Christian Anthony UreaDesign PortfolioUniversity at Buffalo School of Architecture and Planning

Christian A. Urea - caurena@buffalo.edu

For this particular design project, I was given the opportunity to explore Buffalo. The objective was to roam the city with heightened awareness of the physicality and materiality of the spaces and the effects that they have on you and the inhabitants. I was to find a space that relates to me in an immediate way and triggers a sudden interest and strikes you as having a strong, particular characteristic. I chose a vibrant and energetic installation at the albright know museum that automatically grabbed my attention.

Positive/Negative InversionArc 102 Design Studio 2Instructor: Jennifer OakleyUniversity at Buffalo School of Architecture and Planning

Photo: Installation by Robert Irwin - NIAGARA

The installation by Robert Irwin for the first time gave me the opportunity to incorporate light into the design to enhance space and overall atmosphere. I began by handling the space in both positive and negative forms. I was able to do this through modling the positive space in foam, and retrieving the negative space by a plaster pour which was able to be pulled appart and studied to evalute certain spacial conditions that could be explored through each plaster mold.

Christian A. Urea - caurena@buffalo.edu

Photos: Molding making process

During the creation of the foam model I wanted to translate the details in my space to the model it self. By carefully cutting the foam I was able to create columns, window mullions, ledges, corners, ceiling lights, and an abstract version of the neon lights running along the wall.

After the hydrocal hardened, I carefuly seperated the mold pieces from the foam model. I found it interesting to see my space come to life through the mold pieces. Seeing the details that related to the space and how the foam was directly linked to the details really gave me a spacial understand of my space.

The pouring process was definitely the most difficult part of the project as it depended on a lot of tri-al and error while pouring for each of the segments. The cottle boards had to be completely sealed using clay to prevent spillouts which would occur often.

Christian A. Urea - caurena@buffalo.edu

Photos: Plaster molds and configuration

The plaster mold pieces were then used to create form and space. Through several attempts at rearranging pieces, I chose a configuration that would create intersting interior and exterior spaces based on the theme of lighting and how it would effect the voids within each piece.

Christian A. Urea - caurena@buffalo.edu

Drawing: Hand rendered void space

Christian A. Urea - caurena@buffalo.edu

Plans + experiential renders

Christian A. Urea - caurena@buffalo.edu

Photos: Exterior + interior views

Christian A. Urea - caurena@buffalo.edu

As a group, we were given the task to cast a thin shell structure of an existing part of the studio spaces at 1:1 (e.g. corner, wall, arch, I-beam, window, etc) using only wire or cables as our cast. With this specified material we would create a space where the entire team can be accommodated inside the structure. The structure and space had to coexist to perform a function of our choice. We chose the column as the existing part of the studio that would be casted as it was a dominate feature of the studio and was located near other beams and columns that we could also incorporate.

By molding the I-column as our initial start, we were able to extend to other parts of the studio through important connection points that would be used as support. conceptually we were interested in manipulating the wire to design an exhibition space that would be used to display our drawings for the final presentation. Thought went into how we would be able create this exhibition space while also creating a type of enclosure that the members of the group could occupy.

Photo: Wire mesh

Space and StructureArc 102 Design Studio 2 Instructor: Jennifer OakleyUniversity at Buffalo School of Architecture and Planning

Christian A. Urea - caurena@buffalo.edu

Diagram: Site connections

A. We began by rst choosing the column in our studio as a structural element that would inuence the design of our project. The copper wire was than used to cast the column. Solder was used on key joints to create a rigid & exible structure. The grid that we created with the copper wire allowed the grid section to twist and stretch.

B. After mass producing the grid sections that came o the column we began connecting them to make longer sections.

C. The rst half of the curve was then constructed and connected to the I beam as a way to create a connection within the site.

D. The second half of the curve was than constructed. We used the wall as part of our site connection.

E. The second curve was than constructed. We used string as form-work to achieve a smooth curve.

F. We simplied the two curves to meet at a single point. We than began to apply the alluminum skin that would enclose the space.

G. After the aluminum skin was applied we began hanging our drawings.

A. We began by rst choosing the column in our studio as a structural element that would inuence the design of our project. The copper wire was than used to cast the column. Solder was used on key joints to create a rigid & exible structure. The grid that we created with the copper wire allowed the grid section to twist and stretch.

B. After mass producing the grid sections that came o the column we began connecting them to make longer sections.

C. The rst half of the curve was then constructed and connected to the I beam as a way to create a connection within the site.

D. The second half of the curve was than constructed. We used the wall as part of our site connection.

E. The second curve was than constructed. We used string as form-work to achieve a smooth curve.

F. We simplied the two curves to meet at a single point. We than began to apply the alluminum skin that would enclose the space.

G. After the aluminum skin was applied we began hanging our drawings.

A. We began by rst choosing the column in our studio as a structural element that would inuence the design of our project. The copper wire was than used to cast the column. Solder was used on key joints to create a rigid & exible structure. The grid that we created with the copper wire allowed the grid section to twist and stretch.

B. After mass producing the grid sections that came o the column we began connecting them to make longer sections.

C. The rst half of the curve was then constructed and connected to the I beam as a way to create a connection within the site.

D. The second half of the curve was than constructed. We used the wall as part of our site connection.

E. The second curve was than constructed. We used string as form-work to achieve a smooth curve.

F. We simplied the two curves to meet at a single point. We than began to apply the alluminum skin that would enclose the space.

G. After the aluminum skin was applied we began hanging our drawings.

A. We began by rst choosing the column in our studio as a structural element that would inuence the design of our project. The copper wire was than used to cast the column. Solder was used on key joints to create a rigid & exible structure. The grid that we created with the copper wire allowed the grid section to twist and stretch.

B. After mass producing the grid sections that came o the column we began connecting them to make longer sections.

C. The rst half of the curve was then constructed and connected to the I beam as a way to create a connection within the site.

D. The second half of the curve was than constructed. We used the wall as part of our site connection.

E. The second curve was than constructed. We used string as form-work to achieve a smooth curve.

F. We simplied the two curves to meet at a single point. We than began to apply the alluminum skin that would enclose the space.

G. After the aluminum skin was applied we began hanging our drawings.

A. We began by rst choosing the column in our studio as a structural element that would inuence the design of our project. The copper wire was than used to cast the column. Solder was used on key joints to create a rigid & exible structure. The grid that we created with the copper wire allowed the grid section to twist and stretch.

B. After mass producing the grid sections that came o the column we began connecting them to make longer sections.

C. The rst half of the curve was then constructed and connected to the I beam as a way to create a connection within the site.

D. The second half of the curve was than constructed. We used the wall as part of our site connection.

E. The second curve was than constructed. We used string as form-work to achieve a smooth curve.

F. We simplied the two curves to meet at a single point. We than began to apply the alluminum skin that would enclose the space.

G. After the aluminum skin was applied we began hanging our drawings.

A. We began by rst choosing the column in our studio as a structural element that would inuence the design of our project. The copper wire was than used to cast the column. Solder was used on key joints to create a rigid & exible structure. The grid that we created with the copper wire allowed the grid section to twist and stretch.

B. After mass producing the grid sections that came o the column we began connecting them to make longer sections.

C. The rst half of the curve was then constructed and connected to the I beam as a way to create a connection within the site.

D. The second half of the curve was than constructed. We used the wall as part of our site connection.

E. The second curve was than constructed. We used string as form-work to achieve a smooth curve.

F. We simplied the two curves to meet at a single point. We than began to apply the alluminum skin that would enclose the space.

G. After the aluminum skin was applied we began hanging our drawings.

A. We began by first choosing the column in our studio as a structural element that would influence the design of our project. The copper wire was used to cast the column. Solder was added on key joints to create a rigid & flexible structure. The grid that we created with the copper wire allowed the the grid sections to twist and stretch.

B. After mass producing the grid sections that came off the column we began connecting them to make longer sections.

C. The first half of the curve was then contructed and connected to the I-beam as a way to create a connection within the site.

D. The second half of the curve was then constructed. We used the wall as part of our site connection.

E. The second curve was then constructed. We used string as form work to achieve a smooth curve.

F. We simplified the two curves to meet a single point. We then began to apply the alluminum skin that would enclose the space.

G. After the aluminum skin was applied we began hanging our drawings to be displayed.

Christian A. Urea - caurena@buffalo.edu

Drawings: Elevations (above) + section (Below)

Presenting and Viewing Space DisplaySeating and Guest SpaceSection1=1

Plan A Plan B Plan C1/2 = 1-0 1/2 = 1-0 1/2 = 1-0

Plan C

Plan B

Plan A

Section 1

Seating and guest space. Presenting and viewing space. Display.Section

Elevation A Elevation B Elevation C

Section

Plan A

Plan B

Plan C

Christian A. Urea - caurena@buffalo.edu

Photos: Process photo board

Christian A. Urea - caurena@buffalo.edu

Using the Parthenon in Athens Greece as a precedent, I began by taking details of the Parthenons floor plan through out its history to influence the design process. the concept revolved around capturing the monumentality of the Parthenon and implementing a column study that would have a major impact on the design. These columns would create pockets of enclosed and open spaces that would influence circulation. Floors were given a specific shift that depended on several factors based on building site location at Glen Park.

Glen Park Fitness CenterArc 201 Design Studio 3Instructor: Laura GarofaloUniversity at Buffalo School of Architecture and Planning

Render: Experiential section

Christian A. Urea - caurena@buffalo.edu

The site where the project would be implemented is located in Williamsville New York. Glen Park is full with trees and winding paths and ponds where the general public can spend the day. The site that is integrated with the design included a direct connection to the street which is farely busy and and gets plenty of traffic. The site also contains a small piece of the park which would also be integrated into the design. These two site conditions proved challenging as creating a viable path of circulation that connected the street and the park had to work coherently.

Circulation/ Access BuildingsWaterGreen/ Recreational Space

Section B

Section A

Ellicott Creek descends nearly 50 ft as is passes through Wil-liamsville; with a 27 ft section where Glen Falls tumbles over the Onondaga Escarpment. What was once a hotspot for water-powered mills and fac-tories is now a chain of beauti-ful parks (and one golf course).

Winding trails, interconnected ponds, and superb landscap-ing please the eye, while the sound of the water rushing over the falls relaxes the mind. It was no surprise that even when we visited on a dull, dreary day in September nu-merous couples were enjoying a quiet walk, while a small wedding ceremony took place in front of the falls.

Glen Falls is not an overly spectacular falls. What really shines is the park it is within; certainly making it one of the more enjoyable ones to visit. The parks open spaces and paved walkways offer easy viewing of the multi-tiered cas-cade. Ellicott Creeks waters are strong and even in mid-summer the falls will roar. The water drops about a third of the way from its crest, cas-cades down the midsection, and then drops the rest of the way. There are several small ledges above and below the falls, but nothing of signifi-cance.

The remnants of an old mill race can be explored along the south west corner of the park, near the red mill. Explore the northern end of the park and the neighboring Amherst State Park to find the ruins of various mills past.

Site Analysis

Ellicott Creek descends the Onondaga Escarpment at Wil-liamsville; creating a lot of po-tential for water power. Pio-neers began building mills along the creek here as early as 1801. John Thompson and Ben Ellicott (after whom the creek was named) of the Hol-land Land Company acquired 300 acres around the falls in Williamsville in 1799 and built the first saw mill there in 1801. In 1803, much of their land was leased to other settlers, many of which constructed their own mills along the creek rapids. Jonas Williams and Evan Thomas acquired the mill property in 1804 and Williams proceeded to build three addi-tional mills as well as a tannery and distillery. Because of his entrepreneurial dominance in the settlement, it was often re-ferred to as Williams Mills.

The village was incorporated in 1850, and named Williams-ville, after its predominant citi-zen (who was then also serving as Postmaster). The village quickly grew over the years thanks to the water-powered manufacturing industry. Wil-liamsville Glen shifted towards an entertainment district once electricity allowed factories and mills to break the tether to the creek. The Harry Altman Glen Park Casino complex was built at the current site of the park. In addition to a casino and dance hall, it featured a chil-drens amusement park and small zoo. In the 1940s a the-ater and restaurant were added, In 1968 the complexs dance club, ironically named Inferno, burned to the ground in a massive fire still talked about to this day.

Section A

Section B

Circulation/ Access BuildingsWaterGreen/ Recreational Space

Section B

Section A

Ellicott Creek descends nearly 50 ft as is passes through Wil-liamsville; with a 27 ft section where Glen Falls tumbles over the Onondaga Escarpment. What was once a hotspot for water-powered mills and fac-tories is now a chain of beauti-ful parks (and one golf course).

Winding trails, interconnected ponds, and superb landscap-ing please the eye, while the sound of the water rushing over the falls relaxes the mind. It was no surprise that even when we visited on a dull, dreary day in September nu-merous couples were enjoying a quiet walk, while a small wedding ceremony took place in front of the falls.

Glen Falls is not an overly spectacular falls. What really shines is the park it is within; certainly making it one of the more enjoyable ones to visit. The parks open spaces and paved walkways offer easy viewing of the multi-tiered cas-cade. Ellicott Creeks waters are strong and even in mid-summer the falls will roar. The water drops about a third of the way from its crest, cas-cades down the midsection, and then drops the rest of the way. There are several small ledges above and below the falls, but nothing of signifi-cance.

The remnants of an old mill race can be explored along the south west corner of the park, near the red mill. Explore the northern end of the park and the neighboring Amherst State Park to find the ruins of various mills past.

Site Analysis

Ellicott Creek descends the Onondaga Escarpment at Wil-liamsville; creating a lot of po-tential for water power. Pio-neers began building mills along the creek here as early as 1801. John Thompson and Ben Ellicott (after whom the creek was named) of the Hol-land Land Company acquired 300 acres around the falls in Williamsville in 1799 and built the first saw mill there in 1801. In 1803, much of their land was leased to other settlers, many of which constructed their own mills along the creek rapids. Jonas Williams and Evan Thomas acquired the mill property in 1804 and Williams proceeded to build three addi-tional mills as well as a tannery and distillery. Because of his entrepreneurial dominance in the settlement, it was often re-ferred to as Williams Mills.

The village was incorporated in 1850, and named Williams-ville, after its predominant citi-zen (who was then also serving as Postmaster). The village quickly grew over the years thanks to the water-powered manufacturing industry. Wil-liamsville Glen shifted towards an entertainment district once electricity allowed factories and mills to break the tether to the creek. The Harry Altman Glen Park Casino complex was built at the current site of the park. In addition to a casino and dance hall, it featured a chil-drens amusement park and small zoo. In the 1940s a the-ater and restaurant were added, In 1968 the complexs dance club, ironically named Inferno, burned to the ground in a massive fire still talked about to this day.

Section A

Section B

Glen Park site analysis, Glen Park, Williamsville NY

Ellicott Creek descends nearly 50 ft as is passes through Williamsville; with a 27 ft section where Glen Falls tumbles over the Onondaga Escarpment. What was once a hotspot for water-powered mills and factories is now a chain of beautiful parks (and one golf course). Winding trails, interconnected ponds, and superb landscaping please the eye, while the sound of the water rushing over the falls relaxes the

mind.

Section A

Section B

Christian A. Urea - caurena@buffalo.edu

Diagram: Parthenon history timeline

Classical Parthenon (438 B.CE):A new Parthenon is constructed on top of the base of its predecessor. Because of this, much of the dimensions of the building has stayed the same.

More outer and inner columns were added:Outer Columnade Dimension: 8 x 16 (including corner)Inner Columnades: 6 columns

2nd Restoration (1975- Present)Since 1975, a second restoration has been un-dergoing on the Parthenon.

Access to the site is heavily restricted out of concern for further looting and wearing of the materials.

Lord Elgin and 1st Restoration (early 19th cen-tury):During the late 18th and early 19th century much of the Parthenons remain sculptures and artwork have been stolen due to unrestricted access to the site.In 1802, Lord Elgin of England removed most of these treasures.

After Greeces new indpendence, the 1st restoration proj-ect of the Parthenon was underway. Many columns were put precision was overlooked. All previous remnants of the Parthenons conversions were removed.

Parthenon Mosque (1670 A.D.):The parthenon is converted into a mosque under the rule of the Ottoman Empire.

The mosque literally sat on top of the previous Christian Church, of which most remnants were removed.

A minaret was also added to the west of the building. Several coumns and most walls had supposedly suered damage from earthquakes and human activity.

The Parthenon now acts as a site and not a building.

Mosque Explosion (1687 A.D.):During the Venetian-Turkish War in 1687, the Parthenon suered severe damage caused by the explosion of stored gunpowder inside of the mosque.

Theodosian Code (438 A.D.):Under the authority of the Byzantine Empire and Theodo-seus II, all pagan temples were ordered to be closed and all pagan rituals to be actively suppressed. The Parthenon, was for the most part, was preserved.

Christian Church (6th century A.D.):The Parthenon is converted in to a Christian church.The hektapomedos served as the naive and aisle of the church.

The west entrance had be reopened and the east was closed o in place of the aspe of the church.

Three holes in the wall were created to access the nave.

Old Parthenon (Archaic Greece - 480 B.C.E.):Temple attributed to the worship of the ancient Greek goddess Athena. Destroyed in 480 B.C.E during the Persian invasion of Greece.

Outer Columnade Dimension: 6 x 16 (including corner)Inner Columnades: 4 columns

Circulation

Site of Change

Classical Parthenon (438 B.CE):A new Parthenon is constructed on top of the base of its predecessor. Because of this, much of the dimensions of the building has stayed the same.

More outer and inner columns were added:Outer Columnade Dimension: 8 x 16 (including corner)Inner Columnades: 6 columns

2nd Restoration (1975- Present)Since 1975, a second restoration has been un-dergoing on the Parthenon.

Access to the site is heavily restricted out of concern for further looting and wearing of the materials.

Lord Elgin and 1st Restoration (early 19th cen-tury):During the late 18th and early 19th century much of the Parthenons remain sculptures and artwork have been stolen due to unrestricted access to the site.In 1802, Lord Elgin of England removed most of these treasures.

After Greeces new indpendence, the 1st restoration proj-ect of the Parthenon was underway. Many columns were put precision was overlooked. All previous remnants of the Parthenons conversions were removed.

Parthenon Mosque (1670 A.D.):The parthenon is converted into a mosque under the rule of the Ottoman Empire.

The mosque literally sat on top of the previous Christian Church, of which most remnants were removed.

A minaret was also added to the west of the building. Several coumns and most walls had supposedly suered damage from earthquakes and human activity.

The Parthenon now acts as a site and not a building.

Mosque Explosion (1687 A.D.):During the Venetian-Turkish War in 1687, the Parthenon suered severe damage caused by the explosion of stored gunpowder inside of the mosque.

Theodosian Code (438 A.D.):Under the authority of the Byzantine Empire and Theodo-seus II, all pagan temples were ordered to be closed and all pagan rituals to be actively suppressed. The Parthenon, was for the most part, was preserved.

Christian Church (6th century A.D.):The Parthenon is converted in to a Christian church.The hektapomedos served as the naive and aisle of the church.

The west entrance had be reopened and the east was closed o in place of the aspe of the church.

Three holes in the wall were created to access the nave.

Old Parthenon (Archaic Greece - 480 B.C.E.):Temple attributed to the worship of the ancient Greek goddess Athena. Destroyed in 480 B.C.E during the Persian invasion of Greece.

Outer Columnade Dimension: 6 x 16 (including corner)Inner Columnades: 4 columns

Circulation

Site of Change

Classical Parthenon (438 B.CE):A new Parthenon is constructed on top of the base of its predecessor. Because of this, much of the dimensions of the building has stayed the same.

More outer and inner columns were added:Outer Columnade Dimension: 8 x 16 (including corner)Inner Columnades: 6 columns

2nd Restoration (1975- Present)Since 1975, a second restoration has been un-dergoing on the Parthenon.

Access to the site is heavily restricted out of concern for further looting and wearing of the materials.

Lord Elgin and 1st Restoration (early 19th cen-tury):During the late 18th and early 19th century much of the Parthenons remain sculptures and artwork have been stolen due to unrestricted access to the site.In 1802, Lord Elgin of England removed most of these treasures.

After Greeces new indpendence, the 1st restoration proj-ect of the Parthenon was underway. Many columns were put precision was overlooked. All previous remnants of the Parthenons conversions were removed.

Parthenon Mosque (1670 A.D.):The parthenon is converted into a mosque under the rule of the Ottoman Empire.

The mosque literally sat on top of the previous Christian Church, of which most remnants were removed.

A minaret was also added to the west of the building. Several coumns and most walls had supposedly suered damage from earthquakes and human activity.

The Parthenon now acts as a site and not a building.

Mosque Explosion (1687 A.D.):During the Venetian-Turkish War in 1687, the Parthenon suered severe damage caused by the explosion of stored gunpowder inside of the mosque.

Theodosian Code (438 A.D.):Under the authority of the Byzantine Empire and Theodo-seus II, all pagan temples were ordered to be closed and all pagan rituals to be actively suppressed. The Parthenon, was for the most part, was preserved.

Christian Church (6th century A.D.):The Parthenon is converted in to a Christian church.The hektapomedos served as the naive and aisle of the church.

The west entrance had be reopened and the east was closed o in place of the aspe of the church.

Three holes in the wall were created to access the nave.

Old Parthenon (Archaic Greece - 480 B.C.E.):Temple attributed to the worship of the ancient Greek goddess Athena. Destroyed in 480 B.C.E during the Persian invasion of Greece.

Outer Columnade Dimension: 6 x 16 (including corner)Inner Columnades: 4 columns

Circulation

Site of Change

Old Parthenon (Archaic Greece - 480 B.C.E)

Temple attributed to the worship pf the ancient Greek Goddess Athena. Destroyed in 480 B.C.E during the Persian Invasion of Greece.

Outer Columnade Dimension 6x16 (Including Corner)Inner Columnades: 4 columns

Classical Parthenon (438 B.C.E)

A new Parthenon is constructed on top of the base of its predecessor. Because of this, much of the dimensions of the building has stayed the same.

More outer and inner columns were added.Outer columnade dimension: 8x16 (including cover)Inner columnades: 6 columns

Theodosian Code (438 A.D.)

Under the authority of the Byzantine Empire and Theodoseus II, all pagan temples were ordered to be closed and al pagan rituals to be actively suppressed. The Parthenon, was for the most part, well preserved.

Christian Church (6th Century A.D.)

The Parthenon is converted into a Christian church. The hektapomedos served as the naive and aisle of the church.

The west entrance had to be reopened and the east was closed off in place of the aspe of the church.

Three holes in the wall were created to access the naive

Parthenon Mosque (1670 A.D.)

The Parthenon is converted into a mosque under the rule of the Ottoman Empire. The mosque literally sat on top of the previous Christian Church, of which most remnants were removed.

A minaret was also added to the west of the building. Several columns and most walls had supposedly suffered damage from earthquakes and human activity.

The Parthenon now acts as a site and not a building.

Mosque Explosion (1687 A.D.)

During the Venetian-Turkish war in 1687, the Parthenon suffered severe damage caused by the explosion of stored gunpowder inside of the mosque.

Lord Elgin and 1st Restoration (early 19th century)

During the late 18th and early 19th century much of the Parthenons remaining sculptures and artwork have been stolen due to unrestricted access to the site. In 1802, Lord Elgin of England removed most of these treasures.

After Greeces new independence, the 1st restoration project of the Parthenon was underway.

2nd Restoration (1975-Present)

Since 1975, a second restoration has been undergoing on the Parthenon.

Access to the site is heavily restricted out of concern for further looting and wearing of the material.

Site of change

Circulation

Christian A. Urea - caurena@buffalo.edu

Original

Christian Church

Explosion

Mosque

Present Day

Elgin Marbles and Decay

Overlap

Diagram: Parthenons change through historic event

Christian A. Urea - caurena@buffalo.edu

Drawings: Plans & shift diagram

First L

eve

l

Most o

f the m

ove

ment in

the p

ark is

head

ing

west. T

he sh

ift in th

e first le

vel

allo

ws fo

r a sm

ooth

transitio

n in

to th

e

park w

hen e

xiting

.

Second

Leve

l

The sh

ift in th

e se

cond

leve

l give

s a

dire

ct c

onnectio

n b

etw

een th

e stre

et a

nd

th

e b

uild

ing

.

Third

Leve

l

The sh

ift in th

e to

p le

vel a

llow

s for so

lar

access th

roug

h o

ut th

e d

ay.

First L

eve

l

Most o

f the m

ove

ment in

the p

ark is

head

ing

west. T

he sh

ift in th

e first le

vel

allo

ws fo

r a sm

ooth

transitio

n in

to th

e

park w

hen e

xiting

.

Second

Leve

l

The sh

ift in th

e se

cond

leve

l give

s a

dire

ct c

onnectio

n b

etw

een th

e stre

et a

nd

th

e b

uild

ing

.

Third

Leve

l

The sh

ift in th

e to

p le

vel a

llow

s for so

lar

access th

roug

h o

ut th

e d

ay.

First L

eve

l

Most o

f the m

ove

ment in

the p

ark is

head

ing

west. T

he sh

ift in th

e first le

vel

allo

ws fo

r a sm

ooth

transitio

n in

to th

e

park w

hen e

xiting

.

Second

Leve

l

The sh

ift in th

e se

cond

leve

l give

s a

dire

ct c

onnectio

n b

etw

een th

e stre

et a

nd

th

e b

uild

ing

.

Third

Leve

l

The sh

ift in th

e to

p le

vel a

llow

s for so

lar

access th

roug

h o

ut th

e d

ay.

First Level

Most of the movement in the park is heading west. The shift in the first level allows for a smooth transition into the park when exiting

Second Level

The shift in the second level gives a direct connection between the street and the building.

Third Level

The shift in the top level allows for solar access through out the day.

Christian A. Urea - caurena@buffalo.edu

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCTPR

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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The Culinary School in Italys Villa Emo, revolved around the idea of traversing through fragmented topographic surfaces. Using shifting planes that act as an experiential circulation path that gives the sense of trecking to your destination. Elements and patterns on the exterior surface are extracted and extruded through the interior to create ever changing volumes of space that are unique and unlike other spaces within the Culinary Institue. Thick massive walls occupy the interior resembling Scottish medieval castles, while also allowing it to resemble a monumental, brutalistic architecture.

Cullinary School, Villa EmoArc 202 Design Studio 4Instructor: Stephanie DavidsonUniversity at Buffalo School of Architecture and Planning

Render: Frontal approach

The fragmentation of the surfaces was influced through Villa Emos main dwelling space. The objective was to create a field drawing which represented the dwelling space, in this case the main living corridors, and to repeat a particular characteristic based on rules that gave the drawing an order to follow. I used several functions such as scaling and compressing to create the field. From the field drawing I was able to pull and extrud soecific elements to create form and function within the program.

Christian A. Urea - caurena@buffalo.edu

Drawing: Section (above), ground floor plan (below)

Christian A. Urea - caurena@buffalo.edu

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I found the ground floor plan shown below vital to the representation of the project because it shows several important details that are hidden in the other plans. The under pass below allows the general public to easily move from one side of the building to the other without having to go around. It also shows the linear access to the villa from the parking lot and several important programtic details such as the unloading zone, the kitchen theater etc.

Drawing: Field diagram (Above), field drawing (Below)

As is overlay of dwelling space in tripartite grid. 1. Scaled by 1.5 in the y-axis.2. Scaled by 2.5 in the y-axis.3. Scaled by 2.4 in the y-axis.4. Compressed by 2 units5. Stretched by 2 units6. Compressed by 2 units7. Scaled by 1.5 in the y-axis8. Scaled by 2.5 in the y-axis9. Scaled by 2.4 in the y-axis

Ttripartite grid.

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Tripartite Grid As-is Overlay if Dwelling Space in Tripartite Grid 1. Scaled by 1.5 in the y-axis2. Scaled by 2.5 in the y-axis3. Scaled by 2.4 in the y-axis4. Compressed by 2 units5. Stretched by 2 units 6. Compressed by 2 units7. Scaled by 1.5 in the y-axis8. SCaled by 2.5 in the y-axis9. Scaled by 2.4 in the y-axis

Christian A. Urea - caurena@buffalo.edu

Drawing: Floor plan level 2 & level 3

Christian A. Urea - caurena@buffalo.edu

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The second level shows the continuation of the linear circulation where visitors can access the other end of the building through the fragmented surfaces which will rise and fall on your journey to the class room on the other end.

The third level is where the restaurant and outdoor seating is located. Guests will have views of the italian country side as they eat and will have the option to available seating on the open terrace space.

Drawing: Axon section slice + model photos

Christian A. Urea - caurena@buffalo.edu

Renders Parking Lot Approach (Above), Underpass (Below)

Christian A. Urea - caurena@buffalo.edu

The concept or idea of the project revolves around a green roof canopy that acts as an elevated path that promotes a healthy and social environment for visitors. The canopy acts as an alternate artificial landscape that enables people to run/jog on a track, take part in social activities within the event spaces, while also providing fresh air and natural light to enter the spaces underneath the canopy.

Main Street Wellness CenterArc 301 Design Studio 5Instructor: Miguel GuitartUniversity at Buffalo School of Architecture and Planning

Roof scape model photo

The slight slope inclinations are integrated into the design in a way to provide runners/visitors with changing surface conditions that adjust to the building heights of the masses underneath the canopy. This creates a roofscape that acts as a dominate protagonist to main street that performs as a healthy urban connector for the people of Buffalo

Christian A. Urea - caurena@buffalo.edu

Plans (above), program study (below)

Christian A. Urea - caurena@buffalo.edu

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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Christian Anthony Urea / Professor: Miguel Guitart / University at Buffalo School of Architecture and Planning / Design Studio 5

Walking/Jogging Paths + Greenery Roof canopy water drainage system

Entry

1 -Lobby - 700 sf2 -Lounge - 700 sf

Wellness

3 -Locker Facilities - 2400 sf4 -Wellness Studio 1 - 5210 sf5 -Wellness Studio 2 - 1190 sf6 -Fitness - 5100 sf7 -Kids Zone - 1450 sf8 -Multifuntional Room - 2250 sf

Market

9 -Organisc Cafe - 3510 sf10 -Healthy Food Market -1540 sf

Health

11 -Admin Office - 780 sf12 -Doctors Office - 1370 sf13 -Healing/ Therapy - 4100 sf

Support

14 -General Storage - 2000 sf15 -Gymnasium - 6000 sf

Area

Net Area = 38,340 sfGross Area = 56,020 sf

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Ground level

Program for the ground level was highly influenced by the existing site conditions, analyzing the corner of the site which contains a busy intersection between main street and best street, as well as summer-best train station which made it a more dense part of the site in terms of people. By placing the market and cafe near the station and creating a wider opening to the central court-yard space, it allowed visitors to quickly access these spaces.

Third level

The program in the the third level is open to the roof tops where visitors will be directly under the roof canopy. These roof tops are large spaces where the public can gather, eat, or simply relax.

Second level

The second level can be accessed through linking stiarwells and elevators. This level contains the fitness and wellness spaces. Again, these spaces placed near the station as they will be more easily accessible to the dense traffic of the general public.

Program development

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Christian Anthony Urea / Professor: Miguel Guitart / University at Buffalo School of Architecture and Planning / Design Studio 5

Walking/Jogging Paths + Greenery Roof canopy water drainage system

Entry

1 -Lobby - 700 sf2 -Lounge - 700 sf

Wellness

3 -Locker Facilities - 2400 sf4 -Wellness Studio 1 - 5210 sf5 -Wellness Studio 2 - 1190 sf6 -Fitness - 5100 sf7 -Kids Zone - 1450 sf8 -Multifuntional Room - 2250 sf

Market

9 -Organisc Cafe - 3510 sf10 -Healthy Food Market -1540 sf

Health

11 -Admin Office - 780 sf12 -Doctors Office - 1370 sf13 -Healing/ Therapy - 4100 sf

Support

14 -General Storage - 2000 sf15 -Gymnasium - 6000 sf

Area

Net Area = 38,340 sfGross Area = 56,020 sf

1&2

3

4

5

6

910

11

12

13

14

15

Ground level

Program for the ground level was highly influenced by the existing site conditions, analyzing the corner of the site which contains a busy intersection between main street and best street, as well as summer-best train station which made it a more dense part of the site in terms of people. By placing the market and cafe near the station and creating a wider opening to the central court-yard space, it allowed visitors to quickly access these spaces.

Third level

The program in the the third level is open to the roof tops where visitors will be directly under the roof canopy. These roof tops are large spaces where the public can gather, eat, or simply relax.

Second level

The second level can be accessed through linking stiarwells and elevators. This level contains the fitness and wellness spaces. Again, these spaces placed near the station as they will be more easily accessible to the dense traffic of the general public.

Program development

4

PRO

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OD

UC

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Christian Anthony Urea / Professor: Miguel Guitart / University at Buffalo School of Architecture and Planning / Design Studio 5

Walking/Jogging Paths + Greenery Roof canopy water drainage system

Entry

1 -Lobby - 700 sf2 -Lounge - 700 sf

Wellness

3 -Locker Facilities - 2400 sf4 -Wellness Studio 1 - 5210 sf5 -Wellness Studio 2 - 1190 sf6 -Fitness - 5100 sf7 -Kids Zone - 1450 sf8 -Multifuntional Room - 2250 sf

Market

9 -Organisc Cafe - 3510 sf10 -Healthy Food Market -1540 sf

Health

11 -Admin Office - 780 sf12 -Doctors Office - 1370 sf13 -Healing/ Therapy - 4100 sf

Support

14 -General Storage - 2000 sf15 -Gymnasium - 6000 sf

Area

Net Area = 38,340 sfGross Area = 56,020 sf

1&2

3

4

5

6

910

11

12

13

14

15

Ground level

Program for the ground level was highly influenced by the existing site conditions, analyzing the corner of the site which contains a busy intersection between main street and best street, as well as summer-best train station which made it a more dense part of the site in terms of people. By placing the market and cafe near the station and creating a wider opening to the central court-yard space, it allowed visitors to quickly access these spaces.

Third level

The program in the the third level is open to the roof tops where visitors will be directly under the roof canopy. These roof tops are large spaces where the public can gather, eat, or simply relax.

Second level

The second level can be accessed through linking stiarwells and elevators. This level contains the fitness and wellness spaces. Again, these spaces placed near the station as they will be more easily accessible to the dense traffic of the general public.

Program development

4

PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T

Christian Anthony Urea / Professor: Miguel Guitart / University at Buffalo School of Architecture and Planning / Design Studio 5

Walking/Jogging Paths + Greenery Roof canopy water drainage system

Entry

1 -Lobby - 700 sf2 -Lounge - 700 sf

Wellness

3 -Locker Facilities - 2400 sf4 -Wellness Studio 1 - 5210 sf5 -Wellness Studio 2 - 1190 sf6 -Fitness - 5100 sf7 -Kids Zone - 1450 sf8 -Multifuntional Room - 2250 sf

Market

9 -Organisc Cafe - 3510 sf10 -Healthy Food Market -1540 sf

Health

11 -Admin Office - 780 sf12 -Doctors Office - 1370 sf13 -Healing/ Therapy - 4100 sf

Support

14 -General Storage - 2000 sf15 -Gymnasium - 6000 sf

Area

Net Area = 38,340 sfGross Area = 56,020 sf

1&2

3

4

5

6

910

11

12

13

14

15

Ground level

Program for the ground level was highly influenced by the existing site conditions, analyzing the corner of the site which contains a busy intersection between main street and best street, as well as summer-best train station which made it a more dense part of the site in terms of people. By placing the market and cafe near the station and creating a wider opening to the central court-yard space, it allowed visitors to quickly access these spaces.

Third level

The program in the the third level is open to the roof tops where visitors will be directly under the roof canopy. These roof tops are large spaces where the public can gather, eat, or simply relax.

Second level

The second level can be accessed through linking stiarwells and elevators. This level contains the fitness and wellness spaces. Again, these spaces placed near the station as they will be more easily accessible to the dense traffic of the general public.

Program development

4

Ground level

Program for the ground level was highly influenced by the existing site conditions, analyzing the corner of the site which contains a busy intersection between main street and best street, as well as summer-best train station which made it a more dense part of the site in terms of people. By placing the market and cafe near the station and creating a wider opening to the central courtyard space, it allowed visitors to quickly access these spaces.

Second level

The second level can be accessed through linking stiarwells and elevators. This level contains the fitness and wellness spaces. Again, these spaces placed near the station as they will be more easily accessible to the dense traffic of the general public.

Third level

The program in the the third level is open to the roof tops where visitors will be directly under the roof canopy. These roof tops are large spaces where the public can gather, eat, or simply relax.

Jean Novel Extention, Reina Sofia Museum, Madrid Spain 1999-2005 Vast public space recieving natural lighting through portals in roof scape.

EMBT: Santa Caterina Market - Barcelona Spain 2005

Contrast between the roof structure of the market and the surrounding city.

Studio Fuksas: Tbilisi Public Service Hall. Tbilisi, Georgia 2012

Canopy design based on a leaf, supported through several column members

Characteristics and Qualities

Attractions & Destinations. Having something to do gives people a reason to come to a placeand to return again and again. When there is nothing to do, a space will remain empty, which can lead to other problems. In planning attractions and destinations, it is im-portant to consider a wide range of activities for: men and women; people of different ages; different times of day, week and year; and for people alone and in groups. Create an enticing path by linking together this variety of experiences.

Identity & Image. Whether a space has a good image and identity is key to its success. Creating a positive image requires keeping a place clean and well-maintained, as well as fostering a sense of identity. This identity can originate in showcasing local assets. Busi-nesses, pedestrians, and driver will then elevate their behavior to this vision and sense of place.

Amenities. Successful streets provide amenities to support a variety of activities. These include attractive waste receptacles to main-tain cleanliness, street lighting to enhance safety, bicycle racks, and both private and public seating optionsthe importance of giving people the choice to sit where they want is generally underestimated. Cluster street amenities to support their use.

Traffic, Transit & the Pedestrian. A successful street is easy to get to and get through; it is visible both from a distance and up close. Accessible spaces have high parking turnover and, ideally, are convenient to public transit and support walking and biking. Access and linkages to surrounding destinations must be a part of the planning process. Automobile traffic cannot dominate the space and preclude the comfort of other modes. This is generally accomplished by slowing speeds and sharing street space with a range of transportation options.

Diverse User Groups. As mentioned previously, it is essential to provide activities for different groups. Mixing people of different race, gender, age, and income level ensures that no one group dominates the space and makes others feel unwelcome and out of place.

Greenscape + Hardscape

The Highline provides an open space with plenty of greenscape in a city where not much floral life is present. The greenscape inter-locks with the hardscape surface in a way to designate traversable walking paths. The sustainable plants, which would grow on the site naturally. A concrete path would seamlessly transition between plant bed and walk-able surface. The path is meant to allow people to meander slowly, contrastingtheir high-speed lives. It will be broken

Precedent study + street analysis

Christian A. Urea - caurena@buffalo.edu

Drawings: Site section A (Above), Site section B (Below)

Christian A. Urea - caurena@buffalo.edu

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section a

section b

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Both sections show two options to access the traversable roof scape. I also wanted to clearly show the roof canopy and its relationship to the buildings below and the structure supporting it. I wanted to represent the roof canopy as a dominating iconic presense on main street while being a seperate element from the buildings which generate the program for the wellness center. similar to the high line project in New York CIty, the roof canopy becomes its own character where visitors have the ability to gather, run or jog and take part in community events.

Flexible spread footing

Closed stirrups at 8 O/C

Compact earth

Gravel

Concrete column

Clean compact soil

Insulation sheathing

Flooring

Sanitary slab

Concrete metal decking

Ceiling

Steel girder

Plasting insulation

Flooring

Steel beam

Glass door panel

Steel L panel

Metal/ glass railing 3 height

Metal Plate

Steel beam enclosing con-rete fill

Closed stirrups at 8 O/C

Concrete piled foundation

Steel bolts

Steel girder welded onto steel beam

Steel plate

Rubberized shock ab-sorbing pad

Steel truss support

Metal Concrete deck-ing

Plastic insulation

Compact soil/ concrete

Concrete beam

Concrete beam

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Structure diagram

Christian A. Urea - caurena@buffalo.edu

Model Photos

Christian A. Urea - caurena@buffalo.edu