Claudia Maier Morillas - Portfolio 2017

Architecture Portfolio 2017

Claudia Maier Morillas cmaierm@gmail.com (0034) 638 17 28 65

TABLE OF CONTENTS Urban projects

Curriculum Vitae

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The ultimate urban growth system The post-industrial Maverick Mills

03 05

Medium scale projects

Dual Life House Lattice Tower

07 09

Cell Pavilion H2Hub

11 13

Mapping Segovia’s city wall Social rehabilitation of Daoiz street

15 17

‘Le Corbusier, 50 años después’ Exhibition ‘From Limit to Live it’

19 21

Writing sample - ‘On the conception of art’ Recommendation Letters

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Small scale projects

Analytic studies

Exhibitions

PERSONAL INFORMATION

First name Surname Date of birth Nationality

Claudia Maier Morillas 18th March 1995 Spanish and German

CONTACT INFORMATION

Adress Colina de San Cristóbal, 46

18690 Almuñécar (Granada)

Spain E-mail cmaierm@gmail.com cmaier.ieu2014@student.ie.edu Contact phone +34 638 17 28 65

EDUCATION

2014-Present Bachelor of Architecture IE School of Architecture (Segovia, Spain) 2012-2014 International Baccalaureate Unitwed World College Costa Rica (Santa Ana, Costa Rica) 2007-2012 Educación Secundaria Obligatoria (ESO) and 1º de Bachillerato IES Antigua Sexi (Almuñécar, Spain)

01

RELEVANT WORK EXPERIENCE

March - June 2017 Internship at DataAE Data Arquitectura i Enginyeria March - June 2016 Internship at Ingenhoven Architects Ingenhoven Architects February - June 2015 Design Lab IE University September 2015 Waterwall project Anupama Kundoo Architects

DIGITAL SKILLS

AutoCAD MicroStation Rhinoceros - Grasshopper SketchUp Adobe Photoshop, InDesign & Illustrator Digital fabrication tools (Laser cutter, 3D printer, CNC machine)

LANGUAGES

Spanish Native language English Fluent French & German Basic 02

THE ULTIMATE URBAN GROWTH SYSTEM January - March 2016

Unfolding activities, activating spaces, rediscovering the city.

That is the premise behind this urban growth system, whose every single part has been designed to act as a multifunctional space that responds to different needs according to its inhabitants. This is an endless reproducible system that acts as a ‘colonizer’ that merges with existing spaces providing a new urban fabric.

RETAIL FACILITIES

UNIT DWELLING

CATERING FACILITIES

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Urban projects (Individual)

04

THE POST-INDUSTRIAL MABERICK MILLS September - December 2016

This urban intervention on the Maverick Mills area in Boston Harbor aims to integrate architecture, landscape and infrastructure, providing new uses to this old industrial site.

Several urban characteristics were considered during the process, such as urban fill, lowland flood-ability and networking with historic rail infrastructure.

From all these aspects of the region emerged a richly layered urban project that includes the confluence of complex historic and contemporary, and global and local factors into the existing specific landscape.

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Urban projects (Individual)

Residential area Mixed use (retail & office) Community building Parking lot Green spaces

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DUAL LIFE HOUSE October - December 2014

The design of this one room house allows for a fluid relationship with the landscape around it, as if it is a continuation of this scenery. An extended threshold, formed by a wide wall, serves as the working space for both inhabitants.

In the double-height ground floor there is a large kitchen with a lengthy countertop that links the house with a kitchen garden. Both the working space and the kitchen are designed so that they define two different axes of movement, delimiting the space of each inhabitant.

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Medium scale projects (Individual)

04

LATTICE TOWER September - December 2015

This tower of cuboid design is thought to hold a museum of Modern Art in Columbus Circle (New York City), in the site of the current Museum of Arts and Design.

The arrangement of the different rooms takes the visitor to experience the cublice in all its different conceptions, offering him a wide variety of spaces to interact with the different artworks.

An in depth conceptual study was carried out before the decision on the final design, analysing different possibillities for movement inside the building.

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Medium scale projects (Individual)

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CELL PAVILION November 2014 - May 2015

This pavilion is designed and built using digital fabrication tools. Its function is to provide a space that allows people to interact between them and with its surroundings, bringing them closer in a natural environment.

At the same time, it intends to create a green/ growing area that encourages sustainable activities. Its cell like shape and design serve as a reminder of what shapes the nature around us.

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Small scale projects (Team work)

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H2HUB January - February 2017

This prototype is thought as a construction system that can be replicated in order to solve several social and health problems in the Rocinha Favela in Rio de Janeiro.

The system collects rain water with its ‘inverted umbrella’ shape and supplies it after filtering it through the slow sand filter.

It also creates a community space/hub, providing more lighting, a fountain, charging stations and wifi, and the possibility to develop community activities and grow vegetation in the future.

DAY SECTION

NIGHT SECTION

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Small scale projects (Team work)

MAGIC PLAN

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SEGOVIA - MAPPING THE CITY WALL February 2015

This map of the city of Segovia shows the results of an analysis of the city wall. The study includes the parts of the wall that are accessible from both inside and outside the city, its different height levels and the different puertas and postigos.

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Analytic studies (Individual)

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Social rehabilitation of Daoiz Street January - June 2017

This collage shows the results of an analysis made of the Daoiz street, one of the most touristic streets in Segovia.

The area was analyzed considering all agents involved (both locals and tourists) and the uses these make of the different public spaces in the everyday circulation around the street.

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Analytic studies (Team work)

‘LE CORBUSIER, 50 AÑOS DESPUÉS’ November 2015

These two panels are a composition of all the work I’ve done on Le Corbusier’s work. They were presented on the international congress ‘Le Corbusier, 50 años después’ (Le Corbusier, 50 years later) that took place in November 2015 at the Universidad Politécnica de Valencia (Spain).

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Exhibition - Design of panels

Analysis (Dual Life House and modern landscape)

Site plan

Site section

Ground floor plan

First floor plan

South elevation

Longitudinal section

Design Process (Dual Life House and modern landscape)

Author: Claudia Maier Morillas

Author: Claudia Maier Morilas

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The other one is the extended threshold, formed by the wide wall of the faรงade, which serves as the working space for both inhabitants.

EXHIBITION ROOM June 2015

This is the design of the room that contained the exhibition ‘From Limit to Live it’ held last January in Segovia.

The exhibition presented the selected works of the international competition ‘From Limit to Live it’, which took place in Segovia last spring in relation to the city wall and the International Year of Light.

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Exhibition - Design of space

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WRITING SAMPLE

ON THE CONCEPTION OF ART A historical and sociocultural analysis of the development of the notion of art

October 2015

The concept of what art is has greatly evolved since its first conception.

There is no universal way of defining it; its understanding derives from the social, cultural and historical factors that define certain objects or images as artworks along history. The aim of this work is to present and analyse those factors and, in order to do so, in this essay a historical analysis of the last centuries will be done.

During the Renaissance, and especially on the 16th century, the concept of art as it-self arises, and with it the appearance of the different Fine Arts. At that moment the conception of art would be that of a work carefully produced with talent or virtuosity, an aesthetic pattern produced with decorative value.

During this time social standards defined which objects would be considered as works of art. The objects produced were adapted to and ruled by the existing canons, which were dictated by tradition in art practice and offered the regulated notions of what beautiful was.

On the late 18th century and 19th century, defined as the Age of Reason, new canons appeared. During this time art was in search of certain universal aesthetic values (based in reason and what was called Good Taste).

Art institutions defined the canons that ruled the creation of art, and Royal Academies and Public Salons were created as places were artist could present their artworks. During this time authorship and historical context became to be very important and relevant when defining an image as a work of art, and it was also from 19th century on when cultural mystification arises.

It was during this time when the camera was invented and the first copies of artworks appeared when John Berger states cultural mystification is originated. Cultural mystification consists on the change of value the works of art has. Before this time the importance of an artwork relied on its meaning and what it aimed to express. With the appearance of the copies and the change of the physical context of the works, the meaning of an artwork was no longer important, but its authenticity and uniqueness instead.

In this sense, John Berger critiques the religiosity conception art was given based in the status of the object through its market value (1972). The original works of art were conceived with a sense of awe, as the importance of art relied on the author and uniqueness of the work...

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... Later on, during the first decade of the 20th century the avant-garde movement appeared as a new conception of art making and as an opposition to the previous Age of Reason. During this time art was conceived as a medium of individual expression, and it implied experimentation in representation. Its limits of action were not regulated and its maximum aim was to break with the canons previously imposed and, in fact, with the self-idea of the canon.

Artists aimed to create “pure paintings”, as stated by Guillaume Apollinaire in his work ‘The Cubists’ (1911, 187), whose essence relied on its canvas and materiality, with no need of ornament. The idea of “originality” also changed, and it was then conceived as an “absolute and literal origin, a beginning from ground zero, a birth” (Krauss, 1986, 6). The grid was then conceived as the maximum expression of originality and as the greatest origin for an artwork.

However, in this conception of art laid a paradox, as the notion of “originality” was built on a series of repetition and recurrence (Krauss, 1972, 9). It also became a new canon for that time, as most of the artworks had to be created from the grid in order to respond to the idea of original, becoming the last on a limit in it-self.

After the avant-garde movement a sense of breakup remained on the conception of what art is. Nowadays art is understood as a visual product, a space of transgression that provides the artist with a tool to both question and understand the world that surrounds him. Although current art still faces some canons culturally and socially imposed to which it responds in certain circumstances, one could say modern artists try to challenge what spectators along history have understand by the word “art”, expressing their own concerns about the world that surrounds them and making the spectator reflect on the self-notion of art.

As a conclusion, we could say there is actually nothing intrinsic to art, but that certain objects and images become art according to the different external factors previously analysed in this work, as the contextualization and authorship of the work, the aesthetic values a society responds to or the social standards and canons that ruled an epoch, which all influences not only the conception of what art is, but also the perception the spectators have of the works of art.

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 

Claudia Maier Morillas, DNI 77392189H, was working as an intern in our office from March 6th 2017 to June 16th 2017.

During this period she experienced different working steps and she was working in an active manner on all of them. The main tasks she took care of were the following: CAD drawings, SketchUp model production and rendering, physical scale modelling, model photography and Photoshop image edition.

She participated in two main architectural projects: · Refurbishment of an industrial warehouse as a coworking space. “Nest” warehouse.

Barcelona. 2017

· Structural consolidation and façade renovation of St. Raphael church. Barcelona. 2017

Claudia fulfilled all her tasks in accordance to our guidelines and, in addition to that, she was  able  to quickly become integrated into the office team in a professional manner. She was always interested in the different processes and projects, and she was highly motivated at all her projects.

We would like to emphasize her initiative, and her independent and reliable way of working.

The work she delivered was always of high quality. Furthermore, she was highly appreciated by the whole staff, and working with her was very pleasant and rewarding.

Certainly, it was a pleasure to have worked with Claudia, as she was an enrichment for our team and office. Working with her can certainly be highly recommended.

Barcelona, 19th of June 2017

Claudia Aguiló Aran Architect / DataAE partner

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Claudia Maier Morillas cmaierm@gmail.com (0034) 638 17 28 65