CLAUDIA FUENTES VILLASECA
PORFOLIO OF ARCHITECTURE
Table of contents
04 Claudia 06 Luminios Tension 28 Light & Ruin
CLAUDIA FUENTES VILLASECA a Manuel Antonio Maira 987, Santiago. Chile e C.firstname.lastname@example.org t (+56) 984431713 Professional architect with great interest in all disciplines that involve creativity in addition to exploring various facets of the profession with leadership tools, teamwork and management EDUCATION 2008 - 2015
Technical University Federico Santa Maria, Architecture, Valparaiso. Chile PROFESSIONAL EXPERIENCE
Reactivation of a heritage site - Intervention Dance Scenography- Installation, Light , Ruin Own projects applying for funds for its realization. Cultural events in collaboration with the company of danza MundoMoebio. Spatial and luminous design. Municipal and lighting management. Coordination for the realization of cultural event.
Cygnus Construction Management and coordination of a team of 40 staff members. End to end project management and production of steel and concrete autoshowroom. Autoplanet, ViĂąa del mar. Chile
Arquitectura E Ingenieria Murillo Building Don Roberto- Design: Plans, section and elevations realisation. Building Carlos Valdovinos - Creating blueprints
Borghero y Villaroel Arquitectos Consultores - Intern in architecture Plans as-built, Project design of socially inclusive outside living space. Collaboration with other professionals for succesful execution of projects. OTHER STUDIES
2018 2015 2014 2005 2003 - 2006
BambooU , Bali Course Going over the edge, NaturalsCool Course revit level 1, CDC Academy School exchange, Institute EF, Brighton. Inglaterra Chilean American Institute of Culture
ARCHITECTURE SKILLS 2D Drawing: AutoCAd , Revit , Hand Drawing Presentation: Photoshop , Indesign 3D Modelling: Hand Modelling , Rhino , Sketchup 3D Rendering: V-ray Small scale constructions Conceptual designs in bamboo Profit and Loss accounting spreadsheets Managing Budgets Staff management and contracting (HR) LANGUAGES Native in Spanish Fluency in English
REACTIVATION OF A HERITAGE SITE Luminious Tension Valparaiso, Chile. 2017
Valparaiso is a world heritage city. It has many buildings still standing in a condition of abandonment .Therefore the objective of this project was the reactivation and creation of new forms of recovery of heritage buildings whilst they are waiting for their restoration, returning them in some way to the practices and bodies of citizens. In this case, the building to intervene was the Ex Maestranza Of Baron the only vestiges of an extensive railway station complex wich was declared a historical monument in 1986. Due to the prominence of Baron Maestranza for the railway industry at the start of the C20th, it also had prominence in shaping the societal and cultural landscape of the city of Valparaiso.
The starting point for the creation of this project was based on “ TO HABIT THE SILENCE TENSED IN THE GAZE”. A phrase extracted from the accompanying choreographic text, of the dance to be presented - “ Expansive Silence”. A contemporary dance work from the director of the company Mundo Moebio, Rocio Rivera. Lycra was chosen as a primary material due to it’s elastic propierties, woven between aluminium poles, to create a space that delimits the area of the dance’s display. These limits are permeable existing in a relation between vacuum and full for each module located in the space.
PROCESS OF EXPERIMENTATION IN SITU
Process of experimentation and exploration of the artifacts in the si
ite to evaluate the feasibility of the proposal and the different ways in which the body interacts with the artifacts.
Experiments were carried out on the module, plot and dimensions to see the behavior of the alum
minum bars and to evaluate the dimensions of the module in space.
There are flexible relationships with the artifact where the dancer interacts with the vacuum of the plot, the warp and the torsion of it so the movement in the intervention is not only produced by the dancer also by the artifact (due to due to the union with the pillar) so the space is tense and weakened between silence and sounds in the interstice of the sea and the city, respecting the place in its condition of ruin.
To begin with, studies of the material anomalies in the framework, and an understanding of these regarding the order of the tissue, were carried out in order to find a framework algorithm. Variations of the form of the spatial framework were observed when the torsion was made which allowed to relate the body to the artifact To relate the artifact to the body, analogies were established between the choreographic composition and the scenographic space to be created. From the observation of duo encounters of dancers within the choreogrpahic text, and the movements that appear in â€œexpansive silenceâ€? a plot is related to an action, which led to the choice of framework used in the installation.
EXPERIMENTATION WITH FRAMEWORK ST
Anomalies in the framework.
DANCE SCENOGRAPHY TORSION ALGORITHM OF WOVEN
The one that exists because it observes
The one that moves and is observed by others
The one that is dismembered and is rearmed by oth
The one that crawls and takes to another site
The one that is dropped and the one that holds it
Chosen framwork structures
Encounters of dancers within the
PERMEABILITY OF THE ARTIFACT 50%
Diagram of permeability. Vacuum percentage of the plot.
The type of modular framework were located based on its permeability, vacuum and weave .Where the ones with the longest zones of vacuum surface are located in the greatest lengths of space and facing the distant plane of valparaiso as the backdrop of the space, while those with greater surface area are located in the shortest lengths and to frame the city. The transversality with which the trains were located in the past is maintained, rotating the axes to frame the city in the distant plane of Valparaiso. These modules are located in the center of the space where the idea was to leave 2 free zones and in dim conditions so that people could observe the experience.
Zones of illumination and gloom in space
CONSTRUCTION DETAIL Union pillar
Galvanized steel cable e: 1/16â€™
REACTIVATION OF A HERITAGE SITE Light & Ruin
Valparaiso, Chile. 2017
â€œWhen the sun rises in the morning - something that I do not get tired of admiring, itâ€™s really great that I return every morning - and once again illuminates things, I tell myself that light does not come from this world! I do not understand that light. I have the feeling that there is something bigger that I do not understand. I feel immense joy and I am infinitely grateful that there is such a thing. Today I will feel it coming out again. For an architect, that light is a thousand times better than having artificial light. â€œPeter Zumthor. Atmospheres
The instalation is thought with the intention of being habitable meaning people can walk in this and make the light perceptible something that like Peter Zumthor said in this book we have every that but we do not perceive it. A study of the entrance of the light in the building at different times of the day was made to observe the transformation of space and the incidence of light where it was concluded that at sunset there was a notable luminous thickness entering the building, so the installation was carried out in that schedule.
Planimetry and sections income natural light in the building
Photo Credit: Claudia Fuentes Villaseca
Some of my best, different and most creative proyects.