PORTFOLIO ARCHITECTURE | DESIGN | UNDERGRADUATE
“PICTURES MUST BE MIRACULOUS.” - mark rothko
I dedicate this portfolio to my family. My mom, dad and sister for being a constant reminder that there is a little humanity in all of us. thank you
â€œThe process to great architecture takes upon five steps. The Idea being the Concept. The Form being the Art. Structure being the How? Function being Performance. Architecture being the Beauty of; The beauty of Architecture is, we as Architects have an impact on the way people walk, talk, think and feel within a space. The number one thing we should always remember is, we build for people.â€? - myself
ELECTED WORKS table of contents
THE NEW YORK CITY COLLEGE OF TECHNOLOGY | UNDERGRADUATED STUDIES | BACHELOR’S IN ARCHITECTURAL TECHNOLOGY
03 ARCHITECTURE | perspective, clarity, interrelationship and co-existance 07 PRECEDENT STUDY PROJECT | architecture, art and design 17 URBAN PARK PROJECT | el lissitzky and the golden ratio 25 PATHWAY PARK PROJECT | pathways to brooklyn 33 BOROUGH HALL SUBWAY ENTRANCE | transporting transformation 45 FITNESS + HEALTH CLUB | anticipating rotation 55 DUMBO’S ANCHORAGE MUSEUM | timeless morph
65 OTHER WORKS | 73 PHOTOGRAPHY |
picture perfect or worth the picture?
01 | 02
PERSPECTIVE Defining architecture and its beauty, is understanding the non-existant. Form may be define as something that can be. Viewing architecture as a form of beauty, one immediately enters the levels of simplicity; the ‘can be’. ‘Form’ helps to define this. It is the identity the structure portrays. It is meerly the external appearance of a clearly definied space. A configuration that is interpret by color and material.
Form can then become the result of change. The taking of nothing and the making of something. An enhanced idea, concept or strategy. It is in its nature to create something ambiguous and make it unequivocal. One defines this as the ‘is’; the state of being. The existance of something. It becomes unforgettable similar to a familiar face or voice. It is now encrypted and will no longer proceed to change.
The connection between designing and building is nonetheless a start to its finish. It is the beginning of a vision and not knowing what it may become but then coming to a conclusion of what it finally is. When Architecture becomes one with the people it surrounds and the space it inhabits, no longer is it man made. It is now permanent and forever will be.
CLARITY Light is not revealed without the presence of darkness. Acknowledging that there cannot be light without darkness, the relationship between black and white is made. Ways to allow for light to enter a space becomes prominent to the understanding of â€œhow to?â€? It can be simply viewed as the absence of color ( black ) versus all the colors in the spectrum ( white ).
03 | 04
INTERRELATIONSHIP Physics defines interaction as the direct effect that one kind of partical has on another, in particular. It is also defined as a mutual or reciprocal action or influence. But how does this effect us humans? Is Architecture nothing more than an object? On the contrary, Architecture defines us as people. No matter how may see it, the master of building has an effect on the actions we take and we respond accordingly. This is reference in Vitruviusâ€™ De Architectura; firmitas, utilitas and venustas which translates to, durability, utility and beauty. Architecture must stand up and remain in good condition to function well for peoplesâ€™ use. Once this is accomplised, what we build should always delight, impress and raise the spirits of those whom use it. This is how we interact with Architecture and how Architecture interacts with us.
CO-EXISTANCE The sketch model demonstrates how two objects can become one without disturbing the other oneâ€™s natural state. Each cube has a force that represents a field and enables that cube to continue that field while interacting with another object. It explores the nature of co-existance. One is able to see and understand each cube without having to break the connection by accepting each cube a whole and most importantly, seperately.
05 | 06
PRECEDENT STUDY PROJECT architecture, art and design
An interpretation of architecture takes upon many views. A distinct way of viewing something can only come naturally if one goes beyond to find a connection that can be related by everyone. This two weeks project synchronizes architecture, art and design. It studies the Kaufmann Desert House by architect Richard Neutra, the paintings of Russian American painter, Mark Rothko and George Nelsonâ€™s funiture , designer of American modernism. Once all three concepts are linked and understood as one idea, one can begin to design an art piece that captures the understanding of all. fall 2010
07 | 08
09 | 10
11 | 12
KAUFMANN DESERT HOUSE SCREEN PROJECT
This art piece is a result of all three studies pertaining to the precedent study project. It captures the idea of flat planes as it rejects any sense of verticality. It leans more towards a horizon approach as we see it happening in Richard Neutraâ€™s Kaufmann Desert House. Giving this project the idea or appearance of a horizon surface, helps to connect the architecture, art and design as mentioned prior.
13 | 14
Kaufmann DesertHouse 15 | 16
URBAN PARK PROJECT el lissitzky and the golden ratio
Prouns, described as “project for the affirmation of the new” also known and viewed as geometrical abstractions, both two and three-dimensional, is the focus for this project. Our task is to take one of El Lissitzky’s abstract, nonrepresentational artwork and use it to create the Architecture. As we learn from Lissitzky, our goal is to be “interested in creating the world through art rather than describing it.”
DESIGN APPROACH By following the traditions of the Bauhas movement of the early 20th century, the Urban Park Project combines analysis and development of space to create a new three-dimensional object generated from an El Lissitzky proun. Task one is to tanslate one proun into several three-dimensional objects. The new objects may be combined or filtered seperately. Second task is to imaging what is beyond the canvas. Interpret the canvas from a different perspective. This is based on color, hierarchy, positive and negative space. Filtering these aspects enables to create something that is not quickly seen. Next, we translate the new objects so they can be interpret as a solid form, canopy and sunken plaza. Our final approach is to use the golden ratio to create a plan for the design of the Urban Park.
OUNS fall 2011
proun 4 b, oil on canvas, 1920 | museo thyssen-bornemisza, madrid, spain
17 | 18
ABSENSE OF COLOR
19 | 20
LATERAL SECTION A
LONGITUDINAL SECTION B WHY PARKS SUCCEED, WHY DO THEY FAIL The best design will include most if not all of the following; image, identity, attractions, destinations, amentities, flexible design, seasonal strategy and access. An unsuccesful design will inhabit flaws such as lack of seating area, lack of gathering point, poor entrances and visually inaccessible spaces.
21 | 22
A GOLDEN RATIO DESIGN
URBAN PARKPROJECT 23 | 24
Each analysis brakes down the park into its 3 most important aspects; function, purpose and connection. Diagram 1 shows the parkâ€™s flow path with ultimately helps us its purpose of calm versus active. Diagram 2 shows population whereas diagram 3 demonstrates attactions such as Brooklyn Bridge and Lady Liberty.
PATHWAY PARK PROJECT pathways to brooklyn
The Pathway Park Project focuses on creating an 85-acre park stretching from Atlantic Avenue to Architect Micheal Van Valkenburghâ€™s Brooklyn Bridge Park, Pier 1. The design is driven by the configuration of the path. It consist of two distinct paths where each is responsible for providing a different experience for the public. One path leads from Brooklyn Bridge Park up to Columbia Heights while the other travels from Columbia Heights down to Brooklyn Bridge Park. The Pathway Park Project includes seating area, drink/ snack stand, viewing area and must be ADA accessible.
CONFIGURATION OF THE PATH The configuration of the path; the design for a path configuration consist of the linear, radial, spiral, grid and network paths. The Pathway Park Project uses both linear and network paths. fall 2011
25 | 26
THE PARK and SURROUNDINGS The Pathway Park Project calls for a design that is exciting, fulfilling and innovative. Not only does the idea for the design connects neighborhood and public, but it also recognizes the connection the public has with the city. This image maps out the views from different stand points within Brooklyn Bridge Park, Pier 1. As we begin to understand Pier 1, we see that Harbor View Lawn points directly to the Statue of Liberty, Bridge View Lawn points us into the direction of the Brooklyn Bridge and Granite Prospect provides an amazing cityscape view. We then take what we know and begin to apply our design to create an overall connected experience.
27 | 28
LATERAL SECTION A
LONGITUDINAL SECTION B Entry for the Pathway Park Project is located on the North side of both Furman Street and Columbia Heights. An additional entry is located only on Furman Street where the public may enjoy a peaceful walk along water fountains and open lawn area. Nonetheless, whether tourists are grabbing a bite at the River Café, Grimaldi’s Pizza or cooling off at Brooklyn Ice Cream Factory, they can never go wrong with a marvelous view to go along with their treat.
29 | 30
P ARK PROJECT
31 | 32
BOROUGH HALL SUBWAY ENTRANCE transporting transformation
The project expresses a much more interesting approach to the subway located at Borough Hall, New York. The goal is driven by giving the public a place where not only can they enjoy a farmer’s market, performances and relaxed hangout but a place that speaks Downtown Brooklyn as well. The idea for the design consist of two contradicting machines that when combined evolves in an overall concept. Narrowing down each machine to its simplest machanism allows us to understand how each one performs according to its motion. The “vacuum” inhabits a different ability than the “stapler.” We recognize the “vacuum” as the machine that “takes in”, whereas the the “stapler” is the machine that “pushes out.” When combined, a new machine is created and so the name “Transporting Transformation” becomes appropriate. spring 2012
33 | 34
DESIGNPRINCIPLES We arrive to a design that expresses and respects the relationship between Architecture and surrounding. The diagrams represent the steps necessary to conclude the vision of something worth creating. We begin by analyzing the space and site. What works, and what does not; and how can we use that to our advantage? We must understand circulation and the directions people are approaching. Where are they heading to? And where are they coming from? What is the flow path within and around the space? By identifying these aspects, not only do we create a space that people can inhabit but also allow for other attractions to exist, such as a Farmerâ€™s Market, performances, ticket/ informationbooth, kiosk, public seating and garden.
PLAN ORGANIZATION : GRID PATH : LINEAR (BYPASS) Design Principles - Axis - Balance - Proportion - Symmetry
SYMMETRY? Imply the grid, but break the grid to eliminate symmetry
Create Circulation Keep Axis
Approach 1 Follow same function above
Approach 2 Speak same language above
35 | 36
CORRELATIONS It begins with two distinct machines. We label each one by their ability or action. The vacuum is able to transport dirt and dust from point A to point B in any way we see it. The stapler is able to transform staples which allows for binding pages. These are thier abilities and how they function. We then label our program accordingly to the parts of each machine, and how each label corresponds with each other.
Machine A | Vacuum
- Entrance - Public Seating - Performance Space - Garden - Kiosk - Ticketbooth - Map | Wayfinding - Bike Storage - Farmer’s Market
To “transport” - Intake - Vent Grill - Brush Roll - Hose - Dust Receiver - Exhaust
Machine B | Stapler To “transform” - Carrier - Pusher - Spring - Base - Handle
37 | 38
SUBWA Y ENTRANCE transportingtransformation
LONGITUDINAL SECTION B
LATERAL SECTION A
39 | 40
LONGITUDINAL SECTION B
LATERAL SECTION A
41 | 42
SUBW A Y ENT TRANSPORTING TRANSFOR
43 | 44
FITNESS + HEALTH CLUB anticipating rotation
Here we are reminded about the essense of Architecture; the “can be,” the “will be” and the “is.” It helps to understand and identify fields and forces. It steps away from the cliché way of building, “box building” and allows for the artform of building. Creating spaces requires to visualize geometric forms and how to connect these forms in an interesting way. By doing so, we break from being redundant and approach being different. This is why we ask ourselves why some places exist longer than others? What makes something memorable, and how can we influence the way we build? The Fitness and Health Club serves as a need for the community. It targets all ages and encourages everyone to take advantage of the services provided. Along with exercise rooms and pool area, the Fitness and Health Club offers learning activities, nutrition, children’s playground, elder care, arts and crafts, roof garden, entertainment, etc. This is all very important not just for the approach and vision, but for the public who will be experiencing it, which is why it has been incrypted into the program of the design. spring 2012
45 | 46
PROGRAM AND REQUIREMENTS
FITNESS + HEALTHCLUB
LEVELSandLAYOUT LOWER LEVEL | main pool, children’s pool, lockers, suana, steam room and massage.
GROUND LEVEL | lobby and reception (double height), small shop and café, juice bar, snacks and health bars, service entrance. 2ND LEVEL | main exercise room, spinning room, lockers and showers.
3RD LEVEL | five multi-purpose, natural health shop, learning activities, bokashi, green house, entertainment and recreation.
4TH LEVEL | outdoor green space, meditation space, day care and elder care, arts and crafts workshops, children’s playground, water games and rock wall. 5TH LEVEL | climbing wall (double height), learning activities, cooking, nutrition and education, professional conferences, aerobics, acrobats and lectures. ROOF | garden, vegetation, hangout and track. Each floor is designed appropriately keeping similar sevices and activities together. The program consist of the basic requirements any local gym offers, plus more. Keeping in mind, how can we reach out and encourage everyone to better their lives and physique? How can we give them opportunities that will influence their choices? These are the questions we must ask to reach our goal.
47 | 48
OR PLANS CIRCULATION and SEPERATION
49 | 50
51 | 52
53 | 54
DUMBO ANCHORAGE MUSEUM timeless morph
The anchorage museum project brings a rare yet interesting approach to â€œDUMBO.â€? The idea for the museum comes from the interactions and the understanding of relationship between fields and forces. A series of frames is developed and preseted in a way that allows for interpretations of what can possibly be. The project combines the machines and forces of project 5 and 6 and then are woven amongst themselves. To develop and create a structure that will not be outdated by the forms of the Architecture, we must have the shapes and spaces to present and speak for themselves. We must allow the forms to be in dialogue and by doing this, we open a whole range of possibilities. Ultimately it will end with a design that, not only can the public enjoy, but a journey from start to finish as well. spring 2012
55 | 56
THE “WAS” AND “IS”
HIERARCHY OF COMBINED
SEPERATION OF COMBINED
EXTENSION OF FIELDS
HIERARCHY OF FIELDS
SEPERATION OF FIELDS
OFFSET OF FIELDS
HIERARCHY OF FIELDS
SEPERATION OF FIELDS
I define this as the change in time that only happens within. The morph from the external partitions. The understanding of the “was,” the “is” and the “will be.” The actions of both machines contradict. The vacuum collects while the stapler realeases; when combined together along with the human figures, they morph in perfect harmony. In a perfect world, we compare man to machine. But exactly how do we show man and machine as one? We do this by, understanding the relationship between the two. The actions from both vacuum and stapler are similar to those of the human body. The vacuum takes in (the state of inhaling), and the stapler releases (the state of exhaling) The figures demonstrate these actions perfectly. They were once two seperate entities. Two forces waiting to fill the void in between. It is until one figure lets go and moves forward that both can become one with its inevitable other. The exhale is the release that occurs. The inhale is the becoming of one. Three focal points are presented. The crimp area where the staples transform changing appearance; defined by the “was,” the taking in of particles from the outside world into the mouth of the vacuum; defined by the “is,” and the void between the figures; defined by the “will be.” Take these three focal points and create one focus. These three focal points wil be placed over one another to connect man and machine resulting in the “MORPH.” Soon, the understanding of pushing through, the gathering or collecting and the locking in, presents itself. Morph (as defined) : Noun “1. (Linguistics) A sentence of phonemes constituting a minimal unit of grammar or syntaxand , as such a representation, member or contextual variant of a morphemein a specific environment. 2. (Biology) An individual of one particular form, as a worker ant, in a species that occurs in tow or more forms. 3. Combining from meaning form, structure of the kind specific by the initial element: Isomorph. Origin: Greek - Morphos; Morphous.”
57 | 58
derivation, transmutation and inversion
To understand the 5 concept based on Syntaxis (Derivation, Transmutation and Inversion) I begin by making connections to philosophy, science and art. I define each as, the philosopher being the thinker, the scientist being the question and the artist being the creator. Analyzing FORM, STRUCTURE, SYSTEM, CONSTRUCTION and EVOLUTION, I apply each concept to the corresponding term; Philosophy, Science and Art. Based on my understanding of Syntaxis defined: The concept of FORM and STRUCTURE is explained by the philosopher, the “was.” “The intent of being an origin.” The study of rules. ‘The why?’ “In the rules of constituted terms, the initial primary of fundamental aspects grounds the core in the reason.” (Derivation, Noun: “The source from which something has been derived; the origin.)” The concept of SYSTEM and CONSTRUCTION is explained by the scientist. “Questioning the how?” “The law of regulated apparatus, the equilibrium dynamics sets the whole organization in code to stand.” The understanding of force. In “the gestalt of efficient performance the primary force, forces the traces of the X-entity (memory). (Transmutation, Noun: ”Change into another nature, substance, form or condition. In Biology meaning the transformation of one species into another. The concept of EVOLUTION is explained by the artist. The rearrangement or placement of things. The “is.” “In the change of selected appeal, the rebounding radiance of infinite freedom promotes the inner and outer factors co-ordinating thier shifts.” (Inversion, Noun: “The act of inverting or state of being inverted. Something inverted; a reversal of order, mutual function act.”
59 | 60
form, structure, system, construction and evolution
plato’s cosmology:the timaeus-the form vs. the cosmos “[The Demiurge] Began to think of making a moving image of eternity: At the same time as he brought order to the universe, he would make an external image, moving according to number, of eternity remaining in unity. This, of course, is what we call ”time.” It is sometimes thought that it refers to ‘number,’ which would make the definition that time is the number according to which the image of eternity moves. It is the cosmos that is the “moving image of eternity,” and time is the number that measures the change in the cosmos.”
albert einstein:evolution of physics/field relativity “Let us return to the electric sphere which was, until now, at rest and assume that it begins to move due to the action of some external force; the charged sphere moves. In the field language, this sentence reads; the field of the electric charge changed with time. But the motion of this charged sphere is, as we already know from Rowland’s experiment, equivalant to a current.” “Eternity of a moving image, changes or begins to move according to ‘number’ due to an external force that remains in unity and is measured by the change in time or the change in the current.”
61 | 62
ELESS MORPH 63 | 64
QUEENSBOROP structure and stability
This group project allowed our team to identify and analyze the way a structure works. The team was responsible for a cross section of the Queensboro Plaza Station which encouraged us to research load paths, point loads, girder, beam and steel coloumn connections and cross bracing. The goal was to understand how the loads get distributed and how the structure remains stable.
65 | 66
e and stability
67 | 68
69 | 70
A combination of Autodesk Revit and 3dsMax enabled this unique design for a nature center. The overall design was created using revit and then executed in 3dsMax where material, natural light and vegetation were applied to enable the design come to life. The concept of the spiral stairs quickly becomes a natural element symbolizing growth. The flow of our parti also defines nature at its purest. Nature has no definition between how to and where to grow nor does it have restrictions on how to present itself. This element becomes very importatnt to the concept and the design but most importantly to the function of the spaces within as well.
71 | 72
We all wear lenses and we must use them to enhance what the naked eye already instinctively sees. This is why there is no need for “zoom in” and “zoom out” capability on cameras. I say, it does not matter how far or how close you capture a picture, the beauty remains within those four corners. On an overall note, views are what you make of them. You may either capture a beautiful scenery or visit the scenery time and time again, given the fact the scenery still remains.
our lenses | exhibition at MoMA, spring 2012
73 | 74
sun division | east river drive, spring 2012
multiple views | east river drive, spring 2012
75 | 76
motionless water | seagram plaza, spring 2012
wheels on highline | the highline, spring 2012
77 | 78
narrow on highline | the highline, spring 2012
vertical | the highline, spring 2012
79 | 80
shadows on 10th avenue square | the highline, spring 2012
MoMA from above | the museum of modern art, spring 2012
81 | 82
color in black and white | the museum of modern art, spring 2012
83 | 84
Enny Filpo email@example.com ennyfilpostudio.businesscatalyst.com 347.223.6787 (m) 718.569.4301 (h)