Santiago Alvarez Portfolio

portfolio s a n t i a g o

a l v a r e z

TABLE OF CONTENTS 01

CURRICULUM VITAE

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INVADING THE CONFLUENCE mixed-use residential

08 KENYON COLLEGE ARTS CENTRE cultural 12

MAGNETIC CONFIGURATIONS

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RECONFIGURED OBLIQUES

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A MUSEUM FOR TONY SMITH

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ULI HINES COMPETITION

material exploration

installation furniture cultural

urban planning + design

28 A GUEST HOUSE FOR VANNA residential 30

FRAMING THE SUMMIT informal analysis

34 A NARRATION IN COHABITATION studies in representation 38 ART WORK & PHOTOGRAPHY

S A N T I AG O A LVA R E Z A

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2301 NEIL AVENUE APT A COLUMBUS OH, 43201

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ALVAREZ.176@OSU.EDU 412 | 606 | 3739 SANTIGRAM90

curriculum vitae santiago alvarez

EDUCATION 2014-2017

The Ohio State University | columbus,

oh

EXPERIENCE

summer 2016

knowlton school of architecture

master of architecture | anticpated 2008-2013

2015-2016 2016 2015

spring 2016/17

bachelor of arts in architectural studies

Kent State Study Abroad | florence, italy

fall 2016

fall 2015

rhino

illustrator

Physical modeling:

revit

photoshop

woodwork

autocad

indesign

painting: watercolor arcylic

drawing:

sketchup grasshopper

cnc milling

v-ray

pencil

3d printing

ink

oil

Teaching Assistant | forms of architectural theory Graduate Assistant | fabrication lab

AWARDS spring 2017

Exit Review Finalist | knowlton school of architecture graduate program exit reviews

spring 2016

charcoal

studio design

construction contracts

architectural history

construction estimating

architectural theory

construction scheduling

MAY 2008

construction in arch

philosophy of aesthetics

structures & systems

psychology

LEADERSHIP

art history

calculus I & II

Studio Book Award | knowlton school of architecture carrie mcknelly design studio

MAY 2008

Visions and Voices | pittsburgh technical institute first prize in graphic design

Art Exhibition | westmoreland community college honorable mention in graphic design

professional practice

2010-CURRENT 2010-2011 2013

Primary : english

Teaching Assistant | history of architecture ii

knowlton school of architecture supervisor : michael baumberger

houdini

COURSES

LANGUAGE

director volunteer counselor

knowlton school of architecture professor : douglas graf

college of architecture and environmental design

Digital

Columbus Camp Architecture

knowlton school of architecture professor : jacqueline gargus

minor in construction management

SKILLS

chagrin falls, ohio

the center for architecture and design

Kent State University | kent, oh college of architecture and environmental design

fall 2012

Clemens Pantuso Architecture

Secondary : spanish 1995-2006

Delta Upsilon Fraternity | KENT STATE CHAPTER vp of academic excellence vp of recruitment

Boy Scouts of America | TROOP 110

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santiago alvarez

invading the confluence

invading the confluence santiago alvarez

i n va d i n g t h e co n f lu e n c e

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2015

Time: 1 Semester Instructor | Rob Livesey + Bart Overly Collaborators | Ndede Misumi + Tammy Monnin Software | Rhino + Illustrator + Photoshop Invasion is a term that has always carried a negative connotation. Breach, trespass, raid, infringe; all of these terms are many that we don't usefully take lightly. In architecture, at least how it has been established in a western sense, involves a separation between what is inside and what is outside. Asian cultures have attempted to diffuse this harsh line between in and out for many centuries. It is with this idea that we hoped to engage this site.

Surrounded by a bustling highway and two rivers, our site tends to isolate, suspending whatever is on it between being in Columbus, and somewhere without identity. In an attempt to reconnect the site with the city, we would have to invade/breach the boundaries.

Starting with four extruded bars, we used a set of operations that would invade the site in some way.

Moments where a bar would cantilever over part of the highway, span over the river allowing access to the islands, or burrow into the site to reemerge elsewhere.

This manipulation created moments that allowed us to blend exterior gardens and other program into the interior. It was important to make this project not about something the occupies a site, but by means of invasion, merge the two as one entity.

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santiago alvarez

invading the confluence

SPAN

BRIDGE

SPLIT

BRIDGE

SUBMERGE

CUT

PUSH

LIFT

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santiago alvarez

invading the confluence

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santiago alvarez

kenyon college arts centre

kenyon college arts centre santiago alvarez

kenyon college arts center

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2015

Time: 1 Semester Instructor | Andrew Cruse Software | Rhino + Illustrator + Photoshop

Buildings often engage in a the role of simply acting as a destination. It is in this sense that we tend to depend a buildings program. However, this is not always the case. Such is the way many buildings one a college campus operate. Built on the model of many old academic settings, Kenyon College (as it was first conceived) is laid out as a set of buildings that all cluster around a large green space. As the university has grow through the years, the solutions for house new departments, classrooms and dorms has lead to a sprawling of the campus breaking the once symmetrical plan.

Students now in a rush to get to glass after hitting snooze one too many times must make their way across campus, sometimes using other buildings as shortcuts. Taking advantage of this, the design of this Arts Center allows for passage through for transient occupants, but also acting as a hub for cultural activities. Manipulation of the ground plane establishes two main routes into and through; one acting as a connection of old campus to the downtown dorms and the other from the campus gateway to the Art Building which has been almost forgotten. The galleries progress vertically in an 'S' pattern lifting the building up leaving the ground floor as a terminal, but also as a public plaza for a wide array of events.

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kenyon college arts centre

1/16” = 1’-0”

1/16” = 1’-0”

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1/16” = 1’-0”

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N

kenyon college arts centre santiago alvarez

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santiago alvarez

magnetic configurations

PROTOTYPES

STRETCHING

BRIDGING

magnetic configurations santiago alvarez

m ag n e t i c co n f i g u rat i o n s

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2016

Time: 1 Semester Instructor | Carrie McKnelly Software | Rhinoceros+ Illustrator + Photoshop + Grasshopper

BRANCHING

Architecture, from itself inception, has always been interested in the impossible. Today, this is done by the cantilever that just seems too long that makes it look suspended in time, or some facade application that renders the building invisible depending on how the light make strike it. This is not new however, this kind of playfulness can also be since in many mannerist works such as Bramente's Trompe l'oeil at San Satiro.

But this these works that try to do something in the realm of the impossible, are just that, impossible.

Magnetic Configurations also looks at the idea of impossible, but instead of looking at ways to create using illusions and trickery, it makes possible of the impossible. Architecture is bound to the laws of gravity and most architects and designers have taken it as an unbreakable fact. This project uses the power of magnetism to allow architecture to bypass gravity and create new forms. At a micro scale, Magnetic Configurations uses small magnets, glue, and iron oxide to make column like structures. At a larger scale it is my hope that this could be applied to concrete construction using super magnets. As the magnets suspend the concrete in place, it could be possible that concrete form work become a thing of the past.

Gravity's authority along with it.

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magnetic configurations

PHYSICAL PARAMETERS

1 : 1.5

1:1

2:1

magnetic configurations santiago alvarez

DIGITAL PARAMETERS

EXPERIMENTAL ANALYSIS

VS 1IN .75IN

8IN 2

4IN

2.5IN

10 IN 2

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magnetic configurations

A R C H I T E C T U R A L A P P L I C AT I O N | O F F O R M S A N D F O L L I E S

reconfigured obliques santiago alvarez

reconfigured obliques

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2014

Time: 4 Weeks Instructor | Stephen Turk Software | Rhinoceros + Illustrator

Tony Smith was an American sculptor and architect that throughout created a variety of sculptures. While seemingly different, much of his sculptures could all be taken and cataloged as the results of set of architectural moves. These pieces, at first glance, can be assigned with the adjective 'monolithic', due to the patina finish.

After close analysis, one would discover however, that these massive sculptures can all be broken down into a combination of tetrahedrons and octahedrons.

In this studio, we explored the possibilities in designing solely in the oblique. By questioning architectural conventions tied to an orthogonal method of thinking, new ways of inhabiting spaces can emerge. Sit, stand, rest, walk. These simple actions now being disrupted allows one to experience spaces in completely new ways. Using a system that relies on the oblique also allows for architectural components, such as wall, take on new life. A wall, on its own, has an established equality, between on side and the other, but a wall created in the oblique creates difference. It is these differences that allows for this method of thinking to create new architecture.

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reconfigured obliques

reconfigured obliques santiago alvarez

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a museum for tony smith

a museum for tony smith santiago alvarez

a m us e u m fo r to n y s m i t h

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2014

Time: 1/2 Semester Instructor | Stephen Turk Software | Rhinoceros + Illustrator

Continuing with the idea of oblique, this museum for Tony Smith stands not only as an archive of his life's work, but also as a monument to it. Before starting to work with the tetrahedron and octahedron, he was famous for his work 'Die'. This hollowed, but watertight sculpture, became the primitive in which through a generative process of carving, this hollow object can start to take on a more architectural application. Due to the orthogonality of the exterior shell, the positioning of the added -hedrons, interesting juxtapositions between wall surfaces could emerge.

In an almost Arheim-ian way thinking, the cube can establish itself as a boundary, to which program can begin to carve away in sense of gravity-less volume.

In some cases, this primitive shapes are used to cut away creating cavernous voids, in other cases they are then placed into these new spaces suspended as a piece of artwork itself. This back and forth language created through this process of burrowing, opens up the galleries in many different ways allowing each piece of artwork to be experienced uniquely. Acting as a sculptural figure, a central light well is created the not only frames the installation below, but also allows occupants to view to see others as they circulate upwards.

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a museum for tony smith

a museum for tony smith santiago alvarez

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santiago alvarez

uli hines competition

Phase 1 Connect to GT

Office

Makerspace

13% 178,752 Ft

2

Flex Office

Parking 2.5 spaces/1000 Ft2

Structured P

1,904 Spaces p Phase 2 $6M New High School MARTA revitalization Flex retail

Phase 3 Full Integration

Future Phase Expansion

848

Jobs Created

125 Retail Jobs 723 Office Jobs

uli hine competition santiago alvarez

uli hines competition

Residential

School

Market Rate | 887, 895 Ft2 | 1184 Units Workforce | 98,655 Ft2 | 133 Units Average unit Size | 750 Ft2

31, 200 Ft

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2016

2

Time: 2 Week Competition

65% 1 Bedrooms + Studios Parking 0.75 spaces/unit

Parking

Retail

provided

6% 85, 675 Ft

Collaborators | Valentine Catapano + Joie Chan + Arin Blair + Devin Bertke Software | Rhino + Illustrator + Photoshop

2

Parking 4 spaces/1000 Ft2

The area of Midtown, located in Atlanta, Georgia, has recently been bustling with activity. This is mainly due to the surrounding resources including Georgia Tech to the west, Downtown to the south, and Savannah College of Art and Design to the north. The mixture of these elements has made Midtown, Atlanta a great area for redevelopment to provide the infrastructure to allows these resources to flourish.

Hotel 294 Rooms Average room size 300 Ft2 882, 200 Ft2

Current Site Value = $45,511,202 Projected Site Value = $420,711,673 Net Present Value = $43,360,643 Leveraged IRR (before taxes) = 16.49%

The Collaborative, our proposition for the 2016 ULI Competition sought to capitalize on the youthful innovators that would be attending or looking to graduate from the near by universities. It is for that reason that providing the infrastructure to allow for incubation spaces drove this proposal. Following the idea in which many cities have created "art walk" to help local artist, The Collaborative opened up the streets in which "Digital Walks" could take place creating a boulevard of incubators spaces that also act as showrooms to walking pedestrians. It was our goal to allow the Digital and the Arts to thrive together; and have the capacity to displace their work and attract potential investors.

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santiago alvarez

uli hines competition

Atlanta

MARTA Expressways Midtown Site

Midtown

I-85 Midtown Core Site

Walkability

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santiago alvarez

a guest house for vanna

a guest house for vanna santiago alvarez

a g u e st h o us e fo r va n n a

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2017

Time: 3 Weeks Instructors | Douglas Graf Software | Rhino + Illustrator + Photoshop

Picking up where Venturi left off on this Philadelphia residence, this quick project, was set up to challenge us to create a guest house that would not only compliment, but attempt to enrich some of modern architectures best American residences.

The motivation behind this proposal was to take some of Venturi's post-modern ideals and apply in a contemporary way. Early on this the design for the original Vanna House, he explored the chimney as being a large distinctly element. With that now being applied in the guest house, the chimney becomes a central element in which rooms begin to grow off of. The chimney also acts as a way to make a visual connect with the original house as now the two are in alignments. Another distinctive feature of the Vanna House is the simple surfaces of the exterior facade, using the back facade, the wall has not been stretched, bent, and sliced. This wall with the back facade of the Vanna helps to enclose the backyard space, while also creating privacy and separation for the guests. As a way of creating a world for the guests only, one of Vanna only, and a world they intertwine, the wall cuts through the living space, pavilionizing a portion into the yard of Vanna.

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framing the summit

framing the summit santiago alvarez

framing the summit

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2017

Time: 3 Day Workshop Instructors | Andrew Atwood & Anna Neimark Collaborators | Enio Dajko + Kevin Jones + Chen Liyang Software | Rhino + Illustrator + Photoshop In this workshop, we worked to produce a sequence of drawings in order to informally analysis ideas about projection. Taking interest from Viollet-le-Duc mountain sketches, our preconceptions about projection drawing were questioned with the purpose finding new ways in which to portray the mountain peak. Our given parameters were simple. Given a rectangular bounding box and a cube in which to circumscribe the mountain, the cube became orient in such a way as to align itself with the mountains edge. The surfaces of the bounding box acted as our frame of view. To study it further we then used the cube itself to replace the role of the bounding box and oriented it side so that now they would be come the frame of view.

Using these framed projections, we reconstructed a three dimensional model of the mountain. By manipulating the brightness and the contrast, the flatness of the printed object would being to read as if the paper was crinkled. This effect created an illusion that allowed for the model to appear more mountain like.

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a narration in cohabitation

INVASION

contrast

Separation

frame

hatch

EXPULSION

discontinuous

COHABITATION

align

plan

section

Axon

a narration in cohabitation santiago alvarez

The ways in which architects represent their work in a two dimensional medium has greatly evolved over the last century. Former drawing mainly in plan, section, and elevation, architects and designers have taken advantage to the technological resources available to bring new life into their representations.

In this final project, by use of these types of representation, a narrative was created depicting a story of cohabitation. The narration is set in the Pacific Ocean, specifically in the Great Garbage Patch.

The subjects are the native birds of the area and the robots that have been placed their to manage the waste. It was important to show the varies stages of cohabitation that not only works in the situation of these to entities, but can be applied to all situations.

Drawn referencing Chris Ware, things like framing, alignment, and zoom all help navigate the story.

Stage 1 | Invasion With the robots setting up camp, new "perching" areas are now available to the birds. Using primarily plan to represent the robots and section to represent the birds.

While occupying the same, there is a clear divide.

Slowly, by use of hatch, the robot world is consumed.

a narration in cohabitation

| 2016

Time: 1 Semester Instructor | Sandhya Kochar Software | Illustrator

Stage 2 | Separation As the robot world is consumed, they are forced out causing overall failure to the structures. The shift between the white and black highlights this shift in status.

Stage 3 | Expulsion The structures are now under disarray, and the birds and robots have now been expelled and use of contrast again shows this separation.

Stage 4 | Cohabitation With the new facilities created, the robots and the birds must work together to insure their survival. Represented in axon, the plan and section representation is now brought together and a way of represent this new cohabiting initiative

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artwork

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artwork

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photograghy

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photography

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t h a n k

y o u