CĂŠsar M Espinoza
University of Illinois School of Architecture Academic Portfolio Spring 2011- Fall 2012
SPRING 2011 CHRIS FRYE
RHINO CEROS
Theater Stage Design The choreography of the model begings with the entire form enclosed on itself. As it progresses into the next stages, it begings to unfold in sets of groups which we define as the legs. The local connectons are able to contort within the grouping allowing for specific movement and distortion appropiate for the scene and movement. This type of performing object can be used on any of the four theater stage settings; Proscenium, Traverse, Thrust and In-the-round.
[System Run down] Our model begins as a solid closed composite of irregular triangles, pivoted together using a custom joint. The joints allow the model to pivot itself as well as a grouping. These grouping act as a global connection, it begins to break apart from the closed composite branching and forming a more distorted volumetric form. The local connections are able to contort within a grouping allowing for specific movement and distortion according to the scene and environment.
[Assembly] Each triangle is constructed of acrylic white plastic, and inner lined with a textured fabric. The distorted textured opening form when compered to the clean white composite gives more significance to the overall movement. The custom joint is a pin hinge, in which threaded metal rod connects and rotates within two clear acrylic rods that are fused to the acrylic triangles. This hinge is then caped with a nut to keep it into place.
FALL 2011 SARAH BLANKENBAKER
IN THE NAVY
My proposal for Navy Pier is driven by the idea of incorporating more landscape and architecture into the modern city. The main characteristic of this project is the circulation path which defines the space and shape of the pier. The landscape is devided between hard and soft surface, and the relationship between both varies by island. My project reads as landscape from the interior and architecture from the exterior. The pier’s programs adapt to the climate of the city of Chicago. For instance, the pool area can be used during the winter as an ice rink for the public. Also the skate and bicycle park can be used as a small recreational ski area. There is also a fishing area and a beach area where the public can swim and enjoy the summer season. .
ISLAND HOPPING
HARD VS SOFT SURFACE
1
3
2
1- 2 ENTRY PLAZA 3 POOL / ICE RINK
4
5
8
6 7
6 TRANSPORTATION PLAZA
13 12
10
9 HALL OF CIVIC EXCHANGE
7 RESTAURANT / RETAIL / SHOPPING
10 FISHING / PICNIC AREA
8 EXHIBITION / SKI / SKATE PARK
12 LOADING / BOARDING DECK
4 GARAGE 5 CHECK-IN INTERN. / NAT./ SERVICE
11
9
11 TOUR BOATS / SERVICE
14
13 RESTAURANT / RETAIL 14 EXHIBITION
LSD
TEXT
CAR CIRCULATION PEDESTRIANS / BICYCLES
LSD
E. GRAND AVE.
ROOF PLAN SCALE : 1” = 100’ - 0 0”
ILLINOIS ST.
SECOND LEVEL PLAN SCALE : 1” = 100’ - 0”
FIRST LEVEL PLAN SCALE : 1” = 100’ - 0”
SECTION SCALE : 1” = 100’ - 0”
SECTION SCALE : 1” = 50’ - 0”
SECTION SCALE : 1” = 50’ - 0”
SECTION SCALE : 1” = 100’ - 0”
SCALE: 1” = 200’ - 0”
SCALE: 1” = 200’ - 0”
SPRING 2012 LAURA FELDBERG
URBAN CAVITY
Herold Washington Library This project is created by adding, subtracting, pushing, and pulling modules as a means to move beyond pixelazation. The main intention was for the library to read as urban architecture from the exterior and the interior facades. The pixelated design of the project allows for a variety of communal spaces and public passage. Also, the pulling and pushing pixels allow to bring the exterior facades inwards, and the deep exterior spaces merging modules create a continuous public route. Furthermore, the public route meanders from the three main entrances upwards through the entire building, and it connects all private spaces with the communal areas.
STARTING GRID
AREA TO OCCUPY APPROX. 7077888 SQ. FT.
FUSING MODULES TOGETHER TO CREATE OCCUPIABLE SPACE
BROKEN DOWN TO SINGLE MODULES WITH THE SAME VOLUME.
PUSHING / PULLING ADDING / SUBTRACTING
BRINGING EXTERIOR SPACES INTO THE FORM
INTERIOR PUBLIC SPACE/ CIRCULATION
COMPOSITE
STACKS
ADMINISTRATION
COMMERCIAL
COMMERCIAL
CIRCULATION
STACKS
ADMINISTRATION
INTERIOR PUBLIC SPACE
PROGRAM PLANS
UNFOLDED SECTION SCALE: 1/64” = 1” - 0”
PROGRAM SECTIONS
W. CONGRESS PRKW.
State St.
Plymouth y Ct
SITE PLAN SCALE: 1/64” = 1” - 0”
EAST SECTION SCALE: 1/64” = 1” - 0”
S. ST AT E
EN
ST .
ST.
UR
NB
VA W.
S. PL YM O U TH
S
ES
GR
C T.
ON
C W.
ON
RIS
AR
H W.
“L” TRAIN LINES BLUE ORANGE PINK PURPLE BROWN RED
ST.
SECTIONS SCALE: 1/16” = 1’ - 0”
PLANS SCALE: 1/16” = 1’ - 0”
GROUND FLOOR
FIFTH FLOOR
FALL 2012 THOMAS KELLEY
WRONG FACE
My version of the ‘wrong’ is to turn every space and building in the city of Chicago into public space. In this new version of the Chicago Symphony Center there is not such thing as private versus public space, everything is public realm. It creates an environment where the audience is everything and anything, anyone and everyone. Everyone in the city is exposed to performing and visual arts whether it is by choice or by accident.
1. Initial geometry of the building.
3. Applying the deformation by pushing the Facade towards the inside
1. A strong pull and stretch on the flat facade of the building towards the interior space while projecting the details of the facade on the newly composed interior/exterior surface. The strange funnelling mouth inserts an organic asymmetry to the boxy edifice making it more atractive to the eye.
2. Area to be desorted, Face.
4. Final result.
2. Using the projected facade on the surface to accomodate the seating for the audience inside the orchestra hall. The projected facade serves as balconies for the people on the upper floors. It feels like looking out the window towards the interior of the same buildng instead of towards the outside.
Projecting the detail of the facade onto the new surface to preserve its essence.
Section to be detailed. Projection on the surface
3. A playful and unforgettable funnelling mouth look.