portfolio_2011

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COLLABORATIVE WORK

La Riviera Bryan Restaurant Design, 2011

Azimuth Wall Texas A&M College of Architecture art installation, 2011

PROFESSIONAL WORK

Marcus-Aylward Renovation Basement Renovation, 2008

Legacy at Georgetown Assisted Living Facility, 2011

INDIVIDUAL WORK

Domino Frame Easter Island Museum, 2005

PeeledScape Lincoln, Nebraska Bus Stop, 2007

Grided Landscape University of Nebraska-Medical Center, College of Public Health, 2007

Stitch 1st Street Bridge Adaptation, 2010

Formal White Houston Museum of Art and Design, 2009

Bi-Polar Emergent House for the Future, 2011

WRITTEN WORK

Beyond Parametric Possibilities Response to Michael Merediths Never Enough, 2010

Content

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Collaborative

La Riviera

La Riviera is the result of a digital design-build course taught at Texas A&M University by Gabriel Esquivel during the spring of 2010. the intention of this course was to explore ground breaking modeling techniques, emerging fabrication processes and to utilize the schools large-scale design-build facility. My own responsibility was the overall schematic design, final design of the ceiling and as a team we constructed, finished & installed all of the design.

2010DESIGN TEAMKy CoffmanHeather DavisDustin MattizaMatthew MillerJeff QuantzMichael TomasoGabriel Esquivel - Instructor

LOCATIONLa Riviera, Bryan, TX

SOFTWARE UTILIZEDRhinoceros 4.0, Autodesk Maya, Lamina,Grasshopper, Mastercam

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Before

Afterphoto by Marcel Erminy

La Riviera

ORNAMENTCommissioned by local restaurant, La Riviera was to renovate the entry space of the restaurant, the scope included a new bar, wall ornament and a ceiling installation. Due to an extremely tight budget, the team developed innovative processes to reduce costs while achieving the desired atmosphere. The project used multiple techniques of construction, and materiality to create the complex geometry. The ceiling serves as an atmospheric installation blanketing the entire entry space. The light source is masked by layer of translucent forms, which diffuses the light casting an even glow over the entire space. The countertop served as one large module that allowed for guests to have drinks and display desserts. The ornament on the countertop and walls carried a certain sensability that encompassed the entire space.

The projects scope included a new bar, wall ornaments and a ceiling installation. Due to an extremely tight budget, the team developed innovative processes to reduce costs while achieving the desired atmosphere. The project was completed in the fall of 2010.

Wall

ELEVATION. Ornament CNC milled from 2-lb polyurethane foam 01235

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01235LEFT ELEVATION FRONT ELEVATION

PLAN VIEW

Bar

photos by Marcel Erminy

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1615

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2019

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COUNTERTOP3/4 x 4 x 8 MDF panels laminated to form countertop. Joints were split up to avoid having a visible seam in the countertop to maintain the uidity of the piece.

PANELS3/4 x 4 x 8 MDF panels laminated to form front panels. The panels were attached to the cabinets with 3/8 D x 6 hanger bolts. The threads were attached permenantly to the panels but were bolted to the cabinets on site.

ORNAMENTResting on top of the countertop and the panels the foam piece is made out of 18lb/ft foam essentially giving it the same density of wood.

drawing by Jerey Quantz6

Ceiling 1-0.5 1-1 1-2 1-3 1-4 1-5 1-6 1-7 2-12-2

2-3 2-4, 2-5

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LAMINA TEMPLATES. 4 x 8 printed on paper; cut from wire mesh

Skeleton

LOCATION

SUPERVISORS

SOFTWARE UTILIZED

Gabriel EsquivelCarol Lafayette

Azimuth Cafe, College Station, TX

Rhinoceros 4.0, Autodesk Maya, Mastercam

STUDENT LEADERS

Chris GasswayKarine Bashoyan

www.ateliermanferdini.com

http://www.youtube.com/watch?v=OX4pr6XsXFMVIDEO

http://archone.tamu.edu/MORE INFO

DESIGNERSElena ManferdiniEugene Kosgoron

Student leaders assisted in writing the initial project proposal and budget, and presented these items to the college for approval. Upon approval, student leaders worked to produce a series of prototypes, communicating directly with Elena Manferdinis team to solve design and construction issues encountered. The finalized design was then fabricated with the help of several students participating in the Artist in Residence program. The student leaders were responsible for organizing work schedules, material transport, setting up files for CNC routing, quality control and overall fabrication management.

Heather DavisMatthew Miller

Azimuth Wall

2011

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Azimuth Wall | 2011photos by Marcel Erminy

PROTOTYPE 4Final test.

All tabs detached - multiple flowers fiton structure easily.

PROTOTYPE 3Detached petal-to-petal tabs allowedmore tolerance + more accurate bends.

Very tight/difficult fit on structure withattached petal-to-structure tabs.

PROTOTYPE 2Petals intersected - more toleranceneeded.

Tabes were difficult to bend accurately.

PROTOTYPE 1Aluminum scratched easily - needed plastic coating

Ears overlapping bend lines wouldbe bent - must not overlap

Newer benching machine needed.

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ALUMINUM CUT SHEETS | 4x8

FABRICATION | Petals.060 Aluminum

Petal-to-Petal | 120 bend

Petal-to-Structure | 90 bend

CONNECTOR TABS PETAL | Cut - - - - - - - - - - - - - - - - - - - - > Bend - - - - - - - - - - - - - - - - - - > Assemble

12012090 90

A

BC

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Petal Sorting and Assembly

Structure Check and Petal Application

Securing Completed Wall and Vinyl Installation

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PROFESSIONAL WORK

Marcus-Aylward Renovation Spring 2008

The renovation of the Marcus-Aylward residence was finishing a basement, adding a full kitchen and entertainment room. The construction involved finishing a ceiling, lighting design and storage. In the kitchen there was a built-in storage in the form of wine storage and the opposite wall under the stairs. In the entertainment room there was an entertainment center and new walls for storage that were added. The project used many different techniques to give more space and allow light into the dark, small basement.

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The Legacy at Georgetown was a 80 unit assisted living facility, to serve the surrounding community of Sun City in Georgetown. The project was broken into two separate wings one facilitating memory care, the other as a general assisted living. The design was a simple figure eight configuration allowing for maximum lighting into each unit as well as private gardens for the residents.

Fall 2011

LOCATIONGeorgetown, Texas

SOFTWARE UTILIZEDAutodesk AutoCad

The Legacy at GeorgetownAssisted Living Facility

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INDIVIDUAL INVOLVEMENTIn this project I began working on revisions on all documentation, eventually taking over full duty of coordinating all architectural drawings while facilitating with civil, mep and structural drawings as well. In addition, I constructed a virtual model for walkthroughs and flyovers.

Drawing by Peter Green

NOT DRAWN TO SCALE

ACADEMIC

This project was a formal exploration of the domino frame and all of its capabilities to create unique spaces within the confines of its structural system. The goal was to create a unique atmosphere, the separation of public and private was crucial. The building was approached from a corner where the user would work their way through a main gallery space and main display wall. From there the space was guided by a large shear wall that served at a service corridor and as a way of subdividing the frame. On one side of this wall there was the public gallery space, the other was the private corridor and stairway to the upper levels. The visitors would move back and forth from these two spaces guiding them through the experience, creating a spectacle from space to space.

Spring 2005

LOCATIONEaster Island Museum

PROGRAMExploration of Le Corbusiers Domino Frame & the Site along Easter Island beach private corridor for grounds keeper gallery for display of 2d and 3d works of art

DESIGN PROCESSConcept design in sketchDesign development sketches and modelsDesign representation through physical models and hand drawings

Domino Frame

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The bus stop project investigated the idea of peeling and pucturing an urban landscape. It was a short investigation that was explored through sketching and model making. The materials were to represent the industrial site along with the old train station that was paved over yet still revealing the tracks. Using these few raws materials and giving a simple expression of the peel and the puncture, the terminal formed itself allowing for seating and an overhead structure.

Fall 2007LOCATIONHaymarket District, Lincoln, NE

PROGRAMBus Stop Terminal

DESIGN PROCESSConcept design through sketch modelsConcept development in models and hand sketches

Peeledscape

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GRIDED LANDSCAPE

Land art uses the change of the landscape to create an atmosphere that is atypical in that setting. This project expands on this idea by converging land art and architec-ture. The project becomes a landscape that uses the grid as a universal condition and then takes that grid and finds new opportunities. The condition above the grid, the condition below the grid and how that grid may relate to a building as a reflective surface. In each condition new spacial posibilities are able to be explored and exploted in relation to the landscape around them.

Fall 2007

LOCATIONOmaha, Nebraska

PROGRAMUniversity of Nebraska-Medical Center, College of Public Health Research Facility Classrooms Offices

SOFTWARE UTILIZEDAutodesk AutoCad, Autodesk 3DS Max, SketchUp

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Section B

Section A

Section C

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Green Roofvegetation

growth medium

concrete curb

gravel for drainage

membrane

pre-cast concrete slab (3 degree slope min.)

insulation

pre-cast hollow core concrete slab (level)

Glass Curtain Wallush glazed insulated windows

desiccant spacer

structural silicone sealant

spacer gasket

structural silicone weatherseal

polyethylene foam backer rod

structural mullion

Green Roof/Walkable Skylightsnap-on coverclamp barneoprene gasketsetting blockvegetationgrowth mediumdrainage, aeration, water storage and root barrierinsulationmembranecast-in-place concrete curbconcrete beam

Cast-In-Place Foundation

cast-in-place concrete foundation wall

pre-cast concrete slab

extruded polystyrene foam insulation

steel reinforcement

base course of gravel

Northwest Wallscale 3/4=1

Northwest Wallscale 3/4=1

-concrete slab on grade foundation-glass curtain wall-steel skeleton structure-two way concrete beam structure-green roof/walkable skylights

concrete slab on grade foundation-cmu with brick veneer-steel skeleton stucture-

hollow core pre-cast concrete oor-green roof-

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S T I T C H

connection to arrogation of the first street bridge

In this project was focused on the manipulation of program elements and the reaction of the interiority and the object. This project used the familiar of each of the program elements, and began to blend through formal manipulation. The manipulation was based on the site condition change, as the building began to climb and then take over the bridge the spatial relationship had significant changes. The goal of this was to create a sense of place wherever within the building as well as making a promenade. The inte-gration of vehicular, pedestrian traffic, and the programmatic space twisting around each other drawing the users eye to wonder yet each having a unique experience.

building pedestrian circulation

longitudinal section 0 10 25 50 100

plan 0 plan 1 plan 2 plan 30 50 1000 50 1000 50 1000 50 100

Fall 2010

LOCATION1st Street Bridge, Austin, Texas

PROGRAMRetain traffic both vehicular and pedestrianAddition of:Office SpaceResidential UnitsRetail Development

SOFTWARE UTILIZEDRhinoceros 4.0, Adobe Illustrator

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vehicular circulation office surfaces residential surfaces

Formal White

This project begun with the diagramming of Alvar Aaltos Saynatsalo Town Hall and then pressed past the initial idea. The project was guided by the notion of a dynamic building that affected the landscape. I than took this idea using the initial structure of the formal white box, as a reaction of the modern context of Houston, and melt it as you move across the space. This condition also creates a new environment, much like a renovation, it takes the sense of one space and than transforms it to a whole new notion. As a user would experience this project they would first encounter the liquefied forms and than sees the city framed through the glass box, than work back into these new forms. Because the only connection is visually framed there is than a strong contrast of the idea of the city and this new structure. The figural space is engaged and the modern is seen in the distance.

Fall 2009

LOCATIONHouston, Texas

PROGRAMHouston Museum of Art and DesignOutdoor Exhibition SpacePermanent & Temporary GalleriesAuditoriumLobbyGift ShopCafeArt Storage & Shop

SOFTWARE UTILIZEDAutodesk AutoCad, Rhinoceros 4.0

Formal White

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Section Aa

Section Bb

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2nd Level Plan 1st Level Plan 0 Level Plan

a b a b

A BA B

a b

A B

0 25 50 100 ft.

Legend

1 Lobby2 Gallery3 Sculpture Garden4 Gift Shop5 Cafe6 Office/Shop7 Auditorium8 Loading Dock/

Storage

0 25 50 100 ft.

0 50 100 ft. 0 50 100 ft. 0 50 100 ft.

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NORTHEAST PERSPECTIVE NORTHWEST PERSPECTIVE

NORTHWEST BIRDS-EYE NIGHT BIRDS-EYE

FRAME ELEVATION

SOUTHEAST PERSPECTIVE SOUTHWEST PERSPECTIVE

AUDITORIUM INTERIOR COURTYARD PERSPECTIVE

FIGURE ELEVATION

MORE INFO

Bi-Polar

2011

GRADUATE MASTER THESIS: EMERGENT HOUSE FOR THE FUTURE

This project discusses two attitudes concerning digital design, one about performance whose skin is resolved parametrically, the exterior as a rain water collecting instrument, that takes the water into water vessels integrated into skin, they also serve as heating and cooling devices producing light and temperature affects. The other being the interior skin that is more interested in sensation with a smooth sensibility on a pleated skin like silk and/or leather. The idea was to emphasize this distinction to embrace the discussion.

This fabrication of this project was done in conjunction with a fabrication elective, which four students helped research fabrication techniques, designed for construction and built the wall under my direction.

FABRICATION TEAMMatthew MillerDale FentonEmau VegaAdrian CortezAubrie Damron

SOFTWARE UTILIZEDRhino 4.0, Autodesk Maya, Lamina, Mastercam, Pepakura

http://www.suckerpunchdaily.com/2011/10/27/bi-polar/#more-16409

exoskeleton panels material: carbon fiber structural metabolism: protective layer from the environment structural connections: fastened from behind to the interior structure, allowing for individual replacement if needed

cast structure material: polycarbonite plastic structural metabolism: holds the bladders in place allowing for expansion and contraction structural connections: fasteners for bladders, connections to the exterior panels & contoured structure within the interior

tensile armature material: polycarbonate plastic structural metabolism: can add rigidity and resist horizontal forces while also begining to engage the interior programs structural connections: all contoured connections with high strength glue for adjacent surfaces

compressive armature material: polycarbonate plastic structural metabolism: increase rigidity in all directions, stablizes the exterior surface structural connections: rigid fasteners to the exterior panels and glue for other surfaces

EMERGENCE the process by which new and coherent structures, patterns and properties emerge from within complex systemsSTRUCTURE

integrate a structure with other metabolisms or serves as a metabolism for the building use materials that can optimize structure and become expressive within the design

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FABRICATION

use fabrication technology & techniques to inform design create an affect with the materials, structures and systems used

layered structure this project involved multiple layers each being fabricated with different techniques to create a system that is revealed through apertures within the wall

panel groves material: carbon fiber panels coated to repel water function: provide a hard exterior shell for the structure along with capture water

water collection material: air space/wall cavity function: gathers the water that weeps through the panel groves leading it towards the filter

water bladders material: expandable rubber canteen function: serves as a water storage device and increases thermal insulation

rainwater filtration material: metal filter basket and plastic forming function: filters water that will then store the water in the wall bladders

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SYSTEMS

design a building that is a product of its environment as well as an influence on it work with smart materials & systems to create an architecture that reacts to its surroundings

rainwater collected by roof and wall system

settlement tank filters large particulates and feeds storage cistern

using Pascals law the tall storage tank can force water into the system as required

greywater recycled into irrigation

pressure from storage cistern feeds water into internal bladders filtration and uv sterilization make water potable

hot water from passive solar heatingand on-demand heating within

bladders when necessary

chilled water from circulation into wells

potable water stored for use by appliances, etc.

HVAC supply air exchanges heat/cold into/out of airspaces around bladders before moving into occupied

zones through perforations in interior surfaces

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STRUCTURE material: high density styrofoam, plywood, plexiglass aggregation: Maya polygonal geometry, parametric arranged prole cuts and scores directing water ow aggregation technique: cnc routered surface and prole cuts , cnc scored plexiglass, prole cuts through plywood, 2x4 concealed structure

INTERIOR SURFACE material: high density styrofoam form: Maya polygonal geometry construction technique: cnc routered surface,

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EXTERIOR CLADDING material: sintra plastic pattern: vornio division through pepakura construction technique: routered plastic joined at tabs with fasteners

BLADDER AND BLADDER MEMBRANE material: polycarbonite plastic and high density styrofoam bladder construction: vacuum formed plastic over cnc routered form bladder construction: cnc routered surface with drilled holes for air ow

I was trying to de emphasize the artistic part of being an architect and describe a role that was much more concerned with intellectual issues, where other interventions were possible and therefore, by definition, could not be done through drawing. -Rem Koolhaas from Why I Wrote Delirious New York and other Textual Strategies

Written Work

In the last decade the attention of architectural designers and theorists has been primarily directed toward the descriptive geometries with which architectural space is written. To the extent that geometry is the preferred language for architectural communication, its interrogation has become the dominant form of writing in architecture ... Yet the exclusion of architecture from writing persists, demanding a further interrogation of geometry. If indeed geometric conflict is becoming bankrupt as an urban organizational model, what are the alternatives to the transgression of geometric order available to architecture? First, an adequate definition of a practice of writing in architecture must be formulated, one capable of engendering the urban, cultural, and programmatic differences that have been previously exploited for their ability to generate geometric conflicts and contradictions. -Greg Lynn from Probable Geometries: The Architecture of Writing in Bodies

Taiyuan Museum by Preston Scott Cohen

Beyond Parametric Possibilities

Michael Meredith in Never Enough has searched for the possibilities of parametric design since its introduction within architecture in the past twenty years. Since the post-modern era there has been a great influence on the image as well as theory within the culture of architecture, but Meredith is searching for a design that uses a new tool and applies it in a new way. This methodology values the parameters that go into the design not a focus on the form, the aesthetic outcome.

there is very little instigating complexity other than a mind-numbing image of complexity, falling far short of its rich potential to correlate multivalent processes or typological transformations, parallel meanings, complex functional requirements, site-specific problems or collaborative networks.

What is crucial to this work is that there is a movement past the aesthetic and escape the emptiness of objects, to a new form created that is based and interrelated within multiple parameters. This is very familiar to the idea of A City is not a Tree, or mat buildings of team ten, making the design aware that there are many factors that work together and they may not all be fully understood but there must be an awareness of this issue. Architecture requires social engagement, therefore this is the basis for all work done by Meredith. I could go into the dilemma of the social responsibilities of an architect but to do that would only steer off track of the true importance of the topic, being that architecture must search for more opportunities within the new tools of architecture.

Experimentation within Merediths work is his way of exploration; the search for new concepts, techniques, and ideologies of design within the computation world is necessary if it is to survive within the world of architecture. Meredith uses the idea of experimentation by referencing the project through the office of

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MOS as not as significant for their own sake as designs, but rather what they indicate about the evolving, if somewhat disoriented, nature of the field today. This gets back to many of the ideas of Sanford Kwinter and his notion that it is architecture without place. Meredith is attempting to make the statement of transition through highly adaptable spaces capable of reacting to their environment, being subservient to its context as oppose to the continual architecture of place that makes and forces reaction within the area. I believe there maybe some uncertainty about this position in architecture, which is clearly separate from that of the American avant-garde that attempts to make a statement within the landscape. Meredith tries to differentiate themselves from this group of parametric designers by the claim of moving past the aesthetic and looking at the exploration of other parameters within design, yet there is not proof that those of the American avant-garde arent using these same parameters within their design. Preston Scott Cohen, an associate of Merediths at Harvard whom is very much so involved in the formalism within architecture, uses cultural influences within an aesthetic, in order to execute his designs. In Cohens Taiyuan Museum winning design the landscape of the region (along with the culture, program, environmental influences) has dictated how the form was produced and the philosophy of the project manifested. The use of all these factors was part of the work yet within the work the project stands on its own, it clearly states its position within the landscape, as well as something that is engaged in the public life, and yet through all these parameters and formal exploration, a beautiful sensibility still emerges. The project can be architecture without words, without hesitation or uncertainty, it has place. There are other buildings, most notably those of the sustainable/regionalism movement contain the same motives, attempting to use all the same parameters yet has an outcome that creates place and has an aesthetic to its design.

I am not trying to devalue the ideas but to put into words the fact that there is more to formalism than emptiness of objects. The provisional utopia, that is more inclusive more adaptable more socially relevant creates a world that is no more than substructure and foundations so who does the topping or ornamenting? How does the built landscape get defined? The most fascinating point of the work is the exploration of new techniques that may create a new way of looking at architecture because of the tools used. The use of the same technique as BIG with Yes is More the no inside and outside, inclusive of everything, excluding nothing is a unique pitch but will this philosophy go much further then the lattices of the past, possibly it is nothing more than a reasoning behind parametric and algorithmic pre-design.

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[email protected]

fronttable of contents-1table of contents-2collaboration-1collaboration-2La Riviera_1-1La Riviera_1-2La Riviera_2-1La Riviera_2-2La Riviera_3-1La Riviera_3-2La Riviera_4-1La Riviera_4-2La Riviera_5-1La Riviera_5-2AzimuthWall_1-1AzimuthWall_1-2AzimuthWall_2-1AzimuthWall_2-2AzimuthWall_3-1AzimuthWall_3-2professional-1professional-2marcus aylward_1-1marcus aylward_1-2Legacy_1-1Legacy_1-2academic-1academic-2Domino Frame_1-1Domino Frame_1-2bus stop_1-1bus stop_1-2UNMC Public Health_1-1UNMC Public Health_1-2UNMC Public Health_2-1UNMC Public Health_2-2Houston Art Museum_1-1Houston Art Museum_1-2Houston Art Museum_2-1Houston Art Museum_2-2Houston Art Museum_3-1Houston Art Museum_3-2Bi-Polar_1-1Bi-Polar_1-2Bi-Polar_2-1Bi-Polar_2-2Bi-Polar_3-1Bi-Polar_3-2Bi-Polar_4-1Bi-Polar_4-2Bi-Polar_5-1Bi-Polar_5-2Bi-Polar_6-1Bi-Polar_6-2written-1written-2Beyond Parametric_1-1Beyond Parametric_1-2lastpage_1-2

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