Maribel
Calzada
Maribel
Calzada Contact Information: maribel.calzada@gmail.com (915) 867-1413
Architecture Selected Projects 2015-2017
“Make big plans; aim high in hope and work, remembering that a noble, logical diagram once recorded will not die, but long after we are gone be a living thing, asserting itself with ever-growing insistence.� -Daniel Burnham
Maribel
Calzada EDUCATION Texas Tech University Masters in Architecture + Digital Design Fabrication Certificate 2015-2017 GPA 3.8/4.0
Texas Tech University Bachelor in Science of Architecture 2013-2015 Magna Cum Laude GPA 3.8/4.0
SKILLS Strong Computer Skills: Revit AutoCAD SketchUp Bluebeam Rhinoceros Illustrator Photoshop
Indesign Maya Lumion Grasshopper 3DsMax Microsoft Office
Ä)ood verbal and written communication skills. -Successful leader, equally effective as a member of a team. -Highly organized able to multi-task and accomplish multiple objectives. -Professional demeanor and attentive to detail. -Bilingual: English and Spanish.
AWARDS ÄAIA SES Student Health Care Design Competition, 2016 ÄMcCormick Architecture Scholarship, Texas Tech University, 2015 -JLangford Endowment Architecture Scholarship, Texas Tech University, 2014 -Proven Achievers Scholarship, Texas Tech University, 2014
WORK EXPERIENCE Parkhill, Smith, and Cooper, Lubbock, TX (April 2016-PRESENT) Architecture Intern Construction documents, drafting, programming, schematic design and renderings. Wright and Dalbin Architects, El Paso, TX (June 2015-August 2015) Architecture Intern Construction documents, programming and schematic design. Texas Tech University, El Paso, TX (October 2014- May 2015) Architecture Mentor Provided academic help to El Paso Community College students for them to have a smoother transition from EPCC to Texas Tech University. Eureka!Signs/Hoover Signs and Graphics, El Paso, TX (January 2013-February 2015) Graphic Designer/Customer Service Designed advertising products with design software such as Photoshop, Illustrator, and Indesign.
Table of Content
Reinventing the Office Space Albuquerque, NM Page 1-9
Shaping Sound El Paso, TX Page 10-18
Ben Taub Hospital Trauma Tower Expansion Houston, TX Page 19-25
Crystalline Wall Taos, NM Page 24-37
Fabricating Tiles Lubbock, TX Page 38-41
DPC
Office Headquarters
REINVENTING THE OFFICE SPACE VISION STATEMENT To create an innovative and inspiring work environment that boosts productivity.
GOALS COMFORTABLE AND INVITING WORK ENVIRONMENT – This building will be a place that makes the user feel like home, at work. COLLABORATION – This office building will provide an interactive environment which responds to the needs of the team and the individual. BRANDING –Dynamic high tech tectonics which improves energy efficiency. SUSTAINABILITY – Integrates the sustainable culture of the company with state-of-the-art technology. INTERACTION – Blur the boundaries between areas and spaces – different departments, inside and outside, building and site. INTERACTIVE COMMUNITY – Opportunities to socialize.
CONCEPT STATEMENT
Interaction is the key to collaboration. The connection among the building, the site and its context creates the uniqueness of the DPC building in Albuquerque. The building responds to the climate with sustainable design that incorporates attractive technological features to its aesthetics. Together, the interaction of site, climate, people, and company creates a new idea of what an office space should be.
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Reinventing the Office Space
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Shaping Sound A central question explored in this studio is: Can architecture heal? this line of inquiry is one of the most prevailing directions architecture has taken since the start of the 21st Century. The relationship of architecture and heath challenges the profession to be more accountable and to re-discover a lost tradition. Charles Jencks, an international acclaimed theorist, has pioneered this line of investigation with the development with his Maggie’s Cancer Caring Centres [sic]. Each center is a hybrid facility type – part house, part hospital, part museum, part church. In addition, they challenge the artificial disciplinary boundaries between landscaping, interior design, architecture and other related disciplines. Since 1995, some of the foremost international architects— such as Zaha Hadid, Rem Koolhaas, Daniel Liebeskind, Richard Rodgers, Steven Holl, Frank Gherhy, and others—have volunteered to design a Maggie Centre in reponse to the belated Maggie Cheschik Jencks plea to create space for…. Architecture, however, is so much more than the mere design of buildings; architecture seeks to fulfill a whole series of human needs be they physical, social, or spiritual in nature. To use Bernard Tschumi’s words, “Architecture is the discourse of events”. Events are those activities that take place inside spaces. Events transform a space. Events shape our perception of a space. Events are the experiences we have when our bodies move through these spaces, we can tell how they sound, smell, and feel. Thus far, however, architecture with its sophisticated means of notation (elevations, plans, axonometric, perspectives, etc.) do not tell us anything about the experiences these places evoke. New ways of capturing, mapping, and communicating these experiential moments need to be developed. But more than this, an architecture conceived of as the discourse of events should not just be the outcome, but it should be the generative force for the architects’ creative and curative powers. This studio will engage and explore various ways in which sound can be a formative medium to shape and blur the boundaries between architectural indoor and outdoor spaces. Shaping Sound will raise awareness of the role sound plays in an architectural experience and in the generation of the patterns and processes that shape the boundaries of spaces for human occupation. Experiments in sound shaping—also known as Cymatics— will be undertaken and lead to the mapping, modeling, and making of visual/ spatial designs.
Shaping Sound
Shaping Sound Precedent Studies
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The number 12 is strongly associated with the heavens—the 12 months, the 12 signs of the zodiac, and the 12 stations of the Moon and of the Sun. The ancients recognized 12 main northern stars and 12 main southern stars. There are 24 = 2 × 12 hours in the day, of which 12 are daytime and the other 12 nighttime. The number 12 is the product of the sacred and the secular (3 × 4); it is the sum of the numbers of life and good fortune (5 + 7). It thus incorporates many distinct virtues. In Christianity it is the number of Christ disciples, and it occurs many other times in the Bible—for example, the Twelve Tribes of Israel. Several cultures have used numbers based on 12 (duodecimal); the 12 inches in a foot are one familiar relic of such a system.
7- Adolescence (12-20): Passion 8- Early Adulthood(20-35): Enterprise 9- Midlife (35-50): Contemplation 10- Mature Adulthood (50-80): Benevolence 11- Late Adulthood (80+) : Wisdom 12- Death and Dying : Life
1- Prebirth: Potential 2- Birth : Hope 3- Infancy (0-3): Vitality 4- Early Childhood (3-6):Playfulness 5- Middle Childhood (6-8): Imagination 6- Late Childhood (9-11): Ingenuity
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Ben Taub Hospital Trauma Tower Expansion
C O N C E P T WHO?
WHERE?
HOW?
WHAT?
S T A T E M E N T
The design of the hospital will take in consideration the patient, he visitor, and the staff.
PATIENT PATIENT ROOMS
VISITOR WAITING AREAS
STAFF BREAK AREAS
ER NATURE
LOBBY PARKING
CONNECTIVITY OFFICE SPACE
The activity in the hospital will be exciting and will improve he user's experience through nature, easy location of ervices, and dynamic design.
Elements such as views, natural daylighting, vegetation, nd access to outdoors can improve patient, staff, and isitors experience.
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Trauma Tower Expansion CA
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SCHEMATIC DESIGN Separation of activities and zones, but location of areas are based on Proximity to allow flexibility on flow and access
UNDERGROUND PARKING
PROGRAM IN SECTION
1ST LEVEL
3RD-6TH LEVEL
Ben Taub Hospital
Trauma Tower Expansion I T E R A T I O N S
TOWER
MASSINGS
1ST LEVEL
P R E C E D E N T
S T U D Y
SHANGHAI INTERNATIONAL HOSPITAL DESIGN COMPETITION SHANGHAI, CHINA HOK
GENTLE CURVES OF THE BUILDING MASSING CIRCUMVENT SHARP CORNERS, THUS ALLOWING FOR THE NATURAL FLOW OF SPACE, AIR, AND LIGHT
LANDSCAPE BRINGS VEGETATION
4 PETAL TOWER TO MAXIMIZE VIEWS
COMPLEX FIRST TWO LEVELS
S I T E
P L A N
1 - AMBULANCE DROP OFF 2 - STAFF PARKING 3 - HOSPITAL DROP OFF 4 - ER DROP OFF 5 - UNDERGROUND PARKING 6 - GREEN ROOF AT 3RD FLOOR 7 - PARK RAMPS
TO THE BUILDING
Ben Taub Hospital
Trauma Tower Expansion
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BED-TOWER SCHEMATIC DESIGN
T Y P I C A L E X A M R O O M 2
CABINET HEADBOARD 14’
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20,867 SQ FT 7,470 SQ FT 18,995 SQ FT 13,368 SQ FT 14,199 SQ FT 14,279 SQ FT 6,192 SQ FT 55,609 SQ FT
Ben Taub Hospital
Trauma Tower Expansion
Ben Taub Hospital
Trauma Tower Expansion
V3
V4
Crystalline Wall
The crystalline catwalk is an innovative photo booth installation. It is composed by two curved walls that touch at their higher point of the curve causing a cave-like context. The reflecting light on the skin of the walls is intended to reflect colors that can be applied as filters for the photographs taken. Depending on the position of the user there will be created a unique photograph caused by the angles, colors and reflections in the walls. In order to make this project possible, there was a combination of 2D and 3D printing in order to experiment with the concept. The incorporation of patterns, colors, lights, reflections and textures made possible the distortion of colored light in the photo booth. The softwares utilized for this project were Autodesk Maya 2016, Rhinoceros 5 with the “flow along surface” and “contour” commands and Grasshopper plug-in. The outside elevation of the walls appear to be flat and straight, but at the interior of the walls an intricate and embracing design based on triangles changing in angles and rotating that create a surface that makes a particular environment. This installation gives the user the opportunity to experiment a self-centered experience by walking through this fabrication. The experience is related to a fashion catwalk. The interior of the wall is for a personal experience as in contrast with the exterior elevation, which is targeting the community and gives opportunity for branding. The crystalline catwalk installation is based on three concepts: fashion, camouflage in nature, and biomimicry. Combining these three elements it gives an opportunity to blend “people”, “nature”, and “architecture”.
Crystalline Wall
4) Maya animation. This pattern opens and closes as it continues expanding. 5)The lights in the installation is based on the gradients of this image, as well as the patterns and floral design.
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13) Grasshopper definition for halftone gradient pattern 14) Project area: basic footprint of installation. Modularity: Framing on platform. Circulation: basic user flow through the installation and outside. Skin: Diagram showing interior skin outline. Light: Light distribution throughout the entire structure.
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Steel cables 2” x 4” Wood decking Fasteners Reflective aluminium material
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FABRICATING TILES
Software: Maya and Rhino Process: 1-3D Modeling 2-3D Printing 3-CNC routing 4-Vacuum Forming 5-Concrete Casting 6-Facade System Installation
Frabricating Tiles
Fabricating Tiles
Fabricating Tiles