- PORTFOLIO - SELECTED WORKS -
PERSONAL INFORMATION - Name: Gabriela Zarwanitzer - Nationalities: Argentinian, German (Argentinian and EU Passport) - Telephone: (00 54911) 15 6839 2727 - Email: firstname.lastname@example.org LANGUAGES - First language: Spanish - Second language: English - Third language: French CERTIFICATES - International Baccalaureate (IB) Diploma - International General Certificate of Secondary Education (IGCSE) - Diplôme d’Études en Langue Française (DELF)_A1, A2 EDUCATION - Northlands School (1997 - 2011) - University Torcuato Di Tella (2012 - present) SKILLS - Office: Word, Excel, Power Point - Adobe: InDesign, Photoshop, Illustrator - Rhinoceros - Grasshopper - Autocad 2d - 3dsMax - Autodesk Robot Structural Analysis - Corel Draw
PARTICIPATION IN PUBLICATIONS: -The Function of Canon_Intexterior House PROFESSIONAL EXPERIENCE - General Design Bureau (2013) - Martin Ibarlucía Studio (October 2015) EDUCATIONAL ACTIVITIES - Interviewer in “Je ne sais pas”_Philosophy: in conversation with Guillermo Ranea - School of Architecture and Urban Studies of University Torcuato Di Tella, translation of EAEU conferences WORKSHOPS - Lab001_Sir Peter Cook (2012) - Lab002_Paul Andersen (2013) - Lab003_Juan Pablo Eiroa (2014) - Lab004_Josep Ferrando Bramona (2015) - Workshop collaboration with UCA in Asunción, Paraguay (2015) - Lab005_Lluis Ortega (2016) - Lab006_P.A.T.T.E.R.N.S (2016) COMPETITIONS - Fairy Tales: When Architecture Tells a Story (2014-2015) - Fairy Tales: When Architecture Tells a Story (2016) - The Land Art Generator Initiative (2016) COURSES - English Course_Cambridge Embassy CES (2011) - Architectural Trip_Barcelona (2013-UTDT) - Photography Course_Nikon School (2013) - Light Design_Espacio Buenos Aires (2014)
RĂo de la Plata
I N T E R I O R P HOTOMO R P HO S I S -
P R O F E S S O R S : L L U I S O R T E G A , J U A N P O R T A , S A N T I A G O M I R E T, M E L I S A B R I E VA L O C AT I O N : G E N E R I C , B U E N O S A I R E S , A R G E N T I N A 2016
This work reverts the dichotomist relationship between interior and exterior through emptying and intensifying these boundaries in terms of potential ranges of interiority. The interiorâ€™s quality proposed is that of a landscape of pseudo interiors that organize matter in terms of light as a mediating phenomenon and a generator of thresholds. The proliferation system draws from the acknowledgment of points as generative centres in a given field, in this case, the Harrods building in Buenos Aires. These points are located in the centre of the vertical circulation cores and the original skylights, which are the starting points for the formal primitive both for illumination, catenary of revolution that converge the problems of orientation; and for circulation, inversed catenary of revolution that work structurally and around which the circuits of vertical circulation are organized. It is understood that these prototypes work as organizers of space in a transversal sense. Light is understood from the diffusive spectre at different times of the day for a particular orientation. Human activity searches for spaces of different extents of luminosity, and the proliferation of enclosure questions the relationship between what is full and what is empty, in order to upgrade the quality of the surrounding space with more natural light. The programmatic organizations of office working spaces of different kinds derive from an affected formal prototype in a particular environment, back fed by the notions of luminous intensity, proximity to circulations and degrees of interiority.
Plans 1 & 5
Succession of plans_0 to 5
BA R C E LON A HOU S I NG -
P RO F E SS O R : J OS E P F E R R A NDO B R A MON A L O C AT I O N : E L R A VA L , B A R C E L O N A . E S P A Ă‘ A 2014
This project is located in a field between party walls in El Raval, Barcelona. It works as a hinge in a cosmopolitan, dense and compact city. The development of the project is based con the guidelines of the city streets, the context, combined with a regular grid every six meters, marking both the structure as the rhythm of the faĂ§ade. The project does not seek to impose itself, but to adapt to the surroundings. It sows the existing buildings, working on the issue of heights. There are four blocks, two of which show a ground floor with three floors, and the other two blocks with five floors, that are sewn with the building of the party walls. Inside the housing units the project works with the server spaces that work as islands around which the served space forms. On the ground floor, the development shows in the public space between building modules and the surroundings.
Sequence of plans
First typical floor plan
First typical floor plan
Plaster, wooden and acrylic model
URBAN BLOCK -
P R O F E S S O R : MA R T Ă? N I B A R L U C Ă? A L O C AT I O N : E S C O B A R , B U E N O S A I R E S , ARGENTINA 2015
The housing project is planned as an extension of the city; social housing as a construction project of the urban space. The first Urban Block project is located in the second of a set of three blocks. The proposal works on the conformation of a sequence of enclosures inside the block. The project consists of 150 residential units and 24 workshops or shops arranged in six building blocks, with four floors each. Four of these blocks present commercial spaces on the ground floor, open to the public, located at the outer perimeter of the block. As for circulation, cores of stairways are projected every two housing units. The corners of the composite blocks share a stairwell core every three housing units. Depending on the orientation the various units are resolved. The access to them is from one of its sides, leaving to one side the living room, kitchen and dining room; and on the other the bedrooms. Ground floor eaves accompany the paths along with the trees, helping to define the private and public areas within the project. The location, shape and design of public space within the Urban Block is accessible from the streets on all of its sides. The Urban Block works on the construction of models, types and forms of organization to serve the future development of the city.
Ground floor plan
P O R T I C O I T E R AT I O N -
P R O F E S S O R : MA R I A NO C L U S E L L A S L O C AT I O N : C O L O N I A , U R U G U A Y 2014
Ten kilometres away from Colonia, Uruguay, the project is located on a slope on the coast of Rio de la Plata, in the woods between the beach and the field. The principle of the project is to understand the sequence of porticos, as a structural system as well as an operation of generating volumes. The abstraction process involved the construction of a diagram of porticos, placed side by side, which included a transformation of these towards their interior. This is based on an operation of scale, as it is the same portico proportionally smaller. The inclusion of a volume within another one gives the project a quality double interior or double encasing which can be understood as a form of relationship with the landscape. The possibilities of these operations permitted the program to develop longitudinally along the slope. The private areas consist of rooms between private galleries of private use and promenade galleries. It is this same system that allows linking the public area located along this private sector. Public programs function as large greenhouses and are at the same time alternately displayed by the patios that lead up to the rooms. This is part of the general concept of the project, to create different conditions of inner and outer spaces, giving places different qualities. It is at the same time, a strategy of ownership of the site, since it is the same forest of the slope that is included as part of the program of the hotel. The quality that this operation gives these spaces is the ability to be used as â€˜exteriorâ€™ regardless of external conditions of each situation.
Detail section Floor plan
Photographs_wood and cartboard model details
rĂo de la plata
R I O D E L A P L AT A -
P R O F E S S O R S : PA B LO G E R S O N , F E R N A ND O S C HA P O C H NI K L O C AT I O N : B U E N O S A I R E S , A R G E N T I N A 2015
Depending on the day, time, place and climate, a particular atmosphere is created. The atmosphere of each photograph is different from one another depending on weather conditions of the specific time in which it was taken; colours and elements generate different environments and thus different sensations. Strips. Definition and imprecision. It is identified in each photograph a certain kind of similarity, not in terms of material elements, but in determinations embodied in each one of them. Thickness and definition. Transitions between strips with lighter and more diffuse edges, bands of more or less contrasting hues are identified. Tonally progressive or interleaved strips. These set of photographs are organized keeping constant the thickness of the strips in each row, whilst by column they relate to features from high to low definition and contrast. The following two series set the definition of horizon line, natural and built. In both series, photos are organized depending on the thickness of the horizon, and its position in the photo. How should the city adapt to the delta increasingly present on its shores? How is the relationship between the city and the river? Is it as simple as to describe the fact that today the city â€œturns its backâ€? to it, as argued historically, or has it mutated into a more complex phenomenon?
rĂo de la plata
PERCEPTION CITY -
P R O F E S S O R S : J U A N R I C O , A G U S T I N R I C O , M AT I A S D I U R N O L O C AT I O N : C H I C A G O , I L L I N O I S 2015
The course proposes rendering work on an architectural project. Working with three dimensional tools and techniques such as Rhinoceros and 3d Max alongside with Vray. Sensitive appreciation on architectural spaces, lighting, textures and the human use of the spaces were developed. Postproduction with Photoshop was an important aspect to incorporate last details to the work.