Luis Efrain Salinas,
The Bernard and Anne Spitzer School of Architecture
PORTFOLIO
2017-2022
Fall 2021|
38 Paul Rudolph Analysis Spring 2019 |
18 No Step Spring
Professor: Art Jones, Professor Krisia M Ayala Ortiz Character Team: Tiana Herrshaft, Kamilla Razhabova, Mafe Torro, Luis Efrain Salinas Pixelbrella
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Professor: Ali Hocek In Collaberation with Diana Barreto, Amy Jang, and Anthonio Roye et al. Professor: Ali Hocek In Collaberation with Yaqub Aissa and Chantal Garrido La Española
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14 Space Time Movement Spring 2022 |
Spring 2018 |
Professor: Fran Leadon Step Derive, et al. Disrupted
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34 Shelter:
Disrupted Urban Network Fall 2020 |
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3 4ContentsThe Shape of Water: Harlem Aquatic Center Spring 2020 |
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Professor: Paul Ruppert Site Analysis in collaberation with Trisha Estuye, Panya Kamson, Angela Njoroge, and Luis Vargas
Professor: Elisabetta Terragni In Collaberation with Eduardo Lopez
Urban Network
42 Assemblies: Bathroom Kitchen Stairs Fall 2019 |
Professor: Henry Grosman In Collaberation with Caroline Ho Professor: Viren Brahmbbatt 2021
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32 The Struggle for Freedom in
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26 Derive,
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Spring 2020 Professor: Henry Grosman
In Collaberation with Caroline Ho
The Shape of Water: Harlem Aquatic Center
The goal of the project was to design an aquatics center on the Park Ave between 119th and 120th streets. Throughout the project, the driving force that informed design decisions was the concept of blurriness. Blurriness is defined as a phenomenon where the viewer cannot comprehend the entirety of the form from any given point. Blurriness is achieved by the converging curves of the main structural element and the striation of minor structural elements that connect them. This striation creates a kind of Moiré effect that is present throughout the building in its rails, ramps, and fire stair enclosure. The system between striation and curve is present throughout the building creating one unified experience. This concept was informed from the development of models meant to produce an effect and follow a system. These early models and their variation on a theme produced the final form of the building.
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Professor Viren Brahmbhatt
CameraCompositionDistanceand
While Film has limitless freedom to connect these factors using montage no matter their distance, Architecture must bridge these together into a singular vision. The experiential quality of Architecture lends itself to similar concepts, such as the sequence in which action, movement, and event are practiced. Although Film can close the distance between Space and Time, it is still tied down to being experienced in a flat plane. On the other hand, architecture is free spatially but can not close this distance outside of itself. For this reason, although Cinema and Architecture share many of the same qualities, the way the audience and visitors experience them differs significantly. The project seeks to break down the components of Film that begin to create visual, experiential, and spatial narratives.
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Film can be broken down into three essential components: Time, Space, and Movement. While shared in architecture and film, these three fundamental components differ in their use in these mediums. While Space is captured through shots that contain a sense of time and movement within them in cinema, architecture has one experience of time and movement while being enveloped in Space. Cinema excels at presenting us with a clear vision of time and movement while providing warped and composed frames of Space. For these reasons, Architecture can learn from the cinematic experience while the creation of cinematic Space can be expanded on through architectural design.
Angle Parasite (2019) Parasite (2019)
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Row (Tilt) A- Down Shot B- Straight On C- Up Shot Column (Distance) 1- Close Up 2- Medium Shot 3- Full Body Shot 4- Long Far Color Palette Color and Light The Grand Budapest Hotel (2014) The Grand Budapest Hotel (2014) Blade Runner 2049 (2017)
The arrival and departure scenes go through many of the exact locations but at vastly different points in the plot. In the arrival scene, Ki Woo constantly moves up elevation toward the house. The angle comes into play in the initial shots of the wealthy family’s house. The house is shot with an upshot making the building seem immense. In contrast, the departure scene uses a lot more down shots to highlight the scale of the environment in comparison to the family. In this way, angle and distance play a vital role in framing a scene.
15 Camera Distance and Angle Parasite (2019) CCBAAB 1 2 3 4 1 2 3 4 Departure Scene Arrival Scene
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DCBA
VerticalPursuedLine-Cut0:09:180:13:20 Camera Movement, Camera Placement, and Actor Movement
A-DistanceClose Up B- Medium Shot C- Full Body D- Long Far Movement and Transition Vertical Blue Line- Hard Cut Red Arrow- Mima’s Movement Pink Arrow- Idol Mima’s Movement BluePurple-ParkedSpeed Limit Red-
The Sequence shows hard versus soft cuts such as diegetic wipes. Hard cuts between shots are shown as a thick vertical line between them. Softer cuts have no dividing line as they flow seamlessly into each other. These transitions and the character’s movement create a disorienting sequence. One example would be the break of the 180 rule (third and fourth shot in the second row) where Mima runs in one direction, but the follow-up shot has her facing the other direction.
The opening car chase from Drive provides a view into time distortion through the shot duration. The colors in the background of the diagram depict different states of movement. The light blue color depicts moments when the car is parked. The darker purple depicts moments where the driver is going at the speed limit. The red signifies when he is being pursued. The three colors are overlaid with lines showing the moments there is a cut in the sequence. The moments with the quickest cuts are those with the driver being chased. Longer shots seem drawn out, while quick cuts make the action faster. Drive (2011) Perfect Blue (1997)
Analysis Drawings on Film Pin Up 5/13/2022 Sketch Model for BoardsDCBAE1 2 3 4 5 I II III IV V X Axis (Pan) I- 180 Degree (Left) II- 135 Degree III- 90 Degree (Straight On) IV- 45 Degree V- 0 Degree (Right) Y Axis (Tilt) A- Bird’s Eye View B- Down Shot C- Straight On D- Up Shot E- Worm’s Eye View Z Axis (Distance) 1- Long Far 2- Full Body 3- Medium Shot 4- Close Up 5- Extreme Close Up Red-MovementComposition Change Pink- Camera Movement Dark Blue- Ryan Gosling Light Blue- Emma StoneLa La Land (2016)
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The initial Kitbash was an experiment into what a machine with no purpose would be like. Although the two objects are heavily composed they are comprised of pieces stripped of their original purpose.
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The Machines here are teconics expressions derived by the data and research collected throughout the project. Their forms are kitbashing of existing elements throughout the site most heavily the manufacturing areas. The site appears to be mundane but has a variety of systems underneath the surface. Three major systems that interact with the site are manufacturing, airport, and prison. In order to make apparant what is often overlooked we created a series of interventions. Each intervention would reflect one of these three major systems while being in one of them itself. These interventions move in accordance to the data on these systems.
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Analysis on the different demographics and use of the site allowed us to highlight key elements and areas early on. One of these being by the water where there was a heavy emphasis on the manufacturing zone which overlooks La Guardia Airport.
Through this we realized that the population was mostly Asian, Rentors, and Two Parent Households. We compared the average apartments of the area to the Confinment Cell on Riker’s Island not too far off.
Chart
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The B line was chosen due to its unique route. It connects three boroughs going through the Bronx, Manhattan, and Brooklynn. The Bronx and Brooklynn having a high case count for COVID-19 being a point of interest. The other reason is that the B train stops near city hall or a transfer away and Barclay’s center. These two locations are highlighted by a high concentration of protests that start and end at these locations. This gives us an idea of how these urban networks that have been disrupted by COVID-19 are instrumental to the movement of protest.BLine
This graph is the synthesis of our group research demonstrating the different relationships of the elements in the disrupted urban network. We are able to see the relationship between park and protest, COVID-19, borough, unemployment, cityscape, and so on. This layered drawing allows for all this information to be readily visible while following the trajectory of the B Line Train.
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B Line Circle Chart
32 | Luis Efrain Salinas | luisefrainsalinas@gmail.com | (956)878-3867 The Struggle for Freedom in LaProfessorEspañolaFall2021KrisiaMAyalaOrtizProfessor:ArtJones
Background Team: Caroline Ho, Shulan Zhao, Niki Ito, Miranda Shytaj
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Character Team: Tiana Herrshaft, Kamilla Razhabova, Mafe Torro, Luis Efrain Salinas
Equipped with the essential historical details about the revolt, we were tasked with bringing the rebellion to life. I was part of the character and animation team. I worked on the development of the character designs and their implementation into the backgrounds. Then we worked on the animation of the characters in collaberation with the background team.
The Struggle for Freedom in La Española, Commemorating the 500th Anniversary of the First African Revolt in the Americas was created in collaboration with the Art Department program in Electronic Design & Multimedia at our home institution, The City College of New York at CUNY.
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An in-depth analysis into the topography and weather patterns of Oman would come to inform the design of a shelter for its environment. This shelter derived from imitating the native gecko and its scales seeks to provide cool shade in the immense heat. Not only is shade provided but the encampment remains an open space as far as allowing the wind to enter. This would further allow the encampment to cool while providing a sense of enclosure. The undersides of the umbrella are a stark white as to not absorb heat just as the underside of the gecko is white. The shelter being a lightweight and portable encampment provides shelter and privacy for a nomadic lifestyle. Mimicking the scales of the native gecko the shelter hides into the desert landscape. Its amorphous nature also has the benefit if hiding its true scale. Onlookers would not be able to tell how large or small the encampment truly is. This was inspired from dazzle camouflage used by nautical vessels. The ability to adapt and be implanted in different parts of topography makes it a versatile shelter.
Site Analysis
Site Analysis in Collaberation with Trisha Estuye, Panya Kamson, Angela Njoroge, and Luis Vargas
PixelbrellaShelter:Spring2018Professor:PaulRuppert
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39 Beekman Place Movement Diagrams Unbuilt Modulighter Structural Model
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41 Built Modulighter
42 | Luis Efrain Salinas | luisefrainsalinas@gmail.com | (956)878-3867 BathroomAssemblies:Kitchen Stairs Fall 2019 Professor: Fran Leadon
Front Elevation Back Elevation
The goal of the project was to design three individual elements of a building being the Bathroom, Kitchen, and Stairs. At the intersection between 114th and Broadway there is an “unbuildable” lot. This lot is occupied by a giant outcropping. The design of the staircase sought to have you traverse through it until you reach the entrance of the town house. The curves of the stair burrowing through the rock act as a kind of parasitic force. Later throughout the house the motif of curves going through in unconventional ways continues in the kitchen. The curves act as an obstacle one must go around giving off a sense of anticipation as one spirals around to the next open space. The two clear open space on opposite sides of the curve being the kitchen and formal dining area. Yet the space is not entirely separated by the curve allowing for an unconventional limited interaction between those on either side through an opening defining the two rooms as a unified social area. Inspired by Luigi Colani’s Satellite Kitchen, the bathroom separates itself from the whole building being a completely enclosed capsule. This creates a sense of isolation and privacy. The bathroom provides the unique experience that one is entering a space entirely separate of that of the building instead of another integrated room found inside. Further separating the space inside from onlookers outside is the large screen doors and patterned window. These patterns inspired by Alexander Girard seeks to provide a visual tie to the rest of the curved elements while adding to the ambience found inside. This assembly of elements produces a space where one has a variety of experiences such as the quiet isolated pod of a bathroom and the open guiding curvature of the kitchen.
43 B C
Window Detail 3”=1” Section A Section BSection C 45 A BC First Floor Third FloorSecond Floor
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