LISA DIAZ
FROM INFRA TO EXTRASTRUCTURE: Infrastructure is the basic physical and organizational structures needed for the operation of a society or enterprise. Infrastrucutre typically refers to the technical structures that support a society such as roads, power grids and telecommunications. Viewed functionally, infrastructure facilitates the production, distribution and ultimately consumption of goods or services. And by goods and services I mean Markets and Courts.
ST. LAWRENCE MARKET TORONTO, ONTARIO, CANADA
Typically infrastructure remains hidden, below or covered up. The Brief, issued by the city of Toronto expresses a heavy bias to conserve the adjacent historical buildings, however does not project an architecture that will serve Torontonians future. In the city’s apparent desire to create a new market complex in adherence to their historical context, they have outlined a dichotomous goal. My concept clearly notes that Toronto’s politics are progressive…so should their architecture and their city. PROPOSAL: NEW NORTH MARKET: EXTRATUBES A set of tubular streets run north-south providing three dimensional shopping arcades. They are connective: Tubes are discreet and singular in places and in other areas they interlace and connect forming convergences. Like the Toronto Underground infrastructural circulation/ shopping network. The proposed new Market addition is an exposed and ‘extra’ set of networked tubes that generate new ways of connecting and servicing other portions of the city along. (point to Toronto underground network) They are adaptive: Unlike the South Market, the North Market is conceived of as a ‘bundle of market tubes’, they can be added to, elongated or reprogrammed. The ‘market bunch’ is never complete it is always ‘incomplete’ providing an altogether different market, not attempting to copy or mimic the already successful south market. They have a ‘vibe’: The market has a sense of the labyrinth, or the back alley, perhaps even the Bazaars of the Middle East; it is a place to loose oneself in the experience of the market, promoting a new dynamic form of public program and space. Like a horizontal twisted Eifel Tower Torontonians will eventually fall in love with this ‘messy vitality’. THE COURT SERVICES AND COURT ROOMS: The Court building has very particular and specific requirements. Unlike the market it is closed, secure and procedural. The court, located along Jarvis Street is accessed from below or from the interior court yard.
Evolution of underground PATH system
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Evolution of underground PATH system
[ORGANIZATIONAL STRATEGY] There is a hybrid function of market and court for this project. Both the market and the court have their distinct directions which allow them to connect to the urban form. The existing South Market is the one of the destinations of this hybrid model while Saint Lawrence Hall, to the North, is another. These two components are organized along a North-South axis. [CIRCULATION] VISITOR TYPE 1: [the wanderer] Networks are built on redundancies, overlaps, dead ends, split e n d s . ramps: A series of wide ramps weave and connect multiple points forming a labyrinthian models, similar to the informal street, souks, and alleyways of the urban Bazaar model. VISITOR TYPE 2: [fast and faster] escalators: (15) escalators enable direct a-to-b connections to strategic points in the MC: Hybrid. VISITOR TYPE 3: [slackers] people watchers, octogenarians, and sub-culture enthusiasts: Bird watchers, cloud appreciation society (Toronto region), Goths, The Asphalt picnic club (APC)winter
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SPECIAL USAGE/EVENT: The central atrium created by the void space provides a venue for various civic events. Due to the design of the buildings facing inwards towards this center core, it provides not only adequate ground space to accommodate these activities, but also the potential to view the event from every floor within these buildings. Therefore allowing for a larger group of people to engage with the event and eachother.
[SKIN/FAÇADE/ROOF SYSTEMS] Through the implementation of active facades, the goal has been to achieve a level of sustainability within these spaces. In order to reduce waste and allow for maximum efficiency. Double façade on all new construction, solar panels. [FAÇADE] Market: Double façade, glass in portions adjacent to activity and therefore visual connection is essential. Court : Double façade, mostly glass. Active façade Front street adjacent: Unifying facade
[floor by floor] Public Roof (Second Ground) provides extensive views of environs; from Lake Ontario to the south and financial district to the West. Level1E-3E The courthouse, arranged as a continuous line of courtrooms and ‘street circulation’ comprise the east portion of the ramping system. At strategic points one can move from court to market and back again, allowing for a programmatic stitch to occur.
section [a] scale: 1:25
Level 1W-3W The market, rentable public space for events and bathrooms form a continuous volumetric street connecting the urban surface at the plaza level to a public roof deck. Level P (Plaza) Open market-scape: a clear span hall allows for 1400 square metres of uninterrupted flexible space. This space, during spring summer and fall opens directly onto the walk street occupying the western edge of the site. Level B-1 through B-3 Parking, mechanical rooms, circulation
section [b] scale: 1:25
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Level [B-2, B-3] scale: 1:50
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The new St. Lawrence Market was designed with the intention to replicate the manner in which the inhabitants of Toronto already behave. Inspiration derived from their Eaton Centre, which serves as a shopping center as well as infrastructural hub, this market seeks to connect to the already existing underground infrastructure. Through the addition of a subway station, the urban fabric of this distinct neighborhood can be integrated into the network of the city. The courthouse and marketplace provide vital functions for the city, and subsequently provide the means to increase revenue and cultural vitality to the city. Simultaneously providing an additional ‘node’ to the city’s infrastructure, while integrating their existing market and engaging with the surrounding buildings and waterfront.
[STRUCTURAL STRATEGY] [conventions] The primary structure is comprised of a load bearing central steel truss (North/South axis) running continuously from bearing points @ -16 meters below grade up to +15 meters. Below grade the truss supports parking slabs and mechanical rooms, stairs etc. At a height of 12 meters a double cantilever (spanning east-west) supports a continuous sloped tubular space containing portions of market space (toward the west and the civic court functions in the east). Truss members: .25-meter square peripheral tubes with .18 welded diagonals. [invention] Hung from the underside of the truss are open ‘scapes of space’ promoting an ambiguous zone blurring the urban definition between Toronto’s urban space and the architecturally defined space of the court MC-Hybrid? Lateral forces: Minimal lateral forces exist (Toronto is outside earthquake and hurricane zones) wind forces are transferred by truss diagonals to the foundation at sub-level B-3.
[PRECEDENTS] [santiago calatrava] Liege-Guillemins TGV Railway Station; Liege, Belgium. September 2009. [morphosis] [cooper union] [renzo piano] Centre Georges Pompidou, Paris France IBM Travelling Pavilion Lingotto Factory Conversion (also the Addition to the Meridian Hotel) Punta Nave Renzo Piano Building Workshop, Genoa Italy Potsdamer Platz Reconstruction, Berlin Germany Maison Hermes, Tokyo Japan Aurora Place High-Rise Offices and Apartment Blocks, Sydney Australia Padre Pio Pilgrimage Church, San Giovanni Rotondo (Foggia), Italy
SYNTHETIC PROFESSOR: ELENA MANFERDINI
BRASSICA OLERACEA LINNE Lisa Diaz + Pil Hyun Hwang
An occurrence often found within nature is that of the adaptation of species. This occurrence is commonly found within animal, as well as, plant life. This study sought to artistically replicate instances that occur within nature. The utilization of color and form manipulation was used as the vehicles by which to figuratively depict their evolutionary processes. Color was depicted in the physical model and rendering as intravenous movements of color. The movement and interconnection of the cabbage leaves was intended to depict artistically moments that occur within the life cycle of plantae. The manipulation of the leaves depict the occurrence of flowering within that life cycle. The renderings created were simultaneously intended to realize the level of performance attainable through the ZBrush software.
Concept of color traveling intravenously.
The process commenced through the utilization of the 3D scanner in order to obtain a 3-Dimensional representation of the object in digital format. The 3-Dimensional object was then manipulated digitally in order to derive the design for the final panel. Upon completion of the digital composition, a milled form was created utilizing the CNC machine. The foam model was then Vacuum formed, which created the mold that was utilized to pour the resin for the production of the final panel.
Renderings: Top left: Chiarroscuro. Matte finish. Middle left: Adaptation represented through color traveling intravenously. Bottom left: Chiarroscuro. Highly polished, metal finish. Right: Image of final physical panel. Depicting the concept of color deformation and contrast.
ADVISOR: JUAN AZULAY
GRADUATE THESIS “At the Junction of Music and Architecture”
Within the current discourse of technology and architecture, the notions of tangibility and intangibility of technology is able to be quantified through exploitations of light and sound. Present within the discourse of architecture, “Xenakis discusses the intersection of music, mathematics, architecture and science in his work, and gives many insights into both his practice and his creative philosophy.” (Xenakis article) Correlations between music and architecture have been commonly made throughout history due to their encompassing nature. The concept of space-time is present in both genres and the perceived linearity of each experience, which the whole of the experience can only be identified at the culmination of the experience. Le Corbusier and Xenakis explored these aspects of music and architecture within the Philips Pavilion/Poème Electronique. While Le Corbusier’s interest lied within the aspect of music influencing architecture, Xenakis’s interest lied in the composition of music and the aural experience of the inhabitants. “It becomes clear now that Xenakis used the distribution of sound sources as a means to augment spatial awareness and aural attention. Consequently, space no longer constitutes a passive link between music and architecture but becomes an active element that gives rise to new auditory experiences and enhances the musical expressiveness. The idea of surrounding the listener with music brings us to a fundamental element of Xenakis’ approach to sound, namely the concept of immersion. His desire to immerse the audience in sound should not be understood in terms of ‘domination’ however. It has rather to do with a situation of proximity that enables the listener to grasp the manifold details of the musical edifice and fully experience the sensuous impact of sound.” (Mikesch
W. Muecke, 2007, p. 40) Through the Philips Pavilion, literal scores of music were utilized in order to derive form. This form took the shape of a hyperbolic paraboloid. In this context, ‘As a result of the impasse in serial music, as well as other causes, I originated in 1954 a music constructed from the principle of indeterminism; two years later I named it “Stochastic Music”. The laws of the calculus of probabilities entered composition through musical necessity.’ (Xenakis, 1971) Therefore, “… phenomenological and intellectual input [was] used as material for the composition.” (sxa, 11) Moving forward within the discourse of architecture toward more contemporary times, with the advent of computerized technologies within the field of architecture, a debate commenced regarding what role they should play within the field of architecture. “Christopher Alexander dismissed the use of computers as a design aid: ‘A digital computer is, essentially, the same as a huge army of clerks, equipped with rule books, pencil and paper, all stupid and entirely without initiative, but able to follow exactly millions of precisely defined operations... In asking how the computer might be applied to architectural design, we must, therefore, ask ourselves what problems we know of in design that could be solved by such an army of clerks ... At the moment, there are very few such problems.’ ” (Frazer, 17-18) Having criticized the utilization of computer aided design as a generator of form, Alexander purports that computer technology should only be used as a tool. Heavily involved in computer science and computer programming, he promotes design through programming methods. Simultaneously, commenced the investigation of neural networks within computing and programming.
“Neural network computers simulate the learning and pattern-recognition capabilities of the human brain. Again they can be thought of as large numbers of serial computers, but in this case linked in a hierarchical pattern of communication modeled on the connection patterns of the synapses of the brain. ” (Frazer, 26) “...Igor Aleksander, is also very conscious of the unique capabilities of the human brain. He reminds us that it is extraordinarily good at making guesses based on experience, at retrieving knowledge from memory without the need for exhaustive searches, at perceiving analogies and forming associations between seemingly unrelated items. These aspects of intuition, perception and imagination are the traditional creative engines for architectural ideas.” (Frazer, 19) Simultaneously these “aspects of intuition, perception and imagination” tie in seamlessly to Xenakis’ search “...for a totality wherein everything contributes to a total experience of the listener. Space, architecture, texture, light, sound, time, everything is contributing to the realization of a mentally and corporally immersive experience. A context must be provided wherein listeners can ‘become only ears’.” (sxa, page 34) This thesis is seeking to find the balance where the phenomenological and intellectual input meets data input. Subsequently bringing the discourse of Xenakis to the forefront of technology. Utilizing his research and findings, alongside others within the discourse of music and architecture, creating a space and envelop that is derived by means of musical performance, music theory, and technology. Utilization of light and sound allow for the “use of musical structures in visual imagery.” Creating an aural
space, utilizing the notion of architecture and music becoming all consuming and creating a space-time experience for the inhabitant of the space is where this thesis will begin its exploration. These tools coupled with the tangible tools of computer networking and the intangible results of feedback systems, creates a system creating intelligence within architecture. By means of this thesis, I wish to challenge the notion of the necessity of the presence of physical enclosure. Prove the intangible qualities of technology able to provide tangible architecture. Utilize visual music, data networks and structures as generative tools for creation of tangibility within an architectural space, providing a physical environment within the unphysical world. Music within this project will serve as the symbolic and generative act, which will create a dialogue between the performance (interior) and the architecture (exterior), whereby both the music and the architecture have both active and reactive qualities towards each other. Visual music is in essence one of the means by which the intangible is perceived as tangible. The dialogue which will ensue will create the desired feedback loop and therefore allow the architecture to achieve intelligence. Simultaneously, through the experiential qualities of these effects, the viewer or inhabitant is deceived by the perception of enclosure. This stage (interior) provides the means for a pseudo sense of shelter.
South End, Boston:
Works Cited Frazer, J. (1995). An Evolutionary Architecture. London: John Frazer and the Architectural Association. Mikesch W. Muecke, M. S. (2007). Resonance: Essays on the Intersection of Music and Architecture, Volume 1. Ames, Iowa: Calicidae Architectural Press. Wikipedia. (2011, April 2). Wikipedia, the Free Encyclopedia. Retrieved April 10, 2011, from Visual Music: http://en.wikipedia.org/wiki/Visual_music
1. home of Boston Center for the Arts 2. artistic community: warehouses transformed into galleries and artist studios 3. most innovative dining options 4. known for activism & diversity 5. equivalent to castro in San Francisco & dupont circle in Washington D.C. 6. contains large quantity of victorian row houses
town of brookline
city of chelsea
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SITE: E. Berkeley St. / Washington St. Boston, MA
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LEGEND: south end, boston site location art lofts / galleries art schools museums theaters
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LEGEND: New Subway Line Art Lofts / Galleries Art Schools Museums Theaters Subway “T” Stations Existing “T” Stations Boston Center for the Arts New Building Breezeway Green Space
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