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J OANdres

archiTECTURE

Q UINCA


front cov er: VISUAL TRAINING INK DROP index image: VISUAL TRAINING SHIFTING PLANES

Jose Andres Esquinca

j esq uinc@ hawk . iit. edu ILLINOIS INSTITUTE OF TECHNOLOGY COLLEGE OF ARCHITECTURE


ov erVIEW : b ridgePORT BRANCH LIBRARY mark et HALL ON HALSTED & CLYBOURN woodTYPE INSTITUTE & MUSEUM tucSON ENVIRONMENTAL CENTER texTILE/CULTURAL CENTER




  

The b uilding creates a geometrical gestural statement on site. The b uilding is a trapez oid in plan- a distortion of the existing four

“ wallls” of the site pulled inward and sk ewed - opening areas of pub lic park around the edges. The ground plane adj acent to the auditorium is recessed into the site, emphasiz ing the “ floating iceb erg” that is the lib rary prism.

The stepped interior floors and partitions maintain the ideal “ city grid, ” and set against the trapez oidal gesture of the walls, of the b uilding giv es a hint of where you are inside out - the tension b etween these two geometries is most present and the edges of the b uilding and the degree of openness in the sk in further emphasiz es this tension.

  


PROGRAM

UNCONDITIONED SPACE site PLAN


faCADE:

Adult Area

Circulation Flow

Youth Area


  Entry Vestibule Multimedia/Internet Youth Reading Area Children and Adolescent Collection Main Circulation Administration Mechanical Area/ Custodial Closet Toilets Material Storage Auditorium

Reading Areas Study Rooms Periodicals General Collection

(Circulation)

General Collection Lounge/Librarian Station Adult Multimedia/Internet Reading Areas Film and Music Reference Materials Lounge Area Reading Room Area (Circulation)

pLAN 1 :

N


The lib rary is, in concept a single space-an

island in the city-operating as a whole under one roof. The b uilding is mainly partitioned as a free interior organiz ational space, specifically for the Children and Youth areas. A sk ylight at the entry inv ites you in, and the full height of the b uilding is immediately present-as one can look up to the roof trusses 30 ’ ab ov e the main floor. The closed/priv ate spaces are positioned in the middle of the b uilding to partition the free pub lic space and the closed pub lic space. Up the staircase, on the second lev el, are the b ook stack s, which maintain v isual connection to the ov erall space of the lib rary. Up to the third floor is a disperse env ironment of different areas such as the Reference Area and Film/Music. At this lev el there is still v isual connection to the ov erall space of the lib rary, and yet one is now close to the roof structure. The trusses dip into the space and determine acccessib le and fuctional spaces.

pLAN 2 :

N


INTERIOR SPACE CONCEPT: Open Pub lic Space Priv ate Space (Barrier)

Closed Pub lic Space


audiTORIUM


A hyb rid steel and wood truss soars ov er the full interior, and the openness and intimacies of the v aried spaces are effected b y the slope of the roof/ceiling and the intrusion of the compression strut depth of the trusses. The b uilding’ s sk in is set outside of the timb er structure, suggesting a reading of cohesiv e whole on the exterior, and an articulated structure on the interior. . .

pLAN 3:

N


heav y TIMBER CONSTRUCTION

1 /8 ” = 1 ’ -0 ”


in DETAIL


    

Halsted and Clyb ourn’ s Mark et Hall in Near North, Chicago prov ides the activ ities that a community needs. Generated b y the activ ities around site, the mov ement of people starts definin


ng the programmatic spaces. These different spaces allow for v ersatility in mov ing ab out the mark et.

v isting

Commercial

a night on the outdoors ev ents eating shopping eating relaxing going for a walk

Residential

meetings

ev ents

play on the outdoors

Activ ities Generated By Population Surrounding Site

People W alk ing Across Site From Different Points of Direction

Dumpsters Bathrooms

Break fast

Eat

Smell

Lunch

Sight

Hear

Loading

Eating Area

offices

storage /staff

Breez e

Taste

Crowd Booths

Food

Tab les/Chairs

plaz a

selling

eating eating

gA rea

selling

Dinner

FEEL

Outdoors Cold Bev erages

llin

HALSTED & CLYBOURN

Se



Site Analysis of Different Groups Amongst Neighb orhood and Ab road

STRATEGIES

Activ ities Generated By People On Site

Div ision of Program Creating Z ones for Mark et


v enDORS

Activ ity of Program Generates Canopy

Flow of Activ ity W ithin Mark et


Program is reinforced b y the column

structure holding up the canopy, creating spaces for v endors to b e placed; filtering people b y the creation of z ones and yet estab lishing social areas within the canopy. The mov ement of the mark et calls for a single path, emphasiz ing the mov ement of the people with the roof line. The enclosed space div erse function mak es it possib le to get the feeling of openness limiting the area of the enclosed space to feel lik e an open mark et any giv en day.

NN

PLAN PLAN


CANOPY PROCESS

Structure Columns : Merge and Filter People: Placement of Booths Under Canopy

Nano W all Detail

Structure Giv es Opportunity To Create Areas For Booths: Reorganiz ation

Curtain W all Sill Detail

Nano W all Section


Flow of Canopy and Enclosed Space

conditioned SPACE


STEEL W ALL SECTION


CURTAIN W ALL GLAZ ED W INDOW

STEEL PIPE COLUMN

STEEL PIPE COLUMN


CONCEPT MODELS

ENCLOSED courtyard


MODELS


INSTITUTE



  

FROM MY EX PERIENCE IN SEEING, LEARNING, AND KNOW ING ABOUT W OODTYPE, W

HAT REALLY INSTILLED MY MIND W AS THE STORY TELLING PROCESS OF MAKING W OOD TYPE AND PRINTS. HAVING THAT IN MIND, THE PROCESS INTO THREE SEPARATE IDENTITIES W HICH BECOMETHE SEE IT, LEARN IT, AND THE KNOW IT. THE PROGRAM CREATES CIRCULAR CONNECTIONS BREAKING UP YET TYING THE IDENTITIES TOGETHER. THE GALLERY ACTS AS THE CENTRAL CORE CONNECTING THE PROGRAM BY THE CIRCULATION ARTERIES W HICH ARE THE BRIDGES AND STAIRS. THESE ARTERIES ACT AS THE PRINCIPAL PROCESS CONNECTIONS THAT TIE THE 3 IDENTITIES TOGETHER. THE SEE IT CONSISTS OF THE GALLERY SPACE AS W ELL AS THE CAFE GIFT SHOP. THE GALLERY IS BROKEN UP INTO THREE MAIN LEVELS STARTING AS THE PROCESS OF MAKING W OODTYPE: MACHINE GALLERY, W OODTYPE GALLERY, AND THE PRINT GALLERY. THE LEARN IT IS COMPRISED OF THE LECTURE HALL, CLASSROOMS, W OODSHOP AND COMPUTER LABS. THE KNOW IT ARE THE PROMINENT STUDIOS W HERE YOU HAVE REACHED THE END OF THE PROCESS. THE ARTISTS’ NOOK IS PAIRED UP ASIDE ALONG W ITH THEOFFICES AND HAS ITS OW N W ING TO ENHANCE THEIR PRIVACY.


+

SEE IT

 



+

LEARN IT

=

KNOW IT

 NATURAL LIGHT

JOURNEY

PROCESS

LACKING “VISUAL PROCESS”

“ENHANCING VISUAL PROCESS”

THE “L” TRAIN


SEE

LEARN KNOW

ARTIST

SEE

LEARN

KNOW

fan room boiler room pump room elec./data room

!

“SHARE BRIDGE”

LEARN ARTIST

KNOW SHARE SEE

VISUAL CONNECTION TO ENVIRONMENT

BREAK TO DISTINGUISH THE 3 IDENTITIES

DYNAMIC “CORE” TO THE PROGRAM “ARTERIES”

FLOOR 1

FLOOR 2


FLOOR 3

N


OPERABLE SKYLIGHTS

(NATURAL LIGHTING AND HUMIDITY CONTROL)

OPERABLE CURTAIN GLASS W ALL W INDOW S AND INSIDE W ALL W INDOW (CONTROLS VENTILATION INSIDE STUDIOS)

mechANICAL SYSTEMS


RADIANT HEATING AND FLOORING

STORMW ATER CISTERN SYSTEM

( COLLECTS WATER FROM BUTTERFLY ROOF TO SUPPLY GENERAL USAGE OF WATER AND “THE POND”)


   THE ARTICULATION OF THE ROOF LINE ENHANCES THE DISTINCTION OF THE THREE IDENTITIES. THE STRUCTURE AND FACADE HELPS DISTINGUISH THE DIFFERENTIATION OF PROCESS IN THE PROGRAM. THE LEARN IT AND KNOW IT STRUCTURES ARE COMPRISED OUT OF W OOD W ITH A RAINSCREEN FACADE MADE UP OF VERTICAL AND HORIZ ONTAL W OOD PANELS TO SEPARATE THE IDENTITIES. THE SEE IT IS A STEEL STRUCTURE COMPRISED OF POLYCARBONATEPANELS ENHANCING THE VISUAL PROCESS ACTING AS A W RAP READING THE PROGRAM’ S PROCESS INSIDE OUT. THE INTERIOR COMMUNICATES THE VISUAL PROCESS OF THE PROGRAM BY INCORPORATING GLAZ ED PANEL IN THE PROGRAM CELLS AS THE CIRCULATION W RAPS AROUNDTHE SPACES. THE W OODTYPE INSTITUTE HAS A MAIN STORMW ATER FEATURE THAT COLLECTSSTORM W ATER FROM THE ROOF TO SUPPLY THE “ THE POND” W ITHIN THE LANDSCAPE.


POLYCARBONATE PANELS

= v isual entity of process in space


MODELS 1/16"=1'-0"

GALLERY SPACE

3/16"=1'-0"

STUDIO SPACE


      

W OOD STRUCTURE/    

STEEL STRUCTURE/


INTROSPECTION 

TUCSON ENVIRONMENTAL 

THE ENVIRONMENTAL CENTER IS AN INTROSPECTION OF ITS SURROUNDINGS. DISTINCT LINKAGE TO THE LANDSCAPE REFLECTS AND CELEBRATES THE NATIVE AMERICAN DEVOTION TO TUMAMOC HILL. THE APPROACH OF THE ENVIRONMENTAL CENTER IS FOR YOU TO FEEL AND BE PART OF THE OUTDOORS. GENERATED BY THE VIEWS SURROUNDING THE SITE.COMPOSED OUT OF THE FOUR ELEMENTS OF THE HOPI MEDICINE WHEEL. CORRESPONDING TO THE VIEWS,THE PROGRAMMATICAL SPACES ARE BROKEN DOWN INTO FOUR COMPONENTS GIVING PLACEMENT ON SITE.THE FOUR ELEMENTS ARE EXPERIENCED AS YOU CIRCULATE FROM ONE SPACE TO TO THE OTHER ENHANCING THE OUTDOORS AND LINKAGE TO THE ENVIRONMENT. MAIN EXHIBITION SPACE IS OPEN CONDITIONED SPACES READ AS ROCK MONOLITHS DUG OUT OF THE GROUND ACCESSIBLE BY THE “IN BETWEEN SPACES”; THE RAMPS AND STAIRS. PLANTED ROOFS ACCESSIBLE BY THE SHADED AREA ACTING AS THE GROUND.

4

ELEMENTS

+

EMOTIONA

PHYSICAL


SPIRITUAL

+

MENTAL

+

=

AL

CENTER


TUCSON

ARIZ ONA

SUNSET

N W

E S

SITE

TUMAMOC HILL SITE

TUMAMOC HILL


TUCSON CITY

“ A” MOUNTAIN

4

VIEW S


main enTRANCE TO MAIN EX HIBITION SPACE (tucSON CITY VIEW ENTRANCE)

4 eleMENTS phySICAL MENTAL (INDIAN GRASS FIELD)

EMOTIONAL (TUMAMOC POND)

SPIRITUAL (TUMAMOCHILL VIEW)


N plAN

PHYSICAL (MAIN ENTRANCE)

PHYSICAL (MAIN EXHIBITION SPACE)

TUMAMOC HILL SECTION 1/8”=1’-0”


“A” MOUNTAIN ELEVATION 1/16”=1’-0”

EMOTIONAL (AGAVE FARM)

“A” MOUNTAIN SECTION 1/16”= 1’-0”

SPIRITUAL


SKY ELEVATION 1/16”=1’-0”

EMOTIONAL (SUN ENERGY COLLECTOR)

PHYSICAL (MAIN EXHIBITION SPACE)

SPIRITUAL

SKY SECTION 1/16”= 1’-0”

TUMAMOC HILL ELEVATION 1/8”=1’-0”


4

 




THE FACT THAT THE ENVIRONMENTAL CENTER IS UNDERGROUND, IT ALLOWS FOR THE IMPLEMENTATION OF A GLASS FACADE, ENCLOSED BY PERFORATED PANELS TO ENHANCE THE OUTDOOR FEEL

EXPERIENTIAL WALL SECTION 3/4”=1’-0”


 

TEXTILE/ CULTURAL CENTER


suTURING THE COMMUNITY TOGETHER CULTURAL CENTER BEHAVING AS A MACROSCOPIC ATTRACTOR TO ACTIVATE PILSEN

the quesTION:

the inTENT: site

the reACTION:


aerial view:

driVE multi-USE restROOMS

siTE STRATEGY:

LACK OF GREEN SPACE

KITCHEN/CAFE CMC: city ABROAD manuFACTURING commuNITY

minimal impact for more GREEN SPACE

multi-USE texTILE

enERGY

proDUCTION stuDIOS

MANUfacturing OFFICES mech

LOBBY welCOME AREA

proGRAM STRATEGY:

galleries/showROOM classROOMS

gathering SPACE green SPACE

(minimal impact)

driVE

texTILE MANUfac

texTILE proDUCTION ANUfacturing te

xTILE MANUFACTU


1st

WELCOME AREA/ LOBBY

MANUFACTURING

MULTI-USE SPACE

MANUFACTURING

KITCHEN/ CAFETERIA

BREATHING GREEN SPACE

COURTYARD

GARDEN

MANUFACTURING

1 STUDIO 1

MANUFACTURING

STORE/ GIFTSHOP

EDUCATION CENTER

MANUFACTURING GALLERY

PRODUCTION AREAS

MANUFACTURING

2

3


MULTI-USE SPACE

CONCEPT : SUTURE

PUBLIC ROOM

PILSEN HAS ALAWAYS BEEN SEEEN AS A NEIGHBORHOOD WITH DOWNFALL DIGNITY, NOT STUDIO 2

MANUFACTURING AREA

PRODUCTION AREA

4

MANUFACTURING

FASHION ROOM

HAVING THE MEANS POSSIBLE TO BRING FORTH AND ACTIVATE WHAT IT HAS TO OFFER. WITH THE CONCEPT OF SUTURE, THE TEXTILE/CULTURAL CENTER BECOMES A MACROSCOPIC ATTRACTOR TO ACTIVATE PILSEN BRINGING THE MANUFACTURING, COMMUNITY, AND CITY ABROAD COMPONENTS TOGETHER. DUE TO THE LACK OF GREEN SPACE IN PILSEN, MINIMAL IMPACT ON SITE IS CALLED FOR FUTURE PROMOTION OF GREEN SPACES IN THE NEIGHBORING AREAS. WITH THE EXISTING 2 WAREHOUSESON SITE, THE SPACES ARE DIVIDED INTO THREE PROGRAMMATICAL AREAS: THE 2 DRIVE COMPONENTSAND THE ENRGY SAPCES, BOTH WAREHOUSES ACTING AS SPINDLES CONTROLLING THE THREADS FLOATING IN SPACE. THE ENERGY SPACES ARE THE THREADS WHERE THE GALLERY,STUDIOS, AND EDUCATION CENTER TAKE PLACE, AN ENCOUNTER WITH THE NEIGHBORHOOD AND CITY ABROAD IN WHERE THEY BOTH TAKE AWAY FROM THE TEXTILE AND CULTURAL CENTER. THE ENERGY SPACES ARE SUTURED ACTING AS THREADSWITHIN THE 2 WAREHOUSES ACCORDING TO THE PROGRAMMATICAL SPACES, PUNCTURING THROUGH THE EXTERIOR. THIS LEADS TO A COMPLETE OPEN TO ABOVE OUTDOOR SPACE. THE ADDITIONS OF THE RE-USED SPACES IS A STEEL STRUCTURE WITH GLASS PANELS. TO ENHANCE A FLOATING ENERGY IN SPACE, THE THREADSRE COMPRISED OF TRANSLUCENT PANELS. THE SKELETAL STRUCTURE ARE PRE-STRESSED CONCRETE BEAMS CONNECTED BY CABLE TRUSSES WHICH ARE SUPPORTED BY CONCRETE PIERS. THE FACADES OF THE WAREHOUSES ARE PERFORATED METAL PANELS ACTING AS A CURTAIN FABRIC WRAPPING AROUND THE SITE. TO BETTER ENHANCE IT, THE INTELLIGENT MATERIAL, MEDIA FACADE, IS IMPLEMENTED ON THE METAL PANELS AS WELL AS ON THE ENERGY SPACES.

1 2 3 4 5

5

FLOOR PLAN 1 FLOOR PLAN 2 FLOOR PLAN 3 FLOOR PLAN 4 FLOOR PLAN 5

N


OUTDOOR SPACE

THE METAL PERFORATED SCREEN ENCLOSING THE FACADE ACTING AS A TRANSLUCENT FABRIC ENHANCING DUAL VISUAL CONNECTION


GALLERY

cut-AWAY


STUDIO


1 1 2 3 4

PRESTRESSED CONCRETE BEAMS WAFFLE SLAB CABLE TRUSSES MEDIA WALL

2

3 4



Jose A. Esquinca Architecture Portfolio