PORTFOLIO Alvaro Arias M.S. in Advanced Architectural Design GSAPP May 2012
Columbia University
M.S. in Advanced Architectural Design Columbia University GSAPP 05/09/2012
CONTENTS
CORE STUDIOS Cidade do Samba 2.0
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5
Terra Encharcada
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23
Evasive Maneuvers
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35
Compressed Pixel
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45
Fabric-ation
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53
Roll Play
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63
Gateway
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77
Digital Craft
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83
BUILDING TECHNOLOGY
VISUAL STUDIES
SUM. 2011 FALL. 2011 SPR. 2012
4
Cidade do Samba 2.0
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
Juan Herreros Studio
DIGITAL CRAFT
Rio de Janeiro, Brazil CORE STUDIO
Advanced Studio VI
ADVANCED STUDIO V
ADVANCED STUDIO VI
Cidade do Samba 2.0
5
SUM. 2011 FALL. 2011 SPR. 2012
6
Cidade do Samba 2.0
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
Juan Herreros Studio
CORE STUDIO
Rio de Janeiro, Brazil
Advanced Studio VI
ADVANCED STUDIO V
Cidade do Samba 2.0
7
ADVANCED STUDIO VI
Cidade do Samba 2.0 Juan Herreros Studio
Rio de Janeiro, Brazil
T
SUM. 2011 FALL. 2011
he existing Cidade do Samba exposes a distinct paradox in urban planning schemes in the city of Rio de Janeiro. All schools share a common space despite the fact that competition and espionage between them is fierce and unrelenting. The highly secretive fabrication process demands minimal access to the premises and no visitors are allowed. This has generated a void in the fabric of the city as the cidade do samba acts as a fortress of disruption. Because samba schools are highly competitive and don’t collaborate with each other it seems illogical to establish them within the constraints of a single building.
SPR. 2012
8
Cidade do Samba 2.0
The cidade do samba is centrally located in the city of Rio de Janeiro but the potential in its location has been underutilized. By lacking any connection to the urban fabric the site acts as a void in the city. The future of the site is grim. Large office developments will be built against the waterfront and large scale transport system will circumnavigate the site providing no connection between Morro do Providencia (favela) and the rest of the city. The Porto de Maravilha area would benefit from a connection that would reconnect the favelas with the rest of the city. This connection could be made through important icons of the city like the cidade do samba and the sambodromo.
The first attempts at establishing this connection were strictly literal. The existing sambodromo building was extended through the whole site to create a connection through the favelas until the waterfront that could also serve as a catalyst of public activities. The proposal then shifted from an attempt at a complete physical connection to a less literal one. This was done by using each samba schools as a node that could freely connect and influence the context around it. The parameters by which this dismantling engages with the city have been taken into account.
Instead of “dropping� samba schools wherever, each samba school attaches itself to an existing infrastructural element in the city which is either underutilized or abandoned. This strategy attempts to spark a discussion on what should be preserved and on what basis. Another main argument is that planned developments in the city will continue to dismember the existing fabric by prioritizing real estate value over much needed infrastructural investments.
ADVANCED STUDIO VI jacarepagua imperatriz mangueira
vita isabel
unidos da tijuca
liesa
bejia flor
salgueiro sao clemente
mocidade
Samba school distribution
SURFACE, SCREEN & STRUCTURE
Exsiting samba city
x
x
void
x x x
FAST PACE/SLOW SPACE
Its current situation makes the samba city a void in the city
IMAGINING THE ULTRAREAL
Complete disconnection between the city and the samba city.
DIGITAL CRAFT
x
MATERIALS AND METHODS IN ARCH.
porto da pedra
ADVANCED STUDIO V
unidos da ilha
ADVANCED STUDIO IV
portela grande rio
This project aims to enable connectivity through a dismantling of the existing samba city.
CORE STUDIO
Advanced Studio VI
9
vita isabel
mangueira
rio harbor unidos da tijuca
bejia flor
cidade do samba mocidade
imperatriz
sao clemente
salgueiro
porto da pedra
liesa
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10
Cidade do Samba 2.0
ADVANCED STUDIO VI ADVANCED STUDIO V ADVANCED STUDIO IV MATERIALS AND METHODS IN ARCH.
central station
portela
FAST PACE/SLOW SPACE
grande rio
governador
DIGITAL CRAFT
sambodromo
IMAGINING THE ULTRAREAL
jacarepagua
SURFACE, SCREEN & STRUCTURE
providencia
By dismantling the cidade do samba into single nodes the project aims to provide a much needed connection between the central station and the waterfront
Advanced Studio VI
11
harbor
visible
BRT station
dance studio LRT station
unidos da tijuca
auditorium ampitheatre
gondola station
public pools
exhibition area
port olympic venue
blurred rehearsal area
location
providencia
jacarapagua
mixed sports field
central station market
samba circuit
imperatriz
hidden
quarry elevator
train station
costume fitting rooms carriage fabrication
The inner workings of samba schools are immensely secretive. This project will organize the program depending on the level of permeability permitted. Each samba school will change depending on the context it latches on to. Three samba schools have been chosen for further detail.
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12
bus parking
Cidade do Samba 2.0
ADVANCED STUDIO VI ADVANCED STUDIO V
PROGRAMATIC OPPORTUNITIES
gondola system
warehouse
ampitheatre subway
subway
samba class
gondola system
samba class
samba circuit
gondola system
auditorium
auditorium
gondola system
auditorium
LRT
LRT
BRT
LRT
BRT
BRT
dance rehearsal
ampitheatre
ampitheatre
ampitheatre
exhibition area
samba circuit
subway
samba class
subway
samba circuit
gondola system
auditorium
samba class
samba circuit
gondola system
scenic view
BRT
gondola system
scenic view
scenic view market
LRT
samba class
auditorium
auditorium
market
IMAGINING THE ULTRAREAL
subway
exhibition area
MATERIALS AND METHODS IN ARCH.
x
market
LRT
LRT
BRT
BRT
warehouse entry bus parking
DIGITAL CRAFT
headquarters
FAST PACE/SLOW SPACE
auditorium
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
gondola system
bus parking dance rehearsal
dance rehearsal
dance rehearsal
ampitheatre
ampitheatre
exhibition area subway
LRT
exhibition area
ampitheatre exhibition area
subway
subway
13
Unidos da Tijuca Sao Cristovao, Rio de Janeiro The elevated highway next to the harbor has completely disconnected the city from the waterfront. Although the elevated viaduct is scheduled to be torn down, no real connection has been planned by city officials. By placing a samba school over this point I wish to not only provide a direct connection but also to engage with our understanding of preservation. The project preserves a section of the elevated highway to provide a path with existing infrastructure and attach the existing warehouses in the harbor.
Juan Herreros Studio
ampitheatre samba circuit
city center
l
erimetra Vevd. P
waterfront
o
f Ri
o Port
reconnect the city and the water
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14
Cidade do Samba 2.0
integrated samba features
ADVANCED STUDIO VI ADVANCED STUDIO V ADVANCED STUDIO IV SURFACE, SCREEN & STRUCTURE MATERIALS AND METHODS IN ARCH. FAST PACE/SLOW SPACE IMAGINING THE ULTRAREAL rehearsal area
BRT
costume fitting rooms auditorium
carriage fabrication
DIGITAL CRAFT
dance studio
exhibition area
LRT
ferry
potential transport hub
programatic explorations
CORE STUDIO
Advanced Studio VI
15
Imperatriz Ramos, Rio de Janeiro The neighborhood of Ramos is located 7 kilometers from the cidade do samba. This proposal will bring the headquarters od this samba school from the outskirts of the city into a central area. By lacking the program of the samba school onto an existing infrastructural element the purpose is to have them coexist and influence each other: a sort of symbiosis. In this particular moment the school will latch onto the elevators that take people from ground level up to the favelas. The main idea is to spark activity into these once abandoned spaces.
sculpture garden NF + 90.00
+ 90.00 m
obsevation deck NF + 85.00
+ 80.00 m
NF + 80.00
auditorium
NF + 75.00
viewing area NF + 70.00
+ 70.00 m
dance studio
NF + 65.00
administration
+ 60.00 m
NF + 60.00
NF + 55.00
cafeteria
+ 50.00 m
NF + 50.00
media floor NF + 45.00
exhibition area
+ 40.00 m
NF + 40.00
funicular station NF + 35.00
+ 30.00 m
NF + 30.00
NF + 25.00
rehearsal area
+ 20.00 m
NF + 20.00
fitting rooms NF + 15.00
today’s events:
IMPERATRIZ
studio x rio exhibition history of samba auditorio madera
escola de samba
NF + 10.00
Rua Ebroino Uruguai
NF + 5.00
fabrication floor
FALL. 2011 SPR. 2012
16
BRT station
NF + 0.00
SUM. 2011
1
CIDADE DO SAMBA 2.0 Alvaro Arias __ Juan Herreros __GSAPP__ spring 2012
Cidade do Samba 2.0
2
3
4
5
6
7
8
ADVANCED STUDIO VI ADVANCED STUDIO V
gravel, plastic sealing layer, thermal insulation, sheetaluminum casing
ADVANCED STUDIO IV
extensive planting on 150 mm substrate filter
safety-glass element
double glazed glass roof. + photovoltaic cells facade veg. for sunshading aluminum handrail
0
SURFACE, SCREEN & STRUCTURE
light fixture with aluminum reflector
steel skeletal structure system trussed beams
steel reinforced concrete slab extruded light fixtures for mobile exhibitions
Morro do Providencia
MATERIALS AND METHODS IN ARCH.
suspended ceiling. allows cross ventilation
aluminum mesh facade system
translucent glass blocks
steel supporting brackets for stairway and elevator shaft
sliding door system
FAST PACE/SLOW SPACE
trussed steal structure for funicular system
IMAGINING THE ULTRAREAL
strip for electric operation
aluminum mesh facade system
DIGITAL CRAFT
30 cm reinforced concrete slabs
IMPERATRIZ
samba school 9
1
5
10
20
meters
CORE STUDIO
Advanced Studio VI
17
Jacarepagua Ramos, Rio de Janeiro The Jacarepagua samba school will be located in Rio’s central station. This site is one of the city’s most vibrant places with hundreds of train and buses connections between the city and the rest of the region. This samba school will flow over the existing rail tracks and provide an opportunity for the commuters to blend with the samba activities. This school would benefit from a site which has high pedestrian traffic both during the day and the evening.
a
b
c
e
d
f
observation deck
NF + 16.50
dance studio viewing area NF + 12.30
Terminal Rodoviário Américo Fontenele
c
NF + 12.30
NF + 7.80
NF + 7.80
a
f
fabrication area
b
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18
administration
LRT station
NF + 0.00
SUM. 2011
ampitheatre
d
e
ampitheatre
DIGITAL CRAFT
NF + 16.50
g
Terminal Rodovi谩rio da Central
Advanced Studio VI
IMAGINING THE ULTRAREAL
CENTRAL STATION
Plaza Proc贸pio Ferreira
g
19
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
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20
Cidade do Samba 2.0
CORE STUDIO
Advanced Studio VI
21
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
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22
Terra Encharcada
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
Keith Kaseman Studio
DIGITAL CRAFT
Rio de Janeiro, Brazil CORE STUDIO
Advanced Studio V
ADVANCED STUDIO IV
ADVANCED STUDIO V
Terra Encharcada
23
ADVANCED STUDIO VI
x
!
x
!
x
x !
! x !
Terra Encharcada Keith Kaseman Studio
Rio de Janeiro, Brazil
I
n April 2010 20 cm of rain fell in the Rio area in less than 24 hours. The city’s transport system collapsed, thousands of homes were swept away and at least 110 people lost their lives. Less than a year later the city was once again hit by a massive storm surge that triggered violent floods and mudslides. The majority of casualties were in poverty-stricken areas where homes cannot withstand heavy rainfall and the absence of permeable surfaces turn streets into rivers. The sense of urgency is palpable and perhaps it is time to design in conjunction with the natural ecosystem. Not long ago Barra da Tijuca was a flood plain and current events suggest a return to its origins
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Terra Encharcada
Terra Encantada will give way to Terra “Encharcada” (soaked land) where the flood plain will be a defining factor within Barra’s new landscape. Instead of setting boundaries to the natural ecosystem the project will collaborate with the water by allowing flooding to occur. The steady increase in the city’s construction and population has overwhelmed its transportation system and although new systems like the teleferico have been implemented I believe its potential has not been truly explored. Current gondola stations are strikingly empty and desolate and could serve as a junction point for cultural events within the urban fabric. Terra Encharcada will both serve as a transportation hub as well as the city’s cultural core.
Schools, workshops, exhibition spaces and amphitheaters will be attached to this system to address the lack of public and cultural spaces within the city. By cantilevering over the surface the rise in water level will provide a host of new spatial paradigms. In dry season the water recedes to a lively and lush marshland environment that can set the conditions to a new landscape in Barra. The free movement of the water will help the remediation process of the lakes that are now serving as dumping grounds. Fishing will once again be a stable business in Barra’s Lakes. In the event of a storm surge Terra Encharcada can serve as a relief site to neighboring condominiums and favelas, which are especially hard, hit by these events.
The system combined will set a new standard for public space not only in Rio but also beyond. In this way engaging present concerns with future conditions. The ultimate goal of this project is to be sustainable from an environmental, technical and cultural standpoint that has the potential to improve the quality of life of Barra’s inhabitants.
Shopping Via Parque
Shopping Via Parque
From Centro
ADVANCED STUDIO VI
Shopping Via Parque
Elevated Bike + Pedestrian walkway
AVAILABLE AREA
ADVANCED STUDIO V
Saco Grande
Saco Grande Hospital Barrador
Casa Shopping
Casa Shopping
Hospital Barrador Hipermercado MAKRO
Hipermercado MAKRO
Hipermercado MAKRO
ENCLOSURE
Completely built on
ENCLOSURE + FABRIC
CATALYST
Peripheral Housing
ADVANCED STUDIO IV
Helicopter Canopy
280 meters tallest tower in Brasil
Helicopter Hub
office or residential
Shopping Via Parque flaps around the building
Subway System
EXTREME DENSITY Office Buildings
FABRIC
Building + Commercial Flaps
ANIMAL SANCTUARY
MASSIVE TRANSPORTATION TERMINAL Helicopter + Train + Bus
National Park Reserve
C
C Lagoa da Tijuca green market C Lagoa da Tijuca
Maritime Terminal A
urban farms
Av. Ayrton Senna
water treatment and storage A B Av. Via Parque da Lagoa da Tijuca
B
B
CRISS-CROSS HOUSING Housing Complex
Operation Barra Megamix Mission C
green market
stage 2
maritime terminal
C
Lagoa da Tijuca urban farms
stage 1 water treatment and storage
samba path stage 3 A
stage 3
A
B B
barra public pools
Programatic Explorations
“This phase will involve an obsessive and systematic development of spatial / programmatic mixes on our site, developed with rigorous play through a host of primarily manually-driven techniques. While we will initially kick into action in a productive vacuum with respect to site inputs, adjacent forces and parameters will be injected into the work as projective scenarios develop and accumulate. Students will work individually to build up a catalog of resources to be exploited and / or questioned by the collective group.”
DIGITAL CRAFT
stage 2
stage 1
FAST PACE/SLOW SPACE
Hipermercado MAKRO
IMAGINING THE ULTRAREAL
BRT Termianl
Hospital Barrador
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
Saco Grande
CORE STUDIO
Advanced Studio V
25
SUM. 2011 FALL. 2011 SPR. 2012
26
Terra Encharcada
Advanced Studio V
27
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
SUM. 2011 FALL. 2011 SPR. 2012
28
Terra Encharcada
Site Explorations
CORE STUDIO
Advanced Studio V
29
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
Post Rio Visit After our trip to Rio I was struck by the order in the apparent chaos. I was specifically interested in the intricate nature of favelas and how they work as sophisticated networks. Nodes of activity like soccer fields or markets served as attractor points that weaved the urban fabric. The frequencies between these nodes revealed an imperceptible network of activities and movements. This understanding of the unconventional urban fabric had a profound influence on the development of my project. I decided to experiment with network system that could work in coexistence with the environment. In this case I was interested in creating an overarching network that could benefit the inhabitants of Barra, by serving as a transport hub, and also have a positive effect on the ecosystem by allowing the plain to flood and self-remediate.
emergency relief helicopters
evacuation route
BRT lines to Centro
from Rio das Pedras
storm shelters
SUM. 2011 FALL. 2011 SPR. 2012
30
Terra Encharcada
Terra “Encharcada� /storm shelters
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MARCH 6, 2012
Advanced Studio V MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
Operation Barra Megamix Exhibition Studio X Rio de Janeiro
31
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
private helicopter incentives
cultural events area
BRT lines
gondola system
fishing harbor
community schools
barra beach
Terra “Encharcada� / school /workshop /beach node
SUM. 2011 FALL. 2011 SPR. 2012
32
Terra Encharcada
CORE STUDIO
Advanced Studio V
33
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
SUM. 2011 FALL. 2011 SPR. 2012
34
Evasive Maneuvers
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
Cristina Goberna &Urtzi Grau Studio
DIGITAL CRAFT
Infiltrating the Higline CORE STUDIO
Advanced Studio IV
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
Evasive Maneuvers
35
ADVANCED STUDIO V
ADVANCED STUDIO VI
The Highline The workings of real estate gimmicks disguised through design
T
he recently opened section of New York’s High Line Park was celebrated by tourists and residents alike. The park has added an iconic image to the cityscape by converting an abandoned elevated train track into a public promenade. The project extends along 22 city blocks and has been hailed as a triumph of public over private interests. Actually, I would argue the park’s very existence was made possible by the city’s finest real estate moguls. A closer look into the park’s conception will reveal the workings of a common real estate strategy in New York City. In the early1900’s Manhattan’s West Side was a bustling center for goods coming into the city awaiting distribution. To handle the high demand for transportation the city set freight tracks on street level that could easily load and un-load their cargo. But having the tracks on street level resulted in a deadly mix between pedestrians and freight traffic. Because of its dangerous intersections the site was nicknamed “Death Avenue”. A first solution was placing men on horses, known as West Side Cowboys, which signaled incoming train traffic. But this option slowed traffic and efficiency in transporting goods was compromised. Therefore, as part of the West Side Improvement Plan of 1911,the city unveils a strategy for an elevated freight line. Trains were active on the High Line from 1934 until the early 1960’s, when rail traffic declined and a southern section of the structure was torn down. In 1980 the last train rolled down its tracks and the Line, less than 40 years old, went silent. During this time the tracks underwent a period of natural colonization brought about by seeds dropped by trains, birds, and breezes that grew in the gravel ballast. This natural reclamation was best captured by photographer Joel Sternfeld between 2000 and 2001. The images show a self-sown landscape,which seemed undisturbed with the dense urban landscape around it. The site became the city’s best-kept secret as the last uncorrupted natural landscape,which hadn’t cost the city a single dollar in developing. But in 2002 the secret was out and real estate agents keen on demolishing the tracks for development targeted the site.
SUM. 2011 FALL. 2011 SPR. 2012
36
The Chelsea Property OwnersOrganization (people who owned land under the HighLine) called for the immediate demolishing of the tracks, claiming they were a blight and a hazard for the city. But the CPO’s real interest was an expected rise in their property value stemming from the removal of the tracks.
The Highline
Although efforts to save the tracks as a public space were voiced, city officials were interested in its potential for revenue. Therefore the CPO would be granted permission to level the tracks if they could provide evidence that the city would gain considerable income by taxing this land based on its future value. Consequently the onlyavailable option for the survival of the highline as a public space was conditioned to its effectiveness as a development strategy. Following this conclusion an organization called Friends of the High Line was created to save the tracks by proving its survival was in the developer’s best interest. An extensive document was drafted to demonstrate that converting the tracks into a public space would actually raise the value of land adjacent to the site and taxation on future developments would also increase revenue. But the document also mentioned that the structure’s restoration and maintenance as a public space would cost the city over 7 million dollars annually. Therefore whatever was going to be constructed on the tracks, had to follow a specific design rulebook to maximize its ability for providing additional revenue. But this clause was not publicized in the design competition in a clear attempt to showcase the project’s “public” agenda. The winners of the competition were the partnership created between James CornerField Operations and Diller, Scofidio + Renfro. The design was simple yet ingenious. By placing their digital renders over Joel Sternfeld’s photographsthey vowed to preserve the existing fabric and imagery of the abandoned HighLine. The design proposal managed to keep the nostalgia of the scenery and promised little interference with the existing natural environment. Today, almost a decade after the competition, section 2 of the High Line has been opened to the public and we can begin to see how the architectural design cleverly hid the frameworks of real estate operations. The price of the land adjacent to the project is expected to rise between 5 and 30 percent in a few years; several examples provide evidence to this effect. The Promenade Plantée, a lushly planted park created atop an elevated viaduct running through the city’s 12 arrondissement in Paris witnessed a 15 % rise in land prices in its first year. In Seattle, homes bordering the Burke Gilman Trail, a 12-milepublic trail that runs through the city, sell for 10% more than houses of comparable size in other locations.
In New York, the city’s expenditure for the Central Park land was quickly compensated by the taxes generated by the increased value of the adjacent property. To capitalize on this strategy the design of the High Line had to allow future private entry points in any given spot of the project. Diller, Scofidio and Renfro created a system of modular, precast concrete planks that would permit unscripted movement in and out of the park at any point. The tapering of planks into planting beds formed anintegrated and combed carpet of natural elements and also allows future private entry points to easily blend with the existing fabric. Developers would also expect to generate additional revenue by renting public space on the High Line for private gatherings. Clearly marked rules of the High Line can be seen on any entry point and that allow private gatherings by permit. Thereforethe design generated a considerable amount of open area that was not disturbed by high-density vegetation and could easily accommodate large groups. Developers expect to gain $ 280,000 annually from these operations. Open areas at most entry points would also be beneficial spots for merchandising campaigns like gift shops. The design would also have to consider the integration of the park with clear points of revenue potential along the line. The image depicts the location immediately adjacent to the second level of the Chelsea Market building, located between 15th and 16th streets. The design of the space provides 6,600 sq. feet ofarea that could be used as holiday markets and semi-weekly Greenmarkets. The design of a 4,020 sq. foot, vegetation-free, area at the Gansevoort entry pointwas a clear intention at developing its potential as a future concession space. With the construction of the future Whitney Museum at this point, a restaurant area would generate revenue both from the visitors of the museum as well as those from the park. Ultimatelythe design of the High Line was a success the minute it was created at the drafting tables of Diller, Scofidio and Renfro. A space that has quickly shaped itself as an icon of the city was at one point doomed by the shortsightedness of the development agents. By identifying the mechanisms and tactics of the developers through the design proposal I merely wish to uncover their true nature. Although the design has served as a recue vessel for this public space it is also being used as a disguise for a larger development strategy. If this continues unchecked it will ultimately prove that the real estate market is a juggernaut for policy making and public projects are at their mercy.
Metropolis
37
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
Highline Infiltration Guide
Evasive Maneuvers Cristina Goberna &Urtzi Grau Studio
SUM. 2011
More than a public promenade and reclamation of an abandoned space the Highline unveils the workings of a real estate strategy. Since its opening in June 2009 the Highline had been responsible for $ 2 billion of private investment, 12,000 new jobs and 29 development projects. Developments around it are trying to establish private connections to the elevated park and soon it will become more of a private sector. Maintenance in the highline is expensive and the organization that is in charge of the park (Friends of the Highline) is struggling to make ends meet.
FALL. 2011 SPR. 2012
38
Evasive Maneuvers
Infiltrating the Higline
Therefore, permitting private connections to the High Line through connection concession agreements represents the single largest potential source of revenue to offset High Line operating costs. Other strategies for revenue are seasonal cafes in the West 13th street entrance and an extension of the Chelsea market. The Gansevoort Entry will have a concession area of over 4,000 square feet with potential expansion into the Whitney Museum. Food carts and other concession spaces will generate a commercial area at the expense of the park. This project demonstrates this grim future by establishing that only by means of infiltrating the Highline can a person enjoy the park.
Evasive Maneuvers must be taken to avoid falling into the commercial revenue areas. I identified that the one and only person that has truly unlimited access to the highline is the gardener. It is only through the impersonation of this individual that one can avoid the real estate schemes that are located throughout the park. The final delivery of this project demanded that both juries and critics see the future of the High line as part of premeditated real estate strategy. To effectively “sell” this idea I worked over the original Diller Scofidio + Renfro drawings to blur the line between what is original and what has been “modified”.
ADVANCED STUDIO VI ADVANCED STUDIO V ADVANCED STUDIO IV SURFACE, SCREEN & STRUCTURE MATERIALS AND METHODS IN ARCH. FAST PACE/SLOW SPACE DIGITAL CRAFT
IMAGINING THE ULTRAREAL
This chart demonstrates that maintenance costs are much higher than what can be gained from typical revenue generating strategies. Real Estate concessions in the park are the only way to balance the costs.
Advanced Studio IV
39
Gansevoort entry point
SUM. 2011
West 13th st. Underpass
FALL. 2011 SPR. 2012
40
Evasive Maneuvers
Gansevoort entry point
Advanced Studio IV
41
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
SUM. 2011 FALL. 2011 SPR. 2012
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Evasive Maneuvers
Advanced Studio IV
43
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
SUM. 2011 FALL. 2011 SPR. 2012
44
Compressed Pixel
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
Joseph Vidich, critic Surface, Screen and Structure BUILDING TECHNOLOGY
BUILDING TECHNOLOGY
Surface, Screen and Structure
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
Compressed Pixel
45
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
SUM. 2011 FALL. 2011 SPR. 2012
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Compressed Pixel
ADVANCED STUDIO VI
T
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
he idea was to design a thoughtful solution that would graphically, spatially and creatively resolve light transmittance and structural requirements in an existing faรงade . Using folding as a means of mass-customization of identical sheet metal units, a highly adaptable system opens at moments of steep curvature and closes when flat, wrapping the faรงade in a breathing membrane that controls views, air flow, and shading At the building scale, the pixelated system was designed, iterated and optimized using Rhino. At the scale of the panels and connection details, a full-scale prototype was designed using Solidworks. Several prototypes were fabricated from stainless steel sheet metal.
ADVANCED STUDIO V
team: Aaron Manns, Andres Correa
ADVANCED STUDIO IV
Surface, Screen and Structure
SURFACE, SCREEN & STRUCTURE
Joseph Vidich, critic
MATERIALS AND METHODS IN ARCH.
Compressed Pixel
BUILDING TECHNOLOGY
Surface, Screen and Structure
47
Shop drawings
SUM. 2011 FALL. 2011
Elevation/Section/Axon: Attachment of cluster to curtainwall
SPR. 2012
48
Compressed Pixel
Construction sequence
BUILDING TECHNOLOGY
Surface, Screen and Structure
49
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
Aggregation on facade
Ventilation strategy
SUM. 2011 FALL. 2011
Interior view
SPR. 2012
50
Compressed Pixel
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
Paper prototype Sheet metal prototype
Paper prototype. Cluster view
BUILDING TECHNOLOGY
Surface, Screen and Structure
51
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
SUM. 2011 FALL. 2011 SPR. 2012
52
Fabric-ation
ADVANCED STUDIO VI ADVANCED STUDIO V ADVANCED STUDIO IV MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
Keith Kaseman, critic
Materials and Methods in Architecture
team: Charlie Able, Eliza Montgomery
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
BUILDING TECHNOLOGY
FAST PACE/SLOW SPACE
Fabric-ation
BUILDING TECHNOLOGY
Materials and Methods in Architecture
53
Fabric-ation Keith Kaseman, critic
Materials and Methods in Arch.
team: Charlie Able, Eliza Montgomery
W
SUM. 2011
e explored the properties of fabric formwork to create complex concrete shapes. We were especially interested in fabric because it allows a very efficient formwork to final a resulting form. Also, because fabric is porous, excess water drains out. This means you can pour a very liquid mix in order to get the concrete into complex shapes without sacrificing the strength of the final dry concrete. We pushed this technique to the limit to find out how complex a concrete shape can become. Ultimately the formworks allows concrete to take an organic form.
FALL. 2011 SPR. 2012
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Fabric-ation
Through our tests early in the semester and our final experiment we were able to test this method on a range of scales as well as a assortment of fabric types and shapes. We also tested different methods for texturizing the concrete. Our initial approach was to stitch patterns in the fabric so that the sewn thread resists the stretched fabric creating an imprint of the pattern on the concrete. Other texturizing methods include cutting patterns into a non-stretchy fabric and cut with a laser cutter. The fabric is then wrapped around a fabric so that when concrete is cast inside a bulging out effect occurs where the laser cut fabric is.
This process was the most successful and provided an array of unique textures. Our final prototype was an experiment where we were interested in pushing the scale of the fabric technique. We used some of the shapes and tolerances that we had tried earlier, but this time sewed into one large continuous mold. We also pushed the final cast to stand on its own so we sewed the fabric pattern into a cylinder. We discovered the potential lied in using more durable fabrics and adding zippers or a connection that would allow the bag to be removed and reused between casts.
In moving forward we would like to continue testing texturing techniques and large complex shapes, hopefully combining the two. This process could potentially be converted into a parametric designing technique once the rules and allowances of the fabric are further explored.
BUILDING TECHNOLOGY
Materials and Methods in Architecture
55
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
rhino file ready for laser cut
fabric with laser cut shapes
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Concrete prototype
Fabric-ation
ADVANCED STUDIO VI ADVANCED STUDIO V ADVANCED STUDIO IV SURFACE, SCREEN & STRUCTURE MATERIALS AND METHODS IN ARCH. FAST PACE/SLOW SPACE IMAGINING THE ULTRAREAL DIGITAL CRAFT
Initial clamping system for casting
Sewing Fabric Formwork The first step is to sew the fabric formwork. We used a simple muslin fabric. For our previous studies we experimented with two kinds of fabric, a stretchier fabric inside of a non-stretchy fabric. This gave us many interesting textures which we could design through laser cutting fabric patterns onto the nonstretchy outer fabric.
However, when we moved to the larger scale of cast we only used one kind of non-stretchy fabric so that we could focus on getting the concrete into all parts of the complex shape. The fabric formwork is make up of two rings of fabric that are sewn together with shapes that were designed on a 2D pattern. BUILDING TECHNOLOGY
Materials and Methods in Architecture
57
Milling + adding clamps We milled the remaining shapes that weren’t sewn into the fabric and bolted them onto the fabric in the correct positions. We intentionally left them loose so that the concrete could get through them at the top. cut files for wooden clap location
nested file for frame
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all materials needed for fabrication
Fabric-ation
ADVANCED STUDIO VI ADVANCED STUDIO V ADVANCED STUDIO IV MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
Because our final design is quite large (4 feet tall) we had to make a substantial frame that could support all the weight of the concrete as we pour. Throughout our studies we have found that the fabric casts work better if they are in tension because then the final hardened concrete will always be in the most structural position. We made a cylindrical frame that our fabric sewn bag would fit into. We suspend the bag upside down in the frame so that we are pouring through the biggest openings into the smallest openings
FAST PACE/SLOW SPACE
Fabricating the Frame
IMAGINING THE ULTRAREAL
Adding bolts and wing-nuts
DIGITAL CRAFT
Organizing the wooden clamps
Frame construction BUILDING TECHNOLOGY
Materials and Methods in Architecture
59
pushing the concrete to the bottom of the mold
Curing time was approximately 24 hours
Mixing and Pouring Concrete For the final design we used Quickrete 5000. The mix had aggregate, but we sifted out most of the large pieces because we were concerned it would get stuck in the small fabric openings. The ideal mix was very liquid, almost like pancake batter. For most molds this would be too watery, but because we are using fabric, all the excess water seeps out. The concrete was poured through the top so that gravity pulls it all down into its natural position.
We had to vibrate and shake the mold substantially as we were filling it with concrete so that all the openings get filled. Some of the wooden clamps had to be removed so that we could ensure we were getting concrete to all the spaces at the bottom. This made some of the legs larger than we had designed but we would rather have the legs larger than to have unfilled openings. The fabric was filled almost to the top until all the legs were approximately the same height.
Removing the Formwork
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Concrete was poured from the top opening Fabric-ation
Because the fabric is such a cheap easy to make formwork, the best way to remove it is to just cut it off. Again, it is essential for these complex shapes that we use flexible fabric because there would be no way to remove a hard formwork. Because the fabric is so thin, we can just peel it off, cutting wherever we need to. We then sand the concrete slightly wherever the seam of the fabric shows and grind the bottom legs down so that it sits flat
Final prototype
BUILDING TECHNOLOGY
Materials and Methods in Architecture
61
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
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62
Roll Play
ADVANCED STUDIO VI ADVANCED STUDIO V ADVANCED STUDIO IV SURFACE, SCREEN & STRUCTURE MATERIALS AND METHODS IN ARCH.
Mark Bearak & Brigette Borders, critics Fast Pace / Slow Space
BUILDING TECHNOLOGY
DIGITAL CRAFT
team: Fiona Booth, George Dolidze, Kyle Hovenkotter, Trevor Lamphier, Luisa Mendez, Tiffany Rattray, Bryce Suite, Rachel Villalta, Heidi Werner
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
Roll Play
BUILDING TECHNOLOGY
Fast Pace / Slow Space
63
Roll Play Mark Bearak & Brigette Borders, critics Fast Pace / Slow Space team: Fiona Booth, George Dolidze, Kyle Hovenkotter, Trevor Lamphier, Luisa Mendez, Tiffany Rattray, Bryce Suite, Rachel Villalta, Heidi Werner
SUM. 2011 FALL. 2011 SPR. 2012
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Roll Play
ADVANCED STUDIO VI ADVANCED STUDIO V ADVANCED STUDIO IV SURFACE, SCREEN & STRUCTURE MATERIALS AND METHODS IN ARCH. FAST PACE/SLOW SPACE
Created to be showcased at the End of the Year show at Columbia University the schedule for design and fabrication demanded a tight deadline. Our group of 10 students distributed and collaborated on all stages of the process from initial schematics to material cost and distribution.
The main concept of the course was to have students engage a design solution based on factual parameters like cost and tight deadlines that will challenge the fabrication process and delivery. To meet these demands we designed an installation based on low cost material (concrete) to create an urban landscape. The process is an iteration of individual concrete benches that can work together or individually. Roll Play is an installation of rolling concrete furniture, creating an urban space for public gathering in uptown Manhattan. Assembled from many small pieces, Roll Play works both together and split up. On their own, the pieces become seats and tables, but together they form a continuous surface replete with everything neede for a gathering.
Roll Play’s digitally created topography allows for infinite surface variability and programmatic specificity. Valleys become lounges, holes are filled with ice to become coolers and cupholders.
Rigorous testing and experimentation with these techniques have led us to believe we can perfect their various aspects to create a public landscape that will offer both excitement and repose in the city.
To achieve this we have incorporated two main technologies: fiber reinforced concrete and a flexible mold. The glass-fiber reinforced concrete allows for very thin but very strong concrete forms. Traditional steel reinforcement is thicker and much heavier. The flexible mold facilitates the production of endless unique forms from one mold. Aside from the economic benefit, this technique is a smarter construction system than traditional formwork.
BUILDING TECHNOLOGY
IMAGINING THE ULTRAREAL
arametric and computational software offer designers a high degree of specificity which can be used to create complex forms, intricate details, and material efficiency, yet high-level results become insignificant if construction methods are too complicated to be timely*. This was the premise of the course and became the guide of our team’s project. We were especially interested in creating an installation using a sophisticated fabrication process but with relative low cost and constructive complexity.
DIGITAL CRAFT
*course objective
P
Fast Pace / Slow Space
65
3.3’
1.6’
Individual piece
Aggregated composition
SUM. 2011 FALL. 2011 SPR. 2012
66
User defined opportunities Roll Play
sit
drink
lounge rest
BUILDING TECHNOLOGY
Fast Pace / Slow Space
67
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
Concrete bench matrix
SUM. 2011 FALL. 2011 SPR. 2012
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Roll Play
Aggregated composition
BUILDING TECHNOLOGY
Fast Pace / Slow Space
69
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
top wood tuning frame concrete cast silicone backup eggcrate topography wooden tuning frame wooden base
Exploded axo.
SUM. 2011 FALL. 2011 SPR. 2012
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Roll Play
Complete system setup
ADVANCED STUDIO VI ADVANCED STUDIO V ADVANCED STUDIO IV SURFACE, SCREEN & STRUCTURE
Add top wood tunning frame
Lift frame and cast concrete
Lower frame and trowel concrete
Let sit for 10-15 minutes then slump!
MATERIALS AND METHODS IN ARCH.
Jig set up
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
Assembling waffle
BUILDING TECHNOLOGY
Fast Pace / Slow Space
71
Site plan
SUM. 2011 FALL. 2011 SPR. 2012
72
Roll Play
DIGITAL CRAFT
ruber peg
steel leg IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
Leg construction detail MATERIALS AND METHODS IN ARCH.
BUILDING TECHNOLOGY
Fast Pace / Slow Space
SURFACE, SCREEN & STRUCTURE
Joint bench connection node
concrete cast
Leg construction. Exploded Axo.
73
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
SUM. 2011 FALL. 2011 SPR. 2012
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Roll Play
BUILDING TECHNOLOGY
Fast Pace / Slow Space
75
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
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76
Gateway
DIGITAL CRAFT
Kevin Cimini & Chris Hoxie, critics
VISUAL STUDIES
Imagining the Ultrareal VISUAL STUDIES
Imagining the Ultrareal
IMAGINING THE ULTRAREAL
Gateway
77
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
Gateway Kevin Cimini & Chris Hoxie, critics
*course objective
Imagining the Ultrareal
T
he architectural rendering—be it photo-realistic, analytic, or abstract— captures the energy of an idea about space and the forces that act within it. The challenge of this course is to convey that dynamism—whether it is the movement of a set of bodies, a change in lighting and material qualities, or any other dynamic quality of architecture— with a set of static images. My specific intention was to generate an image of a place which embodies motion. A specific transition gate between the water and the ground.
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Gateway
Studio lighting view
VISUAL STUDIES
Imagining the Ultrareal
79
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
SUM. 2011 FALL. 2011 SPR. 2012
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Gateway
HDRI lighting scene
VISUAL STUDIES
Imagining the Ultrareal
81
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
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82
Seoul National University Museum of Art
Josh Uhl & David Fano, instructors
VISUAL STUDIES DIGITAL CRAFT
Digital Craft
VISUAL STUDIES
Digital Craft
83
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
Digital Craft Josh Uhl & David Fano, instructors
D
igital Craft investigates the concepts, techniques, and working methods of computer aided ‘drawing’ in architecture. We studied the operative relationship between 2d and 3d data, exploring the reache of their analytic and representational potential. The class build on the our advanced ability to question, shape, and interrogate space and time. To develop a first approach to these architectural drawing tools I choose to construct Rem Koolhaas’s National University Museum in Korea. The object of the course was to construct a digital and physical model.
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Seoul National University Museum of Art
VISUAL STUDIES
Digital Craft
85
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
Rendered view
SUM. 2011 FALL. 2011 SPR. 2012
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Seoul National University Museum of Art
Physical model
VISUAL STUDIES
Digital Craft
87
DIGITAL CRAFT
IMAGINING THE ULTRAREAL
FAST PACE/SLOW SPACE
MATERIALS AND METHODS IN ARCH.
SURFACE, SCREEN & STRUCTURE
ADVANCED STUDIO IV
ADVANCED STUDIO V
ADVANCED STUDIO VI
Alvaro Arias M.S. in Advanced Architectural Design Columbia University GSAPP May 2012