ArcH_Architecture Academic Portfolio

ARCHITECTURE - ACADEMIC PORTFOLIO

National University of Colombia - Bogota D.C Arch. Harry Mantilla 2010

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INDEX

SELECTED WORKS

INDEX This is a compilation of academic work (architectural design, graphic representation and research) that I have done during my undergraduate studies in architecture at the National University of Colombia.

ARCHITECTURE AND RESEARCH 2010

Topographical Paradoxes. Bogotรก D.C. Colombia.

2008

Unpublished Museum. National University of Colombia, Bogotรก D.C.

2007

Complexe Tricodava in Drumul Taberei. Bucharest, Romania.

GRAPHIC STUDIOS 2009

Paradox (Vice Nights 1.0)

2007

Caprices in Sibiu (Hermannstadt)

2010

PARABOX - CAPSULE TO READ Harry Mantilla

Memory is built from interspersed experiences, where traces help define a relationship to the present.

To speak of memory therefore implies to speak of time. Memory is not the opposite of oblivion: memory is a selection between suppression (oblivion) and that of preservation (or becoming fixed).

How does one consider, what should be remembered and what must be forgotten in the construction of the present?

Space is shaped through dynamic intervention operations and experiences, providing a tangible formal concept and a logical reading as a result.

However, in order for the paradox to be complete, it is necessary to identify and consider what is hidden at first sight: the full form of the vacuum is defined by the strength generated by this very absence.

Gazes and seeds, Capsule to read, in Hollow

2010

TOPOGRAPHICAL PARADOXES

Harry Mantilla

(From topos, "place" and graphos, "to write". Place: A space that is or can be occupied by anyone)

Alejandro Obregรณn, Violencia (Violence).1962 Oil on canvas 155 x 188 cm

Bachelor of Architecture, School of Arts, National University of Colombia, Bogotรก D.C. Undergraduate thesis project: "Topographical Paradoxes. Urban Structure for the Bicentennial of the Independence of Colombia: The Ground as Testimony for Memory and Conflict". Advisor: M.Arch, PhD. Carlos Naranjo.

(...A seemingly true proposition leads to a logical contradiction...)

Architecture's diverse historical elements, such as its apertures, solid frameworks, and ceilings have been called to question and removed. Even the structure of a building has been contested.

But there is one element that still remains and which always allows to establish contact: the ground.

To question the occupation of the ground, that with which we are always in contact, is the paradoxical strategy for the commemoration of Colombia's Bicenntenial. The reconstruction of identity and the consolidation of memory: a connection with what and whom we are.

PANAMÁ VENEZUELA

COLOMBIA

ECUADOR

CONCEPT OF NATION: What does a country like Colombia represent? What does two hundred years of identity as a nation signify?

Since its independence from the Spanish Empire and through the course of two hundred years, Colombia has undergone several events as a nation that have caused major tensions, both between its inhabitants and in relation to the territory these have occupied. While these tensions have led us to endure and live through the worst of tragedies, this same dynamic has manifested itself in the most rich and heterogeneous cultural expressions, resulting in the characteristics that identify us as Colombians.

It is because of this situation that our memory is in conflict and continual resistance. There is a permanent tension between violence and attachment, life and death, permanence and movement, body and landscape. If our identity is permanently in question, perhaps [a commemoration of Colombia's Bicentennial] does not only entail identifying and representing a Colombian identity, but also the discovery of whether there is sufficient shared will as a nation to question and understand the meaning of being Colombian.

2010

TOPOGRAPHICAL PARADOXES

Harry Mantilla

Luis Ángel Rengifo, Piel al sol / De la serie Violencia (Skin in the sun / from Violence series), n° 12.1964 Aguafuerte y tinta (Etching and ink) 38,7 x 57,1 cm

An architectural project that intends to commemorate the Bicentennial of Colombia as a nation should address these seemingly contradictory conditions and consider the consequences of these dualities. To carry out a thorough questioning of our troubled history, appropriation of territory through conflict, even through violence.

A topographical paradox as a true democratic fact.

2010

TOPOGRAPHICAL PARADOXES

Harry Mantilla

Bogotรก D.C

The oldest known cartographic grid map of the city of Santa Fe de Bogotรก, 1791. The area of San Diego is shown as an urban periphery and connects the city with the ancient roads of Usaquen and Suba.

The Bicentennial of the Independence of Colombia was celebrated in 2010 with various cultural activities throughout its territory. Most of these activities were carried out in the city of Bogotรก, the country's capital with the largest urban population.

Because of its historic importance and the nature of a project dedicated to collective memory, it was necessary to intervene a significant public area. The chosen site is 26th street, adjacent to the San Diego sector. Located on the northern border of the Bogota's historic center, this urban area has multiple and contradictory readings, holding architectural landmarks that serve as collective references alongside places abandoned to the city's memory, both of which are the product of Bogotรก's urban growth.

The area of San Diego itself is a dynamic historical paradox, simultaneously acting as both periphery and center.

San Diego, Bogotรก D.C

This urban intervention proposal recognizes the historical memory of both Bogotรก and Colombia through a paradoxical reading. A categorical artificial topography spans 26th Street from the Circunvalar Avenue to Caracas Avenue through a linear structure of squares and parks that connect the city, the savannah, and the eastern hills.

The grid that organizes both historic and urban memory in this area was reorganized by superimposing cartographic and topographic planes. This approach allowed the connection of historic and urban landmarks with wasted and undefined spaces resulting from urban growth, as well as the reconciliation between current urban situations with historical events forgotten from the collective memory.

These operations were carried out in a violent manner, confronting and setting up a clash between different present, historical, and environmental topographies. The result was a ground space featuring orderly chaos that questions and connects both Colombia's troubled history with the urban structure of the city.

Bogotรก D.C, year 2010. The city is a metropolis of more than 9 million people. The area of San Diego sector is consolidated through dual readings: city center and periphery, connection and border, opening-closing, public-private, ancient-modern etc.

Urban events: Metropolitan connections through road networks, the configuration of public through parks and squares, and the immediate presence of the surrounding hills.

Extension of the colonial city-grid plan, identification of Centennial Park, the original area of the Independence Park and the San Diego riverbed.

Proposal for intervention, connection of consolidated sites of memory (urban landmarks) and sites of memory to be consolidated (city block centers). Radical connection between the mountains and the city.

Urban Memory Operations, Site Plan

2010

TOPOGRAPHICAL PARADOXES Harry Mantilla

Site Concept, Perspective Views, Concept Diagrams, Model

2008

UNPUBLISHED MUSEUM

Julián Forero, Felipe González, Catalina Hernandez, Harry Mantilla

Ulloa House – Bogotá (1957)

Coordination of Student Research Group, National University of Colombia "Museo InĂŠdito".

Research, curatorial duties, design and layout of unpublished graphic material from the archives of the Leopold Rother Architecture Museum of the National University of Colombia, BogotĂĄ DC . Mounting and public exhibition of this material for the community.

WHITE HOUSES Fernando Martinez

"The recognition of memory and the way in which we partake in this throughout history can be found both in the architecture that we experience daily and the records that gave rise to these built facts.�

The student group UNPUBLISHED MUSEUM of the National University of Colombia arose from this idea.

2008

UNPUBLISHED MUSEUM

Julián Forero, Felipe González, Catalina Hernandez, Harry Mantilla

Original visual documents from the collection of the Leopold Rother Museum of Architecture at the National University in Bogotá were gathered and analyzed, in order to share historical testimonies of Colombian architecture with a wider public.

This publication series began with a group of unpublished housing projects of the Spanish-Colombian architect Fernando Martinez, beginning with the “White Houses” of with his rationalist stage between 1950 and 1960 (Marquez House in 1951, Videla House in 1953, and the Ulloa House in1957). Three fact sheets were designed with planimetric information of each project, published with complementary article by Professor Pablo Gamboa on three housing projects of Le Corbusier.

In addition, the original drawings of houses belonging to the Fernando Martinez Sanabría collection were presented in an exhibition scheduled at the Enrique Triana Hall of the Leopold Rother Museum of Architecture.

The exhibition was subsequently presented at the San Agustín Cloister Museum of Bogotá, where it garnered greater public coverage.

This research provided both an innovative architectural and academic record, as well as an open and invigorated cultural heritage for the community.

Additional Information: http://www.agenciadenoticias.unal.edu.co/nc/ndetalle/cat/video/pag/4/article/casas-blancasarquitecturade-los-anos-50.html http://www.agenciadenoticias.unal.edu.co/nc/ndetalle/pag/1/article/primera-muestra-de-museoinedito. html http://www.agenciadenoticias.unal.edu.co/nc/videos/article/museo-inedito-presento-casas-blancas.html

Leopold Rother Architecture Museum, Opening Exposition Enrique Triana Hall (Pictures: VĂ­ctor Manuel HolguĂ­n / Unimedios)

UNPUBLISHED MUSEUM # 1. Márquez House - Bogotá (1951) - Cumenge House – Bordeaux (1926)

UNPUBLISHED MUSEUM # 2. Videla

Acknowledgements: Arch. Rodrigo Cortés (Director Office Leopold Rother, Museum of Architecture), Arch.

Marta Devia (Director of Campus Life at National University), Arch. Pablo Gamboa (Associate Professor School of the Arts, National University)

a House- Bogotá (1953) - Frugés Pessac (1925)

UNPUBLISHED MUSEUM # 3. Ulloa House – Bogotá (1957) - Weissenhof Stuttgart - (1927)

2006

PARABOX - INFORMATION CONCEPT

Juliรกn Forero, Harry Mantilla (Conceptual work, Design Workshop 6)

Today's hyper-connected world allows real-time access to information, yet this continuous stream of data does not necessarily provide concrete knowledge, thus making critical examinations of this data necessary.

This Information Box presents different elements of data in permanent tension, allowing a preliminary survey about a given concept.

A novel view of the world is garnered from new information accessed through data management

2007

COMPLEXE TRICODAVA

S.C Bogoescu Arhitectura Urbanism S.R.L, Harry Mantilla

S.C. Bogoescu Arhitectura Urbanism S.R.L., Bucharest, Romania. Architectural design of the project Complexe Tricodava: Multiple uses development concept in Drumul Taberei, Bucharest, Romania.

SYSTEM - CONNECTION

2007

COMPLEXE TRICODAVA

S.C Bogoescu Arhitectura Urbanism S.R.L, Harry Mantilla

Studio Model

PIERDUT IN BUCUREĹžTI (LOST IN BUCHAREST)

I completed an international internship at the architecture firm S.C. Bogoescu Arhitectura Urbanism S.R.L, in Bucharest, Romania in 2007. The designated work area was located at the southwestern outskirts of Bucharest, where the goal was to carry out mixed use developments (housing, business, recreation, and commerce) that could work as a unit, serve the surrounding community, and integrate with the city.

The design strategy was not about imposing a given plan, but rather identifying and examining how different realities overlapped with each other. That is, how the elements interact as part of a larger system.

The city of Bucharest is presented as an urban cell surrounded by a perimeter road and connected to the center by wide boulevards, as well as to public spaces and urban landmarks it allows to define.

The Drumul Taberei neighborhood was designed in the mid-1960s as a large high-density housing urban project with standardized housing blocks surrounded by green areas, local community services, and efficient connections to downtown via public transportation.

Tricodava was formerly a textile factory slated for demolition. Located at the intersection of 1 Mai Boulevard and Strada Brasov, it is close to two urban sites of great importance: Drumul Taberei Park and the Steua of Bucharest sports complex.

The project is organized around a large greenway that connects these two urban sites under the framework of connectivity and systems, where these development areas in diverse urban scales are connected via routes Strada Brasov and Bulevard 1 Mai. Residential buildings were arranged along commercial locales facing the street, allowing housing blocks to have private courtyards.

The form of these blocks was defined from a perspective exercise where the architecture contains the public space in a dynamic way.

The center of this project was a business tower presented with its own public space in direct relation to this urban platform, located on Ghencea Boulevard in proximity to the Steaua Sports Complex. A lowrise commercial block is also developed, as well as public greenways woven along the urban context.

The design and formal development of this project allowed me to confront two different cultural expressions through architecture, and constituted one of the most valuable contributions to my professional and personal growth.

Pentru prietenii mei, mulĹŁumesc foarte mult.

2007

COMPLEXE TRICODAVA S.C Bogoescu Arhitectura Urbanism S.R.L, Harry Mantilla

Parcul Drumul Taberei

Tricodava

Europe - Romania

Minicipiul Bucuresti

Stadionul Ghencea

System Components. Isometric View

Bussines Tower

Housing

Housing

Commerce

Commerce

Park

Square

Ground Plan

CONNECTION STRIP

Ocuppancy System

ara ul Timiso

Bulevard

Parcul Drumul Taberei

DRUMUL TABEREI

Str. Brasov

Drumul Taberei Road

ai Bd. 1 M

Drumul Taberei Road

Stadionul Ghencea

a

nce Bd. Ghe

Function System

Green Areas System

Public Space System

2007

COMPLEXE TRICODAVA

S.C Bogoescu Arhitectura Urbanism S.R.L, Harry Mantilla

Conceptual Views

Conceptual Views

GRAPHIC STUDIOS

2007. CAPRICES IN SIBIU: Turnul Catedrala Evanghelica din Sibiu, Romania

2009

PARADOX (NOCHES DE VICIO 1.0) Harry Mantilla

Based on the comic published in the magazine "Comic UN" # 1, a student publication carried out under the guidance of Professor Bernardo Rincรณn. Project supported by the Project Management Unit, from School of Arts of the National University of Colombia, Bogotรก D.C.

2007

CAPRICES IN SIBIU (HERMANNSTADT) Harry Mantilla

In 2007, the city of Sibiu (Romania) was awarded the title of European Capital of Culture.

In the absence of a camera, a notebook and markers were enough to complete some travel notes.

01. Sibiu seen from Turnul Sfatului (Turnul Catedrala Evanghelica, Podul Minciunilor, PiaČ›a Mică)

02. Pasajul Scărilor, 03. Interior Turnul Sfatului, 04. Sala de Expoziţii a Primăriei Municipiului Sibiu

2007

CAPRICES IN SIBIU (HERMANNSTADT) Harry Mantilla

05. Piaţa Mare, 06. Piaţa Mare și Turnul Sfatului, 07. Interior Curte

08.Interior Catedrala Evanghelică din Sibiu, 09. PiaĹŁa Mare, 10. Strada Aurarilor

THANK YOU!