Astrid Cruz
“I don’t think that architecture is only about shelter, is only about a very simple enclosure. It should be able to excite you, to calm you, to make you think.”
Zaha Hadid
Astrid cruz
Undergraduate Portfolio 2018-2019 School of Architecture & Community Design
TABLE OF CONTENTS
Intro to Design II
LE PETIT CABANON
1 Intro to Design I
MOVEMENT IN A FIELD
2 Intro to Design I
LIGHT BOX THEATRE
3 Intro to Design II
THE WALL
4 Intro to Design I
KIT OF ELEMENTS
5 PERSONAL WORK
6
BUSY PAGE
Le Petit Cabanon Intro to Design II - Nancy Sanders
Process sketches
Organic Structures
A conceptual representation of an organic element in amalgamation with an abstracted diagrammatic that creates an architecturally constructed system that develops a language throughout its overall project.
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Abstract diagrammatic
1 Spatial detailing creates a vertical connective program exalting the human condition through the circulation of the structure. 2 Diagram visualizes the atmospheric condition of the environment and its connection to the infinite landscape by showing the systematic qualities of the water and its fluid movement, synonyms to the circulation of the structure.
The Outside House
The purpose of this project was to explore how the infinite environment can Interact with the built structure. By creating a program with minimalist Functionalism where few amounts of people can inhabit in a small cabin-like Structure and domestic program that connects to the nature surrounding its habitation. The model is composed of smaller scale spaces that create a shared environment for the public condition. The domestic program creates the utility of the building to be more private and personal, when connecting to the infinite environment.
Multi-functional sequence of spaces, exalting the importance of movement created by the plexi glass strips which represent water as an abstracted element in this design.
By focusing on the overall meaning the cite brings upon the experience
throughout
the
built
structure, I was inspired to devel-
op a spacial abstraction of this
environment by translating some of the elements of nature into an
organized design. An example front view
being the representation of water
translated through the plexi glass strips, creating the elicit move-
ment and tranquil feeling water brings. The form of the rock be-
comes abstracted with the sole purpose of challenging my skill
of trying to represent an organic element through architecture, and back view
idea brought to me when doing research on Frank Lloyd Wrights
philosophy of form following function. When learning his inspiration on the Hollyhock House, where he created an abstracted deco-
ration of hollyhock flowers for the exterior of the house, I focused on top view
a similar process analysis when designing the abstracted vertical element that represents the rock.
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Organic vertical element 1 The graphic form conceptualized the
overall structure of the rock, highlighting the different connections that create the vertical connective form in the design of the armature 2 The rock is meant to represent unity and strength, by holding all the elements of the design together and grounding every system not only visually but conceptually as well.
sarawakborneotour.com
vertical connective space
S This main space is perceived as my hierarchy because every system in my model is bleeding into it and at some point, tracing back to its experience. The linear elements show the circulation throughout the spaces which lead you back to this main space. The floor below it aligns to the bottom of this space creating a moment where you can look up and get a sneak peek of the experience that lies`above, which will evoke a moment where the individual would want to go experience it. There is also a glass floor under the water of the model with the purpose to create a moment where people can swim under the house and experience the idea of the sublime, as a part of our planets existential reality filled with impenetrable obscurity.
Different spatial qualities created by altering the light source
Obscurity of forms
I tried emphasizing this idea of the sublime in my model by creating a system of
multi-functioning spaces that in a way can be portrayed as very overwhelming and per-
haps even overpowering in comparison to the human scale. Then I contrasted this
with a more personal and open sequence
of spaces on the other side of the house.
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The Sublime
Movement in a Field Intro to Design I - Hala Barakat
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The main character who had amnesia experienced a sequence of events that lead to a murder that he was
not able to remember. I tried to express this feeling of being in a tight situation, where
you can not escape from, by creating a wall like structure that is floating in the center part of the overall Project. This da-
tum like program is meant to be very compressed with a overall movement that takes you back where you first started. At the end of the pathway there is a threshold moment that
leads no where, to express what happened in the movie, where the character felt all these emotions of confusion that lead him no where due to his amnesia, exalting the concept of his involvement in this unfinished journey.
Unfinished journey
Wall study
In this project I was presented the challenge of analyzing the film Memento and transferring that information architecturally. My concept and the theme of my project is an unfinished journey, which is what I felt the movie was expressing. The purpose of the overall project was to explore how a landscape can be manipulated while creating a program that returns you to studying the essence of space. The overall matrix of the model consist of the emotional aspects of the movie that are becoming translated architecturally. While creating the plexi system I analyzed the different spacial elements of the model where I believed the major events from the movie where occurring. I scored and frosted the plexi accordingly, which created visual connections that aligned parallel to these major spacial components.
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Non verbal connections
System of connected elements through visual uniformity to create movement and fluidity of spacial elements. The model has a major movement that connects to the heart of the project establishing a focal point. The pedestal connects this focal point with the use of scoring, and an angle that forces movement towards a different direction which is parallel to the main direction of the model.
Unfinished Journey
The overall message obtained from the movie was the observation of a man undergoing through the process of an unfinished journey since he had amnesia. I represented this concept architecturally by developing a movement that inevitably leads you back to where you started. The program creates a greater human story, of an unfinished journey to exalt a stronger human condition and express architecturally the feeling of having amnesia.
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Cross Section
1 The cross section reveals
the close relationship between the landscape and the vertical structure’s visual connection in the program of the model. 2 Defines spacial qualities through the vertical circulation of the cite while being under the surface of the landscape.
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Manipulated Field
1 The field represents the earth in its abstracted form. It’s abstraction leaves room for the mind to ponder it’s obscure matrix, which is synonymous to the lands on any planet. The armature and the model are supposed to be embedded within each other to express the importance of their relationship, which is elaborated by creating an element that is having a visual conversation with the landscape.
2
2 1
1
2
2
1
1
2
1
Abstracted plan drawing
drawing emphasizes the hierarchy of the model by highlighting the main axis of the program and revealing sectional qualities of the final model’s circulation
1
The matrix connects both the movie and the model in a metaphysical way in order to strengthen the concept of the program and create a architecturally constructed story emphasizing the geometric relationship between spaces.
2
2
Field view dynamics
Aeriel shot of model that expresses the different systems coming together while the model morphs itself into the landscape.
Light Box Theatre Intro to Design I - Hala Barakat
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The Matrix
Hyperspace
The abstracted diagrammatic visualizes my interpretation of the spiritual space depicted in this scene of the movie. It’s meant to express light and the way it projects itself in a higher dimensions of space and time, with the purpose of symbolizing the belief that many spiritual leaders also reside in a higher dimension.
shadow structure of the matrix
spiritual space in the dark
scene from movie Colombus
constructed masses
axonometric drawing
After this the movie continues with the theme that his son isn’t appreciative towards what his father does, (it’s even evident through the choice of house during his stay in the town, a Victorian-style bed and breakfast that seems to be the only large structure in Columbus without a Bauhaus style.) Yet throughout this he does things subconsciously that are very much synonymous to the viewers perceived understanding of his father. An example being these two scenes. Captured in the same and only spaces that his father was shown in the movie. I found it beautiful how his son can try to make himself believe that architecture doesn’t affect him, but in many ways his way of behaving warps back around to his father. He even visited the same space where his father passed, showing a sense of synonymous actions. Perhaps meant to symbolize how after his heart break he also died, and to seek peace, he revisited the space his father found the most compelling.
scene from movie Colombus
Transformative Architecture
The development of the main character
changes as the movie advances; I tried to
conceptualize that observation by altering
the system of enclosed spaces to be mainly in the entrance of this abstracted theatre,
in contract to a sequential system of open spaces; Symbolizing how the character was originally closed-minded about his father’s
ideologies concerning architecture versus his
open ended transformation that occurred as a sequence to him falling in love. This ob-
servation becomes expressed in end of the movie when they capture a scene of the son,
in the same space they introduced his father which was where he ironically ended up dypersonal/ spiritual moment
Interpretation of scene in the movie shown above
ing in the beginning scenes of the movie.
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Connective Tissue
Armature system that develops form in a structure that transcends to a meaningful landscape when connecting to the overall program.
longitudinal cross-section
plan drawing
I tried to create a spiritual journey
throughout
the
spaces
where one can experience different
emotional transitions.
Starting with an open court, almost synonymous to Mies Van Der Rohe’s Pabellón de Barcelona. The linear elements create a system of non directional movement,
symbolizing
the
different individual journeys one can go through within the matrix of the structure. The thought of the emotional experiences encompasses
endless
possibil-
ities, allowed me to relate the concept to spiritualism which also has an endless sense of possibility. The meaning of the “light” within the theatre is meant to represent a potent force on a metaphysical level. Wherever the light is the brightest, the more intense the spiritual space. Wrapping back to the concept of light, and how hyperspace theory explains it might be the overlap
of
4th
dimensional
space and time, with a higher unexplained dimension, in my project symbolizing what humans depict as the heavens.
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The Wall
Intro to Design II - Nancy Sanders
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Plan Study
Droddle visualizes the field view of the cite while constructing the topography on 3-dimensional diagrammatic 2 sectional qualities reveal the main axis of the program
1 plan view of model and manipulated field
Creating a field
In this project we were told
to build a constructed wall that interacts with a manipulative field.
My first step
was analyzing how the building touches the ground, and working on developing a language that is coming out of this hybridized landscape.
I tried to systematically place some of the main spaces in
my model to create an emotional journey through the progression of the building.
Since this is a cite for USF veterans I wanted to not
only show the significance of their place here at the
University of South Florida
but also demonstrate their overall importance through this transitional cite, which
can translate into a transformative structure meant
to detach the chaotic world and explore a more peaceful
and meditative habitation.
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Hybridization of a Manipulated Landscape
The earth being manipulated in an ambiguous form, is expressing its relationship to the human condition. Humans desire to be connected with nature, an experience emphasized in the overall system of The Wall, which is floating on top of the water, yet residing some what underground creating a overpowering emotion.
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Perspective drawing in the same field view of model picture from pg. 53
At first when walking up the stairs of the building I tried to create this threshold moment where you can feel you are somewhat part of this building but continuing to reside in the landscape. During this experience I wanted to show the importance of veterans by placing their names on this wall where the people who are coming to the building for the first time can admire, touch and recognize their importance while progressing through the building. While you continue, the different systems begin to become more compressed and exploded, which separates the different experiences you can feel throughout the building. You can either stay downstairs and be in more open spaces, or you can explore more of the building and seek those more personal moments and enclosed spaces.
Conceptual uniformity
Threshold moment where one can feel part of a civic and institutionalized program yet continue to reside in the landscape. The blue datum system directs the major movements within the program of spaces, that leads one to experience the hierarchy which is embedded within the core of the model.
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I tried to create a language with the museum board system by incorporating it to my cite. The purpose of this was to create an elegant gesture where the landscape bleeds into the model and wraps around it. I also tried to construct the same gesture with my armature system and blue datum system to show how this language keeps reinterpreting itself in different conditions through the hybridization of manipulated landscape.
This creates a sense of connectivity throughout my whole model, not only visually but systematically. The reason why the scales are blue is simply to connect this concept, since the people are the ones experiencing the spaces, then they are the representation of movement throughout my model. This blue datum line also helps exalt my hierarchy, which is where all these systems come together on this part of my model.
Connective Field
Since this overall project was focused more on the movement through a field and the progression through different narrow spaces I made this concept my most important system. I did this by highlighting the plexi glass blue on a 3 dimensional plane field to show the major movements of this structure. The system continues and bleeds in to the landscape creating a datum line to symbolize circulation and progression through the overall journey of the cite. The linear elements symbolize the pathways on which different spacial qualities are expressed, contrasting narrow and open spaces.
Perspective Drawing
1 Perspective visualizes the atmospheric condition of the structure, expressing how colors can affect the mood of spaces and it’s overall environment 2 Diagrammatic conceptualizes how the wooden armature which is meant to symbolize the veterans, (by including their names on it) bleeds into the hierarchy of the model constructing a meaningful system through the circulation of the program
Exalting the human condition
Architecture creating moments of connection between the casting of shadows which create an transformative program.
Kit of elements
Symmetry and rhythm
Purposeful cut out pieces of the armature crate apertures, while also strategically aligning to adapt with the shapes of the model, and visually emphasize the interconnectedness of the two forms. Strategic relationships form between the large scale and small scale model by including many similarities in the apertures of the forms and alignment of the planes. It reciprocates a reaction between the masses and it creates a sense of repetition.
shadow conditions creating visual diagrammatic of the structure
assemblage When designing the Kit of Elements, I included a sequence of geometric shapes to show different relationships within given spaces. The different layers of the project, including the vertical and horizontal planes, create liner movement throughout the model to allow proper circulation through the system of spaces. I tried to emphasize how two of the spaces can contrast, one being very complex while another being fairly simple and non-directional. It creates a hierarchy and allows the movement of masses to have more fluidity. The linear elements allowed me to emphasize this concept by controlling the direction of linear movement through the model, as well as connecting the relationship between the masses.
Spatial awareness
Through the exploration of abstracted concepts one can begin to understand the process of design on a more interpersonal level. The objective of constructing simple post and beam structures into habitations of living demonstrates the power and aptitude of our built environment. The abstraction of certain spatial dynamics can allow one to understand architecture on a more in depth level, beyond their unadulterated ideologies of construction. The process of designing begins with simple planes, that intertwine themselves into multidimensional visual realities, impossible to build at first, but by allowing the mind to explore past its limits, that is where true knowledge grows.
cross section drawings
axonometric drawing
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Personal Work
John Lennon- Shadow Study Summer 2018 4th Acrylic painting 6 hours
Interpretation: Michaelangelo’s Sistine Chapel Ceiling Summer 2017 Pencil Drawing 4 hours
The purpose of including the background of the dead yet colorful roses was to contrast the beauty held within the dead and alive which expressed the vagueness of my artistic creation. The rose pedals at one point were realistically comprised of life, and although they’re dead, their meaning will still remain since they’ve reached a state of permanence, which can also be partially true for the whole piece of art. But the idea of life depicted in the image drawn will never compare nor be homogeneous to the qualities of the rose pedals. Since the image drawn of Michaelangelo’s famous work of art in the Sistine chapel ceiling, never previously had life, the art work is a pure visual representation of a strictly fabricated idea that was painted and written by humans. The rose pedals are another form of creation, amongst the vast majority that weren’t formulated to fit “God’s” image, which is another theme that contrasts the meaning of the art. This elusive idea that “Man” created another “Man” was thought to be beautiful for many of the Christians in that era. I chose to emphasize beauty in something other than just humanity; the objective was to display something greater than just the human species as illustrated in the original scene, and I included rose pedals as a symbolic gesture to represent and illuminate nature and to draw away from the famously drawn image.
Sleeping Buddah and Vang-hos Starry Night November 2016 Second Water color Painting 5 Hours
First Water color/ Acrylic painting January 2017 4 hours
Abstracted word: Love December 2016 1 hour
Abstracted word: Life December 2016 30 minutes
Contrast Study May 2013 2 hours