Alejandra Mateus | USF SACD | Undergraduate Portfolio 2022

ALEJANDRA MATEUS UNDERGRADUATE PORTFOLIO | SPRING 2022 USF SCHOOL OF ARCHITECTURE AND COMMUNITY DESIGN

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TABLE OF CONTENTS

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KIT OF ELEMENTS

01 PG. 14 - 27

MOVEMENT IN A FIELD

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PG. 28 - 33

THE LIGHT BOX

03 PG. 34 - 41

SPEED ANALYSIS

04 PG. 42 - 53

LE PETIT CABANON

05 PG. 54 - 61

THE WALL

06 PG. 62 - 65

SUPPLEMENTAL WORK

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01 KIT OF ELEMENTS

INTRO. TO DESIGN 1 | PROFESSOR MAISEY RAWE | SPRING 2021

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As a learning exploration of the fundamentals, and introduction to space making, the project was approached by abstracting the process of burial and planting to embrace a dichotomy between death and life. These two processes may be undistinguishable at first glance, but the objective of this concept is to illustrate hope amid darkness, by analyzing interactions between planes, masses, and volumes, to understand the spatial qualities of a seed that has been planted and is growing.

The datum drawings are derived from the final nested model to illustrate, and further exhibit the central organization between orthogonal planes and masses, while emphasizing hierarchy between the spatial volumes located in the model.

FINAL NESTED MODEL

Model Depicting Central Organization 6

Datum Drawing of Final Nested Model 7

Continuation of Final Nested Model

Small spaces typify challenges, medium spaces represent perseverance, and open spaces indicate growth. Here, the concept graphic attempts to explore the interaction between spaces. Conceptually, like a seed growing, it was designed so that the closer to the center, the seed, the more compressed that the spaces become, and as the viewer’s eyes follow the linear elements, spatial qualities open and expand.

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Concept Graphic | The Root System 9

FINAL MODEL

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It is this contrast between expansion and compression, that as they interact, tension engulfs the heart of the final model, and creates moments that demand liberation from the weight of darkness. Encouraging the system of linear elements to penetrate through masses and planes that envelope space, so that breakthrough may take place.

Thus, the final model is a representation of conceptual analysis exploring the nature of order, through the lens of personal growth amid grieve, obstacles, and solitude.

Moments Located in the Heart of the Model

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Moments Depicting Linear Elements

These moments in the final model show two different types of linear elements.

The thin linear elements are mostly limited to the inside of the model, while the wider ones branch from the center of the model and extend to the open spaces. Designed this way to indicate that growth comes from persevering.

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Final Axonometric Drawing 13

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02 MOVEMENT IN A FIELD

INTRO. TO DESIGN 1 | PROFESSOR MAISEY RAWE | SPRING 2021

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IDENTITY & LIES THE NARRATIVE

Tell me what you are looking for Could you own the lies?

You can’t keep suspicion in disguise The truth is right in front of you You are holding onto identity But is there a memory of who you really are?

A memory of what you have done?

Tell me what you are looking for Yes, they have lied to you But most importantly You have lied to yourself Could you own the lies?

You can’t trust them You can’t trust yourself Look around You can’t keep suspicion in disguise Now, there is more of them There is less of you Was it on purpose?

The truth is right in front of you

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Concept Graphic 17

FIRST MODEL

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Deriving from the 2000 film “Memento”, a conceptual analysis began by interpreting the movie through a narrative and concept graphic. The dichotomy between identity and lies was extracted to communicate the pathological and emotional elements experienced by the main character, Leonard, who suffers from memory loss and desires to avenge his murdered wife. In the concept graphic, the compressed and overlapping smaller planes resemble the morse code to indicate his attempts to communicate with himself so that he may remember. Yet, he is physically unable to. Thus, the mass for the first model represents the right side of the brain that controls memory and problem-solving skills, while the intervention piece derives from the dichotomy.

Here, the large scale represents identity, and the small scale represents lies. Together, the struggle of having the lies intertwine with his identity cause scoring on the mass.

Model Sketches

Intervention Piece

Mass 19

Section Analysis 20

PROCESS MODEL The objective of the process model is to further analyze how different spatial volumes interact with one another, while maintaining the same language. In this case, the model’s intent is to represent a system of decision-making, keeping three distinct spatial elements reacting with the mass and each another.

Creating a section analysis that illustrates Leonard’s daily journey of remembering, but always ends in forgetting. The blue tone was given because, as interpreted from the movie, the source of his anger is grief.

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FINAL MODEL

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Following the spatial analogue of decision-making, the final model embraces an enhanced contrast between the large, small, and medium interventions. After thoroughly analyzing the concept, the large intervention is set to represent the mind, the small intervention represents the emotional elements, and the medium intervention represents the pathological elements. One would think that Leonard’s inability to remember is what causes most of the conflicts, but the

Large Intervention Close Up

Small Intervention Close Up

Medium Intervention Close Up

heart of the issue emerges from the emotional-based decisions.

Hence, the small intervention piece is in the center of the model, and the mind is the focal point. Furthermore, just as the nervous cells communicate to one another and to the rest of the body, the linear elements of the model serve as axons encouraging movement throughout the model. Showing that although they are spatially different, they share the same language of complexity.

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Every interaction piece has a moment of tension, causing central focal points within each piece. These focal points make the intervention pieces seem less permeable, but the linear elements act as transitions between the weaving of these spaces. Ergo, achieving harmony throughout the model.

Close Up Photos of Interventions 24

Exploded Axonometric of Final Model 25

As a back-up to represent the system of the final model, the final model section analysis enhances the focal points that have been assigned to moments of tension within the interaction pieces. Also using blue to represent grief’s impact on thought process and actions.

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Final Model Section Analysis 27

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03 THE LIGHT BOX

INTRO. TO DESIGN 1 | PROFESSOR MAISEY RAWE | SPRING 2021

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FINAL MODEL

Perspective of Final Model

T h i s m o d e l m a ke s u s e o f a p ro g ra m and light manipulation, in which t h e g ro u n d a c t s a s a n e n t ra n ce i n t o t h e f o c a l s p a ce. Co n ce p t u a l l y, t h e s p a ce f r o m w h i c h t h e b l u e l i g h t s h i n e s f r o m , a n d co n t ra s t e s w i t h the darkness surrounding it, acts a s t h e a u d i t o r i u m i n a t h e a t e r. I t i s t h e s p a ce i n w h i c h a n t i c i p a t i o n is built, and where people must go back to or circulate through after t h e s h ow i s ove r. T h e s p a ce i n w h i c h t h e y s t a r t a n d e n d co n v e r s a t i o n s .

W i n s t o n C h u r c h i l l o n ce s a i d that “we shape our buildings; t h e r e a f t e r, t h e y s h a p e u s . ” I n t h i s m o d e l , t h e m a i n s h a p i n g s p a ce i s t h e a u d i t o r i u m . T h i s s p a ce g i v e s room to interpretation so that t h e s h o w m a y t a ke s h a p e b e f o r e and after it has been witnessed.

Final Model Close Up Perspectives 30

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Concept Graphic

Created from the layering of three section drawings from the final model, in this concept graphic, color indicates movement from the left side, toward the top right corner. In it, there are moments where the color is concentrated as it descends to represent hardships, and how an individual might emotionally react to misadventure.

It is not until it reaches the lowest section of the drawing, that it is able to ascend.

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Conceptual Section

The toning of these sections is based on their proximity to the scale figures, and the intent of the conceptual section is to analyze space in relation to age. The younger the individual is, the less worries they might experience. Seen in the space inhabited by a child jumping. While the older one becomes, the feeling of being entrapped might be inevitable. Represented by the man in an enclosed space. Nonetheless, the space in which the family occupies, communicates that although challenges will always be present, everyone decides how to utilize it.

Serving as a representation for space shaping people, and people shaping space.

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04 BUILDING ANALYSIS

INTRO. TO DESIGN 2 | PROFESSOR JAIME LINDSEY | FALL 2021

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THE DELTA SHELTER

Volume Layer

Framework Layer

Primary Circulation

Exterior Layer

By the means of axonometric drawings, spatial components were analyzed to understand the relationship between buildings and their sites. In the Delta Shelter, the exterior layer heavily influenced circulation to interact with the environment, while it also provided shelter from extreme weather conditions.

Primary and Secondary Circulation Toned Layers 36

Framework and Exterior Toned Layers

Toned Layers Combined 37

THE 4x4 BUILDING

Volume Layer

Circulation Layer

Exterior Layer

Designed by Tadao Ando, in the Inland Sea in Japan, the 4x4 house mimics a lighthouse in the sea, and serve as a reminder of a seism that occurred in the area. The uppermost windows of the drawing are emphasized to invite the viewer into the natural setting, but it also keeps them aware of the natural catastrophes that the city has endured.

Primary and Secondary Circulation Toned Layers 38

Exterior Toned Layers

Toned Layers Combined 39

CASA BIANCHI

Volume Layer

Secondary Circulation

Primary Circulation

Exterior Layer

Unlike The Delta Shelter and The 4x4 House, Mario Botta pulls visitors away from the environment by the means of a bridge, and into the building, but its approach is still influenced by nature, having a vertical direction that references the mountains.

Primary and Secondary Circulation Toned Layers 40

Exterior Circulation Toned Layers

Toned Layers Combined 41

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05 LE PETIT CABANON

INTRO. TO DESIGN 2 | PROFESSOR JAIME LINDSEY | FALL 2021

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ARMATURE

Derived from abstracting a specific section of the Jasper National Park, the armature is meant to mimic a pine grove surrounded by water that leads to a cascade. The site was chosen for

Site | Jasper National Park 44

being a place that I would like to visit with my childhood best friend, and from there, the group of trees is conceptually set to represent the nature of the friendship; longlasting and growing. Just like there is a slight height and thickness variation between the trees, the armature reflects these details, and the horizontal interlocking pieces between the vertical elements are set to look like tree branches, so that when a person stands from the ground level, looking up, it resembles the space between the trees.

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FINAL MODEL

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As a study of the site and conceptual analysis that seeks to explore the spatial qualities of a friendship, the final model celebrates complexity in the structure, constructed planes, and spatial volumes. To reflect the group of trees, the childhood friends can access the project from the first level that represents the roots, and is composed of the smaller intimate spaces, while the public is only able to access from the second level that begins at the lowest horizontal armature element. In this space, a moving horizontal plane, seen as the second image to the left, hides the entrance to the intimate space in the model, and it encourages circulation to the third level.

From this plane, individuals can see the nested space located in the heart of the model, but they are only able to access it by circulating around the model, like the scale figure is doing in the third image. From this point, the individual will arrive at the space depicted in the first image.

Close Up of Spaces in the Model

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Kinetic Element 1

This space has a horizontally moving constructed plane that either blocks the access to the space that invites the individual to experience the view of the cascade, or it is open to allow circulation that leads to the open space connected to the heart of the model. From the nested moment, individuals are able to circulate to the highest inhabitable area where the park can be seen from.

View Facing Cascade 48

KINETIC ELEMENTS

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Kinetic Element 2

Unlike the first kinetic element, this horizontally moving constructed plane only interacts with the childhood best friends, for it is only known by them that it allows circulation to and away from the smaller private space. This moment possesses an intimate experience with nature, as it is closest to the water. It is the space upon which, although unknown to the public, the model grows from. Conceptually, just like the trees use their roots to access water for the moving of nutrients, the final model’s private space reflects the essence of the friendship.

Entrance To Private Space 50

Open Private Space

Continuation of Kinetic Elements

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Toned Layers Combined 52

Armature Layer

Volume Layer

Exterior Layer

This layered axonometric drawing from the final model depicts interaction between the armature and the exterior constructed planes that are inspired from the building analysis, providing shelter from the weather. It also explores the language in the constructed planes, seen present by the scoring on the acetate or openings in the museum board, to celebrate the structure.

In the toned axonometric drawing, the blue represents the scored acetate, and the green indicates the presence of museum board.

Layers Combined 53

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06 THE WALL

INTRO. TO DESIGN 2 | PROFESSOR JAMIE LINDSEY | FALL 2021

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Conceptual Map

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Google Earth Aerial View of Site

This project was first approached by creating a conceptual map based on a site in the Tampa campus, to abstract circulation and serve as a datum for the final model. This conceptual map represents a dichotomy between the arts and science buildings, and the space in between them. The organic lines represent the arts, and the linear represent science.

While the hatched areas identify the open space, and the linear elements trace implicit and explicit means of circulation.

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FINAL MODEL

Bike Shop and Cafe Perspective

Long Term and Short Term Repair Areas Perspective

Long Term Bike Repair Area Interior 58

The structure is situated in the open space between the arts and science buildings, to represent the interaction of these two. The process of analyzing and manipulating the land, shaped the form of the building containing a program of a cafe, bike shop, and long-term and short-term repair areas. The horizontal structure is made up of an underground cafe with plenty of access to natural light, and the bike shop is right above it so that it encourages circulation to the vertical structure containing the long-term repair shop on the second level, and the shortterm repair area on the first level so that it is easiest to be accessed and excited from.

Throughout the model, there are various underground means of circulation for bikers and pedestrians alike, allowing students to interact with the built spaces as they are on their way to other buildings, or to serve as shelter from the weather.

Aerial View of Final Model 59

Final Section Drawings Toned

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With the help of section drawings, circulation represented with the blue toning, and spatial qualities, like interior moments toned in purple, can be further analyzed. The first three section drawings to the left depict the underground cafe and bike shop, while the three section drawings to the right show the repair areas and open space for bike testing.

Scan QR code to observe interaction between these spaces.

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07 SUPPLEMENTAL WORK INTRO. TO DIGITAL DESIGN | PROFESSOR JASON HENNING | SPRING 2021

Derived from The Kit of Elements, the final project introduced means of digital design and rendering in which 3D models were converted into 2D graphics that convey spatial qualities. The project includes a floorplan created in AutoCAD, perspectives and elevations derived from the rendered model in Rhino, and outdoor collages created in Photoshop to establish a style that interacts with nature and give the project its own identity. I decided to name it “The Coffee Museum,” located in Pereira, Colombia. The building is meant to embrace the habitat by mimicking the mountains that surround it.

ALS MACRAME

Logo Project 62

The logo project was given to utilize new illustrator skills and techniques learned in the course. I decided to create a logo for a macrame small business, that although may seem simplistic, there is a moment of complexity in the detail given to the vectored drawing set to the left side of the logo. Hence, creating harmony between each element of design.

Persvective

Inside Perspective

Elevation

Plan

Final Project | The Coffee Museum 63

PHOTOGRAPHY

1 | View After Descending Waipi’o Valley Hike | 2021

As a means of personal work, photography has helped me understand how elements intera certain features can be enhanced to create interaction and communication across the depic introduced to Architecture Design & Graphics, the way that I observed and analyzed my surr photographs that I took in a trip to Hawai’i, reflect my learning and discovery journey. The first between light elements, the second one emphasizes the vanishing point, and the third o 64

act with one another, and how cted composition. After being roundings has changed. These photograph depicts contrast one delivers a sense of unity.

2 | Punalu’u Black Sand Beach | 2021

3 | Gecko at Hawai’i Tropical Bioserve & Garden | 2021 65

THANK YOU FOR YOUR CONSIDERATION. 66

ALEJANDRA MATEUS UNDERGRADUATE PORTFOLIO AMATEUS@USF.EDU 67