Juris A. Flores - Portfolio

20 Portfolio 17

Juris A. Flores PORTFOLIO Juris A Flores

2017

Index

00

- Selected Academic Projects

01 - Observing Through Architecture 02 - The City and its Seismic Condition 03 - Energy Efficient Case Study 04 - Re-configuring Civility

6 20 32 48

05 - Los Laureles Community Center 06 - Visualizing Citizenship 07 - MACLA Proposal 08 - Parque de Los Pobladores

58 64 70 76

- Professional Projects

Selected Academic Projects Woodbury University- SoA 2016

20 14 / 20 16

01

Observing Through Architecture Hotel in Valle de Guadalupe

Fall 2016

- Rhinoceros - Photoshop - Illustrator - Mylar - Newspaper

Valle de Guadalupe is located just a few miles North of Ensenada, Baja California, Mexico. It is known for its vast wine production and agriculture industry. The project consists of a series of units and a common space that is to be used as a winery, an event space and a restaurant for tourism. In addition, it has a market which serves as catalyst for social interaction not only for tourism but for the entire community.

The main idea of this project was to produce architecture as a viewing artifact, instead of architecture as a viewing end. This allowed me to explore different prototypes to examine reflections, sight compression and sight decompression. The result is a series of units which are placed in an undulated rhythm to explore the views and the atmosphere that produces inside and outside of the units while having the ability to enjoy the natural views through the porosity of the architecture.

6

Private

Intimate

Public

System of Organization

Unit Organization

Circulation

Primitives- Studies

Primitives Explorations + Plans Articulations Primitives- Studies

Units- Studies

Units- Studies

01

01

02

07

02

Units- Studies

01

03

04

03

09

04 03

05

04

09

11

06

05

05

07

02

06

06

11

02

07

07

07

02

04

08

08

09

10

09 04

10 09

10

11

06

11

06

11

08

12

12

12

Reflection Studies- Understanding the Context.

Site Plan

Unit Floor Iterations - Floor Plans

Units Iterations- Scale 1:100

Deluxe

Normal

Compact- Option 1

Compact- Option 2

Unit Organization + Unit Section

Private

Intimate

Public

System of Organization

Circulation

Exterior Collage

Unit Collage

Common Space Floor Plan + Section

Solid

Void

Solid

Restaurant

Market-Plaza

Administration

Common Space Organization

Structural System

s

ew

s

rd

ya

e in

Vi

Vi

ne

ya

rd

s

Vi

ew

s

V

Hidden Geometry

Common Space Exterior Collage

Common Space Collage

02

The City and its Seismic Condition Cultural Center in Santiago.

Spring 2015

- Rhinoceros - Photoshop - Illustrator - CNC

Earthquakes in Chile are a big concern because 80 percent of the country lies within the Severe Hazard Earthquake Zone. The most recent earthquake (2010) was a 8.8 in magnitude and it lasted 200 seconds, this earthquake left a total toll of 525 lost lives and more millions in economic loses. Also, around 80 percent (13 millions) of the population were affected and some 2 millions lost everything.

Santiago present in interesting urban perspective, where two different building typology collide and multiple programming take place. One story residential structures used as commercial spaces against multiple stories apartment buildings all within the same block. This urban context add an additional layer of complexity to the seismic condition of the city, which is located right next to the San Ramon fault. This fault represent the major treat to the city besides the earthquakes produced in the collision of the Nazca and South America Plates.

Earthquake: a sudden release of energy in the earth’s crust or upper mantle, usually caused by movement along a fault plane or by volcanic activity and resulting in the generation of seismic waves which can be destructive.

Liquefaction: a phenomenon in which the strength and stiffness of a soil is reduced by earthquake shaking or other rapid loading.

20

Metropolitan Area of Santiago, Chile.

Seismic Section Diagram, Santiago de Chile.

śŘŘu

ŚŘŘu

řŘŘu Residential

Site

Commercial

Pipes

Street Market

Top Soil

ŜŘu

Critical Points

Bedrock

Water-Saturated Soil Seismic Waves

Liquefaction

Rotational Motion

Lateral Motion

Residential

Commercial

Wave Displacement Liquefaction

Residential

Site Plan

3.

4.

2.

3.

1.

Scale 1/8”=1’ 1. Proposed Building 2. Playground 3. Existing Structures 4. Temporal Street Market

First Floor Plan

6.

5.

3.

4.

4.

1.

3.

2.

3.

2.

Scale 1/8”=1’ 1. Main Space 2. Interactive Areas 3. Reading Areas 4. Bathrooms 5. Mechanical

Second Floor Plan

1.

2.

Scale 1/8”=1’ 1. Theater/Play Area

Structure + Material Organization

Handrails

Loft Level Roof Structure

Ground Level

Structure System Shading System

Structure Profiles

Exploded Axonometric Diagram

Longitudinal Section + Cross Section

Prevailing Winds

Section BB Scale / ”= ’

Summer Winter

Section AA Scale / ”= ’

Exterior Perspective + Interior Collage

03

Energy Efficient Case Study

Learning From the University Child Care Centre

Spring 2015

- Rhinoceros - Photoshop - Illustrator - Grasshopper - Ladybug - Honeybee

The concept of the childcare centre was that of Transparency, Light, and Community. This design creates bright, airy, and voluminous spaces and direct sightliness across play areas to allow for care providers to keep a close eye on their charges.

The main volume of the building is oriented to take advantage of the prevailing winds, which originate from the North/Northwest. The cross-section of this space is narrow from East to West, and long from North to South so that these winds can ventilate this volume naturally.

The Living Building Challenge requires 100% of the occupant’s water use must come from captured precipitation or closed loop water systems that are appropriately purified without the use of chemicals and that take into account ecosystems and communities downstream.

Living Building Challenge standards require that source locations for materials and services must adhere to procurement zones, each with a limited radius based on weight/distance prescriptions. Heavy, high-density products such as the steel I-beam structural frame were manufactured nearby in Vancouver.

Client: SIMON FRASER UNIVERSITY Architect: HUGHES CONDON MARLER Structure: FAST + EPP Mechanical: COBALT ENGINEERING Electrical: MMM GROUP Landscape: SPACE2PLACE Contractor: LEDCOR

32

December

March

June

Solar Analysis - Burnaby, British Columbia, Canada

Site Circulation + First Floor - Second Floor Plan + Main Facade

2

10 1 2 3 4 5 6 7 8 9 10

Lobby Mechanical Room Activity Room Accessible WC Community Space Electrical Room Covered Outdoor Play Area Community Loft Space Open To Below Roof Deck

3

2

5

1

4

8

9

6

6 7

9

3

Main Floor

Upper Floor

2

Solar Energy Colection + Water Conservation

Evacuated Tube Solar Collectors

Heat Exchanger In-Floor Heating

Mechanical Room

Hydro-Power Supply

12AM

Celsius 28.00<= 24.00

6PM

20.00 16.00 12.00

12PM

8.00 4.00 0.00

6AM

12AM

-4.00 -8.00 JAN

FEB

MAR

APR

MAY

JUN

JUL

AUG

SEP

OCT

NOV

DEC

<=-12.00

Dry Bulb Temperature (C) - Hourly Vancouver International BC CAN 1 JAN 1:00 - 31 DEC 24:00

Collection Surface

Rainwater Channel

Municipal Potable Water Supply

Bathroom

Mechanical Room

Bio-reactor Treatment Plan Seepage Bed 12AM

mm 28.00<= 24.00

6PM

20.00 16.00 12.00

12PM

8.00 4.00 0.00

6AM

12AM

-4.00 -8.00 JAN

FEB

MAR

APR

MAY

JUN

JUL

AUG

SEP

OCT

NOV

DEC

<=-12.00

Liquid Precipitation Depth (mm) -Hourly Vancouver International BC CAN 1 JAN 1:00 - 31 DEC 24:00

Rainwater Collection Tank

Prevailing Winds + Passive Heating WSystem

Prevailing winds

Main Space

Playground

12AM

m/s 28.00<= 24.00

6PM

20.00 16.00 12.00

12PM

8.00 4.00 0.00

6AM

12AM

-4.00 -8.00 JAN

FEB

MAR

APR

MAY

JUN

JUL

AUG

SEP

OCT

NOV

DEC

<=-12.00

Wind Speed (m/s) -Hourly Vancouver International BC CAN 1 JAN 1:00 - 31 DEC 24:00

Materials + Structure System

Wood Siding

Rooftop

Steel Beams + Columns

Concrete Piers + Footings

Roof Terrace

04

Re-configuring Civility

Formalizing existing and emerging activities.

Graduate Thesis.

Spring 2016 - Rhinoceros - Photoshop - Illustrator - Press Printing

The historic district of San Salvador, El Salvador; has been overtaken by the informal vendors, creating transformations throughout the city center. These transformations have became neglected and depleted public spaces, producing dysfunctional patterns of people/ economies/ transportation flows.

The loss of civility through the â&#x20AC;&#x153;permanenceâ&#x20AC;? of such temporal informal economies results in the singlemindedness of limited activities and ultimately decline of the city center of San Salvador.

By repositioning natural processes and human activities, FORM emerges as a way to manage these dynamic economic activities. It also serves to formalize emerging activities, resulting in the re-imagining of civic spaces within the cityâ&#x20AC;&#x2122;s historic district.

Formal: Belonging to or constituting the form or essence of an object.

Informal: The Lack of an order or hierarchy displayed in from.

Formalize: To give a certain or definite form to shape.

Civility: Human behavior in relation to civic and public spaces.

38

Metropolitan Area

- POPULATION: -1930- 89,385 -1950- 161,951 -1961- 255,744 -1971- 335,930 -1990- 415,346 -2011- 567,658

- AREA: - City- 27.9 sq mi - Metropolitan-239.7 sq mi

Central Market

San Salvador City Limits

Metropolitan Area of San Salvador, San Salvador, El Salvador.

Historic District

Understanding the Site and its Urban Condition

Site

City - Site Connectivity

City-Site Connectivity

0m

0m

20m

50m

100m

20m

50m

100m

Heights - Program Relations Diagram

Heights-Program Relations

a-3.5 x1

b-3.5 x1.5

c-3.5 x2.0

3.50

5.25

7.00

RESIDENTIAL

MUSEUM

COMMERCIAL

d-3.5 x2.5

8.75

COMMERCIAL

e-3.5 x3.0

10.50

ACTIVITIES

f-3.5 x3.5

12.25

SPORTS

Site Explorations

Site Explorations Isolation

Connectivi

Substraction

a.

1a.

1.

2.

3.

4.

5.

North-South Grid

b.

c.

d.

1b.

1c.

1d.

2b.

2c.

2d.

3b.

3c.

3d.

4.3c.

4.3d.

Connectivity

d

1st

2nd

3rd

Combination

d.

e.

f.

g.

h.

1d.

1e.

1f.

1g.

1h.

2d.

2e.

2f.

2g.

2h.

3d.

3e.

3f.

3g.

3h.

4.3d.

4.3e.

4.3f.

4.3g.

4.3h.

5.3e.

5.3f.

5.3g.

5.3h.

Site Iterations

Speculation 1

Speculation 3

0m

20m

50m

100m

0m

20m

50m

100m

Speculation 2

Green Areas Geometry

en Areas Geometry

Site Plan

Longitudinal Section

Detail Section A

Detail Section B

Ground Level Collage + Detail Section A

Public Space Collage + Detail Section B

Programmatic Uses and the Tectonics relationships

Re-Adaptation Axon

Meeting

Seating

Art- Culture

Physical Activities

Vendors

Entertainment

Housing Expansion

Leisure

Football

Assembly Area

Formalized Activities

Main Circulation_Ramps

Secondary Circulation

Re-inforced Concrete Structure

Structural Grid 10x10 meters

City-Site Visual Connectivity

Site as an extension of the city: -Market -Green Areas -Public Space - Activities

Incremental Occupation Over Time: 3 - 9 - 16 Months

Occupancy 0-2 Months

Occupancy 2-4 Months

Professional Projects Exhibitions + Projects

20 16 / 20 17

05

Los Laureles Community Center

- Tijuana, Mexico.

- Exhibition - Cooper Hewitt, Smithsonian Design Museum, NYC, NY.

Summer - Fall 2016

- Rhinoceros - SketchUp Pro - Photoshop - Illustrator - Laser Cutter - Model Making Skills Team: - Teddy Cruz - Juris A. Flores - Rene Jaime - Andres Saavedra

Estudio Teddy Cruz + Forman among other architecture firms nationwide were invited by the Cooper Hewitt Design Museum to participate in the exhibition â&#x20AC;&#x153;By The People: Designing A Better Americaâ&#x20AC;?.

The project consists in the designing of a community station which could be used by UCSD students, researchers and the members of the Los Laureles Community. This community is the most northern informal settlement of Latinoamerica and it crashes against the US/ MX border.

The exhibition consisted in a circular space of cardboards tubes which defined the space where the model seats. In addition; three videos were created to explain the problematic of the site, the coordination between multiple entities and the programmatic events that will take place in the building.

Tasks: - Led the creation and editing of videos.

- Collaborated in the design process of the community center.

- Coordinated the model making.

58

Los Laureles, Tijuana, B.C. Mexico

Community Program + Construction Sequence

Physical Model

Model Images

Final Installation at the Museum

06

Visualizing Citizenship: Seeking a New Public Imagination - Exhibition - Yerba Buena Center for the Arts , San Francisco, CA.

Spring - 2017

- Rhinoceros - SketchUp Pro - Photoshop - Illustrator - After Effects - Premiere Team: - Teddy Cruz - Juris A. Flores - Benjamin Notkin

Estudio Teddy Cruz + Forman was invited to present their ongoing projects at the Yerba Buena Center for the Arts in San Francsico, CA. Such exhibition was composed of videos, diagrams, maps, and visual narratives. The exhibition presented three projects that the studio have completed (some of them on-going) The Political Equator (2011), Cross-Border Citizenship Culture Survey (2011-ongoing), and The MedellĂ­n Diagram (2012-ongoing).

My main role as the team leader was the coordination, production and placement of visual narratives and graphics for the exhibition.

Tasks: - Led the design team.

- Led the creation and editing of videos.

- Collaborated in the design and placement of graphics.

- Coordinated the exhibition with curators.

64

YBCA, San Francisco, CA

Gallery 1 Layout + Gallery 2 Layout

38'-10" = 11,836m 5,486 m

4,203 m

The Political Equator

a Se

e

th

Ch in es

hm ir ea

So ut

h-

N or

K as K or

30°

h

Linking border checkpoints across the globe

So

ut

Se

K or

ea

U nio dia

an

el

ne

ro

du sa

rra

pe

ra

di te

m

sb os

La

Le

Me

Is

In

Eu Pa

le

st

in

e

ta

a

pe

an

go D ie n Sa

M eli lla /C eu

na

The most militarized political border in the world, the zone between North and South Korea remains the mot emblematic symbol of East-West Cold War polarization

38°

0,58 m

Tij ua

1,504 m 1,078 m

Israel – Palestine, a zone of violent and intractable territorial conflict between Palestine and Israel, emblematized by Israel’s 50-year military occupation of the West Bank and the Gaza Strip.

India – Kashmir, a site of intense and ongoing territorial conflict between Pakistan and India since the British partition of India in 1947.

Foyer

B Gallery #2

56'-10" = 17,323m 14,263 m

106,68 cm

EY SURV RROR AS MI

1 PERCEPTIONS OF TRUSTWORTHINESS 2 PERCEPTIONS OF COMMONALITY 3 DESIRE FOR COOPERATION 4 HOPE IN GRASS-ROOTS ORGANIZATIONS 7 out of 10 San Diegans feel that people from Mexico can be trusted. Tijuana residents are more distrustful in general but a near majority say that San Diegans can be trusted.

UNIVERSITIES PRIVATE SECTOR GOVERNMENT CIVIL SOCIETY

A majority of respondents in both cities felt that San Diego and Tijuana have some or a great deal in common

Perceptions of commonality increased desire for collaboration among a majority of respondents in both cities.

Conclusion: increasing cross-border understanding of shared interests is essential.

S A

EY SURV RROR AS MI

In both cities there is significant lack of trust in civic institutions and governments at all scales.

Conclusion: underlying mistrust of government opens an important space for non-governmental organizations to steward cross-border initiatives.

16 Survey is a Mirror In February 2015, survey results were presented to stakeholders in both San Diego and Tijuana. The survey became a mirror of regional self-knowledge, enabling participants to recognize their interdependence.

85,47 cm

17 Curating Dialogue and Cross-Border Urban Intervention During the design and execution of the survey we convened government agencies, cultural institutions, foundations, the private sector, university researchers, community-based and civic organizations across issues of public health, environment, immigration and arts & culture.

The Mayors of San Diego and Tijuana were participants in the Cross-Border Citizenship Culture Survey process, and reaffirmed their commitment to a regional vision. The survey data is an instrument for rethinking cross-border public policy. Arts and culture will become the creative tools for communicating the results to the public over time.

76,2 cm

15 Divided Cities / Shared Future The survey revealed cross-border publics, ready to reimagine a shared destiny, and receptive to new vehicles for activating it.

UNIVERSITIES PRIVATE SECTOR GOVERNMENT CIVIL SOCIETY UNIVERSITIES

14 A Catalyst for Cross-Border Collaboration The survey was an instrument to instigate a cross-border, cross-institutional civic dialogue, summoning sectors that are seldom in conversation with one another. How do we disrupt the mythologies of public opinion too often perpetuated by xenophobic fears of the other, and facilitate a new conversation between institutions of power and diverse communities on both sides of the border?

CAN CAN PEOPLE PEOPLE BE BE TRUSTED TRUSTED FROM FROM UNITED MEXICO? STATES?

48%, TIJUANA 2014 13 Survey results revealed that most people across the region trust one another

70%, SAN DIEGO 2014

THE CROSS-BORDER CITIZENSHIP CULTURE SURVEY 12 Cross-Border Citizenship Culture Survey We spent a year working with Mockus to design a Bi-National Citizenship Culture Survey that could help us identify the presence of a citizenship culture across the region. Corpovisionarios had never done a survey of two border cities, where the goal was to identify shared sensibilities of a bi-national region. In Winter 2014 the survey was distributed to thousands of residents on both sides of the border.

INSTITUTIONS C I V I L S O C I E T Y 11 Mockus at the San Diego-Tijuana Border In 2014 we brought Mockus to the border to help us to explore the notion of a cross-border citizen. In Bogotá, citizenship had been deployed as a cultural device to integrate what conflict had divided. Mockus was eager to think about citizenship at the border where the concept is typically deployed to separate “us” from “them” - to protect what’s “ours” from the encroachment of the other.

CITIZENS

C O L L E C T I V E A C T I O N

10 The Citizenship Culture Survey When Mockus left office after two terms, he established Corpovisionarios to work with municipalities on citizenship culture. Every urban intervention begins with a Citizenship Culture Survey (CCS), a sophisticated social science instrument designed to measure public trust and civic coordination in a city. Corpovisionarios has applied its CCS in 55+ cities across Latin America. They have amassed a vast database of comparative urban research on issues of legal culture, behavior regulation systems, mobility, tolerance, tax culture, public safety, agreements, civic participation, mutual regulation, public trust, and victimization.

CIVIC LESSONS:

189,1 m

Before transforming the city physically, transform social forms Better to fight violence with community process than with “law&order” Arts and culture are engines of civic engagement 9 Lessons Learned Antanas Mockus has inspired generations of civic actors, urbanists and artists across Latin America and the world to think more creatively about transforming urban norms and building citizenship though cultural action.

8 The Mimes: Social Accountability Mockus replaced Bogotá’s corrupt municipal traffic-police with a troupe of 500 mimes, who stood on the street corners of downtown Bogotá and shamed drivers and pedestrians for traffic violations. With bells and whistles, and comedic play, the mimes disrupted a dangerous urban norm of ignoring traffic signage. While critics thought the intervention was silly, the proof was in its impact: traffic fatalities in Bogotá decreased by 50% during Mockus’ first term.

7 The Thumbs: Performing Citizenship Culture Mockus distributed placards across the city with the image of a thumb that could be displayed either up or down. Citizens were encouraged to use the thumb as they moved through the city to communicate approval and disapproval toward one another. A thumbs-up to acts of civility and urban dignity; and a thumbs-down to behavior that violated civil coexistence. Through this simple gesture, the citizens of Bogotá began to recognize each other again. Collectively, and without realizing it, they were performing the kind of city they wanted to live in. Through mutual recognition, they were reconstructing a new citizenship culture.

6 The Pirinola: Choosing Moral Action Play was an essential tool for Mockus. With the spin of a pirinola, he demonstrated to the citizens of Bogotá that human beings are not always motivated by selfishness, but are frequently motivated by social and collective aspirations. The art of governance is to cultivate the social dimension of human choice-making.

THE TH T CITY C TY IS A CLASS C ASS ROOM 5 The City is a Classroom “As mayor I assumed a fascinating pedagogical task: learning and teaching in a community of seven million people. I decided to confront the culture of the city, its languages, perceptions, customs, clichés and especially people’s excuses.” — Antanas Mockus Mockus developed an urban pedagogy that deployed sometimes outrageous performative interventions to demonstrate precisely what he meant.

4 A Philosopher-Mayor Antanas Mockus, a professor of philosophy and rector of the National University became mayor of Bogotá in 1995. Instead of guns and tanks, he came with a new idea about how to change the hearts and minds of citizens, to help them recognize and value each other again. Mockus declared emphatically the moral norms that should regulate relations among citizens: that human life is sacred, that radical inequality is unjust, that gender violence is intolerable, that education and health are inalienable human rights, and that paying ones taxes and conserving natural resources are duties of citizenship.

3 A City in Crisis Bogotá Colombia in the 90s was a scene of urban breakdown – poverty, violence and urban warfare between the police, the drug cartels, guerillas and paramilitary. Bogotá was often called “the most dangerous city on the planet.”

2 Learning from Latin America In our search for alternative ideas of citizenship, we have been inspired by many Latin American cities that have transformed themselves over the last decades through a renewed commitment to collective life, civic participation and public investment.

IS THERE A CROSS BORDER CITIZEN?

1 The Cross-Border Citizen Border regions are global laboratories for rethinking citizenship. Is it possible to conceive of citizenship beyond the nation state? Can we orient ourselves instead around shared values and common interests regardless of the physical barrier that separates us?

The CrossBorder Citizen Re-thinking citizenship at the San Diego-Tijuana border – Learning from Bogotá

8'-7" = 2,616m

1,168 m

7. The Thumbs: Performing Citizenship Culture Mockus distributed placards across the city with the image of a thumb that could be displayed either up or down. Citizens were encouraged to use the thumb as they moved through the city to communicate approval and disapproval toward one another. A thumbs-up to acts of civility and urban dignity; and a thumbs-down to behavior that violated civil coexistence. Through this simple gesture, the citizens of Bogotá began to recognize each other again. Collectively, and without realizing it, they were performing the kind of city they wanted to live in. Through mutual recognition, they were reconstructing a new citizenship culture.

G1 Wall A

San Diego – Tijuana, the most-trafficked border checkpoint in the world, and the main migration route from Latin America into the US, has been a site of increased surveillance and fortification

by US Homeland Security since 9-11.

Ceuta, Melilla – EU, Spain’s Gibraltar enclave represents the main funnel of migration from North Africa into Europe. More recently Fortress Europe has thickened its Mediterranean barrier to contain the flow of refugees from Lampedusa into Italy, to Lesbos into Greece.

8'-7" = 2,616m

2,179 m

n

1.06 m

Gallery 3 Layout

Gallery 3 Axon Tables 4’ x 20’

Wall A

Wall B

Wall D

Wall C

Gallery 3 Option 1 35'-0"

PROCESSES

A story of civic freedom: How a public emerged from conflict, restored urban dignity, activated collective agency, and reclaimed the future of its own city.

35'-0"

14'-4"

A story of civic freedom: How a public emerged from conflict, restored urban dignity, activated collective agency, and reclaimed the future of its own city.

3.

Spatializing Citizenship

Medellín transformed municipal bureaucracy

2.A Assembling New Protocols of Public Management

2.B Integrating Fragmented Institutions and Communities

3.A Intervening into Urban Borders

3.B 3.C Transforming Curating the Public Spaces convergence of into sites for spaces, programs knowledge-exchange and institutional collaborations

THE MEDELLÍN DIAGRAM 1.A.1 For Medellín ‘this was first a political project’

1.A.2 Medellín re-imagined the city from its periphery

1.A.3 Medellín decided to invest where the needs are

1.A.4 Medellín sought to narrow the gap between wealth and poverty

1.B.1 Medellín visualized urban conflict as point of departure

1.B.2 For Medellín social justice needed contestation

1.B.3 Medellín approached social order not through police repression but through community processes

1.B.4 Medellín mediated divergent perspectives

1.B.5 Medellín created intermediary spaces for comprehension

1.C.3 Medellín resuscitated a history of collaboration between industrial and labor Interests

1.C.4 Medellín drew lessons from participatory urban processes across Latin America

1.C.5 Medellín framed strategies to construct civic meaning

PRIORITIES 1.C.1 Medellín awakened its own institutional memory

1.C.2 Medellín recovered a lineage of civic engagement

1.C.6 Medellín prioritized public knowledge and advanced new models of public communication

1.

Confronting Inequality 1.C.10 Medellín restored collective agency

1.C.7 Medellín facilitated community forums to discuss the future of the city

1.C.8 Medellín engaged the war between the visible and the invisible

1.C.9 Medellín cultivated urban dignity

1.A Taking a position: Inequality is the Root of Urban Violence

1.B Mediating Urban Conflict

2.A.1 For Medellín urban equality demanded a transformation of government bureaucracy

2.A.2 Medellín moved from an inefficient to an agile bureaucracy

2.A.3 Medellín intervened into its own organizational logics of public policy

2.A.4 Medellín designed new policies and procedures

2.A.5 Medellín elevated the best models of municipal governance from across Latin America

2.A.6 Medellín transformed the Mayor’s office into an urban ‘think’ and ‘do’ tank

2.A.7 Medellín managed time, resources and institutional intersections

2.A.8 Medellín manifested new forms of accountability and responsibility

2.A.9 Medellín repaired public trust in institutions

2.A.10 Medellín validated transparent public management

2.A.11 Medellín designed local political processes and new forms of governance

2.A.12 Medellín designed strategies to anticipate and frame social density

2.A.13 Medellín re-imagined natural boundaries as policy frameworks

2.A.14 Medellín designed with complexity, from flat to topographic urbanization

2.A.15 Medellín transformed informal settlements into laboratories of urban policy

2.B.1 Medellín designed and incubated support institutions

2.B.2 Medellín invented new forms of collaborative municipal governance

2.B.3 Medellín curated protocols that traverse everything

2.B.4 Medellín summoned crosssector knowledges and resources

2.B.5 Medellín enabled new interfaces between institutions and publics

2.B.6 Medellín co-produced the city with communities

2.B.7 Medellín brought design intelligence inside city management

2.B.8 Medellín engaged local universities as engines of research for rethinking urban policy

2.C.1 Medellín democratized public communication

2.C.2 Medellín mediated top down policy and bottom up intelligence

2.C.3 Medellín connected the abstraction of large planning logics with the specificity of every day practices within communities

2.C.4 Medellín integrated the large scale of territory with the small scale of neighborhoods

2.C.5 Medellín centralized (content) and decentralized (resources) simultaneously

2.C.6 Medellín re-distributed intellectual, economic and social resources toward sites of marginalization

2.C.7 Medellín re-directed surplus value toward socially responsible development

2.C.8 Medellín re-imagined generic public-private partnerships

2.C.9 Medellín enabled other modes of ownership

2.C.10 Medellín encouraged public participation in the use of public resources

PROCESSES

2.

Designing Governance

1.C.11 Medellín aspired to a different kind of political reality

3.A.1 Medellín conceived infrastructure as the physical manifestation of governance

3.A.2 Medellín penetrated into marginalized communities with cultural institutions

3.A.3 Medellín linked natural systems, social spaces and cultural institutions

3.A.4 Medellín understood buildings not as objects but as relational urban systems

3.A.5 Medellín anticipated social encounter in space

3.A.6 Medellín built objects and spaces that perform

3.A.7 Medellín designed the interface between buildings

3.A.8 Medellín strategized layered as opposed to tabula rasa approaches to urbanization

3.A.9 Medellín mobilized strategies of space alteration and adaptation

3.A.10 Medellín imagined an urbanism of the slope, a watershed urbanization

3.A.11 Medellín operated at various urban scales simultaneously

3.A.12 Medellín compressed distances and expanded accessibility

3.A.13 Medellín linked the natural topography with social spaces and accessibility

3.A.14 Medellín democratized infrastructure through new systems of mobility

3.B.1 For Medellín public space educates

3.B.2 Medellín connected urban spaces with the rights to the city

3.B.3 Medellín activated a community-based dissemination of culture

3.B.4 Medellín elevated urban pedagogy as a generative tool for infrastructure

3.B.5 For Medellín social justice was not only about redistributing resources but also re-distributing knowledges

3.B.6 Medellín injected knowledge into public space

3.B.7 Medellín forged new corridors of knowledge transfer

3.B.8 Medellín constructed a new citizenship culture, mediated by arts and education

3.B.9 Medellín advanced citizenship as a creative act

3.B.10 Medellín intervened in public spaces to reorganize social norms

3.B.11 Medellín connected citizenship to a visual and cognitive awareness of the territory

3.B.12 Medellín elevated art as a cognitive system that enables comprehension of complexity

3.B.13 Medellín re-conceived artists as ‘traffickers’ of cultural services

3.B.14 Medellín stimulated cultural participation

3.B.15 Medellín incentivized local knowledge and economy

3.C.1 Medellín introduced specific tactical programming into abstract open space

3.C.2 Medellín designed spaces, programs and protocols simultaneously

3.C.3 Medellín promoted dialogical spaces and social processes

3.C.4 Medellín empowered citizens to be curators of process

3.C.5 Medellín assembled cross-sector coalitions to support socio-economic and cultural processes

3.C.6 Medellín linked urban stewardship, civil society and government

3.C.7 Medellín promoted collaborative programming that assured sustainability over time

INTERVENTIONS

3.

Spatializing Citizenship

18'-11 3/4" Medellín transformed municipal bureaucracy

1.C Provoking a New Civic Imagination

2.A Assembling New Protocols of Public Management

2.B Integrating Fragmented Institutions and Communities

2.C Redistributing Knowledges and Resources

3.A Intervening into Urban Borders

3.B 3.C Transforming Curating the Public Spaces convergence of into sites for spaces, programs knowledge-exchange and institutional collaborations

THE MEDELLÍN DIAGRAM 1.A.2 Medellín re-imagined the city from its periphery

1.A.3 Medellín decided to invest where the needs are

1.A.4 Medellín sought to narrow the gap between wealth and poverty

1.B.1 Medellín visualized urban conflict as point of departure

1.B.2 For Medellín social justice needed contestation

1.B.3 Medellín approached social order not through police repression but through community processes

1.B.4 Medellín mediated divergent perspectives

1.B.5 Medellín created intermediary spaces for comprehension

1.C.1 Medellín awakened its own institutional memory

1.C.2 Medellín recovered a lineage of civic engagement

1.C.3 Medellín resuscitated a history of collaboration between industrial and labor Interests

1.C.4 Medellín drew lessons from participatory urban processes across Latin America

1.C.5 Medellín framed strategies to construct civic meaning

1.C.10 Medellín restored collective agency

1.C.11 Medellín aspired to a different kind of political reality

1.C.6 Medellín prioritized public knowledge and advanced new models of public communication

1.C.7 Medellín facilitated community forums to discuss the future of the city

1.C.8 Medellín engaged the war between the visible and the invisible

1.C.9 Medellín cultivated urban dignity

2.A.1 For Medellín urban equality demanded a transformation of government bureaucracy

2.A.2 Medellín moved from an inefficient to an agile bureaucracy

2.A.3 Medellín intervened into its own organizational logics of public policy

2.A.4 Medellín designed new policies and procedures

2.A.5 Medellín elevated the best models of municipal governance from across Latin America

2.A.6 Medellín transformed the Mayor’s office into an urban ‘think’ and ‘do’ tank

2.A.7 Medellín managed time, resources and institutional intersections

2.A.8 Medellín manifested new forms of accountability and responsibility

2.A.9 Medellín repaired public trust in institutions

3.A.1 Medellín conceived infrastructure as the physical manifestation of governance

3.A.2 Medellín penetrated into marginalized communities with cultural institutions

3.A.3 Medellín linked natural systems, social spaces and cultural institutions

3.A.4 Medellín understood buildings not as objects but as relational urban systems

3.A.5 Medellín anticipated social encounter in space

3.A.6 Medellín built objects and spaces that perform

3.A.7 Medellín designed the interface between buildings

3.A.8 Medellín strategized layered as opposed to tabula rasa approaches to urbanization

3.A.9 Medellín mobilized strategies of space alteration and adaptation

2.A.10 Medellín validated transparent public management

2.A.11 Medellín designed local political processes and new forms of governance

2.A.12 Medellín designed strategies to anticipate and frame social density

2.A.13 Medellín re-imagined natural boundaries as policy frameworks

2.A.14 Medellín designed with complexity, from flat to topographic urbanization

2.A.15 Medellín transformed informal settlements into laboratories of urban policy

2.B.1 Medellín designed and incubated support institutions

2.B.2 Medellín invented new forms of collaborative municipal governance

2.B.3 Medellín curated protocols that traverse everything

3.A.10 Medellín imagined an urbanism of the slope, a watershed urbanization

3.A.11 Medellín operated at various urban scales simultaneously

3.A.12 Medellín compressed distances and expanded accessibility

3.A.13 Medellín linked the natural topography with social spaces and accessibility

3.A.14 Medellín democratized infrastructure through new systems of mobility

3.B.1 For Medellín public space educates

3.B.2 Medellín connected urban spaces with the rights to the city

3.B.3 Medellín activated a community-based dissemination of culture

3.B.4 Medellín elevated urban pedagogy as a generative tool for infrastructure

2.B.4 Medellín summoned crosssector knowledges and resources

2.B.5 Medellín enabled new interfaces between institutions and publics

2.B.6 Medellín co-produced the city with communities

2.B.7 Medellín brought design intelligence inside city management

2.B.8 Medellín engaged local universities as engines of research for rethinking urban policy

2.C.1 Medellín democratized public communication

2.C.2 Medellín mediated top down policy and bottom up intelligence

2.C.3 Medellín connected the abstraction of large planning logics with the specificity of every day practices within communities

2.C.4 Medellín integrated the large scale of territory with the small scale of neighborhoods

2.C.5 Medellín centralized (content) and decentralized (resources) simultaneously

2.C.6 Medellín re-distributed intellectual, economic and social resources toward sites of marginalization

2.C.7 Medellín re-directed surplus value toward socially responsible development

2.C.8 Medellín re-imagined generic public-private partnerships

2.C.9 Medellín enabled other modes of ownership

2.C.10 Medellín encouraged public participation in the use of public resources

3.B.5 For Medellín social justice was not only about redistributing resources but also re-distributing knowledges

3.B.6 Medellín injected knowledge into public space

3.B.7 Medellín forged new corridors of knowledge transfer

3.B.8 Medellín constructed a new citizenship culture, mediated by arts and education

3.B.9 Medellín advanced citizenship as a creative act

3.B.10 Medellín intervened in public spaces to reorganize social norms

3.B.11 Medellín connected citizenship to a visual and cognitive awareness of the territory

3.B.12 Medellín elevated art as a cognitive system that enables comprehension of complexity

3.B.13 Medellín re-conceived artists as ‘traffickers’ of cultural services

3.B.14 Medellín stimulated cultural participation

3.B.15 Medellín incentivized local knowledge and economy

3.C.1 Medellín introduced specific tactical programming into abstract open space

3.C.2 Medellín designed spaces, programs and protocols simultaneously

3.C.3 Medellín promoted dialogical spaces and social processes

3.C.4 Medellín empowered citizens to be curators of process

3.C.5 Medellín assembled cross-sector coalitions to support socio-economic and cultural processes

3.C.6 Medellín linked urban stewardship, civil society and government

3.C.7 Medellín promoted collaborative programming that assured sustainability over time

public space

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14'-4"

5'-0"

14'-4"

26'-0 1/4"

Wall B

Wall B

26'-0 1/4"

public space

public space

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public space

public space

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55 inch monitor

18'-11 3/4" Wall A

public space 55 inch monitor

Medellín built performative infrastructures of inclusion

A story of civic freedom: How a public emerged from conflict, restored urban dignity, activated collective agency, and reclaimed the future of its own city.

1.A.1 For Medellín ‘this was first a political project’

29'-5 1/2"

Medellín built performative infrastructures of inclusion 2.C Redistributing Knowledges and Resources

A story of civic freedom: How a public emerged from conflict, restored urban dignity, activated collective agency, and reclaimed the future of its own city.

Medellín convened a new civic conversation

MEDELLIN Wall A DIAGRAM

INTERVENTIONS

2.

Designing Governance

1.C Provoking a New Civic Imagination

14'-4"

MEDELLIN DIAGRAM

1.B Mediating Urban Conflict

14'-4"

14'-4"

Medellín convened a new civic conversation

10'-0"

PRIORITIES

1.

Confronting Inequality 1.A Taking a position: Inequality is the Root of Urban Violence

10'-0"

Gallery 3 Option 1

29'-5 1/2"

public space Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis

21'-3"

21'-3"

public space Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis

public space

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14'-4"

Wall C

5'-0"

14'-4"

6'-0" public space

public

public space

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Wallspace D

6'-0" Wall C

Wall D

Gallery 3 Tables Layout

Table Posters Layout 2"

Table- A

2"

18”

1

3 18” X 25”

5

2

18” X 25”

13

6

5” X 10”

7

14

15

16

20

10” X 16”

18” X 24”

22

23

24

25

10 3/8” X 14” 18” X 21 1/4”

18” X 13”

18” X 25”

18

18” X 13”

18” X 13”

21

6” X 10 1/4”

5 3/4” X 7 1/4”

2"

Table- B

2"

18”

26

28 18” X 25”

27

18” X 13”

38

6” X 8 5/8”

18” X 24”

33

30

37

34 18” X 24”

18” X 24”

35

18” X 24”

41

42

12” X 16”

18” X 24”

15” X 20”

3 1/4” X 19”

36

10” X 14 1/2”

40

39 18” X 25”

32

31

29

11” X 16”

18”

12 18” X 13”

11 1/4” X 17”

19

17 18” X 13”

18” X 25”

10

18” X 24” 10” X 16”

9 1/8” X 25 3/4”

18”

8

9 1/2” X 25”

18” X 25”

11

9

6” X 8 5/8”

18” X 25”

4

12” X 12”

45

7 1/8” X 28”

43

7” X 9 1/4”

44

46 18” X 25”

47 15” X 20”

18” X 13”

7 1/4” X 28 1/2”

48 18” X 25”

18” X 25”

7” X 10 1/2”

Table Posters Layout

Facing Observer

2"

18”

18”

Table- A

Facing Observer

2"

18”

18”

Table- B

Facing Observer

Facing Observer

2"

2"

Final Installation at the Museum

07

MACLA Proposal

- Movimiento de Arte y Cultura Latino Americana , San Jose, CA - MACLA - Gallery / Exhibition Building.

Fall - 2016 / Spring 2017

- Rhinoceros - SketchUp Pro - Photoshop - Illustrator - AutoCad Team: - Teddy Cruz - Juris A. Flores - Rene Jaime

Estudio Teddy Cruz + Forman, was contacted to proposed a remodel to the building that host the NGO â&#x20AC;&#x153;Movimiento de Arte y Cultura Latino Americanaâ&#x20AC;? (MACLA).

First, we started off by proposing a full remodel of the building, which serves as a gallery and offices for the NGO. We injected other programs in order to make the building a full interactive building that connects back to the city and its culturally diverse community.

Tasks: - Collaborated in the design process of the proposal.

- Created floor plans layouts.

- Produced collages for PR purposes.

70

MACLA Building, San Jose, CA.

Space Organization + Program

Proposed Floor Plan + Black Box Theater Arrangements

ose the grid of ical, electrical and

STORAGE

RAMP

rvices: mechanihese rooms can s a storage-mez-

TRASH

RECORDING STUDIO

100 SQFT

continuity, across ecific points. nal ones between d transitional

ELECT.

108 SQFT

MACLA 160 SQFT

RECORDING STUDIO

SOUND

90 SQFT

168 SQFT

490 SQFT

960 SQFT

MECH.

MACLA

130 SQFT

ble theater m can be movable and the stage is o enable the use of flexible and feel

OFFICE

GREEN ROOM

DMC

STORAGE MEZZANINE (6)

sed and distributed n generic

SOUND

90 SQFT

168 SQFT

MACLA 160 SQFT

OFFICE

664 SQFT

st beams and 18’ vealed everyo bottom of

OPEN OFFICE

1245 SQFT

BLACK BOX (1)

STORAGE

2250 SQFT

100 SQFT

or a sliding

ace… so, maintainall MACLA’s een the visual arts o DMC. This ded will facilitate

GALLERY II (2) 980 SQFT

RESTROOMS 890 SQFT

g of youth tension of the KITCHEN

de back to

235 SQFT

(5)

able display wall ), allows for a large angle shown in the vable partition to

GALLERY (3) 1520 SQFT

CAFE

in relationship to lobby and cafe.

RETAIL

875 SQFT

LOBBY (4)

1,760 SQFT

1,060 SQFT

torefront (we of the retail space much storefront

spaces do not ea as mezzanine the edges of this

(5)

N

MACLA

Scale: 1/16”=1’-0”

Possible Seating Arrangements MACLA

Possible Seating Arrangements

MACLA

2. BLEACHERS 2. Possible BLEACHERS Seating 3. CHAIRS AREA

- 70 people on bleachers. people on chairs.

- 70 people on bleachers.

- 60 - 60 people on chairs.

GENERAL NOTES:

1. 1.STAGE STAGE

OPTION 1

OPTION 1

GENERAL NOTES:

Arrangements

1.

3. CHAIRS AREA

4. COMPLEMENTARY SPACE GENERAL NOTES: -Bleachers for 70 people.

1. STAGE

35 people.

-Bleachers for 70 people.

3.

OPTION 1

-Bleachers for 35 people.

4. COMPLEMENTARY SPACE

-Bleachers for 70 people.

3.

2.

OPTION 2b.

- 140 people on bleachers.

- 42 people on chairs.

1.

1.

2.

4.

3.

2.

- 105 people on bleachers.

- 42 people on chairs.

2.

1.

3. CHAIRS AREA

2.

OPTION 2a.

3.

- 70 people on bleachers.

- 60 people on chairs.

3.

2.

2. -Bleachers BLEACHERS for

2b.

- 105 people OPTION on bleachers.

- 140 people on bleachers.

- 42 people on chairs.

- 42 people on chairs.

- 105 people on bleachers.

- 42 people on chairs.

1.

4. COMPLEMENTARY SPACE

OPTION 2a.

OPTION 2a.

2.

3.

3.

1.

2.

4.

-Bleachers for 35 people.

OPTION 3

2.

OPTION 3 3.

OPTION 4a.

- 175 people 3. on bleachers.

2.

OPTION 3

- 140 people on bleachers.

- 140 people on bleachers.

- 53 people on chairs.- 53 people on chairs.

1.

2.

OPTION 4a.

OPTION 4b.

1.

OPTION 4a.

2.

2.

1.

2.

4.

1.

1.

4.

3.

3.

1.

1.

- 70 people on bleachers.

- 175 people on bleachers.

- 84 people on chairs.

- 70 people on bleachers.

- 84 people on chairs.

3.

2.

3.

1.

OPTION 4b.

1.

- 70 people on bleachers.

- 84 people on chairs.

- 140 people on bleachers.

- 53 people on chairs. 4.

2.

1.

3.

4.

Scale: 1/16”=1’-0”

4.

4.

Closed Up Collage of Entrance + Gallery Area Collage + DMC Area / Recording Booths Collage

08

Parque de Los Pobladores

- Movimiento de Arte y Cultura Latino Americana , San Jose, CA - Parque de Los Pobladores Plaza.

Fall - 2016 / Spring 2017

- Rhinoceros - SketchUp Pro - Photoshop - Illustrator - AutoCad Team: - Teddy Cruz - Juris A. Flores

Estudio Teddy Cruz + Forman was commissioned by the city of San Jose and MACLA to design a public space that could serve the city. The site its located just across from MACLAâ&#x20AC;&#x2122;s main offices. The idea was to design a cultural charged public space which could host the diverse programs from MACLA and other events from the city.

Tasks: - Designed auxiliary elements for pavilions.

- Created details, site plans and patterns iterations.

- Coordinated fabrication of additional elements.

- Coordinated installation of elements with users.

- Coordinated and managed the project with contractors during construction.

76

Option 1 - Pavilion Curtains + Canopies Pavilion Curtains + Canopies (Triangles)

Curtains: $650.00 each (x3) total: $1,950

adores Shades Installation

Canopy: $700.00 each (x6) total: $4,200 Grand Total: $6,710 (Tax included)

Parque de Los Pobladores Pavilions, San Jose, CA

Pavilion Curtains + Canopies (Triangles)

Pavilions + Auxiliary Elements

Plaza Shades Organization +Details

Plaza Shades Layout

B 9"

New Straps

6'-0"

6'-0"

6'-0"

6'-0"

3'-0"

6'-0"

3'-0"

6'-0"

6'-0"

6'-0"

6'-0"

9"

A 19'-0”

Shade Length

2'-0"

Shade Width

1'-0"

Spacing Between Shades

Plaza Shades

Shades must be made of black sun shade fabric

Re-inforced Sun Shade Fabric Folded and Sewed All around the perimeter

Black Sun Shade Fabric

2'-0"

19'-0"

Sleeve for Tension Cable

Detail Section BB

Detail Section AA

New Strap Powder Coated SS Eye Bolt

3/16” SS Cable

1” X 2” X 1/4” Angle Iron Plainted Black

2 3/8” O.D. Tube

2 3/8” O.D. Tube

1” X 2” X 1/4” Angle Iron Plainted Black

Pavilion Curtains + Details

n Exterior Elevations - Curtains Positions

A

Curtains FRONT

EQ.

EQ.

B

Pavilion Curtains Orientation

Front

Back EQ.

EQ.

EQ.

EQ.

EQ. EQ.

EQ.

EQ.

EQ.

5'-0"

11'-0"

3'-0"

EQ.

3'-0"

Detail A + B - Curtains + Tubes Installation

Detail A

Detail B

2 3/8” O.D. Tube

Velcro wraps around the pavilion tube to connect to the back of the curtain Red Vinyl Velcro Loops Red Vinyl Velcro Hooks

CURTAIN FRONT

CURTAIN BACK

1 1/4” O.D. Tube

10'-0"

Images of Inauguration

20 17

Thank you!