Portfolio 2021 Valentina Mazu

316516468

Maldonado Zúñiga Valentina Austausch 2022-1

Vo. Bo. Arq. Luis Fernando Solís Ávila Coordinador Taller Jorge González Reyna

“...Architektura ist errstarrte Musika..."

-Goethe

Academy

Content 01 Layer(²)

02 SM Apartments

03 Holistic Center

04 Mirador do Zavial

05 Rocablanca hotel

06 Campus Hyperloop

07 Graphic representation

08 Professional

Trash Collective

09 Bonus material

Layer(²) Santa María la Ribera, CDMX Fourth semester Instructor: Bruno Bellota

Stadtmöbel Layer(²) is a lamp designed with the purpose of eradicating the main problems of the Santa María la Ribera neighborhood: Insecurity and Education.

This interactive luminaire promotes the interest of the inhabitants to know their colony and its rich historical past. Each layer connects us with the past, linking it to the present, developing a value of care for the Alameda and its surroundings.

Porfirio Díaz

El Kiosco Morisco fue diseñado por el Ing. José Ramón Ibarrola a finales del siglo XIX. Su estructura está hecha de hierro fundido en Pittsburgh. En un inicio se localizaba en el costado sur de la Alameda Central. Posteriormente, el entonces presidente Porfirio Díaz mandó erigir el Hemiciclo a Juárez, con motivo de las fiestas del centenario, en donde se encontraba el

S Dr. Atl

SM Apartments Santa María la Ribera, CDMX Fourth semester Instructor: Bruno Bellota Collaboration with: Emiliano Duarte

This graphic is the sum of our intentions regarding the interior paths in the project.

Komorebi Komorebi.- When the sunlight filters through the trees. The interaction between light and leaves.

The Komorebi concept emerged as a response to the need for a break from the city routine through the incorporation of nature; Which implies a breath for the soul.

The filtering of light through nature creates a peaceful space, a refuge from the hectic character of Mexico City.

First

volumetric

sketch.

Main

idea:

Vegetated lattices generating Komorebi.

Sketches

From these schemes, 6 user typologies were developed; Considering the different ways of inhabiting and appropriation.

Concept Model

First Floor C'

B

C

A

B

13.57

C

B'

Ground Floor A

13.57

7.74

5.83

7.74

1

5.83

1

1

3

2

4

6

5

S

8

7

9

4.35

VACÍO

1

2 1

VESTÍBULO

S

S

8 8

7 7 6 6 5 5 4 4 3 3 2

9

4.35

VACÍO

A

A

A'

COMEDOR

A'

SALA B

B

B

16

17

11

13

14

15

12

10

16 15 15 14 14 13 13 12 12 11

9 10

11 10

2

2

+3.00 COCINA

BODEGA BICICLETAS

7.37

7.37

RE

+0.15

RECÁMARA

C

13.57 7.74

5.83

1

6.35

B

A

B

C

13.57 7.74

5.83

1

CUARTO DE LAVADO

DEPARTAMENTO C 108.3 M2

A'

SALA

1

2

4

3

6

5

COCINA S

4.35

2

COMEDOR

5

1

3

5

4

7

6

C' RECÁMARA

ESTUDIO

A

A

A'

RE

11

13

14

15

16

RECÁMARA

14 13

2

17

15

12

B

10

15

GSEducationalVersion

B

B

9

11

14

13

12

10

2

+3.00

SALA

S

8

4.35

VACÍO

DEPARTAMENTO B 99.8 M2

GSEducationalVersion

ELIGIO ANCONA B

A

B'

C

5

C

B'

C'

PLATAFORMA DE ESPERA

+0.20

7

GALERÍA 46.7 M2

RECÁMARA P

RE

COCINA CUARTO DE LAVADO

9

C

4

8

6.35

4

PLANO:PLANTA BAJA

ESC. 1:75 | EMILIANO DUARTE | VALENTINA MALDONADO

DR. ATL 251 | DEPARTAMENTOS USOS MIXTOS

6.30

+0.20

ELEVA AUTOS

PLANO:PRIMER NIVEL

VACÍO

6.30

VACÍO

3

ESC. 1:75 | EMILIANO DUARTE | VALENTINA MALDONADO

±0.00

DR. ATL 251 | DEPARTAMENTOS USOS MIXTOS

DEPARTAMENTO A 94.8 M2

24.38

24.38

3

+0.20

DR. ATL

+0.20

±0.00

RECÁMARA P

VINATERÍA 36.3 M2

12

COMEDOR

11 10

+11.40

+8.70

9 8

DEPARTAMENTO E 77.3 M2

7 6 5 4 3

7.37

7.37

2 1 S

+6.00 GALERÍA

RECÁMARA

DEPARTAMENTO F 114.6 M2

C'

+11.40 RECÁMARA

SALA COMEDOR

5

Fourth Floor

GSEducationalVersion

24.38 6.30

C

PLANO:CUARTO NIVEL

B

Thir d Floor

RECÁMARA

ESC. 1:75 | EMILIANO DUARTE | VALENTINA MALDONADO

ESTUDIO

RE

COCINA CUARTO DE LAVADO

DR. ATL 251 | DEPARTAMENTOS USOS MIXTOS

RECÁMARA

5

4

B

6.35

C'

RECÁMARA P.

6.35

15

9

8

14

13

7

6

12

5

4

11

10

3

2

1

DEPARTAMENTO D 98.2 M2

C

VACÍO

PLANO:TERCER NIVEL

B

S

+8.70

3

GSEducationalVersion

4

ESC. 1:75 | EMILIANO DUARTE | VALENTINA MALDONADO

6.30

VACÍO

DR. ATL 251 | DEPARTAMENTOS USOS MIXTOS

3

24.38

RECÁMARA P.

Second Floor B

B'

A

C

13.57 7.74

5.83

1 VACÍO SALA

1

3

2

5

4

7

6

R S

8

4.35

CUARTO DE LAVADO

DEPARTAMENTO C 108.3 M2

A

A'

COCINA B 15

14

9

11

13

12

10

2

B 15 14 13 12 11 10

RE

9 8 7 6 5 4 3

COMEDOR

7.37

2 1 S

+6.00 GALERÍA

B

S

RE

9

8

15

14

7

6

13

12

5

11

10

4

3

2

1

6.35

COCINA

C

CUARTO DE LAVADO

C' DEPARTAMENTO D 98.2 M2

+6.00

COMEDOR

TERRAZA +6.00

SALA

B

5

PLANO:SEGUNDO NIVEL

4

ESC. 1:75 | EMILIANO DUARTE | VALENTINA MALDONADO

6.30

VACÍO

DR. ATL 251 | DEPARTAMENTOS USOS MIXTOS

24.38

BARRA

3

With a lightweight steel frame and a double skin glass facade, the needs and requirements of a wide variety of potential residents are considered. Users are

GSEducationalVersion

encouraged to experience the natural space through interior corridors that A

B

C

surround the patio.

13.57 7.74

5.83

1 +14.40

4.35

VACÍO

24.38

3

DR. ATL

7.37

2

ELIGIO ANCONA

PLANO:PLANTA DE TECHOS

Roof Garden

The lighting effects of the komorebi from the double skin allow us to generate different sensations to the user regarding the space in which they are.

SEducationalVersion

5

ESC. 1:75 | EMILIANO DUARTE | VALENTINA MALDONADO

6.35

4

DR. ATL 251 | DEPARTAMENTOS USOS MIXTOS

6.30

VACÍO

Holistic Center Malinalco, Estado de México Third semester Instructor: Yolanda Kelly Collaboration with: Paulina Neri

Origin The embrace of the mountain envelops the land in time and space. The mountain is witness to the transformations on earth, of human history itself, to our origin.

The main purpose of this holistic center is for the user to find a direct dialogue with his being, evoking memories and constant interactions with nature and the elements of his origin.

This project stands out for the maintenance of the pre-existing vegetation and culture in Malinalco.

The displacment acrros the site was inspired by precepts of the Taoist philosophy about origin.

We divided the program into phases

according

to

the

elements of the origin: earth, wood, water, metal and fire.

Concept Model

In these, diagrams a logical order was given to the elements of origin,

assigning:

materiality,

sensations and disposition.

Concept Diagrams

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Ground Floor Plan

Mirador do Zavial Algarve, Portugal Fourth Semester Instructor: Bruno Bellota

Bateria do Zavial is a space that stimulates the memory of Portugal. When we delve into our memories, we put the fragments together, we interpret them; in the same way that we join stone to stone to build a fortress. These memories are accompanied by the imagination.

First sketches

Concept Diagrams

Dichotomy Baudelaire said that imagination is the divine faculty that recognizes the secret relationship between phenomena of this world and the next.

Thus, the concept of "ascension" materialized. Ascension is defined as moving from a lower position to a higher one; moving up; becoming prominent; —In Old German— travel; get you up for a trip. Mirador do zavial is a set of paths that pass between dichotomous concepts: land and sea, sea and sky, past and present, present and future, life and death. It is a portrait of a journey through time Primary interior images

3D View

A) Entrance Museum B) Public access C) Museum D) Shop E) Preexistence F) Exterior Patio G) Refuge H) Museum lobby I) Storage J) Curatorship K) Kitchen L) Restaurant M) Exit (v. preexistence)

Preexistence

Earthquake 1845 Time Fracture

Ascent: past-future

Transitions in the history of Portugal.

Two volumes emerge from the ground; located among the ruins of the Bateria do Zavial fortress, they function as reproductions of protagonism. They are the connection between the dichotomies at stake. The trip through Mirador do Zavial aims to enhance the history of Portugal, guiding the user from the land to a higher place in the sea, concluding with the sky.

Ground Floor

Museum views

Hotel Rocablanca Rocablanca, Oaxaca Fifth semester Instructor: Francisco de Rivero Collaboration with: Fabricio Cortés, Paulina Neri

“The accents of the invisible mystery, the vague and vast suggestions of the oceanic world, the liquid syllables that spill over. The smell, the light crunch of the string, the melancholic rhythm, the limitless perspective, the dull and distant horizon is here. In this poem of the Ocean. "

Walt Whitman

Without a doubt, it is impossible to imagine this place without the splendor of its nature. The starting point in the conceptualization of this project was the minimal intervention.

Our main influences were: Cobbler insects: Their appearance of lightness, their subtle elevation above the water, the targeting of key points from the extension of their legs and their link Passing waves: This coming and going is a very special movement that leaves a poetic trace successively. His strength leaves behind traces of bubbling foam and fragmented pieces of shells. This is how the approach of the roads in the field arose

1. Recognition of the pre-existing

5. Interstices

2. Grid according to the orientation of

6. Union of preexistent with the arrival

the sun and wind.

of sea foam.

3. Location of key points for the

7. Extension of insects at stress points

disposition of architectural objects.

through bubbles.

4. Connection of key points from the

8. Three main concentrations. Three

stress concentration.

construction stages.

9. Smooth permanence of bubbles.

Master Plan

1. Base structure

2. Space division

3. Reed envelope

4. Roof structure

Cabin Type 2

Cabin Type 1

4. Palm Roof

1. Base structure

2. Space Division

3. Reed Envelope

4. Palm Roof

Cabin Type 1

This image aims to reflect our concern for the integration of architecture-nature, humannature. The mimicry with the context was sought, with materials of low environmental impact.

SR Apartments CDMX, San Rafael 5th semester Collaboration with Pablo Ziga and Erick Salvador

Our projection began from the following guiding axes: The C19 includes living in times of pandemic, after the pandemic and future pandemics.

MA The human-nature symbiosis.

PH The coexistence of contemporary architecture with a preexistence of historical importance.

These axes raised important questions: Is it possible to produce a sense of local roots from the isolation and separation resulting from the pandemic with respect to the rest of the city?

What relationships could we establish with the environment?

Esta gráfica es suma de nuestras intenciones respecto a los recorridos interiores en el proyecto.

Microtheater

Ground Floor

1. A: Business Belt. B: Access 2. C: Lofts with garden departments.

3. B: Circulations, D: Terrace, 4. Connectivity of the circulaDepartments typ: C.

5. D: Terrace and Roof Gar-

Program definition

Program diagrams

den. Interaction abroad.

tions in relation to typ: C.

Facade sketches

Preexisting terrace

Apartment Typ: D

Second floor

Cabañas Typ 1

We seek the expression of a sui generis character, of its own genus or species, camouflaged with the context. Acquire a sense of articulating centrality, establish a representation of identity where users can renew their presence in the world day by day, inhabit.

With these ideas in mind, our concept emerged: palimpsest. What remains is a palimpsest, a memory that bleeds into another, overwriting it.

Translating it on the facade through an overexposure of languages. The preservation of the cleanliness of the pre-existence on the ground floor, a contracting intersection between the old and the contemporary.

In the upper part, a modulation abstracted from pre-existence.

Hyperloop Desert Campus Las Vegas Nevada Young Architects Competion Instructor: Alejandro Marambio, Harris Lee. Collab with: Daniela González, Yvonne González, Oscar López.

"Dawn; the morning; midday and night, always the same; but with the difference of the air.

There, where the air changes the color of things; where life is ventilated as if it were pure murmuring; as if it were a pure murmur of life.”

Juan Rulfo

Erosion The wind runs, time passes, the rock erodes.

Erosion, a manifestation of time in nature, part of a rock; The initial rock is a victim of time. A seemingly whole body conforms to the evolutions of form; the river carving a valley, waves cutting cliffs, wind blowing on the ground, forming landslides. The transformations in the stone would not be possible were it not for the movement.

The Hyperloop is the model that will break existing frontiers towards progress, moving the world faster.

Ground Floor

Silently but not unnoticed, the Hyper-loop Desert Campus in Nevada rises.

Embraced between two mountains, the campus is a reproduction of the movement made by the wind, sculpting the stones; resulting in basins, furrowing in summits.

Starting from an initial stone that is fragmented into small pieces, patios in the shape of basins and an axis that alludes to the current of the wind, the volumes are displaced in the desert.

Graphic Representation 2018-2020

Watercolour Watercolour is one of my favorite techniques, you can express a lot with a single spot of color. I like to experiment with this technique to make sense of the colors of my projects and give them the sensitivity they require.

Notes and Sketches My notes and sketches work as an excellent way to synthesize my ideas in a few lines. I use them

frequently

in

the

project

conceptualization stage or as a tool to remember and reflect upon.

Trash collective is an initiative that was born from my dissatisfaction with the lack of environmental awareness in Mexico.

Cloth-based bags are intended to replace plastic bags.

The graphics show the problems in a laidback way; They function as constant reminders that it is time to take action.

Public responses have been very positive to date.

Bonus Material Landscape Taller paisaje entorno

¡Vielen Dank!

Valentina