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PORTFOLIO 2017 KRYSTIE ORTENCIO


I.


West Hollywood Aquatic and Recreation Center Revit Architecture + Sketchup + SU Podium + Photoshop + Illustrator + InDesign

Located at the southern end of the centralized West Hollywood Park and adjacent to the Pacific Design Center, this new Aquatic and Recreation Center of approximately 70,000 SF will consolidate the existing community amenities of the park including a public pool, sports courts and meeting/office spaces all into one building. Initially won by competition at the end of 2013, I assisted in preparing the 3D model of the building and site for 3D printing which was then used to create competition material presented to the City of West Hollywood. I played a critical role throughout the schematic and design development phases of the project, creating exhibits for presentations for bi-weekly meetings with the city. These exhibits ranged from simple 2D diagrams to draft renderings of various design options and finally to full presentation renderings available for public viewing. Throughout the construction document phase I headed the effort in signage and graphics documentation and was part of the LEED v4 documentation team. The groundbreaking for this potentially LEED Gold project occurred recently in early January 2017.


Lobby bridge over El Tovar

Lobby view from entry

Roof Deck


County of Orange Civic Center - Building 16 Revit Architecture + Sketchup + V-Ray + Photoshop

As part of the County of Orange Civic Center in Santa Ana, this 6-story office building is planned to replace an existing office building numbered “16” and is the first of an ongoing civic master plan renovation. It is programmed to contain various city departments, a public counter, and a separate conference center building. My effort in this project started early in the envisioning process of developing exhibits for the civic master plan. I created diagrams and physical blocking models to clearly explain the implementation process of the master plan over the next several years.  Upon being awarded the contract to design and document Building 16, I built the core/shell BIM model for the SD phase and have been continuing documentation through the recently completed DD phase. 


Coffee Shop + Office Lobby Sketchup + SU Podium + Photoshop

As part of a concept for a spectacle office building in San Diego, this office lobby was to be designed in conjunction with a hip coffee shop called Swell. My contribution to this project included fully developing two renderings to showcase the design intent with careful attention to specific detailings of the interiors including graphic elements, space planning, materials and lighting.


Laguna Niguel Community Center This project site is located on hilly terrain adjacent to an existing YMCA building, several hiking paths and a children’s playground. In this site model I am showing existing conditions with the existing community center removed from the model in preparation for the site model to be sent to a CNC machine. I built massing blocks by hand to represent program for the proposed building in this project which was recently won by competition.

Site Topography Models

Sketchup - for rendering and physical model preparation Being given just a grading plan of an existing site to start new projects, I have created many 3D site topography models to help envision proposed buildings in the accurate context of the existing land. These are but a couple of example projects where I have assisted in the initial development of complex topography models during the predesign and schematic design phases of projects.


Yorba Linda Friends Church This project site is overall located along a sloping street with a grade level change of almost ten feet from the far ends of the parking lot entries. It consists of an existing church with accompanying buildings adjacent to the main church, an existing parking lot which needed to be restriped and regraded, and an open space requiring new landscape design and grading. For this project I built the entire existing site model and incorporated all changes in grading, landscape and new building entry proposals. This model was then used to computer render presentation exhibits.


Fabricated Models

Sketchup - for rendering and physical model preparation + CNC Machine My responsibilities for the development of this model included creating a 3D topography model along with proposed building and landscape design and preparing the model for the CNC process. In addition, I bought and tested different sized drill bits and operated the machine with the assistance of lab supervisors, then fit the final model into a wooden frame.

The 3D computer model of this project site topography was prepped then brought over to the local machine shop to use the CNC. The yellow material is high density foam, a perfect medium to carve into for such purposes.

This is a diagram showing a compilation of the process. It starts with a flat, linework base showing proposed building elements and shape of typography.

The final model with basswood elements representing crucial design elements such as the buildings themselves, parking deck and driveway.


II.


SYSTEMATIC PROGRESSION Systems & Composition Bill Adams_Fall 2010

1 This presentation is a compilation of three progressive steps: 1) The subtraction of a rectangular prism from an existing system, 2) the use of the system from the first step to create a space around a void, and 3) learning from the evolution of the first two steps to create an exhibition space overlooking the ocean. The diagrams and drawings illustrate the design of this exhibition space produced as a result of systematic progression.

2


1 (detail)

3


K-MOK MUSEUM LITTLE TOKYO, LOS ANGELES Museum Programming and Design Axel Schmitzberger_Winter 2011

DESCRIPTION Residing in Little Tokyo, Los Angeles, the K-MOK museum features artifacts from the 1950s that were part of John Kaneda’s robot toy collection. The design of this museum focuses on the dynamic relationship between visitors and their connection to the artifacts displayed. The visitor walks to a hallway of the lobby then up a grand staircase to the amazing display of Kaneda’s prized possession - a sculptural robot 30 feet in height that was once displayed outside on 1st street. This sculptural item, along with various other classic robot remnants, has thus been preserved in the sanctity of the museum upon Kaneda’s death in 2002.

This is the massing model from which form was derived from for the final museum design. Twenty cubes of all differing sizes were required to be built and combined. The method of combining the cubes into one form was by individual student choice. I chose to create rules in that, when one cube intersected another, one would either subtract or add to the other cube creating interesting voids and masses that were then used as inspriation for the final project.


temporary gallery administrative area

permanent gallery

permanent gallery

Foam model with lasercut acrylic detaililng

cafe & kitchen

courtyard, barden, amphitheater

classrooms

temporary gallery main entrance & lobby museum store

support areas

Concept rendering of final project

Programming Diagram


POLAROID ANALYSIS

Documentation and Composition of a Polaroid 600 Land Camera Axel Schmitzberger_Winter 2011


INTERFACIALLY SUBLIME New York City, New York Irma Ramirez & Andy Wilcox_Fall 2012

DESCRIPTION: KNOWLEDGE is the most vital component to survival and the collective advancement of humans. This design proposes to continually encourage the interactive gaining of knowledge through a private program of workspaces and research facilities and also encourage the interactive sharing of knowledge through means of public program including an accessible library, museum, and workstations. THE DESIGN of the building is separated into three components representing the PAST, PRESENT, and FUTURE methods of gaining and sharing knowledge. The design of the landscape reflects the patterns created from the skyscraper by mimicking the building characteristics to form an inviting public space both to compliment the neighboring United Nations building as well as a space for action interactivity. _ Conceptual Design Team Members, 7 weeks: George Kutnar Kristen Tuerk Kenny Sperling _ Final Project, 3 weeks: Individual


RE-WORKSPACE

Graduate Thesis Research and Design Project Kip Dickson_Fall 2012 - Spring 2013

Workspace design has changed gradually since the early 1900’s, but not as rapidly as within the past 20 years with the introduction of the computer and the gradual dependence and acclimatization of workers to software programs. This dependence has caused a constant need to upgrade technology and thus led to a change in production processes in various industries. The transformation of working patterns in companies suggests a valid need for their workspaces to transform as well, yet many companies have yet to do so. My thesis project explores the connection between the production processes within creative industries and their workspaces. In particular, I have focused on the Animation Industry as a prime example of an industry that has witnessed significant and unique space changes that will be prototypical of workspaces in general in the near future. My thesis design proposal is an animation studio that responds to the comfort and efficiency needs of storyboard artists, animators and production staff, supports required technological advancements, and encourages interaction within a highly collaborative profession.

“an animation studio that responds to the comfort and efficiency needs of artists and encourages interaction...� The research I have completed has revealed the necessity to design such a project. Existing today are major corporate companies such as Disney, Warner Bros., Dreamworks and Nickelodeon. On the

other hand, 59% of animation artists are working independently. I have conducted interviews with a staff member from Walt Disney Animation Studios, one of the worldwide leading corporate animation companies, and with Blur Studios, an independently owned company that is highly successful in commercial, cinematic and gaming animation. The stark contrasts in business structure of each company has guided me in creating an environment that is a fusion of the most successful attributes required in an efficient animation studio. Though different, these companies also revealed similar characteristics definitive of the animation building typology. From my research I have been able to recognize existing problems in building design and program and have organized a list of goals that will be part of my thesis design solution. These design goals include: create a combination of open and closed spaces that correspond to highly interactive space and private space, provide the highest level of comfort through open and closed spaces and individual personalization of space, provide flexible live/work spaces poised for change, stimulate the creative mind through interior architectural detailing, organize program efficiently to enhance production, and incorporate recreational activity as an essential part to the design of animation artist workspaces.


workspace typologies evolution

1900s

open plan, heirarchy

1968-present non-creative

OPEN PLAN

INDIVIDUALISM

1940

1994

disney brothers studio

walt disney animation studios

LIGHT

PRODUCTION LEVELS

2000

SCREEN - materiality

NON-HIERARCHIC

boundary line

evolution

OPEN PLAN - spaces

blur studio

COMMUNITY

systems NARRATIVE - circulation

2002

pixar animation studios

PROGRAMMING

PROGRAMMING

SUPPORT

SUPPORT

MEDIA

MEDIA

PRODUCTION FLOOR

PRODUCTION FLOOR LIBRARY

CONCEPT

LIBRARY

CONCEPT

SOCIAL SPACES

THEATER

PROGRAM DIAGRAM

SOCIAL SPACES

THEATER

CIRCULATION DIAGRAM OVERLAY


10

11

10' - 0"

12

13

14

15

16

UP

8 10' - 0"

UP

UP 20' - 0"

6

18

30' - 0"

9

7

17

5 A UP

30

4

'0"

UP

3

B ' 25

2

1

C

" -0

H

G F

D E

1st Floor N


10

11

10' - 0"

12

13

14

15

16

17

30' - 0"

9

There are 3 major program parts to this design: Production, Support and Social space. The majority of the program is in Production which includes workstations and casual meeting areas mixed within. The Support areas are location along the periphery of the building on the first two levels and are easy to access off of the major Production path. The Social areas are the interior atrium and the exterior courtyard. Additional social space is located on the third level as rooftop and bridge space.

DN

8 10' - 0"

7 6

20' - 0"

DN

5 DN

A ' 30

4

" -0

3

B ' 25

2

C

2nd Floor

E

11

10' - 0"

12

13

14

15

16

17

18

30' - 0"

9

UP DN

8 10' - 0"

DN

DN DN

UP

20' - 0"

6

H

F

D

10

" -0

G

1

7

Program.

18

5 DN

A 30

4

'0"

3

20513 sf

UP

3170 sf

C

G

SUPPORT

F

D

3rd Floor

E

LEFT // 1st Floor 11 12 13 14 ABOVE //10 2nd & 3rd Floors LEFT BELOW // Front facade elevation 10' - 0"

H

15

16

17

30' - 0"

9

UP

UP

18

WORK SUPPORT

1

" -0

AL

CI

SO

L

IA

C SO

K

W

OR

SUPPORT

' 25

2

8

5428 sf

B

TOTAL: 34993 SF


1 EVENT COURTYARD An outdoor atrium used for events, casual gatherings and interactive presentations

2 TERRACED LAWN A terraced seating area for individual and group gatherings. Gradually leads to creek and offfers views of Culver City Park

3

4 RAISED PATIO Shaded seating area raised above creek path for private and casual meetings

ENTRY/EXIT A descending/ascending ramp for ease of access to and from creek patio

N

6 BALLONA CREEK PATH Existing bicycle path adjacent to creek

5 CREEK PATIO A patio level with creek path that steps back fifteen feet and acts as a welcome mat for visitors to the building

ABOVE // Exploded Diagram Each level is shown in this diagram with circulation overlaid on top and the elevator shaft running through a central location in the building. The skin is shown as a separate layer with the attaching glazed system all done in a 5 foot grid.

KO Design Portfolio