Jesus J. Perez-Cortez Architecture Portfolio

JESUS J. PEREZ-CORTEZ Univeristy of Nebraska-Lincoln Undergraduate Portfolio + CV

Brick wall produced during employment.

JESUS J. PEREZ-CORTEZ INFO

PROFILE

Address 3027 S 23rd St. Omaha, NE, 68108, United States

Determined to advance my skills through education, employment, and collaboration as well through self-driven investigations revolving around the implications of design.

Email Jesusperez123.jc@gmail.com Phone (402)-983-4754

PORTFOLIO Architecture Portfolio

LANGUAGES English Spanish

SKILLS Adobe Photoshop Adobe Illustrator Adobe InDesign Rhinoceros 3D Grasshopper Autocad Plastering

EDUCATION University of Nebraska-Lincoln Aug 2017 - May 2021 • • • •

Bachelor’s of Science in Design in Architecture Minor in Product Design 3.4 GPA William H. Thompson Scholar

Omaha South High Magnet School Aug 2013 - May 2017 • • • •

Omaha

Dual Enrollment

Metropolitan Community College Jan 2014 - May 2017 •

Omaha

UNO Summer Scholar Dual Enrollment

Midland University Jan 2016 - May 2016 •

Omaha

Mayor’s Youth Advisory Commission Member of Student Council Grassroots Leadership Development Program ACE Mentor Program

University of Nebraska at Omaha May 2016 - May 2017 • •

Lincoln

Omaha

Dual Enrollment

EMPLOYMENT

Brick Laying Hensel Richards Constructors May 2017 - Aug 2021 • •

Omaha

Plastering Veneer Brick Laying

EXTRA-CURRICULAR National Organization of Minority Architects Jan 2019 - May 2021

Lincoln

Student Advisory Board Aug 2019 - May 2021

Lincoln

Perspective Drawing

TABLE OF CONTENTS

The Hermit Crab

1

Multiplicity of Being

2

Hardcorist Architecton

3

Hacking Generative Codes

4

Interpose

5

THE HERMIT CRAB Program: Makerspace, Art Studio, Communal Living Location: Detroit MI Year: Spring 2020 Course: Arch 311 - Situate - Ellen Donnelly

Located within the East Warren neighborhood of Detroit, MI, The Hermit Crab inhabits the shell of a building no longer there. By offering a makerspace, art studio, and communal living, the community of East Warren is presented with opportunities to collaborate, explore, and learn from each other to foster a network of makers, artists, and residents.

The design is driven be the idea that building appears to be moving in tandem with the user. This is achieved through the use of malleable surfaces that transform as a way of suggesting a change in motion and activity. Floors, walls, and ceilings are used to achieve this goal. The design asks occupants to explore the interior and exterior spaces. The skin of The Hermit Crab is scaled with metallic plates that display an iridescent reflection and aids in contouring the form.

The spaces advocate for social encounters among peers and physical interactions with the building itself.

Exterior Render

6

7

On the ground floor, users are provided with a lounging space as well as a small coffee shop. Occupants have the options to follow the exterior stairs up to the second floor into the art studio and communal living or follow the stairs down leading to the makerspace.

Above: Circulation + Program Diagram Page 9: Floor Plans

8

Second Floor B

AA

A

BB

Ground Floor

Bottom Floor 9

East Elevation

Section A:AA

The skin of the facade draws inspiration from the brick pattern of the shell and shears it to juxtapose it. Ceilings and walls work as one continuous moving surface. Ceilings define spaces and walls direct movement as well as becoming staircases, seating, and counters.

Above: Elevation + Section

10

South Elevation

Section B:BB

On the top floor, the art studio, gallery, and living room are filled with natural light that filters through the curved glass roof and truss frame structure. The lounge in the makerspace is marked with natural light that is capture up top and refracted down. This allows for a change in scale and an experiential moment.

Above: Elevation + Section

11

ART STUDIO

LIVING ROOM

LOUNGE

COFFEE SHOP

MAKERSPACE

EXTERIOR STAIRS

Above: Exploded Axon with Vignette Perspectives

12

Above: Images of Physical Model

13

The drawings being shown, take on the approach of providing an X-ray visual into the spaces as a way to fully capture the design.

Above: X-Ray Section Perspective

14

Above: X-Ray Section

15

The drawings show serve to explore horizontal and vertical qualities of experience to inform the organization of spaces. Such qualities include: intersection, voids, boundaries, circulation, light, and time spent in spaces.

Above: Exploring Horizontal Qualities

16

Above: Exploring Vertical Qualities

17

MULTIPLICITY OF BEING Program: N/A Location: N/A Year: Spring 2020 Course: Arch 311 - Situate - Ellen Donnelly

Using found objects and combining them, a sculpture was made a new identity not defined by its parts. A poem accompanies it to provide a narrative.

Is Has Will Holds weight and yet no weight at all.

Can always be seen but it does not standout.

Exists in the vastness of reality.

Not bad, nor good.

Waits but has nothing to wait for.

Serves no objective but its own.

Simply acts as nothing more than what it is.

Simply acts as nothing more than what it has been.

Simply acts as nothing more than what it will become.

It exists in different places simultaneously as well as in different times but always remains isolated.

Render

18

19

The plan and section explore the sculpture’s multiplicity of being in different times and locations as well as suggesting movement and activity.

Above: Render Page 21: Top - Plan Page 21: Bottom - Section 20

Plan

Section 21

HARDCORIST ARCHITECTON Program: Museum, Art Studio, Dorms Location: Nebraska Year: Spring 2019 Course: Arch 211 - Ideation - Cruz Garcia & Nathalie Frankowski

Located on a campus, the design poses as a museum and art studio in the interior while acting as a monolithic object inhabiting the flat plains of Nebraska.

Made of up of four main volumes, with the longest horizontal volume designated for exhibitions and the two upper most horizontal volumes being both the studio and residential living quarters. The first level operates as the entrance and holds leisure spaces. The second level is the main volume of the building which operates as an exhibition space while also containing two smaller display rooms. The third level houses the art studio area in one volume and the dorms in the other volume. The interior of the museum focuses on accentuating its cantilevered form through the trusses and apertures.

The design is intended to be utilized as a museum and experienced as a monolith.

Exterior Perspective

22

23

The red portions of the interior are used to accent moments of user interaction. They serve to create a moment of intimacy between the user and the interior. The ground is marked red to express the boundaries of the form.

Above: Exterior Perspective Page 25: Interior Perspectives

24

25

Top: Inverted Axon Below: Section Axon Page 27 : Floor Plans 26

UP

UP

UP

UP

UP

UP

Ground Floor

UP

1/32” = 1’ UP

DN EXHIBITION

UP

GALLERY

Second Floor

GALLERY

1/32” = 1’

UP STUDIO

DN

UP

DN LIVING

Third Floor

KITHCEN GALLERY DINING

27

The site reflects the language of the structure. The paths mimic the arrangement of the bars. Bodies of water take on the same shapes of the horizontal and vertical bars. Trees are arranged to expressed openness towards the public and draw focus towards the museum.

Above: Site Plan

28

OMA: Gazprom

Lazar Khidekel: Futuristic City

Kazir Malevich: Architecton

Lazar Khidekel: Painting (1927)

REX: Louisville Museum Plaza

Ilya Chasnik: Supermolet

The Suprematism art movement had a major influence in the design. The form of the architecton consists of vertical and horizontal bars that connect to convey notions of purity and infinite growth. The images shown on this page are iterations of architectons inspired by art and architecture.

Above: Form Explorations

29

HACKING GENERATIVE CODES Program: Museum Location: N/A Year: Fall 2019 Course: Arch 310 - Organize - David Newton

Inspired by the Museo de Arte Contemporaneo de Castilla y Leon designed by Mansilla and Tunon, geometry is abstracted and aggregated to allow for freedom of movement. This is then combined with the concepts of Salvador Dali and Surrealism, more specifically the ideas of transformation, mutation, and taking that which has been established and distorting it.

Each space between two different plains offers a unique experience that respects a formal language but makes it its own. The plains are derived from a module that was aggregated and later omitted at various points. Pathways and walls are influenced by the previous level but remain different. The plains also intersect one another, defining new interweaving spaces and programs that results in a fluidity of movement vertical and horizontal movement.

Close up of Render

30

31

Above Left: Full Render Above Right: Physical Model Page 33: Exploded Physical Model 32

33

INTERPOSE Team: Jesus Perez-Cortez, Sahr Qureishi, Madeline McGill Program: Greenhouse, Mediateque, Incubator, Kitchen, Dining Location: Omaha, NE Year: Fall 2020 Course: Dsgn 410 - Collaborate - Salvador Lindquist

Interpose is a discovery of the inter and disconnected experiences found revolving around food insecurity within and around the realm of secondary education. It is an exploration of students and their daily itineraries and experiences. It is a conscious effort to bring hidden truths to visibility while highlighting a network of converging and diverging human experiences. It is a break from the rigidity of the school system and structure to articulate the notion of a network components and thresholds.

The network and threshold are never fully stagnant but are in a state of being, where being is nothing more than the process of becoming. Interpose is fluid to external parameters and users.

The design provides a site, spaces, amenities, and fleets that allow students access to healthy foods, social engagement, build skills to learn how to cook, transportation, awareness, knowledge by way of greenhouses and other programs.

Millieu Network Map

34

35

Threshold: A threshold separates opportunity and understanding. It must be acknowledged to be broken.

Exhibition: Raises awareness to people who do not experience or are not aware of food insecurity.

Invitation: Breaks t those who experie and those who do

Cars: Mobile Exhibition

Semi-truck: Mobile Exhibition

Bus: Invitation

The network converges on the site and diverge across the city through a series of programmatic fleets which serve as nodes of exhibition, invitation, and cultivation. There is a disparity of opportunity and understanding created by a threshold of those who experience food insecurity and those who do not.

Top Row: Vignettes Bottom Row: Fleets

36

the threshold from ence food insecurity not.

Cultivation: physically addresses food insecurity through greenhouses, gardens, kitchens, and food trucks.

Convergence: People and experiences meet and dynamically engage with one another on the site.

Food Truck: Incubator Cultivation

U-Haul Truck: Resource Cultivation

The fleet are pollinators of the network. Blending into the vehicular landscape but also intruding on settings and situations in a way that draws attention to itself and its agencies. The fleets are divided into 5 categories, all serving a different purpose within the network. The categories vary in scale and in intervention.

37

The site is located at an intersection of secondary education, food access, and transportation in downtown Omaha. The main connection point utilized is Central High School and a local food bank as well as the downtown Omaha district.

Above: Site Analysis Page 39: Floor Plans

38

A

B

BB

Ground Floor

AA

Second Floor 39

Above: Plan Oblique Page 41: Exploded Axon 40

Mesh Canopy

Posts

Upper Deck

Roofs

Incubator 2nd Floor Dining 2nd Floor

Orchard Greenhouses Green-beds Gardens

Central Parking Garage

Fleets Promenade Food Truck Plaza

41

East Elevation

South Elevation

The threshold canopy is the physical manifestation of the threshold and network. However, rather separating needs and users, it serves to connect the greenhouses and their programs. It formulates a visual and habitable connection on the site by way of social and physical fabric that is fluid and never stagnant.

Above: Elevations

42

Section A:AA

Section B:BB

Above: Sections

43

JESUS PEREZ-CORTEZ Phone Number: (402)-983-4754 Email Address Jesusperez123.jc@gmail.com