Thursday, April 29, 2010

WAAC: SPRING[semester]2010: ANALYTIQUE[draw]ings

This series of works is about communicating through drawing. They tell the story of a building through a mixture of architectural and artistic techniques. These plans, sections, perspectives, and details utilize themes of texture, color, and line weight to convey a personal story about the building. The drawings ultimately take the form of a collage.
Drawing_01: Touching Below and Sensing Above

Drawing_02: Seeing Through (recto-verso)

Drawing_03: Discovering a Corner

Drawing_04: Synaesthetic Presence

This video shows the process I went through to create the fourth drawing in the series for the Urban Winery. The media I used is collage and ink on mylar.

Monday, April 19, 2010

WAAC: SPRING[semester]2010: PROJECT[narrative]




ARCHITECT[po]URe: WINE[pour]

Solid Liquid State
Fluid Spaces Surround
Ribbon Pierces Through

Introduction:
This project is entirely about wine. It is an Urban Winery in Washington DC (this is how wine is literally involved). For inspiration of my design I experimented by pouring wine into a wine glass and taking snapshots of the liquid flowing through the spherical space, of the glass. I then abstracted the best images to begin to look at architectural spaces and forms (this is how wine is ideally involved). The main concept behind my design is about the experience of fluid spaces, created by my literally imagining that wine is being "poured" into the infill site. I imagine the way it falls in and takes shape within the confines of this invisible "box" that is holding in the deep red/purple liquid as it splashes in and, like a wave, flows back over itself. Couple that with the urbanity of the site, an element I wish to be highlighted both in program and in form.

Innovation and Delight:
The idea is that this building is, in itself, an experience. The wine making will only be active about one month out of the year, when the grapes are shipped and they get crushed, fermented, and aged, but even that is a very passive process. so the wine learning then gives the public the opportunity to learn about wine in other ways. But most importantly the wine experience/ social space is always active (ideally) with the public's ability to come in, take a look at our wine selections, taste a few, mingle, and experience the fluid spaces. The building itself should be an attraction for the public to enjoy.

Program:
The Urban Winery first and foremost is just that: a Winery. This calls for a specific program that is derived from that of a regular country winery. The major difference, however, is that these spaces will be significantly smaller, as they will accommodate far less wine production (space is limited in an urban setting).
The Urban Winery phenomenon is changing the entire concept of a winery, as Gina Dallaria points out in winecountry.com East Bay Wineries Create Urban Tasting Experience, this concept is one marked by "unpretentiousness [and] an eagerness to educate." This struck me as something that should be exemplified by my program, the idea of educating the urban public on all things wine. It led me to add educational and social programs as well as group these said programs into three major categories, what I call: Wine Making, Wine Learning, and Wine Experiencing.
Wine Making holds the specified program for a winery: fermentation room, space for crushing and destemming grapes, a cellar, space for barrel aging of wines, and storage. Wine Learning holds a lab for the wine testing, offices for the wine-maker, a classroom for more intimate education of the public on wine fundamentals, and an aroma room for olfactory training. The Wine Experiencing holds the point of sale for wines, mingling space, wine bar for tasting, and the bottling room.

Site:
The Urban Winery is located in a 54'X80' infill site in Washington DC, between P and Q streets. The front of the building faces 14th street, on the Northwestern quadrant of Washington DC. In the late 1960's this area suffered greatly because of the Martin Luther King Jr. riots, but since then it has been revived and is now home to many nice establishments like live theatre, clothing boutiques, furniture stores, and trendy restaurants (including a jazz lounge). It is a very chic environment that is at the forefront of commercial and social growth, giving me the best opportunity to propose an incredibly appealing social space within my winery program.

Friday, February 5, 2010

Fly

The world spins as we think it keeps standing still. Life changes us even though we think we are still the same. Time keeps moving forth, little by little, never to return again - and yet we sit and ponder - not realizing we need to act fast. We lose far more within ourselves when we justify our non-actions by the fact that we are being safe. So, risk it, go deep, jump, only then will you be more likely to fly....

Perla

Wednesday, January 13, 2010

WAAC: FALL[semester]2009: DCCC_2020


Martin Luther King, Jr. Center, Washington, DC












01 Site:
The site for the project is H street in the Northwestern quadrant of Washington, D.C. The 16 block long stretch of H street was open to us to choose our program and specific site. First I began by looking at the characteristics of the street and what it was I wanted to contribute to the site.







02 Concept:
I wanted to investigate an idea that my architecture should follow.I toyed with the concept of curiosity and how it can relate to architectural exploration. I wanted there to be three distinct steps to the experience. 1) Curiosity, 2)Experience/Exploration, and 3)Knowledge. I wanted the architecture itself to plant the seed of curiosity (the first step). Then the program along with the architecture would provide the experience (second step) needed to gain knowledge (third step). This idea stemmed from the eccentricity of the site and the rich history that defines it.


03 Program:
The key to a successfully working project is a successful program content and organization. The content of the program is as follows: Exhibition space, which includes open space for any artwork, images, paintings, or other media that is displayed for public viewing; Books/Library space, which will have mostly books relating to Black History and Martin Luther King Jr.; Newspaper Archive space, which will have microfilm storage and viewing areas for anything, once again, relating to Martin Luther King, Jr. and Black History; Lecture Hall, which will be an auditorium for any lectures and events that the Martin Luther King Jr. center will host, or any lectures that the nearby university would like to present. The rest of the program is atrium space, mingling space to share ideas or think new-found information over, and circulation paths that physically connect the programs.



The logic behind this program was to break up the exhibition space and sporadically fill some small surrounding infill sites with this exhibition program. The sites would be 6 of them, each in a different block, surrounding the main building. This would also include 3 bus stops. The idea is that as someone is walking along H street they see these small exhibition areas that stand out from the rest of the buildings and they become curious enough to look inside. Inspired by the images filled with emotion - sadness and desperation, he or she decides to go into the main building where more exhibition space receives them along with books and archives to fill their minds with answers. Ideally, they would wander around and meet others they care to have discussions with, and by the time they leave the main building, they will have learned something, no matter how small.

Monday, January 11, 2010

The Natural and The Man-made

"The boundary between natural and unnatural shades almost imperceptibly into the boundary between the non-human and human, with wilderness and the city seeming to lie at opposite poles - the one pristine and unfallen, the other corrupt and unredeemed. Gauged by how we feel about them, the distance we travel between the city and the country is measured more on the mind than on the ground. If this is true, then the way we cross the rural-urban boundary, the way we make the journey in and out of Chicago, exposes the great many assumptions about how we see the larger relationship between human beings and the world upon which we live."
-William Cronan