Ryan Hernandez | Academic Portfolio Masters of Architecture 2 Graduate Program
RYA N H E R N A N D E Z
6818 West 63rd Place | Chicago, Illinois | 60638 | 773.550.6103 | Ryan.firstname.lastname@example.org
EDUCATION University of Illinois at Chicago | 2009-2013
BS Architecture Deans List | Highest Depar tmental Distinction | GPA 3.64
Lewis University, Romeoville, Illinois | 2007-2009 Fine Ar ts and Psychology Deans List | GPA 3.9
Server at Southern Belles Restaurant | 2008-Present
Accommodates the needs of customers to ensure their satisfaction
Print Lab Proctor | 2012-2013
Assists in the care of the lab and its contents Aids users in trouble-shooting technical problems
University of Illinois at Chicago | 2012
Assisted in the drawing of existing building and design plans, making of models and schedules for new administrative offices and industrial design class room
Intern for Extension Gallery | 2010-2011
Assisted with the set up of silent auction installations: Ball Nogues Unseen Current and Marc Fornes poly-pop(s)
Intramural Official at Lewis University | 2007-2009 Organized students in intramural spor ts Refereed and kept score during intramural events
Guest Service Representative at Toyota Park | 2005-2008 Customer ser vice such as collecting tickets, controlling crowds, assisting customers with various questions
SERVICES AIAS Member & Board Member | Secretary | 2011-2013
Active in bringing chapter to UIC, recording minutes, organizing and marketing events and attending events
Big Brother Big Sister | 2008-2009
Spent time playing, learning and par ticipating in group activities while super vising a young child from a public grammar school
SKILLS Software Proficiency
Adobe Creative Suite | Adobe Illustrator | Adobe Photoshop | Adobe InDesign | Rhinoceros | AutoCAD | Microsoft Office | V Ray | Maya | Grasshopper
Model Making Digital and physical models in various materials
AFFILIATIONS AND HONORS Honorable Mention for AIA Chicago Award in Architecture [Ash Park] | 2013 SuckerPUNCH feature [Ash Park and Cottage] | 2013 Recipient of Alpha Ro Chi Medal of Merit | 2013 Selected for UIC School of Architecture Year End Show [Cottage] | 2013 Selected for UIC School of Architecture Year End Show [Ash Park] | 2012 Selected for UIC School of Architecture Year End Show [Split] 2012 Selected for UIC School of Architecture Year End Show [Ver tical Horizons] | 2011 Selected for UIC School of Architecture Year End Show [Tensegrity] | 2011 Recipient of Talent Tuition Award | 2009 & 2012-13 Work selected for BP exhibit at Franklin Framing and Art Gallery | 2009
REFERENCES Grant Gibson Clinical Assistant Professor University of Illinois at Chicago School of Architecture 312.996.3335
Paul Preissner Associate Professor University of Illinois at Chicago School of Architecture 312.996.3335
TABLE OF CONTENTS Cottage | page 1
Contortion | page 9
Skyscraper | Chicago, IL.
Vertical Horizons | page 17
Navy Pier Redesign | Chicago, IL.
Split | page 31
Library | Chicago, IL.
Tensegrity | page 45 Group Installation
Ash Park | page 51
Cemetery | New Orleans, LA.
Awkward architecture, produced with a certain precision, causes the user to feel a certain level of discomfort. The elements appear haphazard and ignored and the design seems to lack a certain Professor: Paul Preissner, Arch 466 amount of skill; however, these decisions are on purpose. The aggregation of cylinders, turned into Project Awards: Selected for exhibition, 2013 Year End cottages combines them in a clumsy yet specific Show, UIC School of Architecture 1 | Rundown | Cottage
way; The cylinders are slightly leaned against one another in a careless fashion. A few of the variations have a cylinder hanging overhead so the user approaches the cottage with trepidation. Each cottage has its own arrangement, interior, color, and window placement; however, one is not more correct than another, all creating a colony of cottages.
Cottage | View of Site | 2
Plan Variations Round interior rooms echoes the exterior redundantly. Using square rooms, proved to be too uptight and constricting Using a minimal amount of walls creates a deliberate open floor plan without appearing too deliberate. 3 | Diagrams | Cottage
Section Variations The open floor plan is further enhanced through the great height. From the exterior, the square footage appears endless, however; the cottage offers only one floor which creates an awkwardness with the height of the ceilings. Cottage | Diagrams | 4
Color Variations Exterior paint pattern is a seemingly bad aerosol spray which separates the cylinders in two, horizontally, and contrasts the vertical singular space inside. 5 | Color Variations | Cottage
Cottage | Plans and Section | 6
7 | Site Plan | Cottage
Cottage | View of Site | 8
CONTORTION Professor: Jimenez Lai, Arch 205
9 | Rundown | Contortion
Relationship exploration begins with the juxtaposition of spaces; the contortion, or shifting of the atypical modules creates an interplay of interior and exterior. The immediate interior, atop the modules, is public space; the private spaces are inside those modules. The idea was to create a public
atmosphere that fosters various interactions between all users through the contortion. The cantilevers, or museums, twist around and lie next to the offce and residential areas. As well as shift in form, placement of program furthers enhances the experience of the user.
Contortion | View of Tower | 10
ice and Residential
11 | Diagrams | Contortion
Office and Residential Office and Residential
Museum Parking Parking
Contortion | Diagrams | 12
Section and Plan Scale: 1/1024”=1’
13 | Section and Plan | Contortion
Cantilever Detail Scale: 1/256”=1’
Contortion | Section Detail | 14
Perforated Facade PERFORATED STRUCTURE
15 | Structure | Contortion
Contortion | Interior View | 16
VERTICAL HORIZONS Professor: Andrew Corrigan, Arch 365 Project Awards: Selected for exhibition, 2013 Year End Show, UIC School of Architecture 17 | Rundown | Vertcal Horizons
Distinct indentity plays a major role in the re design of this pier. Three different stacks are organized vertically and contrast the horizontal organization of the ground level. Upon entry to the pier, pedestrians circulate over the hill, around the bike path that runs along the south edge. Traffic lanes run along the south edge as
well. Along the ground floor, smaller subsets of program facilitate snaking circulation and foster a social atmosphere. Three different plazas under each stack contribute further to the separate identities. The ground floor helps separate the stacks as well as creates a cohesive whole along the entire pier.
Vertical Horizons | View under Shopping | 18
19 | Diagrams | Vertical Horizons
Vertical Horizons | Diagrams | 20
Bus Commuters Tourists/Other Bike Car Circulation
21 | Diagrams | Vertical Horizons
Commuters 8:00 A.M. - 10:00 A.M. and 4:00 P.M. - 6:00 P. M. Tourists/Other All Day
Vertical Horizons | Diagrams | 22
E. Grand St.
E. Illinois St.
Scale: 1”=200’ 23 | Plans | Vertical Horizons
Vertical Horizons | Plans | 24
E. Grand St.
E. Illinois St.
E. Grand St.
E. Illinois St.
25 | Plans | Vertical Horizons
Shopping Plan Detail Scale: 1”= 128’
Ferry Plan Detail
Scale: 1”= 128’
Vertical Horizons | Plans | 26
Scale: 1”= 250’
27 | Sections | Vertical Horizons
Shopping Section Detail Scale: 1”= 64’
Vertical Horizons | Sections | 28
29 | Axon | Vertical Horizons
Vertical Horizons | View of Pier | 30
Four masses break away from on another, implying circulation. The one mass comprised of stacks, public areas, commercial, and office and administration split into their own separate tube. They meet at the Professor: Chris Frye, Arch 366 center to join the most public areas of each program and these meeting areas are also the transfer Project Awards: Selected for exhibition, 2012 Year End Show, UIC School of Architecture 31 | Rundown | Split
floors. The floors split and create circulation vertically and horizontally. The stacks are orderly whereas the reading areas split apart and are defined by the circulation. The technique of splitting also carries to the skin to adjust to certain amounts of light helping certain areas.
Split | View of Site | 32
33 | Diagrams | Split
Split | Diagrams | 34
35 | Elevations | Split
Split | Elevations | 36
Level 1 a
Level 2 b
41 | Plans | Split
Level 4 c
Level 5 d
Scale: 1/64”=1’ Split | Plans | 42
37 | Sections | Split
East-West Section A Scale: 1/32”=1’ Split | Sections | 38
39 | View of Stacks | Split
North-South Section B Scale: 1/32”=1’ Split | Section Detail | 40
143| Rundown | Split | Split | View of Lounge
Split | View of Reading Nook | 44
UNINTENSIONAL Professor: Thomas Kelley, Arch 206
Project Awards: Selected for exhibition, 2011 Year End Show, UIC School of Architecture 45 | Rundown | Unintensional
In order to create a stage for the play Rhinocerous, our group began with a deformable reactive surface made of catenaries held up by four nine foot high tensegrities. This surface expands and retracts, forcing the catenaries to expand and retract along with it. Due to the high density of catenaries, the tensegrities are shrouded and begin to fade away, allowing to surface to appear as though it is floating. In addition, the
catenaries also create a moire effect, adding interesting patterns. The curves allow users to interact with them through sitting and climbing. The idea of the installation is to create a dense jungle-like environment that changes as humans move through it. For example, when the actors interact with the curves or the tensegrities, they must push through the curves or pathways open up allowing for variations of stages in one.
Unintensional | Model 1:1 | 46
47 | How-To | Unintensional
Unintensional | How-To | 48
State of Use
49 | How to Use | Unintensional
Elevation Unintensional | Versions | 50
The faceted and torquing geometry lends itself to a graphic hatching patten which creates depth. The hatching is then deployed across corners to create an illusion about a 3D object, obscurring the perception of the figures. The triangulated forms Professor: Grant Gibson, Arch 465 created are nested into one another to produce a field. The upper portion of the form creates a Project Awards: Selected for exhibition, 2013 Year End Show, canopy overhead. The legs remain thin and create UIC School of Architecture
51 | Rundown | Ash Park
a more interactive space underneath. Directly beneath the forms, the viewer is able to see the interior of each form. The soft interior contrasts the hard edges of the exterior and delivers a different experience each time viewed. The figures are created out of human ash and cement and produce a continuous field.
Ash Park | View of Site | 52
53 | Diagrams | Ash Park
Ash Park | Diagrams | 54
-Each Figure is 20â€™ tall and has a volume of 115 cu. ft. -Each Figure is constructed of poured in place concrete, requiring 50 gallons of water, 300 lbs of cement; 800 lbs of fine aggregate (sand and human ash). -One human corpse produces five pounds of ash when cremated -Using the human ash as the fine aggregate; Each figure contains the remains of sixty humans -150,000 people die in New Orleans each year on average -208 Figures could be expected to be built each month. -2,500 Figures, consuming 10 acres could be expected each year.
55 | Statistics | Ash Park
Ash Park | Section | 56
57 | View Under Figure |
View Looking Up
Ash Park | Interior Detail | 58
59 | Section | Ash Park
Ash Park | Elevation | 60
61 | Plans | Ash Park
Ash Park | Plans | 62
63 | Site | Ash Park
The site, in New Orleans, specifically, Old Algiers, was once home to a plantation in which a wealthy family also owned slaves. It was here on Old Algiers point that slaves would enter from Africa. Not all would cross the river to the heart of the city.
Canal St. Ferry
in gu Se
Site Slaves were buried in corners of plantations with no defining head stones. Unlike the treatment of the slaves, my project serves to call out the dead and force the city to interact with it.
Ash Park | Site | 64
65 | View of Field | Ash Park
Ash Park | View of Field | 66