Portfolio by Crystal Barraza

Crystal d e Lourd es Barraza

Table of

Content Architecture 01 02 03 04 05 06 07

Crossroads Rehabilitation Los Angeles Connection Station perfunctory inquisition of Monterrey Savannah chatham intercultural mediateque LeConte Woodmanton Plantation The Bulwak Typology Disoriented Through the Human Psyche & Five Senses

Sketches Furniture 08 Digital Modeling and Fabrication 09 Luminescene 10 Iconic Design Photography

ARCHITECTURE

Crossroads Rehabilitation H.O.P.E. Center Helping Other Prosper Everywhere Rehabilitation Center location Chicago, IL

Designing metaphorically with the idea of the puzzle, the architecture shows how using an existing building connects a neighborhood. Adapting to reuse a school in the greater Englewood allows to connect the idea of rehabilitating both a person and a building. The focus is on exploring the integration of social services, counseling, education and safety for the residents of Englewood that empowers them to prevent gang violence and improve society. The architecture has integrated social services and gang prevention programs

that will promote a safer environment, elevating the living quality of the community and residents. Exploring the idea of creating a prototype center in the heart of the issue for the community that will foster social service in gang preventions and counseling. The intent is to create a program that will serve as an ambassador trade and life skill training center for the city of Chicago.

Courtyard

Proposed Site Plan

W 62ND ST

Ground Floor Plan

Proposed Conditions for the Sidewalks Included

W 62ND ST Bus Stop

S RACINE AVE

S ELIZABETH ST

1. Building Parking 2. Re-Entry Residency to Society 3. Courtyard 4. Police Branch Residency 5. HOPE Center for Rehabilitation 6. Overfill Parking

Emergency Exit

Mindfulness Counseling

Counseling

Storage/ Maintance Room

Emergency Exit

WOODS ACADEMY EXISTING

Life Skills

10 7

Waiting Area

S RACINE AVE

S ELIZABETH ST

Anger Management

9 transitional

Space

Playground 10

Police Residency Courtyard

PARKING CTA

VACANT

HOUSES

MIXED GAS

CHURCH

Garden

COMMERCIAL ADA Room 15

Reentry Residency

10 10 2 1

1. Mechanical Room 2. Gym 3. Kitchen 4. Dining Room 5. Lounge/ Play Room 6. Gym Court 7. In-House Police Branch 8. Video Surveillance 9. Main Office 10. Bathroom 11. Counseling Office 12. Classroom 13. Storage 14. Intervention Center 15. Computer Lab 16. Meeting Room 17. Conference Room 18. Crisis Center 19. Office Egress Elevator

Exit/ Entry Towards Parking

Existing Surrounding Conditions

Third Floor Plan

Second Floor Plan 5

4 3

2 5

11 1

1. In-House Police Branch 2. Video Surveillance 3. Classroom 4. Collaborative Space 5. Outdoor Lounge 6. Computer Lab 7. Mock-Up Space 8. Conference Room 9. Outdoor Patio 10. Meeting Room 11. Office 12. Bathroom 13. Storage

2 10

Exploring the Form of the Facade

5 13

1. In-House Police Branch 2. Video Surveillance 3. Classroom 4. Meeting Room 5. Outdoor Lounge 6. Computer Lab 7. Lounge 8. Office 9. Conference Room 10. Bathroom 11. Storage 12. Audio Center 13. Police Residency 14. Re-Entry Residency 15. Gym

Existing Wall

Columns

Secondary Wall (With Punch Ins)

North Elevation

Tertiary Wall (Punch Outs)

Roof Membrane Coverboard Insulation 6” Thermal Insulation Vapor Retarder Membrane Fixing Arm Plywood Sheathing - 2 Layers

Faux Wall Section Looking West

Curved Roof Section Detail Roof Membrane Coverboard Insulation 6” Thermal Insulation Vapor Retarder Membrane Fixing Arm Plywood Sheathing - 2 Layers I-Beam

Custom Aluminium Gutter

Roof Membrane Coverboard Insulation 6” Thermal Insulation Vapor Retarder Membrane Fixing Arm Plywood Sheathing - 2 Layers

Custom Aluminium Gutter

Fountation Detail

Light Shelf Suspended Ceiling

1/2” Finished Drywall 1 1/2” Metal Furring 2” Insulation 1 1/4’ Airspace 8x8x16 Reinforced CMU Block Wall Tie 2” Rigid Insulation Vapor Barrier 1 1/2” Airspace Brick Insulation under slab when using radiant floor heat only

Cast Concrete Slab on Grade Waterproofing #7 @10 o.c. Tranverse, (3) #7 Long

Transverse Section

Detail Faux Wall

Finsihed Concrete Floor

Front Facade on 62nd St

Anger Management Classroom

Classroom

Los Angeles Connection Station Urban Master Planning High Speed Rail Station location Los Angeles, CA

Partnered with Kamila Silva, we connecting the surrounding buildings and the history of Downtown Los Angeles, the high speed station serves as the main connection between the existing Union Station and addtion. The site includes grooves of citrus and foral gardens in the train unction across the river. Using the history of the region, the connection of the past to the the present was a vital and essential key aspect to building the train station.

The train station is a structural element that connect the two train stations buildings going towards San Francisco and towards San Diego. History of the region allowed the connections to become realistic. The surrounding neighborhoods keyed in to allow a more walkable area.

The Perfunctory Inquisition of Monterrey PIIT Proposal - ASHRAE Competition Cooling & Heating Research Center location Monterrey, Nuevo Leon, Mexico

Inspired by the golden ration and local vernacular, the primary goal is to connect the site and building to the surrounding context and University. The Perfunctory Center of Monterrey is influenced by the climatic responses and program, which are derived by characteristics from the site, which has triangular shape. The center’s idea is to divide the program into two distinct branches. This allows for interaction in communal spaces herefore, the structure and site will create a uniformed environment that harmonizes the site with the existing building/ structures.

The site will serve as a transitional collaborative space. The structure’s entry becomes a direct avenue, in which the path becomes experiential. Following the site lines as a guide, the bifurcated center is clearly asymmetrical due to the building’s usage. The site and assembly will create an uniformed environment, complementing the site to the surrounding buildings and structures. The building carries an abstract representation used to analyze the proportion of the relationship of the room shapes and sizes. Influenced by the climatic responses and program, the building acquires to enhance the exterior.

Site Plan

SUMMER 4” Concrete Panel DBT: 93°F 0.80 Thermal Component R-Value 6 1/2” Air Space 2.86 w/ Z Channel Outside Air Connections Air Film 0.17 2Outside 1/2” Rigid 10.00 Insulaton w/ SUMMER Moisture Barrier 4” Concrete Panel DBT: 93°F 0.80 Thermal 10x10x16Component R-Value 1.20 CMU 6Reinforced 1/2” Air Space 2.86 Concrete Block w/ Z Channel Outside AirBoard Connections Gympsum 0.45 Air Film 0.17 2Outside 1/2” Rigid 10.00 Insulaton Inside Air w/ Film 0.68 Moisture Barrier 4” Concrete Panel 0.80 10x10x16 1.20 IReinforced nside Air CMU 6 1/2” Air Space 2.86 Concrete Block w/ Z Channel Connections Gympsum Board 0.45 2 1/2” Rigid 10.00 Insulaton Inside Air w/ Film 0.68 Moisture Barrier 10x10x16 1.20 IReinforced nside Air CMU Concrete Block Gympsum Board 0.45

WBT: 76°F B R.H:(0.97/16.16)(21) 60% T= (93 - 72) = 21°F91.74 0.97 Cumlative Reference Temperature Temperature at =1.26 Resistance Point Difference to Ref. Ref.Point 3.83 C (3.83/16.16)(21) 88.02(°F) (∑ R-Value) Point (°F) =4.98 93 0.17 A (0.17/16.16)(21) 92.78 13.83 D (13.83/16.16)(21) 75.03 =0.22 =17.97 WBT: 76°F B R.H:(0.97/16.16)(21) 60% T= (93 - 72) = 21°F91.74 0.97 Cumlative Reference Temperature Temperature =1.26 15.03 E (15.03/16.16)(21) 73.47 at Resistance Point Difference to Ref. Ref.Point =19.53 3.83 C (3.83/16.16)(21) 88.02(°F) (∑ R-Value) Point (°F) =4.98 93 15.48 F (15.48/16.16)(21) 72.88 =20.12 0.17 A (0.17/16.16)(21) 92.78 13.83 D (13.83/16.16)(21) 75.03 =0.22 =17.97 72 16.16 G (16.16/16.16)(21) 0.97 B (0.97/16.16)(21) 91.74 =21 =1.26 15.03 E (15.03/16.16)(21) 73.47 72 =19.53 3.83 C (3.83/16.16)(21) 88.02 =4.98 15.48 F (15.48/16.16)(21) 72.88 =20.12 13.83 D (13.83/16.16)(21) 75.03 =17.97 72 16.16 G (16.16/16.16)(21)

Vapor Control & Temperature Profile

Inside Air Film

0.68

G FE 15.03

15.48

16.16

G FE

Inside Air

=21 (15.03/16.16)(21) =19.53 (15.48/16.16)(21) =20.12

(16.16/16.16)(21) =21

73.47 72

72.88 72

G FE

WINTER 4” Concrete Panel DBT: 68°F 0.80 Thermal Component R-Value 6 1/2” Air Space 2.86 w/ Z Channel Outside Air Connections Air Film 0.17 2Outside 1/2” Rigid 10.00 Insulaton w/ WINTER Moisture Barrier 4” Concrete Panel DBT: 68°F 0.80 Thermal Component R-Value 10x10x16 1.20 Reinforced CMU 6 1/2” Air Space 2.86 Concrete Block w/ Z Channel Outside AirBoard Connections Gympsum 0.45 Air Film 0.17 2Outside 1/2” Rigid 10.00 Insulaton Inside Air w/ Film 0.68 Moisture Barrier 4” Concrete Panel 0.80 10x10x16 1.20 Inside Air CMU Reinforced 6 1/2” Air Space 2.86 Concrete Block w/ Z Channel Connections Gympsum Board 0.45 2 1/2” Rigid 10.00 Insulaton Inside Air w/ Film 0.68 Moisture Barrier 10x10x16 1.20 Inside Air CMU Reinforced Concrete Block Gympsum Board 0.45

Inside Air Film

0.68

WBT: 53°F B R.H:(0.97/16.16)(0) 60% T= (68 - 68) = 0°F 68 0.97 Cumlative Reference Temperature Temperature at =0 Resistance Point Difference to Ref. Ref.Point 3.83 C (3.83/16.16)(0) 68 (°F) (∑ R-Value) Point (°F) =4.98 68 .17 A (0.17/16.16)(0) 13.83 D (13.83/16.16)(0) 68 =0.22 =17.97 WBT: 53°F B R.H:(0.97/16.16)(0) 60% T= (68 - 68) = 0°F 68 0.97 Cumlative Reference Temperature Temperature =0 15.03 E (15.03/16.16)(0) 68 at Resistance Point Difference to Ref. Ref.Point =19.53 3.83 C (3.83/16.16)(0) 68 (°F) (∑ R-Value) Point (°F) =4.98 68 15.48 F (15.48/16.16)(0) 68 =20.12 .17 A (0.17/16.16)(0) 13.83 D (13.83/16.16)(0) 68 =0.22 =17.97 68 16.16 G (16.16/16.16)(0) 0.97 B (0.97/16.16)(0) 68 =21 =0 15.03 E (15.03/16.16)(0) 68 68 =19.53 3.83 C (3.83/16.16)(0) 68 =4.98 15.48 F (15.48/16.16)(0) 68 =20.12 13.83 D (13.83/16.16)(0) 68 =17.97 68 16.16 G (16.16/16.16)(0)

B15.03

15.48

16.16

(15.48/16.16)(0) =20.12

Inside Air

=21 (15.03/16.16)(0) =19.53

(16.16/16.16)(0) =21

Summer

DBT = 93°F WBT = 76°F

Building Enclosure Council Competition Entry Sections

68 68 68

93 68 68

93 88

Summer

DBT = 93°F WBT = 76°F

Summer

93 88 83

DBT = 93°F WBT = 76°F

88 83 78

Summer

83 78 73

Set Point = 72°F

Winter Summer Set Point = 68°F Set Point = 72°F Summer

Winter

Winter Summer Set Point = 68°F Set Point = 72°F Summer

Winter

73 68 63

Winter

68 63

DPT = 68°F

DBT = 68°F WBT = 68°F

DPT = 68°F

DBT = 68°F EXTERIOR WBT = 68°F

INTERIOR

Winter

Set Point = 68°F

Summer

DPT = 68°F

INTERIOR

78 73 68

Wall Detail Callout 1’

Wall Detail Callout

3”

DBT = 68°F 6” EXTERIOR12” WBT = 68°F

1’ 0 - ARCH3”406 Studio 6” VIEXTERIOR 12”A Crystal L. Barraza - Savannah College of Art & Design - Professor Emad The Perfunctory Inquisistion of Monterrey - Research Development Center - Monterrey, Nuevo Leon, Mexico

Wall Detail Callout 1’ 0 - ARCH3”406 Studio 6” VI - Professor Emad 12”A Crystal L. Barraza - Savannah College of Art & Design The Perfunctory Inquisistion of Monterrey - Research Development Center - Monterrey, Nuevo Leon, Mexico

Crystal L. Barraza - Savannah College of Art & Design - ARCH 406 Studio VI - Professor Emad A The Perfunctory Inquisistion of Monterrey - Research Development Center - Monterrey, Nuevo Leon, Mexico

North Elevation

Open Office Detail Wall Section

Building Enclosure Council Competition Entry Sections

Foundation Detail Call-out 12’ 0’ 3’ 6’ 12’

MEMBRANE FLASHING SHEET METAL PROTECTION 18” BRICK PAVER WITH SHIM

LOOSE-LAID RETENTION TEES

Crystal L. Barraza - Savannah College of Art & Design - ARCH 406 Studio VI - Professor Emad A The Perfunctory Inquisistion of Monterrey - Research Development Center - Monterrey, Nuevo Leon, Mexico

Transverse Section

6” ENGINEERED SOIL

FILTER FABRIC RESERVOIR LAYER 2X10 SHIM MOISTURE RETENTION LAYER AERATION LAYER ROOT BARRIER THERMOPLASTIC WATERPROOFING ,MEMBRANE THERMAL INSULATION D DRAINAGE LAYER 6” CORRUGATED STRUCTURAL CONCRETE DECK METAL SHEATHING DRAINAGE W WARREN TRUSS CANTILEVERED GREEN ROOF

Green Roof Detail Callout 1’

3”

6”

12”

FIBERGLASS INSULATION WITH MOISTURE BARRIER 4 X 18 TOP PLATE (2) SUSPENDED RECESSED CEILING

Savannah-Chatham Intercultural Mediatheque Community Digital Library Intercultural Mediatheque location Savannah, GA

The International Mediatheque is designed to celebrate the rich and diverse cultural heritage of Georgia. The SCAD community is also included as an overall user group. The needs of the clients are met through a 24 hour accessible library for all of Savannah-Chatham students. The public and community domain intertwine as a whole. The space is used for local events as well as a learning center. As a community, the connection through a space is highly influenced through the light from the North side.

The SCAD users wanted a place where you have all the programs needed for their studies, as well as an assigned place. The Savannah community wanted a place to celebrate their heritage, as well as place of gathering.

Axonometric Perspective

North Elevation

+ = Conceptual Idea Linear Angles

Opposing the linear idea, the angled lines came from the connective line from the city and site location.

West Elevation

Linear Ideas

The final mass was constructed in different planes.

Skin (Faux Wall)

Using variations of shapes (arcs, circles/organic shapes, lines) that have been studied, the linear one was the most successful brining more light in, while attracting audiences.

Model

Faux Wall Section

LeConte Woodmanston Plantation Communal Thin Places Praise House location Liberty County, GA

The idea of this project seeks to create, through thin places, by fabrication methods. The architecture intervention is conceived as a thin thread that guides users from one overlook to another. The objective of this project is to design a place for worship and praise that will accommodate various gatherings and events that take place at LeConte Woodmanston Plantation throughout the year. This place will express notions of time at a different scale, that of a lifetime.

A physical place where the boundary between heaven and earth is â&#x20AC;&#x153;thin.â&#x20AC;? Thin places happen in all kinds of moments and places, often being sacred. It is a place or an event in life where the dividing line between the holy and the ordinary is very thin to the point that the ordinary becomes holy and the holy becomes ordinary.

. A. G.A

LON

. T RA

Ground Level Floor Plan

Praise House Sub Floor Level Floor Plan

T RA

Praise House

G.A

LON

G.B

TRA

G.B

LON

. B.

. TRA

LON

Building Form Exploration

Time ...look back ...mark the present ...expect the future

Praise House Traverse Section B

Light House Section Cut

thin places An Apache proverb takes the idea a step further: “Wisdom sits in places.” It’s a doorway, a threshold. Seemingly simple, it is a place and an encounter that leads to a bigger, wider, unexpected, more glorious place. It is a place of light, where we encounter wisdom, and insight, and acceptance and healing. It is a place of darkness, where we encounter the question : “And who do YOU say that I am? Do you understand and believe that: I can make you aware? I can answer the question? I can heal you of that temptation that pulls the destructive trigger in your life? I can forgive you when you fail?”

Praise House- STRUCTURE

The Bulwark

Beach Bicycle Center Bicycle Storage and Repair location North Beach, Chicago, IL

Interior Perspectives

Floor Plan

Conceptual Pulley System Intent

12. Entrance 13. Outdoor Seating Area 14. “Anchor” Windows and Shading

13 10 11

Model

8 7 1

1. Lobby 12 2. Lockers 3. Bicycle Parts 4. Bicycle Repair 5. Bicycle Storage 6. Office 7. Electrical Room 8. Mechanical Room 9. Restrooms 10. Cafe 11. Storage

Longitudinal Section

14 3

14 4 5

TypologyDisorientedThroughtheHumanPsyche&FiveSenses Urban Design

Speculative Savannah location Savannah, GA

The word psyche was defined in Latin as “animating spirit.” From the Greek origination of psykhe, the word means “the soul, mind, spirit; breath; life, one’s life, the invisible animating principle or entity which occupies and directs the physical body; understanding,” who is personified as Psykhe the beloved of Eros.

Psyche can be retrieved by the mind; the mind can disclose the distortions of authenticity that psyche has adapted to. Cursorily, it seems paradoxical that psyche is constructed in a way to primarily store distorted images of reality. Growing consciousness is capable of discovering of reality with the help in mind.

A strong distortion of reality can lead to state in which the basic function of psyche temporarily is no longer functioning. The human senses begin to take a role sustain distortions of reality and intensifying them. The psyche, like the modern architecture that reflects it, has become so directed toward a world that is rational, conscious, and functional that it has trouble remembering its parts that are dark, complex, and inarticulate. Happiness is associated not just with activity of psyche, but with activity in accordance with excellence. It is essential that architects not lose sight of the potentials for architecture to communicate and represent the human psyche and the

human condition, and not stop developing the potentials for architecture to play those roles. Human beings have examined and explored what it is to be human since the beginning of civilization, through the mechanisms of tropic language in written and visual expression, in the condition of the self-consciousness of reason. Form follows function in that the principal function of architecture is the poetic expression of the human spirit. Architecture overcomes the duality between mind and nature, and purifies and coordinates the external world through mathematics and geometry. But because the forms of architecture are inorganic, and can only imitate the organic, they are symbolic, and cannot achieve an

Phenomenological Unconscious Your abstraction walks a pace and stops, then turns and poses.You must invent an architecture for your psyche, for it is unburdened by freedom.The animus has aspirations, desires. Each breath is a duet with the animus. How could you not want to believe that the collaboration will last a lifetime? The animus cannot be seen directly, as an eyeball cannot see itself, but it can be sensed and experienced, as a body senses itself when moving through a cavernous space.

identity between the organic and inorganic, between the universal and particular, in the way that other art forms, and philosophy, can. Spirit cannot be contained in the material forms of architecture, and idea and form remain distinct, and can only be related abstractly. Architecture can symbolize Spirit only when it becomes independent of function as a mechanical art. It must become independent of itself, and an imitation of itself. Architecture can only be an idea or an allegory of the organic. The only way that architecture can achieve an identity of the particular in form and the universal in Idea, an identity between subjective and objective, is when it imitates its own requirements of necessity, satisfying

necessity and being independent of it at the same time.

Spatial manifestations of the human psyche based on neurological theories of the environmental preference and aesthetic experience. The experience needs to satisfy the needs and/or desires of the built desires. The empathetic need that changes, adapts, and is perceived in relation to each other’s idiosyncrasies. The need of the wellbeing is based on your environmental preference.

Discussion of relations between abstraction and figuration; of oscillations between the material and the conceptual; of locality and temporality in indexical marks and associative meanings.

Typology Disoriented

“Construction documents in architecture are projective: both as an abstract system of orthogonal projection and as a set of instructions for a future event.”

The norm is broken into an acceptance of graffitti as art and a form of expression of the arftist or the “client.” What we know is changed for a world and iconic places in the future.

Environmental psychology focuses on the interplay between humans and their surroundings.

Influenced by surreal architecture, the constraints created to form types were utilized.

SKETCHES

FURNITURE

Digital Modeling and Fabrication

Draw | Build | Show

Through this project, one will synthesize your skills in SolidWorks to create a model and rendering, existing or by design. The model can be built using the bottom-up or top-down assembly method. Sporozoan demonstrates this method. The Lego Willis Tower shows rendering capabilities.

Using Solidworks, one will become proficient in industry-standard modeling in the software applications, and how they allow for quick, accurate and transformable visualization of designs to provide a tool to facilitate communication between designer, engineer and client.

Sporozoan Light Fixture

The AnThropomorphic TAble An elegant appearance presented technical floating lights, even if only with simple basic materials. A cloud of slats make it seemingly all floating lamp in the dissemination of soft light, as it can be interchangeable. Inspired by its amorphous, blob-like shape, the Sporozoan’ is a hanging kit-of-parts lamp constructed of intersecting organic forms – pieces that can be rearranged, removed and added anew at any time without any complex tools or new parts.

The table comes in varies of products to set in any room and location for the user’s preference. The experience changes how we onced functioned.

TOP: at a dinning room setting, where wood is showcased in various of ways. This allows the user to have the slats fit the environement and become more of a natural ornamentation.

Back View of Hump SIDE: changing materials to cohear to the surrounding environment, allowing the user to have a flexible piece to their liking

At first glance, the piece looks to be floating, yet tthe piece is complete, contemporary with a unique aestheticsand functional formation. The seems between each part are barely visible from afar. While is is a distinctive style, “Sporozoan’ has a precise purpose as to the modular parts. By allowing a limited set of ten modules to be combined in nearly endless ways, this lighting fixture can be adapted over time. This allows the user to create a new shape as a need of change arises. It is not a onetime-only, one-size fits most lighting solution, but rather a flexible system.

Where sculpture and function meet to have people engage into their environment, the table changes the dynamic of eating- morphed to the basics of human interactions.

Longitudinal View

Close up of Connections

Fixture in Wood Finish

Fixture in Plastic Finish

righten up your place with this conversational starter, unique table. Take advantage of its versatility and use it as a dining table or a custom accent table in your entryway or vanity room. Conveniently, there is a crater where your valuables can be placed or communal food, such as fruits, vegetables, salads, chips and dips. In addition, there are two purse holders on the legs of the table. Using dance and body movements abstractly for the table and table legs, the table functions varies ways. Some of the movements were translated to serve other purposes for the table.

The movements are custom to what kind of music you enjoy. In the pictures above and to the side, they depict a different dance; bachata, ska, rock, and ballet abstractly. As mentioned, the table top crater as it can be used for food or for guests to place their phones to engage in the atmosphere and conversation. The intent is to remove technological distractions and engage with the people and environment. This table has a unique appearance to create a warming aura complementing rustic chic with a touch of modern works while accenting the decorative piece.

Overview

Perspective

Luminescence

Bent Lamp Fabrication

Inspired by the LED light by John Procario, and by Charles and Ray Eames bending method, the design began with sketches that were refined using research. The ispiration helped accentuate the bends where possible LED Strips could be arranged in both sculptural and functional.

Stage 1

Stage 2

The models helped realize the labor needed to make the mold and create the bends symmetrically, as opposed as hollowing out then placing them together.

Stage 3 A

Another Model

Final Mock Model

I conI I conI c cRR edesIgn edesIgn Redesigning Redesigning EamesEames RAR (Rocking RAR (Rocking Armchair Armchair Rod Base) Rod Base) Originally made Originally from made fiberglass fromthe fiberglass the RAR chair has RARbeen chairredesigned has been redesigned in in [recycled] polypropylene [recycled] polypropylene giving it giving it more comfort, morethecomfort, legs are themade legs are made from chrome from with chrome wooden with ski wooden ski rockers. rockers. Early in the first Early year in the of production first year ofthis production this version of theversion chair was of the discontinued, chair was discontinued, as the Eames as Office the Eames substituted Office the substituted the wire configuration wire configuration that is found that onis found on today’s rockers. today’sPlastic rockers. armchairs Plastic armchairs were first presented were firstas presented part of a New as part of a New York Museum York of Museum Modern Art of Modern design Art design competition,competition, “Low-Cost “Low-Cost Furniture”. Furniture”. Their organically Their organically shaped plastic shaped plastic seat-shells seat-shells were later were combined later combined with various with different variousbases different and bases and manufactured manufactured in their millions. in their millions. With its integrated With its armrests, integrated the armrests, the organically organically shaped shell shaped of the shell of the Plastic Armchair Plastic offers Armchairsuperb offers superb comfort. comfort.

The Eames The RAR Eames Rocker RAR isRocker is

limited limited to how tomuch how itmuch it rocks. rocks.

Depending Depending on the height on theofheight of the person, thethe person, RAR the will RAR rock will rock to a certain to amount. a certain amount. A redesigned A redesigned base will base allowwill allow to rock more, to rock giving more, that giving the that the base elongates. base elongates. The baseThe will base be redesigned will be redesigned to look more to look appropriate more appropriate to to the shell. the shell. Charles Charles and RayandEames Ray Eames believed believed that “design that “design is is a method a method of action,” of action,” and and continually continually updated their updated worktheir work as new as materials new materials became became available.available.

The wide The selection wide selection of of bases itmakes it possible bases makes possible the in chairs to use totheuse chairs a in a of settings: variety variety of settings: from from theroom diningorroom the dining homeor home to the garden. office tooffice the garden.

The rocking The chair rocking comes chair in different comes incolors different andcolors textures, andfor textures, all the various for all the of various tastes of tastes

Shellsincome in a broad Shells come a broad of colours range range of colours and and upholstery so upholstery versions,versions, so that components that components can be can be mixedmatched and matched to mixed and to the perfect find the find perfect chair forchair for individual individual needs. needs.

Taking theTaking armchair the armchair and changing and changing the the base, I redesigned base, I redesigned a stand free a stand seat free seat that rocksthat for rocks a morefor a more ergonomic ergonomic chair for all chair heights for all heights and typesand of bodies. types of bodies. At the same At the time, same the time, rockerthe maintains rocker maintains some of Eames some ofelements Eames elements with the base with the base and shell.and shell. The RAR’s The aethetic RAR’s changed. aethetic changed.

This designThis tookdesign a moretook extreme a more look, extreme look, in which creates in which a more creates sleek, a more sleek, yet elegant yet rocking elegant chair. rocking chair.

PHOTOGRAPHY

THANK

YOU

773.414.6016 Chicago, IL cbarraza527@gmail.com issuu.com/cbarraza527 crystalbarraza.wix.com/portfolio