PORTFOLIO | LUIS IRIARTE

LUIS IRIARTE

In my opinion, architecture is a form of expression and communication, in which the essence of architecture can be appreciated. It is the idea that prevails in the space and that transcends until it becomes what we call a memory. For this reason, my particular interest is to produce unique memories and sensations through my different architectural designs.

In this way, I strongly believe that good architecture is not found in a specific design or time, but in the accumulation of several emotions that it can generate. In my opinion, the most vital moment for an architect is when a new project starts, precisely, while holding tight your pencil in front of a blank sheet of paper, there is no better feeling than that, facing infinite possibilities. The sketch of an idea can tell you about both the past and the present; however, I substantially understand this as a dialogue towards the future.

I consider myself an intuitive person when I start to sketch. Being my greatest ambition to combine architecture with other artistic areas. This is why I’m interested in pursuing the most knowledge I can in other categories such as painting, photography, museography, art direction, among others. This will allow me to deeply enhance my design capabilities.

AR. LUIS ANGEL DE DIOS IRIARTE TINOCO

EXHIBITION DESIGN PROFESIONAL WORK SAMPLES

I was part of various projects at The Lima Art Museum (MALI), a non-profit, cultural, and private museum devoted to promoting the visual arts in Peru. Among the collection, you will find pre-Columbian, colonial, modern, and contemporary art. This experience developed my professional profile concerning design and museography. I worked primarily on drawing blueprints, building digital models, making diagrams, and producing sketches for upcoming temporary exhibitions. In addition, some of the proposals included changes to the permanent collection. During my time at the Lima Art Museum, I learned how to work with different pieces of art, including; ceramics, textiles, paintings, and videos.

Left Orozco, Rivera & Siquieros

Photo by Revista Cosas

Down Liminal - Maya Watanabe

Photo by Lima Art Museum

I contributed to interior design (panels, drywall, ceilings) and furniture manufacturing (display cases, shelves, and assembly). Some projects included Orozco, Rivera & Siqueiros, Nasca Peru, and Liminal. Maya Watanabe.

Down MALI second floor plan

Edited by Ar. Luis Iriarte

Right Nazca Exhibition Photo

Photo by Lima Art Museum

SCENOGRAPHY & PUBLIC SPACE PROFESIONAL WORK SAMPLES

I was offered a position in the Metropolitan Municipality of Lima. I actively participated in the set-up and design of the most important civic and religious festivities in the city. As part of the design team, I was in charge of initial concepts, 3D modeling, and the final proposal. In addition, I oversaw the set-up and ornamental manufacturing of items. The historical center of Lima was the venue of these events. This place is very well known for its colonial architecture. Therefore, all

In Lima, people abandoned certain customs due to historical conflicts. The proposals aim to recover these traditions, as this will lead to the recovery of Lima’s heritage and the enjoyment of its public space. I supervised the manufacture of velvet textiles with representative embroidered emblems for numerous festivities. In addition, I designed processional banners, dalmatics, cloaks, memorial plaques, flags, colonial furniture, liturgical vessels, and lighting.

Right Peru Independece day

Photograph by PROLIMA

SANTA ROSA MILL, INDUSTRIAL DISPOSSESION

URBAN AND SOCIAL REGENERATION IN THE BARRACONES, CALLAO.

The proposal focuses on the urban and architectural recovery, through recycling, of a group of abandoned buildings with an industrial design: The Santa Rosa Mill (1875); located in Callao, Lima. This project attempt to solve the lack of public spaces and the high percentage of crime.

SANTA ROSA MILL

Santa Rosa Mill, Callao (1924) Humberto Currarino collection

3

HIGH PATH PATHWAY WALKS, PLAZAS, AND OBSERVATION DECKS

A LARGE HIGH PATHWAY LEADS THE VISITOR FROM THE CITY TO THE SEA, DIALOGUING WITH THE EXISTING VOLUMES AND INVITING VISITORS TO ENTER THE DIFFERENT BUILDINGS OF THE PROJECT.

2

SERVICE LEVEL

REPETITIVE CONCRETE STRUCTURES BRING CITIZENS MORE PUBLIC SPACES. THESE DRESSING ROOMS AND LOCKER ROOMS COMPLEMENT THE AQUATIC RECREATIONAL COMPLEX AND THE PLAYGROUNDS.

PUBLIC LEVEL PUBLIC SPACES FOR KIDS IN THE BARRACONES, CALLAO

BATHHOUSE: LOCKERS AND PUBLIC DRESSING ROOMS 1

THE PROJECT CREATES PUBLIC SPACES DESIGNED TO ATTRACT PEOPLE AND PRODUCE SOCIAL ACTIVITY. FOUNTAINS, TREES, PLAYGROUNDS, AND OUTDOOR SEATING MAKE VISITORS STAY LONGER.

Detail C

Detail B

Detail A

The proposal subtracts some volumes to obtain more space for complementary programs. The historic mill building, the silos, and the warehouses are the buildings that remain. These preserved objects have potential qualities to be developed. The area becomes safer for the neighbors and invites them to stay by increasing the relationship between the architecture and the pedestrian level.

Programmatically, the ambitious project incorporates an aquatic recreational complex and a marine life institute. The design stresses the importance of social inclusion and the desire to protect aquatic animals. The proposal also includes the connection with the ocean. Therefore, a high path guides the visitor to the sea and turns itself into a dock. The dock has a panoramic view of San Lorenzo, the largest island in Perú.

SANTA ROSA MILL INDUSTRIAL

COLLECTIVE HOUSING IN SAN JUAN DE LURIGANCHO

YOUTH AND SENIOR COMMUNITY

San Juan de Lurigancho, is considered the most populous district in Peru and has a huge problem: the lack of unbuilt spaces. Since horizontal expansion is impossible, this project takes advantage of its entire perimeter and grows in height. Three programs are mixed and coexist in harmony.

YOUNG STUDENT HOUSING AND HOUSE FOR EDERLY PEOPLE RELIGIOUS CENTER

CULTURAL CENTER AND WORKSHOPS

Second-floor plan

Third-floor plan

Fourth-floor plan

Fifth-floor plan

The first floor is an extension of the street. The design includes an open passage with large entrances that links the surroundings. While the cultural center provides the students with meeting spaces and workshops, the housing facilitates encounters between youth and seniors with various cluster rooms. Lastly, the project also includes a religious center. This facility is considered a multi-faith space suitable for spiritual services and funerals.

YUSHUARA BRIDGE MUSEUM - KENGO KUMA

TUTORS: RENATO MANRIQUE, ERIK JAHNSEN

The task in this project was to study the structural system of an existing building in Japan. Kengo Kuma designed the Yushuara Bridge Museum. The idea of this project was to connect two separated buildings and create workshops for artists. With a previous study of the plans, we produced a 3D model and built a section replica of the facility.

in collaboration with: Fiorella Tolentino, Gina Oña

DRAWING AND PAINTING

TUTORS: WILDER GÓMEZ, ENRIQUE YAMAGUCHI

Colour WheelWatercolour

First floor planColored pencils

Flat washWatercolour

Second floor planColored pencils

PUBLICATIONS & ARTICLES SCIENTIFIC INVESTIGATION

& INVESTIGACIÓN

ARQUITECTURA & INVESTIGACIÓN ARTE, TIPOLOGÍA, POLÍTICA

During my time at the Municipality of Lima, other responsibilities included writing articles about the festivities in Lima. These articles aimed to provide knowledge (with scientific and illustrative research) about the ancient traditions of Lima. Lima Foundation (in 1535) narrates how Francisco Pizarro founded the city. Another article describes the Amancaes Festival: Flower, Religion, and Creole. The flowering of Amancaes,

a unique flower from Lima, influenced the creation of the festivity in the 16th century. I have also published an article called: “Contemporary Architecture, Museography, and Curatorship in Lima. Relations between the architectural project and the museum.” This article belongs to “Architecture & Research. Art, Typology, Politics.” a scientific book published by the Pontifical Catholic

University of Peru (PUCP). This article offers a panoramic view of contemporary museography and curatorial practices in Lima with the architectural project of museum buildings. Although these three components are present in many institutional museums, this essay reviews the existing dialogue between them, giving a diagnosis design and emphasizing the value of each of the three components.

Taller de Investigación

Sharif Kahatt Elio Martuccelli Víctor Mejía editores

PORTFOLIO 2022/LUIS IRIARTE