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Emely Balaguera selected works ¡ 2016-2019

Pratt Institute School of Architecture


Contact Information:

Pratt SOA ¡ Semester 7/10

Current GPA : 3.772/4.000

Phone Number : +1 (516) 860 2392 Email : ebalague@pratt.edu

Academic Achievements : Published / Archived Works : INPROCESS 23

Fall 2016 - Spring 2017

INPROCESS 24

Fall 2017

President’s List (3.6-4.0/4.0 GPA) :

Fall 2016 - Present

Employment : Architecture Shop Monitor

Fall 2017 - Present

Supervisors : Mark Parsons , Rodrigo Guajardo Providing assistance with use of machinery and software (AutoCAD, ZPrint) in the Pratt Institute School of Architecture's Woodshop, Lasershop, and 3D Powder Printing.

Architecture Teaching Assistant

Fall 2017 - Present

Supervisors : Lapshan Fong , Jerome Hafred, Matthew Ostrow Providing assistance with first year Undergraduate Architecture classes , including first year Design (101-102) and Representation.

Architectural Intern - KPF

Summer 2019

Supervisor : Manman Huang Providing assistance with the design process by performing sketching, preparing drawings for presentations, calculating areas and volumes, and following direction positively and thoroughly. Assissted on the Jiuzhou Bay submission (Architectural Competition) and the Nanjing Huamao project (Schematic Design).

Architecture Gallery Assistant

Fall 2017 - Fall 2018

Supervisor : Chi Fan Wong Providing assistance with the curation and installation of exhibitions in the Robert and Hazel Siegel Gallery in Higgins Hall, Pratt Institute.

Current Skills : Laser Cutting Woodshop Experience 3D Powder Printing Spanish (speak,write,etc.)

Proficient

Excellent

Adobe Photoshop Adobe Illustrator Adobe InDesign 3Dmax

Proficient

Excellent

Rhino AutoCAD Revit Maxwell

Proficient

Excellent


Contents

111 112 102 201

302


111

Representation 1 Fall 2016 Critic : K. Brandt Knapp Drawing is the language of architecture – architects generate and communicate ideas through the act of making drawings. This course is intended to give beginning architecture students the skills required to communicate sophisticated architectural concepts through drawing and to explore how the act of drawing can be generative, an arena where forms and concepts emerge. The generative and communicative skills acquired in ARCH111 and ARCH112 were further incorporated into the student’s broader design methodology, giving them a tool for analysis and innovation that can be employed in design and technical courses across the architecture curriculum.


112

Representation 2 Spring 2017 Critic : K. Brandt Knapp Following the critical concepts introduced in ARCH111, this course is intended to introduce different forms of analytical drawings via the reading and understanding of an un-built house, Claude Nicolas Ledoux’s Woodcutter’s House and Workshop. Students were asked to explore and discover different organizing principles from source material such as existing architectural drawings, photographs of models, and/or renderings. These discoveries are then re-presented in a series of analytical drawings produced by a variety of techniques using analog and digital tools. For final presentation, students used their analysis to re-invent the house and explore concepts of atmosphere, phenomenology, and field conditions.


102 Fall Forward

Spring 2017 Critic : Farzam Yazdanseta The work of the 102 studio introduced design approaches by way of using rule-based systems that are deployed within a given architectural context. The main topics of the semester relative to an architectural context were ‘site’ and ‘program’, which students critically assessed in order to design with them. Yazdanseta Studio in patricular was focused on animate conditions and forms. The phenomenological experience of the body in space and the consequences and the continuous change in the surface in relation to the moving body were at the core of students’ inquiry, using digital means and methods to further explore the spatial qualities and consequences of the bodies in motion and the results of the collision of the two “actors”. The bodies were observed in a structured way, making visual interpretations of that analysis and deployed digital means to further explore the bodies in motion. Experimental drawing was used as an analytical, filmic and generative medium throughout the semester transmuting students’ findings into transient design proposals, blurring boundaries between the figure and the ground. Students invented dramatic fictional characters and events as program, juxtaposing those with movement and space. (Experimental and Hybrid) Drawings were effective in establishing connections between the program and site conditions and to harvest form. For the final project, students designed an architectural proposition with a sequence of three to four spaces for two occupants. Students were asked to take a position relative to siteand program by proposing an ‘architectural concept’, defined (for the purposes of the studio) as a well defined relationship between a formal idea and its program within the specific context of the given site.


conflict. departure. resolution. recovery. “There was always a battle because you always had to be winning.”

multiple levels of highly enclosed and broadly exposed pathways allow for the bodies’ release of tension through repulsion, discomfort, and recovery.


201 Exposure

Fall 2017 Critic : Chi Fan Wong In their third semester, the students were asked to precisely engage three issues that are fundamental to architecture: program, structure, and site. The project as given, a kindergarten on a sloping site in Staten Island was tailored to draw out these issues as well as benefit from their active consideration. Wong studio in particular introduced the studio with a brief exploration of five abstract ideas: Fragments. Inferences. Ruins. Removal. Anticipation. With a focus on analog means of abstracting and conceptualizing traditional Japanese dry joinery and an embrace of the significance of designing in section, students were able to develop the occupation of spaces with the consideration of program, stucture, and site, particularly with tectonic intentions.


302 Spring 2019 Critic : Beth O’Neill The work of the 302 studio challenges students to demonstrate the ability to produce a highly developed and comprehensive architectural project of moderate programmatic and site complexity. The Columbia Boathouse project focuses on the infiltration of the project’s surroundings, through implied directionalities and flows, meeting the cyclical routine of the Columbia Rowing team. By exploring the relationship between the intimacy of the site and the dominance of the urban context and creating a simultaneous relationship of public and private space, the proposal is acknowledging the boundaries between the occupants’ respective uses of the building and is employing circulation as a means to blend the boundaries rather than further prioritize them. By recognizing the significance of the relationship between the people of the Inwood community and their physical environment, the project embraces the challenge of preserving privacy while encouraging communal awareness and respect.


Profile for Emely Balaguera

Emely Balaguera - Selected Works 2019  

Emely Balaguera - Selected Works 2019  

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