Portfolio

Samantha xitlalli cigarroa Undergraduate Portfolio 1

student work University of Texas at Austin School of Architecture

architecture 01. space Hug, Jump Rope, Pray | SUMMER 2011 | 6-7

02. Ecology Bird Blind | AUSTIN, TEXAS | SUMMER 2011 | 8-15

03. Community I Natural History Museum | Austin, Texas | Spring 2013 | 16-21

04. Community II SoCo Art Hotel | Austin, Texas | FALL 2014 | 22-27

05. Urban THE GREEN CATHEDRAL AT VAUXHALL | london, england | summer 2014 | 28-35

06. Parametric alien pod | AUSTIN, TX | FALL 2012 | 36-39

Production Design ephemeral | spring 2014 | 42-43 deer blind | winter 2013 | 48-51 the dove scouts | spring 2014 | 52-55

Other works Art | various semesters | 58-63

architecture Visual storytelling This is a book of explorations, of ideas described by visual storytelling. The following pages hold projects of various scales, increasing complexities, and different environments. This section is organized by scale, beginning with the micro, leading to the macro, and ending with the scaleless.

Each project’s images are carefully selected to tell a story, and the sequence is curated to illustrate the concept as fully as possible. They represent an idyll of the human relationship to site, to culture, and to the spaces within.

hug, jump rope, pray Summer 2011 Professor Larry Doll

This project was designed to create an understanding of space, program, and their relationship to one another. Every person in the studio was arbitrarily given three verbs, which were then strategically placed in a 14’ x 14’ concrete cube. The spaces were to be carved into the mass, and a natural lighting scheme was to be considered for each action. The words given to me were hug, jump, and pray.

The hug room was programmed at the entrance of the space, where an embrace is given upon greeting.

The light from the door opening enters the room and bounces off of the curved ceiling. The visitor then has two options: he or she could climb down small steps, which create a threshold for entering the jump rope room, or descend down a longer set of stairs towards the prayer room.

In the jump rope room, a lot of lighting is needed for the physical activity. Sunlight enters from three places: a window above eye level to illuminate the room, a small tunnel at the feet to give light to the ground, and from above to create ambient lighting.

This room is acoustically connected to the angular prayer room below, enabling rhythmic meditation.

To enter the prayer room, the visitor descends down a long flight of stairs to the very bottom of the massive cube. The flight of steps has clerestory lighting, which is abundant at the top, but diminishes upon turning the corner. The downward procession consists of a dramatically lit area at entry level, and upon descent it becomes increasingly dark. Dramatic lighting from the prayer room comes down a funnel that opens up to the sky above. The angular room echoes the noise from the jump rope room, which functions as a rhythm for meditation when occupied.

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Bird Blind Summer 2011 Professor David Heymann Austin, Texas Focusing on site as a generator of design, this studio concentrated on creating a harmonious relationship between the natural and the built environment. The ecologically complex site of Hornsby Bend provides bird watchers with an ample variety of species due to its rich land. It is home an array of trees and vegetation, as well as several ponds that attract both song and shorebirds.

The sensitive nature of the site emphasizes the importance of minimal building impact. A bridge connects the nature center on the shore to the bird blind sitting on the pond. Human intervention is limited, therefore the building has an unobtrusive relationship with the site. This project is about embracing nature with a subdued touch on landscape, enabling visitors to wander, whisper, and watch.

The concept of simplicity drove the design process.

The aesthetic is minimal, with regular spacing between the wooden components of the enclosure.

The importance of views is illustrated in the overall building form, where gaps for observation are expressed. Strategies are used to move people through. The surrounding nature takes precedent, making visitors feel integrated with the site of Hornsby Bend.

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ABOVE: Site model showing the bridge and the bird blind. The walkway begins at the nature center on the shore, then angles out towards the middle, and finally ends at the bird blind. The angle was placed to mark the threshold between the two structures. Both are straight in directionality, emphasizing arrival and departure at each location.

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LEFT: A floor plan shows the entrance (medium length), the seating area (long length), and the window area (short length). The entrance was designed to pull people through using three strategies: restricting side views, providing frontal views, and narrowing the width. This prevents crowds from forming at the entrance.

The seating area is the longest wing, where gaps are strategically placed to allow for visitors of all ages to look out onto Hornsby Bend.

Next to it is a short wing that has an inward looking opening, as well as gaps that look out toward the overall area of the pond. The opening looks out to a “courtyard�, providing a contemplation area. The short wing was designed as a visual relief, utilizing differences in scale. This was achieved by juxtaposing the vastness of the pond with an intimate view of the structure’s courtyard.

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This elevation belongs to the bird blind’s entry area. It lacks openings, a strategy used to prevent crowds from forming at the entrance.

This elevation of the sitting area shows the relationship between height and views. The two gaps at a higher level are for adults, the higher one being for tall people and the lower for the short. The lower views are for children and people sitting down. The sitting area is defined by the lower views.

This elevation shows the contemplation window of the short wing and the entry area. Strategic openings are placed directly in front to pull people through onto the main area. Another strategy to prevent crowds from forming at the entrance is a narrow width that allows for only two people to pass through.

This elevation shows the shortest side belonging to the area with the window.

Here, the upper gaps accommodate tall bird watchers, and lower gaps cater to shorter people.

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Natural History Museum Spring 2013 Professor Gary Wang Austin, Texas

The Natural History Museum at Town Lake is situated along Austin’s most cherished running trail. It houses dinosaur bones found in the Central Texas region, and takes advantage of both the urban landscape and natural features of the site.

The exhibit area floats above the running trail and traverses the site. It is angled out towards the Long Center, an important civic building for the city of Austin, located across the water. This relationship makes reference to this becoming a place for community to come together.

The urban strategy seeks to address the different landscapes. When approached from the river, the building is seen in its entirety set against the highrises of the downtown area. When approached from the city, less than half of the building is seen, and visual priority is given to nature. The building is set into a hill, and the roofs provide green space for Austin’s urban area.

It is upon descent that the museum can be entered.

The dark, lower level is set into the land and looks out directly to the river, where the aquatic dinosaurs are placed. The viewer then moves up towards sky animals, and then find themselves at the “bridge,” where the bones can be seen from the running trail below. Copper louvers are used to protect the building from the sun, and hover over windows that frame both museum visitors and the remains of the land dinosaurs.

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OPPOSITE: Site map showing the natural history museum. The exhibition area traverses the running trail, and green space is placed for the downtown area.

ABOVE: North elevation showing the approach to the museum from the downtown area. Buildings are smaller and more fragmented to allow for views to Town Lake. Nature is emphasized, and greenscape is provided for the urban area.

BELOW: South elevation showing the approach to the museum from Town Lake. The building in its entirety is seen within the context of the downtown area.

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LEFT: Perspective showing placement of fenestration.

To the west are small windows that frame visitors. To the east are windows that frame the dinosaurs, which sit on glass.

BELOW: Model of Natural History Museum

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BELOW: Section perspective showing programmatic placement within the museum.

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Soco Art Hotel Fall 2014 ProfessoR Jeff Krolicki Austin, Texas The SoCo Art Hotel is located in the St. Elmo region, a light industrial district within the city of Austin.

The site is neglected, despite the important transit nodes located in its vicinity. South Congress Avenue, a major tourist destination in Austin, extends south and sits adjacent to the property. Ben White Boulevard, a highway linked to the airport, crosses South Congress a few blocks north. Despite this, the general trend along South Congress Avenue is north, not south.

This project caters to Austin’s art culture, offering local artists an opportunity to create works and display them throughout our hotel. Because of its potential as an important entry point, our building addresses newcomers to the Austin area. Our hotel is open to the public, with the bottom level being easily accessible to passerbys. The interior is surprisingly lively and intimate despite the industrial nature of its surroundings, lending itself to become a community hub for St. Elmo. However, the hotel’s exterior has a scaleless, unapologetic, and industrial feel that relates to the “history” of the site. The hotel is integrated with the key feature of future development - the St. Elmo’s Market.

An element of discovery drove the design process. The hotel is offset from the market, and is discovered by moving past the it or through an opening within it. The sides of the market and hotel that face each other are glass, creating a visual relationship. Artwork is also discovered throughout the hotel, as it “controls” circulation, where sculptures act as landmarks that lead to public areas. From the exterior, hints are given as to the happenings inside by means of framed art pieces and the revelation of interior materials. There are different room types, and it is probable that a guest that stays more than once will get a different room each time - discovered with more stays.

In Collaboration With: Ricardo Diaz

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ABOVE: Massing model showing facades of the hotel. They frame pieces of art, so as to give the public a glimpse of what is occurring inside the hotel BELOW: Sectional model showing the outer simplicity and inner complexity of the hotel.

UPPER LEFT: Site map showing the hotel as a warm, unique place within the industrial site.

LOWER LEFT: Perspectives showing the concept of discovery. The scaleless, concrete facade has a rich, wood interior filled with art. There are different rooms, so that guests staying more than once will discover the variation within.

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CIGARROA + DIAZ DESIGN

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level 0: -17 ‘ - 0 3/32 “ = 1 ‘ - 0

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level 2: 19 ‘ - 0

level 3: 38 ‘ - 0

level 4: 51 ‘ - 0

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SOCO ART HOTEL

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ABOVE: Floorplans showing placement of art pieces in public areas.

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ABOVE: Section showing placement of art in public spaces, as well as the dynamic cuts and level changes within the building.

BELOW: Perspective showing a public space that art directs guest towards.

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green cathedral at vauxhall Summer 2014 Professor Simon Atkinson London, England

The Green Cathedral is an overarching concept designed to provide a unique urban community center dispersed across the site. The proposal consists of a network of green buildings and linkages that tie the urban fabric together. It celebrates the rich history of the Vauxhall Pleasure Gardens with diaphanous architectural material made for plant interpenetration.

Vauxhall station is a busy transit node with an unfriendly pedestrian environment and a dangerous street presence. The neighborhood is a composite of disconnected green spaces, undervalued cultural and historical assets, and growing socioeconomic disparity. Current development plans for the Vauxhall area include a number of tall towers adjacent to the Thames, increasing the barriers from the wider borough to the river. Without careful planning, the current architectural barrier formed by the elevated rail may create an even greater divide in the future.

Our goal was to create a landmark urban community by reenvisioning Vauxhall Crossing as a celebrated moment of coming together in the city, generate a green-linked urban fabric, provide equitable economic opportunities, and prioritize the pedestrian.

My specific portion of the design consisted street redevelopment.

A tram was introduced to the site, which reduces automobile traffic and connects important landmarks throughout the area.

Hike and bike trails were introduced and connect dispersed patches of green along the greater scheme of the borough.

Architectonic ribbons of bus stops aid in wayfinding, and their program and material changes according to the different parts of the site. This, in addition to architectural strategies of the team, aim to create a vibrant community in this undervalued area of London.

design team Transit Ribbons + Streetscapes by Samantha Cigarroa Landscape Architecture by William Niendorff The Crossing by Lauren Mullane 8 Albert Embankment by Jessica King

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GARDEN DISTRICT (opposite) Perspective showing the proposal of expansion of streets and the introduction of mass transit. Street renovations include

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architectonic path structures with material gradients that help with wayfinding within the newly defined green district. Wood is shown for small businesses, and concrete for transit areas.

8 ALBERT EMBANKMENT The proposal at the 8 Albert Embankment directly connects into the overall cathedral system, but takes on more subdued characteristics.

It is a place to live, reflect, and grow in contrast to the rushed nature of the Vauxhall Station.

VIEW OF MEMORIAL PLAZA

THE CROSSING Looking into the architectural history of the city, we decided to concentrate on a particular type of structure. Cathedrals are centers for community gathering, architecturally grand, and are ultimately beautiful structures that bring people together in celebration. This structure begins to create formal shapes along the rail, weaving the ground plane up into the air, and the cathedral reemerges, a verdant structure dispersed along a line supporting towers of green.

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Tate Modern

Hyde Park

Waterloo Station Buckingham Palace

Victoria Station

Bishop’s Palace

The Oval

Jubilee Gardens

Archbishop’s Park

Lambeth Neighborhoods

Geraldine Mary Harmsworth Park

Vauxhall Pleasure Gardens

Vauxhall Park Battersea Park

ABOVE: Diagram showing tram paths connecting different landmarks in the region.

RIGHT: Diagram showing hike and bike trails connecting different parks throughout the region.

Clapham Common

Wandsworth Park

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ABOVE: Section and extended street plan through 8 Albert showing street renovations. A tram is placed, and green room for pedestrians is introduced.

CENTER: A section and extended street plan going through Vauxhall. The redesign included a safer streetscape by incorporating a median placed between the trams. Trees are added to the sidewalks to encourage walking along this area.

BELOW: Section cut and extended plan through Nine Elms, where high rises are to be built. A median is added for a safer streetscape, and a riverside hike and bike trail is incorporated.

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8 Albert Site This part of the site is quiet, residential, and caters to budding artists. A section shows the material gradient in this part of the site. The program and material of each folded structure changes depending on its surroundings.

Wood is indicative of small businesses. The highlighted area of 8 Albert is located by a new art district, therefore an art vendor uses the folded structure.

The Pinch This is the most narrow part of the site. The highlighted region shows the folded structure in close proximity to the pedestrian walkway and the part near the street. A popsicle vendor occupies the structure near the riverside promenade, and a bus stop is used for the she structure near the road.

Vauxhall Station This is the busiest part of the site.

The material gradient shows a large amount of concrete, indicating the presence of transportation. The section call out shows a newspaper vendor in the wooden structure, and a metro stop within the concrete structure.

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alien pod Fall 2012 Professor Clay Shortall Austin, Texas

This studio focused on designing a BMX/skate park and realized a rationalized portion of the entire project with the 5 Axis LLC and OMAG BLADE 5 Generation 3 5-Axis CNC router. From this investigation, the question arose: What happens when technical aspects of digital fabrication technology merge with the creative mind? Our studio has mastered the hybrid in a project called the Alien Pod. The 5-Axis router is a CNC tool used to mill the final model of a 390 pound block of limestone. Its ability to cut stone into the smooth shape that retains the idea of movement of a skater is what makes the router vital in this specific project. Various digital technologies were employed to fabricate the Alien Pod. The process from design to fabrication for the piece required an advanced understanding of form-making with 3D modeling programs. After protyping the model with the Makerbot Replicator 2 and other 3D printers, the final piece was milled down to a 2.5’ x 3’ x 1’ model.

Phase I of the design process began with each student using a word to drive his/her project throughout its development. As individual visions became more refined, the project entered PHASE II, where the studio created a final model that showcased their holistic understanding of the capabilities of the digital fabrication technology. The collective goal was to create one unique piece that has a flowing surface to accommodate the movement of the skater or biker and that can be replicated and nested into itself to create continuity. The result of this replication process introduces a “kit of parts” methodology into the design process, which is the process of organizing individual forms and arranging them into one flexible system and produces an unbroken form conducive to skater/BMX movement.

design team Project Manager: Cindy To Rationalization Team: John Bodkin, Thanh Ly, Gilberto Valles Realization Team: Leonardo Caballero, Elizabeth Leblanc, James Thoreen, Jennifer Stein Fabrication Team: Darren Cattle, Michael Stolle, David Thompson Publication Team: Samantha Cigarroa, Isabelle Atkinson, Clifton Harness

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ABOVE: Diagram showing the “kit of parts” concept. The “parts” category shows the idea of different components, which are ultimately arranged in a variety ways under “assembly.” These are then multiplied and added together to create different products based on the form of their respective assemblies.

BELOW: Perspective showing potential uses for the rationalized skate park at different scales. The image on the right shows the forms nested into one another at a small scale. The second shows it in the human scale being used as a bridge. The third shows it as a monument at a large scale.

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ABOVE: Diagram showing the “kit of parts� concept applied to the rationalized skate park. It shows one piece pulled from the mass, and the way it is organized in a variety of ways to create the overall structure. A plan view shows the way the pieces are nested, and the curvature used by the 5-Axis router for fabrication.

BELOW: Perspective showing the rationalized skate park in use.

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Production Design Visual Storytelling This segment of the book holds projects that introduce visual storytelling in a different medium. The following pages describe the same design process applied to fields with different sets of requirements. Production design in game development and film call for carefully selected scenes that complement the individual narrative.

The complexity lies in different issues, which include character development, plot, and mood.

The aesthetic of each of these projects speaks to a specific concept that drove the story.

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Ephemeral Spring 2014 Professor John Blood

Set in a black and white world, a spirit attempts to escape limbo. An ominous force chases after the spirit causing its world to go dark. The disoriented spirit dismayed by life in darkness attempts to escape its ominous circumstance. As it flees, it finds itself in the desert, where it discovers it can utilize environmental conditions to its advantage. The spirit also becomes aware that amorphic Erebus, the limbo god of the underworld, is in pursuit to bring it back to his world of darkness. Harnessing the power of light the spirit has potential to defeat Erebus and escape the torment of limbo. Its journey is told through third person camera in a linear path where a grey and flat landscape dominates the beginning and transforms into a saturated, colorful landscape.

design team Concept Artist: Samantha Cigarroa Screen Writer: Breanne Miller Programmer + Animator: David Rosa Tamsen Character Development + Animator: Ricardo Diaz

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OPPOSITE: Drawings used to produce the computer rendered images seen above.

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Deer Blind Winter 2013 Directed by Barbara Cigarroa

Deer Blind is about a young boy, Cody, living in rural Texas. He is playing outside of his home when he hears his father and brother fighting. His brother emerges from the home with a nosebleed. His dad comes out shortly thereafter, telling Cody that they are going to kill a deer.

He appears sad, but follows him to the deerfeed. Here, they find a deer, and his father orders him to kills it. Cody takes a shot and misses. As they move in closer, his father sees his despair, and realizes what he is doing to Cody. He looks at him, and tells him to drop the gun.

This film is psychological, focusing on the tense relationship between Cody and his father, and by extension, his home life. His environment is intentionally off-putting. The film is introduced with the main character playing with a rubber tire. Instead of having fun, he looks despaired. In addition to this, his home is picturesque but dilapidated, as though it should be a happy family home but isn’t. The image to the left shows the color scheme of the film, showing the somber mood.

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LEFT: Image showing a dilapidated ranch scene. A deer skull is covered in blood, showing that Cody is acquainted with death, and with a rough way of living. This was used to introduce the film, giving it a somber feel.

BELOW (sketch): A drawing showing the mood of the film, which is dark and melancholic. The house appears to be a picturesque family home, but the tone of the drawing is offsetting.

BELOW (image): The dilapidated home in actuality.

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These drawings show a scene described by the director. With the knowledge of available materials, a composition was created upon visiting the site. Cody sits below his father, indicating his fearful disposition.

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The Dove Scouts Spring 2014 Directed by Shelby Hadden

The Dove Scouts is film about a boy named Lucas, who attempts to join the Dove Scouts after being kicked out of the Weasel Scouts for not receiving badges. The film begins with Lucas disguising himself as his overachieving sister, Bridgette, as he sells her girl scout cookies. He then walks into one of their meetings, where the girls tell him he isn’t allowed to join their organization. His sister, the top-cookie-seller, is embarrassed. Lucas argues with the troop leader, Miss Applebee, and they come to an agreement that he can join if he earns three badges. These are dancing, art, and manners. Lucas shines at the first two, and fails at the last, only to find that Miss Applebee cheated. Bridgette stands by her brother, and together they are kicked out of the Dove Scouts meeting.

The film is meant to be light and comedic, with undertones acceptance throughout the film. Warm, bright colors are used, and props I created are meant to add life and comedy to the bright atmosphere. The uniforms are strongly tied to the personality of each character.

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IMAGE 1: An image of Lucas selling girl scout cookies wearing Bridgette’s uniform and hairstyle. The color of the badges pop, adding life to the scene.

IMAGE 2: Lucas in the first task, which is tap dancing. In motion, his gold, studded vest shimmers in the light.

IMAGE 3: Lucas showing the troop his painting of Obama, the second task.

It was made using beans of different colors, and the unexpected level of detail adds comedy to the scene.

IMAGE 4: On set for manners, the third task. The table set matches the Dove Scout uniform and provides a neutral tone to the colors in the background.

OPPOSITE LEFT: An image of Bridgette and Lucas. Bridgette has many badges, as opposed to Lucas, who doesn’t have any.

OPPOSITE RIGHT: A picture of Miss Applebee, the troop leader. Her expression is stern, her tightly combed bun, pearl earrings, and perfect cardigan show her stern character.

OPPOSITE BOTTOM: Bridgette and Miss Applebee watching Lucas paint.

They resemble one another physically, and are both highly active in the organization. Bridgette has more badges than Miss Applebee, showing her dedication to the troop.

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CITIES & THE SKY: Thekla Excerpt from Italo Calvino’s “Invisible Cities”

“Those who arrive at Thekla can see little of the city, beyond the plank fences, the sackcloth screens, the scaffoldings, the metal armatures, the wooden catwalks hanging from ropes or supported by sawhorses, the ladders, the trestles. If you ask, ‘Why is Thekla’s construction taking such a long time?’

The inhabitants continue hoisting sacks, lowering leaded strings, moving long brushes up and down, as they answer, ‘So that its destruction cannot begin.’ And if asked whether they fear that, once the scaffoldings are removed, the city may begin to crumble and fall to pieces, they hastily, in a whisper, ‘Not only the city.’

If, dissatisfied with the answers, someone puts his eye to a crack in a fence, he sees cranes pulling up other cranes, scaffoldings that embrace other scaffoldings, beams that prop up other beams. ‘What meaning does your construction have?’ he asks. ‘What is the aim of a city under construction unless it is a city? Where is the plan you are following, the blueprint?’

‘We will show it to you as soon as the working day is over; we cannot interrupt our work now,’ they answer.

Work stops at sunset. darkness falls over the building site. The sky is filled with stars. ‘There is the blueprint,’ they say.”

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