2017 - 2019 Lynced Torres Graduate Portfolio

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ARCHITECTURE PORTFOLIO LYNCED TORRES 2017/2019 selected graduate works up to 2019.05.31

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TABLE OF CONTENTS

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select graduate academic projects

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2017/2019

LYNCED TORRES Bachelor’s of Science in Architecture Texas Tech University College of Architecture Lubbock, TX Master’s of Architecture Candidate MIT School of Architecture + Planning Cambridge, MA contact: lyncedt@mit.edu

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ARROYO Y VIENTO pg. 03-10

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NOTHING BUT NETS pg. 11-16

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INVASIVE EXPLOITATION pg. 17-24

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THE STAIR pg. 25-26

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THE ROOM pg. 27-30

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THE THEATRE pg. 31-38

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TWO-HINGED ARCH ROOF pg. 39-40

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THE MERMAID YMCA pg. 41-48

FOOD ASSEMBLY LAB pg. 27-34

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ARROYO Y VIENTO Winery in the Valle de Guadalupe fall 2018 MIT | site: Valle de Guadalupe, Baja California | prof. Sheila Kennedy

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+ The initial position of the winery is to connect the identity of local people of Baja with its visitors through a site strategy that links the processes of the winery with the production of food. The project’s architecture seeks to amplify and mediate the natural interface between the climate conditions of arroyo and wind.

The projects formal articulation begins with the extension of a wall that touches the edge of the arroyo and acts as a processional device that frames and informs the circulation of visitors and additionally functions as a public plaza that visually connects the viewers to the grapes vines and offers a space in which the locals could populate its edge with informal markets.

The winery itself stands vertically through the stacking of interlocking concrete walls in order to allow the process of winemaking to be truly gravity based. The massing which consists of the layered walls and 3 distinct wind towers works to establish vertical marker in the landscape and link the spaces between workers, visitors, and locals..

The building is oriented to the westward direction, so it acts as an incubator and mediator of wind in order to passively service the varying temperatures required of the winery and cooking programs. maintains outdoor access to grape intake that includes holes within the ground so that the wine can be easily transferred to the floor below. With the other side being the main cooking school that includes a large dining table and views into the landscape.

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VALLE DE GUADALUPE, BAJA CALIFONIA

is an area of Ensenada southeast of the border between San Diego and Tijuana with an economy tied to the industry of wine-making and tourism.

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Minimally Invasive Tilt-Up Technique

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CIRCULATION DIAGRAM

The growth of invasive botany is systemized by its need to survive and in order to survive, it exploits its host(s) at three varying scales. The first is through the inhibition of direct resources or nutrients.

MINIMALLY INVASIVE TILT-UP CONSTRUCTION

MATERIAL CONSTRUCTION STRATEGIES

Concrete Tilt-Up Construction Process

Concrete Reinforced Stacking Panel System

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01 Needs to touch in at least 3 points or run directly aligned with the floor below.

1. SITE PREPARATION Ground is leveled out and grooved in order to produce grain-like testure on concrete panel. Plastic is placed as a cover. ~Alternatively panels are casted onto horizontal concrete slabs.

Wind Scooping

02 Opposing directions can allow for the creation of an open pocket that can filter air up to naturally ventilate as well as move grapes up and down.

02 Opposing directions can allow for the creation of an open pocket that can filter air up to naturally ventilate as well as move grapes up and down.

2. LINE UP TILT UP PANEL FORMS Panels are lined up, brackets are aligned at the edges, and standard lumber pieces are placed and connected to the braces in order to build the formwork.

03 Panel size ratio 1:3 (6’ x 18’) Reinforced Concrete Panel Can be stacked to create double height spaces.

03 Panel size ratio 1:3 (6’ x 18’) Reinforced Concrete Panel Can be stacked to create double height spaces.

CAST IMAGES Ground texture preparation

LINE CATALOG Organizational strategies via line

01 Sand

02 Mud 01 processional

02 threshold

03 collective

LINE CATALOG Organizational strategies via line

TWO LINES

04 enclosure

3. ADDITIONAL INSERTS Additional additives including recycled wine bottles are CAST IMAGES collected in order to create perforations throughout the Ground texture preparation concrete panels.

05 grain

MATERIAL RESEARCH

01 Sand

CAST PANEL Textured facade

The tectonic research itself explores the structural and formal possibilities of site cast concrete tilt up slabs, that can be organized into walls that are balanced and self-stabilizing. The threshold collective 01 processional use of 02 overlapping 03 zig-zag 04 enclosure slabs as a formal device begins to define the boundary and placement of the TWO LINES wind chambers. Cooler air from the arroyo is pulled through and enters from the top of the towers and uses pressure to flow down and into the space of the floor at which it is linked to, then it exits through the other side of the system back up. The towers themselves are constructed with the corridor views vertical 01 compartment combination02of site cast 03slabs and Kal04 wall plastic corrugated material on the voids.

01 compartment

02 corridor

03 views

04 vertical

venturi effect: When hot air rushes into the bottle, the gas contracts as it approaches the rim of the bottle, resulting in a decrease in pressure.

The drop in pressure results in an increase in velocity which cools the air inside.

HOT AIR

05 unit

Aperture

02 Mud 05 grain COOL AIR

4. REBAR AND EMBEDDED SUPPORTS CAST PANEL Workers position rebar, embeds, and inserts into the Textured facade tilt-up panels so they will become part of the tilt-up concrete panels once the pouring takes place.

5. CONCRETE PREPARATION The concrete is then prepared by a community of local workers via small mobile concrete mixers.

05 unit Grooved

7. CRANE LIFT The ‘excavator crane’ connects its slings to the embedded inserts cast into the concrete panels.

Aperture

8. CRANE POSITIONING The ‘excavator crane’ lifts the tilt-up panel and tilts it into position over the footing. The process for putting up tilt-up panels goes. An experienced crew can tilt up as many as 30 concrete panels a day.

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Grooved

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9. REPEAT The remaining panels are set into position and are temporarily braced by diagonal steel pieces until the

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1 : 100

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0’

4’

12’

28’

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1 : 100 0’

LEVEL 01

LEVEL 02

PANEL SIZING PROCESS AND CALCULATION

Going further into the construction process of how these panels are constructed and articulated goes with LEVEL 03 previous research of conventional machines use in the tilt up process which includes the use of cranes, Concrete mixers, and excavators. In my translation of the process, I appropriated some of the tools so that it becomes minimally invasive in this landscape and further allows the process of construction to become a communally oriented method of learning geared to using the resources that the land of Baja offers. So this reinventing the use of a typical excavator machine so that it also operates as a crane by adding lifting slings. And in order to create the sizing of the panels, I found the maximum load capacity of the machine at a certain position. I calculated the volumetric load of a 1 foot thick concrete panel and got an approximation of the panel sizing to be approximately 6’ x 12’.

1 : 100

0’

4’

12’

28’

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CURATED CONSTRUCTION PROCESS

The process involves site preparation and creating linear markings onto the landscape so that grooves are created so that the concrete maintains the coloration of the earth so that there is an understanding that the building as well as the different productions it manifests (including the grapes and the food) are of the earth. the formwork is then prepared and the addition of pipes and recycled wine bottles are set into a pattern effect so that light and air are filtered into the spaces and are cooled as air pressured drop through the section of the wine bottles themselves.

Then as an alternative to the concrete mixer machine, lighter and more portable concrete mixers would be done by the workers themselves. Then once dry, the cranes could lift the panels onto place with temporary bracing until the structure of the floor is installed to which the panels could then be bolted or welded onto the steel frame.

18’

JOINT

6’ 12’

6’

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ELEVATIONAL PANEL - PANEL EXPERIMENTS VALLE DE GUADALUPE, BAJA CALIFONIA Potential Iterative Wall Recipes 6’

VALLE DE GUADALUPE, BAJA 6’ 6’ 6’ 6’ 6’ CALIFONIA 6’ 6’ 6’

VERTICAL Panels are tested through in stacking through a primarily vertical orientation

12’

6’

6’

6’

6’

6’

6’

PERFORATION PATTERNS A series of cast in perforations allow panels to read across continuously CLIMACTIC WINE BOTTLE

HORIZONTAL

6’

6’

6’

6’

6’

6’

6’

6’

6’

6’

12’

1’

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6’ 6’

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SOUND VIBRATIONS

12’

T-SHAPE

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6’ STACKED

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SAME SIZE

12’

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WIND PVC PIPES

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JOINT

6’ 12’

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18’ HYBRID

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PERFORATION PATTERNS A series of cast in perforations allow panels to read across continuously CLIMACTIC WINE BOTTLE MODEL IMAGES

SOUND VIBRATIONS

PANEL PATTERNING

HYBRID

MODEL IMAGES

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These diagrams then show further investigations of panel configuration with involvement of patterning and methods to even allow for extension of the inserted pipes so that some sound could occur as wind passes through. So going into the organization of the plan itself, the first floor maintains an entry that involves two options. One into a corridor that directs the visitors straight into the barrel storage room that maintain access to a vertical service core that’s held in the back as well as an opening and view into the oasis that exists at the end of the arroyo. Alternatively one could walk under a large opening that connects the first floor to the tasting room. On the same level offered is an small area to cook in which smoke is collected through an interconnected chamber within the second tower volume. Here the walls can open up into an outdoor deck area that faces the sloping vines, with fermentation in the back. The third level maintains outdoor access to grape intake that includes holes within the ground so that the wine can be easily transferred to the floor below. With the other side being the main cooking school that includes a large dining table and views into the landscape.

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WIND PVC PIPES

NOTHING BUT NETS Material Explorations of the Port of Ensenada fall 2018 MIT | site: Valle de Guadalupe, Baja California | prof. Sheila Kennedy | partners: Lucas Igarzabal & Emma Pfeifer

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+ The regional economy of Baja California is informed deeply by the Port of Ensenada, located on the Pacific Ocean, approximately 40km South East of the Valle de Guadalupe. Ensenada is a hub for international tourism, as well as a center for commercial fishing, sea trade, and other marine industries, as well as the maintenance and support of activities associated with watercraft. Thee material cultures of these industries provide a lens through which to view the potentials for material reuse that stem from Ensenada. As the home of Baja California’s only deep water port and its largest dry dock, Ensenada is home to a sizeable shipbreaking operation. This industry is the source of a sizeable quantity of reuseable steel whose forms can be deduced from the processes that the disassembly of a ship entails. Meanwhile, the fishing industries in the port leave a second major waste product: fishing nets and ropes. The material intelligences embedded in these two products -- scrap steel and fishing nets -- can inform a meaningful employment of Ensenada’s resources with a view towards material reuse that is specific to Baja California.

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SHIPBREAKING

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nothing but nets \\

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Shipbreaking: Material Re-Use Catalog

MATERIAL SYSTEMS AND OPERATIONS

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We conducted studies to examine the particular qualities of the nets and steel (and their analogs) that we identified as resources from the Port of Ensenada.

Our experiments pointed to a few key properties of these materials, nets in particular, that suggested their specic potential for deployment as an element in a regional architectural assembly. The tests we conducted looked in particularly at nets’ propensity for the casting of variable shadow conditions, their potential in working with frames and weights, their forms and structural potentials when cast, and the possibility of using them with hardware, in the tradition of fishing and sailing.

Our studies point towards the potential for using nets and steel elements in a hybrid, mechanical system to produce a deployable shading device for Baja California.

TENT SYSTEM MODEL

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14 FULL SCALE TABLE MOCKUP

BIRD’S EYE VIEW

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Programmatic Flexibilities

WORM’S EYE VIEW

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INVASIVE EXPLOITATION systems of urbanization in Brazil spring 2017 Texas Tech | site: Rio de Janeiro & Brasilia, Brazil | prof. Mari Micheal Glassell

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+ “For a tourism-based economy to sustain itself in local communities, the residents must be willing partners in the process. Their attitudes toward tourism and perceptions of its impact on community life must be continually assessed.” - (Allen et al. 1988)

Tourism is a transformative factor of urbanism that has the potential to drive the economy and formal values of a city. Brazil is well noted internationally as an icon of scenic attractions that promotes visitors. Rio de Janeiro actively remains a top contributor to the tourism of Brazil, expanding it up to 104% in the year 2000. As such an influential catalyst for urban development, tourism stirs conflict from the locals that undergo its effects of socio-spatial segregation. If tourism then breeds a society that is in tension with the motives of its government, do locals have the potential to counter these motives through the exploitation of the city’s showcased areas?

Rio de Janeiro, in most recent years, has been the host of high impact mega events that stimulate the desire for its government to recreate the image of the city. Hosting the FIFA World Cup in 2014 was considered a major success in the eyes of its government because of its ability to increase jobs as well as the investments made in its tourist sectors. Hosting the 2016 Olympic Games was also considered a major success because it gave more reason to continue in the revitalization of Rio’s visage. It took 13 billion dollars in order to finance the World Cup and an estimated 20 billion to

finance the Olympics. Although these costs included the construction of new infrastructure and revived projects including that of Porto Maravilha, it highly leaned towards the needs of the modern tourist and sacrificed the land of its squatter communities. Prior to the Olympics, President Eduardo Pae claimed the only community demolition that would occur was set to be in Villa Autodromo because of its proximity to the Olympic Park. In reality, 22,059 families have been evicted from their communities due to the prioritization of newly constructed transport that link touristic entities dispersed throughout the city. This control over passages not only included additions like the 2008 Funicular Railway but limited travels for the poorer citizens residing in Northern Rio. This limitation included the removal of

// invasive exploitation

bus routes that previously made these tourist attractions accessible to residents living in these informal settlements and they have since been at risk of demolition due to planned infrastructure and real estate projects. Such aggressive and blatant moves has positioned Rio not a good place to live in, but rather a place to invest in. The Pacification Police Units (UPP) was another policy implemented in the informal settlements because of the events in order to control the violence or rather control the territories. All of these tactics were employed through levels of invisible crime, fraud, and bribery in order to skew the realities of Rio for the sake of creating a manicured perception for the temporary visitor.

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INVASIVE SYSTEM: BOTANY

SYSTEM GROWTH

The growth of invasive botany is systemized by its need to survive and in order to survive, it exploits its host(s) at three varying scales. The first is through the inhibition of direct resources or nutrients. The second includes spatial restrictions due to its ability to grow along the host’s formal accentuations. In its maturity, there is then the formulation of a defined territory that inhibits growth of the host but also sustains the reproduction and optimization of the system.

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+ FINAL PHASE: DOMINANCE

HOST SYSTEM: BOTANY

invasive exploitation \\

System Collapse

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HYBRID DIAGRAM

With these tactics, it thrives and creates a localized region for the inevitable occurrence of another outbreak. These then are the catalysts of attack and accelerate the inevitable invasion. Despite being a touristic city, Rio is also one of the most dangerous cities in the world in terms of urban violence. It is the low income population living in informal settlements that are most commonly committing crimes and many of them are geared towards the tourist population. So hypothetically, if the survival of these settlements was sacrificed because of tourism, it can be held as a truth that they exploit these sites for what they’re economically and formally worth by small outbreaks of physical crime in order to sustain themselves.

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TAXONOMY

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The urban invader has the potential to parasitically transform energy, form, and resources from touristic sites. Parallel to the system within invasive botany, growth is tracked based on the form and magnitude of its host.

The system is similarly working to achieve conversion. It works to grow in a non-native land and exploits the occurring living systems as momentary casts to create an environment in which it can thrive. The optimal state for this system is this dominance of not only one host, but rather dominance of a territory.

1. Civil Disobediance ENERGY: + agent ofINVADER] crime inclined to tactically target [ URBAN

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social political or economical institutions AREA OF INVASION GENTRIFICATION

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AREA OF INVASION 1. Civil Disobediance institution public space dominated by tension + + Situational Typology+ + 2. Vandalism- Graffiti AREA OF INVASION institution public space dominated by tension + + GENTRIFICATION

GENTRIFICATION

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+ + agent of crime inclined to target physical layered Situational Typology edge property within and of the urban context of the city + + FORM: Situational Typology 3. Abandonment-Decay agent of crime inclined to target physical + + property within and of the urban context AREAS OF CRIMINAL POTENTIAL of the city urban deteriorations FORM: agent of crime inclined to target physical 3. Abandonment-Decay property within and of the urban context + + of the city + +

Situational Typology

high density grouped

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infra s obstr tructure uctio [Brasilia] Federal District n

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Commercial and Housing + + visible area of tension edge

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graphic

+ High Industrialization +

AREA OF INVASION

6. Prostitution tourist pedestrian isolation + + AREA OF INVASION 7. Drug Distribution tourist pedestrian + isolation + 7. Drug Distribution + +

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[Rio] Saude

ges

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[Rio] Saude

+ [Brasilia] Vertical Housing+

isolated high public densities

+ Tourist Attractions +

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ions

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trafficking increases levels of territorial violence and hostility Situational Typology

of re as utb are h o hig

k of rea as utb are h o hig

Vertical Housing + areas of + high outb

reak

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Situational Typology

ak

areas of

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a

an

cab

pa

Co

high outbreak Vertical Housing + +

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[Rio] Centro

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of rea as utb are h o hig

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trafficking increases levels Typology Situational of territorial violence and hostility

+ Centro

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Situational Typology

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[Rio] Centro

Centro

ctio

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Situational Typology trafficking increases levels of territorial violence and hostility

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Attra

Beaches + Hotels + + Vertical Housing +

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agent of crime inclined to tactically target social political or economical institutions agent of crime inclined to tactically target social political or economical institutions

areas of high outbreak

agent of crime inclined to tactically target social political or economical institutions

[RESOURCE]

Centro

Beaches + Hotels + +

tourist pedestrian isolation Situational Typology

agent of crime inclined to tactically target social political or economical institutions

[Brasilia] Vertical Housing

ttract

rical

tactically target social political agent of crime inclined to or economical institutions tactically target physical agent of crime inclined to property within the urban tactically target social political context of the institutions city or economical

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A rical Tourist Attractions Histo +

Histo

[FORM] agent of crime inclined to

[Brasilia] Vertical Housing

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Situational Typology

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agent of crime inclined to tactically target social political or economical institutions

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[Rio] Centro

+ [Rio] Copacabana+ a

an

cab

pa

Co

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+ a [Rio] Copacabana an

cab

pa

Co

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[Rio] Copacabana

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[Rio] favelas

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[Rio] favelas

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[Rio] favelas

agent inclined agentofofcrime crime inclined to to target social political thetactically acquisition of resources: or economical institutions money, land, and territories agent of crime inclined to tactically target social political or economical institutions agent of crime inclined to tactically target social political or economical institutions

agent of crime inclined to tactically target social political or economical institutions agent of crime inclined to tactically target social political or economical agent of crime institutions inclined to tactically target social political or economical institutions agent of crime inclined to tactically target social political or economical institutions agent of crime inclined to tactically target social political or economical institutions

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7. Drug Distribution + +

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d ed

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tourist pedestrian Situational Typology isolation

tourist pedestrian isolation

orate

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+ +

agent of crime inclined to tactically target social political or economical institutions agent of crime inclined to tactically target social political or economical institutions

invasive exploitation \\

6. Prostitution + +

AREA OF INVASION

eteri

Tourist Attractions s + ction Attra + rical Histo Beaches + Hotels + ns

Situational Typology

tourist pedestrian isolation

le d

+ +

[Rio] Saude

Vertical Housing + +

5. Robbery + + 6. Prostitution + +

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High Industrialization + perm + eab le d eteri orate Vertical Housing d ed ges +

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area of high population density

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pe

+ + agent of crime inclined to the Situational Typology acquisition of resources: money, land, and territories public isolation [minimal witnesses] + + RESOURCE: Situational Typology 5. Robbery agent of crime inclined to the + + acquisition of resources: money, land, and territories RESOURCE: area of high population density agent of crime inclined to the 5. Robberyof resources: money, land, acquisition + territories + and

tactically target social, political, tactically target social political or economic or economicalinstitutions institutions

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isolated high public densities

RESOURCE:public isolation [minimal witnesses]

agent of crime inclined to tactically target social political or economical institutions agent of crime inclined to [ENERGY] tactically target social political agent of crimeinstitutions inclined to or economical agent of crime inclined to

[Rio] Lapa

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rme able High Industrialization dete riora ted edg + es

eab

WHAT?

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+

perm

agent of crime inclined to [ what? ] tactically target social political or economical institutions

[Rio] Lapa

Vertical Housing isolated high public densities + +

high density grouped

area of high population density

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sters

edge clu

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public isolation [minimal witnesses] 4. Property Damage + + Situational Typology+ +

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[Rio] Lapa

s cluster

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high density Situational Typology grouped

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[Brasilia] Federal District

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Situational Typology

4. Property Damage + +

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nexo

graphic

3. Abandonment-Decay + + 4. Property AREASDamage OF CRIMINAL POTENTIAL urban deteriorations +

+

o

FORM:

AREAS OF CRIMINAL POTENTIAL urban deteriorations

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Anex

AnexHousing Commercial and o s +graphic edge cluster visible area of tension +

Situational Typology

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Government Districts + + [Brasilia] Federal District + + infr Palac o astructu Commercial and Housing io dobstru re Plan ction alto + + A visible area of tension

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layered edge

infra s obstr tructure uctio n

Palac io do Plan alto

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Situational Typology

2. Vandalism- Graffiti + +

Government Districts POTENTIAL URBAN HOST +

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Situational Typology

2. Vandalism- Graffiti + layered + edge

Palac io do Plan alto

Congr Nacio esso nal

public space dominated by tension

1. URBAN Civil INVADER agent of Disobediance crime inclined to tactically target social political or economical institutions +

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[ URBAN POTENTIAL HOST]

Congr Nacio esso nal

ENERGY: institution

Government Districts +

Congr Nacio esso nal

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+

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// invasive exploitation

CORE STRIP 2: PHASE 01- 05

CORE STRIP 1: PHASE 01- 05

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System Growth and Degradation

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CORE STRIP 3: PHASE 01- 05

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2.

3.

1.

RIO : INITIAL OUTBREAK PENETRATIONS

HYBRID DIAGRAM

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invasive exploitation \\

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By targeting and exploiting these sites of its energy, removing its resources (or monetary values), and inhibiting the further development of form, the degradation of these sites become inevitable. These outbreaks would occur quickly within the time frame of 4 months alongside the season at which tourism levels peak in Brazil. In time, as these seeds of crime disperse and outbreak, the methods in which people populate and activate these spaces has the potential to alter and at the most extreme level, diminish entirely and become occupied by its invaders.

The point at which there is complete exploitation, however, eliminates the resources that tourists and the tourist industry offers for such invaders. The question of who these invader counter attacks once there are no more hosts to take over. Do they then attack and conflict in the efforts of dominating one another? Nonetheless, such a domination would destroy the economic power the sites hold for the city of Rio, and thus the spatial hierarchy that comes with it.

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THE STAIR “The stair to there, the stair to nowhere” fall 2017 MIT | siteless | prof. Rachely Rotem

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The project’s initation ran was through the translation of

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the phrase “The stair to there, the stair to nowhere” into a physical object of no particular given scale. As a means to understand and distinguish conceptually the ‘there’ and ‘nowhere’, the project takes the position in distinguishing the distinctions between what is place vs. what is nonplace. Place is identified through the employment of activity while “non-place” is defined through its anonymity when uninhabited, only inhabited by the memory of its existence. The mechanism of the stair begins to define or delineate both types or categories of ‘place’. In order to do so, the stair is a means of connection as well as a means of breakage. The volume is organized by its split interior in which it is composed of 5 separate joints that each interlock as well as deploy away from one another.

Assembled completely, the joints create a purely defined volume and the stairs that connect them remain unseen, inaccessible, and exist under the category of “nonplace”.

As these joints slide apart from one another and are removed, slivers of space appear with the shifting stair-like interior. This is the configuration of place. The duality of how place is defined in the model is determined by the interaction between each monolithic joint piece.

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// the stair

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MODES OF REPRESENTATION

The project flickers between what is seen as solid and void through tests made of 3D prints in order to explore not only the interlocking pieces but as well as through the qualities of its interiority.

the stair \\

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THE ROOM “The room that wears the body, the body that wears the room” fall 2017 MIT | chosen site: MIT | prof. Rachely Rotem, Jennifer Leung, and William O’Brien | partners: Isadora Dannin & Emma Pfeifer

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MIT adopts a public image rooted in rationality and

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totalizing objectivity through the pervasive presence of neoclassical architecture across campus. We seek to critique these institutional ideals by defamiliarizing and reclaiming the semantic and physical tropes of neoclassicism. The room that wears the body and the body that wears the room takes place in our various methods of translation between the intitution’s objective form to its newfound means of data collection where the imperfect and inbetweens are embraced.

Our project proposes an architectural syntax of disorder, in contrast to the classical orders that have afforded legibility to their language for millennia. We challenge the seemingly absolute geometric forms that are assumed to separate subjective human judgment from the presumed objective truth. A 3D scan of MIT’s ionic columns is assumed to absorb and perpetuate their rational ideology.

We look to problematize the assumed neutrality of this technology, and to harness its subjectivity to reclaim the architecture of our institution. Although 3D scanning technology relies on indisputably “accurate” data, it is ripe with inaccuracies borne from granular imprecision (edge noise, ghost points), and fundamentally relies on the shaky presumption that the world it scans is unchanging.

This edge noise becomes our site, and ghosts points our medium. What are the formal repercussions when a 3D scan is taken as the architectural truth it claims to be? Can we create a new architectural language that

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// the room

implicates the institutional body?

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ARTIFACT MATERIAL TRANSLATIONS

the room \\

Analysis of the physical archaeological approach towards understanding the material manifestation and translation of geometry into a form that people can touch and interact with, that exists in the physical world, and has a distinct and unique materiality.

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POINT CLOUD OVERLAP

GEOMETRICAL TRACING

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SCAN BASED DATA POINTS

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DIGITAL TRANSLATION

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New digital tools meant to erase human subjectivity from the data collection process (3D scanning): resulting in a point cloud which generates a form that is ripe with its own inaccuracies, erronious data, and oly bears a generalized resemblance to the original geometry the column was built from.

+

29

// the room

3D Scan Point Cloud Details

3D POINT CLOUD 01: CAPITAL

3D POINT CLOUD 02: BASE

3D POINT CLOUD 03: DETAIL VIEW

3

1

2

DIGITAL TO PHYSICAL TRANSLATION

The nebulous nature of the point data has qualities of its own that informed our fabrication process fo rthe room. The lightness and gaps in the information helped us to desolidify our reading of familiar forms. We selected moments on the scan data that represented new potential typologies and fabricated them in white styrofoam. The particulate nature of the foam evokes the point cloud data, that presents a unified form through an accumulation of miniscule parts. Its own lightness undermines the heaviness in physicality and ideals of classical architecture. We embraced th difficulties of working with a CNC router, and adopted the failings in fabrication into our formal language, which is flawed in its essence. We like their inherent humor and uncleanliness, which questions the purity normally ascribed to whiteness in institutional architecture.

Like the carving of stone, the CNC implies a process of orthographic removal and formfinding from solid block form towards linguistic creation.

the room \\

30

3D POINT CLOUD 04: PLAN VIEW

3D POINT CLOUD 05: CAPITAL

THE THEATRE “The theatre in the round, the theatre in the ground” fall 2017 MIT | site: Downtown Boston | prof. Rachely Rotem

+

The project’s initaion began with the translation of

+

the phrase, “The theatre in the round, the theatre in the ground”. The idea of the ‘theatre’ is that which is constantly changing especially as we continue to survive under a digitally dependent age. With an everchanging context physically and socially, a certain level of experimentation is called for in terms of performance, who is performing, and who and how does one view what is performed. The two precedents that further guided the formal conception of the project were that of the Fun Palace and the Museum of Fort Vetchen. The principles that I found the most significant were the manners in which they utilized distinct ordering systems whether this was a regulated grid and self-imposed such as that in the Fun Palace or organically derived by means of the existing topography such as that in Fort Vetchen. As a translation, the theatre uses the embedded organizations of the surrounding infrastructure, whether it is through the parking lots or through the embedded lines of the adjacent buildings, as a strategy to create a structure that engages with the larger context of the city and could potentially be multiplied. This is its GROUND. Further the transparent structure allows for the users and their flexible activities to be exhibited to that of the surrounding urban context allowing for the building itself to be the stage or the theatre in the ROUND.

31

// the building

+

+

+

Situation: border of Fort Point Channel & Seaport Channel Districts

+

SITE INVESTIGATIONS

It sits in the border of two districts within South Boston, the first being the Four point channel district and the seaport district which currently is in the midst of various ongoing and potential developments. It is currently a landscape of many empty parking lots.

+ 1. PARKLING LOT

3. HYBRID

the building \\

2. BUILDINGS

+

32

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+ [ northeast view ]

+

+

33

// the building

LVL: 02

PLAN VIEWS

Programmatically the building is lifted off of the ground so that it allows for the opportunity for both cars and people to activate it as needed. It could be used as parking, as a market, as a place for temporary vendors, or even can be simply used as a partially lit lounge area in which objects that hang from the structure, allowing for a place of democratic inhabitance.

LVL: 01

TRANSVERSE SECTION

The theatre of the ground is that which is hung and grounded through the means of structure.

It faces towards the building and projects a screen towards the existing structure.

the building \\

34

35

// the building

[ detailed view ]

As you reach the second floor or the floor leveled with the highway you can enter here through a ticket booth in order to go up to the two theatres. The first theatre is the theatre in the round, which is defined through its ability for the audience to view the stage with partial remnants of the city in the background and for the viewers themselves to become the spectacles of what is viewed from the outside in.

the building \\

SITE AXONOMETRIC

36

// the building

37

DETAILED AXONOMETRIC

This drawing is only one of the few imagined scenarios that could potentially take place. The transparency of the building itself becomes a means for which the activities created inside by the theatre’s users is exhibited beyond the limits of its site. The imposition of these grids are not to limit the impositions of it users.

the building \\

38

TWO-HINGED ARCHED ROOF Structural Systems spring 2018 MIT | prof. Josephine Carstensen | partner: Jaehun Woo

+

The design of our arched roof structure consists of a long span length of 240’ and width

+

120‘ feet in the other. Our proposal investigates the use of a light weight tectonic timber diagrid-shell as a structural and spatial driver in order to create an open and flexible space that minimally touches the ground. The shell consists of a clear span arch that starts and ends with 52’ in height and slowly decreases and dips to 34’ at the center, thus creating two framed views into the landscape. The diagrid that is projected onto the arch is organized under lines rotated at 45 degrees that are 24’ apart. The structure then joins at a linear border that connects to 6 large concrete supports (with 3 support at each side).

PRELIMINARY CALCULATIONS

We estimated our live load

Area of whole: 25,166.9 sq ft.

(snow & wind) to be 30 psf. We

Area of longest structure line (L1) : 1830.01 sq. ft.

calculated the total load for our longest and shortest diagonal structure members by getting the

length of longest structure line (L1): 192.63 ft.

Area of shortest structure line (L2): 1758.58 sq. ft. length of shortest structure line (L2): 188.26 ft.

tributary area of each line and

Total length of structure: 3872.98 ft.

multiplying them by the live load.

L1 CALCULATIONS

Live load= 30 psf x 1830.01 ft2

= 54900.3 lbs = 54.90 kips

Dead load: ETFE panel=0.0919 lb/ft2

x 1830.01 ft2

x 1758.58 ft2

= 168.17 lbs = .168 kips

= 161.61 lbs = .161 kips

// two-hinged arched roof

+ self weight will be calculated in

recursive way.

recursive way.

Total load = 55.068 kips

Total load = 52.911 kips

(according to graphic statics)

=2760 lbs. =2.76kips

39

= 52757.4 lbs = 52.75 kips

ETFE panel=0.0919 lb/ft2

DL: 4.16in2 x 195ft. x 490pcf

+

Live load= 30 psf x 1758.58 ft2

Dead load:

+ self weight will be calculated in

L2 CALCULATIONS

(according to graphic statics) DL: 4.16 in2 x 189 ft x 490 pcf =2675.4 lbs = 2.68 kips

0.1 lb./ft.2*1830 ft.2

0.1lb/ft2 x 1760 ft2

=183 lbs. =0.183 kips

=176 lbs =0.176 kips

=2.943 kips

=2.86 kips

LL: 3.97in. x 170ft. x 30 pcf

LL: 3.97 in x 170ft x 30pcf

=1687.25 = 1.69 kips

=1687.25 = 1.69 kips

4.633 kips

4.55kips

Converted LL: 4.633 kips/170 ft. = 0.027kips/ft

Converted LL: 4.55kips/170ft = 0.027kips/ft

Mmax: 0.027kips/ft. x 170 ft. x 170ft./64 =12.30 kips x ft

Mmax: 0.027kips/ft x 170ft x 170ft/64 =12.09 kips x ft

+

Scale: 1’ = 1/32”

120’-0” 26'-0 41"

ProfilE curvature 38’-0”

52’-0”

38’-0”

P1

P2

P3

P2

P3

P2

P1

P3

P2

P1

P2

P3

P2

P1

P3

52’-0”

38’-0”

34’-0”

P3

Depth: d= 11.94 in.

Width: bf= 8.002 in.

I (Axis x-x): 310 in4

24'-0"

24'-0"

End Arch W12 x 40 Depth: d= 11.94 in.

Width: bf= 8.002 in.

I (Axis x-x): 310 in4

24'-0"

11'-0"

12'-8"

24'-0"

12'-8"

24'-0"

24

12'-8"

43'-7"

43'-7"

53'-11.5"

1 kip

two-hinged arched roof \\

53'-11.5"

diagrid i-beam connection detail

diagrid i-beam connection detail Scale: 1’ = 1” Scale: 1’ = 1” 3’ -11”

66'-10.5"

3’ -11”

3’ -11” 11’ -11”

34'-7"

4.001Crushing: P<=F x A 15ksi>=12.3kips x ft/S3.7 3 =12.3 x 12kips x in/14.9in 4.148 5.727 3.70kips<=15ksi x 4.16 =9.91ksi 3.902 7.700 3.70<=62.4 kips

17'-1"

Scale: 1’ = 1”

Bending: 15ksi>=12.09kips x ft/S 15ksi>=12.09 x 12kips x in/14.9in3 15ksi>=9.74ksi

3’ -11”

+

3’ -11”

18’ -8”

43'-7"

3’ -11”

6’-7”

3.38

diagrid i-beam connection detail

12’ -0”

3’-3” 2’-9”

3.38

11’ -11”

43'-7"

’-3” 2’-9”

12’ -0”

18’ -8”

3’ -11”

3’ -11”

4.001

3’-3” 2’-9”

3’-3” 2’-9”

17'-1"

= 5kips x ft

Scale: 1’ = 1”

40

3.63

Fmax = 12.09kips x ft

66'-10.5"

diagrid i-beam connection

18'-10"

34'-7"

3.902 7.700 xft Mmax =12.30kips = 5kips ft 4.148 x5.727 3.7

3’ -11”

18’ -8”

27.65

6’-7”

3.76 27.65

6’-7”

4.001 4.148 5.727 3.06 3.052 3.052 3.06 6.975 4.613 4.613 6.975 3.902 7.700

3’-3” 2’-9”

3.7

Scale: 1’ = 1/4”

3’-3” 2’-9”

DL: 11.8in^2*164.89ft*490pcf =6620.79lbs =6.62kips (3.06+6.975+3.052+4.613)*2 = 35.4 ---------------------------LL: 8in*120ft*30pcf =2400 = 2.4kips ---------------------------44.42kips

1 kipfoundation section detail concrete support

11’ -11”

27.65

12’ -0”

18'-10"

24'-0"

7'-11.5"

7'-11.5"

P2

34’-0”

P3

52’-0”

53'-11.5"

7'-11.5"

L2

18'-10"

17'-3"

24’-0”

24'-0"

Scale: 1’ = 1/16”

End Arch

24'-0" W12 x 40

3.902 7.700

3.63

----

24'-0"

Scale: 1’ = 1/4”

concrete supports directed along the 4.148 5.727 4.001 Must extend into grain of structural3.7 grid.

3.63 3.38 1 kipat least 8’ ground in order to prevent 3.275 3.275 3.38 the ground. uplift of structure3.63from

+

240'-0" Arch W12 x 14 24'-0" Depth: d= 11.91 in.

Width: bf= 3.970 in.

I (Axis x-x): 88.6 in4

3.06 3.06 3.052 3.052 6.975 4.613 4.613 6.975

3.275 section 3.275 rete support foundation detail = 1/4”

L2

3.76

3.76

9ft*490pcf kips +4.613)*2 = 35.4 ----

24'-0"

E W D W I

longitudinal Section

concrete support foundation section detail concrete support foundation section detail = 3.553 Fmax

3.052 3.052 3.06 4.613 4.613 3.06 6.975 6.975

3.052 3.052 4.613 4.613 3.06 6.975

24'-0"

66'-10.5"

Scale: 1’ = 1/4”

43'-7" 3.06 3.06 3.052 3.052 6.975 4.613 4.613 6.975

pcf ps ----

24'-0"

43'-7"

Bending: 15ksi>=12.09kips x ft/S 15ksi>=12.09 x 12kips x in/14.9in3 15ksi>=9.74ksi ---------------------------OK

*490pcf 0kips 2 ps ----

24'-0"

24’-0”

24'-0"

66'-10.5"

FOUNDATION DETAIL

ht of

1 kip

Arch W12 x 14 Depth: d= 11.91 in.

Width: bf= 3.970 in.

I 12'-8" (Axis x-x): 88.6 in4

24’-0”

x ft

24’-0

Depth: d= 11.94 in.

Width: bf= 8.002 in.

I (Axis x-x): 310 in4

17'-3"

24'-0"

= 5kips x ft

FxA ksi x 4.16 ps -----------

24’-0”

Fmax = 3.553

24'-0"

1 kip

24’-0”

240'-0"

24'-0"

1 kip

Fmax = 12.09kips x ft

24'-0"

24’-0”

120’-0”

24'-0"

24’-0”

24’-0”

Arch W12 x 14 Depth: d= 11.91 in.

Width: bf= 3.970 in.

I (Axis x-x): 88.6 in4

24'-0"

24’-0”

24’-0”

Fmax = 3.553

-0"

24'-0"

Fmax =24'-0" 3.70

240'-0"

24'-0"

24’-0”

Tributary area calculated for the total load on total linear member

End beam W12 x 19024'-0" Depth: d= 14.38 in.

Width: bf= 12.670in.

I (Axis x-x): 1890 in4

Scale: 1’ = 1/16”

24’-0”

24’-0”

Fmax = 3.503

1 kip

L1

24'-0"

3

24'-0"

24'-0"

24’-0”

End beam W12 x 190 Depth: d= 14.38 in.

Width: bf= 12.670in.

I (Axis x-x): 1890 in4 24'-0"

3

longitudinal Section

11'-0"

24’-0”

17'-3"

Fmax = 3.553

24’-0”

24’-0”

End beam W12 x 190 Depth: d= 14.38 in.

Width: bf= 12.670in.

1 kip 1 kip I (Axis x-x): 1890 in4

240'-0"

24’-0”

490pcf =45570lbs =45.57kips +86.445kips = 132.02kips R1, R3 = 3/8wl = 3/8 x 0.61 x 240 =54.9kips R2 = 5/4wl = 5/4*0.61*240 = 183kips LL: 12.67in x 240ft x 30pcf Mmax = 1/128wl2 = 1/128 x 0.61 x 240 x 240 =13303.5 = 13.3kips =274.5kips x ft 145.32kips Coverted Load:145.32kips/240ft 15ksi>=274.5/S = 0.61kips/ft End Arch 15ksi>=274.5 x 12/263=12.52ksi W12 x 40

24’-0”

2

2

the grain of structural grid

3

LONGITUDINAL Fmax = 3.76 11'-0"ELEVATION 24'-0"

Fmax = 3.70

24’-0”

24’-0”

L2

Total length of End beam: 480 ft.

Tributary 24'-0" Area ofarea arch (W12x190): 55.8 in Volume: 480 ft. x 12 x 55.8 in calculated for thein = 321,408 total load onVolume= total386129.6 in Total Steel =223.45 ft linear member

L2 graphs

15ksi>=274.5/S 15ksi>=274.5 x 12/263=12.52ksi

24’-0”

Tributary area calculated for the total load on total linear member 120’-0”

Total length of End arches: 329.77 ft.

Area of arch (W12x40): 11.8 in2 Volume: 329.77 ft. x 12 x 11.8 in2 = 46,695.4 in3

longitudinal Section Scale: 1’ = 1/16”

Arch W12 x 14 Depth: d= 11.91 in.

Width: bf= 3.970 in.

I (Axis x-x): 88.6 in4 240’-0”

24’-0”

Total length of Diagrid arches: 3612.18 ft.

Area of arch (W12x14): 4.16 in2 Volume: 3612.18 ft. x 12 x 4.16 in2 = 18,026.12 in3

R1, R3 = 3/8wl = 3/8 x 0.61 x 240 =54.9kips R2 = 5/4wl = 5/4*0.61*240 = 183kips Mmax = 1/128wl2 = 1/128 x 0.61 x 240 x 240 =274.5kips x ft

= 386129.6 in3 =223.45 ft3

26'-0 41"

120’-0”

CARBON FOOTPRINT

DL: 55.8in^2 x 240ft x 490pcf =45570lbs =45.57kips +86.445kips = 132.02kips ---------------------------LL: 12.67in x 240ft x 30pcf =13303.5 = 13.3kips ---------------------------145.32kips Converted Load:145.32kips/240ft = 0.61kips/ft

24'-0"

L1

L2

24'-0"

linear member

24’-0”

120’-0”

L1

d beam: 480 ft. x190): 55.8 in2 12 x 55.8 in2 08 in3 24'-0"

24’-0”

2

overall calculations

nal Section

24’-0”

24’-0”

120’-0”

24’-0”

Total length of End arches: 329.77 ft.

Area of arch (W12x40): 11.8 in2 Tributary area Volume: 329.77 ft. x 12 x 11.8 in2 calculated for the = 46,695.4 in3 total load on total Total length of End beam: 480 ft.

24’-0”

24’-0”

L1

24’-0”

24’-0”

120’-0”

1 Total length of Diagrid26'-0 arches: 3612.18 ft.

4" Area of arch (W12x14): 4.16 in2 240’-0” Volume: 3612.18 ft. x 12 x 4.16 in2 24’-0” 24’-0” 24’-0” 24’-0” = 18,026.12 in3

24’-0”

24’-0”

=45570lbs =45.57kips Total length of End 480 ft.

24’-0” 24’-0” +86.445kips = beam: 132.02kips ---------------------------Area of arch (W12x190): 55.8 in2 LL: 12.67in x 30pcf Volume: 480 ft. xx 240ft 12 x 55.8 in2 =13303.5 = 13.3kips = 321,408 in3 ---------------------------145.32kips Total Steel Volume= 386129.6 in3 Converted Load:145.32kips/240ft =223.45 ft3 = 0.61kips/ft concrete

Profile

Area of arch (W12x190): supports PLAN55.8 in ProfilE curvature Volume: 480 ft. x 12 Scale: x 55.8 in2 1’ = 1/32” directed R1, R3 =along 3/8wl = 3/8 x 0.61 x 240 =54.9kips = 321,408 in3 R2 5/4wl of = 5/4*0.61*240 = 183kips the= grain 2 Mmax = 1/128wl 3 structural grid = 1/128 x 0.61 x 240 x 240 End beam Total Steel Volume= 386129.63 in =274.5kips x ft =223.45 ft W12 x 190 15ksi>=274.5/S Depth: d= 14.38 in.

15ksi>=274.5P1:xCenter 12/263=12.52ksiP2: Quarter Width: bf= 12.670in.

P3: End concrete supports I (Axis x-x): 1890 in4 directed along

d arches: 329.77 ft. x40): 11.8 in2 x 12 x 11.8 in2 3 5.4 16”in

P2: Quarte

24’-0”

DL: 55.8in^2 x 240ft x 490pcf =45570lbs =45.57kips +86.445kips = 132.02kips ---------------------------Curvature LL: 12.67in x 240ft x 30pcf + =13303.5 = 13.3kips ---------------------------145.32kips Converted Load:145.32kips/240ft OVERALL CALCULATIONS = 0.61kips/ft DL: 55.8in^2 x 240ft x

concrete supports directed along the grain of structural grid

CARBON FOOTPRINT

Volume: 329.77 ft. x 12 x 11.8 in DL: 55.8in^2 x 240ft = 46,695.4 in3 x 490pcf

24’-0”

120’-0”

P3: End

overall calculations

hs

24’-0”

PLAN

+

grid arches: 3612.18 ft. x14): 4.16 in2 t. x 12 x 4.16 in2 6.12 in3

24’-0”

24’-0”

120’-0”

TPRINT

24’-0”

240’-0”

concrete supports directed along 120’-0” the grain of structural grid

Total length of Diagrid arches: 3612.18 ft.

P3: End

24’-0”

26'-0 41"

2 x 240ft x 490pcf Area of arch (W12x14): 4.16 in2 P1: Center P2: Quarter =45.57kips Volume: 3612.18 ft. x 12 x 4.16 in2 = 132.02kips = 18,026.12 in3 -----------Scale: 1’ = 1/32” 240ft x 30pcf Total length of End arches: 329.77 ft.

13.3kips ROOF PLAN Area of arch (W12x40): 11.8 in2 -----------2

S 12/263=12.52ksi

24’-0”

Scale: 1’ = 1/32”

overall calculations

P3: End

CARBON FOOTPRINT

= 3/8 x 0.61 x 240 =54.9kips /4*0.61*240 = 183kips 120’-0” wl2 = 1/128 x 0.61 x 240 x 240

24’-0”

120’-0”

P2: Quarter

oad:145.32kips/240ft

P1: Center

240’-0”

24’-0”

P2

34’-0”

120’-0”

calculations

PLAN

24’-0”

24’-0”

20’-0”

24’-0”

52’-0”

24’-0”

THE MERMAID YMCA Coney Island YMCA spring 2018 MIT | site: Coney Island, New York| prof. Jennifer Leung

+

+ Coney Island is a context of many dualities. It has maintained its reputation as place of escape through its beaches, amusement parks, and tourists. This image of Coney Island, however, is one that is temporal and often are forgotten the realities of this place as a neighborhood through lens of its communities and the locals. The urbanistic conditions occurring within Mermaid St. which lies north of the site and stretches east to the subway station. Throughout it are a variation of storefronts that serve as a reflection of these local communities in that they display programs such as spiritual centers, beauty salons, laundromats, home-run restaurant establishments and so on. All exist in order to accommodate the banal and daily rituals of the Coney Island residents. The Mermaid YMCA positions itself under two taxonomies in which combinations of typical Y program and “mermaid program” (as I have come to call them) are studied so that anomalies like “rock chapel” or “lift and learn” are created. The first is called 2 face and the second is called storefronts. Both catalogs were methods into understanding tools of relation between program that is ‘sacred’ vs that which is ‘profane’. The first understands the potential adjacencies through means of poche and utilizes the arch as a formal device that suggests orientation of the body and as well as scale. The second, I describe as a catalog of linetypes, in which the adjacencies then architecturally perform through various types display, circulation, and as well as edge conditions. Here the arch is also utilized as a threshold and in some instances perform as a place of inhabitation.

41

// the mermaid ymca

+

+

TAXONOMY 1: 2 - FACE

TAXONOMY 2: STOREFRONT

Catalog

Catalog

Combinatory Section Studies

Combinatory Planar Studies

the mermaid ymca \\

42

+

+

FLOOR PLAN 01

FLOOR PLAN 02

Porous Entries

Wet and Dry

FLOOR PLAN 01

FLOOR PLAN 02

// the mermaid ymca

1’=1/16”

8’

43

0’

L. Section 01

L. Section 02

T. Section 01

1’=1/16” 24’

56’

0’

8’

24’

56’

44

The elements of the catalog were used as 2 dimensional and 3 dimensional kit of parts in order to test how they could formally and spatially offer ideas of entry as well as ideas of how the perimeter of the building is treated when placed on the site. The formal organization of the building is separated into 2 large volumes, one where a combination of wet and learning program is used consisting mainly of pools and classrooms the second utilizes more dry and active exercise program like the basketball court, workout rooms, rockwall, and more. Both volumes use the edge to house these potential storefront conditions so that the common itineraries of the y operate much like a city hub or a market.

the mermaid ymca \\

EXTERIOR PERSPECTIVE

// the mermaid ymca

45

LONGITUDINAL SECTION

Upon entering the building you can enter into the lobby with a view of the basketball court. Generally both entrances prompt for users of the y to circulate to the center, in between the two volumes are the locker rooms with one large unisex locker room joining the structures in the below ground.

the mermaid ymca \\

46

// ithe mermaid ymca

47

INTERIOR POOL PERSPECTIVE

Upstairs is the large space where lap pool and family pool lie with these other storefronts in view. I think what was important in understanding the organization between y program and this mermaid program was so that the y offered many itineraries, thus becoming like this city hub. It was important to understand that the users were not restricted to one limited experience of a y, but for that of many potentials.

48

Upon entering the building you can enter into the lobby with a view of the basketball court. Generally both entrances prompt for users of the y to circulate to the center, in between the two volumes are the locker rooms with one large unisex locker room joining the structures in the below ground. Then you can enter strait into the basket ball court and into the exercise rooms or you can go upstairs into the weight room and rock wall that is open to below with the spiritual chapel in the center. Then along the edges are these storefront rooms which could be bargain stores, laundromats, optometry clinics.

the mermaid ymca \\

INTERIOR GYM PERSPECTIVE

FOOD ASSEMBLY TOWER WORK /LIVE studio: fall 2017 MIT | site: Downtown Boston | prof. Rachely Rotem

+

My position for the future of work/live revolves around

+

the manifestation of the new agrarian farmer, or rather (producer of food). The agricultural industry, over the past century has evolved as a consequence of mass production and the automation of food processes, which in turn, has reduced the number of working farmers and simultaneously created a huge cultural shift in terms of how people eat and what they eat. The Food Assembly Tower acts as a social incubator, bringing together the varied communities and connecting cultures of Queens.

The life of the city dweller is no longer distanced from the production of food and utilizes systems of aquaponics, alternative animal growth methods, and waste management to create a self-sustaining environment for the building and the residents themselves, as well as to produce food and educate people about methods of manual food production for other residents of the work/ live masterplan. In doing so, the negotiation between working and living ties to the creation of an urban future that promotes wellbeing, quality of sustenance, and higher engagement between the people, the natural environment, and technologies used to promote it.

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// food assembly tower

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Water Pump air stone

air pump

air stone

air pump

Mist

OpenAg [artificial]

2

Nutrient Solution

Growing process done through simulated environment in MIT’s Media Lab Nutrient Solution Water Pump 1 Personal Food Computer

OpenAg [artificial]

2

Uses robotic systems to control and monitor climate, energy, Growing process done through simulated environment in MIT’s Media Lab and plant growth inside of a specialized growing chamber

1 Personal Food Computer 2 Food Server

2 Food Server

A shipping container farm that uses hydroponic and aeroponic technology to produce food at commercial scale

LIFE CYCLE OF FOOD

It sits in theofborder of two districts within Life cycle FoodRelationships Programmatic South Boston, t

Plants, Animals, Waste, and Energy

Live

Building Heat and Cool

Work

Life cycle of FoodRelationships Programmatic

Plants, Animals, Waste, and Energy

LiveEducation

Residences

CO2 Work

21st century farmer

Education

Residences

Nitrites

Organizational Strategies for Urban Farm Tower

Fresh Air for Building CO2

O2

Sectional Diagrams 1.

21st century

Ammonia Food Waste

Organizational Strategies for Urban Farm Tower Rain Water Tank Ammonia

O2

Cleaned Water

Sludge Anaerobic Fish Fertilizer Digester Waste Algae 2.Duckweed

Internal Vertical Core

1.

Life cycle of Water Water use, systems, and exchange

LIFE CYCLE OF WATER

Algae 2.Duckweed

Rain Water Tank Open structure to maximize sunlight

Fertilizer

i Ra

Internal Vertical Core Aquaponic tank to generate plant nutrients from fish waste er Open structure to maximize sunlight

water te

Recyclable 4.

Water Aquaponic tank to Exchange Wa s

3.

Waste Rain Water Tanks transfers water throughout column structure

Internal Vertical Structure with Aquaponic tank to embedded systems generate plant nutrients from fish waste

Anaerobic Digester

Methane Aquaponic tank to generate plant nutrients from fish waste

generate plant nutrients Tap

Turbine Generator

ter

from fish wastewa Water inwater Ra Purifier

Commercial or Residential Kitchen

Internal Vertical Structure with Waste embedded systems Rain Water Tanks transfers water throughout column structure

Recyclablewithin It sits in the border of two districts Water Exchange South Boston, t Life cycle of Water nwat Water use, systems, and exchange

Meatpacking

Food Waste

Sludge

Fresh Air for Building

Commercial 850° or Residential Steam Kitchen

Food Waste

Research Labs Anaerobic Digester Biogas

Fish farmer Waste

Nitrites

Cleaned Water

Meatpacking

Biogas Turbine Generator

Electricity Food Waste CO2

Local Restaurants/ Farmer’s Market

Building Heat and Cool

Research Labs

Light

CO2 Light Sectional Diagrams

850° Steam

Turbine Generator

Electricity

Local Restaurants/ Farmer’s Market

Wa s

lty water Anaerobic Sa Digester

arkling w Sp

Food Assembly between in the middle

Tap w a

Turbine Generator

ter

Water Purifier

ineral wat

M Methane

er

4.

Ability to Aggregate into groups

r ate

rooftop gardens te water

3.

Ability to Aggregate into groups

neral wat Mi

er

arkling w Sp

r ate

lty water Sa rooftop gardens

Food Assembly between in the middle

food assembly tower \\

Sectional Systems Diagram Water use, systems, and exchange Generic/Specifics Diagram Organizational Strategies for Urban Farm Tower

Sectional Systems Diagram Water use, systems, and exchange work 1.

2.

3.

Generic/Specifics Diagram

4.

live

6.

live

6.

Organizational Strategies for Urban Farm Tower

work 2.

3.

4.

5.

Residences

Structure as a device for aquaponcs

Residences

5.

Plant Labs

Plant Labs Market

Core

Core

Animal Farm

Market

visual-technica visual-tec

Structure as a device for aquaponcs

ual-technical chnical core core

1.

Animal Farm

communal kitchen communal kitchen communal kitchen

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vertical plant vertical growth plant facade growth facade

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Mass Automatino and Food Assembly Timeline

Uses robotic systems to control and monitor climate, energy, and plant A shipping container farm that growth inside of a specialized growing chamber uses hydroponic and aeroponic technology to produce food at commercial scale

Sectional Systems Diagram Water use, systems, and exchange Generic/Specifics Diagram

work 2.

3.

live

4.

Structure as a device for aquaponcs

Residences

6.

Plant Labs

5.

visual-technical core

1.

vertical plant growth facade

Organizational Strategies for Urban Farm Tower

Market

Core

Animal Farm

visual-technical core

communal kitchen

communal kitchen

communal kitchen

school for experimentation Water Purifier

farmers market

Methane

waste

waste

farmers market / open space Methane

Turbine Generator

Circulation Diagram

Circulation of People, Water, Waste and Energy

BUILDING SYSTEMS

TH

best used with rainwater

AN

EG AS =

water purfication

food

fish waste

BUILDING ENERGY

vertical circulation

food waste

ME

vertical circulation

BUILDING ENERGY

// food assembly tower

rainwater

I first started by looking into the different potential systems, programs the building would need to house in order to accomplish this. So I started with process diagrams on the lifecycle of food and water. This first starts to point at the symbiotic relationships between fish farming to the growth of plants co m mand vegetables by utilizing the waste and un al kit water to sustain plant growth. Then cleaned ch en that food goes to the kitchens and the food waste from the kitchens are transferred to an anaerobic digester that uses these wastes to create methane, a biogas that can then be utilized for energy, thus allowing the systems to feed back into the power and heating/ cooling of the building.

EN

ER GY

Programmatic Diagram

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Programmatic Organization

SOUTH-WEST AXONOMETRIC VIEW

residences

nal mu com chen kit

en

ard

pg

fto roo

GROUND FLOOR PLAN

Entry into the building shows the core organizing grid system that is derived from the large cisterns that simultaneously act as the main structure of the overall tower.

food assembly tower \\

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ORGANIZATION

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// food assembly tower

The architecture operates through an underlying grid made by large water cisterns that hold water distributed from raincatchers at the top of the building. Rainwater fills the aquaponics tanks, thus feeding into the vegetable growing stations that are positioned at the southern perimeter of the building. Excess water continues into the cisterns where above them, water is purified.

SECOND FLOOR PLAN

Floor plan that houses machinery that promotes and allows processes the transformation of food and water for the rest of the tower.

food assembly tower \\

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EVOLVING CLIMATIC STRATEGIES

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// food assembly tower

Creating an agricultural tower is done in question of the change in our climatic environment and how that affects our sources of sustenance in food and water scarcity. The tower utilizes systems of aquaponics, alternative animal growth methods, and waste management to create a self-sustaining environment for the building and the residents themselves.

TYPICAL WORK-LIVE FLOOR PLAN

Typical floor of production and processing for aquaponic vertical grow areas and urban farmer living quarters.

food assembly tower \\

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RESUMÉ

+

EDUCATION

+ MIT School of Architecture + Planning

LYNCED TORRES

2017- graduating 2021

Cambridge, MA 830/335.7702

+ Texas Tech University

+

ORGANIZATIONS

+ + + + + + +

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AIAS / the American Institute of Architeure Students (2015) Knights of Architecture (2014-2016) Hispanic Students Society (2014-2016) Golden Key International Honor Society (2015-2016) Tau Sigma Delta Honor Society (2016) position: Secretary National Society of Collegiate Scholars (2014-2016) Student Grade Appeals Committee (2016)

SKILLS

+ + + + + + + +

// resumé

[Lubbock, TX]

2013- 2016 ( Magna Cum Laude ) Cumulative GPA: 3.835

lyncedt@mit.edu

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[Cambridge, MA]

Autodesk: AutoCAD, Revit Adobe: Illustrator, Photoshop, InDesign, Premiere, Flash Rhinoceros Vray Sketchup Grasshopper Physical Modeling Welding

PUBLISHED WORK

+ Architecture & Culture No. 424 publication

SUMMER STUDY ABROAD / SeoulSTUDIO / 2016 -Student Studen Abroad Project [adaptive stimuli] was published under Korean magazine: Architecture & Culture No. 424 September issue (pg. 164) -Interview: Questionnaire of experience as well as views of the SeoulSTUDIO, Seoul as the urban city, and architecture published along with the project proposals.

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AWARDS

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Dean’s List (2013-2015) President’s List (2014-2015) Mike Moss Endowment (2013-2014) Presidential Scholarship (2013-2016) Summer Study Abroad Scholarship (2016) Buran Calvert AIA Scholarship (2015-2016) AP Scholar with Honors (2013) CROP: (2015-16) several works including an entire project were selected for the publication that showcased the best student work produced in the Texas Tech University College of Architecture

WORK EXPERIENCE

+ Graphics Assistant of TTU CoA: (2016) - Designs for any publication, advertisement, or exhibition that is required by the College of Architecture at Texas Tech - Designed the Texas Tech CoA Speculations Lectures Poster in efforts to rework the image of the college.

+ Design, Environment, and Society Teacher’s Assistant : (2016) Teacher’s Assistant in charge of reinforcing the lessons and projects enforced and offers assistance and guidance to first year architecture students in their first architecture course.

+ Student Intern: (2016) Worked under Professor and Architect Peter Raab under the Austin Design Collaborative Firm. Necessary drawings and models are done to show to prospective and current clients.

+ GENSLER DALLAS architectural intern: (summer 2017) Worked under the Lifestyle Flex Studio completing documents, site plans, diagrams, and graphic presentations.

+ Kennedy Violich Architecture (KVA) intern: (summer 2018)

Kennedy Violich Architecture (KVA) junior designer: (summer 2019-Jan. 2020)

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Worked throughout the Design Development and Construction Document phases for the MIT Hayden Library Renovation and Schematic Design Set phase for the renovation of the Brown University Lincoln Field Building.

resumé \\

Worked on designing and fabricating a modular felt wall panel system that promote the growth of vegetation for the firm’s Global Flora project at the Wellesley College.

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ARCHITECTURE PORTFOLIO LYNCED TORRES 2017\2019

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