CAMILLE VIGIL SELECTED WORKS
2015-2022
CAMILLE VIGIL The University of Texas at Austin School of Architecture camille.vigil@utexas.edu 972-365-2717 SELECTED WORKS
CONTENTS PERSONAL & ACADEMIC WORK
PROFESSIONAL WORK CV
Rwanda Chapel
1
Chapel on Ruins
15
Bauhaus Archive
29
Terra Firma
39
Austin Green Joule
43
Micropolitan America
51
Continuum of Memory
57
ISSUE Publication
61
OTA+ |Austin, Texas
63
Resume
65
Finalist Young Architects Competition
RWANDA CHAPEL
Summer 2019 | International Competition Entry Location: Ruokomo, Rwanda
Team: Giovanni Casalini, M. Arch, Politecnico di Milano Jury: Eduardo Souto de Moura, Peter Eisenman, Sean Godsell, Tatiana Bilbao, Jean Paul Uzabakiriho, Simon Frommenwiler, Sol Madridejos, Walter Mariotti, Andrea Boeri Located upon the slope of the site extents, the intervention uses the site area’s bounding edge as a base from which to wrap a path traversing the site in order to activate it in its entirety, establishing it as a holy ground. Having three perceived corners, this intervention occupies one, with slated future development at another, and potential for further development at the third. The church intervention thickens from this path to protrude slightly from the hill as a substantial mass and is sited as an object that evokes permanence; a place of refuge and peace for the community. The intervention itself is sensitive in form to reference typical Catholic church typologies and historical context, as well as regional culture and building materials with rammed earth. Arches reference historic cloisters to form the plaza surrounding the church, and the church itself takes on a form that is archetypal of religious architecture, while being embedded into to a modern intervention. The thickened wall surrounding the church hosts niches that ornament the perimeter of the plaza, providing instances of potential pause and prayer. This plaza offers flexibility in expansion of congregation, with a recessed entry that can serve as an exterior altar. Universality of the Church establishes a logic that follows a typology that is everlasting in figurative intention, holding true to core values of Catholic architecture.
1
2
Site extents.
Overall Views.
3
Edge as intervention 1. Intervention 2. Potential new development 3. Planned development
Path along
Roof Level +5 m
Spatial Articulation +/- 0 m Vertical Circulation
Lower Level +/- 0 m Primary Circulation | Access to Plaza Secondary Entry to Site 4
Lower Level Plan.
5
Church Plan.
6
Church Approach.
7
Section Sequence.
8
Church Interior Looking to Altar.
Transverse Section of Church.
9
Church Interior Looking to Entry.
Longitudinal Section of Church.
10
Niche 1
Niche 2
11
View across niches.
12
Church interior.
13
Church altar.
14
Design Excellence Nomination Issue 018 Publication
CHAPEL ON RUINS Spring 2018 | Professor: Johanna Reed Location: Mission Espada, San Antonio, Texas
This intervention at the Mission Espada is about creating the addition of a nondenominational chapel and meditation space that respectfully maintains the existing prominence of the site’s ruins and elevates them, so as to commemorate their former, but presently decayed, glory. In restoring the old church ruins to restore their lost ephemeral qualities, a light structure side-steps the ruins and layering of lighting features figuratively builds up its walls by means of an exterior steel screen, frosted glass, and wooden louvers. This project expands program in keeping with this same intention; submerging this new inhabitable space partially into the ground to preserve sight lines to the existing Catholic church and new chapel. This expansion of program uses dimensions of the existing ruins as a template from which to derive a parti; the organizational grid is drawn from the remaining evidence of the ruins’ decayed columns. The building housing the meditation spaces and office uses a layering of walls that is reminiscent of that of the chapel, but offers a distinctly different experience in inherent material quality.
15
16
Urban analysis of San Antonio.
17
Mission Espada analysis.
18
Site plan.
19
Site approach.
Lawn between meditation space and chapel.
Descent into site.
20
21
Lawn section.
NORTH SOUTH SECTION 1/8”=1’
NORTH SOUTH SECTION 1/8”=1’
NORTH SOUTH SECTION Meditation space section. 1/8”=1’
NORTH SOUTH SECTION 1/8”=1’
EAST WEST SECTION Transverse section through chapel, lawn and meditation space. 1/8”=1’
EAST WEST SECTION 1/8”=1’
22
23
Chapel section.
24
25
26
Meditation space interior.
27
Chapel interior.
28
BAUHAUS ARCHIVE Advanced Studio | Spring 2020 Location: Tel Aviv, Israel
Outdated and nearly abandoned, Atarim Square in Tel Aviv, Israel, is situated between a bustling boardwalk, and one of Tel Aviv’s most popular boulevards. Tel Aviv is home to the world’s most populous concentration of Bauhaus buildings and its “White City“ neighborhood is a designated UNESCO World Heritage Site. The site’s location is along a critical artery; visitors and locals cross through the enormous square to traverse the city only out of necessity. Atarim Square was the product of a 1950s brutalist vision for a concrete hub of beachfront commerce and vast open space. It’s original vision became muddled by its overbearing and harsh concrete design. This proposal aims to extend use of the site and reclaim intentions from Atarim Square’s original vision to drive visitors to the Mediterranean Sea. In this intervention’s redesign, a Bauhaus Archive and park provide public amenity and local culture. Tel Aviv’s Bauhaus Archives are currently located behind lock and key at the Tel Aviv Museum of Art, and are not visible to the public at will. Taking cues from the original design’s language and program, as well as the city’s heritage, this intervention provides a metaphorical and physical linkage to the city’s recent and ancient histories. The archive provides an auditorium, multiple galleries, and archive space for some of Israel’s most precious historic documents regarding its Bauhaus heritage, and it’s even more historic relationship to the Old City of Jaffa. In sequence, the building’s circulation and galleries display artifacts alongside strategic views; the street-side galleries direct views back toward the city’s Bauhaus skyline, while the two lower galleries look toward the centuries-old Jaffa neighbohood and Mediterranean Sea. Finally, the building’s tower gallery aims visitors directly at a view of the Mediterranean Sea and the Jaffa neighborhood’s centuries-old Clock Tower, which is visible from the site. . 29
30
Urban Site Plan.
31
Overall Exterior View.
32
33
Tower and Boardwalk View.
Section through Tower.
34
Entry and Archive Wall.
35
Courtyard View.
Section through Entry and Atrium.
Section through Atrium, Main Archive and Courtyard.
36
Tower Exhibit Area.
Tower Observation Deck.
37
38
Submission The Sukkah Project
TERRA FIRMA
Spring 2018 | Independent Competition Entry Location: Dallas, Texas
The celebration which has prompted the creation of sukkahs over generations has maintained its intention regardless of the passing of time. It is a reminder of the roots of fundamental beliefs in Jewish religion. With this, the concept of Terra Firma is to serve, likewise, as a reminder of humility and uses a materiality that directly correlates to a mindset that keeps one grounded, literally, to the Earth and its bounties; Terra Firma translates to “the ground as distinct from the sea or air”. It is modern in form, yet follows tradition in materiality and construction. Offset symmetry of Terra Firma offers an organic, evolved iteration of the traditional sukkah design. Having eight sides with one entry encourages a circulation through the space that is not inherently linear, but rather, is flowing and circular in keeping with an organic experience. This eightsided form abides by the qualities and nature of its construction material, bamboo. Although the form is made of linear panels, it implies a domelike derivation; as panels meet at a single point at its top, the flexible bamboo pushing outward allows the structure to hold itself stable by means of self-tensioning.
39
40
41
10’ - Top of Structure
7’ - Entry Clearance
3’ - Top of Opening 0’ - Ground Left Elevation
Back Elevation
Front Elevation
Right Elevation
10’ - Top of Structure
7’ - Entry Clearance
3’ - Top of Opening 0’ - Ground Section A
Roof Plan
Section B
Plan Cut at 4’
Building Footprint
42
AUSTIN GREEN JOULE Advanced Studio | Fall 2018 Location: Austin, Texas
Team: Tanvi Solanki, B. Arch, The University of Texas at Austin This project intends to display sustainable concepts directly as visitors view the building, as well as create public space, given that the building is otherwise functioning as private offices and research labs. Using a protruding masonry screen that is integrated into the building’s facade and massing, two courtyard public spaces are created to funnel people into the site to provide a public amenity. Passive sustainable means are used in the building’s first two levels, and on its third, the greenhouse inherently requires its own systems. The greenhouse systems are visible to the outside, cantilevering 15 feet and placed figuratively on a pedestal atop the building’s massing to act as a beacon of light and pedagogy. Glazing is limited to the ground floor and spaces facing the courtyards. Otherwise, the brick facade is perforated with a gradient of glass blocks, which provide intentional, streaming of light while maintaining privacy from the street for offices. The glass blocks further ornament the building’s massing with respect to the greenhouse beacon above. Research labs are housed in the basement given the need to control daylighting. To provide access to daylighting, light wells surround the building and can be seen at the ground level as a landscape feature. A consistent core of communal spaces is provided in the basement, first, and second levels, providing another source of access to daylighting between floors.
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Winter Sun Summer Sun
3. 4.
1825 McBEE ST. AUSTIN, TX 78723
Program 1. Austin Green Building Machine 2. Offices 3. Exhibition 4. Review Room 5. Auditorium 6. Communal Lobby Space 7. Bike Storage 8. Administration 9. Research Labs 10. Mechanical Room
AUSTIN GREEN JOULE
Site Climate Analysis.
12/06/18
Program Diagram.
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12/06/18
ARCHITECTURAL
DIAGRAMS
Site Plan.
46
OFFIC
Office Interior.
1
2/A200
2
2.1
1/A202
GREE 3
4/A200
4
1
5
A
A
3/A200
3/A200
2/A200
2
2.1
1/A202
3
4/A200
4
1
5
A
A
3/A200
A
3/A200
3/A200
B
B
B
B
C
C
C
C
C
D
D
1/A201
1/A201
E
E
1/A200
1/A200
D
D
1825 McBEE ST. AUSTIN, TX 78723
1/A200
AUSTIN GREEN JOULE
B
1/A200
1/A201
1/A201
1/A200
D
1/A201
E
E
E
2/A
12/06/18
12/06/18
F
F
1
2
2/A200
1/A202
3
4/A200
4
F
5
1
2/A200
2
1/A202
3
4/A200
4
5
ARCHITECTURAL
GROUND
A-102
Main Level Plan.
1
2/A200
2
2.1
1/A202
3
4/A200
4
1
5
2/A200
2
2.1
1/A202
3
4/A200
4
5
47 A
F
F
A
A
A
1
2/A
Building Components 1. W8 Steel Wide-Flange Columns 2. 28” Deep Wide-Flange Girders 3. 20” Deep Wide-Flange Beams and Joists Spaced 10’ Apart 4. 3” Steel Cellular Floor Decking 5. Glazing 6. Perforated Screen Facade Extension 7. Glass Blocks 8. 6.5” Concrete Two-Way Flat Slab Foundation, 30’ Span; 12’ Conventional Reinforcing with 26” Square Footings; 9” PostTensioning with 18” Columns
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T.O. GREENHOUSE 50’ - 0” T.O. GREENHOUSE 50’ - 0”
T.O. PARAPET 33’ - 0” T.O. PARAPET THIRD LEVEL 33’ -- 0” 30’ 0” THIRD LEVEL 30’ - 0”
1825 1825 McBEE McBEE ST.ST. AUSTIN, AUSTIN, TXTX 78723 78723
West Elevation.
GROUND LEVEL 0’ - 0” GROUND LEVEL 0’ - 0”
AUSTIN AUSTIN GREEN GREEN JOULE JOULE
SECOND LEVEL 15’ - 0” SECOND LEVEL 15’ - 0”
T.O. GREENHOUSE 50’ - 0” T.O. GREENHOUSE 50’ - 0”
T.O. PARAPET 33’ - 0” T.O. PARAPET THIRD LEVEL 33’ -- 0” 30’ 0” THIRD LEVEL 30’ - 0”
SECOND LEVEL 15’ - 0” SECOND LEVEL 15’ - 0”
North Elevation.
GROUND LEVEL 0’ - 0” GROUND LEVEL 0’ - 0”
12/06/18
12/06/18 12/06/18 12/06/18
ARCHITECTURAL
ELEVATIONS ARCHITECTURAL ELEVATIONS
A-301 A-300
Glass Block Assembly 1. Glass Block 2. Metal Sleeve 3. Encasement for Attachment to Framing within Wall 4. Metal Cover for Interior Finishing
Detail Axon.
49
CL RE: 1/A601
T.O. PARAPET 33’ - 0”
22 11 1 29
27 20
THIRD LEVEL 30’ - 0”
19 28
RE: 5/A600
14 7 2 6
RE: 2/A600 5 4
12
3
10
RE: 1/A600 8 9
RE: 4/A600
SECOND LEVEL 15’ - 0” 23 18 15
17
RE: 6/A600 25
GROUND LEVEL 0’ - 0”
13
16
UNDERGROUND LEVEL -20’ - 0”
1 2 3 4 5
TERRA COTTA RIGID INSULATION MASONRY ANCHORS FLASHING WEEP HOLE
6 7 8 9 10
VAPOR BARRIER SILL PLATE SHEATHING BATT INSULATION METAL STUD FRAMING
11 12 13 14 15
BLOCKING GLASS BLOCK ANCHOR BOLT DECKING STEEL BEAM
16 17 18 19 20
FOUNDATION WALL CURTAIN WALL VENEER SLEEPERS PEDESTALS PAVERS
21 22 23 24 25
CONCRETE GROUT COPING FINISH FLOOR GLAZING POCKET STRUCTURAL TUBING
26 27 28 29
CONCRETE CURB STRUCTURAL BRACING ROOFING TERRA COTTA TUBE
Construction Elevation.
12/06/18
ARCHITECTURA
WALL SECTI
A-500
AUSTIN GREEN JOULE 1825 McBEE ST. AUSTIN, TX 78723
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MICROPOLITAN AMERICA Advanced Studio | Fall 2019
Location: Ozona, Texas and Sonora, Texas
Team: Alicia Chen, B. Arch, The University of Texas at Austin Micropolitan America was a project which sought to explore the trajectory of small towns in rural, small-town, West Texas. This studio was narrative based and progressed by establishing a greater urban move that would then dictate how design could progress beyond it. Final drawings aimed to capture the urban scheme in an ironically pragmatic way in axonometic maps, and renders express underlying dystopian nature of touristic stereotypes of the place. Focusing on two sister towns, Sonora and Ozona, Texas, a dynamic was observed that prompted a narrative that furthered it to an extreme. The narrative envisions these towns as becoming increasingly intertwined; symbiotic but also parasitic in that one becomes exploited for touristic gain. Radical futures of the towns meant that Sonora, a resource-lacking, touristic town, would ultimately escalate to the likes of an 1amusement park. All of its residents would move out and away to the nearby town of Ozona. Ozona’s future held one of great industrial advancements and an exaggerated version of itself as it already exists. The impact of tourism drew one town to an exploitive stereotype of itself; a caricature of small aspects amplified to appeal to an economy of passersby. Meanwhile, those displaced are forced to find community elsewhere, sometimes remaining segregated, intentionally or not, and sometimes integrated in a holistic way.
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Ozona, Texas “In Ozona, a radically different stylistic environment is introduced to a very industrial place. A migrant population must adapt while attempt to preserve identity. We can learn from these towns. Cities and towns across America are evolving in trajectories parallel to Ozona and Sonora. When people of different socioeconomic class and aesthetic values move into a neighborhood that does not share those same ones, what challenges do the social, cultural, and aesthetic dialogues bring? What realities are exposed?“
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“The gleaming replica of Sonora’s courthouse in Ozona amid a colorful and bright main street.”
“New street names were demarcated by new red paved roads, synthesizing a new fabric for the town. “
“Two towns cohabitate yet maintain their own identity; municipalities, institutions, street lamps, iconic red trash cans, ornate benches, and brilliant fire hydrants.”
“Beautifying RV sheds creating them as homes, fitting some neoclassical elements, new gables, and further ornamentation.”
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Sonora, Texas “In Sonora, where tourism has completely taken over, we felt transported to a dystopian utopia. As the novelty of Sonoraland dies, more and more people are recognizing perhaps the gross and almost perverse exploitative nature of these places. Even in a remote place, the effects of tourism are still clearly manifested. When we look at what happened to Sonora, the realities we see directly express the willingness to trade the profit from fabrication of a place for something more authentic. What are the ramifications of tourism? When the wealth disparity of the world is becoming greater and greater, how are the landscapes of the rich manifesting?“
55
“Sonora’s dying oil industry prompted the question of how the city would go on; how could a place survive with no resources? The answer festered in its most valued buildings; its beloved courthouse and main street.“
“Two types of town conditions exist; the resort park for tourists and the sanctioned zones to service the resort. Like Disneyland, it is a place we perceive as perfect, and yet we know it is entirely fabricated.“
“Retractable veils hide back of house zones such as machinery, parking, offices, maintenance, worker housing and facilities. All the dirt and grime that comes with running a resort is out of sight and out of mind.“
“The only entrance to its north, leads through into a visitor parking lot. Leaving your car behind, you pass once more through the picturesque storefronts and finally enter the park, and find yourself in a town preserved in time and growth.”
56
Submission The Catholic Foundation: Arts on the Plaza
CONTINUUM OF MEMORY
Winter 2022 | Arts on the Plaza Mural Competition Entry Location: Dallas, Texas
Medium: Colored Pencil
57
The Arts on the Plaza Competition was held by The Catholic Foundation in Dallas, Texas to seek out mural submissions for a 48’ x 9’ wall in Downtown Dallas on a street adjacent to the historic Guadalupe Cathedral. In summary, this piece takes architectural details from buildings in the Dallas Arts District, as well as other iconic Downtown buildings, and conglomerates them to express experiential impactfulness in a non-linear way; not all at once, but layered by the elements that make them memorable as we visit time and time again. Elements are loosely arranged along an axis, just as the Arts District is along Flora Street. This piece serves as an abstract analysis of our perception of “place“ as it evolves over time, which seeks to map out that which is often inexplicable; the sentimental value of a place. Buildings are what remain as constant vessels to the functions they house and the views they frame. Thus, this piece stakes the experience of the Arts District as multi-dimensional; a continuum; a layered cumulation of visits and range of experiences over time.
Mural Submission.
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59
PROFESSIONAL WORK
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ISSUE PUBLICATION
Student-Run Publication | January 2020-May 2020 The University of Texas at Austin Austin, Texas
Role: Head of Submissions Team: Ian Amen, Alicia Chen, Zeke Jones, Robbie Anderson, Heather Corcoran, Fatima Betts, Makayla Rutt, and Cole Bennette. Graphic Designer: James Walker ISSUE is the annual student work publication. Each year, it is developed and compiled by a team of current students, and each year’s edition is intended to represent the design and work that defined the school during that time. There is little to no confluence or continuity between years, which leads each edition to being distinct from the next. Each editorial team is a unique set of undergraduate and graduate students from the School of Architecture, and there is no required formatting of the publication. For ISSUE XVI (the publication’s 16th edition), our team had a strong desire to promote further student submission and involvement in the publication. Because the school is multi-disciplinary in nature, the ISSUE team wanted to showcase the range of project types and styles, as well as studio and course topics. From environmental to extremely speculative, the range of work we observed varied so widely that it was often conflicting in nature when viewed in justaposition. Furthermore, we recognized the multitude of topics of seemingly opposing natures. We also recognized dichotomies within the school itself that become apparent between studios, disciplines, and project types. Working through multiplicity is a frequent characteristic of the design process, and this notion is what informed the design, layout, and framework used in ISSUE XVI to present student work.
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Publication Photography by James Walker.
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OTA+
Creek Show Installation | Fall 2016 Location: Austin, Texas
Design: Kory Bieg Team: Camille Vigil, Tanvi Solanki, Draven Pointer, Christian Pena, Raymond Castro, Sydney Galloso and Georgina Cantu Creek Zipper was a temporary installation designed and built for the 2016 Waller Creek Show in Downtown, Austin, Texas, sponsored by the Waller Creek Conservancy. The project invited artists and architects do design installations that played with lighting to animate a typically underutilized stretch of Waller Creek. Over a two month period, I helped with the pre-fab preparation of hundreds of folded aluminum panels that were then transported and installed on site. Each panel piece was numbered and had three to four components that, once folded, fit together with screws to form each module. The modules varied in size and blue LED lights were installed in each of them to produce the glowing effect of the “zipper” downstream.
63
Completed Installation.
64
CAMILLE VIGIL
CAMILLE VIGIL
https://issuu.com/camillevigil camille.vigil@utexas.edu 972.365.2717 632. W. 12th Street Dallas, Texas, USA 75208
https://issuu.com/camillevigil camille.vigil@utexas.edu 972.365.2717
LICENSURE PROGRESS ARE 5.0 EXAMS
AXP EXPERIENCE 3758 HOURS APPROVED 62 HOURS REMAINING �CE�
PCM COMPLETE
PJM
PA
CE
PPD
PDD
COMPLETE
COMPLETE
COMPLETE
UPCOMING
UPCOMING
EDUCATION
RELEVANT EXPERIENCE
THE UNIVERSITY OF TEXAS AT AUSTIN Bachelor of Architecture Graduated: August 2020 GPA: 3.64/4.0
CHRIS COBB ARCHITECTURE | AUSTIN, TEXAS, USA Junior Designer, August 2020-May 2022 • Contributed to design of both architecture and interior design on a variety of phases (SD, DD, and CD) • Produced client presentations, renders, permit sets, construction documents, diagrams, and site programming and analysis documents
ACTIVITIES + INVOLVEMENT PROFESSIONAL RESIDENCY PROGRAM Coordinator, Spring 2020 ISSUE PUBLICATION COMMITTEE Head of Submissions, Fall 2019-Spring 2020 UTSOA PORTFOLIO WORKSHOP Presenter, Fall 2018, Fall 2019 AIA HOMES TOUR Docent, 2015, 2016, 2018, 2019 HABITAT FOR HUMANITY Member, January 2016-2017
SKILLS
OLSON KUNDIG | SEATTLE, WASHINGTON, USA Architectural Intern, January-July 2019 • Worked on residential, commercial, and mixed-use projects (SD, DD, CD, and CA) • Produced renders, construction documents, and presentations • Contributed to competition proposal submissions GFF ARCHITECTS | DALLAS, TEXAS, USA Intern, May-August 2018 • Religious architecture focus (SD, DD, and CD) Intern, December 2017-January 2018
Intern, May-August 2017 OTA+ | AUSTIN, TEXAS, USA Intern, October-November 2016
HONORS + ACHIEVEMENTS
DIGITAL Vectorworks Sketchup Rhino InDesign Revit
Photoshop Illustrator AutoCAD SketchUp Enscape
ANALOG Hand Drawing Drafting Water Coloring
Sketching Model Making Wood Working
YOUNG ARCHITECTS COMPETITION | FINALIST Rwanda Chapel, Published, June 2019 | Team: Giovanni Casalini • International Design Competition with jury including Peter Eisenman, Eduardo Souto de Moura, Sean Godsell, Tatiana Bilbao, and several others. AIA NEW YORK'S CENTER FOR ARCHITECTURE | DOUGLAS HASKELL AWARD FOR STUDENT JOURNALS Awarded to Issue Publication Committee, 2020 • Awarded in recognition of UTSOA's 2020 Issue XVI Publication for intelligent criticism and design discussion in a student-run publication. ISSUE XVI PUBLICATION | Published, 2020
DESIGN EXCELLENCE AWARD NOMINATION | Spring 2018
UNIVERSITY OF TEXAS PRESIDENTIAL SCHOLAR | JULY 2015-2020
UT SCHOOL OF ARCHITECTURE CONTINUING SCHOLARSHIP | July 2016-2020
Thank you.