PORTFOLIO
danielaPaez
standhaftes grun. KANDINSKY. (1925) - PUZZLE.1000 PIECES.
“Architecture is the greatest book of mankind.” - Victor Hugo
CURRICULUM VITAE
danypaez89@gmail.com +52 8115166381 MONTERREY, NL, MÉXICO NOVEMBER 1, 1989
DANIELA PÁEZ OLVERA LANGUAGES: Spanish (100%), English (100%) and Italian (50%) SOFTWARE: Microsoft Office, AutoCAD, Revit Architecture, 3Ds Max Design, Rhinoceros+Grasshopper, Photoshop, Illustrator, InDesign INTERESTS:
Architectural Design, 3D Modeling, Parametric Design, Innovation, Sustainability
ARCHITECTURAL WORKSHOPS:
Workshop I: ITESM Chapel (Aug 2009 - Dec 2009) Arch. Rodolfo M. Barragán Ph.D.
Workshop II: Bermudez Escobar Residence (Jan 2010 - Dec 2010) Arch. Luis Villarreal Ugarte
Workshop III: School of Art (Aug 2010 - Dec 2010) Arch. Cecilia Garza & Arch. César Martínez Workshop IV: The Maze (Jan 2011 - May 2011) Arch. Taras Wolf Workshop V: Waving City (Aug 2011 - Dec 2011) Arch. Alejandro Rodríguez Workshop VI - CÁTEDRA VITRO: Mississippi Park (Jan 2012 - Present) Arch. Carlos Estrada
HIGH SCHOOL:
Prepa TEC, Campus Santa Catarina (Aug 2005 - May 2008) Bicultural Highschool. Honorable Mention of Excellence (Average: 98) English and Mathematics as subjects of the IB International Baccalaureate Programme First Place in the Seventh Youth Essay Contest “Living Democracy” Organized by the Federal Institute of Democracy of Monterrey (IFE) in November 2007
PROFESSIONAL STUDIES:
Instituto Tecnológico y de Estudios Superiores de Monterrey (Aug 2008 - May2013) ARCHITECTURE (Cumulative average: 98 until Dec 2011)
The University of Melbourne. Melbourne, Victoria, Australia (Jan 2011 - May2011) Semester Abroad. Two urbanism and two design courses. Winner of the scholarship ‘FEMSA Fund for Internationalization’ Launched by FEMSA for students going a semester abroad.
WORK EXPERIENCE:
3D MODELING TUTOR ITESM, Department of Architecture (Jan 2010 - Dec 2010 // Aug 2011 - Dec 2011) Adviser in computer programs for design and construction (AutoCAD, Revit, 3Ds Max Design, and Photoshop). Assist professors with related classes that use the programs and solve student’s doubts regarding their use.
DIGITAL MODELING ASSISTANT Arch. Carlos Salmerón (Aug 2011 - Dec 2011) Personalized furniture modeling for render scenes.
VISUAL ASSISTANT Ferrara.Arquitectos (April 2012 - Present) 3D modeling of projects and render creation.
TOUR GUIDE IVESA, Convention and Exhibition Center CONVEX (June 2008 - July 2008) (English and panish) For the exhibition “TITANIC: The Artifact Exhibition. Objetos Reales, Historias Reales.” Occasional cashier turns in the gift shop.
SCHOOL OF ART
3
ITESM CHAPEL
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0 20
11 20
10 20
2
BERMUDEZ ESCOBAR RESIDENCE
THE M
MAZE
MISSISSIPPI PARK
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WAVING CITY
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12 20
13 20
4 6
X6
INDEX
ARCHITECTURE WORKSHOP I TUTOR: ARCH. RODOLFO M. BARRAGà N PH. D The project consisted in the design of a chapel capable of accepting any religious celebration to be located in the most emblematic and biggest garden of my university ITESM Campus Monterrey. With the objective of preserving most of the site, I chose for the chapel to be located underground. On top, a series of monuments define a space and surround a tiered plaza. After finding a key relation between light and spirituality, my concept was not only to experiment with different materials but also to manipulate light in order to create a spiritual ambiance, that makes the user experience a journey filled with emotions. Based on our tutor’s tesis, and taking as an inspiration a musical score, an architectural score was made for the representation of this project.
ITESM CHAPEL
1
SITE
MODEL USED TO EXPERIMENT WITH LIGHT
PLANS
FLOOR PLAN
SECTION A-A’
SECTION B-B’
STRUCTURE
ARCHITECTURAL SCORE
ATMOSPHERE
INTERVAL:
PRELUDE DIVERSITY The journey begins by walking through the vast gardens of ITESM. A pattern of textures is perceived and simultaneously an environment of diversity and study is identified. While facing the garden on its east side, the ‘Cerro de la Silla’ is clearly identified in the horizon, a national symbol of the city of Monterrey, thus begins a reminder of the city and what makes it unique: its multiple majestic mountains. It’s a symbolic place, a representative space. 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1111111111111111111111111111111 1111111111111111111111111111111 1111111111111111111111111111111 1111111111111111111111111111111
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MEMORY AND SIGNIFICANCE:
PROPERTY AND USE:
TEXTURES AND COLOR: ODORS: TEMPERATURE: LIGHT: SPACE:
ORIENTATION AND TIME: SOUND:
SCALE AND PROPORTION: RHYTHM:
In the distance, at the center of the garden, a number of geometric elements are distinguished. They define a space. Similar to those found in the ‘Espacio Escultórico’ of UNAM, these elements form a circle that seem to invite people to gather around at a key point of the campus. Following are a series of steps that appear to be an ideal place to sit and relax. An ambience of welcomeness, unity and safeness is perceived. 2 2 2 2 2 222222222222222222222222 22222222222222222222222 22222222222222222222222 22222222222222222222222 22222222222222222222222
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Upon en of shado apprecia continue monume is discov the cent emerge pear to f pool refl gives so vironme time, a s sculptur begins. ments?
SUB CLIMAX
CLIMAX
FINALE
WELCOME
EXPECTATION
SERENITY
Finally, among all the shadows light is perceived at the very entrance of the main chapel. Like a light at the end of a tunnel, it shows the road to follow, the road that will answer all questions, the final exit. The water on the wall gives continuity to the project. Now, the visitor is at a key point of transition where the core of every religious celebration begins. 7 7 777777777777777777 777777777777777777 7 7 7 7 7 7 7 7 7 7 7 7 7 7 77 7 77
Once inside, three rays of light define a central point and the attention of all visitors is directed towards it. Serenity begins before a single focal point. The search and the journey finally come to and end. The visitor is now at a venue where any spiritual celebration can be performed. It is an environment of peace that, due to its underground location, works as a refuge of any problem or material distraction. It was the light itself the guide and companion of each visitor on his journey. Clearly the presence of a high supernatural power is perceived in this room. 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 888888888888888888888
ntering the garden, a projection ows by the numerous trees is ated. In addition, the symbols e to emerge, as the bell tower, a ent to Don Eugenio Garza Sada vered. On the other hand, at ter of the circle, three elements from a pool of water that apfunction as entries of light. The flects these components and ome comfort and a proper enent for reflection. At the same set of stairs that go below this res is discovered. The enigma What lies beneath these ele333333333333333333
From the entrance of the chapel begins and endless game of chiaroscuro, light and shadows characterize the scene. Uncertaint overflows and mistery continues as not everything is seen. Representative elements of Mexican architecture are found and set a new ambiance, as this lattice, similar to the one used by famous architect Luis Barragán in his project ‘Las Capuchinas Sacramentarias’. 4444444444444444 4444444444444444
The individual chapels present, due to a series of punctual lights, an atmosphere of reflection and questioning. These lights are constantly changing throughout the day due to the movement of the sun . In nature, this occurs in certain canyons, where a small entrance of light illuminates an entire space. Questions about life, eternity and the beyond start to flow. An spiritual ambiance is thus perceived. 5 555555555555555555 555555555555555555
Reaching the center of the chapel, another source of water comes to life. From this source seems to emerge, as the city of Tenochtitlan, the most important space of the entire project. Emerges a need to discover what occurs there. A strong place that emits power, where a series of columns covering the wall invite to search for an entry. The various reflected lights fill the visitor with expectation. 6 6 6 6 6 6 6666666666666666666666 666666666666666666666 666666666666666666666 666666666666666666666 666666666666666666666
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BERMUDEZ ESCOBAR RESIDENCE ARCHITECTURE WORKSHOP II TUTOR: ARCH. LUIS VILLARREAL The Bermudez Escobar family, consisting of four members, requested the design of a house of approximate 275m2 in a terrain located in Monterrey, NL, MÊxico. The main challenge was the terrain’s very steep slope. The family asked for views in both private and common areas and wanted for the interior and exterior communication to be a priority in the design. While adapting the program to the terrain, a series of decks were developed favoring the requested communication and taking advantage of the views.
PROGRAM
STRUCTURE
FRONT ELEVATION
GROUND FLOOR
FIRST FLOOR
NORTH ELEVATION
BASEMENT 2
BASEMENT 1
WEST ELEVATION
SCHOOL OF ART
3
ARCHITECTURE WORKSHOP III TUTOR: ARCH. CECILIA GARZA AND ARCH. CÉSAR MARTÍNEZ The School of Art located in the street Frida Kahlo in the municipality of San Pedro Garza García, NL, México, satisfies a simple program. Its main spaces include: and outdoor auditorium, classrooms, practical workshops, library, cafeteria and a gallery. The project respects the views and embraces NATURE: source of inspiration and universal symbol of beauty which every artist aspires to achieve. Therefore, the proposal meets the need of the artist and provides multifunctional spaces, both private and public, opened and closed, equipped to promote learning theory and the disciplines of painting, dancing, sculpture and photography.
CONCEPT
GROUND FLOOR
A BOTTOM-UP PROCESS THAT STARTS WITH PUBLIC AND FINISHES IN PRIVATE SPACES
FIRST FLOOR
SECTION SECTION
ELEVATION ELEVATION
MODEL
ARCHITECTURE WORKSHOP IV TUTOR: ARCH. TARAS WOLF The project consisted on selling a conceptal idea through a sectional perspective. ‘The Maze’ is a proposed building for the headquarters of a hot air baloon company located in the corner of Spencer and Batman streets in Melbourne, Victoria, Australia. Ballooning is a weather dependant activity, wchich means that the experience is not completely controlled and relies entirely on external factors; therefore getting lost while drifting is a real possibility. The design for ‘The Maze’ is based on this idea, creating an intricate network of connections and multifunctional spaces that allow for the building to change. Its open ground arrangement generates a continuous process of interaction and provokes the user to
DRIFT IN, UP AND ACROSS.
AN ASSIGNMENT TO DEVELOP THREE POTENTIAL BALLOON TRAILS FOR THE COMPANY WAS MADE BEFORE STARTING WITH THE DESIGN PROCESS.
4 THE MAZE ‘GET LOST IN THE EXPERIENCE’
LOOKING TOWARD THE ATRIUM
PANELS THAT SLIDE ALLOWING FOR THE GROUND LEVEL TO RECONFIGURE.
VIEW FROM THE UPPER DECK. FRAMES THAT CREATE A PATH OF SHADOWS.
CONCEPT MODEL
DEFRAGMENTATION OF A RECTANGLE
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WAVING CIT Y PARAMETRIC URBANISM
ARCHITECTURE WORKSHOP VI TUTOR: ARCH. ALEJANDRO RODRIGUEZ IN COLLABORATION WITH: AIDA RAMIREZ AND ANA SOFIA LOZANO The ‘Waving City’ was designed as an alternative for the current urban development in the Valle Oriente zone. After analyzing the site, located in San Pedro García, NL, México, we immeadiately noticed a lack of pedestrian sidewalks, a priority given to vehicular traffic, and no real connection between the buildings and the context. Therefore, through parametric urbanism, we seek to create a continuos city capable of changing the way people relate and behave within the existing urban context. View full thesis at: http://issuu.com/daniela.paez/docs/tesis_waving_city
VALLE ORIENTE ZONE // SITE
SOUND WAVES
SOUND WAVES were chosen as the main point of research to generate new spatial constraints. For the development of our project, sound waves were simplified in terms of SINUSOIDAL PLANE WAVES.
An extensive study of sound properties, such as: FREQUENCY, AMPLITUDE,
WAVELENGHT, and INTENSITY gave us the base to create different sound sources.
Applying the LAW OF REFLECTION OF SOUND a model was made to experiments with heights, contours and the possible spatial qualities of our concept.
In order to generate a diversified program we defined three types of waves to start with: Low Rise, Mid Rise and High Rise. Each wave is created by a unique sound source with a different sound intensity and has unique spatial qualities.
Five sources were located n the site and using Grasshopper different sound waves were allowed to react according to the site.
RESULT: A NEW SPATIAL BOUNDARY
MID RISE
CIRCULATION AND USES HOUSING
OFFICES
COMMERCE
PARKING
MASTER PLAN
ACCESS TO THE SITE
The SKIN was developed after performing a CELLULLAR AUTOMATA study. It responds to environmental factors, such as sun exposure.
COURTYARD
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X6
14 ARQUINE COMPETITION IN COLLABORATION WITH: ÁNGELA GARCÍA, AIDA RAMIREZ AND NINA FERNÁNDEZ Given a latent need of housing, safety, learning and relations, X6 is proposed as a solution for a Central American immigrants shelter. X6 is planned as a prototype capable of being developed at any point of the migrants’ route to the United States. X6 consists of a hexagonal modular system with the capacity to create multifunctional spaces that, through a system of mobile panels, are able to transform according to different activities throughout the day. The hexagon allows a better use of space by offering a greater area under a lower perimeter and, at the same time, enhancing the connectivity between spaces to promote unity and the coexistence of migrants. In response to programmatic and environmental factors we designed a system of covers and panels with different qualities that allow to take advantage of light and ventilation. X6 optimizes space by generating use cycles within the same conducive environment where shelter is always provided.
SHELTER + SECURITY + RELATIONS
2 PROTOTYPE WORKSHOPS // FREE TIME
AROUND THE CENTRAL SPACE
DISTRIBUTION 5
STRUCTURE 6
4 PROGRAM
GEOMETRY THAT ALLOWS MORE CONNECTIVITY
2.7m x 2,7m
NECESITY 1
3 HEXAGONAL MODULE
DESIGN PROCESS
7 USE CYCLES
NETWORK OF SHELTERS ALONG THE ROUTE
LUNCH // DINNER
DEFINE NUMBER OF MODULES
RESPONDS TO LOCATION AND ENVIRONMENTAL FACTORS
RELIGIOUS CELEBRATION
ROOF
PANELS
SKIN
+
+
= NIGHTTIME
GROUND FLOOR
FIRST FLOOR
SOUTH ELEVATION
NORTH ELEVATION
7 MISSISSIPPI PARK
CÁTEDRA VITRO TUTOR: ARCH. CARLOS ESTRADA IN COLLABORATION WITH: ÁNGELA GARCÍA, AIDA RAMIREZ, NINA FERNÁNDEZ, TANIA TUEME, ANA DEVEZE, CRISTINA REYES AND NIR SHMUELI.
The project consisted in the renovation of the Mississippi Park located in San Pedro, NL, México. After analyzing the site and meeting with the board of neighbors, different necessities were identified: identity, value, and relations.
P ROBL E M S cu rre n t stat e
FEW USERS NO MAINTENANCE VEHICULAR PRIORITY EXTERNAL USERS LOW SECURITY
+
IDE NTIT Y
+
VALUE
COMMUNITY VISITORS
RELEVANCE CARE SIGNIFICANCE USE PARTICIPATION SUSTAINABILITY
SENTIMENTAL HISTORIC URBAN ENVIRONMENTAL
NEW MATERIALS AND TEXTURES//
WOOD, CLAY, CONCRETE, STONE
RESPONSE
ELEVATED CENTRAL SPACE // WOODEN DECK SOUND BARRIER
PRIVATE
PUBLIC MAIN ACCESS
FLOW DIRECTED TO THE CENTER SOUND BARRIER
PROPOSED PAVILIONS-COMMUNITY CENTER // PIECES OF A WHOLE
APRIL 2012
DPO