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Portfolio Ronny Eckels


I am a maker. I think, I experiment, I build, and above all I care. I believe in progress, in a relentless pursuit of dreams, and in the fantastic. I stand daringly at the precipice of advancement and assert my defiance to the inconceivable, bringing its unruly manner firmly within reach. I embrace the magnificence of human life and believe in the capacity to elevate ourselves and our world through design. And I dismiss the contempt of clichÊ because sometimes it simply says it best—I aim to change this world.

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Table of Contents 22@ Intervention

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Paraisopolis Future City

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DIY:NYC

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Beyond Alphaville

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22@ Intervention Barcelona, Spain with Heriberto Rodriguez

Within the Eixample of Barcelona there exists a hyper densification of the individual blocks, a scenario which results in a lack of public space. This project serves as an intervention which argues for the existence of new piece of architecture, in this case a civic center, as well as for reclamation of existing open space. The intervention acts as a ‘door’ between the exterior of the block and its interior, mediating movement through its membrane. It creates a spatial contiguity between the various public spaces within the block allowing a pattern of associations to move the user through the space. Thus user then experiences the block on a variety of levels, creating a new relationship between the user and the block. The fluid form serves as a topological surface which promotes itself as a public space by facilitating travel between various levels: roof, ground, and subterranean. It creates a journey between the exterior and interior of the block enabling the user to experience the more intimate qualities of the Eixample.

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The project was informed by a series of maps used to collect information on population behaviors within and around the block. These maps demonstrate movement both spatially and with regards to the dimension of time, allowing a network of formal connections to be made between existing public spaces. Approached as a mediator for circulation between the exterior and interior of the block, the intervention is a nexus that creates a series of doers to the pre-existing public spaces and generates new public space by removing and revising existing structures and creating new structures.


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P1 ---------P2 ---------P3 ---------G1 ---------G2 ---------G3 ---------G4 ---------G5 ---------G5b --------G6 -----------

Patio1st System Patio 2nd System Patio 3rd System Reception Administration Ludoteca Mechanical Room + Storage Association Rooms Association Offices Restrooms


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Paraisopolis Future City Paraisopolis, Sao Paolo, Brazil React Lab 2010 Aedes Network Campus Berlin with Julia Valiengo and Philipp Urech It is human nature to develop a negative initial response to an object, occurrence or experience that runs contrary to the norm. These phenomena challenge us because they rival the identity of ourselves. Such is the case with Paraisopolis, an urban condition often misunderstood as a problem within the urban context. Rather than a problem, this favela is an imperfect solution to the challenges of the existing metropolitan environment. It addresses simultaneously issues of density, population, community, investment in oneself and one’s surroundings, creativity and innovation. The favela does have an unstable temperament but it is one that should be guided rather than eliminated. In order to accomplish this, the architect assumes the responsibility of approaching this new evolution of the city in a way that is growth can be facilitated for the benefit of all while maintaining the core characteristics of the original settlement. The project challenges current institutions and models for addressing the favela. In order to progress, this discussion should not argue for a means of placing

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foreign institutions in the favela. It should instead argue for the development of a consciousness of existing institutions and philosophies. The argument is as much about the favela recognizing itself as potential as it is about contemporary society questioning their current perceptions. This project argues at its very core for the pursuit of the utopian ideal. Fourier states that “Technology can create the condition for happiness but no happiness itself.” With this mindset a network of infrastructure towers is presented as the first practical step in pursuit of this “happiness.” These structural grids serve as nodes that provide water, electricity, and networking capabilities and enable the surrounding community to build upon in a manner that maintains their creativity, innovation and natural methods for modeling urban space. The towers represent a provocation for the development and production of technologies that are flexible and malleable in form and use, arguing

for a synthesis of current production methods and an open source philosophy. The stations are placed according to three criteria: topography, opportunity to connect with existing infrastructure, and intermediate distances. Conceived with a hybrid program in mind, each tower is fitted with a program other than housing that can be used as an attractor for internal and external populations. The proposed programmatic elements are a market, medical center, recreation center, workshop, school, library, and administration center. A cable car mobility system is used as a tool to transport individuals both inside and outside Paraisopolis. With all of these elements, the system is able to serve as a physical and social mediator between Paraisopolis and the rest of Sao Paolo. In all of this, an exchange is created between two urban typologies and their respective populations; one that enables the favela to become conscious of its own identity and philosophy.


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DIY:NYC with Danielle Davis and Colton Spross DIY NYC is an independent group submission to an ideas competition for an outdoor music venue at East River State Park in New York City. Approached as an exploration in sensation, the environment as a whole is designed as a venue for creativity, collaboration, and the bizarre. Central to the design is a series of fabricated pieces that may be interconnected. These pieces can be assembled in a number of ways and may be used to facilitate a wide range of functions and experiences. It is intended that new pieces be introduced periodically to allow for continuous stimulation of creativity and the senses. The more permanent infrastructure—stage, backstage, lavatories and ticket booth—are designed as manipulations of the landscape , allowing the topography itself to aid in the creation of atmosphere. All in all the space serves as more than a music venue. The scheme of interactions is a venue for a populace with a culture of involvement—a culture that empowers the individual to partake in the creation of his or her built space. A few days in the life: It’s a Monday morning in August and East River

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State Park has a serious hangover. Last night was a tsunami of people, music and energy. This morning the many lightweight structures that fill the park are chaotically strewn about. Last night they were at the mercy of the pool party attendees. The carbon fiber skeletal space frames were commandeered by the vertically challenged members of the audience so they could get a good view to the stage. Their resting places this morning give a good indication of where the perimeter of the crowd was last night. During the concert the molded plastic cocoon pieces crowd surfed and bounced around like beach balls. They may be a little too heavy for one person to lift by themselves but they proved no challenge for the collective energy of the crowd. This morning they lie inert and at odd angles. As the day slowly progresses order begins to return to the park. People come through and pick a piece they need for shade or a seat or just to play with. It is the beginning of another week of endless possibilities. Wednesday after work a group of creatively frustrated people converge on the park and find an outlet. They will work together to build the est playground the world has ever seen. The group fans out and collects all the loos pieces of cocoon and

skeletal frames and pile them up next to the visitor center. After a little brain storming they go to work building up a structure, hooking the skeletal frames onto spikes and plugging pieces of cocoon into openings in the frame. They wedge the pieces of one of the smooth cocoons between to skeletons in order to make a slide. By the end of the evening the group has nearly doubled in size from people who saw the fun and joined in. They converge atop their new creation and pose for several epic photo opportunities. By midnight the newly created playground is featured in twenty-three profile pictures. Friday a group of students gather around the second stage. They are assembling skeleton pieces over the stage in a manner that suggests the canopy of a forest. They scatter pieces of the cocoons on and around the stage to create an interesting topography and blur the boundary with the audience. Soon they will be ready for the premier of their reinterpretation of Little Red Riding Hood. Who knows what the next week will hold?


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NORTH 9TH STREET

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KENT AVENUE

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NORTH 8TH STREET

EAST RIVER

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NORTH 7TH STREET

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Entrance Portal Vendor Booths Main Stage Secondary Stage Dodgeball Court NORTH 6TH STREET

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Dressing Room/Performer Lounge Stage Service Area Bathrooms Ticket Booth NORTH 6TH STREET

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NORTH

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Beyond Alphaville This project attempts to pursue architecture in terms of the more intricate nuances of the speculative, the visionary, and the fantastic. It is an affectual response to the condition of human evolution that argues the high rise as a city and the city as a living object. It argues a gestational atmosphere that is in a continual state of transformation and exemplifies the condition of affect in terms of Bergson’s Duration. Doing so it creates concerns about the role of the architect and the condition of the life of the architecture itself. Continuing along this discourse the architect is described as a god like figure capable of affecting the shape of the human. No longer a mere contributor to the social culture but an individual with absolute effectuality. The organism, as it has been described, begins as a mutation of the existing structure of the city--in this case Manhattan. It then grows according to a series of patterns, predetermined by the architect. Being in an infinite state of transformation, the human inhabitants are constantly adapting and evolving to new sensations. The project has been presented in the format of a graphic story with the following narrative:

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Manhattan. Quintessential city of constant change. Trapped and contained by its own geography it is in a constant state of transformation—a satisfactory compensation for its inability to expand. Saturated with frantic consumerism, the architecture must maintain its financial viability. It must adapt and be flexible to contend with the city’s transformations. It is a product of the city. It struggles for survival. It wants to live! In the same manner, human beings desire to live. This biological instinct is at the primal basis of the human manifestation. However, we do not maintain the same behavioral and formal flexibility. Architecture is used to generate an artificial environment that maintains our societal equilibrium. Our evolution coincides with both the natural and the unnatural. Can we not then control this? Can we not then affect the shape of the human? Who then should play this role of the god-like figure? The precedents have been set. The Walking City. Babel. Manhattan itself. All of these represent manipulation of society through massive efforts in architecture. I have my cultural opinion. I don’t simply desire to contribute to the production of society. I WANT

ABSOLUTE EFFECTUALITY! And so the roles become reversed. The architect argues a new urban condition and gives the architecture the life it seeks. The city is now a product of its architecture. If the architect is to affect the shape of the human then the architecture must inherit the same biological tendencies. It must be able to grow and evolve. Be affected as much as it affects. No longer can it be a stagnant building, but instead a living organism. In line with the basics of evolution, the organism begins as a mutational condition of the pre-existing architecture. New surfaces and spaces are created. Consequentially new atmospheres and affects come to be. The organism continues to evolve, creating its own identity. Transcending the floor plate surface it begins to develop womb like organs. The affect is one of evolution. The human being is constantly evolving to new sensations produced by the organismal architecture. A continuous state of gestation in the sense of Bergson’s duration. The human affecting the organism and the organism affecting the human. Where does the identity of the human end and that of the organism begin?


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2000 meters

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Ronny Eckels 1200 Holleman College Station, TX 77840 915.861.8814 rooney777@tamu.edu Education 2007-2011 Bachelor of Environmental Design,Texas A&M University, College Station, Texas Skills and Interests Autodesk Maya Autodesk Revit Rhhinocerous 3D Adobe Illustrator

Digital Fabrication Autodesk Autocad Adobe Photoshop Graphic Design

Relational Leadership Model International Cultures Adobe InDesign Microsoft Office

Experience 2009-2010

2010

2007-2008

Junior Designer The Apparatus, Gabriel Esquivel Intern Office of International Outreach, Texas A&M University Project Manager Assistant/ IT Intern VIVA Environmental Inc. Research

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2010

Sin Fronteras, A case study of the U.S.-Mexico Border In Progress

2009

Beyond Alphaville, Higher Affect Studio Critic: Mark Foster Gage, Brennan Buck, Paul Preissner, Alex Pincus, Gabriel Esquivel


Workshops 2010

Sao Paulo Architecture Experiment ANCB ReAct Lab 2010 Research Workshop Aedes Network Campus Berlin Studio Directors: Prof. Alfredo Brillembourg, Prof. Hubert Klumpner, Marcos L. Rosa, Dr. Eduard Kogel Lectures/Presentations

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4play 2 4cast Student Talk Show on the Future of Architecture Texas A&M University Affiliations

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Residence Hall Association, Texas A&M University Vice President of Campus Programs

2008 Department of Residence Life, Texas A&M University Chair, Most Extreme Leadership Conference 2007-2009

Leadership Living Learning Community, Texas A&M University Peer Mentor Honors

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Undergraduate Research Scholars Program, Texas A&M University

2008-2010

Texas A&M Foundation Excellence Award, Texas A&M University

2010

Craig A. Smith ‘85 Endowed Scholarship, Texas A&M University

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M.N. Davidson Foundation Scholarship, Texas A&M University

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Herman F. Heep Scholarship, Texas A&M University

2009 Finalist, Portfolio Competition, Texas A&M University 2008 Honors Incentive Award, Texas A&M University

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Portfolio  

Portfolio for admission into graduate school.