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DIEGO DÍAZ

PORTFOLIO


This portfolio contains the design work of

Diego Fernando Díaz Velásquez All contained work is original, produced during undergraduate studies in architecture at Ricardo Palma University in Lima, Perú from Summer 2012 thru Winter 2016

Email: Phone:

diego_d_v@hotmail.com (+51) 994 628 781


CONTENTS ESTRUCTURAL INVESTIGATION

WINTER 2013 - SUMMER 2016

THE CATERPILLAR

WINTER 2012

THE ENSEMBLE SUMMER 2013

IDEAL CITY MUSEUM OF NATURAL HISTORY WINTER 2014

ANCESTOR’S HOUSE FAMILY HOUSE TRHEE HOUSES SUMMER 2015

A NEW WAY OF LIVING

WINTER 2015

XAVIER’S SUMMER 2015 OTHER WORKS


ESTRUCTURAL INVESTIGATION

ESTRUCTURAL APROACH COURSE: DATE: INSTRUCTOR: MATERIAL:

ESTRUCTURES WINTER 2012 ING. ROBERTO MACHICAO RELIS, ARQ. RITA GONDO MINAMI RECICLED OBJECTS, WOOD FRAME, STRINGS

First approach to the structural issue, focusing on the study of curved beams. In this exercise a playful space, without external references, in a wooden frame in where curved beams are embedded and stabilized Solutions for this work were practical. To reduce the cutting force the height of the beam is increased. To remove, somehow, the lateral movement, the beam is widened making them beam and cover simultaneously. Complementary solutions as a mast system and mixed walls were added to stabilize. A work that leads to a first approach to a more complex structural resolution using the system curved beams


ESTRUCTURAL INVESTIGATION

LAMINATED BEAMS MODULE COURSE: DATE: INSTRUCTOR: MATERIAL:

ESTRUCTURES SUMMER 2015 ING. ROBERTO MACHICAO RELIS, ARQ. RITA GONDO MINAMI RECICLED OBJECTS, LAMINATED WOOD, METAL STRINGS

The completion of previous studies in laminated beams, creating a stable module. Starting with a scale model to analyze inflections and efforts. In this work the mathematization of its curves is prioritized, considering a subsequent full-scale reproduction. The breakdown of unions and stabilization systems are designed in the second stage of the exercise. Worked with plywood strips tensioned according to the established curves on the scale. Later, curves were attached and stabilized, creating attachments to the ground and stabilization systems.


FRONTVIEW

TOPVIEW


ESTRUCTURAL INVESTIGATION

ESTRUCTURAL GENESIS COURSE: DATE: INSTRUCTOR: MATERIAL:

ESTRUCTURES SUMMER 2016 ING. ROBERTO MACHICAO RELIS, ARQ. RITA GONDO MINAMI WOOD, CARDBOARD

The creation of a structured space in a three-dimensional tetrahedral frame. Ruled under compositional relations between the elements (rotation, extension, translation, specular reection). Arranged from a three-dimensional composition, a unique architectural object is achieved with an structural solution that gives a new way of approaching the design of the space in conjunction with the structure.

PLATONIC SOLID


Ⅰ. POLIEDROS DE PLATÓN

II. ESPACIO OCTAEDRICO

REGLAS DE COMPOSICIÓN

The compositive elements are structures within the tetrahedral space, with They are just a spatial • TRAMA TRIANGULAR = ORDEN EN no orientation. • OCTAEDRO ACRÍLICO DE 2MM TETRAEDRO DEMIOCTAEDRO V. ELEMENTOS TR,RT, RE) • TRAMA TRIANGULAR 8 MODULOS DE 4,25 CM TETRAEDRO COMPOSITIVOS COMPOSICIÓN POLIÉDRICA composition at this(EX, moment + CUBO+CUBO CUBO +OCTAEDRO + DEMIOCTAEDRO

OCTAEDRO

+ CUBO

LA COMPOSICIÓN ESTÁ INSCRITO DENTRO DE

DE LADO

UN OCTAEDRO PARA MANTENER EL ORDEN Y PROPORCIÓN DE LA MISMA PPT BY. YOONYM http://ds1104.blog.me

• EXPANSION

ROTACION

EXTENSION

The projection of the lines in the tetrahed raldespace, gives que us luego an orientation • Losgenerated elementos compositivos se limitan al uso • Búsqueda será clave para elto the composition, an scale and function is given. To labeexpansión, later structurally resolved. The creation of a unique structure that meets the architectusiguiendo básicamente la necesidad posicionamiento final del elemento en el terreno de la estabilidad del elemento con respecto al ral requirements. octaedro virtual


IX. ESCALA

XII. DIGITALIZACION POLIEDRICA •

Escala 1/250

A relationship with environment, a human scale, an orientation, a language is created. Of which the structure plays a critical role, giving form to the element without sacrificing the space. • Se da el uso de placas aligeradas (rojo) como elemento compositivo, mas no estructural. El esqueleto del elemento esta compuesto por uniones rígidas en altura. •

Y uniones móviles en los asentamientos al suelo. Para aguantar cualquier tipo de deformación por efectos


THE MACHINE, ARCHITECTURAL DETAIL

THE CATERPILLAR COURSE: DATE: INSTRUCTOR: MATERIAL:

BASIC DESIGN WORKSHOP II WINTER 2012 ARQ. OMAR ZARZOSA PBC TUBES, NORDEX

The machine is now an extension of our space that can be expanded. A one-man space able to expand and change over time is the goal, as the user is part and engine of its expansion. In the proposal, the image of a caterpillar is taken as image for the design. A lateral expansion system doubles the size of the proposed area when required. Turning again, an area of refuge into an open and more friendly to the enviroment. The structure frame built with 1" tubes of PBC molded by heat, delimits the position of the wood panels. The opening system uses pistons to keep stable in both open and closed position.


The assembly tries to connect two previous exercises, the cube and the parallelepiped. Both exercises consits in the creation of spaces inscrited on these two forms, using the language, propportion and materials used in Incahuasi


THE MACHINE, ARCHITECTURAL DETAIL

OUTWORLD MACHINE BASIC DESIGN WORKSHOP II WINTER 2012 ARQ. OMAR ZARZOSA RECICLED OBJECTS, ALUMINIUM

The outworld machine was an exercise about image, concept and form, in which the student is challenged to create a machine with an speciď€ c function and scale determined by the student. Is all about creating a language , function and detail around the concept of an outworld machine. The proposal is about a harvesting machine mineral. that works on meteorites. The primal goal was to bulild the image of a machine base on an natural desing, in this case a worm, without leaving the concept of an monumental excavator.

THE THREE STAGES OF DESIGN

COURSE: DATE: INSTRUCTOR: MATERIAL:


Created entirely of recycled materials, we are looking for the creation of an object that expresses a history and a context without specifying a single word The two stages of the animal.From right to left. - Mouth closed. Mouth opened. Tail detail.


MANZANA, CITY AND EVENT

IDEAL CITY COURSE: DATE: INSTRUCTOR: PLACE:

BASIC DESIGN WORKSHOP IV WINTER 2013 ARQ. FREDDY VALDIVIA, ARQ. RAFAEL RÍOS BRAZIL AVENUE, LIMA, PERÚ

The urban analysis takes it’s starting point on a group of blocks from Lima, a complex city,full of contrasts and cultures. This analysis takes into account as many variables as possible, which will lead into a proposal after the consideration of the urban phenomena and the daily routine of human acts. The city changes over time, where the regularization and outlining are altered by the people. Where the variables change witch each block, you get to identify a pattern in common, the people, whose identication with the place and the changes he makes to the initial space are the real variables in Lima. This analysis focuses on dening a user in order to identify the global problems.


SI TE


ARCHITECTURAL SURVEY In order to understand the dynamics of the people, we establish direct communication with people. To get an idea of how people move on an area and how they have changed it. This direct contact with the place, for aproximately a month, gives us our ď€ rst control mechanisms before the desicion of the proposal.


TEN BLOCKS Drawn by hand, these are the result of an analysis of the different house typologies. On which, we are required to nd a variable that denes the interaction between the blocks, an usuary and the path they use. In order to dene, the differents espacial relationships between the city and the people .


THE IDEAL CITY The process of disintegration of the actions of people exposed in quantity and quality. Help us discover vectors, movement ows, density nodes. These patterns help us to rearm and reinterpret the city. Building the ideal city is a sum and balance between forms of thinking the city and its mutations. A mixture of spatial combinations and generated circuits interpretation of such vectors and specic actions. The ideal city, a free space exercise, where a city-creation process is recreated with a desicación 5 times higher than the existing one.


ACTUAL CITY + NEW CITY DENSIFICATION TO 500%


The spaces created by the densiď€ cation of the city exaggerate the relationships already deď€ ned by the previous study and make a projection to the future based on the dynamics between them.


Creating different scales of spatial development, from the human scale to the giant scale, a response to an explosion of density and therefore of the relationships that occur on it.


The spatial relationships of domain, inclusion, container-content, shelter are evidenced as an architectural response to the relations between people


The parallel development of both plants, the cuts and the model allowed us a better understanding of the space we were trying to develop. Identifying families and grouping cores, creating services and recreation. The development of the plane without using digital methods brought us closer to the true scale of what was intended to be resolved.


METAPHOR AND PERFORMANCE

THE FIRE BREATHER COURSE: DATE: INSTRUCTOR: MATERIALS:

BASIC DESIGN WORKSHOP V SUMMER 2014 ARQ. LAURÍN LEÓN PBC TUBES, POLYURETHANE, CABLE, RECICLED OBJECTS

The premise of the exercise was taking an element of the world of Star Wars and think about the way they would evolve over time. The biological weapon of the Yuuzhan Vong race, pulled out of the Star Wars comics. The exercise involves two stages. Previous research on the alien race Vong and their main biological ATV, the re breather. The rst stage, worked almost in a sculptural way. Speculating about the spatiality of this type of lifestyle, their uses and priorities. Finally, it goes to a larger scale, with a different idea to the usual space. We get to recreate this kind of life, prosthesis were added and many things were added, like mechanical movement. All our knowledge not only of space but design work that requires us to think differently.


Main control room Restoration and rest

Command and Preparation

Entrances Biological Inhibitor

Neuronal Connection


FIRST APPROACH


END OF THE FIRS STAGE ESTRUCTURE GETS RE-DESIGN


END OF THE SECOND STAGE BIOLOGICAL INHIBITOR ALTERED


METAPHOR AND PERFORMANCE

THE GEORGE LUCAS MUSEUM OF NARRATIVE ARTS COURSE: DATE: INSTRUCTOR: MATERIAL:

BASIC DESIGN WORKSHOP V SUMMER 2014 ARQ. ARQ. LAURÍN LEÓN WHITE CARDBOARD

Following the theme of Star Wars. We face an exercise in which we have to translate through space and shapes the universe created by George Lucas. In this case, to transmit to the user the sensation of feeling the power of the Galactic Republic. An exercise where it is linked to recreate the narrative order and modus operandi of the Republic on the premises of this museum.


A tenso-structured metal tower, gives shape to the Jedi Museum. A succession of platforms and interconnected ships, both horizontally and vertically extend into two colossal platforms on each third. All the spatial and closing expression has been taken directly from the way of understanding the world according to the Jedi religion in the world of Star Wars, open environments of great extent are join spaces of religious decorum that resemble the balance that is given to the use of force. And metallic structures that alter the space and contain it, that reflect that this use becomes unnatural to the force itself, whose balance is tried to maintain only under the Jedi precepts, nevertheless its nature is as much of peace as of chaos.


VERTICAL WORKSHOP

MUSEUM OF NATURAL HISTORY COURSE: DATE: INSTRUCTOR: MATERIAL:

DESIGN WORKSHOP VI WINTER 2014 ARQ. ARQ. JUVENAL BARACCO WHITE CARDBOARD

Located in the historical center of Lima, it is proposen a cultural rehabilitation of the place with this proposal. A museum of natural history, in which can be seen Peru’s biodiversity among the ages, describe its different climatological zones and give us proven to the immense diversity that encloses the Peruvian ora and fauna. Expanding the cultural axis beyond the limits of the Museum of Art of Lima; proposes the beginning of acultural revolution in Lima.


INTEGRATED WORKSHOPS ON THE MUSEUM DETAIL


DETAIL MODEL OF THE EXPOSITION AREA

STRUCTURAL DETAIL


MEMORIES MEMORIES

ANCESTOR’S HOUSE HOUSE ANCESTOR’S COURSE: COURSE: DATE: DATE: INSTRUCTOR: INSTRUCTOR: MATERIAL: MATERIAL:

DESIGN WORKSHOP VII DESIGN WORKSHOP VII SUMMER 2015 SUMMER 2015 ARQ. ARQ. JUVENAL BARACCO ARQ. ARQ. JUVENAL BARACCO WHITE CARDBOARD WHITE CARDBOARD

To realize the house of the ancestor, is to think for whom we To realize thewe house of the ancestor, is to think forawhom work. Since desing for someone who has left mark we on work. Since we desing for someone who has left a mark on our lives, we take this exercise more than a design exercise; our take this exercise more a design but lives, as an we internalization exercise, trythan to get into theexercise; skin of but as an internalization exercise, try to get into the skin of our ancestor. our ancestor. Listen to their life and propose a solution based on it, Listen to their life and propose a solution based on it, a house design that is clearly identied with our ancestors a house design that is clearly identied with our ancestors way of life. way of life. An architectural exercise done with the purpose of translating An architectural exercise done with the purpose of translating their ideas into architecture. their ideas into architecture.


Dear great-grandfather Dimas. Married from very young, pedagogue by profession.he lives most of his life away from the capital, Chachapoyas. During the gob. Of the Architect Belaunde Terry, was sent to North America to improve the educational system in his province. After the coup d'etat by Juan Velasco Alvarado, returns to Lima without being able to culminate his studies of pedagogy. Where his lands were expropriated and he loses everything. Then he traveled to Chiclayo, at far away north, where he opened the ď€ rst Pedagogical school in the town and ended his days dedicating himself to the training of new teachers.


MEMORIES

FAMILY’S HOUSE COURSE: DATE: INSTRUCTOR: MATERIAL:

DESIGN WORKSHOP VII SUMMER 2015 ARQ. ARQ. JUVENAL BARACCO WHITE CARDBOARD

Just as the previous exercise, the house of the family, is integrally dedicated to our loved ones and to their way of life. Where each form and space is specied according to the different relationships and uses of each family member.


VIEW TO SEMI-PUBLIC SPACE

EXTERIOR VIEW


MEMORIES

THREE HOUSES COURSE: DATE: INSTRUCTOR: MATERIAL:

DESIGN WORKSHOP VII SUMMER 2015 ARQ. ARQ. JUVENAL BARACCO WHITE CARDBOARD

This exercise goes beyond the previous two exercises, establishing specic relationships for three families in a specic lot, taking urban parameters but especially the existing relationships and previously established between the three families.

BLUE: Bachelor’s House YELLOW: Young Family’s House RED: Elder’s House


Basemnet entrance Cut

Internal courtyard to main exit


A NEW WAY OF LIVING

MIXED-USED BUILDING COURSE: DATE: INSTRUCTOR: MATERIAL:

DESIGN WORKSHOP VIII WINTER 2015 ARQ. GUILLERMO TISOC YUPANQUI WHITE CARDBOARD

Following the master plan conguration, the areas are projected towards the area to work. The proposal with this space works to eliminate the limits created by the environment. In this case the av. Panamericana and the geographic limit of this elevation.In conjunction with this elimination of delimitants, with one of the main roads to be created in 2050 that will join the three poles of growth of the area, the space will be used as an articulation for an auxiliary income to cultural pole, main place for a vertical circulation of a cableway,the main space of recreation (that will join the districts of Surco and San Juan de Miraores) and nally as an extension of the mountain slope used for housing. A mixed-use space, both in used on circulation and a zone of articulation with different types of movement patrons and users.


A

ICAN

AMER

AV. P AN


HOUSING DEPARTMENTS Designed from the local needs of use

OFFICE BUILDINGS Ready and equipped to use

GROUND LEVEL Designed to promote the use of public spaces


The proccess of design goes from the macro-structure, to a detail level of the design of the departments.


SENIOR COLLEGE

SCHOOL FOR GIFTED YOUNGSTERS COURSE: DATE: INSTRUCTOR: MATERIAL:

DESIGN WORKSHOP IX SUMMER 2016 ARQ. ARQ. JUVENAL BARACCO WHITE CARDBOARD

This land where Lurigancho Penitentiary, one of the most populated penitentiaries in Peru, is located. A black spot in the city, a place where informality reigns. The approach takes this place and recongures it with a natural reserve and the rst major school for gifted youngsters. The key of the proposal is based on the location of the Senior College, the pavilions are located were the prison’s pavilions were located. The urban park has two axis, the civic axis and the cultural axis, which frame the upper part of the urban park where all the equipment of the park is located, and intersect in the lower part where there is an open amphitheater which represents the union between the two axis.


One of the main points taken into account during the analysis and delimitation of project was the proposal of the limits. The orange zones will be directly affected by the delimitation of the project. Due to informal growth, informal appropriation of land and the lack of municipal control.

SITE


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AMPHITEATER

SECOND FLOOR

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VIEW FROM THE CLASSROOM PAVILION

VIEW FROM THE WORKSHOPS


A NEW APROACH

MAXIMUN SECURITY PRISON COURSE: DATE: INSTRUCTOR: MATERIAL:

DESIGN WORKSHOP X WINTEE 2016 ARQ. JUAN DE DIOS SALAS WOOD CARDBOARD

A project based on the transformation of the penitentiary with the context and focusing on the reinterpretation of the social reintegration formula used in Peru; having the particularity of being located in a tropical climate specically in the department of Madre de Dios, province of the Manu, District of Shintuya. It will be classied as a penitentiary with a medium-high security degree and a capacity of 500 inmates and approximately 75 workers.


The climate of the region is warm and humid and the materials available for its construction are cuneiform wood trunks. It is for this reason that the conception of prison is reinterpreted and it tries to adapt this architectonic element so hermetic in one that does not impose its materiality to the context, but quite the contrary. Without ceasing to think about the functional, architectural, climatic and safety aspects. An approach that seeks to remove prison complexes from the general approach of closed penitentiary that is used in Peru, both in the remoteness of the populated centers and within the same city. Forming dead zones where the interaction between the city and the architectural element deny each other


INMATE’S PAVILION DETAIL AND CUTOUT


OTHER WORKS


BIRD OBSERVATORY SUMMER 2015


BIRD OBSERVATORY, PARACAS BAY - SUMMER 2015

VIEW FROM TOP FO THE CLIFF

SIDE CUT

SITE


SITE

ROOF DETAIL - BIRD RESERVORY

HALL VIEW


TWO STAGES OF THE SPACE

HALF MOON WINTER 2012


THE DARK SIDE OF THE MOON SUMMER 2014

SPATIAL MINNING MACHINE ON THE MOON


BLENDER EXPLORATION

CUPCACKE DELUXE WINTER 2016


VARIOUS WORK

PHOTOSHOP EXPLORATION


VARIOUS WORK

PHOTOSHOP EXPLORATION


VARIOUS WORK

PHOTOSHOP EXPLORATION


SCULPTURE WORK AND HAND DRAWINGS


THANK YOU! diego_d_v@hotmail.com (51) 994 628 781

UNDERGRADUATE PORTFOLIO  

2016-2017

UNDERGRADUATE PORTFOLIO  

2016-2017

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