AUSTIN ROBERT MADRIGALE
a works collage
austin robert madrigale
A WO R K S A RC H I V E
ARCHITECTURE PORTFOLIO
TEXAS A&M UNIVERSITY
UNDERGRADUATE
2015-2019
AUSTIN ROBERT MADRIGALE
A WO R K S A RC H I V E
This portfolio is an assemblage of conceptdriven design projects crafting the body of my architectural explorations thus far. Each project having its own architectural theme and each drawing, having its own representational purpose in the composition of the whole. This collection follows themes of processes, graphical experimentation, theoretical investigations, and quirky executions all working in tandem to answer questions of architecture of different programs and at varying scales. Through further pursuits in the field of architecture and design, my hopes are to continue adding to this ensemble, expanding upon the themes introduced and discovering more along the way.
THE COLLECTION
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RESIDENTIAL PANOPTICON IMPERFECT PLACES VAULTTM URBAN FUNHAÃœS THE CUBE LOST IN TRANSLATION DIGITAL MISFIT
01
DRON E V I SION
RESIDENTIAL PANOPTICON
RESIDENTIAL PANOPTICON
MACHINE VISION. This studio looked at how we can create tectonic design and image analysis through the utilization of open source machine vision libraries in parallel with custom agent based tectonic software to reexamine architecture’s relationship to the image as generative device and the context as a cultural entity. Beginning with our site in Los Angeles, CA, we utilized various scripting tools to establish an interfacial relationship of the context. Using that analysis, a mask was generated highlighting nodes of importance and spatial connections. A translation from pixel to voxel geometry and deployment of discrete elements was then made from the mask to create a massing for a hyper-articulated mixeduse residential building. In Michel Foucault’s Discipline and Punish he gives a critique on the American prison system with a particular discussion of disciplinary mechanisms of panopticism. New media technologies as well as increased governmental surveillance has created a Virtual Panopticon in contemporary society. In under a decade, free online services like Facebook, Twitter, and Instagram have utterly transformed how we work, play, and communicate. Our generation has turned into a group of stalkers and exhibitionists, a social entanglement of both panopticon and synopticon. By sharing we make our thoughts, experiences, and feelings transparent, and visible to an always watching digital audience. This new typology of surveillance has led way to an increase in social isolation. In a similar way that the panopticon isolates the prisoners by disallowing social interaction amongst inmates, our increased technological immersion has led to introvertedness and isolation. Addressing these problems of contemporary panopticism and social isolation, we began to speculate on an architecture for solidarity through an environmental immersion of technology in which a synergy of machine and architecture creates a virtual reality through use of programmable screens embedded in the geometry.
MACHINE VISION HOUSING
RESPONSIBLE FOR: SITE ANALYSIS, MASK GENERATION, MASSING, RENDERINGS, PLANS, AND ARGUMENT
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T4T LAB SPRING 2017
TEXAS A&M UNIVERSITY
PROF. CASEY REHM & GABRIEL ESQUIVEL
TEAM: CHRISTIAN STILES, YSAAC BUSTAMANTE & OZZY VELIZ
interfacial analysis mask
satellite vision
voxel chunks from mask pixels
ground level - retail
level 05 - offices
level 08 - condominiums
Google Earth vision
iPhone vision
interior oblique of apartment unit
screen embedded wall detail fabrication
discrete deployment on apartment unit
Amazon Rainforest bedroom
Time Square living room
Antelope Canyon dining room
TAKE IT TO THE RUNWAY. oct. 2017
02
NEW FALL TRENDS TO GETTING 6 + TIPS A SEXY SECTION EXCLUSIVE SPECIAL ON SPATIAL ARTICULATION
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TA BLOI D C OV ER
IMPERFECT PLACES
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introducing...
THE ART OF
DISTURBANCE
IMPERFECT PLACES VR SPATIAL STUDY
UG3 STUDIO FALL 2017
This project focuses on the importance of the architectural section in the animation, articulation, and activation of a space. What began as an aggregation of primitives in elevation, an animation of space was achieved through booleans of “objects’ taken from the initial massing. These objects start to articulate the space by creating a unique surface logic to the interior. The interior begins to imitate similar logics found in Piranesi’s Carceri drawings through the flattening of layered spaces blurred together by a manipulation of perspective. Through a diagrammatic analysis of the section of the object, cuts made along regulating lines can allow for a shift in space thus activating more inhabitable areas throughout. This was also an investigation in the occupancy of a space through virtual reality. The spaces throughout called to question the idea of the human as an irritant, an agent of disturbance in a space, manifested both physically and virtually.
TEXAS A&M UNIVERSITY
PROF. VAHID VAHDAT ZAD
01 - Massing of aggregated primitives
02 - Shearing cuts to create apertures and figural waste
03 - Trashed objects recycled in interior
04 - Activation of plan and section
a look throughout
dis[SECTION]
03
SPY K I D S 3D : GA M E OV ER V I BE S
VAULTTM
VAULT TM
VAULTTM is a proposed multi-use facility for Downtown Dallas across from Klyde Warren Park. VAULTTM is composed of one Vessel and two towers. The Vessel serves as an appendage to the adjacent Perot Museum of Natural Science in response to plans of future expansion from the museum to the site via a pedestrian sky bridge. The two towers are reserved for leasing space in response to the highly valued real estate value of the site with the intentions of producing revenue for the complex. Our appendage proposal is a space for space, a repository for cosmic curiosities, or more simply put, a space junk museum. The program selection informed formal iterations and surface articulation for the final design expression. The Vessel was lifted with the intention of clearing the space below to extend the public and pedestrian condition of Klyde Warren Park into the plaza of VAULTTM. By reinserting the Vessel into the towers, the tower program reconfigures itself into public/retail/exhibition space at points of insertion. This insertion thus divides the tower into lower public space and upper private space. The wide range of program and types of objects within VAULTTM lends itself to becoming a microcosm in and of itself. The interest in the microcosm prompted an investigation of the Cabinet of Curiosities. From this investigation the notion of the display at varying scales was extracted. This led to an argument in which architecture operates as a display through voyeuristic expressions of materials, tectonics, structure, objects, people, program, and circulation. For the purpose of this project, the exhibitionist towers are composed primarily of glass (to display the activity within to outside observers) and exaggerated steel columns and beams (to display the structural conditions of the architecture). The Vessel takes on a responsibility of architectural display through the continuity of the planetarium object throughout the floors and the exhibition of the space junk from a multitude of viewpoints, including to the plaza below as a result of the curtain wall underbelly. Display of the occupants occurs primarily through strategies of circulation. Voyeuristic circulation within VAULTTM relies on the large main ramp within the Vessel, the open atrium within the towers, the exposed egress and elevator shafts, and the transition tubes between tower and Vessel. Through strategies of architectural expression, VAULTTM becomes a voyeuristic probe for Downtown Dallas.
DALL AS REPOSITORY FOR COSMIC CURIOSITIES
RESPONSIBLE FOR: PARTI, MASSING, RENDERINGS, SECTIONS, WALL DETAILS, AND RUMP CUT
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INTEGRATED STUDIO FALL 2018
TEXAS A&M UNIVERSITY
PROF. KOICHIRO AITANI
COSMIC COLLABORATIONTM WITH EMILY MAJORS
Dallas nolli
underbelly
Dark Matter LoungeTM
tube shot feat. KUKA ticket taker
towers: +304’
V4: +124’
steel & crossbones
324.0’
124.0’
104.0’
84.0’
64.0’
4.0’
LONG CUT 1/16”=1.0’
V3: +104’
V2: +84’
V1: +64’
ground: +04’
long cut
wall cut and structural details
ALUMINUM PANELS
GLASS APERTURE
SW TOWER PRIVATE TRANSFER TUBES TRANSFER TUBE SEALS SW TOWER PUBLIC TRANSFER TUBES TRANSFER TUBE SEALS
STRINGER
VESSEL CIRCULATION
TERRACE/NE TOWER TRANSFER
PLANETARIUM EXIT PLANETARIUM SHEATH PLANETARIUM ENTRANCE NE TOWER TRANSFER TUBES TRANSFER TUBE SEALS
MONOCOQUE STRUCTURE
SUSPENSION JOISTS
STRINGER
GLASS PANELS
exploded vessel
RUMP CUT rump cut
04
PL AYGROU N D H A ZA R D S
URBAN FUNHAÜS
URBAN FUNHAĂœS REFINERY REDUX
UG3 STUDIO FALL 2017
This project speculates on a form of social housing that challenges contemporary architectural housing conventions for a clear pursuit of an upheaval of the accepted norm through a reuse of familiar typologies reacting against the nuclear family of straight extrusions in contemporary architecture. A lot of repetition can be balanced with a stark opposition. The project serves as a microcosm imagining possible new spaces from the interaction between already existing forms or ideas by taking recognizable industrial typologies and rearranging them into a creation of a new yetto-be that is simultaneously beautiful and scary. Simple parts, hectic whole. The tongue-in-cheek approach to the project responds to the context of our site in the Fifth Ward of Houston, Texas. A large population of homeless are being shooed away to make room for bars and clubs, apartment complexes, and boutiques. The Urban Funhaus and its industrial aesthetic abnegates the gentrification of the area and highlights the failures of capitalism and its ideals through its exploitation of resources environmentally and economically. A representation of a dream that was dreamt for us. The traditional white picket fence is replaced by a collection of pipes and beams revealing the inner mechanics we so desire to hide, while the stability and security that comes with a home is under constant reconstruction never reaching its final form. This hyperbolic overkill of the established ideal of conventional housing allows for an architecture to serve as a vehicle for a commentary on the corruption of ideals and standards rampant in our society.
TEXAS A&M UNIVERSITY
PROF. VAHID VAHDAT ZAD
simple parts//hectic whole
work
LIVE
PLAY
WORK
UNIT PLAN
container plan
live
play
nuclear family
at night
on site
section inspection
05
C U BE G OE S TO M A R S
THE CUBE
THE CUBE
DUALITIES. Parts//Whole. Solid//Void. Absence//Presence
PRIMITIVE PL AY
The cube is one of the most basic and versatile three-dimensional geometric objects. We can define it mathematically as a whole to understand its scale, position in 3D space, volume, mass, context, etc. The challenge for this project was to explore the dialectic relationships of parts-to-whole and solid + void by dissecting a cube into three equal parts that can be reassembled back into the whole. Without void or waste of material, the cube must be held together by friction alone. The forms of the pieces were discovered through booleans of different scales of both additions and subtractions. The project was fabricated out of a wood block using CNC milling and woodworking saws. A later exploration of the project led way to understanding the cube as an ontological object. How does the cube respond to scale and context and how do humans (or objects) interact with the cube on the interior and exterior? The cube was imagined in new realities through articulation of space, materiality, and form.
UG1 STUDIO SPRING 2016
TEXAS A&M UNIVERSITY
PROF. RENE GRAHAM
cube in pieces
cube as desk toy
cube defining space
cube as building
06
PI A ZZA L A BY R I NTH
LOST IN TRANSLATION
LOST IN TRANSLATION THE NEW WELCOME CENTER
STUDY ABROAD SPRING 2018
This project reinterprets architectural languages vernacular to the Tuscan region in an attempt to create an estranged form that could serve as a welcome center and public piazza for the town of Castiglion Fiorentino. Four elements: the parking lot, the building, the lower level, and the road, all needed to be unified in order to make the project work. Through analysis of the flow and circulation of the buses, people, and ground, a formal assessment was made and then layered three dimensionally by their hierarchical importance while finally being “wrapped” to create a unified whole. The edge has a historical significance in the city of Castiglion Fiorentino with it being surrounded by one, a wall containing the buildings and its inhabitants of the old town. This was reflected in the programming of the object as edge became a unifying factor among the highly faceted mass. A continuous strip that evolved from ground to wall, wall to railing, and railing to roof. This served as a vehicle for the creation of a rooftop terrace for taking advantage of the views of the Tuscan landscape, and events held within the piazza across the street as well as lifting and descending to reveal the entrances to the center. The facade is stone cladded and textured with a pattern of the Val Di Chiana region’s agricultural fabric. The parking lot piazza is defined by a topiary labyrinth with a well and underground cistern for water collection as well as covered awnings to host the weekly farmers market and local vendors. Through the contemporary translation of historically significant building tectonics, design, and traditionally Italian architectural languages, the form loses its origin and becomes its own present piece of Castiglion Fiorentino welcoming visitors and serving the locals. We as the Tuscan transplants attempted to use the design knowledge we are accustomed to, as well as interpret our understanding of the techniques that are vernacular to the area and this sometimes gets lost in our iterative translation of the design due to our preexisting notions of what our familiar contexts teach architecture to be.
CASTIGLION FIORENTINO, ITALY
PROF. MICHAEL O’BRIEN & PAOLO BULETTI
site flow
circulation analysis
form articulation
piazza map
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LEVEL -01
EXPLODED AXONOMETRIC
1. Co
2. Dir
3. Dir
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5. Sta 6. Re 7. Re
8. Ga
circulation path
street view at dusk
07
VA PORWAV V Y A XONOM ET R IC
DIGITAL MISFIT
DIGITAL MISFIT MIYAKE FL AGSHIP GLITCH
UG2 STUDIO FALL 2016
This studio deals with indexicality and translations from analog to digital and the study of a mid century modern home and a dress by fashion designer Issey Miyake. My project is about the effects of data translation and the use of the glitch as representation to create a programmatic commentary that engages in a new speculation on reality. When translating from my analog to digital model, the hi-poly, faceted physical model saw a loss of data which resulted in a simplified lo-poly shell. The dress was then used to boolean out the shell which led to even more of a loss in data. Through this digital game of translations from Maya Binary to .obj to .3dm, etc. This digital misfit known as a glitch was introduced. It created misalignments and loss of data that was able to be capitalized upon in the skin of the object and the interior program. The glitch was then used as a means of representation but also used to convey program. The glitch produced spatial articulation with its configuration of the poché and activation of the ground. The glitch also served as a vehicle for a contextual commentary for our site in Houston. Fashion and nightlife in the city was reflected in the building and underground. Above is a retail store, art gallery flagship for designer Miyake with the underground being a Piranesian bunker erotica representative of a contemporary “Garden of Earthly Delights.” The farther down one goes the more risque the social scene becomes. This touches upon a glitch in our social code speculating on realities where censorships of eroticism and sexuality are questioned, blurring the lines of what is and isn’t accepted in our society.
TEXAS A&M UNIVERSITY
PROF. GABRIEL ESQUIVEL
stereoscopic detail
01 - showrooms
02 - gallery
04 - auditorium
05 - xxx
datamoshed exploded axon
01
02
03
04
05
section glitch//code as poche
The Underground figures: Garden of Earthly Delights by Hieronymous Bosch
AUSTIN ROBERT MADRIGALE
EDUCATION
+1.702.513.4549
AUSTINMADRIGALE99@GMAIL.COM
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