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Letter of Intent


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  When I was younger, I would draw plans on napkins and dream of their manifestation towards becoming real and palpable. It was then that my parents handed me a pencil, and this gave free reign to my imagination. This dream has been coming to life as I continue to grow through Experience. I believe that Experience guides understanding. Nothing is understood until going through a process of growth in design. This growth sheds light on what Art truly is. The Mother of all Arts, what we know as Architecture, cannot be seen as a complex calculation but rather many all together, only becoming simpler as we walk forward and feel passion for design. Being far from home, design is my way of expressing a sentiment. I wish to expose myself and give people a sense of my Experience. I want for others to sense this through my design by creating a memory of their own as they engage with it. Through the regeneration of earlier concepts, I aim to envision spaces that create a sense of belonging and capture a memory rather than an instantaneous yet fleeting reaction. Through the compromise of my exposure, I want to reach the ultimate dream of creating positive, thoughtful design for future generations. In Architecture, Experience through time is never lost. This is the essence of Architecture , providing access to Experience that people will never forget. Time is spent in places. There must be a desire to occupy them; a feeling of shelter, unaffected by change. I live to design and communicate this timelessness through simple, innovative and expressive Architecture that is understood through a journey - from beginning to end.


“Lineweight.� graphics for the building arts


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uildings are humane. We draw, as we feel and feel as we draw. Their existance is only due to measurements of human proportions. How do we feel in architecture?


PLAN TO SECTION


Professor Rathman This class focused on the understanding of drawings and clear representations of buildings; Exercises such as taking objects and disecting them for the comprehension of graphics.


Professor Dudzik

fundamentals 1


Through a series of studies we understood the importance on hierarchy and proportionate systems in order to have a cohesive structure that parallels the overall form of the spaces.


electronic design


Professor Woods

Fundamentals 2

I do not think of architecture as an image or photograph, one must sketch and feel, to understand thereal experience, Lacoste, France.

photograph of quarry


Coming from the idea of a sublime experience for architecture. my goal for “Raices� Walkway museum was to raise question of how far a design could go to allow people to understand a sublime sensibility for an experience in the Lacoste Quarry. Through the structural glass, I saw an opportunity for people to understand the height, feeling and presence of structure by looking underneath to reinforce the aspects of the site itself. The utilization of a glass walkway would allow for people to look at artwork under their feet.


conceptual sketch for plan


“AS YOU WALK THROUGH, YOU EXPERIENCE ART.”


Professor Ronaszegi


Influenced on abstract drawings by Kandinsky, I began to explore forms that would define spaces; to find a relation between his figures and the creation of a new experience.


cartesian model


We drove our inspiration from the study of music, and discovered its complexity as analyzing the conceptual aspect of architecture. We designed as we heard and felt the rhythm . Responding through a process of conceptual models that became the major drive towards the architecture and its final definition.


How would the user want to walk through the spaces?


I created the final Model by blending the initial studies along with relating the user to the experience of the architecture and designing within the clarity of the person experiencing the interior spaces. Then I related it to the exterior expression and created one cohesive gestural form that evolved from the user’s point of view for the studio apartment.


Professor Huy Ngo


My concept for the kyuodo japanese archery arena was the statement of undersrtanding that the person that goes to experience this place, enters with a different image of what it will be in the end. This person goes through a process of deflected views, to then gain concern on the Japanese users before reaching their area of practice and observing their methodology.


For the archery users, this process is a ritual and meditation . They understand there is a beginning and a end, but the Journey of getting there, is what matters. After the person goes through the Journey, passes galleries and gets a closer view of the archery arena, they will end this parallel to reflection, rather than deflection.


interior and exterior perspectives


axonometric drawing for plan


final model placed on site


east elevation

west elevation

transversal section

section elevation


IT HAS A BEGINNING AND AN ENDING, BUT ONE ONLY UNDERSTANDS IT THROUGH A MEMORY OF THE JOURNEY


A crutial aspect of understanding the Site of Savannah was creating drawings based on my interpretation about the site, its elevations and the history; drawings that allowed me to communicate and formulate a problem to solve.


Site plan


communicative drawings and documents produced as part of a comprehensive site analysis


analysis


The spirit of that place invovled the sentiments of what i thought pronounced the site, The marks of antiquity that created edges for the exterior walls of my design would provide a strong support both conceptually and realistically to the essence of the toy factory.


Based on the concept of a kaleidoscope, I designed a toy that derived from the idea of manipulating what one wishes to observe and experience. With the influence of case studies as well as the toy, I designed movable murals, closer to the entry, from bay street to attract people as well as partitions for the gallery I added to the program, specifically in the workshop and presentation rooms, where the toy makers decide to create their spaces how they want to, as a part of their concept for their overall design and stradegies.


THIS CONCEPTUAL model also represents the idea of creating an interstitial space between the two main buildings, that allowed for the public to observe the process of the work in the main workshop, through glass and subtle height change from one side of the main space to the other.


BUSINESS FACTORY/WORKSHOP PRESENTATION ROOMS total 5,000 footage 50 occupancy

MERCANTILE RETAIL SPACE GALLERY 5,209

52 occupancy

STUDIO

4,400 44 OCCUPANCY

RESIDENCE

2400 12 occupancy

APPROXIMATELY 16,800 sq ft


level 1

level 2

level 3

level 4 1:32 = 1’


Elevation Perspective


Longitudonal Section


final physical model placed on site


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STUDIO Professor Jaminet

Villa Nouveau, Savannah GA, Studio Collaboration


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We based our exterior expression on the idea of canopied-like structures with subtle biological mutations and local symmetry. analog model


precedent: florencia pita beam brane structure


transversal section

longitudonal section


main level

second level

third level


When creating the primitives we employed techniques such as twisting, bending and creasing as a base for our form, surface logic and structure. The bending technique transformed the primitives by creating a relationship between each volume, that allowed the forms to follow specific functions with programmatic response. We based our exterior expression on the idea of canopied-like structures with subtle biological mutations and local symmetry.


Villa Nouveau

As expressive as is, we understood that making such a Mark for the design in Savannah GA, was a challenge. No matter how sculptural a building wishes to become to create a new environment, it must be respectful to its existing context and most have a reason for its particularity . An alianated Structure becomes a point of attraction, but for a design like this to work, there had to be greater thought processes. We found the appreciation to the existing context and took the idea from classical destails in the surroundings. We defined ours as a Gothic detail that transformed into an Architecture that spoke for itself.


IT IS ALL A CONNECTION WHETHER YOU START DESIGNING FROM THE URBAN CONTEXT, HOW DO THINGS GO TOGETHER?


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II


BRICK WOOD AND CONCRETE CONNECTIONS AS A PART OF THE CT 2 COURSE, PURING CONCRETE, AND UNDERSTANDIND HOW EACH MATERIAL AND EACH PIECE REPRESENTS A ROLE IN THE CRAFT


physical model, for San Juan Health Pro Medical center in San Juan P.R, realized during summer 2011.


Summer Internship


rhino elective Product design

original logo, concept for booth


James Monroe Public Library Washington D.C. Professor Andrew Payne Studio 4


Studio 4 concentrated on the importance of creating a relationship within the urban context. The beauty of belonging in the Site; from the connection of the urban design, to the details that bring functionality to the design.

Architecture in the

URBAN CONTEXT


Work produced as a part of Site Analysis and design development .


The eclecticism in Washington, DC allowed for my architecture to respond to its characteristics and formulate a relation to particular qualities of human beings. it is impossible to reccuperate all values lost through the speed of technology, but possible to recuperate memories with a new environment. The person that comes in and out only comprehends the controlled diversity of D.C. even further. As a representation of the future , this library communicates the sensibilities of architecture in enlightment. Not only capturing but recognizing its past.


1 periodicals 2 manager’s office 3 staff room 4 conference room 5 storage 6personal study rooms

ground level

1entry,main lobby and circulation desk 2 children’s collection 3 adult collection 4 community space 5 children’s story time 6 personal study rooms 7 dock, delivery area 8 restrooms

Main Level

1 roof top special collection 2 special collection 3 space for shelving 4 classroom 5 personal study rooms

1 digital 2 magazine collection 3 teen collection 4 printing room 5 restrooms 6 personal study

third level

fourth level


transversal section


Materiality was a reinforced concrete structure with apertures that conceptually and representatively repated to the apertures for the surroundings. The Brutalism in Concrete with the contrast of the double glazing facade only facing north.


How the external qualities of the design, translate to the internal


Experience


west elevation

north elevation

South elevation


SCAD

Through my experience in I have seen how my communicative Skills ; what makes my architecture profound, have grown and developed into what is Representative as time goes by. The greatest accomplishment I believe is being able to recognize my growth from the work I have produced. Gathered from a beginning to what is now, a new beginning, because the design and construction of a valuable Portfolio will never end.


Architecture Portfolio | Portafolio Arquitectura