christian l. camacho - portfolio

August. 2014

- SAW-{Selected Architectural Works}

Christian Luis Camacho

{The City College of New York}

{New York City College of Technology}

Spaces and structures created by man must lift the human senses, if it does not it is a building, a room. If it does, it is Architecture.

Content

About + Resume 4-5

Cartouche 2

Cartouche 1

Cartouche 3

Cartouche 4

Cartouche 5

Cartouche 6

Molloy College - Master planning + Student Housing 17-28

Centro Cultural Islamico de Barcelona 8-16

The Network City 29-32

Harlem School of Arts 33-38

Light as an Environment 39-40

Bushwick Community Dwellings 41-48

Technical Drafting 49-52

Understanding context + placement + units organization and the dweller

The spiritual vs. the built - an exploration of belief within a city through construction

A theoretical essay that attempts to unveil a new typology of city

A facade restoration that connects the citizen dweller to the Arts

A design build project that seeks to lift the human spirit

Bringing the human factors back into the urban civic environ.

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About + Resume

ETSAB (Escola Tècnica Superior d’Arquitectura de Barcelona)(Spring - 14)

Award: Understanding of Space / Construction

The Bernard & Anne Spitzer School of Architecture - City College CUNYBArch (expected 2015)Deans list (all semesters)Published in CityWorks (all semesters)

CA InstituteStudied the medieval city of Santiago de Compostela, Spain (summer 2013)Took hands on material workshopsIntensive sketchingProposed a re-design of the last 15 kilometers of El Camino a Santiago de CompostelaReturned summer 2014 as a professors assistant

Emerging Architecture Program – La Paz, BoliviaStudied the area of El Alto, La Paz (summer 2012)Intensive agricultural/landscape program

New York City College of Technology - CUNYAAS degree in Architectural Technology (received 2012)Deans list (all semesters)

Outward Bound WildernessOutward Bound Diploma and Award for Strong Leadership (summer 2009)Expedition through the Appalachian Mountains - Georgia to Maine

St. Mary’s of the Assumption High School High School Diploma (received 2009)Mechanical Drawing & Arts – Award

Educational Experience

American Institute of Architecture Students (2013 - present)Freedom by Design (2013 - present)Society of American Registered Architects (2012 - present)National Society of Collegiate Scholars (2011 - present)

Memberships

About + CV

As a motivated individual, whose character is prudent and energetic, Christian’s work represents a diverse collection of dynamic and innovative designs. Through integration of history, philosophy, technology, construction and drawing skills he has established an interdisciplinary approach towards his development as a student and young professional. His work ethic can be described as strong and self-driven, which can be further attested by the scholarships and awards that he has received. He seeks a position with an architecture firm whose pedagogy and passion for design can help him obtain licensure as an Architect.

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About + Resume

http://www.pcf-p.com/

ssa1.ccny.cuny.edu/www.dasny.org/

Useful links

2 Gibson pl.Elizabeth, New JerseyUSA - 07208T : 1(908)-220-9393E : [email protected]

Awards + Scholarships

High organizational skillsDesign ResearchWindows / Mac - Compatible SketchingPaintingModel building - Physical / DigitalHand / Digital - RenderingAutocad – (6+ years)3ds Max – (5+ years)Sketchup – (5+ years)Adobe Creative Suite - Ai / Ps / Id – (5+ years)Rhino 3d – (5+ years)Revit Architecture – (5+ years)

Professional Experience

Skills Contact

Álvaro Siza Vieira Architectural intern - (summer 2014)Built both digital and physical modelsParticipated in - Atrio of Alhambra, Granada, Spain and Church of Gaixa, Oporto, Portugal.

CA InstituteAssistant Professor - (2014)

Pei Cobb Freed & Partners ArchitectsInterned under Project Architect, Craig Dumas (2011)Dealt with: scheduling, construction drawings, shop drawings, change orders, and RFI’s

Dormitory Authority of the State of New York Interned under Project Manager and Licensed Architect, Stefan Thierch (2012)Worked in the Fiterman Hall project (16 story university reconstruction in the WTC, NY area)Handled: scheduling, consulting, tracking, on site inspections

Christian L. Camacho

Gerner Kronick & Valcarcel Art of Architecture Scholarship for Excellence in Design - (2014)

The Chester Gerber Award for Highest Ranking Student – 3.98 GPA (2012)

Best Architecture student award – NYCCT (2012)

Most creative and technical award – Pei Cobb Freed & Partners Architects - (2012)

Best in representations award – DASNY - (2012)

Silver Award of Merit – “Bushwick Community Dwellings”– Society of American Registered Architects - (2012)

Architecture student of the year – CCNY - (2013)

National Award – “Bushwick Community Dwellings” – Society of American Registered Architects - (2013)

Alberto Foyo: ArchitectT: +646 431-7715E: [email protected]

Alvaro Siza:ArchitectE: [email protected]

References

Fabian Llonch:ArchitectT: +54 9 341 6670120 / 29E: [email protected]

Stefan Thiersch: Senior Project Manager (DASNY)

T: +212 346-8472E: [email protected]

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Cell: (908)-220-9393Email: [email protected]

Project: CCB

PROJECT: Centro Cultural Islamico de Barcelona

SEMESTER: Spring - 2014

SCHOOL: ETSAB (Escola Tècnica Superior d’Arquitectura de Barcelona)

PROFESSOR: Professor. Marius Quintana

TEAM: Christian L. Camacho

LOCATION: Poble Sec - Barcelona, Spain

DESCRIPTION: The project is located in the Poble Sec area of Barcelona, Spain. The Islamic Center’s program consists of a public hall, exhibition spaces (temporary/permanent), audito-rium, didactic spaces, general office space, two dwellings (director/imam), and a mosque.

This Islamic Cultural Center is not just a sacred place for the religious, it is also a responsive piece within the urban fabric of Barcelona, responding to urban issues as well as encouraging certain urban qualities for example; offering public spaces and accessibility to all, through its transpar-ency and form. The building creates a blur between the city dweller and the religious dweller, allowing for the ex-change of ideas between very different persons within the metropolis of Barcelona. The Cultural Center divides into two responsive volumes, which together create plazas and a patio. The simple volumes reflect the modesty of daily prayer and are not meant to compete with surrounding pieces of context. It stands apart from the adjacent build-ing while being integrated with the surrounding context. It is both welcoming towards the public and protective of the sanctity of prayer. The volume’s simplicity evokes both a contemporary and traditional appeal. Its program is inter-woven by different light conditions, which leads the dweller from one space to the next.

The Cultural Center opens up at its ground floor to the main public exposition space and leads into the main patio at the heart of the site. The main public hall contains con-nections to the floors above, main expositions, library, au-ditorium, didactic area, offices, and the directors dwelling.The building’s exterior base is made of polished yellow stone. The top is composed of beige ceramic panels that contain four modules with different geometries. These materials help to tie the building in its color palette to the surrounding proposed structures, while also allowing the building to avoid the environmental impact of solar heat gain. Both stone and ceramics are materials that are widely produced and manufactured within Barcelona, which allows for low cost transportation and maintains low carbon emission when transporting.

Cartouche 1

{Barcelona, Spain - Plaza Espanya connected to Drassanes through El Parallel - 375m}

{Immediate areas - 375m}

{Circulation - 375m}

{building placement - 80m}

HOSTAFRANCS

MINOR STREETMAIN STREETPEDESTRIAN PATHSCCIB

ENSANCHE CIUTAT VELLA MONTJUIC

DRASSNES / PORT

MEDITERRANEAN

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Project: CCB

Avenue of the Parallel) is one of the main streets of the city of Barcelona, dividing Ciutat Vella, Eixample and Sants-Montjuïc districts. It receives this name because it is (unlike any other street in Barcelona) parallel to the Equator. It runs from Plaça d’Espanya, where the city’s exhibition halls are located, to the seafront, Plaça de la Carbonera and the passenger ship port, dividing the neighbourhood of Poble Sec, on the side of Montjuïc, from the neighbourhoods of Sant Antoni and El Raval. It was officially inaugu-rated on October 11, 1894.

A broad shallow hill with a relatively flat top over-looking the harbour, to the southwest of the city cen-tre. The eastern side of the hill is almost a sheer cliff, giving it a commanding view over the city’s harbour immediately below.

These gardens owe their name to one of the most representative features of the district of Poble Sec: the three imposing chimneys of the old electrical plant of La Canadenca which stands at one side of them. They form a well-designed area ideal for leisure activities and the relaxation of the neighbour-hood inhabitants.

Avenida Parallel

Montjuïc

Tres Xemeneies Gardens

{Site Planometric - 700 Scale}

{View of Mosque}PATIO FOR THE CITY

ACCESSIBILITY

SEPERATION OF MOSQUE

BUILD HGT. MATCH

VOLUMETRIC MASSING

RESIDENTIAL/PRIVATETOURISM CIVIC/PUBLICCCIB CCIB LIVING ROOM

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Project: CCB

{Initial sketch - public space - blur}

{View towards Mecca}

{First floor plan} {Second floor plan}

There is a thin line between resonance and wonder. It is difficult to establish one from the other because they are always alternating within the controlled spaces of a museum, in this case a cultural center. At which point the question is, can one transport themselves out of their current state, current self, current belief, and into one of a different culture, history, religion, and out of their own location within the space? Can that space take on a different meaning and become a place, even for a short period of time? In this case, I feel that as an educational space, as a platform for interchange, the possibility of metamorphose is not far from attainable. Light and darkness play an important role in this design, so that the audience could experience the articulation, patience and cultural vitality that comes with creating beautiful art, the art of exchanging ideas amongst cultures. Resonance happens through phenomena in a museum when it is able to reach beyond its formal boundaries and impact the viewer, visitor, and stranger. While ‘wonder’ happens when the object or space exhibited is able to stop the viewer in his or her tracks to inspire thought. The ques-tion now would be, does this Islamic Center exude Resonance or Wonder?

An architectural critic must never judge a building if he or she has not experienced it for themselves. - William J.R. Curtis.

Resonance and Wonder

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Project: CCBDIRECTORS DWELLING Three bedrooms, kitchen, living room, studio, storage

PERMANENT EXHIBITION SPACE

ISLAMIC CENTER OFFICES

Vestibule / waiting roomOffices for two peopleTwo offices with annexd secretaryGathering officeBreak roomRestrom

DIDACTIC ZONE

Language rooms4 class roomsRestroom

AUDITORIUM FOR 350

FoyerSeating spaceSmall stageChanging roomsRestrooms

LIBRARY

Registration / control pointStacks spaceStorageManuscripts and microfilmsLibrary offices

MACHINE ROOM

EXHIBITION SPACE

PUBLIC HALL - RECEPTION

VERTICAL CONNECTION Limited to employees RAMP TO PARKING -2

ELEVATORS TO GROUND FLOOR / LIBRARY / OFFICES

ELEVATOR TO MOSQUE

ELEVATOR TO GROUND FLOOR

RAMP TO PARKING -1

MOSQUE

Mens zoneVestibule - changing room

Storage for sandalsPatio of ablution

RestroomsImam office

MOSQUE PUBLIC PLAZA

MAIN PUBLIC PLAZA

SMALL BAR

MATERIALS RECEPTION

MOSQUE

Female ZoneVestibule - changing rooms

Storage for sandalsPrayer balcony

Restrooms

IMAM DWELLING

Three bedrooms, kitchen, living room, studio, storage

{Planometric programatical organization}

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Project: CCB

{Building anatomy - Public Hall/Reception/Library/Didactic Zone}{Building anatomy - Public Hall/Reception/Library/Didactic Zone}

{Fourth floor - same layout}

{Fifth floor plan}{Third floor plan}

Plans and Sections as Generators of Building Anatomy

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Project: CCB

1. Concrete Minaret attached to corner concrete column support.2. 1250/125/90mm extruded ceramic module, five different cross sections, surface: white glaze.3. Custom structural concrete corner column.4. 60mm ventilated cavity. 5. Thermally seperated aluminum anchors.6. 40mm aluminum supporting structures; 40/52/2mm T- section.7. 160mm mineral-wool thermal insulation wall.8. 45cm concrete block wall system.9. Interior insulation.10. Aluminum stud system.11. GWB white finish.

1. Parapet with gutter system.2. Polyeurathane strip attached to concrete plank.3. 45cm Concrete beam.4. Aluminum frame attached to structure.5. Fire retardant attached to concrete plank.6. 160mm mineral-wool thermal insulation.7. 1250/125/90mm extruded ceramic module, five different cross sections, surface: white glaze.8. Wassau storefront glazing system.9. Concrete infill tieing floor system together.

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{Construction details in section} {North-east corner construction details in plan} {Ceramic modules}

{North-east corner construction details legend}

{Construction details section legend}

{Section vs. Plan} - {Section meets Plan}

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Project: CCB

The mosque itself is situated on the south-west portion of the site as a separate volume. The mosque’s main entrance is through the main patio at the ground floor and contains all necessities at its vestibule, such as vertical circulation to the women’s area on the second floor (which contains a similar layout to the ground floor vestibule), the imam’s dwelling at the third floor, bathroom (for men), and lockers (for men). The vestibule opens up into the men’s ablution space, which is lit by skylights and has a three story height. The hall of prayer is then accessed through the ablution space. The balcony for prayer (for women) then floats within the prayer hall, looking towards the direction of Mecca. The mosque is conditioned to use light and space in order to lead the religious person towards the direction of Mecca. The prayer hall is a stark space with a float-ing roof that orients towards the qiblah and faces a contemporary designed mihrab in the direction of Mecca.

{Building anatomy - Mosque}{View of Mosque vestibule}

{Initial sketch of Mosque vestibule} {Sketches - Thought}

Directionality

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Project: CCB

{View of main prayer hall}

{Mosque and cultural center facade conditions}

All exterior and interior flooring is finished by a yellow stone. The interior walls and ceiling use flat white gypsum wall board finish, while the base of the interior walls uses a wood finish. The imam’s quarters are finished modestly but according to contemporary standards of comfort. The structure is of a concrete frame with CMU infill in which an aluminum frame is attached. The aluminum frame holds the ceramic and stone panels securely in place.

Construction

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Project: CCB

{Facade condition}

Materiality in which chooses to condition spaces into something that can affect those who dwell is an important result of the construction of the built environment. This importance is an entire composition that is the product of the many types of construction that are at the building scale within a city. As designers we must pay attention to how these materials affect and create conditions. As humans we contain a natural rhythm, the heart main-tains a rhythm which inevitably affects our minds, our senses. Music maintains a same rhythm which inevitably affects the same, this similar position happens with all beautifully proportionate objects.

The Architect and the Man of Construction must always work together in the development of these rhythms and must never undermine each other. The Construction worker is a magician, the literal creator of space, the manipulator of materials of the physical elements, builders, constructors.

500 B.C. - Apollo - Protector and Constructor......

Materiality - The Architect - The Constructor

Structural frame

Exterior ceramic facade

Exterior ceramic facade

Expansion joints

Louvre system

Aluminum mullion

{Typ. Wall section construction}

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Project: CCB

{Building anatomy - Exhibition spaces / Foyer / Auditorium / Services / Parking}

{View of balcony of prayers} {View of ablution space}

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Project: Molloy College


PROJECT: Molloy College - Student Housing

SEMESTER: Fall - 2013

SCHOOL: The Bernard and Anne Spitzer School of Archi-tecture - City College - CUNY

PROFESSOR: Professor. June Williamson

TEAM: Christian L. Camacho / Talha Sabid / Joan Batlle

LOCATION: 1000 Hempstead Avenue Rockville Centre - Long Island, New York

DESCRIPTION: The focus of this studio project is the design of multi-unit housing in an sub-urban context. The studio is organized in a series of phases including typological research, site analysis, program analysis, concept, and design develop-ment. This is followed by a rigorous analysis of the studio site leading to an urban design proposition for adding student housing on a college campus. Once the build-ing siting is established, student proceed with analysis of program and further precedent studies, incorporating alternate housing philosophies. Building design develop-ment is organized around the study of building massing and circulation, apartment layouts, open space, façade, and building details and technologies. The urban analysis and urban design phase of work is produced by teams consisting of 2 to 4 students to promote the collaborative experience. With the exception of this team-based phase, the design work is conducted individually. Strategies for sustainable design are investigated through context and site analysis, as well as in the precedent studies. A short design assignment emphasizes energy conserving design, and sustainable design strategies are incorporated in the building and urban design solutions.

{Site Analysis as a Means to Understand Surrounding Environs.}

Cartouche 2

{Public Transport}

{Topographical Map}

{Main Routes}


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{Land - Use Map}

{Hampstead Lake / Hampstead Park}

HAMPSTEAD

MOLLOY COLLEGE

rOCKVILLE CENTER

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Molloy College is located at 1000 Hempstead Avenue in the village of Rockville Centre, on a 30-acre campus just south of the Southern State Parkway, on Long Island, New York. Molloy College is an independent, private, liberal arts institution with 4,400 students in 50 undergraduate and graduate programs. It is nationally known for its nursing program, the fourth largest in the United States. Molloy College was founded in 1955 by the Dominican Sisters of the Congregation of the Holy Cross Amityville. Although committed to Dominican ideals, the college is diverse and nonsectarian. The first on-campus buildings, including the centrally located Kellenberg Hall, were completed in 1956. Until recently the campus had no residential facilities and all students commuted, mostly by car. Much of the campus is paved surface parking lots. After many years of planning under current President Drew Bogner, Molloy opened a new 57,000 sf student and community centered building in 2011, designed by BRB Architects. The LEED-certified Public Square building and Campus Green are designed to be Molloy's central social and academic hub and includes a 575-seat performing arts facility called the Madison Theater. In the fall of 2011, Molloy opened Fitzgerald Hall, the College's first student Residence Hall, designed to house 156 students. An adjacent building is undergoing renovation to house an additional 97 students.

KELLENBERG

WILBUR/QUEALYCASEY

FITZGERALD

VIENNA

PUBLIC SQUARE

WATERTOWER

RUGBY FIELD

MERCY MEDICAL CENTER

PENNINSULA BLVD.

SPORTS FIELDS

HAMPSTEAD LAKE

Existing Conditions

{CAMPUS DESCRIPTION}

{Campus Face}

{Intervention - Masterplan}

CHECKPOINT

MERCY FACILITIES

NORTH DORMS

“FOREST” DORMS

ROWHOUSE DORMS

PARKING STRCT.

SOUTH DORMS


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Molloy College is located right next to Mercy Medical Center. The college contains the leading nursing program in the north east. One of the goals for this particular master plan is to encourage a stronger connection between the col-lege and the medical center. Currently the college and the medical center are physically severed by disorganized parking lots. The reorganization of parking lots creates a blur between both properties. Each parking lot is color coordi-nated accordingly to the type of pervious surface that covers it. The different surfaces allow for different functions that step outside the fixed functionality of an average parking lot. The gesture of this intervention allows for a much more environmentally friendly fabric within the campus.

A nexus of pedestrian paths, bicycle paths, and vehicle paths allow for another layer of connectivity amongst the parking lots and the buildings both within Molloy College and Mercy Medical Center. This network within the surround-ing suburban fabric also allows for a connection between the residential zone and Hampstead Park, creating a flow between both zones that can be used by students, professors and residents of the area.

The connection between Hampstead Park and Molloy College / Mercy Medi-cal Center is a very important part of this master plan. In order to maintain a cleaner campus from the releases of vehicular traffic, trees are integrated with the parking lots in order to absorb pollutants that the parking lots collect. Ulti-mately this network creates for a cleaner environment enhancing the air quality as well as the aesthetic of the campus.

{MONDRIAN NETWORK}

{PLASTIC NETWORK}

{BOTANICAL NETWORK }

{Mondrian Network}

{Plastic Network}

{Botanical Network}

PARKING

PRODUCTION FIELD

NORTHERN DORMS

PAVILLION / MARKET / GROG

CASEY BUILD.

CAMPUS QUAD

PUBLIC SQUARE

{Northern Campus Site Plan}

1. Northern Campus Exist.

2. Underground Parking

3. Double Bar

4. E - Plan

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Communal Bathroom

Single Loaded Bar

Activate

Multiply

Single Dorm Public Study Egress Double Dorm


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Double Loaded Bar

Activate

Multiply

Double Dorm Solar FinSingle Dorm Shared BalconyTriple Height Opening

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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{First Floor Plan}

Th e Grog

Pavillion

Market

{Double Dorm and Hallway Callout}{Single Dorm and Hallway Callout}

It is important to study building typologies, unit groupings, and spacial organizations from precedent studies in order to apply and manipulate different methods to ap-proach solutions. This building is located on the northern area of Molloy College and is a difficult site to control views and circulation, due to its exposure to a highway and practically no connection to the campus itself. The building is designed using the double loaded and single loaded unit groupings to create a courtyard typology. The courtyard is an important atribute of this machine in order to gain maximum control of views and create intimate pockets within the building that can be used by the dweller living in the dormitory and the dweller circulating through the campus. The courtyard allows for the division of public and private realms to be met at the entry point of its architecture. In addition to the private dormitory building, there is a public dimension to the entire plan. The introduction of a market, grog, and pavillion allows for another layer of public functions that not only pertains to the usage of students, but also becomes a shared space for the sub-urban fabric in which Molloy College is situated.

{Thought - Plan - Scales} + {Public Meets Private to Create a Social Architecture}


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{Double Loaded Section}

{Double Loaded Section}

view to courtyard campus view

vertigo

It is crucial to understand the design of this building through the use of scales. The experience that happens in a campus setting varies in scale, from the minute one enters the campus there is a reduction in scale from suburban fabric to a campus environment. That reduction in scale is maintaned through out the design process. From the campus environment the scale is then reduced to the experience within a building. Then the scale reduces to the dorm-room itself, where the scale is at its most intimate with the dweller.

These changes in scales are important not only for the dweller, but also for the architect, to be able to create a blurred transition from one scale to the other.

The double loaded portion of this building was analyzed in both large and small scales to satisfy aesthetics, construction, organization, and furniture layout. This portion of the building constitutes 4 single dorms and 4 double dorms containing the minimal amount of nessesities that a single dweller would need. The single dorms also have an outdoor balcony space with the immediate neighbor, again maintaining a blur between private and semi-public.

The organization of units in the double loaded portion create a “courtyard” typol-ogy within the building. This area of the building allows for ventilation to circulate through the building, as well as entertaining a visual connection amongst each level.

Within the single loaded portion of the building, there is a machine of its own. All units are organized to face south for maximum solar exposure, which is then controlled by the facades articulation of fins and solar shades. On the north side of this machine is where the circulation functions, however it combines semi-private study with public circumabulation, merging programs in one gesture.

{The intimate scale of the dweller} + {Organiztion of units}

Double dorm

Sloped ceiling

Mechanical

4’ wide stair

Parking

Sky light and airation

Integrated furnishing

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{Materials, light, and space}

{ Double Dorm Details}

{ Single Dorm Details}{East Facade}

{ West Facade}

{ Th e Grog}

In order to create an experience through out the dormitories I focused on material qualities, light conditions, and spatial organization. These three principles manifest an ambiance in which I can express a particular background for the students. Another focus was to develope how materials, light, and organization will be joined together. Construction detail drawings are crucial to the understanding of how the pieces and parts of a building come together to create the overall experience. I chose to express the joints within my building, not only for aesthetic purposes, but also to allow for expansion and contraction during the changing seasons.

The campus of Molloy College uses brick as its main aesthetic. This allowed me to choose brick for my design, in order to blend in with the surrounding context. None the less, the design for this dormitory still exudes its own character, while at the same time respecting its context, which allows for the dweller to have a smooth transition from building to building.

The use of brick was also brought into the interior design of the dorms. Brick is thought of as a “warm” building material due to its primitive characteristics, creating a calm environment. Wood is another warming material to the human body because it is so intertwined with the humans sensorial factors, for this reason I chose to use it as part of my interior design. The combination of these materials organize spaces in which students can live in a compact fashion, where the need of to much space is not necessary.


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{Context, thought, and diagrams, meet construction}

{South Facade}

{ Single Loaded Section } {Connections}

Coping

Flashing

Steel Angle to Beam

2” Brick

2” Air gap

2” Insulation

Fenestration

Drip

1/4” Wood fi nish

5” Slab

Steel Angle to Slab

I- beam to Girder

Sedum RoofFelt Fabrics

GFRCHauncher Beam

Pivot Window

GFRC Sill

6” Brick

Pivot Window

Weep hole

C-channel Beam

campus view

view to courtyard

vertigo

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To further understand spatial conditions and how they can relate to the surrounding campus, sectional drawings are necessary. Here one is able to comprehend the light conditions within the space, as well as control views. The sectional drawing allows to organize an order in which the building will be constructed to satisfy the dweller with enough light and space.

Construction details determine how the organization of light and space will be brought together to function as a homogenous machine for the dweller.

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{Agro - Production Pavillion}

{Cartouche - Process}

{Collaboration between the hand and the mind}


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{Shared balcony detail}

{Model - 1/4” = 1’}

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Project: El Camino

PROJECT: Theoretical - The Network City

SEMESTER: Summer - 2013

SCHOOL: The CA Institute

PROFESSOR: Tatiana Berger


LOCATION: Santiago de Compostela, Galicia, Spain

DESCRIPTION: CA institute leverages the city of Santiago de Compostela as an architectural laboratory - firstly to learn from its ex-cellent historical and contemporary architectural tradition, and, secondly, to reflect on its urban complexity. As a liv-ing example, the city allows students to interact with and learn from architectural experiences. The institute focuses on developing fundamental skills of an architect. In that sense, materiality, tectonics, sketching, hand made mod-els, are basic elements of the common syllabus of this institute.

In this project my intention is to reveal a typology of city by using the fabric of Santiago de Compostela as host. Today there exists many types of densities, the rural, suburban, and the urban, as well as derivatives of these.

{Internal ghost city}

{Hydro - Data}

{Geo - Data}

{Northern Galicia}

Cartouche 3

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Project: El Camino

{Santiago de Compostela Panorama}

Throughout history cities change and transform. These transformations can be valiant social triumphs, physical growth, Throughout history cities change and transform. These transformations can be valiant social triumphs, physical growth, Tchanges in power, and other varying factors. The city is thought to constitute organs that are related to social, economic, political, religious, and spiritual bowels. The attempt of this essay is to discover an internal city within alien fabrics, a city political, religious, and spiritual bowels. The attempt of this essay is to discover an internal city within alien fabrics, a city that we shall refer to as, “Network City” or “Internal ghost city”. All cities have similar ways in which they are constructed, however the heart and mind of a city dweller differs from one city to another. This divergence happens from city to city due to cultural, geographical and historical developments that exist. What can then be extrapolated from these differences is the cat-egorization of these different factors of the city and how the human psyche has affected the development of progress. However, the discussion here is to reveal an “internal ghost city” and to prove whether or not it may exist within our surroundings and the discussion here is to reveal an “internal ghost city” and to prove whether or not it may exist within our surroundings and perhaps lead into this categorical idea of cities and revealing a type of city, the Network City. The “Internal ghost city”, is a perhaps lead into this categorical idea of cities and revealing a type of city, the Network City. The “Internal ghost city”, is a a city that can grow by penetrating an existing city and how that existing city can thrive off of the invading power. The word a city that can grow by penetrating an existing city and how that existing city can thrive off of the invading power. The word “Ghost” means that the internal city that feeds the city it is penetrating has become forgotten or blended in, to the point where it is not considered to be its own identity anymore. Santiago de Compostela is a primary example that shows the idea of the intersection and growth that happens between a city and an alien city fabric. It is also important to acknowledge the history, growth, and changes of Santiago de Compostela in a brief manner to further understand the argument. growth, and changes of Santiago de Compostela in a brief manner to further understand the argument.

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Project: El Camino

In the north-westernmost region of Spain, is Gali-In the north-westernmost region of Spain, is Gali-Icia, just north of Portugal. It has always lived a little apart from the rest of Spain. Traditionally, Galicia was seen as a poor agricultural region. It absorbs little Roman infl uence and was never con-quered by the Moors, and in the Middle Ages fell under the control of the kingdom of Asturias. It was only very briefl y an independent monarchy, in the 10th and 11th centuries. At its heart is the fascinat-ing Santiago de Compostela, a focus for pilgrims since the early Middle Ages. The city is centered on a magnifi cent Baroque cathedral, which has trans-formed in architectural style through out its life span. By 1075 when the Romanesque basilica was begun and the pilgrimage was becoming a major European phenomenon, Santiago de Compostela had already been raided on various occasions by the Normans and Muslims. Bishop Diego Gelmírez obtained archbishopric status for Santiago in 1100 and added numerous churches in the 12th century, when homage paid to its saint brought in a fl ood of funds. Enthusiasm for the pilgrimage to Santiago peaked around and then internecine squabbling between rival nobles, damped down by Isabel and Fernando after the Reconquista, marked the fol-lowing centuries. Bordering Portugal to the south and enclosed by the waters of the Atlantic Ocean, Galicia could offer its inhabitant’s little in the way of new land for cultivation; overpopulation and unemployment forced many to emigrate. Yet, in the 20th century, Galicia began to develop, and today traditional lifestyles rub shoulders with moder-nity. Galicia has always maintained strong links with the sea; where it thrives through its centers of culture, commerce, and industry. Making fi sh-ing a vital attribute to the economy of Santiago de Compostela and its surrounding Galician cit-ies. After misguidedly siding with the Carlist’s in the 1830s, Santiago de Compostela slipped into the background. Only since the 1980s, as capital of the autonomous region of Galicia and a redis-covered tourist and pilgrimage target, has the

city been revitalized. In 1985 the city’s Old Town was designated a UNESCO World Heritage Site. One of the main components of the medieval city of Compostela is the pilgrimage to Santiago de Compostela. The pilgrimage is a long network of routes extending throughout Europe. The main route is called the French route. The network consists of hillsides and terrains, in which different weather conditions conceal the remains of Celtic settlements; at road junctions and in the towns, stand weathered stone crosses, while in the villages old granaries can be seen. Artistic ensembles cre-ated by pilgrims can be found scattered throughout the nexus of networks running throughout Europe. Symbolic representations of the scallop shell, which are the networks guides, are also found through out different locations in Spain, France, Portugal, and even north into Denmark. This is where the idea of a ghost city lays and how it percolates into the type, “Network City”. Lewis Mumford, writer of the es-say “What is a city? Suggested some components that a city entertains. Through his essay we can be-gin to extrapolate a template of what is a city. Ac-cording to Mumford, “the essential physical means of a city’s existence are the fi xed site, the durable shelter, the permanent facilities for assembly, inter-change, and storage; the essential social means are the social division of labor, which serves not merely the economic life but the cultural processes. The city in its complete sense, then, is a geographic plexus, an economic organization, an institutional process, a theatre of social action, and an esthetic symbol of collective unity. The city fosters art and is art; the city creates the theatre and is the theatre......” The network working within Santiago de Compostela is not just a path, a journey, and a pil-grimage. The network, which is interwoven within Compostela and many other cities throughout Eu-rope is much more complex. This network consists on an economic stability, which has been created and developed by pilgrims over the past centuries. Hostels, restaurants, baths, equipment shops, in-formation stops, catering to the pilgrimage can be found through out the cities that this network inter-sects. What do we call a network, which contains similar attributes as a city? Can we consider this an elongated city that stretches for hundreds of miles, impacting the external cities it intersects? One can argue that this network defi nitely cannot be con-sidered a city. Perhaps it may have to do with the fact that one can only see this network as a path, an unsheltered path in which the impact to other cities is minimal, so minute that it is not a candidate for a city or even brings forth the ramifi cations of what a city presents in the century. How should we defi ne a group of people, a community, an outdoor habitat, or a path; as a city? Numa Denis Fustel De Coulanges, claims that the ancient city evolved from the merging of external organs that have grown into each other. He mentions the evolution of the phatry, family, tribe, and the city. In the case of the internal ghost city of Santiago de Compostela, it has started out as a pilgrimage and its density of travelers has risen to the point where affects are inevitable to other cities it is intersecting. Camping grounds for

pilgrims, for example in Monte Do Gozo, a village east of Santiago de Compostela, is a result of the incoming and outgoing pilgrims, meanwhile all the business’s thrive off of the incoming pilgrims and establishes some sort of economic stability within the village. Due to the fact that there is this stability, villages such as Monte do Gozo, are able to grow from what they once were, even if it is at a slow pace. The connection of space and time is another contributing aspect in the components of a city. Cit-ies as dense as New York have entire systems and networks that take the city dweller from one place to another within minutes. On the other hand the network of El Camino is a slower paced system, a much more ancient system, which is walking. How-ever, services for pilgrims are specifi cally provided to connect the traveling man with the “spiritual path” whether it is by land, air, or water. Never the less the network of El Camino is still a network, which involves maintenance, development, design, a sense of consciousness to its context, even if it is at a much less lively pace as that of New York City’s. Le Puy France, which is one of the small cities that El Camino intersects, shows evidence of how this network does in fact affect other cities by absorbing certain factors, socially or economically, in its immediate context of the area it intersect. Rue Saint-Jacques is a street that enters into the city from the western sector and fi nally ends in a plaza. Within this street one can encounter many hints of Santiago de Compostela, aside from the name of the street. The scallop shell and signage can be seen along this street, however there is a very important impact that happens in Rue Saint-Jacques that can be applied to other cities that El Camino intersect. The psycho-logical mindset that happens in this street is impor-tant to help identify this as a network city. George Simmel writes about the mental function of an emo-tional mind derived from the town in comparison to the calculated mind of the city. It is hard not to think of similar changes like these that happen within El Camino. The people that live on the network of El Camino also have their business that caters to the pilgrims, which creates for a specifi c mental condi-tion. People such as these have to calculate their everyday lives and actions to revolve around this universal event that happens on El Camino. When one compares the mind of one who lives on the net-work against someone who lives ten minutes away from it, one can understand the mental difference of the city dweller that lives within the Network City. If El Camino contains social, economic, political, religious, spiritual, and psychological bowels as a regular city does, why not call it a city? The reason being is that there is a layer of complex-ity that is added to this network, which is something metaphysically beyond just a “city.” It is also too embedded and too quaint to be the loud bustling beast that the city is. Never the less, it is an intel-ligent nexus of routes that contains much of what a city does. This understanding can perhaps allow us to accept the possibility of underlying cities that we may not be aware about. If the statement above has been understood or accepted then perhaps we can un-derstand another typology of city, the Network City.

{Figure Ground}

{Granjas}

{Topo}

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Project: El Camino

The network working within Santiago de Compostela is not just a path, a journey, and a pilgrimage. The network, which is interwo-ven within Compostela and many other cities throughout Europe is much more complex. This network consists on an economic stability, which has been created and developed by pilgrims over the past centuries. Hostels, restaurants, baths, equipment shops, informa-tion stops, catering to the pilgrimage can be found through out the cities that this network intersects. What do we call a network, which contains similar attributes as a city? Can we consider this an elongated city that stretches for hundreds of miles, impacting the external cities it intersects? One can argue that this network defi -nitely cannot be considered a city. Perhaps it may have to do with the fact that one can only see this network as a path, an unsheltered path in which the impact to other cities is minimal, so minute that it is not a candidate for a city or even brings forth the ramifi cations of

{Sketching, Painting, History, Theory, + Architecture}

A sensorial section of El Camino

Murro detail

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Project: Harlem School of Arts

PROJECT: The Harlem School of Arts


SCHOOL: The Bernard and Anne Spitzer School of Architecture - City College - CUNY

PROFESSOR: Fabian Llonch

AWARD: Silver Award of Merit - Society of American Registered Architects.

TEAM: Christian L. Camacho / Alvaro Almada

LOCATION: 645 St. Nicholas Ave, New York, NY

DESCRIPTION: SSA students have been asked to create a project in collaboration with the teachers and students of the Harlem School of Arts. The project site is located on the west side of the St. Nicholas Avenue on the long block between 141st St. and 145th St. and consists of 31,475 S.F. of land including the existing HAS Com-munity Theatre Building. A rugged escarpment of rock at the rear property line rises to 45 feet above the street level and forms a rear yard boundary. The one story theater forms the northern site limit and the two story and basement Community House of St. James Presbyterian Church, where the School now functions, is at the southern property line. The tunnel of the seven track Eight Avenue subway line lies under St. Nicho-las Avenue within three feet of the front property line and approximately four feet under the sidewalk at the center of the site. The goal was to renovate the façade of the existing bruatlist building, built in the 1970’s. By speaking and getting to know the clients the con-cept begins to develop and new ideas stir in what can possibly be a new way to rethink this school of the arts. The existing building clearly shuns the commu-nity from its artistic organs. Harlem is a part of New York that has tremendous history and culture. All that should be welcomed into the school of arts as well as vice versa. By opening up the school in a way that in-tegrates itself into the community, but also addresses safety issues, can activate a new opportunity for this machine of learning. The importance of this project is collaborative thinking and design. My team-mate and I were presented with an existing Brutalistic building that needed renovation. The Harlem School of Arts is an in-credibly diverse institute that has had a rich history. As part of our comprehensive design studio project, we needed to use collaberative thinking, design research, digital media, as well as work with the students of HSA and its faculty in order to redesign the Brutalistic fa-cade through an Architect and client relationship.

Cartouche 4

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Choice is fundamental to the human’s consciousness; traditionally the city has been the place where the citizen dweller has had wide choice through multiple options. Art is fundamental to the mind’s existence and legacy; it can bring mean-ing to his or her life by offering contrast and form his labors, his cares, and his responsibilities.

This project is an attempt to give the residents of Harlem and Morningside Heights choice in recreation and art a voice and a hand, through Architecture and social interactions determining the activities and the arrangement of the activities. It is felt that the concept of “choice” and the planning of an art school, that gives back to the community, may have several results. First, the schools facilities and programs are more likely to be responsive to the minds who use them. Second, persons are more likely to find meaning and enjoyment in that environment in which they have had an influence in shaping. There is evidence that this latter factor may indeed be a more important or potent influence on behavior and reac-tion to the environment than the actual characteristics of the environment itself.

It is difficult to test this hypothesis in a laboratory or controlled situation. Projects of this sort are the only opportunity open to an architecture student, such as me, at this time to test such a hypothesis. In order to prove such a hypothesis, it will be necessary to accumulate the results of this project and many more like it.

Always believing that ongoing change is a necessary ingredient of a designers growth, Ulrich Franzen has not been content to produce visually constant or func-tionally unprogressive buildings. He likes o see changes in the same building, which is regarded as an assemblage of previously developed concepts and parts, joined together with new concepts and parts. Preoccupation with affixed personal stamp is a dead end for Franzen. Even when his buildings may have

Franzen’s concept was to create an oasis that isolated the building’s interior from its sometimes harsh surroundings, while respecting the low height scale of the block. The architectural importance of the neo-gothic St. James Church continues in the block front.

Accordingly, the existing low building covers a large percentage of the site to produce the required floor area. The un-built site is devoted to a court that is the focus of the interior outlook. The rear wall of the court takes advantage of a rarity in the city – a cliff in which the building butts into. On the street façade openings are concentrated in blind recesses indicating the presence of the large double height lobby within. Entrance is gained through a “lock” that allows visitors to proceed into a semi-circular vestibule until admitted electronically through a second door. The main practice and recital rooms are located directly above the main lobby. Off a balcony above are more individual practice rooms and offices.

The area around St. Nicholas Park was extensively developed at the turn of the century following the completion of the Broadway subway in 1904. Previous to this the area had housed the old village of the Manhattanville and country homes of the wealthy New Yorkers, notably Alexander Hamilton. The area was also crossed by a past road named Kings’ Way and later on Albany Post Read. In the late 19th Century the name of the road was legally changed to St. Nicholas Avenue after the patron saint of New Amsterdam. The area immediately adjacent to St. Nicholas Park is predominantly residential. Unlike Morningside, none of the housing is controlled by neighboring institutions. Housing is mainly large apartments along the east, north and south edges of the park. Building condition is abysmally low particularly along St. Nicholas Avenue.

{Art + Architecture and the Civic Dweller}

{St. Nicholas Park Neighborhood}

{The Brutalist Conception}

{The Civic Re-introduction}

{Existing massing}

Art school activities

Entry lobbyOutdoor court

Black box theater

{Addition and flip}

{Structure of addition}

{Perferation}

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{First Floor Plan}

{Second Floor Plan}

{Th ird Floor Plan}

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This area of the city is well-serviced by public transporta-tion. In addition to two major subway lines on Broadway and on the extension of 7th Avenue, eight cross-town and ten up-downtown bus lines are available to carry residents to the parks and to other facilities in the city.While automobile traffic an most of the surface streets appears to be moderate or light, double- and even triple-parking reduces the actual capacity well below predicted capacities.Parking in the area is a problem with approximately 20,700 autos owned. Off-street storage is practically none-existent and on street parking capacity is more than taken up by area residents. This leaves little space available for park users wishing to travel to the park in their own vehicles.

Institutional Activity in the immediate vicinity of St. Nicho-las park is made up of the City College on the west, which influence several public schools and several churches. The public school across St. Nicholas Avenue from the park is J.H.S. 136.

There is a small amount of commercial activity immediately adjacent to the park. Retail Activity which can serve park us-ers needs for food and refreshments are limited to a small marginal market at 133rd street and St. Nichols Avenue. Venders are also available in the park on weekends.

{Movement}

{Institutions}

{Commercial}

{Programmatic Connector}

{Section through atrium}

{Section through dance recitals}

{Section through black box theater}

{East Elevation}

{Longitudinal Section}

{X-Connector}

{Y-Connector}

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BY

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TOD

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DU

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PRO

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BY A

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DESK

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AL PR

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UC

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Girder

Truss system

4” mullion

Fenestration Mullion

2” mullions

Exist. fl oor slab

C-channel steel plate

Steel bolts

Glazing

Column Base-plate

Earth

Footing key

{3d Construction model}

{Comprehensive design}

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Project: Lighting as an Environ

PROJECT:PROJECT: Lighting as an Environment



PROFESSOR: Domingo Gonzalez

TEAM: Christian L. Camacho / Diana Zwetzich / Demir Pursic

LOCATION: The Spitzer School of Architecture

DESCRIPTION: The stair in front of the security desk, connecting the first and second level of SSA, is an ideal location for what we and second level of SSA, is an ideal location for what we are trying to achieve as our term project. We will be using are trying to achieve as our term project. We will be using fabrics to create parabolic surfaces and shapes, on a very fabrics to create parabolic surfaces and shapes, on a very simple pinned system. The surfaces will act as diffusers simple pinned system. The surfaces will act as diffusers for the light installations we will be including.for the light installations we will be including.

Cartouche 5

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Project: Lighting as an Environ

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Project: Bushwick Community Dwellings

PROJECT: Bushwick Community Dwellings

SEMESTER: Fall - 2012


PROFESSOR: Alberto Foyo

AWARD: Silver Award of Merit - Society of American Registered Architects.

TEAM: Christian L. Camacho / Moe Myat Thu / Marcus Tung / Melissa Santana / Evan Kaloggeanis / Deswacy Powel / Diana Zwetzich / Tiffany Urosa / Magdalena Checo / Veronica Rivas / William McMillen

LOCATION: Ingraham St. and Bogart St. Brooklyn N.Y.

DESCRIPTION: In this project we have been given a site located at Ingra-ham St. and Bogart St. in Brooklyn N.Y. The semester’s objective was to design an apartment building that can hold up to twenty-four units. The idea of a dwelling as a machine had to be explored and its relationship to natural light. Social and sustainable issues that confront design today had to be investigated. Grasping a technical under-standing of structure and materialization had to be crucial to the final design. The 400’ x 200’ lot on Harrison Pl. and Bogart St. is located across the original site assigned. The 80,000sf lot has an existing one-story empty storage building, which stands 20’. The decision was made to design twenty-four “community dwellings” on top of the existing storage building.

A new 400’ x 200’ floor plate was placed 15’ above the roof of the existing storage building. Land art and a se-ries of paths were placed within the 15’ space created, for semi-public use. Above the new floor plate, a series of twenty-four courtyard houses, designed for specific cli-ents, were placed around three “commons”, one major common and two minor commons. The commons consist of agricultural rows, containing different vegetables, herbs, spices, and aromatic plants. Two “connectors” were de-signed to create vertical circulation on the north and south sides of the structure. They connect the public ground level to the semi-public land art, semi-private commons, and private courtyard houses.

Cartouche 6

{Existing building}

{Structural Addition}

{Courtyard Typology}

{Connectors}

{Connectors}

{Personalize}

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{South Connector}

{Thought}

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{First floor}

{Second floor}

{Third floor}

{Roof Plan}

{South facade}

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The community of Bushwick is in a state of revitaliza-tion. Bushwick greatly suffered in the 1970’s when it endured exceeding rates of foreclosures and a de-crease in community services due to a drastic eco-nomic decline. After the Citywide Blackout of 1977, Bushwick was subject to many fires because of the Broadway Street Riots. Arson and looting caused the destruction and disfiguration of many properties. Af-ter the riots settled down, the city and many landlords did not invest in their property, which left many build-ings looking barren and uninhabited.

In recent times, many of the old warehouses are be-ing used as rentable spaces for small art studios and galleries by young artists looking for places to live and work in. With the influx of rising artists that are emerging in the area, the community is consistently undergoing changes. Some of the grocery stores by our site have started an effort to provide fresh organic products by growing the produce themselves.

As we considered our project we immediately incor-porated art and agriculture into our design because of what it means to the residents near the site. Bush-wick’s history inspired us to bring back community-living into this urban-civic environment through art and agriculture with our design. We designed el-evated communal dwellings that are arranged so that every unit has access to exposed garden areas where its residents can contribute to growing given plants and vegetables for everyone living there. Including agriculture into our design provides the residents with more fresh produce and would also help lessen the amount of greenhouse gases that are present in the area because of the nearby factories. We also al-located the existing first floor of the abandoned ware-house under our community dwellings to serve as a gallery space for the community’s artists to showcase their work. Our project is in essence driven to create a stronger sense of community and enhance the artistic cultural density of Bushwick.

{Section detail through connector}

{The Bushwick Neighborhood}

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A large amount of this design was decided through A large amount of this design was decided through sketching. The human factors are most exquisite sketching. The human factors are most exquisite through this art. This particular project exercises the human senses, and brings forth the importance of ar-human senses, and brings forth the importance of ar-chitecture, community, social interaction, and agricul-ture in a holistic packaged ensemble that celebrates its sketch influenced design within the minds of the citizen sketch influenced design within the minds of the citizen dwellers.

{Thought + Agri-Tect + Sketch}

Minor Common Introversion Major Common

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Market Courtyard DwellingSolar Paneling

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{First floor}

{1/4” Model}

{Section through courtyard}

{Section through kitchen}

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{First floor}

{Section through piano room}

{Section through courtyard}

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Project: A Collection of Works

PROJECT: Brooklyn Waterfront Museum

SEMESTER: Spring 2012

SCHOOL: New York City College of Technology - CUNY

PROFESSOR: Augustine Maldonado


LOCATION: Brooklyn Waterfront Park, Brooklyn N.Y.

MEDIUM: Ink on mylar + Ps Cs6

DESCRIPTION: Understanding how forms can create spaces and aes-thetics is a critical part of the development of the young architect. Representing these forms through Architectural language is critical. The images exhibited in this spread are a showcase of my mechanical drawing techniques.

The museim focuses on the “fields”, program, site, his-tory, context and abstraction of the location. These six factors form a generator for creating geometries that have significant meaning to Brooklyn. I emphasized on e general fact about Brooklyn, which is, that it is a dynamic city, rich in culture. Brooklyn also has front row seats to NYC which is also an allotment of different peoples and backgrounds all intersecting one another through the so-cial means. Intersection was the main verb I picked out of Brooklyn. I took that verb to create geometries that cross eachother. I gave these geomotries direction by including the site, program and context into the mix, allowing for an abstract gesture of Brooklyn’s history and its future, in a frozen capsule of Architecture.

{Thought + Form + Program + Mechanical Drawing}

{First floor}

{Second floor}

{Third floor}

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PROJECT: Dumbo Health Club

SEMESTER: Spring 2012

SCHOOL: New York City College of Technology

PROFESSOR: Augustine Maldonado.


LOCATION: 66 Sands St. Brooklyn, NY

MEDIUM: Ink on mylar + Ps Cs6

DESCRIPTION: The Health Club was generated by the sites views, pro-gram, and construction logistics. The challange was to accomodate all necesscities of a health club into one very smallsite. These drawings speak the basic techniques of the architectural language, through plan and section, to communicate a machine for the citizen dwellers of Dumbo. It is important for the young architect to master the lan-guage through mechanical drawing early in their architec-tural education.

{Spacial Organization + Architectural Drawing}

{Envisioning a machine through the architectural language}

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comments

August. 2014

- SAW-{Selected Architectural Works}

Christian Luis Camacho

{The City College of New York}

{New York City College of Technology}

christian l. camacho - portfolio

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