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ANA ESCOBAR ARCHITECTURE + DESIGN PORTFOLIO


ANA ESCOBAR ac.escobar@sbcglobal.net + 1 817 773 8076 Rice University Houston, TX Master of Architecture August 2015 — Present Rice School of Architecture Paris Paris, France Study Abroad Fall 2017 Texas A&M University College Station, TX Bachelor of Environmental Design August 2010 — May 2015 Barcelona Architecture Center Barcelona, Spain Study Abroad Fall 2013

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CONTENTS RICE UNIVERSITY IN BETWEEN | HOUSING DEVELOPMENT 04 PECKHAM LIBRARY | EXPLORATIONS OF PUBLIC PART I 16 LOOPS | EXPLORATIONS OF PUBLIC PART II 18 LINKING PUBLICS | EXPLORATIONS OF PUBLIC PART III 22

TEXAS A&M UNIVERSITY MEDIA LAB HOUSTON 30 BRUCE NAUMAN ART GALLERY 44 SERENDIPITY IN MOVEMENT 56 TRANSTUDIO | ADAPTIVE DESIGN & RESEARCH 66 ABSTRACTION | SMITH HOUSE 68 POISED | COMPOSITION STUDIES 70 PHOTOGRAPHY | CEILING STUDIES 72

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IN BETWEEN | HOUSING DEVELOPMENT STUDIO CORE DESIGN STUDIO IV TIME SPRING 2017 | 6 WEEKS INSTRUCTOR DAISY AMES

A byproduct of the sprawling housing market in Houston, housing typologies have become more and more isolated. Still harkening to the outdated model of the single family home of the American Dream era, this housing development seeks to blur the lines between indoor and outdoor in the domestic units as well as private and public in order to facilitate a new discussion between neighbors. Typically, outdoor spaces in housing developments are oversized. Therefore, In Between intends to create activated outdoor areas through the interstitial spaces of the town houses by making routes to and from the units, and the patio spaces in between part of a new territory for social engagement. In Between operates as both a domestic and urban model that enhances connectivity for an emerging collective society through its spatial patterns.

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6

Town House 1 Unit 1 + Unit 2

Town House 2 Units 3, 4, 5, 6

Town House 5 Units 14, 15, 16

Town House 6 Unit 17 + Unit 18

Town House 3 Unit 7 + Unit 8

Town House 7 Unit 19 + Unit 20

Town House 4 Units 9, 10, 11, 12, 13


Town House 2

Town House 4

Town House 5

Town House 6

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8


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IDEALIZED BLOCK PLAN

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Suburban Condition

Texas Donut Condition

Proposed Cluster

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01 Pattern Block

02 Neighborhood Definition

03 Edge Conditions Massing + Landscape

1/2 BD Distribution

1 BD Distribution

S/M/L Outdoor Spaces

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PECKHAM LIBRARY | EXPLORATIONS OF PUBLIC I STUDIO CORE DESIGN STUDIO III TIME FALL 2016 | 3 WEEKS INSTRUCTOR DAWN FINLEY

This precedent analysis is meant to expose, demonstrate, and exploit the precise architectural strategies used to generate a public environment. Public buildings use a variety of formal and organizational strategies to address the complexities of their program and to give expression to their institutional function. Designed Will Alsop and opened in 2000, Peckham Library aims to produce a dynamic public sphere in south London. The inverted "L-Shape" creates an open plaza on the ground level that activates the exterior landscape. The main reading room, the fourth floor that overhangs the public plaza, contains the three oblong shaped private reading spaces meant to symbolize the juxtaposition of two realms in one space. The blue acrylic represents the soft interactions (gathering, collective activities, events), while the neon green represents the hard interactions (administrative, procedural).

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Peckham Library London, United Kingdom. Will Alsop, 2000 A503 . Fall 2016 . Rice School of Architecture . Ana Escobar, Lauren Turnage

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LOOPS | EXPLORATIONS OF PUBLIC II STUDIO CORE DESIGN STUDIO III TIME FALL 2016 | 2 WEEKS INSTRUCTOR DAWN FINLEY

LOOPS explores the creation of an active public environment through the design of a canopy that relates to the scale of the individual and small groups. The repetitive u-profiles that define the canopy create a dynamic, sheltered interior environment that is simultaneously dense, yet light. The materiality of the suspended form is defined by a lightweight mesh that is translucent, allowing for natural light to penetrate through while still producing shade. The translucency of the mesh also provides visibility through the pavilion. The varying heights of the u-profiles change to indicate different routes of circulation. Occasional internal breaks in the u-profiles imply where circulation routes can change, and directly bring in natural light. The lowered "hammocks" serve as interior seating for individuals or collective interaction, while also directing circulation.

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Underneath the Canopy Forming Publics, Axonometric A503 . Section 02. Critic Dawn Finley . Fall 2016 . Rice School of Architecture . Ana Escobar

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FABRICATION TESTS USING MYLAR, THREAD & METAL RODS

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LINKING PUBLICS | EXPLORATIONS OF PUBLIC III STUDIO CORE DESIGN STUDIO III TIME FALL 2016 | 6 WEEKS INSTRUCTOR DAWN FINLEY

Linking Publics intends to negotiate and celebrate the two main programs of project, the civic center and a language resource mediatheque. The diagrams below seek to test a series of relationships that exist in the project and inform behavior within the space. A series of subtractions, or cuts, into the mass, departmentalizes the program and promotes a meandering circulation throughout. They subtractions define interior relationships across the bays and throughout an invisible spine. The voids that are created also allow for natural light between the departments and visibility from one program to another in certain instances. They direct views to areas in the surrounding context. The intent in section is for the continuous loop to continue in a more subtle manner. The faรงade speculates the use of a channel glass system, chosen for its luminosity and sense of transparency.

Circulation

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Views

Dog Bone Transitions


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GROUND PLAN 24


THIRD FLOOR

SECOND FLOOR 25


FORM FINDING EXPLORATIONS 26


CIVIC SHAPE

INTERIOR DEFINITION 27


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MEDIA LAB HOUSTON Awarded Best Integrated Studio Project STUDIO ARCHITECTURAL DESIGN IV TIME FALL 2014 | 10 WEEKS INSTRUCTOR MARCEL ERMINY PARTNER DANIEL GARCIA The Media Lab Houston is the central hub for the Houstonian community to celebrate the power of communication through media and new technologies. This lab provides inspiring spaces for innovative ideas and new topics of conversation to be showcased to the public. The intent is to move beyond access to active engagement in experimenting, learning, and reflection in a transformational age. Information access is provided in a plethora of spaces that allow for access to devices such as 3D printers and computers, free archive collections, spaces to interact with experts, and attend open events in the auditorium. The Media Lab is the new stage for face-to-face interaction between the public and new technologies. This intimate level of communication accelerates the evolution of media as people begin to adopt new technologies which can then be expanded upon.

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01 Create plazas

02 Extrude digital wall

03 Submerge program

04 Activate plazas

05 Cut interior light-wells 33


GROUND FLOOR PLAN 1/8” = 1’ ESTCODE ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

0’ 10’ 20’ 40’

GROUND PLAN 34


LEVEL 02

LEVEL 03

CW PUMPS

CHW PUMPS

CHILLER

CHILLER BOILER

HW PUMPS

BOILER

LOADING ZONE

LEVEL B1

LEVEL B2 35


B7 G1 B7

G8

G8

B17

B15

B7

B6

G1

B2

B17

B6

B2

B15 B11

B7 B7

Type

psf 150 100 100 100 100 100 100 60 50 40 20

G5

G5

B7

G6

B15 B15

B7

100 75 75 75 75 75 75 50 35 20 10

B11 G6 B6

B2

G7 B17

B4

B4

G5 B15

B7

LEVEL 03

ROOF

ROOF

D DIAGRAM

LIVE LIVELOAD LOADTYPE TYPE SSt taaggee LLoobbbbi ei ess Fire FireEscapes Escapes RReet a t ai li l CCaaf é fé Fabrication FabricationLab Lab Computer ComputerLab Lab Fixed FixedSeating Seating OOf f fi ci ceess Parking ParkingGarage Garage RRoooof f

LOAD TRACING LEVEL 03

LEVEL 03

LEVEL 02

LEVEL 02

ACING

STEEL CABLES

STRUCTURAL GLASS LEVEL 01

LEVEL 01

LEVEL B1

LEVEL B1

n the building.

epeding on loads

LEVEL B2

LEVEL B2

CHANGE IMPROVED THE DESIGN? ave been added between longer spans. LEVEL B3 FOUNDATION the building and reducing depths of major beams.

LOAD TRACING 38

PSF PSF 150 150 100 100 100 100 100 100 100 100 100 100 100 100 60 60 50 50 40 40 20 20


1

7

G7

G6

B6

B6

B6

B15

B11

B11

B2

G6

G9

B2

B2

B8

B8

B8

B8

G1

G7

G6

G2

G7

G6

G2

B16

B12

B16

B12

B12

B1

B14

G6

B14

B14 G2

B7

B7

B7

B7

B7

B7

B7

B7

B8

B8

G5

G5

G8

B2

B2

G5

G8

G7

B8

B15

B17

B11

B17

G7

B4

B4

B15

B15

B15

B15

B5

G6

B17

B11

B17

B5

B5

G7

G6

G1

B6

B6

G6 G9

B9

B2

B2

B8

B8

G1

G7

G6

G7

G6

B16

B12

B16

SPAN 44'-0" 44'-0" 25'-0" 25'-0" 30'-6" 30'-6" 35'-0" B8 35'-0" B2 34'-0" G1 G2 34'-0" 27'-0" B8 27'-0" 21'-0" 21'-0" B2 B8 20'-0" G2 20'-0" 23'-0" 23'-0" B8 60'-0" 60'-0" G6 G6 24'-0" B8 24'-0" 42'-0" B11 B8 42'-0" 32'-0" B11 G7 G7 32'-0" G6 G6 12'-0" 12'-0" B11 B8 46'-0" B8 B11 46'-0" 56'-0" G756'-0" G7 37'-6" 37'-6" B11 B8

B17

B15

B15

B11

B11

B6

G7

G6

B8

B14

G6

DEPTH 24" 24" 12" 12" 24" 24" 24" 24" B12 24' G2 24' 24" 24" 12"B12 12" B12 12" B16 G2 12" 12" B13 12" 30" 30" G6 B1 12" B12 12"B12 24" 24" 24"B16 G7 24" G612" B1 12" 24" B12 24" 30" G7 30" B5 B8 24" 24" B12

B1

B7

B7

G5

B8

G5

G8

B7

B15

B15

B7 B11

B7

B7

B7

B9

B15

B15

G7

G8

G5

G1

B8

B15

G5

G8

B15 B6 B9 B15

G7

B17

B6

B5

B6

G6 B4

B4

B15 B6 B15

B11 B5

G1

B11

B9

B17

G7

B17 G6

B11

B17

G1

B6

B9

B9

B7

G7 B7

B2B6

G6 B2

B2

B6 B2

G1

G6 G9

B9

B2

B2

SPAN 44'-0" 44'-0" 25'-0" 25'-0" 30'-6" 30'-6" 35'-0" 35'-0" 34'-0" B2 G1 34'-0" 27'-0" 27'-0" 21'-0" 21'-0" 20'-0" B2 20'-0" 23'-0" 23'-0" 60'-0" 60'-0" 24'-0" G6 24'-0" 42'-0" B11 42'-0"

B17

B15 B8 B15

G1

DEPTH 24" 24" 12" 12" 24" 24" 24" 24" 24' B12 G2 24' 24" 24" 12" 12"B12 12" 12"B16 12" 12" 30" 30" 12" G6 B1 12" 24" B12 24"

B8

G5

B14

G6

B14

G6 B14

B14 G2

B14

B14 G2

NAME B1 B1 B2 B2 B3 B3 B4 B4B9 B5 G1 B5 G1 B6 B6 B7 B7 B8 B8 B9 B9B14 B10 B10 G6 B11 B11 B12 B2 B12

G4

B1

B8

B14

G5

B8

G5 B15

B5

B6

B6

G6

G2

B8

B8

B8

B8

STRUCTURE MATERIAL CHIOCES

GIRDERSPAN CALLOUTS NAME DEPTH NAME SPAN DEPTH G1 26'-0" 24" G1 26'-0" 24" G2 33'-0" 24" G2 33'-0" 24" G3 32'-0" 24" G3 32'-0" 24" G4 19'-0" 24" G4 19'-0" 24" B8 G5 21'-6" 24" B1 B9 G1 G1 G1 B8 G5 21'-6" 24" G6 44'-0" 24" G6 44'-0" 24" G7 35'-0" 24" G7 35'-0" 24" B8 G8 20'-0" 24" B15 G8 20'-0" 24" G9 10'-0" 12" B15 G9 10'-0" 12" B14

GIRDER CALLOUTS BEAM B3 CALLOUTS FOUNDATION - LEVEL LEVEL 02 BEAM CALLOUTS NAME SPAN DEPTH

ROOF

B8

G8

B7

B7

B7

LEVEL B2 FRAMING PLANS 1/32” = 1’-0”

TYPICAL UNBRACED LENGTH FOR COLUMNS TYPICAL UNBRACED LENGTH FOR COLUMNS 15'-0" 15'-0"

LEVEL 01

GIRDERSPAN CALLOUTS BEAM NAME DEPTH NAME NAME SPAN DEPTH B1 NAME G1 26'-0" 24" G1 26'-0" 24" B1 G2 33'-0" 24" B2 G2 33'-0" 24" B2 G3 32'-0" 24" B3 G3 32'-0" 24" B3 G4 19'-0" 24" B4 B8 G4 19'-0" 24" B4 B9 B6 B1 B9 G5 21'-6" 24" B5 G1 B8 G1 G1 G1 G1 G5 21'-6" 24" B5 G6 44'-0" 24" B6 G6 44'-0" 24" B6 G7 35'-0" 24" B7 B8 G7 35'-0" 24" B7 B6 B1 B9 B15 B9 B8 G8 20'-0" 24" B8 G1 G8 20'-0" B2 G1 12" 24"G1 B15 G1 B9 B8 G9 10'-0" B14 B14 G9 10'-0" 12" B9 B10 B10 B1 B1 B10 G6B5 G4 G5 G5 B15 B8 B8 B11 B14 G3 B3 B7 B7 B11 B12 B2 B8 B5 B12 B13 G7 G7 B5 B1 B13 G4 G5 G5 B4 B6 B14 G6 B14 B2 B5 B8 B15 B1 B8 B9 B9 B5 B15 B16 G7 G7 G7 G7 B16 G7 B5 B17 B17 B5 B1 B8 B9 B9

B14

G6

B14

B14 G2

B8 B7

B7 G5

B8

G5

B15

B15

B11

B15

G7

B15

B15

G7

B11 G6

B6

B5

B6

B6

G7

G6

B9

B9

B7

B7

B2 B8

B1

B1

B1

B1 B1

B1

B5

B4

B8 B3 B14

B2

B8 B8

G7

G5

B8

B8

G5B8

G1

B8 G1 B8

B9

B8 B9

G7

G7

B2

B6

B2

B7

G1

G1

B9

B9

G7

B14

B9

B9

B5

B5 B5

B5

B5

B5

B10

B6

B11

B2

G7

G6

B11

B11 B11

G7 B11

G6

G1

B2

B8

B8

B8

G7 B8

B8 B8

G7 G6

B8

G6 B8

G2

G2

B8

B7

B15

B15

B6

B2

G2

G7

G6

G7

G6

G2

CONCRETE

G7

G6

G6

G1

B6

B12

B12

B16

B12

B12

B12 B16

B12

B12

B5

B1

B1

B13

B8

B8

G5

B14

G6

B14

G6 B14

B14 G2

B14

B14 G2

B1

B1

B1

B5

B4

B3

B7

B7

B7

B7

B7

B7

G7

G5

B1

B1

B1

B1

B1

B5

B4

B8 B3 B7

B7

B2

G7

G5

G5

G1

B8

G8

B8

B8

G5 B8

B8

B8

G7

G7 B9

B9

G7

B11

B9

G1

B5

B6

G7

B6

B6

B6

B5

B5

B5

G7

G6

G7

G7

B8

B2

B2

B11

B9 B11

B11

B9

B7

B7

B2

B2

B2

B2

B11

G5

B11

G6

B11

G6

G1

B15

G6

B10

B5

G7

B6

G6

G6

G6 B5

B6 B9 B5

B4

G7

B11 G6

G7

G6

B8

B8

B8

B8

B8

B8

G2

G7

G6

G7

G6

B12

B12

B12

B12

B12

B12

G2

G7

G6

B5

B1

B13

B5

B1

B8

B8

G5

B1

G4

B1

B1

B2

B7 G8

G1

B8 G8

G1

B8

B8 G1 B8

B1

B8

B7

LEVEL MATERIALS LEVEL 03

B2

TENSION RODS LEVEL 01

G7

G5 G5

B8

B8

B7

G7

G5 G5

G5 B14B8

Live Load Type

G1

G1

B9

B17 B9

B9

B11

B17

B14

G1 B15

B6

G1

B6

B6

G1

B2

G6

G1

B2 G2

B2

B8

B8 B15

CONCRETE

B2 150 B6B5 100B8 B2 B11 B5 100 75 B11 B11 G7 75 G7 100 G7 B5 G6 G6 G6 B6 G6 G6 1B200 75 B15 B11 B5 B8 B9 B15 B2B11 100 B6B5 75B8 G7 G5 75 100G7 G7 G7 G7 B15 B4 B4 100 75 B9 B5 B11 B8 60 50 50 35 40 20 20 10

G6

B14 B10

G1

B9

psf

G1

B17

B15 B9

B9

G5 B15 B15B7

G1

G7

G6

G2

LEVEL B1 STRUCTURE MATERIAL CHIOCES

G7

B8

G6

B8

B12

B12

B12

B8 B12 G2

B8

B8

G7

G6

G2

B8

B5

B1

B16

B12

B13

B16

B12

B12

B14

G6

B14

B14 G2

B8

G5

B14

G6

B8

B1

B8

G5

B14

G6

B14

B14 G2

B14

G6

B14

B14 G2

B1

B1

B1

B5

B4

B3

G7

G5

B8

B8 G7

G5

B7

B9

B9

B1

B1

B7

B7 G1 G8

B2 G8

G7

G5 G5

B8

B8

B8

B1

B1

B1

B1

B1

B5

B4

B3

B8

B2

G1

G7

G5

B7

B7

B8

B8

G5 B8

B8

B8

G7

G5

G7

G5

G5 B7

G1

G8

LEVEL B1 STRUCTURE

B9

B9

B9

B17

STEEL CABLES ROO LEVEL 02

G7

G4

G3

G1

G8

B7

B11

LIVE LOAD DI NTS

B2 LEVELLEVEL 03

B3 Stage G3 B7 Lobbies B1 B7 Fire Escapes G4 B4 G5 B7 Retail B1 Café B7 Fabrication Lab G7 B5 B7 Computer Lab B1 B7 Fixed Seating Offices Parking Garage Roof

G B17

Live Load Type

G1

B9

B9

B8

G7

B6

B7

LOAD TRACING

LEVEL B1

G7

G4

G3

CONCRETE

LEVEL B2 LEVEL 03 FRAMING PLANS 1/32” = 1’-0”

TENSION RODS LEVEL 01

LEVEL B1 STRUCTURE MATERIAL CHIOCES

LEVEL B1

STRUCTURAL GLASS

LOAD TRACING

LEVEL B1 STRUCTURE MATERIAL CHIOCES

STEEL CABLES LEVEL 02

ROOF

LIVE LOAD DIAGRAM NTS

LEVE

LIVE LOAD NTS

LEVE LEVEL 03

TENSION RO

LEVE

LOAD TRACIN

NAME SPAN DEPTH NAME SPAN DEPTH Concrete Walls, Beams, Joists, Slabs NAME SPAN DEPTH B1 NAME SPAN DEPTH G1 26'-0" 44'-0" 24" B7 Walls Support 1 Glass B6 B2 HOW CHANGED 24" FROM MID-TERM? WHY? HAS THIS CHANGE Structural IMPROVEDGlass THE Level DESIGN? G1 HAS IT33'-0" 26'-0" 24" B1 44'-0" HOW12" 24" G1 G1 G8 G8 G2 24" B2 25'-0" Steel Cables Level 2 + Level Support Column sizes 33'-0" have increase SF Also, extra between longer spans.3 Glass Walls B17 B17 G2 24"from 1 B3 B2 to 2.5 SF. 25'-0" 12"beams have been added B7 B8 G3 32'-0" 24" 30'-6" 24" Tension Rods Digital Wall Support This is mostly due to accounting for the two level parking garage to the building and reducing depths of major beams. G3 32'-0" 24" B3 30'-6" 24" G4 19'-0" 24" B4 35'-0" 24" B15 B6 B2 G4 19'-0"B1 24"B8 B4 B9 35'-0" 24" B12 B7 B7 B824' G5 21'-6" 24" B6 B2 B634'-0"B2 B9 B9 B9 B5 B14 WHY WE CHOSE CONCRETE B9 B15 G1 B8 G1 G1 G1 G1 G2 G2 G1 G1 G1 G1 G5 21'-6" 24" B5 34'-0" 24'G2 G6 44'-0" 24" B6 27'-0" 24" We wanted to exposeG8 the showcase its true material. G8 G8 structure and B5 B11 B11 B2 B7 B7 G6 44'-0" 24" B6 27'-0" B8 24" G7 35'-0" 24" B7 21'-0" 12" Concrete connections have fewer G5 G5joints. Live Load T G6 G6 B14 B2 G7 35'-0" 24"B8 B7 21'-0" 12" B12 B7 B15 B8 G8 20'-0" 24" B8 20'-0" 12" B7 This structure also compliments the UFAD system used to condition the building. B15 B6 B6 B2 B15 B8 B1 B9 B9 B1 B9 B9 B8 B12 B14 B8 B12 B14 B6 B2 Stage B7 B15 B6 B2 G8 20'-0" 24" G1 B8 20'-0" 12" B16 G9 G1 G1 G2 G2 G2 G1 G1 B7 G1 G2 G2 G2 G1 G1 B2 B2 G1 G1 G9 10'-0" 12" 23'-0" 12" B15B9 B15 Lobbies G8 B13 B15 B7 G7 G9 10'-0" 12" G8 B17 B14B10 B9B17B14 23'-0" 12" B13 B7 60'-0" 30" B8 ADVANTAGES OF B7CONCRETE B10 B10B4 B8 B8 B11 B11 B7 B7 B15 Fire Escapes B1 B10 60'-0" 30" B9 B17 B17 B1 B1 24'-0" Fireproof (Exposed) B7 G4 G5 G5 B15B11 G6 G6 G6 12" G6 G6 G5B8 G5 G6 G6 B8 B8 G5 B1 B14 B8 B17 B5 B5 B4 B8 B14 B8 B12 B14 B7 B7 B15 B6 B2 Retail G3 G3 B3 B7B11 B3 B7 B7 B7 B7 B15 24'-0" 12"B12 B7 B12 42'-0" 24" Sound isolation B2 B11 B6 B9 B15 B8 B5 B8 B12 B14 Café B15B12 B7 42'-0" 24" B13 32'-0" 24" B16 Used above and below ground B11 Fabrication Lab G7 G7 B5 G7 G7 G7 G7 G7 B5 G7 B11 B11 B7 B13B11 32'-0" 24" B1 B1 B14 12'-0" 12" B7 Can use same size for all G5columns with more or G6less reinforcement depeding on loads G4 G5G5 G6G6 G6G6 G6 G6 G6 G4 G5 G6 G6 G6 G6 B4 B4 B6 B6 B1 B1 G5G5 Computer Lab B14 12'-0" 12" B7 B15 B2 B6 B9 B15 B546'-0"B11 B824" B8 B15 B7 B1 B1 B8 B9 B9 B5 B11 B8 B8 B9 B9 B5 B11 B8 B12 B14 B12 B14 Fixed Seating B15B15 B6 B2 46'-0" 24" B16 56'-0" 30" B7 ADVANTAGES OF STRUCTURAL GLASS G5 Offices B16 G7G7 56'-0" 30" B5 B8 G5 G7 G7 G7 G7 G7 G7 G7 G7 G7 G7 G7 G7 G7 G7 G7 B5 B5 B5 B8 G5 B17 37'-6" 24" Transparent, open apperance B15 B4 B7 Parking Garage B4 B17 37'-6" 24" B17 “Seemless” effect B1 B1 B8 B9 B9 B8 B9 B9 B5 B11 B8 B5 B11 B8 B12 B12 Roof B7 B8 B8 GIRDER CALLOUTS TYPICAL UNBRACED LENGTH FOR COLUMNS Glass structure and fittings add aetheticBEAM value CALLOUTS MATERIALS GIRDER CALLOUTS BEAM CALLOUTS TYPICAL UNBRACED LENGTH FOR COLUMNS NAME SPAN DEPTH NAME SPAN DEPTH 15'-0" Concrete Walls, Be NAME SPAN DEPTH NAME SPAN DEPTH 15'-0" G1 IT CHANGED 26'-0" FROM 24"MID-TERM? B1 44'-0" HOW HAS WHY? HOW HAS24" THIS CHANGE IMPROVED THEGlass DESIG Structural Le G1 26'-0" 24"1 SF toB2 B1 44'-0" 24" have been added G2 24" 25'-0" 12" Column sizes have33'-0" increase from 2.5 SF. Also, extra beams between longer Steel Cables Levels MATERIALS G2 33'-0" 24"for theB3 B2 25'-0" garage 12" to the building and 24" 24" This is G3 mostly due32'-0" to accounting two level 30'-6" parking reducing depths Tension Rods Digit Concrete Walls, Beams, Joists, Slabs G3 32'-0" 24" B3 30'-6" 24" G4 19'-0" 24" B4 35'-0" 24" B7 Structural Glass Level 1 Glass Walls Support B6 B2 G4 19'-0" 24" B4 35'-0" 24" G5 21'-6" 24" B5 34'-0" 24' WHY WE CHOSE G1 G1 Steel Cables Level 2 + LevelG83 G8 Glass Walls Support G5 21'-6" 24" B5 34'-0" 24' B17 B17 G6 44'-0" 24" B6 27'-0" 24" We wanted to exp B7 Support B8 Tension Rods Digital Wall G6 44'-0" 24" B6 27'-0" 24" G7 35'-0" 24" B7 21'-0" 12" Concrete connecti G7 35'-0" 24" B7 21'-0" 12" B15 B6 B2 G8 20'-0" 24" B8 20'-0" 12" This structure also B7 B7 B6 B6 B2 B2 B9 B9 WHY WE CHOSE CONCRETE G8 20'-0" 24" B8G1 20'-0" 12" B15 B9 G1 G1 G1 G1 23'-0" G9 10'-0" 12" B9 12" We wanted to expose the structure and B11showcase its true material. G8 G8 B17B9 G9 10'-0"B7 G8 G812"B17 23'-0" 12" B11B5 B10 60'-0" 30" B2 B7 ADVANTAGES OF Concrete connections have G5 fewer joints. G5 G6 G6 B10 60'-0" 30" B2 B11 24'-0" 12" Fireproof (Exposed B7 B8 This structure also compliments the B6B15 UFAD system used to condition the building. B15 B15 B6 B224'-0" B11 12" B7 B15 B12 42'-0" 24" B2 B6 Sound isolation G9 B7 B15 B15 B12 42'-0" 24" B15 G7 B13 32'-0" 24" B7 Used above and be B8 ADVANTAGES OF CONCRETE B11 B11 B11 B7 B11 B4 B13 32'-0" 24" B15 B7 B7 B14 12'-0" 12" B9 Can use same size B17 B17 B7 G5 G5 G6 G6 B8 G5 G5 G6 G6 Fireproof (Exposed) B4 B17 B14 12'-0" 12" B7 B7 B15 B15 B15 46'-0" 24" B7 Sound isolation B6 B9 B15 B15 B246'-0" B15 B6 24" B16 56'-0" 30" B7 ADVANTAGES OF

FOUNDATION - LEVEL B3

B13

LEVEL 02fittings add aethetic Glass structureCALLOUTS and value GIRDER BEAM CALLOUTS

ROOF

G7 B7 B15 B8 B15

B9

B6

B15 B7

G7 B15 B9

G5

B15

B7

B11

B15

B9

B9

G1

G1

B4

G7

B15 B9 B15

B6

B15

B7 B15

B9 B15

B9

B9 B17

B9

G1

G7

G5 G5

B11

STEELLEVEL CABLES STRUCTURAL FOUNDATION - LEVEL B3 GLASS 02

G7

G4

G3

G1

G8

G5 B8

B7

B3 StageG3 B7 Lobbies B10 B8 B11 B11 B7 B4 B1 ADVANTAGES OF B7 B7 CONCRETE Fire Escapes B9 B17 B17 B1 G4 B4 B7 G5 B8 G5 G6 G6 B8 B4 B5 B17 B8 B12 B14 FireproofG3(Exposed) Retail B7 B7 B3 B15B7 B7 B7 B6 B9 B15 Sound isolation Café B1 B7 Used above and below ground Fabrication G7 B5 Lab B11 G7 G7 B5 G7 B1 B7 G4 G5 columns G6 G6 G6 B4size G5 B6 B1 Can use same for all with more orG6 lessG6reinforcement depeding on loads Computer Lab B1 B6 B9 B15 B1 B8 B9 B9 B5 B8 B11 B12 B14 Fixed SeatingB7 ADVANTAGES OF STRUCTURAL GLASS Offices G7 G7 G7 G7 G7 G7 G7 G7 B5 B5 B8 G5 Transparent, open apperance Parking Garage B8 B9 B9 B5 B11 B8 B12 “Seemless”B1effect Roof GIRDER CALLOUTS BEAM CALLOUTS B8 B7

G7

G4

G3

LEVEL B2 LEVEL 03

B6 B2 B9 B9 WHY WE CHOSE CONCRETE G1 G1 B15 B9 G1 G8 G8 B5 and We wanted to expose the structure B11 B11 showcase its true material. B2 B7 G5 G5 G6 G6 Concrete connections B7have fewer joints. B2 B15 B8 B1 B9 B15 B9 theB6UFAD system used B8 B12 B14 This structure also compliments to condition the building. B15 B6 B2 G1 G1 G1 G2G9 G2 G2 G1 B2

LEVEL B2

G7

G5

B15

B14

B15

B15 B9

B8

G5 B7

G1

G1

B9

MATERIALS Concrete Walls, Beams, Joists, Slabs B6 B2 Structural Glass Level B71 Glass Walls Support G1 G1 G8 G8 Steel Cables Level 2 + Level 3 Glass Walls Support B17 B17 B7 B8 Tension Rods Digital Wall Support

TENSION RODS LEVEL 01

G7

G4

G4 G3

G1

G1

B1

STRUCTURE MATERIAL CHIOCES

FOUNDATION - LEVEL B3 LEVEL 02

LEVEL 03

G1

G7

G6

G1

B8

G5

B2

FOUNDATION GIRDER CALLOUTS - LEVEL BEAM B3 CALLOUTS CALLOUTS SPAN DEPTH

ROOF

B14

B6

LEVEL 01

B2

B8

B14

LEVEL 02 LEVEL B2

3

B1

LEVEL 01

G4

B14

B15

B15

FOUNDATION

ROOF

39


WALL SECTION MODEL

DIGITAL WALL DETAIL MODEL

FOUNDATION DETAIL 40


L DETAIL

FLOOR TO FLOOR DETAIL

ROOF DETAIL

ROOF DETAIL

DIGITAL WALL DETAIL

GROUND DETAIL 41


43


BRUCE NAUMAN ART GALLERY STUDIO ARCHITECTURAL DESIGN III TIME SPRING 2014 | 8 WEEKS INSTRUCTOR J. CRAIG BABE PARTNER DANIEL GARCIA The Bruce Nauman Art Gallery is located in the Design District of Dallas, Texas and is designed to house and complement the art of American contemporary artist, Bruce Nauman. The composition of the museum is an “L� geometry that follows the street of the site that is positioned on a corner lot on a major intersection. The void that is produced from the geometry is transformed into a courtyard for outdoor masterpieces of Nauman. Stacking levels in a five story configuration allows the art of Bruce Nauman, which ranges in height from two feet to forty eight feet tall, to be ordered in an interactive design. To link the various galleries within the five story building, double story rooms are designed adjacent to and vertically staggered from one another. This allows people to look down into big galleries from balconies as well as people on the floor to look up into higher galleries. This interaction of the spaces makes them appear larger as they borrow space from one another. The promenade through the museum is arranged in a helical design around the building which visitors begin by taking the glass elevator to the top floor and walking down through the galleries.

01 'L' Geometry with views to Downtown

44

02 Order according to size and daylight


03 Views from varying heights

04 Helical circulation

05 Views to different areas of the city

45


A

B

C

A Design District

NOLLI PLAN 46

B Art District

C Downtown Dallas


SITE PLAN 47


48


49


LOBBY AND COURTYARD

GROUND LEVEL

ARCHITECTURAL INSTALLATION GALLERY

LEVEL 02

PASSAGEWAY BETWEEN GALLERIES

LEVEL 03

50


LEVEL 04

'ONE HUNDRED FISH FOUNTAIN' GALLERY

LEVEL 05

'FIFTEEN PAIRS OF HANDS' GALLERY

ROOF PLAN

NEON ART GALLERY 51


PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

52


PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

53


PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

NORTH ELEVATION

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

WEST ELEVATION PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

EAST ELEVATION PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

54


PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

SOUTH ELEVATION 55


SERENDIPITY IN MOVEMENT STUDIO STUDY ABROAD: FIELD DESIGN TIME FALL 2013 | 8 WEEKS INSTRUCTOR JORDI MANCILLA + TONI MONTEZ PARTNER DANIEL GARCIA In Barcelona, public space is where life happens. It is what connects the systems that exist and serves as access points for them. To succeed at this, public space needs to be a blend of the street, sidewalk, nature, and programs in the context of a site. For the site of La Barceloneta, the goal was to design a market and public space as an extension of the neighborhood, the boardwalk, and the beach. By achieving this, the intervention can cater to both the floating and permanent populations of the area. The focus to connect these existing systems became serendipity. Serendipity is the occurrence of something positive happening. For the operative mapping process, points of serendipity are defined as the occurrence of at least two paths intersecting. After analyzing existing areas of serendipity, similar areas could then be projected onto the site, drawing from the existing systems. This evolved into creating a fabric architectural design to recreate the geometry in the maps to influence the movement of people in the site. Fabric canopies are hung from steel cables held in tension by steel columns and palm trees. To truly connect La Barceloneta and the boardwalk, the steel cables connect up to La Barceloneta buildings and down to the boardwalk with canopies hanging from them.

56


OPERATIVE MAP

SITE PROJECTION

04 Defining nodes

01 Mapping pedestrian paths

05 Connecting nodes

02 Identifying intersections

06 Identifying intersections

03 Connecting intersections 58

07 Connecting intersections


ANA ESCOBAR + DANIEL GARCIA SERENDIPITYOPERATIVE MAP + SITE PROJECTION

IN MOVEMENT

59


CANOPY PLACEMENT

01 Place vertical elements based on voids of serendipity

60

02 Design a permanent cable 03 Hang lower level of canopies system around areas of serendipity along cables to provide covering


MULTI-FUNCTIONAL SYSTEM

01 Daily

02 Terraza

03 Event

61


40cm

80cm 40cm 60cm

20cm

20cm

80cm 60cm

40cm 20cm

40cm 20cm

80cm 60cm

80cm 60cm

20cm 2

3.00

5.00

1.00

0.25

0.25

0.25

0.25

0.20

40cm 40cm 20cm

80cm

80cm

20cm

60cm 0.4m

60cm

40cm

0.8 m 0.6 m

80cm

1.50

0.2 m

40cm 20cm

20cm

80cm 60cm

0.45

40cm 20cm

80cm 60cm

40 cm 80 cm 40 cm 80 cm Extension cable 20 cm 60 cm to main cable 20 cm 60 cm

Canopy can stretch with tension

40 cm 40cm 20cm

40 cm 20 cm

80 cm 60 cm

80cm 60cm

20 cm

80 cm 60 cm

40cm 20cm

80cm 60cm

Canopy to main cable; canopy ring

60cm


3.00

5.00

1.00

0.25

0.25

0.25

0.25

0.20

40cm 40cm 20cm

80cm

80cm

20cm

60cm 0.4m

0.8 m 0.6 m

1.50

0.2 m

60cm

0.45

0.25

0.20

0.25

3.00

0.25

5.00

0.25

0.25

1.00

0.25

0.25

0.25

0.20

40cm 20cm

4

40cm

80cm 60cm

20cm

80cm

20cm

60cm 0.4m

40cm

80cm

1.00

0.6 m

Main cable to column 0.45

3.00

80cm 60cm

5.00

40cm 20cm

1.50

0.2 m

Main cable to wall

Canopy to canopy with extension cable

0.8 m


TRANSTUDIO | ADAPTIVE DESIGN & RESEARCH STUDIO ARCHITECTURAL DESIGN V TIME SPRING 2015 | 3 WEEKS INSTRUCTOR NEGAR KALANTAR MEHRJARDI PARTNER ERYKA BUENO TRANSFORMABLE SHADING SYSTEM USING SMA WIRES This introduction to the exploration of kinetic facades uses SMA (Shape Memory Alloy) wires as a means of operating the transformable shading system. In this exercise, the wire was applied to a geometry of a shading fin. When heated is applied to the wires with a heat gun, the wire contracts and pulls open the fins to block direct sunlight while still allowing views outside. Quick studies were conducted to determine the best placement of the wire on these fins.

gn and Fabrication | Spring 2015

tem :: An Architectural Mediator

eration 3

Iteration 4

Fabrication Consultants: Negar Kalantar Me Students Names: Ana Escobar + Eryka Buen Project Name: SMA Scales

Iteration 5

OPENS WITH HEAT

. Finally, we came up with Iteration 5, which is simple and clean, and the placement works great. All in all, the placement of Iteration 3 Iteration 4, we added two 66 Iteration 2, we drilled two small


STUDIO ARCH 406 TIME SPRING 2015 | 3 WEEKS INSTRUCTOR NEGAR KALANTAR MEHRJARDI PARTNERS TYLER BOYETT, DANIEL GARCIA, LESLIE TIJERINA THE 5TH WALL When we began designing The 5th Wall, our initial intentions were driven by the desire to create an installation whose effect seemed effortless, yet would subtlety transform the space from static to kinetic. Similar to the hands on a clock that are continuously ticking, marking the progress of time, the modules' subtle rotating movement instills a sense of demarcation. Combining this with the multitude of small, geometric modules that when rotating would come together to form different geometries, the unexpected was achieved.

FORM DEVELOPMENT

67


ABSTRACTION | SMITH HOUSE STUDIO DESIGN FOUNDATIONS I TIME FALL 2011 | 3 WEEKS INSTRUCTOR JULIE ROGERS

The intent of this design exercise is to analyze the formal architectural elements used in Richard Meier's Smith House in Darien, Connecticut. In the midst of the natural wooden planes in the shadow box, a multicolored copper rectangle serves as a centralized focal point. The linear elements and rectilinear planes serve as a contrast to the colorful, circular design. The use of the red and orange color provides a striking surprise amongst the neutral tones of the wood, not unlike Meier’s stark white Smith House, which the shadow box is based on.

68


POISED | COMPOSITION STUDIES STUDIO DESIGN FOUNDATIONS II TIME SPRING 2012 | 10 WEEKS INSTRUCTOR JOHN FAIREY

70


71


PHOTOGRAPHY | CEILING STUDIES PERSONAL INVESTIGATION This is a sample from a series of European church ceilings I photographed during my study abroad semester in Barcelona, Spain.

Sainte-Chapelle

La Sagrada FamĂ­lia

Chiesa di Sant'Ignazio di Loyola

Paris, France

Barcelona, Spain

Rome, Italy

Low ribbed vault ceiling

Geometric, Catalan vaults

Flat ceiling

Painted

Thin masonry

Fresco

72


Stift Melk

Frauenkirche

San Carlo alle Quattro Fontane

Melk, Austria

Munich, Germany

Rome, Italy

Barrel vault

Ribbed vaults

Geometric coffering

Frescos

Stone

White stucco

73


ANA ESCOBAR ARCHITECTURE + DESIGN PORTFOLIO

Ana Escobar Architecture Portfolio 2017  

Portfolio of work from Rice University, Texas A&M University, & Barcelona Architecture Center.

Ana Escobar Architecture Portfolio 2017  

Portfolio of work from Rice University, Texas A&M University, & Barcelona Architecture Center.

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