STITCHING ARCHITECTURE

transcript

ARCHITECTUREITECTUREITECTURESTITCHINGINGSTITCHING

STITCHING ARCHITECTURETHIS COLLECTION OF WORK

EXPRESSES MY PASSION FOR

ARCHITECTURE. WHAT I LIKE

ABOUT ARCHITECTURE IS HOW

ONE IS ABLE TO BE INSPIRED

BY ANYTHING MEANINFUL IN

RELATION WITH THE CONSTRAINTS

AT HAND.

EAMEAM

ITECTUREING

SOCIOCULTURALASPECTS OF PLACE

SYSTEMS/EXPERIMENTATION

01 ARC[H]inge CHARLESTON,SC02 CREATIVE CORRIDOR CHARLESTON,SC

04 A KITCHEN ALIVE AIAS COMPETITION

03 PARADIGM SHIFT CLEMSON,SC

02 03 04

04 06 08

ENVIRONMENTAL PSHYC.

[ALGEA

GROUPMEMBERS

05 MODULAR INTERVENTION ASHEVILLE, SC 06 ROOTS_BREAKING THE NORM CLEMSON, SC

[BASKET

ARCH_872 MATERIALS + ASSEMBLY

ARCH_424 PRODUCT DESGIN

CENTENNIAL EXHIBITION: fabrication, graphic design

FULL_SCALE

PROTOTYPING

ARC[H]inge: RECONNECTING THE PUBLIC REALM WITH THE WATER

CLEMSON UNIVERSITY FALL _ 2012PUBLIC VENUE, CHARLESTON SC

EDGAR MOZO LANSIN DODD

ARC[H]INGE EDGAR MOZO

VIEWING CORRIDORS

MACRO:

VIEWING CORRIDORS

MICRO:

In order to forge an even stronger bond between the city

of Charleston and the environment which surrounds it,

a series of piers dissolve into the ocean, extending the

urban grid from the peninsula. These pathways from the

circulation pattern from Market street to the piers, which

interwine through level changes, allowing for interaction

with the marsh as well as panoramic views from specific

moments through out the piers.

VIEWING CORRIDORS

MOMENTS RELEASE / COMPRESS

COLUMN WALLS

CENTRAL BEAM

WOOD DECKING IS PARALLEL TO THE STREET, FORGING AN AXIAL RELATIONSHIP TO THE CITY

2.5’ 5’0’

�0’5’2.5’0’

2.5’ 5’0’

CREATIVE CORRIDOR:GENERATING A CREATIVE HUB FOR LIKE-MINDED PEOPLE

CLEMSON UNIVERSITY FALL _ 2012MULTIPURPOSE SPACE, CHARLESTON SC

EDGAR MOZO DIANE ROSH

CHARLESTON URBAN FABRIC

ALLEYS

BRIDGES

PRIVATE/PUBLIC COURTYARDS

COLONNADES

CASE STUDIES: CREATIVE SPACESPIXAR ANIMATION STUDIOS + FOWLER ARTS COLLECTIVES + ENVIRONMENTAL PSYCHOLOGY

CREATIVE SPACES HAVE = OPEN CIRCULATION + SPATIAL HIERARCHY + LIGHT + VISTAS + OPEN STUDIOS ARE = POROSE + MALLEABLE + OPEN !

CREATIVE CORRIDOR EDGAR MOZO

The creative corridor is an extension of a future develop-

ment by a couple of entrepreneurs that see the possibili-

ties of developing the connection between Downtown

Charleston and North Charleston. The site will act as a

creative hub for like-minded people. From Scientist to lo-

cal artist, the design hopes to help the inhabitants have

a close connection to one another in order to generate

moments of true inspiration within each field. n oramic

HISTORIC BUILDING ORIENTATION

NEIGHBOR BUILDING ORIENTATION

STUDIO/RESIDENTIALMULTIPURPOSECOMMERCIAL

CREATIVE CORRIDOR EDGAR MOZO

PREFAB-UNIT: 42’X 21’

PARADIGM SHIFT EDGAR MOZO

E X C E S S B I O M A S S D I N N I N G H A L L S

C U R R E N T A P P R O A C H

P R O P O S E D A P P R O A C H

U LT I M AT E G O A L

C O 2 :

A L G A E

B I O M A S S F R O M D I N I N G H A L L S

B Y- P R O D U C T : O I L

CLEMSON UNIVERSITY SPRING _ 2013INFRASTRUCTURE, CLEMSON SC

EDGAR MOZO JONATHAN SHAFFER ARIF JAVED

PARADIGM SHIFT:A SHIFT IN THE TRANSPORTATION PARADIGM

E X C E S S B I O M A S S D I N N I N G H A L L S

C U R R E N T A P P R O A C H

P R O P O S E D A P P R O A C H

U LT I M AT E G O A L

C O 2 :

A L G A E

B I O M A S S F R O M D I N I N G H A L L S

B Y- P R O D U C T : O I L

PARADIGM SHIFT EDGAR MOZOPARADIGM SHIFT EDGAR MOZO

EDGAR MOZO NICK TAFFEL DAVID HERRERO JOEL POMENVILLE

A KITCHEN A LIVE:MODULAR KITCHEN THAT IS FLEXIBLE THROUGH THE AGES

7.5” MODULE ALLOWS FOR FLEXIBLECONFIGURATION

36” 30”

6” GAP ALLOWS COUNTER TO BE 36” or 30” WALL SECTIONELEVATION

ELECTRICAL OUTLET SYST.

TYP. FRAME WALLMODULAR WALL SYST.

MOUNTING BOLTS

Elderly

Couple

Middle

Couple

Accesibility

More Space

Counters

Cabinet

Cost E

average height male5�-9 1/2�

Elevation B1/2�=1�

Our goal as designers in this competition was to provide

a kitchen design that can grow and change in a flexible

manner with our clients. Instead of trying to design one

kitchen that could fit all of this, we thought that it would

be better if our kitchen could move and live with the resi-

dents. designing a kitchen with a modular system that

could accomodate a family that wanted to live in a house

for many years.

Elevation B1/2�=1�

average height male5�-7�

CLEMSON UNIVERSITY SPRING _ 2013ALL IN THE SPECTRUM, CLEMSON SC

EDGAR MOZO

MODULAR INTERVENTION:

MODULAR KITCHEN THAT IS FLEXIBLE THROUGH THE AGES

S7VEN SENSES

HEARING

EQUILIBRIUM

INTUITION

S T I M U L A T I O N

NEUROTYPICAL

PERSON WITH AUTISM

INTUITION

HEARING

EQUILIBRIUM

A M B I E N T B O X

M U T E B U B B L E

VARIABLES

MODULAR INTERVENTION EDGAR MOZO

CLEMSON UNIVERSITY SPRING _ 2013ALL IN THE SPECTRUM, CLEMSON SC

EDGAR MOZO

MODULAR INTERVENTION:

MODULAR KITCHEN THAT IS FLEXIBLE THROUGH THE AGES

S7VEN SENSES

HEARING

EQUILIBRIUM

INTUITION

S T I M U L A T I O N

NEUROTYPICAL

PERSON WITH AUTISM

INTUITION

HEARING

EQUILIBRIUM

A M B I E N T B O X

M U T E B U B B L E

VARIABLES

human scale MUTE BUBBLE + AMBIENT BOX

MUTE BUBBLE

1/4 H 1’

5.7' 3.7'5'555 '4.3434.3 3757 555 43 '4357 5'557 'AGE = 59

= HEIGHT

ACOUSTICS MUTE BUBBLE

THE SPHERICAL SHAPE OF A A SPACE

human scale MUTE BUBBLE + AMBIENT BOX

MUTE BUBBLE

1/4 H 1’

5.7' 3.7'5'555 '4.3434.3 3757 555 43 '4357 5'557 'AGE = 59

= HEIGHT

ACOUSTICS MUTE BUBBLE

THE SPHERICAL SHAPE OF A A SPACE

MODULAR INTERVENTION EDGAR MOZOMODULAR INTERVANTION EDGAR

locatio n NEW YORK, NY

POPULATION - 8,244,910location Asheville, NC

POPULATION - 84,458

locatio n NEW YORK, NY

POPULATION - 8,244,910location Asheville, NC

POPULATION - 84,458

LOCATION: CLEMSON UNIVERSITY CLEMSON, SC 34 40’ 32.92” N 82 50’ 30.08 W

ROOTS_BREAKING THE NORM:

REDESIGNING A SANCTUARY FOR A NON_DENOMINATIONAL CHURCH

CLEMSON UNIVERSITY FALL _ 2013

EDGAR MOZO

URBAN/SUBURBAN/RURAL CAMPUSCLEMSON UNIVERSITY

POPULATION [2013] : 22,413

URBAN/SUBURBAN/RURAL CAMPUSCLEMSON , SC

POPULATION [2012] : 14,089

ORIENTAION AND SITE ANALYSIS:

SENECA

GREENVILLE

RADIAL CAMUS LAYOUT

Area: 7.915 sq

CENTRAL

: summer

: winter

: north_east prevailing winds

GEOMETRY STUDIES FROM ADJECENCIES _programatic constrains _site study_exterior circulation _ landscape

: roads/traffic

_shortleaf pine _eastern white pine

ROOTS EDGAR MOZO

THEORETICAL BIAS

CONCEPT:

THE DESIGN FOR THE NON-DENOMINATIONAL CHURCH ORIGINATED FROM

A DETAIL STUDY OF THE SITE, AND WAS THAN DEVELOPED BY A SERIES OF

STUDIES: PROGRAM, DAYLIGHTING, NATURAL VENTILATION, CIRCULATION,

ETC... THE DRIVEN FACTOR FOR THE DESIGN WAS DOMINATED BY THE WAY IN

WHICH THE TALL SLENDER TREES MEET THE SLOPED GROUND ON THE SITE. DUE

TO THE SLOPE OF THE SITE , THE ROOTS ALTER THE SLOPE AND CREATE THEIR

OWN PLANE NOT ONLY PHYSICALLY BUT VISUALLY AS WELL BY THE CONTRAST

CREATED BETWEEN THE BRIGHT GREEN GRASS AND THE BROWN LAYER OF DEAD

NEEDLE LEAFS.

“”

POROUSE TO LIGHT

ROOTS EDGAR MOZO

FRAMING PLANS

ARCHITECTURAL PLANS

sanctuarysanctuary

prefunction

FELLOWSHIPOFFICEBATHROOMS

1/8” = 1’ - 0”

FOUNDATION

0-0’ FLOOR

FOUNDATION

0-0’ FLOOR

A 0 2’ 4’

WALL SECTION 1/2” = 1’ - 0”

ROOTS EDGAR MOZO

NORTH ELEVATION

NESTED COURT YARD : This exterior court yard aids the nesting experience found in deep roots. Even though the two spaces are clearly define the ornamental staircase really

emphasizes and connects the court yard with the interior spaces

SOUTH ELEVATION

ROOTS EDGAR MOZO

CENTENNIAL EXHIBITION:ASSISTANSHIP POSITION FOR THE CENTENNIAL EXHIBITION INSTALLATION

CLEMSON UNIVERSITY JULY_2013 - SEPT_2013

FACULTY: NICK AULT, DANIEL HARDING

STUDENTS: EDGAR MOZO | ELLIS TAYLOR | RACHEL GAMBLE | LAUREN KENNER

CENTENNIAL EXHIBITION: graphic design

FULL_SCALE

CENTENNIAL EXHIBITION EDGAR MOZO

GRAPHIC DESIGN

_the task involved

analysing and studying

New York Time’s news

papers. In addition

the boards showcased

the creation and

recognitions achieved

by Clemson’s satelite

programs like Charleston,

Genova, Barcelona,

architecture+health and

influencial people like

Harvey Gantt and Harlan

McClure

CENTENNIAL EXHIBITION: fabrication

FULL_SCALE

PROJECTOR JIGS: fabricating two different jigs for two different projecting angles.

METAL WORK: Cutting, tapping/threading metal rods that support the tracks of LEDs. Drilling holes on steel plates for the arms to be bolted on the walls.

CENTENNIAL EXHIBITION EDGAR MOZO

ASSEMBLY: contributed in the assembly of two prototypes for the LEDs lighting support and the final assembly of the installation

PROTOTYPING

BASIC GEOMETRY THE SIMPLE GEOMETRY OF THE

PEN ROSE TESSELLATION IS MODIFIED TO ACHIEVE A

SPECIFIC AMOUNT OF LIGHT REQUIRE FOR THE PROGRAM

MATERIALS + ASSEMBLY:

ARCH_872CLEMSON UNIVERSITY FALL _ 2013

EDGAR MOZO

THE SIMPLE GEOMETRY OF THE PEN ROSE TESSELLATION IS

MODIFIED TO ACHIEVE A SPECIFIC AMOUNT OF LIGHT REQUIRE FOR THE PROGRAM

MATERIALS + ASSEMBLY EDGAR MOZO

PROTOTYPING PRODUCT DESIGN:

EDGAR MOZO

THE IDEA:

RESEARCH_The material use for the prototype will be pine wood, and the use of the table saw, band saw, chop saw and sanders are some of the tools that are going to be use in the process of creating the joinery and edges. The design should be open to other materials, types of wood,and wood stainer. For the joints I’m using the mortise and tenon in order to have a strong and clean seamless join.

the materials used are going to be wood and concrete. These two materials gives the tactile experience a rich-ness impossible to achieve with one material.

PRODUCT DESIGN EDGAR MOZO

DESIGN PROCESS: RESEARCH_ITERATIONS_PROTOTYPE

LLSTOL by Niko Klansek

PRECEDENTS

material contrast precedents

ITERATIONS_

SIMPLIFYING PROGRAM/FUNCTION?

MAKING DESIGN MORE ERGONOMIC UNDER FABRICATION CONSTRAINS?

AESTHETIC APPROACH TO A STRUC-TURAL INFILL?

1’ - 10”

18” 18”

32”LASER CUTTER BED*

2’ - 4”

PROTOTYPING PRODUCT DESIGN:

EDGAR MOZO

FABRICATION PROCESS:

PRODUCT DESIGN EDGAR MOZO

MATERIALS: _PINE PLYWOOD 4X4_CARDBOARD_CONTACT CEMENT

TOOLS: _LASER CUTTER_CNC ROUTER_CLAMPS

TOTAL COST:

$ 33.56

EAMmasque

ITECTUREING

ITECTUREINGEDGAR_ANTONIO_MOZO

emozo@g.clemson.edu 864_293_2844

STITCHING ARCHITECTURE

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