JGAT portfolio 2016

portfolio 2016 javier gรณmez รกlvarez-tostado

COPYRIGHT NOTICE All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the permission of javier gรณmez รกlvarez-tostado or the cited architectural offices and students that created work and images published on this portfolio.

contents:

PROFESSIONAL WORK:

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GonzĂĄles Torres Co. Space allocation, interior design, furniture design.

Gally House, New Orleans, Historic Preservation, research.

House in Valle de Bravo, Mexico.

Rural clinic, Guayabales Guatemala.

Corner Mall, Lubbock.

Boys and Girls Club, Hollywood, working at RoTO. Efizia Tower, Mexico City, in collaboration with spAce. Casa Clair, Mexico City.

House, Lubbock TX. Madame Tussauds Museum, Hollywood, working at RoTO.

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STUDENTS’ WORK:

DADA-rchitecture, second year undergraduate studio.

DADA-rchitecture, ready-made.

Body in motion diagramming, second year undergraduate studio.

Site archaeology, mapping space and motion, photo-collage, second year

undergraduate studio.

40 Digital Design Fabrication; 3D. Printing, Lasser, CNC and Vacuuming.

44 Diagrammatic models.

45 Skin and structure, third year design studio.

46 RE_sort-BODYmind, comprehensive graduate design studio.

49 MI CASA ES SU CASA, topical graduate design studio.

53 NEW vs OLD, the cutting edge intervention on a historical structure or site,

topical graduate studio.

61 DALLAS, corporative building, practicum graduate design studio.

62 BOSTON, interventions, collaboration LA, ID, ARCH, graduate design studio.

67 Constructed improvisations.

68 DALLAS, Hollocaust Museum, collaboration LA, ID, ARCH, graduate

design studio.

professional/research work javier gรณmez รกlvarez-tostado

Gonzรกlez Torres. Offices.

Gally House, New Orleans LA, circa 1830.

Research by J. Gรณmez A.T. Proposal for historic preservation, dichotomy between the old and the new and furniture design.

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lavandería

acceso

cl.

cocína

garage

comedor

sala

recámara 1

baño

recámara 2

s

boiler

baño

terraza

recámara principal sube

bodega

baja tapanco

House in Valle de Bravo.

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Rural Clinic, Guayabales Guatemala.

Program: Covered Community gathering space.Doctor’s Office w/bathroom, medicines storage, waiting room. Delivery room w/bathroom. General Storage. Use of local materials and sustainability. To be built in 2014-.Developed and funded by a local Church in Lubbock TX. Designed by J. Gómez A.T. in collaboration with Urban-Tech.

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Corner Mall, Lubbock TX. Remodelation and adition to the existing faรงade, addition of 4000 sf. to existing retail space for anchor retail and landscape architecture. Location and further details cannot be disclosed as the proposal still remains in process for development.

Designed by J.Gรณmez AT, M.Franks, T. Herrera, and W.Parks.

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Boys and Girl’s Club, Hollywood CA, Javier Gómez AT Director of Design at RoTo Architects.

The program includes a new gymnasium, learning center, dance/exercise studio, cafe and lounge, reception-office, and a roof deck.

The main body of the building is lifted to provide playground and parking. I created the concept and designed the Schematic Design which was developed further until CD’s by E. Holmquist under M.Rotondi’s supervision.

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Efizia Tower

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Torre Efizia Santa Fe, in collaboration with SPACE-Mexico. 2010-2015, Platinum leed certification.

SPACE-Mexico, is an interior design studio specialized in corporative office spaces.

I was commissioned to design the shell and core of the high rise by understanding the interior office allocations designed by Juan Carlos Baumgartner and his team. Includes underground parking for 2295 cars, 3895 sq. m. of retail and 48,855 sq. m. of office space.

The 37 stories building will be located in the business district of Santa Fe in Mexico City.

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first floor

Casa Clair 14

4000sf. residence, Bosque Real, Mexico City, Design and documents, the house is under construction, to be completed by Fall 2016.

A3 Arquitectos, contractor.

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House in Lubbock 2016.

Madame Tussaud’s

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Madame Tussaud’s,

90,000 s.f. Wax Museum, Hollywood CA, Javier Gómez A.T. Director fo design at RoTO Architects, (Michael Rotondi and JAG architects).

“This project is located adjacent to the Chinese Theater in Hollywood; an iconic building and symbol of a time when Hollywood Boulevard was filled with crowds going to the movies, shopping, dining, and walking.

Our goal was to complete the western end of Hollywood Boulevard where the majority of activity takes place and to make the space deferential to the existing landmark.

Urbanistically, the multi-leveled public spaces will enhance and amplify the street life as it ascends to the roof plaza.

The interior is a continuous circuit of movement culminating in a public plaza on the roof. The interior will be narrative of historical and contemporary people captured in “wax portraits.”1 The project goes back to 2001 when a first proposal was designed, although financial circumstances diverted the original intentions into a second project, where I participated as lead designer. The outline remained the same, but both, program and design principles changed to accommodate the Museum’s pogramme that included free floor plans, core for vertical circulations, and shell. Michael Rotondi’s intentions in making the building accessible, evolved in staircases, and public spaces, as the roof garden and main plaza. My responsibilities included: interpretation and development of Rotondi’s ideas, and comprehensive design from schematics to cd’s.

1 http://www.rotoark.com/

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students work javier gรณmez รกlvarez-tostado

Texas Tech University 2007-2016

DADA-rchitecture, Undergraduate Design Studio 2502.

Matthew Skinner

The intention of the Studio is to understand conditions of architecture, including the interaction between the space and the dweller, space and built context, space and object, and in consequence the development of a program (trans-program, cross-program or dis-program).

The first stage includes the investigation of a DADA member and after making a series of collages and the construction of a related ready made; a character (dweller) emerges.

A second stage includes the creation of a program by understanding the dweller’s beliefs and actions.

An existing site is given for developing the new in the old and through archaeology the old site is analyzed.

The third stage, is about finding and diagramming spatial sequences and movement systems from both, existing space and dweller’s activities.

A fourth stage, consists in analyzing previous stages, and through consequent metamorph-analysis, architectural constructions are developed. Those constructions are added to the existing site.

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Clint McClain

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DADA-rchitecture, Undergraduate Design Studio 2502.

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David Isern

DADA-rchitecture,

ready made Undergraduate Design Studio 2502.

Jerel Gue

Jean Paul Barrandey

Spence Lynch

Andrew Triplett

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Alejandro Arroyo.

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Eduardo MartĂ­nez

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Robert Babb

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Robert Babb

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Robert Lรณpez

Kim Wong

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Alberto Rivera

Chase Beasley

Digital design fabrication

3D. Printing, Lasser, CNC and Vacuuming, graduate seminar 5304.

Diagraming and modeling speed, engines and sound waves.

Thomas Wesley

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Ryan McAllister

Taylor Patton

Eduardo Ponce

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Vlad Vermesan

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Patrick Walker

Eduardo Ponce

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Chris Martin Undergraduate Design Studio 3501, skin and structure.

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RE_sort-BODYmind,

Comprehensive Graduate Design Studio 5901.

Body+Kinematics [two case studies].

Kinematics is defined as motion generated within objects or bodies. In consequence, architectural spaces can be modeled, not just from the interaction of architecture and the body in motion [event], but also from the motion within the body itself. Re[sort]body_mind is a graduate Studio Project that embraces the body, utilizing maps of internal or external motion[s] generated by the body, with the intentions to create space[s] for the same body.

In the first case, brain waves alpha and beta were diagramed during a Swedish massage therapy. the map then was digitalized and formatted into 3D, creating schematic diagrams for a spa project. The internal motion of the body [brain activity] was simultaneously form and program generator. In the second case while performing yoga, the body was filmed; the body was then dissected in frames, creating sectional schemes. By diagramming with a Gestalt [figure-ground] process, a new space for the body in physical action was generated.

In both cases, the diagrams were analyzed, digested, structured and synthesized. Spuybroek talks about motion mapping processes and explains that motion schemes follow two phases: the first one is about bringing order, quality and organization and could be refered as convergent.

The second is when the diagram germinates and becomes formative. Searching for quantity matter, and structure, this phase could be denominated divergent. The morpological mutation is therefore consequence of a critical and structured progressive process.

Will Kraig

North Elevation

1/16”= 1’-0”

West Elevation

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1/16”= 1’-0”

Josh Krantz

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RE_sort-BODYmind,

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Comprehensive Graduate Design Studio 5901.

Paul Lowers, Leslie Westlake

Mi Casa, es su Casa,

Topical Graduate Design Studio 5503.

voyeuristic house

Michael Franks, Tiburcio Herrera.

RENDERINGS

In his book: “Alfred Hitchcock’s Rear Window” J. Belton explains: “the movie is “about” spectacle; it explores the fascination on looking and the attraction of that which is being looked at”.

The voyeuristic house is an extroverted exercise to define new limits for privacy. Observe and been observed is what matters. The house as a second layer of clothing reveals through its windows glimpses of ordinary events, inviting to sneak in or out. Voyeuristic house is about showing in a quasi pornographic way the daily routines that happen in every house.

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perspectival house

Mi Casa, es su Casa,

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Topical Graduate Design Studio 5503.

Cody Carriker, Stephen Roy.

Perspective is manifested when perceiving the interior of a house. The perspectival house was developed after walking inside a case study house and recording the journey with two cameras simultaneously. The video cameras were positioned in a rolling apparatus at different heights than the human sight, the first near the ground and the second few inches from the celling. The two videos were edited and overlapped and two simultaneous perspectives were extruded.

A model of frames was constructed and used to create sectional drawings. The resulting spaces inside the project are a direct extrusion of those frames.

When walking inside the perspectival house we are experimenting perspective at to different heights, at the same time.

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the green house

Victor Cruz and Mario Silva, Topical Graduate Design Studio 5503.

New Orleans,

Graduate Design Studio 5501.

NEW vs. OLD, the cutting edge intervention on a historical structure or site.

John Griffith, collage

Street car,Jean Paul Barrandey.

The connection between the old and the new as a design strategy has not been explored yet on its full potential for designing interventions.

The discussion on contemporary interventions in historical structures, began with EugÊne Viollet-leDuc’s Entretiens sur l’architecture, published in 1872, and became a major topic after the ICOMOS Venice Charter from 1964. Later on, with the advent of defined roles for preservationists and designers, both considered now as specialties, the discussion about preservation incorporating new functions and new designs became increasingly a point of disagreement between professionals. Professionals who deal with historical environments, sites or buildings, are mainly preservationists but not designers, and designers who have the intention of transcending style and time usually are not interested in history.

After historical research and development of a programmatic narrative, students are intended to create a cutting edge proposal where the old (memory, documentation, historical narrative) and the new (software applications, diagrammatic strategies, technology and media) will merge. Radical interventions are encouraged as an experimental exercise. Blending v.s. contrasting will be topic for discussion.

The site is New Orleans, a rich historical environment.

Digital design fabrication including: rhino, grasshopper, 3d. printing, cnc mill and laser cutter, are highly encouraged.

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5

4

1

2

15’

30’

60’

1 2 3 4 5 6 7

TOURISM OFFICES WALKING TOURS ENTRANCES MIXED MECHANDISE MALL BLACK MARKET STORAGE SITE LINES MAIN OFFICE

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3

Madame John’s Legacy House, Andrew Triplett.

Built in 1788, the house is a good example of Louisiana Creole’s 18th century French architecture.

The original house owned by Manuel De Lanzos was severely damaged by the fire in 1788 but then reconstructed by a builder named Robert Jones.

The house’s name was given after a local color writer, George Washington Cable’s “Tite Poullette” story.

The new structure is derived by the concept of romance, trading and racial views depicted in Cable’s writings.

The canopy, crowns, protects and lights up the historic building as a lampshade.

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skin

rib structure

columns

composite

Filling the void, Martín Medína.

Filling the void, Martín Medína.

Through physical contextulaism, architects build in historical environments inspired in Rowe and Koetter’s figure-ground schemes.

This project, embraces contextualism by using new technologies and applying cutting edge architecture to fill the void.

3d.printed reliefs helped understanding the relationship between the old and the new in existing gaps behind the Gally House in the French Quarter.

The narrative and program as a VIP guesthouse, derives from Nicholas Girod’s history, and his intentions for bringing the exiled Emperor Napoleon as guest to live in his house located in the southwest corner of the block.

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Corpse-New Orleans, Karla Berdeja.

New Orleans,

Graduate Design Studio 5501.

After researching historical events in the City of New Orleans, students create a narrative and a series of diagrammatic drawings and models. Diagrams then are developed into architectural programmes-narratives.

Projects are located in specific sites where those historical events happened.

Intentionally and contrary to previous studio, cutting edge interventions are radical, expressive and contrasting. To fully embrace the narrative without constraints, contextualism is cultural and representational but not physical.

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Arsenal building, Luis Velasco.

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Pedesclaux Lemonnier Building, addition, Geoffrey Brown.

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Three projects: Left: for many years the Pedesclaux Lemonnier Building was considered the tallest building in New Orleans, the project re-states that idea by adding removable pods attached to a structure built in the courtyard.

Right: multi-purpose building in the pier next to the historical market, the concept was generated by the understanding of historical layers.

Bottom: canopy above Bourbon Street, created from sound diagrams from early New Orleans Dixieland Jazz.

Old Market Hotel and ferry terminal, Evelyn ValdĂŠz.

Jazz canopy at Bourbon St., Alejandra Robles.

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New Orleans Battle, c.1814-15, museum, Christopher Santacroce.

The Battle of New Orleans was an engagement fought between January 8, 1815 and January 18, 1815, constituting the final major and most one-sided battle of the War of 1812. American combatants, commanded by Major General Andrew Jackson, prevented the British Army, Royal Marines and a large Royal Navy fleet, commanded by Admiral Alexander Cochrane and General Edward Pakenham, from seizing New Orleans as a strategic tool to end the war by using it as a starting point for an occupation of the vast territory the United States had acquired from the Louisiana Purchase. The Treaty of Ghent was signed on December 24, 1814 (but was not ratified by the US Government until February 1815), and hostilities would continue in Louisiana, without knowing about and contrary to the Treaty, until January 18 when all of the British forces had retreated, finally putting an end to the Battle of New Orleans. [Wikipedia].

By using military strategic maps from the battle, a series of diagrams were created for designing a radical and contrasting speculative structure to house a museum dedicated to the historical event.

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Dallas,

Corporative Building, a sustainable approach.

Practicum Graduate Design Studio 5501, MartĂ­n MedĂ­na.

Mapping includes: Motion Diagram: including and/or produced by: birds, people, cars, insects, water, wind.

Physical outlines: buildings, structures, cars, urban furniture, etc.

Color palette: of site surroundings physical and natural.

Energy Diagram: including power lines, cellular phones, magnetic fields and other invisible/visible fields of energy.

Artificial lighting diagram; including light produced by buildings, cars, fireflies etc.

Organic versus Inorganic diagrams; including asphaltic surfaces versus landscaped surfaces, metallic versus wood surfaces, organic waste: trash cans, food vendors, etc.

Other sources of energy; paving solar reflection, collection of electrical energy from water running in gutters or pipes, wind hitting on building facades, heat produced by cars in parking structures, etc.

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Jesse Bernard, Ruben Abbud, Hillary Belk, Samantha Crowder, Johnathan Pomietlo, Jordan Whitman.

Boston,

Graduate Design Studio 5506, Collaboration with ID and LA.

This course is a required course for all Interior Design and Landscape Architecture majors and fulfills Degree requirements for Architecture majors. This course introduces students and faculty to the process of teaming and collaboration on an interdisciplinary design setting. There is continuity between this course and previous studios through the holistic approach to design problem-solving. Thus, this course relates to material from several other courses in the respective disciplines. The primary goal of this course will develop students’ abilities to recognize and respect the conceptual, critical, and programmatic syntheses of allied disciplines.

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H. Zumalarregui, K. Grass, S. Kaleli, A. Lumpkins, E. Pyburn, K. Ruckman.

BREWERY TO BAR DISTRIBUTION

BREWERY TO RESTAURANT DISTRIBUTION

Cambridge

BAR + RESTAURANT DISTRIBUTION Cambridge

Cambridge East Cambridge

Back Bay

Fenway / Kenmore

Central Village

Downtown Back Bay

Fenway / Kenmore

South Boston

South Boston

Central Village

Central Village

Harbor Point on the Bay

SAM ADAMS BOSTON LAGER PERFECT POUR

Beacon Hill

Cambridge Port

Downtown Back Bay

South Boston

Roxbury

North End

North End

Beacon Hill

Cambridge Port

Downtown

Fenway / Kenmore

East Cambridge

East Cambridge North End

Beacon Hill

Cambridge Port

Harbor Point on the Bay

Harbor Point on the Bay Roxbury

Roxbury

SAM ADAMS BOSTON LAGER PERFECT POUR MODEL

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Boston,

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Graduate Design Studio 5506, Collaboration with ID and LA.

B. Montford, A. Sheen, M. Kozlowski, M. Stautzenberger, J. Chase, S. Caskey.

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Patrick Huang

Constructed improvisations,

Graduate Topical Design Studio 5501, Collaboration with Prof. Bennett Neiman.

Mapping and analizing NY Highline, for creating in a second stage digital/physical improvisations.

This research studio presents a series of architectonic experiments that transpose, manipulate and articulate the links, connections, joints and transitions present in improvisation. The process of constructing variations on a theme involves an expanding series of analog and digital design techniques developed over many years. It is a poetic design process driven by actions instead of words. The context is itself. It grows, refers and communicates within. The material is form regulated by light. The function is the psychological demand of space. The budget is time, passion and commitment to the study of a pure architecture.

The production is for the effect of production.

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Dallas,

Hollocaust Museum, Graduate Design Studio 5506, Collaboration with ID and LA.

Russel Wooten, Rene Paez, Landon Bell, Riley Powell, Lindsey Cross, Catherine Welder, Kaitlin Norville.

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Dallas,

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Hollocaust Museum, Graduate Design Studio 5506, Collaboration with ID and LA.

Jonathan Langdon, Matt Kendall, Natalie Jung, Annie Jones, Ryan Kelly, Nino Torres.

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Christopher Santacroce, John Charbonneau, Austin Taylor, Rebekah Hudson, Aaron Shotts, Chyann Malone, Sean Carroll.

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