portfolio ii abridged

GaloCaizares

Portfolio II,Graduate School Projects and Other Stories(Abridged)

2011-2013

2KYU SUNG WOO ARCHITECTSAmherst Greenway DormitoriesConstruction Documents Set

At Kyu Sung Woo Architects, I designed and worked on a 100,000 dormitory project from schematic de-sign through construction documents. I was involved primarily with the exterior and material detailing. I worked with the team to design details for material transitions, curtainwall systems, windows, shades, roof assemblies, guardrails, and exterior landscape transitions.

TRIPLE GLAZED ALUM.CURTAIN WALLSEE A3.30 FOR TYP.NOTES AND DETAILS.

COMPOSITE ALUM. SOFFIT

ALUM. PANELSEE A7.00

7-07

8"

1/2" 1"

5 1/4"

TOS. 6TH FLOOR, BUILDING A

5 1/

4" 1' -

1 1

/4"

1/2"

9"1"

9' - 6" A.F.F.

8' - 2" A.F.F.

1' -

4"


ALUM. PANELSEE A7.00

7-07

MASONRY VENEER WALLSEE A7.00 FOR TYP.ASSEMBLY

4-02

UPTURN BEAMSEE S DRGS.

1' -

2"

7-02SEE A7.00

ALIG

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MILLWORK

1/4" : 12" SLOPE

11 1

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1/2"

COMPOSITE ALUM. SOFFIT


CO

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REF

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GWB WALL BEYOND

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5 1/

4"8"


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8 5/8"9"


8" COMPOSITE ALUM.PANEL

1/2"

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1"1/

2"

1' - 5 5/8"

2' -

5 3/

4"

2' -

6 1/

2"

K

TOS 3RD FLOOR

1/8" ALUM. PLATE SILL

SILICONE TRANSITION STRIP

AVB

3/4" VENEER PLY

SOLID WD TRIM

16 B

RIC

K R

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S

2' -

6 1/

2"

5 3/4" 9" 8 5/8"

ALUM. CURB TRIP W/TAPING FLANGE TYP.

COLUMN LINE REF.

TRIPLE GLAZED ALUM.CURTAIN WALLSEE A3.30 FOR TYP. NOTESAND DETAILS

ELEV. SHAFT

SEE A7.004-02

K

27

TO CONTROL JOINT

6 BRICKS

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N L

INE

REF

.


AVB

1/2"

1/2"

6'-3 1/8"

TO EOS

SEE A7.004-02

COLUMN LINE REF.

3' - 0"

4"

SEE A7.007-07

K

26

TO CONTROL JOINT

2 1/3 BRICKS

MILLWORK

AVB

1/2"

2' - 6 7/8"

SEE A7.007-07

1/2"

5 1/

4"

5 1/4"

MILLWORK

6 5/8"

1"

1/2"

1/2"


CORNER MULLIONENGINEERED BY CW MANF.

COLUMN LINE

9"

1/2"

8 5/

8"10

"4

3/4"

SEE A7.004-02

8 5/

8"

K

5 3/

4"

MILLWORK SILL

SSTL THROUGH WALLFLASHING W/ END DAMS ATCONTROL JOINT

SINGLE-PLY ROOFINGMEMBRANE

SINGLE-PLYMEMBRANE STEPFLASHING

SSTL EDGE FLASHING

ALUM. TAPE OREQUAL SEPARATION

LAYER

VAPORIMPERMEABLEMEMBRANE (AVB)

CONTROL JOINT

MASONRYVENEER WALL

KK.5

ALIG

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SEE LANDSCAPE DRGSFOR EXTERIOR PAVINGASSEMBLY

FINISH GRADE

1' -

6"

ALUM. FIN BEYONDCO

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1' - 5 5/8"

K

3/4" VENEER PLY

SOLID WD TRIM

ALUM. CURB TRIP W/TAPING FLANGE TYP.

4 1/4" 10" 8 5/8"

CO

LUM

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8"

K

TOS 3RD FLOOR


10 B

RIC

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S

1' -

7 1/

4"

5 3/4" 9" 8 5/8"

TRIPLE GLAZED ALUM. CURTAINWALLSEE A3.30 FOR TYP. NOTES ANDDETAILS

N

DRAWING NUMBER:

DRAWING TITLE:

KEY PLAN:

ARCHITECT:

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NOTES:

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DATE ISSUE

DATE REVISION

2014.04.30 CONCEPT DESIGN SUBMISSION

2014.06.30 SCHEMATIC DESIGN

2014.08.08 DEMOLITION OF TEMPORARY DORMITORIES

2014.08.15

100 % CONSTRUCTION DOCUMENTS

2014.09.30 100% DESIGN DEVELOPMENT

2014.08.15

EARLY SITE UTILITY PACKAGE

50% DESIGN DEVELOPMENT

03 / 02 / 2015

2014.11.19 40% CONSTRUCTION DOCUMENTS

Greenway DormitoriesAmherst College

6 East Drive / PO Box 5000Amherst, MA 01002

2014.12.12 EARLY STRUCTURE BID PACKAGE

2015.02.11 100 % CONSTRUCTION DOCUMENTS

As indicated

A8.14

BUILDING A NORTH POP OUTDETAILS

2015

Kyu Sung Woo Architects, Inc.488 Green StreetCambridge, MA 02139P 617-547-0128

SH

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1 1/2" = 1'-0"1 SECTION DETAIL - BLDG A POP-OUT CW SILL

1 1/2" = 1'-0"14 SECTION DETAIL - BUILDING A POP-OUT CW HEAD

1 1/2" = 1'-0"2 SECTION DETAIL - HEAD OF BLDG A ELEVATOR LOBBY

1 1/2" = 1'-0"3 SECTION DETAIL - SILL/HEAD AT BLDG A ELEVATOR LOBBY

1 1/2" = 1'-0"4 SECTION DETAIL - SILL AT BLDG A ELEVATOR LOBBY

4

2015.03.02 100% CONSTRUCTION DOCS ADDENDUM #2 4

1 1/2" = 1'-0"11 PLAN DETAIL - BLDG A POP-OUT



1 1/2" = 1'-0"7 PLAN DETAIL - CURTAIN WALL CORNER

1 1/2" = 1'-0"6 PLAN DETAIL - NORTH JAMB AT SHEAR WALL

3" = 1'-0"9 CUTAWAY VIEW - ROOF TIE IN AT BUILDING A POP-OUT

1/2" = 1'-0"10 INT. ELEV. POP OUT

1 1/2" = 1'-0"12 SECTION DETAIL - SILL AT BLDG A ELEVATOR LOBBY

1 1/2" = 1'-0"13 SECTION DETAIL - HEAD AT BLDG A ELEVATOR LOBBY

2015.03.18 EARLY STRUCTURE BID PACKAGE BULLETIN #6 9

3

1ST FLEL. 260' - 0"

2ND FLEL. 270' - 0"

31 32

3RD FL Building AEL. 280' - 0"

4TH FL Building AEL. 289' - 4"



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15' - 0"

9' -

4"9'

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A3.107

FIXED ALUM. LOUVERSOLAR SHADES

1A8.06

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2ND FLEL. 270' - 0"

M N





9' -

4"9'

- 4"

9' -

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' - 0

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"

WOOD SOFFIT ATOVERHANG

MASONRY VENEER WALLSEE A7.00 FOR TYP. ASSEMBLY

RELIEVING ANGLE

8' -

2 3/

4"

TRIPLE GLAZED ALUMINUMFRAME CURTAIN WALL. SEEA3.30 FOR TYP. NOTES ANDDETAILS

15' -

3 1

/8"

STANDING SEAM METALROOFINGSEE A7.00 FOR TYP. ASSEMBLY

A25A7.03

7-01

MASONRY VENEER WALLSEE A7.00 FOR TYP. ASSEMBLY

4-01

8-01

4-01

10 R

.1'

- 7

1/4"

TRIPLE GLAZEDALUMINUMFRAME CURTAIN WALL.SEE A3.30 FOR TYP.NOTES AND DETAILS

A8.049

TERRACE PAVINGSEE A7.00 FOR TYP. ASSEMBLY

7-04

SLAB ON GRADESEE A7.00 FOR TYP. ASSEMBLY

3-02

A8.044

A8.107

A8.103 TYP

A8.505 SIM

FIXED ALUM. LOUVER SOLARSHADES

1ST FLEL. 260' - 0"

2ND FLEL. 270' - 0"

32





A2A7.03

10' -

0"

10' -

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10 R

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1/4"

6 R

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R.

11 5

/8"

TERRACE PAVINGSEE A7.00 FOR TYP.

ASSEMBLY

7-04

WOOD SOFFIT ATOVERHANG

A8.049

TRIPLE GLAZED ALUMINUMFRAME CURTAIN WALL. SEEA3.30 FOR TYP. NOTES AND

DETAILS

MASONRY VENEER WALLSEE A7.00 FOR TYP.

ASSEMBLY

4-01

8-01


3-02

A8.107

A8.103 TYP

A8.503

FIXED ALUM. LOUVER SOLARSHADES

1ST FLEL. 260' - 0"

2ND FLEL. 270' - 0"

MN





A25A7.03

TERRACE PAVINGSEE A7.00 FOR TYP. ASSEMBLY


7-04

3-02

A3.109

A8.513


30" CONC. BEAMSEE S DRGS.



10A8.02

10A8.02

10A8.02

1A8.06

1A8.06

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DRAWING TITLE:

KEY PLAN:

ARCHITECT:

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2014.08.15



2014.08.15



03 / 02 / 2015






As indicated

A7.03

BUILDING A LOUNGE EAST

2015


SH

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3/8" = 1'-0"A1 SOUTH FACADE-EAST, BUILDING A

3/8" = 1'-0"A2 WALL SECTION A2

3/8" = 1'-0"A25 WALL SECTION A25

3/8" = 1'-0"A3 EAST FACADE, BUILDING A

2015.01.13 EARLY STRUCTURE BID PACKAGE ADDENDUM #1 1

1/2" 7-04

ALUM. SLIDING DOOR

THERMAL BREAK

SEE A7.00

270'

FINISHED FLOOR - STONE. SEE FINISH SCHEDULE

ALUM. SLIDING DOOR

ASPHALT PAVER

P

260'

6"1"

8 3/8" 11 3/8"2"

3"

1/2" MIN

6"

WP-2 RUBBERIZED ASPHALT SHEET

HIGH COMPRESSIVESTRENGTH RIGID INSULATION

FILTER FABRIC (DOW CORNING FOAMGLAS OR SIM.)

ASPHALT BLOCK PAVER (SEE L DRGS)

BITUMINOUS CONC SETTING BED (SEE L DRGS)

6" CONC BASE SLAB

REBAR (EPOXY COATED)

2"

MULLION BEYOND8" 8" 4 7/8"

1/4"1/4"

2"

FORWARD EDGE OF ROUND COLUMN

2 3/

8"

SILICONE TRANSITION SHEET

PROVIDE MOVMENT JOINT 3' MIN.FROM FACE OF BLDG.COORDINATE W/ LANDSCAPE

2' - 8 3/8"

1' - 0 5/8" 1' - 7 3/4"

7-04

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THERMAL BREAK

SEE A7.00

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270'

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TOP OF SLAB

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TOP OF SLAB

8' -

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3/8"

11 5

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4"

8' -

2"

FIXED ALUM. LOUVERSOLAR SHADES6" SPACING, TYP.


4"

EXTRUDED ALUM. LOUVERVERIFY ANGLE WITH MANF.

ALUM. SHEAR PLATEENGINEERING BY MANF.

3/8" ALUM. BARSTOCK FRAME

ALIGN TO B.O.SOLAR SHADE

PROVIDEREINFORCEMENTAS REQ'D

ALIGN

ALIGN

ROLLER SHADE(TYPE S4) SEERCP'S

PROVIDEREINFORCEMENTAS REQ'D TOCARRY FIXEDLOUVER SYSTEM,BY CW MANF.

A8.021

4-01SEE A.700

SIM

ALIG

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EXTRUDED ALUM.BASE. SEE FINISHSCHEDULE

A8.041 SIM

CW MANF. TO VERIFY SIZING

TOP OF SLAB

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TYP.6"

10"

EOS

9" 8 5/8"

2 3/8" 6 5/8" 3" 2" 3 5/8"

ALIG

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TYP.6"

TRIPLE GLAZEDALUM. CURTAIN WALLSEE A3.30 FOR TYP.NOTES AND DETAILS


4 1/8" 6 1/2" 7 1/8" 4"

LEADING EDGE OF LOUVERALIGNS WITH FACE OFMASONRY AT MASONRYOPENING. COORDINATE WITHDETAILS.

ALUMINUM SHEAR PLATE

ALUMINUM FRAME & SSTLFASTENERS

1/2"

69 A

T BL

DGS

B, C

, D

90 A

T BL

DG A

2 3/8"

G3

V.I.

F.

41/

4"4"

REVEALAT JOINTS.

PLATE ALIGNS ATTERMINATIONS

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TYP.6"

4-04SEE A7.00





7-04SEE A7.00

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LUM

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1'-6

"

N

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SSTLANGLE

270'


1/4"

SSTL FLASHING W/HEMMED DOWN TURN

EMBED PLATESEE S4.03 FOR RELIEVING DETAIL

WP-2 RUBBERIZEDASPHALT SHEET

AVB

TOP OF SLAB

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LUM

NLI

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8"

ALIG

NTY

P.6"10

"

TYP.6"

4-01SEE. A7.00


FULL HEAD HEIGHT WEEP

SEALANT AND BACKER ROD

ROLLER SHADE(TYPE S3)




TO E.O.S.

8 5/8"N

11"

SILICONE TRANSITION SHEET(TIE INTO GLAZING POCKET)

N

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DRAWING TITLE:

KEY PLAN:

ARCHITECT:

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2014.08.15



2014.08.15



03 / 02 / 2015






3" = 1'-0"

A8.10

CURTAIN WALL DETAILS

2015


SH

GC

3" = 1'-0"6 SECTION DETAIL - SLIDING DOOR HEAD

3" = 1'-0"4 SECTION DETAIL - SLIDING DOOR THRESHOLD

3" = 1'-0"8 SECTION DETAIL - DOOR HEAD UNDER SLAB

3" = 1'-0"3 SECTION DETAIL - TYP. LOUNGE CW W/ SHADE

3" = 1'-0"7 SECTION DETAIL - TYP. LOUNGE CW HEAD

3" = 1'-0"5 CW CORNER W/ FIXED SOLAR LOUVER / PLAN

3" = 1'-0"1 SECTION DETAIL - CW SILL AT BLDG A SOUTH

3" = 1'-0"2 SECTION DETAIL- CW HEAD AT BLDG A

2015.03.18 100% CONSTRUCTION DOCS BULLETIN #5 8

2015.03.18 EARLY STRUCTURE BID PACKAGE BULLETIN #6 9

4KENNEDY & VIOLICH ARCHITECTURENorth Bennet Street SchoolConstruction Documents Set

At Kennedy & Violich Architecture, I worked on the design and construction documents of a rain-screen system as well as a free-standing screen wall to be erected in the courtyard of North Bennet Street School in Boston, MA. In addition to this, I also worked on the interior elevations and wayfinding environmental graphics.

6EXQUISITE CORPSESAn Architectural Mystery

In 1937, writing about the parallels between mystery fiction and urban dwelling, Walter Benjamin wrote, in times of terror, when everyone is something of a conspirator, everybody will be in the position of having to play detective. That is to say that anxieties present within the built environment often lead to a series of actions closely related to those undertaken by detectives. Using this as a departure point, this project seeks to reconstitute a discussion of meaning within architecture through the use of narrative, anachronous formal languages, and literary devices. If we are to take the dismissal of postmodern architectural discussions as a given, we can place meaning as an archaic sub-ject matter limited to autonomous formal readings (i.e. dialogues of surface, geometric complexity, etc) and non-existent in the context of large architectur-al production (i.e. real estate development, efficiency in construction methods, etc). However, revisiting linguistic analogies and a nostalgia for lost artifacts and pairing them alongside contemporary concerns of urban dwelling and architectural agency, we can re-establish culture-centric modes of architectural pro-duction (ones not limited to parametric or positivistic attitudes). By embracing the fictional dimension of an architectural project, and exploring the limits of that fiction, Exquisite Corpses determines a more specific understanding of narrative architecture, one that does not dismiss or marginalize the subject matter but aug-ments it. A fictional narrative suggests that contem-porary discussions of meaning in architecture must be taken to certain limits in order to promote agitations, explore morals, and even mediate anxietiesmuch in the same way detective mysteries operate. While previ-ous attempts at promoting these themes rely largely on architecture ad extremum (read: paper architecture, utopia) this project operates at the scale of the detec-tive mystery or the parable. It sets up an allegorical framework that situates Exquisite Corpses within the lineage of real projects with heavy theoretical under-pinnings (Tschumis La Villette, Rossis urban plazas), but also accepts the dismissive value of fiction. Ulti-mately, it seeks to revisit a spectral dialogue excluded from most contemporary architectural production, and suggest a probable methodology around which to have discussions of collective memory, meaning, sig-nification, and public identity.

M.Arch Thesis 2013

A serial killers tokens

TOKENS

a. 2a. 2a. 2a. 2a-5d. (2a-5d)-d. (2a-5d)-d. vlt((2a-5d)-d). Obeliskora.

a. 4a. 4a x f. 4a x f. (4a x f)-2d. (4a x f)-2d. (4a x f)-2d. vlt((4a x f)-2d). Obeliska.

b. b/2. b/2. (b/2) + 10. (b/2) + 10 - 5e. vlt((b/2) + 10 - 5e). (vlt((b/2) + 10 - 5e)) - 5d. Pentunda.

c. c - 16d. c - 16d. ttr(c - 16d). ttr(c - 16d). (ttr(c - 16d)) - (d x c). (ttr(c - 16d)) - (d x c). Theatora.

d. d. d. d - (d/2). d - (d/2). (d - (d/2)) - 4e. vlt((d - (d/2)) - 4e). Tricade.

e. ~e.

~e.

3e. 3e - (1/3 - z). 3e - (1/3 - z) + vtr. 3e - (1/3 - z) + vtr. avg(3e - (1/3 - z) + vtr). Archeatre.

e.

11e. 11e - 1/4. (11e - 1/4) - 10d. (11e - 1/4) - 10d. (11e - 1/4) - 10d. vlt(11e - 1/4) - 10d) - 20d. Archora

f. f - (f/10). vtr(f - (f/10)). vtr(f - (f/10))/2. vtr(f - (f/10))/2. vtr(f - (f/10))/2. vtr(f - (f/10))/2 - 2d. vlt(vtr(f - (f/10))/2 - 2d). Cylindra

7Exquisite Corpses: An Architectural Mystery

Ways of reading architecture

Urban Monuments A police investigation

1'-1" 16'-6 3/4"

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8FLOATING GIANTSA Program for Local Warming

This project posits itself as an opposition to the boom/bust scenario. In contrast to the historically signif-icant booms and busts of the herring boom, this project seeks to use the data center as a catalyst for a permanent revitalization of the fishing industry of Raufarhfn, Iceland. Because the town needs no new building, an intervention in Raufarhofn must react and utilize the residual cultural artifacts and percepts already existing in the town. This, along with the im-mense affect of the natural phenomena in the land-scape ultimately results in a more systemic interven-tion working in the interstices of culture and industry. Productivity, here, is directly tied to the identity of the town, thus, any foreign object that is introduced must be mobilized by a larger social or moral order. Floating Giants, proposes a symbiotic network of data buoys directly connected to a fish hatchery that, using principles of water warming, will revitalize the fishing industry in Raufarhofn. The resulting intervention is a system of en-ergy flows that encompasses an installation of wave generators, data center buoys, and a fish hatchery. Using the excess heat of the data servers to heat up the surrounding water, one can create a symbiotic rela-tionship between the server buoys that creates an opti-mum temperature for farming Atlantic Cod. The cod similar to the herring, thus, becomes the new industry for the town. Furthermore, we can see not only an industrial impact as a result of the data center, but also environmental and cultural consequences. The system of aqua-farming or more accurately aquaforming, cre-ates a new nature distinct from the existing experience of the town. Here, the direct heating of the water, and fish farming become a fantastic landscape of rugged industrial systems, inflatable environments, and new wildlife. Programmatically, the system is made up of Data Center buoys and fishing nets. By shifting the traditional method of fish farming from solid tanks to inflatable boundaries, we can radically increase the amount of cod produced and take full advantage of the local warming impact. It is a highly choreograph-ic system. The fish spawn closest to the server buoys, then as they mature, the nets deflate, releasing the fish to another net, for the next stage of growth. At full maturity, they are transferred to the largest area, where they roam until its time for them to be harvested. The harvesting itself then becomes part of the choreogra-

Option Studio Fall 2012

phy, instigating festivals and spectacles that can be integrated into cultural moments of reflection in Raufarhofn. The project itself is sited as an offset of the major pen-insula. Using this figure as a mediatory buffer between the rough seas and the coast line, the site plan itself is a dynamic organism both iconic, and natural. It expands, contracts, and directly re-flects the choreography which mobilizes it. Capturing it at as spe-cific instance in time, we can see the contracting of the inflatable nets, the servicing of the data buoys, the docking of the ships, and the interactions at a human scale. The dynamism, here becomes the spectacle that interpolates between culture and corporate in-dustry. If we are to take the temporality of the data center as a giv-en, we can begin to plan a series of phases for the instantiation of this system. When the data center becomes obsolete, what remains is not a bust in the fishing industry, but a series of water-based power stations and cod species adapted to the rising temperature.

Anatomy of a Floating Giant

9Floating Giants

Phasing program Local warming fish hatchery

Data and fish flows and cycles

Optimizing the temperature for farming Atlantic Cod

Prototypical Phasing

2015 2030 2060Traditional Model Proposed Model

T1T2T3

Atlantic Cod

Canada

Alaska(USA)

Russia

EuropeSpawning Areas

Sea Temperature and Farming Cod

Jan

Degrees C

Feb Mar Apr Jun Jul Aug Sep Oct Nov Dec

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DIGITAL AGRICULTUREUrban Planning in Paju Korea, Phase III

This project is the next in a succession of phases in the development of Paju, Korea. A small urbanization in the outskirts of Seoul, Paju stands as a highly mod-ernized eipcenter of the publishing and media indus-tries. At the outset of this studio we were asked one question: how do you design a city using only a 15% building footprint? Along with this question, this project also explored the characteristics of a new way of interacting in the digital age. Can we design digital cities? What do advancements in technology have to do with urban planning and the design of public space? This project proposes an episodic under-standing of city planning. The city needs to be a het-erogeneous mat of experiences and encounters, there-fore the form the city takes needs to be representative of the episodes that lie therein.

Option Studio Spring 2013in Collaboration with Julian Ocampo

X

Y

XZ

Y

X

X2Z

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Y2

Classic Grid Extruded Grid Superimposed Grid

X

Classic Grid Extruded Grid Superimposed Grid

Y

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Y2

Optimized Agricultural Land

Rice Corn Barley

Shifting the traditional mode of eastern urbanism from two-dimensional extrusions to three-dimensional continuous fabric.

Four main episodes and circulation in-between.Optimization of Agricultural land.

Agriculture

Dense High Rise DevelopmentAn aglomeration of dense high rise treedimensional blocks characterizes this par of

Paju 3, the composition of these blocks enables large and small companies to occupy Paju 3 in asymetrical ways.

Leisure BridgeLeisure activities are incorporated in this mixed use area, with sports, culture and hos-

pitality framing the context of the river.

High Rise BillboardThe tallest structure on the development stablishes the monumental nature of Paju 3.

Small Grain Lower and easily divided structures make the artisanal agriculture site, where many different small farm operators will have their own storage and living areas while some of the agricultural functions

such as silos and greenhouses can be consolidated for greater efficiency.

11Digital Agriculture

SECTION 01

120m

114m

96m

90m

66m

60m

36m

30m

SITE PLAN1:2000

Site Plan

12

DISTORTING CERDAS GRIDMonumentality, Memory, and Infrastructure

The first issue that this project addresses is that of the Icon. Barcelonas long history with icon stems from Cerdas grid, and as the city moves toward a post-icon global image, the grid begins to show its inability to act as a cohesive fabric. In the Poblenou area in particular, the low density and scale of the urban environment doesnt coexist with the grid. Its stance as an infrastructure that encourages individuality in the single block is outadated in the time of integrated networks and smart grids. Thus, Cerdas grid has become a product of excess rather than progress and leads us to reinterpret Barcelonas infrastructrual needs. The second issue is that of scale. While in Barcelona, we talked to the chief architect, Vicente Guallart, who is advocating a new systematic breaking down of the city by scales. In the studies conducted at the Insitute of Advanced Architecture of Catalunia, we see that one must work simulatenously at the scale of the city, neighbourhood, block, and building to establish a hierarchy of smart systems and networks that relate one to the other. Therefore, Vicente Guallarts goal is to establish many slow cities inside a smart city, a project for creating neighbourhood scale self-sufficiency initiatives that tie communities together within the larger intelligent system of the city. And so, what this project seeks to explore is a possible response to the problems of both icon and scale with regards to cultural production and self-sufficiency. The current site, with its derelict and abandoned status provides an excellent space for a large scale urban intervention that brings together cultural spectacle and infrastructure. The negotiation between icon and scale thus, becomes the way in which a new megastructure is inserted into the urban fabric. Following the Barcelonas tradition of monumentalizing technology and branding, I propose the construction of a systemic monument that can be realized anywhere and simultaneously provide solar power (as per Barcelonas Solar Ordinance regulations) and a cultural nucleus for the surrounding neighbourhood. And so this infrastructural nucleus, instead of being an iconic independent sculptural piece, becomes a systemic megastructural languange in itself that can be reproduced as part of future energy initiatives in the city.

Option Studio Spring 2012

6000 sqm of PV Panels

Megatruss

Structural Support

Recreation Area

Open Air Market and Public Galleries

Water Fountain

Outdoor Theatre

Paths

Landscape

13Distorting Cerda's Grid

AA

BB

1

2

3

5 6

7

8

4

1. Outdoor theatre2. Picnic area3. Outdoor market4. Temporary performance spaces5. Spectacle seating6. Sports arenas7. Lockers/amenities8. Fountain

14

LINCOLN LABSThe Laboratory for Collective Memory

What the new landscape suggests is not a static harmony, but dynamic continuity; it eludes our comprehension except as a chain of organizational levels.

- Gyorgy Kepes

There is a particular sublime in the architecture of the military-industrial complex. This architecture, born out of a rich history of arms races, and techno-political paranoia has become stagnant, and boring. Standardization of laboratories has made it difficult to envision a future architecture of the laboratory complex. There is, however, a kind of organic system of organization that grew out of a lack of space, new technological requirements, and interdisciplinary research. Ad hoc, temporary, and modular constructions are being added to existing buildings in order to keep up with changing methods. Currently, the need for a tremendous infrastructure is what is over-whelming when attempting to even touch the subject of such a future. My goals are to begin to establish the architecture of this technological complexity, to celebrate the large infrastructural network within a research institution; and to explore to what extent research culture within an architecture has evolved. This will be done with several strategies:

1. House large infrastructural elements, elevators, egress, restroom, HVAC, AHUs, electrical system, plumbing, and other necessary systems in what will be referred to as the infrastructural monolith; a thick wall system that feeds the internal organs of the laboratory and provides structural support.

2. With the major systems in the monoliths, the programmed spaces become flexible and adaptable and do not require standard ceiling or wall types, thus are free to be customized, or specialized.

3. Create a campus of heterogeneous typologies in order to bring out the COLLECTIVE MEMORY of the site and existing research culture, whether its collaborative or independent.

The purpose of this is not to introduce architecture into a project that lacks it, but rather to explore how an abundance of architecture may bring about a new research culture of trans-disciplinary interaction and collaboration.

Core Studio III Fall 2011

BASEMENT PLAN-5

HORIZONTAL CIRCULATION

EXISTING BUILDING

HEAVY INFRASTRUCTURE (HVAC, SYSTEMS, AHUS)

VERTICAL CIRCULATION

EXTERIOR CIRCULATION

MID LEVEL PLAN+20

UPPER PLAN+40

A

B

A

B

20.0

0

90.00 80.00 90.00

A

B

15

NADAAAExhibition ModelsLead Intern and Project Coordinator Summer 2012

In the summer of 2012, I led a small team of interns at NADAAA in the construction of three exhibition models for three current projects: Melbourne Univer-sity Faculty of Architecture Building, Ordos Business Park, and Samsung Model Home Gallery.