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DESIGN 3PRECEDENT ANALYSIS: ICA BOSTON DILLER SCOFIDIO +RENFRO

CASA BARRAGAN

f1

transfer equivalency

This project was a prec-edent analysis of the Casa Barragan. I dove into the research aspect focus-ing on the metaphor and spirit involved in Barra-gan’s own house.

Barragan was spiritual and a devout Christian, he lived his life like a monk. He designed the space to have magical moments placing emotion and spirit in his work. The style of drawings attempt toillustrate the spirit Barragan had in his work.

All the threads weave to-gether in the side garden illustrated on the bottom left

Barragan’s supreme manipulation of planes, walls which at once frame, structure, divide unite, guide and breath life into his house. He creates not a cold resi-dence but a mystical living sanctuary free from the entropy of a chaotic world.

The intent of the site plan (upper left) was to illustrate the concept that the house and walls of the garden acted as a sanctuary from the chaotic surrounding city. The windows and walls of the roof garden were placed above head level only revealing the sky, concealing the street.

The bottom drawing attempts to analytically dissect volumes for in a two point perspective.

BAILOUT BANK

f1

transfer equivalency

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MUSEUM OF IMMIGRANT EXPERIENCE

f2

arch 102

As you enter you ascend a level and walk into an open courtyard above a pool of water. Upon paying admission you enter the lower fl oor the darkest space, walking at the base of the columns representing war and oppression. walking around the pool again you reach a stair. The stair leads to a gallery leading to a bridge. The bridge represents the crossing of the Atlantic.

The Museum of Immigrant Experience was to be based upon a personal story of immigration. My grand-mothers story immigrating from Italy in post WWII provided the inspiration for the project.

The story deals with fas-cism in different ways. The tight column grid repre-sented this in the design. Each passing through the grid represents a moment in the story. One symbol for Italian Fascism was a bundle of sticks.

Crossing the bridge and entering leads to another ascension to a gallery with a vista to the Southeast at the Statue of Liberty. From there the ‘reality’ sets in a long downward stair leads to the library. Above the library lies the celebration room and roof terraces culminating in a 360 vista of the city. The elevation at any point refl ects the highs and lows of the narrative.

In the process of converting my Nonni’s narrative into a building, the section and sequence became impor-tant. The passage through under and over the column grid represented her dealings with fascism at different times. The schematic diagram illustrates the proces-sion and meaning of the sequence.

US GRANT’S TOMB

d1

arch 201

The fi nal project was to make an addition to the site of the Grant Memorial. Existing on the site was the fi nal resting place of Ulysses S.. Grant, American Civil War hero and Presi-dent. The existing mauso-leum is the largest in North America and at the time of it’s construction presided as the tallest building in the Upper West Side of Manhat-tan. The site lies on a prom-enade between the city grid and Riverside Park and the Hudson River,

The program for the visi-tor center and archive, asked to accommodate two specifi c inhabitants, Scholars who would con-duct research in the archive and special archive and visitors who would circulate through exhibition space, and auditorium, cafe and bookstore. One entry and exit point had to be pro-vided.

The challenge of the project was dealing with creating a building to complement the existing monument. A position had to be taken toward the existing memo-rial. The taper of the site and entrance from the city was also challenging. An-other fundamental problem was the lack of interest in Grant’s Tomb.

The concept evolved into an exploration of Grant’s personality. The question loomed to me why does this grand tomb exist for Grant? I always remembered learning that he was an ineffective president, just as a war hero, who inherited a war at the right time to end it. Through research, a split personality developed about Grant. He was exceptional as a general, driving back confederate forces. On the fi eld he known for his aggression and strategy. As a president he was very weak an often was infl uenced by others. The design took on these qualities, through program and materiality.

US GRANT’S TOMB

d1

arch 201

The model was designed as a sectional model, di-vided on the central axis. The structure consists of an envelope bearing wall with concrete columns on the inside to contrast the lightness of the special archive.

This project included crossing of many types. Again there are two spe-cifi c groups, visitors and scholars that require their own program elements and a degree of separa-tion. The issue of dealing with the past, not only with the existing structure but with what the Civil War meant for America and New York. Also ar-chitecturally, creating a thoughtful addition to the existing monument. Final-ly through the exploration of Grant’s character, the crossing between a strong extrinsic general and a weak intrinsic statement.

The plans and section illustrate the central core of the scholars in the lower level, and the public spaces around the center.

The columns serve multiple functions in the design, it adds rhythm to the large spac-es, they act structurally to support the walk on room above, they act as bookcases as detailed by the isometric above and there large size express the heaviness of the concrete, to contrast the lightness of the cube. The columns would be constructed in precast components designed to key into each other.

I started the process with the idea the visitor center would have a gesture of surrendering to the existing monument. The idea to have a sunken courtyard with the special archive became incorpo-rated with an evergreen tree growing from it symbolizing Grant’s lasting legacy.

The special archive became the centerpiece of the design. Early designs split the cube between the public and the scholars. Later the special archive became only accessible to the scholars.

US GRANT’S TOMB

d1

arch 201

Light became a primary instrument in painting the duality of Grant’s charac-ter. The statesman Grant, would be submerged with light cutting and pierc-ing in, with no views of the outside environment. The special archive would project out light and a view and rise above the grade.

The exhibition space was designed with small open-ings to simulate “bullets of light” an attempt to recre-ate a civil war battle.

The special archive took the form of a cube. An idealized form for Grant’s idealized place in history as a general.

The structure is supported by four steel columns holding a space frame roof that the double curtain wall is suspended from. The space frame also par-tially supports the fl oors around the perimeter.

The bookcases are taken off the fl oor to reduce fl oor load. The wire mesh shelves are supported by the steel columns. not sup-porting the books on the fl oor allows for lightweight fl ooring.

The top level of the special archive would have views in all direc-tions as well as built in desks and benches atop the bookcases.

The exterior would be refl ective glass, to refl ect the surrounding environment and reduced the glare on the books.

HET OOSTEN PAVILION

Holl was inspired by a Menger Sponge where section=plan=elevation. This drawings com-bines hardline, Feldman’s musical notation, freehand, plan, section, watercolor,day and night, interior and exterior in the spirit of one entity representing multiple views.

The enclosure of the building resembled a sponge. Studying the material and assembly helped uncover the cause of the phenomenal effects created in the actual building. Holl was additionally infl uenced by composer Morton Feldman music and notation, based on doubt which infl uenced Holl’s facadecomposition.

d2

arch 202

This precedent analysis focused on facade and essentially a question of the honesty of a facade. I argued Holl’s facade for the Het Oosten pavil-ion was actually honest like a candy wrapper. Its a candy building wrapped in life giving paper.

Figuring out how the actual building emitted light at night was the key to comprehending the difference in layers. Holl painted the inte-rior hidden surfaces of certain layers cmu, and plywood so the building would paint the canal.

- Above on the bottom left is an interpertive model comprised of 3 layers of pourous material that could be rearranged on tracks. The user would be able to create their own composition as Holl did in his building.

CA’ D’ORO FACADE

d2

arch 202

For the project I started with a study of the loom, as the facade was for the Italian Culture Ministry and textiles is a prime industry in Italy. Investigation into the components and func-tion of a loom led into the development of a process of framing then weaving a model.

The parameters that set up the design process were type of yarn, shape of the ‘fl oor’ plates, spacing of the fl oors, and density of the string. The fi nal design played with a oscillating pattern creating depth.

The top drawing is the original Ca’ D’oro, one of the few in class that was constructed not traced.

The process of rendering the facade seemed to be a challenge. The fi nal rendering involved water coloring background, pencil drawings the facade with shadows and carefully digitally collag-ing them together. Another challenge was enclosing the weaved facade. It was determined the facade would act as a screen and enclosure was provided further back in the building and the skin became an experience to walk through.

3"M

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1 1/2" = 1'-0"BASEMENT FOOTING DETAIL

1 1/2" = 1'-0"3 SLAB TO CMU DETAIL

1 1/2" = 1'-0"4 CLERESTORY ROOF DETAIL

GARDEN ENTERS HOUSE

GARDEN FRAGMENTS HOUSE

site plan

PINE BOARDS

CEDAR BOARDS

3 2X4 RAFTERS

8'' SLAB WITHRADIAL HEATING SYSTEM

PINE BATTENS

sandwich wall and roof detail

BUILT UP ROOF MEMBRANE FPOSITIVE DRAINAGE

WEST-EAST SECTION

SOUTH NORTH SECTION

LIVING ROOM SECTION

BIM: JACOB’S HOUSEIn what at the time was an elective class we were to develop a set of construc-tion documents using the Building information mod-eling platform Revit. The house I selected to analyze and draw was the Jacobs House by Frank Lloyd Wright.

The fi rst half of the semes-ter was spent attempting to match the architects style exclusively using Revit attempting to create a set of design development drawings. This also included developing diagrams ana-lyzing the house. The second half of the semester was generating construction documents eventually red lined by pro-fessionals.

The professor’s intention was to prove that you can-not use Revit to make nice drawings or renderings that its sole purpose is to gener-ate CD’s

The following spread con-tains both content from midterm and fi nal reviews.

vbim

arch 291

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FASHION HEADQUARTERS

d2

arch 202

To the right are working drawings and images of content up to the midterm. Ideas were developed around a structural system were planes were inserted. Also the idea of continuous space and process were incorporated.

Above is a study model looking at the mechanics of scissors made of Lego’s.

The fi nal project ffor design 2 was a fashion headquarters for fash-ion designer Proenza and Schouler. The proj-ect became an ongoing investigation. Process was emphasized over fi nal content. The concept changed and was refi ned over the course of the project.

The initial study focused on the process involved in fashion. Starting with the act of cutting fabric with a scissor, the idea de-veloped into a structural system like a inhabitable space frame.

FASHION HEADQUARTERS

d2

arch 202

After the midterm, the design fundamentally changed concepts. It became about a continuous sequence, and I experimented with making it from one folded piece. I looked into Buckminster Fuller and investigated his ideas about tensegrity and point of view.

The top diagram illustrates the activities and fl ow of the design. The design spaces fl ow into a production line ending in the dressing room under the showroom.

The site is in the meatpack-ing district of Manhattan. As a retrofi tted constantly in fl ux neighborhood I found the grid shift as a means to represent the neighborhood on the facade.

The perspective diagram il-lustrates the early intention of a fl owing program and sequence of spaces.

The design became based on a diagrid. Looking at the work of Buckminster Fuller I developed a continuous fl oor pattern that folded and then was stood on the prin-cipals of tensegrity. However this was very unstable fragile and diffi cult and was abandoned.

FASHION HEADQUARTERS

d2

arch 202

The diagrid became made from triangular panels to be made of a micro spaceframe. The fi nal enclosure was intend to be more of a space frame and less of a screen, which I used in the fi nal model.

The fi nal plans were developed on a diagrid. The plans were drawn not based on order but on relation to the pro-gram. Shifting fl oor plates and program sequences were at the heart of the design.

The fi nal model was made from a laser cut pattern, one sheet of it was cut into pieces, like a designer ma-nipulates fabric.

Mylar was used to rep-resent light transmitting panels.

The photos on the right are taken in a site context model.

INTREPID COMPETITION

6' - 0"

PRESSURE TREATED 2X8

PREFABRICATED DECAHEDRONMOMENT CONNECTOR

120 DEG BRACKET

FULLY CONDITIONED SPACE

UNCONDITIONED SPACE

PARTIALLY CONDITIONED SPACE

FIRE RATED EGRESS CORRIDOR

PUBLIC WALKTHROUGH PATH

ADA SEATING

COMPRABLE ADA PATH

HANGER

CLASSROOM

PORT

3DD 131

2DD 131

1DD 131

MAINTENTANCE

UPPER LEVEL PLANSCALE: 1/8” = 1’0”

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intrepid compeition

The USS Intrepid aircraft carrier held a competition in conjunction with NYIT to design a hanger to house its aircraft restoration operations. The criteria required the facility to be as sustainable as possible while appropriately com-plimenting the existing ship. Our approach was to create a structure from standard pieces of lumber. Conceptually the lumber represented the original wood deck of the ship. Our design then contrasted the wood with metal compo-nents representing the re-outfi tting of the ship with a metal deck and tilt to the landing runway. Our design attempted interpret the ships rich history.

Sustainable considerations included a solar overhang and glazing on the south wall. To maximize the resource of the sun the roof was mapped into sections based on the mod-ule. The infi ll for the module would either be insulation, PV panel, vent, or skylight. The design also used radiant fl oor heating via evacuated tubes.

The idea of propeller drove the form of the shell and concept behind marketing the ship to the jury and board of the ship.

THIS HANGER IS A NEW PROPELLER FOR THE INTREPID AS IT GENERATES MOVEMENT TOWARDS RESTORING HISTORY, ATTRACTING TOURISTS, AND PROMOTING SUSTAINABILITY

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THE FORM IS GENERATED BY THE GEOMETRIES ON THEORIGINAL SHIP DESIGN CONTRASTING THE 12 DEGREE PITCHOF THE LANDING FLIGHT DECK, AS THE AREA FOR THESTRUCTURE SITS A THE CRUX OF THESE GEOMETRIES. THECLASSROOM SPACE WILL SERVE AS A DIDACTIC EXAMPLE OFTHE SHIPS HISTORY.

TO REFLECT AND INFORM THE PUBLIC OF THE ORIGINALWOOD CONSTRUCTION THE FLIGHT DECK, A WOODMODULAR TILE SYSTEM WOULD ACCENT THE INTERIOR SPACE,WHILE THE EXTERIOR WOULD BE CLAD IN STEEL LIKE THE SHIP ISTODAY. THE CONTRAST IN MATERIAL ALSO SERVES AS ADIDACTIC EXPERIENCE FOR THE PUBLIC.

WOODSTEEL

NAUTICAL AERIAL WIND GENERATION STRUCTURAL MODU NAUTICAL AERIAL WIND GENERATION STRUCTURE

To accommodate the requirement of a classroom that satisfi ed ADA and fi re require-ments the classroom took a raked form like a lecture hall. This allowed accessibility at the front row of seats, without using an elevator. The classroom also lead to a viewing platform so the public can see the restoration operations. The separation also allowed for easy fi re separation to be made. However the heart of the design was the entry lobby to the classroom which was made from the wood of the original deck which we were cleared to use.

RADIAL VECTOR RAYS

d2

arch 202

Visualization 2 required us to generate 2d fi elds and manipulate and distort them I in several variations. Then generate several virtual 3d models. Of these we selected one to explore further and make a physical 3d model using the laser cutter and ‘parametric modeling.’ In addition we made drawings included in this spread. The drawing on the bottom left shows the original fi eld and 3 variations using line, tone and gradients. The drawing on the upper right is a composite of a cutaway axon, exploded axon and 3d details. The bottom right is a true orthographic projection including 6 cross sections 3 longitudinal section and 4 elevation with 3 plans.

LAB 3

2V AAID-240VISUALIZATION 2NYIT SCHOOL OFARCHITECTURE AND DESIGN

ALEX ALAIMOPROF. E. LU

12 17 11AXONMETRICPROJECTION FINAL SET 3 / 4

LAB 3

2V AAID-240VISUALIZATION 2NYIT SCHOOL OFARCHITECTURE AND DESIGN

ALEX ALAIMO

12 17 11ORTHOGRAPHICPROJECTION FINAL SET 4 / 4

STEREOCLOUD MUSIC ACADEMY

CUNY MUSIC INSTITUTE

d3

arch 301

For a new music academy located in Red Hook Brooklyn, a fresh take on the educational institution was implemented. “Networked spaces” or sharing spaces became the concept for the entire institution. A network of these generic spaces cre-ated the unconditional fi eld, the cloud fl oating above the public spaces and performance hall below. The unconditioned fi eld eliminate conventional hierarchy in design an places the inhabitant at the center of the design analogous to the Internet. The relation between the design and Internet is in the spirit of the Internet providing a new platform for music devel-opment. The school hopes to create the culture and environ-ment necessary to mod the next great generation of musicians and foster music creation rather than the conventional conserva-tory.

The concept for the music acad-emy started from the concept of educational facility as a net-work. This then was closely ties to the siesmic shift in the music industry based on the internet as the new platform for shar-ing, creating, and consuming music. The fusion of these ideas came to attempt to generate form based on a snapshot of a network. Eventually this was refi ned to the notion that a network is actually a framework that provides facility for the ac-tivities within it. This concept of the unconditioned fi eld became the three dimensional driver for the project. Studies on how to create a fi eld appropriate for physical architecture were done including the study of packing solids. Additionally program ele-ments were studied based on a module.

CUNY MUSIC INSTITUTE

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“A LIBERAL SOCIETY CAN’T TELL ITS PEOPLE WHAT GAMES TO PLAY BUT CAN PROVIDE A PARK FOR THEM TO PLAY THEM” Gopnik, Adam. “Olmsted’s Trip.” The New Yorker. March 31 1997.

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PROVIDE “PROGRAMMABLE” EDUCATIONAL SPACE

CREATE A CULTURE FOR FUTURE GENERATION

“NETWORKED SPACE” IS SHARED AND FLEXIBLE

CREATE AN ENITIRE FACILITY OF “NETWORKED SPACE” WITHIN A UNCONDITIONED FRAME

PREFABRICATED COMPONENTS

CREATE A FRAMEWORK ALLOWING FOR ENDLESS POSSIBILITIES= UNCONDITONED FIELD

LIKE THE INTERNET OR CENTRAL PARK FRAME ACTIVITIES

REALITY COMPROMISES THE UNCONDITIONED FIELD INCORPORATE “LEVELS OF CONDIIONING”

REACTION TO MODERN MUSIC INDUSTRY CRISES UNCONDITIONED ARCHITECTURE

FACILITATING NEW CONCEPTS OF MUSICAL GENERTAION

To make the idea of an open space feasible with a practicing music school and active noise control system was developed. It records eternal noises and transmits the anti-wave sound canceling the noise creating an isolated cham-ber. Simultaneously this records all students all the time allowing sharing on the database (library) as well as enforcing social transparency. The wall system would operate to warm air in the winter and cool air in the summer. As the panels are faceted on is typically shaded and the other re-ceives more direct sun. A damper controlled system would regulate the inter-nal climate. The upper three fl oors are designed to shade each other in the summer months and allow for light to penetrate in the winter. Also the frame is densest in the south direction also providing shading.

d3

arch 301

The 3d construct became the structural members in the design. Beyond structure the exposure and experience of inhabiting the frame was a key conceptual idea in the design. The perspectives in the frame became similar to the frame tiles of 3d packing shapes. The idea of parallax and non hierarchy are at the heart of these decisions. Egress stairs were made to comply with the buildings organization. The regularization of modules would make the building a candidate for prefabrication and rapid construction.The third fl oor requires an additional egress path at it does not connect to the north stair shaft.

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The fl oor planes of the upper fl oors also create a parallax as you would walk by in tandem with the frame and its transparency give the entire building a cloud like aesthetic both visually an perceptually as it changes with your movement.

The regularity of the concept of an unconditioned fi eld is present in the building sections. The light grey hatch represents the core area and may include egress stair and or restrooms. The darker hatch repre-sents what is seen in projected elevation. The cross sections also show the caving aspect of the design which rationalized the design of the cores which was a major design challenge. The two boundaries for the unconditioned ideal space become the core and air and both of these surfaces are carved. The cored are then bounded by the geometry of the lot line making the back wall.

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From comments at the midterm it was apparent you cannot just have an unconditioned fi eld as architecture. It is actually a paradoxical as architecture is an act of conditioning. So to compromise this paradox a system of ‘levels of conditioning’ was implemented. The cores were thought of as a rock which the ideal unconditioned space was carved from. The semi conditioned public space took crystallized form twin hexagons which disinte-grated into the unconditioned educational spaces above. The open space between the hexagons became public park space with an amphitheater.

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Red Hook felt very mysteri-ous on the day we visited. It was a drizzly overcast cool day. It felt isolated and was diffi cult to reach. One there was very quite and pleas-ant I was surprised by the amount of green, it is very different from anywhere else in New York. The site lies at the crux of two local axes, the old industrial and new cultural. From this cru-cial placement the school was thought to represent this situation in the musical realm. Reinventing industry and generating culture.

STEREOCLOUD MUSIC ACADEMY

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The plans show the progression from conditioned to unconditioned space as you move from lower to upper lev-els. The program was broken down into components. The core, ‘unconditioned network’ which was comprised of repeated ‘programmable chambers’ and the lobby and main theater spaces which were divided hexagons. To accommodate the educational program a hexagon attached to a rectangle became the standard module that could accommodate a classroom, public practice room, private practice room or student lounge depend-ing on the schools needs at a certain time. In this way the school would be able to program its hardware. The library would be the database of all the recordings accessible in the editing chamber making the entire educa-tional facility the digital library. Also the minor theater would be accommodated by the staggering of the educa-tional space. The pattern of the frame also alternated each fl oor allowing for double height spaces.

STEREOCLOUD MUSIC ACADEMY

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To best express the aesthetic of the structure the enclosure strategy was to be as transparent as possible. This best displays the dynamic of the network with and al-lows for the parrllactic effects to the viewer. It also lightens the building so not to be such a intruder in Red Hook. The fascinating piece it when you are perpendicular to the geometry and the building opens up contrasted by standing at other ends where the overlapping projection of the frame creates a very dense appearance. This changing effect also lends it self to a cloud. Also technically, it was a chance to cross platform Revit, AutoCAD Photoshop andIllustrator

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The architectural model at 1/8” showed structure walls and fl oors. It was conceived as essentially a kit of parts. The structural pattern was cut and folded and then joined at connection points. The hexagon and rectangular fl oor plates were set in between the frame. The cores were then added as well as any other ‘conditioned’ pieces. Essentially it was kit of parts.

Digital prototyping was used to generate models. In addition to the 1/8 in model a 16th and 1/4 were part of the fi nal presentation. The 1/16 showed structure and enclosure. The quarter showed the condi-tion of the facade.

Opinion: NYIT an Evaluation

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best practice by the books bottom line

traditional practices walls/cubicles

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selectivityhierachicalpermanant

open sourcehorizon lineexplorationsopen no limitssmartsopenopportunitynon hierarchicalephermeral

When I fi rst transferred to NYIT I was surprised with the practices and facilities available. Lack of desk space for all students was a surprise. Additionally portfolio requirements and attitude of the student body seemed different from what I had expected. However, I have come to realize NYIT has great potential and now appreciate some of the practices that I fi rst found problematic. NYIT does not offer a typical architectural education and the studio culture is quite unique.

Below are two lists based on futurist David Zach, it is my interpretation NYIT practices might align more with the right column when compared to other institutions which I consider positive.

The thing NYIT needs the most is community, this only comes from a rich studio culture. Being an urban commuter school in New York We have a unique studio culture but it could be improved with better space and better communication. Additionally a better student faculty relationship would help. It is rare for teachers to actually see students while they are working.

Whether NYIT’s product is intentional or not I believe NYIT is headed in the right direction. It always would be great to have more space and technology. However students that can perform better when given less are forced to solve these problems creativity perhaps giving them an edge when they com-pete with students that have more given to them.