PROJECTS + SAMPLES: Architecture + Design Portfolio

PROJECTS SAMPLES ARCHITECTURE + DESIGN PORTFOLIO NICHOLAS EMMANUEL MARIAKIS +ONE PAGE/WEB READER EDITION

2011-2016

Selected Works from M.ARCH I Penn – 2011-2016 Academic/ Professional/ Others

issuu.com/nemariakis nemariakis.com nemariakis.com/architectural-photography archinect.com/nemariakis linkedin.com/in/nemariakis

A

“

PRIMARILY DEALS WITH THE MAKING OF SPACES, WHICH SERVE THE INSTITUTIONS OF [HUMANITY].”

-LOUIS KAHN From Space and the Inspirations–1967

The projects and samples contained within this broad volume represent my own diligent efforts to bring to fruition this dictum—and to do so as artfully as possible.

In addition to the making of space, I am committed to the crafting of place, and thereby striving to cultivate an experiential, aesthetic, and socially amenable architecture that affects not only designers, but the client and the public. Architecture should move and inspire not merely designers. I believe in, and aim to help produce, Capital-A Architecture.

Included in this portfolio is a breadth of works that range from academic to professional and personal, extending from 2011 to 2016. I find process to be extremely important in my own work; therefore, a key logic in the structure of this book is that each of the architectural projects features a thorough description of the processes involved.

Academically, my emphasis was upon studios in which I could maintain as much aesthetic, creative, philosophical, and theoretical control as possible. Thus, the work in my portfolio represents no work from an ultra-prescriptive studio aesthetic. Many of the methodologies were highly prescriptive, however; which is, of course, common in architectural academic pedagogy. Geometrically, I have cultivated, and hope to continue cultivating skills in both developable and non-developable surfaces—in Euclidean, curved, and doubly-curved types—via NURBS, Mesh, and parametric modeling. As demonstrated in the wide variety of projects in this portfolio, I feel confident within both paradigms.

Ultimately, my focus in graduate school was to develop and explore my own identity, while still appreciating and dialoguing with the greater architectural zeitgeist.

In conclusion, the architectural designs incorporated within this volume predominantly demonstrate my desire to craft a literary or cinematic story arc into each project—that is, analogous to the way in which a skillful author or screenwriter insinuates a level of unpredictability into a narrative, and therefore an element of directional uncertainty, these projects generally aim to do the same. Each return experience should contribute to the richness of the arc. As the incalculable elicits intrigue in the reader and viewer, it can in architecture as well, via the crafting of space, place, planning, form, light, materiality, and conceptual performance.

Thank you for your time and consideration.

Grace + Peace,

contents

See nemariakis.com for select, full-size, images of renders, model photographs and drawings, as well as two short films of my 704 work (kinetic physical model prototype). My body of architectural photographs can be seen at: nemariakis.com/architectural-photography issuu.com/nemariakis archinect.com/nemariakis linkedin.com/in/nemariakis

ARCHITECTURE CORE STUDIOS

006

OTHER ACADEMIC

158

PHYSICAL MODELS

192

PROFESSIONAL

198

CODA

206

RESUME

268

01 The Air of the Future – 701 02 Woven Ecologies – 602 03 The Smooth and the Striated – 704 04 Rest/ Home – 601 05 Verdure Spaces – 502 06 Dance Party – 501

07 Inhabitable Surface – Design Innovation 08 Trans Mutation – Visual Studies 09 Construction 10 My Brother’s Keeper: Park for the Houseless – Form/REForm 11 Conservation as Exhibition: Turning Hidden Space into Public Space at the Philadelphia Museum of Art – Museum as Site

12 Salk Institute: Louis Kahn – Case Studies 13 Spatial Collage – Intro Studio

14 HD Architecture – Work Samples 15 New Standard Management – Chrissy Keegan

16 Sketches/ Drawing 17 Architectural Photography 18 Graphic Design 19 Additional Models 20 Additional Renders

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008 040 074 104 130 146

160 174 176 180 188

194 196

200 202

208 210 246 252 258

08 TRANS

07

01

02

03

04

05

06

09

10

11

15

16

HELLO. BEGIN GOODBYE. END

280

60 48 36 24 12 0

///

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13

14

17

18

19

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ARCHITECTURE CORE STUDIOS OTHER ACADEMIC PHYSICAL MODELS PROFESSIONAL CODA RESUME

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//01

THE

AIR OF THE FUTURE

CLIMATE RESEARCH FACILITY

MEXICO CITY, MEXICO 701 FALL, 2014 | Duration: 15 Weeks | Type: Individual | Published in Pressing Matters 4 | Featured in suckerPUNCH CRITIC: Brennan Buck/ FreelandBuck Architecture/ YSOA

THE AIR OF THE FUTURE STUDIO OBJECTIVE AND INTRO

MEXICO CITY, MEXICO Climate change exists as one of the fundamental challenges facing the future of planet Earth.

While rising sea levels pose threats of catastrophic flooding, greenhouse gases and carbon dioxide pose threats to the planet’s supply of air. Additionally, acid rain, along with ozone depletion, are serious concerns; this climate research and testing facility is intended to assist in the amelioration efforts of scientists fighting the environmental degradation of the planet.

Set in one of Mexico City’s major parks, the Bosque de Chapultepec, this project also aims to engender public use of both the landscape as well as the architecture itself.

The tectonic formation of the project is predicated upon a methodological stacking logic of modular geometric units which grow to articulate the whole. Such expansion of the parts creates tumbled, multi-orientations—in both internal and external conditions—with the intention of cultivating spatial and tectonic variety (and complexity) in both plan as well as section.

The expansion of the constituent geometries first proceeds outwards, which creates the basic form of the project. Gaps in the geometry of the mass are filled, whereby the individual dodecahedrons begin to fold in upon themselves—which creates non-manifold volumes. The non-manifold remnants are then excavated to reveal spatial and planimetric opportunities. Channels, embedded in the modules, create linear arrays of fenestration. Nested within the internal volumes are six, glass, climate- testing chambers, which proceed from a hierarchically arranged, central cluster of research and office spaces.

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BOSQUE DE CHAPULTEPEC

NATIONAL MUSEUM OF ANTHROPOLOGY

PASEO D

E LA RE

TAMAYO MUSEUM OF CONTEMPORARY ART

CHAPULTEPEC ZOO

FORMA

MUSEUM OF MODERN ART

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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SITE: DIGITAL SITE MODEL

[1]

[4]

[3]

[2]

Neil Denari has referred to the digital platform as a “black ether” in which the metrics of a project can become lost or distorted. A Rhino site-model, therefore, was individually constructed in order to study the resultant iterations in and against the urban context of the site.

SITE: PHOTOGRAPHS

[1]–Looking S/SE

[2]–Looking W

[3]–Looking W/NW

[4]–Looking E/NE

Despite the various towers which surround the park, the old growth deciduous trees of the Bosque generally prevent views of the tall urban extents beyond.

SITE: ANALYSIS/ CONSIDERATIONS 100%

CAR VOLUME

PEOPLE VOLUME

FLORA DENSITY

CONTEXT HEIGHT

PICNICS

DOGS

NAPS

OLD GROWTH CYPRESSES

In order to understand the potentialities of the project, the site context, as well as the habits of the local people were studied. The design takes into account a deep respect for the peoples’ love of eating, sleeping, and playing with dogs in the park. The Bosque features a network of pedestrian vectors, which will be redirected into the immediate site of the project. Trees will be preserved when possible.

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PROCESS: HIERARCHIES

POSITION

CENTER/ FRONT SECONDARY TERTIARY AND BEYOND

SAN VITALE

SIZE

L/XL M S

MUSEO TERRITORIO DE LAS MIGRACIONES: Mansilla + Tunon

FIGURE UNDERLAID/ INCOMPLETE

CENTER/ FRONT SECONDARY TERTIARY AND BEYOND

WINTON GUEST HOUSE: Frank Gehry

Hierarchical relationships in case studies were analyzed, diagrammed, and essayed. Of particular interest were hierarchies pertaining to position, size, and figure—the latter concerned with whether such figures are whole, partial, or below other figures. Students were free to choose references that might best inform pending design choices. The case studies above were beneficial planimetrically as well as spatially—each design above maximizes the pushing and pulling of numerous geometries in space, especially the first and the last.

Assessments were further informed by chapter 9 of Venturi's Complexity and Contradiction in Architecture, The Inside and the Outside.

PROCESS: DEVELOPMENT of CONSTITUENT DODECAHEDRON GEOMETRIES THE ARRAY IN PLAN

[1]

[2]

[3] MIRRORED MIRRORED AND ROTATED MIRRORED AND ROTATED

[1]-SINGLE CHANNEL [2]-DOUBLE CHANNEL: OPPOSITE [3]-DOUBLE CHANNEL: FACING

The investigation of hierarchical relationships served as a generative initiator; hexagonal, 2D figures transmute into 3D dodecahedronal geometries which deviate from the familiar, pentagonally faced, twelve-sided figure. Channels are introduced into the geometries, thus creating solids with more than twelve sides. For nomenclatural consistency, the geometries will remained called “dodecahedrons.”

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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PROCESS: CATALOG of PERMUTATIONS [1]

[4]

[2]

[5]

[3]

[6]

In order to fully understand the combinatorial possibilities of the constituent geometries, an array of permutations was amassed that explores the possible connections between two shared faces. In the diagram above, each face of the twelve sides is given a unique color.

The connections that yield favorable spatial outcomes were highlighted.

PROCESS: DIGITAL GROWTH TESTS [1]

[2]

[3]

[4]

02.08

[1]

[6]

[7]

[8]

[9]

[10]

[11]

[12]

02.14

[2]

01.07

[5]

[3]

[4]

[13]

[14]

FINAL ARRAY

[5]

01.14

[6]

[7]

[8]

[9]

[10]

[11]

[12]

[13]

[14]

FINAL ARRAY

After the permutations were studied, growth tests proceeded. The fundamental rule of this set of digital growth tests was that each new child geometry must share a mirrored face with its parent, and not pierce the walls of other geometries. This procedure yielded the distinctive look of the agglomerations above, which lacked the potential for voluminous interiors. Thus, in order to maintain control over the volumes, it was apparent the rules required breaking—“children” could fold in upon other geometries, creating non-manifold volumes.

Although a parametric scripting was considered going forward, it was decided to pursue a series of analog based growth studies.

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PROCESS: ANALOG GROWTH TESTS

Individual constituent geometries were 3D-printed, then manipulated and taped by hand. These studies helped generate the final form.

PROCESS: VOLUMETRIC and AREA STUDIES

The exterior masses generated via digital and analog processes were brought within metrical parameters and analyzed. Both area and volume required consideration, as the programmatic constraints necessitated calculation of cubic footage for the testing chambers. Such considerations were kept in mind when the dodecahedron was initially chosen as the basic geometric unit. Area, and volume, respectively, were such: 125,000 FT2 for the total area; 125,000 FT3 for the volume of each testing chamber. It was decided that the volume requirement should be comprised of one dodecahedron, rather than multiples—thus reducing the number of units. The series of scale tests above considered factors necessary for the creation of architecture—shapes and areas of possible floors; logic for fenestration; and, solid vs. void.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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Section Tests– While the analog growth tests were fruitful for providing a tactile and immediate set of explorations, the basic dodecahedronal units could not fold in upon themselves. These analog tests required digital rebuilding, and therefore recreated in Rhino, which could then allow for additionally added geometries to become non-manifold; that is, to intersect other geometries to create larger, more spatially- rich volumes.

The most promising test masses/arrangements were sectioned and excavated to cultivate spatial opportunities. While some non-manifold geometries contributed positively to the tectonics of the design, some non-manifold geometries were awkward or unmanageable and therefore considered vestigial and deleted. Floor plates were carefully and thoughtfully placed so as to meet programmatic area requirements, while special attention was given to volumetric openings. Multi- level, multi- orientational volumetric and spatial conditions were sought, which required floor plates to open and break. These studies were meant to insinuate the beginnings of architecture, and therefore did not feature elements such as stairs, et. al.

Additionally, these early tests were neither concerned with specific materials, nor color; rather, emphasis was placed upon depth, light, and shadow. A linework strategy was implemented that echoed Paul Rudolph’s drawing aesthetic.

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Model Section Test [1/4” = 1’ = 1:48, 21”x 16”x 12”]– Essential to the process was an interplay between digital and physical modeling.

These explorations yielded opportunities as well as revealing spatial and geometric difficulties. Acrylic; butter/chipboard; plywood.

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DESIGN PROGRESSION: MODELING TESTS

Unlike the previous “growth tests”, which were made of discrete modules that were manipulated by hand, these iterations were modeled as complete masses in Rhino, 3D printed, and evaluated.

DESIGN PROGRESSION: ADAPTATION via DIAGRAM PUBLIC ACCESS: PERMEABILITY THROUGH THE PARK

RESPONSE TO SITE: TOPOGRAPHY

Based on prior site analyses and considerations, the massing was adjusted to incorporate pedestrian flows. Additionally, the working form was manipulated to respond to the topographical changes in the site.

PROGRAM: ARRANGEMENT SIMULATION CHAMBERS, RESEARCH CORE

PUBLIC: DINING, EXHIBITION HALL

ADMINISTRATION

CONFERENCE SPACES

INTEGRATED EXTERIOR SPACES

ALL

The program is arranged around the central core and its related adjacent zones, which pertain to: the simulation labs; research spaces; offices for scientists; and, mechanical spaces. Interior public spaces are generally orientated towards the park.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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PLANS: DRAWINGS

3

2

4

5

1 6 10

9

4

1 8

7

+ BUILDING PROGRAM = 125,000 FT2 AREA and ~125,000 FT3 x(6) VOLUME FOR TESTING CHAMBERS

5 10 20

GROUND / FIRST FLOOR

20

1

SPACE OF ENTRY

8

ADMINISTRATION

2

TESTING CHAMBER

9

GALLERY

3

EDUCATION

4

FLEXIBLE

5

MECHANICAL FOR CHAMBER

6

LAB

7

PUBLIC CAFE

10

MEETING SPACES

ARCHITECTURE + DESIGN PORTFOLIO Projects + Samples 2011-2016

30

50

100

200

4

3 3

1

2

1

8

9

5 3

7 6

MAIN LEVEL / THIRD FLOOR

1

MECHANICAL FOR CHAMBER

8

CAFE

2

LAB

9

AUDITORIUM

3

TESTING CHAMBER

4

OFFICES FOR RESEARCHERS

5

OFFICES AND LABS

6

EXHIBITION

7

ADMINISTRATION

Plans– While plans are excellent tools for describing information in the x and y planes, they typically fail to convey meaningful data regarding the z axis. These drawings are my own experiment in using shadowing techniques in order to convey the depth which occurs between perforations in floorplates, as well as between the plane of the plan with respect to grade below.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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SECTION: IN PERSPECTIVE

Section– This final section is the culmination of the earlier section tests on pages 16 and 17. The climate simulation chambers are constructed of transparent glazing, and each features interior-perimeter access catwalks; adjacent to each ~125,000 FT3 chamber is mechanical space and equipment that is required for the simulation experiments. In this render, various climate simulations have been Photoshopped into the chambers, representing various types of atmospheric conditions. From the interior looking outward, the bands of channel glass (colored white, as seen in the exterior render on pages 8 and 9), allow for wide apertures to the exterior context.

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ARCHITECTURE + DESIGN PORTFOLIO Projects + Samples 2011-2016

Given the speculative nature of the project, such large panels of glazing might hypothetically be composed of electro- or photo-chromic Smart Glass, which would darken automatically or per user override, and thus reduce incoming solar radiation when Mexico City is not overcast. The large aperture in the central core brings sunlight to the floors below via the octagonal perforations in the floorplates. Lastly, the diamond windows and triangular clerestories derive their shaping from the exterior cladding, and are flush with the envelope. East-West.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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PROGRAM: ARRANGEMENT

RESEARCH CORE/OFFICES SIMULATION LABS/CHAMBERS MECHANICAL FOR LABS AND BUILDING PUBLIC/ EXHIBITION ADMINISTRATION CONFERENCE INTEGRATED EXTERIOR SPACES

MODEL: FINAL FORM on the IMMEDIATE SITE

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ARCHITECTURE + DESIGN PORTFOLIO Projects + Samples 2011-2016

Final Model [1/32” = 1’ = 1:384]– The multi-orientational nature of the final form is captured in this approximately 18” x 11” x 4” 3D printed model, which was easily inspectable during final review. As can be seen in the image directly above, portions of grade are carved, and descend below. The large void bordering the long, black, ramp differs from the same corresponding location in the top render on pages 28 and 29—a conscious choice to experiment with how geometries meet the ground. MDF; mounting board–grey/black; powder print mass.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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RENDERS: IN CONTEXT

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ARCHITECTURE + DESIGN PORTFOLIO Projects + Samples 2011-2016

View from the South– Paths in the Bosque are directed towards and into the site. Some of the dodecahedronal constituent geometries deform to create habitable spaces as observed in the top right geometry that connects with the ground. While much of the glazing is white and fairly opaque from the exterior, some portions allow glimpses into the architecture from afar while retaining the feeling of the solidity of the geometries. Additionally, the patterning in the cladding features light and dark interference lines which operate to achieve two ends: first, the small scale of the subdivisions is intentionally diminutive by comparison to the dodecahedrons to create a reading that enhances visual dynamics; second, the light lines disappear in bright light, and the dark lines fade in shadows, creating continuous shifts in reading.

View from the North– This view shows the architecture as potentially seen from the following towers: Residencial del Bosque; Coca Cola Mexico; or, the Australian Embassy.

Rest spaces dig into the terrain below the conference spaces. The North chambers can be seen behind the midnight blue glazing.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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ARCHITECTURE + DESIGN PORTFOLIO Projects + Samples 2011-2016

Bird’s Eye View– Isolated, quiet, and private, this view shows one of the various upper-level outdoor rest spaces. At close distance, the white channel glazing reveals its slight opacity, allowing intimations of the tectonics and depth of the interiors.

Behind the top right glazing is two of the testing chambers, and behind the lower left, a space for administrative duties. Here, the floor peels away from the channel glass. Below, at grade, the design incorporates the earlier site analyses and considerations; upon studying the general culture of Mexico City, and in particular, the habits of the citizens who use this particular park, it was apparent that many different people enjoy sleeping, resting, napping, or picnicking in the grass. Thus, the architecture responds to accommodate and welcome such persons.

Additionally, as seen on page 28, the site welcomes those with dogs, as such animals are common and important to the users of the Bosque.

View Towards the South Entrance– Also shown in this view is one of the large, public spaces with integrated seating. In the space above the entrance, one of the testing chambers is visible behind and under the floor slab.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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ARCHITECTURE + DESIGN PORTFOLIO Projects + Samples 2011-2016

Interior– The tumbled, multi-orientations that exist on the exterior also read in the interior. Ample light pervades the spaces by means of both the curtain glazing as well as the channel glass—and via the octagonal atrium which extends to the glazed roof. The octagonal outline is adorned with linear lighting, which during the evening, recalls the effect of sunlight spilling below during the day. This view corresponds to number 1, the Space of Entry, on the Ground/ First Floor plan, and is looking towards the East. Some of the testing chambers are accessible and visible from this main level, providing a didactic and engaging architectural experience. The materials are envisaged as polished concrete; bush-hammered concrete; and gypsum, which varies in color. Notable is the cyan which recalls native architect Luis Barragán.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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View Looking West– Much of the urban context is obscured by the surrounding old-growth trees, albeit some towers can be viewed at various locations. From this vantage point, the upper level offices are visible, revealing interior spatial depth (and the exterior beyond) and providing a visual insight into the underlying concept of hierarchy that helped drive the tectonic decisions of the project. Towards the left, one of the testing chambers is visible, its geometry not strictly conforming or corresponding to the dodecahedronal envelope. Spatial depth and interest is here capitalized. Given the visual access to the testing chamber from the park, the architecture becomes didactic and provides a clue regarding the purpose of the building, while also intending to generate curiosity, mystery, and intrigue.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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View Looking South– A large, gentle ramp descends through the NorthSouth axis of the architecture and site. An Eastern entrance is located at the lowest point of the ramp (as seen in the section drawing). Towards the left side of the architecture some of the mechanical systems are apparent, revealing the internal organs of the building. Visible below the apex of the central core is the octagonal atrium, which assists in light dispersion to the levels below, as well as providing spatial depth and optical interest.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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Satellite View– Architecture, site, and immediate context as seen from orbit. As many trees as possible are left undisturbed.

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ARCHITECTURE + DESIGN PORTFOLIO Projects + Samples 2011-2016

THE

AIR OF THE FUTURE

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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//02

WOVEN ECOLOGIES MUSEUM OF ECOLOGY

MANHATTAN, NEW YORK 602 SPRING, 2014 | Duration: 15 Weeks | Type: Group– Lin Yong Jia, Nathan Galvez CRITIC: Justin Korhammer / Anima

WOVEN ECOLOGIES STUDIO OBJECTIVE AND INTRO

MANHATTAN, NEW YORK In the Lower East Side of Manhattan, the area surrounding the South Street Seaport is rapidly burgeoning—this growth is typified by the recent construction of Pier 15, as well as the nearby 8 Spruce Street by Gehry Partners. The context of the site features a confluence of forces, including pedestrian; residential; economic; and, transportation (bike, auto, boat, and MTA subway/light rail). For this reason, the site of Pier 17 has been selected for a new museum of ecology, next to Gehry Partners’ original proposal for the Downtown Guggenheim.

WOVEN ECOLOGIES seeks to maximize the aforementioned confluence of forces by utilizing the concept of weaving as an operational driver to facilitate a quadruplicate union between program, structure, mass, and the urban and ecological milieus. As such, the architecture is composed of a series of bars that weave together, and into the site.

Programmatically, weaving is utilized by curving and overlapping x-y vectors to create tectonic elements that form new volumetric zones. In the z axis, the floor plates shift according to 5-foot vertical subdivisions, and the superstructure curves. Structurally, weaving is incorporated via a diagrid system that creates a continuous series of fibers that “weave” into each other, as well as into adjacent bars, thereby forming the enclosed spaces within. * While this project began and concluded as a team proposal, in this portfolio all of the 3D modeling, physical modeling, drawings, renders, diagrams, photographs, and text descriptions are solely by me, with exception to the urban context portion of the final site model, which was a group task. The goal being to create a design project that demonstrates my own learning via 3D modeling and representational skills, and to not rely upon the representation, 3D modeling, nor physical model-building skills, of others.

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VE

R

FD

I DR

BROOKLYN

LOWER MANHATTAN

YN KL

O

O

BR E

G

ID

BR

PI ER 16

EAST RIVER

ER

PI 15 NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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SITE: DIGITAL SITE MODEL A – 8 SPRUCE STREET A

B – EAST RIVER BIKEWAY

C – EAST RIVER ESTUARY

D – BROOKLYN BRIDGE

E – SITE (PIER 17)

B

F – SOUTH STREET SEAPORT

D E

G – FDR DRIVE (ELEVATED) SOUTH STREET (BELOW)

H

G

[1] F

C

[2]

[3]

H – FINANCIAL DISTRICT

The site is located at Pier 17, the building at which required demolition due to extensive fire damage. The Seaport area is bifurcated

by FDR Drive above, but relative ease of access remains from South Street below.

SITE: PHOTOGRAPHS

[1]–Looking NE

[2]–Looking N

[3]–Looking W/NW

Even in January, the Seaport area is lively and draws pedestrians, bikers, and street vendors.

SITE: ANALYSIS/ CONSIDERATIONS

FINGERS

FINGERS

GRADATION

STRATA

ZONAL

GOSSAMER

PERFORATION

BIFURCATION

WEAVING

+ LONG, NARROW BANDS WITH POCKETS.

+ ALTERNATING SIZES OF VOIDS/POCHE SUGGEST SPATIAL VARIETY AND OPPORTUNITIES.

+ DIFFERENT ZONES ARE LAYERED—WITHIN THESE VARIOUS ZONES ARE VOIDS, VECTORS, AND CORRIDORS.

ZONAL

FINGERS

FEATHERING

+ THE MAIN ARTERIES WHICH CONNECT THE IMMEDIATE AND LARGER CONTEXTS OF THE SITE.

ZONAL

+ DISTINCT ZONES— OPEN ZONES, AND A THRESHOLD ZONE.

+ ELEGANT THREADS SERVE AS VECTORS THAT EMANATE FROM A CENTRAL NODE.

+ TWO DISTINCT ZONES EXIST WITHIN THE CONTEXT OF THE SITE—AN OPEN ZONE, AND A THRESHOLD ZONE—THE LATTER BEING UNDER WEST STREET.

+ THREE-DIMENSIONAL VOLUMES ARE ENCOMPASSED BY, AND STRUCTURED BY, SOLID MEMBERS.

FEATHERING

+ EDGE FEATHERING IS CREATED BOTH THE BOUNDARIES OF THE BUILT PIERS, AS WELL AS THE WAKES CREATED BY MARINE VESSELS.

GRADATION

GOSSAMER

+ THE PATHS OF MARINE VESSELS CREATE CURVILINEAR VECTORS.

GRADATION

+ THE HIGHEST DENSITIES OF PEDESTRIAN OCCUPATION ARE ALONG THE PIERS, AND GRADUALLY WANING UNTIL RETURNING AT WATER STREET.

BIFURCATION

BIFURCATION

GOSSAMER

FEATHERING

+ EDGE FEATHERING OCCURRING ALONG THE PERIMETER— FISSURES PIERCE WITHIN INTERIOR SPACES.

+ AN OTHERWISE HOLISTIC SPACE IS SEPARATED— HOWEVER, A LINKAGE SERVES TO CONNECT THE NOW DIVIDED ZONES.

+ DIAMETRICALLY OPPOSED VECTORS ENCOMPASS EQUIVALENT SPACE, ALBEIT IN AN AMBIGUOUS MANNER.

+ VERTICAL SPACE, FLOWS OF CARS, BIKES, AND PEDESTRIANS ARE SEPARATED BY FDR DRIVE.

Given the project is a museum of ecology, the site was analyzed and cataloged through a framework of floral references—in an effort to identify strategic opportunities, parallels were sought between the built/urban environment and the microscopic, ecological world.

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PROCESS: PARAMETRIC VECTOR INVESTIGATION 01

02

03

04

05

06

07

08

10

11

12

13

14

15

16

PLANIMETRIC

ISOMETRIC

ELEVATION 09

The framework of floral references informed a parametric vector study, which was overlaid upon the immediate site. The aim was to determine in what ways such references could be transposed and utilized in plan and-or section strictly, and within three dimensional space.

PROCESS: VECTOR-MAPPING 01

02

+PEDESTRIAN, BIKE, AND AUTOMOTIVE VECTORS

+REINTERPRETED WITH POSSIBLE HARD EDGES

03

04

LOW MIDDLE HIGH +EDGES SUPPLIED WITH PROGRAMMATIC POTENTIAL

+VECTORS WOVEN AT VARIOUS LEVELS

It was determined that the project would benefit by a mapping of vector forces that engage the site. Pedestrian, bike, and automotive forces are agglomerated; imagined with edge conditions and potential program; and then elevated into the urban skyline.

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PROGRAM: DELINEATION

PROGRAM ICONS

e

CAFE

LIGHT PUBLIC DINING DINING- ELEGANT

DOCKING/ RECYCLING

ARCH AND URBANISM

AUDITORIUM

CLASSROOMS

ECOLOGY OF NYC

ELECTRIC CARS

ENERGY

OFFICES- ADMIN

PATHS- WALKING

RETAIL

EVOLUTION

FARM MARKET

FAUNA

FLORA

GREENSPACE

INTRO TO ECOLOGY

LABS

OBSERVATORY

SPECIAL EXHIBITION

SUN

VERTICAL GARDEN

WASTE AND RECYCLING

WATER COLLECTION

WATER AND OCEANS

WATER TREATMENT

WEATHER AND AIR

PATHS- BICYCLE

SUBWAY

= FLOOR PLATES / ~405,000 SF ARRANGEMENT TESTS

The program briefing calls for 405,000 square feet of total space. Square icons above represent various programmatic spaces, while the circular icons represent specific exhibitions.

PROCESS: INCORPORATION OF PRIOR ANALYSES/ INVESTIGATIONS / MAPPINGS

e THE SITE

PEDESTRIAN FLOW OVER, UNDER, AND THRU SPACE; CREATES VERTICAL CONNECTION WITH URBAN FABRIC

ELECTRIC CAR PARKING/ LOOP TO BE USED AS OBJECTLESSON/ EXHIBITION SPACE—EXTENDS INTO MUSEUM.

EXTENSION OF OUTDOOR, PUBLIC PIER NETWORK INTO EAST RIVER

ARCHITECTURE ABOVE

CONNECTION WITH MTA A AND C SUBWAY LINES

CONNECTION WITH ERB—EAST RIVER BIKEWAY: BIKE PATHS TO PROCEED OVER, UNDER, AND THRU ARCHITECTURE

MARINE DOCKING TO BE ADDED—TO INVITE ROWERS, CANOERS, AND SAILORS

FLORA: FOR CARBON POSITIVITY, AND, "WEAVING" NATIVE MAMMAL, INSECT, AND AVIAN SPECIES INTO SITE.

Urban Weave: Based on initial studies of the context, the preceding diagrams represent possible architectural strategies.

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PROJECT LOGIC: WEAVING

PROGRAM

STRUCTURE

URBAN MILIEU

MASS

Based upon preliminary studies, weaving was deemed as the most appropriate framework on which to base the project. Weaving, therefore, functions as an operational driver to cultivate a four- part union between program, structure, the urban milieu, and mass. The teleology for weaving is described as thus: program– woven program creates opportunities for overlapping spaces and transitional experience; structure/envelope– woven structure will be efficient, and visually/spatially interesting; urban milieu– the logic of weaving maintains the inherent potential to interconnect various threads of the city, including boat, pedestrian, bicycle, public, and automotive vectors; mass– woven mass will recall such urban vectors and seek to enhance them via the resulting design.

ENVIRONMENTAL SYSTEMS/STRATEGIES CONSIDERATIONS: VIGNETTES ANIDOLIC LIGHT SHELVES FOLD DOWN FROM MEMBERS

OKALUX: FOR DIFFUSE LIGHTING

FRITTED GLAZING FOR AMBIENT LIGHTING

ELECTROCHROMIC GLASS FOR SPACES THAT NEED THE POTENTIAL TO BE TRANSFORMED FOR SPECIAL EXHIBITIONS

PVS INTEGRATED INTO THE ROOF AND FACADE

HYDROPONIC FARM

WINDOW TO WALL RATIO 20-30 %

RETRACTABLE GLAZING FOR WEATHER AND AIR EXHIBITION

WINDOW TO WALL RATIO IN IECC ZONE 4A CLIMATE: BETWEEN 20-30%.

A 20% WWR RESULTS IN AN SHG OF ~1.5 KWH/M^2

A GREEN HOUSE CONNECTS WITH HYDROPONIC GARDEN

ACTIVE VEGETATION/ AIR FILTRATION WALLS

GREEN WALL

COLORED FRAUNHOFER PVS INTEGRATED INTO FACADE

WASTE AND STORMWATER MANAGEMENT VEGETATION

GEOTHERMAL HEATING AND COOLING VERTICAL LOOP

In light of the program, a museum of ecology, these diagrammatic vignettes served to inform design choices for the architectural proposal. The primary focus for this project was upon: photovoltaics; geothermal exchange; waste/stormwater management; vegetation.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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DESIGN PROGRESSION: TECTONIC REALIZATION

01

+ SITE

02

+ ECHOING THE NEIGHBORING PIERS: DURING DESIGN PROGRESSION, THE SOLID PIER IS CARVED TO REVEAL SPACES BELOW SEA-LEVEL

03

+WOVEN MASSES ARE FORMED FROM DEVELOPABLE, CURVED, SURFACES.

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04

+ ENVISIONED ARE THE SITE VECTORS CURVING AND “WEAVING” IN THE X, Y, AND Z PLANES

05

+ “WOVEN” STRUCTURE IS CREATED PRIMARILY THROUGH A MIXTURE OF DESIGN INTENT, AND ASSISTED SECONDARILY THROUGH GRASSHOPPER-BASED PARAMETRICS

06

DIVA RADIATION ANALYSIS

WASTEWATER TREATMENT GREENROOF

COLORED PVS

VERTICAL GEOTHERMAL

FRAUNHOFER PVS

SIDWELL FRIENDS SCHOOL

+ THE PRIMARY ENVIRONMENTAL STRATEGIES

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07

+ DIAGRAMMATIC RENDER OF THE FINAL PROPOSAL

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ELEVATION: ARCHITECTURE in CONTEXT

E/SE

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N/NE

S/SW

Elevations– The final form was intended to echo the language of the existing piers, protruding into the East River, while being elevated gently into the surrounding context. Similarly, the curving forms of the mass echo the curving undulations in the projecting facade of neighboring 8 Spruce Street. The mass, being asymmetrical in all dimensions, assumes different visual profiles from different angles—much like the urban context in which it sits.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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PLANS: DRAWINGS

e

e

+ BUILDING PROGRAM = 405,000 FT2

GROUND / FIRST FLOOR

Plans– The various programs, while generally being assigned to their own respective areas, freely weave together to create a seamless exhibition and walking experience. Programs can blend together depending upon the evolving needs of curators. The shifting levels are connected through a series of ramps that expand to feature programs. Stairs perforate through floorplates to create shortcuts. As shown in the test program model on page 61 (which was one of a series), the various types of exhibitions and programs were delineated based upon a study that considered the relationships between programs—as well as the relationships between various programs and the exterior and urban environments.

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10 25

75

150

300

SECOND FLOOR

PROGRAM ICONS

e

CAFE

LIGHT PUBLIC DINING DINING- ELEGANT

DOCKING/ RECYCLING

ARCH AND URBANISM

AUDITORIUM

CLASSROOMS

ECOLOGY OF NYC

ELECTRIC CARS

ENERGY

OFFICES- ADMIN

PATHS- WALKING

RETAIL

EVOLUTION

FARM MARKET

FAUNA

FLORA

GREENSPACE

INTRO TO ECOLOGY

LABS

OBSERVATORY

SPECIAL EXHIBITION

SUN

VERTICAL GARDEN

WASTE AND RECYCLING

WATER COLLECTION

WATER AND OCEANS

WATER TREATMENT

WEATHER AND AIR

SUBWAY

PATHS- BICYCLE

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THIRD FLOOR

Much like the plans for The Air of the Future, the plans for Woven Ecologies are my representational experimentation in conveying information in the x and y planes, as well as depth in the z plane. Without shadowing techniques, the shifting levels are largely illegible in the plans. Large portions of the street-level pier/platform are left open in an effort to facilitate opportunities for programmatic performance; for example, as seen in the left side of image [1] on page 44 (Looking NE), the immediate context is home to various types of retail kiosks and carts. The new platform is envisaged as providing an exterior stage for extended farm and outdoor markets, and potential events.

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FOURTH FLOOR

PROGRAM ICONS

e

CAFE

LIGHT PUBLIC DINING DINING- ELEGANT

DOCKING/ RECYCLING

ARCH AND URBANISM

AUDITORIUM

CLASSROOMS

ECOLOGY OF NYC

ELECTRIC CARS

ENERGY

OFFICES- ADMIN

PATHS- WALKING

RETAIL

EVOLUTION

FARM MARKET

FAUNA

FLORA

GREENSPACE

INTRO TO ECOLOGY

LABS

OBSERVATORY

SPECIAL EXHIBITION

SUN

VERTICAL GARDEN

WASTE AND RECYCLING

WATER COLLECTION

WATER AND OCEANS

WATER TREATMENT

WEATHER AND AIR

SUBWAY

PATHS- BICYCLE

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ROOF/ ROOF PARK-GARDEN

58

The roof park-garden is completely public, and features a gentle stepping from street-level to the various inhabitable zones.

ARCHITECTURE + DESIGN PORTFOLIO Projects + Samples 2011-2016

PROGRAM ICONS

e

CAFE

LIGHT PUBLIC DINING DINING- ELEGANT

DOCKING/ RECYCLING

ARCH AND URBANISM

AUDITORIUM

CLASSROOMS

ECOLOGY OF NYC

ELECTRIC CARS

ENERGY

OFFICES- ADMIN

PATHS- WALKING

RETAIL

EVOLUTION

FARM MARKET

FAUNA

FLORA

GREENSPACE

INTRO TO ECOLOGY

LABS

OBSERVATORY

SPECIAL EXHIBITION

SUN

VERTICAL GARDEN

WASTE AND RECYCLING

WATER COLLECTION

WATER AND OCEANS

WATER TREATMENT

WEATHER AND AIR

SUBWAY

PATHS- BICYCLE

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59

SECTION AND OPACITY: EXPLORATIONS GG

FF

EE

DD

CC

The drawing above is an xray glimpse into the tectonic logic of the project. A serial section of the same view is on the following spread.

Model Section Test [1/4” = 1’ = 1:48, 9”x 6-1/2”x 9-1/4”]– Section featuring an initial logic for the PV system. Acrylic; chipboard; MDF; Plastruct.

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The section above features details of the green roof and initial PV scheme. AutoCAD. Above: Test program model.

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SECTION: SERIAL SECTION THROUGH ENTIRE BUILDING

Due to the complexity of the woven design, with respect to structure, program, and shifts in level, it was determined that standard, orthographic sections would be insufficient to communicate proper spatial information. All floors and primary structure were modeled in 3D to obtain this section.

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GG

FF

EE

DD

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MODEL: FINAL FORM with IMMEDIATE CONTEXT

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Final Model [1"=40' = 1:480, 36”x 27”x 7-3/4” ]– The tectonic, three dimensional qualities of the project became more readily accessible visually via the large site model (team project/6 per studio). The 3D printed model was carefully sanded to remove surface imperfections, and to accentuate the curvilinear surfaces. This created a much cleaner and more accurate model than what was delivered directly from the printer. Acrylic, sanded on bottom; MDF; mounting board, white; Mylar water; powder printed massing.

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The platform gradually descends into the river below.

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RENDERS: IN CONTEXT

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View from Brooklyn Bridge Park– The architecture seems to rise from the river, gradually emerging at street-level and into the elevated context of NYC, both towards Brooklyn and back into Lower Manhattan. As seen from the park, the building’s curves echo the Brooklyn Bridge as well as FDR Drive. Observation decks on the second and third levels allow museum guests to explore the city—the third floor deck is part of the Weather and Air exhibition. As an urban gesture, the base and roof decks/parks invite the public to freely engage the design as both a kind of pier-like extension into the East River as well as elevated pier, which keeps with the cultural motif of The South Street Seaport. This render, as well as the render shown on pages 40 and 41, features an alternate proposal for the street-level “pier” that surrounds the architectural mass. In this image, trees and tall grasses provide for a more lush landscape, while the render on the introductory page omits trees in favor of accentuating the woven pattern that forms the boundary of the grasses.

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View Looking East– This render documents the upper portion/Ground Level of the Water and Oceans exhibition, as well as the portion of the program that descends below the river and continues into the walkthrough fish tank behind the picture plane (per program requirements).

As shown in the plans and serial section, large, gentle ramps descend and ascend throughout the entire design. The “woven” structural frame can be glazed, or as seen in the ceiling, infilled to create solid portions, as in the walls of some exhibitions. Materials: steel; polished concrete; American Cherry.

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View from the Water– While the surrounding context rises upwards like Gehry Partners’ 8 Spruce Street, the museum similarly grows outwards. From the vantage point of a marine vessel, the interiors are faintly visible behind the light blue, partially-mirrored glazing that reflects the Brooklyn skyline. The remainder of the curved, diagrid glazing is even more reflective, which mirrors the surrounding context. The steel exterior cladding, while maintaining a slight natural sheen, is diffuse by comparison to the glass–which gives the glazing an intentional visual prominence.

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WOVEN ECOLOGIES

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//03

THE

SMOOTH AND THE STRIATED CULTURE + RECREATION PARK

MONTREAL, CANADA 704 SPRING, 2015 | Duration: 15 Weeks | Type: Individual CRITIC: Simon Kim/ IK Studio

THE SMOOTH AND THE STRIATED STUDIO OBJECTIVE AND INTRO

MONTREAL, CANADA The island of Saint Helen’s in Montreal has a rich architectural history. In 1967, the World’s Fair was situated on this thin strip of land, which sits in the Saint Laurence River. Although essentially all of the original pavilions have been demolished, Buckminster Fuller’s masterpiece still remains. In an effort to regain social relevance for the island, a culture park is being initiated along the Western bank of the island. Like Cedric Price’s Fun Palace, this culture park will feature mostly flexible, programmatic space.

The key theoretical driver for the studio is duration, and how the architecture might behave over time. Concatenated with the premise of duration is an emphasis upon possibilities for kinetic operations in the architecture—that is, design operations that espouse intelligence, and consequent physical changes in the tectonic environment. Additionally, striated optical art is being employed over smooth, curvature continuous surfaces, to facilitate duration and visual, spatial, variation. Optical art will be utilized strategically within kinetic operations and with initial geometric subdivision tests. The smooth/striated drivers harken Deleuze’s and Guattari’s A Thousand Plateaus.

The smooth, curvature continuous architecture has been delineated into three major forms—the Base, which houses offices, research units, living quarters, and museum/ gallery spaces; the large Perennial building, which houses various performance, event, and exhibition spaces; and the smaller, seasonal, Ephemeral building, which has no doors, but expands and contracts for inhabitation throughout the year as weather permits. This seasonal motif is a development of a motorized prototype model that responds to heat input.

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LONGUEUIL

MONTREAL ST. HELEN’S ISLAND

JACQ

UES

CART

SIX FLAGS MONTREAL IER B

RIDG

E

STEWART MUSEUM

ST. LAURENCE RIVER

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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SITE: DIGITAL SITE MODEL

[1]

[2]

[3]

Located adjacent to the immediate site are The Musée Stewart, as well as Six Flags Park Montreal. At the behest of the studio instructor, Richard Buckminster Fuller’s notable American Pavilion for Expo ‘67 has been moved to the Western edge of the island, next to the site.

SITE: PHOTOGRAPHS

[1]–Looking W/NW

[2]–Looking W

[3]–Looking E/NE

PROCESS: INITIAL TESTS/ SUBDIVISION of FORMS

+A Distorted Pyramid Intersecting Degree 3 Curves Non-Coincident Edge Condition Counterpoint Context Subdivision in Whole Dissection

+B Whole Mass Inter- and Non-Intersecting Degree 2 Curves Non-Coincident Edge Condition Counterpoint Context Subdivision in Whole Dissection and Subtraction

+C

A

Whole Mass Intersecting Degree 2 and 3 Curves Non-Coincident Edge Condition Counterpoint Context Subdivision in Whole Dissection

+D Distorted Quadrilateral Intersecting Degree 2 Curves Non-Coincident Edge Condition Counterpoint Context Subdivision in Whole Dissection or Subtraction

B

C

D

In order to research and discover a potentially viable design proposal, a series of subdivision tests were performed on simple geometries to understand how whole objects could be parsed into smaller units. While initial tests proved to be fruitful exercises in exploring the various possibilities for subdivisions, these early endeavors lacked spatial and formal complexity and interest.

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PROCESS: ADVANCED TESTS/ SUBDIVISION of FORMS/ KINETIC POSSIBILITIES + Advanced Tests

+ Translation + Advanced Tests

+ Exploration of Gaussian Curvature NURBS Curves/ Surfaces

1

+ Translation

+ 1 + 2 Mesh Composite

Mesh Conversion/ Sculpting of Geometry

NURBS Curves/ Surfaces

2

+1 Isometric

+ Subdivision Identify Max Edge Boundary for 1 1 May not Penetrate Boundary of 2

+2

1+2 Composite

+E

Non-Developable Non-Intersecting Degree 2 and 3 Curves; Complete Figures Coincident and Non-Coincident Edge Condition Sympathetic and Counterpoint Context Subdivision in Whole Dissection and Subtraction

Curve/Isoparm = Max Edge Boundary

+ Rotation About a Fixed Hinge

+3

+1

+2

+3

+ Retractable Apertures at Isoparm Divisions

+ Rotation About a Fixed Hinge Starting Rotation = 0

Sample Rotation = 25

Rotation = 40

+ Retractable Apertures at Isoparm Divisions

Maximum Rotation = 56 56 40

25

+1 +1

+2 +2

+3 +3

+1

+2

+3

+ Telescoping and Rotation

+2

+3

+ Translation and Rotation about a Track + Translation and Rotation about a Track

+ Telescoping and Rotation

Sample Rotation = 8.25 (.55/1)

+1

+4

Rotation = 11.25 (.75/1)

Maximum Rotation = 15 (1/1)

Sample Rotation = 28 (.5/1)

Rotation = 42 (.75/1)

+1

+1

+2

+2

+3

+3

Maximum Rotation = 56 (1/1)

+4

+4

+1

+2

+3

+4

+1

+2

+3

+4

To further develop the initial tests, curvature continuous, subdivision meshes were explored. This phase of research is concerned with exploring various permutations of, and possibilities of, movement for the constituent geometries. 3D printed model tests were conducted to understand the possibilities as well as potential difficulties of the process.

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SURFACE SUBDIVISION: COLOR and GRAPHIC CONSIDERATIONS

Drawing from Razzle patterning and Supergraphics, similar graphic possibilities can be applied to an envelope without deference to any formal or geometric properties of the surfaces to which they are being applied. These options are to test the formal, visual, and possible spatial ramifications of the juxtaposition between the initial curvature continuous forms and contrasting patterns, as well as identifying possibilities for kinetic interaction with, or dependency upon, such patterns. Below: Rhino model with VRay rendering.

+1

+2

+3

PROTOTYPICAL INVESTIGATIONS: MATERIAL and KINETIC TESTING via a MID-SCALE PHYSICAL MODEL

FILM OF PROTOTYPE– nemariakis.com/the-smooth-and-the-striated/prototype The initial tests became manifested in a mid- scale, fully motorized prototype model, measuring at 18” x 12” x 5”, and which was intended as a heuristic tool for the subsequent architectural design. The model is driven by a servo motor scripted via an Arduino Uno, and is also interfaced with various Grasshopper scripts. The motorization is dependent upon a heat sensor—my intention for the kinetic aspect of the design is based on responding to the extreme weather in Montreal. A short final film of the prototype can be seen at nemariakis.com.

Acrylic cast plastic with cyan pigment; acrylic mirror- base; Arduino controller; MDF; servo motor; wood dowels; 3D powder print.

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MATERIAL INVESTIGATIONS

Concurrent with kinetic tests are material investigations NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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INTEGRATION INTO THE SITE: DEVELOPING the FORMS

+P

+E

+B

The two main building forms, designated as the Perennial building and the Ephemeral building, have been nested into the Base. By creating a larger tectonic unit, this strategy allows for additional programmatic opportunities for this culture park—such as spaces for museum/gallery; events; offices; research; and, living.

The Base is a continuous, flowing surface; this creates a series of upward and downward topological changes, which also allows for moments of spatial and peripatetic interest. The surface adapts to the water’s edge by lifting the Northern and Eastern extents of the architecture, thereby creating additional opportunities for enclosure, and descends gradually into the Fleuve Saint-Laurent by means of a series of “fingers.” The fingers create a channel through, and under which, the river flows. Additionally, the fingers allow users to experience the optical effects of the architecture’s patterning.

Working in contrast against the curvature continuous forms is a large- scale panelization logic, which carves and subdivide the surfaces.

The logic of smoothing and striating is developing into the final proposal.

PROJECT DEVELOPMENT: EXPLORING STRIATIONS and PATTERNS + Option 1: Mapping Type from Large to Small: Planar, Planar, Planar

+ Option 2: Planar, Planar, Planar

+ Option 3: Planar, Box, Box

+ Option 4: Planar, Box, Planar

+ Option 5: Planar, Planar, Surface

+ Option 6: Spherical, Box, Surface

+ Option 7: Surface, Planar, Spherical

+ Option 8: Spherical, Spherical, Box

+ Option 9: Spherical, Box, Capped Cylindrical

+ Option 10: Planar, Planar, Planar

In this phase, the earlier study of surface subdivision: color and graphic considerations is progressed. Above are some of the exploratory tests that consider color as well as possible patterning logics for the final design, based on a study of op-art/optical art.

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SURFACE STRIATIONS/PATTERNING: OPTICAL ART

Among others, the work of seminal optical artist Bridget Riley was studied. The black and white piece on the bottom right is a vectorization of the work of Bradley Munkowitz, and the grey-scale and blue-toned versions to the left are adaptations of his original work.

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DESIGN PROGRESSION: THE SMOOTH, STRIATED, and PERFORMATIVE

+Architectural Logic in Diagram: Annual Space and Seasonal Space

+1– Outer Objects

+2– Objects-in-Objects

+3– Delamination of Outer Objects

+4– Breakage of Closed Volume

+5– Full Extension

The movement and duration of primary and secondary kinetic elements are predicated upon factors related to weather. Responding to Montreal’s bitter temperatures in the Winter, the Ephemeral space telescopes and retracts over the course of the year. The upper glass facade on the Perennial building rotates and peels away when necessary, providing ventilation, cooling, and-or ambience for events.

DELAMINATION: DETAIL SECTION and EXPANSION DIAGRAM +1– State A

STATE CHANGES +1– State A

+2– State B

+2– State B

+1– State A

+2– State B

+Reflections

+3– State C

+4– State D

Striations in the surface patterning become vehicles for a kinetic logic in the design. The above examples demonstrate how the architecture can break apart in unexpected ways. First, as seen in the State B options above, the glazing can rotate which creates minimal surface perforation. In the Summer, as seen in states C and D, the Ephemeral building extends fully open to invite habitation. There are no doors for public use; rather, delaminations create openings. A highly reflective cladding is utilized to enhance visual distortions.

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IN DURATION: DIAGRAMMING, KINETICS and ANNUAL WEATHER in MONTREAL +Closure/Extension Delamination +Q1

+Aleph/Arc in Perpetuity

-20

+Lag

-10

0

10

20

30

+C

+January

+February

+March

+Q2

+April

+May

+June

+Q3

+July

+August

+September

+Q4

+October

+November

+December

The daily, monthly, and annual kinetic operations of the architecture are here diagrammed in duration.

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IN DURATION: EXAMINING the WEATHER PATTERNS that DRIVE the KINETIC OPERATIONS + Drawing in Duration/ Aleph + Static, Kinetic, Temporal, and Physical Conditions

+January

+February

+March

+April

+May

+June

+July

+August

+September

+October

+November

+December

+ Q1

+Q4

+ Relative Extent of Telescoping; Rotation (not to scale)

+ Ibid.

+ Annual Temperature Cycle: Highs and Lows of Montreal

+ Fluctuation of Telescoping, Rotation; Lags Behind Temperature Shift

+ Q2

+ Q3

+ A; A’

40 30 20 10 0C -10 -20

+January

+February

+March

+April

+May

+June

+July

+August

+September

+October

+November

+December

Intended to accompany the previous duration drawing, this diagram provides another reading of the weather patterns of Montreal in relation to the intended kinetic response. As the Ephemeral space expands into full extension, this diagram traces and predicts the movements of the overall dilation. Aleph, the first letter of the Hebrew alphabet, is here arced as a symbolic abstraction of temporal perpetuity.

Striated Pattern– The pattern which was ultimately chosen for the project provides several desired qualities—such factors include: curvilinear, striated, arrangements which vary by working both synthetically or contrarily against the smooth forms of the design; optical distortions that are powerful enough to alter perception, but not severe to the point of cacophony; providing mystery and intrigue. Additionally, due to Montreal’s extreme Winter conditions, and mild Summers, a mostly black envelope was chosen to maximize the absorption of solar radiation.

Montreal’s Winter– Before creating the final series of renders, this mood render was drafted to show the architecture as seen from the adjacent Jacques Cartier Bridge in the midst of Montreal’s brutal cold. Although the island of St. Helen’s is fairly desolate in the deep Winter, Buckminster Fuller’s dome of Expo ‘67 is in full use year- round, and this culture park aims to bring more persons to the island.

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PLAN: MAIN LEVEL

Plans– Much like Cedric Price’s Fun Palace, this culture park refrains from excessively prescribed programmatic spaces. Rather, the building performs and adapts to craft new types of inhabitation. This plan of the main platform level focuses on both the Perennial as well as Ephemeral buildings; however, it is the upper level (the object-in-object) of the seasonal, Ephemeral space which is mostly articulated. A portion of the Base building is featured as shown in 8 on the key of the plan. These portions are showing flexible space, and can be viewed in the section on the following spread.

1

13

12

2

11 5

3

4

10

6

3

9

2 7

8

8

9

6

6

7

MAIN PLATFORM FLOOR/ UPPER LEVEL OF EPHEMERAL SPACE

1

ENTRY FOR YEAR-ROUND SPACE

8

BASE LEVEL EXHIBITION/ FLEXIBLE

9

ENTRY SPACE FOR PERFORMANCE HALL

2

SEASONAL SPACE

3

YEAR ROUND OFFICES

10

PERFORMANCE HALL

4

FLEXIBLE

11

GREEN-ROOM SPACES

5

BASE ENTRANCE

12

GALLERY

6

RIVER AND BASE LEVEL OFFICES

13

RETAIL / EVENT MERCHANDISE

7

RIVER VIEW

7

5 10 20

30

50

100

200

+ BUILDING PROGRAM = UNDEFINED; TO FIT WITHIN BOUNDS OF SITE

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IN SECTION: NORTH-SOUTH and in DETAIL

The section intends to show a wide range of activity possible in this modern culture park. The Base building connects to grade, and features a number of perforations leading into the architecture. The Base is also a continuous surface, ramping to various topological points. The Perennial building features spaces nested into larger spaces, or objects-in-objects. The glazing, in both the Ephemeral and in the Perennial buildings, is shown in duration.

SECTION

1

SEASONAL SPACE (DOORLESS–KINETIC EXPANSION CREATES OPENINGS)

2

SEASONAL ELEVATED OBJECT SPACE

3

YEAR ROUND SPACE FOR OFFICES/ FLEXIBLE

4

NON-ZERO GAUSSIAN RAMPING SURFACE–WITH SPACES FOR REST AND VIEW

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SPACE FOR OFFICES

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ENTRY SPACE FOR PERFORMANCE HALL

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LARGE PERFORMANCE HALL

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STORAGE

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EXHIBITION/ GALLERY/ FLEXIBLE

10

BASE ENTRANCE NORTH

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FLEXIBLE

12

SMALL PERFORMANCE HALL

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KINETIC ENTRY SPACE FOR SMALL PERFORMANCE HALL (WITH OPENING GLAZING)

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SPACE FOR REPOSE/ SOCIAL SPACE

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This detail section highlights the Eastern edge of the Ephemeral building, which corresponds to the end of this building, which is furthest from the water. A suspended, or seemingly floating object hangs from the delaminating architecture above. This hanging space for offices or flexible program is habitable year- round and is able to be entered via stairs or the elevator which connects to the lower Base. The lower level of the Ephemeral space features no doors, but rather delaminates in Spring and in the Summer to allow entry.

2 3 1

4

5 4

5 10 20

30

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100

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MODELS: DETAIL SECTION and FINAL FORM with IMMEDIATE CONTEXT

+1– State A

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+2– State B

+1– State A

+2– State B

+3– State C

Final Models [SECTION: 1/8”=1' = 1:96, 12”x 9”x 7”; MASS/ SITE: 1/64” =1” = 1:768, 11-1/2”x 10-1/2”x 2” ]– The final models are movable and intended to demonstrate duration. Visual distortions become quite apparent, especially in the bottom array with shallow depth of field.

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+1– State A

+1– State A

+2– State B

+2– State B

This large section model expands and delaminates to reveal the movement of the architectural proposal. Enclosed within is a diagrammatic representation of the “object-in-object.” Metal fastener; PLA printed inner object; powder printed section model.

This massing/ site model features a slightly varied striation pattern. Acrylic; MDF; mounting board, grey; powder printed massing.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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RENDERS: IN CONTEXT

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View Looking West/ Northwest– In this view, the architecture is shown in Spring or Summer— the Ephemeral building has been fully expanded to show the suspended object inside. The Base gently curves and ramps to various levels, and is fully and freely open to the public. The super reflective cladding enhances the desired distortions in the striations, creating new experiences at each turn and with changing light. As a result, the cladding, in response to solar conditions, serves to facilitate the overall objective of demonstrating duration in the architecture, albeit in a non- mechanical fashion.

To capture the quality of highly dynamic lighting conditions, a render style was utilized that harkens the painting techniques of 19th Century Luminism.

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View Looking West– This rendering depicts the lower level of the Ephemeral space in Spring or Summer. Materially, the surfaces appear even more reflective than the exterior cladding, creating an ultra distortive effect, which enhances the striations against the smoothed surfaces. This extreme distortion recalls 16th Century Mannerist architecture, as seen in the swirling optical illusions in The Chamber of the Giants in Palazzo Te Giulio Romano. The bottom of the object-in-object above is clad with a slightly opaque, bronzed glazing. There are no doors in this lower level, allowing free movement.

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Object-in-Object– Here, the habitable roof of the object-in-object appears to float among the trees and Fuller’s Expo ‘67 dome. The cyan, plastic, material test has re-emerged to the left of the render.

Inside the Perennial Building Looking West– As the Ephemeral building is pushing the boundaries of weird, the interior of the Perennial building is contrastively comfortable.

Striations, and reflections, however, are not dismissed here. The glazing, shown here, opens fully in the Summer. A live jazz band plays before a view of downtown Montreal.

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THE SMOOTH AND THE

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STRIATED

View from the River– Depicted in Spring or Summer. Access to the far extents of the fingers is available from all sides of the Base.

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//04

REST / HOME

LUXURY + HOMELESS HOUSING

PHILADELPHIA, PENNSYLVANIA 601 FALL, 2013 | Duration: 13 Weeks | Type: Individual CRITIC: Scott Erdy/ Erdy McHenry Architecture

REST/ HOME

STUDIO OBJECTIVE AND INTRO

UNIVERSITY CITY

Photo by me

PHILADELPHIA, PENNSYLVANIA Located at the threshold between the University City area of Philadelphia and the greater Center City area of the metropolis, this studio calls for a new home for My Brother’s Keeper; this organization is a non-profit Christian ministry that seeks the recovery and rehabilitation of homeless individuals.

The studio agenda additionally seeks to unite two very disparate groups of people into one architecture—the haves, and the have nots—the former group will assist in subsidizing the architecture. The latter group comprises those persons served by MBK. For those in transition between life on the streets and life in society, REST/ HOME seeks to be a place of renewal, featuring necessary housing, counseling, medical, and employment spaces.

The architectural proposal also aims to be a place of respite for not only all who live here, but for the public as well. Multi-tiered “parks” have been programmed into the architecture, which serve as places of repose in an otherwise thronged urban milieu.

The site is located in a 33 to 36 foot deep plot, which requires the architecture to respond accordingly. The superstructure is elevated to allow upper- street level pedestrian traffic to pass beneath, and the supertruss provides for spatial and architectural opportunities and experiences.

Concurrent with the architectural project, instructor Scott Erdy arranged for the studio to spend the semester designing and building a homeless park in Camden, New Jersey, at 442 Grant Street, called FORM/ REFORM. The team was given a 2000 dollar stipend by the University. Photographs and a detailed description are on p.180.

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PENN PARK

30TH ST

CENTER CITY

IRS 33 STO

REY EVO

TOWER

UT ST

RIV LD

RAIL

SCHUYLKILL RIVER

SCH

UYL

KIL

CIRA GREEN ROOF-PARK PENDING

CHESTN

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8 STOREY GARAGE

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I-7

6

WALNU T

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SITE: DIGITAL SITE MODEL

[2]

33’-36’ STREET LEVEL

[1]

[5]

[4]

[3]

[6]

172’

183’

The site is located at the intersection of 30th and Walnut Streets, at the transition between Center City and West Philadelphia/ University City. Adjacent and near to the site are several multistory and tall buildings ranging from 8 to 33 levels; the latter being EM Arc’s EVO. SITE: PHOTOGRAPHS

[1]–Looking E

[2]–Looking E

[3]–Looking W

[4]–Looking N/NE

[5]–Looking S/SE

[6]–Looking E

Inherent to this location within the city is the common condition of bi-level streets—this site for My Brother’s Keeper is on such a portion of Walnut Street, ranging from 33 to 36 feet below the Walnut Street bridge. These lower portions of streets are typically devoid of rich human occupation (or light). Overcoming the separation between ground and street, therefore is a goal of this project.

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PROCESS: FROM IDEA to ARCHITECTURE

MASS

LIFT

ENCLOSURE (FOR A PLACE OF RESPITE)

PROGRAM- 50K SF

ROTATE EXTERIOR (VIEWS TO CENTER CITY)

EXPAND INTERIOR

ANGLED COLUMNS/ VERTICAL CIRCULATION

CONNECT WITH STREET/ CUTS FOR LIGHT

FLOOR PLATES/ SHELL

TRANSITION 1 BED LUXURY

RAIL

CH SWIT

PATH OPPORTUNITIES FOR PROGRAM

SUPER TRUSS

VERTICAL PATH/PROGRAM

ELEVATED PARK

LIFT— Bring the living spaces above the street; light is an essential aspect of space, especially domestic space.

ENCLOSURE— (For a place of respite) This provides a feeling of community, and allows sunlight below as well as facilitating ample interior perimeter lighting.

PROGRAM— Luxury and 1 bedroom spaces to be oriented towards Center City, and Penn Park, respectively.

ROTATE EXTERIOR— The luxury spaces to be rotated for maximum views towards the skyline of Center City Philadelphia.

EXPAND INTERIOR— This serves to break the monotony of the square courtyard, and provide usable floor space.

ANGLED COLUMNS/ VERTICAL CIRCULATION— Columns allow cantilever to extend further over the rail switch; also provides aesthetic, spatial, and experiential interest.

FLOOR PLATES/ SHELL— In order to mitigate a static relationship between the bounds of the exterior envelope and the interior program, the superstructure will be distinct from the structure of the interior programs.

TRUSS— A supertruss, designed as an asymmetrical melding of Belgian and Warren trusses, supports the superstructure.

VERTICAL PATH/ PROGRAM— This path will feature both park and program spaces; and, it will extend from the ground, to the street, and to the roof park. The aim is to create both public and private vectors.

ELEVATED PARK— The elevated park aims to connect the architecture with Penn Park, which is immediately to the South, as well as to create a park space for those living within the architecture.

The above diagrams demonstrate the foundational drivers upon which the architecture is predicated. Such vignettes are intended to identify both challenges as well as opportunities, both of which serve to inform the architectonic manifestation of the project.

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PROCESS: FROM IDEA to ARCHITECTURE MASS

VERTICAL PATH/PROGRAM

ELEVATED PARK

ENCLOSURE

+

=

PERMEABILITY

These vignettes were further used to assist in describing and driving the formal and logical characteristics of the project. After analyzing the site, it became particularly important to address the lack of porosity of the site; given the lack of pedestrian traffic on 30th street, and the massive extents of the block (172’ x 183’), a street-level platform is introduced to bring individuals into the architecture.

~ 105 105-15= 90 DEGREES

View to Center City Near the Site.

Photo by me

15

According to programmatic constraints, the architecture is required to be a space of transition for homeless individuals, featuring 36 apartments specially designated to that demographic. The primary economic driver for the project is luxury apartments whose income will generate the needed revenue. Thus, every step was taken to craft luxury spaces that feature unimpeded views of the Center City skyline.

HAVES– LUXURY/ 2 BED (8 x ~1000 SF = ~8,000) HAVES– 1 BED (12 x ~400 SF = ~4,800 SF) HAVE NOTS– SRO (36 x ~250 SF = ~9,000 f)

Based on square footage requirements for the project, and in light of other considerations such as the cloister, it was calculated that all of the apartments can fit into a two-level scheme.

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DEVELOPING THE STRUCTURE: LOGIC and PHYSICAL MODEL TESTS SUPERTRUSS

+

=

BELGIAN

WARREN

LOGIC OF SUPERSTRUCTURE

MASS

FLOOR PLATES

FILLING THE VOID

TRUSS



EMPTY SUPERSTRUCTURE

CONFORMING INNER OBJECTS

NON- CONFORMING

STRUCTURAL TESTS

Test Model

[1/16” =1” = 1:192, 13”x 11-1/2”x 2-1/2” ]–

With Superstructure

[13”x 11-3/4”x 5-1/2” ]–

Acrylic.

Acrylic; chipboard; Plastruct.

As seen in the middle-left photograph above, an early structural test incorporated a moment-resisting/rigid frame, but evolved into the truss scheme. Structural test models were key. Below: Structural Section with Hinged Connections [18”x 4-3/4”x 2” ]– Metal screws; MDF. NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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UPPER / THIRD FLOOR 10

D 6

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LUXURY TWO BEDROOM

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RESTAURANT UPPER

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GYM UPPER

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ONE BEDROOM

5

HOMELESS ACCOMMODATIONS

6

MULTI-PURPOSE ROOM/SPACE

7

CLINICAL

8

KITCHEN

9

LAUNDRY

10

D

MANAGEMENT OFFICES

(FROM ROOF)

4

U D

3

2

LOWER / SECOND FLOOR 4

5

6

u

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ROOF GARDEN/ PARK OVER THRIFT SHOP

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GYM LOWER

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RESTAURANT/ KITCHEN LOWER

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COUNSELING OFFICE

5

CLASSROOM

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DENTISTRY

7

PHARMACY

D U 3

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+ BUILDING PROGRAM = 50,000 FT2

STREET / FIRST FLOOR

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THRIFT SHOP / BACK-OF-HOUSE

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THE PLATFORM IS AVAILABLE FOR OPEN-AIR MARKETS

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IMMEDIATE INTAKE HOUSING/ CODE BLUE SHELTER

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RESIDENT DIRECTOR’S QUARTERS

5

INTAKE OFFICE

1

2

ONE BEDROOM ~400SF 5

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10

25

50’

5

10

25’

PLANS: UNIT and SITE

ROOM WITH MULTIPLE BEDS FOR EARLY ENTRANTS

SRO/ HOMELESS ~250SF

ROOM WITH KITCHEN FOR PROGRESSING INDIVIDUALS

LUXURY/ TWO BEDROOM ~1000SF

The program features full accommodations for incoming homeless individuals, as well as spaces for retail—a restaurant, thrift shop, and the street-level deck, which can be used for pop-up, daily, farm-markets (common in West and South Philadelphia). Drafted in AutoCAD. NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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SECTION AND MODELS: NORTH/SOUTH, TEST SECTION, and DEVELOPING the STRUCTURE

A– SUPERSTRUCTURE

B– FILLING THE VOID

C– ENCLOSED/ ROOF PARK

Section Drawing– View looking West towards Penn/ University City. The ground- and roof- parks are intended as “extensions” of Penn Park to the left. Section Model [1/8” = 1’ = 1:96; 14-1/2”x 6-1/2” x 3-1/2”]– Section test featuring object-in-object logic. Acrylic; butterboard; MDF; wood dowels.

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33’-0”

18’-0”

12’-0”

12’-0”

SECTION: EAST/WEST

This section features the initial logic for the interaction between the superstructure and the interior spaces. Early iterations of the plans have been placed at their corresponding levels within the 3D model. To improve legibility, the lower/second floor plan has been projected to grade-level.

ELEVATION: SOUTH

88’

76’

62’

51’

33’

Along with the roof-park and luxury suites, the hanging restaurant at the top right faces Center City Philadelphia. *Note: The model above, and only this model, was completed for ARCH 731-001, Experiments in Structures. The goal was to create a diagrammatic iteration of a truss section, testing the structural behavior and viability of the pins and composite truss.

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MODELS: SITE and DETAIL SECTION

Large Scale Site and Final Massing [1/16” = 1’ = 1:192; 42”x 24”x 46”]– Group model featuring cutaway for views of grade-level.

For the final model, an alternate stair scheme was proposed. Acrylic; chipboard; MDF (natural and spraypainted); plywood.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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Large Scale Section [1/4” = 1’ = 1:48; 22”x 16”x 7”]– Section test featuring the prefinal structural logic; no object-in-object paradigm. Acrylic; birch ply; chipboard; wooden dowels; spraypaint.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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RENDERS: IN CONTEXT

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View from Center City– On the opposite side of the river banks, the Schuylkill River Trail connects to the elevated streets above. Being situated along the body of water, the architecture enjoys unimpeded views of Philadelphia’s skyline.

View from the East– The composite truss logic was adopted in order to avoid the strict repetition of equally angled members. As a result, the architecture is more vibrant and espouses a more humane character.

To counter the shear forces towards the ends of the trusses, the members become more closely arranged.

Between Schuylkill Avenue and the site are regional SEPTA, CSX and AMTRAK rail lines. To the top-left of the architecture, the restaurant hangs from the superstructure, overlooking Center City and South Philadelphia.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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Walking onto the Platform from Walnut Street– As intended, the open logic of the design allows permeability into and through the site, and provides the opportunity for open-air, yet covered, pop-up markets. Towards the left of the frame, a perforation in the platform allows light to flood below—thus mitigating the imposing, dark, quality of the elevated street—as experienced from grade.

Looking South from The Management Office– This render depicts the experience of the interior cloister.

Below this office, the roof of the retail space serves as a portion of the elevated park. On the upper/third floor plan, this view corresponds to number 10. As seen embedded in the right stairs leading to the upper roof, there are small extensions of concrete—that create seats or platforms where human interaction or rest may take place.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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Looking East from a Luxury Two Bedroom– On the upper/third floor plan, this view corresponds to the apartment just above number 1.

As intended, these apartments deliver views of Philadelphia’s Center City, and R.A.M. Stern’s Comcast Center. Seen here, as well as seen in the first two renders of the East facade, the platform which borders the truss is habitable; open-air, yet covered.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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REST / HOME 128

View from the South side of Walnut Street– The architecture floats above the street, allowing pedestrians to pass through the otherwise imposing block. This will enable easier passage between the Walnut and Chestnut Street corridors near the river’s edge, over which hundreds of pedestrians cross daily.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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//05

VERDURE SPACES URBAN HEALTH FACILITY

PHILADELPHIA, PA 502 SPRING, 2013 | Duration: 13 Weeks | Type: Individual CRITIC: Keith Vandersys/ PEG OLA

VERDURE SPACES

STUDIO OBJECTIVE AND INTRO

PHILADELPHIA, PENNSYLVANIA verdure noun. Definition: 1: the greenness of vegetation; also: 2: a condition of health and vigor.

Critical to the future of this nation, or any nation, is the health of its people. On the local level, each city must address this issue with respect to the specific needs of its inhabitants according to the nuances of its urban context. Places of preventative care, such as urban health facilities, may prove crucial in bringing to fruition the dire need for salubrious living.

The design of VERDURE SPACES incorporates the essentials of an urban health facility: spaces for outpatient care; therapy; and, counseling.

Additional amenities include spaces for exercise; class rooms; greenspace; dance; steam baths; a marketplace; and, spaces for those in transition from homelessness.

By means of utilizing interstitial spaces, or zones of Metaxis (from the Greek Metaxi, meaning “in the midst�), transitional zones become spaces for inhabitation. The overall form and logic of the architecture unfolds from contextual vectors that have been identified and mapped in 2D, and then explored in 3D. The resultant design is predicated upon a logic of half- levels, enabling users to experience the architecture without requiring the use of stairs.

Not only is this intended as an architectural and experiential maneuver, but pragmatically for those to whom the ADA applies, as well as to those with temporary disabilities.

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UNIVERSITY CITY

CENTER CITY

SOUTH PHILADELPHIA

H

ST

CS

X

RA

UT

PENN PARK

IL

SO

AT&T

6

7 E-

T TA S R

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IN

SCHUYLKILL RIVER

T N RY A C LE VA RTIL T A EPO D

UE

EN

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S

U CH

Y

I LK

AV

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SITE: DIGITAL SITE MODEL

[1]

[3] [4]

[2]

SITE: PHOTOGRAPHS

[1]–Looking S

[2]–Looking S/SW

[3]–Looking E/NE

[4]–Looking W

The site is located at the Eastern bank of the Schuylkill River in Philadelphia, in between an abandoned artillery depot (as seen towards the left in image 4 above); a data/telecommunications center for AT&T (towards the right in image 3); and a series of residential blocks towards the South/Southwest of Schuylkill Avenue. The South Street Bridge immediately borders the site on the North (from where image 1 was taken) and is one of the major transportation hubs in the city, linking Center City with University City.

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SITE INVESTIGATIONS: VECTOR-MAPPING the HISTORIES and NATURAL FORCES of the SITE

1796

1855

1895

1962

CURRENT–2013

IBID

UNCONTAINED FLOW

LOCOMOTIVE USE-DENSITIES

MARITIME SERRIEDNESS

CIVILIAN CONSTITUENCIES

VERTICAL RIVULETS

HYDROKINETIC EXPANSIONS

The initial tests conducted according to the studio’s methodology required identifying, mapping, and abstracting both historical and current forces embedded within the site. The aim is to find relevant vectors as well as ways of considering solid/void/interstitial spaces.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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SITE INVESTIGATIONS: VECTOR-MAPPING the HISTORIES and NATURAL FORCES of the SITE ROTO-EXPANSIONARY TESSELLATIONS

=

+ A

1

2

3

4

5

MAPPING OF FLOOD AND URBAN VECTORS

METAXIS

MAPPING THE INTERSTITIAL / METAXIS

μεταξύ // “IN THE MIDST; BETWIXT; BETWEEN; INTERVENING.”

B

C

FOLDING OF THE DIAGRAM // TO EXPLORE GEOMETRIC POSSIBILITIES

SPACES// OF EVENT OR PROGRAM

SPACES // OF METAXIS/ INTERSTITIALITY

CONNECTIVITY // VECTORS WITHIN THE DIAGRAM SHOW PATHWAYS INTO CONTEXT.

LINEAR GROUPS = POTENTIAL CIRCULATORY PATHS

INTERROGATION // HOW DOES CIRCULATORY MOVEMENT INFORM PERMEABILITY?

INTERIOR

INTERIOR

EXTERIOR

EXTERIOR

HYBRID

HYBRID

INITIAL EXPERIMENTS // INTERIOR / EXTERIOR / BOUNDARIES

+

OPTION 1

HYPOTHESIS // PERMEABLE BOUNDARY OPTIONS

=

+

=

OPTION 2

A– Teleology– The architectural proposal integrates event and program spaces intended for both the houseless and the housed.

Programmatic sequencing aims to exploit spaces of metaxis, or interstitial spaces, in order to create and engender news ways for both groups in to interact. B– Connectivity– Vectors within the diagrams suggest directional pathways both through the architecture and into the urban context.

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TEMPORAL CONSIDERATIONS: MAPPING the DIURNAL and NOCTURNAL CYCLES of the PROGRAM

TEMPORAL CONSIDERATIONS KEY: SPATIAL / EVENT

SPACES FOR HEALTH-PROFESSIONAL/ PATIENT INTERACTIONS EXAM—S INTERVIEW + COUNSELING—S OUTPATIENT—S SPACES FOR PATIENT WELLNESS SENSORY ISOLATION—S

INTERIOR / EXTERIOR

ANALYSIS OF POTENTIAL ORGANIZATION OF SPACES

DIURNAL / NOCTURNAL

5

6

7

...DAWN......

8

9

10

11

12

1

2

3

4

5

6

7

...DUSK............

8

9

10

11

12

1

2

3

4

INTERIOR EXTERIOR HYBRID

GROUP THERAPY—M STEAM BATHS—M SPACES FOR PRESENTATION/ EDUCATION SMALL LECTURE—M PRESENTATION—M CLASSES (BODY/ MIND/ DANCE)—M MEDIA CENTER—M LECTURE—L EVENT SPACE (PUBLIC)—L CONFERENCE—L SPACES FOR MARKETPLACE EXCHANGE MARKET—L SPACES FOR PROGRAM/ VARIOUS KITCHENS—M ENTRANCE(S) RESTROOMS MANAGEMENT OFFICES SHIPPING/ RECEIVING STORAGE MECHANICAL

WEEKDAY / WEEKEND M T

W

TH

F

S

SN

SPACES FOR WILDCARD // HOMELESS REVIVIFICATION ENTRY-LEVEL HOUSING: “SAFE HAVEN” TRANSITIONAL HOUSING COMMUNAL SPACES TECHNOLOGY ACCESS SPACES SPACES OF EXTERIORITY OUTREACH AND COMMUNICATION HEALTH AND RECREATION LAND RESTORATION AND MAINTENANCE WATER DISTRIBUTION AND RETENTION WATER FEATURES (RECREATIONAL/ THERAPEUTIC/ FUNCTIONAL)

INTERIOR / EXTERIOR INTERIOR EXTERIOR HYBRID

TEMPORALITY / DIURNAL-NOCTURNAL UP TO 1/4 DAY UP TO 1/2 DAY

SEASONS WINTER

SPRING

SUMMER

AUTUMN

UP TO 3/4 DAY UP TO 4/4 DAY

TEMPORALITY / SEASONAL WINTER SPRING SUMMER AUTUMN

PROGRAMMATIC / METRICS S ~ 10,000 M L V

~ 15,000 ~ 20,000 ~15,000

C– Temporal Considerations– In the diagrams to the left, entitled Initial Experiments and Hypothesis, lines are suggestive of spaces—such

spaces being permeable—lines are not intended to convey rigid structural boundaries. Resulting from these diagrams and above, the following interrogative questions arise: what results from interposing the proposed circulation with the tentative programmatic arrangement? How will these potentialities function spatially/architectonically/temporally? What paradigm will best facilitate interstitiality?

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PLANS: ARCHITECTURALIZING the DIAGRAMS and INITIAL RESEARCH

15

1

14

U

1 U D

10

U D

7 D

D

U

U

12

U

1

5

6

U

9

8

D

1

1

1 1

U

2

11

U

3 6

4

4 13 1

+ BUILDING PROGRAM = 50,000 FT2 GROUND / HALF-STOREY BELOW GRADE

15

1

UPPER ENTRY SPACE/METAXIS/INTERSTITIAL/ ENTRY SEATING

2

LOWER ENTRY SPACE/ CHECK-IN

3

OFFICES

4

CLINICAL

5

SAUNA/POOL/STEAM BATH

6

RIVER ACCESS/ ENTRY

7

PATIENT ROOMS/ EXAMINATION/ HOMELESS SHELTER OVERFLOW

8

STORAGE

9

BATHROOMS

10

EMERGENCY HOMELESS SHELTER/CHECK-IN

11

RAMP TO ENTRANCES/ SPACE FOR PERFORMANCES/EVENTS

12

PARKING

13

PUBLIC SPACE

14

OUTDOOR REST SPACE

15

OUTDOOR WEEKEND MARKET

U

2

U D

1

D

4

5 3

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U

3

3

D

8

11

10

9

D

U D

7

6

1

3

4

D

3 D

U

3

5

2

LEVEL ONE

LEVEL TWO

1

UPPER ENTRY SPACE

1

WAITING/ REST/ VISITOR SPACE

2

INFO/ GREET/ EVENT SPACE

2

OFFICES

3

METAXIS/ INTERSTITIAL

3

METAXIS/ INTERSTITIAL REST-SOCIAL SPACE

4

PRESENTATION/ LECTURE/ EVENT

4

SLOPING INHABITABLE ROOF GARDEN

5

HALF-LEVEL JUNCTURE WITH RAMP

5

BALCONY

6

INTERIOR SENSORY ISOLATION (RIVER VIEW)

7

PATIENT REHAB

8

GROUP THERAPY

9

BATHROOMS

10

OUTPATIENT

11

INHABITABLE ROOF SPACE

10 25

75

150

300

Plans– The health center features a robust program, and the plans incorporate both the metaxis/interstitial considerations, as well as the temporal considerations. Pathways, leading to vectors embedded within the surrounding context, connect the site to the urban milieu.

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139

IN SECTION: EAST/WEST and in PERSPECTIVE

Due to the placement of the CSX rail lines, which run directly at the river’s edge, the architecture cannot immediately engage the Schuylkill River. However, the proximity of the South Street Bridge is a tremendous advantage as the architecture is situated along a major corridor in the city.

12

10

13

11

14

1

7

2

9

SECTION

140

1

OFFICES

2

PRESENTATION/ LECTURE/ EVENT

3

CLINICAL

4

RIVER ACCESS/ ENTRY

5

LOWER ENTRY SPACE/ CHECK-IN

6

SAUNA/POOL/STEAM BATH

7

METAXIS/INTERSTITIAL

8

PATIENT ROOMS/ EXAMINATION/ HOMELESS SHELTER OVERFLOW

9

OUTDOOR REST SPACE

10

PATIENT REHAB

11

GROUP THERAPY

12

MEDIA CENTER

13

SLOPING INHABITABLE ROOF GARDEN

14

WAITING/ REST/ VISITOR SPACE

ARCHITECTURE + DESIGN PORTFOLIO Projects + Samples 2011-2016

8

7

6

5

4

3

As shown towards the right of the perspective section above, changes in level are facilitated by a series of ramps. Additionally, the levels are typically split at various portions of the plan, which makes transition via ramps an easier endeavor to accomplish.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

141

SITE: SITUATED in CONTEXT

142

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NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

143

MODELS: DEVELOPING the LOGIC

144

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VERDURE SPACES

Process Model [6-3/4“x 4-1/2”x 1- 1/2“]– The logic of mapping-diagrams is used to bring spatial reality to fruition. Vector forces are brought from two dimensions into three via a series of folding and copying operations. Butterboard; chipboard.

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//06

DANCE PARTY DANCE PERFORMANCE PAVILION SITELESS 501 FALL, 2012 | Duration: 7 Weeks | Type: Individual

CRITICS: Julie Beckman/ KBAS + Joshua Freese/ Sp[a]delabs

DANCE PARTY

STUDIO OBJECTIVE AND INTRO

SITELESS Located in the arts and residential district of a siteless, non- specified urban location, DANCE PARTY is conceived as a cultural pavilion. The program is intended as a secondary performance space for the imagined city’s various dance troupes and dance schools.

The architecture is intended to be used in a bivalent fashion—that is, as a space for rehearsal (with such program being enveloped and interior), as well as being a space for outdoor performances.

Operating upon the assumption that dance is typically an under- appreciated form of kinesthetic art, the logic undergirding the design is predicated on the notion that dance should be made highly visible in an effort to attract the generally disinterested and desensitized American public.

To meet this objective, the architecture espouses two key features: first, a dance stage that is visible from the street and adjacent rooftops; second, an enclosed, subterranean rehearsal space with large, glazed perforations, visible to persons on street- level. These design strategies will allow dance to be experienced, viewed, and appreciated in alternative ways.

Tectonically, the architecture results from an abstracted program study, emerging from the ground through a series of triangulated folds that create planes, masses, volumes and passages—yielding a form that ultimately evokes the sense of movement which occurs in dance.

148

ARCHITECTURE + DESIGN PORTFOLIO Projects + Samples 2011-2016

ANYWHERE, USA

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

149

SITE: DIGITAL SITE MODEL

For this first architectural endeavor of 501, no site corresponding to a real location in the world was given; rather, students were provided with a digital “site” model, and a constraining x-y boundary of 100’x 65’ feet.

PROCESS: CONCEPTUAL DRIVERS RHYTHM

MOVEMENT

SPIRAL

BALANCE

CONNECTIVITY

EXCITEMENT

SPIRAL

1

2

3

4

5

6

The inception of this seven week studio project began with considering six descriptive words and accompanying images that could potentially relate to a pavilion dedicated to dance performance. These descriptors are intended to inform and assist in driving design decisions throughout the developmental process. The “spiral” diagram is composed of a simple Grasshopper script to evoke spinning.

150

ARCHITECTURE + DESIGN PORTFOLIO Projects + Samples 2011-2016

PROCESS: HARMONIZING PROGRAM with CONCEPTUAL DRIVERS

100’ X 65’ SITE

SINGLE LEVEL CONCEPT

MULTI LEVEL CONCEPT: GROUND

MULTI LEVEL CONCEPT: SECOND AND UPPER

CABARET / DINING/ BAR

CABARET / DINING/ BAR

THEATER SMALL

GREEN SPACE WITH SEATING TO ENTICE VISITATION / ENGENDER CURIOSITY

LOUNGE

ENTRY

GREEN SPACE WITH OUTDOOR DINING AND SOCIALIZING. ALSO: PERIMETER SEATING TO ENTICE VISITATION / ENGENDER CURIOSITY

INTERIOR THEATER LARGER

LOUNGE / DINING

LOUNGE / LIGHT DINING / BATHS

ADMINISTRATIVE / OFFICES

THEATER LARGER

KITCHEN

PRACTICE

THEATER SMALL

DANCERS’ BACKSTAGE / GREEN ROOM

DRESSING ROOM / LOCKERS

ENTRY

STUDIOS/ PRACTICE

BATHS

ELEVATORS / STAIRS

BREAKING THE BOX/ PROGRAM MORPH 1

4

7

2

5

8

3

6

9

PRIVATE

PUBLIC

Program options were assessed and considered with respect to a public-versus-private paradigm. The motivation for this disposition is to bring to fruition the intended goal, stated at the outset, of making dance more accessible to the lay public. It was determined that highly public, and permeable zones should exist, so as to engender public access into the venue, giving the venue a feeling of a park.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

151

PLAN AND SECTION: DRAWINGS

AA

BB

5 VIEWS– TO SUBTERRANEAN PRACTICE AREA

10

25

50

PNEUMATIC ELEVATORS– ELIMINATE A PROTRUDING CORE ABOVE THE ROOF

...VIEWS INTO THE PRACTICE AREA ARE MEANT TO ENGENDER PUBLIC INTEREST IN DANCE, AS WELL AS EXPERIENCING AND VIEWING IT IN NEW WAYS. ...CREATE A DRAMATIC REVEAL FOR THE DANCERS ARRIVING ONSTAGE

Plans and Sections– Although maintaining the open- air quality of a pavilion, the project retains the enclosed quality of architecture; below the street is the practice area for the dancers, which invites guests and pedestrians to view dance in a new way.

152

ARCHITECTURE + DESIGN PORTFOLIO Projects + Samples 2011-2016

UPPER LEVEL/ MAIN STAGE

1

PUBLIC ELEVATOR

2

PRIVATE ELEVATOR FOR DANCERS

3

OPEN-AIR MAIN PERFORMANCE STAGE

4

AUDIENCE SEATING

1

2

4

3

GROUND

1

SERVICE ELEVATOR FOR KITCHEN AND BAR

2

RESTAURANT AND BAR

3

GLAZING/ TRANSPARENT VIEWS TO SUBTERRANEAN PRACTICE AREA

4

PERMEABLE ENTRIES

5

GRASSY SPACE

6

SUNKEN AREA FOR SMALL PERFORMANCES WITH STEPPED SEATS

7

TICKETING

8

ENTRY

4

8

KITCHEN

2

DRESSING ROOM 1

3

DRESSING ROOM 2

4

PRACTICE SPACES FOR DANCERS– WITH LIGHT WELLS

5

STORAGE

6

MECHANICAL

7

BATHROOM– MEN’S

8

BATHROOM– WOMEN’S

5

7

4

3

2

3

BB

SUBTERRANEAN

1

1

6

1

8

AA

2

7

AA 6

5

4

3

+ BUILDING PROGRAM = UNDEFINED SF; CONSTRAINED TO 100’X 65’ PLOT

5

10

25

50

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

BB

153

SITE PLAN AND MODEL: ARCHITECTURE in CONTEXT and in SCALE

Site Plan– The openness, orientation, and placement of tectonic elements at street- level creates a permeable architecture—into which the public and guests may flow. Assuming that siteless, “Anywhere, USA” is in a perennially warm climate, such as the Southwest, the pavilion may be used yearround.

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Final Model [1/8” = 1’ = 1:384; 7-1/2“x 11-1/2”x 2“]– The perforations into the site show large, clear, openings for views into the practice space below. The final form incorporates the conceptual descriptors from the inception of the project, invoking the flowing movement of dance—and, the triangulated elements in the proposal are a direct reference to the “spiral” diagram on page 150, in which the overlapping of the rectangles produced long, right triangles at zones of intersection. Acrylic; museum board.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

155

PERSPECTIVE: AERIAL

156

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DANCE PARTY

Rooftop View– Neighbors at adjacent buildings can view live performances from above, similar to views of Wrigley Field from Sheffield and Waveland Avenues.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

157

ARCHITECTURE CORE STUDIOS OTHER ACADEMIC PHYSICAL MODELS PROFESSIONAL CODA RESUME

158

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//07

DESIGN INNOVATION

INHABITABLE SURFACE

SITELESS ARCH-741-001 FALL, 2014 | Duration: 15 Week Seminar, 4 Week Design | Type: Individual CRITIC: Ali Rahim/ Professor and Partner Contemporary Architecture Practice

160

INTRODUCTION: THEORY, PHILOSOPHY, SCOPE

Innovation in any given discipline requires advancements in the following: technology, or, technique. Although Professor Rahim assessed design innovation in fields such as aviation and furniture design, this seminar focused upon innovation in architecture. The very few firms and designers which garnered attention in Professor Rahim’s seminar included Gehry Partners; Zaha Hadid Architects; Greg Lynn/ Form; and, Xefirotarch/ Hernan Diaz Alonso.

Of special interest was that certain designers utilize technology in order to advance the discipline of architecture—most notably, Gehry Partners‘ innovation of utilizing CATIA (and subsequently developing Digital Project), and Zaha Hadid Architects’ incorporation of Autodesk Maya. Professor Rahim contends that these architects have innovated the discipline not only with respect to design and aesthetics, but with respect to their use of technology.

The final project was a culmination of the ideas put forth in the class; this resulted in a design that was required to be an “inhabitable surface” created in a mesh-based software suite. In keeping with the spirit of the seminar, rather than incorporating Maya, which is standard at Penn, I opted to utilize TSplines—so the design would espouse precise metrics. For Ali Rahim, the final design is of utmost importance; process does not need showing, therefore no diagrams were made. While this class was focused upon design and its relationship to technology, several hundred pages of theoretical readings were provided.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

161

Along with the requirement of the design to be created using a Mesh-based software, three other stipulations were as follows: the design must incorporate seams; nests; and, accumulations, and not be programmed. Aside from these rules, each student was completely free.

162

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Adding to the requirements set forth by Professor Rahim, my intention was to create a design that is as elegant as possible—based on clean, control- point curvature, from which the surfaces were to be based.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

163

164

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Lower Interior View– From the control- point curves that generated the surfaces, an additional aim was to create continuous, non-zero Gaussian surfaces.

Alternate Lower Interior View– Purposeful in the design was to create a surface that carves gently into the ground, and therefore requires curved, sloping ramps and geometries that recall the undulations of hills—which serves as a counterpoint to the level urban terrain in which this inhabitable surface sits.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

165

166

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Upper Interior View– Featuring overhangs and lights, the surface may be utilized in light or dark, in clear or inclement weather.

Upper Walkway View– The design is intended to evoke the qualities of a public park; free, open, access to all.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

167

168

ARCHITECTURE + DESIGN PORTFOLIO Projects + Samples 2011-2016

Exterior View– Intended in the design is to create views that change and shift depending on one’s orientation. Here, the design seems to gently flow from level ground, and does not intimate carving into the terrain nor suggest accumulations of rings.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

169

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Exterior View Looking In– Although questions of materiality were not asked to be considered, this proposal is envisaged as being built of concrete; plastic; glass; aluminum. Soft rings provide spots for rest, reading, and-or picnicking. Floating above is a walkway that bifurcates through the surface as well as through the public park.

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

171

172

DESIGN INNOVATION INHABITABLE SURFACE

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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//08

VISUAL STUDIES

TRANS MUTATION:

Mesh Primitive Evolution

SITELESS ARCH-621-001 FALL, 2013 | Duration: 15 Week Course; 3 Week Final | Type: Individual INSTRUCTOR AND CRITIC: Nate Hume/ YSOA/ HumeCoover Studio/ suckerPUNCH PROJECT SCOPE: GOALS

In ARCH 621 students explore representation, color, shape, and rendering. Geometrically, the primary objective is to utilize Maya to deform a mesh primitive, and evolve the original geometry into an inhabitable tectonic agglomeration. The final project is intended to demonstrate evolution or duration, and to be overlaid with linework along with rendering.

A

B

C

280

D 60 48 36 24 12 0

TESTS: Various options were tested with respect to geometry, as well as color. Vividly saturatedhues were initially favored.

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FINAL: Beginning with a low poly- count torus, the geometry rotates and progresses from center. A desaturated option was chosen for the final iteration.

TRANS MUTATION

HELLO. BEGIN GOODBYE. END

//09

CONSTRUCTION I-II

PHILADELPHIA:

Rowhome and Office High Rise

PHILADELPHIA, PA ARCH-531/532 Fall, 2012 | Spring, 2013 | Duration: (2) 15 Week Courses | Type: Individual INSTRUCTORS: Franca Trubiano and Lindsay Falck 1' - 6 1/2" 2' - 3"

3' - 0"

2' - 0"

3' - 0"

2' - 0"

3' - 0"

2' - 3" 1' - 3 1/2"

The ARCH 531-532 sequence is structured to provide students the opportunity to design and document two projects from start to finish; albeit, the instructors’ primary emphasis is upon cultivating documentation skills as well as developing students‘ understanding of BIM software (and thus, a building’s inherent capacity of information).

4' - 0 1/2"

1' - 3 1/2"

PROJECT SCOPE: GOALS

8' - 4"

2 ADD 202

3' - 4"

DN

10' - 9"

UP

Beginning with a small-scale, wood frame, residential structure (an addition to an existing home), the course evolves into a high rise, steel structured architecture.

The former is a Philadelphia-style rowhome, a classic typology that dates to colonial times but is still very much current in the city. The latter is a space for offices, located in the city’s Northern Liberties district.

13' - 11 1/2"

DN

5' - 8"

9' - 8 1/2"

UP

2

1' - 2"

4' - 10"

Per course requirements, these projects were created, documented, and rendered via BIM, both having been executed with Revit, which was mandatory. For both projects, students were required to include shading devices on both sets of facades.

1' - 3 1/2"

1' - 3 1/2"

ADD201

1' - 2"1' - 10 1/2"

2' - 11"

3' - 0" 1 ADD201

PLAN– SECOND FLOOR

2

2

1

1

ADD 202

ADD201

ADD201

ADD 202

Level T.O. Roof 34' - 0"

Level T.O. Roof 34' - 0"

Level 3 23' - 6"

Level 3 23' - 6"

Level 3 Rear 21' - 0"

Level 3 Rear 21' - 0"

Level 2 13' - 6"

Level 2 13' - 6"

Level 2 Rear 11' - 0"

Level 2 Rear 11' - 0"

Level 1 2' - 0"

Level 1 2' - 0"

GROUND 0' - 0"

GROUND 0' - 0"

12.3.12

Date Drawn by Scale

ARCHITECTURE + DESIGN PORTFOLIO Projects + Samples 2011-2016

3/8" = 1'-0"

2

Copy of Transverse Section - looking South 3/8" = 1'-0"

ADD 202 (((B. SECT. N/S (E. VIEW) E/W (S.VIEW)

12/3/2012 11:35:21 AM

176

Copy of Longitudinal Section - Looking East 3/8" = 1'-0"

NEMARIAKIS

Level Basement -6' - 6"

Level Basement -6' - 6"

1

Addition to an Existing Philadelphia Rowhome

Copy of Level 2 3/8" = 1'-0"

ARCH 431/531: Construction Technology 1

1

3' - 0" 1

ADD 202

4" BRICK WYTHE 2-17 1/256" SPACING WEATHERED MORTAR JOINT 1-1/2" AIR CAVITY 1-1/2" RIGID INSULATION 8" X 8" X 8" BEARING CMU 8" SPACING 6 MIL VAPOR BARRIER 1/2" METAL FURRING 3/4" GYPSUM BOARD INT WALL

Level 3 23' - 6"

Level 3 23' - 6"

Level 3 23' - 6"

Level 3 Rear 21' - 0"

Level 3 Rear 21' - 0"

Level 3 Rear 21' - 0"

4" BRICK WYTHE 2-17 1/256" SPACING WEATHERED MORTAR JOINT 3/4" WOOD SUBSTRATE 2"X6" WOOD STUD 6 MIL RUBBER MEMBRANE 6" INSULATION 1/2" GYPSUM BOARD INT WALL

4" BRICK WYTHE 2-17 1/256" SPACING WEATHERED MORTAR JOINT 3/4" WOOD SUBSTRATE 2"X6" WOOD STUD 6 MIL RUBBER MEMBRANE 6" INSULATION 1/2" GYPSUM BOARD INT WALL

4" BRICK WYTHE 2-17 1/256" SPACING WEATHERED MORTAR JOINT 1-1/2" AIR CAVITY 1-1/2" RIGID INSULATION 8" X 8" X 8" BEARING CMU 8" SPACING 6 MIL VAPOR BARRIER 1/2" METAL FURRING 3/4" GYPSUM BOARD INT WALL

Level 2 13' - 6"

Level 2 13' - 6"

Level 2 Rear 11' - 0"

Level 2 Rear 11' - 0"

9"INSULATION

Level 2 13' - 6"

Level 2 Rear 11' - 0"

MEMBRANE WATERPROOFING WEEP HOLES @ 2" OC 8" X 8" X 16" CONCRETE BOND BEAM 6" X 6" X 1/2" STEEL ANGLE SUPPORT

FLASHING WITH DRIP EDGE UNDER SILL

FLASHING DRIP EDGE UNDER SILL

FLASHING WITH DRIP EDGE

WEEP HOLES @ 2" OC

Level 3 Rear 21' - 0"

6" X 6" X 1/2" STEEL ANGLE SUPPORT

CONCRETE WALL ANCHOR BOLT

MEMBRANE WATERPROOFING

9"INSULATION

4" BRICK WYTHE 2-17 1/256" SPACING WEATHERED MORTAR JOINT 1-1/2" AIR CAVITY 1-1/2" RIGID INSULATION 8" X 8" X 8" BEARING CMU 8" SPACING 6 MIL VAPOR BARRIER 1/2" METAL FURRING 3/4" GYPSUM BOARD INT WALL

METAL WALL TIES @ 16" OC

METAL WALL TIES @ 16" OC

Level 3 23' - 6"

METAL WALL TIES @ 16" OC

6" X 6" X 1/2" STEEL ANGLE SUPPORT

8" X 8" X 16" CONCRETE BOND BEAM CONCRETE WALL ANCHOR BOLT

Level 1 2' - 0"

Level 1 2' - 0"

Level 1 2' - 0"

GROUND 0' - 0"

GROUND 0' - 0"

GROUND 0' - 0"

WEEP HOLES @ 2" OC MEMBRANE WATERPROOFING

4" BRICK WYTHE 2-17 1/256" SPACING WEATHERED MORTAR JOINT 1-1/2" AIR CAVITY 1-1/2" RIGID INSULATION 8" X 8" X 8" BEARING CMU 8" SPACING 6 MIL VAPOR BARRIER 1/2" METAL FURRING 3/4" GYPSUM BOARD INT WALL

8" X 8" X 16" CONCRETE BOND BEAM

FLASHING WITH DRIP EDGE

CONCRETE WALL ANCHOR BOLT

GRAVEL 4" FRENCH DRAIN 1" GRAVEL LAYER

STRUCTURAL STEEL ANGLE

2 1/2" RIGID INSULATION

FLASHING WITH DRIP EDGE

12.3.12 1/2" = 1'-0"

Basement -6' - 6"

Level 2 13' - 6"

2 1/2" RIGID INSULATION 1" GRAVEL LAYER

GRAVEL 4" FRENCH DRAIN

4" FRENCH DRAIN

2 1/2" RIGID INSULATION 1" GRAVEL LAYER

GRAVEL

METAL WALL TIES @ 16" OC

Callout of Transverse Section - looking South 1 1/2" = 1'-0"

Callout of Wall Section East Wall 3 1/2" = 1'-0" 12/3/2012 11:35:24 AM

Callout of Transverse Section - looking North 2 1/2" = 1'-0"

Addition to an Existing Philadelphia Rowhome

ARCH 431/531: Construction Technology 1

NEMARIAKIS

Level Basement -6' - 6"

Level Basement -6' - 6"

Level 2 Rear 11' - 0" 8" X 8" X 16" CONCRETE BOND BEAM 6" X 6" X 1/2" STEEL ANGLE SUPPORT

1

Callout of Cantilever Wall Section- looking West 1" = 1'-0"

FLASHING WITH DRIP EDGE

2

Green Roof Detail at Skyli 1 1/2" = 1'-0"

PHILADELPHIA: ROWHOME ADDITION

12.3.12

Date Drawn by

NEMARIAKIS 3/8" = 1'-0"

ADD 103 (((SECOND FLOOR PLAN

12/3/2012 11:35:21 AM

Scale

NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

177

PHILADELPHIA: HIGH RISE

22' - 8 3/8"

8.65° 8.14°

9' - 11 1/8"

5.56° 4.52° 3.48° 2.44° 1.39°

50' X 20' - 4" ATRIUM SKYLIGHT WITH 40 INDIVIDUAL PANELS FEATURING

11' - 0"

7.11° 6.60°

30' - 7 5/8" 5' - 1"

5' - 1"

5' - 1"

NEM

5' - 1"

Roof 140' - 6"

20' - 0 3/16"

Level 8 125' - 6"

15' - 0"

169.30°

GROUND TO ROOF ATRIUM

Level 7 110' - 6" 23' - 4"

STOREFRONT-TYPE CURTAIN WALL SUSPENDED AT EACH LEVEL FEATURING LOW-E DOUBLE 1/4" GLAZING, CLEAR, LOW SHGC

15' - 0"

190.70°

23' - 4"

28' - 7 9/16" 3' - 0"

27' - 0 11/16"

15' - 0"

LOW-E DOUBLE 1/4" GLAZING, SEMI-TRANSPARENT, LOW SHGC

VT = 0.64 SHGC = 0.27 LSG = 2.4 U = 0.28 R = 3.6

15' - 0"

Level 6 95' - 6"

1/16" = 1'-0"

23' - 4"

2" X 4" MULLION SYSTEM WITH THERMAL BREAK

15' - 0"

CUSTOM LOUVRES

Level 5 80' - 6"

Level 4 65' - 6" 23' - 4"

W 10x49 W 14X43 W 18X46

15' - 0"

STEEL RIGID FRAME CONSTRUCTION FEATURING

WIDE-FLANGE BEAMS AND COLUMNS

15' - 0"

188' - 6"

Level 3 50' - 6"

SPRAY FIRE-PROOFING ON ALL STEEL BEAMS AND COLUMNS

5" LW CONCRETE ON 2" METAL DECKING

23' - 4"

11' - 3 5/32"

0' - 8" 3' - 6 15/16"

12' - 0 13/32"

GAS WATER

3' - 1 9/16" 8' - 11 15/32"

Level 1- Ground 0' - 6" 12' - 6"

10' - 6"

CABLE DUCT

20' - 0"

8' - 6 27/32"

Mezzanine 20' - 6"

2' - 0"

TEMPORARY SUPPORT WALL OF STEEL SHEET PILING, WALER BEAMS, AND TIE BACKS WITH WORKSPACE

ARCH 532

15' - 0"

23' - 4"

Level 2 35' - 6"

B2 -24' - 0"

2 WAY BASEMENT FLOOR SYSTEM, HEAVY CONCRETE BEAMS AND SLABS

Philadelphia Office Building Detailed Building Section

12' - 0"

10' - 0"

STEEL SHEET PILING

2' - 0"

48' - 0"

STEEL WALER BEAM

SUBSURFACE DRAIN 6" FIELD DRAIN CRUSHED STONE AGGREGATE

24' - 0 17/32"

25' - 1 1/16" 82' - 5 27/32"

24' - 11 29/32"

Drawn By

6' - 11"

4' - 0"

BROKEN BEDROCK

Date B4 -48' - 0"

1' - 0"

REINFORCED CONCRETE FOUNDATION AND WALL

Project Number

12' - 0"

10' - 0"

1' CONCRETE MAT SLAB

2' - 0"

B3 -36' - 0"

HARD BEDROCK

Scale 1

178

Detailed Section N/S (W) 1/8" = 1'-0"

ARCHITECTURE + DESIGN PORTFOLIO Projects + Samples 2011-2016

532.2013 May 7 2013 NEMariakis

A401.1

5/6/2013 1:32:39 PM

12' - 0"

10' - 0"

WATER PROOFING, APPLIED DIRECTLY TO CONCRETE

2' - 0"

B1 -12' - 0" SEWER

= 1'-0" CURTAIN1/8" WALL– RENDER

A

A

NEM B

B C D E

C

D

E

F

F G

G

150' - 8 29/ 32"

5' - 0"

1 A202 2

- 11 1/2"4'

- 11 1/2"4'

- 11 1/2"4'

- 11 1/2"4'

- 11 1/2"

5' - 0"

A402

50' - 2 11/ 16"

2

2

1

A402

8' - 7 5/8" 23' - 7 5/8

50' - 2 11/16"

"

25' - 0"

- 11 1/2"4'

5' - 0"

2 24' - 11 3/8 "

- 11 1/2"4'

"

5' - 0"

UP

3

3

1' - 2 3/32"

5.54°

3.61°

2.64°

4

24' - 2 1/8"

- 11 1/2"4'

74' - 1 17/3 2"

4' - 11 1/2"4'

23' - 7 5/8

ARCH 532

1 A201

1

1

20' - 0 3/16"

2 A202

72' - 3"

5' - 2 15/16" 5' - 2 15/16" 5' - 2 15/16" 5' - 2 15/16" 5' - 2 15/16" 5' - 2 15/16" 5' - 2 15/16" 5' - 2 15/16" 5' - 2 15/16" 5' - 2 15/16" 5' - 2 15/16" 5' - 2 15/16" 5' - 2 15/16" 5' - 2 15/16"

A201

2.64°

5' - 0"

20' - 0 3/16 "

5' - 0"

30' - 7 5/8"

5' - 0"

1' - 1 31/ 32"

25' - 0" 5' - 0"

24' - 10 11/ 16"

4

25' - 0"

11.25°

9.36°

7.60°

25' - 0"

25' - 0" 147' - 11 3/3

2"

24' - 10 11/ 16"

Philadelphia Office Building

23' - 1 23/ 32"

RCP Mezzanine

1

FLOOR PLAN– LEVEL 2

532.2013 May 7 2013 NEMariakis

Project Number

3

Mezzanine 1/8" = 1'-0"

Date

Level 2 1/16" = 1'-0"

Drawn By

A111

1/8" = 1'-0"

6' - 5 7/8"

W 10x49

W 10x49 2" FINISH FLOOR 5" LW CONCRETE ON 2" METAL DECKING

0' - 7 9/16"

0' - 2"

90 .0 0°

86

.0 4°

84 .0 3°

Scale

W 10x49

5/6/2013 1:32:09 PM

RCP– MEZZANINE

Level 3 50' - 6"

ANGLED W18X76

14' - 11 25/32"

9" DUCT PENDANT LIGHT

COMPOUND CEILING, GYPSUM ON METAL STUD ANGLED 10X49 FLOOR-TO-FLOOR COLUMNS

W 10x49

W 10x49

0° .0 90

2" FINISH FLOOR 5" LW CONCRETE ON 2" METAL DECKING

Level 2 35' - 6" W18X76

3' - 4 3/4"

0' - 7 13/16" 1' - 6 3/16"

0' - 2"

86

.0 4°

84 .0 3°

W 10x49

W14X43

ANGLED W18X76

PARTIAL SECTION– PEEL

15' - 0 1/32"

9" DUCT PENDANT LIGHT

11' - 4 13/16"

COMPOUND CEILING, GYPSUM ON METAL STUD

LOUVRES FOR GLAZING

W 10x49

0° .0 90

2" FINISH FLOOR 5" LW CONCRETE ON 2" METAL DECKING

Mezzanine 20' - 6"

0' - 7 7/16"

0' - 2"

2' - 10 1/2"

W18X76

W14X43

COMPOUND CEILING, GYPSUM ON METAL STUD

1

Callout of Section N/S (W) 1/2" = 1'-0"

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FORM/ REFORM

MY BROTHER’S KEEPER:

Park for the Houseless

442 Grant Street, CAMDEN, NEW JERSEY, 08102 APPENDIX TO ARCH-601 FALL, 2013 | Duration: 15 Weeks | Type: Group CRITIC: Scott Erdy/ Erdy McHenry Architecture

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PROJECT SCOPE: GOALS

Form/ REForm was devised by 601 critic Scott Erdy as a pro- bono, auxiliary project to the semester’s studio. Given that the studio was concerned with designing architecture that assisted homeless persons in transition, it was determined by the instructor that designing, building, and actualizing a real park space for the homeless will help facilitate the overall studio objective. For several years, Scott Erdy has maintained a relationship with My Brother’s Keeper, a Christian, extended- care facility for homeless persons and those seeking treatment for drug and alcohol dependence. The studio was granted a 2000 dollar stipend from Penn to cover all construction costs.

At the outset of the term, each of the thirteen students were to submit and propose a design for a bench or seating element—of the thirteen, mine, along with colleague Anyi Song’s, was chosen. A mandatory aspect was that the design must be made from concrete, and, the formwork must be transformable into a portion of the seating. For my design, I created shop drawings by modeling the final proposal in Rhino, and using AutoCAD to make the 2D construction documents. All photos by me.

Concept Render– The design to be built of construction- grade 2”x4”s, and Ipe, a dense, heavy, and weather-resistant wood.

Sample of my shop drawings I used for construction.

AutoCAD.

2'-7 5/16"

8"

1'-0 1/8"

4 1/8"

10 3/4"

1'-10 9/16" 1"

10 13/16"

6 11/16"

2'-3 5/16" 2'-0 5/16"

1'-0 1/8" 2 1/2" 2 15/16"

1'-11 3/4"

4 1/8"

8"

C

B

A

7/8"

6 11/16"

2 1/2" 2 15/16"

7/8"

8"

4 1/8"

6 11/16"

A

B

C

3 3/16" 7/8"

B

C

E

F

11 1/4" 9 13/16"

1'-4 3/4"

1'-5 5/16"

3 1/2"

3 1/2"

3 1/2"

3 1/2"

D

BOTTOM

2'-7 5/16" 2'-6 3/4"

TOP 2'-2 5/8" 2'-9 3/4"

SIDE

2'-7 5/16" 2'-0 5/16"

NOTES:

3 1/2" 1/2"

1.

SEE A-1.6 FOR KEY REFERENCES

3 1/2"

3 1/2" 1 1/2" 1 1/2"

1/2" 3 1/2"

1'-8 1/2"

A

1'-8 1/2"

D

3"

1'-8 1/2"

1/2"

6 11/16"

2'-6 3/4"

1'-11 3/4" 7/8" 3 3/16"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

2'-6 1/4" 2'-2 3/4" 4 1/8"

E-2 F-2

1'-11 3/4"

8"

C-2

1'-11 3/4"

B-2

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

A-2

1'-10"

1'-11 3/4"

1'-5 5/16"

3 1/2"

3 1/2"

FRONT

3 1/2"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

2'-10 5/16"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT 1 1/2"

3 1/2"

TOP

BOTTOM

2'-0 5/16"

1'-11 3/4"

1'-10 9/16"

1'-10"

1"

1'-9"

3/4"

1 1/2"

1 1/2"

3/4"

1/2"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1 1/2"

3 1/2"

1'-5 5/16"

1'-4 3/4"

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1–Initial Site Visit: Trash, weeds, and drug needles required removal.

2– Cleaning Day: Aggregate rock screening was laid as a bed for the park.

3– Construction Day: The studio, along with Architect Scott Erdy at Center.

Placing the concrete: Anyi Song, Inhea Youm, and Nate Hammitt.

The Team: The studio was assisted by several high school students and parents.

4– Formwork Removal Day: I am at the top left assisting with Anyi’s “L” design.

DESIGN INTENT: CONCEPT

Anyi Song’s “L” concept was chosen for it’s elegant simplicity, and that it could be arrayed linearly within the rowhome-shaped footprint of the site. My concept was considered a terminus for the axial arrangement, and was inspired by MBK’s mission statement—for recovering people to find rest in the hands of Jesus.

As such, my proposal echo’s FLWright’s proposal for Beth Sholom Synagogue near Philadelphia. The unfolding of the Ipe seats is meant as an abstraction of the cupping of hands.

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5– Final Installation Day: After designing, documenting, and building the formwork, the wood was cleaned, reformed, and installed in Mid- December of 2013. Most of the studio assisted Anyi with the construction and cleaning of his 5 benches, but a smaller team worked with me for the execution and building of the terminus piece.

Looking South– Earlier iterations of the site- planning featured an asymmetrical agglomeration of seating elements; the studio later decided to arrange the elements axially, which works strongly with the long, rectangular, footprint of the site and neighboring rowhomes.

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CONCEPT MODEL/ SCALE MOCKUP: TESTING the FORM/ REFORM

Concept Model

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[1-1/2” = 1’ = 1:8; 6-1/4“x 4-1/8”x 3-1/4“]– The design and construction sequencing/proposal was first tested. Cast plaster (in wood); balsa; foamcore.

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Anyi Song’s L Design: Concrete; Fin Ply. In addition to being conceived as a park space where individuals may rest or congregate, the site planning was envisaged as a place at which Miguel Torres, the founder and minister of MBK, can give talks or sermons. In this image, the wooden elements of both designs provide a visual dynamism.

Images from the history of My Brother’s Keeper were plotted and wheat- pasted onto the wall of the adjacent, vacant building–Billy Graham is among the visitors.

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FORM/ REFORM MY BROTHER’S KEEPER: Park for the Houseless

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MUSEUM AS SITE

CONSERVATION AS EXHIBITION:

Turning Hidden Space into Public Space at The Philadelphia Museum of Art

PHILADELPHIA, PA ARCH-714-401 SPRING, 2015 | Duration: 15 Week Elective, 4 Week Design | Type: Individual CRITIC: Andrea Hornick, artist and lecturer

One’s experience of a given piece of art is grounded upon important contextual factors: e.g., the exhibition space; the gallery; the relationship of the gallery to thresholds and to the overall plan; the relationship of the architecture to it’s urban context.

This course provided students opportunities to study and interrogate the practices of curators, including curatorial layouts and arrangements of artworks within a given space. Such spaces were visited in person and included the Philadelphia Museum of Art; The Perelman Building at the PMA; The Barnes Foundation Museum; The Wagner Free Institute of Science; The Penn Museum; The Pennsylvania Academy of Fine Arts; The Institute of Contemporary Art; and, The Fabric Workshop and Museum.

In addition, students were tasked with understanding the relationship of the architecture to the artwork or display- piece, including such factors as spatial experience; planimetric layout; lighting; color; and, material usage.

The architect maintains tremendous influence upon one’s experience of art, and all architectural decisions must be critically evaluated.

The following pages feature the final project. Photo by me

INTRODUCTION: CATALYST for the PROJECT

Presumably, like many avid lovers of art museums, this author did not give much consideration to the conservation of the works contained therein. However, after meeting with, and receiving a private class lecture from Mark Tucker, Philadelphia Museum of Art’s Senior Conservator of Paintings, my perspective changed—an instant fascination with conservation was borne, and along with that, the history of a given painting. What was engendered that day was an interest in bringing the conservation process from a concealed, private setting, into a public context in which the viewer may experience a fuller connection to the holistic life of a given piece of art.

The following project considers the basic essentials of conservation, precedents, and a proposal for a public conservation, education, and history space within the Philadelphia Museum of Art. Given the fluid, ongoing (and exciting) process of Gehry Partners’ masterplan for the PMA, it was determined that this intervention will be best executed with respect to the current paradigm and plan of the museum.

In order to create a design proposal for a public conservation lab, it was deemed necessary to incorporate research about conservation theory; understanding the schema of the conservator is essential, as so doing allows for a richer understanding of the mechanics of the conservator’s work. Content from three major art institutions was studied to gain a better understanding of the processes involved—The Museum of Modern Art; The Museum of Fine Arts Boston; and, additional material from the Philadelphia Museum of Art.

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RESEARCH: ASSESSING PRECEDENTS and REQUIREMENTS

Labs: MoMA

PMA

PMA

MFA Boston

MFA Boston

Common to MoMA, MFA Boston, and the PMA, conservation is a robust endeavor requiring the utilization of special spaces, techniques, tools, methods, and individuals with extensive training. Additionally important is exploration of scientific methods, research, and pedagogy. During the research phase it was discovered (after commencing on this topic for the final) that several museums have a public or semipublic conservation paradigm. These institutions include the aforementioned MFA; The Walters Art Museum, which features a conservation “window” through which the public may view the efforts of museum staff; The Art Museum of Indiana University, which has featured the public conservation efforts of the Thomas Benton murals; and, the Penn Museum, which has a public conservation lab dedicated to Egyptian antiquities, specifically mummified persons and animals. Having visited the Penn Museum many times prior, a subconscious connection was made after meeting with Mark Tucker.

SITE AND LOCATION: NORTH EDUCATION WING

An investigation into possible options for locations yielded a North- facing space at the end of the South axis, on ground level. Although this space is currently used for offices, for the purposes of this academic exercise, an assumption was made that such offices could be hypothetically displaced. The space features tall ceilings and a row of fenestration. According to Mark Tucker, not only is North light ideal—but especially if the perforations are tall, as is here.

SIGNAGE: EXHIBITION INFORMATION CREATED for the INTERIOR RENDER

CONSERVATION As a public institution, one of the Museum's primary obligations is the preservation of the collections for future generations. The Conservation Department is entrusted with this responsibility and is committed to the preservation of this irreplaceable cultural legacy.

The conservators dedicate their time to the examination and treatment of works of art, materials research, education, and preservation activities throughout the Museum.

HISTORY To help shape and sustain art history and conservation as dynamic and rigorous disciplines, we support art museums, conservation centers, research institutes, graduate programs, and related institutions, with an emphasis on training, collaboration, and knowledge networks. Grants seek to strengthen fundamental and innovative work in four primary areas: curatorial initiatives; art conservation and conservation science; art museums and higher education; and art history research.

The studio is on the top floor of the building and receives northern light—the same cool, steady light that painters like to use. The paintings are treated on the same kinds of easels that painters use, too. The conservation treatment of a painting might involve removing old discolored varnish, mending a tear in the canvas, or securing flaking paint. Painting conservators use a lot of different brushes in their work, from big wide ones made with stiff hog bristles for varnishing to soft goat hair brushes for dusting and tiny sable (fur) brushes for retouching, which means using new paint to disguise tiny amounts of damage.

The paintings in the Museum are cared for by trained conservators who focus on different types of painted media. For example, one specializes in the structural treatment of paintings on wood panels, another in the treatment of modern paintings. Older paintings usually have a coating of varnish to make the colors look richer and give the painting some protection. Most modern paintings are not protected by varnish, which can create problems for the conservators who are trying to take care of them. When a painting needs treatment, it is taken to a specially designed studio in the Museum, such as this.

The studios, located here and at the Perelman Building, receive northern light — the same cool, steady light that painters like to use. The paintings are treated on the same kinds of easels that painters use, too.

The conservation treatment of a painting might involve removing old discolored varnish, mending a tear in the canvas, or securing flaking paint. Painting conservators use many different brushes in their work; from wide brushes made with stiff hog bristles for varnishing, to soft, goat-hair brushes for dusting, and tiny sable (fur) brushes for retouching. New paint is used to disguise tiny amounts of damage.

Govert Flinck (Dutch, 1615–1660), Bearded Man with a Velvet Cap, 164[5?]; oil on wood, 233/4 x 205/8 in.

(60.3 x 52.4 cm); Bequest of Collis P. Huntington, 1900 (25.110.27).

EDUCATION The paintings in the Museum are cared for by conservators. One specializes in the structural treatment of paintings on wood panels, another in the treatment of modern paintings. Older paintings usually have a coating of varnish to make the colors look richer and give the painting some protection. Most modern paintings are not protected by varnish, which can create problems for the conservators who are trying to take care of them. When a painting needs treatment, it is taken to a specially designed studio in the Museum.

Wander into the medieval art galleries on the first floor (consult a Museum floor plan for directions on how to get there), and you will see many large tapestries—pictures that were woven rather than painted— hanging on the walls. While the tapestries are on display, conservators clean them regularly with a special vacuum cleaner. They also make sure that the gallery lights are kept dim to prevent the tapestries’ colors from fading and that the air in the gallery is clean and at the correct temperature and humidity level. They ask the guards to make sure that visitors do not touch the textiles—oil and dirt from hands can damage them over time.

Sometimes several-hundred-year-old tapestries need restoration, or repair.

The conservators repair missing parts of a picture with yarns they dye themselves in many colors. The areas restored with modern yarns should not be particularly noticeable to anyone looking at a tapestry, but if you look very carefully you might see the difference between the repaired areas and the original ones.

Art history is the study of objects of art in their historical development and stylistic contexts, i.e. genre, design, format, and style. This includes the "major" arts of painting, sculpture, and architecture as well as the "minor" arts of ceramics, furniture, and other decorative objects.

As a term, art history (also history of art) encompasses several methods of studying the visual arts; in common usage referring to works of art and architecture. Aspects of the discipline overlap. As the art historian Ernst Gombrich once observed, "the field of art history [is] much like Caesar's Gaul, divided in three parts inhabited by three different, though not necessarily hostile tribes: (i) the connoisseurs, (ii) the critics, and (iii) the academic art historians".

As a discipline, art history is distinguished from art criticism, which is concerned with establishing a relative artistic value upon individual works with respect to others of comparable style, or sanctioning an entire style or movement; and art theory or "philosophy of art", which is concerned with the fundamental nature of art. One branch of this area of study is aesthetics, which includes investigating the enigma of the sublime and determining the essence of beauty. Technically, art history is not these things, because the art historian uses historical method to answer the questions: How did the artist come to create the work?, Who were the patrons?, Who were his or her teachers?, Who was the audience?, Who were his or her disciples?, artistic, political, and social events? I

CASE STUDY THE GROSS CLINIC

ARCHITECTURAL PRESERVATION HISTORY The City Council of Philadelphia funded a competition in 1895 to design a new museum building, but it was not until 1907 that plans were first made to construct it on Fairmount, a rocky hill topped by the city's main reservoir. The Fairmount Parkway (renamed Benjamin Franklin Parkway), a grand boulevard that cut diagonally across the grid of city streets, was designed to terminate at the foot of the hill. But there were conflicting views about whether to erect a single museum building, or a number of buildings to house individual collections. The architectural firms of Horace Trumbauer and Zantzinger, Borie and Medary collaborated for more than a decade to resolve these issues. The final design is mostly credited to two architects in Trumbauer's firm: Howell Lewis Shay for the building's plan and massing, and Julian Abele for the detail work and perspective drawings.

Construction of the Main Building began in 1919, when Mayor Thomas B. Smith laid the cornerstone in a Masonic ceremony. Because of shortages caused by World War I and other delays, the new building was not completed until 1928. The facade and columns are made of Minnesota dolomite.

The conservation of The Gross Clinic, frequently described as the most important American painting of the nineteenth century, can only be described as thrilling and daunting. Thrilling, because we have the opportunity to improve the impact of the painting by alleviating earlier damage to its surface.

Daunting, because an image so well known must be carefully handled, and because the whole enterprise opens many questions. What were the artist’s intentions? Can we really recover the appearance of the painting when it was new? Should we even try? Or should we accept the changes in a painting over time as part of the history of the object?

The wings were built first, which helped assure funding for the completion of the design.

The building's eight pediments were intended to be adorned with sculpture groups. The only pediment that has been completed, "Western Civilization" (1933)

by C. Paul Jennewein, features his polychrome sculptures of painted terra-cotta figures, depicting Greek deities and mythological figures. It was completed in 1933 and garnered much praise when it was unveiled.

Conscientious conservators and curators, working together, can hope to negotiate among these alternatives, knowing there are rarely clear-cut answers. Often, it is a matter of making many tiny choices, inch by inch, over the surface of the painting. As we launch into the process, we are comforted by the knowledge that any work we do is reversible and can be removed easily and without harm to the painting if any future generation so desires.

The building is also adorned by a collection of bronze griffins, which were adopted as the symbol of the museum in the 1970s.

Our confidence is buoyed by an experienced team of colleagues, led by the Philadelphia Museum of Art’s head of paintings conservation, Mark Tucker, who has been working on Eakins’s paintings for three decades. His experience examining and treating hundreds of canvases has given him both insight and sensitivity to Eakins’s methods and materials. For this website, we have gathered information about Eakins, the painting, and its first reception at Philadelphia’s Centennial Exposition of 1876. Mark Tucker has contributed a history of the treatment of the painting and a summary of research that will shape the conservation plan, as it is developed in the fall of 2009. New materials will be posted to this site as the project unfolds. We look forward to the return of the painting to the Museum’s galleries in 2010.

Govert Flinck, Bearded Man with a Velvet Cap, 164[5?], X-radiograph (Detail).

ARCHITECTURAL PRESERVATION MAKING A CLASSIC MODERN THIS drawing depicts a portion of the comprehensive design for the renewal and expansion of the Philadelphia Museum of Art by internationally celebrated architect Frank Gehry. Best known for the expressive sculptural forms of buildings such as the Guggenheim Museum in Bilbao, Spain, Gehry’s approach to this project is dramatically different and virtually unique. It focuses on the transformation of the interior of our main building through the renovation of beloved spaces like the Great Stair Hall, dramatic improvements to how our visitors will enter and move through the Museum, and the creation of a substantial amount of new space for the display of more works of art and for a new Education Center.

Gehry’s design is the embodiment of creative stewardship. It reflects a deep sympathy for a much beloved architectural landmark and, at the same time, an understanding of how this facility needs to be changed to continue to serve the needs of our visitors and our community. It is, in sum, an inspiring blueprint for the future of the Philadelphia Museum of Art and one in which we believe everyone should have an interest.

The Gross Clinic Pre-Restoration

Pre-Restoration

Eakins’s 1875-76 wash drawing after The Gross Clinic The Metropolitan Museum of Art, Rogers Fund, 1923 (23.94)

1875 Wash Drawing

1917 Metropolitan Museum of Art photograph

1917 Photograph

X Radiograph Study

X-Radiograph Study

Mid-1920’s color reproduction made by Jefferson Medical College

c. 1920’s Color Reproduction

Given that the new conservation-as-exhibition space will be not only artful, but educational in scope, an array of didactic signages were created especially for the proposal. The notion of conservation was expanded to include architectural preservation—Gehry’s masterplan.

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FINAL PROPOSAL: PUBLIC CONSERVATION and EDUCATION LAB

The design incorporates several parameters discovered in the research phase: per MoMa’s facilities, brown colored flooring is acceptable for use in spaces for conservation—here, stone is chosen; grey walls; and, tall Northern- facing apertures, both per PMA’s Mark Tucker.

Valuable to the work of the curator is the freedom to customize a museum space as he, she, or the staff requires. As described in the diagrams below, this proposal is based upon a kinetic logic of reconfigurability which harkens the rotating walls of Philip Johnson’s Painting Gallery. Above, a woman watches a conservator at work behind the tall glazing, while others observe the exhibition.

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RECONFIGURABLE: GLASS AND DISPLAY PARTITIONS MOVE ON TRIANGULATED CEILING AND FLOOR TRACKS—GLASS MAY ROTATE AS DOORS

CURATORIAL LOGIC: ARRANGEMENTS CAN CHANGE EASILY FOR SHIFTING AND EVOLVING DISPLAY REQUIREMENTS, OR NEW EXHIBITIONS

1

1– PLAN ON RIGHT

2

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2

3

4

PLAN/ GROUND

1

CONSERVATION SPACES

2

STORAGE/ CLEANING/ XRAY

3

MOVEABLE DISPLAYS/ GALLERY SPACE

1

1

2

3

5

15

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CASE STUDIES

SALK INSTITUTE:

Louis Kahn

LA JOLLA, CA ARCH-631-001 FALL, 2013 | Duration: 15 Weeks | Type: Group– Yunsu Kim, Yu Chang Tseng INSTRUCTOR AND CRITIC: Lindsay Falck

Section Trace by YK

PROJECT SCOPE: GOALS

ARCH 631 is intended to provide students the opportunity to work in teams of three to research, document, and ultimately create a final model of a building of each group’s choice. The history of each architecture was assessed as well. Penn maintains the archives of the late Louis Kahn, thus access to original Construction Documents posed no issue. CDs were inspected for all relevant information, and traced. A Rhino model was constructed of the structure of a single bay, as well as a portion of the facade. The bay model was imported into Visual Analysis and analyzed with assistance from consultant instructor Mohamad Al Khayer. Structural integrity was documented (deflection, moment, and displacement). The final submission is the facade model, not built to scale, but within a 24”x 15” box per the instructor’s guidelines. Now in university archives.

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Photos by me A concrete version of the facade was attempted—forms were modeled in 3D and laser- cut, but placement did not yield satisfactory results. This version is comprised of MDF that was spray painted with white and three shades of grey to mimic concrete. Acrylic (sanded); birch ply; cardboard; chipboard; travertine printed on heavyweight satin paper; MDF; plywood box (built by L.Falck).

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INTRO STUDIO

SPATIAL COLLAGE

SITELESS ARCH-500 SUMMER, 2012 | Duration: 6 Week Studio, 1 Week Model | Type: Individual CRITIC: Larry Mitnick

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EXERCISE: SCOPE

ARCH 500, the Summer introductory studio, is intended to develop students’ spatial, drawing, and model- building skills. This penultimate project served as the culminating model with respect to craft and extravagant materials.

The scope of this Spatial Collage exercise was threefold: one, the design should suggest inhabitability—an intimation of architecture; two, the geometries should be unpredictable, and at angles other than ninety degrees—views must change at all vantage points; three, the model was to be built without any digital reference model, must be made from archival quality museum board, and must espouse absolutely impeccable craft. Flaws, glue marks or remnants were completely unacceptable. 12”x 12”x 12”. Museum board; foam core (hidden by museum board).

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WORK SAMPLES

ARCHITECTURAL INTERN

PHILADELPHIA, PA HARMAN DEUTSCH ARCHITECTURE | Duration: 3 Months, May- August 2013 PARTNERS: Brett Harman/ Craig Deutsch

View– Looking W

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View– Looking SW/ W

View– Looking S from Driveway.

PROJECT: OVERVIEW

3'-7"

The project featured on the left facing page and above is of 206 North 22nd Street—Located several blocks South of the Benjamin Franklin Parkway, in between Logan Circle and The PMA, this project is a wood frame apartment block.

B

B

B

10'-5"

10'-5"

B

B

B

6'-5"

The CDs on the right are for a renovation at 1512 Fairmount Avenue, which I drew in AutoCAD.

+/- 32'-8" TO T.O. ROOF

In HD’s sixteen person office, projects would generally be led by one or two team members, and tasks regarding each project might shift amongst various other designers. Regarding this stage of this project, the tasks were divided as follows: SD Plans/ Design: Eric Quick and Jeremy LeCompte; 3D Sketchup Model and Render-View Output: Mark Wallace; Elevations: Shawn Ryan; Photoshop Renders: me. The standardized render aesthetic of the office is to use Sketchup’s default view montaged in Photoshop with entourage and context images.

10'-5"

My interest in working for a firm like HD was rooted in my desire to assist in designing small- scale, wooden domestic structures first—which is their niche— before transitioning to larger- scale projects.

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//15

CHRISSY KEEGAN

PRO BONO MANAGEMENT– GRAPHIC DESIGN, BOOKING, PROMOTION

LOS ANGELES, CA NEW STANDARD MANAGEMENT | Duration: 2+ Years, October 2011- January 2014 (for Chrissy Keegan, Specifically) OVERVIEW: INTRODUCTION

Before Penn, I worked with a company called New Standard Management–assisting with the guidance and management of musicians.

With great fortune I met songwriter Chrissy Keegan via a mutual friend—Chrissy had no representation, and coming to absolutely love her music, I offered to manage her when the chance arose—no strings attached. A true labor of love.

The following designs represent a sampling of the gratis work I completed for Chrissy. In addition to helping her with general career and musical direction, booking, and promotion, I also helped craft her graphic image; both with respect to album art, and with regard to concert posters for her shows, which I booked. The two images immediately below were designed for Chrissy’s Birds & Faith single. The right, square photograph was based on a drawing of mine which I subsequently crafted into a CD sleeve prototype, which she opted to save for a pending full- length LP (chipboard; museum board). The bottom images on this page are two of some of the website banners I created for her online presence. The right banner is a composite of a photograph of a robin overlaid onto an image of antique wallpaper; manipulations in Photoshop yielded a painted quality for the bird, with the aim of it appearing to be directly related to the wallpaper.

Regarding the image on the right facing page: for this concert I booked for Chrissy at the Gypsy Den, the goal was to create a poster that had the quality of an old postcard. The original photograph was manipulated and desaturated to achieve this effect. Additionally, the treeline was edited to provide an appearance of spatial depth.

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PROCESS: METHODS

For my graphic work for Chrissy, I often repurposed public- domain art or utilized her promotional photographs to create the designs.

Above, at top, is shown an image from Audubon’s Birds of America, which required considerable Photoshopping to make usable for a graphic design of such cropping. The favorite image on the right was created from a photograph that she wished to use, but was too low in resolution to create a workable poster. The photograph was edited and abstracted to create the vector image that underlays the text.

Part of the joy of working with Chrissy was that she was always involved every step of the way, making for a true collaborative effort.

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Chrissy Keegan

Mandy Dobbelmann

Brittany Myers

LIVE

FRIDAY, MAY 31 7:30 PM ALL AGES

125 N. Broadway Avenue Santa Ana (714) 835-8840

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//16

SKETCHES/ DRAWING

CHRISSY KEEGAN

LOS ANGELES, CA NEW STANDARD MANAGEMENT OVERVIEW: INTRODUCTION

Both the promotional banner below and the CD artwork to the right feature feathers I hand- drew, and inked, for the designs, which I also created. Chrissy’s initial request was simply for a feather, for which she had no reference images; I first provided the drawing on the far right, inspired by 19th Century Japanese artists like Hiroshige and Hokusai, which she liked, but felt did not capture the quality of lightness of which she was imagining. Thus, the image directly below was born, which I based upon a reference image which she later found.

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//17

ARCHITECTURAL PHOTOGRAPHY

INDEPENDENT WORKS

VARIOUS LOCATIONS Duration: 2013- Present/ Ongoing OVERVIEW: INTRODUCTION

The following photographs constitute only a very small sampling of my body of architectural images—my architectural photography is a continuing, ongoing, endeavor, and new and additional images can be seen at: nemariakis.com/architectural-photography

In addition to exploring architecture in person, I am fascinated with capturing buildings through the camera lens; to my sensibilities, my act of experiencing a building is not fully complete unless photographic documentation occurs as well.

The combination of visiting and photographing architecture is, to me, an invaluable didactic enterprise; thus my emphasis upon it.

Compositionally, I am keenly interested in non- converging verticals, as well as photographing architecture at oblique or canted angles—the dichotomy between both styles creates a holistic balance when such types of images are shown as a collective. The latter strongly suggests the individual's frame of reference, looking upward towards a building.

I typically utilize a Canon and Sigma 10-20mm F4-5.6 wide- angle lens, which captures the breadth of architectural subjects. I also incorporate a Sigma 18-250 F3.5-6.3 lens as well.

Salk Institute– August, 2013.

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Washington Monument– September, 2015

Rudolph Hall– February, 2015

Yale University Art Gallery– February, 2015 NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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February, 2016

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Skirkanich Hall– September, 2014 NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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Expo ‘67 United States Pavilion– February, 2015

Phillips Exeter Academy Library– February, 2015

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Saint Aloysius Church– May, 2016

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Art Gallery of Ontario– June, 2016

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Gates Hall– May, 2016

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Millennium Hall– June, 2016

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Kaufmann House– February, 2013

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Glass House– February, 2016 NICHOLAS EMMANUEL MARIAKIS Projects + Samples 2011-2016

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Schindler House– October, 2014

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Esherick House– May, 2014

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Grace Farms– February, 2016

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VDL Research House– October, 2014

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Pterodactyl– March, 2016

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New Carver Apartments– March, 2016

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VIA at West 57th– March, 2016

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HL23– March, 2016

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The Barnes Foundation– September, 2013

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100 11th Avenue and IAC Headquarters – March, 2016

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MIT Chapel– April, 2016

Yale Psychiatric Institute– February, 2016

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Walt Disney Concert Hall– October, 2014

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PHOTOGRAPHY

//18

GRAPHIC DESIGN

Architecture of Transcendence: A Systematic Exegetical Analysis of Louis Kahn’s Theoretical Conceptions. Cover for Theory I final; Penn. To prepare for this paper, I read every Kahn lecture I could obtain, and attempted to systematize his views into a twenty- eight page research endeavor.

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Ludwig Mies Van Der Rohe’s Riehl and Farnsworth Houses: An Analysis of Earlier Vernacular Elements and the Evolutionary Transmutation to Later Modernist Sui Generis. Cover for History of Western Architecture; SUNY. Using the Farnsworth and Riehl Houses as anchor points, I examine the radical progression of Mies’ ideas.

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Architectural Theology: Reconstructing the Theoretical Underpinnings of Early Christian and Byzantine Art and Architecture. Cover for Undergraduate Honors Thesis; Cairn University. Examined the breadth of cultural, philosophical, theological, artistic, architectural, and biblical influences that shaped what became the Byzantine style.

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EE

ENDURANCE ENTERTAINMENT Los Angeles, CA enduranceent.com

* EE ENDURANCE ENTERTAINMENT Endurance Entertainment: Formerly New Standard Management. Name changed as of March, 2016. The top design represents the final logo created for the company. The banner below is one of a series that features a different logo, and incorporates an alternate star icon as well as varying colors and font thicknesses. Ultimately, the company owner, David Lovett, preferred the logo in the top proposal.

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PAPER TIGER: 2015- 2016

These images were completed for the band Paper Tiger—similar to my approach for my work for Chrissy Keegan, these graphic designs include co-opted public domain artwork. The top and bottom right designs feature the work of Kyosai (2016), and the bottom left and center, Kuniyoshi (2015); both 19th Century Japanese artists. The middle image was rooted in a search for Louis Kahn concrete (2015).

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//19 ADDITIONAL MODELS FULL COLOR AND OPACITY OVERVIEW: INTRODUCTION

Although more information is usually conveyed when a complete model (or model with its surrounding context) is shown in a photograph, images with shallow depth-of-field, portraying portions of architectural models, can be visually appealing and spatially rich.

These images are all shot with my Canon and Sigma 18-250 F3.5-6.3 lens, which allows me to capture shallow depth-offield and bokeh in the images.

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ADDITIONAL MODELS

//20 ADDITIONAL RENDERS UNCROPPED FRAMES

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THE SMOOTH AND THE

STRIATED

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VERDURE SPACES

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WOVEN ECOLOGIES

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THE

AIR OF THE FUTURE

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CONTACT INFORMATION EMAIL: ONLINE PORTFOLIO: WEBSITE: ARCHITECTURAL PHOTOGRAPHY: PROFESSIONAL WEBSITES: TELEPHONE: ADDRESS: EMPLOYMENT ELIGIBILITY:

GRADUATE EDUCATION May 2015

UNDERGRADUATE EDUCATION May 2011

NON-MATRICULATED EDUCATION May 2011 - December 2011

EXPERIENCE May 2015 - Present

May 2013 - August 2013

nemariakis@gmail.com mariakis@alumni.design.upenn.edu issuu.com/nemariakis nemariakis.com nemariakis.com/architectural-photography archinect.com/nemariakis linkedin.com/in/nemariakis 215-584-3307 81 Barnsbury Road Langhorne, Pennsylvania 19047 Citizen of the USA

University of Pennsylvania—Penn. Philadelphia, PA M.Arch I. Master of Architecture.

Cumulative GPA 3.80 (4.0 Scale)

Cairn University. Langhorne, PA B.S. Bachelor of Science in Biblical Studies.

Cumulative GPA 3.82 (4.0 Scale)

The State University of New York—SUNY. Saratoga Springs, NY Pre-Requisites for Graduate Studies in Architecture (via CDL).

Calculus and History of Western Architecture.

Cumulative GPA 4.0 (4.0 Scale)

Independent Works.

Crafting and writing of 276-page portfolio. Developing personal website. Visiting and photographing buildings for ongoing didactic experience. Reading architectural books and monographs. Attending and watching recorded architectural talks and exhibitions. Watching architectural documentaries and software tutorials.

Surveying, documenting, and designing a pending home expansion using Revit.

Harman Deutsch Architecture. Philadelphia, PA. See page 200. hdarchitecture.com/ Architectural Intern Worked on a multitude of wood-frame, urban, residential projects in Philadelphia.

Contact: Craig Deutsch. 267-324-3601 / craig@hdarchitecture.com Responsibilities included: Schematic Design; Construction Documents; Site and Building Analysis; Planning and Zoning Regulations; Construction Cost; Codes and Regulations; Material Selection and Specification; Construction-Phase Observation; General Project Management; Business Operations.

Software utilized (preferred by, and provided by HDA): AutoCAD; Adobe CS 6; Sketchup.

September 2010 - January 2014

New Standard Management / Endurance Entertainment. Los Angeles, CA; Langhorne, PA. Name changed to latter as of 3/2016. See pages 202, 208, 247. enduranceent.com/ Pro Bono Music Manager and Artist Development (P/T) Contact: David Lovett. 302-752-8809 / david@enduranceent.com Designed artwork for musicians—web banners; album covers; packaging; posters; promotional materials. Artist Management. Office in LA; worked remotely.

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September 2001 - June 2006

Sony Music: Columbia Records; Epic Records; Legacy Records; et. al.

Los Angeles, CA (2001-2004) Philadelphia, PA (2004-2006) sonymusic.com/ Lifestyle Marketing Representative (EP/T - P/T based on required/available work) Contact: Jay Schumer. 212-833-8000 / jay.schumer@sonymusic.com Part of the Major-Label marketing and media engine that promotes new releases, reissues, and special recordings by artists such as: Bruce Springsteen; David Bowie; Michael Jackson; Pearl Jam; John Legend; Miles Davis, John Mayer; Johnny Cash; and, Bob Dylan, et.al.

Developed and maintained working relationships with independent retail outlets as a vehicle to promoting artists. Promoted musicians at concerts. Operated as a talent scout—to report undiscovered musicians and bands.

RESEARCH GRANTS / ACADEMIC PROJECTS September 2013 - December 2013

Penn. My Brother’s Keeper. 442 Grant Street, Camden, NJ. See page 180.

Under the direction of studio critic Scott Erdy, of Erdy McHenry Architecture, my Fall 2013, 601 Studio, was engaged in the pro-bono design and execution of a homeless park called Form/ REForm—this was on behalf of My Brother’s Keeper, a non-profit Christian organization that seeks the recovery and rehabilitation of homeless persons near to Center City, Philadelphia.

At the outset of the term, each of the thirteen students were to submit and propose a design for a bench or seating element—of the thirteen, mine, along with colleague Anyi Song’s, was chosen.

May 2010 - May 2011

ACADEMIC AWARDS February 2013

Cairn University. Honors Thesis: Architectural Theology: Reconstructing the Theoretical Underpinnings of Early Christian and Byzantine Art and Architecture.

Examined the breadth of cultural, philosophical, theological, artistic, architectural, and biblical influences that shaped what became the Byzantine style.

Penn. 2013 F. Schenk-Henry Gillette Woodman Competition/ Scholarship Awarded for work involved in the project entitled, Filters; collaboration with three colleagues.

May 2015

PennDesign Departmental Grant Awarded the maximum scholarship allowable. In recognition of both undergraduate and graduate academic scores.

May 2011

Cairn University. Latin Honors: Magna Cum Laude Cumulative GPA: 3.82 (4.0 scale) Honors Scholarship Program—Graduated with Honors Center for University Studies Invited to participate.

Delta Epsilon Chi—The Honor Society of The ABHE, One of six among the university-wide graduating class to receive this nomination.

May 2011

Dean’s List Enlisted every semester except one.

REFERENCES

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Brennan Buck

Critic: Yale School of Architecture. Principal: FreelandBuck Architecture.

347-263-8476 / brennan@freelandbuck.com / freelandbuck.com/

Scott Erdy, FAIA

Critic: PennDesign. Principal: Erdy McHenry Architecture.

215-925-7000 / serdy@em-arc.com / em-arc.com/

Richard Farley, FAIA

Associate Professor: PennDesign. Principal: Jacobs (formerly Kling Stubbins).

215-569-2900 / richard.farley@jacobs.com / jacobs.com/

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SKILLS 3D Modeling (Mesh and NURBS)

Rhino

Maya

TSplines

Grasshopper

Bonzai 3D

Sketchup

BIM

Revit

2D Drafting and Plotting

AutoCAD

Rendering

VRay

Environmental Analysis

Ecotect

Radiance

Matlab (for automating/coding Ecotect and Radiance)

Green Building Studio

Athena Sustainable Materials Institute: EcoCalculator

Animating

3DS Max

Post-Processing and Page Layout

Photoshop

Illustrator

InDesign

Premier Pro Additional

Plug-ins: (Diva; RhinoBIM; Galapagos; Ladybug); Arduino; Coding; Hand-drafting.

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APPENDIX: DESIGN ELECTIVE CONCENTRATIONS Spring 2015

ARCH-714-401: Museum As Site: Critique, Intervention and Production Instructor: Andrea Hornick, artist and lecturer. See page 188.

One’s experience of a given piece of art is grounded upon important contextual factors: e.g., the exhibition space; the gallery; the relationship of the gallery to thresholds and to the overall plan; the relationship of the architecture to it’s urban context.

This course provided students opportunities to study and interrogate the practices of curators, including curatorial layouts and arrangements of artworks within a given space. Such spaces were visited in person and included the Philadelphia Museum of Art; The Perelman Building at the PMA; The Barnes Foundation Museum; The Wagner Free Institute of Science; The Penn Museum; The Pennsylvania Academy of Fine Arts; The Institute of Contemporary Art; and, The Fabric Workshop and Museum. In addition, students were tasked with understanding the relationship of architecture to the artwork or display- piece, including such factors as spatial experience; planimetric layout; lighting; color; and, material usage. The architect maintains tremendous influence upon one’s experience of art, and all architectural decisions must be critically evaluated.

The final project culminated in each student offering a curatorial intervention; in my case, designing a conservation exhibition at the PMA.

Fall 2014

ARCH-741-001: Architectural Design Innovation Instructor: Professor Ali Rahim, partner Contemporary Architecture Practice.

See page 160.

Innovation in any given discipline requires advancements in the following: technology, or, technique. Although Professor Rahim assessed design innovation in fields such as aviation and furniture design, this seminar focused upon innovation in architecture.

The very few firms and designers which garnered attention in Professor Rahim’s seminar included Gehry Partners; Zaha Hadid Architects; Greg Lynn/ Form; Charles and Ray Eames; and, Xefirotarch/ Hernan Diaz Alonso. Of special interest was that certain designers utilize technology in order to advance the discipline of architecture–most notably, Gehry Partners’ innovation of utilizing CATIA (and subsequently developing Digital Project), and Zaha Hadid Architects‘ incorporation of Autodesk Maya. Professor Rahim contends that these architects have innovated the discipline not only with respect to design and aesthetics, but with respect to their use of technology.

The final project was a culmination of the ideas put forth in the class; this resulted in a design that was required to be an “inhabitable surface” created in a meshbased software suite. In keeping with the spirit of the seminar, rather than incorporating Maya, which is standard at Penn, I opted to utilize TSplines—so the design would espouse precise metrics.

While this class was focused upon design and its relationship to technology, several hundred pages of theoretical readings were assigned to supplement the course.

TECHNOLOGY ELECTIVE CONCENTRATIONS Spring 2014

ARCH-638-001: Building Acoustics Instructor: Joe Solway, Arup Engineers.

Acoustical considerations in the built environment are extremely valuable. This holds true not merely for concert halls, but for places such as offices, train stations, et cetera.

The foundation of the course rested upon students’ understanding of the theoretical basics of acoustical design.

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Such essentials include considerations pertaining to: site planning; space planning; room geometry; room reverberance; sound absorption; sound wavelengths; frequency dependence; sound isolation; and understanding that sound absorption is not equivalent to sound isolation.

Notable architectural projects that were assessed in the class included: The Walt Disney Concert Hall by Gehry Partners; The Musikverein; The Concertgebouw; The Isabel Bader Centre for the Performing Arts by Snøhetta; and, The Boston Symphony Hall. Students were given a tour of the Soundlab at Arup’s offices in Manhattan; here, precise 3D models of concert halls simulate the near-exact sounds of various case-study halls throughout the world. This provides for comparison between benchmark concert halls, and, as such, allows designers and acousticians to modify current concert hall proposals during their design process.

The final project involved an acoustical assessment and improvement of an actual space; I chose the Chapel/Concert Hall at my alma mater.

Spring 2014

ARCH-632-002: Performance and Design Instructor: Assistant Professor Dr. Yun Kyu Yi. Although parametric software can be used to essentially drive a design, parametrics can conversely be used to used to enhance the design. In this elective, Grasshopper, along with plug-ins such as Ladybug and Galapagos, was utilized in order to maximize the environmental efficiency of a given design. Also utilized was Matlab, through which coding was incorporated to drive environmental analyses via Radiance software.

The final project involved the design of a simple tower with a glazed facade; the design was maximized using parametric tools–Grasshopper with Galapagos.

Spring 2014

ARCH-632-005: Daylighting Instructor: Jessica Zofchak LEED AP BD+C, Atelier 10.

Critical to the design of a piece of architecture is natural lighting. However, there are design principles that can help enhance the daylighting of a piece of architecture. This class focused upon the essential principles of daylighting design, including window placement; types of glazing; window-to-wall ratio; and interior materials and their respective reflectance values.

Using Grasshopper along with the plug-in Diva, the final project involved assessing and enhancing the daylighting of the courtyard of The Barnes Foundation Museum in Philadelphia.

THEORY ELECTIVE CONCENTRATIONS Spring 2015

ARCH-734-001: Ecological Architecture Instructor: Todd Woodward LEED AP, principal SMP Architects.

Architecture cannot be removed from its ecological context; to even consider the built environment is to consider its relation to the natural world. This class emphasized a text-based approach to ecological practices, with over 1,000 pages of text from thinkers and practitioners such Van der Ryn, Illich, and Berry.

The culminating project involved the research and redesign of a major portion of a prior project. In this case, the addition of geothermal technology into my 601 project, Woven Ecologies. See page 40.

Fall 2014

ARCH-999-003: Independent Study Should architects merely accept the near- universal paradigm of Western domestic architecture, or is that model open to question? This independent study questioned the nature of the bedroom, sex, and its relation to the outdoor environment. Important case studies were analyzed including the Schindler-Chace House and Lautner’s Sheats Residence.

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PROJECTS SAMPLES

NICHOLAS EMMANUEL MARIAKIS

nemariakis@gmail.com mariakis@alumni.design.upenn.edu 1-215-584-3307

issuu.com/nemariakis nemariakis.com nemariakis.com/architectural-photography archinect.com/nemariakis linkedin.com/in/nemariakis