portfolio ii abridged
DESCRIPTION
Graduate School Projects and Other Stories (Abridged)TRANSCRIPT
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GaloCaizares
Portfolio II,Graduate School Projects and Other Stories(Abridged)
2011-2013
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2KYU SUNG WOO ARCHITECTSAmherst Greenway DormitoriesConstruction Documents Set
At Kyu Sung Woo Architects, I designed and worked on a 100,000 dormitory project from schematic de-sign through construction documents. I was involved primarily with the exterior and material detailing. I worked with the team to design details for material transitions, curtainwall systems, windows, shades, roof assemblies, guardrails, and exterior landscape transitions.
TRIPLE GLAZED ALUM.CURTAIN WALLSEE A3.30 FOR TYP.NOTES AND DETAILS.
COMPOSITE ALUM. SOFFIT
ALUM. PANELSEE A7.00
7-07
8"
1/2" 1"
5 1/4"
TOS. 6TH FLOOR, BUILDING A
5 1/
4" 1' -
1 1
/4"
1/2"
9"1"
9' - 6" A.F.F.
8' - 2" A.F.F.
1' -
4"
TRIPLE GLAZED ALUM.CURTAIN WALLSEE A3.30 FOR TYP.NOTES AND DETAILS.
ALUM. PANELSEE A7.00
7-07
MASONRY VENEER WALLSEE A7.00 FOR TYP.ASSEMBLY
4-02
UPTURN BEAMSEE S DRGS.
1' -
2"
7-02SEE A7.00
ALIG
N
K
MILLWORK
1/4" : 12" SLOPE
11 1
/4"
1/2"
COMPOSITE ALUM. SOFFIT
TOS. 5TH FLOOR, BUILDING A
CO
LUM
N L
INE
REF
.
K
GWB SOFFIT
GWB WALL BEYOND
ALIG
N
5 1/
4"8"
TOS. 4TH FLOOR, BUILDING A
CO
LUM
N L
INE
REF
.
8 5/8"9"
TRIPLE GLAZED ALUM.CURTAIN WALLSEE A3.30 FOR TYP.NOTES AND DETAILS.
8" COMPOSITE ALUM.PANEL
1/2"
1/2"
1/2"
1/2"
K
CO
LUM
N L
INE
1"1/
2"
1' - 5 5/8"
2' -
5 3/
4"
2' -
6 1/
2"
K
TOS 3RD FLOOR
1/8" ALUM. PLATE SILL
SILICONE TRANSITION STRIP
AVB
3/4" VENEER PLY
SOLID WD TRIM
16 B
RIC
K R
OW
S
2' -
6 1/
2"
5 3/4" 9" 8 5/8"
ALUM. CURB TRIP W/TAPING FLANGE TYP.
COLUMN LINE REF.
TRIPLE GLAZED ALUM.CURTAIN WALLSEE A3.30 FOR TYP. NOTESAND DETAILS
ELEV. SHAFT
SEE A7.004-02
K
27
TO CONTROL JOINT
6 BRICKS
CO
LUM
N L
INE
REF
.
SILICONE TRANSITION STRIP
AVB
1/2"
1/2"
6'-3 1/8"
TO EOS
SEE A7.004-02
COLUMN LINE REF.
3' - 0"
4"
SEE A7.007-07
K
26
TO CONTROL JOINT
2 1/3 BRICKS
MILLWORK
AVB
1/2"
2' - 6 7/8"
SEE A7.007-07
1/2"
5 1/
4"
5 1/4"
MILLWORK
6 5/8"
1"
1/2"
1/2"
TRIPLE GLAZED ALUM.CURTAIN WALLSEE A3.30 FOR TYP. NOTESAND DETAILS
CORNER MULLIONENGINEERED BY CW MANF.
COLUMN LINE
9"
1/2"
8 5/
8"10
"4
3/4"
SEE A7.004-02
8 5/
8"
K
5 3/
4"
MILLWORK SILL
SSTL THROUGH WALLFLASHING W/ END DAMS ATCONTROL JOINT
SINGLE-PLY ROOFINGMEMBRANE
SINGLE-PLYMEMBRANE STEPFLASHING
SSTL EDGE FLASHING
ALUM. TAPE OREQUAL SEPARATION
LAYER
VAPORIMPERMEABLEMEMBRANE (AVB)
CONTROL JOINT
MASONRYVENEER WALL
KK.5
ALIG
N
TRIPLE GLAZED ALUM.CURTAIN WALLSEE A3.30 FOR TYP. NOTESAND DETAILS
SEE LANDSCAPE DRGSFOR EXTERIOR PAVINGASSEMBLY
FINISH GRADE
1' -
6"
ALUM. FIN BEYONDCO
LUM
N L
INE
1' - 5 5/8"
K
3/4" VENEER PLY
SOLID WD TRIM
ALUM. CURB TRIP W/TAPING FLANGE TYP.
4 1/4" 10" 8 5/8"
CO
LUM
N L
INE
8"
K
TOS 3RD FLOOR
SILICONE TRANSITION STRIP
10 B
RIC
K R
OW
S
1' -
7 1/
4"
5 3/4" 9" 8 5/8"
TRIPLE GLAZED ALUM. CURTAINWALLSEE A3.30 FOR TYP. NOTES ANDDETAILS
N
DRAWING NUMBER:
DRAWING TITLE:
KEY PLAN:
ARCHITECT:
C
OPY
RIG
HT
KYU
SU
NG
WO
O A
RC
HIT
ECTS
, IN
C.
SCALE:
DATE:
CHECKED BY:
DRAWN BY:
NOTES:
A
B
C D
DATE ISSUE
DATE REVISION
2014.04.30 CONCEPT DESIGN SUBMISSION
2014.06.30 SCHEMATIC DESIGN
2014.08.08 DEMOLITION OF TEMPORARY DORMITORIES
2014.08.15
100 % CONSTRUCTION DOCUMENTS
2014.09.30 100% DESIGN DEVELOPMENT
2014.08.15
EARLY SITE UTILITY PACKAGE
50% DESIGN DEVELOPMENT
03 / 02 / 2015
2014.11.19 40% CONSTRUCTION DOCUMENTS
Greenway DormitoriesAmherst College
6 East Drive / PO Box 5000Amherst, MA 01002
2014.12.12 EARLY STRUCTURE BID PACKAGE
2015.02.11 100 % CONSTRUCTION DOCUMENTS
As indicated
A8.14
BUILDING A NORTH POP OUTDETAILS
2015
Kyu Sung Woo Architects, Inc.488 Green StreetCambridge, MA 02139P 617-547-0128
SH
GC
1 1/2" = 1'-0"1 SECTION DETAIL - BLDG A POP-OUT CW SILL
1 1/2" = 1'-0"14 SECTION DETAIL - BUILDING A POP-OUT CW HEAD
1 1/2" = 1'-0"2 SECTION DETAIL - HEAD OF BLDG A ELEVATOR LOBBY
1 1/2" = 1'-0"3 SECTION DETAIL - SILL/HEAD AT BLDG A ELEVATOR LOBBY
1 1/2" = 1'-0"4 SECTION DETAIL - SILL AT BLDG A ELEVATOR LOBBY
4
2015.03.02 100% CONSTRUCTION DOCS ADDENDUM #2 4
1 1/2" = 1'-0"11 PLAN DETAIL - BLDG A POP-OUT
1 1/2" = 1'-0"5 PLAN DETAIL - BLDG A POP-OUT
1 1/2" = 1'-0"8 PLAN DETAIL - BLDG A POP-OUT
1 1/2" = 1'-0"7 PLAN DETAIL - CURTAIN WALL CORNER
1 1/2" = 1'-0"6 PLAN DETAIL - NORTH JAMB AT SHEAR WALL
3" = 1'-0"9 CUTAWAY VIEW - ROOF TIE IN AT BUILDING A POP-OUT
1/2" = 1'-0"10 INT. ELEV. POP OUT
1 1/2" = 1'-0"12 SECTION DETAIL - SILL AT BLDG A ELEVATOR LOBBY
1 1/2" = 1'-0"13 SECTION DETAIL - HEAD AT BLDG A ELEVATOR LOBBY
2015.03.18 EARLY STRUCTURE BID PACKAGE BULLETIN #6 9
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3
1ST FLEL. 260' - 0"
2ND FLEL. 270' - 0"
31 32
3RD FL Building AEL. 280' - 0"
4TH FL Building AEL. 289' - 4"
5TH FL Building AEL. 298' - 8"
6TH FL Building AEL. 308' - 0"
A2A7.03
15' - 0"
9' -
4"9'
- 4"
9' -
4"10
' - 0
"10
' - 0
"
A3.108
A3.107
FIXED ALUM. LOUVERSOLAR SHADES
1A8.06
1A8.06
1ST FLEL. 260' - 0"
2ND FLEL. 270' - 0"
M N
3RD FL Building AEL. 280' - 0"
4TH FL Building AEL. 289' - 4"
5TH FL Building AEL. 298' - 8"
6TH FL Building AEL. 308' - 0"
9' -
4"9'
- 4"
9' -
4"10
' - 0
"10
' - 0
"
WOOD SOFFIT ATOVERHANG
MASONRY VENEER WALLSEE A7.00 FOR TYP. ASSEMBLY
RELIEVING ANGLE
8' -
2 3/
4"
TRIPLE GLAZED ALUMINUMFRAME CURTAIN WALL. SEEA3.30 FOR TYP. NOTES ANDDETAILS
15' -
3 1
/8"
STANDING SEAM METALROOFINGSEE A7.00 FOR TYP. ASSEMBLY
A25A7.03
7-01
MASONRY VENEER WALLSEE A7.00 FOR TYP. ASSEMBLY
4-01
8-01
4-01
10 R
.1'
- 7
1/4"
TRIPLE GLAZEDALUMINUMFRAME CURTAIN WALL.SEE A3.30 FOR TYP.NOTES AND DETAILS
A8.049
TERRACE PAVINGSEE A7.00 FOR TYP. ASSEMBLY
7-04
SLAB ON GRADESEE A7.00 FOR TYP. ASSEMBLY
3-02
A8.044
A8.107
A8.103 TYP
A8.505 SIM
FIXED ALUM. LOUVER SOLARSHADES
1ST FLEL. 260' - 0"
2ND FLEL. 270' - 0"
32
3RD FL Building AEL. 280' - 0"
4TH FL Building AEL. 289' - 4"
5TH FL Building AEL. 298' - 8"
6TH FL Building AEL. 308' - 0"
A2A7.03
10' -
0"
10' -
0"
9' -
4"9'
- 4"
9' -
4"
10 R
.1'
- 7
1/4"
6 R
.11
5/8
"6
R.
11 5
/8"
TERRACE PAVINGSEE A7.00 FOR TYP.
ASSEMBLY
7-04
WOOD SOFFIT ATOVERHANG
A8.049
TRIPLE GLAZED ALUMINUMFRAME CURTAIN WALL. SEEA3.30 FOR TYP. NOTES AND
DETAILS
MASONRY VENEER WALLSEE A7.00 FOR TYP.
ASSEMBLY
4-01
8-01
SLAB ON GRADESEE A7.00 FOR TYP. ASSEMBLY
3-02
A8.107
A8.103 TYP
A8.503
FIXED ALUM. LOUVER SOLARSHADES
1ST FLEL. 260' - 0"
2ND FLEL. 270' - 0"
MN
3RD FL Building AEL. 280' - 0"
4TH FL Building AEL. 289' - 4"
5TH FL Building AEL. 298' - 8"
6TH FL Building AEL. 308' - 0"
A25A7.03
TERRACE PAVINGSEE A7.00 FOR TYP. ASSEMBLY
SLAB ON GRADESEE A7.00 FOR TYP. ASSEMBLY
7-04
3-02
A3.109
A8.513
FIXED ALUM. LOUVERSOLAR SHADES
30" CONC. BEAMSEE S DRGS.
30" CONC. BEAMSEE S DRGS.
30" CONC. BEAMSEE S DRGS.
10A8.02
10A8.02
10A8.02
1A8.06
1A8.06
N
DRAWING NUMBER:
DRAWING TITLE:
KEY PLAN:
ARCHITECT:
C
OPY
RIG
HT
KYU
SU
NG
WO
O A
RC
HIT
ECTS
, IN
C.
SCALE:
DATE:
CHECKED BY:
DRAWN BY:
NOTES:
A
B
C D
DATE ISSUE
DATE REVISION
2014.04.30 CONCEPT DESIGN SUBMISSION
2014.06.30 SCHEMATIC DESIGN
2014.08.08 DEMOLITION OF TEMPORARY DORMITORIES
2014.08.15
100 % CONSTRUCTION DOCUMENTS
2014.09.30 100% DESIGN DEVELOPMENT
2014.08.15
EARLY SITE UTILITY PACKAGE
50% DESIGN DEVELOPMENT
03 / 02 / 2015
2014.11.19 40% CONSTRUCTION DOCUMENTS
Greenway DormitoriesAmherst College
6 East Drive / PO Box 5000Amherst, MA 01002
2014.12.12 EARLY STRUCTURE BID PACKAGE
2015.02.11 100 % CONSTRUCTION DOCUMENTS
As indicated
A7.03
BUILDING A LOUNGE EAST
2015
Kyu Sung Woo Architects, Inc.488 Green StreetCambridge, MA 02139P 617-547-0128
SH
GC
3/8" = 1'-0"A1 SOUTH FACADE-EAST, BUILDING A
3/8" = 1'-0"A2 WALL SECTION A2
3/8" = 1'-0"A25 WALL SECTION A25
3/8" = 1'-0"A3 EAST FACADE, BUILDING A
2015.01.13 EARLY STRUCTURE BID PACKAGE ADDENDUM #1 1
1/2" 7-04
ALUM. SLIDING DOOR
THERMAL BREAK
SEE A7.00
270'
FINISHED FLOOR - STONE. SEE FINISH SCHEDULE
ALUM. SLIDING DOOR
ASPHALT PAVER
P
260'
6"1"
8 3/8" 11 3/8"2"
3"
1/2" MIN
6"
WP-2 RUBBERIZED ASPHALT SHEET
HIGH COMPRESSIVESTRENGTH RIGID INSULATION
FILTER FABRIC (DOW CORNING FOAMGLAS OR SIM.)
ASPHALT BLOCK PAVER (SEE L DRGS)
BITUMINOUS CONC SETTING BED (SEE L DRGS)
6" CONC BASE SLAB
REBAR (EPOXY COATED)
2"
MULLION BEYOND8" 8" 4 7/8"
1/4"1/4"
2"
FORWARD EDGE OF ROUND COLUMN
2 3/
8"
SILICONE TRANSITION SHEET
PROVIDE MOVMENT JOINT 3' MIN.FROM FACE OF BLDG.COORDINATE W/ LANDSCAPE
2' - 8 3/8"
1' - 0 5/8" 1' - 7 3/4"
7-04
ALUM. DOOR
THERMAL BREAK
SEE A7.00
1/2"
ALUM. FIN BEYOND
270'
CO
LUM
N L
INE
1' - 5 5/8"
TOP OF SLAB
CO
LUM
N L
INE
9 3/
4"
TYP.6"
TOP OF SLAB
8' -
2"2
3/8"
11 5
/8"
9' -
4"
8' -
2"
FIXED ALUM. LOUVERSOLAR SHADES6" SPACING, TYP.
TRIPLE GLAZED ALUM.CURTAIN WALLSEE A3.30 FOR TYP.NOTES AND DETAILS.
4"
EXTRUDED ALUM. LOUVERVERIFY ANGLE WITH MANF.
ALUM. SHEAR PLATEENGINEERING BY MANF.
3/8" ALUM. BARSTOCK FRAME
ALIGN TO B.O.SOLAR SHADE
PROVIDEREINFORCEMENTAS REQ'D
ALIGN
ALIGN
ROLLER SHADE(TYPE S4) SEERCP'S
PROVIDEREINFORCEMENTAS REQ'D TOCARRY FIXEDLOUVER SYSTEM,BY CW MANF.
A8.021
4-01SEE A.700
SIM
ALIG
N
EXTRUDED ALUM.BASE. SEE FINISHSCHEDULE
A8.041 SIM
CW MANF. TO VERIFY SIZING
TOP OF SLAB
CO
LUM
N L
INE
TYP.6"
10"
EOS
9" 8 5/8"
2 3/8" 6 5/8" 3" 2" 3 5/8"
ALIG
N
TYP.6"
TRIPLE GLAZEDALUM. CURTAIN WALLSEE A3.30 FOR TYP.NOTES AND DETAILS
FIXED ALUM. LOUVERSOLAR SHADES
4 1/8" 6 1/2" 7 1/8" 4"
LEADING EDGE OF LOUVERALIGNS WITH FACE OFMASONRY AT MASONRYOPENING. COORDINATE WITHDETAILS.
ALUMINUM SHEAR PLATE
ALUMINUM FRAME & SSTLFASTENERS
1/2"
69 A
T BL
DGS
B, C
, D
90 A
T BL
DG A
2 3/8"
G3
V.I.
F.
41/
4"4"
REVEALAT JOINTS.
PLATE ALIGNS ATTERMINATIONS
ALIG
N
10"
TYP.6"
4-04SEE A7.00
TRIPLE GLAZED ALUM.CURTAIN WALLSEE A3.30 FOR TYP. NOTESAND DETAILS
ALUM. SHEAR PLATEENGINEERING BY MANF.
FIXED ALUM. LOUVERSOLAR SHADES6" SPACING, TYP.
EXTRUDED ALUM. LOUVERVERIFY ANGLE WITH MANF.
7-04SEE A7.00
CO
LUM
NLI
NE
1'-6
"
N
1"
SSTLANGLE
270'
SILICONE TRANSITION STRIP
1/4"
SSTL FLASHING W/HEMMED DOWN TURN
EMBED PLATESEE S4.03 FOR RELIEVING DETAIL
WP-2 RUBBERIZEDASPHALT SHEET
AVB
TOP OF SLAB
CO
LUM
NLI
NE
8"
ALIG
NTY
P.6"10
"
TYP.6"
4-01SEE. A7.00
TRIPLE GLAZED ALUM.CURTAIN WALLSEE A3.30 FOR TYP.NOTES AND DETAILS.
FULL HEAD HEIGHT WEEP
SEALANT AND BACKER ROD
ROLLER SHADE(TYPE S3)
ALUM. SHEAR PLATEENGINEERING BY MANF.
FIXED ALUM. LOUVERSOLAR SHADES6" SPACING, TYP.
EXTRUDED ALUM. LOUVERVERIFY ANGLE WITH MANF.
TO E.O.S.
8 5/8"N
11"
SILICONE TRANSITION SHEET(TIE INTO GLAZING POCKET)
N
DRAWING NUMBER:
DRAWING TITLE:
KEY PLAN:
ARCHITECT:
C
OPY
RIG
HT
KYU
SUN
GW
OO
ARC
HIT
ECTS
,IN
C.
SCALE:
DATE:
CHECKED BY:
DRAWN BY:
NOTES:
A
B
C D
DATE ISSUE
DATE REVISION
2014.04.30 CONCEPT DESIGN SUBMISSION
2014.06.30 SCHEMATIC DESIGN
2014.08.08 DEMOLITION OF TEMPORARY DORMITORIES
2014.08.15
100 % CONSTRUCTION DOCUMENTS
2014.09.30 100% DESIGN DEVELOPMENT
2014.08.15
EARLY SITE UTILITY PACKAGE
50% DESIGN DEVELOPMENT
03 / 02 / 2015
2014.11.19 40% CONSTRUCTION DOCUMENTS
Greenway DormitoriesAmherst College
6 East Drive / PO Box 5000Amherst, MA 01002
2014.12.12 EARLY STRUCTURE BID PACKAGE
2015.02.11 100 % CONSTRUCTION DOCUMENTS
3" = 1'-0"
A8.10
CURTAIN WALL DETAILS
2015
Kyu Sung Woo Architects, Inc.488 Green StreetCambridge, MA 02139P 617-547-0128
SH
GC
3" = 1'-0"6 SECTION DETAIL - SLIDING DOOR HEAD
3" = 1'-0"4 SECTION DETAIL - SLIDING DOOR THRESHOLD
3" = 1'-0"8 SECTION DETAIL - DOOR HEAD UNDER SLAB
3" = 1'-0"3 SECTION DETAIL - TYP. LOUNGE CW W/ SHADE
3" = 1'-0"7 SECTION DETAIL - TYP. LOUNGE CW HEAD
3" = 1'-0"5 CW CORNER W/ FIXED SOLAR LOUVER / PLAN
3" = 1'-0"1 SECTION DETAIL - CW SILL AT BLDG A SOUTH
3" = 1'-0"2 SECTION DETAIL- CW HEAD AT BLDG A
2015.03.18 100% CONSTRUCTION DOCS BULLETIN #5 8
2015.03.18 EARLY STRUCTURE BID PACKAGE BULLETIN #6 9
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4KENNEDY & VIOLICH ARCHITECTURENorth Bennet Street SchoolConstruction Documents Set
At Kennedy & Violich Architecture, I worked on the design and construction documents of a rain-screen system as well as a free-standing screen wall to be erected in the courtyard of North Bennet Street School in Boston, MA. In addition to this, I also worked on the interior elevations and wayfinding environmental graphics.
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5
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6EXQUISITE CORPSESAn Architectural Mystery
In 1937, writing about the parallels between mystery fiction and urban dwelling, Walter Benjamin wrote, in times of terror, when everyone is something of a conspirator, everybody will be in the position of having to play detective. That is to say that anxieties present within the built environment often lead to a series of actions closely related to those undertaken by detectives. Using this as a departure point, this project seeks to reconstitute a discussion of meaning within architecture through the use of narrative, anachronous formal languages, and literary devices. If we are to take the dismissal of postmodern architectural discussions as a given, we can place meaning as an archaic sub-ject matter limited to autonomous formal readings (i.e. dialogues of surface, geometric complexity, etc) and non-existent in the context of large architectur-al production (i.e. real estate development, efficiency in construction methods, etc). However, revisiting linguistic analogies and a nostalgia for lost artifacts and pairing them alongside contemporary concerns of urban dwelling and architectural agency, we can re-establish culture-centric modes of architectural pro-duction (ones not limited to parametric or positivistic attitudes). By embracing the fictional dimension of an architectural project, and exploring the limits of that fiction, Exquisite Corpses determines a more specific understanding of narrative architecture, one that does not dismiss or marginalize the subject matter but aug-ments it. A fictional narrative suggests that contem-porary discussions of meaning in architecture must be taken to certain limits in order to promote agitations, explore morals, and even mediate anxietiesmuch in the same way detective mysteries operate. While previ-ous attempts at promoting these themes rely largely on architecture ad extremum (read: paper architecture, utopia) this project operates at the scale of the detec-tive mystery or the parable. It sets up an allegorical framework that situates Exquisite Corpses within the lineage of real projects with heavy theoretical under-pinnings (Tschumis La Villette, Rossis urban plazas), but also accepts the dismissive value of fiction. Ulti-mately, it seeks to revisit a spectral dialogue excluded from most contemporary architectural production, and suggest a probable methodology around which to have discussions of collective memory, meaning, sig-nification, and public identity.
M.Arch Thesis 2013
A serial killers tokens
TOKENS
a. 2a. 2a. 2a. 2a-5d. (2a-5d)-d. (2a-5d)-d. vlt((2a-5d)-d). Obeliskora.
a. 4a. 4a x f. 4a x f. (4a x f)-2d. (4a x f)-2d. (4a x f)-2d. vlt((4a x f)-2d). Obeliska.
b. b/2. b/2. (b/2) + 10. (b/2) + 10 - 5e. vlt((b/2) + 10 - 5e). (vlt((b/2) + 10 - 5e)) - 5d. Pentunda.
c. c - 16d. c - 16d. ttr(c - 16d). ttr(c - 16d). (ttr(c - 16d)) - (d x c). (ttr(c - 16d)) - (d x c). Theatora.
d. d. d. d - (d/2). d - (d/2). (d - (d/2)) - 4e. vlt((d - (d/2)) - 4e). Tricade.
e. ~e.
~e.
3e. 3e - (1/3 - z). 3e - (1/3 - z) + vtr. 3e - (1/3 - z) + vtr. avg(3e - (1/3 - z) + vtr). Archeatre.
e.
11e. 11e - 1/4. (11e - 1/4) - 10d. (11e - 1/4) - 10d. (11e - 1/4) - 10d. vlt(11e - 1/4) - 10d) - 20d. Archora
f. f - (f/10). vtr(f - (f/10)). vtr(f - (f/10))/2. vtr(f - (f/10))/2. vtr(f - (f/10))/2. vtr(f - (f/10))/2 - 2d. vlt(vtr(f - (f/10))/2 - 2d). Cylindra
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7Exquisite Corpses: An Architectural Mystery
Ways of reading architecture
Urban Monuments A police investigation
1'-1" 16'-6 3/4"
33'-6
"
9'-9
"2'
-0"
8'-5
1/4
"2'
-0"
8'-5
1/4
"2'
-0"
8'-5
1/4
"2'
-0"
8'-5
1/4
"2'
-0"
8'-5
1/4
"2'
-0"
8'-5
1/4
"2'
-0"
8'-5
1/4
"2'
-0"
14'-11 1/4" 14'-11 1/4"
29'-10 3/4"
20'-0"
116'-0"
1'-1 3/4"
120'-0"
2'-0" 116'-0" 2'-0"
99'-7
"20
'-3 1
/4"
135'
-7 3
/4"
1'-1" 16'-6 3/4"
33'-6
"
9'-9
"2'
-0"
8'-5
1/4
"2'
-0"
8'-5
1/4
"2'
-0"
8'-5
1/4
"2'
-0"
8'-5
1/4
"2'
-0"
8'-5
1/4
"2'
-0"
8'-5
1/4
"2'
-0"
8'-5
1/4
"2'
-0"
14'-11 1/4" 14'-11 1/4"
29'-10 3/4"
20'-0"
116'-0"
1'-1 3/4"
120'-0"
2'-0" 116'-0" 2'-0"
99'-7
"20
'-3 1
/4"
135'
-7 3
/4"
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8FLOATING GIANTSA Program for Local Warming
This project posits itself as an opposition to the boom/bust scenario. In contrast to the historically signif-icant booms and busts of the herring boom, this project seeks to use the data center as a catalyst for a permanent revitalization of the fishing industry of Raufarhfn, Iceland. Because the town needs no new building, an intervention in Raufarhofn must react and utilize the residual cultural artifacts and percepts already existing in the town. This, along with the im-mense affect of the natural phenomena in the land-scape ultimately results in a more systemic interven-tion working in the interstices of culture and industry. Productivity, here, is directly tied to the identity of the town, thus, any foreign object that is introduced must be mobilized by a larger social or moral order. Floating Giants, proposes a symbiotic network of data buoys directly connected to a fish hatchery that, using principles of water warming, will revitalize the fishing industry in Raufarhofn. The resulting intervention is a system of en-ergy flows that encompasses an installation of wave generators, data center buoys, and a fish hatchery. Using the excess heat of the data servers to heat up the surrounding water, one can create a symbiotic rela-tionship between the server buoys that creates an opti-mum temperature for farming Atlantic Cod. The cod similar to the herring, thus, becomes the new industry for the town. Furthermore, we can see not only an industrial impact as a result of the data center, but also environmental and cultural consequences. The system of aqua-farming or more accurately aquaforming, cre-ates a new nature distinct from the existing experience of the town. Here, the direct heating of the water, and fish farming become a fantastic landscape of rugged industrial systems, inflatable environments, and new wildlife. Programmatically, the system is made up of Data Center buoys and fishing nets. By shifting the traditional method of fish farming from solid tanks to inflatable boundaries, we can radically increase the amount of cod produced and take full advantage of the local warming impact. It is a highly choreograph-ic system. The fish spawn closest to the server buoys, then as they mature, the nets deflate, releasing the fish to another net, for the next stage of growth. At full maturity, they are transferred to the largest area, where they roam until its time for them to be harvested. The harvesting itself then becomes part of the choreogra-
Option Studio Fall 2012
phy, instigating festivals and spectacles that can be integrated into cultural moments of reflection in Raufarhofn. The project itself is sited as an offset of the major pen-insula. Using this figure as a mediatory buffer between the rough seas and the coast line, the site plan itself is a dynamic organism both iconic, and natural. It expands, contracts, and directly re-flects the choreography which mobilizes it. Capturing it at as spe-cific instance in time, we can see the contracting of the inflatable nets, the servicing of the data buoys, the docking of the ships, and the interactions at a human scale. The dynamism, here becomes the spectacle that interpolates between culture and corporate in-dustry. If we are to take the temporality of the data center as a giv-en, we can begin to plan a series of phases for the instantiation of this system. When the data center becomes obsolete, what remains is not a bust in the fishing industry, but a series of water-based power stations and cod species adapted to the rising temperature.
Anatomy of a Floating Giant
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9Floating Giants
Phasing program Local warming fish hatchery
Data and fish flows and cycles
Optimizing the temperature for farming Atlantic Cod
Prototypical Phasing
2015 2030 2060Traditional Model Proposed Model
T1T2T3
Atlantic Cod
Canada
Alaska(USA)
Russia
EuropeSpawning Areas
Sea Temperature and Farming Cod
Jan
Degrees C
Feb Mar Apr Jun Jul Aug Sep Oct Nov Dec
14
12
10
8
6
4
2
0
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DIGITAL AGRICULTUREUrban Planning in Paju Korea, Phase III
This project is the next in a succession of phases in the development of Paju, Korea. A small urbanization in the outskirts of Seoul, Paju stands as a highly mod-ernized eipcenter of the publishing and media indus-tries. At the outset of this studio we were asked one question: how do you design a city using only a 15% building footprint? Along with this question, this project also explored the characteristics of a new way of interacting in the digital age. Can we design digital cities? What do advancements in technology have to do with urban planning and the design of public space? This project proposes an episodic under-standing of city planning. The city needs to be a het-erogeneous mat of experiences and encounters, there-fore the form the city takes needs to be representative of the episodes that lie therein.
Option Studio Spring 2013in Collaboration with Julian Ocampo
X
Y
XZ
Y
X
X2Z
Y
Y2
Classic Grid Extruded Grid Superimposed Grid
X
Classic Grid Extruded Grid Superimposed Grid
Y
XZ
Y
X
X2Z
Y
Y2
Optimized Agricultural Land
Rice Corn Barley
Shifting the traditional mode of eastern urbanism from two-dimensional extrusions to three-dimensional continuous fabric.
Four main episodes and circulation in-between.Optimization of Agricultural land.
Agriculture
Dense High Rise DevelopmentAn aglomeration of dense high rise treedimensional blocks characterizes this par of
Paju 3, the composition of these blocks enables large and small companies to occupy Paju 3 in asymetrical ways.
Leisure BridgeLeisure activities are incorporated in this mixed use area, with sports, culture and hos-
pitality framing the context of the river.
High Rise BillboardThe tallest structure on the development stablishes the monumental nature of Paju 3.
Small Grain Lower and easily divided structures make the artisanal agriculture site, where many different small farm operators will have their own storage and living areas while some of the agricultural functions
such as silos and greenhouses can be consolidated for greater efficiency.
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11Digital Agriculture
SECTION 01
120m
114m
96m
90m
66m
60m
36m
30m
SITE PLAN1:2000
Site Plan
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12
DISTORTING CERDAS GRIDMonumentality, Memory, and Infrastructure
The first issue that this project addresses is that of the Icon. Barcelonas long history with icon stems from Cerdas grid, and as the city moves toward a post-icon global image, the grid begins to show its inability to act as a cohesive fabric. In the Poblenou area in particular, the low density and scale of the urban environment doesnt coexist with the grid. Its stance as an infrastructure that encourages individuality in the single block is outadated in the time of integrated networks and smart grids. Thus, Cerdas grid has become a product of excess rather than progress and leads us to reinterpret Barcelonas infrastructrual needs. The second issue is that of scale. While in Barcelona, we talked to the chief architect, Vicente Guallart, who is advocating a new systematic breaking down of the city by scales. In the studies conducted at the Insitute of Advanced Architecture of Catalunia, we see that one must work simulatenously at the scale of the city, neighbourhood, block, and building to establish a hierarchy of smart systems and networks that relate one to the other. Therefore, Vicente Guallarts goal is to establish many slow cities inside a smart city, a project for creating neighbourhood scale self-sufficiency initiatives that tie communities together within the larger intelligent system of the city. And so, what this project seeks to explore is a possible response to the problems of both icon and scale with regards to cultural production and self-sufficiency. The current site, with its derelict and abandoned status provides an excellent space for a large scale urban intervention that brings together cultural spectacle and infrastructure. The negotiation between icon and scale thus, becomes the way in which a new megastructure is inserted into the urban fabric. Following the Barcelonas tradition of monumentalizing technology and branding, I propose the construction of a systemic monument that can be realized anywhere and simultaneously provide solar power (as per Barcelonas Solar Ordinance regulations) and a cultural nucleus for the surrounding neighbourhood. And so this infrastructural nucleus, instead of being an iconic independent sculptural piece, becomes a systemic megastructural languange in itself that can be reproduced as part of future energy initiatives in the city.
Option Studio Spring 2012
6000 sqm of PV Panels
Megatruss
Structural Support
Recreation Area
Open Air Market and Public Galleries
Water Fountain
Outdoor Theatre
Paths
Landscape
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13Distorting Cerda's Grid
AA
BB
1
2
3
5 6
7
8
4
1. Outdoor theatre2. Picnic area3. Outdoor market4. Temporary performance spaces5. Spectacle seating6. Sports arenas7. Lockers/amenities8. Fountain
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14
LINCOLN LABSThe Laboratory for Collective Memory
What the new landscape suggests is not a static harmony, but dynamic continuity; it eludes our comprehension except as a chain of organizational levels.
- Gyorgy Kepes
There is a particular sublime in the architecture of the military-industrial complex. This architecture, born out of a rich history of arms races, and techno-political paranoia has become stagnant, and boring. Standardization of laboratories has made it difficult to envision a future architecture of the laboratory complex. There is, however, a kind of organic system of organization that grew out of a lack of space, new technological requirements, and interdisciplinary research. Ad hoc, temporary, and modular constructions are being added to existing buildings in order to keep up with changing methods. Currently, the need for a tremendous infrastructure is what is over-whelming when attempting to even touch the subject of such a future. My goals are to begin to establish the architecture of this technological complexity, to celebrate the large infrastructural network within a research institution; and to explore to what extent research culture within an architecture has evolved. This will be done with several strategies:
1. House large infrastructural elements, elevators, egress, restroom, HVAC, AHUs, electrical system, plumbing, and other necessary systems in what will be referred to as the infrastructural monolith; a thick wall system that feeds the internal organs of the laboratory and provides structural support.
2. With the major systems in the monoliths, the programmed spaces become flexible and adaptable and do not require standard ceiling or wall types, thus are free to be customized, or specialized.
3. Create a campus of heterogeneous typologies in order to bring out the COLLECTIVE MEMORY of the site and existing research culture, whether its collaborative or independent.
The purpose of this is not to introduce architecture into a project that lacks it, but rather to explore how an abundance of architecture may bring about a new research culture of trans-disciplinary interaction and collaboration.
Core Studio III Fall 2011
BASEMENT PLAN-5
HORIZONTAL CIRCULATION
EXISTING BUILDING
HEAVY INFRASTRUCTURE (HVAC, SYSTEMS, AHUS)
VERTICAL CIRCULATION
EXTERIOR CIRCULATION
MID LEVEL PLAN+20
UPPER PLAN+40
A
B
A
B
20.0
0
90.00 80.00 90.00
A
B
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15
NADAAAExhibition ModelsLead Intern and Project Coordinator Summer 2012
In the summer of 2012, I led a small team of interns at NADAAA in the construction of three exhibition models for three current projects: Melbourne Univer-sity Faculty of Architecture Building, Ordos Business Park, and Samsung Model Home Gallery.