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ARCHITECTURE

PORTFOLIO

DANIELA ALAGÓN

PORTFOLIO 2022

PROFESSIONAL

DANIELA ALAGÓN

PORTFOLIO 2022

CASA LUJAMBIO L O C A T I O N :

F I R M :

Q U E R É T A R O , M É X I C O

J O R G E G A R I B A Y A R Q U I T E C T O S

T Y P O L O G Y :

R E S I D E N T I A L

R O L E : C O N C E P T D E S I G N A N D D E V E L O P M E N T , 3 D M O D E L I N G I N T E R I O R D E S I G N , P A P E R W O R K A N D C O S T E S T I M A T E S

DANIELA ALAGÓN

CASA LUJAMBIO

The Juriquilla area had its origin in the middle of the 16th century, two decades after the founding of Querétaro. In 1960, Juan Jose Torres L a n d a a c q u i r e d t h e a r e a o f what is now Juriquilla. It was in 1986 when his children gave rise to the real estate project within. In 1987 Juriquilla Province was inaugurated with its growing areas, of which the taurine plaza stands out. At the end of the 20th century, the state of Querétaro experienced a boom thanks to its industry, which gave rise to the immigration of people from other states, as well as other countries. This caused an excessive growth in its population and gave rise to the unbridled development of housing and infrastructure. Juriquilla was not an exception to this phenomenon. The layout of Juriquilla began from the areas of Cumbres del Lago, Privada Juriquilla and Juriquilla Province. This caused an excessive growth in its population and gave rise to the unbridled development of housing and infrastructure. 10

Juriquilla was not an exception to this phenomenon. The layout of Juriquilla began from the areas of Cumbres del Lago, Privada Juriquilla and Juriquilla Province. It was in those years (20002010) in which its main landmarks were the Mision Juriquilla Hotel, the golf course and the choir plaza. In their surroundings, you could see wide, paved streets with vast vegetation. As well as spacious residences of a high socioeconomic level . In the last few years, Juriquilla has lost its character. The excessive growth of Querétaro has reached this area in the form of serial housing developments. User’s identity is lost through equal housing. Sensorial architecture ceases to exist and it becomes images, which give us a loss in material richness. Order is dictated inside these developments, but not on the outside. The access becomes more entangled each time, thanks to the lack of main axes . Is it possible to find within this chaos?

order

PORTFOLIO 2022

U R B A N

JURIQUILLA,

1980.

JURIQUILLA,

1990.

JURIQUILLA,

2005.

JURIQUILLA,

G R O W T H

2018. 11

DANIELA ALAGÓN

CASA LUJAMBIO

To create order, we must first ask ourselves what it means. Order is defined as a sequence in which things, ideas or people are placed in a determined space or time. We could even say that, according to architecture, it is only given to form. All pictorial form begins with the point that sets itself in motion… The point moves … and the line comes into being—the first dimension. If the line shifts to form a plane, we obtain a two-dimensional element. In the movement from plane to spaces, the clash of planes gives rise to body as it unfolds into a three-dimensional volume. Form is a broad term that encompasses different meanings. Within architecture, form refers to the internal structure, the external contour and the principle that gives unity to the whole. Its visual properties consist of its outline, size, color, and texture. Along with these properties, there are certain organizational guidelines that govern the order and composition of elements, such as: position, orientation and visual inertia. 12

And, what role do these forms or objects play in our daily lives? There are various beliefs that talk about the mind and the body separately. Two slightly related entities. But the phenomenology of perception says the opposite. This philosophy developed by Merlau-Ponty presents that objects are captured in relation to the body scheme. This implies that things are learned as such thanks to the fact that my body is capable of exploring them. Therefore, the mind is modified according to the physical existence of each being. This is why this philosophical current can serve us as a tool for analysis and a critical proposal to create habitable spaces that allow humans inhabitants instead of users. This stems from moving from the mechanism of using objects towards giving meaning to life through them.

PORTFOLIO 2022

F L O O R

ARQ-03

CT-04

ARQ-03

CT-02

ARQ-03

CT-03

ARQ-03

CT-01 A

0.850

2.525

1.350

2.650

0.650

0.500

1.150

0.400 1.900

P L A N S

2.000

1.150

0.450

M O

0.300 0.850

3.150 0.320

20.770

BATHROOM

1 TOILET

GARDEN 3.075

ROOF

N.P.T. +4.08 M

CHAUFFEUR ROOM

DECK PROYECCIÓN DE LOSA

2 CLOSET

DECK

1.950

PANTRY

STORAGE ROOM

1.950

N.P.T. +3.50 M

N.P.T. +3.98 M

MASTER BEDROOM

CLOSET

GARAGE

N.P.T. +4.08 M

0.930 GARDEN

H 2.94 M ND +0.34 M

0.700

0.400

12 PROYECCIÓN VACÍO

11 10

0.650

VACÍO

BATHROOM

N.P.T. +4.08 M

14 15

09 CLOSET

DINING ROOM

CLOSET

17 07

BAJA

18.900

18.910

KITCHEN

3.050 05

18.910 04

N.P.T. +4.08 M

H 1.2 M ND +4.58 M

3.050

BATHROOM

N.P.T. +4.08 M

0.400

0.650

H 0.43 M ND +5.35 M

H 2.68 M ND +3.57 M

H 2.50 M ND +3.58 M

0.930

BEDROOM 01

03 02

SUBE H 2.94 M ND +0.34 M

CLOSET

HALL

1.450

MAID’S ROOM

N.P.T. +4.08 M

0.350

FOYER

ROOF

TOILET 1.650

1.650

STUDY 0.455

0.455

LIVING ROOM

BATHROOM

1.050

BATHROOM

N.P.T. +4.08 M

9 FAMILY ROOM N.P.T. +4.08 M

BEDROOM 02 N.P.T. +4.08 M

DECK

N.P.T. +3.98 M VACÍO

AZOTEA

VACÍO

N.P.T. +4.08 M

0.350

HALL

N.P.T. +4.08 M

CLOSET

LAUNDRY ROOM

N.P.T. +3.50 M

1.450

H 1.35 M ND +4.43 M

CLOSET

N.P.T. +4.08 M

N.P.T. +3.50 M

VACÍO

1.050

PROYECCIÓN DE LOSA

VACÍO

0.400 0.605

0.400

13 14

CLOSET

0.605

PROYECCIÓN DE LOSA

VACÍO

20.895

0.400 1.900

0.850

2.525

1.350

2.650

0.650

0.500

1.150

2.000

1.150

G R O U N D 0.450

0.300

0.850

0.320

M O

3.150

F L O O R Q

F I R S T

F L O O R 13

DANIELA ALAGÓN

CASA LUJAMBIO

The world around us is an accumulation of stimuli that penetrate our senses and form an existential body-mind consciousness. What allows to organize from the physical a life with meaning. This is how the objects under these conditions represent the vision of the world, or in other words, they draw the outline of our culture through time. However, within architecture, the vital space for man is his home. It is his refuge, his abode, his home. If there is a place where being must be fulfilled in all its fullness, it is the home. And each house is a world, in it the evolution of man has been seen, it is the vision of his existence. It is like a social and material laboratory where the inhabitants fully develop. They not only go through the house, they inhabit it. It’s not just a bedroom, it’s a shelter from the chaos outside. The house does not have windows that ventilate, the house has windows that open to perceptual universes. That is where lights, aromas and textures permeate. The kitchen is a laboratory of sensual pleasures of colors and flavors that accompany life like dreams. Every corner of the house must be that: open universes, communicated with each other, so that the inhabitant exists sensorially, enriches his mind and finds the true meaning of his own individual life. 14

PORTFOLIO 2022

R E N D E R I N G

DANIELA ALAGÓN

CASA LUJAMBIO

2 3.095

3 1.830

4 1.050

6 0.620

0.480

8 0.650

3.050

9 1.450

0.35

11 1.650

0.460

13 1.050

0.40

15 0.60

NP +7.75 M

1.000

NP +6.75 M NAZ +6.55 M

0.200 0.300

NLBL +6.25 M 1.300

NP +4.95 M

1.200

NPT +3.75 M NLBL +3.45 M

7.750 0.300 0.580

NLBL +2.87 M

2.360

NPT +0.51 M NPT +0.34 M NPT 0.00 M

0.510

S E C T I O N 16

0 1

PORTFOLIO 2022

C O N S T R U C T I O N

C U R R E N T C O N S T R U C T I O N P I C T U R E S 17

DANIELA ALAGÓN

PORTFOLIO 2022

CASA KOLI L O C A T I O N :

F I R M :

Q U E R É T A R O , M É X I C O

J O R G E G A R I B A Y A R Q U I T E C T O S

T Y P O L O G Y :

R E S I D E N T I A L

R O L E : P R O J E C T M A N A G E M E N T , C O N C E P T D E S I G N A N D D E V E L O P M E N T , T E C H N I C A L D R A W I N G , 3 D M O D E L I N G A N D R E N D E R I N G .

DANIELA ALAGÓN

CASA KOLI

I invite you to question and reflect on the way we think and do architecture. What has been the route that governs our thinking when conceiving architecture? What foundations can we base ourselves on when managing our creativity? Over time, we have been interested in creating things of greater meaning and, as a result of wanting to know what has been done, said or thought, I have discovered the importance of studying history; regardless of the area of interest. Quoting Octavio Paz, “in order to innovate you cannot abandon the ancient reason”. Or, in the words of Álvaro Siza, in a contribution to the prologue of a book for Luis Barragán, he said: “for one to be truly modern, one must reconcile oneself with one’s traditions”. And this does not mean that we all have to become historicists, but I do believe that, in order to project the human future, we must know and understand what our ancestors have gone through. So, there have been many examples of extraordinary people who have based the structure of their creative work on an understanding of what has been done, or thought before, and in this way can aspire to integrate the past into a future. The most recent example I have come across is the amazing Pablo Picasso, considered by many to be the greatest artist of the 20th century. What was the factor that made your work so outstanding and cutting-edge? 20

PORTFOLIO 2022

G R O U N D

F L O O R

P L A N S

F I R S T

F L O O R 21

DANIELA ALAGÓN

CASA KOLI

The answer to this question could be summarized as follows: Pablo proved to be a genius from a very early age, he painted his first oil painting at the age of 8 and, when he was 15, the School of Fine Arts in Barcelona no longer had nothing more to teach him; however, this was not what determined his greatness. Pablo's genius derives from the work of two areas; one is introspective work and the second is his great desire to find a formal language different from what the world had seen. What made him the great "Pablo Picasso" was the Cubist movement, created by him and by Braque. This movement arises from a concern for space and the need to synthesize form. And it is that it is in prehistoric peninsular sculpture and ancient African art where his encounter with simplicity and formal synthesis takes place; It is in the art studio of the past that the genius of his hand finds refuge. 22

PORTFOLIO 2022

C O N S T R U C T I O N

C U R R E N T C O N S T R U C T I O N P I C T U R E S 23

DANIELA ALAGÓN

PORTFOLIO 2022

UH LU’UM L O C A T I O N :

F I R M :

C O Z U M E L , M É X I C O

J O R G E G A R I B A Y A R Q U I T E C T O S

T Y P O L O G Y :

C O N D O R E S O R T

R O L E : P R O J E C T M A N A G E M E N T , C O N C E P T D E S I G N A N D D E V E L O P M E N T , T E C H N I C A L D R A W I N G , 3 D M O D E L I N G A N D B R A N D I N G .

DANIELA ALAGÓN

UH LU’UM

PORTFOLIO 2022

M A S T E R

P L A N

DANIELA ALAGÓN

UH LU’UM

B A

10 12

G C

J H

M K

S N

9 11

G R O U N D 28

F L O O R

PORTFOLIO 2022

B A

10 12

G C

J H

M K

H O U S E

F L O O R

P L A N S

S N

9 11

F I R S T

F L O O R 29

DANIELA ALAGÓN

UH LU’UM

PORTFOLIO 2022

R E N D E R I N G

DANIELA ALAGÓN

UH LU’UM B C A

4 6

8 10

12 14

18 20

H E

K I

S R

V T

X W

AB Y

3 5

7 9

11 13

17 19

G R O U N D 32

F L O O R

PORTFOLIO 2022

A P A R T M E N T

B U I L D I N G

F L O O R

P L A N S

B C A

4 6

8 10

12 14

18 20

H E

K I

S R

V T

X W

AB Y

3 5

7 9

11 13

17 19

F I R S T

F L O O R 33

DANIELA ALAGÓN

UH LU’UM

PORTFOLIO 2022

R E N D E R I N G

DANIELA ALAGÓN

PORTFOLIO 2022

ATELIER CALZADA L O C A T I O N :

F I R M :

Q U E R É T A R O , M É X I C O

J O R G E G A R I B A Y A R Q U I T E C T O S

T Y P O L O G Y :

A R T

S T U D I O

R O L E : P R O J E C T M A N A G E M E N T , C O N C E P T D E S I G N A N D D E V E L O P M E N T , T E C H N I C A L D R A W I N G , I N T E R I O R I S M .

DANIELA ALAGÓN

ATELIER CALZADA

We set off on the task of continuing to investigate and learn in order to find a thought, theory or philosophy that would support and encompass the concepts shared by the different columns of information in the presentation of this project; So, guided by the texts of Martin Heidegger, Iñaki Ábalos, San Agustín and Francisco Cerón, among others, it was how we came across the philosophical current called Phenomenology, supported mainly by E. Husserl and Merlau-Ponty in the 19th and 20th centuries. What makes it necessary for us to define what phenomenology is as a philosophical current and how we can relate it to a space that has elements of articulation for such: Phenomenology is the study of structures of consciousness as experienced from the firstperson point of view. The central structure of an experience is its intentionality, its being directed toward something, as it is an experience of or about some object. An experience is directed toward an object by virtue of its content or meaning How does this look like when creating or inhabiting a phenomenological space? How do we transfer phenomenology to the Atelier María Calzada project? 38

The phenomenological space helps to build a free space in relation to the event, with the subject who lives it freely and creates it at the moment of living it as a constant phenomenon that never ceases to recreate itself. This space includes a space in our memory of continuities outside the guidelines that we can think of as anarchic or outside the norm, perhaps sometimes disproportionate, in harmonious relationship with the disorder that it has and is taking its own order, with a touch of radical singularity and experiential. The phenomenological individual thinks that he knows only the fact of his own life, that this is his only point of departure and arrival, always seeking in this naive contact with life and with the world the phenomenon that simultaneously produces them. His philosophical task is not so much to analyze or explain but to discover and thus create his own experiences as creative phenomena.

PORTFOLIO 2022

F L O O R

P L A N

PROYECCIÓN MONTÉN

IPR W 10" X 30 LB/FT

PROYECCIÓN MONTÉN

IPR W 12" X 26 LB/FT

PROYECCIÓN MONTÉN

IPR W 12" X 26 LB/FT

PROYECCIÓN MONTÉN

IPR W 10" X 30 LB/FT

PROYECCIÓN MONTÉN

MURO MOVIBLE

PROYECCIÓN MONTÉN

PROYECCIÓN CORTINA

G R O U N D

F L O O R 39

DANIELA ALAGÓN

ATELIER CALZADA

His technique is the forgetting of any preconception, he does not carry any lineage and is concerned with reestablishing his links between the phenomena that, when they happen, are linked in turn to subjective perception; it is in this sense, a technique of suspension in time, of putting in parentheses the historicization of knowing and thus learning in favor of the refined experience as a phenomenon. This means that it needs, so to speak, to freeze time, suspend it, isolate it and return to the very act of experiencing the phenomenological creation of the world, the subject and its objects, while containing this temporality in memory and restoring the phenomena with the experiential recollection that is intuited at the moment of experiencing it, thus creating a subjective microcosm of collections and objects, giving shape to a supposed poetic, artistic and creative reasonlessness, which sustains and enriches the phenomenological, spontaneous and carefree existence without pretentious intentions, which it is endorsing and recreating each time and in each moment of the subjective interaction with its space, which makes it its own and appropriates it each time. The change generated by each new experience is the movement of what does not remain, but rather mutates and establishes itself differently each new time.

PORTFOLIO 2022

A X O N O M E T R I C

P A I N T I N G

T E A C H I N G

A R T

V I E W S

E X P O 41

DANIELA ALAGÓN

ATELIER CALZADA

PORTFOLIO 2022

F U R N I T U R E

D E S I G N

2.500 0.100 0.020 0.020 0.020 0.400 0.500 0.680 0.660

0.100

N + 2.10 M

0.100 0.400 0.020 0.300 0.020 2.050

0.400 0.020 0.300 0.020 0.370

NPT ± 0.00 M

0.050

0.100 0.050

LIBRERO MOVIBLE ESCALA 1:50

DANIELA ALAGÓN

ATELIER CALZADA

PORTFOLIO 2022

F U R N I T U R E

A N D

B A T H R O O M

D E S I G N

DANIELA ALAGÓN

EDEN ICE FIGURE SKATING ACADEMY

PORTFOLIO 2022

L O G O

D E S I G N

B R A N D I N G A N D S O C I A L M E D I A P R O J E C T I D E V E L O P E D F O R E D E N I C E S K A T I N G A C A D E M Y W H E N T H E Y W E R E E S T A B L I S H E D . 49

DANIELA ALAGÓN

PUERTO ESCONDIDO HOUSING

PORTFOLIO 2022

M A P P I N G

A N D

Z O N I N G

DANIELA ALAGÓN

CASA VENADOS

PORTFOLIO 2022

R E N D E R I N G

3 D S M A X R E N D E R I N G C O U R S E I T O O K I N 2 0 2 0 P R O J E C T : C A S A V E N A D O S B Y E S T U D I O A M A R Q U I T E C T O S 53

DANIELA ALAGÓN

CASA SAN FRANCISCO

PORTFOLIO 2022

F L O O R

P L A N S

A N D

I L L U S T R A T I O N S

DANIELA ALAGÓN