Architecture Portfolio Carlos Regolf

CARLOS DANIEL REGOLF

PORTFOLIO

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ARCHITECTURE PORTFOLIO FORMAL EDUCATION

CARLOS DANIEL REGOLF

Accepted for the Politecnico di Milano Double Degree program and Msc. in Theory, History and Restauration in Architecture Architecture Bachelor Universidad Técnica Federico Santa María Valparaíso, Chile.

Courses in Vray, Sketchup, Sustainable Architecture and Music from diverse international associations.

PROFESSIONAL EXPERIENCE

Design Intern (2018) Migdal Arquitectos, Mexico, D.f.

Design Intern WR Arquitectos, Valparaiso, Chile.

Member of the student council Escuela Universidad Técnica Federico Santa María Investigation Asisstant in the Area of Hitory and Theory Universidad Técnica Federico Santa María Freelance Render Producer

ARCHITECUTRE PORTFOLIO

CONTACT:

Name: Carlos Daniel Regolf González Adress: Rua Barao de Itambí 55, Botafogo, RJ Ig: @danielregolf LinkedIn: Carlos Regolf

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INTERNATIONAL KAIRA LOORO CONTEST PEACE PAVILLION | SENEGAL, AFRICA | 2018

Internacional Competition for the design of a pavillion representative of peace in Sedhieiou, Africa; With the limitations of containing

FIRST CONTACT - HUMAN PAVILLION BEE-BREEDERS INTERNATIONAL CONTEST FOR THE PAVILLION THAT WILL HOLD THE FIRST CONTACT WITH EXTRA TERRESTRIAL LIFE | TARAPACĂ , CHILE | 2020

Project designed with the purpose of being the vessel of the first contact of intelligent life on earth, which takes culltural morphological elements from the originary people of the North of Chille which are reinterpreted and explores the relationship between the lexical elements of our first contact with the landscape, the remaining conquer elements and a reinterpretation fot the contemporary world.

INTERNATIONAL RE-USE ITALY COONTEST THE RE-USE OF A ROMAN RESERVOIR OF THE V CENTURY | NAPLES ITALY | 2020

PARQUE RECAPTA URBANISM MASTERPLAN PROJECT BUENOS AIRES, ARGENTINA | 2018

Internacional Competition for the design of a contemporary art gallery in one of the biggest reservoirs of water of the Roman Empire Built in the 5th Century as a way of promoting turism and resignificate and resignificate a progressive forgotten space.

Project designed with the purpose of functioning as a contingency park for innundations as a cause of bad infraestructure planning of the northern section of the city of buenos aires. Planned as a wetland with a cableway that connect a series of new buildings placed to solve connection malfunctions between the inner city, and the public spaces around the coast as a result of high speed highways.

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CARLOS DANIEL REGOLF

KAIRA LOORO, INTERNATIONAL COMPETITION

JULY. 19

VESSEL OF PEACE

ARCHITECUTRE PORTFOLIO

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A VESSEL FOR A GROWING PEACE IN AFRICA

PJ_01.

INTRODUCTION

_Understanding the concept of peace as something ethereal but very present, we decided to symbolically materialize it in a tree, not only because of what it represents universally, but also because of the importance within the local culture. From this milestone, the pavilion that is built around it, as a sacred container, fulfills the function of wrapping it, protecting it, announcing it and provi- ding it with what is necessary for it to develop and grow, like water or soil, as the living metaphor that we propose. We wanted the atmosphere to be similar to being under a larger tree, as if the aura of this element surrounded the whole piece. The pavilion is subtly placed in the context, with two entrances: one towards the street and the other towards the river. In a subtle way, it closes inwards through curves but with an opening that connects and frames the view towards the river. The route goes first through the exhibition space, then through sensitization, where the tree reveals itself and takes meaning, and finally through the inner court- yard is the arrival to the meditation area, which opens abundantly towards the river but does not allow access.

ARGUMENT

_The project is born under the understanding of Peace as an ethereal concept which is materialized through a symbolic object and that with it, the whole construction acquires a meaning and a purpose.

For this we decided to use a tree as a symbolic and representative element, not only because of the natural metaphor of life, fertility and growth, but also because of the cultural importance it has for the locality, as a meeting space where knowledge and traditions are passed on, and also as an element that links us with our roots and projects us towards the sky. From this milestone, the pavilion is configured through a simple layout of circumferences that intercept and configure the enclosures and orientations.

To achieve this, we understand construction as a vessel which has the function of announcing and protecting this symbolic object and giving it the sacred mea- ning with which we understand it. This container will not only have the function of protecting it, but also of sustainably provide it with any resource necessary for its development, such as rainwater harvesting. Based on this, the pavilion seeks to transmit an atmosphere similar to that of being surrounded by a much larger tree, representing the aura of the central element, in a duality of negative and positive space, where a central, circular space is configured that overflows towards the river. The design is made from local materials, such as laterite bricks, palm leaves, the reuse of plastic, bamboo and local wood, with simple construction systems that seek to rescue tradition and can easily be made in community, as an instance of union and coexistence, giving a sense of belonging, locality and awareness of the purpose for which the project is designed.

Following the logic of a container, from the outside it gives the impression of being a closed, hermetic space, in which there is an ope- ning towards the river, from where you can see the inner tree. In this way, two entrances are arranged, one adjacent to the street and the other to the river, which subtly direct the visitor through a curve to face the exhibition areas, without directly facing the interior courtyard.

The route proposes to go through the exhibition space and then reach the space sensibilization that is adjacent to the tree, which is unveiled as the culmination moment of awareness.

Crossing the central courtyard is the contemplation area, which is enveloped by the subtle curves of the entrances, which frames the view of the river intentionally, and which at the same time becomes the most permeable area of the entire pavilion, where the exterior and interior are connected.

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“PEACE REPRESENTED AS A LIVING BEING AND THE BUILDING AS A PROTECTOR”

CONSTRUCTIVE ISOMETRIC DETAILS

CARLOS DANIEL REGOLF

MEDITATION AREA

WATER RECOLLECTION AND VENTILATION SYSTEMS ARCHITECUTRE PORTFOLIO

INTERIOR RENDER

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PJ_01.

EXTERIOR RENDER

“THE DELICACY BETWEEN: CONTEXT - PEOPLE - BUILDING

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CARLOS DANIEL REGOLF

RE-USE ITALY - INTERNATIONAL ADAPTATIVE RE-USE CONTEST

SEP. 20

MUMI: MUSEO MIRABILE

ARCHITECUTRE PORTFOLIO

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INTRODUCTION

Piscina Mirabilis survived through the centuries, always changing and always keeping the strong and hermetic aspect that characterizes it.

Being born as a functional roman cistern, it evolved thought the ages, becoming soon a ruin, a sacred and silent space visited, walked and studied by people from every place.

ARGUMENT

The sacrality of the space, characterized by a strongly repetition of elemen- ts and a peculiar game of lights, is amplified not only by the memory of a past function, but also by the imagination of the new ones.

The memory of the past intertwines with all the references of other possible scenarios.

Piscina mirabilis, with his silent monumentality, hidden by simple an thick exterior walls, become so a cathedral of emptiness, and a the same time, of possibilities.

If the anonymity of the exterior contributes to create this feeling of wonder, once inside, also helped the place to be forgotten from the population of the place, turning the piscina into a forgotten ruin.with simple construction systems that seek to rescue tradition and can easily be made in community, as an instance of union and coexistence, giving a sense of belonging, locality and awareness of the purpose for which the project is designed.

Following the logic of a container, from the outside it gives the impression of being a closed, hermetic space, in which there is an ope- ning towards the river, from where you can see the inner tree. In this way, two entrances are arranged, one adjacent to the street and the other to the river, which subtly direct the visitor through a curve to face the exhibition areas, without directly facing the interior courtyard.

The route proposes to go through the exhibition space

and then reach the space sensibilization that is adjacent to the tree, which is unveiled as the culmination moment of awareness.

Crossing the central courtyard is the contemplation area, which is enveloped by the subtle curves of the entrances, which frames the view of the river intentionally, and which at the same time becomes the most permeable area of the entire pavilion, where the exterior and interior are connected.

The objective of the project is to respect the sacred and silent atmosphere of the inside while giving a stronger image from the outside. This, in order to create a new function and a new image of the place.

The project is developed in 3 levels, in a climax of visibility: starting from a new pavimentazione in the ground, passing through a new path on an inter- mediate level of the arches, and finishing with 3 new volumes on then roof of the ruin.

The full experience of the ruin is an important aspect of the intervention, for this reason, to enter to the new museum is necessary to walk outside all around the piscina, to arrive at the end on the roof, where the real entrance of the new museum is locate. In this way starts a journey that will bring the visitor to fully experience the power of the hidden space, alternating it with the outside, and with the new interiors.

Once on the roof the visitor will front the new intervention: three hermetic volumes connected through two long corridors, in which are contained the more public function of the museum: the atrium, the conference room, and the bookshop and cafe.

The entrance to the ruins happen from the this volumes; the visitor will gra- dually go down to the ruins passing from a lighter space to a darker one, to arrive then in the effective space of exposition.

The intermediate space is a new level path builded through the arches, that allows a new vision to the space and the exposition.

PJ_02.

At the end of the exposition the visitor will go up again to the roof, where the experience will finish in the last volume, where are located the book- shop and the bar, with the intense view of the sea.

An ‘upside down path’ to fully experience the ruin and alternate the two different sides of then museum, then old and then new.

SCHEMATIC EXPLANATION

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M.U.M.I.

MUMI: MUSEU MIRABILIS

SUPPORTING STRUCTURE ISOMETRIC DETAL

AERIAL PERSPECTIVE OF THE CONTEXT AND THE PROJECT

INTERNAL VIEW OF THE GALLELRY

EXPLODED STRUCTURAL ISOMETRIC

VIEW FROM THE CORRIDOR OF THE CROWN BUILDING

SUPPORTING STRUCTURE ISOMETRIC DETAL

2. PLAN OF THE NEW ROOF / INTERVENTION

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CARLOS DANIEL REGOLF

INTERMEDIATE FLOOR | BELT

FIRST FLOOR | ORIGINAL FLOOR

ARCHITECUTRE PORTFOLIO

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“THE METAPHOR OF THE INDUSTRIAL AND THE MATERIAL AS AN INTRINSEC VALUE OF THE HISTORY AND CONTEMPORARY”

PJ_02.

PERSPECTIVE SECTION

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CARLOS DANIEL REGOLF

BEE-BREEDERS INTERNATIONAL COMPETITION: FIRST CONTACT

DCMBR. 20

DIAMETRAL EXEGESIS

ARCHITECUTRE PORTFOLIO

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A VESSEL FOR THE FIRST CONTACT WITH INTELLIGENT BEINGS

PJ_03.

INTRODUCTION

If it were, by any chance, that we’re visited by any other kind of extraterrestrial, intelligent beings, in order to face the understanding of such an event, I believe the first step is to take some facts into consideration about themselves and ourselves.

Astrobiologists believe that if intelligent life in any exoplanet does exist, it will most likely be similar to our organic chemical composition. They look for what is called bio-marks, which could lead to the possibility of life outside our solar system. So, it could give us some hints about their relationship with their own natural environment, ours, and their evolution sequence. Meaning that, in some kind of way, they would have a similar bond just like ours, and as well as the differences.

Secondly, as the saying goes: “history repeats itself”. In order to understand this ‘first contact’ we must compare other categories of different nature and kinds, at different moments in time, humans’ other ‘fist contacts’ throughout history so we can picture a somehow ‘accurate’ idea of this particular first contact. For example, couldn’t we say that, somehow, our first contact with other living beings is somehow the intrinsic relation between our environment and us? How we adapt to it.

Lastly we would have to assume, as history has proven yet again, in any contact of any given nature, the traces we leave in the landscape is the tacit written evidence of these exchanges. As any other language it has its own elements and its own set of dynamic rules: a lexicon and a grammatical structure; and so therefore it is important to understand that this new contact will leave a mark on our territory and its landscape.

The Aymara society, in the North of Chile, is an example of the above, suitable as a canvas for a synthetic example for this analysis. An elemental, representative case of humankind through this optic.

At first glance they may seem in sort of way primitive, their cosmovision and traditions are a clear example of an organic evolution between their original landscape environment, of selfrespect and dependence, something contemporary humankind has struggle to understand or forgotten given the actual situation, and is one of the most valuable in the positive aspects of humanity.

Settled in a harsh desertic environment, between the ocean and the Andes cordillera, they pledge loyalty to mother earth, where they have settled for centuries. Where the men of the valley depend on the men of the Patagonian plateau in a system of complementary opposites, meeting during religious festivities disposed on a calendar articulated by the harvest season.

This rites have a direct relation of their survival and nature. Their spiritual needs are intertwined with their physical needs, to the land. The organic space, which personify masculine and feminine figures in a close metaphysical relationship. All relates to the opposites that rely on each other; the Landscape/Environment + Homo sapiens: “First contact” (Fig. 1)

The lagunas de Amuyo, context of the project, it’s a spitirual scenery, where they perform rites for rainfall or a good harvest season. They believe they are alive, where the red is a woman and the yellow and green smaller ones men.

When Hispanic people arrived with the intention of domination, violently tried to replicate the lexicons and syntaxes from their origin, imposing the Damero organization and filling their settlements with Catholic Chapels which remain until today: “Second contact”. (Fig. 2)

If we were to make a general analysis of just the lexic dynamics of the place, we could assume that their mission was fulfilled. Although, when we study how these chapels (which are the territorial milestone of the contact) function, we understand that there has been a juxtaposition; a resignification. Catholic

images with Aymaran meanings. But this phenomenon is only visible throughout an exegesis; a critical lecture of the words in the landscape. And through this we conclude that even though the bell tower can represent a male figure and the Chapel a female one, for example, we don’t see it written lexically throughout the space. The rituals for which they depend, are still held on those chapels people imposed to them. The syntaxes are implicit, they decided to transmute these imposed elements and adapt them to their contemporary reality.

If we were to make a general analysis of just the lexic dynamics of the place, we could assume that their mission was fulfilled. Although, when we study how these chapels (which are the territorial milestone of the contact) function, we understand that there has been a juxtaposition; a resignification. Catholic images with Aymaran meanings. But this phenomenon is only visible throughout an exegesis; a critical lecture of the words in the landscape.

And through this we conclude that even though the bell tower can represent a male figure and the Chapel a female one, for example, we don’t see it written lexically throughout the space. The rituals for which they depend, are still held on those chapels people imposed to them. The syntaxes are implicit, they decided to transmute these imposed elements and adapt them to their contemporary reality.

Therefore it’s necessary, in order to evidence this process, that the project takes elements which could be interpreted as leitmotivs of the Aymara ritualistic scenery, which in theory should be separated but in praxis should be together. It’s necessary to break the scheme imposed by taking basic recognizable elements (The tower bell, The Chapel, The Square) and merge them together in a contemporary way. Sacred natural space facing Man Made sacred space. (Fig. 4)

With an orientation they believe necessary, in the main façade facing the east; the sunrise, the tower monumental rises from the ground. Nevertheless, it’s mirrored coat, reflecting the sunrise and the sunset as a signal, make it possible to blend with the landscape and to reflect it, with an intention to camouflage and appear through the landscape itself.

Facing the Chapel in a perpendicular way it also reflects it, and in between the main square is places, playing a role of mediator between the two personified elements.

Composed by local materials and modified traditional constructive systems, the project tries to emerge from the earth in a hill, as if carved from human and nature together; with two main circulations, the visitor one and the unknown encountered through a transversal encounter. It all leads to a bridge that pierces through the chapel and the tower physically and visually linking them together as one.

This two circulations articulate each other in the understanding that this transversal line, which to the visitor may lead nowhere, leads in fact to the void: an open ground space in which through a gesture, tried to be part of the compact system although it’s liked by a corridor; a space to be modified. A canvas. The bridge leads into a staircase inside the tower letting the visitor, no matter its nature to choose between descending and ascending to the top, as an observatory.

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CARLOS DANIEL REGOLF

CONTEXT + PLAN SITE + GENERAL PLAN

ARCHITECUTRE PORTFOLIO

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“THE NECESSITY OF RESIGNIFICATION AND THE LEXICAL UNDERSTANDING OF SPACE AS FUNDAMENTAL ELEMENTS OF THE ENCOUNTER DYNAMICS”

SCALE MODEL RENDER

FACADE PERSPECTIVE

PJ_03.

EXPLANATION DIAGRAMS

MAIN ENTRANCE RENDER

MAIN GALLERY RENDER

PERSPECTIVE SECTION

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CARLOS DANIEL REGOLF

URBAN PROJECT FOR A WETLAND PARK AND PUBLIC BUILDINGS

JUNE. 19

PARQUE RECAPTA

ARCHITECUTRE PORTFOLIO

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URBAN PROJECT: WETLAND PARK IN BS.AS. “PARQUE RECAPTA”

PJ_04. PARQUE RECAPTA

INTRODUCTION

Inicialmente, el proyecto nació desde la intención de resolver las inundaciones por agua de lluvia en zonas de alta urbanización en el barrio de Belgrano, bajo la lógica de los conflictos y oportunidades que estaba compuesto este fenómeno y las posibles estrategias urbanas para resolver el tema de contingencia medioambiental.

El sitio se caracteriza por tener marcados conflictos y oportunidades dentro del tramo urbano analizado. Por un lado existe la desarticulaciónn entre la costa y la trama urbana dada por un ancho límite compuesto por espacio público de acceso restringido y vías de movilzación de alta velocidad (carretera Leopoldo Lugones), lo que dificulta, por no decir imposibilita, un vínculo entre el borde costero con el centro urbano. Por otra parte, existe la oportunidad de usar programas que no son fundamentales para el desarrollo integral de la población o no son determinantes para el carácter de la ciudad, como lo es el Club de Tiro Federal, se convierte en una gran oportunidad para resolver el conflicto anterior.

Se propuso, en una primera instancia, un proyecto que captase las aguas lluvias en períodos de inundación en un gran reservorio y espacios públicos de menor escala con capacidad de inundación (como plazas) desde canales tanto subterráneos como abiertos. Así, los espacios públicos serían una infraestructura “esponja” para un fin medioambiental y que a través de esta funcionalidad, proporcionase el encuentro los ciudadanos porteños con el água.

A lo largo de la investigación, se volvió cada vez más evidente que Belgrano, especialmente el encuadre escogido, ya no se inunda criticamente gracias a infraestructuras como la tunelera arroyo de vega. Lo que descartaba el conflicto de las inundaciones.

Sin embargo es un hecho que las lluvias van en aumento, no

solamente en intensidad sino en frecuencia, lo que convierte estas lluvias en una oportunidad.

Teniendo presente el conflicto medioambiental y segregacional que caracterizan el encuadre, se plantea la solución de extender o introducir a la ciudad un humedal, que nace desde la reserva ecológica de la ciudad universitária, como parque que se autosustentaría en base a la recolección de las aguas lluvias y además proponer un programa fuerza con el fin de concientizar y estudiar los ecosistemas nativos.

Es al momento de entender como al constituírse, casi accidentalmente, la reserva ecológica de la ciudad universitária, en donde al decorrer del tiempo se fue poblando abundantemente de flora y fauna endémica le pertenece una suerte de patrimonio natural, al cual el proyecto se orientó a destacar y valorizar. A un lugar que pasa casi desapercibido, pero de una diversidad ecológica local bastante particular.

Así, se toma el Club de Tiro y se propone un humadal urbano, con programas diversos y dinámicos configurados en torno a la ecología y sustentabilidad, conectando el humedal existente y el naciente a través de un corredor flotante, un teleférico que contribuya a originar una nueva relación visual con el borde, que se ha ido perdiendo a lo largo del tiempo y consecuentemente su valor intangible.

De ahi el titulo del proyecto: la RAE define recaptación como: “1. Percibir algo por medio de los sentidos o de la inteligencia; percatarse, comprender; 2. Recoger convenientemente las aguas de uno o más manantiales”

EXPLANATION DIAGRAMS

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CARLOS DANIEL REGOLF

CONTEXT ANALYSIS BY DATA MADE BY THE CITY OF BUENOS AIRES MADE WITH Q-GIS

ARCHITECUTRE PORTFOLIO

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“THE NECESSITY OF AN INTERCONNECTED CITY WITH GREEN HIGH WUALITY SPACES”

PJ_04.

PROJECT PLAN

SITE AND FLOW ANALYSIS

RENDERIZED PLAN BUILDING PROGRAMS CONNECTED BY THE CABLEWAY

PERSPECTIVE SECTION

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CARLOS DANIEL REGOLF

3D ISOMETRIC MODEL MADE WITH DEMOGRAPHIC INFORMATION FROM THE CITY OF BS.AS. AND GRASSHOPPER.

ARCHITECUTRE PORTFOLIO

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PJ_04.

PERSPECTIVE SECTION

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OTHER WORKS PJ_05.

CARLOS DANIEL REGOLF

RESTAURATION OF THE MUNICIPAL MARKET IN VIÑA DEL MAR

ARCHITECUTRE PORTFOLIO

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OTHER WORKS PJ_05.

RESTAURATION OF THE MUNICIPAL MARKET IN VIÑA DEL MAR

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OTHER WORKS PJ_05.

CARLOS DANIEL REGOLF

RESTAURATION OF THE MUNICIPAL MARKET IN VIÑA DEL MAR

ARCHITECUTRE PORTFOLIO

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OTHER WORKS PJ_05.

RESTAURATION OF THE MUNICIPAL MARKET IN VIÑA DEL MAR

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OTHER WORKS PJ_06

CARLOS DANIEL REGOLF

CO-HOUSING FOR OLD MUSICIANS

ARCHITECUTRE PORTFOLIO

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OTHER WORKS PJ_06

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OTHER WORKS PJ_06

CARLOS DANIEL REGOLF

CO-HOUSING FOR OLD MUSICIANS

ARCHITECUTRE PORTFOLIO

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OTHER WORKS PJ_06

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OTHER WORKS PJ_07

CARLOS DANIEL REGOLF

COLLECTIVE TRANSFORMATIONS_ INTERVENTIONS IN A 60’S SOCIAL BUILDING

ARCHITECUTRE PORTFOLIO

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OTHER WORKS PJ_07

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OTHER WORKS MULTIDISCIPLINARY WORKS INTERVENTION OF “TO THE LIGHTHOUSE” VIRGINIA WOOLF: HTTPS://WWW.INSTAGRAM.COM/P/BXG1P5YGVL3/

CARLOS DANIEL REGOLF

INTERVENTION OF “PARIS, TEXAS”: HTTPS://WWW.INSTAGRAM.COM/P/BYDNYAFN3JI/

ARCHITECUTRE PORTFOLIO

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CONTACT:

Name: Carlos Daniel Regolf González Adress: Rua Barao de Itambí 55, Botafogo, RJ Ig: @danielregolf LinkedIn: Carlos Regolf

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