Enrique Lozano Portfolio

enrique lozano

2 0 1 8 portfolio

University of Houston Gerald D. Hines College of Architecture and Design Projected Graduation Date: May 2020 Enrique Lozano 4th Year B. Arch Student

TO PERCEIVE MEANS TO IMMOBILIZE... WE SEIZE, IN THE ACT OF PERCEPTION, SOMETHING WHICH OUTRUNS PERCEPTION ITSELF. HENRI BERGSON

/01

/07

content

rhythm12

/02

plans

/04

sections

/05

parametric iterations

/06

renderings

fieldSpace

/09

plans + elevation

/11

perspective section

/12

built model

/13

longitudinal section

/15

renderings

/17

/31

content

restLess

/19

site plan + sections

/21

axonometric section

/24

plans

/26

assemblies

/27

detail section

/29

model

fifth ward on Jazz

/32

site plan + diagram

/34

plans

/36

elevation

/37

section

/38

detail section

/40

perspectives

/41

outside cirriculum

/42

architecture + film

/architecture + film: diagrams 1.

Bergson, Henri, and Mabelle L. Andison. The Creative Mind: an Introduction to Metaphysics. Dover Publ., 2013.

2.

Farrell Krell, David. “Archeticture: Ecstasies of Space, Time, and the Human Body Paperback – October 2, 1997.

3.

Haralamidou, Penelope. Marcel Duchamp and the Architecture of Desire. ROUTLEDGE, 2017.

references

/01

rhythm12 is a recreational bathhouse situated along Barton Springs in Austin, Texas.

Site analysis reveals topographic variations and an oasis of green stitched along the urban fabric. The act of bathing is idealized as a precession into the springs through a series of visual and audial cues. This project exists in two interpretations of two-dimensional representation. A plan is accompanied by a sensory diagram of light and sound into the space, drawing an occupant through the bathhouse as a celebration of their experience. In section, the project is a mass sunken into the earth, rising along the steam inside.

Barton

Springs

Salamander

Sanctuary

Caretker

Kayak

Baseball

Umlaf

Field

Sculpture

Figure-Ground Program Scale 1:2500

Garden

&

Museum

Rentals

/02

street level

bath level

/03

Create overlay grid

Mass

Contour to spatial requirems of program

Fragment

Material skin is created Carve

An abstraction of Roman bath precedents, the implied barrel vaults of volume are warped at opposing ends and merged. The resulting form is blanketed by a modular frame of reinforced Modular framing of structure concrete that blurs the edge condition of wall to ceiling.

Skin Diagram

Envelop

/05

/06

/07

fieldSpace imagines an adaptive culture through programmatic interrogation. Programmatic Interrogation in the context of this project investigates the relationships between spaces in the program through adjacency diagrams, size comparisons, and future relevancy. The project is viewed as a timeline. In preparing for growth and the fluidity of the urban flux, a modular system of structure allows an architectural evolution through construction and deconstruction. Both respond to a formal dynamic and volumetric perception of the shared environment with awareness of the “void� in between. The field is then socially integrated through the temporal spaces it has promoted and what reconceptualizations of the urban have orbited within it.

Market

Lobby

Lobby Cafe

Public Research

Exhibit Storage

Auditorium

Admin Office MEP

Restoration

Private Conference

Coffee Bar

Admin RR

Admin Conference Coffee Bar

Private Research

Gallery Auditorium

Private Research RR

Vault

Storage Cafe RR Vault Research

4,000 sq ft

Restoration Conference Coffee Bar

3,000 sq ft

Administrative 2,000 sq ft

1,000 sq ft

500 sq ft

200 sq ft

50 sq ft

Market Performance Recieving

Recieving

Performance

Market

Administrative

Coffee Bar

Conference

Research

Vault

Cafe

RR

Gallery

Storage

Recieving

Exhibit

Auditorium

Lobby

Public RR

Gallery

Storage

Exhibit

Performance

Restoration

/08

/09

site context Considerations to the site in Sam Houston Heritage Park led to the idea of a new constructed identity for the location. The century old homes reflected a shallow ideal of historicism by being relocated to the park and assigned to arbitrary spots on the greenscape. A reconfiguration of place through an urban grid assigns directionality and intent to the site.

Individual units of space are suspended in a structural “field� above the ground level. Each plug -in is adapted to the field geometry, allowing the addition or removal of complete or partial elements of the program as the time progresses.

McKINNEY ST

BAGBY ST

LAMAR ST

/10

MECH.

MECH.

ELEVATOR

ELEVATOR

PUBLIC RESEARCH MECH.

MECH.

ADMINISTRATIVE AUDITORIUM

CAFE

MECH.

GALLERY

MECH.

EXHIBIT

MECH. 1

50

12 6

1

24

second level

third level

nw elevation

50

12 6

24

/11

/12

/13

/15

/16

/17

restLess explores the potentials of space through reconfiguration of the ground plane. In questioning the role of the resident artist, architecture is a the tool that defines the quality of experience as determined by the medium. This intervention of place is to always be active, always responsive to the temporal nature of the program and the physical limitations of the artists. restLess does not offer predictability, monumentality, nor promise for the future. Rather, this building type generates systems that are anticipated, communicative, and performative. Cultivating the needs and desires of a spac can begin with asking what scenarios the architecture can support.

/18

conceptual perspectives

/19

+

The Sculptor

The Filmographer

Â

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The Light Artist Â?

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Â?

The Sound Artist

drawing at 1:2500 scale

+

/20

East Section

10

East Section

10

20

20

40

40

North Section

North Section

10

20

40

/21 In the development of the project, a series of artists were speculated to exhibit their work within the collective spaces. The following drawings were animated to represent the volumetric versatility of the site as a whole. By manipulating the architectural systems in techincal drawings, a language of function and speculation is played with.

axonometric section

/22

/23

Mechanical Yard

Artist Residence

Breezeway

Bayard Ln.

Montrose Blvd.

Admin. Conference

Berthea St.

Street Level

10

20

50

/25

Street Level

10

Berthea St.

20

50

Mech.

CAMH Entrance

Black Box Theater

Tech Booth

Back of House

Gallery

Mech.

Admin Office

Library

Mech.

Below Street Level

Tunnel Entrance

10

20

50

/26 1

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 € ‚ �� ƒ „

7

1

Â? Â?

6

2

3

3

2 4

5

4 5

6

7

Axonometric Diagram

/27

/

Detail Section

/28

10

20

40

/29

/30

/32

Fifth

Wa

rd O

Fifth Ward on Jazz seeks to redefine asymmetrical power relationships through public space that is removed from the spatial privatization generated by a jazz venue being introduced to an increasingly gentrifying site.

This projects responds to jazz as packaged comodity through the creation of a public realm, lifted from the street level, and met with accessible modular infrastructure. These series of bridges and platforms connect points of circulation of the macro site and engage public systems within the project’s program.

In supporting a heterogenous demographic, allowing for free space, bridging co-habitating interests, and transient circulation, this response is the invariant of jazz as a social function.

10

20

50

n Jaz z

/32

Private & Public Spaces

INFRASTRUCTURE AXONOMETRIC DIAGRAM

Site Noli Diagram MACROSITE CONNECTIVITY

/33

/34

The highly privitized site of the Fifth Ward in Houston, Texas includes an expanse of industrial factories and lumber yards, limiting the site circulation and project accessibility. In elevaitng the public spaces of the program and connecting to the neighboring viaduct, a public infrastructure is created through modular stairwells and suspended trusses. The new spine is stretched into the site, bridging open programs and wrapping around an exterior ampitheatre.

/35

East Elevation 6

12

24

North Elevation 6

12

24

/36

West Section 6

12

24

Detail Section 3

6

20

/41

/42 In the early design studios of my second year, I grew interested in the immaterial as a method of construction. The concept of time in an experiential thesis of design provided me with numerous opportunities. I could begin to use duration as a design tool. This ground of investigation could inform every part of the architecture in a project, from the length of time spent in a space to the sociopolitical effects of a project 200 years into its life cycle. The challenge of visualizing the immaterial and diagramming what could be “experienced” began to prove challenging through standard methods of representation.

Visual diagrams in architecture have been a strong proponent in the conceptualization of spatial arrangements through two dimensional “partis”. In the simplified two dimensional line drawing, an idea is depicted using minimal illustrated shapes or lines. The video project diagrams aims to look into the future of architectural visualization and break the conventional mold of graphic representation. This project imagines an idea of time in a space: how to document, diagram, and visualize it in the four dimensional media of film. I hope that in exploring an extended realm of a diagram, we can begin to incorporate new methodologies within an architectural discourse.

1

2

3

diagrams

In his Introduction to Metaphysics, Henri Bergson creates an experiment of two spools, to represent the passing of time, one spool unwinding, the other winding up. “Duration resembles this image, because, as we grow older, our future grows smaller and our past larger.”

Bergson adds, “no two moments are identical in a conscious being” (The Creative Mind, p. 164).

Duration becomes a “continuity of progress and heterogeneity” similarly, the spools represent a direct reference to a conservation of the past. I have split the screen between the two spools, alluding to a singular whole, juxtaposing the accumulation of information and a reduction in time.

The arrangement of overlay with Ektagraphic slides illustrates a composition of information over contrasting images displayed as one. The initial slide of medieval masonry represents a seperate point in time, with the transitional merge of a contemporary, glazed skyscraper. The gesture is repeated, a blend of the past and the present, in search of visual patterns in architectural motifs. This fusion of image illustrates a span of time captured in a still.

The spool is shown again. A focus on materiality and information is emphasized in this experiment.

The aged hemp strings stretched and the next frame shows the string burning in a small fire. The aged string, a dried plant, sourced from a process of time, is burned. This act embeds a new layer of age and quality onto the material, redefining its properties and fixing a point on its life cycle of use.