LEONARDO RODRIGUEZ email@example.com 714.600.9756
Full-time entry-level position
California Polytechnic State University (GPA: 3.45)
Cadiz Design Studio - Summer 2011
Rhino Revit Sketchup Autocad Illustrator Photoshop Indesign Microsoft Office (Word, Excel, PowerPoint)
D3 Natural Systems 2012 Competition - Sepcial Mention Leading Edge Competition Challenge 2, 2009 - Honorable Mention 1st place Cal Poly Architecture/Engineering Collaboration Bridge Studio Gordon Stafford Scholarship in Architecture Recipieint - 2008 - present Sam Walton Community Scholarship Recipient Design Featured in Archinect Design Featured in Archdaily
TABLE OF CONTENTS 1. TOYO ITO EXHIBIT 2. MOCK-UP 3. MUSEUM OF CHADO 4. UNIDENTIFIED 5. OBFUSCAPE 6. SILVERLAKE TANGO
TOYO ITO EXHIBIT Studio: ARC 103L Date: Spring, 2009 Recognition: Fall Interim, 2009
The purpose of the project was to design a small, 3-level exhibit for a given architect. The design is derived from Toyo Ito’s use of visual continuity through perspective in his U-House project. The majority of the house’s spaces along the curved side of the house bleed into each other, with no clear boundaries between one space and the next. The design for the exhibit attempts to reinterpret the idea of visual continuity through a different method. All the components within the exhibit are treated as a single entity. The focus was mainly on the circulation of the exhibit. Rather than having multiple floor plates held up by walls with adjacent stairs for circulation, each component is treated as a continuation of every other part. The floor begins to fold and lift up to create a ramp leading to the next level. The ramp itself begins to fold along its sides and lift up to create the walls of the exhibit. The folding technique is also applied to create permanent display stands for Ito’s work.
Visual Continuity through Perspective
1â€? Scale Model
MOCK-UP Studio: ARC 103L Date: Spring, 2009 Recognition: Fall Interim, 2009
The project is a further exploration of the exhibit design. The goal of the project was to design a full-scale mockup based on the ideas of the exhibit. Integration of the different parts of the mock-up was accomplished through lines as opposed to folding planes. Each component, floor, stair, elevated platform, wall and cantilever were not treated as solid planes but instead were broken down and composed of smaller linear members (2x4â€™s and steel tubes). This break down into these smaller components allowed us to introduce a new technique in addition to the fold: the flare. The floor begins to fold up and flare in order to create multiple treads leading up to the elevated platform. The top of the adjacent wall also begins to fold and flare in order to create a cantilever over a portion of the mockup.
1â€? Scale Model
Full Scale Mock-Up
MUSEUM OF CHADO Studio: ARC 202L Date: Winter, 2009
The design for the Museum of Chado began with a plaster-pouring exercise. Initially the plaster exercise was approached as a subtractive operation, in which volumes were subtracted from the rectangular volume. The final plaster model had three large voids which were interconnected by a series of channel voids. This model was then inverted so that what was solid became void and what was void was solid. The result of this operation became three floating volumes with corridors running in between them. The floating volumes became the gallery spaces, while the corridors became the circulation that ran through the galleries. The structural eccentricity of the museum was resolved through a structural skin. Structural members run along the museumâ€™s edges, triangulating the faĂ§ade. In between the structural members run horizontal slats, which help manipulate light entry on the open areas of the museum.
S E I LER
Structural Skin UP
Exhibition Prep. Shop
Fourth Floor Third Floor Second Floor First Floor Basement
UNIDENTIFIED Studio: ARC 499 Date: Spring, 2012 Recognition: D3 Natural Systems 2012 -ÂSpecial Mention Fall Interim, 2012 Published in Archdaily, Archinect
Above all, the project deals with loss of identity. Nearly 500 immigrants lose their lives crossing the U.S. â€“ Mexico border every year. Many of these individuals are never identified and as a result their bodies cannot be returned to their families. The project itself is composed of two parts: a bio-crematorium and a memorial. Since the project deals with loss of identity, the building itself takes on multiple identities of its own; it is both crematorium and memorial, but also becomes a vantage point, safe haven, point of reference, and monument. Organizationally, the two parts of the project are stacked on top of each other; an 80-foot tower above an underground crematorium that contains the entrance into the tower. Two axes are laid over the crematorium: a natural axis, which is the river, and a man-made axis, which serves as entrance into the crematorium. As bodies proceed through the crematorium, they travel through the man-made axis, where they are prepared, cremated, and finally the remaining ashes are taken to the natural axis to be washed away by the river.
OBFUSCAPE Studio: ARC 405L Date: Fall, 2012 Recognition: Winter Interim, 2013 Displayed at RELIER Exhibit
The goal of the project was to design a museum for the Los Angeles Red Car. The project began with an image of decaying wood from a train shed. This photograph was then traced to produce a pattern of lines. The resultant pattern was then mapped using cotton; cotton was pulled apart and to vary its fiber density in response to the density of the lines in the drawing. What resulted was an abstract object that had a foggy quality to it. The goal then was to capture this foggy quality through an architectural material. The lines from the tracing were then remapped with glass pieces. The varying angles of the extruded glass created complex reflection patterns. The complex and overlapping reflections obscured any object placed in the center of these glass extrusions, keeping the essence of the fog. The museum houses four trains, with reflective glass scattered around each of the trains. The glass extrusions reflect images of the trains throughout the museum. These glass extrusions served not only as reflective surfaces, but also display cases. Five different glass typologies were developed: train enclosures, towers, corridors, voided towers, and stands.
Roof Plate Manipulations LANDS
EN RA TRA NC NC E E
Floor Plate Manipulations
Display Walks Display Glass
SILVERLAKE TANGO Studio: ARC 406L Date: Winter, 2013
The Silverlake Tango Performance Center is an exploration of solid void relationships. All intimate spaces, including the milonga dance spaces were treated as the poche. The art galleries are the public program that are subtracted from the solid. The project is the result of conflict of interests between the desire to approach the tango spaces in a very traditional way (small, dark, intimate spaces) and looking at the project in a modern way (exposing the dance to the general public). Surface became the mediator between the two. Translucent surfaces were used on the walls of the art galleries so that the public could read the shadows of people dancing behind the gallery walls in the dance spaces. The public begins to get a sense of the intimacy of the dance as they travel upward in the art galleries. The angled voids created a large amount of dead space wherever they broke the buildingâ€™s floor plates. Parts of the floor plates immediately below the art galleries were omitted or dropped for functional purposes. What resulted were some of the most dynamic spaces within
the building. It made sense that we place the dance floors in these spaces. Suddenly we had double height dance spaces with art galleries cutting through the upper portions of the space. For this project there was an emphasis on hand-drawn representation. All of the drawings and renderings were done by hand.
Void Scheme Variations
retail DN UP
OTB DN DN
discussion area / lounge
Level 2 Floor Plan
ticket booth / coat check
rehearsal / black box
Level 3 Floor Plan