It all started as a young boy. I remember as a child looking up at these tall buildings and just asking myself, how is it possible that humankind is able to create such tall structures? at the time I thought robots created them. as time when on I started to realize I could be the robot that designs these tall structures. art classes helped me get my thoughts and ideas on paper, whether it was through sketches, drawings or modeling. along with those classes my father bought a home for the family. this was not your typical move in home, this home was in need of severe fixing. most of that fixing was done by my father and I. little by little I started developing an attraction to architecture and building. the final experience that motivated my pursue in architecture was taking a drafting course my junior year in high school. this drafting course did many things for me like; learn about representation, visual depth, perspectives, isometrics, and creative thinking. my instructor allowed students to experiment and use creativity in all of our assignments and projects. he strongly emphasized creativity, whether it was making the floor plan to my own dream home, or physically building it. he made me feel like anything was possible and functional. strongly after taking drafting a second year -my senior year- it was clear that my intentions where to pursue architecture in life.
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our goal was to design a sequence of spaces for viewing the arts; the culture and architecture of coral gables. defined within a singular space the relationships were structured between: tactility - as to the sculptor who creates with bare hands, inside vs. outside, filtration of light-control, light vs. heavy. the exhibits shares a common factor; the viewers. the exhibits is housed in controlled environments, varying lights and exposures. during daytime hours, natural light is primary. methods of il lumination at night time are use in its structure and spaces. in the design, hierarchy within the realms of the context was considered.
C O R A L__G A B L E S__M U S E U M
A sectional model of the gables museum was done at its hierarchical tower. the circulation, different types of spaces, and the experiences experienced while moving throughout the spaces where most important. in this sectional model i started to identify the circulation and the different spaces created in the museum.
t h e s c o p e o f e l m u s e o d e l a l i b e r ta d , l a h ava n a , c u b a p r o j e c t , i s a
c u l m i n at i o n o f s e v e ra l p h a s e s o f d e s i g n t h at i n c l u d e ; i n - d e p t h c o n t e x t s t u d i e s o f l a h ava n a v i e j a , c e n t r o h ava n a , e l v e d a d o a n d m i ra m a r . a f t e r i n t e n s e r e s e a r c h o f l a h ava n a , c u b a , t h e c r e at i o n o f t w o e x t r e m e ly d e ta i l e d a n d p r e c i s e c o n t e x t m o d e l s o f l a h ava n a v i e j a w e r e c o n s t r u c t e d . t h e s e c o n t e x t m o d e l s m e a s u r e wide to
i n l e n gt h w h i c h t h e n b e c a m e t h e p l at f o r m f o r e a c h o f t h e s t u d e n t ’ s
f u r t h e r r e s e a r c h a n d a n a ly s i s c o n c l u d e d a s e r i e s o f t w o d i m e n -
s i o n a l m a p p i n g s a l o n g w i t h t w o d i m e n s i o n a l c o m p o s i t i o n s i n d ra w i n g f o r m at , a n a ly z i n g t h e c i t y g r i d , t h e g r o w t h o f u r b a n c o n t e x t , m o n u m e n ta l b u i l d i n g s , c o u r t ya r d s , p l a z a s a n d m o n u m e n t s . t h e f i n a l w e e k s o f r e s e a r c h a n d a n a ly s i s r e s u lt e d in
d i f f e r e n t i n t e r v e n t i o n s o f e l m u s e o d e l a l i b e r ta d l o c at e d o v e r
e n t e s s e n t i a l s i t e s w i t h i n l a h ava n a v i e j a w i t h f u n d a m e n ta l a r c h i t e c t u r e , u r b a n i s m , c u lt u ra l a n d h i s t o r i c a l p r i n c i p l e s a s t h e g e n e rat o r f o r t h e d e s i g n .
l a s t o r r e s d e l r e s c at e
ink_on_mylar_section_two ink_on_mylar_second_level_floor_plan our program was to design three different museos, located in 3 different sites within la havana vieja. i used the sites fundamental architecture, urbanism, cultural and historical values as the generator for the design. site one was located along the edge of el malecon. site two was located nearby were JosĂŠ marti a national cuban hero was incarcerated, and the third site was located behind the presidential palace.
Katherine Blum Laura Boyle Danny Diaz Martin Hojny Diana Mangaser Kenneth Molina
John Nguyen Gregory Norton Latrelle Rostant Yoshihiro Sergel Sida Wei Shu-Chi Weng
Niagara Street Park, South Providence The park is widely used by its surrounding residents for it’s soccer field, tennis court, and paved running track. The unused 92’ x 45’ volleyball court located at the southeast corner of the site was the given location of the project: a community garden that includes planting beds, locked tool storage, shaded seating, and a perimeter fence.
Concept The pattern of wood resulting from its fibers direction.
Porosity Density Quantity of something per units measured, area, lenght, or volume.
Openings or Apertures
Our conceptual strategy organizes the circulation of people and the drainage of water along one path from the same point of entrance to the same point of rest. We Along this path that weaves through the site, both the gardener and water come to rest at a reflection pool, a movement inspired by filtration. Structurally, our design is a case study of the systematic yet varied ways grains work in nature to serve multiple, specific functions.
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D ra iag m S atic ect ion Conceptual Composition
Conceptual Drawing Section
Section B Floor Plan Entrance
1/2” = 1’-0”
ga r d e n The prototype at 1:1 scale is a section of the entire project. The engagement of making full-scale architectural components are based upon ideas relating material behavior, structure, spatial definition, site and programmatic conditions. The challenge of a 1:1 prototype was to give shape to critical moments in the project like the construction joins, thresholds, program and assembly while keeping in mind all of their complete context. Three different parts of the projectâ€™s plan were selected and combined to show all program. It was decided to make the section in the shape of a Z, were the viewer could enter by the shed, the most important part of the program. Continue by making a right along the path while viewing and experiencing planters, grain and porosity. Then making a final left to get a sense of density and how it was applied differently to accommodate for the different needs of the program. A huge part of the project was to not waste material and be efficient. All the scraps left over from the construction were used as in fill.
Vertical Shipping Container
Walk through Access
Light and Ventilation
Interactive Roating Book Shelves
Metal Rolldown Doors
I intend to create a new identity and trademark for illiteracy by using the presence of a vertical shipping container to display awareness of literacy and its importance. Using a shipping container vertically creates a visual landmark in its context and a trademark for illiteracy while exploiting its 64 sq. footprint. The container used is 20â€™ tall, but is designed as a module so that it can expand its area.
Transforming the shipping container estimated at $20,000 total; $3,700 for the container and shipping costs, $1,000 for wind rated metal roll down doors, $500 for furniture and lighting and a $15,000 buffer for the structural engineering and material. The container relies on natural ventilation, and infrared light with PVC strip curtains for heating in winter making it extremely efficient and sustainable.
Finished Shipping Container on Site One