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seiji anderson


CONTENTS ACADEMIC Quarry Art Center Urban Chandelier O c t av i a n F i s h M a r k e t Baptist Church Holocaust Memorial

PROFESSIONAL P H I L A D E L P H I A WA T E R F R O N T D E V E L O P M E N T B A N G KO K C U LT U R A L D I S T R I C T A R C H I T E C T U R E A N D T H E U N S P E A K A B L E : S H I B U YA


Quarry Art Center W ells - Lams on Qua rry, Ba rre , V e r m o n t


Quarry Art Center Wells-Lamson Quarry, Barre, Vermont - design 10 - 2012 Memory and Muse Memory is a major conduit for inspiration in art and design: it defines our self concept and determines much of our understanding of what happens to us. This proposal is a series of architectural elements designed to both evoke and create memory within a unique landscape condition--an abandoned quarry filled with waters deep, dark, and fathomless as the human psyche. Each element is a minimal volume reacting to the natural landscape of the site. Built using concrete with aggregate reclaimed from the quarry’s by-product, the buildings become platforms from which users can absorb the scenic aspects of the quarry, as well as peer over the edge into depths of their own experience. Guests are led through the forest, and brought to the lobby of the Education Center, and immediately confronted with a panorama that suspends them over the quarry waters with an unobstructed view of the site, Memorial, and the mountains beyond. The artist studios bridge across and scale up the western fracture of the site, while the residential units act as a series of interconnected floors terraced up the mountainside. At the center of the site is The Memorial, serving as a reminder that the quarry is ultimately a scar upon the earth’s landscape, filled in by water, and beautified by time. In the same way, memories that were initially wounds on the soul become the quarries from which artistic expression emerges. The architecture becomes the framework for the evocation, creation, and exploration of memory that will serve as inspiration long after the artist has departed.


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1

3

4

5

9

6

SITE PLAN 1. forest approach 2. quarry overlook 3. Education Pavilion 4. sculpture walk 5. artist studios 6. artist residences 7. memorial 8. visitor parking 9. resident parking 25

50

100

150'

2


visitor circulation

7

artist circulation


EDUCATION PAVILION 1. FOREST APPROACH 2. ENTRY

1

3. PANORAMIC LOBBY 4. iNFORMATION 5. BOOKSTORE/CAFE 6. EDUCATIONAL PAVILION 6 12

2

5

4

3

6

pavilion longitudinal SECTION

6

12

24

36'

24

36'


forest approach to educational pavilion

Quarry Overlook and studios beyond


ARTIST STUDIOS

FRACTURE CROSSING 4

1. CIRCULATION GALLERY 2. ARTIST STUDIOS 3. KITCHENETTE 4. VERTICAL CIRCULATION SHAFT

PLAN +2

6

12

24

36'

b a 2 PLAN 0

1

1

4 1 3 2 PLAN -1

+2

0 -1

SECTION A

6

12

24

36'


2

performing arts studio

resident entry main entry

+2

CIRCULATION GALLERY

STUDIOS

0 KITCHENETTE

-1

2 1

SECTION B

1 2


ARTIST RESIDENCES PLAN 0

PLAN +1

2 1

6

6

6

6

6 8

5 3

4

6

6

6

6

6


program massing

topography adjustment

PLAN +2

Twist for common circulation

1. ENTRY 2. LIVING AREA 3. DINING AREA

8

6

6

7

4. KITCHEN

7

5. LAUNDRY 6. ARTIST UNIT 10 20

40

60'

7. CARETAKER UNIT 8. terrace

stacked and interlocking circulation


MEMORIAL the memorial serves as a visual anchor in the quarry linking the architectural elements. It stands as a sculptural void; one final cut into the quarry rock to honor the victims of the quarry. clad in weathered metal panelling, the memorial reflects sunlight during the day and shines as a beacon of light during the night.


floor plan

concept sketch

section


URBAN CHANDELIER PIA Z Z A S A N S I LVESTR O, ROME, I TA LY


URBAN CHANDELIER PIAZZA SAN SILVESTRO, ROME, ITALY - design 9 - 2011 Rethinking the Urban Living Room The Piazza di San Silvestro is a little known urban space in the Roman city center. Over the years, the piazza has lacked a clear urban identity, forgoing its old role as the showcasing stage of the Church of San Silvestro for the service of the city’s bus lines. The proposal for Piazza di San Silvestro seeks to bring back the sense of enclosure exhibited in its ancient Roman form. A wall on the piazza’s south end stands as a monolithic furniture element in the piazza, enclosing and completing the idea of the Roman piazza as an urban living room. To complete this new urban room, a series of light fixtures hung from tensile structures introduces a ceiling element to the outdoor space. Inspired by the form of a chandelier, the structure recalls the forgotten tradition of tensile structure featured in ancient Roman buildings, such as the Colosseum Velarium. With the re-introduction of Roman building techniques in a widely forgotten piazza, the proposal seeks to redefine the Piazza di San Silvestro as a new city landmark rooted in Roman tradition.


NORTH ELEVATION

2

?

1

2 3

1

3 4

SAN SILVESTRO PIAZZAdiISSan NAMED AFTER THE is CHURCH. Piazza Silvestro

named after the church.

PIAZZA SAN SILVESTRO LACKS urban IDENTITY. The piazza lacks clear identity

PIAZZA SILVESTRO A DEFINED TheSAN south end LACKS of the piazzaSPACE

leaves an open ended space

A MONOLOTHIC WALL ADDS A INTRODUCING monolithic wall is introduced DEFINITION TO THE SPACE. to define the fourth facade.


2

?

1

2 3

1

3 4

SAN SILVESTRO PIAZZA IS NAMED AFTER THE CHURCH.

PIAZZA SAN SILVESTRO LACKS IDENTITY.

PIAZZA SAN SILVESTRO LACKS A DEFINED SPACE

INTRODUCING A MONOLOTHIC WALL ADDS DEFINITION TO THE SPACE.

SYSTEM OF LIGHTS ARE USED TO MAKE A SINGULAR THE GRID IS EDITED TO CREATE AN AXIAL VIEW LIGHTS ARE PLACED ON A GRID TO COLLECTIVELY MAKE THE GRID OF LIGHTS AND THE WALL ARE USED TO A system of lights are used Lights are elliptical The grid is edited are BY THE URBAN SCULPTURED PIECE. TOWARDSto THEmake CHURCHanOFaxial SAN SILVESTRO. The grid AN placed ELLIPTICALon GRIDanMAKING AN URBAN CHANDELIER. CREATEofAlights DEFINED and SPACEwall HIGHLIGHTED to make a singular sculptural grid, making an urban chandelier. view towards the Church of San used to create a newly defined CHANDELIER.

entity.

Silvestro.

space.


LIGHTING PLAN

SITE PLAN URBAN CHANDELIER

2


URBAN CHANDELIER

25


LONGITUDINAL SECTION


octavian fish market JEW IS H G H ETT O, ROME, ITALY


octavian fish market JEWISH GHETTO, ROME, ITALY - design 9 - 2011 Circulating Memory Building in a city as Rome inherently involves a lesson of understanding and respecting the history, culture and memory of a place. A story of the city’s ancient inhabitants can be drawn from the architecture in every corner of Rome. The project to reintroduce the ancient fish market in the Jewish Ghetto to contemporary Rome is one which requires a particular sensitivity these ideas. The proposal for the Octavian Fish Market is one which treats the building as a vessel for the collection and dispersion of the site’s memory throughout time. Key views are exposed during the user’s circulation through the market, highlighting significant landmarks such as the Portico of Octavia and the adjacent synagogue. The volumetric quality of the market expresses the idea of overlap, just as significant entities within the site context exist as a palimpcest of building types and styles throughout time. As the user reaches the end of the market, his view of the Portico of Octavia is framed through the face of the building’s public clock, providing a contemplative moment about the experience of time and history.


SITE PLAN

IL P O RTICO DI OTTAV IA

C E N C I S YN A GOGU E

T E V E R E

D E L

D E ’

A V I

E E V E R L U N G O T

T E A T R O

D I

M A R C E L L O

TE MP IO DI A PO L LO S O S I A N O

O S PED A LE FATEBENEFRATELLI

FLOOR PLAN 0

1. MARKET 2. OFFICE 3. STORAGE 4. WASTE STORAGE 5. ICE HOUSE 6. INSPECTOR’S OFFICE 7. BATHROOM

OCTAVIAN FISH MARKET

34


FLOOR PLAN +1

5’

15

35

75

CROSS SECTION B

5’

15

35

75


AXONOMETRIC DIAGRAM WALL ENCLOSUREWALL AND ENCLOSURE PUNCTURE AND PUNCTURE

PUBLIC MARKET PUBLIC MARKET CIRCULATION CIRCULATION

PRIVATE MARKET MARKET SERVICE CIRCULATION CIRCULATION

MARKET RAMP

MARKET RAMP SYSTEM SYSTEM

OFFICE PROGRAM OFFICE PROGRAM

MARKET SERVICE STORAGE AND SERVICE PROGRAM

5’

LONGITUDINAL SECTION A

15

35

75


TURNING POINT CHURCH MIAMI, FLORIDA


TURNING POINT CHURCH MIAMI, FLORIDA - design 7 - 2009 BALANCE IN CONTRAST The Turning Point Baptist Church is a congregation defined by the mix of Hispanic and American cultures in Miami. This social dynamic is prevalent not only in a member-by-member basis but through the generational differences within the family unit. The church program thus called for two equal spaces accomodating simultaneous worship, with the opportunity for joining these spaces for a bilingual worship service. As as expression of this duality in the congregation’s identity, the church is designed as an object that manifests the contrasts that define its community. The built elements stand as rigid volumes against the natural profile of the neighboring wetlands. The hard geometry of the chapel is cut with a glass skylight that allows in a soft, diffused light along its central axis, defining the user’s circulation to the lakeside baptistry. The building expresses a balance between subtlety and monumentality through these moments of contrast. The imagery of hte cross on the front facade is acheived in delicacy through reflection of the building’s megalithic presence.


SITE PLAN

SITE SECTION A


FLOOR PLAN 1. 2. 3. 4.

CHAPEL BAPTISTRY CRYING ROOM AUDIOVISUAL ROOM

SITE SECTION B

5. 6. 7. 8.

STORAGE MECHANICAL CAFE KITCHEN

9. 10. 11. 12.

OFFICE CONFERENCE SPACE CLASSROOMS RECORDING STUDIO


SECTION A

SECTION B


CHAPEL SOUTH ELEVATION

EAST ELEVATION

NORTH ELEVATION

SITE SECTION C


CHAPEL SOUTH WALL SECTION


TURNING POINT BAPTIST CHURCH

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TURNING POINT BAPTIST CHURCH

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HOLOCAUST MEMORIAL ATLAN TI C C I T Y, NEW JER SEY


HOLOCAUST MEMORIAL ATLANTIC CITY, NEW JERSEY - design competition - 2010 THE LIVING VIGIL “Then shall the dust return to the ground as it was, and the spirit shall return unto god who gave it.” - ECCLESIASTES 12:7 In Hebrew, the title ‘Ecclesiates’ is rooted in the feminine participle, “To Gather”. The Memorial focuses upon the assemblance of individual experiences to form a group experience -- one of a vigil. As a symbol of the spirit, light is emitted through transparent acrylic tubes to represent the connection between earth and God. Each ‘spirit’ glows brighter as it is approached, using a grid of weight sensors beneath the memorial’s concrete flooring. Concrete stools penetrate the floor plance, facilitating flexible seating that allows free viewing direction for its user. As human precence increases, the vigil begins to glow brighter. Delivering a universal message, each tube is inscribed with scripture of various languages. The memorial is a permanent vigil against genocide that strives to honor its victims while encouraging strong connection between individuals towards a collective, united action against human atrocity.


FLOOR PLAN: MEMORIAL

N

0’

5’

10’

20’

Floor Plan: Personal Experience

FLOOR PLAN: VIGIL


UNOBSTRUCTED VIEWS USING TRANSPARENT ACRYLIC TUBES

OBSTRUCTED VIEW USING CONVENTIONAL STRUCTURE

UNBIASED, 360 VIEWING EXPERIENCE USING STOOLS OVER BENCHES

HOLOCAUST MEMORIAL

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BROOKLYN DIGITAL FOUNDRY BROOKLYN, NEW YORK - summer internship - 2011

PHILADELPHIA WATERFRONT DEVELOPMENT BANGKOK CULTURAL DISTRICT ARCHITECTURE AND THE UNSPEAKABLE: SHIBUYA


PHILADELPHIA WATERFRONT development PH I LA DELP HIA, PENNSYLVAN I A B R OOKLYN DIGITAL F OUND R Y F O R KI E R A N T I M B E R L A KE


PHILADELPHIA WATERFRO

PHILADELPHIA, PENNSYLVANIA BROOKLYN DIGITAL FOUNDRY FOR KIERAN TIMBERLAKE


ONT

E

PROGRESS SHOT


PHILADELPHIA WATERFRO

PHILADELPHIA, PENNSYLVANIA BROOKLYN DIGITAL FOUNDRY FOR KIERAN TIMBERLAKE


ONT

E

PROGRESS SHOT


BANGKOK CULTURAL CENTER

B AN G KOK, THAIL AND - shor t f i l m B ROOKLYN DIGITAL F OUND R Y F O R L E E SE R A R CH I T E CT U R E


animated ribbon sequences

BANGKOK CULTURAL CENTER

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BANGKOK CULTURAL CENTER

69


fluid dynamics simulations

BANGKOK CULTURAL CENTER

70


modeling texturing and lighting

BANGKOK CULTURAL CENTER

71


shibuya residence tower s h i buya, tokyo, ja pa n - sh o r t f i l m B R OOKLYN DIGITAL F OUND R Y


modeling animation and lighting

SHIBUYA RESIDENCE TOWER

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SHIBUYA RESIDENCE TOWER

75


SHIBUYA RESIDENCE TOWER

74


SHIBUYA RESIDENCE TOWER

75


Portfolio 2012  

Seiji Anderson Portfolio 2012