origami investinga-
application to a facade or wall
tions were completed in order to
treatment, converting the paper
discover the endless possibilities
mesh into a solid slab for high
of creating fluid-like geometric
production and exploring it into
meshes. After taking upon one
fashion. Eventually it could even
certain pattern, a series of trials
become an architectural structure
were done to see what type of
through further exploration.
formulas the mesh could perform. Once each aspect was cataloged,
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Final Design
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Final Design
Modeled by: Tari Pelaez
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PERSONAL WORKS/2007-2009
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