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MONICAMEJIA UNIVERSITY OF OREGON 2003-2006 FLORIDA INTERNATIONAL UNIVERSITY 2007-2011 BACHELOR OF ARTS IN ARCHITECTURE FLORIDA INTERNATIONAL UNIVERSITY 2011-2013 INTENDED MASTER OF ARCHITECTURE monica.mejia.maya@gmail.com

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“Intelligence and passion. There is no art without emotion, no emotion without passion. The business of Architecture is to establish emotional relationships by means of raw materials. Passion can create drama out of inert stone.�

-Le Corbusier.

Architecture combines science with art. It has the abilty to form connections, to create and reinforce social relationships. I was never the kid that built the log cabin with popsicle sticks at the age of ten because I wanted to be an architect. My interest in Architecture was in no way tangible at a young age. I was, however, always awed by the big cities, by those beautifully tall skyscrapers that seemed to never end. With this career, I hope to bring both beauty and function to those that need it the most, be it in the form of a school or library for underpriviledged children in my native Colombia or housing for low-income families. I hope to create something not useful, but memorable as well; something that blends the essence of this craft with the beauty of its surroundings in the way so many of the architects whose work I admire have done so. I hope to continue to be inspired in this field, to learn as much as I can, and to some day, teach as well as those who have taught me.

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CONTENT

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08

STEPPINGUPTOTHEPATHOFLIGHT a bathhouse

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CONNECTINGRHYTHMS an aberta st. music center

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SHIFTINGIDEAS a library for the design district

36

OVERLAPPINGINDIVIDUALTITY artist housing 7000 bonita drive

58

creating a museum of immigration for mia

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mixed-use urban activity center at kendall

SPEEDSOFPERCEPTION THEOTHERMIAMI

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STEPPINGUPTOTHEPATHOF LIGHT a bathhouse

Spring 2005 / Eugene, OR This project, inspired by Peter Zumthor’s Thermal Baths in Vals, Switzerland, takes the contrast of heavy vs. light and dark vs. light and applies it to a site located in the downtown district of Eugene, OR. The two major challenges of this project were the size of the site: 10’X100’, and the ability to place a modern building in a historic district without disturbing the existing fabric. The concept of the path of light is meant to allow visitors to experience all the aspects of the bathhouse: the transitions, its interlocking pools, the terrace and the main pool. Light increases as walls decrease in thickness. Circulation occurs on main wall elements: thick and thin. Frosted glass of west elevation becomes operable and the connection between inside and outside gives insight into activity: laughter.

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EUGENE, OR VICINITY MAP

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INSPIRATION IMAGES


INITIAL ‘A POOL, A ROOM’ STUDIES

WEST ELEVATION

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6.

UPPER LEVEL FLOOR PLAN

4. 5.

UPPER LEVEL FLOOR PLAN

PATH OF LIGHT

2.

UPPER LEVEL FLOOR PLAN

5.

4. 1.

1. Entrance Lobby 2. Cool Pools 3. Changing Rooms 4. Hot Pools 5. Path of Light 6. Outdoor Terraces

GROUND FLOOR PLAN

B A

A 2. 3.

2.

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B

LOWER LEVEL FLOOR PLAN

SECTION BB


MAIN COOL POOL

ROOF TERRACE

6.

5.

2.

SECTION AA

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CONNECTINGRHYTHMS an alberta street music center Fall 2005 / Portland, OR At first glance, it is difficult to discern the character of Alberta St. It is an eclectic, complex place where community is valued, green spaces are celebrated and where art is everywhere. The focus of the site analysis for the project was detail: details found on storefronts, sidewalks, courtyards and the spaces in between. Most of these details are pieces of artwork. They relate back to the community directly, given the nature of the tiles and murals found all over. The initial concept for the Alberta Music Center, located on Alberta Street in Portland, Oregon was layers of music that connected by common elements, such as beat or language. In a direct translation of that initial concept, the first attempt consisted of bringing the program elements together in three levels connected by means of vertical circulation. Some issues that arose with the first look had to do with climate constraints and stairwell technicalities. Additionally, it was mentioned that the spaces within had no connection to each other. Using the notion of rhytms that connect, the Alberta street music center becomes a place that emphasizes the connections between spaces and those that exist between indoors and outdoors. By using consistent spatial qualities, each connection (visual, physical, or spatial) is created in a unique way that relates to all the other connections. The music center strengthens the fabric of the existing street given that it becomes a place where community is welcomed, where spaces flow into each other, and where music can be seen, felt and enjoyed.

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PROGRAM Retail Area

1200 SF

Performance/Gathering Space Outdoor Rooms 5 @ 200 SF

2000 SF

1000 SF

Classrooms 1200 SF 2 @ 600 SF Faculty And Staff Offices 4 @ 120 SF Conference Room Sound Room

480 SF

250 SF

500 SF

Instrument Storage Mechanical Room

500 SF 400 SF

PORTLAND, OR VICINITY MAP

SITE PLAN

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CONNECTIONS AS A WAY TO GENERATE FORM Indoor/Outdoor Retail/Performance Retail/Offices

ALBERTA STREET DETAILS


APPROACH ON ALBERTA STREET

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D

C 1.

1.

B

B

1.

2. 2.

3. 3.

2.

4.

A

A

D

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C

LOWER LEVEL FLOOR PLAN

GROUND FLOOR PLAN

SECOND LEVEL FLOOR PLAN

1. Sound Room 2. Instrument Storage 3. Mechanical Room

1. Outdoor Courtyard 2. Retail Area 3. Performance Space 4. Outdoor Courtyard

1. Upstairs Retail Area 2. Offices

CONNECTIONS OCCUR WHEN SPACES OVERLAP. Types of connections: Physical Visual Spatial

PHYSICAL CONNECTION

CROSS SECTION AA


SPATIAL CONNECTION

NORTH FACADE

SPATIAL CONNECTION

CROSS SECTION BB

VISUAL CONNECTION

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SOUTH FACING OUTDOOR COURTYARD

SECOND STORY RETAIL AREA

LONGITUDINAL SECTION CC 20


NORTH FACING COURTYARD

PERFORMANCE AREA

LONGITUDINAL SECTION DD 21


SHIFTINGIDEAS

a library for the design district Fall 2007 / Miami, FL Following in the footsteps of modern libraries, such as the Des Moines Public Library by David Chipperfield Architects, this Design District branch looks to continue the transformation of the library from its traditional use to that of a cultural center. It comes to life by shifting the natural grid of the city to create an open, central space. Given its underground location, this central space allows for natural light to enter the building, uninterrupted views of the sky and trees, and a unique pattern of circulation. Spaces are given flexibility to accomodate the unique events of the Design District, while at the same time providing the educational benefits of a library to the surrounding neighborhoods. Shadows shift according to the season and the time of day. A varied array of dappled light contrasts with the starkness of the concrete structure. Tree canopies become shading devices and the inside and outside becomes blurred with intersecting slabs that provide seating. A focus is given to the interior space of the courtyard, yet the existing conditions of the site are reinforced and new connections are established. The library becomes a space for reading under a blue sky, an opportunity for learning, and a new cultural center in the fast-growing Design District of Miami.

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N.E. 41TH STREET

N.E. 40TH STREET N.E. 2ND AVENUE

N.E. 1ST AVENUE

N. MIAMI AVENUE

N.E. 39TH STREET

BRANCH LIBRARY SITE MIXED-USE BUILDINGS FURNITURE SHOWROOMS DECORATION SHOWROOMS ART GALLERIES EDUCATION BUILDINGS DIGITAL PRINTING DESIGN FIRMS PUBLIC OPEN SPACES RESTAURANTS

N.E. 38TH STREET

FOR RENT/UNDER CONSTRUCTION RESIDENTIAL PROJECTS EXISTING RESIDENCES

I-195

NON-DESIGN OFFICES EMPTY LOTS

OTHER COMMUNITY CENTERS WITHIN A 2 MILE RADIUS OF SITE

FIVE AND TEN MINUTE WALKING RADII FROM SITE

BUILDING USE WITHIN THE DESIGN DISTRICT

SHIFTING THE GRID: CONCEPT AND FORM DEVELOPMENT

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SITE PLAN


PROGRAM ANALYSIS AND PLACEMENT 25

10200 SF

ADULT AND YOUTH DEPARTMENT

YOUNG ADULTS 1000 SF

ADULT SEATING AREAS 1200 SF

BOOKSTACKS 8000 SF 3600 SF

PUBLIC SUPPORT

STORAGE

KITCHEN

A.V. COLLECTION 800 SF

COMPUTER ACCESS AREA 800 SF

CLASSROOMS: AFTER SCHOOL PROGRAM 800 SF

EDUCATIONAL MEETING ROOMS 1000 SF 3000 SF

REFERENCE DEPARTMENT

REFERENCE WORKROOM

REFERENCE DESK

PATRON SEATING 600 SF

PERIODICALS COLLECTION 1000 SF

REFERENCE COLLECTION 1200 SF 2000 SF

CHILDREN’S DEPARTMENT

LIBRARY WORKROOM

CHILD LIBRARIAN DESK

STORY AREA 200 SF

EASY BOOK AREA 400 SF

GENERAL COLLECTION 1200 SF 1600 SF

PUBLIC ENTRY AND CIRCULATION

COURTYARD

CIRCULATION DESK 2000 SF

EXHIBITION 250 SF

CIRCULATION WORKROOM 300 SF

RESTROOMS 400 SF

ENTRANCE LOBBY 400 SF 900 SF

ADMINISTRATION REFERENCE RESEARCH ROOMS 320 SF

ASSISTANT DIRECTOR

VOLUNTEER WORKROOM 150 SF

LIBRARY DIRECTOR 150 SF

CONFERENCE ROOM 160 SF

700 SF

COMMUNITY RESOURCES

GIFT SHOP 300 SF

COFFEE SHOP 400 SF


N.E. 41TH STREET

N.E. 40TH STREET N.E. 2ND AVENUE

N.E. 1ST AVENUE

BRANCH LIBRARY SITE MIXED-USE BUILDINGS

EAST ELEVATION SCALE: 1/16" = 1' - 0"

FURNITURE SHOWROOMS

N.E. 39TH STREET

DECORATION SHOWROOMS ART GALLERIES EDUCATION BUILDINGS DIGITAL PRINTING DESIGN FIRMS PUBLIC OPEN SPACES RESTAURANTS N.E.

38TH

STREET

FOR RENT/UNDER CONSTRUCTION RESIDENTIAL PROJECTS EXISTING RESIDENCES

5.

NON-DESIGN OFFICES

I-195

EMPTY LOTS

BUILDING USE IN THE DESIGN DISTRICT

2.

1.

SECTION AA SCALE: 1/16" = 1' - 0"

4.

SITE PLAN ADULT AND YOUTH DEPARTMENT

BOOKSTACKS 8000 SF

10200 SF

CHILDREN’S DEPARTMENT 2000 SF

GENERAL COLLECTION 1200 SF

PUBLIC SUPPORT 3600 SF

EDUCATIONAL MEETING ROOMS 1000 SF

ADMINISTRATION 900 SF

REFERENCE RESEARCH ROOMS 320 SF CONFERENCE ROOM 160 SF LIBRARY DIRECTOR 150 SF

COMMUNITY RESOURCES

COFFEE SHOP 400 SF

700 SF

GIFT SHOP 300 SF

CIRCULATION, WALLS, MECHANICAL 4400 SF

VOLUNTEER WORKROOM 150 SF ASSISTANT DIRECTOR

EASY BOOK AREA 400 SF

CLASSROOMS: AFTER SCHOOL PROGRAM 800 SF

STORY AREA 200 SF CHILD LIBRARIAN DESK LIBRARY WORKROOM

COMPUTER ACCESS AREA 800 SF

A.V. COLLECTION 800 SF

KITCHEN STORAGE

3.

SOUTH ELEVATION SCALE: 1/16" = 1' - 0"

ADULT SEATING AREAS 1200 SF

YOUNG ADULTS 1000 SF

FIGURE/GROUND STUDIES

UNDERGROUND FLOOR PLAN SCALE: 1/16”= 1’-0”

UNDERGROUND FLOOR PLAN 1. CENTRALIZED SUNKEN COURTYARD 2. CIRCULATION DESK AND BOOK RETURN 3. ADULT GENERAL COLLECTION 1.COMPUTER Centralized Sunken Courtyard 4. ACCESS AND CLASSROOMS 5. COLLECTION 2.REFERENCE Circulation Desk and Book Return

3. Adult General Collection 4. Computer Access and Classrooms 5. Reference Collection

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SECTION BB SCALE: 1/16" =BB 1' -0" SECTION


4.

A

5.

1.

3. 6.

NORTH ELEVATION SCALE: 1/16" = 1'- 0"

B

B

2.

EAST ELEVATION SCALE: 1/16" = 1' - 0"

GROUND FLOOR PLAN

A

1. Entrance Lobby/Cafe/Giftshop 2. Adult and Young Adult General Collection 3. Meeting Rooms and Classrooms 4. Exhibition/Flexible Space 5. Reference Department 6. Administration

SECTION AA SCALE: 1/16" = 1' - 0"

SECTION AA

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3.

1.

2.

3.

READING SPACES VS. BOOKSTACKS Reading Spaces Bookstacks

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NORTH ELEVATION SCALE: 1/16" = 1'- 0"

SECOND LEVEL FLOOR PLAN SCALE: 1/16" = 1'-0"

1. HABITABLE ROOFS SECOND 2. CHILDREN’S LIBRARY 3. ADULT GENERAL COLLECTION

LEVEL FLOOR PLAN

1. Habitable Roofs 2. Children’s Library 3. Adult General Collection

EAST ELEVATION

EAST ELEVATION SCALE: 1/16" = 1' - 0"


9 AM

NOON

4 PM

JANUARY NORTH ELEVATION SCALE: 1/16" = 1'- 0"

APRIL

EAST ELEVATION SCALE: 1/16" = 1' - 0"

JULY

OCTOBER

SECTION AA SCALE: 1/16" = 1' - 0"

COURTYARD SHADOW STUDY

EXPLODED AXONOMETRIC Main Vertical Circulation Main Entrance

SOUTH ELEVATION SOUTH ELEVATION SCALE: 1/16" = 1' - 0"

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INDIVIDUAL READING SPACES DETAIL SECTION

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APPROACH FROM N.E. 39TH STREET

NORTH ELEVATION SCALE: 1/16" = 1'- 0"

NORTH ELEVATION

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CENTRAL SUNKEN COURTYARD

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UNDERGROUND READING SPACES

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BIRD’S EYE VIEW

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OVERLAPPINGINDIVIDUALITY artist housing 7000 bonita drive Spring 2008 / Miami Beach, FL Using the notion of spaces that overlap eachother to create opportunities for social interaction, the Bonita Street artist housing is a modular approach that allows for the art world to blend in with the Miami Beach community. Housing eight artists and their patron, Madame X, the units are placed in such a way that different artists can interact with eachother, regardless of their medium, whether in the studios or the open spaces created by the overlaps. The ground plane encourages interaction between the existing residents, the artists and passerby. Blending land with water, it becomes an exhibition space, an outdoor theater and a community space, where the studios become the galleries and art, in all its forms, can be seen, enjoyed and appreciated. Overlaps: North/South City Side/Bay Side North Studio/South Light South Studio/North Light North Studios/South Units South Studios/North Units Studio/Gallery Artist Community/Miami Beach Community Ground Plane/Exhibition Space/Gathering Space Street/Water Private/Public Community/Individual Media

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SITE PLAN

C

B A

OVERLAP CONDITIONS ON SITE Private Public

DARK

PHOTOGRAPHY DEVELOPMENT

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BUILDING USE Residential buildings Mixed-use buildings Religious buildings ARTIFICIAL LIGHT

COMPUTER GRAPHICS

DRAFTING FILMING EDITING/PRODUCTION RECORDING/MIXING PRINTMAKING ANIMATION

NATURAL LIGHT

SCULPTING CLAY PLASTER WOOD BATIK METALWORKING TEXTILES GLASS BLOWING WOODWORKING

PAINTING WATERCOLOR OIL MURALISM DRAWING PENCIL CHARCOAL PASTEL/CHALK FILMING PHOTOGRAPHY


LIVE/WORK UNIT

STUDIO

1000 S.F

700 S.F

BEDROOM 120 S.F KITCHEN 100 S.F BATHROOM 80 S.F LIVE/WORK UNIT

STUDIO

1000 S.F

700 S.F

BEDROOM 120 S.F KITCHEN 100 S.F BATHROOM 80 S.F LIVE/WORK UNIT

STUDIO

1000 S.F

700 S.F

INITIAL PROGRAMATIC MASSING STUDIES

BEDROOM 120 S.F KITCHEN 100 S.F BATHROOM 80 S.F

LIVE/WORK UNIT

CARETAKER

STUDIO

1000 S.F

700 S.F

750 S.F

LIVING ROOM 350 S.F DINING ROOM

COMMUNAL GARDEN

OUTDOOR PORCHES 2250 S.F

250 S.F

1000 S.F

CIRCULATION 1312 S.F

M. X SFH

GALLERY SPACE

3000 S.F

1230 S.F

OUTDOOR PORCHES 500 S.F

CIRCULATION 450 S.F

250 S.F

120 S.F BEDROOM 120 S.F KITCHEN 100 S.F BATHROOM 80 S.F

KITCHEN 80 S.F BEDROOM 120 S.F BATHROOM 80 S.F

250 S.F

250 S.F

250 S.F

DINING ROOM 250 S.F

250 S.F LIVE/WORK UNIT

MEDIA ROOM

STUDIO

1000 S.F

200 S.F 700 S.F

250 S.F

LIBRARY 200 S.F

250 S.F

KITCHEN BEDROOM 120 S.F KITCHEN 100 S.F BATHROOM 80 S.F

250 S.F

250 S.F

PANTRY- 50 S.F POWDER ROOM 80 S.F BEDROOM 250 S.F

LIVE/WORK UNIT

BATHROOM

STUDIO

1000 S.F

160 S.F 700 S.F

STUDY 100 S.F GUEST ROOM 150 S.F

BEDROOM 120 S.F

GUEST BATHROOM 80 S.F

KITCHEN 100 S.F BATHROOM 80 S.F

LIVE/WORK UNIT

STUDIO

1000 S.F

700 S.F

BEDROOM 120 S.F KITCHEN 100 S.F BATHROOM 80 S.F

LIVE/WORK UNIT 1000 S.F

STUDIO 700 S.F

BEDROOM 120 S.F KITCHEN 100 S.F BATHROOM 80 S.F

PROGRAM AND PROGRAM PLACEMENT

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2. 4. 1. 5. 5. 3.

HOUSING

SECOND FLOOR PLAN SCALE: 1/16” = 1’- 0”

2. 4.

1. SOUTH STUDIO 2. NORTH STUDIO 3. NORTH 1. UNIT 4. SOUTH UNIT 5. OVERLAPPING SPACES

5.

MADAME X HOUSE 1. STUDY/PRIVATE ART COLLECTION 2. BEDROOM HOUSING 3. WALK IN CLOSET 4. BATHROOM 1. NORTH SOUTH PATIO STUDIO 5. 2. NORTH STUDIO 3. NORTH UNIT 4. SOUTH UNIT 5. OVERLAPPING SPACES

SECOND FLOOR PLAN SCALE: 1/16” = 1’- 0”

5.

MADAME X HOUSE

2.

1. STUDY/PRIVATE ART COLLECTION 2. BEDROOM 3. WALK IN CLOSET 4. BATHROOM 5. NORTH PATIO

3.

4.

1.

3.

4.

1.

5.

2.

1. 2.

GROUND FLOOR PLAN SCALE: 1/16” = 1’- 0”

HOUSING 1. NORTH STUDIO 2. SOUTH STUDIO 1. 2.

MADAME X HOUSE 1. ENTRY/DINING ROOM 2. KITCHEN 3. CARETAKER 4. LIBRARY 5. SOUTH PATIO

3.

GROUND FLOOR PLAN SCALE: 1/16” = 1’- 0”

HOUSING 1. NORTH STUDIO 2. SOUTH STUDIO

1.

2.

MADAME X HOUSE 1. ENTRY/DINING ROOM 2. KITCHEN 3. CARETAKER 4. LIBRARY 5. SOUTH PATIO

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3.

5.

4.

1.

2.


3.

1. 3.

1.

2.

3. 2.

3.

FOURTH FLOOR PLAN SCALE: 1/16” = 1’- 0”

HOUSING 1. NORTH UNIT 2. SOUTH UNIT 3. OVERLAPPING SPACES

FOURTH FLOOR PLAN SCALE: 1/16” = 1’- 0”

HOUSING 1. NORTH UNIT 2. SOUTH UNIT 3. OVERLAPPING SPACES

2.

5. 3.

2. 4. 5.

3. 5. 4.

1.

5. 1.

HOUSING 1. NORTH UNIT 2. SOUTH UNIT 3. EAST UNIT 4. WEST UNIT 5. OVERLAPPING SPACES

HOUSING

1. NORTH UNIT 2. SOUTH UNIT 3. EAST UNIT 4. WEST UNIT 5. OVERLAPPING SPACES

THIRD FLOOR PLAN SCALE: 1/16” = 1’- 0”

THIRD FLOOR PLAN SCALE: 1/16” = 1’- 0”

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ROLLER SYSTEM ALUMINUM FIXING PLATE LAMINATE 1/2” GYPSUM BOARD

2”X6” BASE PLATE

FLOOR JOIST

LOFT IN REGUL

STAINLESS STEEL WALL SOCKET STAINLESS STEEL WALL TRACK 8” CAST IN PLACE CONCRETE WALL

TYPICAL UNIT FLOORPLAN SCALE: 1/4” = 1’ - 0”

LOFT IN OPTIO

TYPICAL UNIT LOFT FLOORPLAN SCALE: 1/4” = 1’ - 0”

LAMINATE 1/2” GYPSUM BOARD FIBERGLASS INSULATION

UNIT SECTIONAL PERSPECTIVE AND TRACK DETAIL

2”X6” TOP PLATE 2”X6” BOTTOM PLATE ALUMINUM FIXING PLATE ROLLER SYSTEM STAINLESS STEEL FLOOR TRACK STAINLESS STEEL FLOOR SOCKET 8” CAST IN PLACE CONCRETE FLOOR

C

D

B

B

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UNIT CONFIGURATION PROCESS UNIT CONFIGURATION PROCESS


OVERLAP CONDITIONS IN UNIT

TYPICAL UNIT AXONOMETRIC

TYPICAL UNIT FLOOR PLAN

LOFT IN OPTIONAL POSITION

LOFT IN STANDARD POSITION

MADAME X CROSS SECTIONAL PERSPECTIVE

OVERLAP CONDITIONS

OVERLAP WITHIN HOUSE

PUBLIC VS. PRIVATE

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DRAFTING FILMING EDITING/PRODUCTION SCULPTING RECORDING/MIXING CLAY PRINTMAKING PLASTER ANIMATION WOOD BATIK METALWORKING TEXTILES GLASS BLOWING WOODWORKING

PUTER GRAPHICS

PLAN ODUCTION G/MIXING E: 1” = 100’ NG

PAINTING WATERCOLOR OIL MURALISM DRAWING PENCIL CHARCOAL PASTEL/CHALK FILMING PHOTOGRAPHY

SCULPTING CLAY PLASTER PAINTING WOOD WATERCOLOR BATIK OIL METALWORKING MURALISM TEXTILES DRAWING GLASS BLOWING PENCIL CHARCOAL WOODWORKING PASTEL/CHALK FILMING PHOTOGRAPHY

MEDIA

MEDIA

COMMUNAL GARDEN

OUTDOOR PORCHES 2250 S.F

250 S.F

CIRCULATION

250 S.F

1312 S.F

M. X SFH

CIRCULATION

1000 S.F M. X SFH

1312 S.F GALLERY SPACE

3000 S.F

1230 S.F

GALLERY SPACE

3000 S.F OUTDOOR PORCHES 500 S.F

1230 S.F

OUTDOOR PORCHES

CIRCULATION

500 S.F

450 S.F

CIRCULATION 450 S.F

250 S.F

250 S.F DINING ROOM

250 S.F

LAP CONDITIONS ON SITE

250 S.F

250 S.F

MEDIA ROOM DINING ROOM

250 S.F

200 S.F

250 S.F

LIBRARY

MEDIA ROOM

200 S.F

X. HOUSE/WATER ACCESS/CONNECTION TO BONITA DRIVE RY RESIDENCES/PEDESTRIAN ACCESS CCESS/BOUNDARY RESIDENCES/MAIN PERSPECTIVE VIEWS 250 S.F

250 S.F

200 S.F

KITCHEN

LIBRARY

250 S.F

200 S.F

PANTRY- 50 S.F

KITCHEN

POWDER ROOM 80 S.F

250 S.F

BEDROOM

PANTRY- 50 S.F

250 S.F

POWDER ROOM 80 S.F

BATHROOM

BEDROOM

160 S.F

250 S.F

STUDY 100 S.F

BATHROOM

GUEST ROOM

160 S.F

150 S.F

STUDY

GUEST BATHROOM 80 S.F

100 S.F GUEST ROOM 150 S.F GUEST BATHROOM 80 S.F

URAL LIGHT

PROGRAM

PROGRAM

OVERLAPPING CONDITIONS OVERLAPPING CONDITIONS NORTH STUDIOS/SOUTH STUDIOS/STREET STREET/STUDIOS/WATER NORTH UNITS/SOUTH UNITS

OVERLAPPING CONDITIONS Overlapping Conditions North Studios/South Studios/Street Street/Studios/Water North Units/South Units

PAINTING WATERCOLOR OIL MURALISM DRAWING PENCIL CHARCOAL PASTEL/CHALK FILMING PHOTOGRAPHY

CIRCULATION MADAME X CIRCULATION ARTIST CIRCULATION PEDESTRIAN CIRCULATION

CIRCULATION

MADAME X CIRCULAT ARTIST CIRCULATION PEDESTRIAN CIRCUL

CIRCULATION Madame X Circulation Artist Circulation Pedestrian Circulation

MEDIA

DOOR PORCHES 500 S.F

CIRCULATION 450 S.F

ROGRAM

CIRCULATION PUBLIC VS. PRIVATE

MADAME X CIRCULATION ARTIST CIRCULATION PEDESTRIAN CIRCULATION

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EXPLODED AXONOMETRIC

PUBLIC VS. PRIVATE

PUBLIC VS. PR


WEST ELEVATION

NORTH ELEVATION SCALE: 1/16” 1’- 0”

NORTH ELEVATION

SOUTH ELEVATION

EAST ELEVATION

45


46


HOUSING CROSS SECTIONAL PERSPECTIVE

47


48


HOUSING LONGITUDINAL SECTIONAL PERSPECTIVE

49


50


OVERLAPPING SPACES

51


52


OUTDOOR EXHIBITION SPACE

53


54


BONITA DRIVE APPROACH

55


56


BIRD’S EYE VIEW

57


SPEEDSOFPERCEPTION

creating a museum of immigration for mia Fall 2008 / Miami, FL Parcel A, located at the transition point between the City of Miami and Miami International Airport, provides the opportunity to propose a museum of immigration that becomes not only of the airport, but an icon for the city as well. Using Paul Virilio’s research on dromoscopy and represention as a point of departure, the architecture for the museum becomes the exhibit, representing the sequence of events involved in immigrating, the before, during and after, through different speeds of perception. Due to the characteristics of the site, and the projected tracks of the future MIA Mover, speed becomes an important factor in the perception of the exhibit. The museum takes on a linear, parallel quality where it can be perceived in three different speeds: by car, on the airport’s Central Boulevard, in which the speed varies; by the MIA Mover, whose speed is constant and pre-determined; and by pedestrians, as they arrive to the museum via the MIA Mover. The ground level therefore is the height of the tracks, and the museum becomes an open-ended system, a transit container, where the looping effect and flow of people through the exhibit depend on time and circumstances. Hoping to attract all types of visitors, from people living in Miami, to transit travellers and recent immigrants, the museum will not recreate, but rather represent a sequence related to immigration that not all of its visitors have experienced. There is the sequence of the process, the loop of feelings, the panic of action and the perception of two worlds, in which the visitor will learn about what an immigrant feels, the reasons for immigration, the assimilation process and the consequences of that assimilation. It will be an exhibit that is detected by the five senses through continuous repetition of a cycle that substitutes reality. The process of immigration is a subject known very well to some, but none at all to others. It recalls Virilio’s critiques on the modern man, in which he states that we choose not to see because T.V flattens all forms of representation. Therefore, as a consequence, we are in the age of the reclining man. The museum brings attention to the issue by allowing the architecture to become the exhibit. There is no clear distinction between the space and the exhibit, and unlike other museums, the exhibit cannot be ignored. By creating an experiential space, there is a physical and emotional experience involved, aggressively forcing viewers to not only look, but to actually see and feel, going against this passive concept of the reclining man. The museum hopes to become an iconic space, marked by speed; a landmark for the city at the airport, where travelers, citizens and immigrants can come together, experience the representation of this subject, and perceive the hybrid quality of not only the museum, but of the city it is in. 59


SITE A: HYBRID BOTH OF THE CITY AND OF THE THE AIRPORT

TRANSITION POINT BETWEEN CITY AND TERMINAL

A SHARP CENTRAL VISION

BLURRY PERIPHERAL VISION

B

HIGHLY VISUAL- PERCEPTION FIRST POINT IN SEQUENCE OF ARRIVAL BEGINNING AND END OF VEHICULAR ROAD LOOP

C

OPPORTUNITY FOR FURTHER CONNECTION WITH INTEGRATION OF FUTURE MIA MOVER BETWEEN INTERMODAL CENTER AND TERMINALS

D

HUMAN PERCEPTION OF OBJECTS

60

INITIAL PROGRAMATIC PLACEMENT


SITE A- CAR/MIA MOVER/PEDESTRIAN DISTANCE: 0.17 MILES CAR SPEED: 50 MPH TIME: 12.24 SECONDS MIA MOVER SPEED: 34 MPH TIME: 18 SECONDS PEDESTRIAN SPEED: 3.5 MPH TIME: 2.91 MINUTES

INTERMODAL CENTER TO SITE A- CAR DISTANCE: 0.52 MILES SPEED: 50 MPH TIME: 37.44 SECONDS

INTERMODAL CENTER TO TERMINALS- CAR DISTANCE: 1.25 MILES SPEED: 34 MPH TIME: 2.20 MINUTES

INTERMODAL CENTER TO SITE A- MIA MOVER/ PEDESTRIAN DISTANCE: 0.52 MILES SPEED: 34 MPH TIME: 55.05 SECONDS SITE A TO TERMINALS- CAR/MIA MOVER/PEDESTRIANS DISTANCE: 0.8 MILES CAR SPEED: 50 MPH TIME: 57.6 SECONDS MIA MOVER/PEDESTRIANS SPEED: 34 MPH TIME: 1.41 MINUTES

INTERMODAL CENTER TO TERMINALS- MIA MOVER/PEDESTRIANS DISTANCE: 1.25 MILES SPEED: 50 MPH TIME: 1.5 MINUTES

DISTANCE/SPEED/TIME Site A Car Mia Mover Pedestrians

BILLBOARD PERCEPTION Car to Pedestrian 61


SITE PLAN

MUSEUM SPACES - 16500 SF

MUSEUM OFFICES - 4430 SF

MUSEUM EXHIBITING SPACE - 15000 SF

RESOURCE CENTER - 1500 SF

BOOKSTORE - 1000 SF

SECRETARIAL - 400 SF CONFERENCE ROOM - 300 SF GALLERY STORAGE - 300 SF RECEPTION - 300 SF GALLERY PREPARATION - 200 SF

LOBBY/INFORMATION - 500 SF

ADMINISTRATION OFFICES - 8@150 SF GALLERY OFFICE - 150 SF PANTRY - 150 SF

62

CIRCULATION/RESTROOMS/STORAGE/MECHANICAL - 17604 SF


12.

13.

1. 14.

3.

8. 11.

10.

7.

6.

4.

2.

9.

5.

F.

E.

D.

C.

B.

A.

LEAVING GROUND FLOOR PLAN

1. Entrance/Lobby LEAVING GALLERY EXHILE 2. War 3. Injustice 4. Poverty 5. Persecution 6. Consequences 7. History 8. W/C IMPROVEMENT 9. Economy 10. Education 11. Family 12. Gallery Preparation Office 13. Gallery Storage 14. Mechanical Services

EXPLODED COMPONENTS

CIRCULATION Vertical Circulation Horizontal Circulation Museum Exhibit Circulation Entrance/Exit 63


14.

13.

12.

11.

3. 2.

4. 5.

1.

9.

7. 6.

10.

8.

JOURNEY/ARRIVAL SECOND LEVEL FLOOR PLAN

JOURNEY GALLERY 1. Death/Separation 2. Illegal Hardships 3. W/C 4. Legal Means 5. Resource Center 6. Timeline ARRIVAL GALLERY 7. Illegal Arrival 8. Legal Arrival 9. Process 10. Policies 11. Exit 12. Entrance/Exit 13. Conference Room 14. Administration Offices

64

PROGRAM PLACEMENT Exhibition Spaces Resource Center Cafe/Bookstore Offices Gallery Storage and Preparation Public Space

GALLERY LEVELS Leaving Journey/Arrival Adaptation


10.

9.

5. 6.

8.

4.

2.

1.

7. 3.

ADAPTATION THIRD LEVEL FLOOR PLAN

ADAPTATION GALLERY 1. Language Barrier 2. Isolation And Discrimination 3. Process/Length/Time 5. Community Within A Community 6. Reuniting 7. Cafe 8. Info Box/Resource Center 9. Wall Of Fellings 10. Flexible Outdoor Exhibition Space

PERCEPTION ACCORDING TO USER Car Mia Metro Mover Airplane Pedestrian

STRUCTURE Shear Walls Steel Components Reinforced Concrete Flexible Partitions 65


A.

B.

C.

66


F.

E.

D.

CROSS SECTIONAL BUILDING SEQUENCE

67


GALLERY MODULE DISTRIBUTION Video Module Image Module Timeline Module Text Module Projection Module

MODULE: VIDEO THEME: POVERTY 68

SPACIOUS AND WIDE, THIS VIDEO MODULE BECOMES THE POVERTY GALLERY IN THE MUSEUM. LOCATED ON THE BOTTOM FLOOR, IT USES VIDEO, DARK AND SHADOW TO REPRESENT THE SUBJECT OF IMMIGRATION DUE TO POVERTY.


MODULE: TEXT THEME: LEGAL IMMIGRATION THE TEXT MODULES PROVIDE MUSEUM GOERS THE EDUCATIONAL BENEFITS OF FACTS AND DATA IN AN INTERACTIVE ENVIRONMENT. MODULES ARE SLIGHTLY TALLER, IN ORDER TO PROVIDE THE BEST VIEWING ANGLE FROM ANY PERCEPTION, ESPECIALLY THE PEDESTRIAN PERCEPTION AND THE CAR PERCEPTION

MODULE: TIMELINE

THE TIMELINE MODULE IS MEANT TO ENGAGE PEOPLE OF ALL AGES, SEEING HOW ITS INTERACTIVE SCHEME IS DESIGNED SO THAT EACH USER EXPERIENCE IS SLIGHTLY DIFFERENT THAN THE LAST.

MODULE: IMAGE THEME: PERSECUTION FOR HIGHER IMPACT, THE PERSECUTION EXHIBIT FEATURES A DOUBLE HEIGHT SPACE AND IMAGES COVERING THE LENGTH OF ITS WALL. IT BECOMES A MORE SOLITARY SPACE FOR REFLECTION, RATHER THAN THE GROUP SPACE SEEN IN OTHER GALLERIES.

69


BIRD’S EYE VIEW

70

EAST ELEVATION


APPROACH FROM MIA CENTRAL ACCESS BOULEVARD

SOUTH ELEVATION

71


MIA METROMOVER ARRIVAL

72


FIRST FLOOR: EXHILE

73


SECOND FLOOR: JOURNEY

74


THIRD FLOOR: ADAPTATION

75


THEOTHERMIAMI

mixed-use urban activity center at kendall Spring 2009 / Miami, FL The idea behind the proposal for The Other Miami is to create a mixed-use urban community center where future residents can live and work in an urban setting, without having the need to use an automobile and increase the existing traffic flow in the area. With this in mind, and hoping to encourage pedestrian flow, which is currently minimal, the corner of the intersection is widened in order to attract passerby, green spaces take precedence over parking facilities and commercial spaces are designed to also accommodate the existing Kendall community residents. Our site is located in Kendall, FL at the intersection of SW 117th Avenue and SW 104th Street, a few blocks away from the Miami-Dade College Kendall Campus. The proposal for this site features retail, restaurants and commercial spaces at street level, along with an open community area and an outdoor recreational area. The second level features additional commercial space as well as office spaces, with several openings in order to allow connections with the retail spaces and restaurants below. As a barrier to separate these public spaces with the more private aspect of the residences, a green roof hosts all the ammenities for the residents. Finally, we are proposing 400 residential units, a mix of one, two and three bedrooms in three separate towers, connected by the communal green area. Importance is given to the residents as members of a community, and in turn, this center becomes a community itself seamlessly embedded in the existing Kendall fabric. Group Partner: Eder D. Boo.

77


78


APPROACH TO SITE Vehicular Approach From North To South + From East To West From South To North + West To East Parking Entrances Pedestrian Approach Pedestrian Entrances

SITE TRAFFIC CONDITIONS

79


INITIAL L-SHAPE CREATES AN URBAN CONDITION BY FRAMING THE INTERSECTION, THEREFORE ALLOWING AN ENCLOSED GREEN AREA FOR BOTH RESIDENTIAL AND COMMUNITY USE.

AFTER OBSERVING SEVERAL OTHER URBAN CONDITIONS, THE L-SHAPE IS SEPARATED IN ORDER TO CREATE AN INTERNAL STREET AND MAXIMIZE CIRCULATION.

IN AN EFFORT TO INCREASE PEDESTRIAN FLOW, IMPORTANCE IS GIVEN TO THE INTERSECTION IN THE FORM OF A CENTRAL, ORGANIZING BOULEVARD, MAXIMIZING CIRCULATION THROUGHOUT THE ENTIRE SITE.

THE CREATION OF THREE SPECIFIC PROGRAMATIC ZONES ALLOWS FOR THE EXPANSION OF THE SEPARATED L-SHAPE, TAKING INTO ACCOUNT BOTH MAXIMUM PEDESTRIAN FLOW AND THE EXISTING CONTEXT.

PROCESS AND DEVELOPMENT DIAGRAM

80

SITE PLAN


PROPOSED PROGRAM UNDERGROUND PARKING- 603,500 SF 1,500-2,000 PARKING SPACES RESIDENTIAL PARKING RESTAURANTS AND COMMERCIAL SPACES 91,922 SF PUBLIX 19,686 SF BALLY FITNESS CENTER 24,258 SF BARNES AND NOBLE 24,258 SF AMC THEATERS 34,531 SF DAYCARE 10,000 SF WACHOVIA BANK 6,874 SF OFFICES ABOVE COMMERCIAL- 77,921 SF RESIDENTIAL COMMUNITY GREEN ROOF- 127,707 SF 400 RESIDENTIAL UNITS (1BR, 2BR, 3BR) - BUILDING A BUILDING B BUILDING C 1 BEDROOM- 810 SF 2 BEDROOM- 1,170 SF 3 BEDROOM- 1,530 SF MECHANICAL/CIRCULATION- 133,989 SF OUTDOOR COMMUNITY AREA- 40,000 SF PUBLIC OUTDOOR RECREATIONAL AREA TOTAL PROPOSED SF- 1, 200, 000 SQ. FT.

GREEN STRATEGIES -OPEN SHADED GREEN AREAS WITH NATIVE TREES. -GREEN TERRACES ON ALL RESIDENTIAL TOWERS. -NECESSARY OVERHANGS ON SOUTH, EAST AND WEST FACING FACADES TO PROVIDE SHADING AND REDUCE COOLING LOADS. -INTERIOR COURTYARDS TO AID CROSS VENTILATION AND INCREASE AMOUNT OF NATURAL LIGHT IN RESIDENTIAL TOWERS.

81


GROUND FLOOR PLAN

82

NORTH GENERAL ELEVATION


FIRST FLOOR PLAN

EAST GENERAL ELEVATION

83


SECOND FLOOR PLAN

84

RESIDENTIAL BUILDING A EAST ELEVATION

RESIDENTIAL BUILDINGS A & B NORTH ELEVATION


ZONES High Activity Public Zone Concentration Zone Artistic Zone Sports and Recreation Zone

PUBLIC VS. PRIVATE Open Spaces Public/Commercial Semi-Public/Semi-Private Private Residences

CIRCULATION

STRUCTURAL COMPONENTS

Horizontal Circulation

10” Two-Way Sitecast Reinforced Slabs 20” Sitecast Reinforced Columns, 30’ O.C Rigid Elevator Cores Underground Reinforced Column and Beam Grid

Vertical Circulation Elevator Cores Stairwells Residential Parking

LANDSCAPE VS. HARDSCAPE

85


86


SECTION A

87


88


SECTION B

89


TYPICAL 3, 2 + 1 BEDROOM UNITS

90

EXPLODED 3 BEDROOM AXONOMETRIC


ENLARGED SECTION DETAIL

91


92


MAIN ENTRANCE AT INTERSECTION

93


94


EAST ENTRANCE FROM 117TH AVE.

95


96


MAIN AVENUE

97


98


OFFICE LOBBY

99


100


PUBLIX PLAZA

101


102


ART CULTURAL ZONE

103


104


EXTERIOR GALLERY

105


106


SPORTS AND RECREATIONAL ZONE

107



MMM Portfolio