Design Portfolio by YAYA

DESIGN PORTFOLIO ARIANNA CARRERA UDM SACD ARCH 1100-ARCH 1400|ARCH 1110-ARCH 2211

A B O U T

Arianna Carrera is a third year student at the University of Detroit Mercy. She is currently pursuing a five year Master’s degree in Architecture at the University of Detroit Mercy. During her time in college, she has developed several essential skills such as the following: listening, collaborative working, design, analytical thinking, leadership, problem solving, and design skills (digital software and mixed media drawings). These skills are displayed throughout her portfolio. Arianna is passionate about design in a way that embraces culture, community, and creativity. These elements are displayed in her architectural work as well as her work in fashion design and jewelry design. Arianna looks forward to further developing her design and work skills and repertoire as an Intern Architect.

CONTENT 05

F.R.A.E.M.

THE VESSEL

VISUALIZE

TEXTILES

CULTURA

M U S E U M F I L M

F.R.A.E.M. FILM RESEARCH CENTER AND MUSEUM

01 F.R.A.E.M.

BLADE RUNNER 2049 (DENIS VILLENUEVE)

BLADE RUNNER 2019 (RIDLEY SCOTT) This project is based on designing to provide a cutting-edge, interactive and community-centered research center & museum typology that must address the intersection of architecture and cinema on the empty NW corner of the Detroit Institute of Arts (5200 Woodward Ave, Detroit, MI 48202). My group included Dolin Diaz, Farah Ossaimee, and myself. We took inspiration from the Blade Runner films directed by Ridley Scott and Denis Villeneuve in order to create a space that embraced the grand, brutalist, and futuristic architecture of Blade Runner. Another key concept is to frame the user’s experiecnes, movement, and views in a similar way that film and architecture do. This is done by incorporating viewports that can act as seating, gathering spaces, shelter, windows, and paths. LED lights were placed to outline to emphasize the brutalist form and viewports. The interior features a grand water projection wall that plays short films in the main entrance. 5 CARRERA, DIAZ, OSSAIMMEE 丨ARCH 2100 丨 ALLEGRA PITERA

01 F.R.A.E.M.

GRACE HOPPER SCULPTURE

DIA CORNER DETROIT HISTORICAL MUSEUM

OUTDOOR SPACE

DETROIT PUBLIC LBRARY

VIEWPORT DIAGRAM

WOODWARD AVE

7 CARRERA, DIAZ, OSSAIMMEE 丨ARCH 2100 丨 ALLEGRA PITERA

DIA ENTRANCE

T. E.

YS B IR

R WA OD WO

. AVE

01 F.R.A.E.M.

KIRBY ST ELEVATION

WOODWARD AVE ELEVATION 9 CARRERA, DIAZ, OSSAIMMEE 丨ARCH 2100 丨 ALLEGRA PITERA

SOUTH KIRBY ST ELEVATION

SECTION I

SECTION II

01 F.R.A.E.M.

FLOOR I

FLOOR II

FLOOR III

RETAIL RESEARCH CENTER EXHIBITIONS ARTIST RESIDENCES FILM MAKING CENTER GATHERING SPACES

PROGRAMMING DIAGRAMS

CIRCULATION DIAGRAMS

HALLWAY DIAGRAMS

M U S E U M A R T

THE VESSEL THE SCULPTURAL MUSEUM OF CAPITOL PARK

02 THE VESSEL

The goal of this project is to design an infill museum in a vacant lot located

From vacant run-down buildings to a destruction causing fire, throughout the

in Capitol Park. My concept for this infill museum started by reflecting on the

years Capitol Park has experienced a lot desolation and destruction. Despite

history of Capitol Park. Learning about the desolation and renewal of Capitol

the hardships, this half-acre triangle has been seen as a social hub for the

Park impacted my design responses. I wanted to create a museum with a

people. Capitol Park has undergone many renovations. Capitol Park is still being

form that looks as if it were developing or changing in order to represent

restored and developed. Keeping this renewal in mind, we can design a museum

the growth and renewal of Capitol Park.

that highlights the importance of change and development for Capitol Park.

21 CARRERA 丨ARCH 1400丨 ENRIQUE LEDESMA

COILED

COILED LESLEY MILNE

SMOOTHED

SMOOTHED LESLEY MILNE

Coiled Pottery Method: The process of making pottery using coils of clay to build up the form of the pottery. After building the form up with the coils, it can be smoothed or left coiled

02 THE VESSEL

REINFORCED CONCRETE

CURTAIN WALL

HVAC DIAGRAM 25 CARRERA 丨ARCH 1400丨 ENRIQUE LEDESMA

STEEL STRUCTURE

CONCRETE PANELS

STRUCTURE DIAGRAM

FLOOR III

PERMANENT EXHIBITION

FLOOR II

CHANGING EXHIBITION

FLOOR I

LOBBY

MAIN WALL SECTION

FOUNDATION WALL SECTION

PLAN DETAIL

D R A W I N G S

VISUALIZE MIXED MEDIA DRAWINGS

03 VISUALIZE

MEDIA: WATERCOLOR 29 CARRERA 丨ARCH 2211丨 JOANNA MALDIS FUCHS

MEDIA: WATERCOLOR

03 VISUALIZE

DETROIT SKYLINE MEDIA: PASTELS

31 CARRERA 丨ARCH 2211丨 JOANNA MALDIS FUCHS

MEDIA: PASTELS

03 VISUALIZE

LIGHT CONDITIONS DRAWING MEDIA: CHARCOAL 23 CARRERA 丨ARCH 1200丨 WILL WITTIG

LIGHT CONDITIONS DRAWING MEDIA: CHARCOAL

03 VISUALIZE

MODERN MONASTERY MIXED MEDIA: PASTELS AND WATERCOLOR 35 CARRERA 丨ARCH 2211丨 JOANNA MALDIS FUCHS

A T T I R E F O R M A L

TEXTILES FORMAL ATTIRE

04 TEXTILES

As a designer, I am interested in preserving and exposing Mexican culture and heritage outside of the realm of architecture. One of the many ways I do so is through the art of fashion design. This section of my portfolio features a collection of formal attire that focuses on portraying Mexican culture in a modernized and formal manner. On the last page of this section, I featured a dress designed by myself that was fabricated by local artisans in the state of Chiapas, Mexico. By having local artisans craft the physical dress, it allowed for the community in Chiapas to be directly involved in the making and spread of the Mexican culture, thus adding a layer of authenticity and significance to the design. 39 CARRERA 丨FORMAL ATTIRE

04 TEXTILES

This design is inspired by the Quetzal. The Quetzal is a vibrantly colored bird found in Southern Mexico to Panama. The Quetzal is an important symbol in both Aztec and Mayan culture. The word quetzal means “precious” or “sacred” in several Mesoamerican languages. It was considered to be divine and sacred. The Quetzal Dress embodies the divinity and sacredness of the majestic and colorful bird. The long train of the dress symbolizes the Quetzal’s long elegant tail feathers.

41 CARRERA 丨FORMAL ATTIRE

PHOTO BY TRUPTI DEVDAS NAYAK

04 TEXTILES

43 CARRERA 丨FORMAL ATTIRE

J E W E L R Y

CULTURA JEWELRY DESIGNS

05 CULTURA

As a designer, I am interested in preserving and exposing Mexican culture and heritage outside of the realm of architecture. Besides fashion design, I utilize jewelry design to accomplish this. This section of my portfolio feautures earring designs inspired by the rich, colorful, and vivid culture of Mexico. There are four collections that embody some of the Mexican culture. The first is the Talavera Collection. The Talavera is a type of majolica (common pottery with metallic enamel) from the states of Puebla and Tlaxcala. The tradition of its manufacture date back to the 16th century. The colors used in its decoration are blue, yellow, black, green, orange and mauve. 47 CARRERA 丨JEWELRY

THE TALAVERA COLLECTION

05 CULTURA

The second collection is the Barro Collection. Barro is the Spanish name for clay. Its uses are range from construction, the manufacture of containers to store water, crafts such as clay vases, decorative elements and sculptures, etc. This collection is inspired by the many uses of barro and the prehispanic times.

THE BARRO COLLECTION 49 CARRERA 丨JEWELRY

The third collection is the Frida Collection. Frida Kahlo was a Mexican painter known for her many portraits, self-portraits, and works inspired by the nature and artifacts of Mexico.

THE FRIDA COLLECTION

05 CULTURA

The fourth collection is the Textile Collection. The collection is inspired by the textiles of Mexico, which make up an importnt aspect of its culture. The designs on the right are inspired by the brightly colored shawl known as El Sarape. The earrings on the far right are inspired by the floral Mexican embroidery known as El Bordado. The earrings that are the second furthest from the right are inspired by the floral apron worn with the traditional dress from the state of Veracruz.

THE TEXTILES COLLECTION 51 CARRERA 丨JEWELRY