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Albert Orozco Masters of Architecture 2017 University of California, Berkeley Mario Ciampi Art in Architecture Award Chester Miller Fellowship Bachelor of Arts in Architecture 2012 Summa Cum Laude

2631 Missouri Ave, Southgate, CA, 90280 albert.orozco2@gmail.com 323.387.8784 https://albertorozco.co


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CONTENT A SLICE OF HOME (pg.1) Theoretical Architecture, Building Projects STATELESS (pg.1) Competitions, Narrow Interiors SCENES FROM A NOVELA (pg.1) Competitions, Latino Fairytales, Stage Designs MUSEUM ENAMEL (pg.1) Museum Additions DELTA PARAMS (pg.1) Material Intelligence, Responsive Architecture

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MAY 2017

A SLICE OF HOME THEORETICAL ARCHITECTURE & BUILDING PROJECTS

We are in an era where we no longer associate a home to what is closest or most familiar to us. When we think of a home we think about room sizes, comfortability, luxury, and an overall aesthetic of wealth. We can say that we have grown accustomed to a certain living standard and a certain size criteria in American homes. The McMansion, the giant and excessive single family home, is the clearest example of what I am trying to describe. We often see these homes designed and sold through a pristine lens, creating pictorial -gorgeous interiors, when in fact they are full of ugly errors (veneers covering assembly disconnections, the convoluted use of roof systems, material assembled in awkward ways, frames hot glued to the wall, and the list continues).  The McMansion is intriguing because of its size, dimension, ornamentation, and aesthetic to perpetuate a superficial thinness within these types of homes. “A Slice of Home” takes thin slices out of the McMansion to hyper-expose these superficial aesthetic elements. These thin elements include wainscoting, window frames, moldings, columns, floor & wall tiles, railings, and especially wallpaper that contributes to an overall deception of these McMansion interiors. I included details such as a kitchen table, books, paintings, a bed, a toilet, a couch, and a kitchen as part of the design process to familiarize the design to that of a home. The details in the images give a sense of place to these thin buildings, while the perspective exaggerates and expose the stage sets of these interior images.  These depictions are deceptively thin. Lastly, these images use traces of people as their presence is in their absence. The sense of absence is also brought into the depiction of site (the window), as home and site are not disconnected; they are complimentary as placement realities of this type of suburbia. “A Slice of Home” is an exposure of the general superficial thin aspects of this kind of living.

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Decor Home We are in an era where we no longer associate a home to what is closest or most familiar to us. When we think of a home we think about room sizes, comfortability, luxury, and an overall aesthetic of wealth. We can say that we have grown accustomed to a certain living standard and a certain size criteria in American homes. The McMansion, the giant and excessive single family home, is the clearest example of what I am trying to describe. We often see these homes designed and sold through a pristine lens, creating pictorial -gorgeous interiors, when in fact they are full of ugly errors (veneers covering assembly disconnections, the convoluted use of roof systems, material assembled in awkward ways, frames hot glued to the wall, and the list continues).  The McMansion is intriguing because of its size, dimension, ornamentation, and aesthetic to perpetuate a superficial thinness within these types of homes. “A Slice of Home” takes thin slices out of the McMansion to hyper-expose these superficial aesthetic elements. These thin elements include wainscoting, window frames, moldings, columns, floor & wall tiles, railings, and especially wallpaper that contributes to an overall deception of these McMansion interiors. I included details such as a kitchen table, books, paintings, a bed, a toilet, a couch, and a kitchen as part of the design process to familiarize the design to that of a home. The details in the images give a sense of place to these thin buildings, while the perspective exaggerates and expose the stage sets of these interior images.  These depictions are deceptively thin. Lastly, these images use traces of people as their presence is in their absence. The sense of absence is also brought into the depiction of site (the window), as home and site are not disconnected; they are complimentary as placement realities of this type of suburbia. “A Slice of Home” is an exposure of the general superficial thin aspects of this kind of living.

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25'-8 3/4"

bed

40'-7"

12'-8"

5'-8"

kitchen

5'-11 1/4"

stairs/hall

13'-7 1/2" bath

6'-1 1/4"

4'-7 3/4"

3'-0"

38'-11" hall

18'-6"

stairs/hall

2'-4 3/4"

4'-0"

dining

14'-1 1/4"

4'-5 3/4"

3'-8 1/4"

4'-4 1/4"

20'-8 1/4" stairs

living

13'-0 1/2"

2'-8 3/4"

2'-9"

15'-5 3/4"

foyer/entrance

5'- 11 1/4"

6'-2" first floor

6'-2" second floor

6'-2" third floor

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width

3'-0"

width

6'-2"

13 12'-3" second floor height

14'-3 1/4" first floor height

31'-9 3/4" height

10'-3" third floor height

17'-8 3/4" length

12'-5" height

12'-5" height

lenghth

55'-4 3/4"

55'-4 3/4" length

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Marble Home We are in an era where we no longer associate a home to what is closest or most familiar to us. When we think of a home we think about room sizes, comfortability, luxury, and an overall aesthetic of wealth. We can say that we have grown accustomed to a certain living standard and a certain size criteria in American homes. The McMansion, the giant and excessive single family home, is the clearest example of what I am trying to describe. We often see these homes designed and sold through a pristine lens, creating pictorial -gorgeous interiors, when in fact they are full of ugly errors (veneers covering assembly disconnections, the convoluted use of roof systems, material assembled in awkward ways, frames hot glued to the wall, and the list continues).  The McMansion is intriguing because of its size, dimension, ornamentation, and aesthetic to perpetuate a superficial thinness within these types of homes. “A Slice of Home” takes thin slices out of the McMansion to hyper-expose these superficial aesthetic elements. These thin elements include wainscoting, window frames, moldings, columns, floor & wall tiles, railings, and especially wallpaper that contributes to an overall deception of these McMansion interiors. I included details such as a kitchen table, books, paintings, a bed, a toilet, a couch, and a kitchen as part of the design process to familiarize the design to that of a home. The details in the images give a sense of place to these thin buildings, while the perspective exaggerates and expose the stage sets of these interior images.  These depictions are deceptively thin. Lastly, these images use traces of people as their presence is in their absence. The sense of absence is also brought into the depiction of site (the window), as home and site are not disconnected; they are complimentary as placement realities of this type of suburbia. “A Slice of Home” is an exposure of the general superficial thin aspects of this kind of living.

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hall stairs

24'-3"

2'-9 1/4"

hall/stairs

26'-0 3/4"

stairs

12'-6 1/2"

4'-2 1/4"

hall

7'-2 3/4"

2'-7 1/2"

3'-6 1/2"

11'-5"

bath

12'-9 1/4"

study bed

bath

3'-9 1/2"

10'-3 3/4"

1'-10 1/2"

kitchen

9'-10 3/4"

1'-7 1/2"

14'-7 3/4"

4'-0 1/4"

1'-6 1/2"

bed

4'-2 3/4"

11'-10 1/2"

2'-3 3/4"

dining

7'-8 3/4"

3'-8"

3'-0"

4'-4 3/4"

bed

14'-7 1/2"

Living

15'-1 1/2"

1'-11 1/4"

10'-0"

3'-0 1/4"

entrance

4'-6"

4'-5" first floor 4'-5" second floor

4'-10" third floor

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8'-2 1/4" first floor height

28'-1" height

2'-6" width

4'-6 1/4"

width

19 11'-9 1/2" second floor height

22'-10" third floor height

lenght

68'-9 1/4"

lenghth

28'-0 3/4"

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Plaster Home We are in an era where we no longer associate a home to what is closest or most familiar to us. When we think of a home we think about room sizes, comfortability, luxury, and an overall aesthetic of wealth. We can say that we have grown accustomed to a certain living standard and a certain size criteria in American homes. The McMansion, the giant and excessive single family home, is the clearest example of what I am trying to describe. We often see these homes designed and sold through a pristine lens, creating pictorial -gorgeous interiors, when in fact they are full of ugly errors (veneers covering assembly disconnections, the convoluted use of roof systems, material assembled in awkward ways, frames hot glued to the wall, and the list continues).  The McMansion is intriguing because of its size, dimension, ornamentation, and aesthetic to perpetuate a superficial thinness within these types of homes. “A Slice of Home” takes thin slices out of the McMansion to hyper-expose these superficial aesthetic elements. These thin elements include wainscoting, window frames, moldings, columns, floor & wall tiles, railings, and especially wallpaper that contributes to an overall deception of these McMansion interiors. I included details such as a kitchen table, books, paintings, a bed, a toilet, a couch, and a kitchen as part of the design process to familiarize the design to that of a home. The details in the images give a sense of place to these thin buildings, while the perspective exaggerates and expose the stage sets of these interior images.  These depictions are deceptively thin. Lastly, these images use traces of people as their presence is in their absence. The sense of absence is also brought into the depiction of site (the window), as home and site are not disconnected; they are complimentary as placement realities of this type of suburbia. “A Slice of Home” is an exposure of the general superficial thin aspects of this kind of living.

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9'-10 1/2"

bath hall

2'-0 3/4"

bed

8'-8 1/4"

2'-9 1/2"

18'-7 3/4"

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2'-0 1/2"

2'-11 3/4"

entrance

7'-3 3/4"

study/dining

1'-3 1/4" 1'-8"

1'-11"

2'-4 1/2"

2'-5"

3'-0 1/2"

2'-1 3/4"

stairs

9'-9 3/4"

1'-10"

3'-0" first floor 3'-0" second floor

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13'-0" height

2.38 width

3'-5 1/2"

width

27 7.55 first floor height

8.34

ceiling height

10.25

37'-9 3/4" lenght

6.91 lenghth

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Travertine Home We are in an era where we no longer associate a home to what is closest or most familiar to us. When we think of a home we think about room sizes, comfortability, luxury, and an overall aesthetic of wealth. We can say that we have grown accustomed to a certain living standard and a certain size criteria in American homes. The McMansion, the giant and excessive single family home, is the clearest example of what I am trying to describe. We often see these homes designed and sold through a pristine lens, creating pictorial -gorgeous interiors, when in fact they are full of ugly errors (veneers covering assembly disconnections, the convoluted use of roof systems, material assembled in awkward ways, frames hot glued to the wall, and the list continues).  The McMansion is intriguing because of its size, dimension, ornamentation, and aesthetic to perpetuate a superficial thinness within these types of homes. “A Slice of Home” takes thin slices out of the McMansion to hyper-expose these superficial aesthetic elements. These thin elements include wainscoting, window frames, moldings, columns, floor & wall tiles, railings, and especially wallpaper that contributes to an overall deception of these McMansion interiors. I included details such as a kitchen table, books, paintings, a bed, a toilet, a couch, and a kitchen as part of the design process to familiarize the design to that of a home. The details in the images give a sense of place to these thin buildings, while the perspective exaggerates and expose the stage sets of these interior images.  These depictions are deceptively thin. Lastly, these images use traces of people as their presence is in their absence. The sense of absence is also brought into the depiction of site (the window), as home and site are not disconnected; they are complimentary as placement realities of this type of suburbia. “A Slice of Home” is an exposure of the general superficial thin aspects of this kind of living.

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5'-2 1/2" kitchen

5'-5 1/4" side entrance

14'-8 1/4" bed

2'-11 1/2" hall

7'-5 1/4" dining

10'-8 3/4" bath

15'-11 1/2" stairs

first floor 4'-9"

second floor 4'-9"

32 8'-9" stairs

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10'-5 3/4" first floor height

height

28'-10 1/2"

width 3'-2"

4'-9"

width

33 16'-3 3/4" second floor height

lenght

20'-5 3/4"

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1'-9 3/4"


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SEPTEMBER 2017

STATELESS

COMPETITIONS, SMALL INTERIORS PROJECT TEAM: EDWIN O’BRIEN & ZIANG AO

Floating can be described as an object that hovers above water, yet it is also a state of being that pushes the threshold between ground and water. Houses on stilts, boat homes, over-water bungalows - we are inspired by colloquial approaches to the “floating room”. This project “Stateless” - pushes the notion of floating as a series of objects on the lake. Here, floating is understood as a suspension between simultaneous states: interior and exterior, ground and water, building and boat, etc.  Rather than floating a room as a boat, our project straddles the idea of flotation as a building that appears to hover above the surface of the lake, yet is firmly grounded in the lake’s bed.   Our design is situated on Lago Maggiore, floating just beyond the city’s reach.  Visitors might glimpse the object from afar, but may only reach it by boat.  It is an adventure or ritual designed to paint a small, mysterious character into the mountain scene.  Sea-borne visitors approach the object, a series of scale-less arches, a translucent fiberglass surface, backed by warm wooden panels - it glows slightly, reflecting on the water.  They notice the gap below the arches, the building seems to levitate, just above the water. We enter through the arches.  The room is enclosed, yet completely open to the water.  Almost a building, and nearly a boat.  The floor is offset from the primary structure, creating a space with water on all sides.  The slats of the floor are spaced for resting visitors to hear the water below.  The front of the building is open, pointing to the mountains, allowing air and water in.  The foyer changes to a pebble slope, inviting visitors to descend into the middle of the lake, to float in the picturesque scenery.

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JANUARY 2018

SCENES FROM A NOVELA COMPETITONS, LATINO FAIRYTALES, STAGE DESIGN

A novela or soap opera is narrated by a filter, a person who chooses what stories to use, how to showcase those stories, what parts to leave out, what perspectives to center, and most importantly how to create drama within these stories. “Scenes from a Novela,” is a fiction-reality. It is the story of my uncle Jorge and his life after his immigration to Los Angeles in the 1960’s. When I first heard the story from my uncle’s perspective, it was filled with sorrow and happiness. However, my grandmother’s side of the story was always full of anguish, excitement, and drama. These stories are pieced from a first, second, third, and even fourth person in order to highlight the cacophony of voices that make up the story. This is how I choose to tell his story, a real novela for today’s time.

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LIVE: The US-Mexico Border Jorge was born on September 5, 1950 in Guerrero, Mexico. He was born in a time when the United States contracted Mexican farm workers to work in the U.S. through the Bracero Program. Although the program was terminated in 1964, the migration from Mexico to the U.S. continued to appeal to many generations of Mexicans since there were more economic opportunities for them in the U.S. than in Mexico. On August 24, 1967 Jorge leaves Mexico

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Scene 1: Explosion in the Gas Station Characters: Jorge (Main character) & Adrian (Stranger) Camera angle: Top left, 120 feet above the left platform. Voiceover/Non-Diegetic Music: Aunque no sea conmigo (Even if it’s not with me) by Celso Peña ft. Cafe Tacuba. Action: [After seventeen year old Jorge arrives to South Central, Los Angeles from Mexico, he has to live outside a gas station for eight months as a homeless man. It is November 18, 1967 and he encounters Adrian, a stranger walking down a street on a sunny, bright day]. Jorge: [coughs] Excuse me Sir… Adrian: [grunts] Jorge: Sir, can you please help me? Adrian: [whispers while walking] What? Jorge: I can’t seem to find the street Slauson. Is it nearby? Adrian: It’s close if you drive, but far if you walk. It’s that direction. [points north of the stage] Jorge: Thank you very much sir, I am trying to find a person my Ma told me about. Would you want to buy this pendant? It’s very expensive. Adrian: No thank you. [hurries out] Jorge: Please sir, I have no money to take the bus, I’m homeless, please help me out! Adrian: I said NO, please… [a loud explosion happens nearby] Jorge: What was that!? Adrian: Oh my god, the gas station is in flames! Jorge: [screams] What! No! Adrian: [whispers to himself] Oh my god... Jorge: [runs toward the gas station screaming] My backpack! My clothes! My Stuff! I live outside the gas station! [Cops, ambulances, fire-trucks, and cars show up at the scene] ***End of Scene 1***

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Scene 2: Nereids in the Factory Characters: Jorge (Main Character), Rosa (Work colleague), & Maria (Work colleague). Camera angle: Right side at Eye Level, 25 feet from the stage. Voiceover/Non-Diegetic Music: Nereidas (Nereid) by Acerina y Su Danzonera Action: [A few years later Jorge finds a job at a factory making jackets for a small company. It is September 5, 1971, he is happy, sewing a jacket, and looks out a window. Rosa and Maria come in giggling in Jorge’s direction]. Rosa: [shyly] Hi Jorge? Maria: [giggling] Hey Jorge… Jorge: [frowns] What happen? Maria: Oh Jorge! You’re always so serious. We just came to chat. Jorge: I have a lot of work. Maria: [takes the gold fabric from Jorge’s hand] Wow that a pretty fabric, what are you sewing with it. Jorge: [angrily] I have a lot of work! Maria: Oh come on! So, Rosa and I were wondering about those flowers you have there. Rosa: [giggles] Jorge: [annoyed] I have a lot of work girls. Maria: Just answer the question. Jorge: Esteban, our boss gave them to me. It’s my birthday. Maria: Oh my god! Happy Birthday! [hugs Jorge] Rosa: [giggling] Happy Birthday. [touches Jorge on the arm] Jorge: Thank you. I have to finish this Jacket today and I’m behind. Maria: Let’s go out for drinks after work! Rosa: [screams] Yes! Jorge: I can’t, I have to get to my next job after work. Maria: [frowning] You can’t skip it? Jorge: [face turns red] Rosa: We should go Maria. Maria: Oh Alright, but I’m taking your coke! [snatches the soda bottle] Maria: Bye Jorge. Happy Birthday. Rosa: [sighs] Happy Birthday Jorge. [Jorge continues to sew while more people come to congratulate him] ***End of Scene 2***

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Scene 3: The Wake in Construction Characters: Jorge (Main character), Ms. Elva (Flower vendor), Sara (Rosa’s mom) Camera angle: Center, 75 feet above the main entrance. Voiceover/Non-Diegetic Music: La Huella de Mis Besos (The Footprint of My Kisses) by Chelo Silva. Action: [It is the evening of June 21, 1981, the air is still, the sun fiery-bright, and the world seems too big for Jorge. He has fallen in love and is walking over to where his date lives. On his way to see her, he stops in front of a church. Jorge is a religious man, but he is not there to see the church. He stops to buy flowers from an old woman, Ms. Elva, standing in front of the church]. Jorge: Hi, Ms. Elva. How are you today? Ms. Elva: Hi Jorge, you’re happy today. Jorge: [blushes] I want to buy a bouquet of flowers. Ms. Elva: [delightfully] Oh. Who’s the lucky lady? Jorge: [blushes] Ms Elva: Well I don’t have any bouquets today. I only have funeral arrangements right now. [Jorge looks directly in front of the church. He could smell the incense coming from inside the church and the mourning of wives, husbands, mothers, fathers, children and family]. Jorge: Is there a funeral? Ms. Elva: Yes, that is why I am out here selling these arrangements. Jorge: I feel sorry for everyone in there. Ms. Elva: Now, now, take this single rose. [hands Jorge a rose and says with a flirtatious voice] A single flower says more, it’s romantic. It’s more intimate. On the house! Jorge: Wow, thanks Miss Elva! You made my day! Have a good evening! Ms. Elva: [Waves] Bye Jorge. [As he approaches to see his loved one, he feels a sense of fright, but a bit of fret as well. Like fruit-flies flying in his stomach; like all eyes were on him. He knocks with his key on the grey fence and waits. He knocks again and waits. No answer. As he is ready to walk away, he hears the door cringe and open. From far away, a crying woman steps out and approaches Jorge. Her eyes were as fiery-bright as the evening sun and her voice sounds like an untuned organ.] Sara: [crying] Jo...Jor...Jorge...… Jorge: What’s wrong!? Sara: [murmurs] Jor...Jorge...Rosa passed, she’s dead, she’s gone! [Sara runs back in the house.]

***End of Scene 3***

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Scene 4: A Caged Home Characters: Jorge (Main character) & Sofia (Jorge’s mom) Camera angle: Left side, 30 feet from the stage, 10 feet above

eye level. Voiceover/Non-Diegetic Music: Sin Pensar en tí (Without think-

ing about you) by Celio Gonzales. Action: [It’s December 22, 2017, Jorge has permanently brought

his mother from Mexico and they are both sitting at his house watching television. Jorge gets up to change the channel.] Sofia: Son, put channel 34. The news is about to start. Jorge: [angrily] Why do you always want to watch the news! Sofia: [in a loud voice] How else are we supposed to know when bad things are happening? Jorge: Mom! We have two doors that are always locked, a gate outside, and I only go to work and the grocery store! How is anything bad going to happen? You don’t even get out the house! Sofia: [frowns] Jorge: I’m sorry Ma. I’m just tired, I’ve been living in Los Angeles for forty-eight years and have not stepped out at all. Maybe we should move somewhere else? Sofia: [confused] Move? Where? To Mexico? We are not going back there! Jorge: No Ma, somewhere in the states. Sofia: [mad] I am not moving from here! No sir, I am not! Visit somewhere! Jorge: [pensive] And who’s going to take care of you? Sofia: Martha! Jorge: [screaming] Martha can’t even crack an egg! Yet alone cook it! Sofia: [sigh] Jorge: [sigh]

[Jorge turns back to the television and changes the channel to the news.] ***End of Scene 4***

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MAY 2016

MUSEUM ENAMEL MUSEUM ADDITIONS

The African American Museum & Library (AAMLO) in Oakland, California currently features African American art, periodicals, and an extensive collection of historical books. The satirical analogy is seen in the current building typology, a carnegie library, which hosts all these African American artifacts.  This beaux-arts beauty is a painful misinterpretation of what the library currently hordes. Museum Enamel is a museum addition that introduces a new face to the current AAMLO.  It introduces new programs: a sculpture garden, a daylight gallery, cafe, and a reading area that wraps the current building facade.  A light weight structure made out of wood and ETFE wraps the existing exterior structure and burrows into the core of the building; embellish the old and the new with daylight. The new program introduces contemporary program to continue a new legacy of art and literature into the space. This museum addition essentially flirts between the old and new, keeping it carnegie characteristics at some points and letting this immersive-lightweight parasite reveal itself throughout the existing building. 

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2

12

2 1

3

3 4

5

4

12

1

9

5

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10

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10

10 7

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8 6

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11

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6

First FloorFirst PlanFloor : 3/32” Plan = 1’: 3/32” 0” = 1’- 0”

Second Floor Second PlanFloor : 3/32” Plan = 1’: 3/32” 0” = 1’- 0”

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First Floor Plan 13

1. Entrance 2. Lobby 3. Shop Entrance 4. Audio Room Lobby 5. Outdoor Sculpure Gar Shop 6. Administration Audio Room 7. Coat Room Outdoor Sculpure Garden 8. Restrooms Administration Coat Room Restrooms

First Floor Plan

13 14 14

5

1. 2. 3. 4. 5. 6. 7. 8.

5

Second Floor Plan Second Floor Plan 9. 10. 11. 12.

Daylight Gallery Gallery Auditorium Reception Area

9. 10. 11. 12.

Daylight Gallery Gallery Auditorium Reception Area

Third Floor Plan Third Floor Plan 13. Library 14. Cafe

Third Floor Plan : 3/32” = 1’- 0” Third Floor Plan : 3/32” = 1’- 0”

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8

5

6

4

3

6

2

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8 Cross Section : 1/8” = 1’- 0”

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1. Lobby 2. Sculpture Garden 3. Audio Room 4. Shop 5. Daylight Gallery 6. Gallery 7. Library 8. Cafe

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Foundation detail: Section View

Foundation detail: Plan View

Roof Detail: Section View

ETFE Detail: Plan View

Over cast sky Decem

Wall Detail: Section View

Alternate Detail: Plan View

Wall Detail: Section View

Alternate Detail: Plan View

Clear Sky w/ Sun Dec

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il: Plan View

an View

Over cast sky December 22, 2015

Plan View

Plan View Clear Sky w/ Sun June 22, 2015

Clear Sky w/ Sun December 22, 2015

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DECEMBER 2011

DELTA PARAMS

MATERIAL INTELLIGENCE, RESPONSIVE ARCHITECTURE

The African American Museum & Library (AAMLO) in Oakland, California currently features African American art, periodicals, and an extensive collection of historical books. The satirical analogy is seen in the current building typology, a carnegie library, which hosts all these African American artifacts.  This beaux-arts beauty is a painful misinterpretation of what the library currently hordes. Museum Enamel is a museum addition that introduces a new face to the current AAMLO.  It introduces new programs: a sculpture garden, a daylight gallery, cafe, and a reading area that wraps the current building facade.  A light weight structure made out of wood and ETFE wraps the existing exterior structure and burrows into the core of the building; embellish the old and the new with daylight. The new program introduces contemporary program to continue a new legacy of art and literature into the space. This museum addition essentially flirts between the old and new, keeping it carnegie characteristics at some points and letting this immersive-lightweight parasite reveal itself throughout the existing building. 

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4

4

3

3 0,5”

2

4”

2

1

1

A2

B2

B1

A1 4 1/4"

FLAT CONDITION

CONNECTION PT 1

CONNECTION PT 2

CONNECTION PT 3

P

P

P

P

40°

58° L

L

23

58

A’

A

R4

L

R1

152 78

L B’

A’

B

A

55

R4

L

R1

161° 52

L B’

A’

B

A

distA-B distL1-R1 distL4-R4

68

P

29°

35° 26

CONNECTION PT 4

28

53

R4

L

R1

163° 45

L B’

B

22° 29

166 37

L

R1

54

A’

A

R4

L

B’

A’

B

A

29

R4

53

169° 28

R1 B’

B


albertorozco.co

ZmaxL4-R4 = 7 ZmaxL1-R1 = 20

33 52 33

31 29

28

78

CONNECTION PT 1

52 45

ZmaxL4-R4 = 7

37

ZmaxL1-R1 = 21

28

31 45

CONNECTION PT 2 ZmaxL4-R4 = 7 ZmaxL1-R1 = 23

29 37

CONNECTION PT 3 ZmaxL4-R4 = 7 ZmaxL1-R1 = 24

28 28

CONNECTION PT 4

69


A Slice of Home

1.5"

1.5”

1.5"

1.5"

1.5"

2.30"

2.30"

2"

1.125”

.625”

2.25"

9.5"

4 1/4"

4.25”

4.25”

7

A-B d 5

1

16.

20.

25

1

4

16.

d

3

20.

d

2

d

25

90

147

15

26

COMPONENT ROW POROSITY

COMPONENT WATERPROOFING

VENTILATION

70

WATERPROOFING NEEDED


albertorozco.co

3.25"

3.25"

1.4

1.5

10"

17 CONNECTION PT 1 d = 241 15 CONNECTION PT 2

d = 167

d = 523

16 CONNECTION PT 3

14 CONNECTION PT 4

d = 838

71


A Slice of Home

72


albertorozco.co

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A Slice of Home

Position 3

20 < 0

Position 1

80 < 20

Position 2

80>0

74


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75


A Slice of Home

76


albertorozco.co

77


A Slice of Home

78


albertorozco.co

79


A Slice of Home

80


albertorozco.co

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A Slice of Home

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albertorozco.co

Albert Orozco Masters of Architecture 2017 University of California, Berkeley Mario Ciampi Art in Architecture Award Chester Miller Fellowship Bachelor of Arts in Architecture 2012 Summa Cum Laude

2631 Missouri Ave, Southgate, CA, 90280 albert.orozco2@gmail.com 323.387.8784 https://albertorozco.co 83


A Slice of Home

Albert Orozco

2631 Missouri Ave, Southgate, CA, 90280 albert.orozco2@gmail.com 323.387.8784

84

https://albertorozco.co

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