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sergio-miguel cuculiza

architecture rchitecture




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Electronic Design Work

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Although sustainability has been practiced for hundreds of years only recently has it become so well known. Due to modern day infatuations of being ‘green’ many buildings have not been able to marry sustainable design with today’s modern design. Many times solar panels, or wind turbines feel like different additions to the building when they should coincide to get maximum efficiency. I have made it a main principle of mine to create new ways to marry sustainability with Architecture, creating unique components and systems that merge with

the building for optimal performance and aesthetic beauty. Good sustainable design should be thoroughly thought out, through design, construction, and final use. In each stage it should find a way to be efficient,. Many of my methodologies come from my background, I have direct family that comes from Peru, the way of living there is a direct connotation of how I see Architecture and the impact it has sustainably and socially. This link has helped me understand how important it is for the building to be efficient, not only sustainably but in its functionality as well. Functionality falls into sustainability: if a building functions properly it will work more efficiently. I believe that a good design should not only look aesthetically pleasing, but have a common language with its surrounding area and work well for the inhabitants. If a building is lacking in one of these categories it has not fulfilled its purpose. My designs are not only derived from geometries located on the site, but with intuition and functionality. These three keys work together while having sustainability thought out throughout the design.


I have always found that to do something for others is much more rewarding than doing something for yourself. In Architecture we have the chance to not only impact individuals, but a whole community, city, and world. I believe that in order to create a good design it must not only agree with the contexuality of the site but address a single or array of ideas that are useful for the project and client. If a building does not function well it is not good Architecture. I also believe that in Architecture because we do the most harm to the environment through extraction of materials, transportation, energy, etc. It is important we give back to the Earth by being sustainable.


Professor Daniel Dudzik LA CATTEDRALE DELLA CROCIFISSIONE Vatican City - Site Location Jerusalem, Israel - Crucifiction of Jesus Christ Bethlehem - Birth Place of Jesus Christ

We began with a set of parts, which could be used to create a three dimensional form. From this form we would then create a floor plan, and after we would explore it in section and then in full three dimensional form. Once we were given our kit of parts, we could then begin to explore space. It began first in the three dimensional form, then in the two dimensional. We were given a set of rules to which our floor plan and model must abide by. Once we followed the rules we then organized our small floor plans and arranged them in such an order to best satisfy our vision. My pattern became centralized, and created open spaces, both closed, open, and semi open. This arrangement helped me decide a logical function for my building, seeing as churches are in need of large areas, paths, and are usually centralized; it seemed as the appropriate choice.

My original floor plan left me with the choice of a front entrance. As my floor plan developed my entrance became accessible from the sides, making it an entrance in the round. This too satisfied the precedents for a church, having the main axial paths, but unlike classical models there would be no central path. The idea of the scale of the building began to take on a St. Peter’s like approach, this made me believe that this could be a modern adaptation of St. Peters.


Parti and Plan Development

Final Portion of Plan & Model Example

Master Plan


View Down Corridor

Aerial View


Space and light and order. Those are the things that men need just as much as they need bread or a place to sleep. -Le Corbusier


Professor Tim Woods BEIOR MUSEUM Savannah, GA USA - Site Location Ancient Sumaria - Earliest Record of Beer Little Bay Australia - Coast Wrapping

The experiential is what moves this project, and literally moves you from the outer path to the interior of the building. The fluid movement from building to path is undulating, having multiple connections to both exterior and interior. The buildings form creates a connection between site, building, and circulation. This movement is influenced by the theme of the museum, beer. The cascading form of the building complements the pouring motion of beer. The reasoning for this to become a brewery museum stems from the rich Irish history in Savannah.

of brewing, but tasting the final result, the users can get the full experience a museum should give. Due to favorable weather and location in Savannah, and optimum positioning of the building the design has many outdoor spaces. Due to multiple kinds of spaces the user can interact with the building in several ways.

The orientation of the building and its stepped down form is done purposefully to help naturally shade the building from the hot sun of Savannah. It also helps accent the many views the site is capable of seeI believe the building captures tradition within the ing by offering different level views. The building sets museum. I have incorporated a bar at the top of the up as many views as possible for the user, not only building as an interactive experience for the users. By place attention on the building, but the city as well. not only experiencing the history and fundamentals


1. Bar 2. Museum Display 3. Outdoor Display


4. Circulation Plan - Section Development

1st Level

5. Gift Shop 6. Outdoor Plaza



2 2nd Level


Form Development

3rd Level

Site Plan

North Elevation

Scale: 1/32” = 1’-0”




Model Perspective


Section - Scale : 1/32” = 1’-0” Exploded Axonometric View

North Elevation

Walkway Close-up

Scale: 3/64” = 1’-0”


Professor Julie Granacher CARLO SCARPA MONUMENT Brion Vega Cemetery - Site Location Venezia, Italy - Birthplace of Carlo Scarpa Egypt - Monumental Cemeteries

Designing within an already built Architecture is no easy task. It was important to understand the design philosophy Carlo Scarpa had and how it could be complemented to create a monument to him. I first explored the geometries of the site and used them to help create my form. Using the plan to section technique I completed the form that would help denote his resting place. Because the dead are buried and not raised I felt it appropriate for us to reach them where mortals cannot, beneath the Earth. By descending into the monument each person checks their soul at the door, the quiet, dark, ominous space gives an appropriate response to how one should see a monumental grave. The creeping in of natural light also gives a taste of the spirituality taken into account.

After researching Carlo Scarpa it became clear to me how attention to detail impacts his work. Every little aspect of his design was created by him, it was as if he had taken the hand of the sculptor and sculpted the site into what it is now. I took the same approach and thought out every detail: from the Earth Walls that lead to the marble encasing surrounding his tomb, to the translucent concrete structure holding up the glass cantilever, and the steel structures keeping the glass in its place. The idea of the floating glass is meant to represent the soul, a seemingly light part of our body, but its true weight to us is more than anything. The building is meant to give the user a powerful sensation as he descends down and into the monument and sees the grave of Carlo Scarpa surrounded by ominous light.


Level 1 (underground) Scale: 1” = 20’-0”

Level 0 Scale: 1” = 20’-0” East Elevation

Site Plan

Scale: 1” = 60’-0”

South Elevation

Site Section



Form follows function - that has been misunderstood. Form and function should be one, joined in a spiritual union. -Frank Lloyd Wright


Professor Huy Ngo FORSYTH THEATER & TEA HOUSE IN THE PARK Savannah, GA USA - Site Location Ancient Greece - Ancient Theatre Ancient China - Tea House Ancient Japan - Tea House

The client has given us the design challenge to create a Ceremonial Tea House adjacent to a public outdoor theater in Forsyth Park. Therefore there is a need to create such a design where a public and private space can coincide, not only with themselves, but with the surrounding buildings and the inner functions of the park. The use of the Tea House can be private and public, creating different spaces to accommodate each. The outdoor theater must not take away too much of the green space in the park while being large enough to hold large events such as the Jazz Festival and Senior concert in the park. The theater must also take into account the theater located near it and surrounding noise pollution.

it. The location of these two structures will help create a language among them and the park itself. The two buildings will reflect on the monument and on the surrounding structures to create their forms and where they sit on the site. The buildings will create a common language dealing with framing views within the park. This will help bring the project closer to the park and help distinguish the important views of the park.

The scale of both buildings must be similar to the human scale seen all around Savannah. The foliage located in the park will help maintain the size of this project to a modest scale and the framing element they provide help put the buildings into human scale. Structural members will These two additions to the park will take into ac- be appropriate to the area and materiality will be focused count the beauty and needs of the park itself, but will on local products and labor, both dealing with the conalso become useful and appropriate spaces within text of Savannah buildings and helping the city’s economy.



Parti Diagram Development

Parti Diagram 3D

Theater Design Development

Tea House Design Development


Site Development

Exploded Axonometric of Tea House

Tea House Level 1

Theater Plan

Scale: 3/128” = 1’-0”

Scale: 3/128” = 1’-0”

Waiting Porch

Exterior Garden

Private Seating

Waiting Room

Rest Room

Private Prep



Exterior Seating

Inside Seating


Interior Garden


Tea House Section

West Elevation

Scale: 1/32” = 1’-0”

Scale: 1/64” = 1’-0”

Tea House Garden Walkway

Site Plan

Interior of Tea House

Scale: 1/128” = 1’-0”

The layout of the project has been specifically chosen not only to help frame the monument and give it more importance, but to help make the site, Forsyth Park more sustainable. The way the two buildings are laid out from each other leaving a walk able space between them and a garden area with a pond is not only to be aesthetic, but to help the run-off of water accumulate in a filter that can then distribute the water elsewhere in the park. Because parks use tons of gallons to water the park it would be essential to help reduce that irrigation by providing a recyclable water source to the park. The roofs of the buildings also help shed maximum water. The tea house has other sustainable attributes, being purposefully designed to use the flow of air present in the park to naturally ventilate the building, its overhangs are also done purposefully to help prevent maximum heat gain into the building, but allow natural lighting to cut energy costs. The gardens also have their purpose as they supply the building with fresh air and help get rid of the stale air present.

Site Section

Scale: 1/64” = 1’-0” Steel Rafter Interior Glazing (for Ventilation) Metal Sheet Finish

Metal Stud (Within Wall)

Tea House Detail Section

Scale: 1/16” = 1’-0”

Tea Room Detail


Professor Tim Woods + M3 (THE MARK MAKING MUSEUM) Lacoste, France - Site Location Ancient Rome - Ancient Graffiti London, England - Home of Graffiti artist Bansky

This project began as an experiment to see what kind of museum would work best in an abandoned quarry in a small town in the South of France. After analyzing the site for myself I found that the most common feature in the quarry was the graffiti all over it. It led me to believe that a mark making museum would be a suitable design to not only demonstrate various forms of mark making, but create an interactive building that can engage the user the way graffiti does.

main articulated wall alive, having it encased in glass so that viewers on the inside can see the graffiti wall. I used the facade as my canvas for my own graffiti. Using specific nodes on the site I came up with an appropriate form for my building and a pattern for the facade of my building.

By creating the building underneath some of the quarry I help the building become more efficient by naturally insulating the building and improving moisture control. I took advantage of the interactive Because of all the original marks left on the quarry I did qualities of graffiti to create an interactive building. not want to simply erase them and make my own, but compliment them, show them, and then demonstrate my own form of graffiti. I use my building to help keep the





Museum Gallery


Dining Area

Public Gallery

Waiting Area





Rest Room



Level 1 Plan

North Elevation

Scale: 1/32” = 1’-0”

Scale: 3/128” = 1’-0”

Site Section

Scale: 3/128” = 1’-0”


View of Restaurant Adjacent to Ramp into Site

Interior of Museum 26

Entrance into Museum

Exterior of Museum

Interior of Museum looking out to Private Gallery

Private Gallery

Down Quarry (Museum right) & (Private Gallery left)

Natural Lighting

Green Space (Thermal & Moisture Control) Sky Lighting

Warm Air Dissipation

Natural Ventilation

Site Section

Scale: 1/64” = 1’-0”

In this design I used the opportunity of working with an already semi-excavated site to my advantage. By using the natural walls given to me as barriers and roofs I can cut down the amount of materials used for the building itself, not needing as much thermal material due to its positioning against geothermal massing. The use of the roof as a natural green space of the quarry helps cut the most energy loss by covering the roof with a very thick platform. It also allows me to cut into it to help bring in dramatic natural lighting and help with natural ventilation. The shape of my building is done purposefully as well, to not only let in maximum day lighting through sky lighting, but for natural ventilation to occur naturally. The tower in the center brings in natural lighting and produces the stack affect, pulling warm air out of the building. All the buildings use natural ventilation and natural day lighting. Interior View 2nd Floor of Museum

Interactive Graffiti Walls in quarry


Studio 3

Professor Lorraine Montgomery

MENJIE DI FLAGSHIP STORE Soho, New York - Site Location Xi’an, China - Home of Menjie Di Paris, France - World Hub of Fashion

The design process began by first understanding Mengjie’s working process an d breaking her designs down to be further understood. I began with a pattern analysis where I took a plan cut through one of her models. This was the inspiration for my stair case, which later became my ordering principle due to it simple yet complex dynamicism. Due to the intricate yet simplistic beauty created through Mengjie’s fashion it was a challenge to create a building that could not only capture the intricacies of her design, but the abstraction she uses to make her designs seem more simplistic.

to unique angles the users would normally not see from their perspective. It also uses an intricate energy system that not only is efficient, but creates beauty in its movement, capturing the motion seen within Mengjie’s pieces

The dynamicism not only influences the rotation of the floors, but that of the tower and staircase inside. The staircase becomes the spine of the building and is used as the ordering principle for everything else in the building. The piezoelectric photo voltaic panels on the side of the building help in its sustainability by generating large amounts of power for the building and This building captures the cubist abstractions Mengjie uses complementing the aesthetic of it with the building. in her design by the rotation of the floors which rotate views



Mendjie Di Fashion Illustrations

Illustration Interpretation Process

Solar Analysis

View from Spring St.

View from Greene St.

Spr i


Admin Offices

Merchandise Circulation

Admin Circulation


Office Reception

Main Display

Office Space

Coffee Shop

Break Room

Showcases & Circulation

Head Office

Women’s Clothing

Rest Room

Men’s Clothing

Office Egress

Level 1

Scale: 1/32” = 1’-0”

Level 3

Scale: 1/32” = 1’-0”

Level 4

Scale: 1/32” = 1’-0”



eS t.


Office Entry

Changing Rooms Office Circulation Elevator

Site Plan

Section 1

Scale: 1/64” = 1’-0”

Scale: 1/32” = 1’-0”

Section 2

Scale: 1/32” = 1’-0”


Sky Light

2” Reinforced Concrete Topping

Gypsum Board Finish I-Beam Steel Joist

Interior Perspective - Level 1

Piezoelectric Photo voltaic Panels

Panel System

Rigid Insulation 3 1/2”

Energy Collector for Panels

Interior Perspective - Level 3

South Elevation Scale: 1/16” = 1’-0”

Section Detail

Scale: 1/8” = 1’-0”

WATER TOWER -Collects water to be recycled for use and to be heated by the solar panels located on the tower. OFFICE EGRESS -Primary Circulation for Office/Egress stair for whole building.

FLOOR OPENINGS -Each floor has a sky light that allows indirect natural light in from the roof. This also helps in ventilating the building.

OFFICE STUDIO AREA -Provides production space for employees. MEETING ROOM TOWER ENVELOPE -Covered in glass and solar panels for energy efficiency and unique views OFFICE SPACE FASHION OFFICE FLOORS ADMINISTRATIVE OFFICES CHANGING ROOMS

RETAIL FLOORS VIP FLOOR -Floor designated for VIP clients, but can also be used as a small show room as well.

PIEZOELECTRIC PHOTO VOLTAIC PANELS -Panels that create energy by harvesting solar and vibratory elements; in this case wind. BASEMENT FLOOR


Studio 4

Professor Daniel Brown

FOGGY TOWER Foggy Bottom, Washington DC -Site Location Alten Castle, Germany - First Permanent Hostel Bikuben Student Residence - Copenhagen, Denmark

The site began as two separate parks in Washington DC, that did not encourage interaction or activities of any sort, and did not fulfill their purpose as gateways into the surrounding areas. The south site was chosen to design on due to the interaction it had with the college campus adjacent to it and the human scale and safety brought upon by the surrounding school and colonial aesthetic. Furthermore the North site due to its business orientation is very dense, by designing a building there would only create more clutter and further cluster Washington DC. By studying the site statistics showed that the area of Foggy Bottom, which is the location of the site, is both dense and important. This density leads to a mixture of people and professions near this location.


Due to this large mixture there should be a large interaction amongst a variety of professions and people, however there is not. The driving force behind the design is to help all the people of the area congregate. By providing a building that can work as a congregation hub it would work as a gateway of sorts as well as a meeting place for many. By providing courtyards within the plan and having the existing park adjacent to the site it allows for different types of interactions that can facilitate to the demands of all the people. This further drives the program of the building so that it can facilitate to the many needs of the people.


Picture of Site

Building Site within Washington D.C.

Shape Development Process





Interior Perspective - Office Lobby

Level 1 Plan

Exterior Perspective - View from Pennsylvania Ave.

Scale: 1/32” = 1’-0”

Interior Perspective - Level 1 Coffee Shop

Exterior Perspective - View into South Side

Exterior Perspective - View from Pennsylvania Ave.



Room Room Circulation C E Egress E Elevator M Mechanical M Meeting Room O Office O Office Space R Rest Room S Showers S Storage T Terrace Break B

Level 3 Plan






Scale: 1/32” = 1’-0”

Building 1 Section

Scale: 1/32” = 1’-0”

North Elevation

South Elevation

Scale: 1/32” = 1’-0”

Scale: 3/128” = 1’-0”

Due to the triangular site it was important to maximize the size of the footprint while also giving public space to the people. Therefore each facade works to match with the context of the site, the front reading as a continuous mass matching its context across the street, the south facade being more open and having more human scale, such as its context, and the East and West appropriately addressing their context while incorporating moveable wooden panels that function not only as shading devices, but funnel in natural ventilation as well. These panels are moveable by the user, they are meant to make the user interact with them in order to gain maximum efficiency. By making the user interact with the panels it makes them more aware to sustainability, and rather than cover the whole facade with panels only a marginal amount of them are necessary and the open areas provided a rhythmic appeal and increases the maximum amount of day lighting that can enter the building.

4” Concrete Slab On Metal Decking

sun wind

Rigid Insulation 3 1/2”

8” Concrete Wall

Double Pane Window

Shading Device Partially Open Moveable Louvered Wooden Panel

Shading Device Fully Open

Crank for Louvered Panel

Floor Joist 2x6

Wall Detail

June 21 8 AM

Dec 21 12 PM

June 21 8 AM

Dec 21 12 PM

Scale: 1/16” = 1’-0”

Balcony Perspective

Shading Device Closed

Wood Shading Panel Movement


SPline furniture

The design for the chair first began as a class assignment, having to create a unique piece of furniture. It ended with a series of furniture pieces that complement each other. The idea of Spline Furniture comes from the unique forms the pieces are made from. With some inspiration from past Architect furniture makers such as Carlos Breuer, Le Corbusier, and Mies Van Der Rohe, I created these pieces that take inspiration from each. The chair is the main piece and was made first, modeled as a cantilevered chair that curves back and forms the whole section out of one material. The two tables (seen in the rendering on the left) followed and were both modeled to mimic the chair design. The idea behind the furniture was to create openness below them, creating a spacious feeling to the room.

This design was done by exploring a shape and then animating it to create a form based on that animation. By transforming the original shape throughout an animation, it then produces a unique form based on the manipulation of that previous shape. Through spatial exploration and the manipulation of the shape to become useful I created the final form that captures that transformation. The form is then enwrapped within a simplified version of that form that has a complex skin based on the original form. The skin becomes the structural support as well as the epidermis of the building, and the form within it only helps support the envelope of the building to create a double envelope.

Form Exploration

Habitat for Humanity Community Housing Project NOMAS Design Charette Final Design W 55th St. Savannah, GA -Site Location

Site Plan

Scale: 1” = 40’-0”

Savannah Habitat for Humanity approached SCAD’s NOMAS (National Organization of Minority Architectural Students) chapter to help design a dual housing complex for one of its families. As the President I put together a design charette that would come together to create the final design. This is the winning design of which I was the leader of that group. By promoting community trying to create a unity between these two houses we came up with the following design. It takes a precedent in sustainable design, designing smart, not costly. It uses all the natural ventilation found on the site to help naturally cool the buildings and its high ceilings and windows help pull out the stale, hot air. Its slim form allows for premium natural ventilation and the interior windows allow for the control of air flow. Limited by square footage and budget the buildings are made to be affordable and easy to reproduce or manipulate. These buildings are currently under plans for construction in Savannah, GA.

Section Scale: 1/32” = 1’-0”

Longitudinal Section

North Elevation

Scale: 1/32” = 1’-0”

habitat housing

Level 1 Plan

Scale: 1/32” = 1’-0”

Obtain knowledge within the field of Architecture through work experience.


In second quarter of Senior year as an Undergraduate Architecture Student at Savannah College of Art & Design (SCAD), with a minor in Electronic Design.


Pine Crest School Graduate (May 2007) Savannah College of Art and Design (2007-current) Currently with a GPA of 3.61 on a 4.0 scale Architecture GPA currently 3.70 on a 4.0 scale Electronic Design GPA currently 4.0 on a 4.0 scale Currently with 170 College Credits (Senior in 2nd Trimester)

Experience: Architecture Courses received at SCAD: Introduction into Architecture. Graphics for the Building Arts. Construction Technology I & II Structures I & II Environmental Control I & II Architectural History 19th & 20th Century History of Urban Form Architecture Studio I, II, III, IV, & V Electronic Design Courses Received at SCAD AutoDesk Auto Cad, Revit, 3D Studio Max, & Maya Rhino EcoTech Adobe Photoshop, Illustrator, InDesign, Flash & Dreamweaver Study Abroad (Lacoste, France) Studio II History of Urban Form English American Moderns Work Experience (Architecture) Intern at Zyscovich Architects (Miami, FL) Summer 2008 Work Experience Personal Trainer SCAD gym (Savannah, GA) 2009-2011 Host at Bonefish Grill (Fort Lauderdale, FL) 2007-2008 Salesman at Finish Line (Fort Lauderdale, FL) 2005-2006 Skills: Drawing and Modeling skills People skills Computer drafting skills (2D & 3D) Drafting skills AutoCad Revit Architecture 3D Studio Max Maya EcoTech Rhino Adobe (Photoshop, Illustrator, InDesign, Flash, & Dreamweaver) Microsoft Office Presentation skills



Activities & Achievements: -National Hispanic Honors Society recipient -3rd place in group art competition (High School) -Captain for Football and Basketball intramural team (2007-2010) -Intramural Football (Champ 2009 + 2010) -SCAD Honors List -SCAD Dean’s List -Fundamentals I Model selected by SCAD for NAAB -Fundamental II model selected to be displayed in SCAD library -Architecture Studio II portfolio selected by SCAD for NAAB -Architecture Studio II Project chosen for SCAD Lacoste Art Vernisage Main Gallery -Study Abroad in Lacoste, France -Barcelona Port Research Paper & Presentation chosen for SCAD Lacoste Colloquium -Barcelona Port Research Paper chosen for SCAD Lacoste Colloquium documentation -NOMAS (National Organization of Minority Architec tural Students) SCAD Chapter President (2010-2011) -NOMAS Group Design chosen for Savannah Habitat for Humanity Housing Project

Campus: 409 E 56th Street Savannah, GA 31401 Permanent: 2421 NE 65th Street Apartment 114 Fort Lauderdale, FL 33308 Emails: Phone: (954) 802-9871

Student Architectural Portfolio  

Portfolio created while studying Architecture at SCAD (Savannah College of Art & Design)

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