APPLICATION PORTFOLIO AA LONDON

PORTFOLIO ELEMENTAL PROGRAMME

CHRISTIAN FRANCO FLORES GARCÌA

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C O N T E N T

T1

URBAN EQUIPMENT FIRST HUACAS`S INCLUSIVE MUSEUM LIMA CENTRE - PERÙ pag.04-11

Design of the first inclusive museum with the main topic “huacas”, and develop how this building affects in this context, The historical Lima´s Centre.

T2

STRUCTURES AND DESIGN KINDER GARDEN + CO-WORKING PUCUSANA - PERÙ pag.12-19

The lack of time of parents with their children represents the main problem, the unification of both systems may be the solution.

T3

URBAN PLANNING URBAN INTERVENTION OF PUBLIC SPACES SURQUILLO - PERÙ pag.01-02

T4

ART TO ARCH PAINT ANALYSIS ON SECTIONS UTOPIA pag.01-02

T5

DIGITAL FABRICATION PARAMETRIC FURNITURE SURCO - PERÙ pag.01-02

The urban development of Surquillo will be guided by some strategies to exploit his potencial and increase security, mobility, and public spaces.

In this task, the relation between paintings and architecture will be design as interior and exterior spaces.

The propose of parametric furniture for students at University of Lima in differents places of this educative institution.

03

T1

FIRST HUACAS´S INCLUSIVE MUSEUM Topic Year Place

Urban Equipment 2018 Lima´s Centre - Perú

ABSTRACT: This work aims to design the first inclusive museum for the huacas of Lima in the historic centre of Lima.

They focused on 5 points to start with the design, which were function, place, universal accessibility, user and atmosphere.

When planning this building in a historic site such as the centre of Lima, several parameters had to be taken into account in order to respect the urban context, such as the urban profile, the levels, the materiality, etc.

By way of reflection and conclusion, I can say that this project, besides being one of my favourites in terms of development, context and users, helped me in the emphasis that a project must have when facing certain urban contexts, how these relate to other buildings and how it can add and even add more value and culture to the place of development.

In addition, this complements my knowledge when thinking about a user who is often left out when designing and who is not given due importance in all buildings, architecture is a great tool to support people in accessibility issues.

“The only disability is when people cannot see human potential.”

Debra Ruh, 1952.

04

SITE RECONNAISSANCE

ZONE TO INTERVENE ROUTES PUBLIC EQUIPMENT SQUARES PUBLIC TRANSPORT STOP

2 OF MAY SQUARE

PEDESTRIAN ZONE

CRILLÒN BUILDING

WORK ZONE

USERS

FIVE POINTS USER

DISABILITY

SYNDROME

DEAF - MUTE

KIDS

GRANDPARENTS

USUARIO

ATMOSPHERE

TARGET

The heart of the project focuses EL NÚCLEO DEL PROYECTO SE CENTRA EN LA INCLUSIÓN, on inclusion, it DEis SER ASI, EL PROYECTO ESTA adapted toTIPO DE all ADECUADO A TODO USUARIO UNIVERSAL types of users.

TACTILE

MOVILITY

SENSATION

VISUAL

FUN

CALM

PLACE

FUNCTION

ATMOSPHERE

FUNCIÓN

ATMÓSFERAS

UNIVERSAL ACCESSIBILITY

ADULTS

INTERACTION

BLIND

SAN MARTIN SQUARE

MENTALITY

LUGAR

To go and exploit the museum's DIRIGIRSE Y EXPLOTAR VISUALES PARA MAYOR visuals for ATRACTIVO huacas DEL MUSEO PARA HUACAS EN in ELthe centre CENTRO DE LIMA of Lima.

Museum focused on the huacas and giving emphasis to the archaeological remains through coordination within the context.

MUSEO ENFOCADO A LAS HUACAS, DARLE ÉNFASIS A LOS RESTOS ARQUEOLOGICOS Y QUE COORDINDE DENTRO DE UN CONTEXTO

From scale, temperature, DESDE LA ESCALA, TEMPERATURA, PROFUNDIDAD, MATERIALIDAD, depth, materiality, ETC, PUEDE DEFINIR LO ABSTRACcan TO etc., DEL ESPACIO you LO CUAL SERIA LA EXPERIENCIA DEL abstract USUARIO define the HACIENDO USO DEL ESPACIO of space, which can be translated into the experience of the use of space.

ACCESIBILIDAD Spaces and UNIVERSAL accesses that are used and inhabited by all.

ESPACIOS Y ACCESOS RECORRIDOS Y HABITADOS POR TODOS

05

CONCEPT

HUACA OLDIE TACTILE ARCHEOLOGY

EQUAL

TOPOGRAPHY ACCESIBILITY ARTISTIC EXHIBITION

SENSATIONS

TEMPORAL PERMANENT INVESTIGATION CULTURE SOUND VISUAL EDUCATIONAL MUSEUM HISTORICAL

MEMORIES

PHOTOS

TOUCHABLE

NEW

VARIETY

Topography as volumetric design.

Continuing with the theme of the museum, which is aimed at huacas, one way of representing what these archaeological remains offer us are the abrupt breaks that they present, which are then reflected in the design of the building.

Exhibition of accessibility and "huacas".

Beyond being an exhibition of huacas, what should prevail is the inclusion of diverse abilities for the experience of each exhibition being more equal.

DESIGN METHODOLOGIES 1

Open floor plan as a point of interaction

2

Keeping the urban profile

3

Visible vertical circulation core

4

Public space as a reference point

6

Sun and shadow

7

last level as a permanent exhibition

8

Formal street commerce in public space

9

First level as a temporary exhibition

5

10

Volume connection via bridge

Green walls as vertical garden

06

TEMPORARY EXHIBITIONS 1

2

3

The idea of the temporary exhibitions on the first level is that people passing through the museum are interested in entering because the glass façade has engraved images of the exhibitions every 2 weeks, which changes in taste and does not become repetitive.

Although it is a museum for huacas, the temporary exhibitions are dedicated to another type of exhibition, as we can see in the image 1, the window shows us a painting of Toulouse Lautrec, and by the images 2 and 3, it shows us an exhibition of black and white photos.

07

PERMANENT EXHIBITIONS

The strategy of linking the two sites by a bridge on the top level was mentioned, so there must be a reason why people want to go up and pass from one volume to the other, the proposal was to take the bridge as a permanent exhibition showing as a parametric design the shape of a huaca on the whole wall so that people, especially blind people, can feel what it is about the topography.

08

PUBLIC SPACE AND CONTEXT

The public space as such is seen in the photos as a central point in which all the interior spaces have a relationship with it either visually or physically, also this space presents in its back part an area of vertical garden, which has as purpose with alley of varied sensations for blind people who can feel the vegentacion without being lying down and also a different atmosphere for people with syndrome that are guided more by their sensations.

The inclusion of the formal commerce that characterises the centre of Lima can also be seen in the project, which promotes local commerce.

09

PLANIMETRY

JUNTA DE DILATACIÓN

JUNTA DE DILATACIÓN

JUNTA DE DILATACIÓN JUNTA DE DILATACIÓN

JUNTA DE DILATACIÓN JUNTA DE DILATACIÓN

JUNTA DE DILATACIÓN

JUNTA DE DILATACIÓN JUNTA DE DILATACIÓN

JUNTA DE DILATACIÓN

JUNTA DE DILATACIÓN JUNTA DE DILATACIÓN

COMEDOR DEL PERSONAL

ESPACIO PÚBLICO ZONA DE ESTAR/ CAFE

E. PERMANENTE (H. PUCLLANA) (FOTOGRAFIAS)

LOTE VECINO

E. PERMANENTE (H. PURUCHUCO) (AUDIOVISUAL)

ESPACIO PÚBLICO ZONA DE ESTAR/ CAFE

ESPACIO PÚBLICO ZONA DE ESTAR/ CAFE OFI. DIRECCIÓN

OFI. DOCUMENT.

OFI. SECRETARÍA

OFI. MUSEOLOGO

LOTE VECINO

ESPACIO PÚBLICO ZONA DE ESTAR/ CAFE

LOTE VECINO

LOTE VECINO

PARED VERDE

OFI. SEGURIDAD P: 0.35m CP: 0.175m H: 3.00m

P: 0.35m CP: 0.175m H: 3.00m

ARCHIVO DE LAS OBRAS

P: 0.35m CP: 0.175m H: 3.00m

OFI. MUSEOGRAFO

CUARTO DE SERVICIO

CUARTO DE SERVICIO LOTE VECINO LOTE VECINO

LOTE VECINO

LOTE VECINO LOTE VECINO

LOTE VECINO AUDITORIO Y SALA DE CONFERENCIAS

L: 12.50m H: 1.00m P: 8%

LOTE VECINO LOTE VECINO

LOTE VECINO CUARTO DE PROYECCIÓN

L: 12.50m H: 1.00m P: 8%

LOTE VECINO

LOTE VECINO

L: 12.50m H: 1.00m P: 8%

SALA DE REUNIÓN

LOTE VECINO

LOTE VECINO

LOTE VECINO

LOTE VECINO

ESPACIO PÚBLICO COMERCIO AMBULATORIO ALIMENTICIO (CARRETILLAS)

TALLER DE MONTAJE DE EXPOSICIONES

ESPACIO PÚBLICO COMERCIO AMBULATORIO ALIMENTICIO (CARRETILLAS)

E. TEMPORAL (TOULOUSE LAUTREC)

ESPACIO PÚBLICO COMERCIO AMBULATORIO ALIMENTICIO (CARRETILLAS)

ESPACIO PÚBLICO COMERCIO AMBULATORIO ALIMENTICIO (CARRETILLAS)

L: 12.50m H: 1.00m P: 8%

L: 9.20m H: 0.50m P: 5%

ARQ. Y MUSEOGRAFO

L: 12.50m H: 1.00m P: 8%

IMP.3D

JUNTA DE DILATACIÓN

A L: 9.20m H: 0.25m P: 5%

CORTE LÁSER

LABORATORIO

JIRÓN OCOÑA

JUNTA DE DILATACIÓN

JIRÓN OCOÑA

JUNTA DE DILATACIÓN

E. PERMANENTE (H. PURUCHUCO) (SENSORIAL)

JIRÓN CAILLOM

JIRÓN CAILLOM

JIRÓN OCOÑA

JUNTA DE DILATACIÓN

JUNTA DE DILATACIÓN

JIRÓN OCOÑA

L: 9.20m H: 0.50m P: 5%

A

AUDITORIO

A JIRÓN CAILLOM

JIRÓN CAILLOM

A

L: 12.50m H: 1.00m P: 8%

JUNTA DE DILATACIÓN

JUNTA DE DILATACIÓN

JUNTA DE DILATACIÓN

ZONA DE ESTAR

L: 12.50m H: 1.00m P: 8%

L: 9.20m H: 0.50m P: 5%

L: 12.50m H: 1.00m P: 8%

CORTADORA CNC

IMP.3D

TALLER POLIFUNCIONAL

FAB LAB

ZONA DE DESCARGA

IMP.3D

OFICINA DIRECTOR FAB LAB

ESPACIO PÚBLICO ESCULTURAS AL AIRE LIBRE

SS.HH

ESPACIO PÚBLICO ESCULTURAS AL AIRE LIBRE JUNTA DE DILATACIÓN

JUNTA DE DILATACIÓN

JUNTA DE DILATACIÓN

JUNTA DE DILATACIÓN

JUNTA DE DILATACIÓN

L: 12.50m H: 1.00m P: 8%

ESPACIO PÚBLICO ESCULTURAS AL AIRE LIBRE

VINIL

L: 12.50m H: 1.00m P: 8%

SS.HH

L: 12.50m H: 1.00m P: 8%

SS.HH

CUARTO SERV.

SS.HH

CUARTO SERV. L: 9.20m H: 0.25m P: 5%

LOTE VECINO

LOTE VECINO

SS.HH

CUARTO SERV.

L: 9.20m H: 0.50m P: 5%

LOTE VECINO

LOTE VECINO

LOTE VECINO

LOTE VECINO

SS.HH

SALA DE INFORMES

JUNTA DE DILATACIÓN

JUNTA DE DILATACIÓN

ALMACEN

JUNTA DE DILATACIÓN

TALLER DE DESEMBALAJE Y REMODELACIÓN ESPACIO PÚBLICO ESCULTURAS AL AIRE LIBRE

LOTE VECINO

SS.HH

LOTE VECINO

TIENDA DE SOUVENIER L: 9.20m H: 0.50m P: 5%

L: 9.20m H: 0.50m P: 5%

ZONA DE ACOGIDA

INGRESO

P: 0.35m CP: 0.175m H: 3.00m

P: 0.35m CP: 0.175m H: 3.00m

P: 0.35m CP: 0.175m H: 3.00m

BOLETERIA L: 0.50m H: 0.20m P: 7%

L: 0.50m H: 0.20m P: 7% JUNTA DE DILATACIÓN

JUNTA DE DILATACIÓN

BARRA - CAFÉ

E. PERMANENTE (H. PURUCHUCO) FOTOGRAFÍAS

CAFETERIA

ESPACIO PÚBLICO EXPOSICIÓN DE OBRAS DE ARTE AL AIRE LIBRE

UL CARRERA DE ARQUITECTURA

COCINA

01 UL

MUSEO DE LAS HUACAS DE LIMA

PRIMER MUSEO INCLUSIVO DEL PERÚ ALUMNO:

ESCALA:

CHRISTIAN FLORES GARCÍA

UNIVERSIDAD DE LIMA

LÁMINA

08 JULIO 2019

NIVEL1

USUARIO

LUGAR

FUNCIÓN

ATMÓSFERA

ACCESIBILIDAD UNIVERSAL

CARRERA DE ARQUITECTURA

02 UL

MUSEO DE LAS HUACAS DE LIMA

PRIMER MUSEO INCLUSIVO DEL PERÚ ALUMNO:

ESCALA:

CHRISTIAN FLORES GARCÍA

UNIVERSIDAD DE LIMA

1:100 PLANO:

FECHA:

JUNTA DE DILATACIÓN

L: 0.50m H: 0.20m P: 7%

E. TEMPORAL (DA VINCI)

JUNTA DE DILATACIÓN

L: 0.50m H: 0.20m P: 7%

LÁMINA

PLANO:

FECHA: 08 JULIO 2019

NIVEL2

USUARIO

LUGAR

FUNCIÓN

ATMÓSFERA

ACCESIBILIDAD UNIVERSAL

CARRERA DE ARQUITECTURA

03 UL

MUSEO DE LAS HUACAS DE LIMA

PRIMER MUSEO INCLUSIVO DEL PERÚ ALUMNO:

ESCALA:

CHRISTIAN FLORES GARCÍA

UNIVERSIDAD DE LIMA

1:100

LÁMINA

PLANO:

FECHA: 08 JULIO 2019

NIVEL1

MUSEO DE LAS HUACAS DE LIMA

PRIMER MUSEO INCLUSIVO DEL PERÚ ALUMNO:

USUARIO

LUGAR

FUNCIÓN

ATMÓSFERA

ACCESIBILIDAD UNIVERSAL

CARRERA DE ARQUITECTURA

04

ESCALA:

CHRISTIAN FLORES GARCÍA

UNIVERSIDAD DE LIMA

1:100

1:100

LÁMINA

PLANO:

FECHA: 08 JULIO 2019

TECHOS

USUARIO

LUGAR

FUNCIÓN

ATMÓSFERA

ACCESIBILIDAD UNIVERSAL

10

11

T2

KINDER GARDEN + CO-WORKING OFFICES Topic Year Place

Structures and Design 2019 Pucusana - Perú

ABSTRACT: In this project a nest was developed in conjunction with co - working offices in the coastal area of Pucusana, for the children and parents of the area.

As a starting point, the first problem was identified, which is the lack of time parents have to spend with their children due to the high demands of their work.

At the same time, this joint project was designed to solve this problem, as well as to design in detail this nest through different strategies for a main theme, the learning of infants and how architecture takes a role in their education.

As a reflection, I can say that this work helped me to understand how architectural design takes a role beyond being a simple building, being part of being a great use from its formation of the whole as a structure.

“The greatest sign of success for a teacher..... is to be able to say, the children are now working as if i did not exist.”

Maria Montessori, 1952.

12

SITE RECONNAISSANCE

1 2

2

1

Coastal area - Pucusana Beach

2

Commercial area

3

Area to be worked on

4

Residential area

4 4 3

Pucusana 4 4

4

4 4

High density buildings and lack of green corridors.

Public transport stop Vehicle Route Pedestrian Route Pedestrian crossings.

Direct access to the coastal area via a boulevard.

Area to be worked on

4 YEARS OLD

ACTIVITIES

ACTIVITIES

INTEREST

INTEREST

NEECESSITIES

NEECESSITIES

ACTIVITIES

ACTIVITIES

ACTIVITIES

INTEREST

INTEREST

INTEREST

NEECESSITIES

NEECESSITIES

TEACHERS

USERS There is often the problem that "work = less parent-child time", this happens very often when children are kids and parents replace their mother or father figure with a nanny.

These children lose part of their learning within the home, it is not enough to have a kindergarten while parents are working, they also learn and are educated within the home environment.

REFLEXION

ADULTS

OFFICE-WORKING PARENTS

5 YEARS OLD

NEECESSITIES

KIDS

3 YEARS OLD

It would be possible to optimise this working time if an environment of interaction between parents and children is maintained, and that the children are constantly learning while the parents are working.

This practice could be substantiated and expanded, and the idea of "work = no children" could be put to rest.

13

Gamification

UNDERSTAND UNDERSTAND

HAVE FUN

STUDY INTEREST

ACHIEVEMENT ACHIEVEMENT

CONFIDENCE EDUCATION PLAYERS PLAYFUL

PLAY

ENJOY

STRUCTURE ARCHITECTURE CULTURE

ENTERTAIMENT ENTERTAIMENT

GAMIFICATION KINDER-GARDEN EDUCATION PLAYERS PLAYFUL

ACTIVITIES ACTIVITIES

KNOWLEDGE KNOWLEDGE

TRY

LEARN

CONCEPT Gamification will be the central idea of the project, using the design so that the child will see it as a play area, but others will see it as a nest with a more didactic and playful design.

Playing without toys Learning is fundamental, but it is not the idea that children see this place as a boring work area with a single purpose which is to do homework, learning without having to work will be fundamental in every aspect of the project.

HISTORY

EXECUTE

ACTIVE AWAKE

DESIGN METHODOLOGIES 1

2

Internal Colours

Modular Furniture

Group grupal work Trabajo

6

7

External Colours

A

B

C

3

Bio - Garden

8

Sun and Shadow

4

playful topography

5

Organic Shape

Exposition Exposicion

Protective Mantle Cover

1. According to the Waldorf methodology, the presence of colours stimulates learning in the classroom.

2. The use and the various functions they can take within the classroom will be defined by furniture.

3. As a methodology, the bio-garden stimulates the children in the preservation of the natural environment.

4. The design of playful hillocks gives an understanding of the outdoor space as a playful and interactive place.

5. The organic denotes the active movement of the children, as well as protecting them in straight crossings.

6. The classrooms will be identified from a distance thanks to the colours of the facades.

7. This roof covers both programmes and is interpreted as a protective maternal mantle.

8. In addition to the protection by tension, it also protects them from radiation through the mesh.

14

MICRO - STRATEGIES

The proposal of a bio-garden on a second level is due to the confidence that the child must gain when facing the world, in this case, the classrooms of the nest are facing a park, thus making the analogy of sizes "bio-garden - Park".

As explained, colours play a fundamental role when teaching, in this case as gamification related to the sensations that can give the reflections of colour in the windows, it generates an atmosphere of play and work, as well as being capsules of activities inside the classroom for any use, the child can play with his imagination at the same time as he looks at the world through different colours.

Both in the colours as well as in the furniture that can be related as a puzzle and memory toy on the shelves of their possessions, relate each aspect of their learning as a new challenge and game.

15

MACRO - STRATEGIES

The roof should serve as a point of interaction after school, i.e. it should be born at the central point of the radial classrooms as a whole, which lead you all the way through the nest to the Co-Working.

Continuing with the concept of gamification, the supports of the roof will be a point of play, that is to say, using the column in a playful way and mixing within the nest, each radial classroom will have each support.

As a set between the Co-Working and the radial classrooms of the nest, the canopy with its defined support points will also function as a protective mesh or a "mother's blanket" which will be in constant interaction with the infant due to the tension that occurs between the cover heights and the topography.

16

STRUCTURE

Waffle structure which works on the basis of wooden beams with reinforced concrete supports as foundations, these beams are at 45 degrees so that at their crossings they meet at each support.

The beams on the X - Y axis are at 45 degrees opposite each other.

A good example of this style of parametric roof is the Metropol Parasol in Seville with its Waffle style that covers the entire square with its wooden structure and giant concrete columns.

17

PLANIMETRY PLANIMETRIA B

B

B

D

C

C

C

SS.HH

SS.HH

CAPSULAS DE JUEGO

SS.HH

CAPSULAS DE JUEGO

SS.HH

CAPSULAS DE JUEGO

KITCHENETTE

KITCHENETTE CAPSULAS DE JUEGO

CAPSULAS DE JUEGO

DEPOSITO

EXPOSICIONES AL AIRE LIBRE

DEPOSITO

ZONA DE MANUALIDADES Y ACTIVIDADES

CAPSULAS DE JUEGO

CAPSULAS DE JUEGO

EXPOSICIONES AL AIRE LIBRE

CAPSULAS DE JUEGO

CAPSULAS DE JUEGO

KITCHENETTE

CAPSULAS DE JUEGO

DEPOSITO

ZONA DE MANUALIDADES Y ACTIVIDADES

EXPOSICIONES AL AIRE LIBRE

C

C

ZONA DE MANUALIDADES Y ACTIVIDADES

KITCHENETTE CAPSULAS DE JUEGO

DEPOSITO

CAPSULAS DE JUEGO

KITCHENETTE

CAPSULAS DE JUEGO

KITCHENETTE CAPSULAS DE JUEGO

DEPOSITO CAPSULAS DE JUEGO

ZONA DE MANUALIDADES Y ACTIVIDADES

ZONA DE MERIENDA

DEPOSITO

ZONA DE MANUALIDADES Y ACTIVIDADES

ZONA DE MANUALIDADES Y ACTIVIDADES

ZONA PARA DORMIR ESTACIONAMIENTOS

PATIO EXTERIOR NIDO

CAPSULAS DE JUEGO S Y PIZARRA

LOCKER

ZONA CUENTA CUENTOS

4

ZONA CUENTA CUENTOS SALIDA ZONA DE MANUALIDADES

SALIDA

DEPOSITO DE ÁREA DEPORTIVA

SS.HH

CAPSULAS DE JUEGO SS.HH

LOCKERS Y PIZARRA

CAPSULAS DE JUEGO

ZONA DE RECREACIÓN DEPORTIVA

LOCKERS GUARDERIA

ZONA DE MANUALIDADES Y ACTIVIDADES

ZONA DE JUEGO

CAPSULAS DE JUEGO

E

PIZARRA

1

SS.HH

DEPOSITO

KITCHENETTE

KITCHENETTE

DEPOSITO SS.HH

ZONA DE INFORMES

SS.HH SS.HH

A

E

KITCHENETTE

KITCHENETTE

RECEPCIÓN

SS.HH

SS.HH

SALIDA SALA DE ESPERA

CAPSULAS DE JUEGO

E

16

CAPSULAS DE JUEGO

15

14

13

12

11

ZONA DE MANUALIDADES Y ACTIVIDADES 10

9

8

7

6

5

4

3

ZONA DE MANUALIDADES Y ACTIVIDADES

2

CAPSULAS DE JUEGO SS.HH

ZONA DE MANUALIDADES Y ACTIVIDADES

1

E

SALA DE PROFESORES

SS.HH

ZONA ADMINISTRATIVA

CAPSULAS DE JUEGO

PARADERO DEL NIDO

CAPSULAS DE JUEGO CAPSULAS DE JUEGO

TOPICO

CAPSULAS DE JUEGO

CAPSULAS DE JUEGO

ZUM CAPSULAS DE JUEGO

E

E E

EXPOSICIONES AL AIRE LIBRE

E

E

E

PLANTA 1 FIRST LEVEL

BIO-HUERTO BIO-HUERTO

BIO-HUERTO

ESTACIONAMIENTOS EXPOSICIONES AL AIRE LIBRE

CAFETERÍA DE PROFESORES

BIO-HUERTO

20

19

18

17

16

15

14

13

12

11

10

9

8

7

6

5

4

3

2

PARADERO DEL NIDO

1

EXPOSICIONES AL AIRE LIBRE

EXPOSICIONES AL AIRE LIBRE EXPOSICIONES AL AIRE LIBRE

PLANO DE TECHOS PLOT PLAN 18

VIEWS OF THE MODEL

19

T3

URBAN INTERVENTION OF PUBLIC SPACES Topic Year Place

Urban Planning 2020 Surquillo - Perú

ABSTRACT: This urban planning was carried out within the district of SURQUILLO, this district is characterized by being divided into two parts, a residential area and the other part is dedicated to commerce and workshop housing. àmanaP ed .peR .vA

The strategies for the proposal to be considered were recreational spaces on a district scale, as well as pedestrianising certain sections connecting these green areas and rehabilitating abandoned housing in the area.

sà mo T. vA

èurO

azr

aM

2C

ogni

moD

.vA

1C

"A busy street is likely to be a safe street. An uncrowded street is likely to be an unsafe street".

Jane Jacobs, 1961, “The Death and Life of Great American Cities”

agnA .vA

somagnA .vA

On reflection, these strategies helped me to understand more about the culture of a city through the history conveyed by its façades, as well as not only maintaining commerce as the only agent that drives this district.

Problems and potentialities arise such as the lack of organisation of green areas, or opportunities such as the development of their economy through large commercial scales presented in the workshops.

oesaP .vA

3C

acilbupeR al ed

àmanaP ed .peR .vA

on

Problems and potentialities arise such as the lack of organisation of green areas, or opportunities such as the development of their economy through large commercial scales presented in the workshops.

ùrubmarA .vA

20

SURQUILLO This district was created on July 15, 1949, at the present time we can identify it as a potentially tourist place thanks to the two main markets of all Lima, and of high flow of commercialization by its west zone, unlike its east zone, which is based on the high density of housing and great quantity of recreational spaces; nevertheless, in its commercial zone, its commercial flows are as high as the insecurity in that zone, besides the little care of its inhabitants, because it is only centred in the commerce, but not in the recreation and interaction. For this reason, 2 strategies were proposed to combat the weaknesses of the commercial area.

Strategy Implement public spaces at district level: It is proposed to implement a district-wide public space in the commercial area of the district in order to improve the safety of the area, organise street trading, promote shops, connect the sector's equipment and provide a meeting and activity space for citizens.

These public spaces will also be connected by means of a boulevard that will take up two of the three streets, thus improving the flow of pedestrians and vehicles.

RESIDENTIAL AREA

Rehabilitate abandoned housing: It is proposed to rehabilitate the abandoned houses along the route of the avenues and to give them a commercial or tourist function.

Analisys When analysing the commercial sector of Surquillo, it was possible to observe different problems of lack of public space and green areas, for which a strategy was proposed to solve this problem. Also the large amount of abandoned houses or houses for sale.

How will this be done?

Security, mobility and empowerment.

Zonification Limits of Surquillo

COMMERCIAL ZONE

Area for intervention

90 Restaurant

2 Markets

50 Grocery Store

Mechanical Workshops

Hairdressers

Kilometres of bicycle paths Before: 3 k.m.

After: +4 k.m.

Green area Now: 2 000 m.² Future: 5 700 m.²

Housing and Population Total population: 115,902

Context data

Cycle route

Economy

The public spaces are located in the corners of the blocks, these strategic points were determined by the close connection to the equipment that exists in the sector such as the market, the municipality, medical post, etc. and taking into account the permissible and accessible terrain.

In order to realise these three factors, it was thought first of all to implement a cycle lane that encourages the use of clean transport.

These cycle paths are planned to be along the avenues.

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7C

ùrubmarA .vA

6C

Green area on a corner in all selected blocks

GREEN AREAS

serecaC lacsiraM .vA

The public area will enhance the street trade and restaurants on the site, this space is designed to help improve the safety and accessibility of the site.

èurO

2C

ogni

moD

Pedestrianisation of streets and repowering of neighbouring street frontages

WALKABILITY & CYCLING

.vA

acilbupeR al ed

àmanaP ed .peR .vA

4

4C

This public space is connected to the market through the alameda, which helps to improve security by encouraging the flow of people within the alameda.

àmanaP ed .peR .vA

3

5C

oesaP .vA

2

àmanaP ed .peR .vA

1

It is proposed to enhance the existing park by connecting it to the boulevard and improving the flow of people who can move around the public space. The main businesses to be promoted will be restaurants, pharmacies and warehouses.

acilbupeR al ed

Influence of green areas and boulevards in the sector

This park is connected to the others by the alameda, so the flow of people accessing this area is better. it also seeks to organise the street trade in the area within the multifunctional space.

1C

oesaP .vA

3C

Cycle and vehicle routes are physically separated.

ROUTES

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somagnA .vA

Interventions - Photomontages

To boost the housing - workshop area of Surquillo, green areas were implemented in certain corners, which lacked use, and then encourage interaction between people avoiding commercial use in its entirety in this area and promote recreational areas through a chain of parks and pedestrianised streets as branches that connect with the entire western sector of Surquillo.

As far as the pedestrianised streets are concerned, roads have been designed to cross several streets, and no quadrant will be excluded from enjoying the recreational areas of the commercial zone. The latter formalised in order not to lose this touch of commerce and at the same time to enjoy the stay in these sections as well as to connect with all the proposed parks of the zone, in this way, no last takes role in the proposed malls as the inclusion of mixed street vending branched sections.

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Western Motel - Edward Hopper

ART TO ARCH Topic Year Place

Paint Analysis 2020 Utopic Place

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4C

acilbupeR al ed

àmanaP ed .peR .vA

5C

T4

ABSTRACT:

7C

6C serecaC lacsiraM .vA

In this exercise, we analysed pictorial references in the paintings of Nigel Van Weick, Edwin Hopper and Edouard Manet.

Section 2

Connect - Nigel Van Weick

“To create, one must first question everything” Eileen Gray, 1900.

The aim of this work was to relate these paintings on the basis of the scenes shown by the referents and to transfer them to another architectural world by means of ideal sections that join both scenes.

Of all the works I have done, this one opened up my imagination the most, because we start from another perspective, from what the painters want us to see, what we interpret, the parameters within these scenes and how we can put these characteristics together to be able to capture them in a graphic representation by means of freely designed architectural sections.

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However, what differentiates the natural context and the home is that the latter is delimited by paths, and therefore, this small space indicates the distance and the space within the exterior.

From deeper to shallower planes, closer to further away. Respecting ecosystems, human presence is diminished.

DIRECTION - TENSION DIRECTION - TENSION DIRECTION - TENSION DIRECTION - TENSION

RELATION IN AND OUT

COMPOSITION COMPOSITION COMPOSITION COMPOSITION

DIRECTION - TENSION DIRECTION - TENSION DIRECTION - TENSION DIRECTION - TENSION DIRECTION - TENSION

SPACE

RELATION SPACE - USER

COMPOSITION COMPOSITION COMPOSITION COMPOSITION

COMPOSITION COMPOSITION COMPOSITION COMPOSITION COMPOSITION COMPOSITION COMPOSITION COMPOSITION COMPOSITION COMPOSITION COMPOSITION COMPOSITION COMPOSITION COMPOSITION

INTERIOR - EXTERIOR

INTERIOR - EXTERIOR

SPACESPACESPACE SPACESPACE SPACESPACE SPACE SPACESPACESPACESPACESPACE SPACESPACE SPACE

SPACE SPACE SPACE SPACE SPACE SPACE

INTERIOR - EXTERIOR

INTERIOR - EXTERIOR INTERIOR - EXTERIOR INTERIOR - EXTERIOR INTERIOR - EXTERIOR INTERIOR - EXTERIOR

WHERE AND HOW

SPACE SPACE SPACE SPACE

The races at Longchamp - Èdouard Manet

Here, there is no density in the built context and the landscape is prioritised as a point of display for people outside the home.

DIRECTION AND TENSION

SPACE SPACE SPACE SPACE SPACE SPACE SPACE SPACE SPACE SPACE SPACE SPACE SPACE SPACE

COMPOSITION COMPOSITION COMPOSITION COMPOSITION

HUMAN IMPACT

SPACE SPACE SPACE

SHAPE OF THE PLANES

SPACESPACE SPACESPACE

COMPOSITION

INTERIOR - EXTERIOR INTERIOR - EXTERIOR INTERIOR - EXTERIOR INTERIOR - EXTERIOR INTERIOR - EXTERIOR

People in the Sun - Edward Hopper

“OUTSIDE” VS OUTSIDE

DIRECTION - TENSION DIRECTION - TENSION DIRECTION - TENSION DIRECTION - TENSION DIRECTION - TENSION DIRECTION - TENSION DIRECTION - TENSION DIRECTION - TENSION DIRECTION - TENSION

In the foreground, the focus is on people as observers versus the background, which is on nature and the environment.

URBAN / ENVIROMENT

COMPOSITION COMPOSITION COMPOSITION

COMPOSITION COMPOSITION COMPOSITION COMPOSITION

COMPOSITION COMPOSITION COMPOSITION

DIRECTION - TENSION DIRECTION - TENSION DIRECTION - TENSION SPACE SPACE DIRECTION - TENSION SPACE SPACE DIRECTION - TENSION SPACE SPACE DIRECTION - TENSION

SPACE

COMPOSITION

DIRECTION AND TENSION

INTERIOR - EXTERIOR RELATION IN AND OUT

RELATION SPACE - USER

An "improbable angle" is appreciated, which refers to putting the spectator from an unusual and natural perspective, giving priority to the race rather than to the spectators.

Footpaths can divide both the users shown in the foreground at the edges of the perspective and the low density of building that appears far away from the race.

This painting can be seen in a completely open natural context, focused on the exterior; however, the boundaries that can be seen differentiate the spaces shown at both sides.

Higher public density; however, less organisation of user location.

SHAPE OF THE PLANES

WHERE AND HOW

DISORDER

LIMITS PERCEPTION

LIMITS

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T5

PARAMETRIC FURNITURE Topic Year Place

Digital Fabrication 2020 University of Lima - Surco - Perù

Como ultimo trabajo se realizará una ABSTRACT: banca parametrica en escala real tomanIn last work I made a parametric do this como experiencia previa el ejercicio bench scale the machinery parcial inlareal cual fueusing en menor escala, of digital fabrication, to thea diferentes materialesin addition y uniones production of test prototypes. presión.

For the realisation of the full-scale furniture, prototypes were designed to test a variety of parameters such as the distance between parts, the number of shafts, the number of parts, the opening of the holes for the pressfit etc.

I have worked on full scale models, however, the difference between the previous ones and this one, is that I made them with my own hands, with the help of digital fabrication machinery, such as CNC cutter, laser cutter, 3D printer, etc, which was a very fun experience to execute, design, test and build this bench for the students of the university.

“There are 360º degrees, so why stick to one?”

Zaha Hadid, 1983, “The World (89 degrees)”

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AN TR

STANDARD SHAPE We began by exploring the measurements of the bench to be designed, which were 3 metres long, 1.5 metres wide and 70 centimetres high. The shape of a traditional bench

2 DIVISIONS, 2 FACES The design focused on two-way seating, looking towards the green area and towards the buildings, and will soon be followed by the addition of axes in the X and Y planes for the execution of the pressfit as a prototype.

M OR SF

HEIGHTS AND PARAMETERS

PARAMETRIC FURNITURE

It was decided to vary the heights of the seats in both directions in order to give them another use besides sitting and lying down, which can be exploited thanks to their distance, and the shape is transformed in an organic way following the topography of the green area.

As a final result, this bench, beyond its function, calls people to spend more time in the designated area of the furniture, making it more attractive and of greater impact.

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DESIGN PROCESS WITH GRASSHOPPER

FROM SHAPE

AXIS “X”

AXIS “Y”

WIDTH OF THE PIECE “X”

TO PIECES “X”

WIDTH OF THE PIECE “Y”

TO PIECES “Y”

UNIFICATION BY PRESSFIT

TRANSFORMATION PROCESS

FROM SHAPE

The modelling process was done in Rhino with Grasshopper, the idea of reaching this design proposal was through the complexity of the shape to make it as a prototype, to then be tested through the openings of the parts to finish the prototype with the joints between the intersections of the joints of the parts in the X and Y axes.

INTERSECTION

FINAL RESULT OF THE 3D MODEL

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VIEWS

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