ARCH PORTFOLIO CRISTIAN M.

“PORTFOLIO”

CRISTIAN MADRID

DALLAS, TX “TRABAJANDO”

SEAGOVILLE, TX “LA PULGA”

BRIEF: “PORTFOLIO” OR SELECTED WORKS FOR MY CAPPA PROJECTS AS WELL AS PERSONAL PROJECTS. THESE PICTURES ARE A PERSONAL PROJECT OF MINE, A EXPRESSION OF MY LIVED EXPERIENCE THROUGH THE BARRIOS. THEY HAVE BEEN A FOUNDATIONAL PART OF MY LIFE AND IT MANIFESTS ITSELF THROUGH MY WORK.

HOW: LIKE VIRGIL ABLOH BRINGING STREETWEAR TO HIGH FASHION, A BATTLE TO BRING THE PEOPLES VOICE INTO A EXCLUSIONARY FIELD, ARCHITECTURE HAS SERVED THOSE IN POWER, ITS TIME TO CONNECT WITH THOSE WHO ARE THE BREATHING LUNGS AND BEATING HEART OF THE BUILDING, PEOPLE.

WHO: BARRIOS, MINORITY NEIGHBORHOODS, NATIVE ECOSYSTEMS, REWILDING, THE INSECTS THAT RESIDE UNDER OUR FLOORS, THE BIRDS WHO MAKE HOME IN OUR TREES, THE PLANTS THAT ALLOW US TO BREATH, FOR EVERYTHING THAT WILL BE AFFECTED BY OUR DESICIONS.

OAXACA, MEXICO ME IN MEXICO

BRIEF: CREATION OF MODULAR PAVILLIONS THAT OPERATE AS NODES CONNECTING THE FUTURE TRAM PATH AT THE DALLAS ARBORETUM HOW:

USING VISUAL RYTHEM AS THE CONNECTING FACTOR BETWEEN EACH STOP, AND MATERIALS TO BLEND INTO THE ARBORETUM. TAKING THE DESIGN ONE STEP FUTHER WE BEGIN TO UNDERSTAND THE SITE WHICH INFORMED THE FORM FOLKLORICO DANCERS(A DANCE AROUND THE PARK) WHO:

DALLAS ARBORETUM VISITORS, SURROUNDING NEIGHBORHOODS, MAINTNINCE WORKERS.THE MISSON OF THE PARK IS TO EDUCATE, DISD IS A LARGELY HISPANIC SCHOOL DISTRICT, BRINGING THIS FORM IS BRINGING A SENSE OR RELATABILATY, SEEING YOURSELF IN PLACES ONE MIGHT FEEL EXCLUDED. THE MAINTNINCE WORKER ALREADY USES THE TRAM STOPS AS “MEET UP “ SPACES ALLOWING THEM TO USE THE PAVILLIONS IS CRUCIAL. THE PEOPLE WHO VISIT SHOULD FEEL A CONNECTION TO THE PARK NOT A SEPERATION, INFORMING THE DECISION TO NOT CREATE AC SPACE.

ISOMETRIC

CORRUGATED METAL ROOF

WOOD

ACCORDIAN DOOR

WOOD COLUMNS

MASONRY

“IN MOTION”

THE ROOF COMPONENT BECAME AN IMPORTANT DIVIDER BETWEEN ITERATIONS AS EACH WOULD REPRESENT A STEP IN THE DANCE. THIS PAVILION REPRESENTED THE INBETWEENS OF FOLKLORICO DANCING ,”IN-MOTION”. DELPHINE BLAST (DEMONSTRATED ABOVE) CREATED A SERIES OF PICTURES WHICH CAPTURED THOSE MOMENTS, THIS ROOF IS BROKEN IN PARTS AND CURVES IN ORDER TO MAINTAINT THAT MOTIF OF MOTION. ANOTHER DETAIL TO NOTE IS THE USE OF CORRUGATED ROOFING, THIS MATERIAL IS USED TO MIMIC THE RUFFLES OF THE DRESS FURTHER CONNECTING THE IDEA BETWEEN FOLKLORICO DANCING AND THE PAVILION.

BRIEF: A MULTIUSE BUILDING SITUATED IN THE DALLAS ARBORETUM, THIS BUILDING FOCUSES ON THREE PROGRAMS, A GIFT SHOP, AN EXIT SEQUENCE, AND A FLEXIBLE MULTIUSE SPACE HOW: USING CONCRETE AS THE STRUCTURAL MATERIAL BUT ALSO AN EXPRESION THROUGH WHICH HISTORICAL IDEAS ARE CONVEYED. THIS BUILDING PROVIDES A LARGE EMPHASIS ON THE EXIT SEQUENCE , AND BRINGING BACK IMPORTANT LAYERS OF HISTORY.

WHO:

DALLAS ARBORETUM VISITORS, SURROUNDING NEIGHBORHOODS. EMPHASIS IN CREATING SOMETHING THAT IS IMPOSING BUT BALANCED (TO BRING PEOPLES STORY BACK TO THE PARK) BUT ALSO EMBRACING A HISTORY TRANSLATED IN THE DELGOYLER HOUSE(SPANISH COLONIAL HOME AND ITS MEANING). THE FORM REFRENCES THREE MAJOR LAYERS, NATIVE PRARIES/PEOPLE, MEXICAN HISTORY, FINALLY THE INTERSECTION OF AMERICAN HISTORY.

PARTI MODEL

AT THE FOUNDATION OF THE PROJECT WE HAVE THIS PARTI, WHICH IS AN ABSTRACTION OF THE INITIAL ESSAY WRITTEN FOR THIS PROJECT. THE CONCEPT/STUDY MODEL TOOK INSPIRATION FROM AN ANECDOTE OF A BOX GIVEN TO KING DARIUS BY THE SCYTHIANS. THE SCYTHIANS HAD NO WRITTEN LANGUAGE SO THEY ARRANGED OBJECTS TO CONVEY MESSAGES, THE OBJECTS IN THE BOX WERE A DEAD BIRD, MOUSE, FROG AND FIVE ARROWS, THE INTERPETED MESSAGE BEING IF YOU CANT FLY LIKE A BIRD, BURROW LIKE A MOUSE, OR SWIM LIKE THE FROG, YOU WILL NOT BE ABLE TO ESCAPE OUR ARROWS. THIS WAS THE FIRST STEP IN ABSTRACTING LANGUAGE INTO FORM, THOUGH THIS WAS NOT THE DIRECT INFORMER OF THE FORM, IT WAS AN EXERCISE IN A RHETORIC OF OBJECT PLACEMENT IN ORDER TO CONVEY A MESSAGE,

“INSTRUCTIONS”

INSTRUCTIONS

A SERIES OF DIAGRAMS

conceptual creating form component: facade

seperate space (ac to natural)

sites historical layers (3 major points)

word+language (writers as designers of words)

blank facade (understanding view from section)

tree context (remove from mass)

entry (main entrance vs program entrance)

“IMPOSING” (non comformist to site a history and people to be known)

“BALANCE”

(not a precedent but the idea)

guideline + “VIEWS” (zones we cant touch and the views in alignment with facade)

transitional modes (memory walk, stair, elevator)

“EMPHASIS”

(through gradient form and emphasis

the pinch (to create solid facade and emphasis to exit)

EXPLODED ISO

MULTIUSESPACE

MECHANICALROOM

NORTH ELEVATION

SOUTH ELEVATION

WEST ELEVATION

EAST ELEVATION

ISO ENLARGED SECTION

the concrete facade was “peeled” to expose the concrete main structure, rebar. The window carries that idea thorugh the use of cables in front of the window. this feature is also reflected in the multi use/green space

INTERIOR RENDERING

moment in the facade looking towards white rock lake. render shows the entrance of light and views as well as the sequence one has to go through due to the main entrance

EXTERIOR RENDERING

outside looking in. render potrays the use of the concrete wall to create circulation and as well as the use of the steel beams to guide your eye to the stairs/cutout in wall. the entrance is repeated in exit.

FINAL PRESENTATION

POST-FINAL UTA JURY. ONE OF THE FEW CHOOSEN

PROJECTS TO PRESENT TO THE DALLAS ARBORETUM BOARD OF DIRECTORS

CREATE A SERIES OF HEIRARCHICAL ENCLOSED SPACES BY USING 99 INTERSECTING POLYHEDRANS HOW: “CORPO” BY RAF SIMMONS PROVIDED A GREAT SOURCE OF INSPIRATION, THIS SHELF TOOK INSPIRATION FROM CORSETS. THE IDEA OF DESIGN IN CONNECTION TO THE BODY TRANSLATED IN THE ORGANIC SPAWL OF THE POLYHEDRONS AND ALLOWING THE POLYHEDRANS TO TAKE SPACE NATURALLY DEPENDING ON THE CONDITIONS. THE SERIES OF SPACES WHERE ALSO DETERMINED BY THE NUMBER OF POLYHEDRANS. THE EXERCISE PROVIDES AN INSIGHT TO DESIGN APPROACH, SIMPLICITY AND ORGINIZATION CAN PROVIDE A GREAT SOLUTION TO AN OVERWHELMING SET OF CONDITIONS

Small Space

Large Space

BRIEF: HALF SEMESTER LONG PROJECT THAT USED REGULATING LINES TO CREATE SPACES, WE BEGAN BY USING A PRESCEDENT AND BREAKING DOWN REGULATING LINES WHICH WAS LATER USED IN ORDER TO GUIDE A DESGIN OF A STUDIO SPACE WHICH IN MY CASE WAS A STUDIO FOR AN ASTRONOMER HOW: THERE WAS AN EMPHASIS IN DEVELOP EFFECTIVE DESIGN COMMUNICATION SKILLS THORUGH THE GRAPHICS+MODELS. THE GRAPHICS AND BREAKING DOWN THE PRECEDENT BECAME CRUCIAL STEPS TO FIGURING OUT HOW TO DESIGN SPACE.

WHO:

THE ASTRONOMER IN MY INTERPRETATION OCCUPIED THREE SPACES, OUTDOOR FOR VIEWING THE STARS, LARGE INTERIOR WINDOWS TO VIEW THE OUTSIDE CONDITIONS, AND A OFFICE SPACE. THESE THREE ARE TRANSLATED THROUGH THE FIRST LEVEL THE SECOND AND THE OUTDOOR(INTIMATE OFFICE SPACE, LARGE BUILT SPACE WITH WINDOWS, AND FINALLY THE OUTDOORS/”SPACE”=INFINATE NO CEILING)

PRECEDENT COLLAGE

FIRST HALF OF THE PROJECT REQUIRED US TO STUDY A PRECEDENT WHICH IN MY CASE WAS THE KINGS ROAD HOUSE BY RUDOLPH SCHINDLER. THE LEFT SIDE SHOWS THE REGULATING GUIDELINE AS WELL AS THE RESPECTIVE SKETCHES WHICH WHERE USED TO GET THOSE LINES. THE RIGHT SIDE IS A COLLAGE OF THE PRECEDENT STUDY DRAWINGS, WITH THE INITIAL SKETCHES. THE BASS WOOD HAS ELEVATION MASSES AS WELL AS A SERIES OF PICTUERS OF THE STUDY MODEL WHICH DERIVED ITS FORM FROM THE PRECEDENT.

BRIEF: PROJECT INVOLVED THREE STEPS, PRECEDENT, A INDIVIDUAL TINY HOUSE PROPOSAL, AND FINALLY USING CREATED PROPOSAL TO CREATE A FINAL TINY HOUSE WITH A PARTNER. THE SITE WAS 2220 ALLEN ST. IN STATE THOMAS, AN UPTOWN DALLAS NEIGHBORHOOD WHICH WAS ONCE A FREEDSMAN TOWN HOW:

APPROACHED BY USING A PROJECT THAT HAD SEPERATED SPACES, THEN COMBINED THAT WITH LOCAL HOUSING TO CREATE A HOUSE THAT WAS SENSITIVE TO THE SITE WHILE ALSO INTRODUCING A NEW FORM.

WHO: THE PROPOSED CLIENT WAS A LOCAL CHEF, WE FOCOUSED ON CREATING A INTERIOR SPACE/HOUSE THAT SUPPORTED A COOK AND TOOK THE SURROUNDING SITE TO ALSO SUPPORT TO THAT SPECILIZATION(GARDEN AND FIREPLACE), THE “ZONES” CREATED WHERE INTENDED TO TELL A STORY OF FIRE AS THE INITIAL GROUNDS FOR BOTH ARCHITECTURE AND COOKING.

choosen proposition transformed

INSTRUCTIONS

component: stairs+roof

concept to form

domi-no house e corbusier

local housing

private public public

private = +

articulated form

FIRST FLOOR

SITE PLAN

SECOND FLOOR

SOUTH ELEVATION

WEST ELEVATION